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Archive for November, 2013

Red TX Help Capture This Year’s Barclaycard Mercury Prize

Broadcast audio specialist Red TX provided the technical facilities to capture the audio at this year’s Barclaycard Mercury Prize, which took place at London’s Roundhouse on October 30th.

Hosted by Lauren Laverne, this year’s Awards Show featured live performances by many of the 2013 shortlisted artists including Arctic Monkeys, Laura Mvula, Jake Bugg, Rudimental and overall winner James Blake.

Red TX worked closely with PA company Plus4Audio and Outside Broadcast company CTV to deliver television coverage of this prestigious event, which was broadcast on both More4 and Channel 4.

Barclaycard Mercury Prize Executive Producer Dan Ford says: “Red TX was commissioned to handle the broadcast audio because the company has a strong reputation for delivering great live sound. We worked with them last year and were very happy with the results they achieved. It therefore it made sense to invite them back as part of our tried and tested production team.”

For this event, Red TX supplied its Red II music recording truck which is designed to cater for 3D and 7.1 surround sound productions. Sound Supervisor Simon Wall, now based at London’s The Hospital Club, has been mixing the audio for the Barclaycard Mercury Prize for a number of years and once again he was the man behind the controls of red II’s Studer Vista 8 mixing console. Red TX’s engineer Ollie Nesham was also on board acting as his technical assistant.

Nesham says: “A great deal of preparation went into this show. We arrived at the venue on Monday 28th and spent the next three days setting up, rehearsing and carrying out extensive sound checks to make sure everything was perfect. There were two stages, each with 48 lines of splits that we plugged up to so that all the inputs were available on the desk at the same time. This enabled us to create a set-up for each part of the show, in which typically three bands were performing, so that Simon only had to recall one set-up for each part and one snapshot for each band. Working this way also allows Simon to line check all the bands in each break, which gave us confidence as we could check that we had all the inputs for each band before we started that part of the show.”

Sam Dunlop, Studio Manager of the Hospital Club Studio, adds: “The Hospital Club treasures its longstanding relationship with Dan Ford and the Barclaycard Mercury Prize, which we have collaborated on since 2007. Throughout that time, Simon has mixed all the Sessions filmed at the Club, as well as the Prize gigs and all the live mixes on the awards night itself. We’re extremely lucky to have him, and it’s a privilege to be able to work together to produce such fantastic new music content throughout the year with Dan and his team.”

-ends-

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

Lightware’s Product Support for 4K Switching and Signal Extension Offers Real-world Solutions at the Forefront of 4K Technology

4K is The Next Big Thing in video production, display and distribution, and Lightware U.S.A. is ahead of the curve with a roster of proven and available 4K switching and signal extension solutions. The US distributor for Budapest-based Lightware Visual Engineering products offers an array of 4K products, which demonstrate that the company has long been proactive on the 4K breaking edge technology front.

“The Lightware USA 4K products have been rigorously tested by our engineering team, are in stock in the US office and ready to ship,” says Drew Taylor who’s in business development at Lightware USA. “We already have 4K equipment in use today. Other companies advertise 4K products months and years before they become available. But Lightware has real 4K solutions; 4K is not just a marketing device for us but an actual shipping high quality solution based product line.”

As content is produced and released in 4K and as 4K displays and computer systems increase in number and decrease in cost, the industry is looking for real-world 4K solutions to deploy. “4K applications are growing, but even if you’re not using 4K content now you’ll want to futureproof your operations for higher resolution capability,” Taylor points out. “Oil and gas exploration, virtualization environments, scientific exploration and large data centers are already demanding high-resolution systems. But rental and staging and command and control applications are also upgrading to 4K capabilities so they can support 4K and Ultra High Definition in the future.”

Lightware supports 4K in three major product areas: Direct HDMI in/out with 3D boards; extending and switching signals over a single twisted pair; and extending and switching signals over fiber.

Direct HDMI In/Out for the Modular Matrix Frames

The Lightware USA MX-HDMI-3D boards handle 4K video signals with embedded audio over a single HDMI cable. The MX-HDMI-3D-IB 8-channel HDMI 1.4a input board and MX-HDMI-3D-OB 8-channel HDMI 1.4a output board offer DVI and HDCP compliance supporting all 3D formats. They are available with add-on digital S/PDIF or analog stereo connectors for advanced audio functions (HDMI embedded audio signals are managed by the board as well).

The input board offers integrated advanced professional functions, such as HDCP enable/disable mode, Pixel Accurate ReClocking, Advanced EDID Management and Input Signal Frame Detector. The output boards incorporate a second Pixel Accurate ReClocking chip, HDMI to DVI conversion, color space conversion (RGB and YUV per output) and color range scaling. Both are compatible with deep color, Dolby TrueHD and DTS-HD audio and feature PCM audio sample rate conversion.

Single Cable Twisted Pair Extenders

Lightware offers both input and output boards and extenders for handling 4K video signals with embedded audio over a single twisted pair.

The 8-channel MX-TPS-IB input board and MX-TPS-OB output board are HDBaseT HDMI 1.4a boards, which provide HDMI 1.4, audio, Ethernet and RS-232 extension on a single CAT5/6/7 cable up to 180 m distance. Optional digital or analog audio connectors are also available for allowing for audio embedding or de-embedding. Integrated advanced professional functions include HDCP enable/disable mode, Pixel Accurate ReClocking, Advanced EDID Management and Input Signal Frame Detector. They are compatible with deep color, Dolby TrueHD and DTS-HD audio and features PCM audio sample rate conversion.

Lightware’s HDMI-TPS-TX90 and RX90 HDBaseT HDMI 1.4a extenders are designed to work with the MX-TPS boards. These twisted pair transmitters and receivers extend uncompressed full HD video for extreme distances (up to 180 m) over a single CAT cable. The units offer bi-directional RS-232, IR and Ethernet pass-through all on the same CAT5e…CAT7 cable that carries the video signal. The extenders support full HDCP and EDID compliance and work at all standard AV resolutions. Remote powering is available through the single CAT5e…CAT7 cable; a local power supply also can be used. All devices can be mounted on a rack shelf,used in stand-alone formats and used with the TPS boards for the Modular Matrix Frames that range in size from 9×9 to 80×80.

4K Fiber Extenders

Finally, Lightware USA has introduced an HDMI Optical output board and an HDMI-3D Optical receiver that extend HDMI 1.4a and 4K video signals with embedded audio up to 1.6 miles to the fiber receiver. The MX-HDMI-OPT-OB board transmits HDMI 1.4a signals on 8 optical outputs with HDCP compliance. HDMI, DVI signals and HDCP + EDID handshaking are performed over one Multimode fiber utilizing the Lightware Single Fiber Technology.

The HDMI-3D-OPT-RX150RA HDMI 3D receiver allows for analog and digital audio de-embedding as well as RS232 signals to be sent from the matrix over the fiber up to a distance of 2,000 meters via the Lightware RS232 over fiber technology.

Lightware staged an impressive demo at InfoComm13 featuring live matrix switching of 4K HDMI 1.4a sources on a 4K monitor. “For Lightware, the demo showed that instant matrix switching of 4K sources is more than a proof of concept: It’s a reality,” says Taylor.

“With 4K likely to be the new standard that a lot of people thought 3D would be, Lightware already offers well-rounded product support for 4K with more on the way coming soon,” he promises.

About Lightware U.S.A.

Lightware U.S.A. is the US distributor of professional AV products manufactured by Lightware Visual Engineering in Budapest, Hungary. For more information on these products, visit www.LightwareUSA.com.

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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

# # #

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.

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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