FIFA whitepaper_final.indd

WHITE PAPER
Delivering
the 2014
FIFA World
Cup in HD
Over 2,500 hours’ worth of live
match footage with 64 matches
across two time zones.
www.pro.sony.eu/livebroadcast
During the 2014 FIFA World Cup™ in Brazil, Sony has responsibility
for delivering over 2500 hours’ worth of live match footage as the
theatre of football unfolds over 32 days, with 64 matches across two
time zones.
As Host Broadcast Services’ (HBS) delivery partner for the 2014 FIFA
World Cup, Sony is responsible for the provision of all HD venue
facilities in each of the 12 venues across Brazil, including systems
integration (SI), equipment and staff. This includes managing the
provision of 12 separate production containers and 288 Sony full
HD cameras, providing the production tools for HBS to deliver every
minute of live match footage to broadcasters.
The 2014 FIFA World Cup also sees the next evolution in sports
broadcasting, with the first ever 4K World Cup coverage. A gamechanger for live sports production, three matches – including one of
the Quarter Final rounds and the Final – are being captured in live 4K,
creating the most immersive, visually spectacular viewing experience
sports fans have experienced yet.
A symbiotic
partnership
The 2014 FIFA World Cup in Brazil is a partnership between FIFA, HBS, Sony and
the world’s leading facilities suppliers, live production directors and crews,
and technical staff. It is a collaboration in which all parties bring their expertise
to the table, whether that is incredible creative skills, vision and logistical
know-how, technical expertise, and knowledge of how to put on a live sports
production that covers multiple venues and multiple distribution methods to an
audience of more than half of the world’s population.
Overall responsibility for TV coverage of the tournament lies with FIFA's TV
division. Sony Professional Solutions Europe was appointed to provide live
TV production facilities throughout the tournament at all 12 match venues
across Brazil.
Delivering such a complex live production on an unprecedented scale requires
world-class teamwork. Supporting Sony with hardware and staff in Brazil are
key partners SonoVTS, Presteigne Charter, CTV Outside Broadcast, AMP Visual
TV, Outside Broadcast NV, Broadcast RF and Studio Berlin. Under Sony’s overall
direction, these highly skilled partners are providing everything from camera
installations to audio and video equipment racks, air conditioning and crews.
Facilities are housed within purpose-built equipment facilities located at all
venues. Best-of-breed HD products from Sony are combined seamlessly with
hardware elements from other vendors.
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Delivering the 2014
FIFA World Cup in HD
As the world’s fifth largest country, Brazil’s sheer geographical size poses
headaches of its own. Shifting production crews over large distances is
expensive, time-consuming and logistically complex. Over the course of
a month, production personnel from Sony and its partners clock up 50,000
kilometres using 47 specially-chartered aircraft as they shuttle across the globe
and between host cities.
The result: the largest and most technically sophisticated live production
infrastructure ever assembled to cover a live sporting event.
Each match
involves 53 of the Sony technical team embedded within the host broadcast
facility, from the director through to CCU operators to audio operators. This
includes 22 people in the slow-motion unit and five operators for infotainment.
There are also an additional 30 people who are the actual camera operators,
including one aboard a helicopter and two using remote control from
within the OB facility. And this is just for HD. When a match is also shot in 4K,
an additional fifty people join the production working within their own 4k
production facilities.
Dividing up
the venues
To make the event run as smoothly as possible, a carefully developed strategy
has been created, in which everything has been checked and doubled
checked, and every eventuality thought of.
HBS, drawing on its experience over previous FIFA World Cups, has created a
masterplan with Sony to manage the whole venture. In Brazil, the venues have
been split into four clusters, covering three venues each, which are covered
by their own production and technical teams. HBS has brought together a
“Dream Team” of the eight best directors of live sports in the world, alongside
the best production crews to support them.
Each cluster has two directors and production teams. They are supported
by venue-based and travelling technical teams. Cluster A has two German
language teams. Cluster B has two English language teams. Cluster C is a mix
of English, German and French. Cluster D has two French language teams.
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The scale of
the challenge
Division of technical contractural responsibilities
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Within each cluster, Sony has divided the responsibilities between its contractors.
FORTALEZA
MANAUS
NATAL
RECIFE
SALVADOR
CUIABA
BRASILIA
BELO HORIZONTE
RIO DE JANEIRO
CURITIBA
SAO PAULO
PORTO ALEGRE
CLUSTER A (German language)
CLUSTER B (English language)
Permanent Camera; SonoVTS Broadcast
Permanent Camera; SonoVTS Broadcast
Event Time Equipment: Presteigne Charter
Event Time Equipment: CTV (Euromedia)
RF Equipment: Presteigne Charter
RF Equipment: Presteigne Charter
Staff Tech Ops: Studio Berlin
Staff Tech Ops: CTV (Euromedia)
RF Engineer: Presteigne Charter
RF Engineer: Presteigne Charter
CLUSTER C
(English, German & French language)
CLUSTER D (German language)
Permanent Camera; SonoVTS Broadcast
Event Time Equipment: AMP Visual TV
Event Time Equipment: Outside Broadcast
RF Equipment: Broadcast RF
Staff Tech Ops: Outside Broadcast
RF Engineer: Broadcast RF
Permanent Camera; SonoVTS Broadcast
Staff Tech Ops: AMP Visual TV
RF Engineer: Broadcast RF
Organisational
structure and
responsibilities
Each venue has its own technical
facilities. These are essentially
production and equipment rooms
that are identical at each venue.
It allows production and technical
crews to move between venues
and have exactly the same set-up
and look wherever they are. It is like
taking OB trucks with them as they
go, but without having to transport
the trucks across the huge distances
involved in Brazil.
The organisational structure of
the 2014 FIFA World Cup places
specific responsibilities on the
different partners.
A large proportion of equipment
remains permanently at each venue,
with a proportion of cameras and
other equipment travelling between
the three venues in a cluster. Likewise,
each venue has its own permanent
crew who work alongside the
travelling crews. Aeroplanes have
been chartered to move crews
and equipment between venues to
ensure a smooth transition between
each match.
FIFA is the competition rights owner.
In turn, FIFA TV is responsible for TV
production and rights sales. HBS Host
Broadcast Services is responsible for
the delivery of the event, including
production. Sony Professional
Europe has been appointed as the
general contractor for the provision
of venue facilities.
Sony has to provide the camera
equipment, working with the HBS
camera crews, and provide the
technical operations crews, working
with the HBS production crews in
the HBS House facilities centres at
each venue. Each facilities centre
then connects to the Technical
Operations Centre, form there to the
International Broadcast Centre in Rio,
and then to the world.
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Technical
facilities at
each venue
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System
Integration
and technical
crews
Sony is working with SonoVTS Broadcast on System Integration (SI) for the
event. This involves detailed planning, designing the container and racks, the
furniture, wiring and air conditioning. Equipment supply includes the permanent
equipment, installation and the peripherals and the “glue” to tie it all together.
There are also build crews for the equipment in Germany and on-site installation.
With the technical crew, Sony is the general contractor, working with the other
companies on system design and commissioning, with crews responsible for
operational maintenance and supply of video monitoring, vision mixers, cameras
and RF systems.
HBS is in charge of overall project management, responsible for the staff and
equipment logistics, technical unit managers and equipment supply of router
control, test and measurement, audio (for main feeds, multi-feeds, unilateral
feeds and infotainment feeds), intercom, EVS and recording.
HBS is also responsible for customer relations with the Media Rights Licensees
(MLRs), the production, operations and support services. This includes the IBC
construction, engineering, telecom, venue operations and logistics.
Key technical
personnel
Each venue has an HBS Broadcast Venue Manager (BVM), responsible for the
overall broadcast operations at the stadium.
Below the BVM, the HBS Production Manager is responsible for the match
production teams, special camera teams, aerial teams, venue-based
production teams and graphics providers. The Production Manager oversees
the needs of the multilateral production teams, liaising with the technical team
and the production team.
The HBS Technical Unit Manager (TUM) is responsible for the technical platform.
The TUM is responsible for the installation of the HBS technical production
facilities. Reporting to the TUM is a Senior Guarantee Engineer Audio, Senior
Guarantee Engineer Video, Technical Director and OB Unit Manager.
Working
with the
production
teams
FIFA’s Dream Team of directors each have a different way of working that
needs to be accommodated by the technical set-up at each venue. Part
of the job is to set-up each director’s production requirements and also to
input these requirements as quick setups. Each director’s requirements can be
accessed at all venues, so if one director and team has to be substituted, they
can be accommodated quickly and easily.
During the commissioning phase of the build, the TUMs were trained on all
equipment/software. After the training, the TUMs of one cluster took charge of
adapting their production unit to their production team’s specific requirements.
At the end of the commissioning phases, base set-ups for all production teams
were completed and, crucially, all components tested.
After arrival in Brazil, the TUM together with the Venue Technical Manager
(VTM) set-up and powered the Equipment Room Container (ERC), which
houses all the technical racks that support the production rooms and
broadcast equipment in the venue. The TUM managed the re-building
process and assisted the permanent technical team in re-establishing the precommissioned system and workspaces, including making sure air conditioning
was supplied. The final pre-production stage was the hand-over to the
technical team and HBS production staff
With 288 cameras, 820 monitors
and 36 switchers, there is a lot of
equipment to source and supply
to the event, ensuring everything
it thoroughly quality-controlled
and set-up identically to the
correct specifications.
Included in the camera list are
Sony HDC Series HD cameras,
from the HDC-1500 through to the
HDC- 2500. In addition, there are
a total of Sony HDC-3300R Super
Slow Motion cameras.
All the equipment from suppliers
and Sony has been quality-checked
to ensure it is set-up in the exactly
the same way. This work has
been conducted at the Sony UK
Technology Centre in Pencoed in
Wales, where Sony manufactures
Checking all
equipment and
moves between
venues
Key
operational
roles
its cameras and other professional
equipment. All 288 cameras have
been run through a sub-set of the
production line test, to ensure that the
Sony cameras coming from different
suppliers all match up.
In order to ensure there is no glut
of cameras that would distort the
market after the event, Sony insisted
suppliers did not have to purchase
new cameras unless they wanted to,
instead they could sub-contract units
from other suppliers. The cameras all
had to reach a minimum specification
to be able to handle the extremes
of humidity and temperature of the
12 venues in Brazil. This policy ensures
that the market remains sustainable
while providing the best quality
equipment for the event.
Prior to the first match at the venue,
the Technical Unit Manager (TUM)
checks with his team that all areas
and systems have been checked
and the production unit is fully
operational. A key role during
the event is the management of
venue-to-venue logistic moves
with the Venue Technical Manager
(VTM), the Venue Logistics Manager
(VLM) and the OB Unit Manager.
The TUM and OB Unit Manager
are responsible that all moving
equipment has been collected
and handed over to the VLM. In
preparation of the move, the TUM,
OB Unit Manager and VLM have to
organise themselves for a smooth
loading operation. After arrival of
the moving equipment, the TUM
has to manage the re-installation
and testing of all equipment and
make sure that the venue is fully
operational for the next match.
The Senior Guarantee Engineer Video
and the Senior Guarantee Engineer
Audio at each venue are responsible
for the rigging and de-rigging of the
video and audio equipment and
systems across the entire technical
platform. These tasks include set-up,
configuration and testing of the entire
multilateral production unit, including
Equipment Room Container (ERC)
racks, production rooms, camera
control racks, the slow-motion unit,
unilateral unit, infotainment unit and
all related internal cabling.
Technical Director is responsible for
the configuration and testing of all
the associated equipment in the
production areas and in charge
of the overall set-up of the main
and additional production control
according to the requirements of
the producer(s), and is the main
contact for the production team for
all technical matters.
The OB Unit Manager is responsible for
the overall operational running of the
project, in particular for the logistical
and crewing issues during set-up,
de-rig and movements during the
operational phase.
The Technical Director is responsible
for the set-up and director
specific set-up of the workspaces
in the production area and for
its operational functionality. The
The HBS Venue Technical Manager
(VTM) is responsible for the technical
teams and for the overall operations
of the technical venue infrastructure.
During the operational phase, there
are dedicated managers for each of
the main technical rooms.
The HBS Broadcast Information
Manager (BIM) is responsible for the
broadcast information office and
broadcaster liaison.
The HBS Venue Logistics Manager
is responsible for all venue-specific
logistics.
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Equipment
supply and
testing
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Permanent
and moving
technical teams
Permanent
and moving
production teams
Within a cluster of venues, each
venue has a permanent team
of seven senior engineers, which
includes the Technical Unit Manager
(TUM), Senior Guarantee Engineer
Video, Senior Guarantee Engineer
Audio, Camera Technician, Audio
Consoles Support Engineer (Lawo), RF
and Comms Support Engineer (WNM)
and EVS Support Engineer (EVS).
Within a cluster of venues, each
venue also has a permanent
production team, responsible
for the day before match day
coverage (MD-1) and infotainment
feeds. The team consists of a
Production Manager, Assistant
Producer, Technical Director, Floor
Manager, five Camera Operators,
a Slomo Operator, Audio Mixer and
two Riggers.
In addition, a moving technical team
moves around between the venues,
following the matches in that cluster.
The moving technical team consists
of the OB Unit Manager, Technical
Director, Senior Camera Technician,
Lead Camera Technician, five
Camera Technicians, Replay Area
Engineer, Communication Engineer,
two Audio Technicians, seven
Riggers, plus technical support for the
unilateral services, infotainment and
RF cameras.
Technical facilities
The basis of the whole operation is a
customised container solution, with 12
identical Equipment Room Containers
(ERCs), plus one back-up ERC from the
FIFA Confederations Cup. Planning and
construction of the ERC is overseen by
HBS Engineering, with the Technical
Unit Managers (TUM) executing
construction of their own ERC.
Alongside the ERC, which is a custom
built 40-foot container with 16 built-in
racks, there is a Main Control Room
for the director and his immediate
production team, a Multi-feeds Control
Room, Camera Shading Room, Slomo
Control Room, Main Audio Control
Room, Infotainment Control Room,
Unilateral Control Room and Technical
Operations Centre.
The moving production team is
bigger. There are eight moving
production teams in total, each
led by one of the FIFA Dream
Team of directors. Two production
teams work within each of the
four clusters. Alongside the 12
permanent production teams
based at each venue, this provides
a degree of back-up should
anyone become ill. During the
initial Group Stage, two of the
Logistics of
moving crews and
equipment
With eight production teams, the
logistics of moving between venues
has been carefully planned. At
least one day is allowed for travel in
between each match, with transport
by charter flight between Host Cities.
47 HBS charter flights provided
by GOL each transport up to
110 passengers, consisting of the
production team, technical team
and liaison team, plus equipment.
three venues in a cluster may be
in action, with one dark. Moving
beyond the Group Stage, the
amount of spare capacity backup increases. For the Final in Rio,
the Sao Paolo venue with all its
equipment is only a couple of hours
away, if the worst happens and
there are any equipment failures.
Alongside the director, each moving
production team consists of: a Multifeeds Producer, Assistant Director,
Vision Mixer, Slomo Producer, Slomo
Operator, Audio Mixer, Multi-feeds
Audio Mixer, Coordinating Producer,
Production Assistant, Highlights
Producer, two Clips Producers,
three Slomo Operators, 21 Camera
Operators (including one for
multimedia, one for remote cameras
and two ultra motion operators),
two Steadicam Operators and two
Steadicam Assistants.
De-rig after the last
matches at venues
The Technical Unit Managers (TUM)
supervise the de-rig, starting the day
after the last Match Day at most
venues. The OB Unit Manager and
Technical Director assign teams,
with one team preparing camera
equipment (fixed and moving) and
the other team starting the de-rig of
operational rooms.
The feeds delivered include the
HBS Enhanced & Refined MultiFeeds concept, dedicated
Extended Basic International Feed
(EBIF) show production and MultiMedia production.
The EBIF show, available only at the
IBC in Rio, provides Media Rights
Licensees (MRLs) with extended
match coverage including the
period before and after the Basic
International Feed (BIF). For the 2014
FIFA World Cup Brazil™, this starts 40
minutes before kick-off and ends 20
minutes after the final whistle.
Multi-Feeds are the feeds made
available to MRLs (according to
their respective MRL rights contracts)
in addition to the BIF/ ESF. They are
formerly known as Super Feeds or
Supplementary Feeds.
There are also Multilateral Feeds
provided and/or coordinated by
HBS for the collective benefit of all
the MRLs or a group of broadcasters
according to their rights contract
with FIFA.
The Permanent Highlights Feed
starts ten minutes prior to kick-off
and offers highlights produced and
made available at the IBC on a
specific channel. These highlights are
updated after every significant action
of play and replayed in a loop.
The PlayerCam Feed offers dedicated
coverage of individual players from
Team A and Team B. Feeds are
independently directed with three
players per team covered in 15
minutes intervals per half.
Additional Feeds include digital
video signals other than the Basic
International Feed/Extended
Stadium Feed and the Multi-Feeds
which are produced by the Host
Broadcaster (for example, the Clips
Compilation Channel).
The Beauty Shot Camera, offers a
fixed camera positioned to shoot
wide-angle ‘beauty’ shots. Installed
in most cases on or under the
stadium roof.
ComCam is a small camera that
provides a shot of the commentators.
This camera is controlled (tilt,
pan, focus and zoom) from the
commentary position, or remotely
from a unilateral OB van.
The goalline technology is provided
by GoalControl.
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Available
feeds
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Audio production plan
Key elements of the audio production
plan were successfully implemented
during the 2010 FIFA World Cup™
in South Africa. The HBS-designed
improved Audio Production Plan,
based on 2010, was recently
successfully tested and is being
implemented in 2014.
The Audio Production Plan includes
Stereo Television International Sound
(TVIS), Stereo Radio International
Sound (RIS), 5.1 Surround MultiChannel International Sound (MCIS)
and Multi-Feed Audio Content.
ORTF (IRT Cross)
Surround Set
Rycote type windshield,
max height 25cm
Rycote type windsheild,
attached to Camera
ORTF Stereo Set
Soft windshield
Camera mic,
soft windshield
X-Y Stereo ambiance Rycote type windsheild
Video production plan
All 64 matches of the 2014 FIFA World
Cup are covered in High Definition
(HD) 16:9 format (with a 4:3 safe
window). The technical standard is HD
1080i/59.94. The match coverage uses
a 37 Standard Camera Plan, including
aerial and Cablecam for all matches,
two Ultra Motion (UM) high frame rate
cameras per match and dedicated
cameras for interview activities.
Two shoot and protect standards are
being used. Wide action cameras
(including Camera 1) will shoot
and protect 4:3. The main action is
framed within the 4:3 action-safe
area, while the 16:9 action is framed
appropriately. Close-up cameras
shoot and protect 14:9, while
providing the best possible framing for
16:9 viewers and having no significant
impact on 4:3 viewers.
16
16
2525
18
18
1010
1111
1919
2424
28
28
6
6
2929
8
8
9
30
30
15
15
22
22
26
26
23
23
27
27
17
17
20
32 20
32
12 13
12 13
4
4
2
2
1
1
9
31
31
3
21
21 33
33
3
5
5
1. Main Camera
13. Playercam right
2. Main Camera Clsoe up
14. Beauty cam
24. Reverse centre pitch level, super slow
motion
3. Main Camera back up
15. Cablecam
25. Reverse centre high, super slow motion
4. 16m high left
16. Aerial Helicopter camera
26. Steadicam left
5. 16m high right
17. Centre line pitch level
27. Steadicam right
6. Tactical camera
18. Reverse corner left, super slow motion
28. Ultra motion far side left
7. Hgh behind goal right
19. Reverse corner right, super slow motion
29. Ultra motion far side right
8. Crane pitch level left
20. 6m left, super slow motion
30. In goal left
9. Crane pitch level right
11. 6m right, super slow motion
31. In goal right
10. Reverse centre left (team camera)
12. Low behind goal left, super slow motion
32. Box camera left
11. Reverse centre right (team camera)
23. Low behind goal right, super slow motion
33. Box camera right
12. Playercam left
7
7
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Glossary
Additional Feeds
The digital video signals other
than the Basic International Feed/
Extended Stadium Feed and the
Multi-Feeds which are produced by
the Host Broadcaster (for example,
the Clips Compilation Channel).
Beauty Shot Camera
A fixed camera positioned to shoot
wide-angle ‘beauty’ shots. Installed
in most cases on or under the
stadium roof.
BIF
Basic International Feed. See also
Extended Stadium Feed (ESF).
BIM
Two possible meanings, depending
on context: 1. FIFA Broadcast
Information Meeting. 2. Broadcast
Information Manager. Each Venue
BIO is run by a BIM.
BIO
Broadcast Information Office. This
office is the central information
point for MRLs at each venue and
at the IBC.
BIP
Broadcast Information Platform. The
BIP is a dedicated section of the FIFA
TV Extranet hosting all broadcastrelated content which will be
activated during event-time.
BLO
Broadcast Liaison Officer. BLOs
provide assistance to MRLs at
the venues during each match.
Responsibilities include the
coordination of pre- and postunilaterals, and generally assisting
commentators and unilateral ENG
camera crews. They are part of the
Broadcast Information Office team.
BVM
Broadcast Venue Manager. Oversees
all broadcast- related matters at the
venues for which s/he is responsible,
including all multilateral and unilateral
requirements in accordance with the
booking requests HBS receives prior to
the event.
Cablecam
A camera position suspended on a
system of ropes and pulleys above
the match pitch.
CCR
Commentary Control Room.
Designated area for the control
of commentary operations at a
stadium. It is located as close as
possible to the commentary position
area. The CCR is the audio circuit
handover point between HBS and
telecommunications.
CIF
Clean International Feed.
Clips Compilation Channel(s)
Channels which give MRLs access
to angles which are not part of the
main match feed (BIF/ESF); these are
available in near real-time.
ComCam
A small camera that provides a shot
of the commentators. This camera is
controlled (tilt, pan, focus and zoom)
from the commentary position, or
remotely from a unilateral OB van.
CSF
Clean Extended Stadium Feed.
Clean (e.g. without graphics) version
of the BIF/ESF.
EBIF Show
The Extended Basic International
Feed Show, available only at the IBC,
provides MRLs with extended match
coverage including the period before
and after the Basic International
Feed. For the 2014 FIFA World Cup
Brazil™, this now starts 40 minutes
before kick-off and ends 20 minutes
after the final whistle.
ERC
Equipment Room Container.
ESF
Extended Stadium Feed. A feed
available to MRLs to offer added
flexibility. This feed now incorporates
the former BIF and is considered the
basic feed.
FIFA
Fédération Internationale de Football
Association, the world governing
body of association football, with
headquarters in Zurich, Switzerland.
FIFA Media Channel
The web-based information platform
from which all media can download
important information on the Other FIFA
Events and the 2010 FIFA World Cup™.
FIFA TV Extranet
A web-based information platform
from which MRLs can download
important information relating to their
broadcasts of the 2014 FIFA World
Cup Brazil™.
for the switching and distribution of
multilateral and unilateral radio and
television signals.
TUM
Technical Unit Manager.
Final
The last match of the 2014 FIFA World
Cup Brazil™ which will determine the
overall competition champion. The
Final wll be played at the Estadio do
Maracana in Rio de Janeiro on 13
July 2014.
MD
Match Day.
TVIS
Stereo Television International Sound.
MD-1
The day before Match Day.
Ultra HD
Ultra HD is a term referring to
definitions higher than HD, for
instance 4K and 8K.
HBS
Host Broadcast Services. The
dedicated host broadcast
organisation of the 2002, 2006, 2010,
2014 and 2018 FIFA World Cups™
and the FIFA Confederations Cup
2005, 2009, 2013 and 2017 (and
FIFA’s host broadcasting consultant
for all Other FIFA Events). HBS is
wholly owned by Infront Sports &
Media, based in Zug, Switzerland.
Host cities
The 12 cities designated to host
matches during the 2014 FIFA World
Cup Brazil™. The cities are: Belo
Horizonte, Brasilia, Cuiaba, Curitiba,
Fortaleza, Manaus, Natal, Porto
Alegre, Recife, Rio de Janeiro,
Salvador and Sao Paulo.
IBC
International Broadcast Centre.
The centre of the FIFA World Cup™
broadcast operations. The IBC will be
located at the Riocentro complex in
Rio de Janeiro.
IBCC
International Broadcast Coordination
Centre. The Broadcast Coordination
Centre for FIFA events other than the
FIFA World Cup™.
IF
International Feed.
Isolated Feeds
Individual feeds made available
to MRLs from cameras used for the
coverage of matches.
MCIS
Multi-Channel International Sound.
MCR
Master Control Room. Located at the
IBC, the MCR is the technical control
centre housing all HBS equipment
MRL
Media Rights Licensee. An
organisation which has been
granted certain media rights to a
relevant FIFA event in a particular
territory or territories.
Multi-Feeds
Feeds made available to MRLs
(according to their respective MRL
rights contracts) in addition to the BIF/
ESF. Formerly known as Super Feeds or
Supplementary Feeds.
Multilateral
One or more feeds and/or services
provided and/or coordinated by
HBS for the collective benefit of all
the MRLs or a group of broadcasters
according to their rights contract
with FIFA.
Multilateral Signal
Television or radio signal produced at
the venue by the Host Broadcaster
and distributed to MRLs.
Permanent Highlights Feed
Feed starting ten minutes prior to kickoff and offering highlights produced
and made available at the IBC on a
specific channel. These highlights are
updated after every significant action
of play and replayed in a loop.
PlayerCam Feed
Feed offering dedicated coverage of
individual players from Team A and
Team B. Feeds are independently
directed with three players per team
covered in 15 minutes intervals per
half.
RIS
Stereo Radio International Sound.
SI
Systems Integration.
SSM
Super Slow Motion.
UM
Ultra Motion high frame rate video
capture.
Unilateral
A feed and/or service provided
and/or coordinated by HBS or a
feed produced by an individual
MRL, for the individual use of the
respective MRL.
Unilateral Camera Positions
Unilateral camera positions platforms,
which provide space for cabled or
hand-held MRL cameras. See also
ENG positions/platforms.
Unilateral Flash Interviews
A service available at each venue.
Interviews will be conducted in
a unilateral flash interview zone,
between the pitch and dressing rooms.
Each interview area will allow the
set-up of up to six unilateral camera
positions. Rules will be decided by FIFA.
Venue
The 12 official 2014 FIFA World Cup
Brazil™ stadiums, plus the IBC.
VLM
Venue Logistics Manager.
VTM
Venue Technical Manager. The main
contact point for all HBS technicalrelated problems at venues during
the 2014 FIFA World Cup Brazil™.
World Feed
The multilateral satellite transmission of
the International Signal.
WHITE PAPER
Glossary
WHITE PAPER
280
Over
2,500
hours
technical facilities staff
supplied by Sony
47 aeroplanes chartered,
50,000+ miles travelled
To 12 different venues in Brazil
of content will be
shot in Brazil during
June and July 2014
The technology being used to
capture the HD footage includes
828
288
36
Sony will carry
4.5 tonnes of
equipment
on each flight
4.5
Half a
million
metres
of cable will
be used at the
tournament
Tonnes
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