Tv-bay questions


TV-Bay Magazine
Read ezine online
Name & Title
Jonathan Bentham, Engineering Director – IVTV Broadcast
Who are you (about yourself and who you work for)?
I’m a broadcast vision engineer and director of IVTV Broadcast living in the North West. IVTV Broadcast specialise in Live and Pre-Recorded content for Broadcast and other live events.
What do you do? What does your company do?
I am responsible for the design, specification, construction, maintenance and operation of our equipment fleet. Our latest addition is HD2 our very small format 16ch HD Truck which is based around a lot of Blackmagic Design products. We also operate a fleet of PPU (Portable Production Units) both in SD and HD. Essentially my role is that of the 'fixer' I have to specify, build and operate systems which deliver the best quality of image and allow the operators to work freely with the most ergonomic workflow possible.
Tell me a little about your previous experience, what you've worked on and with up to your current position?
My life has been spent working in both broadcast and the AV / events industry. I have done tiny little conferences to enormous live OB's. At school I was always into the technology of performance, lighting, sound and vision. When I left school I went straight into Live sound for Party Political Events and other TV/Conferences. Really it has been a life of playing with kit and working with great people all over the UK and Europe.
What specific project(s) do you have in the works?
We have just completed Omid Djallili Live at the Hammersmith Apollo – this was the first outing for our new HD2 truck. I must say it was a stressful lead-up to the gig. Working very hard to get a 16 camera capable truck commissioned inside two weeks! Happily though it all worked out well thanks to the help of TNP Broadcast and Blackmagic Design who helped us out with very short lead-times. The show was an eight-camera 1080 HD shoot with ISO records on every channel plus TX Mix – eight channels of embedded audio mixed by us from splits. We loaded in and shot the show in a day and with no real rehearsal I must admit it looks great.
What new technology are you working with?
Building HD2 we had a lot of decisions to make. We were staring from scratch with no real ties to any particular brands. After scouring the market we made the decision to go with the ATEM 2 switcher and Video Hub from Blackmagic Design. The truck houses loads of BMD kit, which has all worked seamlessly. Great to integrate, worked out of the box and delivered excellent results. We also integrated an RTS Zeus Comms Matrix, which proved to be a challenge but again has worked perfectly once we got it up and running!
What new products/technology are you looking forward to the most?
Tapeless and HD are our real aspirations – we have invested heavily in ATOMOS Samurai recorders and Grass Valley Turbo to offer clients a cost effective and easy to work with solution. I think software updates on the ATEM will deliver yet more features that will allow us to offer better results. Our next investment is in cameras – HD chains are on the horizon and we are looking into the options available at the moment.
During your career in broadcast what was the biggest turning point into new technology?
I think the move to HD from SD was the biggest "turning point". It has required massive investment but ironically has allowed us to make our trucks more compact and feature rich. The images are, of course, stunning by comparison to HD and I can't see much life left in SD.
What is your favourite / least favourite things about working in Broadcast?
My favourite has to be seeing the world and working with amazingly talented people on some great shows. Least Favourite? - Silly hours, travelling and hotels which all mean I’m away from my family more often that I’d like.
What gets you out of bed in the morning to go to work?
Money…… ha well yes and no – Its mainly because I get a real kick out of working on live gigs and producing something which I can be proud of.

Tags: iss065 | ivtv | engineering director | tnp broadcast | blackmagic | N/A
Contributing Author N/A

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • 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
Shedding Light on the Blackmagic Pocket Cinema Camera 4k BMCPP4K
Garth de Bruno Austin “What is it about light that has us craving it?” Is the question asked in the opening seconds of Garth de Bruno Austin’s latest short, The Colour of Light. Exploring this natural, human need as well as our innate desire to control it, Garth’s film showcases everyday people going about their lives in differing degrees of luminance, whether that be an artificial streetlight or a natural morning sunrise.
Tags: iss134 | blackmagic | cinema camera | 4k | cpp4k | Garth de Bruno Austin
Contributing Author Garth de Bruno Austin Click to read or download PDF
Using Wireless Transmission
Jeremy Benning Wireless acquisition is a staple of live sports, entertainment and reality shows where cable free capture permits shots not previously possible, for health and safety reasons, and gives the camera-operator greater artistic licence to roam. The same is increasingly true of narrative drama where cinematographers are keen to work handheld or Steadicam where that helps tell the story. Any equipment which frees their movement and time by being lighter, easier to use and reliable in performance is going to tick a lot of boxes.
Tags: iss134 | wireless | 4k | transmission | Jeremy Benning
Contributing Author Jeremy Benning Click to read or download PDF
Accelerated Workflows with eGPU
Mike Griggs From the UK’s National Trust to magazine publishers to manufacturers, digital content creator Mike Griggs has a wide and varied portfolio of clients for whom he creates 3D art, motion graphics and multimedia exhibits. A typical day might involve sampling birdsong near Virginia Woolf’s country estate or creating 3D animations for VR. To keep on top of these demands, Griggs wanted to take the full power of the GPU computing revolution on the road.
Tags: iss134 | sonnet | egpu | amd | post production | editing | Mike Griggs
Contributing Author Mike Griggs Click to read or download PDF
An Obituary to Timecode
Bruce Devlin - new A stoic and persistent character that stubbornly refused to change with the times, Timecode has finally passed on, but no-one has noticed. A long-lasting industry veteran, Timecode was brought into this world at an uncertain date in the late 1960s due to the needs of analogue tape workflows and the demand for synchronisation between audio and video devices. A joint activity between SMPTE and the EBU led to the work on Time and Control codes starting its journey to standardisation in the early 1970s.
Tags: iss134 | timecode | smpte | ebu | edit | Bruce Devlin - new
Contributing Author Bruce Devlin - new Click to read
The Wireless Way to 4k
JP Delport DTC’s AEON group of products have been specifically designed for the 4K market. We encode with the more efficient HEVC algorithm, which means we are taking a 12G signal and compressing it to a bitrate that can be managed over an RF link. So what makes this a leading idea in the 4K revolution?
Tags: iss134 | wireless | 4k | transmission | JP Delport
Contributing Author JP Delport Click to read or download PDF