LIVE EVENTS: TV DRAMA/ LIVE NEWS
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The audio post team on HBO’s huge production Game of Thrones can view the latest edits while working thanks to the Unity system
GAME OF THRONES
Much like the story it tells, HBO’s Game of Thrones, now on series 2, is a production of epic proportions. The fantasy drama is shot on location in Northern Ireland and in the eight- acre Paint Hall Studio complex in Belfast. It is by some distance the biggest production ever made in the province, making use of more than 800 cast, crew and extras. Post production is a pretty sizeable task too. Offline and dailies are handled by local facility Yellow Moon while Dublin’s Screen Scene does audio, vfx and finishing plus further offline. The whole series is completed in a bespoke post environment (devised in conjunction
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NICK GRIFFITHS Senior editor EVOLUTIONS
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“In terms of the very real day-to-day issues of sign-off and delivery, having everything ‘live’ all of the time is a huge help.”
ALAN COLLINS, md, Ardmore Sound, which co-ordinates sound for Screen Scene
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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.
with Avid reseller Tyrell CCT) based around Avid Media Composer, Unity MediaNetwork and Avid DS. The sound post workflow comprises
six Pro Tools editing suites, working across dialogue, effects, ADR and music. The mix is done on an Icon D-Control on Screen Scene’s ‘The Centre Stage’.
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One of the big challenges is ensuring all the tracks can be seen by the mixer and the editors in their many different configurations at all times. Screen Scene engineers solve this by ensuring source pictures can be accessed ‘live’ from the Unity storage system as DNx36 files, feeding directly into The Centre Stage’s Christie projector.
A TRULY MASSIVE AMOUNT OF AUDIO
• Pro Tools connectivity in the mixing room enables the sound team to work with 800 virtual tracks
35 Media Composers as well as Avid networked storage are used to turnaround the news production at the Cannes Film Festival
CANNES FILM FESTIVAL
Keeping up with what’s happening at the Cannes Film Festival can be hard work, with 100s of films screened each day and news breaking every hour. However, each year Avid rental company Cap’Ciné puts in place a powerful fast turnaround news production platform for the 12 days of the festival that makes use of more than 35 Avid Media Composer systems and five Avid ISIS and Avid Unity networked storage systems. One of the users of this set up is a channel covering everything from photo calls and press conferences to red carpet events, called TV Festival. Broadcast via Canal+ and Orange
“Each year we’re
producing more material in a tighter timeframe. This is our 11th year and we’ve never been off air.”
JEAN-PIERRE MOREAU, who manages the TV Festival channel at KM Productions
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web and mobile sites, the channel’s content is broken into two four-hour blocks each day. The only way to deal with this schedule is to use a tight workflow that can absorb the production peaks and anticipate the needs of the 120 staff that work on TV Festival.
All material is recorded directly onto
an Avid ISIS 5000 networked storage system. From there, it’s immediately accessible by eight Avid Media Composer systems for editing before being played out on an EVS server. Avid Interplay ensures all the media is tracked and managed, and Interplay Assist provides a simple interface for logging and shot selection.
AIRSPEED KEEPING CONTROL OF CONTENT
• Airspeed digitises both the rushes and the final piece so it can be archived by TV Festival, Orange and Canal+
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