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NEWS EditFest London lineup E NEP installs Calrec Audio Console R oll to Record, NEP’s UK based provider of custom studios and control rooms, has installed a console from Calrec Audio in its per- manent studio operation at the Wimbledon TV Studios complex in London. The permanent in- stallation eliminates the need to install a flyaway console every time NEP does a show at Wimble- don Studios, saving both time and money. NEP installed a 40-fader Artemis console along with three remote stageboxes, one remote AES box, and a dual MADI box. A modular I/O box has been built into the racks in the master control room to provide further analog and digital inputs and outputs along with GPIO control. The console is built into the infrastructure of the stu- dio, but the control surface can be moved easily from one production control room to another because it requires only two fiber connections. Calrec’s Hydra2 plug-and-play architecture means that the console is easily configured to manage any of the studio floors.  The console is being used on a variety of pro- ductions, including quiz shows and small “light entertainment” shows. www.calrec.com Upgrading for the future with XDCAM S cottish broadcaster, Scottish TV, has an- nounced its investment in Sony PMW-400L cameras as the company future-proofs the newsgathering tools that support its comprehen- sive local news service. Scottish TV invested in 25 Sony PMW-400L1 cameras as well as wireless adapters and accompanying field production equipment to support the news workflow across its five sites, all supplied by Sony Professional Solutions Specialist Dealer CVP. The new XD- CAM cameras and tools will be used across all of Scottish TVs newsgathering operations, allowing for workflow continuity and a seamless transition from acquisition through short-term storage and data transfer. www.pro.sony.eu 14 | TV-BAY MAGAZINE: ISSUE 90 JUNE 2014 ditFest London makes its second appearance in the UK on 21 June 2014, when a line-up of top film and television editors will be on hand to share their insights and experiences in the art of editing. This year, American Cine- ma Editors (A.C.E.) will present the popular daylong event at London’s BFI Southbank.   A.C.E. launched EditFest in 2008 in Los Angeles, in re- sponse to a need to put the industry’s top editors in conver- sation with other editors and post-production professionals. By popular demand, EditFest NY was added to its agen- da in 2009. Designed for professional as well as aspiring editors, post production team members, students, content creators, production execs, and those who simply love the art and craft of editing, EditFest is a rare opportunity to hear the most compelling artists talk about their work and interact with them in an intimate theater setting.  www.editfest.com A soft light for the new generation T here’s a new LED soft light for digital movie making and photography. Designed by a cameraman for camera people, it’s called Softy Lite. Maxim Ford, cameraman and designer of Softy Lite said “With the explosion of low budget dramas using new digital movie cameras like the Canon D5 and Sony F3 I wanted to make an affordable light that would have the potential for great drama lighting. The new cameras, being very sensitive, require a lot less light than their predecessors. The conven- tional soft lights I had been using were too powerful, and they suffered from spilt light out of their sides and back. Working with new LEDs I have designed a light that produces a day- light balanced soft light with no spill, that is easy to control via a supplied snoot and egg crate, giving the output a broad, medium or narrow beam of light. The LEDs have the advan- tage of running cool and the low voltage operation makes them safe and easy to use. Each Softy Lite has 8 panels of 48 LEDs, day- light balanced and wired for 12 volts in banks of three.  The LED panels can be switched in any combination with just four switches. In photographic stops, each switch halves or doubles light output giving total flexibility. www.softylite.com