Over the years, Mark Schubin has been very out front with the technical details of the Live at the Met Opera.
At the 2009 Hollywood Post Alliance (HPA) Technology Retreat he gave an 81 slide presentation which not only reviewed the historical material that he wrote up for the European Digital Cinema Forum’s Alternative Content Guide (2008), but he went far beyond. The details alone of camera placement and consideration of audience requirements (both the live audience and remote audiences), is a master treatise on a burgeoning aspect of Digital Cinema.
There is a downloadable pdf file of these slides at the HPA Site.
You can also see and hear Mark giving a very similar presentation to the Toronto SMPTE section in December: Arias and Acquisition – a two-part evening with Mark Schubin.
If you are an EDCF member, you can pull a copy of the Alternative Content Guide in pdf format from the members section. This is the link for the EDCF Site.
As well as being a television engineer and historian, Mark has a number of well regarded writings available on the internet. The Schubin Chronicles were written observations from a perspective of a New Yorker after the towers fell in November of 2001. You can see his IMDB.com listing here. There is a 2005 HDTV Magazine Interview that holds up real well.
A number of decades ago your author was privileged to work in a studio with a trés drôle and class act recording producer named John Boylan. As people are wont to do, he had stolen the front receptionists desk to take a phone call, and there he doodled a ToDo List:
- Go to Studio
- Make Hit Record
- Go Home for Lunch
- Noodle the ol’ lady
- Go back to studio
- Make another hit record
- Repeat and Fade
Mark Schbin, equally clever, generous and a class act, shared his ToDo list from one of his weeks during an opera:
- 16 transponders on 13 satellites as well as three transoceanic fiber cables
- multiple motion-compensating HD frame-rate converters
- one-hour HD delays to compensate for the different starts of Summer Time in North America and Europe
- 14 HD cameras and 30 recorders
- five robotic mounts, including two extendable towers and a track, all of which had to be deployed in minutes
- a 600-foot live, backwards Steadicam move (ending at a live burro)
- shooting multicamera live in the control room itself (one intermission was shot live in five different venues)
- live subtitling in multiple languages
- stereo, 5.1, and LT/RT sound, discrete and encoded
- coordinating live commercial U.S. radio, non-commercial U.S. radio, global radio, and the HD cinemacasts, all of which sometimes share and sometimes use different production elements
- coordinating the parking of production vehicles on three Manhattan blocks with the fire department, the police, and local security
And, as Mark always seems to close, TTFN