Capturing Haute Couture


TV-Bay Magazine
Read ezine online
Download PDF
Download PDF

As the fashion world returned to the French capital for the most prestigious of the 'Big Four’ fashion weeks, historical venues such as the Carrousel du Louvre and the Grand Palais played host to famous emblematic brands such as Chanel, Valentino, Louis Vuitton and Stella McCartney, showcasing their autumn/winter 2019 collections.

The services of live production company, and fashion show specialist, Freecaster were in high demand, delivering live streams for Chloé, Isabel Marant, Tommy Hilfiger, Givenchy and more. The team employed a 12-camera PPU solution based around the Ursa Mini to produce live coverage of the runway action.

On working with such high-end clients, Tugdual Le Boru, executive producer at Freecaster, says, “The labels always keep the location of their shows shrouded in secrecy. Often we only find out where we’ll be shooting ten days before, so it’s challenging to have everything organised for a professional production, but it’s exhilarating too, you don’t know where you’ll be next!”

Once the location is known, the Freecaster team works closely with the client’s video teams to understand the concept of the show. “They tell us their creative direction, what kind of image they want and then it’s up to us to explain how that would look from a technical point of view,” Tugdual explains.

Across Paris Fashion Week, the team worked with a variety of setups from drones and cranes to handheld cameras, steadicams, and tripods. However, according to Tugdual, it can be quite difficult advising brands on camera positioning. “There are always constraints, whether that’s location, the set design or creative vision,” he explains.

“A venue such as the Musée du Louvre, for instance, was not designed or built with video production in mind. You then struggle with positioning camera ops or finding space for larger setups, and more often than not, the lighting just isn’t optimised for video.

“That’s why we invested in the Ursa Mini 4.6K and Ursa Mini Pro. The cameras are so versatile and can be adapted to suit the environment and situation. On Paris Fashion Week, we had a total of 12 in use, complete with a range of Fujinon Cabrio lenses,” says Tugdual.

“At the back end, we use an Atem 4 M/E Broadcast Studio 4K switcher as it gives us up to 20 in and outs,” he continues. “In fashion shows, we don’t have that many layers or graphic elements, so it’s quite a simple program mix that we produce on an Atem 1 M/E Advanced Panel.”

In addition to streaming to labels’ websites, Facebook pages or YouTube channels, Freecaster is also seeing more client demand for Instagram Live. Tugdual leaves us with a useful tip for Instagram stories; “Bearing in mind the vertical framing, you can use the key signal on the Atem to apply a mask to the sides of the screen, et voila!”


Tags: iss137 | blackmagic design | ursa mini | freecaster | atem | KitPlus
Contributing Author KitPlus

Read this article in the tv-bay digital magazine
Download PDF
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Blackmagic Design Resolve 14, ATEM, URSA Mini PRo and more from IBC 2017

    Blackmagic Design Resolve 14, ATEM, URSA Mini PRo and more from IBC 2017

  • Blackmagic Design at IBC 2019: New Atem Mini

    Blackmagic Design at IBC 2019: New Atem Mini

  • ATEM TV Studio Pro HD from Blackmagic Design at NAB 2017

    ATEM TV Studio Pro HD from Blackmagic Design at NAB 2017

  • Blackmagic Design with the new ATEM Production Suite at IBC 2013

    Blackmagic Design with the new ATEM Production Suite at IBC 2013

  • Blackmagic Design on BroadcastShow LIVE at IBC 2013

    Blackmagic Design on BroadcastShow LIVE at IBC 2013

  • Blackmagic Design at NAB 2012

    Blackmagic Design at NAB 2012

  • Blackmagic Design 2500NIT HDR Video Assist 126 with BRAW Blackmagic Design at IBC 2019

    Blackmagic Design 2500NIT HDR Video Assist 126 with BRAW Blackmagic Design at IBC 2019

  • Blackmagic Design Pocket Cinema Camera BMPCC 4K at IBC 2018

    Blackmagic Design Pocket Cinema Camera BMPCC 4K at IBC 2018

  • Blackmagic Design Ultimatte at IBC 2017

    Blackmagic Design Ultimatte at IBC 2017

  • Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

    Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

  • Blackmagic Design at IBC 2016

    Blackmagic Design at IBC 2016

  • Cintel Film Scanner: Blackmagic Design at NAB 2014

    Cintel Film Scanner: Blackmagic Design at NAB 2014

  • Blackmagic Design: Products at NAB 2013

    Blackmagic Design: Products at NAB 2013

  • Blackmagic ATEM Constellation 8k at NAB 2019

    Blackmagic ATEM Constellation 8k at NAB 2019

  • Blackmagic ATEM Television Studio Pro 4K at NAB 2018

    Blackmagic ATEM Television Studio Pro 4K at NAB 2018

  • Blackmagic Studio Camera at NAB 2014

    Blackmagic Studio Camera at NAB 2014

  • Blackmagic at IBC2011

    Blackmagic at IBC2011

  • Blackmagic DaVinci Resolve 16 at NAB 2019

    Blackmagic DaVinci Resolve 16 at NAB 2019

  • Blackmagic introduces Blackmagic RAW (BRAW) at IBC 2018

    Blackmagic introduces Blackmagic RAW (BRAW) at IBC 2018

  • Blackmagic Pocket Cinema Camera 4K at NAB 2018

    Blackmagic Pocket Cinema Camera 4K at NAB 2018

  • Blackmagic Davinci Resolve 15 at NAB 2018

    Blackmagic Davinci Resolve 15 at NAB 2018

  • Blackmagic MultiView at IBC 2014

    Blackmagic MultiView at IBC 2014

  • Blackmagic and Fusion at IBC 2014

    Blackmagic and Fusion at IBC 2014

  • Blackmagic URSA at NAB 2014

    Blackmagic URSA at NAB 2014

  • Autodesk at NAB 2013

    Autodesk at NAB 2013

  • Holdan and DaVinci at BVE North 2011

    Holdan and DaVinci at BVE North 2011

  • Ateme at IBC 2014

    Ateme at IBC 2014

  • ATEME at NAB 2014

    ATEME at NAB 2014

  • ATEME at IBC 2013

    ATEME at IBC 2013

  • Garland at BVE 2017

    Garland at BVE 2017

  • Behind the scenes of the Teradek booth on BroadcastShow LIVE at IBC 2013

    Behind the scenes of the Teradek booth on BroadcastShow LIVE at IBC 2013

  • Global Distribution at IBC2011

    Global Distribution at IBC2011


Related Shows
  • Day 1 of BroadcastShow at IBC

    Day 1 of BroadcastShow at IBC


Articles
IP Technology for Broadcast Audio Routing Systems
Tom Knowles As the AoIP debate continues to confuse and delight in equal measure, what is clear is different scenarios require specific solutions. So is there a solution that encompasses open standards and existing proven AoIP technologies to the benefit of all?
Tags: iss139 | aoip | ssl | solid state logic | system T | dante | audinate | aes67 | st2110 | domain manager | Tom Knowles
Contributing Author Tom Knowles Click to read or download PDF
To Remotely Go - TVFutures
Michael Parsons One of my biggest concerns as an academic responsible for the education of hundreds of students is the ‘appropriateness’ of much of the technology we purchase and implement within the curriculum. The last few years have seen tremendous change in all sorts of technologies, and the broadcast industry is just one sector that has seen some significant leaps in innovation.
Tags: iss139 | university | portsmouth | graduation | guildhall | newtek | streaming | pxw-fs7 | ndi | ip | ndihx ptz camera | Michael Parsons
Contributing Author Michael Parsons Click to read or download PDF
Making Metadata Work
Bruce Devlin - new I dare say that if you’re a keen reader of my column then you will be brushing up on your Dutch pronunciation and acclimatising yourself to mayonnaise on your chips rather than ketchup. If you’re really keen then you’ll also be making sure that you practise your Dutch jokes about the Flemish to ensure you don’t accidentally tell a Flemish joke about the Dutch at 2am on Sunday morning in a local bar somewhere near the red light district in Amsterdam.
Tags: iss139 | metadata | class | mrmxf | ibc | mesa | Bruce Devlin - new
Contributing Author Bruce Devlin - new Click to read or download PDF
Original KVM or KVM over IP
Jochen Bauer Will the technology used in broadcasting solely consist of IP devices? For years, IP has been entering all areas of life. Especially control room applications as they are typically deployed in broadcasting benefit from the IP revolution in many ways. But an “IP-only broadcast world” is not yet here. Nevertheless, the trend clearly moves towards IP transmission, even though a large part of content production still uses traditional transmission paths. And therefore we continue to live in a hybrid world, using both original and IP-based technology. KVM experts Guntermann und Drunck still rely on both original KVM and KVM-over-IP™ to be able to offer their customers the best of both worlds.
Tags: iss139 | kvm | gdsys | guntermann and drunck | kvm-over-ip | Jochen Bauer
Contributing Author Jochen Bauer Click to read or download PDF
The Future of Broadcast Connectivity
Jamie Adkin The use of KVM equipment has been essential to meet the evolving needs of the broadcast industry for many years. Over that time, many in the industry have recognised the importance of using IP-enabled KVM to break down technological barriers and enable real-time access to visuals wherever and whenever they’re needed. These components are vital parts in live production environments in particular.
Tags: iss139 | adder | kvm | ip kvm | Jamie Adkin
Contributing Author Jamie Adkin Click to read or download PDF