Box to Box


Will Strauss# TV-Bay Magazine
Read ezine online
by Will Strauss
Issue 90 - June 2014

Specially designed flyaway OB units are being deployed at the World Cup in Brazil to help bring enhanced coverage of the beautiful game to countries around the world. By Will Strauss.

Like many journalists I like to put things in boxes, metaphorically speaking, Regardless of how unwise it may be, it helps to establish trends and marks out the lay of this green and pleasant broadcasting land. Well, this month is no different. Except this time I get to write about putting things in boxes on a literal and physical level.

It cannot have escaped your notice that we are on the cusp of the 2014 FIFA football World Cup in Brazil.

As in previous years the host broadcaster for this event is HBS who, in partnership with Sony, are providing right holders with coverage of 64 matches across 12 venues from the northern city of Boa Vista to Porto Alegre in the South.

Between them they are working with premium partners like EVS, Tektronix, Imagine Communications (nee Harris), Riedel, Lawo and Sennheiser to pull together a broadcasting infrastructure capable of such a feat, one that will include a central IBC in Rio and identical production set-ups at each football ground.

While plans for 2014 are similar to those that were in place at 2010, there are some interesting innovations. Audio over IP is being used for some commentary systems, loudness control is improved thanks to standards introduced in the intervening years and an aerial helicopter camera is being introduced for the first time alongside a pair of new reverse-angle 6m super slo-mo replay cameras.

And, of course, theres the 4k element. I wont go into that in detail here as I am sure youll read all about it elsewhere. Suffice to say, Sony is responsible for the 4K coverage and will use its own equipment to provide live and recorded ultra high resolution content for what are being referred to as its outlets, namely broadcast, Fan Fests and Sony retailers promoting 4K ready-screens. The 12 4K cameras will be embedded in the HBS production set-up.

But enough about pixels. The big change is the boxes. Which is where I get to my point.

Within a usual football match schedule, across a full season for example, OB trucks are called upon to cover matches. The World Cup is different.

Following the 2006 tournament in Germany, HBS has moved to a flyaway, fixed installation set-up, something that was first used in South Africa four years ago.

According to HBS, this is the best option given the scale of the operation. And theyre not kidding when they say scale. Not only does 3,000 miles separate the furthest apart host cities in Brazil but each match requires between 34 and 37 multilateral cameras, taking the total camera count to above 40 at each venue. And for that you really need to have a platform that is bigger than an OB van can provide, hence the flyaway option.

OB firms are still involved, with Sony having sub-contracted AMP, CTV, Outside Broadcast, Presteigne Charter and Studio Berlin to provide technical crew and cameras. But the rest of the outside broadcast operation will not arrive on wheels but in boxes. Really, really big boxes.

World cup in numbers...

A key component of this will be what they call the ERCs (Equipment Room Containers). First trialed during the Confederations Cup in Brazil last year, these plug and play innovations are replacing the Equipment Rooms that were used in South Africa.

Referred to as the beating heart of onsite broadcast operations the Equipment Rooms connected to all operational rooms (Multifeeds Production, Technical Operations Centre, Audio Control Room etc). In 2010 they were assembled, tested and troubleshot onsite over a period of three weeks at each venue. The process is said to have gone very smoothly, but took a long time. Using ERCs instead will change that.

The ERCs are remotely controlled freestanding units independent of the HBS House, which comprises most of the Broadcast Compound at each venue. They feature all the electronics, main cores and base units as well as thousands of cables.
Having been pre-built and pre-tested in Munich by systems integrator sonoVTS they have now been shipped to Brazil where, once on site, the cables will simply be unrolled and plugged in to the equipment in the various operational rooms. From that point, the venue is essentially active. Twelve ERCs, one for each venue, have been built for Brazil 2014.

I spoke to Christian Gobbel, HBS senior engineering manager last month. As the man who designed the ERCs, he described them thus:

Its an OB van without wheels and workspaces. All the electronics, main cores and base units are located in that room. Cables are rolled back into the container and the operational rooms are more or less only remote controls of the pieces of equipment in there. The beauty of the ERC is that everything has been pre-configured and pre-tested so when they get on site, the crew position the container, roll out the cables in the rooms, put up the monitor galleries and visions mixers and audio mixers, plug it in, switch it on and it works.

Yes, it is just a box. But what an important one.

The World Cup is the biggest sport event in the world, he adds. You have to thoroughly look at all aspects. The great thing is being able to test the equipment and the interfacing between all the components well ahead of the event. Its a huge step forward for us and a great relief in the busy days before the opening match.
Thanks to the ERCs, when Brazil and Croatia kick off in that opening match in Sao Paulo on 12 June, some of the players might, to use football parlance, go down in the box but the equipment being used by HBS and Sony certainly wont.


Tags: iss090 | FIFA World Cup | Brazil | HBS | ERC | Will Strauss#
Contributing Author Will Strauss#

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Intercom over AES67 with V-Series IRIS from Clear-Com at IBC 2018

    Intercom over AES67 with V-Series IRIS from Clear-Com at IBC 2018

  • Glensound show Beatrice the AES67 Network audio intercom beltpack at IBC 2018

    Glensound show Beatrice the AES67 Network audio intercom beltpack at IBC 2018

  • RTS Intercoms show Roameo and Omneo intercom and keypanels at BVE 2018

    RTS Intercoms show Roameo and Omneo intercom and keypanels at BVE 2018

  • Telos Infinity IP Broadcast Intercom from Telos Alliance shown at BVE 2018

    Telos Infinity IP Broadcast Intercom from Telos Alliance shown at BVE 2018

  • Pliant Technologies CrewComm Wireless Intercom at IBC 2017

    Pliant Technologies CrewComm Wireless Intercom at IBC 2017

  • Glensound Dante Intercom System at IBC 2017

    Glensound Dante Intercom System at IBC 2017

  • Hypercore Mini from Core SWX at NAB 2017

    Hypercore Mini from Core SWX at NAB 2017

  • 32 Keypanel Intercoms from Clearcom at NAB 2017

    32 Keypanel Intercoms from Clearcom at NAB 2017

  • RTS Intercoms at BVE 2016

    RTS Intercoms at BVE 2016

  • CLEARCOM IOS INTERCOM at NAB 2015

    CLEARCOM IOS INTERCOM at NAB 2015

  • Perception at NAB 2014

    Perception at NAB 2014

  • ChyronHego PowerClips at NAB 2014

    ChyronHego PowerClips at NAB 2014

  • Mobile comms from Clear-Com with LQV4 software and Agent-IC shown at BVE 2018

    Mobile comms from Clear-Com with LQV4 software and Agent-IC shown at BVE 2018

  • PARADISO Lite commentary unit from Glensound at BVE 2018

    PARADISO Lite commentary unit from Glensound at BVE 2018

  • Pliant Technologies at IBC 2016

    Pliant Technologies at IBC 2016

  • Clear-Com LinQ at IBC 2014

    Clear-Com LinQ at IBC 2014

  • Clear-Com FreeSpeak II at IBC 2014

    Clear-Com FreeSpeak II at IBC 2014

  • Studio Technologies at NAB 2014

    Studio Technologies at NAB 2014

  • ChyronHego at NAB 2014

    ChyronHego at NAB 2014

  • Clear-Com ProGrid at NAB 2014

    Clear-Com ProGrid at NAB 2014

  • Clear-Com HelixNet Partyline at NAB 2014

    Clear-Com HelixNet Partyline at NAB 2014

  • Guntermann and Drunck at NAB 2014

    Guntermann and Drunck at NAB 2014

  • RTS Omneo at BVE 2014

    RTS Omneo at BVE 2014

  • Trilogy on BroadcastShow LIVE at IBC 2013

    Trilogy on BroadcastShow LIVE at IBC 2013

  • Riedel Communications on BroadcastShow LIVE at IBC 2013

    Riedel Communications on BroadcastShow LIVE at IBC 2013

  • Clear-Com: Tempest at NAB 2013

    Clear-Com: Tempest at NAB 2013

  • Studio Technologies at NAB 2012

    Studio Technologies at NAB 2012

  • Clear-Com Eclipse at NAB 2012

    Clear-Com Eclipse at NAB 2012

  • Clear-Com HelixNet Partyline at NAB 2012

    Clear-Com HelixNet Partyline at NAB 2012

  • Riedel at BVE North 2011

    Riedel at BVE North 2011

  • Riedel at IBC2011

    Riedel at IBC2011

  • Clear-Com at IBC2011

    Clear-Com at IBC2011


Related Shows
  • RTS Intercoms at BVE

    RTS Intercoms at BVE


Articles
Using Wireless Transmission
Jeremy Benning Wireless acquisition is a staple of live sports, entertainment and reality shows where cable free capture permits shots not previously possible, for health and safety reasons, and gives the camera-operator greater artistic licence to roam. The same is increasingly true of narrative drama where cinematographers are keen to work handheld or Steadicam where that helps tell the story. Any equipment which frees their movement and time by being lighter, easier to use and reliable in performance is going to tick a lot of boxes.
Tags: iss134 | wireless | 4k | transmission | Jeremy Benning
Contributing Author Jeremy Benning Click to read or download PDF
An Epiphany Moment
Peter Savage 2 I had been negotiating the sale of my company and had reached the really hard end of the bargain. We were close to agreeing the final sum after a lot of too-much-give-and-not-enough-take negotiation. The solicitors were calling me, keen for a deal. It had come down to one sticking point and, in my hard ball “I am the Wolf of Wall Street” guise, I wasn’t going to let it go. It would make a value difference of 1.5% on the total outcome. Not much, you might think, but I had already nearly fallen out with the solicitors over their fees and I was giving my advisors an extremely hard time because the corporate adviser couldn’t see how I had already given more than an inch and the buyers were taking more than a mile. I was not going to let them win.
Tags: iss134 | azule | finance | Peter Savage 2
Contributing Author Peter Savage 2 Click to read or download PDF
Accelerated Workflows with eGPU
Mike Griggs From the UK’s National Trust to magazine publishers to manufacturers, digital content creator Mike Griggs has a wide and varied portfolio of clients for whom he creates 3D art, motion graphics and multimedia exhibits. A typical day might involve sampling birdsong near Virginia Woolf’s country estate or creating 3D animations for VR. To keep on top of these demands, Griggs wanted to take the full power of the GPU computing revolution on the road.
Tags: iss134 | sonnet | egpu | amd | post production | editing | Mike Griggs
Contributing Author Mike Griggs Click to read or download PDF
University and Mental Health
Rhiannon Jenkins University study and mental health has been in the media quite a bit over the last year, and I’m sure there are many people wondering what is going on? The issues are complex, and I suppose the focus of employability off the back of a degree course has raised the stress stakes for a lot of young people. I’m only qualified to talk about this from my perspective, and my story began when I joined a course not knowing I had a mental health condition.
Tags: iss134 | portsmouth uni | mental health | student | tvfutures | Rhiannon Jenkins
Contributing Author Rhiannon Jenkins Click to read or download PDF
Protecting the continuity of transmission
Lorna Garrett Your viewers love you. You consistently bring them their preferred channels 24/7. They’ve come to rely on you for their viewing pleasure. They never miss cheering on their beloved sports teams. They’re the envy of their friends as they watch live concerts of their favourite bands. They gather the family around and catch up on their must-see shows. They don’t have a bad word to say about you.
Tags: iss134 | garland | gpl | streaming | artel | disaster recovery | Lorna Garrett
Contributing Author Lorna Garrett Click to read or download PDF