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Archive for May 21st, 2012

Moog Music Celebrates Namesake Pioneer with One Day Birthday Promotion Event to Benefit Bob Moog Foundation

ASHEVILLE, NC, May 21, 2012 — In celebration of Bob Moog’s 78th birthday Moog Music, Inc. will donate 50% of all online clothing and merchandise sales on May 23rd to the Bob Moog Foundation. For every $350 raised, the company will also donate one Etherwave Theremin to the Foundation’s educational initiative, Dr. Bob’s SoundSchool, to complete the DBSS Educational Kit that is provided to each participating school. Dr. Bob’s SoundSchool teaches elementary school students the science of sound through the magic of music.

Moog Music will feature a brand new line of product-inspired apparel boasting graphics bold enough to induce a geekfest for synth enthusiasts everywhere. DVDs, CDs, mugs and other ephemera will be part of the benefit promotion.

Moog Music clothing and merchandise can be purchased from the company’s online store: www.moogmusic.com/products/clothing and http://www.moogmusic.com/products/Merch

Moog instruments are not included in this annual fundraising event for the Bob Moog Foundation.

The promotion was created to include Moog customers around the world in the company’s support of the Bob Moog Foundation’s educational outreach efforts. Dr. Bob’s SoundSchool is a STEAM-based initiative, combining science, technology, engineering, art and math. It brings the late inventor’s work and spirit alive for children by teaching the physics of sound through intuitive engaging educational materials, including the theremin.

“Moog Music and our customers celebrate Bob’s pioneering legacy. In a time when science achievement is declining in this country, we are proud to support the Bob Moog Foundation in their efforts to bring science alive through electronic music. We invite all of our customers to make a purchase online on May 23rd and support the Foundation’s important work,” said Mike Adams, Moog Music President & CEO.

Moog Music, Inc. is the world’s leading producer of innovative analog synthesizers. The Bob Moog Foundation is an independent non-profit organization with a mission of igniting creativity at the intersection of music, science and innovation.

Read more about Moog Music at www.moogmusic.com
Read more about the Bob Moog Foundation at: www.bobmoogfoundation.org

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MelroseMAC Launches MelroseTEC Consulting Division

Technology re-seller and systems integration company, MelroseMAC, is launching a new IT consulting and sales division, dubbed MelroseTEC, to provide specialized technology solutions for production & post professionals.  MelroseTEC sets a higher, dedicated standard of professional guidance and support, not only for parent company MelroseMAC but also for the entire industry.

Located in Hollywood, Burbank and Culver City, MelroseMAC is one of the leading Apple authorized sales and service organizations in the country and is focused on providing media professionals complete solutions for all major technology platforms.  The launch of MelroseTEC marks the company’s increased commitment to being the go-to solutions provider for content creators in the media & entertainment sector.

In addition to the traditional Apple products offered by MelroseMAC, MelroseTEC will also provide solutions based upon Avid, Adobe, HP, Facilis and numerous other industry-leading providers. The new division also provides IT services for other markets such as corporate, government and education.

“We’ve made a major commitment to offering our industry clients an unprecedented level of service and problem solving via MelroseTEC,” remarked Sandy Nasseri, owner of MelroseMAC.  We’ve assembled a top-tier team of industry experts and solution providers, all focused on provided unsurpassed knowledge and expertise.  The three executives we are now announcing have more than 50 years of combined IT and production experience with key OEMs and content creators in our industry.

The MelroseTEC Team:

Brian Boring, VP, Solutions Sales & Technology Services-

Brian has held senior sales solutions positions at major corporations, including Unisys, Avid Technology and Qwest Digital Media.  In 2002, he co-founded HomeRun Media (HRM), a full service systems integration company for the entertainment industry.  HRM clients included: Sony Pictures, Game Show Network, SiTV, Guthy-Renker, Wexler Video, Technicolor, Fox, LA Center Studios, MGM and City of Los Angeles.

In 2005, Brian sold his interest in HRM and returned to Avid as Director, Regional Sales.  Significant clients during this tenure included: Warner Bros., Disney, Dreamworks, NBC, LA Digital Post, Moviola Digital, Pixar and Lightstorm Entertainment. In 2007, he transitioned to Wexler Video as Vice President of Sales.  His clients at Wexler included: ESPN X-Games, Academy Awards, Grammy Awards, American Gladiator, The Real Housewives of Orange County, Real World, The Bachelor, The Bachelorette and Whale Wars. In 2009, Brian co-founded media consultng/production company, Charging Bulls Entertainment.

At Charging Bull, he developed and produced eight show pilots created equipment workflow designs (including 3D), and managed crews, scheduling and budgeting.  Clients included: CBS, ABC, Fox, NBC, Discovery, Discovery 3D, Animal Planet, TLC, BBC, Lifetime, DIRECTV, Food Network, TBS/TNT, ESPN and MTV

Steve McCracken – Director of Engineering &Technology Services

Steve McCracken has over twenty years experience in video, storage, creative & IT workflows.  He has worked for a variety of leading companies, including Apple Inc. & HomeRun Media where he helped organizations deploy technology in new and exciting ways.  Steve has worked as graphic artist, motion capture artist, video editor, consulting engineer and systems engineer.  He is proficient in both Apple and Windows solutions, such as Final Cut Pro & Xsan, Adobe, OS X and Windows Servers.  He holds several certifications, and is constantly learning new technology relating to the deployment and management of both workstations and mobile devices.

Antonio Nacrur – Director of Post Services & Solution Engineering

Antonio Nacrur is a seasoned technical support manager with over fifteen years of post production and broadcast engineering experience.  He has worked for some of the largest media and entertainment organizations in Southern California including Encore Video, New Wave Entertainment, Entertainment Tonight and Sony. Antonio is an Avid Certified Support Representative (ACSR) and a recognized expert in designing and deploying HD and file based workflows.  He has worked on the most complex Avid deployments and has significant experience with almost all Avid professional products including Media Composer, Symphony, Interplay, ISIS, Pro Tools and iNews.   Antonio has also helped users with installations of digital audio consoles, graphic suites, play out servers and encoding solutions.

About MelroseMAC

With locations in Hollywood, Burbank and Culver City, MelroseMAC (www.melrosemac.com) is an Apple Authorized Sales and Service Center, which caters to audio/video/graphics professionals. The company’s staff includes 12 Apple-certified technicians and six account executives.  MelroseMAC carries the Specialist moniker from Apple, meaning they are recognized for having the highest standards mandated from Apple to provide the highest level of service available.

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“MEN IN BLACK 3″ LOOKS TO SIXTEEN19 FOR EDITORIAL SUPPORT

NEW YORK: Looming as the first summer 2012 blockbuster, Barry Sonnenfeld’s Men In Black 3 spent considerable location time in New York last summer, with a rigorous production schedule supported by NY’s Sixteen19. “This was an extremely buttoned down project,” reports managing director Claire Shanley. “Everyone on MIB3 was at the top of their game, and we were committed to insuring total reliability for every piece of gear.”

“After kicking off the editorial process in Manhattan during the shoot, we shifted to East Hampton in July,” reports post production supervisor Paul Levin. Working thousands of miles away from Los Angeles, expert technical support and workflow oversight were critical. “I’ve worked with Sixteen19 on a number of major projects in the past, and I knew we could count on them both to provide dependable systems and to see us through any unanticipated problem. Sixteen19 exceeded our expectations.” Beyond its offices in NY, LA, London, and New Orleans, Sixteen19 specializes in providing high-level service to large productions outside of these hubs and supporting them in their work around the world.

First assistant editor Jason Solberg reports that when a glitch in the Avid Unity was discovered during a tech run-through on Sunday, July 3rd, “Sixteen19 director of technical services Travis Boyer worked deep into the night to resolve the problem. By Tuesday morning after the holiday, we were totally on track. I know Paul (Levin) had great experiences with them in the past, and I’d recommend them for my upcoming projects. You need to be absolutely confident your gear will work, and that you’ve got a reliable support team at your back,” he says. “MIB3 produced almost 1/2 a million feet of film, as well as digital footage acquired on Arri Alexa. Barry doesn’t do a lot of takes, but this feature has a tremendous amount of action. The feedback we’ve been getting from early screenings have ‘winner’ written all over them,” he adds.

Paul Levin notes that the audio layback and color correction services Sixteen19 provided in LA to prep MIB3 for screenings worked flawlessly. “Barry was particularly impressed with Sixteen19′s colorist, Steve Beganyi. He was a total pro and absolutely delivered for us.”

Sixteen19′s MIB3 technical package included: five dual-boot Avid Media Composers running v. 5.5.9.3 and v. 4.0.5.13, linked to a 32 terabyte Avid Unity running v. 5.1.3 Each system incorporated a 50″ Panasonic Pro 20 Series monitor, two 27″ Apple Cinema displays and a 27″ JVC studio monitor. Sixteen19 also ran a line from the VFX station to Barry Sonnenfeld’s East Hampton theater to enable screening onsite.

“MIB3 was a terrific opportunity to showcase our broad production support capabilities,” Claire Shanley concludes. “We appreciate Paul Levin bringing us on board, and look forward to working with Paul, Barry, and their team on future projects.”

Photo: “Men In Black 3″ First assistant editor Jason Solberg in East Hampton at a Sixteen19 Avid Media Composer.

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Sixteen19 is a post-production services company with offices at 1619 Broadway, NYC and divisions in New Orleans; L.A. and London. In addition to production and development, the firm specializes in DI, color correction, editing and 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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Digital Nirvana to Show Broadcast Suite for First Time in Asia

Updated Monitor IQ™ Broadcast Monitoring System, MediaPro IQ™ Content Repurposing System and ManyView IQ™ to Make Broadcast Asia Debut

Newark, CA – At Broadcast Asia 2012, the latest version of Digital Nirvana’s flagship broadcast monitoring software, Monitor IQ, and two products introduced at the NAB 2012 show will make their Asian debut. The two new products that will be shown for the first time in Asia are MediaPro IQ for repurposing content for multi-platform distribution and ManyView IQ, an enterprise-wide system for video distribution over IP. Broadcasters can see demonstrations at the Digital Nirvana booth 4N4-08, June 19-22 at Suntec Singapore.

“After the enthusiastic reception we received to our new features and products in April at the NAB convention, we’re looking forward to showing the latest innovations to our full broadcast suite at Broadcast Asia,” said Ned Chini, vice president of sales and marketing, Digital Nirvana. “Broadcasters in Asia are a prime focus for our company. Our products are unique in the market and offer capabilities and cost savings that competitive solutions simply do not.

Monitor IQ, for example, is the only broadcast monitoring system that provides centralized management, automatic ad detection, a director’s audio track, as well as an advanced metadata harvester™. Because our platform is based on open web services (REST) API’s, our software can be easily integrated with third party products and can scale from one to multiple servers and from one to hundreds of channels. All Digital Nirvana solutions are web enabled, so users can access the software through any standard web browser without ActiveX component.”

Monitor IQ

Monitor IQ is a monitoring, logging, compliance, and content republishing system for TV networks and stations. It combines the functionality of content recording (HD and SD in full resolution), content searching, retrieve and repurposing, Web publishing, signal monitoring, air-check logging, archiving, ad verification and tracking, and competitive analysis in a scalable networked appliance.

Several new features of MonitorIQ were recently introduced, and the system has been divided into four packages so a wide range of broadcasters can take advantage of the company’s technology.

Monitor IQ Starter

This entry-level package offers all the logging functionality necessary for a one- to two-channel system and includes 90 days of low-resolution storage.Searching is based upon keywords, titles, subtitles, descriptions, textual metadata, closed-caption text and imported logs, with filtering by time, date and channel. Recordings can be easily edited, clipped, stored and sent via email or FTP.

Monitor IQ Essentials

Monitor IQ Essentials is a logging and monitoring system that includes all the functionality necessary for broadcasters to ensure regulatory compliance. New features being shown at Broadcast Asia include support for IP as an input source, and loudness monitoring is now bundled in as a standard feature within the package.

The Monitor IQ Essentials system accepts DVB-T/C/S2, ASI, ASI/IP, HD/SD-SDI, ATSC/QAM and NTSC/QAM, and NTSC/PAL formats. It records audio, video, VANC metadata and captioning in both high- and low-definition. As with the Starter package, searching is based upon keywords, titles, subtitles, descriptions, textual metadata, closed-caption text and imported logs, with filtering by time, date and channel. And recordings can also be edited, clipped, stored and sent via email or FTP.

Monitor IQ Plus

Monitor IQ Plus includes all of the features found within Essentials and adds several new enhancements. New features being shown at Broadcast Asia are the ability to connect and control Monitor IQ via an iPad, iPhone, or Android interface. This mobile feature makes it easy for field sales reps to show clients their ad content in the context of the broadcast programming. Other new features include watermark NAVE decoding, a central management server, and a web services (REST) API.

Monitor IQ Premier

The Premier package extends beyond the capabilities found in the other packages with innovative, new features, such as: ad detection, directors audio track; integration with third party routers and multi-viewers, and an advanced metadata harvester.

Advanced metadata harvesting provides the ability to track any data the system logs and collects from alarms or from the broadcast feed. It can locate where the error occurred in the broadcast signal, collect forensic analysis about the event, and report that data back to the customer. It provides access to the data and to the mapping point of when, where and how that video was recorded. This new feature dynamically enhances broadcast discrepancy reporting by allowing station executives and engineers to hyperlink straight to the reported video and view a problem or issue.

MediaPro IQ

The new MediaPro IQ solution is a content repurposing system for multi-platform distribution. It records video feeds in full HD and offers a quick, low-cost way to repurpose HD clips from broadcast. This new solution is designed for news and sports directors who frequently need to repurpose content.

MediaPro IQ allows users to easily edit, clip and publish live or recorded content in real-time. Search is based on keywords, program titles, descriptions, textual metadata, closed-caption, as-run logs, traffic logs, alarm and discrepancy logs and time/date or channel filters.

MediaPro IQ is compatible with such web browsers as: FireFox, Safari, Internet Explorer, and Chrome. iPad, iPhone, and Android interface are also available. Video can be exported to Flash, MPEG-2, MPEG-4, H.264, and XDCAM and other formats for content repurposing.

ManyView IQ

With the new ManyView IQ system, it’s now easy and cost-effective to deploy a private, enterprise-wide IPTV system for use by producers and staff who need to view real-time video signals at their desktop. The system eliminates the need for costly coaxial cabling, IP encapsulators, and IP output encoders. IP multicast delivers real-time video feeds to desktop and set-top boxes throughout an organization. ManyView IQ is DNLA-enabled, which provides VOD-like ability to store, distribute and publish offline video assets throughout the enterprise for any device on the network, such as: desktops, mobile devices (iPad, iPhone, Android, smart phones), set-top boxes, connected TVs, and media players.

ManyView IQ is compatible with current standards-compliant web browsers, enabling an on-the-go workflow through a web browser. It also has iPad, iPhone, and Android interfaces available.

Both MediaPro IQ and Manyview IQ are cost-effective, all-in-one scaled network devices that are based upon open API’s for easy integration into other systems. They also both reliably record from IP, ASI, ASI/IP, SD/HD-SDI, ATSC, QAM, NTSC, PAL or DVB-T/C/S2 protocols.

About Digital Nirvana

Since 1996, Digital Nirvana has been empowering customers with innovative knowledge management technologies. By combining media and digital technology expertise, Digital Nirvana makes it possible for organizations to streamline operations and gain competitive advantage with advanced product and service offerings. The industry-leading MonitorIQ Broadcast Monitoring System from Digital Nirvana is a full-featured monitoring platform incorporating the most advanced capabilities available in an affordable, networked appliance. Digital Nirvana is headquartered in Newark, California and has operations in multiple locations globally.

Further information is available at www.digital-nirvana.com.

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Gefen Releases Four New Ways to Extend DVI over Fiber

CHATSWORTH, CA – Digital connectivity solutions provider Gefen today announced the shipping of four new extenders for DVI using fiber optic cables. Three employ small, modular sender and receiver units that streamline installations with a lightweight and efficient solution. Another uses the traditional rack mount sender and receiver unit for KVM (keyboard, video, mouse) extension. Fiber optic cable is ideal for applications in which electromagnetic interference (EMI) is an issue or when multiple extenders are used in tight spaces.

DVI Extender 1FO (DVI-CP-FM10)

This extender uses pig-tail style sender and receiver units that take up little space, and extend DVI up to 1000 feet (300m) using one strand of fiber optic cable terminated in SC. High resolution video is supported up to 1920×1200. Virtual EDID programming ensures a constant sync of the video source to the display. This DVI module is interchangeable with HDMI, with HDCP-compliance.

DVI 1FO Extender (DVI-FM15)

Two small sender and receiver modules offer a simple, straightforward method of connecting DVI directly at the source and display. High resolution (1920×1200) video is extended using a single-mode fiber optic cable up to 3280 feet (100m) or using a multi-mode fiber optic cable up to 1640 feet (500m). The die-cast modules provide a more robust solution than existing products supporting the same distance.

DL DVI 2FO Extender (DVI-FM2500)

Two small sender and receiver modules connect directly to the DVI connector at the source and display. Dual link DVI resolutions up to 3840×2400 are extended up to 1640 feet (500m) using two multi-mode fiber optic cables terminated in SC. A compelling price point makes it ideal for professional seeking alternative methods of long distance extension for dual link DVI.

DVI-3600HD

The DVI-3600HD is a KVM over fiber optic extender that sends DVI, RS-232, USB 2.0 and audio up to 1640 feet (500m) using four strands of multi-mode fiber optic cable. All signals travel along the same cables, making it well suited for professional applications. This product is an improvement over the DVI-3500HD and now supports USB 2.0 devices. It is rack mountable for added convenience.

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Small Tree Showcases Expanded GraniteSTOR Titanium Video Editing Shared Storage System Family at Infocomm 2012

Small Tree, the video editing shared storage experts, will be showcasing its expanded GraniteSTOR TITANIUM line up at Infocomm 2012 (Booth C5654 – Technologies for Worship pavilion). TITANIUM is a high performance, capacity dense, dedicated video editing shared storage appliance with advanced file sharing capabilities enabling simple, real-time collaboration.

An “all-in-one” system with a budget friendly special introductory entry price of $6,995 (valid until June 30, 2012), TITANIUM offers extreme flexibility, supporting a wide range of performance and capacity requirements. Professional video editors with limited IT resources can focus on editing video, not on managing the infrastructure supporting their workflow.

TITANIUM16, a 3U rack-mount solution introduced in January 2012, has been enhanced and expansion options added. TITANIUM16 is configurable up to 32 GbE or 20 10GbE ports and storage capacity from 32TB to 240TB, while delivering up to 72 streams of ProRes 422. This represents a 5x increase in capacity and 2x performance increase compared to the initial release of the TITANIUM16.

TITANIUM8 is the newest in Small Tree’s expanding GraniteSTOR line of high performance, affordable Ethernet-based shared storage systems. TITANIUM8 is a 2U rack-mount solution configurable up to 10 GbE or 8 10GbE ports and storage capacity from 8TB to 72TB, while delivering up to 35 streams of ProRes 422.

TITANIUM supports popular editing software such as Final Cut Pro, Avid Media Composer, Adobe Creative Suite, while enabling Windows, Linux, Macintosh and Unix clients to share media files. The Small Tree shared storage solution supports multiple file Protocols, including AFP, Samba, NFS and iSCSI. Final Cut X sharing, utilizing Final Cut X’s SAN location feature for events and projects, is possible on TITANIUM using iSCSI and Apple Xsan (now included in OS X at no additional charge) or Tiger Technology’s MetaSAN. Post-production professionals can rest easy knowing that no matter what software or platform they are working from, TITANIUM will work seamlessly in their environment.

TITANIUM is built on a customized open source operating system that was designed to be easy-to-use, feature rich and reliable, while providing exceptionally robust performance. Storage can be made available to users within minutes of initial start up and the powerful and convenient Web-based GUI
makes management of the system straightforward and simple. TITANIUM supports file and volume replication as well as tape backup. By using a Web-based browser, TITANIUM can be managed from anywhere with an Internet connection, providing optimal convenience to post-production professionals facing tight deadlines.

Storage, file server and networking are all contained in the TITANIUM chassis, which means users can connect an editing workstation directly to the system with no other networking equipment required. If additional editing workstations are required, a Small Tree switch is easily integrated with the new system. As a result of its tremendous flexibility, TITANIUM is ideal for any post-production environment, whether it’s in the studio, at home, in a mobile production truck or on a remote shoot requiring on-site video editing.

“In today’s fast moving and ever changing post-production environment, it is absolutely critical that shared storage provides the best balance of capacity, performance, ease of use and cost to minimize expenditures,” said Corky Seeber, president of Small Tree. “TITANIUM is ideal for church- and university-based post-production facilities looking to maximize their workflow without crippling their bottom line.”

TITANIUM8 and TITANIUM16 are currently available for delivery worldwide.

For more information on GraniteSTOR TITANIUM, visit Booth C5654 at Infocomm or www.Small-Tree.com. Follow Small Tree @smalltreecomm or like us at www.facebook.com/smalltreecomm.

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Gray Television Builds New Technology Strategy with Vizrt at its Cornerstone

Bergen, Norway, Vizrt Ltd. (Oslo Main List: VIZ)

As the nation’s largest owner of stations in mid-size markets, Gray Television Group dominates broadcasting across Middle America. With 36 diverse affiliates spread throughout college towns and state capitols, Gray VP of Technology Jim Ocon recognized his company’s crucial need to establish a common cost-effective, automated workflow across all its stations. To meet this challenge, Ocon established a new technology strategy he calls the Gray Model.

With the system already operational in 19 of the affiliates, Gray is rolling out this new model to additional stations every quarter. Fully integrated with existing workflows and automation processes, it has allowed Gray to quickly implement a centralized hub of resources and technology with a single graphics solution across its entire network. Ocon said, “When we’re relaunching our stations, we don’t have the luxury of a six- or nine-month launch period. We’re looking to get it down to twelve weeks or less. So having a powerful but simplified graphics package we can rely upon is key. “

To see a video of Gray Television’s Ocon speaking with Vizrt Corporate Communications Editor Chris Black about the Gray Model and its use of Vizrt products, please click on the link below:

http://dl38tvmapnp8c.cloudfront.net/video_mp4_2012/Ocron_Interview.mp4

Adding Flexibility with a Modular Strategy

As the cornerstone of Gray’s new technology, Ocon chose a MOS solution based around the Viz Engine™, Vizrt’s powerful and flexible graphics renderer. Gray’s automated production control and master control rooms also incorporate Viz Artist animation and design software, automation-driven Viz Trio for character generation, Viz Content Pilot for content management, Viz Ticker for news ticker creation, and Viz Multichannel for channel branding automated graphics playout.

Ocon said, “What really separated Vizrt from the competition is the ubiquitous use of their hardware. We can take Viz engines and plug them in anywhere in the studio and the station. With other systems, the ticker system might be a different box with different inputs. With Vizrt, we can use the same engine for everything just by configuring it a little differently. This IP-flexibility is inherent inside Vizrt products, and one of the main reasons we selected them.”

“A basic Vizrt system includes an Engine, which is the graphics renderer, and a Trio, which is the operator console/interface. You use a combination of Engines and Trios to run your graphics. It’s very modular, so if there’s ever a technical problem and you lose your main engine, you can literally patch in one of your engines from another part of your system to do your graphics. Vizrt gives our stations tremendous flexibility. “

Creating a Centralized Hub Model

Traditionally, station graphics production has used separate artists to render and operators to manage the graphics, with each station having its own dedicated staff. Employing Vizrt’s products within the Gray Model enables the broadcaster to create a more efficient central hub, while also giving their stations autonomy and control over their work. Ocon has used Gray’s Omaha station WOWT as his pilot site for much of the system testing and development that Gray then deploys to the other stations throughout the network.

Vic Richards, Director of Promotion and Media Production at WOWT explained the hub strategy: “We have three artists who work on Vizrt packages, creating graphic templates for all of the stations. Each template has a similar functionality and look. Our stations use these templates on a daily basis simply by filling them in. Because the basic design is already approved, the graphics just need to be checked locally for content, to make sure everything is spelled correctly.” Not only is it easier for the stations to achieve consistency within each broadcast, but the graphics are also consistent with the other affiliates in the network to better reinforce the Gray brand.

Evolving a More Streamlined Workflow

Richards said this hub strategy has made dramatic changes in the newsroom, studio production and automation — not just in workflows, but in staff assignments as well. “In a traditional system, an artist takes requests from the newsroom, and physically builds the graphics. During the newscast, the CG operator advances them. Now, control of graphics production is actually in the hands of the newsroom staff, which builds its own graphics using the templates. Then the Ross OverDrive automation system triggers the graphics during the newscast, essentially taking the place of the CG operator. Everything’s rendered in the graphics card, on the fly, the moment it hits the air. Vizrt allows one person to do everything.”

Mike Fass, WOWT’s Media Production Manager, noted another advantage of the Vizrt system. “The graphics templates are vector-based,” said Fass. “They’re very small in file size, unlike, say, a QuickTime movie file. So one of our artists can modify a graphic and simply email it to the station. We’re not using hours of upload time, or lots of bandwidth. And because Viz Engines don’t store graphics with page numbers like a traditional system, they don’t have to store large graphics files at the station itself. “

Reducing the Learning Curve

One of Ocon’s major concerns is ensuring that his stations are properly trained on the new system. When an affiliate upgrades to the Vizrt system, Gray designates a technician at that station for three days of Vizrt training as a “superuser.”

Two additional days of training for production and news users teach them to fill out the graphics templates. Richards noted, “We’ve found that the five day program is really all each station requires. And now that we’re about three years into bringing the stations on line, we’re having more people at the stations with superuser skills. So we’re using those people as additional support for other stations.”

Giving Smaller Stations a “Big Station” Look

The hub strategy has greatly reduced the redundancy of effort at Gray Television Group. Ocon explained, “We can focus our best talents in the network at creating the template packages, customized for any station in any market. Stations don’t need to have someone on site to create those daily graphics, just someone who can populate the template and then get them to air. So, that really helps their workflow. Once they’re comfortable using the technology, the templates have the flexibility to let them stretch their wings a little bit creatively.” This means that even the smallest stations in the Gray network can employ graphics that are as sophisticated as those at the larger stations. Ocon said, “That’s one of the biggest things we get feedback on. A Grand Junction can look like a Knoxville. And our viewers are very impressed.”

About Vizrt:

Vizrt provides real-time 3D graphics and asset management tools for the broadcast industry and media houses – from award-winning animations & maps to online publishing tools. Vizrt’s products are used by the world’s leading broadcasters and publishing houses, including: CNN, CBS, Fox, the BBC, BSkyB, ITN, ZDF, Star TV, Network 18, TV Today, CCTV, NHK, The Globe and Mail, Times Online, The Telegraph, and Welt Online. Vizrt is a public company traded on the Oslo Main List: VIZ, ISIN: IL0010838154.

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Brainstorm Introduces SR-112 Time Code Distripalyzer at InfoComm

New Version of Industrywide Favorite for Time Code Solutions

Brainstorm Electronics, the world leader in time code and clocking solutions, is introducing for the first time at InfoComm 2012 the new SR-112 Time Code Distripalyzer.  This new model of the industry favorite is designed for large A/V systems, theme park attractions, cruise ship entertainment, synchronized water fountains, and remote recording trucks, among many other applications.   http://www.brainstormtime.com

Brainstorm’s new SR-112 Time Code Distripalyzer, replaces the industry standard SR-15+. It is a time code reader, distributor, reshaper, analyzer and generator all in a 1U rack mount device. The analyzer indicates format, frame rate, errors and video phase, and outputs a comprehensive report; the 1×12 distributor reshapes the signal; the optional generator repairs drop-outs and generates new code. All SMPTE and EBU SD/HD rates are supported. Ethernet is included for reporting and to set parameters and update firmware.

About Brainstorm
Brainstorm products deliver complete solutions for all sync requirements in the post- production, recording and broadcast environments. Designed for operations ranging from audio recording studios to large post-production houses and major broadcast facilities or remotes, Brainstorm offers the most comprehensive package for all clocking needs, providing versatility in the widest range of applications.

Experience the new Brainstorm SR-112 at InfoComm in Las Vegas,
June 13 – 15, Booth # C11349

For more info, visit: http://www.brainstormtime.com
or phone 323.845.1171

 

 

Prism Sound Fulfils An Important New Order For Its SADiE 6 Craft Editing Software

Less than one year after installing 50 SADiE 6 editing systems at BBC North in Salford, the BBC has expanded its SADiE editing capabilities by ordering another 250 systems. These will be strategically located in the Corporation’s radio studios around the UK.

Following a comprehensive review of a range of potential solutions, the broadcaster selected SADiE as its standard “Craft Editor” for audio to complement its radio production and playout automation systems. This decision helped the broadcaster to streamline the range of tools that it supports internally for its radio programme makers.

The Corporation already has many hundreds of SADiE installations. Key to this success is the unique approach that SADiE has to audio editing and productivity, tailored to high-end radio production workflow. The new SADiE 6 software is primarily being used as a software-only application on the broadcaster’s desktops, but it can also be installed on existing SADiE 5 hardware as an upgrade.

The Craft Editor specification demanded a number of feature enhancements for the new SADIE 6 software, including the integration of a comprehensive signal processing plug-in package. This has been met with the iZotope plug-in pack for SADiE 6. In addition, Prism Sound has developed a USB interface for SADiE 6 that supports the broadcaster’s 200-plus SADiE hardware controller. This enables re-use rather than replacement of the controllers.

Graham Boswell, Sales Director of Prism Sound, says: “We are delighted that the BBC is making SADiE 6 available to many more of its radio production employees and we feel confident that they will appreciate the benefits that SADiE 6 brings.”

SADiE digital audio workstations and LRX 2 digital audio workstation have long been the mainstay of the broadcast community thanks to their editing and location recording capabilities. The SADiE product range is renowned for its speed and ease of use, making it ideal for radio drama production and topical documentaries where the emphasis is on a quick turnaround. The new SADiE 6 software operates on any computer running Microsoft Windows as well as existing SADiE 5 hardware platforms.

-ends-

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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U.K. Hire Facility Decode Selects Anton/Bauer Batteries to Power Arri Alexa for Diverse Video Projects

DIONIC HC Ensures Long-Lasting, Reliable Power in Lightweight Package

LONDON, MAY 21, 2012—Anton/Bauer, part of Vitec Videocom, a Vitec Group company, and a premier global provider of batteries, chargers, lighting and other mobile power systems for the professional broadcast, video and film industries, is the battery, charger and accessories supplier of choice for Decode, a London-based equipment hire company, to help reliably power the ARRI ALEXA. Decode employs Anton/Bauer DIONIC HC batteries, TM4 chargers and the QR-HOTSWAP-AR Gold Mount to power ARRI ALEXA cameras, ensuring its clients experience dependable operating times as well as the most secure camera connection with seamless power.

Specializing in high-end cameras, grips and lighting for feature films, commercials and corporate productions as well as 3D rigs with crews for special projects, Decode is one of the leading equipment hire facilities in the U.K. Notable projects the company has worked on include MTV’s Living on the Edge, Fashion Week, commercials for the Sony PlayStation, Doritos, Microsoft and Nike and music videos for AC/DC, Pink and Portishead.

“We frequently have clients who are very concerned with the output of batteries and therefore the operating time that Anton/Bauer provides is important for every job,” says Decode Kitroom Technician Tony Shocash. “Not only do they charge fast and are robust, but we have found that they are the most reliable and longest-lasting batteries. The digital readout is much more accurate than a light-up panel for predicting when a change will need to be made. Also, the Gold Mount is fantastic, both for securing to the plate and for its connection.”

Part of the company’s Logic Series batteries, the DIONIC HC is suitable for powering high-current applications in a lightweight package. Designed through close work with cell manufacturers, the DIONIC series incorporates high-capacity cells that can sustain a 10 amp draw. To continually ensure cell protection and performance integrity, a special honeycomb cell pack design protects the cells for both the DIONIC HC and the DIONIC HCX. The DIONIC HC provides 91Wh and can operate a 40-watt HD camera for more than two hours. Transported as carry-on luggage without restrictions, the DIONIC HC is the perfect lightweight battery for shooting on location.

Decode also provides the Anton/Bauer QR-HOTSWAP-AR Gold Mount to its ARRI ALEXA users. “The Gold Mount is fantastic, both for securing to the plate and for its seamless connection to the camera,” says Shocash. “It saves a massive amount of time and it is practically impossible to inadvertently knock the battery off, whereas V-locks can become disconnected when the camera is moved. Combined run-time for multiple batteries can be seen in the camera’s viewfinder.”

Shocash is also pleased with Anton/Bauer’s TM4 four-position chargers. “The TM4 charger is very useful for working fast and makes the turnaround much easier for A/C since you can charge multiple batteries simultaneously,” he says.

All carry-on/checked baggage passenger rules should be verified with your specific carrier prior to travel. For more information on Li-Ion travel, refer to www.antonbauer.com.

For more information on Decode, visit http://decodeuk.com/.

About Anton/Bauer
Anton/Bauer is recognized as the world’s innovator and a premier provider of batteries, chargers, lighting and other key mobile power systems for the professional broadcast, video and film industries. Based in the United States in Shelton, CT with offices in Europe and Asia, Anton/Bauer was established in 1970 and has expanded its product offerings to include many signature lines such as its leading Gold Mount system, InterActive chargers and Logic Series batteries such as the HyTRON 50, 100 and 140, and DIONIC 90, 160, HC and HCX. Their products are compatible with every camera brand on the market today. Other Anton/Bauer high performance products include the Ultralight 2, ElipZ, CINE VCLX and the Tandem 150 Modular Charging System. Their superior-quality products have become an industry standard. For more information on Anton/Bauer, visit www.antonbauer.com.

About Vitec Videocom
Vitec Videocom brings together some of the most respected, most innovative and most sought-after brands in the industry: Anton/Bauer, Autoscript, Litepanels, OConnor, Petrol, Sachtler, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business.

Vitec Videocom is an operating division within the Vitec Group, an international business serving customers in the broadcast, photographic and military aerospace and government markets. Vitec is based on strong, well known, premium brands on which its customers rely on worldwide.

Vitec Videocom – innovative products around the camera.

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