LIVE EVENTS: THE BT TOWER
LONDON’S TOWERING SUCCESS
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Andy Beale, BT’s head of engineering explains the essential role of the BT Tower in televising sporting events
The secret of seamless, file-based workflows is keeping it simple – particular on a huge series such as BBC1’s The Apprentice.
London’s BT Tower is the hub for sports broadcasting in the UK, handling the feeds for racing, football, rugby and most sporting events for Sky, BBC, ESPN and the racing channels. The BT Tower Production Centre provides live and post
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NICK GRIFFITHS Senior editor EVOLUTIONS
ANDY BEALE
Head of engineering BT
“As soon as a producer or editor opens Interplay they can see clips for each match and begin to tighten them further in Adrenaline”
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FOOTBALL BROADCASTS FROM THE BT TOWER
• BT uses Media Composer for the speedy editing of content for BBC1’s Football League Show • In addition, last year BT created 1,830 web edits - highlights, weekly League roundups and 90-sec ‘all goals’ sequences
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production services for which it requires an edit system including failsafe media ingest and playout systems capable of super-fast turnaround of near-live footage into a multitude of packages for different rights holders. It captures and manages all Football League football matches across the Championship, League One and Two for BBC1’s Football League Show. BT sends camera-ops to record the action from each ground, the tapes from which are then taken to regional centres for a quick rough cut of the main action into highlights packages. These are then played down to the BT Tower at predefined timeslots between 18:30 and 20:30 for distribution to all the Football League rights holders and partners.
A team of expert loggers tag the video feeds with key data to identify the action, using EVS IP Director. These logs are shared live with IMG, BT’s production partner. BT’s post production team then gets to work producing the Championship element of the Football League Show to air that evening after Match of the Day. Browsing the
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logs, BT’s producers mark appropriate in and out points, and create new clips with relevant names. This also automatically triggers a rapid transfer of the clip (with handles) from the EVS server environment to the Avid 64TB ISIS, which is managed by Interplay. Avid’s Media Composer is BT’s editing tool of choice. “As soon as a producer or editor opens Avid Interplay they can see clips for each match and begin to tighten them further in Media Composer,” explains Andy Beale, BT’s head of engineering. “The clips are then passed to another Media Composer, accessing the same media, to adjust audio, drop in graphics and comp into a package.” The crucial next stage is the addition of a voiceover commentary, finished within Media Composer’s audio correction tools. “When the exec producer overseeing the VOs is happy, the editor then uses the editor’s ‘Send to Playback’ feature to transfer the finished package back to the EVS server for the EVS ops to play into the studio.” Upon completion of the BBC show the team of editors
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and production staff work late into the night to create an international version of the highlights show for the Football League. This requires a separate Media Composer edit, with different graphics and an audio treatment in Pro Tools.
STORIES create
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