2013 - TV Tools

[ VIEWS FOR A BETTER AUDIO AND VIDEO PRODUCTION ]
TV TOOLS NEWSLETTER 2013
ADOBE ANYWHERE
A REVOLUTION IN
POST-PRODUCTION
SANOMA NEWS MODERN NEWS PRODUCTION SYSTEM
ROYAL CARIBBEAN
INTERNATIONAL
NEW LUXURY
CRUISE SHIPS
FILMWORKS
WRC HDPRODUCTION
SYSTEM
MOSKITO
TELEVISION
WORKFLOWS
FOR THE REALITY
PRODUCTIONS
TV TOOLS
NEW FACILITIES
EDITORIAL
CONTENTS
Anything
Anywhere
Anytime
The one network for video,
audio, data and communications
you can rely on.
Online media consumption continues to rise, and consumers are increasingly storing materials on cloud services. Businesses are also utilising
different types of cloud technologies at an increasing rate.
SANOMA NEWS
Modern news production system... 4
SWEDISH TEATRE
New production system................. 6
Less cables, less installation time,
less planning-errors, less user risks,
less operational costs ...
RGB
AJA Ki Pro Rack in action at the last
ever live concert of PMMP..............7
ROYAL CARIBBEAN INTERNATIONAL
New luxury cruise ships................. 8
ADOBE ANYWHERE
A revolution in post-production....10
FILMWORKS
London summer olympics.............12
FILMWORKS
WRC HD production system..........12
TV TOOLS
New facilities.................................14
Faster connection speeds and technological advancements have opened
up opportunities for novel types of media production. What’s more, in the
future, media consumed online will also increasingly be produced online
or with the aid of online resources.
However, transferring production to a cloud platform comes with its own
challenges. Current production formats are relatively heavy for today’s
network connections, and the security of materials becomes even more
crucial than before. One system that is capable of meeting these challenges is Adobe Anywhere. This new post-production platform is reviewed in
the centrefold article of this issue.
In the future, network connections will also be utilised more at the start
of the production chain. Remote productions are gaining popularity across
the world, including in Finland, where this new production method has
already been put to use in couple of projects. In addition to our existing
brand representations, our latest introduction, DYVI, is another example of
IP-based production technology.
MOSKITO TELEVISION
Workflows for the reality
productions.................................... 15
DIRECTOR’S CUT
DC3 audio control room................. 15
YLE
Refurbishment of TV studios
in Tohloppi.....................................16
IN THE SPOTLIGHT
Jori Haara.......................................18
Video
Audio
Data
Communications
TV TOOLS OY:N NEWSLETTER 2013
PUBLISHER
TV TOOLS OY
ITÄLAHDENKATU 15-17
00210 HELSINKI
TEL. +358 9 525 9700
WWW.TVTOOLS.FI
[email protected]
MEDIORNET MODULAR
The Real-Time Media Network
» One fiber-based network infrastructure for
EDITOR-IN-CHIEF
MIKKO KUJALA
sports broadcast productions
» Integration of all video, audio, data and
communication signals
» Full flexibility – free signal-routing without rewiring
2
www.riedel.net
EDITORS
TUOMAS NIEMELÄ
JUKKA KESKI-LOPPI
TRANSLATIONS
PRE-TEXT OY
PHOTOGRAPHY
NO GRAIN STUDIO,
TIMO LUOMANEN
FW FILMWORKS OY,
JARI VUORENMAA
So who can benefit from cloud-based production platforms and remote
production? We believe that they have something to offer customers of all
types and sizes, just like any previous technological breakthrough.
In addition to keeping abreast of new production methods and technologies, we continue to develop and enhance our operations.
Examples include the further development of Toolbox,
our support system, and the Monitor Tool, a monitoring
system which has been a result of our own R&D efforts.
In addition, our advanced project and support operations will be ISO 9001-certified in the near future. With
these enhancements under our belt, we will be able to
respond to our customers’ increasing service requirements with even more speed and efficiency than
before.
Thanks to all our customers for the interesting
projects and diverse service requests that
keep us busy and creative!
TV TOOLS OY
LAY-OUT
EYEBALL GRAPHICS
PRINT
SARASTE SUORA OY
Mikko Kujala
Project Manager
TV Tools Oy
» Intuitive, easy-to-learn operation
VIEWS FOR A BETTER AUDIO AND VIDEO PRODUCTION
www.riedel.net
TV TOOLS NEWSLETTER 2013
3
KVM also features remote access for support and administration.
cluding daily content for the HS.fi website and some 10-20 hours of
material for ISTV each week.
THE PRODUCTION SYSTEM includes the video router, multiviewers
and other signal processing solutions by Evertz. Synchronisation and
THE SYSTEM WAS PUT ON-AIR on 3 December 2012, when the
the waveform monitor are by Tektronix. Riedel intercom covers the
Nelosen Uutiset news programme was relaunched with a new
studio, control room, edit suites, machine room and the newsroom
look from Sanomatalo. Online news streaming was launched at
located on the other side of Sanomatalo. Video, audio and commu-
the same time using the ViewCast streaming server.
nication signals are transferred from the studio to the newsroom
using the Riedel MediorNet system. Only a handful of fibre-optic
TV TOOLS AND FILMWORKS together designed and implemented
cables are needed between the different production units for all the
the news production system in record time, less than four months.
necessary signals. Studio camera robotics are by Telemetrics. The
Nelonen’s existing hardware was installed at the new facilities and
”weather camera” on the rooftop of Sanomatalo is also controlled
integrated into the new system at the same time. These included
by the same system. ENG cameras are from Sony and format used
the iNEWS newsroom system, the Metra Weather system, Reuters
is XDCAM HD422.
receivers and teleprompters. The entire system is monitored with
the Monitor Tool monitoring system by TV Tools.
CONTROL ROOM AUDIO MONITORING is provided by Genelec’s digital DSP monitors and a Lawo mixer. Broadcast mixing is also by
Lawo. Wireless microphones are by Wisycom.
BROADCAST AUTOMATION is provided by the Mosart news automation system. It controls the Evertz video router, Sony video switcher,
SANOMA NEWS MODERN
NEWS PRODUCTION SYSTEM
Lawo audio mixer, EVS video servers, Vizrt graphics system, Telemetrics camera robotics and the lighting console. Rundowns come
directly from iNEWS, and changes are updated on Mosart in real
time. The news control room is manned by three or four persons, instead of the previous team of seven. The production-specific Mosart
templates facilitate flexible use of the system also in non-news productions. Thanks to Mosart, live-to-tape productions can be turned
out by one or two persons. The production system also serves the
production requirements of the Sanoma Group’s other divisions, in-
The Nelosen Uutiset news division moved to the Sanomatalo building from its Tehtaankatu
offices in late 2012. At the same time, FilmWorks took the responsibility to deliver the production
technology for Sanoma News. Technology was upgraded to HD, workflows were optimized, and
the news desk moved to the same location with the Helsingin Sanomat newspaper.
S
ince the building didn’t have a studio unit, new facil-
When the media has been chosen to the story and a rough cut has
ities were built on the seventh floor. A state-of-the-
been produced, editing can be done using the EVS Xedio CleanEdit
art machine room was added to the same floor. The
or Apple Final Cut Pro. CleanEdit is an easy and fast tool for news
space arguably offers the best views of any equip-
editing. It offers all the basic tools for editing, subtitling, adding
ment room in Finland, as the windows overlook Eliel-
graphics, effects and voiceovers. CleanEdit also features the Viz
inaukio square.
THE CORE OF PRODUCTION is the EVS news production system. It
plugin, which allows editors to use Vizrt graphics system in news
stories. For stories requiring more complex editing, Final Cut Pro is
the answer. FCP also includes the Viz plugin for graphics.
offers tools for media ingest, management, editing, playout and
distribution. The production system is integrated into the iNEWS
A number of different user consoles for the news production system
newsroom system using the MOS protocol. Rundowns are designed
were built around Sanomatalo. Some of the user consoles were
in iNEWS, and related media can be linked directly using the EVS
implemented by installing the necessary EVS and Vizrt software on
Xedio Cutter ActiveX plugin within the same user interface. This way,
the news desk workstations, and others were built using the Gun-
journalists, news anchors and producers have access to all the story
termann & Drunck KVM system. The G&D system is redundant and
design and composition tools on a single interface.
includes 16 different user consoles situated around the building. The
4
VIEWS FOR A BETTER AUDIO AND VIDEO PRODUCTION
TV TOOLS NEWSLETTER 2013
5
system, it can be routed anywhere and to any number of outputs (point to multipoint). MediorNet also provides up/down/
cross SD/HD conversions, quad split multiviewers and audio
RGB AJA KI PRO RACK IN ACTION AT THE
LAST EVER LIVE CONCERT OF PMMP
de- and embedding. Each channel has a frame synchronizer,
test pattern and tone. Any one of the system nodes can operate as the sync pulse generator, either by producing the pulse
THE FINNISH BAND PMMP BOWED OUT WITH TWO FAREWELL GIGS
or receiving it from an external SPG.
IN OCTOBER 2013. Held at the Helsinki Ice Hall, the concerts were
THE STAGE IS FILMED using remote controlled Panasonic
plemented by RGB. RGB supplied LED screens in the hall and at the
cameras. Camera signals or mixed video signals are stored
directly to the DVS SpycerBox SAN storage system using the
Softron MovieRecorder software and the AJA Io XT interface.
Mixed video signals are also used as part of the performance,
in which case they are routed to projectors, monitors or RF
modulators by the MediorNet system and distributed to other
areas in the building. Thanks to the negligible 0.5 millisecond
delay of MediorNet, it can also be used to route video signals
produced using live performance and production technologies immain entrance, and cameras and recorders for the live recording of the
event. The concerts were filmed using seven HD cameras and on top
of camera signals, also mixed feed was recorded. The recording was
done using a total of eight AJA Ki Pro Rack file based recorders. The
materials for the two concerts, which each lasted over 2.5 hours, were
delivered to RGB’s client in Apple ProRes 422 1080i format. “We have
found the Ki Pro highly reliable recorders in demanding live concert
and event applications,” says technical director Antti Hietala from RGB.
from the conductor’s camera to all monitors located in the
orchestra pit and on stage.
THE THEATRE INTERCOM SYSTEM is by Riedel. DECT-based wireless beltpacks are part of the Riedel Acrobat system, and the
wired Partyline belt stations and panels are from the Performer
SWEDISH THEATRE
NEW PRODUCTION SYSTEM
series. Motorola walkie-talkies are integrated into the system
44 WIRELESS MICROPHONE
CHANNELS ARE BY WISYCOM.
by RiFace technology, and the entire comms system is centrally
controlled by the Riedel Artist intercom router and panels.
Swedish Theatre (Svenska Teatern) in Helsinki
underwent a complete renovation and
restoration programme. Although the work
was carried out without compromising the
theatre’s heritage, the technical side was
completely renewed. TV Tools was one of the
partners of the refurbishment project.
F
inland’s first Riedel MediorNet signal routing system was
introduced at the Swedish Theatre. Comprising six nodes,
the system provides routing for all video signals in live
performances. The six nodes are installed around the theatre in conjunction with each production unit and they are
connected with fibre optics.
THE RIEDEL MEDIORNET SYSTEM offers unrestricted connection
topology. The number of fibre-optic connections depends on how
many signals are needed. The MediorNet is interfaced and operated
by users as a single large router. Once the signal is connected to the
6
VIEWS FOR A BETTER AUDIO AND VIDEO PRODUCTION
TV TOOLS NEWSLETTER 2013
7
ROYAL CARIBBEAN INTERNATIONAL
NEW LUXURY CRUISE SHIPS
Over the past 15 years, TV Tools has designed and delivered broadcast systems for a total of ten
luxury cruise ships of Royal Caribbean International (RCI). The ten ships were built at the STX
shipyards in Turku and Helsinki. The new Quantum class ships will be built at the Meyer Werft
shipyard in Germany. Although the construction of RCI’s ships is moving to Germany, TV Tools from
Finland will continue to supply the broadcast systems.
T
THE BACKGROUND PROJECTION
OF THE PANORAMA THEATRE IS
IMPLEMENTED WITH 18 CHRISTIE
PROJECTORS.
Net, offering virtually endless possibilities for intercom signal routing.
the Anthem of the Seas, will start in early 2014 at TV Tools facilities.
The broadcast centre can be used to control all on-board broadcast
systems. The Virtual Studio Manager (VSM) system by L-S-B controls
MAINTENANCE is assisted by the Monitor Tool, next generation
the different systems, including all Riedel hardware, the video rout-
monitoring system developed by TV Tools. The solution allows TV
er, multiviewer and signal processing equipment by Evertz, and the
Tools to monitor the systems from Finland in real time. Support is
AJA Ki Pro Rack recorders. The VSM is also used to control projectors
mostly done remotely, with occasional onsite visits.
and screens in different zones.
he first new-generation vessel is called Quantum of the
DIFFERENT AREAS OF THE SHIP will have 22 remote controlled HD
Seas. The on-board broadcast technology has been com-
cameras by Panasonic. The cameras facilitate the recording of differ-
THE ON-BOARD BROADCAST CENTRE allows operators to work on
pletely redesigned for the new ships. Technology is now
ent performances across different venues, including Broadway mu-
two productions simultaneously. The mixed programme is transmit-
HD throughout, and video and audio signalling is provided
sicals in the 1 200 capacity theatre, rock club concerts, and the flying
ted to the on-stage projectors and screens, and recorded or trans-
by a new platform. The heart of the system is the Riedel
dancers of the panoramic theatre located in the aft section of the
ferred to encoders for transmission to one of the 55 IPTV channels
MediorNet signal routing system with its impressive 30-node spec.
ship. At night, the 270-degree glass walls of the panoramic theatre
aboard in the ship.
The system consolidates all on-board broadcast technologies, form-
are transformed into 40-metre wide, 4-metre high projection surfac-
ing a huge router that provides routing for video, audio, ethernet, RS
es which provide background to on-stage performances.
control, intercom and GPI signals. This level of flexibility in signalling
TV TOOLS IS HANDLING THE DESIGN, IMPLEMENTATION AND SUPPORT OF THE BROADCAST SYSTEMS. The system will be pre-built
is unprecedented in on-board broadcast systems. It also offers signif-
THE BROADCAST AND ENTERTAINMENT AREAS are interconnected
at the TV Tools headquarters in Lauttasaari, Helsinki, and factory ac-
icant savings in cable weights, costs and labour. Different broadcast
by Riedel’s intercom systems. The broadcast centre is fitted with a
ceptance testing will be carried out before the system is delivered
systems are connected using exclusively fibre-optic cables. The long-
Riedel Artist intercom router and a base station for the wireless sys-
to the Papenburg shipyard in Germany by the end of 2013. At the
est runs are over 300 metres, which, if implemented with HD copper
tem. In addition, each zone has a dedicated Riedel Performer Partyline
shipyard, TV Tools will carry out final installation, testing, training
cables, would require a great deal more of active hardware.
system. All intercom systems are interconnected via Riedel Medior-
and deployment before the Quantum of the Seas departs for its
8
VIEWS FOR A BETTER AUDIO AND VIDEO PRODUCTION
maiden voyage. System building for the next vessel in the class,
TV TOOLS NEWSLETTER 2013
9
ADOBE ANYWHERE A REVOLUTION IN POST-PRODUCTION
WHAT IS ADOBE ANYWHERE?
1.
2.
A new post-production platform that allows production teams to work
3.
Anywhere runs from within familiar Adobe Creative Cloud applications
and collaborate on productions anywhere and anytime.
and it can be integrated with existing media management and storage
Adobe Anywhere centralizes all the resources and performance onto
systems. Anywhere is currently compatible with Adobe Prelude CC,
one platform. From which they can be shared to users based on their
Premiere Pro CC and After Effects CC.
FROM PROJECT FILES TO PRODUCTIONS
needs in a flexible way.
HOW DOES IT WORK?
1.
ADOBE ANYWHERE CLUSTER
Adobe Anywhere provides a private cloud environment that allows the
x1
whole production team to work together in a secure and flexible way.
Anywhere runs on a centralised storage and server platform located at
Real time dynamic
viewing streams to
team members
the customer’s facilities. It allows secure and efficient workflows to be
built for each production’s requirements. External users can access Any-
Adobe Anywhere
Collaboration Hub
where from any location via a secure connection.
2.
Adobe Mercury
Streaming Engine
Adobe Anywhere Collaboration Hub node and a minimum of three Adobe
bottlenecks of collaboration. They
production contains a collection
are almost necessarily available to
of files, media and edits which
only one user at a time. Other us-
can all be used by all members of
ers have been able to make cop-
the production team. Productions
ies of the project file, but this has
are stored in the database on the
led to manual and complicated
Collaboration Hub server, and the
project and media management.
production media is stored in a
INTRODUCING SHARED PRODUCTIONS
SHARED PRODUCTION
Users can work
with media and
sequences remotely
User log into
a shared production
Adobe Anywhere transforms in-
Media asset
manager
Storage servers
by TV Tools. The cluster features two types of server nodes: at least one
production simultaneously. The
centralised storage system.
x3
Adobe Anywhere is installed on a server cluster supplied and configured
Project files have long been the
dividual project files into produc-
User rughts can be configured to
tions. Instead of a project file, the
fit the requirements of the pro-
user creates an Anywhere produc-
duction in question. Freelancers
tion. This replaces the project files
can also be assigned user rights
of different applications and al-
for individual productions. User
grated into an existing Active
lows several users to work on the
rights management can be inte-
Directory system.
Everyone uses the same collection of folders, assets and sequences
Mercury Streaming Engine nodes.
3.
The media files used on the Adobe Anywhere platform are located in a
4.
The Collaboration Hub is the cornerstone of the Adobe Anywhere plat-
centralised storage system. This can be the customer’s existing system, or
form. It contains a database of productions, projects and metadata. The
alternatively, TV Tools can deliver a suitable storage system to the custom-
Collaboration Hub is also used to control access rights§, send notifications
er for Anywhere use. Media can be imported into the system both by local
to the production team, provide API interface and coordinate the Mercury
and remote users with familiar applications (Adobe Prelude, Premiere Pro
Streaming Engine nodes. These nodes offer users a real-time, dynamic
Versioning is also easier in Adobe
When the production team con-
and After Effects) and viewed and processed even before the transfer is
media stream. The quality of the stream varies depending on the con-
Anywhere productions. Anywhere
sists of several members, a user
complete. Other users can access the media as soon as it is imported into
nection. Local users with high connection speeds will always enjoy full
creates a new version each time
occasionally does something that
the system. It is also possible to import media from external sources such
quality, while remote users may experience varying streaming quality de-
a user makes changes to the pro-
the director or producer doesn’t
as media management systems and watch folders.
pending on the connection speed. The Mercury Streaming Engine nodes
duction. Previously, version control
agree with. While restricting users’
also handle the export of completed edits.
of project files was done by saving
privileges can prevent this prob-
a new version whenever changes
lem, it could also restrict creativity
were made. This approach, while
and lead to a less than optimal
seemingly practical, requires solid
end result. With the version man-
common rules, routines and the
agement feature of Anywhere,
users’ time. The automatic version
restoring a previous, preferred
management provided by Any-
version is simple. This means that
where does it on the users’ behalf
Anywhere both allows space for
and allows them to view and re-
users’ creativity and protects the
store versions with ease.
work already done.
VERSIONING
USER 1
USER EXPERIENCE
Adobe
Anywhere
transforms
The user experience is the
Anywhere interface is run from
tralized platform and flexibly share
workflows from file-based into
same whether the user is in the
within the standard Adobe appli-
them with different users as re-
“file-less”. Users no longer have
same location with the Anywhere
cations, the look and feel of the
quired. The workstation itself can
to manage files manually, as An-
platform, or using the system
apps remains the same as before.
be anything from an full blown
ywhere ensures that the files of
remotely from another location.
The need for having only high
editing suite with video and audio
each production are in the right
Operations are always frame ac-
end workstations is eliminated:
monitoring to a lightweight laptop.
location and available to the pro-
curate and the editing process is
the core idea of Anywhere is to
Media can also be viewed on iPads
duction team.
smooth and without delay. As the
centralise all resources to the cen-
using the Adobe Anywhere app.
COLLABORATE WITHOUT CONFLICTS
SHARED PRODUCTION
JAETTU TUOTANTO
time
USER 2
V1
Open virtual copy
Open virtual copy
EDITS
EDITS
V2
SHARE
SHARE
STOP
OUT OF DATE
GET LATEST (V2)
Resolve any conflicts
SHARE
V3
Adobe Anywhere
provides protection
against uninteded
conflicts or overwrites
KEY FEATURES:
6
6
6
6
6
ENHANCES PRODUCTION WORKFLOWS
PROVIDES ACCESS TO MEDIA FROM ANY LOCATION
ADOBE ANYWHERE IPAD APP FOR CONTENT VIEWING
CENTRALISED PROJECT AND MEDIA MANAGEMENT
A STREAMLINED INTERFACE THAT WORKS FROM WITHIN THE
FAMILIAR ADOBE APPLICATIONS
6 DYNAMIC AND OPTIMIZED IMAGE QUALITY ENSURES REAL-TIME
PERFORMANCE
6 NOTIFICATIONS TO THE PRODUCTION TEAM
6 EASY-TO-USE VERSIONING SYSTEM
6 UTILISES EXISTING SYSTEMS
6 INTEGRATES WITH OTHER SYSTEMS VIA OPEN INTERFACES
6
6
6
6
SCALABLE ARCHITECTURE
COMPREHENSIVE USER RIGHTS MANAGEMENT INTEGRATED WITH
ACTIVE DIRECTORY SYSTEMS
USER INTERFACE CUSTOMIZATION VIA PANELS
ARCHIVING AND RESTORATION OF PRODUCTIONS
Adobe has chosen TV Tools as its Anywhere SI (System Integrator) partner
in Finland. The trained and certified TV Tools team is responsible for the
design, implementation and support of Adobe Anywhere systems delivered
to Finnish customers.
TV TOOLS NEWSLETTER 2013
11
FILMWORKS LONDON SUMMER OLYMPICS
TV Tools designed and implemented a mobile
MCR (Master Control Room) for FilmWorks for its
coverage of the 2012 Olympic Games in London.
T
he system was stationed at the London Media Centre (LMC)
next to Parliament Square. From there, press conferences
from the Olympics were broadcast live and recorded in the
system for later use. Edited material were also produced for
the live broadcasts.
COMMUNICATIONS between and within different locations were implemented with the Riedel Artist intercom system. Intercom panels located in different parts of London communicated over the IP network.
Video infrastructure comprised router, multiviewer and signal processing technologies by Evertz. ”Beauty shot” cameras, which were located
around the city, were also controlled from the MCR.
THE MCR OFFERED SERVICES to various media representatives. Additionally 15 minutes of finished programming was produced at the
centre each day.
IN ADDITION TO THE MEDIA CENTRE, the system included production platforms which were situated in key locations at Olympic venues. From these smaller units, journalists and presenters were able
to produce presentations and interviews that were filmed with Sony
cameras and centrally stored on the EVS XS video server at LMC. All
recordings were also streamed in real time to the DVS SpycerBox SAN
storage system for subsequent editing. Four editing suites were connected to the SAN storage system. Edit suites were rented out - with
in-house editors - to different media outfits.
FILMWORKS WRC HD PRODUCTION SYSTEM
I
n 2006, TV Tools designed and implemented a mobile post-pro-
are produced in two identical copies, one on each SpycerBox. Mir-
duction system for FilmWorks for the World Rally Champion-
roring is done in real time, which means that when the user sees
ship coverage. The system was used successfully for six years
the media, it has already been duplicated. The production is never
at nearly 100 rally events around the world. Rights to the WRC
in jeopardy, even if one of the SpycerBoxes is damaged in transport.
were bought by Red Bull Media House in late 2012, and the
This is DVS’s first mirrored SSD storage system in the world.
company hired the Swiss-based Host Broadcast Services (HBS) to
do the TV production for the 2013 series. HBS chose Finland-based
MATERIAL IS INGESTED using the ENG Soft software by EVS. Produc-
FilmWorks as its partner for the technical implementation of the
tion asset management (PAM) is provided by EVS IP Director. Jour-
production.
nalists and producers can browse and log material with IP Browse
and IP Clip Logger thin clients. Editors receive material selected by
FILMWORKS AND TV TOOLS CONTINUED THEIR LONG-STANDING
journalists directly via the IP Link plugin. Using the Media Exporter
PARTNERSHIP, designing a production system and workflow to fit
plugin, the finished edits are exported directly to the XS video serv-
Red Bull’s requirements. In the new system, the production chain
er for playout, or to the Xsquare transcoder for file delivery. Critical
was upgraded from SD to HD. The basic requirement was that all
components of the EVS production system and the entire production
production material had to be secured in real time throughout the
network are duplicated.
season. The production is run on DVS’s mirrored SpycerBox storage
servers. This SSD-disk-based SAN and NAS system is used in all
stages of the workflow, from ingest to material delivery. The media
12
VIEWS FOR A BETTER AUDIO AND VIDEO PRODUCTION
TV TOOLS NEWSLETTER 2013
13
TV TOOLS HAS NEW FACILITIES
TV TOOLS HAS EXPANDED ITS FACILITIES TO INCLUDE A NEW SUPPORT CENTRE IN PASILA AND AN EXTENSION IN LAUTTASAARI,
WHICH NOW OFFERS 30% MORE SPACE.
The new support centre in Pasila serves both suport staff and customers. Located on the third floor of the RTI building, the facilities
MOSKITO TELEVISION WORKFLOWS FOR THE REALITY TV PRODUCTIONS
In late 2011, Moskito Television, a long-term customer of TV Tools, approached with an interesting
project. The company was about to start producing a new, documentary-style reality TV series,
which would follow the lives of six women, all strangers, over a six-month period. The footage
would be filmed by the women themselves.
new demo room was built for presentation and training purposes. A
T
new storeroom was opened downstairs along with pre-installation
vast volume of material more manageable and gave directors ability
and configuration facilities. The existing installation facilities were
to focus on the essential part – the storytelling. Logging and media
also extended.
management were implemented with the CatDV system.
The Lauttasaari offices now also include an auditorium for seminars
”IHOLLA” SERIES BECAME A TELEVISION HIT, and the third season is
and training sessions for groups small or large. The first event organ-
currently in production. Women are replaced by men in the third sea-
ised at the auditorium was the RTW Loudness seminar. Held in April
son. In addition to Iholla, the same system has been used success-
2013, the two-day seminar was attended by 70 people.
fully in a number of other productions, including Selviytyjät, Viidakon
were refurbished to include workstations for support staff, a spare part
warehouse and meeting room. This means that the TV Tools support
department can now be reached faster and more easily at the Pasila
TV campus. The Pasila support centre opened in spring 2012.
OUR HEADQUARTERS IN LAUTTASAARI were extended in 2013
over two phases. The number of office rooms was doubled, and a
EVS
SPORTS
WE LIVE AND
BREATHE SPORT
We give broadcasters the power to
deliver the world’s greatest sporting
contests. Our rock solid systems are
transforming sports programming,
enriching and monetising live content
for a competitive market.
EVS Sports360° solutions deliver the
most efficient production workflow
for live sports, working in real-time
to ingest, edit and enrich content as it
happens. From our ultra-reliable and
lightning-fast XT3 server range and
Live Slow Motion control panel, to the
groundbreaking C-Cast second-screen
technology, this is the smart way to
win in sports broadcasting.
EVS Sports. Enriched. Live.
14
VIEWS FOR A BETTER AUDIO AND VIDEO PRODUCTION
www.evs.com
V Tools and the production team got together to design
Tähtöset and most recently the Finnish version of Dancing On Ice.
a workflow which would transfer the material filmed by
the women to a centralised storage system and then con-
“Partnering with TV Tools allowed us to design a new kind of work-
vert it to a more editable format. The volume of footage
flow, which made it possible for us to manage huge volumes of ma-
was high, about 40 hours each week. Approximately 20
terial with a compact production team,” says Jive Väänänen, who is
000 clips were produced during the season, requiring accurate and
in charge of production resources management at Moskito Television.
customised metadata profiles to facilitate logging. This made the
DIRECTOR’S CUT DC3 AUDIO CONTROL ROOM
TV Tools designed and implemented a refurbished audio control room for the DC3 studio of
Director’s Cut. The studio is involved in a range of different productions, from talk shows to major
music and entertainment programmes. The different needs of each production type were taken
into account in the design process.
L
awo mc256 was chosen as the audio mixer for the Pasila-based unit. The console features a 40-fader, freely configurable control panel and a redundant Dallis I/O. The system includes fibre-optically connected stage boxes, which
can also be used on other studio floors. Signal routing is
with the audio mixer’s router. The acoustics were redesigned in conjunction with the refurbishment. Audio monitoring is provided by
Genelec 5.1 DSP system.
The control room is currently used for TV productions including Hyvät
ja huonot uutiset, Enbuske ja Linnanahde Crew, and Putous.
TV TOOLS NEWSLETTER 2013
15
provide direct gain control for the microphone inputs of RockNet stage boxes. All channels can be
routed to any output. This means that all audio
produced in-house is connected to a single router
that covers the whole TV centre. Communications
are provided by the Riedel Artist intercom router
and Acrobat wireless comms system.
THE TEN STUDIO CAMERAS are from the Sony
HSC-300 series. CCUs with digital triax connections
can be patched to any studio floor. The two large
control rooms have a Sony MVS-7000X vision mixer, and the monitor walls are also by Sony.
VERSATILITY AND ADAPTABILITY for different
types of productions are facilitated by the Virtual
Studio Manager (VSM) system by L-S.B. The system offers setups for different productions from a
single button press. For example, video and audio
routings, the multiviewers layouts , cameras, the
tally lights of studio and control rooms, and the
booking of facilities. All facilities have VSM control capability, while at the same time, the control
panel of each facility is configured to control facility- and production-specific settings only.
YLE REFURBISHMENT OF
TV STUDIOS IN TOHLOPPI
The TV centre was upgraded with four brand new control rooms, four studio floors, and an
equipment room, and the four existing control rooms were also refurbished. In addition to HD
capability, the core idea was to make the facilities more versatile and adaptable for different
productions.
T
he existing HD video router is now accompanied by Riedel
MediorNet, which provides signal routing between different facilities across the TV centre. Each control room and
studio has a MediorNet node or several nodes. They provide video, audio, ethernet, RS control, intercom and GPI
routing. No video or audio cables were added between the facilities,
only fibre-optic and CAT cables. MediorNet is also integrated with
the Riedel RockNet audio distribution network. It provides stage
boxes and audio interfaces for the studio floors and control rooms.
New SSL audio consoles were fitted in the audio control rooms. They
16
VIEWS FOR A BETTER AUDIO AND VIDEO PRODUCTION
affordable.
reliable.
high performance.
discover the MVS-3000A / MVS-6530
from our successful MVS switcher range
For more information visit
www.pro.sony.eu/switchers
TV TOOLS NEWSLETTER 2013
Sony and ‘make.believe’ are registered trademarks of Sony Corporation.
17
IN THE SPOTLIGHT
JORI HAARA
TV TOOLS BRANDS
Three years ago, TV Tools received an application for a summer job.
The applicant was one Jori Haara, a young ICT graduate. Jori was
Video
quick to show his skills and suitability for joining the professional
team at TV Tools. When the summer job ended, Jori was given a
Aja Video Systems
Autodesk
Cavena
Video cards, mini converters
and digital recorders.
Post production software
and systems.
Subtitling systems and
workstations.
Evertz
EVS
Haivision
Harmonic
Routers, converters, signal
generators, fibre channel, IPTV
and multiviewers.
Video servers, networked
production systems and slow
motion.
IPTV and streaming systems.
Video servers, transcoding,
encoding and head-end.
QuickLink
SVS Broadcast
Tangent Devices
Mobile streaming devices.
IT-based production systems.
Color grading control panels.
Tektronix
Telemetrics
VidCheck
ViewCast
Video and audio measurement,
signal generators and quality
control for file-based media
Camera robotics; dolly tracks,
control systems, pan and tilt
heads.
Quality control and correction s
oftware for file-based media.
Streaming.
Vislink
Vizrt
Wohler
Wireless camera links.
Graphic systems, virtual studios
and publishing systems.
Video & audio monitoring.
Glensound
Lawo
Mandozzi
Riedel
Commentary systems and phone
hybrids.
Audio mixers and routers, video
and audio signal processing.
Audio routers, transmission mixers
and audio transfer systems.
Intercom and signal routing
systems.
RTW
WisyCom
Audio monitoring and
measurement.
Wireless microphones and
intercom.
ADC
Video and audio patch panels
and connectors.
permanent position as a Systems Specialist.
These days, Jori is a familiar sight at the Pasila TV campus. He works
on customers’ broadcast systems, studio and production systems,
®
Miller
and media management systems. Despite his young age, Jori has
Tripods.
solid and diverse expertise. For that reason, he is also responsible
for the introductory training of new systems specialists and is a
member of the TV Tools 24/7 support team.
Makes it happen
Before TV Tools, Jori became familiar with Digita’s systems during his
work placement and was involved in building the test units. Jori’s
strengths include his willingness to learn and adopt new things. He
Audio
says: “What I appreciate most about this job is the rapidly changing
and developing technologies and the chance to put new knowledge
and skills to use.”
In his free time, Jori likes to listen to music, go to gigs and play
computer games.
Data
THE NEW
G&D CONTROL CENTER-DIGITAL
For where you’ve gone
and where you’re going
The new G&D ControlCenterDigital is the KVM Matrix Switch
that’s ready to integrate with
your broadcast equipment and
installations today. Modular and
able to adapt to virtually any
environment, it’s also ready for
the future.
As a modular system,
transmission cards can be CAT or
fiber or both and can be replaced
during operation. Each port is
flexible, to be used as an input
or output. The ControlCenterDigital is cascadeable and
fully compatible with the G&D
DVICenter. Like the DVICenter,
it also provides brilliant video
quality, is intuitive and has an
easy to configure user interface,
a monitoring facility and SNMP.
18
VIEWS FOR A BETTER AUDIO AND VIDEO PRODUCTION
The system supports all relevant
signals – single-link DVI, PS2
and USB keyboards and mice,
audio, USB 2.0 transparent
and RS232. For high video
bandwidths, a dual-link DVI/
Display Port will follow shortly.
A host of other features include
the capacity for multi-monitor
workstations with CrossDisplay
switching, three redundant power
packs (replaceable in operation)
and, of course, G&D’s renowned
solid build quality.
For the stations and studios of
today and for the ever changing
demands of the road ahead,
the new ControlCenter-Digital
from G&D.
Leading the way in digital KVM
www.gdsys.de
Archiware
Arista
ATTO
Axle Video
Backup and archive software.
10Gb & 1Gb ethernet networking.
Thunderbolt, Fibre Channel,
miniSAS, 10GigE and SCSI cards
and interfaces.
Radically simple media management software, that also integrates
to Adobe Anywhere platform.
DVS
EMC
Front Porch Digital
G-Technology
SAN and NAS storage systems and
post production workstations.
EMC Isilon storage systems.
Hierarchial storage management,
media management and archiving
systems.
External hard drives and
storage systems.
GB Labs
Guntermann & Drunck
Logickeyboard
L-S-B
Space NAS storage systems and
LTO archive systems.
KVM solutions and extenders.
Keyboard solutions.
Studio management systems,
VSM (Virtual Studio Manager).
Mosart
Pebble Beach
Sonnet
Square Box Systems
News automation systems.
News and playout automation.
Peripherals and accessories for workstations; PCIe cards, Thunderbolt devices
and media card readers.
CatDV Media Asset Management
Tandberg Data
Telestream
Tolis
Tape drives and libraries.
Transcoding, streaming and workflow automation systems.
Backup and archive software.
Adobe
Apple
Belden
Eizo
Editing and post production
software, and Adobe Anywhere
production platform.
Editing software and workstations.
Video, audio, data, fibre channel ja
triax cables.
Data and video monitors.
Genelec
HP
Neutrik
Panasonic
Speakers.
Workstations, servers, and
ethernet networking.
Connectors and panels.
Cameras, video monitors
and video mixers.
Promise Technology
Qlogic
Quantum
Sony
External hard drives, storage
systems and Thunderbolt devices.
Fibre Channel cards and switches,
and other interface cards.
SAN and hierarchial storage
management systems and tape
libraries.
Cameras, video monitors
and video mixers.
Resale
TV TOOLS NEWSLETTER 2013
19
20
United Kingdom Sales
Germany Sales
+44 (0)118-921-6800
+49 89 2155 2388-1
United
Kingdom
Sales
Germany
Sales
[email protected]
[email protected]
+44 (0)118-921-6800
+49 89 2155 2388-1
[email protected]
[email protected]
Southeast
EuropeSales
Sales
Dubai
Sales
United
Kingdom
Germany
Sales
+385
1-2001-665
+971
4-422-9113
+44 (0)118-921-6800
+49 89
2155 2388-1
VIEWS FOR A BETTER
AUDIO
AND
VIDEO
PRODUCTION
Southeast Europe Sales
Dubai Sales
[email protected]
[email protected]
[email protected]
[email protected]
+385 1-2001-665
+971 4-422-9113
United
Kingdom
Sales
Germany
Sales
[email protected]
[email protected]
Southeast
Europe
Sales
Dubai
United
Kingdom
Sales
Germany
Sales
+44 (0)118-921-6800
+49 89Sales
2155
2388-1
+385
1-2001-665
+971
4-422-9113
+44
(0)118-921-6800
+49
89
2155 2388-1
[email protected]
[email protected]
Hong Kong Sales
+852 2850-7989
Hong
Kong Sales
[email protected]
+852 2850-7989
[email protected]
India Sales
Hong
Kong Sales
+91
+85211-4174-8889
2850-7989
India Sales
[email protected]
[email protected]
+91 11-4174-8889
Hong
Kong Sales
[email protected]
India
Sales
Hong
Kong Sales
+852 2850-7989
+91
11-4174-8889
+852
2850-7989
[email protected]
Evertz Corporate Headquarters
+1-877-995-3700
Evertz Corporate Headquarters
[email protected]
+1-877-995-3700
[email protected]
Australia
Sales Headquarters
Evertz Corporate
+61
3-9558-9377
+1-877-995-3700
Australia Sales
[email protected]
[email protected]
+61 3-9558-9377
Evertz Corporate Headquarters
[email protected]
Australia
Sales Headquarters
Evertz Corporate
+1-877-995-3700
+61
3-9558-9377
+1-877-995-3700
[email protected]