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Archive for May, 2012

Christie Japan Lights Up Tokyo Sky Tree East Tower For NHK Documentary

Christie Digital Systems Japan (Christie) in co-operation with NHK Enterprises Ltd., WOW and Sigma A&V and Rental Corporation, played a key role in creating Sunday’s NHK documentary broadcast – “See Everything That Makes Tokyo Sky Tree Special!” – in advance of the Tokyo Sky Tree’s official public opening on May 22, 2012.

Christie’s expertise in ‘projection mapping’ was leveraged during the shooting of the documentary to deploy and operate 27 Christie Roadie HD+35K projectors, the world’s brightest and best DLP projectors, to project images created by NHK onto a 4,500 square-meter area on the East Tower, over a distance of up to 130 meters. Set on the rooftop of the eighth floor of the Tokyo Sky Town shopping mall, each projector is capable of 35,000 lumens output.

“As a professional-use projector manufacturer, it is an honor to provide technical cooperation for projection mapping in a locale that is as large in scale and as topical as the Tokyo Sky Tree,” said Mamoru Hanzawa, general manager, Christie Digital Systems Japan. “Projection mapping allows large numbers of people to share the excitement of seeing an image projection that, although far larger in scale than conventional uses, requires no screen setup and takedown, and does not interfere with the building or other object on which it is projected.”

Eye-Pleasing Projection Mapping Now Within Reach
Christie projectors have the reputation for image quality, reliability and brightness that artists, designers and rental stagers count on for their displays and events, and the firm is pleased to be the projector manufacturer of choice that helps create many spectacular displays, including those used in “See Everything That Makes Tokyo Sky Tree Special!”

Primitive forms of projection mapping have been around for more than a decade. Originally, projection mapping was used to project static images onto buildings and exterior structures using slide-projector setups and film to create lighting effects. Mapping to these surfaces was difficult since the designers were required to use technology that used camera obscura-type manipulations. The light sources were often not bright enough, so the result images could not been seen very well.

To eliminate these problems, Christie developed advanced technologies that help enable today’s complex and stunning mapping displays to be created. Technologies like Christie Twist and Christie AutoStack allow the projected images to be warped and edge-blended into irregular shapes and surfaces, as well as enable the set up and maintenance to be accomplished more accurately and quickly using cameras, projectors and software.

For advertising, events and ceremonies, projection mapping continues to be an engaging way of transforming buildings and facades in order to attract and excite people. As more displays emerge for advertising and entertainment, more and more people are deciding to use this type of environmental modification for weddings, ballrooms and corporate events. It’s the imagination and creativity of people working with the capabilities of today’s digital projectors that is helping to make projection mapping displays go mainstream.

“Projection mapping goes further than just providing content for television programs and for displays at events. It is a projection method with enormous and yet to be fully realized potential,” said Mamoru Hanzawa, general manager, Christie Digital Systems Japan.

“Furthermore, in the age of the personal computer, the smart phone, and the tablet, where each individual has come to enjoy watching still and moving images on his or her small device alone, visual experiences able to be shared by large numbers of people at once are, I believe, of great significance and value.

“As a leading manufacturing company of professional-use projectors, Christie wishes to contribute to the future of such shared visual experiences made possible by the use of projectors,” Hanzawa continued.

“Projectors are used not only in the entertainment sector, such as with image projection of this type here and movies, and the like. They are also used in a wide range of other fields such as pharmaceuticals, medicine, and for academic and technical research. It will be greatly satisfying if the application of projectors in this project can serve to show as many people as possible the enormous possibilities they have for image projection in general.”

About Christie
Christie Digital Systems USA, Inc. is a global visual technologies company and is a wholly-owned subsidiary of Ushio, Inc., Japan, (JP:6925). Consistently setting the standards by being the first to market some of the world’s most advanced projectors and complete system displays, Christie is recognized as one of the most innovative visual technology companies in the world. From retail displays to Hollywood, mission critical command centers to classrooms and training simulators, Christie display solutions and projectors capture the attention of audiences around the world with dynamic and stunning images. Visit www.christiedigital.com.

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Expo 2012 Yeosu Korea Uses Christie Visual Solutions For The Signature Big-O Show

Expo 2012 Yeosu Korea

Expo 2012 Yeosu Korea

Christie, the official contents sponsor for Expo 2012 Yeosu Expo, is pleased to announce the Organizing Committee for Expo 2012 has selected Christie Roadie HD+35K projectors for its signature multimedia night show. Set against the natural backdrop of the Yeosu Sea, the 47-meter high Big-O is the world’s largest water curtain and the landmark installation at the expo.

Designed and directed by France-based ECA2, who were involved in shows such as the opening and closing ceremonies of the 1998 World Cup in France and the Eiffel Tower Millennium Show, the “O” stands for the ocean and resembles the numerical zero to illustrate a new beginning for the sea. The show is expected to remain as a permanent centerpiece after Expo.

Two sets of triple-stacked Christie Roadie HD+35Ks, the world’s brightest and best DLP projectors, project a short animated film about ocean conservation onto the water screen at the internal rim of the “O,” which is located about 100 meters away. To complete this show, the “Fountain Show,” staged by the US-based WET Design, also utilizes four sets of dual-stacked Christie HD+35Ks projecting content onto three sets of fountain jets located at distances of 20 meters, 25 meters and 30 meters respectively. The nightly multimedia show also includes other special effects such as moving water jets, mist, flames, lighting, and laser works.

“Christie HD+35K projectors are wonderful. They’re bright and offer superior quality. We’re getting a brightness level of more than 200 nits, which is more than what we expect. Even under strong wind conditions which affect the water screen, we’re still getting the clarity and the exact image focal point,” comments Guillaume Duflot, chief of operations & technical director, ECA2. “We have an excellent ongoing relationship with Christie, having collaborated with them on many projects in many parts of the world including Singapore and China over the last five years. As a company, they’re ultra-responsive and offer products of the highest quality.”

“Projecting onto moving waters is a challenging task. The Christie projectors are able to fully maximize the potential of our fountain show by adding a surreal touch. We’re very happy with the results as they really bring the whole show to life,” comments Helen Park, senior vice president, WET Design.

“The images projected by the Christie projectors are visually stunning and they have definitely met or even surpassed the requirements set out by the Organizing Committee for Expo 2012 Yeosu Korea for the Big-O show. I’ve always been working with some of the world’s best companies and, in this case, Christie is the company who can offer the best visual solution for this show,” comments Yves Pepin, creative consultant to the Yeosu Expo 2012 Committee on the Big-O project.

“We wanted the best possible solution for the Big-O show and all the companies that we were working with – including ECA2, Electrosonic and Wet – unanimously proposed Christie. In this case, we decided to select Christie as a partner for this event. We would never be able to forget the visual impact that the show had on us when we first saw it. The projected images were brilliant and crisp even when we did the trial projection in the rain. The visual projection not only tells an entertaining story but most importantly, it helps to visually convey the expo’s core message – the need for ocean protection,” comments Berni Cho, Project Manager, Big-O installation.

Under the expo’s theme “Living Ocean and Coast,” various promotional locations and pavilions at Yeosu Expo have deployed close to 250 Christie visual solutions for the 93-day event taking place May 12 to August 12, 2012. Christie J Series, Christie M Series, Christie E Series, Christie Roadie HD+35Ks, Christie Roadster S+20Ks, Christie LX Series and Christie MicroTiles are used to help visually convey the message about the need for ocean conservation to an estimated turnout of eight million visitors from around the world.

“We’re very fortunate to be selected as the contents sponsor for the Expo 2012 Yeosu Expo and to be involved in one of the biggest events in Korea this year. Most importantly, we’re able to transfer our knowledge and experience gained from our strong participation in the similar expo event in Shanghai during 2010,” comments Lin Yu, vice president, Christie Asia Pacific. “We started working on this event early last year and we’re pleased that our groundbreaking visual solutions are present in some of most significant installations including the Big-O, the Denmark Pavilion, the China Pavilion as well as corporate pavilions.”

As early as May 2011, Christie MicroTiles were selected by the Expo 2012 Yeosu Korea Organizing Committee to promote the event at the Incheon International Airport and Gimpo International Airport. These visual solutions will remain in use until the end of Expo.

About Christie
Christie Digital Systems USA, Inc. is a global visual technologies company and is a wholly-owned subsidiary of Ushio, Inc., Japan, (JP:6925). Consistently setting the standards by being the first to market some of the world’s most advanced projectors and complete system displays, Christie is recognized as one of the most innovative visual technology companies in the world. From retail displays to Hollywood, mission critical command centers to classrooms and training simulators, Christie display solutions and projectors capture the attention of audiences around the world with dynamic and stunning images. Visit www.christiedigital.com.

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Jünger Audio Makes Audio Loudness Its Focus At Broadcast Asia 2012

Dynamics specialist Jünger Audio will focus on controlling audio loudness in the broadcast chain at this year’s Broadcast Asia convention in Singapore (June 19th – 22nd. Booth 4U3-01).

On show for the first time in the Far East will be two new additions to Jünger Audio’s *AP family of loudness control processors, a range of products that are specifically designed to help broadcasters stay within the parameters of newly introduced loudness legislation such as the CALM Act in the USA.

The *AP family all incorporate Version II of Jünger Audio’s renowned LEVEL MAGIC™ adaptive loudness algorithm, which is compliant with all current broadcast audio loudness recommendations including ITU 1770 (versions 1 and 2), ATSC A/85, ARIB TR-B32 and EBU R128. Based on a Multi-Loop dynamic range control principle where slow changes (AGC), fast changes (Transient processing) and Look Ahead peak limiting are handled simultaneously, LEVEL MAGIC offers level management with exceptionally high audio quality and without coloration, pumping, breathing, distortion or modulation effects.

The two new additions to the *AP family are the D*AP LM4 and the D*AP LM2.

The D*AP LM4, a four-channel Digital Audio Processor aimed at television broadcasters and video production and post production companies that need to control audio loudness while creating and editing broadcast content. Similar in concept to the hugely popular Jünger Audio B46 processor, which it replaces, the D*AP LM4 also features on board AES/EBU digital I/O, along with optional 3G/HD/SD-SDI I/O or analogue I/O. This combination of formats is likely to open up many new markets for the unit. Control of this 19” rack-mountable unit is via a smart new front panel or via a Web interface for those who wish to operate it remotely.

The D*AP LM2 is a two-channel Digital Audio Processor that replaces Jünger Audio’s ground breaking D06 unit. The D*AP LM2 offers a powerful combination of dynamics and loudness control, making it suitable for a wide range of applications including television, radio, music production and PA. It can handle both analogue and digital (AES/EBU) audio and features an automatic input switchover with parallel output formats. It also fits neatly into a rack and is controllable through a newly designed front panel or via a Web based interface.

Both the D*AP LM2 and D*AP LM4 come with optional redundant PSU and a power fail bypass to ensure maximum operational security. They also feature Jünger Audio’s Adaptive Dynamics as standard, allowing customers to incorporate additional processing blocks such as compressors and expanders. Spectral Signature™ will become an option for these processors.

Jünger Audio will also show its Award-winning T*AP TV Audio Processor, which made its operational debut at the 2011 Eurovision Song Contest and has now being installed in numerous broadcast facilities. Primarily designed for TV playout, the device provides Loudness control, Upmix and surround sound processing for up to eight channels of audio (8×1, 4×2, or 6+2).

T*AP focuses on automatic and adaptive loudness control and also offers Jünger Audio’s Spectral Signature™ as standard. This remarkable proprietary technology gives TV and radio broadcasters the ability to create a signature mask as a template so that they can recreate the same atmosphere and dynamics on subsequent audio content. Optional Dolby Decoding and Encoding (D, D+, or Pulse), as well as metadata management, are also provided along with 5.1 Downmix and Jünger Audio’s 5.1 UPMIX circuit, which has been upgraded to deliver greatly improved performance and a range of new settings.
Junger Audio is completing its Broadcast Asia line up with Loudness Logger, a powerful tool that offers customers of all Jünger Audio levelling processors an easy way to monitor the development of the loudness over time. This innovation is critical to all broadcasters who now need to show precisely how their audio levels are performing in order to comply with new legislation on Loudness. Using this new software, broadcasters can monitor in real time or by analyzing previously stored loudness log files. The software, which is an MS Windows application, can be purchased from Jünger Audio on a license basis per PC and is protected by an USB dongle. The Loudness Logger works with Jünger Audio’s entire range of new box processors as well as with recent versions of LEVEL MAGIC™ cards in the modular C8000 system.
If you would like more information about these products please visit Junger Audio at Broadcast Asia 2012 – Booth 4U3-01 – for a demo.

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About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities.

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PDG Helicopters Takes to The Skies With A Cinedeck RX Solid State Recorder

Leading on-shore helicopter operator PDG Helicopters has become the first company in the UK to use a Cinedeck RX dual channel, solid-state recorder to deliver high quality digital aerial filming to clients in film, TV broadcast, commercials and corporate production.

Based in Scotland, PDG Helicopters has over 40 years of knowledge in helicopter charter, a fleet of 17 aircraft, and registers over 10,000 flying hours each year across a range of services. These include passenger flights, aerial crane, aerial survey, helicopter maintenance, scenic helicopter tours and aerial cinematography.

PDG Helicopters acquired its Cinedeck RX from Cindeck’s UK distributor Oxygen DCT. The unit is now being used to record uncompressed 4:4:4 from a gyro-stabilised Cineflex V14 HD camera, in a wide range of frame rates, recording variations of Apple ProRes, Avid DNxHD and Cineform codecs, according to each customer’s preference.

Peter Jones, aerial cameraman and PDG Helicopters’ camera systems manager, says: “We researched where to buy our Cinedeck RX and decided on Oxygen DCT because it has such a strong reputation for aftersales support. The company’s staff are incredibly helpful and have answered all our technical queries quickly and knowledgeably.”

Jones adds that Cinedeck RX has allowed PDG Helicopters to mirror the industry trend towards tapeless capture, and to extract the full performance of its Cineflex camera system.

“As it records to a range of codecs, clients can leave the shoot with edit-ready footage, which ultimately helps their production costs – and that’s a great selling point for us,” he says.

Since acquiring their Cinedeck RX, PDG has used the unit on projects for BAE Systems, QinetiQ, a commercial for McDonald’s through Thomas Thomas Films, and a corporate production for LineUp TV.

“Aerial cinematography has a number of issues, not the least of which is vibration,” Peter Jones explains. “With a tape deck, you’re always concerned there might be dropped frames or other image degradation. With other capture devices you just have to trust the takes are there when you land. There’s huge merit in the RX being a solid-state recorder, with built-in redundancy, that lets you review material in the air. It gives you great confidence while you’re shooting. I was absolutely delighted to discover that it was developed by a fellow cinematographer (Cinedeck CEO Charles Dautremont) with expertise in aerial shooting, who had encountered exactly the same issues as me.”

Jones adds that a key advantage of Cinedeck RX is the choice of production formats it offers.

“The Cinedeck RX has tremendous appeal for producers because it can record uncompressed 4:4:4 and the native codec for editorial. Program makers can leave the shoot with edit-ready material, normally Avid DNxHD or Apple ProRes, and there are no extra costs for ingest and transcoding. This helps to reduce their post production costs, and ultimately has a positive impact on the overall budget.”

On an operational level, Jones says the dual channel Cinedeck RX is much smaller and lighter than a tape deck, and offers greater performance and functionality over flash cards.

“With Cinedeck RX, you just glance at the screen and immediately know you’re recording,” he says. “Whilst we’re in the air, I can check the levels on the waveform, and easily scrub through the clips to double-check that I have shot what the director required. If required, we can look at ways we can improve a shot by changing the flight profile of the helicopter, or the camera move.”

Recording duration and security are other crucial considerations for aerial filming, and PDG has equipped its Cinedeck RX with four caddies that hold eight solid- state drives, providing a total 2TB recording capacity.

“Some jobs might take a couple of hours, and we can normally fit the footage onto one SSD drive,” says Jones. “But on larger jobs, we might be away for several days. Having such a large recording capacity, being able to change drives in flight and to keep rolling is a real bonus. The fact that material is protected with the redundant record provides piece-of-mind too.”

While Jones is appreciative of the technical support PDG has received from Oxygen DCT and Cinedeck, he’s even more delighted by the profile Cinedeck has amongst clients.

“We’re now getting calls from clients asking for Cinedeck. This kind of brand- awareness makes us feel we made the right decision to buy,” he exclaims. “I can see Cinedeck RX rapidly becoming our main recorder in the future. It certainly ticks all the boxes right now.”

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About Oxygen DCT:

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

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Mateo Willis Captures Eagles In Flight With A GearNex Geared Camera Head Supplied By Oxygen DCT

As a highly regarded wildlife cameraman, Mateo Willis is in great demand from blue chip broadcasters such as the BBC and the Discovery Channel, which employ him to work on many of their most prestigious nature documentaries.

Mateo’s speciality is long-lens work and he often spends large amounts of time in remote locations filming everything from small lizards to large carnivores.

In a bid to find a more accurate way of framing shots, particularly when working with heavy cameras and lenses, Mateo has been experimenting with a CineToys GearNex geared camera head, supplied by CineToys’ UK distributor Oxygen DCT.
This unique product was developed by former Hollywood cameraman Bret Allen in response to a significant gap in the market for affordable geared head technology. It is designed to give film makers access to Hollywood-style geared heads without paying Hollywood prices.
“I was going on a shoot to film Verreaux eagles that required very fine precision moves combined with rock-steady stops,” Mateo explains. “Nothing beats the motivation of following an eagle in flight – in wildlife filming there are no repeat takes. Having read about the characteristics of geared heads I thought they were worth experimenting with and when Oxygen DCT offered me a GearNex for a trial run I jumped at the chance.”

Launched at NAB 2008, GearNex immediately won two prestigious awards including a Best of Show and a Creative Cow Blue Ribbon Award. Among the many film makers who have spotted the unit’s potential is director Robert Altman Jr, who has used GearNex with a Redrock DSLR Cinema Bundle.

Steve Hathaway, managing director of Oxygen DCT, says: “Today’s cameramen face the challenge of operating cameras adorned with monitors, matte boxes, power packs and focus-assist products, all of which can make them heavy and unwieldy. What GearNex offers is the ability to smoothly pan and tilt, even when the camera is loaded with additional equipment. It delivers a much smoother panning experience than conventional fluid heads and is ideal for a wide variety of filming tasks including motion pictures, music videos, short films, television documentaries, commercials and corporate videos.”

Mateo Willis used GearNex with a Panasonic Varicam and hopes to try it with different cameras in the future.

“Like other areas in the industry, the introduction of high-end but relatively low-cost digital cinema cameras is creating a fast-changing landscape in wildlife filming,” he explains. “Last year I was working mainly with ENG cameras supplemented with specialist cameras such as the Phantom, but this year I’ve shot almost everything with Red Epic and Arri Alexa although I haven’t had an opportunity to use those with the GearNex yet.”

As a newcomer to geared head technology, Mateo says there was initially a steep learning curve, but once he became comfortable with GearNex he found it incredibly useful and really appreciated the extra control it gave him.

He explains: “The camera I was using was mounted with a long lens and counterbalanced by several batteries, so was fairly hefty. Once the GearNex was in place I was impressed at how little energy, and hence more control, it took to precisely move the camera. Also, I found the Gearnex robust enough to put up with the arduous conditions of the desert; dust, rough roads and heat. Finally, I was impressed with its size and weight – everything fitted into a single Peli. When you’re travelling with thirty cases, the less you have to load in and out of vehicles the better!”

Mateo adds that GearNex has demonstrated that inexpensive but high-quality geared heads can be made and he is looking forward to seeing where CineToys will go with the next generation.

“My next project is filming geese on the side of a cliff in Greenland, for which I am designing a ‘vertical’ tripod to hang on a sheer rock face,” he says. “This will allow me to film while sitting in a climbing harness so only a super-light head will be appropriate. Now if the Gearnex head was motorised……”

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

Renkus-Heinz Continues to Expand Engineering Department

Foothill Ranch, CA, May 2012… Renkus-Heinz has announced the continued expansion of their engineering department with the addition of Alejandro Fidalgo to their engineering team.

Fidalgo joins Renkus-Heinz after working in audio electronics firmware and hardware development at Isaac Daniel Group in Burbank, California, where he worked on audio products for the Video On Demand entertainment industry. He holds a degree from the University of California, Santa Cruz.

“We’re very happy to welcome Alejandro to Renkus-Heinz engineering,” remarked Engineering Manager Tim Shuttleworth. “His expertise in developing complex digital audio technologies is a great fit for our team.”

“I’m thrilled to be working with a company like Renkus-Heinz,” added Fidalgo. “This company has such a long history of making great products, and I’m really excited to be able to contribute to the next generation of Renkus-Heinz technologies.”

In his new position, Fidalgo will work within the engineering group to continue to develop advanced digital processing and transport technologies for Renkus-Heinz products. Fidalgo will report to Engineering Manager Tim Shuttleworth, and will be based out of the company’s Foothill Ranch, CA headquarters.

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Headquartered in Foothill Ranch, California, Renkus-Heinz, Inc. is the worldwide leader in the design and manufacture of audio operations networks, digitally steerable arrays, powered and non-powered loudspeakers, system specific electronics and fully integrated Reference Point Array systems.

 

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Adam Shulman Appointed as EAW® Installed Systems Support Manager

Company continues to expand its Application Support Group with additional personnel

Whitinsville, MA, USA, May 10, 2012 – EAW®, a world leader in audio system solutions, announces the expansion of its Application Support Group (ASG) with the appointment of Adam Shulman to the position of Installed Systems Support Manager, effective immediately. The announcement was made by Jeff Rocha, EAW President, and further underscores EAW’s dedication to customer support and the ongoing development of market-driven products.

In this newly-created role, Shulman will manage ASG support for all permanently installed sound systems, while longtime ASG resource Joe Fustolo will focus on mobile production customers. Rocha states, “Expanding ASG and bringing in a world-class resource like Adam, who is dedicated exclusively to the installation markets, further demonstrates our commitment to supporting our customers and partners. “Increasing global demand for ASG service, particularly in overseas markets, necessitated the expansion. Jerrold Stevens, Director, EAW Application Support Group, adds, “Adam’s experience in system design, project management, acoustics, education and publishing all further enhance the team’s capabilities, helping us meet the growing demand for our services.”

Prior to joining EAW, Adam has served as a Senior Consultant and Project Manager for SIA Acoustics (New York, Los Angeles and India) since 2003. He has provided acoustical and technical system design for a variety of projects including performing arts spaces, recording facilities, sports venues and houses of worship. Projects of note include a production facility and 3,500-seat arena for Healing Place Church in Baton Rouge, LA, Oriole Park at Camden Yards, and The Pearl at the Palms Concert Hall in Las Vegas. In a production context, Adam has also designed and operated sound systems for live events, including Central Park SummerStage, the Madison Square Park Music series and various special events domestically and internationally. As an educator, Adam has authored numerous articles for various trade publications, and presented at Broadway Sound Master Classes, Palme Asia, ShowWay Italy and Audio Engineering Society conventions.

Shulman notes, “I feel that I can bring my past experience as a consultant to bear on the varied types of design projects ASG handles, applying my technical knowledge combined with a practical understanding of how installation projects actually work.”

Members of the EAW Application Support Group, including Stevens, Shulman and Fustolo, will be on hand at InfoComm 2012 at the EAW booth (C10139) where they will reprise their popular ASGenius Bar – a coffee bar where designers, contractors and integrators can ask questions and review plans.

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

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SD11 Does Active Duty Aboard the Navy’s USS Stennis ‘Tiger Cruise’

The rugged portability of DiGiCo’s SD11 was never utilized to fuller effect than on its latest voyage aboard the United States Navy’s active-duty USS John C. Stennis aircraft carrier from Hawaii to San Diego. In one of its more unusual gigs, Broadcast Support designated the SD11 in tandem with a full dB Technologies PA—to handle all the audio functions for the seven-day Tiger Cruise, open to the aircraft carriers crew family and friends (aka “tigers”) as a reward for excellent service.

The $19,950 road-cased mixer was so ultra-compact that MacWest rep Steve McNeil, who aided Broadcast Support in the production, was able to check it as luggage on his flight from Long Beach, California to the ship, which was docked in Pearl Harbor in Hawaii. The mixer and PA were both craned aboard the ship and hoisted off again in San Diego when the return cruise ended a week later.

For the event’s myriad productions, a stage was built in an enclosed steel room below deck in the ship’s hangar where planes and helicopters were stored. The SD11 was rolled in and out every night to handle the musical entertainment for the troops provided by the Kelly Bell Band, and presentations which included two air shows, a 26-act talent show performed by service members, a “rap-off” hosted by the band, readings, and an awards ceremony commending top sailors presented by the commanding officer.

“The SD11 was pressed into service handling diverse audio tasks from mixing the front of house PA, monitors and IEM, to the delay speakers from a matrix,” explained McNeil. “Being that this was a working ship, this gig was challenging on so many levels, as we were at the mercy of the ship and the operations crew and therefore our schedule needed to be flexible. Needless to say, the week-long festivities turned out amazing and the console, operated by our engineer Karl Weidman, performed flawlessly. Karl hung out after every performance to play more with the SD11. He had quite a bit of fun mixing on it and was amazed at the big, open sound he was able to get from such a compact mixer. An SD9 is now his next purchase.”

“The SD11 is the perfect mixer where tons of performance is required in a very compact footprint,” offered Broadcast Support’s founder and President Scott Ramsey. “The show simply wouldn’t have happened with a conventional analog console and racks of effects, which the SD11 replaced. We love the console so much that DiGiCo should change the name from the ‘SD11’ to the ‘SD!!’”

Links:
Broadcast Support:

Advanced Systems Group Hires Industry Veteran Mark Haynes, Expands Audio Department

EMERYVILLE, CALIF. – Advanced Systems Group (ASG), a leading West Coast video and film integration firm, today announced that pro audio veteran Mark Haynes has joined the company, effective April 2. Haynes is part of ASG’s expansion of its audio business, and he will specialize in contributing an audio perspective to video-centric projects.

Prior to joining ASG, Haynes was vice president of sales for Leo’s Professional Audio in Oakland, Calif., where he worked for 26 years. He began his career in the early 1970s with Showco, Inc., one of the pioneers in large-scale sound reinforcement, where he toured nationally and internationally as FOH engineer for Willie Nelson, Diana Ross, Jefferson Airplane, and other headliners.

“Mark has spent decades in the audio industry, and he’s helping ASG enhance our audio offerings across the board,” explained Dave Van Hoy, president, ASG. “Audio is a vital part of any video system solution, and we want to make sure it receives the attention it deserves.”

“I’m here to contribute a perspective on audio’s importance as an integral element in any project,” Haynes added. “It’s exciting to join such an experienced team of colleagues at ASG, and it’s gratifying to receive the support and encouragement of the many audio vendors who share our passion for sound and all of its related disciplines.”

Haynes is based at ASG’s Emeryville office and can be contacted at (510) 654-8300 or via e-mail at mh@asgllc.com.

About ASG:

Advanced Systems Group LLC of Emeryville, Calif., with offices in the Bay Area and Southern California, has provided engineering, systems, integration, support and training to the broadcast, film, creative, and corporate video markets since 1997. With unmatched experience in Apple-based newsroom systems, shared storage, archiving, editing, finishing, and VFX systems, ASG has become one of largest installers of post production and shared storage systems on the West Coast. The ASG team is highly focused on customer success, and has installed and supported more than 185 SANs, production, and post production systems over the last six years. For more information, visit www.asgllc.com or call 510-654-8300.

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Total Events Scores With HARMAN’s JBL and Soundcraft(r) at Davis Cup

GEELONG, Australia – Total Events supplied a HARMAN audio system for background music, MC and umpires at the Geelong Lawn Tennis Club stands for the recent Davis Cup tennis tournament in Australia.

The main challenge for Total Events was keeping a minimal layout without obscuring sightlines and the company’s stock of JBL VRX Constant Curvature loudspeakers was ideal for this as they are renowned for
their low visual impact.

Six JBL VRX918S powered subwoofers and 12 JBL VRX932LA loudspeakers were used, powered by six Crown IT8000 amplifiers all networked along with a Soundcraft Si Compact 32 digital console.

“The VRX cabinets are discreet so you can point and shoot without obscuring the view of the tennis action,” commented Bill Busbridge, managing director of Total Events. “They have a nice high power output and it’s good to be able to network the amplifiers so I can control remotely and time align.”

“I absolutely love the Soundcraft Si Compact console,” Busbridge noted. “I have two of them in hire and I have also sold a couple. I really enjoy using them and we’re using them a lot on our shows & events.

“I really like that you can move channels to any layer is great,” Busbridge added. “The small footprint is a bonus and it’s just so easy to grab it and use. We find a lot of walk-in engineers who are familiar with the console.”

The system was sold through Jands, JBL and Soundcraft’s Australian distributor.

For more information on Total Events, please visit: http://www.totalevents.com.au/index.htm

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(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). 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 $4.3 billion for the twelve months ended March 31, 2012. The Company’s shares are traded on the New York Stock Exchange under the symbol NYSE:HAR.

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