LIVE SPORT
TECHNOLOGY REMOTE OPERATIONS CENTRES
up robotics heads that can hold a high payload with fast movement and high precision.” “Using the internet and bonded cellular is extremely
useful for configuring and troubleshooting kit used at remote points,” says Cowan. “Security is a key consideration, but being able to ‘dial in’ to equipment and see real-time data on status is an invaluable tool for those supporting remote events. In some cases, we will use low latency monitoring feeds in addition to the higher quality TX feeds. This gives a level of responsiveness for the production team that is closer to a normal working environment, but the higher quality feeds are used for transmission. Working on two different timing planes takes a little bit of practice but everyone adapts.”
I n t he c l ouds
The future of these remote operations centres looks likely to involve cloud-based solutions. “A perfect example is taking a rights holder broadcaster
on a large host show, sending them a surface and they can log in to the EBC from wherever they are and create a show with completely bespoke feeds,” says Harnett. “So now you’ve got a remote broadcaster that’s able to create a show that feels like they are doing the full unilateral coverage with their own cameras, their own graphics, all of that from wherever they are. A lot of manufacturers are working in that space and we’re already proposing it on various shows.” “As more production equipment becomes IP-based we
envisage that more of it will reside in a data centre where expensive assets can be re-used more effectively,” says Shield. “A vision mixer or replay device could be used on two productions in one day if the kick-off times allow.” That’s the model followed by NEP. “With the Diverse
100GB connectivity we can easily set up remote galleries to work with our IP Flypacks in the field, events with multiple feeds coming into a single production space or a hub to link multiple remote sites,” says Cowan. “Our London-based production centre can also cater for equipment on-site as we understand that not everything can be housed in a data centre and often productions rely on kit that is transitory in nature such as specialist graphics equipment.”
As for the OB truck, most experts see them becoming
acquisition vehicles to capture the event. There’s also a demand for trucks to be more environmentally friendly. ”There will always be a need for people to be at the
event so I don’t see the OB truck going anywhere - it will just continue to evolve as it has in the past,” says Mihalovic. “In the short term we will not have the level of
connectivity required to support complex high-end remote productions everywhere, so OB trucks in their current form will still be needed,” Cowan says. “The question of whether you adapt SDI trucks at the edge to give the connectivity and control required in a remote workflow or whether you upgrade to an end-to-end IP solution will come down to a commercial conversation about contracts and return on investment.” In the last six months Timeline has launched a remote
production vehicle, Streamline 2, but during the same period, it also launched a double-expanding OB truck with a triple row production gallery. “That is in direct response to the market demand and the shows that we have coming up,” says Harnett. “We feel that there’s a real commercial value to having another artic lorry in our arsenal, we wouldn’t go into that investment if we didn’t think it was going to have some work.”
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televisual.com Summer 2021
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