Articles tagged #IP
Articles tagged
#IP
Australian Open Overview 2022
This year at the Australian Open, we provided equipment and engineers for a range of clients.
Videocraft builds State Of The Art TV Studios and Production Facilities For RMIT
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.”
Using your IPhone for audio production – coming soon is the new Sennheiser FOCUSMIC Digital
At IBC, Sennheiser is previewing the FOCUSMIC Digital, a rugged mini-shotgun microphone for high-quality videography with the iPhone. Designed with a proven Sennheiser capsule and Apogee PureDigital pre-amp and A/D converter, the FOCUSMIC Digital plugs directly into the Lightning port of the iPhone and delivers high-quality, focused audio from the direction of filming. The new mic attaches to the smartphone via a rugged metal grip that can accommodate a variety of iPhone models (from SE and X to 8 plus) and case designs, and also allows the mic to rotate through 270°, including a selfie position and a transport position. The FOCUSMIC Digital will be available from Q2 2018.
Miller Tripods launch CompassX Fluid Head series
Miller Tripods has announced the CompassX series, premiering at IBC2017, offering five models to choose from – CX2, CX6, CX8, CX10 and the CX18. The new CX fluid heads incorporate Miller’s CB PLUS enabling technology, which takes traditional counterbalancing a step forward. All five models feature 16 positions of counterbalance for fine, rapid adjustment and the side loading base plate enables fast and easy mounting and alighting of camera rigs. The inherent wide payload range of the CompassX series provides maximum flexibility when switching cameras or adding accessories. Its robust construction guarantees a long, low maintenance service-life and low cost of ownership. “In our continued goal towards meeting our customers’ needs, Miller is delighted to present the CompassX series, the most flexible and durable fluid head solution for today’s videographers and their professional requirements,” says Charles Montesin, Global Sales and Marketing Manager, Miller Camera Support Equipment. “This new series is the result of intensive user research and innovative design. We are excited to launch the CompassX fluid heads at IBC and eager to see our customers use them to their full potential.”
The World's Fastest Tripod Legs. Sachtler Flowtech 75
Revolutionary New Tripod Technology Simplifies and Accelerates Camera Operators’ Workflows With Instant and Easy Setup, Versatile Height Range, and Exceptional Torsional Stiffness.
Videocraft sponsors ACS Cinekids Program and Awards.
In 2015, Videocraft became the first National sponsor dedicated solely to Australian Cinematographers Society CineKids Program and Awards. Videocraft and the ACS will work closely together to further promote and develop ACS CineKids in order for it to reach a broader group of eligible children, who will benefit from participating as a member of ACS CineKids.
So what did Videocraft take away from the NAB Show in 2015?
While everyone has their own take on the show depending on what interests them, here is what our very own James Taylor (@VideocraftJames) took from NAB this year. 4K is everywhere now. This was absolutely the case, with pretty much every company having 4K logos on their gear. Obviously 4K has been around for a while now in digital cinema production, but is now a real option to now produce 4K for live television. I may be jaded and cynical, but walking between all of the stands I felt that 4K on big TV’s did not feel as ‘special’ as maybe I would have hoped. But with an exception: the new hope is not more pixels, but High Dynamic Range (HDR), also defined as a new standard, BT.2020.
We have had image sensors for quite a while now with fantastic ability to handle dark areas and highlights in a RAW mode for later grading, but very simply it is about choosing what you want to throw away in post. The idea of HDR is that the performance of the imager can be more faithfully produced, and coupled with a wider colour gamut I had found this so much more impressive. The colour reproduction was so much better, and having the ability to see in to dark areas without the bright areas blowing out was a revelation to see on a domestic style screen. I would personally choose HDR images over ultimate resolution, but I suppose we get both. If we all have to go through the upheaval of changing everything to 4K, I feel that the extra pixels really did not add anything to experience if we are still constrained by the current 709 colour space used in HD systems. So, look out for HDR! Using IP infrastructure to replace traditional video cabling. I think that NAB 2015 could be defined as the year where IP infrastructure could be defined as a real thing, and all of the big companies had large amounts of new toys on their stands all vying to be the ‘new standard’, within the SMPTE ratified standards, if that makes sense! Right now, it is very much a product line for the top end of town, and I think that there will be a fair bit of pain and suffering over the next few years as everyone tries to establish their place on the market. I found it interesting that while I always thought that the idea was to be able to use standard (although high end) IT infrastructure, at this time I don’t think that that really is the case. 
When I look at what has happened in professional audio over the years, many standards have come and gone, and only now are we really starting to see some possibility of audio over IP systems talking together with the AES67 standard. It is absolutely the way of the future, and I am excited about it, but right now I do have total interoperability with my copper (or fibre) HD SDI cable which will go between any brand of equipment, but right now I don’t think I would be able to as easily achieve that on IP. We only have to look at the myriad of file types in post-production workflows now to imagine what our future could look like! The 8K Sideshow. The Japanese, driven by NHK are driving 8K demands, and while it is amazing at the data rates we are seeing, it does feel a very long way off when you live in a country with the bulk of free to air TV is being delivered in heavily compressed SD. It was such a pleasure to watch good-looking HD broadcasts over in the US, and I continued to marvel at what HD should look like, and lament what could have been for HD in Australia. It all feels like something that is being pushed on us so the TV manufacturers can make us buy new TV’s… I think also exactly the same reason why we need 4K! Amazing technology though that when you think in DSLR speak, these cameras are taking a 33 mega pixel still 60 times a second… Sony Optical Disc Archive. I wasn’t really intending to focus on a particular brand, but I suppose it is my opinion and I really liked it for a lot of things we do! We have been using (and will continue to use) LTO tape as our long term archive solution. I won’t go in to the whole reason why we go to tape, but suffice to say that if your archive is on a single hard drive, then it is not an archive! 
The Sony Optical Disk archive system has matured, and it has had some major new clients over the past year apparently. What we like about it is that we have an archive grade media system with random access, and that is a huge advantage. In conjunction with an archive system, such as Storage DNA, it really makes it possible to use an archive media as a nearline storage system without having to have another pile of hard drives just to park your media away from your really expensive online storage. Extra capacity is as easy as buying more cartridges, and you have media that is more stable than tape. I could go on about it for hours, but I really do see this as the ideal archive system for the needs of the Digital Cinema and TV industry. We will be pursuing this further once we get back to Australia, so stay tuned! They were the main things that I took from NAB this year, and I know that there were lots of other things out there that I didn’t even get time to look at! Enjoy!Videocraft Expands RTS Talkback Fleet with First Omneo System in Australia
Videocraft has expanded their already extensive talkback fleet with the latest RTS ADAM-M matrix and also become the first company in Australia to purchase and integrate the matrix with the advanced OMNEO media networking architecture, courtesy of Magna Systems and Engineering. Videocraft Sales Director James Taylor said, “We purchased an OMNEO OMI-32 card for the ADAM-M frame and OKI cards for our KP-32 keypanels to interconnect them via IP to the frame. We also purchased these cutting edge products as they integrate seamlessly with our Audinate Dante™ audio systems allowing us to offer multi-channel digital audio in and out over a standard CAT-5 cable. This significantly speeds up the deployment time for any comms system as it makes us up to sixty percent faster on installation.” OMNEO is a media networking architecture for professional applications. Using standard IP Ethernets, media products that integrate OMNEO can be assembled into networks of two to ten thousand cooperating devices that exchange studio-quality synchronised multi-channel audio and share common control systems. OMNEO’s media transport technology is Audinate’s Dante™, a high-performance, standards-based, routable IP media transport system. OMNEO’s system control technology is based on an Open Control Architecture (OCA) which is an open public standard for the control and monitoring of professional media networks. The new RTS ADAM OMNEO interface cards transform the ADAM intercom system into a flexible, IP-based, AVB-compatible intercom network.Taylor added, “The ADAM-M OMNEO system is incredibly powerful and flexible and suits the many and varied talkback installations we undertake. The system is also futureproofed as it has significant room to expand this single 3RU ADAM-M frame up to a 256 x 256 matrix using the new IP OMI+ cards.”The RTS ADAM-M matrix provides a convenient compact unit where a large number of ports are required and space is at a premium. The design provides 128+ (256 with OMI+ cards) ports in 3RU, with full redundancy on the master controllers and power supplies. The matrix frame supports all current ADAM cards, including new OMI+, AIO-16, RVON-16, MADI-16 Plus, DBX, TriBus and MCII-e controllers and also supports existing ADAM wiring schemes and options. The chassis is built with low noise cooling, hot-swappable components including cooling modules and comprehensive status reporting.Magna Systems Product Specialist Lucas Bohm said, “Videocraft are a very forward-thinking company and the fact that they have purchased the first ADAM-M OMNEO system in Australia is testament to that fact.”Sony Develops “Real-time IP Production Technology” Capable of Synchronous Transferring and Switching of HD and 4K Video, Audio and Control Signals Over A Network
Miller introduces Skyline 70 Cine
Miller Camera Support Equipment has announced the launch of the Skyline 70 Cine at IBC 2013. The Skyline 70 Cine system, planned for release in the first quarter 2014, will be on display, on the Miller stand at IBC. The Skyline Cine 70 is a sturdy system built to the traditional Miller precision and high quality standards. Designed with class leading features to cater to the specific needs of cinematographers, the system incorporates an Arri camera plate compatible, 150 mm sliding range, side loading quick release sliding camera platform, a Mitchell style flat base, wide payload range of 4.5 to 37.5 kg / 9.9 to 82.5 lbs, 7 pan and tilt drag settings and 8 selectable counter balance positions. “The Skyline 70 Cine feature set makes the system easily and quickly adaptable to the many different types of rigging, lenses and other accessories used in today’s productions, reducing set times, less equipment and adding reliability and stability.” said Charles Montesin, Global Marketing and Sales Manager, Miller Camera Support Equipment. “Following an extensive consultation phase with the industry, the Skyline 70 Cine is in its final stages of design, and IBC will provide an ideal platform for final design confirmation.” The Skyline 70 Cine is expected to ship in the first quarter 2014.
Videocraft Provides Production Solutions For Beyond’s Pipsqueaks, Toybox And Lab Rats Challenge Tv Series
[caption id="attachment_360" align="alignleft" width="400"]
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