ProSound News - December 2008 - (Page 41)

[41] soundbroadcast ATSC Raises Standard WASHINGTON, DC—The ATSC (www.atsc.org) Mobile DTV specification, which provides the technical capabilities necessary for broadcasters to provide new services to mobile and handheld devices using their DTV transmissions, has achieved Candidate Standard status. It includes a transmission system based on vestigial sideband (VSB) modulation coupled with a flexible and extensible IPbased transport, MPEG AVC (H.264) video and HE AAC v2 audio (ISO/IEC 14496-3) coding. The Business of Being Creative by Steve Harvey NEW YORK, NY—Two back-toback, high-profile HD projects for network television with extremely short turnaround schedules recently put Creative Group to the test. The company undertook all the video and audio post work for the NFL Kickoff 2008 outdoor concert, shot at Columbus Circle in Manhattan, immediately followed by Fashion Rocks, a television special from NEP Picks Calrec WASHINGTON, DC—NEP Broadcasting’s new mobile unit, Denali Summit, which comprises two 53-foot expando trailers, includes a 96fader Calrec (www.calrec.com) Alpha with Bluefin, among the largest such systems ever commissioned. Denali Summit launched in September 2008 with production for the Stand Up to Cancer TV special from Hollywood’s Kodak Theatre. Radio City Music Hall. Yet it was all in a day’s—well, five days—work for Sue Pelino and the audio team at Creative Group. The NFL Kickoff 2008 concert, captured on a Thursday, aired on NBC the following night. Fashion Rocks, captured on the Friday, aired on CBS the following Tuesday. The key to the quick turnaround, says Pelino, the Emmywinning senior audio engineer at Creative Group turned around two high-profile network TV projects in just a few days with the help of senior editor Rick Broat (left) and senior audio engineer Sue Pelino. the company, is that “we have a really amazing communication among ourselves at Creative Group. The video editors can give us an OMF immediately on our (continued on page 42) The Sweet Sound of Reality LOS ANGELES, CA—There’s Broadcasters Vote Euphonix PALO ALTO, CA—Broadcasters nationwide—and around the world—relied on Euphonix (www.euphonix.com) digital mixing consoles to help deliver the U.S. presidential election results on Tuesday, November 4. High-profile domestic clients include WFXT in Boston, WJZTV in Baltimore, WFAA and KTVT in Dallas/Forth Worth, KOMO TV of Seattle, Fox 11 and UPN 13 in Los Angeles, plus CNN and Fox News. little doubt that digital audio technology came along at just the right time for the surge in reality television production. Certainly workflow is streamlined with the ability to record location sound— sometimes around the clock—to hard-disk, but digital audio networking has also played its part, allowing fast and cheap deployment in place of cumbersome copper at both semi-permanent and “run and gun” locales. Gregg Kita, whose RGear Worldwide provides location sound—and video—services for a variety of reality programming, reports that Aviom’s A-Net technology offers an easily deployable solution. With no heavy copper multicore snake to manhandle into place, setting up is a breeze, he says, “I was just in New York for five weeks shooting at different locations every day. I built a cart with my board, output modules and computer for multitrack recording, and we had a rolling rack with our RF receivers and an Aviom input module. We’d roll into a location, power up the RF rack, put a couple of antennas up, and run one Cat-6 to wherever we’d set up the control room. That was sometimes in the same soundstage, or in a different room, depending on the location.” With a reach of up to 500 feet, the system can handle any location, he says. “Sometimes we’d be on a different floor, and we’d have to go out the emergency exit or out the window to the next floor, which was maybe 200 feet.” At a more permanent location for shows such as VH1’s Rock of Love with Bret Michaels or Flavor of Love, he continues, “Sometimes we use existing Cat5 runs already in the house, and sometimes we run our own. It’s expendable cable, so we use it for one show and throw it away.” Kita typically wires a location using Aviom’s Pro16 products, with Shure plant mics—so called because they are planted around the location—which are typically Shure MX391 or Crown PZM-11 boundary models (the PZM-11 mounts in a standard wall plate, resembling a light switch). “We wire bedrooms, bathrooms, kitchens, everywhere, and we run the plant mics into the Pro16 mic pres. We’ll usually put the mic pre somewhere central that we can run the mics to, then we’ll run Cat-6 cable from the mic pre down to our control room, which is a garage, let’s say. (continued on page 42) December 2008 prosoundnews.com http://www.atsc.org http://www.calrec.com http://www.euphonix.com http://www.prosoundnews.com http://www.acousticsfirst.com http://www.acousticsfirst.com

Table of Contents Feed for the Digital Edition of ProSound News - December 2008

ProSound News - December 2008 Sound Business Contents Hank’s Best Yet Sound Recording Studio Showcase: Great City Productions Software Tech Tracks Sessions Anticipating Post’s Future Post Showcase: Eargasm HD Audio Post The Business of Being Creative Sound Innovations: VRsonics VibeStudio Spatial Design Suites Field Reports: Product Profiles Yes We Can Hear Obama Live Sound Showcase: Stone Temple Pilots Centerstage Soundcheck Sound People View From the Top Product Spotlight Classifieds Advertiser Index Company Index Music, etc

ProSound News - December 2008

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