How are the AMIRAs and the ALEXA Minis connected with the mobile production flight pack?
We deploy the Ereca and Multidyne fiber optic system between the cameras and the mobile production flight pack. All the remotely controlled parts of the AMIRAs go through the fiber: video, audio, energy, time code, data and genlock. We use wireless with the ALEXA Minis on Steadicam or Cablecam because we have no other choice. But we avoid wireless as much as possible, because in live events there are signals flying in all directions which brings the risk of interference.
We can also interconnect by fiber with the OB vans of broadcast service providers, with whom we regularly work on major fashion shows.
What is the biggest difficulty on this type of projects?
The usual challenges that come with live broadcasting. A fashion show lasts on average 10 minutes and there is often a live stream, so everything has to be perfect because we don’t get a second chance. We set up many redundancies, or "spares", ready to take over in case of failure. It is quite rare that we have a problem with an ARRI camera, but if something does happen, we have to be ready—we can't make mistakes.
What are the next developments on multicam?
Our customers are very demanding. They always try to find ways to make their coverage different. The future challenge is to capture in HDR or even anamorphic. What producers want is a real cinematic look.
PhotoCineRent has grown a lot in the last ten years. What’s been the key to your success?
We are dedicated to large sensor cameras. It's very specialized. We try to be responsive to market demand by equipping ourselves with the latest cameras. Our strength is also to offer rental, service, and sales. We are in the center of Paris, which is an advantage for many of our customers, and we’re in the process of expanding into new premises, which will have a new test area for our technicians.