TELEFE, Argentina’s broadcast television network–which was acquired by international media group Viacom–launched its latest studios for news production and other live programming. Upon completion of this exclusive project, the studios are now fully operational with all ARRI LED lighting. The venture was carried out with BVS, a technology integrator and the ARRI representative in Argentina.
As part of the integration process with Viacom, TELEFE is developing further into 11 studios with comprehensive expansion at its new location in MartÃnez, Buenos Aires province. The recently completed news and broadcasting facility contains a 600-square-meter studio which was built and equipped following firm ecological sustainability guidelines.
Everything was designed to conserve energy not only by utilizing LED lighting, but also by minimizing heat dissipation. This resulted in the lowest possible electrical consumption by air conditioning equipment.
Thanks to support and guidance from BVS, the channel chose ARRI to accomplish their goals. Hernán Winnik, commercial director at BVS, explained, ”When TELEFE was considering the need for a state-of-the-art studio, with the main priority being the implementation of high quality light, we immediately thought of ARRI LED fixtures.”
“The set supports four daily newscasts and we’ve been able to ensure that each one gets its own distinct lighting set up. By utilizing control of only RGB, we establish a different lighting mood for different artistic treatments, without spending too much time or having to relocate the equipment,” said Gustavo Capua, SVP finance, technology and operations, Viacom/TELEFE.
ARRI’s line of L7-C and L10-C RGB+W LED Fresnels were used. To replace soft lights, new S60-C LED SkyPanels were used. All the fixtures work with DMX 512 and RDM protocols, which provide communication between lighting control equipment and the light fixtures themselves.
ARRI and BVS ensured that TELEFE was given all the tools and know-how necessary. “We held a three-day workshop on lighting controls and communication protocols for this system. Approximately 30 technicians from TELEFE participated,” said Wilson Zeferino, ARRI director of sales, Latin America. “TELEFE’s new facilities are state-of-the-art on an international level and we are very proud that the TV network acknowledges the value of our LED lights. These studios will serve as a model for the entire region.”
Jennifer Kent On Why Her Feature Directing Debut, “The Babadook,” Continues To Haunt Us
"The Babadook," when it was released 10 years ago, didn't seem to portend a cultural sensation.
It was the first film by a little-known Australian filmmaker, Jennifer Kent. It had that strange name. On opening weekend, it played in two theaters.
But with time, the long shadows of "The Babadook" continued to envelop moviegoers. Its rerelease this weekend in theaters, a decade later, is less of a reminder of a sleeper 2014 indie hit than it is a chance to revisit a horror milestone that continues to cast a dark spell.
Not many small-budget, first-feature films can be fairly said to have shifted cinema but Kent's directorial debut may be one of them. It was at the nexus of that much-debated term "elevated horror." But regardless of that label, it helped kicked off a wave of challenging, filmmaker-driven genre movies like "It Follows," "Get Out" and "Hereditary."
Kent, 55, has watched all of this — and those many "Babadook" memes — unfold over the years with a mix of elation and confusion. Her film was inspired in part by the death of her father, and its horror elements likewise arise out of the suppression of emotions. A single mother (Essie Davis) is struggling with raising her young son (Noah Wiseman) years after the tragic death of her husband. A figure from a pop-up children's book begins to appear. As things grow more intense, his name is drawn out in three chilling syllables — "Bah-Bah-Doooook" — an incantation of unprocessed grief.
Kent recently spoke from her native Australia to reflect on the origins and continuing life of "The Babadook."
Q: Given that you didn't set out to in any way "change" horror, how have you regarded the unique afterlife of "The... Read More