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Remote integration model
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<h2 id="history">History</h2> <p><a href="/facts/NBC_Sports/6ndBIfVR">NBC Sports</a> deployed a remote production workflow for the <a href="/facts/1996_Summer_Olympics/lL1wFdQk">1996 Summer Olympics</a>, which were hosted in <a href="/facts/Atlanta%2c_Georgia/8hPVGb78">Atlanta, Georgia</a>. To reduce the amount of on-site staff needed to cover all events, producers instead had taped and <a href="/facts/Time_shifting/hU2K40hW">time-shifted</a> footage transmitted from events to a single centralized production facility at <a href="/facts/30_Rockefeller_Plaza/T2DQnFXX">30 Rockefeller Plaza</a> in <a href="/facts/New_York_City/YlyvFmVC">New York City</a> nicknamed the "virtual <a href="/facts/International_Broadcast_Center/ehSvq4zr">International Broadcast Center</a>", allowing on-site producers to focus on live broadcasts.<a class="footnote-ref" id="fnref:3" href="#fn:3"><sup>3</sup></a><a class="footnote-ref" id="fnref:4" href="#fn:4"><sup>4</sup></a> NBC continued the practice in subsequent Olympic Games,<a class="footnote-ref" id="fnref:5" href="#fn:5"><sup>5</sup></a> and in 2013 established a permanent remote International Broadcast Center in <a href="/facts/Stamford%2c_Connecticut/ByPXKdU2">Stamford, Connecticut</a>.<a class="footnote-ref" id="fnref:6" href="#fn:6"><sup>6</sup></a><a class="footnote-ref" id="fnref:7" href="#fn:7"><sup>7</sup></a> </p><p>Early REMI productions relied on high-bandwidth <a href="/facts/Digital_Signal_1/cghJPRpQ">T1 lines</a> and grew into higher-speed connections and <a href="/facts/IP_routing/rpLSaNxR">IP routing</a> capabilities as they became available, in order to accommodate increases in broadcast <a href="/facts/Display_resolution/8LQTWvl3">display resolution</a> and the number of cameras in use.<a class="footnote-ref" id="fnref:8" href="#fn:8"><sup>8</sup></a> </p><p>Alongside the growth of in-house REMI studios, independent remote-production service providers expanded into providing full REMI services and commentary on contract to other events and leagues. For example, <a href="/facts/VISTA_Worldlink/yUP7HN3r">VISTA Worldlink</a>, which had engaged in global-commentary rebroadcasts of <a href="/facts/Major_League_Soccer/LAwJ4VLr">Major League Soccer</a> (MLS) and <a href="/facts/CONCACAF/K1GMd3ez">CONCACAF</a> matches, expanded into providing full REMI services and commentary on contract to <a href="/facts/United_Soccer_League/WgH0fjah">United Soccer League</a> competitions,<a class="footnote-ref" id="fnref:9" href="#fn:9"><sup>9</sup></a> <a href="/facts/National_Women%2527s_Soccer_League/Ytc4Esmz">National Women's Soccer League</a> (NWSL),<a class="footnote-ref" id="fnref:10" href="#fn:10"><sup>10</sup></a> the <a href="/facts/U.S._Open_Cup/rckLCP5p">U.S. Open Cup</a>,<a class="footnote-ref" id="fnref:11" href="#fn:11"><sup>11</sup></a> and MLS.<a class="footnote-ref" id="fnref:12" href="#fn:12"><sup>12</sup></a> </p> <h3>Lowering production costs</h3> <p>Sports leagues with smaller broadcast budgets began deploying REMI productions to allow for more live-broadcast and livestreamed matches. For example, with <a href="/facts/A%2526E_Networks/Xx1YoMK8">A+E</a> as a broadcast partner in 2016, the <a href="/facts/National_Women%2527s_Soccer_League/Ytc4Esmz">National Women's Soccer League</a> produced match livestreams using REMI practices with budgets as small as $10,000 per match, compared to $50,000 to $100,000 for television broadcasts using a production truck.<a class="footnote-ref" id="fnref:13" href="#fn:13"><sup>13</sup></a><a class="footnote-ref" id="fnref:14" href="#fn:14"><sup>14</sup></a> The <a href="/facts/Premier_Hockey_Federation/6nI9ngVH">Premier Hockey Federation</a> used REMI production to expand its match availability to its full season and produce its first <a href="/facts/Linear_television/fXlDQcTE">linear television</a> broadcasts.<a class="footnote-ref" id="fnref:15" href="#fn:15"><sup>15</sup></a> <a href="/facts/NASCAR/k0C0366n">NASCAR</a> consolidated its remote production to a studio in <a href="/facts/Charlotte%2c_North_Carolina/JVJT5LzT">Charlotte, North Carolina</a>, in 2019 where it produced 30 events remotely.<a class="footnote-ref" id="fnref:16" href="#fn:16"><sup>16</sup></a> </p> <h3>Use during the COVID-19 pandemic</h3> <p>The <a href="/facts/Impact_of_the_COVID-19_pandemic_on_television/rBlNPayQ">impact of the COVID-19 pandemic on television</a> forced live event coverage to adapt to strict rules on isolation. Entities already using REMI methods were able to return to broadcasting events since most production staff and commentators already operated in remote, isolated facilities.<a class="footnote-ref" id="fnref:17" href="#fn:17"><sup>17</sup></a> </p><p>Isolation measures required to control the <a href="/facts/COVID-19_pandemic/0xTsh7Ut">COVID-19 pandemic</a> in 2020 and 2021 also led live television production companies to adopt REMI practices in sports and fields that previously had not deployed them. For example, NBC used practices from its Olympics coverage to produce <a href="/facts/College_football/sQHYX0Ct">college football</a> broadcasts that had traditionally relied on extensive on-site production.<a class="footnote-ref" id="fnref:18" href="#fn:18"><sup>18</sup></a><a class="footnote-ref" id="fnref:19" href="#fn:19"><sup>19</sup></a> <a href="/facts/ESPN/1FeLYofR">ESPN</a> migrated <a href="/facts/National_Basketball_Association/Vd3EUFfa">National Basketball Association</a> coverage to REMI productions based in <a href="/facts/Bristol%2c_Connecticut/W1MrD2mW">Bristol, Connecticut</a>, continuing into the <a href="/facts/2021%25E2%2580%259322_NBA_season/V0HVPluR">2021–22 NBA season</a>.<a class="footnote-ref" id="fnref:20" href="#fn:20"><sup>20</sup></a> The <a href="/facts/47th_Daytime_Emmy_Awards/MGYNqoKy">47th Daytime Emmy Awards</a> in 2020 adapted to REMI production after the in-person ceremony was cancelled.<a class="footnote-ref" id="fnref:21" href="#fn:21"><sup>21</sup></a> </p> <h2 id="methods">Methods</h2> <p>In traditional <a href="/facts/Remote_broadcast/qb9Q9htt">remote broadcast</a> production, multiple cameras routed to a <a href="/facts/Vision_mixer/e5tpgBMU">vision mixer</a> and microphones routed to a <a href="/facts/Mixing_console/APIwbRBg">mixing console</a>, operated by a <a href="/facts/Technical_director/pNFdSGVr">technical director</a> receiving orders from a <a href="/facts/Television_director/GWoTM2d6">director</a> in an on-site studio or <a href="/facts/Production_truck/vfQD40oC">production truck</a> (OB van) connected to a transmission network, either a fiber access or a satellite uplink via a <a href="/facts/Satellite_truck/8Juhf8Nc">SNG truck</a>. A REMI workflow instead routes camera and audio feeds via dedicated <a href="/facts/Fiber_optic/5ruuIFbj">fiber optic</a>, <a href="/facts/Communications_satellite/y5RXPMDT">communications satellite</a>, or facility or cellular internet connections to a remote production center. Such consolidation allows one production staff and set of equipment to produce multiple events, in sequence or simultaneously, without traveling, setting up, and tearing down production equipment between events.<a class="footnote-ref" id="fnref:22" href="#fn:22"><sup>22</sup></a><a class="footnote-ref" id="fnref:23" href="#fn:23"><sup>23</sup></a> For simple one-camera productions, only a single on-site camera operator might be necessary.<a class="footnote-ref" id="fnref:24" href="#fn:24"><sup>24</sup></a> </p><p>This workflow also allows commentators to call events from the live feeds without being on-site.<a class="footnote-ref" id="fnref:25" href="#fn:25"><sup>25</sup></a><a class="footnote-ref" id="fnref:26" href="#fn:26"><sup>26</sup></a> For example, all NBC Sports commentary of the <a href="/facts/2022_Winter_Olympics/0wKS1jSs">2022 Winter Olympics</a> in <a href="/facts/Beijing/Bg4puFBv">Beijing</a> was done remotely.<a class="footnote-ref" id="fnref:27" href="#fn:27"><sup>27</sup></a> </p><p>REMI production methods can be further streamlined by use of <a href="/facts/Cloud_computing/guhg0FGV">cloud computing</a> production tools, further eliminating part or all of the centralized production facility. <a href="/facts/BT_Sport/cwGw4hK5">BT Sport</a> engaged a test of such a cloud-based workflow for a <a href="/facts/UEFA_Youth_League/q16tYgPj">UEFA Youth League</a> match using <a href="/facts/Link_aggregation/3BE3qHDT">aggregated cellular links</a> and local broadband to also eliminate the need for dedicated transport connections.<a class="footnote-ref" id="fnref:28" href="#fn:28"><sup>28</sup></a> </p> <h2 id="drawbacks-and-criticism">Drawbacks and criticism</h2> <p>REMI productions rely on IP transport from the venue to the remote production facility, which can be subject to outages if redundant transport methods aren't available on-site. Failures can result in <a href="/facts/Compression_artifact/7DhxoVAv">compression artifacts</a> or outages, which can affect the collection of <a href="/facts/Sports_analytics/X6eyJCrp">sports analytics</a> data and <a href="/facts/Social_media/kUIkfpIA">social media</a> coverage of live events.<a class="footnote-ref" id="fnref:29" href="#fn:29"><sup>29</sup></a> Players in the NWSL complained when match footage was unavailable for review, or when camera angles weren't available to review goals or important plays.<a class="footnote-ref" id="fnref:30" href="#fn:30"><sup>30</sup></a> </p><p>Tight budgets facilitated by REMI production can result in low-quality productions that doesn't meet viewers' expectations,<a class="footnote-ref" id="fnref:31" href="#fn:31"><sup>31</sup></a><a class="footnote-ref" id="fnref:32" href="#fn:32"><sup>32</sup></a><a class="footnote-ref" id="fnref:33" href="#fn:33"><sup>33</sup></a> leading to organizers being forced to increase spending on equipment and on-site staff to compensate.<a class="footnote-ref" id="fnref:34" href="#fn:34"><sup>34</sup></a><a class="footnote-ref" id="fnref:35" href="#fn:35"><sup>35</sup></a><a class="footnote-ref" id="fnref:36" href="#fn:36"><sup>36</sup></a> </p><p>Off-site commentators are limited to what cameras and microphones can record and can be tasked with calling several consecutive games per day, leading to facutal errors, omissions, and mischaracterizations of an event's atmosphere.<a class="footnote-ref" id="fnref:37" href="#fn:37"><sup>37</sup></a><a class="footnote-ref" id="fnref:38" href="#fn:38"><sup>38</sup></a><a class="footnote-ref" id="fnref:39" href="#fn:39"><sup>39</sup></a><a class="footnote-ref" id="fnref:40" href="#fn:40"><sup>40</sup></a> On-site staff can be subject to communications latency from off-site producers.<a class="footnote-ref" id="fnref:41" href="#fn:41"><sup>41</sup></a> Commentary can become sufficiently delayed from live events to be recognized by viewers.<a class="footnote-ref" id="fnref:42" href="#fn:42"><sup>42</sup></a><a class="footnote-ref" id="fnref:43" href="#fn:43"><sup>43</sup></a> Viewers can also recognize attempts to make commentators sound or appear to be reporting live from an event when they're remote.<a class="footnote-ref" id="fnref:44" href="#fn:44"><sup>44</sup></a> </p> <h2 id="see-also">See also</h2> <ul><li><a href="/facts/Impact_of_the_COVID-19_pandemic_on_television/rBlNPayQ">Impact of the COVID-19 pandemic on television</a>, and <a href="/facts/Impact_of_the_COVID-19_pandemic_on_television_in_the_United_States/2kSJvjLH">in the United States</a></li> <li><a href="/facts/Remote_broadcast/qb9Q9htt">Remote broadcast</a></li> <li><a href="/facts/Production_truck/vfQD40oC">Production truck</a></li></ul> <h2 id="references">References</h2> <ol> <li id="fn:1"><p>Strauss, Ben (July 27, 2021). "As NWSL gets more airtime, broadcasts struggle to keep pace". The Washington Post. Retrieved July 19, 2023. <a href="https://www.washingtonpost.com/sports/2021/07/27/nwsl-broadcats/" target="_blank">https://www.washingtonpost.com/sports/2021/07/27/nwsl-broadcats/</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></p></li> <li id="fn:2"><p>Harris, Christopher (March 5, 2023). "FOX's MLS coverage is so bad in contrast to MLS Season Pass". World Soccer Talk. Retrieved July 19, 2023. <a href="https://worldsoccertalk.com/tv/foxs-mls-coverage-is-so-bad-in-contrast-to-mls-season-pass-20230305-WST-422265.html" target="_blank">https://worldsoccertalk.com/tv/foxs-mls-coverage-is-so-bad-in-contrast-to-mls-season-pass-20230305-WST-422265.html</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></p></li> <li id="fn:3"><p>The Remote Video Production Handbook: How To Get Started in Remote Production (Report). TVU Networks. March 9, 2021. Retrieved July 19, 2023. <a href="https://www.tvunetworks.com/guides/the-remote-video-production-handbook/" target="_blank">https://www.tvunetworks.com/guides/the-remote-video-production-handbook/</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></p></li> <li id="fn:4"><p>Mazza, David (December 7, 2020). "David Mazza". tvtech (Interview). Interviewed by Gary Arlen. Retrieved July 19, 2023. <a href="https://www.tvtechnology.com/features/david-mazza" target="_blank">https://www.tvtechnology.com/features/david-mazza</a> <a href="#fnref:4" class="footnote-back-ref">↩</a></p></li> <li id="fn:5"><p>Hallinger, Mark (February 5, 2018). "Live From PyeongChang". tvtech. Retrieved July 19, 2023. <a href="https://www.tvtechnology.com/news/live-from-pyeongchang" target="_blank">https://www.tvtechnology.com/news/live-from-pyeongchang</a> <a href="#fnref:5" class="footnote-back-ref">↩</a></p></li> <li id="fn:6"><p>Mazza, David (December 7, 2020). "David Mazza". tvtech (Interview). Interviewed by Gary Arlen. Retrieved July 19, 2023. <a href="https://www.tvtechnology.com/features/david-mazza" target="_blank">https://www.tvtechnology.com/features/david-mazza</a> <a href="#fnref:6" class="footnote-back-ref">↩</a></p></li> <li id="fn:7"><p>Hallinger, Mark (February 5, 2018). "Live From PyeongChang". tvtech. Retrieved July 19, 2023. <a href="https://www.tvtechnology.com/news/live-from-pyeongchang" target="_blank">https://www.tvtechnology.com/news/live-from-pyeongchang</a> <a href="#fnref:7" class="footnote-back-ref">↩</a></p></li> <li id="fn:8"><p>Hallinger, Mark (February 5, 2018). "Live From PyeongChang". tvtech. Retrieved July 19, 2023. <a href="https://www.tvtechnology.com/news/live-from-pyeongchang" target="_blank">https://www.tvtechnology.com/news/live-from-pyeongchang</a> <a href="#fnref:8" class="footnote-back-ref">↩</a></p></li> <li id="fn:9"><p>Murray, Nicholas (January 29, 2017). "VISTA, USL Productions Form Cutting-Edge Initiative" (Press release). United Soccer League. Retrieved July 19, 2023. <a href="https://www.uslsoccer.com/news_article/show/751106-vista-usl-productions-form-cutting-edge-initiative" target="_blank">https://www.uslsoccer.com/news_article/show/751106-vista-usl-productions-form-cutting-edge-initiative</a> <a href="#fnref:9" class="footnote-back-ref">↩</a></p></li> <li id="fn:10"><p>Strauss, Ben (July 27, 2021). "As NWSL gets more airtime, broadcasts struggle to keep pace". The Washington Post. Retrieved July 19, 2023. <a href="https://www.washingtonpost.com/sports/2021/07/27/nwsl-broadcats/" target="_blank">https://www.washingtonpost.com/sports/2021/07/27/nwsl-broadcats/</a> <a href="#fnref:10" class="footnote-back-ref">↩</a></p></li> <li id="fn:11"><p>Costa, Brandon (September 6, 2022). "After Year of REMI Productions, VISTA Worldlink Brings Strong Onsite Effort to Orlando for Lamar Hunt U.S. Open Cup Final". Sports Video Group News. Retrieved July 19, 2023. <a href="https://www.sportsvideo.org/2022/09/06/after-year-of-remi-productions-vista-worldlink-brings-strong-on-site-effort-to-orlando-for-lamar-hunt-u-s-open-cup-final/" target="_blank">https://www.sportsvideo.org/2022/09/06/after-year-of-remi-productions-vista-worldlink-brings-strong-on-site-effort-to-orlando-for-lamar-hunt-u-s-open-cup-final/</a> <a href="#fnref:11" class="footnote-back-ref">↩</a></p></li> <li id="fn:12"><p>Harris, Christopher (March 5, 2023). "FOX's MLS coverage is so bad in contrast to MLS Season Pass". World Soccer Talk. Retrieved July 19, 2023. <a href="https://worldsoccertalk.com/tv/foxs-mls-coverage-is-so-bad-in-contrast-to-mls-season-pass-20230305-WST-422265.html" target="_blank">https://worldsoccertalk.com/tv/foxs-mls-coverage-is-so-bad-in-contrast-to-mls-season-pass-20230305-WST-422265.html</a> <a href="#fnref:12" class="footnote-back-ref">↩</a></p></li> <li id="fn:13"><p>Strauss, Ben (July 27, 2021). "As NWSL gets more airtime, broadcasts struggle to keep pace". The Washington Post. Retrieved July 19, 2023. <a href="https://www.washingtonpost.com/sports/2021/07/27/nwsl-broadcats/" target="_blank">https://www.washingtonpost.com/sports/2021/07/27/nwsl-broadcats/</a> <a href="#fnref:13" class="footnote-back-ref">↩</a></p></li> <li id="fn:14"><p>Taking Advantage of Sports' Fastest-Growing Opportunity: Women’s Sports on TV. MIT Sloan Sports Analytics Conference (Report). December 14, 2021. Retrieved July 19, 2023. <a href="https://www.sloansportsconference.com/mit-news/taking-advantage-of-sports-fastest-growing-opportunity-womens-sports-on-tv" target="_blank">https://www.sloansportsconference.com/mit-news/taking-advantage-of-sports-fastest-growing-opportunity-womens-sports-on-tv</a> <a href="#fnref:14" class="footnote-back-ref">↩</a></p></li> <li id="fn:15"><p>Dachman, Jason (March 25, 2022). "Premier Hockey Federation, VISTA Beef Up Production Complement for Isobel Cup Playoffs on ESPN+, ESPN2". Retrieved July 19, 2023. <a href="https://www.sportsvideo.org/2022/03/25/premier-hockey-federation-vista-worldlink-beef-up-production-complement-for-isobel-cup-playoffs-on-espn-espn2/" target="_blank">https://www.sportsvideo.org/2022/03/25/premier-hockey-federation-vista-worldlink-beef-up-production-complement-for-isobel-cup-playoffs-on-espn-espn2/</a> <a href="#fnref:15" class="footnote-back-ref">↩</a></p></li> <li id="fn:16"><p>Grotticelli, Michael (March 1, 2019). "Server-Based "At Home" Workflows Provide Efficiency For NASCAR Productions". The Broadcast Bridge. Retrieved July 19, 2023. <a href="https://www.thebroadcastbridge.com/content/entry/12840/server-based-at-home-workflows-provide-efficiency-and-savings-for-nascar-pr" target="_blank">https://www.thebroadcastbridge.com/content/entry/12840/server-based-at-home-workflows-provide-efficiency-and-savings-for-nascar-pr</a> <a href="#fnref:16" class="footnote-back-ref">↩</a></p></li> <li id="fn:17"><p>Dachman, Jason (June 30, 2020). "NWSL Makes Broadcast-Network Debut on CBS With Full REMI Workflow". Sports Video Group News. Retrieved July 19, 2023. <a href="https://www.sportsvideo.org/2020/06/30/nwsl-makes-broadcast-network-debut-on-cbs-with-full-remi-workflow/" target="_blank">https://www.sportsvideo.org/2020/06/30/nwsl-makes-broadcast-network-debut-on-cbs-with-full-remi-workflow/</a> <a href="#fnref:17" class="footnote-back-ref">↩</a></p></li> <li id="fn:18"><p>Mazza, David (December 7, 2020). "David Mazza". tvtech (Interview). Interviewed by Gary Arlen. Retrieved July 19, 2023. <a href="https://www.tvtechnology.com/features/david-mazza" target="_blank">https://www.tvtechnology.com/features/david-mazza</a> <a href="#fnref:18" class="footnote-back-ref">↩</a></p></li> <li id="fn:19"><p>"Remote learning: Broadcast teams 'remi'-nisce about new trick of their trade". Sports Business Journal. November 23, 2020. Retrieved July 19, 2023. <a href="https://www.sportsbusinessjournal.com/Journal/Issues/2020/11/23/Marketing-and-Sponsorship/Marketing-and-Sponsorship.aspx" target="_blank">https://www.sportsbusinessjournal.com/Journal/Issues/2020/11/23/Marketing-and-Sponsorship/Marketing-and-Sponsorship.aspx</a> <a href="#fnref:19" class="footnote-back-ref">↩</a></p></li> <li id="fn:20"><p>Hernández, Kristian (October 19, 2021). "NBA Tipoff 2021: ESPN To Deploy Onsite Talent, REMI Integration for Coverage of League's 75th Season". Sports Video Group News. Retrieved July 19, 2023. <a href="https://www.sportsvideo.org/2021/10/19/nba-tipoff-2021-espn-to-deploy-onsite-talent-remi-integration-for-coverage-of-leagues-75th-season/" target="_blank">https://www.sportsvideo.org/2021/10/19/nba-tipoff-2021-espn-to-deploy-onsite-talent-remi-integration-for-coverage-of-leagues-75th-season/</a> <a href="#fnref:20" class="footnote-back-ref">↩</a></p></li> <li id="fn:21"><p>Schneider, Michael (April 29, 2020). "Daytime Emmys Go Remote as NATAS Cancels In-Person Award Ceremonies". Variety. Retrieved July 19, 2023. <a href="https://variety.com/2020/tv/news/daytime-emmys-natas-ceremony-remote-coronavirus-1234592567/" target="_blank">https://variety.com/2020/tv/news/daytime-emmys-natas-ceremony-remote-coronavirus-1234592567/</a> <a href="#fnref:21" class="footnote-back-ref">↩</a></p></li> <li id="fn:22"><p>The Remote Video Production Handbook: How To Get Started in Remote Production (Report). TVU Networks. March 9, 2021. Retrieved July 19, 2023. <a href="https://www.tvunetworks.com/guides/the-remote-video-production-handbook/" target="_blank">https://www.tvunetworks.com/guides/the-remote-video-production-handbook/</a> <a href="#fnref:22" class="footnote-back-ref">↩</a></p></li> <li id="fn:23"><p>Dickson, Glen (September 8, 2022). "5G Production Gains Traction". TVNewsCheck. Retrieved July 19, 2023. <a href="https://tvnewscheck.com/tech/article/5g-production-gains-traction/" target="_blank">https://tvnewscheck.com/tech/article/5g-production-gains-traction/</a> <a href="#fnref:23" class="footnote-back-ref">↩</a></p></li> <li id="fn:24"><p>Soseman, Ned (August 11, 2022). "REMI On A Budget - A Remote Switching Paradigm Shift". The Broadcast Bridge. 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