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Archive for July 30th, 2012

K-array Loudspeakers Make the Grade in Oxford’s Sheldonian Theatre, Bridging the Present and the Past

Oxford, UK – July 30, 2012: The Sheldonian Theatre in Oxford is among the city’s — and indeed England’s — most prized performance jewels. Designed by Sir Christopher Wren, one of the most highly regarded architects in history, and constructed between 1664 and 1669, it is still very much a part of Oxford culture and is used not only for music concerts, but also degree ceremonies for local University students, celebrations, lectures and a number of other events. Recently, over the course of a painstakingly detailed restoration, a state of the art K-array loudspeaker system was installed to help bring the acoustics of this priceless architectural gem into the modern age.

Among the Sheldonian’s unique architectural details are its arch layout and a large cupola; its shape allows it to be used in a variety of ways. For example, during degree ceremonies, a presenter will typically speak from one side of the theatre, while during conferences, speakers might address the audience from the opposite side. For each event, a decision is made on whether to involve all or part of the seating on each of the theatre’s three levels.

Since the interior restoration included delicate finishes and flourishes, a core requirement in the installation was to ensure that the sound system would not interfere or otherwise obstruct its unique architectural details. Additionally, the loudspeaker system needed to perform across variety of performance and event applications, while delivering an extremely high standard of audio quality. The chosen K-array system, distributed by Sennheiser, was able to gracefully meet and exceed these requirements.

“We had to design a system which could work in both directions, with various combinations of loudspeakers used at different times,” said Brian Hillson, managing director of B+H Sound, the company responsible for designing and installing the new system. B+H Sound installed (12) KV50W compact line-array modules comprised of eight 1” neodymium transducers and two KKS50W bass line array systems, powered by two KA7 compact amplifiers and one single KA10.

The KV50W was able to provide even sound coverage while minimizing reflections —which was important considering the semicircular shape of the space and the three superimposing orders of tribunes. The (12) speakers were discreetly placed along the handrail of the stairs leading to the organ, as well as on the doorframes and at the sides of the buttresses positioned on the ground floor and third floor. The chassis themselves were then painted to match the colors of the theatre, making them almost invisible. The two KKS50W units were then hidden within the stair structure.

“With DSP programming at the front end, the speakers could easily be controlled to suit any particular application, depending on which orientation the theatre is used in,” Hillson continued. A series of presets was created so that the theatre’s custodian can pre-select them depending on the intended use of the theatre.

The project was an important work of ‘technological restoration,’ carried out in close contact with both the contractor and the University building surveyor. “One of the professors, and Chair of Curators who had been involved in the project came in and asked where the speakers were,” says Hillson. “That to me said everything about the advantages of using K-array.”

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ABS Media Technology Expo Provides Forum for Pacific Northwest Video Professionals

SEATAC, WA — Professional video and audio systems integration firm Advanced Broadcast Solutions (ABS) today announced Media Technology Expo, which runs Sept. 26-27 at Leftbank Annex in Portland, Ore. The free, two-day event will feature educational sessions, networking opportunities, and an exhibit hall showcasing equipment from a variety of manufacturers. More than 300 attendees are expected.

“This will be the largest media technology expo in the Pacific Northwest,” said Arco Groenenberg, expo manager. “From chief engineers to media directors, network affiliates to PEG channels, the ABS Media Technology Expo is an important and valuable event for video professionals in our region.”

The Media Technology Expo is designed to appeal to broadcast, house of worship, corporate, cable, live event, government, and independent video professionals. Associated groups for the venue include Oregon Media Production Association (OMPA), Access Community Media (ACM), Washington Association of Telecommunications Officers and Advisors (WATOA), Society of Broadcast Engineers (SBE) Oregon Chapters, Oregon Governor’s Office of Film & Television, and AVL (Experience Church.tv).

“We are excited to invite students out to this event, where they can learn of potential internship and/or employment placements, as well as gain additional skill development by attending the workshops,” said Windy Wahlke, project coordinator for Portland Community College. “The Media Technology Expo will be a valuable opportunity to identify and create lasting partnerships with local media companies where we can expand our current networking circles.”

Registration is free and includes food and beverages during the show, but space is limited. For registration, vendor information, and full seminar schedule, visit www.mediatechexpo.com.

About ABS:

Based in SeaTac, WA, ABS (Advanced Broadcast Solutions) delivers customized, technologically superior solutions for broadcast, corporate, house of worship, entertainment, government, and educational facilities – from design and integration to installation and support services. Since 1982, its experienced technical staff has installed more than 700 systems for clients including Fisher Communications, Cowles California Media, Real Networks, Cisco Systems, and Microsoft Studios. For more information, call 206-870-0244 or visit www.advancedbroadcastsolutions.com.

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Video Mount Products Launches Low-Profile DVR-LB3 DVR Lockbox at ASIS 2012

Shipping August 1, the DVR-LB3 is Fan Cooled within a Low-Profile Chassis, and has Been Designed Specifically for Today’s Smaller and More Compact DVRs and Installations Restricted to Limited Space Requirements

STEVENSVILLE, Md., July 30, 2012 — Video Mount Products (videomount.com), a leading provider of mounting solutions for the security, commercial, CI, residential, and pro audio/video markets, is proud to announce the launch of the new DVR-LB3 DVR Lockbox during ASIS 2012, held in Philadelphia from September 10-12 at the Pennsylvania Convention Center, booth 354. Shipping August 1, the low-profile DVR-LB3 has an MSRP of $236.95.

“The DVR-LB3 is the next in our series of DVR lockboxes, following our popular DVR-LB1 and DVR-LB2 lockboxes,” explained Keith Fulmer, president of Video Mount Products. “The DVR-LB3 features all the security benefits of the others in the series, but its low-profile makes it perfect for today’s smaller DVRs and for installations restricted to limited space requirements.”

Due to the smaller, more compact chassis where heat issues may arise, VMP has included a single fan, as well as a mounting location for a second fan should additional thermal management be required. Multiple vents with vent blockers for active or passive thermal management have also been incorporated.

Additional features of the VMP DVR-LB23 lockbox include:
• Interior dimensions: 17.2in W x 21in D x 5in H
• Rack mountable on two or four posts with a three RU overall height
• Interlocking lift-off lid
• Key-locked hinged front door
• Black static resistant powder coat finish

According to Fulmer, high-end electronics have become a staple in today’s security, CI, residential, and commercial marketplaces. As these expensive technologies and equipment, including DVRs, find homes in more and more commercial and professional settings, additional security measures need to be taken to insure these electronics are not harmed or stolen without compromising remote control accessibility.

“Our DVR-LB3 is the next generation DVR lockbox, built upon the principle of creating peace of mind for those who require DVRs be installed in settings that may be prone to theft or vandalism, but at the same time allowing for the flexibility of a smaller housing solution,” Fulmer concluded.

For more information, please visit www.videomount.com or call (410) 643-6390 or toll free 877-281-2169. If you need help choosing the right mount for your application, try the Video Mount Finder at www.chooseamount.com.

About Video Mount Products
Born in 1994, Video Mount Products (VMP) is a leading provider of mounting solutions for the video, audio and security industries. VMP products consistently offer the latest designs in safety and flexibility, all at an outstanding value. VMP’s product offering continues to substantially grow by adding several mounting systems to address the increasing popularity abundance of flat panel technology, both LCD and Plasma, as well as other growing segments across many markets.

VMP has become the mounting systems company of choice for professionals and their customers everywhere. All products have been engineered for and installed with confidence in thousands of residences, businesses, hotels, restaurants, schools, hospitals, houses of worship and security applications throughout the world. VMP prides itself on providing the best products in the industry and by supporting those products with knowledgeable professionals who understand that “support” is the core of the business.

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XPAND 3D Poises For Huge Push in Home Theater 3D Market With Establishment of New Home Theater Division

AMSTERDAM, The Netherlands – In a significant and strategic move to address the growth of the home theater 3D market, XPAND 3D, the world leader in consumer and professional cinema 3D solutions, today announced that it has established a new Home Theater Division to better serve the needs of systems integrators and customers in home theater. The division is led by Philippe Coissac, Head of Global Home Theater Sales.

“Since our beginning, XPAND has been committed to providing the best and most technologically advanced 3D products to consumers, and 3D has become a major part of the home theater experience,” said Maria Costeira, CEO of XPAND 3D. “We saw that the time was right to create a dedicated Home Theater Division to focus specifically on the requirements of dealers, custom installers and retailers who service the home theater space. We are here to accommodate their needs, give them a direct line of communication and enable them to provide optimum 3D solutions to their customers!”

“Movie enthusiasts want to enjoy the excitement of a true cinema-quality environment in their home theaters, and XPAND YOUniversal 3D Glasses and products deliver the ultimate in 3D viewing,” Costeira continued.

The XPAND YOUniversal 3D Glasses and AE125 IR emitter deliver unsurpassed 3D image quality in high-performance home theaters.

XPAND’s YOUniversal 3D Glasses optimize the 3D experience for every viewer, by accommodating the fact that every person’s eyes and facial structure is different, and that each wearer’s viewing requirements and home theater system are different. Designed for long-wearing comfort, the glasses are available in a variety of colors, sizes and styles, and can be configured to communicate with infrared (IR) and radio frequency (RF) 3D systems.

XPAND’s AE125 IR emitter is specifically designed to meet the requirements of home theater environments. The AE125 is installed at the front of the theater and aimed at the viewers, providing full coverage in domestic applications where bouncing the IR signal off the screen (the 3D synchronization signal required by the glasses) is impractical. The AE125 utilizes 56 high-power, wide-angle diodes and can be used by up to 50 people.

For more information on XPAND 3D, please visit www.xpand.me.

About XPAND 3D:
XPAND 3D is the global leader in 3D technologies for cinema, with systems used by over 5,000 3D cinemas in more than 50 countries. XPAND 3D is also the 3D solution of choice for home, business, post-production, education, military, medical and professional 3D applications. XPAND 3D designs, manufactures and OEMs a range of consumer electronics 3D solutions that are driving the 3D revolution. XPAND is committed to advancing the state-of-the art in technology to provide consumers, businesses, educators and medical professionals with the comprehensive advantages of stereoscopic 3D. XPAND provides glasses on a linear scale from the most advanced and feature-packed for sophisticated surgical, training and home theater to more ruggedized and affordable for cinema and mass market use. X6D Limited is a global company whose products and services are marketed under the XPAND brand name.

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ShootersINC Goes for the Long Haul with Anton/Bauer

Famed Production House Has Trusted Anton/Bauer for White House Tapings and “Restaurant: Impossible” Program

PHILADELPHIA, JULY 30, 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 pleased to announce that prestigious production house ShootersINC has relied on Anton/Bauer batteries to power its clients’ reality television, political spots and other projects for the past 30 years. ShootersINC, which currently employs Anton/Bauer DIONIC® HCX and HyTRON 140® power solutions, continues to be impressed by the products’ longevity and rugged design, as well Anton/Bauer’s world-class customer support.

Many of the productions ShootersINC handles unfurl at a frenetic pace, especially when it comes to reality programming, as every piece of production equipment, including batteries, is put through the paces as crew members twist and jostle among crew on the set, angling for key shots of the action. For example, each episode of the reality series Restaurant: Impossible, which ShootersINC produces for The Food Network, crew members operating cameras must follow British chef Robert Irvine, the restaurant’s owner and restaurant employees, as they move around the various areas of a failing restaurant in their efforts revitalize it within the two-day time period. It takes Anton/Bauer batteries to keep the cameras rolling.

“We’re constantly recycling the batteries and they just keep on working,” says Craig Needleman, principal and director of photography for ShootersINC. “We cycle them through, and you know at the end of the day you will have enough power—they charge fast and work great. Also, Anton/Bauer provides very sturdy batteries. In the production environment, it’s inevitable that when someone hands off a battery, it gets thrown on the floor of a car or, if we’re filming in a car, it’s shaken around. We’ve never had an Anton/Bauer battery crack or break open, which has not always been the case with other batteries.”

The longevity of Anton/Bauer batteries can be a lifesaver for the political programming ShootersINC produces for its clients. The company has filmed President Barack Obama and First Lady Michelle Obama in the White House—a situation where a battery failure would be disastrous. “You can’t run out of battery power during the President’s speech,” notes Needleman. “There is no second chance to get back into the White House, so you want to know that the batteries you bring in with you are going to get the job done.” Also, due to security restrictions, anyone shooting in the White House must bring as little equipment as possible. Anton/Bauer’s HyTRON 140 battery offers an excellent counterbalance to offset the weight of a camera lens, helping ShootersINC employees bring the least amount of equipment possible into the presidential mansion.

The best batteries in the world are only as good as the customer support behind them, and Anton/Bauer’s customer support consistently wins applause from Needleman and his colleagues at ShootersINC. “The customer support is great at Anton/Bauer,” says Needleman. “I can call them up and talk to someone I know in customer service, and he’ll tell me what to do with the battery, how to check it, etc. I think that’s why Anton/Bauer batteries have become the power systems of choice for the broadcast industry.”

Currently, ShootersINC uses the Anton/Bauer HyTRON 140 batteries with its Panasonic AJ-HDX 900 cameras. The cameras have wide-angle lenses, making them front-heavy, so the HyTRON 140s balance out the cameras nicely. ShootersINC also recently began using DIONIC HCX batteries, which can power their cameras running an onboard light, video transmitter and wireless audio receivers. ShootersINC also employs the Anton/Bauer QUAD 2702 PowerCharger and Gold Mount® accessories for its productions.

The DIONIC HCX is a 124Wh capacity battery with the ability to sustain a 10-amp draw, and run a 40-watt camera with a 20-watt light for two hours. It includes a motion-detection feature that incorporates a “deep-sleep” setting, reducing battery self-discharge, which allows for extended periods of storage with minimal capacity loss. The battery can be “awakened” by the built-in motion sensor. As with the Anton/Bauer DIONIC 90 and DIONIC HC products, the DIONIC HCX features an enhanced RealTime® LCD fuel gauge to display up to nine hours of run time (under low-power-load conditions) using a seven-segment display enclosed by four circular arcs that indicate 15-minute time intervals.

The HyTRON 140 is a high-power NiMH battery system suited to the power demands of today’s high-definition equipment and on-camera lighting systems. In lower power applications, it can provide power for many hours without limits or travel restrictions.

For more information, visit www.antonbauer.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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Capital Sound Joins Martin Audio MLA Community

  • Martin Audio MD, Anthony Taylor (left) with Capital Sound MD, Keith Davis

    After an intensive market evaluation of well over a year, leading British rental company Capital Sound has made a significant investment in Martin Audio’s award-winning Multi-cellular Loudspeaker Array (MLA).

    Confirming the purchase of a large arena system (and complementary MLX subs), Capital Sound general manager Paul Timmins stated that the inventory upgrade is designed to future proof the company—who number Take That, The Killers and Stereophonics among their regular accounts—for the foreseeable future.

    Speaking of the purchase, he explained, “In the modern era it is no longer a case of buying a system simply because we’ve been associated with the same brand for 25 years. We reviewed and demoed every major market system, but in the end it was vital that we backed ‘second generation’ technology. And however good the other systems were, only the MLA offered us this, with the right size and weight package.”

    Technical manager, Ian Colville, agreed, “From a technical standpoint MLA quite simply is the next generation. Unlike line arrays, MLA calculates and controls each individual transducer throughout the array to create a uniform sound field across the length and breadth of the audience area. Parameters that have traditionally been difficult to predict and control—SPL variation, frequency response and coverage cut-off—can be accurately defined in the prediction software and re-calculated, if necessary, ‘on the fly’.”

    He added that having spoken to technicians and engineers that had used MLA extensively the verdict so far had been unanimous: “MLA is very accurate, very responsive and very very loud!”

    Sheer power was one criterion that Capital Sound had examined closely during the review period. Conclusive proof that this was a stadium system was provided in a shoot out against the Martin Audio Longbow system outdoors at Silverstone. Having been the first company in the world to use MLA (beta-testing with Enter Shikari at HMV Hammersmith Apollo in 2010), Capital Sound was able to assess its coverage and cut-off parameters during last summer’s outdoor season (at LED Festival), its speech and intelligibility on a comedy show at O2 Arena, and its ability to deliver high octane sound in smaller venues (with Whitesnake).

    Other factors also played a part in the decision-making, continued Timmins. The arrival of Andy Davies, mirroring the appointment of Jim Jorgensen at Martin Audio in the States, provided the company with real application support in the touring sector, while Capital Sound felt confident that a global community of users was rapidly building. “We are aware of the sales that have taken place in the States and Pacific Rim and are confident that this is becoming a fully global system, which will be recognized and used by rental companies around the world.”

    The final factor that drove the purchase was simple touring economics; with the fully powered and processed system not only eliminating the need for separate amp racks, but also, in many cases, delay speakers, truck space becomes more efficient.

    Said Martin Audio sales director, Simon Bull, “As one of our longest-serving partners, we are delighted that Capital Sound have joined our growing community of MLA users. The fact that they carried out such an exhaustive review of other market leaders’ systems before reaching their decision makes the sale all the sweeter.”

    Capital Sound has already earmarked the new MLA system for a major global arena tour, beginning this fall.

    Photo caption Martin Audio MD, Anthony Taylor (left) with Capital Sound MD, Keith Davis

    For more about Martin Audio, please click to www.martin-audio.com.

    About MLA™ (Multi-cellular Loudspeaker Array)
    The result of many years of intensive R&D, MLA’s methodology replaces trial-and-error array design with intelligent numerical optimization of the array’s output based on a highly accurate acoustic model. The multi-cellular format has six individual cells in each enclosure, each with its own DSP and amplification.

    With up to 24 enclosures, each MLA array has up to 144 cells — too great a number to optimize manually, or by ear. Instead, Martin Audio’s proprietary Display2™ system design software automatically calculates FIR DSP filters for each cell and a redundant-ring audio network (U-NET™) downloads the settings into each array enclosure. Martin Audio’s VU-NET™ software provides real-time control and monitoring of the system.

    MLA delivers a frequency response and SPL consistency never before achievable; a very high system output (140dB peak, per cabinet @1m); Automatic optimization of the array, both physically (splay angles) and electronically (DSP); Computer control and monitoring of the entire system, and total control of sound system balance for engineers and sound technicians.

    MLA is fully integrated, with Class D amplification, DSP and U-NET digital audio
    network built into each enclosure. MLA complete systems are ready-to-use, with MLA, MLD and MLX enclosures, flying hardware, software, cabling and training all supplied. Everything needed is included. All ancillary items — from tablet PC and Merlin™ controller to network interconnects and mains distro — are also included in the complete system package. This ensures full compatibility worldwide, down to cabling and accessories.

    Additional features include 90° x 7.5° dispersion; a compact size (1136mm wide x 372mm high x 675mm deep), one-box-fits-all (festivals to theaters) application range and a global voltage, power factor corrected power supply.

    MLA’s compact size and very high output allows it to be shipped using smaller trucks, offering considerable savings and reduced carbon footprint. The system also includes the MLX powered, flyable subwoofer capable of an unprecedented measured peak output of 150dB @ 1m; MLD downfill cabinet, and Merlin 4-in/10-out system controller and network hub. Audio input is via analog, AES3 or U-NET.

    By adopting these principles and system components MLA is optimized for every member of the audience — from a 2,000 capacity theater, to a 20,000-seat arena, to a 100,000-person festival site. It will deliver the engineer’s exact mix to every seat (up to over 150 meters) with precision, exceptional power and clarity.

    About Martin Audio®
    Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

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    AES Convention Debuts Sound For Pictures Track

    Top Mixers Address Digital Audio Cinema Techniques, Formats & Standards

    SAN FRANCISCO: The 133rd AES Convention (Moscone Center, Oct. 26-29), will introduce a dedicated Sound For Pictures Track. Featuring award-winning presenters focused on key technical and creative issues related to digital audio production for feature films and TV, the Track is co-chaired by leading sound mixer/producer Brian McCarty (“The Big Lebowski,” “Dick Tracy,” “As Good As It Gets”) and by Steve Martz, Sr. Design Engineer, THX Ltd. Key issues to be addressed by the Sound For Pictures Track include: Post Production Techniques, Standards and Multi-Channel Formats for Digital Cinema.

    “The AES is the leading forum for audio for film and TV sound,” McCarty says. “Top sound mixers have been attending the Convention for years to exchange ideas and information and kick the tires on new technology. Early this year we formed a Technical Committee on Sound for Digital Cinema & TV. Our objective is to adopt a consistent approach for Digital Cinema sound installations, and contemporary digital dubbing stage recording and mixing activities worldwide. Based on the initial reception to this Committee, Executive Director Bob Moses felt it was time to develop a formal AES Convention Track for this increasingly important field,” McCarty adds.

    SATURDAY, Oct. 27, AES Sound For Picture Track Presentations Include:

    POST PRODUCTION AUDIO TECHNIQUES FOR DIGITAL CINEMA & ANCILLARY MARKETS: Chair, Brian McCarty, managing director, Coral Sea Studios, Australia; Panel, Lon Bender, Oscar-winning, effects designer & mixer, Soundelux, LA; Brian Vessa, leading sound mixer, Sony Pictures, LA; Jason LaRocca, Emmy-nominated independent mixer. As the film industry rapidly moves towards full-bandwidth, multi-channel discrete formats for audio distribution, post-production techniques to provide high-quality audio continue to evolve. This workshop will address technical and creative changes being implemented to accommodate this shift.

    RECONSIDERING STANDARDS FOR CINEMA SOUND – ALTERNATIVES TO ISO 2969: Chair, Brian McCarty; Floyd Toole, pioneering acoustical consultant/ retired, Harman Research, corporate VP; Keith Holland, University of Southampton, UK. For over eighty years ISO 2969 (aka SMPTE S202) has been a cornerstone of the audio reproduction “B-Chain.” Like the RIAA curve, it was originally implemented to compensate for defects in the delivery medium. This panel will examine the implications for these standards and the B-Chain as film rapidly shifts to Digital Cinema delivery, with, for the first time, full bandwidth soundtracks.

    NEW MULTI-CHANNEL FORMATS FOR 3D CINEMA AND HOME THEATER: Co-Chairs, Christof Faller, Illusonic GmbH, Brian McCarty, Chair, AES TC-SDCTV; Erno Langendijk, Philips; Wilfried Van Baelen, Auro-3D, Belgium; TBD, Dolby Laboratories, SF; Kimio Hamasaki, NHK, Japan TBD, Iosono, Germany; Stefano Lacaito, Imm Sound, Spain. Several new digital cinema formats are under active consideration for cinema soundtrack production. Each was developed to create realistic sound “motion” in parallel with 3D pictures. This workshop presents a rare opportunity for the proponents of these leading systems to discuss their specific technologies.

    “We have developed an extremely diverse and comprehensive Sound For Pictures Track,” Brian McCarty says. “Our Workshop participants are all outstanding leaders in their fields. The ‘New Multi-Formats For 3D Cinema’ panel is a particularly newsworthy event. Gathering developers of competitive systems together for a high level, working dialogue is a major coup which may have important ramifications for film exhibitors.”

    Sound For Pictures Track Co-Chair Steve Martz points to three related events, which will be of particular interest to Sound For Pictures Track attendees. “Academy Award-winner Ioan Allen, Sr. VP at Dolby Laboratories, will illustrate innovative audio mixing and editing techniques in his Historical Events presentation, The Egg Show: A Demonstration of the Artistic Uses of Sound on Film.

    “And,” Martz adds, “Two concurrent Technical Tours should not be missed. “Roger Wiersema is coordinating a tour of the Polarity Post production complex, and Dave Nelson is hosting a concurrent tour of Outpost Studios. As both these facilities are located in the same building in SF’s popular Embarcadero District, participants will be able to attend both. This Convention promises to make a deep impact on industry thinking about sound for Digital Cinema,” Martz concludes.

    The 133rd AES Convention will be held October 26-29 at SF’s Moscone Center. For details please visit www.aes.org.

    Photo: AES Convention, Sound For Pictures Track Co-Chair, Brian McCarty.

    ###

    The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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    Visual Unity Expands TV Nova Live Streaming and Video On Demand Service

    TV Nova, the biggest commercial television broadcaster in the Czech Republic, is using technology supplied by leading broadcast and multiscreen systems integrator Visual Unity to power its live online streaming and Video on Demand service, VOYO.

    Having worked closely with Visual Unity to launch and then transition VOYO to a subscription-only service earlier this year, TV Nova has once again relied on the company’s consultancy and technical support to launch two new channels – VOYO Cinema, a subscription-based movie channel and VOYO News, a free and continual online news channel that combines live streaming with video reports and advertising.

    Visual Unity’s vuMedia™ integrated content management and delivery platform sits at the heart of the solution, enabling the efficient delivery and monetization of live content and access to TV Nova’s ever-expanding archive, which currently includes over 50,000 video assets. The end-to-end platform provides live simulcast streaming of multiple channels integrated with the station back-end and with AD TECH, the broadcaster’s advertising system.

    Jakub Kabourek, Visual Unity’s CEO, says: “The technical solution behind VOYO had to provide a solid infrastructure that integrated fully with TV Nova’s existing technology and business systems. It also had to efficiently manage live and archived content in High Definition (720p), enable editing of live News feeds in real-time and deliver a high quality service and experience to subscribers. vuMedia™ addresses all these requirements and more in a very effective way.

    “The system incorporates anti-piracy protection (Playready) and uses traditional Silverlight technology to deliver encrypted video content and Flash technology for free video content. In addition, viewers can choose from three quality options to suit the speed of their online connection.”

    Part of CME Group and one of the most successful and profitable commercial television stations in Europe, TV Nova broadcasts 24 hours a day to audiences in the Czech Republic. Secure and reliable content distribution is key to the success of the broadcaster’s VOYO online service and for this it relies heavily on Visual Unity’s own Content Distribution Network, offering 100GBps throughput and 400 TB storage for tens-of-thousands of concurrent regional users.

    Pavel Krbec, Internet and Other Interactive Services Director at TV Nova, says: “With vuMedia, Visual Unity has delivered a robust and efficient multiscreen solution that has enabled us to easily expand our services and we are delighted with the results. Our viewers enjoy a quality experience through a simple, elegant and intuitive player and by employing Visual Unity’s Content Delivery Network we are able to provide a highly reliable service. Thanks to our long standing relationship with Visual Unity we knew they would be the right systems integration and technology partner for this project and we really appreciate the on-going assistance and technical support they provide us with.”

    -ends-

    About Visual Unity

    Visual Unity is an international Systems Integrator bridging the gap between linear broadcast, IT and IPTV to help clients reach and engage audiences on any screen. Since 1991, the team has been designing and delivering turnkey broadcast and complex multiscreen solutions worldwide – from HD Outside Broadcast vehicles and major playout facilities to live internet streaming and Video on Demand services.
    Visual Unity’s award-winning vuMediaTM platform helps broadcasters and content owners control how their brand and assets are managed and monetized in the multiscreen environment. Highly scalable and flexible, vuMediaTM delivers a cutting-edge live viewing experience on the web or any mobile or connected device, comprehensive VoD services, social network integration and secure robust content distribution – all of which can be deployed into existing workflows and business processes.

    Visual Unity is based in Prague, London, Cologne, Moscow, Bratislava, Belgrade, Nairobi and Dubai.

    For further information, please visit www.visualunity.com

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    Robert Juliat Followspots Roll Out With Springsteen’s “Wrecking Ball” Tour

    Photo: Monique Cussigh

    Bruce Springsteen & the E Street Band’s “Wrecking Ball” tour continues to roll across the country with three Manon, eight Topaze, and four Lancelot followspots from Robert Juliat. The Boss is touring in support of his 17th studio album, also called “Wrecking Ball,” with an electrifying series of concerts featuring a number of technical innovations.

    Robert Juliat followspots first went on tour with Bruce Springsteen in 2007, on the “Magic” Tour. Lighting designer, Jeff Ravitz, of Intensity Advisors in North Hollywood, California, wanted to use Manon and Topaze spots in the truss for their optical quality but he also needed the spots to have electronic power supplies to insure there were no frequency interference issues with the video system on the tour. Robert Juliat got together with Morpheus Lights, of Las Vegas, Nevada, the production company for the tour, and created a hybrid that married the RJ heads with a Morpheus electronic power supply – the RJE(tm) Electronic Ballast – and produced one-piece truss spots that have been a great success.

    Ravitz says, “followspots are one of the most important lighting tools” for the show. “Most of the band is on the move at all times. And the artist is very tuned into the qualities of good stage lighting – and also good cinematic lighting as portrayed on the IMAG screens. So, to solve these possibly mutually exclusive demands, we’ve created lighting positions for followspots that are ideal for the best lighting angles. Therefore, we need to carry our own spots for these positions.”

    Ravitz explains that eleven truss-mounted spots help him light the band in a way that doesn’t necessarily adhere to the conventions of traditional house followspots. “The house followspots are often at low, flat angles and spill all over the surfaces behind the performers,” he notes. “Our spots are used for front key light, side light and back light.”

    Ravitz says he chose Manon and the Topaze for several reasons. “They allow me control of the lights’ optics that few truss-sized spots provide. We can make many detailed adjustments, and we know we’ll get a consistent result night after night on the road. The field, the iris imaging and the focus are capable of delivering the results we require. And the operator controls are also quite user friendly. We’ve been very happy with the results.”

    The four 4000W Lancelot HTI followspots are used on stadium shows to “capture Bruce when he comes downstage to the stage apron, out onto the thrust and when he “surfs” the audience to a small island “B” stage located in the “pit” area in front of the stage ” says Paul Weller of Morpheus Lights. “They’re positioned on the sound delay towers along with additional audience lighting”

    About Robert Juliat

    Robert Juliat is a three-generation, independent family-run company dedicated to the manufacturing of professional stage lighting products. Robert Juliat lights are used by customers who include Cirque du Soleil, Celine Dion, New York’s Lincoln Center, LA’s Dorothy Chandler Pavilion, Bruce Springsteen, Disney Theme Parks, Carnegie Hall, The San Francisco Opera and Ballet, The Royal Shakespeare Company, The Comedie Francaise, The Sydney Opera House, plus theatres, schools and public venues around the world.

    R&D, production and the company headquarters are based in the village of Fresnoy-en-Thelle, 50 km north of Paris. Robert Juliat USA is located in Wallingford, Connecticut. For more information visit www.robertjuliatamerica.com.

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    ALTINEX ANNOUNCES PNP402 DUAL SIDED POP-N-PLUG INTERCONNECT BOX

    **** Photo: Altinex PNP402 Interconnect Box ****

    Brea, CA – July 2012… Altinex, the leading manufacturer of Signal Management Solutions®, is pleased to announce the availability of the PNP402 Dual Sided Pop-N-Plug Interconnect Box, another addition to the ever-expanding line of Pop-N-Plug interconnect offerings. With easy access from either side, the PNP402 interconnect box offers convenient, one touch access to a variety of video, audio, computer, network, and power connections—making the tabletop connection point quick and easy for any boardroom or conference room table. more

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