OB talk:Woodstock 2010

--Michael.chislett 11:55, 30 May 2010 (UTC)If I've missed anything, shove it here. discussion here too...

Mike

aspect ratio fun:

• I think if the clever Nvidia graphics idea doesn't come up with anything by the end of your answeres rubbish (tuesday), we'll have to call it as all 4:3. (aww, I was looking forward to 16:9...).
• To give us a better chance next year at going widescreen, my suggestion is to also record widescreen 16:9 footage at the same time on the HD's and the Sky cam (like, a tape in each cam). Anyone brave enough can then edit up some 16:9 with sound from our digital copies and from VTA/VTB (whichever one ends up serving the mainstage), the sets from this year are then usable whatever happens next year...
• Sky cam location, your location seems good Malcolm, - i'd forgotten about the trees! , Can you slap that into the notes section?
• I'd say more now, but apparently I have some "jeff" acting to do for Manm Man at 10am... as long is it doesn't involve jam!

Sources

Main Stage only

HD 1 (stage)

HD 2 (stage)

HD 3 (stage)

Howard (stage)

Sky Cam (V139)

Canon (balcony)

VT PC (control room)

Indoor Stage only

MS5 1 (stage)

MS5 2 (stage)

Small Cam (for drummer etc) (on stage)

Smallish Cam (back of hall)

VT PC ? (control room)

Destinations

Main Stage broadcast

Main Stage Rack

• VT 'P169'
• Main DA
• DaVE P169
• DaVE

Main Stage DA (looking at the back, this is what the DA will look like)

	DA 01	DA 02	DA 03	DA 04	DA 05	DA 06	DA 07	DA 08	DA 09	DA 10	DA 11	DA 12	DA 13	DA 14	DA 15
INPUT	HD 1	HD 2	HD 3	Howard	Sky Cam	Canon (balcony)	VT PC	DaVE P169 A Out	DaVE P169 B Out	DaVE P169 C Out	DaVE P169 D Out	DaVE OUT	Graphics	SPARE	SPARE
Output 1	VT P169 1	VT P169 2	VT P169 3	VT P169 4	VT P169 6	VT P169 7	VT P169 8						VT P169 5
Output 2
Output 3
Output 4								Prev Mon	Prev Mon	Prev Mon	Prev Mon	Prev Mon	Prev Mon
Output 5
Output 6				DaVE P169 4 IN	DaVE P169 6 IN	DaVE P169 7 IN	DaVE P169 8 IN						STREAM
Output 7	DaVE P169 1 IN	DaVE P169 2 IN	DaVE P169 3 IN	NO 7th OUT	NO 7th OUT	NO 7th OUT	NO 7th OUT	NO 7th OUT	NO 7th OUT	NO 7th OUT	NO 7th OUT	NO 7th OUT	NO 7th OUT	NO 7th OUT	NO 7th OUT

All 7 inputs (listed above) into 7 sequential DA inputs.

An output from each of these seven will be fed into DaVE P169 (but omitting input 5 as it brightens the image).

Only use one of each pair of outputs from DaVE P169 (especially in the case of output 'B' as it struggles with both), feed each of these four into the DA, then one of these four DA outputs to a preview monitor, the other to DaVE itself.

Dave out into corriogen and the broadcast signal out. Broadcast into a DA and out to a preview monitor and also to a computer for world wide transmission.

Since VT 'P169' doesn't currently have a use, it could be used for controlling preview monitors. though this is a bit of a waste and there will probably be a better use. Also having preview monitors with variable sources could be confusing. Somtehing to think about later possibly.

Remember to put DaVE's B&B into VT P169

Preview monitors:

4 DaVE INs

DaVE Preview

DaVE Out?

Graphics Out (assuming we have graphics for ticker bar etc.)

Possibly Another four selectable from VT 'P169's eight inputs. These 8 inputs will probably be the 7 inputs to DaVE P169, and possibly graphics.

Indoor Stage broadcast

OB Trolley with very little alteration.

Use the 4->1 PIP and already-mounted monitor. Also have a monitor for the main out and one for VT PC, or whatever equivalent is dedicated to the indoor path.

Inputs to the DA:

• Wide
• Stage Left
• Stage Right
• Switch (VT PC / Drummer)
• VT PC (or equiv)
• Max Out (even if Max duplicates its output, which I don't think it does, the preview should be as late in the path as possible)

Main Stage DA (looking at the back, this is what the DA will look like)

	DA 01	DA 02	DA 03	DA 04	DA 05	DA 06
INPUT	Wide	Stage Left	Stage Right	VT PC / Drummer	VT PC	MAX Out
Output 1	4-1 PIP	4-1 PIP	4-1 PIP	4-1 PIP	Prev Mon	Prev Mon
Output 2
Output 3	Max 1	Max 2	Max 3	Max 4	VT / Drum Switch	STREAM
Output 4

(Only Four outputs and one loop thru I think)

Cable Runs

Main Stage:

• Sky Cam (V139):
  • Trail cable out of V120, across balcony (NB the boards which make up the floor of the balcony may accommodate the BNC nicely, alternatively weave it in the rails. Loop cable around window frame, secure to tripod and plug into camera. Camera running off mains power from somewhere in V139, may require a medium length extension lead.

• Howard (marquee roof):
  • BNC from howard, taped to howard and secured to frame, not dangling from socket. This trails down whichever side of the frame is most convenient, and probably goes into a video over cat5e box. Also needs power over 4-pin XLR, and control over cat5 to go all the way to the roof. Preferably check Howard works before they finish putting things on the roof, so we can tell them to take it down to be fixed, or just to adjust something on it, plug something back in etc. At the very least if it doesn't work we can know not to use it or lay cable for it.

Signal over BNC all the way to V120

• Three HD Sonys
  • Umbilical to each camera, secured to the camera/tripod to put as little strain on extension and socket as possible, possibly also have s-vid bodge(s) and cable ties or tape nearby in case one of the sockets goes faulty. Video from probably all three into a video over cat5 box.

Broadcast signal along cat5 TO stage to feed preview monitors for camera ops.

Balcony

• Two xlrs, one for the omnidirectional caged mic as main stage sound backup, the other for the rifle mic or cardioid which the presenter uses.

• Comms for presenter (the camera op should know what they're doing, and can receive cues from the V120 window).

• Non-Firewire Canon
  • BNC for camera, from V120, to balcony railings, into breakout cable and Camera.

Indoor Stage

Cat5 doing either 3 cameras from the hall to the control room. BNC should go on the wide shot camera (more reliable than over cat5, also makes the most sense in terms of where cables go). Have a BNC from each of the three cameras near the stage running to the cat5 box under the stage, cat5 cable running to back of hall and out of window. Reduce chance of damage to cable by taping it close the the wall, standard cable guards etc. Hopefully no alterations will need to be made, if they are someone will have to crawl under the stage.

Mains to power cameras, I haven't specifically asked for this but there shouldn't be a shortage of power, given all the mains sockets on the walls anyway.

All indoor stage video cables to V122

Also will need a BNC cable from V120 into V122 for VT PC's output, if there's no equivalent computer dedicated to the roll in V122.

CAT5 ADAPTORS

Will have the powered one in the hall, and the passive one on the main stage. This will of course only work if the passive one can send a decent signal all the way to V120 from the main stage. I think the distances to the two stages are about equal anyway.

• Advantages:
  • Powered one caters for three signals, we have three cameras on indoor stage, one cat5 to back of hall and out of window towards V122 (avoids having three bncs running across the hall, saves cable length, simplifies run, fewer potential fault points etc.).
  • Main Stage is more important, the passive sender sends one signal on each pair, they're completely isolated as far as I (Malcolm) know. If one pair develops a problem we still have three good camera signals being sent along the cat5.
  • Is bidirectional, the monitors at the main stage will receive signal, uses one of the less-reliable and lower-quality cat5 pairs rather than a BNC for low-priority monitors.

• Disadvantages
  • May not be powerful enough to send signal, would prefer signal from main stage to be good.

Comms

Mostly still to write down.

Main Stage Monitors

Broadcast out (or maybe pre graphics) along one of the cat5 pairs via the passive sender, to the main stage receiver (the sender and receiver are identical) along a BNC to a monitor, from that monitor's loop through to the small homemade test monitor. Need 12v supply and IEC lead.

URY

Three Good XLRs from URY (stereo balanced main stage and mono balanced indoor stage). One BNC cable going to them for their preview of YSTV. These leads will follow the route out of the SCR, over the JCR roof, into V122 via a window, out of V122 via a window (supports cable), into V120.

Obviously the Indoor stage mono audio won't need to go to V120, so will go into Max in V122.