audio
the Pro Tools DAW into its video systems, as featuring a 5.1 capable Pro Tools 7.3 DAW with National Guard and Gillette Young Guns,
Apple has done with Logic and Final Cut Pro, a D-Command mixing controller. As it is segments for ESPN's NASCAR Now and a
both producing a single stop for picture connected to Input's Unity Isis server network number of programmes for Speed Channel.
cutting, colour correction, compositing and the audio suite is able to send and receive NASCAR shoots events on location,
sound. Last year BBC Post Production audio and video material to and from the on- sending out an audio team to record the
upgraded the suites it runs for BBC Sport at line Adrenaline positions and a Nitris HD output of its scanners for archiving purposes.
Television Centre, installing additional Avid room. As well as drama and documentary "We have a Fairlight CC-1 and a Satellite that
Adrenalines, AirSpeed ingest stations and Final work, Input has used the new audio studio for travel on a production truck to every race to
Cut Pros, plus an Avid Transfer Manager a variety of sports work, including the official record all the team communication scanners
system to move material efficiently to a EVS eight 30-minute UEFA Euro 2008 preview for a total of 45-tracks," says Perry. The
network, all as part of the Corporation's overall shows and UEFA Champions League highlights organisation is also producing a new NASCAR
shift to tapeless operation. and magazine programmes, plus 15 match day film, which is a sequel to its first venture in
The video editors running the Adrenalines packages for the French Open tennis from features, Dale (2007). Documenting the life and
and Final Cut Pro systems also handle Roland Garros. career of the late driver Dale Earnhardt, this
whatever audio work is required, the old BBC An indication of where audio post- was mixed in 5.1 on a Fairlight QDC.
tradition of technicians and operators getting a production for sport could go as 5.1 becomes Like many others involved in TV
grounding in just about everything, regardless more widely used comes from the US, where production NASCAR is moving towards
of what the person may want to do in the broadcasters, including NBC, and sports tapeless working, which, says Perry, calls for
future, giving them the necessary skills. For organisations such as the NFL and NASCAR, an open format: "Broadcast wav files are your
this the sound tools on the Avid and Apple are investing in new systems to produce best friend - almost any editing system can
systems have proved more than adequate. surround sound programming. This is very use them. We are currently running retrospect
Andy Attwell, lead editor with the BBC Post much with the immediacy of a sport like with an LTO back up. Our files were getting so
Production department working for BBC Sport, football (of whatever kind) and motor car much bigger that we needed a network
says what audio post there is usually consists racing in mind, getting the footage turned solution for our back ups. We are currently
of sweetening and perhaps compressing the around and on air as fast as possible. able to bring the drive back from the track and
commentary and effects, which are recorded as The NASCAR Media Group is using its because CC-1 is native.wav our producers can
live. "It's not a BAFTA award winning dub," he Fairlight systems for post-producing not only go right into the media folder and get the
comments. "Our job is to fix any problems, packaged TV programmes but also DVDs, material they need. The drag and drop AAF is
such as the levels going over the top if a promos and ident bumpers. Director of audio great; we are currently testing the Quantel
reporter gets excited during a big game." Scott Perry says an audio post system has to be editing system and it has worked really well.
At this stage there is no demand for 5.1 fast, reliable and efficient: "We don’t have the We could not have come as far as we have by
audio for most BBC Sport productions. There is luxury of three days post time for a show. If sticking with the old QDC platform."
the view that the sport world could be slightly your show doesn’t make air, you can't go back Audio for sport may still carry on the old
behind everyone else in TV but BSkyB has and tell your boss 'oops'. There may be cheaper cliche of sound being the poor relation to
surround equipped post-production suites for systems out there but at the end of the day video but without there would just be a lot of
its coverage, taking the lead from the live what works best usually wins." people running around or cars going very fast
broadcasts of football, golf and rugby. The Media Group has three post rooms for no good reason. Whether sport will
Independent production company and which work on live shows such as This Week redefine how post-production is done is
facilities house Input Media recently opened a in NASCAR, programmes streamed direct to something else but editors should not be
new audio room at its London headquarters, web shows for clients including Red Bull, thinking about asking for double pay just yet.
IBE SEPTEMBER/OCTOBER 2008 13
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