LIVE EVENTS: LIVE SPORTS
AVID AIDS LIVE SPORTS WORKFLOW
Avid’s Interplay suite and ISIS media storage are at the heart of the newly installed live production setup at IMG’s Mediahouse facilities
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The secret of seamless, file-based workflows is keeping it simple – particular on a huge series such as BBC1’s The Apprentice.
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NICK GRIFFITHS Senior editor EVOLUTIONS
“Our contracts are based on the speed of our opera- tion, so the efficiencies that Interplay and ISIS provide are critical”
RICHARD ALLINGHAM Chief engineer Mediahouse
Working on everything from fast turnaround sport coverage to long-form documentary, IMG’s Mediahouse is a hotbed of activity, producing content for a variety of broadcasters, many of whom demand ever-faster production speeds and levels of quality. To help fulfil this requirement, and with the time-critical
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AVID INTERPLAY’S ROLE ON LIVE SPORTS SHOWS
• HD clips come in live on to an EVS server, which feeds directly to the Avid Interplay where the clips are checked and ordered and then pushed out to 10 Avid editing workstations where packages are cut within a super-fast turnaround time
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nature of live sports in particular in mind, the asset management and storage capabilities at the London production studio have recently been upgraded. The biggest challenge was to bring the variety of diverse editing, sound and live production systems within Mediahouse into one streamlined production solution. Integrating Avid’s Interplay media and production suite and its ISIS media storage played a key part in this. The new setup has proved particularly effective for Premier League live football broadcasts, highlights and other related packages. This is fast moving work that requires efficiency and a high degree of asset organisation. At the front-end, HD video is loaded onto an EVS server managed by operators who clip up the footage. This is then fed directly into the Avid Interplay platform. While a producer sifts through footage and decides the order that clips will go into the package, a checking editor handles
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the organisation, effectively deciding where assets sit in the system. At the same time, editors are ready to begin cutting at 10 Avid editing suites, waiting for clips to come in, then work simultaneously “flat out” for the next two hours on their specific tasks. While Avid ISIS enables immediate access to shared
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data, Avid Interplay’s open-platform production tools provide valuable functions for everything from desktop archive browsing to frame-accurate shot selection. Completed shows are assembled into one master, picking up photos and other media directly from ISIS, while voice editing is completed. Using video satellite software, the package is put back onto the EVS from where it is played out directly. “Our contracts are based on the speed of our operation, so the efficiencies that Interplay and ISIS provide are critical,” says chief engineer Richard Allingham, who was keen to ensure that the amount of data and storage required by the move to HD didn’t slow things down. “We have 22TB of storage now,” he adds. “All that media is highly organised into a well functioning database so operators can quickly find and pull clips and archival footage as needed.”
STORIES create
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