IPTV: How To WebCast Using Softron OnTheAir Video
IPTV: How To WebCast Using Softron OnTheAir Video
: Softron Tutorials
: Mike Skibra
: IPTV: How To WebCast Using Softron OnTheAir Video
|Creative COW Technology Overview: IPTV
Digital Marketing International
Las Vegas, Nevada
©2007 by Digital Marketing Intl., All rights are reserved. This edition is ©2008 CreativeCOW.net and our original work has additional rights reserved
In this article, industry pioneer and technology guru Mike Skibra discusses both IPTV (Internet Protocol Television) and the way that tools like Softron's OnTheAir system delivers digital television over broadband network connections. IPTV is television content that, instead of being delivered through traditional broadcast and cable formats, is received by the viewer through the technologies used for computer networks. At the forefront of this new evolution in distribution, Softron OnTheAir enables the delivery of content using these internet enabled computers to become new broadcast channels. The OnTheAir system is Mac-based and in this article, Mike Skibra explains many of the basics you need to know for set-up and successfully broadcasting your content.
As IPTV grows in popularity with audiences, tools like OnTheAir Video are finding broadcasters and content creators eager to use these new non-traditional forms of broadcast to expand new audiences. OnTheAir Video along with all of its options, were created for television broadcasting – either via cable, satellite or closed-circuit. But OnTheAir Video can also webcast. It can also webcast and broadcast simultaneously when used in conjunction with an application such as Wirecast from Vara Software.
This provides the capability to completely automate the entire broadcasting for television and Web. As IPTV becomes more ubiquitous, OnTheAir Video’s use with other applications such as Wirecast is destined to proliferate as well. OnTheAir Video’s playlist management and scheduling capabilities gives every organization the ability to broadcast to millions of potential viewers. And because OnTheAir is AppleScriptable it can control external devices as well to incorporate GPI controllable devices, RS422 devices and MIDI devices into live broadcasts on-air and over the Net.
In this article, I want to make explain the basics of how to make this work. I won’t go into the details of how to use Wirecast. You can download the Wirecast application yourself from http://www.varasoftware.com. It has a very good tutorial that will provide a good explanation of how to use the software and how to stream to various destinations including the QuickTime Streaming Server (QTSS or DSS), its own built-in Streaming server, or to disk.
First of all, Wirecast will require an input and OnTheAir Video will require output -- and since a single video card cannot be used by two different applications on the Mac, two video cards will need to be used. At this time, only Blackmagic Design supports having two cards in a MacPro at the same time. (In the future, AJA will also have this capability.) Any two Decklink cards can be used but if you want to broadcast SDI and have the cleanest signal (SDI) as input into the second video card, I recommend the Decklink HD Extreme.
Make sure that the Decklink’s input and the output is set to SDI as per the Decklink preference settings found in System Preferences.
Then, launch OnTheAir Video and select the second Decklink labeled “Blackmagic Video Output 2” which will be used as the output for OnTheAir Video.
Then, launch Wirecast and open the Media pulldown menu to select the Blackmagic card.
(Note that if you are working in SD NTSC, you should select that in both applications.)
When you select the Blackmagic card, you will see that only one Decklink card appears.This is because OnTheAir Video is already open and “Blackmagic Video Output 2” is already in use.
Now you can operate Wirecast, using the output from OnTheAir Video as the input for Wirecast.
To webcast from Wirecast, you will need to determine the Encoder that you will use.
And the type of Server you will use.
Keep in mind that when you output using the OnTheAir Video playout server using the second video out on the Decklink card to go to air and the first output as input to Wirecast, you are broadcasting to two universes – traditional television and Web television. All made possible by Softron Media Services.
You can find additional information about OnTheAir Video and other Softron Media Services Products on the Web at http://www.softronmedia.com and http://softron.desktopvideo.info.
If you found this page from a direct link, please visit our forums or read other articles at CreativeCOW.net
|Recent Articles / Tutorials:|
Adobe Creative Cloud
Increase Productivity with Adobe Motion Graphics Templates
Motion Graphic Templates created in either Adobe Premiere Pro or Adobe After Effects are a great way to work with clients. They help you keep a consistent look and feel while protecting your project from inadvertent changes as it passes through different hands. Here are the steps you can take to share work across teams and organizations, quickly and powerfully.
Apple Motion 5: Animating Raindrops On A Window
Ready to have your mind blown? Longtime VFX artist, editor, software developer, and business owner Simon Ubsdell is inspired by an Andrew Kramer AE tutorial to combine Apple Motion's particles, displacements, 3D compositing, and advanced blurs to create an incredibly realistic animation of raindrops on a window. You're not going to believe how fast and fun this effect is to create, and how realistic it looks.
Pansonic AG-CX350 First Look: 4K, HDR, Streaming, and more
Introducing the new Panasonic AG-CX350 4K HDR 10-bit 60p camcorder, featuring Enhanced Network Capabilities for live events,, sports, and news gathering. The CX350 is equipped with the RTMP/RTSP/RTP protocol for live streaming and NewTek NDI | HX-ready for IP Production. In addition, it offers future P2 capability (via a free firmware update). At only 4.2-lbs. (body only), the CX350 is also the lightest 4K 10-bit fixed-lens camcorder in its class -- all for under $4K! Check out the details here.
Adobe After Effects
What Are Adobe Motion Graphics Templates?
A Motion Graphics Template, referred to as a MOGRT, is an animated sequence that is self-contained and can be used in Adobe Premiere Pro, Adobe Premiere Rush and Adobe After Effects, combining graphics, text, audio and video files, as well as vector or still images (including logos), to create a still or animation that can then be customized by the MOGRT user. The result is a dynamic creative tool that provides design freedom and is consistent to its users across apps and devices. Reuse, share, and even sell them!
Workflow That Plays For Keeps: How Netflix Is Protecting Stories' Futures
If you hope to distribute your work via Netflix, you NEED to know this, but even if you're only interested in the best thinking currently available about how to preserve your own work for an unknown digital future, this is a must-read. Kylee Peña, Coordinator of Creative Technologies & Infrastructure at Netflix, and co-authors Christopher Clark and Mike Whipple share insights on the origin of Netflix archival elements, the importance of color management, and how all this comes together to preserve creative intent -- insights you can start using yourself, today.
Perfecting Audio: Field Recorders
Audio professional Keith Alexander offers a personal tour through the minefield that is field recorders. The goal is to cover as many situations that may arise with the least amount of gear, and to make sure the job gets done right the first time.
Editor Phyllis Housen on Shaping Sundance Jury Prize Winning Drama 'Clemency'
New York-based editor Phyllis Housen first fell in love with movies at a young age and had that love reinforced by a high school teacher who taught film history instead of English class. Her editing career includes both chapters in Tarantino's Kill Bill saga, and most recently, the drama Clemency, winner of the Grand Jury Prize at Sundance. She tells Kylee Peña about the connection between her skills as a drummer and storytelling, the evolution she's seen in the craft of editing, editing films shot in a language she doesn't speak, her use of Adobe Premiere Pro, and how she explains all the blood and violence in the films she edits to her parents.
Western-style Color Grading
The Docu Series 24 Pictures A Second focuses on following and hearing from working professionals in the film, tv, and pro-video industry. In this episode, colorist Josh Bohoskey of The Mill walks through the color correction of a new, and stylistically specific, narrative piece with Framework Productions.
Light From Light: Editor Courtney Ware on Returning to Sundance
Editor/Director Courtney Ware got her start in the industry as a PA, quickly working her way up to producer before her 21st birthday. After her directorial debut on Sunny in the Dark, she realized a pivot away from producing and into storytelling was in her future, and she got started on being an editor in between directing jobs. The first film to bring her to Sundance was Never Goin’ Back, and she’s back at the festival this year with Light From Light. Creative COW Manager Editor Kylee Peña speaks to Courtney about how her work in each role informs the other, and making her way in the film community from her base in Dallas.