LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

Production of the Canadian Olympics Hall of Fame Gala

COW Library : AJA Video Systems : Mathieu Marano : Production of the Canadian Olympics Hall of Fame Gala
CreativeCOW presents Production of the Canadian Olympics Hall of Fame Gala -- AJA Video Systems Review


ilovehue
Montreal Quebec Canada
CreativeCOW.net. All rights reserved.


Being a Final Cut User group administrator and in a small video community like Montreal's always bring surprising opportunities. On our trip to the NAB Show this year, I heard Dominic Bourget, a good friend of mine -- who also happens to be the video account manager for Inso Media -- talk about a big show being recorded completely on KiPro, the new hard drive video recorder manufactured by AJA. I got back to him and offered to give a hand. I had heard great things about the device and thought it would be a good opportunity to work with it and push it hard...and we pushed it.

A month later, the biggest Canadian Olympic Hall of Fame event ever organized was about to begin. Vancouver had hosted the games, Canada had won a record number of medals and Canadians were in love with their athletes. Musical performances by top Canadian artists like Sarah Mclachlan, Ginette Renaud, Simple Plan and the Canadian Tenors were also part of the program.

The Hall of Fame Induction Gala was sold to both private channels that owned the rights to broadcast the Olympics in Canada: the English-speaking CTV channel and the new French-speaking V Tele channel.

Since both networks had very tight schedules, they could not afford to air the show without knowing how long it would last, given that some nominees, when offered an open mike, take more time than they are allowed. The show had to be cut down to a two-hour long master including commercial breaks, subtitles and packaging in both official languages. The show had to be on air 24 hours only after the event took place.

The gala was to take place at the Montreal Bell Centre, home of the Montreal Canadians. The day before, two mobile video and audio units were settled to capture sound and images during the event. Mobile recording and equipment supplier Karisma was in charge of audio recording and mixing. As for video, Dome had provided its amazingly well equipped Tribute HD video mobile, which includes a CCU desk for two, a deck room seating four and a huge control room able to welcome a ten people production team. Director Jean Lamoureux, known for his work on Celine Dion's Las Vegas and "Taking Chances" tour DVDs, was chosen to call the shots.

Early in the production process, it was decided to record all 10 camera feeds and programs using 12 KiPros. There were two reasons for this. Renting 14 KiPros (including 2 for backup) for two days is way cheaper than renting 12 HDCAM SR decks. Also, recording on swappable hard drives enables the production assistant to leave for post-production with the drives to transfer the ProRes files as soon as the show is finished, which saves a lot of time. Using the EVS requires to transfer all files (36 hours of ProRes) to a hard drive and then to transfer them a second time to the post-production SAN. Recording to tape was not even considered.

The rehearsal began at 9 a.m. on the day of the show. Dominic Bourget from Inso Media had provided most of the KiPro and was supervising the recording. Even though the KiPros were configured the day before, we went through all units once more before launching a 3-hour long record test. Every unit had house sync, timecode and HD-SDI from the patch. All 12 KiPros were plugged in a SMC GigE switch along with two laptops. The KiPro Web interface made it easy to monitor 6 devices per laptop via Firefox.The one thing that was missing at that time was an all-for-one-record function to start the recording of all the KiPros at the same time.

For two hours, everything ran smoothly until a window popped up on one of the laptops. One of the KiPros had stopped recording. It did not take long for Dominic to discover that it was burning hot. Since the KiPros were stacked 3 by 3 on a shelf, the ones at the bottom did not have enough air to cool down the drive. Its drive was removed quickly: no response. Dead!


KiPro before heating
KiPro before heating.


Turning the KiPros on their sides to cool.
Turning the KiPros on their sides to cool. All Photos are credited to Dominic Bourget.



Comments

Re: Production of the Canadian Olympics Hall of Fame Gala
by Mathieu Marano
Thanks everybody. And don't hesitate if you have any questions. Cheers!

Mathieu Marano
online editor - motion graphics - Post-prod director
Directeur technique de post-production
Le Bureau de post production

Administrator of the Montreal Final Cut User Group
http://www.finalcutmtl.org
Re: Production of the Canadian Olympics Hall of Fame Gala
by Chuck Pullen
Great article Mathieu, thanks for writing it. I do have a question regarding the overheating issue you experienced. I currently have one rack mounted Ki Pro and am thinking of getting a second. After reading your article I am having concerns about the spacing of the two, but since space is at a premium in my flypack, I think I will only be able to have one RU or so between them. I am wondering if you adjusted the fan's speed settings at all while you were setting up, and if you did, do you think it really made a big difference?

Thanks,

Chuck
Re: Production of the Canadian Olympics Hall of Fame Gala
by Mathieu Marano
At first the KiPros were stacked 3 by 3 without any space between them. The one tha overheated was under two other KiPros and between two other stacks of KiPros. After the incident we placed them on their side with 1 to 2 inches between them and all was fine for the 6 hours that followed without ever getting close to the heat they were first producing. I don't remembering messing with fan speed. They must have been at MAX.



Mathieu Marano
online editor - motion graphics - Post-prod director
Directeur technique de post-production
Le Bureau de post production

Administrator of the Montreal Final Cut User Group
http://www.finalcutmtl.org
Re: Production of the Canadian Olympics Hall of Fame Gala
by AJA Sales Department
The AJA Ki Pro features a fan which has various speed settings that can be user configured. The default state is to have the fan spinning at a consistent speed, Normal, but a Quiet Record mode and even a Quiet Auto mode that spins the fan down during recording for silent operation, are also offered.

An important thing to note about the Ki Pro is that it was designed to dissipate heat. Therefore, stacking units directly on top of each other is not recommended, as Mathieu discovered. The best choice is to place one unit per rack shelf or place the Ki Pros in dedicated rackmounts such as those produced by FEC or Markertek. This assures proper ventilation of the units. The Ki Pro draws air from the left hand side of the unit - if you are looking at the front panel buttons - and moves it across the unit, expelling it out the right hand side next to the power supply connection. The Ki Pro Storage Module on the top of the unit is finned to draw heat away from the harddrive or SSD housed inside of it, so it can feel warm to the touch.

The best practice is to provide adequate ventilation to the Ki Pro with respect to the sides and top of the unit.


--
AJA Video Systems
+1 (530) 274-2048 Intl.
(800) 251-4224 US
sales@aja.com
Re: Production of the Canadian Olympics Hall of Fame Gala
by Hilal Suhaib
Thank you for sharing this amazing experience with us.
Re: Production of the Canadian Olympics Hall of Fame Gala
by Tisha Carper Long
What an amazing story! Well done, all.

Tisha
Re: Production of the Canadian Olympics Hall of Fame Gala
by Kim Rowley
Fascinating! I saw the program and it's cool to be taken "backstage". Thank you

Dual 3 GHz Dual Core Intel, 4GB RAM, ATI Radeon X1900, Xserve RAID, AJA IO, 2 20" Cinema Display, FCP Studio 2 (6.0.6), OS X10.4.11


Related Articles / Tutorials:
AJA Video Systems
AJA Video Systems Celebrates 25 Years of Professional Video Systems

AJA Video Systems Celebrates 25 Years of Professional Video Systems

John Abt started AJA Video Systems with his wife Darlene in 1993 to develop simple digital parallel to serial and serial to parallel converters. Many of AJA’s products at their core continue to bridge connectivity and simplify pro video workflows through video up, down, cross format conversion. A great read that you will find at Film and Digital Times.

Editorial, Feature, People / Interview, Business
Film and Digital Times
AJA Video Systems
NAB 2013: AJA Video Systems

NAB 2013: AJA Video Systems

AJA Video Systems debuted its Ki Pro Quad solid-state portable video recorder for 4K camera-to-editorial workflows with Apple ProRes and RAW data. The new Ki Pro Quad supports 4:2:2 and 4:4:4 recording at HD and 2K resolution and real-time scaling from 4K/Quad HD to 2K/HD among its many other features. AJA also introduced its Hi5-4K Mini-Converter, which offers a monitoring connection from professional 4K devices to consumer 4K displays, and its Region of Interest Mini-Converter, which enables conversion and real-time scaling of computer DVI-D and HDMI outputs to baseband video over SDI. AJA also came to the show with lots of partnership news from Adobe, Avid and FilmLight as well as Quantel is now using AJA's Corvid Ultra OEM cards to power its Pablo RIO.

Editorial, Feature
Debra Kaufman
AJA Video Systems
IBC 2012: AJA

IBC 2012: AJA

AJA is unveiling several new products at IBC 2012, chief among them the Corvid Ultra, which supports 2K and 4K high-frame rate DI workflows. Corvid Ultra also features the new TruScale arbitrary scaling engine, which allows up and down scaling from web video to 4K. Also of note is a new line of USB3-enabled KiStor drives for Ki Pro and Ki Pro Rack as well as a new KiStor Dock with Thunderbolt and USB3 connectivity.

Editorial, Feature
Debra Kaufman
AJA Video Systems
AJA Ki Pro Mini

AJA Ki Pro Mini

AJA started shipping its first ProRes-based video recorder, the Ki Pro, in the fall of 2009. Recording via HD-SDI in ProRes was impressive, but the Ki Pro was too big and heavy to be useful for much in-the-field work. Now AJA has shrunk the Ki Pro down to a fraction of the original’s size, added some features, taken a few away, and dropped the price in half. Viola, you have the new Ki Pro Mini.

Review
Helmut Kobler
AJA Video Systems
Up-Converting SD for HD Projects and HD Cross-Conversion Using AJA Kona 3

Up-Converting SD for HD Projects and HD Cross-Conversion Using AJA Kona 3

Need SD upconversion for HD projects, and HD cross-conversion? Broadcast editor and Final Cut Pro community leader Shane Ross recently had a DVCPRO HD project shot with the Panasonic Varicam and HVX-200 at 23.98 that had to be converted to 1080psf 23.98 for delivery on HDCAM. After long research and experience with many FCP-compatible cards, he concluded that the AJA Kona 3 was the way to go. It even handles SD upconversion too, all in real time. Read why he chose this specific card, and how he got the job done.

Tutorial, Feature
Shane Ross
Recent Articles / Tutorials:
TV & Movie Appreciation
Gods, Marvel, & Maui: Making VFX on a Pacific Island

Gods, Marvel, & Maui: Making VFX on a Pacific Island

It's safe to say that there's no other VFX vendor in the world quite like capital T, let alone one that is constantly contributing to films like Marvel Studios' Avengers: Infinity War and Black Panther, as well as the critically acclaimed TV series, American Gods. What makes capital T unique is that they’re a two person, husband and wife team, who work from their home office ??" a beach house in Hawaii. You'll be inspired by what 2 people can do, if also a little envious of where they're doing it!

Feature, People / Interview
COW News
RED Camera
MEGAN: Award-winning Viral Fan Short Tests 8K RED Workflow

MEGAN: Award-winning Viral Fan Short Tests 8K RED Workflow

Along with the elite Delta Force team, the title character in the viral short film MEGAN investigates a mysterious attack in downtown Los Angeles after deep-sea drilling has unleashed the unknown. Achieving viral status online and film festival wins around the world, the 7-minute short is the latest in a growing trend where emerging filmmakers are impressing studios with proof-of-concepts that demonstrate an ability to stretch technology in a creative way. Shooting with the RED DSMC2 camera and HELIUM 8K sensor, the filmmakers used innovative approaches to VFX and workflow, including large LCD screens instead of greenscreen. The combination of the filmmakers' enthusiasm and exceptional chops caught the attention of major players on the Hollywood production and post scene, combining to create an inspirational reminder of just how much is possible when passion meets focus to spark creativity.


Christine Bunish
Editing SyFy: Editor Shiran Amir on Rejecting Rejection

Editing SyFy: Editor Shiran Amir on Rejecting Rejection

When talking about her career path, you get the immediate sense that rejection isn’t a “no” for Shiran Amir. There’s never been an obstacle that’s kept her from living her dream. From editing engine maintainence videos for the Israeli Air Force to assistant-editing local celebrity news, she packed up, moved to Hollywood, and kept doing whatever it took to reach her goal of editing scripted TV and film, experiencing lots of rejection along the way. "Reject rejection!" isn't just her advice. It's what she had to do herself, and in this remarkable story, she takes you on a journey that could be like yours if you reject rejection too.


Hillary Lewis
Adobe Creative Cloud
Deliver Work Faster Using Adobe Stock

Deliver Work Faster Using Adobe Stock

Having access to 8 million HD clips and 3.5 million 4K clips might not speed you up. In fact, it could easily slow you down! Sure, that's the size of Adobe Stock's library, but what sets it apart for the way you work every day is the tight integration with your creative applications, the AI-powered search of Adobe Sensei, how easy it is to work with the footage once you have it, and how quickly your work is shared across teams. Here's a closer look at the specifics of exactly HOW Adobe Stock helps you deliver your work faster.


Rod Harlan
Adobe After Effects
Compositing Secrets Everyone Can Use Pt. 4 - Advanced Alphas

Compositing Secrets Everyone Can Use Pt. 4 - Advanced Alphas

When most people hear the words "alpha channels", they think "transparency", but that's not exactly accurate. The truth is more complex, and a quite bit more interesting! Join longtime VFX artist, editor, software developer, and business owner Simon Ubsdell for Part 4 of the best look behind the technology of compositing that you've ever seen, packed with practical advice for applying the secrets of alpha channels that's simply not possible before understanding these underlying principles. No matter which applications you're using for editing, compositing, or visual effects, this one is a must-see!

Tutorial
Simon Ubsdell
MORE
© 2019 CreativeCOW.net All Rights Reserved
[TOP]