Q2 - 2014

XTRA

EVS technology has drastically evolved together with our customers, teams, operators, and partners - and today, our solutions help media professionals around the globe provide more content, faster, through more channels to final viewers. Whether for entertainment, sports, news or integrated media workflow, and covering

innovations from remote production capabilities and second-screen solutions to 4K, EVS keeps pushing the boundaries of live production further, enabling the production, mastering, management and distribution of enriched video programming from anywhere to everywhere.

And we’re not stopping here. EVS is preparing for another 20 years of vision and passion, intent on helping our customers navigate the fast-moving media consumption environment, meeting the technical challenges that lie ahead while helping to create new revenue opportunities. Broadcast Asia is a fantastic venue to showcase our innovative technology and market-proven solutions.

This year we’re presenting products designed to streamline and improve live, near-live and post-production, as well as the distribution of enriched live TV programming. EVS’ solutions – including our XT3/XS server architecture, C-Cast connected technology and OpenCube server and media interoperability applications – enable our customers to combine existing infrastructure with practical innovations. All of our products are designed with the specific aim of helping broadcasters and content owners maximize live content and media asset value in different ways.

We look forward to seeing you at the show!

THE VOICE GETS AN HD MAKEOVER

CELEBRATING 20 YEARSA MESSAGE FROM EVS CEO JOOP JANSSEN

WATCH VIDEO : www.evs.com/20-20/

Shine Australia, one of the world’s fastest-growing and most successful creators and producers of media and entertainment brands, has implemented a new high-definition studio production workflow powered by EVS solutions. The updated workflow was selected for production of top-rated live programming such as The Voice, MasterChef, The Biggest Loser, So You Think You Can Dance and Australia’s Next Top Model.

Working alongside Global Television for outside broadcast, Shine procured an EVS workflow consisting of multiple XT3 advanced live production servers and an IPDirector production asset management suite with Xsquare transfer and media workflow orchestration software for the current season of The Voice. Live studio programming such as The Voice requires massive amounts of content, with more than a dozen cameras capturing numerous angles. The new EVS workflow keeps data rates down, simplifies the production workflow, and provides streaming capabilities that save storage resources.

According to Nick Parker, Technical Services Manager at Shine Australia, HD studio production was a long-time desire that, until now, never made practical sense as it requires nearly three times the data rate, storage and bandwidth of

standard definition production. “Traditionally a studio show requires lots of disk space due to limited codec choices and workflow limitations. We’ve always wanted to do long-form studio shows in HD, however, the numbers have never worked in our favour. We were only ever able to do them as one-off shows such as a series finale.”

That changed when EVS introduced the new XDCAM capability to its XT3 server. “XDCAM was a format we understood and had already embraced with our ENG camera workflows,” continued Parker. “Working with EVS and Global we were able to setup a parallel test for the finale of Australia’s Next Top Model, where we ran one XT3 in XDCamHD and the others in DNxHD®.” With positive real-world test results and no significant issues, Parker and his team had the confidence to move ahead with the new workflow for 2014.

“For The Voice, Shine needed a flexible workflow that could handle the massive volume of data and enable editors to deliver files while still managing the rest of the show,” said Henry Alexander, SVP Entertainment and News, EVS. “With the capabilities of the XT3 server and enhanced management tools, we were able to deliver and lead the way for HD production for other studio programming.”

2Q2 - 2014

NEXT GENERATION XS EXCEEDING STANDARDS

EVS XS is new generation of intelligent production serv-ers, specifically designed for fast turnaround studio pro-duction. Available as either a high-performance 4RU or a premium 6RU unit it makes the perfect, flexible alterna-tive to traditional VTRs and much more.

The new XS platform offers extended flexible configu-rations, is 4K/1080p ready, and has 12 HD-SDI ingest channels available in spe-cial TwinRec mode. Its ad-vanced dual network con-nectivity (including the new 10 GigE) offers unmatched media sharing performances with post infrastructure for significant productivity im-provements.

XS ensures smooth and in-stant file exchange between production and post-produc-tion. It can emulate tape ma-chines, eliminating the need for playback equipment and editing recorders. With non-stop multi-camera recording from the minute you switch it on, XS makes recorded media instantly available to production teams for simul-taneous preview, rough ed-iting, archiving, playback or post-production. XS natively supports all major codecs from XDCAM and DVCPRO to AVC-INTRA and PRORES.

The next generation XS will be available from Q2 2014.

HBS AND EVS ARE A WINNING COMBINATION FOR 2014 FIFA WORLD CUP

The long-standing collabo-ration between EVS and HBS will be seen in action at the 2014 FIFA Wold Cup in Brazil this summer.

As FIFA’s dedicated host broadcaster, HBS is running the entire host broadcasting operations for the FIFA World Cup, including the production and the integration of servic-es. Altogether, EVS systems will handle the broadcast feed from 64 matches across all 12 event venues.

The broadcast infrastructure at the 2014 FIFA World Cup consists of three key work-flows: live production at the different venues across Bra-zil; a centralized broadcast media server and file-based media sharing systems; and a new multimedia distribu-tion platform.

HBS CEO Francis Tellier commented: “Our partner-ship with EVS is a great ex-ample of the cross-fertili-zation that can take place between two key companies in the sports broadcasting space. We both strive to im-prove the quality of major sporting events and offer the best technical solutions so broadcasters and rights holders can guarantee the best coverage and service of-fering to their audiences.”

“EVS is passionate about continuously delivering new technology innovations that keep pushing the limit of live further, offering profes-sionals the ability to provide more compelling content, faster, through more chan-nels to more final viewers,” said EVS CEO Joop Jans-sen. “Our 15-year partner-ship with HBS has been in-strumental in delivering this constant implementation of new solutions at many of the major sporting events world-wide. HBS not only shares the same understanding of how technology can enhance viewers’ experience, but also has a unique expertise for integrating transformational technologies into advanced live production and media delivery workflows. We’re proud to consolidate our col-laboration with HBS and con-tinue to work together to an-ticipate industry evolutions and constraints with new ad-vanced live media solutions.”

LIVE PRODUCTION:

For each venue, around 16 XT3 servers will be used for replays, highlight ed-its, graphic insertion, clip creation and content man-agement. All the ‘emotion’ highlights packages will be driven by EVS’ IPDirector production asset manage-ment suite. The new Multi-

Review solution will handle the compilation of all the best clips from each match. These clips will then be used for highlights packages that will be made available to FI-FA’s Media Rights Licensees (MRLs).

CENTRALIZED FILE-BASED MEDIA SERVER:

The FIFA Media Asset Ex-change (FIFA MAX) central-ized broadcast media server will store match feeds, clips, highlights, pre-recorded content (city profiles, etc.) and other relevant data. Over 100 EVS IPDirector suites, located in the International Broadcast Centre, will man-age the live ingest of incom-ing feeds and access to FIFA MAX. IPDirector will also be used for live event logging.

The combination of FIFA Max and EVS-enabled file-based media sharing systems will allow production teams at the IBC - as well as in their home headquarters - to ac-cess content for further ed-iting and broadcast. MRLs will be able to browse, ac-cess and download the con-tent made available to them using EVS’ IPBrowse and IP-Web tools.

Final edits of updates, pro-mos, behind-the-scenes footage and multimedia

packages will be created with 36 Adobe Premiere sta-tions, along with EVS’ IPLink plugin panel.

MULTIMEDIA DISTRIBU-TION PLATFORM:

HBS is also delivering ex-panded and enhanced con-tent services across all mul-timedia platforms for the 2014 FIFA World Cup. FIFA’s Media Rights Licensees will have access to exclusive con-tent for delivery to smart-phones and tablets via their own second screen apps.

Using EVS’ innovative C-Cast technology, HBS’ live produc-tion infrastructures will be connected to a central cloud-based platform, aggregating live streams, multi-angle clips, stats, and social net-work feeds. This content will then be distributed to affili-ate broadcasters, who in turn can make it available to their own viewers.

“Big events like the FIFA World Cup are a fantastic opportunity to deploy innova-tive solutions that meet the challenges of a new media world. This will be the first FIFA World Cup where fans watching at home will bene-fit from a truly enriched and compelling viewing experi-ence,” said Luc Doneux, EVP Sports Division at EVS.

Francis Tellier CEO of HBS and Joop Janssen, CEO of EVS celebrating 15 years of collaboration and the reinforcement of their collaboration for the events in Brazil next summer during last IBC show in September.

3Q2 - 2014

When it came to the critical live production workflow for the Vic-toria’s Secret Fashion Show, re-corded live in New York late last year, All Mobile Video (AMV), a dominant provider of entertain-ment video production in the U.S., wasn’t going to take any chances.

As supermodels strutted on the catwalk for the live production, which aired in December, EVS’ XT series server provided com-plete media control, from in-gest to playout, with live editing, slow-motion replays, multi-chan-nel playback and full transfer to third-party systems.

AMV also utilized XFly, EVS’ com-pact, portable storage platform that can stream up to 10 simulta-neous live feeds with a maximum storage capacity of 140 hours of HD at 100Mbps. This kind of pow-er and performance was critical for operators to easily back up clips and feeds.

XFly was used as an experiment at the show, for recording in case anything happened to the prima-ry SSV record. AMV reported that it worked extremely well and ex-pects to use the portable storage platform for other live entertain-ment productions.

VICTORIA’S SECRET CATWALK IS JUST ANOTHER CAKEWALK FOR EVS

April marks the start of festival season around the globe. In the United States, huge live music festivals, such as Coachel-la in the California desert, are drawing a staggering number of attendees - several hundred thousand at the major shows - but that’s only part of the sto-ry. This sometimes hot, dusty environment is the territory of Peter Kimball, senior account manager at NEP SuperShooters, provider of the largest fleet of live video produc-tion systems in the U.S.

As an expert on live re-mote production and the big business of today’s large-scale entertain-ment festivals, Peter of-fers his thoughts on tape-less workflows and why EVS is the industry stand-ard for live remote pro-duction.

EVS: Is tapeless workflow still unusual for live en-tertainment productions?

Peter Kimball: It’s changing rapidly. We switched over our trucks

in 2011 but it was still a time for education. Customers generally want what has worked, not something new. We’ve really had to educate them on the benefits of tapeless workflows. Once the switch is made, it’s easy. Customers see benefits - better quality, lower costs and fewer resources needed - immediately. Impact on the bottom line is always powerful. EVS: Are there other forc-es at work driving the need for higher quality and quick turnaround? PK: Yes, live music festi-vals attract hundreds of thousands of fans over a single weekend, but it doesn’t stop there. So-cial media and new Inter-net channels are bringing the experience directly to viewers around the globe. Large corporate sponsors are spending big dollars on webcasts and custom-ers expect to be able to stream content to You-Tube and other social me-dia outlets with very high quality. Over Coachella’s

three days, people from all over the world took advantage of the opportu-nity to see what the festi-val was like, viewing the stream nearly 4 million times. Those are big num-bers that translate into big business. EVS: What about NEP’s workflow for the upcom-ing festival season?PK: We’re running 6-channel XT servers to support multiple channels of high-definition content. We’ll have as many as 25 cameras spread across five stages at an event. We need to output very high signal quality with the ability to time shift and archive. Plus, it has to be reliable. Our systems run over 15 hours a day, noon to midnight, recording and playing out. We can’t af-ford to take chances. EVS is critical to our ability to provide the volume and quality that we do live and onsite at these shows. From the products to the technical support, we know what we’re getting and can count on EVS.

NEP TUNES UP ITS TAPELESS WORKFLOW FOR 2014 FESTIVAL SEASON

4Q2 - 2014

NBC, the long-time U.S. rights holder for the Olympic Games, implemented a completely file-based, distributed operation at Sochi in February 2014. And for the first time, users at key venues, the International Broadcast Center or based in the U.S. can all “remote” the broadcaster’s archive located within the new NBC Sports facility located in Stamford, CT.

Best-of-breed servers from EVS were part of the reason NBC was able to fulfil its long-desired production goal of true, global remote access to the archive. EVS had more than 70 XT series advanced media production servers in use for NBC’s coverage of the Games, with approximately 20 servers used at the NBC Olympics central broadcast production facility at the In-ternational Broadcast Center (IBC), and another 30 at NBC’s production centers in Stamford, CT and New York, NY. The remaining servers were deployed at numerous individual sporting venues.

Additionally, approximately 50 EVS IPDirector worksta-tions were implemented in various locations, providing an integrated suite of vid-eo production management applications for complete ingest control, metadata management, on-the-fly ed-iting capabilities, and play-out scheduling. Together, the solutions allowed the se-cure and streamlined ingest and management of vast amounts of content from the many sporting venues and

the primary IBC broadcast-ing center for distribution around the globe.

The undertaking was nothing short of massive. 3,000 hours of Avid ISIS storage, 2,000 hours of EVS XSAN storage and 1,500 hours of EVS XT3 recording were available; the largest such infrastruc-ture the host has used at a Winter Games.

The workflows were based on that designed for London 2012, but where that had a back-up platform of Sony XDCam disks, for Sochi NBC was confident enough in its file architecture to rely en-tirely on EVS XT servers for content storage and sharing.

The operational require-ments that NBC set were that there should be access to all its content at its base in the International Broad-casting Centre (IBC) in Sochi. Editors and producers also needed access to the content at the event locations.

More importantly, there needed to be the same seamless access from NBC’s facilities in Stamford CT and New York City. That put huge reliance on EVS IPDirector content management soft-ware and Xsquare file trans-fer control.

In addition to the 70 EVS XT servers for its coverage, host broadcaster OBS also standardized on EVS serv-ers, which meant that NBC staff had transparent access, through IPBrowse, to every moment of every competi-tion. Clips could be selected

from any NBC workstation for immediate transfer to its EVS network.

A central part of the workflow was the use of watch folders to collect files from key events and distribute them as required. The use of EVS Xsquare to manage watch folders was established at the London Games, but in Sochi NBC used more than 70 to provide automated recording of all the important action.

Watch folder routines were established in advance, then run in, set and forget. Con-tent arrived and was distrib-uted as required, for example being transcoded for Avid In-terplay to allow craft editors to start working. Over the course of the games, well over 30,000 files were man-aged this way.

As well as asset manage-ment, the XT server network was used for live playback. The big daily review shows each used EVS for all their replays, either using LSM controllers or IPDirector seats to build playlists.

For NBC, they were relying on a production platform that they were familiar with from their home base, scaled up to provide multiple locations. For Matt Green, senior digi-tal media engineer, using the proven system and extend-ing it was a simple but highly successful solution: “For the past year we have been oper-ating this way in Stamford,” he said. “We realized it was possible to run this way for the Olympics as well.”

NBC GOES TAPELESS AND REMOTE IN SOCHI

XS NewsFlash is EVS’ new news-room ‘in-a-box’ solution that can easily handle all your news pro-duction needs. XS NewsFlash is available either as a failsafe dis-aster recovery or as an end-to-end newsroom workflow solu-tion. The compact, portable 1RU design was created specifically with smaller newsrooms and pro-duction suites in mind. XS News-Flash comes pre-configured and pre-cabled, so it’s as simple as plug in and play!

When deployed in an end-to-end newsroom configuration, the in-tegrated hardware and software system includes ENG file import facilities. It comes with five XE-

DIO CleanEdit advanced timeline editor licenses, an 18TB central storage and media management. Two XEDIO players are also in-cluded for instant playout without rendering.

With XS NewsFlash you can ingest feeds and import media quickly and efficiently, attach metada-ta for easy searching and create and edit on a timeline. The virtu-al editor software combines un-matched HD/SD editing capabili-ties with a simple user interface. XS NewsFlash is also highly scal-able so if you need more capabili-ties, then it’s very easy to grow the system to suit your needs.

XS NEWSFLASH THE PLUG-AND- PLAY NEWSROOM

EVS OPENCUBE DELIVERS IMF SUPPORTAs the SMPTE IMF standardization process reaches its conclusion, IMF implementation has become a reality. The standard has already been adopted by several major US studios for HD mastering, as well as UHD and 4K content management.

EVS Media has been at the fore-front of MXF J2K implementa-tion with its OpenCube solution, which supports DCP as well as MXF Op1a/IMF for mastering and archive applications. A number of OpenCube systems have been de-ployed by 20th Century Fox in the last 12 months as a solution for effective MXF J2K-IMF mezzanine format management.

Alongside the big studios, new-

er entrants into the media land-scape, including OTT content pro-viders, are now taking a closer look at IMF. Many of our European customers are also considering IMF for archive management, in particular for film.

EVS’ OpenCube system is among the few on the market that of-fers a comprehensive solution for managing IMF. It provides power-ful transcoding capabilities and enables the repurposing of IMF files at double the speed of re-al-time.

EVS has also been very actively in-volved in the Sample Material In-terchange (SMI) initiative, focused on facilitating interoperability be-tween vendors.

5Q2 - 2014

CELEBRATE20 YEARS OF MEMORIES

THANK YOUWATCH VIDEO: WWW.EVS.COM/20-20/

6Q2 - 2014

In the first 4K trial in the Middle East, conducted on behalf of BeIN Sports Arabia, an EVS 4K XT3 live production server was deployed for the Qatar Total Open tennis tournament held at the Khalifa International Tennis & Squash Complex, February 10-16.

The project involved equip-ment and services from a number of EVS partners, including two PMW-F55 4K cameras, a MVS-7000X switcher with 4K capability and a PWM-X300 4K monitor screen from Sony. Two Fuji-non Cabrio 35mm PL mount lenses with servo controls were also deployed.

In another first for the region, a three-channel EVS 4K XT3 server was used in a two in/one out configuration. The server is capable of continuously recording up to two 4K camera feeds while providing Ultra-HD instant replays and highlights.

Technical facilities and production were run by Mediapro Group subsidiary Media Luso. Engineering specialist Media Burst, also part of Mediapro Group, was responsible for configuring the set-up. The final content was delivered to the VIP area where it was viewed on a 4K Sony Bravia TV.

QATAR OPEN GETS THE 4K TREATMENT

EVS’ new C-Cast Xplore of-fers a revolutionary take on live production. It trans-forms productivity by en-abling remote access to production servers for ed-iting, re-packaging and ar-chiving.

C-Cast Xplore is a sim-ple web application, which gives authorized users re-mote access to EVS XT3 servers. Studios, archivists and editors can tap directly into the server network in the outside broadcast unit for instant access to any camera, and transfer foot-age to any location.

Sports and live events re-cord multiple camera chan-nels onto the EVS server

networks, as part of the outside broadcast produc-tion operation. Now, with C-Cast Xplore, that content is available, as it happens, to producers, editors and archivists – anywhere.

Part of the EVS C-Cast cloud-enabled software suite, Xplore manages con-tent transfers quickly and securely, without the need to disrupt the live produc-tion staff on location.

C-Cast Xplore packs three benefits into one solution: better content for the view-ers; added revenue oppor-tunities; and reduced cost.

XPLORE A NEW WORLD OF LIVE PRODUCTION

XPLORE THE UNEXPECTED

C-Cast Xplore is the key to access live production content from anywhere around the world.”

MLB NETWORK HITS IT OUT OF THE PARK WITH XT3 UPGRADE

America’s favorite pastime just might look a little crisp-er this season. A dozen EVS XT and XS series media pro-duction servers, including multiple XT3 servers, form the core of a new live pro-duction workflow for the MLB Network, Major League Baseball’s 24/7 cable TV net-work. Supported by nearly 40 workstations running var-ious applications, the new XT3s provide the league with the added power and flexi-bility of built-in proxies, live multi-angle review, and new 10Gig connectivity.

While the features of the XT3 provide enhanced speed and flexibility, to Steve Ritten-

berg, the league’s engineer-ing manager, the freedom that it brings is perhaps most valuable. “We now have tre-mendous freedom to access and prepare content from anywhere, not just the con-trol room. We can enter the database, view and select content from storage, and send it to an editor, all from our corporate computer net-work (LAN), so it’s ready and waiting. That goes a long way toward pre-production efficiency.”

MLB is the first sports TV production center to fully utilize 10Gbps on XT3/XS servers for 24/7 operations and exponentially faster

transfer rates. Along with enhanced IPDirector integrated video production management tools, MLB can now access and manage server content from any desktop environment.

EVS’ Multicam LSM remote controller for instant re-plays and its companion LSM Connect tablet solution for clips and playlist manage-ment, as well as Xsquare and XTAccess transfer man-agement software, enable delivery to multiple destina-tions on the fly and ensure a seamless integration with third-party storage.

www.evs.com/XPLORE

7Q2 - 2014

To help you prepare for this fast-changing media land-scape, we’ve upgraded our best-selling and world-re-nowned live production server, and made the world’s fastest server even faster.

With the new XT3 server not only do you get a fully fu-ture-proofed and scalable solution, but also one that gives you:

More power – the XT3 comes with up to eight SD/HD video channels – over a third more than the XT2 – giving you more power to ingest and play out in the same space. For the first time you can have two opera-tors working on the same ma-chine and accessing content at the same time, enabling you to work more efficiently and turn around projects faster.

More flexibility – its flexi-ble configuration means you can harness that power to suit your particular produc-tion. Configure it to six full 3D/1080p video channels or even two UHDTV-4K channels to work in the way you want to.

More speed – the new XT3 will be the first server in the world with two 10Gb Ether-net connectors – meaning you can work and transfer content faster than ever before.

Find out about how the XT3 will give you more. Check out our dedicated upgrade support page for more details and the full list of what the XT3 could do for your production workflow – today and tomorrow.

UPGRADE TO THE XT3 AND EXPERIENCE THE POWER OF MORE

There isn’t much that’s bigger in the world of U.S. sports than the Su-per Bowl. It’s the most watched annual nation-al sporting event, draw-ing more than 100 million viewers and big-name ad-vertisers, who this year paid about $4 million for a 30-second spot. Fox Sports, always committed to providing the best pos-sible viewing experience, added 4K replays with in-tegrated zooming for its 2014 national broadcast of the NFL Super Bowl and related pre- and post-game programming.

Anchored by multiple 4K XT3 servers and Epsio Zoom for 4K zooming ex-traction, this year’s work-flow connected the MetLife Stadium in New Jersey with remote operations in Manhattan where Fox broadcasted live as part of “Super Bowl Boulevard,” a series of football-themed experiences in Times Square the week before the game. With Xsquare and XTAccess transfer management software and nearly 30 IPDirector production asset manage-ment suites, the system also enabled production

personnel at Fox Sports’ Los Angeles studio to eas-ily browse content and se-lect key game highlights.

Despite the hype of a close game, Seattle crushed Denver in a Super Bowl with record-breaking viewership. Whether for American football or oth-er high-profile sporting events, including Major League Baseball and NAS-CAR motor sports, EVS continues to work close-ly with Fox Sports, pro-viding a more immersive, high-quality viewing expe-rience.

SUPER BOWL 2014 A FIELD OF 4K DREAMS

CHANNELS

CREATIVITYFLEXIBILITY

CONNECTIVITYCONTENT ACCESS

LIVE CONTROL

SPEED

ORE

You can easily and cost-effectively replace your XT2 for an XT3 through our trade-in program. Email or call your representative to find out how!

ASK ABOUT OUR XT3 UPGRADE PROGRAM

Read more, go to www.evs.com/XT3

8Q2 - 2014

INSIDE LOOK A TYPICAL DAY WITH BRIAN UNVERZAGT, COMCAST SPORTSNET

Brian Unverzagt is the lead EVS operator for Comcast SportsNet in Chicago, work-ing on live sports events and pre-shows. As the lead EVS operator on the Fox Sports B crew, a typical day for Brian is ever changing but begins with pulling con-tent off of the XFile, load-ing daily elements and se-lecting video clips needed to build segments for the show opening - video pack-ages, roll-outs, B-rolls, and sponsored items that re-quire video. And generally he’s in an NEP truck.

For Brian, fast-turnaround production is a daily oc-curence. “Since our show fea-tures lots of sponsored seg-ments, a ‘drive-of-the-day’ play for a basketball game is common. Just the other day, I grabbed two different angles of the play, put a front end on it, turned around the playlist, and it was on air within minutes.”

Brian shares some of his day-to-day duties and how

EVS helps make it all happen smoothly.

“Scoring recaps happen at lightening speed. When I have a recap finished and am getting it ready for air, anoth-er score will happen and I’ll have to grab it quickly, throw the best angle into playlist, and get it on air as quickly as possible. I’ve built play-lists with producers count-ing down to 30 seconds to air and have delivered them seconds before.

To do things now with EVS, it takes minutes, maybe sec-onds. I can build playlists as fast as my fingers can move - to get them on the air as fast as I can. There are tons of competitors who have tried to do what EVS does, but they never do what EVS can - which is to enable an operator create to a play-list as quickly as possible to get on air in minutes, maybe seconds.

I’ve been using EVS since its inception; I’ve gotten very comfortable with it. You learn your own person-al tricks and workarounds – every operator has them. If there is a glitch, EVS has been very good about listen-ing to operators and making needed changes. I have just scratched the surface with the new tablet.

EVS keeps adding functions to help operators. The Add/Cut function helped make roll-outs easier. The Other Angle function made finding extra clips and different an-gles very simple. They’re do-ing a great job of simplifying work for operators. And I’m excited to explore what XFile 3 can do.

There is always going to be technology that will make things go faster. With the little I’ve done with XFile3, it seems you will be able to very quickly change co-decs because it does the transcoding for you. That has always been the biggest bug-aboo in the workflow. If files arrived in 720 (because we work in 1080) we would have to take it to a machine, take it down to 720, go through the engineers, patch it through FrameSync, and send it over through a very slow process. XFile3 will speed up the pro-cess tremendously.

In my opinion, EVS does an unbelievable job. Any time we as operators have prob-lems we’ve been able to con-tact someone in tech support and they find a way to correct any issue within days or a month. I am nothing but im-pressed about how EVS runs as a company and how the equipment works. I couldn’t be happier.”

XCEEDINGSTANDARDS

The new XS live production server delivers the fastest access and distribution of multi-camera recorded content, for enriched tv programming. www.evs.com/XS

ANO Sports Broadcasting, better known as Panorama, was created in 2009 to pro-duce all the programming for four Russian broadcast-ers covering the Sochi Winter Games. The distributed pro-duction infrastructure used for the Games was a real in-novation in terms of live pro-duction for a major event. All of the live event logging and much of the post production took place in Panorama’s base in Moscow, 1360km away from the live action.

Panorama provided around 12 multi-camera outside broad-cast trucks feeding the host broadcaster’s coverage. Each OB was fitted with multiple EVS servers for replays, in-cluding super slo-mo and hy-per-motion. They were also equipped with EVS’ IPDirec-tor production asset manage-ment suite for scheduling, log-ging and file transfers.

Panorama’s management truck at the International Broadcast Centre: the large mobile office (LMO) provided one end of the communica-tions with the Moscow opera-tion. All the content from every event was recorded onto a net-work of 18 EVS XS servers in the LMO. An EVS XStore SAN was used for nearline stor-age and for high performance

online storage of content shot on site on Sony XDCam disks and cards.

All ingested content was im-mediately duplicated as a browse resolution H.264 version, using EVS XSquare transcoders. Each clip was stored in three places: on main and backup servers in Sochi, and in the Moscow cen-tre, transferred over high per-formance data circuits.

The content was logged in Moscow, using a team of sports enthusiasts working at 20 EVS IPDirector stations. Around 15,000 logs a day were created during the Games, and this metadata was transferred back to Sochi to be linked to the high resolution content on the server network.

Editors were also working in Moscow, cutting the browse resolution proxy on Final Cut Pro. Once their packages were complete, the EDLs were transferred to Sochi – needing very little bandwidth to move compact XML files – ready to be rendered in high resolu-tion. From there, the packages could be delivered to the Pan-orama outside broadcast units as needed.

Using EVS tools including IP-Browse and IPWeb, Panorama put together a workflow that allowed content to be created for multiple platforms quick-ly and effectively, without the need for large numbers of staff to be on site. It matched high production values with cost-effective operations.

PANORAMA COVERS SOCHI WITH REMOTE PRODUCTION