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    #11
    Senior Member paulears's Avatar
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    There's also quite a bit of the extra kit that will cost - the person switching needs to see the sources so the ATEM mentioned is good - as one of the outputs gives you all this, but other switchers need a monitor for each input source, and of course there's got to be DAs and plenty of cabling. You probably need somebody to mix audio too. Somebody else to manually tell the talent which camera is live - tally lights not being available so if anyone needs to look at a camera and speak, they'll pick the wrong one without a floor manager to point to the live one, which also needs them to see a monitor and be clever enough to identify which camera is live. The director needs to be able to talk to the cameras, although reverse talkback probably isn't that essential. I've had two portable production units in our stock for a long time now, and the price and complication frightens people off. Live production is so different to single camera stuff. Having 3 cameras multiplies complexity by at least 6! People count also costs so much - A recent 4 camera event took us 8 people, and that's a huge expense. Multi-camera live work is always expensive.


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    #12
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    Oct 2011
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    Bidford upon Avon, UK
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    Thank you paulears. I do shudder to think what I have just avoided thanks to all the great advice I have been given. It wasn't ever going to be a live broadcast so the crucial timing and pressure involved in that wasn't there but it would still have been a disaster what with the clients lack of presenting knowledge and my inexperience! So thanks again to everybody for stopping me from ruining my Christmas!
    Best wishes. Patrick.


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