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DELIVERING THE PARIS OLYMPIC GAMES AT SCALE BY MONICA HECK
Mario Reis, Director of Olympic Broadcasting Services (OBS), only embraces technical innovation if it makes sense, he told the IBC Conference. “A dialogue with our media rights holders and international federations is important to bring innovation that makes sense to fulfi l our mission,” he said.
For the 2024 Games in Paris OBS deployed over 1000 cameras and 4000 microphones, 15 UHD HD- HDI drones, produced over 11,000 hours of content of which 4500 was live, and embraced 5G private networks on Samsung mobiles for the Opening Ceremony. In some venues, hardware-agnostic production units showed how in some cases, generic off-the-shelf compute made things more agile and provided more control than an OB van might offer. James D Miles, Senior Director, Live Event Workfl ows at NBC Sports & Olympics, used workfl ows that emerged during
(L-R): Mario Reis, Olympic Broadcasting Services; James D Miles, NBC Sports & Olympics; Israel Esteban, beIN Media; and moderator Ken Kerschbaumer, Editorial Director, Sports Video Group
Covid to deliver the Games in Paris. “Much of our in-country production is layered on top of what we do with OBS, both on-site and back home, with over 1000 control rooms running concurrently to integrate that content for our different cable outlets and all of our online
streaming platforms,” he explained. “We have seen a huge uptake on our OTT deliverables.” beIN Media had exclusive rights in MENA for 24 countries during the Games. For CTO Israel Esteban, it’s about scale. beIN Media used 17 channels, one of which was 4K, one studio 14 hours
a day and covered almost 97% of sports live. “Technology is an enabler, you don’t have to push for the latest, newest thing. At the risk of disappointing, we didn’t do everything in the cloud or with AI, we did everything with fi bre, SIs and studios and that’s OK,” he quipped.
PERSONALISED MEDIA PUTS THE VIEWER IN CONTROL BY ADRIAN PENNINGTON
From playlists to content recommendations the technology has arrived to personalise media, but as Alan Wolk, Co-founder and Lead Analyst at TVREV, quizzed panellists at the IBC AI Tech Stage session, ‘How AI is Reaching New Audiences Through Personalised Media’, to what extent do consumers actually want this? “It’s all about giving
ownership of personalisation to those watching the content,” responded Richard Kerris, VP and GM of Media & Entertainment, Nvidia, who cited Spotify as a role model for customised video. “If parents can curate their own programming for their children or sports fans can build
company’s Chief of Strategic AI Partnerships, Vered Horesh, said: “We are at the beginning of a content creation revolution. We are moving from broadcasting one idea to a model in which media is expressed and manifested in a multitude of different variations. People will accept that change because it is an evolution of taste.”
(L-R): Steve France, The Weather Company; Vered Horesh, Bria; Richard Kerris, Nvidia; Brian McNeill, Stringr; Alan Wolk, TVREV
highlights reels of their favourite players, that is what people will appreciate but you have to give them control.”
“How much I want content
creators and brands to know about me personally will be traded against the benefi ts of
having content experiences crafted just for me,” Kerris added. “Different people will respond to that ratio in different ways, so you have to let the individual decide.” Bria is a genAI platform for developers in M&E. The
A prime application of this is happening in TV weather forecasts. Steve France, Media Sales Principal of The Weather Company, explained: “Now, we have location-based forecasts
from which AI can very quickly generate short and specifi c videos. It’s more than just accurate data. It’s a short story to keep people engaged. That’s why personalisation is a big deal.”
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