Newsletter from 05/08/2014
Remember 40 to 50 Years Ago ...
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MOBILE PRODUCTION
SuperSport Installs Another Calrec Console
SuperSport installed a 64-fader Artemis Beam console with four 32 x 32 analog and four 32 x 32 AES Hydra2 boxes in the scanner. Hydra2 is Calrec's scalable audio networking system. SuperSport also has three MADI interface units in the OB and carries four 24 x 8 analog Hydra2 boxes, which are used as stage boxes whenever extra I/O connectivity is required. The Artemis Beam console supplies ample I/O to handle SuperSport's unique requirement to broadcast in three different languages, which calls for sending a minimum of four program feeds from a venue.
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Gearhouse Broadcast’s OBLite now Built on Ross Video’s openTruck Blueprint
Capable of housing a seven- to eight-person production and operation crew, OBLite features eight of the latest Hitachi Z-HD6000 camera channels. The main operational upgrade sees the trailer’s production workflow redesigned using Ross Video’s new innovative openTruck blueprint, ensuring increased efficiency, video quality, and the ability to quickly reconfigure the trailer for different events. Ross Video’s Carbonite vision mixer, NK Series routing system and glue have been implemented from its openGear platform, as well as the powerful and compact LAWO V_pro8 1U video processor, which Gearhouse is the exclusive reseller of in the UK and Ireland.
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STUDIO PRODUCTION
Elation LED Lighting for KVLA Television in Los Angeles
Christian Choi of Emergent Entertainment Group was production and lighting designer, as well as fabricator for the project, and explains that the client initially sought to create three areas within two studios - a segregated news area, two talk shows and a home shopping set (which was eventually postponed). Choi came up with rendering ideas for both the news and talk show sets, something he says he enjoys doing in order to get everyone’s creative juices flowing. “Since the building was nothing more than a warehouse with attached office space, basically a shell, it was a bit difficult for everyone to picture what could actually happen in that space. The renders enabled everyone to see how much could be done in such an area, which is not only helpful for the clients, but for me too,” Choi explains.
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W-DMX™ Stars on Channel 13 Television in Chile
W-DMX™ by Wireless Solution Sweden is heating up the airwaves in Chile on Channel 13, one of the most prestigious television stations in the country. W-DMX distributor Iluminacion Profesional VALOOK® SA. based in Santiago, Chile is currently using W-DMX for the station’s productions to great success and is looking to expand the use and knowledge of the product through educational seminars. Francisco Yañez Valdivia, Trainer & Product Manager for VALOOK explains, “Channel 13 works with a very high standard of quality. At present they use the W-DMX F-2 model linked with some integrated receivers on the fixtures and R512 receiver. I had the opportunity to talk with one of the lighting technicians and he said that this wireless system is very reliable and stable.”
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Modernization of TV Broadcast Production Stations at the ORF Regional Studios
The operating concept was characterized by a sophisticated control scheme implemented with KSC control panels of the BD IS series. The goal was to make available, if possible, all video and audio functions as well as video server control functions on multiple control panels. The KSC system was also used in interaction with the Sony MVS 6530 vision mixer to create a damage protection concept for server playback as well as transmission line switching.
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SPORTS
Turkish PM Inaugurates New Istanbul Football Stadium
Speaking at the opening ceremony late on Saturday of the Basaksehir Fatih Terim Stadium, named after the current coach of the Turkish National Turkish football team, Erdogan said the grounds in the district of Basaksehir had cost about 178 million lira ($85 million). After the ceremony, Erdogan, who is a former semi-professional footballer - played a friendly game with some Turkish celebrities including TV producer Acun Ilicali, and film producer and writer Yilmaz Erdogan.
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No Horsing Around With Cobham’s Nano HD TX
A small, discreet camera transmitter system was installed by Broadcast RF in the race starting stalls to provide detailed, up close views of jockey’s and their mounts in the tense moments before each of many races throughout the day started. Broadcast RF Sales Director Chris Brandrick said, “In the past there had been issues with the perceived intrusiveness of more bulky camera systems so close to the start of the action. These thoroughbreds are, by their very nature, highly strung. They and their jockeys are there for one purpose, to win a race, and for that they must maintain total focus. Any risk of distraction must be minimised.
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Globecast Brings Every Pedal Stroke of the Tour de France to TV Screens
Globecast provided the satellite infrastructure for the event, with signals being sent via microwave from multiple motorbikes along the route to a helicopter and a plane. These signals are then transmitted – again via microwave – to a stationary Globecast SNG unit out in the countryside. In turn, that sended all the signals via satellite to the production facilities at the finish line. Directors there could use talkback to provide instruction to the motorcycle cameramen. Globecast provided a live feed for use both nationally and internationally. Additionally, Globecast also provided a package to capture the intermediate sprints that were held along the route on stages, including camera and cameraman.
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SHOWS
Robe is at the Essence
This was the first time that Foucheux and Solomon Group have used Pointes and actually the first time they have ever worked with Robe products! The fixtures were supplied by VER, and it underlined a real confidence in the brand and its reputation to commit to so many Pointes on such a high profile show. “We were looking for something new that would offer more than just a beam light with basic functionality!” he explained. Several lighting designers and programmers recommended that Matt and his team check out Robe’s Pointe, so a demo with VER was arranged in Las Vegas, which confirmed it was the right fixture for the job!
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Sennheiser Swings Both Ways With Robbie Williams
Robbie Williams spent much of April, May and June on tour throughout Europe promoting his latest album, Swings Both Ways, culminating in four nights at London’s O2 Arena. Taking care of musical genres from jazz to rock was a comprehensive package of Sennheiser microphones and in-ear monitors. The tour’s audio system was supplied by Britannia Row Productions and included 10 channels of Sennheiser SKM 5200 series handheld microphones with MD 5235 capsules and 22 channels of 2000 series in-ear monitors.
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The Clay Paky Sharpy Range is Hitting all the Right Angles on Katy Perry World Tour
When it came to lighting superstar Katy Perry’s current ‘Prismatic’ world tour, lighting and show designer to the stars Baz Halpin selected the Clay Paky Sharpy and Sharpy Wash 330 to create a series of poptastic surprise special effects. Engaging in a bit of theatrical trickery Halpin designed a series of 36 bespoke hydraulic flippers onto which are attached 36 individual Sharpy fixtures supplied as part of a lighting package provided by UK Neg Earth and US hire outfit Upstaging. The flippers are built into the sides of show’s giant onstage triangular LED screens to provide a range of fast paced special effects.
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PRODUCTS
A United 'Console' Kingdom
James Gordon will become Group CEO supported by a strong and talented management from across the new group. When asked about what this means for the future, James said: “We have bold plans for the group but it is imperative that each company maintains its own independence and style. None of these brands needs to trade off each other's technology or reputation. These are three great companies and all the brands currently in the group have enviable reputations for technology, audio quality, reliability and perhaps, most importantly, customer focus and care. The strategy is to share technology and resource across the group and allow some interconnectivity across the product lines.”
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Sony launch PXW-X70 XDCAM Professional Camcorder
The PXW-X70 features a 1.0 type Exmor® R CMOS Sensor with a resolution of 20 megapixels. The sensor, which is even larger than the Super 16mm film frame, delivers high resolution and fantastic low light performance, as well as offering more depth of field control as demanded by today’s diverse shooting requirements. The new camcorder has the ability to record High Definition in XAVC Long GOP, enabling 422 10-bit sampling at 50 Mbit/s. This in-turn supports a broadcast-quality workflow, increasingly adopted by productions in many different professional applications.
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Tektronix Waveform Monitors Meet 4K Needs of Broadcast Markets
“4K is taking off and all the companies involved in the production and delivery of 4K content – from camera manufacturers to post-production houses to broadcasters – are investing in new 4K-related equipment as cost-consciously as possible. Recognizing this, we engineered these popular waveform monitors and rasterizers to be easily upgraded to meet customers’ 4K requirements and to save them money,” said Eben Jenkins, General Manager, Video Product Line, Tektronix. “Our WVR8300 recently met the needs of Brazil’s Globosat, which used it as part of its comprehensive effort to ensure that its ongoing 4K coverage of the World Cup was as pristine and picture-perfect as possible.”
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3D/4K ARISING
Remember 50 years ago …
In November 1969 the Westinghouse TV color camera was set on the moon surface during the Apollo 12 mission but was never used due to technical failure after being exposed to the sun. The first color video images were sent from the moon surface, taken through the Angenieux 6x25mm zoom, in January 1971 during Apollo 14 mission. NASA astronaut Alan Shepard used a special developed TV color camera during this mission for event recordings in live 3D or 4K and beyond.
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AB LIVE at BIRTV 2014
The first system called “AB One” represents the new generation of 3D RIG. This easy to manage system brings stereoscopic 3D production within reach of everybody, while drastically reducing operational costs. AB LIVE’s offer is composed not only of a 3D rig but also with specific 3D lenses, correction tool and transmission system. The main aim is to offer a versatile turnkey solution with tailor made support, adaptable to all projects, medias and applications.
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Blackmagic Design announces ATEM Camera Control Now Available
Until now the ability to control cameras from the live production switcher was only available to extremely high end broadcasters who had the costly infrastructure that allowed this feature. With the new ATEM Camera Control software update, ATEM live production switchers can now control cameras via a new open standard protocol sent to the camera via the return program feed. ATEM Camera Control is compatible with the new Blackmagic Studio Camera when running software update v1.8.2 or later. The Blackmagic Studio Camera HD and Blackmagic Studio Camera 4K models feature both optical fiber and regular SDI program return feeds to the camera and the commands from the switcher are broadcast to all cameras via this program return feed.
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