Live Stream Broadcasting (LSB)

We offer the best Worldwide delivery of video streaming using advanced Global CDN for reliable performance. No matter where your viewers are they will receive the best quality view on the most reliable platform.

Send your message to the entire world and include:

live multi-camera video with PowerPoint slides, graphs, charts, previously produced videos, and music. We support two-way communication with your viewers, live participation metrics and archiving. We offer Live Transcoding at the server level to allow single high-resolution transmission from your location. Our adaptive encoders automatically read and deliver the appropriate streams to accommodate your diverse audience whether they are on a DSL or Fiber network.

Directly connect to Facebook live simulcast. While streaming to our CDN we simultaneously serve it to your specific Facebook page for Live Simulcast and all your followers are automatically notified when you are broadcasting.


Future developments to be announced in the near future:

In-stream Advertisement placements. Currently, most ads are engaged through the stream players at the viewing location. Many compatibility issues occur that create unreliable delivery. Our new system will use “in stream” placement that will not be impacted by the player. All players will see them.

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1st and 10: Video Tricks in Football

Now that the 52nd Super Bowl is right around the corner, February 4th 2018, the NFL will be using all the special effects in their tool shed. One of the amazing mysteries in video is the Yellow 1st and Ten line. Since we are a professional video production company, we get  asked, “How do they do that”. Well, it’s complicated as you can imagine. 

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So lets start with a little background.

Before 1998, Football viewers had to estimate where the first-down was on the field. Like the picture below, the 1st down markerts were on the side of the field and were often blocked from view by players, coaches, and refs. They were  hard to see on television.

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The 1st and Ten graphics first debuted in a televised game between the Bengals and the Ravens. Sportvision introduced a computer generated yellow line across the entire football field to show viewers exactly where the offensive team must carry the ball in order to get a first down.

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Like all Technology, the 1st and Ten line has evolved over time. 

THIS IS HOW IT WORKS: 

The field is created on a computer in 3D space. Although all football fields must meet exact size requirements every field is quite different when it comes to this precise effect, so each field must be built in 3D space. The NFL has 32 teams and is growing internationally. A 3D model allows for precise perspective viewing at all angles. The average margin of error on the 1st and Ten line is just 1.3 inches.

Since the cameras move in relation to the action on the field, an encoding system in each camera relays precise camera position in relation to the 3D model of the football field. This includes lens focal length, f-stop, height, angle, and geo position. Since the 3D model can be viewed at all perspectives the camera tells the computer where it is in relationship to the field and the computer perfectly aligns the model with the field in each camera’s view. The 1st and Ten line is generated in the 3D model and only the line becomes visible while the rest of the model remains perfectly transparent. To accurately place the line the operator simply selects the position of the ball placed by the ref with just a mouse click and automatically the computer reveals the line at exactly the correct distance to reach a 1st down. This occurs for each camera perspective.

How Do they put the line only over the field and nothing else?

color palette is created with all the hues of the grass and field. This is many shades of green and possibly brown. Every pixel in the display is analyzed in real time and only the pixels that match this color palette get replaced with the line. This is called keying or chroma keying. There are several teams and fields that challenge this effect because of conflicting colors between uniforms and the color palette of the field. Weather and lighting also make this challenging.

 

Wait there’s more!

Mark Shattuck, EIC (engineer in charge) for Clark Media of Provo Utah has worked with another system called TrackVision by ORAD. This system does not use encoders or any hardware at the camera.  You simply aim the cameras at multiple sections of the field (with the field lines in view) and make freeze frame still images. The computer then creates the 3D environment from these freeze frames.

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Now this is high powered processing in a live event. It takes 4 operators, a spotter and field-operator who work together to put the yard lines into the system and two others for live adjustments. The operator is in a huge truck full of equipment including eight high powered computers, three of which are used only with the video cameras. The spotter is located in the press box with the announcers. The delay to accomplish the 1st and Ten line is 2/3 of a second, so they have to work quick. With a cost of around $35,000 per game, the 1st and Ten technology has improved the mangagement of the game by coaches and officials while greatly enhancing the viewing experience.

 

References:

https://en.wikipedia.org/wiki/1st_%26_Ten_(graphics_system)

http://www.sportvision.com/football/1st-ten%C2%AE-graphics

https://www.si.com/nfl/2013/07/18/nfl-birth-yellow-line

http://www.live-production.tv/news/products/orad-real-time-3d-graphics-solutions.html

http://www.sportvision.com/football/1st-ten®-graphics

Painting with Light

Vendor Cantos leased our studio for a multi-camera strive PWC (Cost Waterhouse Coopers) in March. DSC_0005_Arrows.pngThe shoot became part of an on going video clip series; so the videos have to all look the exact same. The previous videos were fired on environment-friendly display as well as editors typed in a gradient history. However, PWC intended to reduce post manufacturing price by avoiding timely green screen keying. So they decided to custom light our white cyc to match the previous gradated history made use of in the eco-friendly display composite. Seems easy sufficient, right? A number of attempts at individually concealing each of the given 1K space lights created several ranks on the background.

The client started to worry that the shoot would not do well. Pat was able to provide a solution to produce a solitary gradation from several lights. This was accomplished by hanging a single large piece of duvetyn concealing all the light from the 5 1K’s (see the picture listed below). This not only created a single gradated shadow yet also enabled us to regulate the form, feathering as well as direction by merely moving the duvetyn up, down, in and out in connection to the lights. The client was ecstatic as well as the shoot was back on schedule with a matching rank. For more information about painting with Light go to www.stillnmotion.com

Perfecting our Color Grading

There are numerous excellent cameras on the market today who understands just what the following terrific cam will certainly be. At Still N Motion we equal this advancement as well as maintain affordable pricing by matching these diverse electronic cameras in multiple video camera configurations. We have actually done this utilizing DaVinci Resolve 11.

After substantial testing we have found the automated color match attribute does not createDaVinci.png exact and consistent results. Making use of the Datacolor Spyder Checkr shade graph, we have established an operations to manually enter as well as adjust the colors to match in between cameras. The uncorrected pictures listed below disclose high contrast and also saturation in the D800 while both the SONY’s were much warmer and lower in contrast.Davinci Compare

Making use of the graph with the onboard waveform and vectorscope we had the ability to by hand identify a base shade equilibrium on all electronic cameras (as received the vector). Currently we could include innovative color rating with consistent outcomes across all three cameras. This technique allows us a lot more adaptability with electronic camera option and also as a result we have much more flexibility and also spending plan. Get in touch with us for additional information.

DaVinci Blog site. For more information about perfecting our color grading go to www.stillnmotion.com

Global Shutter vs. Rolling Shutter “The Jello Effect”

The “Jello-effect” accompanies rolling shutter CMOS cameras. It’s a disturbing impact that takes place most certainly when the video camera frying pans or moves horizontal. This happens since the bottom and top of your image are videotaped at different times. The picture is basically manipulated, like drawing a plate of jello. The top of the block of jello remains in setting as the bottom actions first. Blur is most obvious and also the picture looks edgy. This is because the imaging contribute your electronic camera steps off your specific frameworks one line of pixels at once. Each line is considerably dropped down the chip and also sent off to a barrier. The chip continually captures light so when the lines of pixels leave the leading row the chip is currently catching the following framework. Currently it moves quite rapidly and works extremely well with a static cam. Since the history of your subject is static as well as only the subject is moving there is little issue. However when you move the electronic camera performing at 30 structures each 2nd there is a small imbalance of the image where the first line begins and also the last coatings. To puts it simply the top line records earlier in the relocation (base of your jello) and your last line documents the image later in the action (the top of your jello).

With Global Shutter all the lines are drawn out from the imaging chip concurrently– a complete structure. There are numerous techniques for doing this yet it requires a much more sophisticated imaging chip and also better electronic devices. And as expected, much higher cost.

There are several wonderful electronic cameras with global shutters. We actually like collaborating with the Sony PMW F55. For more information about global shutter vs. rolling shutter “the jello effect” go to www.stillnmotion.com

The Future of Television

Television remains in a rapid development. Q3, 2014 saw a remarkable decrease in traditional TELEVISION viewing as several customers selected pay per sight or internet streaming solutions. Over the past four years 18 to 24 years of age target markets have actually reduced their TV watching by 30%. Individuals are relocating away from standard linear watching as reported by NAPTE as well as we must see a major shift to very discerning broadcasting in following pair years. The major suppliers Comcast, DirectTV, Dishnetwork, ATT will be forced to adopt an adaptable shows design that will enable visitors and also customers to choose only the networks or programs they want instead of being bewildered with enormous packages at extraordinary expense as well as bothersome navigating.

Just what this indicates is that brand-new upright programs markets will be opened to producers. Given that Tv will certainly mimic and integrate many of the as needed streaming attributes, specialized shows will become available to distinct viewers as well as progressed metrics will certainly record exact fads and viewing. The old Nielsen Rankings of reporting select family seeing to stand for the entire nation will end up being a distant memory as well as we will start to see straight responses.

Currently is the moment to plan your info circulation if you have a distinct message or target market that looks to you for advice, info, management or ideas.

We ‘d enjoy to hear your story as well as share it with the globe. For more information about the future of television go to www.stillnmotion.com