Live Streaming Tutorial
TECHNICAL REQUIREMENTS
There are a few areas, which need to be planned and prepared to be able to broadcast a live stream through the Internet to various outlets.
Internet Connection
Speed
This area is critical since it has a major impact on the stability and quality of your broadcast.
Usually when ordering an Internet connection, the Internet service provider describes the speed of your connection as "download speed" and "upload speed" in Kb/s (kilobits per second) or Mbps (megabits per second). During your broadcast a large amount of data is transferred from your computer to Lightcast's live streaming network, which is why the upload speed is the most important figure.
Depending on the quality and type of your Internet connection (shared or dedicated line) the upload speed mentioned by your Internet service provider may be just a theoretical value. It is important to check your real current upload speed by using a tool like http://www.speedtest.net
Stability
While performing the speed test please be sure that no one except you is using your Internet connection. This check is of course even more important while you are broadcasting, so no one can interrupt your data transfer.
Using wireless networks is also a typical source of instability. We therefore recommend the use of a cable connection.
Maximum Broadcasting Bandwidth
In order to configure your broadcast and to select all broadcast parameters you have to know your maximum broadcasting bandwidth. We recommend that you determine this value according to the following calculation:
"Maximum broadcasting bandwidth" = "Upload speed from speedtest.net" / 2
Example: If your "Upload speed from speedtest.net" is 960 kbit/s then your "Maximum broadcasting bandwidth" will be 480 kbit/s. This will put you on the safe side regarding volatility of your Internet connection speed and variable bitrate fluctuations of your streams.
**Please note: If you will be broadcasting with an audience in attendance (i.e. concert, sporting event, religious service, etc.), we highly recommend doing a second speedtest right before your initial broadcast and adjust any settings as needed.
Camera
The simplest way of generating the audio/video signal ot broadcast is a consumer camera with built-in microphone, connected to your computer e.g. through high speed USB or HDMI.
Of course, there are more sophisticated ways like generating a feed from multiple cameras and microphones by using a sound- or video-mixing console. If you want to generate a professional broadcast, the Lightcast video experts are happy to assist you in choosing and setting up the right equipment.
Encoder
Since the raw video signal of a camera is too large for Internet broadcast, it needs to be encoded first.
The easiest way to get this job done is to use a computer with the processing power of modern CPUs and a software tool, which encodes and transmits it to Lightcast's live-streaming server network. This option, including a guideline for choosing the right computer hardware, is discussed under "Software Encoder."
When broadcasting your stream in HD or in 2 or more qualities parallel, software encoders usually come to their limits. If your computer is strong enough, you should be able to reach HD quality or even send 2 parallel streams. However, if you really want to reach great encoding quality in such high performance situations we recommend the use of a hardware encoder discussed in section "Hardware Encoder."
Software Encoder
Most users without special requirements, such as mixing multiple video signals or adding visual effects inside their encoding software, use a free software tool. See suggestions for Software Encoders at: http://support.lightcast.com/163092-Does-Lightcast-require-or-recommend-specific-Live-Encoders-for-the-use-with-its-CDN
In section "Encoder Configuration," we will provide you with the entire configuration process when using a software encoder. Lightcast recommends the separation of video mixing/video editing/visual effects with dedicated video hardware (mixer, switcher) and the encoding process, through a dedicated encoding PC or Mac, exclusively for the encoding of your “ready-to-broadcast” video feed.
When using a software encoder it is important that your computer has a powerful CPU and at least 4GB of RAM. We recommend using a new computer, dedicated only to streaming and video editing. Try to avoid running any other applications like anti virus scans during your broadcast and make sure your computer has all necessary permissions in your LAN network. Avoid WiFi connections since they are less stable than cable connections and bear additional risks around your WiFi router. Try to set up your computer closely to your camera or video mixer in order to avoid quality losses and risks through avoidable cable distances.
Hardware Encoder
Hardware encoders are devices, which are designed for the special use of high performance video- and audio-encoding, but are usually more expensive than a computer with a software encoding tool.
See suggestions for Hardware Encoders at: http://support.lightcast.com/163092-Does-Lightcast-require-or-recommend-specific-Live-Encoders-for-the-use-with-its-CDN
ENCODER CONFIGURATION
This section describes the configuration process of your live stream. After discussing how to choose the right video and audio codec, as well as the right video and audio bitrates, we will show an example configuration process with our recommended software encoding tool "Wirecast."
Recommended Encoder Settings
Lightcast has the following recommended encoder settings to ensure that your stream produces the best quality depending on your needs:
- Lightcast recommends the codec "h.264: Baseline Level 3.0, Baseline Level 3.1 (most preferred) or Main Level 3.1" due to its supreme quality/compatibility ratio, as well as its compatibility with mobile platforms including iOS. Please note that your live streams will only be visible on iOS devices (iPhones 3GS or newer) with the "h.264 Baseline Level 3.1" video codec. If you want to support the first generation of iPhones (3G version) as well, please select the h.264 Baseline Level 3.0 video codec.
- Lightcast's advanced CDN service and live-streaming technology automatically adapts to each viewer's available bandwidth. Please keep in mind that mobile devices are frequently used with 3G or 4G mobile data connections (in cars, on the road, on the street, in restaurants, cafes, etc...) and therefore have limited data transfer available. This can result in a limited user experience in certain cases, such as a black screen (without video feed), choppy video transmission, re-buffering or audio transmission only.
- Use 25 or 30 frames per second.
- Use AAC Audio Codec.
- Ensure that your input resolution is either higher or the same as your output resolution.
- Ensure that your width and height meet the requirements for your desired Screen Aspect Ratio of either 16:9 or 3:4.
- You can calculate what your height and width should be for your desired aspect ratio at https://calculateaspectratio.com/
- Please ensure that your upload bandwidth for the network connection your encoder uses is at least twice as much as the combined audio and video bandwidth of all the streams you are sending.
- Ensure that your bitrate is not too high or low for your stream resolution.
Please view our Recommended Encoder Settings Table below for all other recommendations for encoder settings depending on your desired resolution and bitrate:
Recommended Settings for Live Streams
(For Multi-bitrate High/Medium/Low Qualities: Choose 2-3 qualities from the options below)
Please keep in mind that the bitrate settings of your live stream will directly affect your bandwidth consumption. For more information, please click here.
Combined Audio/Video Bitrate | Video Bitrate | Output Width | Output Height | Input Height and Width | Aspect Ratio | Frames Per Second | Key Frame Every __ Frames | Keyframe Interval | Video Codec | H.264 Profile | Level | Audio Codec | Audio Bitrate | Audio Sample Rate | |
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
2160p/4K | 13,192 - 34,192 Kbps | 13,000 - 34,000 Kbps | 3840 pixels | 2160 pixels | Same or Higher than Output Resolution | 16:9 | 30 or 60 | Double whatever your Frames Per Second is | 2 seconds | h.264 | Main | 3.1 | AAC | 192 Kbps | 44.1 or 48 kHz |
1080p/Full HD | 5,192 - 8,192 Kbps | 5,000 - 8,000 Kbps | 1920 pixels | 1080 pixels | Same or Higher than Output Resolution | 16:9 | 30 | Double whatever your Frames Per Second is | 2 seconds | h.264 | Baseline or High | 3.1 | AAC | 192 Kbps | 44.1 or 48 kHz |
720p/HD | 2,128 - 2,628 Kbps | 2,000 - 2,500 Kbps | 1280 pixels | 720 pixels | Same or Higher than Output Resolution | 16:9 | 30 | Double whatever your Frames Per Second is | 2 seconds | h.264 | Baseline or High | 3.1 | AAC | 128 Kbp | 44.1 or 48 kH |
480p/SD | 1,396 - 1,696 Kbps | 1,300 - 1,600 Kbps | 854 pixels | 480 pixels | Same or Higher than Output Resolution | 16:9 | 30 | Double whatever your Frames Per Second is | 2 seconds | h.264 | Baseline or High | 3.1 | AAC | 96 Kbps | 44.1 or 48 kHz |
360p | 696 - 896 Kbps | 600 - 800 Kbps | 640 pixels | 360 pixels | Same or Higher than Output Resolution | 16:9 | 25 or 30 | Double whatever your Frames Per Second is | 2 seconds | h.264 | Baseline or High | 3.1 | AAC | 96 Kbps | 44.1 or 48 kHz |
4:3 Aspect Ratio Settings
Combined Audio/Video Bitrate | Video Bitrate | Output Width | Output Height | Input Height and Width | Aspect Ratio | Frames Per Second | Key Frame Every __ Frames | Keyframe Interval | Video Codec | H.264 Profile | Level | Audio Codec | Audio Bitrate | Audio Sample Rate | |
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
720p/HD | 1,671 - 2,071 Kbps | 1,575 - 1,975 Kbps | 960 pixels | 720 pixels | Same or Higher than Output Resolution | 4:3 | 25 or 30 | Double whatever your Frames Per Second is | 2 seconds | h.264 | Baseline or High | 3.1 | AAC | 96 Kbps | 44.1 or 48 kHz |
480p/SD | 796 - 1,196 Kbps | 700 - 1,100 Kbps | 640 pixels | 480 pixels | Same or Higher than Output Resolution | 4:3 | 25 or 30 | Double whatever your Frames Per Second is | 2 seconds | h.264 | Baseline or High | 3.1 | AAC | 96 Kbps | 44.1 or 48 kHz |
Bitrate-Adaptive Cloud Transcoding: Choose ONE Quality from the Options Below
Combined Audio/Video Bitrate | Video Bitrate | Output Width | Output Height | Input Height and Width | Aspect Ratio | Frames Per Second | Key Frame Every __ Frames | Keyframe Interval | Video Codec | H.264 Profile | Level | Audio Codec | Audio Bitrate | Audio Sample Rate | |
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
1080p/Full HD | 9,192 - 10,192 Kbps | 9,000 - 10,000 Kbps | 1920 pixels | 1080 pixels | Same or Higher than Output Resolution | 16:9 | 30 | Double whatever your Frames Per Second is | 2 seconds | h.264 | Baseline or High | 3.1 | AAC | 192 Kbps | 44.1 or 48 kHz |
720p/HD | 5,128kbps - 6,128kbs | 5,000 - 6,000 Kbps | 1280 pixels | 720 pixels | Same or Higher than Output Resolution | 16:9 | 30 | Double whatever your Frames Per Second is | 2 seconds | h.264 | Baseline or High | 3.1 | AAC | 128 Kbps | 44.1 or 48 kHz |
Recommendations for Key Frame Settings
Lightcast recommends setting the KeyFrame interval to 2 seconds. Especially publishers who intend to publish to Facebook and YouTube, or publishers who are using the LIVE-to-VOD CDN recording feature, a lower key frame rate will improve the performance and stability when live streaming to Facebook and YouTube, or when recording the stream.
Recommendations for Linear Streams
In order to make sure that your LIVE Stream will work on all the different devices you are streaming to, we recommend the following:
- Use a high-end hardware live encoder colocated in a professional data center with power backup, redundancies and sufficient bandwidth available.
- Not recommended: low-end software encoders running on PC or MAC computers, located in an office or residential environment.
- Delivery of multiple bitrates, including at least one bitrate below 1 Mbit.
- If only one bitrate can be sent: send a bitrate well below 1 Mbit in your own best interest.
These recommendations have nothing to do with limitations of the global LightcastCDN, but with limitations of the publisher's encoder, network, environment, internet speed - all factors around the live encoder - which is the weakest, and most error-susceptible, link in the chain of signal flow.
Important: Finding the Right Video and Audio Bitrates
It is crucial to choose the right bitrates for your stream to enable a seamless transfer of your broadcast to Lightcast's live-streaming server network on one hand and a fluent viewing experience for your audience on the other hand. Therefore, the sum of your selected video- and audio-bitrates must be lower than your viewers' internet connection download speed so that the viewers can see the video and hear the audio fluently, without interruptions. Also, the sum of all your streamed bitrates needs to be lower than your "maximum broadcasting bandwidth" so that they can be transferred seamlessly to Lightcast's live-streaming server network. Please note that the "maximum broadcast bandwidth" is not equal to the “promised upload bandwidth” your Internet service provider promised when selling you their service. Please refer to section "Internet Connection" for details on this.
Example: If your "maximum broadcasting bandwidth" is 500 kbit/s you can broadcast a video stream of 400 kbit/s and an audio stream of 64 kbit/s, a total of 464 kbit/s, which is lower than 500 kbit/s.
It is a simple calculation if you send a single stream, but Lightcast supports two nice features, which make this calculation a bit more complex.
Backup Stream
Lightcast gives you the option to send your stream either to one “entry point” of Lightcast’s media server network or to two independent entry points at the same time.
Sending the stream to two independent entry points of Lightcast server network increases the stability in case there is a routing problem to one of the servers – locally in your area or somewhere along the route between your streaming location and the closest Lightcast entry point. The disadvantage is that it doubles the used upload bandwidth at your streaming location.
This means that you should only use this feature if you have enough "maximum broadcasting bandwidth" left for a backup stream!
Example: If your "maximum broadcasting bandwidth" is 1000 kbit/s (meaning that your “upload bandwidth promised by your internet provider” is 2000 kbit/s) you can broadcast a video stream of 400 kbit/s and an audio stream of 64 kbit/s while using the Backup Server feature, which leads to a total of 464 kbit/s x 2 = 928 kbit/s which is lower than 1000 kbit/s.
Streaming with Different Qualities/Bandwidths
If you have enough computing power and enough "maximum broadcasting bandwidth" you can encode two versions of your stream, in two different qualities and bandwidths. This will support viewers with lower Internet connection speeds with a lower quality stream enabling them to watch without interruptions. At the same time, viewers with high Internet connection speeds and powerful CPU or graphics card processor are able to enjoy a high quality stream. When streaming two different qualities please also check the CPU usage on your encoding computer. Two parallel encoded streams can easily max out your CPU, which can lead to interruptions in both streams.
In this case we have to sum up all single bitrates you generate.
Example 1a (without parallel stream to a backup server / 2nd entry point):
Video bitrate of low quality stream | Audio bitrate of low quality stream: | Video bitrate of high quality stream: | Audio bitrate of high quality stream: | Total: |
---|---|---|---|---|
200 kbit/s (resolution: 320x180, 16:9) | 48 kbit/s (mono, 44100Hz) | 500 kbit/s (resolution: 640x360, 16:9) | 96 kbit/s (stereo, 44100Hz) | 844 kbit/s |
This scenario would work for you if you have a "maximum broadcasting bandwidth" higher than 844 kbit/s (and a “promised upload bandwidth” of at least 1600 kbit/s from your Internet provider).
Example 1b (including parallel stream to a backup server / 2nd entry point):
Video bitrate of low quality stream | Audio bitrate of low quality stream: | Video bitrate of high quality stream: | Audio bitrate of high quality stream: | + sending everything parallel to backup server (x2) | Total: | |
---|---|---|---|---|---|---|
200 kbit/s (resolution: 320x180, 16:9) | 48 kbit/s (mono, 44100Hz) | 500 kbit/s (resolution: 640x360, 16:9) | 96 kbit/s (stereo, 44100Hz) | . | 1688 kbit/s |
This scenario would work for you if you have a "maximum broadcasting bandwidth" higher than 1688 kbit/s (and a “promised upload bandwidth” of at least 3200 kbit/s from your Internet provider).
Example 2a (without parallel stream to a backup server / 2nd entry point):
Video bitrate of low quality stream | Audio bitrate of low quality stream: | Video bitrate of medium quality stream: | Audio bitrate of medium quality stream: | Video bitrate of high quality stream: | Audio bitrate of high quality stream: | Total: |
---|---|---|---|---|---|---|
200 kbit/s (resolution: 320x180, 16:9) | 48 kbit/s (mono, 44100Hz) | 500 kbit/s (resolution: 640x360, 16:9) | 96 kbit/s (stereo, 44100Hz) | 1000 kbit/s (resolution: 960x540, 16:9) | 128 kbit/s (stereo, 44100Hz) | 1972 kbit/s |
This scenario would work for you if you have a "maximum broadcasting bandwidth" higher than 1972 kbit/s (and a “promised upload bandwidth” of at least 4000 kbit/s (or 4 Mbit/s) from your Internet provider).
Example 2b (including parallel stream to a backup server / 2nd entry point):
Video bitrate of low quality stream | Audio bitrate of low quality stream: | Video bitrate of medium quality stream: | Audio bitrate of medium quality stream: | Video bitrate of high quality stream: | Audio bitrate of high quality stream: | + sending everything parallel to backup server (x2) | Total: | |
---|---|---|---|---|---|---|---|---|
200 kbit/s (resolution: 320x180, 16:9) | 48 kbit/s (mono, 44100Hz) | 500 kbit/s (resolution: 640x360, 16:9) | 96 kbit/s (stereo, 44100Hz) | 1000 kbit/s (resolution: 960x540, 16:9) | 128 kbit/s (stereo, 44100Hz) | . | 3944 kbit/s |
This scenario would work for you if you have a "maximum broadcasting bandwidth" higher than 3944 kbit/s (and a “promised upload bandwidth” of at least 8000 kbit/s (or 8 Mbit/s) from your Internet provider).
Recommendations
The recommended bitrates depend on your "maximum broadcasting bandwidth" and on the minimum Internet connection speed of your audience. The "maximum broadcast bandwidth" is not equal to the “promised upload bandwidth” your Internet service provider sold you. Please refer to section "Internet Connection" for details on this.
Provided you have sufficient "maximum broadcast bandwidth" Lightcast recommends the streaming of two different qualities with the settings described in Examples 1a, 1b, 2a and 2b in section "Streaming with different qualities/bandwidths." When streaming two different qualities, please also check the CPU usage on your encoding computer. Two parallel encoded streams can easily max out your CPU, which can lead to interruptions in both streams.
If you do not have sufficient "maximum broadcast bandwidth" for using the backup server or the multiple bitrate streams feature, we recommend using 400 kbit/s as video bitrate and 96 kbit/s as audio bitrate with a resolution of 640x360 when using 16:9 screen format. If your primary audience is expected to have poor or volatile Internet connections (e.g. in developing regions or watching with mobile devices via 3G/4G or in public WiFi networks), we recommend that you lower the bitrate settings and run some tests with your viewers well in advance of your first major broadcast event.
PRELAUNCH CHECKLIST
Your Checklist
- Create LIVE Events in your Lightcast LIVE Channel Event Manager.
- Why is this important? Simply because…
- your events should be announced on the player with a countdown.
- you will receive separate viewing stats per LIVE event.
- if you are a CROSS.TV user, your LIVE event will also be published and promoted on CROSS.TV under “Videos – Live Channels” which gives CROSS.TV Users the possibility to watch your LIVE event and it increases your audience.
- it gives search engines a chance to find and list your events as well.
- Why is this important? Simply because…
- Embed your LIVE Channel Player on your own Websites, Blog Sites, Facebook and on other Social Sites for maximum exposure.
- Tell your friends, partners, contacts and members about your LIVE Stream and ask them to embed your LIVE Channel Player on their Websites and Social Sites as well in order to extend your reach even further.
- Simulate and test your streams as often as possible on location at the event venue under real event conditions.
- Test the Internet connection a couple of times prior to the event. Open a browser, then go to www.speedtest.net and reassure yourself of the available upload speed on location.
- Ask someone offsite to check the test stream. If you are attempting to test the broadcast at the venue by watching it there on location, please keep in mind that you are using the same Internet connection you are broadcasting out with.
- Make sure you have sufficient Internet bandwidth available at the time of your event. Even basic Internet activities (web browsing) and e-mail uses vital bandwidth. This is why we recommend a dedicated broadband connection.
- Turn off all applications on the encoder PC other than Flash Media Live Encoder. Instant messengers, browser pages, Outlook, virus scans, etc… can drain your PC’s/Mac’s CPU and RAM resources, as well as limit the Internet bandwidth available to your live stream.
- Make sure you have enough battery power if you are using a laptop in battery mode.
- Make sure you have enough battery on your cameras if you are using them in battery mode.
- If you are using cameras with a tape recorder, make sure there is a tape in the camera, as some camera models require it for flawless operation.
- Check the sound quality and volume coming from your audio mixing board, on both the encoding PC and in a LIVE Channel Player. That way you can make sure that there is no technical factor in your setup, which could potentially distort the sound or lower its volume. Adobe Flash Media Live Encoder displays a volume meter on the left side next to the screen. We recommend using an additional sound compressor or maximizer/limiter in order to deliver a stable volume while avoiding noise of peaking audio signals and overdrive.
- Check the lighting: Turn on all stage lights which will be used during the event, hold up a white piece of paper in the center of the stage for thirty seconds and do a white balance on all your cameras.
- Move distracting objects behind the speaker (usually in the center of the stage) to the side of the stage/out of the picture if at all possible. Especially the area behind the upper body and head of the speaker should not be impaired optically by objects directly behind it which can result in the distraction of users and reduction of the aesthetical value and professional appearance of your picture.
- Make sure the location of the encoder is away from possible obstructions and high traffic areas, in order to avoid cable tripping and other accidents. Know your surroundings! Whether you broadcast from an indoor or outdoor location - just make sure your surrounding area is safe for both the encoder and for your camera equipment. Try to set up both the camera hardware and your encoder in a safe, guarded place, protected against vibration, theft, weather, and accidents caused by event attendants.
- If you choose to purchase more than one LIVE Channel, you have the possibility to stream with different bandwidths at the same time. For example 300 kb/s, 500 kb/s and 1 Mbit/s. Streaming with different bandwidths offers your viewers more flexibility in choosing their preferred bandwidth. Keep in mind that you need to have a higher "maximum broadcasting bandwidth" at your streaming location when choosing to stream with different bandwidths than with only one stream. The "maximum broadcast bandwidth" is not equal to the upload bandwidth promised by your Internet service provider. Please refer to section "Internet Connection" and "Streaming with different qualities/bandwidths" for further details.
Tips for your Broadcast
- If you choose to stream with only one camera we recommend that you use a simple digital video camera on a stable tripod bringing it to eye-level with the speakers and artists on stage (if necessary use a little platform) and as close to the audio mixer as possible. Many live streaming clients start out with a single or even uncrewed camera, but usually make it a goal to train 2-3 people who can rotate as camera operators and can fully concentrate on their job during the LIVE stream.
- At the beginning of your event: start fully zoomed out (long shot) and slowly zoom in on the main actors (speaker, worship team). Towards the end of the event, slowly zoom back out again to show your viewers the venue you are in as well as some live-audience on location.
- Caution camera operators: keep thinking ahead! What will the artists/speakers on stage do next? Be prepared to pan, tilt, and zoom ahead of time.
- Focusing on a speaker: zoom out shortly before the speaker enters the stage and then zoom in on the speaker. Keep the face of the speaker as large as possible throughout 90% of the broadcast (“Close-Up” or “Semi-Close-Up”). Allow for just the right amount of “head space” (apx. 2-5% of the total picture height). Keep in mind that fast-moving speakers/artists require additional concentration on the part of the camera operators, in order not to “escape the picture.”
- On-stage language translations: with a live interpreter present choose to EITHER focus on the main speaker exclusively, or both on main speaker and interpreter. Never “cut” the interpreter “in half.”
- Closing shot: If possible, slowly fade out both sound and picture. (Slowly close the camera aperture until the picture is black, or, if you have a video mixer, use it to fade out.)
- Check if a LIVE Event has already been created for the following recording. Please note that because of buffer and caching (necessary to increase the streamability for users), it can take up to 60 minutes until the countdown to the next scheduled LIVE Event is displayed on your LIVE Player.
- If you chose to record your live stream to your local hard drive, you can open the saved video file in a video editing software (e.g., Final Cut) on the same computer to add titles, lower third, and other graphics, as well as an optional opener at the beginning and closing credits at the end of the video. To make the video available on demand, upload it into one of your VOD Channels.
- Optionally, you can publish your VOD Channels “TV Show Channel” on CROSS.TV (the largest faith-based social media community) and embed the VOD Channel content playlists on as many websites as you like with Lightcast’s intelligent VOD Players and Media Center embed tools. New uploads automatically appear on top of the playlist. The order of each VOD Channel’s playlist can be modified manually.
- It is recommendable to develop your own TV-Show designs and branding with your TV-Show’s name and logo. We encourage every LIVE broadcaster to record live streams locally and to upload them as on-demand video into a VOD Channel even if they are not edited. This allows for your valuable content to be made available to more viewers regionally and worldwide, and it enables excited viewers to share the videos (or TV-Show) with friends (thus allowing your content to “go viral”). VOD uploads are just as important as LIVE Streaming, and the impact of Video On Demand should not be underestimated, as they attract search engines and enhance the search engine and social visibility of websites with integrated VOD content.
TROUBLESHOOTING
1. Publisher Side
There are 4 major areas which have plenty of failure potential:
1.1 Capture Devices
Most publishers have a fantastic setup of production equipment – the “Capture Devices.” This is the area with the least amount of failure potential among experienced production houses and broadcasters.
1.2 Encoder
There are typically 3 types of encoders: Lightcast Encoders, Third-Party Hardware Encoders, Self-Built Encoders.
- Lightcast Encoders: Publishers who use a Lightcast Encoder have 0 liability in this area and an extremely low risk of failure in this area.
- Third-Party Hardware Encoders: Publishers who invested into a professionally built and configured third-party hardware encoder have a very low risk of failure in this area, once the encoder has been configured correctly.
- Self-Built Encoders (often the cheapest entry-level solution): Publishers using a software encoder on a PC or Mac (a self-built encoder setup) are affected the strongest in this area and bound to troubleshoot their encoders on a regular basis. Even small, unnoticed software changes (in the operating system, drivers, software updates, software for other use of the computer, etc…), can have an immediate effect on the performance of the software encoder, or the input and output hardware connection. If you plan to use a self-built encoder, ensure that your team includes staff with the ncessary expertise to build, maintain, and troubleshoot the setup. This expertise should be readily available at all times to address any issues that may arise.
1.3 Local Network
This area often bears underestimated risks with plenty of failure potential. It starts with the connection: how is your encoder connected? Via cable or via WiFi? What is the setup of your LAN (computer) network? Your network may include: switches, hubs, routers, cables, plugs, wall-sockets. Have a professional system administrator setup, maintain and check on your local computer network.
1.4 Internet Service Provider
Often a very frustrating area of failure potential, as it is beyond anyone’s control and ISPs are often unreachable, or customer support unable to help, or unknowledgeable in regards to live-streaming requirements. In most cases, anyone you can reach at an ISP is completely unaware of possible connection issues within their network. As the signal of your live-stream leaves your building, it can travel to the CDN’s access point (the CDN’s POP location where you decided to ingest your live-stream into the CDN) through different routes. Along the route of the signal there are different hubs and proxy servers with potential bottle-necks and connection problems. Your ISP most likely does not own the cable networks along the entire way, but usually has to pass the signal along to third-party cable networks. There are usually several hubs along the way which can hold up the flow of the signal. Pulling a trace-route shows you all hubs along the way and the delay times of each hub. It will allow you to detect the bottle-necks where the signal is being slowed down too much in order to ensure good streaming performance. You should send the trace-route data to the highest possible level of tech-support you can get a hold of at your Internet Service Provider and put enough pressure on them to be willing to work on eliminating the delays of the signal flow.
2. CDN Side
You may wonder why “Server Uptime” is the only item on the list for this area. The reason is simply that your streaming service provider simply “mirrors” the live-stream signal it receives from your encoder. It usually does not change the format, resolution, quality, codec of the stream, but simply makes it available to a multitude of concurrent viewers. Therefore, the uptime of the streaming servers is your CDN's foremost responsibility and focus.
If the streaming servers go down, your stream will be down – entirely. There is no “grey zone.” Your live-stream is either up or it isn’t if your streaming provider’s servers are down. It is therefore crucial not to use a single-point streaming provider, but a multi-site CDN (Content Delivery Network), which is a cloud-server-network with multiple server locations. The redundancies within a CDN ensure the highest possible level of uptime guarantee. The more server locations a CDN provides (AKA “nodes”), the lower the risk for a network-wide “meltdown.”
There are generally two types of CDNs (“streaming-cloud-networks”): regional CDNs and global CDNs. Regional CDNs have multiple server locations within a region (country or continent), with up to 5 locations (nodes) usually. Global CDNs are larger with usually more than 10 locations (nodes) distributed around the globe for increased stability and performance. The probability of a server-side downtime is close to zero if you are using a global CDN.
3. User Side
There are 5 major factors which can cause usability issues on the user’s end:
3.1 Device
Given the vast array of devices, browsers, operating systems, and protocol standards, it is simply impossible to guarantee 100% compatibility with every device and software setup on the planet. However, it has to be the highest goal to achieve the maximum of device compatibility. This is why using the correct codec and following the live-streaming setup guide is crucial. That’s about all you can do. There will always be viewers whose devices encounter issues, whether due to outdated software, compatibility conflicts, hardware limitations, or an inability to connect to or maintain a live-stream. Despite all measures taken to keep this number as low as possible, a certain remnant of users with device issues is to be expected.
3.2 Local Network
Just like on your side as a publisher, the user’s connection is subject to a local network, too. Although less extensive, each user has a local hardware and software setup which may include cable connections, router, WiFi hub.
3.3 Cell Phone Networks
Cell Phone Networks are among the most volatile ways to connect to the internet, thus among the riskiest types of connections to watch a live-stream. While it may be possible in many cases, being subject to many different influences, a data connection of a cell phone network can easily drop from one second to the next. This is especially true on the road while between cell phone towers, in certain regions with limited coverage of a particular network, or in busy places where a network is used by a multitude of clients at the same time.
3.4 Internet Service Provider
They often tend to be large cable companies, spoiled with tens of thousands of clients, or with a monopoly in a specific region. In many cases, it is very hard to receive a decent level of knowledgeable customer care. Your viewers are subject to the same need for reliability and stability of the local ISPs cable networks, hubs, connections, proxy servers and signal routes, as you are as a publisher on your end. Small glitches in the network, a temporary slow-down, or a hardware update somewhere within the ISP’s cable system, can interrupt a viewer’s internet connection just enough to lose the connection to a live-stream. If this happens sequentially, it can – understandably – lead to frustrations on the viewer’s end.
3.5 Knowledge
Not every user who attempts to view a live-stream has the same knowledge-level in the area of technology, computers, smart phone devices, tablets, or local WiFi and internet connections. It is important to understand the possible limitations in the area of tech-skills and knowledge. In some cases, it may be enough to point to the user manuals of devices used. In some cases, the viewer may need assistance from a tech-savvy individual to troubleshoot the issue or might need to contact his/her local ISP for support.
4. Final Summary and Troubleshooting Advice
Unlike with areas 1 and 2, area 3 the “User Side” only results in singular cases. If anything happens on the publisher-side or on the CDN-side, the streams are down for everyone.
This is how you can distinguish whether a reported viewer-issue is on the viewer’s end, or on yours or your CDN’s side:
- Ideal Case: you cannot see (reproduce) the issue your viewer reports.
Cause: the issue is on the user side.
Solution: you might be able to assist him/her by pointing out the different possible root causes for the problem (as described above under “User Side”).
Why is this case “ideal”?: because it only affects a limited number of viewers.
- Not-Ideal Case: you can see (reproduce) the issue your viewer reports, but the streams are generally up and running. The streams just look like they are “jumping” or “buffer” frequently.
Cause: the issue is on your side (the “Publisher Side”).
Solution: read through the possible causes as described above under “Publisher Side,” and systematically rule out each potential source of conflict step-by-step.
Why is this case “not so ideal”?: because it affects all viewers, but at least you can do something about it. The cause is in an area you have control over – which gives you a crucial advantage.
- Worst Case: you can see (reproduce) the issue your viewer reports, but the streams are entirely down long-term. The players remain black.
Cause: the issue is either on the CDN side or your side (in case your encoder establishes no connection at all, or does not broadcast a valid signal).
Solution: check that your encoder is connected to a valid access point (POP) of the LightcastCDN and that it is sending a valid signal (correct codecs and your encoder is configured according to the Lightcast Livestreaming Manual). Open a Support Ticket in the Lightcast Support Center first, then give us a call right after. Why? The Support Ticket will go straight to the correct person at Lightcast – an engineer who can actually do something about it. Calling first may delay the process, as your message must be relayed to the appropriate department. It is crucial that Lightcast Tech Support receives your ticket directly from you, along with as much detailed technical information as possible, rather than relying on a receptionist to convey your issue. Support Tickets instantly show up on the screen of the appropriate person and can instantly be worked on.
Why is this case a “worst case”?: because it affects all viewers and it is something outside of your, or your ISP's, areas of control. That said, this is the least likely case, as the CDN’s internal redundancies and automated signal routing, as well as the number of servers and nodes, is among the most solid on the planet today. It is a Tier-1, high-performance, high-security CDN and the downtime is practically 0.