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Archive for February 24th, 2012

Broadcast Pix Announces Video Control Center 3.0

Upgrades Include Touch-Screen Control, Voice-Automated Control, Virtual Sets and Automated Graphics

Billerica, Massachusetts – Broadcast Pix™ today introduced its Video Control Center™ 3.0 software for its Granite™ and Mica™ Video Control Centers. The new 3.0 software features the first optimized production control on a touch-screen, first voice-automation control of switching and graphics, powerful virtual sets that anyone can customize, and automated, dual-channel graphics that include Daktronics scoreboard integration. The company will ship 3.0 in March, and will demonstrate all of its features at the 2012 NAB Show (Booth SL6424), which runs April 16-19 at the Las Vegas Convention Center in Las Vegas, Nevada.

“Video Control Center 3.0 provides more production control than ever to help our customers create great live video,” said Ken Swanton, CEO of Broadcast Pix. “Not every TD prefers a traditional control panel – for many, our new comprehensive touch-screen controls are a more intuitive way to switch. We’ve also added support for VOX, our truly revolutionary product for voice-automated video production. Our virtual sets enable anyone to create their own look. And our new graphics automation is great for elections and sports, and it includes Daktronics integration.”

While Broadcast Pix is known for its innovative panels that control both video and file-based content, the new touch-screen controls enable operators to control all of these elements on surprisingly affordable touch-screens. New touch-screen friendly joystick and knobs control robotic cameras and picture-in-picture (PiP) box sizing, while new layering controls simplify placing content into key layers and moving them front to back. There are also new switcher transition controls and enhanced controls for selecting the built-in clip store, animation stores, and Harris or Chyron graphics system.

The new virtual set software enables up to eight cameras to have virtual backgrounds plus three key layers on top for PiP, titles, and animated logos. Up to 3 PiP boxes on an animated background can each contain a virtual set and any can be zoomed out to full screen. A simple eyedropper tool is used for chromakey setup. Broadcast Pix provides several backgrounds, but any photo can be used. Plus, the built-in image editor can crop and blur an image to simulate depth of field.

Video Control Center 3.0 also supports VOX™, the new voice-activated video production option that eliminates the need for an operator for some live productions. VOX adds advanced video-follow-audio capabilities by working with Broadcast Pix’s built-in Fluent™ Macros to select camera presets, roll clips and animations, add or remove graphics, and execute PiP compositions. VOX software enables complete control over timing, and a host override panel is included. VOX has been used to add video to radio station broadcasts, and is ideal for broadcasting meetings of all kinds on television, the internet or projection.

Also new for Video Control Center 3.0 is support for Fluent Rapid CG™ 2, the second generation of Broadcast Pix’s optional software that automatically integrates databases, RSS feeds, and custom action buttons into templates to streamline the creation of data-intensive CG graphics. A free upgrade for current Rapid CG customers, Fluent Rapid CG 2 delivers faster updates including clocks by-the-second, offers dual-channel capabilities to update two different on-air graphics at once, and supports EZNews news titles. Also announced today is support for Daktronics scoreboards, allowing all scoreboard elements to automatically update multiple Rapid CG templates at once. Supported scoreboards include baseball, basketball, football, hockey, lacrosse, soccer, and volleyball.

Other new Video Control Center 3.0 standard features include an integrated timer, which creates a countdown (or count up) of a show, so it is easy to keep track of how much time is left in a production; enhanced Sony camera control to support 12 cameras and 16 presets each; faster clip selection on AJA KiPro recorders; fade-to-black controls; multiple digital clocks; faster redraw time for customizing the Fluent-View; ViewCast streaming appliance control is now included; and some bug fixes are included in 3.0.

Broadcast Pix also announced a partnership with CyberTouch, a Newbury Park, Calif.-based company that designs and manufactures industrial touch-screen monitors, which provides premium touch-screens to Broadcast Pix customers in North America.

Video Control Center 3.0 is a free upgrade to all Granite and Mica customers, and a Beta version is available for download at www.broadcastpix.com. VOX is available now, with Daktronics support available in April.

About Broadcast Pix Broadcast Pix is the leader in live video production systems. Its Video Control Centers™ empower operators with patented controls that combine cameras, clips and graphics to create dynamic live video. Inside is an integrated multi-format switcher, clip store, graphics system with a Harris or Chyron CG, and device controls. It provides a low cost of ownership at a fraction of the cost of a conventional control room to buy, staff and operate. Systems range from compact units controlled by a touch-screen or voice-automation to sophisticated 2 M/E control panels. Customers include leading broadcast, webcast, projection, corporate, education, religious, government, entertainment and mobile studios in more than 100 countries. Learn more at www.broadcastpix.com.

Broadcast Pix, Command Center Control, Fluent, Granite, Mica and VOX are trademarks of Broadcast Pix, Inc. Patented.

Orlando’s Green Hill Church Upgrades with L-ACOUSTICS KIVA

ORLANDO — Green Hill Church, a Korean-language Presbyterian house of worship in Orlando, has upgraded its sanctuary sound reinforcement system with the installation of an L-ACOUSTICS KIVA system. Laservision World of Los Angeles performed the system design and installation.

According to Laservision Sales and Managing Director Joshua Kim and System Integration General Manager Nathan Kim, the 450-seat worship space now benefits from left and right arrays each comprised of six KIVA enclosures flown beneath two KILO low frequency extension enclosures. A pair of SB18i subs further extends the low-frequency range of the system, and all enclosures are powered and processed by a total of three LA4 amplified controllers. more

Canon EOS 5D Mark II Digital SLR Cameras Take Moviegoers Deep Into the Daring Operations of Active-Duty U.S. Navy SEALs in Relativity Media’s Act of Valor

LAKE SUCCESS, N.Y., February 24, 2012 — In an unprecedented blend of real-life heroism and original filmmaking, Act of Valor stars a group of active-duty U.S. Navy SEALs in a film like no other in Hollywood’s history. A fictionalized account of real life Navy SEAL operations, Act of Valor blazes into theatres nationwide on February 24th and features a gripping story that takes audiences on an adrenaline-fueled, edge-of-their-seat journey. This fast-paced, depiction of daring covert operations delivers a thrilling mix of stealthy tension, intense human drama, and sudden fierce combat waged by lethal heroes armed with the world’s best training and firepower. Act of Valor is a Bandito Brothers film produced and directed by Mike “Mouse” McCoy and Scott Waugh and written by Kurt Johnstad. Crucial to capturing the film’s absorbing up-close-and-personal action was its use of lightweight, highly mobile EOS 5D Mark II Digital SLR cameras from Canon U.S.A., Inc., a leader in digital imaging solutions. As director of photography, and now member of Canon’s Explorer of Light program, Shane Hurlbut explained, the film could not have been made with any other camera system.

“Nothing is as small and nimble as our Canon EOS 5D Mark II camera packages,” said Hurlbut, a member of the American Society of Cinematographers, who has captured moving images using practically every film and video format currently available. “Never have I been so excited by the creative possibilities a camera offers cinematographers.”

“Inventing new perspectives for creative storytelling demands innovative new tools and we are proud to be a part of that process. The Canon EOS 5D Mark II Digital SLR camera provides filmmakers with a highly compact and mobile form factor. This camera has sparked our recent introduction of the new Cinema EOS system, our formal entrance into the world of cinema and television production,” noted Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A.

“Because the Canon 5D Mark II is so light weight, we were able to defy conventional motion picture camera physics and capture a high-quality cinematic image, which ultimately looked incredible on a
100-foot theatrical screen,” said Scott Waugh, co-director, Act of Valor.

Game-Changer
The Canon 5D Mark II delivers full 1920 x 1080 HD video recording at user-selectable frame rates of 30 (29.97), 24 (23.976) and 25 fps. Employing a 21.1-megapixel 35mm full-frame Canon-manufactured CMOS sensor measuring 36 x 24 mm, the 5D Mark II also utilizes Canon’s DIGIC 4 image processors, which employ sophisticated digital signal processing to maximize picture quality and provide advanced operational features. HD footage is recorded to universally available CF cards for exceptional workflow convenience. According to Hurlbut, the camera is nothing less than a “game-changer” for motion-picture production.

“I call the Canon 5D Mark II a ‘game-changer’ for several reasons,” Hurlbut elaborated. “The first is its big CMOS sensor’s ability to collect light in widely varying ISOs. It’s very clean up to 1600 ISO. Its light-gathering capability has a nice, very film-like gradient. The 5D Mark II’s sensor also delivers ‘VistaVision’ depth of field. No other digital HD camera out there will deliver that. I find that if you operate at the right f-stop with the 5D Mark II, you get a wonderful, shallow depth of field. You’re also getting skin tones unlike any delivered by other cameras. I don’t think the other manufacturers have put the kind of R&D into their cameras that Canon put into its 5D Mark II. Perhaps the biggest reason why the 5D Mark II is a game changer is because it’s so compact. You can capture perspectives with it that no other camera system can deliver.”

Guerrilla Tactics
Shot on sea, air and land in many locations around the world, Act of Valor owes much of its cinema verité style to the compact size of the Canon 5D Mark II, which enabled Hurlbut and his six-man crew to be nearly as stealthy as the active-duty SEALs the film depicts. The crew was able to transport an eight-camera production package in the overhead bins of airliners and avoid transportation difficulties of shipping larger more sensitive equipment. Once on location, the crew went into what Hurlbut calls “platoon module,” a tactic for self-sufficiency in which they could hand-carry everything they needed, thanks to their compact 5D Mark II cameras and the minimal support and lighting gear required.

The compact size of the Canon 5D Mark II also allowed for a lot of set-ups each day that Hurlbut says would not have been possible with larger camera systems. Hurlbut had his crew outfit their 5D Mark II cameras for different shooting configurations that could be switched at a moment’s notice with accessories from such companies as Redrock Micro and Zacuto.

“More than anything, what I love about the Canon 5D Mark II is that it’s part of a global revolution,” Hurlbut concluded. “The 5D Mark II is causing a paradigm shift in the production industry because it provides film-like quality combined with lightweight operation and amazing mobility. It’s also affordable, so it’s giving a lot of people a voice who’ve never had one before. I think the style of filmmaking that’s going to come out of the use of the 5D Mark II will be a whole, fresh new style that hasn’t even been named yet.”

About Canon U.S.A., Inc.
Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With more than $46 billion in 2011 global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks fourth overall in patent holdings in the U.S. in 2010† and is one of Fortune Magazine’s World’s Most Admired Companies in 2011. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

About Act of Valor
Produced and directed by former Baja 1000 champion Mike “Mouse” McCoy and former stuntman Scott Waugh, and written by Kurt Johnstad (300), Act of Valor features a gripping story that takes audiences on an edge-of-their-seat journey, when a mission to recover a kidnapped CIA operative unexpectedly results in the discovery of an imminent, terrifying global threat, an elite team of highly trained Navy SEALs must immediately embark on a heart-stopping secret operation, the outcome of which will determine the fate of us all. Act of Valor combines stunning combat sequences, up-to-the-minute battlefield technology, and heart-pumping emotion for the ultimate action adventure film—showcasing the skills, training and tenacity of the greatest action heroes of them all: real Navy SEALs.
For more information about Act of Valor, please visit www.actofvalor.com.

# # #

†Based on weekly patent counts issued by United States Patent and Trademark Office.
All referenced product names, and other marks, are trademarks of their respective owners.

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FOR-A to Show Multi-Format Production and Routing Switcher for First Time in Middle East at CABSAT 2012

Strong Presence at Trade Show Combined with New Office in Dubai Demonstrate Importance of Middle East/Africa Market

Tokyo, Japan – FOR-A Company Limited, a leading manufacturer of video and audio systems for the broadcast and professional video industries, announces that the company will have a strong presence at CABSAT 2012, the largest digital media and satellite expo in the MEA (Middle East and Africa) region. This year’s trade show—taking place from February 28 through March 1, 2012 at the Dubai International Convention and Exhibition Centre in the UAE—is expected to be the biggest since the annual conference began 18 years ago. Over 750 exhibitors have already registered to participate.

At its booth in Sheikh Saeed Hall 3-Stand S3-19, FOR-A Company Limited will showcase a wide range of products, two of which are being shown in the Middle East for the first time.

These two HD/SD products—both of which debuted at NAB 2011—include the HVS-4000HS digital video switcher and MFR-3232 routing switcher. A multi-format production switcher available in 2, 2.5, or 3-M/E configurations, the HVS-4000HS integrates a DVE, multiviewer, up/down converter, video file support, and external device control, among other features. Leveraging the format converter, the switcher can mix HD and SD signals up to 48 inputs and 24 outputs. Also in the CABSAT booth will be the HVS-350HS HD/SD 1.5-M/E video switcher – a compact, three-rack unit switcher.

The MFR-3232 is FOR-A’s top of the line model in the MFR-5000 Series of multi-format routing switchers. It scales from 16×16 in one rack-unit to the MFR-3232’s 32×32 capacity in a two rack-unit space. MFR-3232 routers support tight integration with multiviewers as well as a built-in Web server, which provides external control using a browser.

The following products will also be on display at CABSAT:

– FA-9500 multi-purpose signal processor, which serves as a frame synchronizer, up/down/cross/aspect converter, color corrector, and video optimizer, among other signal processing functions in 3G/HD/SD environments.
– VFC-7000 HD Variable Frame Rate Camera capable of high-speed 700 fps HD recordings and slow motion replays
MV-3200 multiviewer, which provides 3G-SDI, HD-SDI, SD-SDI, analog composite and PC mixed input capability and free-layout window.
- LTR-100HS video archiving recorder, which provides LTO-5 recording for media server applications as well as file-based and long-term storage.
- VRCAM2 sensor-less live virtual studio system
- FVW-500HS HD/SD video writer

All of the products slated for display at CABSAT are new to the market and designed to offer maximum price performance in a compact solution suited to today’s multiformat, multistandard environment.

“We’re looking forward to meeting with broadcasters and video professionals at CABSAT 2012. MEA is one of the fastest growing communications markets in the world,” said Mr. Hiro Tanoue, deputy senior general manager, Overseas Sales & Marketing, for FOR-A Company Limited. “For this reason, we’re committed to having a very strong presence in the Middle East, both with our product showcase at CABSAT 2012 and with the opening of our new Dubai office. We opened the Dubai office to provide responsive customer sales and technical support to broadcasters and other A/V professionals across the MEA region.”

About FOR-A

FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, postproduction and professional video markets. For more information about FOR-A’s product line, call +971 4 887 6712 or visit our web site at www.for-a.com.

HARMAN’s Soundcraft Vi1™ Console Does Double Duty for Engineer Pete Freeman in the Studio and on Tour

LONDON, United Kingdom – Pete Freeman is a UK-based engineer who is as comfortable in the studio as he is doing live sound for touring bands. Currently, Freeman is the Technical Manager at Gibson Guitar Studio in London, and is also the front of house engineer for Vintage Trouble, a band that mixes soul, R&B, rock and funk to create the infectious sound that earned them the 2011 Best New Band award from Classic Rock magazine. Freeman relies on a HARMAN Soundcraft Vi1 digital mixing console at Gibson Studios and will be taking it on the road for a number of shows for Vintage Trouble’s upcoming European tour. His preference for the Vi1 is the culmination of years of experience using a variety of Soundcraft consoles in every conceivable studio and live situation.

“Soundcraft has always made my favorite consoles and the ones I feel the most at home with, whether digital or analog,” said Freeman. “Their EQs work in a way that I’m most comfortable with. In fact, I don’t really have to look at the EQ labels on the controls any more. When I do, I find that the labeled frequency I’m reaching for is more often than not just the one I wanted to cut or boost.”

Freeman remarked that he does not find the same level of tailored accuracy in other brands of consoles. “This intuitive feel and operation is the same for me whether I’m using the Vi1 or Vi6 digital consoles, an MH Series analog desk or even one of the Si Compact ‘notebook’ mixers,” he said. “I feel like everything’s been thought out.”

“I had been using the Soundcraft Vi6 in many venues across the country, and when Soundcraft was in the process of introducing the Vi1 they gave me one to test,” Freeman added. “To be honest, I did not want to give it back.”

Freeman has since incorporated the Vi1 into Gibson Studio’s control room. “It is an absolute joy to mix on,” he noted. “We have used it to mix live broadcast audio for a variety of acts and have also done countless Radio Academy broadcasts using the Vi6.”

Freeman has also found the Vi1 to be the ideal console for his live sound projects. “I am currently working for management company McGhee Entertainment as the front of house engineer for Vintage Trouble,” he said. “It is a lot of fun and having the Vi1 as the console helps make it a positive experience. In fact, the Vi1 offers the flexibility you need for any application, and it’s genuinely brilliant that a console this portable has so much functionality. I have always loved the Vistonics™ II illuminated color touchscreen interface, and sonically you cannot fault the Vi1 in any way. It offers amazing value considering its price–but I would rate the Vi1 as the top console out there, regardless of price.”

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets — supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.2 billion for twelve months ending December 31, 2011.

London Fashion Week comes to life with Blackmagic Design!

Blackmagic Design today announced that production house Brightonart Ltd built a comprehensive AV control solution around Blackmagic Design’s ATEM 1 M/E Production Switcher to capture runway looks from Vauxhall Fashion Scout, the largest independent showcase of the Fall 2012 London Fashion Week.

Internationally recognized as a driving force behind innovation in fashion, Vauxhall Fashion Scout actively promotes both new and seasoned designers to an international audience through catwalk shows, presentations, fashion films and exhibitions. Based during London Fashion Week at the Freemasons’ Hall in central London, Fashion Scout looked to Brightonart to produce the catwalk videos that would be uploaded to Vimeo.

Brightonart used Blackmagic Design’s ATEM 1 M/E Production Switcher to cut live footage from HD-SDI video feeds shot by two Sony EX-1 cameras. Program output was then captured on two SSD recorders; a Blackmagic Design HyperDeck Studio recording uncompressed 10-bit as a rolling backup and the other using DNxHD or ProRes as the master working file. Signal distribution was handled by Blackmagic’s Multibridge Pro, which took care of the audio embed. The ATEM 1 M/E was also used for static or animated graphic loops that the designers wanted projected on the back wall of the runway, which were run out of an auxiliary port on the switcher and managed on a PC using Resolume Avenue VJ Software.

“Because we did the live cut out of the ATEM 1 M/E down to our SSD recorders, those files went straight into Sony Vegas in ProRes,” said Mark Scarratt of Brightonart Ltd. ”We then performed an audio check, and mixed if necessary, before finally adding in the applause from the ambient microphone. Next, we inserted title and end graphics before crunching the footage down to H.264 to be uploaded to the web.”

For remote work away from the main catwalk within Freemasons‘ Hall, Brightonart used Blackmagic Design’s ATEM Television Studio, which filled the need for a compact and portable AV solution in the secondary control room. Scarratt explained, “We didn’t have the space to mirror our main set up in the second smaller hall, but the flexibility of this compact solution enabled us to provide high quality HD-SDI video at very short notice to the streaming partners brought in for additional shows, greatly surpassing their expectations.”

“Over the six days of Fashion Week, we’ve shot and cut more than 30 catwalk shows. Thanks to the Blackmagic 1080/50i workflow, only minimal post production of the footage was required, ensuring that every show was online in HD within two hours of its completion.”

About ATEM Production Switchers
Empower live creativity with the new ATEM Production Switchers! For the first time extremely powerful broadcast grade features, incredibly small size and low cost have been designed in a live production switcher! ATEM Production Switchers include 4 upstream keyers each with independent chroma, shaped and linear keying, 2 downstream keyers, stinger effects, graphic wipes, media players for stills and clips and a built in DVE for amazing DVE transitions or key repositioning. For portable use, the built in Multi View showing all cameras, preview and program can be viewed on a single SDI or HDMI monitor.

ATEM also includes loads of HDMI and SDI inputs allowing professional SDI cameras as well as consumer HDMI cameras and computers to be connected. Only ATEM allows low cost HDMI consumer cameras in a professional switcher so it’s easy for customers starting out in live production! ATEM includes a free software control panel and media pool management software for Mac OS X and Windows 7. ATEM is sold independently of the hardware control panel allowing lower initial cost and greater customization. ATEM retails for only £1,625.

Press Photography
Product photos of ATEM Production Switcher models and all other Blackmagic Design products are available at www.blackmagic-design.com/press/images.

About Blackmagic Design
Blackmagic Design creates the world’s highest quality video editing products, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and film restoration software for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including stereoscopic 3D and 4K workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, United Kingdom, Japan, Singapore, and Australia. For more information, please check www.blackmagic-design.com.

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Neapolitan Song Folds Back the Years with HARMAN’s Soundcraft Mixing Consoles

Engineer Joe Faraso with a Soundcraft MH3 console

NAPLES, Italy — Many generations of HARMAN’s Soundcraft mixing consoles have been used, first by Calogero Valore and later his son, Stefano, over three decades at the Napoli Prima e Dopo (Naples Before And After) Festival in Italy. This celebration of Neapolitan song, spanning the last two centuries, shows there is much more depth in the genre than simply O Sole Mio and Funiculì, Funiculà.

Started by Calogero himself in 1982, the event features some of Italy’s most renowned crooners and takes place at the Grand Hotel La Sonrisa in S. Antonio Abate (Naples). Here, up to 1,000 people gather outdoors for a show that is transmitted through a private production company, by RAI 1 (Italy’s national broadcaster).

The second festival in 1983 saw a vintage Soundcraft 24-channel 400B used for the first time—the console launched that year as an upgrade to the Soundcraft Series 400. Calogero used the 400B until 1985—but things have moved on considerably since Stefano took over the reins in 1993.

After mixing international singers such as Valerio Scanu, Gloriana, Peppino di Capri, Lucio Dalla, Manuela Villa, Anna Tatangelo and many others for the last time on a Soundcraft analogue MH3 last July, he has now turned to a digital Soundcraft Si1+. This will be used for the first time at the landmark 30th event this year.

“First and foremost I like the sound of the Soundcraft desks—but they are also very practical,” stated Stefano. “As for the Si1+, in my opinion this is an excellent digital mixer—combining a lot of features and functionality into a very compact chassis. It’s also an easy transition from the analogue desk I came from.”

In fact Stefano has wide experience of the Soundcraft analogue platforms, since undertaking his first Napoli Prima e Dopo 18 years ago. The sound engineer can boast at having subsequently worked on a Soundcraft Spirit Live 4-32, Soundcraft Delta, K2, SM20 and Ghost—in various theatre, concert and television productions, in addition to the song festival.

But he remembers fondly the period between 2005-2011 when he took a major step, piloting the flagship 48-channel MH3, which he acquired soon after it came onto the market. “The production crew were in awe of it,” he remembers.

Planning the festival itself requires major preparation over six days, he confirms. This includes four days to build the infrastructure and carry out tests, followed by soundchecking the Augusto Visco Orchestra, conducted by Enzo Campagnoli, and the performing soloists. But as the event now prepares for its milestone 30th year, you can bet that Stefano Valore will be tracking Soundcraft developments.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets — supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.2 billion for twelve months ending December 31, 2011.

M3 (Music Mix Mobile) Employs Waves Loudness Meter (WLM) and Other Waves Audio Plugins for 54th Annual GRAMMY® Awards

— M3 employs WLM (Waves Loudness Meter) for consistent loudness monitoring during broadcast —

— Waves’ critically acclaimed plugins allow remote recording specialists M3 to keep the workflow
moving every time —

KNOXVILLE, TN, February 23, 2012 — Having relied on industry standard hardware loudness metering for many years, engineers in the two M3 (Music Mix Mobile) remote trucks at the 54th Annual GRAMMY Awards telecast, broadcast live from L.A.’s Staples Center in 5.1 audio on CBS-TV on the evening of February 12, 2012, made the switch to the WLM (Waves Loudness Meter) plugin from Waves Audio, the industry-leading developer of professional audio digital signal processing technologies. The move for the first time enabled all essential 5.1 and stereo metering to be displayed directly in line-of-sight with the broadcast monitor screen, providing the music mixer with visual feedback at a glance without having to move his head from the soundfield to look at a rack-mounted unit.

The previous setup, which required the music mixer to look in two different directions in order to take in all the metering, was less than satisfactory, according to Joel Singer, Engineer-in-Charge at M3, a New Jersey/California-based remote facilities company. “Visually it didn’t work with the eye too well. We were able to utilize the WLM and its greater visibility and functionality on our front monitoring system for this show. The new set-up worked out perfectly,” he says.

“We set it up for an ATSC A/85 standard measuring all the channels using the ITU-R BS.1770 spec,” Singer continues. “We have one screen inside the truck dedicated to metering only coming off the Pro Tools mixer system. We’re now able to set up 5.1 and LtRt Durrough meters, we’re able to set up a WLM loudness meter, and we can also see a main bus compressor all the time. The engineer can just look up from the console and see the program in front of him on the 46-inch LED screen, he can look to his right and see all the meters, he can look at previews to his left, and he stays in the zone the entire time. There’s no reason that he has to look for a 1U rack-mount with a little meter giving him numbers.”

The WLM plug-in, which features mono, stereo and 5.1 components, is fully compliant with all current ITU, EBU and ATSC metering specifications and offers comprehensive readout options, including Momentary, Short Term, Long Term and True Peak. Measurements may be selected for foreground, dialog and average loudness, while an intelligent dialog sensor detects and measures speech.

Accurate, visible loudness metering is essential for the mixers to be able to create a dynamic show for the GRAMMY Award show’s broadcaster, CBS, explains Singer. “We want the quiet passages to have the same dynamics as the loud passages. We’re trying to create a very even and properly executed show based on the CBS spec. After a lot of testing and working with Waves on the WLM we decided that this was the year we were going to deploy it.”

The streamlined metering display allowed Singer to also keep an eye on levels and consult with John Harris and Eric Schilling, the GRAMMY Award Show Broadcast Music Mixers, as they moved between M3’s Eclipse live music mix truck and its Horizon offline remix counterpart, where the mix created during show rehearsals was fine-tuned prior to the broadcast. “When they went into remix they could use this metering on more of a constant basis, because then they were not under the gun,” explains Singer. “They were just focused on the remix and could get the level dialed in to where they wanted it.”

Although the Waves WLM was deployed for the first time by M3 at the GRAMMYs, the developer’s plugins are a staple on the trucks. “Waves software was very integrated into the show,” says Singer. “On the Springsteen part of the show, his engineer, Bob Clearmountain, asked if we could put a Waves 5.1 SSL bus compressor on the main output to give it that little pop that he wanted. We used a couple of other Waves plugs that we’ve always used from the SSL 4000 and V-Series collections, and the Chris Lord-Alge CLA-76 Compressor. Chris happened to visit the truck and he saw that we were using all sorts of plug-ins that were part of the signature bundle that he created with Waves.”

For more information, please visit www.waves.com.

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J. Peter Robinson Makes His Greatest “Catch” with Genelec 5.1 Active Monitoring

— Composer chooses a surround monitoring system consisting of three Genelec 8250A
Bi-Amplified DSP Monitors for the L-C-R array, a pair of 8240A Bi-Amplified DSP Monitors
for the left and right rear surrounds, and a 7260A Active DSP Subwoofer for projects including feature films, reality television, video games and more—

NATICK, MA, February 23, 2012 — You could say J. Peter Robinson has been around the block a few times. In fact, you could say he’s been around the world more than once, too, both the real world and the world of entertainment media. Classically trained at the Royal Academy of music in his native London, Robinson moved easily between the worlds of theater, where he was the pianist for Andrew Lloyd Weber and Tim Rice on the original production of “Jesus Christ Superstar,” and rock, as a member of bands fronted by artists including Eric Clapton, David Bowie and Phil Collins. He was equally adept at the transition to media composing, creating music for television series including Charmed and five-time EMMY Award® winner Deadliest Catch, and feature films including Wayne’s World, Encino Man, Highlander: The Final Dimension and the soon-to-be-released Nicolas Cage film Seeking Justice. In fact, it was exactly that wide-ranging eclecticism that led Robinson to choose Genelec Active Monitors for the first 5.1 surround monitoring system in his personal recording and mix studio in Los Angeles.

After carefully vetting a wide range of speakers, Robinson decided upon three Genelec 8250A Bi-Amplified DSP Monitors for the L-C-R array, a pair of Genelec 8240A Bi-Amplified DSP Monitors for the left and right rear surrounds, and a Genelec 7260A Active DSP Subwoofer. The system was purchased from West L.A. Music and installed late last year.

“I had been spending a lot of time and money in other facilities to do my 5.1 surround monitoring and mixing, and it was time that I got my own set up, but it had to be able to handle all of the kinds of media that I work in,” says Robinson, who, in addition to his TV and film credits, has just finished work on his first video game, scoring a title based on the popular Highlander franchise. “It had to be a system that could cover all of these types of media.”

Robinson auditioned numerous monitors but kept coming back to the Genelecs as his favorites. “I listened to a lot of great-sounding speakers, but the Genelecs were the only ones where I heard only the music, not the speaker,” he explains. “All I heard from them was the material, and that’s critical.”

Also important was the fact that Genelec’s AutoCal™ automatic calibration system allowed Robinson to plug the monitors in and let them optimize themselves to his environment. “The Genelecs basically made friends with the room,” he says. “What they give me is the confidence that I’m always hearing what I recorded, as I recorded it. That’s invaluable.”

For more information, please visit www.genelecusa.com/ .

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