New Project Again Jesus PDF

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, Pic 3: Emmanuel WONGIBE (Left), Deputy

Director General of CRTV [2] 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.

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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 multi-
skilled. 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]

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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

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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

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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.

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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

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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.

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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 Ready-
to-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 PAD-
Ready 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

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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

32
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

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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-the-
air 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.

34
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]

35
i) ii)
iii) 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

36
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 Technology Used
1 Cameroon Handball Cup 10th September Palais des Sports Analog microwave
Finals, Men and Ladies 2018 de Yaoundé link
2 Installations for the 21st October Palais des OB Vans and
Proclamation of the 2018 2018 Congres de Analog Microwave
Cameroon Presidential Yaoundé link
elections by the Constitutional
Council
3 Installations for Relay 31st October Mbankolo Omni-directional
Transmissions 2018 Special antennas
Broadcasting
Center
4 Installations for the 1st November National OB Vans, Optic
Presidential Swearing-in at the 2018 Assembly fibers, Analog
Parliament microwave link,
and TVU Link
5 Installations for the 6th November Unity Palace OB Vans,
Presidential Ceremony and 2018 Motorized Digital
Concert link and Analog
Microwave link
6 Installations for the MUTZIG 17th CRTV OB Vans
Talents Awards November Television
2018 Mballa II
7 Installations for the Cameroon 2nd December Yaoundé Omni Motorized Flyaway
Ligue 1 Cup Finals 2018 Sport Stadium satellite and TVU
Link
8 Installations for the 11th CRTV Radio Analog Microwave
FECAFOOT Presidential December Station links
Elections 2018
9 Final of the MUTZIG Star 20th December CRTV OB Vans
Talents Award 2018 Television
Station Mballa II
10 Installations for the Christmas 24th December Cathédral Notre Analog Microwave
Celebrations 2018 Dame de links
Victoire

38
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

40
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.

41
 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 87-
108 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 re-
telecast 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
 Disadvantages of Optic Fiber Communication

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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]

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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, MPEG-
4 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

53
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]

55
 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.
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.

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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%
THEORITICAL
KNOWLEDGE
LEADERSHIP SKILL
9%
12%
TEAM PLAYING SKILL INTERPERSONAL

18% COMMUNICATION
SKILL
21%
Fig 11: Skills gained
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.

66
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.

67
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: 0-
471-39199-9 (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 BROADCASTING-
TERRESTRIAL (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 • 1-217-344-
1243 • www.cobaltdigital.com • support@cobaltdigital.com, Cobalt Digital Inc. 2006.

68
[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.

69
[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 H-
1071, 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,
vasosv@cs.ucy.ac.cy
[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

70
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 Intern Unit Main Unit Contacts

N ship Location Supervisor
Perio
d
1 Monday 03rd 3 Unit of Studios 1, Mr. +237696626987

September weeks Video and 2, 4 and 5 MBALLA
2018 to Camera MBALLA
Sunday 23rd Exploitation Dieudonné
September Timothée
2018
2 Monday 24th 3 Unit of Sound Mr. EYA’AN +237699661002
September weeks Audio Control Parfait
2018 to Exploitation Stations of
Sunday 14th Studios 1,
October 2018 2, 4 and 5
3 Monday 15th 2 Unit of Post- Mr. Henry +237699842014
October 2018 weeks Exploitation Production ECHU Henry
to Sunday of Post- Center
28th October Production
2018 Equipment
4 Monday 29th 1 Unit of Outdoor Mr. Thierry +237699752177
October 2018 month Exploitation broadcastin BEKOLO
to Sunday of OB Van g and RF
25th No 3 Maintenan
November ce Station
2018
5 Monday 26th 1 Unit of Nodal Mr. +237696601101
of November month Exploitation NDONGO
2018 to of Mobil and Norbert
Friday 28th TV
December Retransmissi
2018 on
Equipment
6 During spare About DTT Center Earth Mr. EBONG +237676074452
time 2 Station Frank
weeks
total

71
[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 5 237 675088390
2018 Pathway
10-11 Camera Control Studios 1, 2, 4 and Mr. NOUMEDEM Paul
September Unit 5
2018
12-13 TRICASTER Studio 2 and Mr. MIMKAM Francois Xavier,
September Studio 5 Tel 237675484686 and Mr.
2018 Martin SOE, Tel 237699997249
14-15 Video Mixing Studios 1 and 4 Mme Godine NAKAMA, Tel 237
September 677005070
2018
16-17 Ingest Editing Booth Mme BILOO’ Severine, Tel 237

September 696794911
2018
18-19 Administration Digital Matrix Mr. Jean NGOUN NGOUN, Tel
September Matrix 237 677712766, and Mr. ALIGA,
2018 Tel 237 674744689
20-21 Automation Digital Matrix Mr. Jean Joel MBENGE, Tel 237
September Matrix 696364050
2018
22-23 G5000 Digital Matrix Mr. TCHOWOMPI, Tel 237
September 696364050, and Mme. LEMA,
2018 Tel 237 696741308

72
[Appendix D]: Table 9: Work Planning of the Unit of Audio Exploitation
Work Studio 1 Post Production Studio 2 Studio 4 External

Station Production
Date 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

73
[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

74
[Appendix I]: Tab 10: A summary of various video codecs
[Appendix J]: Tab 11: Network Streaming Protocols

75

76

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IMPLEMENTATION OF AVoIP LIVE BROADCASTING TECHNOLOGY

Chapter One: BACKGROUND OF THE HOSTING COMPANY

1.2 THE VISION OF CRTV

Pic 1: CRTV Television Station

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

Pic 2: Charles NDONGO, Pic 3: Emmanuel WONGIBE (Left), Deputy

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

Fig 2: Logo of CRTV Fig 3: Logo of CRTV News

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

Pic 4: CRTV Web Page

1.3 THE MISSION OF CRTV

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

1.4 CORE VALUES

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

1.5 QUALITY ASSURANCE

1.6 STRUCTURE OF CRTV

1.6.1 Location and Geographical Background

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

Pic 5: CRTV Television Station viewed from Google Earth

1.6.2 Historical Background

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

Pic 6: Mr. Florent ETOGA EILY, First DG of CRTV [8]

1.6.3 Institutional Structure

The structural organization of the Cameroon Radio Television is composed of a General

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

Fig 4: CRTV Institutional Structures viewed from Google Maps

1. The Cabinet of the President of the Administration Council (PCA):

3. Services Attached to the General Direction:

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

1. Pole CRTV Radio

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

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

2. Pole CRTV Television

Pic 8: CRTV Television Station at Mballa II

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

Tab 2: CRTV Regional Television Stations

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

Pic 9: Heads of CRTV Regional Stations [2]

Tab 3: CRTV Radio Proximity Channels

Radio Proximity Channel Frequency Town Location

4. Pole CRTV Technology and Solutions

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

The IFCPA Training Institute (Institut de Formation et de Conservation du Patrimoine

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

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

1.7 ORGANIZATION AND MANAGEMENT

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

Pic 11: CRTV Top Management

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

Table 4: CRTV Identification Characteristics

1.8 FIELD OF SPECIALIZATION

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

1.9 INTERNATIONAL EXPERIENCE

1.10 REFERENCE PROJECTS AND SERVICES FURNISHED BY THE CRTV

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

1.11 PARTIAL CONCLUSION

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

Chapter Two: OVERALL INTERNSHIP EXPERIENCE

2.2 JOINING OF THE COMPANY

2.3 SECTION OF THE COMPANY I HAVE BEEN WORKING

BATCHANOU TATAP PERETS ARNAUD / FE15A031/ INTERNSHIP REPORT 2018-2019/ UB/CRTV

Pic 12: My internship work plan