In Broadcast - February 2015 - 6

6

www.inbroadcast.com | Vol: 5 - Issue 2 | February 2015

InNews
Czech TV Upgrades
To Pablo Rio 4K
CZE/GBR: State broadcaster Czech
Television has upgraded one of its
long-serving Quantel eQ finishing
systems to a turnkey Pablo Rio 4K
system. The system will be used for
high quality colour and finishing of
episodic TV programmes and local
movie productions. Pablo Rio runs
on high performance PC hardware
and exploits NVIDIA Maximus
multi-GPU technology to deliver
real-time performance at 4K 60p
and beyond. The Czech TV network
includes channels, CT 1, CT 2, CT 24,
CT sport, CT :D, and CT art.

Esplanade Venue
Digital Upgrade
SIN/USA: Esplanade, Theatres
on the Bay, Singapore's national
performing arts centre has
enhanced its production intercom
system with Clear-Com digital
solutions. The centre upgraded to
a HelixNet Digital Partyline system,
installing an Eclipse HX Median
and Eclipse HX PiCo Digital Matrix
Intercom System. The project was
supported by Clear-Com's local
partner, Electronics & Engineering
Pte Ltd. Communication is an
important element in the venue's
daily operations, ensuring that all
show performances run smoothly.

Metus INGEST
Apple ProRes 422
USA: Metus INGEST now supports
ProRes in its multi-stream capture
and transcoding software.
A Windows tool, Metus INGEST
now enables video operators to
record up to four channels of full
quality Apple ProRes streams while
simultaneously creating proxy
files. Supported ProRes formats
include ProRes 422, ProRes 422
HQ, ProRes 422 LT, and ProRes 422
Proxy. Metus INGEST and Metus
MAM products offer ProRes video
transcoding in Windows-based
server environments.

Super Bowl XLIX
Avid Workflow

N

BC Sports has embraced Avid
Everywhere and implemented
a fully integrated Avid MediaCentral
Platform workflow for its upcoming
broadcast of Super Bowl XLIX in
Phoenix, Arizona.
During the week before Super Bowl
XLIX, the Avid MediaCentral Platform
will help NBC broadcast several
programmes from downtown Phoenix.
Specifically, with the platform's
Media Asset Management and remote
collaboration capabilities, production
teams in Phoenix will be able to
collaborate in real-time with producers
and editors in Stamford, Connecticut,
more than 2,500 miles away.
"Using the Avid MediaCentral
Platform, we are able to produce an
incredibly large amount of content,"
said Darryl Jefferson, VP of Post and

Digital Workflow at NBC Sports and
Olympics. "By allowing everyone to
access archived media wherever they
are, we are significantly expanding the
capacity of our production."
NBC Sports is setting up two remote
production facilities in the Phoenix
area - one at the University of Phoenix
stadium and another at Block 23 in
downtown Phoenix.
"With Avid Everywhere, large-scale

remote productions like the Super
Bowl become location-free," said Jim
Miles, Director of Digital Workflow
Systems at NBC Sports Group. "We
can now do production in real-time by
tying together multiple locations and
people all over the map."
NBC Sports also uses this large-scale
remote production workflow for other
top events.
Avid will power NBC Sports coverage

DaVinci Grades Ridley Scott Epic
B

lackmagic
Design's
DaVinci
Resolve was used at Deluxe
Creative Services' Company 3 by
colourist Stephen Nakamura to grade
20th Century Fox's epic adventure
Exodus: Gods and Kings.

Using state-of-the-art visual effects
and 3D cinematography by Dariusz
Wolski, ASC, Director Ridley Scott
brings new life to the story of Moses
(Christian Bale) as he rises up against
Pharaoh Ramses (Joel Edgerton.)
The overall look is a
Christian Bale in
from
what
Exodus: Gods and Kings departure
audiences normally associate
with an epic Bible film.
"The idea is that you're
watching these epic battles
and the seas parting, but it's
not the same kind of movie
as The Ten Commandments
or Ben Hur. It's designed
to feel more realistic," said
Nakamura.

In mastering the images separately,
Nakamura had to keep in mind
the differing 2D and 3D display
formats. While the standard for 2D
projection is 14 foot lambert (fL),
most 3D projection is 3.5 fL, producing
significantly dimmer highlights and
much less contrast.
Nakamura used the Highlight and
Shadows tool on DaVinci Resolve 11's
Colour Match Pallet to bring those
highlights into the necessary range for
3.5 fL display.
"I use it all the time now, especially
when I'm grading for multiple display
formats... I can just dial down the
highlight adjustment where I like it and
everything else falls into place."
http://www.inbroadcast.com https://www.youtube.com/user/avid/videos https://www.blackmagicdesign.com/uk/products/davinciresolve http://videoclarity.com/
In Broadcast - February 2015

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