Live Director: Hugh Sundae
Camera Op: Darryl Ward
Camera Op: Oily Harris
Production Company: Sundae Pictures
“Quality is everything at Roundhead Studios, we are always looking to take these ‘live broadcasts’ to the next level.”
“Crowded House’s Neil Finn came up with this idea of live streaming the recording of his ‘Out Of Silence’ album over four weeks back in 2016; which he called the ‘Infinity Sessions’. These were a pretty big affair with more than a dozen singers and an orchestra. Since then, the ‘Infinity Sessions’ have just grown and grown, with artists from all over the world taking part. But they were pretty expensive events to put on, with us hiring up to six camera operators, eight or more cameras, gaffers and a grip truck for all of the lighting.”
“As you can imagine, quality is everything at Roundhead Studios, so Neil is always looking to take these ‘live broadcasts’ to the next level. A couple of months back, Neil had this idea of live broadcasting a live session every night for two weeks. Using ‘The Brick Room’ studio, which is a much smaller more intimate space than the one we had used for the previous sessions. So the challenge was to shoot much higher resolution using full frame cameras and cine primes. We used two Blackmagic PYXIS 6K cameras and four Blackmagic Cinema Camera 6Ks, simply because they have the same sensor, latitude and color profile. For switching these cameras and live streaming, we used an ATEM Television Studio HD8 ISO that could also create a DaVinci Resolve timeline from the live stream to make my post process much easier. Another game changer to the mix, was adding a Blackmagic Cloud Store Max 24TB for network storage, given we were generating about 2.5TB a night. The 10G Ethernet ports made it super fast matching the 10G port on my Mac Mini.”
“So Neil pulled together this amazing line-up of artists for those two weeks, with the pitch of doing a ‘live stream’ for them on the night. And then after the live broadcast finished, we would pull down the stream and give them a 4K edit of the actual recording. The ISO version of the ATEM Television Studio, along with 6K Blackmagic cameras opened up an entire post editing and color grading workflow making fast delivery a breeze.”
“The day after the live performance, we would get one song from each artist and post that online, just to keep the online momentum going! I would open the program feed and ISO files created by the ATEM Television Studio HD8 ISO, and drop them into DaVinci Resolve. From the timeline generated by the ATEM, I could quickly create a 4K version of the live event. Although the live streams are in HD H.264, working with Resolve means you can easily swap out the HD recording for camera original 6K Blackmagic RAW files with a film gamma LUT that matched the display LUT I was using for the stream output. And, when you are working with Blackmagic RAW everything looks amazing too!”
“Roundhead Studios has a rare Neve 8088 mixing desk, famously with a cigarette burn from when The Who were recording. As you can imagine, Neil Finn has some of the best instruments, sound equipment and sound engineers in the world. So it’s very important the audio coming out of the engineer’s desk made it to the live stream ‘untouched’ by the ATEM! Because the Infinity Sessions are a live performance and a broadcast, the engineers use a stage split between the ATEM and ‘The Brick Room’ studio. They gave me an output that included the room mics for a bit of ambience. It was all pretty simple, using XLRs left and right with four frames for delay and a limiter set to about -6dB seemed to be about right for online.”
“I remember growing up watching live studio productions with loads of cross fades, and somehow for these shows that retro feel seemed to work well. This effect is not something you can just right click on in DaVinci Resolve and easily replicate, particularly when riding the t-bar. It seemed to become a bit of a signature look for these shows. Loads of friends watching the sessions would bring it up when talking about watching them. Even younger (maybe more cynical) artists commented about how much they loved the look. I was getting pretty good at this over the fourteen days of live streams.”
“Just like a musical performance, making live streams happen requires a lot of different gear to play well together. Like an ‘orchestra of things’ that needs to be in perfect sync every night. I normally use Blackmagic HyperDeck Studios for program record and playback for these sessions. But then a colleague of mine suggested DaVinci Resolve for playback, because you can drop almost anything in the timeline and regardless of format, it will just play. And you don’t need to render to a specific format either!”