Blackmagic Design Case Study: FIBA ​​3×3 World Tour Paris Masters

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Blackmagic Design announced that the FIBA ​​3×3 World Tour 2022 Paris Masters used a multicam OB (outdoor broadcasting) solution featuring the ATEM Constellation 8K live production switcher.

The 2022 tournament will be the 11th edition of the 3×3 (three-a-side basketball) Masters format, with 12 events taking place around the world. Stop and Go Production, a sports production specialist based in Toulouse, France, provided outdoor broadcast support for the first Paris Masters event at the Carraud du Temple.

The OB van, which was designed and built in-house over the course of six months, can accommodate up to four engineers and is compatible with 4K IP and SDI-based hybrid production workflows.

Stop and Go Production’s Olivier Guza commented:

Guza: In the future, we wanted to build a scalable next-generation workflow that could accommodate new markets such as festivals, concerts, and theater.

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Guza said he also sees an increasing number of federations and leagues running their own platforms.

Guza: Many sports don’t have the TV rights and instead choose to broadcast on their own media platforms and receive subscription fees. And those sports communities look to companies like us for advice and cooperation.

Central to the OB van gallery control workflow are the ATEM Constellation 8K and the ATEM 2 M/E Advanced Panel for hardware control.

Guza: We’ve been fans of ATEM switchers for years, so early in the design we decided that the ATEM Constellation 8K would cover most of our needs. I don’t think there is any other product that can achieve such cost performance.

The combination of hardware controls and user interface makes the switcher very easy to navigate. That’s not all. The hardware panel is easy to learn and saves time in staff training.

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At the FIBA ​​3×3 World Tour event in Paris, Stop and Go used a OB van for the first time in a domestic sports production.

Guza: We used nine cameras so that we could catch even the smallest movements. We also made extensive use of slow-motion replays using the EVS server in the program mix and inside the venue.

Producing slow motion reels for the Slam Dunk Contest was an integral part of FIBA.

Guza: Regular viewers and judges rely heavily on replay sequences to see the details of these superplays.

Live program mixes from the switcher were streamed via encoder to FIBA’s YouTube channel in 1080p, watched by thousands.

Guza: We also used the ATEM’s additional SDI output to send footage from dedicated camera angles and slow motion replays to the big screen in the venue.

By implementing Blackmagic Design into our OB truck workflow, we are able to continue to meet our client’s needs and expectations. FIBA is so pleased with this year’s collaboration that we will be filming the event again next year.

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