The company’s history started back in 1976, with the TV Broadcast institute in Šiauliai (Lithuania), where all the broadcast equipment for CIS countries and OB vans were manufactured for the Moscow Olympic games in the summer of 1980. In 1996, following the Soviet Union collapse, a team of engineers established TVC. Over the years, the company has constantly grown and now works on projects around the globe.

TVN is ThoroughVisioN Pty Ltd, a premium sports and interactive rights management company that specialises in horse racing. To date it manages the thoroughbred horse racing rights for all racing in Victoria and metropolitan Sydney, and seeks to manage other racing rights throughout Australia and globally.

Customer profile: Studios A/S is a leading full service facility provider in Denmark. Its home to TV shows such as Strictly come dancing, Who Wants to be a Millionaire, Allstars, Luxury Trap, MasterChef and many more.

Blues crowned kings of Europe for first time after thrilling shoot-out in Bavaria - All the action at the Allianz Arena was covered by the host broadcaster Sky Deutschland for 238 rights-holding broadcasters and a worldwide audience of 300 mio.

Euro 2016 proved the power of live TV, its capacity to bring people together and its emotional impact across generations. Broadcasters throughout Europe have reasons to be proud of the audience figures achieved during the championship. Live sports events such as the Euros are usually enjoyed on TV sets. However, TV is now available everywhere and on every screen, and more and more viewers can watch games on tablets, smartphones or computer screens – either live or on-demand. The fully audited global figures for the matches will not be known for some time, but broadcasters are already confident that the numbers for the France – Portugal final have surpassed the 299 million viewers worldwide who watched the Spain – Italy final in 2012.

Since BT Sport launched its Ultra HD service in August 2015, the broadcaster’s custom-built Ultra HD vehicle has been at the heart of its game-changing live productions.  Designed and built in close collaboration with OB production partner Timeline Television, the truck – the first of its kind in Europe - has helped BT Sport deliver a range of live sporting events as an immersive cinematic experience to viewers across the UK, from Barclay’s Premiership football, Moto GP to more niche-interest sports such as international championship hockey and Speedway.

For dance music aficionados, Ultra Music Festival and its related events are global hot tickets. Billed as the world’s premier electronic music festival, it attracts elite dance DJs and artists such as Martin Garrix, Hardwell, Avicii, Armin van Buuren, David Guetta, Deadmau5 and Eric Prydz who perform to thousands of people at 18 events across the world, from Croatia to Tokyo.

Currently there are four different ultra-motion camera systems for live productions available in Europe: The Hi-Motion from ARRI Media, the Superloupe from DVS, the SprintCam from i-movix and the Antelope from LMC. We asked all four companies to answer 14 questions and to explain the advantages of their respective camera system. Finally three companies responded. Please find following their answers. This should help you to rent in the right system for your live production. As the recording and playback device (in addition to on-board RAM recorders) all three systems interface to the LSM XT[2] hard disk recorder from EVS.

Challenge

Construct a flexible and versatile production center and control room at space-constrained corporate headquarters with a new state-of-the-art technology foundation that will seamlessly evolve to meet future video consumption and business requirements

Products

▪ Selenio™ MCP media processors with Uncompressed-over-IP (UCIP) modules

▪ Nexio+® AMP™ media servers

▪ EPIC™ MV multiviewer

▪ Magellan™ SDN Orchestrator control system

Built in a mere ten months and inaugurated in 1898, the Vienna Volksoper is the Austrian capital’s other prestigious opera house. It is what Austrians like to call a “repertory theatre”, i.e. a venue that stages opera, operetta, ballet, and musical comedy productions—around 300 shows each season (September through June).

Sky Deutschland has added the popular Sky Sports News 24 channel to its extensive line-up. More than three million subscribers across the Sky Deutschland region in Germany, Austria and Switzerland can now tune in to the dedicated sports channel for 19 hours a day.

No yacht race comes more extreme than the Volvo Ocean Race – encircling the globe over a course of 45,000 nautical miles, facing waves of over 40m and extremes temperature ranges from -5 to 40°C. The 22m length yachts cross 4 oceans in an event stopping at 12 ports as teams battle it out on racing legs lasting more than 20 days across a global course lasting 9 months. And for the crew, all of this with only a single change of clothing! It is perhaps no surprise that this extreme challenge should become a sporting event made for TV viewing.

Reference monitors have a straightforward, yet complex mission: to ensure that “what you see is really what you get”. To function as a real reference, they have to deliver images with an accurate, reliable color balance. In the early 1970s, VRT, the public broadcaster for the Flemishspeaking part of Belgium (6 million people), used Barco reference monitors to guarantee the seamless transition from black and white to color TV production.

Live production isn’t static – it never has been. Workflows and the processes they enable are constantly evolving. With the introduction of UHD-4K, the adoption of IP for the deployment of infrastructures and the roll out of workflows that support new, more immersive consumer-facing formats, outside broadcast facilities are facing more challenges than ever before.

Wige Media, based in Köln, Germany, understands that outside broadcast work places particular strains on camera support equipment. On the one hand they have to be light and manoeuvrable enough to be moved into position, which may be some way from vehicle access and possibly high up in a stand.
On the other hand they have to be particularly stable and rigid as they are often used with very long lenses. The slightest trace of instability in a camera mount when used at the extreme end of an 80x or 100x lens will look like a major disruption.