CVP – Finding a way to train the next generation

CVP Events Film & Television, based in Melbourne, do exactly what their name suggests; video and visual support for live events, theatre, and concerts, including recording and broadcast, LED screens, projection, media servers, IMAG, TVC production, video design, event management, and more. They’re often seen inside Hamer Hall, providing video for recording and broadcast for long-term production partner, the Melbourne Symphony Orchestra (MSO).

“Pre-pandemic, we were doing very small amounts of live streaming and video recording for the MSO,” says David McKinnon, Director of Technology & Creative and General Manager at CVP. “The pandemic obviously accelerated the MSO’s live streaming and broadcast activities, and that’s become a normal part of their activities. We’ve become more of a corporate partner to the MSO and do almost all their video works, with a few minor exceptions.”

Earlier this year a rare opportunity arose when the MSO had scheduled performances of French composer Gabrial Fauré’s 1890 masterpiece Requiem, preceded by Australian composer Elena Kats-Chernin’s ‘Mythic’ and Finnish composer Sibelius’s Symphony No.7. As is increasingly becoming the norm, CVP were commissioned to capture the concert for broadcast, with the ABC handling the audio.

“For one reason or another, the MSO decided not to film this programme those nights,” relates David. “The ABC were still there doing audio for their radio broadcast. The artists were already mentally prepared that there would be cameras, and we saw this as a perfect opportunity to do some real-world training without the pressure of a live broadcast. We pitched the idea to the MSO, and they were instantly on board. Their support of the initiative was invaluable, as they too are big supporters of the development and upskilling of individuals.”

CVP were now in a position to run a full-scale live video production and train staff at the same time. The audience were real, the musicians were real, and the atmosphere was identical to normal working conditions. “I found previously that if you try and train staff during rehearsals, it lacks the energy of a live broadcast. This was for real; everyone’s looking at you, it’s about focus and creativity. It’s two 50-minute halves of the concert, and when the red light goes on, you are on.”

Along with upskilling their own junior staff in a live concert environment, CVP reached out to Deakin University to offer current students the chance to work alongside the team. “Deakin University have a Bachelor of Film, Television and Animation degree,” outlines David. “At an open day I once attended, I got to chatting with the lecturer who runs the course, and he indicated they’re desperate to get real-world experience for these students, as most educators are. This concert meant that they could experience first-hand something that they never would before. We offered positions for four students, they advertised it internally, and we got four volunteers.”

In addtion to the fresh talent, CVP was upskilling internally. “I normally direct all the MSO shows myself,” states David, “because I have a background in classical music. It might not seem so to some, but classical music has a lot going on. Two of the other senior directors directed half of the concert each. Whilst this might be a little unorthodox, it meant the team could experience two different styles of direction and it meant that we could examine the tapes later and ‘aircheck’ our directors and chat collectively. At CVP we have fostered a culture of review and discussion. It not only allows our team a chance to chat and connect creatively, but it allows all of us to be accountable to the product we make and helps maintain our high standards internally. Our staff were given the chance to work in roles that they haven’t played before; whether that be, camera operation, robotic camera operation, and CCU, which is Camera Control Unit, in charge of colour and exposure control.”

“The CCU operator is required for the overall look of the production exposure and colour temperature,” explains David. “In broadcast, you’ll see the camera operator only has two handles; zoom and focus. Iris, which is exposure, is controlled remotely in a broadcast situation to keep colour even, and make sure the picture from every camera matches. Having this environment, where it didn’t really matter if anyone got it wrong, was invaluable. And learning how to use the robotic cameras is an entirely different art form.”

CVP parked their large-scale 4K OB truck in the special outside broadcast area outside stage door, which includes a full external patch bay. “The whole concert was shot in 4K,” continues David, “this presented another challenge for the operators as focus is critical in a 4K environment. We run a Blackmagic Design camera chain with Canon 4K glass. We use Panasonic 4K PTZ robotic cameras as well. There were four of the Blackmagic Design G2 cameras and six of the robotic cameras, so we gave each person doing robotics two cameras each. That was at a scale which mirrors what we would do for a normal MSO broadcast.”

Along with the technicalities of camera operation, the Deakin students were hands on with the other side of any production, the load in and load out. “We split the Deakin students, with two helping to load in and two helping to load out,” recalls David. “We put one of our young warehouse staff on the de-rig, which was the first opportunity for him to go out in the wild world of live gigs! Of course, senior staff were on-hand to teach and guide the students, reinforcing that it’s a formal concert environment, and every cable run, and every piece of gear must be immaculate.”

The results of this training experiment have been overwhelmingly positive. “The Deakin students certainly impressed us; their existing knowledge was great, and their eagerness and passion were second to none,” David reports. “Our junior staff demonstrated skills that we weren’t sure they had yet. Because a lot of what we do is live, you’re always nervous about giving people that first opportunity. This enabled us to have confidence in our staff and we can now help them take the next steps in their careers. The MSO have been clear that they will support us if we do this again, and we absolutely intend to.”

These kinds of initiatives are a win-win for the industry and companies. Staff get upskilled, service is improved, and we create a pipeline for new staff to enter. It’s a model worth emulating. “This kind of training is a necessity for the whole industry, in every sector,” asserts David. “As an industry, we are seeing an unfortunate trend in lack of opportunity and training for newcomers. Decades ago, when video productions required more crew and support, there was training aplenty, led by the ABC and commercial networks, but as the industry changes, we see less chance for young people to break into the industry.”

“Our company has a history of giving young, passionate individuals a chance to start. We are incredibly proud to continue this tradition decades later,” concludes David. “In fact, since we have completed the training day, some of those Deakin students have returned in a casual employment capacity, doing shifts in our Mount Waverley warehouse and some in venues working on camera.”

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Photos by Liam O’Bree