Proof of concept: The DFL goes remote, digital and cloud-based in quest for highest quality Bundesliga broadcasts now and in the future

Deutsche Fußball Liga (DFL) subsidiary Sportcast has run several remote production application tests over recent months, one of which was a pioneering global proof of concept (PoC) in which a Bundesliga 2 match between Fortuna Düsseldorf and Eintracht Braunschweig was produced entirely digitally, remotely and cloud-based in parallel with conventional production, using eleven cameras.

SVG Europe spoke to Tim Achberger, Sportcast director of technology and product and to Stefan Hausen, Sportcast technical project manager, about this test, what went on, who was involved, and importantly, what it all means for the future broadcast of Bundesliga.

Why did the DFL decide to do this trial? Why is it important?

Tim Achberger (TA): It has been, and will always be, our goal to produce the Bundesliga and Bundesliga 2 matches in the highest quality. In pursuing this goal we are always looking for ways to incorporate the latest technologies in our future production model.

Not only does the study “Top-Tier Sports Product and its Production in 2030” by the WHU see future potential, but also we see the potential in remote production to structure productions with more synergy in the future and to contribute to saving resources. By testing at an early stage now, we are building up know-how and can thus anticipate the development and also shape the future development of remote production, at the high-quality level we stand for.

What were the challenges?

TA: The PoC was an evaluation of how the production of a real Bundesliga 2 game behaves in the cloud-based AWS environment. Our motivation was to get as close as possible to our real production conditions. This was not only about technical workflows or transmission security, but also about usability for the control room and Slomo operator.

The technical parameters were set according to the minimum requirements of the Bundesliga 2 with 1080p50 in 10Bit 4:2:2 and in sound as 5.1.

The challenge was to find ways and to see how a realisation of the quality level in AWS Cloud was possible, and how pre-tested workflows behave in comparison.

How did you pick your partners for this trial? 

Stefan Hausen (SH): When selecting partners, we relied on the one hand on AWS’ previous experience with various cloud productions and thus realised the production path based on NDI.

For the 10-bit 4:2:2 production path, we were guided by the technical parameters. Here, we were also able to draw on existing partners.

The full list of partners

• Amazon Web Services: Cloud Computing, consulting, project support
• Evertz: Slomo Dreamcatcher, 6 Phase USL 10Bit 4:2:2, training, support
• Grass Valley: AMPP Vision Mixing, Glue Multiviewer 10 Bit 4:2:2, LDX150 USL Camera
• Haivision: Makito X4 Contribution Stream h.264 10 Bit 4:2:2, support
• Logic Media: Consultant and project support
• Riedel Communications: Slomo, 6 Phase USL NDI, training, support
• Solid Stage Logic: Audio mixing in 5.1, training, Support
• Triofilm TV: OB van on site with vision shading, support
• TVN Live Production: Host Remote Centre and project support
• Vidi: Contribution line 1 Gbps
• Vizrt: Vectar+ Vision Mixing and Multiviewer NDI, support

What was the workflow?

SH: The system cameras for the PoC were installed on additional podiums in parallel with the world feed production. The signals from the chip cameras and the audio signals from the microphones were taken from the Triofilm OB world feed truck.

The TVN OB van housed the technical vehicles with the image technology workstations (CCU) and the transmission technology.

The stadium was connected to the cloud via a 1Gbbps direct connection provided by VIDI.

The signal processing of the image mixing, sound mixing, signal distribution and slomo processing areas was executed entirely on cloud computing servers from AWS. Different services from AWS were used as the basis for these broadcast modules.

Production chain high-quality 10 Bit: Quality and production requirements of a Bundesliga 2 production were to be mapped as accurately as possible. This part of the PoC had the highest quality level and priority. All video signals necessary for signal creation had to meet the 10 bit 4:2:2 colour depth.

Contribution in h.264 SRT

Grass Valley AMPP image mixer: The Grass Valley (GV) AMPP system is well advanced in migration and provided image mixer, multiviewer, signal processing and routing on its platform for this test. A 3ME Kayenne Control Panel was integrated into the Remote Center as the hardware image mixer panel.

Evertz Dreamcatcher Slomo with 6-way USL connection: Only the Evertz Dreamcatcher system was considered as a slomo system in cloud-based 10bit 4:2:2 mode with six-way USL support. Three workstations for slomo operators with Evertz DC-RCP-10 control panels were arranged behind the director.

Solid State Logic Audio: Only Solid State Logic was able to offer the migration of a 5.1 capable audio mixing console in combination with a professional hardware panel. A System T S500m panel was installed as the control surface in a sound control room.

Production Chain NDI: The AWS-proven cloud-optimised NDI workflow was shown here. Since the camera operators can naturally only communicate with one director and the 10-bit workflow with Grass Valley and Evertz was prioritised higher, no direct communication between director and camera as well as no tally could be offered in the NDI workflow. A separate room for director and slomo workstations was provided for production.

Use of contribution from PoC 10 bit

NDI  Processing Sienna

Vizrt Vectar+ vision mixer: The Vizrt Vectar+ vision mixer was integrated with a 4 ME panel. The multiviewer was connected via the NiceDCV remote visualization protocol.

Riedel Slomo with six-way USL connection: The Riedel Slomo system with six-phase USL support was realised with three workstations.

What were the results? 

TA: The DFL has recognised the relevance of remote productions and the associated opportunities and has thus given the go-ahead for the testing of remote production concepts.

Due to far-reaching changes in the live sports broadcasting industry, decisions must be made across all production levels regarding the degree of transformation in relation to future-oriented technologies.

How are you taking this trial forward? Where next, and when? 

TA: Our aim is to continue to maintain the highest level of quality. For this purpose, we will test various production models with different remote shares, including with AWS.