Photo: KazanFirst
The Telegram channel "Apparatnaya" has published a comic video about the self-employed
Messenger "Telegram" conquers a comic video about the self-employed. The main protagonists of the video are the President of Tatarstan Rustam Minnikhanov, State Councilor of the Republic Mintimer Shaimiev, as well as the head of the regional department of the Federal Tax Service Marat Safiullin and deputy of the State Duma of Russia Ayrat Farrakhov.
The video plays up the story of how Shaimiev writes to Minnahanov, tells him that he is going to move to Bolgar and start farming. During the conversation, it turned out that the State Counselor does not know how to become self-employed. After a short correspondence with the deputy Ayrat Farrakhov, the head of the Tatarstan Federal Tax Service Marat Safiullin, and the head of the State Orders Agency Yakov Geller, as well as Ak Bars Bank, the Tatarstan leader decides to personally register the first president of the republic as a self-employed. The video also mentions 15-year-old Nicole Garayeva, who sells slimes - gum for hands, through Instagram. During the last meeting of the Entrepreneurship Council, she said that young businessmen do not yet see the benefits of the new system.
Tatarstan is one of four regions (in addition to it, Moscow, Moscow and Kaluga regions are on the list), where an experiment is underway to introduce the self-employed. Its meaning is that entrepreneurs who work from home today have the opportunity to legalize. They began to pay a monthly income tax of 4-6%. In Tatarstan, 4128 people have already passed the registration procedure.
In addition to taxes, which are paid according to a simplified scheme, another clear advantage is the fact that you do not need to submit a tax return. And the procedure for registering self-employed is extremely simple - to register with the Federal Tax Service, you need to download the My Tax application. You only need passport details and photos.
ASK is the most important technical division on television... It is filled with professional equipment, most of the space in the hardware is television path for processing video and sound, as well as special devices for recording and playing them, also directly related to the hardware-studio complex. From it composition can highlight several full independent departmentssuch that on some TV channels there will be isolated... But for simplicity service and ease of use, usually they are united into one big complex of hardware.
Overview of the hardware-studio complex
TV studio main base or even foundation for everything content production, because video creation in sufficient for broadcast volume only is impossible. Studio shooting require large technical capabilities, which is feasible when included in hardware-studio complex ... Regardless of the scenery, the studio always has. She constantly in the spotlight, because what happens in it that millions of viewers will soon see. And for this they create around her technical buildings with processing video and, signal transmission equipment to the transmitting center, monitoring rooms with directorial and sound control panels, video recording and reproducing equipment.
TV studio with equipment
It can be compared with the audience in the theater... The scenery is installed in the part of the studio that all viewers will see, like on stage... There are people sitting opposite the theater stage in the hall, and on television stand.
Television scene Mixer allows the video director to select the camera that will now on air, so it is done. Sound mixing console operated by sound engineer and defines which sound will be in the show, from the studio or from another source.
Video and sound engineering mixing consoles in ASK AT technical control room the video engineer has his own consoles and adjustments mainly for quality control video and all broadcast, as well as for using an oscilloscope.
Technical control room in ASK The composition of the hardware-studio complex of television
In order to studio was not just a beautiful room, but a fully functional object for broadcasting, it is filled with technical equipment included in the composition of the hardware-studio unit... TV companies are different types: private and state, small and large, regional and federal, etc. Depending on the type of television, their components will also be different. Including the composition of the hardware-studio complex will be larger and more equipped in large TV companythan small.
Plan of the hardware and studio complex of television. Production studio content divided as possible between several hardwareestablished near the studio, for convenience.
ASB - hardware-studio unit
Judging by the ASK plan all signals eventually flow to CA (central control room), but still production center TV shows we highlight exactly ASB... In addition, it takes up the most space and resources. Technical equipment of the hardware-studio unit, as well as technical personnel, carry out tasks of providing creative personnel, all necessary for recording or live broadcast... In this way collaboration of creative and technical workers here are expressed more often elsewhere on television.
Studio unit function
The hardware-studio unit, both in importance and in volume, takes up a lot of space in the hardware-studio complex. Due to the large amount of equipment included in it, the use of other sources is almost not required.
- development of a television signal;
- from studio video cameras;
- switching, ranging and distribution of the signal, for their initial supply to and on the wall of monitors;
- a set of sources for applying skillful special effects to them, transforming and transforming one frame into another;
- production of the program, the director's management of the production of the final, composite picture (frame) from different images and representations;
- monitoring broadcast and recording, and sources for them;
- provision, and external communication with the rest of the television hardware.
Sound console
The sound engineer has his own mixing console, but the principle of operation is similar. Audio channel switching begins with connecting a microphone to a long cable with a specific number. Then the cable is connected to an audio outlet in the wall, and from there it enters the wiring closet. In the sound box, you can make manual switching, otherwise the cables with the same numbers go to the console. In the console, the cables are connected to certain tracks, previously discussed with the sound engineer. Sound tracks can be combined with each other, or disconnected from the output of the remote control and used as wiretapping.
Technical control room
The control room of the video engineer differs from the control room of the video director by the presence of video sources. Technical control room designed for monitoring and configuring the video path. The director controls cameras for the correct frame and computers with other sources, for the presence of the necessary content. Video Engineer Challenge so that the quality from all sources meets all standards. Also, the technical staff ensures the operability of all equipment, and performs timely preventive maintenance. Sometimes subjective monitor viewing is not enough to control video quality. For a more professional opinion, use an oscilloscope and other measuring instruments. On an oscilloscope, in particular, black colors are clearly visible.
Central control room (CA)
The control room, small in area and in the amount of equipment, is also part of the hardware and studio complex. Performs the most important function on all television - transmits the signal produced in the ASB and AVZ, to the end viewer. Of course, the TV channel from Central Asia does not broadcast live to every viewer. This is the task of the ORTPTS (public Russian television broadcasting center) or. CA is engaged switching any signals, both incoming and outgoing. Inbox signals are used on television for the production of programs or for insertion into them. Outbox the signals are mainly the TV channel itself, transmitted by ORTPTS, or exchange content between television companies. ...
The hardware-studio unit is intended for the formation of TV programs or their fragments by recording or live broadcasting and is usually considered as a complete independent technological unit. Such a view, of course, has a right to exist, but if we take into account that usually in the CRS programs of various thematic directions are created - both music, and news, etc., then the set of necessary technological equipment in the CRS should be both large and diverse.
The proposed option for building the CRS was developed based on the concept that the CRS is an integral part of a single digital system of a TV company and part of the equipment, providing a wide range of technological capabilities of the CRS for organizing the most diverse and complex television broadcasts and recordings is located in other divisions.
The main source of external signals for ABS (SDI format) is the Central Control Room (CAR) switching matrix. There is a central matrix control panel to select sources at the video director's workplace. It is also possible to connect a number of and other external lines.
The main equipment of the ASB includes 4 cameras, however, cable communications and control equipment should provide the ability to expand up to 6 - 8 fixed cameras. Studio cameras are connected to base stations with a 26 pin cable - multicore system (triax systems are more expensive and their use is justified if the camera is located far from the base station - more than 100m.). The studio configuration of the camera includes: base station, camera adapter, control panel. The camera can be equipped with a 5-inch viewfinder. The base station includes all the necessary components and functions of a camera system, has an SDI output and provides high image quality. The SDI video signal outputs of the base stations of studio cameras are connected to a video mixer. Signals from external sources through the distribution amplifiers are also fed to the switcher. It should be noted that all video signals entering the studio video mixer must be synchronized, only in this case "clean" switching can occur. The sync generator is installed in the AD, the sources are synchronized in a parallel way through distribution amplifiers.
The switcher must have a sufficient number of SDI video inputs and several patch lines. The first of them - software - is designed to feed the selected video signal directly to the program output of the video mixer. On additional rulers, a smooth change of video images is performed. The mixer must have Tally outputs, which are connected to the same-named inputs on camera channels and system video monitors in the studio and engineering units (Ether signal), a switch (aux) - to set the video signal to the input of a title system or a special effects processor that work in GenLock mode, passing the video signal "through itself". There is a sufficient number of title and graphics output devices on the market. In fact, each company offers not separate devices, but platforms that are the basis for a whole group of CGs that differ in their functional features. This approach allows you to configure the system that most closely meets the specific needs of the user. In addition, a thoughtful choice of the base model and additional options allows you to optimize the financial costs of the system for preparing titles and graphics, without overpaying extra money for unused functions.
To reserve the path of the switcher, a matrix switcher (8 * 8) is used, to the inputs of which the same sources are connected as to the switcher.
The mixer and switch outputs are fed to the automatic bypass switch - when the signal from the mixer is lost, it automatically switches to the signal from the matrix. The second output of the mixer is connected to the input of the switch, which increases the flexibility of the technological use of the video path of the control room. In addition to matrix switches, both video and audio equipment include panels for manual signal switching.
The signal of the output path is fed to the matrix in the AD and the recording of programs from the ASB is made to the video server in the AD, one of the outputs of the reserve switch is also connected to the central matrix.
A disk recorder is installed in the ASB (one input for recording, two independent outputs for playback). In any operating mode of the ASB - program recording or broadcast - the disk recorder and the central video server reserve each other.
For visual control of source signals and output programs, the ASB is equipped with color digital and analog monitors. As a monitoring system, it is possible to use a multiscreen processor with a sufficient number of inputs (for example - 8). Such a system can replace a monitor wall of multiple monitors with all service indication and audio signal control systems.
Sound equipment should also provide for the production of a wide variety of programs. The audio signals from the disc recorder and the AD matrix are connected to the audio mixer of the sound engineer; a cassette deck, CD-player, etc. can be used as additional devices.
Equipment:
TV network RT - these are three round-the-clock information TV channels broadcasting from Moscow to more than 100 countries of the world in English, Arabic and Spanish, RT America and RT UK TV channels, broadcasting from their own studios in Washington and London, the RTD documentary channel, as well as the global news video agency RUPTLY. Today, RT is available around the clock to 700 million viewers around the world. We interviewed several employees of the TV channel at once, who revealed a number of technical secrets of broadcasting and demonstrated the operation of the equipment used.
- How do you manage to provide round-the-clock news broadcasting, and even in three languages \u200b\u200bsimultaneously?
RT International host Kevin Owen / Photo: Viktor Vytolsky
Denis Sevostyanov, Deputy Director of the Directorate of the Chief Director of Russia Today:
We have 6 studios: of the three, news are broadcast live in three languages, the rest are intended for recording programs and shows, but the possibility of conducting live broadcast from them is also provided. One of the recording studios is virtual green. The newsroom has video walls of various sizes and formats. Decorations in recording studios are electronic, implemented on LED panels. The background is fed to them - the graphics of each program. This avoids wasting time and money on the production and installation of physical sets. Therefore, we write about a dozen programs in each studio, each with its own design, not like the others.
- Why did you choose video walls and not, say, chromakey?
Denis Sevostyanov:Chromakey severely limits performance in terms of speed, which is very important for news broadcasting.
Enters the conversation Sergey Prokhorov, director of the program preparation department:
When the picture is superimposed electronically, it shows. "Live" image looks much better on the screen, more realistic. Plus, there are no delays in signal processing that are in virtual studios.
Sergey Prokhorov, director of the RT program preparation department / Photo: Viktor Vytolsky
Denis Sevostyanov:We have a virtual studio, but it is used for other tasks. For presenters in a studio with real-world backdrops, it's much easier to navigate and interact with content on video walls - whether it's graphics or live guest appearances. The feeling of the conversation is completely different than when he is talking with a green background. The viewer naturally feels and sees this.
The topic is picked up Kirill Grigoriev, Head of Operations Service:
The exhibitions demonstrate the beautiful. But as soon as real integration begins, there are problems of implementation in the existing television production - it does not work as stated, it is impossible to implement it, something does not fit together, and so on.
Sergey Prokhorov:At the same time, it cannot be said that we have decided to work only with - period. Our recording studios can transform, where we can quickly change the scenery. If necessary, instead of a video wall, we can supply a physical decoration or a colored background.
- How often does the news go live?
Denis Sevostyanov:Every hour for half an hour. But, depending on the circumstances, the broadcasting schedule can be changed, and the live broadcast can last for several hours in a row. The English channel news studio is organized as follows: in the center is the presenter, behind him is a large, slightly curved video wall, on the side there is a second video wall - a little smaller. The newsroom is part of the scenery, we use a single open workspace. It houses the workstations of the Dalet computer system, where news is generated. Editors, directors, presenters are sitting at the computers, preparing for the broadcast, and editing rooms are located around the perimeter, where the stories are being prepared.
Behind the glass is the control room, from where the broadcast is controlled, including the feeds on the video walls. In the Arabic and Spanish studios, all cameras are controlled by operators, while the English studio has robotic solutions controlled by one person. The presets themselves can move across the studio area, plus they are controlled by the lifting height, they can perform panning, and the zoom and focus are also adjusted. We are currently using robotic pedestals from Shotoku.
- Is the positioning performed by reference points?
Kirill Grigoriev:No. There is a gauge square from which all counting comes. The camera is parked on it, then the operator sets the start and end points, remembers them in the system.
Denis Sevostyanov:Moreover, you can set the speed - that's why we often use camera movement in the frame.
- But errors accumulate?
Kirill Grigoriev:Yes. Therefore, once a week, cameras are recalibrated and presets are adjusted. Each program has its own set of presets, so the scope of work is quite extensive.
- What cameras do you use?
Kirill Grigoriev:We use 79EXIII cameras, one of which is on a crane, a video mixer and a Lawomc266mkII sound mixer. We work in HD 1080i format. All studios are united into a common system: both by video and by sound - that is, in news studios you can make live broadcasts from others. Directly in the studios there is only control and monitoring, the server room is based in another building and is connected with the studios via FOCL (fiber-optic communication line). Adobe Premiere Pro news editors are also linked to a shared media storage array.
Denis Sevostyanov:We only edit news on Adobe Premiere Pro. We use Avid for the production of documentaries and shows.
- What do you display on video walls?
Denis Sevostyanov:We can display any source from those on the remote control - external lines, player, graphic stations, and so on.
Kirill Grigoriev:We do not have a special person to control the video wall, all control takes place from the on-air mixing console. The director's assistant calls up a certain sequence of commands written in a preset, the set of which has been prepared in advance, with one button. A slide can be enlarged, reduced, moved, stretched to fit the video wall, split into two, and so on.
Sergey Prokhorov:We also have complex presets in which a sequence from the timeline of the switcher is executed with one click of a button, along with commands to the video wall processor or graphics station. That is, a combined effect is obtained that controls several devices at once. At the same time, we organized the IF - THEN logic on the console and can call different scenarios of effects with one button, depending on the current moment.
Broadcast controls - Grass Valley Kayenne XL console panel / Photo: Viktor Vytolsky
- Where do the slides come from?
Kirill Grigoriev:Video materials, pictures, slides - everything comes quickly from the Dalet news computer system, is automatically uploaded to a video server or computer graphics station. Further, the assistant director selects this source at the corresponding additional output - it appears on the video wall.
- That is, the system automatically generates plots?
Kirill Grigoriev:No, the system only loads them. And the director or assistant gives it on the air and on the walls. First, a Rundown (editing sheet) is formed in Dalet, which contains links to videos, pictures, slides, titles. Dalet uploads videos to the playback servers, it also uploads titles to the Vizrt broadcast graphic design system, which is integrated into Dalet and automatically generates titles, then, at the director's command, the assistant displays them on the walls. For this, the server uses a separate port.
- How are these systems connected?
Kirill Grigoriev:By MOS-protocol (Media Object Server Communications Protocol). It allows integrating the Dalet news computer system with studio equipment.
Denis Sevostyanov:Rundown is being built, that is, an assembly sheet, consisting of lines - stories. In each of them everything is integrated: the text for the presenter, which can be edited by editors and then goes to the teleprompter, slides on the video wall, video that is saved to the on-air server. Both the editor and the director can edit the story, change the video or graphics. The title text using this protocol is sent to the Vizrt broadcast graphics system, where there is a corresponding template. The director can view the video and, if necessary, replace it by providing a link to another video.
Kirill Grigoriev:When the prepared Rundown is uploaded on the air, all the videos specified in it are uploaded from the repository to the Omneon on-air server, where all the videos that should be aired within the current hour or the next two are stored.
- Is there a delay between the program and the video wall?
Kirill Grigoriev:Yes, there is a small one - about two frames. It is connected with conversions from "copper" to "optics" and vice versa, since all the equipment is located in another building. Plus a small delay for the image recalculation by the video wall processor.
- What does a video wall consist of?
Robert Reicherd, Head of Visual Display Systems:
We have two types of video walls. The Vtron video wall and Christie MicroTiles are made up of projection cubes and the backdrops use 16mm pitch LED screens. At Vtron, the projector is located at the bottom, through the mirror the image is displayed on the screen from the back. Christie has a smaller mirrorless video cube with a short throw wide-angle projector that displays the image directly on the screen also from the rear. Fresnel lenses are cut on the screen to equalize the brightness. If we compare cubes and LEDs, then cubes have a higher resolution.
Robert Reicherd, Head of Visual Information Systems, RT
- But the LEDs have a higher brightness.
Robert Reicherd:Yes, but we don't need extra brightness. When the LEDs are lowered below the working brightness range, color rendering problems begin. Balance is very important here. Video cubes operate in their brightness range, while LEDs have to dim to 30% of their maximum value.
Kirill Grigoriev:When an LED wall is used, moiré appears in the image, but it is absent on projection cubes.
Robert Reicherd:The LED walls are protected by blur screens, which reduce moiré while reducing image clarity. Projection cubes work on DLP technology (based on a matrix of microscopic mirrors Digital Micromirror Device - DMD). If earlier only 3 LEDs were used as a light source - red, green and blue, now, thanks to the development of technology, 18 LEDs are used in these cubes - 6 for each color. They distribute the load more evenly, give greater brightness and reliability - even if any LED "sags", the rest maintain a constant level of image brightness. Laser projectors are already emerging, but so far there are more questions than answers.
Robert Reicherd:According to the information I have, all LEDs are made in China. And then everything depends on how carefully their party is selected. Therefore, when we talk, for example, about American LED walls, it means that the same LEDs in China were taken by the Americans.
- Video wall is made up of cubes or LED panels. How is it all managed?
Robert Reicherd:There is a video wall processor, it receives input signals. The processor is engaged in the recalculation and formation of output signals, and the video wall controller is responsible for their distribution to each cube. The modular system is very convenient in operation - it is well repaired, modules are easily and quickly changed.
- Is the virtual studio also from Vizrt?
Kirill Grigoriev:Yes, but special projects are filmed in it. The tracking system, based on infrared cameras located along the perimeter under the ceiling, provides automatic positioning of virtual scenery relative to the position of the cameras. The cameras are equipped with special antennas. When moving cameras and scaling the image, the virtual studio system "guides" the scenery accordingly.
Central television control room 1. Control room, containing switching synchronization, communication and control equipment, designed for interconnection of control rooms that are part of the hardware-studio complex of television
Used in the document:
GOST 21879-88Broadcast television. Terms and Definitions
Telecommunication Dictionary. 2013 .
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