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IMPLEMENTATION OF AVoIP LIVE BROADCASTING TECHNOLOGY

Chapter One: BACKGROUND OF THE HOSTING COMPANY 1.1

INTRODUCTION

The Cameroon Radio Television stands on foundational principles. Its roots are ever deep in keeping with its high demand for excellence. Therefore a good understanding of its background information is necessary to appreciate the services it offers. This chapter presents the vision, mission, core values, quality assurance, structure and services offered by the CRTV, among others.

1.2

THE VISION OF CRTV

Pic 1: CRTV Television Station Every individual, group of persons or institutions must have a vision that will keep it strong and enable it achieve its goals. It is the same with the CRTV. However, to understand a vision, we should firstly understand the circumstances around its genesis. The CRTV is a public institution with industrial and commercial character that deals with the audiovisual, meaning that it offers radio and television services to the world. Its goal is to put the audiovisual to the service of national construction. With the advent of technical and technological mutations, the Cameroon Radio Television, in keeping with its talents and pride, is compelled to adhere to these changes. The rapid growth of internet consumption and international standards is pushing all audiovisual institutions in the nation to emerge on scale BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

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to keep in touch with the outrageous trends. The public tarries for a dynamic and effective radio and TV channel that satisfies all their dreams and expectations with regards to information, education, culture, sports, entertainment and many key criteria, all in truth and veracity. Therefore it is imperative for this wonderful audiovisual institution that is CRTV, to serve the needs of this hungry public that is ready to be fed on the table of concurrent channels. The world also dreams of a radio channel that is up-to-date and in close touch to the latest trends and moves that manifest in the nation in particular and in the world in general. With the rupture of TV monopoly in 1990, the CRTV, mother of audiovisual production among others, must prove her worth. From all these feeds, the vision of the Cameroon Radio Television is born: “To make CRTV the audiovisual reference in Cameroon with a foothold in Central Africa by the horizon 2020.” – Excerpt taken from the words of Mr. Charles NDONGO, Director General of CRTV. [1] For this vision to be accomplished, a lot of changes need to be effected. The antenna system needs to be upgraded in order to glow attractive, watched and heard with pleasure and interest: A Unique, Competitive and Authentic Antenna.

Pic 2: Charles NDONGO, Director General of CRTV [2]

Pic 3: Emmanuel WONGIBE (Left), Deputy DG of CRTV discussing with the President of Rwanda, Paul KAGAME (Right)

Among these enhancements the CRTV needs to provide, new media have been implemented to keep in touch with the wild consumption of the internet and avoiding obsolesce in current demands. CRTV has recently created CRTV News to improve information attraction in quality

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and in quantity through a dynamic news feed and an enriched presence of experts and actors for an improved interpretation of information with wide proximity coverage. The CRTV News team is young, dynamic and polyvalent. This 24/7- information channel will exercise a mission of public service enabling a greater access to information in the world. Also, the CRTV Web page has been created, together with Facebook, Twitter and Instagram accounts, for the fancy and delight of all internet users. The conduct of these changes will operate through technological tools adapted to the current gesture.

Fig 2: Logo of CRTV

Fig 3: Logo of CRTV News

The vision of the CRTV articulates around fundamental principles, which are:  The public radio and televisions are instruments for development and national integration.  The public radio and television play an important role in the construction of the State and the consolidation of a true pluralist democracy.  The legitimate and ever-growing need of the populations with respect to an audiovisual service truly reflecting the values and main preoccupations in the field of information, education and entertainment.  The promotion and development of the public service for the raising of the consciences of citizens.  A quality public service with viewers at the heart of its move.  The total switch to all digital and the development of the Digital Terrestrial Television (DTT). [2]

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Pic 4: CRTV Web Page 1.3

THE MISSION OF CRTV

The Cameroon Radio Television is in charge of many missions. The main ones are:  To assure the national and international coverage of the audiovisual signal.  To conceive, produce and to transmit, either alone or in the case of coproduction, information programs, audiovisual products, or programs with learning, cultural and entertaining characteristics.  To acquire by sales and exchanges, audiovisual products or programs conform to its politics of programs.  To maintain the conservation of the national audiovisual patrimony.  To lead research in audiovisual creation and to assure professional training in the audiovisual work.  To exploit and entertain networks and installations destined for the transmission of audiovisual programs.  To assure the protection of the transmission and the reception of TV signals by the public.  To orient its programs towards education, identity and national cohesion.  To conclude the rewarding of its movements, its specific conventions with public administrations, associates and physical and moral people of the public and private law. BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

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 To put in store sections for the advertisement of quality events and marks.  To ensure the appearance of new ways for dynamic communication in order to educate, inform, conciliate and entertain. [2] 1.4

CORE VALUES

The slogan of CRTV is CRTV, the Heart of the Nation. This slogan is true since CRTV is located at the very heart of the nation, at Mballa 2, and it is ready to serve the audiovisual to the nation and the world. The motto of CRTV is Uniqueness-Competitiveness-Authenticity. Core values presented by the CRTV are: 1 Uniqueness: CRTV presents itself as a unique institution with its core values and standards that are different from other institutions. Its strategies, collaboration and relations are distinct in quality and throughput, in keeping with its pride and reputation. 2 Competitiveness: To keep with its pride and reputation, CRTV stays competitive in a world where the quest for information and the proper display of quality news is ever growing. 3 Authenticity: CRTV is authentic in its work: the selection of reliable sources of information, the partnership with other governing institutions, and the proper display of information on its modulation frequencies. 4 Professionalism: The personnel are reliable, respectful and competent. They understand their roles, their tasks, and carry the responsibility of the actions in the work they do towards the clients and the resources that are given to them. 5 Multitasking: CRTV’s future lies in multitasking: the ability for each worker to be multiskilled. The reporter will have to scout for news, edit and anchor it. Senior staffs would need to make use of information and communication technologies in a bid to cope with advanced technology. 6 Integrity: The personnel must give the best of themselves and are worthy of the respect given to them by their clients. They portray an exemplary character and strictly observe the moral rules. 7 Solidarity: CRTV and its linked institutions are given to a dynamic work team, to concentration, to the sharing of ideas and mutual help, which allows to install a good work climate that promotes conduct for the best results. 8 Collaboration: The personnel acknowledge the fact that the positive results of their activities are created through a spirit of collaboration with other entities of CRTV. They acknowledge the necessity to optimize team work and to scale the walls that keep them in their internal operations. [2] BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

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1.5

QUALITY ASSURANCE

 The CRTV-Television emits its programs continuously 24h/24 and 7d/7 since 2010. The offer has greatly improved since the creation of private information channels in Cameroon. The CRTV being a partner of Canal France International (CFI), some of its TV programs are issued from the bank of CFI programs. [3]  CRTV has a very broad coverage over the whole nation.  CRTV has a good human resource personnel that enables it to highly perform in efficiency.  CRTV has the support of the State and the government.  CRTV possesses new OB vans highly qualified in the production of HD signals.  CRTV is in partnership with many other telecommunications company like CAMTEL, in the nation and worldwide to ensure interoperability between the infrastructures.  The CRTV has a training school where most of the workers including Journalist and Technicians are trained. [4] 1.6

STRUCTURE OF CRTV The structure of the CRTV is vast and comprises a lot of branches. For the purpose of simplicity we shall discuss only the main points.

1.6.1 Location and Geographical Background CRTV is located on latitude 3o N and longitude 11oE, on a plateau topography with an altitude of 272m from sea level. Its headquarters is in Mballa II, Yaoundé. The rains fall in season, and the sunshine is predominant, in an urban city with a lot of cultural, social, academic, professional and economic demands.

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Pic 5: CRTV Television Station viewed from Google Earth 1.6.2 Historical Background It was then known as Cameroon Television (CTV). Radio is the pioneer of the audiovisual in the nation with primary objective to educate and construct national identity. That was in 1941. In general, the several conflicts between nations of the world such as Germany, USA, Russia and France caused African countries led by France to obey the orders of liberalizing expression and communication. This led to the fusion of the National Post and the CTV to give rise to the CRTV. CRTV was founded in 1987 by the Presidential decree no 87/020 of December 17 1987. [2] It was inaugurated by the President of the Republic of Cameroon, H.E. President Paul BIYA on the 28th of January 1988. At that moment, Mr. Ibrahim MBOMBO NJOYA was the Minister of Information and Culture, Mr. Florent ETOGA EILY was the General Director of the CRTV and Mr. NDI FONTAH NYAMNDI was deputy DG. The strike of journalists in 1987 made the CTV and the National Post, who in the past were separate entities, to merge together to give birth to the Cameroon Radio Television (CRTV). On the 10th of November 1988 Mr. Florent ETOGA EILY was replaced by Professor Gervais MENDO ZE. On the 10th of November 2001 Francis WETE was named Deputy DG, and on the 26th of December 2005 Prof. Gervais MENDO ZE was replaced by Mr. Amadou VAMOULKE, who in turn was replaced by Mr. Charles NDONGO, actual DG of CRTV by a presidential decree of 2016. [5]

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Pic 6: Mr. Florent ETOGA EILY, First DG of CRTV [8] CRTV’s journey as to what it is today witnessed a lot of changes. Its record was in the mid 1980’s, its frantic growth in the 1990’s, a rocky path through the year 2000 when the country witnessed a political turmoil and budding media plurality but much later in 2010, was a growing stability that was triggered by constant aggiornamento. In 2015 CRTV joined the world in the DTT Switchover. This evolution has had multiple impacts on CRTV the need to reshape work flow, encourage multitasking and the need to diversify program content. The CRTV has had three changes to its organizational chart: from management priority in 2011 to core business production and broadcasting in 2015 and finally problem solving in 2017, all in the aim to increase efficiency. [2] 1.6.3 Institutional Structure The structural organization of the Cameroon Radio Television is composed of a General Coordination and Operational Structures. We can have a complete view of the different structures in the appendices section.  The General Coordination is composed of: 1) The Cabinet of the President of the Administration Council, The Cabinet of the Director General and Deputy DG, and 3) Services attached to the General Direction.  The Operational Structures comprise of: 1) The Pole CRTV Radio, 2) The Pole CRTV Television, 3) CRTV Regions, 4) The Pole CRTV Technology and solutions, 5) CRTV Administration and 6) CRTV Services.

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Fig 4: CRTV Institutional Structures viewed from Google Maps  General Coordination: Just as its name indicates, the General Coordination takes care of coordinating all the activities that occur in the CRTV. It has feed on everything that happens and takes measures that things go on well. There are three main branches in this stem. 1. The Cabinet of the President of the Administration Council (PCA): The current PCA of CRTV is Mr. ISSA Tchiroma BAKARY. The main role of this unit is to faithfully support the secretariat of sessions of the Administrative Council, to accomplish all missions given to it and manage the agenda of the Administration. 2. The Cabinet of the Director General and Deputy DG: It is comprised of teams that work to accomplish all the tasks given to them by the DG and Deputy DG. They also maintain the internal control measures adopted by CRTV. 3. Services Attached to the General Direction: They inform the public on the activities of the Presidency, the Senate, and all other governing sovereign institutions of the nation. [6]  Operational Structures: There are six operational structures in the CRTV. Each of them play a very important role in the ensemble incorporated by this institution. They are: the Pole CRTV Radio, the Pole CRTV BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

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Televisions, CRTV Regions, the Pole CRTV Technology and Solutions, CRTV Administration and CRTV Services. 1. Pole CRTV Radio The CRTV Radio Pole is located on Avenue Konrad Adeneur in Yaoundé. It is headed by Mr. Alain BELIBI. It is made up of 3 main units: the Central Direction of the Pole Radio, the Direction of Radio Antennas and the Direction of Radio Scripts Writing. The Central Direction of the Pole Radio is in charge of the edition of the offer of radiophonic programs of the national CRTV antenna in the respect of the values of public service and the editorial lining. The Direction of Radio Antennas is in charge of putting into work the editorial contents politic on the radio antenna in the art of election, organization, broadcasting and conserving the programs in the respect of legislation, identity and cultural values of Cameroon. The Direction of Radio Scripts Writing assures the working of the editorial politic in the domains of the treatment of news and the journalistic coverage of great national and international events. It also coordinates the activities of different script writings of the Pole Radio in order to guarantee their complementarity and optimize their relation with the regional network and thematic channels. [4]

Pic 7: CRTV Radio Station at Avenue Konrad Adeneur, Yaoundé

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2. Pole CRTV Television The Pole CRTV Television is composed of 4 main units: the Central Direction of the Pole CRTV TV, the Direction of TV Antennas, the Direction of TV Scripts Writing, and the TV Thematic Channels. It is headed by Mr. Ibrahim CHERIF. The Central Direction of the Pole CRTV TV has for role to edit the offer of televisual programs of the national premium channel of CRTV while respecting the values of public service and the editing line. It also has for function to assure, on account of CRTV, the availability of necessary resources for the production and broadcast of CRTV’s televisual contents, and to conceive, realize alone or in the case of co-productions, the programs and audiovisual productions with informational, educational, cultural, sports and entertaining character. The Direction of TV Antennas is in charge of preparing the flow of programs and controlling their execution; of organizing and following the antenna control and the referencing of author rights exploited on the national CRTV Premium channel, and also, it has the role of coordinating and putting in coherence the programming between the TV channels of CRTV. The Direction of TV Scripts Writing has for role to assure the working of editorial politic in the domain of the news treatment and the journalistic coverage of great national and international events. It also coordinates the activities of different TV Scripts Writing of the Pole Television so as to guarantee their complementarity and optimize their efficiency in relation with the regional network and the thematic channels.

Pic 8: CRTV Television Station at Mballa II

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The thematic channels are CRTV News and CRTV Sports and Entertainment. The latter is not yet in effect. CRTV News executes the work program given to it by the General Direction. It assures a continuity, management and coherence of its antenna following the work plan given to it, and also it organizes and puts into place the treatment of the news on the channel CRTV News. CRTV Sports, not yet out, would have to assure the gesture and continuity of the antenna, watch over the proper functioning of the channel, and especially the respect of the programming. It would also have to organize and put into work information and sports contents, as well as the programs of entertainment on the channel CRTV Sports. 3. CRTV Regions CRTV Regions comprises of 3 units: the Littoral Regional Direction, 10 Regional Stations, and 6 FM Proximity Channels. The Littoral Regional Direction has for mission the general administration and coordination of CRTV structures in the Littoral Region. This region was chosen because of its rich, cultural, social, economic and financial diversities. The Regional Stations cover the local events for the regional antenna and the national network, to watch over the CRTV politic in each regional station, to watch over the promotion of cultural diversity and bilingualism on each regional antenna on CRTV, and to propose information, fiction, and entertaining programs in the local languages of each concerned regional station. Tab 2: CRTV Regional Television Stations CRTV

Antenna Radio Frequency

Station Manager

Station CRTV Adamawa

102.5 FM

Lazare DOULOU

CRTV Center

101.9 FM

Gisele NEMI NGA

CRTV East

92.9 FM

MBOUNDA Kelvin YOUNG

CRTV Far North

94.8 FM

Moussa MARANDATA

CRTV Littoral

97.6 FM

Nalova MOKAKE épse LIKENYE

CRTV North

101.2 FM

AHMADOU Issa

CRTV North-West

89.4 FM

Marie Louise NGWA épse CHEKA

CRTV West

93.5 FM

Rene NJOYA MOT

CRTV South

97.6 FM

Berthe MBALLA

CRTV South-West

94.5 FM

KANGE NDIVE Williams WASSALOKO

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Pic 9: Heads of CRTV Regional Stations [2] The FM proximity channels are responsible of producing and broadcasting entertaining and information programs for the public, of promoting urban culture and to coordinate the management of programs and the antenna by the teams place under its responsibility.

Tab 3: CRTV Radio Proximity Channels Radio Proximity Channel

Frequency

Town Location

CRTV Wave FM

97.7 MHz

Kribi

CRTV Kousseri FM

Unknown, perhaps 94.8 MHz Kousseri

CRTV Yagoua FM

99.8 MHz

Yagoua

CRTV Mount Cameroun FM

98.6 MHz

Buea

CRTV Suellaba FM

104.9MHz

Suellaba?

CRTV Poala FM

104.7 MHz

Bafoussam

CRTV Yaoundé FM

94 MHz

Yaoundé

4. Pole CRTV Technology and Solutions This operational structure has 4 main units: the Central Direction of the Pole Technology and Solutions, the Direction of Technologies and Radio Solutions, the Direction of Technology and TV Solutions, and the Direction of Broadcast and Retransmissions. It is headed by Mr. TCHIA Theophilus SALIFU.

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The main job of the Central Direction of the Pole Technology and Solutions is to assure the care and exploitation of technical infrastructure of Radio and TV production as well as the transport and broadcast of Radio and TV Signals for the public service. The main job of the Direction of Technologies and Radio Solutions is to assure the permanent availability of the tool of production and the development of the Radio production network of CRTV. The main job of the Direction of Technologies and TV Solutions is to assure the permanent availability of the tool of production and the development of the TV production network of CRTV. The main job of the Direction of Broadcast and Retransmissions is to exploit and assure the general maintenance of the emitter and other tools of the CRTV network, according to the technical, technologic and environmental norms in use; to assure the follow-up and permanent control of the exploitation and maintenance tools for a continuous delivery; to eradicate zones of shadow, interference and mist, and to exploit, establish and assure the maintenance of the terrestrial and satellite links of CRTV.

5. CRTV Administration CRTV Administration is made up of 3 directions: the Direction of Human Resources and Social Strategy, the Direction of Administration and Finances, and the Direction of Patrimony and Infrastructure. The Direction of Human Resources and Social Strategy has for mission to define the social strategy for the management of human resources, to administer personnel, and to develop competences and work security. The Direction of Administration and Finances has for mission to produce accountable and financial information, to prepare and execute the Performance Project in collaboration with the Cell of Control Management, and to protect human goods through the management of assurance and security services. The Direction of Patrimony and Infrastructure has for mission to follow-up and maintain assets and infrastructures such as land, buildings, thermal plants, and other actively used infrastructures in CRTV. [5]

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6. CRTV Services Three main services are offered by the CRTV. They are: CRTV Production, the IFCPA Institute and the CRTV Marketing and Communication Agency CMCA. CRTV Production is in charge of elaborating strategies of the audiovisual production of CRTV, following the evolutions in the domain of audiovisual production, and developing coproduction with independent channels on all topics judged pertinent for CRTV.

The IFCPA Training Institute (Institut de Formation et de Conservation du Patrimoine Audiovisuel) is in charge of elaborating a strategy of training and perfecting of CRTV in the audiovisual and linked careers. It functions also to conserve and stock all national audiovisual works, and to assure the available of the necessary Archives to the service of audiovisual production.

CMCA is the CRTV Marketing and Communications Agency. It is located beside the CRTV Radio Station. Its main functions are to commercialize in an exclusive manner the advertising spaces of its supports, to develop an operational marketing of sale services of CRTV, to elaborate and operationalize the tools for commercial management, to conceive and develop products, and to exploit the diverse rights given by the office.

Fig 5: The IFCPA Institute at Ekounou, branch of the CRTV

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1.7

ORGANIZATION AND MANAGEMENT

The organization and management of the Cameroon Radio Television is not very different from its structure, if not its hierarchy and flow control of power. The pictures below are the key leaders in the CRTV team.

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Pic 11: CRTV Top Management We can easily summarize the organization and management of CRTV into 7 great entities: the General Coordination and 6 operational poles: The Pole CRTV Radio, the Pole CRTV Television, the Pole CRTV Technology and Solutions, CRTV Regions, CRTV Administration and CRTV Services. These have been discussed in detail earlier. The poles CRTV Radio and CRTV Television are enriched with a Direction of Antennas each, with mission to program contents, to manage the flux and archives of programs through sound and audiovisual documentation. To answer socio cultural expectations taking into consideration sex, age, language, origin, religious convictions, etc., the creation of a Department of cultural and linguistic diversity follow up was made. The creation of a Regional Direction in Littoral regrouping the ensemble of local office services takes into account the specific character of Littoral both on the social and political plan, as well as on the economic and commercial plan. Lighter and more modern in its configuration, the new organization of CRTV aims at more efficiency and effectiveness in the coordination of its services and consecrates the disappearing of about 150 posts. So about 200 million FCFA economy has been saved on the salary mass. [2]

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Table 4: CRTV Identification Characteristics TAG

CONTENT

CRTV

Cameroon Radio Television

Creation

17th December 1987

Inauguration

28th January 1988

Form

Judicious, Public Company

Headquarters

Yaoundé, Mballa II

Activity

Audiovisual

Products

Radio Transmission, Television, Web Site

Web Site

http://www.crtv.cm/

Languages

English and French

Country

Cameroon

P.O. Box

P.O. Box 1624 Yaoundé

Telephone Number

237 221 4077/4088

Fax

237 220 43 40

Transmission

Analog UHF PAL Channel No 1

Satellite

Atlantic Bird 3 and Canal Sat Horizons

Cable

No

Director General

Charles NDONGO

Assistant Director General

Emmanuel WONGIBE

Director of TV Scripts Writing

Madeleine SOPPI KOTTO

Director of TV Antennas

Emmanuel MBEDE

1.8

FIELD OF SPECIALIZATION

The Cameroon Radio Television is specialized in the audiovisual, which means, TV and Radio production of signals for the delight of world users. TV and Radio signals are produced at different stations throughout the national territory continuous broadcast of signals to the delight of the public.

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1.9

INTERNATIONAL EXPERIENCE

CRTV has a foothold in the world. Present at many international meetings and events, such as the world forum, the United Nations in New York, the Global Climate Forum in Paris, International meetings with Head of States, and many more. Its presence is also seen in world cups, football, handball, judo, tennis, volleyball and other international tournaments taken by Cameroonian athletes. 1.10 REFERENCE PROJECTS AND SERVICES FURNISHED BY THE CRTV 1.10.1 Services 1 CRTV Production: The audiovisual is the principal service offered by CRTV. It puts into place radio and TV signals for the information of the public. News, debates, shows, talks and highlights are made in the different studios, and the video and audio signals are synchronized and sent on air for world broadcast and reception to all public. 2 The IFCPA Training Centre : Institut de Formation et Conservation du Patrimoine Audiovisuel : It is at this center where all professionals who want to specialize in the following disciplines are trained: in journalism, camera control, video editing, audio frequency, transmission and broadcast maintenance, news production, multimedia infographic, radio/TV animation, radio/TV journalism and cartoon production. The IFCPA training center is situated at Ekounou, and is a branch of the CRTV. [1] 3 CMCA: CRTV Marketing and Communication Agency: It is the business and advertising agency of CRTV. It is here that products are advertised and spots, communiques, radio and TV interventions, musical promotions and many more are made. It is located just beside the CRTV Radio Station at Yaoundé. 1.10.2 Projects The Cameroon Radio Television is carrying out many projects. They include: 1) The creation of a new channel called CRTV Sports and Entertainment. This will facilitate the load that sports has in journalism and better spread all findings and news related to it. 2) The CRTV is also in the project of the rehabilitation of its whole set of equipment from SD format to HD format so as to broadcast a signal on the over-the-air link with a higher quality. 3) CRTV News, the newly launched total-information channel on the 2016, is in the project of being switched from analog to digital and displayed on the Canal Sat Horizons Bouquet BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

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in January 2019, GOD willing. The channel would be Channel 306 on Canal Sat Horizons.

1.11 PARTIAL CONCLUSION We now have a great view of the Cameroon Radio Television. This chapter has fundamentally provided all information pertaining to this wonderful institution. In the next chapter we shall comprehend the work done during my internship training and the project implemented.

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Chapter Two: OVERALL INTERNSHIP EXPERIENCE 2.1 INTRODUCTION My internship at CRTV has given me a great experience into the professional world. This chapter is consecrated in detail to the explanation of the work I have done during the internship. 2.2 JOINING OF THE COMPANY I joined the CRTV for my internship training on Monday the 3rd of September 2018. The internship period was four months, from Monday the 3rd of September 2018 to Friday the 28th of December 2018. My first day at CRTV was quite a nervous and intriguing one because I had never met such great personalities before, and I was really privileged to enter places I did not before. I am very grateful to GOD for this. On the first day in the company, I was simply given directives to follow while my internship work plan was being produced. I did not do any true work. I was also made to visit the Unit of Exploitation of Retransmission and Mobile TV links equipment. There were many other interns, most from the IFCPA training institute, some from ISMAT, some from the University of Buea, and from many other institutions. 2.3 SECTION OF THE COMPANY I HAVE BEEN WORKING I have worked at the Department of Technology and TV Solutions, under the supervision of Mr. Michel Anatole NGOUBE, Head of the Department. It is true that according to my work plan given to me at the beginning, I was not supposed to work anywhere else. However, in my quest for knowledge and in true relationship with Telecommunications, I also worked at the Earth Station, also known as the Central Broadcasting Station, during spare times with Mr. Frank EBONG, Tel +237676074452 and Mr. TCHIA Theophilus, Head of that service. At the department of Technology and TV Solutions, I worked at five units: 1. The Unit of Video and Camera Exploitation 2. The Unit of Audio Exploitation. 3. The Unit of Exploitation of Post Production Equipment. 4. The Unit of Exploitation of OB Van No: 3 5. The Unit of Exploitation of Mobile and TV Retransmission Equipment. BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

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Among these five Units, the only one truly concerned with Telecommunications System Engineering is the Unit Exploitation of Mobile and TV Retransmission Equipment.

Pic 12: My internship work plan The figure below is the flow chart of all units in the Direction of Technology and TV Solutions, the department I have worked in. The units with a green shaded circle on the side are the unit I was commissioned to work in according to my internship work plan.

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Fig 5: Organizational Flowchart of the Department of Technology and TV Solutions 2.3.1

The Unit of Video and Camera Exploitation

 The unit of video and camera exploitation is the first unit I worked in. In this unit, the main task is to control the operations performed on videos and cameras.  My internship in this unit was done for 3 weeks, under the supervision of Mr. MBALLA MBALLA Dieudonné Timothée, Head of the Unit.  In this unit I was sent to 9 branches, each branch having a particular role to play in the unit. All these branches form together the ensemble of the unit. The nine branches of this unit are: Camera, Camera and Photographic Direction, Camera Control Unit, TRICASTER, Video Mixing, Ingest, Administration Matrix, Automation Matrix and G5000.  Each of the 9 work stations in this unit and the work done are explained briefly. Details on the internship unit work plan given to me are found in the appendices. 1 and 2

CAMERA AND PHOTOGRAPHIC PATHWAY: I worked in this unit with Mr.

ADAN ADAN David. Light enters the camera through the iris, and depending on the shutter speed configured. This light is incident on a convex lens present in the camera that produces an BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

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image of the object, which is reflected unto a beam splitter. The role of the beam splitter is to split the light into the three primary colors red, green and blue. From there the separated colors are incident on an imaging device, usually CCD, which is used to convert the light energy into electrical energy. These electrical signals then pass unto a view finder for display for the cameraman, and the display is saved on a memory drive in the camera. It depends on the photoelectric effect. The resulting electric signals from the camera are passed unto a control bay present in the studio through cables. The control bay serves to rally or connect all cameras together on the same output source terminal. From here the signals are received at the video control station according to the precise number configuration done at the studio control bay.

i)

ii)

Pic 13: Various cameras used for TV production: a) Standard studio video camera b) Special Panasonic HC V100 12 V/ 27.4 W

3

CAMERA CONTROL UNIT (CCU): I worked at this station with Mr. NOUMEDEM

Paul. It is located at the light control station of CRTV News. The Camera Control Unit (CCU) is the next unit that follows the production of TV signals by the camera from the studios. The electric signals are controlled in terms of colour: the red, green and blue colours, which are the primary colours, are controlled and assured to be well optimized in order to provide the best video output quality. It helps in the faithful electronic retransmission of what it sees. There are primary and secondary pulpits in each video control station where the CCU is used. The CCU of studio 4 has its secondary pulpit at the nodal of CRTV. BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

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Pic 4: Colour Potentiometer used at the CCU 4 TRICASTER: I worked here with Mr. MIMKAM Francois Xavier. The TRICATSER is a device that is used for live production of TV signals and there is a wonderful synthetic work done with it to produce a virtual background. The inputs to the TRICASTER are videos, sounds or images used. The main characteristic of the special keyboard is the presence of two distinguished set of keys: the PREVIEW keys and the PROGRAM keys. The PREVIEW Keys, in green, are used to have a first impression of what would be sent on air. The PROGRAM keys, in red, are used to select which element is on air.

Pic 15: TRICASTER used for Live Production 5

VIDEO MIXING: I worked here with Mme. Godine NAKAMA. The main job is to

perform the proper synchronization of video elements for their transfer on air during news production. Just like in the case of the TRICASTER, there is a control machine, of type BOSCH that serves to transmit studio-produced signals on air. The different camera signal views gotten from the studio 4, are sent as elements together with the stored elements in the computer which can be edited videos for the news, or images. The function of the video mixer is to assure that the proper element goes on air. That is to say, when it is time to send the journalist in the studio, it sends, and when it is the time to send the news element, it sends.

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Pic 16: Video Mixing Equipment 6 INGEST: I worked in this unit with Mme. BILOO’ Severine. Just as its name indicates, and derived from the biological meaning of ingest, the ingest work station serves the purpose of saving or recording elements for their future use in TV broadcast by the antenna. There are three supports for this saving to occur: bands (analog support), CDs and hard disks (digital support). To begin, the programs are sent to the SPARK RECORDER for saving. The software used to record the video is EDIUS. The server 1 is used, even though the server 2 is present. This is because sever 2 has had a damage that made it not to be greatly used. When the program on EDIUS and on the saver is synchronized, then we can begin the ingest proper by clicking on the red button that tells it to start. The Management PC allows us to see all the already-installed programs. It also allows us, at the end of ingest, to perform the Readyto-Send; Pret-a-Diffuser.

7ADMINISTRATION MATRIX: The goal of the Administration Matrix is to realize the synchronization and commutation of signals from one source to another. The Administration matrix is a 64 by 64 matrix, that is to say, it comprises of 64 input and 64 output signals, together with 5racks and 4 matrices in it. The administration matrix is composed is

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composed of 4 sub matrices which are: the synchronization matrix, the commutation matrix, the video matrix and the audio matrix. The Synchronization Matrix takes care of the faithful alignment of signals to form a truly synchronized TV signal. The sound and the video ought to be in phase. The Commutation Matrix is doubling redundant. We can make the electronic commutation of programs or the manual commutation of programs. This matrix rallies signals from one source to its proper destination. The Audio Matrix has for role to collect all the sound signals from the different state controls and studios and align them perfectly. The Video Matrix takes care of the perfect alignment of all the video signals from the studios. Also the term “Purge” has been revealed in this administration matrix. This term means to delete already-used programs to allow space for other being-loaded programs to be inserted on the panel by removing the others when a program is live.

i)

ii)

Pic 17: The Administration Matrix: i) Matrix Racks ii) Control Machine

8AUTOMATION MATRIX: The goal of this matrix is to perform the automatic control of programs to be broadcast on the antenna. The automation matrix works in phase with the administration matrix. It is this matrix that helps to send the signals to the antenna at Mbankolo. In this matrix, the programs sent from the Administration Matrix are inserted according to a conductor that specifies the order of transmission of the programs. The server 1 was used, because no problem is found with it. The CRTV logo is also attached to every program. When the dressing of the programs has taken place, we can now click on the Play and RECORD buttons for their transfer online to the antenna.

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i)

ii)

Pic 18: Automation Matrix: a) Screen view b) Computer control

9 G500: The goal of this unit is to perform the writing of TV scripts that occur at the bottom line of the screen. The G500 is the element that performs the makeup and dressing of TV programs by adding logos and materials on the program prior to its transmission. It is also known as EX Editor G5000. Two main roles are performed by the G5000: Preparation and Transmission. Information is written by the Notepad software. This information is known as the Crawl. When the crawl is ready, it is now connected to server 1 and to the Automation Matrix for its addition to the PADReady to Transmit. Also logos and synthetic materials are added to give better meaning to the signal. For example the time logo can be added to a program. Time logos are always added. The long line of information that scrolls horizontally through is also added to the program especially during the transmission of magazines and documentaries.

i)

ii)

Pic 19: G500: i) Monitoring screen ii) editing software BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

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2.3.2 The Unit of Audio Exploitation  The Unit of Audio exploitation is headed by Mr. EYA’AN Parfait. I worked in this unit for 2 weeks. It controls the delivery of sound produced in four main studios; Studio 1, Studio 2, Studio 4 and Studio 5. My unit work plan is given at the appendix page.  I was taught audio exploitation by about 5 professionals: Mr. Joseph LESIN, Mr. Paul TACHEKAM, Mme. Brigitte TSALA ESSOUGOU, Mr. MBO Jean, and many more.  Unlike the Unit of Video and Cameras Exploitation, this Unit works with one and the same type of equipment, and performs a main function: sound control.  Since the work is the same in every work station, a general account of what happens in this unit will be given. The case study of studio 1 is taken for purposes of understanding.  The principle is simple: Microphones are installed on the platform used in a studio, studio 1 for example. These microphones serve the purpose of recording the sound produced by the different actors on stage. Then the sound is conveyed to a connection bay present in the studio through cables. The ports in which the microphones are connected at the studio must be respected at the sound control station.

Pic 20: Sound connection bay at studio 1

 From the sound connection bay in the studio, sound travels through cables to its control station where it is corrected, modulated, amplified and edited in other forms to ensure quality output for transmission.

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Pic 21: The Sound Control Station of Studio 1  At the sound control station, there is a control unit that does the amplification, correction, modulation and other control features of the sound.  The amplifier helps to ameliorate the voice gain. The equalizer helps to catch back the quantity and quality of sound. The Mastering module helps to group many input terminal together for a general correction. The filter helps to increase in quality the output sound. The pan pot helps to change mode from monophonic sound to stereophonic sound. The potentiometers help to adjust the sound level to an optimal level, working in accord with the amplifier.  When proper correction has been done, the sound then leaves the station through cables to the digital matrix for its commutation, synchronization and transmission on air.

2.3.3 The Unit of Exploitation of Post-Production Equipment  The unit of Post Production Equipment is the unit where video is being edited for use in a news or documentary. This unit is headed by Mr. ECHU Henry ECHU. It is located at the Post Production Center at Mballa II. I worked in this unit for 2 weeks.  In this unit I was supervised by many professionals, some of whom were: Mme. Berthe BILOA ONDOUA, Tel +237 675673268, Mme. OUMAROU Viviane, Tel +237 690572961, Mme. EKOTTO Marie Nicole, Mme Valerie DJOA, Tel +237 699237369, Mme. Blanche BIGOUTOU, Mr. ESTAGE and Mr. NAH Sosthene, Tel +237 693 34 50 51.  Post Production is the last step in the news production process. There is pre-production, production, and post-production.

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 In Pre-production, the various teams that are to go out for field report sit and organize themselves as to the themes and work they are to do. They are headed by a Director of TV Scripts Writing.  In Production, the various teams go out ‘on field’ to save videos and sounds that will be edited subsequently. The field can be an airport, a school, a stadium, etc. A team ought to comprise of at least 4 people: a journalist, a cameraman, a sound technician and a project director. The journalist interviews people and narrates the theme or event in course, the cameraman saves the videos produced, the sound technician records the voices of the different speakers with his microphone, and the project director assures the proper continuity of programs.  In Post-production proper, the various raw data collected from the field, known as rushes, are gathered, saved and edited at the post-production editing booth.  A software installed on a dedicated computer is used to edit these video and audio portions to give a clean, well edited piece of information that will be used during the presentation of the news. The video editing software used at CRTV is Avid Media Composer. Other software could still be used, such as Adobe premiere pro, 3D Max, After Effect, Free made video converter, Avidemux, Machete Video Converter Lite, We video, virtual dub, and Windows movie maker. [3]  The sound of the journalist is treated and saved in CAPTURE SPACE. A new bin is created in the Avid Media Composer software, where the video editing is to be done.  The sound and videos to be edited are imported according to the sound of the news on the journalist’s paper that is used to view the images. The keys E and R on the special Avid Media Composer keyboard are used to trim specific portions of the video to be used in editing. After choosing them we click on the B key to save the trimmed video. This continues until all videos have been used and saved.  The next step is just to add synthetic materials at the end of the edited sequence, such as the names of the journalist and the video editor. Then at the end, the edited piece of information is saved according to the name of the journalist, in capital letters, in JOURNAL SPACE, a file on the network where extracts for the daily news are gotten.

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i)

ii)

iii)

iv)

Pic 22: Work done at a Post production cell: i) complete video editing set ii) special AVID Media Composer Keyboard iii) video editing in process iv) degree view with central processing unit  Applications of this Unit Work:  Any video editing student can use this work to enhance his skills in the course.  It can also be used to serve as a guide to the video editing apprentice on how to engage in video editing. 2.3.4 The Unit of Exploitation of OB Van No 3  I worked in this unit for a month time. The Unit of Exploitation of OB Van No 3 is headed by Mr. Thierry BEKOLO, Tel +237699752177.  This unit consists of the work done in the OB van used for outdoor broadcasting and live productions. The OB vans produce signals in HD. It is equipped with a sound control station, a video control station, many HD Cameras, connecting cables, and other equipment used for the purpose of production of TV signals, video and audio.  The mid-sized Full HD OB Van was built in 2010, over a year period entirely by our team. Due to the many years spent in the broadcast industry and the expertise of our engineers, the OB Van meets the highest technical requirements and provides comfortable and

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friendly workspace. The truck has four areas: audio control, production, slow motion, and vision engineering area. Every area is equipped with independent cooling system and individual temperature controls. The Full HD OB Van (OB2) is prepared and cabled for 16 cameras with an extendable wall, providing a comfortable workspace. [6]

Fig 6: Interior view of the OB Van [6] The working principle of the OB van is simple: the Full HD Cameras used by each van are installed in different sections of the event location where we want to produce TV signals. Then cables are used to transport these signals into the van itself for the control of the sound and video signals produced. Light intensity is also controlled here. Then, there is the down conversion of signals from HD to SD for broadcasting over the analog wave micro links that accompany the vans throughout their implementation for retransmissions.

Pic 23: Working with OB Vans for live retransmission at the National Assembly  Advantages of OB Van broadcasting BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

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 Signals are produced in HD, which is of remarkably superior quality to SD signals produced from analog microwave links.  Its portability makes it easy to handle and install for transmissions.  Disadvantages of OB Van broadcasting  It works in line with the analog microwave link for complete retransmission. This is due to the absence of a broadcasting satellite at the top for transmission through the over-theair link.  It supports fewer number of cameras than analog microwave links.  It produces in HD but transmission is done in SD hence a waste in energy, resources and cost of production.

2.3.5 The Unit of Exploitation of Mobile and TV Retransmission Equipment  The unit of Exploitation of Mobile and TV Retransmission Equipment is headed by Mr. NDONGO Norbert. It is situated at the Nodal of CRTV opposite the Digital Matrix. I worked in this unit for a month.  This unit is concerned with retransmissions. It means that it acts like a relay between a source and a destination. This means for Telecommunications to be done between two entities, a transmitter need to be present. This is the work of this unit.  The nodal consists of: the analog microwave terminal and the optic fiber terminal. The following picture shows some of the equipment of these terminals.  This technical center is responsible for the operation and maintenance of the terminal

equipment cited above. It is also responsible for the satellite image reception for production. [10]  The exploitation of these equipment constitutes the first workstation which constitutes

technicians in charge of controlling the quality of the signals entering and exiting the production center. It routes the signals to the communication matrix, and coverage of sports events and official outings of the Head of State at home and abroad. It establishes connections to the records of reporting Elements from the regions. The 2nd workstation is preventive and curative maintenance. This involves making sure the system is functioning properly at all times by troubleshooting it, making routine checks of system settings, identifying components causing failure, repairing them and placing orders for their replacements. This area serves as the hub of the center.

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Pic 24: Some transmission and reception equipment used at the nodal [10]  The nodal distributes internet to the building through a 100Mbps Fast Ethernet LAN. This

is provided by two optic fiber backbone DSL lines, of 2GB and 4GB from CAMTEL. The 2GB line is dedicated to a single computer in the Nodal on which reports from all ten regions and international partners are downloaded while the 4GB provides internet access to employees at 100Mbps transmission rate. These reports are sent by e-mail using WeTransfer and Transfer Now. Software like Gig tribe and FileZilla are also used for file transfer. [10]

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i)

iii)

ii)

iv)

Pic 25: Some equipment found at the nodal: i) Analog Microwave Link Receiver ii) The Specialized Internet link iii) A TV Screen for the News Feed iv) Digital Microwave Link Receiver

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2.3.6 The Earth Station

Pic 26: CRTV DVB-T2 Bouquet offered  The Earth Station is the Center of broadcasting of CRTV. It is here that all TV and radio signals from the different CRTV channels, such as CRTV itself also known as CRTV Premium), CRTV News, and the National Post, are multiplexed for their transmission via satellite. It is responsible for DTT, which is still in an experimental phase and not yet implemented in all 10 regions of Cameroon. DTT is only available in Yaoundé and Douala, for the moment, and the signals are carried through optic fibers. The plink signal flow of TV and radio signals sent by the CRTV is shown in the appendices section.

a)

b)

Pic 27: Satellite transmission at the Earth Station: a) DVB-T2 Transceiver b) Other installed transceivers

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2.4 WORK PIECE OR TASK I HAVE BEEN EXECUTING My industrial training was mainly centered on two aspects: the retransmissions done during live events and the project work on which I was working. 2.4.1 Retransmission Performed The table below shows the various retransmission events I took part in and the retransmission techniques that were employed. Usually a main retransmission technique is used, followed by a backup in case the main does not work well. Tab 5: Retransmission events done throughout my internship training S/N Event Date Venue 1 2

3

Cameroon Handball Cup Finals, Men and Ladies Installations for the Proclamation of the 2018 Cameroon Presidential elections by the Constitutional Council Installations for Relay Transmissions

10th September 2018 21st October 2018

Palais des Sports de Yaoundé Palais des Congres de Yaoundé

31st October Mbankolo 2018 Special Broadcasting Center

4

Installations for the 1st November National Presidential Swearing-in at the 2018 Assembly Parliament

5

Installations for Presidential Ceremony Concert

6

Installations for the MUTZIG 17th Talents Awards November 2018 Installations for the Cameroon 2nd December Ligue 1 Cup Finals 2018

7

8

9

10

the 6th November Unity Palace and 2018

Technology Used Analog microwave link OB Vans and Analog Microwave link

Omni-directional antennas

OB Vans, Optic fibers, Analog microwave link, and TVU Link OB Vans, Motorized Digital link and Analog Microwave link OB Vans

CRTV Television Mballa II Yaoundé Omni Motorized Flyaway Sport Stadium satellite and TVU Link CRTV Radio Analog Microwave Station links

11th December 2018 20th December CRTV OB Vans 2018 Television Station Mballa II Installations for the Christmas 24th December Cathédral Notre Analog Microwave Celebrations 2018 Dame de links Victoire Installations for the FECAFOOT Presidential Elections Final of the MUTZIG Star Talents Award

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At each of these events, settings and installations were done, according to the retransmission technique employed. There are several retransmission techniques used at CRTV to perform live broadcasting of events. They include: Microwave links, Satellite Link, and Optic Fiber Link. These links will be explained in detail.

MICROWAVE LINKS  Microwaves refer to the EM waves occupying the part of the radio spectrum that ranges across frequencies of roughly 1GHz to 300GHZ and wavelengths from 30cm down to 1.0cm.  Microwave transmission involves the transmission of signals through this band of EM waves. A microwave link is a communications system that uses a beam of radio waves in the microwave frequency range to transmit video, audio or data between two locations, which can be just a few feet or meters to several miles or kilometers apart. They are commonly used in television broadcasting to transmit programs across a country or from outside broadcast locations back to the studio. [7]  At CRTV, they are used to transmit programs from outside broadcast locations within Yaoundé back to the studio at Mballa II. A portable microwave link transmission system is mounted at the event location and the antenna aligned in LOS with a microwave link receiver system at the rooftop of CRTV’s 12-storey building at Mballa II, from where the signals are processed, and sent to the transmission station at Mbankolo through copper cable and the Mballa II earth station through optic fiber for nation-wide satellite broadcast. Any of twenty available channels of 10MHz spacing beginning at 7701MHz are used on this link.  There are two types of microwave links: analog microwave link and digital microwave link. These two serve the same function in retransmission, with almost the same principles. 1

Analog Microwave link

 The analog microwave link is used for retransmissions that require LOS propagation, and for short distant events.  The principle is simple: The sound and video produced from cameras and microphones present in the operation are sent to sound and video control stations respectively. (These are not those present at CRTV Mballa II; they are portable ones used for the purpose). The output signal gotten from these are sent to a transmitter head for multiplexing and synchronization.

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Fig 7: Transmission Principle of Analog Microwave [8]

Pic 29: Portable analog Microwave link used for retransmissions 2

Digital Microwave link

 The Digital Microwave is another type of microwave retransmission technique. It used almost the same principle as in the case of the analog microwave.  Principle: Signals gotten from a source, or a signal generator, enter the link at the source input. From there it is source-coded, using the MPEG-2 Compression technique. Then it experiences Channel coding, where redundant bits are added to the information in order to protect against noise and transmission errors. From there the signal is modulated on an IF channel, which is later converted to an RF channel at the IF/RF head located BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

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above near the parabolic plate. A wave guide is used to coordinate the movement of the signals and assures the conversion from radio signals to EM Waves. These waves travel through the over-the-air link with LOS propagation to the destination at the receiver, located at the 12th floor above or anywhere else.

i)

ii)

Pic 30: Digital Microwave used for retransmission: i) Front view ii) Interior view  Advantages of Microwave Links  The high frequencies of microwaves give the microwave band a very information

carrying capacity.  The small wavelengths of microwaves allow for the design of conveniently sized and

portable antennas like those used in microwave links.  They can be used for point to point wireless communication because they employ LOS

technology.  They are easy to handle and transport compared to other retransmission techniques.

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 Disadvantages of Microwave Links 

They can only be used in LOS due to the fact that the high frequencies of the microwaves permit very limited penetration capabilities through obstacles like hills, trees and building. As such, communication is impossible where LOS is unachievable.



Microwaves

are

greatly

affected

by

environmental

constraints

like

rain fade (absorption of microwave RF signals by atmospheric rain, ice or snow). 

Microwave links are used only for short distances, less than or equal to about 40 km coverage.

 Other Applications of Microwave Links  Microwave links can be used in FM and AM broadcasting, in the frequency ranges 87108 MHz and 535-1605 kHz respectively.  GSM and DCS Mobile Technologies also use microwaves for their operation.  Microwaves are used in Automobile anti-collision systems, at 77 GHz frequency.  Microwave ovens and Wi-Fi also use microwaves.

SATELLITE LINK  A satellite is an artificial body placed in an orbit around the earth or another planet. Communication satellites are geostationary and relay around the world television programs, radio signals, telephone and fax messages and many other information.[7]  The communication process begins at an earth station, which is an installation of equipment designed to transmit and receive signals from satellites in orbit around the earth. The earth station sends information in the form of high powered high frequency signals to the satellite which receives them and then retransmits them back to earth. These signals are received by other earth stations and satellite receivers in the coverage area of the satellite, known as its footprint.  The transmission system from the earth station to the satellite is called the uplink while that from the satellite to the earth station or receiver is the downlink and the frequencies of both links are often kept different.  CRTV uses Atlantic Bird and Eutel sat as their satellite. CRTV is also in partnership with Canal Sat Horizons.  After processing (modulation, multiplexing) the signal from the Mballa II studio, the signal is sent to the earth station where it is encoded and transmitted to the satellite. The satellite then broadcast the signal to the entire national territory.

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 At all the ten regional CRTV stations, there is a satellite receiver and decoder which receives the signal from satellite, decode it and feeds it to a TV transmitter, which then retelecast the signal to that region enabling consumers to receive the signals without need for individual decoders. This explains why in Cameroon, with just a TV antenna connected to a television set, one can receive CRTV signals but always require a satellite dish and decoder to have other channels like STV1, STV2, CANAL 2 and many others.  For live broadcast of events and programs out of the studio, a mobile satellite transmission system is used for uplink transmission to the studio in Mballa II.

Pic 31: CRTV’s motorized satellite system  Advantages of Satellite Broadcasting  High-quality audio and picture display. Satellite TV transmits high-quality digital data

with the use of MPEG-2 or MPEG-4 compression.  Wider geographical coverage. Because of the wider reach of satellite technology,

Satellite broadcasting provides the television channel throughout the footprints of the satellite, which could be the entire world. It is the bases of worldwide communication.  Satellite communication is easy to handle, and can be configured without a great deal

of complication.  Disadvantages of Satellite Broadcasting  Satellite broadcasting is very expensive. Transmission and reception equipment are

very expensive and the broadcaster has to pay huge sums to the satellite operator for its services.

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OPTIC FIBER LINK An optical fiber is a cylindrical dielectric waveguide (non-conducting waveguide) that transmits light along its axis, by the process of total internal reflection of light. The fiber consists of a core surrounded by a cladding layer, both of which are made of dielectric materials. Principle: Information is transmitted in the form of light. To confine the optical signal in the core, the refractive index of the core must be greater than that of the cladding. At CRTV, Optic fiber is used for transmission of live events from the South, North West, Littoral regions back to Mballa II for transmission and broadcast. The incoming signal is received at the Nodal by the MGW230 Opt base equipment which does encoding or decoding before sending it to the transmission matrix. Optic fiber is also used for transmission of digital TV signal to Douala. It is again used in the internet backbone from CAMTEL and for some connections between the earth station and the Nodal.  Advantages of Optic Fiber Communication 

It has very low attenuation loss and thus ideal for transmission of signals over long distances with no or very few repeaters.



Optical fiber is an electrical insulator, preventing problems with ground loops and conduction of lightning.



Information travelling inside optic fiber is immune to electromagnetic interference.



Optic fiber permit transmission at very large bandwidth. One fiber can carry many more signals than a single copper.



It also has high security as information cannot be tapped without detection.

Pic 32: Ethernet Switch at Nodal

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 Optic fiber are still very expensive relative to copper cables, though its raw material, sand is abundantly available and cheap.  They are very fragile and need careful management.  Optical fibers cannot be joined together as easily as copper cable and requires additional training of personnel and expensive precision splicing and measurement equipment. TVU LINK  TVU is an IP-based retransmission technology that is used to broadcast live videos over the internet. The NBA’s New Orleans Pelicans deployed a TVU Pack mobile video transmitter to transmit live video from games, practices and other live team-related events.  TVU One and TVU Pack are light-weight, portable video transmission systems capable of transmitting live professional HD video from any location over multiple 3G/4G LTE cellular, Wi-Fi and Ethernet connections using H.264 or H.265/HEVC codecs.  With TVU One and TVU Pack, colleges can transmit live directly to any broadcast facility or CDN for both Web and over-the-air broadcast. [38]  TVU customers around the world rely on TVU transmitters to deliver live video from practically any location. Whether your event takes place inside arenas and stadiums or in a place without infrastructure, such as a golf course or cross country race course, TVU transmitters are versatile enough to transmit video from wherever you need it – including moving vehicles. TVU also offers TVU Anywhere, a powerful app for iOS and Android mobile devices that turns any mobile device into a video transmitter that can deliver live video to the TVU receiver. Principle: A camera is installed at the place of live production, which can be a stadium. The video signals produced by the camera are encoded by a suitable compression technique, generally H.264, which is the latest, and encapsulated into IP packets for transmission over a transport protocol, usually RTP, for delivery over the internet. Many SIM cards from different network operators are used to detect the most available network to be used in terms of frequency bandwidth. These network operators may include MTN, Orange, NEXTELL and CAMTEL. Once the IP packets are sent, the TVU receiver installed at the nodal is used to decode these signals and retrieve them for corrections and transport to the digital matrix for live broadcast.

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Pic 33: TVU link used for live retransmission [38]  Advantages of TVU links  It is portable and easy to handle. This gives it a great advantage as compared to the other retransmission techniques. TVU configuration is easy to understand.  TVU transmits HD video signals over IP and through the over-the-air link. This makes it ideal for very long distance communications.  No matter the location, one can transmit live video to any other location in the world! No need for up conversion or down conversion to receive a video signal.  There is low latency video.  The best compression techniques are used; H.264 and H.265/HEVC are used over 3G/4G/LTE cellular Internet.  Disadvantages of the Technology:  It is not frequently used as a retransmission technique.  Only professional HD video signals can be transmitted with this technology. It doesn’t transmit SD/SDI signals.  It does not talk about Audio signals which are also part of the signals to be sent via IP.  Not strong enough to handle complex events, such as Sports competitions or Activities of Sovereignty.  It is a hardware encoder and its purchase on the market might not be as easy as that of a software encoder.

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2.4.2 Project: IMPLEMENTATION OF AVoIP LIVE BROADCASTING TECHNOLOGY This project consists of implementing a new technology to live broadcast TV or AV signals using the Internet Protocol. PROBLEM STATEMENT Throughout my internship training program, we went out for many live broadcasting events, such as installations for the 2018 Presidential elections proclamation at the Congress Hall, settings for the Presidential swearing-in at the National Assembly, and installations for the Mutzig Star Awards. In all these live events, the broadcasting techniques used had disadvantages in terms of distance of propagation, cost, weight, latency, delay, fragility and complexity. They include: optic fibers, microwave links and satellite systems. Since IP is the future of technology, it would be imperative for it to become the norm for every growing technological organization. Therefore I decided to work on a way to retransmit live AV signals using the IP technology. RELATED WORKS Related work in this area is mainly on Video over IP and Video Streaming Networks. In [13] work was done in designing a system to broadcast quality video over IP using a joint channel approach. In [30] Media Links brought out a way of Unifying Sports Using the IP Technology. Nuraj Lal Pradhan, and John Wood worked on a method of broadcasting video over the cellular network and the internet. In [34] Eliana developed a reconfigurable computing application for a handheld device for video over IP. In [33] Fujitsu developed a gear for real-time video transmission. In [20] Marko at CISCO describes video transport over IP. Much more works were also done in [15], [19], [26], [29] and [35]. LITERATURE REVIEW What is AVoIP? AV over IP (AVoIP) is a technology used to transmit audiovisual signals through the Internet Protocol. It is a method of distributing audio, video, control signals and more over standard IP networks using a variety of compression technologies to encode and decode transmissions between source and display depending on network demands and desired image quality. [40] Distributing video across a network requires communication between the sending and receiving device. With the growing capacity in networks to handle large amounts of

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bandwidth, IP-based video transmissions have become more and more popular. IP is a low-level networking protocol used by computers and other hardware to communicate across networks. [13] AVoIP can either be done by hardware encoding or software encoding. IP Networking Basics IP stands for Internet Protocol. Protocols are rules guiding communication between devices or various layers of communication device. Distributing video across a network requires communication between the sending and receiving device. With the growing capacity in networks to handle large amounts of bandwidth, IP-based video transmissions have become more and more popular. IP is a low-level networking protocol used by computers and other hardware

to

communicate

across

networks.

IP works as a “messenger” protocol – its functions are to address and send data packets. The IP protocol contains three pieces of information: the IP address, subnet mask, and default gateway. The IP address, which is the identity of each node on the network, is 4 bytes long, each separated by a dot. It contains two pieces of information, the node’s network ID and the system’s host ID. The subnet mask, also 4 bytes separated by dots, is used to extract the network and host ID from the IP address. The default gateway is the entrance point to the nodes

network.

[15]

Addressing of IP packets from one source to another is the main function of the Internet Protocol. This format, called dotted decimal, consists of a series of four numbers separated by periods (or “dots”). For example, 129.35.76.177 is the IP address for www.elsevier.com. [12] For the IPv4 standard, a dotted decimal number represents a 32-bit number, which is broken up into four 8-bit numbers. For the IPv6 standard, it is a 128-bit number broken up into four 32-bit

numbers.

There are different classes of IPv4 addresses determined by the number range of the first octet. They are summarized in Tab 5. The Domain Name System DNS was used to serve as a translation from the IP addresses into email addresses that are easy to understand. DNS is a mechanism used in the Internet and on private intranets for translating names of host computers into address. The DNS allows you to use the internet without remembering a long list of numbers, for example instead if typing in an IP address, users simply type in a name of a location they would like to go to like Google or Microsoft.

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Tab 6: IPv4 Address Classes Class

First Octet Address Range

Function

Example

Class A

0-127

Networking

10.15.25.90

Class B

128-191

Networking

128.34.99.4

Class C

192-223

Networking

192.168.4.11

Class D

224-239

Multicasting

224.224.16.18

Class E

240-256

Reserved for future use

255.13.10.4

Encapsulation: Encapsulation is the process of taking a data stream, formatting it into IP packets, and adding the headers and other data required to comply with a specific protocol. Any data that is to flow over an IP network needs to be encapsulated into IP packets, whether the data is a prerecorded file or a live digital video stream. Packet encapsulation is done in real time, just before the packets are sent out over the network, because much of the data going into the packet headers (such as the destination IP address) changes for each user. Software tools to perform encapsulation are included in a wide variety of devices, including desktop PCs and file servers. METHODOLOGY EMPLOYED The methodology employed to deploy the AVoIP technology is according to the video Vee Flow chart [15]. The main steps to take to account will be: Concept of Operations, Functional Requirements, System Design, Software/Hardware Development, Testing, System Acceptance and Operation and Maintenance

Fig 8: Methodology Concept of OperationsFlow Chart for AVoIP system implementation [15] BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

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Concept of Operations

Fig 9: Structure of an AVoIP work system [12] Just like in the studio, video cameras and microphones are used to collect the AV signals, which are then moved to a control station for multiplexing, synchronization and proper modulation of the signals. At the end of this multiplexing of signals, the AV signals are sent into the encoder software for transmission over IP. Since we are dealing with retransmissions, the part of TV Production will not be touched. The raw AV signals are processed using a software encoder, and then transmitted via IP to the receiver TV station, which would now use these live-stream feeds to broadcast live on air to billions of viewers. The main elements to control are the codec and protocol mechanisms put in place to ensure efficient telecommunication. The AV signals are encapsulated into IP packets and encoded using various codec techniques. Then a streaming protocol is needed to transport the IP addresses via the Internet to the corresponding DNS of the streaming server. CODECS Codecs are simply techniques of encoding and decoding AV signals for transport over the IP network. The concept of operation of these codecs is important in determining the most suited one for AVoIP implementation

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Audio

Codecs

1 Dante: This has become by far the most widely supported audio transmission codec, with widespread industry adoption to the point where it is by far the most dominant networked audio transportation technology. Dante offers almost ‘plug and play’ functionality, where Dante compatible devices of any brand are able to transmit and receive data across the same subnet. 2 AVB: This is the main market alternative to Dante, marketed as a lower cost, zero royalties standard. Adoption of AVB has been far lower than that of Dante and as such, support will be less widespread across brands. 3 AES67: It is an open standard and an alternative to Dante developed by the Audio Engineering Society. More recently AES has also become supported by Dante, which offers the advantage that devices that support this standard will also have compatibility with Dante. 4 Dolby AC-3: Dolby AC-3 audio coding is also commonly known as Dolby Digital. It offers a high-quality audio experience with good compression characteristics and has been approved for use in both DVDs and digital television broadcasts in the United States. Dolby AC-3 audio is included in some versions of MPEG-4 and is used on a number of satellite television systems. [12] Video

Codecs

Video compression works by reducing the amount of data used to describe the video frames. This can result in a reduction in visible quality compared to uncompressed streams, but the quality can be maintained at a level that is still deemed adequate for the specific application. 1 JPEG 2000: It is an intra-frame codec, based upon compressing each frame individually based on its contents. In common with most other codecs, JPEG 2000 is lossy. i.e. the data lost through compression cannot be recovered afterwards. Like any other compression method, JPEG 2000 may introduce artefacts at high compression levels. Although the encoded data compression level is not as high as that with some other codecs, the encoding and decoding overheads are comparatively lower, resulting in lower overall latency.  Advantages  Low latency compared to H.264.  Consistently good image quality across resolutions.  Disadvantages  Larger encoded data size compared to H.264.

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 Block coding artefacts may become visible at high compression levels. 2 MPEG 2: Its compression algorithm is used in the production of the DVD formats, and also in some of the HDTV and high demand video editing, processing of the application. Using MPEG-2 compression algorithm could produce a 120-minute film in the size of about 4GB to 8GB. 3 H.264/AVC: H.264/AVC video encoding provides good video quality at substantially lower video bit rates versus some of the previous MPEG standards. This attribute is important for network bandwidth constrained applications, for wired or wireless IP networks, such as video over cellular 3G/4G networks. It employs several techniques which include:  Improving the accuracy of the motion compensated prediction picture which yields bit rate savings.  Taking advantage of redundancy that exists between video frames; the ability to describe motion with the least amount of bits across along group pf video frames. To maximize the video performance over IP networks, H.264/AVC encoding is used with adaptive bit rate (ABR) encoding control. Adaptive bit rate (ABR) encoding maximizes the video over IP performance through the network by dynamically adjusting H.264/AVC encoding real time rate control parameters  Advantages  Small encoded data size.  Good image quality on smaller resolutions.  Disadvantages  High latency  Visible artefacts such as shadowing and marcoblocking may become noticeable at higher resolutions. 4 H.265/HEVC H.265/HEVC is a highly efficient encoding technology that performs twice more efficient encoding than H.264/AVC. It is the most recent codec developed to replace H.264/AVC in video streaming applications. More details can be found in [34] Many other video codecs are available. They include: H.120, H.261, MPEG1, H.263, MPEG4 Part 2 and VC-2. A summary of these codecs can be found in the appendices.

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STREAMING PROTOCOLS

Fig 10: Video Streaming Protocols [20] When setting up a compressed video transport over IP, the system designer has a number of available protocol choices. There is no single "best" answer for the protocol selection – the most appropriate choice is a function of the networking environment, system requirements, and target decoders. Identifying this choice can be a challenge. [30] In general there are two methods to deliver a media file on the Web: by a normal web server with the HTTP protocol, or by a dedicated server (streaming server) with the RTSP protocol (Real Time Streaming Protocol) or another similar streaming protocol. UDP User Datagram Protocol: UDP is part of the TCP/IP protocol suite. UDP provides for exchange of datagrams without acknowledgements or guaranteed delivery. UDP is a transport layer, connectionless mode protocol, providing a datagram mode of communication for delivery of packets to a remote or local use. UDP is one-way transmission of datagram packets. TCP: Transmission Control Protocol TCP is a reliable connection-oriented protocol. TCP is a connection-oriented protocol, meaning that it establishes a communications pathway, or connection, between two devices before sending data. Connection is established in TCP using the three-way hand shake. TCP ensures that a packet has received its intended destination using an acknowledgement. If not it retransmits the lost message. RTP: Real Time Protocol RTP stands for Real Time Protocol (or Real Time Transport Protocol). It is a Data transport protocol that is specifically designed for transporting real-time signals such as streaming video and audio. RTP is often used in conjunction with UDP and provides BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

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important functions such as packet sequence numbering and packet time stamping. RTP is used in conjunction with RTCP. SMPTE-2022 Forward Error Correction (FEC) is a mechanism that can be added to RTP to handle a certain level of packet loss. The idea is to send a certain amount of redundant information together with the main audio/video stream; if some packets are lost, they can potentially be reconstructed at the decoder by using the received packets and the redundant information. This is somewhat different from the traditional FEC used in RF channels for correcting bit errors. HTTP protocol HTTP is based on TCP/IP. It was created to deliver text and images files, not streaming media files. The normal process of an HTTP request consists of the communication opening between the client (the browser) and the web server, the file request, the file delivering and the closing of the connection.

RTSP protocol Real Time Streaming Protocol is based on TCP for communication and usually layered on top of RTP, it is dedicated to streaming. By this protocol you can control the file time "duration“, which can be played with different speed, can be controlled by the server, can be stopped and played again, and its playing can be changed at runtime depending on different parameters The most suitable streaming protocol is the RTMP or RTSP/RTP protocol. A summary of the various streaming protocols can be found in the appendices. Functional Requirements The functional requirements to implement the AVoIP technology for live broadcasting are:  A transmitting device e.g. laptop  A receiving device e.g. laptop  An encoding software. e.g. OBS Studio, Wirecast or VMix  A video camera  A microphone  A streaming server. e.g. twitch, youtube, Real Networks, Livestream or DaCast.  A Google account.

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There exists several technologies that can be used to implement video over IP. They include: SONET/SDH, ATM, DSL, Private Optical Network, MPLS, VPNs, Cellular Networks and Internet, Ethernet, and Wi-Fi, and. [12]. The most used of these technologies is the Ethernet. System Design and QoS Considerations When designing a system for video over IP technology, various parameters must be well considered in order to provide a high quality of service at the end. These parameters include: bandwidth, throughput, jitter, latency, packet loss, and Internet Speed.  Bandwidth: One of the most important characteristic of any technology is its available bandwidth. In communications, the term ‘bandwidth’ refers to how much data can be transmitted in a certain amount of time. In most situations, bandwidth is expressed in terms of bits. The larger the number of bits that any given technology can transfer in the same amount of time, the larger its bandwidth. In essence, bandwidth is a measure of the size of the pipe. A greater bandwidth means more data that can be sent across the network, and this leads to improved system efficiency.

 Throughput: In general terms, throughput is the maximum rate of production or the maximum rate at which something can be processed. In network communication, network throughput is the rate of successful message delivery over a communications channel. This parameter is very important when dealing with QoS because a higher throughput means a higher QoS, and this leads to a more efficient system.  Jitter: Jitter refers to variation of packet inter-arrival time. That is, non-uniform packet delays, usually caused by low bandwidth situations. A high degree of jitter would cause a mal functioning of the video transmitted. This parameter is very important in real-time video streaming systems.  Latency: In contrast to data transmission, which are usually not subject to strict delay constraints, real-time video requires bounded end-to-end delay (say, 1 second). That is, every video packet must arrive at the destination in time to be decoded and displayed. This is because real-time video must be played out continuously. If the video packet does not arrive timely, the playout process will pause, which is annoying to human eyes. In other words, the video packet that arrives beyond a time constraint is useless and can be

considered

lost.

Although

real-time

video

requires

timely

delivery, the current Internet does not over such a delay guarantee. In particular, the congestion in the Internet could incur excessive delay, which exceeds the delay requirement of real-time video. [43] BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

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 Internet Speed: The speed of the internet is very important in designing this system. If an internet connection with low speed is used, there might be lost packets over the way, and the retransmission might not be very effective. This is a serious factor on expected QoS. Hardware/Software Development There are two types of encoders and decoders in use today, hardware and software. Hardware encoders/decoders are stand-alone pieces of equipment, designed specifically for the purpose of transmitting video. The video source is connected directly to the encoder, which is also connected to a network. The video is then encoded and transmitted through the network to a corresponding decoder located somewhere else on the network. The decoder will then output the video to some viewing device, whether it be a television, VCR, DVD player, or other device. Theoretically any encoder can be paired with any decoder that utilizes the same codec. This, however, may not always be the case as some vendors will have slight variations to the standard codec that will only allow it to connect to a device by the same vendor. Examples of hardware encoders include: TERADEK VidiU, VidiU Pro and Cube, VIDEON and TVU Software encoding and decoding works in a similar way, but runs off of a PC, instead of a separate piece of equipment. Software encoding consists of software that runs on the PC, which encodes video into a format that can be transmitted over a network, or stored on the PC as a file. The video can then be viewed by anyone with a PC that has the corresponding decoding software. With the continued improvement of networking capability software encoding has become very popular over the internet, with many companies using streaming live and recorded video on their websites. This has led to the development of multiple software options. Examples of software encoders include: OBS Studio, Wirecast and VMix. This project has to do with using OBS Studio as an encoding software to transmit live AV signals over the internet. A true professional system would consists of more equipment since the flux of audio and video signals would need to be encoded for transmission over IP. In this case, a simple test project has been performed. Step 1: The OBS Studio software is downloaded at www.obsproject.com and installed on the computer. The software can run on Windows, Mac or Linux OS. Some important drives also need to be downloaded and installed for some computers for the software to run. Step 2: The software is launched.

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Step 3: We make sure that the various technological requirements listed are available. i.e. video camera (webcam), microphone, are attached to the computer. Step 4: Add and name a new scene to the project. After this, various sources are also created on the project. These sources contain the AV signals we want to transmit live over the internet! They must include the video capture device (webcam), and the audio input device (microphone). Other sources can be added. They include: text, logos, icons, etc. Step 5: After all sources have been added and well configured, the settings need to be configured appropriately. In the settings, the “Stream” section is selected and “Stream server” is selected. There are many stream servers: twitch, youtube, live edu, and others. The server I used was youtube because it is simple and reliable compared to other servers. Twitch is entirely dedicated to gaming. Step 6: To get a stream key for broadcasting on youtube, simply login into your Google account, and the go on www.youtube.com/live_dashboard. From here, we scroll down to the section titled “Encoder Setup”. There we find the sever URL and stream key. Just copy the stream key and paste it in OBS Studio at the place for stream key. Then click on “Apply”

Pic 34: OBS Studio software load page

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Pic 35: Setting of scene and sources

Pic 36: Step 5-Youtube live stream key page for OBS The video has to undergo settings for it to be optimal for transmission. x264 encoder is used. The audio also need encoding. In this case the sample rate is set at 48 kHz, and stereo sound is used. The output is also configured. This is one of the most important configurations to perform.

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Testing or Simulation After all settings done, we now click on “Start Streaming” where the AV signals would be sent over the internet to the appropriate server. The display of the live video can be seen on the server. At the receiving side, any user can get the video since it has been delivered on multicast. The TV Station technicians just has to connect on the youtube server, and type in the key words given to the video by the field broadcasters, and they will get the video on live streaming. An advantage of using this technology is that it is multicast, meaning not only the affiliate organization can view it, but also other users connected to the internet.

Pic 37: Youtube Live Streaming Page System Acceptance For this system to be accepted as great, a lot has to be done in terms of internet speed, bandwidth, video resolution for the AV signals to be well appreciated by the public. This is an example of a multicast system.

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Operation and Maintenance The technology can be operated and maintained at an excellent level by adjusting the internet speed and video rate at a high level.

2.5 PROCEDURE I HAVE BEEN USING WHEN PERFORMING MY TASKS To accomplish my tasks, I used several procedures, depending on the gravity, demand and complexity of the task. The various procedures I took to accomplish my tasks are listed and explained below:  The Scientific Approach: I used the Scientific Approach of writing when performing tasks in the Unit of Video and Camera Exploitation, in the Unit of Audio Exploitation, and in the Unit of Exploitation of Post-Production Equipment. This method consists of giving a detailed account of the work done in a particular branch. It includes the steps: Objectives, Pictures, procedure and Work Done, Interpretation of Results, Challenges Encountered and Amelioration, and Conclusion.  Daily Report Writing: This procedure was used when accomplishing tasks in the Unit of Audio Exploitation, and in the Unit of Exploitation of OB Van No 3. It is a simple method which gives a detailed account of the work done during the day. An example of a daily report I wrote at the Unit of Audio Exploitation is given in Pic 34.  Main Points Taking: This procedure and task performance was used when handling larger and more strenuous tasks, such as during retransmissions. It involves jotting down main points, clarifications and explanations given by the unit supervisor.  Diagrammatic Representation of a Work System: This involves making a sketch of a work system, or a retransmission principle being used. It facilitates understanding and work operations that I had to do.

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i)

ii)

Pic 38: An Example of daily report writing: i) Front cover page ii) back page

2.6 MY PERFORMANCE DURING ACCOMPLISHING TASKS My performance during accomplishing tasks can only be evaluated by others, not myself. However, I can say on my part that the tasks I did were quite good. I had some compliments and reproaches from my unit supervisors. Overall, more than 90% of my tasks were well done.

2.7 CHALLENGES I HAVE FACED During my industrial training, I have faced a lot of challenges. They helped be grow stronger, and I learned a lot from them. Some of them are:  Choice of internship theme: It has not been an easy task selecting the appropriate internship theme that would the same time be linked to Telecommunications and to the work I have been doing at CRTV. Moreover, the proper understanding of this theme was not trivial to grasp.

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 Proper Understanding of Retransmissions and Project: While working with the OB vans and the analog microwave link, it was not easy for me to understand the operation of signals for their retransmission, and to simulate the AVoIP project.  When I came down of a taxi to go to the internship site, I realized my ID card got missing. It really affected me, and I worked to find it back.  I also lost my smartphone when I went out for a live scout report with a journalism team. I realized it when I came back at the TV center. It was not easy for me.  My computer also got bad during my training. The motherboard had a problem, and I found it difficult to continue work without it. 2.8 MEASURES I TOOK FOR CHALLENGES I definitely took measure for these challenges to be solved. They are:  Prayer: In all cases mentioned above, I prayed to the Almighty GOD for his help.  In the case of internship theme choice: I worked really hard on the internet and research grounds in order to get an understanding on what I was to do, and GOD gave me the light after 3 months of intense research.  In the case of understanding my AVoIP project: I needed to download many software and software explanation papers, as well as tutorial on YouTube on how to realize the project, and GOD helped me to succeed.  In the case of my lost ID: I went to a police station to declare the loss of my ID card and to ask for its renewal.  In the case of my smart phone: I realized my phone got missing when we arrived at Mballa II. I went back to the spot many times to search for it, and I also sought it through Google Maps.  In the case of my computer’s complication: Actually I immediately went to change the laptop charger at a technician’s place, but when I realized it was not the charger the problem, I took it to Mballa II. Mr. Thierry BEKOLO, who is in charge of computer maintenance, was not present that day, so I went to another technician outside Mballa II. Thanks be to GOD that my computer was renewed and restored.

2.9 PARTIAL CONCLUSION We have seen the work done during my training. The work done was vast and demanded a lot of understanding for the proper accomplishment of tasks. In the next chapter we shall view the overall benefits of my internship training. BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

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Chapter Three: OVERALL BENEFITS OF THE INTERNSHIP 3.1 INTRODUCTION My internship at CRTV has given me a lot of experience and skills. I have gained a lot through this internship. This chapter is dedicated to knowing how my industrial training has added values into me. 3.2 IMPROVING PRACTICAL SKILL My practical skills were greatly improved through my internship at CRTV. I learned a lot of things, and now I can confidently do the retransmission with analog microwave link and digital microwave link, live Sound Control for a news broadcast, repairing of PABX telephone lines, repairing of RF cable connection system, video Editing with Avid Media Composer, sound editing, video format conversion, video mixing and live broadcasting with OBS Studio software. 3.3 UPGRADING THE THEORETICAL KNOWLEDGE Indeed, throughout my industrial training, I upgraded my theoretical knowledge. This was done so that I might truly have the touch and understanding in the work I was doing. The various areas I covered in upgrading my theoretical work are:  Television System: Scanning, luminance and chrominance, TV transmitter and receiver.  Digital Terrestrial Transmission Standards: ATSC, DVBT, ISDBT standards.  Video Compression Techniques: JPEG 2000, MPEG-2 and H.264.  Mobile Communications: LOS Propagation, Wireless Communication Generations, the Cellular Concept.  Norms and Protocols: TCP/IP, RTP, UDP, HTTP, and other protocols. I also upgraded my theoretical knowledge through the research I made on the internet, and the study of related works I used to perfection my work. My internship supervisor and many other professionals at CRTV enlightened me about the job we were doing, and I was really blessed by it.

3.4 UPGRADING INTERPERSONAL COMMUNICATION SKILL Throughout my internship I really improved on my interpersonal communication skills by dialoging with my superiors, with other fellow interns, with those who have no link with my

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field of study, and it greatly helped me to advance in my work. Sometimes when I was in need, I was compelled to go out of the ordinary in order to get things solved. I even took their phone numbers. I can say my training at CRTV greatly helped me in that to the glory of GOD.

3.5 IMPROVING TEAM PLAYING SKILL My training at the CRTV has really made me gain team playing skills in that I used to work in other departments not necessarily in the Direction of Technology and TV Solutions. Sometimes I was called to help those in video editing, sometimes to help those editing the news to be broadcasted at 7.30 pm or 8.30 pm, and I once joined a team that went out for a field report in view of a journal. All these interconnected activities have made me understand that work should not just be done in a particular area or domain. Unity in diversity is important for a better functioning of whatever we undertake. I have learned that I should not be fixed to my line of activity but I should be able to stretch through many other domains of work to help those in need there.

3.6 IMPROVING LEADERSHIP SKILL This internship has also improved my leadership skills, as I was put in charge of many important duties. Some of them include: the typing of news pieces for live reading during the 7:30 and/or 8:30 news, field reports, and video mixing. Although I was most often working under my internship supervisor and many other directors, I was sometimes placed in charge of tasks such as connecting cables. 3.7 WORK ETHICS AND RELATED ISSUES Some key work ethics that were requested throughout my internship training were punctuality, dressing code, politeness, devotion to work, and understanding of work. I rather improved on this detail during the later months of my training to sit up. For the rest it was quite well done. Also, some retransmissions compelled us to leave Mballa II at 6 am, so I worked hard to get up early, though it was not easy. It was not easy.

3.8 ENTREPRENEURSHIP SKILL My Entrepreneurship skills were really ameliorated because I was able to take personal decisions without the intervention of another person. I conceived ideas and implanted them.

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For instance, the choice of my internship theme was a true test of entrepreneurship. God helped me after I worked hard and went toward some senior staff of CRTV such as Mr. Thierry BEKOLO, Mr. AKO Ignatius and Mr. NDANGA Thomas. I greatly learned from them and I personally resolved to get a theme for myself. I also took personal initiatives, for example, to move to the Omni sport stadium, the vehicles were full, and I had to pay on my own account the transport fee in order to help in retransmissions done there. The chart below is an illustration of the percentage increase in skills I acquired throughout my internship training. ENTREPRENEURSHIP SKILL 9%

PRACTICAL SKILL 20%

WORK ETHICS 11%

LEADERSHIP SKILL 12%

TEAM PLAYING SKILL 18%

THEORITICAL KNOWLEDGE 9%

INTERPERSONAL COMMUNICATION SKILL 21%

Fig 11: Skills gained

3.9 PARTIAL CONCLUSION Passing through a place, institution or location has the power to shape one into a better person. I admit that my training at the Cameroon Radio Television has been a great blessing to me, and I have learned greatly from it.

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Chapter Four: CONCLUSION 4.1

GENERAL CONCLUSION

The rapid advancement of technology cannot be neglected today, especially in all fields of technology. Therefore, it would be necessary for TV stations and other great Telecommunication entities to adhere to these changes in order to provide sustainable high output with respect to demand on quality, cost and efficiency. AVoIP is a great system which, is implemented, would lead to a true change in the IT sector all through. 4.2

CONTRIBUTION TO ENGINEERING AND TECHNOLOGY

AVoIP Live Broadcasting is a new technology that should be implemented in any growing TV broadcasting company. It will greatly contribute to a development to the company, and also will lead to a move forward in Engineering and Technology. 4.3

RECOMMENDATIONS 4.2.1

Recommendations to CRTV

Concurrent TV stations such as CANAL 2, Equinox TV, Vision 4, STV and LTM can use this technology to perform live broadcasting of events anywhere around the globe.

The work done throughout my internship can be of great benefit to the hosting institution which is the CRTV. The company can use this to teach about video editing to all who are willing to specialize in the domain. This report can also be used to teach about the various work stations of the Unit of Video and Camera Exploitation, and their functioning to all wishing to specialize in the domain. 4.2.2

Recommendations to the University of Buea

The University of Buea can use this internship work to:  Develop e-learning systems to enable learning even with distance constraints.  Perform video conferencing and online update of events.  Strengthen information about the Cameroon Radio Television.  Teach TV production and video editing to freshmen in the field.

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4.4

OPEN POINTS AND FUTURE SCOPE

The encoding software uses x264 encoding, which consists of MPEG4 and H.264 encoding. If a software with better encoding features available like H.265/HEVC is used, the output quality would surely be better. The IP addresses used here are those of IPv4, which is running out of space, hence it would be advisable to start using IPv6 addresses which provide a greater capacity in the number of bits available for addressing. TV broadcasting stations can use this technology in a more adapted way to transport live AV signals produced on field to their respective TV stations for global coverage. The channel used to transport the audiovisual signals (internet) is open, hence a lot of traffic issues can be manifested along the way. If a dedicated channel was used instead (e.g. ATM, fiber link, ADSL), the QoS would greatly improve.

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REFERENCES [1]

CRTV Magazine, “TOUT NOUVEAU, TOUT INFO”, Trimestriel de la Cameroun Radiotélévision, CRTV Magazine, N° 001 l janvier-février-mars 2018.

[2]

Website: http:// www.crtv.cm

[3]

Rostant MAGHEN NEGOU, “Presentation de la Cameroon Radio Television ( CRTV)”, Global Executive MBA, Master Pro in Marketing-Sales,50 Certifications & 13 years of experience, CMO, CSO, Article, LinkedIn, August 31, 2016.

[4]

Organigramme CRTV 2017, revu et corrigé

[5]

John Wiley, “Fundamentals of Digital Television”, John Wiley & Sons Inc., ISBNs: 0471-39199-9 (Hardback); 0-471-21376-4 (Electronic), 2001.

[6]

Wikipedia, “CRTV”, Search Engine, 2018.

[7]

REGIS J. “BUD” BATES “Broadband Telecommunications Handbook-Second Edition”, McGraw-Hill TELECOM Professional, 2002.

[8]

Antenna HUNGARIA, “OUTSIDE BROADCASTING”, Research Gate 2018.

[9]

CRTV Web, Le Mag, “HOMMAGE A FLORENT ETOGA EILY, PREMIER DG DE LA CRTV”, Numéro 0004, Avril 2018.\

[10] ASOH-ITAMBI CLINTON BINDA, “VoIP APPLICABILITY AND DEPLOYMENT IN CRTV PRODUCTION CENTER MBALLA II’S TELEPHONE SYSTEM”, Internship Report, Faculty of Engineering and Technology, 12th of January 2016. [11] MOUDJI FERDINAND NDILLE (FE15A135), “FREQUENCY AND NETWORK PLANNING OF SECOND GENERATION DIGITAL VIDEO BROADCASTINGTERRESTRIAL (DVB-T2)”, Internship Report, Faculty of Engineering and Technology, 31st of December 2016. [12] Wes SIMPSON, “Video Over IP, IPTV, Internet Video, H.264, P2P, Web TV and Streaming: A Complete Guide to Understanding the Technology”, Series Editor: S. Memil Weiss, FOCAL PRESS MEDIA TECHNOLOGY PROFESSIONAL, Second Edition, 2008. [13] Sergio D. SERVETTO, Klara NAHRSTEDT, “Broadcast Quality Video over IP”,

IEEE TRANSACTIONS ON MUTLIMEDIA, Vol No 3, No 1, March 2001. [14] Cobalt Digital White Paper, “IP Video Transport Protocols – Knowing What to Use When – and Why”, 2506 Galen Drive • Champaign, IL 61821 USA • 1-217-3441243 • www.cobaltdigital.com • [email protected], Cobalt Digital Inc. 2006.

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[15] Texas Transportation Institute, “Video over IP Design Guidebook”, Project: 05942, December 2009. [16] Ed CALVERLEY, “IP Video (uncompressed) Basics”, IP SHOWCASE THEATRE AT IBC, September 14-18, 2018. [17] White Paper, “Creating a Video Matrix over IP”, GEFEN Version A, July 17 2015. [18] Scott Barella, “The Transition from Uncompressed SDI to IP Video”, CTO, UTAH Scientific, Inc., AIMS. [19] Toufik AHMED, “Adaptive Packet Video Streaming Over IP Networks: A Cross Layer Approach”, UNIVERSITÉ DE VERSAILLES SAINT-QUENTIN-EN-YVELINES, PHD Thesis, 25th November 2013. [20] Marko Vukadinović, “Video Transport over IP”, CISCO EXPO, 2009. [21] JDS Uniphase, “Testing Video over IP”, 5808 Churchman Bypass Indianapolis, IN 46203 Phone: (317) 788-9351 Fax: (317) 614-8313, White Paper. [22] PETER WEITZEL, “Video over IP-and a few more things”, SMPTE, NASTA Conference, 2017. [23] Dejero, “Simplifying the remote acquisition, cloud management, and multiscreen distribution of professional live video over IP”, Dejero Labs Inc., Copyright 2017. [24] Ira M. Weinstein, Saar Litman, “Digital Video Transmission in the IT-Friendly Way, Real world options for sending video over CATx cables or IP networks”, WAIN HOUSE RESEARCH, May 2017. [25] Atlona, “OmniStream: Truly Converged, Networked AV”, Whitepaper, Atlona 2016. [26] SONY, “SONY’s IP Live Production Technology”, Sony Technical White Paper, XILINX ALL PROGRAMMABLE, 2014. [27] Raritan, “Raritan AV-over-IP Distribution System”, Raritan Inc., 1.800.724.8090, www.raritan.com/rav-ip, 2015. [28] Bruce A. Towers, “Implementing Networked AV in Teaching Spaces”, A Research Project by the University of Essex In Conjunction with SCHOMS, September 2017. [29] Mohib A. SHAH, “Performance of Voice & Video over IP using various IP Transition Mechanisms”, Master Thesis, UNITEC Institute of Technology, New Zealand. [30] Media Links, “Unifying Live Sports Production Using IP Technology”, Media Defined Networking, APPLICATION NOTE, August 2017. [31] Liberty AV Solutions, “Video over IP solutions”, IPLINX, www.LibAV.COM, 800.530.8998.

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[32] Kramer, “DEPLOYMENT GUIDE- Distribute, Manage and Control Video and Audio Signals over an IP Network”, kramerAV.com. [33] Fujitsu, “Real-time IP Transmission Gear IP-HE950”, FUJITSU NETWORK, 2017. [34] Elina Kamenetskaya, “Video over IP: An Example Reconfigurable Computing Application for a Handheld Device”, Master Thesis, MIT, May 20, 2003. [35] Hiroshi Yamauchi, Alen Lustica, “Audio and video over IP technology”, IEEE Explore Digital Library, 2015. [36] Nuraj Lal Pradhan, John Wood, “Broadcasting video over the cellular network and the internet”, Live Gear IP Lab, Vislink, Inc., http://www.live-gear.com, SMPTE 2012. [37] Soliton, “Using the 3G and 4G Cellular Mobile Phone Network for Video Contribution”, SOLITON, Research Page 2018. [38] TVU Networks, “Accelerating the Transition to IP”, White paper, www.tvupack.com 1225 Pear Avenue, Suite 100, Mountain View, CA 94043 TEL:+1.650.969.6732. [39] RU ZHOU, Kyung Sik Jang, “Adaptive MPEG-4 Video Streaming over IP Networks”, The 23rd International Technical Conference on Circuits and Systems, Computers and Communications, ITC-CSCC 2008. [40] Wyre Storms, “AV over IP” 4K and HD signal distribution, AV over IP, Control Solutions, wyrestorm.com [41] Lightware Visual Engineering, “AV over IP” whitepaper, Peterdy 15, Budapest H1071, Hungary, +361 255 3800, lightware.com [42] Vasos Vassiliou, Pavlos Antoniou, Iraklis Giannakou, and Andreas Pitsillides, “Requirements for the Transmission of Streaming Video in Mobile Wireless Networks”, Networks Research Group, Computer Science Department, University of Cyprus, [email protected] [43] Dapeng Wu, Yiwei Thomas Hou, Ya-Qin Zhang, “Transporting Real-time Video over the Internet: Challenges and Approaches” PROCEEDINGS OF THE IEEE, VOL. 88, No.12, December 2000

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APPENDICES [Appendix A]: Powerpoint Presentation, Internship Report 2018/2019, UB, CRTV. [Appendix B]: Tab 7: Various Departments I have worked through during my internship S/ Date N

1

2

3

4

5

6

Monday 03rd September 2018 to Sunday 23rd September 2018 Monday 24th September 2018 to Sunday 14th October 2018 Monday 15th October 2018 to Sunday 28th October 2018 Monday 29th October 2018 to Sunday 25th November 2018 Monday 26th of November 2018 to Friday 28th December 2018

Intern ship Perio d

Unit

Main Location

3 weeks

Unit of Studios 1, Video and 2, 4 and 5 Camera Exploitation

3 weeks

Unit of Sound Audio Control Exploitation Stations of Studios 1, 2, 4 and 5 2 Unit of Postweeks Exploitation Production of Post- Center Production Equipment 1 Unit of Outdoor month Exploitation broadcastin of OB Van g and RF No 3 Maintenan ce Station

1 Unit of Nodal month Exploitation of Mobil and TV Retransmissi on Equipment During spare About DTT Center Earth time 2 Station weeks total

Unit Supervisor

Contacts

Mr. MBALLA MBALLA Dieudonné Timothée

+237696626987

Mr. EYA’AN +237699661002 Parfait

Mr. Henry +237699842014 ECHU Henry

Mr. Thierry +237699752177 BEKOLO

Mr. NDONGO Norbert

+237696601101

Mr. EBONG +237676074452 Frank

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[Appendix C]: Table 8: Work Planning of the Unit of Video and Camera Exploitation Date

Work Post

Place

Work Supervisors

06-07

Camera

Studios 2, 4 and 5

Mr. ADAN ADAN David. Tel:

September

237 675088390

2018 08-09

Camera

and Studios 1, 2, 4 and Mr. ADAN ADAN David. Tel:

September

Photographic

2018

Pathway

10-11

Camera Control Studios 1, 2, 4 and Mr. NOUMEDEM Paul

September

Unit

5

TRICASTER

Studio

5

237 675088390

2018 12-13 September

2

and Mr. MIMKAM Francois Xavier,

Studio 5

2018 14-15

Tel

237675484686

and

Mr.

Martin SOE, Tel 237699997249 Video Mixing

Studios 1 and 4

September

Mme Godine NAKAMA, Tel 237 677005070

2018 16-17

Ingest

Editing Booth

September

Mme BILOO’ Severine, Tel 237 696794911

2018 18-19

Administration

September

Matrix

Digital Matrix

Mr. Jean NGOUN NGOUN, Tel 237 677712766, and Mr. ALIGA,

2018

Tel 237 674744689

20-21

Automation

September

Matrix

Digital Matrix

Mr. Jean Joel MBENGE, Tel 237 696364050

2018 22-23

G5000

Digital Matrix

Mr. TCHOWOMPI, Tel 237

September

696364050, and Mme. LEMA,

2018

Tel 237 696741308

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[Appendix D]: Table 9: Work Planning of the Unit of Audio Exploitation Work

Studio 1

Post Production

Studio 2

Studio 4

Production

Station Date

External

24-27

28-29

01-05

08-12

06 and 13

September September 2018

October

October

October

2018

2018

2018

2018

[Appendix E]: Pic 5: The CRTV Mbankolo Special broadcasting center

[Appendix F]: Pic 28: Flowchart for signal uplink transmission via satellite

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[Appendix G]: Pic 29: Organization and Management Flowchart of CRTV

[Appendix H]: Pic 35:Omnidirectional Antenna installed at the 12th floor of CRTV Television Station, used for retransmissions

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[Appendix I]: Tab 10: A summary of various video codecs

[Appendix J]: Tab 11: Network Streaming Protocols

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