In this last of our “lessons learned” from real-world deployments, we look at diagnostics. If you’re deploying PTP-aware switches in an IP environment you’ll want proper diagnostics during staging to get everything humming along nicely. Down the road, of course, you’ll want diagnostic tools to accelerate troubleshooting, or to prevent small issues from becoming big problems.
If you’ve been following along at home, you know that the first three blogs in this “lessons learned” series dig into the benefits of PTP-aware switches in an IP environment, correct handing of PTP and synchronization in IP-based media workflows. We shift gears just a bit with this blog to look more closely at interoperability — or, making sure everything works!
So far in this blog series, we’ve examined the importance of PTP-aware switches in an IP environment, as well as correct handling of Precision Time Protocol (PTP) data to ensure proper timing and synchronization. In this third post, we look at networking and transport — the actual movement of video, audio, data, control, monitoring, intercom, and other signals over the IP network.
Artel's documentation page has dozens of PDF files explaining how best to configure your equipment for your operations. Page through any guide, and you’ll learn exactly what to do to get you up and running. Simple and helpful screenshots allow you to get through setup quickly and successfully without necessarily understanding every switch feature so you’re pretty much good to go. But maybe you’re interested in the “why” as well as the “how”? This blog takes a closer look at three key features — IGMP snooping, QoS, and IEEE 1588 PTP — and why they are important in supporting a stable AES67 network.
From the moment Artel receives a PO or a request for delivery, the company’s operations team is hard at work doing all it takes to get the job done and do it right. Responsible for assembly, testing, packaging, and shipping, operations drives delivery of the products essential to customer success.
The industry has been talking about remote production for a while, and for good reason. The conventional live production model, in which you send a team and equipment to the venue, can be costly in terms of both time and money. Travel is expensive not only because you need to pay for transportation and lodging, but also because the human and technical resources are tied up all that time and unavailable for any other production. As a result, you’re limited in the frequency and number of events you can produce.