In Broadcast - January 2015 - 10

10

www.inbroadcast.com | Vol: 5 - Issue 1 | January 2015

InNews
National Lotto
Draws With
Blackmagic
GER: Globe TV, responsible for
the live production of Germany's
national lottery draws, brings
ﬂexibility to the lottery broadcasts
with Blackmagic Design solutions.
When the programme goes live, the
vision mixer switches to an ATEM 1
M/E Broadcast Panel.
Michael Degott, Globe TV, said:
"The programme is cut from the
panel, and the software continues
to control the on screen overlays,
to give us a seamless TX, whatever
happens."

SMPTE Documentary
On Moving Images
S

MPTE is producing a documentary
on the intriguing history of motionimaging technology to celebrate the
Society's centennial anniversary in
2016.
SMPTE has named motion-imaging
technology and creative visionary
Randall Dark as Producer. Howard
Lukk, Former Vice President of

HARMAN's Studer
Comes Dancing
GBR: BBC's Strictly Come Dancing
production infrastructure relocates
once a year from Elstree Studios to
the Blackpool Tower Ballroom.
BBC Studios and Post Production's
Andy Tapley, and lead Sound
Supervisor, Tony Revell, evolved a
workﬂow in Blackpool, mixing the
show entirely on three HARMAN's
Studer digital consoles.
Revell said: "To be able to sit down
and decide how many channels and
mix busses we needed and then
customise it for a particular event
was really useful."

Molinare Wins Raft
Of Xmas Specials
GBR: Molinare production house
was awarded a series of Christmas
specials.
After grading all of series eight
of Doctor Who, Molinare's Head
of Grading, Gareth Spensley, also
graded the Christmas special which
aired on BBC One on Christmas
Day.
Senior Colourist Asa Shoul has
also provided the grade on the
Christmas special of Neal Street
Productions' Call The Midwife, in
advance of working on Series 4.

Production Technology at The Walt
Disney Studios, will serve as Director
on the initial project.
Chris Kenneally, who is best known
as the Writer and Director for the
acclaimed documentary Side by Side,
produced by Justin Szlasa and Keanu
Reeves, already has completed the
initial treatment for the ﬁlm.
The documentary, which
goes by the working title
Moving Images, will explore
the excitement surrounding the
development of motion-imaging
technology from the turn of
the 20th century through the
present while inquiring about
what the future has in store.

Through interviews with top
ﬁlmmakers, historians, entrepreneurs,
and engineers, the documentary will
investigate the inﬂuence that art and
science have on one another.
The ﬁlm will expose the human
element behind epic engineering
feats and technological achievements,
examining the ways it has advanced
the artistic element of content
creation.
The documentary will serve as a
celebration of the ingenuity, invention,
and personalities that are responsible
for many important works of art while
demonstrating how SMPTE's important
work on industry education and
standards has guided the technology.

Cinematographer Bolliger Colours
With AJA Video LUT-Box Control
A

warding-winning
German
Cinematographer Matthias Bolliger
has captured several prominent
national and international feature ﬁlms
over the years.
Bolliger's
latest
documentary
venture, The School on Magic
Mountain, recounts the story of one
American teacher's mission to equip a
group of students with the knowledge
and skills to become future leaders.
The principal shooting of the
documentary, directed by Radek
Wegrzyn and produced by Detailﬁlm,
started in autumn 2014 in Switzerland
and Sweden.
With colour playing an integral
role, Bolliger turned to an AJA LUTbox Mini-Converter and SONY's PMW

F5 camera to achieve the desired the picture with a self-deﬁned LUT.
aesthetic.
He said: "AJA's LUT-box came in
The F5 afforded Bolliger a versatile, handy on several occasions for this
ﬂexible and lightweight camera production and was very helpful
setup; however, enabling full colour throughout the entire project."
control on white balance (warm/cool)
The School on Magic Mountain is set
and colour shift (green/magenta) to debut in early 2016.
required use of F5's
CUSTOM-mode, which
made camera LUTs
challenging to monitor
and preview throughout
production.
To overcome this
hurdle, Bolliger used
AJA's LUT-box with
the F5, which allowed
him to shift the white
balance and preview
Awarding-winning Cinematographer Matthias Bolliger
http://www.inbroadcast.com https://www.youtube.com/watch?feature=player_profilepage&v=LMPdjERfYxA https://www.aja.com/en/products/mini-converters/lut-box http://www.joeco.co.uk/main/index.html http://www.bvexpo.com/page.cfm/Action=Exhib/ExhibID=800/loadSearch=506018_362 http://www.joeco.co.uk/main/index.html
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