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Zixi, AWS test 4K and 8K broadcast workflows over 5G

Zixi's SDVP leverages ultra-low latency access to AWS compute and storage services enabled by AWS Wavelength at the Verizon 5G Edge to process UHD video and compress it for delivery to mobile devices.

Zixi, AWS and Verizon have worked together to live stream content on the 5G Edge.

Zixi used AWS Wavelength on the Verizon 5G edge to produce and deliver UHD media workflows and 5G-enabled production at scale. The company is now working with a major global broadcaster to test live and live linear 4K and 8K broadcast media workflows for 5G distribution.

Other Zixi customers are experimenting with consumer-facing immersive experiences delivered via AWS Wavelength Zones at the edge of Verizon’s 5G network.

Zixi’s SDVP leverages ultra-low latency access to AWS compute and storage services enabled by AWS Wavelength at the Verizon 5G Edge to process UHD video and compress it for delivery to mobile devices.

“With AWS and Verizon we’ve had a lot of success in showing how the workflows could be configured to take advantage of the robust, low-latency aspects of 5G,” said Eric Bolten, VP of business development for Zixi. “But you first need access to it and that’s where the Verizon 5G network and AWS Wavelength Cloud computing at the edge come in. Wavelength allows us to move video processing to the edge and to deliver additional performance at every part of the content delivery chain.”

“In order to scale, to go from hundreds of streams to tens of thousands of streams and clients, you need the ability to have views across the organisation, between organisations, and easily manage both,” said Bolten. “5G better optimises overhead, so you can maximise traffic spectrum and reduce latency. Now with Wavelength available at the 5G network edge, this combined mobile edge compute (MEC) solution foretells the future of mobile broadcast workflows.”

Bolten revealed field testing has shown promising results, with latency below 10 ms over an 80–100 MBps pipe.

“The technology makes virtual control rooms possible, where a production team can order 10 or 20 camera sets and have curated subsets that are available to the general public,” Bolten added.