The new facility also greatly enhances the Barbican as a venue for corporate events and conference industries. Very easy transmission between the Barbican’s numerous different auditoria and spaces, and instant live relay of images from auditorium to screen, are just two advantages. Others include a vastly improved video show relay.
Simon Prior, the Barbican’s head of planning and production sees the move as a positive step forward in the interactive stakes. He highlights yet more advantages, including the raising of the venue’s own profile, enlarging its archival capabilities and offering the seamless preparation of footage for broadcast, web streaming, CDR and DVD production. "Technically we can now do a TV broadcast at the drop of a hat," he comments. "This is an invaluable resource for my technicians, for the BBC, for commercial broadcast companies and for other outside bodies wanting to utilize and benefit from a very flexible system. It’s a great opportunity to reach beyond the walls of the Barbican and produce a whole new wave of exciting concerts and performance concepts."
Numerous remote camera positions - at least 4 in each location - can be hooked up in all of the Barbican’s performance areas, including the Barbican Hall, Barbican Theatre, Pit Theatre, Cinema One and the foyers. All are patchable back to the main control room via 33 outlets. The system is SDI (serial digital) throughout. Currently, the Barbican owns four remote Panasonic E800 ‘Brick’ cameras with full pan, tilt and iris control.
As with all other elements of the new system, the control room is designed to be ultimately flexible and to be operated on several different levels. The spec is comprehensive. It includes a Phillips D10 mixer, a Radamec camera control system and a BNCS custom designed remote system for the four VT machines, which can also control the cameras and audio. Recording devices include two DV cam recorder players and two VHSs. A fully configurable monitor stack and an RTS comms system completes the picture.
The Barbican also purchased a 48-channel Sony DMX-R100 digital sound console, specifically for the recording of contemporary works and music - a regular feature in the varied programming schedules. This will be worked in conjunction with a Yamaha 01V desk. The choice of console was researched thoroughly beforehand by the Barbican crew, who wanted an easily portable digital console. It was supplied by Total Audio Solutions. Many Barbican recordings will involve conventional orchestras - including the resident LSO. There’s a permanent DPA microphone set up for orchestra in the roof of the recently refurbished Barbican Hall. One end of the control room is currently configured with the Sony desk and racks of standard DSPs and outboard gear for when they want to record a straight concert from the Hall. Mobile PPUs can also be accommodated in the purpose built control room for those wanting to bring in their own broadcast production equipment. The facility officially opened with two different BBC TV broadcasts on the same day - one live and one pre-recorded.
(Ruth Rossington)
