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Archive for February, 2013

Atlona(R) Debuts Control4(R) Drivers for HDMI(R) Matrix Switchers at ISE 2013

SAN JOSE, Calif. — Feb. 7, 2013 — Atlona(R) today announced the release of new Control4(R) drivers for its PRO3HD, PRO2HD, and H2H families of HDMI(R) matrix switchers. The new drivers, which made their debut at ISE 2013, help ensure seamless integration and compatibility in residential and commercial AV systems using the Control4 platform. more

CLEAR-COM RELOCATES UK HEADQUARTERS

New Location Boasts Creative Atmosphere and Expanded Technical Resources

CAMBRIDGE, UK, 7 FEBRUARY 2013 ─ Clear-Com®, a global leader in critical voice communication systems, announces the relocation of its UK headquarters. The new office is located at 2000 Beach Drive, Cambridge, just down the road from the company’s previous UK headquarters. The new facility enables Clear-Com to continue its expansion in the region, while offering further creative resources for its staff members. more

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Platinum Tools(R) Features New Test Kit for VDV MapMaster(tm) 2.0 Length Measurement Voice/Data/Video Tester at 2013 ISC West

CAMARILLO, Calif., Feb. 7, 2013 – Platinum Tools(R) (www.platinumtools.com), the leader in solutions for the preparation, installation, hand termination and testing of wire and cable, is proud to announce the new complete test kit for the recently updated VDV MapMaster(tm) 2.0 voice, data, and video tester is now shipping. With an MSRP of an affordable $199.95, the T129K1 Test Kit includes the VDV MapMaster™ 2.0 as well as all the accessories required for voice, data, and video testing and mapping in a rugged double-walled, blow molded case. Platinum Tools will feature the T129K1 Test Kit at 2013 ISC West, held in Las Vegas, Nev. from April 10-12 at the Sands Expo and Convention Center, booth 4042.

“The CEPro Best of 2012 award-winning VDV MapMaster™ 2.0 has become popular with technicians in a very short period of time, and now we’re able to provide them with additional accessories and a durable carrying case, protecting the equipment when out on a call,” explained Lee Sachs, Platinum Tools, Inc. president and general manager. “Made in the USA, the kit includes everything needed in a custom cut out, high density EVA foam to help protect the equipment for years to come.”

The T129K1 Test Kit includes:
• VDV MapMaster 2.0
• Case & Foam Insert
• RJ45 #’s 1-12 Remote Set
• Coax F #’s 1-8 Remote Set
• RJ45 Port Saver
• RJ45 to Alligator Clips Cable
• NO-Fault Cable
• F Female to F Female Adapters (set of three)
• BNC Female to F Female Adapter
• BNC Female to F Male Adapter
• 9V Battery
• Instruction Manual

The VDV MapMaster 2.0 now combines cable length measurement with continuity testing, mapping, and tone generator functions into a single unit. Made in the USA, the VDV MapMaster is capable of identifying and mapping 19 locations at one time. Whether the job is commercial or residential, the versatility and added features of the VDV MapMaster 2.0 makes it an installer’s best friend.

Length Mode is used to measure the length of entire cables and its pin pairs and allows for viewing and adjusting the length constant value for video, data, and voice cables. The VDV MapMaster tests Cat-6, Cat5e, Cat-5, Cat-4, Cat-3, and coax cables, as well as shielded cables. Video and data cables can be connected to their respective remotes at the same time to improve testing efficiency. Patch cables may be tested without removing the master remote from storage.

With a convenient size and weight of only 6.4in x 2.8in x 1.4in and just 9.0 ounces, additional features of the VDV MapMaster include:
• Tests voice (six wire), data (eight wire), and video (coax)
• Measures the entire length of a cable and/or individual wire pairs within the cable
• Easy-to-read , extra large 7-segment LCD screen with large icons
• Tone generator with selectable tone cadence and selectable pins carrying tone
• RJ (voice and data) master remote stores in bottom of case
• Map 19 locations at one time
• Measures length in feet or meters
• Tests and indicates pins with shorts, opens, reversals miswires and split pairs
• Displays “Pass” icon for correctly wired T568A/B and crossover/uplink
• Displays “Pass” icon for correctly wired 6-pin telephone plus “Rev” for reverse pinned
• Voltage detection warning icon
• Long battery life; low battery icon indicator
• Auto power off

For more information on Platinum Tools and its complete product line, please visit www.platinumtools.com, call (800) 749-5783, or email info@platinumtools.com.

About Platinum Tools
Platinum Tools, founded in 1997, was created based upon two very simple objectives. First, develop the absolute best possible solutions for the preparation, installation, and hand termination of wire and cable. Second, implement an operational infrastructure that can deliver these products in an efficient, timely, and high quality manner.

All of our products must absolutely satisfy three critical benchmark criteria…utility of function; quality of function; and economic value. Our people are our company. They, too, must be focused on and work to satisfy three critical benchmark criteria…customer satisfaction; product knowledge and expertise; and willingness to learn and adapt.

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Maple Leaf Sports and Entertainment Employs RTW TM7 TouchMonitor for 5.1 Studio Upgrade

Canadian Hockey Broadcaster Turns to RTW for Loudness Metering and Measurement

TORONTO, FEBRUARY 7, 2013 – When the engineers at Canada’s Maple Leaf Sports and Entertainment (MLSE) decided to transition their studios to 5.1 audio, choosing the right equipment to support the switch was a top priority. In need of a device that could not only analyze meter levels in 5.1 but also measure loudness, the team chose several TM7 TouchMonitors from RTW, a leading manufacturer and distributor of professional audio metering and control devices for studio recording and radio and TV broadcast applications. The innovative seven-inch-touchscreen audio monitor is simple to use and provides the engineering staff with the measurement data necessary for keeping audio levels in check during the many live sporting events the network covers.

John Hunter, audio engineer, Maple Leaf Sports Network, using the RTW TM7 TouchMonitor.

Alain Siodlowski, MLSE’s senior broadcast engineer and his team needed a budget-friendly solution to help them navigate loudness issues that arise during productions. The TM7, with its customizable modules, fit the bill. Prior to using it at the station, Siodlowski employed the TM7 whenever he needed to rent an OB van. As an operator, he saw first-hand how well it worked with a variety of consoles (the TM7 is used with SSL C10 HD consoles at the network). When the CRTC (Canadian Radio-Television and Telecommunications Commission) implemented a loudness mandate for Canadian broadcasters similar to the CALM Act in the U.S., the network saw the need for a reliable audio meter.

Launched in 2001, MLSE owns four professional sports teams: the Toronto Maple Leafs (NHL), Toronto Raptors (NBA), Toronto TFC (MLS) and the Toronto Marlies (AHL), and operates three television stations: Leafs TV, dedicated to coverage of the Toronto Maple Leafs professional NHL hockey team, NBA TV Canada, covering professional NBA basketball and GolTV Canada, which broadcasts professional soccer matches from across the globe. MLSE also owns three sports stadiums in Toronto: the Air Canada Centre, BMO Field and Rioch Coliseum. In addition to monitoring and broadcasting feeds from around the world, the MLSE networks also produce a lot of in-house programming, including hockey and basketball games for which it uses the RTW TM7 the most.

“In the control rooms, when we are mixing, we are basically in front of a blank canvas, saying, ‘How do we want to create this?’” says Siodlowski. “There are certain sound-placement rules: You put your announcers here, your rink sound here and your audience here, but then you have to really work on how to create the mix and still make it sound good in stereo. And that is where RTW’s vectorscope comes into play. It tells you if your levels are too high or too low or if you are too far forward or too much in the rear—it gives you nice visual feedback.”

“The other thing we liked about the system is that it is so user-friendly,” says Siodlowski. “You can move stuff around, you can set it up the way you want and if there is something you don’t need, you just don’t put it up or make it smaller. It’s so easy to maneuver with the touchscreen. Having that functionality has been really good for our operators. When there is a mix going on, our team members are super busy—there are people on the intercom screaming and yelling. The TM7 isn’t their main tool, so you don’t want this to be in their way, but you do want the comfort of knowing it’s there when they need it and that it works.”

The TM7 is part of RTW’s TouchMonitor family of products, comprising the TM7, TM9, TM3 and TM3-3G audio meters. The TM7 and TM9 TouchMonitor versions, featuring seven- and nine-inch touch-sensitive displays, respectively, provide unparalleled flexibility and modularity combined with intuitive control. The software visualizes multiple sources simultaneously. It supports displaying the same signal on multiple instruments in parallel, each with dedicated defaults with both horizontal and vertical operation. The system visualizes up to 16 analog and/or digital sources at the same time. The TM9 is even capable of providing a view of up to 32 digital channels when users implement the 3G SDI option.

“We are so happy to see the TM7 in use in such a time-sensitive environment as live sports production,” says Andreas Tweitmann, CEO, RTW. “The Toronto Maple Leafs is an important network serving its hockey-loving Canadian audience and the TM7 seamlessly fits right into its equipment protocol. Loudness control is a huge issue around the world and we are proud to offer a solution that is so well received by broadcasters.”

ABOUT RTW
RTW, based in Cologne (Germany), has more than 40 years of experience in designing, producing, and marketing advanced recording-studio systems. The company focuses its business on professional audio signal metering tools that are in use in the leading recording studios as well as by radio and TV broadcasters worldwide. The current product portfolio highlights the TouchMonitor range, a new series of tools for visual signal analysis and comprehensive loudness metering. The TouchMonitor combines the highest of flexibility and modularity with an intuitive user interface and touchscreen-based multichannel-analysis features, integrating exceptional surround-signal visualization using the unique and groundbreaking Surround Sound Analyzer. The high-end SurroundControl series of products with fully fledged loudness measuring combines the convenient metering options of the RTW surround display devices and the control functions of an eight-channel monitoring controller.

For more information, visit www.rtw.de or www.facebook.com/rtw.de, or call +49 (0) 221 709130.

Minnetonka Audio Software Products at BVE 2013:

Minnetonka Audio will be demonstrating on Boxer Systems’ stand at this year’s BVE in order to highlight its new partnership. Boxer brings its multifaceted expertise to the representation of Minnetonka’s AudioTools Server (ATS) line of audio-focused post processing and automation tools, which have become the de facto standard among post and broadcast operations throughout Europe.

AudioTools Server (ATS) 2.5
At BVE 2013, Minnetonka will display the newest version of its flagship product, AudioTools Server (ATS) 2.5. ATS 2.5 is loaded with major enhancements including integrated failover protection; MP2, MP3, and AAC encoding; a new queue-monitoring application; and much more. ATS 2.5 is an enterprise software system for file-based workflows, designed to automate even the most sophisticated audio tasks. The system is also a complete solution for managing and processing linear PCM, Dolby(R) E, Dolby Digital(R), and Dolby Digital Plus content, as well as the audio essence in MXF and QuickTime(R) clips. More information about this revolutionary product is available at www.minnetonkaaudio.com.

Photo link: www.wallstcom.com/Minnetonka/ATSlogo.zip
Photo Caption: Minnetonka ATS Logo

Company Quote:
“Boxer is our gateway to the U.K. market. Since bringing this partner on board, we have seen a quadrupling of opportunities for AudioTools Server in the United Kingdom.”
– Markus Hintz, Director of Global Sales and Business Development, Minnetonka Audio

Company Overview:

An award-winning solutions provider for motion picture, video, broadcast, game, and optical disc production, Minnetonka Audio Software creates essential technology for the world’s top media professionals. Its revolutionary AudioTools Server is the file-based software alternative to hardware program optimizers, bringing expert audio automation to existing media production infrastructures. The AudioTools Server, SurCode, and discWelder product lines support the full array of audio codecs, file types, and standards for CD, DVD, Blu-ray(TM), broadcast, and digital television. The company is a leading provider of OEM audio solutions as well as file-based QC and loudness control. Spanning more than two decades of operation, the Minnetonka, Minn.-based company has a subsidiary in Germany and an international network of distributors and channel partners who share its commitment to quality and service. More information is available at www.minnetonkaaudio.com.

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Calrec Announces Automixer for Its Apollo and Artemis Consoles

HEBDEN BRIDGE, U.K. — Feb. 5, 2013 — In response to customer demand, Calrec has added Automixer, an automatic mixing function, to its Bluefin2 signal-processing engine, the driving force behind its Apollo and Artemis mixing consoles. Automixer attenuates the output levels of all channels under its control to maintain consistent program levels in environments with multiple open microphones and unpredictable audio content. The feature is especially useful on panel-style discussion shows where guests might speak over each other and dramatically raise their voices.

Users can have eight separate Automixers, each of which can be assigned to control any number of mono input channels and group paths on the control surface. Unlike compression of a mix bus, or use of individual or linked compressors on paths, the use of an Automixer applies differing amounts of attenuation to each path, depending on its own level, as well as the overall mix level. Paths can be assigned different levels of emphasis to allow, for example, the host of a show to stand out from the guests.

Artemis user Ryan Davidson, a broadcast audio engineer at the Christian Broadcasting Network (CBN) who works on the live program “The 700 Club,” said that Automixer allows him to focus less on the faders and more on fine-tuning other parts of the broadcast.

“When you’re mixing for live TV, there are many variables to control, and if you have a segment with a good number of guests on set, you have to ride the faders to control the voices in the midst of everything else you’re doing. The more guests on set, the more faders there are to adjust,” Davidson said. “Automixer is so intuitive that you can pretty much leave the faders at zero, and they will mix themselves. No more missed mics! If someone starts to talk, Automixer is right on top of it, probably faster than a human could do it.”

José Alfredo Alanís, audio engineer at Mexico’s Grupo Televisa, echoes that sentiment.

“The Automixer feature is an amazing new tool because it’s easy to use and very smart,” Alanís said. “It’s like having many hands operating the fader levels. All you have to pay attention to are the gain structure and the output levels. The microphones are clean, without the annoying reflections from the floor or the holes between the guest and the main anchor. Calrec makes everything easier.”

Automixers can be selected on a channel-by-channel basis to be placed in the signal path pre-EQ, prefader, or postfader. Upstand metering can be configured to show Automixer attenuation alongside signal level on each path.

“At Calrec, our customers drive our product lineup, and Automixer is another example of that philosophy,” said Henry Goodman, Calrec head of sales and marketing. “We pay close attention to our customers and put a great deal of effort into developing products that will make their jobs easier.”

Automixer is an upgrade to the Bluefin2 software. More information about Bluefin2, Apollo and Artemis consoles, and other Calrec products is available at calrec.com.

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About Calrec Audio Ltd.
Calrec Audio, part of D&M Holdings Inc., is exclusively dedicated to excellence in audio mixing for on-air and live production. A broadcast specialist for more than 40 years, Calrec has developed a range of digital consoles relied on by the world’s most successful broadcasters. For putting sound in the picture, broadcasters put their trust in Calrec. More information is available at www.calrec.com and www.community.calrec.com.

Photo Link 1: www.wallstcom.com/Calrec/Televisa1.zip
Photo Caption: Calrec console with Automixer upgrade installed at Televisa

Photo Link 2: www.wallstcom.com/Calrec/Televisa5.zip
Photo Caption: Televisa audio engineer José Alfredo Alanís

Photo Link 3: www.wallstcom.com/Calrec/Automixer.zip
Photo Caption: Automixer GUI from Calrec’s Bluefin2 range of consoles

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Bexel Tackles Equipment Requirements for Super Bowl XLVII Broadcast

Extensive Custom Rental Package, Services and Support Accommodates Super Bowl Week Activities in New Orleans

NEW ORLEANS, FEBRUARY 6, 2013—To prepare for the expansive Super Bowl week broadcast schedule and telecast of the big game from New Orleans, several networks turned to Bexel, a unit of the Vitec Group’s Services Division and a leading worldwide provider of broadcast services, to handle their on-site production needs and fiber infrastructure. These services were deployed at both the Superdome as well as the Jackson Square Park in the French Quarter of the city.

Bexel assisted CBS with edit capabilities, equipment rentals, engineering support and fiber throughout the week leading up to the big game. Numerous Avid editing bays were set up in an office trailer on the grounds of the Superdome to handle production needs, and managed that location to ensure support throughout Super Bowl weekend. Bexel also outfitted BBS1, the company’s 53-foot edit truck—a fully configurable production platform—with multiple linear edit bays as well as graphics support.

Along with the company’s vast engineering support, led by engineer in charge Lane Robbins, Bexel also supplied ancillary equipment, including cameras, super slo-mo systems, monitors, tape machines, lenses and EVS servers in order to help CBS capture and broadcast all the week’s events.

In addition to fulfilling production needs on-site at the Superdome, Bexel provided fiber infrastructure, production equipment, support and services at Jackson Square, about a mile from the Superdome, as well as Morial Convention Center. CBS contracted Bexel for the fiber optic infrastructure at Jackson Square, allowing for connectivity over the entire park for four separate and independent sets. The broadcast included such CBS Network programming as The Talk, CBS This Morning, Eye on Football, ROME, Super Bowl Live, Lead Off, CBS Evening News and The Late Late Show With Craig Ferguson.

“The broadcast compound is isolated from Jackson Square, with Decatur Street being open to the public,” says Justin Paulk, Bexel’s fiber optic business segment manager. “Bexel was asked to provide a solution to establish temporary connectivity. Collectively we decided the best solution would be to deploy our 72-strand fiber from each mobile unit to its associated set. The result is that each set had a 72-strand fiber with a glass cow sitting next to it.” From each “glass cow,” which Paulk describes as a breakout fiber patch panel, 40 short 200’ TAC-12 single-mode fiber cables extended out to audio, video, and camera feeds. All connectivity crossing the street was made via 288 single-mode strands.

To efficiently react to the needs of the various shows and production sets, Bexel ESS Project Manager Andy Berry oversaw the Jackson Square setup, while Paulk managed the compound. What’s more, to expedite connectivity, Bexel provided one college booth fiber kit to each stage, providing 18 HD video, 48 audio, comms with integrated SAP panels and rewetters for IFB.

“Managing the optical workflow is something that the newly formed Bexel Engineering Systems and Solutions (Bexel ESS) group specializes in,” adds Paulk. “It is always great to be a part of the planning process prior to events, allowing the entire process to be executed in an organized and efficient manner from the start.”

Throughout Radio Row, located at the Morial Convention Center, the Bexel team provided editing facilities and storage for the extensive live radio programming. In addition, the Camera Corps’ Q-Balls and Sony XDCAMS were utilized to capture overhead shooting on the floor of the convention center. “We also brought spare gear with us to New Orleans,” says Julia Rogers, business development manager, Bexel. “If there was a need, we were able to fulfill requests right there on the spot.”

Lastly, Bexel provided its T2 fiber trailer to supply connectivity for NFL Films and more than 30 broadcast affiliates. As in years past, Bexel ensured optical connectivity from the field post-game for all of the local media connectivity. “Historically we have monitored all signals coming off the field with the DA infrastructure we build into the truck and Evertz VIPs,” says Perry Sanderson, Bexel fiber technical sales. “This year, however, we rolled in our pre-built Evertz EMR 128 x 128 Magnum Router, which includes six VIP-Xs and internal patching. This allowed us to not only monitor the signals coming from the field, but also to look at feeds coming off the scaffolding.”

Bexel assisted in providing optical connectivity for the still photography groups, including paths from various locations within the stadium, such as the catwalk, back to the workspaces of the various news agencies’ covering the game.

“Our involvement in the Super Bowl is a huge undertaking and this year was our largest effort to date—demonstrating the tremendous growth we’ve experienced with our broadcast partnerships,” says Lee Estroff, vice president, business development, Bexel. “We touch so many different parts of this event and offer so many different services, not to mention we came into the event already familiar with the venue. Our expertise in large events, coupled by the large amount of staff we were able to supply on location, positioned us nicely for another successful Super Bowl win.”

About Bexel
Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers – including producers of the biggest and most important televised events in the world. For more information, visit http://www.bexel.com.

About the Vitec Group:
Capture the moment™
For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Service provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com.

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Yamaha CL5 is the Cornerstone of Detroit Metro Church

BUENA PARK, Calif.—Cornerstone Baptist Church in Roseville, Michigan recently upgraded from analog to digital when it installed a Yamaha CL5 Digital Audio Console and two Rio 3224-Ds input/output racks. The church seats 2,000 and has a congregation of 1,300 with a blended worship consisting of full band, orchestra, choir, and worship team.

Sound Planning Communications, Inc. of Redford, Michigan, recommended the new CL determining it would be an ideal fit for the church upgrade. “The church required 72 inputs but price played a key factor as well,” states Nathan J. Cole, Director of Sales, Sound Planning. The system was installed with an integrated Waves plug-in package including Vocal Rider, C6, Bass Rider, and Renaissance De-esser.

“We have used Sound Planning for the past few years on several different projects, and they have always been great,” states Josh Scott, church TD. “Nathan Cole has always done a wonderful job helping us figure out what we need and meeting our budget. We had been looking towards purchasing a new console for about two years, and in addition to 72 inputs, we needed at least 16 AUX outputs because of our orchestra, choir, band, and other musical events we hold. Initially, we were looking at one that would have cost us $20,000 more than the CL and didn’t have Virtual Sound Check or an iPad app. The day I heard the Yamaha CL5 had been introduced, I called Nathan who told me that it was priced at $20,000 less than the other console we were looking at, and I was astounded!”

Scott said what he noticed right away was how clean everything sounded. “After our first weekend with the new console, I had people coming up to me saying that it was the best it ever sounded. Having the Waves system has helped me put the finishing touches on my mix. Also, not having to consistently re-patch inputs along with the ability to save channel settings has saved us a lot of time and frustration.”

“We have been delighted with the flexibility and intuitive nature of our Yamaha CL5,” adds church Worship Pastor, Dr. Nathan Platt. “The console is easy to navigate from the broadest spread of instrumentation we employ to the simplest public speaking setup. The CentraLogic section of the board is so user-friendly for sound operators who serve less frequently on our technical team, and the ability to save extensive presets has proved exceedingly helpful, as has the constant use of the iPad for operation outside the sound booth. We have been so pleased with the “bells and whistles” afforded us by Yamaha’s VCM technology and the freedom to employ various Waves effects, be it for compression, equalization enhancement, or signal clarification. These effects have made a world of difference with respect to the refinement of all our mic’ing.”

“The combined digital workflow improvements, sound quality, noise reduction, Virtual Soundcheck, and digital effects have the church thrilled with the CL installation,” Cole says. “Now that they have become more knowledgeable about Dante, they are excited and looking forward to future upgrades of their DSP using full Dante networking as well as wireless systems directly tying into the Dante network.”

For more information on Cornerstone Baptist Church, visit www.cbcroseville.org.

For more information on Sound Planning Communications, Inc. visit www.soundplanning.net.

For more information on the Yamaha CL5, visit www.yamahaca.com.

-END-

About Yamaha Commercial Audio Systems, Inc.:
Celebrating 125 years of Passion and Performance, and 25 years in the manufacturer of high quality digital audio consoles, Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

New JVC D-ILA Remote App Turns iPhone, iPad into Projector Remote Control

WAYNE, NJ – JVC Professional Products Company, a division of JVC Americas Corp., today announced D-ILA Remote, a free app available through the iTunes Store that allows a variety of iPhone, iPod, and iPad devices to serve as a remote control for select JVC D-ILA projectors.

The intuitive interface provides easy access to picture, lens, and 3D settings, as well as other controls and exclusive features not found on the projectors’ supplied remote controls. Plus, the D-ILA Remote system communicates via wireless LAN, not remote sensor, allowing the user to control the projector from virtually any position within the Wi-Fi environment.

“With D-ILA Remote, you can perform simple tasks like changing inputs or execute more advanced operations, such as color management and 3D calibration,” said John Havens, national manager of marketing and communications. “It’s a very convenient way to control and customize your JVC D-ILA projector.”

D-ILA Remote supports the latest JVC Reference Series projectors: DLA-RS46, DLA-RS48, DLA-RS4810, DLA-RS56, and DLA-RS66. The app is compatible with iOS 5.1 and works with iPhone 4, iPhone 4S, iPhone 5, iPod touch (3rd, 4th, and 5th generation), and iPad (3rd generation). The JVC projector must be connected to the network via wired LAN.

D-ILA Remote can be accessed at: https://itunes.apple.com/us/app/d-ila-remote/id586871855?mt=8.

ABOUT JVC PROFESSIONAL PRODUCTS COMPANY

Headquartered in Wayne, New Jersey, JVC Professional Products Company is a division of JVC Americas Corp., a wholly-owned subsidiary of JVC KENWOOD Corporation. JVC is a leading manufacturer and distributor of broadcast and professional video and audio equipment. For further product information, visit JVC’s Web site at http://pro.jvc.com or call (800) 582-5825.

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WorldStage Creates iPhone App for the new Broadway Musical “Bare”

Bare The Musical photo by Donyale Werle Salomes Envisage photos by William Cusick.

When projection designer William Cusick wanted to augment his projection design with a unique camera effect for the production of “Bare,” a contemporary rock musical playing at New World Stages in the heart of the Manhattan theater district, he relied on his preferred technology supplier, WorldStage, to come up with a low-cost creative solution.

WorldStage, the new brand for Scharff Weisberg and Video Applications Inc., had previously teamed with Cusick on a concert workshop called “Salomes Envisage” earlier this year. That production, which required a five-projector videomapped design around the performer, will make its debut in Switzerland in 2013.

“Bare” tells the story of a group of teens coming to grips with issues of identity, sexuality and religion at a co-ed Catholic boarding school. The emotionally-charged tale and its pulsating rock score was first staged in Los Angeles over a decade ago and has had over 100 productions worldwide.

Cusick wanted to move beyond the usual WATCHOUT and projection systems that many Broadway shows, including “Bare,” now employ. But he knew he needed help to create a software app tailored to a specific scene. “One character is asked by another to take his picture with his iPhone. So he aims the phone and slowly the live camera feed from the phone comes up on the concrete wall behind them,” he explains. “Then the character snaps the picture, and we see the frozen video image. That same picture is shown two more times in the show: as a saved screen capture and in a memorial scene after the character dies. So there’s a through-line with the image.”

As a result, WorldStage ended up providing a significant “value-add” in addition to its usual theatrical video system in the form of customized iPhone app. While the company is well-known as one of the most popular technology providers on Broadway, software creation is also one of the facets of the company that clients can utilize.

“Creating this kind of custom application is in our wheelhouse,” says WorldStage account executive Lars Pedersen. “It’s what we like to do.”

WorldStage technology specialist Michael Kohler wrote a custom live-streaming app that met Cusick’s needs for the camera effects. “This app was a perfect example of how I use off-the-shelf software to make something work in the middle,” he says. “We had the concept, we had the equipment and I had to figure out how to get from Point A to Point X. The concept was all Bill [Cusick's]. The artistic end product was the inspiration for it – I just had to find a way to do it.”

Cusick notes that the scene was “such a dramatic stage set piece that it was worth the time and effort to make it happen. Michael’s app surpassed my expectations. It was a pleasure working with Lars and the team, and I look for every opportunity to collaborate with them again.”

In addition to Kohler’s software app, WorldStage also supplied “Bare” with three Christie 10K projectors and an integrated Dataton WATCHOUT package featuring a display computer, production computers and a Dynamic Image Server that supports live streaming.

Sarah Ibrahim was the WorldStage project manager for “Bare.”

WorldStage Inc., the company created by the merger of Scharff Weisberg Inc and Video Applications Inc, continues a thirty-year legacy of providing clients the widest variety of entertainment technology coupled with conscientious and imaginative engineering services. WorldStage provides audio, video and lighting equipment and services to the event, theatrical, broadcast and brand experience markets nationally and internationally.

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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