NG
I seems that there didn't need to be that much synch between the RAH and the venues, after all the singers in each place were singing with/to a local orchestra. Each venue then output on its own, with with a straight cut from one to another.
That was true for one sequence, but for another they cut to audience shots around the nations and Hyde Park and overlaid them over the RAH.
If there was a call for synchronization, then would the venues need any more than live audio and vision of the conductor from the RAH?
Suspect most venues were via satellite so you'd need to send them an early cue track such that the round trip delay from the RAH and back meant the resulting contribution was in sync with the RAH. (You do this by sending a signal out from the RAH, getting the remote OB to send it back to you via their normal contribution path, and measure the time delay. You then advance the cue track you send by that amount of delay and dedicate that track to that OB. The longest delay in the path determines how early you have to run the cue track in London for all the remote OBs to start at the right time to be in sync by the time they reach London)
Presumably all the venues connectivity were fibre or fibre/microwave, without serious compression?
I'd be surprised. I'd expected them to be satellited back given that the venues weren't places you'd expect to have fibre connectivity - and even with microwave and non-dark fibre you'd expect some codec latency to be introduced anyway.
noggin
Founding member
Actually, with the various outside broadcasts that needed to be in sync, wouldn't they be using Hotlips ....? .........
I seems that there didn't need to be that much synch between the RAH and the venues, after all the singers in each place were singing with/to a local orchestra. Each venue then output on its own, with with a straight cut from one to another.
That was true for one sequence, but for another they cut to audience shots around the nations and Hyde Park and overlaid them over the RAH.
Quote:
If there was a call for synchronization, then would the venues need any more than live audio and vision of the conductor from the RAH?
Suspect most venues were via satellite so you'd need to send them an early cue track such that the round trip delay from the RAH and back meant the resulting contribution was in sync with the RAH. (You do this by sending a signal out from the RAH, getting the remote OB to send it back to you via their normal contribution path, and measure the time delay. You then advance the cue track you send by that amount of delay and dedicate that track to that OB. The longest delay in the path determines how early you have to run the cue track in London for all the remote OBs to start at the right time to be in sync by the time they reach London)
Quote:
Presumably all the venues connectivity were fibre or fibre/microwave, without serious compression?
I'd be surprised. I'd expected them to be satellited back given that the venues weren't places you'd expect to have fibre connectivity - and even with microwave and non-dark fibre you'd expect some codec latency to be introduced anyway.
SW
Another interesting point about the Last Night Of The Proms is that it was produced by Stephanie McWhinnie, who also produces Top of the Pops, and indeed did so at Christmas. Pretty sure that's the first time anyone's produced both, let alone within twelve months.