Results 121 - 135 from 1595 in „Sports”
Sölden, the first stage in the FIS World Cup, was always the occasion for those involved in the world of alpine skiing to announce exciting news that will mark the season. This year, Longines is leading the way as it gets ready to unveil a major advance in timekeeping technology and data handling for alpine skiing. This great stride will be officially inaugurated during the 2017 Alpine World Ski Championships in St. Moritz.
Presteigne Broadcast Hire has provided a complete production solution, including onboard cameras, for Aurora Media’s production of “Six Day Amsterdam”, an elite track cycling event held at the Amsterdam Velodrome from 6-11 December.
Deltatre, the global sport media service company, recently acquired by Bruin Sports Capital, is stepping up its plan for VR and 360 coverage of sports events, building on the early success of what was delivered this summer for major European football tournaments and competitions.
LiveLike, a virtual reality company enabling broadcasters and sports teams to deliver immersive live sports viewing experiences, and Deltatre, a global sport media service company recently acquired by Bruin Sports Capital, have partnered to jointly pursue opportunities to provide digital front-end services for major global sporting events. The collaboration will produce and distribute comprehensive, best-in-class digital and virtual reality solutions, combining the strengths of Deltatre and LiveLike respectively.
TVU Networks announces that Buffalo’s NFL Bills and NHL Sabres teams have been relying on its video transmission solutions for game coverage. Both teams are newly under the ownership of Pegula Sports and Entertainment (PSE) and part of the One Buffalo sports family. The teams now have their own production team of videographers and producers for live coverage of both home and away games. The Buffalo Bills have been using TVU Networks’ TVU One cellular 4G/LTE portable IP video transmitter and TVU receiver as part of its production package for the past few seasons, and the technology was brought forth for use at PSE. The Sabres recently purchased a second TVU One exclusively for use during hockey season, which kicked off in October.
Wazee Digital, a leading provider of cloud-native video management and licensing services, today announced the launch of Wazee Digital Media Hub, the only centralized, web-based system that allows host broadcasters to capture live moments and make them immediately available for global highlights, publishing, and syndication as the event is happening.
OL Images, a subsidiary of the OL Groupe that owns the club and is responsible for its media output, wanted a broadcast-quality HD infrastructure to produce programing for its in-house television channel, OLTV. In addition, it wanted to generate further return on investment by using the same infrastructure to create and deliver matchday content directly to fans’ mobile devices, as well as the two large screens and more than 300 individual monitors located inside the new Parc Olympique Lyonnais.
An important piece of history will be made at the FIFA Club World Cup Japan 2016 (8‑18 December in Yokohama and Osaka) with video assistance being used to support referees with “match-changing” decisions for the first time in a FIFA competition.
On the occasion of the “Istanbul Eurasia Marathon 2016” the participating runners looked on the November 13th toward the Bosporus bridge, ready to start. Three helicopters where circling above, prepared for the live transmission of the world’s only intercontinental Marathon. For suspenseful and up-close live images of the runners cameras were mounted on helicopters and motorbikes.
On 30th November, for the first time Globecast and Imagina France demonstrated Live Remote Production service. This Remote Production offering turns the concept of the traditional supply of a ready-to-broadcast feed from venues on its head. This demonstration brought multiple signals from a French League 1 match from which programming was then created remotely.
The 2016 BNP Paribas WTA Finals Singapore tennis tournament was presented by SC Global and staged at the Singapore Indoor Stadium in Kallang over a seven day period at the end of October. Over 100 Robe moving lights illuminated the court as part of a lighting scheme designed by Michael Chan and Tom Langridge. While Tom ensured that the court was lit specifically for the TV cameras and special requirements like slomo, Michael looked after lighting for the Opening Ceremony and then for general ambience and effects lighting throughout the schedule of matches, including creating WOW-moments for the player entrances.
EUROMEDIA has just concluded a deal with Infront Italy to cover all the World Cup skiing events held in France over the next four years. EUROMEDIA will draw on its human and technical resources to produce, for the first time, the events organised by the FIS (International Ski Federation). They include:
The Olympic Channel is a little more than three months into its true existence but the efforts to get into launch mode, and now into growth mode, began well before it fired up its offering following the closing ceremony of the Rio Olympics on August 21. The digital-first, multiplatform service is designed to give Olympic sports more exposure, fill the gap of Olympic sports fans between the games, and, most importantly, ensure that younger sports fans are engaged with Olympic sports both as a participant and a fan. Mark Parkman, general manager of the Olympic Channel, recently sat down with SVG Co-Executive Director Ken Kerschbaumer to discuss the launch of the channel, what it means to the Olympic movement, and what It means to the industry at large. This is Part One of that conversation.
Media Links, Engineering Emmy® Award winner and market leader in solutions to transport broadcast media and data over IP has announced managing director of EMEA, John Smith, will join the debate about the future of sports production at SVG Europe’s forthcoming FutureSport, to be held at Chelsea Football Club on 30 November 2016.
Once upon a time, television production trucks were like cruise ships on wheels. They pulled into a sporting event, swaggering with self-importance; fifty feet of gleaming metal pulled behind a pavement-buckling Peterbilt that belched diesel smoke and deafened every innocent bystander within a mile’s radius. Once parked, these production trailers began unloading thousands of pounds of equipment and unspooled miles of cable. Inside one these lustrous fifty-foot beasts, you might find a dozen or more crew members, all working away happily, while the truck sucked down power like a thirsty brontosaurus.