26 TVBEurope Workflow
I needed a system that enabled us to produce content to a very high broadcast quality at speed without spending a fortune,” explains Ryder.
She goes on to say that image quality, the
recording of the macros, plus the ability to integrate social media elements, were key in making the decision to purchase the TriCaster 8000. “I did look at other systems, but it came back to our particular workflow requirement, and we ended up designing the studio around the
“We liked the name and the many things it stands for - something spicy, tasty, sharp and with a number of varieties” Fiona Ryder, Mustard TV
TriCaster so that we could produce a minimum of an hour and a half of original broadcasting per day with a total team of 15.”
Before the final decision was made, NewTek provided a demonstration at the premises of Mustard TV utilising the Canon XF105 cameras which had been purchased for the self-shooting video journalists. “Chris Waddington of NewTek has been great and has provided a great deal of training for our people here in Norwich. And since the installation he has been back to make ‘tweaks’ to meet our specific requirements.”
Ease of use Ryder says that although Ofcom technical standards are met, there is not the opportunity to quality control everything that comes into the studio, so the output had to be regulated in just one system. “It also had to be quick and easy to learn. We made it part of our bid that we would help those who are starting out in their careers in TV production.” Ted Stoltz, presentation and scheduling manager, takes up the story. “I’ve used other systems in the past where you may have several camera inputs, plus a couple of multimedia feeds, each of which requires an operator. So, immediately before you send out a picture, you need a couple of cameramen and others – a team of maybe seven persons.” Stoltz says the TriCaster combines that into just one person in one board. “Even for someone with no experience of production systems, the TriCaster operation can be operated confidently within a week – or two at the most.”
Three cameras are used in the studio, one JVC 600 – which is locked off and fitted with Autocue for the presenters – and two Panasonic PTZs which are remotely controlled through a panel in the gallery. The virtual sets – one for each programme genre – were designed for Mustard TV by specialist Mike Afford. These virtual studios were built in Cinema 4D Studio and supplied as a ‘TriCaster-ready’ layered Photoshop file, which was then imported into NewTek’s Virtual Set Editor. “We wanted something quite sophisticated,” emphasises Ryder. “Those who create quality virtual sets need to understand camera positions, where the lights will be placed and so on. It’s not just a case of loading in some layers.” Each camera position has its own associated virtual backdrop and these can be saved within a template on the TriCaster. By selecting the appropriate production name – news, for example – each camera output on the programme and preview buses is automatically associated with the correct background. One important element in the programming of the channel is the integration of social media. Ryder explains, “We wanted to include the ability to include phone conversations and Skype interviews and for a station of our size, that is quite ambitious. That enables us to interact with our community in a way that is quite different.”
Graphics for the shows are produced in Adobe PhotoShop and then imported into the TriCaster, while edited material from Adobe Premiere is handled in a similar fashion. All the assets are loaded according to the programme running order, allowing all the media to be stored in one place and instantly available to the director. The system can be configured to trigger moving graphics or video packages either manually by the director or when the source is taken. Now that the Norwich channel is up and running, and the comparative ease of making live or as-live production with a limited number of personnel and a ‘challenging’ budget, it is anticipated that the operation might well serve as a template for other local station licensees.
www.tvbeurope.com September 2014
Mustard TV’s green screen studio is clearly seen through the window of the production gallery
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