LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

IPTV: How To WebCast Using Softron OnTheAir Video

COW Library : Softron Tutorials : Mike Skibra : IPTV: How To WebCast Using Softron OnTheAir Video
IPTV: How To WebCast Using Softron OnTheAir Video
Creative COW Technology Overview: IPTV
IPTV: How to Webcase Using Softron OnTheAir Video

Mike Skibra

Mike Skibra

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


Article Focus:
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.

Blackmagic Decklink HD Extreme Preference Settings

Then, launch OnTheAir Video and select the second Decklink labeled “Blackmagic Video Output 2” which will be used as the output for OnTheAir Video.

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.)

Wirecast Blackmagic

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.

Wirecast Media

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.

Wirecast Encoder Presets

And the type of Server you will use.

Wirecast Build-in Streaming Server

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:
Art of the Edit
TV Workflow Supervisor Kylee Peña: The Benefits of Pressure

TV Workflow Supervisor Kylee Peña: The Benefits of Pressure

TV workflow supervisor Kylee Peña (Jane the Virgin, Colony) visits Adobe's "Make It" talk show to chat with host Jason Levine about the evolution of motion picture workflows, from the days of film and tape to our modern digital world of crazy-high shooting ratios and constantly evolving technology. She also expounds on the upside to creative constraints and tight deadlines. And don’t miss the lightning round!!!

Feature, People / Interview
Cow News
Color Grading
Grading The LEGO Batman Movie: Animal Logic and FilmLight

Grading The LEGO Batman Movie: Animal Logic and FilmLight

Following successful collaborations on The Matrix, Legends of the Guardians, and Happy Feet, Sydney's Animal Logic worked with Warner Bros on The LEGO Movie from pitch to proof of concept to post. Animal Logic has gone even further on the latest LEGO animated feature, The LEGO Batman Movie, where they were embedded with the production for over a year. The range of their work pushed every aspect of the Baselight system for editorial, VFX, and HDR not just for post, but for the entire production process.

Feature
COW News
An Editor's Epic Journey, by Katie Toomey

An Editor's Epic Journey, by Katie Toomey

What do you do when your company folds and there's no local work? Whatever you have to. For Katie Toomey, that meant emptying her savings and heading 2000 miles west to Los Angeles, with no job in hand. The only options were make it or break it. The journey itself was difficult, but the hardest part may have been the only thing that made it all possible: asking for help. This is a truly inspiring story with tons of real-world examples of how to accomplish what feels impossible at the time.


Katie Toomey
DaVinci Resolve
Fairlight + Resolve, Part 1: The DAWn of a Resolved Era

Fairlight + Resolve, Part 1: The DAWn of a Resolved Era

Marco Solorio of OneRiver Media gives an introductory overview to the rebirth of the Fairlight digital audio workstation (DAW) that is now part of Blackmagic Design’s powerful DaVinci Resolve post-production system. Is this finally the solution to break away from the Pro Tools stronghold?

Review, Editorial, Feature
Marco Solorio
NAB Show
Bob Zelin's NAB Show, Take 2017

Bob Zelin's NAB Show, Take 2017

Longtime broadcast engineer, facilities designer, and workflow consultant Bob Zelin has been attending the NAB Show for years, and his legendary write-ups have gone to unparalleled lengths to bring you hidden gems from every corner of the floor. Bob is taking a slightly different approach this time, as he views the specifics through the lens of trends that have been emerging for quite some time, now bearing fruit in 2017. Sit back and enjoy another real-world, hype-free, anything-but-objective ride through the industry's biggest week of the year.

Feature
Bob Zelin
RED Camera
Guardians of the Galaxy Vol 2: Behind the Scenes with RED

Guardians of the Galaxy Vol 2: Behind the Scenes with RED

Anticipation for Guardians of the Galaxy Vol. 2 was already heated up when director James Gunn announced that it was to be the first feature film captured with the RED WEAPON camera using an 8K RED DRAGON VV sensor. In this marvelous behind the scenes featurette courtesy RED Digital Cinema, James discusses the decision to use the RED WEAPON, and how it played out with director of photography Henry Braham, BSC. Both of them found the combination of the massive sensor and small form factor incredibly compelling, providing them the technology to capture the epic scale of the action, in a package small enough to allow them to get exceptionally close to the scenes of genuine intimacy that are this series' secret weapon. (See what we did there?)

Editorial, Feature
Tim Wilson
Art of the Edit
The Science of Editing: Look Closer -- The Mind of a Film

The Science of Editing: Look Closer -- The Mind of a Film

When you ask an editor what they DO in the edit suite, the answer is often something like, "Well, it's intuitive." To become better editors, though, we need to be more specific. Editor, author, and professor Dr. Karen Pearlman breaks down the process into five specific steps that editors must take in order to turn a mass of material into something coherent. You can learn to hone the specific skills of observation and self-awareness that distinguish editors from other observers, and make unexpected connections that move stories in compelling new directions. Sven Pape of "This Guy Edits" presents his conversation with Karen in the form of a powerful video essay that you will find illuminating and inspiring, and will be able to start using right away.

Tutorial, Feature, People / Interview
Sven Pape
Adobe After Effects
Adobe After Effects April 2017 New Features

Adobe After Effects April 2017 New Features

The April 2017 release of Adobe After Effects (version 14.2) is packed with new features, and Tobias Gleissenberger of Surfaced Studio is here to show you the latest and greatest. Highlights include the Essential Graphics panel and Motion Graphics templates (with Adobe Premiere Pro integration), the addition of Lumetri Scopes and Color Correction effects, new effects organization, the Camera Shake Deblur filter and more.

Tutorial
Tobias Gleissenberger
The Evolution of Immersive Media

The Evolution of Immersive Media

Immersive media is not new. Emerging technologies, such as VR and AR as we currently know them, are simply part of an evolutionary path making media more immersive. Many commentators and industry professionals became cynical after the short life-cycle of Stereoscopic 3D, and are hesitant to embrace VR, calling it another fad. International award-winning engineer, editor, colorist, VFX artist, stereoscopic 3D artist, and Head of Operations at Auckland's Department of Post, Katie Hinsen sees it differently. These technologies are simply steps within a much wider ecosystem, says Katie, where it's the combination of failures and successes that lead us towards what immersive media is to become.

Editorial, Feature
Katie Hinsen
The Cinematography of Get Out: Toby Oliver, ASC

The Cinematography of Get Out: Toby Oliver, ASC

Toby Oliver, ASC is the award winning cinematographer behind the lens of Jordan Peel's debut film Get Out. “Get Out” has received high praise from critics (99% Fresh rating at Rotten Tomatoes) and moviegoers around the world for its story, acting, and cinematography. Toby shares all his lighting and lensing techniques that gave Get Out its uniquely horrifying look. He and Go Creative Show host Ben Consoli discuss the blending of horror and comedy, why Toby choose to shoot with zoom lenses, the challenges of a limited budget, and so much more.

Feature, People / Interview
Ben Consoli
MORE
© 2017 CreativeCOW.net All Rights Reserved
[TOP]