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Hey Jason where's the 20 dollar fee to watch this? ;o
You got this one out in a jiffy.
One thing that really bothered me in the cast was them constantly switching from camera A to camera B when they did the round table after the match and you could tell it was two separate areas instead of using a wide shot. It made me feel dizzy when they constantly bounced back and forth. I understand the space issues, but I don't see why they couldn't add 2 more chairs in that one shot.
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Nice work once again 
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Hong Kong9179 Posts
Great set of videos. You got this out really quickly.
I suspect the audio sync issue is an Xsplit encoding problem. You can manually correct audio sync issues in any major video editing program by splitting the audio from the video and then moving it on the timeline appropriately; there might even be an automated way to do this.
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wow the studio looks so awesome
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Is it the audio sampling frequency?
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Hong Kong9179 Posts
On February 28 2012 11:40 Primadog wrote:
Is it the audio sampling frequency?
No, that would just affect the quality of the sound you hear, not its sync with the video track.
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awesome video as always
wanna point out that in shibbys behind the scenes video we get to see John Nelson (SotG refrence  )
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Canada1637 Posts
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Jason, good job dissecting our production as always. you mostly hit everything on the head, but were off on a few things.
First off let me start with, we had a professional lighting designer come in and put the "Arena" area lighting design together. He mostly used LED lights for everything in the Arena space, which were great because they let off no heat and didn't take much power. We especially needed this in our situation because we were operating out of our office building in NYC with low ceilings, not a sound stage where we would have had all of the room in the world.
The lighting on the players faces were a serious problem. When we programmed the lighting the days before the event, we had planned to have very minimal lighting on the players faces during the match and we would pop it up pre and post match. Once the players arrived i had a few of them sit it and tell me if they would be able to play with it on in its most minimal setting but they all said the same thing, "too bright." I had to think on my feet since we were only a coupole hours from going live, so i decided that during the match we will just back light them with color LED's to give as to give it a stylized effect at the same time not blinding them. If you look closely at the VOD's you will see that we had some technical difficulties with the lighting at the beginning of Friday night, because everything we programmed into the lighting board the day before had to go out the window, and were working on the fly. We kept making changes all weekend, and i thank you for noticing that it gradually got better.
The iris of the second camera we had on the close up was wide open as well with the on in the first, i did notice it was a little darker still, i guess its time for a maintenance on that camera.
Now to the NOS corner on the studio. That NOS corner was not on my radar during the planning of this production. It was something that was thrown at me in last minute. I tried to light it the best i could with the remaining lights i had left. As you pointed out, it also gradually looked better as the event went on. Any free time i had, it tried to run in there and correct it, and make it somewhat TV presentable.
The view from our office is absolutely beautiful and we had to make sure it was in the shot, but as anyone who's ever shot against a window on a sunny day knows that it will be extremely over exposed. The simple solution is to cover the windows in ND, but the problem with that is at night time the ND makes the windows too dark and then we wouldn't be able to see the skyline lit up at night, which is arguably just as beautiful as the day. I decided to fit the windows with plexiglass, then cover that with the ND, so in the morning we would put the plexi and gaff them into the windows, and once it started getting dark we would just remove them and the night skyline would be visible. I didn't realize what a pain in the ass putting them up would be. During the last day the gaff tape around the windows got a little sloppy as you pointed out, i just didn't have time make sure it was perfect, but that's something i will do at the next arena.
If anyone has any other questions about the production or even some suggestions, you can reach me on twitter @mlggeorge. Thanks Jason for the kind words, and the much needed critique's. I hope to only get bigger and better with our productions...
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That makes things a bit more clear.
I figured the NOS corner might have been a last minute decision.
Hopefully you guys won't bounce around so much between cameras during the post-game talk and can figure out a way to make smoother transitions.
Cheers
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Hi moge!
Thanks for the video. You were very perceptive. I'm assuming you work in live production in some capacity. I work mostly with designing/implementing the video and audio as well as the encoding/streaming.
As for your audio sync issue, it sounds like you're using Virtual Audio Cable (VAC). If you are, just change your buffer to 50ms. I'm not personally a fan of VAC, but it gets the job done.
Either way, you can send me a PM with info about your streaming setup and I'd be happy to help you out.
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On February 29 2012 10:11 MLGStephen wrote:Hi moge! Thanks for the video. You were very perceptive. I'm assuming you work in live production in some capacity. I work mostly with designing/implementing the video and audio as well as the encoding/streaming. As for your audio sync issue, it sounds like you're using Virtual Audio Cable (VAC). If you are, just change your buffer to 50ms. I'm not personally a fan of VAC, but it gets the job done. Either way, you can send me a PM with info about your streaming setup and I'd be happy to help you out.
Awesome, thanks! This is the first time it has happened with my new setup so no idea. I'll PM you my setup.
As for my work. I've worked as a production manager/producer for several years. I worked on the lighting crew of Oprah Winfrey which explains my hyper focus on lighting
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I hope this get spotlighted, I haven't seen any of these since the HSC/NASL ones simply because I thought you were being auto frontpaged, and you clearly put a lot of thought into these videos and have quality things to say
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Great vids. I have held several technician jobs that worked with audio and lighting, so I like your attention to detail and I am impressed with the NYC floor that is now filled with tech and equipment :-)
Nicely done.
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Is there a particular reason why the MLG has their office in a location like this?! Coz I think what they need 1st of all is a fast internet connection... And I am pretty sure you could get that in a business park outside of town and probably save tons of rent. At least now I have a clue where all the venture capital goes ;-) But maybe I am wrong and offices high up in a scyscraper in NYC are less expensive than I think...
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wow these videos are great! I'm making time to watch all of them
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EPT
