EVS to show live 3-D slo-mo replay and SuperMotion control

Added 1/9/2010

EVS to show live 3-D slo-mo replay and SuperMotion control

Aug 27, 2010 4:08 PM

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The EVS XT[2]+ platform will soon offer the first-ever live 3-D SuperMotion control capability for high-end live 3-D production.

The EVS XT[2]+ platform will soon offer the first-ever live 3-D SuperMotion control capability for high-end live 3-D production.

EVS will boost the capabilities of its XT[2]+ production server at IBC with the company's new DualPower technology, allowing four 3-D channel (or 1080p) and 3-D SuperMotion configurations.

Developed for live sports and entertainment production, the new 3-D/1080p functions will be available on all XT[2]+ servers by the end of 2010, and will be demonstrated at IBC in Amsterdam in September.

With the integration of the new DualPower technology, the six-channel XT[2]+ server can now be instantly configured for live 3-D or 1080p operations, offering four effective in/out channels. 3-D/1080p record and playout can be managed in single-link mode, based on single 3Gb/s connections, or in dual-link mode as two synchronized 1.5Gb/s connections.

The XT[2]+ platform will also offer the first-ever live 3D SuperMotion control, available for high-end live 3-D replay operations.

In addition, EVS will show a new GX Fill & Key Playout Solid State Server. It's designed for seamless integration into outside broadcast trucks, studios and playout facilities. The GX offers both high performance and reliability, housed within a compact 1RU rack.

Also to be shown are format and extra analytical graphic overlays (e.g. distance to goal and free-kick circles) as part of the EVS Epsio Sports Graphic Tool. After the successful operation of its virtual offside line during the World Cup tournament in South Africa, the EVS' sports graphic tool will be introduced with newly added features, such as support for 720p HD video.

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Les Echos

Added 11/6/2010

Bruxelles , 17h26 - vendredi 11 juin 2010 - Bourse de Bruxelles - Action - [EVS] - [BE0003820371]

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45 EUR soit un potentiel de : 24.00 %
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EVS Presents Epsio during 2010 NAB

Added 15/4/2010

NAB, Las Vegas 15 Apr 2010

EVS Presents Epsio during 2010 NAB

Epsio is EVS’ new graphical analysis tool for live sports. It is based on patented algorithmic codes, which produce real-time automated drawings, such as offside lines and free-kick circles for live football matches. The new software is designed to operate with existing LSM-XT[2] systems. Operators can therefore generate analytical graphic overlays with the jog wheel of a remoteLSM while the action is taking place.

EpsioThe integration between Epsio and existing LSM-XT[2] systems guarantees that no additional equipment or operators are required. Within 2 hours of arriving on site, the operator is able to calibrate the cameras, so that Epsio can automatically detect the playing field and its limits. Once the calibration is complete, operators can begin to place graphic overlays on any incoming video feed for match analysis.

Epsio has successfully been operated by Fox Sports Australia and is currently being employed by OB Team for Norway’s Premier Division (Tippeligaen). EVS’ integrated graphical analysis tool for live sports will also be used for this summer’s flagship event in South Africa.

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Quantel debuts EVS Gateway

Added 12/4/2010

Quantel debuts EVS Gateway

Alongside major new developments for stereoscopic 3D, Quantel is showing a new workflow product for television production using EVS servers.

The Quantel-EVS Gateway handles bi-directional transfers of media and metadata between Quantel’s Enterprise sQ servers and EVS’s XS and XT2 slo-mo and instant replay machines.

Director of marketing Steve Owen said: “Many of Quantel’s major system customers are also users of EVS equipment. Now they have the opportunity to seamlessly exchange content between these two complementary environments.”

  • Clips, created on the EVS server, are identified and exported to the Quantel server using the EVS IP Director.
  • The media is then transferred as an MXF file and the metadata as XML with the XML metadata file carrying all the clip logging information created in the EVS environment to Quantel sQ server for use in the Quantel editor.
  • As soon as media begins to arrive in the Quantel environment, editing can commence on all connected Quantel editing workstations.
  • Once the edit is complete, playout to air from the Quantel sQ server can commence, or if required the media and metadata can be sent back to the EVS server as a DVCPRO HD MXF OP1A file.

Quantel announced at NAB that it is adopting the Windows 7 64-bit operating system for all products in its forthcoming version 5 software release.

Stereoscopic 3D advances

A complete stereoscopic 3D broadcast production workflow is also on show in Las Vegas. The unqiue set-up goes from ingest to desktop editing and craft editing to playout and features a brand new 3D craft editing workstation for stereo finishing.

At the same time, a new Quantel stereo 3D timeline has been announced that allows each eye to be viewed and worked on individually or both at the same time.

New stereo 3D-specific tools that fix common acquisition issues such as incorrect colour balance between eyes, and the key-stoning which results from converged shooting are also on show.


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Added 11/3/2010

There are few more daunting broadcasting jobs in this world
than the task of covering the Olympic Games. Whether it's in
the summer or the winter, over 16 days, broadcasters are
tasked with covering hundreds of athletes in dozens of events
in locales that are often slung hundreds of miles apart.
Add in the challenges of pulling together on-location shots,
addressing audio issues, building in complex graphic
packages and solving technical bumbles, and the job seems
almost overwhelming.
That was exactly what the International Olympic Committee
was hoping to curtail when it gave the go ahead in 2001 for
the Olympic Broadcasting Service (OBS) to organize and host the XXI Olympiad in Vancouver
in its entirety this year—the first year in the Games history that one single broadcast organization
will be responsible for the Games' entire host broadcast.
"The IOC wanted continuity to allow the host broadcaster to be able to do our work better and
more efficiently," said Manolo Romero, managing director of OBS, who has served as chief
executive for eight different Olympic Games broadcasting organizations.
The goal was two-fold: to ease the process of covering the Games for both onsite and remote
networks by creating a single organization that operates across successive Games, and to ensure
quality and spur future improvements to Olympic coverage in the years ahead.
Historically, the production of the host broadcast had been an ad hoc affair created for each
particular Olympics, with each subsequent host broadcaster forced to start from the ground up.
This year, the OBS will be tasked with mobilizing the thousands of professionals who descend on
Vancouver, as well as with installing and integrating the media facilities for organizations
working at the 330,000-square-foot International Broadcast Centre and a second broadcast facility
at Whistler, known as the Mountain Broadcast Center.
"One of our goals was to help broadcasters do more with less of their own efforts," Romero said.
"More broadcasters will be able to fully cover events."
More than 2,200 personnel will be working for OBS,
putting together more than 900 hours of live coverage
with the help of 91 broadcast trailers and 22 OB vans.
Preparations over the last few years have led to new
developments, several of which are set to debut in
Vancouver this year. The Games will be broadcast
entirely in HD this year, with all sports events
broadcast in Surround Sound.
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Another large-scale launch is the Olympic News
Channel, a slate of 24-hour programming comprised of
edited highlights and clips that are updated every 30
"We've created [a channel of sorts] that will carry the
Games for those countries who hardly know what
snow is," Romero joked.
One longstanding issue the Winter Games has faced is
that it doesn't have the same broad appeal that the
Summer Games have, in part due to the fact that
countries in warm climes don't have tight ties to winter
sporting events. Those with fewer resources can utilize
the whole 24-hour feed, while those with more may
incorporate elements to enhance their own production,
he said.
"A big highlight of the Games is that we'll have a channel that's operating 24 hours a day, 7 days
a week," he said. "Broadcasters in any part of the world can downlink and broadcast the games as
they need without having a proper presence at Vancouver."
The Olympic News Channel concept was field tested at the Beijing Games, providing a reference
point for broadcasters, allowing them to respond with suggestions for improvements. A more
complete channel is set for the 2012 Summer Games in London.
For broadcasters looking to download a more complete program channel, networks can subscribe
to the Multichannel Platform, a distribution service that will provide 300 hours of raw feeds that
can be tailored to specific needs.
The OBS also plans to showcase a new slate of camera technologies, featuring more than 100
minicams, including those from Hitachi, Sony, Panasonic and Iconix. The OBS will put seven
cablecams into play, including two cablecams at the Nordic Centre in Whistler. The cablecam
setup will run over a distance of more than 1,000 feet at the cross country event and nearly 1,500
feet at the biathlon event.
"Due to the lengths of the runs, conditions at the venue
and the difficulty of potential 100-ton mobile crane
movements, it was decided to construct semipermanent
towers that would support the tensions of
the cablecams," said John Pearce, specialty equipment
manager for OBS.
The complete camera system will comprise a camera
buggy, which holds a compact gyrostabilized open
mount head. A standard handheld Thomson LDK6000
camera and Fujinon 22x7.8 lens will be used.
At this locale, all video, audio and data links are RF,
including camera, lens and gyro head control. The RF
signal is received and carried via fibre to the operator
position, and then on to the host broadcaster OB van
for inclusion into the live host production.
Manolo Romero
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The organization will also introduce other projects that
range from content protection and virtual technologies
to new multiplatform delivery options.
To aid broadcaster customization of content, OBS will
launch the Olympic Data Feed, a metadata information
service that will provide broadcasters with scoring
results and provide a general and single metadata
stream with factual data about a sports competition.
Likewise, the Broadcast Data Feed will include details
like the transmission schedule, delineation of content
in broadcast sessions and data from live logging.
To address issues of piracy, the OBS is also
introducing a "Fingerprinting" content identification
system to track programming. And to address the issue
of storage, the OBS is introducing the Unilateral
Venue Server, a new technical facility providing
access to feeds from OB vans at select locations. The
core of the server system will be provided by EVS and connected through Gigabit Ethernet.
In addition to EVS servers,
the OBS will rely on lens technologies from Canon and Fujinon,
audio boards from Calrec and Lawo, and mics from Audio Technica.
The OBS is housed in the 330,000 square foot
International Broadcast Centre.
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