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ACQUISITION New album shot on the Pocket Cinema Camera B lackmagic Design have announced that alternative rock band Elbow has released exclusive first look footage of tracks from its forthcoming album shot on the Blackmagic Pocket Cinema Camera by Salford based production company Soup Co. Fly Boy Blue / Lunette is the fi rst new music from Elbow’s next studio album, ‘The Take Off and Landing of Everything, due for general release in March. The promo features footage from early sessions at Peter Gabriel’s Real World Studios near Bath and more recent material fi lmed at Blueprint Studios in Manchester where the vocals were laid down by lead vocalist Guy Garvey. Elbow has a tradition of releasing one song early. Typically, that’s a song which they feel captures the spirit of the album without necessarily fi tting the mould of a single. On the last album, Build a Rocket Boys, that song was Lippy Kids, reveals Mark Thomas of Soup Co. Mark, who’s been involved with the band for more than a decade now, has been self-shooting and, at times, working alongside director of photography Percy Dean to document the bands work on a sixth studio album. “I’ve been shooting on the Pocket Cinema Camera for some time now, documenting Elbow as they work on album number six. It’s always essential to be low key in this setting, and for that the Pocket Cinema Camera has been just amazing. To think that we’ve also been able to step up our production value, without increasing our equipment or crew foot print, is astonishing. Working across three rooms The ethos behind TallyHo! wireless tally system by Andy Slightam H aving spent the last 30 years working in broadcast television and live event production in a variety of technical roles it has become plainly obvious over the last few years that we have lost some of the benefits working with the traditional PPUs with OCPs and CCUs. There are so many small HD and SDI vision mixers available nowadays since the launch of the Sony Anycast about ten years ago and more people are using these mixers for their events. The one thing that has gone by the wayside is talkback and tally. The loss of talkback has been solved through wireless systems and microwave links provide wireless video signal, but until now a tally light system, vital for the operator in situations where hearing the director due to excessive noise is simply impossible, has remained undeveloped. I tried to source a wireless tally system, but found there was no such product available on the market so I decided to invent my own. The product has been 80 | TV-BAY MAGAZINE: ISSUE 86 FEBRUARY 2014 developed over the last 2- 3 years and has been used on broadcast and production events with great success and we now have the wireless tally system, ‘Tally Ho!’ in commercial production. Tally Ho! gives a red light front and back on the camera and you also get a green preview light on the rear if used with certain vision mixers. More and more vision mixers will be able to give you this feature as their software is upgraded. Currently Roland mixers are able to offer you this unique feature which has proved to be extremely useful as it allows the camera man to see when he is in preview without relying on being able to hear the director. The green light illuminates in preview, turning to red when live, thus avoiding those awkward moments when going live occurs at the exact moment that the operator decides to change shot. The system consists of a Transmitter (TX) and power supply, together with a maximum of thirty two battery-powered inside Blueprint Studios, I maintained two camera setups. In the recording studio I had a track and dolly set up for performance elements and everything else was shot handheld. The magic for me is that the camera allows you to shoot documentary style while still producing slick, promo performance results from it, astounding really when you consider the cost of this small camera. I like the fact you’ve got so much latitude with the 13 stops of dynamic range. It lets me try out new things during a shoot without restricting my options in post. Receiver (RX) modules. The RX units are charged with the (TX) power supply. Each camera used in a production is fi tted with a wireless receiver, and the transmitter is connected to the vision mixer or editing unit. Each time the vision operator selects a camera in either preview or live selection on the mixer, a code is transmitted to the corresponding receiver which in turn illuminates a transmission tally light on the receiver. This indicator is clearly visible to both the camera operator and the subject/ presenter. The TX unit is mains powered and sits alongside the mixing desk. The RX units mount onto the camera ‘hotshoe’ although it can be attached in different ways depending on requirements. For more information please see, visit us on the Roland Stand at BVE or call Andy directly on 07971 666 777.