Like many professional football players themselves, CBS Sports Lead television director Mike Arnold tries to treat the Super Bowl as he would a regular season game, calling the same shots and camera angles—albeit with many more cameras at his disposal, augmented reality graphics on the field and virtually every part of the playing field mic’d up.
Captivating 3D graphics and electronically inserted field images have become a hallmark of every major live sporting event, but CBS Sports hopes to raise the bar during this year’s NFL Super Bowl LIII telecast on February 3, 2019. The sports network’s graphics team has prepared unique animations and on-field augmented reality (AR) graphic elements that are sure win over viewers in a big way.
This year’s Super Bowl LIII telecast on CBS will be produced and broadcast into millions of living rooms by employing the usual plethora of traditional live production equipment, along with a few wiz bang additions like 4K UHD and an 8K camera for replays, and specially equipped wireless handheld cameras supporting augmented reality graphics and motion tracking on the field. The network said that 115 cameras would be used, 86 for the main broadcast alone, giving viewers an unprecedented television viewing experience.
Although OTT delivery has created a mature market for on-demand scripted shows that leverages the public internet for distribution, the ever increasing and IP-enabled bandwidth available that uses public wireless networks and the public cloud, is opening a new market for live events.With their global reach, the OTTs have the budget to create polished shows, localised for global distribution. However, there is a huge, largely untapped market for minority events that could potentially use social media for distribution, as long as the production costs can be constrained. This is not the world of double-expando mobile units, but a director with a handful of camera operators. An announcement from Sony would seem to address this very market. The company has announced an on-demand cloud production service that provides a complete toolset for multi-platform content creation and delivery. Sony Virtual Production was used to cover Red Bull’s Alpenbrevet motorcycle race in Switzerland. Using only a number of camcorders and a single laptop to access the Virtual Switcher UI, Red Bull could stream the event live direct to social media.
In this series of articles, we will explain broadcasting for IT engineers. Television is an illusion, there are no moving pictures and todays broadcast formats are heavily dependent on decisions engineers made in the 1930’s and 1940’s, and in this article, we look at camera lenses, why, and how we use them.
In this series of articles, we will explain broadcasting for IT engineers. Television is an illusion, there are no moving pictures and todays broadcast formats are heavily dependent on decisions engineers made in the 1930’s and 1940’s, and in this article, we look at the most fundamental element of video – sensors.
Although it was played in a domed stadium, perhaps the biggest challenge for the 400-person strong NBC Sports Group crew in covering Super Bowl LII on February 4 was Minneapolis’ single-digit weather and record snowfall outside. To counter this, NBC Sports built a heated giant tent covering the entire NEP Broadcast truck compound outside the stadium.
Remote studio production and virtual playout centers continue to gain traction around the world as new efficiencies and cost savings have become clear. MySports, a new 4K (UHD) pay-TV sports channel based in Switzerland, now maintains two locations—in Erlenbach and Rossens—that share video, audio and intercom signals at every level to enable precise machine control from afar.