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Dejero Supports COVID-19 Business Continuity Strategy at The Jewellery Channel Posted: 14/05/2020
Dejero Supports COVID-19 Business Continuity Strategy at The Jewellery Channel

Dejero, an innovator in cloud-managed solutions that provide Emmy® award winning video transport and Internet connectivity while mobile or in remote locations, has provided British teleshopping channel The Jewellery Channel (TJC) with EnGo mobile transmitters, a WayPoint receiver, a CuePoint return feed server and complimentary LivePlus mobile apps, that have formed a key part of the broadcaster's business continuity plan during the COVID-19 pandemic. TJC has also been using this Dejero equipment to lead a significant change in how live teleshopping is produced and broadcast.

"While we intend to continue broadcasting from our main studio in Surrey house, London, for as long as possible, we are all dependent on government policy during this extraordinary time and TJC wanted to be ready to broadcast from home if this was required," said Martin Willingham, technical director at TJC. "Dejero's technology has been a great comfort blanket for us in that scenario. As one of the main TV shopping channels in the UK, we broadcast 24/7, 365 days a year and our reputation depends on us not having technical problems. The reliability and sturdiness of the Dejero workflow has really impressed us."

Tags: Dejero | The Jewellery Channel | COVID-19 | business continuity | Smart Blending Technology | flexible remote broadcasting | EnGo | TJC | WayPoint | CuePoint | LivePlus | teleshopping | Martin Willingham | MKM Marcomms | MKM Marketing Communications
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NC State University Revolutionizes Production Facilities with IP Connectivity Posted: 06/05/2020
NC State University Revolutionizes Production Facilities with IP Connectivity

North Carolina (NC) State University has transformed its live course production capabilities with a networked video infrastructure, based on the SMPTE ST 2110 standard for connectivity, around its campuses in Raleigh, N.C. Technology from Imagine Communications is at the heart of NC State DELTA (Distance Education and Learning Technology Applications) providing a quantum leap in capacity and operational efficiency.

DELTA already had dedicated fiber runs linking their centralized operations center located in Ricks Hall Annex with six other buildings on the main campus and two additional buildings located up to 10.5 kilometers (6.5 miles) away on their Centennial Campus. Fiber links were being used simply as single-mode, point-to-point connections, providing the capacity for just four video signals per classroom transmitted back to the operations center. In addition to replacing systems that were beyond end of life, it was important to DELTA to provide much greater capacity if it was to meet its commitment to the wider university community for high-quality educational media supporting distance learning in an efficient, effective and service-oriented environment. For the year 2018-2019, this included more than 130 live courses and greater than 7,000 hours of classroom recordings, to support almost 50,000 students enrolled in online and distance learning courses.

The new system uses just 16 fibers to provide extensive networked capability, leaving 20 strands from the original installation free for future expansion. By taking a networked IP approach, the new system gave the DELTA team the capability of 32 x 32 HD signals from each remote building. This is achieved thanks to bidirectional 100 gigabit ethernet capacity across the fiber network.

 

Tags: Imagine Communications | NC State University | porduction facility | IP connectivity | COTS solution | North Carolina | SMPTE ST2110 | DELTA | Magellan SDN Orchestrator | EPIC MV Multiviewer | Cisco | Tony Pearson | Cassidy Phillips | MKM Marketing Communications
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Texas A and M Goes IP with Imagine Communications for Integrated Sports Production Posted: 28/04/2020
Texas A and amp;M Goes IP with Imagine Communications for Integrated Sports Production

12th Man Productions, the sports broadcast and post facility for Texas A&M University, has moved to IP connectivity to provide a common production platform for all its sports venues. A cornerstone of the new installation is the Selenio™ Network Processor (SNP) from Imagine Communications.

The A&M campus in College Station, Texas, incorporates seven sports venues, spread across the site, which host as many as 110 events a year. As well as offering broadcast outputs from any event at any location, 12th Man Productions also provides in-stadium big screen entertainment and information. The football stadium, Kyle Field, was rebuilt in 2014, and as part of that project, a central studio was planned.

Today, fiber circuits connect every field back to the Kyle Field stadium, allowing resources to be allocated to any venue dynamically. Four control rooms allow two venues to broadcast live, while also producing big screen shows at two more venues. This calls for a large number of feeds in each direction, supporting monitors, multiple digital signage networks and big screen replays, as well as feeds for home and visiting teams. There is also a need to provide for official replay facilities in many sports. All signals are handled as uncompressed HD, minimizing latency by eliminating the delays of compression math, and allowing for live remote production even when venues are 10 kilometers from the control room.

Tags: Imagine Communications | Texas A&M | SMPTE ST 2110 | 12th Man Productions | IP connectivity | SNP | Selenio Network Processor | live remote production | Zack Bacon | Cassidy Phillips | MKM Marketing Communications | MKM Marcomms
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Berlin Film Festival winners finished with Baselight Posted: 15/04/2020
Berlin Film Festival winners finished with Baselight

There is No Evil and Delete History prize winners completed at Optical Art in Germany and Color in Paris

 

At the 70th Berlinale, the 2020 Berlin Film Festival, the Golden Bear was won by There is No Evil, directed by Mohammed Rasoulof; the Silver Bear special prize went to Delete History, directed by Benoît Delépine and Gustave Kerven. Both movies depended on detailed grading and finishing on Baselight.

 

Tags: FilmLight | Baselight | Berlin Film Festival | colourist | colour grading | Berlinale | Golden Bear | Mohammed Rasoulof | Silver Bear | Benoît Delépine | Gustave Kerven | Jochen Hinrichs-Stöldt | MKM Marketing Communications
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Pixotope supercharges the Super Bowl with ambitious live mixed reality production Posted: 06/03/2020
Pixotope supercharges the Super Bowl with ambitious live mixed reality production

The Future Group, provider of live photo-realistic virtual production system, Pixotope™, has revealed its key involvement in the stunning production and delivery of the NFL’s ground-breaking Super Bowl LIV, mixed reality pre-game presentation. The complex, seven-minute production combined live action from multiple moving cameras with augmented virtual stages and graphics. The 2020 Super Bowl was watched by an estimated domestic audience of 100 million people, plus international viewers.

The Future Group provided six installations of its virtual production platform, Pixotope, along with essential technical expertise to liaise with all other aspects of the multi-faceted production.

As an opener to the Super Bowl LIV, NFL planned to reveal its “100 All Time Team”. They approached fan experience company– coincidently named, The Famous Group – to design and choreograph the pre-show content. The brief was to celebrate the history of the sport and the contribution of those 100 players and 10 coaches, using graphics, historical film and live shots of attendees. The Famous Group looked to achieve this through extensive use of mixed reality virtual elements, and selected Pixotope, with expertise from The Future Group, as their technological solution.

The complexities of such a project cannot be overstated. Multiple virtual assets such as stages and screens needed to be designed to exactly match the stadium environment to which they would be augmented. Cameras needed to be tracked in real time and have their lenses aligned so that the virtual elements would be generated at precisely the right angle to accurately match real-world positions. Lighting needed to be measured so that it could be simulated in the virtual world to ensure correct shadows and highlights.

In-stadium screens, which would show the augmented content to the crowd, had to be accurately marked out in the virtual scene so that they could be blocked out to avoid visual “feedback”. All this had to take place under precise time control to synchronise with the voice-over and contributing performers in the stadium.

Pixotope product specialist, David Stroud, was part of a team of experienced mixed reality technicians, helping to specify and install the required technology, and bring together all the constituent departments. The Future Group team were involved from the outset, initially collaborating using a shared virtual project to provide technical assistance for The Famous Group creatives. Then later, the team positioned themselves at the Hard Rock Stadium, Miami FL, where the main event would take place 11 days later.

David Stroud recalled, “Although the virtual scene had been set up “offline” from scans and measurements from the stadium, there are inevitably adjustments that can only be done on site. We used our Pixotope virtual production platform to receive images and tracking data from each of the cameras, one of which was a Skycam “wire-camera”, and augment onto those the virtual elements designed by The Famous Group. This allowed everyone to see the results in real time, making adjustments and improvements as we rehearsed the show in the days leading up to the Super Bowl.”

Stroud continued, “We helped the camera operators visualise how the preshow would come together, as understandably, they were more used to following the unscripted action of a football game than reacting to very specific time cues. Pixotope has the capability to continuously output the final result, even while editing the graphics – a great tool for directors following rapid changes and updates because it’s always live.

“We also worked closely with camera tracking specialists SMT, and in fact, we were able to improve our data exchanges to further perfect the virtual camera motion. And we worked with both the broadcaster (Fox) and the companies providing in-stadium displays to ensure the very highest visual quality possible.”

Andrew Isaacson, Executive VP Business Development for creative agency The Famous Group affirms, “Needless to say, the best creative ideas rely on solid technological platforms and expertise to deliver them. This could not be truer for a live event on the scale of The Super Bowl. We needed to know, without any shadow of a doubt, that what we planned would be delivered faultlessly, accurately and to the highest quality. This is why we chose Pixotope as our platform for delivering cutting edge mixed reality for the Super Bowl.

“Having used Pixotope on previous productions, we know that the system, and expertise from The Future Group, allow our creative ideas to be unleashed to the great benefit of our clients like the NFL. We look forward to working on many more productions with Pixotope.”

All hardware was provided by Quince Imaging and camera tracking was completed by SMT. The final mixed reality sequence can be viewed online, here: https://www.youtube.com/watch?v=FqXBKweKQ9U

Tags: The Future Group | Pixotope | Super Bowl | mixed reality | live production | Super Bowl LIV | photo-realistic | virtual production | NFL | The Famous Group | David Stroud | real time | SMT | Fox | Andrew Isaacson | cutting edge | MKM Marcomms | MKM Marketing Communications
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Argosy focuses on convenience, operational flexibility and environmental considerations at CABSAT 2020 Posted: 10/02/2020
Argosy focuses on convenience, operational flexibility and environmental considerations at CABSAT 2020

Argosy, a leading international supplier of broadcast and AV cables and infrastructure products, will provide support for the Middle East and North Africa media market at CABSAT 2020 (31 March – 2 April 2020, Dubai World Trade Centre, stand G3-201). By providing a one-stop shop for systems engineers and designers, Argosy supports them in building sophisticated solutions quickly, simply and cost-effectively.

Argosy specialises in every aspect of media infrastructure, from cables and connectors to active hardware devices such as network switches, fibre transport and KVM switches. At CABSAT it will showcase a range of its offerings, including its own manufactured patching and termination panels, equipment racks and tactical fibre and SMPTE camera cables. Plus products from some of the market leading manufacturers including: BES, Canare, Cliff Connectors, Ghielmetti, and Neutrik.

Experts from Austrian vendor kvm-tec will also be available on the Argosy stand, explaining how the latest generation of high-bandwidth, IP-connected KVM (keyboard, video and mouse) solutions can deliver secure connectivity with low latency while linking multiple workstations to multiple computers. Such solutions reduce clutter in operational areas by needing only one set of keyboard, mouse and monitor while instantly accessing multiple services. This also helps to reduce cost by eliminating multiple monitors which contributes significantly to an improvement in environmental performance.

“With the media world changing so rapidly, demanding more outputs and higher resolutions, we know our customers need to be able to rely on suppliers to ensure they have the right infrastructure hardware, now and for the future,” said Chris Smeeton, CEO of Argosy. “We have a strong and long standing presence in the Middle East, and our many customers know that we are much more than just cable stockists – we can help finalise the details of installations, ensuring that the system works first time and stays working.

“CABSAT is a great opportunity for us to talk to our client base in the region,” Smeeton added. “They know us as problem solvers, and we enjoy finding solutions for them that are reliable, practical and, in an atmosphere of increasing environmental concerns, as green as we can make them.”

For more information, visit Argosy at CABSAT on stand G3-201.

Tags: Argosy | media infrastructure | broadcast cables | AV cables | infrastructure products | CABSAT 2020 | Dubai | cost-effective | switches | fibre transport | KVM swithces | equipment racks kvm-tec | Chris Smeeton | flexibility | MKM Marketing Communications
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CBC Radio-Canada Chooses Dejero for Field Contribution Technology Posted: 05/02/2020
CBC Radio-Canada Chooses Dejero for Field Contribution Technology

Dejero, an innovator in cloud-managed solutions that provide award-winning video transport and Internet connectivity while mobile or in remote locations, announced today that it has once again been selected as the primary field contribution solutions provider for Canada's national public broadcaster, CBC/Radio-Canada (CBC). As part of this renewed multi-year agreement, Dejero will help with CBC’s transition to IP workflows.

A major project that CBC is currently undertaking is relocating the broadcaster's French Services HQ to the groundbreaking all-IP 'Maison de Radio-Canada' (MRC) broadcast center in Montreal. Upon completion later this year, the new SMPTE ST 2110 compliant MRC will stand as one of the most advanced, state-of-the-art IP broadcast facilities in the world, supporting CBC's multiplatform and ever-increasing digital strategy. As a long-time partner of CBC in the area of field contribution, Dejero is supporting the all-IP infrastructure at the MRC by providing the national broadcaster with the latest Dejero solutions including WayPoint 204 SMPTE ST 2110 receivers, EnGo 260 mobile transmitters, rack-mounted PathWay transmitters, and the LivePlus mobile app for iOS and Android devices across the network. Dejero is also providing CBC with connectivity and cloud-management services.

“Dejero’s proven track record, partnership, and ongoing support have been invaluable to CBC over the last decade," commented François Vaillant, executive director, engineering solutions at CBC/Radio-Canada. "Some of the key factors that stood out for us when we examined Dejero’s technology during the selection process, were that their solutions clearly met CBC’s needs and expectations, being reliable and agile, particularly when broadcasting in bandwidth-constrained scenarios from the field."

“We are thrilled to have been re-selected as the field contribution technology partner of CBC/Radio-Canada, a close relationship we have cultivated for over a decade," said Bogdan Frusina, founder of Dejero. “We look forward to continuing our support of CBC/Radio-Canada as it transitions to IP workflows and completes its groundbreaking project in Montreal.”

This announcement comes on the back of a successful year for Dejero that saw the company being awarded a second prestigious Technology and Engineering Emmy® Award recognizing its innovation in the industry, thanks to its Smart Blending Technology and unique hybrid encoding approach. Last year, Dejero was awarded its first Technology and Engineering Emmy® Award for 'excellence in engineering creativity', honoring a decade of achievements in the field of live transmission driven by its vision of reliable connectivity anywhere.

Tags: Dejero | CBC/Radio-Canada | transmitters | receivers | broadcast facility | all-IP infrastructure | WayPoint 204 | EnGo 260 | cloud-management | Francois Vaillant | CBC | reliable | agile | Bogdan Frusina | Smart Blending Technology | MKM Marketing Communications
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FilmLight teams up with ARRI in Paris creative community Posted: 24/01/2020
FilmLight teams up with ARRI in Paris creative community

Following the appointment of Matthieu Straub as the company’s technical and operational consultant to France and the Benelux countries in the summer of 2019, FilmLight is delighted to announce that it has now established a permanent presence in Paris. By sharing premises with ARRI France, FilmLight is developing a strong hub for creative and technical knowledge and events.

The hub will host the first of FilmLight’s Colour Day workshops in 2020, on 28 January. One of the advantages of sharing the centre with ARRI is that it underlines the seamless workflows from camera to finish, using the BLG format for render-free viewing and creativity. The BLG grading metadata is stored in the ARRIRAW and QuickTime headers, ensuring the content and its look are permanently linked.

The Paris Colour Day on 28 January, aimed at creatives and technicians in production and post production, will see FilmLight’s workflow specialists, Straub and Thomas Eberschveiler unveil new FilmLight tools. Attendees will also hear from guest colourist Stéphane Azouze about his collaboration with directors Anastasia Mikova and Yann Arthus-Bertrand on the recent award-winning documentary ‘Woman’. Finally, colour scientist Florine Bel will share her image expertise and discuss her work developing film aesthetics, colour spaces and conversions.

The shared space has already hosted successful events, including a workshop day for DITs. Led by Straub, with guest speakers from Netflix and from post house Mikros, the group discussed the latest developments in colour space management and workflows. ARRI’s presence allowed the discussion to include ARRI Looks and how they can be incorporated into FilmLight BLG post production. In the demonstration area, they featured an ARRI ALEXA camera feeding Prelight and Daylight software, allowing the delegates to experiment with look development and make comparisons between standard and high dynamic range colour spaces.

Explaining the importance of bringing together creative artists and technicians, FilmLight’s Matthieu Straub said “My background is as a digital image technician, and I know how directors and cinematographers are increasingly relying on DITs to find technical solutions to their demanding creative requirements. “Our intention is to use our demonstration and meeting space here on the Rue René Boulanger to be a place where we can encourage the sharing of knowledge and experiences, to help the French cinema industry achieve ever greater things.”

Tags: FilmLight | ARRI | Paris | Colour Day | Matthieu Straub | workshop | Thomas Eberschveiler | Stéphane Azouze | colourist | colour science | BLG format | Baselight | Prelight | Daylight | MKM Marcomms | MKM Marketing Communications
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Dejero Wins Second Prestigious Technology and Engineering Emmy Award Posted: 21/01/2020
Dejero Wins Second Prestigious Technology and Engineering Emmy Award

Globally recognized award underlines how Dejero exponentially improves flexibility in location coverage for newsgathering and live events crews

Dejero, an innovator in cloud-managed solutions that provide award-winning video transport and Internet connectivity while mobile or in remote locations, has been awarded a second prestigious Technology and Engineering Emmy® Award. The award, in the category of Video over Bonded Cellular Internet (VoCIP) technology, recognizes Dejero’s innovation in the industry, thanks to its Smart Blending Technology and unique hybrid encoding approach.

Headquartered in Waterloo, Ontario, Canada, Dejero has perfected its patented and patent-pending Smart Blending and hybrid encoding technologies over the course of the last decade. The technologies work in concert to form a tightly integrated system which responds in real time to changes in network quality and video content. This has helped transform how broadcasters contribute live content from the field using cellular networks, providing newsgathering crews with greater flexibility in terms of the location from where they can transmit a live shot, at a fraction of the cost of conventional uplink technology.

“We are thrilled to win not just one Emmy® – the most recognized broadcast award in the world – but two,” said Bogdan Frusina, founder of Dejero. "Last year the committee rewarded our decade of innovation for pioneering reliable transmission methods that enable live contribution and distribution of TV signals over the public Internet. This year they have gone on to further recognize our industry-leading technologies, showing that our continuous development is raising the quality and reliability standards of mobile video and data transmission.”

 

Tags: Dejero | Emmy Awards | Technology and Engineering Emmy Award | globally recognised | location coverage | newsgathering | live events | cloud-managed solutions | Video over Bonded Cellular Internet | MKM Marketing Communications | Bogdan Frusina | winners
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Baselight helps to polish Uncut Gems Posted: 14/01/2020
Baselight helps to polish Uncut Gems

Uncut Gems is the latest movie from directing duo, the Safdie Brothers. The movie tells the story of a charismatic New York City jeweller and gambler (Adam Sandler), and is set in the diamond industry of New York. So it is appropriate that the colour palette was created at The Mill NY by colourist and director of DI, Damien Van Der Cruyssen.

Van Der Cruyssen collaborated closely with cinematographer Darius Khondji, as well as the Safdie Brothers, all of whom he had worked with previously on the Jay-Z video for Mercy Me. “At that point I got a good understanding of their relationships and how I could fit into the equation.”

Visually, Uncut Gems has a classic New York City look, but with a modern twist. “The Diamond District hasn’t changed much over the last forty years, so it automatically had that 70’s ‘noir’ feel,” commented Van Der Cruyssen. “But we wanted to break away from the steely, gritty New York to a more real-life aesthetic – less forced and contrived.”

Around half of the movie was shot on 35mm film to give it a more natural look, which meant Van Der Cruyssen had to treat the digital footage to match. “Marrying the film footage with the digital scenes was quite challenging,” he explained. “So I asked the crew to shoot some grain elements that could be overlaid in Baselight and adjusted per scene.”

 

Tags: FilmLight | Baselight | Uncut Gems | Safdie Brothers | Adam Sandler | The Mill NY | colourist | Damien van der Cruyssen | Darius Khondji | Diamond District | New York City | BLG metadata workflow | colour grading | Netflix | MKM Marcomms | MKM Marketing Communications
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Argosy Extends Reach of Touchscreen Interfaces between Operational and Local Apparatus Rooms at UK National Broadcaster HQ in London Posted: 09/01/2020
Argosy Extends Reach of Touchscreen Interfaces between Operational and Local Apparatus Rooms at UK National Broadcaster HQ in London

Argosy, a leading international supplier of broadcast cables and infrastructure products, has announced it has supplied the UK’s public broadcaster with a number of ultra-reliable IP-based KVM extenders and data cabling as part of a building-wide hardware upgrade performed by systems integrator, VSC Design.

VSC Design was responsible for the overall systems integration, asset management, design, installation, change control, machine cloning and safety testing during the upgrade; and brought Argosy onboard to support the data cabling and KVM aspects.

The systems integrator rolled out a number of kvm-tec Smartline SVX ultra-reliable KVM extenders over IP, supplied by Argosy, at the broadcaster’s HQ in London. This technology extends the reach of touchscreen interfaces relating to the building-wide BNCS control system between operational areas and local apparatus rooms (LAR). The project also involved an upgrade to Windows 10 and a replacement of the server hardware associated with the BNCS control system.

 

www.argosycable.com

 

Tags: Argosy | touchscreen interfaces | VSC Design | KVM | London | infrastructure | data cables | kvm-tec | Smartline SVX | John Hartz | Chris Smeeton | MKM Marcomms | MKM Marketing Communications
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Gravity Media Gears Up for a Summer of Sport with New Flyaways Posted: 07/01/2020
Gravity Media Gears Up for a Summer of Sport with New Flyaways

Gravity Media, a leading provider of outside broadcast trucks and flyaway production kits, is building further systems in preparation for premier sporting events in 2020, including a major football competition in Europe. Central to the new flyaway kits is the Platinum™ IP3 router from Imagine Communications.

The key to success in building flyaways is to create a system which provides all the resilience and reliability needed for live broadcasting, but in a compact footprint. As the name suggests, these often have to travel by air freight to meet deadlines, where additional space and weight can be prohibitively expensive.

“We picked the Platinum IP3 because we know it is reliable — we know what it does,” said Peter Newton, technical and operations director at Gravity Media. “Because of the established partnership with Imagine, we knew that we would get good support if we need it, and we will get ample utilization of the equipment. It is a good solid product that does what it says it will.”

Gravity Media has used equipment from Imagine Communications for over 15 years, which has established Imagine as a trusted partner. When it came to choosing routers for the new flyaways, Gravity Media compared all the popular models on the market, but was confident in selecting the field-proven Platinum IP3. The new flyaways will use both the 15RU and 28RU routers.

The key project for which these flyaways are designed requires support in 12 locations over a four-week period in June 2020. The kits will provide live production functionality. The Platinum IP3 routers incorporate integral multiviewer technology, reducing space in the racks and simplifying setup. The order also includes a number of modules from Imagine’s Selenio 6800+™ processing range, along with Magellan™ router control panels.

“While the headlines are about the transition to IP, it is important to remember that a lot of broadcasters and production companies need to extend and enhance existing, SDI-based systems,” said Mathias Eckert, SVP & GM EMEA/APAC, Playout & Networking, at Imagine Communications. “Because of our close partnerships with major operators like Gravity Media, we clearly understand the need for high-functionality, high-reliability SDI solutions, as well as IP technology, and we are committed to supporting our customers for as long as they need SDI, as part of our ‘your path, your pace’ approach to the IP transition.”

For more information about Imagine Communications’ products and solutions, please visit https://www.imaginecommunications.com.

 

 

 

 

 

 

 

Tags: flyaway production kits | Gravity Media | Imagine Communications | live broadcasting | Mathias Eckert | Peter Newton | Platinum IP3 | portable kit | MKM Marcomms | MKM Marketing Communications
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Technicolor uses Baselight to create light and shade in His Dark Materials Posted: 18/12/2019
Technicolor uses Baselight to create light and shade in His Dark Materials

One of the most awaited drama series of 2019, His Dark Materials, produced by Bad Wolf for BBC and HBO, was finished at Technicolor in London. With a story set in a parallel universe that seems like the Britain of a century ago, and with fantastic elements such as giant armoured polar bears and ever-present “daemons” – animal representations of the human soul – the production is a tour de force of visual effects, and therefore somewhat demanding of the colourist, Jean-Clément Soret.

“Over the eight episodes of series one there were four directors and DoPs,” Soret explained. “Justin Brown was DoP for the first two episodes, and I had worked with him a lot in the past on commercials so we had a strong understanding of where we wanted to go. I was really happy to be able to collaborate with him again.

“Justin shot some tests – with the real locations, actors and costumes – in both 35mm and digital,” he continued. “It always surprises me how different film looks! What the tests did was allow us to create a core feel. The decision was also made to add a bit of subtle film grain throughout the episodes. The Technicolor colour science team in LA then created a LUT for Baselight, which gave us that same film feel with the digital footage.”

One of the challenges of the story – based on a trilogy of novels from Philip Pullman – is that each human character has a daemon, and humans are rarely seen on screen without their daemons around them. That meant a large number of VFX shots to insert the CGI daemons. “I found that when it came to the integration of the VFX, contrast and colour was key. The film LUT, together with the control of sharpness and softness from Baselight, was a great help.”

The first series – based on Northern Lights, the opening novel of the trilogy – moves from an Oxford college bathed in warm sunshine to “The North”, Pullman’s name for the Arctic, where the first battles take place. “We may have set the feel in the first episode, but the story develops through different worlds and different eras, so the grade naturally develops,” Soret said.

“With different directors and DoPs across the series, the colourist has to provide the backbone of the look, to create consistency while respecting each cinematographer,” he added. “Baselight allowed me to set the key looks then develop them naturally, freeing me from a constrained palette and allowing us to create a convincing visualisation of this rich and complex story.”

As well as remarkable creative control, the Baselight grading facilities at Technicolor also provided critical support in the workflow, by giving free access to all the raw footage from the series as well as the VFX shots as they developed. The practicalities of creating eight hours of premium drama in a television timescale meant that grading on specific episodes took place when directors and DoPs were available for supervision. That meant that Jean-Clément Soret could be working on three or four episodes at any one time.

The result is an engaging, enthralling drama that looks ravishing and chilling in turn. This first series is broadcast on BBC1 and HBO in November and December, while the second series is already in production.

Tags: FilmLight. Technicolor | Baselight | His Dark Materials | colour grading | Jean-Clément Soret | Justin Brown | Philip Pullman | colour science | creative control | colour consistency | convincing visualisation | MKM Marcomms | MKM Marketing Communications
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Channel 5 Simplifies Workflows with Single-Point Infrastructure Posted: 25/11/2019
Channel 5 Simplifies Workflows with Single-Point Infrastructure

Channel 5, based in St. Petersburg, Russia, has dramatically rationalised its core technology by updating to a Platinum™IP3 router from Imagine Communications for its MCR and playout. The remarkable design of the Platinum IP3 incorporates much of the video and audio infrastructure, eliminating a large number of outboard devices from multiple vendors, simplifying cabling and reducing power consumption, as well as making workflows more coherent and transparent.

Channel 5 was already using an Imagine Platinum router, but continually increasing operational demands called for more inputs and outputs. Channel 5 took the opportunity to rationalise its infrastructure by bringing much more functionality into the new, expanded router, eliminating the need for external third-party devices.

“We knew that the newest models of Platinum router, like the IP3, can host a huge amount of functionality within the frame, making system architecture much more logical,” said Sergei Volhin, technical director of Channel 5. “It meant we could do away with a lot of other equipment, making the installation neater and easier to understand. The new Platinum IP3 reduces the cost and complexity, maximises on-air security, and gives us the capability to quickly set up workflows and expand the I/O as our needs develop.”

The new 28RU Platinum IP3 router was specified, configured and installed by Imagine’s channel partner, MediaProject. The IP3 is highly scalable, and in its initial implementation, it provides for 576 x 1024 video I/O in SD and HD, with fully redundant routing and both copper and fibre interfaces. The router also supports 64 TDM audio slots, each carrying up to 128 audio channels.

As well as the highly resilient switching, the Platinum IP3 also offers video and audio processing which in other systems would require large numbers of third-party devices — each consuming power, cooling and rack space. At Channel 5, all the multiviewer displays in the playout and master control area are driven by router-integrated Platinum SX Pro multiviewer cards — enabling a real saving in outboard processors and ensuring faster and more secure operation. The router also integrates audio embedding and de-embedding with full level control and channel shuffling and extensive video processing.

“Every broadcaster wants a core infrastructure that is going to be absolutely secure and resilient, but is also compact, convenient and clear,” said Mathias Eckert, SVP & GM EMEA/APAC, Playout & Networking, at Imagine Communications. “The fundamental design of the Platinum IP3 router allows us to configure very complex signal management, processing and monitoring in the same device, so a single command can fire multiple actions without the need to set each parameter. That makes for very secure operations, even in complex workflows.

“The result is that — as Channel 5 identified — the Platinum IP3 is a complete solution, and one which reduces cost while enhancing resilience,” Eckert added. “And, when the time comes, it can be expanded to encompass IP switching alongside SDI and digital audio, providing long-term security.”

The router project was installed and commissioned by MediaProject during summer 2019.

For more information about Imagine Communications’ products and solutions, please visit https://www.imaginecommunications.com.

 

 

 

Tags: Imagine Communications | Channel 5 Russia | Platinum IP3 router | MCR | Playout | Sergei Volhin | reduce costs | maximise on-air security | MediaProject | highly scalable | Mathias Eckert | enhance resilience | MKM Marcomms | MKM Marketing Communications
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Royal Opera House Prepares for 4K Live Broadcasts with Megahertz Posted: 13/11/2019
Royal Opera House Prepares for 4K Live Broadcasts with Megahertz

Megahertz Ltd., the trusted partner for systems integration with years of experience in delivering cost effective, imaginative designs and solutions for fixed and mobile applications, has completed a UHD/HDR production facility upgrade at one of the most prestigious performance and arts venues in the world; The Royal Opera House (ROH) in London’s Covent Garden.

The ROH has been streaming live ballet and opera performances to cinema audiences around the world since 2008. By making a move to ultra-high definition (UHD), initially for recordings and ultimately for live relays, ROH remains at the forefront of high quality 'live to cinema' performance.

Equipped to meet current high-end production standards and emerging new broadcast standards, the newly fitted £800k Media Suite consists of a full UHD/HDR production gallery and engineering room, which now boasts a tapeless workflow, intelligent network control system, improved recording and playout facilities, 4K monitor wall, state-of-the-art vision mixer, bespoke production desks and enhanced camera talkback system.

Following a rigorous tender process, ROH selected Megahertz to supply the turn-key solution not only to future-proof the facility, but also simplify operations for the varying production crews that use it. Megahertz worked collaboratively with ROH, providing a range of services from consultancy to design, construction/interior design liaison, sourcing of equipment, integration, and installation. Steve Zissler, ROH Sound & Broadcast manager and Peter Byram, Broadcast Consultant canvassed opinions from the freelance broadcast staff, ensuring the design met the users’ requirements.

Tags: Megahertz | Royal Opera House | media suite | UHD/ HDR | 4K | systems integration | production facility | Covent Garden | turn-key solution | Steve Zissler | Jon Flay | MKM Marcomms | MKM Marketing Communications
Submitted by MKM Marketing Communications
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