In Broadcast - November 2013 - 8

I N T E R N A T I O N A L

WWW.INBROADCAST.COM | ISSUE 25 - NOVEMBER 2013

N E W S

InNEWS

Gabriel Gets 4K Sony Treatment
S

ony's PMW-F55 cameras were
used to shoot Peter Gabriel's
sell-out 'Back To Front' tour in four
times the resolution of HD, marks
the next watershed moment for 4K
adoption.
Sony is working with Real World
and co-producers Done & Dusted
Productions and ERP Productions,
as well as CTV Outside Broadcasts,
to produce singer-songwriter
Peter Gabriel's 'Back To Front: So
LIVE' tour in 4K.
Currently celebrating the 25th
anniversary of his landmark multiplatinum album So, Peter Gabriel
brought his 'Back To Front: So
LIVE' tour back to the UK, with two
dates at The O2.
Sony worked with two production
companies - Done & Dusted
Productions and ERP Productions
- and facilities company CTV to plan
and support the ten-camera Sony
PMW-F55 shoot.

The full workﬂow included the
supply of R5 and SR-R1000
recorders, as well as
technical
consultancy
and support
to record
the two day
shoot.
Mike Large,
COO
of
Real World
Holdings,
said: "We've
a l w a y s
e n j o y e d
working at the
cutting edge of video technology,
whether HD in 2002/3, 3D in
2010 and now 4K.
"Peter has always looked for
the best technology to immerse
his audience in the show and the
music and 4K is the next step on
that journey.

Peter Gabriel's sell-out 'Back To Front'
was shot with ten Sony PMW-F55s

"We're very grateful to Sony for all
the help and expertise they've given
for this production."
Real World is continuing its
collaboration with Eagle Rock
Entertainment in making distribution
plans for the film in 2014.

BTV Post Employs Snell Alchemist OD
8

B

T V Post has used Snell's
Alchemist OD for the 4K Digital
Cinema Conversion for Muse's
Rome stadium gig.
Serpent Productions recorded
the gig in both HD and 4K
simultaneously using Sony F55

cameras. The decision to postproduce a 4K cinema version
rested on whether it was at last
possible to get a high enough quality
standards conversion at a low frame
rate and in 4K.
BTV Post successfully managed

The band performing on stage. (Courtesy of MUSE, Hans-Peter van Velthoven)

both using Snell's new Alchemist
OD ﬁle-based standards conversion
platform to convert the concert with
stunning results.
Alchemist OD was used for the
entire conversion, which dovetailed
seamlessly with BTV's 4K Mistika
post-production pipeline.
"This sets a new benchmark for
the conversion of performance
content for digital cinema, and ﬁlms
for television and DVD, without ever
needing to slow down or speed up
again," said BTV Post CTO Jon Lee.
"Working closely with Snell's
engineering team, we have come
up with workflows to get a low
frame rate conversion that is
virtually indistinguishable from the
original content."
The Muse concert will be released
in UK cinemas in 4K in November.

TV Vitoria/Record
Migrates With GV
USA: Brazil's TV Vitoria/Record
has selected Grass Valley to
facilitate a transition to HD.
Specified are: GV STRATUS
nonlinear media production toolset,
eight EDIUS Elite NLE seats, a Karrera
switcher with K-Frame, four LDX
Flex HD studio camera systems with
XCU base stations, three K2 Summit
3G four-channel media servers, a K2
Solo 3G portable two-channel media
server, and the K2 Dyno S Replay
Controller, and K2 SAN storage.
The project will be completed
in March 2014.

'Strike Back'
VFX & Colour
FRA / GBR: Technicolor has
provided expert post-production
colour grading and extensive VFX
for the latest instalment of Emmy
Award nominated 'Strike Back'.
The big budget action series
was graded by Technicolor's
Principal Colourist Paul
Ensby on Autodesk Lustre.
Ensby said: "Each episode in
season four is set in a different part
of the world, which meant that a
distinct atmosphere and feel for each
needed to be created through the
colour grade."

Hungarian FilmLab
CORTEX::Dailies
USA: The Hungarian FilmLab
(Magyar Filmlabor) has purchased
MTI Film's ﬂagship dailies processing
s o l u t i o n , C O RT E X : : C o n t ro l
Dailies Ultimate Edition.
FilmLab
will
employ
CORTEX::Dailies to service feature
and television productions working
in Hungary and throughout Europe.
The system is capable of
processing camera data from all
popular digital cinema cameras for
editorial, review and back-up.

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In Broadcast - November 2013

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