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The impact of Fixed Rig in non-scripted TV

In the last decade, we have witnessed the rise of fixed rig camera systems on a wide variety of TV Shows. Production teams now have the freedom to non-intrusively film in fast-paced environments without disrupting the talent, capturing the unique moments that help make non-scripted shows especially appealing.

Our Fixed Rig workflow introduces fresh and engaging features, some of which have never been seen before. Ray Martin, our Head of Technical Services says, “The workflow allows us to create solutions that perfectly fit a large percentage of productions. Not too small, not too big. It really is the Goldilocks Story”.

What does a Fixed Rig workflow look like to us?

Some aspects we like to consider before starting any project include the turnaround time from shoot to delivery; how the media is processed, transported and backed up; plus how much time is required in Post Production to turn the show around and be ready for broadcast. By carefully analysing these aspects, we can select the most suitable equipment and workflow for the project.

Camera and lens selection are pivotal to the success of such productions. The Sony FR-7 is one of our favourites because it allows us to capture intimate moments while maintaining cinematic quality we expect from cameras like the Sony FX6 and FX9.

Depending on the project’s needs, we can rig up to 100 cameras to enable capture of every moment across various coverage areas. The small footprint of the Fixed Rig infrastructure enables productions to be more flexible in choice of location and allows for greater latitude for producers to capture the magic moments that are ultimately identified as gold material for the storylines.

Our control room is custom-built in readiness to capture footage in-camera or on servers depending on the client’s needs. Pronology mRes systems are deployed for each project to capture live streams of content and deliver directly to Post. A wide range of codecs and frame rates are on offer using this technology.

Some smaller productions need to squeeze into areas with limited space available, i.e. a carport or back office. Additionally, some spaces only come with limited air-conditioning, plus the infrastructure is required to be very close to the operators during the shoot where nearby fan noise could be a problem. Ray Martin added, “Our Engineers designed the server rack to suit such conditions. They streamlined the processing of the servers and introduced specialised airflow technology that allowed for optimum operation in warm areas and greatly reduced the fan noise to a whisper. Thus making a harmonious control room environment for everybody”.

In summary, we believe that there is a significant difference before and after using Fixed Rig systems. Productions benefit from the increased volume of footage that the cameras can capture to help construct a compelling story in real time. This is made possible by the less intrusive nature of these setups, which can sometimes make the talent forget that they are being filmed.