Case Study

www.evs.tv

August 2006

Live Edited & DelayedProgram Playout

Studio ProductionEnvironment :

Japan - Fuji TV

"As soon as editing is done,

the program is ready to be on air

without any rendering or data transfer,

which brings significant workflow

improvements."

"Operators and editors were used to

the high-speed operation in a tape base

environment. That's why, in order to be

accepted by our staff, the new tapeless

production systems had to provide them

with a close feeling to the VTR, insuring

in parallel productivity and workflow

improvements."

"I can safely say that the system has

come to the level that meets practically

our requirements."

Satoshi Okazawa

Fuji Television Network recently scored a coverage record of K-1 Grand

Prix and Pride events, in turn creating an industry-wide boom in martial

arts programming. K-1 and Pride are genuine full-contact sports

combining techniques from Figure Skate, F1, Judo, Golf, karate, kick-

boxing, kung fu, and other arts. Fuji Television not only broadcasts

these events live, typically generating ratings of 20% or higher, but also

sponsors competitions that attract 30,000 spectators or more.

Customer requirement:

Fuji TV produces two different delayed programs simultaneously recorded on livefeeds. Each event usually has duration of 2 hours in a day. The final edit program ofFuji TV is 1 hour long including commercials and is released on air with a short delayor later during night. Fuji TV was looking for the fastest and the most reliable tapelesssolution guarantying the success of its broadcast.

Satoshi Okazawa

Video System EngineerTechnical Departmentof Fuji TV

Case Study

EVS solution

All live feeds (directors' cut) produced in HD from the OBtruck located at the arena, are transmitted to the Fuji TVstation via satellite and are directly ingested into thedifferent EVS XT2 HD production and playout servers (6channels in/out). From the instant the live feed recordingprocess starts, the Fuji TV operators and editors teamscan start their production & post production activities.

Each production & playout server provided by EVS isconfigured with a 2 sinc HD recording channels offeringup to 48 audio channels capacity. The director preview ismade available based on 2 EVS XT SD server platforms.Thanks to its native integration with the Musashi DCP-1000 editing systems, all the ingested content is directlyavailable on the different editing stations, allowingeditors to start their edit in parallel. This instant andsimultaneous access to the live media allows Fuji TV tobe much faster, reactive and consequently to improvetheir production process.

As the edits are ready can be instantly sent on air. Theplayout system must be operated in a 100%redundancy mode.

Musashi DCP-1000:Live A/V editingsoftware applicationfully intgerated on theXT[2] servers.

Photron On-AirManager: Stricklymonitors the systemhealth and assemblesOn-Air rolls forprograms playout.

Japan - Fuji TV

Production Workflow

The production process is based on the following equipments from EVS:

• 5 XT[2]: HD production & playout server used for the ingest of the live feed as well as a platformto the Musashi DCP-1000 editing stations.

• 2 XT: SD production & playout server

Case Study

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EVS Broadcast Equipment / Sales & MarketingPhone : +32 4 361 7000 - E-mail : sales@evs.tv www.evs.tv

Benefits

Fully integrated hardware platform with 3rd party machine

The open hardware architecture of the EVS XT platform, allows a seamless integrationwith the Musashi editing system. Three sets of 6 channels HD XT[2] servers are used forediting while two more sets are used for playout. All servers are controlled through RS-422 port. So, the whole process is under strictly controlled by OA managers, ensuringsuperior quality throughout the production and on-air playout.

Instant reactivity for faster editing

Two different video feeds are recorded onto each XT[2] and all the feeds are perfectlylocked to the same timecode. As soon as the feeds are ingested, the server content isimmediately available to the editors in HD native format. Then, all the editors are able tobrowse every frame instantly and edit under the same timecode. Same benefit for audioediting, each machine features up to 48 audio channels with built-in audio router.

No file transfer for edit playout

Editors are working on their corresponding server, directly editing the native mediacontent. No need to wait for the end of the recording process to start editing. While OAmanagers only need to work with EDL which is being shared on the entire editingnetwork, create playlist and send to playout servers directly.

Japan - Fuji TV