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We would like to invite you to the first series of Open Days at the University of Television. This is a chance to visit our new studio, see how our training sessions are conducted, meet us in person, and ask any questions you may have before joining the course. You will be able to see our EVS servers, understand how practical replay training works, and talk with us about what you can expect during the training and after completing it. If possible, we will also show you differ

Work has to be fun. Live broadcast is pressure. Replay is pressure. One wrong button, one late reaction, one missed moment, and everyone can feel it. But deep inside, you still need to enjoy it. If you want to become a replay operator, you have to find fun in the work. You have to love the speed. You have to love the pressure. You have to love the feeling when the director calls for the replay and your clip is already there. You have to love that small moment when everything

(This applies not only to EVS , but the same “default duration mindset” translates perfectly to RIEDEL SIMPLY LIVE and other replay systems like GRASS VALLEY K2 DYNO .) In live replay, time is your most expensive currency. The faster you can create clean, usable clips , the more brainpower you keep for what really matters: storytelling, replay timing, and staying calm when production goes full chaos. One of the most underrated time-savers is simply this: Set a Default Clip

9 years ago — EVS HQ, Liège. I was sitting there like a kid again, playing with a mini LSM… and honestly, it still feels the same: curiosity, focus, and that “this is the tool” energy. My very first EVS training in EVS HQ happened 15 years ago. Time flies — but the commitment stays. That’s the relationship. If you’re building your EVS skills (or coming back after a break), don’t forget to check our EVS VODs and manuals here: https://www.universityoftelevision.com/broadcast-ac

Want to name your clip before it’s saved? Go to: Preferences → Clipping → Open Edit Clip when creating a clip → set to “Yes”. Voilà — the Edit Clip window opens instantly, so you can type the name and confirm. 📚 Broadcast Academy https://www.universityoftelevision.com/broadcast-academy 🎓 Live Broadcast Masterclass with The London School of English (British Council Accredited) https://www.londonschool.com/course-landing-pages/live-broadcast-masterclass/ 📩 Broadcast Pulse

Why SimplyLive Flex is actually flexible: storage is a workflow feature “Flexible” is one of those words that gets overused in broadcast… until you hit day 3 of a tournament, the producer asks for another long-form supercut, and you realize your real bottleneck isn’t the UI — it’s time on disk. That’s why I love this simple thought: Flex is flexible because it can hold your show. Not 2 hours. Not “maybe 6 if we’re careful.” Hundreds of hours — depending on your storage config

Handball doesn’t wait — and that’s exactly why EHF Champions League is one of the toughest (and most addictive) environments for an EVS operator. In this sport, if you don’t react in a split second, you’re already late — because the action has already jumped to the other corner of the field. And it’s not just “do a replay.” It’s: replays on demand (instant, clean, timed) packages / highlight builds emotion moments (the stuff the audience actually remembers) and staying razor-

Riedel SimplyLive: the compact “all-in-one” live production idea that actually makes sense There’s a reason I keep circling back to Riedel SimplyLive when people ask me, “What’s genuinely different in live production right now?” In a world where we usually stack separate boxes for vision mixing, audio, graphics, replay, and (in many environments) VAR, SimplyLive is one of those rare systems that can bring multiple key roles together in a single 4U chassis — without turning th

I took a moment during the SailGP Grand Final in Abu Dhabi and thought: this is not just sport coverage — it’s an industrial-level live production machine running on water, in the air, and across an RF mesh that has to behave like a fiber backbone. From the spectator side, it looks beautiful: foiling catamarans, perfect framing, dramatic angles, fast cuts. From the broadcast side, it’s almost absurd (in the best possible way): 1) The helicopter isn’t a “nice extra”. It’s a

Welcome back to the UOT(University of Television) series, where we delve into the ever-evolving world of Outside Broadcasting (OB). In...

In a world of sleek touchscreens and minimalist interfaces, there's something undeniably comforting about the EVS controller. With its...