Guillermo Jiménez, OBS Director of Broadcast Engineering, explains: “We could customise the automatic content offering based on user preferences, whether by National Olympic Committee, athlete or sport. By Beijing 2022, OBS is aiming to expand this process to as many sports as possible and to open the service to rights holders. Such applications will allow a faster and more efficient turnaround of workflows such as image selection, automatic searching and clipping. Additionally, OBS will use speech-to-text technology to complement and improve the tagging of media assets. The project will combine existing metadata such as the Broadcast Data Feed and video logs with image recognition based on an athlete’s bib. This includes an Automatic Media Description (AMD) pilot based on athlete recognition. Source: 2020 Olympic Broadcasting Services / Mario MartínĪI-led solutions will feature in some broadcast workflows in Tokyo as a way of testing how it will evolve in future. Yiannis Exarchos, CEO at Olympic Broadcasting Services “The Beijing 2022 Winter Olympics may then become a facilitator for its wider use.”
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“It is still relatively early days in the full change to cloud technology, and Tokyo 2020 will mark a first step,” notes Exarchos. It’s likely cloud workflows will form a bigger part of successive Games. While this hesitation is understandable up to a point, due to the known demands of our workflows for high bandwidths, large storage and low latency, we can see again that there is also an inertia factor.” Salamouris speaks of “a certain reluctance among broadcast professionals for intensive content production workflows, especially in the context of live sports. “It is still relatively early days in the full change to cloud technology, and Tokyo 2020 will mark a first step,” Yiannis Exarchos, OBS NBC, planning 7000 hours of coverage, is not. Nonetheless it’s not clear how many broadcasters are taking advantage of OBS Cloud for all or part of their workflow.
It is a major innovation,” says OBS CEO Yiannis Exarchos. “It will make rights holder operations far more efficient, far more productive, less costly and will mean they need fewer people on the ground. The host broadcast’s digital transformation continues with the introduction of OBS Cloud in partnership with Alibaba. In total, OBS will use 3,600 microphones (28 different models). Two new mics were specifically designed for this immersive sound production. This expands on 5.1 surround sound by adding an overhead captured from four hanging ceiling mics with adjustable heights.
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UHD also means an audio upgrade to a standard 5.1.4 configuration “to enable viewers to have a more realistic audio experience”. OBS says that by having natively captured the content in UHD HDR or up-converted to UHD HDR then down-converted again, the final HD signal will offer higher quality across all platforms than if produced in a standard HD production. The HDR standard will be Hybrid-Log Gamma (HLG). OBS has also developed a set of look-up tables (LUTs) to maximise the quality between all cross-conversions (from/to UHD-HD and HDR-SDR). A full ST-2110 platform has been implemented to carry, route and distribute UHD content around the IBC. A new full IP infrastructure has been built to support the transport of signals for the contribution network. OBS is doing this in a single HDR/SDR production workflow that will allow the trucks to generate an HD 1080i SDR output converted from the primary UHD HDR signal. The UHD HDR feeds will be delivered simultaneously alongside a feed in HD 1080i SDR. These sources will be up-converted to UHD HDR and integrated into the main production.
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Only production from seven outside tennis courts will remain in HD, while OBS will also rely on several specialty cameras that at this time can only operate in HD 1080p SDR. “However, this is not something that you can take lightly, especially in our own production environment, since there are so many moving parts that need to be brought together.”Īll 31 host OB vans and 22 fly-away systems have been outfitted to work in UHD HDR from 42 Olympic competition venues. “The technology has reached a maturity level such that we are all confident that it is ready for the Tokyo Games,” says CTO Sotiris Salamouris.
Tokyo is the first Olympics to be fully produced natively in UHD HDR. Source: © 2016 Olympic Broadcasting Services / Cristina Ponce de León View of the MCR within the Contribution, Distribution and Unilateral (CDU) centre at Rio 2016.