A virtual press conference from Sound & Video Contractor

Archive by David Steinberg

Clay Paky Sharpys and B-EYEs and grandMA2 Consoles Amp Up the Energy at “Nights by Absolut” on Brooklyn’s Pier 9

IMG_7890Clay Paky Sharpy and B-EYE K20 fixtures and grandMA2 consoles helped light up the New York City sky when “Nights by Absolut” launched on September 12 with a high-volume, high-energy twist on the club scene. Clay Paky and MA are both exclusively distributed in North America by A.C.T Lighting, Inc.

Vita Motus, the design studio of Heather Shaw, transformed the Pier 9 Container Terminal in Red Hook, Brooklyn into one of the most exciting clubs in the world for just one night. The iconic silhouette of the Absolut vodka bottle took center stage with the New York City skyline illuminated behind it. DJs Alvin Risk and Araabmuzik took command of the music on the stage below and built suspense for a surprise appearance by guest DJ Zedd.

The event, produced by VICE, was part of the innovative Absolut brand campaign, “Transform Today,” which launched last year. “Nights by Absolut” staged in Johannesburg, Berlin and Sao Paulo followed.

DMDS7tudios of North Miami Beach worked with Vita Motus and VT Pro Design to bring the custom-rigged, 85-foot tall Absolut silhouette to life with 84 Clay Paky B-EYE K20s and 72 Clay Paky Sharpys.

“The goal for the design team was to bring a very progressive brand like Absolut to the forefront of the technology movement, and there is no other effect or lighting fixture on the market currently that has so many options and so much power as the B-EYE,” says Scott Chmielewski, principal of DMDS7tudios, which was brought onto the project as programmers and technology consultants and integrators. The company was charged with programming and implementing the B-EYE lighting effects and pixel mapping the individual LED cells within the fixtures.

“There is literally nothing like the look of the B-EYE out there and, with the fixture’s latest software, options have expanded dramatically,” notes Chmielewski. “The ability of the B-EYE to change from a very powerful and bright wash light to an effects-filled fixture made it an obvious choice for this project.”

He calls the design of “Nights by Absolut” “nothing short of immersive in both its scale and use of technology. Using a well-scripted and choreographed escalation of the event, each element of the project came to life in dramatic steps showcasing a different use of technology and integrated design.”

To control the B-EYEs and the Avolites Media Ai media servers dedicated to mapping the LED pixels, DMDS7tudios employed the latest grandMA2 v. 3.0.0.5 with four active NPUs and a back up console.

“We controlled the Ai media servers, which handled all the media and pixel mapping, and the B-EYE cells, which were all seamlessly Art-Net merged directly into the grandMA2 allowing use of both DMX video as well as the built-in effects of the B-EYE,” says Chmielewski.

For DMDS7tudios, “the DMX mapping and merging were the most challenging elements,” he reports. “Having 12,000 channels of LED sent from both the console and media server over Art-Net sounds like a daunting task, but the capabilities of the grandMA2 platform made it a clear and intuitive process. Being able to create content, albeit in a very unique and low-res format, really helped bring the show’s concept to life. Having that much unique and detailed control over so many elements in such a demanding creative environment was only made possible by the console’s software development, which included the ability of grandMA 3D to previsualize all the elements of the project.”

Chmielewski says there were “no issues with any of the gear” during the pop-up club’s unforgettable one-night only event on Pier 9. “Every element of this show performed flawlessly.” For the grandMA2 that meant “the ability to preprogram in our studios, work with real-world and accurate models of both the fixtures and the environment, and [use] seamless methods for implementing creative nd technical changes that happen on every show.”

The lights were equally problem-free. “We were in an exposed outdoor environment with limited access to the fixtures once they were hung, so that’s one of the reasons the B-EYEs were chosen,” Chmielewski says. “So many options, so few moving parts.”

“Scott is such an innovative designer and this project was really impressive,” says A.C.T Lighting Vice President of Sales, Brian Dowd. “DMDS7tudios has been a great partner of ours and we look forward to many more projects of this caliber from them.”

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.

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“Inside the NFL” Makes Season Debut in a New Studio with Lighting from WorldStage

10687542_10152458618089495_187091805288343783_oThe start of football season marked several changes for the iconic “Inside the NFL” program, which airs on Showtime and The NFL Network. Chief among them was a move to CBS Studio 42 and implementation of a new lighting package by lighting designers Christopher Landy and Abigail Wells of Vibrant Design LLC with equipment supplied by WorldStage.

The long-running “Inside the NFL” has moved to Tuesday this season and revamped its on-air roster with Greg Gumbel serving as the new host. Its move from studios in New Jersey to CBS Studio 42 prompted new set and lighting design that contributes to a fresh production of a fan favorite.

Vibrant Design was already familiar with Studio 42 when the show moved in. “We do ‘Last Week Tonight with John Oliver’ in that studio,” says Christopher Landy. “We strike that and do ‘Inside the NFL,’ and BET next door, so Vibrant has a great rapport with the CBS staff!”

Landy says “Inside the NFL” is “shot in a great environment. We shoot the in studio portions noon to 3 pm on Tuesdays, then its edited and integrated with roll-ins and airs that same night.”

Due to the nature of turnaround in the studio, both sets are designed with a “substantial amount of scenic lighting incorporated into the set, – miles of LED tape, lightboxes, puck lights – and from a design standpoint I love that. It allows us a great deal of depth,” he says. “It is very consistent, especially with the show loading in and out – two major shows are turned around every week in Studio 42 and there’s not much crossover in terms of gear. We’ve designed ‘Inside the NFL’ to be very plug and play.”

“Abby Wells and John Bell, the show’s lighting director, have done an amazing job!” says Landy, “not only does the set glow, the talent consistently looks fantastic every week. You’d never know the show was loaded in and refocused yesterday”.

Most of the lighting package was acquired from WorldStage, where “Terry Jackson and his team always take great care of us,” Landy says. Beyond the miles of LED tape on “Inside the NFL” are 150 ETC Source 4 lekos, 18 2K soft lights, six 2K fresnels, 40 LED iWhites, six Martin MAC Auras, ten Martin MAC 101s and 24 LED puck lights

LED tape, used within scenic pieces, includes approximately 1,800 feet of dual white LED tape from Super Bright LED in the lightbox walls and approximately 100 feet of RGBA tape from Environmental Lights in the anchor desk and podium platform.
Lighting is controlled from an ETC Ion console, also from WorldStage.

“Once again, we worked well with WorldStage and had another great experience,’” says Landy. “The producers of ‘Inside the NFL’ are thrilled with the new lighting.”

Peter Radovich is the producer of “Inside the NFL.”

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

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Primeview USA Showcases Lightware Matrix Switchers and High Resolution Systems Raptor Control System in its Partnership Showroom

photo 4Primeview USA, a worldwide leader in advanced display solutions, has teamed with Lightware USA and High Resolution Systems to feature the manufacturers’ equipment in their Partnership Showroom on West 44th Street in Manhattan. The showroom, which opened last February, sets the standard in style and practices for other tech showrooms around the country by demonstrating to end users how complete systems come together.

“Our Partnership Showroom not only shows our own high-end displays but also highlights equipment from select manufacturers whom we believe to be reliable as well as industry relevant,” says Chanan Averbuch, Vice Presient of Sales for Primeview USA. “We have created a technology showroom that brings together solutions for entire AV systems.”

Averbuch was introduced to Lightware USA at a trade show where he says, “I liked what I saw”. After an issue with another manufacturer, Primeview decided to feature the Lightware matrix routers and switchers in their Partnership showroom in New York. The models shown include the MX-FR17 17×17 Digital Matrix Router populated with HDMI 1.4 inputs and outputs that handle up to 4K resolutions and HDBaseT outputs. Some HDBaseT outputs of the Lightware matrix are directly connected to HDBaseT inputs on the Primeview displays and other are connected to Lightware HDMI-TPS-RX95 HDBaseT receivers. Sources are displays are a variety of resolutions including 4K, UHD, 1080p and 720p.

High Resolution Systems’ embedded control server the UDC Pro ECS-Raptor and third-party hand-held touch panels were a logical complement to control the routers “with lightning speed,” reports Averbuch.

“We’re using Lightware and High Resolution Systems equipment to route sources, do processing and control entire systems,” he says. “All via Apple iPad and iPhone interfaces. Through the HRS Control Pro app, presets – for prerecorded presentations, switching sources for presentation, power on, power off – are triggered. The app is easily customizable. We will even be building in more functionality, such as specific control over individual devices. It’s simple and it works!”

The combined Lightware and HRS system offers control and signal routing and extension of playback from WOW Vision’s collaboration system, HAI Vision’s pro video IP system, C-Nario digital signage and Sony PlayStation. It also offers control of display devices such as Vista Systems Spyder X20, tvONE’s CORIO and a myriad of Primeview and other monitors and panels.

Averbuch says that the staff of Lightware USA and High Resolution Systems have been “extremely responsive” to the concept of the Partnership Showroom. “People are most important to us, and their support has been great in helping us from the ground up with installation, phase two upgrades and attending to the details of the showroom.”

Primeview USA is hosting an Open House on November 5 to showcase an HDBaseT AV display and matrix control demonstration featuring Lightware and High Resolution Systems products. Attendance is limited; to schedule a demo visit http://bit.ly/pvlwdemo.

About Primeview USA

Primeview is a privately held global manufacturing company that was launched in 1997 specializing in advanced display solutions, with a focus on the industrial market. Primeview manufactures on the most advanced ISO-certified production lines, maintaining high quality control standards to build products for the most demanding markets. Primeview offers a true “one-stop shop” for display solutions, including digital signage, video conferencing systems, high-brightness displays, kiosks, weatherproof monitors and specialty. The company’s solutions can be found in board rooms, museums, casinos, retail stores, hotels and properties around the globe: ESPN Broadcast studios, GE Healthcare, Microsoft, BET studios, US NAVY, Ogilvy, Jaguar, Lacoste, Tourneau, H&M, Lacoste, IDF, Rock and Roll Hall of Fame, Sandia and Revel casinos, NBC Broadcast Studios, The Weather Channel, Disney Theme Parks, World War II Museum and The MOB museum. For more information, please visit us at www.Primeview.biz or socialize with on Facebook, YouTube, Twitter and Linked-in.

About Lightware USA

Lightware USA is the US distributor of professional AV products manufactured by Lightware Visual Engineering in Budapest, Hungary. With the flexibility of the Lightware product line, the Lightware USA team is able to assist with the design for some of the highest performance systems in the world. Router sizes ranging from the robust UMX4x4-Pro up to the impressive 160×160 25G Hybrid give Lightware USA the edge over the competition when it comes to routing multiple video sources to the ever changing variety of displays in the industry. Their array of solutions for extending the highest resolution video formats including 4K and 3D over Cat or Fiber put Lightware USA on the forefront of cutting edge technology.

For more information on these products, visit www.LightwareUSA.com.

About HRS Control

High Resolution Systems known as HRS Control is a company with a strong systems engineering and applications background. Its founders have decades of experience in the audio visual rental and staging industry, broadcast applications, A/V installations and system design. This combined experience allows them to provide the highest possible quality solutions to its customers in the most efficient manner. For more information, visit www.hrscontrol.com.

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Clay Paky Sharpy Washes and grandMA2 Consoles Turn in Winning Performances at the “Miss America Pageant”

MA 1Fifty-three contestants walked the walk on stage at Boardwalk Hall when the 88th “Miss America Pageant” returned to Atlantic City in September. Two dozen Clay Paky Sharpy Wash fixtures and a complement of grandMA2 consoles controlling lighting and media were on hand from Atomic Lighting in Lititz, Pennsylvania for the gala telecast on ABC Television. A.C.T Lighting is the exclusive distributor of both brands in North America.

Allen Branton was the lighting designer for the “Miss America Pageant” with Felix Peralta and Kevin Lawson the lighting directors and Laura Frank the screens producer and media programmer.

“It was our eighth year doing the pageant,” says Peralta. “It’s always a challenge to recreate the excitement of the show; we’re looking to enhance and improve the previous year’s telecast. With three days devoted to pageant preliminaries, which are not broadcast, we got an opportunity to build the show on site. Friday and Saturday were camera rehearsal days then Sunday was the live show.”

Kevin Lawson was responsible for the key light and audience light – an important role for a show where 53 young ladies take center stage. “The show is ultimately about the contestants, and my primary task was to make sure all of them looked good whether 53 girls were out there or one of them was performing in the talent competition,” he notes. “In a lot of ways the pageant is like an awards show: They want a certain amount of grandeur, and there’s a long-standing tradition behind it. The show has to be exciting but high quality and dignified.”

With large groups on stage at times Lawson was challenged to not just bathe the scene with light. “I wanted to shape it enough to make the girls look great and be individually visible,” he explains.

Approximately 24 Sharpy Wash fixtures served as the primary stage wash. They were hung across the stage and acted as “workhorses” for the show, bathing the contestants with backlight and color, Lawson says. “They were in pretty much every shot. I love Sharpys Washes: Their field is consistent, their zoom is great. They’re bright, the color is constant; they’re easily manipulated and fast. In fact, they’re good for all shows.”

Felix Peralta, who handled the environment lighting, notes that the Sharpy washes “treated some scenery, too, including the bigger-than-life-size Miss America statue, which had six washes on it.”

One full grandMA2 console and two grandMA2 lights with fader wing were deployed for lighting. The “Miss America Pageant” was one of the first shows on which the team used 3.0 software. “We enjoyed its many new features,” Peralta reports.

“grandMA2 works well as a multi-user system, and that’s the most critical element of these shows that Felix and I do together for Allen,” says Lawson. “It’s one big happy system. We don’t have to decide whose lights are whose; the fixtures can do double duty easily. The grandMA2 is the only desk that’s really good at this.”

Laura Frank, who is the principal of Minneapolis-based Luminous FX, utilized two full-size grandMA2 consoles running servers to screens, which covered the set. Media content helped establish competition segments and “tie the show together,” she says. “The screens also gave different live views, different angles of the girls” as Frank pulled up the cameras she needed to spotlight the contestants – which one would win the crown?

John Calkins was the production designer for the “Miss America Pageant”.

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.

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WorldStage Helps Projection Designer Aaron Rhyne Find Solutions for “Bootycandy” Off Broadway

Bootycandy Playwrights Horizons/Mainstage Theater“Bootycandy,” written and directed by Robert O’Hara, has kicked off the season at New York City’s Playwrights Horizons with an extended run and great notices from The New York Times, which called the play “smart and provocative.” WorldStage provided the projection and playback system for the production.

“Bootycandy” follows the life of Sutter, a black gay man, in a series of scenes that vary in style. A single actor, Phillip James Brannon, plays Sutter as a boy, teen and man growing up and embracing his identity.

“The play shows very specific slices of life of the characters experiences growing up and coming to terms with their identity,” says projection designer Aaron Rhyne. “The set design is a turntable and depicts different locations: a bedroom, a bar, a church. Robert O’Hara did previous productions of the play without projections and says he always felt something was missing. The outside world was not showcased.”

So, for the Playwrights Horizons’ production, Rhyne has designed projections that act as a window on the larger world. Using a combination of still images, moving video and title animations that appear as if Sutter was writing them out for the audience, Rhyne has opened up the stage sets to show suburban America, a gospel choir’s intense performance, the New York City bar scene and more.

He sought the help of WorldStage to make Sutter’s larger world a reality. “I work with WorldStage all the time – almost exclusively,” says Rhyne. “They support a show I have on Broadway, ‘A Gentleman’s Guide to Love & Murder,’ and several touring shows of mine.”

The video package provided by WorldStage for Bootycandy is comprised of two Christie HD 14K DLP projectors, a fully redundant two-channel Dataton WATCHOUT system, a fiber-based signal distribution package, and a power distribution package.

Rhyne specified WATCHOUT as the server that best matched the needs of the production. “It’s the system most often used on Broadway,” he notes. “It’s solid and user friendly and staff is knowledgeable about it and can problem solve if needed. For ‘Bootycandy’ I have a main system and a back up. Theaters always like it when you have a safety net.”

“We wanted the projection screen to disappear when not in use so we chose a black commando cloth, which is hard to get projections to read on. A lot of vendors would have pushed away from this idea, but WorldStage always comes up with a solution. That’s a trait they bring to all productions: figuring out how to do what’s difficult,” Rhyne says.

WorldStage suggested a pair of Christie HD 14K projectors for their brightness, quiet operation, and small footprint. Using two 14Ks converged “gives us more brightness so images pop on the dark surface,” he reports. “And with two projectors we have a built-in back up.”

Rhyne believes “we’ve definitely been able to bring a lot more of a visual statement to this production than to past productions of ‘Bootycandy.’ Robert O’Hara and the whole team are very excited about adding projections.

“I always like to challenge the notion of what projection design can do,” he adds. “The people at WorldStage love this challenge, too.”

Lars Pedersen was the WorldStage account executive for “Bootycandy.”

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

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New Clay Paky Stormy Fixtures Arrive at Main Light Industries

StormyMain Light Industries, Inc., which offers lighting equipment rentals to the professional entertainment business from its base in Wilmington, Delaware, has taken delivery of 34 new Clay Paky Stormy fixtures. A.C.T Lighting, Inc. is the exclusive distributor of Clay Paky products in North America.

The innovative Stormy uses the latest LED technology while retaining all the charm of the classic strobe. Its light source is a strip of powerful white LEDs, which perfectly emulate a bright Xenon linear lamp. The flash effect is enhanced by the Stormy’s parabolic reflector, like a classic strobe’s, which does not project the light directly forward like other LED strobes.

“The Stormy fills a hole in the market with a realistic strobe-style fixture that isn’t just a brick of LEDs,” says John DiEleuterio at Main Light Industries. “Having a strobe that’s LED alleviates the thermaling issue of conventional strobe fixtures offered by the other manufacturers.”

The new Stormy has 144 x 7W Oslon Osram LEDs with a pulsed mode of 980W max and a continuous mode of 720W max. The frequency, duration and intensity of the pulse are fully digitally controlled; the parameters are even independently adjustable, which is impossible with a Xenon lamp strobe. Due to highly sophisticated electronics, the light turns on and off instantly, creating the jerky movement illusion. The pulse duration may be extended as required. And thanks to the use of LEDs, the light intensity remains constant with no flickering effect.

The Stormy also comes with RGBW LEDs, which are able to flash in any color eliminating the need for gels, that dramatically reduce the amount of light, and slow, noisy and unreliable scrollers.

DiEleuterio is particularly pleased with these features. “The Stormy fixtures are RGBW, and there’s no need to add scrollers or color,” he says. “They are also very solidly built.”

The Stormy’s beam opening control is by optional barndoors. The fixture has a 0-100% adjustable dimmer and bracket adjustable on 360º.

Lightware Router Joins “Jubilee!” Burlesque Extravaganza at Bally’s Las Vega

photoThe longest-running production in Las Vegas, the “Jubilee!” burlesque extravaganza resident at Bally’s now features, behind the scenes, a Lightware MX-FR33R digital crosspoint router with redundant power supplies, built-in control panel and CPU2 provided by Chaos Visual Productions. Lightware USA is the US distributor for Budapest-based Lightware Visual Engineering products.

“Jubilee!” is a seven-act spectacular, which debuted in town in 1981. It stars iconic showgirls dressed in costumes designed by Bob Mackie and Pete Menefee and boasts a set featuring the sinking of the Titanic and a 27-foot, 3-ton bull for the Samson and Delilah tableau.

Burbank-based Chaos Visual Productions brought the Lightware router to the show. Chaos Visual supplies the international production industry with the latest in technology and personnel to make their creative visions come to life. Working on live concert touring, corporate events and live 3D video presentations, Chaos Visual has become the go-to company for specialty lighting, LED special effects, video projection and show programming.

The Lightware 33×33 router was selected for the permanent install for “Jubilee!,” which includes 11 Ventuz media servers and 16 Barco projectors. The router handles all of the monitoring and signal distribution for the equipment. Since all of the media servers are local the frame is populated with DVI input boards and Fiber Optic output board to feed the longer runs to projection eliminating the need to local Fiber transmitters in the rack.

“Eight projectors are dedicated to the front projection surfaces,” says Chaos Visual project manager Cory Froke. “There are 72 different front projection surfaces – screens that come on and off stage, line sets with scenery, and projection mapping on every piece of scenery. There are two more projectors on yokes and six for the rear projection screen. Lightware routes it all.”

Froke explains that the Lightware 33×33 router was chosen for its “rock solid” reputation. “We set up some external scripting for automatic fail over for projectors and for distributing monitoring and cameras to various positions. The Lightware router is working fantastic after more than six months on the job: They’ve had zero problems with it. We’ve never had a Lightware router crash on us whether on an installation or a tour.”

About Lightware U.S.A.

Lightware USA is the US distributor of professional AV products manufactured by Lightware Visual Engineering in Budapest, Hungary. With the flexibility of the Lightware product line, the Lightware USA team is able to assist with the design for some of the highest performance systems in the world. Router sizes ranging from the robust UMX4x4-Pro up to the impressive 160×160 25G Hyrbid give Lightware USA the edge over the competition when it comes to routing multiple video sources to the ever changing variety of displays in the industry. Their array of solutions for extending the highest resolution video formats including 4K and 3D over Cat or Fiber put Lightware USA on the forefront of cutting edge technology.

For more information on these products, visit www.LightwareUSA.com.

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Videowalls on New “Entertainment Tonight” Set Use Vista Systems’ Spyder for Image Processing

Entertainment Tonight's New Set CelebrationThere’s a Spyder on the new “Entertainment Tonight” set, and everyone has welcomed its arrival. Vista Systems’ Spyder X20 image processor is key to manipulating the content on two videowalls, which form part of a new look for the syndicated CBS show that made its broadcast debut in 1981.

More than 10,000 episodes later “Entertainment Tonight” is television’s longest-running daily tabloid entertainment news show. It refurbished its set in Studio City, California over the summer opting for a new color scheme, rebranding and two big videowalls – a significant step up from individual plasmas and LEDs previously used as displays. The new set went live at the end of August.

Video Visions, Inc. of Trevose, Pennsylvania, specialists in videowalls and large-screen displays, was charged with creating the show’s new videowalls, which showcase branding elements, produced content, Twitter images and show graphics. The 18-panel Christie videowall forms the primary backdrop seen in shots of the set; a nine-panel 3×3 Salitek videowall is positioned stage left.

“From our point of view, Vista Spyder has the ability to stitch together content in a unique, seamless canvas and composite multiple video layers on both walls,” says Video Visions’ systems engineer Jeffrey Pasternak. “We have used Spyder in several studios – CCTV [China Central Television] in Washington, D.C. and other CBS installations. It’s our cornerstone. Spyder is the most reliable solution on the market right now, as far as I’m concerned.”

Pasternak finds Spyder to be “rock solid” – an important quality for a daily show like “Entertainment Tonight.” “Spyder does what it’s supposed to do, day in, day out,” he reports. Behind the scenes Spyder integrates with multiple playback systems and a Grass Valley switcher. The user interface is High Resolution Systems’ UDC Spyder Touch touch screen controller.

He notes that “working with the Vista team” is another reason to choose Spyder for installations such as this. “Victor Vettorello and the crew are always great, and they went to Studio City to train the end users. Vista Systems is a manufacturer that stands behind its products.”

About Vista Systems
Vista Systems’ switchers have become the industry standard for live multiple-destination video and data mixed signal switching with real-time windowing and composition. For more information on Vista Systems, visit their website at www.vistasystems.net.

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Avenview Teams with High Resolution Systems to Offer Branded Avenview ControlPro Universal Device Control Software

Entertainment Tonight's New Set CelebrationAvenview has partnered with High Resolution Systems to offer Avenview ControlPro Universal Device Control Software, a branded product featuring HRS UDC software, designed to control Avenview devices, including matrix audio video switchers, video walls and video processors.

Avenview enables companies to install multifunctional video walls and control room equipment, use signal extenders to help personnel communicate remotely and even digitize an entire infrastructure. The company, headquartered in Kenmore, New York, offers customers the most advanced components available to achieve their objectives of cutting-edge visual displays.

Avenview identified HRS as a company it could do business with to enhance its technology offerings to customers. “High Resolution Systems is an upcoming company with similar culture and beliefs as Avenview,” says Jefferson Thomas, chief technology specialist at Avenview. “They are very smart and client driven and offer products that customers really want – and are easy to use and easy to customize to any product on the market. That’s the kind of functionality that customers want.”

Avenview’s ControlPro Universal Device Control Software integrates its products to work with UDC control. “Once a customer buys one of our products, like the HDM-SwitchPro-VW4 HDMI 4×4 matrix switcher, we use ControlPro Universal Device Control Software to build a static page with buttons and layouts for the user,” Thomas explains. “With UDC software we can create one-touch and customized commands – commands that would otherwise take users numerous steps to implement.”

Avenview can “customize the ControlPro interface to whatever the user needs the box for,” he says. “The build pages can also be added to and re-customized by the user as they work with other products.”

ControlPro Universal Device Control Software offers fast programming with open-structured software that’s configured with no coding. It enables custom control of what users create, is easily updateable and saves time and money on every project.

“It’s a win-win for Avenview, High Resolution Systems and customers,” Thomas declares.

About High Resolution Systems

High Resolution Systems known as HRS Control is a company with a strong systems engineering and applications background. Its founders have decades of experience in the audio visual rental and staging industry, broadcast applications, A/V installations and system design. This combined experience allows them to provide the highest possible quality solutions to its customers in the most efficient manner. For more information, visit www.hrscontrol.com.

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Clay Paky B-EYE K10s Make Red Rocks Debut with STS9 Concert and Join Band’s Fall Touring Rig

BNSTS920140906JP_1200px_004Lighting designer Saxton Waller selected 22 Clay Paky A.leda B-EYE K10 LED-based moving lights controlled by a grandMA2 with NPU for two sold-out STS9 concerts at the famed Red Rocks Amphitheatre in Morrison, Colorado, the lead up to the band’s cross-country fall tour. The fixtures and console were provided by Brown Note Productions, Inc. in Thornton, Colorado. A.C.T Lighting, Inc. is the exclusive distributor of Clay Paky and MA products in North America.

The instrumental band STS9 (Sound Tribe Sector 9), which plays self-described post-rock dance music, is one of the nation’s top-grossing tour acts with a heavy presence in the festival circuit. Their dates at Red Rocks, September 5 and 6, preceded the start of their first tour in nearly a year. The tour will play venues in the Midwest and East, including Chicago, New York, Detroit and Pittsburgh.

Brown Note Productions, Inc. is a full-service audio, lighting and video production company specializing in touring, festivals and special events. It won the 2013 Parnelli Award for “Hometown Hero Lighting Company of the Year” and is nominated for the same award again this year.

“STS9 is our flagship client: We’ve been working with the band for the 10 years we’ve been in business,” says CEO Sara B. Knutson, who is partnered with her husband, Ryan, in Brown Note Productions. “STS9 has played Red Rocks, named the best concert venue in the country, a number of times before. And we do 30-35 shows there annually with clients, so it’s a very familiar venue. The B-EYE K10s made their Red Rocks debut with STS9, then will accompany the band on their six-week tour.”

Brown Note Productions is a fan of Clay Paky products with more than 60 Sharpys and 16 Sharpy Washes in their inventory. Now, 22 B-EYE K10s have joined the product roster.

“We expect the K10s to be accepted by all the major tours,” says Knutson; the fixtures were rented previously by String Cheese Incident for their show at Electric Forest. “We also look for the K10s to bring in new clients who are excited by the hype and what the lights can do. Clay Paky always puts out amazing products – look at Sharpy and how it has revolutionized the industry. Their products are solid and in-demand – we can’t keep them in stock!”

Brown Note Productions has a long history with MA consoles, too. “We started with one many years ago and have really ramped up our inventory so we now carry two grandMA2s, a grandMA2 light, an NPU, a command wing and we still have a grandMA1. They are the go-to desk for any major tour; they’re on every rider and are specked for all the big national festivals.”

Saxton Waller, who heads Denver-based Roygbiv Lighting & Show Design, has been the lighting designer for STS9 for 14 years. He saw Clay Paky B-EYE K20s at a recent Phish concert and when a sample K10 became available he got a chance to “play with it” for a day and see if the fixture would fit into STS9′s new touring rig.

“I used 22 K10s for Red Rocks, and we’re touring with 20,” he says.
“I’m using the K10s any way I can: every function they have, I use – wash mode for big-stage looks, beaming down without opening the prisms for small beam effects, rotating them and opening and closing the prisms for custom effects.” At Red Rocks and on tour STS9 has opted not to use video elements in their shows so lighting design and effects play a bigger role than ever.

At Red Rocks Waller placed one K10 behind each of the five band members and tilted the fixtures forward about 25º “to get them under the band and all the way back to the rocks,” he explains. The remaining 17 K10s were mounted in the truss. The fixtures will be deployed in a similar way for the touring rig.

Waller built custom macros for the K10s that extend creative flexibility with color. “I’ve written probably 30 custom chases with colors attached. So in a three-spoke fan each spoke stays the same color all the way around, like a gobo wheel spinning. I can fire them of in any combination,” he explains.

He attached ghost protocol presets to his custom chases to facilitate writing the macros assigning the K10 color combinations. “Each chase can have 60-80 steps, so I only have to write it once, not each time I have a different color combination.”

Waller has also invented a way to see each beam of the K10s in MA 3D setting up each cell as an individual moving light. “It’s been priceless for me to see the beam structure in the studio without setting up the entire rig,” he says.

“Brown Note is a great company and has always been a great partner of ours,” says A.C.T Lighting Vice President of Sales, Brian Dowd. “They’re always excited about trying the latest and greatest equipment and they’re able to do so in a way that really showcases the gear.”

Chris Ruppel from Brown Note Productions gets kudos from Waller for “making it all happen” with K10 and grandMA2 programming.

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.

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