Shaktilrajas Even from the past. Render-free animations are easy to build and edit, and can be shared across SD and HD Deko models, Avid systems and other editors. Put a new title on a filler or on a live video and then reopen it from there. If you are looking for a tripod to support your broadcast camcorder there are over items online. The training process is fast and ensures a skilled and confident staff. Create logical graphic transitions by addressing only the layers where screen pixels have changed and animates only those layers — automatically.
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But as exciting as is to see someone doing a double backflip on a motorcycle or taking a header off a vertical pipe, the video production behind this four-day sports spectacular pushes the envelope of broadcasting possibilities.
From Aug. High-intensity SD The complexity of the live BMX freestyle, Moto X, skateboard, surfing and rally car racing competitions made this the second biggest televised sports event — right behind the Olympic Games. NMT also provided the production with complete monitoring of feeds from all three event venues, as well as incoming material from the Super Shooter 25 remote truck provided by NEP.
It was simply too large an undertaking to upgrade the more than 70 cameras, 50 tape decks and EVS servers, and 14 linear and nonlinear edit bays.
Go-for-the-gold graphics Jeff Wilkov, creative producer, put a great deal of emphasis on the digital graphics that would spice up the visuals. To keep this information constantly updated and fed to the graphics templates in the Avid Deko systems, the team relied on feedback from transducers built onto the race cars, motorcycles or bikes that get triggered at the finish line, along with input from judges entering their evaluations into handheld keypads.
Ten of the new graphics systems were installed in mobile units and in the broadcast center. And with the help of a 4TB server system custom-built by ESPN, the graphics were accessible in all the edit bays through an Ethernet network. ESPN chose the system because it could use templates for pre-produced graphics without being completely dependent on them. That made it easier for the graphics operators to edit their content on-the-fly as the names of the players and statistics of their events changed under the fast-paced pressure of the Games.
That enabled the operators to animate lower-third formats in one channel and full-screen templates in another, or display tickers, bugs, cel animations and clocks in separate channels. With its new version 4. The system can accommodate multiple compositions, permitting simultaneous production of specific formats in HD or SD aspect ratios.
An advanced composition tool produces text that fits-to-fill a layer boundary and auto-branding frames that apply to every manual or automated text entry. A feature crucial to the look of the X Games production was that the graphics system allowed operators and editors to have an audio WAV file associated with each graphic on the Motion Timeline.
This allowed the operators to fire off a sound effect as the graphic image moves onto the screen. It also enables broadcasters to combine 3-D objects from Autodesk 3ds Max and Avid Deko graphics along with their associated real-time data integration. A winning combination The graphic elements for both the winter and summer X Games have been created since by v12, a design studio based out of Santa Monica, CA.
Sparrgrove prebuilt as many of the graphics before the show as possible. However, because a large portion of them reflect the ever-changing ramps and race courses of the games themselves, he had to be on site during the production to update their look as the officials revamped the playing fields.
One obstacle that had to be overcome, however, was that the Avid Deko did not have the ability to include 3-D motion graphics in real time. Then, a 2-D animation from the Deko with all of its live scoring data could be matched seamlessly into the final frame of the prerendered 3-D clip.
Martin is a freelance writer and post-production consultant.
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