Video Production Upgrade at Carver Arena, Part 1
Nov 22, 2011 11:28 AM, With Bennett Liles
And you’ve got fiber to the scoreboard.
Right, yeah, we have the triax in cameras, but fiber to our scoreboard and fiber from one of our cameras, which is the scoreboard-mounted camera that is fiber because it’s such a long run. [Timestamp: 7:08]
So how many people does it take to do all of this during a game?
Thanks to the Broadcast Pix, our crew is really small. We really run with a director, technical director, so I’ve punched my own show and then I also control the server because it’s all part of the Broadcast switcher and it’s fairly easy to do for one person. Then we have the shader who runs a remote camera as well and then we have a replay person in the control room. So we typically have three camera people and three people in the control room, so our total crew is six. [Timestamp: 7:42]
And that makes coordination a lot easier. When you got all of the Broadcast Pix gear in, what was the learning curve on all of this stuff? Did you get training provided and how fast did you pick up on it?
It was a very easy system to learn. There is a lot to it of course because it’s complex, but the training was excellent from Broadcast Pix. We had a two-day training session with their trainer, and it was quite sufficient for that, and of course their online support is excellent so even if you call them up and you have a stupid question, they’re more than happy to answer it. They’re very easy to get a hold of and work with, so I’ve had no problems with that. [Timestamp: 8:22]
You know, on most of these things when I talk to people, the system is still brand new, and it’s still pretty much a guess as to how things are really going to work, but this one’s been in for a while and you’ve had the time to get used to using it. You said that the upgrades—the scoreboard, control room, the cameras and all that—happened at the same time?
Yeah it was all the same week—all exactly at the same time. [Timestamp: 8:42]
Well, I know that was a fun week.
Oh, it was. Yeah it was a good time. We were real fortunate. We did have good people that came in. The people that were doing the sheet metal work were outstanding, and the electricians did a great job and the Exo’s people were great to work with and I really felt sorry for them because I built the control rooms—I had built the old. So really these poor guys are working for someone who does what they do and I tend run and gun a little bit like mess with the sound board here and then when we lay it out then, ”That’s not going to work; switch the sound board.” So they were very good to work with and very understanding and they moved along fast. They had a three-person crew, so that really was nice. [Timestamp: 9:28]
Well, even though it sounds like it was pretty hectic in the beginning, I’m glad that you’ve had some time to use this in actual game situations. So have you had to make any significant changes or modifications along the way?
No, it’s all worked out well. The Pix is working extremely well—we’re getting into it. We have pre/re-play from NewTek and that’s working pretty well, so the learning curve and of course ever popular unlearning curve because that’s not the way we used to do it. Well of course not; we do it better now. So the Pix is a very powerful machine and once you get use to using it and taking full advantage of it, it’s really nice. [Timestamp: 10:11]
And in part two we’re going to get into the Fluent Watch Folders and how you use the Pix Pad and do some of the audio stuff, but I’m glad you were here to tell us about the Broadcast Pix video upgrade at the Carver Arena and thanks for being here.
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