#Virtual studio set manhattan tv
#Virtual studio set manhattan windows

Intercom communications are handled with a wireless Clear-Com Freespeak system working in 1.9GHz range, and antennas have been positioned to allow production staff to walk between the studios with their beltpacks. At the moment, 12 antennas are “strategically placed” throughout Studio 1, and 10 of the mics will be used there, he says. The system supports 24 channels of wireless RF mics and can have up to 32 individual antennas. The audio and communications infrastructure at the Seaport District Studios benefits from the four years of experience ESPN has gained since first deploying its REMI model, says Henry Rousseau, senior operations manager at the sports network.įor example, one lesson learned is the need to embed the microphone chain into the video source before sending the signal to an ESPN remote control location, says Rousseau.Īnother is the use of an Alteros wireless mic system operating in the unlicensed 6.5GHz band. “Needless to say, we are totally IP-based in the audio realm.” To light the studio, ESPN is using a plan developed by Ferri Lighting Design that relies on 512 LED fixtures.Īs with the rest of the Seaport District facility, Studio 1 is 1080p-based however, the facility is prepared for a future 4K conversion if the network goes in that direction, he says.īaseband video is routed with an Evertz core routing switcher, which can be upgraded to IP when the ESPN facilities around the country that control productions from New York make their transition to IP, says Chris Strong, senior remote operations specialist. However, the studio is capable of up to 10 cameras, says Calcinari. Studio 1 also has an interview area designed to look like a living room and a “bullpen area” where talent can stand in front of large LED screens to make presentations using touchscreen technology, says Calcinari.Īt the moment, Studio 1 is set up with seven cameras: four hard, a Steadicam, a jib and a robotically operated PTZ camera mounted to the wall in the living room area. 'The design is very authentically New York,' says ESPN REMI supervising director. “When ‘NBA Countdown’ is in that space, it will have its own desk as will ‘Get Up!’ when it’s in that space.” “The Studio 1 space is very flexible so it can have very unique looks,” says Calcinari. The system is mechanized and can be rolled out and ready to use in three minutes, adds Foss.

#Virtual studio set manhattan windows

If the outdoor light still proves to be too bright or if the weather outside is overcast, the windows can be covered with five large LED panels arranged side-by-side. To mitigate intense sunlight or reflections from the river, ESPN has installed a mechanized neutral density system, according to Foss. Studio 1, a 3,900-square-foot space with several set and standup locations, offers a spectacular view from large windows overlooking the Brooklyn Bridge and East River. ”There’s a lot of brick, a lot of steel-industrial in a Brooklyn-Manhattan loft style.” “The design is very authentically New York, and that was intentional,” says Mike Foss, supervising director, remote production operations at ESPN. The Lower Manhattan location also provides a unique visual motif for ESPN to play to the hilt.

#Virtual studio set manhattan tv

ESPN has already put that access to work from its new BureauCam area at the Seaport District Studios, when earlier this week Ronda Rousey began using the space to do TV hits in the morning. Locating in New York City was attractive because Manhattan offers the chance to have easy access to guests, says Calcinari. “It’s a really innovative way of making TV that allows us to have a unique studio in Manhattan and a really small footprint in a really cost-effective manner,” he says. Studio 1 is set up with seven cameras: four hard, a Steadicam, a jib and a robotically operated PTZ cameraĭespite the distance, the functionality is identical to a traditional setup with the same communications and tally infrastructure that make it seem as if directors and camera operators are essentially right next to each other.įor a new facility in Manhattan where commercial real estate space is particularly costly, REMI (remote integration model) was a logical approach.