AVIXA course maps lens-to-screen workflow for AV and broadcast
AVIXA course covers lens-to-screen workflow with Diversified, EVS support.
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Key takeaways
A corporate studio held to a network control room's standards for reliability and timing needs staff who understand every step between the lens and the screen.
For technology managers, a free preview of the opening module is a low-cost way to check whether the course fits their own room's capture-to-display chain before enrolling a team.
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The bar those rooms have to clear is what gives the course its point. Nathan Volchko, director of intake and bid desk at Diversified, which helped build it, said in AVIXA's announcement that the reliability, timing and quality expected in a network control room now apply just as much in a corporate studio, a house of worship or an arena. A corporate studio held to a network control room's standards for reliability and timing needs staff who understand every step between the lens and the screen.
Inside the lens-to-screen syllabus
The course uses practical examples to tie together the decisions made at each stage of production. Those examples show how a choice made upstream shows up later in system performance and in what the viewer sees. The course also covers the people and processes at each stage, along with the technology.
The audience is deliberately mixed: pro AV staff, broadcast staff and newcomers to what AVIXA calls integrated media environments. Inavate's write-up highlights the communication goal. The course is meant to give these groups a shared vocabulary so they can work across teams and make better-informed decisions, with the end goal of planning, operating and supporting converged systems day to day.
In AVIXA's usage, "glass-to-glass" is the complete workflow from the camera lens that captures content to the screen where a viewer watches it. The course treats that chain as one system, so a decision at capture is judged by its effect at display.
Pam Taggart, AVIXA's vice president of content creation, thanked Diversified for backing the course through its development and launch. She also credited EVS for its support of the program and for a continuing commitment to professional education across the AV and broadcast industries. According to Diversified, it drew on its experience designing and delivering these systems to build the training. Taggart said organizations are finding that they need interdisciplinary professionals, and she described the course as a sign of AVIXA's commitment to getting professionals ready to operate and support the industry as it stands today.
EVS's vice president of business development, Matthew Morgan, described the gap in similar terms. The skills these environments need are changing quickly, he said, and the industry has lacked an educational bridge that links the disciplines and explains the complete media workflow. Diversified's voice on the launch is Nathan Volchko, its director of intake and bid desk, who said the line between broadcast and pro AV has all but disappeared. A comment from that role suggests the language gap between AV and broadcast could matter well before anyone starts installing equipment.
InfoComm already had broadcast on the show floor
On one part of the InfoComm exhibition floor, broadcast systems, control platforms, displays, collaboration tools, audio and graphics were shown running as one fully integrated technology stack. Everything was synchronized to power live events, dynamic sports and entertainment. The course works like a classroom version of that exhibit. It covers the same convergence, one stage at a time, for the people who will have to operate it once the show is over.
According to Kiosk Industry, Helen Matthews, senior market analyst at Futuresource Consulting, gave the InfoComm Show Daily the structural picture. She noted that broadcast and pro AV used to be distinct industries, each with its own vendors, customers and operating models. The two are now converging, as the show floor made clear. Buyers may end up dealing with two sets of vendors and two vocabularies at the same time.
Does automation shrink the skills gap?
The course's design may point to an answer. From acquisition to distribution, it provides practical examples that connect the decisions made at every stage of production. Automation could take over tasks while leaving those decisions with humans. For operators, that could mean people still decide on acquisition, production and distribution, and need to know how each decision affects system performance and the viewer experience. That suggests the two trends fit together, though the sources don't settle how much engineering work automation will actually absorb in a given room.
A corporate studio held to a network control room's standards for reliability and timing needs staff who understand every step between the lens and the screen.
Where the course lands first
AVIXA names corporate studios, live events and higher education, and Diversified's Volchko adds houses of worship and arenas. The course could matter most for organizations that built a studio or production space with an AV team and no broadcast background, or that brought broadcast hires into an enterprise AV group. In both cases the issue is people from two backgrounds working on one system, and that is the problem the course says it addresses.
For a training manager, the practical first step is the free preview of the course's opening portion, available alongside the full course on AVIXA's training site. AVIXA also maintains a broadcast AV resource hub with webinars and articles.
Before enrolling a team, map your own room from camera to display and check the preview against it. If the course's stages line up with where your handoffs between AV and broadcast staff happen, it's worth the seat time.
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