GOL TV to score at Workflow event

Thursday, 26 November 2009

At the IT Broadcast Workflow conference next week you can learn how EVS systems were integrated at Spain's GOL TV, the first Spanish HD tapeless broadcaster, writes Fergal Ringrose.

"Our first consideration was whether to make it an HD centre at all," explained Israel Esteban, who will address next week's conference in London and is Technical Manager at GOL TV's Systems Integrator on the project, Unitecnic. "HD is a big challenge technically. Commercially it has yet to roll out in Spain, and right now the bulk of the international and domestic feeds we receive are SD. Nonetheless the overriding reason we went for it was to establish an HD archive from day one."

Producing and storing in HD also simplified the installation. "You don't need to manage two different files for browse and one final output," said Esteban. "That adds an unnecessary complexity." So as not to lose time integrating different technologies from multiple suppliers, Unitecnic sought a workflow comprised largely of one company's solutions. Although other vendors (including Thomson) were considered Unitecnic felt none offered as much of the jigsaw as EVS.

At its heart are seven HD XT[2] production severs each with six channels (5 x 300GB) managing the ingest of up to 28 incoming feeds. These are linked by standard gigabit Ethernet to an XStore[2] central storage of 30TB capable of holding 500 HD hours (enough for two weeks worth of matches). This set-up can handle 15 live events simultaneously and includes two audio control rooms that can mix up to seven multi-language audio commentaries each at any time.

In order to control the ingest process and manage the production network Mediapro is using 27 IPDirector applications. During live broadcasts four remote LSMs as well as IPDirector workstations are used for the creation of clips and highlights. These workstations are also used for streaming matches and sending clips to various destinations within the network (including an array of twelve CleanEdit basic NLEs for rapid new package and highlight edits or Avid Adrenaline for craft post production). All the media is recorded to the XT[2]s in DNxHD codec at 100Mbps to speed workflow to the Avids.