6 Friday 13.09.13 theibcdaily Use second screens to “tell data story” Conference Analysis
By Chris Forrester Panelists at IBC’s ‘My Own Private Stadium’ session told delegates that it isn’t enough to simply supply sports-related data to users, but to use the resources intelligently and “tell the story” with the data. “Sports audiences are the most critical in the world,” said IBM’s Dominic Stone. “They look for nuances and subtleties in action that frankly West End theatre audiences aren’t even aware of.”
Stone explained that this huge mix of inherited knowledge of the
IBM’s Dominic Stone makes a point to the IBC panel yesterday
game, or player, or key element in the season all come together for broadcasters in commentary on the first screen, but must also
translate to the second. “There is an insatiable demand for accurate and timely data and information as to what’s going
on. The role of data and sport is fundamental.” BSkyB’s Tim Orme (head of mobile platform, Sky Sports Digital Media) demonstrated how Sky addressed the hugely complex demands of users. “It can mean many different things to different people. At Sky Sports we deliberately try to remember this fact. Usage used to be match or game focused, but that’s changing and we are seeing a huge amount of second screen activity where there’s interaction between other users, comments, reacting and just getting closer to their favourite sport. From our point of view we are also striving to add value to our subscribers.”
However, Johann Schreurs, general manager, new media broadcast at EVS, cautioned broadcasters against having two separate divisions, one handling video, the other multimedia, within the sports department. “There should not be a hard wall between the two. We try to advise clients to try and bring images to the device that hasn’t been shown on the first screen, and as fast as possible. This is real ‘added value’. The video producer is well able to tell his story with his pictures. The technology is now ready to add this story-telling layer to second screens, and we see this having a huge impact next year with the Brazil World Cup.”
Next TriCaster unveiled First HD Tier 1 DSLR NewTek
By Carolyn Giardina NewTek has unwrapped the next generation of its professional line of TriCaster multi-camera production systems that includes three new models – TriCaster 860, TriCaster 460 and TriCaster 410 – and an upgraded flagship system, TriCaster 8000. “When we talk to video
producers, the most common challenge we hear is how to deliver a greater amount of content in a shorter amount of time, but with the level of quality and visual impact that their viewers demand,” Dr Andrew Cross, CTO, NewTek said, noting that this is what the new line aims to accomplish.
The company is also
introducing aggressive new pricing with TriCaster 410 starting at £8499. TriCaster 460 lists for £11,999, and TriCaster 860 for £19,499. TriCaster 8000 with the included control surface lists for £29,999. Upgrade options are available. NewTek says that all systems in the line offer four or eight full mix/effects (M/E) channels, expanding the system’s switching performance. Producers can use these M/Es to generate layered and composited realtime video, produce sub-mixes in the main video programme, and output content as a secondary programme – all with complete switcher behaviours, transitions, overlays, multi-source layering and virtual sets. 7.K11
Mamba FX unveiled at IBC SGO
By Carolyn Giardina SGO is kicking off IBC with the unveiling of a new compositing software called Mamba FX, aimed at jobs from indie through TV and studio productions. The system will be released later in the year and is available for pre-order at an introductory rate of €239, which includes access to the application during the beta-phase. SGO has not revealed final pricing. Running on Windows, the system includes tools for keying, tracking, painting and restoration, as well as support for
Canon
By David Fox Canon’s 4K DSLR camera, the EOS-1D C, is the first DSLR to meet the EBU Tech 3335 requirements that show it delivers an image of high enough quality for broadcast production. In independent tests, it was shown to provide ‘exceptional’ HD resolution from a 4K source
with ‘very low’ aliasing, and ‘good’ colour performance and motion portrayal. The test results also confirm that the EOS-1D C complies with the recommended specification for inclusion in HD Tier 1 for HD production. The camera is based on the EOS-1D X, but is designed for video-supporting in-camera 4K (4,096x2,160) recording with 4:2:2 colour sampling. The camera is also getting several feature upgrades via a
firmware update. It will become possible to display current aperture (f-number) when shooting with Canon EF Cinema lenses, and to store lens metadata. EF Cinema lenses will also be supported by the Peripheral Illumination and Chromatic Aberration Correction functions, to improving overall image quality. The forthcoming update will also permit selection of Line or Mic, for use of an external audio source. 11.E50
Death to traditional video switchers Noah Broadcast Solutions By David Fox
OFX-compliant plug-ins. According to SGO, it offers a node-based graphic interface, ‘unlimited’ compositing layers and effects, and compositing ‘trees’ that also generate plain text files that describe the chain of processes that are scripted and manipulated to automate functions and workflows. The SGO-developed technology uses NVIDIA GPU graphics boards. Mamba FX can run other SGO
feature options including its Stereo 3D toolset and DCP Creation.
The compositing system is also compatible with SGO’s Mistika post production and broadcast systems. 6.A11
A start-up company, backed by EVS, claims to have developed “the world’s first fully IT-based live production system” that “signals the death of traditional video switchers” and is demonstrating seamless live production between the RAI and Frankfurt. It is “designed to overcome the
inherent limitations of traditional hardware-based video switchers” using a scalable, cost-effective, high-performance workflow. Uncompressed content is shared between Noah modules via IT networks, allowing users anywhere in the world to manipulate live feeds in realtime from any connected processing module or control panel. Unlike traditional switchers,
Noah’s open architecture uses off- the-shelf (easily upgradable) graphic cards. As these are not task-specific, it should simplify adding new functions. There is also a basic control panel with
two optional extensions. Operators can run several systems in parallel for more flexibility or I/O ports, and built-in redundancy.
The number of mix/effects (M/E) channels is user defined, as everything is software-simulated. There may be up to 12M/Es per module, but if more are needed add another module… DVEs, 3D transition effects, graphics, mixes, wipes and keys can be created
on-the-fly or pre-set in a user- defined sequence for greater efficiency. Multi-viewers can be integrated.
“The modules can be upgraded easily at minimum cost as operations are software defined,” said company spokesman Philip Weber. When needed, an operator can use another module next door, or in another city. All modules can be operated remotely. Sources are not limited by hardware. “The benefits are stunning,” he added. 11.G64
Noah: Live production between Amsterdam and Frankfurt
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