June2013
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“We look to deliver over 150 hours of live network TV programming”
moment – because that’s the reality of the situation with so many channels being broadcast.”
Critical captions Graphics play a major role in the coverage of the high-profile event, with providers working closely with the official data suppliers IBM. “At the heart of our graphics system is a customised interface which receives live score and statistical data from IBM,” explains Duncan Foot, managing director and co-founder of broadcast graphics specialist, MOOV — the company that has worked with the BBC at the Championships for seven years. “This includes every point from every match on every court in realtime, utilising a robust and quick system that can turn this constant data stream in to an accurate graphics output.” Foot reports that for the live graphics
playout MOOV employs two Chyron HyperX3s, with most of the templates being fed by its own or the IBM data.
Your Team For Broadcasting Solution.
ACS courtside: A robotically-controlled camera is mounted on the umpire’s chair to provide close up shots of players between games
fed to a central server and the material made available to the many international broadcasters who cover Wimbledon. “As the host broadcaster, we offer a
variety of feeds to our international colleagues,” explains Davies. “We use a sophisticated distribution system known as OSCAR (On Site Central Apparatus Room) for this purpose. For most courts, we offer both clean and dirty feeds, but some broadcasters request what I call a clean-clean feed. Here we provide a clean feed without graphics, but also minus the wipe replay transition wipes. That
“The Club has been working with Sony and Paul Hawkins (inventor of Hawk-Eye) to design a system that will allow cameras to track players, rather than just the ball” Paul Davies, BBC Sport
“We use the main BBC Sport graphics brand, but with the standard Wimbledon colours of Green and Purple. The Chyrons offer us the reliability and speed of processing required on such a long transmission, bearing in mind we can be on-air from 1100 hours until 2300 hours and quite often across two channels.” He continues, “because of the high-profile and demanding nature of the production we also have on site two graphic/motion designers using After Effects and Cinema 4D on a Mac platform.” For this year’s coverage, MOOV will also be providing an Augmented Reality system in the studio using the Shotoku tracking system. This will offer stunning imagery and a new way to present graphics for the presentation studio.
Feeding the world Over the course of the two weeks of the Championships, many hundreds of hours of broadcast material are generated. “We work alongside sports distributor IMG and utilise an IP Director system as the MAM facility,” says Davies. “The All England Club itself maintains the huge archive of material from both the current event and past tournaments, and this is managed on site by IMG.” Alongside the cut broadcast coverage, much of the output of ISO cameras is
enables individual broadcasters to insert their own transitions to meet their output style.” With so many hours of live
broadcasting to fill within a relatively short period of time, what does Davies see as his biggest challenge? “I think I would have to answer
standardisation of coverage. We look for continuity from the directors, without making the output look bland. That doesn’t mean there isn’t room for individual flair and creativity. But there are basic rules to follow and I expect them to adhere to those conventions.” He continues, “standardisation of
presentation among the commentators is also essential. Many work for a variety of networks from different countries — and those channels have their own guidelines. But we have our way of doing things and I expect our directors to work with the commentators to produce to BBC style, one that our millions of viewers seem to enjoy.”
www.adobe.com www.aerialcamerasystems.com www.bbc.co.uk www.chyron.com www.moov.tv www.shotoku.co.uk www.wimbledon.com
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