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Archive for August 13th, 2013

New Broadcast Pix Version 3.5 Software Connects with Cloud-Based Content for Live Productions

Fluent Rapid CG 3 Adds Support for Twitter, OES Scoreboard Data

Billerica, Massachusetts – Broadcast Pix™ today announced the availability of its new Version 3.5 software, which adds a number of enhancements, including the cloud-based content access of its award-winning Flint™integrated production system, to its Mica™ and Granite™ systems. The company also announced the availability of Fluent Rapid CG™ 3, its most advanced tool for creating data-intensive CG graphics with automated database integration, and Fluent Rapid CG LT, a light version that can access RSS and Twitter feeds.

Demonstrated at InfoComm 2013 in June, V3.5 enables any Broadcast Pix system to run the optional new Fluent Rapid CG software and connect cloud-based content and data directly to on-air graphics. Fluent Rapid CG LT lets the audience become part of the production by connecting to Twitter and other cloud-based data sources. RSS, clock, and weather feeds can flow directly into on-air graphics, and Tweets can flow directly to air or be pre-screened with a built-in management system. Plus, action buttons can now trigger multiple tags.

Fluent Rapid CG 3 includes all the LT features plus dual-channel connectivity to local and cloud-based content databases, news automation, and scoreboards. With cloud-based databases becoming common for sports, elections, and other applications, Rapid CG 3 allows sports scores in league databases to automatically flow into on-air graphics. It also adds support for OES Scoreboard data and Web-based XML databases.

Beyond automated graphics, V3.5 connects any system to any cloud-based resource for access to animations, clips, and databases during live productions. Using Fluent Watch-Folders, Broadcast Pix’s built-in ingest and content management system, V3.5 allows access to files from Dropbox, Google Drive, Microsoft SkyDrive Drive, or any cloud-based content resource, even during the middle of a live production. The system operator is alerted when a file arrives, the file’s thumbnail appears on the system monitor, and the file name appears on the control panel’s button.

Other V3.5 features include enhanced PixMaster file management software to view and manage file metadata, such as setting files to auto-start when taken into the live show. Plus, all 1 M/E control panels can now provide control for 2 M/E systems. The new software also delivers enhanced Sony camera control and advanced audio-follow-video functionality.

“Our version 3.5 software fulfills our promise to deliver integrated production systems that embrace the cloud,” said Steve Ellis, Broadcast Pix CEO. “Cloud-based content continues to become more important in the live production environment. Whether it’s a Skype video interview, a last-minute graphic from a designer across the country, or even Tweets, Broadcast Pix makes it easy to ingest and manage content – and then include that content on the air without lip sync or formatting issues.”

V3.5 is a free upgrade for all Granite and Mica systems under warranty, and is available as a paid upgrade or with a warranty extension for systems that are out of warranty. Customers should contact the Broadcast Pix sales team for more information.

About Broadcast Pix
The leader in live video production systems with end-to-end integration, Broadcast Pix was founded in 2002 and has customers in more than 110 countries. Its Video Control Centers™ combine an integrated switcher, clip server, CG, and external control software with patented control panels, unique touch-screens, and exceptional displays. Systems range from compact systems controlled by touch-screen or voice automation to large sophisticated control panels. Customers include leading broadcast, streaming, sports, corporate, education, religious, and government studios. Learn more at www.broadcastpix.com.

Broadcast Pix, Fluent Rapid CG, Flint, Granite, and Mica are trademarks of Broadcast Pix, Inc. Patented. Made in USA.

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HARMAN’s Martin MAC III Quadray’s Multi-Beam Luminaire Provides One-of-a-Kind Lighting

AARHUS, Denmark — HARMAN’s Martin Professional MAC III Quadray™ is an all-new, multi-beam effect offering a whole new dimension to the lighting designer toolbox. The MAC III Quadray is tour-tested, having been deployed on Paul McCartney’s latest tour ‘Out There!’ with lighting design by Roy Bennett, among others. The MAC III Quadray allows designers to create a wide variety of looks that would otherwise be difficult to program solely via a lighting console.

The MAC III Quadray allows for projection of up to four individually controllable rays of light from a single luminaire, providing new possibilities in static or dynamic mid-air effects. Superior output from a 1500-watt lamp means the MAC III Quadray delivers enough power for even the biggest stages and venues. It houses the same high-quality feature set as Martin’s MAC III AirFX™, including a vibrant color mixing system, stunning aerial effects and a linear zoom with linked focus.

Available as an easy-to-install front lens replacement kit for the MAC III AirFX, the lens kit installs (and uninstalls) in only a few minutes, providing flexibility of use and greater value from a single luminaire. The MAC II provides added flexibility and enhanced value for any rental house or lighting designer.

For more information on the MAC III Quadray, please visit http://bitly.com/MACIIIQuadrayOnYouTube

As a world leader in the creation of dynamic lighting solutions for the entertainment, architectural, and commercial sectors, Martin lighting and video systems are renowned the world over. Martin also offers a range of advanced lighting controllers and media servers, as well as a complete line of smoke machines as a complement to intelligent lighting. Martin operates the industry’s most complete and capable distributor network with local partners in nearly 100 countries. Founded in 1987 and based in Aarhus, Denmark, Martin is the lighting division of global infotainment and audio company HARMAN International Industries. For more information please visit: http://www.martin.com.

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of audio, lighting and infotainment solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson®, and leading-edge connectivity, safety and audio technologies. 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 14,300 people across the Americas, Europe, and Asia and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

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BASSMAXX Launches New SSP215 Profundo Subwoofer

New SSP215 Profundo Subwoofer Delivers Output Comparable to Many Double 18” Subs from a Compact Double-15” Cabinet

Austin, TX (August 13, 2013) – BASSMAXX announces their new SSP215 Profundo Subwoofer, adual 15” loudspeaker powered by a 4000W amplifier with comprehensive onboard DSP. Thanks to its low height of only 17.5”, this extremely powerful sub can be placed under low stages and ceilings, and in tight corners where larger boxes won’t fit. Its largest dimension is 48” wide, which, when turned on end, makes the box an excellent stack platform for getting top boxes above the heads of the audience. The depth is a mere 22.5”, allowing it to be placed in front of stages with minimal loss of audience area and making the SSP215 a perfect truck-pack size for both 90” and 96” trucks. It’s also an outrageous drum monitor sub that minimizes space but maximizes impact.

At about half the size of the average double 18” subwoofer, the SSP215 is ideal for the mobile professional who needs substantial bass output but has limited transport space. For installations in lounges or restaurants where sound quality is a priority and space is limited, the SSP215 will comfortably take the place of double 18” boxes without loss of output or diminished frequency range while taking significantly less floor space.

The SSP215 easily competes with most double 18? subwoofers on the market, providing equal or better output with significantly less size and weight. The SSP215 is tuned low, providing linear response down to 35Hz (±3 dB) for use as a real subwoofer, with long-excursion, low distortion 15” woofers, and, thanks to the lower mass of the 15” cones, it delivers a tight, punchy sound as well as the deep, rolling bass.

The included amplifier provides 2400W to the on-board woofers. In addition, the amplifier can power a second matching cabinet, providing a total of 4000W. The SSP215 is a 4800W program rated double 15. The woofers have 4” voice coils and a power handling rating of 1200W rms and 2400W program each. The DSP features 96­­­Khz, 24 bit processing, and provides high-pass and low-pass filtering, limiting and time alignment functions. Controls include an input attenuator and mute button. Touring options include a 4-wheel transport cart with locking casters and covers for one, two or three cabinets on a cart. Installation versions are available with 16 x 3/8” threaded flypoints, and the included amplification and processing package can be ordered in a 2-space rack chassis.

All BASSMAXX products come with the BASSMAXX “Sound Defense” warranty that covers failed drivers, including burned voice coils, for two years. If a voice coil, or any other part, fails within the warranty period, replacement parts will be provided without charge.

Highlights:
- Half the size of the SSP218 boxes
- High SPL output beats most double 18” subs
- Deep bass output comparable to double 18” subs
- Convenient shape for lifting and loading
- Truck pack dimensions for touring
- Very low profile for under stages or low ceilings

Pricing & Availability
The SSP215 Profundo Subwoofer is $5148.00 MSRP.
When sold as a powered-passive combination of two subs as the PowerBASS Pair they are $3905.00 each MSRP. Further information available at www.bassmaxx.com or by calling toll-free (855) 822-7770.

About BASSMAXX
Since 1999, BASSMAXX has designed and delivered powerful and efficient sound systems to the live sound and high-end club market. Applying a ruthless practicality to uncompromising standards of quality and reliability has yielded a product line that is both exotic in performance and accessible in price. BASSMAXX is based in Austin, TX. More info at www.bassmaxx.com

Media contact:
Music Marcom
Martina McConnon
e: martina@musicmarcom.com
v: 610-577-4982
www.musicmarcom.com

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HARMAN’s Martin MAC Viper Quadray™ – Four Times the Excitement

AARHUS, Denmark — As HARMAN’s Martin continues to provide the brightest and most reliable professional lighting equipment to the industry, today, it’s new MAC Viper Quadray is officially launched, adding to Martin’s award-winning MAC Viper Family of moving heads. This unique, multi-beam luminaire has been deployed on international tours, including the Sarah Brightman tour with lighting design by Andi Watson, and Pitbull with lighting design by Justin Geiger.

The MAC Viper Quadray allows for the projection of four individually controllable rays of light – a new effect providing a unique aspect to any show.

An efficient effects engine provides designers and programmers the ability to create a whole new variety of looks that would otherwise be difficult or even impossible to program via a lighting console.

The MAC Viper Quadray houses a narrow-range zoom and includes the same high-quality feature set as the MAC Viper AirFX, including a vibrant color mixing system and stunning aerial designs. Additionally, it features the same compact form, impressive speed and superior light quality from the MAC Viper Family’s 1000-watt lamp.

The MAC Viper Quadray is available as an easy-to-install front lens replacement kit for any standard MAC Viper AirFX. The lens kit installs (and uninstalls) quickly, providing flexibility of use and greater value from a single luminaire.

“The ability to individually maneuver and manipulate up to four beams from a single luminaire provides designers new possibilities in static or dynamic mid-air effects,” stated Brian Friborg, President, Martin US. “For the end user, Quadray provides another great lighting tool, as well as increasing the rental house benefits from added flexibility and enhanced value for their MAC Viper AirFX portfolio.”

For more information on The MAC Viper Quarday, please visit http://bitly.com/MACViperQuadrayOnYouYube

As a world leader in the creation of dynamic lighting solutions for the entertainment, architectural, and commercial sectors, Martin lighting and video systems are renowned the world over. Martin also offers a range of advanced lighting controllers and media servers, as well as a complete line of smoke machines as a complement to intelligent lighting. Martin operates the industry’s most complete and capable distributor network with local partners in nearly 100 countries. Founded in 1987 and based in Aarhus, Denmark, Martin is the lighting division of global infotainment and audio company HARMAN International Industries. For more information please visit: http://www.martin.com.

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of audio, lighting and infotainment solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson®, and leading-edge connectivity, safety and audio technologies. 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 14,300 people across the Americas, Europe, and Asia and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

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grandMA2 Rocks Bon Jovi’s Because We Can: The Tour

Because We Can is Bon Jovi’s 15th tour, and grandMA2 is playing a key role as the Jersey rockers play 92 dates around the world during an almost year-long gig. A.C.T Lighting is the exclusive distributor of MA Lighting in North America.

Because We Can supports Bon Jovi’s studio album, “What About Now,” whose lead single gave the tour its name. Uniquely, the band’s arena and stadium shows are completely different although four grandMA2s work front of house: Two grandMA2 full-size units are dedicated to lighting, two grandMA2 lights are devoted to video and there are 8 NPUs. All exist on the same Art-Net network.

Performance Environment Design Group’s Doug “Spike” Brant conceived the arena show design as a kinetic sculpture with a lot of movement. By contrast, the stadium show design transforms the entire stage into the front end of a 1959 Buick Electra with the band playing in the 130-foot wide grille flanked by four headlights each 10 feet in diameter. The headlights are made of Chromlech Elidy-S panels. TAIT engineered and built the muscle car set, complete with New Jersey license plate.

The 60-foot multi-level stage section where the band performs is the only common element in both the arena and stadium shows; it provides familiarity to the rockers at both venue types and is easily set up from date to date.

Eric Marchwinski, the tour’s lighting programmer, previsualized and programmed the lighting for both the arena and stadium tours. Control Freak Systems’ Kirk Miller, the tour’s video programmer and operator, did the same for the video elements. “Eric and I tied ourselves together via Art-Net,” Miller explains. “We shared a lot of control over things like the automated columns for the projection during the arena tour. Faced with the challenges of automation, it was great that we could control our own motion presets.”

According to Marchwinski, “there was an incredible time crunch for the arena tour. grandMA 3D proved to be an integral part of programming offline. We were able to do everything with an extreme degree of accuracy. We used 16-bit motion channels that were embedded into the content, which gave us thousands of DMX values. The fact that grandMA 3D let us put in physical values meant we could look at it in a number of ways.”

“The grandMA2 is a very comprehensive system that we stretched to its full potential,” he reports. “No other console would have allowed us such direct control and amazing data management. In fact, the grandMA2′s flexibility made it a show control console instead of just a lighting console.”

For the arena shows Marchwinski also programmed control of 32 winches with lights on them plus 10 lighting towers in the back. “We have feedback coming from the [TAIT/FTSI] Navigator control software for the winches,” he says. “We can control things in feet and degrees.”

Working together, TAIT and Control Freak Systems created a program that allowed the grandMA2 to send control commands to the Navigator software. Miller explains, “We could program automation like lighting – the grandMA2 made it unbelievably easy to manage that data just like you would a moving light. Only it was a 2,000 pound video column instead.”

Miller, who has been using the grandMA2 for close to three years, agrees with Marchwinski that the platform is more than a lighting console. “We don’t look at grandMA2 as a lighting or video desk but as a show control desk – one control surface firing off everything,” he says. “For this show, there was no debate-that was the control system we were going to use.”

On the arena tour the grandMA2s are controlling four media servers, three Encores via CFS Encore Bridge, and Navigator. The use of the grandMA2 in the complex control system has proven to be a distinct plus for Miller and Marchwinski. For the stadium system, either the lighting or video grandMA2s can control the LED tiles as well as the Elidy-S panels. Marchwinski creates numerous color tricks by taking control of the 120 LED tiles in the center grille of the stage.

“The support we get from A.C.T and MA has been great,” Miller says. “They help us solve problems and push the limits of the desk and make things happen. grandMA 3D is amazing – no other product on the market offers such a feature. It gave us the power to do the show well in advance of getting the video columns – we relied heavily on grandMA 3D for this.”

Sooner Routhier is the lighting director of the Bon Jovi tour.

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Audio-Technica Artist Elite® 5000 Series Wireless System and AEW-T6100 Transmitter Keep Justin Timberlake’s Vocals Clearly Spectacular for His 20/20 Experience World Tour

— FOH mixer Andy Meyer says Timberlake’s vocals through the A-T AEW-T6100 is “like taking the studio out on the road” —

STOW, OH, August 12, 2013 — Justin Timberlake’s 20/20 Experience World Tour is the live iteration of the artist’s sophisticated The 20/20 Experience LP, which debuted at number one on the U.S. Billboard 200 earlier this year. The record was Timberlake’s second number-one album and best-selling debut week of his solo career, spawning hit singles including “Suit & Tie” and “Mirrors.” To assure that every bit of that experience translates to the sold-out stadiums and arenas the tour is passing through, front-of-house mixer Andy Meyer chose the Artist Elite® 5000 Series Frequency-agile True Diversity UHF Wireless System paired with an AEW-T6100 transmitter (wireless iteration of the AE6100 Hypercardioid Dynamic Handheld Microphone) and AEW-R5200 Receiver from Audio-Technica, a leading innovator in transducer technology for over 50 years. On tour, these system components are delivering Timberlake’s vocals flawlessly to hundreds of thousands of fans each night in stadiums across the U.S.

“The AE6100, as well as its wireless counterpart, is an amazing-sounding microphone, and it really works for Justin’s vocals,” says Meyer. “The sound quality is superior – it sounds like we’re taking the studio out on the road.” At the same time, he says, the AE6100’s live performance characteristics are equally impressive. “It has great rejection, especially with the kind of volume we’re getting from the crowds on this tour. There’s very little bleed from the stage or the venue that gets in there, which really helps keep Justin’s vocals clean for FOH and Monitors.

Meyer is also using A-T mics in other applications on the tour, including the ATM25/LE (Limited Edition) Hypercardioid Dynamic Instrument Microphone on toms, and the AE5400 Cardioid Condenser Handheld Microphone – normally a handheld vocal microphone – on the top and bottom of the snare drum. “I’ve been doing that since I was like seven years old,” Meyer jokes. “Seriously, you cannot beat the 5400 in that application, and I keep trying!”

For more information, please visit www.audio-technica.com.

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Phenix City First Assembly of God Looks to GC Pro for Products and Support

WESTLAKE VILLAGE, CA, August 12, 2013 — Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, has built a strong relationship with Jonathan “JT” Thornton, the Worship Pastor at Phenix City First Assembly of God, a “lively, upbeat, encouraging, and Spirit-led” church led by Senior Pastor Barry Danner in Phenix City, on the Alabama-Georgia state line. Thornton has been working closely with Brad Lyons, his Account Manager at the GC Pro office in Atlanta. “I need a trusting relationship with someone who can help me take my church forward, Thornton states. “I found that with GC Pro.”

Brad Lyons and his team worked closely with Thornton over the two years he’s been at the First Assembly of God church, helping him choose an entire new PA system for the main sanctuary, new projectors for the space’s video, and even two Yamaha keyboards for the church’s 10-piece praise band. GC Pro sourced a Yamaha LS9 console, an entire JBL VRX line array system, an Ashly Audio NE24.24 8 X 12 processor, Crown XTi power amplifiers and upgrades to the church’s existing Sennheiser evolution wireless microphone system, as well as BenQ SH960 6,000 lumen Projectors, Kramer VP728 Video Scaler/Switcher and Lyntec PDS-10 Power Sequencing system.

Thornton says there are two key principles that guide him: the need to find the equipment that best fits the church’s needs and that also best fits its budgets. “You need to have the quality that stands up over time and that keeps the church’s AV systems current for as long as possible, but I also have to be a steward of the church’s resources, to allow the technology to best further its evangelical goals in the community,” he explains. “To do that, I need a relationship with someone whom I trust who also knows what our goals are, knows the rooms we have to work in and understands our budget concerns.”

The collaboration with GC Pro has been a good one so far, and Thornton says some additional upgrades are under consideration, including possibly adding in-ear monitoring for the sanctuary stage. And through it all, he will turn to GC Pro: “I do have to do my due diligence and check out different options for equipment,” says Thornton. “You can call around and get quotes all day, but ultimately there are certain people you trust, and for me that someone has been Brad.”

For more information, please visit www.gcpro.com.

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Waves Audio Plugins and MaxxBCL Hardware Utilized at Montreux Jazz Festival

TEL AVIV, ISRAEL, August 9, 2013 — Held each July in Switzerland, the Montreux Jazz Festival is one of the world’s most famous annual music festivals, hosting top talent in jazz, blues, rock, pop, world music and more. This year’s festival was bigger than ever, and world-class sound was the rule, thanks to expert sound engineers, great equipment and digital signal processing from Waves Audio. DiGiCo consoles, coupled with Waves plugins and Waves MaxxBCL hardware, provided the ultimate sonic experience for the audience and indispensible solutions for resident and visiting live engineers.

Bernard Natier worked as resident front-of-house engineer at the festival’s Stravinsky Hall venue. He recalls, “The Waves MaxxBCL was connected permanently to the FOH feeds in Stravinsky Hall. The visiting engineers had an excellent experience with it. MaxxBCL proved itself in keeping control of the overall level and dynamics. The ‘low end’ management was effectively very soft, efficient and discrete. As mastering tools for live situations, Waves tools are top!”

Jose Gaudin served as FOH at the Jazz LAB venue. He added, “I absolutely love SoundGrid’s capability to work in real time and add plugins on the fly with no audio interruption. There are a lot of great Waves plugins like the C4 Multiband Compressor and the C6 Multiband Compressor that make it easy to achieve the sound you want. InPhase is a great tool that gives the touring engineer much more control than polarity or delay. And Waves H-Comp Hybrid Compressor and H-Delay Hybrid Delay are very innovative.”

Visit www.waves.com and www.waveslive.com for more information.

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Waves Audio Introduces MultiRack Version 9.5

TEL AVIV, ISRAEL, August 8, 2013 — Waves Audio’s MultiRack software has grown into the industry’s leading live sound plugin host. Waves now kicks things up a notch with the introduction of MultiRack Version 9.5.

MultiRack 9.5 includes a variety of new features to enhance the user experience and workflow – for instance, an improved, streamlined graphic interface; the capability to record to two computers simultaneously; 1000 snapshot support for DiGiCo consoles; and best of all, the ability to run Waves Signature Series plugins, from Chris Lord-Alge, Tony Maserati, Jack Joseph Puig, Eddie Kramer and Manny Marroquin, on any MultiRack Native or SoundGrid system.*

MultiRack 9.5 Features:

Improved, more responsive GUI
Record to two computers simultaneously
Load up to 1000 snapshots
Run Waves Signature Series plugins
Support for the upcoming DiGiGrid MGO & MGB MADI-to-SoundGrid interfaces
Waves OneKnob Wetter and Q-Clone plugins now MultiRack compatible
Chris Lord-Alge, Tony Maserati, Jack Joseph Puig and Eddie Kramer* Signature Series plugins added to SoundGrid Pro and SoundGrid Pro SD7 bundles

*Manny Marroquin Signature Series and Eddie Kramer Guitar Channel plugins not yet SoundGrid-compatible

Visit www.waves.com for more information.

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Calibre UK hits the big screen to process alternative content at Europe’s largest international film festival

Europe’s largest international film event, the Karlovy Vary International Film Festival (KVIFF) relied on none other than Calibre UK for scaling and switching of alternative cinema content. Provided by Prague-based system integration, rental and staging experts Altei, HQView400DC processors were integrated with Sony 4K digital cinema projectors located throughout multiple cinemas that were used for event screenings.

Karlovy Vary International Film Festival (KVIFF) took place between June 28 to July 6 in Karlovy Vary, Czech Republic. The event attracted over 12,000 film industry representatives and press from all around the world.

All guests had the opportunity to experience first-hand the immersive quality of digital cinema technology to give the very highest picture quality and viewer experience.

“The quality of the Calibre UK processing was essential to achieve best results combining alternative – non DCP content and Sony Digital Cinema projectors,” says Martin Vysušil, Sales & Marketing at Altei.

“Calibre UK HQView400DC alternative content processors were used for screening of movies from various sources including Digital Betacam, HD Cam, DVD and BluRay.”

Pauline Brooksbank, Managing Director at Calibre UK says: “We’re delighted Altei are relying on the flexible, robust and seamless processing from Calibre UK at the KVIFF as they have done so successfully in previous years.”

HQView400DC is a unique version of the Calibre UK HQView400, which is optimised for use as a digital cinema alternative content processor and is compatible with the alternate content input of market leading digital cinema projectors.

The HQView range of highly flexible image scalers provide stunning image quality in demanding applications including professional AV, staging, broadcast, houses of worship, medical, corporate and education.

ENDS

About Calibre UK
Celebrating its 25th year (08/08/88) Calibre has over the years achieved World recognition providing image scaling and processing technologies for use in digital cinema, large venue projection and LED events, surgical medical applications and broadcast/television studios, manufacturing products under its own brand-names as well as providing products and technology to several market leaders in the ProAV market worldwide. A market leader in innovation utilising its own in-house hardware and software design team for all product development and manufactured in its own factory in Bradford, UK.
www.calibreuk.com

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