Video Demo Reel showing work done with Nic Dugger and Resource Group throughout the nation and in different venues including: Conferences, Concerts, Events, Festivals, etc.
Hope you enjoy just a glimpse at some of the fun we had last year producing these.
Thanks Nic for sharing the video.
With a center stage built in the round in the 20,000+ seat arena and a 360 degree Meyer Sound PA, Christie Projectors provided the Imag over the stage for all the arena to see.
The screens were so bright that even with the house lights off the room was still lit brightly enough for people to be able to read promotional material.
After the tremendous success of using 4 HD 27ft wide screens with 4 x 18k Christie HD projectors for Seize the Day in Columbus and Atlanta, now we are prepping another show using the Barco 20k projector double stacked to throw video onto a Screenworks 40×22.5ft High Def wide format screen.
To keep up with the lumen output, each projector needs 30amps single phase power, both projectors per screen will need 60 amps of power.
Changing our power distro’s to accommodate long runs of power combined with voltage boosters at the projectors meas addition planning and cabling for long runs. With fiber optic runs from the HD switchers this overcomes the long distances un in the big arenas we are working in.
Resource Group Video Production
In response to requests from leading AV rental dealers, the StageScreen is a totally new concept in projection screen design. It is designed specifically to be flown, but can also be used with legs. Either way, it is the strongest and most rigid screen on the market.
The truss system is completely modular. All available sizes of StageScreen are built from combinations of the same 6 standard color-coded frame sections pictured below. Not only does this make screen assembly faster and easier, but if a frame section should ever become damaged you can replace it in seconds without tools.
AV rental dealers can easily streamline their inventory with the StageScreen. You can change a Multiformat to an NTSC, HDTV, or 16:10 format at minimal cost by exchanging or removing a few frame sections (separate viewing surface required). The return on investment becomes immediately evident when comparing the cost of several sizes of folding truss screens to the StageScreen. Legs are constructed using the same truss sections as the frame. New! Dress Kit now available!
* The StageScreen utilizes an 8” truss that is significantly stronger than traditional truss folding screens.
* It is engineered to hold tolerance after repeated usage.
* Color coded frame sections ensure fast and easy assembly.
* Draper performed in-house testing of the strength of the StageScreen truss compared to a folding truss screen. The results were dramatic: StageScreen proved to be over 60% stronger, holding strong long after the folding truss failed.
* The image area of each screen is exact and true to format.
* StageScreen can be assembled in about half the time of a comparable truss folding screen. (see video)
* No hinges, no snaps, and no Handy Cranks are required.
* Frame sections are connected with permanently attached threaded links and guide pins. No lost handy cranks.
* Easy to follow color-coded assembly instructions are included with each StageScreen
* StageScreen features a revolutionary new viewing surface attachment method. Using the attached DuraLoop™ bungee cord loops with handy nylon pull-tabs, simply hook the surface to the posts on the frame. DuraLoops are longer lasting than traditional snaps, and provide even self-centering tension for the viewing surface. You’ll never want to use snaps again.
* The viewing surface is stretched perfectly flat, resulting in the highest picture quality. Standard viewing surfaces include: Black-Backed M1300, the perfect Matt White diffusing surface and Cineflex (1.3 gain), a neutral grey for rear projection.
Contact: 863 701 2010
Congratulations to the video crew of Resource Group who for the last three weeks have had a live music video they shot either shown on TV or appearing on a major music website. In the last three weeks Resource GRoup has had video content on RollingStone.com, CMT.com and this week Rhapsody.com
This week the videos are from the Chicago Double Doors event sponsored by Coors Light.
The three bands videoed were: Peter Bjorn and John, Blind Pilot and The Henry Clay People.
To play the songs and see additional photos of the recorded bands go to Rhapsody Rocks Chicago .
The music videos were recorded with 5 Panasonic P2 cameras in HD at 720p and 24frames.
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Resource Group at Bonnaroo Festival
Recently we had the pleasure of working with Rhapsody.com and shooting a video at the Bonnaroo Music and Arts Festival, a four-day, multi-stage camping festival held on a beautiful 700-acre farm in Manchester, Tennessee.
Here is a screen shot of the video section of RollingStone.com showing one of the three bands that they are showing online now from the footage Resource Group shot at the Festival.
Click on www.rollingstoneextras.com to take you to the Rolling Stone website then click on “exclusive videos” to see the three bands Resource Group recorded video for.
The three bands were Janelle Monae, American Princes, Chairlift.
If you look carefully during the videos you can see two of the hand held video crew on stage – Its Joey Hero on Stage Left and Nic Dugger on SR, Robert and Tyler are on the other two cameras.
Cameras were Panasonic ENG’s recording to P2 cards and then transferred to DDR’s to go to editors.
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Shure, Sennheiser, Audio Technica in fact all manufacturers have one component of their wireless system that cannot be taken for granted. The antennas. As a rule never just use the antennas attached to the back, or front of the unit, here’s why.
I was recently at an event where the client wanted an absolute clean stage look for their business presentation.
The stage was only 20ft x 16ft x 18in high, and so we had to move the usual wireless antennas to the back of the room by FOH.
However using the usual microphone stand to put the antennas on wasn’t working so well, as there were pillars in the room and also there were a number of times where the audience were up on their feet, almost effectively blocking line of site of the transmitter to antennas.
We came up with a very simple solution – to use a lightweight lighting stand that wasn’t being used to get the antennas over 9ft high and resolve all the problems.
What would have been great to have would be the HA-8089 PWS Helical Antenna Wideband UHF. You can use this for distribution systems, IEM’s, etc.
By now everyone should know about the regulation changes in Feb 2009, and the wireless frequencies that were sold off.
All the manufacturers have posted information about the changes that were made and they also produce info on what frequencies work in different cities.
Here is a list of popular Wireless manufacturers frequency charts to help you with frequencies in each city.
For Shure mics: http://www.shure.com/proaudio/techlibrary/wirelessfrequencyfinder/index.htm
For Sennheiser mics: http://www.sennheiserusa.com/findfrequency/
For Audio Technica: http://ff.audiotechnica.com/cgi-bin/tvfreqcheck/tvfreqcheck.cgi
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Setting up an intercom system for the first time in any facility can seem overwhelming, even for the most seasoned technical staff member. The advent of digital, wireless and now IP technology for intercoms has flooded the marketplace with a plethora of solutions, making it somewhat challenging to determine which will be the right fit for your space. Making this task easier involves a solid understanding of what intercom is, what makes it the right tool for professional communications and what to consider before installation.
What Is Intercom?
In simplest terms, intercom is a dedicated communications infrastructure. Unlike two-way radio, intercom systems offer full-duplex communication, which makes the experience of using them to talk much more like having a natural conversation. During busy production periods, such as just before a major holiday service, this feature really comes in handy, as you don’t have to grapple with the additional stress of communicating in a new and unfamiliar way.
Another important feature of any quality intercom system is the support of multiple functional groups. This lets you divide your communications into different channels, adding significant efficiency to the workflow. Lighting staff can talk on one channel, the sound guys on the second channel, and graphics and editing on another, for example. It cuts down on unnecessary and potentially distracting chatter during production.
Most of today’s intercom systems can also be used to connect production staff to other important areas in the worship facility – anything from service audio, the telephone system to the PA system. Everyone truly is connected.
Why Use Intercom?
The answer to this question is that form follows function. Intercom was invented to solve live production requirements. It is designed specifically for the challenges and situations inherent to this type of environment.
I recently had a client who wanted their project to look like HD, notice the word “look”. When we finally got down to what they really wanted they meant the wide screen look of HD, for play back.
Their budget was well under the normal amounts required to produce a HD video, so we compromised and went to get that look and feel of HD.
First we made sure that all the cameras were able to shoot wide screen in SD – Panasonic AG-DVX100B and added a little 24p for effect.
Next we had to look closely at the lighting and add a couple of fresnels to increase the lighting luminance on the small set and then shoot the video.
In editing the video, everything was cut to give that pristine look with virtually no compression, and by the time it was transferred to DVD it looked great.
For additional costs we could have upgraded the finished video and run it on Blue Ray.
If you looked close- no it was not HD but on a Plasma or LCD screen it still looked good.
Here is a great chance to see the work that Resource Group AV does!
Go to the CMT link here to see the live HD recording of Gloriana at CMT for Rhapsody Rocks.
Filmed with 4 x Panasonic P2 cameras, Panasonic HD switcher and recorded to 32track ProTools.