Live sports and event production


Brian Eldredge TV-Bay Magazine
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There is an overwhelming amount of content being recorded by sports broadcasters and digital services teams. A broadcaster might capture hundreds of hours of content over the course of, say, a golf tournament, yet only a fraction of that content makes it to air. But what about the rest of it, such as interviews, scenic shots, promos, and behind-the-scenes footage? Too often, priceless moments that don't make it into the broadcast get left on the cutting room floor because they're either not preserved or the right people can't access them, or both.
On top of that, the way people consume sports media has evolved. Rather than spending hours watching an entire round of golf or a baseball game on TV, viewers would rather catch the highlights through a digital platform, such as an app, an OTT service, or social media. Fans want a brief glimpse into the score and status of the event while using video highlights to gain context. This change in viewing habits places new importance on highlights production and real-time data.
Compounding the problem is that sports broadcasters and rights holders often run duplicate workflows in parallel. For example, a sports-governing body's communications, digital, and video services teams all might be after the same piece of content to use for different purposes. Communications wants to capture and upload a clip to its FTP site for an end user, while the digital team grabs the same content and posts it to social media, and video services saves it to a file-hosting portal for delivering to the host broadcaster. When a single video gets replicated in several places, and no one is communicating or using the same workflow, obvious inefficiencies result.

All those factors lead to one conclusion: Host broadcasters need a way to consolidate workflows and centralize access to content, so all stakeholders can find and use it whenever they need to for whatever purpose. The solution captures every moment - even ones that don't make it into the linear broadcast - so video services teams can create highlights and distribute them quickly, while at the same time archiving them for ease of use later.

One option is a live event service that combines a real-time access and distribution cloud platform and a services team well versed in archiving, workflow customization, and highlights production during live events. Such a service would make it much easier for rights holders to capture, amplify, and monetize the most compelling moments in sports and live events.

Capture Once, Access for Many

The idea behind a live event service boils down to the simple concepts of centralization and "capture once, access for many." By capturing the content once; storing it in a central, easily accessible location; and making it available to any stakeholder who needs it, media organizations eliminate inefficiencies and make better use of their content - during and after the event.

The Three Pillars of a Live Event Solution

1. Archive Preservation

Key to a live event service is archiving. As the event is being filmed, every moment from every source is ingested into a cloud-based digital asset management (DAM). From there the content is tagged and saved in the cloud-native DAM, where it will be searchable and shareable for future generations to discover.

Behind the scenes, live event technology within a DAM ecosystem, integrates into the host broadcaster's on-site network as far upstream as possible to gain access to all camera streams. Integrating the technology at the source means the content can be captured one time and used for many purposes by many people.

2. Cloud Access and Distribution

Once the content has been ingested and archived in the cloud, it is available immediately for dynamic viewing, production, and distribution using cloud-based acceleration. The idea is to give permissioned access to the people who need it - such as internal stakeholders, broadcast partners, and sponsors - with the aim of getting content out of the compound as quickly as possible during the event (and making it easier to use later).

Cloud access and distribution happens through a centralized, web-based portal tied to the cloud-native archive - serving as a central access point through which users can acquire, enhance, and distribute media gleaned from the live event. The portal allows any authorized users to interact with the content in real time as if they were sitting in the broadcast compound, even though they might be thousands of miles away.

3. Highlights Production

A true live event service provides an on-site team that handles all content capture, upload, management, metadata, and user support during the event.

Considering the significance of highlights in today's world of bite-sized digital viewing, highlights production is an important part of what the on-site team does. The team curates the video as it is coming in and works closely with on-site producers to make insightful and informed editorial and production decisions about how to use it. Once complete, the highlights are delivered to the client for syndication through the client's website, app, or other branded platform or digital channels.

Real-time scoring data is a critical component of highlights production. At sports events, especially golf or tennis tournaments, there are so many shots or plays occurring simultaneously that it's extremely difficult to stay on top of everything in real time. A live event service powered by a DAM platform, uses a standardized metadata schema that integrates with scoring-data providers to allow robust, timeline-searchable metadata on site and in the archive. That means both the on-site team and remote operators can rely on instant scoring data to zero in on the moments that resonate with viewers, and a single producer can track, manage, and make better decisions more quickly in a fast-paced live-production environment.

The Big Benefit

A live event service taps into a broadcast network, gathers content in real time, and accelerates that content into the cloud, where it becomes accessible through the web by anyone with permission. From there, content is transcoded into multiple formats that various end users can accept. Meanwhile, on-site teams create highlights that meet fans where they are ¦ on digital platforms.

In using such a service, broadcasters and sports rights holders can expand the reach and lifecycle of their content, get it to the right people at the right time more quickly and efficiently, and ultimately open more opportunities for monetization and fan engagement.


Tags: iss126 | wazee | dam | cloud | Brian Eldredge
Submitted by Brian Eldredge Read this article in the tv-bay digital magazine
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Submitted by KitPlus Read this article in the tv-bay digital magazine
Leveraging licensed broadcast spectrum assets
John Payne There are several different approaches to transmitting live and file-based content from the field to the studio. Traditional microwave Electronic News Gathering (ENG) provides high bandwidth, high-quality transmission with low latency. Using the secure, dedicated BAS spectrum keeps control in a broadcasters hands. The past few years have seen a shift in video technology toward acceptance, and adoption of IP-based links into ENG workflows.
Tags: iss128 | eng | bas | imt | vislink | imt-vislink | John Payne
Submitted by John Payne Read this article in the tv-bay digital magazine
Looking back at IBC 2017
Duncan Payne IBC feels like a bit of a dim and damp memory now, but a few over-riding memories do remain however, not least of which was the Arri party to celebrate its 100th year. It was like an old-school manufacturers IBC/NAB party, back when manufacturers had marketing budgets, and lots of sales people. It got IBC off to a great start; thanks Arri.
Tags: iss128 | ibc | arri | red | panasonic | adamantean | sony | eva | nokia | ozo | Duncan Payne
Submitted by Duncan Payne Read this article in the tv-bay digital magazine
Growing a news agency from the inside out
Lorna Garrett Growing a new media outlet in todays highly competitive market requires taking a strong look at the new ways media is being consumed. Many of the most successful recent startups are community focused, often finding a niche market that wants to be engaged in a way they perceive themselves. Al-Araby TV is a London-based news and current affairs satellite channel that has set out to do just that for Arab citizens.
Tags: iss128 | gpl | garland | al-araby | teracue | x-player | amino | aminet | icue | Lorna Garrett
Submitted by Lorna Garrett Read this article in the tv-bay digital magazine
Supporting broadcast quality control
Alan Wheable With the ever-increasing number of program channels and range of different program distribution formats, the process of ensuring program quality has become a complex one for contribution/capture, production, post production, server ingest and content distribution.
Tags: iss128 | omnitek | wcg | hdr | test and measurement | smpte 2110 | smpte 2022-6 | Alan Wheable
Submitted by Alan Wheable Read this article in the tv-bay digital magazine
The importance of storage
Jonathan Smith In recent years, viewing habits have shifted dramatically; online video is becoming the preferred option for the younger generation. But its not just millennials who are cutting the cord with broadcasters and traditional platforms increasing numbers of people from all age groups are abandoning cable and instead enjoying TV online. In response to this growing trend, platforms such as Netflix and BBC iPlayer are rushing to invest in fresh digital content, in a bid to satisfy their ever-increasing audiences.
Tags: iss127 | limelight networks | cdn | pops | Jonathan Smith
Submitted by Jonathan Smith Read this article in the tv-bay digital magazine
A 360 degree view of fashion
Michael Parsons Im often asked, what do you do when the students arent around?, and the simple answer is, as it would be from any university technical support member of staff, I get involved in passion projects and these help me to stay up-to-date with the kit and keep my hand-in with video filmmaking.
Tags: iss127 | 360 | vr | portsmouth | university | nokia | ozo | pxw-fs7 | avid media composer | Michael Parsons
Submitted by Michael Parsons Read this article in the tv-bay digital magazine
Plan to be smart at IBC
Peter Savage 2 While chatting with a good friend last week, he told me he was full of foreboding about the coming IBC. It needs no introduction: this conference/exhibition is the largest gathering of broadcast professionals in Europe, and the second largest in the world, and everyone in our world knows about it. Ill give you some statistics later but, for now, lets look at why my friend was dreading it.
Tags: iss127 | azule | finance | ibc | planning | Peter Savage 2
Submitted by Peter Savage 2 Read this article in the tv-bay digital magazine
The party is not over until the video is online
Paul Scurrell When we were introduced to the team behind Sensation dance events in Amsterdam they had one big question for Timecode Systems: could our SyncBac VR wireless sync and control solution theoretically make it possible for a high quality, professional 360-degree video of a live dance music event to be edited in the time it takes the DJ to fly to his or her next gig? Intrigued by what our solution could help them achieve, in July they invited us to film at one of their iconic dance music events. Billed as The Final it was a sell-out farewell party to mark the last Sensation event in Amsterdam.
Tags: iss127 | syncbac | vr | 360-degree | pro7 | 360rize | gopro | dj | timecode systems | Paul Scurrell
Submitted by Paul Scurrell Read this article in the tv-bay digital magazine
TV Futures - Running around for clients
Joseph Long My second year at the University of Portsmouth seemingly began in a familiar fashion to the previous year. We sat in a large lecture theatre and listened intently to our course leader, who gave an outline as to what students on the BSc Television and Broadcasting course should be expect experience-wise from the up-and-coming year....
Tags: iss127 | ccitv | tvfutres | training | portsmouth | university | Joseph Long
Submitted by Joseph Long Read this article in the tv-bay digital magazine
Boradcast playout on-site and in the cloud
Don Ash Broadcasters come in many shapes and sizes, each with their own unique set of ambitions and their own preferred route to success. Some are happy to innovate, particularly if it increases staff efficiency or reduces operating costs. Others prefer to let their competitors do the innovating and then follow whatever path appears to work best. Thus the industry has advanced from dedicated hardware to more flexible and cost-efficient software running on 'enterprise-platform' comput-ers, and more recently to virtual devices.
Tags: iss127 | playbox | playout | cloud | edgebox | airbox | neo | cloudair | Don Ash
Submitted by Don Ash Read this article in the tv-bay digital magazine
Back to Basics with IP Video Production
Michael Waidson Its difficult to attend an industry tradeshow or read a publication without seeing discussions about the technological changes that will impact the broadcast market in upcoming years. These changes include 4K/UHDTV, High Dynamic Range and High Frame Rate video but the transition to an all IP video workflow is regarded as a disruptive technology change that will demand new skill sets and infrastructure.
Tags: iss127 | tek | tektronix | ip | test | Michael Waidson
Submitted by Michael Waidson Read this article in the tv-bay digital magazine
Power linking just got better
Yasushi Wada Sometimes batteries can be interesting and this year with IDX is one of those years with not only improvements in the V-Lock range there are significant changes within the 7.2volt area. Firstly and for the very first time in Europe the updated Power Link battery system the IPL range will be shown on the IDX stand at IBC
Tags: iss127 | idx | battery | power | v-lock | vl-2000s | ipl-150 | ipl-95 | Yasushi Wada
Submitted by Yasushi Wada Read this article in the tv-bay digital magazine
The ITTP - A Review
Graham Reed Five years ago a group of practitioners who were concerned about the poor training provision and a lack of common skills standards in the broadcast industry formed the ITTP. Since then there have been many meetings with senior industry figures and representatives from training organisations and educational establishments.
Tags: iss127 | ittp | training | bbc | bskyb | soho editors | skills | cirrolite | bksts | skillset | Graham Reed
Submitted by Graham Reed Read this article in the tv-bay digital magazine
Supporting creativity and driving better workflows
Rod Aaron Gammons For decades videographers and filmmakers have been pushing the boundaries when it comes to creativity all with the aim of delivering a visually spectacular and engaging experience to viewers. For the most part they rely on artistic vision and innate skill, but over the last few years technology has been playing more of a role in enabling that creativity, like cameras, sound and lighting.
Tags: iss127 | rotolight | led lighting | aeos | Rod Aaron Gammons
Submitted by Rod Aaron Gammons Read this article in the tv-bay digital magazine
Immersive Audio
Jon Schorah - new In 2012, the Oculus Rift Kickstarter campaign burst onto the scene, initiating a new wave of public interest in sense-enveloping immersive experiences. 5 years later, the consumer reality is mixed with some very public let-downs like Google Glass (which is coincidentally enjoying a re-birth at the time of writing, now as a technical tool in the workplace), and other technologies such as Dolby Atmos® becoming almost commonplace experiences. What does this mean for the audio professional and how is the near future shaping up in 2018?
Tags: iss127 | immersive audio | dolby atmos | dts-s | auro-3d | oculus rift | nugen | Jon Schorah - new
Submitted by Jon Schorah - new Read this article in the tv-bay digital magazine
A bluffers guide to image stabilisation
Mike Colyer One of the greatest challenges I face when designing a Special Camera system is how to minimise such vibrations, be they the very passive such as vibrations from a human wearing a camera system (10 20Hz), or more pronounced (try strapping a camera to a race car!).
Tags: iss127 | stabilisation | eis | ois | Mike Colyer
Submitted by Mike Colyer Read this article in the tv-bay digital magazine