(2008)
|
Digital Evolution Partnership
Systematic conversion to fully digital broadcast production in Warsaw
In recent years, state TV station TVP in Poland has extensively
modernised its production systems. Major components of the upgrade have been
digital audio networks and mixing consoles made by STAGETEC. The following conversation
reflects TVP‘s experiences with this technological transition.
Partners in the Talks Przemyslaw
Nizynski is studio engineer at Telewizja Polska TVP AG and in charge
of planning and implementing the new systems at the Warsaw broadcasting centre.
Questions were asked by Marek Borzykowski from Konsbud Audio.
Konsbud Audio has been the official SALZBRENNER STAGETEC MEDIAGROUP distributor
in Poland since 2001.
Telewizja Polska SA has been using products made by
SALZBRENNER STAGETEC MEDIAGROUP for almost two years. In this period, TVP has
installed eleven AURUS and CANTUS digital consoles and also runs a large NEXUS
audio network. What were the reasons for this rapid and all-embracing digital
conversion?
Przemyslaw Nizynski: Before investing in STAGETEC
routers and consoles, we had been using only analogue mixing consoles. They had
been perfect for our purposes and had proven adequate for production and broadcasting
for a considerable time. However, in the world of modern media, programmes are
becoming increasingly complex, placing ever greater demands on technological
systems. This was why we embarked on studio digitalisation. So, the transition
to producing audio using digital desks for strategic reasons had already been
considered for quite a long time.
What is the main application of the consoles? Where
in TV production are STAGETEC systems used?
Przemyslaw Nizynski: The latest set-up comprising
eight AURUS consoles was installed in our Woronicza studio complex. It houses
a number of dissimilar studios that differ both in size and design. Each of the
studios is dedicated to a specific purpose. The largest studios (1 and 5) are
mainly used for producing big shows where artists regularly play live. Such productions
require big and flexible consoles. These are the studios where the most challenging
and technically sophisticated programmes are produced. A good example is the
recent election night in October when we completed a major broadcast in Studio
5. In such scenarios, a great deal is expected from the technological potential
of a studio.
In Poland, TV has a long tradition in producing stage plays and occasionally,
we also produce dramas where the system is less stressed, although these are
very interesting from the artistic pointof view. Less complex features, a number
of talk shows, and daily programmes such as breakfast television are produced
in the smaller studios.
The small broadcast studios are reserved for everyday productions. Here, speed
is the key. Then, there are two particularly interesting studios reserved for
feature channels: studio 7 for TVP Sport and studio C for TVP Info. These have
an entirely tapeless workfl ow to allow for quick and convenient productions.
Of course, this is critical to news channels.
STAGETEC systems are also present on our OB vans. As these are crucial to broadcasting
big music festivals, concerts and sports events, they need to be as flexible
as possible. A vehicle setting out for a job must be prepared for any type of
requirement and for everchanging working conditions. We were able to significantly
improve the quality of our work by installing digital consoles – we had
already started this process by installing a CANTUS in an OB van several years
ago. Certainly, benefits also include portable stage boxes and the large number
of channels per console.
 Evidently, TVP uses STAGETEC products for all kinds
of jobs –
from small productions to large events. Do you use the surround features of the
consoles?
Przemyslaw Nizynski: Indeed, we do. We have
gradually introduced this type of production and are now undertaking them increasingly
often. Surround sound has not yet become a daily routine; however, if there is
a chance of recording a promising event in surround, we grab it. Examples include
the Chopin contest and the Warsaw Autumn festival of modern music – both
are exceptional cultural events – and sporting events such as the Ski Jumping
World Cup in Zakopane or the Figure Skating European Championships. The number
of surround productions will surely increase in the future. We are well prepared
for that.
Especially considering the large number of studios that
needed upgrading, the installation of new technical systems at an institution
as big as TVP must surely be a complicated process. Who implemented the upgrade?
Przemyslaw Nizynski: In recent years we have
carried this out ourselves: It has all been done by our own staff and on the
basis of our own experiences and our understanding of how a studio should function
and what requirements it must meet. Of course, our personnel do know best – this
is why they were in charge of the planning, installation, and deployment of the
system. Our local engineers, technicians, and installers, all of whom are experts
in their respective areas, participated in the implementation. Together, they
formed the team that successfully completed all the proposed projects.
What influence did the use of STAGETEC products have
in the rapid studio modernisation? Does this technology offer economies at the
installation stage?
Przemyslaw Nizynski: Yes, there were indeed
obvious benefits. On the basis of the NEXUS routers, parts of the system could
be installed much more easily than with other units. Thanks to its distributed
design, the NEXUS considerably simplifies the audio routing – this also
became particularly obvious during the installation. In addition, the NEXUS replaces
a number of other devices such as extra patch-bays. This again reduces cabling
requirements to a minimum. Another benefit is that installation and system set-up
are two completely separate steps. This means that we do not need to consider
precise applications during the installation but can perform the set-up afterwards
and later modify it as required. A very strong point regarding the NEXUS, AURUS,
and CANTUS is that they can be expanded at any time. This provides a very easy
way of enlarging our audio network bit by bit. In simple terms, we just extend
the existing, working system. The key benefit is that we do not need to know
today how our system will need to look in a few years time; what we do know is
that every new element can be integrated into the overall system. This gives
us great confidence that the system is future-proof.
Has the target configuration of the new systems already
been achieved, and are you planning to adapt them to upcoming requirements?
Przemyslaw Nizynski: As already said, extensibility
is a critical feature of NEXUS and AURUS for us. Future demands will arise mostly
in the large studios and on the OB vans. These will have to support more channels
in order to increase the number of surroundsound productions. In future, big
events in particular, will place even heavier demands on the systems but will
at the same time provide an incentive for completing new installations.
How were the new systems implemented from the viewpoint
of those who are actually using them – the audio engineers?
Przemyslaw Nizynski: Before introducing CANTUS
and AURUS, the engineers at TVP were mainly used to working with analogue desks.
A few of them were even concerned about whether they would be capable of using
a digital console as smoothly as an analogue one. This was true, specifically,
because the first generation of digital consoles was considerably different its
analogue predecessors, making instant access to certain parameters more complicated.
However, the latest consoles – the AURUS, in particular – more and
more resemble analogue desks. They are truly designed for fast operation.
This was a real plus when deploying our new consoles. In addition, used in a
common set-up with the NEXUS, the CANTUS and the AURUS offer many more functions,
more fl exibility, and basically more options for mixing. In the event, our engineers
enjoyed familiarising themselves with the new technology. With each new day using
the system, their approval increased as they discovered more and more new benefits.
In addition, it was certainly useful that we implemented the same AURUS consoles
in so many studios. This allowed our engineers to properly get into just a single
system and use it more and more intuitively. |
