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TheMike158 posts since 12 Jan 2019
Central (East) East Midlands Today
How is HARDtalk recorded now, I see they’re probably on the original broadcasting house overlooking All Souls Church. Looks like Steven has two cameras one facing him another facing the laptop. I’m watching right now they’re interviewing someone from Succession via a MacBook Pro. However the MacBook doesn’t seem to be connected to anything, how are they getting the video from the guest to be full screen? Are they using a screen recorder or are they outputting to an Apple TV and recording from there?

I don’t know what’s stopping them from using the regular studio, I know deejay said there were some extra things that are required for Hardtalk. But surely they could still record in studio C.

Studio C is in greater use at the moment, because BBC World News isn't decamping to B every afternoon.
Rkolsen3,301 posts since 20 Jan 2014
BBC World News
I wonder when Studio B comes back it will come back with modification and more automation


I think there are PTZ heads. But getting a free moving robotic camera would allow them to do AR and if they get CamBots it would integrate with their tracking system they use the same tracking system and software as Furios.

Watching the 2100BST/1600EDT episode of Outside Source at 26 past the hour the show closed and then cut back to Kasia Madeira introducing the Coronavirus Newscast. It was interesting as four for minutes there was some interesting chit chat and then around :29 past the hour they did the formal open to the Newscast/Podcast.
Don’t let anyone treat you like you’re a VO/SOT when you’re a PKG.
deejay3,008 posts since 5 Jan 2003
Central (South) Oxford
If a gallery is making output that’s destined for more than one outlet, you can only view one of the tx outputs on the main transmission monitors. Generally speaking that’ll be the main output. It’s possible to view one other TX output (and two preview outputs) and switch everyone’s monitoring between them (but that tends to only happen in certain circumstances).

For instance in Gallery E, normally the tx output monitoring is destined for the news channel. However for national bulletins, this is switched to the output for BBC One. (The difference between the two is that channel has the flipper/clock etc and BBC One doesn’t.). It’s still possible for the tech co ord to monitor the channel output to ensure the switching is correct.

The ME banks on the switcher don’t deal with the lower thirds. All lower thirds are added by viz engines post Studio output and pre TX output. They’re controlled via mosart so, for example, when the red tile goes on over trundlecam, it’ll say BBC WORLD NEWS on the world output and BBC NEWS on the channel. Name Astons and story Astons will be similarly branded.


What about ME banks that deal with a two or three box are they just showing the cropped video (with black background) and when it goes live the backdrop is added down stream? I’m thinking of shows like Newsday and Beyond 100 Days where the two boxes are part of the show


Double and triple boxes, being required to be the same on all outputs, are created by the ME banks and some Upstream Keys within the desk. The way Mosart controls the desk isn’t the way a manual vision mixer (person) might and that’s for various reasons to do with the way the system works and processes the logic. In many ways, what the vision mixer is doing isn’t entirely relevant to what’s going on in the programme. It’s slightly weird when you have come from a manual vision mixing background to ignore what the mixer is doing and just trust that the automation will do what you tell it to do.
Two minutes regions...
Rkolsen3,301 posts since 20 Jan 2014
BBC World News
If a gallery is making output that’s destined for more than one outlet, you can only view one of the tx outputs on the main transmission monitors. Generally speaking that’ll be the main output. It’s possible to view one other TX output (and two preview outputs) and switch everyone’s monitoring between them (but that tends to only happen in certain circumstances).

For instance in Gallery E, normally the tx output monitoring is destined for the news channel. However for national bulletins, this is switched to the output for BBC One. (The difference between the two is that channel has the flipper/clock etc and BBC One doesn’t.). It’s still possible for the tech co ord to monitor the channel output to ensure the switching is correct.

The ME banks on the switcher don’t deal with the lower thirds. All lower thirds are added by viz engines post Studio output and pre TX output. They’re controlled via mosart so, for example, when the red tile goes on over trundlecam, it’ll say BBC WORLD NEWS on the world output and BBC NEWS on the channel. Name Astons and story Astons will be similarly branded.


What about ME banks that deal with a two or three box are they just showing the cropped video (with black background) and when it goes live the backdrop is added down stream? I’m thinking of shows like Newsday and Beyond 100 Days where the two boxes are part of the show


Double and triple boxes, being required to be the same on all outputs, are created by the ME banks and some Upstream Keys within the desk. The way Mosart controls the desk isn’t the way a manual vision mixer (person) might and that’s for various reasons to do with the way the system works and processes the logic. In many ways, what the vision mixer is doing isn’t entirely relevant to what’s going on in the programme. It’s slightly weird when you have come from a manual vision mixing background to ignore what the mixer is doing and just trust that the automation will do what you tell it to do.


Sounds confusing and hard to understand. So from what you wrote double and triple boxes are differently handled and are the same across all outputs. Or by upstream keying do you mean a graphic is put at the switcher and then the ME is made?
Don’t let anyone treat you like you’re a VO/SOT when you’re a PKG.
deejay3,008 posts since 5 Jan 2003
Central (South) Oxford
- ME is a mix effects bank on the vision mixer (switcher). Vision Mixers (people) use the MEs to build complex effects (boxes, chroma keys etc) in advance of transmission. MEs can also be used to feed auxiliary destinations like in vision screens.
- Upstream Keys are added on the program bus or any ME as part of that Bus’s output, coming on or off as part of that Bus’s transition
- Downstream Keys may actually be in the vision mixer itself or entirely downstream of the mixer
- A downstream key in the vision mixer can be added after the ME or program bus and before output, and is a separate operation to any transition on that bus
- A downstream key post vision mixer is either live the whole time or switched in and out of circuit by some other means.

Hope I’ve got that all right - that’s my understanding of it anyway
Two minutes regions...
Rkolsen3,301 posts since 20 Jan 2014
BBC World News
- ME is a mix effects bank on the vision mixer (switcher). Vision Mixers (people) use the MEs to build complex effects (boxes, chroma keys etc) in advance of transmission. MEs can also be used to feed auxiliary destinations like in vision screens.
- Upstream Keys are added on the program bus or any ME as part of that Bus’s output, coming on or off as part of that Bus’s transition
- Downstream Keys may actually be in the vision mixer itself or entirely downstream of the mixer
- A downstream key in the vision mixer can be added after the ME or program bus and before output, and is a separate operation to any transition on that bus
- A downstream key post vision mixer is either live the whole time or switched in and out of circuit by some other means.

Hope I’ve got that all right - that’s my understanding of it anyway


I realize what an upstream keyer I was wondering if the background graphics of a multiple box would be inserted there or like everything else down stream.
Don’t let anyone treat you like you’re a VO/SOT when you’re a PKG.
dosxuk4,567 posts since 22 Oct 2005
Yorkshire Look North (Yorkshire)
The background will be on the background layer of the ME bank. Doing it in a DSK would just be bizarre. If you wanted different backgrounds on the same output, you'd probably go down the split ME route, where you tie up two MEs doing the same thing, just with different backgrounds and feed those MEs out as the programme feed for each outlet.
Rkolsen3,301 posts since 20 Jan 2014
BBC World News
The background will be on the background layer of the ME bank. Doing it in a DSK would just be bizarre. If you wanted different backgrounds on the same output, you'd probably go down the split ME route, where you tie up two MEs doing the same thing, just with different backgrounds and feed those MEs out as the programme feed for each outlet.

So a Viz engine would be feeding the gallery a background rather than downstream.

The whole way the graphics engines are setup here are confusing and that’s why I was wondering if it was downstream. And could Mosart and BNCS handle that?
Don’t let anyone treat you like you’re a VO/SOT when you’re a PKG.
Steve in Pudsey10,861 posts since 4 Jan 2003
Yorkshire Look North (Yorkshire)
I guess there's no reason why the gallery couldn't have have one style of box and the downstream Viz couldn't overlay a full screen graphic with masks for the video sources in a different style for a different destination, if the timings can be accurate enough.

But I can't see much of a reason to do so, and even the ones I can see (within the context of BBC News) are better served by overlaying a different lower third.

Adding the lower thirds downstream is how it used to be done at TV Centre. Most of the time N6 gallery output was clean, and the ticker and Astons were added (from the same device) downstream on the News Channel feed.

For BBC1 simulcasts, Astons were added from a different device via a DSK on the vision mixer with the ticker still added downstream.

Through that setup, BBC1 gets a feed from the vision mixer with just the Astons, the News Channel gets a feed containing both.
Write that down in your copybook now.
noggin14,941 posts since 26 Jun 2001

- Upstream Keys are added on the program bus or any ME as part of that Bus’s output, coming on or off as part of that Bus’s transition


On most vision mixers the keys on the Programme bank (i.e. PGM/PST) (the bus is the source pre-selector rather than the bank) ARE the main downstream keys in the desk. (That's certainly the case on mainstream Sony desks. You can chose to transition them on the PGM/PST transition area - or use the separate DSK transition buttons - but both actions drive the same keyers - usually 4 of them)

Upstream keys are the ones pre-keyed on ME banks, with the ME banks then being cut to on the PGM/PST bus.

It gets confusing on desks that don't have a PGM/PST, and instead have just ME banks (though often there is a 'not obvious' way of cutting each ME bank to mixer output so you don't have to nominate a fixed ME bank to be the equivalent of PGM/PST - the old GVG200 was like that) and in some 'all ME mixers' you have additional keyers downstream of those on the ME banks.

However on a conventional ME+PGM/PST mixer the keys on the PGM/PST bank ARE the downstream keyers within the mixer, though of course you can then have external devices keying downstream of the mixer, so it's entirely possible to have DSKs themselves downstream of the mixer DSKs.

HOWEVER...

On modern mixers it gets even more complicated as you can have multiple versions of the same ME bank with different keys on them, with multiple PGM outputs from the desk cutting to different versions of the same ME with the different keys on them, so when you cut to ME1 - your two main mixer outputs can cut to two different versions of ME1 with different keys on them. This is how modern sports production works. MEs and PGM/PSTS now have multiple outputs that you can configure to do splits.

Example :

You are the host broadcaster for a sports game, but are also the domestic broadcaster. You want a host broadcast generic replay wipe to go out on the host feed, but you want a station branded replay wipe to go out on the domestic feed. You want the replay wipe to transition between EVS replays on ME1. For this you configure two frame memory clip replay/ramcorders with the two different wipes. You configure the ME bank to do the transition with two ME1 outputs (one with the host broadcaster wipe keyed over, the other with the domestic wipe keyed over).

You configure the PGM/PST (or bottom row nominated ME etc.) to then cut to the ME1 output with the host broadcaster wipe on one PGM output, and to cut to the ME1 output with the domestic broadcaster wipe on another PGM output.

When you are cutting the match - you cut to ME and trigger the wipe as if you were cutting just a single feed of the match, and on a second PGM output you see the other wipe happen entirely in sync.

This is NOT what BBC News do - as they do their splits downstream of the mixer - but it is 'business as usual' when cutting sport events these days.
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noggin14,941 posts since 26 Jun 2001
The background will be on the background layer of the ME bank. Doing it in a DSK would just be bizarre. If you wanted different backgrounds on the same output, you'd probably go down the split ME route, where you tie up two MEs doing the same thing, just with different backgrounds and feed those MEs out as the programme feed for each outlet.

So a Viz engine would be feeding the gallery a background rather than downstream.

The whole way the graphics engines are setup here are confusing and that’s why I was wondering if it was downstream. And could Mosart and BNCS handle that?


Yes - the galleries have dedicated Viz engines for DVE box backgrounds, full-screen still images etc. Those are cut/routed by the gallery vision mixer and are present on all outputs. For DVE boxes the Viz generating the box background is likely to be upstream keyed within an ME bank, possibly using resizers rather than a DVE, (or it could be fed into a DVE background channel if the DVE can be used independently of an ME bank, and is itself a source). There are many ways of skinning that cat on a modern mixer - and your options vary depending whether you are Sony, GVG original, GVG Kahuna etc.

Because you may need to feed things to in-vision screens as well as cutting them to air - doing all of that downstream wouldn't make sense.

Additionally there are additional overlaid Viz engines downstream of the gallery vision mixer that key on different on-screen furniture (lower thirds, flipper, clock, channel logo etc.)
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