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Archive for September 5th, 2012

Revolabs Receives Two 2011 Communications Solutions Product of the Year Awards

FLX and Executive HD Recognized for Exceptional Innovation

SUDBURY, Mass. — Sept. 5, 2012 — Revolabs Inc. announced today that TMC, a global, integrated media company, has named the FLX wireless conference phone and Executive HD wireless microphone system as recipients of 2011 Communications Solutions Product of the Year Awards. more

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Church of Champions Streams Live Services to Internet and Growing Network of Affiliate Churches With Haivision’s KulaByte(TM)

KulaByte(TM) Internet Encoder Consistently Provides Reliable, High-Quality Video Streams to Multiple Platforms and Audiences

MONTREAL and CHICAGO — Sept. 4, 2012 — Haivision announced today that the Church of Champions, an international house of worship located in Houston, has deployed Haivision’s KulaByte(TM) Internet video encoder to enable reliable, high-quality 1080p live streaming of its services and other events to Internet audiences and congregations at its numerous affiliate churches in North America and Argentina. more

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NUGEN Audio and DSPECIALISTS Collaborate on New ISOSTEM(R) Surround Upmixer-Downmixer Plug-in

LEEDS, U.K. — Sept. 5, 2012 — NUGEN Audio, creator of intuitive tools for audio professionals, and signal processing equipment manufacturer DSPECIALISTS are collaborating on the development of a software plug-in offering market-leading upmixing/downmixing between stereo and 5.1 surround. The plug-in will use the patented ISOSTEM(R) technology, believed to be the only upmix engine that is fully compatible with stereo, delivering a surround stem that downmixes exactly to the original stereo.

The availability of the crossmix technology in a plug-in will provide studios with a convenient and powerful software mixing tool to complement the ISOSTEM real-time conversion hardware.

NUGEN Audio will develop three versions of the plug-in, which will allow audio professionals to produce a mix in the studio using a stereo mixing process, with the software automating the conversion to 5.1. An upmix plugin will provide pure upmix with flexible settings while the crossmix plugin provides upmix as well as downmix, and a third version will provide the extended functionality available in the ISOSTEM expert model.

“We are very pleased to have teamed up with such an innovative partner as NUGEN Audio,” said Jochen Cronemeyer, managing director of DSPECIALISTS. “With NUGEN Audio’s long-standing experience with audio plug-ins, we will be able to develop a really useful complement to the hardware to offer studios a very flexible way of using the unique capabilities of the crossmix technology.”

“These plug-ins will give audio professionals the tools to create a mix that works perfectly in both stereo and 5.1 at the set-top box, without any of the phase artifacts that often appear when 5.1 is collapsed down to stereo,” said Jon Schorah, creative director of NUGEN Audio. “And by automating the creation of a great 5.1 mix out of the components of a standard stereo mix, they will save a lot of studio time, too.”

The range of plug-ins will be AU/VST/RTAS/AAX-compatible.

More information about NUGEN Audio and its products is available at www.nugenaudio.com. More information about ISOSTEM is available at www.isostem.de.

# # #

About DSPECIALISTS Digitale Audio- und Messsysteme GmbH
DSPECIALISTS Digitale Audio- und Messsysteme GmbH, based in Berlin, was founded in 2003. The company specializes in the development and sale of products for digital audio signal processing and measuring technology. The portfolio includes development services, ready-made components, and own measuring and audio devices. In accordance with customer specifications, existing components are adapted and integrated into the customer’s systems. For more information, please visit www.dspecialists.de.

About NUGEN Audio
NUGEN Audio creates innovative, intuitive professional audio tools for high-end music producers, post-production engineers, and broadcasters. Reflecting the real-world production experience of the design team, the company’s products make it easier to deliver better quality, save time, and reduce costs. NUGEN Audio’s tools for audio analysis, loudness metering, mixing/mastering, and tracking are used by the world’s top names in broadcast, music, and audio production. For more information, visit www.nugenaudio.com.

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Toner Cable Showcases Visionary Solutions’ IPTV Encoding Products at IBC2012

SANTA BARBARA, Calif. — Sept. 5, 2012 — Visionary Solutions Inc. today announced that technology distributor Toner Cable will showcase the company’s products at the upcoming International Broadcasters Convention (IBC), which takes place Sept. 7-11 in Amsterdam. On display will be Visionary Solutions’ AVN443 and AVN420 IPTV encoders, MPP1700 media processing platform, and PSA200 power supply. Leveraging Visionary Solutions’ powerful IPTV encoding solutions, content providers can convert video from any analog, HDMI, DVI-D, or HD-SDI source into full-screen, full-resolution digital video suitable for broadcast over public and private networks in real time. more

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ClearOne Launches Enhanced Corporate Website

SALT LAKE CITY, Sept. 4, 2012 /PRNewswire/ — ClearOne (NASDAQ: CLRO) today announced it has launched its newly enhanced corporate website. ClearOne has streamlined the user experience with new organization of the full breadth of ClearOne audio and video products and solutions. Resource materials are now more readily available with intuitive navigation. Integrated social media and the corporate blog will create new channels of communication with partners and end-users.

“Our latest enhancement extends ClearOne’s brand, encompassing our legacy audio conferencing products; the industry’s most advanced software-based room, desktop and infrastructure video conferencing products; as well as our AV streaming and digital signage solutions,” said Zee Hakimoglu, Chairman and CEO of ClearOne. “We want our new website to represent our clear mission to provide audio and video communications products to the world.”

Throughout the year, ClearOne will continue updating the website with enhanced support, mobile options and ongoing updates for training and events.

About ClearOne
ClearOne is a global company that designs, develops and sells conferencing, collaboration, streaming and digital signage solutions for audio, video and data multimedia communication. The performance and simplicity of its advanced comprehensive solutions enhance the quality of life. ClearOne products are designed for business and residential use, offering unprecedented levels of functionality, reliability and scalability. More information about the company can be found at www.clearone.com.

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Leaf Unveils Industry’s First 20×20 Matrix Switcher with 4 Local HDMI Outputs

omplete with an over 300 foot range and sixteen HDBaseT LTB1E remote breakout units, the LTHDMI2020E can receive audio and video from up to 52 potential sources enabling unprecedented whole-home A/V distribution

Indianapolis, IN – CEDIA Expo Booth 4949 – September 5, 2012 at 9:00 AM EST– Leaf, a custom brand of HD audio/video distribution and switching solutions, announces the powerful LTHDMI2020E, the industry’s first 20×20 matrix switcher with 4 HDMI and 16 HDBaseT outputs.

Unlike other switchers on the market, the LTHDMI2020E features four, back-panel HDMI outputs for in-rack or in-room video and audio connectivity. Sixteen HDBaseT LTB1E remote breakout units can receive audio and video from up to 52 potential sources, plus control data and Ethernet connectivity, up to 100m/328ft away.

In addition to 20, full-1080p HDMI 1.4 inputs, there are 16 SPDIF (coax) digital audio and 16 analog audio outputs that enable the centralized racking of power amplifiers while eliminating the need for a separate audio switcher. Sixteen bi-directional IR ports, plus RS-232, allow passing of control signals to remote devices, all while a sleek front-panel touchscreen makes setup a breeze.

To minimize EDID errors, the Zone Lock feature provides the ability to lock a source to a particular zone. Locking the source to the zone allows the passage of specific EDID data ensuring that the display and source correctly interact. This is useful in systems where only certain displays are possible, for example, 3D, or where locking out a certain source from other zones is desired.

“This is the industry’s first 20×20 switcher with local HDMI connectivity and inbuilt audio matrix switching,” said Dean Vaughan, Director Sales & Marketing of Leaf Audio. “With the ever-growing demands of whole home HD video, our 2020E offers unparalleled connectivity and features for even the most complex custom install project.”

The LTHDMI2020E will start shipping at the end of September and will be available through Control4 dealers for $15000.00, plus $350 per LTB1E breakout unit.

For more information, please visit http://www.leafaudio.com/

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Electrosonic Provides AV Systems to North Carolina Museum of Natural Sciences’ New Nature Research Center

The Nature Research Center (NRC) wing of the North Carolina Museum of Natural Sciences dazzled visitors at its recent opening with its array of unique interactive exhibits and experiences featuring audio-visual systems by Electrosonic.

The Raleigh-based museum is the largest of its kind in the southeast. Its new, 80,000-square-foot Nature Research Center offers state-of-the-art labs, research opportunities, interactive exhibits and live presentations designed to make science a tangible and fun experience that helps visitors understand the practical applications of science in their everyday lives. Small Design Firm was charged with designing the interactives; Batwin & Robin Productions was the content producer.

Electrosonic’s design consulting team was involved throughout the project from the concept to the grand opening. “We represented the client’s interests making sure that the approach, the systems’ look and feel, and the integration all came together as planned,” says Yiannis Cabolis, Electrosonic design consultant. “Over the course of five years on the job, there were many changes in the AV world, and the systems themselves evolved. We interfaced with manufacturers and strategic partners to get a good picture of what we could expect to see by installation time.” Cabolis also worked closely with exhibit designer Andrew Merriell & Associates and lead designer Rebecca Shreckengast.

During the course of the extensive build, the most challenging aspect for Electrosonic proved to be the SECU Daily Planet, a globe-shaped structure cantilevered onto the building and spanning the three-story wing. The Daily Planet is an immersive multimedia theater with a 40×40-foot high-definition screen, which offers a massive visual canvas to visitors on all three floors. In its Ambient mode, it presents spectacular scenes from nature through a variety of pre-recorded video content and random imagery. In its Presentation mode, it serves as a backdrop to scientists making daily live presentations on topics as diverse as excavating dinosaur fossils, tracking baboons in Kenya or exploring beyond the solar system.

Electrosonic supplied six Christie WU12K-M series 3-chip DLP digital projectors for maximum brightness and resolution on the Daily Planet’s 40×40-foot HD screen. Four of the projectors provide the blend for the bottom and middle of the screen and two for the upper portion. Four Barco DL3 moving digital light engines paint images on the bands of the screens located between the three floors. All of the projectors operate in Ambient and Presentation modes; Batwin & Robin Productions created the Ambient content.

Four Delta high-resolution uncompressed media servers from 7thSense Design, which were specifically configured for the project, feed the projectors, TV/radio outputs and preview/confidence monitors. The media servers also handle all warping, blending and color balancing. A multi-channel SoundMan server with CobraNet audio output distributed sound and shared DSP capabilities with MediaMatrix NION-N3 processors to deliver audio to the Daily Planet and throughout the facility.

Steve Haas of SH Acoustics was contracted to evaluate the demanding sound requirements of the Daily Planet space. The challenging acoustics of the environment required both acoustical treatments and the introduction of digitally steerable line arrays. These elements helped to dramatically improve the acoustics of the Daily Planet.

Electrosonic also provided streaming computers to the equipment room and the operator’s control kiosk in the Daily Planet. These computers and a laptop input from the speaker’s podium are routed through live inputs of the Delta servers to the Daily Planet’s main screen in a pre-determined Presentation mode window. The window features one to three occurrences of the same information tiled with a common background to the big screen.

In addition to meeting the AV needs of the Daily Planet theater, Electrosonic furnished AV solutions for 55 innovative experiential media exhibits in the NRC wing, including “magic tables” for specimen identification via RF tags; visitor-veterinary lab observations; a salt-water tank with touch-activated information; and a weather prediction station with live international links.

Among the principal equipment supplied by Electrosonic for these exhibits were projectiondesign and High End Systems projectors; I-Tech touchscreens; Medialon Manager show control; Innovox, Renkus-Heinz and JBL speakers; QSC and Stewart Audio amps; and Peavey audio processing.

David Weiner Design was the lighting designer for the NRC. At Electrosonic, Gary Barnes was the project manager, Carl Hartzler the project engineer, Yiannis Cabolis the design consultant and Les Hill the sales person.

About Electrosonic
Electrosonic is an international audio-visual company that creates tailored, state-of-the-art solutions for a wide range of markets including theme parks, museums, video conferencing and control rooms. Since its founding in 1964, Electrosonic has built a strong reputation for working on complex projects, both large and small, and has developed lasting partnerships with customers and suppliers. Beyond complete integrated systems, Electrosonic provides a comprehensive scope of services including technical design, projector lamp sales, maintenance and operational support.

Learn more about Electrosonic. Visit http://www.electrosonic.com

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CORE Brands To Make Its CEDIA 2012 Debut With A Spectacular Party At Blu!

Celebrating its debut at CEDIA 2012 in the most spectacular way possible, CORE Brands, the recently introduced Nortek Technology Solutions business unit comprised of the ATON®, BlueBOLT®, ELAN®, Furman®, Niles®, Panamax®, Proficient®, SpeakerCraft®, Sunfire® and Xantech® brands, today announced it will host a party to remember on Friday, September 7, 2012 at Indianapolis’s trendiest nightclub, Blu (240 South Meridian Street, Indianapolis).

According to Paul Starkey, CORE Brands Senior Vice President of Marketing, the by-invitation-only party will run from 8 p.m. to midnight and feature music from Chicago’s hottest cover band, Green Thirteen. “Dealers attending CEDIA undoubtedly know every one of our ten iconic brands, but now they will have the opportunity to get to know all of our brands in an entirely new way as part of the industry’s single largest audio, control and power management solutions provider! The debut of CORE Brands at CEDIA marks the start of an exciting new chapter of opportunity for our dealers and this party will help make our debut an event to be remembered.”

Dealers can get tickets to the party from their respective representatives by visiting individual CORE Brands CEDIA exhibits. ATON, ELAN, Niles, Sunfire, and Xantech are exhibiting in Booth #902. BlueBOLT, Panamax, and Furman are exhibiting in Booth #3130. SpeakerCraft is exhibiting in Booth #5524 and Proficient is exhibiting in Booth #2442.

Headquartered in Petaluma, California, CORE Brands is a division of the Nortek Technology Solutions Segment (www.nortek-inc.com). CORE Brands combines the product and marketing strengths of ten iconic audio, power management and control brands into a single business unit that includes ATON®, BlueBOLT®, ELAN®, Furman®, Niles®, Panamax®, Proficient®, SpeakerCraft®, Sunfire® and Xantech® brands. CORE Brands has more than 190 years of combined experience in the residential, commercial and professional markets and over 4,300 direct customer accounts in multiple distribution channels in the United States and around the world.

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Solid State Logic Appoints Dominic Jacobson as Area Sales Manager

OXFORD, UK – Solid State Logic is pleased to announce that Dominic Jacobson has been appointed Area Sales Manager serving different zones, such as South Europe, North Africa or India. Jacobson has an extensive background in sales of high-end gear to film post production companies, broadcasters and musicians/composers. He speaks both French and Spanish fluently and has worked extensively in India, Russia, the Middle East and Southern Europe.

“At SSL we pay close attention to our customers, so industry expertise and personal commitment are a must have for anyone joining the SSL team,” says Philippe Guerinet, director of international sales for SSL. “Dominic is greatly respected in many countries around the world because of his vast skill level and enthusiasm. He brings with him an excellent track record in equipment sales and hands-on studio experience, so he understands the needs of a creative studio environment from both sides of the glass. We are indeed excited to welcome him on board.”

Jacobson’s work experience includes Reuters, the international news agency, as a satellite coordinator; Thomson Netg, a company specializing in integrated corporate learning solutions, as a software localization engineer; Sony as a pre-sales/support technician for audio and video media products; and four years as a sales manager at Avid and Euphonix, selling professional mixing consoles.

Jacobson is also involved with music production and content creation including work with Charlie Watts and leading session drummer, Jim Keltner, as well as award-winning artists such as multi-platinum Japanese R&B singer, Misia, as well as Ursula Rucker and the group Tom and Joyce. He has performed remix and production work for major labels such as Sony, Mercury and Virgin, as well as for smaller labels such as Talkin’ Loud, Yellow Productions and K7. In addition, Jacobson is a successful composer, having penned the title music for the London Live show on the UK’s Channel 4, which is now in its eighth season, as well as composing content for advertisements and virals for Nike, Ford, Proctor & Gamble and LG.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

Canon HD Digital SLR Cameras Provide Documentary Filmmakers With Creative Freedom

Documentary filmmakers have long agreed that the more inconspicuous the camera, the more “truth” it can capture. The proliferation of compact, highly mobile video cameras during the past 20 years has proven this to be true, but many of today’s documentarians not only want a camera that won’t intimidate interviewees, they also want a camera that can capture imagery that’s more cinematic. The filmmakers behind two of this year’s Oscar-nominated documentaries achieved both goals by using digital SLR cameras from Canon U.S.A., Inc., a leader in digital imaging solutions. Directors Danfung Dennis (Hell and Back Again) and Lucy Walker (The Tsunami and the Cherry Blossom) recently discussed the advantages of their Canon digital SLR cameras during interviews at the International Documentary Association’s Los Angeles DocuDay event. Each documentary took advantage of a different EOS DSLR and series of EF lenses to uniquely capture their particular stories. Dennis’ camera of choice was the EOS 5D Mark II, while Walker and her director of photography Aaron Phillips used an EOS 7D DSLR.

Hell and Back Again tells the story of a U.S. Marine Corps sergeant’s battle with post-traumatic stress disorder after his return from Afghanistan. The film combines combat footage shot by Dennis with intimate scenes of the soldier’s physical and emotional difficulties as he tries to readjust to everyday married life as a civilian in North Carolina. Prior to shooting the film, Dennis spent several years as a photojournalist covering both Iraq and Afghanistan with Canon DSLR cameras. An early adopter of the HD capabilities of the EOS 5D Mark II, Dennis built a stabilization rig for the camera that enabled him to shoot run-and-gun video while embedded with Echo Company 28 of the 2nd Marine Division in Southern Afghanistan.

“I have always been interested in how I could advance documentary cinematography so that it was closer to the methods and look of both still-photojournalism and narrative cinematography,” Dennis explained. “I was deeply moved by past war photographers, especially those from the Vietnam era. I wanted to borrow from the syntax of photojournalism, and then mold and shape it with cinematic HD to convey the emotional power of still images to give audiences a very direct, immersive feeling of what it’s like to go to war and then come home from it. Canon’s EOS 5D Mark II allowed me to do that, with extremely high-quality lenses and a small single-person set-up that enabled me to get into various situations ranging from combat zones to the home of an injured soldier. This type of visual medium helped me get into that person’s mind, and was very different from a traditional documentary look and feel.”

Technology and Trust
Upon returning to the U.S., Dennis rebuilt his EOS 5D Mark II camera-stabilization rig to be even smaller and less intrusive for capturing cinema vérité footage of the everyday lives of the sergeant and his wife. Shooting extensively in interior locations, Dennis had special praise for the low-light capabilities of the Canon 5D Mark II’s 21.1-megapixel 36mm x 24 mm full-frame Canon CMOS sensor, and for the Canon EF series lenses he used.

“The 5D Mark II’s sensor is incredible, I was pushing the limits of what’s possible with its low-light capabilities,” Dennis stated. “You can shoot at extremely high ISOs and still have a relatively clean image. I also used really nice Canon lenses, an EF 35mm f/1.4 and an EF 50mm f/1.2. Those L Series lenses allowed me to open it all the way up to f/1.2 in extreme low-light, push the ISOs quite high, and still get this incredible image without having to use any external lights. They gave me a shallow depth of field for conveying a lot of the emotions of the central character. In Afghanistan I primarily used an EF 24-70mm f/2.8, which gave me the diversity necessary to get wide and tight shots, without having to fumble and change lenses when there is a lot of dust and action going on. The EOS 5D Mark II and its EF lenses allowed me to work as one person with one rig and shoot an entire film.”

Equipment aside, Dennis hastened to mention another essential element of his documentary technique that goes beyond using a small camera with no intimidating movie lights. That element is trust.

“I think it’s really also about having that level of trust with your subjects, where they are willing to open up to you and let you capture something that is very personal and raw,” he noted.

Visual Haiku
Trust was also key to director Lucy Walker and DP Aaron Phillips’ interviews of Japanese earthquake and flood survivors in The Tsunami and the Cherry Blossom. Touring areas devastated by the 2011 Tohoku earthquake by car and on foot, Walker, Phillips, and their driver/translator carried their Canon EOS 7D cameras and minimal gear in backpacks, and were always careful to tell their interview subjects that they were filming video footage and not just taking still pictures.

“It was important for people to understand that we were shooting video, because you want them to be ‘on-board’ with what we were doing,” Walker said. “And even though they knew we were filming, the compact size of the Canon 7D and its familiar stills-camera appearance helped avoid any ‘intimidation’ factor. They felt comfortable, and you always want the scene to be about the people you’re filming – candid, honest, and emotional – and not about the crew and the equipment. The EOS 7D was absolutely super for us and we never really considered an alternative.”

“The Canon EOS 7D was liberating,” Phillips agreed. “I don’t think people would have been as receptive to us if we had a larger, traditional-format documentary camera. I think we would have been booted from many locations if we had a crew with boom poles and lights. The EOS 7D made us much more ‘human’ and sensitive to the situation.”

Walker and Philips shot interviews with survivors in the areas hardest hit by the disaster, juxtaposing that footage – and news video of the tsunami – with scenes showing the beginning of cherry blossom season, a cherished annual tradition in Japan. As the film’s website notes, The Tsunami and the Cherry Blossom is “a stunning visual haiku about the ephemeral nature of life and the healing power of Japan’s most beloved flower.”

A Cinematic Look
Walker and Phillips found that the 18-megapixel APS-C-size CMOS sensor in the Canon EOS 7D digital SLR camera was particularly well-suited not only for photographing the beauty of nature in bright outdoor settings, but also for shooting intimate, emotional indoor interviews in subdued lighting. “To have the option to shoot with no light and still get a gorgeous image was important,” Phillips related.

Lenses used for filming The Tsunami and the Cherry Blossom included a combination of Canon EF series models. “We used all Canon lenses, including Canon L-Series zooms: the EF 16-35mm f/2.8, the 24-70mm f/2.8, and the 70-200mm f/2.8,” he said. “We also used a Canon Extender EF 2x and did a little work with 24mm and 45mm Canon tilt-shift lenses.”

Crafting beautiful images for a documentary is as appropriate as it is for any other kind of film, Walker believes. There’s no reason why a documentary has to have a traditional “documentary” look. “People often think of documentaries as being poorly shot and low quality, but I like to think of documentaries as being potentially very beautiful,” Walker explained. “Just because it’s depicting real life doesn’t mean that it’s ugly. Aaron is the kind of cinematographer who can bring artistry to spontaneity, even when I am demanding that we move fast. I believe you should be able to deliver results that stand up to a big-screen cinematic blow-up and look absolutely stunning.”

Both filmmakers believe that this is a golden age for documentary production, due not only to the sophistication of cameras such as the Canon EOS 7D digital SLR, but also due to the elimination of the cost of film and processing made possible by digital recording and editing.

“The decreased cost is a huge advantage,” Walker stated. “You have the flexibility to shoot, experiment, and explore. We were translating Japanese as we went, which slowed the interviews, but we didn’t have to cut. This does make it easy to shoot too much content and get into trouble in post, but we didn’t. We had 46 hours of footage, which would have been totally unaffordable in film, but for us it was the absolute right amount to shoot, and a fabulous freedom. Now it is easier than ever to sculpt stories from scratch, and I credit the new digital tools of non-linear editing and affordable, cinematic cameras such as the Canon EOS 7D digital SLR as the reason why it’s such an exciting time to be a documentary filmmaker.”

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