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MOBOs Benefit from CT’s Cut-Glass Image
The nature of the production dictated that the big screen specialists would need to field their highest-resolution display, and the Barco DLite 7 (situated upstage centre) provided the ideal technical solution for Julia Knowles of Scarlet Productions, who handled the TV direction.
The DLite 7 is a unique product, combining a 7mm resolution with short viewing distances, due to the extreme fill factor of the LED components. These were perfect attributes for a show in which the screen took a direct feed from the Visions high definition OB truck via an SDI link, bypassing the usual submix.
The signal chain started at front-of-house where content provider Richard Shipman, operating an ArKAos system, generated the graphics. These were then interspersed with the camera footage back in the OB truck — and a live mix sent to the screen on a direct signal path. The show was also edited for subsequent late night TX on BBC One — in the first of a three-year deal with the Corporation.
Julia Knowles confirmed that it had been her decision to shoot the artists straight to screen in order to minimise any frame delay and lip-synch issues. “I wanted it to be as free from delay as possible,” she said, adding that with so many close-up shots the screen also needed to be ultra sharp.
Visually, however, it was the inspired ‘sharded glass’ design of the set which arrested the attention of the arena audience.
Overall event production manager was Steve Allen. Creative Technology have a long association with Allen’s shows and have also worked with Julia Knowles — on various Top of the Pops Awards spectaculars.
25th October 2004
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