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Archive by David Steinberg

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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WorldStage Hires Jerry Romano as Director of Broadcast Sales

JerryromanoWorldStage is pleased to announce the addition of Jerry Romano as Director, Broadcast Sales. An industry veteran, Romano was most recently Vice President, TV/Film at the New York City office of 4Wall Entertainment Lighting, a national company offering entertainment lighting rentals, lighting systems design and integration.

“Jerry is a seasoned professional with more than two decades of experience in sales management, operations and production in the areas of television programming and digital media,” says WorldStage president Josh Weisberg. “His expertise includes syndicated and broadcast programming, series, event production, cable network start ups and IPTV programming.”

At WorldStage Romano’s main duties will be video, audio and lighting sales to broadcasters for permanent and temporary studio work, including rentals, staging and equipment sales in the New York metro area and beyond. “With Jerry’s help we hope to grow and further consolidate the significant work we’ve been doing in this market segment,” Weisberg adds.

Romano began his career with the historic launch of MTV and did the opening camera shot when the first words were said, “You’ll never look at TV the same way again.” He has always been in the forefront of the industry utilizing the first portable video equipment in the late 1970s and witnessing the birth of cable television, the first use of nonlinear editing systems for live broadcast, early HDTV production and the launch of IPTV programming services.

At CBS Romano created the business unit and managed the staff that marketed CBS Broadcast Center, which included scenic, studios, postproduction, mobile and satellite services, to external clients. At The Image Group he spearheaded all business development activities for New York’s largest studio and postproduction facilities services company.

In his role as Vice President of TV/Film at 4Wall Entertainment Lighting his clients numbered many broadcast and cable networks, reality shows and Internet-streamed programs.

Romano has long been associated with the Emmy organization and has served as Chairman of the Emmy Awards in New York and Executive Producer of 10 Emmy Award Gala broadcasts and produced the 30th News & Documentary Emmy Awards. He is a long-term member of the National Emmy Awards Committee.

“Joining the team at WorldStage is an exciting opportunity for me to work with people who have a deep understanding of technology and have built a solid platform in broadcast, offering video display, lighting and sound to studios that include the new ESPN Studios and The Tonight Show Starring Jimmy Fallon,” says Romano.

Gary Standard, WorldStage CEO, concluded, “Jerry is going to be a great addition to our team. Our broadcast business has always been always been an important component to our company and he will contribute greatly to the phenomenal growth we’ve seen in this market over the past two years.”

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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Alcorn McBride Welcomes Devin Acker to Software Engineering Position

DevinAlcorn McBride is pleased to announce the hiring of Devin Acker as Software Engineer. He join the company in a new position, which has been created to meet the growing demand for staff at Alcorn McBride, the leading manufacturer of show control, audio and video equipment for the themed entertainment industry and a rapidly growing provider of audio and video systems for retail and transportation.

As Software Engineer, Devin Acker reports to Alcorn McBride’s Project Engineer and is responsible for developing and maintaining MS Windows-based GUI applications for programming, configuring and controlling the company’s audio, video, show control and lighting equipment. Acker will also provide customer support and interface directly with customers regarding feedback on software design.

“Devin’s computer skills are just what we need,” says Joy Burke, Senior Product Engineer. “The new Software Engineer position gives him a great opportunity to further his software development talents in an innovative and challenging environment.”

Acker is a 2012 graduate of the University of Florida with a degree in Computer Science and a minor in Electrical Engineering. He has pursued several open-source personal projects using various languages and technologies.

Most recently Acker served as Applications Development Analyst with Black Knight Financial Services where he maintained and developed software responsible for processing millions of mortgage loans for clients nationwide as well as various internal development and deployment tools.

“I decided to join Alcorn McBride as Software Engineer because I knew that this unique position would be a perfect fit for my skills and interests,” says Acker. “I am greatly looking forward to helping continue to develop exciting and innovative products for all of the company’s clients around the world.”

About Alcorn McBride:
Founded in 1986, Alcorn McBride is the leading manufacturer of show control, audio and video equipment for the themed entertainment industry, and a rapidly growing provider of audio and video systems for retail environments and transportation applications. Staffed by some of the industry’s best engineers and backed by outstanding customer support, the company has demonstrated great agility in bringing new designs to market. A hallmark of Alcorn McBride products is their durable, zero maintenance design. The company’s products provide consistent, reliable operation for audio and video playback applications worldwide. For more information, visit www.alcorn.com.

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New Birthplace of Country Music Museum Explores Historic 1927 Bristol Sessions with Audio and Video Systems from Electrosonic

BCM day 2-21Straddling the Virginia and Tennessee state lines, the town of Bristol just opened the Birthplace of Country Music Museum, an affiliate of the Smithsonian Institution, featuring audio and video systems provided by Electrosonic.

The new museum celebrates the historic 1927 Bristol Sessions, which are considered the origin of modern country music. Held by the Victor Talking Machine Company in a local hat warehouse, the sessions were made possible by the advent of portable audio recording technology. Nineteen performers traveled to what was then the largest urban area in the Appalachians to raise their voices in song; the sessions marked the commercial debuts of the legendary Jimmie Rodgers and the Carter family.

The 24,000-square foot Birthplace of Country Music Museum uses multiple theater experiences, interactives and artifact displays, to tell the story of the Bristol Sessions and their far-reaching influence. The museum is in a vintage building that formerly housed a truck dealership; over a period of years, it was gutted and retrofitted to be true to the era of the Bristol Sessions.

Electrosonic was brought on board the project in its early stages by Washington, D.C.-based Hillmann & Carr, which produced the museum’s video content and handled interactive programming. Electrosonic’s Design Consulting team worked with Joseph Nicholson of studioMUSarx in Philadelphia on the initial exhibit design. Electrosonic’s Orlando office provided the subsequent AV systems and support for the facility.

“There were a number of challenges to working in a historically significant building,” says Electrosonic project manager Tim Wilson.

Chief among them – and critical to a music-themed museum – were the issues concerning sound. Steve Haas, president of SH Acoustics in Milford, Connecticut, served as the acoustic and audio consultant to Electrosonic and was a key contributor to the project’s audio design and calibration. “We had to resolve acoustically challenging hard surfaces and create the highest quality sound experience for visitors,” he says. “Optimizing the sonic environment throughout the museum was the goal, whether in the theaters or individual exhibits.”

Visitors to the museum enjoy five theaters, four of which feature equipment from Electrosonic. The largest of them, the Orientation Theater, has a holding area styled like a train depot. Visitors hear associated sound effects and historic music clips through Acoustic Enhancements’ activated sound panels built into the depot walls while they wait to gain admittance to the theater; when they hear a train’s air brakes, the theater doors open and they take a seat to watch the video, “Bound to Bristol,” about the musical heritage of the Bristol Sessions. The Orientation Theater is outfitted with an InFocus projector, Renkus-Heinz speakers, Bag End subwoofers and activated sound panels by Acoustic Enhancements. A pair of NEC monitors above the walkways provides closed captioning.

The small Greasy Strings Theater displays a looped video exploring the philosophy and musical techniques behind the sessions. It has a BenQ projector and Innovox and Tannoy speakers. The Chapel has a few church pews where visitors can rest and watch a video about local gospel groups and how faith has shaped music. It has a BenQ projector, Tannoy speakers and four Acoustic Enhancements activated sound panels built into the pews. The Orientation Theater, Greasy Strings and the Chapel all have Screen Goo projection surfaces on their walls. Their video sources are Alcorn McBride DVM8500 digital video machines.

A stop at the Immersion Theater comes later in the tour. Its video focuses on making visitors part of the unbroken circle of country music and includes clips of many different artists performing “Will the Circle Be Unbroken” – from Jimmie Rodgers to Lynyrd Skynyrd. This theater has a custom Da-Lite perforated, curved screen, three blended BenQ projectors, a Dataton WATCHOUT video source, Tannoy speakers and Bag End subs – and room to dance. The walls are lined with murals showing crowds of appreciative country music fans at the annual Rhythm & Roots Reunion festival in Bristol.

Throughout the museum, a number of interactives equipped with 32-inch ELO touch screens engage visitors in various aspects of the Bristol Sessions and country music heritage. Interactives dubbed “Way Back Machines” enable visitors to scroll through photographs showing Bristol over the years; four “Mixing Stations” allow them to change the mix on assorted tracks from the sessions. Two “Bristol Remastered” interactives, with Brown Innovations focused beam speakers, showcase a number of session tunes covered by contemporary artists. An interactive recording booth invites visitors to sing along in their own version of the famous Bristol Sessions, and “Send a Postcard” lets them choose a digital postcard design to email to family and friends.

Bristol-born Tennessee Ernie Ford gets a video kiosk driven by an Alcorn McBride DVM8500 with overhead speakers. The “Rediscovered/Reinvented” video, displayed on a 46-inch monitor, shows how movies and media integrate country music today. It is also fed by an Alcorn McBride digital video machine.

The museum has provided space for a working internal radio station, too. Visitors can look through picture windows to the audio booth, which features a vintage radio control room and studio equipped with a 1940s Raytheon console from a Bristol radio station that has been retrofitted to convert analog to digital signals. The FCC has granted a low power FM license, and the studio will soon begin broadcasting WBCM, Birthplace of Country Music Radio. Electrosonic provided the interactive outside the windows where visitors can tune into four pre-recorded radio shows if the radio station is not broadcasting. Audio playback is provided by a QSC Q-Sys system.

Electrosonic built three control rooms on the second floor of the museum, which are connected with a fiber network. Empty racks have been provided to accommodate future expansion in the already limited space. Museum staff maintains all of the audio and video equipment.

“Everything looks very, very good and sounds excellent,” says Wilson. “The Birthplace of Country Music is a very cool place to visit, and the people there are wonderful. They really believe in the product and have done a great job showing the full spectrum of country music from the 1927 sessions to today.”

Dr. Jessica Turner, the museum’s director and head curator, concluded, “It was important to us, as a music museum, to have the highest quality sound and media experiences. This is exactly what the group from Electrosonic delivered. I was impressed that the whole team worked with us to troubleshoot problems to find innovative solutions, often going above and beyond to provide expertise and professionalism. I was sad when the installation was complete and we would no longer be working together.”

Burwil was the general contractor for the museum.

About Electrosonic
Electrosonic, celebrating its 50th anniversary, is an international audio-visual company that creates tailored, state-of-the-art solutions for a wide range of markets including theme parks, museums, control rooms, and corporate meeting rooms. Since its founding in 1964, Electrosonic has built a strong reputation for working on complex projects, both large and small, and has developed lasting partnerships with customers and suppliers. Beyond complete integrated systems, Electrosonic provides a comprehensive scope of services including technical design, projector lamp sales, maintenance and operational support.

Learn more about Electrosonic. Visit http://www.electrosonic.com

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Click Effects Selects Vista Systems’ Spyder for Content Delivery Solution at Philadelphia’s Lincoln Financial Field

IMG_20140909_115203Vista Systems’ Spyder has become the image processor of choice for large professional sports installations implemented by Click Effects, whose line of powerful, dependable and cost-effective digital content delivery systems are designed to meet the demands of live sports environments nationwide. The most recent venue where Spyder plays a key role in Click Effects’ content delivery solution is Lincoln Financial Field, home of the NFL’s Philadelphia Eagles.

“Vista Systems’ Spyder is used in virtually every large professional project with displays over 1080p or with displays requiring multiple windows,” says Greg Stocker, managing director of the sports division of Click Effects. “We’ve worked on nearly a dozen projects in the past few years – all using Spyder, in conjunction with our Crossfire and Blaze video playback systems, to facilitate a level of visual sophistication that fans are accustomed to seeing on broadcast television.”

In addition to Lincoln Financial Field, sports venues featuring Spyder include Bank of America Stadium, home of the NFL’s Carolina Panthers; NRG Stadium (formerly Reliant Stadium), home of the NFL’s Houston Texans; Toyota Center, home of the NBA’s Houston Rockets; American Airlines Center, home of the NBA’s Dallas Mavericks and NHL’s Dallas Stars; EnergySolutions Arena, home of the NBA’s Utah Jazz; and EverBank Field, home of the NFL’s Jacksonville Jaguars.

The new installation at Lincoln Financial Field is believed to have the most extensive content delivery system of any pro sports venue. “We have more than 30 content delivery systems playing audio, video, graphics and data over all of the LED displays, digital signage and ancillary displays,” says Stocker. “If you include suite and concourse monitors there are over 1,000 displays.”

To accomplish that feat operators marshal Crossfire systems, with HDSDI output, and Blaze systems, with DVI output; ten Crossfires handle L-Bar custom advertising alone.

The LED displays, as well as the digital signage and ancillary displays, are so large that three Spyder X20 1608s are used. Content delivery includes live feeds, replays, animations, stats, advertising and crowd motivational videos.

“Spyder enables users to put multiple sources over the huge displays in one canvas,” Stocker explains. “It also facilitates synchronous playback, including on suite and concourse displays, to completely envelop fans in ‘moments of exclusivity,’ such as a touchdown. And it’s all done with very smooth transitions and production values that approximate what fans see on the broadcast networks.”

Before Lincoln Financial Field’s installation came online Click Effects’ most ambitious pro sports project was Houston’s NRG Stadium where “as many as eight to ten sources feed a display that’s nearly 200 feet wide,” says Stocker. “Spyder creates numerous windows then goes to a full-screen replay or animation. Spyder transitions smoothly to reveal stats, advertising and live video.

“We’ve worked with half-a-dozen different multi-window scalers over the years and nothing has been remotely as powerful and reliable as Spyder,” he continues. “The number of layers it handles and how they’re manipulated, the ability to scale effortlessly – these are all hallmarks of Spyder. Nothing can match its reliability, power and transparency of integration with other content delivery systems.”

Click Effects also considers Spyder to be the go-to image processor for college sports installations. “Spyder is also a great choice for college venues,” Stocker reports.

This fall at LSU’s Tiger Stadium in Baton Rouge a single Spyder X20 1608 is working in combination with more than ten Crossfire and Blaze systems to drive the big LED display. “They’re getting the kind of broadcast looks they were unable to achieve before,” he says.

And at the University of Tennessee in Knoxville a Spyder is part of new centralized control for the inhouse TV station where it teams with Crossfire and Blaze systems to drive content to a high-density LED wall.

Click Effects is a division of Sound & Video Creations, Inc. in Nashville.

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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Lightware USA Introduces UMX-TPS Family of Extension Systems for Resolutions Up to 4K and UHD

UMX-TPS-TX140_frontLightware Visual Engineering has introduced the UMX-TPS range of extension systems designed to transmit multiple video formats at resolutions up to 4K and UHD. With these transmitters video, audio and control signals can be sent up to 170 meters at full HD over a single CAT5 cable. The UMX-TPS-TX120, UMX-TPS-TX130 and UMX-TPS-TX140 transmitters are ideal solutions for small meeting rooms, classrooms, control rooms and home cinema applications. Lightware USA is the US regional office and point of sale and support of Budapest-based Lightware Visual Engineering products.

The core concept of the Lightware UMX series transmitters is to offer multiple input types such as VGA, HDMI, DVI and Display port on the transmitter signal extender over Fiber and HDBaseT. The UMX-TPS series are the HDBaseT series universal transmitting signal extenders.

All of the transmitters offer an impressive feature set and provide 3D and 4K support. Analog audio and video signals are converted to a digital format and can be transmitted separately from each other. Using the factory, custom or transparent EDID emulation the user can fix and lock EDID data on each input connector. Advanced EDID Management forces the required resolution from any video source and fixes the output format conforming to the system requirements. EDID can be managed independently on each input connector and each connector may have a different resolution and EDID.

The units have bi-directional and transparent IR, RS-232 and 10/100 Ethernet transmission. The RS-232 connection supports command injection allowing it to send any RS-232 control command directly through the LAN connection from an external control system.

All of transmitters are HDCP compliant, CEC and EDID transparent and feature local audio embedding. Remote powering is available through the single CAT cable, but a local power supply can also be used. They can be mounted on a rack shelf or used stand alone. They are compatible with any of the currently available TPS receiver products and can be incorporated into larger routing switchers using the TPS input boards for the Lightware MX series of modular matrix switchers up to 80×80.

Each transmitter offers a different range of video and audio signal extension. The UMX-TPS-TX120 is designed for digital and analog video and audio signals, including VGA, YPrPb and HDMI 1.4 with analog stereo audio from local input or embedded 7.1 HBR audio and HDCP encryption. It offers HDMI, VGA and stereo jack connectors.

The UMX-TPS-TX130 offers the same features as the TX120 and adds DVI signal support and a GPIO control port.

The UMX-TPS-TX140 builds on the TX130 features with an additional DisplayPort video input and a DVI-I connector offering the maximum in flexible support.

The UMX-TPS family of transmitters is available to order now and will be shipping in larger quantities starting mid-September.

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.

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