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Archive for November 6th, 2013

Advanced Systems Group Explores 4K Production, Workflow Challenges at Free Annual Workshop

EMERYVILLE, CALIF. – Advanced Systems Group (ASG), a leading West Coast video and film integration firm, will navigate through the growing 4K landscape at its annual workshop, 4K Workflow 2013, on Wednesday, Nov. 20, at the New People Cinema at the New People building in San Francisco. The free workshop begins at 10 a.m. and includes lunch.

“4K and other large raster acquisition formats are becoming the new norm for motion picture, episodic television, and high-end commercial production,” said Dave Van Hoy, ASG president. “While these formats are being embraced by content creators, there are multiple ‘flavors’ of 4K from multiple manufacturers, which is creating challenges throughout the production process. 4K Workflow 2013 will help attendees explore their options and manage their 4K file-based workflows.”

The workshop will begin with an overview of 4K cameras, led by veteran director of photography and industry consultant Suny Behar. “The landscape has changed dramatically and so has the approach,” he said. “Every vendor has approached 4K from a different perspective. The big controversy right now is the whole idea of 4K compressed versus 4K uncompressed, and at what point are you actually acquiring less information in 4K than you were back in 2K.”

Jordan Livingston, an independent filmmaker and digital imaging technician serving the Hollywood and Bay Area markets through his company, DIGILOID, will present “DIT: Data Management and On-Set Color Workflows.” His presentation will define the differences between DIT and “media manager” roles, and describe popular on-set color, dailies, and transcoding workflows. He will also examine the subtleties of different file-based workflows for leading camera systems from RED, ARRI, Sony, and Canon.

There are high expectations for 4K to be the next big thing in broadcast, but what will be required for 4K to migrate into a true broadcast HD replacement? Can Ultra HD services refresh the appeal of broadcast against the onslaught expected from on-demand services? Ian Trow, Harmonic senior director of emerging technology and strategy, will address High Efficiency Video Coding (HEVC) and how it will impact the broadcast market. The workshop will also include sessions focused on color correction and post-production workflows.

Registration is free for 4K Workflow 2013, but space is limited. Please visit www.asgllc.com/events/4k2013 for registration and more information.

About ASG:

Advanced Systems Group LLC of Emeryville, Calif., with offices in the Bay Area and Southern California, has provided engineering, systems, integration, support and training to the broadcast, film, creative, and corporate video markets since 1997. With unmatched experience in Apple-based newsroom systems, shared storage, archiving, editing, finishing, and VFX systems, ASG has become one of largest installers of post production and shared storage systems on the West Coast. The ASG team is highly focused on customer success, and has installed and supported more than 185 SANs, production, and post production systems over the last six years. For more information, visit www.asgllc.com or call 510-654-8300.

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Broadway’s Gershwin Theater in New York Installs Hearing Loop from Listen Technologies

New York City—Nov. 6, 2013—Broadway’s celebrated Gershwin Theater is providing a more immersive experience for all its patrons by installing a hearing loop system from Listen Technologies. The hearing loop system enables audience members who need assistive listening to receive crystal clear audio signals directly through their T-Coil hearing aids, cochlear implants or Hearing Loop receiver.

Bill Register, director of facilities and theater management for Nederlander, which operates the Gershwin Theater and eight other theaters in New York said, “The Gershwin Theater recently underwent a renovation with new seats and carpet. With the 10th anniversary of ‘Wicked’ upon us, we felt now was an opportune time to provide a different kind of upgrade to the theater. Being installed under the carpet, the hearing loop is invisible to the eyes, but for our patrons with hearing loss, the giant leap in clarity of sound is literally music to their ears.”

In order for hearing loops to be effective, an audience member must have a hearing aid equipped with a telecoil or “T-Coil”, which at the press of a button receives a signal. Nearly 70 percent of hearing aids today are equipped with a t-coil and all new cochlear implants come with T-Coil. The entire Gershwin theater, including the orchestra and upper mezzanine, is looped so no matter where a patron is seated in the theater, the signal will be as clear—or even better—than if they were sitting in the front row.

The hearing loop system from Listen Technologies was installed by Leo Garrison of Metro Sound Pros, who has installed several other hearing loop systems throughout New York including museums, tour busses, taxi cabs and other Broadway theaters. The hearing loop installation also enables the Gershwin Theater to be compliant with the current ADA requirements for assistive listening. Three technologies are available for venues to meet ADA compliance: radio frequency (RF), infrared (IR) and hearing loop. RF and IR systems transmit signals over radio waves or infrared signals to an individual through a receiver and earphones. Hearing loop systems, however, are becoming the preferred technology for assistive listening because no receivers or earphones are required to obtain the signal, its transmitted directly to an individual’s T-Coil equipped hearing aid or cochlear implant.

Hearing loop systems are ideal for a number of venues including:
• Airports
• Ticket counters and information booths
• Banquet halls
• Board rooms and large meeting rooms
• Court rooms
• Cruise ships
• Doctors’ offices and pharmacy counters
• Drive thru and pick up windows
• Elevators, trains and buses
• Museums
• Places of worship
• School auditoriums
• Sports facilities
• Theaters and performing arts centers

About Listen Technologies Corporation
Listen Technologies brings power and clarity to the sounds that enrich your life—by overcoming the challenges of noise, distance, lively debate and hearing loss to deliver precise and personalized audio in any setting or environment. With Listen solutions, you can cut through the clutter and connect to an experience of pure, focused sound. Listen solutions are used in gathering places around the world including schools, houses of worship, factories, entertainment venues, government agencies and more. For more information on Listen solutions watch this video. Contact Listen Technologies at 1.800.330.0891, +1.801.233.8992, or visit www.listentech.com.

About Metro Sound Pros
Since 1994, the owners of Metro Sound Pros, Inc. have been designing and installing sound, lighting, and video systems for all applications. Work has always been done first hand with quality, compatibility, ease of use, and functionality being the top priorities. The entire staff at MSP is fully trained to use the products they install. For more information Metro Sound Pros, Inc. visit www.metrosoundpros.com or call +1.845.429.7900.

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CCW 2013: FOR-A to Display a Variety of its Product Offerings

Cypress, CA– At the upcoming Content and Communications World Expo (CCW), FOR-A will display a number of its popular solutions in booth #909. Among the booth highlights will be the company’s 4K super slow motion camera, video production switcher and video stabilizer technology. CCW is an annual convention focused on media and entertainment technology that includes HDWorld, SATCON, and the Production + Post conferences, and will take place November 13-14th at the Jacob Javits Center in New York City.

FOR-A’s FT-ONE 4K camera will be shown on a Shotoku tripod. Employing the “FT1-CMOS” color sensor, the camera records and plays back full 4K and can record up to 900 frames per second (fps). The FT-ONE is ideal for both broadcast and digital cinematography applications. Another camera that FOR-A will display in its booth is the Flovel FZ-B1 ultra high sensitivity HD camera. Ideal for demanding high-resolution applications, the compact camera is equipped with a 2/3-inch CMOS 1.3 megapixel color image sensor and offers an unprecedented low-light sensitivity of only 0.01 lux.

The IVS-710HS HD/SD video stabilizer will also be on hand. The compact solution provides high-performance correction on unwanted camera movement and vibrations while maintaining camera pan and tilt movement.

FOR-A will also show off its video production switchers, including the compact, cost-effective HVS-390HS. The unit offers unique functionality that is an extension of the aux bus system that allows operators to deploy any aux bus transition with cuts, mixes, or wipes, and display a keyer complete with DVE functions. This feature offers powerful tools to create a richer experience in any application with multi-language or multi-screen requirements. Another switcher that will be shown is the new HVS-XT110 portable unit, which comes standard with 12 HD/SD-SDI inputs and eight outputs. It also enables nine outputs, including one HDMI output, to be freely assigned.

Another solution that will be exhibited in FOR-A’s booth is the MV-1620HS multi-viewer, a cost-efficient unit that accepts up to 16 channels of mixed HD/SD-SDI or analog composite signals for monitoring on up to two screens.

FOR-A will also show Fujitsu’s IP-920E HD/SD compact video encoder. The solution uses advanced MPEG-4 AVC technology encoding, known as H.264, to perform real-time transmission of HDTV at low bit rates over DVB and broadband IP networks. The IP-920E features robust error correction, a low latency mode, real-time transmission, and high-fidelity HDTV/SDTV video.

Other FOR-A equipment to be displayed at CCW includes the new FA-1010 and FA-9520 signal processors, MBP-100SX MXF video clip server and the VTW-330HS HD/SD character generator.

About FOR-A

FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, postproduction and professional video markets. For more information about FOR-A’s product line, call 714-894-3311 or visit our web site at www.for-a.com.

Auralex® HoverDeck™ Gets Under All-Star Drummer Dane Clark’s Kit on the Ghost Brothers of Darkland County Tour

— Auralex®’s HoverDeck™ Isolation Riser allows Clark’s drum kit to deliver the dark, low sound he needs to for the incredible staged musical written by Stephen King, John Mellencamp and T Bone Burnett —

INDIANAPOLIS, IN, November 5, 2013 – Technology from Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments, is making sure that Dane Clark gets the sound he needs from his drum kit for the critically acclaimed Ghost Brothers of Darkland County, the staged musical collaboration between author Stephen King, singer/songwriter John Mellencamp and composer and producer T Bone Burnett. For the touring version of the show, which debuted at the Alliance Theater in Atlanta in 2012, Clark is using the Auralex HoverMat™ along with Auralex’s popular HoverDeck™ Isolation Riser, which is specifically engineered to reduce coloration from floor resonance by decoupling the drum kit from the structure, resulting in a tighter, purer sound.

Ghost Brothers of Darkland County is a Southern Gothic tale of two brothers who hate one another and are forced by their father to spend time in a haunted cabin, where they are visited by the ghosts of another, deceased set of brothers who also hated one another. “This show needs the drums to be tuned low and sound very dark, so I’m using a hybrid kit made up of various drums and playing with a lot of mallets and brushes on them,” explains Clark, who has recorded and toured with artists including Mellencamp, Ian Hunter of Mott the Hoople, Steve Earle, Donovan and Moby Grape. “It’s a real tribal type of drum sound, and I want the low end to speak as much as possible. The drums sounded very good when we performed the show in Atlanta, but I wanted to see if I could make them even better. I talked with the Auralex guys, and they told me about the HoverDeck. I tried it out and I’m very impressed with it. You can really tell the difference – the drums now have an even clearer, more articulate low end to them. It really works well for the show, and my drum tech loves the HoverDeck because it’s so easy to set up. I’ve gotten tons of compliments on the drum sound.” Clark says he’ll be using the HoverDeck in the studio he’s building in his home in Anderson, Indiana. “It’s just an amazing tool for drums,” he says.

The Auralex HoverDeck solves an age-old problem for drummers. Stages and traditional drum risers sympathetically vibrate (resonate) with the drums and/or PA system. These resonances feed back to the drums and are then picked up by the mics. The Auralex HoverDeck is specifically engineered to reduce coloration from floor resonance by decoupling the drum kit from the structure, resulting in a tighter, more pure sound for both live and studio work. Thanks to the HoverDeck, no longer will hollow stages resonate with a muddy rumble, or will concrete floors suck the tone out of the kit. In the studio, on stage or in the practice room, HoverDeck’s rugged MDF laminate core and web-like ISO-Puck modular risers minimize structure-borne sound transmission and sympathetic vibrations between drums and hardware.

The HoverDeck is available in two models; the HD-64Gig, designed for typical four and five-piece drum kits, and the HD-88Concert, configured for larger drum kits and touring applications. Both configurations utilize a set of low-profile isolating boards that assemble quickly via strategically placed hook and loop fasteners. Either model is offered with an optional rugged road case.

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

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Audio-Technica Helps the Smoky Mountain Center for the Performing Arts Reach Its Performance Peak

— A-T wireless microphones enable this 1,500-seat performing arts center to accommodate all types of entertainment productions, from gospel vocal groups to rock bands to stand-up comedians and elaborate theatrical productions —

STOW, OH, November 5, 2013 — When the Smoky Mountain Center for the Performing Arts opened in Franklin, North Carolina, in July 2009, its 1,500-seat theater brought state-of-the-art live-event capability to the region. Performances since then have included musical productions, professional drama troupes, dance and choral festivals, recitals, and performances from varied musical genres including country, bluegrass, gospel, pop, contemporary Christian and more. What it also offers all of these wide-ranging productions is an array of wireless microphones and systems from Audio-Technica, a leading innovator in transducer technology for over 50 years.

The Smoky Mountain Center for the Performing Arts’s microphone complement includes A-T’s Artist Elite® 5000 Series Frequency-agile True Diversity UHF Wireless System with 36 AEW-R5200 wireless receivers and AEW-T1000 beltpack transmitters, a dozen wireless handheld microphones (five AEW-T3300 Cardioid Condenser Handheld Transmitters, four AEW-T5400 Cardioid Condenser Handheld Transmitters and three AEW-T6100 Hypercardioid Dynamic Handheld Transmitters), 40 BP896 MicroPoint™ Subminiature Omnidirectional Condenser Lavalier Microphones, and an AEW-DA550C UHF Antenna Distribution System. All of these have helped create the world-class sound that has made the Smoky Mountain Center for the Performing Arts a true destination for a variety of performing artists.

“These microphones have made my life so much easier, and the performers who’ve worked here have been very happy,” says Adam Drake, Chief Audio Engineer at the Smoky Mountain Center for the Performing Arts. “Their flexibility is amazing – we’ve used the handheld microphones on everything from music to international folk dancing troupes, and they’ve responded fantastically to the sound. We’ve even used the AEW-T6100 on drums on our Folk Music Night, which is not necessarily what they’re intended to be used for, and the results were incredible. I like the BP896 lavalier microphones better than any lapel microphone because it lets you position it for better pick-up and intelligibility. And the performance of all of the A-T mics is excellent – I had a 23-act talent show in here using a lot of microphones, and I didn’t have to turn up the gain at the console on any of them. The wireless systems work anywhere – I’ve had performers go into the balcony for some shows and there was never a single dropout, even with a wall in between the microphone and the receiver. And the transmitters’ performance is great; for instance, battery life – we had them on for over five hours a day at a time. So many performers have used the A-Ts, and everyone just loves them. And so do I.”

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

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Cinémathèque québécoise Relies on Archimedia Master Player for Quality Control of All Archival-Grade Files, Including JPEG 2000

DELRAY BEACH, Fla. — Nov. 5, 2013 — Archimedia Technology, a new company whose technology and applications bridge the gap between content producers and their archives without loss of quality, today announced that the Cinémathèque québécoise is using the Archimedia Master Player (formerly known as Archimedia Reference Player), the first software player to support multiple vendors’ JPEG 2000 and MXF formats. It allows Cinémathèque users to view, test, and measure archival-quality files on a standard HDTV and traditional SDI equipment. The Cinémathèque is using the player in its archiving department for quality control (QC) and monitoring of any archival-grade master files it receives before checking them into the archive.

“The JPEG 2000 codec has become a well-accepted archiving format, so we needed a player that would allow us to open JPEG 2000 files and their various wrappers, no matter how they were encoded or where they came from,” said Anhtu Vu, technical director at Cinémathèque québécoise. “Until the Archimedia Master Player, there was nothing on the market that could do it easily. If there happens to be a file that the Master Player can’t open, we can call Archimedia and talk to someone immediately, and their engineers will quickly update the player to accommodate the problematic file — often the same day! No other company has ever come close to that level of support. Because JPEG 2000, its wrappers, and encoders are fairly new and still evolving, Archimedia’s responsiveness has been as important as the quality of the product itself.”

The Cinémathèque’s archiving workflow demands that personnel can open the files in the organization’s care. When the Cinémathèque receives material for archiving, it inspects the files first to ensure that they play and to check for problems such as corruption, color issues, and dropped frames. Files that pass QC go on to be archived, while those that don’t are sent back to the producer or distributor for correction. Given Canada’s legal deposit requirement, the Cinémathèque is receiving an ever-increasing number of JPEG 2000 files from throughout the country, using every possible brand of encoder, and its stringent QC process requires an accurate player that can play JPEG 2000 material in all of its possible wrappers.

The Cinémathèque has been using the Archimedia Master Player since the player’s inception and worked closely with Archimedia’s engineers in the beginning to create updates whenever it encountered a wrapper format the player couldn’t open. Before acquiring the Master Player, the Cinémathèque had to shelve problem files until it had the right technology to handle them. Now that the organization has deployed the Master Player — which was developed based on decades of archiving engineering experience and is backed by Archimedia’s support — Cinémathèque staff members can work on those files almost immediately. The collaborative process has not only kept the workflow going for the Cinémathèque, but also helped Archimedia to hone the player.

“The Cinémathèque québécoise has been preserving Canada’s A/V heritage for many years and is an excellent example of why we invented the product line,” said Mark Gray, Archimedia president and CEO. “Formats and technology are constantly evolving, and archives need a way to stay on top of those changes if they are to do their jobs properly and ensure the integrity of the files they’re asked to protect. We wanted to apply our intimate understanding of the archiving process to take some of the kinks out of the archiving workflow. The relationship we developed with the Cinémathèque has allowed us to refine our products in ways that will benefit the entire archiving community.”

The Cinémathèque is also using an Archimedia HD-­SDI card, which enables it to play video through the Master Player on practically any professional video device that accepts SDI inputs. The Archimedia Bluefish444 HD-SDI card plays up to 1080p at 59.94 fps using a Single Link 4:2:2 or Dual Link 4:4:4, 4:4:4:4, or 4:2:2:4 HD-­SDI connection.

More information about the Archimedia Master Player and other Archimedia products is available at www.archimediatech.com.

Photo Link: www.wallstcom.com/Archimedia/MasterPlayer.zip
Photo Caption: The Archimedia Master Player

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About Archimedia
Archimedia Technology specializes in the processing, conversion, and playback of mastering formats, including JPEG 2000, for the professional broadcast, digital cinema, and video archival industries. Its technology and applications bridge the gap between content producers and their archives without loss of quality. Archimedia’s products fulfill a critical piece of the production and archival workflows, encapsulating complex file interchange and quality control processes for mastering and archive formats into practical solutions that give end users a new level of access to their assets. More information is available at www.archimediatech.com.

All trademarks and registered trademarks mentioned herein are the property of their respective owners.

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3G Productions Provides Creative Audio For Jabbawockeez At Luxor

Las Vegas, NV––When popular hip-hop dance crew Jabbawockeez show Prism opened the new 850-seat theater at the Luxor Hotel and Casino, 3G Productions was the first choice to design and install the audio system.

Winners of the first season of America’s First Dance Crew, Jabbawockeez has appeared in commercials for Pepsi and Gatorade and performed on Dancing with the Stars, So You Think You Can Dance, The Ellen DeGeneres Show, and Live with Regis and Kelly. The dynamic and highly visual eight-man dance crew toured with New Kids on the Block and Jesse McCartney, launched their own clothing line and performed at the Gator Bowl, with Shaquille O’Neal at the NBA All-Star game, and Taylor Swift at the 2013 Billboard Music Awards, just to name a few recent appearances.

Because a Jabbawockeez performance is so visually intense by nature, providing audio for Prism presented special challenges from the outset. As 3G’s Marketing Director Keith Conrad points out, “Given the nature of a dance entertainment show and the need to have the full stage clear and viewable for the audience, we couldn’t have any front fills or subs on stage or in front of stage where they would normally go.”

Employing a d&b audioteknik system that included 12 Q-Subs, 6 V12s a side and eight E8s for the 5.1 surround, 3G applied a particularly unique, problem-solving approach to the system design.

“The client wanted the most SPL possible, but we had to put the subs underneath the stage in a very limited area,” he continues. “The Q subs fit perfectly and were easily able to meet the SPL output requirements for the show.

“Without the ability to have front fills on stage or blocking any portion of the stage, we had to get creative with the arrays. The V12 is rigged at a 15 degree angle on the bottom of array to cover the front seats and the horizontal dispersion of 120 degrees allows for the coverage of a fairly wide room with only 6 boxes a side.

“The client also wanted a surround sound system but didn’t have points or places to hang the boxes in the rear of theater,” Keith concludes. “The d&b E8 was a perfect enclosure for coverage and size, could be mounted directly to the wall and be out of the way, but still provide necessary SPLs for the show.”

Asked about 3G’s role in the show, Jabbawockeez Production Manager Fabian Herrera said, “We had some unique challenges with the theater based on the exaggerated width of the room and the need to keep the stage clear for the dancers. We brought in 3G Productions based on their strong reputation as a service-focused provider and extensive high-end inventory in the Vegas market. They designed a top of the line d&b audiotechnik V-series with Q sub system that blew us away, both in terms of SPL output and coverage and the ability to see the show without any obstructions.”

For more about 3G Productions, please call 702.948.0459 or click to www.3glp.com

About 3G Productions, Inc.
Founded in 2004, 3G Productions, Inc. is a multifaceted audio company focused on providing the highest quality of service in live production, sound equipment rental, sales, and installed sound. Located in Las Vegas and Los Angeles, the company operates through two divisions: Live and Pro Audio.

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SMPTE to Sponsor Standards Roadmap and UHD/4K Implementation Super Session at CCW

Panelists From Leading Networks and Production Companies to Discuss Realities of UHD/4K; SMPTE to Provide Update on Standards Development

WHITE PLAINS, N.Y. — Nov. 5, 2013 — The Society of Motion Picture and Television Engineers (SMPTE), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries, today announced that it will sponsor the Super Session “UHD/4K Implementation: Practical Issues and Technical Realities” at Content and Communications World (CCW). During the Nov. 13-14 event at New York City’s Javits Convention Center, SMPTE also will present “SMPTE Standards Development: Progress and The Road Ahead,” led by William Miller, SMPTE New York Section past chair.

Virtually every technical discussion about the near-term future of television includes mention of UHD/4K, and the SMPTE Super Session on UHD/4K implementation will address key questions that remain unanswered even as 4K television sets begin to appear in the marketplace. Led by moderator John Luff, television technology consultant at HD Consulting, an expert panel will discuss the broadcaster’s perspective on the technical realities of when and where to implement UHD/4K.

Panelists will include Kevin Callahan, director of technical operations at FOX Sports; George Hoover, chief technology officer at NEP; Tom Sahara, vice president of operations and technology at Turner Sports; and Ted Szypulski, senior director of technology research and standards at ESPN. The session is scheduled for 9 a.m. on Thursday, Nov. 14, on CCW’s main stage.

Miller will present “SMPTE Standards Development: Progress and The Road Ahead” on Wednesday, Nov. 13 at 12:30 p.m. Open to all conference attendees, this session will update delegates on key SMPTE standards that have been published recently, as well as the status of those at the center of many global engineering discussions. Among the topics Miller will address are video-over-IP, IMF, media device control, 10Gb/s fiber interfaces, and UHDTV mapping.

CCW registration and event details are available at www.ccwexpo.com. Further information about SMPTE and its standards work is available at www.smpte.org.

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About the Society of Motion Picture and Television Engineers
The Oscar(R) and Emmy(R) Award-winning Society of Motion Picture and Television Engineers (SMPTE), a professional membership association, is the worldwide leader in developing and providing motion-imaging standards and education for the communications, technology, media, and entertainment industries. An internationally recognized and accredited organization, SMPTE advances moving-imagery education and engineering across the broadband, broadcast, cinema, and IT disciplines. Since its founding in 1916, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 650 standards, recommended practices, and engineering guidelines. More than 6,000 members — motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students — who meet in Sections throughout the world, sustain the Society. Information on joining SMPTE is available at www.smpte.org/join.

All trademarks appearing herein are the property of their respective owners.

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NEP Trio Video and NEP Screenworks Mark Seventh Year of Providing Production Services to Austin City Limits Music Festival

NEP Trio Video and NEP Screenworks Deliver Complete HD Video Solution for Webcasts and On-Site Big-Screen Presentations for World-Renowned Festival, Expanded to Two Weekends This Year

PITTSBURGH — Nov. 5, 2013 — NEP Trio Video has completed its seventh successful year as the exclusive provider of mobile video production facilities and services for the Austin City Limits (ACL) Music Festival, held Oct. 4-6 and Oct. 11-13 at Zilker Park in Austin, Texas. Stretched to two weekends this year for the first time, the ACL Music Festival offered more than 30 hours of live HD video coverage over its two YouTube(TM) channels, all of it captured by NEP Trio Video’s trucks and crew. In addition, NEP Trio Video partnered with its sister organization, NEP Screenworks, to supply content to the ACL Festival Network — a private on-site network that delivered the live video to VIP areas and to large-format on-stage screens and monitors throughout the venue. NEP Trio Video and NEP Screenworks were under contract to festival video producer Springboard Productions and C3 Presents.

“C3 believes in the power and appeal of live music, and demonstrated that belief by expanding the festival to two weekends this year,” said Hank Neuberger, president of Springboard Productions. “Of course, we knew NEP Trio Video and NEP Screenworks would provide the flawless results we’ve come to expect for both the on-site festival attendees and our online Web audiences. They’re able to share resources, equipment, and expertise to provide a nearly seamless HD video experience for our customers — something that’s difficult to find with other mobile production companies.”

NEP Trio Video provided its Tango, Beta, and XL2 mobile units, more than 14 cameras, and engineering support to cover this year’s sold-out ACL Music Festival, which featured more than 125 bands over eight stages and drew more than 70,000 music fans each day. The live two-channel webcast was available at the festival’s YouTube channel and the aclfestival.com website.

In addition, the on-site Festival Network has become a valuable revenue source for C3 Presents, enabling C3 to offer the video feed to sponsors as part of an overall sponsorship package. NEP Trio Video (with support from NEP Screenworks) supplied eight entertainment channels to the ACL Festival Network — four channels of live music from the main stages, two HD webcast channels, and two specialty channels with changeable content.

“The 2013 ACL Music Festival caps a very busy music season for us. This year, we provided HD trucks and/or engineering support to every major North American music fest, including Coachella, Stagecoach, BottleRock, Hangout Fest, Bonnaroo, Lollapalooza, and Outside Lands Festival, as well as Lollapalooza Chile. In total, these festivals represent more than 1,000 music performances,” said Peter Kimball, senior account manager at NEP Trio Video. “As the festival business continues to grow and mature, organizers are concentrating more on their overall message and branding, and they’ve realized they need the most professional, competent, and technically advanced production partners they can get. We appreciate the trust we’ve built with Springboard Productions/C3 Presents and look forward to building on our relationship in 2014.”

Photo Link: www.wallstcom.com/NEP/ACLFest.zip

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About C3 Presents
An independent concert promotion, event production and artist management company based out of Austin, Texas. Annually, C3 produces the Austin City Limits Music Festival and Austin Food & Wine Festival in Austin, Texas, Lollapalooza in Chicago, Illinois, Big Day Out in Australia, and Orion Music + More in Atlantic City, New Jersey. In addition, C3 puts on special events worldwide, including President Barack Obama’s Election Night Celebration and the Obama Inaugural Celebration At The Lincoln Memorial, both in 2008. C3 Presents is the third largest concert promoter in the United States and C3 was awarded Top Independent Promoter from Billboard in 2012. http://www.c3presents.com/

About Springboard Productions
SPRINGBOARD is a unique production resource. Founded by Grammy-winning producer Hank Neuberger in 2007, Springboard has delivered groundbreaking new media solutions at high-profile live events for broadcast, broadband, mobile, and IPTV. Springboard consistently combines the highest quality with just the right technology to best realize their clients’ presentation goals. http://springboardproductions.net/

About NEP
With the world’s most advanced equipment, largest fleet of mobile units, and global production studios to suit every genre, NEP enables its clients to execute, deliver, and display exceptional productions on any platform around the world. For more than 30 years, NEP has ensured its clients’ success by delivering superior service and building lasting relationships with a passion for continuous innovation. NEP’s talented staff is committed to acting with integrity and working as a team to deliver comprehensive solutions for remote production, studio production, video display, webcasting, and power generation that set the global industry standard. For more information, visit www.nepinc.com.

All trademarks mentioned herein are acknowledged as property of their respective owners.

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Riedel Communications CCW EXPO 2013 Product Preview

Integrated AVB Control Panel for Artist Digital Matrix Intercom
During CCW 2013, Riedel Communications will feature its new CPX-AVB expansion card for Riedel Artist 1100 series control panels. The CPX-AVB provides the next generation of AVB interfacing for Riedel Artist digital matrix intercom control panels.

The CPX-AVB is a dedicated card that fits in the expansion slot of the Artist 1100 series OLED control panels. The card turns the control panel into an AVB-enabled device, in turn making the panel’s ports available within the entire AVB network. The expansion card converts two Artist ports to the AVB network and vice versa.

To enable further signal integration, Riedel offers a comprehensive suite of AVB-enabled interfaces for its Artist intercom platform. In addition to the existing Connect AVB x8 panel interface, the Connect AVB C8 offers eight AES connections on BNC. The device supports both bidirectional AES for intercom panels and unidirectional transport for broadcast AES.
The Connect AVB A8 provides eight analog inputs and outputs on RJ45 connectors. Riedel’s AVB Manager offers full AVB network management and features systemwide control of all AVB components.

Photo Link: www.wallstcom.com/Riedel/AVBModule.zip
Photo Caption: Riedel CPX-AVB Expansion Module

MediorNet Now to Support Studer Consoles
Riedel will also present the MN-ST-AL-2, the company’s new MediorNet expansion card for Studer consoles. The MN-ST-AL-2 card provides two ports, each with redundant interfaces, for connecting Studer mixing consoles via the Studer A-Link protocol. In this way, the consoles become an integrated part of the entire signal distribution infrastructure. Users can gain up to 384 channels per connection and realize significant savings in cabling and maintenance costs while reaping the benefits of MediorNet’s unparalleled flexibility and signal quality. Routing of the audio stream is handled by the user-friendly MediorWorks control and management software via drag-and-drop programming, which makes last-minute changes easy and intuitive. Additional routing adjustments can be performed via Pro-Bel commands or the new EMBER+ remote control protocol in MediorNet.

One MediorNet Modular frame equipped with A-Link interface cards becomes a cost-efficient audio router with 4,608 inputs and outputs in just two rack units. The card supports all Studer Vista 5 and Vista 9 consoles, as well as OnAir 3000 consoles.

Photo Link: www.wallstcom.com/Riedel/STUDER.zip
Photo Caption: MN-ST-AL-2 MediorNet Expansion Card for Studer Consoles

Other Products on Display:
-MediorNet Modular and MediorNet Compact
-Artist, Acrobat, and Performer communications systems
-RockNet Fiber-Optic Converters and console interfaces

Company Quote:

“CCW is an ideal place to meet with our customers and partners on the east coast to talk about how advanced real-time video, audio, data, and communications networks can benefit their business and day-to-day operations. We are showcasing the new Studer interface for our popular MediorNet product line, and we also will demonstrate the new AVB interface for our Artist digital matrix intercom platform. We are also very excited about our recent acquisition of video streaming provider Code One and are working hard to bring Code One products into the Riedel family of broadcast solutions.”
– Christopher Street, General Manager, North and Central America, Riedel Communications

Company Profile:

Riedel Communications designs, manufactures, and distributes pioneering real-time video, audio, data, and communications networks for broadcast, pro audio, event, sports, theater, and security applications. The company also provides rental services for radio and intercom systems, event IT solutions, fiber backbones, and wireless signal transmission systems that scale easily for events of any size, anywhere in the world. Founded in 1987, the company now employs more than 400 people at 11 locations in Europe, Asia, Australia, and the Americas.

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