78 TVBEurope The Workflow On the up: The team at Green Rock, based in London


www.tvbeurope.com September 2013


Green Rock wrapped up its first stereo 3D series, Monster Trucks, for Sky 3D


Green Rock depends on a robust video editing, conversion and monitoring infrastructure built by owner Simon Green


Green Rock breaks out


London-based Green Rock opted for AJA technology to complete post production as well as video editing and monitoring for docs, television shows and live concerts. By David Stewart


IN 2008, AT the height of the financial crisis, Simon Green took a gamble in launching Green Rock — a boutique post production shop based in London. Five years later, the reward proved greater than any risk. Today, the studio is thriving with several projects under its belt, including concerts for artists like Justin Bieber, Neo and The Killers that air on MTV UK, as well as


documentaries and TV shows for the BBC. The studio’s six- person team recently wrapped up its first stereo 3D series, Monster Trucks, for Sky 3D, Europe’s first 3DTV channel. To complete each project,


Green Rock depends on a video editing, conversion and monitoring infrastructure built by owner Simon Green. The facility houses two AJA Kona 3 cards and four Kona 3G cards with


breakout boxes that are integrated into six Apple Final Cut Pro edit suites, plus three HD/SD-SDI to HDMI mini-converters. When Green originally began


investing in gear, he wanted to ensure that the studio was set up for proper video editing and monitoring. He says, “I heard that Kona was great for editing and monitoring, especially with Final Cut Pro. I installed the cards, and I’ve had no reason to


go elsewhere. I know how they work and understand the theory; it’s kit that I just trust.” The cards and breakout boxes


have become a necessity for Green Rock’s day-to-day operations. “We use our cards for every project and they’ve been fantastic, especially for transmitting signals for viewing on internal plasma screens or converting a Mac Mini HDMI signal to an SDI feed,” Green explains. “They’re so versatile; if we have a video signal that we need to get into another room, all we have to do is convert it and then run the signal through the walls.” All of the edit suites in the building are connected by an


SDI feed built into the facility walls. The breakout boxes allow Green Rock to patch video signals that feed into monitors in the studio’s voiceover booth. A Mac Mini in the voiceover booth is used to convert the HDMI signal out and into an SDI signal for the edit suites. As a result, artists in the voiceover booth can see the same footage that the editors are working on in realtime and communicate via FaceTime on the iPad. “I never have to waste resources trying to find new kit. AJA really understands what we do and what we need,” he says.


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