Page 25 - AIB | The Chanel | Issue 1 2012

TECHNOLOGY | THE CHANNEL
broadcasters by making it easier for
craft editors using Avid or Final
Cut Pro to access very rapidly and
very easily the content that is being
recorded.
EVS adds to the video recording
logs or key words, and using the
log sheet the creative people can
retrieve different camera angles for
one particular action, for instance
they retrieve a tackle which
happened five minutes ago, then
link to the key word that will
retrieve five or six different camera
angles for this tackle, and they can
simply drag and drop this content,
import it into their post‐production
software application and start
editing immediately.
What innovations will we see at
London 2012?
What you will see in London is a
reinforcing of what was first
introduced in Beijing ‐ basically full
HD set up, more content produced
and recorded, and multiple ways to
access central media servers including
through web access. With new EVS
technology called U‐motion [ultra‐
motion] in integration with partner
technology the director will be able
to provide super‐replay almost
instantly. Thatʹs one thing. Also, the
number of camera angles generated
and recorded on our media systems
will provide more accurate or more
relevant content to viewers. The
content or the sequence that you
will see in the news cut will be more
relevant than the material we were
seeing a few years ago and this is due
to the fact that the media handling
is facilitated, accelerated and thatʹs
ultimately the reason why we have
been asked to provide storage
solutions for more content than we
used to provide four years ago.
In 2008 the total number of
productions provided by OBS was
about 4,000, in London it will be
almost twice that number. That
means more content, more choice
for users to access the content.
How do you facilitate servicing
multiple platforms?
The most we will be providing is
the speed of access to the content.
Thatʹs a key point. If you have to
prepare a package for media that
will be delivered on mobile, this
package must be different from a
package that will be delivered for
highlights shown on TV. The
challenge is really the ability to
access the right content instantly in
order to use it, to process it and to
deliver it. This is where EVS can
make the difference.
Have costs increased for
broadcasters?
The trend is doing more with the
same technology, offering more
functionality for the same range of
price. For example, our EVS server
used to be a 6 channel server, this is
becoming an 8 server, for the same
entry price to access this
technology.
What about 3D?
Everything that is available in 2D is
available in 3D, itʹs as simple as
that. The biggest challenge I would
say is for directors and producers
to find the real business model
behind 3D. If tomorrow there is
suddenly a big demand for 3D we
will be ready. We are more
convinced about the multi screen
market development than 3D.
What are the applications in other
broadcasting genres?
Our technology is based on our
experience in live sports or near‐
live sports and that makes it ideally
suited to all broadcast production
requiring fast turnaround
workflow.
EVS is being used as the main
technology for the production of
news in major organisations like
Sky News in the UK, there we
manage the entire integrated
workflow. So the two main areas
that we are currently expanding in
are TV entertainment ingest
workflow and the big integrated
workflow dedicated to news.
Where is the technology for sport
coverage going?
I would say increased content with
virtual elements. We have started to
explore this in football with
graphics insertions during games,
we are also thinking about
rebuilding key sequences using
virtual cameras representing the
players or a specific action, similar
to what you find in video games.
People are active now in the way
they consume their media, they
want to go straight to what they are
looking for, using one two three
devices in parallel. Thatʹs the
biggest challenge for broadcasters
and content providers: to
understand and satisfy active
players.
Nicolas Bourdon, thank you.
ww
w.evs.tv
THE CHANNEL | ISSUE 1 2012 | 25
We are
thinking
about
rebuilding
key
sequences
using
virtual
cameras
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