• Live Stream 2018 Nba Updates Ott Live Studio For Mac
• Livestream 2018 Nab Updates: Ott Live Studio For Mac Pc

Las Vegas, NV, NAB Conference, Stand SL2505 (April 9, 2018)—AJA Video Systems today announced v2.1 firmware for its standalone HELO H.264 streaming, recording and encoding device. The free update enables further customization of live streaming and recording workflows with HELO, and includes new features driven by customer feedback. The video sharing site with an arty side is all businesses at NAB, announcing an OTT subscription service solution, an eCDN, a compact encoder, and Studio 5 beta software for Windows and Mac.

The company behind a suite of visual storytelling tools will show how media companies can share their stories on-air, online and to OTT platforms with efficient workflows for journalists and content owners at. Broadcasters, newspapers and new media companies are facing challenges of reaching next generation of media consumers no matter where they watch content. Vizrt’s visual storytelling tools are an ideal way to create mesmerizing live productions for any platform.

Vizrt’s story creation, and live production tools allow you to share your content everywhere. Vizrt’s all-in-one live production system is easy to use and requires only a single operator to drive a live production that can be streamed on-air, online OTT platforms. At NAB 2018, the company will also demonstrate the latest version of with a cloud-based workflow for journalists to search, edit, and publish media anywhere. Tell the complex stories of the day clearly using video walls and graphics using Vizrt’s advanced live production tools make it easy to control all the screens in the studio and drive AR graphics that engage audiences. The company is also bringing back its “Big AR Show” with an all new 2018 edition. This presentation will showcase how live studio production can take a leap forward with next-generation AR storytelling. Vizrt will also have a major announcement that will prepare the next generation of designers to change the face of global media design.

Also at NAB, Vizrt will demonstrate its tools to captivate sports fans with high-quality and informative analysis that allows you to create more content with your sports rights. New for NAB 2018, Vizrt will demonstrate sports analysis system integrated with AR in the studio, giving presenters a new way to talk about the action on the field. Vizrt’s sports production tools also provide new revenue streams for media companies by creating regionalized and targeted ads on the field with AR graphics, and with virtual field-side advertising replacements. Visit Vizrt at NAB 2018, stand SL2416.

At this year’s annual in Las Vegas, there was a lot to be excited about in the world of live Internet broadcasting., the live Internet broadcast platform, had quite a large footprint this year to show off their new wares. Livestream is best known for their live streaming service, but increasingly is becoming a full professional end-to-end broadcast solution. This mean the introduction of a bundle of new beautifully designed video switching and encoding hardware this year. Livestream has introduced new models of their Livestream Studio live production switcher. When Studio was introduced last year, the was released as a portable PC-based plug-n-play switcher/encoder.

This was followed by a that anyone can run on their own off-the-shelf PC reference hardware with capture cards. For 2014, Livestream has expanded their with the, and the Studio models. All models are multi-channel HD live production switchers that squarely take aim at. The HD51 and HD510 can take up to five HD-SDI or HDMI sources, with the HD510 including a touch-screen monitor built in to its portable form factor. The HD51, and more expansive HD1710, require external monitors. The HD1710 can take in up to a whopping 17 HD-SDI video sources that all can be displayed across four multi-view monitors and switched live. All models allow for multiple channel ISO recording in AVI MJPEG format.

Not the best if your workflow is editing in Final Cut Pro 7, but plenty fine if you’re using Adobe Premiere or Final Cut Pro X. A Livestream rep told me Quicktime format support will be forthcoming.

The new awesome hardware doesn’t end there. Taking a cue from Apple’s industrial design department, Livestream has introduced a new hardware control surface simply called. This control surface gives you an intuitive and customizable interface to all the controls of the Studio software interface.

Every slider, knob and toggle of Surface is mapped directly to their software functions in Studio. Surface is actually composed of two modules, Core and Track. Core is the main switching control surface that works with up to 5 source channels. Track is the add-on module that gives you 15 more source channels to control, something you’ll want if you have a Studio HD1710. Combined with Surface looks to be a formidable competitor to Newtek’s Tricaster line. Features such as multiple program outputs, graphic overlays and titles, downstream keying are all native to Studio. One thing I’d like to see better support for is expanded audio input connections.

Livestream’s switchers have one or two 1/8″ mini jacks for audio, otherwise audio is expected to come in embedded over the HDMI and HD-SDI inputs. The specs on the HD500 and HD1710 do claim they can take up to four 1/4″ RTS analog audio inputs, though it looks like you’ll need to have a nest of breakout cable snakes to pull this off as these models use capture card for this. Tricaster does have the advantage here in that XLR and TRS analog audio input connections are natively hardware mounted across their line. Another standout feature for Studio is the ability to mix in a variety of sources.

Smartphones running the Livestream app, Teradek and Broadcaster wireless camera-top encoders and even are all supported live sources. As an encoder, Livestream Studio supports all major streaming platforms and RTMP destinations.

YouTube and Ustream profiles are populated in the destinations menu. Though Livestream does include a year of their broadcast service with their hardware, using it is by no means required. I’ve written about Livestream’s service offerings. All told, Livestream is firmly carving out a beautifully designed, intuitive, end-to-end live broadcast ecosystem. We’ll be keeping our eyes on them as they grow. This is a bit of great news for those looking to live stream inexpensively (FREE) an event without annoying pre-roll or overlay advertising. YouTube, which has been experimenting with live streaming in various stages since, to qualify to use their streaming service.

As of Friday, YouTube account holders only need to have 100 subscribers to their channel and be in good standing to use the new live streaming features. If you can’t get 100 subscribers, then you should be probably just leave the Internet.

I started a for webcasters and live streamers in the San Francisco bay area. We’re having our this Tuesday, June 4th at 7pm. Check the Meetup event page for. This is the first of what I’m intending to be a monthly series. Each meetup will have two or three presenters covering the gamut of live streaming. For this first one, I’ll do a quick slideshow presentation of my experiences producing events for Ustream and Eddie.com.

Bram Cohen, creator of BitTorrent, will also give a high-level overview of, his latest creation. BitTorrent Live is a new peer-to-peer live streaming protocol that leverages peer connections to scale large live Internet broadcasts, potentially saving broadcasters a ton of money in distribution costs, while maintaining high reliability. Since this is a meetup about streaming, we’ll of course stream the meetup. We’ll push to Ustream and BitTorrent Live.

I’ll post the channel info here and in the group, check back or just come down and join the fun! In the all-in-one live production switcher and streamer category comes the. This looks to be a convenient portable solution, especially if you’ve already invested in Sony PTZ cameras. What’s unique about this guy is that it’s all about the touch screen. Everything is driven by either selecting shots and elements on the primary multi-view touch screen or the secondary smaller “settings” touchscreen.

The Anycast Touch can take up to six HD inputs (4 HD-SDI, 2 HDMI). The HDMI inputs can be substituted for RGB inputs from VGA computer sources. It can also take 4 separate audio sources over XLR or 1/4″ TRS. Program mix outputs include 2 HD-SDI, an HDMI and a VGA RGB connection.

There’s also an HDMI port for duplicating your multi-view primary touch screen on a separate monitor. Also included are several USB 3.0 ports for importing content or exporting recorded video from the Touch’s internal 192GB SSD storage. The built-in streaming encoder will encode your program output in H.264/AAC and stream to any RTMP based CDN or your favorite live streaming platform. The Touch has CG titling capabilities, graphic overlay layers, transitions and the ability to create templates with these elements and camera picture-in-picture. Probably the most compelling, if you already own Sony PTZ robocams, is that the Touch will control them.

You can create scenes that lock in camera positions for easy dynamic switching. At an expected retail cost of $20k, this unit will likely challenge Newtek’s in some key markets such as schools, churches, corporate communications and amateur sports. Has a video of a Sony rep giving the rundown.

Newtek’s TriCaster is the current gold standard for a portable, live broadcast video switcher with all the bells and whistles that a live production might require. I use a TriCaster and for many events I produce and really have few complaints.

The relatively new (retail $40,000) expands on the feature sets of Newtek’s previous models. Like the 855, the 8000 can handle eight HD-SDI video sources simultaneously and record each ISO separately.

The 8000 expands on their virtual sets, transitions, animations, media players and live streaming integration. I asked a Newtek rep what his favorite feature of the 8000 is and his response was the social media integration. You can apparently make quick clips of video or stills and push them out to Facebook, YouTube and Twitter all from within the TriCaster control interface.

I suppose if you’re a lean operation and you’ve got one guy doing everything, then I guess this makes sense. From my experience, anyone who is directing and switching a live event, will have his hands full just doing that. I’m in Las Vegas for the next several days for my first. I’m here seeing what’s new and interesting in the world of live video technologies, equipment and distribution.

Traditionally, NAB is known for being a trade show for all things broadcasting. In the old days, that meant radio and TV. Nowadays, Internet broadcasting is a big part of it. I’ll be posting updates over the coming days on what I find of interest that relates to my world, which is shooting and distributing live video across the Internet.

And DRONES, because, well, DRONES! Know something I should check out? Feel free to point me there in the comments. This past weekend, I was involved in a pretty cool project call, the brainchild of creative collaborist.

What is the Deconstruction? It is a game about re-thinking the world as we know it, taking it apart, making a few adjustments, then putting it back together a little awesomer-er. It’s a light-hearted competition, but it’s really more of a large-scale collaboration between friends, participants, and the public. The concept is to make the world a slightly better, more fun, and more interesting place over 48 hours. Yes, that’s an aspirational tall order, but we pulled it off with the help of over 60 participating teams spread across six continents. The winners have yet to be officially announced, though one lucky team will walk away with a. My role in the Deconstruction was to put together the live stream infrastructure and production. Similar to the project that I helped Jason with last year, this was to be a distributed happening.

Each participating team was encouraged to live stream the builds of their creations and update their on the official Deconstruction site. We setup a home base at the studios of here in San Francisco. Alan, who runs the space, already had much of the streaming infrastructure in place. A multi-camera studio set with a green screen, live video switchers, encoders, monitors and plenty of decent bandwidth. The plan was to have our hosts here on set communicate often with various team members from around the globe throughout the 48 hour challenge. To do this, we needed to make a variety of technologies work well together. In the mix, on the video side, were Skype, Facetime, Google+ Hangouts, Justin.tv, Ustream, Livestream, Black Magic, Wirecast and Resolume Avenue.

We brought in several Mac Minis that would serve as media hubs for communicating directly with remote teams over Skype and Facetime. Based on our experiences with Red Bull Creation, we knew what we needed to do to make this work. We took the HDMI output of the Mac Mins and fed them into a live video switcher (a tower PC with several Black Magic video capture cards running ) and did a little mix-minus magic on the incoming and outgoing audio feeds.

This allowed our producers to make “calls” to remote team members and then bring them in live so the local hosts could communicate with them on the virtual set. It’s similar to what you might see on a newscast when anchors communicate with remote reporters in the field, though without expensive satellite trucks. Remote teams could use whatever live stream platform they wanted, though we encouraged them to use Justin.tv if they didn’t already have an account somewhere. We made this choice because it’s easy for users to setup and stream for free. While free does mean Justin.tv inserts annoying pre-roll and mid-roll ads (as does Ustream) we were able to avoid seeing them by paying $10 for a. Ustream also allows for paid removal of ads, but from the broadcaster side at much greater expense. This gave us a way to inexpensively host team feeds and let us cut to them without having to worry about ads popping up mid broadcast.

We used Livestream’s product for the main produced live stream which we embedded on the front page of the Deconstruction site. This worked reasonably well, though we weren’t happy with their text based chat system. While the new Livestream text chat looks good and is attached to the player, there is no way to embed it without the additional event page chrome. Also, their text chat requires a user to create a Livestream account and it censors links automatically, which sucks.

We did have the intention of making use of Google+ Hangouts and as our primary way to communicate with remote teams, but we ran into several roadblocks. The primary problem being that Hangouts wouldn’t recognize our capture card in the live encoder. Hangouts is really meant to work with webcams and doesn’t give you much control over input options. A second big issue is that if you push a Hangout to a Hangouts on Air, which is essentially a live YouTube feed, there is no persistent URL.

Also, Hangouts are limited to 4 hours. We worked with our friends at Google to try and make this work for us, but the product just isn’t ready for the type of event we wanted to pull off. We’ll revisit Google+ Hangouts next time. All told, we pulled off a successful global decentralized, multi-participant fun live event using an assortment of disperate technologies. Have a look at some of the of what people built over those 48 hours. While at last week, I checked out some new offerings from live streaming service providers Livestream and Ustream.

This post focuses on Livesteam, I’ll cover new stuff from Ustream next. Livestream has evolved considerably over the past few years. Originally called Mogulus, Livestream in 2009 to their current, more memorable name.

Earlier this year, Livestream took another evolutionary step with the release of what it calls. The big difference between old (or original) and new is focus has switched from the notion of “channel” pages to what they are calling “event” pages. Channel pages were akin to TV channels, in that a producer could broadcast any number of events over time to the same channel. Though one can create multiple channel pages, many producers would set up one channel and call it a day. The New Livestream event page switches focus to a particular scheduled event.

The idea being, each event has its own URL that lives on as an archive once an event concludes. Event pages are also much more dynamic than channel pages in that producers and viewers can post text, photos and video updates that flow down the page in a familiar timeline format. The primary event video, whether live or archived, always lives at the top.

Another excellent feature that you will find with New Livestream, is DVR functionality built right into the live player. If you look at the screencap above, notice the. I’ve been in LA for the last couple of days, checking out what’s new in the world of live streaming. This morning’s panel session Best Practices for Planning Your Live Streaming Event was a good overview on what to think about when planning to live stream your event. Here’s my notes. C201: ROUND TABLE: Best Practices for Planning Your Live Streaming Event Moderator: Jon Orlin, Executive Producer, Speaker: Alden Fertig, Product Manager, Broadcasting, Speaker: Howard Kitto, Group CTO, Speaker: Adam Drescher, Partner, Speaker: Jeff Varnell, EVP, Business Development, Q: What did Ustream and Livestream do during Hurricane Sally?

Jeff V: We set up an event on Livestream. We combined user feeds. 2 million streams to all Sally content Alden: Ustream combined national news feeds w/user feeds. Lots of viewers. Giants World Series post-win mayhem was interesting to watch. Q: What are things you need to ask of clients before doing a planned event? Adam: Find out what clients expectations are.

Do they just care about numbers of tweets vs viewers? Location, location, location makes a big difference on what can be done. Howard: What is the expected the production value? PERFORM does lots of downstream broadcasts of satellite feeds. Logistics as well. Alden: Is this content that should be live vs on-demand? Is this the right event for live?

Lots of aspects to live. Workflow, promotional structures need to be put in place. Jon: Tuning into a 3-minute event probably isn’t best to do live. Just getting people to show up in time is hard. Howard: Sports and news are best for live. Jeff: What is the goal of the live stream? Pre-production is everything.

Once live is there it has be to perfect. Only one shot to do it.

Timing is important, need 2 to 4 weeks to plan things out right. Livestream has gone to event pages now, rather than channel pages. Allows us to extend campaign, mix in photos and updates.

Adam: Fashion industry also. Gucci saved money not having to fly in execs from Milan to NYC. Q: How do you deal with producing a live event from a place with crappy Internet?

Alden: Ustream broadcasters age from home internet to fiber, satellite to dedicated bandwidth. Bundled cellular stuff is popular. It’s really good, we like it a like. We use LiveU.

News and sports attract a lot of people so challenge can be that cellular networks are overloaded in those areas due to number of people present. Jon: We’ve used bonded cellular solutions.

Testing a week beforehand before people show up isn’t a good test. CES is an example. Alden: We drove here from SF with a LiveU, didn’t lose our stream down the I-5 at all. Adam: Test from the viewer locations is important. You don’t want customers congesting their own network while trying to watch the stream. You don’t want a surprise doing a live stream.

Howard: Old-school satellite is rock-solid, tried and true tech, works everywhere. Jeff: We all expect TV.

Challenge is in the transmission business. 99% of importance is the encoding/uploading on the ground. Always recommend a dedicated connection on the ground. Point-to-point internet, we can get that working in many places in the US. If budget allows, satellite. We use All Mobile Video. We are fiber-linked from the switch to our New York HQ as well.

Alden: Buy more time than you need for satellite. Recent example, Apple product announcement event went over time and got cut off right in middle of announcement. Was watching the feed and it switched immediately to bars and tones with satellite provisioning information slate. Q: What bandwidth do you need typically? Alden: Rule of thumb 2x what you want to stream. Really hard to say sometimes. Is it shared connection?

ISPs throttle people. Might be 20Mbs all day then 400k for a few minutes. Jeff: 2x is about right. We can do up to 4 bitrates in our player. Make sure you stream in lower-quality too.

Howard: 2-5Mbs is what we normally do. Q: How do you make a webcast look like TV? Adam: Work with professionals, people who have done this before. Work with broadcast directors, work with people who have broadcast industry experience. We’re working on a new climate reality project we are doing with Ustream.

We have the director from the Red Bull Stratos event with us on that. Cameras have gotten cheaper. Technology is out there that helps to make it look like a million bucks.

Graphics is important, other content that can be cut in. Proper lighting, audio. Good graphics go along way. Jeff: Most interesting is that people creating content exclusively for the web. Our Livestream Sessions in NYC – bands come in and do a live show with fans interacting with them. Kids today want to interact in real time.

Alden: It’s not TV. You have the luxury of extra time. You do want to turn on early so people can tune in and get ready. Don’t just put up a slate. Use video clips. Use a dynamic shot, maybe a wide shot of venue, slightly blurred. Adam: Two-way conversations is key.

People want to participate. Jon: At our event, we have a GoPro to let people see behind the scenes. Q: Sometimes the before is more important than the during? Jeff: Live blogging element of Livestream platform lets fans socialize before event goes live. Can happen weeks before event. Add pix, videos, comments. Cool way to add content prior to event to build hype,fan interaction.

Create highlights live to add VOD clips. After event, it’s all about analytics. All clients want that. Howard: Our ultimate case study. Our live content goes our on betting sites prior to going live. People are betting prior which builds interest.

Filipino Basketball is one of our biggest events. Efax software for mac. Tons of betting.

Tennis as well. Adam: Post-production is important. We did a 3-minute sizzle reel for Macy’s, over a million views. Alden: Get VOD up as quick as possible.

Right after is when it’s still hot, people still showing up. Howard: Our stuff has to be up straight away.

Adds logistical challenges. JON: Let’s take some questions from the audience.

Audience Q: Do you use portable satellites? Howard: We use almost exclusively. One camera + satellite. Audience Q: What can we do before end around the player, with the player? Alden: Social stream is big for us. Talent can request tweets.

Audience Q: What is your take on a simulated live event? Howard: We do some of those. We will do a full match replay at a certain time broadcast as live. Jeff: Our preference is always live content. Good social experience around a live event. Audience Q: How do you deal with an event that went horribly wrong? Jeff: Most common is Internet connection problems at the encoder.

Live Stream 2018 Nba Updates Ott Live Studio For Mac

We had a concert where Internet was fine for 3 hours leading up. When it came to event time, it died. Alden: We did an event with American Idol. Building lost power. Took a long time to get powered back up. Internet was down, but We had a LiveU cellular pack on-hand. Howard: Lots of logistical things audio track switching.

Livestream 2018 Nab Updates: Ott Live Studio For Mac Pc

Power failure, weather. Jon: One user complaining might not be accurate. Validate that it isn’t just a single user problem.

Adam: Make sure a backup plan is in place. Backup plan with audio, video and Internet. Audience Q: What about insurance for problems? Adam: Buy production insurance. Find out what are they trying to insure against.

Is it for the production or media side? Today was the day that set several records for ascending to 128,000 feet in a balloon capsule and jumping to earth 4 minutes and 20 seconds later. An epic day of achievements for for sure. YouTube is also a new record of serving up more than 8 million concurrent live streams for the “most concurrent views ever on YouTube.” Also amazing to be sure. The previous record for this achievement goes to Akamai for serving up close to. What’s interesting about this is that, of the live streams for today’s event. What a lot of people don’t know is that YouTube often relies on Akamai’s large footprint live CDN to handle big events.

It’s not uncommon for live stream services to off-load capacity to third-party networks if an event is bigger than their own network can handle. YouTube has stellar capacity for the on-demand videos we all love, but when it comes to live events, they often extend their reach by using Akamai’s live streaming network services. This begs the question, if Akamai served up all of YouTube’s live requests for today’s record breaking event, did Akamai just break their own record from 2009?