We crowdsourced content without losing any professional quality, and we got instantaneous reaction from the fans. With this technology we could easily fold in more content, more ways of making the fans feel a part of the club. And we did all that with a crew of three people. My mind is already racing on the possibilities of what we can do in the future.Charlie Talbot, Talbot Productions
The two were on site, operating cameras including Mobile Viewpoint links over cellular. The new stadium is part of a mixed-use development, and there was very little other infrastructure available.
All the audio and video signals were packaged using Dream Clip Barracuda encoders into an SRT stream, which also carried production communications using Trilogy systems over the public internet to nxtedition’s private cloud in Malmö. The stream also carried production communications using Trilogy systems.
The third member of the team was Adam Leah of nxtedition, working in his office in Marieholm in Sweden. Leah switched the programme live, including pre-recorded packages and late additions of fan messages and memories on social media.
The programme was built on a playlist created by Talbot, who had only seen the software for the first time just days earlier. The intuitive layout of the system allowed him to become a sophisticated user, creating the detailed structure for the extended live programme, without any training at all.
I was in awe of the seamlessness of nxteditions frame accurate playout. We added the fan videos from twitter to the rundown and nxtedition simply auto stepped down the playlist, jumping from one video to the next. It looked like a well assembled edit, but in reality it was simply just realtime A/B playout. The speed from social to on-air was exceptionalAdam Leah, nxtedition