Vancouver’s Winter Olympic Spectacular Begins And Ends
With Fairlight
With a worldwide audience of approximately
three billion spectators, Australian production company David Atkins
Enterprises (DAE) pulled out all the stops to make sure the opening and
closing ceremonies at the 2010 Olympic Winter
Games
in Vancouver were both spectacular and hitch free.
Despite a
small glitch with the fourth leg of the indoor cauldron, which failed to
rise during the opening ceremony, the two shows were deemed a huge success
when they took place at the 55,000-seat BC Place
Stadium on February 12 and February 28 respectively.
Behind the scenes, it was Fairlight
technology that once again played a vital role. Already being used to edit
the broadcast sound provided to German audiences by ARD and ZDF, Fairlight
technology was now also a central part of DAE’s technical infrastructure.
DAE relied on
four Fairlight Xynergi systems to deliver equally
faultless audio for the two ceremonies. A total of four Xynergi systems were
used – two for main playback and two for backup. As well as handling the
audio requirements, the main Xynergi systems also provided the master time
code for all other systems including video projection (from ETC), film
projection, pyrotechnics, lighting, automation, lasers and show call. Even
the conductor and performers relied on Fairlight as they all received their
click and cue tracks from the Xynergis.
Fairlight’s Xynergi Media Production Centre, which harnesses the processing
power of the company’s Crystal Core technology (CC-1), incorporates
integrated PyxisTrack video and
features the Xynergi controller, a desktop user interface that allows
engineers to access all features and functions of the Fairlight CC-1, as
well as commonly used Windows applications.
Xynergi offers a much faster editing and mixing interface and has the
ability to handle
all widely used surround formats.
DAE’s Steve Logan, who along with colleague Rob Stefanson was in charge of
the Fairlight operation, says: “The demands required for these productions
utilized almost every aspect of the facilities provided by Xynergi, but most
importantly Fairlight’s legendary reliability.”
Both shows
were edited on the Xynergi using media imported via Broadcast Wave and OMF
files. QuickTime videos were also imported for reference during editing. The
Xynergi’s unique clip based EQ and level was used extensively to master and
balance the many segments involved.
“The
separate systems consisted of one Xynergi as the main playback while the
second Xynergi was a looping and A/B roll system providing continuous audio
program,” Steve Logan explains. “This allowed for easy transition between
the two systems using some very clever editing and synchronization that only
Fairlight could do.”
Multitrack
stems were fed to front of house, monitoring and broadcast consoles via
multiple MADI streams. The Xynergi’s also provided simultaneous stereo and
surround submixes. To ensure that no act of God disrupted the two shows, DEA
had an identical mirror system as back up, running in parallel and in sync.
Logan
explains: “This precisely duplicated the front house and monitor consoles.
The idea was that if a complete power failure happened to any of the main
systems, we could switch to the backup without interruption. Although all
four systems were running, the backup systems were powered from separate UPS
power supplies.”
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Producers Upgrades Audio Facilities With Fairlight Technology Producers' Video Corporation is a Baltimore-based facility that offers US broadcasters and advertising agencies a full service covering everything from location shooting through to audio and video post production. in recent months, the company has completed a major overhaul of its audio facilities to bring them up to the latest technical specifications. As part of this process, Producers has installed two Fairlight Constellation XCS consoles, featuring a Xynergi centre panel and running on Fairlight's latest Crystal Core (CC-1) engine. Producers Senior Audio Engineer Bob Bragg said: "Before choosing Constellation XCS, we thoroughly investigated every major integrated professional audio product on the market. In the end, the Constellation consoles won out because there were no other products on the market that offered such an extensive range of features at such a cost-effective price point." Producers is no stranger to Fairlight technology, having previously used the company's QDC/FAME systems. Bob Bragg said: "We've always striven to have as much integration in our equipment as possible - that's what pointed us to the FAME systems back in 1997, because we like the integrated mixer/editor concept. Fairlight has now taken it to the next level by adding HD video in the timeline, flexible file import/exporting and VST plug-ins. In post production these days everything is all about work flow. Speed and flexibility are absolutely vital and Fairlight has really taken this seriously with all the new features it has incorporated into Constellation XCS. Even our multiple Terrabyte FX library is integrated within the box with Audiobase3. We don't have to switch applications to search our sound libraries and spot them into a project, which is a major advantage as it saves us so much valuable time." Bragg adds that having the ability to ingest picture and import and export most file formats is also helping to speed up workflow, leaving staff free to get on with the job and get the finished project over to the client more quickly for final approval. He said: "I also like having a variety of EQ and dynamics on the channel strip of every channel without having to load a single plug-in. This saves time, plus the native processing sounds sonically superior to most of the plug-ins that I've used on other systems." Bragg said that, as a long-time Fairlight user, he has adapted easily to the built-in Xynergi interface and the new CC-1 engine. Less experienced engineers have also taken to the system quickly because it is so intuitive to use. He said: "We set-up our first Constellation system for training several weeks before the installation so that we could provide our engineers with training time without the normal pressure of a busy day with a client. I would advise any other facility with the space to adopt a similar approach because it does give staff an opportunity to become familiar with this new technology. Having said that, the Xplain help buttons and the unrivaled support we've gotten from Fairlight US really helped us to get to grips with CC-1. Now we're comfortable with the general operations and we're continually adding the advanced features to our skill set."  Producers handles large volumes of regional and national television spot work, all of which have to be delivered to very tight deadlines. The facility is also tackling an increasing amount of ADR work and Bragg said that everyone is very excited about the 'great' ADR features on the new Constellation systems. He said: "It has beeps, streamers and even support for on screen script. In keeping with any facility that is moving to a more up-to-date technology platform, there is always the worry that archive material might not be compatible. Producers was concerned about this because it has 12 years of archived projects that clients need access to. "It turns out that our concerns were unfounded because Fairlight has made the legacy projects loadable in the new editing format. In our first week with the new equipment, we had a client who needed to re-edit and update work from 2003. It was seamless." |
Standing for Pyxis Multi-track, Pyxis-MT is a versatile audio and video capture, playback and file transfer system that combines the functionality of a fully featured HD non linear recorder/player with a professional 192 track audio recorder built in one. The system provides true HD VTR performance and includes Fairlight’s extensive drag and drop file handling capabilities. Powered by Fairlight’s Crystal Core engine, Pyxis-MT can record up to 96 tracks of sample locked, floating point audio along with High Definition video. An additional 96 tracks are available in the track laying process for track hungry applications.
Fairlight’s Pyxis-MT system, the first of its kind to be installed anywhere in the world, has taken pride of place in a new facility built on Warner Brothers’ stage 1-2-3 for Telepictures, the production company responsible for producing The Ellen DeGeneres Show. It was specified by systems sound consultant David Crivelli. The tapeless high definition facility was built and engineered by systems integrator National Teleconsultants.
“As a former Fairlight user I am always happy to recommend the company’s workstations because they are dependable, consistent, easy to use and capable of delivering exceptional sound quality,” Crivelli says. “In this particular case, the engineers using the new facility were making the transition from tape to a tapeless High Definition environment. The audio requirement was complex because the show features music performances as well as Ellen’s comedic monologues and interviews with celebrities and members of the public. This meant there was a need to record multiple tracks of isolated audio and to link this to picture so that daily rehearsals could be reviewed and remixed prior to recording for taping.”
To ensure that the show captures the excitement of the on-stage performances, everything is shot in sequence in real time as though it were live taped as live. The Fairlight captures 48 tracks of audio along with video during the rehearsal earlier in the day. The mixer, along with the music guest engineer, are able to replay the rehearsal and modify equalizations, balances, and dynamics of every instrument discretely until all parties are happy. During the recording of the show, the dialed in parameters are applied to the actual music performance. If all goes well, no remixing is required. If the musical guest is not happy with something, the Fairlight is used to remix and perfect the area of concern.
“For The Ellen DeGeneres Show, The Pyxis-MT is used as a live multi-track recorder that is connected via MADI to a Studer Vista mixing console,” David Crivelli adds. “The final program mix is carried out in the console but thanks to the system’s editing capabilities, editors can instantly locate the exact point where a remix is required. They can also copy and paste in post production mode to capture different elements of the performance and they can easily export the time stamped audio to a non-linear system using time code referenced broadcast WAV files. This allows editors responsible for the final delivery to seamlessly drop the newly mixed audio back into their timeline for the blending and conforming prior to the delivery of the show.”
The Pyxis-MT installed at the new facility has a Black Magic HD Link video card that makes it very easy to archive performances and retrieve audio and video from previous shows if the material needs to be re-purposed. Since the Fairlight has video capabilities built in, there is no need to repurpose expensive video servers to work with the workstation for video accompaniment.
Crivelli says: “This is such an easy system to use that in just a few weeks the show’s engineers have quickly become adept at operating it. It doesn’t need a controller because all of the software features are managed via a mouse/keyboard. Using Pyxis-MT as a multi-track recorder is a bit overkill because it is capable of so much more. Having it installed gives the facility the opportunity to multipurpose the room. At any time it can be used for post production when it is not being used for the show.”
Now in its sixth season, The Ellen DeGeneres Show began shooting in High Definition in September 2008. This coincided with a move to Stage 1 at Warner Brothers Studio in Burbank, California, after NBC sold the property where the show was previously taped. Produced by A Very Good Production and WAD Productions, Inc. in association with Telepictures Productions, the show airs in national syndication, including on the NBC Owned and Operated Television Stations Group.
U.S. Broadcasters Move to Fairlight CC-1 Platform
U.S. sports broadcasters Major League
Baseball Productions and World Wrestling Entertainment have both moved to
Fairlight's new CC-1 platform in an effort to improve their speed of
workflow and networking capabilities.
Major League Baseball Productions are installing two CC-1
powered Fairlight Constellation large-format mixing consoles, both with the
new Xynergi Centre Section (XCS) and PyxisTrack HD video. The production
company has also invested in a Pyxis HD server to network video to the two
consoles.
In January 2009, MLB will launch its own HD/5.1 cable
network, which will reach over 50 million homes and is being billed as the
biggest cable TV launch in US history. The company will also soon be moving
to the all-new facility shared by the MLB Network.
The second
sale, to World Wrestling Entertainment, involves five Fairlight Xynergi
Media Production Systems, all with PyxisTrack HD video. A Fairlight user
since 1997, WWE TV made the transition from the QDC platform to CC-1 as part
of a general overhaul inspired by its switch to High-Definition.
Chris Argento, VP of post production at WWE TV in Stamford, CT, says, "In
January 2008 we moved to HD and that fuelled our decision to invest in
Xynergi and the CC-1 engine. Previously, we had four Fairlight systems, all
with QDC engines, as well as Pyxis in each of our mix rooms and a Medialink
server to tie them all together. Fairlight's reliability and speed have been
the biggest factors in staying with the company for our post needs. These
attributes, coupled with the onboard HD video track on the CC-1, made the
transition a no brainer. We are now able to drag and drop MXF wrapped files
from our Grass Valley K-2 server right to the timeline with full HD video
and audio."
Fairlight ‘Xynergises’ its Constellation Mixing System
New Xynergi Centre Section panel now available for Constellation
Fairlight has responded to overwhelming calls to bring its Xynergi based SLICK (self labeling illuminated computer key switches) technology to its popular Constellation large format mixing consoles. The XCS panel, which stands for Xynergi Centre section, is now an available option across the complete range of its Constellation console series.
The Xynergi controller technology was first launched to the world in the form of the desktop Xynergi Media Production Centre and, according to Fairlight’s Sales & Marketing Director, Stuart DeMarais, “it quickly became clear that with the Xynergi technology, we had invented a controller that re-defined how users interface with their creative environment. Once they’d experienced Xynergi any other interface experience became a compromise. It was only a matter of time before we had a crescendo of voices asking for us to incorporate the Xynergi interface into our large format consoles and now we have pleasure in delivering this to the market”.
The XCS panel harnesses the unique tactile power of the Xynergi controller technology and creates a whole new paradigm for console style mixing environments. Constellation with XCS is the ultimate statement in form and function: a small footprint console with dedicated tactile control of every single system function including over 60,000 automation parameters.
The XCS panel centralizes all major system functions directly under finger tip control providing a truly intuitive tool for recording, editing and mixing. The XCS can be specified with any number of other Constellation panels, most typically the channel assign panel or inline panel, to create a console mixing environment tailored made to the individual tastes of the operator.
The first Constellation with XCS panel was shipped to Highway Television in France and the system can be seen at various global locations during the upcoming trade show season as follows; IBC Amsterdam (Sept 12th – 16th), AES San Francisco (Oct 2nd – 5th), SATIS Paris(Oct 23rd-26th) and Tonmeister Leipzig (Nov 13th – 16th).
FAIRLIGHT RELEASES DREAM 2 VERSION 1.5 AT NAB 2008
Delivering Convergence by supporting a seamless interplay of both HD video and audio and a wide range of file exchange capabilities to enhance workflow in a wide variety of broadcast and post applications.
In a move that extends the already impressive capabilities of Fairlight’s Dream 2 platform, Fairlight today announced the release of Dream 2 Software Version 1.5.
Packed with over 50 new features, the new software delivers a convergence of audio and video never seen before in any audio production platform. All Dream 2 systems are supplied standard with on board video. The new release extends the capabilities to include support for a comprehensive array of video and audio interchange formats as well as providing support for a wide range of commonly used media file formats.
The Film Foundry puts new Fairlight CC-1 to the test to post
“Running the Sahara” a documentary narrated and produced by Academy Award™ winner Matt Damon
Paul Maraio
The Film Foundry, a premier facility in Charlotte, North Carolina, has just finished post production on "Running the Sahara", a documentary chronicling an extraordinary expedition across the Sahara desert. The project was narrated by Academy Award™ winner Matt Damon and directed by Academy Award™ winner James Moll. The score was provided by Hans Zimmer. Senior Audio Designer Paul Maraio, who mixed and mastered the documentary in 5.1, commented on the ease and reliability which came with mixing the documentary on their two CC-1 powered Fairlight Constellation systems. "With locations that sometimes included sandstorms, you could imagine the challenges as far as audio clean up. Considering we had a deadline to make the Toronto Film Festival, we were under the gun. I can't say enough about our Fairlight systems. They delivered in spades!" The Film Foundry's two Constellations are both 3-bay frames equipped with 24 faders. The track capacity of the Fairlight DAW software eliminated the need for any additional playback devices. And with Fairlight's binnacle editing system, the entire process went smoothly and efficiently. With such diverse locations across Northern Africa, the audio was challenging at times. Support for VST plug-ins let the team use tools such as noise-reduction and reverb without resorting to outboard gear. Working on a tight deadline, and with multiple picture changes, the ability to easily import OMF files and QuickTime videos proved essential.
FAIRLIGHT LAUNCHES “XYNERGI”
WORLDS FIRST UNIFIED MEDIA PRODUCTION CENTRE
Introduces the world to the groundbreaking XYNERGI controller; a unique desktop interface centralizing tactile control of Fairlight’s CC-1 technology platform and Windows applications
In an introduction that is poised to dramatically open up the equipment choices available to today’s’ media creators, Fairlight today launched the new XYNERGI Media Production Centre.
Xynergi organizes and delivers a suite of all the media processing tools needed for high end audio for video production in all widely used surround formats. Xynergi is based around a completely new concept in tactile control which harnesses the awesome ‘green’ processing power of Fairlight’s CC-1 digital media engine.
The Xynergi controller features a unique implementation of self labeling key switches which are able to display full color images, icons or text to provide intelligent control over the entire recording, editing and mixing process. In addition the controller can support any type of language or icon driven menu structure with an ‘on-demand’ QWERTY keyboard for routine naming tasks and immediate access to MS Office™ tools such as email, Word™ and Excel™. The controller also features eight touch sensitive rotary controllers and multiple soft keys arranged around a color control zone known as the “pad”. These can be used to support Xynergi’s sophisticated mix automation system as well as precise control over extensive signal processing facilities which include multi-band EQs, three stage dynamics, multi dimensional panning and auxiliary sends.
The real essence of the controller lies in its ability to intelligently know what mode the operator is in, presenting ONLY the functions relevant to the desired mode whilst hiding those that aren’t. The result is less keystrokes, more control and greater productivity all of which contribute to an enhanced creative operational experience.
“The Xynergi Media Production Centre brings together the most powerful, versatile and scalable media production system in the world today” announced John Lancken, Chief Executive Officer, Fairlight. “This revolutionary new control interface literally puts multi-dimensional tactile control at the fingertips of the creative community. When combined with the CC-1 engine, Xynergi dramatically increases the creative firepower that engineers, artists and producers have to work with.”
The Xynergi Media Production Centre will be debuting at this year’s IBC Exhibition in Amsterdam from September 7th to 11th with prices starting from under $23,000.