In Broadcast - January 2020 - 26

26

www.inbroadcast.com | Vol: 10 - Issue 1 | January 2020

InStudio

Touring Video Truck Unpacks MediorNet
F

ully embracing the concept of
distributed routing, California
entertainment production services
provider Touring Video Inc. has
outfitted its newest production
truck, TV-2, with a signal transport,
processing, and routing backbone
based on Riedel's MediorNet.
Unlike most production vehicles,
in which the gear is permanently
mounted inside the truck, Touring
Video has built TV-2 to fully leverage
distributed routing with the ability
to outboard gear - or even the
entire control room - for production
flexibility.

Stage nodes can be flexibly placed to
accommodate multiple production scenarios

"We deal with tech managers and
network engineers who have a big
say in the Hollywood entertainment
market we service," said Doug
Armstrong, President at Touring Video.
"MediorNet is relatively unproven in
the North America OB market, and
choosing it as our core routing system
was a leap of faith. But I've been able
to create the unique workspaces
that my clients have come to expect
from me without compromise while
creating economies and streamlining
workflows."
The MediorNet signal backbone
on board TV-2 has 34 nodes
comprising four MetroN core routers
and 30 MicroN software-defined,
high-density
media
distribution
network devices. Available MicroN
Apps include standard routing,
multiviewers, and additional signal
processing capabilities that serve to
streamline workflows and eliminate
single-purpose devices. Of their 30
MicroN devices, 20 are equipped
with the Standard App, eight use
the MultiViewer App, and two use
the Processing App. The truck is

The outboarded
control room option

equipped with an Artist mainframe
and an assortment of the new 1200
Series hybrid lever key SmartPanels,
2300 Series SmartPanels, and Bolero
wireless intercom.
The entertainment productions that
Touring Video services differ and the
truck needs to be as quick, agile, and
responsive as possible to suit the
needs of each client. For one recent
entertainment show, up to 30 people
were required in the control room.
The ability to take the control room
out of the truck and easily relocate
it closer to the stage made a huge
difference in production flexibility
- and it was made possible by
distributing the router.

Now, with control room space no
longer a limitation, a second 4ME
switcher could be added for screen
control. Three highlight operator
positions and additional production
staff were then easily housed in TV-2's
vacated control room. The total video
I/O on the stage was 96 x 96, with
audio over MADI and two tunnelled
Ethernet paths.
Touring Video required an all-in-one
solution for routing and control, and
their production clients demanded a
traditional-style router panel. The HI
control system met that requirement,
providing ember+ Pro-bel connectivity,
and a shared router database between
HI control and MediorNet.

J/KAM Converts To JVC Monitors
J

/KAM Digital has switched its
entire supply to DT-V Series field/
studio monitors from JVC Professional
Video, a division of JVCKENWOOD USA
Corporation.
The Burbank-based media and
entertainment
editing
solutions
company relies on the DT-V monitors
to provide standard colour accuracy
and reliability for every project. With
more than 20 years of experience
offering rental, edit suites and
technical support services, J/KAM's
clients range from network television
and streaming to feature film
production.
J/KAM selected the JVC monitors
based on the range of applications,
company support and price point.
"Over the years, we've come to
realise that an important piece of the
editing workflow is having a reliable
monitor - specifically one with colour
accuracy," says Erik Beauchamp, CTO,
J/KAM Digital Editing Solutions. "This
is critical because footage is shot very
systematically. It's then processed in
a daily's facility with a colour grader,
which applies a certain look to a

production, and subsequently goes
to the editors who must ensure what
they see on the monitor is what the DP
envisioned. Having monitors that offer
colour-accurate pictures is crucial to
a project and is why we standardised
our entire fleet on JVC's DT-V series of
field/studio monitors."
J/KAM Digital purchased more than
50 JVC DT-V series monitors - G1Z
and G2Z - as well as the lower-cost
DT-R models, to manage its 50-plus
edit systems in various environments
across a variety of applications. "It's
important to standardise our monitors
from one vendor as this gives us a
consistency between our edit bays,"
continued Beauchamp. "With JVC
monitors, we know that our clients will
never call to say that the unit needs
to be calibrated or that there's an
issue. It's just one less thing to worry
about, and also lowers our support
overhead."
For Beauchamp, JVC's utility
colorimeter probe for monitor
calibration allows the studio to
calibrate on a consistent basis, and
as units come back from projects -

Erik Beauchamp, CTO,
J/KAM Digital Editing Solutions

reducing the potential for problems in
the field.
Additionally, the DT-V series
monitors provide several built-in
features for J/KAM and its clients,
including histogram, waveform, vector
scope and zebra functions.
"Aside from our in-house facility, we
also provide editorial equipment that
goes out on-location," Beauchamp
adds.

An entire editing environment was
shipped to Brooklyn for Jimmy Kimmel
Live, which includes six JVC monitors.
These monitors match the calibration
of the in-studio monitors in Los
Angeles.
Beauchamp explains: "With the JVC
DT-V series monitors, that objective
is simple. It's definitely no secret that
the JVC DT-V Series monitors are rock
solid; all the best vendors use these."
http://www.inbroadcast.com http://www.riedel.net http://www.riedel.net http://pro.jvc.com/prof/main.jsp
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