Regional Film and Video July 2015

Transcription

Film&Video
BROADCAST
Channelling News For The Industry
Volume 19: Issue 07
Edition 226 : July 2015
2765/BFV226/J
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IN THIS ISSUE
Big Interview
Raycom's Andy
Clements talks
microphone
solutions with BFV
Page
5
AUDIO FEATURE
Page Editor Jacqueline
10
Purse takes
a look at
Loudness
monitoring
ARPAS-UK
Page
26
Organisation
outlines the
rules for using
drones in
UK airspace
BEYONDHD
Page
30
Keith Harding,
MD, discusses
aerial filming
GEORGE JARRETT
Page
38
George wraps
up his review
of NAB 2015
www.hamlet.co.uk
Aerial Filming Soaring To New Heights...
2015: The Year
Of The Drone
As a UAV film service
operator we have noticed a
sharp rise this year in
interest coming from drama
and features, much of
which is down to ARRI
developing a version of
their iconic ALEXA camera
in miniature that's a perfect
fit for a gimbal, admits The
Helicopter Girls.
We started flying aerials rigs
for television in 2012. At the
time, the heaviest payload we
could carry was a Canon 5D
and it took many hours of
balancing and tuning to get
decent, stable footage from the
gimbals. Three years on, multirotor technology has exploded,
the invention of brushless
gimbals like Freefly's MōVI
means smooth stable footage is
easy to achieve without the old
headaches, and we're able to
efficiently carry heavy cameras
like the Sony FS7 and the RED
with lens control. ARRI's
announcement in February of
this year was the final piece in
the quality puzzle. The ALEXA
Mini has been specifically
engineered to work perfectly
on a multi-rotor and for any
drone operator into their
cameras it is big news.
We took delivery of our camera
at the beginning of June and it
is everything it promised to be.
It has the same ARRI ALEV III
CMOS sensor as the ALEXA;
the image is beautiful and the
camera is intuitive to use.
For aerial and gimbal work, the
weight and shape make it easy
to balance and tune. For such a
powerhouse it is pretty
lightweight, due in part to the
carbon housing but more
importantly to ARRI's clever
design. Unlike any other
© The Helicopter Girls
camera, the ALEXA Mini
sensor carrier sits at the centre
and acts like a hub, which
everything else, camera body,
lens, and accessory mounting
points hangs off. That means
very little clutter in and around
the camera and a form factor
that's compact with weight
distribution perfect for gimbal
balancing. A bare set up
mounted on a MōVI 15 gimbal
with a Zeiss CP2 and Teradek
Bolt 2000 Pro transmitter
means the all up weight of the
gimbal is just 6.5kg.
Keeping it lightweight we
power the camera with Lipo
batteries in the air but Bebob
have made a really nice VMount Battery Adapter for the
Mini, which is a great solution
for handheld MoVI work.
Camera control works in a
variety of ways. You can hook
up the ALEXA Mini Electronic
View Finder which gives you
full control over camera menus
and settings but for a more
streamlined ground gimbal set
up we use the two SDI
connectors to link to an
external monitor and HD
downlink and then control the
camera remotely with an
iPhone. In the air, the ARRI
WCU-4 hand unit will give full
camera and lens motor control
via wifi. What we don't know
until we test is the range we'll
be able to get on this.
In just a few weeks we have
shot with it in a variety of
scenarios, putting it through its
paces in some challenging
locations and from start to
finish the ALEXA Mini is a
perfect fit for what we do.
3884/BFV226/J
2 Broadcast Film&Video
VOLUME 19: ISSUE 07
2481/BFV226/J
Broadcast Film&Video
VOLUME 19: ISSUE 07
3
NEWS
PUBLISHER
Derek Carstairs
SENIOR EDITOR
Colleen Dornan
ACCOUNT MANAGERS
Richard Inman
Noel O’Sullivan
Aaron Paul
HEAD OF DESIGN
Jonathan Ashby
EDITOR
Jacqueline Purse
NEWS JOURNALISTS
Film&Video Trollied, Series Five,
BROADCAST
A Note From The Editor:
This month marks the beginning of the summer holidays for many; from graduating
students ready to make their mark in the industry, to companies taking the opportunity to
recharge the batteries (pardon the bad pun) before IBC preparations start to get underway
in earnest.
Some of you will hopefully be jetting off to exotic destinations, and here at BFV we've
also taken to the skies for this issue... by exploring the world of aerial filming. We've been
chatting to a number of key leaders in the sector to hear their experiences as well as their
views on its future. Not only is the feature jam-packed, it is a highly fascinating read as well!
Andy Clements from Raycom is the subject of our Big Interview, where he discusses
wire free microphone solutions and demonstrates why the company is the leading
distributor for the broadcast and film industry.
In addition, George Jarrett concludes his round-up from NAB 2015, where he spoke
to a number of exhibitors at the show about topics such as IP, 4K and the adoption of
cloud-based services.
At the time of writing, the sun was shining into the offices of BFV – let's hope it lasts.
From all the team, we hope you the summer, and our latest issue!
Jacqueline
Mark Hornby
PRODUCTION
Louise Murphy
CONTENTS
Page 18
Page 28
Phil Gillatt reveals exactly what
Silentair does...
Aerialworx discuss extreme
droning with BFV...
Page 32
Page 33
Paul Murray
DISTRIBUTION ENQUIRIES
Mark Lyons
Letters and contributions welcome.
Rates available on request.
Broadcast Film & Video
is published by:
Flagship House,
C3 Westbank Drive,
Belfast. BT3 9LA
Tel: 028 9031 9008
Fax: 028 9072 7800
PDG Helicopters continue to
invest in key camera systems...
SMPTE's Peter Weitzel, on
joining forces with Mesclado...
Page 36
Page 40
Engine House on taking
animation into the fourth
dimension...
Ben Osmo selects DPA
Microphones for
Mad Max: Fury Road...
Page 41
Page 49
Roy Ackerman joins Pulse TV in
expansion move...
We take a look back at another
successful BroadcastAsia...
Editorial: bfvnewscopy@
Copy: bfvadcopy@
Mailing: bfvmail@
Sales: bfvsales@
flagshipmedia.co.uk
Your News is our Business
Whilst every effort has been made to
ensure the accuracy of all articles,
advertisements and other insertions in
the magazine, the publishers can
accept no responsibility for any errors or
omissions or incorrect insertions.
The views of the contributors
are not necessarily those of
the publisher or the advertisers.
No part of this publication may be
Begins Filming
Sky 1 HD's 'Trollied', has started filming
for its fifth series. For the fifth
consecutive year, the show has returned
to Bristol's The Bottle Yard Studios.
over the past five years and are always a joy to have
on site. Last year marked a real period of growth
which saw more productions than ever coming
through The Bottle Yard's doors, yet as we grow, we
remain proud to work with those companies who
recognised the potential of our space in the early
years, as Roughcut TV did when they built their
impressive supermarket set here. After half a
decade of working together, it's second nature
having them here.
“It's also fantastic to see Sky and Roughcut TV's
proactive approach to cutting carbon across
Trollied's production, by using sustainable
transport, props and lighting and implementing
albert+, the industry's best practice carbon
reduction scheme. This really chimes with the green
ethos we are continually developing here at Bottle
Yard, particularly during Bristol's year as European
Green Capital.”
Trollied is written by Paul Doolan, Abi Wilson, Ben
Edwards, Rachael New, Jon Hunter and Hannah
George. It is produced by Alex Smith and Nick
Goding, directed by Jonathan Gershfiled, Sarah
O'Gorman and Paul Harrision. The Executive
Producer is Ash Atalla.
Produced by Roughcut TV, the comedy series has
been made at The Bottle Yard Studios since it began
in 2011. A purpose-built, full-scale supermarket set
built on site forms the setting of Valco in
Warrington, where the comedy centres on the
everyday lives of staff, customers and managers.
Series five comprises eight episodes and a
Christmas Special and will shoot for nine weeks.
The new series is due to air on TV screens later this
year.
The new series sees the return of long-term cast
member Jason Watkins, who recently won the Best
Leading Actor Bafta for his performance in The Lost
Honour of Christopher Jefferies, also made at the
Studios. Other cast members include Stephen
Tompkinson (Wild at Heart), Sarah Parish (W1A),
Jack Carroll (Britain's Got Talent), Channel
Cresswell (This is England 86) and Aisling Bea
(Edinburgh Fringe So You Think You're Funny
Award), as well as cast regulars Rita May, Carl Rice,
Beverly Rudd, Lorraine Cheshire, Faye
Mckeever, Victor McGuire and Dominic
Coleman.
Tim Sealey, Head of Production at
Roughcut TV, commented: “We are
delighted to be returning to the Bottle Yard
for the fifth time. The team here do a great
job of making us feel welcome. We were
the first to use the Bottle Yard in 2011 and
since then we have seen the studio grow
each year so that now it has established
itself as a great place to shoot. With Sky's
support, we hope to be coming back here
for years to come.”
Fiona Francombe, Managing Director at
Trollied, Season 4.
The Bottle Yard Studios, said: “The Trollied Courtesy of Roughcut TV.
team have established a real home with us
LIPSYNC Supplies Equity
Investment For London Road
LIPSYNC has supplied
equity investment as well
as
post-production
services for London Road.
The project is the film
adaptation of the stage
musical which explores
the
Ipswich
serial
murders
–
and
subsequent trial of the
killer
–
from
the
perspective
of
the
residents of London Road
where the murders took
place.
LIPSYNC completed the
online edit and DI, audio,
VFX, titles and all deliverables.
The film was produced by
BBC Films and Cuba Pictures,
and directed by Rufus Norris,
who also directed the stage
production. The cast includes
Tom Hardy (Mad Max: Fury
Road, Locke) and Olivia
Colman
(The
Lobster,
Broadchurch).
Peter Hampden, Managing
Director, The LIPSYNC Group,
said: “London Road is
certainly a challenging subject,
but Alecky Blythe's writing
and Rufus' direction, as well as
the music, made it a hugely
rewarding project to work on.”
The theatrical version of
London Road opened at the
National Theatre in London, in
April 2011. Despite its
controversial subject matter, it
received almost universal
acclaim and went on to win
Best Musical at the 2011
Critics' Circle Theatre Awards.
The film adaptation of London
Road went on general release
in the UK on 12 June 2015.
reproduced without the written
permission of the copyright holder
and publisher, application for which
should be made to the publisher.
Flagship Media Group Limited is an
ISO 9001:2000 Registered Company.
Olivia Coleman stars in London Road
3827/BFV226/J
CLIPS...
Zappware Unveils
New Partnership...
Zappware and EKT (Eagle
Kingdom
Technologies)
have
announced
the
availability of the Zappware
Platform on EKT's latest
range of STB solutions. Built
on top of EKT's solidTV and
its integrated browser,
Zappware's HTML5 client
operates a flexible and
integrated solution for OTT,
IPTV
and
Hybrid
requirements. The platform
also provides a personalised
multi-screen TV experience
across all devices, combined
with a unified Service
Delivery System to fully
monetise all TV services on
broadcast, broadband and
hybrid networks.
“By making our solution
work seamlessly on top of
the browser of the EKT's
solidTV, we now have yet
another range of devices
available with our award
winning solution. Our latest
web client is fully integrated
with all that Zappware has
to offer, allowing operators
to experience the best of
Zappware on the innovate
devices of EKT,” said Patrick
Vos, CEO at Zappware.
CLIPS...
PRG Completes XL
Video Acquisition...
PRG has completed its
acquisition of XL Video
Group.
“Bringing XL Video into the
PRG family profoundly
enhances our ability to
provide our clients with a
comprehensive suite of
products and services,” said
Jeremiah
'Jere'
Harris,
Chairman and CEO of
Production Resource Group.
“The
true
opportunity
however, lies in bringing
together the industry's most
passionate and committed
people. Our shared values
and technical expertise will
allow the company to
continue to innovate and
grow in new and exciting
ways.”
XL Video's
worldwide
locations will now become
part of PRG's network of
over 40 locations in key
cities around the world.
Shure EMEA Opens
Two New Offices...
Shure EMEA has announced
the opening of two market
development offices in
Switzerland and Austria.
Opening this summer, the
offices will be responsible
for
strategic
market
development
in
these
countries. In addition, Shure
has established a regional
office in Moscow, Shure REE
LLC, and is responsible for
strategic
market
development in Russia as
well
as
distribution
management for the Russia
Eastern Europe region.
Herbert Muff will head
Shure's market development
office in Switzerland, while
Gerd Kostial will run the
office in Austria. Angelika
Oernfelt will lead the
regional office in Moscow.
The new offices will report
to Ron Marchant, General
Manager EMEA Sales, who
is based at Shure EMEA's
headquarters in Eppingen,
Germany.
Timeline
4 - 9 August
Rhode Island International
Film Festival, RI
23 - 27 August
SET Expo,
Sao Paolo, Brazil
26 - 28 August
Edinburgh TV Festival,
Scotland
26 - 29 August
BIRTV, CIEC,
Beijing, China
Contact the RFV
Newsdesk NOW!
Tel: +44 (0)28 9031 9008
Fax: +44 (0)28 9072 7804
[email protected]
VOLUME 19: ISSUE 07
NEWS
Panasonic Introduces
Industry's First 4K PTZ Camera
Panasonic has launched the
industry's first integrated 4K PTZ
camera.
The AW-UE70 delivers 3840 x 2160
resolution at 25p via HDMI, and is
capable of 4K IP streaming and incamera 4K recording. In addition to 4K
2160/25p, the camera delivers a number
of international HD signal formats
including
1080/50p,
1080/50i,
1080/25p, 1080/25PsF and 720/50p.
The UE70 offers key features aimed at
production such as genlock, Optical
Image Stabilisation (O.I.S), and remote
switchable ND filters. It comes with 3GSDI as well as HDMI video outputs and
incorporates a 1/2.3-type MOS sensor
and advanced processing, as well as
boasting
direct
from
camera
audio/video streaming up to 2160/30p
and in-camera video and audio
recording to a microSD card at 2160/25p
or 1080/50p.
IP, RS-422 and RS-232C in/out
interfaces are included, as well as a built
in web server to enable both browser
control and IP-live preview, for up to 16
cameras, from PCs, Macs and mobile
devices. RS-422 Serial or IP control is
available using Panasonic's AW-RP50,
AW-RP120G controllers, AK-HRP200G
paintbox and the AW-HEA10 control
assist camera, as well as appropriately
programmed systems from Crestron,
AMX,
Winnov,
and
other
manufacturers.
The UE70 includes many features to
expand the capabilities of professional
video system users. In addition to
Panasonic's Dynamic Range Stretch
(DRS), advanced Digital Noise
Reduction (DNR) and High Dynamic
Range (HDR) mode means good images
can be achieved, even in extreme
contrast and lighting conditions.
Furthermore, the UE70's Night Mode
makes it possible to shoot in virtually
total darkness, by automatically
switching
to
high-quality,
HD
monochrome video with the use of an
optional IR illuminator. The camera
incorporates a highly-accurate pan-tilt
head with a pan of ±175° and a tilt of
–30° to 90°.
Jaume Miro, Product Manager for
Panasonic Remote Camera, said: “The
camera's flexible 4K/HD capabilities
make it a good choice for broadcast as
well as demanding installations in
stadiums,
conference
rooms,
auditoriums and events, where ultrahigh resolution video and precise
control are required.
“Standard IP-control, built-in audio
input and Power over Ethernet enables
innovative 'single-cable' installation. A
USB Webcam for videoconferencing and
collaboration, a 20x zoom lens, preset
functions and wide field of view (65.1°)
mean the camera offers operational
flexibility.”
The AW-UE70 comes in black or white
and will be available from October 2015.
Panasonic's UE70
Pixel Power Delivers Branding For MTG
Pixel Power has supplied 20
LogoVision automated graphics
and channel branding systems to
Modern Times Group (MTG). The
branding is part of MTG's
programme to move to a new
automated playout centre in
London.
MTG broadcasts to the Nordic region.
Its head office is located in Sweden,
with playout centres in London and
Riga, which now have identical
automated broadcasting facilities. The
London centre is responsible for
delivering 10 free-to-air and 10 pay
channels, each localised by country
and by advertising regions.
Branding was a key requirement for
the new centre and although MTG
had experience of using Pixel Power
hardware in its other playout centres,
it was subject to the same reevaluation as all suppliers selected to
provide equipment for the new stateof-the-art facility.
LogoVision 3D was chosen for the
channel branding with dual channel
LogoVisions being added to provide
both SD and HD simulcast logos from
a single device. The devices work
under frame accurate control from the
Pebble Beach Marina automation
system which allows MTG to plan
complex branding for maximum
audience retention.
“When we decided to move to a new
base in London, we knew this was our
opportunity to take a fresh look at
exactly how we wanted to present our
channels,” said Rachel Bernard, vicepresident of broadcast operations for
MTG. “We knew we had to choose
best of breed products to give us
flexibility, but above all quality. There
are other graphics systems on the
market, but Pixel Power was the only
one to meet our requirements. We
have worked with the company for
many years now and we are perfectly
comfortable with Pixel Power
branding today.”
James Gilbert, CEO, Pixel Power,
added: “With so many channels
competing
for
the
audience's
attention, broadcasters need to be able
to deliver rich branding consistently.
They also need to be able to do it costeffectively inside an automated, filebased environment. The LogoVision
family is designed for just this
application, and we are delighted that
we can continue our partnership with
MTG at their new London home.”
Playout centre
0000/BFV226/J
The BIG Interview
VOLUME 19: ISSUE 07
5
Raycom Ensures Its
Voice Is Being Heard
Raycom has over 30 years'
experience
as
the
leading
distributor of professional wireless
audio for the broadcast and film
industry. Andy Clements, Business
Development Manager, talks to BFV
about choosing the right wire free
microphone solution...
Q: What are the important factors for
clients to consider when choosing a
wire free microphone solution?
Without
microphones,
in-ear
monitors (IEMs), intercom and
distribution systems based on
wireless technology, many of today's
large-scale television studios, outside
broadcast and film productions
would be very difficult, if not
impossible, to stage. Wireless
solutions provide convenience and, in
the main, great performance.
However, as with many technologies,
careful investment will provide the
best results. To avoid potential pitfalls
it's essential to fully understand the
capability of the product under
consideration, as doing so will
inevitably flush out the huge
differences between what's on offer to
provide a robust solution for
professional high demand use.
Q: We constantly hear about the
available spectrum of RF frequencies,
should tuning range be taken into
account when choosing what
equipment will work best?
Andy Clements
Wireless connectivity has been, and
will always be, a heavily controlled
environment. Growing demand on
the available spectrum of RF
frequencies from a huge range of
consumer and commercial devices is
leaving PMSE user’s with fewer clean
operational frequencies; this in turn
creates congestion on the studio floor
or film set. It's therefore essential the
equipment allows a wide available
tuning range to ensure a frequency
choice well away from other users or
even between the users own devices.
The tuning range on high end
products can be over 250Mhz; low
end products may actually have fixed
frequencies. A wide choice of tunable
frequencies is also essential when
working away from the UK, even a
short trip around Europe can demand
specific frequency use at very
different parts of the spectrum. A
wide tuning range will also provide
future proofing, as it's not unknown
for sections of the spectrum to be
withdrawn from use over time.
Q: How do you overcome the problem
or interference of other signals from
other users on site?
Working in an ever-tightening
spectrum space will mean quality of
signals need to be maintained. A
professionally designed RF product
will feature high rejection of spurious
signals including harmonics from
other users on-site. There should also
be tight front end filtering, especially
on receivers with wide tuning where
tracking filters should be used which
Wisycom 40S kit
follow the tuned frequency. This will
allow the receiver to concentrate only
on a narrow area of the spectrum
associated to the chosen frequency
therefore ignoring signals from the
entire tuning range. Within the
transmitter, a technique such as the
use of a circulator or other technology
prevents unwanted intermods by
causing any unwanted signals to be
effectively parked in the transmitter
before causing issues at the front end
of the receiver.
Q: How can you ensure that the audio
quality is maintained?
Operational range and quality of
signal can be greatly improved
through true diversity technology
within the receiver. Essentially, two
separate aerials tuned to a single
chosen
frequency
feed
two
independent receivers that are mixed
together as appropriate to avoid
dropouts.
Quality of construction and materials
used should play a big part in the
selection process. There's no doubt
the chosen products will be asked to
contend with varying conditions of
heat, moisture and wind. It's also well
established that talent may take out
inevitable frustrations on whatever
the sound engineer has just carefully
placed about their person. A properly
machined
metal
casing
with
engineered seals will cope where a
pop apart plastic design will likely
not stand the test of time itself.
Q: What power source would you
recommend for optimum results?
Battery life has shown to be a major
concern in the past. Selecting a brand
where the manufacturer has fully
optimised the power requirements of
the product can now mean up to 10
hours operation using standard
alkaline batteries. This can be
increased by using lithium cells or, for
a permanent power solution, some
manufacturers offer optional clip in
battery eliminators for use where a
DC power source is available.
Availability
of
other
useful
accessories is also worth looking into.
This may include cables, brackets,
phantom power supplies and slot in
packs for a variety of cameras
allowing for cable free connection to a
wireless audio receiver. These useful
adapters will be joined later this year
by a slot in solution for one of the
most
popular
audio
mixers.
Professional
radio
equipment
manufacturers including Wisycom,
Lectrosonics and Audio Ltd have
worked alongside Sound Devices to
create varying levels of integration
with their latest mixer via a bolt on 6
channel slot pack.
Q: Is it difficult to make all the
different elements that make up the
wire free microphone solution
compatible?
Compatibility
with
other
manufacturers' products can very
often assist production. For instance,
it's important to confirm the correct
connectors or adapters are available
for the most popular microphones.
There may also be times where a
sound engineer is asked to accept
audio feed from an alternative
manufacturer’s transmitter to his
own receiver. To allow this to happen
the receiver must have the ability to
emulate
the
manufacturer’s
transmission parameters. Emulation
will be an embedded function of the
higher end manufacturers’ receivers
alongside multi-function local and
remote software providing many
useful features such as spectrum
scanning, battery monitoring and
level adjustment for RF and Audio.
Wireless systems have proved
themselves to be a valuable part of
any broadcast production but it's
clear the growing number of product
choices means careful selection is
vital. Acquiring the right product for
the job will potentially require some
serious investment, but it's likely to
be a sensible move providing the
professional engineer with a future
proofed, durable solution. The
checklist is clear: a tuning range
suited to the sound recordist’s needs,
all metal tough housings, battery life
over eight hours, built in reverse
intermod protection, true diversity
receivers and a wide range of useful
accessories. Radio technology is well
established in the broadcast industry
today and will continue to be so into
the future as long as well-designed
products that continue to embrace the
latest advances in this exciting
technology are employed.
www.raycom.co.uk
Wisycom MTP41
7917/BFV226/J
CLIPS...
axle Video Releases
axle Cam...
axle Video has released the
axle Cam; a low-cost camera
ingest
application
that
streamlines the process of
acquiring, organising and
sharing media from a
number of video cameras and
DSLRs.
The product's software
automatically
detects,
imports
and
organises
camera media, allowing users
to then instantly access, edit
and share files through a user
interface that leverages axle's
media
management
technology. The product
supports DSLRs and HD
cameras made by Sony,
Panasonic, Canon, JVC,
Nikon and GoPro. axle Video
has said it is developing
specialised
modules
to
support higher-end cinema
cameras, though release dates
have not been announced.
axle Cam is priced at $995 for
a two-user license and will
ship from 1 July.
Avid Welcome Orders
For VENUE | S6L...
Avid
has
welcomed
significant orders for its
recently announced VENUE
| S6L live sound system,
ahead of its formal shipping
date.
VENUE | S6L is a fully
modular, scalable live sound
mixing system delivering
functionality for a range of
live
sound
mixing
applications, including frontof-house, monitor, broadcast
and theatre. It features
touchscreen workflows and
an advanced live sound
engine. Tight integration with
industry-standard Pro Tools,
Avid VENUE | S6L functions
as a front-end to the Avid
MediaCentral Platform.
The Avid VENUE | S6L will
be available in the second half
of 2015.
BBC World News
Selects Quicklink
Skype TX...
BBC World News has chosen
the Quicklink Skype TX
solution to be used in Asia,
allowing quality video and
audio broadcasts to be sent
through a single, integrated
production grade system.
Quicklink Video have been
chosen by Microsoft Skype to
manufacture and distribute a
Skype hardware/software
solution designed specifically
for
broadcasters.
The
Quicklink Skype TX is a 19inch 1U rack mounted
hardware solution that
converts Skype calls into a
professional quality SD/HD
video/audio
signal.
Quicklink have also released
a free software named
Bondio™,
delivering
improved bandwidth by
bonding a combination of
internet connections together
to
create
one
super
connection. The software is
available to download free
for use with a Windows 8.0
PC/Laptop, when combined
with purchase of the
Quicklink TX.
VOLUME 19: ISSUE 07
NEWS
Piksel Partners With Transavia
Piksel has announced it is
technology partner to the
European airline Transavia for its
new in-flight entertainment
service. Transavia is using Piksel
Voyage™ to offer travellers
better
quality
viewing
experiences and more convenient
content selection in the air
through use of their own devices.
By leveraging the capabilities of the
Piksel Palette™ and Piksel's MTVOD
(Mass
Transit
Video-on-Demand)
solution, Piksel Voyage, Transavia is
enabling consumers to select and
download video content on to their
personal devices, prior to boarding a
flight. The Transavia Entertainment App
offers passengers the ability to choose
from a wide range of premium TV
shows and films to download onto
tablets and smartphones. The content is
locked until the passenger boards the
flight, when it then becomes available to
view. Once the flight has ended, the
content is automatically deleted from the
device, reducing any potential licensing
issues.
“We see this as a major disruptor for the
industry, and believe this model will
quickly become the future of in-flight
entertainment services,” said Mark
Christie, Chief Technology Officer at
Piksel. “Through working with
Transavia, it's exciting to show how
Piksel's services-oriented architecture,
which we call the Piksel Palette, can
flexibly adapt to address the business
challenges of a whole new industry. Our
unrivaled experience in delivering video
to consumers wherever they are, across
all devices, is enabling us to deliver true
innovation for airline passengers.”
Transavia is enhancing the in-flight user
experience by leveraging the high
quality screens found on user devices
and offering greater choice and
flexibility. Content is available in line
with the passenger's 'In-Flight' window,
providing users with a wide variety of
films and programs to choose from.
Secure content delivery is achieved via
the DRM functionality of Piksel Voyage.
Roy Scheerder, Chief Commercial
Officer at Transavia, commented: “The
way people consume media has
changed rapidly in recent years, and the
airline industry needs to reflect this in its
in-flight entertainment systems. Our aim
was to both boost the flying experience
for our customers and cut out the high
costs
of
installing
on-board
infrastructure for video delivery.
Working with Piksel demonstrates
Transavia's leadership in Europe as the
premiere affordable airline in hospitality,
services and digital; choosing to go the
extra mile for our passengers.
“The Transavia Entertainment app helps
us to offer a great passenger experience
on board, providing our passengers with
an innovative and engaging in-flight
entertainment product that they can
enjoy, while empowering them to select
and view their preferred content on their
own devices during their flight with
Transavia – meeting the needs of today's
passenger.”
Piksel has partnered with Global Eagle
Entertainment to provide Transavia with
the entertainment solution.
New Home For Thomson Video Networks’ Head Office
Thomson Video Networks has
relocated its head office to a new
7,000 sq m building in France.
The move reflects the company's
continued growth. It currently employs
over 400 people and has more than 15
facilities worldwide, offering highquality video compression and delivery
solutions
to
telecommunications
operators, video service providers, and
broadcasters, delivering optimum
bandwidth management regardless of
network type for satellite, terrestrial,
cable, IPTV, or WebTV.
The business is involved in contribution
and distribution with compression
offering low-latency and premiumquality links; broadcast TV with
complete and scalable HD, SD, and
Ultra HD video compression solutions
for 24/7 terrestrial, cable, satellite, and
IPTV operations; flexible OTT and
multi-screen compression solutions for
all screen types; cloud TV, including
real-time transcoding and audio or
video processing in the cloud using both
Thomson Video Networks'
new head office
virtualised and in-house platforms; and
playout with advanced ad insertion,
graphics, and content regionalisation
solutions.
Thomson Video Networks is one of the
founding members of the French
technology research institute B.
Approved by the French Government in
2012, this technology research institute
is responsible for accelerating research
and innovation in digital technology for
development and marketing of tools,
products, and services to improve
everyday life. It is also a member of the
Images & Réseaux cluster. "Backed by
over 20 years of video quality and
compression experience, Thomson
Video Networks has become a global
benchmark. In fact, more than one in
five TV channels around the world now
use our compression and broadcast
technology, and we've set an ambitious
long-term objective to double in size by
2020," said Christophe Delahousse,
President, Thomson Video Networks.
"The move to a dazzling new head office
and new base in the French industrial
ecosystem, together with the arrival of
EdRIP as a shareholder and the
management reinvestment, all point to a
bright future for Thomson Video
Networks. We are proud of our staff's
commitment to excellence and firm
focus on international markets for the
development of innovative solutions
such as our Behind Every Screen
strategic approach. This strategy will
enable us to accelerate our organic
growth and grasp real external
opportunities to further reinforce our
position as a key player." The
company's new head office is located in
ViaSilva, in the 'EcoCité' metropolitan
development near the Rennes Atalante
high-tech industrial centre in France,
and the building is the first in France to
receive the Effinergie+ certification.
"Our new head office is a genuine
showcase for our digital television
expertise," Delahousse added. "This new
building demonstrates our ability to
support our clients and partners in
rolling out their projects in France and
worldwide."
NEW APPOINTMENTS
Singh And Shout
Appoint
Mungo
Penfold
'Singh and Shout'
Broadcast
Hire
have announced
the appointment
of a new Hire
Manager. Mungo
Penfold will join the team from 30
June, 2015 and will be based at Singh
and Shout's Fitzrovia office in
London W1.
Commenting on his appointment,
Mungo said: “I'm really pleased to be
joining the company at such an
important stage in its development
and bringing 20 years experience to a
team with an already impressive
pedigree.”
Sound
Devices
Appoints Jennifer
Conlin
Sound Devices has
named
Jennifer
Conlin
as
its
Director
of
M a r k e t i n g
Communications.
Conlin will oversee all strategic
marketing and communications
efforts for the company, further
enhancing the visibility of its
products throughout its extensive
network of customers, resellers and
distributors.
“It is my pleasure to announce the
appointment of Jennifer Conlin to
Director
of
Marketing
Communications,”
says
Matt
Anderson, President of Sound
Devices. “She is a proactive and
forward-thinking marketing expert
who understands the importance of
cultivating and maintaining Sound
Devices' reputation as a premier
developer of professional audio and
video solutions.”
Conlin started her career at Starcom,
a division of Leo Burnett. More
recently, she has served as the
Director of Marketing for the
Wisconsin Housing and Economic
Development Authority (WHEDA),
among other prominent positions.
Scrub Adds To Sales
Team
Scrub, a division
of
HHB
specialising
in
post production,
has confirmed the
appointment of
Stephen Jones to
the newly created
position of Sales Administrator. He
will support Ben Scully and Devin
Workman from Scrub's office and
demo facilities on Berwick Street.
Jones began working with HHB in
2012 after graduating from Coventry
University with a degree in Music
Composition and has been promoted
to help provide first-line support for
Avid Pro Tools as well as other MAC
and PC-based DAWs.
He said: “It is really exciting to join
Scrub at a time when there is so much
growth and activity with Pro Tools
and the S6. Many of the world's
leading audio post houses are right
on our doorstep and it's great to be a
part of Soho's vibrant audio post
community.”
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3927/BFV226/J
CLIPS...
ChyronHego
Launches SHOUT™
Metrics...
ChyronHego has launched
SHOUT
Metrics,
an
extension of the company's
SHOUT
social
media
application.
SHOUT
Metrics
provides
broadcasters with detailed
data analysis on Twitter
data feeds; for example,
the number of Tweets per
second during a specific
news segment, an audience
poll on a local or national
political race, or a live
sports event.
SHOUT works with any of
ChyronHego's
graphics
systems including the
Lyric™ graphics creation
and playout solution to
build online communities
from Twitter, Facebook,
Instagram, YouTube and
RSS feeds. In addition,
Mass
Relevance
subscribers can insert data
streams
directly
into
SHOUT.
Designed
especially for Twitter,
SHOUT Metrics normalises
Twitter
data
for
visualisation
using
ChyronHego's Advanced
Data Object. By pointing
and clicking, users can link
the Twitter data to Lyric
scenes to create graphs and
charts without the need for
scripting. Users can also
create customised manual
campaigns, using their
own polling data, to
quickly visualise charts
and graphs in real time.
Aurora Multimedia
Introduces New
Scaler...
Aurora Multimedia has
introduced its new DXP-62
HDBaseT Scaler. The scaler
features four HDMI inputs
and
two
VGA/YPbPr/composite
inputs, as well as scaling
up to 1920x1200 HD
resolutions at 60Hz via
simultaneous HDMI and
HDBaseT outputs.
Using the features of the
firm's One Room – One
Cable system, the DXP-62
provides the ability for
HDBaseT output to pass
through
Power
over
HDBaseT (PoH) onto an
awaiting HDBaseT receiver
as well as RS-232 and IR
for display control. The
solution also provides four
external audio inputs, an
additional mic input with
independent
volume
control, de-embedding line
level
stereo
output
capabilities, and autosensing/switching video
inputs.
The unit is available in
packages with any of
Aurora Multimedia's DXECAT receivers, enabling
customers to configure
installations with onboard
amplification,
relay
control,
and
background/paging
integration to create a
complete
single
cable
solution.
VOLUME 19: ISSUE 07
NEWS
A.C. Video Adds To
Portfolio With Philips
Signage Solutions
A.C. Video, a division of A.C.
Entertainment Technologies (AC-ET)
Ltd., has been selected as an
authorised dealer for the Philips
Signage Solutions product range,
strengthening the company's lineup of complementary video system
technologies.
Incorporating the latest advances in
display technology, MMD – brand
license partner for Philips Signage
Solutions – delivers first-class picture
performance along with practical
design and features for both
integrators and end users, such as
SmartPower, SmartControl, FailOver
and Clinical D-Image proprietary
innovations available across models in
the range.
From advanced airport installations to
interactive classroom displays, Philips
Signage Solutions offer a customisable
solution to fit almost any application
and market sector, including retail and
leisure, corporate, public services,
events & exhibitions, and education.
The signage line-up includes the entrylevel Q-line, featuring eco-friendly
SmartPower functionality for power
consumption savings of up to 50%; the
E-line with FailOver backup and
SmartControl technologies for futureproof connection and 24/7 remote
content management; and the V-line,
utilising high brightness technology
for clearer images. In addition, the X-
Philips Signage Solutions offers customisable solutions
line provides a video wall with ultranarrow bezel and high picture quality;
and the T-line of multi-touch displays
provide advanced user interaction
with multiple simultaneous touch
points.
The new U-line 98” 4K Ultra HD model
is four times the resolution of full HD
displays.
Stuart Burdett, Technical Sales
Executive for A.C. Video, said: “We're
delighted to add Philips Signage
Solutions to our video portfolio. The
products are ideal for commercial
applications due to their robust build
quality and toughened glass, their
proven reliability and fail-safe for
displaying content 24/7, and their
overall image performance.”
“Complementing the Green Hippo
AViary video playback and Hippotizer
real-time video control products in our
portfolio, they enable us to offer our
customers a complete range of video
system solutions, with content support
and future-proofing right up to the
very latest Ultra HD 4K video
standard. From small signage screens,
through to large format video walls,
and right up to large modular LEDbased screens and display surfaces for
pixel-mapping onto, A.C. Video can
offer a tailored solution to meet
customers' requirements.”
VOGO Opens North American Office
VOGO has secured €4m in equity
and other financing to help
support
research
and
development, recruitment and
promote international growth
with the opening of its new North
American office.
Located near Montreal, it will be
headed by Carolyn Archambault. In
addition, the company has also said it
is to develop its activities in
Switzerland, Japan, and other
countries later this year through the
opening of new offices and
partnerships with local companies.
Used throughout Europe, the firm's
VOGO SPORT is an application for
mobiles and tablets that provides an
immersive
in-venue
viewing
experience for fans. Spectators with
smartphones can now watch the
action from several different camera
views, live and in real time – all from
the comfort of their seats. They can
also real-time zoom or stop the live
action and relive their favourite plays
in normal speed or slow motion
replay. The application has been
called a game changer for sports
sponsorship, offering a new on-site
advertising platform, while the
technology behind VOGO SPORT
means minimal IT infrastructure is
required to outfit any stadium or
sports venue, regardless of size.
"Since we first launched VOGO
SPORT at the European Judo
Championships in April 2014, we've
covered more than ten successful
high-profile and international sports
events and have enjoyed significant
business growth," said VOGO CEO
Christophe Carniel. "Now with the
opening of our North American
office, and Carolyn on board, we look
forward to helping stadiums, teams,
associations,
and
federations
worldwide to expand their revenue
opportunities and engage their fans
with
a
new
immersive
and
compelling experience."
Globecast
Selected
For Premier
Sports HD
Globecast has been named as the
content delivery service provider for
Premier Sports HD, a new HD
channel from Setanta Sports' UK
operation Premier Sports. The
channel will launch on the Sky
platform on 20 July.
The
two
companies
have
a
longstanding
relationship,
with
Globecast already providing uplink
and satellite capacity for existing SD
channels Premier Sports and Setanta
Sports Ireland. These are also
available via the Sky platform. The
new channel will be added to
Globecast's extensive HD portfolio,
with the company providing the
uplink and satellite capacity on Astra
2G for the new Premier Sports HD
offering. The contract win follows
from the renewal of the capacity
contracts for the broadcaster's Sky SD
channels
Mickey O'Rourke, CEO, Premier
Sports,
said:
“We've
had
a
longstanding relationship stretching
over 20 years with Globecast, and
they already handle our two SD
channels. Globecast was already
familiar with our business and asking
them to help us launch our HD
channel was just a logical step in our
relationship. HD is something that
there's a real demand for from sports
fans; the expectation is that watching
a game on TV is as close to being there
as possible. That's what we're trying
to deliver with the addition of
Premier Sports HD.”
Juliet Bayliss, Sales Director, Content
Distribution at Globecast, added:
“We've been working with Premier
Sports/Setanta for many years now,
so we're delighted that they have
chosen us to help launch the new HD
channel. There's a real demand for
HD channels and we're seeing a
growing uptake amongst our client
base and we've provided uplinking
and capacity for several HD channels
in the recent months.”
VOGO SPORT at Play
Juliet Bayliss
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VOLUME 19: ISSUE 07
Turning Up The Volume
Picking up from Issue 225, we're once again looking at Broadcast Audio, particularly at loudness metering and mixing consoles – and how the industry is working to ensure
the highest quality audio levels are being achieved for listeners...
We've all been there; sitting down
after a long day to watch television.
We might catch a few advertisements
beforehand, of which we can hear fine,
but then once the programme begins,
we struggle to hear the actors'
dialogue. So, we'll turn up the volume
– only to have to quickly reach for the
remote during an ad break and turn
the volume back down as the audio is
much louder.
In May 2014, the BBC found itself at
the centre of a 'mumbling row' after
viewers struggled to hear the audio in
its highly-anticipated drama Quirke.
This occurred just a couple of weeks
after a similar row regarding the
channel's airing of Jamaica Inn. Again,
viewers struggled to hear due to poor
sound, with the broadcaster issuing a
statement to say a subsequent
investigation found a mix of
mumbling actors and problems with
the audio track were to blame.
Similarly, in January 2015, viewers
complained about the audio levels of
ITV drama Broadchurch.
Such complaints have resulted in
organisations developing meters to
ensure loudness normalisation, i.e. so
adverts do not sound louder than
programmes. Traditionally, measuring
signal
levels
included
Peak
Programme Meters (PPM) and VU
meters, but it has been claimed that
these do not provide the measure of
loudness needed to optimise the
listening experience. In August 2010,
the European Broadcasting Union
(EBU) published its Loudness
Recommendation
EBU
R128,
informing how broadcasters can
measure and normalise audio using
Loudness meters. These meters take
into account the audio spectrum,
compression, duration, intensity and
sound pressure to measure perceived
loudness and volume consistency for
listeners.
One example of a Loudness Meter is
TC Electronic's LM1n Loudness Meter
DynApt™ Dynamic Adaptation Technology
the LM1n by TC Electronic. The plugin can run on any digital audio
workstation and delivers content that
complies with broadcasting standards
such as ITU BS.1770-3, ATSC A/85,
EBU R128, TR-B32 and OP-59.
Features of the LM1n include a TruePeak Indication, which will flash if
true peaks are present in the audio;
Loudness Value, allowing users to
choose a value to be shown from
Loudness Range (LRA), Sliding
Loudness 10 Sec, Max Momentary (M)
or Max Short Term (S); while guiding
arrows help users to remain compliant
with the loudness standard selected,
by indicating if the volume should be
increased or lowered.
Last month, SBS Broadcasting,
through its work with NUGEN Audio,
was shortlisted for the IBC2015
Innovation
Awards.
With
a
nomination
in
the
Content
Management category, SBS is being
recognised for its use of NUGEN
Audio's DynApt algorithm to create a
loudness-normalised workflow for
film soundtrack adaptation.
SBS has worked to improve audio
quality for broadcasting films and
drama series within the guidelines of
the EBU R128. When it comes to
motion pictures, several challenges
arise, such as how to preserve the
quality of experience in terms of
dynamic audio contrasts, as well as
how to loudness-align content with
advertisements or interstitials.
With this in mind, SBS selected the
NUGEN Audio DynApt algorithm to
address the issue. The solution
analyses loudness levels throughout a
piece of audio before controlling a
configurable maximum difference
between program loudness and
Calrec Artemis
average voice level. Working
alongside Delta Sigma Consultancy
and Minnetonka Audio, SBS created
an
anchor-based
loudness
normalisation workflow based on
DynApt. This, in turn, enables the
broadcaster to process a movie's audio
for broadcast in line with a producer's
original objective. Furthermore, the
solution does not interfere with the
audio if there is no need to do so.
While challenges do remain when it
comes to Loudness, steps are being
taken to standardise the issue. In the
UK, for example, the Digital
Production Partnership (DPP) sets out
the standards that broadcasters and
companies voluntarily agree to. In
March 2015, it awarded Vidcheck with
AMWA AS-11 DPP Certification. This
confirms that a product has met the
criteria outlined in the DPP
Compliance Programme, and the
AMWA Certification grants rights to
manufacturers to make certain claims
regarding the compliance of their
products. Vidcheck's auto QC
technology is integrated with many
third-party
systems
used
for
transcoding, file delivery and
workflow management, and the
software takes advantage of selfcorrecting heuristic algorithms to
modify original content by the
minimum amount needed to ensure
compliance.
With a view of industry-wide
standardisation when it comes to
audio, it is vital that products meet
respective compliance requirements –
such as mixing consoles. These not
only combine, but can route, change
levels, timbre and dynamics of audio
signals and are used in many
applications from broadcasting and
film post-production, to recording
studios and television.
Take the Calrec Artemis Light digital
audio console, which was recently
installed as part of an upgrade in
Channel One Russia Worldwide's
Moscow-based production studio. It
not only ensures the television
channel adheres to strict government
standards for HD broadcasts, but also
ensures broadcasts of the highest
quality are delivered to viewers. The
Artemis has 32 multilayer faders and
comes equipped with Calrec's
Bluefin2 and Hydra2 networking
architecture. It allows users to
produce multitrack HD programmes,
change show memories quickly and
connect two shooting areas to one
control room over fiber.
There is also the new 688
Mixer/Receiver from Sound Devices.
Making its debut at Cine Gear Expo
2015, the 688 is a 12-input production
mixer with integrated 16-track
recorder. It comes with 12 channels of
MixAssist, eight outputs, digital
mixing and routing, 92-kHz sampling,
audio delay on both inputs and
outputs, PowerSafe and QuickBoot.
Using an algorithm, MixAssist
automatically attenuates the level of
inactive inputs and maintains
consistent
background
levels,
regardless of the number of open
microphones. Comb filtering and
phasing artifacts are also reduced by
attenuating microphones receiving the
same audio signal.
www.calrec.com
www.digitalproductionpartnership.co.uk
www.nugenaudio.com
www.tcelectronic.com
www.sounddevices.com
2734/BFV223/J
When audio
matters.
VOLUME 19: ISSUE 07
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VOLUME 19: ISSUE 07
Audio Monitoring In A
MADI Muddy Field
UK broadcast and MADI specialist Aspen Media, is once again servicing the needs of the OB
industry during the festival season with a string of products that will help to identify frequently
changing channel allocations or test connections and analyse data in the not unlikely event that
there are problems with the MADI stream while the truck is buried up to its axles in a muddy field.
The Bel BM-A2-64MADI allows an engineer to
monitor, status check and listen to all 64 audio
channels of a MADI bit stream via the integral
speakers, external speakers or headphones, while
the onboard SRCs decouple the truck from the
external stage systems and take care of any
mismatch in sample rate.
32 'Audio Present' LEDs and bargraph meters show
the L+R signal level for every channel pair with each
pair selectable by the rotary encoder for hi-res
metering and monitoring.
BM-A2-64MADI converts MADI data to 32 AES
balanced and unbalanced pairs as well as
providing MADI format conversion of coax<>fibre.
Adding a Bel MADI-SWITCH allows the BM-A264MADI to easily monitor up to 8 MADI streams.
The DirectOut KYRA is a 1U audio monitoring
device that can create a personal monitor mix of up
to 8 mono or 4 stereo channels of an optical or
coaxial MADI signal. Vital for OBs, broadcast, PA
installations or anywhere MADI is the audio
transport standard of choice.
Bargraphs on the front panel show one stereo or two
mono input channels and the overall mix may be
monitored via headphones or internal speakers.
Adopting MADI as a monitor ring considerably
reduces install costs, increases the number of sources
available at each operator position and allows every
operator to easily select their sources and adjust
levels themselves.
ANNA-LISA from DirectOut is a small, handheld
and low cost, battery powered MADI signal
analyser and generator that connects via BNC or
fibre SFP. It rapidly confirms the integrity of any
kind of MADI signal and identifies the true nature of
any problems occurring in the MADI transmission
or transport.
Tyrell Announce Avid
ISIS 1000 Promotion
Tyrell CCT (Content Creation Tools) Ireland Limited, with offices in Dublin and London,
have announced a new special offer for the Avid ISIS 1000.
Tyrell is one of the leading
technology solutions provider
for the broadcast, post
production, production and
education sectors in the UK
and Ireland.
The promotion means that for
£12,995/€17,195, customers
can purchase an ISIS 1000 and
avail of one of the following
three options:
• 10% deposit, balance in Jan
2016;
•Free install; or
Tests include: sample rate, signal amplitude, jitter
and eye pattern. The results are displayed on the
unit as easy to read "traffic light" style LEDs. A more
in-depth analysis than the simple yes/no indication,
will be available soon by connecting ANNA-LISA to
a PC or Mac, tablet or phone using USB or
Bluetooth®.
•Five hours of Tyrell Support
– free of charge.
The multi-standard MADI test signal generator
caters for all channel count/frame rate standards
and 48/44.1 kHz sample rates and three generator
presets are provided for storage of different MADI
test signal formats and rapid generator reconfiguration.
www.aspen-madi.com
www.aspen-media.com
The Avid ISIS 1000 brings the famous robustness
and usability of the ISIS family at a cost and scale
which provides accessibility to smaller studios.
All options are subject to
standard Tyrell T&C's of sale and credit check.
About the Avid ISIS 1000
Aside from the fact that the fascia looks
menacing in the best possible way, the ISIS 1000
packs a serious punch for the little sister of a
tried and tested family of bruisers.
It is also equipped with onthe-fly volume resizing,
LDAP
sync,
functional
volume management for
clients and integration with
other ISIS systems, so growth
beyond ISIS 1000 is on the
cards for studios with
ambition.
The necessity for a high-end
managed switch on the rest of
the ISIS family can introduce a
steep capital investment, but
Avid have qualified three high
quality, but low cost switches
from Netgear and Dell.
10Gb
connections
are
supported too, which is
advantageous for grading
clients.
Support for Adobe Creative Cloud and Final Cut
is built into ISIS 1000, so houses which may be
split between Avid and other NLE's are covered.
ISIS 1000 comes with ten 2TB disks which
equates to 16TB of usable storage in the standard
RAID 5 configuration. Drives are hot swappable.
Tyrell offers a comprehensive range of
professional services, from consultancy, system
design and integration to technical support and
maintenance.
ISIS 7500, 5500 and 2500 are generally found in
studios with a complex asset management
infrastructure or with a myriad of clients to
serve, but ISIS 1000 is more at home with a
simplified setup where a small group of clients
need to operate with high-res material.
Its clients include large broadcasting
organisations, leading post-production facilities
and
production
companies,
education
establishments and a wide variety of large and
small organisations.
Proving its flexibility, it can also support up to
twenty-four clients simultaneously.
www.tyrellcct.com
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1186/RFV188/J
Canford Appointed As Sole
Distribution Partner For
Green-GO Intercom Products
In U.K. And Ireland
Canford has been appointed sole Distribution Partner in the UK and Ireland for the
multi-award winning Green-GO range of digital intercom over Ethernet products.
Unlike other digital intercom designs, Green-GO
does not employ a costly central matrix.
Instead, all interconnection routing data, system
set-up and user preferences are stored locally
within each user station including beltpacks,
thereby eliminating the possibility of a
catastrophic central failure.
Green-GO does not require a dedicated Ethernet
network.
It will operate on any 100Mbit network without
interfering with other data protocols coexisting
on the system, including Dante.
User stations are powered by Power over
Ethernet (PoE).
Digital control brings benefits to system
designers who have freedom to create up to 250
intercom channels with a maximum of 3,000
users.
Audio quality is high with only 12ms latency.
Useful features include channel ident, display of
simple text messages and cue light facilities. The
comprehensive feature set makes the system
suitable for both broadcast and live events.
The range includes beltpacks, wall stations,
multi-channel desks (8, 16, 24 and 32 channels)
and interfaces for integrating with analogue two
and four-wire intercom systems.
The recently introduced bridge
interface enables venues in
different locations to link their
Green-GO comms together via
the internet, while retaining full
system functionality.
With no heavy investment
required for a central matrix,
Green-GO offers a uniquely cost
effective way to build a digital
intercom system, making the
latest technology available to
many who, up to this point, found
it hard to justify the expense.
www.canford.co.uk
Mojo Media Solutions
Announces Launch of
Achtel’s TrueBlue™ Filter
Mojo Media Solutions Pty Ltd and Achtel Pty Ltd have together launched TrueBlue, a
sophisticated optical filter that significantly improves separation of blue colours from
unintended red contamination.
Pawel Achtel MSc, an Australian Scientist and
multiple ACS Award Winning Cinematographer,
has combined his skills in mathematics and optical
science to create a custom designed optical filter
that significantly reduces the magenta looking blue
colours seen in imagery shot using the popular
RED digital cinema cameras.
In an un-modified camera, the problem is easy to
see on bluescreen material, skies, under water and
anywhere where cool colours need to be preserved.
The reason is that the red photo-sites on the camera
sensor are also sensitive to blue light, as can been
seen in the quantum efficiency graphs measured
under controlled conditions at Achtel’s laboratory.
This contamination gives rise to magenta looking
blues and cool colours that cannot be removed,
even in post-processing. By adding Achtel’s
TrueBlue filter in the RED camera itself, the
problem is virtually gone, leaving the
Cinematographer, Director and Colourist free to
create beautiful looking images without constantly
fighting to remove unwanted magenta.
The TrueBlue filter is supplied as a complete kit
including an OLPF caddy, and is available for RED
Epic and RED Dragon digital cinema cameras. It is
simple to install or remove as required.
“Our partnership with Achtel and the global
launch of TrueBlue marks a very exciting time for
us at Mojo Media Solutions. As a Sydney based
company we regularly do business into Asia, but
the partnership with Achtel and launch of
TrueBlue has now turned us into a Global
supplier,” stated Stuart Monksfield, Managing
Director and Founder of Mojo Media Solutions. He
added: “TrueBlue is a genuine home grown
Australian product created with passion, using
scientific analysis and delivering measurable
results. It does exactly what it says on the box. The
day we announced TrueBlue’s availability via
social media we had near immediate responses
from the US and Europe, and took our first orders
that same day.”
www.achtel.com
www.mojomediasolutions.com
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Consultancy Approach Pays Off
In Addressing Complexity
As broadcast technology becomes ever more sophisticated, the decisions around system design
become more complex too, writes Tom Swan, Sales and Marketing Director, dB Broadcast.
The pace of technology change means that
clients often look for external support and
advice in evaluating and selecting the optimum
technology architecture to meet their current
and future business needs.
dB Broadcast is increasingly undertaking
consultancy work to help its clients understand
this changing environment and how best to
leverage the benefits. Broadcasters require advice that is
independent of particular hardware and software providers,
and which has insight into vendor roadmaps for the latest
solutions. Many now engage in ‘Proof of Concept’ testing
before determining their technology strategies. An
understanding of media workflows and the design of
efficient migration strategies adds further value for clients.
To gather, define and rationalise overlapping and often
conflicting requirements and drivers from all parts of the
operation using business process analysis is an intricate task,
one that the dB Broadcast team feels it is
uniquely placed to carry out, based on its
considerable industry experience across a broad
range of disciplines.
Recent examples of dB Broadcast’s consultancy
services include a multi-site HD technology
refresh, DPP-compliant file delivery workflows
and 4K/UHD production/playout. dB have
recently been engaged as consultants for the re-location of a
major international broadcaster, and for a green-field media
facility based upon emerging IP standards.
According to Mike Bryan, dB’s Head of Solutions, and the
man responsible for many of these projects: “We typically
adopt a workstream-focussed approach to managing the
complexities of this type of project. This ensures that the
correct resources with appropriate skill sets are assigned at
the correct time in the programme.”
www.dbbroadcast.co.uk
LEADER Announces LV 7390 FourChannel 3G/HD/SD-SDI Rasteriser
LEADER announces a new addition to its range of broadcast-quality test equipment and
signal analyzers.
The LV 7390 is a multi-standard
rasterizer capable of measuring
up to four SDI signals at the
same time. Compatible with 3GSDI, HD-SDI and SD-SDI, it
incorporates a full-resolution
HD-SDI rasterizing output which allows operators to
check detailed video and audio parameters on the
display screen of their choice.
Operated from the front panel or via a plug-in pointing
device, the LV 7390 can be customized to show a variety
of waveform combinations. Measurement capabilities
include waveform and vector display plus a reference
marker which can be placed at any position on the user's
external screen.
Integrated into the LV 7390 is LEADER's unique
CINELITE® feature which enables an operator to
confirm at a glance the brightness distribution of an
entire moving or still video
image. Levels of specific points
in the image can be checked and
managed on an intuitive
graphical basis.
Using CINELITE®, the gain of
multiple sources such as cameras can be adjusted
quickly and precisely using a specific reference point.
Since the attenuation of a transmission line or processing
system is equivalent to its line length, SDI signal
measurements can be displayed numerically in terms of
the length of a coaxial cable. This is ideal for checking the
safety margin of a digital signal chain.
Available from July, the LEADER LV 7390 was
introduced mid-June at the Cine Video Expo Television
exhibition in Mexico City.
www.leaderamerica.com
www.thameside.tv
Accessorise Your Konova Slider!
Sliders have become an essential tool for all video professionals. Konova’s range of
sliders are popular with self-shooters and rental houses alike, and can be used in
virtually any shooting scenario.
Their popularity can be attributed to
the compelling balance of price and
quality, where the Konova sliders
excel.
To aid the operator, Konova offer a
range of accessories including Master
Pan ‘auto-pan’ and motorised timelapse system. Konova recently added
to this range by introducing the new
‘K-ARM’ support arm and Nitsan Fly Wheel.
The ‘K-ARM’ is a universal solution for supporting the
slider when mounted on a single tripod. Even with
small-bodied DSLRs, it’s common for operators to use
two tripods in order to support the slider effectively.
This however makes manoeuvrability and
repositioning of the system cumbersome and
awkward.
By attaching the ‘K-ARM’ between
the tripod and the slider, any
unwanted movement is reduced
significantly, whilst still allowing easy
relocation for the next shot.
Designed for use with all new and
existing K3, K5 & K7 sliders, the
Nitsan Fly Wheel is a counterweight
system that reduces the inconsistency
from hand-driven movements. The system helps
ensure a constant carriage speed, whilst delivering an
elegant ramp up and ramp down during the
beginning and end of movements.
For more information please contact your usual dealer
or Octica direct.
t: +44 (0) 1784 450 506 | e: [email protected] |
w: www.octica.tv
Custom Consoles Announces MediaPost
Free-Standing Portable Large-Screen Mount
Custom Consoles announces a major addition to its range of broadcast furniture.
MediaPost is a free-standing portable
mount capable of accommodating flat
monitor displays of up to 65 inch diagonal
screen size.
Two MediaPosts can be coupled by a 3
metre wide horizontal beam supporting
up to three 65 inch monitors in a single
row.
"MediaPost is designed primarily for
situations where our standard MediaWall
would be too large," comments Managing
Director Neil Reed.
"Applications
include
discrete
monitors
supplementing an existing monitorscape, studio
floor monitors, off-camera talent prompts or part of
an in-view studio background.
“MediaPost is built to the same high standards of
ruggedness as MediaWall. Both come with a twoyear guarantee against component failure during
normal use."
Each MediaPost is constructed from
anodised extruded aluminium profiles
forming a 1,806 millimetre high rigid
column. These are supported by a 700 mm
wide x 590 mm front-to-back base fitted
with rear wheels to allow easy
positioning.
The base and a middle-height equipment
shelf are finished in a matte black powder
coating. Loudspeaker mounts are
available if required. The optional
horizontal beam matches the finish of the
anodised aluminium vertical columns. MediaPost
is fully height-adjustable to ensure sight lines are
optimised when using tilting screen mounts. Cables
can be fully concealed behind removable covers.
Built at Custom Consoles' UK manufacturing
facility, MediaPost is available within a typical
delivery period of seven to 14 working days.
www.customconsoles.co.uk
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VOLUME 19: ISSUE 07
What Do You Do?
I am often asked, 'Just what do Silentair do?' Writes Phil Gillatt, Technical Director.
I always thought it was a daft
question given our trading name is
Silentair, but I was asked the other
day to made a list of the things we
have done for clients and for
ourselves over the last few years. The
list was surprising, to say the least.
We started with the Serenity, a perfect
AC solution for sound sensitive areas.
It was then, and still is today, the
quietest fan coil in the world.
From that came the Serenity Air
distribution system, which was
specially designed to help maintain
the temperature selected for the room
and at the same time eliminate
draughts, even in post-production
and Foley studios.
We combined the two to create the
Serenity System, which is so quiet the
fan coil and the distribution system
are meant to be installed inside the
Phil Gillatt
studio. Another world first!
The simple design of these two
products allows us to increase or
decrease the capacity of each system
to match different size and shapes of
rooms, providing the perfect system
every time.
Naturally, we were soon asked if we
did silent fresh air as well as silent AC
as our clients were becoming aware of
the need for fresh air particularly in a
heavily insulated studio. Without a
constant fresh air supply 'work time'
in the studio is reduced and regular
breaks outside the studio become
more necessary.
Many other air condition companies
incorporate the fresh air into the AC
system. We were never very keen on
this method, as it tends to cause the
AC system to malfunction. So we
built our own fresh air supply system.
We called it the Hush Box which
delivers fresh air at the same noise
level as the Serenity with adjustable
air volumes to suit the number of
people in the studio.
We then turned our attention towards
TV and film studios after being asked
can we do a “Silent mobile AC
system” which could be used during
filming, then moved to another
location to cool another set. Five
months later, a range of mobile
systems was completed all using
flexible hoses to connect the outdoor
and indoor AC units together. 40
metres of flexible hose allows the
noisy wheeled outdoor unit to be
placed outside the studio and the
indoor unit wheeled in to position to
deliver conditioned air silently on to
the set. Interestingly, we developed
this system further for 'McGraw Hill',
which they use today to great effect to
provide a silent cooling to their news
desks. Our solution for them was to
wheel the fan coil boxes into the
correct position around the desk for
the duration of the shoot. The fan
coils are returned to their park
positions out of the way against the
studio walls. According to the client
they work very well.
The Olympics arrived in the UK
shortly after our mobile era and we
were asked for a very different type of
AC which could be used in a
temporary broadcast studio, but it
had to be very quiet, quick and easy
to install/remove. The result was
what we call 'The Trombone system'.
We developed this system so it simply
pushed together – no skill or screws
Serenity system with rectangle ducting
required – it is very fast to install
(under one hour), start to finish, and
very, very quiet. We hired them out
for the duration of the games and
ended up eventually supplying well
over 50 systems to various
broadcasters. One of the users was Al
Jazeera who, as a result of our work
and operating noise levels, made us
their preferred supplier for all the AC
in their new broadcast and postproduction studios in the Shard. They
were over the moon with what we did
and the low noise level we achieved.
After our success at Al Jazeera, we
were asked to develop a new type of
heat and cool AC for large scripted TV
studios. This exclusive design
completely changes the way to heat or
cool a scripted studio. This system is
so flexible each set can be conditioned
individually and the capacity for that
set
can
be
temporary
increased/decreased if required.
Energy costing with this system are
slashed by over 78% from standard
traditional ducted systems.
I guess the question, 'What do we do?'
isn't such a silly question after all!
Please contact us if any of the above is
of interest.
www.silentair.co.uk
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VOLUME 19: ISSUE 07
SMPTE UK Section Joins With Mesclado To Offer
One-Day Course on Interoperable Master Format (IMF)
The United Kingdom (UK) Section of the Society of Motion Picture and Television Engineers (SMPTE), has announced that it is partnering with Mesclado, a European leader
in media workflows and education, to deliver a one-day course on Interoperable Master Format (IMF).
Scheduled for Wednesday, 8 July, at the
British Film Institute (BFI), located at
21 Stephen Street in London, 'IMF: The
New Universal Master' will give
technical and nontechnical staff within
the motion-imaging industry an
opportunity to take the lead in
understanding IMF and how this
SMPTE standard works across all
areas of the industry.
"IMF is one example of an
industrywide standard created within
SMPTE, and this course from the
SMPTE UK Section brings experts
together to educate SMPTE Members
and others in the UK's thriving post
community about how IMF can assist
organisations to be more efficient,
creative, and productive," said Peter
Weitzel, SMPTE membership director
and secretary/treasurer of the SMPTE
UK Section. "IMF is a standard that
fosters new ways of thinking about
media workflows, and it will have a
profound effect across the post
industry."
Intended for professional applications
worldwide, IMF is a file-based
framework designed to represent
high-quality versions of a given,
finished multimedia work destined for
distribution across multiple channels,
including broadcast and internet.
Consultant Ken Burrows will join
François Abbe of Mesclado to examine
and explain this framework and
standard during 'IMF: The New
Universal Master.'
Burrows is a technology consultant in
the digital media, production,
broadcast, and distribution sectors
who previously served as chief
technology officer (CTO) for broadcast
and distribution at Channel 4. In
addition to being a founding member
of the UK Digital Production
Partnership (DPP), Burrows served as
the organisation's technical lead
responsible for the conception and
implementation of the common file-
based AS-11: Material eXchange
Format (MXF) DPP standard for
programme
delivery
to
UK
broadcasters.
Abbe is Mesclado's founder and
president, and he has built his
reputation as a respected media expert
through 20 years in the broadcast
industry, with experience in research
and
development,
product
management,
and
solution
architecture. He was instrumental in
the conception of MPEG-2 coding for
digital terrestrial television (DTT),
high-definition (HD) MXF, IMF,
objective image quality control, and
HD within a data processing and filebased environment.
Together, Burrows and Abbe will
provide course participants with the
comprehensive
background
knowledge to appreciate the real
benefits of IMF and provide an
overview of the business advantages
gained when using IMF for business-
Participants of the UK Section Seminar on UHD in London (February 2015)
Peter Weitzel speaks at the
UK Section Seminar on UHD
in London (February 2015)
to-business
ready-to-air
media
exchange. The two experts also will
present a panorama of existing IMF
solutions,
including
real-world
examples and use cases, and future
developments planned for the
standard and its implementation. To
ensure that each participant's issues or
questions can be dealt with during the
course, Burrows and Abbe also will
devote
time
to
small-group
discussions. There will also be
demonstrations of IMF workflows
from Rohde and Schwarz, who are
supporting this course.
'IMF: The New Universal Master' is
ideal for technical directors, engineers,
project managers, decision-makers,
and chiefs of project marketing;
familiarity with broadcast workflow
and information technology (IT) is
recommended.
Information on registration is available
at
www.smpte.org/uk-imf.
The
SMPTE UK Section course is £450 plus
VAT for nonmembers, £360 plus VAT
for SMPTE members, and £380 plus
VAT for those employed by a UK
Screen Association member.
Further information about the
SMPTE UK Section is available at
www.smpte.org/uk.
Further information about Mesclado
is available at www.mesclado.com.
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VOLUME 19: ISSUE 07
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LIVESHOT
Next-Generation Live HD Video IP Multi-codec
With Built-In Multi-Stream Bonding and Diversity
Comrex LiveShot is a compact camera-mountable device for streaming HD video and audio from the field to the studio using the public internet.
Complete with separate return video,
IFB and full-duplex intercom/cue
channel, LiveShot is specifically
designed to perform on challenging
networks. An integrated one-box
solution, LiveShot really is the nextgeneration of video uplink solution for
Live Remote ENG.
With LiveShot, it is almost possible to
leave the OB truck at home. Weighing
less than a kg and consuming less than
7W, it can be mounted between the
camera and its battery or fits easily
into its shoulder holster for on-the-go
shooting.
It
comprises
an
HD/SD/Composite video codec with
stereo audio to send programme back
to the studio and provides a return
video and audio feed back from the
studio end. In addition, there is a
separate audio codec providing live 2way audio for comms. It has Ethernet
plus multi-USB connectivity, bonding
and diversifying between multiple
connections to ensure sufficient and
reliable data bandwidth with clever
throttling to ensure that delay is not
introduced just because of one path
with latency or poor connectivity. The
integral LiveShot Hub allows
simultaneous connection of 4 dongles
but more can be bonded using an
expansion cable.
A smartphone can be used for local
control and monitoring plus the
LiveShot Central Server lets users see
previews and control all codecs in
their fleet using a normal web
browser. Full status information is
provided including details of the data
connections, packet loss and latency.
Users have their own account on the
LiveShot Central Server, provided at
no additional cost and without annual
subscription, which lets them see the
status of all the codecs in their
“family” and call up a live preview.
The Comrex LiveShot uses many of
the techniques learned with the
industry-standard ACCESS-IP Audio
codec with unequalled forward error
correction and error masking
techniques, congestion avoidance and
UDP enhancement to minimise the
effect of missed packets. The result is
stable ultra-low delay video and audio
even when working over poor and
mediocre IP connections that can
occur when 4G, 3G and wifi
connectivity deteriorate or become
congested. Whilst the comprehensive
forward error correction, error
masking and congestion avoidance
take care of the transmitted data, using
H264 High profile encoding ensures
better-quality video and audio whilst
using less data bandwidth which of
course is more likely to get through
the public internet unscathed. Often
an external unit is needed to combine
LiveShot in use 'in the field'
mobile signals (3G, 4G etc) to have
sufficient data bandwidth but this
capability is built-in as standard with
the LiveShot which has the possibility
to plug in multiple USB dongles to
provide multi-datapath bonding and
diversity. A secure end-to-end VPN is
set up using CrossLock – a Comrex
technique specially developed for
LiveShot.
The ultra-low latency (typically
around 100mS), enhanced stability
and additional connectivity providing
reverse video and audio as well as
comms, helps things run smoothly, all
without the infrastructure of having
an OB Vehicle at the location.
Contact Vortex Communications in
London for a full run-down and
hands-on demonstration.
www.vtx.co.uk
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VOLUME 19: ISSUE 07
Anton/Bauer Delivers
Vimond And iflix Establish
Joint Development Centre Reliable Support To The New
Vimond Media Solutions and iflix, Southeast Asia’s Internet TV service, are to establish a
jointly-operated development centre in Kuala Lumpur to create innovations in OTT TV and
break new ground in the way consumers watch television in a mobile-first environment.
iflix has installed the Vimond Platform to power
its range of OTT services across the Southeast
Asian region, reaching audiences in Thailand,
the Philippines, Malaysia, Vietnam and
Indonesia, with a potential market of half a
billion people.
After successful launches in Malaysia and the
Philippines, iflix will roll out the service to
Thailand, Indonesia, and Vietnam during 2015,
offering consumers more than 10,000 hours of
U.S., Asian regional, and local TV shows and
movies.
The subscription model allows each user to
access the service on five Internet capable
devices such as mobile, tablet, computer, or
television set, for viewing anywhere, anytime.
The joint development centre will focus on
creating innovative TV products for iflix’s
customer base, leveraging the scalability and
adaptable modular nature of Vimond’s Platform
solution.
“Vimond is the ideal innovation partner for iflix.
We have established a fantastic working synergy
through launching our service and we look
forward to developing that partnership further.
The compatibility of our business cultures and
ambitions to make a real impact in this industry
was conducive towards a deeper collaboration to
bring true innovation to this space,” said Ash
Crick, iflix Group CTO.
One of iflix’s key requirements for the project
was strong multi-language capabilities, and the
ability to support multiple character sets
including Chinese and Thai. The Vimond
Platform allows iflix to run individual
catalogues for each country and manage
individual subtitling and audio requirements as
part of the overall service management
workflow.
The Platform also provides comprehensive data
on viewing patterns to allow iflix to tailor and
adapt services for evolving audience needs.
World Of The Hunger Games:
Mockingjay - Part 1
When cinematographer Jo Willems, SBC and his crew brought to life the new world
order of The Hunger Games: Mockingjay - Part 1, they turned to Anton/Bauer to power
the shoot in Atlanta, Paris and Berlin.
The Hunger Games: Mockingjay – Part 1 was shot
with ARRI ALEXAs as its A, B and C cameras, as
well as 2nd unit photography.
Dave Thompson, SOC, teamed with Willems on the
film as A camera operator and Steadicam Operator.
Thompson notes that he’s “well-versed” in
Anton/Bauer batteries.
“We used Anton/Bauer exclusively on Mockingjay.
Our focus puller, Trevor Loomis, makes battery
belts that are Anton/Bauer-friendly. We just
snapped in Anton/Bauer DIONIC HC 90s and off
we’d go.”
He points out that the ALEXA requires a lot of
power. “It’s a power-hungry camera, so
the DIONIC HC 90s are well paired with it. The
batteries are lightweight and super durable.
Helge Høibraaten, CEO of Vimond Media
Solutions, commented: “I see the Vimond and
iflix visions of the future as strongly aligned. By
offering a premium TV experience at an
affordable price to a young and diverse
population, we can make a substantial
difference, for the audiences and the industry.
For us it is important to collect, embrace and
nurture ideas from different markets and
mindsets across the world in an industry that has
both strong globalisation and localisation trends
happening in parallel.”
www.vimond.com
“We traveled the world for Mockingjay,
experienced every weather scenario, and finished
the show with the same batteries we started with.
They just go and go.”
Thompson adds that when he began working with
camera stabilization systems, he originally
deployed batteries by another manufacturer to
power his camera and sled.
“But I switched to Anton/Bauer because they were
available around the world,” he explains. “I
discovered that I didn’t have to think about my
batteries if they were Anton/Bauer. I’d just power
up and go. I’ve never had an issue.”
Both Hunger Games: Mockingjay – Part 1 and Part
2 were shot simultaneously. Part 2 hits theaters this
November.
Photo Credit: Murray Close
www.antonbauer.com
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VOLUME 19: ISSUE 07
Case Design Breaks With The
Henry Ford Tradition
Henry Ford was famous for the quote, ‘You can have any colour car you like, so long as
it’s Black!’ At Case Design we always used to paraphrase this as, ‘you can have any
colour foam you like, provided it’s Black’.
Well we’ve recently broken from this
tradition and Henry wouldn’t be
happy!
But I hear you ask why would a
customer want orange foam – well the
clue is in their name – Bright Tangerine.
We’ve often been asked for coloured
foam in the past but did not have the
technology to cut it well, but with our
new investment in a state-of-the-art
CNC router we can now offer this
service.
The other benefit of orange foam is that
it looks much better in Video than
black, so if you are interested to see the
router in action we now have the
YouTube video:
Recently one of our customers decided that they
wanted Orange Foam with a Black skin. After
sourcing this foam for them we ran some tests on
our CNC Router to see how we got on. It ran fine
and we’ve now run a number of production jobs.
4112/BFV226/J
www.youtube.com/watch?v=cTg_IfrZMH4 – or
you can go to our website and view it there.
For regular news and updates follow us on twitter
@CaseDesignLtd.
www.case-design.co.uk
The Shining Reunite For 35th Anniversary
The world famous Elstree Studios took a trip down memory lane recently with a very
special event to honour Stanley Kubrick’s acclaimed psychological horror film. It
marked the 35th anniversary since it was released in May 1980.
The Shining, which starred Jack
Nicholson, was made at the studios
between 1978 and 1979.
"Here’s Johnny" became one of
cinema’s most iconic lines!
The crew and some of the cast
from The Shining assembled back to
where it all begun at Elstree where they united for a
celebration organised by the Elstree Project.
There was an opportunity for the cast and crew to
sign a poster which will be auctioned off to the
Silver Clef Awards in aid of Nordoff Robbins Music
Therapy.
Many memories were made during the making of
The Shining. For example, when the backlot was
used for the snow scenes at Elstree.
They used a combination of
Styrofoam (long shot) and industrial
Dairy Salt (close-ups). The snow was
dropped from bags mounted on
large cranes, and caused many
problems with the Borehamwood
drainage system after the Styrofoam
chips blocked up the drains.
Some of the snow also blew into neighbouring
residential areas, but even with all of the carnage
caused, The Shining became a film that everyone
still wishes to celebrate to this day.
The backlot is now being used for a new and
exciting high end drama which we hope will be
celebrated in 35 years to come.
www.elstreestudios.co.uk
The Wait Is Finally Over:
4TB Rugged RAID Is
Now Shipping
The 4TB LaCie® Rugged RAID, one of the toughest allterrain mobile storage devices on the market, is now
available from ImageStore Limited.
Packing twice the speed and capacity of a standard mobile hard drive in
its compact design, the LaCie Rugged features:
• 4TB of storage (the equivalent of thirty 128 GB memory cards)
• Thunderbolt™ and USB 3.0 for speeds of up to 240MB/s
• Bus powered via Thunderbolt for mobile workflows
• Hardware RAID 0/1 flexibility for speed or security
• Shock, dust, and water resistance for all–terrain use.
Tough in the Field
The LaCie Rugged has been tested to withstand drops of up to 1.5 meters
(5 feet), so whether your LaCie Rugged falls out of your backpack or is
being crushed by stacks of suitcases in the airplane cargo hold, your data
will stay safe and secure.
Bigger on the Inside
On the outside, the LaCie Rugged RAID is only 40% bigger than a
standard Rugged drive – but has double the capacity on the inside with
4 TB of storage space. With this capacity, the LaCie Rugged can store the
equivalent of thirty 128 GB memory cards, and lets you carry fewer
drives while capturing more photos, footage, and other types of content
in the field.
Fast and Secure
As the ultimate solution for on-the-go professionals, the LaCie Rugged
adapts to your needs for performance or completely data security.
The LaCie Rugged has a fast Thunderbolt interface and two internal hard
drives that are preconfigured in hardware RAID 0 for sustained
performance of up to 240 MB/s. With this speed, you can transfer 64 GB
of content in less than five minutes.
Leave the LaCie Rugged in RAID 0 (striped mode) to maximize speed
and capacity, or choose RAID 1 (mirrored mode) to have your data
duplicated across the two drives. So even if one drive fails in the field,
your files remain safe and accessible on the other drive.
Originally announced in May 2015, the LaCie Rugged is available for
£329 (inc vat).
The LaCie Rugged is the ideal
storage solution for professionals
who need to carry or transfer
massive amounts of data in the field.
For more information or to place
an order please call ImageStore on
02380 736500.
Or you can buy online at
www.imagestore.co.uk.
VOLUME 19: ISSUE 07
25
Riedel Communications Rolls Out IP
Network For Rock am Ring's Mendig Debut
Germany's annual and concurrent Rock am Ring (Rock at the Ring) and Rock im Park (Rock in the Park) are together considered to be among the world's largest music
festivals. By Lutz Rathman, Deputy Head Global Events, Riedel Communications.
During this year's rock music event, held June 5-7, well-known
and up-and-coming artists performed both at Rock am Ring at
Mendig Air Base and at Rock im Park at the Zeppelinfield in
Nuremberg. Event headliners including the Foo Fighters, Slipknot,
and German punk legend Die Toten Hosen played to huge crowds.
An estimated 90,000 fans attended the Rock am Ring festival, and
another 75,000 attended Rock im Park.
The 2015 event marked the 30th anniversary of Rock am Ring and
the 20th anniversary of Rock im Park, as well as the first time Rock
am Ring was held at the Mendig Air Base. Rock am Ring takes its
name from its former venue, the Nürburgring motorsports
complex near Nürburg, which was home to the event from its
inception in 1985 through to 2014 — with the exception of a couple
of hiatus years. In 2015 the event shifted to a new venue, the
Mendig Air Base, and with this shift came new challenges and
demands.
Given the lack of even basic physical infrastructure, the organizers'
requirements included an extensive, flexible, and rugged yet costeffective IP network that could support smooth communications
— from production to security — and to enable closed circuit
television (CCTV) coverage from main stages, even in the most
extreme weather conditions. The network supporting Rock am
Ring 2015 was designed, delivered, and installed by Wuppertalbased Riedel Communications and Frankfurt-based Riedel
Networks, known for providing network technology for highly
discerning customers responsible for producing some of the
world's most prestigious events.
For Rock am Ring in Mendig, Riedel Communications set up IP
network technology for the entire event area, so that all trades,
authorities, organizers, and event staff could maintain continual
access to communications and the Internet as needed. Deployed
across the infield and stage, the camping area, approach roads, air
control tower used for security, building housing police, media
lounges, VIP area, and organizing committee offices, the fiber
network — including Riedel Communications' MediorNet realtime media network frames — was complemented by radio links
that ensured coverage across the entire campground.
A VSAT connection was incorporated into the network design to
provide redundant Internet access and VOIP services for security,
crowd control, emergency services, firefighters, sanitation, and
other authorities. Internet access supplied by Riedel Networks,
Frankfurt, was a 1-GB line, full-feed duplex system, configured to
provide a dozen VLANs on the same structure. Specific capacity
was dedicated to authorities and organizers, and the rest of the
system bandwidth was distributed across other users. The Riedel
IP network was also used for an outdoor wifi installation for 500
VIP guests of the “Camping Experience” with its own
management and voucher system.
The IP network also supported the transport of 25 camera feeds to
the control tower and police building for monitoring, and to the
SWR broadcast production unit, which in turn fed video to the
organizers' offices and to projectors and displays within VIP and
sponsor lounges. A MediorNet core formed a ring around the
infield and provided the connections linking audio and video
signals from the two stages to the SWR TV and Radio production
unit as well as the program broadcast feeds back to the media
lounges and VIP areas. The same feeds where also encoded to an
IP stream, enabling easy playouts in the production offices.
Overall, the installation included more than 16 kilometers of glass
fiber, 60 switches, 600 CAT6 patch cables, and 150 VoIP telephones
with a merged emergency call function. From the switch, Riedel
Communications created subnetworks for different user groups,
with patches covering short distances. Eight Riedel
Communications engineers were on site to install and maintain the
network, and German VoIP specialist toplink GmbH also
supported the network.
Throughout Rock am Ring, the IP network supplied by Riedel
Networks performed just as planned. The system facilitated
seamless communications for event organizers and authorities,
enabled the display video of the bands on display screens across
the Mendig site, and simplified the display and communication of
critical information to guests, as was the case when severe weather
rolled through during the event. With the help of the IP network
supplied by Riedel Communications, Rock am Ring made its first
Mendig event a weekend to remember.
www.riedel.net
3955/BFV226/J
AERIAL FILMING - FEATURE
VOLUME 19: ISSUE 07
Commercial UAV
Operation In UK Airspace
Sub-20kg Remote Piloted Aircraft Systems (RPAS) are the fastest growing aviation sector in the UK. The sector is expanding at an incredible rate but just what are the rules
and regulations for the operation of 'drones' in UK airspace, and do General Aviation and Military Aviation have anything to fear from this proliferation? By ARPAS-UK.
Perception
It seems that rarely a week passes now
without an article in the mainstream
media regarding spectacular footage
captured using small RPAS systems,
illegal flight operation, or the
potential for nefarious usage.
ARPAS-UK, the UK trade association,
believes that users can be divided into
three distinct groups:
• Consumers – who purchase small
read to fly quad-rotors and operate
them with little or no knowledge of
rules and regulations. These can be
with or without cameras.
• Hobbyists – who are aware of the
rules and have many years radio
controlled modelling experience.
They are also insured for third party
risk and generally confine their
activities to dedicated sites.
• Commercial – users, many from a
non-aviation background, who have
either
started
a
business
predominantly to capitalise on the
opportunities these systems bring to
the table, or have integrated RPAS
into an existing business.
In the UK, there are now over 550
commercial operators operating in
industries such as TV and Film
Production, Agriculture, Surveying
and Inspection, using both multi-rotor
and fixed wing systems. At a recent
RPAS conference in London, the Civil
Aviation Authority (CAA) confirmed
another 90 permits were backlogged
on the system, illustrating the
phenomenal growth of the sector.
Rules and Regulations
Anybody operating an unmanned
aircraft in the UK must abide by
certain rules, including:
• Before each flight, check drone for
damage
• Drone must be in sight at all times
• Stay well clear of airports and
airfields
• Don't fly an unmanned aircraft
within 50m of a person, vehicle or
building
• Think about what you do with any
images you obtain as you may
breach privacy laws.
For commercial users, in order to fly a
SUA (small unmanned aircraft) for
commercial gain, the key requirement
is to hold a Permission for Aerial
Work (PfAW) from the CAA. In order
to gain this, the CAA requires to see a
completed operations manual and
evidence of pilot competency which is
broken into three elements; adequate
theoretical
knowledge/general
airmanship, successful completion of
a practical flight assessment on the
class of SUA that is being applied for,
and a minimum amount of recent
flying experience on the class of SUA
that is being applied for.
For those coming from a non-aviation
background, in order to achieve this
you would attend a course run by one
of the National Qualified Entities
(NQE).
The PfAW will allow an operator to
fly within the confines of the Air
Navigation Order. In most cases, to
operate successfully commercially
there is a need to be able to operate in
congested areas. However, the CAA
wishes to see a far greater emphasis
on safety.
Enter the safety case. UAS – OSC.
This looks at not just improved
operational procedures and safety
management systems but also looks in
depth at pilot competency and the
safety of the aircraft. Unless an
operator has evidence to prove they
have prior experience or have a
proven track record as a PfAW holder
then getting a safety case approved
could prove difficult. Finally, if the
Sky Futures
High Royds Asylum, Darren Miller
operator is coming from an aviation
background then the process could be
simplified, as they may not be
required to attend ground school,
however a flight test and operations
manual will still be required.
Two key questions arise from this
namely, how long does the process
take and how much is it likely to cost?
In terms of time it very much depends
on how long it takes to write the
operations manual and to what
quality you write it. Whilst
completion of the process may be
quicker it would be sensible to allow a
good six months to complete the
process.
These accredited courses currently
cost between £1,200 and £1,600 with a
CAA processing fee of £133 or £226,
depending on whether the UAV is sub
7kg or 7-20kg, respectively. Finally,
there is annual training renewal fee of
around £90-125, although this is now
voluntary. While this may seem
expensive for some, the alternative of
being caught an unlicensed RPAS for
paid work could mean a hefty fine
and a maximum up to two years in
prison.
Enter ARPAS-UK
The Association of Remotely Piloted
Aircraft Systems UK (ARPAS-UK) is a
non-profit association, formed in 2013,
to represent the RPAS industry in the
UK and to help promote best practice
amongst its members.
Since its inception, ARPAS-UK has
grown to represent the majority of
those operating in the commercial
UAS industry, across all sectors.
Through the hard work of our
committee we have developed safety
partnerships with the CAA and
NATS. We also have working
relationships with key stakeholders
including BMFA, BALPA, KTN,
ACPO, RAeS, and many others,
where we actively champion greater
co-operation with the membership.
As a direct result of ARPAS-UK
liaison with the CAA, the UAS-OSC
was created.
Summary
Commercial operators generally
accept that they are stakeholders and
ambassadors for the industry and that
they have a responsibility to conduct
their
operation
safely
and
professionally. ARPAS-UK do not see
themselves as a Police force but
instead look to educate and engage
with key stakeholders to promote safe
operation. ARPAS-UK are currently
engaging with the Association of
Chief Police Officers drone lead to this
end. ARPAS-UK are also engaging
with manufacturers as ultimately the
problem of consumer level equipment
straying into manned aviation
airspace can be solved with software
geo fencing and height restrictions.
www.arpas.uk
3755/BFV226/J
VOLUME 19: ISSUE 07
27
3753/BFV226/J
VOLUME 19: ISSUE 07
AERIALWORX - Extreme Droning
Sounds like the sort of thing we suffered as teenagers from an irate mother, constantly nagging to tidy my bedroom or do the chores…. Or was that just me!
By Aerialworx (Peter Stanton).
How did we get into it? We got a chance phone call from a TV
company who’d been let down by another aerial filming
company. With everything set roll the unfortunate aerial
filming company’s drone just wouldn’t fly. With the TV
company left in limbo by the impending crisis, the film crew
quite literally searched through Google for an alternative local
company and AERIALWORX came top of the list. For us it was
a last minute scramble, a quick check with air traffic and next
thing we knew we were on the top of a mountain getting
amazing shots with a very content client. It was a fantastic
break, a steep learning curve but a brilliant opportunity to
show off our skills.
Realising the vast potential available for stunning filming
opportunities on our very own doorstep we enlisted the
services of a local outward bound centre to increase our
portfolio and hone our skills. This took us way off the beaten
track to film rock climbing, hill walking, mountain biking and
kayaking. Nothing was easy; weather, location or terrain, each
introduced their own individual challenges. There were long
hikes, steep climbs and long flights over deep water
accompanied by long exhausting days and even longer tiring
nights spent in the company of a soldering iron and hair drier.
But the knowledge gained from our efforts was invaluable.
From our earlier encounter with the TV film crew we were
again commissioned to film a high profile, prime time TV series
due to be aired this summer. It would be arrogant to say it went
without a hitch. Even though we were well prepared and
practiced in the art of filming, in the mountains mother nature
had a few more ace cards up her sleeve.
We disciplined ourselves to use only meticulous engineering
practices in the construction and maintenance of our
equipment. On top of Snowdon we encountered hot, dry
conditions, with an unseasonal heatwave in the middle of
September. With each of us carrying 20kg of filming equipment
high up on the mountain all day dehydration was the hidden
trap. The decision not to reduce weight by reducing the
amount of water carried was a temptation we thankfully
avoided. Without sufficient water the best equipment in the
world would have been useless without a functioning pilot!
The sudden torrential rain in the Peak District which saw a
months’ worth of rain fall in 24 hrs. The result saw us once
again, despite all attempts to keep our equipment dry, reacquainted with our old friend the soldering iron and hair drier
until late in the evening to prepare for the next day's shoot.
Determined not to repeat that exercise we wisely invested
heavily in robust, water proof transport cases for all parts of
our equipment and this proved invaluable, especially when sat
on an exposed mountain waiting for an elusive weather
window to appear.
3804/BFV226/J
Extreme Facilities supply innovative Camera & Sound solution
• Multicopter/Drone HD, 2K, 4K (CAA Licensed Pilots)
• HD, 2K, 4K & Highspeed Minicam System
• On-board, Vehcile, Aircraft & Peron Cameras
• Underwater Camera Housings
• Stabilised Gimbals Movi M5, Movi M10 & DJI Ronin
• 360° Camera Systems & Custom Rigging
• Gyrostabilised Wirecam/Flywire Cameras
• Stabilised Tracking Cranes & Vehicles
Drone Clients: BBC Top Gear Main Series & Specials (Middle East, Africa, India,
Burma), BBC F1 & Sky F1 Onboard, James May’s Car of the People, James May’s
Toy Stories, SAS: The Selection, The Classic Car Show, The One Show, A league
of There Own, Redbull F1
Minicam Credits: BBC Top Gear Main Series & Specials (Middle East, Africa,
India, Burma), C4 The Jump, BBC F1 & Sky F1 Onboard, James May’s Car of the
People, James May’s Toy Stories, Richard Hammond Bond Cars, SAS: The
Selection, The Classic Car Show, The One Show, One Car Too Far, World’s
Toughest Truckers, Midsomer Murders, A league of There Own, Redbull F1,
Mercedes F1, BMW, Volkswagen, Aston Martin, BAE System
For more information about our systems and services
please call 0207 801 9111 or email [email protected]
On Ben Nevis, the highest mountain in the UK at over 4,400ft,
the deep freeze of winter was memorable in many ways. Sat on
an island in the clouds in all its astounding beauty was breath
taking, but when the mist rolled over and the wind chill
dropped the mercury to -30c we saw the beauty and the beast.
In these temperatures batteries can be consumed in a blink of
an eye but we had planned ahead and developed a method of
maintaining the batteries at an ambient temperature to
overcome this problem. As a result the temperature had only
minimal effect to our flying capability.
We have come a long way since out first tentative flight on a
film set and we are still learning something new every time the
camera rolls. There have been many areas that have led to the
success of AERIALWORX so far.
Accomplished engineering has kept us in the air, excellent
flying skills has got us in the right place and well-practiced
videography skills have captured the footage we wanted.
www.aerialworx.co.uk
VOLUME 19: ISSUE 07
29
A Guide To Aerial Filming
Preparation is everything when it comes to aerial filming, so here's a few pointers to help you plan a successful shoot, courtesy of PDG Helicopters.
Safety
Your safety must always come first, so when you're choosing a
helicopter operator you should first ensure they hold a valid Air
Operators Certificate issued by the CAA and conform to the
exacting standards for commercial helicopter operation.
Credibility
Ensure that the helicopter company you choose is professional and
has the required skills and experience to deliver the highest
standards of aerial filming. Ask for a TV and movies credit list and
try to view some of their past work.
Aircraft
Helicopters are the ideal platform to deliver the camera and
capture amazing aerial shots but your choice of helicopter is
important as this can limit the height and location of your filming.
A twin engine helicopter will generally get you closer to the action
and allow you to fly lower over a city or fly further over water,
whereas a single engine machine will have greater limitations in
such areas.
Aircraft type and size should also be a consideration, as you may
need room for your crew members and their equipment. Small
four-seat helicopters may cost less but your comfort, safety and
quality of filming could be at risk if it's overloaded.
Cameras
Gyro-stabilised camera systems offer a massive advantage over
handheld cameras. The initial hire cost of a gyro stabilised system
may seem expensive when compared to these options but the
restricted views and inability to use a long lens combined with the
vibration means it could take you much longer to capture a decent
shot. Compare this to a nose mounted 5-axis gyro-stabilised
system with long lens, the gyro system will get you the shot in a
fraction of the time and so deliver far more material in the time
that you have. Always use the highest resolution possible as this
can extend the life of the footage and allow you to use it for future
projects.
Locations
Discuss your choice of filming locations with your helicopter
operator. The locations may seem perfect to you, but flight
restrictions might be in place. The helicopter operator will
generally know where they can fly and in some cases they can
apply for special exemptions from the CAA.
Communication
If you are planning to film somebody on the ground or in a vehicle,
it's a massive benefit to have air band radios. These operate on a
different band to normal 2-way radios and will allow
communication between the aircraft and the ground crew through
the aircraft radios and ultimately make the hole process of filming
much easier and save valuable flight time.
Ground Support
When filming for long periods in remote locations it may be wise
having a portable fuel bowser on site for the aircraft. This can save
both time and money if the closest airfield with fuel is more than
30 minutes flight time away.
out of time, the least important shots can be sacrificed.
Crew
On board the helicopter you'll obviously need a pilot and camera
operator and normally a director. Try and limit the crew to this,
adding extra people to the flight will only reduce the fuel load that
the aircraft can carry which reduces its endurance and could mean
you need to break off filming to go and refuel resulting in extra
costs through landing charges. Avoid having people onboard who
suffer from travel sickness. The results are obvious and can
literally stop the flying and ruin the filming.
Onboard the helicopter
Once you're in the air get the camera rolling and take every
opportunity to capture footage. An experienced camera operator
will keep offering up shots for GV's between locations and while
on route you can discuss the next shot. During filming its
important to keep the crew communication going, so direct the
shot or provide feedback (good or bad) and if the shot isn't
working you need to say so that no time is wasted. Before moving
on to the next location make sure you have everything you need
and tick it off your list. The pilot should keep you informed of how
much time you've used so that you can control how much time
you spend capturing each shot.
Briefing
Prior to the aircraft going anywhere, always sit down with the
pilot and camera operator to discuss all aspects of the filming and
flight. A story board is great but not essential, but at the very least
make sure you have a list of all the shots you need and prioritise
them to ensure you get the most important shots. Should you run
Have a great shoot!
www.pdghelicopters.com
4116/BFV226/J
VOLUME 19: ISSUE 07
Aerial Filming By BeyondHD:
'Cameras In Motion'
BeyondHD own and operate a fleet of the Aerigon Cinema Drones and are the exclusive UK partner of the Swedish Drone manufacturer, Intuitive Aerial.
Keith Harding, Managing Director and
founder of BeyondHD has more than
25 years in film & TV, filming high end
live OB's (including two Olympic
games)
dramas,
documentaries,
wildlife & commercials as well as
blockbuster feature films, such as the
recent Marvel Avengers Age of Ultron
& Into The Woods.
Based at the world famous Pinewood
Studios, BeyondHD are a company that
often chooses to buck the trends in
terms of both conventional business
model and the selection of equipment
they operate; in not always opting for
the market leader, just because it is the
best marketed.
Keith Harding says: “We often find
issues and design flaws, particularly
with drones and gyro stabilisers, as
most of these have originated from the
hobbyist and model aircraft 'markets'.
We therefore look for new or alternative
designs and solutions, but that come
from designers and manufacturers who
are from the world of film & broadcast
as they tend to really understand the
specific
requirements
and
environments of working on actual
productions, with tight timescales,
demanding directors and actors and
extremely high levels of expectation of
any crew or equipment that comes onto
their set/location or into their studios.
“Partnering with these top designers
and manufacturers rewards us and our
clients with wonderfully innovative,
high quality products, designed
specifically by and for camera operators
and DoP's, resulting in solutions that
provide fantastic production values in a
way that fits into a traditional
production workflow… which is
clearly great for time and budget.”
Operationally, BeyondHD provide
production/filming services to many
top film and TV productions ranging
from Hollywood feature films, dramas,
documentaries and commercials to live
outside broadcasts. Keith goes on:
“What makes us a little more unusual,
is that when we find those 'special
products' that we consider provide a
superior to any other product in terms
of flexibility and high end camera/lens
compatibility, we then often work with
these manufacturers to support,
operate, sell and frequently to develop
and produce our own ancillary
products here in the UK. For our many
film and TV customers, this means they
know that we always provide products
and services with equipment that we
not only sell, but use in anger on real
world and the highest of quality
productions in the most demanding
world of film and broadcast.”
In the case of finding the right Drone
partner; before partnering back in 2013
with Intuitive Aerial, the manufacturer
of the class leading heavy lift cinema
aerial filming platform, Aerigon
(known to many as the Black Armored
Drone), we had endured the same
issues as most DoP's and productions
working with other drones still tend to
suffer with now; the inability to fly with
the same high end cameras and lenses
that are being used for the rest of the
production on the ground (such as
RED, ARRI, Sony, Grass Valley etc.,
with cine or broadcast zoom lenses).
The inconvenience and hidden costs of
having to use alternative lightweight,
stripped down cameras, such as DSLR's
with photo lenses, may have once been
The Aerigon flying
considered an acceptable compromise
to get drone shots, as there was no
practical/safe option to carry such
heavy
camera/lens/accessory
payloads into the air whilst still having
a high level of failsafe and redundancy
in the event of a motor failure. Aerigon
can take 9kg and still fly with two
motors down. When we teamed up
with Intuitive Aerial and the Black
Armored Drone, we knew in a
heartbeat,
that
camera/lens
compromise was going to be a thing of
the past. Since then, we've never looked
back and neither have our clients, as
with this incredible aerial filming
platform we can fly Red Dragon, Arri
Alexa/Mini, Sony F55s, Grass Valley
LDX OB cameras and, most recently,
the incredible Phantom Flex 4K and all
with uncompromised quality of lenses,
Zoom, Iris and Focus control and high
quality zero latency HD monitoring or
live transmissions solutions.
No longer does the Production or DoP
have to change the way he works to suit
the drone or incur additional costs in
Post to try and match completely
different cameras and lenses with the
rest of the program or film. Moreover,
seeking permissions for using this
commercially produced series of
aircraft is much easier, as regulating
bodies such as the CAA are familiar
with this aircraft and the high quality of
manufacturing and the pedigree of
BeyondHD as experienced film/TV
operators. For our clients, we carry a
full range of Video Village, monitoring,
lens motors, professional battery
charging and logging solutions, turning
up on set with a full solution, not just a
drone with a camera. I've never worked
on a production yet where the DoP,
producer, director are actually happy to
wait until the aircraft is on the ground
to see whether the shot works. Our
video village is fully wireless (even
power is from V-Locks) and it provides
zero latency HD monitoring to the main
17” monitor and separate waveform
and vectorscope on separate units, all
this with the ability to record and
instantly review in HD. The controller
we use for the gimbal is like a controller
you'd expect to find on a cineflex, not
the typical model aircraft controller.
“We are firstly a film and TV company
and then a drone operator. Not the
other way around,” Keith states.
Intuitive Aerial is probably the only
Drone manufacturer to make just one
single product, designed from the
ground up for high end filming.
Despite this narrow market and
product portfolio, their commitment to
it and our mutual success, saw them
Control & monitoring solutions
used on location
listed on the New York Stock Exchange
earlier this year. There really is no
substitute for quality and customers
love the fact that when they use this
amazing drone, coupled with our
highly skilled and experienced pilots
and aerial DoPs, the shots can be
breathtaking. As with all new
technologies, it takes a while to find the
sweet spots and it's taken us a while to
educate the market to think of the
Aerigon, not as a cheap helicopter, but
as the most amazing and flexible bit of
grip equipment you can buy.
Think of the drone in terms of a giant
crane, imagining the flexibility of a
telescoping crane, but with a 3 feet to
400 feet high reach, 500m turning
radius, with unlimited tracking, and
almost instantly deployable and relocatable and then you start to see the
value of the Aerigon with a full
film/broadcast camera system on
board. For this reason, we work a lot
with Helicopter filming companies, as
the shots you get are entirely different.
Directors and DoPs now are starting to
understand that it's often the most
subtle of shots that take our breath
away, not the “how high, how fast”
shots, where a full size helicopter is still
the way to go.
For further products, BeyondHD
supply and operate the Letus Helix
range of handheld camera stabilisation
solutions for professional film and TV
digital cinema cameras & compact cine
lenses, and for larger camera lens
packages, BeyondHD have the new
20kg capable Double Helix, designed
for full size cameras such as Sony F55
(with 4K), ARRI Alexa, Red Dragon,
GV LDX etc., with full size film/TV
lenses, wireless tx systems and lens
control and the incredible body worn
ExoSkeleton support arms which will
be an absolute necessity for carrying
such special payloads.
Microsites for www.letushelix.co.uk
& www.blackarmoreddrone.co.uk
Vimeo Channel
https://vimeo.com/beyondhd
Contact Keith Harding on
+44 20 7193 6143
www.beyondhd.tv
Taking To The Air With Rogue State Media
As an aerial photographer my drone is so much more than a flying camera, writes Ben Kenobi of Rogue State Media.
The wide range of shots available with only one
piece of equipment is pretty mind boggling. There
are your classic aerial shots, the high and wide
shots, (similar to the ones you get with a manned
helicopter), the low and fast shots, the typical boom
shots, and track and dolly.
I recently worked on a series for More 4 using all of
the above techniques, but in my opinion the high
and wides have the greatest impact.
That's when you get that amazing perspective
which is almost impossible to replicate, unless you
use a full-size manned helicopter; which
coincidently rules out all the other shots achievable
by drones.
One time a producer requested a shot of seagulls
flying on the beach, from the perspective of the
seagull. He basically wanted swooping shots as if a
seagull was dive-bombing the presenter.
Another assignment was a horse’s eye view of
Cheltenham Race Course, with the drone
simulating a race horse running along the track and
charging over jumps.
This is why I love aerial filming so much: the
variety. One day you’re flying out at sea chasing
boats, the next day you’re up a mountain flying in
the face of an Oscar-winning Hollywood star, and
on your next assignment you’re in the middle of
London flying up a skyscraper.
This job takes me places I never would have
dreamed of, and this is only the beginning.
www.roguestatemedia.co
4K Aerial Camera With Ultra
Telephoto Canon 20x50 Lens
GB Helicopters has become the first UK Helicopter operator to own a 4K aerial camera
system integrated with the freshly released 4K Cine Canon lens.
The 20x50 ultra telephoto
zoom lens offers stunning
UHD performance; ideal for
sporting events and wildlife
applications and compliments
their already superb C516
camera system.
The system fitted with a Red
Epic Dragon sensor, has been
bespokely calibrated to adapt
to both the 30-300mm lens
and now the 20x50; both by
Canon and encase them
within the 16” carbon-fibre
gimbal structure.
Having initially chosen the GSS system due to its
ability to effortlessly interchange payloads. It is
ideally suited to task changes whilst on location,
catering for dramatic wide shots as well as long
range close ups of specific subjects with only
minutes of downtime to effect the change.
The two Canon lenses offer the unprecedented
quality, flexibility and usability required for shoots
in demanding and unpredictable environments.
Combining the finest quality optics with a weatherand-shock-proof construction the 20x50 lens is
perfect for aerial action shooting.
Its unrivalled focal length and zooming capabilities
capture extremely high-resolution from a distance
as well as miniscule details with immaculate
definition for close-to-the-action sports work.
The lens also maintains the highest quality
throughout its impressive zooming range with fast,
reactive positional changes.
Fitted to the Red Epic Dragon this sensor-lens
combination leaves endless possibility for filming
requirements.
The C516 as a whole is the
lightest most compact system
of its type, helping to maintain
aircraft operating limitations
and
endurance
whilst
maximizing payload.
31
Our Eclipse™ camera system,
with its open architecture, can
take any camera, including Arri 65,
IMAX, 3D, Multi-Array.
We can also provide Shotover, Cineflex V14 and Elite.
We have expertise in providing microwave links and frequency support.
It also allows the ability for the director to watch
from the aircraft cabin on an Atomos Shogun
Recorder to ensure that vital sequence has been
captured.
Simultaneously recording up to 6K R3D files to the
Red Epic Dragon or alternatively offering the ability
to downlink live images, ensuring any additional
viewing requirement can be met on the ground
with radio links to the aircraft for direction.
For stabilised footage requirements further afield,
the entire system can be packed into five cases, all
qualifying under excess baggage, in order to avoid
lengthy delays associated with freighting
equipment.
The C516 can be mounted to multiple types of
aircraft, vehicles and marine vessels making it a
unit for all occasions.
For further information on the system, bookings
and availability contact the operations team at
[email protected] or call 0800 030 4105.
www.gbhelicopters.com
Flying Pictures has been in the film business for over 35 years and during this time we have
become acknowledged world leaders in our craft, with over 400 film credits to our name and
some memorable TV work.
arrayed 3 across x 2 rows high)
• Shotover: Lightweight, compact,
takes a range of cameras including
RED Epic, Arri Alexa
• Cineflex Elite: Integral Alexa-M –
complete, cost effective package.
• Cineflex V14: Integral Sony 1500 –
high-performance aerial broadcast
system.
Aerial coordination services, aircraft of
all types – fixed wing and rotary, fuel
bowsers, microwave expertise – we
can offer all of these to make the shoot happen, to get the
shots.
From London to Glasgow, Barcelona to Berlin, Jordan to
Jamaica – even Everest – whatever you want, wherever
you want it, for everything aerial.
www.flyingpictures.com
SUAS Unveils The Hawker Q800XE
The Hawker Q800XE meets the harshest requirements for industrial applications and
when weather conditions need to be overcome for safety missions, this platform
remains one of the ultimate solution of the market.
Inspired from the aerospace
industry, the platform has been
designed to make the most out
of performance and robustness,
and the perfect match of carbon
materials with magnesium
alloys brings strength and
durability with a touch of
lightness.
The Hawker Q800XE integrates
several ingenious solutions, and
amongst them, the unique
solution using ratchet connectors to fix the motor
arms. This gives another sense to modularity, and in
a fraction of seconds the platform is set up and
ready to fly. The essence and definition of plug and
play is perfectly expressed by this new platform.
Heavy rain, snow conditions – these are the
challenging environments where the Hawker
Q800XE will operate at its best performance.
VOLUME 19: ISSUE 07
GB Helicopters also own and
operate an all-weather Air
Operators Certificate, which
allows the legal carriage of
passengers on task; valid
throughout the UK and
Northern Europe this charter
certificate enables a wide
operating area of interest.
Leading Edge Technology &
Long Established Professionalism
We were the ones responsible for the
iconic 2012 Olympic Games Opening
Ceremony stunt with Her Majesty the
Queen and James Bond.
To enhance our portfolio of services to
all clients, we have recently
announced a merger with AMIS
Productions. Emmy-winning AMIS
has specialised in live broadcast, e.g.
America's Cup, RAI cycling events,
BBC Great Run and Formula E
Racing.
The merger unifies an extensive range of specialist
personnel and expertise over both the broadcast television
and motion picture industries. We now hold one of largest
inventories of gyrostabilised cameras in the world:
• Eclipse™: State-of-the-art open architecture takes any
camera. Arri 65, IMAX, 3D, Multi-Array (six 5K Red Epics
Built to resist rude and severe
climatic conditions, the Q800XE
will bring the end user new
capabilities and new visions for
unlimited applications.
SUAS represents the UAV
(Unmanned Aerial Vehicle)
industry sector, providing
valuable industry specific and
general business benefits to
nurture the growth of its
members,
partners
and
sponsors.
SUAS can also be contacted about the Aeraccess UK
platform.
www.aeraccessuk.com
www.suas-global.com
Flying Pictures Ltd,
Stonefield Park, Martins Lane,
Chilbolton, Hants. SO20 6BL
+44(0)1264 862-222
3783/BFV226/J
VOLUME 19: ISSUE 07
PDG Helicopters Invest In
Key Camera Systems
PDG Helicopters are one of the best known aerial filming companies in the UK with a
history stretching back over 40 years. Our specialist filming department includes coordinators, camera operators, pilots, operational staff and a great range of gyro-stabilised
camera systems that include systems by GSS and Cineflex.
Soaring Above A City
In Transition
Bakehouse Aerial are seeing Hull from a whole new angle.
Kingston Upon Hull is undergoing a rapid and
comprehensive transformation.
PDG became the first
company in the world
to own and operate the
GSS
C516
camera
systems when we
invested
two
full
systems early last year.
PDG own and operate
two GSS 516 camera
systems
with
six
custom payloads that
we developed with GSS
for
our
exact
requirements.
With UK City of Culture status for 2017, an
expanding construction industry, more festivals
than there are months in the calendar, and the
Green Port Hull vision, which aims to establish the
region as a world-class centre for renewable
energy, the city is a hub of activity and a focal point
for international business.
The C516 system is an
open platform system,
developed to integrate
the latest digital cinema
cameras and lenses,
which can harness the
power of 4K and
beyond. The camera
gimbal is fully gyro-stabilised in 5-axis using the
latest fiber-optic gyro technology and features
automatic horizon hold with steerable roll axis
and the ability to film vertically.
Either system can be
configured for movie,
photographic or survey
work.
A place of ambition and opportunity requires
filmmaking, marketing and documentation tools
of a global standard, which is why Bakehouse
Aerial recognised the need to gain permission from
the Civil Aviation Authority to film from the skies.
At the heart of PDG’s cinema system is a Red
Epic 6K Dragon camera with a choice of Canon
CN-E30-300mm telephoto or CN-E14.4-60mm
wide-angle lenses. The Dragon camera offers
resolutions from 2K to 6K in a wide range of
frame rates. All recordings are made in Redcode
Raw to Minimags with selectable compression
rates from 18:1 to 3:1.
The camera gimbal is nose mounted to any of
our fleet of AS350 or AS355 helicopters via an
AirFilm AFSP-1 camera mount and V1725
vibration isolator.
The complete system is compact and lightweight
so allows room on-board for pilot, camera
operator and director, who we equip with HD
LCD monitors. The system is supplied as a
complete package that includes one of our own
experienced aerial cameramen.
The GSS C516 camera
systems compliment
our Cineflex V14HD
broadcast system and allow us to deliver the
highest levels of quality for film and TV
production.
PDG are licensed and approved by the CAA
(Civil Aviation Authority) as an air operator and
hold permanent CAA flight exemptions for
aerial filming and aerial photography. We are an
approved supplier of helicopters and aerial
filming to the BBC, ITV, STV, Channel 4, Channel
5, Sky and RTÉ.
Just a few months in, the company has already
worked on the latest City of Culture promotional
film, as well working nationally to capture unique
footage for a range of clients from up to 400 feet
above the ground.
As drone usage becomes widespread, Bakehouse
are the first supplier in East Yorkshire to offer the
service 100% legally under the stringent CAA
guidelines.
In addition, we offer a range of ground support
facilities available on location anywhere in the
UK and Ireland. These include helicopter ground
support crews, fuel bowsers, support vehicles
and engineering.
Whatever your aerial filming requirements PDG
helicopters are here to help. Speak to our
friendly and knowledgeable team.
With
qualified
pilots
and
commercial
photographers working with industrial-grade
drones and high resolution DSLR and film
equipment, the team is also dedicated to giving
talks and workshops on the legality and
applications of aerial filming to local authorities
and businesses.
As technology and the law change, they believe it
is their duty to act as educators as much as
providers so that everyone understands the
potential the trade has to offer.
An often-overlooked city, Hull has a population of
over 250,000 and is a hive of science, energy
production and food manufacturing.
Whilst Aunt Bessie’s produces over 20 million
Yorkshire puddings a week, Siemens are creating
the planet’s most advanced wind turbine
manufacturing facilities, Hull University are
researching water flows on Mars, and a million
ferry passengers access the city’s ports each year.
Ben O’Leary, photographer at Bakehouse, said: "It
is essential that an area with such significant
national importance has access to professional
aerial filmmakers.
“We combine our production skills with an
unparalleled knowledge of the East Yorkshire
landscape.”
The next few years in Hull are set to be very
exciting for everyone in the UK and beyond.
Bakehouse Aerial is ready to help capture each and
every moment from the skies.
Contact Ben on 01482 420788, or see
www.bakehouseaerial.co.uk.
Tel: +44(0)1667 462740
www.pdghelicopters.com
Are Drones Really The Future Of Filming?
Most widely known as devices used by the military, drones are vastly becoming the broadcasting and film industry's weapon of choice when it comes to the battle for the
best blockbuster.
Drones, professionally referred to as
UAVs or RPAS, are the next step in
aerial filming technology. With
possibilities for film, television, live
broadcasting, aerial photography and
advertising it is no surprise that UAVs
are becoming the latest addition to
the broadcasting toolkit.
UAVs are increasingly being used in a
number of high profile films and
documentaries, with the technology
used in everything from the latest
James Bond instalment to Game of
Thrones and the Avengers: Age of
Ultron.
Getting the scene and camera angle
right first time can require military
precision and that's exactly what
drone technology can offer. UAVs are
also
becoming
increasingly
prominent for live broadcasting
applications, with the tech used to
broadcast footage of the US Open
held in June of this year.
UAVs remove the constraints
presented by large pieces of filming
equipment offering an alternative to
booms, tracks cams, jib, cranes and
helicopters. With a quick set-up time
and at a fraction of the cost of
traditional aerial filming techniques,
UAVs are a cost and time-effective
alternative for the film and broadcast
industry. With the technology rapidly
evolving UAVs are also achieving
phenomenal, previously unattainable
footage, offering an unparalleled
viewpoint for filmmakers. Stabilised
gimbals and camera systems have
optimised
UAVs
for
filming
purposes, whilst increasing payloads
are enabling UAVs to be compatible
with a broad range of cameras and
lenses. 4K resolution HD filming is
now easily achievable with UAVs and
with many companies now designing
custom-built aerial camera drones
specifically for the cinematography
and broadcasting community the
possibilities for this technology are
continually growing.
Drone in action
Battery life for UAVs at present varies
depending on the kit you are using,
with flight times ranging from
approximately 10-20 minutes. Some
critics have dismissed the use of
UAVs for the filming industry based
upon their minimal battery life,
however with more innovative power
sources, such as hydrogen, and new
battery designs emerging UAVs are
set to move from minutes to hours of
flying time.
Make no mistake though, not just
anyone can fly a UAV, training is a
must! In the face of a number of
recent incidents involving the misuse
of UAVs, safety, training and
insurance
are
of
paramount
importance. The industry has a
number of basic regulations which
must be followed by anyone
operating a UAV: UAVs can be flown
up
to
400ft
altitude,
500m
horizontally (in order to maintain
visual line of sight with the UAV),
and must be kept 50m away from
buildings and people. If you plan to
use a UAV for commercial purposes
you must gain a Permission For
Aerial Work (PFAW) from the Civil
Aviation Authority. In order to gain a
PFAW you must complete pilot
competency training. This training is
currently available from seven CAA
approved training providers known
as National Qualified Entities (NQE).
There are now also a number of
specialised UAV insurance providers
within the industry who should be a
first point-of-call before any UAV
operations.
Are drones really the future of
filming? Only time will tell. What is
clear is that UAVs are undoubtedly
becoming a key piece of broadcasting
kit, perfectly suited to a range of
filming applications, and free from
the limitations of more traditional
filming methods. This rapidly
expanding industry is certainly one to
watch. To discover more about the
use of UAVs for the filming &
broadcasting industries, and to check
out the latest in drone technology,
visit the SkyTech 2016 event taking
place in London on the 27th & 28th
January.
For more information about CAA
approved training providers and how
to gain a PFAW visit the CAA website.
www.caa.co.uk
VOLUME 19: ISSUE 07
33
Versatile Drones
Over recent years, Drones have become increasingly present and increasingly versatile, able to deal with a wider range of climatic conditions and carry heavier cameras.
Drones are increasingly trusted to work on more projects and relied upon to deliver guaranteed results.
Extreme Facilities regularly customise
and enhance the capabilities of all their
equipment from Minicams through to
Drones to deal with prevailing
conditions or mitigate risk and reliably
undertake some of the more challenging
projects. This is a short summary of
working with drones, fireworks, water,
and a very congested RF spectrum.
Live HD coverage of the 2015 New
Year's Eve Fireworks for the BBC
required the Drone to fly safely, but as
close as possible, to the launching and
exploding fireworks without the Drone
taking a direct hit from a firework, or
being effected by a blast or a cascade of
burning debris.
Several
board
meetings
and
presentations took place with all
stakeholders to prove the safety case,
with the BBC taking very positive and
productive steps to help the flight take
A drone from the New Year's Eve project
firework launch barges and other key
landmarks.
Security for control: This was a big
issue and normally uses the 2.4Ghz
band, a very heavily used part of the RF
spectrum. We were warned that on the
night the whole RF spectrum would be
absolutely swamped with users,
including the emergency services,
security services, spectators, static wifi
and security systems, additional
security cameras, and the BBC OB Unit.
We used a spectrum analyzer to check
for fixed transmissions in advance of the
event and again immediately before
flying the event. Our Live transmission
was on a licensed frequency so there
should be no problem there; the drone's
camera feed was split and duplicated so
an HD feed could be sent clean to the
OB and a second was down converted
and sent via an on-screen telemetry
display to Andrew Schaale, the Pilot for
Extreme
Facilities. All
picture
transmission and control for the drone
was tested in advance of the event at full
range and worked perfectly throughout
the event.
The control system we chose to use was
a Jeti Dual Link intelligent spread
spectrum system modified to work as
Dual Path, sending two control signals
on separate frequencies and twin return
telemetry all in the 2.4Ghz band. Using
this system we managed to avoid any
negative effect of the very heavy RF
useage on the night. (Coincidentally, we
did test another manufacturer's control
system during the event and found
transmission only worked for 30m in
the prevailing conditions).
place against some very concerned
opposition. We are especially grateful to
Lawrence Hay of the CAA who very
helpfully attended the final meeting and
helped to confirm our safety case to the
uncertain stakeholders.
The problems formed quite a list and
the team at Extreme Facilities worked
through the list methodically.
Fire: Caused by falling fireworks posed
a risk as they could nestle perfectly into
the drones electronics and cause
damage to wiring and the control
systems with inevitable consequences.
The solution was to fit a lightweight
tailored Kevlar/PBI fabric fireproof
jacket to protect all electronics and
cabling.
Visibility and Orientation: The drone,
flying in front of one of the world's
largest and most intense firework
displays, was expected to present a
problem as it would become virtually
invisible against a wall of fireworks and
a huge lighting display. The solution
became
an
enhanced
and
programmable system of onboard
lighting. In addition to being very
powerful, the lights were also
programmed to slowly pulse and fade
to distinguish the drone from the
background of fireworks. This gave the
drone a very distinct signature which
could be identified clearly in front of the
intense and dynamic display.
Location:
To
further
ensure
confirmation of the drone's location, a
GPS tracker with real time tracking was
fitted and fed to a laptop at the launch
site. The laptop display also had a
customised map which indicated the
Fireworks light up London
Water: Recovery from water, should the
worst happen even after all the
precautions, weighed heavily on the
minds of the Westminster Council and
they had serious concerns they did not
want adverse publicity through
photography of a downed drone being
recovered by divers as such pictures
could overshadow an otherwise
successful event. Extreme Facilities
designed a proprietary solution which
included waterproof illumination and
an automatic buoyancy system
programmed to inflate immediately
upon contact with water. This would
enable the dedicated water recovery
team standing by in a RHIB to identify
and immediately recover the drone
from the water surface without delay
should this be required. All went well
and the drone made a safe return
without incident and transmission
throughout the event worked perfectly
back to the BBC OB unit.
To test our drones for other projects, we
have undertaken testing in commercial
freezers at –20ºC, developed water
landing drones for work at sea, and
protective frames to avoid collisions
with dense foliage in Jungles. We have
now flown on every continent and
many oceans worldwide, including
everywhere the Top Gear specials and
series have taken us in the past five
years. Modifications we have created
for this project and previously have
helped us to safely undertake each task
which may not have received CAA or
stakeholder permission had the
additional precautions not been
incorporated.
www.extremefacilities.com
3976/BFV226/J
F
I
L
M
S
T
U
D
I
O
S
• 3 Sound Stages • Backlot for Building Exteriors
• 60 x 60 and 60 x 40 (both with Cyc) and:
Our new sound stage “The Theatre Stage”
25' x 15' x 9'6" high with L Shaped Cyc.
• Construction Location & In House • Lighting • Catering
• Off Street Parking • Production Offices
• Dressing Rooms • Make-up and Hairdressing • Offices to Let
Contact: Callum Andrews or Rigby Andrews on
Phone: 01932 226341 Fax: 01932 246336
or visit our website @ www.hallifordfilmstudios.co.uk • Email: [email protected]
HALLIFORD STUDIOS LTD, MANYGATE LANE, SHEPPERTON, MIDDX TW17 9EG
VOLUME 19: ISSUE 07
PAGlink Keeps The Images Flowing
For Rob Whitworth
Doughty Gets Top Marks From
Queen’s University, Belfast
I am a travel photographer and urban film maker, well known for the use of time-lapse
and hyperlapse photography. My work has received international awards, widespread
critical acclaim and millions of online views, writes Rob Whitworth.
The School of Creative Arts at Queen's University in Belfast recently built a new centre for
students on the film studies pathway, complete with a purpose-built 'black box' to give
students the opportunity to film in a multi-purpose, professionally equipped studio.
I have just finished making a film
called Dubai Flow Motion, using
multiple DSLR cameras powered by
PAGlink V-Mount Li-Ion batteries, for
the first time. It was fantastic to have a
reliable power source when I needed
to leave the cameras shooting for
extended periods of time. Knowing
that the batteries definitely wouldn’t
be a problem allowed me to pay attention to other
areas.
There were several shoots where the cameras had to
be installed in advance: an A380 landing, shot from
the cockpit, and New Year fireworks, shot
simultaneously from multiple rooftops. Returning to
a camera showing a flat battery icon and no images
wouldn’t have been the best surprise.
I was also recently in Sydney, shooting
the classic harbour view, on quite a
choppy day. The best solution for
smoothing out water is to increase the
exposure length, with the help of some
ND filters. However, when shooting
15 second exposures in time-lapse, the
small DSLR batteries die quickly.
Having the PAGlink batteries meant
that I could leave four cameras running all day
without any concerns. When shooting over a number
of days, I did not have to touch the cameras and risk
disturbing their position; I kept them firing just by
adding another fully-charged PAGlink battery to the
stack.
www.paguk.com
www.robwhitworth.co.uk
"The facilities used by the School of
Creative Arts are regarded as among
the best in the British Isles while
certain facilities within the School
(such as the Sonic Laboratory) are
unique in the world," explained Ross
McDade, production manager of the
Brian Friel Theatre within the
School.
With this in mind, Ross called on the expertise of
Doughty Engineering to supply a system of 15
lighting hoists for a state-of-the-art TV studio, that
lived up to the high expectations of those applying
for a place on one of the degree programmes.
"We brought Doughty Engineering on board in the
early stages of the project as we felt their products
fulfilled the brief from an operational point of view
6635/BFV226/J
as well as being cost effective," he
said.
"Based on an existing product
design, we asked Doughty to
provide us with 15 raising and
lowering hoists with multiple 16amp
power outputs, DMX control on each
hoist and a system of operation that
would be safe for students to use on a daily basis."
Ross added: "We are extremely pleased with the
products that Doughty has supplied and how they
work within the student environment.
"We would recommend Doughty for the excellent
standard of service, professionalism and quality of
products they produce."
www.doughty-engineering.co.uk
TV Visjon Norge
Expands Into
High Definition
With PlayBox
Technology
TV Vision Norge has chosen a PlayBox Technology
broadcast playout and channel branding system for
installation at its headquarters in Drammen, southern
Norway. The project was completed in partnership with
Scandinavian systems integration specialist Engstroms AB.
“We have been using PlayBox Technology equipment for many
years,” says TV Visjon Norge Operations Manager John Sanjee.
“Our creative team find it easy to operate and very versatile.
Incoming content is stored as files on a shared central archive.
“Title graphics and scheduling are all performed within the PlayBox
Technology system and then transmitted direct from one of our four
AirBox playout servers. Our technical staff appreciate the inherent
reliability of PlayBox Technology products and the fast support
available if needed.
“The newly expanded system enables us to introduce high-definition
and add more channels. We are keeping our existing software which
helps make the whole exercise very cost-efficient. It also reduces the
training time needed to get up to speed with the new infrastructure.”
“Working with TV Visjon Norge and PlayBox Technology on this
project was a great pleasure,” adds Andreas Eliasson, Managing
Director of Engstroms A.B. “The system was specified from a
standard set of hardware and software modules.
“All elements of the PlayBox Technology system are field-proven and
guaranteed to work effectively with each other. The solution provided
for TV Visjon Norge includes an ingest server, a network-attached
storage server, a preparation station and RAID-protected AirBox
playout servers with integral graphics software.”
“Our solutions are successfully in use by many of the world's major
broadcasters as well as regional and special-interest television
channels,” adds PlayBox Technology Business Development Director
Maurice de Jonghe.
“TV Visjon Norge was the first Scandinavian Christian television
network to air 24 hours a day. The network's programmes are very
well produced and highly innovative, making full use of the facilities
available within the PlayBox Technology digital workflow. We are
pleased to see the network moving forward into high definition.”
TV Visjon Norge is an independently owned faith-based television
channel. Established in March 2003, it transmits via Canal Digital and
Viasat satellite. The network's output is also available via cable and
online.
The channel is funded primarily through gift revenue of faithful
support partners who share the network's vision to reach out across
the Nordics.
www.playbox.tv
VOLUME 19: ISSUE 07
35
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VOLUME 19: ISSUE 07
Engine House Delve Into The Fourth Dimension
Engine House, a VFX and animation studio based in Cornwall, have taken animation into the fourth dimension with the 4D short film, Boys Vs Girls.
Boys are from Mars, Girls are from
Venus… and Earth is their
battleground. Mortal enemies and
captains of their respective genders,
The General and Pinkcess must
initiate a search and rescue call to
Earth when they are both missing a
member of their crew. Little do they
know of the adventures they will
have and the dangers they will face!
The idea for the film was the result
of a story collaboration between
Engine House's own Mike Richter
and film director Henry Davies from
Stick and Rudder Films.
Engine House were tasked with
taking the idea and outline
storyboards and turn it into a ten
minute attraction film that would
have worldwide appeal.
This took many stages of production
from script adjustments, additional
storyboarding,
previsualisation,
look development, character design,
animation, lighting, rendering and
post.
Technology
To ensure a high standard of
Boys Vs Girls main characters
execution, Engine House adopted
an innovative and highly efficient
rendering technology that enabled a
small company based in Cornwall to
create something on such a large
scale in such a short space of time.
Octane Render was only recently
out of its Beta testing phase, which
Engine House had been a part of,
but they trusted the technology to
achieve
the
most
effective
production pipeline possible.
This hugely increased what the
company is capable of achieving in
terms of scale and quality of
animation. Keeping a pipeline with
low overheads and efficient
turnaround has helped make the
most of their creative flair and their
client’s projects.
Company Director, Mike Richter
knew that new GPU rendering was
the right choice from the start,
commenting: “I was really able to
optimise lighting and render times
while having maximum creative
freedom. Octane enabled us to see
90% of the final image almost
immediately in the viewport.
Making changes quickly was
amazing; it's much more of an artist
driven process and is really fun just
to play with a scene.”
As well as the artistic benefit, GPU
rendering also enabled Engine
House to render the thousands of
frames (twice as many when it's a
stereoscopic film of course!),
without the need for a costly and
cumbersome render farm that are
traditionally
used
by
VFX
companies and animation studios.
Some scenes were able to be
rendered in seconds, as opposed to
hours and minutes, which allows
more time for that final polish,
enhancing characters, and telling
the story in the best possible way.
Character Design
The characters only existed on the
written page, so the team referenced
online resources such as 3DTotal,
Evermotion and ItsArt to create a
shortlist of freelance character
modelers who closely matched the
style and vision for the project. Mike
was really pleased when Andrew
Hickinbottom signed up to model
the female characters: “We've all
been aware of the great work
Andrew does, creating beautiful
characters who are full of character
and have a very distinctive style.”
The project also benefitted from
artists like Anders Ehrenborg and
Alexey Klimov. Utilising freelance
artists in this way meant that the
right people modeled the characters
and not by an artist trying to
impersonate someone else's style
and it also injected some new ideas
to the project.
Stereoscopic
Stereoscopic storytelling is a
prominent feature of film, especially
within animation. A major hurdle
Ship Progression
for this project was to find an
efficient way to overcome the tough
challenges associated with stereo 3D
films, so that the film was
immersive without the undesirable
side-effects. Most of these problems
were solved with a custom camera
rig Engine House developed
themselves which could be used
with Octane (stereo is much better
integrated with Octane out of the
box) and an efficient pipeline
between the 3D software and After
Effects which was used for the
majority of post-production.
Jason Robbins, Engine House's
company director, was aware of the
problems with stereoscopic postproduction
from
experience
working with stereo film. “There are
no short-cuts when it comes to
stereo 3D, no quick fixes in post;
whatever you have to do to one eye,
you have to recreate on the other
and that effect will sit somewhere in
3D space.”
For this reason the team created
most effects within the 3D software
and if there were any errors, the 3D
scene was tweaked and re-rendered
as opposed to being patched up; this
was another great advantage of
having such fast render times.
The future
Building on this success, Engine
House are looking towards the
future, and what these new
capabilities can offer them. Virtual
Reality is quickly growing and
improving, and is something the
team are looking at setting their
sights on next. It is an exciting time
within the industry and Engine
House believe that their blend of
creativity, skill and new technology
puts them in good stead for the next
step of innovative experiences.
www.engine-house.co.uk
4044/BFV226/J
VOLUME 19: ISSUE 07
37
3627/BFV226/J
VOLUME 19: ISSUE 07
The Future Of 4K From NAB
Are technologists racing too far ahead of users? George Jarrett continues his look back at NAB with a set of
companies that all have something interesting to say...
Looking at the craft skill trends
coming out of NAB it was clear that
being able to edit professional video
in the cloud is now a big deal. Why
buy more storage and servers and
pay to manage them when you can
outsource all of that? Coupled to this
was the increasing capability for
people to share in projects, or share
and exploit assets.
One of the most interesting jolts,
provided by a subsequent Quantel
and Snell global survey into industry
expectations of IP and 4K, is that the
majority of broadcasters will not
move fully to IP broadcast
infrastructures until 2015. The wide
adoption of 4K will also take longer
than expected.
The poll sample (1,000 from 80
nations) produced astonishingly
sober stats. Regarding IP, only 19% of
respondents thought that SDI routers
would be completely replaced by IP
within two years, 42% within five
years, and 27% only saw this
happening within 10 years.
Asked whether high frame rate or
high dynamic range would bring
them most economic benefit, 47% of
respondents saw HDR as a potential
revenue generator, only 22% HFR,
with 31% seeing no potential benefit
from either. Regarding where IP and
4K fit in the priorities of
broadcasters, respondents were
asked what is the top feature they
look for in vision mixers: 44% chose
multi-format,
multi-program
production, with 20% and 16%
concerned with IP and 4K readiness,
respectively.
In fact HDR has jumped on
considerably
since
NAB,
as
evidenced by a 4K-workflow
demonstration
involving
the
FilmLight Baselight and the new
Sony BVM-X300 4K master reference
monitor – an impressive full 4K in
OLED and measurable at 1000 Nits.
A little bit of imaging history with no
drift and eye-delighting blacks
suggested that the technology
companies are storming ahead whilst
the end user market is struggling to
reconcile the fact that IP and 4K go
together like boiled egg and soldiers.
Omnitek, traditionally big in T&M,
drew a lot of attention with its 4K
Tool Box, in which 12G is one big
user requested feature along with
pumping 4K across SGI. For a
product that was launched last year,
Omnitek also had better GUI, jitter
spectrum and jitter histogram
features to show off.
“There has been a big shift in the
desired 4K tool box, but not a lot of
test equipment around,” said
technical support manager Simon
Crocker. “So we were getting
engineers wanting a mixture of
sophistication. Some are happy our
box does everything, but some say
they just want a generator and
analyser.”
Aspera
had
interesting
new
customers in Broadway Video (using
its software to move content between
NY and LA for post, and then for
delivery and out to OTT providers)
and 72&Sunny (migrating all its
MAM systems to the cloud and using
Aspera to do the transfer and mange
the automation).
It has existed on two main models –
standard perpetual software licenses
and a pay-as-you-go consumable
platform, and new for the show was
its core software as a service.
“In the software the service is one
platform and the user gets one bill
from us. This will be attractive to
certain types of companies; either
they do not want the IT team to put
together a full data centre, or maybe
they just want to focus on the creative
aspect,” said VP of marketing
Richard Heitmann. “They need
Aspera technology to be able to move
their content. They can just licence
the software for provisioning up in
the cloud and not have to worry.”
A lot of this business will be project
based. “The user will just want to fire
it up in the cloud and use it for 3-6
months typically, and when done he
will spin it all back down and stop
paying for it,” said Heitmann.
Aspera is big on third party tie-ups,
with companies like VIZRT, Grass
Valley and Telestream. In fact 11 big
vendor names have integrated
Aspera in a 'joint solution' for which
the company had to modernise its
software by adding APIs at the app
level. Heitmann predicts more
activity in the live sports market
following experiences with UEFA
(delivering pre and post match clips
that broadcasters incorporated into
interviews) and FIFA (where it
worked with EVS, Elemental, and
Akamai to deliver live streaming to
second screen devices).
Aframe has grown massively since
its launch four years ago. It had a
new release to talk about and a
technology integration project with
Adobe that attracted a lot of interest.
“In our release there are five new
elements, starting with improved
global search. Users can search across
all their content in all our data
centres (NY, London and LA),” said
Mark Overington, president of
Aframe North America Inc. “We have
also added an advanced review and
approval module, expanded our
format handling, and a new multi tier
TriCaster Mini HD4
account hierarchy and permissions
schemer. We have also expanded our
ability to manage not just video
assets, which we do primarily, but
other assets such as JPEG files,
Protools files, and graphics of all
sorts.”
Aframe has worked with Adobe
Anywhere to develop it in the cloud
and deliver it by Aframe.
“We have added Adobe Anywhere to
our cloud-based servers so that
people can take assets directly from
Aframe via Adobe Anywhere and
work with them on the desktop with
Adobe
Premiere
Pro
editing
applications,” said Overington. “The
video you are working with normally
would come off your local SAN or
your hard drive, but now you have
the ability to access and work with
and edit video content directly from
Aframe and Adobe in the cloud.”
Aframe is a high performance
dedicated
professional
video
cloud/collaboration platform but
Overington
points
to
new
opportunities. “In the future there is
going to be opportunities to take
what we have built and provide it to
people and let them manage and run
the system. Those are what a lot of
people would call enterprise clouds,
which can help people overcome
some of the security issues they have
with cloud technology,” he added.
Fujinon had two very impressive
new lenses, one the box lens UA 80X9
and the other a hand-held, the UA
22X8. The first has obvious
attractions to the live sport market
with impressive focal lengths (9mm
in wide angle out to 720mm
telephoto). The second adds true 4K
optical qualities to Fujinon's flagship
UA series – giving the DOP 4K
performance from centre to corner
throughout zooms. Image distortion
is suppressed via a multi-group
zoom system.
Explaining that this one is aimed at
2/3-inch UHD cameras, marketing
and product development director
Thom Calabro said: “We have done
quite a few tests and had just a few
minor details to sort out before full
blown production.”
These were control (electrical) issues
3042/BFV226/J
and nothing related to the optics. On
the lens aimed at sports and OB
production companies Calabro said:
“They have used lenses with a PL
mount, and these are short with a
max of 12X, in a market where 99X is
standard. We are giving users the 4K
image and the functionality.”
Key is the good contrast range and
the high dynamic range. Talking
about the look from the UA 22x8 and
Fujinon's key technologies, Calabro
added: “The high transmittance
coding cuts down on reflections
within the lens, so there are no flare
characteristics, and we cover more of
the wider spectral range. We cover
more of the blue range so you can cut
down on the amplifier. This gives a
better signal to noise.”
This is done by a new high
transmittance electron beam coating,
and coupled with Fujinon's Aspheric
technology, it gives the reduced ghost
and flare performance. The UA 22x8
servo drive unit has 16-bit encoders.
NewTek had two main stories – 60+
new features for TriCaster headed by
augmented reality, and the value for
money backpack replay unit
TriCaster Mini HD4. This comes as
the HD4 with one 750GB drive and
the 4i with integrated display and
two 750 GB drives. This gets replay to
hard to reach places, and should do
as well in the education market as it
does on the increasingly cost
conscious broadcast arena.
TSL Products’ managing director
Chris Exelby explained that 98% of
business is done with competitors of
TSL Systems on the systems
integration market via direct
accounts. He does not use re-sellers.
TSL has new products in the areas of
touch screen audio monitoring, filebased
loudness
control,
and
integrated digital signage.
The PAM PiCo Touch Media
monitoring unit is developed on
from the loudness and audio features
in the PAM PiCo Touch – with a
waveform monitor.
The Phinix toolset supports MXF,
LXF, QT, WAV and AIFF. It allows
users to assess and correct audio files
on the fly, thus saving time lost in
going back to post. You get loudness
measurement,
correction
and
compliance, plus Dolby-E encoding
and decoding. Track shuffling and
up/down mixing are options. The
integrated display system rolls
together the display functions of
clocks, tally lamps, scrolling text,
display of RSS and video feeds. The
requisite
production
timers,
timecode interfaces, automation
interfaces, and DMX lighting control
are embedded.
Cambridge
Imaging
Systems,
known for its content protection
MAM systems and managing media
for the long term, is transitioning to
the cloud and had a clever new API.
“With the new API anyone can create
apps to engage with content. And it
extends past web interfaces,” said
marketing director Ian Mottashed.
“We expect it to be useful in
education, where you could record a
classroom and upload.”
He talked about Avid support for
CDN networks (easier for global
reach) and a big BFI archive
Mavio 4K Player
management project involving the
digitization
of
content
that
Cambridge IS has won. And this
brings in the Imagen enterprise video
platform, which is the heart and
control for all storage apps, and has a
number of new wizzywig interfaces.
Imagen is also integrated with the
Spectra Logic BlackPearl deep
storage gateway.
DVEO added to the impetus behind
4K in TV and cinema with the very
versatile Mavio 60 fps player – which
plays both 3840 x 2160 and 4096 x
2160. It ingests H.264/AVC and other
compression format content to its
local hard drive via 10 GigE or USB.
The system outputs 4K 60 fps (8 or 10
bit video colour depth) on Quad Link
3G SDI output and DVEO offers the
option for delivery to an HDMI
output but this introduces an SDI to
HDMI converter. This is a very good
de-compression initiative, and points
to cost-effective compression in the
short term. It can come with an
optional tri-level/bi-level genlock,
and it outputs up to 16 channels of
embedded audio, either PCM or
compressed.
Yamaha was showing a new dual
fader layout that gives you a lot more
control on the same footprint, but its
big attraction was a technology
showcase designed to ease the
migration from baseband SDI into
the IP world. On the way we will
have hybrid set ups. We saw
seamless frame accurate switching of
HD video, realised with open flow
and SDN technology. The BSM
control system allowed you to toggle
between sources. Two SDI sources
were connected to an Arista switch:
the source is source time switching so
you do not set up a stream twice
(double bandwidth, and it would
build inertia in the IP domain). The
technology had four engines working
in parallel, and plenty of glue
elements such as the embedding and
de-embedding of audio.Yamaha see
this as a process for the upcoming
five years, its SDI to IP and IP back to
SDI interfaces suggesting that
broadcast companies might set up an
IP infrastructure in parallel with
existing SDI systems and create an
integrated
environment.
The
demonstrator said: “People will start
to install some IP, but to build a new
facility from scratch is not very likely
to happen right now. Will it save
money? I definitely think so. “Look
at industries like Telecoms. There it
happened many years ago. Basically
it was the same setting like it is in
broadcast now – a lot of proprietary
technology which cost a hell of a lot
of money, and they jumped to
standardised IP technology with
significantly reduced costs,” he
added. “We just need to learn how to
profit from all the developments in
the IT industry. The broadcast
industry is some years behind other
sectors because it is rather small.”
Provys is adding to its main focus on
media enterprise management and
workflow tools with initiatives under
the headings of reflecting feedback
and preparing for upcoming trends.
The first concerns expanding the
function of report generator/editor
in the administration toolkit users
know with a new on-line reporting
service, which effectively takes the
process of customer desktops and
puts it under the unique knowledge
Provys has on client data –
everything from cost per show and
website traffic to ad revenues and
content placement income. The client
then downloads reports from a
secure website.
The newest product is the StreamCircle platform, essentially a cloud
service for broadcasting content
online to a schedule. Anyone could
launch a channel, test one, or put one
up for a set time. The system consists
of full HD capable video play out and
CG automation engine plus video CG
and social-cast planning, Internet
media streaming, Internet social
media casting, and web browser
based control app. Stream-Circle will
be used as a add-on to standard
streaming and VOD services, and
takes the discipline of scheduling
across into online services.
Vitec Group Anton/Bauer had
VOLUME 19: ISSUE 07
39
Chris Exelby
advances to its digital battery and
charger lines, and its cloud-based
asset tracking. The updated LithiumIon Digital Battery Series first seen
last year come with safety thinking
Fuse Link technology, a new
connection technology that vendors
developed as a result of Tesla Motors'
research efforts. This gives an added
protection circuit within each cell
pack, prohibiting damage to
adjoining cells if a single cell is
affected or damaged for any reason.
Anton/Bauer also had a new Asset
Management
System
(AMS),
introduced as “a game changer in the
area of fleet management.” People
will be able to track the status of their
batteries with their computers,
seeing
remaining
run-time,
temperature, voltage, and present
capacity via a password. If and when
an Anton/Bauer battery is placed on
a Wi-Fi enabled performance charger,
the AMS will automatically upload
its information to a secure, cloudbased server. The digital batteries
come in three sizes (90 Wh, 150 Wh,
and 190 Wh).
Vitec Group brand Autoscript
majored on new functionality for its
WinPlus
prompting
software,
starting with Twitter integration,
cloud storage and automated closed
captioning. Aimed at newsroom
environments,
producers
and
prompting operators can now
automatically send tweets at
specified points of the script,
allowing channels to distribute their
news online and in sync with their
TV bulletins. Tweets can be sent
directly from the corporate Twitter
account, the news anchor or reporter,
depending
on
prevailing
requirements. The cloud storage
feature enables talent in the field to
upload or download data and scripts
wirelessly without using email or
Internet browsers. WinPlus is
integrated with Adobe Premier Pro
for automatic closed captioning
support, which offers several savings
to broadcasters.
Marquis had two new products that
resolve small but key issues in the
facility market. The EDIT BRIDGE
lets you browse Avid Interplay assets
within Adobe Premiere, and
Workspace Parking is disaster
recovery for archiving Avid work
spaces. The Bridging is essentially a
seamless connection for Premiere
and After Effects users into the Avid
Interplay environment. Marquis
gives you a pair of Premiere Pro
panels to control the workflow from
the UI. These are import and export
functions for Interplay, and the most
important thing after browsing any
content is that Edit Bridge will feed it
into the editor. This can be by
reference or transfer to a network for
re-wrapping to match Premiere pro
requirements. Workspace Parking is
an extension of existing Marquis
parking technology, and it is
intelligent with regard to what
projects deploy it. Workspaces do go
down, and there might be a flood in
your facility, so how do you get your
media back. Cost wise this initiative
is based on the depth of the storage.
The bridge has a 10-user licence cost.
0000/BFV226/J
VOLUME 19: ISSUE 07
DPA Microphones Help Capture
The Sound On Mad Max: Fury Road
This action–packed movie presented a number of audio challenges, but thanks to DPA's d:screet™ Miniature Microphones these were easily overcome.
After a wait of 30 years, Mad Max
fans are revelling in the release of
Mad Max: Fury Road, the fourth in
this exceptionally successful action
adventure film series starring Tom
Hardy, Charlize Theron and Nicholas
Hoult, and directed, produced and
co-written by George Miller.
Award-winning Production Sound
Mixer Ben Osmo chose DPA's
d:screet™
4063
Miniature
Microphones with low sensitivity
and low voltage to record dialogue
during the shooting of action scenes
that involved fast, furious and
bumpy chases across the Namibian
desert. He also used DPA d:screet
4062 Miniature Microphones with
extra low sensitivity for cabled
recordings of various vehicles, and
these were held firm inside each
vehicle by DPA magnet mounts.
Osmo, who has won numerous
awards for his work, says the choice
of DPA microphones was an easy one
to make as he had used them many
times in the past and always been
happy with their durability and their
sound quality.
"I love DPA mics because they have a
transparent sound and are the best
for wind noise," he says. "For this
film, Leon Hart at DPA's Australian
distributor Amber Technology,
suggested I use d:screet 4063
Miniature Microphones because they
matched the voltage outputs of my
Lectrosonics SMV and SMVQ
transmitters. I have been using DPA
lapel mics for many years because
they have the most transparent
sound of any lapel mic currently on
the market."
On Fury Road, vehicle noises often
drowned
out
the
dialogue,
particularly if actors were in the
vehicles or standing near them, so
Osmo close miked everyone to get
usable guide tracks.
"We used low sensitivity d:screet
Miniature Microphones for the eight
principle cast members who were
inside the War Rig cabin and these
provided all dialogue and all
transmitted sound FX," he explains.
"At the same time we placed a lot of
hidden DPA d:screet mics in the
cabin for FX and for catching the
action. We also positioned them
around the engine bay, near the
exhausts and transmission and up on
the top of the War Rig, and they were
used in other vehicles and on the
vast supporting cast."
Costume 'genius' Andrea Hood was
responsible for placing the DPA
Miniature Microphones inside the
actors' costumes so they remained
invisible.
"She was an immense help because
she sewed the mics into costumes
and made small pouches on the key
costumes, especially those worn by
the wives and Furiosa," Osmo says.
"We came up with a couple of
interesting positions to place them in
Max's jacket and inside his t-shirt.
We couldn't tape them to his outfit
because it was covered in oil and
dirt, so Andrea sewed them into the
back of his shirt. Location Assistant
Brendan Allen and Andrea came up
with suggestions of where we could
place the DPAs in his jacket and we
trialled them all, with me listening
for rustle and wind noise. Finally we
decided to place two Miniature Mics
on each side of his jacket so that
when he turned around he would
still be on mic. The high wind fluffies
were also used and these were
instrumental in keeping the wind at
bay."
Filming an action movie in a place as
inhospitable as the Namibian desert
did present some issues for the
sound equipment, but Osmo got
round this by placing most of the
hardware in temperature controlled
road cases or inside his van. But the
radio mic transmitters and DPA and
Boom mics were always out in the
elements, all being hidden inside
costumes or blimps.
"We never lost a mic due to the
environmental conditions – they
performed very well," he says.
"Overall, the DPA d:screet 4063
Miniature
Microphones
were
definitely the best choice for
dialogue. I've been using them for a
few years and they are fantastic. In
fact, since finishing Fury Road I have
used DPA mics to record two
television mini-series in Australia –
Return to the Devil's Playground and
The Kettering Incident. Both these
projects have required minimal ADR.
The feature film, The Sapphires, also
had live vocals blended with
playback and the mics worked very
well at capturing this."
After his recent hectic film schedule,
Ben Osmo is currently happy to be
working on TV commercials before
he gets started on his next project
later this year.
www.dpamicrophones.com
3852/BFV226/J
VOLUME 19: ISSUE 07
41
Pulse TV Expansion Gathers Pace
Roy Ackerman and Emma Cooper join Pulse TV as Managing Director, and Creative Director of Non-Scripted Television, Pulse CEO Thomas Benski and President Patrick
Vien has announced.
With the recent launch of East
Entertainment, Pulse Films continues
its move toward becoming the first
fully integrated independent studio.
Led by Ackerman, Pulse will expand
its television business, focusing
initially on creating contemporary
documentaries, documentary series
and innovative, modern factual
formats. Ackerman and Cooper will
form an integral part of Pulse's
emerging
international
studio,
offering culturally relevant content
across all platforms, including film,
branded entertainment and digitalfirst premium video.
Non-scripted TV is the final building
block of the company's multiplatform
business model and will sit at the
forefront of the next stage of Pulse's
growth.
Ackerman was most recently MD at
Fresh One Productions and Chief
Creative Officer at the Jamie Oliver
Media Group, where he played an
integral role in transforming the
Roy Ackerman
celebrity chef's offering from a
celebrity vehicle into an international
multi-platform
independent
producer of scale. Ackerman
executive produced hit series Dream
School (UK/USA, South Africa), the
Emmy-winning Jamie Oliver's Food
Revolution, How Hip Hop Changed
the World with Idris Elba, The Sound
of Musicals, Spies of Warsaw with
David Tennant, Don't Stop the Music,
The Men Who Made Us Fat and Mad
Dog: Gaddafi, as well as feature
documentaries including Richard
Pryor: Omit the Logic and The House
I Live In.
Under Ackerman's leadership, the
company also successfully launched
advertising, scripted and digital
production divisions, including the
hit online channel Food Tube. Prior to
his role at Jamie Oliver Media Group,
Ackerman was Creative Director at
Diverse Production where he
oversaw production on BAFTAwinning hits Election with Jonathan
Dimbleby, 100% White, Tsunami: 7
Hours on Boxing Day, BAFTAnominated Mrs. Mandela, and
successful
formats
including
Operatunity, Musicality, Codex,
Shalom in the Home and the
international hit series 'Man Vs.
Wild.'
As Commissioning Editor in
Documentaries at Channel 4 since
2011, Emma Cooper has a track
record for developing award-winning
and innovative television shows that
encourage discussion. Not only was
she responsible for the Cutting Edge
strand, recent film work included
Angry, White and Proud, Plus Size
Wars, The Murder Workers, The Fried
Chicken Shop, and My Emma Cooper
Granny The Escort, alongside
series Rookies At Sea, The
Night Bus, Teens, Liberty of
London and How To Get A
Council House. Prior to
Channel 4, Emma was at the
BBC where she directed and
series
produced
films
including Louis Theroux: A
Place for Paedophiles and
Miami Mega-Jail.
Global CEO Thomas Benski
and Pulse President Patrick
Vien said: “We are honoured
to welcome Roy and Emma to
Pulse. We now have the team
that will draw on the skills,
talent and attitude of the rest
of Pulse and bring to the
market the next wave of
thought-provoking,
boundary-pushing TV ideas.
This is such a great moment
in television and these
appointments will allow us to
create a bigger footprint in
stood out from everything that came
the medium and enable us to be a
my way. I was genuinely excited and
major supplier for broadcasters both
inspired by Pulse's culture, its brand
in the UK and overseas.
and its clear differentiation from all
“Roy is a legend and both he and
the other media companies around.
Emma
have
the
experience,
Its plans for growth in television and
innovation and taste that we believe
its vision worked with what I want to
will attract further talent to create,
do. I am really pleased to be joining
produce and deliver the innovative
such a young, vibrant company
factual event television that we are
brimming with talent in many
excited about. With their skills and
different fields – advertising, drama,
Pulse's
modern
approach
to
music and branded content, and I
entertainment we are confident that
look forward to bringing my industry
we have what it takes to create nonexperience to the table. Emma has a
scripted content that will really cut
superb reputation as a commissioner
through the clutter and compete with
and I am delighted to be working
all forms of programming.”
alongside her to kick-start Pulse's TV
Roy Ackerman added: “Pulse's offer
offering and being a core part of the
studio’s next steps towards being a
truly global company.”
Emma Cooper commented: “I have
always had huge respect for Pulse
and felt their multi-disciplinary
model was not only innovative but a
chance to grow. Their commitment to
creating content that challenges was
also a draw for me and I can't wait to
work with Roy, who I have long
admired within the industry, to help
Pulse reach its ambitious goal to
become a leader in the field of
television.”
www.pulsefilms.co.uk
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VOLUME 19: ISSUE 07
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Axon Selected To Deliver
Major Events Coverage
The Singapore-based company has chosen Dolby encoders and decoders from Axon's
synapse range to help its customers deliver High Definition broadcast content.
The reliability of Axon
Digital Design's products
proved a major selling
point for Singapore-based
Broadcast
Solutions
Group (BSG) when it
decided to upgrade its
flyaway
systems
to
incorporate
Dolby
Digital.
After extensive testing,
BSG invested in Axon Synapse Dolby E Encoders
(DBE08) and Multiformat Dolby Stream Decoders
(DBD28). These are now being deployed in
flyaway kits around the globe where they are
helping to capture live events destined for High
Definition broadcast.
As a leading international OB provider and the
largest supplier of HD facilities and crew in Asia,
BSG demands the highest quality from all of the
equipment manufacturers it works with.
"Within our business, we had a very stringent
spec to follow to deliver the best quality
production to our clients," says Mr Saaed Izadi,
the CEO of Broadcast Solutions Group. "We tested
many systems on the market and decided to go
with AXON's Synapse Dolby solution as it
perfectly fits our mission-critical needs."
By their very nature, live events leave no room for
error. Therefore the flyaway systems used to
capture them have to be furnished with
exceptionally
durable
and
dependable
equipment.
"Our flyaway kit needs to be moved from one
place to another within a very short time frame,"
Mr Izadi adds. "Equipment for these must be
compact, reliable, robust and capable of
withstanding extreme weather conditions. We are
pleased with Axon's
product quality, and with
the technical support
provided
by
its
Singapore Branch office.”
With headquarters in
Singapore and offices in
Malaysia, India, Abu
Dhabi and UK, BSG
provides a range of
enterprise broadcasting
equipment and services to empower every aspect
of production. Its outside broadcast solutions are
based on flyaway systems that allow the speedy
creation of an individually tailored and high
quality production environment, anywhere in the
world. These systems have been used to cover a
variety of news and entertainment programming,
including the FIFA World Cup Asian Qualifiers
and other major sporting events.
Felix Ng, Axon's Sales Director for South East
Asia, said: "AXON's Synapse signal processing
product line is ideally suited to BSG's needs. Our
DBD28 Dolby multi format decoder, for example,
has a quad speed ADD-ON audio bus and is
capable of decoding Dolby E, Dolby Digital and
Dolby Digital Plus. The enhanced feature set
includes the ability to decode 7.1-channel Dolby
Digital Plus or 5.1-ch Dolby Digital 5.1 with audio
description, carried in a single bitstream (Single
PID), or as two bitstreams (Dual PID)."
Ng adds that Axon is delighted to be chosen as a
main technology partner by BSG. "Axon products
are straightforward to use and easily configured
with the help of Cortex," he says. "These are
important considerations because they are being
deployed in flyaway systems all around the
world."
www.axon.tv
GatesAir Appoints Australian
Distribution Channel
GatesAir has appointed Sydney-based Omnicast as an Australian distribution channel
effective immediately.
Omnicast will partner with
GatesAir with an emphasis
on delivering complete
systems
and
guiding
broadcasters
through
challenging
transitions,
notably migration to DAB+
digital radio systems.
Omnicast is a systems
integrator and distributor
specialising
in
radio,
television, cinema and
satellite systems. Led by
industry veterans Mario Fairlie (Managing Director)
and Ian McKenzie (Engineering Director), the
company provides a full array of services across
systems design, equipment supply, project
management, installation and commissioning, as
well as ongoing maintenance services.
According to Mr Fairlie, GatesAir's vast portfolio of
radio solutions from studio to transmitter wellposition the company for future success across
Australia. This includes the opportunities for DAB+
digital radio migration, as well as the ongoing shift
from legacy to IP transport systems. He also points to
GatesAir's high-efficiency, ultra-compact transmitter
designs as a significant benefit for broadcasters across
Australia, where transmitter rental space is highly
expensive.
0455/BFV226/J
“GatesAir's recent introduction of liquid-cooled TV
and radio transmitters will deliver a two-year
payback for broadcasters in Australia – particularly
within the major cities where annual site rentals can
exceed $100,000 in U.S. dollars,” said Fairlie. “And
having worked in the broadcast industry for more
than 40 years, I can unequivocally state that GatesAir
makes the highest-performance transmitters in the
business. Their ability to deliver that long-term
reliability and operational cost-savings will be
especially valuable as the DAB Radio transition
extends outward from the main cities.”
The DAB Radio transition has
taken shape in the cities of
Adelaide,
Brisbane,
Melbourne,
Perth
and
Sydney, with approximately
three million listeners to date.
Omnicast expects the DAB+
digital radio migration to
spread into “regional areas”
over the next few years,
eventually covering most of
the country's 22 million
residents. GatesAir's IPnetworked
DAB+
architecture is ideal for national rollouts, bringing
together its Maxiva™ VAX transmitters with ETI/EDI
transport for multipoint signal distribution.
Omnicast's position against competitive DAB/DAB+
suppliers is especially strong given its ability to
provide complete DAB Radio headend solutions
along with high-efficiency GatesAir transmission
systems.
Moving forward, Mr Fairlie expects to transition
radio networks to GatesAir networked studio
systems, and sees numerous opportunities to migrate
AM/FM broadcasters from legacy to IP transport
networks with GatesAir Intraplex IP Link codecs.
“I am particularly pleased to appoint Omnicast as a
key channel partner in Australia, especially given
Mario's long professional association with the
Australian broadcasting industry and successful 30year history with supplying and integrating Harris
Broadcast over-the-air TV and radio systems prior to
our transition to GatesAir,” said Darren Frearson, vice
president, southeast Asia and Oceania for GatesAir.
“Mario's notable achievements in the commercial
radio sector include instigating the release of the
Channel 9 analog spectrum in Australia to enable the
DAB+ digital radio rollout. GatesAir welcomes
Omnicast and we look forward to a long and
successful partnership.”
www.gatesair.com
Technical Desking: Avid S6 Studio Furniture
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Technical Desking have just installed the third of their Avid S6 custom desk frames at
Wave London.
In total, eight of our Avid S6 steel
frames will be installed at Wave,
along with custom integrated panels
for the Apple Keypad, Track pad and
pivoting monitors, etc.
The frames also have a custom Task
Bar at the rear, which holds three to
four widescreen displays and
Genelec 8020s.
Managing Director Antony Haston
has over 15 years' experience designing technical
furniture for some of the largest and most creative
post production, music and graphics studios in the
world, including Technicolor, MTV, Uncle, Jungle,
Wave, Molinare, Evolutions, Envy, AMV, QVC and
the BBC.
They have recently added to their range of studio
furniture with the Flecto edit desk & Slim Slab, as
well as desks for the FilmLight
Baselight 2, which was recently
installed at Technicolor in Soho.
Mybigdesk also offer a carefully
selected range of high quality
accessories, allowing customers to
customise their furniture to suit
individual requirements.
Custom designed solutions can also
be provided.
Keep an eye out for Technical Desking range of Avid
S6 desks on their web site at mybigdesk.com.
Or
contact
them
directly
at
[email protected] or on 020 8826 5767.
www.mybigdesk.com
The Chapman Leonard Cobra Dolly: The
World's Smallest Camera Dolly Redefined
The Cobra is the brand new design from Chapman Leonard and is available to rent from
Chapman UK today.
productions, such as documentaries or
corporate film making, because the Cobra is
small enough to be easily transported in the
boot of an ordinary car - just watch the video,
we’re not kidding.
The Cobra is already proving a hit for single
camera shoots and small crews. It is perfect
for filming in existing locations where space
and access is often limited to standard
doorways, office interiors or those tiny
service lifts. The Cobra is small, stable, built
like a tank and works with our camera
sliders and even our Stinger jib arms!
To learn more about what the Cobra can do for your
next shoot, visit the Chapman Leonard UK website,
follow us on our Facebook page or arrange a visit to see
the Cobra for yourself.
www.chapmanleonard.com
www.facebook.com/Chapmanleonarduk
TV2 Fyn Purchases Kahuna
Switcher For HD Switch
Denmark public broadcaster, TV2 Fyn, has purchased a Snell Kahuna switcher with two of the
new Maverik configurable control panels to help drive its move into HD news production.
Snell's unique Kahuna Make M/E technology
enables a single mainframe to support two
independent studio operations, with both studios
benefiting from full 2M/E production power,
including super-keyers, eKeys and 3D DVEs, via
Maverik control.
The system also integrates a Sirius 800 router with
built-in Advanced Hybrid Processing on every
input and output, eliminating the need for
external signal processing devices. The systems
were supplied through AVIT-Systems, Snell's
partner in Denmark.
The Kahuna is fully integrated with TV2 Fyn's Viz
Mosart news automation system. Kahuna Watch
provides automated loading of graphics to the onboard Clipstore to ease production workflows.
Snell FormatFusion3 technology ensures that the
system can handle SD, HD, 1080p and 4K
simultaneously. The Kahuna also controls TV2's
on-air servers, providing instant access to
multiple content streams via the Maverik panels.
“Switching and routing are the backbone of our
news operations and we needed a system that
would enable us to transition smoothly to HD,”
said Michael Jensen, Head of Production at TV2
Fyn.
“The Sirius router gives us the flexibility we need
in a compact package, and the power of the
Kahuna meant that we could provide full live HD
and SD production capability to both news
studios from a single mainframe, saving valuable
rack space and cost; Snell was the only company
that offered us this key benefit. The Maverik
panels add flexibility, giving us exactly the control
layout we need and enabling us to almost
instantly reconfigure studio control if required to
meet the needs of different productions.”
“Our Kahuna range delivers massive production
power and a range of extra capabilities that make
it a really comprehensive and effective switching
platform,” said Robert Rowe, Snell Managing
Director, Live TV. “Add to this the versatility that
the configurable Maverik panel offers, and the
flexibility of the Sirius router, and it all adds up to
a compelling proposition for broadcasters such as
TV2 who require uncompromised production
values in a highly cost-effective package.”
www.quantel.com
www.snellgroup.com
3913/RFV226/J
A radically different approach to the design
of hydraulic dollies, the Cobra is
characterised by its single central lifting
column that rises up from the dollies tiny
chassis (just 20 inches square) just as its name
suggests.
The column is essentially a pedestal, charged
with nitrogen to be statically balanced by the
weight of camera or equipment it is carrying.
Vertical movement is effortless and precise,
allowing you to set the camera height
anywhere along the travel of the column or
perform dynamic moving shots with a
change in Lens height.
Chapman Leonard in the UK have produced a brand
new video that you can watch on their website that
highlights all the main features. The video also shows
many of the benefits (some less obvious than others)
that the design affords camera operators and smaller
VOLUME 19: ISSUE 07
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Eyeheight Colour
Correctors, Keyer For
Wimbledon OB Coverage
Eyeheight CC-2M colour correctors and a DK-2 multi-rate linear downstream keyer will
be operating live at the 2015 Wimbledon Lawn Tennis Championships. This year's event
starts on June 29 and goes through to the finals on July 11 and 12.
Chosen by one of
Britain's
largest
outside broadcast
service providers,
the CC-2M colour
correctors and DK2 keyer will be a
central part of the
infrastructure used
to relay the content to television viewers around
the globe.
"The DK-2 performed successfully at the 2013 and
2014 Wimbledon Lawn Tennis Championships,"
says Eyeheight Sales Director Martin Moore. "It
will be used this year to add contestant identifier
overlays which are faded in and out over the live
action with a Eyeheight VP-10 video T-bar
module. The keyer will be accompanied this year
by six CC-2M colour correction channels housed
in an ultra-compact 1U chassis. These will be
deployed to ensure consistent quality from
multiple feeds arriving in the OB control vehicle."
Compatible with all commonly used 625/525-line
standard-definition, 720p intermediate-definition
and 1080i high definition formats, the DK-2
incorporates background, fill and key inputs,
wipe, matte and garbage-matte generation,
independent main and preview keyers plus EDH
reinsertion for the main output. It is fully
transparent to SDI-embedded audio and other
ancillary data. Mechanical relay bypass is
available as an option. Features include 10-bit
linear keying, manual or automatic transitions, a
user-selectable choice of additive, multiplicative
and self-key modes, and AES digital audio
voiceover.
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Eyeheight's DK-2
is equipped with
inputs for slave fill
sync, slave key
sync and master
input line sync
plus independent
programme and
preview outputs.
An RJ45 port allows connection of three GPI
channels and tally as well as RS232-based onboard protocol control. It can be fully operated via
Ethernet from anywhere in the world.
Designed for use in live television content
creation, the Eyeheight CC-2M colour corrector
allows a production team to ensure consistent
colour matching when switching between
multiple camera sources or making significant
changes to camera angle. Operation is via a logical
menu system which can be accessed quickly and
easily from the front panel or remotely.
The CC-2M colour corrector allows independent
real-time adjustment of red, green and blue
component levels, master gain, lift, gamma and
hue. A preview output provides a configurable
split screen showing processed and unprocessed
picture. Up to six plug-in modular colour
correction cards can be accommodated in a 1 U
intelligent chassis with easy channel switching.
Up to eight panels can be networked. The CC-2M
system also includes a maintenance mode to
assist installation.
www.eyeheight.com
Spanish Broadcasters Turn
To LiveU Technology For
Election Coverage
LiveU has announced that Live Audiovisual (LIVE!) has provided unprecedented
coverage of the recent local and regional elections in Spain with a large-scale
deployment of LiveU technology across the country.
The deal has been overseen by regional LiveU
partner Park 7.
Major national and regional media turned to
Live Audiovisual and LiveU, including
Mediaset; Atresmedia; Forta; Xarxa; 13 TV;
RTVCyLeon; TV Extremadura; and El País.
Live Audiovisual facilitated the coverage of both
last-minute campaigning as well as the evolving
overall picture on election day and night with
tens of LiveU units working simultaneously as
the day progressed.
Units from across the company’s range were
deployed, including the small but powerful
LU200.
They were used both independently as well
integrated with Ka-band flyaway technology.
LiveU’s technology has been widely deployed
globally for election coverage as media outlets
recognise its power and flexibility.
This includes a major partnership with Sky
News for the recent UK general elections as well
as for elections in India, Greece, and Sri Lanka.
Following on from its recent success, and in
order to provide enhanced service, Live
Audiovisual is now rolling out its network of
offices at over 10 locations in Spain, all with
IPDSNG flyaway Ka-band equipment integrated
with LiveU units.
Zion Eilam, Head of Business Operations
Europe, LiveU, said: “It’s very gratifying to see
deployments on this scale as our technology
continues to grow in popularity.
“It’s now a question of how the technology can
be used, not whether it should be used, and
nowhere is this clearer than in the case of
election coverage, where it’s simply ideal.”
LiveU owns the patent for cellular bonding for
remote news gathering in the US and other
countries.
All LiveU products are based on this fourthgeneration patented technology.
LiveU provides IP-based live video services and
broadcast solutions for acquisition, management
and distribution.
www.liveu.tv
Perfect For A Modern Family
VOLUME 19: ISSUE 07
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The amazing 'Invisity' virtually invisible in-ear monitor-prompter manufactured by
Phonak Communications Switzerland, and distributed via Raycom in the UK, has
become a firm favourite of presenters wishing to avoid unsightly tubes and cables.
Whilst its aesthetic properties are admirable, there
are also opportunities in film and broadcast for
producers and sound engineers to utilize this tiny
innovative product in the creation of illusion.
Award-winning sitcom Modern Family made
waves earlier this year with 'Connection Lost',
presented entirely from the perspective of a
laptop screen, and shot using Apple iPads,
iPhones and laptops.
But behind the scenes, the episode's live shoots
across four different sets meant actors would need
to hear each other in real-time in order to interact
over simulated FaceTime conversations.
To make this happen, Emmy and C.A.S. awardwinning sound engineer Stephen Tibbo turned to
Phonak's invisity.
Tibbo had previously used invisity on 'Jake In
Progress', as well as for musical or dance numbers
on Modern Family, which is produced by
Twentieth Century Fox, and airs on ABC.
He said: “The biggest challenge, at least for sound
was, when the producers presented the episode,
they said we're going to try and shoot the whole
thing in one day, and we want to do it live.
“As I read the script I said, 'Ok, wow, this will be
challenging.'
“I don't think we would have been able to do it
without Phonak invisity,” Tibbo added, saying
alternatives would have included setting up
cumbersome, time-consuming induction loops
round the sets, or using speakers, which would
have caused problems when mixing.
“When you watch it, you may not notice it was so
technically challenging, but by the way we shot it,
it was,” Tibbo explained.
“But I suppose if you've done your job well, the
viewer doesn't notice.
“And the technology worked for us – it was one
of those episodes where, if invisity had failed us,
we would have been looking pretty bad, or
looking for another job. You have to rely on it.”
Phonak Communications said: “We're proud and
gratified that invisity helped bring to life one of
the most ground-breaking episodes of television
to air in recent years.
“Phonak invisity has been invaluable to countless
productions around the world, from comedy,
drama, news broadcasts, and even live dance
productions.
“Thanks to its tiny size it offers a comfortable
experience for the user while being completely
invisible to an audience or camera – and as such,
its uses are endless.”
The invisity is available in one channel or four
channel variants (Flex and Four) along with the
TX300V transmitter and a range of useful
accessories.
www.raycom.co.uk
zLense Reports Successful
NAB 2015 Debut
zLense, provider of a standalone real-time depth sensing and modelling platform to the
film, broadcast and gaming industries, has reported a successful debut at the 2015
NAB Show which took place in April in Las Vegas.
to-one demos to show the
capabilities zLense Studio
offers.
Appearing for the first time at
the Show, which this year
attracted over 103,000 visitors,
zLense
unveiled
its
breakthrough zLense Studio
solution.
Featuring an infrared imager
that creates a live depth map
of the scene in front of the
camera and feeds that depth
map to a real-time 3D
application, the system uses a
live chroma key which is
combined with the live depth
map to integrate 3D elements
into the scene in real-time.
The real-time on-air 3D
graphics system requires no
special studio set-up and puts
CGI tools and techniques
directly into the hands of
producers and programme
directors.
With a price tag of around
$100,000, the scalable system
can support multiple cameras
with just one zLense device.
Eliminating the need for
costly
in-house
virtual
studios, the system makes it
possible for broadcasters to
utilise affordable, yet high-quality, on-air
graphics that elevate production values and
enable a new era of creativity.
“NAB 2015 proved the ideal showcase to extend
our reach to a US audience,” continues Gyorgy.
Identified by pundits as one of the highlight
technology demos hosted by a small technology
innovator at this year’s NAB 2015 event, the
zLense Studio demonstration generated
significant interest with a variety of parties.
“As a result of connections made at the show
we’re now in engaged in talks with a number of
US broadcasters about potential cooperative
deals and have initiated discussions with a
number of distribution partners too.”
“We’re delighted that zLense proved the ideal
solution for small production companies and
regional TV stations, who are under increasing
pressure to maximise operational efficiencies
and cater to the growing sophistication of
audiences that have come to expect augmented
reality and interactive simulations in just about
any time of programme – including news,
weather and public service announcements,”
says Bruno P. Gyorgy, President of zLense.
In the coming weeks zLense is poised to deliver
the first zLense Studio components to buyers in
the US and Europe, and there are plans to
enhance the fidelity of the depth map yet further
to support an effective chroma key effect without
a green screen.
The zLense team met with potential customers
and partners during the Show, undertaking one-
The zLense is produced by Zinemath. It is the
first depth mapping camera accessory optimised
for broadcasters and cinema previsualisation.
www.zlense.com
0562/BFV226/J
VOLUME 19: ISSUE 07
3692/BFV226/J
Footage from virtually every major sporting event
covered by ITV Sport since the mid-1960s from
athletics, boxing and darts, to domestic, FA Cup,
European and international football, through to
speedway, snooker and wrestling.
From George Best to Giant Haystacks, Frank Bruno
through to Frank Rijkaard, the ITV Sport Archive is a
who's who of international greats from the world of
sport. Classic footage also from ITV Sport stars
through the years including Brian Moore, Jimmy Hill,
Dickie Davies, Saint and Greavsie and Desmond
Lynam.
The London Television Centre
Upper Ground
London
SE1 9LT
200,000 hours of classic footage from Athletics,
Boxing and Darts to FA Cup, UEFA Euro Football and
FIFA World Cup 2010 and 2014.
T +44 (0)20 7157 4470
E [email protected]
ITV Sport Archive is home to the most iconic
sportsmen and women of our time.
0323/BFV226/J
14 Beadman Street, London. SE27 0DN
Telephone: 020 8761 5333 Fax: 020 8761 8796
E-mail: [email protected]
Supplier of Model Making Structural
Components and Accessories to the
Film and Television Industry.
www.ema-models.co.uk
ITV's Keep It In The Family
Returns To BBC Elstree
BBC Studios and Post Production (BBC S&PP) welcomes ITV Studios' and Over The Top
Productions primetime family game show, Keep It In The Family, back to Elstree.
For the second series, BBC S&PP is providing
fully integrated studios and post production
services.
The scale and complexity of the extensive Keep It
In The Family set, which sees a large revolving
area used during the family and celebrity faceoffs, pushes the creative and technical capabilities
of the production team and flexibility of the
studio space.
All the action in BBC S&PP’s 11,800 sq ft Studio D,
is captured on a standard 10 camera set-up in
front of an audience of 400, making full use of
Studio D’s fixed seating area and enabling the
production to maximise the studio floor space.
The full breadth of Studio D’s ancillary facilities,
including HD production galleries that are
specifically designed to support large scale TV
productions, were also utilised.
Up to 20 radio mics were used for the extensive
numbers of contestants, celebrities, and the
musical numbers featured in the show.
To accommodate the fast turnaround post
production demands of handling around 40 hours
per episode, BBC S&PP deployed a tapeless
workflow.
Material from the studio floor was ingested with
an EVS IP Director video production
management system and stored on an Avid ISIS |
7000 shared storage system.
The series was edited and finished on Avid
Symphony and mixed in Avid Pro Tools, before
being sent via an Aspera transfer to ITV as DPP
AS-11 files.
“Returning large-scale productions like Keep It In
The Family are a credit to the years of experience
our team has behind them.
“Combined with the latest investments in
technology, we’re able to continue to push the
boundaries of creativity with every production on
our roster,” said Meryl McLaren, Commercial
Manager at BBC S&PP.
Keep It In The Family is the unconventional game
show that lets the kids call the shots, meaning
anything can happen as two rival families’ battle
it out for the chance to win amazing prizes.
Presented by Bradley Walsh, the families also play
to win in head-to-heads with celebrities from
various hit shows, including The X Factor and
Emmerdale.
BBC S&PP provides studio facilities for some of
Britain's best loved entertainment and factual
studio formats. At Elstree alone, there are five
revamped medium and large studios, ideal for
live events, game shows, panel shows, comedy
and factual production.
www.bbcstudiosandpostproduction.com
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Bristol Film Office Shares
New Movie Maps
Using
Google
Maps
software, the Bristol Movie
Maps let browsers view
collections of locations that
have starred in some of the
most popular films and
television shows made in
the city over the past 60
years.
Residents and visitors can
follow in the footsteps of
their favourite film and TV
characters, by searching by
theme or production title,
and take a virtual tour online or visit the locations on
foot with their handheld device. YouTube clips at
selected destination points also enable fans to watch
clips of scenes filmed at each location while they
visit it.
The four maps being launched are entitled 'Bristol
TV Favourites', 'Bristol Feature Films', 'Sherlock
Bristol Movie Map' and 'Skins Bristol Movie Map'.
More are due to be added later this year, including
'Historic Bristol' and 'Bristol Adaptations' maps. A
series of printable walking trails will also be
developed.
• Bristol TV Favourites: This will feature locations
used by some of the most popular television shows
to come out of Bristol in the past 40 years, including
Being Human, Casualty, Doctor Who, Only Fools
and Horses and The Casual Vacancy.
• Bristol Feature Films: This will involve plotting
some of the city's most famous big screen moments
over the last 60 years, including Truly, Madly,
Deeply (1990), The Duchess (2008), and The
Inbetweeners 2 (2014).
• Sherlock Bristol Movie Map: Bristol has been
home to BBC TV crime drama Sherlock, starring
Benedict Cumberbatch and Martin Freeman, on
various occasions since the series began in 2010.
More recently, the production also used The Bottle
Yard Studio and various Bristol locations for the
upcoming
Sherlock
'Special' (transmission date
TBC). This map allows fans
to take a tour of the various
locations that have featured
on screen so far, including
Portland Square, The
Victoria Rooms, Goldney
Hall and Bristol South
Swimming Pool.
• Skins Bristol Movie
Map: E4's teen drama
about a group of Bristol
sixth formers began in 2007,
and for the following six years explored
controversial storylines including dysfunctional
families, mental illness, sexuality, substance abuse,
death and bullying. Fans can reminisce about the
show, which ended in 2013, by touring key locations
that became the visual backdrop to the drama
including Brandon Hill, College Green, Pero's
Bridge, St Nicholas Market and Thekla. For the
purposes of the production, all of the locations used
were fictional and therefore were not named as part
of the television series.
Natalie Moore, Bristol Film Office, said: "We're
delighted to be celebrating our city's filming
heritage with the launch of the new Bristol Movie
Maps. The Film Office works all year round to
support producers using Bristol locations, and by
pinpointing key locations from iconic productions,
we hope to increase Bristol's sense of pride in its
longstanding excellent reputation as a filming
destination. We also hope to boost levels of screen
tourism in Bristol, an increasingly popular
phenomenon which is shown to generate significant
revenue to local economies. We hope that this
interactive and fun tool will make it easier for screen
enthusiasts to explore Bristol's famous film and TV
locations up close."
Image: Courtesy of Hartswood Films and BBC One.
www.filmbristol.co.uk/bristol-movie-maps
47
3704/BFV226/J
• Local TV, Education,
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• Systems integration
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0000/BFV226/J
Bristol Film Office has launched a new series of online Movie Maps designed to
celebrate the city's reputation for film and TV production, and to allow people to go out
and explore the filming hotspots of Bristol this summer.
VOLUME 19: ISSUE 07
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VOLUME 19: ISSUE 07
The Royal Variety Charity
Announces Name Change
The Royal Variety Charity has officially changed its name from the Entertainment
Artistes' Benevolent Fund (EABF).
The Royal Variety Charity assists those who've
worked professionally in the entertainment
industry and are in need of help.
It works to support both young and old, who've
worked on the stage, in the wings, in front of a
camera, or behind it, as well as all those who
have spent their lives working in the numerous
support industries dedicated to entertainment.
The charity owns and manages its own
residential and nursing care home for
entertainers – Brinsworth House in Twickenham
– and also offers a nationwide grant scheme to
assist those living in their own homes wherever
they reside in the UK.
The Royal Variety Charity not only offers
support to those who have found themselves
struggling as a result of ill health, financial
hardship or old age, but also to talented
youngsters from impoverished backgrounds
who need assistance to pursue their dreams of
entering performing arts education.
Commenting on the name change, which was
implemented with immediate effect, Chairman
of the Royal Variety Charity and Executive
Producer of the Royal Variety Performance, Giles
Cooper, said: "This is an historic day in the 107
year history of our charity; the oldest and most
well known of all charities in show business.
"In recent years, the Entertainment Artistes'
Benevolent Fund (EABF) has become better
known, through television shows such as
Britain's Got Talent, as the Royal Variety Charity
and today's official name change marks a
landmark occasion for us and the beginning of a
new era.
"The entertainment industry is constantly
evolving and similarly the needs of those who
need support in our business has changed and
altered dramatically since our foundation.
“It is therefore so important that a thriving
charity such as ours also evolves and develops at
a pace in tandem with the modern era.
"I am delighted to announce that the Royal
Variety Charity will be widening its criteria of
help to all those who have served the
entertainment industries, both young and old; to
all those who have worked in front of a camera,
or behind it, on the stage, or in the wings, as well
as all those who have spent their lives working
in the numerous support industries dedicated to
entertainment."
The Royal Variety Charity are the organisers and
beneficiaries of the annual Royal Variety
Performance.
It is now viewed by more than 152 million
television viewers worldwide, making it the
most successful and longest running
entertainment show in the world.
www.royalvarietycharity.org
AJA CION Takes The 4K Spotlight
An appreciation for filmmaking quickly turned into a full-time gig for Shawn Serdar.
Channeling a passion for the craft, he took over the reigns at Pacific Producers Group (PPG)
in 2007, and the Vancouver-based production company has been thriving ever since.
Operating out of Gak
Studio, a video and
photography
studio
where Serdar is Partner,
PPG provides multimedia
services to industrial,
government, legal and
commercial
clients.
Favouring 4K capture for
greater creative flexibility,
Serdar and the Gak
partners keep the studio
stocked with an arsenal of
4K gear, including a new
AJA CION camera.
Before using the camera in-studio, Serdar took it
out for a test-run to see if he could film as a oneman band. To his surprise, it was easier than
anticipated. “I was shocked by how simple CION
was to set up and operate; I could put it on a tripod
with an ENG plate, release the lever and be
shooting 4K ProRes 444 or ProRes 422 HQ on my
shoulder in seconds. It's a really practical and
versatile camera,” he said. “CION also has built-in
audio inputs, so you don't need a separate audio
recorder, and the ergonomics make it easy to
handle. The camera worked perfectly in a variety
of environments – indoor and outdoor – giving me
ready-to-edit footage right out of the camera.”
CION made its first PPG project debut when
vitamin manufacturer Natural Factors enlisted the
production company to shoot a series of
promotional videos earlier this year. The project
called for a green screen live-action shoot, with
motion graphics to be added in post. Opting to use
CION for its in-camera ProRes 444 recording
capabilities, Serdar explained, “With green screen
production, you want to record in the codec that
gives you the most color information. By recording
ProRes 444 with CION, I knew we'd be able to get
the highest quality color information and bit depth
in-camera; it was an ideal setup.”
PPG, in collaboration with Oregon-based boutique
creative agency Mountain
Hut Media, set up shop at
Gak to deliver a 20-minute
video for Natural Factors
retailers; a two minute
promo for its consumers;
and a handful of audio
takes for radio promos.
They pre-rigged and prelit the set; equipped the
CION with an EVF and
ENG Plate, Zeiss CP 2
Prime Lens and a matte
box;
stationed
a
teleprompter in front of it;
began
filming;
and
wrapped production within four hours.
“I was blown away by how great CION worked
and how it sped things along; the quality of the
footage also looked amazing in-camera,” Serdar
shared. “We had an on-set editor who was going to
be our DI tech, but he didn't need to, because we
were able to transfer the footage from CION
quickly with Thunderbolt 2, and use the ProRes
files immediately in After Effects.”
Since adopting CION into PPG's workflow, Serdar
has seen a significant drop in the time required
between production and delivery. The
improvement was most apparent while working
on a shoot for another client, for which PPG
captured event footage and cut it into a 5-minute
video montage on-site, in under an hour using a
laptop. “I couldn't believe how quickly we could
do it, and how little color grading it involved.
We've worked with other cameras, but often find
that they’re bulky, the menus are labyrinthine and
they require a ton of transcoding,” Serdar
expressed. “With CION, we're saving about 40-50
percent time on projects, because the ergonomics
are great, the menu is straightforward and we can
shoot and edit in ProRes without any transcoding.
It's a smart and efficient camera that delivers
outstanding quality at a great price point.”
www.aja.com
2012/BFV223/J
VOLUME 19: ISSUE 07
49
Success Aplenty For BroadcastAsia 2015
Returning to the Marina Bay Sands, Singapore, from 2 – 5 June, BroadcastAsia 2015 opened its doors to more than 600 exhibitors from 46 countries, where cutting-edge
technologies and the latest trends were discussed for the audio, film and television industries.
Clear-Com presented the FreeSpeak II
1.9GHz roaming wireless solution.
Supporting up to five separate
channels per wireless beltpack, it
provides more expansive roaming
coverage using multiple antennas.
When combined with the Eclipse-HX
Digital Matrix Frame, the system
connects to over 16 partylines and the
flexibility to seamlessly cover difficult
buildings and remote zones.
The company also demonstrated its
LQ Series, which can be used for
intercom conversation, networked
music performances and for audio
signals that need to be transported
between different facilities. The LQ
throw-down
devices
enable
connections of 2-wire partyline with
call signalling and 4-wire audio over
LAN,
WAN
or
Internet
IP
infrastructures. The LQ Series has a 2wire (LQ-2W2) or 4-wire (LQ-4W2)
option.
DK-Technologies expanded its DKT7
Series with the DKT7 Waveform
Monitor. The unit is based on an
existing
motherboard
and
incorporates 'sleeping' features that
were built into the system during the
initial design stage. Called the
DKT7++, the new motherboard
utilises an ultrafast memory chip for
video processing and storage. The
waveform software can be added to a
DKT7++ Motherboard for a charge,
but is included in the model DKT7
WFM. The input/output interfaces are
similar to the DKT7, including a 720p
HDMI output with up to 8 embedded
audio channels. A 5.1 downmix and a
headphone output with volume
control are provided for audio
monitoring. It operates in all audio
modes available in the previous DKT7
software
packages
including,
multichannel metering, and multiset
of loudness metering and signal test
generator.
The
unit
switches
seamlessly between three operational
modes; DKT7 audio only mode
(Starfish,
Automation,
MultiLoudness), Combined Waveform
and Audio mode, and Waveform only
mode.
DKT7 WFM in the combined audio and video mode
Panasonic announced seven new
business technology products and
solutions for the Asia Pacific markets.
These include the Toughpad FX-X1, a
fully-rugged 5-inch tablet; the new
AG-DVX200, the world's first 4K
integrated zoom lens camcorder, and
the world's lightest 4K+ 3-Chip
DLPTM Laser Projector alongside the
latest
in
mobile
surveillance
technology, blu-ray data storage, and
professional
broadcast
video
equipment.
RTW unveiled firmware version 3.5
for its TM3 TouchMonitor series. The
software update enables RTW fullylicensed TM3 series and Smart Series
products to experience the company's
latest loudness solutions, including the
expanded feature set and display of
the Loudness Chart instrument. The
Loudness Chart instrument is used to
display the progress of a measurement
(TP, M, S, or I value over time) as a line
or colored area under the curve on a
coordinate system with selectable time
range, while the tolerance range can be
displayed as a corridor. A dynamic line
will show the position of the Relative
Gate in relation to the “I” value and an
additional bar graph for the display of
the current “I” loudness value can be
selected. Corresponding software
bundles can also be installed.
Looking at the BroadcastAsia
Conference, the theme for 2015 was
'Delivering Experiential Content
Anywhere' and addressed topics such
as the future of OTT and its impact on
traditional broadcasting; immersive
TV and encoding technologies; and the
road to IP, to name but a few.
Over-The-Top (OTT) content has
grown significantly in recent times and
has been labelled a “game changer” for
the TV industry. Service providers are
now starting to take advantage of the
potential the market has (the global
video-on-demand market is expected
to be worth US$45.3bn by 2018) by
offering
a
range
of
video
entertainment content to consumers –
and at an affordable cost. This, is
where HOOQ comes in. HOOQ is
Asia's first premium video-ondemand service and was launched in
the Philippines earlier this year, but
had just entered the Thailand market
around the time of BroadcastAsia. The
joint venture between SingTel, Sony
Pictures Television and Warner Bros.
Entertainment allows customers to
avail of unlimited online streaming
access to more than 10,000 movies and
television programs, via multiple
devices such as PCs, smartphones and
tablets.
Clear-Com’s LQ Series
Richard Chernock
The company's CEO, Peter Bithos,
spoke at BroadcastAsia 2015 and
shared an insight into the changing
industry
and
the
future
of
broadcasting. “HOOQ's raison d'etre is
to change the way people across Asia
view entertainment,” he explained.
“We are focused on enhancing
consumers' digital lives as their
partner for in-home and on-the-go
entertainment. Consumers are our
start and end point. By placing them at
the heart of everything we do, we are
able to innovate around their needs,
their
environments
and
their
lifestyles.”
The task isn't an easy one, however. In
Asia, digital piracy is a challenge to the
OTT setup, with consumers opting to
download and stream content without
charge, rather than pay for video
services. Infrastructure development is
another
factor.
For
example,
broadband speeds in the Philippines is
currently less than half the global
average. HOOQ is working within
these limits to deliver quality content
to consumers anytime, anywhere.
Dr Richard Chernock, CSO of Triveni
Digital, also appeared at the show to
present on 'ATSC 3.0: Powering NextGeneration
Broadcasting'.
The
discussion examined the current
development timeline of the news
standard, while highlighting various
capabilities and benefits offered to
broadcasters. It also addressed major
improvements in video encoding
efficiency; increased configurability,
scalability, and interoperability; as well
as the possibility to deliver 4K
broadcasts to mobile devices. As
chairman of ATSC TG3, Chernock has
been vital in the development of ATSC
3.0,
ensuring
flexibility,
interoperability and adaptability are
the keystones of the new DTV
broadcast system. He is also chairman
of the adhoc group specifying the
inner architecture of the system,
including the basic mechanisms for
delivery and synchronisation.
Additional highlights of this year's
show can be found on the
BroadcastAsia 2015 website.
www.dk-technologies.com
www.clearcom.com
www.rtw.com
www.business.panasonic.eu
www.broadcast-asia.com
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8060/BFV226/J
VOLUME 19: ISSUE 07
4070/BFV226/J
Daniel S. McCoy Deploys
Sound Devices' 668
Not long after Sound Devices introduced its new 688 mixer/recorder, veteran sound
engineer Daniel S. McCoy, CAS, became one of the first in the industry to deploy it in the
field, employing it for the new one-hour NBC comedy variety series I Can Do That!
Hosted by comedian/actor
Marlon Wayans, I Can Do That!
brings together acclaimed dancer
and choreographer Cheryl Burke,
recording artists Ciara, Joe Jonas
and Nicole Scherzinger, stand-up
comedian Jeff Dye and actor Alan
Ritchson to compete with unique,
breathtaking acts.
The show, unfolding over the
course of six weeks, will designate
one cast member as the season's
ultimate entertainer during the
finale.
Sound Devices released the 688
during week two of the show's production. McCoy
and his crew – including Peter Ølsted, Matt Brodnick,
Eric Pierce, Gary Tomaro, Troy Wilcox, and Ernie
Munoz – immediately integrated the 688 into
production.
“The 688 adapted nicely to reality-style situations and
performed flawlessly for the remaining five weeks,”
says McCoy. “We really depended on the MixAssist™
feature to give the mono-mix the ultimate signal noise
ratio to the cameras we were feeding.”
Representing an evolution in Sound Devices' mixer
and recorder products, the 688 harnesses the best of
Sound Devices' 633, 664 and 788T products. It comes
equipped with features such as MixAssist automixing functionality, 12-inputs, eight-outputs, digital
mixing and routing, 192-kHz sampling, audio delay
on inputs and outputs, PowerSafe and QuickBoot™.
The 688 is the first 6-series mixer/recorder to
incorporate Sound Devices' MixAssist technology.
First introduced with the 788T, MixAssist has been
expanded in the 688 to offer 12-channel automatic
mixing capability. Using a sophisticated algorithm,
3990/BFV226/J
MixAssist
automatically
attenuates the level of inactive
inputs and maintains consistent
background levels regardless of
the number of open microphones.
Comb filtering and phasing
artifacts are also reduced by
intelligently
attenuating
microphones receiving the same
audio signal.
“As the production schedule got
tighter, we had to move faster, so
having the 688 at our disposal
was a huge advantage for us,”
says McCoy. “The 688 is
extremely power efficient, faster
to boot up, and the MixAssist makes it much easier to
mix rotary faders, compared to what we had been
using in the past. We were booming and mixing most
of the time. With MixAssist active, you can really
focus on the booming and the location of your
overhead mic. It gave us tremendous peace of mind
to know that the lavs were being covered
appropriately by MixAssist.”
McCoy utilised channels 1, 2, 5 and 6 on the 688 for
digital signals, and channels 3 and 4 for analog. In
addition to the 688, McCoy used Wisycom MCR42SUS dual true-diversity UHF miniature receivers, DPA
d:screet™ 4061 miniature microphones with a
Lectrosonics UCR411 wireless microphone kit, and
SMV UHF belt-pack transmitters.
“The show sounds great, and I have been really
impressed with the quality and features of the 688,”
adds McCoy. “I plan on using it whenever possible
on my future projects.”
www.sounddevices.com
www.videodevices.com
‘Wherever You Are Going?’
Secures Gold Award
An hour-long radio documentary entitled Where Are You Going? has earned reporter and
presenter Catherine Carr a Gold Award at the 2015 New York Festivals World's Best
Radio Programs Gala Awards ceremony, which took place recently in New York.
Produced by Loftus Media for
the BBC World Service, Where
Are You Going? was devised by
Loftus Media director Joanne
Coombes.
Like many people, she had
often wondered where fellow
travellers were going and what
was driving their journeys?
From that simple premise the
concept of Where Are You
Going? was born.
Catherine Carr's interviews take
the form of a Vox Pop that chart
the course of one day in the
lives of many people, making
many different journeys across
the globe. Starting in Peterborough, Carr travels
as far as West Africa to capture the stories in
which travellers explain the reasons for their
journey and reveal life stories and secrets that
make compelling listening.
The stories are as varied as the passengers Carr
encounters, ranging for a recently widowed man
on his way to meet his first grandchild, through
to a group of people travelling from Copenhagen
to Senegal for a cousin's wedding.
To capture material for the programme, Carr
travelled with a light-weight Roland R-26
portable recorder and separate microphone. She
then transferred the audio onto her laptop and
used Prism Sound's SADiE 6 software to cut and
edit the various stories.
"The beauty of SADiE 6 is that I can use it
anywhere," she says. "Having the software on a
dongle that can be transferred from one
computer to another is perfect for the kind of
work I do. After I complete my
initial edits, I simply take my
SADiE 6 dongle into Loftus
Media where the audio team
load it onto their computers and
create the final mix. It really is
as easy as that."
SADiE 6 software can be used as
a software-only application on a
desktop or laptop, or it can also
be installed on existing SADiE 5
hardware as an upgrade.
The editing and location
recording capabilities of the
SADiE
product
range,
combined with its speed and
ease of use, make it ideal for
radio
drama
production
and
topical
documentaries where the emphasis is on a quick
turnaround.
"I learned how to edit on SADiE when I was at
Radio 4 and I found it incredibly easy to use,"
Carr explains. "I'm not a sound engineer and I'm
certainly not technical, but that didn't matter
because the software is so intuitive. When I left
the BBC two years ago, I was reluctant to stop
using SADiE so I invested in my own license. It
is a very classy and efficient system and is the
one work tool I just wouldn't be without."
The success of Where Are You Going? has
delighted BBC World Service, which had already
commission three more programmes from
Loftus Media before the Award was announced.
These will each be 30 minutes long and once
again Carr will be travelling the world to
generate material for them.
www.prismsound.com
51
Film&Video
BROADCAST
ADDRESS BOOK INDEX
ARCHIVE.............................................51
AUDIO.......................................... .......51
BROADCAST EQUIPMENT
SALE & HIRE................................ .....51
BROADCAST INSTALLATION,
MAINTENANCE & REPAIR...............53
CAMERAMAN & CREW HIRE..........54
DVD DUPLICATION SERVICES...... ..54
LIGHTING............................................54
OUTSIDE BROADCAST................... ..54
SERVICES &SUPPLIERS..................55
STUDIOS.............................................55
RECRUITMENT ..................................55
ARCHIVE
DATA STORAGE
,
ImageStore
We can supply all your Data Storage needs.
Complete solutions or individual items. With
over 20 years supplying Hard Disk and Tape
Backup products we stock all the leading
brands at the best prices. NAS Storage, LTO
Tape Drives and Libraries, RDX Drives, Hard
Drives, Backup Tapes and more.
ImageStore Limited, Kingfisher Business
Park, Rownhams Lane, North Baddesley.
SO52 9LP
T: 02380 736500
W: www.imagestore.co.uk
E: [email protected]
AUDIO
Beaulieu Film & Video
A wealth of social history and motoring
footage available in HD.
Other services include bespoke in-house HD
Spirit Datacine, digital re-mastering of
archive video source material.
Friendly service awaits your call.
Contact:
[email protected]
01590 614664
07818 454522
ITV Sport Archive
Footage from virtually every major sporting
event covered by ITV Sport since the mid1960s from athletics, boxing and darts, to
domestic, FA Cup, European and international
football, through to speedway, snooker and
wrestling.
From George Best to Giant Haystacks, Frank
Bruno through to Frank Rijkaard, the ITV
Sport Archive is a who's who of international
greats from the world of sport. Classic
footage also from ITV Sport stars through the
years including Brian Moore, Jimmy Hill,
Dickie Davies, Saint and Greavsie and
Desmond Lynam.
200,000 hours of classic footage from
Athletics, Boxing and Darts to FA Cup, UEFA
Euro Football and FIFA World Cup 2010 and
2014.
ITV Sport Archive is home to the most iconic
sportsmen and women of our time.
The London Television Centre,
Upper Ground, London. SE1 9LT
T: (0)207 157 4470
The A-Z of Services & Suppliers
Audio Developments Limited
With a comprehensive range of UK
manufactured products, Audio Developments
portable mixers provide a solution for single
operators through to OB vans and edit
studios. With a reputation for quality and
reliability, our equipment is used throughout
the world. The range starts from the AD 071
3 into 2 camera mixer and finishes with the
AD 144 studio desk with a total of 12
products in between. We also manufacture a
range of battery powered distribution
amplifiers, pre amps and headphone splitters
in a growing portfolio of products designed to
assist sound engineers
T: (0)1922 457007 F: (0)1922 457008
[email protected] www.audio.co.uk
Canford Group plc
Over 35 years’ experience in Pro Audio, Video
and equipment sales. Including the
manufacture of over 4,500 own brand
products, Free Technical Support and
thousands of items ready for same day
despatch. Canford offer everything from cable
to connectors, microphones to mixers, media
to multitrack, tannoy to talkback. If you're in
broadcast, theatre, education or AV industry Canford is "the source."™.
T: 0191 418 1122
W: Canford.co.uk E: [email protected]
Preco (Broadcast Systems) Ltd
Excellence in Broadcast
• Sales
• Consultancy • Design
• Installation • Support
Contact:
Unit 29, Lawson Hunt Industrial Park
Guildford Road,
Horsham,
West Sussex.
RH12 3JR
T: 0845 55 77 822
Intl: +44 208 644 4447
e: [email protected]
www.preco.co.uk
AUDIO EQUIPMENT - RADIO MIC
Audio Engineering Limited
Audio Engineering are the UK based
Manufacturer of the precision sound radio
microphone system – MICRON. With over 40
years’ experience in wireless technology,
Micron has an extensive range to suit all
kinds of applications and budgets.
This includes both diversity and non diversity
designed for worldwide usage and ideal for
ENG, EFP, PSC.
Contact:
T: 020 8341 3500
F: 020 8341 5100
[email protected]
www.micronwireless.co.uk
AUDIO HIRE
FX Rentals
FX Rentals is Europe's leading audio
equipment rental company, supplying the
best selection of pro-audio and postproduction equipment as well as PA systems
and instruments.
Open 24 hours a day, every day of the year,
FX provides continuous delivery and technical
support.
Contact:
T: 020 8746 2121
W: www.fxgroup.net
LOUDNESS SPECIALISTS
Aspen Media
Aspen Media is the UK distributor for
loudness specialists RTW and Jünger Audio.
RTW’s audio meters offer loudness
measurement to the EBU R128 standard.
Companies using RTW for loudness
measurement include BBC, Sky TV and Suite
Post Production.
Jünger Audio’s Level Magic™ loudness
management system intelligently solves the
problem of loudness changes, completely
free of any undesirable artefacts.
Level Magic™ is included in a range of
products including the D*AP8 TAP EDITION
audio processor.
Tel: +44 (0)1296 681313
[email protected]
www.aspen-media.com
TALKBACK & INTERCOM SYSTEMS
Face Systems
Broadcast Audio Products: Studio Talkback
Systems – with state-of-the-art DSP
machines, a wide range of standard control
panels and Windows software for remote
control and configuration. Standard matrices
up to 48x48 in a 1U frame available, plus
low-cost analogue talkback systems suitable
for small OBs and radio shows. We have a
number of customised systems available (up
to 256x256). We also have extensive
experience of design for BABT approval and
interfacing with communication networks of
all kinds. The Old Boathouse, Cadgwith,
Cornwall, England. TR12 7JX
T: 01326 291031
W: www.facesystems.com
BROADCAST EQUIPMENT
SALE & HIRE
ARCHIVE SYSTEMS
Disk Archive Corporation (DAC)
Disk Archive Corporation is a specialist
supplier of Media Archives and Content
Libraries. ALTO is a fully scalable alternative
to a data tape library, optimised for storing
very large volumes of Media Assets for News
and Post Production Workgroups; Content
Libraries and Transmission Ready Archives
with superior performance, low total cost of
ownership and excellent environmental
credentials.
Tel: +44 118 329 0121
Web: www.diskarchive.com
info: [email protected]
Soundkit
We can supply all your location sound
equipment needs. Mixers, microphones,
boompoles and all the bags, batteries, cases
and cables to make it all work. We supply
equipment from most of the leading
manufacturers including: Ambient, Audio
Developments, Audio Ltd, Audio Technica,
DPA, Hawk-Woods, Lectrosonics, Micron,
Panamic, Petrol, Portabrace, PSC, Rode,
Rycote, Sanken, Schoeps, Sennheiser, Sound
Devices, SQN, Tram, Zaxcom and more.
Contact: Soundkit Ltd, 12 Earle Place,
Canton, Cardiff, UK. CF5 1NZ
Tel. 029 20342907
www.soundkit.co.uk
e. [email protected]
DTL Broadcast Ltd.
For over 35 years, DTL products have been at
the heart of the broadcasting, from
productions to live broadcasting from the
streets of the world. DTL has a new and
unique approach to HDMI conversion. The
Mini Gear range are intelligent, high-quality
HDMI converters that go further by
incorporating a LCD display that shows signal
format, frame rate, audio presence, audio
levels, audio meters, audio frequency and
more. The ever expanding MiniBlox range is
highly price competitive and includes very
low cost 3G distribution amplifiers as well as
recent introductions such as compact fibre
optics products. MiniBlox solutions have
inherent versatility with 1RU and 2RU rack
mount options as well as a piggy back
battery system. Tel: +44 (0) 8707 462 062
Email: [email protected]
Web: www.dtl-broadcast.com
John Henry’s Ltd
Specialist suppliers to the entertainment
industry for over 30 years.
Pro Audio Services,
Corporate Events,
Event Production,
Live Sound,
Monitoring,
Touring,
Recording,
Radio,
Television,
Showcases,
Record Launches.
16-24 Brewery Road,
London.
UK
N7 9NH
Tel: +44(0)20 7609 9181
www.johnhenrys.com
3D Broadcast Sales
Suppliers of New & Used Equipment
PRO BROADCAST EQUIPMENT SALES,
PINEWOOD STUDIOS AND LONDON.
3D Broadcast offer over 38 years of
experience selling into Government Bodies,
the Broadcast and Corporate Market Place.
We offer professional, impartial advice for
post-production and media distribution
solutions. With an ever growing international
client base, we can source and supply
equipment from many major manufacturers.
3D Broadcast - Striving For Excellence.
Room 573, Eastside Complex, Pinewood
Studios, Pinewood Road, Iver Heath,
Bucks, SL0 0NH
Tel: 01753 653555
Web: www.3dbroadcastsales.com
3D Storm
3D Storm, distributor of NewTek products in
EMEA since 1999, and LiveXpert worldwide.
LiveXpert™ is a product line dedicated to live
and sports production complementary to
NewTek TriCaster™ & 3Play™. LiveXpert
extends any production by giving tools to
manage, create and add graphics, social
media content, or timing and scoring into any
live production.
Contact:
3D Storm, 70 avenue de Capeyron
33160 ST MEDARD EN JALLES,
FRANCE
Tel +33 (0)557 262 262
Fax +33 (0)557 262 261
Website: www.3dstorm.com
Camera Corps
Camera Corps specialises in providing highvolume support services for reality television
programmes as well as very large-scale
sports and stage events worldwide. Providing
bespoke camera systems and technical
services to broadcasters to enhance coverage
of major broadcast events across the world,
i.e. Olympic Games. Camera Corps has
achieved a pre-eminent reputation for
capturing exciting and unusual television
content from exceptionally challenging
environments.
Camera Corps Ltd
Unit 2, 111 Chertsey Road
Byfleet, Surrey. KT14 7AX
United Kingdom
Tel +44 (0)1932 336052
Fax: +44 (0)1932 350698
W: www.cameracorps.co.uk
Central Rental Limited
Central Rental is a Broadcast Hire Company
based in the West End of
London. With over 25 years as a rental
company in Soho, we really know our way
around kit rental & crewing. Whatever your
project, we will do our very best to tailor our
Kit & Crew to your specific production.
Contact:
1 Bedford Avenue,
London. WC1B 3AU
T: 0207 631 4455
W: www.centralrental.co.uk
Fletcher London (Europe)
Fletcher is a Camera systems provider
specialising in Live TV. With over 25 years of
experience behind us we have solutions
available suitable for both OB or Studio
environments. Numerous clients worldwide
call on Fletcher for short term or long term
rental. Current rental solutions include;
* NAC Hi-Motion II - HD Camera (UltraMotion) * I-Movix HD and 4K Cameras (UltraMotion) * NCAM Augmented Reality realtime
camera tracking * Evertz Dreamcatcher HD or
4K with HD Zoom extraction
* Pico Miniature Camera (Ultra-Motion)
* Sony HDC-4300 4K Camera (coming soon)
T: +44 1753 576861
W: www.fletcherlondon.co.uk
52
Film&Video
BROADCAST
BROADCAST CAMERAS
BROADCAST EQUIPMENT
SALE & HIRE
The Hiring Post
The Hiring Post offer you a personal and
flexible service, providing both short and
long term, dry hire contracts for the very
latest Post Production packages to help you
edit faster and do more on a flexible basis.
You can be certain to get the latest kit prewired, pre-tested, delivered and installed by
our specialist team. We include fastresponse technical support direct from our
offices in London, The Midlands or
Manchester. Unit 4, Shepperton Business
Park, Govett Avenue, Shepperton. TW17 8BA
T: 01932 255 525 e: [email protected]
Monster Peacock
Bringing the new breed of Indie Facilities hire
to the North. We pride ourselves in our
helpful accommodating service, well
serviced, constantly updated stock and
above all reasonable rates. Whether it’s a TV
production, commercial, web broadcast,
viral, sports coverage, extreme sports, events
coverage, corporate video work, wedding,
low budget short or feature or simply to take
pictures on the beach, Monster Peacock
should be on top of your contact list for
equipment. We're here to help and we
deliver… Literally!
Monster Peacock LTD
College Works, Albion Row
Newcastle Upon Tyne. NE6 1PQ
W: www.monsterpeacock.com
H.Q. - 0191 90 88 003
Mobile - 07515 278085
Kit & Crew
We hire a wide range of the latest digital
camera technology at competitive prices.
We pride ourselves on our level of technical
expertise and customer service our clients
expect. That’s why our clients come back to
us time and time again.
Contact:
T: 0208 755 1141
W: www.kitandcrew.co.uk
Mi Broadcast Ltd.
Specialising in fibre optic equipment for
television and radio production.
Leading supplier for sale and hire of optical
links to transport 4K/3G/HD-SDI video, data
and audio over fibre optic cable. Including
Telecast CopperHeads fibre optic camera
backs, Python and SHED/HDX.
Large hire inventory of equipment and cable
including Neutrik DUO and QUAD.
Contact:
Mi Broadcast Ltd
120 Church End,
Cherry Hinton,
Cambridge,
CB1 3LBUnited Kingdom
T: 01223 411625
W: www.tac4.com
Minicams
Specialists in minicam and robotic camera
systems.
Minicams provides ground-breaking systems
and cameras that will offer the flexibility and
scalability to consistently deliver stunning
and reliable footage.
We provide the resources and support to
complement and add value to any size of
production, be it from a small minicam setup to a 100 camera fixed rig system.
For further information, please don’t hesitate
to Contact Us at the following address:
T: +44 (0)207 183 8600
W: minicams.tv
Octica Professional Ltd
Professional distribution of broadcast,
professional video and film equipment
throughout the UK, Ireland and Europe.
• ABC Products: Full range of cranes and
dollies • Cartoni: Professional camera fluid
heads, tripods and jibs
• Chrosziel: Professional mattebox and
follow focus solutions
• Konova: Sliders for DSLRs and digital
cinema cameras
• Protech: Shoulder mount adaptors and 4K
fibre-optic systems
• Bebob, Cineroid, HPRC, Shape and
TheLight
Unit 3, Tims Boatyard,
Timsway, Staines,
England. TW18 3JY
T: 01784 450 506
F: 01784 449 646
E: [email protected] W: www.octica.tv
Picture Canning North
We supply, you produce...
24/7 back up, fast, adaptable, reliable
service, competitive rates, expert knowledge.
Experienced in drama, documentaries,
commercials, entertainment, features. A
production supply centre; hire: shooting
crews, cameras, lighting, grip, wet hire, dry
hire, commercial and drama kits,
multicamera, audio. Cutting edge broadcast
formats:
Arri Alexa, Red, Canon, Blackmagic Design,
XDCam, SD & Go Pro.
Contact:Newcastle office: (0)191 265 0061
Web: www.picturecanningnorth.co.uk
Provision
Wholly owned by ITV Studios, Provision are
proud to stake their claim as a leading
supplier of technical location equipment,
supplying the Arri Alexa, RED, HD Video,
Sound, Grip and Lighting equipment with
bases in Manchester, Leeds and London.
Emmerdale, Coronation Street, Mrs Biggs,
Vera, This Is England, UTOPIA, DCI Banks.
Contact: [email protected] - Leeds &
London
[email protected] - Manchester
Excellence in Broadcast
• Sales
• Consultancy
• Design
• Installation
• Support
Unit 29, Lawson Hunt Industrial Park
Guildford Road, Horsham,
West Sussex. RH12 3JR
T: 0845 55 77 822
Intl: +44 208 644 4447
www.preco.co.uk
BATTERIES & POWER
ARRI C.T. Ltd.
From innovative tools designed to advance
traditional film technologies, including HDIVS high definition video assist units and 2perforation movements for 35 mm cameras,
to revolutionary digital breakthroughs such
as the new ALEXA camera and economical
lens solutions such as the Alura Zooms, ARRI
camera products continue to lead the field.
2 High Bridge,
Oxford Road,
Uxbridge,
Middlesex,
England. UB8 1LX
T: 01895 457000
[email protected]
W: www.arri.com
Fibre4TV Ltd.
We specialise in fibre optic cables used in
the TV, Radio and Events industry. Services
we provide include cable supply, installations
and repair. We manufacture in house:
Multimode and singlemode tactical fibre
cable assemblies with Neutrik opticalCON
DUO and QUAD Delphi and many other
connectors including ST, LC and SC. Hybrid
camera cables, SMPTE 311 with Lemo
3K.93C for outdoor and indoor use. Custom
fibre cables and adaptors.
Fibre4TV Ltd, 120 Church End,
Cherry Hinton,
Cambridge, CB1 3LB
T: 01223 521235
W: www.fibre4.tv
BROADCAST GRIP EQUIPMENT
Anton/Bauer Europe B.V.
Anton/Bauer is recognised as the world's
innovator and premier provider of batteries,
chargers and mobile power systems for the
professional broadcast, video & film
industries.
With offices in the United States, Europe and
Asia, Anton/Bauer's signature product lines
are compatible with virtually every camera
brand in the world.
Contact: Martyn Sly-Jex,
Manager (EMEA & Russia)
T +31 45 5639225
F +31 45 5639222
M +31 6 51104631
[email protected]
www.antonbauer.com
Grip Equipment Hire & Technical
Specialists
Chapman UK, suppliers of state of the art
equipment for UK/Europe and the sole
suppliers of the Hydrascope Telescopic Crane
(unique as it is completely waterproof).
We also supply Chapman Camera Dollies,
Camera Tracking Vehicles (all types), Remote
Heads, customised Camera rigs; all grip
equipment under one roof.
Call us.
T: +44 (0)1727 838424
[email protected]
www.chapmanleonard.com
CABLES, COPPER & FIBRE
Maser Communications (UK) Ltd
Celebrating over 25 years of global success
with Belden. UK Distributor for Trompeter.
*3G video: all sizes, colours and
configurations. *Audio: Analogue/Digital,
single/multi in all jacket configurations.
*Data: CAT5/6/7, tactical – range of colours
and options. *Fibre: Multimode/singlemode,
tactical – huge range available.
*Connectivity: 3G BNC, 3G weco, ranges of
tooling and accessories.
*Southern based distribution centre.
For further information, please contact us:
Maser Communications (UK) Limited,
Unit 4, Axis Park,
Fort Fareham Industrial Estate,
Newgate Lane, Fareham,
Hampshire. England UK PO14 1FD
e-mail: [email protected]
Tel: 01329 236000 Fax: 01329 238185
www.masercomms.co.uk
www.masergroup.com
CAMERA EQUIPMENT
IDX Technology Europe Ltd
IDX Technology Europe Ltd
IDX Technology is the premier manufacturer
of batteries, chargers, wireless HD video
transmission systems, LED on board lights
and mounting accessories to the broadcast
and professional video industry. Ten V-Mount
battery options are available covering a
range of different applications, needs and
budgets. IDX are proud to be the U.K.
distributor for Century lenses and Schneider
Optic filters used by the most discerning
DOP’s.
Unit 9, Langley Park, Waterside Drive,
Langley, Berkshire. SL3 6AD
T: 01753 547692
F: 01753 546660
W: www.idx-europe.co.uk
PAG Limited
PAG is the innovator of the most
technologically advanced camera power and
lighting systems for the broadcast industry.
PAGlink is a truly intelligent linking battery
system that offers more power for cameras
and accessories, a current draw of 12A, high
capacities, more outputs, linked battery
charging, ultra-compact chargers, easier
battery management and the best value for
money.
PAG Ltd., 565 Kingston Road,
London. SW20 8SA
T: 020 8543 3131
F: 020 8540 4116
www.paguk.com
Black Cat Business Services (Cables)
Ltd
Custom bespoke Camera and Lens AV
and Broadcast cables. 3G HD HD-SDI Coax
cables singles and Multicores.
OB Cables Fibre SMPTE cables Triax, DC
Powering Cables. AV and Power Cables and
supplier of cable drums.
Unit 14,
Chiltern Trading Estate, Earl,
Howe Road,
Holmer Green,
High Wycombe,
Bucks. HP15 6QT
Tel: 01494 711820
Web: www.blackcatcables.com
Direct Cable Systems Ltd
Broadcast, Audio, Lighting, Data and Power
cables, extensive range of HD Coax and HD
Multicores, Tactical Cat5E Cat 6 and Tactical
Multicore all from stock.
We also supply a wide range of:
connectors, components and hardware,
metalwork and patching products, bespoke
manufacturing and custom power
distribution, all available from our London
based warehouse.
Contact:
Tel: 0208 238 7800
Web: www.directcablesystems.com
Lens Locker
Lenslocker is an online camera and lens hire
company currently specialising in Canon and
Nikon cameras and lenses, our range will
soon expand into Sony. We also have a range
of accessories that includes studio lighting,
filters, tripods and flashes.
W: www.lenslocker.co.uk
T: 0208 8911613
CAMERA SUPPORTS & TRIPODS
Vinten
Free your creativity - Vinten precisely
matches your style, so you are free to focus
on the shot:
• Perfectly balanced heads for effortless
filming
• Moves in tune with you
• Adjusts to match your style
• Stop the shot exactly where you want
• Suit payloads from DSLRs upwards
• Global award winner
Contact:
T: +44 (0) 845 671 5502
W: www.vinten.com
Vinten, William Vinten Building,
Western Way, Bury St Edmunds,
Suffolk, England. IP33 3TB
Film&Video
53
BROADCAST
BROADCAST EQUIPMENT
SALE & HIRE
MINI HD CAMERAS, RF AND FIBRE LINKS
POST PRODUCTION COMPANY
SUB BROADCAST MANUFACTURER
CASES
1ST OAKLEIGH CASES LTD
We specialise in the bespoke design and
manufacture of flight cases and foam inserts.
We supply many industries with a wide range
of products including cases for projectors,
speakers, cabling, LED screens etc. We
produce mobile wardrobe cases and 19”
racks: shock mounted, double bay and 3
lidded. All of our products are designed and
manufactured on site, at our purpose built
factory, conveniently situated near junction 24
of the M25 and junction 1 of A1M. 1st
Oakleigh Cases Ltd, Unit 10 Summit Rd,
Potters Bar, Hertfordshire, EN6 3QW
T: 01707 655 011 F: 01707 646 447
Web: www.1st-oakleighcases.com
Miniature Broadcast Cameras Ltd
Miniature Broadcast Cameras Ltd was
founded in 2006 to supply Miniature HighDefinition cameras and support engineering
systems. Our main products cover RubiCam
Mini HD Cameras, Rubi-Radio Mini HD RF
Links & Camera Control, RubiFibre Telelinks,
RubiVision Monitors and Electronic
Manufacturing Facility. Please visit our website
at www.mbc-ltd.com for more information on
our products.
Unit I The Acorn Centre,
Roebuck Road,
Hainault,
Essex,
England.
IG6 3TU
Contact: Neil Davies
T: 0208 500 4385
GatesAir
GatesAir provides complete solutions for overthe-air radio and television broadcasting,
leveraging wireless spectrum to maximise
performance for multichannel, mission-critical
services.
Powering over-the-air networks worldwide
with unparalleled reliability for nearly 100
years, GatesAir’s turnkey solutions enable
broadcasters to create, transport and transmit
radio and TV content.
Visit www.gatesair.com for more information.
MAINTENANCE & REPAIR
Van Diemen Films Ltd
Precision Optics for Film, Television and
Broadcast. We Design and manufacture
motion picture lenses using our patented
Wireform™ lens drive technology, offering
variable-pitch close focus movements. Our
Well-equipped Service Centre and highly
skilled engineers offer optical support for
maintenance and repair as well as bespoke
engineering.
W: www.vandiemenbroadcast.co.uk
T: 01276 61222
COMPLIANCE
IGLOO Post
Igloo Post, a boutique post production house
for 4K & HD Online, Grading & FX using
industry leading technology for both file and
tape based workflows.
We have handled the post production
requirements for over 50 hours of award
winning documentaries broadcast globally on
National Geographic, Discovery &
Smithsonian.
5th Floor, Fairgate House,
78 New Oxford Street,
London. WC1A 1HB
T: 0207 287 7993
F: 0207 494 9611
W: www.igloopost.co.uk
POWER SUPPLY
REMOTE HEADS
Case Design Ltd
Case Design is one of Europe's leading Flight
Case Manufacturers. We design to maximise
protection whilst keeping weight and space to
a minimum. We build in Aluminium Wood and
Astroboard and are Peli re-sellers. Operating
from purpose designed premises in High
Wycombe just outside London we serve
clients around the world. Our people are what
makes the difference, they are highly skilled
craftsmen many of whom have spent 20
years with Case Design. Do get in touch,
we're a knowledgeable and friendly bunch.
Case Design Ltd, 1 Tannery Rd, Loudwater,
High Wycombe, Bucks, England. HP13 7EQ
Tel: 01494 474400
Web: www.case-design.co.uk
Cammotion Ltd
Sale and hire of the ROC compact remote
head and Vortex vertical tracking system.
Cammotion’s ROC is a new 2-axis remote
head which delivers precision control within
an elegant lightweight form. The ROC head is
ideal for box/POV style cameras and small
digital film cameras.
T: 01628 477270
W: www.cammotion.co.uk
RIGGING, SUSPENSION AND LIFTING
EQUIPMENT
Bryant Unlimited
We stock the most comprehensive range of
cables and connectors for audio, video and
optical applications. Audio and Video
jackfields, cable management products, cable
assemblies, 19” racks trays and custom
metalwork.
Rack lighting, “Eyepower” Power Distribution
Units, PPM units, UMD displays. IT
Networking products, Cat5e, Cat6, Cat7
cables and patch panels. Manufacture and
repair of LEMO SMPTE and Neutrik
OpticalCON fibre optic camera cables.
Contact:
Bryant Unlimited,
70b Stafford Road,
Croydon, England. CR0 4NE
Or Call: T: 020 8404 4050
F: 020 8404 4080
www.bryant-unlimited.co.uk
TimeDelay.TV
TimeDelay.tv is the UK's ONLY company
dedicated to the Broadcast Compliance of
Live TX Shows. Our 5-10 second system
instantly cuts out profanity in Video and/or
Audio, helping to adhere to the OFCOM
Broadcast Code. Credits include:
Big Brother, I'm a Celebrity, Get Me Out of
Here!, Soccer AM & The Mobo Awards.
12 Woodfield Rise,
Bushey Heath,
Hertfordshire.
WD23 4QS
Mob: 07970 624 424
Tel: 020 8950 5666
www.TimeDelay.tv
POST PRODUCTION & EDITING SYSTEMS
Eyepower MDU Mains Distribution Unit
For intelligent control and monitoring of
mains powered rack equipment, the all new
Bryant 'eyePower' 14 x IEC outlet MDU offers
unrivalled local or remote access to mains
power information over wide or local area
networks. Increase the manageability and
efficiency of your Broadcast system or IT
environment no matter how remote.
Bryant Unlimited,
70b Stafford Road,
Croydon,
England.
CR0 4NE
T: 020 8404 4050
F: 020 8404 4080
www.bryant-unlimited.co.uk
PRODUCTION COMPANY
HIGH SPEED CAMERAS
Editec Broadcast Editing Services
Editec are proud to be distributors of the
I-Movix range of high speed cameras and
cutting edge DeFlicker technology. The now
industry standard Sprintcam and X10
products use the latest Phantom 642 camera
with I-Movix broadcast integration solutions.
Shoot up to 2500fps in native 1080i for
stunning ultra slow motion. Clients include BT
Sport, ITV Sport, Sky Sports, Televideo, BBC
Wales, AMP audio visual (France), Unlimited
Film Production (Norway), Alimaya (Saudi
Arabia).
Call: STEVE COTTERILL Office 0116 2727800
Mob: 07831 430519 E-Mail [email protected]
Doughty Engineering LTD
Established in 1970, Doughty Engineering is
one of the world’s leading manufacturers of
grip, rigging and suspension equipment,
supplying products internationally to film, TV
and the entertainment industries. Doughty
products are manufactured at the company’s
factory in Ringwood, Hampshire, enabling the
design and manufacture of both standard and
bespoke products.
www.doughty-engineering.co.uk
T: +44 1425 478961
SPECIALIST CAMERA SYSTEMS
LENS ADAPTORS
MTF Services
Widely acknowledged as the finest and most
comprehensive range of lens adaptors. We
specialise in producing adaptors for the very
latest cameras to accept a wide range of
lenses. Director Mike Tapa has been
designing equipment for the last 23 years and
is responsible for many world firsts including:
Nikon to 1/3", Nikon G to 1/3", Nikon to EX3,
Nikon G to EX3, Canon to EX3.
Contact: MTF Services, Unit B401,
The Chocolate Factory, London, N22 6XJ
E. [email protected]
W. www.mtfservices.com T. 020 8881 7850
Aerial Camera Systems (ACS)
ACS is a leading provider of specialist camera
facilities including a range of advanced
remote head and camera systems, stabilised
camera mounts, rail and wire systems, aerial
filming services and the sponsor-funded
EyeFlyer. Whether it be a single remote head
or multiple systems and crew for large
international broadcast events, ACS delivers
the very best in specialist cameras and award
winning crew.
Contact:
Antonia Wood
3 The Merlin Centre,
Lancaster Road
High Wycombe,
Buckinghamshire.
HP12 3QL
T: 01483 426767
W: acsmedia.com
Libra Professional Broadcast Ltd
Libra supply both new and used broadcast
equipment at highly competitive prices. Libra
are authorised Sony resellers and due to our
long established expertise we can supply and
advise on a diverse range of broadcast
equipment.
Now entering our 29th year of trading in the
broadcast engineering field, Libra can service
your equipment to full manufacturer’s
specifications.
Libra have a wide client base with work
carried out for Local Authorities, the Ministry
of Defence, as well as schools and colleges.
Contact:
South: +44(0) 1189 427773
Midlands: +44(0) 1527 853305
North: +44(0) 131 4453259
W: www.libraprobroadcast.co.uk
PIKS Video Engineering Ltd
Broadcast & Professional Service Centre
based in London, we repair and service most
makes of solid state and tape format
camcorders and VTRs, including:
XDCAM,
HDCAM,
HDV,
DVCAM and Digi Beta along with associated
equipment.
Contact:
Tel: 020 8877 9669
www.piks.co.uk
Forbidden Technologies plc
Forbidden is an award-winning technology
company that develops and delivers cloudbased solutions for collaborative video postproduction.
Its flagship product, Forscene, was launched
in 2004 and has been used to log, edit,
review, and publish more than 3 million
hours of professional video content.
Contact:
t: +4420 8879 7245
w: www.forbidden.co.uk or
www.forscene.co.uk
Tyrell Content Creation Tools Ltd
Tyrell is the leading creative technology
solutions provider for the broadcast, post
production, education and corporate sectors
in Ireland and the UK.
The company provides complete system and
workflow design, installation and support
services for end to end digital media capture,
creation, management, and delivery across
multiple platforms.
Contact:
Head Office:
Unit 13,
Bluebell Business Park,
Old Naas Road,
Dublin 12, Ireland.
T: +353 1888 1118
F: +353 1888 1119
UK Office:
80 Berwick Street,
London,
W1F 8TU
T: +44 207 148 6200
F: +44 207 148 6201
W: www.tyrellcct.com
mediapool
Established in 2003, Mediapool is a video and
digital media production company which has
a division specialising in the healthcare
sector. We work closely with organisations
and agencies to deliver a variety of
communication services.
• Film Production
• Live Events
• Animation
• Aerial Filming
• Photography
Apple Tree Studios,
155 Locket Road,
London.
HA3 7NY
T: 020 7785 7020
W: www.mediapool.co.uk
TECHNICAL FURNITURE
AKA Design Limited
Contact us at:
2 Kingfisher Place,
Clarendon Road,
LONDON,
ENGLAND.
N22 6XF
Or call us on:
T: 020 8829 9100
F: 020 8829 9148
W: www.akadesign.com
54
Film&Video
BROADCAST
MAINTENANCE & REPAIR
Custom Consoles Ltd
Custom Consoles Ltd is a UK-based
manufacturer of project-specific and modular
broadcast-studio furniture including
motorised, manually-adjustable and fixedheight units plus fan-cooled sound-insulated
equipment housings. Our 1,200 square metre
production facility is equipped with 3D
computer-aided-design and computercontrolled cutting machinery. This provides
the dual benefits of precise quality-control
and prompt delivery. Leedon House, Billington
Rd, Leighton Buzzard, England. LU7 4TN
Tel: 01525 379 909 Fax: 01525 370 237
Web: www.customconsoles.co.uk
Wire Broadcast
We’re a specialist team who can specify,
design and install your bespoke technical
facility. Whether it’s a machine room, edit or
grading suite, camera or sound studio, a
single or complete part of the production
chain, our solutions are designed to maximise
your capabilities and streamline your
workflow.
Contact:
Wire Broadcast Ltd,
1 Cleve House,
7 to 9 Cleve Road,
London. NW6 3RN
T: +44 (0) 845 468 0200
M: +44 (0) 7976 155 998
Tw: twitter.com/wirebroadcast
Fuel Film & Television Ltd
Fuel is the company that takes your
production personally. We will look after you
from pre-production discussions and advice
through to filming, making certain you have a
smooth transition to the edit, delivering your
message with conviction and impact. We
work with all video formats and film. We dry
hire. Please use the following number to get
in touch - we’d love to hear from you and be
involved in your next project.
Tel: 01923 233956 Mob: 07774 183366
Web: www.fuelfilm.co.uk
GB Helicopters
GB Helicopters are specialists in aerial filming
throughout the UK, Ireland and Europe.
Equipment options include the newly released
C516; 4k gyro-stabilised platform with Red
Epic Dragon and interchangeable 30300/20x50 4k lens. Teamed with highly
experienced Pilots and AOC certified we can
provide aerial filming for Broadcasts, TV,
documentaries and cinematic divisions.
T: 0800 030 4105
W: www.gbhelicopters.com
Twitter & Instagram: GBHelicopters
AERIAL FILMING SERVICES
Lightning Media
We offer a wide range of services including
broadcast equipment rental, consumables,
production and duplication, pushing the
boundaries with innovative in-house
customisation tailored to our client's
specifications at highly competitive rates.
Operating a four day week policy, with the
client paying for four days but retaining the
equipment for seven.
Contact: Mike Patel
Unit 32 Sheraton Business Centre,
20 Wadsworth Road, PERIVALE,
West London England, UB6 7JB,
T: 0208 9989911
W:www.lightningmedia.co.uk
OUTSIDE
BROADCAST
Technical Desking
Technical Desking Ltd has an impressive
client list, including some of London’s top
Post Production facilities and TV studios.
Founder and MD Antony Haston, has
designed numerous AV & Post Production
studios in the UK and abroad. Holding a stock
of standard range studio furniture allows for
prompt delivery, with large format desks
suitable for everything from editing, mixing &
colour grading to home studios; all come with
built in cable management.
Antony Haston 8 Bouverie Road, London, N16
0AJ Tel: 020 8826 5767
W: www.mybigdesk.com
Bluefin Television Ltd
Established in 1994 and proud to have been
BBC ‘Approved Suppliers’ since 2006.
We supply creative, broadcast camera crews
and a full range of cameras, sound & lighting
equipment, including, Sony F55/F5, FS7 &
XDCam range, plus Canon C300, RED, Alexa,
GoPro & Mini-Cams.
We work with broadcasters, Indies, digital
agencies, PR companies and Corporate
clients.
We work with an established pool of
professional camera crews experienced in all
genres including, Docs, Factual, Lifestyle, Arts
& Current Affairs.
Specialist Filming Services include, Vehicle,
Aerial, Marine, Underwater & Mini-Cams.
Contact: Ant Leake (DoP) 020-7622-0870 (m)
07973-502349
www.bluefintv.com
Oran O’Reilly Ltd
An established production company based in
London, created by Oran O’Reilly, a lighting
cameraman, editor and filming producer.
Offering a dedicated and personal approach
to all his clients.
Oran O’Reilly Ltd film, edit and produce
everything from EPKs, VNRs, BTSs,
interviews, B-Roll, PR, news packages and
press junkets.
Offering a bespoke, professional and friendly
service to our clients in television, PR,
corporate, fashion, music and the
entertainment industries.
As an owner operator he can provide any
combination of kit from a Sony F5 to a Canon
5D and crew.
M: +44 (0)7944 864888
W: www.oranoreilly.com
MPL - AERIAL FILMING SERVICES
A specialist aerial film company with a
professional and creative approach to aerial
filming. Working in all environments and
across all formats, throughout the UK &
abroad providing helicopters, specialist
mounts and camera systems suitable for
aerial work. We are always happy to offer
help and advice at any stage of production.
Tel: + 44 (0)1362 684135
Mob: + 44 (0)7768 667361
Web: www.mpl-aerialfilming.co.uk
DVD DUPLICATION
SERVICES
DUPLICATION, REPLICATION
& COPY PROTECTION
AERIAL DRONE
SIGNAL IMPROVEMENT
Boris TV
Boris TV has the most compact and
economical OB system available. Up to 8
HD/SD SDI cameras over fibre or copper, from
trailer based units suitable for indoor and
outdoor work.
Our trailers are small enough to airfreight but
still roomy enough to comfortably seat 5.
Conveniently placed in Camberley for easy
access to London and the UK’s Motorways.
Contact us to find out how we can help with
your production.
T: 01276 61222
W: www.boris.tv
CAMERAMAN & CREW HIRE
LEN Limited
LEN is one of the most established
manufacturers and suppliers of signal
enhancement technology in the world,
supporting customers for over 30 years at the
forefront of the constantly evolving signal and
broadcast arena. By choosing LEN you will
benefit from our innovative design approach,
exceptional products which exceed technical
specifications, and a comprehensive
understanding of the industry.
LEN Limited, Radway Green Venture Park,
Radway Green, Crewe, Cheshire, CW2 5PR
T: +44 (0) 1270 886157
F: +44 (0) 1270 886100
W: www.len.co.uk E: [email protected]
SYSTEMS INTEGRATION
dB Broadcast Limited
dB Broadcast is the UK's largest independent
systems integrator. The company is a centre
of excellence for the delivery of traditional
and new technology broadcast systems and
has an outstanding track record of delivering
large and small scale projects, worldwide.
dB also designs and manufactures its own
ranges of products. dB Broadcast Limited,
Sedgeway Business Park, Witchford, Ely,
Cambs. CB6 2HY, UK
T: +44(0)1353 661117
W: www.dbbroadcast.co.uk
The Company
Award winning production company
(est. 1993). Live broadcast news, events,
medical training, educational and corporate
videos.2/4K filming and post-production for
DVD, Blu-ray, web and RAW delivery. Crewed
location vans, for multi-camera events,
editing, HDSDI and H264 feed.
Check out our website for details and
reputation.
Call: 01392 495778 Or: 07976870132
Website: www.theco.co.uk
John Fay
John Fay, Lighting Cameraman, with over 17
years’ experience in lighting and shooting
Documentaries, Drama and Commercial films.
Based in Ireland, owner of Canon C300 and
Prime Lenses and Sony HDCAM 790p and a
wide selection of lights.
Show Reel available on website.
W: www.johnfaycameraman.com
E : [email protected]
T: 00353 87 2427234
Bakerhouse Studios Ltd.
We’re the first supplier in East Yorkshire to
offer drone service 100% legally under the
stringent CAA guidelines. With qualified pilots
and commercial photographers working with
industrial-grade drones and high resolution
DSLR equipment, our team is also dedicated
to giving talks and workshops on the legality
and applications of aerial filming to local
authorities and businesses
Contact: Ben O’Leary
18 Westbourne Avenue, Hull, HU5 3HR
T: 01482 420788
W: www.bakehouseaerial.co.uk/
Replication
We are known for on-demand duplication of
CD-R, DVD+/-R and Blu-ray, encoding and
authoring services for DVD and CDROM/Audio and DVD replication. Having Copy
Protected video on custom discs, memory
cards and USBs, we now have content
preparation, secure digital copy download to
PC/Mac/iOS and Android devices and
ecommerce, supported by experienced
packaging and worldwide fulfilment services.
Sales and support of Microtech disc and
Nexcopy memory publishing equipment.
Unit 4 Balksbury Estate, Balksbury Hill,
Upper Clatford, Andover, Hants.
SP11 7LW
T: (0)1264 336 330 F: (0)1264 336 694
www.replication.com
CTV Outside Broadcasts Limited
CTV maintains a refreshing and dynamic
approach to OBs which is supported by our
portfolio of blue chip broadcasters and the
leading programme producers.
With our wide-ranging all HD OB fleet and the
people who constantly deliver, we are The OB
company of Choice.
For further information, please contact:
[email protected] or
[email protected]
Or call: 020 8453 8989
AERIAL FILMING
LIGHTING
BeyondHD Aerial & Stabilisation
Equipment
Specialist Supplier of Aerial filming, Gyro
Stabilisation & Camera Support Equipment for
Film and TV.
• Black Armored Drone - Aerial
Cinematography Drone
• Letus Helix – Advanced Camera Gyro
Stabilisation Systems for Arri/Red/Sony/Grass
Valley cameras
• L’Aigle – Exoskeleton Camera Support
Solutions & Steadicams
• Long Range HD Wireless Transmission
Links
• Professional Drone Accessories & Control
Contact: T: +44 20 3651 6994
E: [email protected] W: www.BeyondHD.tv
3 Mills Studios, London
ARRI C.T. Limited
Since 1924, ARRI has been continuously
designing and supplying innovative lighting
solutions.
ARRI's extensive range of lighting products
offers an abundance of creative lighting
solutions. ARRI lights are put to use across
the world on feature film, TV productions, in
TV studios, at major sporting events and for
industrial applications.
2 High Bridge, Oxford Road, Uxbridge,
Middlesex. UB8 1LX
Tel: 01895 457000
W: www.arri.com
Telegenic
Telegenic provides a complete 3D or High
Definition package globally. We pride
ourselves on bringing together exactly the
right elements to make a seamless
production.
With our fleet of supertrucks we offer the
ability to broadcast simulcast 2D and 3D or
just HD, which ever the production requires.
Contact:
8 The Merlin Centre,
Lancaster Road,
High Wycombe, England.
HP12 3QL
T: 01494 557400
F: 01494 557410
Web: www.telegenic.co.uk
Film&Video
55
BROADCAST
OUTSIDE
BROADCAST
Visions
Visions, Europe's leading Outside Broadcast
Facilities company. With 16 Production units
available to producers, 2 - 30 cameras
capable of High Definition and Standard
Definition, NTSC, PAL all available globally.
Project management of major fly-away
projects in the UK and abroad. Sports, Music,
Reality; all have been covered by Visions.
Premier League Football, Hell's Kitchen,
Glastonbury, Summer Olympics.
For an obligation-free quote or for more
information please call sales on:
T: 0845 094 0808
W: www.visions-ob.com
FREIGHT & LOGISTICS
Delivered On Time Ltd
Location logistics specialist for TV/film, media
and international events. In-house ATA Carnet
service; global forwarding – air, sea and road;
express courier; London warehousing; meet
and greet service available at London airports;
24/7 operations, 365 days a year; express
service within Europe; sea & air charter
service.
Delivered on Time Ltd, Unit 4,
The Mercury Centre, Central Way,
Feltham, Middlesex. TW14 0RN
T: 0208 890 5511
W: www.deliveredontime.com
LOCATION CATERER (WALES)
Just Perfect Catering
Just Perfect Catering is the number one TV
and Film location caterer in Wales. We own
and operate state-of-the-art location catering
facilities and can be relied upon to provide
exquisite foodcreated using Welsh produce
through a fast, efficient service. We are STS
accredited and ISO 14001 & 9001 registered.
Unit 17, Tondu Enterprise Centre, Tondu,
Bridgend, CF32 9BS
T: 01656 724 363
E:[email protected]
W: www.justperfectcatering.co.uk
SOFTWARE SOLUTIONS
Astec IT Solutions
Astec is a leading supplier of integrated
software solutions, delivering monitoring and
control systems to the satellite, terrestrial,
IPTV, broadband and other broadcast sectors.
Our iBroadcast product is the most flexible,
comprehensive, scalable, end-to-end, multivendor Network Management System (NMS)
and is capable of monitoring and controlling
your entire broadcast platform.
For further information please contact:T: +44 1543 888134
W: www.astecsolutions.com
Halliford Studios
Purpose built and independently owned, we
are committed to providing the best on-site
facilities and value for money. Everything onsite: construction, scene dock & prop room,
lighting store and canteen. 2 drive–in Sound
Stages with full height cyclorama backings
with coves & lighting walkways. Safe &
secure on-site parking, minutes from the
M25 and 20 minutes from Heathrow.
Contact: Callum or Rigby Andrews, Manygate
Lane, Shepperton. TW17 9EG
Tel: 01932 226 341 Fax: 01932 226 341
Web: www.hallifordfilmstudios.co.uk
MUSIC LIBRARY
STAGING
STUDIOS
OUTSIDE BROADCAST SALES
Onvision
Europe’s Specialist Broker for the sale of
Used Outside Broadcast Vehicles, Outside
Broadcast Equipment and systems. Call us for
help with buying or selling your OB or
equipment.
[email protected]
www.onvision.co.uk
Tel 020 8763 4198
SERVICES &
SUPPLIERS
Logfret (UK) Ltd
Logfret is an International freight forwarding
company. Established in 1970, we have over
65 offices worldwide; many by major studios.
Services Include: Customs clearance, part/full
loads, daily Europe runs, dedicated
TV/production transport, Tail lift, specialist
equipment, door-to-door domestic/
international express, ATA Carnets, next-day
nationwide, London timed deliveries, packing,
secure storage.
Land, Sea, Air enquiries:
01753 785 539
[email protected]
Pinewood Studios
Props Building, Office 655
Pinewood Road, Iver Heath
Bucks SL3 0NH
www.logfret.com
AKM Music
Royalty Free Music, buyout licence for
corporate, television, websites and DVD
productions. Non MCPS library. Huge range of
downloads and CDs. Fresh original music:
Trailers, Rock, Acoustic, Dance, Cinematic,
Orchestral, Horror, Comedy, Children. Pay
once use forever. Used by BBC, ITV, satellite
and cable channels worldwide. Ideal for
corporate DVDs. For further information about
our extensive library, please get in touch with
us at:
AKM Music, 2 Albion St, Kenilworth,
Warwickshire, England, United Kingdon.
CV8 2FW
Web: www.akmmusic.co.uk
Tel: 01926 864068
Concept Staging Ltd
Concept Staging Ltd has over 15 years’
experience in the staging industry. Suppliers
of Sets, Indoor & outdoor staging systems,
Truss, Screen supports, Camera platforms,
Jimmy jib platforms, Steeldecks &
Accessories, Access Ramps, and Revolves.
In house – on site fabrication.
Tel: 01282 862777
Fax: 01282 867444
W: www.conceptstaging.co.uk
Meadows Farm Studios
A 4,500sqft visual media studio ready for dry
and wet hire. A large soundproofed drive-in
green screen studio, a drive-in white infinity
cove and daylight lifestyle space with full
kitchen.
Very versatile and flexible space. Henley-onThames is 30 miles west of London with
plenty of parking and easy access from M4 &
M40.
Contact:
T: 01491 577789
BLUE SCREEN/CHROMAKEY
ACCOMMODATION
Access Bookings Ltd
Expert accommodation, events and travel
booking specialists for the media industry.
The best service, the best value. 24/7 365
days a year.
• Hotels • Apartments • Chalets • Cottages
• Flights • Trains • Taxis
• Car hire • Excess baggage
• Visas • Carnets • Private aircraft charter
• Meetings • Wrap parties
www.accessbookings.com
[email protected]
01543 272575
CONVEYORS, TREADMILLS &
TRAVELATORS
Canning Conveyor
Working within the film & TV industry for the
past 30 years.
• Films
• TV commercials/Dramas
• Gameshows • Music videos
CONVEYORS FOR HIRE/RENTAL OR
CONTRACT HIRE.
• Delivery, Site assembly, installation
• Provision of on-set operator for rehearsals,
standby and shooting
• De-rigging after strike.
Andrew Canning: Tel: 01909 486166 or email:
[email protected]
www.canningconveyor.co.uk
Canning Conveyor Co Ltd,
Sandy Lane, Worksop, Nottingham. S80 1TN
Precision Cargo Services Ltd
Many years' experience with major production
companies in film and television, operating
from both studios and locations worldwide.
Services include: transport of dailies, props,
models, visual and special effects equipment,
together with weaponry and firearms;
forwarding of personal and professional
effects. Coordinators are provided for each
individual production. 24 hour/7 day a week
service.
Pinewood Studios,
Pinewood Road, Iver Heath,
Bucks, SL0 0NH
T: 01753 650 551
W: www.precisioncargo.co.uk
De Wolfe Music
The largest independent production music
library. De Wolfe Music work with some of the
world’s best composers for TV & Film.
Over 80,000 high quality tracks on our
website for you to choose from.
Contact us for: • Free Music Searches • Free
Music Downloads • Sync and Licensing
• Special Composition • Recording Studios
Music search hotline: 020 7631 3600
Search our comprehensive catalogue at:
www.dewolfemusic.com
SCOTTISH DIRECTORY
Camberwell Studios
Camberwell Film Studios, South London. Two
studios available for hire. Very Competitive
Pricing! Studio 1: 1300 sq. ft. Cyc, Drive in
access; Studio 2: 400 sq. ft., Full infinity cyc,
soundproof, Pre-lit Green rooms; Free Wifi,
Free Parking, Canteen, Friendly Service.
T: 020 7737 0007 Block A, Chartwell Business Park, 61-65
Paulet Road, SE5 9HW
www.camberwellstudios.co.uk
Chromakey
Chromakey-hire.com are a UK-based
company who can fulfill all your blue and
green screen requirements, for hire, from
stock, or made up to your required sizes and
colours. They are also available to purchase.
We also supply chromakey body suits,
chromakey joining tape, and chromakey
paint.
Contact:
Call: 07831 871565,
[email protected]
www.chromakey-hire.com
RECRUITMENT
LABORATORIES
Cinelab London
Cinelab London provide a comprehensive
range of 35mm & 16mm film processing,
Sound and Digital services. As an
independent facility, Cinelab provide a
complete service for all production needs.
Cinelab were the first laboratory to receive
ISO 9001 accreditation and are also the only
facility in the UK to be accredited with Kodak
Imagecare.
Contact:
David Webb
714-716 Banbury Avenue, Slough, Berkshire,
England SL1 4LR
T: 01753 501500
F: 01753 691762
W: www.cinelab.co.uk
Film Bang
Film Bang is the essential guide for film and
TV production in Scotland. From its inception
39 years ago, Film Bang has developed into
the definitive source of information, listing
Production Companies, Facilities and
Technicians.
• Film Bang Online gives quick easy access
to all entries.
• Find the skills, facilities and companies you
need for film and TV production in Scotland
and beyond.
• Film Bang is available in an easy to use
paperback format at a cost of £25.00.
Contact:
Film Bang, 30 Leicester Avenue,
Glasgow, Scotland.
G12 0LU
Tel: 0141 334 2456
W: www.filmbang.com
Elstree Studios
Elstree Studios is recognised as one of the
leading Studios in Europe, offering
competitive prices, highly specified facilities
and boasting over 60,000sq ft of stage
space.
Located 20 minutes from London, Elstree
Studios is without doubt London's number
one studio for any film or television
production, tour rehearsal or promo.
Shenley Rd,
Borehamwood, Herts. WD6 1JG
Tel: 020 8953 1600 Fax: 020 8905 1135
Web: www.elstreestudios.co.uk
Christy Media Solutions
Christy Media Solutions delivers highly
specialised, flexible recruitment services to
the Broadcast, Media and Satellite sectors
across EMEA and the US. The company has
recruitment partnerships and preferred
supplier status with many leading industry
organisations, providing high quality contract
and permanent staff, executive search,
selection and project contract resource
solutions.
Contact:
4 Danbury Court,
Linford Wood,
Milton Keynes,
MK14 6PL
T: +44 1908 308770
W: christy-media.com
3265/BFV226/J
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Regional Film and Video July 2015

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