RK
I'm glad they could get the camera back on track but the networking problems is what makes me leery about the transition to all IP production. It appears that their baseband production equipment is compartmentalized to the point where they still could get a show on air (albeit with out automation and some graphics). But if they operated in an all IP plant ALL of their equipment could go down.
SP
From what has been suggested here it seems the problem was with getting running orders into ENPS, which is critical for the automation. And those studios are very reliant on the automation.
DO
All of the equipment could still go down. Remember IP is just a type of signal, same as SDI or line-level audio. The only reason to be concerned about the roll out of IP based production is if someone decided to stick business-critical, high-bandwidth, low-latency video traffic on the same network as everyone's using to check twitter and watch cat videos on youtube. IP is everywhere in broadcast already, and the lessons about separating networks have (mostly) already been learnt.
I'm glad they could get the camera back on track but the networking problems is what makes me leery about the transition to all IP production. It appears that their baseband production equipment is compartmentalized to the point where they still could get a show on air (albeit with out automation and some graphics). But if they operated in an all IP plant ALL of their equipment could go down.
All of the equipment could still go down. Remember IP is just a type of signal, same as SDI or line-level audio. The only reason to be concerned about the roll out of IP based production is if someone decided to stick business-critical, high-bandwidth, low-latency video traffic on the same network as everyone's using to check twitter and watch cat videos on youtube. IP is everywhere in broadcast already, and the lessons about separating networks have (mostly) already been learnt.
RK
All of the equipment could still go down. Remember IP is just a type of signal, same as SDI or line-level audio. The only reason to be concerned about the roll out of IP based production is if someone decided to stick business-critical, high-bandwidth, low-latency video traffic on the same network as everyone's using to check twitter and watch cat videos on youtube. IP is everywhere in broadcast already, and the lessons about separating networks have (mostly) already been learnt.
Several of the models I have seen about IP infrastructure and literature by EVERTZ and Grass Valley that say that there equipment will be used on the same network infrastructure that is used for computers and phones. I assume you could run all IP equipment separately and have cross over points to connect it to the ENPS, automation and other editing equipment.
My comment about baseband is that even if the computer system goes down (and the baseband equipment is running) you could still make a show albeit with out automation or a computerized rundown.
I'm glad they could get the camera back on track but the networking problems is what makes me leery about the transition to all IP production. It appears that their baseband production equipment is compartmentalized to the point where they still could get a show on air (albeit with out automation and some graphics). But if they operated in an all IP plant ALL of their equipment could go down.
All of the equipment could still go down. Remember IP is just a type of signal, same as SDI or line-level audio. The only reason to be concerned about the roll out of IP based production is if someone decided to stick business-critical, high-bandwidth, low-latency video traffic on the same network as everyone's using to check twitter and watch cat videos on youtube. IP is everywhere in broadcast already, and the lessons about separating networks have (mostly) already been learnt.
Several of the models I have seen about IP infrastructure and literature by EVERTZ and Grass Valley that say that there equipment will be used on the same network infrastructure that is used for computers and phones. I assume you could run all IP equipment separately and have cross over points to connect it to the ENPS, automation and other editing equipment.
My comment about baseband is that even if the computer system goes down (and the baseband equipment is running) you could still make a show albeit with out automation or a computerized rundown.
DO
You could connect them to the same physical and logical network as those devices, or you could connect them to the same infrastructure - the same cable runs, the same equipment racks, even the same managed switches, and have no issues with a problem on one network taking out the broadcast-critical equipment.
Many of the broadcast-critical studio systems today at NBH will use IP, including the camera control, robotics, lighting, vision mixer, autocue and so on. The days of avoiding IP in case it falls over are long gone. Even on the small scale stuff I do these days, we have multiple IP networks as a matter of course, and if the IP stuff completely died for us, we'd pack up and go home because even if we could physically route a camera and a microphone out, all the stuff we'd lose (mixer & matrix control, sound desk interfacing, comms, graphics, playout control, autocue, running orders etc) would make it almost impossible to put anything of worth together - even though all our V/A signals are SDI and analogue audio.
Several of the models I have seen about IP infrastructure and literature by EVERTZ and Grass Valley that say that there equipment will be used on the same network infrastructure that is used for computers and phones. My about baseband is that even if the computer system goes down (and the baseband equipment is running) you could still make a show albeit with out automation or a computerized rundown.
You could connect them to the same physical and logical network as those devices, or you could connect them to the same infrastructure - the same cable runs, the same equipment racks, even the same managed switches, and have no issues with a problem on one network taking out the broadcast-critical equipment.
Many of the broadcast-critical studio systems today at NBH will use IP, including the camera control, robotics, lighting, vision mixer, autocue and so on. The days of avoiding IP in case it falls over are long gone. Even on the small scale stuff I do these days, we have multiple IP networks as a matter of course, and if the IP stuff completely died for us, we'd pack up and go home because even if we could physically route a camera and a microphone out, all the stuff we'd lose (mixer & matrix control, sound desk interfacing, comms, graphics, playout control, autocue, running orders etc) would make it almost impossible to put anything of worth together - even though all our V/A signals are SDI and analogue audio.
IL
IP is everywhere these days and the cabling can support the volumes of traffic so switching to IP networks is a natural progression and is happening everywhere. As stated in a previous posting, the studios are on separate networks so this meant any problems like what happened means that all won't go down. In this case it was unfortunate that two studios went down. Going to IP isn't a bad way to go.