In Broadcast - October/November 2011 - 40


WWW.INBROADCAST.COM | OCTOBER/NOVEMBER 2011

InSTUDIO
Decode Shoots Street Dance Using Own Design 3D Mirror Rigs
By Staff Reporter, InBroadcast
Shot over a 10 month period and focused on street dancing, this digital feature was directed by Samuel Martin, Managing Director of Decode, the London based high end 3D, HD and 4K specialist rental and sales company based in Wimbledon Studios. Martin, with his team of 3D specialists had already been working on designing their own brand high end 3D mirror rigs after becoming disillusioned with rigs from other sources. By the time shooting started the new D-Rex and D-Raptor rigs were ready to use in prototype form. The aim was to create a stylised documentary in 3D, shot as a feature film but with standard documentary rules. The project follows Sisco Gomez, renowned choreographer to Madonna, Kylie Minogue and others, and head judge of BBC’s So You Think You Can Dance, as he embarks on a personal quest to find a group of exceptional dancers around which he develops a street dance TV series to celebrate the genre, and to showcase the resulting outstanding dance skills, superb in 3D. Martin said: “3D demanded a very different approach to what we wanted to film, and how. I wanted high resolution, so the cameras were not traditional cameras, but rigs, very heavy and slow to operate Just moving between different studios or rooms, straightforward in 2D, in 3D becomes a logistical challenge. Crew size was larger than on a 2D shoot with new roles and responsibilities proving to be a challenge when trying to maintain a documentary mentality and style. “We decided that most, if not all filming had to be done on mirror rigs, and depending on location and subject, it would be a mix of RED and Sony EX3 cameras. We

“3D demanded a very different approach to what we wanted to film,” Sam Martin, Director of Street Dance

40

chose RED because of the sheer resolution and aesthetic look, even though achieving tri-level sync can be time consuming, as we experienced on several occasions. Sony’s EX3 was a logical choice because of its size and the digital recording output. Sony’s cameras were a joy to work with as we didn’t have any synching issues and they provided us with the flexibility that we needed in restricted space locations.” “3D is an incredible format to shoot. It is very engaging and immersive, not only for the viewer but even for the director and crew

on set. It requires a lot of planning. The less improvisation on set the better results you will get, and the less you spend. “The film is in its final stages with seven distribution companies interested. We have had an incredible journey that has allowed everyone in the crew to learn about 3D and how to best work with the format. It does require a little adjusting but once that is done and you think in 3D terms the format is a pleasure to work with and the results are mind blowing.”

Location, Location, Location...
How many production managers have started to panic when they’ve been told the six-camera studio shoot with a packed audience they’ve been planning for the last month has now moved out of the studio and on-location? The benefits of shooting in a studio are obvious – technically, everything’s there – no big vision mixer to plug up and configure, the cameras are already built, sound and VT is all set and the gallery is always moodily lit and ready at the push of a few buttons. Just need to make sure all the crew has enough piping-hot tea inside them and you’re good to go. So what happens when the production you’re working on involves a multicamera location shoot? OK, if you go down the OB route, it’s safe to say, everything will be “alright on the night” – that’s what OBs are for. But does the sweating production manager have enough budget? In February this year we

By Liam Laminman, Director, Trickbox TV Ltd

launched The Trickbox® – but for a cost effective price. Since we launched The Trickbox® – a multi-camera portable production unit designed to cater for location multi-camera shoots and offer all the facilities and functionality that you would expect to find in a studio – we’ve seen it in almost every type of location on nearly all types of production. And we’re proud The Trickbox® has spent time in some iconic locations in London – the Science Museum, The Guildhall, Horse Guards Parade, Wembley Arena, the Koko Club, The 100 Club and, a particular favourite, The Crypt of St Paul’s Cathedral. When you’re working in any of these types of locations, it’s important to keep your footprint as small as possible. Recent technology and, in particular, the rise in file-based and tapeless workflows has meant broadcast equipment is now much smaller.

Using Trickbox during a multi-camera recording at St Paul’s cathedral

What was once a whole MCR or an OB van, can now fit into a couple of 19-inch flight cases. Every production is always different and some of the best we’ve been on have also been the hardest – where the goalposts have changed at the last minute or we’ve had to integrate with other companies and systems on-site. The challenge is always adrenalin-filled and there’s always a chance the location will let you down. During the recent unrest in London, just as we’d unloaded the van to set up for a four-camera music performance, the producer

arrived to say we were evacuating to another location. So just as studio crews across the UK were reaching for their ninth cup of tea, we were loading the van, yet again. So location shooting is not without its problems. We’ve even had evening mass across our wireless talkback on one job. Working in television studios is a great thing – there’s something quite special about the atmosphere of a gallery but, let’s face it, once you’ve seen one studio, you’ve seen them all. But, on the plus side, there’s usually a subsidised café on-site!


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Table of Contents for the Digital Edition of In Broadcast - October/November 2011

In Broadcast - October/November 2011
Contents
3Ality Digital Acquire Element Technica
RTL Choses Quantel
Studios In Production
MAM Questions Answered
Changing Faces of Post Production
Microphones In Action
New Developments in Audio for Television
Routers and Switchers
Loudness Measuring in Workflows
In Broadcast - October/November 2011 - In Broadcast - October/November 2011
In Broadcast - October/November 2011 - 2
In Broadcast - October/November 2011 - Contents
In Broadcast - October/November 2011 - 3Ality Digital Acquire Element Technica
In Broadcast - October/November 2011 - 5
In Broadcast - October/November 2011 - 6
In Broadcast - October/November 2011 - 7
In Broadcast - October/November 2011 - 8
In Broadcast - October/November 2011 - 9
In Broadcast - October/November 2011 - 10
In Broadcast - October/November 2011 - 11
In Broadcast - October/November 2011 - 12
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In Broadcast - October/November 2011 - 14
In Broadcast - October/November 2011 - 15
In Broadcast - October/November 2011 - 16
In Broadcast - October/November 2011 - 17
In Broadcast - October/November 2011 - 18
In Broadcast - October/November 2011 - 19
In Broadcast - October/November 2011 - RTL Choses Quantel
In Broadcast - October/November 2011 - 21
In Broadcast - October/November 2011 - 22
In Broadcast - October/November 2011 - 23
In Broadcast - October/November 2011 - Studios In Production
In Broadcast - October/November 2011 - 25
In Broadcast - October/November 2011 - 26
In Broadcast - October/November 2011 - 27
In Broadcast - October/November 2011 - 28
In Broadcast - October/November 2011 - 29
In Broadcast - October/November 2011 - 30
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In Broadcast - October/November 2011 - 44
In Broadcast - October/November 2011 - 45
In Broadcast - October/November 2011 - 46
In Broadcast - October/November 2011 - 47
In Broadcast - October/November 2011 - MAM Questions Answered
In Broadcast - October/November 2011 - 49
In Broadcast - October/November 2011 - Changing Faces of Post Production
In Broadcast - October/November 2011 - 51
In Broadcast - October/November 2011 - Microphones In Action
In Broadcast - October/November 2011 - 53
In Broadcast - October/November 2011 - 54
In Broadcast - October/November 2011 - 55
In Broadcast - October/November 2011 - 56
In Broadcast - October/November 2011 - 57
In Broadcast - October/November 2011 - 58
In Broadcast - October/November 2011 - 59
In Broadcast - October/November 2011 - 60
In Broadcast - October/November 2011 - 61
In Broadcast - October/November 2011 - 62
In Broadcast - October/November 2011 - 63
In Broadcast - October/November 2011 - New Developments in Audio for Television
In Broadcast - October/November 2011 - 65
In Broadcast - October/November 2011 - 66
In Broadcast - October/November 2011 - 67
In Broadcast - October/November 2011 - 68
In Broadcast - October/November 2011 - 69
In Broadcast - October/November 2011 - 70
In Broadcast - October/November 2011 - 71
In Broadcast - October/November 2011 - Routers and Switchers
In Broadcast - October/November 2011 - 73
In Broadcast - October/November 2011 - 74
In Broadcast - October/November 2011 - 75
In Broadcast - October/November 2011 - 76
In Broadcast - October/November 2011 - 77
In Broadcast - October/November 2011 - 78
In Broadcast - October/November 2011 - 79
In Broadcast - October/November 2011 - 80
In Broadcast - October/November 2011 - Loudness Measuring in Workflows
In Broadcast - October/November 2011 - 82
In Broadcast - October/November 2011 - 83
In Broadcast - October/November 2011 - 84
In Broadcast - October/November 2011 - 85
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