Mercedes-Benz Worlds winning formula, Online Creative and Blackmagic Design


I set up Online Creative in 1999 after a number of years of linear editing and five years of post working for German non-linear editing manufacturer, FAST, during the pioneering days of digital video. The early 90s were a very exciting time editing with non-linear for the first time, although I haven’t done a linear edit since!

Online Creative has grown tremendously over the last ten years. I have built up a team of award winning people working collaboratively with me here since moving to Brighton in 2002, all of whom have vast film and broadcast experience. In 2008, we moved into a new studio in the heart of Brighton’s bohemian ‘North Laines’ district– an area which has a great vibe and a very strong digital media community. Combining the expertise and the equipment I have here alleviates the need for travelling to London for 99% of what we do.
Our main HD suite is a Final Cut suite running with Blackmagic Design’s Multibridge Eclipse capture and playback device, and we also have an AVID Media Composer running a Mojo SDI box for regular television work. Our corporate productions are usually filmed in HDCAM and I edit them uncompressed most of the time as the fibre channel RAID and the Multibridge Eclipse handle the large data rates with ease. Having a dedicated PCI Express card in the computer gets over the annoying lag found with FireWire connected solutions and gives me the bandwidth flexibility to work completely uncompressed. We have a couple of Apple Cinema Displays (30” and 23”) for the edit application and a Sony CRT SD monitor for output. The Multibridge Eclipse has a real time down conversion capability so, for the majority of the edit, I can simply use the SD monitor until the grade.

I spend a fair amount of my time editing broadcast sports programmes, which has included editing the world feeds for the last two FIFA World Cups in Korea/Japan and Germany, Wimbledon and The Open Golf Championships. More recently I edited an hour long one-off documentary Carluccio and the Leopard for the BBC which was edited entirely on Final Cut Pro. Over the years, I have edited four short films, including the award winning, highly acclaimed 60 Cups of Coffee and All over Brazil for the BBC. In addition to the broadcast work, I have established regular corporate work with very high end clients such as Sony and Mercedes-Benz World. I make sure that each corporate programme is treated in exactly the same way as a film production would be handled throughout the production process which means using specialist crew and reliable, industry recognized and approved equipment.

Blackmagic Design’s Multibridge Eclipse has become an invaluable part of the set up here, allowing me to instantly switch between HD (HDCAM) for Sony and SD Digital Betacam for Mercedes-Benz World. Solid and reliable, the Multibridge Eclipse often runs for over 14 hours a day. With a comprehensive set of inputs and outputs I can confidently put anything through it, including occasionally used archive Betacam SP material.

At Mercedes-Benz World, Online Creative are responsible for producing and editing all the content shown on the many screens, all of which are updated on a regular basis. Located on the site of the legendary motor racing site Brooklands, England, Mercedes-Benz World provides numerous opportunities for visitors including a test drive of the latest models around the handling circuit, experiencing a production line simulator, or films of the history of the Mercedes-Benz brand. Each of the 40 individually controlled screens can display separate HD output and are complemented by a Sony SXRD 4K projector in the main foyer to beam the content onto a huge screen. The edited material is fed through a Sony Ziris digital signage system to allow content to be controlled on all screens automatically. At present, all acquisition is on Digital Betacam and the edited content is then placed into ‘windows’ on a much larger HD graphical display, thereby allowing SD material to sit comfortably within animated HD graphics.

Using an HDLink Pro monitoring converter connected to the Multibridge Eclipse, I can view the graphics screens in perfect HD quality on my 30” Apple Cinema display. I now use Blackmagic Design’s Multibridge Eclipse and HDLink Pro for monitoring the output from Apple Color when grading in HD. The results are fantastic with 1:1 pixel mapping and the ability to view in higher than 1920 resolution if needed, which has helped to protect my investment for future work. Online Creative is now extending its services into producing content for digital signage solutions and has just recently completed a project for Sony, comprising of sixteen individually controlled 42” LCD screens lying vertically and horizontally to produce a fantastic digital wall with a resolution of over 5K. The Multibridge Eclipse was used with the digital signage project to show the output in 2K sections from After Effects on an LCD monitor.

Blackmagic Design’s Multibridge Eclipse has really added the flexibility that I need from a product as we have become so diverse in what we do. I now take for granted the fact that Multibridge Eclipse works seamlessly with Final Cut, Motion, Color and After Effects, in SD, HD and beyond, but it really never used to be this simple. Adding the HDLink Pro has saved me having to invest in very expensive HD Grade 1 monitors as I can monitor and grade 99% of what I do in-house on my LCD monitors. My clients have come to expect an incredibly high level of production from Online Creative and I know that investing in the right equipment helps to deliver that expectation and in a changing economic climate value for money products like those from Blackmagic Design really do help.


Tags: blackmagic | iss033 | online creative | mercedes-benz | apple cinema display | fincal cut | N/A
Contributing Author N/A

Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Blackmagic ATEM Constellation 8k at NAB 2019

    Blackmagic ATEM Constellation 8k at NAB 2019

  • Blackmagic DaVinci Resolve 16 at NAB 2019

    Blackmagic DaVinci Resolve 16 at NAB 2019

  • Blackmagic introduces Blackmagic RAW (BRAW) at IBC 2018

    Blackmagic introduces Blackmagic RAW (BRAW) at IBC 2018

  • Blackmagic Design Pocket Cinema Camera BMPCC 4K at IBC 2018

    Blackmagic Design Pocket Cinema Camera BMPCC 4K at IBC 2018

  • Blackmagic Pocket Cinema Camera 4K at NAB 2018

    Blackmagic Pocket Cinema Camera 4K at NAB 2018

  • Blackmagic ATEM Television Studio Pro 4K at NAB 2018

    Blackmagic ATEM Television Studio Pro 4K at NAB 2018

  • Blackmagic Davinci Resolve 15 at NAB 2018

    Blackmagic Davinci Resolve 15 at NAB 2018

  • Blackmagic Design Ultimatte at IBC 2017

    Blackmagic Design Ultimatte at IBC 2017

  • Blackmagic Design Resolve 14, ATEM, URSA Mini PRo and more from IBC 2017

    Blackmagic Design Resolve 14, ATEM, URSA Mini PRo and more from IBC 2017

  • ATEM TV Studio Pro HD from Blackmagic Design at NAB 2017

    ATEM TV Studio Pro HD from Blackmagic Design at NAB 2017

  • Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

    Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

  • Blackmagic Design at IBC 2016

    Blackmagic Design at IBC 2016

  • Blackmagic MultiView at IBC 2014

    Blackmagic MultiView at IBC 2014

  • Blackmagic and Fusion at IBC 2014

    Blackmagic and Fusion at IBC 2014

  • Blackmagic URSA at NAB 2014

    Blackmagic URSA at NAB 2014

  • Blackmagic Studio Camera at NAB 2014

    Blackmagic Studio Camera at NAB 2014

  • Cintel Film Scanner: Blackmagic Design at NAB 2014

    Cintel Film Scanner: Blackmagic Design at NAB 2014

  • Blackmagic Design on BroadcastShow LIVE at IBC 2013

    Blackmagic Design on BroadcastShow LIVE at IBC 2013

  • Blackmagic Design with the new ATEM Production Suite at IBC 2013

    Blackmagic Design with the new ATEM Production Suite at IBC 2013

  • Blackmagic Design: Products at NAB 2013

    Blackmagic Design: Products at NAB 2013

  • Blackmagic Design at NAB 2012

    Blackmagic Design at NAB 2012

  • Blackmagic at IBC2011

    Blackmagic at IBC2011

  • Den Lennie considers what kit and cameras to buy for 2015

    Den Lennie considers what kit and cameras to buy for 2015

  • BeSteady on the Production Gear stand at BVE 2014

    BeSteady on the Production Gear stand at BVE 2014

  • Hireacamera at BVE 2014

    Hireacamera at BVE 2014

  • The tv-bay Tour in Manchester June 2014

    The tv-bay Tour in Manchester June 2014

  • The tv-bay Tour in London June 2014

    The tv-bay Tour in London June 2014

  • Behind the scenes of the Teradek booth on BroadcastShow LIVE at IBC 2013

    Behind the scenes of the Teradek booth on BroadcastShow LIVE at IBC 2013

  • Holdan on BroadcastShow Tour May 2013

    Holdan on BroadcastShow Tour May 2013

  • Official TOUR Video 2013

    Official TOUR Video 2013

  • Autodesk at NAB 2013

    Autodesk at NAB 2013

  • Featured Clip: Geoff Boyle comments on NAB 2012

    Featured Clip: Geoff Boyle comments on NAB 2012

  • Holdan and DaVinci at BVE North 2011

    Holdan and DaVinci at BVE North 2011

  • AMD at IBC2011

    AMD at IBC2011


Related Shows
  • Day 1 of BroadcastShow at IBC

    Day 1 of BroadcastShow at IBC


Articles
How the Womens World Cup was Boosted by Broadcast
John Griffiths As we write this article, England’s Lionesses have just beaten Norway 3-0 and are smashing viewing figure records, with 6.9 million viewers tuning in to watch them play Cameroon on BBC One. Rewind to the previous World Cup in 2015, and England’s group and early stage knockout games tempted up to 2.5 million viewers for each match. It’s safe to say that women’s football is finally having its moment; what was perhaps once considered a niche sport is finally gaining momentum in the mainstream space with broadcasters giving it the attention it deserves.
Tags: iss138 | wwc | world cup | spicymango | diversity | John Griffiths
Contributing Author John Griffiths Click to read or download PDF
Industry Ready Broadcasting Students
KitPlus Cardiff Metropolitan University traces its roots back to 1865, when they opened their first school in an old library. Now Cardiff Met is a global, practice-focused and professionally oriented institution, committed to ensure every student fulfills their potential to make outstanding contributions in their future industries.
Tags: iss138 | newtek | live production | cardiff metropolitain | sports broadcasting | tricaster | cardiff devils | KitPlus
Contributing Author KitPlus Click to read or download PDF
How LiveU Has Changed The Way We Work At ITV Daytime
Tim Guilder As my job title suggests, I’m responsible for planning and executing technology projects across ITV’s Daytime, including outside broadcasts, which are central to what we do. We broadcast live for more than six hours every weekday with four shows: Good Morning Britain, This Morning, Lorraine and Loose Women. With a history as one of the main UK terrestrial broadcasters – of course, we have also evolved alongside the industry in terms of viewing options – we have high standards. We constantly generate new ideas to keep audiences engaged and we also need to be responsive to the latest breaking news.
Tags: iss138 | liveu | itv | daytime | cobham | explorer 8100 | satellite | lu600 hevc | ka-band | lu300 | garland | Tim Guilder
Contributing Author Tim Guilder Click to read or download PDF
The Evolution of Audio Monitoring
Stephen Brownsill Every user, production, environment, operation and application is different, meaning that universal tools simply cannot provide the versatility required by today’s customers. Audio monitoring continues to evolve as productions advance, with the need for multi-channel monitoring, configurable metering as well as the ability to adhere to the latest loudness guidelines remaining at the top of the must-have list.
Tags: iss138 | tsl products | st-2110 | lip synce | ip | ptp stauts | amwa | nmos | Stephen Brownsill
Contributing Author Stephen Brownsill Click to read or download PDF
TVFutures. No More Comfort Zone - Get a Placement
Michelle Brown I have often heard that any chance of getting work in the television industry is based quite heavily on who you know, and whilst that might indeed be true, I’ve also come to the realisation that it may also depends on what opportunities you seize and how far out of your comfort zone you might be prepared to push yourself.
Tags: iss138 | portsmouth uni | creative careers | placement | Michelle Brown
Contributing Author Michelle Brown Click to read or download PDF