Live from Champions League: UEFA 4K production powered by Telegenic

The Champions League Final is giving UEFA a chance to showcase 4K and Ultra HD, courtesy of a closed-circuit production that makes use of Telegenic’s T25 OB and its four Sony F55 cameras coupled with Fuji prime cinema lenses and Chrosziel adapters that allows full iris and focus control. “We’ve learned that there is no difference between HD and 4K which is brilliant for the production teams as there is no difference in how they work,” says Eamonn Curtin, Telegenic, commercial manager.

The Sony vision mixer inside Telegenic's 4K-capable T25 OB unit.

The Sony vision mixer inside Telegenic’s 4K-capable T25 OB unit.

There are, however, some modifications being made to the production as the goal is to give Champions League rights holders a chance to evaluate pure 4K images in the production compound. The use of true 4K cine lenses is one such modification and there will also be no DVE moves or wipes.

“We’re keeping it clean and simple to showcase the wow factor of 4K images on the 90-inch Sony 4K screen [in the UEFA Digital Media Showcase area],” adds Curtin. “It’s a true 4K workflow all the way through.”

The four cameras are placed at the traditional camera one and two positions near the center of the pitch as well as an additional camera to the left and right of those. The limitation to four cameras was partially driven by the fact that the Telegenic OB unit only has four cameras.

“We could have gone for more cameras and we will be for productions later in the year but these are our own systems,” says Curtin. “And what’s been proven is that you can sit on the camera one shot because it’s one hell of a shot and you don’t mind staying on it.”

There also isn’t any super slo-mo but EVS replay servers will allow for regular replays.

“We are also trialing the Sony 4K server for iso recording and it records one 4K file so you don’t need to sync four video signals and can edit just the one signal,” adds Curtin.

Curtin’s reference to future productions that will include more than four cameras includes what will arguably be the most important 4K production to date when it happens: next month’s FIFA World Cup in Brazil.

Last summer Telegenic’s T25 OB unit made the trip to Brazil for the Confederations Cup for 4K tests in Belo Horizonte. But next month the plans will be modified a bit as the T25 is already booked for other productions in the UK meaning that the Telegenic team will call a production unit from Brazilian-based Globosat home for the productions.

“Our four 4K cameras and lenses will be used for another job next week and then head straight to the World Cup,” explains Curtin. Globosat will provide four 4K cameras with Fuji Cabrio lenses and then Sony will provide an additional four to bring the complement up to 12 cameras.

“I think that we will get there with regards to having one truck that can do a 4K shoot and then have a dual output of HD, similar to what we’ve done for 3D where we take the left eye,” adds Curtin. “There are still some challenges with lenses and depth of field but the manufacturers are getting there.”

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