The Australian Broadcasting Corporation (ABC) has been relying on production solutions from Grass Valley, a Belden Brand, for more than 20 years. When the company began its latest project to upgrade 13 studios in eight capital cities across the country, it selected Grass Valley’s K-Frame-based switchers for all 13 locations, with a mixture of Karrera and the new award-winning GV Korona switcher panels.
The ABC has turned to Grass Valley for switcher solutions because of the rich features, dependable operation and intuitive controls the switchers offer. The new K-Frame systems are replacing a fleet of older Grass Valley Kayak switchers and will continue to be instrumental in the production of news programming for the company.
Both Karrera and GV Korona K-Frame switchers combine ultimate video processing performance, proven workflows, simplified control of complex productions and multiformat support including 1080p and 4K UHD. These capabilities are offered as two system packages, with 3 M/Es or 2 M/Es, for exceptional affordability, while the compact 6 RU video frame delivers a high level of functional integration for space efficiency.
The ABC has taken advantage of the flexibility of the K-Frame engine to be paired with different control surfaces. The new switchers will join the existing fleet of Grass Valley Kayenne K-Frames currently in operation in the ABC’s studio production facilities. The 13 studios are responsible for the playout of ABC news and current affairs and will work closely with the ABC Integrated Media System (IMS) system that Grass Valley is providing to help the ABC renew its entire television, radio and web news production across Australia.
From Restoring To Hopefully Preserving Multi-Camera Categories At The Emmys
When Gary Baum, ASC won his fourth career Emmy Award earlier this month, it was especially gratifying in that the honor came in a category--Outstanding Cinematography for a Multi-Camera Half-Hour Series--that had been restored thanks in part to a grass-roots initiative among cinematographers to drum up entries. Last year the category fell by the wayside when not enough multi-camera entries materialized.
In his acceptance speech, Baum appealed to the Television Academy to keep multi-camera categories alive. He later noted to SHOOT that editors also got their multi-camera recognition back in the Emmy competition this year. Baum hopes that after resurrecting multi-camera categories in 2024, such recognition will be preserved for 2025 and beyond.
A major factor in the decline of multi-camera submissions in 2023 was the move of certain children’s and family programming from the primetime Emmy competition to the National Academy of Television Arts and Sciences’ (NATAS) Emmy ceremony. For DPs this meant that multi-camera programs last year were reduced to vying for just one primetime nomination slot in the more general Outstanding Cinematography for a Series (Half-Hour) category. It turned out that this single slot was filled in ‘23 by a Baum-lensed episode of How I Met Your Father (Hulu).
Fast forward to this year’s competition and Baum won for another installment of How I Met Your Father--”Okay Fine, It’s A Hurricane,” which turned out to be the series finale. Two of Baum’s Emmy wins over the years have been for How I Met Your Father, and there’s a certain symmetry to them. His initial win for How I Met Your Father was for the pilot in 2022. So he won Emmys for the very first and last... Read More