A new 4K outside broadcast truck, operated by View Master Events for Live Productions, is now serving sports and cultural events within the Greek market. Built with View Master’s long-term partner and systems integrator Telmaco, and centred around Grass Valley cameras with Riedel infrastructure as well as Ross Video components, the UHD5 is the country’s first native 4K HDR 12G-SDI OB truck.

“We always wanted to be hands-on with the equipment,” says John Zarganis, production and technical director of View Master Events, who adds that the firm had a very clear picture of what it wanted: to be 4K pioneers in Greece. “There isn’t another installation in Greece, whether it’s an OB truck, a portable van, or in a studio, that is 4K native HDR,” he states.

Technical pedigree

View Master is based in Athens, but Zarganis spoke to SVG Europe from Kalamata, where he was on location for the National Dance Festival. The company’s remit is broad, covering concerts in ancient venues, major cultural festivals, and theatre premieres.

Culture obviously is core to the company, but sport is financially more sustainable, and the truck has already seen action on major fixtures. “The Champions League, Europa League, and Conference League all require 4K progressive, and often 4K progressive HDR,” he explains. “The competition here can’t provide that, so contractors have no other choice but to come to us.

“We really love complicated events that require complicated setups, and eventually technical solutions.”

It has a matching partner in Telmaco, an integrator Zarganis has worked alongside for 20 years. “Telmaco has done thousands of installations in big studios, so they knew exactly how to do this, not only operationally, but also sustainably. That was essential for us.

“One of my co-partners is a genius in broadcasting systems. He’s studied technology in-depth and has practical, hands-on experience in both installation and operation. His input was huge, and we had a very clear idea of how we wanted this to work for the end-user.”

Once the technical direction was set, the operational knowledge at View Master Events and Telmaco’s integration expertise proved the perfect match, “along with Grass Valley and Riedel, who really supported us”, adds Zarganis.

Fully native 12G

The decision to go for a 12G single-link approach to 4K was also both technical and practical, and Zarganis says the technology choice impacted UHD5’s internal layout and day-to-day workflow.

“From the very first start, all of the truck is single BNC, 12G native,” says Zarganis. “A lot of companies are upgrading OB trucks using a quad system, but that brings all sorts of logistical issues.

“The main problem is when you switch from HD to 4K. With Quad, you have to take into consideration all your inputs and routing. It requires far more inputs.”

“We really love complicated events that require complicated setups, and eventually technical solutions”

Zarganis observes that there’s far less cabling compared to older trucks, and a huge decrease in the space required for equipment. All signal processing, routing and technical hardware is isolated in a dedicated machine room at the rear of UHD5. That compartment is air-conditioned separately and acoustically isolated, allowing the operational areas to remain calm, quiet and focused.

“With all this new technology and with 12G, you need smaller routers. It became very easy to separate the operational part of the equipment from the actual gear,” he says. “Everything outside [the machine compartment] is just operational panels. Years ago, you had equipment under the desks, but now there might just be a UPS under there and nothing else. If we have a full production, we have 18 people working inside, but it’s comfortable. We spent time and money arranging the inside of the truck to be a cosy environment for people to work.”

Equipment access and configuration are simpler too: “Our IT engineer, if something happens, can enter the truck remotely and tune anything we need.”

Greek architecture

On the imaging front, Telmaco equipped UHD5 with Grass Valley LDX 98 cameras, supplied with a range of premium Fujinon and Canon lenses. “We bought 12 cameras at the same time, from the same batch, so there’s real consistency,” explains Zarganis.

The GV cameras support native 4K UHD capture with high dynamic range and wide colour gamut compliance with ITU-R BT.2020 standards. They can operate across 1.5G, 3G, and 12G workflows, offering 3X and 6X super slow-motion options and simultaneous live and high-speed outputs. Flexibility was the key choice for this model.

“You don’t [have to choose], this is a 4K camera, this is an HD camera, this one is for slow mo,” explains Zarganis. “You just go to the menu, and set it how you want: 4K, HDR, super slo-mo, anything. It’s optimum flexibility with these cameras.”

Grass Valley’s licensing system helps manage investment. “You don’t have to pay for all features up front; if you don’t need 4K for every job, or only need super slo-mo for 10 to 20 productions a year, you only pay for what you need. That flexibility is really helpful.”

A typical football production uses up to 16 cameras, including three or four slow-mo units, wireless Steadicams, and two Sony FR7 large-sensor remote heads. “Everyone’s really happy with the FR7s, you get A-class pictures,” Zarganis notes. “All cameras go out to VAR, and returns come back if the referee wants to see something. It’s a full signal chain.”

At the core of signal routing is a Riedel Micro N UHD system for native 4K HDR distribution, with dual Tektronix SPG8000A sync generators (with automatic changeover) and Tektronix MPS100 waveform monitors for signal management and analysis. Central to live operations is a Ross Carbonite Ultra 60 3ME vision mixer, providing up to 60 inputs and 20 outputs in HD, 3G, or 4K, and acting as the switching hub for all productions.

According to Zarganis, implementing HDR proved to be the most complicated part of the setup. “There are just so many variables you have to consider. Much of it is subjective, not objective, and you’re constantly managing different LUTs,” he explains. “When we worked with the Olympic Channel, it was straightforward because they provided their own LUTs, but during our internal testing, we saw just how complex HDR workflows can become.”

For monitoring, a multi-view plasma wall is entirely reconfigurable through template-based control and software presets, enabling instantaneous recall of director-specific layouts.

“You can redefine every production, change windows and rearrange everything as you like,” says Zarganis. “We usually name the templates after directors, how they want it set up. One will have all the cameras in a single row, and another one wants three-three-three, or four-four-four, one under the other. You just press a button, and it’s recalled.

“Some years ago, you would have to use a variety of equipment to do that. With the signal coming from the camera, you had to route it to a multi-view system that had only a few setups; you’d have to repatch even just to change camera order. All of this is now done through the Riedel. We just connect the output of the CCUs to the digital equipment, then it goes to the multi-viewer and the plasma wall. No need for re-patching or reordering sources.”

The monitoring setup also integrates with record and replay systems, reducing latency and simplifying the signal chain. “There’s an output direct to ISO recording, and direct to inputs, like from SMGs or dark fibre. It’s all connected,” he says. “All the monitoring, recording, VAR; it’s meant to be easy to work with.”

The truck also benefits from Broadcast Solutions’ hi human interface. “With this system, you can restore several setups, such as a monitor stack, an input setup, or some special settings for the cameras,” says Zarganis. “It means only the operators need to be inside the truck; the technical director can log in and record or change any setup from wherever they are.”

Audio comes courtesy of a Stagetec Aurus console and Nexus Star router, with 5.1 surround sound and Dolby E, plus Oratis fibre commentary for multi-language feeds. The comms system features Riedel Artist 1024 and Bolero wireless packs.

Positive vibes

The reaction to UHD5 has been overwhelmingly positive. “Technicians spend time in the truck and are really happy,” says Zarganis. “The equipment is brand new and [enjoyably] challenging. If people feel good inside the truck, they work better. That’s the best feedback we can get.”

So is the UHD5 OB van just a one-off, or the first of many similar 4K trucks? “We are crazy enough to dream of more trucks like this!” laughs Zarganis. “I don’t know how long we will be as crazy, but right now we’re already discussing what we’d do differently next time.”