Bob King
Forum Replies Created
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look at doing a video wall with something like this… https://bit.ly/a7CNfh
You would get the benefit of the LCD and the size of the projection. You would need a video wall processor to handle the edge butting or you could do it with a Spyder or Encore.
-bk
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What time of day does this happen?
What is the orientation of the screen in with respect to the sun?
Do you have the budget for an LED wall?
What is going on the screens?
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This is what we use. https://www.sorensonmedia.com/video-delivery-network/
You upload to Sorenson and they provide cloud based delivery.
-bk
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You could, depending on the venue, ground support a truss box (40’x40′) off Genies. This would get a ‘flown’ rig and also give you somewhere to hang PA. You can light the ring with PARs. I think the budget that’s already posted is about right.
If you look at a PPV fight done in Vegas, they won’t use a much more complicated rig, just a larger one with some movers and leko specials.
Hope this helps.
-bk
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Props to these guys! (pun intended) https://vyonyx.com/category/down/cutout-people/
I’ve used their stuff a bit instead of the zygote.
Enjoy!
-bk
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Don’t know if I’m too late on this one or not. I would suggest you look at a Barco ScreenPro II – EH. It is pretty much the de facto work horse presentation switcher (currently) for the rental and staging business for use in single screen events. It is a strong switcher in the sense that it can take in pretty much anything and scale it to match the projector. It also has a separate scaled output that can do the record feed.
Beware: just like any other solution offered in this thread, here there be monsters… The two big drawbacks to this switcher are the delay when previewing a new input and the steep learning curve. If you are only switching one camera, the scaling delay won’t be that much of an issue. The steep learning curve can be offset by hiring a freelance staging video engineer. Make sure he comes with references.
I understand what you are running up against. Please understand that you are making a huge transition from operating in a studio/post environment to what amounts to a walk through the Wild West. Hiring a good staging video engineer will solve most of your problems. It’s a different skill set.
Hope this helps.
-bk
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+1 for the KiPros. I used them recently to both record HD-SDI and transcode to SDI for a satellite shot. Great boxes. Spoke with AJA at NAB and they are only going to get better with the new firmware (machine control, firewire out, etc.)
We’ve got four and are looking for more.
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Look at the AJA KiPro. they are supposed to be releasing a new firmware this summer that will allow for sync rolling via timecode or machine control. We use a Shot Box for all of our sync roll stuff in our shop. These are fairly cheap to buy and cheaper to rent.
Currently, we use Grass Valley Turbos. If sync rolled using the Shot Box, they will hold sync for at least 15 minutes. I have done this on a 7 projector blend fed with four HD stream from four Turbos and the image is seamless.
If all you need is sync roll and not frame accuracy, Playback Pro or Qlab should do the trick. Both are Mac based.
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Take a look at QLab. Very versatile. Used in a lot of theatre and is VERY cue-list / timeline oriented. Also offers a rental license. Everything is based off OS X Core frameworks. Chris is a great developer and is very responsive.
Cheers!
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Here’s how I do it… https://bit.ly/biNoKH this is done in C4d 11.5 latest.
The IMAG camera has a target tag that looks at the zygote man. I had to move his center around a bit for proper framing. It also has an Align To Spline tag that handles the dolly move.
The screen has a material whose illumination channel is hooked to the IMAG camera with a Moggraph camera shader tag.
I find that this is a cool effect, but most people don’t want to pay for an animated render to use as a sales tool in our industry. Even though the cost of my render farm on Amazon EC2 is less than $35/hr, no one want to drop coin right now (we have enough trouble getting them to pay for trucking).
This is useful for showing camera angles to directors and producers using still shots.
On a side note, watch out for the chairs when you do theatre seating. Even low poly count chairs crush the render time when you try to seat a couple thousand PAX. I find that it’s best to spread out the seating and offer a glimpse of the concept of seating. 🙂