WOLVERHAMPTON SCREEN SCHOOL CASE STUDY WITH PURPOSE
“And with Avid NEXIS, we gain from having localised pools of storage across all departments. This allows students working on different courses to work collaboratively which is really progressive. For example, the mo-cap students can feed into gaming and a project can go full circle across multiple disciplines. From studio production to editing, game development and audio mixing, we have an integrated and elegant workflow across the building and even off site with NDI.”
WORKING WITH ALTERED IMAGES INDUSTRY STANDARD KIT ACROSS THE SITE
Martin Evans, Principal Technician for IT, University of Wolverhampton: “Our original kit list was very different and Covid changed that specification towards a more studio industry standard camera-chain with JVC cameras feeding into a Newtek Tricaster that writes directly to an Avid NEXIS server.
“Our old studio had none of the bells and whistles we now have. We wanted to build in future-proofing so that we can stream directly to the web as well as having a more traditional output. Having NDI also allows us to access data across the building and externally, which is especially helpful for the journalism department.
“We can now provide virtual sets, based on greenscreen, supported by Unreal Engine. Newtek is a good fit for us and we can easily bring in graphics. The new studio is way beyond what we were hoping for right the way through to the latest LED lighting with effects that we hadn’t even thought about.
“Avid Pro Tools and the Avid S3 consoles were recommended for the Foley room and recording studio. Not only does this offer best-in-class audio mixing but being industry standards, our students can learn their craft and translate that knowledge into their future employment prospects where the same applications and similar desks will be familiar.
ABOUT ALTERED IMAGES
Altered Images are leading experts in workflow system design and major resellers of technology for broadcast, television production, education and corporate communications.
Altered Images has a highly skilled team with decades of experience serving the UK creative industries. Every project we undertake has its own unique requirements and we look to tailor technology choice based on what the project needs, rather than a one size fits all approach. The Altered Images team has a detailed understanding of the production business, the way visual communications technology works, how it can best work together and critically how production professionals can get the most out of it.
We pride ourselves on our pre-sales consultancy where we work with our customers to identify the best technology solutions. Our skilled engineers take the headache out of the install and we offer unparalleled post-sales support and maintenance expertise. Whatever your requirements, whether it’s advice on systems and installations, hiring in equipment or buying the most up to date production technology, come and talk to us and we will deliver the very best service available.
Dr Pritpal Sembi: “When we encountered problems, many beyond our control, like supply issues during Covid, Altered Images always found alternatives and solutions. The tech team has been fantastic throughout the build. When we thought we might fall flat, they picked it up and made it happen.
“I would definitely recommend Altered Images. No matter how current our staff might be, we’re not seeing the wider picture of what industry facilities across the country are offering. Altered Images have that broad overview. They are part of that conversation as well as being in touch with the vendors. And that knowledge, network and understanding fed into the project.
“I couldn’t have envisaged just how well it has come out. I am over the moon with it. I never tire of walking around the space. I love it.”
alteredimagesltd.com
Images, © University of Wolverhampton
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132
