LiveX提升远程流媒体生产高于变焦噪音

总部设在纽约 LiveX 很久以前就开始涉足远程生产领域了. But as the rest of the video production world rushed to reconfigure itself for remote contribution over the last 6 months, LiveX introduced the new centerpiece of its ever-evolving high-end remote workflow, LiveX导演， 2020年5月.Live X event producer Nick Micozzi describes it as “an ultra low-latency multiview display for showrunners and EPs” working with LiveX from anywhere in the world that enables them to view anything they want or need to see in the LiveX control room in almost real time (下面的图1).

图1. LiveX导演

“人数可能多达40或50人，”米科齐说. “你可以让你的导演在洛杉矶.A., your TD in New York—anywhere across the globe, for everyone on your team, it’s the same. Even South Africa is 300 milliseconds, encoder to browser, for us now.”

LiveX导演 helps facilitate the broad range of remote projects LiveX has been engaged in over the last few months, including live music production work with Live Nation and Warner Music, 在医疗保健领域工作, 电视生产, 和更多的. Because the company was designated an essential business at the outset of the pandemic, its work in all of these areas has continued unabated throughout the ongoing crisis.

“我们在新闻方面做了很多工作, 政治, 医院, 教育, 很多东西都很重要,米科齐说. 幸运的是，这家公司已经准备好开始运作了. “现在所有人都在做的远程贡献, 我们已经用SRT做了好几年了, 而且是在广播质量的水平上.”

LiveX’s biggest challenge was converting the entire operation to remote production to cover its full workload and distancing the staff as needed to prepare for various contingencies. “从三月中旬到四月中旬, we spent a lot of time taking our master control and REMI desk and building that out from two places we could do remotes to five and a half plus,米科齐说. “同时, 我们赶走了很多人，让我们变得更强大, 所以如果有东西被关闭了, 我们会有另一部分设施开放.在20名员工中, 三名工作人员从三月起就没来过办公室, 而另一些人则在家和办公室之间分时间工作. “我们有很多人在卫星上, so we have machines out in the field so that if one facility is closed, we can still do some work and a lot of complete shows from remote spaces.”

Much of the work that LiveX has been doing has combined remote contribution with high-quality, in-studio elements to elevate a show from the now-familiar limits of at-home production. “One of the models I really like is you kind of build it as a remote show, but then you have a live element and you can put that live element in a studio if it’s one host,米科齐说. “And so there’s a couple of clients that we’re working with that are doing that in our studio, 这很好. 所以他们可以进来, 使用LED墙, 有照明, 还有非常好的相机, so that people have some relief from Zoom so that the Zoom fatigue doesn’t have to take over every part of everyone’s life. So if you have your keynote or your host on a really nice studio camera, 这仍然控制着健康和安全. And then the other remote contributors who are maybe only talking on a panel, 或者只聊15分钟, 这是典型的, 从Zoom一直到SRT从家里来.” But he says that having even some in-studio elements helps the show “stand out above the Zoom noise.”

Micozzi says the biggest area where LiveX is working to push the technology envelope for remote production is cloud engineering and development. “We’re working on a project where we have 100-plus ingests simultaneously coming into a facility in the cloud. 能够设计它, 其路由, 编辑它, 然后把它记录在云中——所有这些都是下一个层次的东西. 下个月, 我们在做16通道摄食，我们想, 我们绝对可以把它带到我们的设施, 但是把它保存在云端不是更容易吗? 如果是16次，40次，或100次，你的舒适程度是多少? 断点是多少? 这在很大程度上取决于个别节目. 但云工程对我们来说真的很重要.”