According to Blackmagic Design, production company LiveFRAME implemented a multi-cam workflow centered around Blackmagic URSA Broadcast G2 cameras and an ATEM Constellation 8K live production switcher to quickly deliver content for social media distribution at the TimeWarp electronic music festival.
Known for its overwhelming visuals and high-spec production, TimeWarp was held in Mannheim, Germany for the first time in four years, and 30,000 attendees were intoxicated with the world’s best sound.
LiveFRAME CEO Christophe Pauli said:
Christophe Pauli : This festival is mainly about music, but it’s not the only one. This is an event where you can experience the aesthetics itself. This is why I decided to shoot the show with the URSA Broadcast G2.
Deliverables produced by LiveFRAME included a live stream of an Adriatique DJ set for ARTE (a Western European broadcaster) and content from four dance floors for the festival’s YouTube, Facebook and Instagram channels.
Christophe Pauli : Reaching audiences who could not attend on social media is very important for festival organizers.
This created some challenges for the team. More than two kilometers of optical fiber were required to route the feed from the festival grounds to LiveFRAME’s mobile facility. Further complicating the situation was the need for the artist’s permission regarding the content and timing of the distribution.
Another challenge was getting the media to TimeWarp’s editorial team quickly. The solution was to transfer files from a series of HyperDeck Studio 4K Pro SSD recorders via FTP to the client’s media server for immediate access by the editors.
Christophe Pauli : It took less than 30 minutes to cut the live, creatively adjust it and publish it.
Two Smart Videohub 12G 40×40 routers installed in LiveFRAME’s mobile truck for all 24 video signals using multiple Mini Converter Optical Fiber 12G simultaneous SDI to optical fiber and optical fiber to SDI bi-directional conversions sent to.
Christophe Pauli : One router was dedicated to monitoring and the other was used to send to the ATEM 2M/E Production Studio 4K. This allowed for a variety of multiple views within the track, including 16 views.
The heart of the workflow was an ATEM Constellation 8K and an ATEM 2M/E Advanced Panel for controls. Multiple URSA Broadcast G2 cameras were used for the shoot. Some of them were remotely controlled with the ATEM Camera Control Panel and shot from the lighting rig with a bird’s eye view of the stage.
Christophe Pauli : We used three Blackmagic Pocket Cinema Camera 6Ks on the sliders by the DJ’s mixing desk and on stage, also controlled remotely. What I love about the concept of the Blackmagic system is that no matter what the job is, everything blends in perfectly and the ability to use 12G-SDI and 4K. And it delivers this flexibility and power at a much more cost-effective price than similar products from other manufacturers.
