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.
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.
displayLED has installed a 102m2 LED scoreboard at Headingley Carnegie cricket ground in time for the 4th npower Ashes Test against Australia in August. The 16×6.4m screen is the largest LED video display in a UK sports venue.
The digiLED screen provides full scoreboard capabilities, video replays, advertising and sponsorship video, text and graphics for the 17,000 capacity crowd.
The previous display area included an outdated fixed scoreboard system, housed in less than a third of the available display area, static signage taking up another third and the final third allocated to an LED video screen which the Yorkshire County Cricket Cround (YCCC) rented in for high profile matches. The permanent digiLED screen will show cricket scoring data and video, removing the need for a rental screen.
The digiLED Ld10S screen has an effective pixel pitch of 10mm and an effective resolution of 1600×640 and will display video images, scores and graphics. The screen was built to a custom size, using LED tiles inserted into bespoke modules to get as close as possible to the original dimensions of the structure and maximise the display area.
The digiLED screen comes complete with digiPRO HD video processing supplied by displayLED and a scoring control system, supplied by Technographics.
The installation of the digiLED screen, ground developments and the new Carnegie Pavilion are part of a number of improvements to develop Headingley Carnegie Cricket Ground into a ground satisfying the ECB’s requirements for Category A venues.
Stewart Regan, chief exec of the YCCC said: ‘The screen will add real value to the match day experience for our supporters bringing scores, video replays and sponsors’ logos to the fans. It is also another vital piece of the jigsaw needed in satisfying the criteria for staging major international cricket events.’