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Archive for December 14th, 2011

Clay Paky Sharpy Fixtures Shine at Univision’s Telecast of the 12th Annual Latin Grammy Awards

Latin Grammys

Latin Grammys

Atomic Lighting of Lititz, Pennsylvania, the exclusive lighting equipment supplier for the second consecutive year to the Latin Grammy Awards, recently provided the show with 50 Clay Paky Sharpy fixtures.

Latin music’s most prestigious awards telecast, the 12th Annual Latin Grammy Awards was telecast live on Univision Network on Nov. 10 from the Mandalay Bay Events Center in Las Vegas. Since its debut on Univision entirely in Spanish in 2005, the show has consistently increased its ratings worldwide; it is also one of Univision’s highest rated shows as well as the most watched and highly regarded awards event by Hispanics.

Atomic’s vice president of operations Brett Puwalski, who has served as the show’s gaffer for the last five years, introduced lighting designer Carlos Colina to the Sharpy at the Premio Juventud awards show on Univision last summer. “He loved the tight beam and how bright it was for its small size,” says Puwalski. “Carlos has said he can never have enough of them.”

Colina deployed the Sharpys on trusses over the stage to create beam looks and also placed the fixtures around the audience to illuminate shots for commercial bumpers.

Sharpy is a 189W moving head with an unprecedented brightness usually achievable only with far greater wattages. Tipping the scales at just 16 kg, Sharpy produces a perfectly parallel, laser-like beam with an incredible output of 5,100 footcandles at 65 feet. Sharpy is also groundbreaking in the purity of its beam, which is sharply defined and free of any halo or discoloration around the edges. It offers an interchangeable color wheel with 14 fixed colors and an interchangeable gobo wheel with 17 fixed gobos, allowing users to change the shape of the beam and create an array of spectacular mid-air effects. Sharpy features new, high-performance electronics and can perform rapid and extensive pan-and-tilt movements.

Puwalski reports that Sharpys are “definitely the hot light to use right now. But people are finding them hard to come by since they’re constantly in use.” He notes that “Clay Paky pretty much innovated the beam light, and Sharpy is by far superior to similar fixtures on the market. For a fixture that small and lightweight, Sharpy performs like a lamp that’s way brighter.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, adds, “We’re very pleased with the way our lights have been used for the Latin Grammy Awards. Atomic Lighting has always been a great customer and continues to find innovative applications for our lights.”

John Daniels and Darren Langer were the lighting directors for the Latin Grammy Awards; Alex Flores, Dave Hunkins and Mike Smallman the lighting technicians; and Felix Peralta and Kevin Lawson the lighting programmers.

A.C.T Lighting is the North American distributor for Clay Paky.

Headquartered in Seriate (Bergamo), Italy, Clay Paky SPA has a history of designing and manufacturing innovative professional show lighting. The company was founded in 1976 by entrepreneur Pasquale Quadri who anticipated the enormous impact the evolution of technology would have on the show and entertainment worlds.

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Prism Sound Launches SADiE 6 Dongles and New Software Version

Prism Sound is delighted to announce the release of the latest version of its SADiE 6 software. In addition to various enhancements, SADiE users can now use their SADiE 6 editing software on any computer, anywhere in the world, thanks to the dongle-based security that gives users the ultimate in flexibility. SADiE 6.0.2 supports dongle operations, and the dongles themselves are now shipping.

Full details of the enhancements and the benefits they brig are available on the SADiE website – www.sadie.com – and are also included with each installation.

“The new release software adds a number of advantages, particularly to editors with new functions in the trim editor that speed up workflow by allowing adjacent clips selection and pairing of clips,” says Prism Sound and SADiE’s Broadcast Consultant Pete Nash. “Stability with certain Windows issues have now been resolved and the dongle support is particularly useful to customers who are using SADiE 6 for location recording, or in organisations where the software is more likely to move from computer to computer.”

Dongles are now shipping and customers who would like one should contact SADiE so that they can be helped with their installation.

The launch of SADiE 6 software marks another step in the evolution of the high-quality audio recording and production system in the computer environment, allowing a choice between proprietary audio I/O and DSP processing, or standard soundcard I/O and DSP functions running on the host computer.

The new version of SADiE 6 is available for download from the company’s website.

2011 has been a busy year for SADiE, and many interesting developments including the rolling out of the SADiE 6 to the BBC in Manchester. The company has also launched an accreditation scheme for training establishments to ensure that future broadcast engineers receive the very best training in this ground breaking craft editing technology.


About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The range now includes SADiE digital audio workstations and location recorders. Prism Sound also manufactures audio test and measurement products such as the DSA-1 and the dScope Series III audio analyzer.

For more information please visit www.sadie.com or www.prismsound.com

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From Sitcoms To Zombies, Cinedeck Extreme Delivers Great Rental Results For Filmscape

The Award-winning Cinedeck Extreme cinema grade monitoring, recording and playback device is delivering great results for digital facilities company Filmscape, which recently supplied units to a variety of clients including a major feature film production and a pilot for a new television sitcom.

Established in 2005 by two independent filmmakers, West London-based Filmscape is passionate about the latest digital technology. As one of the major UK suppliers of film and television equipment, Filmscape’s customers include most of the UK’s top TV networks, production companies and indie producers, as well as major universities and UK film schools.

Anthony Holt, Filmscape’s Operations Director, says: “We are passionate about the latest digital technology and continually invest in new equipment. We have always been at the forefront of 35mm replacement cameras, pioneering the Red One in this country and growing today to include RED Epics, Arri Alexas and Sony F3s and a huge stock of 35mm lenses. Stocking a unit such as the Cinedeck Extreme makes perfect sense because it complements our camera range and we can see plenty of rental opportunities for it.”

Supplied through Oxygen DCT, Cinedeck EXTREME is an ultra-portable, affordable, camera-mountable, high-grade DDR that is revolutionising digital cinematography and TV production by enabling a digital video tapeless workflow that drastically reduces production time and associated costs. This single, compact unit, which has already won numerous awards and accolades since making its first public appearance at NAB 2010, negates the need for a separate time-code generator, monitor and field recorder, thus reducing location set-up time and simplifying video acquisition. Furthermore, the device has three internal codecs that allow users to make recordings in the edit format of their choice, which improves workflow by removing the need for the often fraught process of file ingest and format translation.

Filmscape now has two Cinedeck Extreme units available for rental and Holt says they are becoming increasingly popular with customers.

“When we were first shown the Cinedeck we were massively impressed with its size and recording quality, combined with its price,” he explains. “Equivalent decks were previously ten times the price and, as a playback unit, it was much better than anything else on the market. It was increasingly frustrating in an age of cameras that only output HD signals that the only playback unit ever requested or known about was the DV Clamshell from Sony. In our opinion this has a terrible low resolution image, records to DV tape that we don’t stock and requires a down converted signal before going into it as it can only take standard definition. This leads to bulky cable setups, an outdated workflow and frustrated calls from clients.”

After being introduced to the Cinedeck by Oxygen DCT, Filmscape realised that the unit had the potential to serve multiple purposes. It could increase the quality of recording on smaller cameras such as the EX3, record an equal quality backup of the footage being recorded on higher end cameras such as the Alexa and replace outdated playback systems.

“As the Cinedeck takes HD signals, has a high resolution display and comes equipped with a variety of staple modern recording formats, it fits perfectly with our current stock. With future upgrades available there’s no end to what it can potentially record.”

Customers who have recognised the potential of Cinedeck include Objective Productions, which used it to film a new sitcom pilot, and The Tea Shop and Film Company, a new production company established by James Harris and Mark Lane, which used Cinedeck on its first feature film Cockneys Vs Zombies.

Holt says that in both cases the production companies didn’t specifically request Cinedeck but were steered towards it because they needed an HD playback unit that was easy to use.

“The unit fitted perfectly with their existing monitor and camera setups and it got fantastic feedback from both crews,” Holt says. “Generally the feedback was excellent. It’s small, solid and incredibly versatile. On one of these productions it was handed to the continuity supervisor to manage and was found to be very reliable and simple to use as a playback unit.”

The success of Cinedeck Extreme has now prompted Cinedeck LLC to release Cinedeck RX, a rack mountable, multi-format version of the Extreme that offers multi-channel HD-SDI recording, monitoring and playback. This unit is designed to meet the challenging requirements of the mobile broadcaster and is ideal for production facilities and OB productions.

For further information about Cinedeck Extreme or Cinedeck RX, please visit Oxygen DCT’s website at www.oxygendct.com


About Oxygen DCT:
Oxygen DCT is a broadcasts systems solutions provider with a deep knowledge and understanding of the broadcast and professional media markets. This dynamic organisation has amassed in just over five years, a very extensive and comprehensive products portfolio of over 3000 carefully designed broadcast and production products that represent the pinnacle of engineering excellence. Oxygen DCT was the first company in the broadcast industry to fully implement online facilities for its customers and its unique, comprehensive online ordering facility automatically configures equipment systems for customers, saving time and provides industry professionals with the convenience of immediate online pricing. The ‘one-stop-shop’ website caters for the smallest requirements whilst also allowing users to prepare their own quotes and place orders online with immediate order confirmation. Oxygen DCT also provides advice, support and expertise as part of its ‘life cycle’ care scheme, ensuring that customers are fully serviced throughout their career life cycles.

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***** Photo Description: AVSnap logo *****

Brea, CA – December 2011… Altinex, a leading manufacturer of Signal Management Solutions®, will, in January 2012, initiate a free, extensive webinar training program designed to provide AV system designers, consultants, and sales professionals the skills to utilize the company’s highly acclaimed AVSnap AV system design / control software to their best advantage. The program coincides with the recent release of AVSnap Version 5, the latest revision of the software.

The AVSnap webinar series commences on Friday, January 13th, 2011 and runs each Friday (for twelve weeks / sessions) through March 30th. Each online session will have a duration of approximately 1 hour. Jack Gershfeld, author of AVSnap and President and CEO of Altinex, will conduct the online sessions. more

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December 2011
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