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Archive for February 3rd, 2012

Sixteen19 Makes The Cut For SHOWTIME Sports/CBS Sports’ “A Game Of Honor”

‘Webisodes Continue To Score With Viewers – DVD To Follow

NEW YORK: One of Showtime Sports and CBS Sports’ most highly rated original feature length docu-dramas, A Game Of Honor provided an extraordinary perspective on preparations for the 2011 Army-Navy football game. Digital production teams chronicled U.S. Military Academy/West Point cadets and U.S. Naval Academy/Annapolis midshipmen throughout their intense military, educational and sports training as they readied themselves to serve their country and compete in this sports event.

With shooting beginning in May and the edit gearing up in September, the team had three months to edit and deliver the incredible events leading up to the widely anticipated 2011 Army / Navy game. With this tight schedule, including just 11 days between the Army/Navy game and the show’s airdate, Director/ Producer Peter Radovich, Jr. and Producer Steve Karasik enlisted frequent collaborator and Emmy-winning Sixteen19 creative editor Anthony Cortese for the cut.

“Last April, I had an epiphany about doing a documentary on training for the 2011 Army-Navy game,” Radovich says. “When Steve Karasik and I pitched it to CBS/Showtime execs, we got an immediate green light. When we kicked off production in May I was a little concerned about pulling it together in just six months. However, Anthony and I had collaborated on a number of short-form projects at Sixteen19, and I had great confidence in his skills. I knew we could make this happen.”

“A Game Of Honor, was one of the most complex and demanding assignments of my career,” Cortese says. “On most days, we had two cameras shooting on location morning thru night; on the field, in classrooms, dorms, gyms, all over both academies, but that ratcheted up to eight Canon 5D and Red Epic(r) kits for the main event, The 112th Army Navy Game. They accrued nearly 500 hours of footage, which I cut on a daily basis on Avid Version 5 as it arrived in our edit suite. This project was a full-scale marathon.” Associate editors Quenna Gregorio and Chris Mole worked alongside Cortese to manage multiple story lines.

To keep track of the voluminous material, the Sixteen19 technical team worked with the project’s field producers to develop a dailies workflow that was both fast and efficient. With over 100 shoot days, distinct tape names, scene and serial numbers were critical for each clip. This system helped to transcend the timecode limitations of the 5D at the time, issues with sync sound and the fact that crews were often simply moving too quickly to slate.

“A tapeless workflow project of this scope required an extraordinary support crew,” Cortese says. Sixteen19′s technical team collaborated closely with Cortese and a number of consulting experts to insure accurate conversion of multiple archival formats to 24p. After picture lock, Sixteen19 Senior Colorist Brian Boyd worked around the clock to make the footage come to life. Boyd remarked, “Balancing the multiple formats and shoot settings with such a tight deadline was challenging, but the timely and patriotic subject matter and the incredibly talented crew made for a rewarding experience.”

In addition to editing the two-hour CBS Sports docu-drama, which premiered Dec. 21st on Showtime, Cortese also edited a two-hour CBS TV cut. The network show hewed closely to the original, but excised the unexpurgated language of the cable version along with some particularly rough action scenes. He also edited seven of the ten ‘webisodes’ created to promote the show online. Ranging in length from three to eight minutes, they provided fans with additional details and insights not included in the full-length program.

“The ‘webisodes’ http://www.youtube.com/watch?v=vQ29wKMekoE were an entirely different mindset,” Cortese points out. “They began airing in mid-October, and they continue to maintain a strong presence online today. We received reports that indicate they not only helped to attract a terrific audience to the Showtime and CBS presentations, but they’ve also attracted a rapt audience in their own right. We’ve heard stories about ardent online viewers who watch them repeatedly,literally studying them over and over. It’s gratifying to learn that your work is getting that level of serious attention.”

“We were cutting new footage up to a couple of weeks before airtime, we’re talking late nights and weekends here,” Rodovich concludes. “New story lines kept us constantly revising to make GOH as exciting and timely as possible. We screened the show for West Point and Annapolis brass shortly before airtime. Their positive reactions confirmed our instinct about having created something very special. We hope to have the DVD out soon, which will stand as a lasting record of this amazing adventure.”

Photo 1: Editor Anthony Cortese (l) and Director/Producer Peter Radovich, Jr.
at work on “A Game Of Honor” in a Sixteen19 Edit suite.

#1, 3, 5: Scenes from Showtime Sports/CBS Sports docu-drama “A Game Of Honor”

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Sixteen19 is a post-production services company with offices at 1619 Broadway, NYC and divisions in New Orleans, Los Angeles. and London. The firm specializes in DI, color correction, editing, finishing and on & near set services. The NYC complex features 15 spacious Avid editing suites, color correct theater/ screening rooms, digital dailies, file transcode/encode and workflow management. Contact: 212-245-1402 http://www.sixteen19.com

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Christie and Partners Lead America’s Drive-In Theaters Into the Digital Age

As part of its national initiative to usher America’s drive-in theaters into the digital age, Christie is a sponsor of the 12th annual convention for the United Drive-In Theatre Owners Association (UDITOA), February 6 – 9, in Kissimmee, Florida, and has partnered with leading dealers across the United States to bring the benefits of digital cinema technology to a sector characterized by traditional 35mm projection.

“No single institution in American cinema history offers the sense of nostalgia, romance and freedom that drive-in theaters convey,” said Craig Sholder, vice president of Christie’s Entertainment Solutions. “With more than 80 years serving the exhibition community, Christie understands first-hand the challenges of running drive-ins and we are eager to bring them into the modern age, preserving this important legacy of cinema history.”

Christie offers the world’s best-selling and most powerful digital projection system, the Christie Solaria™ Series of 2D and 3D projectors, to light up the largest drive-in screens under the most challenging twilight conditions. In the southern and Midwest states specifically, Christie has joined forces with two of the country’s most renowned dealers – Sonic Equipment Company and Entertainment Supply and Technologies (ES&T) – to offer complete, single-source digital cinema solutions. Design, consultation, installation, and ongoing support are available from Christie and its partners. As well, Christie’s Network Operating Center (NOC) can provide 24/7 technical support and ongoing maintenance.

A Storied Past and Confident Future
At the height of their popularity in the 1950s, more than 4,000 drive-in theaters covered the American landscape. Changing movie viewing habits saw their numbers dwindle, but there are now exciting signs that they’re making a comeback, according to UDITOA. The association notes that drive-in theaters not only remain a time honored American institution, but in a battered economy, they still offer one of the best values for family entertainment.

With moviegoers seeking to recapture the magical memories of their youth, digital technology represents for drive-ins a distinctive competitive edge against the “hard tops” (indoor theaters) by offering alternative content such as major sporting events, musical and other cultural performances, in a unique outdoor environment, under the stars. The installation of powerful Christie DLP Cinema projectors allows audiences to experience the brightest and sharpest images on these big outdoor screens at the lowest cost of operation, eclipsing traditional 35mm film projection.

Florida Exhibitor Seizes the Opportunity
For more than 60 years, the Silver Moon Drive-In Theatre has been a landmark in central Florida, where it was the first of its kind to open in Lakeland. Today, the Silver Moon continues to operate successfully, offering a double feature of first-run movies on two screens. “We are the last drive-in theater in Polk County, but we are here to stay,” said owner Harold T. Spears.

Entertainment Supply and Technologies, LLC (ES&T), a full service cinema industry dealer and certified Christie partner from box office to projection booth “and everything in between,” recently completed the digitization of Silver Moon. ES&T chose the Solaria Series Christie CP2230 digital projectors as the most effective for lighting up the two massive screens of 55’ and 70’.

“Audiences have remarked how much brighter and sharper the images on the screen are now,” said Bruce Schneiter, vice-president, Technical Services, at ES&T. “Christie was our first choice, because they have always provided top-level products and service, and they stand behind everything they offer. They are unparalleled for their technical expertise and industry experience.”

Missouri Leads the Charge at B&B Moberly Five and Drive
Recognized by the National Association of Theater Owners (NATO) as one of the oldest family-owned circuits in the Midwest, B&B Theatres have seen the coming of sound, color, widescreen, digital, 3D and countless other advances in stereo sound and projection technologies. Currently, B&B Theatres operate in towns of all sizes, opening multiplex theaters in many of the same places that once housed their old-time, single-screen and twin theaters. When B&B Theatres decided to replace its two aging downtown movie houses in Moberly, Missouri with a new, multi-million-dollar multiplex, they built on their drive-in theater lot – vacant since 1985 – and put the drive-in screen back to work as well. The new theater complex, opened in 1997, is called the Moberly Five and Drive.

Sonic Equipment Company, a Kansas-based digital cinema integrator and certified Christie partner, installed a Christie CP2230 DLP Cinema projector with a 4,500 watt bulb for the drive-in’s large, 64’-wide screen. According to Dan VanOrden, circuit general manager of B&B Theatres, “I was extremely impressed with the results. The audience, too, absolutely loved the bright new look. The drive-in is so bright now that Highway 63 is lit up in front of it!”

VanOrden noted that the conversion to digital gave Moberly many more options for alternative content, as well. “We’ve been able to run DVD’s of classic movies, for example, and they actually look much better on that huge screen than their old 35mm prints did.”

Sonic had previously installed Christie digital projectors in six drive-in screens in Texas, including the Stars and Stripes in Lubbock, as well as the Big Sky in Midland.

“Speaking for The Big Sky, our Christie Solaria projector gives us a gorgeous picture and our customers love it!” said Sam Kirkland, owner of The Big Sky. “When a drive-in goes to digital movies, it’s a big difference from film, and people see that difference immediately. The quality at drive-in theaters using Christie projectors is as good as the indoor theaters now.”

Steve Zimmerman, director of business development at Sonic, agreed. “Both Sonic and the theater owners at these locations in Texas were extremely impressed with the end result, allowing us to confidently recommend Christie to B&B Theatres.”

“Christie is committed to ensuring that America’s drive-ins remain competitive for generations to come by providing them with the dazzling images of digital cinema and the expanded revenue streams of alternative content. As we have been for more than 80 years, we are here for the long term to support them with superior customer service,” said Sholder. “Along with exceptional partners such as Sonic and ES&T, we want movie goers everywhere to rediscover the pleasure of watching the big screen under ‘the big sky.’”

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ADVANCED BROADCAST SOLUTIONS HIRES ARCO GROENENBERG AS VICE PRESIDENT OF SALES AND MARKETING

SEATAC, WA — Professional video and audio systems integration firm Advanced Broadcast Solutions (ABS) has hired Arco Groenenberg as vice president of sales and marketing, effective Jan. 30. Based in the company’s main office in SeaTac, Groenenberg will be tasked with developing new markets and growing the organization. ABS also announced a new sales office in Chicago, which will serve ABS customers in the Midwest and on the East Coast.

Groenenberg has spent more than 15 years in sales for the professional video industry. Most recently, he was vice president of sales and services for Broadcast Pix, where he built a worldwide sales team. He previously held several positions with Pinnacle Systems/Avid Technology, consistently contributing to revenue growth as director of sales Americas, general manager of the Business Division, and broadcast sales and key accounts manager. He also worked as a sales executive for Avexco SA, an integrator in Geneva, where he substantially increased sales.

“Throughout his career, Arco has an excellent track record for increasing sales, managing sales teams, and establishing strategic relationships,” said Mark Siegel, president of ABS. “He understands our industry and the needs of our customers. I know Arco will be instrumental in building our business in markets across the country and beyond.”

The new Chicago sales office is managed by Chris Cuitino, who can be reached at chris@advancedbroadcastsolutions.com. Groenenberg can be reached at 206-870-0244 or via e-mail at arco@advancedbroadcastsolutions.com.

About Advanced Broadcast Solutions:

Based in SeaTac, WA, Advanced Broadcast Solutions (ABS) specializes in personalized broadcast services such as consulting, project budgeting, workflow analysis, feasibility studies, project management, system and architectural design and engineering, equipment specifying, procurement and installation, maintenance support and training. ABS boasts a technical staff with over a century of practical experience in television operations, automation, traffic implementation, multiple program stream management and signal distribution by fiber, microwave and satellite. ABS clients include: Fisher Communications, Cowles California Media, Real Networks, Cisco Systems, and Microsoft Studios.

For more information about ABS, call 206-870-0244 or visit our Web site at www.advancedbroadcastsolutions.com.

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Canal 5 Noticias Chooses Shotoku For Virtual Production in Argentina

Buenos Aires News & Sports Channel
Installs Shotoku Camera Support Systems

Torrance, CA – Shotoku Broadcast Systems, a leading international manufacturer of advanced camera support products, proclaimed a successful integration of the company’s virtual reality (VR) camera support at C5N (Canal 5 Noticias) in Buenos Aires, Argentina. Shotoku Inc.’s president, Naoki Ebimoto, made the announcement from the Company’s US headquarters in Torrance, CA.

The news and sports information service, established in 2007, is distributed to a worldwide audience via cable, satellite, streaming internet services and social networks. The facility recently interfaced Shotoku’s SH120 VR-enabled pan / tilt head system with virtual 3D graphics by Vizrt. Driven through an iPad interface, the channel’s operators produce traffic and weather updates, as well as reports on such ever-popular topics as the economy, politics and sports. The Shotoku system was inaugurated on Argentina’s Presidential Election Day in October 2011 with compelling graphics especially designed for the occasion by Vizrt.

“Using the Shotoku system, our production team developed a new way to display the news on the [television] screen. Virtual 3D graphics were easy and reliable; they caught the attention of viewers and helped us remain the most innovative channel, with the latest technology in Argentina,” declared Gastón Serralta, IT manager for C5N.

“We were very pleased at the results of our integration with Vizrt in Buenos Aires,” said Ebimoto. “Virtual reality systems are a key to the future of television production; they enable small facilities to expand the boundaries of creativity and capture the attention of their audience.”

About Shotoku Broadcast Systems
Shotoku Broadcast Systems is an international leader in the manufacture and marketing of a full range of camera support products with emphasis on manual and robotic pedestals and pan/tilt heads for the television broadcast industry. The Company also provides robotic camera systems capable of interfacing with third-party equipment. Established as an engineering design firm specializing in advanced mechanics and electronic control systems, Shotoku maintains headquarters in Japan with offices in Staines, UK and Torrance, CA. The Company’s robotic camera systems are designed, developed and manufactured in Staines, UK. For further information: www.Shotoku.tv

# # #

Shotoku contact: Naoki Ebimoto
1-866-SHOTOKU • info@shotoku.tv

Press contact: Desert Moon Communications Harriet Diener
845-512-8283 / harriet@desertmooncomm.com

LED Source® and Coemar Team Up to Award $20,000 in LED Lighting to One Lucky Theater for the LEDko Challenge

Cincinnati Shakespeare Company (CSC) of Ohio was named the grand prize winner Jan. 31 of the LED Source® and Coemar LEDko Challenge, and will receive a complete LED lighting makeover worth $20,000. CSC was chosen among dozens of staging, education, studio, installation, and theater professionals throughout North America who participated in the contest by submitting a video of their lackluster lighting systems to be considered for a complete LED lighting upgrade. As the grand prize winner, CSC—which employs a resident ensemble of actors that put on nine main stage productions seen by more than 25,000 audience members each year—will have their aging, energy-draining stage lighting replaced with eight Reflection LEDko fixtures by Coemar, the sponsor of the contest.

The LEDko Challenge, which launched in October 2011, was created by LED Source in celebration of the launch of the new Reflection LEDko series by Italy-based Coemar—a world leader in lighting for the entertainment industry. As the exclusive distributor of Coemar LED products in North America, LED Source wanted to get the word out about the launch and award a deserving organization with the latest in LED profile technology.

“Although we received several outstanding video submissions, the group at CSC went above and beyond,” says Marcel Fairbairn, president and CEO of LED Source. “We can’t wait to deliver the new Reflection LEDko fixtures this month and show what a difference the right lighting can make in this setting.”

CSC was chosen as the winner among the top five finalists for their submission of a creative and humorous video demonstrating their “ancient” lighting system, which theater employees said often caused blackouts and delays during rehearsals and performances.

“Our current lights are basically the SUV’s of the lighting world,” said Brian Phillips, producing artistic director of the CSC. “We are so grateful for this opportunity, as it will change our lives and our art in a profound and meaningful way. The unique challenges of our theater space make CSC, LED Source and Coemar a perfect fit.”
Finalists were selected by a panel of experts made up of both LED Source and Coemar senior management, and the grand prize winner was chosen by fans on the Reflection LEDko Facebook page through a voting process. As the contest winner, power outages and outdated stage lighting will be a thing of the past for CSC, which has been producing classic Shakespeare performances since 1993 and educates more than 20,000 theater students annually through its educational outreach programs. LED lighting will allow CSC, which produces classic multi-scene adventure plays, to seamlessly transition from a battle scene to a banquet in the blink of an eye.

Reflection LEDko is a revolutionary new LED fixture and the first LED profile delivering both Soft Profile and Hard Edge Profile using mix and match optics. With this new technology, Coemar has created the first LED profile capable of projecting soft-edged profile light that can be used in the same way as traditional profiles and can obtain any color tone, shade and white light.

Applying the Reflection LED technology as a retrofit makes it possible to reduce energy consumption from 500-650 Watts to 150 Watts. The LED lamps last up to 50,000 hours without loss of brightness, thus eliminating maintenance costs associated with traditional profiles.

Because LEDs do not emit heat, Reflection LEDko is capable of utilizing images or gobos created with any standard printer and a transparency sheet. This technology allows users to project any image quickly and without cost, while also eliminating the entire gobo buying process, which was previously dependant on glass or metal patterns.

Reflection LEDko is one fixture that can virtually eliminate or significantly reduce all costs related to lamps, dimmers, scrollers, gel filters, heat, cabling, electricity and manpower. All LEDko series fixtures feature electronic 16-bit dimming, flicker-free operation with DMX controllable LED frequency from 500 to 5000 Hz and a bi-directional DMX512.

“We are thrilled to be able to provide the CSC with the revolutionary Reflection LEDko LED profile fixtures, which enhance the stage experience by providing an energy and space-efficient lighting solution,” said Fausto Orsatti, vice president of sales and marketing at Coemar. “LED lighting will allow for more lighting versatility and no dimmers, resulting in a more streamlined stage production.”

The Reflection LEDko fixtures will debut on the CSC stage in time for either the late winter production of “Sense and Sensibility” or an early spring performance of “The Grapes of Wrath.” This is CSC’s first lighting upgrade in five years.

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About LED Source®:
Founded in August 2005 by Marcel Fairbairn, LED Source® is a national and international supplier of LED lighting that specializes in full-scale evaluations and retrofits through its Retrofit Division, in addition to providing consultation all the way through to supply on new projects within their Architectural and Entertainment Divisions. Additionally, the company launched a franchise program in October 2009 and expects to have a network of 150 franchise offices throughout North America within three years. For more information, please visit www.ledsource.com or the company’s blog at http://getleducated.wordpress.com.

About Coemar:
Established in 1933 and based in Castel Goffredo, Italy, Coemar Spa is a world leader in lighting for the entertainment industry. The company also develops, manufactures and sells its products for architectural and commercial applications and guarantees pre-sale and after-sales services. At an international level, the company operates in five continents with a network of over 50 distributors. www.coemar.com.

About Cincinnati Shakespeare Company:
Cincinnati Shakespeare Company is a professional theatre company dedicated to bringing Shakespeare and the classics to life for audiences of all ages. Located in the heart of downtown Cincinnati, CSC produces eight main stage productions each season at its home on Race Street. CSC employs a resident company of actors and artists who live and work in Cincinnati year-round, and performs on a Small Professional Theatre contract with Actors’ Equity Association. CSC’s current season is generously sponsored by The Otto M. Budig Family Foundation. Cincinnati Shakespeare Company receives operating support from The Ohio Arts Council and is supported, in part, by the generosity of thousands of individuals and businesses that give annually to ArtsWave, formerly the Fine Arts Fund. The season design sponsor is Judge Mark Painter. Creative Services are provided by Possible Worldwide. CSC is a 501 (c)(3) non-profit organization and all donations are tax deductible. For more information visit www.cincyshakes.com

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grandMA2 Is a Winner for Top Acts Playing Ontario’s Casino Rama

Casion Rama

Casion Rama

grandMA2 has proved to be a good bet for Casino Rama, Ontario’s only First Nations commercial casino, which stages 150 shows a year featuring top names in music and comedy. Casino Rama invested in a grandMA2 late last year, and it has quickly become their “console of choice,” reports lighting designer and programmer Derek Noble. A.C.T Lighting is the exclusive distributor of grandMA in North America.

“Casino Rama purchased a grandMA2 because of the size of the shows they attract,” says Andrew Beck, senior account executive with PRG Canada who sold the system. “They have an extensive amount of equipment, including all their own lighting and rigs, and many acts request a grandMA. They’ve had a full-size grandMA for a while but in the interest of keeping their facility as cutting-edge as possible, they decided to purchase a grandMA2 and use their existing system as a back up. Now they have media server control and LED balancing capabilities.”

Among the acts that played the 15-year old Casino Rama last year were ZZ Top, Trans-Siberian Orchestra, Ricky Martin, and Deep Purple; the casino also hosted HDTV events Bellator (an MMA championship) and a TSN Curling Skins game. Casino Rama capped 2011 with dates for James Blunt, Russell Brand and KISS.

“Before we got the grandMA2 it was already an in demand item,” says Noble. “We had a number of touring shows that had brought the console in with them . We bought our own, not only because it’s the newest but also because it was the most in-demand gear,we need to ensure we offer clients the best so that they walk away happy .”

He notes that the casino’s inhouse lighting rig is used for 85 percent of the shows. “We have over 400 conventional fixtures and 200 moving lights and LEDs plus 112 motors. The grandMA2 gives me easier access to all the parameters. Its effects engine is also better than our old console, and it’s very easy to navigate.

“The grandMA2 gives us some flexibility in data management, too,” he adds. “We utilize it for data management for the NPUs when other consoles are in use. We have 16 active universes and the capability to expand to 64. Although we only bought the console in December, we already love it!”

Another Canadian-based casino also upgraded its lighting control system when Caesars Windsor moved from a full-size grandMA to a new grandMA2 from PRG Canada, Beck reports.

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Anthony Wilkins Appointed as RTW’S International Sales Manager

Wilkins’ Extensive Experience in Broadcast and Pro Audio Sales will Bring Continuous Development of RTW’s Presence in the US and International Markets

COLOGNE, GERMANY, 2 February 2012 — RTW, a leading manufacturer and distributor of professional audio metering and control devices for studio recording and radio and TV broadcast applications, , has appointed Anthony Wilkins as the company’s new International Sales Manager. Wilkins is an English native speaker and has lived and worked in Great Britain, Switzerland, Germany and Ireland. His main role will be to control and coordinate RTW’s international sales from the corporate headquarters at Cologne.

Wilkins has more than 25 years of experience in the Pro Audio industry and is currently completing his MBA. He has previously worked for Sony, Analog Devices, DTS and most recently for Linear Acoustic. He is also a member of the EBU P/Loud group, which is in charge of developing the R128 loudness standard; the AES and the IEEE.

“We are very glad that Anthony Wilkins has joined our team and proud to have gained a sales expert with an in-depth understanding of the international broadcast and pro-audio markets,” says Mahmoud Chatah, RTW director of marketing and sales. “Wilkins will significantly increase our brand visibility in the international key markets. In taking over those critical tasks, he will allow me to focus on strategic alignment of RTW’s marketing.”

“I am determined to strengthen RTW’s global sales with effective measures and extensive travel,” adds Wilkins. “Further development of the important US market is my primary objective.”

About RTW
RTW, based in Cologne (Germany), has more than 40 years of experience in designing, producing, and marketing advanced recording-studio systems. The company focuses its business on peak meters and audio vectorscopes that are in use in the leading recording studios as well as by radio and TV broadcasters worldwide. The current product portfolio includes the TouchMonitor range, a new series of tools for visual signal analysis, loudness metering, and more. TouchMonitors combine highest flexibility and modularity with an intuitive user interface and touchscreen-based multichannel-analysis features, integrating exceptional surround-signal visualization using the unique and groundbreaking Surround Sound Analyzer. In June 2008, RTW was certified for the internationally accepted DIN EN ISO 9001:2000 quality-management standard.

For more information, visit www.rtw.de or www.facebook.com/rtw.de, or call +49 221 709130.

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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