Television

FIFA World Cup coverage promises to be a game-changer

http://www.indiantelevision.com/sites/drupal7.indiantelevision.co.in/files/styles/smartcrop_800x800/public/images/tv-images/2014/05/24/fifa_logo.jpg?itok=phxQw9vn

NEW DELHI: Unlike the 3D that dominated the best viewing of the last FIFA World Cup, the second biggest tournament on the global sporting calendar after the Olympics, the entire media is concentrating on 4K and even more superior technologies.

Bedeviled by significant infrastructure problems that have reached all the way from the airports that will receive the international arrivals to the stadia of the 12 host cities that will stage the games, hamstrung by the communications problems caused by an overloaded telecoms system and marred by protest and unrest, broadcasters the world over have learnt the painful lessons that modern Brazil is at best an awkward place to operate in.

With the tournament just around the corner (12 June- 13 July in Brazil), the consensus is that host broadcaster HBS has done its best in ensuring diversity connections and implementing an impressively redundant form of production that has seen 12 identical, containerised production centres built in Germany and shipped over to Brazil.

Moving equipment around the country, especially after the group stages are over, was always going to be a major problem, and it is one that HBS has decided it does not want to be involved with. All of which is part of the reason why EVS loaded 234 servers on a container ship bound for Rio sometime in March. But it is what some of those servers are doing when they are installed that is probably the real story from Brazil 2014.

Apart from the Ultra HD effort, it is remote production that this year’s World Cup really moves the goalposts. Not just simply an add-on, remote production lies at the heart of the HBS production workflow in Brazil, according to a report by the National Association of Broadcasters in the United States.

16 EVS XT3 servers are to be installed at each venue and, alongside them, two of the company’s C-Cast Agents which represent the sharp end of its connected content production architecture.

C-Cast Contribution will be used to link the IBC and the 12 venues across the country together, live streams passing through the two C-Cast Agents at each venue where they will then be transcoded and transferred into an Amazon Cloud-based infrastructure. About 45 seconds later at the most they will then hit the C-Cast Central servers, which will then govern the material’s distribution on the network. This means passing the footage on to the Adobe Premier-based HBS production teams (there are 36 Premier suites in the IBC) and other rights holders at the IBC and further afield too. The servers automatically generate proxy files, allowing the various remote teams to access content at low resolutions, create clips and then import a high bandwidth version.

“I think in total there are 75 media rights licenses distributed for the IBC in Rio, and in addition there are offsite production teams that have web browse access from their own home cities, and there are 83 licenses distributed so far for that,” comments EVS SVP Marketing Nicolas Bourdon.

There have probably been more distributed, as this is far more than just a plain vanilla distribution of the nine feeds from each venue round the world. Mirroring the way the C-Cast second screen app works, the remote teams can add content — including camera angles and highlights — that have not been made part of the world feed into their coverage, switching it from a gallery as if they were in a truck outside the stadium.

With this new solution, the number of broadcasters deciding to ‘dial-in’ from their home territories into the FIFA MAX server in Rio makes it feel like a genuine game-changer.

FIFA’s estimates are that around 50 million people will be downloading its official application, which is being white labelled and has been picked up by more than 100 rights holders so far.

“Broadcasters can have a white label app that they can put their own logo on,” explains Bourdon. “Viewers can then access different types of content, up to six live camera angles, clips and key actions from a game, statistics, and a full language translation of all the logs and captions.”

C-Cast Central manages availability of material via APIs, and while the white label smartphone and tablet apps, not to mention a customisable web player (based around deltatre’s Diva system), are proving popular, many of the major broadcasters around the world are folding the multiple C-Cast streams into their own fully-featured apps. Add these figures to FIFA’s 50 million and you undoubtedly have the biggest outing yet for the technology.

Content will reside on an Amazon server farm controlled by EVS from where it will be passed to deltatre’s platform (deltatre is also the main data provider from the tournament). From there it will be either be encoded for delivery using Elemental technology over the Akamai CDN or, if the stream is to be integrated into a broadcaster’s own efforts and a third-party CDN, via the Microsoft Azure cloud platform.

Expect to see some interesting new features crop up too. HBS will be using the as yet unreleased C-Cast 3.0 out in Brazil, with the idea that this will then be productised into C-Cast v3.1 in time for IBC.

Four years ago, Sony was limbering up to broadcast 25 matches from South Africa in stereo 3D. Measured against that, the 4K effort for Brazil 2014 seems relatively minor: a mere three matches being captured in the format, all from Rio’s Maracan? Stadium.

However, the significance is the same: the company is using the World Cup to seed demand for the format that it hopes will break through to the mass market by the time of the following Olympics. Maybe this time it will work.

4K trials — indeed trials of pretty much all of the World Cup workflow — were held at the Confederations Cup last summer and though the Telegenic truck that was shipped from the UK for them isn’t available this summer, the crew will still be sourced from the British OB provider, albeit working in a 4K-capable Globocast truck.

The matches will probably represent the most comprehensive coverage afforded a 4K production yet, with 12 Sony F55 cameras slated for each game and a number of the speciality cameras from the standard HD broadcast also being upconverted for the occasion.

It seems that the final will now be actually broadcast in 4K format as opposed to being simply beamed into cinemas or destined for a souvenir film for online distribution. Names are not being discussed as yet, but it seems that there is a queue of interested broadcasters and, according to Sony, “More than one will broadcast the feed.”

Latest Reads

http://www.indiantelevision.com/sites/drupal7.indiantelevision.co.in/files/styles/340x340/public/images/tv-images/2017/06/28/vivo-pro1.jpg?itok=id1zitEk
PKL: Telugu Titans to take on Tamil Thalaivas, play-offs in Mumbai & Chennai

Mashal Sports, the pioneers of Vivo Pro Kabaddi, and Star Sports, India's leading sports broadcaster, began the countdown to the much-anticipated Season 5 of the league, with the unveiling of the new format and fixtures for the season. Fans can catch all the action on the Star Sports network and...

Television TV Channels Sports
http://www.indiantelevision.com/sites/drupal7.indiantelevision.co.in/files/styles/340x340/public/images/tv-images/2017/06/28/matheww.jpg?itok=GfhBRjwI
Next Animation Studio appoints Duntemann as chief creative officer

Next Animation Studio (NAS) has announced that Matthew Duntemann has joined the company as Chief Creative Officer. Based at NAS headquarters in Taipei, Duntemann will report directly to the CEO Indra Suharjono.

Television TV Channels People
http://www.indiantelevision.com/sites/drupal7.indiantelevision.co.in/files/styles/340x340/public/images/tv-images/2017/06/28/andrews.jpg?itok=PE4BTugT
Keshet hires kids content veteran Nicola Andrews to lead acquisitions & sales

Keshet International (KI) has appointed Nicola Andrews, a kid’s content expert with more than 20 years’ experience, to lead its recently announced kid’s division. Nicola joins KI as Senior Sales & Commercial Director, Kids, based in London, reporting to Keren Shahar, COO KI and President of...

Television TV Channels Kids
http://www.indiantelevision.com/sites/drupal7.indiantelevision.co.in/files/styles/340x340/public/images/tv-images/2017/06/28/Ruper%20Murdoch.jpg?itok=Uzqo3f6G
Ireland clears Fox' proposed acquisition of Sky

MUMBAI: 21st Century Fox has welcomed the decision by the Republic of Ireland’s Minister for Communications, Climate Action and Environment to clear the company’s acquisition of the outstanding shares of Sky that the company does not already own, ruling that the proposed transaction will not...

Television TV Channels News Broadcasting
http://www.indiantelevision.com/sites/drupal7.indiantelevision.co.in/files/styles/340x340/public/images/tv-images/2017/06/28/Kevin_Vaz-Alok_Jain_0.jpg?itok=CjSsH2Pw
Movies HD in Star Maa's refreshed identity with new programmes

MUMBAI: Star Maa, the Telugu GEC of Star Network, is rechristening its network channels under the Star Maa umbrella. On 25 June, the brands Maa Music, Maa Gold and Maa Movies were respectively rebranded as Star Maa Music, Star Maa Gold & Star Maa Movies. Apart from the refreshed movies channel...

Television TV Channels Regional
http://www.indiantelevision.com/sites/drupal7.indiantelevision.co.in/files/styles/340x340/public/images/tv-images/2017/06/28/Amit_Goenka.jpg?itok=IOIDgXBL
ZEEL to globally strengthen its 'largest Indian entertainment' brand identity, says Amit Goenka

Internet is significantly changing the way we consume entertainment -- AR and VR are becoming commonplace. Over 60% of the world’s population is ‘digitally connected’ today. Content companies and advertisers are swiftly adapting to the new reality and redefining their strategies to stay on the top...

Television TV Channels GECs
http://www.indiantelevision.com/sites/drupal7.indiantelevision.co.in/files/styles/340x340/public/images/tv-images/2017/06/28/Emal_Pasarly_0.jpg?itok=1R1FR0DZ
BBC Pashto adds arts to its TV offer

MUMBAI: The BBC Pashto flagship TV programme, BBC Naray Da Wakht (BBC World Right Now), is launching a weekly arts supplement. From 1 July 2017, the weekly slot, Hunary Shabay (Art Moments), will focus on art and literary news from Afghanistan, Pakistan and from around the world. BBC Pashto is...

Television TV Channels News Broadcasting
http://www.indiantelevision.com/sites/drupal7.indiantelevision.co.in/files/styles/340x340/public/images/tv-images/2017/06/27/vashindra.jpg?itok=T_mJi8bA
Zee News' Vasindra Mishra joins Network18

Vasindra Mishra has joined Network18 as a consulting editor.

Television TV Channels News Broadcasting
http://www.indiantelevision.com/sites/drupal7.indiantelevision.co.in/files/styles/340x340/public/images/tv-images/2017/06/27/VIVO.jpg?itok=XQXuhE9b
Vivo wins IPL title rights for Rs 21.9 bn

Vivo has won the bid for IPL for 2018-2022 for Rs 21.9 billion -- which is a 554 per cent hike over the previous contract. Oppo, with Rs 14.3 bn-bid, Motorola, Xaiomi, and Intex were the other bidders.

Television TV Channels Sports

Latest News

Load More

Sign up for our Newsletter

subscribe for latest stories