Highlighted Projects

A modern 4K/HDR facility in Riyadh designed and built in London. The customer attended for hand-over and training and we transported the entire equipment and infrastructure to the Middle East. Once on site we installed, tested and integrated the entire system which comprised 7.1 Protools/S6 room with Focal monitoring and large live room, Baselight with Sony LCD 4K projection, Avids, Flames, and full operator QC/monitoring station along with shared storage (both nearline and high-speed online).

Commissioned by Leader and several cable manufacturers to test 12G-capable coax cable to discover just how effective a signal standard it is if you want to remain within the requirements of SMPTE-2082

When a very large supplier of picture & sound technology wanted to offer their laser-projector grading room (1,000,000:1 contrast ratio & full Rec.2020 colourspace) to the Soho facility market they came looking for an uncompressed solution with minimal latency (single figure microseconds) - we designed, implemented and have supported a BarnFind-based solution in concert with EU Networks for the fibres.

The network now extends to eight of the most prestigious London facilities.

A well functioning KVM system has to faithfully carry the EDID profile from the monitors in the edit suite to the graphics card of the editing workstation. In the case of Avid if those EDIDs change then Media Composer will insist on re-starting. Not ideal if you want to hand your machine back to your assistant in the ingest area (for example). To address this we designed the "Spoof'o'matic" which manages the transfer of EDID profiles to graphics cards. 

The biggest aspect of this project was procuring a manufacturer in Schengen and managing the prototyping and delivery of the minimum-1,000 quantity units!

The budget LED-strips you often see tacked to the back of monitors are a well-meaning effort to provide a bias light in grading room, but rarely correct.

If you want correctly coloured bias-lighting AND the proper colour of paint we have done the research to match commodity paint (from Manders and Dulux) to 6500k tubes for correctly coloured grading environments.

For the first few years of Big Brother in the UK (so a few years ago now!) Phil was the technical supervisor. After two years of running a dozen edit suites in portacabins we realised building all the post-production into an OB truck was the answer. The Resolution OB was born which did many more years of Big Brother, Fame Academy, The Games and other big location reality show.