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Recently RMIT University undertook a significant renovation of its Melbourne city faculty specifically to open their campus up by redoing its Swanston Street facade and substantially renovating seven floors across four buildings. This huge undertaking was known as the New Academic Street, or NAS, Project. The existing buildings were where RMIT had its TV studios, originally built in the 1960s, much used and loved but long overdue for an overhaul. The NAS project provided an opportunity for RMIT to replace the old TV Studios with world class, cutting edge facilities to support both current and future trends in media production as well as RMITs research requirements in the digital media realm. To help them with the design and build of the complete project they turned to Videocraft. Before the project could start the university put out a tender for the design, construction and integration of four control rooms (two of which were to be UHD), five studio spaces and a virtual and augmented reality system. The tender also specified some unique components including a fully distributed routing system, UHD record and replay solution and the ability to quickly move any studio to any control room, or multiple control rooms. Technical Services Manager School of Media & Communication College of Design & Social Context at RMIT University David Beesley explained, “We required world class facilities with a futureproof and flexible infrastructure - a big ask - and we required a company who could work with us to enhance our vision of what these facilities would look like and how they could support our specific pedagogical needs. In conjunction with other industry leaders and after extensive research and consultation, RMIT came up with a base design which was subsequently put out to tender. Videocraft's winning point of difference was their ability to add significant value to our vision and turn it into a functioning reality.” Videocraft worked with RMIT end users to finesse the design and ultimately supplied and installed the kit for four TV studios and control rooms, a master control room (MCR), RMIT’s 'Black Box' research studio and multiple fibre-linked OB points throughout the NAS Precinct. [gallery ids="https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5135.jpg.jpeg|Head of ABC News speaking at the RMIT NAS Project opening,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5130.jpg.jpeg|James Taylor in one of the four control rooms designed and installed by Videocraft,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5136.JPG-e1522805026155.jpeg|,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5131.jpg.jpeg|James and Jeanette Taylor at the Opening of the RMIT NAS Project,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5132.jpg.jpeg|Panasonic 4K UHD Studio Cameras,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5129.jpg.jpeg|Checking out the studios on RMIT's Opening night for the NAS Project,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5133.JPG-e1522804985885.jpeg|Panasonic 4K UHD Studio Cameras,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5126.JPG-e1522804965720.jpeg|Installation by Videocraft at RMIT TV Studios,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5125.JPG-e1522804937190.jpeg|Installation by Videocraft at RMIT TV Studios,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5128.JPG-e1522804906693.jpeg|Installation by Videocraft at RMIT TV Studios,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5127.JPG-e1522804881286.jpeg|Installation by Videocraft at RMIT TV Studios"]   Videocraft Head of Engineering and Projects Nick Maclean added, “We also designed a Central Apparatus Room for the 4 control rooms and 5 studios, plus supporting spaces such as green rooms, makeup rooms and production offices. Given that this was not a greenfield site, but a retro fit of an existing building, there were considerable constraints with the spaces, but with clever design we were able to come up with a solution that met the brief.” As part of the scope required a ‘distributed’ router Videocraft decided to install a large Riedel Mediornet system as, based on a 10Gig backbone, the system can handle up to 384x384 3G HD signals. For a distributed audio network they implemented a Dante audio network and ensured that all the audio mixers, stage boxes and tie lines were IP connected over a 10GigE IP network with a Cisco Nexus backbone. Videocraft also installed IP KVM systems, IP talkback using Riedel Smart Panels, and IP wireless comms using the new Riedel Bolero AES67 wireless keypanels. To tie all these systems together they used Lawo Virtual Studio Manager, a control solution that removes all the complicated backend components and presents a unified interface for operators. Beesley continued, Videocraft also installed the first UHD EVS system in Australia, which included IP Director and XFile for file-based ingest and delivery of both HD and UHD studio content. Critically they also supplied and installed kit for our temporary TV studios, constructed for the duration of the major build, to ensure business continuity. It really was a first class job and they met our every requirement.” Other kit supplied and installed by Videocraft included Panasonic 4K UHD camera chains, Sony vision mixers, a Zero Density 'Reality' virtual set and MoSys camera tracking, Ross Expression graphics, Yamaha audio desks and ARRI lighting. Beesley continued, “Videocraft took charge of face to face meetings, design workshops, numerous stakeholder and site meetings, design revision, installation, commissioning and testing. Their approach was professional and flawless.” Now complete the new facilities are used for teaching, including live broadcasts, research and more. As a result RMIT students can now learn on the same tools they will encounter in the field to which Beesley added, “These are the first purpose built UHD studios in Australia. They are at the forefront of technology for anybody, but for a teaching facility they are undoubtedly the number one studios in Australia. They are flexible and their unique infrastructure ensures that they'll be fit for purpose well into the future.” David Beesley, clearly incredibly pleased and incredibly proud of RMIT’s new TV and production facilities felt compelled to highlight the real shining lights of the project concluding, “There are many wow factors with the new facilities with their flexibility, extensive use of fibre, VSM, and 4K UHD capabilities but the real standout is the Zero Density Reality system. Videocraft installed a two-camera system with Star Tracker motion tracking which can render full virtual sets and augmented reality elements in realtime with unbelievable realism. The system uses the Unreal Engine for 3D design and rendering and the results are simply stunning. It’s the most realistic virtual system we have ever seen. I cannot speak highly enough about what Videocraft did for RMIT during this project. They were amazing to work with, incredibly patient, understood our unique requirements and worked with us to create something that is truly great, and the envy of many.”

Sit back and enjoy watching "Near the Superstition", a short film demonstrating the top-class imagery of an EVA1 production. Director of Photography Elle Schneider shot the western in the Mojave National Preserve, where the digital cinema camera captured high-quality footage in extraordinary weather and lighting conditions. No matter the circumstances, the newly-developed Panasonic camera utilizing Dual Native ISO and 5.7K Super 35mm ensures a truly cinematic experience in visual storytelling.

“In our VariCam Cinema Cameras, Dual Native ISO sensor technology opened up a whole new world to cinematographers. It allowed them to shoot, light and work in new ways not possible before,” noted Rob Myers, National Sales Manager, Broadcast, Panasonic Australia. “The inclusion of that proprietary technology in the AU-EVA1 means that they will be able to shoot in bright sunlight or night exteriors without compromising the image quality.” The newly-designed AU-EVA1 sensor is Super-35 sized (24.60mm x 12.97mm) with 5.7K resolution. With an active resolution of 5720 x 3016, the AU-EVA1 delivers more than 17.25 million photosites, nearly double the 8.8 million for 4K DCI (4096 x 2160). By starting at a higher native resolution, the 5.7K sensor yields a higher resolving image when down-sampled to 4K, UHD, 2K, or even 720p. Additionally, the increased color information results in a finer, more accurate finished image.

Panasonic has previewed the AU-EVA1, at Cine Gear Expo 2017 in Los Angeles, over the weekend. This new 5.7K cinema camera is compact and lightweight, tailor-made for handheld shooting, but also well suited for documentaries, commercials, and music videos.

For more information about the documentary - go to the Facebook Page https://www.facebook.com/chasingthelightdoco/ And for more information about Geoff Young and the content agency Storyhead visit their website http://www.storyhead.com.au/  

The Ikan Beholder MS1 Mirrorless Gimbal Stabilizer brings the simplicity and flexibility of a handheld gimbal stabilizer to the world of mirrorless cameras. It features a 3-axis, motorized gimbal designed to keep your camera level and isolated from hand shake while allowing you to create smooth, organic moving camera shots. The MS1 features two operational modes: a following mode that smoothes your camera movements and a lock mode that will hold your camera in its position as you move. The Ikan Beholder features a thumb button/joystick which you use to select modes. You can also use the joystick to pan and tilt your camera on the gimbal. Main Features:

• Supports Cameras Up to 1.9 Pounds
• 3-Axis Stabilizer
• Sliding Base Plate with 1/4"-20 Screw
• Removable Li-Ion Batteries
• USB Charging Port in Handle

• Sony A7S
• Sony A7II
• GH4, GH3, GH7
• A6000
• BMPCC
• NX500
• Canon G6
• RX100 - with included adapter plate
• NEX series

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Sydney based cinematographer Abraham Joffe is an award winning cinematographer who has built up one of Sydney's most successful wedding and event filmmaking companies - Abraham Joffe Videographers. Recently Joffe and his team made history by filming their first 3D wedding using the services of broadcast equipment sales and rental specialists Videocraft and 3D cameras from Panasonic Broadcast. Joffe explained, “I approached Videocraft with the idea of shooting a wedding in 3D and asked how they would suggest I go about it. After some discussion they recommended using the AG-3DA1 3D camera and then called Panasonic to arrange this. The AG-3DA1 cameras are to be released towards the end of the year and with only two prototype 3DA1 cameras currently in the country, they are incredible sought after so this was no easy task. Fortunately Panasonic were very accommodating and Videocraft were able to get the cameras.” 3D Wedding Shoot - Sydney Australia from Abraham Joffe on Vimeo. The Panasonic AG-3DA1 is a revolutionary twin lens professional 3D camcorder featuring two independent optical systems, automatic left-eye/right-eye image deviation correction within the camera, worldwide recording with 50hz/59.94hz switchable and records to two SDHC memory cards in PH mode AVCHD. Joffe continued, “I had been interested in 3D for some time and was excited about the prospect of shooting a 3D wedding. 3D rigs to date have been cumbersome and challenging to configure and thus did not lend themselves to shooting weddings. A wedding videographer cannot wait to set up the next shot or get in the way at a wedding so we needed something quick, simple to use and flexible. The Panasonic AG-3DA1’s compact size and easy operation suited the wedding shoot perfectly.” Joffe along with team members Edgard Neves and Alfio Stuto had less than 24 hours to get up to speed with Panasonic's professional camera division on how to produce desirable 3D imagery which included learning how to control the ‘conversion point’ - the point at which the 3D element of the picture pops from the screen. Joffe said, “I was extremely impressed with how these cameras performed in the rapidly changing environments the wedding threw at us. They are also incredibly light and portable which makes them superb for moving about and quick setup. 3D does add a further level of complexity to your shoot and there is a lot to get your head around.” The ceremony took place at the historic The Tea Rooms - Gunners Barracks venue in Mosman with the outdoor nuptials held in the early 19th century stone courtyard in the fading light of the day. Joffe’s assistant Edgard Neves had one camera attached to his body on a Steadicam rig allowing him to move about and capture immersive moving shots throughout the day including one particularly impressive sweeping steadicam move as the bride approached the aisle and her waiting groom. At the reception, a 3D TV was setup and various segments of the day were played back to the delight of the guests and the happy couple who put on 3D glasses and watched the footage. Rob Myers from Panasonic Broadcast said, “We are delighted to have been able to help Videocraft and Abraham Joffe in making the first 3D wedding shoot happen. Panasonic Australia is very excited about 3D and the release of the 3DA1 camcorder. Local interest has been very strong with pre orders taken across all areas of the industry from staging companies to networks. Videocraft has been a significant addition to our Broadcast Dealer Network. Their commitment to the industry and customers is highly valued by Panasonic. Their commitment to Panasonic has also been significant recently placing orders for the soon to be released AG-3DA1 3D camcorder for demonstration to their customers.” Abraham Joffe concluded, “Videocraft were great in helping us shoot our first 3D wedding. They also assisted with the post production which was a real bonus. Panasonic’s AG-3DA1 cameras will put 3D technology well within reach of smaller video producers and as a result 3D video production will become more mainstream in the next few years. It is most definitely the future for weddings.” To see footage from the ‘making of’ the 3D wedding shoot go to: www.cinemaexperience.com.au

Recently the Video Production Department at The Salvation Army in Sydney was approached to film a documentary on the Red Shield Defence Service’s (affectionately known as Sallymen) involvement on the Kokoda Track during WWII. A group of Sallymen from throughout Australia took part in an historic hike on which a memorial was laid paying tribute to the Red Shield Defence Service men who bravely served during the war. Richard Cause, Technical Producer of CPR Productions for the Salvation Army Australia East THQ explained, “Given the significance of this event and the historical importance of the Sallyman during the Kokoda campaign, we saw this as an opportunity not to be missed. Having used Videocraft over the years, we thought we'd ring them to enquire about what the team consisting of Peter March (Journalist), David Scarborough (Editor) and myself (Cinematographer) might need to film a documentary such as this. So we were obviously after something that was lightweight, compact but also high quality. It also needed to be able to withstand the very rough conditions of this infamous trail.” Videocraft NSW State Manager Andy Liell recommended the Panasonic HPX172 camera. Cause continued, “We took Andy’s advice and used two Panasonic HPX172 cameras, one we already had and one Andy helped us get through Panasonic Australia. The team first looked at using an alternative, but after researching it decided that the HPX172 was the better option. The first reason for us deciding to take the P2 was quality. The project needed to be shot on the highest quality, yet most compact format. The second reason for us choosing the Panasonic was weight. Being that we were going to be carrying this gear along one of the world’s most grueling hikes, we found the P2 to be the most suitable camera size-wise without compromising quality.” Cause and his team found the cameras to be very light and user friendly. He continued, “Also, having a solid-state format, it was easy to review clips that were shot over the course of each day and not have the hassle of cueing the tapes back up.” The documentary was shot in very high humidity areas, something that brought its own challenges and surprises. Cause explained, “Not recording onto tape, which can be affected by the moisture, was a bonus and another reason we chose the P2. We were also shooting in very muddy, slippery and steep mountainous areas and we found the P2 rugged enough to cope with the occasional bang or drop.” The shoot went particularly well and Richard Cause and his team were very grateful to all those who helped make it happen. He concluded, “We want to thank Panasonic for their support with the second camera and we’d like to particularly thank Andy at Videocraft was really helpful when it came to answering questions in relation to what we would require to take on this shoot. The other thing that really impressed us was Videocraft’s willingness to go the extra mile and help us obtain additional loan P2 cards from ABC TV facilities, which we were otherwise not going to be able to afford to purchase.” The Red Shield Defense Service’s Kokoda Track documentary will be aired in 2010.