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NATIONAL Lottery bosses have launched a desperate bid to win back gamblers after they threatened to boycott the game. At the end of 2012, the UK National Lottery operator, Camelot (in partnership with the BBC), decided their show needed a new look. Initial Endemol, producer of the popular lottery show, uses a TriCaster live video production system to provide a great deal of automation, across the board branding, and to simplify the production process.
TriCaster was the clear choice to give us a complete, standalone production operation, with all the features we needed, and more.
You have to be in it to win it, as the saying goes - and the millions who play the UK National Lottery on Wednesday and Saturday, and Euromillions each Tuesday and Friday, wait with huge anticipation for the potentially life-changing numbers to be drawn. At the end of 2012, the UK National Lottery operator Camelot, in partnership with the BBC, which broadcasts the draw, updated the draw presentation formats. The Saturday evening show is televised and incorporates live performances, as well as the main draws. The new online show format, shot at Pinewood Studios, is produced by Initial Endemol using a TriCaster live production system that has introduced a great deal of automation and simplification to the production process, at an affordable cost. For the studio-based Lotto and Thunderball shows, five Panasonic HE60 remote head cameras are pre-set to capture wide shots and close-ups of the lottery machines, and the numbered balls as they are drawn.

The results show is uploaded approximately an hour after the draw, and is subsequently embedded into the National Lottery website and social media sites. Chris Jones, Senior Producer, Initial Endemol, explains, “The YouTube feed is a one-off continuous as-live presentation, and we wanted to make it as quick as possible, rather than building a slow process with an edit.
The EuroMillions draws are produced in a rather different way, as the satellite feed is sent from Paris, to all countries that participate in the draw.
Paul Darbyshire, Broadcast Director, Pinewood Studios, says, “The TriCaster does exactly what we employed it to do, quickly and simply. To read more studies on how end users are taking the television industry by storm with NewTek products, check out NewTek Customer Stories.
These treats are all just ways of trying to get us to spend more money."Peter Brock added: "Are they taking the mickey? Taking the weekday draws to an online-only format, the focus moved to the televised flagship Saturday evening draw show, historically featuring an entertainment element, as well as the main draws. The challenge was to move the other draw results shows to an on-line format that provides lots of sizzle, a fast turnaround and plenty of branding, all produced reliably, but with minimum staffing and equipment.
The clean feed goes directly into Pinewood’s TriCaster and the system concurrently applies a crop to remove the Paris show’s graphics.

The production team is very happy with it, as it has enabled them to automate a large part of the process and minimise turnaround times, all within their set budget.
A PC-based graphics system linked to the ball machines and the TriCaster automatically produces a graphic for each ball, and triggers the correct voice-over to announce which ball has been drawn.
As Chris says, “This is a great feature of the TriCaster, as it shaves considerable time off our turnaround, and the editor can then easily apply our local branding, graphics and voice-overs before exporting. An operator vision-mixes the camera feeds and graphics, and then creates a second pass to add additional sound bites before preparing the file for export and upload to YouTube.
The TriCaster has more than proved its worth for this project, and it has shown us that there are lots more things we could do with it down the line.

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