Metallica, one of rock music’s biggest, most influential and enduring groups, commemorated its 40th anniversary by staging two celebratory concert events. Production Resource Group, LLC (PRG), entertainment and event technology solutions companies, brought the event to life for streaming audiences. To do so, the companies used Sony’s HDC series of 4K broadcast and POV cameras.
Choosing the Cameras
Gene McAuliffe, video director and engineer for PRG, served as the director for the events and helped select the technology. With regard to imaging, McAuliffe was responsible for picking nine of Sony’s “familiar” HDC cameras. These included the HDC-4300 and HDC-P50. He says he chose Sony’s cameras for its multi-format options which allowed for 4K and 3G versions of all cameras. Along with this, the technology provided “the various lensing options, effortless operation and native picture and color quality.”
“Over the last two years I have spent a lot of time working in PRG’s production studio where we used the same Sony HDC broadcast cameras and I have really come to appreciate and prefer the look for this camera type,” says McAuliffe. He adds that the cameras also offer more flexibility in formats, frame rates and control.
Also Read: Sony’s HDC-F5500 Captures Sportsmania in High-Definition
Speaking of the look, Jim Toten, colorist and EIC, explains that part of selecting the HDC-4300 was due to the camera’s “ability to dial in the desired look to create the final images.”
“The decision was also based on a delicate balance of budget, schedule, logistics, and artistic desires, which together made it obvious that 2/3-inch cameras on SMPTE-cable were the right way to go,” remarks Toten. According to him, the team benefited with basic elements such as good sounding intercom with plenty of gain. It also comprised solid and familiar operator controls and menu navigation, returns, viewfinder markers, focus and peaking.
Additionally, the camera’s 2/3-inch sensor enabled a longer reach with regular broadcast lenses, states Totin. He continues, “…[This] allowed us to place the cameras further from the stage. Personally, I enjoy the painting features like Knee/Gamma saturation and the variety of Gamma tables.”
Benefits of Sony HDC Cameras
METALLICA 40 YEARS Show 1 – Photo by Ralph Larmann and PRG.
McAuliffe and Toten say they aren’t the only ones to value Sony’s cameras. McAuliffe reveals, “The operators really appreciated the ease of use with these cameras. On this project we needed to have cameras that could be fully controlled by a single operator. Having the ability to set up custom viewfinders with framing markers, multiple return feeds, and lens indicators was integral to making the best show.”
Another reason for selecting Sony’s cameras was 4K capturing capabilities. McAuliffe explains, “Because this was such a special show, being the 40th anniversary of the band, I really wanted to capture this in the best quality possible. Sony’s cameras allowed us to capture and archive everything at 4K and HD for any future use, while operating the live stream and show at an HD format.”
Toten also spoke of the benefits of 4K capture. He goes on, “We ran the cameras in 4K mode, then utilized the 1080P down conversion at the CCU for use with IMAG and the live stream. This reduced the amount of processing equipment, and more importantly, minimized the latency from camera-to-screen.”
Furthermore, Toten says he closely matched the Gamut, Gamma response of the HDC cameras with other tools in the production.
The Set Up
Metallica and its music greatly influenced the aesthetic for the events. McAuliffe discloses that he became the video director for Metallica in 2017. Since then, he has worked closely with Dan Braun, show designer and Rob Koenig, lighting director. Together they create unique looks for every song in the catalog. He continues, “We have really tried to find ways to use video, cameras, and lighting together to produce a more artistic and memorable show than people are used to seeing. There has been a real desire to showcase the band in a way that is different from any other shows.”
Due to the extensive catalog of the band, McAuliffe and team say they constantly explore new visual looks and ideas. Thus, they need cameras that can adapt to the ever-changing show and produce high quality images in a clean, consistent manner.
The production also employed an elaborate stage design by Dan Braun, which consisted of 46 different LED surfaces in a 360-degree orientation. This type of intricate setup does present a unique set of challenges, particularly with framing. However, McAuliffe and PRG’s media server and programming team rose to the occasion. Despite the challenges, McAuliffe proudly notes, “We were able to program every song to have a distinct look while still showcasing the band to everyone in the building.”
Toten also congratulated the LED team for making all of the different components match and look great.
Final Touches of Sony HDC Cameras
METALLICA 40 YEARS Show 1 – Photo by Ralph Larmann and PRG.
With regard to workflow, McAuliffe expands, “We used SMPTE fiber to handle all signal and control from camera head to the camera control unit backstage.” There, he continues, they could send the 4K output directly to the record decks. At the same time, they could send the 3G output to the flypack production system. “This was used to cut the screens in the arena and also produce a live stream for Amazon Prime and CODA Collection. We had three engineers backstage that could live grade the cameras using the RCP’s along with their scopes and monitors.”
Overall, McAuliffe and the PRG team found Sony’s HDC cameras to be a great solution. According to them, they delivered a high-quality look and feel while keeping a broadcast style workflow in place for the live event. McAuliffe adds that with time and skill, they successfully created a final product that aligned with the artistic visions. At the same time, it maintained the standards for live broadcast. He remarks on future usage, “With the multi-format capture, we also have flexibility in any future use of the archived footage.”
