Turkish Radio and TV Corporation(TRT) has awarded Ateksis to install a full HD Virtual Studio for TRT Cocuk Channel in Istanbul. We have completed this studio in 4 months and put in the operation in the beginning of April 2009. There are mainly three sets of Sony HDC-1400 camera chain, Sony MVS-8000 video swither, Studer Vista5 audio mixing console, Orad virtual studio HW&SW on Vinten e-heads and Jimmy Jib.
- 7 x Sony HXC-100 HD Studio Camera System
- 3 x Sony BRC-H700 HD Robotic Cameras
- Sony MVS-6000 Production Switcher
- Sony HDW-M2000P HDCAM VTRs
- Sony LMD Monitors
- EVS Slow Motion System
- Miranda-NVision Routing System
- Axon Quad Splitter and Glue Equipments
- Installation, Training and Commissioning
- 600 m2 HD TV Production Studio with Audience
- 10 sets of Sony HDC-1400 Studio Cameras,
- One wireless TX/RX Camera System
- One Robotic Camera System
- Two Camera Crane Systems
- Camera Stabilization System
- Sony MVS-8000 Production Switcher,
- More then 100 Sony LMD series monitors
- Miranda-Nvision A/V Routing Systems
- 5:1 Dolby Digital Sound Recording Studio
- Complete PA and Audio System with Lawo Sound Mixing Console
- Installation, Training and Commissioning
- HD News Studio with 4 x Sony HXC-100 Studio Camera
- HD Production Studio with 3 x Sony HXC-100 Studio Camera
- HD Master Control System with Automation
- Avid News Room System and Ingest & Playout
- VizRT Graphic System
- Front Porch Digital Archive System
- Radio Studio
- SNG VAN
- Installation, Training and Commissioning
- Completed in 2011,
- 5 sets Sony HSC-300 Studio Cameras
- Sony MFS-2000 Production Switcher,
- Harris Routing and Multiwiewer System
- Sony Monitors
- Audio Systems with SSL Sound Mixing Console
- Installation, Training and Commissioning
- Completed in 2010,
- Sony MVS-8000 Production Switcher,
- Miranda –NVision Routing System
- More then 50 Sony LMD monitors
- Audio Systems with Studer Sound Mixing Console
- Installation, Training and Commissioning
Powered by Ateksis for broadcast production infrastructure, Utopia was launched on October 29. A production such as Utopia requires a decent design of audio-visual coverage and innovative technology. High quality and redundant systems are put into use to meet such requirements.
Utopia is on!
A production such as Utopia requires a decent design of audio-video coverage and innovative technology. High quality and redundant systems are put into use in order to meet such requirements.
A great number of cameras was a must not only for creating a unique drama perspective and sensation but also for Utopia itself.
Remote-control cameras are mounted at a lower level in an effort to consolidate Utopia's dramatic shoot. This is how we can shoot contestants at a low angle.
Audio track of each contestant is recorded for 7 days a week and 24 hours a day, and thus all the chats of any contestant can be saved as one single track for a year.
It was imperative to have a different structure than conventional production systems since the devices comprising the system called for an incessant and smooth run throughout the year.
What is Utopia?
A ground-breaking and brand new game show is underway on TV8...
Having never encountered each other before, 15 contestants met to build a life of their dream. Having left their life behind, these 15 contestants will start from scratch and create their own utopia. They share their earnings, expenses and lives. The contestants of Utopia will re-create their lives from scratch with no rule and under totally new conditions. One contestant will be eliminated by vote as a new one will join the ranks on this Utopia journey that will last for months. No one but 15 contestants striving to establish their own order in a Utopia. Neither a cameraman nor someone else! Making effort to build their own world, the contestants will be on live online broadcast for 7/24 with 110 cameras. 110 cameras will record a total of 2304 hours of recording.
A production such as Utopia requires a decent design of audio-video coverage and innovative technology. High quality and redundant systems are put into use in order to meet such requirements. This document includes technical arrangements necessary to enable the Utopia to succeed as a production. The content comprises images, audio and other meta data to monitor, at many angles, what Utopia contestants are up to throughout the day. Huge amount of data is acquired during the production, and efficiently processed on live internet broadcast and shows aired on TV8 for the day. So, it was required to provide top quality software and hardware in order to make sure that the show goes on for 24/7 and 365 days a year.
* A database system to store selected video images and data about all contestants,
* Cameras, microphones, lighting system, directing and broadcast systems,
* Work flow of all events for 24/7
* Website and live broadcast for mobile applications,
* Editing systems for broadcast and online videos,
* Archiving important media,
* Online multicast "video streaming"
The Utopia site is divided into two: A living space where Utopia residents spend time all day long, and technical rooms where all means of production are located.
The Utopia living space consists of following spaces:
* A shelter where contestants live,eat and sleep
* A recreation area, a pond and surroundings where contestants spend time outside the shelter
* A barn with 2 cows and 25 chickens
* A pasture for cows to graze on
* Agricultural land where contestants grow fruits and vegetables
System components were mounted in the main equipment room outside the living space, and 2 connection rooms within the living space but contestants can not have access to, and the major audio and video connections were performed between these rooms.
Connection rooms were situated behind the shelter and the barn. Images from many cameras were gathered in these rooms and conveyed to the main equipment room through single mode fiber cables since coaxial copper cables were unable to transmit picture signals at such a distance.
Electrical/optical and optical/electrical converters of HD SDI signals were products by Axon and Canare. Images from a total of 48 cameras gathered behind the shelter by Axon GFT80 (8 channel electrical to optical converter) were converted by Axon GFR80 (8 channel optical to electrical converter) at the headquarter while Canare EO-100B (E/O-Converter) and OE-101B (O/E-Converter) are put into use and imaged were conveyed to the main equipment room through some cameras around the shelter and the barn, and the cameras in the mid and side sections. Images from a total of 55 cameras through fiber cables and 40 cameras through coaxial cables were transmitted to the main equipment room.
Images from some cameras and audio from microphones were transmitted to the main equipment room through copper cables. There is a speaker system to convey voice mails to contestants in the shelter and outdoor living space.
Copper and fiber local network (LAN) connections enable to keep constant track of humidity and temperature of the system for control and monitoring.
All the cabling of the system was conducted through the main cable channel outside the living space with a surface access between connection rooms and the main equipment room, and subsurface flexible plastic pipes where cameras and microphones were situated.
A great number of cameras was a must not only for creating a unique drama perspective and sensation but also for Utopia itself.
100 pieces of HD SDI cameras with a streaming quality that allows to control through remote-control units help the technical crew to capture multi-angle dramatic scenes. 50 of them are equipped with outdoor shields that ensure thermostat control ventilation and heating.
A 360° camera mounted within the shelter enables to watch the entire shelter live.
Cameras for the shelter
Remote-control cameras were mounted at a lower level (135-180 cm) in an effort to consolidate Utopia's dramatic shoot. This is how we can shoot contestants at a low angle. A limited number of cameras were mounted at a higher angle (300-500 cm) in order to capture a master shot and monitor whatever was going on.
Cameras were covered in colorful foil to camouflage them while some of them were mounted on the profile. Some cameras were positioned in a way to shoot in both directions and sections considering the walls to be built by the contestants in the future.
Outdoor cameras were mounted on robust and fixed posts through guards with thermostat control heating and ventilation while the cables were shielded by running through a pipe. Most of the outdoor cameras with remote control were positioned with lens levels of 25, 130 and 180 cm to reinforce and consolidate Utopia's dramatic shooting. A limited number of cameras were mounted at a higher angle (5-10 m) in order to capture a master shot and monitor whatever was going on.
There were a total of 100 Sony remote control cameras including redundant ones as well as 2 pieces of BRC-Z700, 84 pieces of BRC-Z300, and 14 pieces of EVI-H100S. IR feature of EVI-H100S cameras allows to shoot in dark thanks to the IR vision coming into play when the light is off in the barn and the shelter. BRC-SDP 12 cameras were used with matching mounting kit as an outdoor guard while the reverse ones were covered in a custom-made rubber guard to avoid any water leakage.
Developed for Utopia fans, this multi-lens camera with the ability to shoot surround videos can capture, paste and render panoramic HD videos for live streaming. Viewers can rotate their mobile devices for 360 degree or press on down/up/right/left buttons of browsers and watch live streaming within the shelter.
This camera and the system is provided by Talpa.
Another component to create not only a unique drama scene for Utopia but also a sensation is high quality audio throughout the production. The final audio of the production is composed of a combination of audio recorded from wireless microphones with different settings, and 48 high quality effect microphones.
Each of 15 contestants has an individual wireless microphone, and thus it was required to meticulously plan, design and mount the wireless microphone system in order to have a low-powered transmitter and incessantly gather the voices of the contestants across the entire Utopia area since such microphones are battery powered. To avoid static noise, a frequency spectrum analysis was performed in the location where Utopia would be situated to use the perfect hardware after ascertaining the best frequency intervals.
In addition, a wide diversity antenna system was put into use while the reception of wireless microphones transmitters was optimized. A total of 9 antennas helped to acquire perfect sound off microphones of each contestant even in imperfect positions for the use of wireless microphones such as when they lie down or sit.
Audio track of each contestant is recorded for 7 days a week and 24 hours a day, and thus all the chats of any contestant can be saved as one single track for a year. This is how to have a high quality work flow to minimize human error.
8 wireless microphones are reserved for visitors of contestants, and tested by miking before they check into the contest area. Visitors are photographed and the photos are uploaded on an automatic audio control system.
The system consists of 24 DWT-B01 waist-type transmitters, ECM-77BC miniature lavalier microphone, 12 DWR-R02D dual receivers, 3 WD-850 UHF antenna splitters/combiners and 8 AN-01 UHF antennas.
Wired effect microphones are used in order to capture the noise of media volume, and make use of it for post-production, and capture voices of contestants who can not wear a wireless microphone due to one reason or another. A total of 47 shotgun-type effect microphones are put into use.
Since a part of the microphones are used for outdoor, some custom-made guards were used to make sure they would not be affected by rain or snow as they serve as wind breakers. These microphones were phantom-powered since they are capacitive.
47 pieces of ECM 674 effect microphones and Rycote Windshield Kit were used for outdoor guarding.
All the technical equipment on the site fed on an uninterruptible power supply while the generator steps in when the power is out.
In this room, two crews check on the broadcast for 24/7. 2 directors and 2 camera control operators in the first line of the video mixing desk perform 4 (PGM1/PGM2/ISO1/ISO2) broadcasts. It allows to perform more broadcasts or shoots when needed.
The second line is home to the story editor whose function is to watch the show to sustain the story, and guide 2 meta data operators by his/her side, and help to combine picture, audio and meta data. The third line consists of two audio mixers with fully automatic features requiring no operator.
All operators in the video mixing room can watch images of 95 cameras mounted across the site, and 4 live streaming outlet on multi-screens. This is why 6 pieces of 65 inch screens run in connection with a HD SDI picture matrix. Colored camera notes indicating what camera belongs to what section help to have tally lights on screens, pointing to the fact the selected content is on air. 6 Sony FWD-65W855P 65" BRAVIA Full HD LED screen was used.
Each director chooses his/her PGM and ISO outlets off the matrix panel. There are buttons of cameras for each part of the area on the panel in line with the form on multi screens and painted in same colors. In addition, directors can touch on-screen pictures of contestants, and thus open/close faders of their own channels on audio mixers. The intercom system allows to contact with the relevant camera control operator.
Camera control operator
A camera control operator checks on cameras selected on the matrix panel thanks to 2 remote-control panel in front of him/her. Images of the selected cameras are monitored on two OLED screens, and the cameras are enabled to take desired actions while it is transmitted to the operator by the tally light on the monitor when the same camera needs to be selected for the broadcast. In addition, one can change settings of light, color, filter etc. when needed, and save them on the control panel's memory and recall them. In addition to the intercom system, a test measurement device for these settings is available for each part of the area to contact with the director.
Meta data inlet
This position allows to view 4 live broadcasts divided into four on a LCD screen. Meta data inlets run through a web-based interface software and save all contents with audio and picture for 24/7.
This is where the intercom panel is situated to contact with both director, meta data inlet operators and editors. This panel makes it possible to transmit previously-recorded voice mails on touchscreen computers or its own sound to indoor and outdoor speaker systems. In addition, the touchscreen control (touching rems of contestants), and the pre-audio control of both audio desks allow to severally hear (solo) each contestant before faders.
The picture matrix control panel allows to choose 4 delayed live broadcasts on a screen divided into four on one of 2 picture monitors, and the image of any camera on the other. The keys that turn on/off tally light letting directors and meta data operators know thanks to specific keys on the panel when something major occurs allow to steer live online streaming to previously-selected cameras in case of an undesired situation. The story editor is also able to hear phone calls of contestants.
Two audio mixers directed by automation under normal circumstances are mounted in the video mixing room so as to intervene in case of an emergency or complication (live concert broadcast etc.).
Central device room
Situated right next to the video mixing room, this space is where main cases of all the devices are mounted in 19-inch racks.
Mounted system components
* SPG system;
* HD-SDI picture matrix
* Multiviewer system within HD-SDI picture matrix
* Fiber-made HD-SDI picture converters
* Meta data servers
* Audio mixer and control computers
* 4 x 16 channel audio program and embedders to save ISO pictures
* Wireless microphone system
* HD record and editing prompt
* Frame synchronizers for asynchronous cameras
* Intercom system
* Telephone system
* 360 degree camera processing servers
* Control servers
* Curse-bleeping system for live online broadcast
* Tally control system.
* Encoders for online streaming
Imagine Communication 9RU platinum picture matrix was mounted as 128x48, and there were 2 PX-SXP-64x6 multiviewers in the matrix.
To control cameras, 128-port RS-422 matrix required to run in conjugation with the picture matrix was Nevion SL-D128P+ while it was controlled by the Axon Cerebrum software. In addition to the Cerebrum software that runs on 2 individual servers with supplementary ones, 10 Axon CCP-4801 48 LCD key control panels were used in order to control matrices.
Axon Cerembrum software makes it possible for users to have multi-functional control panels with varying structures. For instance, 2 panels were combined for directors, and painted in the same color with multiviewer screens of all cameras in line with the same collating sequence or assigning them to keys in numerical order led to easy and error-free use.
The picture selected by panels to control cameras is viewed on Sony PVM-A170 OLED picture monitors in front of operators while Sony RM-BR300 remote control unit helps to change pan/tilt/zoom settings of cameras and perform brightness or color control.
in case a camera is selected for one more broadcasts out of 4 for the sake of camera control, then tally lights on the screen will be on and warn operators. Tally controls are performed by Axon Cerebrum system as well while cameras selected on big screens for live broadcast are shown in different tally colors. Turned on or off by a director or a story editor when a major story comes up, the tally light can be viewed both in live broadcast outlets on multiviewer screens and live broadcast monitors divided into four.
Imagine Communication CMN-91-3GB Compact Monitor Series multiformat signal analyzer with integral LCD helps to apply timing settings of all sources and other level settngs.
Multiviewers provide 6 big screens (a total of 95 cameras and 4 live broadcast outlets), and 3 types (live broadcast/recorded, delayed broadcast and emergency/delayed) of screens divided into 4.
B&B and WordClock Axon created by Imagine Communication VSG4SYSV fully-supplemented reference generator system was transmitted through servers to each camera, wireless microphone receivers and audio mixers. Imagine Communication X100-1RU-2PS Dual Channel Intelligent Frame Sync and Converter was put into use to synchronize for IR cameras with no reference inlet.
Yamaha DM-2000 VCM Digital Production Console Dugan-MY16 16 channel automatic mixing cards were used as audio mixers. Effect microphones were directed to analog inlets on which phantom feeds were conducted. Wireless microphone outlets were directed into both consoles as AES by being multiplied by Axon servers. The console control is performed by selecting contestants on touch screens through an automation software developed by TV8 IT group. Dugan-MY16 16 channel automatic mixing card allows to select only contestants that start to speak for nice and smooth transition to the main outlet, and the channel is automatically turned off when they are done speaking.
Both PGM1 and PGM2 audio outlets are combined with 24 wireless microphone outlets severally and with effect microphones in groups for each of 4 live broadcast/recorded picture signals selected for a picture matrix outlet, and a total of 64 channel audio records can be saved on the system thanks to Axon HEB880 16 channel digital audio embedder.
Clearcom ECLIPSE-HX-PICO 36-port intercom system allows to have dialogue among all users and contestants.
Bosch Plena system and speakers were used for indoor and outdoor speaker systems.
Remote control and monitoring system for 24/7
It was imperative to have a different structure than conventional production systems since the devices comprising the system called for an incessant and smooth run throughout the year. Therefore, it was necessary to identify not only fully-supplemented systems but also breaking or underperforming devices. So, the following software items were put into use for control and contiunous monitoring of all devices:
* Axon Cerebrum
* Axon Cortex
* Imagine Communication Navigator
* Yamaha Studio Manager
* Dugan Utility
* Clearcom EHX Eclipse-HX
The mounting of the equipment provided by Ateksis was kicked off in the final week of September 2014 while construction was still under way, and some parts of the system were mobilized within the first 10 days, and some rehearsals were performed on a gradual basis. Following a 30-day intensive effort, the entire system was ready for broadcast in a trouble-free fashion, and kicked off on October 29, 2014. Other systems (video recording, editing and broadcast encoders) of the project were developed and mounted by other companies and TV8 Technology crew.
Communication of Utopia residents in Utopia
As Ateksis, we provide the Utopia contest with all the telephone and message communications through Mitel Mx-One TSE IP-based operator and an IP Dect system by Ascom. The pillar of communications for contestants to make money over the course of the contest is built on a dect telephone by Ascom connected to IP-based telephone switchboard by Mitel. Ascom d62 Dect telephones allow contestants to move swimmingly across the entire contest space...These telephones with IP44 standards are splashing-water and dust resistant. In addition, Ascom d62 Dect is a phone that can receive and send messages... This is how all the calls and SMS can be submitted to contestants...
How does the system work?
The TV management shares a GSM number with viewers as a result of the show's format. It is one single GSM number...Smart Mx-One IP Traffic Manager by Mitel directly submits all calls to contestants after they are processed by a smart audio response system. If a contestant gives a call to someone outside, this smart system steps in to enable him/her to communicate with anyone and the outside world. Those who give a call to contestants or want to buy a product or a service they provide dial a GSM number just like a cell phone number, and the calls are processed by a smart audio response system... This audio response system warns outside callers about the fact that their call would be recorded. All the calls and messages are recorded and filtered if necessary for the security of contestants and the contest itself. Another feature that makes the system unique is the Smart SMS management system by Ascoma. This system allows you to monitor all the messages sent for contestants. Any "SMS" message for contestants are detected by the message management system by Ascom, and submitted to contestants after the content is checked. All the numbers and the content of SMS messages are recorded and retrospectively checked.
Put in a tender in November 2015 and awarded to Ateksis, TJK (Turkish Jockey Club) TV Project was successfully completed before it went on air in HD as of April. This project, whereSony HDC-4300 4K/HD camera was put to use for the first time in Turkey, features a 14-camera mixer console, a show studio and a main control console.
As a part of the TV system offered within TJK’s Istanbul hippodrome, 13 pieces of Sony HSC-300 HD Studio cameras and one Sony HDC-4300 4K/HD were installed. All Sony HSC-300 cameras featured HJ lenses of Canon Broadcast series while the HDC-4300 4K camera was equipped with 76xs Box Type of Lens by Canon Digisuper. This project has helped TJK TV serve as the very first project in which Sony HDC-4300 4K/HD camera was put to use in Turkey.
Here are some other products and solutions adopted as a part of the project: The project involved a Switcher of Sony MVS-6530 3ME while each source in mixing consoles was displayed through monitors by Sony LMD series and some reference monitors by Sony BVM series were put to use for vision control. All routers, multi-viewers and all system connection equipments (Glue) were provided by products of Grass Valley as a part of the system. The 6-channel Playout system was put into force through Grass Valley K2 Dynos that were previously put to use in Ankara locations of TJK TV. The camera assistance equipment featured Vinten products with 33 kg-capacity while one Jimmy Jib Super Kit Camera Crane with 9.1 meters in length was put to use to have more diverse shoots in a studio.
The sound equipment of the system were provided with Allen & Health digital sound consoles while the intercom system, which provides internal communication, was mounted by means of Clear Com. Tektronix’s products were preferred as the testing and measurement equipment of the system.
One wireless camera system by Vislink was put to use in an external fashion within TJK TV's hippodrome as this product brings in flexibility for a wide workspace with regard to outdoor shootings within hippodromes.
A high-performance platform offering flexibility and control in company
Making no concession on quality, HDC-4300 is smoothly integrated with both HD infrastructure & accessories and the world's most advanced 4K live production flows. Optional software upgrades enable to incorporate incredible 4K 2 and HD 8x super slow motion and 4K image capture features into standard HD outlets. This product responds to all the flexibility and control requirements of users in one single high-performance platform.
Mr. Mutlu Kütük, one of Ateksis project directors, underlines the fact that this is a very special project and notes that it is another link of the chain as one of the successfully-completed projects the company takes pride in.
Sony Professional Product Range Sales Manager Mr. Koray Köymen commented: "We are delighted by TJK TV opting to broadcast for viewers through Sony's cutting-edge technology. I would like to thank Ateksis, our solution partner that came out victorious of a competitive tender."
We sat down with TJK TV's General Manager Mr. Erkal Filiz to talk over TJK TV and the project details:
- You are renowned as a senior manager who has previously worked for private TV networks for years. Can you tell us about your new position and yourself in summary?
Dating back to 1985 for TRT, my professional life has been on an incessant run. I would have never thought that this industry would grow to this extent with an ever-increasing dynamism when I started to work for MAGIC BOX (STAR) as the very first private TV network and then SUPER FM as the very first private radio station and founded METRO FM. When I was involved in the foundation and expanding of ATV, the future of the industry began to take form. In addition to TV networks that has gone out of broadcast, a great deal of TV networks and radio stations appeared.
Upon a proposal by SHOW TV, one of the leading TV networks, in 1994, I engaged in a highly comprehensive broadcasting task involving CINE 5 (the very first encrypted TV channel), SHOW RADIO, RADIO 5, RADIO VIVA and RADIO NOSTALJI.
After I joined Group Çukurova following 16 years for SHOW TV and establishment of a platform called DIGITURK by Group Çukurova, I took office this time for a much larger media outlet.
This coincides with the time I started to serve as a Lecturer for Işık University while I worked for TURVAK (Foundation) to share know-how and knowledge and train well-qualified professionals for the industry. In 2010, the need of the Group for Media Infrastructure (studios, management offices etc.) hit the top and all companies of the conglomerate were dispersed. We sought to gather SHOWTV, SHOWTURK, SHOWMAX, LIGTV, LIGTV2, LIGTV3, TURKMAX, ALEM FM and LIG RADIO under one single umbrella.
Thanks to the common use of infrastructure, I had a chance to play an active role in the most comprehensive project of the industry upon the establishment of Ayazağa Premises to create a synergy of rare nature. I called it a chance since it is well known that you do not get to come across with such major projects every day starting from scratch.
This project enabled me to take office for LIGTV, one of the conglomerate's companies, in line with the needs of the time. I left LIGTV in summer 2015 after a hectic period of time spent for the production of more than 5000 sports events including football in particular across Turkey.
Just when I was blowing off some steam after 31 years in my career, an opportunity did arise to work for TJK TV's projects and we have been involved in restructuring since day one for infrastructure, content and technical & administrative matters.
-TJK TV is now an enterprise that meet the top-level broadcasting requirements. Can you provide us with some information about the background and present status of TJK TV? What is the technical infrastructure of Veliefendi Hippodrome like? Any specific features you would like to talk about?
First of all, I have to note that TJK TV began to air horse races in 1976 and "in color TV", as well. So, we are talking about times TRT was in black & white broadcasting solely in a few major cities. Given the fact that TRT delivered the very first TV broadcast in 1968, it is safe to say that TJK TV has kept up with broadcasting. I underline this because this date points to 14 years earlier than the introduction of the very first TV network. In line with the increasing number of hippodromes, the number of mixing consoles has soared and 6 out of 9 hippodromes are currently equipped with a fixed mixing console.
The network did not opt to establish its own broadcasting body as TJK TV has aspired to broadcast horse races live since its inception. Instead, the horse races had been aired in rotation by TELEON, SHOW TV, TRT, KANAL 6, TRT 4, SKYTURK and CINE 5 as of 1992 before they were broadcast by TJK TV on DIGITURK platform as of 2004 and TAY TV, one of Doğan Media Outlet’s companies, as of 2006 as a part of an ongoing deal.
As for today, TJK TV broadcasts and delivers productions in line with the liabilities, mission and vision of the Jockey Club of Turkey. The broadcasting policy is not only comprised of horse races but also of coming up with projects for horse breeding and horse eugenics.
To this end, we designed the network's prototype in line with its purpose. We formulate the scheduling plans accordingly. This called for improvement in infrastructure. We broke ground for the channel's identity through investment projects kicked off a couple of months ago. We introduced standardization for graphic images of races in all hippodromes and helped them feature a modern outlook. We have made sure each and every statistical detail peculiar to horse races is brought to air in the fastest and most comprehensible fashion possible. On the other hand, we established a new studio to host shows in our TV network featured within Veliefendi Hippodrome. A new 14-camera HD mixing console, one main console and a secondary mixing console were put to use for a variety of events within horse tracks, studios and Veliefendi Hippodrome. It is imperative not to rule out the human factor in line with infrastructure upgrades. In addition to in-house training sessions for current employees, we reinforce them with necessary assistance.
In addition, we exert full-range efforts for show and format diversity. We have introduced TV shows, cartoon movies and documentaries concerning horses, horse breeding and races. We draw up programs to contribute to the self-improvement of our own screen stars and increase the coverage of news for the industry.
- Apart from Veliefendi, there are hippodromes in Ankara, Izmir, Izmit (Kartepe), Bursa, Adana, Şanlıurfa and Diyarbakır and you deliver a type of broadcasting that requires a significant racing organization that goes on throughout the year. I know that you have upgraded the one in Ankara. What types of plans do you have in store for other locations?
As you know, TJK TV deals with an intensive live broadcast traffic. In that we are on live air for at least 4 hours in 2 cities on a daily basis. The entirety of such productions is delivered by our own teams. Like I said before, 6 out of 9 hippodromes are equipped with a fixed mixing console. The ones in Istanbul and Ankara provide HD broadcast while we rent HD Live broadcast vehicles for those not equipped with a fixed mixing console. That is how we increase the coverage of HD live broadcast. We formulate plans to invest in introducing HD systems to substitute for mixing consoles with no HD feature. Our goal is to upgrade the mixing consoles of hippodromes located in Izmir, Adana, Bursa and Şanlıurfa. However, I must note that we have to come up with a long-term plane since this calls for a significant budget requirement to renew them all.
In addition, we would like to develop a project to produce a live broadcast vehicle to mitigate the dependence on outsourcing. The racing schedule must allow to do so. I think that we will be able to add this matter on the agenda once the racing schedule is set for 2017.
- What features did you like to be equipped with in technical terms while TJK TV is in a process of investing in projects? Any solution about that?
Each project is unique calling for various features and requirements. Once you put forth priorities and requirements prior to the start of a project, the rings of necessity to be established around will put some light on the scope of the project. The horse race shooting and live broadcast require peculiar details to attend to. This may sound technical but let me provide you with some examples. While cameras and lenses put to use for a football game operate in a range of 150 meters at most, the distance can go over 1000 meters in horse races. While footballers run 30-35 km/h in short distances such as 15 to 20 meters, the "ball", which is the fastest traveling object, can reach a type of pace accounting for 120 km/h. However, this requires quite a short period of time and it takes place within the same frame. As for horse races, the pace hovers around 60 km/h from beginning to end. In that some cameras that are able to capture 1500 frames per second at the finish line have to be put to use to determine the ranking. It is because results may be decided by centimetric differences.
On the other hand, the distance between camera positions and the system control room is to a nominal extent while this may go up to 1500 meters in hippodromes. With a direct impact on signal quality and transmission, this situation determines what cable and infrastructure you are supposed to benefit from. Since races are held outdoors, one has to take into account the difficulty in homogeneous distribution of the light, snow, rainfall etc. when it comes to shootings under lights at night. Such details of physical environment for horse races involve scores of elements ranging from type of cable to tripods, lenses and stabilizers.
Put into force for Veliefendi Hippodrome, the project yielded desired outcomes along with targeted quality and work flows.
- Can you elaborate on this very special and comprehensive project and cooperation with Ateksis?
We kicked off the project after reviewing each item, the details of which I have provided before, for the umpteenth time. With no preference for a specific product, brand, distributor or integrator, we drew up an administrative specification that sets forth procurement procedures, terms and conditions in a clear-cut and comprehensible fashion to meet requirements. We released it in transparency to allow for the entire industry's access.
Many companies accepted our invitation to bid and engaged in the process. In a tender attended by companies that were able to meet all the technical, administrative and financial requirements, Ateksis came out victorious thanks to its compliance. Even though the schedule was hectic by the end of the year, we jointly ran the process including installation within a designated period of time, post-sale services and the launch of the system in a smooth fashion.
The experts by both Ateksis and our institution exerted self-sacrificing efforts as a part of this process handled in line with a type of mentality based on solution partnership. I would like to thank all the specialized technical teams with contributions to the installation, which is the pivotal stage of the project, in the presence of Mutlu KUTUK (Ateksis) and Nizamettin KORKMAZ (TJK TV). God bless each one of them.
- How satisfied are you with the products that are put to use? You have started to put use Sony products for the first time within the body of TJK. What would you like to say about it?
This is a newly-established system. Our opinion has yet to change with regard to the technical specifications of equipments that are put to use as a part of the system. They are all put into practice as we thought they would. They are of use to meet our expectations in their current versions.
I think that all the electronic-mechanic details including structural cabling in particular designed in line with a plan of priority that features flexibility in signal maneuver are mounted and launched in an extremely meticulous fashion.
As you articulated, there are some brands and series that are put to use for the first time at TJK TV as a part of the project. Among them are cameras, switchers and monitors by Sony. I have to express my pleasure with the performance of the cameras and other products that we have begun to use after put in a tender and procured in accordance with our technical specification. Put to use for years in other organizations I have previously worked for, Sony products will be hopefully in force for years to come at TJK TV. I am of the opinion that Sony will come up with positive perspectives in budgeting for such projects with regard to investments we plan to make in the forthcoming years.
- Anything you would like to add?
This was a major project in terms of timing, efficiency, effectiveness and outcomes. The fact that it is one of the crucial building blocks that will constitute the backbone of mid and long-term plans for TJK TV further increases the significance attached to the project.
Availing myself of this opportunity, I would like to thank the administrative, financial and technical departments of both sides including our Department of Procurement for their efforts to put this project into force starting from the first moment when the first syllable, the first drawing and the first words were formulated.
Ateksis entirely brought down the 150-seated conference hall of Türk Telekom as a part of the Tivibu TV Studio Project and morphed it into a 5-camera TV studio stretching over 160 square meters including electricity, construction, air-conditioning, lighting and scenic design equipment.
Equipped with 5 Sony HSC-100 cameras in the studio, this momentous project provides Tivibu with the title of the very first corporation that makes use of Sony PWS-4500 Replay system in Turkey. Viz RT Touch Screen, which is put to use as a part of the project, displays UCL and UEL game statistics transmitted through Delta Tre and makes a difference.
A total of thirty 55-inch Samsung Video Walls in 3x6, 3x3 and 3x1-meter sizes and one 85-inch Samsung Touch screen complement the scenic design of the studio.
The lighting design of the studio was laid out by the engineers of the company Arri, a global leader in studio lighting, in Germany making use of Arri Led Fresnel and LED Sky Panel models.
Wielding a 3ME Sony MVS-6530 model for the drawing board and Sony & Bon brands for the monitors, the project also features the products of Imagine Communication as glue equipments and the products of Grass Valley as Sound and Video Routers.
With a 5.7-meter Stanton Jimmy Jib camera in the studio, Tivibu project also enjoys 4 Standard and 1 Wide Angle Canon lenses by Broadcast series. Osprey Elite Studio-model pedestals by Vinten were used for dollies.
Being delivered by Ateksis over a short period of time in a complete and functional way after designed to serve as a TV studio; this successful project was launched in September 2016. Welcoming the new broadcasting season in a new studio, Tivibu Spor was founded in an effort to let viewers meet UEFA Champions League and UEFA Europa League games, and to present and broadcast sports-themed shows. Tivibu, hereby, has kicked off the new broadcasting season with the very first TV studios within the body of Türk Telekom.
We sat down with Tivibu's TV Cinema and Thematic Content Director, Mr. Mehmet Demirhan to talk over the specifics of the projects:
Tivibu was launched in 2010 in an attempt to provide online digital TV platform services by the instrument of IPTV technology. The network began to air by satellite in 2015. Shows delivered by Tivibu before used to be broadcast in another studio. This project helps us go on with our broadcast in our own studios.
As you know, we used to make use of the studios of another TV network. Operationally, it was challenging. We now have a chance to work in a more efficient way in our own studio. Our renovations efforts will persist with a view to boosting the quality of our broadcast for Champions League and UEFA Europe League games as an official broadcasting corporation and provide our customers with the most diverse content. In addition, we always have had thoughts about creating contents in a variety of themes and we continue to exert efforts in this respect, too.
· What were your expectations from the Tivibu studio project when it was at the idea stage and to what extent have your expectations been met as a result?
While we were concerned about some issues that may have not been settled, we engaged in negotiations with the technical staff of Ateksis in a professional way and managed to overcome the challenges. Within this scope, I can honestly say that Ateksis performed better than we expected.
We have to provide viewers with visual quality standards that can compete with those of sports corporations broadcasting in many countries as an official broadcaster of Champions League and UEFA Europa League games. So, we were in need of top-notch equipments due to the fact that the studio within the Tivibu premises was restricted to a small area. Hence, we have sought to pick high-level equipment to be put to use as a part of the system and we now see that we did a good job. It is safe to say that the outcome is extremely satisfactory.
It was really challenging to entirely bring down a 150-seated conference hall of Türk Telekom and set up a new studio in a short span of time and provide all the necessary materials and technical equipment. Ateksis completed the project before we knew it and made the delivery in a full-fledged fashion. By means of training sessions and technical assistance, Ateksis also did lend help to us to make use of the system in a well-functioning way.