Newsletter from 10/11/2011
HD OBVan Database Steadily Growing
All Mobile Video
All Mobile Video is one of the premier provider of end-to-end video and audio solutions for entertainment, sports, and news programming and events in the U.S. AMV offers the full spectrum of services - from spacious Manhattan based sound stages with full post-production capabilities to mobile production and editing trucks and extensive uplink solutions that travel worldwide- as well as an extensive equipment inventory that allows AMV to fully custom spec any facility or location. AMV does more than master the latest technology, they pioneer it. AMV was one of the first to begin working with high definition video and 3D and are now industry experts. AMV was one of the first to have built both mobile linear and non-linear editing solutions. Today, AMV continues to push the envelope, continually acquiring new capabilities, and creating new solutions. AMV has handled every size and type of event - from professional and NCAA sporting events and internationally viewed awards shows to live documentaries, corporate communication events and daily television broadcasts. Like everything AMV does, it all starts with the best people using the best equipment, all focused on creating proactive solutions.
Find the technical specs of AMV's CROSSROADS here
As one of North America’s leading production facilities providers, Dome Productions offers mobile production trucks and fly-packs (high definition and digital ), telecommunications services (transmission via fibre and satellite, satellite media tours and playouts) and full turnkey host broadcast services (complete management of design, production, engineering, and operations). For over 20 years, Dome’s team of experienced, highly skilled and professional staff has earned an international reputation for dedication and excellence in client service. Dome Productions is owned by CTV Specialty Television Inc. and Rogers Broadcasting Ltd. With 7 high definition multi-format mobile production trucks and an HD fly pack, Dome continues to strengthen its reputation as a North American leader in the provision of HD production services. All six HD trucks were designed and integrated in house by Dome Engineering, with each mobile equipped with rack mounted HD transmission encoders, decoders and modulators. They have covered a variety of high profile events including NBA Basketball, NHL Hockey, MLB Baseball, PGA Masters Golf and concerts by Coldplay, Jon Bon Jovi and Sarah McLachlan in a wide variety of locations.
Find the technical specs of DOME's ECHO here
Find the technical specs of DOME's MAJESTIC here
Game Creek Video
Game Creek Video was founded in 1993 with a very simple concept - to provide customers with top quality television production units, top quality support and coordination, and most importantly, the highest quality engineering. From that concept, Game Creek has grown to become the mobile production company of choice for those customers who rely on a positive approach to getting their productions on the air. Game Creek can provide a wide variety of mobile units to fit customers needs. From the largest, most technically complex shows to the simple closed-circuit corporate event, our units are positioned to meet every demand. Customers include leaders in television production: ABC, CBS, ESPN, FOX, HBO, NBC, Major League Baseball, NBA Entertainment, YES Network, The USA Network, The NFL Network, and Winnercomm are some of the companies that continue to use Game Creek Video. Game Creek's mobile units and engineers have been providing service for these and other customers at events such as the World Series, MLB All Star Game, the Super Bowl, the NBA Finals and the NBA All Star Game, the MLS Cup, the Masters, the Kentucky Derby.
Find the technical specs of GAME CREEK's VICTORY here
Established in 1986, Lyon Video provides mobile television production facilities, full service video and film production, post-production, and DVD authoring. Located in Columbus, Ohio, Lyon Video's goal is to provide broadcast quality video at an affordable price, both as a sole provider, or working in partnership with agency, corporate, or independent producers. Their staff is made up entirely of professional technicians, with decades of experience between them. Lyon Video entered the mobile production industry in 1996 and maintains a fleet of ten production trucks, with five B-unit trucks as well. A wide variety of trucks is available, both in size and capabilities. All of Lyon Video's large HD trucks share similar equipment and features. All have Grass Valley Switchers, GVG cameras, and Calrec audio consoles. All of these trucks carry their full compliment of gear and cable, which means that they can do an entire show without requiring a B-unit or chase truck. For additional space and support needs of course B-units are available.
Find the technical specs of LYON VIDEO's UNIT 12 here
Mobile TV Group
The Mobile TV Group operates one of the United States' largest fleets of mobile production units equipped with state-of-the-art equipment. With the highest percentage of high definition trucks, MTVG provides mobile units for over 4,000 sports and entertainment events each year. The Mobile TV Group adheres to the highest standards of maintenance and service with world-class engineers and support staff. Reliability in its chosen technology is key for MTVG—which relies on the Kayenne™, Kalypso™, and Kayak™ video production switchers, LDK Series HD cameras, and Trinix™ NXT multiformat routers to help produce more than 4,000 sports and entertainment events each year. Each time MTVG builds a new truck, it has added to its extensive arsenal of LDK 6000 WorldCam and LDK 8000 Elite cameras. The LDK 8000 Elites—which are on board MTVG’s latest 29HDX, 28HDX, 27HDX, and 26HDX truck as well as its older (yet periodically upgraded) 7HDX and PUMA-HD vehicles—can utilize the same base station and OCP (operational control panel) units as the older LDK 6000 cameras.
Find the technical specs of MTVG's 29HDX here
EVS Announces Broadcast Services Contract for London Next Year
52 IPDirector suites will be operated by all OBS production and editing teams for the management of media across the IBC workflow. The IPDirector will be used for second level logging of incoming feeds, the scheduling of the ingest, quick browsing and media searching based on logs and metatada, media selection and exchange with post production infrastructure as well as with unilateral broadcasters production teams. The centrally located broadcast centre will see the installation of the new generation of the EVS media server, an online archive and media sharing solution enabling Host Broadcaster production teams as well as broadcast right holders to access all broadcast feeds and complementary camera feeds coming from the different venues, as well as dedicated highlight packages and clips.
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Australia’s Sky Racing Taps Grass Valley
The state-of-the-art mobile production vehicles have been specially designed to handle the rough terrain and hot weather conditions of the country’s state of Queensland—the northeastern section of the continent—to help televise some of the more than 83,000 races that Sky Racing covers each year. The significant deal, which includes system training and a multi-year Service Level Agreement, is the largest OB truck design and systems integration order to date for Grass Valley, and includes a full complement of Grass Valley high-definition (HD) live production equipment and systems all tightly networked that will be installed on each mobile unit. “Our racing coverage has really expanded in the past year and we are gearing up for even more coverage going forward,” said Tim Cavanagh, OB Manager Sky Racing. “In order to complete this project correctly and get the OB vans on the road as quickly as possible, it was clear we needed a partner with vast experience in handling a project of this scope. In our minds, Grass Valley was the only vendor that could do it to our specifications and within our tight time constraints.
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Sky New Zealand Relies on EVS for Advanced Live Productions
Aiming to deliver the most exciting viewing experience to millions of worldwide rugby fans,SKY TV New Zealand productions opted for a complete EVS technology-based architecture for all recordings and fast turnaround editing operations. The live production operations of all matches were covered by four HD mobile units and two flyaway production kits distributed to different venues around the country. Each OB unit was equipped with six to eight XT series servers, depending on the number of games. Up to 24 cameras and five Super Motion systems were used to cover the top matches. EVS’ live production systems were used by SKY TV production teams at all venues to generate a comprehensive number of replays, including Super Slow Motion and quick highlights of key actions from every match.
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Phantom Celebrates 25th Birthday With HARMAN’s Studer Consoles
Aside from the enormous amount of rehearsal time required, the production tasked broadcast production company, Red TX with mixing 172 channels—spread across four stage boxes—on its Score Live-powered HARMAN’s Studer Vista 8 digital console, which sits at the heart of their new RED II production vehicle. “This is technically the highest channel count we have ever run from one truck,” confirmed Red TX managing director, Ian Dyckhoff. “It creates a bit of added pressure, but having so much combined experience between us is a real bonus.” He added that in the past this channel count would have required a second vehicle. “But the Studer desk has enough inputs to surround mix everything independently. Thanks to the Vista 8, we can do it in one.” Three recording stems were set up to record in 5.1 and stereo (for cinema) and 5.0 for other TV broadcasts. Rather than taking an automatic stereo down mix, Red TX created a separate stereo mix, providing greater control, for cinemas unable to take surround sound. They also employed a unique Cinema Matrix 5.1 setup that uses the X-curve for cinema equalisation.
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GLP impressions Follow The Script for Jamie Thompson
The lighting design, co-conceived with Bryan Leitch, was inspired by the rustic gold colour artwork of last year’s Science & Faith album — and heavy usage of GLP’s impression 90 and impression Zoom has helped him to recreate that feel. With more than 100 of the GLP impression wash lights used on the overhead trusses and under the floor grilles as uplighters the LD knew from past experience that he not only had a compact, versatile edge light but one that would more than hold its own against any conventional discharge washlights he could throw at it. Jamie has been working with the band for almost three years. “I was asked to cover a few shows and ended up getting on really well with the band. They have a lot of ballads and big tracks and they trust me to make those songs look even bigger with the lighting.”
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Martin Audio MLA™ Focuses Sound On Selena Gomez US Tour
The tour included two opening acts geared to Gomez’ fan base –– Christina Grimmie and Allstar Weekend –– in addition to Selena and her band, The Scene, which consisted of a keyboard player, drummer, bass player, guitarist/musical director and two background singers. As Moore enthuses, “This tour was really efficient and awesome considering the budget. All of the stars came into alignment for this considering the PA and crew and how well we all got along. We had a really nice asymmetrical lighting and video package and minimal staging which was very effective … plus a small but effective PA system that sounded really good.” Buoyed by their last experience, Alcaraz and Moore will soon be embarking on a Canadian tour with Gomez that encompasses 12 cities and includes four more MLA enclosures and three more MLX subs a side. Asked about the client’s reaction to the MLA system, Alcaraz concludes, “We’re happy and so is the label. Everyone has had some really nice things to say about how good it sounded. As far as audio goes, the feedback has been very positive.”
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Avid Introduces “New Media Composer Family”
Answering users who have complained about a lack of flexible workflow options, Avid said it's serious about third-party solutions, announcing a set of partners who plan to have products supporting Media Composer 6 on its November 15 launch through the Avid Open I/O initiative — AJA, Blackmagic Design, Bluefish444, Matrox and MOTU. AndAvid will be providing an open SDK for any third party who wants to extend their gear to work with Avid products, said Chris Gahagan, senior VP of products and solutions, during a press briefing introducing the new release. Key Features Include Native RED Epic and AVCHD Support, ProResEncode/Decode, and 4:4:4 DNxHD. This update includes an expansion of Avid's Media Access (AMA), which now supports native AVCHD, native RED Epic, ProRes encode and decode, and a new DNxHD 4:4:4 codec. Support for Avid's Artist Color hardware interface has been beefed up, and Pro Tools round-tripping is now complete — users now can make changes to their mix in Media Composer and see them show up in Pro Tools 10. Media Composer 6 will be $2,499 - NewsCutter 10 starts at $2,499 and Symphony 6 — available for the first time as a standalone software product, rather than a turnkey system —will start at $5,999 in its software-only incarnation.
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Korea's Broadcasters Push Digital Envelope with Orders for Ten Lawo Consoles
In the past 6 months, a diverse group of TV news and entertainment programme makers have snapped up ten Lawo digital audio consoles in Seoul and other Korean cities. Some are existing customers, others are new to the Lawo marque; the market for the mc²66 and mc²56 desks is being driven by the upgrade path to HD-TV as well as by brand-new studio and OBV facilities. Three of the new customers have found the Lawo solution in a joint enterprise. Privately-owned, the local broadcast stations JIBS in Jeju Island, TBC in DaeGu and KBC in Kwang-ju worked together on researching and testing high-definition systems for their news and production studios. Together with main contractor Soundfox International, the broadcasters settled on the mc²56 model as the ideal upgrade for control rooms handling daily news and entertainment programming. All three have selected a 32-fader console, specified with DALLIS I/O frame and 8192x8192 router.
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ARRI Alexa In-Camera Recording Using AVID's DNxHD MXF File Format
The ability to record native Avid DNxHD, as MXF files in-camera, creates a unique proposition for the 35 mm digital capture industry and is another first for the ALEXA camera system. The combination of ARRI ALEXA quality and mission-critical reliability with Avid’s respected codec and editing technology delivers a powerful, uncomplicated workflow into the film and broadcast TV market, building on ALEXA’s position as the first choice digital camera for capture and postproduction. As a benefit to cinematic productions, ALEXA cameras record ARRIRAW uncompressed 3K images that preserve the true 35 mm ‘digital negative’ for mastering and feature archival. Expanding ALEXA’s parallel recording capability to include native support for Avid DNxHD eliminates a transcoding step for the dailies generated by the Avid editing system and creates a more streamlined editorial workflow with seamless final conformance back to the archived ARRIRAW digital negative.
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A Star is Born: Canon Launches New Digital Video Camcorder
Equipped with an EF lens mount, the EOS C300 is supported by an all-star cast of high-performance EF lenses, not only the wide array of interchangeable EF lenses for EOS SLR cameras that have earned the trust and respect of photographers around the world, but also the EF cinema lenses in the newly announced Cinema EOS System. When outfitted with a Canon EF lens, the C300's peripheral illumination correction automatically corrects for vignetting in accordance with each lens's optical characteristics, and enables iris control from the camcorder. Canon EF lenses also enable the recording of such metadata as the name of the lens used, aperture setting and shutter speed. The Canon EOS C300/C300 PL's newly developed Super 35 mm-equivalent CMOS sensor incorporates approximately 8.29 million effective pixels and has a pixel size that is larger than that for conventional professional camcorders, enabling greater light-gathering capabilities for enhanced sensitivity and reduced noise. The sensor reads Full HD (1920 x 1080 pixels) video signals for each of the three RGB primary colors, decreasing the incidence of moiré while realizing high resolution with 1,000 horizontal TV lines.
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Nine Network's GTV-9 Studio Installs SSL C100 HDS
The new facility includes two control rooms, Control 31 and Control 32, which serve a production studio and a multi-purpose room that can be used as a sound stage. GTV-9 produces a local and a nationally distributed daily news program, a weekly children’s program and sports programming. On top of this are local news and ad-hoc productions of infomercials and other such programming. Because of the console’s inherent flexibility, the C100 is easily used for all programming types. “We produce the long-running Sunday Footy Show (AFL) using the C100,” explains Delmenico. “This is a panel-type program presenting discussion of football related news stories that arise each week, a review of the last several games and a preview of upcoming matches with team lineups. Other productions include, Kids’ WB; A Current Affair and Footy Classified.GTV-9’s C100 has 32+8 faders addressing a total of 96 DSP channels. SSL’s Alpha-Link Live, Alpha-Link 8RMP and BRIO units look after I/O, using the MADI X8 to route between the data centre, studios and two control rooms. Pro Tools® and Enco DAD are used for audio capture, editing and playback.
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Panasonic Provides World’s Largest Screens for London 2012 Olympic Games
Although they are the largest Panasonic screens, it’s not just the outdoor LED displays Panasonic is supplying as an abundance of plasmas are transported and installed inside various Olympic venues to supplement spectator experience with audience interactions, action replays, course overviews and other thrilling Olympic visual content. Famous for their incredibly sharp picture quality and deep contrasts Panasonic professional plasma displays supplied include the vast 152” TH-152UX1 4K2K plasma often described as ‘the world’s largest TV’ along with numerous 103” TH-103VX200 plasmas. Director of Panasonic UK’s London 2012 Olympic Programme, Ralph Higson, commented “This is a really exciting time in the build up to the London 2012 Olympic Games and allows Panasonic to demonstrate its incredible large screen technology whilst helping sharing the passion of the Olympic Games with everyone.”
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Femme Fatale Tour in 3D
The tour, divided in five segments, portrays a story in which Spears is a secret agent, who is chased by a stalker. The first section features her escaping from prison along with other female inmates. The second segment displays upbeat dance numbers and ends with a performance inspired by Marilyn Monroe. The third section features an Egyptian theme with fireworks and acrobatics. The fourth segment displays energetic routines and motorcycle costumes. The encore begins with a video interlude of Spears capturing the stalker, and is followed by two performances in which she defeats a group of ninjas. The Femme Fatale Tour received mixed reviews from critics. Some described it as her most entertaining show yet and praised Spears's performance, while others criticized her dancing and lack of interaction. 3ality Technica filmed the Toronto shows in August 2011 in 2D and 3D, for a special titled Britney Spears: Femme Fatale. Dome provided its HD mobile facility ECHO to 3ality Technica Systems to support the Britney Spears Femme Fatale Tour at the Air Canada Centre in Toronto on August 13th and 14th.
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TV Azteca Goes 3D with Ross
August 21 6:00 PM (Mexico) was Azteca América's D-day or, actually, 3D-day. Why? Because Mexico's channel 13 aired the red carpet of reality show La Academia 2011 which is produced in 3D. Immediately after, at 7:00 PM, the channel broadcasted the ninth season of the show hosted by Rafael Araneda and Bibi Gaytán. "This was the first time in the world that a reality show was broadcasted in 3D. And this is the first 3D TV show in Mexico and Latin America," Roberto Romagnoli, VP of production and entertainment at Azteca América, said. Mondays through Fridays the audience now is able to follow the everyday life and hard work of contestants and teachers at the music, singing and dancing academy as they prepare for Sunday's performance that dazzles the live studio audience every week. This season also welcomes special guests into the school and features a small talk-show where guests and participants are discussing the latest academy news. "It will be a very special season because the show will receive international stars, not only artists from the music industry worldwide but also Hollywood celebrities that will join the stage of La Academia," Romagnoli said.
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