大流行后的故事叙述:新的容错能力

As broadcasters are in various states of ramping up their main facilities again, questions remain as to how things will change or stay the same as a result of the ongoing pandemic. Will broadcasters and visual storytellers go back to their normal production workflows? 潜在的. 毕竟，回归熟悉的事物是人类的本性.

But there is a very clear, critical lesson to be learned from 2020. Returning to normal will fail us again because we weren’t properly prepared for our systems to fail. 这是什么意思?? 容错的概念已经存在了几十年, but COVID-19 has completely and drastically altered it forever. 以前, fault tolerance—from engineering to video production—meant having a backup system ready to go to when a workflow component went down. Backup studios, backup production switchers, backup cameras, backup power cables, and so on.

But what we recently learned is that not every disaster can be mitigated that way. And the ones who were most prepared for a global pandemic to shutter workplaces and production houses were those who were dipping into the realm more commonly called “streaming media.”

容错的新定义

What fault tolerance means in the new normal will largely be about flexibility. The way we began to see content produced in the global TV and streaming industries during 2020 largely had to do with creative reflex: 首页s became studios, 人才转移到远程参与者, 虚拟化变得更加熟悉.

毫无疑问, 等我们回到演播室的时候, someone will remember the capabilities that were unlocked by this shift. A hybrid production will be created—studio formats will return, but guests may still call in from their home office or garden space.

And that right there is the key enabler that will change the way we work. 互联网通过视频将我们所有人联系在一起. 这不会消失.

By necessity, this will redefine the way we think of fault tolerance. Suddenly our workflows won’t be confined to a traditional studio space. 而不是, we will see makeshift spaces quickly and effectively spun up to work as production locations. 我们的客厅, 回到院子, 车库, and home workspaces will forever be the backup we trust when it comes to experiencing a fault. 这将, 当然, be a hybrid model at times -- but now we will be undoubtedly ready to make the shift.

这种转变需要什么?

COVID-19 has demolished the old way of thinking about fault tolerance, beyond a doubt. But what must we embrace to ensure we can quickly adapt again?

For one, the increasing growth of software-based storytelling.

Dedicated hardware can no longer save us, no matter how many backup units we have. 现实中安装了一个完整的, hardware-based production system into a home at short notice is simply unfeasible. 硬件让我们失望.

But with software-based solutions, we can move production into the cloud. Thus, we make access to it in the home far more swift and affordable. Production systems that can run over ubiquitous network infrastructure and on standardized computing hardware allow for easier, 快, 更便宜的, 更有效的生产.

The movability and flexibility offered by software-backed solutions is simply too powerful to ignore—and it is a capability the streaming media space has long understood.

故事是第一位的

What we saw in the pandemic was how the smaller and more nimble content creators thrived. 礼拜场所, 学校, 音乐会, and creative individuals with stories to tell were each able to utilize their flexible, software-backed systems to keep the message moving out to the world.

The key connective fabric in this creativity was the ability to utilize software to do it remotely. 考虑到这一点, it becomes clear that it was never important how you make the story but rather, 这个故事已经完成了. 我们喜欢讨论SDI vs. IP and the merits of this or that connectivity in our industry, 但在一天结束的时候, the focus remains on ensuring you can produce and deliver your work. And, when disaster struck, we saw that software was built to weather the challenge.

底线:你使用什么技术并不重要. What does matter is using technology that empowers you—the storyteller—no matter what happens. 软件和IP网络已经证明了他们的勇气, 现在我们必须找到改进的方法, 扩大, and more creatively use these technologies to ensure they have lasting places in our new workflows.

If we do that, then we will be prepared to handle the next fault that comes our way.

这是一篇来自 Vizrt. 流媒体 accepts vendor bylines based solely on their value to our readers.]

New Media - How Can They Seize the Day Amidst the Entertainment Streaming Reshuffle?

Stefan Lederer of Bitmovin discusses how new media can seize the day amidst the entertainment streaming reshuffle

2023年2月15日