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How the vast array of footage captured for Dragonfly’s ambitious observational doc The Hotel is managed and cut into shape


CASE STUDY: THE HOTEL


The observation of life between the four walls of a hotel is the setting for C4’s 8x50-min series The Hotel. Video from 56 hot heads, shooting over 35 days, was gallery controlled and vision mixed by producer Dragonfly on location. The video was cut into three streams in the gallery along with audio mixes taken from over 100 mics – Evolutions created a bespoke location ingest and logging rig to manage this vast quantity of media from the set to post. “Capturing live on location meant we saved up to 2,000 hours of offline digitising, as well removing the need for tape conforms,” explains Evolutions’ workflow specialist


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NICK GRIFFITHS Senior editor EVOLUTIONS


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“Capturing live on location, we saved 2,000 hours of of- fline digitising and removed the need for tape conforms”


GARY BRADBURY


Workflow specialist EVOLUTIONS


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The secret of seamless, file-based workflows is keeping it simple – particular on a huge series such as BBC1’s The Apprentice.


Gary Bradbury. The rig included four capture and logging systems powered by Cinergy and two Avid Media Composers. The three streams were captured to 70TB of raid protected storage as Avid MXF media files and MPEG2 proxies to which Dragonfly’s loggers had instant access for realtime transcription. One Avid Media Composer was used to verify, transcode and organise the MXF media, the other was used to verify, import and organise the b-wav tracks. These rushes were sent back to Evolutions on G-safe drives weekly and were moved straight to offline using four Avid Media Composers.


SO MUCH FOOTAGE, SO LITTLE TIME


• Evolutions’ 80TB of ISIS 7000 provided its edit suites with access to 11TB of audio 6TB of video content for the offline


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Avid is at the heart of production workflow for the international reversioning of all Tottenham Hotspur and Arsenal football matches


CASE STUDY: INPUT MEDIA


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Sports production specialist Input Media creates the international re-versions for all Tottenham Hotspur FC and Arsenal FC Premier League matches with a well-honed workflow originally introduced for Setanta. Feeds from the outside broadcast at each Arsenal match are fed into Input Media’s London HQ where the team’s first job is to add the clock, score bug and commentary. This full match feed is ingested, via EVS XT2 and Avid/EVS media integration, into Input Media’s 48TB of shared ISIS 7000 storage. Next, “Pre- cut features, opening and closing material and match specific graphics are all added within Media Composer


“Pre-cut features, opening and closing material and match-specific graphics are all added within Nitris DX”


NICK SYMES


Director of technology INPUT MEDIA


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Nitris DX, then the match is laid off to tape for playout - for SD playout we use Avid AirSpeed Classic,” explains director of technology Nick Symes. For Spurs matches, the incoming


pictures are given VO and graphics as a linear process before ingest into Avid AirSpeed Classic, which frame chases the video direct into Avid ISIS 7000 for cut and record as before. If turnaround times are too tight for tape, the full programme is file transferred to Avid AirSpeed Classic for server-based playout.


“This workflow enables us to make the best use of a NLE environment and the flexibility that that provides,” says Symes.


QUICK TURNAROUND OF MATCHES


• Tight turnaround matches are file transferred to Avid AirSpeed Classic for server- based playout


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