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Netflix buffering issues: Boxing fans complain about Jake Paul vs. Mike Tyson

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492 points storf45 | 2 comments | 16 Nov 24 03:42 UTC | HN request time: 0.001s | source
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dylan604 ◴[16 Nov 24 16:06 UTC] No.42157048[source]▶
People just do not appreciate how many gotchas can pop up doing anything live. Sure, Netflix might have a great CDN that works great for their canned content and I could see how they might have assumed that's the hardest part.

Live has changed over the years from large satellite dishes beaming to a geosat and back down to the broadcast center($$$$$), to microwave to a more local broadcast center($$$$), to running dedicated fiber long haul back to a broadcast center($$$), to having a kit with multiple cell providers pushing a signal back to a broadcast center($$), to having a direct internet connection to a server accepting a live http stream($).

I'd be curious to know what their live plan was and what their redundant plan was.

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chgs ◴[16 Nov 24 21:00 UTC] No.42159285[source]▶
You’re talking about the contribution from the venue to the boardcast centre, increasingly not a full program but being mixed remotely.

That’s a very different area to transmission of live to end users.

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1. dylan604 ◴[17 Nov 24 00:09 UTC] No.42160752[source]▶
What are you talking about? The signal coming from a live event is the full package. The output of “the truck” has multiple outs including the full mix of all grafix, some only have the mix minus any branding, etc. While the isos get recorded in the truck, they are not pushed out to the broadcast center.

All of the “mixing” as you call it is done in the truck. If you’ve never seen it, it is quite impressive. In one part of the truck is the director and the technical director. The director is the one calling things like “ready camera 1”, “take 1”, etc. the TD is the one on the switcher pushing the actual buttons on the console to make it happen. Next to them is the graphics team prepping all of the stats made available to the TD to key in. In another area is the team of slomo/replay that are taking the feeds from all of the cameras to recorders that allow the operators to pull out the selects and make available for the director/TD to cut to. Typically in the back of the truck is the audio mixer that mixes all of the mics around the event in real time. All of that creates the signal you see on your screen. It leaves the back of the truck and heads out to wherever the broadcaster has better control

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2. chgs ◴[17 Nov 24 09:59 UTC] No.42163171[source]▶
Not nowadays, more and more remote production for larger and larger events, and it’s coming on rapidly. Directors are increasing sitting in centralised control rooms rather than in a scanner.

BT sport are interesting, spin up graphics, replay, etc in an AWS environment a couple of hours before. I was impressed by their uefa youth league coverage a couple of years ago, and they aren’t slowing down

https://www.limitlessbroadcast.tv/portfolio/uefa-youth-leagu...

https://www.svgeurope.org/blog/headlines/stratospheric-revol...

Obviously not every broadcast, or even most, are remote now, but it’s an ever increasing number.

I don’t know how the US industry works, I suspect the heavy union presence I’ve seen at places like NAB will slow it, but in Europe remote production is increasingly the future.