beIN SPORTS FRANCE. PARIS.

Cliente: 
Destino: 
Fecha: 
2012
2015
Presentacion del proyecto: 

In 2012 Unitecnic was in charge of the launching of belN SPORTS 1 and 2, and Max 3 to 10, the first Al Jazeera channels in France. After winning an international public tender in which it had to compete with the leading broadcast engineering companies in the world, Unitecnic developed the design and technical direction and also had to implement a technically highly complex engineering project. The result was one of the most advanced and modern premises in Europe. Since then Unitecnic has made several expansion projects in the centre, including the installation and commissioning of beIN SPORTS 3 in 2014. In addition, from 2012 to 2015 Unitecnic has been responsible for the technical maintenance of the centre.

Solución desarrollada por Unitecnic: 

Throughout different phases BelN Sports’ 3G/HD installations were fitted out with all the equipment needed to address:

  • 3 fully redundant 24/7 playout systems for the three main channels’ broadcasting within the French territory.

  • 3 playout systems associated with the main channels, with manual or automated disconnections, to be broadcasted outside France, where the television rights can vary.

  • 8 redundant playout systems for broadcasting specific events within the French territory.

  • 2 studios with their own production control rooms and a newsroom-studio, in which the newsroom is integrated in to the set, also with its own production control room, installed in 2015.

  • A digital newsroom, with capacity for sixty five journalists.

  • 14 advanced editing rooms, one audio editing room, graphics department, highlights room, and a logging room.

  • 14 booths for commentators.

  •  Master control and signal traffic room.

 

Miranda NVISON in the Technical Room and Master Control:

This is the most redundant installation ever designed by Unitecnic. A single technical room includes seventy-three racks with a state-of-the-art Retex Datalogic cooling system, with front closures in the racks to create cold areas. Another unique feature in this project is the fact that it does not use patches, because the 3G signals are limiting the ideal cable lengths. The project’s various requirements and needs have indeed been a challenge and an incentive for Unitecnic’s professional team.

  • Miranda NVISION 8576 router was installed for the production areas. It features 504 coaxial and 72 fibre optic inputs, as well as 612 coaxial and 72 fibre outputs. The fibre was chosen to cover the distance to the sets, where the Miranda modular cards for signal conversion were installed. This router communicates with a second  router, installed for the playout area, through 24 tie lines going both ways. Two NV9000 controllers (main and redundant) connect the routers to the panels and the automation.
  • The intercom system is shared throughout the entire centre. It includes two Riedel Artist 128 frames with a total of 224 ports. There are sixteen RDSI lines, with their sixteen Riedel codecs, for external communication.
  • The topology of the Ethernet network includes a core with two Cisco Catalyst 6500 (VSS) with various access switches in different points in the centre, and redundant 20Gbps links. The wiring is Cat7, to support up to 10Gbps.
  • Miranda Kaleido-X frame was installed for the MCR department. It has 96 inputs and 8 outputs for signal monitoring.
  • The MCR/Traffic room manages the external signals feeding the controls and the ingest room, via Harris X50, Miranda XVP-3901 and Snell Kudos CVR900 format and frequency converters, thus ensuring the maximum quality for the audiovisual material.
  • The external signal traffic is managed by external companies:
  1. Advalem provides 50 signals (25 redundant) commutable via 25 changeovers associated to 10 frame synchronizers and to 15 Miranda modular converters. They are also in charge of distributing the produced signals, which are twelve for belN 1, 2 and 3, eight for MAX 3 to 10, three backup signals for the MAX channels, one for Mosaic and ten for extra contributions.
  2. Globecast serves twelve signals associated to frame synchronisers and fifteen associated to converters. It also distributes twelve belN 1, 2 and 3 signals, plus four for extra contributions.

 

Snell Kahuna 360 in Studio Control Rooms:

The centre has three control rooms prepared to work in 3G, devoted exclusively to producing sports programmes. They have two associated studios, and a third one that takes up part of the newsroom, which integrates both areas.

  • There are two expanded Miranda Kaleido-X frames for signal monitoring in the control rooms. They have 128 inputs which provide signals to eight screens.
  • Currently there are seventeen cameras: fifteen Grass Valley LDK8000, one of which is wireless, and two Omnicam systems. There are also three full Autoscript teleprompter systems, Canon lenses and Vinten Radamec robotic pedestals.
  • All 820m2 of studios are equipped with wireless sound by Sennheiser and wireless intercom by Riedel. External companies are in charge of lighting and the Watchout for the sets, always working under the direction, and in collaboration with Unitecnic.
  • There are modular frames by Miranda, containing synchronizers, distributors and converters.
  • Video mixers are 4 ME Snell Kahuna 360, redundant with one ME Kahunas.
  • Sound mixing desks are Lawo mc²56, with Dallis cards for analogue audio and AES. They are complemented by a 360 Systems DigiCartE audio server for each control room.
  • Each control room has a 6 channel and a 4 channel EVS XT3 server, two LSM replay panels and one IPDirector. The latter imports rundowns directly from the iNews system at the digital newsroom.
  • Graphics are provided by Vizrt Engines, controlled by Pilot.
  • There is a 208x16 KVM G&D matrix.
  • There are a total of fourteen sound booths with Glensound commentator's consoles.
  • A Highlights room provides edited material for the productions, with three EVS XT3s and eight LSM panels, which generates summaries of games or any other necessary piece at top speed.

 

Pebble Beach Marina automation in the Playout area:

The centre features three identical, fully redundant playouts for three 24/7 sports channels, another three extra playouts associated to them, with varying material depending on TV rights, and a further eight for broadcasting specific events and therefore providing coverage of several games simultaneously.

  • A 144x144 Miranda NVISION 8144 Router was originally installed in the playout area, which communicated with the production router by means of 24 tie lines in both directions. This router was used by all the main channels, while the redundant ones used the production router, therefore the reliability of the final broadcasting was enhanced. In 2013 this matrix was replaced by a Miranda NVISION 8576 in a 288x576 configuration, providing more capacity and versatility to the system. The former router was dedicated to monitoring signals. Finally, in 2014, a backup router was installed, also Miranda NVISION 8576, 288x576. Two NV9000 controllers (main and redundant) connect the router to the panels and automation.
  • Pebble Beach’s Marina is the chosen solution for playout automation.
  • Two Miranda Kaleido-X frames cover any signal monitoring needs, with a total of 112 inputs and 4 outputs.
  • The playout servers are EVS XS.
  • The three main playouts use Miranda Imagestore750 master control and channel branding processors, and LGK-3901, Miranda's modular version, for redundancy. They are remotely controlled by iMC panels. They communicate with the routers and automation through the NV9000.
  • Graphics are generated with four VizRT Engines providing branding and ticker.
  • Legalisers are Harris DL-860 and audio processors are LM2 by Jünger.
  • An emergency switch allows the selection of a loop server should any of the two chains fail; another switch enables the possibility of passing from the main chain to the backup one, which would then feed the two separate final playout chains. During this final part, which is also redundant, the signal is converted to SD and the logos are inserted in HD and SD using Miranda LGK-3901 cards: it is then distributed for monitoring, recording and broadcasting.
  • The eight remaining playouts are simpler, with redundant servers, matrix and logo inserters (also IS750 for the main one and LGK-3901 for the backup one), and with switches between both chains and a single Intuition graphics bay for each channel.

 

EVS Tapeless solution:

An EVS-based tapeless solution was developed for this project, with a file flow system in AVC-Intra100 format. The client had specified that they wanted all processes to be automated, with no manual processes at all.

  • A central 220TB SAN XStore was installed.
  • Process management is carried out using 12 IPDirectors. 
  • 4 XHub3 with eight SDTI ports manage two XNet networks, one for production and the other for playouts.
  • There are 32 XTAccess for third-party file transference and transcoding.
  • Contens ingest is carried out through six 4-channel XS servers and four 8-channel XT3.
  • There are 8 IPDirectors for logging.
  • There are also 2 Digital Betacams, 1 DVCAM HDV, and 3 P2 readers.
  • There is a highlights room equipped with 3 8-channel XT3 servers and 8 LSM panels.
  • Each of the studios has 2 XT3, 1 LSM panel and 1 IPDirector.
  • There are 2 XFiles for material validation in the three main playouts, and two 6-channel EVS XS plus two 4-channel EVS XS servers. The Marina by Pebble Beach automation solution controls the file search, ingest and playout processes. The latter works in collaboration with the MediaGeniX traffic system, from where rundowns and ingest are programmed, and which automatically gives its ID to all files.
  • The eight reduced playout systems have two 4-channel XSs and two IPDirectors, which are also under the control of the Pebble Beach Marina automation.
  • 24 Xedio Clean Edits have been installed for low resolution video editing, while high resolution editing is done with 14 News Cutters. For sound editing there is a Pro Tools/HDX. All this equipment is integrated with the Avid solution in the post-production department.
  • The graphics department includes five Mac Pros with Adobe CS6, two Vizrt Artists, one Viz World 3D Maps Platform, and a Vizrt Media Engine to manage the graphics database.

 

DIVArchive MAM:

The Front Porch DIVArchive was the chosen solution for the IBM digital library. It is managed through MediArchive Director, working along with Pebble Beach and EVS. Four Diva Actors control the content input and output flow. The current storage capacity covers two years’ production. The fibre connecting the various storage devices is 8Gbps.

 

Avid for Video Post-production:

The centre’s post-production is Avid-based.

  • Two interconnected ISIS 5000 frames offer a total 64TB storage capacity.
  • The editing bays and system peripherals are connected to the ISIS by means of two Cisco 4948 switches.
  • Avid Interplay, configured as redundancy cluster, manages content.
  • Two Transfer Managers import and export content to and from the system.
  • There are a total of 14 News Cutters and 24 Xedio Clean Edits for video editing.
  • Four Vizrt Engine Frame Servers enable the integration of video editing and graphics.

 

ProTools for sound post-production:

For sound post-production a Pro Tools/HDX was installed. It works on Mac Pro. It also has a D_Command console, HD I/O interface and Media Composer Video Satellite.

 

Avid iNews digital newsroom:

An Avid iNews system was developed, for the editing of text and news, and to create the programmes’ rundowns.

This system is integrated with EVS and Vizrt. Three teleprompter systems are also under its control.

An iNews Data Receiver gets the news from the main news agencies from around the world. It has 65 clients. 

 

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