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LOCATION & LIVE OB McDonalds Goes Live Multi-Camera E arlier in was central to the ondon section o an ambitious hour global entertainment campaign by McDonald’s, involving a surprise open-top bus gig by Jessie J. ans worldwide shared the e citement o the continuous ‘gifts of joy’ in synchronised public events, across cities around the world over a hour period all available to watch live via social media. Surprise events began in Sydney and continued through major cities, including Manila, Ho Chi Min City, Vienna, tockholm and ondon be ore a ﬁnal concert in os Angeles. Local members of the public were invited to join in the fun, with viewers around the world able to follow each consecutive event on laptops and mobile devices. Jessie J who was the star of the London segment of the marathon campaign, performed her greatest hits in an hour-long concert on an open-topped double decker ‘Boom Bus’, weaving its way through the city’s landmarks. Weeks of meticulous planning by SIS LIVE took place, to work out the logistics o meeting the e acting demands of such an ambitious project. i pairs o cameramen with R cameras leap rogged each other to provide continuous footage along the eight-mile journey, taking in landmarks such as Piccadilly Circus, Trafalgar Square, Parliament Square and The Rit . ith the complications o multi camera ﬁlming mi ing the live footage on the bus itself, and streaming continuous pictures as it moved along, there was no room for error. Live footage and video inserts recorded the reactions of people on the street, and captured pre-planned events using actors to add colour to the e citement. ootage containing the surprised reaction of diners at McDonald’s restaurants along the route was also included. 70 | KITPLUS - THE TV-BAY MAGAZINE: ISSUE 105 SEPTEMBER 2015 helicopter ﬂ ing directl above the bus provided overhead shots and acted as a mid point or R signals to be downlinked at BT Tower. These signals were then passed to SIS LIVE’s network operations centre in al ord anchester to be decoded and then delivered to the Milton Keynes master control room R where the were encoded or streaming. Aerial shots, along with the central footage of Jessie J and her ans on the bus were also thrown into the mi . echnicall the event was similar to our Red ull Revolutions in ound live streams rom the London Eye. Working within a compact moving space, as well as mi ing live camera eeds rom the remote vision gallery on the bus and those on the street. R network limitations meant the roving cameras could onl work within metres o the moving bus which in crowded streets could be problematic. Establishing how many cameras were needed and checking signal strength along the narrow, built-up streets of Central London was essential. Working live in a very public environment and working through the Central London tra ﬁc presented a lot o unknowns so the broadcast team on-site and in Milton Keynes needed to remain cool and professional throughout. n the bus an event director worked with a mi ing desk to cut the live music from Jessie J and her band, and a wa vision mi er to cut live pictures rom all sources. Meanwhile, 100 production staff on London wide talkback helped to orchestrate the event. McDonald’s wanted the entire gig to be streamed live through Facebook, Twitter and YouTube, so that online viewers across the globe could share the e citement. The whole event appeared live on social media and was subsequently edited into a three-minute highlights package, which can be seen at imlovinit .com ondon.