E-Book: Cameras & Basic Engineering for Broadcast & Live Events 2nd Edition

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CAMERAS & BASIC ENGINEERING FOR BROADCAST & LIVE EVENT PRODUCTION

BY TRE JAMES CEO & Founder Production Rockstars + The Production Rockstar Academy

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A Message from our Executive Director

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About this Course

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PRODUCTION ROCKSTARS

TRE JAMES

I don’t do much video engineering anymore, but are you looking for a qualified Multicam Director, Executive Producer, or Production Exec for your next project?

TREJAMES.COM

Perhaps you’d like a consultant to visit your church, studio or stadium to lead a course or workshop.

TREJAMES.COM

I’d love to work with you or just hang out and share my knowledge.

TREJAMES.COM

Table of Contents ■ A Message from our Executive Director ■ About this Course CHAPTER I —---------------------------------------- p. 10

Professional Standards

■ Best or Nothing Practices & Principles CHAPTER II —---------------------------------------- p. 15

Defining Video Engineering

■ What is Video Engineering?

CHAPTER III —--------------------------------------- p. 18

Production Facilities & Roles ■ ■ ■ ■

Components of a Broadcast Production Facility Studio & Master Control Rooms Mobile TV Trucks Setting up the Flypack

CHAPTER V —--------------------------------------- p. 50

Camera Support Systems

■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■

■ ■ ■ ■ ■ ■ ■ ■ ■ ■

Parts, Pieces, & Terminology Camera Body & Lenses Viewfinders Tripods Camera Builds Zoom / Focus Controls Camera Fiber Converter Studio Fiber Converter Remote Control Panel Camera Chain | Fiber, CCU, RCP EIC Vs. Video Engineering Vs. Shading Different Camera Chain Setups Broadcast Cameras Examples

CHAPTER VI —-------------------------------------- p. 91

CHAPTER IV —---------------------------------------- p. 46

Camera & CCU Operations

Cable Management

■ ■ ■ ■ ■

■ Over & Under 101 ■ Label le’ Cable

CHAPTER VII —------------------------------------- p. 109

Broadcast Cameras

Camera Lenses Swapping Out Backmounts Balancing the Camera & Back Focus Connecting Fiber to Camera & CCU Properly Packing & Inspecting Gear

Support Systems & Positions How Does the Skycam Work?

2-Point/Point to Point Cable Cam Dollies Pedestals Camera Cranes Steadicam Drones PTZ Camera Multidyne

CHAPTER VIII —------------------------------------ p. 139

Teleprompters

■ Teleprompters & LCD Displays ■ Troubleshooting CHAPTER IX —-------------------------------------- p. 146

Wireless Video

■ Wireless Camera Systems ■ Long Range Professional Wireless (RF) ■ Dual Receiver RF 7

Table of Contents CHAPTER X —--------------------------------------- p. 152

CHAPTER XIV —------------------------------------ p. 215

CHAPTER XVIII —---------------------------------- p. 278

Broadcast Production Switchers

Record Decks

Multiviewers

■ Overview ■ Production Switchers Examples ■ Stream Deck

■ Overview ■ Records Decks Examples ■ Timecode

CHAPTER XI —-------------------------------------- p. 170

CHAPTER XV —------------------------------------- p. 227

Broadcast Audio Consoles

■ Audio Consoles Examples ■ Multitrack Recording Integration CHAPTER XII —------------------------------------- p. 184

Replay Systems

■ Replay Servers Examples CHAPTER XIII —------------------------------------ p. 191

Graphics & Video Playback Systems ■ ■ ■ ■

Character Generators Video Clip Playback Servers Playback vMix

Comms

■ Hollyland Solidcom ■ Common Comms Systems CHAPTER XVI —------------------------------------ p. 236

Cables & Converters ■ ■ ■ ■ ■ ■ ■

Common Types of Cables Ethernet Fiber Connection Types Cable Looms & Mults Tactical Fiber Common Video Converters

CHAPTER XVII —----------------------------------- p. 261

Monitors & Feeds

CHAPTER XIX —------------------------------------ p. 285

REMI Production CHAPTER XX —------------------------------------- p. 293

Video Engineering ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■

Fundamentals NTSC v. PAL v. ATSC SD & HD Digital Video Color Sampling & Chroma Sampling Frame Rates Progressive v. Interlaced Sync/Genlock/Reference Timecode Color Correction Conversions Frame Sync(hronization)

CHAPTER XXI —------------------------------------ p. 327

vMix | A Deeper Dive

■ Overview ■ Single & Multi Operator Show 8

Table of Contents CHAPTER XXII —----------------------------------- p. 335

CHAPTER XXV —----------------------------------- p. 363

Audio Networking Technology

■ DANTE ■ MADI ■ AES / EBU

The Art & Science of Video Shading

■ About Video Shading ■ Waveform Monitors & Vectorscopes ■ Camera Color Calibration

Production Planning

CHAPTER XXIII —---------------------------------- p. 344

CHAPTER XXVI —---------------------------------- p. 371

Optical Fiber

Encoding & Transmissions

■ ■ ■ ■ ■

■ ■ ■ ■ ■

Fiber Connectivity How to Clean Fiber 3G, 6G, 12G HEVC (H.264) vs. AVC (H.265) HDR v SDR

CHAPTER XXIV —---------------------------------- p. 352

Routing + Signal Flow

■ Routing ■ Router Control Heads ■ Router Examples

■ High Level Overview ■ Encoder & Decoder Examples ■ Camera Color Calibration

CHAPTER XXVII —--------------------------------- p. 381

Media & Media Management

■ Camera Media & SSD Media ■ Cloud Storage

CHAPTER XXVIII —-------------------------------- p. 387

CHAPTER XXIX —---------------------------------- p. 394

Planning for Excellence Site Surveys / Scouts Cable Ramps Tech Fax The Art of the Pivot

CHAPTER XXX —----------------------------------- p. 405

Tech Books & Camera Plots

■ Tech Books ■ Camera Plots

Setting the Standard —---------------- p. 424 One Final Closing Statement —--- p. 425 Glossary —------------------------------------- p. 427

Production Power ■ ■ ■ ■

Overview Plug Types & Phase Tails Primary Types of Power Used Conversions

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BACK TO THE TABLE OF CONTENTS

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CHAPTER I

PROFESSIONAL STANDARDS

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CHAPTER I · PROFESSIONAL STANDARDS

Best Or Nothing Best Practices & Principles Well for starters, letʼs talk about where that slogan is derived from. Luxury automaker Mercedes-Benz, whose slogan is “The best or nothing.”

When you think of Mercedes-Benz, what words come to mind? I think of: ● ● ● ● ● ● ● ● ●

Luxury Elegance Premium Well-crafted Beautifully crafted Expensive Rides nice & smooth Somewhat exclusive to the average car buyer “When I make it, I want THAT!”

Those same adjectives and phrases are what you want people to think of, metaphorically, when they think of your work output. That you are the best. You left nothing on the table.

Whatever stakeholders you are responsible for serving, they they are best served by having you on the crew.

Now, when you think about bringing your best or nothing, what are some words that come to mind? For me, itʼs: ● ● ● ● ● ● ● ● ● ● ● ● ●

Prompt Prepared Well-dressed Early Well- Groomed Listens Safe Kind Knowledgeable Inquisitive Focused Attentive Patient

Imagine an engineer who shows up to work exhibiting most if not all of these qualities? What a blessing that would be! Well, it can be you. Most of these should come naturally, but if not, with practice and experience, they will all come. But letʼs dive a little deeper into what these words mean.

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What exactly do I mean by BRING YOUR BEST OR NOTHING?

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CHAPTER I · PROFESSIONAL STANDARDS

Best Or Nothing Best Practices & Principles

Prepared ● Read the paperwork provided to you prior to the production thoroughly. ● Connect with the Tech or Project Manager ahead of time and get as many details about the job, the equipment that you will be using (pull sheet), etc before coming on site.

Well-Dressed ● Show up in proper show blacks (usually doesnʼt apply to sports). ● Have on a belt, no one wants to see your bottom. ● Donʼt wear white shoes with show blacks. ● Just a personal pet peeve of mine, but an iron is always your friend, never the enemy. ● When you look good, you feel good, so you perform better.

Groomed ● Regular bathing is essential to maintain a clean and professional appearance. ● Use deodorant to prevent body odor, especially during long and physically demanding days outdoors.

Listens ● You donʼt know it all, you never will. And even when you do, itʼs still totally ok to be a person who listens more than they speak. ● The kids, the youth, the younger folks- have valuable input, if youʼre senior, listen to them. ● Pay attention, listen out for safety alerts, and just generally keep your ears open an be aware. No headphones in your ears while working. ● Be open and receptive to constructive criticism and feedback.

Safe ● Video Engineering isnʼt exactly an unsafe sport, but there is room for unsafe things to happen. Always be thinking about your safety and the safety of others. ● If you see something unsafe, say something. ● Take it upon yourself to get OSHA safety certified, you may get hired for a job in which youʼll need it.

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Promptness ● Being early for your call time. If youʼre early, youʼre on time. If youʼre on time, youʼre late. ● Ensuring that you get back from lunch on time. ● Leave out early enough to beat any traffic, get breakfast, enjoy a smoke or whatever gets your day started. But be early, cool?

Cool.

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CHAPTER I · PROFESSIONAL STANDARDS

Best Or Nothing Best Practices & Principles Kind ● It cost you zero dollars to be kind. It cost even less to be quiet if you canʼt be kind. ● People have not-so-great days and yeah, thatʼs not exactly your problem, but perhaps we can try not to make it worse. ● Do something nice just because. ● You also never know who you are talking to- so speaking kindly and positively of people and companies should always be top of mind. And every negative experience does not have to be shared with every crew member.

Focused ● Be focused on the task at hand. Try not to spend your time worrying about non-work related things. Youʼre there to work.

Knowledgeable ● Learn your job inside and out. Study, read articles, stay up to date on trends. By just listening, itʼs so easy to tell who knows their stuff and who doesnʼt. ● If you are a video engineer, remain up-to-date on the tools, techniques, and best practices that allow you to do your job. ● Always be a student and never stop learning. ● Attend conferences, industry events, and mixers.

Patience ● Sometimes we live in a world of “sit around and wait”. It could be the key holder arriving at a venue late, generator not showing up on time, or other inconveniences that slows down work. Exercise patience in those moments. ● You may also be working with crew members who have significantly less experience than you. Or you may be the rookie. Whichever the situation is, when dealing with colleagues, exercise patience and grace.

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Attentive ● Focus in on the details. ● Pay attention to whatʼs going on around you and with the systems. Be proactive - address things that have a potential to be an issue later on, right way.

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BACK TO THE TABLE OF CONTENTS

PRODUCTIONROCKSTARACADEMY.COM

CHAPTER II

DEFINING VIDEO ENGINEERING

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CHAPTER II · DEFINING VIDEO ENGINEERING

What is VIDEO ENGINEERING

The other key component to engineering is troubleshooting.

While often times, especially with more basic systems, getting them up and running is the easy part. However, when something does not connect, disconnects, breaks down or requires maintenance - it is the job of the video or systems engineer to troubleshoot and rectify the problems. Some shoots, which are not live, may offer ample time to fix and others which are live (and especially those with limited setup times) can have increased pressure to get it done and fix the issue. Troubleshooting requires you to think through possible issues and solutions both big and small and sus out what is causing the issue(s). It could be as simple as an air gap (something not being plugged in) or something more complex like pieces of equipment that may not work together at all requiring replacements or intermediary devices to solve the issue.

With each show or project that you do and every issue you encounter, you will become a better engineer. And even the most experienced engineers will encounter and have to solve for new problems and that is the only way that you become better, especially when you regularly work with different companies and their equipment. Only time and tribulations on set will make you a better and more experienced engineer. But reading, learning and networking about the newest systems, technologies, methods and best practices will make you a standout engineer that Clients want to work with.

As you will learn throughout this course, these systems can come in a number of different forms to include flypacks, cases, mobile units, and integrated/permanently installed systems.

These systems can be both small, mid-sized or large. From very basic to massively complex. There are levels to video engineering and it is important not to oversell yourself or your skills because the show is counting on you to be knowledgeable enough to make all the equipment provided work together and solve the technical problems that arise for all the crew.

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Video engineering is the art and science of merging multiple types of video, audio, data, and network systems together into a functioning system that allows for a production to take place.

Whether working on a baseband, IP, or software based systemit all requires some level of video engineering. Depending on the system, setup and location - some audio engineering (not mixing) may be required.

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CHAPTER II · DEFINING VIDEO ENGINEERING

What is Video Engineering?

In summary, being a video engineer is hard work. The role requires lots of technical aptitude, critical problem solving, and people skills. The people skills are very important because you can find yourself being called in multiple directions by multiple at the same time. However, the better you understand your setup, equipment and the needs of the show on the front end the easier performing your job will be. And once your systems is up and running the day can be a breeze. Sometimes it all depends on you and sometimes that will completely out of your control.

Systems fail, people press the wrong things, the insides of equipment come a loose on the road, or the gear might have simply woken up on the wrong side of the bed.

The myriad of things and reasons why something goes wrong are endless. But you are the firefighter. Your knowledge and resources are tools. And the more you know, the more you can help. The better skilled you are, and the more time you or the shop has to check and prep the gear, the easier your day will be.

When you find yourself frustrated never be afraid to use the resources at your disposal. Phone a friend. Hop on YouTube.

Leverage Reddit. Read white papers while bored on the plane.

Attend NAB (National Association of Broadcasters) and connect with manufacturer reps. The more tools and pieces at your disposal on your tool belt, the more equipped you will be for whatever the day will throw at you. And you best believe, rotten tomatoes will be thrown. How you manage them and the speed and efficient in which you can manage them will be how you are judged.

So letʼs dive in and start turning you into a engineer, technician or operator or get the ball rolling on making you an even better one.

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While it is not your job or responsibility to know how to operate the equipment per se but rather how to make them all integrate together and keep them running (which might be as simple as a software update - the more you know the better and more in demand you will be.

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BACK TO THE TABLE OF CONTENTS

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CHAPTER III

PRODUCTION FACILITIES & ROLES

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Components of a Broadcast Production Facility Production Switching Engineering/Routing/Terminal Gear Cameras Audio Records Playback Graphics Replay

Each and every production facility that you encounter will be unique. But, they will all be made up of the same basic components though brands, specs, licenses, I/O, and overall capabilities will vary based on the needs of an organization or project.

For instance, you will likely not find replay systems in a news station or facility that produces strictly entertainment, such as Entertainment Tonight, ABC News, etc. However, for a live entertainment show- you may find that a replay system exists native to the truck and may or may not be in use for the show.

Flypacks almost never have replay solutions incorporated into them and that it most often are a supplemental add-on based on project needs. You always find that flypacks are almost always owned by equipment vendors who can reconfigure them before sending them out based on a projectʼs specific needs.

The most important thing to understand as an engineer is not what facilities have what equipment specifically- but having a knowledge of how they all work together- regardless of the brand.

And more importantly you should know signal flow. You should know what goes where, why and when to accomplish what and what is and is not possible with consideration to the level of I/O and engineering capability that you have.

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● ● ● ● ● ● ● ●

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Studio Master Control Rooms Production facilities are the permanent or temporary spaces, venues, stages, and rooms where production takes place. This includes the actual set, control room(s), production offices, and other support spaces that production operates.

By the time the video engineers and technicians who will operate the facility ever arrive for work- the facility has long ago been designed on paper, built, integrated and tested. The process of designing the facility includes creating renderings and CADs, specʼing and ordering equipment, and installing it.

When most people think of television production control rooms, they often think of news stations. After all, thatʼs likely where you got your first look behind-the-scenes of live tv production. Perhaps it was a local news promo, school field trip, or even the classic movie, Anchorman.

Studio control rooms and master control room are permanent, integrated facilities operated by news affiliates, sports teams/venues, churches, and TV networks.

The Master Control Room or NOC (Network Operations Center) is where all of a networks feeds are brought back into one location for transmission to the networkʼs satellites or encoders and distributed for air.

NEP Live Center - Master Control Room

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For this course and particularly this section, we are going to focus on the set and types of different types of control rooms that you will encounter.

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Studio Master Control Rooms

The workflows can vary in so many important ways. As you learn and grow-youʼll come to understand what is possible and what solution will be right for the show you are planning.

Back on topic to studio control rooms. Think of a control room as housing various technical departments. ● Production: Where the Director, Producer, TD (Switcher), and AD, Graphics, Clock & Score are located; ● Audio: Where the broadcast audio is mixed; ● Video: Where CCU and all video control operations take place ; ● Tape Room: Where tape, replay, and playback servers are located; ● Engineering: Where all the systems servers and computers are connected together. Transmissions is also sometimes located here.

In some facilities, all or some of these functions are located in the same room. In others, each “department” has its own space. The more people and positions in one space- the more chaos, noise and clutter. These decisions arenʼt on you and were decided based on numerous factors during the design phase.

Control Room at Mercedes-Benz Stadium

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But in short order, these systems, also known as cellular bonding units allow you to connect directly to the internet to stream directly to a CDN (Central Destination Network) such as Facebook, Youtube, etc) or back to a MCR in which that can decode the signal and distribute it to its final destination.

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Studio Master Control Rooms

The engineers in those facilities in these facilities must know the ins and out of their facility and be good at the job, but because everything is already connected and programmed(to an extent) working in these types of venues can be a great learning opportunity. Only routine maintenance, troubleshooting, and occasional repatching or upgrades is required on a day-to day basis. These facilities can often last as long as the technology allows often are integrated in a way that allows the production capacity to expand with existing infrastructure. The equipment in them is not subject to the rigors of the road and rough handling like mobile units and flypacks, so you naturally, they live a longer life. Some facilities will have multiple studios or sets that all pipe back to one or more control rooms.

As you see in the various photos, studio control rooms can vary is shape, size, scope, and equipment- but the basic functions are all the same.

CBS News Hub Control Room in New York City

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These facilities are always ready to go, often never powering down once in operation, but easily ready to go on air with just the push of a few buttons. Studio control rooms are located in venues and buildings where their continuous events or other programming are being performed and shot. For example, a church that holds multiple weekly services will likely have a permanent control room, because this is much cheaper than bringing in crew and equipment on a weekly basis.

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Hillsong Community Church Control Room - Rancho Cucamonga, CA

Ocean Church Control Room - Destin, FL

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Studio Master Control Rooms | House of Worship

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Ocean Church

DM Broadcast - Elite Turnkey Studio

TV trucks, studio control rooms, and engineering rack rooms need to be well air-conditioned to keep equipment from overheating.

You will also notice equipment gaps or spaces in the racks to allows the fans built into the gear to has positive airflow and also prevent overheating.

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Studio Master Control Rooms | Engineering Rack

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Studio Master Control Rooms Some TV studios also have MCRʼs or master control rooms. A master control room is where all inbound feeds are received to be taken into the production switcher or used to send feeds out of the production studio to other satellites that will broadcast the signal to air. You have also seen a sat truck before, which is an older method of sending video and audio signals remotely to and from a production studio.

The Master Control Technician is responsible to QCʼing (Quality Control) all video and audio levels and that they meet the proper network and FCC requirements before going to air.

SAT Uplink Truck

As technology evolves, sat trucks are certainly becoming a thing of the past, and for those of you just getting started, the likelihood that you will encounter one in your career is slim to none. But for large events that want to rely on more than the internet for transmissions or when internet is simply not available, a sat truck is a highly reliable tool.

Sometimes, that SAT truck will send a feed to a teleport or NOC (Network Operations Center) that will decode the feed and then re-encode it for streaming. In more modern times, satellite transmissions have been replaced by much cheaper, smaller, and more portable devices called encoders such as LiveU, TVU, and Dejero. Weʼll go more in depth on these later in this course.

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For example, a live sports broadcast needs to get their signal from a stadium to the networkʼs master control room so they can then put it on air. Immediately after that sportscast, there may be a news program that airs right after the broadcast. The control room which will air that news program will have a feed going to the MCR, who can seamlessly switch to the news feed at the conclusion of the game, because the sat truck is simply a source. Commercials are often times scheduled and pushed out of the MCR.

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Studio Master Control Rooms

Central Church of God Control Room

In some instances the switcher and video shader may be right next to each other. There may not be room, or a need for multiple producer seats. Audio might not have the luxury of being in a separate, quiet, isolated room.

As an engineer, simply be mindful of these things. Over time, you will be able to walk in a facility, take a look around and quickly be able to gauge the capabilities of what this system can possibly do.

In a small church, you may only find a small switcher, audio console, graphics on a Mac computer, and no video shading (depending on cameras being used). For their needs, staffing model, or return on investment, that simply may be enough.

The same person who is TDʼing may also be shading the cameras and handling the encoding (transmissions).

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You will be able walk into a control room, see the switcher or the graphics machine and be able to visually assess the systems capabilities. Youʼll be able to recognize what equipment is being used without any research. And there will be times where you will be surprised with the massive amount of a magic a team makes with only a little bit of resources.

In studios that are built for sports, you can expect to see multiple graphics and replays machines, more monitor walls and multiviewers due to all the different feeds that will need to be monitored.

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Studio Master Control Rooms I offer up all of that context to conclude with this: ● No matter where what facility you go to, remember at the very core of them all, they function the same. ● Be adaptable and open to learning each facility and what they are producing. The good thing about these places are that because they are “set in stone”, they make an excellent training ground for operators and engineers.

Control Room at a House of Worship

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● Itʼs a perfect chance to get your hands dirty on a lot of equipment without the pressures of being in the field.

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Rich Noel · Systems Integrator / Designer

INDUSTRY INTERVIEW

2 · What is a Systems Integrator/Designer and what all does that job entail?

A Broadcasting Systems Design and Integration Engineer is responsible for the planning, design, and integration of audio and video broadcasting systems. They work in the media and entertainment industry, and their main goal is to ensure that audio and video content is produced and distributed effectively and efficiently.

Some of the key responsibilities of a Broadcasting Systems Design and Integration Engineer include: Designing audio and video broadcasting systems, including selecting and configuring equipment such as cameras, microphones, switchers, routers, and servers.

Ensuring that broadcasting systems meet industry standards for audio and video quality, reliability, and security.

Collaborating with other engineers, technicians, and production teams to ensure that broadcasting systems are integrated with other systems and workflows.

Troubleshooting and resolving technical issues with broadcasting systems, such as signal loss or equipment failure.

Staying up to date with emerging technologies and industry trends in broadcasting systems design and integration.

Testing and validating broadcasting systems to ensure that they meet customer requirements and specifications.

Overall, Broadcasting Systems Design and Integration Engineers play a critical role in the media and entertainment industry by ensuring that audio and video content is produced and distributed seamlessly and efficiently.

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1 · The question everyone always wants to know, how did you getting started in the business?

I got started in this business through my family. My uncles were heavily into TV and production work when I grew up ad had the opportunity to work with them in the local TV and production environments that existed in Trinidad and Tobago at that time. My Aunt worked at McCann Erickson so I was also exposed to the advertising aspect of it also. It was awesome for a kid growing up.

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INDUSTRY INTERVIEW

3 · Give us some more general insight into this side of A/V architecture and the unique opportunities that lie within it?

In my mind set, passion is key to any success in life. Especially any creative endeavor such as live production and engineering. I believe that all of life is art and the attitude and passion driving our execution determines how we brings out our best selves and either adds value to our own experience as well as to everyone and everything arounds us or leave us wanting.

A good Broadcasting Systems Design and Integration Engineer should possess a combination of technical skills, creativity, and communication abilities. Here are some key traits that make for a successful systems integrator/designer: Technical expertise: A successful Broadcasting Systems Design and Integration Engineer should have a deep understanding of the technical aspects of A/V architecture, including equipment selection, system design, and signal routing. They should be able to troubleshoot complex technical issues and have a solid understanding of emerging technologies.

Creativity: Designing and integrating broadcast systems often involves finding innovative solutions to unique challenges. A successful systems integrator/designer should possess a creative mindset that allows them to come up with new and effective ways to achieve project goals.

Communication skills: Broadcasting Systems Design and Integration Engineers work in a collaborative environment, which requires clear and effective communication skills. They should be able to explain technical concepts to non-technical stakeholders, and work effectively with other engineers, technicians, and production teams.

Attention to detail: Broadcast systems require meticulous attention to detail, from ensuring that all equipment is properly configured and calibrated, to carefully monitoring signal paths and workflows. A successful systems integrator/designer should possess a keen eye for detail and a commitment to quality.

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Rich Noel · Systems Integrator / Designer

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Rich Noel · Systems Integrator / Designer

INDUSTRY INTERVIEW

4 · Give us some more general insight into this side of A/V architecture and the unique opportunities that lie within it?

Broadcasting Systems Design and Integration is a specialized field within the larger realm of Audio/Video (A/V) architecture. It involves the planning, design, and implementation of systems that are used to capture, process, and distribute audio and video content for broadcasting. The work of a Broadcasting Systems Design and Integration Engineer involves a range of technical skills, from understanding the physics of sound and light, to proficiency in the use of specialized software and hardware.

One of the key opportunities in this field is the chance to work on large-scale and high-profile projects, such as the design and integration of broadcast systems for major sporting events, concerts, or political events. These projects often require complex systems with multiple inputs and outputs and require a high degree of coordination and collaboration with other engineers, technicians, and production teams.

Another opportunity within Broadcasting Systems Design and Integration is the chance to work with emerging technologies and cutting-edge equipment. With the rapid pace of technological innovation in the media and entertainment industry, there is always something new to learn and explore. Engineers in this field must stay up to date with the latest advances in A/V technology and be willing to experiment with new tools and techniques to find the best solutions for their clients.

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One of the most rewarding aspects of the job is the opportunity to work on high-profile projects that are seen by millions of people around the world. Seeing your work come to life on screen is a unique and exciting experience. Additionally, the field offers the chance to work with cutting-edge technology and stay at the forefront of A/V innovation. Finally, the work can be very fulfilling for those who are passionate about using technology to create compelling audio and video content that entertains, informs, and inspires.

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CHAPTER III · PRODUCTION FACILITIES & ROLES

A mobile TV truck is nothing more than a control room on wheels. When originally designed, they were 40-53ʼ custom built trailers. Each ʻdepartmentʼ had itʼs own door and section in the trailer. These were known as “straight” units. Most production trucks on the market today are”walkthroughs”.

Let me explain the difference between the two. A “straight” mobile unit did not allow for you to walk from one end of the truck to the other without going outside.

In a straight truck, each department (production, audio, video, replay) had their own door and set of stairs. You would literally need to go in and out of the mobile unit to access each department. With a walkthrough unit, you can walk from one end of the truck to another without ever having to leave the inside of the truck and go down a flight of stairs. The one thing however that many straight and walkthrough units have in common is the audio room.

Most TV trucks are built with the audio room taking up the front or back 15-20% of the MU and having its own entrance and set of stairs. This allows the A1 to have as much sound isolation as possible and to be able to do their job with interruption from the noise that the control room brings.

“TV Trucks” as a generic term can come in all different shapes and sizes. As long as 53ʼ (the max legally allowed) and as short as 12ʼ. I have seen the built out into cargo vans, box trucks, custom trailers on custom chassis, and even RVʼs. If you can draw it up, itʼs possible to build. And as the engineer, you may one day find yourself doing.

One of the first versions of a TV truck. (FineArt america)

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Mobile TV Trucks

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Mobile TV Trucks Another type of mobile TV truck is the Expando. They are usually are found on chassis 40ʼ or larger and are always custom built trailers. The expando portion of the units, allows for more space to work and maneuver, as well as for additional bodies and equipment when fully set up.

As an Engineer on a mobile unit, not only will you be involved make sure all the systems are up, working, and continue talking to each other in harmony; but you will also be required to help the driver (sometimes the EIC is the driver) level off the truck, setup expando, benches, stairs, air conditioner hoses, and power.

Courtesy of Pacific Broadcast

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Expandoʼs can be single, double, and even triple-sided, though the latter is EXTREMELY rare. The only ones I know to exist are owned by All Mobile Video and I think it was simply built as a flex to what they could do. In a double expando, one side also extends significantly more than the other. The second side is usually just a small monitor wall cut out.

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Mobile TV Trucks

TV trucks are used for all kinds of productions. Live sporting events, concerts, talk shows, corporate events, parades, you name it. They allow for a full, professional broadcast production studio to be erected almost anywhere. Their ability to be built in so many shapes and sizes allow for them to fit in the most nimble of places. They do require power, and power will either come direct from the venue or via a portable generator. Weʼll talk more about production power later.

ROSS Video & High Rock Mobile Units

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Unlike in a studio where things stay plugged in, you will have to make sure all inventory is accounted before leaving a venue.

ONCE YOU LEAVE THE VENUE, YOU CAN ALMOST FORGET ABOUT GETTING YOUR STUFF BACK! You have a better chance at getting struck by lightning than get anything you left at a major or large venue. However, if is something not easily or cheaply replaceable, you should make an attempt to reach out and see if can be mailed to you, at your expense of course.

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CHAPTER III · PRODUCTION FACILITIES & ROLES

As an engineer working on a TV truck, you will have a lot of demands on your hands from a litany of crew members and systems that require attention. The types of show that you do will vary. Many of them will be one-day set/shoot/strikes, and others will allow one or more days for ESU (Event Setup). The TD and Director will have request for the monitor wall, camera operators may be experiencing issues in the field, and everyone has different feeds they need routed to different places. Itʼs the same with a flypack or inside of a busy television studio, but working inside of a television truck, especially the big ones- is a magical feel like no other. The feeling and rush you get during a live show in such a closed, intimate space with harmonious chatter is indescribable. I hope you get to experience it one day- itʼs literally the thing that got me hooked!

Similar to a a studio control room, a TV truck also is pre-wired and for the most part already set up. But as we mentioned, many production trucks are large expandos. They have floors that fold up, benches that come out, monitor walls that slide.

With that level of movement, things will inevitably become damaged, break, and inevitably not work.

Live show

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Mobile TV Trucks

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Mobile TV Trucks At every show in every city there will be a new crew and it will be your job to watch over the truck and its equipment. No one will care about your truck as much as you and you set the tone for how your truck operates and is cared for by other crew members. If your truck arrives dirty to a show, then the crew might treat it like a trash can.

The same goes for you as a truck engineer. The crew will respect you for keeping the gear in good shape, the truck clean, and for being responsive to their needs.

I believe that another thing you should really understand and get familiar with, especially working with mobile units is power.

Weʼll cover it later in the course.

Various mobile units neat and organized for a new crew.

Just because the truck is pre-wired though, doesnʼt mean that you wonʼt ever have to get down and dirty. There will be times when you will need to open up the side panels and rewire certain pieces of equipment for a particular shows or swap out bad units.

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This also goes for the maintenance of the truck. Crews will rave about the mobile units they love and gripe about the ones they hate amongst themselves.

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Courtesy of Ross Mobile Productions

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Mobile TV Trucks | 40’ Mobile TV Truck Seating Layout

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Courtesy of NEP

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Mobile TV Trucks | 53’ Mobile TV Truck Seating Layout

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Courtesy of Skystorm Productions

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Mobile TV Trucks | 26’ Mobile TV Trailer Seating Layout

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Flypack

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The images below/right show how flypacks are extremely unique in nature, and that no two flypacks are alike. Some comes packaged in nice rolling cases and are designed specifically for IMAG (Image Magnification) and small line cut shows. Other flypacks might have engineering, routing, and audio power in addition to modules for graphics, and replay.

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Flypack

Courtesy of Production Rockstars

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Flypacks work perfectly in spaces and locations where a TV truck might not be an option. Perhaps youʼre shooting in a high rise building, or an older theatre on an upper level with no easy access for cables. Perhaps the production is a lengthy shoot and the costs of renting a production truck for that duration isnʼt feasible and setting up and tearing down each day isnʼt an option either. In that scenario, a flypack is usually the much more economical choice.

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Courtesy of TV Pro Video

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Flypack

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Setting up the Flypack

● Engineering & Switcher ● CCUʼs ● Record Decks

● ProTools ● Graphics & Playback ● Wireless Audio/RF

Cameras, tripods, audio consoles, monitors, cables and converters travel in separate containers and cable trunks. We choose this setup because it allows us to leave racks behind that we donʼt need and set them up in either a tight or more spread out configuration based on the event or project setup.

When prepping your equipment for a show it is important to make sure that you create a detailed equipment list and pack more cables and converters than what you need. It can often be both difficult and costly to replace or get additional equipment on site should something not work or you forgot it. It also gives you a list to check when packing your gear to make sure everything returns to the shop.

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Now that we have went over the different positions, equipment and departments that make up a production ecosystem, letʼs get to the fun part. Setting up a flypack. We are going to use the Production Rockstarsʼ flypack for the examples in this online course and textbook.

Remember, each and every flypack and mobile production truck is different. They comes as big as 53ʼ expando trailers and as small as sprinter vans. Flypacks can be a single case pre-wired with all the gear or you may find yourself with dozens of cases from a rental house needing to essentially build and wire from scratch.

Currently we have two flypacks, Flypack A and Flypack B. Flypack A is our larger system that is made of of 6 rolling cases. Each case has a different function:

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Primary Technical Roles & Responsibilities within a Production Facility

● Engineer in Charge: The EIC is in charge of setting up and maintaining the production facility, connecting all systems, make changes within system menus and ensuring the system gets up and running and stays running in optimal condition. ● Engineer / E2: For bigger more complex systems or shows, there may be a 2nd engineer to assist the EIC. This engineer sometimes takes on the role of the Video Shader as well. ● Video Shader: The Video Shader is responsible for the operation of the camera Remote Control Panel (RCP) unit and ensuring that all cameras look identical in color and are correctly metered on the scopes. They also work with the system or truck engineers in managing the patch bay (I/O).

● Audio Engineer (A1): The A1 is responsible for the broadcast or live stream mix of the show. They oversee the A2ʼs and usually remain at the console or in the truck during set up and show. ● Audio Assistant (A2): A2ʼs assist the A1 outside of the truck or video village to get audio feeds into the truck for usage by the A1. ● Utility: Utilitiesʼ job is to run cables, set up cameras, monitors, and assist with the overall setup of the technical part of the production. ● Technical Director: The Technical Director or TD as it is often called is responsible for operating the switcher and taking cues from the Director to execute the show. This role includes building effects, mapping the monitor wall, importing lower thirds and communicating with the entire crew during ESU.

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● Tech Manager: The tech manager is responsible for taking the creative producerʼs ideas and coming up with a technical plan on how it will be executed. He or she will also usually select the key members of the crew, however sometimes this is handled by Production.

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Primary Technical Roles & Responsibilities within a Production Facility

● Replay OP: Replay ops (often called EVS ops - which is brand specific, despite not always being an EVS machine) operate the replay device and quickly turn around replays or highlights or to playback video clips. They also create rollouts during the show that are used in and out of breaks or ʻmelts, which are highlights of the entire event created at the end of a game. ● Camera Operator: The camera operatorsʼ job is to frame shots and provide creative compositions to capture images for the Directors to use in telling the story. ● Font Coordinator: The Font Coordinator sits next to the GFX op and provides the officials stats, names and titles to insert into the live graphics.

● ProTools Op: On some entertainment shows, particularly live-to-tape and often featuring a band or large number of vocals- there will be a Pro Tools or audio recording engineer capturing isolated audio tracks or “STEMS”(individual audio tracks). Sometimes, they will mix the tracks live on site and other times simply capture. ● RoboCam OP: PTZ or “robocam” ops are operators of cameras that are controlled by a unit setup in the control or another location away from the camera body and the action. PTZ controllers often control up to as many as 100 cameras, though operators are usually responsible for far less. ● Teleprompter Op: Prompter Ops for short, are responsible for operating a software on a computer which contains the script for the show. They are responsible for working with producers and talent to create breaks in the scripts, add hyperboles, break notes, pauses. Etc. Depending on the type of teleprompter display being used, the operator may also be responsible for setting that up as well.

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● Graphics Operator: The GFX op is responsible for operating the graphics server playing out lower thirds, billboards, bugs and other elements as defined by the show.

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CHAPTER III · PRODUCTION FACILITIES & ROLES

Primary Technical Roles & Responsibilities within a Production Facility

● Producer: Depending on the show a Producer's role can vary. If short form, they provide the creative direction for the show, oversee scripts and rundowns, ensure sponsorship or ad spots get in the show, work closely with talent, production, and other departments to see the show come to life.

● Associate Directors: Associate Directors, while not used on all shows are found in many arenas of productions- and their roles vary greatly. Sports AD, are responsible for keeping timing for breaks and ensuring sponsorships. In entertainment, ADʼs focus on helping the Director memorize pre-planned camera shots, count music scores, and keeping up with breaks or upcoming set movements. ● Post: Post refers to the team of people or person responsible for editing a project. For a live sporting events, this might be a social media or BTS team editing ancillary content for later posting or clips for a highlight show. In the entertainment world, this could be a team of people to include editors, assistant editors, colorist, sound mixers, graphics designers and post producers who take recorded footage and put it together into a finished product for later airing.

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● Director: The Director is the pilot of the show. He or she takes creative direction from the Producer and executes the vision. This can be done by calling for changes, ensuring proper camera composition, and selecting camera angles. This is all done while simultaneously adding graphics, audio and video playback, and replays into the the show.

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BACK TO THE TABLE OF CONTENTS

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CHAPTER IV

CABLE MANAGEMENT

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CHAPTER IV · CABLE MANAGEMENT

Over & Under 101: You’re Gonna Learn This 1st!

Many engineers and technicians began their career as utilities or stagehands and some of you may still be at that stage in your journey.

In this section, weʼre going to focus on properly coiling cables, some do/donʼt, and best practices.

After the reading part of this lesson, weʼll get hands on with some cables and an do some practical applications.

Image courtesy of Cheqroom

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One of the primary functions of being a utility is laying out cable on site, working with a Hand Held camera operator to wrangle cable, and helping to set up cameras and other production equipment.

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CHAPTER IV · CABLE MANAGEMENT

How to Over & Under…. or Should You Over & Over?

Tips & Tricks ● Always follow & trust the cable, it will tell you which way it wants to go. ● Warm cable or cable thatʼs been in heat is usually more flexible and easier to coil. ● Cold cable will usually be stiff and a bit more firm. ● If it doesnʼt look right, redo it! ● Shorter length cables should be coiled smaller and always have at least one cable tie or strap. ● Longer length and/or heavier cables (SMPTE) should have larger coils at least 2 cable ties or straps . ● NEVER MARRY A CABLE: IT WILL BE A DISASTER FOR THE NEXT USER ● Take pride in your coils!

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CHAPTER IV · CABLE MANAGEMENT

Label le’ Cable

And when this happens youʼll be crawling on the ground, chasing cable in the dark, trying to track it back because itʼs not labeled.

Sometimes Iʼve been told I label excessively, but I bet you I can find what Iʼm looking for. When prepping cameras in the shop, you should label every piece of equipment for that chain with colored tape so that you know what goes with what.

When labeling cables, be sure to label both sides with the camera number. Your fiber and SDI patch cables should also be labeled with their destination as well.

You will thank me later for this lesson, that is, if you havenʼt been doing this for years.

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There is nothing that I dislike more than unlabeled cable. Think about it, there is a pot of spaghetti and every single piece looks the same.

One of them is not working, so how would you or anyone else who comes behind you supposed to know what is what?

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BACK TO THE TABLE OF CONTENTS

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CHAPTER V

BROADCAST CAMERAS

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CHAPTER V · BROADCAST CAMERAS

Part, Pieces, & Terminology The purpose of this course is not to teach you how to be a skilled camera operator, but to be a good and knowledgeable engineer or video technician. You must first understand how to set up, maintain, and troubleshoot issues on the most basic tool of the job, the camera.

As an engineer, you may often encounters new utilities and camera operators who lack experience building cameras or are simply not comfortable for one reason or another. You will be called upon frequently to help assist with building camerasmost often, situating a lens onto the camera. It is also in your best interest to go out and be an active part of the camera build. This will help you keep an eye on your equipment and ensure that it is being set up properly, minimizing lost and damages at the end of the show. It can also be used as a learning opportunity. However, your control room duties come first.

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Weʼll talk about cameras and their capabilities a little bit later on, but for now we want to just focus on setting up the camera.

And to hone in more, weʼll focus specifically on a hard and HH camera setups. Weʼll be looking at configurations for a large variety of scenarios.

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4 3

7

2

1.

2.

3.

4.

5.

6.

7.

1 5 6

Camera Body Lens Viewfinder (Studio or EVF) Top Handle Trip, Dollies & Pedestals Shoulder Pad Camera Fiber Converter

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Components of a Broadcast Camera

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CHAPTER V · BROADCAST CAMERAS

Camera Body & Lenses

This course will specifically focus on the Blackmagic URSA G2, however there are many camera systems that you will encounter.

It is important to know that Blackmagic is the only camera that has a swappable fiber back system built by the manufacturer.

Broadcast cameras from brands such as Sony or Grass Valley will have a hard-fixed SMPTE or triax body and they do not offer the option to use batteries.

But because this model camera offers the MOST flexibility at the most economical price, it serves as the perfect training tool.

Youʼll also commonly find this camera in houses of worship, corporate events, small-scale sporting events, music festivals and plenty of other spaces.

So, letʼs get into it!

URSA G2 Camera Body

Studio Box Telephoto Lens

B4 Mount ENG Lens

Cinema PL Mount Lens

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In the broadcast world, the camera chain is the summation of the camera body and all the parts and components that attach to the camera body, to give you a fully functioning camera system.

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CHAPTER V · BROADCAST CAMERAS

Camera Body & Lenses Camera Body The camera body is the nucleus. Detachable pieces that should remain with the camera body at all times include the handle and the shoulder mount. The shoulder mount is what attaches to the camera plate and easily allows an operator to work in studio/build-up configuration or use the camera in handheld mode quickly.

B4 Mount

PL Mount

The lens is the eye of the camera. Lenses come in a variety of shapes, sizes and focal lengths. The BM URSA G2 comes with a native B4 mount, which is specifically designed to accommodate Fujinon and Canon servo lenses, such as the ones pictured on the last page. Servo lenses are electronic lenses, powered by the camera, which offer a smooth zoom in and out. They are also par-focal meaning that they stay in focus as you zoom in and out.

In addition to controlling the zoom, you can also control the focus and the iris. However, when attached to SMPTE fiber (or SDI w/ a PGM aux send) and placed in auto mode, the iris can be controlled by the video shader, through the RCP.

Micro 4/3 Mount EF Mount

The BM URSA is also the ONLY professional broadcast camera with interchangeable lens mounts allowing you to capture more cinematic images by using PL and EF Mount lenses within a native broadcast workflow. Micro 4/3 is not a common broadcast mount, but some POV cameras use them.

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Lenses

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CHAPTER V · BROADCAST CAMERAS

Camera Body & Lenses Studio or box lenses, are large telephoto lenses that are used in a variety of shooting applications. They are used when you need to capture wide field of of views of a set, an expansive outdoor setting, or event or for gathering up close-up shots of subjects that are far away. These lenses are heavy, expensive and should only be used by trained professionals. As an engineer, you should ensure that it is done properly and without any damage to the camera or the lens. You may need to tell camera operators and utilities to wait for your assistance with mounting these lenses so that you can ensure that it is done properly and without any damage to the camera or the lens.

Box lenses can be as wide as 7.5x and as tight as 125x. Anything over 101x will usually be a 4K or 8K lenses. While box lenses and traditional servo lenses are sold in HD, 4K UHD, and 8K models (with some SD lenses still being on the market) it is important to know that the lens does not necessarily need to chase the camera. What that means is SD lenses can be used on HD cameras and HD lenses can be used on 4K cameras, and so forth.

Mobile units typically stock an assortment of box and standard ENG lenses, however, during prep you should be sure to consult the Tech Manager about lenses will be needed. Due to weight and DOT considerations, trucks try to only carry what they will need. Flypack operators tend to rent these lenses on an as needed basis due to their exorbitant costs.

Note: Before you remove a camera lens from the body, be sure to have your front and back lens caps handy. Youʼll want to have these on whenever your lens is not in use. Even for short distance movements.

Extender An extender (or 2x extender) is a lens feature that allows the camera to zoom in further, but removes its ability to reach its widest point. This helps when your lenses native focal point does not go as tight as youʼd like and the operator needs help going in just a bit further, and doesnʼt need to shoot as wide.

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More on Lenses

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CHAPTER V · BROADCAST CAMERAS

Camera Body & Lenses You may have heard the term “f-stop” or “f-number” on various occasions. These terms refer to the measurement used to assess a cameraʼs aperture and serve as a measurement of focal length. Aperture is a hole which allows light into the camera. Along with shutter speed and ISO (sensitivity to light), aperture is a third component of the triad that makes up the exposure (to light). While focal length itself refers to the field of view of a lens, f-stop is about how much light you allow to hit the sensor via the aperture opening. The aperture is the hole in the middle of the lens, made up of rotating blades that open to let in light when you press the shutter release. The diameter of the aperture determines how much light gets through and thus how bright your exposure will be.

ND Filters ND Filters or Neutral Density filters are a really handy and nifty feature set of broadcast cameras. It provides a method of leaving your iris at a set ISO while having the ability to reduce the intensity of all wavelengths , or colors of light equally from entering the camera, in measured amounts. Essentially, itʼs like putting shades over the camera. Except each pair of shades makes things darker.

An experience that you may have when turning on a camera and have uncovered the lens is that the image may appear very dark or completely black. To the novice, you may be scratching your head to figure out why. The lens cap has been removed and all your signal and power indicators are green. A quick troubleshoot is to give the ND wheel a spin and see if that fixes your issues. If youʼre indoors, the previous user may have been outdoors with lots more light exposure. And you can be assured that it was not set back to zero before packing the camera up. If youʼre outdoors and find yourself overexposed, you can give that a try as well. More often that not, youʼll find the need to use an ND filter outdoors.

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F-Stop

Up close Image of Iris Control 56

CHAPTER V · BROADCAST CAMERAS

Camera Body & Lenses Many broadcast cameras operate with a single sensor that cannot be changed, a few selectable frame rates, and 1-3 resolutions. These selections and capabilities usually take place long before youʼll have the camera in your hand, are a limited to the licenses that the purchaser paid for.

Common Frame Rates ● ● ● ● ●

29.97 23.98 30 59.94 60

Common Resolutions ● ● ● ● ●

720p 1080i 1080p UHD 4K

Weʼll go more in depth with frame rates, resolutions, etc in the Engineering section, but it is important to know and understand the capabilities of the equipment that you are using.

When a Client books the equipment, the inquiry of what frame rates and resolutions a camera is capable of is usually discussed beforehand. However often times, this conversation happens on site and there have been situations where producer and/or the director have to compromise on their creative vision to the limits of the camera.

Sensors store valuable information. The larger the camera sensor size, the more information that can fit, producing better quality images than smaller sensors.

The size determines what you see through your cameraʼs viewfinder.

The URSA G2 features a 6K sensor perfect for using PL and EF mount lenses and capturing cinematic images, that can be cropped to a 4K sensor when using B4 mount lenses.

Example of vignetting with B4 mount lens on a URSA G2. To resolve, make sure you are using the correct camera sensor.

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More on Cameras

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CHAPTER V · BROADCAST CAMERAS

Camera Body & Lenses On an awards show that I was Tech Managing for a major network, we asked early on what was the desired frame rate. Leading up to the event and during the first day or two, no one said anything about the frame rate. During rehearsals, a creative executive asked for a cinematic look.

However, the TV truck that was booked and the cameras were not capable of those frame rates or resolutions, they were forcefully reluctant to settle for 1080i 59.94.

Another important feature of the camera body is the camera sensor. A camera sensor is a device inside the camera that captures light and converts it into the signals which result in an image. Sensors consist of millions of photosites, or light-sensitive spots that record what is being seen through the lens. The size of the cameraʼs sensor determines how much of this light is used to create the image.

Blackmagic URSA Sensor

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Focusing back in on the Blackmagic URSA, this camera has the ability to operate all of these frame rates and resolutions.

However, not all frame rates are achievable with each resolution. As we get hands on, weʼll explore what is possible.

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CHAPTER V · BROADCAST CAMERAS

More on Lenses When selecting or recommending lenses, one important thing to know is what size or focal length the Director is looking for to achieve the desired shot. This course will again, focus mostly on B4 mount lenses.

The easiest way to quickly identify a lens type is by the number.

You will commonly hear numbers such as “4.3x”, “7.4x”, “22x”, “40x”, “72x”, or even “101x”. The lower the “by” or “x” the wider the focal length of the lens. The wider the lens can go, the more light that can enter the camera and the less artificial light needed. The amount of light needed is also determined by the cameras sensor. BMD cameras are notoriously known for needing lots of light.

It is always preferable that the lightning department first light the set or talent with the appropriate and adequate amount of light before using gain and other camera features to compensate for any levels that need to be adjusted. This will help ensure the camera images are matching. Also, adding a significant amount of gain creates a very grainy and will ultimately impact the look of the final product.

The larger the ʻbyʼ or the ʻxʼ the tighter a lens will be able to zoom in on the subject(s). That means a 101x lens can be pretty far away and shoot incredibly close up shots. So tight that the image may even become blurry. However, when possible, you should try to spec a lens that will not use its full range to get close up on the subject. This is called “end of your lens”. A director may be asking the camera operator why they are unable to maintain focus or why the image is shaky. In music environments with lots of noise, this may prove difficult too.

But once you have reached the end of your focal length, focusing becomes like a hair trigger. The tiniest amount of movement to the focus knob can throw your image out of focus.

Any and every slight movement will also become very obvious as well. When the opportunity to spec the exact lens is not available and you have this issue, strapping the entire camera down may help reduce vibrations. You can also, if possible.

Move the camera position more forward 5-10ʼ so that operator isnʼt at the end of his/her lens.

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Camera Body & Lenses

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CHAPTER V · BROADCAST CAMERAS

Viewfinders The viewfinder is your visual reference for everything being captured by the camera and all the metadata, alarms and other information needed about current camera settings.

As a video engineer, operators will often ask for your guidance making adjustments to the viewfinder, helping them achieve optimal performance. This may include adjusting peak levels for focus, turning on or off grids and crosshairs, or adjusting brightness and contrast.

To be an effective engineer and be able to assist your crew, it is important that you know how to quickly find these settings and be able to assist with adjusting them on the fly while simultaneously training the operator how to do it themselves.

Blackmagic URSA Viewfinder

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Every manufacturer offers viewfinders in 2 models: Studio Viewfinder for tripod, dolly, or pedestal operation and EVF, which is an eyepiece for when the camera is used as a handheld.

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CHAPTER V · BROADCAST CAMERAS

Viewfinders EVF Viewfinders It is utilized best when the camera is in a HH mode of operation. It can be used as the viewfinder in a studio configuration, but that it not how it was designed to be used.

The USRA G2 EVF (Electronic Viewfinder) has a tally light and uses 2 separate cables to connect to the camera. It uses an SDI connection and separate power connection. The viewfinder offers full color image.

There are 3 buttons that allow for accessing and operating the menu.

Blackmagic Viewfinder

Grass Valley Viewfinder

I love Blackmagic products. Without them, my success and this course might not be possible. But as a purveyor of honesty and to help you in the field, these things are prone to going out.

This is one BM product that is likely to have issues. But either way, itʼs the best bang for the buck!

When you have issues, continue to disconnect and reconnect and eventually, the message through that you want it work- sometimes!

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The USRSA G2 has a 3” flip out monitor on the side that can be to see the camera image as well. On lower budget productions, you may see this used in lieu of the studio viewfinder. No other broadcast grade camera offers this feature, and an eyepiece or studio viewfinder must be used.

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Viewfinders Studio Viewfinders

Studio Viewfinders usually have tally lights that turn green when the camera is in preview and red when the camera is hot or on-air. Studio viewfinders connect to the top of the camera via an interlock mount and have knobs that allow for adjustable height and tilt.

Like the BM EVF Viewfinder, the BM Studio viewfinder also requires a cable to operate. It also has a non-moveable sun shade that adjusts up and down. When taken care of properly, including regular dusting, the SM Studio VF works great.

It should be noted that Studio and EVF viewfinders on brands such as Sony, Grass Valley, and Ikegami have a one D-Sub 25 cable connector that passes both video and power.

Blackmagic URSA Viewfinder

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The Blackmagic Studio Viewfinder offers impressive image quality and a nice selection of menu settings that allow for the operator to perfecting set their framing and composition parameters.

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Tripods

Tripods come in many different sizes and all have different payloads, durability, and manufacturing material, though aluminum and carbon fiber are the most costly. Carbon fiber sticks are stiffer and lighter, however, aluminum tripods offer more stability due to their increased weight.

In many cases , it will not be your responsibility to select the tripods being used, as they will already be onsite with the flypack or mobile unit. However if given the option of selecting a tripod, the most important factor is the payload capacity. A tripod with a payload that is too heavy will not operate properly and provide the correct fluidity or balance. You will also find that the legs will begin to “sink”, sometimes relatively fast depending on how much over the payload capacity you are.

Often times, it is clearly visible that the weight of the camera equipment is too much for the tripod. Other times, you may need to double-check the manual or another online source for this information. Always remember that safety is paramount and that an overloaded tripod is an unsafe tripod.

You also come to notice that many tripods have a leveling-bubble. This feature allows you to properly level the pan head either before or after placing the camera on the tripod. Some tripods allow for you to level them off the pan head directly, and others you will need to adjust the legs in order to level off the tripod.

While setting up the tripod, consider the content being captured and do your best to set it at the height that it will be operated at. Doing so before you mount your camera will make it a safer, one-man operation and prevent additional opportunities to damage equipment.

Of the entire camera setup, only 3 components are usually affixed to the tripod. The camera plate that attaches to the tripod plate and the zoom and focus controls that attach to the handles.

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Tripods are a 3-legged stand, often referred to as “sticks”, used to mount a camera. In addition to the legs, which make up the bulk of the system, it is also comprised of a pan head which allows for pan/tilt motion and arms, which allow for control of the pan head. There is also a tripod plate, not to be confused with the camera plate, that attaches the camera plate to the tripods pan head.

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Tripods

As the video engineer, you are responsible for making sure that all the equipment that is on the show makes it back onto the truck or into the flypack. Upon completion of use, the tripod plate should ALWAYS go back with the tripod. The camera plate should always go back into the camera case. Failure to pack your gear back this way could cause trouble on the next show, should the tripod plate be missing. These plates canʼt be found at your local general store.

Inexperienced operators and utilities will often place the camera plate with the tripod or vice versa.

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Pan Head Pan Head Tripod Plate Legs Handles (2) Dolly Wheels (optional)

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When attaching the camera plate to the tripod, your primary objectives are to ensure the tripod plate is attached to the camera plate in the correct position and ensuring that everything is tight and secure . This is all about balance and making sure the camera wonʼt be either too front or back heavy. While the tripod has some play in it towards the front and back, it is limited and you may find that it is not enough to get the camera fully balanced. When you find that it is not enough, you will need to go back reposition the tripod plate on the camera plate to a more optimal position.

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Tripods & Panheads Having the proper size sticks and panhead is very important as well. In order to use big box lenses, you will need a heavy duty tripod that can adequately support the weight of the lens, camera body and accessories, such as a teleprompter or talent monitor.

Vinten Pan Head

Vinten Heavy Duty Tripod

Most all professional tripods allow for the pan head to be removed from the sticks, but with these heavier duty tripods, they are often almost always in separate cases. Separate cases makes for easier shipping due to reduces weight. It also allows you to mixing panheads and sticks as needed. Youʼll notice that this pan head also has a larger tripod plate with bigger screws and levers that lock the camera body into place. One other thing to pay attention to the handles. They come in 4 separate pieces will be in the panhead case, not attached to the pan head. The Zoom demand actually serves as one of tha handles.

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A tripod that has too much weight on it will either sink or fall over. So this is a very important safety issue as well.

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Camera Builds & Configurations | Handheld & Stationary w/Bat 5

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1. USRA Broadcast w/ B4 Mount 2. Fujinon Servo Lens 3. V-Mount Battery Plate 4. EVF Viewfinder 5. Onboard shotgun microphone Handheld w/ Battery & B4 Mount Lens

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1. USRA Broadcast w/ PL Mount 2. Manual Cine Lens (3rd party focus control) w/ rails 3. EVF Viewfinder 4. V-Mount Battery Stationary w/ Battery & PL Mount Lens

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Zoom & Focus Controls The zoom and focus controls are a necessary accessories when utilizing servo lenses in a studio configuration. They allow for the smooth operation of zooming and focusing while operating the camera on-air.

Zoom / Focus Controls

When using cinema lenses, an 1st A/C is often responsible for pulling focus. This will either be via a focus knob that is attached to the lens OR a wireless focus controller that offers metering and allows for precision focusing. These systems are most often rented from a rental house or provided as a kit rental from the A/C.

Manual Focus Cable Micro Force V+F2 Control

In this mode using a cinema lens, for zoom control, the DP, A/C or Camera Ops may choose to use a Preston Microforce V+F2 zoom control.

If using a wireless follow focus, the wireless transmitter is another accessory that will need to be mounted to the camera body.

1st AC, or First Assistant Camera, is a member of a film crew's camera department who is responsible for maintaining the camera lens's focus on the subject or action being filmed

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The controls are included with the lens and not the camera.

There are two types of zoom/focus controls that come with lense; Manual focus and digital zoom. The controls connect to the lens in their designated place. A manual focus control comes with 2 parts; an adapter that screws onto the lens and the focus cable attached to it. We wonʼt dive deep into the differences as they work the exact same, but with digital zoom has an electronic connector versus manual.

Digi Zoom Demand

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Camera Fiber Converter

Should your production company or project not employ the camera fiber converters, you will still need to power the camera and get signals to and from the camera to the switcher. Power to the camera can be achieved through 1 of 2 methods: 1. Hard Power or 2. Battery Power.

Simply by connecting and attaching either a V-Mount Plate or Gold Mount plate, you can snap on a battery and your camera will have power.

Blackmagic URSA Camera Fiber Converter

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When used, the Camera Fiber Converter provides the URSA G2 with power, video signal, data, comms, audio, tally, and returns through a single SMPTE (Society of Motion Picture & Television Engineers) cable. This minimizes the number of individual SDI, power, and XLR cables that need be used to achieve these different signals, by condensing down to just one lightweight cable. The power signal to the CFC is generated from the Studio Fiber Converter, which weʼll cover next.

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Camera Fiber Converter The CFC has 3 lights on the back of the unit:

● Tally: The Tally light will either illuminate red , green , yellow . Red indicated that the camera is on air. Green indicates that the camera is in preview mode. Yellow or no light indicates that the camera is neither on-air or in preview mode. ● Fiber: The Fiber Light, is the indication of a video and data signal, or lack thereof. If the light is green, youʼre good to go. If the light is red, there is an issue causing signal not to pass.

Usually, itʼs dirty fiber. You should also note that after the camera gets power, it usually takes between 10-30 seconds for the fiber signal light to connect and turn green or red.

Blackmagic URSA operation

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● Power: The Power light will illuminate green when the CFC is receiving clean power and the unit is running. You will be able to hear the CFC start upon plugging in the SMPTE fiber cable and powering up the studio fiber converter. The female end of the SMPTE cable should be plugged into the CFC. If the Power light illuminates red , the CFC will not power up and you will likely need to clean your fiber.

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Studio Fiber Converter

The Blackmagic RCP does leave something to be desired, but overall it is a very capable unit. In all fairness, we must also advise that while the units are very professional, they are not top of the line and therefore you will often encounter problems with them, particularly if you take your equipment on the road a lot.

When experiencing issues such as lack of power or power but no fiber connection, focus on cleaning the fiber. Fiber can be easily misconstrued as being a bad piece of fiber, when there is simply plenty of dirt that you cannot see. Invest in the proper tools and fiber cleaning equipment so that should you run into an issue, you can quickly address it.

Another important thing that you should note is that Blackmagic SFCʼs do not operate over IP. What that means is that you can use the converters 100% out the box, without connecting to a network.

In the event that you experience power or signal issues during setup or operation, in addition to cleaning you SMPTE fiber, be sure to clean the nodes of the SFC as well. At the end of use, be sure to apply the cap back on the SMPTE connector to prevent event dirt from infecting it.

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The Studio Fiber Converter or the SFC serves a number of applications. First and foremost, it converts signal coming out of the camera through the SMPTE cable back into SDI to be distributed to the switcher and/or router. It is also where the returns feeds are sent to the camera, and audio is extracted from the camera. Additionally, intercom and tally are converted into fiber. The SFC also acts as a power station for the camera.

For you, the engineer or technician, the front of the SFC provides a visual reference to what image the camera is seeing, without having to go out to the camera. You can also verify camera returns, camera frame rate settings, audio levels, and set a few things related to tally and comms.

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Remote Control Panel

Blackmagic RCP Unit

You will also find with other broadcast cameras, that in addition to the individual camera RCP, you can also purchase a Master Setup RCP, which assist in making the same changes across all cameras simultaneously.

Sony RCP

Sony Master Setup RCP

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The Remote Control Panel is a device that allows for remote operation of the cameraʼs iris, black levels, gain, and RGB color settings. With the RCP in place, it allows a Video Shader to focus on these tasks while in the live show environment and the Camera Operator to focus on capturing the best images and angles for the production. The Blackmagic RCP, unlike its peers, comes in a bank of 4 connected to one single device. Using a “shift” function, you can control up to 8 cameras with a single unit. You may also save scene files for different lighting environments within a single or multiple productions. The RCP is connected to the system over a network switch cannot work independently of the network.

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Open Source Remote Control

These products, connect via ethernet and with the help of some conversion devices, will allow productions and operators to have full control over camera color, iris, knee, gamma.

The level of control and parameters that each of these devices will give you control over varies from the manufacturer to manufacturer - but they are groundbreaking in the fact that they cameras that historically could not be controlled live, to be able to do so now.

Cyanview RCP

Skaroojh RCP

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While open source gear isnʼt quite new technology, the rise and emergence of open source remote control panels for cameras even. Now even more so with the amount of live-cinema style productions that are occurring and the desire to use cinema format cameras such as a Sony FX9 or Arri Amira - cameras that are not natively meant for that format of productions and do not have RCPs available to them.

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Camera Chain | Fiber, CCU, RCP Nuance

Helpful Tips: 3G SDI has a maximum 300ʼ distance. Anytime a barrel is connected, there is a loss of approximately 10ʼ. After 300ʼ, there signal will need to be reclocked using a Distribution Amplifier.

As the Video Engineer, you will find yourself in 2 scenarios, and it is critical that you know before going on site which of the two that you will be in. The first scenario is common in flypacks, particularly on small shows. You act as both the systems engineer and the video shader.

On larger shows and in TV trucks, you will typically be responsible for only engineering the entire system and there will be another dedicated V1.

TV Truck operation

This is important to know because it is likely you do not have the experience of shading cameras. This is a specialized skill, and some people and clients will accept shading with your eyes. However, higher-value productions and most sports require that you be able to read a scope. Weʼll talk more about scopes later in the course.

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Often times you will come across systems that use an RCP, but do not use studio and camera fiber converters. The ability to give a video shader full control of the camera can still be achieved. However, you will need to run a second SDI cable from the switcher/router to the camera in order to return program from the M/E 1 bus back to the camera for control over an aux. So when planning your show and cable needs, be sure to have 2 SDI runs per cable.

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EIC vs. VIDEO ENGINEERING vs. VIDEO SHADING

There are some who have had the opportunity to become a basic level video shader but are not at the technical level of an Engineer in Charge (EIC) or even a Video Engineer (E2) level.

There are also very skilled EICs and E2s (not to be confused with a Barco E2) who have not mastered or taken up the time and ability to learn how to be a video shader.

Being a Video Shader is skill that is also both art and science.

Traditionally, it requires the knowledge of reading scopes and waveforms monitors and knowing lots about lighting level and various facets of camera control features and functions to get a perfectly calibrated image. However, in modern times, places like churches, schools, and municipalities are more accepting of crew members who may be able to produce a pretty image that is acceptable to the audience but lack the technical knowledge required for detailed shading like proper black levels, use of knee, gamma, white balancing, chip charting, color correction etc.

So while some shaders may consider themselves to be video engineers, when you hear someone ask for the EIC or a video engineer, they are more than likely to be asking for the person who can fix things or troubleshoot and not the video shader.

However, we hope that through this course, we will further level up the skills of video engineers, video shaders and all of those participating in the technical production process.

The more we all know, the better we all perform and the more we are all able to help each other out more on the job passing knowledge and information, perhaps even making the Engineer in Charge job a little easier.

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I have had many educated, Facebook debates about the difference between video engineering and video shading. The debate was about whether or not a video shader is a video engineer. I believe that a video shader can be a video engineer but does not have to be. I also believe that the opposite can also be true.

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Different Kind of Chain Setups 4

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1. USRA Broadcast w/ PL Mount 2. Xenon FF-Prime Lens 3. V-Mount Battery Plate 4. EVF Viewfinder 5. V-Mount Battery

1. USRA Broadcast w/ Tripod 2. 25-300 Cine Servo Lens 3. Studio & EVF Viewfinder 4. Camera Fiber Converter

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Different Kind of Chain Setups 2 4

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1. USRA Broadcast on a Pedestal w/ B4 Mount 2. 80 Box Lens 3. Camera Fiber Converter 4. Studio Viewfinder 5. Zoom / Focus Control

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1. Arri Amira Camera 2. 5” Offboard Monitor for A/C 3. Box Lens Sled 4. Fujinon 25-1000 PL Mount Lens 5. Arri Amira Camera

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Broadcast Cameras

You should know that frame rates and resolutions are ultimately a creative decision made by producers, director, and DPs- the most important skill in this arena is being able to advise your Client or team as to what the camera is and is not capable of and then being able to make those adjustments on the fly.

In this next section, we will explore different brands and models of common cameras used for broadcast, professional live streaming, and event production. These cameras are often found in news rooms, churches, mobile tv truck, flypacks, university stadiums and other professional settings. The goal here isnʼt to know each one of these cameras inside and out, but rather to be able to easily identify these tools. The goal is to have a little background knowledge on them and what they can do when you encounter them

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Some camera systems have the ability to record internally using external media and some do not. Some have single-mode sensors and others have multi-mode sensors.

Most new broadcast-specific cameras on the market now have the ability to capture in 1080p using multiple frame rates while some still only support up to 1080i. For the next 5-7 years, you can expect to still some cameras in use, particularly in sports and some lower-level entertainment that you the 1080i resolution, while most shows creatively wish to use 1080p.

Source: Petapixel.com

CHAPTER 1 · 19 · BROADCAST CAMERAS

Cameras are the single most important tool of any production facility ecosystem. Regardless of whether you have a control room or not, the camera still exists. It is necessary to capture the images of the story we or our Clients seek to tell. In some cases, the camera can be used by itself with battery or A/C power. And with other camera systems- it must be attached to a triax (nearly obsolete) or SMPTE fiber cable to receive power and pass communications, audio, data and receive tally.

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Blackmagic Design URSA G2

Whatʼs impresses me the most about the Blackmagic URSA is the flexibility of the backside and the flexibility of the mounts. This is the ONLY professional broadcast camera on the market that has an interchangeable backmount. You can go from SMPTE Camera Fiber Converter, to v-mount or gold mount battery. The camera comes standard with a v-mount back in the box. Choosing neither of those options and running off A/C power is an option as well, and continues to speak to the flexibility that is the Blackmagic URSA G2.

As for the lens mount, there is no other camera on the market (broadcast, prosumer or consumer) that comes with an interchangeable lens mount. For a very nominal cost, you can purchase a PL or EF mount and replace the native B4 mount. This has allowed me shoot things like comedy specials with PL-mount cinema lens and other shoots with standard broadcast lenses.

Iʼve been engaged in the conversations often about how great or not great the overall durability and reliability of the camera, CCUS and ATEM systems. These are valid arguments, however, I personally own a whole fleet of Blackmagic equipment, including 8 URSA G2ʼs, all with fiber converters, multiple RCPS, switchers, ATEM Constellations, Extreme ISO, Teranex, etc.

The biggest upside being price, of course. The biggest limitations of the RCP, can be addressed by purchasing one of the open source RCP units. Speaking on behalf of small business owners, network execs, churches, etc - it would not be possible without the price point and intuitiveness of these products.

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The Blackmagic URSA and the subsequent G2 and their entire line of products revolutionized broadcast, live event and multicam production forever. It made shooting professional content so much cheaper and faster while maintaining image quality and proving that while perhaps not as perfect as some other cameras, it was no doubt a heavyweight contender, ready to compete. It has allowed for sporting events, esports, network tv shows, commencements, comedy specials and so much content to be shot professionally that never would have been able to in the years prior to its arrival on the market.

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Blackmagic Design URSA G2 | Camera ● 4K Production Camera, Live Studio Camera, Digital Cinema Camera ● 6K Sensor w/ 6144 x 3456 resolution ● Built in Optical ND Filters ● Supports ProRes 422 & ProRes 422 HQ, H.265 ● Shoots in 23.98, 24, 29.97, 59.94, and 60fps ● 1080, 1080p, and 4K resolutions ● USB-C Recording (direct to drive) ● 12G Video Output (SDI In) ● 12G SDI Video Input ● XLR Audio In ● Built-In Microphone ● ⅛” Headphone Jack

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Key Specs & Facts

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Blackmagic Design URSA G2 | Control Panel

While coming with standard iris and black level control, joysticks that allow you to click to preview, gain, white balance and RGB functionality - it does lack more advanced features like knee and gamma.. You can program scenes but will be unable to save them.

It also works with their Studio and other URSA Mini Camera models.

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The Blackmagic RCP panel connects to your system via ethernet. It takes a standard D-plug and then plugs into your network switch to connect with the system. It comes as a 4 banger unit as shown above. If you have more than one camera, you will likely want to have multiple RCPS so that you can quickly access controls for each camera. When facing budget constraints, this unit does have multiple banks allowing you to control up to 8 cameras with a single unit. The RCP works with SDI and SMPTE setups, however with SDI it will take up more I/O on our switcher or router.

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VIDEO FLYPACKS

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LENSES

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MONITORS

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WIRELESS COMMS

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JIBS/CRANES

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WIRELESS AUDIO & VIDEO RF

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AUDIO CONSOLES + MULTITRACK

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DOLLIES

CHAPTER V · BROADCAST CAMERAS

Hitachi

In my opinion, Hitachi makes some really nice cameras these days. Particularly their new 4K cameras. I got a chance to use them while directing ESSENCE Fest at the Superdome in 2022.

These cameras operate on SMPTE, do not have interchangeable lens mounts and have RCPs that require a qualified and well-trained operator. ● ● ● ● ● ● ● ●

1080p Video - 4K Upgradeable CMOS Global Shutter Sensors Color Knee, Knee saturation and Knee detail functions Independent control of UHD & HDTV detail Dual Workflow with simultaneous SDR & HDR Independent HD-SDI VF output for crane or Jib installations Direct data transfer from SD memory cards used at camera head and control panels 2 independent CCU Returns; inputs can be HD-SDI single or dual link, or SD analog or digital selectable

LINK TO OFFICIAL SPECS

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Hitachi

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Sony 2500, 4300, 5500

They donʼt have the pricing, flexibility or range that an URSA may have. The levels and features of cameras all come down to budget and production value. Letʼs checkout some features of the 5500. ● Adding the optional HDCE-TX50 IP camera extension adapter allows the HDC-5500V to output ST 2110 signals directly without requiring a separate CCU (camera control unit) ● High-speed data transmission with networked TRUNK (via LAN port).

LINK TO OFFICIAL SPECS

Sony 2500 / 4300

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Creme de la Creme. Of all cameras (and I say this without sponsorship) Sony is by far the camera with the prettiest picture.

Sure, from home, itʼs hard to tell the difference from one camera to the next with editing and compression watching on your tv, but in the truck on a calibrated monitor, theyʼre the best.

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Grass Valley LDK Series

These cameras also run off SMPTE, have B4 mounts, and are controlled via CCUs. They can also be configured as wireless cameras. ● HD/UHD ● DirectIP with complete transmission protocol over IP Networks ● Native HDR for PQ/HLG/S-Log3 ● Full integration with 80, 82, 86 ● A laʼ carte options optimize with “pay per use”

LINK TO OFFICIAL SPECS

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While found in all formats of production, in my experience at least 50% of live, professional sporting events are shot with Grass Valley cameras. While the market has shifted to include more affordable camera brands for smaller productions Grass Valley is still a very dominant camera found in many corners of broadcast and live event production.

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Ikegami Ikegami is another professional grade broadcast camera manufacturer with a solid, quality broadcast cameras. Based in Japan, their cameras are common in the electronic news gathering, sports, and studio settings.

● ● ● ●

4K Video Output Direct from the Camera Head 1080p, 1080i, 720p, 2160p Gamma Profile for HDR HFR Captioning 2/3-inch Global Shutter CMOS Sensor

LINK TO OFFICIAL SPECS

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Ikegami

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Panasonic

● ● ● ● ●

2x, 3x, or 4x HD Slow Motion Output*6 Future SMPTE 2110 MoIP Upgrade Path Supports HDR(HLG) and ITU-R BT.2020.

4.4K Sensor Camera with 2/3 type B4*Output from the AK-UCU 600 Camera Control Unit.

UHD 12G-SDI (x2) and TICO over SDI

LINK TO OFFICIAL SPECS

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The Panasonic UC3000/4000 is a hugely popular camera in the corporate world. This camera series delivers some beautiful images. They are SMPTE cameras with B4 mounts and are colored with an RCP.

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Sony F5500 Live & Sony Venice Sonyʼs flagship cinema camera, the Sony F55, followed up by the Sony Venice is often used in live-to-tape specials such as comedy and music specials and on some live productions integrated for its 6K-capable resolution. As we discussed earlier cinema cameras require lots of cables and mis-match accessories to be built up as broadcast style cameras.

Sony F5500 LIVE

● ● ●

Shallow depth of field Super 35mm 4K CMOS Sensor Ready for IP Live with optional 2110 IP Support

LINK TO SONY HDC F5500 OFFICIAL SPECS LINK TO SONY VENICE OFFICIAL SPECS

Sony Venice

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They then went on to create the Sony F5500 LIVE which is a broadcast-ready camera, with updated internal, 4K brains of the Sony F55, a PL mount for cine-servo lenses, native SMPTE connectivity and CCU/RCP control.

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Sony FS7 / FX9 The Sony FS7 and its predecessor the FX9 are a workhorse in reality tv, docu-series, BTS, and multi-camera scenarios. I have seen these used often with reality TV show reunions in which they wish to keep with the image continuity produced from these cameras during the regular season.

● ● ● ● ● ● ●

EF-Mount Lens 6-K Full Frame camcorder Center Scan Mode for Super 16mm lenses 15+ Stops Dynamic Range Dual Base ISO User Customizable 3D LUTS & HLG HDR/SDR Dual Production Support

LINK TO OFFICIAL SPECS

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The metabones adaptor adds a battery mount and addition SDI and pro audio I/O.

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Canon C300 The Canon C300 deserves an honorable mention. This camera was and in some ways still commands attention as a reality and cinema camera for “lower-level” multicam cinema cameras.

For use in multicam production, it requires SDI connections, 3rd party comms and cannot be shaded, though I must have even without shading and manual iris control, these still produce a quality image.

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It is available with both EF & PL mounts. Compared to more recent cameras the image quality is not equal, but this camera still does and always has produced a beautiful 4K & HD images.

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Arri Amira & Amira LiVE Arri Amira LiVE

Primarily used in films, documentaries, and some multi-camera cinema format productions, the Arri Alexa and Amira is a top of the line cinema-first camera. This camera was by no means originally for cinema productions, but Arri has now developed the Amira LiVE which is built as a broadcast-ready camera.

● ● ● ●

1820 Camera Fiber Adapter Arri ALEV 3 Super 35mm Sensor Highest dynamic range over 14 stops Requires 3rd Party RCP

LINK TO OFFICIAL SPECS

Arri Amira

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The Amira LiVE features a viewfinder, SMPTE fiber, SDI connections and a PL mount for cine-servo lenses.

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CHAPTER VI

CAMERA & CCU OPERATIONS

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There are a number of different types of lenses with varying focal lengths that you will encounter within this type of production. The majority of the broadcast cameras used in a vast amount of sports, entertainment and corporate event production utilize a B4 mount lens. There will ALWAYS be one of three (3) brands- Canon and Fujinon which are the market leaders and Augienuex found primarily overseas in Europe.

When using cinema format cameras, you will find that most of those cameras operate with PL mount lenses and occasionally an EF mount, such as the Canon C300 which is sold with options for both mounts.

The only broadcast-quality camera on the market that accepts both a B4 Mount and PL Mount or EF mount, is the Blackmagic URSA Mini G2 Broadcast camera. The flexibility allows you to use both standard servo lens or cinema format lenses.

The most common B4 Mount, servo lens for a standard broadcast build up is 20x or 22x. 40x and 42x lenses have tighter ranges and are larger in size and heavier in weight but still donʼt require ultra heavy-duty tripods like their box lens counterparts.

HD Fujinon

In any production, you will very commonly find box lenses on hard camera positions. The exception is smaller, regional and local live stream sports in which the budget usually doesnʼt allow for this level of lensing.

These box lenses range in focal lengths from 55x - 107x.

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Camera Lenses

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Camera Lenses

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Swapping Lenses

Some crew members will have experience doing this, but I have often seen people struggle with this because they want to try and show off their skills but simply donʼt know the correct way. If youʼre comfortable with their skill level, let them do it, because youʼll have plenty of other tasks to complete. However, you may need to go out and physically help build cameras or swap lenses yourself.

I always treat swapping lenses as a delicate process. I donʼt know or think it has any impact, but I try to have the camera powered down when doing so if possible….seems more safe.

Step by Step Guide to Swapping Lenses 1. Sit the lens that you are swapping onto a flat surface nearby the camera.

2. Have your lens caps and cover for the lens that you are removing nearby.

3. Brace the lens on the camera with one hand, slightly lifting upwards on the lens and use the other hand to release the lens via the button( EF mount) or lever (B4 or PL Mount).

4. Place lens covers and caps on the removed lens and place on a flat surface.

5. Remove the lens caps and covers from the new lens.

6. Match the red dot on the lens with the red dot on the lens mounts and place the lens in the grooves.

7. Turn the lens (EF Mount) or the lens mount (PL or B4 Mount) until you hear a click.

8. Gently shake or nudge the lens to ensure the lens is properly mounted.

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Putting on and swapping lenses is a routine operation that is performed by Engineers, Camera ops and Utilities. As a good engineer, you should quietly assess the skills of your teams at the beginning of the shoot if you donʼt already have experience working with them.

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Swapping Lenses | Video Walkthrough

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Back Mounts Another really awesome feature of the URSA/G2 Broadcast Camera is the ability to choose between 3 backmounts:

Camera Fiber Converter URSA Mini Recorder Mount

The ability to choose between these mounts add to the possibilities of scenarios, shooting conditions and shooting locations that you can use the camera in. You can also opt for no back mount and use the supplied power adaptor or use Blackmagicʼs SSD media card mount with the power adaptor.

V-Mount Battery

Gold Mount Battery

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● Camera Fiber Converter: A SMPTE fiber converter attachment moving video signal, comms, data, audio, and tally. ● V-Mount Battery: Standard V-mount battery mounted power supply. ● Gold Mount Battery: 3-pronged Anton Bauer/gold mount battery. ● Media Recorder Mount: Back mount used to hold SSD cards for recording.

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Swapping Out Backmounts

1. Place the camera on a flat surface.

2. Utilize a small allen or screwdriver set to loosen the screws of the mount.

3. Remove the existing mount and disconnect the white power attachment cable. (Be gentle).

4. Remove the screws camera fiber support plate and place together with the camera fiber converter.

5. Reattach the power supply on the new unit and remount with the screws.

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Step by Step

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Balancing the Camera

When you think about a broadcast camera, particularly one with a studio box lens, there is a lot of equipment forward and backward of the center mass. The lens towards the front, the fiber converter, viewfinder, and cable towards the back.

The positioning of the tripod plate, which is affixed via screws to the camera plate, plays a large part into the balancing of the camera system. Itʼs positioning dictates how much forward and backwards play you have to balance the camera with. In many cases, moving he tripod plate along the track a few centimeters will do the trick.

In other cases, you may need to go as far as removing the entire camera unit from the tripod and readjusting the position of the plate to give you better positioning for center balance.

In the next video, weʼll take a deeper dive on how to balance cameras and the steps to achieve perfect balance.

A balanced camera is super critical. If a camera is not properly balanced, the operator will struggle to hold the camera still and any slight movement will be seen on screne, because the imbalance will cause the camera to tilt forward of backwards at the slightest release of any tension.

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A broadcast camera on a tripod should sit perfectly still when completely unlocked. This refers to the balance of the camera.

Oftentimes operators find themselves with a camera that falls forward or backwards when unlocked. What they experience is that upon unlocking the tilt on the tripod, that the camera will lean forward (front-heavy) if not being held and controlled by the operator. Or it may lean/fall backwards (back-heavy).

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Back Focus

When a broadcast camera with a B4 Mount lens is properly setup and calibrated, you should be able to zoom in and out into a shot or subject and the focus should remain in tact.

However, letʼs say you set a tight shot, focus it, zoom out, set the focus, zoom in and zoom back out but the image remain out of focus - that means your back focus is out.

To correct this and properly set your back focus, you will need to perform the following steps:

Step by Step Guide to Setting Back Focus 1. Zoom in to the furthest, well-lit object on stage or set.

2. Focus the image using the focus control knob. The video shader should tell you when itʼs perfect on his/her monitor just to be sure.

3. Once in perfect focus, zoom out as wide as you can.

4. Unlock or unscrew the back focus knob and look at your viewfinder while simultaneously turning the knob until the image is in perfect focus.

5. Once the focus is perfect, lock the knob.

6. Zoom in and out from the furthest point to the widest point several times. If your lens does not go out of focus, your back focus is set. If it does, try again. If the issue persists, then you may have a faulty lens.

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“Back focus” is the setting of the lensʼ back focus and is done by completing a series of manual functions at the camera and done by the camera operator with the assistance of the video shader for precision focus setting.

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How to Back Focus | Video Walkthrough

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STEP 1 - Focus control Knob.

STEP 2 - Back focus knob on a B4 mount ENG lens.

STEP 3 - Back focus knob on a B4 mount BOX lens.

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Back Focus Controls | Where to Find Them (In Order of Steps)

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Connecting Fiber to Camera & CCU

When working with other brands like Sony, Hitachi, or Grass Valley - you will not have this ability. The fiber is native and permanent to that camera.

In the days of triax, we used to say “fuck the truck” in relation to which way you should run the fiber cable from the truck to the camera. What that means, is make sure that the male end of the cable, is going back to the truck (where the CCUs are.)

Blackmagic Design Studio Fiber Converter

When you run your SMPTE cable, make sure that you are running the male end of the cable back to the truck and the female end of the cable towards the camera.

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Connecting fiber to the camera is a pretty simple task, however, it is important you know equipment, and what to look for when you connect the equipment.

As you Iʼm sure you can assume, the examples in this course will feature Blackmagic Camera Fiber Converter and the Studio Fiber Converter, also known as the CCU. What it is important to know is that Blackmagic is the only professional-grade broadcast camera that allows you to remove and swap the fiber connectivity. These ability to swap parts is a blessing and a curse. The more moving parts, the more room for failures, loss and damages.

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Connecting Fiber to Camera & CCU

Once you connect your cables, you will now want to verify your signal lights on both the CCU and the camera. You are going to be looking for a total of 4 green lights. Those 4 lights are POWER and FIBER on both the CCU and the camera side.

Blackmagic Design Studio Fiber Converter

Once all 4 of those lights are lit green, you should see a camera image appear and be ready to move on to the next steps of operation.

For troubleshooting purposes, it is important to note that positive lights on one side of the chain, does not mean positive lights on the other side of the chain.

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Line up the red dots on the cable with the red dots on the CCU and push in until you hear a click. Give it a bit of a wiggle to ensure that the cable is well seated.

On the camera side, do that same thing. Ensure that you have the cable seated all the way in. If you have any trouble getting the cable connected to the camera of the CCU, no need to force it. Gently remove it. Take a look at the cable and make sure that none of the connectors are bent or frayed. If all that checks out, realign the red dots and try again. There could be a number of things contributing to your issue (if youʼre having one). Something like a small knick in the metal or bent edge on the connector could be what is causing there to be some resistance.

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Troubleshooting Fiber Issues First, it is important to note that positive lights on one side of the chain does not mean positive lights on the other side of the chain. In most cases, if the fiber or power light is showing green or red on on side, it will be the same on the other side of the chain.

● Potential Problem #2 - Loose Cable Make sure that the cables are seated properly and that it is firmly seated in the socket on both ends. Wiggle the camera. You can also unplug and replug it in versus just pushing on it, just to be sure.

VIDEO COMING SOON !

Stay tuned for an updated version in the near future.

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● Potential Problem #1 - Dirty Fiber I find this to be probably the number one issue when it comes to fiber connectivity. When you think of dirty, you often think of visible dirt. And thatʼs one reason this doesnʼt always come as the top of mind answer to your problems, because you cannot see the dirt. But tiny dust particles landing on the fiber strands and nodes creates signal flow issues constantly. One of the very first steps you should take is to use a SMPTE fiber cleaning pen to clean off the fiber.

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Properly Packing & Inspecting Gear

Your responsibility is to protect the condition (potential wear and tear of the equipment), and to ensure that all pieces of equipment that went out onto the field, stage, or house are returned and accounted for. This ensures that all equipment is available for the next show. Failure to do so could cost you or your employer time and most importantly, money.

On a sports TV shows for instance, the crew will pack and bring their cameras back to the mobile unit. In many cases, hard camera operators keep the cases nearby the camera setup. Handheld camera operators cases are typically kept at the mobile unit. When the cameras or cases are brought back to the truck, the engineer should not just accept that everything is there.

Regardless of how late at night and how tired you may be at wrap, you should always open up and inspect each camera and case.

● Latches are in working condition ● Make sure the comms headset is in the case or turned in with the camera. ● Remove the front and back lens caps from the lens and check for damage (and make sure the caps are there) ● Check for the camera lens cover and remove to check for damage. ● Check for the camera plate and sure that tripod plate* is not attached to it. (The tripod plate should remain on the tripod and the camera plate should be detached from the camera and stored in a case with it.) ● Make sure that the zoom and focus controls are disconnected from the tripod and placed in the camera case. ● Ensure the camera cable is present and does not have any visible damage.

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As the EIC or engineer on a mobile unit, flypack or within a studio, you are ultimately responsible for all equipment including cameras, terminal gear, consoles, servers, systems, and cables.

While each companyʼs casing and equipment packs will vary slightly, here are some common things to do and check for:

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Properly Packing & Inspecting Gear

When working with flypacks, it is even more important to check for equipment.

Larger flypacks are modular and come together with multiple cases and gear creating the need for interconnectivity between racks.

You will want to make sure that you account for all cable looms, converters, throwdown gear and monitors, gaff tape (very expensive), personal work tools, barrels you may have passed out, etc.

Losses and damages will occur from time to time. Donʼt fret, itʼs part of the business. Be sure to properly document the date, time, and specific damages and take photos. Itʼs always best practice to make the next set of engineers who will be working on the system aware of any damages. Field repairs may be an option when and where feasible.

When working with less experienced crew who might not perhaps know how to properly set up cameras, go out and help them. While not technically your job, it becomes your job in the name of protecting the equipment.

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You will be surprised at the condition that the crew will bring your equipment back to you and how out of place things can be. This is even more true of a tired or inexperienced crew. It isnʼt necessarily on purpose, but the more you work with a crew, the more trust and respect you will build with them. Ulitmately, they will care about your gear.

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Properly Packing & Inspecting Gear

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BACK TO THE TABLE OF CONTENTS

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CHAPTER VII

CAMERA SUPPORT SYSTEMS

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Hard Camera

Pedestal Camera

This type of camera system is built on a tripod with a studio viewfinder for stabilized and most pan/tilt operation using a fluid panhead.. It is operated by standing at the rear of the camera and using the zoom/focus control attached to the tripod arms. These are usually going to be your main cameras for action or performance coverage. These usually have longer lenses but can also use ENG lenses as well.

This is similar to a hard camera in buildup, however, instead of a tripod, it is built on a hydraulic pedestal that allows for fluid upward and downward motion while shooting. You still have the same pan/tilt control and fluidity as well.

These are mainly found higher entertainment & scripted tv production.

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Camera Support Systems & Positions

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Handheld Camera

Jib Camera

It is a camera body with an ENG lens and electronic viewfinder allowing the camera operator to go freely walk around and shoot. They can be wired or wireless.

A jib is an aerial camera support system that can be built out in variable lengths. In addition to moving the arm left and right, the operator also has remote control over the pan, tilt, zoom and focus functions of the camera and remote head.

Jibs offer added production value and dynamic, sweeping aerial shots at an economically-friendly cost.

Unlike Steadicam, the motion of the operator can be felt and seen by the camera with a bare Handheld Camera.

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Techno Crane

JITA Cam or “Jib In The Air”

Technocrane is a telescoping camera crane (or jib). It operates just like a regular jib, however the arm can extend or retract based on the needs of the shot.

Because of the weight of the overall unit, they tend to allow for large payloads and are common in feature films, commercials and other high end entertainment productions.

This is a very unique, custom bulb camera that is rigged in the air to truss. The proprietary cable system allows the camera to spin in a continuous 360-degree motion without any cords tangled or caught up. It requires 2 operators who control the arm and the remote head individually, but in tandem.

The remote head is controlled by the 2nd JITA op while camera settings are controlled by a Video Shader.

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Steadicam

POV / Lipstick Cam

Tower Cam

A Steadicam is a body-worn camera support system that allows the operator to walk and shoot - separating the motion of the operator from the camera.

This is how long tracking shots of walking or running are captured without and shaking or bouncing.

POV cameras are small, unmanned cameras that can be placed in various areas of a venue for certain shots. They have no remote control and are meant to be used as either surveillance or supplemental angles- often than get very little air time.

This little-known and not often used camera support system allows basic up and down telescoping motion of a camera on a remote head. It can be rigged upside down and placed on a dolly, offering an additional axis of motion.

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PTZ Cam

2- Point Cable Cam

The PTZ camera is a small, remote controlled camera that has has full PTZ capabilities. They are designed so that one operator can remotely control multiple cameras. They used to only be supplemental cameras, but are now being used in place of hard cameras due to their low cost and ease-of-use and setup.

A 2-Point Cable Cam system is a point-to-point system attached to two posts, that allows for the camera to fly over the field of action in straight, bilateral movements. The glide and PTZ functions are all remotely controlled by an operator.

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Camera Cart

Orbiter

The camera cart is a motorized dolly with a hydraulic platform built for one or two cameras and their operators. It is operated by a driver and a utility. During a game, it is driven up and down the sideline closest to the play action.

The orbiter is a low-profile camera support system that allow for the camera to eye level with the action. It is often used in soccer, lacrosse, and rugby.

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Camera Support Systems & Positions

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Rail Cam A rail cam is an electric, high speed, dolly camera system that rest on the floor. It allows for tracking high speed action such as figure skating or basketball at a unique angle.

Dana Dolly The Dana Dolly Portable Dolly System uses low-boy stands and 6ʼ 12ʼ aluminum rails to allow for smooth left to right movement.

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Drone

Skycam

It is an unmanned aerial vehicle with a camera that can fly in similar paths to a plane or helicopter; essentially anywhere.

They can reach altitudes up to 10,000ʼ and are remotely operated with a handheld controller that give the operator flight and video control.

This is a complex, 4-point camera system created originally for MNF. It requires multiple operators and setup crew that need 1-2 days to setup before the main broadcast crew. There are other copy cats that have come along with small systems and over the years they have kept crept onto entertainment shows as well.

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How Does the Skycam & Spidercam work?

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2-Point/Point to Point Cable Cam Since the invention of the original 4-point Spidercam and Skycam cable cam systems, a variety of other small, easier to setup systems have come to market.

That brings us to the 2-point or point-to-point cable cam system. It requires less setup time and less crew while still being able to create unique and dynamic shots.

Skycams are controlled by both a pilot and camera operator, whereas the 2-point camera system can be operated by one person and setup by just 2 persons.

Some churches, venues, and studios also have cable camera systems installed these days as well.

Newton Nordic 2-Point Cable Cam & Controller

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Much like 4-point cable cameras, they use smaller camera body (often with smaller chips) and a variety of gimbal heads for stabilization such as a Ronin or similar.

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All said, the tripod is the first and a very instrumental tool used to set up stabilized cameras shots with fluid pan/tilt movement of the camera. A common accessory and system that used with tripods is used with tripods are DOLLIES (DOLLY). A dolly in the simplest terms is a platform on wheels. Typically a dolly rests on three or four wheels. The dolly allows for the tripod and camera to move, with smooth motion, over an area either for repositioning or for making moves during a camera shot.

Dollies can also be affixed to a track, allowing it further motion over what length of track the space can accommodate. Tracks used for dollies will either be straight or curved.

Dollies can add lots of creative value to a show. While your job as a technician or engineer is not to set up dollies per se, (though with some smaller companies this can be the case) it is another common component you will find in your line of work.

Chapman Dolly

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Dollies

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3 Wheel Tripod Dolly

Dana Dolly

Chapman Dolly

To use this dolly, place the tripod legs into each of the slots, and pull the rubber holster over the leg to secure it.

Be sure to place the tripod on the dolly and lock the wheels before mounting your camera.

A portable dolly system used in conjunction with 2 baby stands and commonly available aluminum pipe in which the doly slides back and forth on.

To use this dolly, you simply remove the pan head from the tripod and affix it to the Dana Dolly using the proper spacers.

The lengths can carry from 3ʼʼ to as long as 8-12ʼ with the additional Dana Dolly center support.

A Chapman Dolly (others brands do exist) is mostly used on film sets, however, given the emergence of cinematic films shoots, you may find yourself around one of these units sooner than you think. Especially if the project has a large budget. With this dolly, a Dolly Grip is responsible for pushing it at the desired speed, and a 1st A/C pull focus while the camera operator focusing on solely that task.

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Dollies

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Pedestals Pedestals, while similar to tripods and dollies are a bit different in that they allow for left, right, forward, backwards, up, and down motion. The wheels are also affixed to the pedestals and not a separate combination.

The column has nitrogen-balanced pneumatics or hydraulics which control its up and down motion smoothly while shooting live, often with little or no notice to the viewer.

Robotics pedestals are also a common place, particularity in news stations where one person is able to control multiple cameras.

Pedestals are seldom seen, but most commonly used in TV station studios. They can also be found in remote/outside broadcast environments.

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The crab/steers controls which dictate the direction of the camera, versus a “free-for-all”, are steered by a steering rings attached to the center column.

As heavier systems, they can also take a much greater payload which often includes a larger lens, teleprompter, clock, and vanity monitor.

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Camera Cranes Cranes or “jibs” as they are often referred, are a common place on live, commercial, digital, film, and house of worship sets. Long before drones, camera cranes were the primary and most economical solution for aerial shots. They add to the production value and allow for lots of cool moves that level up a program.

There are 3 types of camera cranes.

The most common type of jib is the Electric Non-Telescoping and it is made of a base, pedestal, arm, remote head, electronic control box, monitor, and weights.

The two most common brands are Jimmy Jib and Cammate.

These systems are built to “easily” setup and breakdown on a routine basis and come in travel cases. These units are electric, non-telescoping cranes.

Cammate Systems Camera Crane

They can be built out in variable lengths ranging from 3ʼ - 40ʼ.

The size and specs vary based on the brand and version of the crane, what accessories the operator owns, etc.

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● Electric NON-Telescoping ● Manual Telescoping ● Electric Telescoping

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Camera Cranes

Jimmy Jib Triangle Arm & Head

When working with cinema cameras, the operator will not typically have zoom or focus control. This is usually due to the types of lenses used. The exception to this rule is when using a select few cine-servo lenses that have B4 mounts. All other non-servo cinema lenses utilize PL mounts.

As an engineer you usually will bare no responsibility for the operation of or the maintenance of the camera crane. But you may find yourself interfacing with it more frequently than those out in the field (i.e. being in a permanent studio or church). In 90% of cases, the jib is an owner/op type of scenario.

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The left/right, up/down function of the arm itself are manual and is made smooth and easy by the weights counterbalance the camera. The electronic control box is what allows the operator to control the pan/tilt/zoom and focus functions of the remote head and camera. They can also control the start/stop function of the cameraʼs VTR when using certain camera models.

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Camera Cranes The next type of camera crane is a Manual Non-Telescoping Jib. The most common type is referred to as a mini jib. These units are setup on a medium-duty tripod and tend to have a maximum reach of 6ʼ, but 3-4ʼ is the standard. (see below)

The payload of these units vary, but on average, they can handle a decent amount of weight. Like any other jib, weights are required for balancing the unit.

Jimmy Jib Being Setup

As general rule of thumb, it is a great idea that no one except the jib owner and/or operator touches the crane.

Even as the engineer, your duty is to the camera, not the crane. You do not want to get fussed at by the jib op, so even if away, wait until they return to touch the equipment.

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The armʼs boom functions as well are the Pan/Tilt/Zoom movements are all controlled manually, by hand, by the operator. This proves great in small spaces where big movements are not required. Instead, itʼs perfect for achieving soft, subtle, fluid movement.

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Telescoping Camera Cranes

TechnoCrane

Telescoping cranes are extremely popular with feature films, scripted TV, music videos, and commercials.

The Techno-Jib can be operated by one person who controls both the remote head, camera, and boom. Techno-Jib offers 2 models, and together they offer a minimum reach of 7ʼ and maximum reach of 25ʼ.

SuperTechno offers 8 models ranging from 10ʼ - 75ʼ in range.

They offer high end remote heads with payload capabilities up to 80lbs. These cranes require 2 operators, with one operating the remote head and camera and the other operating the boom arm.

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This type of crane is the Electric Telescoping Crane. They are commonly referred to by their brand names, TechnoCrane (officially SuperTechno) and Techno-Jib. These unitʼs boom arm retracts in and out, allowing for unique tracking shots and another axis of aerial movements.

It would be my observed professional opinion that techno cranes are used on less than 20% of live event and television productions, due to their weight, size, cost, and limited availability in many markets. The cost is 3-4x that of a standard jib.

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Steadicam

Now letʼs talk about the pertinent things you as an engineer should be considering when you have a Steadicam on your show.

The first is wired or wireless. If the Steadicam Op is going to be tethered to a cable, you should try to make sure that you can provide them with the thinnest and most lightweight piece of triax or fiber possible.

Steadicam M-2

CHAPTER 1 · 15 · STEADICAM

Iʼm pretty sure youʼve seen it. Itʼs one of the cameras that most Directors dream of having, but the budget and desire for that level of production value must be there from the Client. Ultimately, every show or project may not benefit from a Steadicam, even if the budget is there.

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Steadicam, invented by Garrett Brown in 1975, was designed to separate the camera from the operatorʼs movement, keeping the camera motion separate and controllable by a skilled operator. Steadicam is a brand name; however, any camera like this is now and forever going to be called Steadicam regardless of the brand.

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Steadicam

Back on topic. If Steadicam is going to be wireless (which is always best) then you will want to get with the Tech Manager and/or Steadicam Op as soon as they arrive and start getting set up. This will ensure that the op is prepared to not only add the additional weight to his/her rig, but also that has all the proper mounting. In some cases there could be two (2) RF transmitters for return video as well.

Sony FX9 on a Steadicam Rig

Depending on the level and type of show youʼre doing, the Tech Manager would have sorted all of these things out with vendors and the appropriate parties before hand.

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Often times, Steadicam Operators (at least the most experienced ones) will have their own thin piece of fiber that affixes to their vest. This allows them to maneuver on the stage or field easily. But to be frank, I have never in my professional career seen a steadicam operator cabled during a professional sporting event. That wasnʼt always a thing until introduced by one of the big network. And even still, only the largest sporting events employ Steadicam.

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The next consideration is the type of camera youʼll be using.

Most times, Steadicam will get a standard, handheld camera body. But on occasion, the operator will the luxury of a smaller, lightweight body, but full frame and chip broadcast, B4 mount camera such as the Sony P1 (same sensor, much less weight but less onboard control).

I would not consider these cameras to be common or widely used, but should you start working on larger projects, you may see them in some instances where larger equipment providers are involved and tend to have a larger, more expansive inventory and the Tech Manager or Director are hip to these tools. .When in use, they require wireless RF for the transmission of signal. There is no cable connection on these camera bodies.

They can be interfaced for full tally control, data, and camera CCU control.

Sony P1 Camera

When planning for comms, youʼll want to make sure that there is a wireless comm for Steadicam. Nothing would be worse than having them connected to more cables, but Iʼve seen it happen.

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Steadicam

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Drones While drones can very much be considered relatively new technology to the TV production landscape, drones are in no way new. They have been in use by the military for years in a wide-range of capacities.

Some would argue that a drone can replace a jib, but I would highly disagree as they over different styles of movement, fluidity and totally different vantage points. A camera on a jib can only go as high as the arm that is attached to and swing within that radius (usually between the audience and the stage) while a drone can cover acres and provide a different angle to the storytelling while it flies over huge swaths of lands or crowds.

Freefly ALTA 8

Drones come in a variety of different brands and sizes with vary payloads. Some drones come with built-in or pre attached cameras and others allow for a team to attach a much heavier camera of their choosing to the drone.

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Drones are amazing and very cost effective tool for aerial video coverage. They can cover vast ranges, fly extremely high, and be operated remotely even out of the sight of the operator who always has visuals via the camera onboard and the monitor attached to the controls.

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Drones

Credit: AVG.com

Credit: Space.com

This would allow for different lenses and higher quality than the first editions of commercial drones.

In the early days of drones being introduced for commercial consumption they were available everywhere and with limited checks and balances on their usage. Free to fly and roam as the user saw fit.

Now, the government has stepped in and professional, commercial drone operators require FAA certified training and licensure. The costs are nominal, but get caught flying without one and the consequences could be huge.

Drones can be extremely dangerous above people as they can easily fall out of the sky if not operated by a qualified operator, experience adverse weather conditions, or lose contact with its transmitter. One should ALWAYS have adequate insurance if operating professionally and selling his/her services.

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When operating a drone, one should become extremely familiar with the local laws and regulations and/or venue and insurance requirements around operating a drone over the heads of a crowd.

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PTZ Camera

There will be shows that utilize all PTZ cameras (usually as a cost-cutting measure, particularly on low-profile corporate and entertainment shows) and there will be those mix that them in with broadcast cameras to supplement the show with additional but less important angles and cutaways.

A PTZ controller allows for functionality of multiple cameras (sometimes as many as 100), controls all features, functions, and settings of the camera as well as the live PTZ functions. You can also program moves using the controller for quick recall of camera angles.

PTZOptics PTZ Cameras & Controller

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When dealing with a PTZ camera, it should be important to note that it is highly unlikely you will ever get an identical image quality. It may look good and it may look close, but it will not be the same. This is because the cameras have different sensors and chips.

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PTZ Cameras & Drone Heads

The controller for the hot head will only control one head at a time.

With a hot head, the operator only controls the PTZ motion of the remote head, not the camera settings and color itself.

Another important thing you should note is that fluidity varies by the brand. When moving the joystick, there sometimes is a few milliseconds of delay which will cause the operator to overcompensate or not follow along with the talent or subject at the pace they are moving on stage.

Newer model PTZʼs now offer NDI connectivity as well. We wonʼt dive too deep into here, but letʼs talk about it at a 10,000ʼ altitude.

First, NDI is a PTZ feature, not a hot head one. Remember, PTZʼs contain power, data, and video connections all in one device.

Broadcast camera on a Cammate robotic hot head.

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When a robotic camera is on a hot head, that camera is still connected to the CCU in the control room vía triax or fiber or SDI. The Video Shader must still control the color settings and ensure that it matches the color of the other cameras.

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Panasonic There are a large number of options for PTZ or (robo) cams out on the market, First let me say that while PTZ and robo cams in many ways are the same and the names are used interchangeably, there are some differences. PTZ cameras are all in one units (as shown above) that have proprietary controllers that only work with those cameras.

Bird Dog

PTZ Optics

They can be found in HD & 4K versions, but almost never have camera quality comparable to a broadcast camera. The resolution may be the same, but the chip that produces image quality is most certainly inferior.

A PTZ controller allows for use of multiple cameras (sometimes as many as 100), controls all features, functions, and settings of the camera as well as the live PTZ functions. You can also program moves using the controller for quick recall of camera angles. With a hot head, the operator only controls the PTZ motion of the remote head, not the camera settings and color itself.

Robo cams (also known as hot heads) are actual broadcast cameras that sit on a remote head.

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Common PTZ Cameras

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Diagram of an example of NDI configuration

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PTZ Cameras & NDI

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PTZ Cameras & NDI What is NDI? Video Connected Everywhere!

NDI is the only video-over-IP transport and codec that you need to run your remote, cloud or hybrid-based production. It was originally designed by Newtek, which is now owned by Vizrt.

Simple, scalable and fasst, NDI connected workflows save time, reduce cost and never compromise on quality.

In simplest terms, NDI is video connection via ethernet protocol utilizing a switch. So whereas traditional methods of baseband video are localized, NDI is also, through the use of an ethernet cable. This means that anywhere in the world, if you can connect a device to a network, that device and/or system can be a part of a production.

Learn more about NDI @ StreamGeeks youtube channel

So, letʼs say you have a control room in Arkansas, a graphics operator using VMix at home in LA, and talent in Atlanta with a PTZ camera setup. All those players can be apart of the same production with little delay and no reduction in quality through the power of NDI.

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NDI 5.5 breaks down boundaries and pushes the frontiers of live content production. Any device, any location, NDI is the first video-over-IP protocol that is fully optimized for our modern, mobile world.

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Multidyne

● Tally must come from an external source ● Multidyne does not make a camera RCP/Control unit so you must utilize a Cyanview or Sarkhooj unit.

You can also connect a Sony 1500 RCP to the system, however it will only allow for control of the iris and the black levels. ● These types of cameras do not have external viewing monitors, so you will need to add that as well.

You have seen some earlier photos with Multidyne the setups.

With Multidyne setups can be clunky and add significant weight for the operator, especially in handheld configurations.

However, there is no better production tool to convert cinema cameras over to a live multicam workflow.

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Multidyne Silverback system is a high-end, multicam fiber transport solution. It turns digital cinema cameras such as the Sony FX9 or F55 into a SMPTE studio cameras for live multi-camera production. It does it by replacing the battery with a proprietary camera fiber converter which take the SDI, audio, and data feeds from a camera and converts them back to a flypack or mobile unit via SMPTE. But there is a lot to unpack here.

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Control Side

Connector Side

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Multidyne

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CHAPTER VIII

Teleprompters

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Teleprompters

It works by a Prompter Op with a computer and software feeding that script to the prompter monitor attached to the camera. The mirror picks ups this image (which is upside down) and the talent can look directly at the camera lens (which is covered by the mirror) and read the script as it scrolls.The script must be manually input by an operator who can then scroll the copy at the pace of the reader.

Prompters, as they are often called come in a number of different set ups, sizes and brands. Letʼs dive into it.

A traditional teleprompter attaches via a plate to the tripod and camera and has a 12ʼ-17” on dovetails. A laptop or desktop computer located in the control room has the software. There are special controllers that the operator uses to pace the speed of the cof the scripts and other feeds. Well known brands include Autoscript, PrompTer People, Cue Prompter, and Ikan.

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Teleprompters are an important and critical piece of equipment and technology in the video production and broadcast industry that you probably are already very familiar with. The system of device allows for talent to read their script while looking directly into the camera and maintaining eye line and contact with the camera.

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Teleprompters Traditional prompters are most often found in news stations and other smaller studio formats that offer close range to the talent due to the size of the screen.

In some environments, everything may have to be setup from scratch and in others, like a news station- this will already be setup at the time of installation. As an engineer, one thing you should be ensure during pre-production is that you know what kind of prompter is being provided and itʼs weight. As you start adding prompters, lenses and other controls- be sure you arenʼt exceeding the payload capacity of your tripod.

Presidential Prompter

Another type of teleprompter is the “Presidential PrompTer”. It works by placing the video monitors on the ground and have 2 mirror panels on stand hover over it. The talent (usually a public speaker) can look straight ahead while giving a speech, glance at the panels, and speak to the audience while maintaining eye contact.

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Some of them also feature return monitors for the talent to see themselves on air, and countdown or time of day clocks.

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Teleprompters Another type of teleprompter is using a large TV monitor. These are super common at awards shows and live events when multiple speakers need to read to cameras far back and line of sight doesnʼt need to be perfect due to distance. Performers will also use them to glance at their lyrics.

The answer is usually in the monitor wall for folks in the control room to see and follow along with the script. How do we get it to all these destinations? Put the feed in the router and distribute it.

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Now that we know the different types of teleprompters and the basics of how they function, letʼs talk connectivity. Aside from the teleprompter itself, where else does the prompter feed need to go?

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Teleprompters

Teleprompter on LCD Monitor at FOH Camera Position

Teleprompter on LCD Monitors in downstage monitor setup w/ speaker timer

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The last type of teleprompter display we are going to discuss is an LCD monitor. These are very common on entertainment shows in venues like arenas and theatres when the primary cameras are located out at front of house, and an on-camera prompter display would be too small at that distance. Often times, there will be 2 LCD displays showing identical feeds, for optimal line of sight based on where the talent reading it is standing.

To feed the monitor with prompter, it would need to get a feed from the router, with the prompter display output routed to it.

Another way that these LCDʼs are used is as a ʻdownstage monitorʼ or “DSMs”. Often when setup in this mode, it is for corporate events and while sometimes the prompter feed will be shown here, more often than not it is notes, a presenterʼs view of a powerpoint presentation, program camera feed, or a clock. This position is not optimal to use as a prompter because it would require the reader to frequently look down away from the cameras and the audience. This setup is used often for corporate events and sometimes, i conjunction with a traditional prompter display. Additionally, if the screens do not display a countdown clock, it is usually accompanied by a speaker timer which is operated by someone, usually the showcaller or graphics operator at front of house.

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Traniece Shelborne · The Telepromptress

BLACK PRODUCTION SPOTLIGHT

With over 20 years of experience, hailing from Brooklyn, NY, Traneice is called upon to work for all sorts of major events and projects. She also is one of the few operators that own and operate their own equipment.

Her credits include some projects and networks you may be familiar with such as: Impact ATL Cast Special BET Her Urban One Honors Comic View

● NBA on TNT ● Z100 Jingle Ball ● Daily Show with Trevor Noah

FAVORITE PROJECT:

The Monique Show. Met lifelong friends who turn into family on set.

FAVORITE QUOTE:

Whatʼs for me is already mine.

MY ADVICE:

“Never be afraid to ask ask questions.”

“Believe you can accomplish the wildest of dreams.”

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● ● ● ●

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Teleprompters

You see, teleprompters for whatever reason are very expensive. Iʼd suppose because when properly taken care of, they last a long time. And who cares if itʼs digital or not, it is just words scrolling right?

The problem is that when the operator shows up with an analog prompter you may not have all the parts & conversion apparatus to make it work seamlessly. The operator should have these devices, but donʼt rely on them. They bring their gear, set it up (with your assistance) and theyʼll rely on you to make sure the signal gets from their system to the cameras and monitors.

Troubleshooting ● Out of the operatorʼs computer where the software exist, youʼll likely take an HDMI feed out and run that into either a Decimator or Teranex. (Teranex is my preference if you have it, because you can see the image on the display screen and itʼs just much easier to use.) ● The reason you do not want to go directly into a router is due to scaling and frame rates. Your prompter will likely put out a 1080i 59.94 signal. But in order for things to work properly, they all need to be playing at the same resolution and frame rate. The Decimator, Teranex or any other frame shake will achieve this goal for you. ● Once you run the prompter through a frame sync, youʼll then want to put it in your router. From there, you can assign it to various destinations including the prompter on the camera, a monitor on set, into your multiview and from there into your monitor wall. ● You should also know that sometimes the prompter displays will require power and this is not always available through the camera. Consider movement and positioning of the camera and any obstacles that you may encounter when working to supply power. You may also need to use and power a Decimator at the camera to convert the signal to its original frame rate.

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Youʼve put your prompter feed in the router but itʼs still not showing up! Well, did you check first to see if you were working with an analog or digital prompter?

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CHAPTER IX

WIRELESS VIDEO

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Shown are some various popular wireless RF transmitter/receivers systems. There are a number of models, but Iʼd argue that in the mid-market range, Teradek and Hollyland are the most dominant brands. Both brands offer several models that have varying ranges. There is limited frequency control with these devices, and it mostly comes down to channel selection. I have successfully used these on a number of projects. But using them outdoors in a busy, metropolitan area with lots of RF is a pretty sure way to run into interference. If you have the luxury of a Frequency Coordinator, be sure to make sure you he/she knows about these units so they can plan accordingly.

These smaller RF units, attach easily to the camera via an Israeli arm or screw into a plate on the camera. These do not come in versions that can attach directly to V-mount or Gold mount batteries. You can attach the required battery to it or utilize the d-tap on the URSA G2. See your specific camera for power options.

Teradek Bolt

For maximum signal strength on the receiving end, the receiver should be placed as close to the transmitter as possible free from any obstructions and as out in the open as possible. This will help to maximize the signal strength and ensure a strong connection while shooting. You can connect an SDI cable from the receiver and run that back to your control room.

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Wireless Camera Systems

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Wireless Camera Systems (RF) If you are not hard powering into the camera, battery life is another important item to keep in mind when using these wireless video systems. They often use smaller “prosumer” batteries which are known to drain really quickly. Your wireless camera may have to stop down down during the shoot to swap batteries, but this is common. As long as you have additional batteries charged and ready to go, it will be quick and seamless. It probably takes longer for the transmitter to boot back up.

Holyland Cosmo C1

When it comes to larger events and Clients who need 99.9% reliability and more roaming capabilities- Long Range Professional Wireless Camera Systems is the way to go. LRP systems utilize multiple antennas in multiple locations around a large venue where signal strength cannot be compromised.

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These types of prosumer model systems arenʼt used in big venues with tens of thousands of people, and you would not want to use them on projects with really high stakes. A good litmus test for whether or not you should be using this level or wireless or a more robust and reliable system is whether the show is paid for by commercial sponsors. That can make a big difference in the decision-making and budget planning.

This is likely outside your realm of worry to some extent, but the location these will be used should be at the forefront of your mind.

Holyland 400s PRO

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Based on the images alone, you can already see the dramatic difference in setup and why live sporting events and large entertainment shows would choose such a system. Their flexibility and expansion capabilities allow for the placement of multiple antennas placed around a venue so that the camera can roam far and wide, while maintaining strong signal back to the control room.

These wireless units are larger in size and require more battery power and consumption. For that reason, they can be and are often designed to attach to gold mount and v-mount batteries as well.

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Long Range Professional Wireless Video (RF)

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Long Range Professional Wireless Video (RF)

When these systems are deployed on a temporary basis, the companies will almost always send out an RF tech to manage frequencies, as you will have many other duties to tend to. If you recall in earlier sections, we talked about those smaller Sony P1 box camera models for Steadicam & remote headsthose are usually supplied by the LRP wireless video vendor or the company renting the remote heads.

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A lot of planning and communication is necessary when employing these systems. Because they are mostly used with broadcast cameras that only accept triax or fiber, itʼs important to make sure the correct special camera is ordered and has the connections to support the RF transmitter. They even have some camera models in which the RF transmitter is designed into the camera body itself.

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Dual Receiver RF for Monitoring & Focus Assist

Some short range RF transmitters can be dual receiver outputs while others are singular. The dual output transmitters allow one receiver to be setup at video village for directors and producers to watch on their monitors. The other receiver is setup for a 1st A/C (1st Assistant Camera) to wirelessly control the cameraʼs lens focus. This allows the operator to focus on operating the movement and zoom of the camera.

This role is necessary because most PL lenses are not telephoto and have a much more shallow depth of field. That means that any slight movement of the lens can throw the camera out of focus and requires someone closely monitor focus, (i.e. “thread the focus through a needle“) to maintain a sharp image or rack focus.

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Another common use for wireless video systems is for video monitoring and focus assist. Typically these setups arenʼt used in broadcast production but rather in reality TV, music videos, commercials, etc. However, with digital cinema cameras rigged for broadcast w/ PL lenses being used in multicam formats more common, you may run into this on occasion.

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CHAPTER X

BROADCAST PRODUCTION SWITCHERS

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Production Switchers

From a hardware prospective, a switcher is made up of 2 parts. The frame aka brain aka hub and the panel (also known as the surface).

The brain is usually set up within the engineering racks away from the panel. The panel is located on the front bench of the control room most often to the far right or the far left. In international markets, you will often find the switcher in the middle of the front bench, with producers and directors sitting on either side of them.

Switchers are made up of duplicated rows of buttons called M/Es or mix effects. They typically include a transition bus per M/E and other modules including positioning. Higher end switchers include an eMEM or snapshot bus.

eMEMs or Snapshots allow an operator to save the state of their switcher and create different states for different parts of a show.

Switchers can have as few as one and as many as 5 M/Eʼs with some switchers having split M/E capability.

Most broadcast-level switches also use macros. A macro is a recorded series of keystrokes that once programmed can be executed by one button press.

In the role of an engineer, it is not your job to know how to operate the switcher, that is the sole responsibility of the TD. If you know how to operate it that is an absolute bonus, but not required. Your job is to get signals into the switcher and make sure that signals coming out of the switcher make it to their appropriate destination with no latency, compression, and is an overall clean signal with audio and video mixed together in sync. And should any issues arise with in the signal flow, electrical operations (power) or other non-programming fallacies, have the ability to troubleshoot and get them back in working order.

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Production Switchers are one of the most important pieces of equipment in a production ecosystem. This device, which comes in all sizes and configurations (and price ranges) is the centerpiece in which all sources (cameras, graphics, tape machines, replay, etc) are input, and the Directorʼs selections are passed back out through and then onto the viewers. It is at the switcher, where audio and video sources are mixed or embedded together and sync harmoniously.

Once something leaves the switcher, there is no turning back.

Whatever is on the main PGM bus is what will be sent out to the world.

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Production switchers are operated by either the technical director or a Director/TD combo on smaller shows. However, many Directors are not operators or technicians and prefer to focus on the creativity of calling cameras and assembling a beautiful show.

So letʼs talk about the engineering side of a switcher. The frame has an I/O panel which consists of the following: ● Inputs: Sources coming into the switcher (cameras, graphics machines, replay devices, audio mix, etc) ● Outputs: Assignable to be anything or go anywhere ● Aux: Send specific feeds sent to certain destinations but are not usually cut live during the show. Auxes have physical outputs on the switchers and are controlled via buttons on the panel. ● Genlock Sync: The protocol that allow varying sources to be synchronized together when cut by the operator. ● Audio: Typically most switcher have a stereo pair input with all other sources being mixed at the audio console. ● Network: The network port allows the switcher to connect to an offline network via a unique IP address to speak to other pieces of equipment in the ecosystem. ● Power - The connection that allows the unit to receive electricity to work.

The majority of switchers on the market today are HD switchers with some level of 4K capability. For instance, a 20 input switcher in HD mode, may only do up to 5 4K inputs.

When thinking about routing and what you will need to do to execute the technical plans of the show you must know the capabilities of the gear you are using. You may find yourself in a situation with a TD asking you why he or she canʼt do something. It could be that the unit doesnʼt have that feature, or the features licensing isnʼt turn on.

Another cause could be that you may not have enough outputs.

Itʼs also important that you know how many M/Eʼs a switcher has or numbers of MEʼs that are licensed to be active as your TD may have questions and encounter resource limitations that would only be known by the engineer.

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Production Switchers

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Production Switchers

● ● ● ● ● ● ● ●

The industryʼs gold standard in production switchers Available in 2 M/E - 5 M/E models/highly customizable Commonly found in N.American facilities and sports markets Slowly losing ground to ROSSʼ ecosystem of products One of the most complex switchers to learn Extremely powerful and flexible Very expensive and not easily portable Split M/E and has built in macros, DVEs, & eMEMs LINK TO OFFICIAL SPECS

ROSS Carbonite Mid-priced switcher Extremely flexible & works well in the ROSS ecosystem Available up to 3 M/Es Found commonly in small TV trucks, corporate and house of worship control rooms and the with corporate A/V vendors ● Easily portable ● Built in DVEʼs ● Macros and memory recall (EMEMs) features ● ● ● ●

LINK TO OFFICIAL SPECS

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Grass Valley Kayenne

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Sony XVS 8000

ROSS Acuity

● For major broadcast/event event operation ● Extremely different interface and method of operation from a Kayenne ● Found mostly in studio environments and entertainment-specific trucks and overseas in news and production studios ● 4K/3G/HD Capable + supports 2110 Standard ● Available up to 5 M/Eʼs ● Up to 40 Inputs/12 Outputs in 4K & Up to 160 In/48 Out in HD

● ● ● ●

LINK TO OFFICIAL SPECS

● ● ● ●

Extensive compositing and transition capabilities Built in Media Store for stills and animated clips 2D & 3D DAVE's built-in Extensive multifeed capabilities reducing need for external routing systems 12G multiprocessing boards built-in w/ integrated frame syncs Built-in multiviewer & ability to control other ROSS devices Split M/Eʼs & 16 keyers per ME* Floating 3D DAVE's can be assigned anywhere on panel LINK TO OFFICIAL SPECS

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Production Switchers

CHAPTER X · BROADCAST PRODUCTION SWITCHERS

Production Switchers ● ● ● ● ● ● ● ● ● ● ● ●

All-In-One Solution Built-in NDI Built-in remote calling capabilities Native, removable external hard drives Inability to scale multiviewer Built-in waveform and vectorscope Multiple panels and frames available Alpha channel outputs NDI Genlock* NDI Tricaster Camera App for Android Audio Mixer built-in Clip store LINK TO OFFICIAL SPECS

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VizRT Tricaster

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Production Switchers ● ● ● ● ● ●

● ● ●

Available in 1 M/E, 2 M/E, & 4 M/E Frames 4 M/E Panel is available w/ 20, 30, or 40 crosspoints Least expensive, most capable switcher on the market Does not have macros or memory recalls (Stream Deck is needed to achieve this) One of Blackmagicʼs most stable products Any of the BM panels can control any of their switcher frames (Production Studio or Constellations), but the panel can only control what the frame is capable of. Ex: A 4 M/E panel can be attached to a 1 M/E frame, but you will only have control over that 1 M/E Built in DVEs Easy button mapping w/ assignable colors for grouping sources The Constellation model allows for any output to be assigned as anything that you wish for it to be.

LINK TO OFFICIAL SPECS

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Blackmagic Atem

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Production Switchers For-A HVS 2000/3320OU

LINK TO OFFICIAL SPECS

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● Found most often in international markets ● Relatively easy switcher to use compared to some of its peers ● Solid, reliable product found in middle markets used most often in either permanent news stations, orf with video production vendors with small-medium trucks or flypacks ● Up to 6 M/Eʼs over 3 rows (4 M/E Lite) ● 24 Inputs/18 Outputs ● 3G & 4K versions available

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Production Switchers There are some other features of Production Switchers that are not necessarily engineering focused, but I want to make you aware of. With more productions becoming smaller and more compact with the progressions of technology, it isnʼt uncommon for the engineer to play dual or triple roles such as TDʼing, shading, and graphics. Particularly on corporate shows and small live streams. I canʼt say Iʼm a fan, but those are the realities of working in this business.

Preview/Program Bus The preview/program bus is the switcher bus located closest to the bottom of the switcher, and is the primary bus in which cameras and others sources are cut. When executing an effect off another M/E, you will select that M/E on the pvw/pgm bus to take it live to air (or tape). This bus while not called one, is one of your M/Es.

Mix Effect (M/E) A mix effects bus, more commonly known as a M/E is a bus (or row) on the switcher panel that has its own transition bus and several keyers. Most switchers range from 1 M/E to 4 M/E. Grass Valley, Sony, and ROSS offer switchers with more M/Es, but these additional M/E tend to have fewer keyers. They share the resources of other full M/Es and require additional software licenses and updates.

Most switches allow you to assign you which M/E you want each row/bus to be. Things like 2 & 3-boxes, replays and additional graphics are usually built on these mix effects. M/Es are also used to to cut separate feed like IMAG or sub feed for second stream or broadcast.

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A 2-box effect like this would be created and stored on an M/E.

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Production Switchers

There are tons of videos on YouTube and coming soon The Production Rockstar academy on how to build macros.

E-MEMS/Snapshots E-MEMS (or e-memory) and snapshots are switcher presets that record the state of the switcher and allow you to easily recall various switcher setups during a show.

These are usually found on more advanced switchers used in more complex live shows - particularly sports. Perhaps during a certain part of the game you want to use one set of effects and in another portion - you can program the switcher in that state and recall it with an E-MEM. Transition Bus The transition bus is where transitions are effected. If transitions or keys were not programmed to a macro, then they are executed from this part of the switcher.

This includes turning on and off keys, fades, wipes, etc. There are also controls that allow you to set the speed and rate of the transitions in the module. The “take” button will cut to whatever is in preview. The “Auto” button will “effect”to whatever DVE is selected in the transition bus (by default this is a dissolve but can be set to internal patterns) or a third party wipe in your clip store.

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Macros Macros are a series of recorded, customized key strokes that can be assigned to a macro button or customized bottom. A macro can be built to do anything! Take a camera, run a graphic or effect, trigger a replay or wipe to in/or a video, take a camera with certain graphics, etc.

Some shows can have dozens of macros and they can range from very simple to extremely complex. Some switchers make it easier than others to build macros. There are also external control devices such as Stream Deck, X-Keys and Companion to program and execute these macros.

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Visual of a Transition Bus on Grass Valley Kayenne Switcher

Visual of a Transition Bus on Blackmagic ATEM software and hardware panel

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Production Switchers

CHAPTER X · BROADCAST PRODUCTION SWITCHERS

Production Switchers

Tip: If you have limited aux outputs and multiple destinations receiving the same feed, route the aux output to a distribution amplifier first, and branch out the feed from the DA. Upstream/Downstream When building your show on the switcher or working in the control room, youʼll hear the phrase upstream/downstream. This simply refers to where something lives on the switcher in relation to another M/E or the preview/program bus.

WIthout going into much detail on the why and logic - effects, fonts and replays are usually built on M/Eʼs two and three, upstream of the pvw/pgm bus. The pvw/pgm bus would be considered downstream of the other M/Es.

Fade to Black The “fade to black” button operates downstream of all M/Es and the preview/program bus. When pressed, it will light up and flash red. No matter matter you execute on the bus panels, it will not be shown until FTB is pressed again.

Cross Points Crosspoints are the number of inputs or outputs on a switcher or router. For instance is a switcher has 24 inputs and 8 outputs the cross point are 24x8.

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Auxiliary Bus (Aux Bus) The aux bus is how external video feeds are fed. Perhaps the show requires monitors to be set up in dressing rooms or off stage, aux feeds can be used to send out clean feeds, dirty program, program w/ timecode (built on an M/E), teleprompter, etc. Any internal or external source can be routed to an aux panel.

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Production Switchers

You could also build macros to access those switcher inputs without having to use the shift key. Another option is to place them on another M/E, select the camera on the M/E and take that M/E on the preview/program bus. But thatʼs a lot of button presses.

The goal of macros is to minimize the number of button presses you need to execute a command on cue.

Internal vs. External Sources A switcher has both internal and external resources. External resources are outside hardware and software like: ● Cameras ● Routers ● Playback machines ● Replay Servers ● Graphics ● Teleprompter Internal Sources are built in sources such as: ● Black ● Color Bars ● Color Generator ● Timecode ● Clock ● M/Es (M/Es can feed auxes or other M/Es) ● Media /Clip Store ● Still Store

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Shift Key Switchers come in all shapes and sizes. Additionally, some have less crosspoints than others. For example a switcher may be a 10 button panel but allow for 20 inputs. The shift key allows you to put those inputs on a second layer and see and use them by pressing the shift key.

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Production Switchers

Clip(Media) Store/Player Clip store is an internal storage cache that will allow you to ingest animated wipes, animated graphics and effects, and short video clips that can be recalled and played back. Most switchers to not support clips with audio for internal store.

Blackmagic Media Player GUI

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Still Store Still store is an internal storage cache built into the switcher. It is a memory cavity that allows you to upload still images such as photos and logos into the switcher and as a source to take full or as a resource to keying graphics and building DVEs.

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Native Camera Tally

Returns On the zoom/focus handle is a button that when pressed will show an alternate feed than what the camera is shooting. That is the return button. Most broadcast cameras have 3 camera return inputs. When operators press the button, they are able to see the return selected by pressing the button. The video engineer is responsible for routing these returns to the camera via the CCU.

3rd Party Camera Tally

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Tally The tally function is the indicator lights on a camera and multiviewers that let the operator truck crew and the “talent” know what cameras or sources are hot.

Some switchers have built-in tallies that work with their camera system and most require third party tally systems that tie into the entire production ecosystem.

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Stream Deck

The stream deck is essentially a device that allows you to program macros, or a single task that is completed at the stroke of a button. It has multiple pages and layers and you can connect many of them together to create a large switcher.

I have seen them replace E2 controllers and ATEM switcher panels or programmed to control other devices. Often however, I see it used as a companion to Blackmagic switchers.

One key feature that the ATEM system lacks is the ability to easily program and save macros. This device allows you the full functionality of your production switcher with a side car that handles your macros.

Some basic functions one might program include: ● ● ● ● ●

Clean Camera Cuts Dirty Camera Cuts Graphics On/Off Transition Wipes Switching to differents screens or programs

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Elgatoʼs Stream Deck is one of the most popular “new” tools that exist on the market today. The reason that it is here in the switcher section is because in many ways it works in the same way as a switcher. It can be found in the homes of consumers and also on the workboxes of production companies, like mine.

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Trip

Down

Memory

Lane

The Old Way of Creating Digital Video Effects Prior to internal DVE generators built into the switcher hardware, a 3rd party external device, known as the Abekas DVEous, was needed to create wipes and bring in special animations, wipes, and other effects.

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This was commonly found in mobile units sitting next to a Grass Valley 3000 or Kalypso switcher. The invention of the Grass Valley Kayenne, their new flagship switcher, eliminated the need for this product.

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Jonathan X · The OG Technical Director Turned Director

BLACK PRODUCTION SPOTLIGHT

Jonathan, a Wichita State University alumnus, mastered teamwork through football, ROTC, and as a Resident Assistant. Starting as a camera operator at KSN, he later thrived at Satellite News Channel and Home Team Sports. Nicknamed Jonathan X, his technical prowess earned him six Emmys before transitioning to directing ● Oscar Governor Awards ● eSports / Gaming Projects ● Oscar Nominations ● Adjunct Professor Assignments ● Oscar Sci Tech Awards

That questions would be my Sophieʼs Choice, every project presents its unique challenges and rewards, every project is special in its own way.

FAVORITE QUOTE:

Work on projects that you are proud to have your name in the credits.

MY ADVICE:

“Always stay on top of the changes in your crest, currently, embrace AI it is just another tool for your toolkit. And remember the world is yours. Work hard but make time for friends, family, love, and peace.”

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FAVORITE PROJECT:

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CHAPTER XI

BROADCAST AUDIO CONSOLES

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Audio Consoles

So for that reason, I want you to be somewhat familiar with the various audio consoles that you may encounter while out doing shows. Know the basic capabilities of these consoles, particularly as it relates to I/O counts and DANTE/MADI capabilities. Having the knowledge of what you can send in and out of these boards and their networking capabilities will take you far.

Audio consoles come in all shapes, sizes and configurations. Some can be picked up and moved easily while others are so large that they are only found in TV trucks, studio control rooms or in the largest and most complex fly pack scenarios.

The audio console, which is operated by the A1. It is set up in a area away from the main benches to minimize outside noise. This is done to limit the negative impact on the engineers hearing and the final mix. In the past, analog audio consoles required an enormous amount of outboard gear to function properly, however with digital consoles, most out the functions of the outboard for effects and processing now live inside of the board via a series of menus.

With much of the equipment, the engineer does not to be a master operator, however they should be able to power it up and get feeds in and out. They need knowledge of master routing and overall engineering setup.

It also helps to know as much as you can about the console because and A1 may be hired specifically for the sounds they are able to produce. The A 1 may have great knowledge of sound theory, but lack specific experience on the console being useds. The ability to guide them and help them navigate setting up and unfamiliar console will make you and your company look good. Customer service via serving the crewsʼ needs is an equally important part of the job.

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Weʼre going to briefly touch on audio and audio consoles.

As a video/broadcast engineer on a truck working with a flypack or inside a studio - your level of control and responsibility over audio may vary, but you will no doubt, indeed interact and interface with the audio team. After all, what is video without any audio??

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Behringer Wing Usage: Live Mixing, Broadcast, Monitors

● ● ● ● ● ● ● ● ● ● ● ● ● ●

Channels: 48 Stereo (40 x channel, 8x aux) Inputs - Mic Preamps: 8 x XLR-¼” combo (mic/line) Phantom Power: Yes Outputs - Main: 8 x XLR Inputs - Digital: 1 x XLR (AES/EBU), 3 x EtherCON (AES50 SuperMAC), 1 x XLR (StageCONNECT) MIDI I/O: In/Out Busses/Groups: 8 x Stereo Matrix, 4 x Stereo Mains, 16 x Aux Bus Date I/O: 2 x Ethernet (control/audio network) USB: 1 x Type B, 1 x Type A Computer Connectivity: USB 2.0, 24-bit/48kHz (48 x 48) DAW Control: Yes (HUI, Mackie) 8 MIDAS mic preamps & MIDAS outputs 3 AES50 ports for remote I/) connectivity for up to 144 input and output signals.

32-channel stageCONNECT interface for personal monitoring or analog I/O boxes

● WING-LIVE card captures up to 64 channels of 32-bit/48kHz audio to a pair of SD or SDHC cards. ● Optional expansion cards supply DANTE, SoundGrid or MADI support ● Sources put the emphasis on your source of audio rather than inputs and channels ● Each channel can be either mono, stereo, or mid-side - no channel linking required. ● Storage: 2 x SD Card Slot (dual 32 track max)

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Key Specs & Facts

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Yamaha CL3

Usage: Live Mixing, Broadcast, Monitors The Yamaha CL3 is a nice mid-priced console that works great as a great Broadcast and FOH/monitor mix console. It boast a good amount of inputs that can handle the average entertainment show. It is a workhorse that does not fail and sounds amazing.

These consoles will last for 20-30 years with just routine preventive maintenance.

● 32-fader digital mixing console ● 72 mono and 8 stereo mixable channels ● Connect up to Rio series stages boxes ● Built-In Dante interface plus MY-card slots for digital expansion ● Control port for computer control ● Inputs - Mic Preamps: 8 x XLR ● Phantom Power: 8 ● Outputs: 8 x XLR (line out) ● Inputs - Digital: 2 x RJ-45 (Dante) ● Outputs - Digital: 2x RJ-45 (Dante), 1 x XLR (AES/EBU ● Busses/Groups: 16 send Mix bus, 8 send Matrix bus ● Talkback: 1x XLR ● Mido I/O: In/Out ● USB: 1 x USB Type A ● Weight 79.4lbs

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Key Specs & Facts

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Yamaha CL5

Audio Engineers: Eric Heil (FOH), Adam Ledgister (Broadcast Mix)

It shows the Yamaha CL5 console (larger version of CL3) in action at the front of house position of a comedy club for the special. We utilized a Behringer M32 for the broadcast mix. The reason it is so important for you to look beyond the lens of the broadcast mix and into the FOH and monitor mix positions is because should you choose to evolve or need to play the role of Technical Producer - you may find yourself responsible for these things. In the case of this show, we were asked to provide supple audio for the house. We were able to source all flypacks and audio from one company, easily tying the systems together.

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In Action | Taken sometime around August 2022, this is a behind the scenes photo of Ms. Patʼs first NETFLIX special shot in Atlanta, GA .

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Yamaha M7CL A Blast from the Past I label it that because it is the very first full-size digital audio console released by Yamaha.

Nineteen years later this innovative digital console is still around!

As a matter of fact this picture was take inside Atomic Televisionʼs Proton mobile units in 2018. Production Rockstars was hired to provide technical support to the Black Belt Invitational Jiu Jitsu Tournament in Las Vegas, NV. This console remains in operation on the truck to date.

Photo Credits: Tre James | Audio Engineer: Tony Kramer

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Launched in September 2005, the audio console sold like a new Sony Playstation or XBOX. It was installed in countless churches, civic theatres, mobile television units and accompanied countless flypacks. It was seen as the perfect entry level, yet professional audio console for front of house engineering and monitor mixes for live events, tours, and rental houses.

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Lawo mc² 56 & mc² 96

Lawo mc² 56

Lawo mc² 96

These consoles are HIGHLY customizable, very complex and are in no way sold as “off the shelf” units. The price tag starts in the six figures and each console is custom built. A Lawo Mc(2)96 is Powered by A-UHD core, has up to 1,024 DSP channels and up to 128 aux busses. Frames can range from 24 to 208 faders based on need with a max of 256 summing busses. The console operates at 48kHz and 96kHz and supports DANTE, AEX67, RAVENNA, ST2110, Ember+, and NMOS.

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The German-based Lawo line of Grand Production Consoles has slowly been creeping its way into U.S. based television studios, churches, sports facilities such as the UFC APEX and entertainment-based mobile units such as Gravity Mediaʼs Columbus production truck. They are also found in music recording studios.

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Calrec Apollo & Artemis

Calrec Apollo

If youʼre looking for the physical difference between the two boards, look at the mid section between the monitors and the faders.

Calrec Artemis

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The Calrec Apollo and the Calrec Artemis are extremely popular, if not the most popular broadcast console for audio mixing in sports within the mobile tv truck and network studio ecosphere. They can be found in Game Creek, F&F Productions, most NEP and other sports (sometimes entertainment) TV trucks. Mobile units that were purpose built for entertainment typically have other consoles in them. However, for maximum flexibility and ensuring you can find qualified engineers in every market - a smart owner would install a Calrec.

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Calrec Brio Key Specs & Facts ● ● ● ● ● ● ●

Brio is a mixing console completely focused on the needs of broadcasters. This level of scalable and managed I/O, comprehensive monitoring, surround sound and high bus quantities provides a level of dedicated broadcast functionality that has never been available at this level.

● ● ● ● ● ● ● ●

Available in 2 models 96 Input Channels Hydra2 Card Dante of Madi Expansion Card Br.IO External I/O Box 36x dual layer faders Up to 96 legs assignable as mono, stereo or 5.1 Input channels 6 Band EQ on every channel Automatic mix-minus Off-Air Conference Delay available on every path 3 x Monitor outputs AutoFaders for audio follows video style control Lightweight and portable Perfect tool for submix

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Studer Vista X The Vista X offers an intuitive user interface, retaining the companyʼs patented Vistonics and FaderGlow user interface, providing control of 800 or more audio DSP channels and more than 5,000 inputs and outputs.

● The integrated VistaMix automatic mixer automatically regulates the gains of up to 20 microphones per group for a clean live mix with better comprehensibility. ● The Quad-Star technology in the mixing console and the optional redundant Infinity Core ensure secure live operation for maximum operational and reliability.

● The operation via the PC editor "Virtual Vista" or the Vista Compact Remote is ideal for theater and live situations where the control is from the audience area. ● The high channel density of the A-Link interfaces reduces the space requirement in the rack to a minimum and also significantly reduces the power requirement.

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At the heart of the system is the Infinity DSP core, which uses CPU-based processors to provide huge numbers of DSP channels for large-scale, high-resolution audio processing and mixing.

Thanks to the Infinity core, this is the first time more than 800 audio channels have been processed in a single CPU-based board.

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AVID Venue S6L Key Specs & Facts

The AVID S6L is a go-to audio console for music and entertainment.

Not often found in trucks, it is a popular a la carte options for flypacks and often found installed in churches, theatres and recording studios.

● Great for use when multitracking concerts and music performances ● Available in 48, 32, 24, and 16 fader frames ● 3 Engines available (192, 144, 11, input options available) ● 128 tracks of Pro Tools recording ● Direct AAX and Waves plugin support ● 300+ processing channels ● Share I/O across three S6L systems ● Analog Inputs: 8 XLR mic/line inputs with 48V and signal present LEDs ● Digital Inputs: 4 pairs of XLR stereo AES/EBU (8 channels total) ● Digital Outputs: 4 pairs of XLR stereo AES/EBU ( 8 channels total) ● 212 lbs.

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AVID Venue S6L in Action

Audio Supervisor Grant Robinson elected to go with 5 Avid S6Lʼs to get the job done.

There were 4 smaller frames (one per performance stage) that then fed back to one large frame which combined those mixes and controlled the host stage and house mix.

There was no broadcast mix for this event.

Photo Credits: Tre James | Audio Engineer: Grant Robinson

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When Production Rockstars produced Red Bull Culture Clash in 2023, we partnered with Atlanta-based Music Matters to handle our audio needs.

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Multitracking is a process of recording an individual audio channel (such as a microphone or musical instrument) to its own corresponding track. (These are called STEMS). Later on, the originally recorded tracks are mixed down to a multichannel format such as stereo or multiple Dolby surround formats. This process achieves much better tonal characteristics, sources and effects balance and an overall better sounding product. In the video production realm, the original audio track of the recording which is often a FOH mix, is replaced with the remixed version.

To multitrack, youʼll need a software like ProTools, Logics, or Reaper.

All have various pros and cons, but Iʼll leave that to you to dive more into, if youʼre interested. As it relates to your job, theyʼre pretty much all the same. Also- this is audioʼs problem. But as the EngineerEVERYTHING is your problem.

Multitracking is mostly found on entertainment shows with a music component in which there are lots of instruments and vocals. By multitracking, you can record and mix individual tracks of audio and adjust the levels in post. This also assist with playing back click tracks and vocal tracks under the live performance so that the live and pre-recorded vocals are synced perfectly.

For the engineering aspect, getting tracks over to the Pro Tools engineer can happen in a number of interfaces including DANTE, MADI, or AES protocol. The broadcast audio console must have a capture card than allows interfacing into the laptop or computer that will be used for multitracking.

At the end of the recording, the audio engineer will dump the files onto a hard drive and hand them over to the person designated to handle and manage the media.

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Multitrack Recording Integration

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Adam Ledgister · Audio Engineer

BLACK PRODUCTION SPOTLIGHT

Oh how sweet the sound?! When Broadcast and Recording Audio Engineer Adam Ledgister is behind the faders, there is no doubt that the audio mix will be stellar.

His duties include execution or creation of input list, RF management, comms, mixing, multitrack recording, audio playback and audio routing.

His credits include some projects you may be familiar with such as: ● Bet on Black ● Change Church

FAVORITE PROJECT:

Steve on Watch FAVORITE QUOTE:

To whom much is given, much is required.

MY ADVICE:

“Donʼt chase money or fame, chase while work and money will come.”

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● New Birth Church ● Roots Virtual Picnic ● Social Society

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CHAPTER XII

REPLAY SYSTEMS

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CHAPTER XII · REPLAY SYSTEMS

Replay Servers

Replay servers allow for fast recall of as few as 4 and up to 8 cameras (depending on configuration) to show a slow down or full speed recount of a play that just happened.

EVS was the pioneer of this technology. Over the years, other manufacturers such as Evertz, Newtek, and Ross have entered the market to offer more cost-effective and alternative version of the the industryʼs long time gold standard for replay.

In earlier times, replay was an added tool for broadcasters enhance the viewing experience for audiences at home.

However, the last decade, sports leagues have expanded its use to include replays for referees and coaches to make game play decisions.

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If you want to increase the production value of any sporting event, add replay aka slo-mo. Want to increase it even more, add super slo-mo.

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EVS EVS is the crown jewel of replay servers. Known for its resilience, durability and reliability, these replay servers can be found on virtually every mobile TV truck in North America and across the globe. They are also found heavily in the engineering and control rooms of sports and TV networks.

EVS is at the heart of every single major sporting event globally(inside mobile units), unlike switchers and audio consoles that have more manufacturer variety.

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EVS offers a variety of input and output configurations, 1080 and 4K solutions, asset management and file transfer solutions.

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Evertz Dreamcatcher, a product of Evertz is the closest thing to EVS on the market. Evertz is the Canadian software and hardware developer most widely known for their routers, multiviewers, encoders, decoders, timing/sync products and other engineering and terminal equipment.

In additional to replay the software can handle clip playout, live switching, live editing, logging, content management and fan engagement. The NBA has an entire replay center located in Secaucus, NJ that relies heavily upon Dreamcatcher machines.

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Dreamcatcher is almost never found in mobile TV trucks, but rather is most found in college stadiums, professional sports, and esports venues. It is available in a variety of configurations including 4K and high frame rate.

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Newtek (Vizrt) 3Play

Created by Newtek, now Vizrt, the 3Play replay server comes in two options. One version with NDI and 3G-SDI I/O and another with Ultra hi-def 2160p and end-to-end IP connectivity. It now allows for shareable playlists, 10-channels, playback, zoom and tracking for area of interest replays.

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For an entry level, highly cost-effective solution, you cannot go wrong with 3Play. This out the box solution which features NDI capability doesnʼt leave much room for custom configuration but can help you increase your production value at an affordable price. I must say however, it is not known for its resiliency and inability to crash during a show.

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VMix is an open source solution that can be built on any server.

Their replay system and controller is meant for very low-end productions such as pee-wee and high school sports or other non-professional start up leagues. The power of this replay server is wholly determinant on how capable the server that you provide is loaded. When using Vmixʼs production, replay, graphics, and virtual calling capabilities, it is important to note that all of these systems are basically different options within a software. They are all running at the same time, unless loaded on to different hardware machines to operate independently. All of this is connected via NDA. Out of the box, all the stickers and assignments to the control surface must be applied and programmed. It is available as a 1-camera and 8-camera replay system.

Simply looking at this product from a cost standpoint will tell you everything you need to know about why it doesnʼt stack up against the others in the least bit. But should you have a project that you can make this work for, donʼt be afraid to give it a shot.

Ultimately, it will get the job done.

LINK TO OFFICIAL SPECS

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vMix

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ROSS In September 2016, ROSS acquired Abekas and with it, their Mira and Tria replay servers. This entry level replay server is perfect for small to mid-level productions needing replay capabilities.

The control surface makes the most efficient use of the typical tight Replay user workspace. The software can handle a wide variety of media file codecs and wrappers.

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It is found in many collegiate and professional sports venues as well as some smaller mobile production units scattered around the world, particularly in the ROSS Mobile production units.

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CHAPTER XIII

GRAPHICS & VIDEO PLAYBACK SYSTEMS

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CHAPTER XIII · GRAPHICS & VIDEO PLAYBACK SYSTEMS

Character Generators, also known as graphics servers, are a long-standing and integral part of the any broadcast production ecosystem. They are used in virtually every live sporting event and newscast on a daily basis to give the added production value of lower-thirds, player and game stats, and provide the overlay of for the score bug. They can also be found in churches and live entertainment settings and used for lower thirds, image overlays, scriptures, and in some cases, they serve the dual purpose of video playback.

As these systems have advanced, some have added functionality to control LED wall displays, produce augmented reality graphics with additional upgrades and integrations. Other stand-alone or integrated graphics systems can generate a 1st & 10 line, down markers and other assets that provide added creativity to a live event.

Other forms of graphics systems include score bug boxes and telestrators which sportscasters use to draw on the screen and highlight elements of important plays.

Many graphics systems now have the ability to do datalink which ingest sports stats directly into the graphics servers, so the stats that the viewers see constantly updated instantly allowing viewers at home the most up to date information.

Most CGʼs have 1-2 output and the director will refer to those outputs as “font”. So when ready to insert the graphics that might say “INSERT FONT 1, ANIMATE.” “Insert” gives the TD the command to open the key on the switcher. “Animate” lets the graphics operator the instruction to play or “effect” the animation or graphic.

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Character Generators (Graphics Servers)

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ROSS Expression

ROSS Xpression is sold in a number of formats and has an express version that can be bundled with other ROSS products. The offer a single and dual output units, each which have a key and fill channel. It features DataLink software that allows for statistical sports, news or weather data to be imported and automatically uploaded to graphics from excel files.

Whatʼs most impressive to me about the ROSS Xpression is not how it functions in a mobile unit. I mean itʼs a well-built, live graphics software sitting on a server. But the way it integrates with ROSSʼ other products like the Carbonite TouchDrive, Tessera, Acuity, and the Dashboard control platform is next level.

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Thereʼs always a player on the field that surprises you, a student in the class who almost quietly surpasses all the other students. Thatʼs more or less the story of ROSS XPression. When I started in this business, every mobile TV truck and control room had that famous blue keyboard on the 2nd bench. Then came Vizrt, but still that famous blue keyboard. And then one day, the black keyboard with that blue button hit the market. And more and more and more, the product that is ROSS XPression kept coming up over and over again. And then their switchers, and then they bought Abekas.

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Chyron It all started in 1966. Chyron developed the character generator and defined the category. Chyron graphics systems are the standard by which all others are compared - for ease of design, for robust creation tools, for lightning fast playout, and unmatched data integration, natively.

Chyron development is focused on end-to-end multi-functional platforms, deployable on premises or in the cloud that are flexible and scalable to the customerʼs needs. The PRIME Platform™ may be deployed with a range of functionalities, from graphics, to vision mixing, branding, video walls, venue control, augmented reality, touchscreen and more. For streamlined, cost-effective production, Chyron offers LIVE®, with cloud-native switching, graphics, commentary, replay and telestration. Lastly, Chyron offers other interoperable solutions for newsrooms & MOS integrations, weather, illustrated replay, virtual sets, and more.

LINK TO OFFICIAL SPECS

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Today, Chyron continues its tradition of innovation with a strong commitment to research and development backed by expert services and support. Chyron products are found in rack rooms, control rooms and live production trucks across the globe, but also in new territory like virtual productions for esports, remote production, and streamlined OTT workflows. Looking towards the future, Chyron builds software platforms that are reliable, scalable, IP-ready and fully web-based.

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Viz Trio by Vizrt is another mainstage player in the character generator line of business. They came to the market well after Chyron and rose to prominence shortly before EXpression became widely available. It is used at new organizations and in professional sports broadcast globally.

Vizrt was recently acquired by NewTek, the makers of the popular all-in-on production suite, Tricaster.

You are not likely to find Viz Trio on a smaller sports production. I canʼt say at this exact moment if still true, but there was a point in time when all ESPN and FOX Sports packages Iʼd work on used Viz Trio. When I worked for the UFC, we carried around two custom briefcases with Viz from event to event. Making major changes to graphics templates required advanced notice and coordination with someone at Viz. This is in no way to bash Viz, but to show the level of customization and enterprise uses citations that you would find yourself working with this system in.

Viz Trio integrates with other Vizrt softwares and plugins to make a complete graphics suite that include Viz Social, Viz Pilot/Pilot Edge, Viz Artist, Viz Edge, Viz Engine and others.

LINK TO OFFICIAL SPECS

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Viz Trio

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Bug Box

The graphic itself is generated by the CG machine, but the date contained within that graphics is generated by the bug box or “score box” system. As technology continues to advance and data link integration becomes more and more of a primary feature of these machines, they can be connected to the scoring system used in the stadium or sporting facility in order to be updated in real time with no delay and 100% accuracy.

Over the next few years, you can likely expect for the software code of a score box to be much more directly integrated into graphics service as a more native feature or function.

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A bug box or score bug box is a stand-alone piece of customized hardware and software that is connected to both the graphics server and often times the game scoring system. The software is controlled by an operator whose job is to update in realtime the score, remaining time outs, quarter or innings and other information relevant to a particular sport that the viewer would typically see.

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A telestrator is a device or system that allow for on-air talent, typically the color analyst, to free hand sketch over a moving image or still picture. If you have ever watched a sporting event, you have certainly seen the technology in play. It is also used in weather forecasting by news meteorologist.

So how does the telestrator work? Very much in the same way as a character generator. The output of the telestrator act as input into the switcher, however the output has an alpha channel removing any background and only showing the lines drawn by the operator. The technical director builds the switcher in a way that attaches the telestrator to a keyer, much like any other “font” or CG output. When the key is opened and layered on top of a video feed, which is almost 100% of the time going to be a replay source, it appears to the viewer that the analyst is drawing over the video. The unit itself has a touch screen and requires several other different screens to complete the setup.

While Fingerworks was at the forefront of telestrator technology, many products exist today and feature advanced graphics and additional features impactful to production value.

LEARN MORE ABOUT FINGERWORKS

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Teletrastor

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1st & Ten Line

The 1st & ten line was first used by ESPN in 1998. The line is not physically on the field so it is not seen by spectators in the stands, only by the audience at home. It is made possible by special encoders and technologies attached to the pan head of the primary coverage cameras, a mapping of the stadium and field and other key technology components.

Since its debut, the technology has transformed in an exceptional way. The color of the line may now now change based on the down. They have ability to not only mark 1st & ten but also line of scrimmage, create an entire virtual field during inclement weather and place both ads and statistical data on the field.

LEARN MORE ABOUT 1st & TEN LINE

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1st & Ten is a computer system that augments televised coverage of American football by inserting graphical elements on the field of play as if they were physically present; the inserted element stays fixed within the coordinates of the playing field and obeys the visual rules of foreground objects occluding background objects.

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vMix

You will need to pay close attention to the amount and sizes of the files you have and what your server is built to handle. The CPU meter will tell you how hard you are pushing the machine and the closer you are to 100% the more likely a crash will occur.

Key Specs & Facts ● Ability to link data sources ● Able to upload external graphics or create within the software ● Basic transitions and effects ● 4K version available ● Fullscreen & External Output ● Key/Fill Channels ● Built-In Ticker

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Another way that I have seen V-Mix used is strictly as a graphics machines. It supports alpha channels, embedded audio and some other basic features you would expect. Depending on the output cards that you have installed into your server determines the number of outputs that you can have going into another switcher, like an ATEM on Kayenne. The V-Mix machine can simply act as a source into any other production ecosystem.

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ProPresenter

● ● ● ● ● ● ●

LINK TO OFFICIAL SPECS

LED background image display Lower 3rd Title or Scripture displays for broadcast or live stream feed Lyrics display on LED or projection screens Lyrics display on broadcast feed.

Video playback Countdown clock Speaker Notes

It has multiple outputs and layers that allow for sending visuals to various displays at one time using a single computer. It is highly programmable by service, scenes, and more. The newer versions of the software have a bit steeper of a learning curve than earlier versions, however there are lots of training materials and community forums online.

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ProPresenter by Renewed Worship was originally designed as a visual display programming software for houses of worship. However, its power, presence and ease of use quickly made it a mainstream product.

ProPresenter is a cloud-based tool that can be used in a number of different ways within a production environment to include:

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Randall Frye · CHYRON/ROSS Graphics/CG Operator

BLACK PRODUCTION SPOTLIGHT

MY ADVICES:

“Dress for (YOUR) Success - it starts within You! (Mind/Attitude)” “Take your shot! You miss 100% of the shots you donʼt take!”

“Each day: be just .01% better than you were yesterday.”

● 1996 Olympics - SEC ● HBO Boxing ● PBR Bull Riding

● National Game Shows ● Presidential Inaugurations

FAVORITE PROJECT:

Launching TNT Asia-Pacific Network in China & Hong-Kong, Training the graphics staff of HBO Latin America/Showtime Ole in South America and years of professional Major League Baseball.

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The first time I met Randall Frye as a teenager, I was like who is this guy that has a suit on in the middle of the summer working a football game in truck? Little did I know I would come to respect him as a person and one of most seasoned and experienced graphics operators in the country.

He is responsible for for all the information of the lower thirds, stats, and screen overlays that you see on a sports broadcast.

Before coming to BET and later transitioning to Paramount (through acquisition), he served as a Technical Director, Video Engineer, and Robocam Op for WNET Public Media and NBA Entertainment.

His credits include some projects you may be familiar with:

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Video playback servers are exactly what they sound like relatively simple systems that allow an operator to upload clips onto a server and play them back into a program. The server is a source to the router and/or video switcher that can be taken live online.

While each system is different and has its own set of features, most allow some level of clip manipulation such as slowing or increasing playback speed, clipping/trimming, audio fading, looping, and auto play. The amount of clips that can be stored on the server is directly proportional to the amount of space on the drive. Some systems also allow for an external drive to be connected and video played from that drive rather than the computer in which the playback software lives on. Lastly, these systems allow for great organization and sorting of the clipping and can sometimes even match your rundown and provide actual and time left timecode.

If you are experiencing clipping audio (very loud) on your videos and turning down the audio at the audio console if not rendering the desired effect, trying adjust the output volume of the video playback server.

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Video Playback Servers

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Playback Pro

● HD & 4K versions available ● Does not support photos ● Only works on Apple computers and can support virtually any Mac file type ● Has an external control device available ● Automatic output resolution and aspect ratio functions built-in ● Real-time manual adjustments for sizing, stretching, cropping, gain saturation, black levels, and volume. ● Ability to load videos into preview for seamless play of next video. ● Change video playback speed ● Ability to loop videos and easily rename files, see countdown timers, etc.

Playback Pro truly is a staple of our workflow at Production Rockstars.

Itsʼ rock solid when you just need a simple video playback solution.

LINK TO OFFICIAL SPECS

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Playback Pro is an extremely popular video playback software that does exactly what it is supposed to do with a simple user interface and rock solid performance. It is not a jack of many trades but it is a master of one.

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Each ATEM Production Switcher has a built in media player. You can can load title overlays, .mov or .mp4 videos, lower thirds, etc to add into your production. However, because the of the way it is built into the system, if the TD is switching a lot of cameras or other sources, accessing the media player to recall clips will be quite the task. However, it can certainly be done with proper planning, a well organized playlist and would be aided even more so by a Stream Deck.

LINK TO OFFICIAL SPECS

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ATEM Media Player

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vMix

Their Title Designer software download allows you to create professional looking graphics that you can integrate into your production.

LINK TO OFFICIAL SPECS

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As stated earlier, V-Mix is an all-in-one software-based solution that lives on your own server. They do not sell hardware. While it works great for smaller productions and is very helpful in getting a lot of folks off the ground, if you have cameras, more than a few graphics and you are also using the V-Mix call features, clip playback or replay solutions- I recommend multiple services and licenses, allowing each one to serve a unique function.

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Tria

It can also be paired with the Mira, their video replay server products. Tria is primarily found at universities, sports stadiums and in smaller, more nimble mobile units. The system is great where you may have a volunteer or entry level staff as there is not much of a learning curve to get going - very easy to use.

LINK TO OFFICIAL SPECS

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Tria is ROSSʼ video server product. It is a professional system with a touchscreen interface that can quickly recall video clips. I would classify Tria as a step above 3Play and below EVS and Dreamcatcher. It is a solid product that can also interface with Dashboard and fits snuggly into ROSS ecosystems and work very friendly with other products.

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Playback

There are many hardware and software based options to handling video playback. There is also a right way and a wrong way. The wrong way is using Quicktime on a laptop or playing back content directly from the web. Neither of these solutions offer the proper tools to remove things on the screen and ONLY output the desired video.

Instead, there are software and hardware based solutions that will allow you to do this this correct way and on cue.

For the most basic, reliable video playback I like to use Playback Pro. It allows to seamless playback, looping and transitions to the next video element. It also features audio meters and other tools for the perfect playback.

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Playback is another common element in the live production environment. A production may feature of number of elements that need to be played back on command. It supports SD & HD Video and audio files. There are other solutions for more advanced audio playback, such as QLab

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Credit to Andrew Wischmeyer @TheAWisch - DOUBLE CLICK IMAGE TO PLAY VIDEO

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Playback Pro Overview -- Walk through of DT Videolabs' software.

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Playback

The system is fairly easy to learn for some, but itʼs best that there is always a skilled operator. As the engineer, you should have some familiarity with the system to help an operator out whoʼs in a bind, but itʼs not your job to know how to operate. Itʼs your job to know how to integrate.

Depending on the system configuration, you may also be able to have multiple outputs as well, feeding different things to different screens or other destinations.

ProPresenter 7 User Interface

All in all, playback is simply another source with embedded audio.

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An important thing to know about Playback Pro is that it is only good for videos. It does not support audio files or photos. When you have a project that requires photos as well as video playback and/or other screen graphics, ProPresenter is next up. It has lots of powerful tools and features that for allow for all sorts of things.

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Credit to Renewed Vision @RenewedVisionLLC - DOUBLE CLICK IMAGE TO PLAY VIDEO

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ProPresenter 7 - A Deeper Dive

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vMix V-Mix is a software based switcher that operates on Windows.

It allows users to switch between multiple input sources including cameras, graphics, computers, and other video and audio sources.

It also has replay and social media features, some of which we have discussed earlier.

V-Mix Interface

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It also has a powerful solution called V-Mix Call, which is the main reason we are discussing the system.

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vMix I would not classify it as a serious, professional broadcast tool because when it comes to high-level production, it simply isnʼt that reliable. If the computer that it is built on does not have enough memory or storage to handle your show, it will crash. Iʼve seen it happen mid show. Itʼs not a matter of if, it will crash, but when.

So what do you use it for? You use VMix Call (an alternative to a bunch of laptops with Zoom) to bring all your callers in, and utilize an output card to pull those sources from VMix and then into the router (or directly into the switcher).

VMix Call allows for “talent” to log in to the platform online, and be brought into the software as an input source that can the be selected. This powerful tool is excellent for virtual production and having callers from locations anywhere in the world be a part of your production. Of course, image quality is only as good as their internet connection, camera, compression and bit rates throughout the system. Now, the second reason VMix and VMix Call is important to you as an engineer is that you probably wonʼt be using vMix as a primary switcher.

The Technical Director can then take those feeds and create boxes with them or take them full into program.

You will also need to make sure that you are sending the sources out of VMix at the correct frame rate so that you can bypass a frame sync. You wonʼt want to use one of those for every feed.

Depending on the show being produced and how many callers would need to be on screen at any given time, you may be able to take one or 2 feeds from VMix, and then select which caller you want to output. This saves some inputs on the switcher or the router.

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Credit to Planar.com

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vMix

The software allows for you to stream using the RTMP or SRT destination or directly to sites like Facebook and using with no additional equipment. You can have up to 3 independent stream targets for RTMP and each one of the configurable Outputs can become an SRT feed. You can input RTMP or SRT as well to receive (decode) video and audio feeds as well.

Used without switcher* and with a powerful computer, this is a reliable way to to encode video. The software offers extreme flexibility with bit rates, compression and creating custom profiles based on multiple events that you may be doing and varying destinations that have different requirements.

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Another powerful and commonly used VMix tool that you might find integrated into a live production is VMixʼs streaming capabilities. Using a capture card, you can push program audio and video out from your main switcher and use VMix as your encoder.

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vMix

The last feature weʼre gonna talk about is the recording functionality. You can record formats including VI, MPEG-2, WMV and MP4. You can record your program output or individual camera ISOs. Again, I would not recommend this as your primary source of records, unless you have a well-equipped machine and youʼre just using it for that, or perhaps, as a record solution for your inbound callers.

Again, I donʼt use and would not use VMix as my primary broadcast switcher on a live production (virtual, yes) but I think of as being prevalent enough that we deserve to watch a high level overview.

Weʼll also be offering VMix courses in the near future, so stay tuned.

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Credit to Planar.com

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BACK TO THE TABLE OF CONTENTS

PRODUCTIONROCKSTARACADEMY.COM

CHAPTER XIV

RECORD DECKS

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Records

Back of AJA Ki Pro Ultra

There are a few types of records: ● Clean Feed is video with no graphics, such as a bug, score clock, or animations. ● Dirty Feed: is the exact opposite of a clean feed. The graphics will be burnt into the video. ● PGM (program) Feed: is the master line cut from the switcher. It can be clean or dirty. ● ISO Feed: is a record of an individual camera, replay machine, graphics feeds, or other source.

Any of these feeds can have audio embedded or not into the record.

Audio can be embedded in a number of ways. Depending on the scope and capabilities of your broadcast audio department will determine how granular you can get with this.

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Records are another important and critical piece of pretty much any production. Only a few times ever has a Client not requested records, and even then a best practice would still be to at a minimum, record the dirty program line cut.

Your records are a critical part of the production, especially when the project is to be edited and used for airing at a later date.

The Client will have an expectation of perfect records without any audio or video issues. On some shoots, there will be a dedicated Recordist and/or Playback Op. Sometimes these will be separate roles and sometimes these will be sometimes it can be the same person.

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Records In the photos below you can the I/O for 3 different SSD recorders. The decks pictured below are the same brand but different models. The reason for this example is because you never want to get too comfortable and assume that all records decks will take analog audio because that is no longer the case.

While the base model does, the other models require embedded audio via SDI or HDMI. This can significantly alter your router planning as this may consume more outputs or require you to use MADI or Dante. So XLR may not be all you need. AJA Ki Pro Ultras for instance require DB25 connectors to send and receive audio.

There are other key settings that you will need to take into consideration: ● ● ● ● ●

Back of AJA Ki Pro Ultra

Codec Frame Rate Drop Frame v. Non Drop Frame Interval Recording Storage Space

Back of Hyperdeck Recorder

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Audio can be embedded into as many as 8 channels on recorders that allow for it, though most-mid market range record decks only allow for 2 channels of audio. The additional channels can be a submix, second languages, STEMS, or audio effects. Having these additional channels of audio in addition to your standard L/R stereo mix or L/R/C mix allows for greater control over audio editing in post production. Unless instructed otherwise, embed a stereo mix on each record and you should be fine.

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CHAPTER XIV · RECORD DECKS

SSD Recorders

You should not mistake these with playback devices. While most of these unit can be used to playback, it is a very inefficient way to do so, as most of them have no surface control panel or software-based GUI to properly facilitate smooth playback.

Some of the machines do have user interfaces that allow you to network them together and control settings, but still nothing extensive enough to rely on these devices as a source of playback. Plus, you wouldnʼt want to be toying around with a machine for playback while also asking it to be a record device.

Any video feed with or without embedded audio can be fed into the unit. Some of these machines only accept one source at at a time, so when recording, you may need anywhere from 2 - 20 or more of these machines. However, other devices, such as the AJA Ki Pro Ultra 12G, can accept either 4-HD sources or 1- 4K source. When recording multiple HD sources, they must all be in the same frame rate and resolution. This applies to most, if not all machines that record multiple sources at once.

However, there you may find exceptions out there.

A common scenario you will encounter will be recording a PGM line cut, which typically has embedded audio and camera ISOs, which often times do not or may just have reference audio, for sync alignment in post.

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A record deck or video recorder is a simple device with 1 or more inputs used to capture and record video and/or audio sources.

These devices are usually sold in HD, 4K or a hybrid combination. They are usually found near replay or around the engineering section of a production facility.

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Tape Decks

Another very important component to keep in mind when prepping your show is the amount of media that you will need.

How many total hours does your Client plan to record? What resolution, frame rate, audio bitrate, color space, etc? How many sources are being recorded on that card is an important factor as well. All of these factors have an impact on what the size of each media card will be and how many you will need.

You should also keep in mind how many days you will be recording and what the plan for media management will be.

When possible, you should find out from the Tech Manager, Producer or Client all of the shooting specs before hand.

The more information that you can have walking into a show, the better.

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During pre-production, planning, and prep you will want to make sure that you know how the device accepts audio. Most machines will take analog audio via XLR. However, some may only take audio via DB25, like the AJA Ki Pro Ultra Plus.. This is important because if you assume that a device automatically accepts XLR and it does not, you could find yourself on a show without the proper cables that are not easy to acquire.

Letʼs say that you have determined you will need 6 cards for one day of shooting but you will be shooting for a total of 3 days. If you or your company only owns 6 cards, will the Media Manager or person responsible for dumping the footage be done in time to hand those cards back over to you for formatting and reuse?

Does the network or Client require that all media cards be held onto until the product has been delivered to post? All of these things must be considered when planning your show and know what all equipment, media, and accessories will be needed on the job site.

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Tape Decks

You will not often encounter record decks in the sports world. While the production facility may have the machines as they can be used for multiple show types, often the replay server will serve as the record device and footage will be offloaded to a drive, if offloaded at all.

However in the entertainment space, that is where you will most often incur a large amount of record devices that need to be routed and controlled.

For analog audio in and out with the AJA Ki Pro Ultra, you must have a 16-Pin to XLR fan out. You will need one fan out for inputs and another for outputs or turnarounds.

AJA Ki Pro Ultra 12G Full Kit

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Slotting and ejection is a very critical thing to always be aware of when working with record decks. On some devices, media cards can be pulled out properly by pressing stop and pulling out the media. Others have an EJECT or SLOT button that must be pressed before the media can be pulled. It is CRITICAL to know how to properly remove media from the piece of equipment that you are using. Improperly removing the media can be detrimental to the project files, rendering them corrupt, damaged and unusable.

No one except the person assigned to work the record decks should be touching them, including the engineer, unless there is an issue that the Recordist asks you to fix.

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AJA Ki Pro Rack ● ● ● ● ●

AJAʼs original digital video recorder Can only record in 1080i or 1080p One source per device Dual slots Supports XLR analog audio LINK TO OFFICIAL SPECS

AJA Ki Pro Ultra Plus 12G ● ● ● ● ●

Accepts (4) 1080p or 1080i sources or (1) 4K source per device.

Uses proprietary (an very expensive) media cards.

Extremely durable and resilient, known to not fail Dual recording slots with instantaneous rollover recording.

Does not use the same media as its predecessor.

LINK TO OFFICIAL SPECS

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Common Record Decks

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BlackMagic Hyperdeck ● ● ● ● ● ● ●

Available in 3G, 6G and 12G models Mini models records to SD cards Newer models do not support XLR audio Uses standard SSD media cards Small 3” front display w/ audio meters Can be added to network and controlled via computer Dual media slots with auto switchover LINK TO OFFICIAL SPECS

BlackMagic Hyperdeck Extreme ● ● ● ● ● ● ●

1ch of record per deck Can export H.265 files 3D LUTS and HDR support Can add Hyperdeck Extreme Control for multiple decks 2 Media slots USB-C external disk recording Quad 12G-SDI for 8K & Available in 4K version LINK TO OFFICIAL SPECS

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Common Record Decks

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Common Record Decks

● ● ● ● ● ● ● ●

Dual HDR Monitors 8 Channels of record @ HDp60 (4 per side) 2 Channels of record @ 4Kp60 (1 per side) Apple ProRes, ProRes RAW, & Avid DNx codecs Instant recall & ability to make clips and playlist 8 second pre-roll cache in HD 2-3 second pre-roll cache in 4K Rack Mountable & uses standard SSD media cards LINK TO OFFICIAL SPECS

Sound Devices PIX 270i ● ● ● ● ● ● ●

Discontinued but still found in flypacks and MUʼs File-based video recorder SD/HD/3G-SDI & HDMI In/Out Used for multi tracking & STEMS via 8ch embedded audio Built in scaler 2ch of analog audio inputs & 8ch of AES/EBU digital audio Records QT files @ various data rates in ProRes 4444 @330 Mbps to 36Mbps proxy files

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Atomos Shogun Studio 2

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CHAPTER XIV · RECORD DECKS

AJA Ki Pro Computer GUI

This ensures that all units start and stop recording at the same time and time code is perfectly synced.

There are a host of other features and I encourage you take advantage of their free online training material via YouTube. +

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When you purchase a AJA Ki Pro, you will gain access to a cloud-based app download in which you can have total control over all your devices within a single network. You can see live source images, start/stop record, gang units together so that one units acts a master and the other become slaves.

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09:59:03:00 Hours

Seconds

Minutes

Frames

Timecode is another really important consideration when it comes to record decks. You will want to ensure that all decks are synced to the same timecode. Just because the hours and minutes, and sometimes seconds, may be in lock-step doesnʼt mean the frames are.

Most new production switchers and suites such as Blackmagic and Ross generate internal timecode, but there would be a time where you need to introduce a third-party timecode generator and making sure all decks are synced will be super important.

This information should be provided to you by the Tech Manager or the Client. You may also need to be put in touch with the Editor or Media Manager who can tell you what they want if no one else can. However, sometimes you will simply need to use your better judgement and make the call. During this communication is also a great time to find out what needs to happen with the media after the shoot. Sometimes, you will have to dump it onto provided external hard drives. There could also be instances where the Client departs with your production companyʼs media and it will be shipped back or picked up before you depart now. Whatever the case may be, make sure that you keep good track of the media because it is not cheap to replace.

As the EIC, you and/or the Tech Manager will be responsible for hooking the record decks up and ensuring that they are getting the proper feeds and audio. As a rule of thumb and best practices, you should always do test records prior to the show.

At the the conclusion of the test records, provide the media to the Media Manager to ingest and ensure that it plays back fine with good audio levels, color, etc.

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Timecode

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Trip

Down

Memory

Lane

A look at Some Older Recording Devices

DV Cam Pro

¾” U-Matic

XD Cam

DNF Controller

Pioneer DVD Recorder

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BetaCam SP

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CHAPTER XV

COMMS

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CHAPTER XV · COMMS

Communications (COMMS) Comms, short for communications are the systems by which the tech, creative production, audio, lighting, and video display teams communicate with each other during a production. They should not be confused with radios, though there may be some overlap in use cases. These systems can be wired or wireless, PL (party line) or a more complex digital communication matrix).

Riedel reigns supreme as the high-end, top of the line wired and wireless comms manufacturer, but it is pricey. But there are a ton of solutions out there that are right-sized for your needs. So letʼs talk about a few of them and cover some specs.

We wonʼt get very technical with comms in this course, but if youʼd like to take a more in depth comms course, sign up for our newsletter and stay tuned for upcoming courses.

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WIth comms system, there is no harmony. A number of products have hit the market in recent years making comms for affordable for a wide range of applications.

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Hollyland Solidcom M1 Hollyland Solidcom M1 is the current comms systems choice of our sister-company, Production Rockstars, while occasionally we need more complex systems like Riedel Bolero or Clear-Com Freespeak and rent those accordingly.

All programming is done via the combo base station/antenna, which offers a range of 40ʼ on one side and 100ʼ on the other for a combined 140ʼ range. It also includes a charger and spare battery pack for each unit.

The system has 3 channels (A, B, & C) and two systems can be connected together making this a 16 beltpack system and expanding the range to 280ʼ. A third system can also be added expanding the range another 140ʼ, however, the 3rd will only be able to communicate on the ʻAʼ channel.

LINK TO OFFICIAL SPECS

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Solidcom is a freestanding system that comes in sets of 8, each with a single muff headset. Dual-muff headsets can be purchased separately. You can also add a 4-wire converter that allows you to connect this another comms system.

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Riedel

ARTIST, the wired base station solution (known as SMARTPanels) like any other brand, can be paired with the wireless beltpacks and together are perfect when you have large crews working both indoors and outdoors and you need both range and have complex programming needs. The ability to split channels and create point-to-point communications with others hearing your conversation is unparalleled.

It can scale from 16 to 1024 ports within a single 2RU frame. It should be noted that the RIEDEL programming interface has a bit of a learning curve compared to some other comms systems.

Riedel can connect to a network via Dante as well. Riedel also makes the Performer (2-4 channels) and PunQtum IP-based party line system if you need to use something a lot less complex (only 2 channels).

Want to expand your knowledge on RIEDEL? Visit our virtual learning platform and sign up for a course today!

LINK TO OFFICIAL SPECS

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Riedel is the industryʼs premier and priciest wired and wireless comms solution. It is quite literally the creme of the crop. The Bolero wireless system can operate as a standalone and they also double as walkie-talkies, however, there are much cheaper options if you just need a radio.

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How to connect multiple Solidcom systems in one place? | 2 Systems Step 1 Connect both base stations as shown to the left.

Step 3 Enter the menu page of base station B, select “Slave” mode and the belt packs number will be changed to (beltpacks) 9-16.

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Step 2 Enter the menu page of the base station A, click the “ “ icon and select the “Master” mode.

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How to connect multiple Solidcom systems in one place? | 3 Systems

Step 2 Do the same operations as above for base stations A and B(2 sets of base stations cascade), then connect the third base via 4W port and you need a new POE adapter to power the unit C. *The third unit will only work on the “A” channel.

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Step 1 Connect both base stations as pictured.

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Clearcom is one of the industryʼs top digital communications matrix system. They offer both wired and wireless systems. Their wireless system is known as Freespeak II and is available in 2.4GHz and 5GHz models.

Their wired model is known as HelixNet and both systems can operate separately or combined. They can also be interconnected with other comms system just like most others.

The systems are highly reliable, well-built, durable and often have little to no failures. When using only the wireless beltpacks, you could operate and manage them without a system laptop, however, I donʼt recommend it. To achieve optimum performance and functionality, you will need to be able to connect to the Arcadia GUI to make assignments, adjustments, and do labeling which operates off the web-based browser.

Each base state can hold and charge 5 beltpacks simultaneously and each antenna. You will need one antenna per 5 beltpacks and a Freespeak system is limited to a maximum of 40 beltpacks. Each beltpack can host up to 4 channels.

The base stations can range by as few as 4 channels to as many as 32.

Clear-Com & Clear-Com Freespeak

LINK TO OFFICIAL SPECS

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Clear-Com FreeSpeak II

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RTS

Pro INTERCOM

RTS is another long time leader in the professional intercom space. They offer both wired and wireless systems, with the wireless media networking architecture being known as OMNEO.

Perfect when you need a basic intercom solution. The system which can work with one or more base stations essentially works as a loop.

It is a low-cost system with limited barrier to entry. They also now have a wireless system with up to 9 simultaneous users.

Each base station features up to three (3) independent circuits (channels) and can be expanded to up to 6 circuits.

They can also be linked at A+B circuits or A+B+C circuits dependent on the model, and into other wired and wireless comms systems.

You will often times find RTSʼ digital comms matrices interfaces with other wireless comms beltpack as RTS isnʼt the most popular product in the market.

LINK TO OFFICIAL SPECS

LINK TO OFFICIAL SPECS

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RTS & Pro Intercom

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Pilant Technologies Pliant Technologies is a relatively new wireless comms company to the market. It is available in 900 MHz and 2.4 GHz. It utilizes its proprietary CREWWARE interface for programming and control unit to tie all systems together.

Each unit features an LED display and has ISO on every conference (channel).

LINK TO OFFICIAL SPECS

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It can be used as a very basic communications system or it can be ramped up for large-scale deployment.

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CHAPTER XVI

CABLES & CONVERTERS

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CHAPTER XVI · CABLES & CONVERTERS

Common Types of Cables Knowing distance and bandwidth limitations of primary cables and connectors is another tool on your belt to sort through problems and help you more quickly sort through issue as they arrive.

On the next few pages you weʼll take a little deeper into the properties of some of these cables which include:

That said, you will encounter lots of different types of audio and video cables needed to connect different equipment to complete your system. While there a few common types that you will encounter on a daily basis, throughout your career you will also encounter a number of special cables needed to connect certain pieces of gear and data points or proprietary cables specific to certain types of gear.

VIDEO ● ● ● ● ●

Most times when you hook up a piece of equipment you will have a perfect working cable, but understanding the makeup and limitations and capabilities of each cable and connectors is critical knowledge for troubleshooting problems.

AUDIO ● XLR ● ⅛” (Mini 8) ● 1/4 “

SDI (also known as BNC) SMPTE Triax (phasing out but still in existence) HDMI USB-C

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We are not now and likely will never live in a world in which everything will connect wirelessly. And as video engineer, there is probably not a world in which you would want that. The ability to quite literally trace your issues via cable is necessary AND the coordination of so many different pieces of technology would be a real world nightmare.

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Triax Cable

SMPTE (Society of Motion Picture Television & Engineering)

● Only used for SD & HD signals ● Newer systems are no longer using Triax and broadcast cameras no longer are made with triax ● This cable passes power, comms, tally, and video ● About ¼” thick ● Highly durable ● Signal can run up to approx 1,500 feet

● ● ● ● ● ● ●

Used for HD & 4K Signals All newer models of broadcast cameras use SMPTE This cable passes power, comms, tally, video, and data.

About ¼” thick Made with a durable and high dexterity fiber optic glass Connectors are extremely sensitive to dirt.

SMPTE is the specific type of fiber cable used to connect cameras for CCUʼs but there are other types of fiber cables. ● Other common type of fiber include LT & ST (aka TAC-Fiber) ● Cannot be repaired in the field

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Types of Video Cables

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Types of Video Cables

SDI (BNC)

HDMI

● Serial Digital Interface ● The connector on SDI cable is known as BNC (British Naval Connector) ● Most common cable used for point to point video signal distribution of analog or digital signals ● Up to 300ʼ before reclocking required ● Lost of 10ʼ of signal per barrel ● Available in 3G, 6G, and 12G (4K) ● Can also pass embedded audio ● Easy to field repair ● There is an identical audio cable

● High Definition Multimedia Interface ● 25-50ʼ distance ● Most common digital cable used for hi-res image distribution. ● Not repairable ● Common Scenario Use - Converting SDI to HDMI to get signal to a consumer model TV on set

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Types of Video Cables

VGA

Display Port

● Video Graphics Array Cable ● Standard connector for Computer Video Output ● Most common cable used for point to point video signal distribution from computer to computer monitor. ● HDMI is now more commonly used than VGA due to its ability to transport better signals at higher resolutions. ● Does not transport audio or power. ● 100% analog cable, no digital components

● Digital Display Interface Standard ● Primarily used to connect a computer to a monitor. ● Designed as a hi-res successor to VGA, DVI, LDS for hi-res displays, high refresh rates, and ability to transport audio and video over a single cable. ● Can support resolutions ups to 8K. ● Comes in different version with DisplayPort 2.1 being the most recent.

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USB-A

USB-C

● Universal Serial Bus Protocol ● USB ports can be found across multiple devices such as phones, computers, and gaming consoles. ● Created in the 90ʼs to standardize ports for peripherals. ● Primary function is to transfer data and power. ● Trans speeds range from 12 Mbps for 1.0 and up to 40 Mbps on the latest version 4.0

● Functions just like USB-A but better and faster ● Newest version of USB cable found across many new devices including the iPhone, iPad, and MacBooks. ● Unlike USB-A, can be inserted on either side. ● Transfer speeds of 480 Mbps to 40 Gbps. ● The longer the cable, the longer the slower the data transfer.

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Types of Video Cables

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XLR

1/4”

● X Latching Resilient ● Up to 1000 feet single run ● Most common analog cable used for point to point audio distribution ● Usually more feasible to replace than repair- however not easily damaged ● MOST XLR cable always work

● ● ● ● ● ● ●

Commonly known guitar cable Up to 300ʼ before reclocking required Lost of 10ʼ of signal per barrel Available in 3G, 6G, and 12G (4K) Can also pass embedded audio Easy to field repair There is an identical audio cable

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Types of Audio Cables

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Did You Know? | Alternate Uses for SDI

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DId you know that 50 ohm SDI cable can be used for connecting RF antennas for wireless mics to their receivers?

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Ethernet cables are the lifelines of networking, facilitating the transmission of data between devices within a local area network (LAN). These cables are designed to carry signals reliably and efficiently, utilizing twisted pairs of copper wires to minimize interference and maximize data integrity.

When selecting Ethernet cables, consider factors such as bandwidth requirements, cable length, and environmental conditions. Proper installation and maintenance of Ethernet cables are essential for maintaining network reliability and performance.

There are various types of Ethernet cables, each suited for different networking needs:

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Ethernet

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A Deeper Look at Fiber

When selecting fiber optic connectors, factors such as connector type, compatibility with networking equipment, and environmental considerations should be taken into account. Proper cleaning and inspection of connectors are essential for maintaining optimal performance and minimizing signal loss in fiber optic networks.

Credit to @OCC Fiber (https://www.occfiber.com/product/smpte-flex-broadcast-cables/)

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Fiber optic connectors play a crucial role in enabling the transmission of data via fiber optic cables, which use light signals to transmit information over long distances with minimal signal loss. These connectors provide the interface between fiber optic cables and networking equipment, ensuring efficient and reliable data transfer.

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A Deeper Look at Connection Types

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Gloria Williams · Technical Director, GFX Op, Cam Op

INDUSTRY INTERVIEW

2 · Favorite Project After the attacks against America on September 11, 2001, I was tasked with (along with the help of my team), an assignment to produce a series of PSAʼs to help our viewers to process this horrific event. As a result, our station was awarded the “Best Public Service Announcement of the Year” by the Georgia Cable Operators Association for our series titled, “Healing America.”

QUOTES THAT I LIVE BY:

Photo Credit @Stanley Leary

- “Always do your best because it always counts!

-”Always bring positive energy!

-”Treat others the way you want to be treated.”

-”The only thing constant in life is change, be flexible!”

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1 · Favorite Video Switcher The Roland V-160HD (SD) because itʼs robust and flexible enough for both the in-person and streaming for a live hybrid event, with the ability to tailor the content to each audience.

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INDUSTRY INTERVIEW

4 · How did you get into the business?

Since 7th grade I was the student who set up the projectors, screen, and microphones for the school. Later I worked in Public Affairs unit doing photography and broadcast journalism when I served in U.S. Army National Guard. After the military I started as a PA and worked my way up to Director/Production Manager at a cable tv station. I have also been a Media Ministry Director for 10 years. About 35 years in the business

● ● ● ● ● ●

Define objectives and audience: Understand the purpose of the event and who will be attending.

Plan logistics: Secure venue, equipment, and necessary permits. Coordinate schedules and logistics for presenters, performers and crew.

Develop content: Create scripts, presentations and any multimedia materials needed for the event.

Rehearse: Conduct rehearsals to ensure smooth execution and familiarize everyone involved with their roles.

Technical setup: Test audio, visual, and lighting equipment to ensure everything is working properly.

Coordinate onsite: Manage all aspects of the event onsite, including setup, timing, and troubleshooting any issues that arise.

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5 · How do you plan and prepare for a show?

The preparation is different for a tv show vs. a corporate production vs. a church event. But here are some key steps:

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Gloria Williams · Technical Director, GFX Op, Cam Op

INDUSTRY INTERVIEW

7 · Advice to working adults looking to go further in the business.

Continue to learn and upgrade your craft by building your skillset. Take advantage of the wealth of information available amount new equipment and software. This industry is small, protect your reputation because most jobs come from people in our field that you have worked with or met. Also, be a resource for other is you are not available for a job. Refer someone and they will do the same for you. As a team leader always clearly communicate your expectations to team members. Please remember that this is also a customer service business. Be professional when dealing with Clients (internal and external).

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6 · You work in both churches and on lots of corporate events - what are the primary differences between the two?

When you work a corporate event you have the leadership tea, that is producing the event and attendees. In church you have the church leadership but additionally the congregants are not just attendees, they are considered apart of the family and assume ownership as financial contributors. They are in fact also your clients. In both work environments you should be professional however, you must be particularly sensitive in a church environment.

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Gloria Williams · Technical Director, GFX Op, Cam Op

INDUSTRY INTERVIEW

8- As a technical director and cam op, how can a video engineer be of the most help or make your job easier?

A video engineer can assist a technical director or camera operator by ensuring equipment functionality, understanding the project objectives and having great communication with all stakeholders.

● ● ● ●

Build a strong foundation of technical knowledge by learning all you can about video signals, switchers, cameras, and all things video.

Gain practical experience: Seek internships, co-op opportunities, or hands-on projects to apply theoretical concepts and develop practical skills.

Develop problem-solving abilities, which are essential for addressing engineering challenges.

Network and build connections: Attend industry events, join professional organizations, and connect with other engineers to expand your network and access opportunities for career growth.

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9- Any advice for those who might want to be a video engineer?

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Cable Looms & Mults

Common mults are SDI, SMPTE fiber, or triax. Vendors such as Markertek will create custom cable looms that sometimes have different cables within them. Typically, a production company might order them when they are looking to connect certain equipment together in multiple racks for rapid deployment. A good example of this might be a production that instead of using SMPTE fiber uses A/C power, SDI for video signal and camera returns, a separate line for audio into or out of the camera, and a comms feed.

Cable Looms help to efficiently run cables. If you ran these cables separately, it would take one person 5 times as long to run each of these cables than it would if they were already bundled together in a mult.

Even if you donʼt have “pre-fabricated” looms or mults that you ordered from a vendor, during your show prep, you can easily create them by laying out all your cable and taping them all together every 6 inches or so.

Little things that you might notice also notice with some loom, is that some of the cables may be longer or shorter than others. That is because, some cables ( ie. SDI cable) will need to stretch further to plug in directly to the camera. Whereas, your power cable will only need to land at the base of your tripod since the the A/C power adapter from the camera will extend down to the floor.

Prefabricated mults, like an SDI mult, make planning, preparation and deployment easier. Documenting the feeds becomes quicker and easier because every cable in the mult is a different color. A good tech manager will specify for each mult, what feed will travel down which color cable. This makes it extremely easy for utilities to carry their tech book around and set up things without a ton of questions about being sure what is what.

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A cable loom or a mult (short for multiple) is a bundle of 2, or more, cables either taped together or held together by a mesh or plastic tubing. Cable looms are typically formed from the same type of cable, and are used when you need to run a bunch of cables in the same direction at once, without running individual cables together. TAC fiber is a great example of a mult.

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Tactical Fiber (ST)

TACtical fiber is a single cable that splits at the end with the ability to transport video, audio, and data signals back and forth, like an audio take but for a slightly different purpose. The number behind the term “TAC” signifies how many cable paths each cable can pass. So a TAC-12 cable can send or receive up to 12 signals.

However, considering the cables end are ST-fiber connectors, they require a converter (discussed later in the course) to convert the signals. Common conversions include ST>LC, ST>SMPTE, ST>Ethernet, ST>Media Converter, and ST>SDI.

By utilizing ST fiber, it allows you to carry signals over longer distances and transport multiple signals to a single area with only one home run, branching off via converters to service the individual needs of each signal.

Most of these cables are color coded and numbered for easier organization and workflow. Tact Fiber can be easily damaged due to its thin shape and fiberglass components. Extra care should be taken when handling!

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The term TAC-4, TAC-12, or even TAC-24 are terms that you will hear used most frequently in live entertainment and sports shows using a TV truck. They can be found in other environments as well, but not as often.

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There are 4 ways to connect cameras to your system: 1. SMPTE Fiber 2. Triax (almost extinct) 3. SDI 4. Wireless Video For now, we we will focus on SMPTE and SDI. Triax does the same thing as SMPTE, but fiber can run at longer distances, has more conversion options and can pass high resolutions of video.

One SMPTE cable transports the following from camera to truck: ● Power ● Camera signal/feed ● Return Video ● Additional SDI video feed (like teleprompter) ● Audio/Mic Inputs ● Comms ● Tally/Camera Control ● Data Sony, Grass Valley, Ikegami, and Hitachi broadcast cameras only allow for SMPTE and Triax (older models).

With Blackmagic cameras, you can use both SDI or SMPTE to provide the camera feed back to the control room. However, when using SDI, you would need one cable for each signal that you need to pass. This means you would need to create a cable loom for each camera.

A typical cable loom for a BM URSA would look something like this: SDI = Camera Feed SDI = CCU Control Edison = Power XLR = Audio XLR = Comms SDI (optional) = Camera Return/SDI 2 This configuration is also common with cameras such as the Sony F55, FX9, FX7, Panasonic Varicam and others on productions that may not used full broadcast or cine-broadcast cameras but still need to feed back to a control room.

Based on the needs of the production, you may not need all these feeds, but be sure to get all the details and prepare accordingly.

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Fiber vs SDI Cable Loom

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BlackMagic MicroConverter HDMI to SDI 3G An HDMI to SDI converter converts HDMI signals from output sources like a camcorder to SDI signals that can hit your router or switcher.

BlackMagic MicroConverter SDI to HDMI 3G An SDI to HDMI converter converts SDI signals from inputs or sources into HDMI sources such as a TV monitor that might not be able to receive a direct SDI inputs.

BlackMagic MicroConverter BiDirectional SDI/HDMI 12G A bidirectional converter combines the ability to convert HDMI and SDI signals in either direction, giving the engineer or utility greater flexibility.

Note: A 12G (4K) converter will work with 3G(1080) signals but a 3G converter will not work with 12G signals.

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Common Video Converters

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BlackMagic MicroConverter HDMI to SDI 6G

BlackMagic MicroConverter SDI to HDMI 6G

BlackMagic MicroConverter UpDownCross HD

This converter takes a 3G HDMI signal and up converts it to a 6G SDI/ Ultra HD signal with SDI outputs .

This converter takes a 3G SDI signal and up converts it to a 6G SDI/ Ultra HD signal with HDMI outputs.

The UpDownCross Converter allows for simple HD conversions of HD signals from SDI to HDMI providing additional SDI loops out and supports signals up to 1080p60

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Common Video Converters

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BlackMagic Mini Converter Audio to SDI

BlackMagic Mini Converter Analog to SDI

Datavideo DAC-70 UpDown Cross Converter

This converter allows you to embed and de-embed audio sources into SDI or from SDI.

This converter allows you to take an analog video and audio source into a digital video source with embedded audio.

The datavideo converter is very similar to a Decimator, but just a different brand.

However, it also features a VGA and analog audio inputs and outputs.

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Common Video Converters

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Camplex SMPTE to ST MicroConverter

AJA FIDO-2T MicroConverter

AJA 4T-ST MicroConverter

An SMPTE to ST fiber converter allows you to take a SMPTE fiber feed and cross convert it to ST fiber into your system.

You can then convert the ST into SDI via a FIDO and patch it onto your system.

Many baseband systems you work with will not take ST fiber direct unless built into a custom patch panel.

The FIDO-2T (Ajaʼs brand - most popular and reliable) allows conversion of 2 SDI signals into 2 LC fiber paths back into your system. The connections are then converted to ST fiber connections to patch into your systems. You may need to further converted them back to SDI depending on your patch bay.

The AJA-4T-ST fiber converter allows 4 SDI signals to be converted into ST signals that can then be patched into your ST patch bay.

AJA is a brand and there are several variations of fiber converters and options for number of path. I implore you to look up the varying options.

FIDO stands for "Fiber Digital Optical." In the context of video production, a FIDO refers to a multimedia object that integrates various elements such as audio, video, graphics, and interactive components.

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Common Fiber Converters

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HDMI vs SDI vs Fiber vs NDI - Which connection should I use for professional video production?

Credit to @Doug Johnson Productions 259

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CHAPTER XVII

MONITORS & FEEDS

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CHAPTER XVII · MONITORS & FEEDS

Fundamentals of Monitors & Feeds ● ● ● ● ●

Credit to Planar.com

Be it live sports, entertainment or corporate events, there will be some monitors and feeds that you as the EIC will need to make happen. The utilities can be of great assistance in getting these monitors setup and lines run. The best and most efficient way for this to happen is for proper documentation on the front end. This is something that, all too often, is not thought about.

There will also be times when requests arenʼt able to be filled.

● ● ● ● ● ● ● ● ● ● ● ●

Booth Kit (Play x Play, Color Analyst, Booth A2) FOH Engineer Program Monitor Engineer Program Monitor Lighting Programmer Monitor Lighting Director Multiview & Program Monitor w/ Routerhead Producer Monitors Stage L/R Monitors for Stage Managers or Talent Dressing Room Monitors Lobby Monitor Teleprompter & Script Dept Production Office Program & Multiview feeds Transmission, Encoding, Sat Trucks LED/IMAG First & Ten Additional Replay Stations Additional Graphics Servers Hi-Res Display Switchers & Systems

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Some common places where monitors & feeds are needed include:

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Monitor & Feeds

The monitor is the display device. The “feed” is the signal or input going to the monitor or other destination.

Super Bowl Soulful Celebration ʻ24 | Tech Book

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During the pre-production process, you will make sure that you are talking to the Tech Manager and asking these questions. Sometimes production may forgo them due to cost. But, from a technical perspective, these questions should be asked. Remember: The technical execution should be your focus.

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Monitor & Feeds In the example on the previous page, you can see where the Tech Manager has listed out all of the monitors and the feeds.

It includes what the input will be, cable length needed, location drop of the monitor, which router feeds the monitor, , what mult the switcher (or DA ) the signal is being fed from and what kind of converter is needed, if any.

For example, OLED monitors, which are calibrated and have the most accurate color depiction of any of the monitors on set should go to the Director, key Producers, Lighting Director, Lighting Programmer, and projection/LED teams. LCD monitors, which can range from 12” - 85” (and larger) are usually dedicated to places like lobby monitors, control room monitors, and all other various positions. These are referred to as throwdown monitors. You “throw” them down wherever needed.

17” Sony OLED Monitor

50” Consumer LCD Monitor

Types of Monitors ● ● ● ●

Professional Broadcast OLED (Calibrated Monitor) Consumer LCD/LED Monitor Consumer/Prosumer Grade Computer Monitor Small Professional Grade Monitors

Common Conversions ● SDI → HDMI ● HDMI → SDI ● Fiber → SDI → HDMI

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During your cable labeling process, you will want to make sure that you mark all of these and go over this information with the utilities at the start of the day. Another thought process that should be on your mind is what type of monitor should go where.

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Monitor & Feeds When laying out your monitors and feeds on paper, you should next consider mults. Mults are bubbles of cables, usually in 5 or 10 pairs for SDI. They help by allowing you to run one bundle of cable from one destination to another. This is very much similar to an audio snake. Same ends on both sides carrying feeds from one place to another so you donʼt have to run cables individually.

If you have the luxury of a site survey, you can better plan this out. But there are times when you may not have the ability to do so, and some of these things are hashed out onsite.

Blackmagic Smartview 4k

Either way, if you gather enough information and ask the right questions, you should be able to pack enough cable and equipment not to run out.

Note: SDI has a max run distance of 300ʼ. Adding barrels reduces your distance by approximately 10ʼ each

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Letʼs say for instance that you have 20 different feeds. There are 5 different locations in the building where these feeds are grouped nearby to each other. You would want to determine which mults will go where, and what feed will go from the engineering rack down which line (designated most often by colors or numbers) in the mult and to what destination.

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Fiber Cable

SDI Cable

Triax

Weight

LIGHT

MEDIUM

HEAVIER

Maximum Distance

9,842 ft

300 ft

3,300 ft

Signals

ALL + IP

VIDEO + AUDIO

ALL

Cost

$$$$

$

$$

Durability

SENSITIVE

DURABLE*

DURABLE*

Maint/Repair

COMPLEX

EASY

MEDIUM

The only disadvantage that fiber has over SDI is cost. But the benefits are tremendous. While 100ʼ 10 pair of SDI can weight 15-20 lbs, 1000ʼ of Tac fiber weighs about the same.

Once upon a time before there was a thing called fiber (aka fiberoptics), the patch bays of TV trucks used to look like this, even for some medium sized shows. Now with fiber, only on the biggest shows does it still look anything close to this. Tactical fiber has allowed this to be condensed to around ⅓ of this organized mess. But notice how well these mults have been labeled.

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Now, letʼs say you are using fiber. Tactical ST-Fiber, which is most common in the remote and studio broadcast/livestream sector is sold in bundles of 4, 6, 12, and 24 cables.

There are some key primary differences between them:

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Monitor & Feeds This still may not be the answer to your problem. Sometimes you may need to put it down and come back to it. The idea here is to get you in the mindset of being able to think through and solve problems.

10 Pair SDI Mult

SDI Cable

SDI Cable

Decimator

SDI to HDMI 12G

SDI Barrels

To the right are the things that youʼre going to need to set up your display feeds around a venue. In some instances, you will only need a Hi-5 or a Decimator, but I can easily make a case of why you might use both (distribution)! Also, one is more flexible than the other. This is because Decimators allow you to scale, while a Hi-5 simply converts and acts as a turnaround device.

The Barrels will allow you to connect an additional piece of SDI cable from the mult to the converter. If you are tying into a professional broadcast monitor, it will take SDI (and possibly fiber) directly to it.

Prosumer grade monitors, computer screens, and consumer LCD TVʼs will require HDMI connections and thus the need for the converters.

In additional to powering up the monitor, your Hi-5 or Ha-5 converter will also require power. So be sure to have extension cords (A/C cable) or Edison power cord, and power strips. Bringing along some gaff tape never hurt anybody either. But keep up with it, those things have legs.

An SDI extension long enough to go from the mult to the destination is never a bad either either.

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As you and the team place monitors down, youʼll want to get them setup, powered, and a signal to them. You may be working with fiber or you might be working with SDI. We are going to cover both, but letʼs start with SDI.

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A reason that you may need to use a Ha-5, which is a HDMI → SDI converter, is to converter a specialty camera or device that only outputs HDMI such as a laptop or PC for instance, into SDI back into your router or switcher. That feed still may also need to hit a frame syc first before going into the switcher.

The original name Ha-5 & Ha-5 come from AJA, who make very high quality converters. Because the name has become so common in the industry, I elect to still call any brand that makes SDI/HDMI converters by the Ha-5/Hi-5 name as experienced people will always know what your talking about.

SDI has a maximum range of 300ʼ before it has to be reclocked.

Fiber runs go and into the thousands of feet before needing a signal boost. The most powerful thing about fiber is the various types of signals it can carry including video, audio, data, and internet circuitry. Fiber cost exponentially more that SDI, which is just shielded copper, but as you will see in the example below, its flexibility and time savings are priceless.

The last disadvantage that fiber has is durability. If not taken care of properly, driven offer, only handled roughly, the fiber can easily be damages. Repairs are expensive and puts your equipment out of service for some time. Fiber cannot be easily repaired in the field and requires special tools and skills. SDI on the other hand can easily be cut, crimped, and put back into service in just a few minutes.

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If you had multiple monitors in an area that needed the same feed, you could also use your decimator as a distribution amplifier and split off up to four feeds. Perhaps you want to use a Decimator for the conversion, and a Blackmagic DA for distro.

As you navigate your way through the industry, you will pick up call kinds of tricks and terminology. Some of it will region specific, some of will be known worldwide.

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Monitor & Feeds Going back to our planning of mults. Imagine you have have to run video signals out to FOH for a show. You have multiple feeds that need to be accomplished.

Those feeds are:

Telecast “Rattlers” SDI to ST Fiber Converters

TAC-12 ST Fiber

DIRTY vs CLEAN: You will sometimes hear the terms dirty vs. clean when referring to program feeds. What this means is that the program feed either will or will not include graphics.

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● 17” FOH Throwdown w/ PGM ● Lighting Board Programmer w/ PGM ● 17” OLED Monitor for Lighting Board Programmer w/ Throwdown Router ● 17” Throwdown Monitor for Lighting Board Programmer w/ PGM ● 24” Throwdown Monitor w/ PGM for Screen Control ● (1) 50” LCD Monitors for Prompter ● Internet for Wireless Router at FOH ● Return Media Server Canvas to Control Room Multiview ● (1) Data & Dante for Comms Panel ● (2) FOH Cameras ● Distance is 500ʼ from the control room

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Sometimes the issue is human error and sometimes it equipment error. It can also be both. The utilities that you work with will all have varying degrees of experience and while working with good intention, they often miss little steps.

Always be polite, go help them solve the issue and use it as a teachable moment.

Before you go out into the venue to look at the issue, you should also check your router and I/O panel. Be sure that the cable is connected to the proper tie line or output on the router and also check your router settings to verify the correct feed is routed to that destination.

When you arrive to the point of issue, you can then use your monitor to verify if a signal is coming out at the furthest connection point from the final destination.

Letʼs suppose you do get a signal. That means something after that isnʼt working. So letʼs eliminate that. Now letʼs check at the point of the converter. Hook up your monitor to the converter and see if you get a signal. If you do, you can eliminate that as the issue. If you didnʼt, swap your extension cable and see if that is the issue. In this scenario, youʼre using a Blackmagic Converter. This particular converter only does a simple one-way conversion (ST → SDI). Your monitor still is not receiving a signal. What could it be?

One likely answer… the frame rate. The monitor you are feeding may not accept the frame rate that you are sending. In that event, your simple BM converter wonʼt do. You Need a Decimator! The Decimator will allow you to scale and convert the image to a frame rate the monitor will accept.

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Once you have everything connected, youʼll want to verify that you are passing signal. Sometimes things are going to fire right up. And sometimes they arenʼt. You as the Engineer, Utility, Tech Manager or Technicianʼs job is to troubleshoot the issues and get it to work. ● Does my power strip have power? ● Any air gaps? ● Did I actually turn the power strip on? ● Are all my connectors seated properly? ● Do my converters have power? ● What frame rate is the feed coming in at? ● Could it need to be scaled? ● Do I have a bad cable? ● Is my converter no good?

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Monitor & Feeds But because you can run different types of signals over a single TAC fiber cable, that list of FOH feeds could be run off a single TAC-12 fiber from the control room directly to FOH.

Once the fiber is run and you have identified what feeds are going into what strands, youʼll need to make sure that you have all your converters, cable extensions, and a clear enough area for your demarcation.

Each feed will require some kind of converter to turn it over from from ST fiber to the itʼs ultimate final connection type.

Some of them will require additional power supply and some wonʼt. These converters are made by several brands, but my three favorite are AJA, Decimator, and Blackmagic.

ST to SMPTE Converter

Common Fiber Conversions ● ● ● ● ●

ST → SDI LC → SDI ST → SMPTE ST → Ethernet LC → Ethernet

Connect your converters to the ST, and the run the extension cables to their designated piece of equipment. Things can get messy, but try and keep everything neat and organized. Use gaff tape, clamps, or tie line to help. The TAC cable wonʼt be able to land close to everything, but the idea is to get it in the vicinity of a cluster of destinations or sources, and the do shorter runs from there. The end point or butt farm for every mult is called a “d-marc”, short for demarcation, where the cables terminate or convert.

TAC can be single or multi modal, allowing it to pass signals in one direction or both.

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That list has 12 feeds so technically you only need a TAC-12.

However, things break and I would suggest going with a TAC-24 so that should one more of the strands not be working, you have backups to go to.

Optical Fiber Transceiver

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Monitor & Feeds

All of these cables tend to become spaghetti. Do your best to need everything neat and organized with proper labeling and using tie like to get relief to your cables and not strain them.

This will make for a easy access when you need to locate a strand of cable and to troubleshoot a possible issue.

At times you will need to get creative with your routing and patching. Almost always, no matter how much planning that goes on beforehand, the show grows. We call them “oh by the ways”.

And oh by the way, we wonʼt talk too much about audio here, but when you are setting up monitors, theyʼre usually going to want some audio. The TV audio may or may not be enough - so speakers may be requested. This is just one more thing that you put on your list of things to ask about during pre-production.

While it may seem messy, take a close look at the image and how neat the cables paths are. Credit to Reddit User @MiteeThoR

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Feeds are not just a monitors that are going out into various areas of the stage or the venue. You can be sending feeds to other systems such as a media server or screens switcher. You many need to send a feed to an LED wall, lighting board, replay or receiving feeds from audio.

Any line coming in or out from one destination to another is a feed. Now, you donʼt need to plan every feed out on paper, and when working in a TV truck, 90% of the internal feeds within the control room will already be pre-wired. Itʼs routing certain feeds to and from the inputs or destinations.

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Equipment Corner | The Production Rockstar’s Favorite Tools

Cineroid (Discontinued)

Black Magic Video Assist

Sometimes a production can be like a working fire. The Tech Manager(this could be you) is the Fire Chief on scene. Calling the shots, maintaining a 360° degree of the entire incident.

And sometimes, when things are going as planned or something is working right, you need to chase down the problem. You handy and favorite set of tools for this will become a small battery powered field monitor and signal/test pattern generator.

My two favorites happen to be the Blackmagic 7” Video Assist and a Cineroid.

Cineroid is a battery-powered 3G signal generator. While some shows that you do will be produced (or at least recorded) in 4K, many as still 3D/HD baseband shows. Cineroid can acts as both a monitor device and test pattern generator with built in color bars, horizontal and vertical lines, blue screen and tone. When I encounter an issue, I can use the these tools together to assess and isolate why a signal is not making it to a destination. That diagnostic will then help me continue to troubleshoot and fix whatever the disruption might be. Bad cable, wrong frame rate, bad converter, etc.

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When a building is on fire, and the fire truck shows up to the scene, one of the first things they grab before entering is a hose and a set of irons. A set of irons consist of an axe an and Hooligan tool. This set of tools is an essential part of conducting a search and rescue, prying open door, and working through interior challenges that a working fire brings.

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YOU NEED A DECIMATOR! This is not a paid ad, but the Decimator Design 4K Cross Converter is the holy grail of throwdown video cross converters. The decimator is one of the most rock solid and handy pieces of gear that you could possibly keep in your work box or tool kit.

They are extremely durable. Iʼd love a more interactive GUI and the menu could be a little difficult to learn how to navigate in the beginning. But for the price and functionality, there is no better product on the market.

They also manufacture other products like distribution amplifiers, multiviewers, open gear cards and mini converters

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A Decimator is basically a portable frame sync or scaler and 12G distribution amplifier (3G model also available). With 2 outputs on each SDI output, you essentially have 4 outputs.

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Matt Sheko · Sr. Video Engineer

INDUSTRY INTERVIEW

I average 1.5 jobs a week that require me to fly somewhere, and another 1.5 jobs a week that require driving over 150 miles one way. I TRAVEL A LOT. 150,000+ miles flown each year, and at least 25,0000 miles of reimbursed mileage. This pace has been going on for the last 10 years. Oh and over 260 night in hotel rooms, every year.

So here is how you do it.

Head of project “Mountain Dew Ski Tour”

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Traveling is definitely one good reason you might have want to get started with a career in production. After all, depending which tract within the industry you choose, you are likely to eventually find yourself sleeping on planes and living out of a suitcase.

A few weeks before writing this section, I came across this awesome Facebook post in a a group that I help run. I asked the author for permission to include in this course, because the words of advice were simply too good to not share. It has not been edited. Here are his words.

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Matt Sheko · Sr. Video Engineer

INDUSTRY INTERVIEW

1 · Show up 15 minutes early to every job.

2 · Be reliable and friendly to work with. When its wheels up at 4:45am to drive to the site, be in the hotel lobby at 4:40am. Be

professional, keep personalities out of your interactions. Be polite, control your urges to be a hot head. Treat everyone with respect and politeness.

3 · When the job is setting up, offer to help other people when youʼve completed your tasks. When the job wraps, donʼt be the person

standing there with their hands in their pockets.

knowledge, take advantage of it. Donʼt assume youʼll figure it out, Iʼve seen lenses get destroyed, cameras fall over, blue smoke pouring out of improperly hooked up gear, arc flashes from pulling live feeder cable. Those people typically donʼt get hired again.

Always have the attitude that learning is professional development. So asking if you donʼt know something isnʼt weakness, itʼs growth.

5 · AVOID ON SET NEGATIVITY, AND DONʼT JUMP ON THE GRIPE TRAIN. On set negativity is highly infectious. It is not only

counterproductive, BUT IS A HUGE WASTED ENERGY. Leadership pays attention to this behavior.

6 · The best place to find more work is at work. This doesnʼt mean run around handing out business cards, but listening for

opportunities, where your help may be needed. Then express interest to find out more. If I find a good person, I will help them along if they just ask.

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4 · Know your job, be an expert at it. If you are learning, ASK FOR DIRECTION OR HELP. People are always proud to show off their

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Matt Sheko · Sr. Video Engineer

INDUSTRY INTERVIEW

7 · Express interest in traveling or doing more work for the client you just worked with. At the end of the job say “Thank you, I enjoyed

working with you. If you are ever back in the area, or need help somewhere else please keep me in mind.” A client prefers to hire people that express interest in doing some more work for the,. This indicates to them that you are willing to work hard, and value the opportunity. This means you are a motivated person.

8 · Donʼt be afraid to reach out to the people that hire you and ask if they need help for any upcoming work? Note I wrote “ASK IF

THEY NEED HELP.” This indicates to them that you are trying to offer solutions.

9 · Be honest. If you screw up, and you will, own it. Acknowledging it, shows a willingness to adapt, learn, and change.

you are only as good as the tools you bring to site. Bring a multi-tool, a flashlight, a crescent wrench, your cue box (whatever your job requires). I check a bag for every flight so my tools and gear are with me. I have literally saved shows with my kit. When a client can say he/she really saved us, have you just increased your value 10x.

Getting traveled regularly is about work ethic, personalities/professionalism, and knowledge. It doesnʼt happen overnight, and therefore you need to remain vigilant on every job.

What we do is a rare, interesting, fulfilling, and privileged. Stay focused.

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10 · Be ready to work in every eventuality. Pack warm clothes, pack rain gear. You canʼt perform at your best if you are shivering. Also,

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CHAPTER XVIII

MULTIVIEWERS

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CHAPTER XVIII · MULTIVIEWERS

Multiviewers A multiviewer is a combination of hardware and software systems that allow for the system to have customized boxes within a single monitor, across multiple monitors.

Each have their own desired configuration, to an extent.

Many of you are familiar with and may have utilized the multiviewer feature within Blackmagic products, which are very simple and easy to use. Weʼll get into the GUI a bit later. Depending on the model of ATEM you have, the more flexibility and multiview outputs you have, with the Constellation 8K offering 4 MVW outputs and as many as 16 boxes on a single screen.

Before the days of Blackmagic, multiviewers were sold as individual pieces of equipment. Now, in efforts to reduce weight, compact systems and save space - they are usually bundled with production switchers or routers, such as the ROSS Ultrix or Ross Carbonite.

Both come with multiviewers built in. Same for Grass Valley, For-A, Roland, and others.

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Multiviewers can send a single image to a screen, and often time as many as 16 images in a single screen, though the pictures of each would be relatively small. They allow for options such audio meters, digital labels, preview/program tally, safe boxes, and crosshairs.

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Multiviewers

Letʼs dive even deeper into the operation of the Multiviewer functionality. Weʼre going to focus in flypacks, since youʼll likely be working in that environment and thatʼs what we are training with.

Each multiviewer has a max number of outputs. The Constellation 8K as stated before, has 4. What that means is you can push out 4 unique multiview layouts. If you are working on a small small scale production with only one of 2 monitors then the 4 outputs directly out of the switcher may be enough. However, on larger scale productions you may have monitors in different places (such as FOH and/or lighting positions) that require multiview feeds as well.

Above, you can see the TD has extensive routing control and can make their own multiview selections

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As the engineer, it will be your responsibility to setup the monitor wall and route feeds as desired by the control room crew. When working in a TV truck, the engineers will usually provide the Director and producers with a sheet with the monitor wall layout and that will mark down what they want where. DO NOT GET FRUSTRATED! They may ask you multiple times leading up to the show to move things around for any number of reasons. The why the doesnʼt matter, only getting it done as nicely and quickly as possible. In some cases on well engineered mobile units, the engineer may have to do the layout on his computer, but the TD will be able to route images in their own using router panels.

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Multiviewers

So if you have a lot of monitors that you need to send various multiviews to, you can place them in the router and then instead of feed each monitor directly from the router, feed a DA for each of your multiview outputs coming out of the router, and then feed the monitors from that DA with the multiview they need.

You can also bypass the router and go take each multiview output directly into a DA and distribute them that way as well.

With proper planning and putting your layout on paper before hand, youʼll know exactly which route that youʼll need to go, how many DAʼs you may need to bring, and what sources and destinations get priority going into the router.

The other really cool thing about the Constellation 8K is that it also have 24 outputs that are super flexible because you can assign anything to them. So the switcher brain can also act as a router and a DA because you can assign you multiview outputs to any of those sources as well.

The most important thing to remember is that no matter how many times you distribute a multiview, the system will only have so many multiviewers. Some have over 20, allowing you to output 20 different multiview configurations.

However, whatever you change on one multiviewer, it will be apply and duplicate on ALL the destinations. So be sure to set it to the Director, TD, and producers, liking first.

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In those instances where the number of direct out doesnʼt match you needed capacity or the you need to route them to multiple destinations, if you have the space, you may want to take them into the router as an input, and then assign their destinations that way. But, most systems, especially flypacks will only have a 40x40 router and trust me, those inputs and outputs can be used up extremely fast.

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Equipment Corner | The Production Rockstar’s Favorite Tools One of my favorite tools of the trade it the Decimator Multiviewer. This device is perfect for shoots where there is ISO capture, internal recording, limited audio, and no switching.

The user interface is simple and it connects to a computer with a micro USB cable. The interface allows you to access a large amount of features including the ability to change text color, apply or remove audio meters, changing source names and reconfiguring the layout and sizes of your multiview layout. It is as much easier and expansive tool to use when connected to a computer than trying to dance around the 4 buttons.

My only recommendation is to tape this down to the table really good because the weight of all the cables will pull it down off the table.

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You can run up to 16 SDI feeds into this bad boy and display any configuration you want on up to 2 monitors. They make an SDI and an HDMI output version.

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Above is an image of the ATEM multiview setup for most of its switchers. You have ability to label the sources and rearrange sources, turn audio meters on and off and create a few different layouts.

The above image shows all the available multiviewer layouts available on the Blackmagic Constellation 8K. There are 4 multiviewer outputs available.

Need more output? Put your MV outputs on a DA input and then distribute them to your monitors via the DA outputs. However, you will still only have 4 MV layout available to you.

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Multiviewers

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CHAPTER XIX

REMI PRODUCTION

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CHAPTER XIX · REMI PRODUCTION

Fundamentals of REMI Production

Unlike a traditional remote broadcast, which requires a mobile unit where ALL the technical operators must be present on-site and work in the control room to execute the broadcasta REMI production eliminates the need for a full-size TV truck.

But more importantly, it minimizes the needs to travel crew or have as much crew on site, reducing both hard and soft cost for stakeholders.

I have personally never participated in a REMI but I truly enjoy thrill, adventure and camaraderie of traveling and everyone converging in one place for a common goal of organized chaos.

But the numbers donʼt lie, significant dollars are saved with REMI and cloud-based production is the future of production.

The photo above demonstrates the REMI model of Las Vegas-based Broadcast Management Group. They have facilities in Las Vegas, Chicago, NYC, and DC. IT shows how all of these different positions can be in various locations, in different time zones working on the same show. From home or from their other facilities.

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REMI means REMote Integration or “at-home” production —is a workflow in which live event content is captured and sent via IP links to a centralized production facility where the final program is produced and distributed. And it can look a couple of different ways.

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REMI Production

In some instances, the operator will work from a central production hub or control room facility in a city. Usually the TD and A1 work from the studio at a minimum. In other cases, most if not all of the operators will work from home. They will be sent kits for comms, and provided control panels for their work stations that allow them to work remotely and in real time. The only difference is that you may have never left your home and everyone isnʼt in the truck together.

Now, REMI doesnʼt work for every project and it is certainly not something that you can just throw up overnight or at the last minute if you do not have the existing infrastructure. There is a lot of technology, networking, brain power and variables involved in transporting these high bandwidth signals in real time and across the country and delivering them in real time.

More often than not, you will find the REMI production is used primarily in sports.

For reasons that we wonʼt dive to deep into here, REMI is typically not suitable for entertainment and corporate type of events. It is not unheard of or uncommon, but that is not the typical application of REMI. The reason that it thrives in sports, news, etc is because it can be deployed at scale. But I think that you will see it present in some other spaces soon.

Every single game of every sport is essentially formatted and produced the exact same way, with virtually guaranteed season for an infinite amount of time, that has dozens of games per season.

Take baseball for example. Each teams plays 80+ home games. If of a crew of 40, half of them had to travel to that city to work each game, how much money do you think is saved by not traveling them? (Remember they get airfare, hotel, ground transportation, airport parking, and per diem.)

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There is still a truck or van involved, but it only use for a few purposes which include: transport of video signals, transport of audio signals, shading, and producing as the producer will want to be on site with the talent.

All the other positions to include the Director, Technical Director, A1, Graphics Operator, Replay Operator, teleprompter* are ALL located offsite.

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REMI Production So you can begin to see WHY REMI is growing so much in popularity. And when you consider the scarcity of qualified labor, you can begin to understand why this model of production is becoming so popular.

VS

You first job may be working with REMI and you certainly will see and hear about it. So I want to you be aware, open and forward thinking about something that will be mainstream (if it isnʼt already) in a few short years.

Images courtesy of Broadcast Management Group & NCP (NEP, Inc)

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In this 1st edition of this Camera & Broadcast Engineering course, we arenʼt going to dive deeper into the technologies and intricacies of REMI. The goal here was to provide a 30,000ʼ overview of what it is, why it is, and what the model looks like.

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Nic Dugger · Entrepreneur, Engineer in Charge, Tech Producer

INDUSTRY INTERVIEW

FAVORITE PROJECT:

Too many to choose from, but the list is made up of the many projects we have done for 10 years in a row or more. These shows represent true trust between client and vendor, and that relationship is very valuable.

Your time in school is like a 3 legged stool, you need all 3 legs to make it effective. First, you have to go to class and get an education. Donʼt let career opportunities disrupt your education, they can be very tempting. Get to class. You donʼt have to make The Deanʼs List, but school work has to be a priority. Next, get involved in groups outside of your classes pertaining to your career goals. Work at the student TV station. Have a show at the student radio station. Whatever it is, get involved outside of class and start doing the work that you will be doing for your career. Just going to class is not enough.

Finally - get involved off campus. Internships and practicums are crucial…if you only learn within the walls of your institution, you will only learn one way. So the 3 keys to your success will be: get to class and take it seriously, get involved with groups at school relevant to your career goals, and make sure to network and gain experience outside of school. If you do those 3 things, you will be ready to start your career when you complete your education.

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MY ADVICE:

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Nic Dugger · Entrepreneur, Engineer in Charge, Tech Producer

INDUSTRY INTERVIEW

FAVORITE QUOTE:

Whether you think you can, or you think you can't – you're right.

2 · When you were growing your company and building your team, what did you look for when hiring a broadcast video engineer?

A good attitude and an eagerness to learn was most attractive to me.

Clock-watchers and people looking for maximum vacation time would not be a good fit - hard workers who want to find opportunities to keep growing and learning.

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1 · How did you get started in the business and what led you to starting TNDV? My background was in live theater, and after watching the TV production of some of those theater events, I was immediately hooked. TNDV was started to fill the gap between small touring fly-packs and extra-large TV trucks. We intended to be a middle-ground option for clients with smaller shows that still demanded high quality. After 20 years in business, with 30 trucks in the fleet, we have everything from tiny to massive facilities solutions and fly packs of all sizes.

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INDUSTRY INTERVIEW

4 · Tell us about your job as a Tech Manager & what that role entails?

The tech manager has a long list of responsibilities, but one of the most important include developing, adjusting, then enforcing the tech pack. Having accurate and up-to-date paperwork keeps the crew on the same page. It is also critical for the tech manager to be the conduit between the client and the technical staff (especially the EIC and the lead utility). Our clients donʼt know and donʼt care to learn our jargon, our tools, or our methods to accomplishing their goals, they just want it done. You have to be ready to understand their ideas and translate them into a finished product with the tools available on the facility you are working with. Bridging the gap between creative and technical in a way that communicates the technical goals to everyone on a show site is how a tech lead achieves success.

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3 · Lots of things have changed since you entered the business. There is 4K & 8K, REMI, AR/XR, and so much more advanced technology. What should a new engineer be focusing their attention on learning the most?

My TV production career started when analog 3/4 tape was just transitioning to BetaSP…30 years ago. One thing has proven to be true: the change never stops. If you are an expert today, and you stop learning, you will be out of the business in just a few years. Never stop, and never assume the technology will stagnate where it is today. Black and white becomes color. Analog becomes digital. HD becomes 4K becomes 8K. It wonʼt ever stop…it never has.

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5 · How can we as an industry work to advance training opportunities and help raise up a younger generation of skilled, trained, technical professionals?

Starting early is key. I was running a camera for paid shows in middle school, and because I didnʼt wait until college (or after) to start learning, I was able to advance my career much faster than typical. Kids today have incredible camera and editing capabilities in their pockets via their phones and tablets, and there is no reason a spark of interest in production shouldnʼt be fanned into a flame at a very early age. As an industry, we need to align ourselves with both high schools, colleges, and trade schools to find the diamonds in the rough and give those eager students opportunities as interns and production assistants. They need us to identify them and encourage them.

The sooner the better. Giving our support to the advisors and teachers working with these students is also required. Donʼt eBay your old gear, give it to the local high-school AV club. Find at least 1 day a year to speak to classes at the local college. Maintain a revolving intern program with both entry-level and advanced opportunities for students to learn and grow, and then be prepared to offer them employment when they complete their education.

INDUSTRY INTERVIEW

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Nic Dugger · Entrepreneur, Engineer in Charge, Tech Producer

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BACK TO THE TABLE OF CONTENTS

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CHAPTER XX

VIDEO ENGINEERING

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Fundamentals of VIDEO ENGINEERING In this section, we will discuss the basic fundamentals of digital video. Weʼll cover the definition of different meanings and terms on a basic levels - more advanced learning will be covered in the next iteration of this course - do that you are familiar with terms and have a low-level understanding of terminology and principles that will apply to the situations and setups you will encounter. This is also to help you understand how video works at a basic level.

It may be a simple problem like a converter not working. But upon closer inspection, you notice that the converter is 3G but the signal being routed is 6G or 12G. Knowing these basic principles and fundamentals of video will quickly allow you to resolve the issue.

Having a basic understanding of these fundamentals and principles will also allow you to become a better engineer and troubleshooter as well.

Perhaps you are not seeing certain sources hit your switcher. By knowing your equipment inside and out, you will come to understand that a common issue might be the frame rate output is not correct thus the reason you are not seeing it.

So letʼs dive in!

Some of the principles have been referenced from the NABʼs Broadcast Engineering Tutorial for Non-Engineers 4th Edition.

These are meant to me used as definitions and understandings and not original material in this course.

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For example, you may run into an issue with a signal not reaching its destination. By knowing these principles - you will immediately think of them when working through issues.

You could either down covert the signal at the source or get a 12G converter that can adequately handle the conversion.

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So weʼve covered the basics of camera setup and operation as well as the components of a production facility (and the various types). Now, letʼs take a deep dive into engineering and troubleshooting. How systems work together and what to do when they arenʼt playing nice.

Only hands-on experience and time in the field will make solving these problems easier, and it can take years until youʼre fully confident in your abilities. As your career grows you will encounter systems both large and small. And smaller doesnʼt always mean less complex. But regardless of whatever the system is that youʼre using- if you understand the basic fundamentals of video and audio signal flow- youʼll be able to take complex situations and break them down into isolation and they turn into easily solvable problems.

Topics we will cover: ● Frame Rates ● Time Code ● Reference ● Genlock ● Blackburst ● Sync ● Routing ● Conversions ● Color Correction ● Monitors & Feeds ● Audio ● Records ● Encoding & Decoding Overview ● LiveU & TVU Encoders ● Multitracking ● VMix ● IP Protocols ● Tech FAX ● Day in the Life of a Broadcast Engineer

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Video Engineering

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What is NTSC? It is short for National Television System Committee, the creators of the standard for todayʼs analog television system, originally adopted in 1941 (monochrome) and 1953 (color). For many years NTSC was the system specified by the FCC for TV broadcasting in the US. In 2009, the NTSC broadcasting ceased for all full-power TV stations in U.S. and has now been replaced with ATSC broadcasting.

What is ATSC? ATSC (Advanced Television System Committee) developed the standards for digital tv broadcasting used in the US and many countries abroad. DTV transmissions are very different from analog, both in the type of audio and video signals ad the way they are modulated onto the RF carrier. ASTC DTC signals are NOT compatible with NTSC signals and require a different type of receiver (such as a cable box). An HD television set is also required to take advantage of the higher quality audio and video signals.

Weʼll dive more into the inner workings and details in the advanced version of this course.

What is PAL? PAL is essentially the international format of NTSC found in places like Europe and Australia. The underlying technologies used are the same as NTSC, but the color coding system and picture structure are slightly different, with 725 lines and 25 frames per second. PAL stands for Phase Alternating Line, which references the way color information is carried on alternating lines. SECAM is another color television system used for transmission in France, Russia, and several other countries.

SECAM stands for the French words Sequential Couleur avec Memoire, which refer to the way the color information is sent sequentially and stored from one line to the next.

Both PAL and SECAM television have been phased out in favor of digital television. As of 2020 neither NTSC, PAL or SECAM exist.

However, it is important to understand these older basic formats of television as it helps build background knowledge of how we got to where we are today, and will ultimately make you a better, more knowledgeable engineer.

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NTSC v. PAL v. ATSC

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Each line in an analog NTSC video picture is a continuous stream of video information. In contrast, each line in a digital video picture can be considered as a series of discreet pixels, an abbreviation derived from the words picture and element. The basic principles of converting baseband analog video to digital video are in many ways similar to the digital audio conversion described previously. The analog video waveform of every line in every frame is sampled at a suitable rate and resolution. As with digital audio, the video samples are thereby converted into a series of binary values; they are then coded in a special way and finally produce a serial digital bitstream.

Digital Components & Color Subsampling Modern digital video systems sample the luminance and color difference video component signals separately and produce digital component video signals. This allows much higher picture quality to be maintained compared to NTSC composite video.

Once in the digital domain, special methods can be used to send separate components in order, one after the other, down a single wire (a process called serializing), thus maintaining the single-wire convenience of composite video.

As with NTSC video, and again owing to our reduced visual acuity to color versus brightness, digital color difference signal can have their bandwidth reduced compared to the luminance signal, to save on transmission bandwidth and storage space. In digital video, this is done by sampling the color difference signals less often than luminance signals and is known as color subsampling or chroma subsampling.

There are various methods of subsampling. The nomenclature identifying a given subsampling scheme uses three values separated by colons, which is actually the state of a ratio of sampling frequencies, simplified in the form a:b:c. The first value, a, is by convention always 4, and its sets a reference for the number of pisces on a given line of video. All of these pixels have a discrete luminance value in the digital signal, but what the values b and c effectively indicate is how many of these pixels also have their color information discretely captured, in the horizontal (b) and vertical (c) dimensions, respectively. Value b indicates the numbers of pixels that have their color difference signals sampled in the same line of video as those four pixels referenced, and value c indicates the number of color samples taken for those four pixels in the next line of video (i.e., the four pixels directly under the referenced pixels.)

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SD & HD Digital Video

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3G, 6G, & 12G refers to the amount of bandwidth a cable can transfer per minute, measured as bitrates. Basically, that means a 3G SDI cable can transfer of to 3 bit rates of video or video embedded with audio per minute.

SIGNAL

BIT RATE

EXAMPLE VIDEO FORMATS

HD-SDI

1.485 Gbit/s

720p / 1080i

3G-SDI

2.970 Gbit/s

1080p60

If you want to stream 4K video then you have three (3) options - 6G SDI, 12G SDI, and Quadlink.

6G-SDI

5.94 Gbit/s

4K30

So, what is QuadLink? Quadlink is when you take three (3), 3G SDI video signals and bond them together to make one (1) 12G signal.

12G-SDI

11.88 Gbit/s

4K60

The higher resolution of video that you want to push out, the higher bitrate and bandwidth you need. 6G and 12G are ideal for 4K video, whereas 3G is only good for 1080p and 1080i resolutions.

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3G, 6G, 12G

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HEVC (H.264) vs. AVC (H.265) HEVC - High Efficiency Video Coding AVC - Advanced Video Coding

H.264 processes frames of video using macroblocks, while H.265 processes information using coding tree units (CTUs). CTUs process information more efficiently, which results in a smaller file size and less bandwidth used for your streamed video.

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Both HEVC and AVC are standards for video compression used in the recording and the distribution of digital video. The main difference between H.264 and H.265 is how each processes information and the resulting video file size and bandwidth consumption used with each standard.

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Credit to @BoxCast

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HEVC (H.264) vs. AVC (H.265)

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HEVC (H.264) vs. AVC (H.265) H.264 is an industry standard for video compression that allows for the recording, compression, and distribution of digital video content.

It works by processing frames of video using a block-oriented, motion-compensation-based video compression standard. Those units are called macroblocks. Macroblocks typically consist of 16x16 pixel samples that can be subdivided into transform blocks, and may be further subdivided into what are known as prediction blocks. See the example below.

The H.264 algorithm can substantially lower bitrates better than previous standards, and is widely used by streaming internet sources like Vimeo, YouTube, iTunes, and more.

HEVC (H.265) H.265 is newer and more advanced than H.264 in a few ways as it allows for further reduced file size, and therefore reduced required bandwidth, of your live video streams.

Unlike H.264 macroblocks, H.265 processes information in whatʼs called coding tree units (CTUs). Whereas macroblocks can span 4x4 to 16x16 block sizes, CTUs can process as many as 64x64 blocks.

In addition to the larger CTU sizes, HEVC also has better motion compensation and spatial prediction than AVC does. This means that HEVC requires more advanced hardware, like the Spark or Pro, to be able to compress the data. Fortunately, however, it also means that viewers with H.265 compatible devices will require less bandwidth and processing power to decompress that data and watch a high-quality stream.

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AVC (H.264)

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HEVC (H.264) vs. AVC (H.265) REQUIRED BANDWIDTH FOR 4K BROADCAST AVC

RECOMMENDED BANDWIDTH FOR VIDEO ENCODING MINIMUM UPLOAD SPEED

32 mbps

HEVC

H.264

H.265

480p

1.5 mbps

0.75 mbps

720p

3 mbps

1.5 mbps

1080p

6 mbps

3 mbps

4K

32 mbps

15 mbps

15 mbps

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RESOLUTION

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HDR (High Dynamic Range), as the name suggests, introduces a wider range of colors and brightness levels compared to SDR (Standard Dynamic Range) signals. HDR signals send metadata to your TV, which is a list of instructions for the TV to display content properly. The source tells the TV what exact color to display at which exact brightness level, whereas SDR is limited to a range of brightness and colors. For example, with SDR, a car would be ordered to apply "full throttle" or "50% throttle." Instead, the HDR car would be asked to "go to 120 mph" and "go to 40 mph." Some vehicles would provide a worse experience than others working towards this task, and most might not even succeed. In the case of TVs, SDR is a specific set power, while HDR is a set goal.

H D R

You can see an example above of what an HDR image looks like compared to an SDR image on the same TV. The HDR image appears more life-like, and you can see more details in darker areas, like in the shadows of the cars. Having a TV with HDR support doesn't necessarily mean HDR content will look good, as you still need a TV that can display the wide range of colors and brightness required for good HDR performance.

S D R

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HDR vs. SDR

Source: https://www.rtings.com/tv/learn/hdr-vs-sdr 303

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HDR vs. SDR

Regardless, between static and dynamic HDR metadata, both get brighter than in SDR, which is one of the main advantages of watching HDR content over SDR. Both HDR and SDR are mastered at a certain peak brightness, but HDR is mastered at a minimum of 400 nits, while SDR is mastered at 100 nits. Because every TV hits 100 nits without issue, it's only brighter TVs that can take full advantage of the increased peak brightness in HDR.

For example, if you constantly stream content from Netflix in Dolby Vision and get a TV that only supports HDR10+, you won't be watching content to its full capabilities. The format doesn't affect the overall picture quality, but it limits you on which HDR content you can watch if your TV doesn't support the format.

When comparing metadata in HDR versus SDR, it's important to remember that HDR content is sent with a specific set of instructions for how the TV should display it, while SDR content uses the TV's processing to control more of the image. This is why not all TVs can display HDR content how it should look like.

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There are different types of HDR signals that can be sent, and they're either with static or dynamic metadata. Dynamic metadata changes on a scene-per-scene basis, while static metadata remains the same for the whole length of the movie or show you're watching. It means that if content uses dynamic metadata, it can lower its peak brightness for a darker scene and increase its brightness for a brighter scene to make highlights pop, so it has a clear advantage. With content that uses static metadata, the brightness remains the same throughout, meaning some scenes can be over-brightened or not dark enough.

The two most common dynamic metadata formats, Dolby Vision and HDR10+, each use dynamic metadata, while HDR10 is a static format that forms the basis of HDR signals. Despite the name similarities, HDR10 and HDR10+ are different formats. Some TVs support the two dynamic formats, HDR10+ and Dolby Vision, while others support one but not the other. While thinking about which format your TV supports is usually an afterthought, it's important to consider depending on which content you watch.

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HDR vs. SDR | Peak Brightness

On the right, you can see what HDR looks like on a high-end TV like the Samsung QN90A QLED versus an entry-level TV like the TCL 4 Series/S446 2021 QLED. The Samsung has incredible contrast and high peak brightness, so it really makes the image pop, and you get a sense of how bright the hallway is. However, the TCL has low HDR peak brightness and low contrast, so it can't properly distinguish the bright and dark areas of the screen and doesn't even look like the lights are turned on. HDR is all about delivering a more impactful and vivid image, and the QN90A does exactly that.

HDR IMAGE

TCL 4 Series/S446 2021 QLED

HDR IMAGE

Samsung QN90A QLED

CONTRAST REAL SCENE BRIGHTNESS

1,253:1

228 cd/m²

CONTRAST REAL SCENE BRIGHTNESS

26.534:1

1,810 cd/m²

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Peak brightness is probably one of the most important aspects of HDR. This is where high-end TVs have the biggest advantage, as HDR content makes use of their higher brightness capabilities to show lifelike highlights. If a TV has limited HDR peak brightness, it can't properly display all the highlights the content is supposed to show.

Having a high contrast ratio and a good local dimming feature is also important for delivering a good HDR experience because the TV can show bright and dark highlights without losing details. However, the contrast is independent of HDR, and you can still have deep blacks with SDR content.

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Rec. 709 Color Space (SDR)

Rec. 2020 Color Space (HDR)

A TV's color gamut defines the range of colors it displays.

There are two common color spaces used for HDR content: the DCI-P3 color space that's used in most HDR content and the Rec. 2020 color space that's slowly being included with more content. The difference between the two spaces is simply the number of colors each space covers, as Rec. 2020 is wider. Both of these cover a wider range of colors than in SDR. A TV needs to display a wide color gamut, as doing so helps improve the picture quality.

The color volume is the range of colors a TV displays at different luminance levels. So this is where the peak brightness and contrast help the TV, as a higher peak brightness helps it show bright shades, while a higher contrast is important if it needs to display darker colors.

Above, you can see two graphs of the Rec. 709 color space used in SDR content and the Rec. 2020 color space used in HDR. Rec. 2020 requires a lot more colors, which helps make images appear more life-like. Most modern TVs don't have any problems displaying all the colors necessary for SDR, but coverage of the wider color spaces can be a struggle for some TVs.

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HDR vs. SDR | Color & Gamut

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HDR vs. SDR | Gradient

10-bit HDR Image

8-bit SDR Image

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Gradient handling is a bit more technical than the peak brightness and color gamut. It defines how well a TV displays colors at different shades, and this is important for scenes with a sky or sunset. If your TV has good gradient handling, that means that the sky transitions between the different colors well, but if the TV has bad gradient handling, you'll see banding that can be distracting. Gradient handling is important for watching HDR content because HDR requires 10-bit color depth, and while most modern TVs can display a 10-bit signal, not all of them do it well. Color depth is the amount of information used to display a certain color, so a higher color depth holds more information. It's also why HDR content uses 10-bit color, while SDR has 8-bit color depth. Keep in mind that not all TVs that accept 10-bit signals have a 10-bit panel, as some use 8-bit panels with dithering to help display a 10-bit signal, but it doesn't affect the overall picture quality much.

If you look at the images above, you can see how there's much more banding in the orange sky on an 8-bit image versus a 10-bit image on the same TV. It's because 8-bit color depth has less information, meaning it can't properly display those minor color changes. Most modern TVs have good enough gradient handling, but there are a few where the banding is obvious. Below, you can see two examples of what good and bad gradient handling looks like on our gradient test pattern. There's clear banding on the right, especially in darker shades.

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Sony A80J OLED

Best gradient handling - No banding

Samsung TU8000

Worst gradient - Obvious banding

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HDR vs. SDR | Gradient

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Color Sampling & Chroma Sampling

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Color Sampling & Chroma Sampling

Note that this does not mean that there is no color displayed on the viewers screen for those pixels that are not color-sampled. In fact, the color values are interpolated across adjacent pixels. This simply means that a pixel without discrete color information of its own simply repeats the last color value sampled in a previous pixel next to or above it, whereas each pixel on the screen retains its own discrete luminance level. Another way of thinking of this is that in a color subsampled system, the “color pixels” are bigger than (and a bit offset from) the “monochrome pixels,” since certain pixels repeat the color values of these neighboring pixels in one of both dimensions.

Specifically this means that a 4:2:2 system has half the resolution for color than it does for luminance in the horizontal dimension only (but retains full color resolution vertically), while 4:2:0 has half the resolution for color compared to luminance in both horizontal and vertical dimensions. The 4:1:1 system maintains full color resolution vertically but provides only a quarter of the horizontal resolution compared to luminance.

The 4:2:2 method is commonly used for high-quality professional video, and 4:2:0 is typically used for DTV transmission, as well as for the DVD and Blu-ray optical disk formation (which both virtually no longer exist).

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Thus a 4:4:4 system is not subsampled at all - every pixel has both its luminance and its two color difference samples captured, whereas 4:2:2 system has its color values sampled only on two of the four pixels in each line. The 4:2:0 system also samples color difference on two out of every four pixels, but it not only does so on alternating lines (the zero value for c indicates that no color samples are taken for the four pixels directly under the referenced pixels). The 4:1:1 system samples color once for every set of four luminance samples.

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Digital Video Formats

The ATSC digital television standard defines 18 different picture formats for transmission (or 36 if all the same formats using a small frame rate adjustment mentioned later are counted).

Like NTSC video signals, all of the digital video formats end up as a rapid-fire series of still pictures that are displayed by a tv received, but there are significant differences between NTSC and fitial video.

Main Characteristics of a Digital Video Format ● ● ● ● ●

Number of active lines per picture Number of active pixels per line Frame rate Interlaced or progressive scan Picture aspect ratio

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Analog video signals produced by 525-line cameras, as used for NTSC television, can be sampled and converted into digital video. This process produces one of the standard definition DTV formats. But because the DTV transmission standard included a method for compressing the transmitted video, it allows more video information to be squeezed into the same broadcast transmission channel size as was used for analog television. This provides several opportunities for new and improved video formats that were not available with the NTSC standard. Specifically, it allows for higher resolution pictures, with wider aspect ratios and, in some cases with higher frame rate and/or progressive scanning.

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Frame Rates

Additionally, in the context of computer graphics performance, FPS is the rate at which a system, particularly a GPU, is able to generate frames, and refresh rate is the frequency at which a display shows completed frames.

In electronic camera specifications frame rate refers to the maximum possible rate frames could be captured, but in practice, other settings (such as exposure time) may reduce the actual frequency to a lower number than the frame rate.

Frame Rates ● ● ● ● ● ● ● ●

23.98fps - Video Cinematic Standard 24fps - Cinematic Standard 29.97 30fps - Video Standard 59.94 60 (Slo-Motion) 120 (Super Slo-Motion) 240 (2x Super Slo-Motion)

Resolutions ● ● ● ●

480i (SD) 720p x 480p (HD) 1920 x 1080i (HD) 1920 x 1080p (HD)

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Frame rate (commonly expressed in frames per second or FPS) is typically the frequency (rate) at which consecutive images (frames) are captured or displayed. This definition applies to film and video cameras, computer animation, and motion capture systems. In these contexts, frame rate may be used interchangeably with frame frequency and refresh rate, which are expressed in hertz.

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Progressive v. Interlaced

Going back to our electronics store example, that new HDTV sitting on the shelf is probably labeled 1080p, 1080i, or 720p. As we already know, that number references the vertical resolution of the display, but can you guess what the “i” or “p” stands for? The “i” means interlaced and the “p” means progressive.

Although progressive scanning is the superior method to display video content, interlaced video has been and continues to be supported by television standards organizations, like the (NTSC).

Standard-definition television from its inception has been interlaced. Still frame of interlaced video. Still frame of progressive video (480i) in North America. High-Definition, on the other hand, can be either progressive or interlaced (1080p, 1080i, or 720p). Ultra-High-Definition is progressive (2160p or 4320p).

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Have you ever left a frame of video paused and noticed little scan lines running horizontally through the image? If so, you have experienced interlacing. Interlaced video is a technique for doubling the perceived frame rate of a video display without consuming extra bandwidth. The technique uses two different fields to create a frame of video. Each field is made up of individual rows of pixels; one field contains all odd lines in the image, the other contains all even lines. When watching an interlaced video these lines are painted individually or scanned displaying all the odd fields, then even fields, odd fields, even fields, and so on. The scanning of each field happens so fast, that the human eye is tricked into thinking every frame of video is in fact 100% complete, when in actuality it is not.

Progressive scanning contrasts the interlaced technique by displaying every line in a frame drawn in sequence, also known as “sequential scanning”. This is advantageous because motion in progressive looks more fluid and smooth. Also, if you step through the video frame by frame or pause the video there are no little horizontal lines resembling the artifacting that interlaced video introduces.

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Progressive v. Interlaced

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Color Sampling & Chroma Sampling

To illustrate the point, 4:3, which is a common aspect ratio for SD video, basically states for every 4 inches wide, the image must be 3 inches tall.

For other standards, such as 16:9 the same rules apply; for every 16 inches wide, the image must be 9 inches tall. In motion pictures the aspect ratio is usually expressed by dividing the width by the height, example 16:9 would be displayed 1.77.

However a major standard for motion picture film aspect ratio is actually 1.85, which is slightly wider than 16:9.

If you have ever purchased or rented a DVD movie and selected the option for ʻFull Screenʼ, you will notice the movie plays back in a square-ish aspect.

Thatʼs because the playback is contained in a 4:3 aspect ratio. On the contrary, if you selected ʻWide Screenʼ on the same DVD, the playback would be 16:9, and you would notice the aspect of the playback would appear rectangular in nature.

So why does aspect ratio matter when it comes to HD versus SD? Well, HD by definition is 16:9 aspect ratio. SD, on the other hand, can be both 4:3 and 16:9 letterboxed (cropped with black bars).

Therefore a fundamental difference exists in how SD and HD can be displayed. For a real world example look no further than the evolution of the physical television set.

Twenty-Five years ago most screens or displays were square in nature, aka 4:3. Fast forward to modern day and every new television comes equipped with a rectangular 16:9 screen catering to the high-definition content of today.

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The second concept important to understanding the fundamental differences between HD and SD is Aspect Ratio. Aspect Ratio is often expressed as two numbers, separated by a colon, which describe the proportional relationship of the image width and image height. The number before the colon denotes the width, and the number succeeding the colon references the height.

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Visual Representation of Aspect Ratio

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Video Resolution is the number of distinct pixels in a that can be displayed in an image or video frame.

This is most commonly discussed when we use terminology such a 1920 x 1080 or HD and 3840 x 2160 (UHD aka 4K).

The 1920x1080 specification directly references the number of individual pixels making up the maximum resolution the camera or television can replicate. In other words, the image the device produces is at best made up of 1920 pixels across and 1080 pixels tall, which equates to 2,073,600 individual dots per image.

When displayed together the human eye processes these 2 million-some dots or pixels as a single unified picture. The more pixels the better the resolution, the better the resolution the more detail exists in the image, the more detail that exists in the image results in better overall image quality for our eyes to perceive.

Standard-Definition is 720x480 (again, 720 pixels across and 480 pixels tall) in North America.

Resolutions ● 480i (SD) ● 720p x 480p (HD)

● 1920 x 1080i (HD) ● 1920 x 1080p (HD)

If you have ever viewed old recordings on VHS tapes or other SD video formats, you will notice the image looks softer or almost blurry when compared to the High-Definition images of today.

One reason for this is lack of resolution resulting in less detail. By contrast HD has a resolution of either 1280x720 or 1920x1080, which equates to more pixels per square inch, allowing for much more detail than SD. As if HD and SD were not enough, recently Ultra High Definition (UHD) has become standardized and will provide even greater resolution than HD. The minimum standard for UHD is 3840x2160 pixels, also known as 4K, but UHD can have a resolution as high as 8K or 7680x4320. For 8K that is 33,177,600 pixels per frame! For a size comparison of SD, HD, and UHD.

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Color Sampling & Chroma Sampling

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Visual Representation of 4K v. Full HD v. HD v. SD

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Sync. Genlock. Reference. All words that essentially describe the same internal system or protocol that can be found within a switcher or in the case of older systems, as a standalone unit.

What the terminology refers to is a broadcasting technique to keep all systems synchronized. This enables precise frequency locked video signals where every device knows when a frame starts and ends. Genlock, uses a reference signal called blackburst (tri-level) as a timing for entire broadcast system.

You may have heard the term “clean switch” before. Well thatʼs what this it. When utilizing a video production switcher you may have encountered a glitch between switches instead of a clean cut. This is likely a sync issue and can be corrected with the use a a sync generator or genlock device. The reason you donʼt often encounter this (at least anymore) is because many modern, digital switchers have built-in sync and genlock.

However, it is very common to find pieces of equipment with that have an SDI connection on it labeled genlock or sync

Because depending on your system, equipment and how it is wired together, you may need to manually send genlock to each other devices or by looping them together so that they all work harmoniously together.

With genlock, the device usually chosen as the timing reference is called a sync generator. All other audio and video devices are connected to this device and synchronized to its internal clock. The two most common reference signals are black burst or tri-level.

Blackburst or bi-level sync is an analog signal commonly used as a reference to synchronize standard video. This blank reference signal allows other devices within the broadcasting system to get on the same timing plane. While tri-level signals are slowly replacing blackburst, itʼs still often used as a fallback for legacy equipment that only supports composite signals.

However, many high-definition video signals use tri-level synchronization because there are higher data rates and stricter timing jitter requirements. A tri-level signal has a higher frequency, which can improve timing accuracy while reducing jitter. This leads to smoother switching between input sources during high-definition streaming.

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Sync / Genlock / Reference

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Genlock Workflow

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Timecode

09:59:03:00 Hours

Seconds

Minutes

Burnt-in Timecode

Frames

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A timecode (alternatively, time code) is a sequence of numeric codes generated at regular intervals by a timing synchronization system. Timecode is used in video production, show control and other applications which require temporal coordination or logging of recording or actions.

It is used to sync multiple devices together including record decks, video playback and replay servers, switchers, and audio. It can also be used to assist with logging videos and creating notes for post production which can then be referenced with exact time code.

On some productions, you may be asked to include burnt-in timecode on one record feeds so further reference later. Burnt-in timecode cannot be removed from the record later.

The SMPTE family of timecodes are almost universally used in film, video and audio production, and can be encoded in many different formats, including: ● Linear timecode (LTC), in a separate audio track ● Vertical interval timecode (VITC), in the vertical blanking interval of a video track ● AES-EBU embedded timecode used with digital audio ● Burnt-in timecode, in human-readable form in the video itself ● CTL timecode (control track) ● MIDI timecode

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Color Correction

To be frank, color correctors are not a widely or commonly used too and there is a good chance you may never touch one, especially if you donʼt work on TV truck. Itʼs also not a piece of equipment that you would notice in the truck, as itʼs usually located in engineering and just not the sexy things with a ton of buttons anyone ever ask about.

In the photo above, is a FA-9600 Frame Synchronizer with a built color corrector.

With this particular device, whatever device that you need to shake (sync) can also be color corrected. These sources can include computers, POV or PTZ cameras, and other sources that do not match the native color science of the primary cameras.

This particular unit pictured has dual inputs meaning you can control two different sources from this one unit. For-A also makes a quad version of this device.

Watch the video below to see this color correction in action:

COLOR CORRECTION

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Color Correctors are another useful tool that are found in TV trucks and some of the nicer, beefier flypacks. A color corrector allow for you to take in a source other than the standard truck or flypack cameras and and have more precise RGB control to ensure that the color of the input matches purposefully with all other sources.

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Conversions

For example, you may have a laptop coming in at 59.94 fps frame rate but your system is set to 23.98 fps. So by using a converter such as a decimator of a frame sync, you can make the conversion and get the source to show up in your switcher. In most cases, it will always show up on the router, no matter the frame rate.

Some scenarios make the most sense to put them in the converter and then into the router, and other times it is more logical to put them in the router and then to a converter or frame sync. Do what makes the most sense for your workflow.

Another example of a conversion that you could find yourself doing is down converting a switcher output to a

playback deck or display. Letʼs assume you show is being done in 4K and you would like to do a 1080p record. You could take your 4K output and down convert it to 1080 for your records if your machine canʼt do it internally.

Doing conversions is a daily part of being a video engineer or video technician. Ensure to keep lots of throwdown converters in your workbox or took kit and frame syncs in your rack. Proper pre-planning and creation of a tech book will ensure you arenʼt short. But donʼt forget your spares.

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Often times, you will need to do video conversions. This is, where you change the frame rate and/or resolution to make a source compatible with your ecosystem.

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Frame Sync(hronization)

AJA FS-2

Some popular brands that Iʼd like for you to be familiar with are AJA FS-2/4, Blackmagic Teranex AV, For-A 9520/9500 and Decimators. Some of these devices also act as scalers (see next section).

In a live production environment, you will have often encounter multiple sources that will coming in a different frames rates and resolutions. In order to get them all into the switcher, to be switchable inputs, they will ALL need to come in at the same frame rate.

AJA FS GUI

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A frame synchronizer is a conversion device the allows you to change the frame rate and/or resolution of a video signal so that it will properly communication with your larger video system or work with another device or video display.

There are a number of different frame syncs on the market even though some of them you might not even think about as a frame sync.

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Frame Sync(hronization)

● ● ● ● ● ● ●

3G-SDI/HD-SDI/SD-SDI/Analog Composite I/O Automatic Video Optimizer (AVO) 3G Signal Support Digital/Analog Audio I/O Up/Down/Cross/Aspect Converter Color Correction Logo Generator

FOR-A FA9500 breakdown of available audio and video conversions.

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For-A FA 9500 Frame Sync

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Frame Sync(hronization)

● ● ● ● ● ● ● ●

Aspect ratio conversions Colorspace conversions Freeze frame Still store Test patterns Output switching Quad SDI Video Outputs Built-In Dolby Support

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BlackMagic Teranex

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CHAPTER XXI

vMIX | A DEEPER DIVE

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Overview of vMIX Introduction Vmix is a vision mixer, originally made for easy access to video production for churches and other small organizations, it is now one of the most popular live production all in one systems. It is an all software based solution, which means that vmix users build or buy the hardware separately. The developers have kept their philosophy to make the system accessible and offer a free 60 day trial of the software with everything unlocked and no strings attached.

Pricing options are also very favorable. Another reason they grew quickly is that during covid lockdowns, Vmix had a very capable and easy to use remote production system called “Vmix call” which many people use every day for very high quality remote productions.

Vmix users routinely operate fairly complex live streams from one system and often use multiple systems to perform individual production tasks as swiss army knife type operations. Vmix systems have robust automation features like remote hotkeys and time based triggers which lend themselves to machine room playout servers and other roles. Letʼs take a look at a couple of different show builds one operated by a single person, another operated by a team with multiple machines.

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Co-author: Tracy Peterson

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Features

● ● ● ● ● ● ● ● ● ●

Vision mixing Animated Graphics Data driven character generation Video Playout Audio Editing VST Audio Filters VST Video Filters Color Correction Video Encoding / Livestreaming Program Recording

● ● ● ● ● ● ● ● ● ●

8 Channels of Replay ISO channel recording Web control interfaces Social Media Connectors Remote Video Call-in system SRT NDI Wide industry hardware support Camera control And more…

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Vmix has a large amount of in demand features all in one software package.

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Single Operator Show

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Single Operator Show

● Vision Mixing ● Graphics Overlays and Thirds ● Full screen video playback ● Audio Mixing ● Live Encoding ● Facebook API Connection

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Maureen is streaming a two person interview to facebook, with a demo video inclusion and overlay graphics. Three cameras are connected to the system and each camera is just locked off, no operator. The two guests microphones go into the cameras.

Maureen can use the following features to operate the entire show on her own.

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Multi Operator Show

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Multi Operator Show

● Graphics with Key / Fill ● Full screen video playback ● Multichannel Replay ● Remote contribution

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The show has grown and now Maureen is calling the show and delegating numerous tasks to additional operators and systems.

There are ten cameras, four remote callers, an audio mixing board, a technical director, audio engineer, remote producer, a graphics operator, a playback op and a replay operator. Audio has a mixing board and every other operator has their own Vmix system, feeding a hardware mixer operated by the Technical Director.

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Conclusion

Vmix is a powerful, flexible and affordable all in one production software vision mixer. Additional advantages are a large user base, an active online community to help learn with and a developer who works hard to prevent and fix any system bugs. Among the disadvantages are that it doesnʼt include redundancy by design and it uses customer provided computers, thus the systems are only so scalable as current PCs can be built.

For all in one streaming software thereʼs likely none better and Vmix can be a very capable addition to a much larger video system.

How to get Vmix?

Vmix is offered as a permanent license software for a reasonable one time payment, with upgrades which usually occur each year available for a nominal added fee. If you would like to pay as you go, or pay per project, vmix licenses are available via monthly subscription.

One of the factors which allowed Vmix to achieve great growth is that their pricing is quite low compared to products with comparable features.

LINK TO OFFICIAL SITE

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Because it Vmix is software based, many of the features can be customized for specific use cases. For instance, a Vmix system can be a very capable Replay machine and configured to be a specialized tool for this purpose. Vmix can be a great remote contribution switcher, bringing in remote users from vmix call or zoom meetings.

While vmix can perform these tasks all in one system, it can be very powerful to separate these tasks out to individual machines to support a larger show with multiple operators.

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CHAPTER XXII

AUDIO NETWORKING TECHNOLOGY

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DANTE, by Audiante, is an uncompressed, multi-channel digital media networking technology, with near-zero latency and synchronization. It is the preferred audio networking solution that has been most widely adopted by mpro-audio AV manufacturers . Dante creates Interoperability of devices on a unique scale. Intended primarily for use in professional and commercial audio environments, DANTE is a combination of hardware and software used to transport multi-channel, digital audio over a standard IP over Ethernet network.

Typically devices require point-to-point physical connections often between a cumbersome amount of specialized and unique, single-purpose cables that have limitations and severe parameters about where audio and video signals can go.

Dante replaces all of those connections with a computer network, that can allow for user to send hundreds video or hundreds over Ethernet cables with perfect digital fidelity. This mean that instead of analog connections, everything is managed with software, making connection fast and reliable. One must consider, that anything connected over a network, now becomes a global resource.

The Dante hardware or software in a device takes digital audio and ʻpacketizesʼ it. The audio is segmented and wrapped it in IP (Internet Protocol) packets suitable for transmission across a standard IP network. The packets contain timing information and source and destination network addresses, allowing them to be efficiently routed through the network to the correct destination.

When a device receives Dante audio packets, it reconstructs them back into a continuous digital audio stream, which is then played out, recorded, or digitally processed, depending on that deviceʼs role in the audio system. Performance is second to none: all Dante audio is 100% lossless 24- or 32-bit, and sample rates from 44.1 kHz to 192 kHz are supported. Dante AV does the same job with video, taking compressed video signals and converting them into IP packets that share the same timing and control mechanisms as Dante audio.

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DANTE

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Dante Audio Networking Example

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Dante Audio Networking Example

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Dante Audio Networking Example

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MADI is the Pro Audio Industry standard for multichannel audio.

The MADI standard was defined by the AES (Audio Engineering Society). Many factors have influenced the increasing importance of MADI in pro audio production systems. These include an overall growth in the use of digital audio equipment, and the ever increasing demand for greater numbers of audio channels in large productions. Surround sound production has also raised the requirements of multi-Channel applications. MADI is an attractive and convenient interface technology, as it provides the simplest method of transmitting 'sample accurate' audio channels over long distances. The balance between operating distances, installation costs and overall maintenance is exemplary.

With its architecture directly related to the AES3 (AES/EBU) audio protocol and its widely available consumer equivalent S/PDIF, MADI is a format that provides sim-plicity, extremely low latencies and ease of use across short and long distances.

MADI is designed to send up to 64 audio channels at 48kHz sampling frequency (32 channels at 96kHz, 16 channels at 192kHz) from one device to another device in a unidirectional data stream. This distinguishes MADI signals from so-called “network audio protocols” that require user interaction to send audio signals between several audio devices once they have detected each other in a local area network.

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MADI

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● MADI stands for Multi Channel Audio Digital Interface ● Standardized as AES10 by AES. ● Audio devices w/ MADI such as A/D or digital format converters, computer audio interfaces and others have incredibly low boot up times of >5 seconds from power to full operability and signal processing. ● An audio signal of up to 64 channels, 24 bit, 48kHz is detected by the receiving device in the blink of an eye ● The latency between two MADI equipped digital devices is extremely low compared to network audio formats (commonly less than three samples - equivalent to 62.5 µs) ● Devices can be configured stand-alone, all routings and channel assignments are static and independent of an existing connection to another device ● MADI devices perform consistently, regardless of how many devices are connected ● Sending of control data messages via ʻMIDI over MADIʼ. ● In its current revision, the MADI standard suggests two types of cables, optical and coaxial. ● MADI was developed by AMS Neve, Solid State Logic, Sony and Mitsubishi

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MADI System

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AES / EBU

To transport this the digital audio information, a stream of digital bits must be carried from the originating point to the receiving point. This allows allows the device on the receiving the bits to understand which one belongs where. There must be a defined standard for the bits to communicate this information.

That is what AES3 does. The AES3 protocol is able to carry two (2) channels of audio which can be 2 discrete mono channels or a stereo pair, at any of the standard digital audio sampling frequencies, and with an accuracy of 16, 20, or 24 bits per sample.

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Most commonly known as AES3, the AE/EBU digital audio format is a standardized format for transporting digital audio from point to point and is the most common standard used for this purpose.

The acronym stands for Audio Engineering Society and the European Broadcast Union, who together created the and published the standard jointly for the first time in 1985.

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AES / EBU

AES3 signals can be carried over twisted or coaxial cables, or via fiber optics. The may also be embedded with video signals, and also can be sent on certain RF-based distribution systems. The AES3 standard only defines the way the digital audio is transported from one destination to another, but does not define the format for the digital audio storage.

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The stream of digital bits is organized into 64 bit segments called frames, different from video image frames. Each of these frames into then broken down into two subframes. The first subframe carries the digital audio information for channel 1 and the second subframe carries the information for channel 2. The audio data is sent using a system called pulse code modulation, and this type of uncompressed audio is often known as linear PCM.

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CHAPTER XXIII

OPTICAL FIBER

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Fiber Connectivity

There are a number of reasons this could be to include but not limited to: ● Faulty camera ● Faulty CCU ● Damaged cable However, most equipment is pretty durable for the rigors of the road and does often fail. But this is man-made equipment and of course they all fail or act up at times.

But, more often than not - your issue is DIRTY FIBER! The smallest amounts dirt and dust particle can render fiber dirt and unusable. A studio, flypack, mobile unit and a good video engineer should also keep a fiber cleaning kit handy.

When you experience these issues, deploy your fiber kit and get to cleaning. No chemicals needed. Sometimes, a single pass at it will get the job done. However, after reconnecting your cable, you still may experience issues. Give it a couple more tries. Be sure to clean all 4 spots to be sure the connectivity issue is properly diagnosed. ● ● ● ●

CCU fiber spigot Fiber cable - CCU side Camera fiber spigot Fiber cable - camera side

Now, before you do all these things OR if you are still experiencing issues - you can verify that it is in fact the cable by doing a verification process.

Simply connect the cable to another CCU using the same camera to see if there is a connection. If that doesnʼt work, try that same alternate CCU with another camera. If you get a connection, you will then know whether you have dirty fiber cable, dirty fiber connections or other issues that need to be solved for.

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There will be many of times when you connect fiber to the the camera and CCU and experience lack of power or indicators that show a signal but are not passing a video signal.

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Blackmagic URSA Camera Fiber Converter

The images (above/left) indicate a positive power and fiber (video/data) signal being received by both the camera fiber converter and camera CCU (Studio Fiber Converter). You should look for dual green lights, a “Connected” (for fiber) and “High” (for Power) readout to indicate all is well.

Blackmagic URSA Camera Fiber Converter

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Fiber Connectivity | Positive Fiber Power & Video Lights

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Blackmagic URSA Camera Fiber Converter

The images (above/left) indicate a positive power and fiber (video/data) signal being received by both the camera fiber converter and camera CCU (Studio Fiber Converter). You should look for dual green lights, a “Connected” (for fiber) and “High” (for Power) readout to indicate all is well.

Blackmagic URSA Camera Fiber Converter

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Fiber Connectivity | Negative Fiber Power & Video Lights

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Did You Know?

Cleaning Tools

A 1 micrometer dust particle on a single mode core can completely block the fiber core? By comparison, a typical human hair is 50 to 75 micrometers.

All fiber optical cable contacts require cleaning EVERY time they are inserted into a device's outputs or inputs. Failure to clean the contacts can damage the unit's optics over time and render the cable and the device useless.

Connector End Face Cleaning Fiber optic connectors can be contaminated by dust, oils from human hands, film residue (condensed from vapors in the air), and powdery coatings left after water or other solvents evaporate.

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How to Clean Fiber

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How to Clean Fiber | Before & After

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Credit to Fiber Optics for Sale Co. @FiberOptics4Sale

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How to Clean Fiber

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ST/SMPTE Fiber Cleaning Tool

Fiber Cleaning Kit

LC Fiber Cleaning Tool

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How to Clean Fiber | Cleaning Tools

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CHAPTER XXIV

ROUTING + SIGNAL FLOW

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Routing

The job of a router is to essentially take every input within the video system and make it assignable as an output to any destination. Whatʼs interesting is that one piece of equipment can have both inputs and outputs and some of those inputs and outputs can only be created with an initial set of inputs.

The router takes all the cameras, M/Es & other switcher outputs, playback and graphics sources, etc and allows them to be put routed back out to a destination such as a to a monitor wall, multiviewer, record deck, camera return, etc.

Routers can be as small as 12x12 which doesnʼt yield much routing power and can go as big as 1152 x 1152 (plus or minus) brand dependent.

The more inputs and outputs (crosspoints) a router has, the larger and heavier it is. These enterprise routers are usually found in larger mobile units and studios with multiple control rooms and studios. Also as they get large, on average, you will find yourself working with a 40x40, 64x64, 80x80 or at most a 128x128 router. Any show requiring more routing power and that many resources will already be using one or more mobile units or produced out of studio with the proper infrastructure.

I mentioned earlier that often a single device has outputs that act as an input to the router and inputs that serve as destinations on the router. For example, the cameraʼs primary SDI output would be an input on the router. Then, one or more of the camera returns can be destinations on the router which could be fed feeds such as program video or prompter.

Another example is the switcher. The program output is an input on the router. All the cameras are fed into the router and the switcher inputs become router destinations that cameras are routed to. Itʼs truly a massive web of crosspoints.

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I love routing. Put this here, put that there. Inputs and outputs or (I/O) for short. Routing and routers are a central component of any video system. It is a piece of equipment that is in my opinion as equally as important as the production switcher, in that should the switcher fail - your router can serve as a brutal back up.

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Routers

When you think of an output, traditionally you would think of a switcher, monitor, projector, input into a switcher, input into a record device or the input into a playback system. However, those signals maybe be returned back for confidence into the router as an input which is output to a multiviewer which in turn outputs a signal to an input (a monitor wall).

When setting up your router, which oftentimes, especially in a flypack needs to be configured by the show, it is important to considered how many potential destinations that you will have on site. Knowing your sources is important as well because smaller frame router that donʼt have as many I/O (in/out ports) can quickly be consumed. But that is where distribution amplifiers come into the picture.

When setting up your router, which oftentimes, especially in a flypack needs to be configured by the show, it is important to considered how many potential destinations that you will have on site. Knowing your sources is important as well because smaller frame router that donʼt have as many I/O (in/out ports) can quickly be consumed. But that is where distribution amplifiers come into the picture.

The most important thing is to know your gear. Know what your router IS and IS NOT capable of: ● ● ● ● ● ●

Can it support 12G, 6G, or only 3G. What type of formats can it pass?

How do the control panels work?

Is it software or hardware based?

Will I need DAʼs to expand my output capability?

Will I need to bypass my router and route some sources/inputs directly to their destination.

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Input, are also known as source and an output, is also known as a destination.

Almost any device in your ecosystem can be both a source and a destination as virtually all pieces of hardware both push out and take in signals.

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Router Control Heads are found all throughout mobile units and flypacks. Thet are they physical device that allows control of the router sources and destinations. They need only data (fiber or ethernet) and power to use. Some units allow for PoE. You will find them in the various sections of the truck, particularly near the TD and in the replay area.

However, mid way through the game, they might ask for different source. By simply choosing the the destination (the input on the replay machine you would like to change) and then the source (output from the router) that you would like to send to that destination - you can make these kinds of changes on the fly.

Each panel can control a selection of destinations and sources.

Each router control panel is set up to control the sources going into a destination, such as a monitor wall or an EVS machine input sources. For example, when getting setup, the EVS Operator will review the tech book or get instructions from the Director or replay AD to get advisement on which cameras they should be ingesting and responsible for playing out.

Without these panels, also known as router heads, the EIC would have to change, map and route each source individually. This could require an ample amount of time tying up the engineers ability to do more critical tasks. Imagine having to ask your EIC to build your entire monitor wall? Well sometimes you do, but with these, if setup properly, you donʼt.

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Router Control Heads

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Throwdown Router Heads

At the lighting and FOH position, you will find what is call Producer boxes or produces stations. More often than not, you will mostly find these one entertainment trucks as a kit in a 4-6 RU case. Sports truck and flypacks tend to carry the equipment separately. A producer box simply consist of a throwdown router head and a hardwired comms panel racked up in one unit. Grab a monitor and cables to go along with it and you have a complete setup.

They are deployed as an extension of the mobile unit or flypack allowing certain producers or operators to view any camera or other source from the truck at their choosing and maintain communications with all other crew members in the truck or on the floor using beltpacks.

It should be noted that the engineer(s) must program the router heads and only the sources and destinations that program on the software side are accessible to the router panel.

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On an entertainment show, it is very common to have producers, prompter ops, audio, lighting and other creative and technical positions setup out in the studio and away from the control room. In planning. The tech manager will often setup a station(s) with large monitors for multiview feeds as well as a program/line cut feed for executives.

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Red Arrow Router Control Panel

Green Arrow MONITORS & EVS MACHINES aka DESTINATIONS

● In the images above, you can see the router panels in two areas of the truc. ● On the left is the replay room and above is the back bench of the production area. Typically where the score bug operator and/or Tech Manager might sit. ● The red arrows show the router control panel and the green arrows show the monitors (or destinations) which they control. ● The EVS servers in the left photo are actually what is the server connected to the control panel where the sources physically feed into.

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Router Control Heads

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BlackMagic Router Blackmagic makes the industryʼs most simplified and easy to use routers. They can be controlled at the panel or using software BM Router Hub software and work best as a primary router within the BM ecosystem.

One of the coolest components of these routers is the ability to see the inputs that you are selecting which know other routers offers on the surface.

BM routers are available in 3G and 12G and come in 10x10, 20x20, 40x40, and now 80x80 input/outputs selections.

LINK TO OFFICIAL SPECS

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They are also routinely found in many trucks and other production facilities as sub-routers to expand capacity or control routing to other systems.

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● ● ● ●

● ● ● ●

● ● ● ●

Software-defined switcher Natively supports 12G Supports SDI, Fiber, & IP connectivity Contains video/audio routing, multiviewers, audio processing, frame syncs, clean/quiet switching, UHD gear boxing, and switching in a single chassis.

Built-in audio embedding and de-embedding Eliminated the need for tons of rack space.

No ability to physically maps routing input and outputs.

In the event that frame goes down however, you would love function of multiple pieces of equipment at once.

Works with Dashboard, Ultritouch, and QE36 panels.

Must manually build the database.

Steep learning curve.

Essentially, a great piece equipment and the only router of its kind currently on the market.

LINK TO OFFICIAL SPECS

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Ross Ultrix Router

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AJA Kumo Router Dense, lightweight, compact routing solution found in mobile units, flypacks and studios.

Available in 3G and 12G SDI solutions Optional control panels Can be configured for dual or quad port routing.

Supports routing of uncompressed or raw 8K/Ultra HD/4K/Ultra HD/2K/HD/SD signals ● Salvos will allow you to route to predetermined crosspoints. ● Available in 16x4, 16x16, 32x32, and 64x64 frames. ● Monitoring and control via a web browser.

LINK TO OFFICIAL SPECS

WWW.PRODUCTIONROCKSTARACADEMY.COM

● ● ● ●

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Utah Scientific

LINK TO OFFICIAL SPECS

WWW.PRODUCTIONROCKSTARACADEMY.COM

Utah Scientific has led the way in video routing technology for 40 years, and continues with the latest in IP video routing hardware and control panels. We have never worked with this company personally, but have seen their products used in a number of large higher end production studios and mobile units.

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Grass Valley

LINK TO OFFICIAL SPECS

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Grass Valley is a global leader in broadcast products and their routers are very popular amongst mobile units and TV studios around the world.

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CHAPTER XXV

THE ART & SCIENCE OF VIDEO SHADING

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About VIDEO SHADING

With cameras positioned around the venue with various lenses, sometimes various camera bodies and sensors, and natural shade. It is important that cameras match for continuity but also to maintain a consistent look for the view when switching between camera angles. Not having properly shaded cameras can make for a displeasurable viewing experience for the audience.

We wonʼt dive into how to shade cameras in this course, but this station and position within the control room environment a vital part of any multi camera production that falls under your purview.

As the video engineer on flypacks and small shows, you will work as the video shader as well. When working on sports and other shows with a decent production budget, there will usually, and always should be a dedicated video shader.

On corporate productions, it is not uncommon for the person switching to also be the person who is shading cameras and wildly enough, directing and.or pushing graphics or powerpoint as well.

The video shader also usually assist with patching the fiber or triax into the CCUs (direct or via an I/O panel). Feel free to let your video shader know if you would prefer to handle this task yourself. Every engineer has a different level of comfortability.

Some of the functions that are controlled by a video shader include, but are not limited to: ● ● ● ● ● ● ● ● ● ● ●

Iris Black levels Red, Green, Blue Levels Gain White levels White balance/Black balance Shutter Gamma Knee ND Scene files

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Video shading is the art and science of color matching cameras and ensuring that all video cameras are matching utilizing a CCU RCP, waveforms and vectorscope monitors.

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Remote Control Panels

Blackmagic Design RCP

Blackmagic Design RCP

Blackmagic Design RCP

Blackmagic Design RCP

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RCP (Remote Control Panels) connect via a data or network cable to the CCU and remote control the cameraʼs image at the flypack, inside the studio control room or mobile unit.

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Top/Bottom: Waveform Monitor

Top/Bottom: Vectorscopes

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Waveform Monitors & Vectorscopes

CHAPTER XXV · THE ART & SCIENCE OF VIDEO SHADING

Waveform Monitors & Vectorscopes

Many might argue in towards world of “it looks good” aka “subjective shading” through the lens of many producers and executives these devices are somewhat obsolete. I would argue that is because they simply do not know how to accurately use them. A good chunk of people have no idea what the white abstract and green lines mean. But real video shaders and engineers always use the “scopes” to chip chart and get color accurate pictures.

Weʼre not going to go over in depth on how to use, read, and interpret scopes, but Iʼll give you an overview of what they are, what they do, and how they work in tandem with the RCPs. Iʼve also included a video, that will explain it a bit more.

Waveform Monitors A waveform monitor is a special type of oscilloscope used in television production applications. It is typically used to measure and display the level, or voltage, of a video signal with respect to time.

The level of a video signal usually corresponds to the brightness, or luminance, of the part of the image being drawn onto a regular video screen at the same point in time. A waveform monitor can be used to display the overall brightness of a television picture, or it can zoom in to show one or two individual lines of the video signal.

It can also be used to visualize and observe special signals in the vertical blanking interval of a video signal, as well as the colorburst between each line of video.

Modern waveform monitors and other oscilloscopes have largely abandoned old-style CRT technology as well. All new waveform monitors are based on a rasterizer, a piece of graphics hardware that duplicates the behavior of a CRT vector display, generating a raster signal.

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Vectorscopes & Waveform monitors are devices indirectly connected to the CCU and RCPs and used to objectively measure light as well as color, contrast and luminance for the matching of cameras on a multi-cam show.

CHAPTER XXV · THE ART & SCIENCE OF VIDEO SHADING

Waveform Monitors & Vectorscopes

Vectorscopes A vectorscope is a special type of oscilloscope used in both audio and video applications.[1] Whereas an oscilloscope or waveform monitor normally displays a plot of signal vs. time, a vectorscope displays an X-Y plot of two signals, which can reveal details about the relationship between these two signals.

Vectorscopes are highly similar in operation to oscilloscopes operated in X-Y mode; however those used in video applications have specialized graticules, and accept standard television or video signals as input (demodulating and demultiplexing the two components to be analyzed internally).

In video applications, a vectorscope supplements a waveform monitor for the purpose of measuring and testing television signals, regardless of format (NTSC, PAL, SECAM). While a waveform monitor allows a broadcast technician to measure the overall characteristics of a video signal, a vectorscope is used to visualize chrominance, which is encoded into the video signal as a subcarrier of specific frequency.[2] The vectorscope locks exclusively to the chrominance subcarrier in the video signal (at 3.58 MHz for NTSC, or at 4.43 MHz for PAL) to drive its display. In digital applications, a vectorscope instead plots the Cb and Cr channels against each other (these are the two channels in digital formats which contain chroma information).

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They also contain many additional modes of operation, including picture mode (where the video picture is simply presented on the screen, much like a television), various modes optimized for color gamut checking, support for the audio portion of a television program (either embedded with the video, or on separate inputs), eye pattern and jitter displays for measuring the physical layer parameters of serial-digital television formats, modes for examining the serial digital protocol layer, and support for ancillary data and television-related metadata such as timecode, closed captions and the v-chip rating systems.

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How Scopes & RCPs work in Tandem

And when your system is properly setup and routed, when you press those knobs, both your primary calibrated monitor and your waveform/vectorscope monitors will change at the same time. That way, once you click it, you will know and be confident that you are looking at the right image on all three screens.

Credit to @BandH

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Notice those knobs on the RCP panels for each camera that control both the iris and the black levels? Well those handles can also be pushed down and when they are, they make a little clicking know. That clicking noise is the resistance so that you donʼt press it on accident.

CHAPTER XXV · THE ART & SCIENCE OF VIDEO SHADING

Camera Color Calibration The ColorBar/GrayScale Standard CamAlign Chip Chart from DSC Labs is a chart designed for calibrating the color on your video camera. Many video professionals consider calibration charts a necessity for optimizing camera performance and the production value of images. This chart has been designed with that philosophy in mind and works equally well in engineering or production work. This model includes six vector primary colors, 11-step crossed grayscales, and 100 IRE white and true-black chips.

Source BHPhotoVideo.com

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Chip Charts

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CHAPTER XXVI

ENCODING & TRANSMISSIONS

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ENCODING & DECODING | High Level Overview

Encoders can be come in all forms and some modern encoders can operate via cellular bonding.

Common hardware solutions include products from AJA, Dejero, TVU, and LiveU. Software products include OBS and Vmix, however, they still require custom built servers and cards to ingest the video signal.

What is an Decoder?

A decoder is a device that depacketizes the bits of information and translates them back into an visual and audible signal that you see on tv.

How are these 2 devices used?

There are two (2) ways that encoders and decoders are used.

Example I - REMI Production/News Studio At a REMI sporting event or at a news studio, audio and video feeds are sent from the field to a control room locally or perhaps even across the world. The feeds hit a decoder which are then put into a router and then into a switcher. After leaving the decoder and before hitting the switcher or router, they often first need to hit a frame sync as these signals may be in a different frame rate or resolution.

Example II - From Master Control to a Central Destination As or after the final audio/video mix is complete and it leaves the switcher, it will then hit a master encoder. In broadcast it hits a satellite. In the world of streaming, it hits a central destination such as Facebook, Youtube, Snapchat, Vimeo, etc.

When you are streaming NETFLIX, your television or phone is using the built-in decoder to deconstruct and display those bits.

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What is an Encoder?

An encoder is a device or software that takes in a video stream w/ embedded audio and packetizes it into bits and transport it over the internet to a central destination that is ultimately watched by the viewer.

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AJA Helo

This tool is also perfect when you need to stream to multiple destinations as it allows for up to two (2) unique CDNs during a single stream. PlayTo Stream is available as an add-on allowing to stream pre-recorded content.

The GUI is web-enabled and requires an app download to your computer. You can natively create PiPs via the software as well using multiple inputs.

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The AJA Helo | Plus is a standalone H.264 video encoder and video recording device built for advanced live production. It can stream up to 1080p60 and both stream and record simultaneously.

Recording can be done via SD card, USB storage, and NFS (Network File System) or SMB (Server Message Block) network storage.

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AJA Helo

LINK TO OFFICIAL SPECS

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AJA Helo Plus User Interface

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LiveU

LiveUʼs cellular bonding encoders come in a variety of models and feature sets with their latest product LU800 being able to transmit up to 4 cameras at 1080p50/60, 10-bit HDR. The LU800 bonds up to 14 connections with up to eight 5G/4G internal dual SIM modems; supporting up to 60Mbps, based on LiveUʼs award-winning, patented HEVC technology.

I highly recommend checking out LiveUʼs product page and taking a deeper look into their product tech specs to understand what each unit can do in the event youʼll be using them.

The LiveU Matrix is a digital product for global sharing and distribution of LiveU feeds.

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LIveU is a family of encoding and decoding hardware and software purpose built for sports and electronic news gathering purposes.

LiveU cellular bonded encoders and rack mounted decoders and encoders are some of the first of its kind in the live production transmission space as it relates to cellular bonding.

LIVEU has opened up an entirely new way of doing production.

When LiveU camera to market, they essentially put the nail in the coffin for news vans.

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Trip

Down

Memory

Lane

The invention of cellular bonding had a massive impact on jobs in the sector as it truncated technology, the need to manufacture mast and satellites, the sales of the vehicles and maintenance, and the operators who specialized in operating them.

Their presence was a staple at major news events and a count of dozens of mast let you know just a big a story might have been.

They also served as great marketing tools for news outlets.

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News Vand: Before Cellular Bonding Prior to the invention of LiveU, the first cellular bonding encoder to market, the way news reporters and sporting events transmitted their signals back to the news station or sports networks was via news vans with mast and sat trucks.

For every camera you would need a news van. The satellites on these vans had a range of a few hundred miles capable of hitting other satellites on the ground at the local news station, while a sat truck can uplink to satellites all the way in space. They also tend to be able to transmit 2-4 video feeds vs. one.

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TVU TVU is another manufacturer of cellular bonded encoders, decoders and other capture, streaming, indexing, distribution and management of content for live and remote production Their products support both single and multi-camera setups, utilize 5G and have latency of about 0.3s.* The One operates in a 4:2:2 color space and transmits 4K HDR video.

LINK TO OFFICIAL SPECS

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To learn more about TVU, their products and tech specs, click the link below!

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Dejero Dejero is a “on-the-go” video transmission encoder that harnesses the power of 5G cellular networks. These type of encoders are great for ENG news crews and other small productions where accessing internet is a challenge.

LINK TO OFFICIAL SPECS

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It works in conjunction with return receivers (decoders) at a NOC or other hub facility. These can also be used in a REMI capacity to transport individual video signals back to a facility to be switched off site. The return servers can also be used to transmit signals such as a prompter back to the field.

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● OBS is an open source software for video recording and live streaming. ● Run on MAC, Windows, and Linux ● Build custom scenes ● Built-in audio mixer ● Great for small-medium productions ● Wide variety of control settings to modify everything from audio/video bit rates, codecs, streaming frame rate, transmission paths, etc ● Ability to to customize layout ● Can be used a simple video switcher ● Built-in multiview and transitions

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OBS

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OBS

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OBS User Interface

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CHAPTER XXVII

MEDIA & MEDIA MANAGEMENT

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CHAPTER XXVII · MEDIA & MEDIA MANAGEMENT

Media & Media Management File Storage and Transfer There are 2 ways to store files. External and cloud storage. Letʼs understand the basics of both.

External Storage External storage refers to hard drives (often provided by the Client) that will be used to hold all of the files from various camera and/or record deck media and SSD drives.

Transfer times can vary by drive and connection type. RAID drives used with USB-C connection type have much faster transfer speeds than standard SSD hard drives.

External storage is sensitive and extra attention should be paid to offload process. Ensure that you have good connectors and power for the transfer. It is not recommend that you start the transfer via mobile unit or flypack power while tearing down as they will need to shut power down at some point and this will interrupt your workflow. Also, unintentional ejection and loss of power to the hard drive could corrupt files and potentially render them useless and in some cases unrecoverable, or expensive to recover.

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As the video engineer there will be many times in which you will be responsible for the media. Your role could vary from your company providing the media to also being responsible for managing records and offloading footage to a hard drive. Often times, there might be a dedicated recordist (tape op) and/or media manager or post representative to take the media and perform offloads.

If your company is providing the media, you or another colleague will want to make arrangements to get footage back. When possible, it would be highly recommended to get the Client to provide or purchase (through you) their own media. When dealing with multiple 4K files and hours of content takes hours and sometimes days to offload and dub all footage. By then you and your gear have headed to another show back to the shop and your mind is elsewhere.

If you happen to be the one dealing with the Client, you will want to be sure of a few things: ● Do they want ISOs of each camera? ● Does audio need to be embedded on each ISO? ● Would they like a primary drive, or backup also? ● Nomenclature for naming media ● Who is providing the media & hard drives?

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External SSD Media Card w USB-C

SD Card

Compact Flash SD Card

Mini SD Card w/ SD Card Adapter

Media Card Reader

Sandisk Pro Card Reader

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Camera Media

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AJA KiStor SSD Media

AJA PaK Dock

Generic SSD Card

AJA KiStor SSD Card Reader

AJA PaK Dock

SSD Card Reader/Dock

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SSD Media for Professional Record Decks

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Cloud Storage

Files will then be uploaded to the cloud server which can then be accessed immediately by a post house, the Client or others on the team who need to see the footage. Cloud storage systems allow for very detailed permissions for who can see footage, leave notes, and download footage from the cloud to their computer or a hard drive.

It is not uncommon to use both external and cloud storage on a single project. In these cases, typically the person managing the media would upload proxies (compressed files) to the cloud and then ship drives with the larger, hi-res, uncompressed files to the client or the post house.

You have probably unknowingly already used a cloud storage system and simply may not have thought of it that way. Cloud storage solutions include products like: ● Google Drive (not for content storage) ● Dropbox ● Vimeo ● The Box ● Sync ● LucidLink ● One Drive ● AWS Cold vs Warm Storage A sublevel of cloud storage is warm versus cold storage. Warm storage essentially refers to more active storage. Files that you and your team perhaps are actively editing, currently using for a project, etc. Basically, this is content that you want to have easy access to.

Cold storage is essentially like archival. Once the project is complete and all deliverables have been turned in, you may store everything on an external drive that you will probably never touch again or into a vault within the cloud, not using up your storage capacity. You retrieve cold stored footage from the cloud, you will often need to contact them and pay to retrieve again. Think of it as putting something in storage unit versus your closet or garage.

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Cloud storage aka storage on an offset server connected to the internet is now more common than ever. When utilizing cloud storage, you will connect you will require an internet connection with strong upload speeds.

You will login into a given platform via an app on your computer or one accessed via an internet URL and access the folders in which you have been given permission to.

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Credit to Saruabh Sashwat @anukritisaurabh

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Cloud Storage Network Diagram

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CHAPTER XXVIII

PRODUCTION POWER

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CHAPTER XXVIII · PRODUCTION POWER

Introduction to PRODUCTION POWER

Clean power is for a necessity for any studio, flypack or TV truck.

Inadequate power could result in a power loss, fluctuating power or experiencing hums or buzzes within the system. When planning your show, you should verify with the venue or your Client what your power source is. Shore power (outside dock), house power (inside I/O disconnect), or generator. The Client or your company may be responsible for procuring power resources.

In some instances you will only have access to wall power which tends to be 20 amp circuits. While this certainly is never a preferred method of getting primary power, for low-consequence shows with minimal equipment, it can be ok. You should how check with the building electrician to ensure that you are not sharing circuits with other equipment or infrastructure.

The remainder of this chapter will focus on some very basic of power terminology, plug types you will encounter frequently, conversions, and some of the basic equipment and cables used for securing power. We will produce another, more detailed course on production power at a later date.

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This course wonʼt take a deep dive into power, but letʼs take a quick look at power. It will be an important piece of the equation for your setup and operation.

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Power Measurements ● kW or kilowatt = 1,000 watts-a measure of true power - usually 80% of kVA. Stick with kW rating as reactive has already been accounted for.

● Watts stay constant while amperage and voltage are inversely related - for example, 1200w = 10 amp @ 120v or 5 amp @240v ● Voltage is really 120v or 240v in the United States for single phase (not 110/220); 208v for 3-phase to start

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● kVA or 1,000 volt amps - a measure of apparent power - difference is whether the current (amps) and voltage are in phase with each other.

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Plug Types ● Plug Types: 4 prong plugs can be 3 phase (3 hot/1 ground), but all 3 prong plugs are single phase.

L6-20p to L6-15R Plug

L-Connectors

Speakon Connectors

Edison to IEC Plug

Commercial Edison Connector

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● Plug Labels: 6 (L620), 14 (Nema 14-50), or a 10 (10-30) are single (you will see these on RVs, Ovens, and other higher-drawing items)

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3 Phase Tails

3 Phase CAMLOCK Tails

Gauges Needed for Given Amperage ● 30A = 10 gauge or higher (note: edison outlets are only rated for 20A). ● 20A = 12 Gauge or higher. ● 150A = 2 gauge or higher. ● 200A = #1 or higher. ● 400A = 4/0.

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CAMLOCK Distro Box w/ 20 Amp Breakouts

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Primary Types of Power Used

In electrical engineering, single-phase electric power (abbreviated 1φ) is the distribution of alternating current electric power using a system in which all the voltages of the supply vary in unison. Single-phase distribution is used when loads are mostly lighting and heating, with few large electric motors. A single-phase supply connected to an alternating current electric motor does not produce a rotating magnetic field; single-phase motors need additional circuits for starting (capacitor start motor), and such motors are uncommon above 10 kW in rating.

Because the voltage of a single phase system reaches a peak value twice in each cycle, the instantaneous power is not constant.

THREE PHASE A method of distributing power in which three conductors each carrying an alternating current of the same frequency and voltage amplitude to a common reference but with a phase difference of one third the period. The common reference is usually connected to the ground and often to a current-carrying conductor called the neutral. The currents in each conductor reach their peak instantaneous values sequentially.

In North America, a typical three-phase system will have 208 volts between the phases and 120 volts between the phase and neutral. Most larger events and festivals will have production and site power run in three phase due to the larger power needs of audio, lighting, motors, heating / cooling, and LED panels.

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SINGLE PHASE A method of distributing power in which all the voltages of the supply vary in unison. Single phase is best suited for powering devices needing 20A or less each and using edison outlets; most residential power distribution is run single or split-phase.

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Conversions ● A 100A single phase service will provide 200A @ 120V or ten 20A/120V circuits while a 3 phase 100A service will provide 300A @ 120V or fifteen 20A/120V circuits. ● A 20A thermal breaker is only truly capable of about 16A of constant load – all breakers will have a safety cap of 20% – keep this in mind when finalizing your power needs. ● A good rule of thumb is to have no extension cord longer than 300′ from the power source as the power starts to diminish after that point.

DC AMPS TO KILOWATTS CALCULATION ● The power P in kilowatts (kW) is equal to the current I in amps (A), times the voltage V in volts (V) divided by 1000: P(kW) = I(A) × V(V) / 1000 AC SINGLE PHASE AMPS TO KILOWATTS CALCULATION ● The power P in kilowatts (kW) is equal to the power factor PF times the phase current I in amps (A), times the RMS voltage V in volts (V) divided by 1000: P(kW) = PF × I(A) × V(V) / 1000 AC THREE PHASE AMPS TO KILOWATTS CALCULATION ● The power P in kilowatts (kW) is equal to square root of 3 times the power factor PF times the phase current I in amps (A), times the line to line RMS voltage VL-L in volts (V) divided by 1000: P(kW) = √3 × PF × I(A) × VL-L (V) / 1000 CALCULATION WITH LINE TO NEUTRAL VOLTAGE ● The power P in kilowatts (kW) is equal to 3 times the power factor PF times the phase current I in amps (A), times the line to neutral RMS voltage VL-N in volts (V) divided by 1000: P(kW) = 3 × PF × I(A) × VL-N (V) / 1000

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WHAT VARIOUS AMPS WILL PROVIDE

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CHAPTER XXIX

PRODUCTION PLANNING

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CHAPTER XXIX · PRODUCTION PLANNING

Planning for Excellence There are a number of things that you can do to prepare and make sure that you are going to have a successful shoot or event. By following best practices, you can ensure that you are setting up yourself, team, Client, and the overall production up for the best possible outcome.

Tools you need in planning for success come in many different forms such as:

● Paperwork & Documentation ● Good Email Communication ● Follow-through ● Understanding of the Job & Scope ● Reading ● Listening & Asking Questions Letʼs break them down in a bit more detail.

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● Research

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Paperwork & Documentation Good documentation is key to a successful show. Spreadsheet documents such as the tech book, vendor pickup/delivery schedules, production schedules, wiring diagrams, and CAD drawings will ensure that you have all your ducks in a row. You should organize these files into a single document and having both digital access and a hard copy along with sending to your crew at least 5-7 days before the show for quick access and reference on site.

Research Some information will fall in your lap and some information you will have to dig for. Prior to a scout, you might want to take a look at the surrounding area to see where to park the mobile unit and how to access the loading dock. Rather than bothering your Client, you can use Google Maps to get an aerial view of the property. Itʼs a free online tool that will allow you get to answers to your questions. Sure you can ask, but youʼll look better gathering some of this preliminary information on your own and coming the next production call better prepared. In short, donʼt be afraid to do some basic research to get information that will help you plan.

Good Email Communication Good, concise emailing skills are an underrated skill. Proper blocking, proper grammar, and using common language/layman's terms when communicating with Clients is paramount. The Client doesnʼt care much about how you get the job done so they donʼt need to hear your jargon. So palatable ways to feed and get them information.

When sending emails, I make sure to make good use of bold, italicized, and underlined fonts of varying sizes to communicate clearly and break up information. Color coding text that you would like to stand out to readers is also helpful as well.

Be responsive. There is nothing worse than not being able to get in touch with the people you need to when planning a show. It will make you stand out and your boss will appreciate it too.

Lastly, be sure you include a signature in your email. While your phone number is optional, it is helpful

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Preparing for the Show | Planning for Excellence

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Follow-through Do what you say youʼre going to do. Provide the information you said you were going to provide in a timely manner. Check-in and make sure that you continue to tie up loose ends as you closer to load-in day.

Understanding the Scope of the Job Not too many jobs are the same. When you are booked for a job, it is CRUCIAL that you make sure you understand the scope of the job.

Sometimes, freelancers are all too hesitant to ask too many questions in fear of sounding inexperienced to the crewer but you owe it to yourself to not look like a fool and to your Client to ensure they are getting what they paid for. The last thing you want is to be in over your head on site stressing out and pulling your hair because the job is too advanced for you.

Some of the questions that you may want to ask before taking a job are listed below. Which questions you ask will vary based n the type of project and this list in not exhaustive, but a good start.

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How many cameras and what kind?

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Flypack or TV truck? If a flypack, is it pre-wired?

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How many days for load-in, setup, and/or rehearsals?

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Will I be the only video engineer?

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Is there a Tech Manager/Producer?

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Will I be responsible for video shading?

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Will I be responsible for projection?

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Is this show a live broadcast, live stream, live-to-tape, or IMAG shoot?

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What switcher and router is being used?

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What is the overall scope and workflow of the gig?

This series of questions will help you gauge if this is the right gig to jump on. Once your on, continue to get updates to these questions, track changes, and get prepared for a well-engineered shoot.

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Preparing for the Show | Planning for Excellence Reading I am a HUGE proponent of reading. I love to do it and I take this sentence as an opportunity to encourage you to do so, and often.

Reading stimulates the mind and encourages discovery, births new ideas, empowers knowledge and fosters conversation. That said, read the paperwork, emails, and attachments you get. Know you show, even if you have to cram it on your flight headed to the project.

Listening & Asking Questions You can learn a lot ear hustling. You can learn even more from forwarded or reply all emails. Read it all, listen in on production calls for context clues and speak up when a creative ask collides with a potential technical need. For example, you hear producers on a call discussing dressing room monitors. Do you have enough? If not, you may want to make mention of it to ensure that expectation is covered.

Using all of these soft skills together will ensure BEST OR NOTHING best practices are in play at all times.

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Donʼt be that person to ask for the answer to questions that have been answered already. Itʼs unprofessional, lazy, and it makes you and the company youʼre working for look bad.

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Site Surveys / Scouts

The venue scouts also to provide the opportunity to assess what equipment (such lenses and camera support systems) and other resources will be need to achieve the creative goals of the production. As a Tech Manager or Video Engineer, you will assess things such as access points for perhaps running cables inside from the TV truck or how to move equipment upstairs to a stage when there is not direct access to the loading dock.

Perhaps there is no loading dock, will you need a forklift.

Site surveys can be fun, collaborative times and you will get to see and explore so many new and different places that you probably didnʼt even know existed. Over the course of my career, I have scout arenas, dome, music halls, clubs, restaurants, bars, conversion centers and conference roms, churches, school, gyms and virtually any time of facility that you could think so shoot content, host an event or stage a production.

The scout, is also a great opportunity to meet your counterparts at the venue. From the Technical Director, Head of Security, Event Manager and possibly event the GM - you should want to get familiar and friendly with them all. You may and will likely need them at some point during your setup. So it helps to play nice. It is at this time you will get a chance to begin to gauge their temperature and understand how helpful they may or may not be.

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A site survey or a location scout is an opportunity for the technical, creative and production teams to first tour multiple venues to see which location is most feasible (both financially, logistically, and for the consumer experience) for the event or shoot. Often times when you come on to a project, the venue would have already been chosen at that point. Other times, especially if you are at the Tech or Project Manager level, you will be asked to come on in the earlier phases and voice your professional opinions and reasonings on why a venue is or is not suitable and to also explain why or why not.

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Site Surveys / Scouts In many metropolitan areas (and some smaller cities too) you can find yourself needing permits for things such as generators or parking mobile trucks on a major street. The venue personnel usually will be able to point you in the direction of the correct offices and people who you will need to reach out to acquire these permits, if those responsibilities fall on your or your team.

Often though, your Client or the production management team will handle this.

From a equipment infrastructure standpoint, one of the most important things that you are going to want to confirm is clean power. WIll you need to supply your own power or does the venue has a disconnect panel or adequate wall power to service your power needs.

You will want to work with all teams to understand their power needs and make sure that your equipment and systems will be able to pull sustainable power for the duration of the venue, and identify what power will be assigned to who.

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A site survey is when producers, department heads and other key players come together to scout multiple venues to see which is the right choice, or visit a predetermined venue so figure out all of the logistics for a shoot. Some of the players may be with the technical and broadcast team, some may be with the Client, creative or event teams and there will often be at least one venue rep present.

Some venues will be amenable to may of the things that you may need (or desire) to do and sometimes it will feel as if you all arenʼt on the same team. Perhaps the local fire marshall in a pain in their rear and they are just passing along the rules.

Perhaps they never have done it so itʼs just easier to tell you know than it is to do something new or perhaps the person youʼre dealing with is more pleased with being difficult. Either way, you will need to find a way to communicate your needs to the venue and your team to get the resources and approvals you need to what you need donor exercise the Art of the Pivot™ to find work arounds.

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Free Game | Know Who’s Providing the Cable Ramps But, sometimes these get lost in the sauce, especially on smaller gigs. Most TV trucks carry about 5-10 cable ramps, but flypack providers usually have one. The live events usually have some, but that doesnʼt guarantee that they have enough for you - even though you might be sharing some of the same cable paths. Also, they could have a different brand of cable ramps that do not interlock with yours, rendering it useless.

On large scale events, cable ramps are usually supplied by the generator company. But during your planning sessions, be sure to check with the Client or other production vendors to find out who will be responsible for making sure they are onsite.

Youʼd hate to be stuck getting them from the venue (especially a convention center or hotel) because they will charge you (or the Client) a fortune!

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When working on a remote site, you will cross doorways and public paths with cable and there will be a need for cable ramps to cover these cables to prevent tripping hazards or allow for vehicles and heavy machinery to drive freely throughout the job site.

CHAPTER XXIX · PRODUCTION PLANNING

The ʻTech Faxʼ is one of the single most important things you can do each day prior to the start of a show. A tech fax is essentially a checklist of things that you as the engineer will want to verify is in place before the show. All camera operators, technical operators, and key personnel should be in place and on headset for fax.

This in its most known function is done by the Technical Director. It consist of the following checklist items:

● ● ● ● ● ● ● ● ● ● ● ● ● ● ●

Switch through all cameras, confirm tally and returns Run through all graphics elements - verify key/fill channels Run all transition effects & all macros Run all SpotBox elements Test comps and composites, M/Eʼs for setup accuracy Test all microphones and record clean audio Test bump in/out music Playback any video elements and confirm audio tracking clean Check for black video Playback any powerpoint or slides Confirm all cameras and line cut in downstage talent monitor Confirm talent IFB good are working Run VALID tape for 30 seconds Verify net return present Verify all audio transmissions, comms paths & phone lines are working

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Tech Fax

CHAPTER XXIX · PRODUCTION PLANNING

Tech Fax

● Reviewing engineering paperwork to make sure all patches and feeds have been routed and and other technical tasks have been completed. ● Accounting for all gear that has gone out. ● Verifying encoder settings. ● Verifying power loads on your system. ● Checking with the Tech Manager to make sure he is ready to go live on air. ● Checking all your various softwares, hardware GUIʼs to make sure that everything is where it is set and dialed in to where it is supposed to be.

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However, as I have grown as an engineer, especially one who works on flypacks more often than not, I have found that doing your own engineering FAX is also important.

Some items on your engineering FAX checklist might include:

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The Art of the Pivot

There will be many many times in which you are faced with problems both small and large, and you will simply have to pivot. Make adjustments, downconvert, upconvert, cross convert, swap parts, have something shipped from the shop overnight, work with the in-house IT department.

Being likeable, smart, sharp and having the absolute ability to pivot is what will make you a well-respected and sought after freelance video engineer.

Photo Credit: @shittyrigs on Instagram

If there were to be a visual example that you could always turn to study The Art of the Pivot, it would be the Instagram page @shittyrigs. These filmmakers, technicians and creators find the most innovative ways to rig, modify, operate and support lights, camera, audio, and grip gear to ensure that the shoots goes on no matter what. Or to create an on-camera look that the equipment that is available them isnʼt capable of. It really does prove that necessity is the mother of invention.

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Shit happens, things change, people cancel, gear breaks, sunshine turns into rain the room measurements are off by 6 feet. But with experience, time, and wisdom, you can always overcome these obstacles.

As they say, the show must go on, right? The Art of the Pivot™ is the ability to maneuver, overcome, and adapt to exchange situations and circumstances at the drop of a dime. Itʼs the activation of your rolodex when a piece of gear doesnʼt arrive or break downs at a critical time. It is know how use a weighted object to balance a camera when no matter how many times you position your plate, itʼs still too back heavy.

At the core of the Art of the Pivot ™ is the ability to turn to these solutions and alternative while remaining call. As the engineer, you are ultimately responsible for the operation, troubleshooting and maintenance of the system as a whole.

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CHAPTER XXX

TECH BOOKS & CAMERA PLOTS

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About Tech Books You will usually receive the tech book 3 days til one week out via email. There will also usually be paper copies available on site. When you receive the tech book, read it thoroughly.

As the engineer, it is your job to review the tech book to make sure that all the equipment needed to execute the show as prescribed is loaded on the mobile unit, b-unit, or whatever type of unit your gear is traveling in. If you work in a studio settings, perhaps these means relocating cameras from one location in the studio to another. Or sub renting a special lens or other piece of equipment to make sure that the needs of the show are met.

Be familiar with all the needs of the show and what the complexity of it will be. Always be prepared for the “oh by the ways.” Crew, talent or production could ask for anything from extra cables, cameras, mics, monitors, tools, etc. SO be prepared for the unexpected and unknown. Spares included because sometimes things stop working.

When possible, reach out to the Tech Manager and see if you could schedule a call to thoroughly discuss the tech book and any challenges that the venue or show might present.

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The tech book is your show bible for all things technical production related to a broadcast or live stream.

In most cases this is created by the tech manager who will have all details that are beyond the scope of engineering.

Some of the things found in a tech book are: ● Camera types, lenses and supports ● Camera Assignments & Camera Plot ● Audio Inputs ● Record Desk Assignments & Codecs ● Replay Server Inputs ● Graphics System Notes ● Phone Lines ● Production & Tape Room Monitor Wall Layouts ● Switcher & Router I/O ● Cables & Video Tielines ● Photos & Cable Path ● Transmissions Path & Tx Info ● Mobile Unit Parking/Truck Compound Layout ● Power Requirement and onsite/external hookups ● Crew Grid & Important Contacts ● Crew Parking Information

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Small Boxing Show

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Ultimate Rap League

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Ultimate Rap League

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(Above/Right) The production schedule, which is typically prepared by production is typically prepared by the production management team. It provides a detailed outline of the activities of the production for the duration of production. It is common for the production schedule to be posted on the side of the mobile unit or in the control area for easy reference by the crew.

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Salvation Army

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The spreadsheet provides a detailed outline of all the various deliveries from different vendors to the venue as well as pickups that will need to be coordinated between production management and the tech staff.

Much of these items are event production related and not broadcast, but on similar scale shows, you may need to create a similar document to track pickups and deliveries.

Knowing how many loading docks you have access to, will allow you to appropriately spread your delivery times apart, in addition to considering what things need to come in and in what order.

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Salvation Army

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Salvation Army

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Salvation Army

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Medium Boxing Show

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Medium Boxing Show

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Stuart Brewton · Meet the Tech Manager’s Tech Manager

BLACK PRODUCTION SPOTLIGHT

Hailing from Brooklyn, NY, Stuart Brewtonʼs is currently serving as Director of Technology Management for Paramount, Stuart oversees the technical production operations for a live shows at the network level for brands that include BET, MTV, and CBS, CMT, and Comedy Central.

Before coming to BET and later transitioning to Paramount (through acquisition), he served as a Technical Director, Video Engineer, and Robocam Op for WNET Public Media and NBA Entertainment.

Find a job within the industry that you donʼt hate and that you are good at.

Learn to love it. When you do something that you do well in an industry that pays well- you will be paid well.

When you are paid well to do a job that you are good at it is easy to fall in love with that job.

FAVORITE QUOTE:

“The single biggest problem with communication is the illusion it has taken place.”

ON THE FUTURE OF PRODUCTION:

Artificial Intelligence seems to be the biggest threat to certain repeatable tasks. It even rivals certain creative processes. The future of production is probably in the items that require human intervention, the unpredictable, the tasks and processes that are difficult to automate, things that are difficult to predict.

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MY ADVICE TO STUDENTS:

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Stuart Brewton · Meet the Tech Manager’s Tech Manager

BLACK PRODUCTION SPOTLIGHT

PROJECT’S I’VE WORKED ON: · BET AWARDS & BET EXPERIENCE at LA LIVE

I have engineered the back end of on site connectivity between trucks, and all on-site activations and shows which have gone to air or were in some way connected to the overall BET AWARDS and BET Experience weekend in Los Angeles. · Wild-N-Out

· BET 106th & PARK

I was the original Technical manager of this show and I was part of history in the launching of this the longest running music variety show on television. This show was instrumental in highlighting and launching the careers of many hip hop and R&B artists. For the duration of the un of the show I held a supervisory position in the steering of network standards as well as implementing and supervising technical infrastructure changes to the show as well as to the supporting pre production and post production technical resources and labor to support it. · SUPER BOWL SOULFUL CELEBRATION

I was the technical producer of this show on certain years in certain cities where the Super Bowl was held. I enjoyed the music.

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I was fortunate to be afforded the opportunity to work on many seasons of Wild-N-Out with Nick Cannon. I was Tech Manager on for many seasons of the show and was able to secure and procure resources to produce the same quality shows in a variety of different studio locations as the years and the seasons progressed.

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CLICK HERE TO DOWNLOAD FULL TECHBOOK

CLICK HERE TO DOWNLOAD FULL TECHBOOK

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Bonus Tech Books | Click to Download!

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About Camera Plots Camera plots are another important part of the tech book. They show a layout of where within the venue the cameras will be.

Some are more accurate than others and provide helpful information such as the cable distance from the trunk.

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They are sometimes accompanied by a legend which lays out the lens type, camera support, and a short description of the location in which the camera should be placed.

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Camera Plots

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Camera Plots First configuration based upon current symphony plot and camera resources. The camera positions were set with the understanding the robo cams have 360 movement with X-Y-Z axis lens motion and adjustable height of cameras.

C-8/C-9/C-10/C-11 Final positions will be determined once we began look see with orchestra in place. We will find sweet spots that donʼt block line of sight of artist, give us maximum # of zones for preset cues and not be an hindrance for the audience experience, we will be able to achieve this.

SHOW# C-1 C-2 C-3 C-4 C-5

Position House Left Corner Robo Cam House Right Corner Handheld Conductor Cam

C-6 C-7 C-8 C-9 C-10 C-11

Handheld RF-Audience ISO Robo Cam Robo Cam Robo Cam Robo Cam

Notes Long lens with stabilizer Unit under balcony center axis Long lens with stabilizer All stage right zones On vertical telescopic arm, will have height restriction based upon final platform size and line of sight of musicians to conductor.

All stage left zones House Left & Right & Pit coverage, see frame Downstage Right Midstage Right Midstage Right Downstage Left

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Red Bull Symphonic | Rick Ross x Orchestra Noir (Director | Jonathan X)

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CAM 1 CAM 2 CAM 3 CAM 4 CAM 5 CAM 6 CAM 7 CAM 8 CAM 9 CAM 10

FOH CORNER CENTER CORNER HOUSE L STAGE PLATFORM STAGE STAGE STAGE

TRIPOD SLIDER SLIDER MINI-JIB BIG-JB STEADI DRONE TRIPOD MIC STAND MIC STAND

FUJINON ZOOM ZEISS 135MM ZEISS 35MM ZEISS 85MM FUJINON ZOOM ZEISS 28MM MAVIC PRO ZEISS 15MM MARSHALL 4K MARSHALL 4K

Director: Tyler Childers at Red Rock

ATOMOS 1 ATOMOS 2 ATOMOS 3 ATOMOS 4 ATOMOS 5 NINJA 1 NINJA 2 NINJA 3 ATOMOS 7” ATOMOS 8”

SMPTE 500ʼ 1 HD-SDI 200ʼ 1 + Power HD-SDI 200ʼ 2 + Power HD-SDI 100ʼ 1 + Power SMPTE 500ʼ 2 HD-SDI 100ʼ 2 + TDK Pw HD-SDI 200ʼ 3 + Power HD-SDI 100ʼ 3 + Power HD-SDI 200ʼ 4 + Power HD-SDI 200ʼ 5 + Power

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Camera Plots

Chris Adrian Max Ben Joe Rob Lars LOCKOFF LOCKOFF LOCKOFF

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CAM 1 CAM 2 CAM 3 CAM 4 CAM 5

STEADI SL SR INTVW INTVW

4.5x 70x 70x 17x 21x

Lens Runaway Tracking Head to Toe TIGHT HH BUILDUP

Director: Tre James at Queen of the Grammys on CBS Tik-Tok

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Camera Plots

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SETTING THE STANDARD

Negotiating Your Rates & Knowing Your Worth

Whatever bucket you fall into, as a freelancer, it is your job to know your worth and negotiate your rates accordingly to what the market will allow. The more skills you have, the better your attitude, and likeability - the less negotiating you will be required to do.

Additionally, when you are contacted about a show, it is important that while you might have a standard ten-hour day rate and you should stick to that as much as possible, before committing to a rate for a job make sure that you fully understand the scope of work. It is not uncommon letʼs say on a small-mid sized flypack show for the EIC to also be the video shader. I have even seen instances where the EIC is the shader and the technical director.

However, Iʼm not a fan of it.

Some of the questions you should ask when contacted about a job and negotiating your pay include: ● ● ● ● ● ● ●

Is this rate for a 10 or 12 hr day?

Is lunch on or off the clock? Catered or walk-away?

When does OT start? Is double time applicable on this job ?

What are the payment terms? (NET 7, NET 30, NET 45, etc) Am I working as EIC or will I be shading cameras and/or switching as well?

What support will I have? (Number of utilities, crew, etc)?

How much time you will have to set up before the event goes live?

These are just a few questions you should ask, especially when working with a new group or company that you have no familiarity with. The answers to these questions wonʼt massively change your pay, however you may be able to negotiate a couple hundred more dollars if you will lack certain support or be pulling double duties.

You should also be sure to inquire about equipment list and ensure that you are familiar and comfortable with the gear being used. You would hate to show up and not be familiar. You can only be good if you know what youʼre doing. Your job isnʼt to figure it out as you go (troubleshooting aside), itʼs to know what to do. And the crew nor the Client wants you figuring out equipment for the first time on site. Save your reputation and donʼt take on work you donʼt know how to do!

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Some of you reading this (and congratulations for making it this far into the course) are full-time employees or volunteer at a church, sporting venue, or theatre. Others are freelancers for tv truck companies, production companies, or a crewing company (such as Crew Call Labor Logistics).

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CONGRATULATIONS!

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One Last Closing Statement

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THANK YOU FOR ATTENDING! JOIN OUR ONLINE FACEBOOK COMMUNITY TO GET CONNECTED WITH OTHER STU

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CHAPTER XXXI

GLOSSARY

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Glossary ● 2-wire: A pair of wires that carry an audio circuit/signal. ● 3D: Images that appear to have three dimensions - height, width, and depth. ● 4-wire: Also A four-wire communication circuit especially used for commentary, coordination, and digital comms matrixes. ● 4:3: Standardized analog format of standard television (SD) ● 4K: Also known as “Ultra High Definition, “Ultra HD” or SHV-1, 4K is defined as at least 3,840 horizontal and at least 2,1260 vertical pixels, with an aspect ratio of at least 16 x 9. ● 16:9 (16x9): The aspect ratio of HD television and widescreen SD. ● 3G: A 3G cellular/mobile communication network that provides information transfer of rate of at least 200 kbit/s. ● 4G: A 4G cellular/mobile telecommunication network provides the information transfer rate of 3G but also provides mobile ultra-broadband internet access. ● 5G: The fifth generation technology standard for cellular networks. Due to its expanded bandwidth it provides high download speeds. In the future it could be used to deliver internet access.

# ● 8K: Also known as “Super Hi-Vision” and SHV-2, K is 12 times more detailed than HD, with 33 millions pixels compared to HDʼs 2 million. The 8 K System also has three-dimensional 222 surround sound, with three vertical layers of surround speakers, and two subwoofers. ● 24p: Frame rate used by cameras to shoot 24 full frames per second. It is the closest you can get to film with digital video cameras. ● 60i: TA video signal in which half of the total lines of the image are captured and displayed every 1/60th of a second. ● 720p: This HDTV format has 620 scan lines and uses progressive scanning. The 720p format is best for fast-moving motion scenes. ● 1080i: The HDTV format has 1,000 scan lines and uses an interlaced scanning system. The 1080i format has a sharper image than the 720p formation. ● 1080p: The HDTV format has 1,080 scan lines and uses a progressive scanning system. This is often referred to as Full HD.

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Glossary ● A1: The A1 is the audio mixer responsible for operating the console, mixing music and other audio sources. ● A2: Images that appear to have three dimensions - height, width, and depth. ● AD: Abbreviation for Associate Director ● Ambient Sound: Standardized analog format of standard television (SD) ● Analog recording: Analog systems directly record the variations of video and audio signals. They have a tendency to deteriorate when dubbing copies and can only be recorded on tape. ● Aperture: The opening in the Lens that lets light into the camera. ● Aspect ratio: Aspect ratio can be defined as the proportion of width to height of the screen. Televisions have an aspect ratio of 16:9. Mobile devices and some LED walls for IMAG often have an aspect ratio of 9:16. ● Audio: A process by which some lenses automatically focus on the subject. ● Audio-Follow-Video: When a switcher is programmed so that the audio automatically changed when the video is switched.

A-B ● Audio Mixer: A piece of equipment used to select, control, and intermix audio sources. It is operated by an A1. ● Audio Sweetening: The process of continuing to fine tune the audio mix (FOH mix or STEMS) after the video recording session is complete. This is sometimes called overdubbing or track laying. ● Augmented Reality: The process that superimposes a computer generated image on a userʼs view of the real world, providing a composite view. ● Auto focus: A process by which some lenses automatically focus on the subject. ● Backfocus: Back focus is the distance between the rear of the lens and the camera subject. When the back focus is properly adjusted, the camera operator should be able to zoom in, focus, then zoom out, maintaining accurate focus from the zoom in to the wide shot. ● Backlight Control: When there is more light on the background than the subject, some caenera use a backlight control button that opens up the iris an arbitrary stop-or so above the auto-iris setting in order to improve the subjectʼs exposure.

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Glossary ● Balanced: A cable having two identical conductors that carry voltages opposite in polarity and equal in magnitude with respect to the ground. ● Barrel: An adapter that is male to male or female to female, allowing identical cables to be connected together. It is also known as a “turn around” or “gender bender”. ● Below-the-Line Personnel: Refers to all technical personnel, such as camera ops, video shaders, production assistants, etc. ● Belt Pack: Portable beltpack that connects to a headset for wired or wireless communication with the production team. ● Binding Post: Converts a dry pair to XLR. ● Biscuit: A portable speakers/mic station for commentary. ● Black Level: The intensity of black in the video image. ● Blocking: The process of establishing camera positions, angles, movement and talent positions before a rehearsal. ● BNC: The standard professional video connector and short for British Naval Connector. ● Bonded Cellular: The merging of multiple cellular channels in order to increase the quality of the transmitted video.

B-C ● Booth Monitor: Monitor located in the booth with commentators. There are typically 3 monitors, one for program, camera return, and teletrastion. ● Bug: A small graphics usually located in one of the corners of the video screen. The bug usually identifies a the network or may may include scoring information for sports. ● Camcorder: A camera with a built in recorder. ● Camera Control Unit (CCU): The HDTV format has 1,080 scan lines and uses a progressive scanning system. This is often referred to as Full HD. ● Character Generator: Also known as a graphics server, is a generic name of any type of production graphics creation equipment. ● Chip Chart: A camera with a built in recorder. ● Chromakey: a technique by which a block of a particular color (often blue or green) in a video image can be replaced either by another color or image, enabling, for example, a weather forecaster to appear against a background of a computer-generated weather map. ● Clip: A video segment.

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Glossary ● Coaxial Cable: A video cable that can be used for relatively short distances but is susceptible to outside interference. ● CMOS Sensor: An image sensor that consumes less power.

Saving energy for longer shooting times. ● Color Bars: A television test pattern used where the NTSC video standard is utilized Its components are a known standard, and created by test pattern generators. Comparing it as received to the known standard gives video engineers an indication of how an NTSC video signal has been altered by recording or transmission and what adjustments must be made to bring it back to specification. ● Color Bar Generator: Color bars provide a consistent reference pattern that is used for matching the video output of multiple cameras. They are also used to obtain the best-quality image on a video monitor. This test signal is composed of a series of vertical bars of standard colors (white, yellow, cyan, green, magenta, red, blue, black). It creates the pattern electronically.

However, it is possible to hue a printed color chart better known as a “chip chart”. ● Commentary Booth: The location where commentators sit or stand in a venue to broadcast a sporting event.

C ● Component Video: An analog video signal that has been split into two or more component channels. In popular use, it refers to a type of component analog video (CAV) information that is transmitted or stored as three separate signals. Component video can be contrasted with composite video in which all the video information is combined into a single signal that is used in analog television. Like composite, component cables do not carry audio and are often paired with audio cables. ● Composite Video: A baseband analog video format that typically carries a 525 or 625 line interlaced signal on a single channel, unlike the higher-quality S-Video (two channels) and the even higher-quality component video (three or more channels). A yellow RCA connector is typically used for composite video, with the audio being carried on separate additional L/R RCA connectors. ● Compound: The area outside (rarely but sometimes inside) where one or more tv trucks, sat trucks, and generators are staged. ● Compressor: An audio tools used to reduce or emphasize the dynamic range (difference between the loudest and quietest sounds).

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Glossary ● Contrast: The difference between the relative brightness of the lighting and darkest areas in the shot. ● Control Room: The area in a studio or mobile unit where the Director and producers control the production. Although the control room equipment may vary, they all include video and audio monitors, intercoms, and a switcher. ● Crane: A camera crane is a tools used to provide floating, aerial shots. It is made of metal material and break down into parts. The operator can control the motion of the arm as well as the pan/tilt/zoom of the camera itself. ● Crawl: The graphics on a telecast that scroll across the bottom of the screen, generated by a CG. ● Crosstalk: Unwanted interference caused by audio energy from one line coupling or leaking into adjacent or nearby lines. ● Cut: An instantaneous transitions between two video images without an gradual change or effects. ● Depth of Field: The distance between the nearest and farthest objects in focus.

C-D ● Digital Disk Recorder (Replay Machine): A type of hard drive array that can be used to playback and record at the same time. These are also known as video replay servers. ● Digital Recording: A digital system regularly sample the waveforms and converts them into numerical (binary) data.

This allows many generations of copies to be made without affecting the quality of the image. Digital systems also allow the data to be recorded on forms of media other than tape, such as hard disk, external and internal. ● Digital Television (DTV): The difference between the relative brightness of the lighting and darkest areas in the shot. ● Digital Video Effect (DVE): Is a special effect within the switcher such a wipe or animation. Prior to recent technology, a system known as Abekas DVEous was used to create these effects, but they are now built into switchers. ● Digitizing: Converting the audio and video signals into data files. This term is used to describe the conversion of video tapes to digital video files. ● Dissolve: The gradual transition from one video image to the next. During the dissolve transition you will see both videos until the transition is complete.

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Glossary ● Distorted Sound: Distortion occurs when the output signal from a piece of equipment is greater than the input capabilities of the receiving equipment. This occurs when the microphone output is too strong for the microphone pre-amplifier in the receiving equipment. ● Distortion: Any undesired change in the waveform or signal ● Dolby AC-3: The audio standard for DTV broadcasting. This digital audio compression technique can support from one to six audio channels (5.1 surround). It was designed as a distribution format and is not directly editable. ● Dolby-E: Designed as a production and transportation formar for discrete surround audio, it is editable and supports up to eight channels of audio. ● Dolby Pro-Logic: An advanced for of surround sound that provides a wider listening/viewing area and better channel separation. ● Dolby Surround: The first-generation home theater format that outputs to three channels: left, right, and surround (split into 2 speakers). ● Dolly: A camera support that allows the camera to smoothly move in different directors (left to right or back and forth)

D-F ● Downlink: The segment of a satellite transmission in which the signal is transported from a satellite in space to a control room or NOC on Earth. ● Dropout: A temporary loss or deterioration of the audio and video signal. ● Dry Pair: A pair of wires without any voltage. ● Dynamic Range: The range between the weakest and loudest sounds that can be effectively recorded by a device. ● ENG: Electronic News Gathering. The use or cameras, VTRs, lighting, and audio equipment for the production of news stories or short reports. ● F-Stops: The calibration markings on the lens that indicate the signature or diaphragm opening. The larger the f-stop number, the smaller the aperture, which means the larger the depth of field. ● Fade: The graduate dissolve of a video image to or from video black. ● Fast Lens: A lens that can capture image in low-light situations. ● FAX: A technical check to ensure all cameras, tally, audio, replay and other systems components and elements are all properly working and firing off.

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Glossary ● Feed: An audio or video feed passing from one point to another. ● Fiber Optics: Light transmission through optical fibers for communication and signalling. Fiber optic transmission is immune to most electromagnetic interference and common mode noise (hum) ● Fluid (Pan) Head: While often already attached to the tripod, the fluid head is a component of the tripod that allows the camera to pan and tilt. It also is used to balance the camera evenly on the plain in which it sits. ● Flypack: A mobile control room that is made of equipment stored in road cases and can be setup to make for a complete, makeshift control room. They vary in size and capability but no two are alike. ● Font: The term is often referred to as one of output channels of a graphics machine. “Insert font 1 or font 2” ● Format: The format is a description of the frame rate and resolution in which a project or show is shot and recorded in. Ex: 1080p 29.97fps. ● Frame Synchronizer: A device that allows you to change the frame rate and/or resolution of a video feed/signal.

F-H ● Freeze-frame: A video feed that is constantly replayed to make it look like a still image. Producers also use the term “freeze-frame” when speak to replay ops to pause a replay in the midst of doing a replay. ● FX: An abbreviation for effects. ● Gain: The level of amplification for audio/video signals. ● GFX: An abbreviation for graphics. ● Ground Loop: A completed circuit between shielded pairs of a multiple pair created by random contact between shields. An undesirable circuit condition in which interference is created by ground currents when grounds are connected at more than one point. ● Handheld Camera: A camera operated by an operator without a tripod or other specialty support system. ● Hard Camera: A fixed camera position on a tripod or pedestal ● HD/HDTV: TA video acquisition and recording format that uses 750- 1,250 scan lines. ● HDR: Short for High Dynamic Range, HDR image quality is enhanced by mixing dark and light pixel levels and adding more color information within each pixel.

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Glossary ● High Impedance: This type of microphone sound generally becomes distorted when used with an audio cable that is no longer than 20. ● Hot Head: Robotic controlled camera head that is operated by an operator as much as 300ʼ away from the camera and head. ● Hum: Term used to describe the 60 or 120 cycle per second noise present in the sound of some video and audio equipment. The noise is usually the result of undesired coupling to a 60-cycle source or the defective filtering of a 120-cycle ripple output rectifier. ● IFB: Short for Interrupted foldback system- and IFB is a wired or wireless system work by talent that allows one-way communication from the control room to the talent. It looks very similar to a security officer earpiece. ● Impedance: Resistance to the flow in an audio signal in a microphone and the cable it is attached to. ● I/O: Short for in/out, it refers to the panel on the side of a mobile unit or racks of a flypack or studio control room in which cables are patched with sources into the system or patched to received video and audio feeds.

H-L ● IP: Abbreviation for Internet Protocol. IP is a protocol or set of rules, used for routing packets of data across networks ensuring that they arrive at the correct destination. ● Interlaced Scanning: An HDTV protocol beam that scans every other line top to bottom. ● ISO: Refers to a record of a single camera (versus a switched line cut). ● Jib: See Crane. ● Jog/Jogging: The act of moving a recorded image forward or backward one frame at a time. ● Jump Cut: When a TD switches to a camera image so similar to the prior image that it appears tha subject jumped on screen or barely moved positions. ● Level: A unit of measurement used to gauge the strength of an audio or video signal. ● Line Level: The audio level general created by a VTR or line mixer output. ● Live: An event or show that it broadcast over the air or via live streaming to the audio in real time or with a short delay. ● Live-to-tape: An event or show being recorded as though it was being broadcast or streamed live.

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Glossary ● Livestream: A method of airing a live broadcast via the internet in lieu of using satellite transmission. ● Location Scout: An in-person survey of the venue in which key personnel on the production team tour the venue to see where cameras can be placed, review cable paths, truck parking, and find places for other logistics such as crew meals. ● Low Impedance: A low impedance microphone over very long cable (more than 1,000ʼ) loses little sound quality. A matching transformer should be used if they are connected to high impedance inputs. ● Master: The original or main recording of an event or show.

Typically however, there is a master and master back-up being recorded. ● Master Station: An intercom user station and intercom system power supply combined into one package. ● Media: The terms refers do digital, external drives or cards that are inserted into a camera or recorder drive to recorded video and audio files. External hard drives are another form of digital media that is used to dump the various cards to for archival or post production.

L-O ● Melt: A highlight reel of a sporting event created by the replay operator to be aired going to commercial break or to close out a broadcast. ● Mic Level: The audio level generated by a microphone. ● Microwave Relay: A transmission method from remote locations to the transmitter involving the use of several microwave units. ● Mobile Unit: A customized van or trailer used to house equipment and technical crew for remote productions. ● Monitor: A television used for professional purpose. Some monitors are OLED in which they are calibrated and display true colors and often do not have speakers, and those that due lack audio quality. ● Monochrome: Another way of saying black and white. ● NAT Sound: Ambient audio in the program feed or one recording. ● Neutral Density Filter (ND): An internal camera filter that reduces the amount of light coming in to the camera with changing the color of the image. Most professional broadcast cameras have at least 3 ND filters. ● OB Van: The european term for mobile unit.

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Glossary ● Omnidirectional Microphone: A microphone that is able to pick up audio equally well from all directions. ● OTT: The term over-the-air refers to content that is “broadcasted” or delivered over the internet (namely via streaming services) and viewable on multiple devices. ● Outboard Equipment: This refers to when equipment is taken out of the mobile unit and put in a temporary trailer or building in order to provide more space for personnel or deploy more resources for a production. ● PA: Short for Production Assistant. ● Parabolic Microphone: A parabolic dish with a microphone used to capture audio at a far distance. ● Phantom Power: Voltage sent from the audio console to power a condenser microphone. ● PL: Abbreviation for any type of communication circuit used as an intercom system. PL was derived from the telephone term “party line”. ● POV Camera: Refers to a miniature camera that is placed in certain location that may not be spacious enough for an operator or require an unusual or unique angle. The quality of these cameras is often diminished slightly, but visibly in comparison to the primary broadcast cameras.

O-S ● Preview Monitor: A monitor programmed to show the director the next shot before it goes to air. ● Production Switcher: A console with buttons, knobs, and T-bars used to select cameras and other inputs and take them to air on the directorʼs call. ● Progressive Scanning: A type of HDTV system that uses a beam to scan every line from top to bottom. ● PTZ Camera: A robotically-controlled camera with pan/tilt/zoom functions. ● Punch Block: A panel used to connect or separate audio or telephone cables. Also referred to: “telco block”, “66 block”. ● Rundown: A document that list the order of the program with all show elements, run times, talent, locations, music cues, etc. ● Satellite News Gathering (SNG): The use of a satellite system to transmit the video program from the remote site to the receiver (station, network, or home production facility). ● Scaffold Mount: These mounts are primarily used with hard cameras in venues that lack 360-degree stands or bleachers. ● Scanning Area: The area of the video image that is seen on the camera or in the graphics or on-air monitor.

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Glossary ● Shader: The operator responsible for patching cables to the truck, calibrating cameras and ensuring that all cameras match. ● Shading: The act of controlling or adjusting the image contrast, color, black-and-white levels, gain, knee, gamma, etc via the RCP connected to a CCU. ● Shore power: Power provided via a direct connection to the venue via a power disconnect (I/O panel) on the exterior of the building without the use of a generator. ● Shuttle: The fast-forward and fast-rewind capability of a VTR or video replay server. ● Signal: Any visible or audible indication that can convey information. Also the information conveyed through a communication system. ● Signal-to-Noise Ratio: The ratio of noise to good picture information within a video signal, measured in dB (decibels).

Digital equipment is in theory, capable of producing pure noise-free images that have an infinite signal-to-noise ratio. ● Slo-Mo: A VTR or video replay server that can replay video images in slow motion. It also refers to cameras that can capture images in slow motion.

S ● Spreader: A base for a tripod that stabilizes the legs and prevents them from spreading. ● SRT (Secure Reliable Transport): This protocol solves the problem, which everybody has, of transmitting video at very high quality over a bad or dirty internet line. SRT encrypts the video (secure). It automatically applies error correction (Reliable). And it can dynamically adapt to changing bandwidth conditions (Transport). It is open source, royalty-free, and supports low-latency, high performing streaming. ● SSM: Abbreviation for super slow motion camera. ● Standard Definition (SD): Refers to an NTSC or PAL, analog image of interlaced video. ● Steadicam: A device designed to stabilize a camera. The camera is attached to a gimbal, attached to an arm , which is attached to a special vest. When the operator walks or runs, the system provides for fluid camera shots. ● Still Store: An internal cache within the switcher that holds still images that can be recalled during the production. ● Strike: The breakdown and wrap out of all equipment at the conclusion of a shoot.

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Glossary ● Surround Sound: Surround sound uses a 5.1 channel mix to create a realistic sound atmosphere for the viewer. The system uses six discrete microphones to create the sound image. ● Tally Light: A light on the camera or other piece of equipment that signals to the operator that are on-air or in preview. ● TD: Short for Technical Director. ● Teleprompter: A teleprompter, also known as an autocue, is a display device that prompts the person speaking with an electronic visual text of a speech or script. ● Termination: When there are looping video inputs on equipment, all unused looping inputs must be terminated in 75 ohms to ensure proper signal levels and to minimize reflections. A male BNC connector that contains a 75 ohm resistor load is typically used. Balanced audio requires termination at 600 ohms. If devices are designed to loop, like distribution amplifiers, it is sometimes necessary to use a 600 ohm resistor to terminate the path. ● Time Base Corrector: A device that processes a video signal and generally allows for stable playback of an unstable video image.

S-T ● Time Code: Timecode (alternatively, time code) is a sequence of numeric codes generated at regular intervals by a timing synchronization system. Timecode is used in video production, show control and other applications which require temporal coordination or logging of recording or actions. ● Tone: An audio signal that is consistently zero dB and generally recorded onto videotapes at the beginning of a production in order to properly set up the playback equipment. Generally, the tone is recorded at the same time as color bars. ● Transponder: A satelliteʼs own receiver and transmitter. ● Triax: Triaxial cable, often referred to as triax for short, is a type of electrical cable similar to coaxial cable, but with the addition of an extra layer of insulation and a second conducting sheath. Triax provides greater bandwidth and rejection of interference than coax. ● Tripod: A three-legged camera support that is available in a variety of sizes. They have telescoping legs and may have multiple sections for height adjustment. A pan and tilt head is mount on the tripod for fluid camera movement.

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Glossary ● UHD: Short for Ultra High Definition also known as 4K with at least 3,840 horizontal and at least 2,160 vertical pixels with a 16:9 aspect ratio. ● Unbalanced Line: A transmission line in which voltage on the two conductors are unequal with respect to ground, such as coaxial cable. ● Unidirectional Microphone: A microphone that is sensitive to to sound coming from one direction, such as a shotgun mic. ● Uplink: Earth station transmitter used to send audio and video signals from Earth to a satellite. ● Uplink Truck: A truck that is equipped with uplink capabilities that can send both video and audio signals to a receiver via satellite. ● VandA: Video and audio circuit from one site to another. A VandA is comprised of one video circuit along with a minimum of two audio channels. Think of a SDI cable with video and embedded stereo audio. ● Vector Scope: A device used by video shaders to monitor adjustments made to decks, cameras, and frame synchronizers. ● Video Noise: Unwanted interference within the electrical system that causes white noise or “snow” on the video image.

U-Z ● Video Shader: See Shader. ● Virtual Remote (REMI): A virtual remote is when the control room is left at home, taking only the audio and cameras to an event. The audio and video feeds are then sent back to the studio via the Internet where where the event is switched live in the control room. ● Vision Mixer: Widely used terminology outside the US for a switcher. ● VOD: Short for Video on Demand. ● VTR: Video Tape Recorder. ● Wipe: A transition effect in a switcher between two video images that takes the shape of a specified pattern. ● XLR: The most commonly used XLR is a three-pin shielded audio connector used with most professional microphones and audio consoles. ● XY Pairs: A matched pair of microphones used for recording audio at a venue. ● Zebra Stripes: Black lines that are seen in a zebra-equipped television camera that aid the camera operator in making video level adjustments.

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