34 TVBEurope The Workflow
www.tvbeurope.com August 2012
“Facing such difficulties, TF1 issued a request for proposals with four main specifications”
How to choose a television graphics package
French network TF1 found its old graphics package was approaching obsolescence, and a total revamp of graphics creation and management was required. Philip Stevens looks at the choice and process of change resulting in the selection of Orad’s 3DPlay
WHEN FRENCH national channel TF1 decided to implement a new graphics workflow, it was looking for ‘a quantum leap forward’ with immediate improvements in reliability, flexibility and user friendliness. “For many months, we had
been experiencing a number of difficulties regarding our graphics,” admits Franck Mériau, TF1’s director in charge of broadcasting. “Our old system had its limitations, which prevented us from implementing requests from the art department. There were certain graphical transitions that we were unable to create. The previous system had been installed in 2005, and some of the hardware was becoming obsolete. As a result, the upgrading of the graphics system became an increasingly vital step.” The general consensus was
that the system, as it was, could not evolve towards HD and the multi-feed broadcasting that future plans involved. In fact, expansion and increased demands meant that the system could not adequately support the station’s existing workflow. Furthermore, operators had to add graphical elements using only time codes, and were unable to see previews of their work. Mériau continues, “Facing such difficulties, TF1 issued a
by creating systems that allowed more in-house involvement. The system selected for TF1’s demands comprises three specific elements. First, there are four Orad HDVG platforms (two SD models and two HD models) for two output feeds. Next, there is a platform dedicated to previews. Finally, an SD-only platform is used as a synchronous and autonomous backup. The HDVG platform runs on
TF1 uses Orad 3DPlay to generate all of its channel branding
Linux, provides redundancy and has SDI inputs and outputs. There are eight operator
“On the master control room side, the operator can also see and preview the contents that are lined up for broadcast. It’s all good news”
request for proposals with four main specifications. These were to improve the system’s reliability; simplify its scalability; be more responsive; and have full control over the system. After an in-depth tender process, TF1 selected Orad 3DPlay to fulfil these criteria.” According to Victorien Giret,
TF1’s project manager, the station’s proposals set high standards for the new solution. “We preferred Orad because, in its submission to us, the company demonstrated its
willingness to meet most accurately our needs. One of the selling points was the reliability and the power of the High Definition Video Graphics (HDVG) platforms’ rendering engine.” Once appointed, Orad liaised with personnel within TF1’s art department in order to integrate their requirements into the graphics package being developed. One major objective was to remove the need for outsourcing some of the more complex graphic requirements,
workstations, plus one further in the master control room. Primary animation is carried out on a Harris ADC100, using the Video Disk Control Protocol (VDCP) protocol. This standard protocol allows for a powerful integration with the other resources, such as the MAM platform. Automation is bidirectional, and allows for both manual and automatic control. In addition, an Orad 3Dplay software suite is used for secondary animation.
Organised workflow “The new system is more flexible, and allows the creation of dynamic graphics for both regular programming and special events,” explains Avi Sharir, CEO and president of Orad. “3DPlay is an end-to- end channel branding system that includes all operations from scheduling to on air. The suite incorporates a browser module for traffic and scheduling, allowing an operator to access 3DPlay’s actions, ingest data, preview the graphics locally and confirm the graphics and content. “This process saves time, as
Olivier Dusatoir, TF1
the graphics can be previewed and approved in one operation. When the playlist is distributed it will include all graphic elements as secondary events.” He continues, “3DPlay is used to create realtime,
The Media Asset Management on the Orad system provides operators with clear choices when it comes to using the various items on the database
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68