The demand for screens in broadcast studios is on the rise and Monica Heck finds out there is no 'one size fits all' approach when it comes to answering this call.
It’s a “pick your poison†situation, according to John Gluszak, principal systems analyst for ESPN, who says each display technology has advantages and disadvantage.
“Every time I review a set creative design it all comes into play, there’s no hard fast rule. Cost is always a consideration as price-points come down. What’s the best and most cost-effective way to get that result?â€
Chris Cook, director of projects at the London facilities of ITV, says his main focus when installing screens in the studio is to technically satisfy a specific requirement from the production side, which dictates the final solution.
“We consider the reason the production requires the display, the size and shape required, its installation within the set, any cost limitations and last but not least, the importance of the screen within the production.â€
One these questions are answered, he knows what kind of solution to seek: screen or projection, resolution, active or passive, camera viewing angles, the brightness or contrast required.
Also considered are the effect on set builds, install or remove timings and the number of people required, as this may drive up production costs. Broadcasters are experimenting with a wide variety of displays on-set: LCD TFT, CCFL-backlit LCD LED, LED backlit LCD, plasma (PDP), Laser Phosphor Display (LPD) or DLP rear-projection cubes and increasingly LED. The screens are used either standalone or combined to create a videowall.
To read the entire article and learn more from broadcasters, consultants and display vendors including Christie, Eyevis, Prysm, Panasonic, NEC, Barco and MultiTouch read the full article in
InAVate Active.
If you are not already registered then follow the quick sign up for your free subscription and immediate access to this article and the InAVate archive.