Articles tagged #IO
Articles tagged
#IO

Videocraft brings OB to MotoGP

With a history of delivering the very best that MotoGP has to offer, the 2014 Tissot Australian Motorcycle Grand Prix pushed excitement levels to the limit. The on track broadcast for this year’s Phillip Island event was again managed by Axis Films who for the first time used Videocraft’s new Mobile Production Centre for their big screen coverage. Axis Films owner Tim Maloney explained, “This year we moved from our usual site shed set up to using the Videocraft truck and it was a resounding success. Videocraft provided a significant amount of equipment whilst easily integrating our existing equipment which was a huge plus.” Videocraft provided full OB production facilities for the three day MotoGP event, many of which were a first for the production. Maloney continued, “Videocraft did a great job. By using the truck as a hub they tied together all the internal and external facilities. They also provided all the comms and audio between all stakeholders some of whom were over half a kilometre away, integrated an EVS system and hooked an edit suite into the EVS. All the connectivity to remote locations was fibre based which provided us with the added bonus of quicker rig and de-rig times and better quality audio which was crystal clear and completely hum free. In fact Dorna Sports SL, the Spanish production company, said it was the best in circuit audio of any MotoGP event.” Videocraft also integrated Axis Films’ Tricaster system and supplied the latest RTS Telex ADAM-M intercom system which along with Dante media networking provided the IP-based comms and audio. Alongside these was a Yamaha CL1 audio desk. Maloney added, “There were so many good things about this OB truck and the facilities Videocraft provided. Their audio setup gave us great flexibility and made it easy to create custom audio mixes. The fact that it was all digital also preserved the audio quality irrespective of distance or location. They also used an excellent Lawo VPro8 audio video processor which allowed us to easily marry any audio into the video signals and back out again.” Being responsible for MotoGP Big Screen coverage is a very big responsibility with many challenges, which according to Maloney is why he was very careful in his choice of OB truck and provider. He added, “I’ve watched Videocraft MD James Taylor build that truck over the last six months and I’ve been very impressed. He has chosen the best equipment available and critically made sure it turned up ready, configured and able to cope with anything we threw at it. The fact that the truck is fibre and IP-based is a big bonus. We use MediorNet Fibre Backbone which James, like all the other parts of the puzzle such as MADI and Lawo, had no problem integrating and overall the truck and its interconnectivity capabilities are very impressive. For MotoGP we have many varied signals that have to be sent to many people and we have to interface with Dorna Sports. This takes much knowledge and expertise, all of which come in bundles with Videocraft and their truck. Dorna have very specific, unique audio embedding requirements which, again, were no problem for Videocraft. In addition we have to meet the incredibly high quality standards set down by the Australian GP Corporation so only the very best will do.” As far as Tim Maloney is concerned not only did he choose the right truck and equipment partner but the whole experience raised the bar again in terms of production values. Maloney concluded, “James Taylor treats every job like it’s his own. He quite clearly cares more about providing the best solution for his clients than anything else. This is rare in this industry and I commend him highly for his approach. MotoGP is the biggest job of the year for Axis Films and as a result of the success of this year’s event I have already booked Videocraft and their OB truck for next year. I can honestly say we now have exactly what we need, a luxurious production environment in a state of the art OB truck that makes the entire production smooth, seamless and look great.” For more on Axis Films go to: http://www.axisfilms.com.au For more on the Australian MotoGP go to: http://www.motogp.com.au

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Videocraft Review of the Sony LAFZB1 Adapter

by Michael Curwood

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#NAB2014 Products to Watch - Live Production

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#NAB2014 Blackmagic Lowers Cost Of Entry To Cinema And Broadcast Production

by Michael Curwood

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#NAB2014 Products to Watch - Cameras

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#NAB2014 Sony Delivers 4K Solutions From Acquisition To Distribution

by Michael Curwood

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#NAB2014 Products to Watch - Post Production

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Sony’s 4K Live Production Solution Delivers Sports the Way It Was Meant to Be Seen

PMW-F55 4K Live Camera System

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Avid Unveils State-of-the-Art S6 Control Surface that Redefines Sound Recording, Mixing, and Editing

Avid® today unveiled a major new addition to its industry leading family of control surfaces for sound recording, mixing and editing, further extending its leadership in the space. Avid S6 is designed for audio professionals in the most demanding production environments, delivering the performance needed to complete projects faster while producing the best sounding mixes. In addition, S6 provides mixing professionals with a state-of-the-art solution that easily scales to meet their current and future challenges. “Working in ever more complex environments with fast project turnarounds, mixers need intuitive, tactile control of editing and mixing, and the ability to easily work with other artists, engineers, and facilities,” said Chris Gahagan, senior vice president of products and services at Avid. “Drawing on more than 20 years of leading edge innovation, the S6 delivers the game-changing modularity, superior ergonomics, and streamlined collaboration to meet mixers’ changing business requirements.” Built on the same proven technology that is core to the industry-leading ICON and System 5 product families, the Avid S6 enables mixers to quickly turn around complex projects while swiftly handling last-minute changes. With its unparalleled ability to simultaneously control multiple Pro Tools® and other EUCON™-enabled DAWs over simple Ethernet, S6 also speeds workflows and enables network collaboration on a single integrated platform. Avid S6 redefines professional mixing with key features that include: Revolutionary modular design — Adapting to every stage of a user’s business, the S6 control surface can be customized with the addition of the modules needed to match current workflow. It can be horizontally and vertically scaled as the client base grows. Pre-configured S6 M10 or S6 M40 surfaces may be purchased with the required faders, knobs, etc. already provided or, with S6 M40, further personalized with different channel control combinations. Superior ergonomics — A traditional, familiar console layout allows easy transition from previous systems. The multipoint touchscreen quickly and easily accesses plug-ins, large track counts, surround panning and more, while top-lit status knobs and high resolution OLEDs add operational efficiency. Additional 12.1” displays on S6 M40 systems further enhance instant project overview by providing deep visual feedback on key items such as channel names, audio meters, routing, clip names, and scrolling waveforms. Ultimate recall enables quick location for last-minute mix changes. Intelligent studio control — Compatible with Pro Tools and other popular EUCON-enabled DAWs, S6 enables detailed work on up to eight audio workstations simultaneously, as well as the ability to switch sessions in seconds from a single control surface across the facility. High-speed Ethernet connectivity makes it easy to reconfigure operations as business requirements dictate. Availability and Pricing Avid S6 will be available at Avid resellers worldwide in Q4 2013. As a modular system, S6 is available at a variety of prices, with M10 configurations  

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Videocraft Provides Production Solutions For Beyond’s Pipsqueaks, Toybox And Lab Rats Challenge Tv Series

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Behind the Scenes of Toybox[/caption] When Beyond needed production solutions for their Challenge children’s TV series they turned to Videocraft for help. Their shows - Pipsqueaks, Toybox and Lab Rats Challenge are all original Australian concepts and broadcast both domestically and overseas. Beyond Producer Director Ian Munro explained, “For Toybox and Pipsqueaks our studio space came with no technical equipment so we were looking for a cost effective solution. Videocraft’s FlyPack kit provided all that we needed.These shows are switched, drama style, multi-camera productions requiring CCU, a switcher, cameras on pedestals and talkback communications as well as main and backup record. There are musical elements in the shows that also require 2 or 3-camera ISO recording and the Videocraft kit’s router also enables that when required.” The premise of Toybox is toys coming to life and having adventures in a child’s bedroom. To help create the illusion Beyond built sections of a bedroom at 5:1 scale and a matching complete bedroom at 1:1 scale for chroma key backgrounds. Munro added, “There is a considerable amount of chroma key in Toybox and fortunately the Panasonic switcher in the Videocraft FlyPack has enough options for us to make trial keys. It’s also useful as a reference for camera colourimetry and to fine tune lighting. With the switcher’s ability to shrink and position foregrounds we are able to match angles and correct eye lines. We are also able to record clean shots direct for higher quality keying in post and at the same time watch the live reference key to check for possible problems and cropping.” The production’s chroma key backgrounds are shots taken in the 1:1 set and Beyond now has many of the more common backgrounds stored in the FlyPack’s mixer as stills for quick shooting. The show also has two actors in full characters suits with Videocraft supplying independent IFB channels for each one enabling them to hear other actors on programme audio and the director’s talkback. Pipsqueaks uses the same Videocraft FlyPack kit but set to HD for switched multi-camera and ISO recording. As Pipsqueaks is a programme involving puppetry there are additional challenges which Videocraft were again quick to provide solutions for. Munro continued, “In a big set the puppeteers require numerous reverse scan monitors to perform. One option would be to go to a bigger switching desk with the ability to flip images on a separate layer but this is beyond our budget and small OLED monitors which offer the reverse option are too small for puppeteers to use across a big set. We were looking for a cost effective solution and Videocraft spent some time checking out possibilities and found a small converter they could feed into the router - happy days!” The third show in the series, Lab Rats Challenge, is a multi-camera science game show. Due to its unpredictable content it requires all cameras to be ISO recorded – another challenge met and overcome by Videocraft. Munro explained, “While the studio is fully equipped with technical gear the studio wasn’t able to dedicate six ISO recordings. We approached Videocraft to help and they designed a recording and post-production path within our budget, supplying and installing an EVS system to record all the cameras and the switcher output. The only issue was, for a one off production period, it wasn’t feasible to cable the EVS to the Avid. So Videocraft created a simple system of multiple portable raid drives to get the material from the studio to the edit suite. Videocraft also trained our crew to run the system and even though we were interstate, supplied support immediately when we needed it.” With three shows to produce, tight budgets to adhere to and seemingly ever-shrinking timelines it’s become more important than ever for Beyond productions to have an equipment supplier and systems integrator that they can trust and rely on. Ian Munro concluded, “I have always appreciated the help and care Videocraft have given us when designing an appropriate system to fit a show’s needs, especially when the budgets are tight. Working in the lower budget end of production on children’s television, you sometimes feel like the poor cousin but Videocraft have always understood and been totally accommodating. The end result is that we have been able to make extremely efficient television with great production values.” The latest series of Toybox starts on 7Two on 28 August. For more information on Beyond Productions go to: www.beyond.com.au

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Videocraft Builds Full Production Facility For Hillsong Church

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Hillsong Church’s new state of the art full production facility in Alexandria designed and built by Videocraft[/caption] The title for one of the year’s more impressive studio builds currently belongs to Hillsong Church’s new state of the art full production facility in Alexandria, which Videocraft helped design and build. Hillsong TV Technical Manager Luke Irvine explained, “For years our Waterloo campus in Sydney has been growing and we've had a great need to expand our facilities to house the increasing numbers of people attending. As a church we have looked at many options to help relieve the pressure and time restraints that we faced with our current building in Waterloo. Before we embarked on this new project, we were running eight services on the weekend to try and accommodate everyone. Thus the decision was made to custom-build an additional venue so the campus could still grow and not be crippled by time and space.” The venue Hillsong chose was in the neighbouring suburb of Alexandria which was, before construction, an empty warehouse with shop fronts requiring a major construction effort to get it ready for use. Irvine continued, “The warehouse building was converted into a 950 seat auditorium so we knew we had to have a high quality production facility to cater for that many people. That’s why we turned to Videocraft to help us build it.” Hillsong and Videocraft have had a successful relationship with the church utilising many of the company’s rental services over the last few years. After a personal customer service call from Videocraft’s Shane Jones ignited the project, the church decided to put out an industry-wide RFQ which was particularly well responded to. Once the tenders had been submitted, due to the nature and importance of the project, Hillsong took a good deal of time to study each one with great care before deciding on Videocraft as their equipment partner and systems integrator. The RFQ, according to Irvine, had some very specific requirements that made it unique from a traditional broadcast facility, but with quality always the overarching feature that had to be factored in. In essence the system revolved around dual Ross Carbonite switchers chosen predominantly due to their flexibility, functionality and cost effectiveness. The Carbonite switchers particularly excel with their onboard format conversion capabilities, built-in high quality multi-viewer and integration with the Ross Dashboard, which also oversees control and diagnostics of all Ross components across the entire system. Irvine added, “In short our requirements were that the system must be HD, facilitate four cameras, three projection screens and multiple external rooms. The system also had to enable linking to and from all other campuses and keying of song words had to be achieved on five different feeds with different backgrounds and different overlays with ease of use for one volunteer operator. The system had to be cost effective but extremely reliable, easy for volunteers to use on a weekly basis and versatile enough to accommodate for future changes that will happen within the campus. Every source and destination needed to be easily monitored by the relevant volunteer operators and the system had to also be capable of a broadcast TV record for our television programme Hillsong Television – in other words yes, it was quite an extensive set of requirements.” Irvine said, “Videocraft worked closely with us to find really good solutions to achieve a great result. They where willing to look at all options to give us the best outcome and price. They also gave us pros and cons of equipment and allowed us to make changes as we went along to take advantage of cost savings and usability of the system. Videocraft also worked very hard to fully understand our requirements and workflow – this was key to the success of the system especially in tricky areas like the integration between the keyer cards and switcher. They also had a great attitude even through some of the really challenging construction problems of the building.” When complete Hillsong’s new production studio included two Ross Carbonite vision switchers, a Ross video router, Sony OLED and LCD monitoring, several TV One scan converters, Blackmagic design Teranex 2D converters and HyperDeck Studios, a GVG T2 Turbo server, Ross OpenGear and mini converters, Sony cameras, Canon lenses, Vinten and Miller tripods and fluid heads and live IP video links between campuses. There were also significant audio, comms, display, rigging and lighting components supplied by others that Videocraft worked with and integrated seamlessly. Irvine and the Hillsong team were particularly impressed with the quality level and attention to detail of Videocraft’s involvement. He commented, “The Videocraft team were extremely helpful and continually suggested ways of making the system better and more cost effective. They were always professional and impressively took total responsibility for the systems integration, equipment selection, system design and diagrams, installation and labeling all in-house. Videocraft's willingness to work with us, take our ideas and make them work was a major plus. Also the fact that they could work with very tight budgets and be totally honest about the real cost of things from the very beginning was excellent. Listening, thinking outside the box and working with tight budgets is classic Videocraft. To that end I must say a particular thank you to Andy Liell, Glenn Beaumont and the entire Videocraft team for their outstanding effort and commitment to this project.” When inspecting Hillsong’s new production facility it’s sometimes a little difficult to believe that only a few short months ago it was a deserted warehouse. Hillsong Project Manager Sebastian Heck said, “We have often had people from other part of the building install project come and admire the cabling work and the neatness of the racks in the Videocraft install. Many of our volunteers comment on the professional look and feel of the control room and how it looks like we are part of a TV broadcast station control room. The song words on screen setup is my personal favourite as it is so easy for the operator to control the five different feeds they need to without them really having to think much about it at all.”

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Videocraft Produces Mobile Highlights Show for 2012 Tour Down Under

Furthering its expansion into full editing and production solutions Videocraft recently produced a one-hour daily highlights show for Beyond Productions, Channel 9 and the Tour Down Under cycle race. Videocraft sales director James Taylor explained, “In order to achieve 48 minutes of daily content on the move we had to use Videocraft’s mobile edit facility. This production was not like the Tour de France which is one continuous live broadcast. The Tour Down Under footage is created from scratch while the race is on. This is no mean feat and relies completely on the equipment you use and editors and producers who really know their jobs.” Videocraft’s mobile edit truck moved with the race as the cyclists powered their way across South Australia. Moving with them were multiple Sony PDW-700 XDCAM 4:2:2 cameras acquiring and storing footage on optical discs. Taylor continued, “We used Canon’s new image stabiliser lens for the main motorbike camera material which helped us get far more stable shots. It’s a great lens and perfect for this type of shoot.” Videocraft also provided all the technical management for the production and put together the workflow that included multiple XDCAM cameras feeding material into their edit truck. Inside the truck was an EVS XS server and IP Director which were used for all live stages, ingest from OB trucks and all playout of finished shows. Taylor explained, “We got material into the system and logged it to make the editors job easier. Then the producer could find all the shots they wanted from the OB and put together the highlights for news.” Videocraft also brought a level of functionality and flexibility normally associated with a fixed production house setup to a constantly changing mobile environment – all within 15 minutes of parking their editing truck. A cycle race involves long hours for all involved and the Tour Down Under was no exception. The production was based around 18 hour days every one of which saw producers and editors sitting alongside James Taylor in Videocraft’s edit truck so there would be no interruptions to the workflow. “It was a no frills set up, that’s for sure,” added Taylor. “The camera guys on motorbikes would drop their discs at agreed points and we would ingest the material into our edit system. The editors would then pick content from logs that the producer had created and we would add in graphics from within our system. The story was then put together and cleaned up with the final voice over added using Avid Media Composer’s audio punching tool. Once complete the finished edit was stored in the EVS server for playout later via satellite.” Videocraft also created and encoded news highlight packages for the Internet within their mobile editing facility for the entire duration of the Tour Down Under. All in all a complete production and editing solution. James Taylor concluded, “A production like the Tour Down Under is fast, furious and often hectic but at Videocraft it’s what we do best. In this case we used an Avid Media Composer, Nitris DX and Isis 5000 shared storage solution as this setup is perfect for the fast turnaround, high-pressure environment and critically, it delivers time and time again. Our discussions with our clients as we prepare for this type of production is always the same – what’s required is a reliable and trustworthy workflow with a systems integrator who can make it happen in far from perfect environments. After 40 years in the business, it’s something we pride ourselves on achieving.”

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Videocraft Provides Oprah In Australia with Editing, Post Production And IT For Sydney Opera House

When Harpo, Oprah Winfrey’s production company, first decided they were going to put on the Opera House Spectaculars, according to Videocraft Project Manager Dan Miall, they had one specific requirement, “To recreate the editing, post production and IT facilities they use in Chicago in Sydney.” Harpo initially approached Avid USA who in turn put them in touch with Avid Australia and Videocraft. Miall explained, “Harpo are an incredibly professional production company. To that end they were very specific in their technical requirements all of which were based around renting a series of Avid Unity Isis and Interplay systems.” As Harpo did their due diligence they discovered that Videocraft were the company in Australia who could provide exactly what equipment and infrastructure they needed to produce the Sydney Opera House shows for Oprah'sUltimate Australian Adventure. Miall continued, “We met with Radi Akel, Harpo’s General Manager, during the Commonwealth Games and showed him the OB edit system we had installed at Foxtel which took care of all the games’ highlights for Fox Sports. Radi was impressed and so we sat down to plan exactly what would be required for Oprah’s Sydney shows.” In all Videocraft provided eleven high-end edit suites with 64Tb of storage and Interplay digital asset management. Miall explained, “This was a major installation. The kit list included multiple Avid Media Composer Nitris DXs, Sony LMD-2450W 20-inch LCD professional video production monitors, Dynaudio Acoustics BM5A two-way Active Nearfield Monitors, Interplay Assist stations, Tektronix WFM5000 Multi-Format Waveform Monitors and Yamaha A/V. They really were eleven top of the line edit and post production suites.” In addition to the editing and post production facilities Videocraft also provided Harpo with all of their IT requirements which included 60 laptops, 18Tb of storage, printers, active directory sharepoint and integration. Dan Miall added, “This was one of the biggest and most unique temporary installations Videocraft has ever done. We knew we had to provide all of Harpo’s editing, post and IT requirements for two live shows and two tape-based shows at the Sydney Opera House, but then came the really tricky part - everything had to be installed on the 12th floor of the Intercontinental Hotel in just two days. In other words we had to build and convert the entire floor of a hotel into a fully functioning post facility in 48 hours.” With the project given the green light Miall and the Videocraft team began the unique installation and hotel floor conversion. In the meantime Harpo gave further details of the shows’ format. To celebrate 25 years of the Oprah Winfrey show 302 audience members from the USA came to Australia with the talk show Queen armed with mini DV cameras with which they were to record their adventures. Miall explained, “The audience members’ footage was recorded and ingested as low res .wmv files. The files were then logged in Chicago where the producers chose the shots they wanted and then these files were ingested for a second time into the Avid suites we built at the Intercontinental Hotel. The Sydney suites were then used to cut packages ready for broadcast within 24 hours. As often there were many versions of different packages, the suites had to run very smoothly and very efficiently, which I’m delighted to say they all did.” Commenting on the production of the Oprah’s Ultimate Australian Adventure shows Harpo General Manager Radi Akel said, “Everyone at Harpo was amazed and delighted with what Videocraft did for us. The central equipment room they built was awesome and the level of equipment they provided along with their service was second to none. We discovered early in the project that they were the best company in Australia who could put this kind of system together and it became very clear why over the course of our time in Sydney. The installation was 100% on time and the entire Videocraft team were incredibly professional, flexible and nothing was ever too much trouble. They gave us everything we needed with a smile and a kind word – even when we switched from XDCAM to HDCAM one week before the shows were to be recorded. I really cannot thank Dan Miall and the entire Videocraft team enough for what was a seamless and perfectly executed project.”

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Videocraft Helps Wahroonga Adventist Television Win 3 USA Industry TV Awards

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Wahroonga Adventist Television[/caption] When Wahroonga Adventist Television (WAT) needed to replace all of their SD production equipment they approached Videocraft to help. Little did they know that this technology upgrade and refresh would lead to the innovative production facility winning TV industry awards half way across the globe. Wahroonga Adventist Television produces around two hundred half-hour TV programmes per year broadcast on Sydney TVS, Foxtel and seven other international networks including Direct TV in the USA eight times a week. WAT are also a significant programme producer for the Seventh-day Adventist (SDA) Church and can also be found on the Hope Channel - the SDA international satellite channel available worldwide and in Australia via the Optus satellite that carries Foxtel. WAT Production Manager Andrew Hunt explained the upgrade and subsequent awards, “Recently I spent a large amount of time trialing and testing all the available HD products in our price range. In a previous life I managed an older HD flyaway kit and was looking to significantly improve picture quality. As ever, before any major equipment purchases, I spoke with Shane Jones and the team at Videocraft to get their opinion on which cameras would suit us best and what other kit we could combine them with to give us a top class HD flyaway kit.” WAT and Videocraft have had a long and successful partnership so Hunt was confident the right solution could be found. “After much discussion and research we decided the cameras most suitable that would give the picture quality improvements we required and stay within our budget was the Sony EX3. In the end we coupled four EX3s to a Panasonic switcher and an AJA KiPro HD hard disc recorder. I must say the AJA KiPro is by far the outstanding performer of all the hard disc recorders we tried as it can record in multiple formats and various compressing settings. It also transcodes both up and down and is the best value for money.” As part of the flyaway kit WAT’s four EX3 cameras are fed into a Panasonic AV-HS400AE multi-format HD/SD switcher which Hunt described as, “another excellent product that offers a tonne of user goodies including a built in multi-viewer.” He added, “It’s hard to believe now but it was less than two years ago that if you wanted a multi-viewer you had to invest around $15K for a dedicated unit and that’s all it did. The Panasonic AV-HS400AE multi-format HD/SD switcher gives you so much more for far less money.” Having just returned from the USA Hunt was particularly impressed with how the flyaway kit travelled. He said, “We really liked the outstanding picture quality of the EX3s, the versatility of the Panasonic switcher and especially the versatile AJA KiPro, a product that’s worth three times what you pay for it in terms of functionality and technology. We also use our kit in our studio at Wahroonga shooting and editing four 30-minute programmes a week without any issues at all.” The TV industry awards were won by Hunt and WAT on their most recent trip to the USA where the flyaway kit was used almost continuously. Hunt explained, “We shot seventeen 30-minute docos on location in three weeks. These included music videos, ‘talking head’ Christian programmes, kids TV shows and ‘Footy Show’-like panel discussions. The kit performed faultlessly and has done ever since we bought it. We have also had excellent feedback from our broadcast partners about the sharpness, clarity and quality of the images we produce. After the docos were shot and aired we were fortunate enough to win three TV industry awards for them which was great recognition for the quality of the programmes, the equipment used and the effort made by the people responsible for them at WAT. We were delighted.” Hunt and the team at WAT are a good example of a professional high-output team who need to keep a strict control on what they spend but refuse to compromise on quality. Hunt concluded, “I would recommend that anyone who needs to produce high quality programming on a tight budget talk to Videocraft before they spend a cent. Videocraft is my first choice for all my professional broadcast equipment needs - they have the expertise and industry experience that I require - this is so important when you are spending a good deal of money on equipment. You don't want to invest in outdated technology and it is very important that your equipment supplier is well connected and well informed on issues surrounding the direction of the industry. Videocraft also has a huge rental department which has been very helpful in providing equipment in order to get me out of those inevitable tight spots that sometimes occur. Recently I had a situation where I needed to get my AJA KiPro upgraded but time didn’t permit so I was very grateful that Videocraft lent me one of their units whilst mine was unavailable. Try getting an Internet box seller to help you out like that and give that level of service, that really is impossible!” Hunt and the team, at Wahroonga Adventist Television move directly on from their award-winning TV docos to shooting on location in Sydney and the NSW Central Coast for their Sydney TVS Saturday and Sunday morning programmes. Recent programmes made by Wahroonga Adventist Television can be found at: http://www.wahroongasda.org.au/videos_browse/videos_browse.html

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