In Broadcast - January 2014 - 42


I N T E R N A T I O N A L

WWW.INBROADCAST.COM | ISSUE 27 - JANUARY 2014

N E W S

InSTUDIO

EVS Systems Deliver Home Run
E

42

VS has announced that its live
video production systems have
been deployed by FOX Sports for
the 2013 World Series, including
a total of 29 XT series media
production servers, with one being
used for 4K zooming.
Video equipment rental company
VER provided FOX Sports with an
eight-channel 4K XT3 server with
Epsio Zoom, two eight-channel
XT3 servers, four six-channel XT3
servers - two of which are used for
super slow-motion replays - and
two XFile3 stations for archiving
and transcoding.
Game Creek Video in Boston
and NEP in St Louis have each
equipped their trucks with 14 XT
series servers, an XFile3 system
for transcoding and archiving, and
multiple LSM Connect solutions,
the new tablet-based companion
to the MulticamLSM controller for
quick and easy indexing, browsing
and selection of clips, and
playlist management.
"EVS systems give us the ultrareliable and highly efficient workflow
we need for the World Series,"
said Jerry Steinberg, Senior Vice
President, Technical Operations,
FOX Sports. "With a simple upgrade,
the 4K XT3 with Epsio Zoom gives
us greater clarity in replays and
enables us to zoom into a shot and

still get a very high-quality image."
The award-winning 4K XT3 server
manages ingest and live replays of
live 4K camera feeds.
Existing XT3 customers are able
to migrate to 4K with a nominal
upgrade to their systems, and
its identical user interface to the
original XT3 requires no additional
training for EVS operators.
The 4K XT3 integrates with EPSIO
Zoom for 4K zooming, allowing
customers to scale any 16:9 region

within 4K frames to HD in real-time.
"Year after year, FOX Sports pushes
the technical boundaries at the
World Series to deliver viewers the
highest quality broadcasts possible,
and continues that tradition this year
with 4K zooming," said Frederic
Garroy, SVP, The Americas, EVS.
"We worked closely with two of our
long-standing customers, Game
Creek Video and NEP, to create an
identical workflow that would work
for both companies.

"EVS' XFile3 application takes
care of FOX Sports' file transfer and
archive needs in the live production
workflow. It enables the production
team to find, restore and transcode
archived content, and automatically
back it up to disk during production.
All file transfers can be monitored
and managed from a single,
connected workstation, providing
complete control and visibility of
content across its lifecycle."

Live production workflow incorporates 4K zooming, transcoding, archiving, multi-camera control of clips and
playlist management

Filmmaker Captures Wildlife With Vinten's Vision blue
Mike Linley, wildlife programme maker and owner of independent wildlife production company
Hairy Frog productions, employs Vinten's Vision blue on his latest project...

A

ll types of filmmaking may be
considered to be an art and
shooting wildlife is at the pinnacle
of this creative medium. A view that
is no doubt shared by the millions
of viewers who tune into wildlife
programmes around the globe, as
well as the talented people behind

the cameras who have dedicated
their careers to creating beautiful
wildlife films.
Mike Linley has been at the cutting
edge of wildlife programme making
for more than three decades and
is currently at the helm of his own
independent wildlife production

Mike Linley (right) advises his students on using Vinten's Vision blue

company, Hairy Frog productions.
Throughout his career Linley has
filmed, written and produced
hundreds of wildlife programmes
and since he formed Hairy Frog
he has worked on a multitude of
productions for companies such
as Granada, National Geographic,
Discovery and Animal Planet.
In addition to creating award
winning programmes, Linley shares
his experience of filmmaking as
a camera and production tutor
teaching wildlife film courses
at the specialist educational
company Wildeye.
One of the products in frequent
use on both Linley's wildlife
productions and to demonstrate
filming on the courses he runs is
Vinten's renowned Vision blue pan
and tilt head and tripod system.
Linley says: "We use a full
spectrum of cameras and tripods
on our courses to show students the
range of products available on the
market. From the cheapest, basic
products through to the higher end

equipment such as the Vision blue.
Its performance has gone down
very well with the students and the
quality certainly stands out.
"We find the Vision blue really
good value for money. One piece
of advice that we give to students on
the course is not to just concentrate
on buying expensive cameras. You
can have the best camera in the
world but the filming results will still
be poor if you put it on a cheap
tripod. Students need to budget for
support equipment that matches the
high performance of their cameras."
When filming his own productions,
Linley often uses a Panasonic AF101
camera and selects the Vision blue
to support it.
Operators like Mike Linley are able
to use the smallest professional
cameras and work without creative
compromise to produce the highest
quality images. Linley will be using
the Vision blue on his next project,
filming hot air balloons in Norwich to
mark the launch of a new charity.


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Table of Contents for the Digital Edition of In Broadcast - January 2014

In Broadcast - January 2014
Contents
InNews: Full Sail Uni Selects Avid Systems
InNews: Luxembourg Charm Success
InForm: Guntermann & Drunck Intensify Security
InReply: Datavideo – Designed for Versatility
InStudio: Filmmaker Captures Wildlife With Vinten
InGear: Frezzi Skylight – Advanced Led Lighting
InTest: OTT Is a Hybrid: It’s How You Look at It
In Broadcast - January 2014 - Intro
In Broadcast - January 2014 - In Broadcast - January 2014
In Broadcast - January 2014 - Cover2
In Broadcast - January 2014 - Contents
In Broadcast - January 2014 - InNews: Full Sail Uni Selects Avid Systems
In Broadcast - January 2014 - 5
In Broadcast - January 2014 - InNews: Luxembourg Charm Success
In Broadcast - January 2014 - 7
In Broadcast - January 2014 - 8
In Broadcast - January 2014 - 9
In Broadcast - January 2014 - 10
In Broadcast - January 2014 - 11
In Broadcast - January 2014 - 12
In Broadcast - January 2014 - 13
In Broadcast - January 2014 - 14
In Broadcast - January 2014 - 15
In Broadcast - January 2014 - 16
In Broadcast - January 2014 - 17
In Broadcast - January 2014 - 18
In Broadcast - January 2014 - 19
In Broadcast - January 2014 - 20
In Broadcast - January 2014 - 21
In Broadcast - January 2014 - 22
In Broadcast - January 2014 - 23
In Broadcast - January 2014 - InForm: Guntermann & Drunck Intensify Security
In Broadcast - January 2014 - 25
In Broadcast - January 2014 - 26
In Broadcast - January 2014 - 27
In Broadcast - January 2014 - InReply: Datavideo – Designed for Versatility
In Broadcast - January 2014 - 29
In Broadcast - January 2014 - 30
In Broadcast - January 2014 - 31
In Broadcast - January 2014 - 32
In Broadcast - January 2014 - 33
In Broadcast - January 2014 - 34
In Broadcast - January 2014 - 35
In Broadcast - January 2014 - 36
In Broadcast - January 2014 - 37
In Broadcast - January 2014 - 38
In Broadcast - January 2014 - 39
In Broadcast - January 2014 - 40
In Broadcast - January 2014 - 41
In Broadcast - January 2014 - InStudio: Filmmaker Captures Wildlife With Vinten
In Broadcast - January 2014 - 43
In Broadcast - January 2014 - 44
In Broadcast - January 2014 - 45
In Broadcast - January 2014 - InGear: Frezzi Skylight – Advanced Led Lighting
In Broadcast - January 2014 - 47
In Broadcast - January 2014 - 48
In Broadcast - January 2014 - 49
In Broadcast - January 2014 - 50
In Broadcast - January 2014 - 51
In Broadcast - January 2014 - 52
In Broadcast - January 2014 - 53
In Broadcast - January 2014 - 54
In Broadcast - January 2014 - 55
In Broadcast - January 2014 - 56
In Broadcast - January 2014 - 57
In Broadcast - January 2014 - 58
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In Broadcast - January 2014 - 60
In Broadcast - January 2014 - 61
In Broadcast - January 2014 - 62
In Broadcast - January 2014 - 63
In Broadcast - January 2014 - 64
In Broadcast - January 2014 - 65
In Broadcast - January 2014 - 66
In Broadcast - January 2014 - 67
In Broadcast - January 2014 - 68
In Broadcast - January 2014 - 69
In Broadcast - January 2014 - InTest: OTT Is a Hybrid: It’s How You Look at It
In Broadcast - January 2014 - 71
In Broadcast - January 2014 - 72
In Broadcast - January 2014 - 73
In Broadcast - January 2014 - 74
In Broadcast - January 2014 - 75
In Broadcast - January 2014 - 76
In Broadcast - January 2014 - 77
In Broadcast - January 2014 - 78
In Broadcast - January 2014 - 79
In Broadcast - January 2014 - S1
In Broadcast - January 2014 - S2
In Broadcast - January 2014 - S3
In Broadcast - January 2014 - S4
In Broadcast - January 2014 - S5
In Broadcast - January 2014 - S6
In Broadcast - January 2014 - S7
In Broadcast - January 2014 - S8
In Broadcast - January 2014 - S9
In Broadcast - January 2014 - S10
In Broadcast - January 2014 - S11
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201612
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_20110708_DEMO
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http://europe.nxtbook.com/nxtbooks/lesommet/inbroadcast_APAC03
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOW2016
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