44 TVBEurope The Workflow
hours of added-value content for their global audiences,” declares Doneux. For the first time, HBS will
Gruschwitz: “Something of which we have to be very aware in these days, of course, is the overall cost of mounting such an operation”
well as extensive multi-media content distribution infrastructure.” EVS’ new LSMConnect,
MultiReview, and C-Cast agent tools lie at the heart of the live production workflow along with XT3 live production servers. A combination of EVS XT3 servers and the IPDirector production asset management suite drive all the ‘emotion’ highlights packages, while the compilation of all the best clips will be managed using the new MultiReview solutions. Within the IBC, more than 100 EVS IPDirector suites will be used to manage live incoming feeds and access to the FIFA Media Asset Exchange (FIFA MAX) server containing match feeds, clips, highlights, city profiles and other relevant data. In all 12 XT3 will handle 4500 hours of storage that will be accommodated, based on EVS XStore SAN. The IPDirector suites will also be utilised for the live logging of events. Access is provided for the multilateral production team for further editing and programming as well as to Media Rights Licensees (MRLs) to browse, access and download the content. Electronic News Gathering (ENG) operations at the various venues will be facilitated based
be providing new media distribution capabilities to broadcasters. This process relies on EVS’ C-Cast multimedia distribution platform. C-Cast technology will connect the live production infrastructures to a central cloud-based platform, aggregating live streams, multi- angle clips, stats, and social network feeds. These will be distributed to affiliate broadcasters to offer extended multimedia consumption to their viewers, as a second screen application. Two of those broadcasters are HRT from Croatia and ZDF in Germany.
Cosic: “HRT will not have its own studio in Brazil, but our presenters will be working from our main broadcasting centre in Zagreb”
on 32 EVS Xedio Dispatcher for rough cut editing, logging and transfer from local ingest points to the IBC.
The EBIF (Extended Basic
International Feed) room within the IBC will be based on XT3 servers, LSM Remote and new Connect platform, IPEdit for realtime timeline editing and EPSIO FX for on air graphic insertions. Thirty six Adobe Premiere
stations, along with the EVS IPLink plugin panel will be used to create final edits of World Cup updates, promos, behind the scenes footage and multimedia packages. All the stations have direct access to IPDirector database containing all ingested clips. “The complete set-up will enable FIFA and Rights Holders to produce many
Croatian coverage “We started planning for our coverage in Brazil in early February, this year,” states Drago Cosic from HRT (Hrvatska radiotelevizija, the Croatian public service broadcaster). Cosic is HRT’s head of project for the event and a reporter with 30 years’ experience in live sports broadcasts. He continues, “HRT will not
have its own studio in Brazil, but our presenters will be working from our main broadcasting centre in Zagreb. However, we will have a permanent link from the Croatian national football team camp to ensure the very latest news is available for the many football fans in Croatia.” Although the presenters will be working from the Zagreb studio, HRT will take a team of 24 to Brazil. Igor
Medic, deputy
spokesperson for HRT, picks up the story: “During the live broadcasts we will utilise two ENGs for the matches in which the Croatian team plays. We plan to have one camera on top of the stadium, while the other will be near the changing room area so that interviews can be arranged.” HRT will deploy an on-site OB truck to combine the international feed with HRT’s own ENG output. “We
including a studio in Rio at the Copacabana.” Gruschwitz says the
broadcasters will employ their own technical equipment installed at the IBC and at the matches involving the German team. “We plan to use between three and five cameras in unilateral flash positions or in the mix zone,” he adds. When it comes to personalising further the
“We’re confident sports fans will be wowed by the most immersive viewing experience of the World Cup to date” Mark Grinyer, Sony Professional
will be using all the feeds that the host broadcaster is offering, and then using Avid Composer for editing,” says Medic. “Although there are no plans for web streaming back to Croatia, stories and video clips will be uploaded with the shortest possible delay so that fans at home can catch up on the action.”
The German angle German public-service broadcasters ARD and ZDF will broadcast the World Cup in full for the first time since 1998. “We started with our planning in May 2012,” states Dieter Gruschwitz, head of ZDF sports department. “Between the two broadcasters, we will have around 450 staff working in Brazil. We will also be sharing facilities,
Doneux: “We’ve added some new features for this global tournament, including implementing the advanced multi-angles production tool”
coverage, ZDF will utilise both pool fed ISOs and Clips Compilation Channel content — both provided by HBS. The Compilation Channel gives MRLs access to angles which are not part of the main match feed — and are available in near realtime. All editing will be carried out at the broadcaster’s unit at the IBC using Avid and EVS systems. So, what does Gruschwitz see as the main challenges in meeting the broadcasting requirements for the upcoming event? “Certainly, the logistics is a major consideration. The distances involved are great, and there are the customs procedures involving the temporary import of a great deal of technical equipment to be taken into account. And something of which we have to be very aware in these days, of course, is the overall cost of mounting such an operation. Nevertheless, we look forward to a great tournament!”
www.evs.tv www.hbs.tv www.hrt.hr www.pro.sony.eu www.zdf.de
www.tvbeurope.com April 2014
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