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Archive for July 10th, 2013

PADNET Returns Public Access Television to Long Beach Community with JVC ProHD Cameras

WAYNE, NJ – JVC Professional Products Company, a division of JVC Americas Corp., today announced that Long Beach Public Access Digital Network (PADNET), which produces local programming for residents of Long Beach, Calif., has opened a new HD studio anchored by three JVC GY-HM790 ProHD cameras. After almost four years without public access television in the city, the new channel was launched last August with six JVC GY-HM150 compact handheld camcorders. PADNET unveiled its new studio on May 2.

“We really like the GY-HM150s and use them for our field cameras. Our users have been happy with the image quality,” said Lisa Mastramico, PADNET director. “Now that we’ve added a studio, we’ve expanded the breadth of what people can do in terms of production.”

Long Beach had been without public access television since early 2009, when California law no longer required cable companies to provide a studio and staff to produce it. PADNET was established through the efforts of the Long Beach Community Action Partnership (LBCAP), a nonprofit organization that supports low-income individuals and families and had already established a youth-based digital media arts program. LBCAP successfully applied for a two-year grant through the Long Beach Community Foundation from the John S. and James L. Knight Foundation to cover operational costs, matching the city’s PEG funds for capital purchases.

Today, PADNET is cablecast throughout the city via Charter Communications and Verizon FiOS, and maintains 24/7 live streaming at www.padnet.tv. It is also working to raise its own operational funds. “This is a new paradigm about how public access moves forward,” noted Darick Simpson, LBCAP executive director. “It all starts locally.”

The channel has a staff of three, all with production backgrounds, but the vast majority of original content is produced by members and interns who have been certified to operate the equipment. Programs cover a variety of topics – including music, religion, fashion, and local politics and nonprofits – as well as coverage of community events. PADNET remains focused on the “public” component of PEG; education and government channels are operated by other entities. Future plans include establishing satellite production offices across the city’s nine council districts with additional JVC cameras.

Paired with Canon lenses, the JVC GY-HM790 HD cameras have full studio configurations. Two cameras are mounted on Vinten pedestals along with prompters, while the third camera is positioned on a Vinten tripod with wheels. The new facility also features an all-new control room and lighting grid. “We tried to make it a first-class operation for a city that deserves nothing less than that,” Simpson said. “On the other hand, it can’t be too intimidating. Some people are intimidated by the technology.”

The choice of JVC cameras in the new studio was designed to provide an easy transition from the JVC camcorders used in the field. “We have a lot of different users. Some are pros, others have never touched a camera,” Mastramico added.

PADNET uses Final Cut Pro for editing, and the GY-HM150’s native file recording saves producers from spending time transcoding footage. Mastramico said the GY-HM150s have been well received by producers, who supply their own SDHC memory cards for recording footage in the field. “They are easy to use and affordable for most people,” she said.

ABOUT JVC PROFESSIONAL PRODUCTS COMPANY

Headquartered in Wayne, New Jersey, with West Coast operations in Long Beach, California, 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, D-ILA front projection systems, and Super LoLux HD video security products. For further product information, visit JVC’sWeb site at http://pro.jvc.com or call (800) 582-5825.

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RG Jones And Martin Audio Maintain Winning Formula For Glastonbury

After a one-year break, it was business as usual back at the Worthy Farm site for this year’s Glastonbury Festival. RG Jones once again turned to the tried and true Martin Audio W8 Longbow system, which again dominated the Pyramid Stage.

With visiting artists and sound engineers so complimentary about the sound system two years ago, specialist sound company RG Jones had no hesitation in fielding a similar PA rig, knowing that this would meet all compliances and propagation tests set by the acoustics consultants and organizer Michael Eavis while satisfying the vast crowds of around 150,000 who converge on the site for the four day extravaganza.

The Longbow hangs are now a familiar sight, book-ending either side of the iconic Pyramid, having fulfilled similar duties for the previous four festivals.

Once again dual inner and outer PA hangs comprised of 14 W8L Longbow elements per side, with two W8LD Downfills at the base provided the full range dynamic––making 64 boxes in total. However, this year RG Jones changed the subwoofer design from the Martin Audio WS318X (3 x 18in) subs fielded in 2011 back to 54 of the WS218X (2 x 18in) enclosures used previously––still maintaining an electronically curved, cardioid broadside array configuration.

With the subs delayed incrementally from the center outwards, the overall wavefront was tuned to fill the Pyramid Stage area, and ensure that spillage beyond the site perimeter was minimized.

According to RG Jones’ project manager Ben Milton, a Glastonbury stalwart who was taking on the role of project manager for the first time, “We have tried various configurations of the bass array and this solution––with two enclosures front facing and one reversed––works particularly well; the rejection from the stage is great and it enables us to bend, shape and steer the sound.”

In addition, two clusters of four W8LC Compact Line Arrays, situated at each end of the crash barrier, provided nearfield infills, and four delay masts each comprising a further 16 x W8LC’s were positioned 330 ft. back from the downstage center, split into an arc.

“This solution worked great,” said Milton. “The organizers wanted to leave nothing to chance when it came to maintaining levels and this was virtually a carbon copy of the 2011 system. We had plenty of opportunity to walk the field and conduct measurements to ensure the accuracy of the system,” he said.

One advantage was the additional zoning that could be applied for tighter control. “All the tops were on individual circuits so we could turn them down very discreetly if necessary and sculpt the system. When the sun goes down the air temperature changes and we back off the top boxes; and as it cools we can bring them back up again.”

This is the domain of seasoned PA system technician Mark Edwards, who has extensive experience with all Martin Audio’s premier systems. He was an essential member of RG Jones’ specialist team, which included Steve Carr and Damian Dyer at FOH (with the experienced Simon Honywill occupying more of a ‘floating’ role this year). Down at the stage logistical duties were shared by Ben Milton (who also mixed monitors for some acts) and Mark Isbister. Supporting the system throughout was Martin Audio’s R&D director, Jason Baird.

Summing up, Glastonbury veteran, Simon Honywill, could not have been more positive, “This year’s Festival was the most professional, slick, and calm, enjoyable experience I can remember at an event of this stature.

“The Rolling Stones sounded absolutely incredible, with all the requisite punch and fidelity you could have wished for. Coverage was superb––the Stones FOH team was extremely happy, and the punters were testament to that. As a neutral platform for all the acts, it would be very difficult to criticize the sound, and I was proud to be associated with such a brilliantly well delivered system.”

Ben Milton added, “We now have bands and their technicians fully confident in the system and happy to use our racks, stacks and control. It makes for a great British synergy: a British production company using a British PA system at the greatest of British festivals.”

The only thing Glastonbury lacked, reflected Honywill, was [sound engineer] Steve Watson, who sadly died the weekend before. “He is sadly missed, and the industry won’t be the same without him,” he said in tribute.

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.

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Prelite Adds LightConverse Software to Its Powerful Previsualization Toolset

Prelite Studios continues to set itself apart from other previsualization services with the addition of LightConverse 3D Show to its arsenal of software tools. Unlike companies that rely on a single software solution to fit all their clients’ needs, Prelite offers a range of platforms, including ESP Vision’s Vision and Cast Lighting’s WYSIWYG, both powerful previsualization tools.

“We differ from others in this business, especially lighting companies that do previsualization, because we have more than one software package. There’s no silver-bullet solution available, so we’re able to choose the right tool for the job,” says Prelite’s Tom Thompson. “Although LightConverse has been around for a number of years recent upgrades have added really useful tools that we felt we couldn’t ignore.”

Those features include the smooth ingest of Vectorworks drawing data into LightConverse, fast response time and performance, and the ability to clearly view many video inputs, which can be pixelated to resemble low-res displays, and blend projectors in real-time.”

Thompson notes, “The software also offers superior replication of light beams and visualizes video without the moiré problems you typically see. LightConverse mitigates that moiré effect and can also change pixel pitch on the fly, which is really handy.”

LightConverse 3D Show, from LightConverse Ltd., enables users to visualize multiple show-related disciplines in realtime. Visualization of more than 1,500 fixtures is possible and the software offers access to 15 DVI outputs for real world projection. Developers claim its realism and speed are the best in the industry.

When Prelite opened its doors they used WYSIWYG exclusively. “Then Vision software came out and offered additional advantages,” Thompson says. “As we’ve grown we’ve watched for other software to add to our arsenal, and we feel LightConverse is now ready for prime time.”

Prelite also has grandMA 3D software on hand for programmers who are comfortable with the grandMA platform and want files delivered in a grandMA-compatible format.

Prelite’s first implementation of LightConverse involved combining it and Vision software to previsualize Activision’s booth at E3. “The lights in LightConverse ran without any hesitation or lag, and the ability to converge projectors in realtime was a nice benefit,” Thompson reports.

Don Tyra, West Coast Dealer for LightConverse, concludes, “We’ve been speaking to Tom and the Prelite team for a while and are very excited to have them using our product. They are the only real dedicated simulation business in the US and have been doing it longer than anybody else. We look forward to their input in developing our product further.

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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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