In Broadcast - September 2019 - 24

24

APAC NEWS

APAC NEWS

APAC NEWS

APAC NEWS

APAC NEWS

APAC NEWS

www.inbroadcast.com | Vol: 9 - Issue 8 | September 2019

InAPAC

Sony Cameras And Mics
Own The Sky

Own The Sky charts
David Mayman's flight exploits

W

hen
rocket-obsessed
businessman David Mayman
told school-friend and filmmaker
Gregory Read (Paper Bark Films) that
he wanted to build a jetpack, Read
suggested they make a documentary.
"I first met David when I was 10, we
used to make rockets in our backyards
so I knew anything was possible with
this guy," said Read. "Making Own the
Sky was an incredible 12 years of ups
and many downs. To see your friend go
through so much to realise a childhood
dream and to see how he dealt with
the consequences of his obsession
was, at times, quite hard to witness.
However the outcome is a story of
triumph over the odds, he climbed that
unclimbable mountain."
For the initial 10 years of filming, the
crew on Own the Sky consisted mostly
of one person - Gregory Read. This
brought its own challenges.
"As the majority of the filming was
just me, it was important to keep the

film and sound equipment compact.
So, the first Sony camera I used was a
small Sony PMW-EX1. This camera was
compact, reliable and easy to use in all
lighting conditions. In 2010, in order
to have two cameras covering David's
crazy RocketBelt attempt, I also had

the larger, broadcast, disc-based Sony
XD with the help of Denson Baker NZCS
ACS."
In early 2015, Read bought a Sony
A7S, a camera that had much better
low light performance, and external
recorder to record ProRes 422.

By 2016 he had purchased a Sony
PXW-FS7 for initial interviews and
location shots: "The FS7 is simply
a great camera which I continue to
use today and in 2017 with the film
finance in place I was able to get two
great cinematographers, Jesse Brunt
in the US and Australian Sam Collins,
onboard for reconstruction scenes and
final master interviews which we shot
using the Sony F55."
The majority of Own the Sky is shot as
a 'fly-on-the-wall'. This meant the Sony
cameras had to perform inside and
outside and, in many cases, deal with
extreme highlights and shadows.
It wasn't just Sony cameras that sat
at the heart of Own the Sky, as Read
also used Sony ECM-77BMP mics
with UTX-B03 belt-pack transmitters
and URX-P03 portable receivers
throughout the shoot too.
"A lot of the environments I shot in
were extremely noisy hence a close
proximity, broadcast quality Sony ECM77BMP lapel mic made it possible for
me to hear intimate dialogue as I was
shooting," he said. "I also used the
lapel mics for all the interviews. All
the Sony mics and audio equipment
performed very well delivering clear
audio in noisy environments."

AJA Gear Greases the Wheels at Janta TV
J

anta TV recently moved into a
new, larger studio. Simultaneously
it
overhauled
its
technology
infrastructure, selecting a host of gear
from AJA, including KUMO routers,
Ki Pro recording/playback devices,
streaming tools, FS frame syncs,
openGear converter cards and MiniConverters.
Janta chose to use AJA gear after
carefully evaluating its options because
of the solid performance and highquality output it showed during tests.
"Making AJA gear the backbone of
our news channel has been one of
our best decisions yet. It's been so
stable, easy to use and saves us a lot
of time, especially because with LAN
interfaces on most products, and built
in webservers, you can easily configure
and control your devices through a
web browser on any platform from
just about anywhere," said Deepak
Sengupta, Group Technical Head, Janta
TV.
Both the satellite and social feeds
are powered by a three-camera studio
setup including chroma screens and
a Real Set Recording Studio with fixed

AJA KUMO 3232
router and HELO

backgrounds. Camera signals are first
fed through an AJA KUMO 3232 router
in an on-site production control room
(PCR). KUMO is connected to a fourport ingest system and an AJA Ki Pro
Rack recording/ playback device for
PCR programme monitor (PGM) ingest,
as well as a video switcher using six AJA
OG-3G-AMA openGear 3G-SDI analogue
audio embedders/disembbeders with
DashBoard support. The OG-3G-AMAs
then pass the signals through AJA
OG-3GDA openGear 3G-SDI reclocking

distribution amplifiers and the outputs
are run though a master control room
(MCR) switcher, with AJA KONA I/O
cards involved in two MCR playouts and
the PCR PGM connected via a WASP 3D
graphics solution.
"Not only is AJA's gear fantastic out
of the gate but also AJA's warranty
program is amazing. Setup and
operation were simple from KUMO
3232 and its companion KUMO Control
Panel through to the openGear cards,
U-TAPs, HELO, Ki Pro Rack, FS devices

and Mini-Converters. We look forward
to enjoying many years of use with our
new gear," added Deepak Sengupta.
The signals are sent through an AJA
FS frame synchroniser and encoder for
the satellite feed and through the AJA
HELO real-time streaming device for
the Facebook Live stream.
Guest interviews are also integrated
into each broadcast using a
combination of Skype, an AJA U-TAP
SDI USB 3.0-powered ingest device
and an AJA ROI Mini-Converter for
generating a stable signal and frame
rate from the Skype interface.
All footage is recorded and cut in
Apple Final Cut Pro X and then stored
and archived.
Janta balances the workload between
a technical and IT team five-people
strong and 10 cameramen, with up to
35 people contributing to editorial and
15 working on graphics.
AJA KI PRO Rack


http://www.inbroadcast.com http://www.sony.com.au http://www.sony.com.au http://www.aja.com http://www.aja.com

In Broadcast - September 2019

Table of Contents for the Digital Edition of In Broadcast - September 2019

Contents
In Broadcast - September 2019 - Intro
In Broadcast - September 2019 - Cover1
In Broadcast - September 2019 - Cover2
In Broadcast - September 2019 - Contents
In Broadcast - September 2019 - 4
In Broadcast - September 2019 - 5
In Broadcast - September 2019 - 6
In Broadcast - September 2019 - 7
In Broadcast - September 2019 - 8
In Broadcast - September 2019 - 9
In Broadcast - September 2019 - 10
In Broadcast - September 2019 - 11
In Broadcast - September 2019 - 12
In Broadcast - September 2019 - 13
In Broadcast - September 2019 - 14
In Broadcast - September 2019 - 15
In Broadcast - September 2019 - 16
In Broadcast - September 2019 - 17
In Broadcast - September 2019 - 18
In Broadcast - September 2019 - 19
In Broadcast - September 2019 - 20
In Broadcast - September 2019 - 21
In Broadcast - September 2019 - 22
In Broadcast - September 2019 - 23
In Broadcast - September 2019 - 24
In Broadcast - September 2019 - 25
In Broadcast - September 2019 - 26
In Broadcast - September 2019 - 27
In Broadcast - September 2019 - 28
In Broadcast - September 2019 - 29
In Broadcast - September 2019 - 30
In Broadcast - September 2019 - 31
In Broadcast - September 2019 - 32
In Broadcast - September 2019 - 33
In Broadcast - September 2019 - 34
In Broadcast - September 2019 - 35
In Broadcast - September 2019 - 36
In Broadcast - September 2019 - 37
In Broadcast - September 2019 - 38
In Broadcast - September 2019 - 39
In Broadcast - September 2019 - 40
In Broadcast - September 2019 - 41
In Broadcast - September 2019 - 42
In Broadcast - September 2019 - 43
In Broadcast - September 2019 - 44
In Broadcast - September 2019 - 45
In Broadcast - September 2019 - 46
In Broadcast - September 2019 - 47
In Broadcast - September 2019 - 48
In Broadcast - September 2019 - 49
In Broadcast - September 2019 - 50
In Broadcast - September 2019 - 51
In Broadcast - September 2019 - 52
In Broadcast - September 2019 - 53
In Broadcast - September 2019 - 54
In Broadcast - September 2019 - 55
In Broadcast - September 2019 - 56
In Broadcast - September 2019 - 57
In Broadcast - September 2019 - 58
In Broadcast - September 2019 - 59
In Broadcast - September 2019 - 60
In Broadcast - September 2019 - 61
In Broadcast - September 2019 - 62
In Broadcast - September 2019 - 63
In Broadcast - September 2019 - 64
In Broadcast - September 2019 - 65
In Broadcast - September 2019 - 66
In Broadcast - September 2019 - 67
In Broadcast - September 2019 - 68
In Broadcast - September 2019 - Cover3
In Broadcast - September 2019 - Cover4
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