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CBS Sports Builds Super-Sized EVS Server System for the Big Game; Embraces DNX100 Codec
By: Ken Kerschbaumer, Editorial Director | Published: February 6, 2010
CBS
Sports this weekend is rolling out a massive EVS server infrastructure
for Super Bowl XLIV, with 37 EVS XT[2] servers broken up into two
networks (24 used during the game and 13 during the pre-game), ensuring
that viewers at home see all the important shots, pre-packages, stories
and profiles, promos, and more.
“The reason we have so many servers is we have to be able to isolate
and record everyone of the 51 cameras we have,” says Bruce Goldfeder,
CBS Sports, director of engineering.
The EVS servers are complemented by five EVS Xfile systems and 10
EVS IPDirector systems. There are also two Avid Unity servers on hand
for craft editing, with one dedicated to pre-game needs and the other
to the game. One Avid Unity server is located with three Avid Media
Composers in the All Mobile Video unit that will be used to edit clips
and packags during the game. The other Unity server is located
alongside eight Media Composers in the compound and is handling
pre-game material.
There have been a couple of big changes since the last time CBS had
the Super Bowl. First, all video is being recorded using the Avid DNX
codec at 100 Mbps. “Now transferring between the EVS and Avid systems
is seamless,” says Goldfeder. “With the IP Director we can push content
to either the Avid systems or to any of the IP Director systems and we
can also push content between the game and pre-game SDTI networks.”
Another big change is that the SDTI network has grown from 540Mbps
to 1.5 Gpbs. “That takes a big load off of the network and we have
Gigabit Ethernet to bridge between the pre-game and game networks,”
says Goldfeder. “And we can also transfer between them without having
to go back to baseband video.”
For Goldfeder and the team this weekend’s game is the culmination of
a more than a year of work as they have assembled the tools, parts, and
people to put plans into action. “The team we have together is
awesome,” he says. “For the last three months we’ve been going over the
pregame and detailing every single feed and what equipment will feed
it. And now it’s a living organism.”
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EVS Unveils New Solutions at BVE 2010 : Ajouté le 9/2/2010 à 00:34
London 08 Feb 2010
EVS Unveils New Solutions at BVE 2010
Stand E30
EVS Broadcast Equipment, the leader in Instant Tapeless Technology, announced
today that it will be presenting its latest solutions at this year’s BVE in
London from Tuesday 16 to Thursday 18 February.
BE READY TO COMPETE WITH
XT[2]+
Proceeding from the field-proven XT[2] production server, the newly developed
XT[2]+ has been designed to offer producers increased storage capacity, maximum
speed and the highest level of reliability. The most recent server from the XT
series is available in 6, 4 or 2 channel configurations, in SD/HD ready or full
HD/SD mode with dual networking capabilities.
Compared to the
preceding XT[2] server, the XT[2]+ offers:
- New SAS disk controllers providing superior performance and increased
reliability
- Boosted internal storage of up to 12 disks with compact 2.5 inches form
factor
- Expandable storage with external arrays (hot-swappable disks - total
capacity of up to 20TB per server)
- Scalable capacity that allows multiple systems to work on the same network
- Extended bandwidth (30% increase)
- Optimized for future codec support
The shipment of the first XT[2]+ server will begin in March.
Read More
TAPELESS STUDIO PRODUCTION WITH
XS
Integrate your creative capabilities with XS,
EVS’ studio production platform. Designed for broadcasters and studio producers
who are looking for a clever alternative to their existing tape-based workflows,
the XS multi-format server offers peerless solutions for the recording and
ingestion of multiple A/V feeds, playback operations and playout control.
XS can easily be managed with Insio and IPDirector, EVS’ studio software
applications developed to fulfill a wide range of production workflows. And due
to its open architecture, XS can also be controlled by third-party tools, such
as automation systems, linear or hybrid editors, switchers and controllers.
XS is now available with new SAS disk controllers providing increased
bandwidth and reliability.
Main capabilities of
XS:
- Multichannel SD and HD ingest
- Synchronized and instant playback
- Control and transfer while recording
- Multiple acquisition and delivery format management
- Media sharing network
- Third-party control
- SNMP compatible
Read
More
XEDIO: MODULAR SOLUTION
FOR FAST-PACED NEWS & SPORTS PRODUCTIONS
Xedio is a modular application suite
for the ingestion, production, editing, management and playout of news and
sports media. This new software-based solution from EVS offers speed and
increased productivity due to its virtual editing and media referring processes.
It also provides absolute interoperability with third-party systems for
archiving, NRCS (via MOS protocol), Media Asset Management (MAM), storage and
graphics.
Combined with EVS-engineered XT[2]+ and XS productions
servers, Xedio offers all of the flexibility of a tapeless system with the
creativity of a world-class NLE. The result is fast and efficient news and
sports productions in HD as well as in SD.
Read More
EVS PRESENTATION ON
TAPELESS WORKFLOWS DURING FLAGSHIP EVENT Henry Alexander,
General Manager EMEA at EVS, will be presenting on Wednesday, 17 February, a
paper on EVS tapeless workflows during the 2010 FIFA World Cup™. The
presentation will start at 1pm, and is part of the Broadcast Meets IT seminar
that is organized by BVE.
Date:
17-02-2010 Time: 1pm BVE
Seminar: Broadcast Meets IT
For further information, please click
here
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Super Bowl Kicks Off Busy Month for Bexel Broadcast : Ajouté le 8/2/2010 à 00:40
Super Bowl Kicks Off Busy Month for Bexel Broadcast
By: Ken Kerschbaumer, Editorial Director | Published: February 7, 2010
Bexel
Broadcast Services rolled into Miami’s Sun Life Stadium with its
largest contingent of equipment ever for a single Super Bowl client.
The equipment provided to CBS Sports includes eight Avid Symphony
Nitris systems that are tied into a 24 TB Avid Unity server system;
three Sony Super Slo-Mo camera systems; HD monitors throughout the
compound, stadium and sets; seven Autoscript teleprompters; Sony SRW
decks; 16 EVS servers, and an assortment of Canon and Fujinon lenses.
And making its Super Bowl debut are Lite Panel LED lighting systems
that will be used in the CBS broadcast booth.
The Super Bowl kicks off a very busy month for Bexel. Along with the
work it is doing for CBS Sports it is also in Miami supporting the NFL
Network and the NFL. And then there are the non-Super Bowl clients to
be served later this month.
“It’s an amazing feat that we’re able to provide this level of
equipment with all of the events like the Olympics, NBC All-Star Game,
Daytona, and Winter X Games,” says Lee Estroff, Bexel Broadcast
Services, director of broadcast technical sales. “It’s quite an
undertaking but we pulled it off with great support from engineering
and operations.”
The majority of the equipment used at the Super Bowl will make the
journey to Dallas on Monday where it will be used for next weekend’s
coverage of the NBA All-Star Game. http://sportsvideo.org/main/blog/2010/02/07/super-bowl-kicks-off-busy-month-for-bexel-broadcast/
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Inertia Unlimited xMo Plays Key Role at Super Bowl XLIV : Ajouté le 5/2/2010 à 23:16
Inertia Unlimited xMo Plays Key Role at Super Bowl XLIV
By: Ken Kerschbaumer, Editorial Director | Published: February 5, 2010
Inertia
Unlimited’s Jeff Silverman and his crew (along with the folks from
Vision Research) have been busy this week prepping xMo systems for use
by both CBS Sports and NFL Films. Viewers on Sunday can look forward to
CBS Sports’ capturing images of the action from four positions at 440
frames per second; NFL Films will use two handheld units at 960 fps.
Why the difference? “NFL Films will be shooting for commercials, and
they have unlimited time to play them back and edit them,” says
Silverman. “If CBS shoots much slower than 440 frames per second, they
will have problems playing the replays back.”
With both the New Orleans Saints and Indianapolis Colts gearing up
with high-flying attacks that could feature a lot of no-huddle action,
the pressure is greater than ever on the replay operators. “They’re
going to have to be cued very tight, or they could run long,” adds
Silverman.
CBS Sports will have one handheld unit, two xMos located on sideline
carts, and three xMos upstairs, one shooting down each goal line and
one at the 50-yard line. Those six units are the most that have ever
been used at a single event.
Since the previous Super Bowl in Miami (2007), the xMo has undergone
a series of improvements, and even the camera used at last year’s Super
Bowl could be considered old news. Silverman and his team continually
look to improve xMo and, in the past 18 months, have overcome such
issues as operating in low-light and nighttime situations and the
ability to both simultaneously play back in real time and play back a
replay. And now it also has direct integration with the EVS server via
HyperMotion.
“SuperVision cameras have improved the quality of the shot [they can
get], and operators have learned how to frame the shots better,” says
Ken Aagaard, CBS Sports EVP of Operations and Production Services.
“We’ve been very pleasantly surprised by the reaction to the most
current version of the camera,” says Silverman. “From the producer to
camera-operator level, everyone has been excited about the potential of
what we can do.”
NAB attendees can expect to see the next step in improvement,
including a physically cleaner handheld unit that includes EVS
integration. Inertia Unlimited is also working on improving the
performance when the camera is simultaneously being used for both
replay playback and as a live camera signal. “We’re going to get both
of those signals in harmony,” says Silverman. http://sportsvideo.org/main/blog/2010/02/05/inertia-unlimited-xmo-plays-key-role-at-super-bowl-xliv/
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English Rugby’s 6 Nations Tournament Gets HD, 2D, 3D Coverage : Ajouté le 5/2/2010 à 23:15
English Rugby’s 6 Nations Tournament Gets HD, 2D, 3D Coverage
By: Kevin Hilton, European Correspondent | Published: February 5, 2010
The
England rugby union team begins its 6 Nations campaign on Feb. 6, with
coverage in HD and SD on the BBC and in 3D in 40 Odeon and Cineworld
cinemas around the UK. The game against Wales is hailed as the biggest
British sporting event to be screened live using stereoscopic
technology so far and comes barely a week after Sky previewed its 3D
service with the Premier League football match between Arsenal and
Manchester United.
England’s sponsor, telecom company O2, has organised the 3D
broadcast of the team’s home games at Twickenham Stadium during this
year’s tournament, with the clash against Ireland on Feb. 27 also to be
transmitted in the format.
The production is coordinated by Inition, which has considerable
experience in stereoscopy over the past few years and was involved in
the 3D-test screening of the England-Scotland game during 2008.
That event was for a private, invited audience. This time around,
the paying public will have the chance to see what all the fuss over 3D
is about. Outside-broadcast facilities at Twickenham are provided by
SIS LIVE, the BBC’s regular contractor for the 6 Nations.
The coverage will use eight 3D camera systems: six Element Technica
Quasar rigs (three mirrors, three side-by-sides), a 2D camera running
through a JVC 3D converter for player close-ups’, and an integrated
two-lens stereoscopic radio camera on a Steadicam.
A SIS LIVE OB unit on-site to provide production services will have
three EVS XT[2] production servers configured in 3D for instant replays
and a full 5.1 surround-sound mix.
The broadcast will be distributed in the Sensio 3D transmission
format to cinemas, which will screen it using Real D technology to
audiences wearing polarised glasses. Event producer and Inition
Director Andy Millns notes that the production could be shown in any
digital cinema with 3D capability.
Among the lessons learned from the 3D England-Scotland match two
years ago were that directors had to rethink zooms and camera angles,
while stereoscopic graphics were seen as necessary to give viewers what
they would expect from an SD production.
Wurmsers, a specialist in sports outside broadcast and a regular
contractor on the 6 Nations, is providing the 3D graphics. These are
based on Chyron’s HyperX3 system, running with Lyric PRO, which
features stereoscopic tools as standard. The Chyron Creative Services
department has worked with Wurmsers to develop the graphics, which are
intended to enhance the 3D look of the coverage.
Wurmsers Managing Director Jeremy Tidy says that, because the 6
Nations is a “very branded sport,” his team had to stay within “certain
creative guidelines” but, while the look will be familiar, it is in a
“very different environment.” He adds, “The genuine anticipated
excitement created throughout the country for this groundbreaking event
bodes well for the future of 3D productions of sport and many other
live events.”
Millns believes that the 3D graphics and match statistics are among
the major differences between this year’s 3D 6 Nations coverage and
what was done in 2008. Other changes are “3D replays, more camera
angles, more mirror rigs for close-ups, and a Steadicam,” along with
the commercial edge of having paying customers in 40 cinemas. In
general, he says, this will be “everything you would expect from a
quality 2D sports production but in 3D.” http://sportsvideo.org/main/blog/2010/02/05/english-rugby%E2%80%99s-6-nations-tournament-gets-hd-2d-3d-coverage/
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