theibcdaily Saturday 14.09.13 39


British Museum hosts live cinema


SIS Live By Ian McMurray


Jockeying for pole: Rotolight Anovas used on a shoot for the Young Drivers Autosport Awards at Silverstone by Make Television


Solo Anovo answers studio’s needs


Rotolight By David Fox


Rotolight has expanded its Anova range with four new Anova Solo Single Colour Flood lights available in daylight or tungsten, in either Standard (50º beam angle) or UltraWide (110º beam angle) versions.


These have been produced in answer to requests by studios wanting to upgrade to LED, who would prefer single colour lighting systems, that had slightly more punch. “The bi-colour has two different


coloured LEDs that mix to create the changing colour temperature; the solos will have one type of coloured LED calibrated at 5600K or 3200K giving 35% more brightness),” explained Rotolight marketing manager, Alex H-French. “Each Solo Anova will include a range of colour- calibrated filters and will be 10% less expensive than the bi-colour but still include the same revolutionary features.” Rotolight has also released an upgraded range of bi- colour Anovas, with increased output and better colour rendering. The Anovas can also now be joined together to


form large panels or large light- rings and IBC marks the first Europe outing for its new 6kW RotoFlood Ring, which it claims is the world’s most powerful LED softlight ring. The ring of six Anovas leave a central aperture for a camera to shoot through, while 19mm railmount brackets allow it to be mounted together with the camera. Its flicker-free output makes it ideal for super slow- mo work, says Rotolight. There are three Hex kits available (with the six lights, support plates, stands, and if necessary, rails), for photographic or


cinematography applications. 11.D69


The first ever live cinema event produced by the British Museum from a major exhibition was delivered by SIS Live during the summer. The Life and Death in Pompeii and Herculaneum exhibition features objects recovered from the ruins of Pompeii and Herculaneum in 79 AD. The programming was


broadcast at 279 cinemas around the UK, with over 1000 more cinemas from 55 countries across the world recording the feed for playout later in the year. SIS Live provided


consultation on all aspects of the production as well as providing all technical crew, lighting crew and broadcast equipment, and organised much of the production crew including the director, floor manager, vision mixer and script supervisor. The programmes featured a mix of pre-recorded inserts, live


Up Pompeii!: SIS Live helped the British Museum reach 55 countries


presentations and interviews. Pre-recorded material was captured over four days in the run up to the event by a PSC unit comprising two handheld cameras, one steadicam and a jimmy jib. The live show was delivered by five cameras plus a jimmy jib, with autoscript facilities offered through three of these. Signals from these cameras and from sound sources were routed through two TAC12 cables which followed a complex route passing underground, through the vaults and passageways beneath the British Museum, strung up over public walkways and out to the OB unit parked outside. 1.C55


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