LIVE SPORT
TECHNOLOGY INNOVATIONS
for the average viewer without the huge investment in infrastructure.” What has also moved forward is IP connectivity to
support the increased capacity of HDR and 4K. Shield says IMG is in the process of building a high-end
remote gallery using IP infrastructure, “which we hope will help define our strategy for IP across the whole site”. The internal setup at BT Sport in Stratford is IP-
enabled, but Hindhaugh says that’s evolving. “When you’ve got [a high] volume of feeds and content you either add more router cards, or you transition to an IP core, which is what we’re doing right now,” he says. As well as capacity, BT Sport’s Hindhaugh feels the big
opportunity around IP is around delivery of content. BT Sport Ultimate is an IP channel that offers up to 4K HDR streams. “Actually that’s four channels in one,” says Jamie Hindhaugh. “That broadcast feed going into your home identifies three things, what platform you’re on, what connectivity you have and what subscription you have, and if you have all of those right, you can watch it in 4K HDR. If you don’t have an HDR telly it’ll serve up in 4K SDR. If you’ve only got a HD telly then it will give you HD. And that’s all done inside the broadcast feed that’s going out. “Having that consistent way of capture that serves all
those requirements is obviously very powerful,” he adds. “We will hit 8K at some point – we’ve already trialled live 8K – and that’ll be the same process.” “The big screen apps are a key focus for us,” he adds.
“We’re now looking at breaking programmes down to component parts with object-based broadcasting. “That could be your graphics, it could be a
commentary, it could be the video,” he explains. “What object-based does is add labels to the end user to start personalising how they engage with that live experience. Dolby Atmos already does this. We’re now looking at allowing things like selecting graphics overlays in a live environment that suits your experience. Or you could also select alternative commentary that was for blind fans.” Hindhaugh says Moto GP is a great example. “As a
broadcaster our aspiration is to create one editorial set of content that that suits the most people,” he explains. “If you had a range of three or four different levels of stats, depending on your experience or knowledge of Moto GP, and you were able to select those in a live environment, you’re curating what you want to watch. It moves us really quickly from the one to many, to one to one. “Another thing I’m looking at is directional sound,” he
adds. “We’ve launched 8K 360, so the [video] quality’s there to allow you to pinch and zoom. Wouldn’t it be fantastic if I’m hearing the sounds and the ball being kicked from the perspective of being behind the goal? We now have such a great reach for our big screen
app, delivering it over IP, and that’s where you’ll start seeing some of this starting to come through.”
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televisual.com Winter 2020
T im eline t a k e s i n n ova t i o n o n t h e r o a d
Before you think OB Trucks are going the way of the dinosaurs, think again. Timeline’s new UHD3, its second fully IP, 4K UHD HDR truck only just rolled out this autumn, able to deliver large scale complex OBs simultaneously in uncompressed UHD and HD. The truck was originally commissioned to work on the BBC Sport presentation of UEFA Euro 2020. With that football tournament delayed until next year, UHD3 instead will have its first outing with the FA Women’s Super League matches. It will also be used as a remote production hub to support Timeline’s Ealing Broadcast Centre. The double-expanding truck is able to link with Timeline’s existing triple-expanding 4K HDR vehicle, UHD2, to provide even more capacity. “It took a lot longer to build it because it obviously had to be social distanced, so we can have as many people working on the truck as you normally would do,” says Daniel McDonnell. “A new thing about this truck is that it’s completely ST2110-7. This SMPTE standard supports you running a dual network. There are two
Arista switches [serving] two full
networks. If there’s a fibre failure there will be no interruption to the broadcasts. All the equipment can look at the packet level issues and switch between the feeds. So it’s fully redundant [for data] which is a great feature to have. “It’s one of the most advanced infrastructures that you can build for an OB truck, and in our experience it’s more a facility that you might utilise in a broadcast centre,” he continues. “But with new equipment we have brought that to the OB truck as well.” IP solutions onboard from Grass Valley include GV Orbit Dynamic System Orchestration and the Kahuna 9600 IP production switcher. In addition, there is full HDR monitoring throughout the truck including a specialist shading position. Along with a three-row production area, UHD3 has a large VT area and each position has a Matrix panel, talkback and monitoring. It also features a large Dolby Atmos audio area with a 48-fader Calrec Apollo Console. UHD3 provides support for 16 UHD cameras and 8 replay machines. In addition, it has capacity for up to 24 UHD external sources including radio cameras, minicams and drones.
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