2024 has been an exceptional year for sporting fans, with so many top fixtures. For broadcasters televising these events, the emphasis has been firmly on delivering great footage that captures all the action, in all its glory, so that viewers never miss a key moment.

To achieve the best results, many broadcasters and production companies have relied on technology developed by camera control specialist Videosys Broadcast, which offers a range of products designed to enhance coverage and make life easier for live production crews. Some of these solutions were initially created for specific applications, but thanks to their versatility and ease of use they have now become successful additions to Videosys Broadcast’s standard product portfolio.

Highlighted here are Videosys Broadcast’s Top 5 solutions for sports broadcasters. All of these systems have been deployed this summer and have played an important part in helping broadcasters capture all the excitement of this spectacular summer of sport.

Pan & Tilt Radio Camera System: Designed by Videosys Broadcast’s custom engineering division, this new Pan & Tilt radio camera system made its debut at the 2024 Boat Race and is ideally suited to boat-based sporting events such as sailing, kayaking, rowing and waterskiing. Compact, lightweight and quick to install, the system offers full Pan & Tilt control, with compressed air lens cleaning and control of camera features over the IP radio data links that are already a standard part of today’s broadcast workflows. Each system comprises two mini cameras mounted in different places on the boat. Feeds from each camera are sent to an Outside Broadcast truck on shore via a Videosys Broadcast STX video transmitter, which is enclosed in a custom designed housing. This also contains a video switcher that allows directors to choose the camera feed they want to incorporate into their broadcast. Videosys has designed robust mounting for the camera system so that it stays secure when the boat is in motion and doesn’t get in the way of the crew. The system was well received by Film Nova, who produced live coverage of The Boat Race for the BBC.

Epsilon 4K Camera Control Unit: Videosys Broadcast’s Epsilon 4K Camera Control Unit (CCU) is designed to simplify Radio Camera installation, making it suited to both indoor and outdoor sporting events, particularly those where a fast set up time and secure transmission must be guaranteed.

The system comprises up to two, dual channel fibre receive slot in modules; RF receiver and decoder options (HD – H264 or H265 up to 4K), and Uni or Bi-Directional return camera control. In 4K mode Epsilon features a "Dual Pedestal" licence, which doubles the data rate by doubling the RF bandwidth, thus delivering very high picture quality without increasing latency. With its simple touch screen interface, compatibility with existing Videosys camera control systems, and familiarity with connection nomenclature, Epsilon ensures that multiple camera set-ups can be matched quickly and effectively, with minimum input from operators and vision mixers. The system is primarily configured to operate with the DTC range of transmitters, with optional dual head operation, and it also offers up to four channel Maximum Ratio Combining (MRC) diversity with unparalleled receive performance. Although it can be configured for multi-zone operation, this system really comes into its own with single zone sports such as Volleyball where all users need do is plug in an SMPTE cable.

Videosys Camera Control: Sports that take place in multiple venues simultaneously can be expensive and time consuming to televise because they require a large outlay in staff and equipment. When used as part of a remote production solution, Videosys Broadcast’s Camera Control systems can help broadcasters maximise resources and reduce these costs. A perfect example of this in action is coverage of the British Basketball League 2024 Championships, which are screened on Sky Sports. Broadcast facilities company Timeline provides studio space for the League’s production crew and show presenters at its Ealing Broadcast Centre in West London. It also provides technical personnel and identical flyaway equipment kits incorporating four Sony cameras at each venue. Timeline used a Videosys camera control system consists of an Indoor Unit (IDU) based in Ealing, an Outdoor Unit (ODU) at the venue and a compact Camera Receiver (RXSM-E) mounted on the camera at the venue. The IDU, which is designed to control up to four cameras from one unit, uses either legacy or full ethernet control to integrate into an existing OCP network. When connected to the ODU (a one-watt UHF transmitter) and the RXSM-E camera receiver, the system provides an end-to-end solution from RCP to camera, allowing operators to seamlessly control their camera settings, regardless of their location. Although Timeline unicasts the camera control data between Ealing and each venue, the system is capable of multicasting the same data to all venues simultaneously, provided the equipment used at each event is identical. Videosys’ CCU system can do this because it is fully IP and has built in software that allows set up changes to be made via a web browser. It also supports TCP and UDP delivery, which allows data to be sent over a wide area network with guaranteed latency.

RF Over Fiber: Sporting events that take place over large areas (think golf, skiing and canoeing) can pose real challenges to production crews because the Master Control Room (MCR) where final production takes place is often be a long way from the action. To minimise signal loss, it is important to get the wireless receive antenna as close as possible to the Receiver and Decoder in the MCR. However, when long distances are involved the copper cables that are usually used to transport Radio Frequency (RF) can become part of the problem because they are liable to signal loss. The answer offered by Videosys involves converting RF signals to fibre cable, which can cross much longer distances without reducing signal. Videosys offers two solutions – SMPTE and Tactical Fibre – that allow antennas to be placed up to 1700m away with power on a SMPTE cable or up to 20kms away if powered locally using TAC fibre. With the SMPTE solution, one cable can be rigged for video reception, data transmission and power, thus making it much easier to rig locations such as stadiums and concert halls. Users can also manage all the menu settings and tackle any adjustments needed on the receiver of the UHF transmitter from the base unit, which is usually located in the MCR. Videosys’ TACICAL Fibre solution can be fitted with ST-APC, FC-APC and S2000 connectors. Its advanced features can control the RF-gain stage set-up, while 12V power is provided for down converters, allowing compatibility with DTV and other manufacturer’s products. With this system, the location of antennas and downconverters can be on the start or finish line many kilometres away.

MEDIAEDGE QDCAM Camera Control: Sports production and programming relies heavily on numerous high-speed cameras to provide multi-angle video or free viewpoint video production. Given the large number of cameras required, it is no surprise that there is growing need for an affordable and reliable option that can also be used for UHD programme production. To accommodate this need for high-resolution 4K shooting and high-speed shooting for slow motion playback, Videosys has introduced a new control system for the MEDIAEDGE QDCAM – a high-speed box camera that delivers excellent image quality at a very affordable price. The fibre-based plug and play system, which fits seamlessly into a standard equipment rack, uses intuitive software to automatically configure all the camera and CCU features for the user’s chosen format. Videosys worked closely with MEDIAEDGE to create the new RCP system and fibre implementation, which has resolved the camera’s previously complex set up systems and awkward-shaped boxes that didn’t fit standard equipment racks. It is now much more broadcast-friendly and can be easily incorporated in a standard broadcast workflow.