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SVG Europe

About Sports Video Group (SVG) Advancing the Creation, Production and Distribution of Sports Content.
The Sports Video Group was formed in 2006 to support the professional community that relies on video, audio, and broadband technologies to produce and distribute sports content. Leagues, owners, teams, players, broadcasters, webcasters, and consumer technology providers have joined the SVG to learn from each other, turn vision into reality, implement new innovations, while sharing experiences that will lead to advancements in the sports production/distribution process and the overall consumer sports experience.

Presspool Roberto Landini is the Italian correspondent for SVGEurope.org


The new International tv player is "The Alliance", aimed at the global market, especially European.


Three Italian companies of great blend in October gave life to "The Alliance": One-Tv, Global Production and SBP.
They officially stand as among the largest players in the Italian market and certainly one of the largest in Europe.
One of the major strengths of The Alliance are the technical equipments, which are quite extensive: nine-OB Van in HD including two "brought a dowry" from SBP, four are Global Production's and three One-TV's. Again, speaking of tech details, The Alliance offers four flight case solutions to be transported in special containers, going quietly on scheduled flights.
These OB-Van and flight cases are the same SBP is currently using to manage all the shots of the Moto GP races.

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Mediaset Premium: Soccer Passion

October 2015 

Mediaset, since 1992 with Champions League, has renewed their commitment.
Premium, the on demand pay tv by Mediaset, has the exclusive broadcast rights for the next 2 editions of the UEFA Champions League. Yves Confalonieri, Editorial Contents Director, says: "For us it is clear that the Champions League is not only an investment in tv rights, although quite expensive. It is a real big event. In fact not only it involves the transmissions of the matches in high quality, but also the entire event management, such as pre and post matches from studio. We have added new talents, and we want to return the excitement typical of the stadium.
The choice of the set design in studio also tries to restore the vision of the curve in the stadium, with the conductors virtually present in the venue.

Fabio Cazzaniga, Director of Sports Productions says: "I am managing a team of 45 people with executive producers, an international office that oversees the management of the UEFA contract with all technical specifications (Broadcaster Manual). 145 matches are to be produced and in Italy and we also have an obligation to produce all the matches of the Italian teams, so the home games of Roma and of Juventus. Besides that, we have the ability to integrate all the other matches abroad, I.e. customize the international clean feed with Italian contents.
The commitment is considerable and, for example, in the customization we were asked for a dedicated camera exclusively shooting images to be relayed to the study in Milan that handles pre and post matches, showing images on special monitors walls within the sets and returning a stadium feeling. This camera is usually placed on the second seats row, so we are equipped to bring the viewer more and more "inside the stadium."
Mediaset fields ob-vans to broadcast the international clean feed and even a smaller mobile vehicle to realize the customization for Italian broadcasts. For example, for the recent Roma-Barcelona match we deployed 135 people, talents, technicians and operators, with two control rooms, one dedicated to the international signal and one the the exclusive personalization of the national signal.
In addition, we defined that when our teams play abroad, the people involved in integration images are around 35, and employ more than six cameras.
We want to be less American style and more Italian to enhance the product we have, respecting the Italian character of the parent company profile, Mediaset."

Luca Festa, Executive Director says: "The technical specifications of the Uefa is not compelling, they indicate the use of a mandatory minimum 14 cameras and since we like to do things right, in some cases-as in the first game of the group stage, Roma Barcelona - we deployed as many as 23 cameras.
Commitment is heavy and it took even a spidercam which is an investment for the costs.
Then two mobile production units are involved, the one that governs the international video feed and the one dedicated to the personalization for the Italian market.
Euroscena from Rome is the tech service company that was chosen to cover Roma Barcelona and many other sports events.
In addition to the spidercam we added a Hypermotion, always maximum coverage on the back goal vision and the front; then we use two steadicam, two cameras in reverse shots that capture grimaces, faces and expressions of coaches, plus two cameras pointed directly on the public called "fan reaction" able to catch every public sensation.

The Sports Agency, the editorial working group by Premium, not only has to worry about feeding the various sports channels of Premium, but must also produce stories for the news TG5 and various contributions for Italia 1, then everything broadcast on the FTA channels.
The UEFA today also requires continuous recording of all cameras in XDCAM Isocam since they produce a video magazine linked to the Champions League.
All the signals of the cameras are recorded simultaneously and the two vehicles directed talk to each other on a the network, so each image of each of the two vehicles is provided for the other and feasible for broadcast."

Telerecord UNIT 26

Telerecord from Florence is celebrating 40 years in the market and has built a new mobile unit top quality and technology in the field of Ob-vans for television. This is called "Unit 26", capable of controlling from the bay station up to 24 cameras, but that it can actually handle up to 44. The Unit has already been used in recent months, also for the production of World Cup hockey and bobsleigh (with 34 cameras).

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RAI Serie A soccer: Italy-Malta in Florence

On September 3rd, at the Artemio Franchi stadium in Florence, Italy challenges Malta football team. RAI, the Italian public broadcaster, follows the game as the host broadcaster. The event is part of the series of matches for useful qualification in European Football Championship 2016 in France and is produced by RAI for the UEFA distributing a tv signal to rights holders international broadcasters.

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A whole life for sports directing

Nazareno Balani,director, a whole life for sports (August 2015)

How have shooting tehniques in sports, and directing and the language of images changed in over 40 years? We have picked up some reflections of Nazareno Balani, one of most renowned Italian ports broadcast directors. "Actually all formats have changed, the digital domain has abolished tapes and cassettes, miniaturized equipments, compressed images, revolutionized everything in this field. Once RAI live broadcast of Serie A match was shot with 3 cameras and minor matches with 2. Athletics was shot with only one control room and not with separate control rooms as it happens today. We could assume it was a very personalized direction since there were no guidelines as today, and every country could handle it in his own way. The main change today involves the use of several contemporary points of view with an increasing number of tv cameras on field. This has changed the way to conceive the direction in sports which earlier on was a rather neutral shot. Neverthless if we analize the images shot by the 14 cameras, we realise that 85% of cuts is due to 6 cameras while the others are redundant. And we generally end up with already seen cliches as in soccer shot almost completely beyond half field, or other sports where some shots were abused, as in the case of SpiderCam images. In the past many thought High Resolution could diminish the number of cameras involved, for its inner ability to shoot a great deal of details; but it happened exactly the opposite. Actually in the typical layout of a Serie A match of the 18 cameras requested, camera 1 and camera 2 –covering respectively close and large shots- plus central camera within benches, cover around 60% of total shooting. The rest are secondary cuts and spare images for recording. The audience is used to this multiplied points of view, even if one of the few ocasions in which this is not happening will be the Brasil Olympics wher the oveall number of cameras is decreasing instead of increasing. Today the use of fibre optics allows to transport tv signals to everywhere in the world, so the is no longer a need to have a complete control room on the spot. It is a matter of costs, which tend to become more competitive rather than producing a finished broadcast feed abroad, on the sports venue. Still are to be evaluated the costs and number of the signals. Sometimes we have counted the replays in a single match, up to 85, so multiplying by 3 each foul, and considering up to 30/35 fouls per game, you get to an incredibile number of replays, spoiling the live broadcast. Another recent major change involves graphics which is getting more and more attention with 3D titles and animation. SKY has imposed the typical American style. Today it is very important to master each sports technique, something which in the past was less important in favour of the way the “story” was told. An example is Japan which coded in a precise way all sports shootings; for instance in synchronized swimming they use up to 20 TV cameras which is exactly a double figure in respect the Italian. Another recent change of attitudine involves the fact that today several countries have developed very good operative capabilities which in the past were confined to only few, 3/4, countries. The growing number of tech equipments available on the market, more and more quality oriented and modern, does not cancel the director's creativity who can express himself far beyond the compulsory tech layout. Sports broadcasts still remain the leading area where new av languages and techniques, like raidocameras, dollies, drones and alike are tested before passing on to other TV genres." ...

T-Cube RAI and Tgs from broadcaster to media company

Italian Public broadcaser RAI has an important engineering project, T-Cube (or TTT, Transition To Tapeless), which basically involves the technological infrastructure on a large scale in order to let the different production structures of Rai communicate. All is being integrated within the production and management processes, in file format, with management systems programming (contents) from the moment the product is created, in a fully digital chain, until the airing and long term archiving.

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