38 TVBEurope The Workflow
Channel 4 bets on new provider for live racing
Big innovations are on course for the UK’s 2013 horse racing coverage. Philip Stevens discovers what is in store from IMG Sports Media
system, which can handle full- sized broadcast cameras, uses computer controlled motors to achieve variable speed tracking shots. A unique stabilising unit incorporating carbon fibre technology keeps the camera steady in wind speeds up to 30 knots. A remote head mounted to a camera carriage provides standard pan and tilt features. The camera can be over slung for 360º panning or under slung for ground level shots. “Anyone watching the coverage
of Royal Ascot cannot forget the iconic shot of the magnificent grandstand, where the horses and crowd are seen in the background. We will be using a CamCat wire system to recreate that memorable image,” promises Fry. “We will bring in a helicopter for some of the ‘crown jewel’ meetings, such as the Derby and the Grand National. “In addition, we plan to
introduce a new groundbreaking
supplying tracking vehicles with stabilised mounts, aerial filming and remotes. As already mentioned, part of
the production deal involves the Morning Line preview programme. This output, together with the presentation and pundit analysis of the races, are accommodated in a 12m x 5m expandable studio transported to each venue on a truck. This adjustable height studio, dressed in Channel 4 Racing livery, also incorporates an open top terrace presentation area.
Generating graphics IMG will introduce a new title sequence and graphic style created by Daryl Goodrich, whose film played a major role in winning the London 2012 Olympic Games bid. Says Fry, “included in the
CamCat system: the aerial camera provides dramatic views of racing and crowds at Royal Ascot
THE UK’S Channel 4 aired its first horse race meeting in 1984. However, it took several years before the broadcaster established itself as the main provider of the free-to-air coverage in the United Kingdom. Today, Channel 4 is seen as the home of horse racing coverage. This month, following a
comprehensive tender process, production of the coverage passes to London-based IMG Sports Media. The four-year contract sees 88 days of live racing action, amounting to over 300 hours of terrestrial exposure, transmitted each year. In addition, the contract calls
for the Morning Line preview programme to continue with an increase to 62 shows, which includes transmissions on the morning of the major race meetings. IMG says that its overall aim is to introduce compelling race coverage, a new contemporary editorial directions, and robust journalism. “On a week by week basis, we are using between 17 and 19
cameras for programmes, which includes race coverage,” explains Graham Fry, Global managing director at IMG Sports Media. “We will have four additional cameras in our new portable studio for presentation of the morning line and afternoon show. However, for the major events, we will have in excess of 30 cameras, to provide as comprehensive coverage as has been seen in the UK previously.” Outside broadcast facilities are
provided at each venue by NEP Visions. “Modifications have been carried out on one of their existing OB units to meet fully the extra production demands contained in our tender to Channel 4,” says Fry. “We selected NEP Visions because of its wealth of experience in horse racing over many years.” Fry points out that there is
already a cabling infrastructure in place at many courses in the UK, and an extensive amount of radio links, provided by Broadcast RF, are also required at many venues.
Clare Balding has taken over as the lead presenter on Channel 4’s racing coverage
graphics innovations is an interactive race analysis tool enabling Channel 4’s punditry team not only to preview and review races using Telestration, but also drive the programme editorial. The touchscreen, set in a coffee table, provides speedy access to jockeys’, horses’ and trainers’ profiles and statistics. It will also be used to interact with social media and for running VTs, such as jockey profiles and big race previews.” The hardware and software behind this tabletop touchscreen (but not the screen itself) has been supplied by Hego. “We supplied two GS2 realtime graphics engines and a video
An operator in the truck assigns clips to a Hego database over the network and bespoke software takes control of a channel of EVS. This allows presenters and experts to analyse replays in detail
“We will enhance the racing
coverage with a Jimmy Jib mounted on a vehicle. This enables easy repositioning to the various start-of-race positions. We are continuing to use the Vortex camera which can travel from ground to 30m in the air in about 15 seconds.” The trailer-mounted Vortex
camera for the Grand National – subject to approval by the relevant horse racing authorities. More news about that nearer the time.” The CamCat system, which is
provided by Aerial Camera Systems, is fitted with an HD Cineflex V14 stabilised mounts and is capable of speeds up to 70km/hour. ACS is also
server to control EVS,” says David Peacock, commercial manager at Hego UK. “The table top touchscreen is
built into the set and has DVI and USB inputs — for HD video and touch capability respectively. The system also supplies HD-SDI outputs directly to the vision mixer.”
www.tvbeurope.com January 2013
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