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 : [email protected] 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
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