case study coronation street
Transcription
case study coronation street
HD BROADCAST PRODUCTION CASE STUDY CORONATION STREET “It was a big undertaking because we can’t stop working on Coronation Street. It’s not like we’d have a six month run in, like most other dramas” KIERAN ROBERTS Executive producer CORONATION STREET A new era has begun for the nation’s longest running drama series. As a fitting celebration of Coronation Street’s 50th birthday, the soap has been given a makeover with ITV Studios investing millions in a new file based production system to bring television’s most watched show to viewers in high definition. Executive producer Kieran Roberts recalls that the impetus came all the way from ITV director of television Peter Fincham. “He was very keen that Coronation Street would be available in HD at the earliest opportunity. We have to both respect its traditions and keep it fresh and contemporary. We didn’t want to be seen to be lagging behind.” The sheer scale of a show which has a hectic production schedule filming all the year round – bar a 10 day Christmas break – and which produces nearly two and a half hours of finished content a week made the prospect of making the switch daunting. “It was a big undertaking because we can’t stop working on Coronation Street – it’s not like we’d have a six month run in, like other dramas,” explains Roberts. Wanting to introduce the show in its new look with a bang, Roberts chose the week of the 31 May as the week to make the switch, when Coronation Street would feature the explosive double storyline of the factory siege and Gail’s courtroom drama. One of the first steps was detailed consultation with Avid, which had been talking to ITV for two years about upgrading its production workflow. When the go ahead was given in January the timeline was tight. Avid’s ITV account manager Dave Scott, responsible for coordinating the Avid team, recalls how he and Avid Enterprise’s senior applications specialist Lawrence Windley battled their way to Manchester on snowclogged roads for the first meeting. “It seemed that the entire UK had frozen to a stop. FILE-BASED WORKFLOW ITV's timing meant we had just missed the show's Christmas break – and we would not have the luxury of being able to shut down production again." At the sharp end was ITV’s support co-ordinator Stan Robinson, whose team was given a three month timeline for the switch. “Because we had to be ready to go HD for the Seige storyline, this meant that we had to be ready to make the switch in March, when production on May storylines takes place,” says Robinson. “We had to prepare for shooting as normal in standard definition while testing the new file based HD workflow.” The move involved converting two SD studios to HD capability, and converting two OB vehicles for HD location shooting, work subcontracted to Leeds-based broadcast systems integrator AVC. One of the vehicles was to be key to the switchover, acting as the studio-based control room and a vision gallery – parked on the studio floor of the Coronation Street facility in Manchester for a week whilst the old SD infrastructure was replaced. New HD camera technology was also added to the mix in the shape of six Ikegami 79EXs kitted out with Canon lenses for the studios and Panasonic P2 camcorders shooting to 64G memory cards for location shooting. Avid technology included two Avid AirSpeed Multi Streams per gallery enabling the recording of four streams of HD (12 streams across the installation’s three galleries) recording to ISIS 7000 shared storage. This formed the cornerstone of the new production and post production workflow, enabling the craft, edit and dubbing suites to playback HD media simultaneously. Editing platforms included Avid Mojo DX offline suites and Avid Symphony Nitris DX finishing, with dubbing on Pro Tools which used Video Satellite to enable playback of the same HD pictures from the ISIS 7000 storage in the audio suites. Says Kieran Roberts: “We had to have the best kit for what we wanted to do. And it all had to work very fast because we shoot TAKING THE STREET HD Avid had just three months to design and integrate a state-of-the-art file-based HD production and post workflow for one of the UK’s biggest shows – while it was still being produced. Create explains how it was done AVID AIRSPEED MULTI STREAM For fast-turnaround media production environments, AirSpeed Multi Stream provides fast workflow-connected HD and SD acquisition and playback capability. For more information see: www.avid.com/US/products/AirSpeed-Multi-Stream CREATE Keep up to date with all of Avid’s news and product releases and what Avid’s customers are creating with Avid technology. For a FREE subscription to the new twice-yearly Create, register at www.avid.com/create AVID CONTACT DETAILS [email protected] 01753 655 999 Pinewood Studios, Pinewood Road, Iver Heath, SL0 0NH For more information on all Avid products visit www.avid.com HD BROADCAST PRODUCTION CASE STUDY CONTINUED CORONATION STREET “Every project has two sides – technology and people. Unless you bring the people along with you it won’t be a success. On Coronation Street it was critical to get everyone’s buy in.” JASON PLEWS Professional Services consultant AVID up to 20 minutes a day – unimaginably fast for most dramas.” Avid Enterprise’s senior application specialist Lawrence Windley adds: “The speed and turnover of the production schedule means you can’t reshoot anything and you can’t afford to lose rushes. So automated back up with the AirSpeed Multi Stream cache, plus ISIS storing two copies and then asset management through Avid Interplay archiving a copy as back up onto LTO tape was key.” ITV’s Stan Robinson points out that one of the beauties of the new production workflow is that editors can get much faster access to material than they were able with the old system – with script editors and directors able to add comments to the rushes electronically. Offline editor Dave Williams confirms: “It’s made life much easier. It means that we have access to material as soon as it has been shot. It’s crucial to have speed on your side on a show such as Coronation Street which works at a pace.” Material is instantly available on the three Avid Mojo DX offline suites and the Avid Symphony Nitris DX finishing suite as well as the ingest stations where camera assistants deal with P2 material. Says Williams: “We have always worked on Avid because their systems are so fast, solid and user friendly. It’s a show where the turnover is so fast there’s no room for foul ups.” Flexibility is another feature of the new Avid workflow. Recorded footage is available for editing or viewing by any authorised PC on the entire ITV network within seconds of the shot being completed. One of the most powerful parts of the Avid toolset is its file sharing and asset management capability enabled by Avid Interplay. This makes it easy for production assistants, script supervisors and editors to find and browse material for continuity checks, frameaccurate annotation or shot listing, either locally or across a WAN. With information no longer spread over different locations, the whole operation has the potential to become better organised, with anybody able to FILE-BASED WORKFLOW MANAGING CHANGE WITH AVID find content and its current status. Says Williams: “Now we all have access to a generic bank of shared captions, titles and sound effects which goes all the way through the edit to the online.” Stan Robinson adds another big plus is that the whole workflow is safer and more secure. “With the old tape-based system because we always worked at pace and under pressure there was always the danger of over-recording as you rewind a tape to review it. Now it’s virtually impossible to delete or over-record – which has taken a huge weight off the camera operator’s shoulders. All the operators love the new system,” declares Robinson. Kieran Roberts hopes that the viewers feel the same. “Although a fraction of Coronation Street’s audience – typically 500,000 – watch in HD at the moment, it’s very important that it looks brilliant and drives HD uptake. If ITV viewers see Coronation Street in HD and don’t come away thinking it looks brilliant they might be put off HD altogether.” Avid’s Dave Scott concludes: "We managed to achieve the on air production deadline in an extraordinarily tight time frame with no effect on the output. An installation and change management project which would normally have taken six to nine months was delivered in a fraction of that time – a testament to the commitment and vision of the Coronation Street and Avid teams.” “Integrating a new file-based production and post production workflow into a show such as ITV1’s Coronation Street – while it’s still being produced – is like changing the tyres on a juggernaut whilst it’s still driving along,” explains Avid’s professional services and workflow consultant Jason Plews. Compressing such a huge job into a three month time frame involved pre-building the system at Avid’s Dublin test centre, with senior executives from ITV Studios visiting to road test the design. “Testing like this in a controlled environment both reassures the customer and helps squeeze the project to fit the timeline,” explains Plews. While Avid was confident that the technology could be installed to meet the three month deadline, the bigger question was would the Coronation Street production staff accept such a radical change in the way they worked so quickly. “What we did was manage that transition by getting small teams of champions together looking at how life would be different for them under the new system,” explains Plews. Editors and script supervisors were encouraged to air concerns early about changes, which were addressed with tweaks to the design of the production workflow, right down to detailed naming conventions. Avid’s Lawrence Windley adds: “Getting the support of PAs and script supervisors was key. The naming conventions of the clips and where they are put into the Interplay database become crucial for post production so the supervisors’ role at the front end is now much more significant. Now instead of jotting down a timecode number in the script margin off a tape, they are setting a path to the folder where it is stored on the database, and the script supervisor is making comments on the files that are recorded. In short they had to take on a lot more.” Plews concludes: “Every project has two sides – technology and people. Unless you bring the people along with you it won’t be a success. On a well-oiled production such as Coronation Street, it was critical to get everyone’s buy in.”