The document discusses the advantages of IP-based live video production, highlighting its benefits such as scalability, flexibility, and future-proofing against newer formats like 4K and 8K. It also addresses technical aspects like video routing, synchronization, and various video codecs, emphasizing the significant reductions in infrastructure footprint and costs. Additionally, it outlines essential considerations for transitioning from SDI to IP-based systems, including compliance with industry standards and protocols.

1. LIVE VIDEO PRODUCTION
OVER IP
INTEROPERABILITY,
INFRASTRUCTURE
AND INDUSTRY
ADOPTION

2. OBJECTIVE
• What is IP LIVE ?
• Benefits of IP Live Production
• Enabling IP-Based AV Production Workflow
• Why Apply IP to Live Production Now
• Things to consider while moving to SDI-IP
• Video Routing and clean video switching
• Network Audio Video Synchronization
• Video Codecs
• Transmission
• Redundancy
• SMPTE and IP Protocols

3. WHAT IS IP LIVE?
• IP Live Production technology delivers state-of-the-art technology using IP connectivity to provide
broadcast-quality video and audio.
• we don’t have to deal with complicated cabling requirements or worry if our facility will be ready for
future formats like 4K, 8K, and beyond.
• The IP Live technology transmits full HD and 4K video with ultra-low latency (less than one video
field) ensuring the smooth continuity of our live production.
• It can integrate seamlessly with our existing SDI infrastructure.
• IP Live Production solutions are ideal for all types of live production broadcasts for entertainment,
sports, concerts, education and faith-based events.

4. CONTINUE
 Conventional Live Production  IP Live Production

5. BENEFITS OF IP LIVE
PRODUCTION
• Future Proof
– Enterprise-level IP Networking is much more scalable in terms of ports and bandwidth.
• Flexible and Responsive
– Software Defined Networking (SDN) control provides exceptional flexibility and speed to (re) configuring the IP infrastructure.
• 4K and 8K Production
– Legacy SDI Routers are not compatible with new formats such as 4K and 8K.
• Large Savings in equipment footprint
– A traditional 1152x1152 HD-SDI router needs around 40RU while an 1152x1152 (10GbE) IP 7508E switch only requires 11RU.
• Remote Production
– Production can be done at any location irrespective of TV Studios location.
• Transmission
– IP offers a fundamentally different paradigm, in which the network itself determines the optimal path for transmitting traffic to its
destination at any given moment, and routes traffic dynamically using MPLS.

6. CONTINUE
• Use of Standard IT Technologies
– Take advantage of so-called COTS (Commercial Off-The-Shelf) products available in the market at reasonable prices.
– Ability to improve system performance as standard IT technologies evolve.
• Reduction of Total Cost
– Reduction of total system cost by reducing size and weight, device cost, number of cables, and management overhead.
• Agile, Flexible and Scalable Operation Workflow
– Manage and integrate different types of operations and/or data; for example, stream-based operations vs. file-based operations,
and A/V essence vs. control data.
– Facilitate the creation of IP-based A/V systems that can be altered or expanded from any point within the architecture.
• Ubiquitous Accessibility
– Use resources as if they are all in the same place regardless of actual location of either the resources or the operators.

7. CONTINUE

8. CONTINUE

9. ENABLING IP-BASED AV PRODUCTION
WORKFLOW

10. WHY APPLY IP TO LIVE PRODUCTION
NOW?
• IP is NOT a new technology even in the AV industry:
– Monitoring / Controlling / File transfer (File-based System)
• Live Production may be the last challenge for IP because it requires:
– Real time operations with minimum latency
– Synchronous processing
– Video stream switching without picture disruption
• Technology improvements are now resolving these challenges:
– Rapid increase of available network bandwidth
– Introduction of sub-microsecond-accurate time distribution protocol
– IEEE1588 PTP (Precision Time Protocol)

11. THINGS TO CONSIDER WHILE MOVING
SDI TO IP
• Audio Video Switching
• Audio Video Routing
• Synchronization
• Codecs
• Transmission
• Redundancy
• Security
• System maintenance

12. VIDEO ROUTING
• In traditional broadcast SDI systems, we use a point to point distribution system with one to one
mapping. Using distribution amplifier we have effectively provided a one to many mapping system.
• In the IP world, to provide one to many mapping we substitute the physical DA with an abstracted
logical model using IP routers.
• Using IP multicast, the AV over IP interface can deliver high-quality content to multiple receiver
devices, as if they were connected to a traditional A/V router
A1 B1 C1 F3
D1
E1
F1
F2
SOURCE AV
NETWORK
DESTINATION AV
NETWORK
AV Network Node is a new concept to identify an AV network stream at each
node
IP SWITCH
FABRIC
10G
Port A
A1
Stream A1
10G
Port B
B1
10G
Port C
C1
Stream B1
Stream C1
Stream F3
Stream F2
Stream F1
10G
Port F
F2
10G
Port E
E1
10G
Port D
D1
F1
F3
Control of the IP-based AV Router can be realized without
changing the current operational practice using AV Network
Node.

13. CLEAN VIDEO SWITCHING
• Frame Accurate Video Switching been performed at the specified time point during the vertical
blanking interval on the specified video frame smoothly.
• Using Multicast IGMP (Internet Group Management Protocol) is accepted method to start/stop stream
packets, However as Ethernet Switches do not know the video frame boundary, streams may start or
stop in the middle of video frame
– It leads to a picture disruption.
– Also Ethernet Switches do not know the exact video frame to be switched, one video frame consists of a few
thousand packets depending on the video format.
Answer to this lies here !
As shown in diagram there are
logically four steps to follow which
are :
1. Frame Information Insertion
2. Rough Video Switching
3. Clean Video Switching
4.Synchronization between input
signals and output signals

14. NETWORK AUDIO VIDEO
SYNCHRONIZATION
• In order to compensate for video jitter and wander, the receiver clock must be synchronized with the
source clock.
• This is where the Precision Time Protocol (PTP) described in IEEE 1588 comes in standardized as
SMPTE ST2059-2 together with SMPTE ST2059-1.
• PTP is one of time synchronization protocols used over IP network. PTP is capable of synchronizing
devices on the network in sub-nanosecond.
• PTP achieves time synchronization by exchanging messages between a (grand) master and slaves
across the network, followings are typical PTP messages:
• Sync
• Delay_Request
• Delay_Respose

15. CONTINUE
• First a (grand) master sends Sync message to a slave
with t1 of when the message is sent.
• The slave holds the time when the message is
received as t2.
• Then the slave sends Delay_Req message to the
(grand) master with holding the time when the
message is sent as t3.
• The (grand) master holds the time when the message is received as t4 and sends Delay_Res
message with t4 to the slave.
• This message exchange cycle is repeated periodically and the slave obtains set of timestamps
t1, t2, t3, and t4 in each cycle with which can be used for synchronizing its time with that of
the (grand) master.
• offset = (t2 + t3 – t1 – t4) /2

16. CONTINUE

17. VIDEO CODECS
• Low Latency Video Codec (LLVC) : Developed by Sony for IP Production
– Using this compression technology, the required network bandwidth can be reduced while maintaining the high levels of
picture quality required in broadcast applications.
– For example, the AV over IP interface can transmit up to four 1080i HD signals using a single gigabit Ethernet cable, or two
4K signals using a single 10-gigabit Ethernet cable
• Tiny Codec (TICO) : Developed by intoPIX
– TICO compression is a disruptive visually lossless light-weight compression, Visually Lossless up to 4:1.
– TICO enables the mapping of a single Ultra HD/4K 2160p60 stream over a single 3G-SDI link. It allows the simultaneous
transmission of up to three streams of 4K/UHD 2160p60 over 10Gbps Ethernet.
• Adaptive Sample Picture Encapsulation (ASPEN) : Introduced by Evertz
– ASPEN offers a robust format for encapsulating uncompressed Ultra HD/3G/HD/SD over MPEG-2 transport streams (TS)
– MPEG-2 Transport Streams are carried over DVB-ASI or IP, typically at either 270 Mb/s (DVB-ASI) or 1 Gb/s Ethernet using
SMPTE ST 2022-2.

18. TRANSMISSION
Network System Manager
• When Network System Manager configures a system, a bandwidth reservation process is carried out by
calculating the capacity required for transmitting the content based on the type of signal transmitted by each
device.
• The highest transmission priority is given to video, audio, and control signals guaranteeing their unimpeded
transmission because other network traffic cannot utilize that reserved bandwidth.
Forward Error Correction (FEC)
• With the AV over IP interface, the bandwidth reservation method prevents packet loss caused by network
congestion.
• To avoid this, a data stream is encoded with additional data protection offered by an FEC (Forward Error
Correction) in order to restore the packet loss on the physical line.
• FEC-encoded stream can be simultaneously protected and switched within picture boundaries.
SDI-IP Mapping
The AV over IP interface supports SDI-IP mapping in which video, audio, and metadata are placed in separate
datagrams so that they can be dealt with independently. Where the video signal is compressed in order to save
network bandwidth.

19. REDUNDANCY-STANDARD IT
APPROACH
In the event of a failure on
the primary transmission
path, network data is re-
routed and transmitted
using the secondary
transmission path.
Any ongoing data
transmissions are ended
and re-initiated once the
connection along the
secondary network path is
completed.

20. REDUNDANCY-HITLESS FAILOVER
With Hitless Failover, both
the primary and secondary
transmission paths are
active. The receiver device
actively monitors traffic
received from the sender
along both transmission
paths.
In the event of a failure on
the primary network path,
data from the secondary
network path is used to
replace the lost data
eliminating the chance for
distortion in the video
transmission.

21. SMPTE STANDARDS FOR IP
PRODUCTION
• SMPTE 2022 – 5,6,7 – These are the three (currently popular) of the seven part SMPTE 2022
Standard that describes how to send digital video over IP networks. Most of the standards
proponents accept SMPTE 2022 as video and then use different encapsulating schemas.
• SMPTE 2059 Parts 1 and 2 - These are the timing and synchronizing standards. This is based on the
IEEE 1588 Precision Time Protocol (PTP) standard.
• SMPTE ST 302 - This audio standard specifies how to transport AES3 audio in an MPEG-2 TS stream.
• SMPTE 2110 – This is the SMPTE designation assigned to the VSF TR03 & TR04 submittal as the
Standard to transport audio and video over IP networks.
• AES67 – This is the mostly accepted standard for audio over IP.

22. IP PROTOCOLS
Standard Description What is does
SMPTE-2022-6 High Bitrate Media Transport Provides a container format to encapsulate
existing uncompressed video signals
RTP Real Time Protocol Adds timestamps and sequence numbers for
error detection and clock recovery
UDP User Data Protocol Adds port numbers so multiple streams can be
carried to same destination and be easily
separated
IP Internet Protocol Adds additional address and routing abilities to
span global networks
MAC Media Access Control Fundamental to “Ethernet,” provides basic
addressing and endpoint differentiation

23. EVS WORKFLOW