TM Broadcast International #135, November 2024 by Daro

EDITORIAL

We all know that sports are, in our Broadcast world, the most demanding kind when it comes to broadcasting. Broadcasters, integrators and manufacturers devote a great deal of resources to continuously improving their work and products. That is why at TM Broadcast International we are always paying attention to every single technological development as well as to the most challenging projects that are in progress. It is therefore time to check how the challenges posed by the Paris Olympic Games were coped with and ﬁnd out what areas saw the expected success become a reality. With this in mind, we oﬀer our readers an exclusive interview with Isidoro Moreno (Chief Engineer at OBS) in which he analyzes how the challenges they faced in this edition of the Games were overcome.

Editor in chief

Javier de Martín editor@tmbroadcast.com

Key account manager

Patricia Pérez ppt@tmbroadcast.com

Editorial staff press@tmbroadcast.com

In this issue we also cover remote production. Megahertz tells us how the new OB has been implemented for BBC Northern Ireland and we also explore how the virtual OBs used in Paris 2024 turned out, a type of unit that is set to become a standard by transforming the way live sporting events are covered.

This issue is crammed with a wealth of other content, such as an in-depth laboratory test on the Blackmagic Design Ultimatte 12 equipment and Ikegami’s opinion piece on Integrating SDI and IP into an Eﬃcient Broadcast Production System. Come in and discover it all!

Creative Direction

Mercedes González mercedes.gonzalez@tmbroadcast.com

Administration

Laura de Diego administration@tmbroadcast.com

Published in Spain

ISSN: 2659-5966

TM Broadcast International #135 November 2024

TM Broadcast International is a magazine published by Daró Media Group SL Centro Empresarial Tartessos Calle Pollensa 2, oﬁcina 14 28290 Las Rozas (Madrid), Spain Phone +34 91 640 46 43

6 News PRODUCTS

20 OB | OBS

OBS (Olympic Broadcasting Services) and virtual OBs

For the drafting of this article we have relied on the information included in the document “Olympic Games Paris 2024 Media Guide” by OBS y comments by Isidoro Moreno, Chief Engineer at OBS.

30 OB | BBC NORTHERN IRELAND

BBC Northern Ireland’s new IP OB truck pioneers

SMPTE ST 2110 infrastructure

The BBC Northern Ireland has taken a major leap forward in its broadcast capabilities with the integration of a cutting-edge IP-based outside broadcast truck, designed and delivered by Megahertz.

SPORTS | OBS

OBS and the 2024 Paris Olympics: challenges solved

Now that the Paris 2024 Olympic Games are over, it is ﬁtting to analyse their outcome from the points of view of technology and television production.

OPINION | SDI&IP

SDI and IP into an Eﬃcient Broadcast Production System by Gisbert Hochguertel, Ikegami Europe

SDI (Serial Digital Interface) was one of the television industry’s great success stories, formalised from 1989 onward as a set of SMPTE standards which expanded over the following decades to embrace SD and HD, 4K-UHD and 8K-UHD.

Chroma Key for everyone from Blackmagic Design

Considering the large number of mixers and software applications that nowadays enable carrying out Chroma Key eﬀects with good results, do speciﬁc hardware devices make sense just to get Chromas? The unequivocal answer is a wholehearted YES!

Comcast Technology Solutions launches advanced Cloud TV platform for global broadcasters and video providers

Comcast Technology Solutions (CTS) has unveiled its new Cloud TV platform, designed to support broadcasters and video service providers worldwide in managing and delivering a unified broadcast and OTT experience. With a cloud-based, fully managed approach, CTS aims to help media companies centralize operations across live linear TV, FAST channels, SVOD, AVOD, and TVOD—offering a flexible framework that allows content providers to optimize video management, distribution, and monetization within a single system, as the tech firm signaled.

Bart Spriester, Senior Vice President and General Manager of Streaming, Broadcast & Advertising at CTS, highlighted the platform’s potential for the industry: “With Cloud TV, our customers gain access to a next-gen premium platform that lets them manage and monetize their content seamlessly across global streaming, broadcast, and advertising audiences—reliably, securely, and at scale. Cloud TV unites the best of our SaaS services and cloud-based linear playout technology to deliver a fully-featured, modular, and ﬂ exible TV solution.”

As the company stated, the platform is designed for the complex needs of today’s

Tier 1 broadcasters and content owners, addressing key challenges such as cost management, workflow efficiency, and content monetization. The platform, according to specifications released by the company, enables companies to centralize processes like ingesting, transcoding, content protection, server-side and contextual advertising, commerce and subscription management, OTT distribution, and advanced analytics within a single system.

Cloud TV is also engineered to provide robust capabilities in content recommendations, audience insights, and VideoAI™ applications, all of which support dynamic customization of user

experiences and enhanced viewer engagement. This integration allows broadcasters to eﬀectively mix distribution strategies and monetization models, from ad-supported VOD to subscription and transactional services.

Maria Rua Aguete, Senior Research Director at Omdia, commented on the platform’s relevance: “Eﬃciently blending distribution and monetization across subscription packages, FAST, and VOD is crucial to reaching viewers where they are. The nearly one trillion-dollar media and entertainment market shows that pay TV remains resilient, and ad-based online video is where we expect the most growth.” 

Matrox Video’s SDI I/O cards empower new Vizrt TriCaster Vizion for enhanced broadcast production

Matrox Video has announced its critical role in powering Vizrt’s newly launched TriCaster Vizion, underscoring its strong partnership with Vizrt and solidifying its position as a go-to OEM for live production technology. Vizrt’s TriCaster Vizion is equipped with Matrox Video’s DSX LE5 SDI I/O cards, designed to boost SDI connectivity and enhance compatibility with today’s high-demand production workﬂows. This integration represents a noteworthy expansion of Vizrt’s reliance on Matrox’s solutions, reinforcing their collaborative growth in delivering high-performance live production technology.

The TriCaster Vizion aims to meet the needs of broadcasters, sports networks, and live event producers who require a versatile and cost-eﬀective solution for large-scale video productions.

With the Matrox DSX LE5 SDI I/O cards, the system enables robust SDI conﬁgurations, supporting up to 12G SDI inputs and outputs, which gives producers the ﬂexibility to adapt quickly to varying production needs and environments.

“Our longstanding relationship with Vizrt is built on mutual trust and shared success over two decades,” said Francesco Scartozzi, VP of Sales and Business Development at Matrox Video. “Vizrt’s continued trust reﬂects our commitment to delivering high-quality, tailored solutions that meet their exacting standards. The DSX LE5 SDI I/O cards in the TriCaster Vizion enable reliable, highperformance functionality for users operating in fast-paced environments. We’re excited to continue pushing the boundaries of live production through future innovations alongside Vizrt.”

This collaboration further illustrates Vizrt’s dedication to integrating Matrox’s advanced technology across its product lineup. As Vizrt looks to expand its oﬀerings in the live production sector, Matrox Video’s role has become pivotal, ensuring Vizrt’s solutions are equipped with the high-quality video processing and connectivity their users demand.

“Partnering with Matrox for the TriCaster Vizion reflects our dedication to providing optimal solutions for live production professionals,” commented Chris McLendon, Senior Product Manager at Vizrt. “The integration of Matrox’s DSX LE5 SDI I/O cards allows TriCaster Vizion to deliver unmatched flexibility and performance, enhancing our users’ production capabilities. We look forward to our continued partnership with Matrox as we push innovation and expand our offerings.” 

Telos Alliance® reveals xNode2 AoIP Interface

As the successor xNode, xNode2 carries on as the ultimate “universal translator” between external analog, microphone, and AES/EBU devices and Livewire+ AES67 AoIP networks.

xNode2 retains the important features of its predecessor, while its redesigned internal hardware serves as a foundation for meeting ever-evolving industry technical requirements. Among these are dual 1000MB network interfaces for compliance with SMPTE 2022-7 (Seamless Protection Switching of RTP Datagrams), allowing streaming to separate network branches

for audio redundancy and automatic failover to the available RTP stream.

“Since its introduction at the 2012 NAB Show, customers have welcomed over 37,000 xNodes into their facilities around the world, making it one of the most ubiquitous pieces of gear in modern broadcast history,” noted Milos Nemcik, Telos Alliance Program Manager. “xNode2 carries forward the reliability, ease-of-use, and compact form factor that our customers love, while providing us with the platform we need to build an AoIP endpoint that will serve their needs for many years to come.”

xNode2 boasts a high-resolution, multi-function LCD color front panel display and an improved user interface. A combination of AC and PoE+ (IEEE 8023at) provides redundant power. Like the original xNode, xNode2 will be oﬀered in ﬁve variations: Analog, AES/EBU, Microphone, Mixed-Signal, and GPIO. 

Figment Studio unveils southeast Asia’s most advanced virtual production facility powered by ROE Visual

In a major development for the Southeast Asian ﬁlm industry, a new virtual production facility, Figment Studio, has been launched. The studio is the result of a collaboration between three industry players —Supreme Studio, The Studio Park, and StageFor— and aims to position Thailand as a key hub for virtual production, not only in the region but across Asia. Powered by ROE Visual LED panels, the studio has attracted an investment of 200 million baht (approximately $6 million) and aspires to rank among the top ﬁve production studios in Asia.

Strategic partnerships and technological innovation

Figment Studio brings together the combined expertise of its founding partners. The Studio Park, which houses Thailand’s largest sound stage on its 216-rai complex in Samut Prakan, is a familiar name in Hollywood

circles, having hosted major international productions. StageFor Co., Ltd., a specialist in XR and virtual production, adds its technical proﬁciency, while Supreme Studio Co., Ltd. has pioneered virtual production technology in Thailand and Southeast Asia.

The studio’s main stage measures 28 meters by 5 meters and is equipped with ROE Visual’s Diamond DM2.6 LED panels. The ceiling, measuring 6 meters by 3 meters, features ROE Carbon CB3.75 panels, delivering high-quality visuals designed to meet the demanding needs of modern ﬁlm production. The facility also integrates advanced systems, including Brompton Technology’s Tessera LED processing, Unreal Engine, Stype, Redspy tracking, and OptiTrack motion capture. Together, these technologies create a seamless environment for both 2D and 3D workﬂows, setting a new

benchmark for immersive visual production in the region.

Driving Thailand’s film industry forward Ms. Nattha Neleptchenko, CEO of Supreme Studio Co., Ltd., emphasized the significance of this collaboration for Thailand’s film industry:

“With the combined strengths of the three companies involved in this partnership, we are conﬁdent that Figment Studio will be ranked as the top virtual production facility in Thailand and will soon become one of the top ﬁve in Asia.”

The studio has already made its mark with high-profile projects, including commercials and feature films like *The Greatest Beer Run* and *Thai Cave Rescue*. Its success highlights the growing demand for virtual production, a trend reshaping the global film and media industry. 

LiveU Studio impulses localization of EuroLeague Basketball streams for Skweek’s French audience

LiveU is advancing its next-generation cloud production technology with a tailored solution that meets the localization needs of Skweek, a streaming platform dedicated to basketball and lifestyle content. Skweek, which holds exclusive rights to broadcast EuroLeague Basketball in France and Monaco, has integrated LiveU Studio to oﬀer fans a more personalized and immersive viewing experience, according to the information released by the company.

Skweek now uses LiveU Studio to stream EuroLeague games with local French commentary for teams such as LDLC ASVEL, AS Monaco, JL Bourg en Bresse, and Paris Basketball. This feature allows Skweek to receive the international game feed directly from IMG, where it’s then ingested into LiveU Studio, adding French-language commentary and customized branding. Commentators, connecting remotely to LiveU Studio as “guests,” deliver their insights live from various locations.

Skweek streams up to 12 live games each evening via its pay-per-view platform and also occasionally broadcasts live commentary to YouTube and social media, reaching a broader audience with minimal additional overhead. By leveraging LiveU’s

ability to simultaneously publish across multiple destinations, Skweek eﬃciently manages both its subscription VOD service and free streams, ensuring content is accessible across various platforms.

An advantage for Skweek has been LiveU’s adaptable payment model, which lets them scale production based on demand, an adecuate approach for high-volume events like the EuroLeague season, both companies signaled. Cyril Méjane, Managing Director of Skweek Studios, shared that LiveU’s tools allowed the team to implement a streamlined, flexible workflow without incurring unnecessary costs. “The Studio toolbox enables us to do complex production easily while only paying for what we use. Delivering live commentary to the cloud is a different way of working for our commentators,

but they quickly adapted to the change and have found it to be a more streamlined process,” Méjane explained.

Philippe Gaudion, Regional Sales Manager at LiveU, noted the speed and e ﬃ ciency of Skweek’s adoption of LiveU Studio: “Very soon after a LiveU Studio demonstration and in-house testing at a smaller event, Skweek was utilizing the solution for Turkish Airlines EuroLeague Basketball. LiveU Studio provides a rich toolbox that enables complex cloud production in a simple way, as well as access to additional intelligent features.”

Gaudion highlighted how Skweek’s autonomy with remote cloud commentary and distribution has already translated into signi ﬁ cant cost savings and production control. 

IGADO+ launches low-cost streaming platform for Ethiopia on MwareTV infrastructure

Aiming to reach audiences across Ethiopia, IGADO has launched a new streaming service, IGADO+, built on MwareTV’s cloudbased platform. Partnering with Ethio Telecom, the national telecommunications provider, IGADO+ oﬀers a diverse range of content accessible via broadband and mobile networks. With 125 live channels and thousands of hours of video-on-demand (VoD), the service presents a wide selection of programming across entertainment, education, religion, children’s shows, and sports.

To cater to Ethiopian audiences, a signiﬁcant portion of content, including local sports coverage and English Premier League matches featuring Arsenal, is dubbed in Amharic and Afaan Oromoo. Available on mobile devices initially, the platform also plans to extend support to smart TVs, enhancing its accessibility within the Ethiopian market. Ethio Telecom is promoting the service

as an aﬀordable subscription option, with monthly rates set at 199 Birr (about $1.65 USD), available through Ethio’s USSD subscription portal.

IGADO+ relies on MwareTV’s cloud-based TV Management System (TVMS) to operate its streaming services. The system includes all necessary technology for content management and service planning, integrated directly with Ethio Telecom’s subscription management tools. Through an intuitive, drag-anddrop interface, the platform enables operators to eﬃciently manage content delivery.

To ensure ease of use for Ethiopian consumers, MwareTV provides a suite of customizable, white-label user interfaces for mobile and tablet access, simplifying app creation across devices without requiring additional coding. This ﬂexibility allows IGADO+ to maintain

a consistent and accessible experience for users across platforms.

MwareTV CEO Sander Kerstens highlighted the platform’s hands-off approach to technology management, stating, “Our cloudbased system allows operators like IGADO to focus on building audience engagement without getting bogged down by technical complexities. By automating content delivery through Ethio Telecom’s network, IGADO can focus on expanding its reach through quality programming and strategic offers, confident that our platform will deliver consistent results.”

Kerstens emphasized the low entry cost and subscriber-based model of the MwareTV system, making it a feasible option for localized content platforms like IGADO+ that aim to provide high-value services at aﬀordable rates within emerging markets. 

ITV Studios Daytime integrates Limecraft for optimized post-production eﬃciency

Limecraft has entered into a partnership with ITV Studios Daytime, one of the UK’s leading daytime television production facilities, to revamp and streamline its post-production processes. This collaboration is focused on optimizing media management, transcription, and collaborative workﬂows for ITV Studios Daytime, which is located at London’s Television Centre and produces popular shows like Good Morning Britain, Lorraine, This Morning, and Loose Women.

ITV Studios Daytime processes approximately 500 hours of raw content every month, necessitating an eﬃcient system for managing and reviewing media assets.

With Limecraft’s support, ITV aims to modernize its approach to ingest and ﬁle sharing, integrating the solution directly with its existing Avid MediaCentral platform.

Enhanced workﬂow and ﬁle management

Limecraft’s tools are specifically designed to address challenges in post-production workflows, enabling ITV to automate previously manual processes like transcription and media logging. This has allowed the studio to improve turnaround times for file sharing and media review, which are central to a fast-paced broadcast environment.

According to John Barling, Head of Technology at ITV Studios Daytime, “We were massive users of WeTransfer before, but file sharing from Avid was a clunky process. Limecraft has transformed that. Now, our teams can easily find content, clip it, and share it with peers, streamlining our workflow and improving collaboration in ways we hadn’t seen before.”

Key features and beneﬁts, according to the company:

> Direct Avid integration: Limecraft’s integration with Avid MediaCentral eliminates manual steps previously needed for media logging and ﬁle transfers, facilitating smoother collaborative work across teams.

> Automated transcription: With Limecraft’s transcription capabilities, ITV’s media content is transcribed in real time, reducing transcription time from hours to minutes and enabling more rapid content review.

> Real-Time Collaboration: Post-production teams can now review, annotate, and share media ﬁles instantaneously, allowing for real-time feedback and collaboration across diﬀerent departments. 

Katy Perry dazzles AFL Grand Final with AR-enhanced show thanks to Champion Data and Vizrt

Leveraging AR for spectacular broadcast production, reaching a record 4 million viewers

In a groundbreaking collaboration, Vizrt, a specialist in real-time graphics and live production solutions, teamed up with Champion Data to deliver a high-tech spectacle for the Australian Football League (AFL) Grand Final pre-show featuring pop icon Katy Perry. By merging broadcast with Augmented Reality (AR) graphics, the partnership created a viral broadcast experience that captivated audiences on both television and social media worldwide.

The AFL Grand Final, aired by Seven Network, achieved a record-breaking viewership, attracting 4 million viewers, who witnessed a unique fusion of Katy Perry’s energetic performance and dynamic, galaxy-inspired AR graphics. This enhanced

production showcased the potential of AR graphics within a live broadcast environment, oﬀering fans at home a visually immersive experience and a social media frenzy.

“Despite the AFL Final being an elaborate, live show with multiple camera inputs and extensive graphics overlays, the Vizrt tools very much enabled us to ‘set and forget’ when it came to production programming,” commented Andrew Mott from Champion Data. “We had such conﬁdence in delivering Katy Perry’s production knowing that Viz Virtual Studio and Viz Engine formed the technical backbone. We didn’t need to tweak too much – whether it be for her performance or our standard game day graphics – it all came together perfectly.”

Central to the broadcast’s success was Viz Engine 5, which seamlessly integrated 4K Unreal Engine graphics from Seven

Network’s broadcast team into the live feed. These pre-made graphics, designed by Katy Perry’s production partner Silent Partners Studio, added a stunning visual depth to the performance.

This project also exempliﬁed how Champion Data pushed its existing AFL production infrastructure beyond the traditional Match Day graphics, using Vizrt’s hybrid AR production capabilities to overlay AR graphics onto Perry’s performance without needing a full technical overhaul. The AR-enabled broadcast was managed via Champion Data’s established Vizrt infrastructure, including Viz Engine, Tracking Hub, and Studio Manager. This setup collected data from three cameras (two equipped with mechanical tracking) to calibrate and render Mushroom Graphics’ Unreal-based visuals in real time, enhancing the on-screen experience for audiences. 

HuskerVision impulses audio production with Lawo’s solutions

HuskerVision, the audiovisual backbone behind the University of Nebraska’s sports productions, has taken a leap in audio production quality and operational eﬃciency thanks to a strategic collaboration with Lawo, as the company explains. The implementation, completed in August 2023, has brought transformative changes to HuskerVision’s workﬂow, showcasing Lawo’s prowess in live media production technology and setting a new standard for university sports broadcasting.

Operating out of the Michael Grace Production Studio, HuskerVision manages all audiovisual and broadcast production needs for University of Nebraska sporting events, including live game entertainment, non-sporting events, and a roster of television shows broadcast nationally on the Big Ten Network. Staffed by a team of 30 to 50 student operators, HuskerVision produces over 100 fully developed television programs annually, offering Nebraska athletes and sports a prominent national profile.

Garrett Hill, Broadcast/Systems Engineer at HuskerVision, shared his appreciation for the system, noting, “after working with our Lawo installation for more than one year, we have been very happy with its performance and the quality of audio we’re getting

out of it.” The installation includes a lineup of Lawo’s hardware and software: the HOME management platform for media infrastructures, two A__UHD Core audio engines conﬁgured as primary and backup, Power Core units equipped with Dante cards for enhanced integration with legacy equipment, and two mc²56 audio production consoles. These consoles, complemented by several A__stage64 and A__digital stageboxes, form the core of HuskerVision’s enhanced audio setup.

Lawo’s solutions have seamlessly integrated into HuskerVision’s workflow, bringing flexibility and simplifying complex signal management tasks. Hill highlighted the efficiency gains from Lawo’s system architecture in managing IP audio streams, particularly in coordinating IP and baseband audio with third-party

equipment—a setup that has streamlined operations.

“This was our first experience with IP-based audio that closely resembles environments based on ST 2110,” Hill commented. “Our broadcast setup remains baseband for video, but audio is now a hybrid IP and baseband system. With the latest equipment, we’ve not only improved audio quality but also optimized our workflow.” He further explained, “The A__stage and A__digital boxes’ capacity to natively output and subscribe to any AES67 streams, alongside robust internal routing support, has simplified the management of audio signals across all venues. The HOME platform’s integration also allows direct management of streams from Q-Sys and Dante equipment, facilitating complex routing and multiple event needs simultaneously.” 

ﬁvefold studios unveils premier virtual production facility at Dragon Studios, Wales

In an ambitious move for the UK media landscape, fivefold studios has launched a groundbreaking virtual production facility at Dragon Studios, South Wales, setting a new standard for film and television production in the region. Positioned as an innovative creative hub, fivefold studios combines cutting-edge technology with advanced production capabilities to empower Wales as a leader in virtual production and a dynamic force in the global media sector.

The new studio, developed to bolster film and television infrastructure in Wales, brings virtual production directly into the heart of the region’s creative industry. Offering a range of comprehensive production services, fivefold employs the latest in InCamera Visual Effects (ICVFX), performance capture, and AI-driven production tools.

Spanning over 12,000 square feet, fivefold studios is well-equipped to accommodate projects of all scales, from independent productions to large-scale blockbusters. At its core is a stateof-the-art LED volume, which enables real-time capture of visual effects and empowers filmmakers to explore new creative possibilities while streamlining workflows. Additionally, the facility boasts Europe’s largest permanent green screen cove, covering 5,000 square feet with a height of 33 feet, providing flexible, cost-effective solutions for high-end productions.

Dedicated to the development of industry talent, fivefold studios will also offer training programs in collaboration with Media Cymru. This initiative underscores fivefold’s commitment to equipping the next generation of media professionals and securing Wales’ position as a globally recognized hub for advanced media production.

David Levy, Managing Director of fivefold studios, remarked, “Here at fivefold studios, we are proud to be establishing a sustainable, technology-led enterprise that champions the values shaping the future of Media & Entertainment. Our in-house team, pioneers in the virtual production arena, is dedicated to building a Welsh center of excellence in media production. Our industryexperienced professionals have delivered projects for Net flix, Apple, Paramount, and Amazon MGM Studios, and we’re ready to provide best-in-class virtual production solutions.”

As one of 23 partners in Media Cymru’s consortium, ﬁ vefold studios is part of a collective initiative dedicated to transforming Wales’ media sector into a global innovation hub with an emphasis on sustainable, inclusive economic growth. 

Landsec acquires full ownership of MediaCity and dock10

In what seems to be a strategic move to consolidate its presence in the UK media landscape, Landsec has acquired the remaining 25% interest in MediaCity from Peel Group, including full ownership of the renowned television facility dock10 and an adjacent 218-bed hotel. This acquisition, ﬁnalized last November, positions Landsec to take full control over the iconic MediaCity estate and spearhead future development in the area.

The transaction was completed for a cash payment of £22 million, alongside the assumption of £61 million in secured debt, bringing the total consideration to £83 million. This valuation represents a discount to the latest book value of Landsec’s existing 75% share in MediaCity, primarily due to the terms of the lease agreements. As part of the acquisition, Landsec agreed to waive contracted

future income from “wrapper leases” to Peel, aligning the value of the transaction with the latest book valuation of MediaCity’s assets. In the immediate term, this acquisition is expected to be earnings-neutral.

However, Landsec sees long-term growth potential in MediaCity, with plans to expand residential capacity on lands adjacent to the estate. This addition could bring signiﬁcant new housing to the area, reinforcing MediaCity’s role as a vibrant hub for media, entertainment, and community life.

Mike Hood, CEO of Landsec U+I, emphasized the strategic importance of this acquisition: “MediaCity has huge potential. Through our increased ownership, we can curate a place that continues to attract cuttingedge businesses and investment to the area, and where people choose to come to work, live and

enjoy their lives. We look forward to sharing more about our plans in the near future.”

About dock10 and MediaCity

Dock10, the leading television production facility at MediaCity, has been central to the estate’s success, attracting high-proﬁle productions from the BBC, ITV, and other major broadcasters. Known for its advanced technical infrastructure, dock10 has positioned MediaCity as a leading media production hub, drawing both media and tech innovators to Greater Manchester.

According to the company, this acquisition gives Landsec a robust foundation to expand its inﬂuence in the media and broadcast sectors, combining an iconic location, premier production facilities, and strategic residential expansion to support the needs of this dynamic industry. 

Alan Fagan appointed Managing Director of EurovisionSport.com amid strategic EBU expansion

This announcement comes after the EBU secured the rights to broadcast the FIFA World Cup 2026™ & FIFA World Cup 2030™

Alan Fagan, a seasoned executive with over 25 years of commercial experience, has been appointed Managing Director of the European Broadcasting Union’s (EBU) new streaming platform, EurovisionSport.com. Formerly Vice-President of ESPN Sports Media EMEA, Fagan brings extensive expertise in managing media rights, partnerships, direct-to-consumer services, and advertising sales. His previous roles include overseeing Disney’s multi-brand advertising and partnership operations in the UK and ESPN’s reach across the EMEA region, where he was part of Disney’s UK Leadership Team during its transformative period, including the Disney+ launch.

In his new role, Fagan will take on strategic, editorial, and commercial leadership at Eurovision Sport, reporting directly to Glen Killane, Executive Director of EBU Sport. His responsibilities include advancing the platform’s growth and overseeing an upcoming team expansion, expected to create several new roles in the coming months.

Reﬂecting on Fagan’s appointment, Killane stated,

“The leadership team at the EBU, along with our Eurovision Sport partner Nagra, were impressed by Alan’s depth of experience and leadership skills. He will now play a pivotal role in driving Eurovision Sport forward, helping us continue to innovate and deliver exceptional sport experiences that complement our Members’ extensive eﬀorts across Europe and beyond.” Killane also acknowledged the contributions of Jean-Baptiste Casta, the outgoing managing director, who is transitioning to a senior industry role elsewhere.

Fagan commented on Eurovision Sport’s potential, noting that in its ﬁrst six months, the platform has streamed over 100 events across more than 30 sports, entirely free for viewers. Highlighting the collective scale of 50-plus broadcasters involved, Fagan added, “With a potential audience of over one billion, I am thrilled to join Glen and the team at the EBU, to grow audiences, content, and distribution, and deliver on the commitment to being the ﬁrst gender-balanced streaming platform in sport.” 

Signapse and CaptionHub partner to enhance video accessibility with AI-powered sign language integration

A new partnership between CaptionHub and Signapse is set to impulse video accessibility, allowing enterprises to deliver content that truly serves Deaf audiences through AI-driven sign language integration.

As part of its latest feature rollout, CaptionHub, a company specialized in multimedia localization and captioning, will oﬀer seamless integration with Signapse’s pioneering sign language technology. Through this collaboration, CaptionHub clients can now enhance their videos with automatic British Sign Language (BSL) or American Sign Language (ASL) interpretation alongside captions, representing a major advancement in making media inclusive and accessible to all, as the ﬁrm signals.

Tom Bridges, CEO of CaptionHub, sees this partnership as a

transformative step: “We are thrilled to join forces with Signapse to bring AI-based sign language capabilities to our platform. This collaboration aligns perfectly with our mission to make video content localised and accessible for our clients. By incorporating Signapse’s innovative technology, we’re not just adding a feature; we’re opening up content to millions of people who wouldn’t previously have had access but also making this step easy for our enterprise client base.”

This new integration comes at a time when accessibility in media is more vital than ever, according to the company. Deaf and hard-of-hearing audiences represent a signiﬁcant portion of global viewers, with over 87,000 people in the UK alone using BSL as their primary language. Many members of the Deaf community have diﬃculties with text,

which makes captioning alone insuﬃcient for their needs. This partnership with Signapse aims to close that gap by translating speech directly into visual sign language within videos, creating an inclusive experience, as both companies claim.

Will Berry, CRO of Signapse, emphasizes the impact of this development on accessible content: “Many Deaf people struggle with text – 87,000 people in the UK use British Sign Language (BSL) as their first language. By seamlessly integrating our sign language translation with existing CaptionHub features, we are opening up more video content for the Deaf community. This partnership represents a significant leap forward in bridging the communication gap and ensuring that everyone can enjoy and benefit from video content equally.” 

OBS (Olympic Broadcasting Services)

and virtual OBs

For the drafting of this article we have relied on the information included in the document “Olympic Games Paris 2024 Media Guide” by OBS y comments by Isidoro Moreno, Chief Engineer at OBS.

OBS and the revolution of INTEL’s modular, virtualized production

As the host broadcaster of the Olympic Games, OBS has faced a speciﬁ c set of challenges when planning the Mobile External Broadcast Units (OB Vans) or mobile

systems that are essential for live event coverage. Key factors include the space required in the broadcast enclosure at venues, the internal space needed to accommodate both equipment and production sta ﬀ , as well as ensuring that all hardware devices are conﬁ gured and up-to-date to deliver

By Luis Sanz, Audiovisual Consultant

top-notch production quality. Logistics is equally crucial, as it encompasses procuring production units, transporting them globally, shipping specialized equipment, sta ﬃ ng for technical and production teams, and setting up at the venue. In addition, it is essential to consider the environmental

impact associated with the carbon footprint, thus avoiding the unnecessary transfer of large amounts of hardware, especially servers, from the other side of the world, and choosing local solutions whenever possible, given that it is COTS (Commercial O ﬀ -The-Shelf) hardware, which reduces the need

to mobilize speciﬁ c equipment and contributes to more sustainable logistics.

To address these challenges, OBS has partnered with global sponsor INTEL in order to explore more ﬂexible and modular production environments.

This innovative strategy has aimed to streamline logistical and operational complexity, increase ﬂ exibility and reduce the total broadcast space at the venues. Through this collaboration, OBS and INTEL are opening a new era in broadcast technology, thus creating scalable and adaptable solutions that cater to the demands of Olympic broadcasting while setting new benchmarks for e ﬃ ciency and sustainability in the industry.

The move towards virtualized OBs will continue as technology advances and broadcasters look for more e ffi cient, fl exible, and sustainable production methods. With progress seen in cloud computing, arti fi cial intelligence (AI), and realtime communication, virtualized OBs will likely become a standard in sports broadcasting, o ff ering unprecedented capabilities and transforming the way live events are covered.

What is a virtualized OB?

A traditional OB is a mobile production unit equipped with all the technology needed to produce live broadcasts, including cameras, audio equipment, mixers, matrices, and control panels. A virtualized OB decentralizes much of this equipment, using a software-based, cloudhosted architecture that replicates the function of a traditional OB and o ﬀ -the-shelf (COTS) commercial solutions to handle many production tasks. This transformation o ﬀ ers several advantages:

• Efficiency: A traditional OB has numerous elements that provide maximum fl exibility, but in many cases these may be unnecessary for a speci fi c operation. In contrast, a virtual unit virtualizes only the necessary elements within the TV production chain for a particular event, thus optimizing resources and reducing operational complexity without compromising the quality of the broadcast.

• Reduced footprint: Virtualized production configurations are designed to significantly reduce the technical, logistical, physical, financial, and ecological footprint. Less equipment is needed on site, resulting in smaller and more mobile units, and less space and resources required at sites.

• Scalability: Cloud resources can be scaled up or down depending on

the requirements of the event, making this a cost-eﬀective solution.

• Remote production capabilities: Production equipment can operate from anywhere, oﬀering greater ﬂexibility and resiliency.

Main features

• Cloud-based infrastructure: Core production tasks such as video switching,

video-audio mixing, and replay generation are performed by using cloud servers. This con ﬁ guration reduces dependency on on-site hardware.

• Remote operations: Directors, producers, and technicians can collaborate and control the broadcast remotely, allowing for more e ﬃ cient use of staﬀ and resources.

• Resiliency and redundancy: Cloud solutions provide built-in redundancy and failover capabilities, thus ensuring uninterrupted transmission even when facing hardware failures.

Beneﬁts

• Cost-eﬀectiveness: By reducing the need for large equipment and staﬀ on site, a virtual OB reduces production costs.

• Flexibility: it can be quickly adapted to diﬀerent types of events and scales.

• Improved quality: Advanced cloud technology enables higher-quality production capabilities on demand.

• Sustainability: Smaller physical footprint (and potentially reduced travel for production teams in a completely remote setup) contribute to lower environmental impact.

• Future-proof: As streaming technology continues to evolve,

a virtualized OB can easily integrate new innovations without signiﬁcant overhauls of the physical infrastructure.

Challenges

• Bandwidth and latency: Reliable, high-speed cloud connections are crucial to the smooth operation of a virtualized OB. Latency can be a major issue for live broadcasts.

• Training and adoption: Production teams should be trained to adapt to the new workﬂows and technologies associated with a virtual OB.

• Cybersecurity: Ensuring the security of cloud-based operations is vital to protect against cyber threats and unauthorized access.

History

January 2021: Development starts

February 2022: Proof of Concept (POC) at Beijing 2022

The virtualized OB was deployed in the curling enclosure, in parallel to the main production setup. The purpose of this test was to check functionality and

interoperability, as well as the ingestion and processing of the 1080p50 SDR video streams from 18 cameras used for the coverage of one of the curling sheets, along with the audio streams. An on-premises data center replicated the cloud-based architecture platform. In addition, four additional native IP cameras dedicated to the virtualized OB project were connected, thus eliminating the need for camera control units. The performance of the virtualized OB exceeded all expectations.

March 2022December 2023: Development period

To ensure that the virtualized OBs meet the strict OBS production standards, multiple POCs, test events and a close collaboration with partners and suppliers were carried out. Collaboration with OBS host producers played a key role in ensuring that technology is ready for live use, demonstrating its practicality and robustness in real-world scenarios. This rigorous process

included production teams verifying quality standards, thus ensuring virtualized OBs delivered exceptional performance and reliability. Signiﬁcant progress has been made in the ﬁeld of virtualized transmission solutions in the last two years, coming closer to matching the capabilities of traditional broadcast equipment.

January 2024:

Implementation of live production. Stage 1 at Gangwon 2024

The virtualized OB was initially deployed at the curling venue in week 1 and then reinstalled at the ice hockey venue in week 2, strictly adhering to the technical setup and specifications planned for Paris 2024. This application demonstrated the feasibility and efficiency of the solution as an alternative to traditional broadcast equipment in a live coverage environment and helped fine-tune preparations for Paris 2024.

July 2024:

Implementation of live production. Stage 2 at Paris 2024

At Paris 2024, OBS has deployed virtualized OBs at three competition venues to produce 14 multilateral broadcasts across ﬁ ve sports. They have been located at Roland Garros (for side tennis courts), Champ-de-Mars Arena (for judo and wrestling) and Chateauroux Shooting Centre (for shooting).

Virtual OBs have been used on 7 tennis courts. In the 4 central tennis courts, neither traditional nor virtualised OBs were used, but the camera signals were sent, within the Roland Garros facilities, to cabins in which racks were located with the hardware in SMPTE 2110 as necessary for the production of the ﬁ nal broadcast signal.

The virtual OBs for tennis worked with the cloud, using edge server installations, a Data Center or outpost (local data center infrastructure at the OBS headquarters) that was also installed at Roland Garros with the collaboration of the sponsor INTEL.

The production of the signal was carried out with software applications installed as cloud services. Having the data center so close to the cameras made it convenient to make camera copies locally; copies of more than 80% of the cameras used in the games were handed over to the committees and broadcasters. Furthermore, due to the proximity, latency was practically nonexistent.

An in-depth look at Olympic virtual OBs

The deployment of virtualized OBs marks a signiﬁcant leap in broadcasting technology, spearheaded by OBS. These state-of-the-art units are set to revolutionise the way live Olympic events are broadcast, particularly in large-scale environments such as the Paris 2024 Olympic Games.

Conﬁguring a virtualized OB

Virtualized OBs are powered by a suite of sophisticated VOB software, comprising ﬁve key pillars.

Each pillar is made up of top-tier manufacturers oﬀering virtualized solutions, selected after careful research and development.

The implementation of a virtualized OB refl ects the confi guration of a transportable hardware fl ypack system. The local data center comprises racks of COTS (Commercial O ff -The-Shelf, equipment mass-produced products available to the general publi)c to which cameras, microphones, etc. are connected as sources... Together with these are the production galleries, designed to look a lot like traditional production units. This design requirement ensures minimal visible and operational impact on production equipment.

Conﬁguration times are progressively reduced as the integration of various software components becomes more agile by means of sophisticated IT-based mechanisms. This trend promises even faster and more eﬃcient setups in the future.

OBS employs a simple multilateral approach with minimal video layers in the video mixer, which typically uses a GFX signal and avoids complex picture-inpicture conﬁgurations. This simplicity allows for optimal use of available resources, thus resulting in improved eﬃciency and performance.

Ensuring low latency and high reliability

One of the main challenges in cloud-based broadcasting is managing latency, particularly for onsite multilateral program delivery, which must be accessible with minimal delay for commentator positions, large screens, and other local uses. To address this, OBS has opted for private onpremises data centers (edge computers), which has avoided the need to route signals back and forth to the cloud. This setting has ensured that latency is maintained within the 100 -150 milliseconds range.

Theoretical conﬁgurations suggest that these private data centers could

be centralized in the International Broadcasting Center (IBC) or in a nearby commercial data center, as long as the physical distance does not exceed certain limits (considering the speed of light, approximately 5 milliseconds per 1000 kilometers of ﬁ ber).

In addition, latency issues are exacerbated by the encoding and decoding of IP transmissions. OBS mitigates this by using uncompressed signals (SMPTE 2110-20 and 211030) or -in exceptional casesultra-low latency processing types such as JPEG-XS per

SMPTE 2110-22. While uncompressed signals are large and demand software, this approach minimizes latency signiﬁcantly. Future developments may focus on improving video switching capabilities at the network edge.

A visionary leap

With a clear vision on the future and strategic goals aligned with technological advances, the shift towards virtualized systems represents a great leap forward for OBS and broadcasting of the Olympics.

The journey of virtualized OBs has been remarkable, starting with smaller-scale deployments and culminating in full integration at three key locations for Paris 2024. With an eye on the future, OBS is preparing for the Milan-Cortina d ‘Ampezzo 2026 Winter Games, where an escalated implementation of these systems is foreseen. A central hub in Cortina will be critical as it will simultaneously serve numerous locations, thus demonstrating the versatility and operational eﬃciency of these innovative systems.

OBS envisions a large-scale deployment of virtualized OB systems for the 2028 Los Angeles Olympics. This eﬀort will be optimized through the co-location and centralization of the core hardware. Rapid advancements in COTS technologies, coupled with improved processing capabilities, are bound to open up new possibilities, thus facilitating a more eﬀective and longer-range broadcast experience.

Virtualized OBs make a signiﬁcant contribution to sustainability and cost-eﬀectiveness. By minimizing physical space and optimizing resource

allocation, these systems align with the sustainability goals of the industry at large, positioning virtualized OBs as a forward-thinking solution, especially in terms of scalability.

Technological evolution in the next decade

The next ﬁve to ten years will see a radical change in broadcast technology. As cloud capacity expands, more broadcasting processes will migrate to the public cloud. The current one-to-one relationship between software and hardware, dictated by high processing demands and

vendor specifications, will evolve and this will pave the way for applications from different manufacturers to operate on a single piece of hardware, thus offering greater flexibility in software allocation and hardware usage.

The manufacturers’ operation dashboards, which are currently tied to speciﬁc software, will become independent of the underlying software. Protocols will be aligned, allowing users to choose their preferred operator panels, whether buttonbased or touchscreens, regardless of the connected software.

The horizon for virtualized OBs is a promising one, with numerous improvements in the works. OBS is working closely with vendors to automate and streamline software deployment on available hardware. In the near future, operators will be able to quickly conﬁgure control rooms by selecting various parameters, such as the number of playback channels, mixer inputs, audio DSPs, and other settings, with applications and conﬁgurations automatically deployed in seconds. Customization and template implementation are also areas of focus. OBS is exploring the use

of planning documents and artiﬁcial intelligence to automate resource allocation, thus reducing the need to recreate conﬁgurations for every single event.

Future improvements in cloud technology, such as greater processing power, increased cloud performance, and greater abstraction from the underlying hardware, will further enhance the capabilities of virtualized OBs. These advances promise to deliver more sophisticated, eﬃcient, and ﬂexible broadcast solutions, setting new standards for the industry.

Conclusion

The Olympic virtualized OB project is set to reshape the future of sports broadcasting. With clear strategic goals, a commitment towards technological innovation, and a focus on sustainability and profitability, OBS is paving the way for a new era in broadcasting. As OBS prepares for the upcoming Olympic Games in Milan, Cortina d’Ampezzo and Los Angeles, the potential of virtualized OBs is enormous. This innovative approach promises a future where flexibility, efficiency and cutting-edge technology converge to deliver unparalleled live coverage.

BBC Northern Ireland’s new IP OB truck pioneers SMPTE ST 2110 infrastructure

The BBC Northern Ireland has taken a major leap forward in its broadcast capabilities with the integration of a cutting-edge IPbased outside broadcast truck, designed and delivered by Megahertz. In an exclusive interview, Nigel Smith, Operations Manager at Megahertz, explain to TM Broadcast International’s readers that this next-generation vehicle represents a strategic shift in outside broadcasting technology while maintaining crucial compatibility with existing infrastructure.

There is literally nothing conventional about the IP-based machine that MegaHertz designed, built, and integrated for BBC Northern Ireland. It is the ﬁrst mobile unit to be constructed with a comprehensive SMPTE ST 2110 infrastructure, SDI interfaces, and Arista networking for media transport. At its core, the system employs Sony’s VideoiPath Orchestration and Broadcast Control system; Smith will detail all these advantages and their signiﬁcance along this interview.

During this conversation, the readers will learn that Smith is certain that the industry will continue to move in one direction: toward more compact and ﬂexible IP-based systems that can integrate with cloud production tools. He acknowledges the growing demand for 4K and HDR in sports and live events but asserts that traditional SDI still maintains relevance, particularly in remote production scenarios where 12G solutions continue to play a vital role.

This cutting-edge OB truck not only boosts BBC Northern Ireland’s production capabilities but also serves as an invaluable training ground for staﬀ in IP-based broadcasting. It puts the organization at the forefront of the industry’s technological evolution. Let’s see how it works.

What were the primary speciﬁcations requested by BBC Northern Ireland for this new OB truck?

The request was to provide costs for the design, build, integration and commissioning of a new general purpose outside broadcast solution, including any free issue equipment. The speciﬁcation was for digital and IP-enabled equipment, based on the outlines of:

 Proven 24/7 operational system with high levels of resilience and redundancy

 Provide video over IP infrastructure and be multi-format in nature

 Provide audio over IP, MADI, AES and analog inputs and outputs

 Be modular and scalable to provide ﬂexible working environments

 Provide a roadmap to emerging technologies and processes in content acquisition and production

 Consider industry technology roadmaps to ensure future integration of the design solution with other facilities, both ﬁxed and mobile

 Robust construction for an expected minimum 10-year service life

 Designed for ease of use

 Enable remote production

 Provision for internet services such as Skype and Zoom

 Provide compatibility with legacy infrastructures such as HD-SDI

How was working with Sony whilst developing the OB?

The project required additional software to be developed by the Sony Nevion team, who delivered on time and to our exact speciﬁcations. They were

a pleasure to work with. On the hardware side, we incorporated the MLS mixer, and the Sony team provided excellent commissioning and support services to ensure a seamless integration.

How does this truck diﬀer from traditional SDI-based OB vehicles?

The media ﬂow is all IP SMPTE ST 2110 with SDI interfaces. All the media is transported over Arista networking.

How did you address the interoperability requirements between IP and existing SDI infrastructure?

From the outset, we identiﬁed and tested numerous aspects of the system design’s interoperability through vendor workshops, including those held at Calrec HQ. We also conducted several development workshops at Sony’s oﬃces at Pinewood Studios, west of London.

What speciﬁc Sony Networked Live solutions are integrated into the truck, and why were they chosen?

The VideoiPath Orchestration and Broadcast Control system from Sony-Nevion was selected for its unparalleled ﬂexibility and comprehensive capabilities. What considerations were made to ensure the truck could serve as both a mobile unit and an additional studio gallery?

The rear termination panel oﬀers a multitude of interconnections, providing a vast array of

options for connecting to external premises. The network is designed to oﬀer an extensive number of media interfaces, ensuring seamless connectivity to external production control rooms.

How does the spine-leaf network conﬁguration beneﬁt the truck’s operations?

The chosen spine and leaf topology provides better scalability and ﬂexibility for the future of the BBC, in addition to higher performance. Additional spine switches can and should be added and connected to every leaf, increasing capacity.

What measures were taken to ensure redundancy and reliability in the IP-based system?

We selected the network design and vendor equipment to support SMPTE 2110-07. Redundant Precision Time Protocol (PTP) Grandmaster Clocks from Telestream provide a redundant reference source locked to GPS. Besides, we used dual network paths to guarantee uninterrupted service even if one path fails. SMPTE ST 2022-7 provides seamless protection switching, and our dual network paths ensure that if one path fails, the other can take over without interrupting the service.

How scalable is this OB truck for future technological advancements?

The Arista network equipment has been carefully selected and conﬁgured to support the high data rates required for video and audio streams, providing futureprooﬁng against higher resolutions, including UHD. The Selenio Network Processors from Imagine, along with the Sony Vision Mixer and Cameras, can select UHD as the production format.

How does this IP-based OB truck contribute to BBC Northern Ireland’s

overall transition to IP technology?

The BBC’s live production environment is an invaluable training ground for staﬀ, thanks to the IP ecosystem. It allows us to connect future elements of the broadcast chain at BBC premises in Northern Ireland.

Can you describe the truck’s capabilities for quick turnaround times between productions?

The future of the VideoiPath system will include the ability to save and recall salvos and snapshots of setups with ease, eliminating the need for

engineering teams to set up multiple pieces of equipment.

Besides the BBC Northern Ireland OB truck, what other major projects is Megahertz currently working on or planning for the near future?

We are currently delivering a significant project: a studio and audience viewing space to the University of Bristol. This has been an exciting project delivered into a new building with demanding specifications. The studio is designed as a flexible space for virtual production.

In the smart cinema, we will research the eﬀect on the human of sounds and images. We will use eye tracking cameras and wearable technologies to look at how heart rate and biometrics are aﬀected.

What do you consider to be the most challenging aspect of system integration in today’s rapidly evolving broadcast technology landscape?

Technology has always evolved—and it has always done so rapidly. Since its inception, Megahertz has been at the forefront of new media technologies, devices, and production workﬂows. The key is staying connected to the technology of standards development,

keeping your staﬀ trained, and regularly experiencing real-world productions. Our engineering staﬀ is formed by members of SMPTE, the IET, and other professional bodies.

Looking at your portfolio of projects, which integration do you ﬁnd most satisfying from a technical and creative standpoint, and why?

We excel at helping our clients resolve urgent business issues. We think for ourselves, respond quickly, and work together. This is why our customers keep coming back to us.

What trends do you see emerging in OB truck design and integration that broadcasters and

production companies should be aware of?

The shift to IP-based systems is a game-changer. These scalable and flexible production platforms integrate seamlessly with cloud production tools and contribution services. Trucks must become more compact and flexible so they can be easily reconfigured for different productions. Production units must be able to work with multiple output formats. As always, 4K and HDR must be delivered with the utmost quality on these new platforms, especially for sports and live events. However, SDI still has a place at the remote end, and we are seeing many requests for 12G solutions that are being integrated into the ecosystem.

OBS and the 2024 Paris Olympics: challenges solved

Now that the Paris 2024 Olympic Games are over, it is ﬁtting to analyse their outcome from the points of view of technology and television production. Last April, TM Broadcast presented, in an extensive article, the technical and production approaches that the entity in charge -OBShad set for the staging of the Games in Paris.

By Luis Sanz Audiovisual Consultant

These approaches entailed, in a good number of cases, challenges at diﬀerent levels. Now that the Games are over, we can assure you that practically all of these challenges have been satisfactorily resolved, as we will see below. For the drafting of this article we have relied on the information included in the document “Olympic Games Paris 2024 Media Guide” by

OBS and comments by Isidoro Moreno, Chief Engineer at OBS.

The ﬁrst challenge to overcome was the coverage of the opening ceremony, which, breaking all Olympic standards, had a completely outdoor stage, with a route spanning over 6 km along the Seine River, that used the largest number of cameras (105) and special

equipment for a single event ever. Four custom-made stabilized boats have been prepared, equipped with cameras on gyro-stabilized supports, which made it possible to capture the parade of the athletes’ boats.

Below, we review the fulﬁllment of the goals set by OBS in the staging of the Paris 2024 Olympic Games.

1.

OBS AND THE MHRs (MEDIA RIGHT HOLDERS).

OBS is at the service of the Olympics broadcast rights holders (MRHs). While OBS is responsible for producing the multilateral coverage of the Games, the MRHs customize the programming for their respective audiences.

Thirty-ﬁve MRH organizations reached agreements with the International Olympic Committee and acquired the rights to broadcast the Paris 2024 Olympic Games in their territories; together with their sublicensees, they distributed the Games to 176 countries.

Some services

oﬀered by OBS to MRHs for their customized productions:

› ON-FIELD REPORTER POSITIONS FOR BASKETBALL, FOOTBALL, HOCKEY, VOLLEYBALL

OBS has oﬀered exclusive spaces for MRHs, strategically located on the ﬁeld of play (FOP) level and within the athletes’

tunnel, to comment on live events as they unfolded.

› HALFTIME INTERVIEW POSITIONS FOR BASKETBALL, FOOTBALL, HOCKEY

The MRHs have had a unique opportunity to conduct brief interviews during the half-time period of the matches. These real-time interviews have provided a valuable window into athletes’ or coaches’ strategies, emotions, and perspectives at crucial moments in competitions.

›

INFLUENCER POSITIONS

IN ALL SPORTS

With the introduction of Inﬂuencer Booths at all competition venues, OBS has oﬀered MRHs a unique opportunity to position their social media equipment at the heart of Olympic venues. These strategically selected spaces provide the perfect setting to capture and share the most captivating moments of the Games.

2. ATHLETE MOMENT: ‘THE MOST PUBLIC AND PRIVATE MOMENT’

In the midst of the COVID-19 pandemic, during the Tokyo Olympics, innovative solutions emerged to engage with the supporters of the Games, and OBS had to be particularly creative to ensure that athletes, families and fans could connect with the emotions of Olympic victories despite health restrictions.

The Athlete Moment initiative embodied OBS’s spark of imagination and willpower to enhance the Olympic viewing experience while providing comfort for athletes. The magic of the Athlete Moment occurs at strategically placed stations as athletes leave the ﬁeld of play, oﬀering them the opportunity to interact with their loved ones immediately after the competition. It is rightly described as the “most public and private moment.” Family members or friends who are unable to attend in person due

to distance or physical limitations, can still share in the unique experience of the athlete moment.

In Paris, this opportunity has not been limited to just families and close friends. Athletes have also been able to connect with their sports club and share the excitement while receiving remote support. In Paris, the Athlete Moment has been used for 35 sports and disciplines in 26 venues, and more than 80 percent of athletes have taken part in it. In total, OBS has produced more

than 200 moments at these Games, totalling around 600 hours of recording.

3. MOBILE CONNECTIVITY: THE RULE OF 5G

Since the PyeongChang 2018 Winter Olympics, OBS has explored the potential of 5G networks, pioneering the use of state-of-the-art mobile technology to support broadcast operations at the Olympic Games. On this basis, OBS continued to push the boundaries of

what was possible with 5G technology during Tokyo 2020, and at Beijing 2022 OBS implemented a robust network architecture to broadcast live content via 5G at all competition venues.

Now at Paris 2024, through advanced 5G mobile technology, OBS has oﬀered immersive coverage of events such as the unique Opening Ceremony on the Seine River or the exciting sailing competitions, capturing the magic and spirit of the Olympic Games from every imaginable angle.

Although 5G technology is on the market and can be used, it is very diﬃcult to guarantee broadcast capacity if a private network is not available. In the Games we are talking about about 450,000 people simultaneously sending photos, making videos and posting on social media. Therefore, the network is saturated and, although it was supplemented, there was a danger that at some point during the broadcasting the systems would not be able to be connected. To avoid this and to ensure stable 5G coverage, OBS decided to implement six private 5G networks, which it managed both for its own use and for that of broadcasters.

For the implementation of these networks, OBS relied on the services provided by Orange, which was the technological partner for the Paris 2024 Olympic Games. These networks have ensured high quality and reliable images aas well as secure signal transmission to the IBC, covering key areas along the Seine and enabling signals to be transmitted smoothly.

For the opening ceremony, OBS and Samsung have partnered to bring fans closer to the Olympic Games than ever before.

OBS and Samsung installed more than 200 Galaxy S24 Ultra smartphones on the bow and sides of each of the athletes’ 85 boats. Images captured and shared with Samsung

smartphones provided an intimate view of athletes’ reactions during this historic event.

To ensure suﬃcient bandwidth, the 5G network transmitted signals from the ships to nearby receivers. In addition, more than 10 5G antennas were strategically placed along the river, which established France’s ﬁrst independent 5G network.

And from the Opening Ceremony to the sea: improving sailing coverage

OBS has extended the use of 5G-connected cameras at sailing competitions in Marseille, thus enhancing the viewer experience by placing Samsung mobile phones on the athletes’ boats. OBS and Samsung have implemented in Marseille the same technology that was used for the Opening Ceremony by installing a Galaxy S24 Ultra smartphone on selected competition boats, allowing fans to experience the thrill of the race up close and truly immerse themselves in the action.

In another sport, namely KITESURF (skateboarding of kites driven by the wind hooked to athletes over the waves), athletes wear helmets with mobile phones equipped with panoramic sensors, which broadcast live action images directly from sailing boats. Given the dynamic and often turbulent nature of navigation environments, the mobile phones that were used feature advanced image stabilization technology.

4. FOR THE FIRST TIME EVER IN THE OLYMPICS, AN AUGMENTED REALITY STUDIO

Augmented reality (AR) studios are at the forefront of sports coverage and are redeﬁning the way content is presented and consumed by audiences around the world.

By integrating cuttingedge technologies, these studios deliver immersive, interactive, and visually captivating broadcasts that elevate storytelling and viewer engagement

to new heights. In a revolutionary move for Olympic broadcasting, OBS -in collaboration with INTELhas installed an AR studio in the Olympic Village for the Paris 2024 Olympics. This setup has generated athlete content in AR and enabled MRHs to conduct live remote interviews with athletes. This has ensured that broadcasters can have greater access to athletes, while viewers can experience interviews in a more engaging and intimate way.

The studio has the option of 3D AR for live broadcasts. Athletes have been captured in 3D, allowing their holographic

representations to be broadcast live. Not only has this added depth and realism to the images, but it has also provided multiple angles and perspectives that were until then unattainable.

In addition to live interviews, AR has been used to create short-form content. These short videos are designed to capture 20 to 90 seconds of original content, perfect for sharing on social media platforms and engaging a wider audience. Using AR in these clips adds an extra layer of emotion, making the content more visually appealing and easy to share.

At Paris 2024, OBS unveiled an innovative content delivery platform designed to deliver cutting-edge AR content generated from the Olympic Village’s AR studio - the 3D AR Space Video Library of Olympic Athletes. For the ﬁrst time ever, MRHs have had access to high-deﬁnition 3D AR videos that bring personal stories to life as athletes share their journeys and knowledge about their sports.

What makes this library one of a kind is its continued expansion. Continuous capture of new content, before and during the Games, ensures that MRHs always have access to the most recent and dynamic representations of their favourite athletes. This unprecedented resource not only enriches storytelling and coverage, but also forges a closer connection between fans and the spirit of the Olympic Games.

The new Augmented Reality Studio at the Olympic Village aims to redeﬁne the way viewers experience the Olympic Games,

bringing athletes’ stories to life like never before; and it is not only revolutionizing storytelling, but also empowering the remote operations of MRHs, granting unprecedented access to athletes and their sports.

5. FILM CAMERAS FOR A MORE IMMERSIVE EXPERIENCE

The introduction of ﬁlm cameras in live sports broadcasts is a signiﬁcant change in the way Olympic sports are presented to the audience and is expected to vastly improve storytelling.

By using these camera systems for the ﬁrst time, the 2024 Olympic Games have combined the art of cinema with the excitement of live sports, oﬀering viewers an unprecedented immersive experience.

One of the standout features of ﬁlm cameras is their shallower depth of ﬁeld compared to traditional lenses. This allows for a more pronounced separation between the subject (the athletes) and the background, creating visually striking and focused images against a blurred

background. Film cameras are great for conveying emotions, capturing everything from an athlete’s euphoria after a win to tension during a crucial match point.

OBS has integrated ﬁlm coverage into all sports when it has been relevant from an editorial standpoint. During key moments, such as athletes in the tunnel before the match, scenes of jubilation or anguish, and moments of intense concentration, these cameras have been used to create more intimate shots.

Camera manufacturers have oﬀered OBS cameras well suited to their needs. Thesse are cameras that, when recording in HDR-UHD, have resorted to OBS conversion tables, which are the standard that is already being used all over the world.

The whole production has been in HDR for all the equipment, all the cameras have worked in HDR-UHD, except for some that worked in HDR 1080p due to space or performance limitations, as was the case in some RF cameras, which might have inadequate latencies for broadcasting.

6. AI, THE STAR OF THE GAMES

As AI continues to revolutionize various industries, its impact on sports broadcasting has been nothing short of transformative.

AI applications, which were tested during the 2024 Gangwon Youth Games, have completely changed the way broadcasters broadcast games. In partnership with core partners, OBS has leveraged cutting-edge AI technologies to push the boundaries of Olympic broadcasting.

During the years of OBS’s experimentation with AI, a primary goal has been to ensure that its use is a faithful, unbiased representation of reality. This commitment upholds OBS’s guiding principle of providing neutral coverage and avoiding favoritism towards any country. The AI Olympic Agenda recognizes these concerns, addressing the myriad risks and associated ethical issues, including data privacy, security, accountability, equity, job displacement, and environmental impact.

In Paris, OBS has produced more than 11,000 hours of content, 15 percent more than what was delivered for Tokyo 2020, and AI technology has played a key role in this huge eﬀort and in the ability to make content more tailored to MRHs.

› AUTOMATIC VIDEO PRODUCTION

Managing and curating highlights from the wide range of content produced during the Olympic Games poses a significant challenge. However, advances in AI have opened up new possibilities for efficiently generating key action moments in real-time. OBS, in collaboration with sponsor INTEL, which uses AI trained on the INTEL® Geti platform, has achieved with this technology automatic creation of featured videos in various formats and languages. This capability allows broadcasters to access and customize content, focusing specifically on the highlights of athlets from their own National

Olympic Committee (NOC) athletes, thereby enhancing their ability to deliver customized coverage based on their viewers’ preferences.

The proof of concept of this AI-powered approach was successfully demonstrated at the Youth Winter Olympics in Gangwon 2024, in ice hockey. Building on this experience, Paris 2024 has expanded the scope to 14 sports and disciplines, demonstrating AI’s ability to optimize content production.

› CAPTURING EVERY ANGLE WITH MULTI-CAMERA PLAYBACK SYSTEMS

Paris 2024 has offered full 360-degree views of the athletes’ performances. Thanks to innovative multi-camera playback systems, developed in collaboration with Alibaba -main sponsor- viewers have enjoyed slow-motion replays with freeze frames from multiple angles. Using cloud-based AI and deep learning, these systems have created 3D models and texture mappings from images captured by up to 45 cameras. 17 systems have been implemented in 14 venues and 21 disciplines. The freezeframe effect, applied to live sports production, offers an unprecedented perspective on athletics.

› TRANSFORMING HOURS OF COMMENTARY AND INTERVIEWS INTO AUTOMATED TRANSCRIPTIONS

As with Tokyo 2020 and Beijing 2022, OBS has used AI at Paris 2024 to transcribe live commentary and interviews across all sports and disciplines. By converting audio streams into cloud-based speech and transforming them into text models, publishers can easily access transcripts in the form of captions.

› INNOVATIONS IN TRACKING TECHNOLOGY FOR DYNAMIC SPORTS

In collaboration with title sponsor Omega, OBS has launched an innovative AI app called ‘Athlete and Object Tracking’ at the Paris 2024 Games that has been used in seven disciplines. This innovation addresses a common challenge for spectators: identifying and tracking athletes or objects in dynamic sports environments. For instance, telling between

sailing boats or following rowers from afar can be confusing. New AI technology simpliﬁes this by using advanced pixel detection algorithms to recognize and track objects such as sailboats and athletes. The system creates patterns from the captured images and integrates tracking data, ensuring accurate identiﬁcation and continuous tracking.

› REAL-TIME TRAJECTORY ANALYSIS WITH AI FOR ARCHERY

Real-time trajectory analysis with AI in archery is changing the way television viewers experience the sport.

Through high-speed cameras that meticulously record the trajectory of each arrow from the moment it is released to impact on the target, viewers have been able to witness detailed 3D representations of arrows in ﬂight in real time.

› KNOWLEDGE OF ATHLETIC EXCELLENCE THROUGH INTELLIGENT STROBE ANALYSIS

By using advanced AI, OBS and Omega have introduced strobe analysis at the Paris 2024 Olympic Games, which has enhanced the viewing experience of diving, athletics, and artistic gymnastics, and redeﬁned the viewer’s understanding and appreciation of athletic performance. This technology captures movement, frames it, and applies intelligent background management in near real-time, allowing viewers to study the successive movements and biomechanical positions of athletes at critical points during their performances.

In artistic gymnastics, strobe analysis has been implemented in ﬂoor, horizontal bars, uneven bars and vault competitions. This technology promises to deconstruct each routine into its most elemental parts, oﬀering a detailed examination of every twist, turn and aerial maneuver.

By freezing key moments in a routine with unprecedented clarity and ﬂexibility, AI-powered strobe analysis allows viewers to appreciate the sheer athleticism and artistry that deﬁne Olympic gymnastics. Intelligent strobe analysis integrates seamlessly into live broadcasts. This means that viewers have not only witnessed the development of the sport in real-time, but also gain immediate insight into the nuances of an

athlete’s execution, which enhances the overall viewing experience.

› IMPROVED DATA GRAPHS FOR DIVING

One of the most exciting developments in Paris has been OBS’s ability to use AI and data to give viewers a clearer and more enlightening view of diving.

Omega and OBS are pioneering an AI application called

“Enhanced Data Graphs” specifically for diving. This technology uses AI to detect and display an athlete’s body position in real-time. Detailed metrics such as the height of the diver from the diving board at different stages of the dive, rotation angles and entry into the water have been shown on the screen. By viewing the detailed data displayed along with the dive, the audience can better understand the difficulty and execution of each dive.

› SERVICE REACTION TIME IN TENNIS

As a novelty in Paris, OBS and Omega have introduced the AI app “Service Reaction Time”, which uses intelligent motion detection.

This innovative system detects and analyzes the player’s movements, generating data to accurately measure their reaction time when receiving a service from the other player. By using dedicated cameras, the intelligent motion detection system identiﬁes key elements such as the start of service, shoulder position, rotation and exact moment of reaction based on the trajectory of the ball.

› SPIN DETECTION THROUGH AI FOR TABLE TENNIS

Table tennis, or ping-pong, a sport known for its speed and accuracy, benefits significantly from recent advances in AI technology, particularly in the field of ball spin detection. This innovation provides live

data that has oﬀered both Olympic viewers and commentators information that was previously diﬃcult to measure with traditional methods.

The AI-powered spin detection system that has been used for table tennis employs sophisticated algorithms in combination with high-speed cameras. These cameras capture detailed information about the trajectory and speed of the ball. Through extensive training on large datasets of video footage, the AI algorithm can accurately identify and quantify various types of spin applied to the ball, such as the backspin eﬀect, and establish the speed of ball rotation in a fraction of a second, thus

providing near real-time metrics for broadcasters and viewers alike.

7. CLOUD INNOVATION HAS TEAMED UP WITH SPORT: OBS CLOUD

3.0

The launch of OBS Cloud 3.0, in partnership with global title sponsor Alibaba, has transformed the way we experience the Games.

OBS Cloud 3.0 represents a significant leap forward in broadcast technology, revolutionizing workflows and delivery methods for the Olympic Games. By utilizing cloud capabilities, OBS Cloud 3.0 minimizes the need for extensive equipment and resources, dramatically reduces setup times, and offers unparalleled flexibility.

At the Paris 2024 Games, this cloud-based infrastructure supports several key features, which has ensured a seamless and enhanced viewing experience for audiences around the world.

Uninterrupted content delivery

One of the standout features of OBS Cloud 3.0 is its ability to deliver a wide range of content to MRHs with no interruptions, either through Live Cloud or the Content+ portal.

Live signal delivery has evolved with the introduction of OBS Live Cloud. This remote distribution method has become the primary mode for broadcasters, and two-thirds of the remote services booked are now cloud-based. In Paris 2024, 39 broadcasters have used this service, compafred to just one during the Tokyo Olympics. In Paris, 4,900 clips have been found in the cloud.

From live sessions and interviews with athletes to behind-the-scenes footage and social media

content, OBS Cloud 3.0 has ensured that every piece of content produced by OBS is accessible in real time through Content+.

State-of-the-art replay systems

The ability to analyze and appreciate key moments and performances of athletes is critical in sports broadcasts. OBS Cloud 3.0 supports all multi-camera replay systems used during the Olympic Games, oﬀering slow-motion replays with freeze frames of athletes’ performances.

Access anywhere, anytime

OBS Cloud 3.0 also powers the OBS Olympic Video Player (OVP), which has enabled fans around the world to access and enjoy Olympic content across multiple platforms. On a mobile device, tablet or desktop, OBS Cloud 3.0 ensures that Olympic content is always accessible to the public.

How does OBS Live Cloud work?

OBS Live Cloud enables content delivery over the Internet, rather than through satellites or dedicated telecommunications lines. OBS has four cloud regions: one in Europe, two in Asia, and one in the Americas. Initially, content packets are sent to the cloud region based in Frankfurt via a dedicated telecommunications line. From there, they are distributed to other regions through Alibaba’s Enterprise Network. Once content reaches these regions, broadcasters can access the signal through the Internet.

Real-Time ﬂexibility:

How the VandA Flex oﬀering transforms live coverage

By leveraging the scalability provided by OBS Live Cloud, OBS has now oﬀered MRHs a new option: switchable signal packets. These packets are deﬁned by the relevant MRH and can range from one signal to any number, with no limitations of the VandA (Video and Audio) packet that can be dynamically selected and changed at any time. This capability allows broadcasters to deliver a customized, seamless viewing

experience by choosing the most relevant and engaging content for their audience in real time.

The ability to dynamically switch between multiple signals improves the experience of MRHs allowing them to be much more ﬂexible and eﬃcient in their live broadcasts.

8. INSIDE THE IBC

Behind the coverage of Olympic broadcasts lies the International Broadcast Center (IBC), the backbone of broadcast operations for both OBS and MRHs.

The ﬁgures are startling. Throughout the 19 days of the event, OBS has produced and distributed more than 11,000 hours of content for MRHs. This monumental task is accomplished through meticulous planning, solid technical infrastructure, and innovative solutions.

In Paris 2024, 62 broadcasters, in addition to the Olympics.com and Olympic Channel teams, have established their operations or part of them at the IBC. Operating 24/7, these broadcasters have worked tirelessly to

produce and deliver their Olympic programming to their audiences on a number of platforms.

Ensuring seamless Olympic coverage: How OBS meets broadcaster needs

For three or four years, OBS works closely with broadcasters to meticulously plan every detail and ensure that every aspect of their setup is addressed well in advance. OBS helps them design their IBC spaces (according to local regulations) and prepare their technical

configurations to receive and transmit signals efficiently. In recent games, remote production has risen in importance and a significant part of broadcasting is now managed directly from MRH facilities.

Pioneering eﬃciency

Located in the north of Paris, the Paris Le Bourget Exhibition Centre has become, together with the IBC, a modern broadcasting centre for the Paris 2024 Games. Covering an area of less than 40,000 square metres, the Paris 2024

IBC is the smallest facility in recent Summer Games history, underscoring OBS ‘commitment to optimizing space and operational eﬃciency whenever possible.

For Paris 2024, OBS focused mainly on leveraging existing facilities to minimize costs and broadcast space, while also attempting to maximize operational eﬃciency, with emphasis on sustainability and innovation. The modular panels, used for the partitioning of the spaces and implemented

in Paris, were previously employed at the Beijing 2022 Olympic Winter Games, reﬂecting OBS’ ongoing commitment to sustainability and operational eﬃciency. Notably, these panels are scheduled to be reused at the upcoming Milan Winter Olympics in 2026, with an impressive 85 percent reuse rate.

In addition to rethinking the design and layout of the IBC’s physical infrastructure, OBS has led a transformative evolution in Olympic

broadcasting over the past five years by adopting cloud technologies, moving its broadcast workflows to the cloud, and enabling MRHs to perform remote operations seamlessly. By minimizing reliance on traditional hardware and on-site facilities, OBS significantly reduces the environmental impact of broadcast operations. With cloud technology, broadcasters can access and distribute content from anywhere in the world, freeing themselves from the traditional constraints of on-site operations.

9. CUSTOM OLYMPIC BROADCASTS

In the ever-evolving media landscape, OBS oﬀers a service tailored to MRHs of all sizes. With over 11,000 hours of content and a variety of customization options, OBS has ensured a personalized viewing experience.

OBS oﬀers a bespoke content production and distribution service; this allows MRHs to customize streams for their unique audiences, seamlessly meeting the demands of multiple platforms and the growing need for diverse and fast-delivered content.

Turnkey solutions for each broadcaster.

Olympic Channel News

OBS offers several turnkey solutions designed to be comprehensive and cost-effective. The Olympic Channel News (OCN) offers a variety of Olympic highlights, reports and interviews that can be broadcast as a channel on a 24/7 basis. This service allows broadcasters to add their own logos and

commercials, thus ensuring a customized touch.

Another solution worth of note is the Multi-Channel Distribution Service (MDS), which allows MRHs to broadcast the Olympic Games from their home countries. MDS oﬀers four fully programmed, ready-to-broadcast sports channels and 12 distribution channels with English-language commentary, in addition to the OCN. This service, distributed globally via satellite, allows each MRH to reduce costs by sending fewer resources and staﬀ to the Games, often eliminating the need for a local facility at the host city. For broadcasters interested in digital and mobile platforms, OBS

oﬀers the Olympic Video Player (OVP), a ready-todeploy and fully customized digital application. OVP

oﬀers live streaming and video on demand for each competition session, adapted for both web-based and mobile experiences. It includes an embeddable player and several widgets for websites, as well as a standalone app

for smartphones and tablets. This app includes live and recorded Olympic content, event lists, results, and customizable branding options.

The Olympic Games in the digital age

OBS has developed a range of services for the digital realm, including Content+, a cloud-based solution that oﬀers short content from all the Games, along with all live content produced by OBS. This content can be easily shared across all platforms and is generated by specialized teams covering the behind-thescenes action, competition venues, Olympic Village, etc... OBS also produces quick video clips, captured with smartphones, in portrait format from athlete areas, available to MRHs’ social media teams almost instantly.

10. PRESERVING THE GLORY: ARCHIVE SERVICES

OBS Archive Services are critical to carefully cataloguing and archiving the wide range of content

generated during the Olympic Games. AI technology is poised to dramatically transform the Olympic archiving process, making it more efficient, accurate, and accessible. With AI, content tagging can be automated, search capabilities can be improved, and delivery of custom experiences is made possible. Such progress has allowed MRHs to quickly retrieve specific content from the large volume generated during the Games, improving both access and overall archive efficiency.

11. REINVENTING OB VANS

OBS is a major player in the development of Virtual OBs and its previous studies and experience have been instrumental in the successful use of this particular type of OBs at the Paris Games.

Given the importance and breadth of the topic, this same issue of the maganize features an article dedicated entirely to the Virtual OBs and the Paris 2024 Olympic Games.

12. 8K BROADCAST IN PARIS 2024

In a collaboration with streaming partners NHK from Japan and China Media Group (CMG) from the People’s Republic of China, OBS has raised the viewing experience of the Paris 2024 Olympic Games by once again testing 8K streaming.

OBS, NHK and CMG have co-produced selected Olympic events under the UHD-2-HDR (8K) standard.

The coverage featured High Dynamic Range (HDR) and Wide Colour Gamut (WCG) standards, ensuring images that have been sharper, crisper and more vibrant than ever before. The realism and depth provided by 8K streaming makes viewers feel like they’re in the middle of the action.

8K live signals in 8K have been transmitted to the International Broadcasting Centre (IBC) via the Contribution Network.

These signals have been showcased in a dedicated theatre within the IBC, equipped with a 350-inch HDR-capable display and a 22.2 surround sound system, operated by NHK, which spearheaded the production of live signals in 8K with live coverage of the Opening Ceremony, 3x3 Basketball and Skateboarding Park, with ﬁve production units and up to 10 cameras, including 8K Super Slow-Motion (SSM) cameras. Meanwhile, CMG focused on the track and running ﬁeld at Stade de France, using an 8K OB

Van and support truck to provide impressive live coverage.

8K boasts a resolution of 7680 x 4320 pixels, four times the pixel count of 4K (the current production standard for Olympic broadcasting) and 16 times as much as Full HD. This huge increase in pixel density translates into unparalleled clarity and detail. For sports broadcasting, this means that viewers can see every drop of sweat, every blade of grass, and every intricate movement with amazing accuracy.

13. THE BEAUTY OF PARIS CAPTURED FOR THE WORLD TO SEE

OBS has created a comprehensive and visually stunning network of cameras to capture the grandeur and beauty of the host city. These carefully placed “beauty cameras” are designed to oﬀer global viewers unparalleled views of the French capital’s most iconic landmarks.

Cameras were installed in the following locations: Olympic cauldron, Eiﬀel Tower, Trocadero, Rive Gauche (Notre-Dame), Palace of Versailles, Louvre Museum, bridges over the Seine, Arc de Triomphe, Grand Palais, Pont Alexandre III & Invalides, Place de la Concorde & Champs Elysées, cable system from the Grand Palais to Les Invalides, Stade de France and Aquatics Center, cable system from the Eiﬀel Tower to the Trocadero.

The use of wired cameras at height was limited by the diﬃculty of installing towers and pillars in a city with so many historical monuments.

However, in these Games it has become clear that wired cameras are highly appreciated by broadcasters. A very curious camera was the one that was set up for the opening ceremony, with a cable that ran from the Eiﬀel Tower to the Trocadero, about 700 meters in length. The camera rendered such interesting shots that, once the ceremony was over, and before it was dismantled as planned, the broadcasters massively requested OBS that this camera should continue throughout the Games. Permission was granted by the city authorities and therefore it was available for use in the marathon, racewalking and in road skating. Another spectacular camera was the one that ran from Les Invalides to the Grand Palais for one kilometer.

14. CYBERSECURITY

Cybersecurity is of utmost importance at present. In Paris 2024, OBS has experienced 240 million cyberattacks a day, in the early days of the games, in

an attempt to bring down websites, block broadcasts, etc. They have all been detected and have had zero impact. OBS had set up a cyber-risk analysis system in all its engineering departments. It entailed over a year’s work and everrthing was ready, as has been demonstrated.

15. ALL THE FIGURES ON PRODUCTION OF THE GAMES

HOURS OF CONTENT PRODUCED BY OBS: 11,000+

HOURS OF LIVE SPORTS CONTENT: 3,800+

HOURS OF MULTICLIP FEEDS: 2,300

CAMERAS: 1,000+

CAMERA SYSTEMS: 17

MULTI-CAMERA

PLAYBACK SYSTEMS: 328

MINICAMERAS: 210

ROBOTIC CAMERAS: 51

BOOMS AND CRANES FOR CAMERAS: 23

RAILCAM SYSTEMS: 21

CABLECAM SYSTEMS: Pont Alexander III, Trocadero

MICROPHONES: 3,680

MICROPHONES : 32

PRODUCTION UNITS: 47

PRODUCTION UNITS SUPPORTED: 70

PRODUCTION GALLERIES: 22

VIDEO AND AUDIO BROADCASTS: 72

MULTILATERAL UHD CONTRIBUTION BROADCASTS: 82

HD DISTRIBUTION SOURCES: 81

UHD DISTRIBUTION SOURCES: 3,300+

RADIO STREAMS: 48

STEREO SOURCES: All sports coverage was in immersive and stereo 5.4.1 simultaneously.

INTERNATIONAL CONNECTIVITY: 5.7 Tpbs

INTERNET CAPACITY FOR TRANSMISSION: 32%

OBS WORKFORCE FOR THE GAMES: 8,300+, INCLUDING 1,300+ BTP STUDENTS

84 COUNTRIES REPRESENTED

MEDIA RIGHTS HOLDERS: 176 (including Sublicensees)

What can Qvest offer for improving sport productions?

Interview with Tobias Künkel

Künkel CEO of Qvest Engage

Tobias

What challenges do you foresee in sports broadcasting as viewer habits shift, and how is Qvest addressing them?

The broadcasting industry in general is experiencing fragmentation and rising costs. Over the past 10 years, broadcast margins have signiﬁcantly decreased, dropping from 25% to 12%. This decline is largely due to increased competition from global streaming services. Additionally, audiences are becoming more fragmented across various digital platforms, further complicating the landscape for traditional broadcasters.

Users want to watch sports content across various platforms like mobile devices, desktop computers and smart TVs. Social media and streaming options especially on mobile devices are heavily impacting users‘ video consumption behavior and require a stronger orientation to D2C solutions. People are consuming content throughout the day, for example, watching short clips at the bus stop in the morning and longer live sport content on the couch in the evening. This requires diﬀerent use cases.

Additionally, viewers are seeking personalized content. TikTok has set the benchmark in this regard, putting pressure on broadcasters to ﬁnd solutions for delivering personalized content, which increases the cost burden.

TV network value chains are heavily attacked by big tech and new competitors which are shifting ad revenues to targeting and programmatic platforms. In this rapidly evolving landscape of digital business, companies must stay agile, scalable, and customer-centric to remain competitive.

Gen AI Work ﬂows

With a global team of proven experts in their respective ﬁelds, Qvest provides cutting-edge strategies and solutions needed to stay at the forefront of technological advancements.

Qvest delivers cutting-edge, AI-driven OTT solutions and services that cater to the evolving needs of customers, ensuring they achieve their goals with enhanced eﬃciency, engagement, and personalization.

Qvest unlocks new audience potential by driving more viewer engagement and content consumption through off ering relevant content and improving discoverability. By providing tailored content experiences and enabling personalized transactions, broadcasters can capitalize on their audiences more e ff ectively. Furthermore, leveraging Generative AI o ff ers a cost-eff ective approach to content adaptation, enhancing the overall strategy for reaching new and diverse audiences.

How does Qvest support broadcasters in managing and distributing sports content across multiple platforms with Composable OTT?

Every year, 30 billion minutes of video content are produced, with an annual growth rate of 20%. In the last four years, the amount of processed content has doubled, reflecting the rapid expansion of video production. Qvest offers efficient content processing and accelerating value.

Qvest is committed to deliver superior OTT platforms for TV networks, TV platforms, and VoD providers. Creating innovative TV experiences that captivate audiences across all devices and platforms.

With Composable OTT Qvest answers the question: “How can I build a robust OTT platform that continues to amaze my user base for years to come?” It is a Flexible, Modular Approach to Digital Transformation.

Composable OTT is a modular, cloud-native architectural approach that allows you to build a highly customizable and scalable streaming platform. By integrating best-of-breed components (such as video players, search engines, and recommendation systems), businesses can swiftly adapt to new trends, launch features faster, and deliver personalized user experiences – all without vendor lock-in.

The result is a dynamic and adaptable system tailored to speciﬁc needs, ensuring rapid development, seamless updates, and superior performance. Our team is dedicated to implementing this innovative platform, enhancing user engagement, and driving revenue growth for our clients.

Composable OTT utilizes independent, interchangeable components that can be seamlessly integrated, swapped, or upgraded as needed.

This approach allows businesses to customize their technology stack precisely to their speciﬁc needs, fostering innovation and agility.

Start today, lean and agile. Embrace composable commerce to drive agility, innovation, and scalability. This long-term approach ensures long-term competitiveness and growth. Gradual implementation is key to success in composable OTT.

Can you elaborate on the AI-powered features of TVXRAY

and how they enhance the live sports viewing experience and what advancements has Qvest made in personalization technology for sports content delivery?

The top four customer needs in today’s content landscape are quality, relevance, brevity, and immersive experiences. Viewers expect highquality content that is both engaging and relevant to their interests. Additionally, shorter content is increasingly in demand for quick consumption, while

immersive experiences provide a deeper, more interactive way to engage with the content.

TVXRAY is the all-screen OTT upgrade which brings significant business value. 85% more engagement and 35% longer consumptions lead to additional opportunities for monetization through advertising and upselling. Furthermore, the solution attracts a digital-first audience by offering a Gen Z-oriented experience, which caters to the preferences of younger viewers.

Composable OTT

TVXRAY oﬀers a range of advanced features designed to enhance the personalized sports viewing experience. The platform delivers synchronized live sports data directly on the ﬁrst screen, enhancing real-time engagement.

AI-powered personalized highlights and alerts ensure viewers never miss key moments, based on userdeﬁned personal relevance settings. With the promise of never missing highlights across the entire platform, the interactive timeline features auto-clips and orientation that enhance user engagement. The timeline structure is tailored to adapt to each sport,

providing a play-by-play highlight list for seamless navigation. Additionally, the personalized experience is enriched by AI-powered auto-highlight alerts, ensuring viewers receive notiﬁcations about key moments that matter most to them.

Additionally, the in-player electronic program guide (EPG) enables seamless channel switching and catch-up on any highlight, providing a more dynamic and tailored viewing experience.

TVXRAY SaaS solution

oﬀers seamless integration through its SDK, which easily integrates into OTT platforms. It provides

engagement overlays for Connected TVs, set-top boxes (STBs), mobile devices, and web platforms, enhancing the user experience across multiple devices.

In what ways is Qvest helping broadcasters monetize their sports content more eﬀectively?

Increasing engagement directly correlates with an increase in Average Revenue Per User (ARPU). By enhancing viewer interaction and involvement with content, businesses can foster a more loyal audience, ultimately driving higher revenue per user.

Header picture

With TVXRAY shopping and transaction opportunities are significant, with 25% of consumers making unplanned purchases driven by display affirmation. In the realm of advertising and sponsoring, TV advertising boasts a remarkably high return on investment, averaging 4.9 for every €1 spent. Additionally, a striking 84% of sports viewers express interest in placing bets directly on their TVs while watching a game. Furthermore, crossselling and upselling are effective strategies, as 23% of connected TV (CTV) viewers report making a purchase after seeing an advertisement.

Building new revenue streams through enhanced customer engagement can unlock innovative monetization opportunities, fostering deeper relationships with users while driving sustainable business growth.

With Qvest, broadcasters can build new forms of entertainment and audience engagement. Qvest provides added value

by helping broadcasters create innovative content experiences, while also generating new revenue streams to drive growth and sustainability.

What GenAI solutions does Qvest oﬀer for eﬃcient media asset management and content automation in sports broadcasting?

Qvests AI-powered managed content workﬂow services automate, edit, modify, and process content assets with GenAI to lower costs by 90% and increase revenue streams by expanding reach and attracting more viewers by 10%+.

To enhance recommendation and discovery, we need a strong metadata strategy that includes a consistent taxonomy to reduce human errors, such as spelling mistakes. Consolidating tags from various sources, like genres and descriptions, will create a uniﬁed framework. Additionally, leveraging audio-to-text analysis for keywords

and synopses will enrich our metadata, improving content discoverability and user experience.

Enhancing Personalization in Video Content

Personalization is crucial for engaging audiences in today’s digital landscape. By analyzing videos through descriptive tags like story and mood, as well as technical elements like cutting sequences and sound, we can better understand our content.

Introducing affinity tagging for target groups will allow us to tailor offerings more effectively, while adjusting synopses and preview images to match these affinities will enhance user engagement. Prioritizing these strategies will foster deeper connections with our audience and strengthen our brand.

Qvest oﬀers solutions in the ﬁeld of:

Highlight clips: Boost social media engagement and enhance zapping experiences.

Content editing: Ensure accessibility compliance to expand audience and improve satisfaction.

Localization: Create translated content to increase viewership with additional users, including live.

Metadata extraction: Enhance personalization use cases.

Multilanguage and dialect support is crucial for unlocking the potential of new target groups. For instance, in Germany, oﬀering four additional languages can expand our reach by 9%, equating to

approximately 6.2 million users who are currently underserved. This growth opportunity highlights the importance of catering to populations in households that prefer languages other than the primary national language. By embracing linguistic diversity, we can engage with these communities more eﬀectively and enhance our overall user experience.

This comprehensive solution, oﬀered as a managed service, streamlines the entire process, making it both scalable and eﬃcient while

significantly reducing the need for manual effort. By delivering culturally resonant content, you can enhance viewer engagement and satisfaction, leading to higher retention rates and a broader audience base. Highlight clips can be quickly delivered to social media to create engaging zapping experiences. Ensuring accessibility not only meets regulatory requirements but also broadens your audience. Automated metadata extraction supports increased use cases and enhances your personalization efforts.

TVXRAY

Embracing innovation is key to unlocking the potential of GenAI and developing the necessary skills to fully leverage its capabilities. To stay competitive, businesses must move faster than the traditional “fast follower” approach, as GenAI is rapidly transforming industries. In the sports media and entertainment sector, the market is projected to grow 7.3 times over the next 3 to 5 years, with AI playing a critical role in driving this growth and shaping the future of the industry.

Qvest collaborates with globally renowned companies to accelerate the adoption of Generative AI in the media and entertainment industry.

How does TV Buddy enhance viewer engagement during live sports events?

Qvests TV Buddy creates a new dimension of fan interaction: A messenger interface powered by Conversational AI serves as the all-knowing buddy sitting in front of each user’s mobile or stationary device, instantly answering any individual

questions about live events or shows. Attention remains where it should be: on the own platform.

This is how TV Buddy works for users.

The TV Buddy is more than just a knowledge database; it’s an entirely new entertainment tool that provides concise and entertaining answers to individual questions. It even learns about each user through simultaneous analysis of user data, continually adapting its responses and suggestions to their preferences.

TV Buddy

At the same time, TV Buddy can cater to each user’s knowledge level individually. The following forms of dialog are possible:

Written via chat

Through audio via voice message – if desired, TV Buddy can even respond in the AI-generated voice of the host or favorite athlete (voice cloning)

TV Buddy is ﬂuent in the 50 most widely spoken languages

Furthermore, TV Buddy can adopt various biographical traits and characteristics to make the dialog even more lively and entertaining. This allows fans to decide whether they want to engage with the grumpy hardcore fan, the strategist and analyst, or a football expert who not only provides sports knowledge but also delivers information about player spouses, ages and number of children, or the latest gossip.

All these features make TV Buddy an innovative combination of a knowledge database

and entertainment. And it ensures that the friendship between the learning AI and users grows because TV Buddy turns sports events into a truly personal experience.

Can you share any new development still cooking that will be available in the near future?

Qvest creates solutions for future-ready OTT platforms for innovative TV experiences that captivate audiences across all devices, and platforms. Take advantage of transformation by focusing on rapid innovation and reducing time-to-market. Emphasize personalization and enhancing the customer experience to meet individual needs more eﬀectively. Additionally, prioritize scalability and global expansion to ensure long-term growth and success in an increasingly interconnected market.

Choose Your Ideal Composable OTT Solution: From Starter to Enterprise

Whether you’re just starting out or are a leader in the OTT space, our Composable OTT solutions are tailored to your unique needs. From a small/starter package leveraging key partnerships to an XL/Enterprise solution featuring AI-augmented workflows and high-end data stacks, we offer scalable, flexible options that grow with your business. Explore our range of setups designed to deliver seamless, personalized user experiences across

all devices, with the agility to adapt and innovate as your platform evolves.

Unlocking the potential of new audiences requires driving higher viewer engagement and content consumption through relevant, easily discoverable content. By offering tailored content experiences and personalized transactions, businesses can capitalize on these audiences more effectively. Leveraging Generative AI enables cost-effective content adaptation, allowing for

the creation of personalized and scalable experiences that resonate with diverse audience segments.

Qvest oﬀers added value by providing innovative solutions that enable broadcasters to generate new revenue streams and strengthen viewer engagement.

Focusing on Gen AI Workﬂows with nextgeneration AI technologies and engagement tools to create personalized and interactive experiences.

Using generative AI, we adapt content to ensure it resonates with all viewers across the broadcast area.

TVXRAY – new clients we are already integrating with as well as new Leagues. In the last month, we worked on stability and quality of the product.

Our focus on innovation is clear through: CostEﬀective Scalability: Future-proof solutions that expand across all CTV devices.

TVXRAY

Integrating SDI and IP into an Eﬃcient Broadcast Production System

by Gisbert Hochguertel, Ikegami Europe

Then along came IP (Internet Protocol).

IP in fact predated SDI by 15 years but took a long time to reach the speed and capacity needed to transport digital video. IP was first proposed in 1974 by Vinton Cerf and Bob Kahn, credited as being ‘the fathers of the internet’. It achieves over practically unlimited distances what SDI was designed to accomplish within a specific location. Broadcasters were quick to recognise the speed and efficiency of IP as a way to send digital video, audio and related metadata files between connected locations,

typically completed programme ﬁles for playout be a remote transmission service provider.

IP-connected live video links eventually allowed broadcast content creators to stream live video, audio and related data relatively quickly back to base from practically any point on the planet. This allowed programme production companies to achieve substantial savings by replacing large control vehicles with much smaller trucks. Live video and audio content is then transferred via IP to the host broadcaster’s headquarters

a separately located production site. This style of operation, the remote integration model (REMI), became especially useful as a Covid-19 workaround, reducing the number of production staﬀ needing to travel long distances.

IPX-100 SDI to ST 2110 expansion adaptor

Introduced at IBC 2024 in Amsterdam, the Ikegami IPX-100 (Figure 1) is a full-featured IP-oriented mini base station designed to bridge between conventional broadcast and the wider world of SMPTE ST 2110 IP infrastructure.

Figure 1 Ikegami IPX-100 SDI to ST 2110 expansion adaptor.

Compatible with all cameras in the Ikegami XE and HD series, the IPX-100 oﬀers the core features of our established BSX-100 base station plus optional ST 2110 Media-over-IP support.

Figure 2 shows an example workﬂ ow with multiple cameras covering an event from various locations at a sports arena. Each camera carries SDI video and related data via up to 3.5 km of SMPTE hybrid ﬁ bre cable to an IPX-100 SDI to ST

2110 IP interface. The resultant IP data feeds an IP network switch which feeds in turn to a vision mixer at TV station for live transmission, or edited for later playout.

At just 2U high by half 19-inch rack width, the IPX-100 is one third smaller in size than the BSX-100. ST 2110-22 (JPEG-XS) encoding will be introduced as a software option, an important feature allowing the data rate to adapt to the available IP bandwidth.

Figure 2 An example workﬂow with multiple cameras covering an event from a sports arena.

Equipped to operate as a fully self-contained unit, the IPX-100 includes an integral test signal generator which allows system conﬁguration before cameras or other sources are connected.

ST 2110 connectivity can be set up independently by IT specialists prior to a production. On the day of the event, the cameras can then be connected easily to the IPX-100 by a conventional SMPTE-hybrid ﬁbre cable over a distance of up to 3.5 km. Figure 3 shows an IPX-100 local-monitoring conﬁguration. The camera head is powered by the

IPX-100 so there is no operational diﬀerence for the cameraman compared with using a conventional ﬁbre-cabled camera.

The IPX-100 converts the broadcast signals to ST 2110 compliant signals and, as such, serves as a gateway to IP. The IPX-100 is also available with an optional 3G/HD-SDI input/output to serve as an external SDI-to-IP or IP-toSDI converter. An HD-SDI video monitoring output allows direct connection of a ﬁeld monitor to the IPX-100 to control the related video signals on location.

Figure 3 An IPX-100 local-monitoring conﬁguration.

Remote PTZF control

Connecting an Ikegami OCP-300 or OCP-500 panel via Ethernet to the IPX100 enables easy pan/tilt/ zoom/focus control of a remote camera even if an IP connection to the wider ST 2110 infrastructure is not yet established. A PC running Ikegami XE Web View software can simultaneously be

coupled to the network hub, enabling system supervision via an optional Protocol Gateway.

Automated setup can be performed using an NMOS IS-04/IS-05 feed from the IPX-100 to a local or remote central automation system (Figure 4).

Video formats supported as standard by the IPX-100 include UHD

(2160p59.94/50), HD (1080p59.94/50, 1080i 59.94/50, and HD-HFR in 1080i/p (2x/3x/4x speed) and 720p59.94/50). Other supported standards include SMPTE ST 2022-7 redundancy, ST2110-10, ST 2110-20/-21/-22/-30/-40 and ST 2059-1/2 PTP synchronisation and a wide range of control protocols such as NMOS IS-04/-IS05.

Figure 4 Automated setup can be performed using an NMOS IS-04/IS-05 feed from the IPX-100 to a local or remote central automation system.

The IPX-100 can optionally output JPEG-XS signal streaming data (future software option) at selectable rates of high (1/6), medium (1/8), low (1/16) and minimum (1/32). Other options include a 3D-LUT output for HD simulcasting (compatible with 33 x 33 x 33 or 65 x 65 x 65 .cube ﬁ les created using DaVinci

Resolve), HD to 4K-UHD upscaling or a data trunk output.

UHL-X40 ultra-compact UHD camera and CCU-X40 camera control unit

Introduced at NAB New York 2024, the Ikegami UHL-X40 (Figure 5) is a box-style 4K-UHD camera with a small CCU. Its high output quality allows the UHL-X40 to operate seamlessIy alongside

Ikegami´s latest UNICAM-XE camera series. The UHL-X40 camera head measures just 120 x 128 x 89 mm in size and weighs only 1.1 kg. It is powered locally with 12 volts DC (just 28 watts) and connects to its compact CCU-X40 camera control unit via up to 10 km of duplex single-mode ﬁ bre carrying uncompressed RGB raw pixel data. Included with the ﬁ bre link is a 1G Ethernet trunk for external data such as pan/tilt/zoom control.

Figure 5 lkegami UHL-X40 4K-UHD HDR camera showing ultra-compact head and separate CCU-X40 camera control unit.

The UHL-X40 incorporates three high quality 2/3-inch UHD sensors with a global shutter pixel architecture which captures natural images even when shooting LED screens, clear of geometric distortion during still frame replay. The global shutter imagers also minimise artifacts when televising ﬂ ash/strobe-illuminated stage environments. Camera sensitivity is F11 in UHD 50p and signalto-noise ratio is 62 dB in HD. HDR and BT.2020 colour space support are included as standard.

The UHL-X40 feature set also includes optical vignetting correction for F-stop ramping zoom lens compensation, minimising dark corners and overall loss of light when the lens is in telephoto mode and the iris is open, plus HD cutout and image reversal functions. An optional tally light can be attached to the upper front of the camera head.

The CCU-X40 camera control unit is also very compact (145 x 145 x 173 mm) and light in weight

(only 2.6 kg). It can output two formats simultaneously, such as 2160p UHD and 1080i or 1080p HD. Output signals are selectable between the following resolutions and scanning rates:

> 3840 x 2160 at 59.94p and 50p

> 1920 x 1080 at 59.94p and 50p

> 1920 x 1080 at 59.94i and 50i

> 1280 x 720 at 59.94p and 50p

> 1920 x 1080 at 29.97psF and 25psF

A supplementary HD monitor output from the CCU includes information such as menu, characters and markers. Focus assist can be enabled on this output, providing view ﬁ nder video to a remotely located robotics operator.

The UHL-X40 can be operated from any Ikegami OCP and MCP physical or virtual control panel. At NAB NY, Ikegami used the new OCP-500 (Figure 6)

which was introduced at the April 2024 NAB Show in Las Vegas. This compact but full function operation control panel includes joystick control of iris and master black, plus a colour touchscreen with rotary

encoders for accessing the full range of operating and setup controls.

Summary

Any camera in the Ikegami UNICAM-XE and UNICAM-HD

range can be connected to the IP-oriented mini base station via the IPX-100 ST 2110 expansion adaptor. This oﬀers many advantages over traditional SDI-based production, particularly in REMI

workﬂows where the need exists to assist a camera team in capturing images from a wide range of viewing positions.

www.ikegami.de

Figure 6 Perspective and top-down images of the lkegami OCP-500 ultra-compact operation control panel plus larger-scale view of the connection ports.

Ultimatte 12 Chroma Key for everyone from Blackmagic Design

Considering the large number of mixers and software applications that nowadays enable carrying out Chroma Key eﬀects with good results, do speciﬁc hardware devices make sense just to get Chromas?

The unequivocal answer is a wholehearted YES!

We will see the reasons for this blunt statement in a moment, but let's do a very quick review of some concepts before getting into the subject, as is customary in our contents.

The Chroma Key process, or digital composition as we also know it today, is the

Text: Luis Pavía

eﬀect by which we replace a generally solid background colour in an image with diﬀerent images from another source.

This is the modern version of what was done in the past in ﬁlmmaking by means of masks painted on the celluloid itself before

making a multiple exposure of the ﬁlm negative. The electronic version of this same process has existed on television for decades.

The most iconic instance at the outset would be placing the map with the weather forecasts behind the weather person.

Those inlays were made with equipment that was the predecessor of the device we are analyzing here. And the evolution of that technology is what today has allowed us to have plenty of virtual studios and many other similar applications that, in addition, are within the reach of all pockets.

Ultimatte is the range of graphic processors for digital composition from the well-known manufacturer

Blackmagic Design, oﬀering today the best results thanks to years of research and progress it has devoted to the development of this technology. It also has a suﬃciently wide range to satisfactorily cover any technical or economic need.

For our laboratory we have tested the Ultimatte 12 4K model, although we must anticipate that most of our results will be extrapolated to the rest of the models within the range, since

they all share the same processing system and management software. Their diﬀerences lie basically in their diﬀerent work resolutions and connections available, but we will deal with that in due course.

Ultimatte is the range of graphic processors for digital composition from the well-known manufacturer

Blackmagic Design

Add-xl

As we delve into this, we will also discover the reasons that give a purpose to these items of equipment and the situations in which their replacement by a mixer function or a software applicable becomes unfeasible. These features, by the way, are oﬀered by the same manufacturer in many of its ATEM mixers, as well as in its software platforms such as DaVinci Resolve or Fusion.

Starting with the ﬁrst and most important of them, its real-time operation makes it irreplaceable for any of the live applications. Its ability to pick up a camera signal and immediately output the

signal with the background replaced, instantly placing our protagonists in any live scenario and with this level of quality, is somewhat unreachable for the capabilities of the software.

It is true that mixers and some applications are able to perform this process in real time, and we have it available even in free videoconferencing applications, but none of them are able to reach the level of accuracy in integration and control oﬀered by Ultimatte hardware. The software will always need to start from recorded content and perform a rendering

process before we can have our content with the completed embedding. And mixers lack the versatility in inputs and outputs needed to deliver top-notch performance.

This equipment is designed to be seamlessly integrated into the workﬂow of live production studios, being physically housed in a 1U chassis of standard 19” rack size. A feature that obviously does not limit the total viability of use in all types of environments, both with signals from a live show and also with previously recorded content.

With a wide variety of inputs and outputs that we will now describe, all video cameras use the SDI 12G format for HD and UHD signals in the unit we had the opportunity to analyze. Each of the said inputs and outputs has a speciﬁc function and is designed to maximize the versatility of use and the best possible integration of our protagonists in the environment we have decided.

As we already mentioned, this is another of the diﬀerential features when compared to softwareonly solutions, resulting the essential variety of connections also in sophisticated sets with camera movement systems linked to image generators in order to maintain visual coherence in virtual studio sets, virtual reality (VR) and augmented reality (AR) environments.

This functionality is critical to make the correct handling of moving masks in real time, in parallel to

the processing of the inlay. But not only for these cases, but for all others in which the handling of masks and layers needs adjustments that are not covered by the options available in the mixers.

Approaching its functions and capabilities, which we will see go far beyond mere embedding, let's review the diﬀerent elements involved in the graphic integration process in order to better understand all the functionalities of the software at a later point.

For our chroma key embedding, we will basically manage 3 layers: the foreground (FG), corresponding to the layer that will contain protagonists on

a solid color background, background (BG), which is the layer with the images that will be behind the protagonists, and a third layer of graphics, which will contain the images that we want to overlay on all the previous composition. It must be understood that the protagonists do not always have to be people, but any element that we want to introduce into the background environment.

One of the features that really entails a higher level of quality in the Ultimatte 12 computers is the number of additional functions available for each of these layers, both at the hardware and software levels, as well as the precision in the control of their respective results.

Typical examples would be a person on a virtual stage presenting the lineup of a sports team or the results of an election in graphics that are shown as if ﬂoating in the air, graphics that can even be semi-transparent. Or the same person on a set with an augmented reality image to show next to them any object, such as an airplane or a boat, with which they could even interact.

Focusing on foreground issues, we have two valuable additional masking

functions, with their corresponding physical connections: one to remove areas that should not appear and another to maintain areas that should always appear, in both cases regardless of their color. In this way, it will be extremely easy to remove the footing of a spotlight or the ends of the background that enter the take, as long as they do not interfere with the protagonist, as well as keep any object on stage, even if it contains the same color as the background we are removing.

It is noteworthy that the determination of these areas, of these masks, is carried out by means of a black and white image, which can come either from a jpg image ﬁle – stored internally for the simplest and most static situations –or by using an SDI signal in the corresponding input, in which case any necessary animation or movement can be also contemplated.

For the background, we have a similar masking function in its corresponding input that, in this case, will

Shark-Attack-360

allow us to always keep any object on this layer in the foreground. In this way, it is possible to simulate that the protagonists move behind physically non-existent objects, such as curtains or columns, without the need to add additional layers in composition. As for the foreground, this mask can come from either an internal static ﬁle or an external SDI signal via its dedicated connection.

Finally, for the graphics layer we also have our own mask input, whose purpose is to

precisely control the level of transparency of each pixel in this overlay layer that will always be ahead of the composition previously made between foreground and background. Like all the previous ones, it also has the dual capability of being managed from an internal ﬁle or from the corresponding SDI input.

Continuing with the connectors - all on the backthe Ultimatte 12 4K model

oﬀers us loop outputs for each of the input signals, so that any of them can be

chained to other equipment in the installation. In the same way, the Reference and Monitor signals have their own looping inputs and outputs.

In this regard, the loop output of the monitor will be especially interesting in installations with several Ultimatte 12s, since it allows us to connect up to 8 computers in cascade or daisy chain on a single monitor, selecting from the software which of the outputs you want to monitor at any time independently of the rest of the Ultimattes within the same chain.

It also comes standard with a gigabit Ethernet port, a USB Type-C connector for direct connection to a computer, a DB9 port for managing GPIO signals, and dual power supplies with their respective independent AC inputs for connection to diﬀerent power grids. This is an important feature in critical continuity environments.

As for the front panel, it is simple and eﬃcient. We have a small screen that oﬀers us basic operating information, as well as menu options.

The "Menu" button opens and closes the access, we navigate through a knob that features pleasant feel, select options when we press it and set parameters with the "set" button to avoid operating errors. The "Lock" button allows us to disable the operation of the entire button panel also as a security measure. The other three buttons allow us to quickly switch between various presets. We would really only need this menu to conﬁgure the network parameters, because once we have the control software installed on our computer and linked to our Ultimatte 12, the entire management will always be done from the computer, making it practically unnecessary to use this access to the on-screen menu.

But if we don't have it installed yet we may be tempted to view results immediately, simply by selecting the colour to be removed, connecting camera signals for the foreground, another for the background, and a monitor we will already

have a first output. We may also have to select the autocomposition option, but keep in mind that this first approach is still far from the excellent result we are going to achieve by setting the correct configuration with the necessary adjustments.

The software is free and always available and up-todate through Blackmagic Design's support page, just as it does for virtually all of its equipment. And through this software is how we can extract the full potential of our equipment.

In fact, and to facilitate such control in dedicated installations, Blackmagic oﬀers an independent device, Ultimatte Smart Remote, which -through its own OS- runs the same software but oﬀers us

control of all the functions through the touch panel and with buttons and physical selectors that signiﬁcantly facilitate the operation compared to the traditional one by means of a mere mouse.

Note for the curious who still don't know: the choice of green or blue background color in chroma keys is due to the fact that this technique is traditionally done on people and these are the basic colours that are more in contrast from skin tones. This is in addition to having twice as many pixels dedicated to the green channel in the sensors with Bayer pattern. Regardless of the above, Ultimatte allows you to select any of the three basic colors, green, blue or red, to compose your chroma keys.

The software is free and always available and up-to-date through Blackmagic Design's support page, just as it does for virtually all of its equipment. And through this software is how we can extract the full potential of our equipment.

We would say that all the magic lies in the software, all the potential of the graphics processors that these computers feature, with enormous chromatic spaces and processing at a subpixel level. But there is one aspect that we must not overlook for the sake of rigour: lighting is of paramount importance. And this means proper illumination of the subject and as uniform and shadow-free lighting as possible for the background. We will not dwell on it, since lighting itself is a subject that could take up several volumes, but we have to take into consideration that -no matter how much capacity our system has- we must

provide it to a minimum standard so as to achieve the excellent results it bring us.

As for the software, once installed, we simply need to link it to the Ultimatte device using the assigned IP address; That's all. From that moment on, a panel is displayed that at ﬁrst glance may seem a bit intimidating, but it is actually quite easy to understand in no time.

There are two side panels where we ﬁ nd the control knobs for the di ﬀ erent parameters, whose purpose will change depending on whether some sections or others are selected. They are the same dials that have their physical equivalent in the Smart Remote device.

The central block is divided into 5 panels, always visible from side to side one on top of the other from top to bottom.

At the top we ﬁnd the menu to select the main sections: "Matte" for the processing of the main mask. "Foreground", "Background" and "Layer" for the controls related to their respective layers. "Matte In" for the controls concerning the additional inputs. And "Settings" for general settings.

The options in the following block, "Groups", change depending on the main section selected, giving us access to up to 10 diﬀerent parameters to control the keying of that layer more accurately.

Matte-xl

Each time we select a group, the number of potentiometers available in the side blocks and their function will change according to the setting related to the selected parameter. The same goes for the options available in the following block, "Functions", oﬀering us up to 6 additional controls.

The next block contains a small button panel to select the device that we will have in the monitor if there is more than one in the same chain, as well as Active Preset indications, reference source and the colour set up for the chroma.

Finally, the panel at the bottom allows us to select which signal we want to send to the monitor, making it much easier to adjust parameters. It allows us to view individually not only the diﬀerent inputs, but also the individual or

combined masks, so it is much easier to ﬁne-tune all the settings.

The truth is that the immense amount of adjustments is intimidating. But it is also true that with very few actions based on automatic analysis, very good results are achieved. Raising the level and tweaking only a few of them, extraordinary results can be achieved. And by using them all -although this requires skill, craft and experiencewe have exhaustive control of each and every one of the subtle nuances that allow us to get results at levels of absolute excellence.

This equipment thus shows not only its great power, but also its adaptability to very diﬀerent work environments, making it easier for our initial investment to endure over time as we improve our skills, without limiting ourselves in any case.

And it's time to get into operation. There are different techniques and methods to establish the best workflow when using chroma keys. And each of them will provide better results in different situations. Only the professionalism and experience of each individual will provide the criteria to make a distinction and get it right.

Some techniques advocate lighting the foreground content ﬁrst and then the background, while others say it's best to do it the other way around. In short, the goal must always remain achieving clean and balanced lighting between both planes. As uniform as possible for the background and, for the foreground, the lighting that is most coherent with the lighting of the virtual image that we are going to use, also taking care to avoid reﬂection of

the chroma background on our protagonists.

In this regard, Ultimatte's software oﬀers us on the one hand structured and organized elements in a way that makes it easier to follow logical work sequences and, on the other, certain approximations and automatisms that will make our lives much easier.

Thus, we already mentioned a first menu on the device's screen that would make a first automatic composition by pressing a single button, the result of which will be correct but one that can be improved. The next automation -also very simple and with significantly better results at the touch of just two buttons- is in the "Screen Capture" and "Screen Correct" functions of the first "Matte Process" menu.

But the right workﬂow requires a couple more small steps, though. We start by setting up the scene, placing the camera in its ﬁnal position, lighting and removing everything that is not our chroma key background before pressing "Screen Capture".

Next, we assemble all the physical elements that are going be shown on the take, including protagonists, and press "Screen Correct". By this time, our chroma key will have gained a very significant quality and cleanliness as compared to the first automation, with minimal effort. But if we change the camera's position, we have to repeat the whole process.

To complete the content a little more, we leave you with a procedure that will lead us to excellent results with very little eﬀort, but we

In this regard, Ultimatte's software offers us on the one hand structured and organized elements in a way that makes it easier to follow logical work sequences and, on the other, certain approximations and automatisms that will make our lives much easier.

must always keep in mind two very important ideas. One, the more subtle the adjustments, the better the ﬁnal result. And two, that each of the settings can have an impact on the behaviour of other settings, so we will have to tweak as we progress.

In the vein of ongoing reﬁning, the next adjustment will be to debug the composition with the "Clean Up" and "Veil" parameters by adjusting the density of the mask ("Matte Density") and the reﬂection levels ("Black Gloss"). Then, we would proceed with the "Foreground" settings such as "Black/White Level", "Contrast" and "Saturation", "Flares" and ambient light control ("Ambiances"). Finishing, if necessary, with adjustments to the "Background" and the graphics layer if we are using it ("Layer").

This is a mere ﬁrst-steps guide for the uninitiated. Those with more experience will have their methodology reﬁned and will already know that a good chroma key requires not only sensitivity, but also involves a certain degree of art.

As for applications, the best known being those already mentioned for virtual studios, these are often somewhat static. It's very easy to simulate a virtual set where you can include a screen showing other images or videos, but those scenarios don't support perspective shifts for camera tracking.

Making this leap requires the involvement of other systems that are capable of changing the perspective of the background image in real time in a way that is consistent with the physical movement of the camera. In this case, you must work in combination with platforms such as Orad or Unreal Engine. This is one of those cases where standalone mask inputs allow us to do work that would otherwise turn out to be impossible.

It is true that the current trend is shifting towards working with gigantic

screens that project the background behind the main action, making the chroma key a disposable item, but it is also true that the budget and equipment necessary to work on this type of productions are far above the requirement to work with these Ultimatte 12s.

In fact, and thanks to the range of equipment available, we have options to suit all types of budgets.

In that sense, and as by way of reference before putting an end to this article, we will brieﬂy mention the rest of the range.

Above the equipment in our review is the Ultimatte 12 8K model, with the same features but in 8K resolution. Its size grows to 2 rack units to accommodate all connectors, quadruple 12G SDI jacks per channel.

Just below, the Ultimatte 12 HD features decreased processing resolution, forfeits the dual power supply and a portion of the inputs, because its size is reduced to half width in 1U of rack.

And the smallest, simplest and most aﬀordable of all, Ultimatte 12 HD Mini, simpliﬁes connectors to the maximum, with inputs for the back and front in

HDMI, as well as one of the program outputs. It is even smaller in width, mere 1/3 in a 1U rack.

As we mentioned from the beginning, they all share software and processing technology, so there will be one solution tailored to each need and budget.

We consider that the 4K model that we have had the

opportunity to test is the most balanced for the most frequent needs, both current and foreseeable in the medium term. But, in short, if our intention is to get in the world of virtual production, thanks to this equipment we have the entire horizon at our ﬁngertips, whatever our needs.

Let’s go for it!