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Videlio and APG’s immersive audio boosts retail experience at Europe’s largest shopping mall
04/03/2025
Christie CP4420-Xe Xenon Projector chosen to launch Scotland’s first DCI-compliant grading studio
26/02/2025
HFF nimmt Deutschlands erste Crystal LED Verona von Sony für Virtual Production in Betrieb
03/12/2024
Optic8 taps Brompton and Absen to deliver virtual production with over 145 million pixels
02/12/2024
Premio Lo Nuestro Awards supported by Hippotizer Media Servers
Latin music’s glitterati turned out to perform at the Premio Lo Nuestro 2025 Awards for a night of celebration and recognition, with each act enveloped by a large LED screen controlled by Green Hippo Hippotizer Boreal+ MK2 Media Servers.
Taking place at Miami’s 19,500-capacity Kaseya Center, the ceremony was broadcast on TV by Univision and hosted by Mexican actress Alejandra Espinoza, Italian singer Laura Pausini and Mexican singer Thalía. Global star Shakira was the most awarded artist.
The night warranted an array of video content, ranging from artist portraiture to city- and building-scapes, from strobe video effects to key performer and award category messaging. The pre-made content was created by several companies, including Madman, Framework, Hidden Road Studios, David Ayala, and Bowie Productions. Live feed from multiple cameras was also fed into the Hippotizer Boreal+ MK2 Media Servers and delivered to the LED screens, with textures and effects layered via ZooKeeper.
Long-time Univision and Premio Lo Nuestro collaborator JMT Show Concepts supplied the Hippotizer Media Servers, which are distributed by ACT Entertainment in North America. The JMT team consisted of Jorge M. Toro as Head of Programming and Video Producer, Mauricio Caicedo as Server Technician and Rosario Toro as Project Manager.
“Everything was controlled from the Boreal+ MK2”, says Jorge M. Toro. “We programmed everything through ZooKeeper, and used two touch screen monitors and one MIDI controller with motorized faders. All our mappings were achieved using Hippotizer’s VideoMapper and we used Timeline for all the live cues in the music. Due to the fact that we had to build the video for each acts in a short amount of time, we could have two operators working at the same time in different tasks using Timeline.”
For the 37th edition of Premio Lo Nuestro, there were 44 award categories, six of which were completely new, designed to cover all genres and tastes of Latin music fans. More than 230 artists were nominated. In addition to the in-arena audience and the TV viewers, fans could log into a live stream online and a live blog via the awards’ website.
(Photos: Green Hippo)
Videlio and APG’s immersive audio boosts retail experience at Europe’s largest shopping mall
APG’s iX series speakers and Active Audio column speakers are at the heart of Videlio’s major AV overhaul at the Westfield Les 4 Temps shopping centre in Paris. Located in La Défense, the business district to the west of the French capital, and boasting more than 200 shops, 40 restaurants and a 16-screen cinema, Westfield Les 4 Temps is Europe’s largest shopping centre.
The audio upgrade, undertaken by Paris-based AV specialist Videlio, was designed to immerse Westfield Les 4 Temps visitors in the environment by making audio an integral part of their shopping experience. Stéphane Le Roux, head of digital media for Videlio’s specialist complex-projects division, Videlio-Scénotechnique, has been working with Westfield Les 4 Temps owner Unibail-Rodamco-Westfield for ten years, overseeing maintenance of its existing AV systems and advising on future upgrades.
He explains that Westfield Les 4 Temps’ owners were converted to the experiential possibilities of spatial audio after Videlio demoed Tadamm, an “immersive experience box” showcasing the possibilities of immersive audio and video solutions. “As a technological partner of Tadamm, we invited Westfield to witness the added value of an immersive sound system complementing the video system originally planned for this project”, says Le Roux. “We demonstrated how the visual component’s impact on the LED screens coupled with the sound system could significantly improve visitors’ attention grabbing, preventing them from looking at their phones on escalators or during down time and instead engaging with the content.”
Having already been commissioned by Westfield to integrate “Digital Dream” - a series of three curved LED screens which, with a total surface area of 250 m², are billed as the largest interactive indoor video display in Europe - at Les 4 Temps, Videlio turned to APG for the immersive audio component, entrusting the French manufacturer with delivering an impactful soundscape that would grab the attention of busy shoppers.
The design of both the Digital Dream display and the immersive audio system were overseen by creative agency Tetro, which commissioned Acoustique & Conseil (AC) to consult on the latter aspect of the project. AC’s recommendations were that any new audio system should be able to offer clear, intelligible sound at a consistent volume within a defined area around the LED wall, as well as create an immersive, spatialised audio environment.
The decision to specify APG loudspeakers was, says Le Roux, driven by four factors: its technological expertise, the strength of its bid, the fact its products are designed and manufactured in France, and the support the company offers its integration partners. “Beyond the solution itself, we needed a high level of service and support, particularly for the acoustic study of the site - advertisements run hundreds of times a day, so they must not become disruptive for staff and retailers”, says Le Roux. “There was thorough consultation before and during the project.”
To create the desired immersive audio environment, Videlio integrated a 12-channel audio system comprising 28 iX5, APG’s compact indoor coaxial loudspeaker, distributed across the two convex LED screens that loop around Les 4 Temps’ first- and second-floor balconies for even, object-based immersive sound coverage. Elsewhere, R210TC column speakers by APG’s sister company Active Audio, are strategically positioned on either side of the main Digital Dream display (a curved, totem-shaped central screen).
Reflecting on the successful integration of Westfield Les 4 Temp’s first immersive audio system - which is, according to Perceval de Saint-Seine, Unibail-Rodamco-Westfield’s senior media manager for Europe, already being utilised with “spectacular” results by advertisers such as Coca-Cola - Videlio’s Le Roux is proud to have partnered with APG to deliver a world first in Paris: “The largest and most innovative retail LED wall in Europe - and the only one integrating immersive, 3D, interactive audio.”
(Photos: Westfield Rise)
Christie HS Series transforms Khajuraho Temples with light and sound show
A new light and sound show at the UNESCO World Heritage site of Khajuraho Temples in Madhya Pradesh is captivating audiences with a blend of projection mapping, holograms, dynamic lighting, and 5.1 audio.
Created by Tricolor India Schauspiel, this visual spectacle is powered by seven Christie D23WU-HS 1DLP laser projectors to bring the rich history of these thousand-year-old monuments to life. The new 35-minute show, commissioned by the Madhya Pradesh Tourism Development Corporation and voiced by actor Amitabh Bachchan, takes visitors on an immersive journey through time, narrating the temple’s storied past like never before.
“The primary objective was to create an engaging evening attraction for visitors”, says Himanshu Sabharwal, chief creative officer, Tricolor India Schauspiel. “During the day, tourists see the remains of these magnificent temples. But at night, we bring their ancient glory to life. The Christie D23WU-HS projectors played a pivotal role in making this vision a reality.”
With strict Archaeological Survey of India (ASI) restrictions, the projectors had to be installed outside the complex, at a distance of nearly 100 metres (328 feet). “By strategically stacking and orienting the projectors, we achieved an optimal visual impact while preserving the sanctity of the site”, notes Sabharwal.
One of the most striking moments in the show is a torch effect sequence depicting British surveyor T.S. Burt’s rediscovery of the temples in 1838. By seamlessly blending projection mapping and laser lighting, the effect creates a powerful visual narrative.
The show debuted in January 2025. Beyond entertainment, the project underscores the growing role of projection mapping in monument conservation and tourism. “Affordability and high brightness will unlock even more possibilities beyond infotainment”, concludes Sabharwal.
(Photos: Tricolor India Schauspiel)
Pedro Pineda specs Marshall CV380 4K cameras for in-venue concert experiences
Pedro Pineda is an independent live events contractor who most recently served as the video director for the rock band Blink-182. He has also directed artists such as Jelly Roll, Machine Gun Kelly, Dua Lipa and Twenty One Pilots. He utilizes a variety of gear and equipment, including Marshall Electronics’ CV380-CS Compact 4K30 Camera, to enhance the in-venue experience when working with bands during live performances.
The Marshall CV380 cameras portray the energy and excitement of Pineda’s live shows and play a crucial role in delivering an immersive experience for fans. “The cameras capture content for the live screens at each venue so audiences can watch aspects of the show up close, no matter where they are seated”, he explains. “The cameras are also recording, so the content can be pared out for social media purposes or archived and preserved for later use. The Marshall CV380 cameras are also sometimes used for streaming and live broadcasting of events. At large festivals there is usually some form of streaming or an actual TV broadcast.”
“I have used various Marshall cameras throughout the years”, he adds. “The CV380 is perfect for my needs; its large chip allows me to capture wide video shots and unique points-of-view, and the camera color seamlessly complements my other gear.”
The last setup that Pineda created for Blink-182 included four CV380 cameras positioned around the drum set. One camera was placed behind it, aimed toward the crowd to capture the action. Another camera was positioned at the kick pedal, looking up at the drummer. The remaining two cameras were positioned at 45-degree angles on both the left and right sides, aimed across the drumheads to capture the performance.
Pineda has incorporated Marshall cameras into a range of applications for live performances. “I have used them during other tours on keyboards and table steel guitars, usually for anything that’s up close where you wouldn’t want a camera operator sitting right there”, he says. “And often they’re also used for reference when the camera feed is not for the actual broadcast program, but instead is used for guitar and drum techs or anyone who’s offstage and needs a view. So, one camera is stationary where techs can look up and see their artists. A lot of times the CV380s also double as playback cameras.”
(Photos: Marshall Electronics)
ROE Visual takes over Colombia’s biggest concerts with Línea Estratégica
From Medellín to Bogotá to Cali, LED solutions provider ROE Visual and production company Línea Estratégica have raised the bar for live event visuals in Colombia, powering some of the country’s most anticipated concerts. With a combined setup, totaling over 1,200 m² of Vanish 8 Touring displays utilized across these productions, the partnership illuminated stadium-scale performances for three of Latin America’s biggest artists: Feid, Andrés Cepeda, and Aventura.
Feid’s homecoming concert at Estadio Atanasio Girardot marked one of the most significant performances of his career. The high-capacity stadium was packed with over 70,000 fans. The production featured a centrally positioned multi-level stage. Extensive LED visuals, lighting, and pyrotechnics transformed the stadium into an immersive spectacle. Línea Estratégica and ROE Visual delivered a setup with 380 m² of LED displays.
A key challenge of the design was ensuring that the LED screens amplified the experience without obstructing sightlines. The production relied on ROE Visual’s Vanish 8 Touring (V8T) panels, a high-transparency solution, suitable for large-scale touring events. With 50 percent transparency, these panels maintained a clear view of the stage, a crucial factor for a stadium of this scale. The modular setup of the V8T panels enabled seamless integration into Feid’s stage production.
Línea Estratégica and ROE Visual also supported Feid’s shows at Coliseo Med Plus in Bogotá and continued their presence in Colombia by supporting Andrés Cepeda’s performance at Estadio El Campín in Bogotá, which was vastly different in style. The event celebrated Cepeda’s illustrious career, bringing together fans of all generations to experience his signature blend of romantic ballads and Latin pop in a grand yet intimate setting.
The stage design followed a more conventional layout. The structured, frontal stage setup placed the focus on Cepeda and his orchestra, allowing his voice and lyrics to take center stage. Complementing this classic concert setup, the production featured a multi-panel display, incorporating 21 strategically placed LED screens (3 m x 7 m each), totaling 441 m² of visuals. The dynamic LED visuals played a key role in amplifying the emotion of Cepeda’s performance, reinforcing the connection between the artist and his audience.
Just days after Andrés Cepeda’s performance at Estadio El Campín, the same venue played host to the return of Aventura, the Dominican-American group that helped globalize bachata. Their reunion tour captivated audiences in Bogotá and also traveled to Estadio Pascual Guerrero in Cali, drawing fans from across Colombia for a nostalgic experience.
To bring Aventura’s romantic yet high-energy performances to life, the production featured an expansive LED display setup spanning 468 m². ROE Visual and Línea Estratégica delivered a seamless visual experience, ensuring that every moment of the show was elevated by LED backdrops. The stage design was grand yet traditional, keeping the performers as the focal point, while the massive LED screens framed the performance with dynamic visuals, atmospheric lighting, and storytelling elements that complemented Aventura’s signature style.
(Photos: ROE Visual/Línea Estratégica)
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Christie CP4420-Xe Xenon Projector chosen to launch Scotland’s first DCI-compliant grading studio
Brick & Mortar, a high-tech boutique grading studio in Glasgow, was set up with the intention of providing film makers with a facility to rival the very best in London’s Soho - traditionally the locus of UK post-production expertise - both in terms of technology and talent. To establish Scotland’s first DCI-compliant grading studio, Brick & Mortar picked a Christie CP4420-Xe Xenon projector with 2.0KW LB Xenon and Premium High Contrast Zoom lens.
Bringing the post-production prowess of Soho to Scotland was the brain-child of colourist Tom Cairns and creative director Jack Lang, who recognised that many filmmakers are not located near London and wanted to provide a high-tech alternative. They teamed up with Savalas Post who had an audio team and a Dolby Premier mix theatre plus a location in Film City Glasgow, located in the former Govan Town Hall in an Beaux Arts building. The result was a new joint-venture offering the first ever dual-purpose, theatrical projector-based mix and grade theatre of its kind north of London, with 4K projection, HDR ability and Baselight colour grading systems.
For the projection Cairns turned to post-production consultant Peter Sutton from Kaurus who recommended the Christie CP4420-Xe Xenon projector. “Only Christie still produces Xenon DCI compliant projectors”, says Sutton. “Christie has maintained the Xenon light source, which colourists globally have worked with for many years.”
“Christie Xenon projectors are, by the very nature of the light source, able to natively achieve the DCI-P3 colour space, compared to some alternative light sources requiring additional filters and second only to RGB pure laser which can complicate colour perception, making Xenon a tried and tested choice for film grading”, he continues.
“Every post facility has slightly differing environments and design challenges which we need to ensure can function technically as required”, he furthers. “With Christie’s comprehensive suite of zoom lenses to choose from, including the new Premium High Contrast Zoom lens, plus the 2.0KW LB Xenon lamp option, we were able to achieve the light levels and contrast needed in Brick & Mortar’s colour-grading environment.”
“This collaboration offers far better pictures than a conventional audio facility and far better sound than a conventional grading suite”, Sutton concludes. “They also have the luxury of much more space than most places in London and it is fitted with cinema seats creating a very comfortable and cinematic sound editing and grading environment in one. It’s very unusual and a great resource for film and TV postproduction.”
(Photo: Brick & Mortar/Film City Glasgow)
Oman TV modernisiert Broadcast-Audio-Infrastruktur mit AoIP-Technologie von Lawo
Das Informationsministerium Omans, auch bekannt als Oman TV, verwandelt seinen zentralen Theatersaal, das „Central Theater“, in einen hybriden Raum, der Live-Event-Funktionen mit Broadcast-Funktionalität vereint. Im Mittelpunkt dieser Umwandlung steht eine auf der neuesten IP-Technologie von Lawo basierende Audio-Infrastruktur.
Das Projekt erfüllt die Anforderungen von Live-Aufführungen und die nahtlose Integration von zwanzig Studios für fünf landesweit ausgestrahlte Kanäle. Durch diese hybride Funktionalität ist das Theater in der Lage, sich mit anderen Studios für die gemeinsame Nutzung von Signalen in Echtzeit zu verbinden und gleichzeitig Live-Übertragungen und interne Veranstaltungen zu realisieren.
Die Umsetzung des hybriden Konzepts für den zentralen Theatersaal stellte besondere Anforderungen, da traditionelle Auditorien selten über die für Broadcast-Anwendungen erforderliche Redundanz verfügen. Oman TV plante diese Location als Einheit von Veranstaltungsort und zusätzlichem Sendestudio, das die nahtlose Signalübertragung im und aus dem Gebäude hinaus gewährleistet.
Der Systemintegrator Pixel Solutions aus Muscat arbeitete eng mit Lawo zusammen, um das Projekt zu realisieren. Das Herzstück der Audio-Infrastruktur des zentralen Theatersaals bildet ein Lawo-mc²56-MkIII-Audioproduktionspult mit 32 Fadern, angebunden an eine A_UHD-Core-Audio-Engine. Mit diesem Setup können mehr als 1.000 DSP-Kanäle verarbeitet werden. Es ermöglicht den Technikern, den Audiomix für Live-Events zu steuern und gleichzeitig Signale für die Broadcast-Übertragung zu verwalten. Über 100 Audio-Ein- und -Ausgänge werden nahtlos verarbeitet.
Ergänzt wird das System durch zwei A_stage64-Stageboxen, die eine verlustfreie Signalübertragung im gesamten Veranstaltungsort und darüber hinaus ermöglichen. Sie erfüllen den ST2110-Standard. Das zentrale Management aller eingebundenen Geräte erfolgt über die Home-Management-Plattform von Lawo.
Neben der Broadcast-Audio-Technologie verfügt der zentrale Theatersaal über eine moderne AVL-Installation (Audio, Video, Licht). Eine 11 x 5 Meter große LED-Videowand von LEDman, die größte ihrer Art in Oman, prägt den Bühnenhintergrund. Über sechzig Prolights-Scheinwerfer wurden in der wellenförmig gestalteten Decke über dahinter verborgene Laufstege installiert. Für die Beschallung sorgen Bose-Professional-ArenaMatch-AM10-Lautsprecher und -ShowMatch-SMS118-Subwoofer, die in Zusammenarbeit mit dem Designteam von Bose konfiguriert wurden.
Zusätzlich sind Kommentatoren- und Dolmetscherkabinen mit Lösungen von Studio Technologies ausgestattet, darunter das Ansagepult Model 214A und die Intercom-Station Model 348. Diese Systeme wurden über Standardprotokolle in die Lawo-Infrastruktur integriert. Der Einsatz der IP-basierten Technologie von Lawo garantiert Oman TV unterbrechungsfreien Betrieb durch stabile System-Redundanz. Das modulare Design ermöglicht zudem eine Skalierung für zukünftige Erweiterungen.
(Fotos: Lawo AG/Oman TV/Pixel Solutions)
RTS supports Notre Dame Cathedral pre-opening
RTS Intercom played a key role in a historic milestone for France, supporting the pre-opening broadcast of Notre Dame in Paris. With millions watching worldwide, the event marked a pivotal moment in the cathedral’s restoration, brought to life with audio and seamless connectivity.
An SNG OB van, fully integrated with RTS equipment, ensured communication throughout the first thirty minutes of the broadcast. At the core of the setup, the Odin matrix provided uninterrupted coordination. Supporting the system were KP-Series keypanels - including modern and legacy KP12 units - plus two DBP digital belt packs, a Coin commentary box (developed in collaboration with Glensound), four AP-1800 panels and five TR-1800 belt packs.
Nico Lewis, RTS Sales Expert, worked closely with on-site partners. With RTS solutions embedded in the OB truck, the event delivered audio and connectivity, linking global audiences to the grandeur and significance of Notre Dame’s rebirth. “This was more than a technical success; it was an opportunity to bridge the gap between history and modern storytelling”, comments Lewis.
(Photos: RTS)
Camera Corps streamlines live HDR sports production with AJA gear
High dynamic range (HDR) has transformed the sports fan experience, enabling broadcasters and OTT providers to deliver live events with lifelike colors. Despite the popularity of HDR, many production chains still use standard dynamic range (SDR) equipment, even for events captured in HDR. This mix of technologies can create color management complexities throughout the production process.
Camera Corps, a UK-based specialty camera solutions provider, addresses these challenges for major broadcasters with its camera expertise and innovative workflows. Central to many of these solutions are tools like AJA ColorBox for color management and conversion and 12G-AMA and 12GM Mini-Converters for audio embedding and signal format conversions. Camera Corps has worked on several international sporting productions, providing camera equipment rentals, camera customization services, crew, wireless and cabled connectivity products, and on-site and remote support services.
When servicing live sports productions, the Camera Corps team deploys hundreds of cameras and must adapt each to the client’s unique broadcast requirements. Ensuring seamless signal compatibility and quality across different formats and venues is also part of the job. “Planning for large-scale projects typically starts two years prior to the event”, says Camera Corps Technical Director Andy Sanders. “This past summer, we supplied approximately 450 equipment pallets and 150 crew across multiple sporting venues in Paris. The level of detail required to ensure that every item of equipment was seamlessly integrated into the broadcast infrastructure took an incredible number of resources, from planning logistics to crew training, building, testing, on-site delivery and deployment, and more.”
Considering all the SDR and HDR equipment involved in modern sports workflows, it is crucial for Camera Corps to convert signals between both ranges while maintaining signal integrity. Similarly, the ability to handle multiple LUTs for these conversions with low latency and high-quality processing is essential. This past summer in Paris, Sanders and his team deployed ColorBox to enable HDR conversion of high-speed cameras, which offer dual outputs for live and replay and are designed to capture slow-motion shots of dynamic sporting events, such as pole vault and high jump.
“Our goal was to capture the highest possible quality images and ensure smooth transmission from the cameras to the vision mixer in the correct HDR format”, says Sanders. “We started with camera signal acquisition and used AJA 12G-AMA and 12GM Mini-Converters to convert the signals. We then tapped ColorBox for SDR and HDR LUT processing requirements and our converters to handle various other technical requirements. The signal conversion that our AJA gear provided fit seamlessly into our workflow, enabling us to support specialty camera deployments across multiple event venues.”
Camera Corps’ use of ColorBox continues to expand, especially with increasing client demand for HDR formats. “We work on a lot of projects where we have to convert SDR signals from certain small-form cameras, maintain signal integrity with 10-bit processing, and correct SMPTE 352 payload IDs”, says Sanders. “ColorBox ensures format consistency and compatibility for necessary video processing downstream. With ColorBox’s onboard storage library and preset management, our team can also handle multiple 3D LUTs efficiently.”
(Photos: AJA Video Systems/Camera Corps)
Fifty Frames selects AJA technology for live event production
Fifty Frames founder Christian Heinzel sees every live event production or installation as an opportunity to embrace emerging techniques and confront challenges head on. It’s something he puts into practice nearly every day as owner of a boutique shop that’s trailblazing 4K HDR and IP live event production and video streaming workflows for luxury car brands, bands, and major corporations across Europe.
They regularly employ AJA technology like the Ki Pro Ultra 12G recorders, FS-HDR real-time HDR/WCG converters, and Kumo 3232-12G SDI routers across projects. Fifty Frames recently covertly produced an UltraHD HDR concert for a German punk band. The three-day event took place on a former airfield in Berlin and drew in an audience of more than 150,000 fans. Upon receiving the first stage and LED screen drawings, Heinzel realized the event’s massive scale. Recognizing the nontraditional nature of the concept and use of UltraHD screens, he opted to produce in UltraHD and tap into HDR.
“The lighting situation was quite complex, and we knew it would include changes from bright to dark and a lot of effects that you normally don’t see”, he explains. “SDR wasn’t an option because we’d need camera shaders all the time, whereas, with HDR, we knew that we’d get a bigger dynamic range so we could see all the light, but it wouldn’t come across as overexposed.”
Due to the clandestine nature of the recording, his team strategically placed the ten remote and broadcast grade cameras out of the band’s sight lines. Over the course of the three-day production, the team collectively captured 75 terabytes of footage from the cameras using fourteen AJA Ki Pro Ultra 12Gs. “The Ki Pro Ultra 12G was an easy choice”, says Heinzel. “I can record eight HD camera feeds with just two units, saving rack space. Plus, I don’t need a specialist to operate it.” Heinzel’s team then color matched the mix of remote and broadcast grade cameras using AJA FS-HDR.
Heinzel and his team have tackled many other outside-the-box productions as well. While previously working on an HDR live event project for a major car brand in Frankfurt, they realized their media servers only had HDMI and display port outputs, so they couldn’t transport the HDR signal. Together, Heinzel and his colleague Oliver Derynck came up with a solution: if they could convert the signals of the media server to 12G-SDI and run it through an FS-HDR, they could then tell the signal it was HDR and run it through the switcher. “We tested it out, and it worked, so we were able to retain the HDR metadata”, says Heinzel.
For the occasional augmented reality (AR) project Heinzel’s team encounters, he’s built custom real-time rendering machines with integrated AJA Corvid 44 12G cards for I/O. “We’ve done a few AR projects with Zero Density, and they’re a lot of fun, even though the workflow is different”, he shares. “Our systems for these are presently baseband SDI, but the goal is to move them to SMPTE ST 2110.”
Heinzel is looking to SMPTE ST 2110 to simplify the transport of uncompressed media. “SMPTE ST 2110 will enable us to work with high bandwidth media as we would with SDI, with no compression, while introducing many benefits, from a reduction in equipment to substantial power and performance gains”, he says. “Less equipment means a lighter load for travel, and with the right IP router, I can easily get 400 UltraHD signals using a 1RU device. Next year, I think we’re going to see a lot more SMPTE ST 2110 products surface.”
(Photos: Fifty Frames GmbH)
Streaming Factory powers hybrid event using QuickLink production ecosystem
Streaming Factory, a Germany-based video production specialist, has leveraged QuickLink’s end-to-end video production solutions to enable a hybrid event experience for over 1200 attendees at Epilot World 2024. This year’s hybrid edition featured six panel discussions with over 25 renewable energy executives from sectors including electric, manufacturing, finance and more.
For Epilot World 2024, QuickLink StudioPro helped blend the in-person and online elements into a cohesive event broadcast, delivering an ultra-low latency production experience without the complexity of legacy systems.
With speakers varying from large energy companies to municipal utilities and remote teams working from home offices, Streaming Factory faced major production diversity. As a key technology partner, QuickLink provided a production ecosystem, consisting of StudioPro, StudioEdge and StudioCall, to overcome this challenge.
(Photos: Streaming Factory/QuickLink)
HFF nimmt Deutschlands erste Crystal LED Verona von Sony für Virtual Production in Betrieb
Deutschlands erste Crystal LED Verona für Virtual Production steht in München: Das CreatiF Center, Innovations- und Transferzentrum der Hochschule für Fernsehen und Film München (HFF), hat die LED-Leinwand von Sony in einem Filmstudio der HFF in Betrieb genommen. Die Wand misst 4 auf 2,5 Meter und besteht aus insgesamt vierzig Modulen, die jeweils mit vier LED-Panels bestückt sind.
Die Leinwand soll Studierende der HFF mit den neuen Standards in der virtuellen Produktion vertraut machen. Darüber hinaus dient die Verona dem CreatiF Center, einem geförderten HFF-Forschungsprojekt, als Technologieträger zum Erforschen neuer Wege im Filmherstellungsprozess, der Postproduktion und der Verwertung von Filmmaterial. Partner und Systemintegrator bei diesem Projekt ist Medientechnikspezialist Pro Video mit Sitz in Berlin. Die Planung übernahm die Macom GmbH.
Die Virtual-Production-Wand ermöglicht es, digitale Kulissen und realistische Hintergründe in Echtzeit auf einer großen Bildschirmfläche zu projizieren und damit die herkömmliche Green-Screen-Technologie weiterzuentwickeln. Durch die Live-Interaktion von physischen und digitalen Elementen können Filmszenen unmittelbar am Set visualisiert werden.
Die zehn Quadratmeter große Crystal LED Verona ist auf einer Rollkonstruktion installiert. So kann sie von den Studierenden und Forschenden flexibel innerhalb des Studios eingesetzt werden. In der HFF kommen Verona-Module mit einem 1,5-mm-Pixel-Pitch (ZRD-VP15EB) zum Einsatz, die sich über den Brompton-Tessera SX40-Prozessor ansteuern lassen.
„Das Virtual-Production-System ermöglicht uns, sehr flexibel die Grenzen der Technologie zu erforschen und neue innovative Herangehensweisen zu entwickeln“, sagt Simon von der Au, Projektleiter des CreatiF Centers. „Dadurch werden die Kreativität und die technische Machbarkeit in der Filmproduktion erweitert. Die HFF München kann ihre Studierenden mit diesem System an modernster Technik ausbilden und sie so auf die Arbeitswelt der Zukunft vorbereiten. Gleichzeitig eröffnen wir Filmschaffenden völlig neue Möglichkeiten, ihre Visionen umzusetzen.“
Die feierliche Einweihung der Crystal LED Verona in der HFF soll im Frühjahr 2025 erfolgen.
(Fotos: Pro Video/Sony)
Optic8 taps Brompton and Absen to deliver virtual production with over 145 million pixels
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Optic8 and Trilogy Studios have opened a virtual production facility in Dallas, Texas, powered by Brompton Technology Tessera SX40 LED processors and Absen LED screens. This facility comprises three production stages: a main cinematic volume designed for film and TV, a specialized car process stage, and a smaller stage tailored for commercials and music videos.
At the heart of the stages are Absen’s PR series LED panels: the cinematic stage is equipped with 337.5 sqm of PR2.5 for the backdrop, 303 sqm of PR5.2 for the ceiling, and 32 sqm of PR2.5 for the side walls. The car process stage features 152 sqm of PR1.9 for the backdrop and 45 sqm of PR2.5 overhead, while the commercial stage utilizes 75 sqm of PR1.9 for the backdrop and 54 sqm of PR2.5 for the ceiling. Equipped with 32 Brompton Tessera SX40 processors, the facility supports a total pixel processing capability of 324 million pixels.
(Photos: Ryland Maserang/Oval Imagery/Optic8/Trilogy Studios)
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AV Stumpfls Pixera unterstützt „Eonarium Experiences Tour“ von Projektil
Der Medienserver Pixera von AV Stumpfl bildet das Herzstück der neuen „Eonarium“-Tour des Züricher Künstlerkollektivs Projektil. Diese immersive Projektionsmapping-Reihe vereint digitale Kunst mit historischer Architektur an über dreißig ikonischen Kirchen und Kulturstätten. Das Echtzeit-Medienverarbeitungssystem von AV Stumpfl sorgt dabei für die Umsetzung der visuellen Inhalte, welche die sakralen Orte in Licht- und Klanglandschaften verwandeln.
Die von Projektil organisierte „Eonarium Experiences Tour“ umfasst immersive, jeweils 30 bis 45 Minuten lange 360°-Licht- und Klangshows. „Unser Ziel ist es, ein transformierendes Erlebnis zu schaffen, das diese Räume durch digitale Kunst bereichert“, erklärt Patrik Rost, technischer Leiter bei Projektil. „Die internationale Tour verbindet historische Architektur nahtlos mit immersiven Erlebnissen in über dreißig Städten in Europa und den USA.“
Das Projektil-Team besteht aus visuellen Künstlern, Musikern, Programmierern und Designern, die an der Schnittstelle von Kunst und Technologie immersive Erlebnisse kreieren. Für die komplexen AV-Setups der „Eonarium Experiences Tour“ werden Medienserver der zweiten Generation von AV Stumpfl - unter anderem Pixera One Gen 2 Director und Pixera Two Gen 2 Octo - verwendet.
Für jede Installation setzt Projektil zwischen acht und sechzehn Projektoren ein, die mit Pixera gesteuert werden. „Pixera spielt eine entscheidende Rolle bei der Verwaltung und Synchronisierung dieser Projektoren“, so Rost. „So entstehen visuelle Inhalte, die sich an die einzigartige Struktur jedes Raumes anpassen und ein integriertes Erlebnis schaffen.“ Mit der Lang AG, dem Unternehmen, das die Pixera-Server vertreibt, „pflegen wir eine enge Partnerschaft“, fügt Rost hinzu.
Die von Projektil selbst entwickelten Inhalte zeigen visuelle Darstellungen der Entstehung der Erde, von kosmischem Chaos bis hin zu lebendigen Naturlandschaften. Dabei kommen kräftige Farben, abstrakte Formen und dynamische Übergänge zum Einsatz. In Kombination mit dem Sounddesign von d&b Audiotechnik entsteht ein multisensorisches Erlebnis, das gleichzeitig kosmisch und intim wirken soll.
Um die Anforderungen dieses Projekts zu erfüllen, schulte Projektil neun Pixera-Operator, von denen mehrere neu mit der Plattform arbeiteten. Jede „Eonarium“-Installation ist als temporäres Erlebnis konzipiert, das typischerweise nach zwei bis vier Monaten in die nächste Stadt weiterzieht.
Projektil hat zudem die permanente Initiative „DAIA - Digital And Immersive Art by Projektil“ ins Leben gerufen. Diese soll ganzjährig immersive Installationen an ausgewählten Standorten bieten. Mit strategischen Projekten, unter anderem in Zusammenarbeit mit dem Zoo Zürich, ist „DAIA“ bereits in Zürich und Genf aktiv und treibt die Ausweitung der digitalen Kunst von Projektil voran. Pixera bleibe dabei ein zentraler Bestandteil des AV-Setups.
(Fotos: AV Stumpfl/Projektil)
Verleihung des Innovationspreises Baden-Württemberg mit Lasershow von Lobo
Bereits zum vierzigsten Mal vergab das Wirtschaftsministerium von Baden-Württemberg im feierlichen Ambiente der König-Karl-Halle in Stuttgart den Innovationspreis des Landes. Die Lobo Electronic GmbH, die 1992 selbst mit dem Innovationspreis ausgezeichnet wurde, war nach dem 25-jährigen Jubiläum 2009 nun zum zweiten Mal mit der Gestaltung einer Lasershow anlässlich der Verleihung betraut.
Nachdem in der Eröffnung unter anderem die Umrisse von Baden-Württemberg, das Landeswappen und das Konterfei von Dr. Rudolf Eberle, dem Begründer des Innovationspreises, durch Laseranimationen dargestellt wurden, bekamen die Gewinner die mit insgesamt 50.000 Euro dotierten Preise aus der Hand der Wirtschaftsministerin überreicht. Abgerundet wurde die Veranstaltung mit einem Laserfinale, bei dem gleißend helle Strahlen über dem Publikum projiziert wurden.
Passend zum Innovationspreis setzte Lobo bei der Durchführung der Show auf eine Produktneuheit: Die miniaturisierten Laserprojektoren der Satellite-Serie feierten in Stuttgart ihre Premiere.
(Fotos: Reiner Pfisterer/Lobo)
Format:c präsentiert 360-Grad-Videoaktivierung auf dem Absolventenkongress in Köln
In Partnerschaft mit Threesixtymedia und dem Staufenbiel Institut bringt die Kölner Agentur Format:c eine innovative 360-Grad-Videoaktivierung auf den Absolventenkongress in Köln. Die Veranstaltung findet am 28. und 29. November 2024 in Halle 10.2 der Koelnmesse statt. Der Eintritt ist kostenlos.
Die 360-Grad-Videoaktivierung bietet Besuchern die Möglichkeit, ihr persönliches Action-Video vor Ort kostenlos aufzunehmen und direkt über Social Media zu teilen. Bereits auf der weltgrößten Spielemesse, der „Spiel“ im Oktober 2024 in Essen, wurde dieses Format vorgestellt: Für Asmodee produzierte Format:c über 700 Social-Media-Videos und generierte damit eine hohe Online-Reichweite für den 4.000 Quadratmeter großen Messestand von Asmodee, dem größten Auftritt auf der „Spiel“.
Format:c bietet die 360-Grad-Videoaktivierung auch für andere Projekte an. Die Lösung lässt sich individuell erweitern - mit zusätzlichen Dekorationselementen, Requisiten und Effekten, kombiniert mit Pixlip-Go-Messewänden. Als Pixlip-Reseller verfügt Format:c über eine Vielzahl von Messewänden, die mit ihrer LED-Beleuchtung ein individuelles Branding ermöglichen.
Foto: 360-Grad-Videoaktivierung beim NFL-Spiel in München. (Fotocredit: Felix Tutzauer)
NOA delivers archiving solution to TV 2 Denmark
Audiovisual digitization and archiving specialist NOA GmbH has announced the completion of a digitization system delivery to TV 2 Denmark to preserve the broadcaster’s video archive containing approximately 60,000 Betacam cassettes. TV 2 Denmark, a state-owned public service broadcaster founded in 1988, operates multiple channels and Denmark’s most popular streaming service, TV 2 Play.
In alignment with the agreed terms, NOA delivered a preservation solution at TV 2’s main facility in Odense on standard COTS hardware, including the JobDB archive workflow management system, alongside with specialized IngestLine and ActLine tools. Initiated in early November, the project was designed to digitize and preserve the broadcaster’s historical video content with professional-grade quality control measures.
TV 2 represents the third Scandinavian client for NOA, with the system strategically designed as a short-term service-based solution. Recognizing the temporary nature of the implementation, both parties have agreed to a service-oriented approach that aligns with the anticipated few-year operational timeframe.
(Photos: NOA GmbH/TV 2 Denmark)
ETS selects ROE Visual LED technology for Black Hat 2024
ROE Visual’s LED technology took center stage at Black Hat USA, transforming the keynote with an immersive display crafted by ETS. As a long-standing partner of Black Hat, ETS has used ROE Visual’s products for years.
The Black Hat conference covers critical developments in cybersecurity. ETS has been a key partner for over fifteen years, adapting its production design to meet the event’s growing prestige and scale. Having worked on the design seven months in advance, this year’s concept cast the LED screen as a central “character”, embodying the aura of a Phoenix rising from the ashes. Using a layered, angled, and tapered screen design, paired with strobe lights, lasers, smoke, and steam sounds, ETS and ROE Visual delivered an immersive experience for the attendees.
To achieve this design, ETS used ROE Visual’s Graphite 2.6 and Black Onyx 3.47 LED panels. The primary display wall, constructed with Graphite 2.6 panels, extended 30.5 meters across, tapering down to 24.5 meters and reaching a height of seven meters. This flown section boasted a pixel dimension of 11712 x 2688, while the ground support featured a stair-stepped layout with a 1536 x 3648 pixels resolution, delivering dynamic visuals across the stage.
ROE Visual’s Black Onyx 3.47 panels formed three delay screens, with 66 panels per 5.5 m x 3 m wall, strategically arranged in a “scoreboard” style to ensure optimal visibility from every angle in the 12,000-seat arena. The visuals and seamless transitions received positive feedback from key clients, including Jeff Moss, President of Def Con Communications, and Thomas Amaral, Senior Director at Informa Tech.
(Photos: ETS)
M2 Events Group levels up corporate events with Brompton Technology
M2 Events Group is one of the leading live event production services companies in the U.S., with specialized divisions including Directions AV for corporate clients, Music Matters Productions for concerts and live entertainment, and Big Picture for creative video execution. With locations in Atlanta, Chicago, San Francisco, and Salt Lake City, M2 has used Brompton LED processors as a key part of its inventory since 2020.
“Corporate clients each have very specific brand colors, and we need to deliver exactly that”, says Nauman Lalani, VP of Business Development, M2 Events Group. “Using Brompton has been a very informed choice for our corporate events.”
Earlier this year, M2 Events Group took on one of its most ambitious projects yet, for the National Apartment Association’s annual conference, Apartmentalize, held in June 2024 at the Pennsylvania Convention Center in Philadelphia. As the largest event serving the apartment housing industry, over 12,000 professionals from around the country attend to learn from the industry’s innovators. M2 was awarded the project, winning out with a pitch that involved switching the event from projectors to LED.
“Our producers come from the video world, so we know how to bring that ‘wow’ factor, and we know how to get the biggest possible screen into a space and make it look as good as possible thanks to tech from partners like Brompton and ROE”, explains Lalani.
The Apartmentalize setup included seven screens going across the convention hall, totaling around 270 feet wide by 19 feet high. M2 used a new cache of ROE Graphite 2.6 (4 in 1) LED panels for the first time at the event, all powered by ten Brompton 4K Tessera SX40 LED processors. The overall resolution measured 30,528 pixels wide by 2,304 pixels high. The screen was running across all three days of the conference, plus a day and a half of rehearsal.
It was the client’s first time using LED. “The picture quality you get with LED compared to projectors is just way better, and setting up the pixel map only takes a few minutes with LED, it’s so much faster and easier”, states Lalani. Apartmentalize was one of the bigger LED setups M2 has executed to date and is in line with a growing demand for scale from clients. Whereas previously a typical corporate project might have a screen around 150 feet wide and use around six SX40 processors, today clients want to go bigger and bolder, with screens ranging from 200 to 300 feet across.
“This size is definitely becoming more of a standard for us”, shares Lalani. “LED panels are heavy, and indoors you’re restricted by the building’s engineering and the weight it can handle on a floor or from a ceiling truss. But if we can safely add more LED panels and more processors, it makes a big impact on the final look. We worked with all the panel manufacturers to spec their lightest offerings, ultimately deciding to go with ROE.”
As M2 Events Group had to scale up on this project, Lalani and his team found Brompton’s Stacking feature to be particularly useful. Introduced with the Tessera 3.4 software update, Stacking enables engineers to control multiple processors as one. “Now we can manage everything from just one Tessera remote connection”, says Lalani, adding: “We can’t wait to get to play with the new SQ200 processors soon.”
(Photos: Brompton Technology/M2 Events Group)
Christie 4K10-HS laser projectors power immersive visuals at new 5D flying theatre in China
Christie 4K10-HS 1DLP laser projectors are being used at the new flying theatre attraction at Hetou Old Street scenic area in Tangshan, Hebei province. This experience takes visitors on a journey through northern China’s most iconic sites, including the Great Wall, the Shanhaiguan Pass, and the Chengde Mountain Resort.
Known as “Flyover Hebei”, this 5D dome theatre combines visuals with 7.2-channel surround sound, six-axis mechanical seats, synchronised motion effects and sensory elements like wind and mist, immersing audiences in the experience of soaring above Hebei’s landscapes, and highlighting twenty landmarks and attractions across eleven cities.
Christie’s partner Jianye Display supplied the 4K10-HS laser projectors for “Flyover Hebei”, while Shenzhen Guandu Technology served as the systems integrator and subcontractor responsible for constructing the flying theatre. A total of eight 4K10-HS projectors were strategically deployed to display 6K-by-6K resolution visuals on the theatre’s spherical screen measuring 16 metres (52 feet) in diameter.
The projection system design underwent simulation and analysis to achieve the desired alignment of projectors on the dome’s 400-square-metre (4,306-square-foot) spherical surface. Seamlessly blended 6K visuals immerse up to 45 guests within the theatre’s 17-metre (55-foot) high space. The Christie 4K10-HS projectors deliver uncompressed frame-by-frame playback, preserving the high-definition content’s clarity and depth.
(Photos: Jianye Display)
Framefloor evolves creative workflows with AJA gear
Framefloor is a boutique creative shop where experimentation with technologies like augmented reality (AR) and high dynamic range (HDR) is highly encouraged. Based out of Cologne, Germany, its three-person crew provides motion graphics, editorial, animation, and other services to deliver audience experiences for a range of corporate and sporting events and film projects.
Producing highlight reels and promo materials for events is often part of the job and requires heavy editorial and graphics. To view, monitor, record, and playback content for this work, the studio uses AJA Io 4K Plus and Ki Pro Ultra 12G.
Framefloor’s workflow varies depending on the project and scope. If shooting and editing a single interview, Framefloor Creative Markus Bledowski might record footage in-camera. Alternatively, he may opt to ingest it into a portable MacBook Pro laptop equipped with an external monitor and an Io 4K Plus. This setup allows him to view the footage and complete editorial through color correction. After the customer has reviewed the content, he’s then able to confirm that the footage is graded correctly and export the cut into whatever format is required.
“This kind of monitoring setup is necessary, especially as we move toward HDR workflows and need a way to go from HDR to SDR or auto-adjust SDR streams”, says Bledowski. “It ensures I have SDR and HDR compatibility to get the best quality output, which is crucial when working with HDR or Log content.”
When a project involves several cameras, the Framefloor team may instead capture feeds via a Ki Pro Ultra 12G recorder or record the footage to SD cards in the cameras. For video highlights and reel work, they often remotely plug into the broadcaster or venue server to acquire live camera feeds directly into Framefloor’s server.
The team feeds that footage into their mobile workstations, which include Io 4K Plus boxes that help output the content to external monitors for color grading and clipping. They usually have a 16-channel audio output, so they must also mix those channels and add voiceovers, graphics, and color before export. Once they complete graphics, they edit and color the highlight reels and then export them to the server for broadcaster access.
If a broadcaster needs to play out directly from a timeline, Framefloor employs a similar approach, but if they’re preparing content for advertising and promotional purposes post-event, they might just export an MXF file to the server. For live corporate product launch events, Framefloor may also opt to use a Ki Pro Ultra 12G for video recording and playback. In this scenario, the team would record multiple HD feeds, obtain the recordings, and then ingest them into their edit suites.
(Photos: AJA Video Systems/Framefloor)
Neumann & Müller inszeniert „Red Bull Levels: Elden Ring“-Event mit AV Stumpfl Pixera
Die Pixera-Medienserver-Plattform von AV Stumpfl hat eine zentrale Rolle dabei gespielt, ein immersives Gaming-Erlebnis für das „Red Bull Levels: Elden Ring“-Event im Juni 2024 in Berlin zu schaffen. Die Veranstaltung wurde von Red Bull konzipiert und von Neumann & Müller (N&M) umgesetzt.
Das Event, das als Präsentation der neuen Erweiterung „Shadow of the Erdtree“ diente, erweckte das Fantasy-Setting von „Elden Ring“ zum Leben und verband die virtuelle mit der realen Welt durch eine dynamische Kombination aus haptischen Elementen und hochauflösenden visuellen Effekten.
„Red Bull Levels: Elden Ring“ entstand im Rahmen einer Videoserie, die Einblicke hinter die Kulissen großer Gaming-Releases ermöglicht, in Zusammenarbeit mit Bandai Namco, dem internationalen Publisher von „Elden Ring“, sowie populären Streamern in den Atelier Gardens in Berlin.
Das N&M-Team unter der Leitung von Senior-Projektmanager David Kugelmann und Medieningenieur Simon Rode, setzte eine interaktive 360°-Installation um, die Techniken aus der virtuellen Produktion und haptische Elemente nutzte. Das Event präsentierte eine 15.000-Pixel-LED-Wand, ergänzt durch ein Produktions-Setup mit vierzehn Kameras, robotergesteuerten Dolly-Systemen und Kommentatoren-Schreibtischen mit Greenscreens, einschließlich der Kameras der Streamer. Die Pixera-Software bespielte die LED-Wand und die Greenscreen-Hintergründe und integrierte dabei die In-Game-Elemente nahtlos in das Live-Event.
Neben der technischen Produktion und der Übertragungstechnik gehörten sämtliche Aspekte des Eventmanagements, einschließlich des Personalmanagements und der inhaltlichen Koordination, zum Aufgabenspektrum von N&M. „Die Arbeitsweise von Pixera ermöglichte es uns, spontane Anpassungen vorzunehmen, ohne dass die Kunden Unterbrechungen bemerkten. Das war entscheidend für das immersive Erlebnis“, sagt David Kugelmann.
Das österreichische Pixera-Team von AV Stumpfl arbeitete eng mit N&M zusammen und bot Echtzeit-Support und Problemlösungen. „Unsere Server liefen mit der neuesten Pixera-Software-Version 2.0.65, was uns ermöglichte, die fünf Stunden Content ohne Unterbrechungen zu bewältigen“, sagt Simon Rode. Ein LUT-Problem habe mit Hilfe von AV Stumpfls Rainer Brandstätter und Florian Eder gelöst werden können.
Eine besondere Herausforderung bei der visuellen Gestaltung von „Red Bull Levels: Elden Ring“ bestand darin, die Konsistenz über den rotierenden 360°-Content hinweg zu wahren, welcher von N&M aus In-Game-Videos und Bilddateien erstellt wurde. Das Team nutzte Pixera auf eigenen, speziell angepassten Medienservern, um Elemente wie Farbkorrekturen und Bewegungseffekte zu steuern und so über die fünf Stunden visuelle Inhalte hinweg ein einheitliches Erlebnis zu schaffen, das in zehn verschiedene „Welten“ unterteilt war. Das Event erreichte während der Live-Übertragung fast 117.000 gleichzeitige Zuschauer.
(Fotos: Marius Faulhaber/Red Bull Content Pool)
Brompton Technology’s Tessera SX40 powers “Red Haute Glammies” video walls
The Red Haute Glammie Awards is an annual celebration of the British skincare brand Tropic. Utilising over 500 ROE CB5 LED panels in large video walls, CPL Enhanced Technology deployed Brompton Tessera SX40 processors and XD data distributors to power the ever-changing backdrop at this year’s “Glammies” edition.
Working closely with event producers Pandora Events, CPL supplied the screens and lighting under the guidance of Lee Gruszeckyj, Director of CPL and project manager for the event. The awards ceremony took place in Birmingham’s Resorts World Arena on September 14, 2024, with 4,200 of Tropic’s “Glambassadors” welcomed to a day of presentations and entertainment, finished with an evening gala.
The dramatic stage comprised a back wall measured 16.2 meters by 8.4 meters high, the side returns were an additional 5.4 m by 8.4 m each and two 7.8 m by 8.4 m IMAG displays completed the stage, all powered by three Brompton Tessera SX40 processors connected to the LED panels via Brompton Tessera XD data distribution units. These fixtures framed the spectacular entertainment from the house gospel choir and solo artists, and also displayed information for upcoming product releases and relayed live footage as well as remote video calls.
The signal path was planned and optimised to ensure efficient routing and minimise latency. A redundant fibre loop was also established to connect the ROE LED panels to the Tessera SX40 processors. This loop provided a backup signal path in case of failure at any point in the primary signal path.
“OSCA (On-Screen Colour Adjustment) was utilised for fixture-based seam adjustments, allowing the content to seamlessly blend across all the screens, including the 16.2 metre back wall”, says Gruszeckyj. “When in OSCA mode, the interface appears directly on the LED fixture, showing mouse position and highlighting the selected elements that are being adjusted. The colour balancing option also came in useful when displaying large images of the products.”
(Photos: Luke Dyson)
New Rockstars produziert YouTube-Kanal mit Equipment von Blackmagic Design
„New Rockstars“, ein YouTube-Kanal für Unterhaltungs- und Popkultur, nutzt zur Erfassung von Live-Events wie der Comic Con 2024 und Disneys D23 die Micro Studio Camera 4K G2 von Blackmagic Design.
Der für die tägliche „New Rockstars“-Sendung „The Breakroom“ verwendete Produktionsworkflow besteht aus vier Blackmagic Studio Camera 4K Pros, zwei HyperDeck-Studio-HD-Plus-Broadcast-Decks für die Grafikwiedergabe, zwei Atem-Mini-Extreme-ISO-Live-Produktionsmischern und der DaVinci-Resolve-Studio-Software, die sowohl zum Einbringen von Grafiken und Musik als auch zur Vornahme kleiner Änderungen am endgültigen Schnitt dient.
„Blackmagic-Design-Produkte gehören schon seit Jahren zu unserem Workflow. Darum haben wir die neuen Geräte von Blackmagic ohne langes Nachdenken integriert, um unsere angestrebten Ergebnisse bei den Events zu erzielen“, erläutert John Costa, Produzent bei New Rockstars, der in Kalifornien ansässigen Firma für digitale Inhalte, die den gleichnamigen YouTube-Kanal produziert. „Unser Ziel war es, unserem Publikum eine schnellere Berichterstattung von Geschehnissen auf der Comic Con und im D23-Fanclub zu liefern. Dabei sollte das gewohnte dynamische Mehrkamera-Erlebnis erhalten bleiben.“
„Für die Berichterstattung dieser Events schickten wir Leute aus unserem Team an die Locations, die News an Ort und Stelle in Echtzeit an unser Studioteam übermittelten“, so Costa weiter. „Wir haben eine Micro Studio Camera 4K G2 in das Studiosetup aufgenommen, weil Content mit mehr Perspektiven dynamischer wirkt. Wegen ihres kleinen Formfaktors ließ sich die Kamera einbinden, ohne dem vorhandenen Equipment in die Quere zu geraten.“
Aufgrund der zusätzlichen Kameraperspektiven, den externen Feeds und voraufgezeichneten Inhalten, die für die Spezial-Livestreams benötigt wurden, setzte das Team einen Atem 2 M/E Constellation 4K ein und nutzte die zwanzig Eingänge und den vom Mischer ermöglichten zentralisierten Workflow. Mittels Atem 2 M/E Constellation 4K hatte das Team bei den Live-Events außerdem die volle Kontrolle über Fokussierung und Farbgebung. Über Atem Software Control standen auch Tally-Lichter bereit.
(Fotos: Blackmagic Design/New Rockstars)
DirectOut delivers solutions for global sports broadcast networking
2024 was a huge year for sport, from the Olympics to Euro 2024, the summer has been filled with sporting endeavors. But how audiences experience these events outside of the arenas has changed significantly and broadcasters are working hard to keep up with multimedia consumption. From methods of consumption to developments in transmission, the broadcast of sporting events is constantly evolving.
From home cinemas, to TikTok and YouTube, content is being experienced in a multitude of ways. DirectOut products are used to ensure critical, immersive 7.1 Dolby Atmos sound, can be transmitted constantly, alongside 4K pictures, 24 hours a day across the world.
Digital content is sent out across multiple channels, not just on broadcast media designed for home televisions, but also digital outlets, such as smart-phone apps and browser-connected streaming-devices. Consumers now demand higher quality content and watch a range of viewing perspectives, sometimes across multiple screens. Home electronics have improved and consumer uptake is high. Home audio is also evolving, with sleek solutions, that enable surround sound to be delivered from singular sound bars, rather than a full surround-system with separate speakers.
The amount of data required for content puts huge strain on IT networks, so the industry has responded by developing the SMPTE ST2110 protocol, a new way of transporting audio, video, and metadata across an IT network. It works by splitting data into three streams, called essences, limiting the size of the information by only sending active streams and minimizes the requirement for decoding hardware.
DirectOut’s Prodigy.MX is at the heart of networks like these, as it is capable of translating the various protocols. Due to the modular design of the Prodigy series, cards can be added or removed as needed to increase usability. Network modules like the Ravenna card include an NMOS interface specification, defining data models and ensuring devices can be controlled by any software compliant with it. A new out of band NMOS mode allows more flexibility for the end user.
Until recently, using proprietary network protocols such as Dante had been the norm. The end user benefits from their simplicity and ease of use, but is offered limited versatility. Broadcast situations like the Olympics require a more complex networking system to provide additional content, requiring more network knowledge to facilitate. We are seeing more IT literate audio engineers as the reliance on Audio over Internet Protocol (AoIP) increases.
For large scale sporting events like the Olympics, that are broadcast across the world and then adapted in a variety of ways locally, the audio team can also utilize Globcon to create local sub-mixes within the Prodigy, if required. The Prodigy.MP AutoMix feature is useful in this application, allowing engineers to mix and monitor audio feeds without the requirement for an additional mixing console.
In Paris, the team at France TV was able to mix all broadcast audio streams at once, including HD video content and 4K content with Dolby Atmos. Engineers switched monitoring between the two streams directly via Globcon, without the need for an additional mixing console.
Once the infrastructure is installed and the broadcast is running, the equipment may have to remain in use for many weeks, continuing to run effectively without being switched off or rebooted. DirectOut runs tests to ensure that their solutions are able to run for long periods in the most challenging environmental conditions.
(Photos: DirectOut GmbH)
