August 2013 www.tvbeurope.com


“Before, all editing was carried out by craft editors. Today, all the users have access”


of special interest. “For ingest and playout, we are using the Brio servers directly connected to the SAN using Fibre Channel. Video material is ingested both in high-res DVCPro 100 and proxy at the same time directly on the SAN server for immediate production. When it is time to play out, this is done directly out of the SAN using Brio servers. There is no cache storage in the servers.” This arrangement not only


makes for an efficient workflow, but also this configuration means no extra application servers are needed to handle transfers and conversion to proxy. This results in financial savings both on the servers and the required bandwidth of the production SAN. Cospen goes on to say that the Dalet system also allows the easy administration of matters such as rights management. “Even when content is edited outside Dalet, on FCP, for example, the rights and other metadata are tracked and maintained during the entire cycle of the workflow. Even throughout craft editing, there is no metadata destruction.” In order for the new operation


to be effective, material stored on the previously used system had to be imported. The first task was to create metadata fields in the Dalet system that matched existing fields. Once this was completed, a specially designed tool within the Dalet Sports Factory was used for the mass import of metadata and media.


Everyone an editor Of special importance to the channel was the integration of graphics with the newsroom system. That graphics set up includes four Viz Trios (CGs) in the control room that drive a playlist of graphics used live on air. A Viz Engine renders the graphics in realtime for each Trio. The channel also uses a single Viz Ticker to take in live data from various sources and displays it as text in the ticker. The graphics team has a single Viz Artist workstation to do all of their design work. Cospen reveals that the


integration between Dalet and Vizrt is significantly advanced at L’Équipe 21. “From their workstations, users can add graphic objects from the script editor or from the Dalet timeline, using the Vizrt activeX to select templates and to enter text. When a new graphic is


TVBEurope 31 The Workflow


The spectacular Paris skyline is a feature of the main L’Équipe studio


A journalist records his voiceover directly into the Dalet system from his desk


added to the timeline, Vizrt automatically generates a proxy resolution of the full graphic animation that can be seen in the preview window from any workstation. Graphics are either burnt or played automatically as secondary events during playout. This is an advanced and unique integration between both systems that is way beyond usual intelligent interfaces and MOS integrations.” He says that with the


innovative ‘CG on the Timeline’ feature, journalists can select a graphic template, fill in the relevant data and place it on


the video. This allows the graphics to be attached as metadata to the video and played out automatically. Although most of the editing is completed from the producer/journalist workstations, there is also the option to create a rough cut, make a shot list or a simple EDL that can be opened by a craft editor using Final Cut Pro 7. Voiceovers are recorded


directly from a user’s workstation using a microphone on the desk. There are also two voiceover booths, usually deployed to record phone interviews directly into Dalet.


Philippe Espinet: “All the users have access to video assets and tools to edit video, record voiceovers and position their graphics. This dramatically increases productivity and better circulation of information”


This editing and voice-over


capability is singled out by Espinet as particularly important in the production cycle at the channel. “The thrilling aspect is the new approach for video editing. Before, all editing was carried out by craft editors. Today, all the users have access to video assets and to the tools to edit video, record voice-overs and position their graphics. This dramatically increases productivity, with a better circulation of the information and added agility to the workflow.”


He goes on, “It is never easy to switch from one system to


another — especially when you have very little time for training and the tools are new to the staff. But the new workflows and tools were really well received by the staff. Importantly, there is no bottleneck in the workflow. In fact, we don’t even have a backup system. This is the proof that the system is really stable!” www.dalet.com www.hybridtv.tv www.lequipe21.fr www.oracle.com www.snellgroup.com www.pro.sony.com www.vizrt.com


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