Added 31/3/2012


Auj. à 09:32

Selon Johan van Geeteruyen, gestionnaire d’un fonds d’actions belges chez Petercam, les sociétés belges n’ont pourtant pas à rougir de leurs performances. " Par rapport à la situation difficile traversée par l’Europe en 2011, les résultats des sociétés belges sont assez bons. C’est une économie ouverte, qui exporte notamment beaucoup vers l’Allemagne, un pays qui a profité de l’affaiblissement de l’euro. La Belgique n’a pas connu de bulles immobilières, comme en Espagne ou en Irlande. L’industrie comporte beaucoup d’acteurs de niche, COMME EVS, qui sont davantage protégés des problèmes économique

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OB-Team powers its OB fleet with EVS’ XT3 servers

Added 27/3/2012

EVS | News

OB-Team powers its OB fleet with EVS’ XT3 servers

Liège, 27 March 2012 – OB-Team, one of Scandinavia’s largest providers of outside broadcast services and TV2 Norway’s production company, has equipped its next-generation OB fleet, including the latest 3D-capable HD3, with EVS’ XT3 high-speed production servers.

In preparation for this summer’s major sporting events and for the rise in various TV entertainment productions, OB-Team decided to expand its OB fleet. And in anticipation of increasing demand for 3D production, the new fleet needed to be future-proof and ready for any production challenges that OB-Team would be faced with—both in 2D and 3D.

“With advances in second screen applications and connected TV, it’s essential to offer the best environment for our customers. To do so, we’ve expanded the number of EVS servers we use and have implemented a new file-based workflow,” explained Bjørnar Nordahl, managing director of OB-Team. “We can now provide a full experience for the fans, get to air quickly and efficiently, and with full 3D too.”

XT3 ServerThe XT3 servers from EVS are being used by OB-Team to ingest and playback multi-camera feeds. They can be configured to support up to eight channels in HD or six DualLink or 3G channels in multiple IN/OUT modes for live 3D or 1080p productions. MulticamLSM is used to control the servers, allowing LSM operators to produce instant replays, including Super Slow Motion action replays in 3D, and to create highlight packages. The servers are interconnected via EVS’ high-bandwidth media sharing network XNet2, which allows LSM operators to gain instant access to all A/V content recorded on any connected XT3 server.

As part of the solution, OB-Team is also using EVS’ IPDirector suite, which provides a single interface of all recorded material on the connected XT3 servers. The suite acts as a central media management system allowing the transfer of material directly to post-production. And in an effort to speed up media interchange between the EVS servers and third-party systems, OB-Team relies on XTAccess, a GigE gateway tool, and XF2 removable hard disk drives. As a result, OB-Team provides a seamless file-based workflow from ingest to post-production that optimises its client’s craft editing on Avid as well as on Final Cut Pro.

“We’d been using EVS’ XT2 servers for some time and were confident that upgrading to XT3 would deliver an even more powerful platform,” said Espen Frøysa, OB-Team’s technical director. “The XT3’s eight-channel configuration provides us with even greater flexibility, meaning that for some productions we are able to produce with fewer servers and less operators compared to the past.”


About EVS (

EVS designs leading broadcast and media production systems for sports, news and TV entertainment. Its innovative Live Slow Motion system revolutionised live broadcasting and its reliable and integrative tapeless solutions are now widely used for non-linear editing and 3D HD productions across the globe.

The company's dedicated systems offer a complete production platform: live slow motion (LSM), super and ultra slow motion, clips creation, fast turnaround editing, production and archive asset management, time delay, multi-camera and multi-feed recording, logging, live graphic analysis, digital transmission, multi-format ingest and play-back, second screen delivery. Main software applications like the IPDirector® or MulticamLSM® are designed to control the industry's most robust and flexible production platform, the XT series server. The world's leading broadcasters, such as NBC, BSkyB, FOX, RTBF, RTL, NHK, CANAL+, ABC, ESPN, TF1, CCTV, PBS, CBS, BBC, ZDF, Channel One, Channel7, RAI, TVE, NEP, MEDIAPRO, EUROMEDIA, BEXEL, ALFACAM and many others use EVS' solutions.

The company is headquartered in Belgium and has offices in Europe, the Middle East, Asia and North America. Approximately 400 EVS professionals from 20 offices are selling its branded products in over 100 countries, and provide customer support globally. For more information, please visit

For more information about this press release, please contact :

Rebecca Adewale or Sarah Kelley
Red Lorry Yellow Lorry
+44 (0)207 403 8878 or


Sébastien VERLAINE
Marketing Manager EMEA
+32 4 361 5804

Note: All brands referred in this document are officially registered trademarks.

Forward Looking Statements
This press release contains forward-looking statements with respect to the business, financial condition, and results of operations of EVS and its affiliates. These statements are based on the current expectations or beliefs of EVS' management are subject to a number of risks and uncertainties that could cause actual results or performance of the Company to differ materially from those contemplated in such forward-looking statements. These risks and uncertainties relate to changes in technology and market requirements, the company’s concentration on one industry, decline in demand for the company’s products and those of its affiliates, inability to timely develop and introduce new technologies, products and applications, and loss of market share and pressure on pricing resulting from competition which could cause the actual results or performance of the company to differ materially from those contemplated in such forward-looking statements. EVS undertakes no obligation to publicly release any revisions to these forward-looking statements to reflect events or circumstances after the date hereof or to reflect the occurrence of unanticipated events.

Please visit us at or contact us at any time if you have any further questions about any of our products or services.

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IMG and Panasonic take live sport to the skies and seas

Added 22/2/2012

IMG and Panasonic take live sport to the skies and seas
February 22nd, 2012 Posted in Headline News by Ken Kerschbaumer, SVG Editorial Director

Sport fans on airlines and cruise ships will now have an opportunity to watch some of the world’s iconic sporting events thanks to a new service called SPORT 24, launched by IMG Media and Panasonic Avionics Corporation.
The 24-hour channel will leverage an existing IMG Media technical infrastructure and repackage events like the 2012 Summer Olympics, The Masters, The Open Championship, Roland Garros, Formula 1 races, and a number of European football leagues for fans who otherwise would be out of touch in the sky or on the sea.
“The service will become part of an already existing channel that we programme for the Barclays Premier League,” says Dave Shield, IMG Sports Media, director of engineering and technology. “When the idea for SPORT 24 began two or three years ago we decided we would use that channel as a backbone as it is already filled 24 hours a day with content like live studio shows and magazine programmes.”
SPORT 24, like the Premier League Channel, will rely on a Pebble Beach Automation system and the company’s Dolphin “channel in a box” system. Dolphin is an SD/HD video server, master control switcher, character generator and channel branding system that supports an extensive range of compression and file formats.
“We were a guinea pig for the first Dolphin system last August,” says Shield of a system that has been up to the task.
The production workflow for the Premier League matches will also be used for the new content. Matches and other content are recorded on EVS servers and then, with the help of a Vizrt Ardendo archive system, sent from the EVS servers to a nearline storage system and LTO5 tape drives. The Dolphin servers then convert the content to DNX120 files for editing.
“With DNX120 file we can turn around the matches pretty quickly,” adds Shield. “So while one match is shown linearly we can cut down the other matches and fit them into two-hour slots.”
SPORT 24 will operate out of a second Pebble Beach-based transmission suite that will operate in the same Master Control Room facility at IMG Media. It will also have its own graphic bugs and interstitials and will have addition content produced out of IMG’s facility in Chiswick, where live studios and magazine-style programmes are produced.
Of course, preparing content for delivery on small TV sets located in the back of an airline seat requires some extra work.
“In terms of production values we will have graphics that are a little larger than they are for broadcast,” adds Shield. The Pebble Beach Automation system has a built-in graphics engine and can also insert promos and countdown clocks to upcoming events.
“It’s been interesting working with Pebble Beach on that integration so that as viewers are flipping through channels they will see a graphic letting them know that a Formula 1 race is about to start,” adds Shield.
In order to get the content out to viewers, standard-definition signals will be encrypted and sent out over Ku-band using Panasonic’s eXTV communications service. A Ku antenna and onboard components then deliver the content to TV sets on the plane or ship. Gulf Air, Bahrain’s national airline, has committed to carry the service and the channel will also be available to Norwegian Cruise Liners beginning in March. There are ongoing discussions with a number of other airlines.
The new channel will be put to a test pretty soon as the sports that IMG has acquired the rights to will have overlapping events. For example, both Wimbledon and Euro 2012 will overlap.
“We will run those events in our production gallery and then weave them into the Premier League channel,” adds Shield.

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Football Production Summit attracts industry stalwarts

Added 21/2/2012

Football Production Summit attracts industry stalwarts
February 21st, 2012 Posted in Headline News by SVG Staff

A wide range of leading broadcasters, vendors, football properties and other rights owners have signed up to attend SVG Europe’s inaugural Football Production Summit, taking place next week at the iconic Stade de France in Paris on 29 February 2012.

Representatives from the Premier League, Formula One Management and Fédération Française de Tennis are among the sports properties in the audience.

Meanwhile, BSkyB, Sky Italia, Sky Deutschland, Fox Sports, TV 2 Norway, TV5MONDE, Trace Sports and Lorenzi TV are sending delegates to this pioneering event from their networks and channels as are production companies IMG Media, PERFORM and SIS Llive among others.

Alfacam, EuroMedia Group, Avid, Canon, Telestream, Chrome Horn Media, Intelsat, KABO 3D, NEP, Netco Sports Group, NewTek and Outside Broadcast are just some of the technology companies that will be in attendance.

Other attendees include delegates from Sportfive, KantarSport, Supponor, T.E.A.M. Marketing, SOS Global Express and YouTube, highlighting that the fast-moving world of football sports production is high on everyone’s agenda, no matter their sector.

Representatives from AC Milan, Manchester City and England’s Football League are among the impressive line-up of speakers taking part in the inaugural event and they will be joined by speakers from Canal +, BSkyB, PERFORM, EVS, STATS, Opta, deltatre, Wasserman Media, 3ality Technica, Cameron Pace Group and CAN Communicate in panels covering ‘Football Broadcast Technologies’, and ‘Football Club Perspectives’. ‘Next-Generation Technologies’ such as 3D, and 4k will also go under the spotlight. As well as benefiting from an illuminating Closing Address from HBS’ Founder and CEO Francis Tellier, SVG Europe’s Football Production Summit will feature an Opening Address from UEFA’s head of TV Production Bernie Ross in which he provides delegates with a taste of what is to come at EURO 2012.

For further details visit:

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ORF takes to the slopes

Added 17/2/2012

ORF takes to the slopes
February 17th, 2012 Posted in Headline News by Ken Kerschbaumer, SVG Editorial Director

Austrian public broadcaster ORF is in the midst of another busy winter sports season and high ratings have made the hard work of more than 100 production staff worth the effort. Manfred Lielacher, Head of TV Production for the network, says the network and the nation are already looking forward to next February when the Alpine World Championships are held in Schladming.

Between now and then Lielacher and the team will finish up the 2012 season and also begin looking at next-generation technologies.

ORF handles both the production of the domestic and international feeds for those events held in Austria mostly with the use of three OB trucks. All three trucks are outfitted with EVS servers, Ikegami cameras, and Canon lenses, with two wired for eight cameras and one that can handle up to 14 cameras. Antelope super-high speed cameras are also on hand to record video as fast as 1500 frames per second although ORF shoots up to 150 frames per second, depending on the lighting conditions.

“Director Fritz Melchert puts the cameras in positions where you can really see the expressions of the skiers,” adds Lielacher. “And the Antelope cameras really catch the amount of force [exerted on a skier] in the race.”

Melchert, who is now in his 40th year of coverage for ORF, says that this year the audio was improved as microphones were able to be located closer to the skiers.

“The scraping of the edges and the sounds of the skiers themselves are almost never heard,” he said of an audio enhancement that made a real difference.

During the week of 13-15 January, 22 cameras and two OB vans were on hand for the Ski Jumping World Cup in Bad Mitterndorf, Austria. Coverage also featured commentator and ski expert Andi Goldberger wearing a helmet camera and taking a jump to give viewers a sense of what it is like to take part in the event.

The next weekend featured 12 hours of skiing coverage at the FIS Alpine World Cup event, including the Super G, downhill, and slalom in Kitzbühel.

“The downhill race is the most popular among viewers with slalom second,” explained Lielacher. A total of 30 HD cameras were on hand, for that weekend’s events, including three super slow motion cameras, two crane cameras, four wireless cameras and a camera mounted on a fixed wing aircraft.

Lielacher says signal transport down the mountains is done via fibre and Kitzbühel offers the advantage of having cable already built into the mountain.

“There are hotspots for the OB vans and camera positions located near the slope so we just need a few meters of cabling for each camera,” he explains. Overall, about 50 kilometers of fibre cabling is used, with much of it located underground.

One of the unique events during the season is the World Cup Men’s Night Slalom, held in Schladming on 24 January. More than 50,000 spectators turn out for the event.

“We are just responsible for the camera people and audio but we work in close cooperation with the [event organisers] who bring in the world’s best lighting equipment,” says Lielacher. The event this year was also a good trial for next year’s World Championship event.

The world championship schedule for Austria has the Final Alpine Skiing Event at Schladming (14 – 18 March) for the rest of the season so most of the network’s coverage will be done with smaller crews that enhance the world feed with stories on Austrian skiers and other feature packages.

“We have a very small team of people that will go to those events and most of the equipment will be rented and the operators will be [freelancers],” adds Lielacher.

Up next for Lielacher is more investigation into a complete move to tapeless operations.

“During the live event we record on EVS servers but at the moment our archive is on HDCAM tapes,” he explains. “And because our OB vans also do cultural events like concerts and other big shows we need to find out what is the best combination to fit all our needs.”

And the hard work is paying off as viewers are tuning in to this year’s coverage. At least part of the coverage of the Alpine World Cup event was watched by 46.1% of Austrian TV viewers over the age of 12, topping 3.3m.



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