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Archive for February 11th, 2013

X2O Media Takes First Place in Polycom’s App Development Contest

X2O Platform Drives Winning Live and On-Demand Video Content Delivery App Using Polycom(R) RealPresence(R) APIs

MONTREAL — Feb. 11, 2013 — X2O Media, a provider of software for real-time visual communication applications, today announced that the company has won first place in Polycom, Inc.’s (NASDAQ: PLCM) first ever App Development Contest. The contest challenged individuals and companies to submit solutions using Polycom(R) RealPresence(R) open application programming interfaces (APIs) to extend the value of the Polycom RealPresence Platform. X2O Media won the grand prize with an application that delivers live and on-demand video content to digital signage screens, Polycom VVX(R) IP phones, and video kiosks. more

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TRINITY LUTHERAN CELEBRATES A NEW SANCTUARY AND IMPROVED SOUND SYSTEM

WAUPACA, WI, FEBRUARY 11, 2013—Trinity Lutheran Church in Waupaca, WI, recently debuted its new sanctuary—offering expanded seating capacity, more space up front for musicians and choirs, and new technology to enhance the worship experience for members and visitors. Among the new technologies included in the audio system design for the church, which was installed by Sonic Art, is the new Aviom AllFrame Multi-Modular I/O System to network audio to various locations around the facility. The church also included an Aviom Personal Mixing System for its musicians in its audio system upgrade.

Sonic Art designed and installed the Pro64® audio network and Pro16® personal mixing system to be much like an analog system, but the system offers far more flexibility than a traditional system would. According to Brian Christ, senior A/V designer for Sonic Art, “The AllFrame System made the installation simple and straightforward with less failure points than an analog system, and the audio quality is excellent.”

Sonic Art wired the church with Cat-5 and placed A-Net® connection jacks (RJ-45s) in various locations to allow for the Aviom AllFrames to be placed at any of these points with an installed connection to the digital Yamaha® LS9-32 in the sound booth. Two 6416Y2 A-Net Interface Cards are installed in the console for digital I/O into the Aviom network. The church’s equipment room houses an amp rack with an MH10 Merger Hub which distributes A-Net to five POA80 Power Over A-Net Power Supplies and an ASI A-Net Systems Interface. The ASI converts Pro64 A-Net to Pro16 A-Net and is connected to an A-16D Pro A-Net Distributor that sends power and Pro16 A-Net to up to eight A-16II Personal Mixers used by the choir and praise band.

The POA80s send power and Pro64 A-Net to five locations in the sanctuary. One is connected to the F6 Modular I/O Frame that is in the choir area, which can be placed elsewhere if needed. Here four C4m Mic/Line Input Cards and one C4o Analog Output Cards provide local inputs and outputs to this location. Two additional F6s, each with four C4m Cards and one C4o Card can be placed at any of the other four A-Net locations connected to a POA80. This allows for the church’s sound team to design the audio network to meet their needs for any given sermon or event. Often one of the AllFrames is used in the praise band area, for instance.

Wanda Eikenbary, director of Music Ministries for Trinity Lutheran, says, “I can’t imagine anything better than to have this flexibility. At any given time we can configure this room with musicians and instruments in the way that we choose. The enormous amount of flexibility is worth its weight in gold to us. We can have a small, simple worship service or a large holiday production. This system opens doors for us in terms of what types of presentations we can do in the future. It is a goal of mine to bring in professional performances. This wasn’t an option in the past but it will be now.”

The AllFrame Multi-Modular I/O System also gives the church the ability to expand their system as needed. Their existing F6s each have an open slot to which four more channels can be added. And adding additional AllFrames allows for even more expansion and flexibility. In addition to the flexibility of the system, the church appreciates how simple it is to use. This characteristic is incredibly important according to Eikenbary because the church relies on good-hearted volunteers who are willing to learn how to use the system.

Eikenbary also appreciates the overall warmth and breadth of the sound in the new sanctuary. She explains, “You can physically feel the sound, which we have never had before. As a musician, of course, it’s important to me that the music and sound is first rate. Making the sound the best it can be was a priority on our list for the new sanctuary. I’m glad that others understood the need and allowed us to take it to this level.”

Aviom pioneered personal mixing with its Pro16® Monitor Mixing System and continues to break new ground with the revolutionary Pro64® Series of audio networking products. With tens of thousands of products in the field today, Aviom has set the standard for high performance, scalable digital solutions. All Aviom systems harness the power of A-Net®, Aviom’s innovative digital audio technology that simplifies system design while enhancing flexibility and fidelity. All Aviom products are designed, tested, and manufactured in the USA. For more information, visit www.Aviom.com.

Delicate Productions Holds Training Session For MLA Compact


Delicate Productions Inc.’s San Francisco office recently conducted an in-depth three-day training session for the Martin Audio MLA Compact loudspeaker system.

Attended by 12 top-tier Delicate touring and regional engineers along with notable independent engineers and facility owners interested in MLA technology, the session had a practical mission according to General Manager George Edwards.

“We currently own an inventory of MLA and MLA Compact enclosures,” Edwards explained, “and we feel that any product with this level of depth and sophistication requires not only our staff to be properly trained but also allows exposure to what Delicate and Martin Audio have to offer in sound reinforcement.

“So we put all of the attendees as close to MLA as they could possibly get with the person who knows the most about the technology, ‘Ferrit’ Rowe.”

Rowe, Technical Training Manager for MLA, headed the informative training, which started with basic audio and array studies before moving on to MLA Compact and VU-Net control software, system design, rigging and setup. Extensive one-on-one listening and Q&A sessions supplemented the sessions.

Asked about the results of the training, Edwards concluded, “It was incredibly helpful. Not just for our engineers, but for our guests as well. As the largest Martin Audio house in Northern California, it’s obviously in our and the product’s best interest to further educate anyone who wants to know more about MLA and MLA Compact.”

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

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.

Atlona(R) LinkCast(TM) Wireless HD System Now Available in Europe

EU Edition LinkCast Wirelessly Connects up to Four HD Sources to Displays or Projectors at Resolutions up to 1080p

SAN JOSE, Calif. — Feb. 11, 2013 — Atlona(R) today announced that its award-winning LinkCast(TM) Wireless HD System is now available for the European market. The EU-certified LinkCast Wireless HD System provides an easy and affordable way for users to get content in their home theaters from as many as four HD sources — including laptops, game consoles, Blu-ray(TM) players, and more — to displays, projectors, or AV receivers without the hassle and clutter of cables. more

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Jacksonville Jaguars Score a New HARMAN JBL Sound System at EverBank Field

The new sound reinforcement system at EverBank Field in Jacksonville, Florida features eight JBL VLA line arrays, with another four planned for installation later this year.

NORTHRIDGE, California – Since opening in 1995, EverBank Field has been the home of the National Football League’s Jacksonville Jaguars and host to NCAA Football’s Gator Bowl. However, over the course of 17 years time took its toll on the Jaguars’ den and recently the 84,000-seat stadium underwent significant renovations, including an upgrade of the sound system with HARMAN’s JBL VLA line arrays.

EverBank Field’s management company Spectacor Management Group (SMG) hired Christopher “Topper” Sowden, Principal Consultant of Sowden and Associates in Fort Worth, Texas, to design and oversee the installation of the new audio system. The system was installed by locally owned Florida Sound Engineering Company.

Faced with the challenge of delivering high output and even coverage throughout the stadium, Sowden and his team designed a distributed line array system where VLA loudspeakers are mounted to lighting structures behind the stands. These line arrays are aimed at low-grazing angles of incidence into the seating space from behind the spectators.

“Considering that EverBank Field is a large, open and relatively shallow oval, we agreed that a distributed line array approach would provide a noticeable enhancement to the fans’ audio experience in the bowl,” Sowden said.

“The facility contains eight lighting structures placed around the stadium,” Sowden added. “Working with Florida Sound Engineering and [JBL Professional Senior Application Engineer] Brad Ricks, we decided the JBL VLA Series loudspeakers would be the best choice for this installation for their frequency response and ability to deliver high-impact sound over large throw distances.”

Eight of the 12 originally designed arrays have been installed with the remaining four scheduled for completion later in 2013. Each of the four speaker clusters on the sides of the stadium includes three VLA Series VLA601-WRX loudspeakers and one VLA901-WRX loudspeaker, along with two PD Series PD5212/64-WRX loudspeakers and one PD5212/95-WRX loudspeaker. The four end zone clusters each feature three VLA Series VLA601-WRX loudspeakers, one VLA901-WRX loudspeaker, with one PD5212/64-WRX and one PD5212/95-WRX loudspeaker.

In this configuration, the VLA provides high energy and increased low and high frequency response, all the way to the front row of the stands, with even coverage to all seating areas.

“The arrays were developed using a road show rigging concept that allowed their installation using either a 150-foot crane or two chain motors,” Sowden noted. “Each cluster only took about an hour to mount!”

“Because the lighting structures are forward from the upper deck rear seating rows, we covered that area with 32 JBL AM7212/26-WRX high-power 2-way speakers on poles behind the last row of seats, which we chose because of their extremely wide horizontal angle of coverage,” Sowden pointed out. “We also installed 52 JBL AW295 speakers below the edge of the upper deck to cover areas of the lower deck that were shadowed from the main system.”

“The combination of speakers and deployment gave us the ideal combination of sonic attributes to achieve exactly the sound coverage and musical quality we needed,” Sowden said. “The team is happy, the owner is happy, and the patrons get their socks knocked off. It’s like sitting in your living room listening to a high-quality audio system, except you’re there with 84,000 of your close friends.”

For more information on Sowden and Associates, please visit www.sowdenassoc.com

For more information on Florida Sound Engineering Co., please visit www.floridasound.com

HARMAN (www.HARMAN.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets — supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported net sales of $4.4 billion for the twelve months ending June 30, 2012.

New Gefen Extender for DisplayPort Streamlines Power Requirements and Supports High Resolution Video Extension to 100 Feet

Professionals working with high resolution video graphics up to 2560×1600 now have an easy way to extend their display from the computer using two CAT-7 cables. Gefen’s new DisplayPort Extender over CAT-7 sends audio/video up to 100 feet (30m) in distance from computer to display. Those working with resolutions up to 1920×1200 can use the same extender with only one CAT-7 cable.
Wall mountable sender and receiver units deliver audio and video from the DisplayPort source over the CAT-7 cabling to the display. Power is required at the sender unit only; the receiver unit receives its power using the CAT-7 cable.
Additional features include 16 different EQ adjustments using a rotating switch on the receiver unit. The receiver’s HPD Auto Calibration switch allows a full calibration of the connected display with no training needed in video technology. A locking power supply on the sender unit improves system stability.
The Gefen DisplayPort Extender over CAT-7 is currently shipping and includes sender unit receiver unit, six-foot local DisplayPort cable and locking power supply.

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Jünger Audio Shows Its *AP Family of Audio Processors At CABSAT 2013

At CABSAT 2013, dynamics specialist Jünger Audio will be introducing Middle East customers to M*AP – the latest addition to its Award-winning *AP family of audio loudness processors.

In conjunction with its Middle East distributor Qvest Media (Hall 8, Stand E8-10), Jünger Audio will demonstrate this ground-breaking processor that combines an audio monitor controller and a loudness measurement device in one unit, thus providing comprehensive quality control and loudness monitoring for anyone working in a production or broadcast environment.

Designed for quality checking surround (5.1) and/or stereo programs, M*AP can be used for live monitoring and also to ensure compliance with today’s standards and regulations (ITU 1770/1/2/3, ATSC A85 or EBU R128).

The unit comes with alarm signals that alert the operator when pre-set loudness thresholds are exceeded, and these signals can be delivered by simple GPOs and/or SNMP traps, which carry actual loudness values. Loudness measurements can be performed over a long run or over a fraction of a program, or both. These measurements can be triggered by automation systems via GPIs or via the network – or even manually by buttons of the X*AP remote panel.

Alongside loudness measurements, M*AP also offers functionality for acoustical QA. It has an option for up to eight speaker outputs that allow for monitoring of the audio mix and A/B checking of stereo compatibility of a surround downmix through alternative speakers, as well as via L/R front speakers.

Peter Pörs, Managing Director of Jünger Audio, says: “By incorporating 3G, HD and SD auto detection, M*AP gives users the option of dealing with all 16 channels of SDI embedded audio at the same time. This means that you can listen to one program while permanently logging the loudness of two (5.1 +2 mode) or four (4×2 mode) programs. It is also possible to send further de-embedded programs to M*AP’s AES outputs to feed a third party instrument for analyzing and/or display.”

For no extra cost, the M*AP’s SDI board acts as an embedder as well and comes with video delay to compensate for any kind of audio delay. This feature is ideal for those looking to maintain lip sync in QA suites or control rooms. M*AP also features a built-in Dolby® Metadata generator and an optional Dolby® decoder that allows users to decode Dolby-E, Dolby-D (AC-3) and Dolby Digital plus (E-AC-3).

Optional Dolby Metadata emulation will be introduced in the second quarter of 2013, giving producers a unit capable of simulating the results of different types of Dolby encoding, and a successor capable of performing many of the tasks previously undertaken by Dolby’s DP570 unit.

Jünger Audio will also be showing the rest of the processors in its *AP range, including the Award-winning T*AP TV Audio Processor, the D*AP LM4 four-channel Digital Audio Processor and the D*AP LM2 two-channel Digital Audio Processor.

The line-up is completed with Jünger Audio’s 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. Using this new software, broadcasters can monitor in real time or by analyzing previously stored loudness log files. This innovation is critical as all broadcasters now need to show precisely how their audio levels are performing in order to comply with new legislation on Loudness.

If you would like more information about these products please visit Junger Audio’s distributor Qvest Media in Hall 8, Stand E8-10 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. www.junger-audio.com

Red TX Records The Audio For Jeff Wayne’s Musical Version of The War of The Worlds – The New Generation – Alive On Stage!

Broadcast audio specialist Red TX has recorded the audio for a new DVD of Jeff Wayne’s iconic musical version of The War of The Worlds.

Based on the book by HG Wells, Wayne’s classic 1978 musical work has sold over 3.6 million copies in the UK alone and over 15 million worldwide, and has been performed as a musical on some of the largest stages in the world.

For this version, Wayne incorporated new interpretations of the original tracks and a new cast starring internationally renowned Irish actor Liam Neeson as George Herbet, the journalist – a role originally performed by Richard Burton.

Other stars included Jason Donovan, Kaiser Chiefs’ Ricky Wilson, Marti Pellow, West End’s Kerri Ellis and Jettblack’s lead singer Will Stapleton. The show was performed by the Black Smoke Band and 36-piece ULLAdubULLA strings, conducted by Jeff Wayne.

Red TX was commissioned to handle the audio recording during a performance at London’s O2 Arena by Universal Visual Programming.

Producer Dione Orrom says: “We chose Red TX because we have worked with them many times in the past and they have always delivered great results. Also, Red TX understood the history of this project, having recorded Jeff Wayne’s Musical version of The War of The Worlds before in 2006, so Tim Summerhayes and his team were fully aware of the complexities of the show. There were a large number of tracks involved and complex time code issues that required the skills of an experienced audio team.”

Red TX Director Tim Summerhayes, who manned the controls on the company’s main Red II truck, says: “The secret to getting this project right was close collaboration between ourselves, Visions OBs, which was handling the video recording, and the artists’ sound crew, which was headed by Front of House sound engineer Simon Honywill and systems technician James Breward (Brew). We knew we didn’t have much time to rehearse or sound check in the O2 Arena as we had to be in and out in a day and could not interface with the show until about 1.30 pm, so a lot of preparation was done in advance.”

Some weeks prior to the O2 show, Summerhayes went to see rehearsals at LH2 Studios and the show at the NIA in Birmingham and held lengthy discussions with producer Dione Orrom, director Nick Morris, Visions unit manager Dave O’Carroll and Simon Honywill to devise a secure plan for the recording.

“We agreed to interface with Simon’s PA and took his gain structure via three MADI feeds, which we combined with analogue click tracks, time codes and the audio from the 14 ambient microphones that were covering the Arena,” Summerhayes explains. “We used three different Pryamix recording systems to distribute the tracks evenly and we also had back-up systems as a failsafe. As with any project of this scale, Red TX’s Ian Dyckhoff and Ollie Nesham were key to ensuring that all the right red lights were on.

“Timecode was the main issue we had to overcome. Normally we would lock to the video truck’s timecode, but because we were using Honywill’s MADI feeds we had to lock to his sync and show code as this was also being used to trigger the lights, live screen and special effects. There was always the possibility of a timecode drift between the two systems, which could have created serious problems in post-production, but we resolved this by very careful monitoring during the day and by recording both the show and time of day timecodes so that they could easily be tracked in post-production.”

Summerhayes adds that collaboration between the audio truck, the video truck and the Front of House sound crew is becoming increasingly common on large productions because of their complexity.
“Had we just ‘turned up’ on the day, I really don’t think that the job could have been done,” he says. “We’ve been doing this long enough and fortunately we know most of the main players, so it’s now easy for us to work alongside people like Simon Honywill and to liaise with confidence with the production company. It is with shows like this that experience really counts and we were delighted that Universal Visual Programming recognised our expertise and trusted us to do the job properly.”

The new version of Jeff Wayne’s Music Version of The War of The Worlds is an extraordinary stage production that unites conventional settings with modern technology. Highlights of the multimedia show include a three-legged, ten meter high Mars robot, a 95 minute animated movie shown on a 240 square meter screen and the use of 3D holography that allows the absent Liam Neeson to interact with the live actors on stage.

The audio recorded by Red TX is now being mixed by Jeff Wayne at his OllieWood Recording Studios. The DVD of the show will be available later this year and it will also be screened at digital cinemas around the world, starting in approximately 100 cinemas in the UK from April 11, 2013.

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About Red TX:
Red TX provides a comprehensive concert recording and broadcast service to the music and television industries. The company has state-of-the-art mobile recording facilities and can handle projects of any size or complexity. As well as recording audio for broadcast, the company also records live music events for subsequent release on CD or DVD. It is headed by Ian Dyckhoff and Tim Summerhayes, both of whom have extensive experience in delivering high-quality audio for broadcast. www.red-tx.com

Forward-Thinking Integrator Sensory Technologies Turns To NanoLumens For One-Of-A-Kind LED “Sculptural” Solution

When Sensory Technologies was hired to redesign the visual experience of a Fortune 500 company’s lobby in Indianapolis, Indiana, the forward thinking integrator knew that the location called for a digital sculpture unlike anything else in the world, which is why they chose the visionary team at NanoLumens® to bring their vision to life by producing a 5-foot tall by 13-foot long LED display in the shape of the letters “USA.” The display, which can show any type of content that the company chooses, is the first installation of NanoLumens’ new NanoSlim DS Series (Design Specific), which allows every customer to ‘break out of the box’ and create truly unique displays in literally any shape and size.

“We needed to find a display provider that could offer not only an innovative LED display, but also provide us with impeccable service and support. The search stopped once we found NanoLumens,” said Andrea Nicholson, Business Development Manager at Sensory Technologies. “We were instantly blown away by their NanoSlim DS Series displays. The display solution we were looking for was highly unusual and NanoLumens was not only capable of handling it, they were eager to take on the challenge. They provided us with a state-of-the-art LED display that went above and beyond our wildest expectations. Far more than just a display, the end result is truly a digital sculpture.”

The USA display is a freestanding sculpture that commands the attention of every visitor in the brightly lit, window-filled lobby of the Fortune 500 company’s facility. NanoLumens’ LED display technology is perfect for installation in traditionally difficult locations such as public lobbies and retail establishments because it is extremely bright and durable, and generates very little noise and heat. This particular display uses NanoLumens’ 4mm LED technology and was built to the company’s ToughFace standards, so people can bump up against it and touch it without affecting its quality or operation. It can be used with nearly any video content management system, which allows the company to use their digital sculpture to present any content they choose.

According to NanoLumens President & CEO Rick Cope, “Our new NanoSlim DS and NanoFlex DS Series remove all the limits that confine traditional displays into squares and rectangles. This amazing USA display proves that if you can imagine it, we can create it. We’re the only manufacturer providing customers the opportunity to design the size, shape, curvature and pixel pitch of their own unique LED displays, allowing them to create an artistic digital canvas that can even stand alone as a sculptural work of art.”

Sensory Technologies was able to implement the NanoSlim DS with the help of the NanoLumens team and was so pleased with the support and service from NanoLumens, that the integrator has deemed the company their ‘go-to’ provider for installations that call for one-of-a-kind, large-format LED displays.

“The demand for unique digital signage applications is growing every day as corporations, universities and healthcare facilities become increasingly more interested in finding new and exciting ways to display their visual content ” added Nicholson. “Through this partnership, we quickly learned that NanoLumens stands head and shoulders above the field in terms of providing cutting-edge LED display solutions. With eight years worth of experience managing hundreds of AV installations, I was extremely impressed with the quality of product and the dedication to personal service that NanoLumens provides. The team has been top notch to work with and was always very responsive. The product they create and quality they deliver is second to none and I am excited to work with them again.”

NanoLumens’ NanoSlim DS and NanoFlex DS Series are a bold departure from the traditional one-size-fits-all design paradigm that has been a mainstay of the display industry for decades. Available in 4mm, 5mm and 6mm pixel pitches, the NanoSlim DS and NanoFlex DS Series allow customers to specify truly unique displays in their designs and open the door for corporations, retailers and venue operators to create a completely original digital experience.

NanoLumens displays are extremely slim, ultra-lightweight, energy efficient, and feature a bright, seamless, high resolution picture quality that can be viewed from any angle throughout the display horizon without color shift or image distortion. The company’s patented display technology, which allows customers to select from 4mm, 5mm, or 6mm pixel pitch (depending on the model), promises to transform the way marketers engage their customers in every type of trade show, retail, hospitality, stadium, arena, transportation and public event environment.

All NanoLumens displays accept input from nearly any device or content management system. There is no need for special software, hardware or special personnel to display content beautifully. With a profile of only a few inches, NanoSlim DS and NanoFlex DS can be installed on virtually any surface without being obtrusive, adding the ‘WOW’ factor to any environment without taking up precious space. NanoLumens’ patented display technology is optimized for indoor use, operating with virtually zero heat or noise while producing bright, rich, consistent color as well as superior off-axis viewing with no color shift or image distortion throughout the display horizon.

NanoLumens’ technology has been named ‘Best Large-format LED Display’ of the year by Signage Solutions magazine in its 2012 Product of the Year awards program, as well as being recognized by Entrepreneur magazine as a 2011 future-proof tech trend and cited by The Wall Street Journal in its 2010 Technology Innovations Awards. NanoLumens’ technology also received the 2011 Breakthrough Technology of the Year Award at the American Technology Awards. Digital Signage Magazine awarded the NanoLumens NanoFlex a 2011 DIGI Award for “Best New Display Device – Non-LCD or Plasma.”

About Sensory Technologies:
Sensory Technologies is a leading audio-visual, telepresence system and collaboration solutions provider. Their customized solutions help to increase productivity and communication effectiveness for corporations, educational institutions, healthcare organizations and government agencies nationwide. Sensory Technologies provides fully integrated solutions consisting of system design and engineering, equipment procurement, system installation and integration, on-site service and Help Desk management and support services.

About NanoLumens:
Headquartered in Atlanta, Georgia, NanoLumens, Inc. (www.nanolumens.com) is a privately held corporation engaged in the research, product development, marketing and sales of unique flexible and fixed large-format LED display solutions in any size, shape, or curvature, that address a yawning technology gap in the $14 billion digital display industry. Since its founding in 2006, NanoLumens has built a portfolio of more than 20 international families of issued and filed patents on its flexible display technology that effectively address the commercial market void between relatively small flat-panel displays and huge, limited application LED boards. NanoLumens technology is not constrained by standard sizes and shapes, or by the weight, heat, noise and cost issues traditionally associated with commercial LED products.

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Vista Systems Spyder Goes Inside The Brain at TEDx Caltech for Jon 9

Vista Systems Spyder X20 played a key role in supporting digital artist and technologist Jon 9′s participation in TEDx Caltech, an immersive one-day experience that grew out of the celebrated 26-year old TED idea conference.

Held in the Beckman Auditorium at the California Institute of Technology in Pasadena, the independently-organized TED event explored the topic of the brain with a diverse group of speakers sharing their newest, most unique and visionary ideas. Their appearances were punctuated by music, performance and comedy.

Supported by the Vista Systems Spyder, Jon 9 of Holonyne Corporation, Los Angeles, produced innovative backdrops and content for the expert presenters and did improvisational video mixing for musical performers David Torn and Moira Shirley.

“You could best describe my role as projection designer,” he says. “The brief from the conference organizers was to create an immersive, interesting, visually stimulating environment that could display content related to the theme of the brain and also create an overall ambient environment. My creative approach was to make the audience feel that they were ‘inside’ the brain of the conference itself.”

Jon 9 was instrumental in crafting the display system for the stage. His Holonyne Corporation specializes in creating WallSite(tm) installations, an approach to large-scale immersive display systems that mimics the interactive and information delivery functionality of a website but on large scale for public events.

Three 1080P screens were onstage at the Beckman Auditorium, with 180 pixels in between. Twenty-four Christie MicroTiles, also 1080P, formed a 4×6 videowall centered beneath the center screen with 120 pixels between the top of the MicroTiles and the screen. Content was driven by the Spyder, whose I/Os included four 10K and 20K projectors, four Green Hippo Hippotizer HD digital media servers and a live video truck. “This represented a cutting-edge configuration that went far beyond the typical set up for conferences of this nature,” Jon 9 says.

“The Spyder played a crucial role in the immersive video configuration, linking together the four Hippotizers with the four projectors and 24 MicroTiles plus the speech-support system and confidence monitors,” he explains. “We were able to monitor all the inputs on a single screen in two locations, backstage and the booth. We were also able to send and receive feeds from the video truck where the event’s video director was calling a five-camera shoot. The flexibility and programming power of the Spyder meant we could use one device to do all our switching and scaling instead of a rack of separate components.”

For playback with realtime control for the improv video mixing for the musical artists, Jon 9 tapped four Hippotizer HDs, which integrated smoothly through the Spyder, he reports.

“The entire configuration was an example of what’s possible when you want to expand the boundaries of digital environmental design for academic and other types of informational events,” says Jon 9. “By combining the high-powered projectors with an on-stage MicroTile videowall and the flexibility and power of the Spyder, we created an environment that was both highly functional and visually stunning.”

About Vista Systems
Vista Systems’ switchers have become the industry standard for live multiple-destination video and data mixed signal switching with real-time windowing and composition. For more information on Vista Systems, visit their website at www.vistasystems.net.

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