PHOTO : PAUL GRANT
ANGELINE TETTEH-WAYOE PRESENTS DURING THE 2020 JUNO AWARDS VIRTUAL BROADCAST production as a traditional mini mobile , a full REMI production with two engineers and the rest of the control room and production crew at the Broadcast Centre , or a hybrid of the two .
For the past two years , the Remembrance Day Ceremonies in Ottawa were produced using the hybrid model . The 10-pool camera production “ host feed ” ( the ceremony images all networks broadcast ) was handled locally as a mobile production , while CBC ’ s domestic feed with on-air booth with three cameras and two hosts was produced remotely in Toronto . All of this was possible thanks to the design and the flexibility of the technology onboard .
When we were presented with the challenge of COVID-19 , the REMI model was in regular production for CBC Toronto . We only require two people to run it , so we can create a bubble and socially distance the crew . For example , we are able to produce a show by isolating crew outside the truck ( camera ops , field audio ), with the two engineers in the truck and the rest of the crew in the Broadcast Centre . These isolated “ zones ” not only protect staff from crossover , but ensure required distancing and safety . The REMI model gives us the ability to manage all production requirements while maintaining standards and maximum quality .
During the COVID-19 period , the entire industry has reexamined its approach to production , finding ways to produce content safely and with social distancing . There are many factors that need to be accounted for with each production , and a great deal of time and planning was needed to ensure our teams were safe and successful as we resumed production . CBC Studios worked in partnership with our productions to find innovative ways to support content for our formatted and established shows , including Dragons ’ Den and Family Feud Canada . This resulted in a few seamless changes to our operation for the shows in order to achieve the desired result .
Maintaining social distancing while making television is not easy . Studio loadins and crew setups are quite different during the pandemic . Crew are preassigned an elevator they must take within a designated time , and overall traffic in our production spaces is tightly managed . Once in their assigned position , crew are encouraged not to leave their positions unless absolutely necessary to keep everyone in the studio safe .
Our future path is committed to AES67-SMPTE2110-30 infrastructure and solutions . Our planning is based on a future where more devices can communicate between each other in an all-IP world . Through all of this , our goal is to keep Canadians informed and entertained with the best-possible production quality and – most importantly – keeping everyone safe .
This article features contributions from CBC ’ s Francois Turenne , Roberto Capretta , Ron Searles , TJ Heideman , Dinu Cebzan , Andrew Roberts , and Chris Jackson .
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