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Archive by David Steinberg

Clay Paky Fixtures and grandMA2 Hit the Road with Fleetwood Mac

SF8A5210The iconic rock band Fleetwood Mac never stops thinking about tomorrow – and planning their next tour to delight fans. For their current “On With the Show” tour a complement of Clay Paky A.leda B-EYE K20 LED-based moving lights, Sharpy Wash lights and a grandMA2 console have been specified by lighting designer/production designer Paul “Arlo” Guthrie. A.C.T Lighting, Inc. is the exclusive distributor of Clay Paky fixtures and MA products in North America.

The band launched the 40-city North American tour September 30 and, after playing to packed houses, added at least 28 more dates in a second leg, which will begin in January 2015. “On With the Show” marks the first full-member tour for Fleetwood Mac since 1997.

“Designing for Fleetwood Mac is always a challenge since you’re dealing with five different personalities,” says Guthrie. He began by giving them “the biggest, cleanest, most open stage set up I could, so every single seat in the house gets a clear view of the stage. I made sure to remove clutter so everyone can see the band members.”

Guthrie added a big upstage videowall, three above-the-head ribbon videowalls and 12 lighting pods.

A dozen B-EYE K20s are on the audience side of the pods to light the fans. “They do pixel effects and perform very quick, easy and huge washes from 12 watts – they can light the entire audience,” Guthrie says. “We don’t use smoke or haze so we don’t really use beam effects. But we do use a lot of pixel animation. For some songs the fixtures replicate what’s happening on the videowall.”

Guthrie was introduced to B-EYE K20s at LDI last year. “This is the first time I’m using them. The colors, dimming and patterns are great. The idea that we have 12 lights we can switch on and then light up the entire arena is great!”

Lighting Director Chris Lose adds, “The things that impressed me the most about the B-EYEs was their ability to act like an LED fixture and then with a simple flip of a channel behave just like an incandescent fixture. Most LED fixtures on the market are missing that warmth and glow. 

Three Sharpy Washes are mounted on each pod for a total of 36 fixtures. “They serve as the workhorse overhead wash light,” Guthrie explains. “Because of their brightness we get a little bit of a beam effect even with no smoke. That’s a real bonus.”

Guthrie first used Sharpy Washes for Fleetwood Mac last year then subsequently deployed them for Nine Inch Nails. “I like the fact that they don’t dim like an LED: Their mechanical dimmer is fantastic.  I like the size, speed and colors – it’s a great little workhorse light. There’s still room in my shows for lights that actually light stuff, and with Fleetwood Mac, we have to see the band and the stage, not just millions of pixels in your eyes.”

Guthrie opted for a grandMA2 console to run all the lights, media servers– even a heater for drummer Mick Fleetwood. “The whole show is cue-to-cue, no timecode,” he reports. “The grandMA2 is a nice stable and familiar work surface. It’s great to have something you can trust. While this is a straightforward show, it’s still important to have a system you can rely on. The grandMA2’s networking capabilities are also awesome; they enabled me and lighting director Chris Lose, who is touring with the band, to program simultaneously.”

Lose adds, “Simultaneously programming with Arlo on the grandMA2 is very easy. His vision was made very clear when he could dial up a look he wanted on his desk and then I could implement his looks into the show in a way that worked with the cue stack.”

PRG supplied the Clay Paky fixtures and grandMA2 for the tour.

George Masek, A.C.T Lighting Vice President – Automated Lighting, commented “We really enjoy working with Arlo on his projects, and I’m very proud that he has chosen Clay Paky and MA products to support his visions.”

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Electrosonic Provides Audio-Visual Systems Expertise For Trio of Thea Award-Winning Projects

The Themed Entertainment Association (TEA) has announced the winners of the prestigious 21st annual Thea Awards, honoring creative excellence in theme parks, museums and other attractions. Electrosonic has once again taken part in several of the winning projects playing key roles in the National September 11 Memorial & Museum in New York City (cited for Extraordinary Cultural Achievement), Harry Potter & The Escape from Gringotts at Universal Studios Florida (Outstanding Attraction), and The StoryGarden at the Amorepacific Beauty Campus in South Korea (Outstanding Corporate Brand-land).

The Thea Awards were created by TEA to help realize a key mission of the association: bringing recognition to achievement, talent and personal excellence within the themed entertainment industry. From a modest beginning in 1994, the Thea Awards have become internationally recognized as a symbol of excellence. Winners will be honored at a black-tie gala on March 21, 2015, at the Disneyland Hotel, Disneyland Resort, Anaheim, California.

“Electrosonic is honored to have participated in three projects named as 2015 Thea Award winners,” says Bryan Hinckley, Entertainment Solutions Director at Electrosonic. “For a number of years we have contributed to multiple projects honored by TEA as outstanding examples of their craft. That honor continues with the trio of Thea Award winners just cited for outstanding achievement in their categories. Our congratulations to the winners!”

Electrosonic provided the audio-visual systems for the National September 11 Memorial & Museum, which opened in the footprints of The World Trade Center in Lower Manhattan. The museum is primarily located about 70 feet (21 meters) below ground offering a unique and moving visitor experience.

Honored by TEA for its Extraordinary Cultural Achievement, the National September 11 Memorial & Museum “thoroughly integrates the site of the event itself into the experience, displays artifacts of every scale in compelling ways, and provides detailed context and historical record in juxtaposition with emotional witness and testimony,” TEA stated. “The audio visual media and interactives are powerfully dynamic but sensitively engaging, giving visitors many alternate ways to connect to the story.”

TEA also said, “this Museum fulfills its mission, conveying its important story with eloquence and emotional power while allowing for thoughtful reflection, learning and tribute by every visitor.”

Electrosonic provided the projection system design and integration for Universal for Harry Potter & The Escape from Gringotts, a new ride attraction at Universal Studios Florida. TEA cited the ride for its overall excellence and emotionally engaging quality saying, “in the themed entertainment industry, this attraction seems clearly to be the new yardstick by which all will be measured.” TEA noted that, “using what must be the largest screen images ever employed in a ride-through attraction, combined with extremely sharp-filmed imagery, [the ride] delivers the convincing illusion of absolute reality.”

In addition, Electrosonic handled the design and systems integration for BRC Imaginations Arts, and maintains a service contract for Amore Pacific at The StoryGarden on the Amorepacific Beauty Campus in Gyeonggi-do, South Korea. Situated at the corporate headquarters of the cosmetics and beauty products company, The StoryGarden was singled out by TEA for transforming the concept of a factory tour, “elevating the experience of a brand visitor center to the highest artistic and emotional standard…The arrival, interior design, media installations, interactives and galleries all deliver on the essence of Amorepacific’s brand while also delivering a distinctive experience.”

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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Clay Paky Sharpy Fixtures Help Deliver Powerful Message For “Stand Up to Cancer” Blockbuster Special

1When the fourth biennial “Stand Up to Cancer” special aired in the US and Canada on September 5 it raised more than $109 million for its groundbreaking collaborative research efforts. Some 60 Clay Paky Sharpy fixtures were deployed for the event. A.C.T Lighting is the exclusive distributor of both brands in North America.

More than three dozen broadcast and cable networks in the US and Canada telecast “Stand Up to Cancer.” The show, staged at LA’s Dolby Theatre, featured celebrity guests, music by Lupe Fiasco, Jennifer Hudson and Common, The Who, the Dave Matthews Band, and Ariana Grande, and inspiring stories about patients who have benefited from the research supported by the organization. Atomic Lighting of Lititz, Pennsylvania provided the Clay Paky fixtures.

“This show really means a lot to me,” says Brad Hafer, vice president of account management, at Atomic Lighting. “‘Stand Up to Cancer’ is about something real – it’s not just done for ratings. It made us all feel that we were contributing something to the cause.”

Allen Branton was the lighting designer for the special with Felix Peralta, Daniel K. Boland and Darren Langer the lighting directors. Peralta worked closely with Branton on the show design. “We’ve been associated with ‘Stand Up to Cancer’ before; its message is a very powerful one and the show has high production values, but not flashy ones,” he explains.

The Sharpys were used as strong beam lights and for their Sharpy dappling technique, Peralta points out. “Giant white walls acted as video projection surfaces, which we enhanced with accents of color or Sharpy dappling – treating the scenic pieces with the high-output fixtures to create a nice effect that you can’t get with a hard-edged light. It was a big part of the look of the show.”

Since the special was “a strong, video-driven show,” Peralta teamed with Laura Frank, screens producer and media programmer, on the media canvas. “She and I like to make sure the lighting and video stories come from the same center, that the transitions are the same, the color schemes complementary or matching,” he explains. “When lighting and video play together both are much more powerful.”

Frank, who is the principal of Minneapolis-based Luminous FX, says Kurtis Kennington of Digital Flodur designed the media content creating “about a dozen looks for the show, plus the band. The entire set was projection mapped so the environment was video driven.” Looks included themes of science and technology to support certain speakers; the band was often accompanied by photomontages of cancer survivors.

“The show was as much about lighting the people in the audience as those on stage,” says Boland. “We made sure everyone was lit, the color temperature was fine. During rehearsal we keyed at least six positions for the people making speeches and introducing the videos, including one on a round extension into the audience.”

Darren Langer, the floor lighting director, worked closely with Boland to ensure consistent exposure levels for the talent and the audience and a “polished” look, Peralta says.

Peralta himself was responsible for lighting the environment for the show, including the scenic pieces and architecture of the house. He says production designer John Calkins partnered with Branton to create a “tasteful and powerful” environment that helped deliver the show’s strong message.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, concluded, “This was a very important show for a lot of reasons and we were proud to be a part of it. All the lighting professionals involved in this show are great talents and we always enjoy working with them.”

A.C.T Lighting is the exclusive North American distributor for Clay Paky.

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Lightware Launches Series of Input and Output Boards for 25G Matrix Platform

25g_boards_4kLightware Visual Engineering has introduced a new set of boards for its flagship 25G matrix platform. They include the 4K-compliant 25G-HDMI2, the 25G-DVID2, and the 25G-OPTS2 and OPTM2 all of which feature 4K UHD support and handle resolutions up to 4096×2160 @ 30Hz. Lightware USA. is the US distributor of Lightware Visual Engineering products.

“Lightware offers the world’s fastest matrix switcher, the 25G Hybrid 80×80 frame, and has many supporting products in the 25G family,” says Drew Taylor, director of sales and applications at Lightware USA. “There are now many different I/O boards available for the 25G frames but these three stand out for the capabilities and flexibility that every Lightware user will want to take advantage of.”

Lightware’s 25G Hybrid frames are scalable up to 160 inputs and 160 outputs and manage signals in 8 distinct layers. The platforms offer break-away switching, which has never been achieved before and which effectively results in “three-dimensional” switching flexibility. At the heart of the platform are the various I/O boards, which connect sources and display devices together either locally or through various extender options.

The 25G-HDMI2 4K compatible HDMI input and output boards provide fully transparent HDMI 1.4 connectivity to the latest high-end digital sources including the Audio Return Channel and 3D functions between the endpoints. The new 300 MHz board supports the latest 3D formats as well as HD multichannel audio. They feature 8 HDMI connectors with an additional digital S/PDIF audio connector for each HDMI port. Each input and output has 30m copper cable compensation and individual EDID Management.

The 25G-DVID2 4K compatible DVI-D single-link input and output boards provide fully transparent HDMI 1.4 connectivity to the latest high-end digital sources including 3D functions between the endpoints. The new 300 MHz board supports the latest 3D formats as well as HD multichannel audio. Each input and output has 30m copper cable compensation and individual EDID Management.

The 25G-HDM2 and 25G-DVID2 series are both available with different audio and USB add-ons for more complex applications where advanced audio or control options are necessary.

The 25G-OPTS2 4K compatible single-mode optical input and output boards are available with a variety of fiber optical connectors like LC, SC, ST or Neutrik OpticalCON. These optical boards can extend up to 10,000m distance with single-mode fiber technology. The OPTS technology provides a transparent medium for all existing video, audio and control signal formats according to the 25G multilayer architecture (Video, Audio, Ethernet, USB KVM, RS-232, IR and CEC transmission), and allows extension from MODEX transmitter and receiver units.

The 25G-OPTM2 4K compatible multi-mode optical input and output boards are available with a variety of fiber optical connectors like LC, SC, ST or Neutrik OpticalCON. These optical boards can extend up to 300m distance over multi-mode fiber. The OPTM technology provides a transparent medium for all existing video, audio and control signal formats according to the 25G multilayer architecture (Video, Audio, Ethernet, USB KVM, RS-232, IR and CEC transmission), and allows extension from MODEX transmitter and receiver units.

“The addition of these three series of boards demonstrates the deep and expanding commitment of Lightware to 25G signal management,” Taylor reports.

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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New York Festival of Light Makes a Hit in DUMBO with Clay Paky Supersharpys in U.S. Debut in Dazzling Beacon Installation

New York Festival of Lights, Dumbo/Brooklyn New YorkThe first annual New York Festival of Light (NYFOL) came alive November 6, 7 and 8 after dark in DUMBO, Brooklyn attracting crowds so large that the family event had to turn away people Saturday night. NYFOL utilized numerous Clay Paky fixtures on the main stage under the Archway of the Manhattan Bridge, and Clay Paky’s new Supersharpys, controlled by a grandMA2 onPC Command Wing, created the spectacular Beacon installation at The Pearl Street Triangle. A.C.T Lighting, Inc. is the exclusive distributor of Clay Paky lighting and grandMA products in North America.

NYFOL offered visitors a curated collection of lighting installations created by local and international lighting designers, performance artists and technologists – all working with the medium of light. The event was presented by The New York Festival of Light Organization, a non-profit art group. Its vision is to create and provide a unique and delightful experience for residents and tourists by enhancing New York City’s architecture through interactive, static and projected lighting installations.

NYFOL marked the U.S. debut of Clay Paky’s Supersharpy fixture. Clay Paky was also represented at the festival by a dozen each of Sharpys, Alpha Spot HPE 700s and A.leda B-EYE K10s.

Lighting designer Ira Levy, who heads lighting production company Levy Lighting NYC, cofounded NYFOL with Liam O’Braion and serves as its creative director. Four years in the making, NYFOL finally gives New York the kind of impressive festival of light found in other major cities.

“We have such an active lighting industry and were the only city without a festival of light,” says Levy. When prospective sponsors and others asked for a proof of concept, The NYFOL Organization staged last year’s First Light in lower Manhattan as a launch event to raise awareness and generate excitement for a festival of light. A.C.T Lighting supported First Light and was eager to jump on board for NYFOL, which was planned for DUMBO.

“Ira is a long-time friend, so we offered to provide the new Supersharpys and create a powerful statement for the festival,” says Brian Dowd, vice president of sales at A.C.T Lighting. Collaborating with Levy, he mounted eight Supersharpys on a 6-foot tall platform and pointed the lights up at the sky to form a the Beacon, a stunning tapering column of blue light that could be seen from midtown Manhattan. A big mirror ball hung in the center of the platform spilling shards of light over the area when the beams focused on it.

“We have been demo’ing Supersharpys to customers here for several months but this was believed to be the first use of Supersharpys in the U.S.,” says Dowd. “Supersharpys were just used to commemorate the 25th anniversary of the fall of the Berlin Wall. Each Supersharpy is only 470 watts but their power is mind-numbing: Nothing in lighting history comes close to it.”

Clay Paky builds on the Sharpy’s worldwide success with Supersharpy, an ACL beam-type moving head featuring a 470-watt, 7,800K lamp. Its light beam is three times brighter than Sharpy and packs an even bigger impact than the numbers suggest. Supersharpy’s light can reach incredible mid-air distances, making it the first low-wattage beam light that can really challenge a searchlight.

“The Beacon became an iconic part of the festival,” says Levy. “It reached up higher than the 20-story buildings in the neighborhood, and you could see the rotating pattern in the clouds.”

Dowd provided a grandMA2 onPC Command Wing to run the Beacon. “Its small footprint adapted well to the location,” he says. “It’s small but has all the power of the grandMA2 light in a package that was easily transportable to DUMBO.”

Levy Lighting provided the Clay Paky fixtures that played key roles on the main stage under the Archway of the Manhattan Bridge lighting the performers and highlighting the architecture of the structure. The stage hosted an array of DJs as well as singer and light performer Nicole Renaud; the sonic cinema group Zero Times Everything, which provided the live soundtrack for the laser show; and iLuminate.

“We lined the tunnel with two lines of stick truss, which housed the moving lights and laser system,” Levy explains. Twelve Sharpys accentuated the laser effects shooting beams “that were safe enough to light people,” he says. Twelve Alpha Spot HPE 700s “gave texture and depth to the ceiling architecture” while twelve B-EYE K10s “washed the stage and highlighted the performers.”

The NYFOL Organization was “really elated with the response” to the festival, which quickly went viral via social media and the local press, Levy says. “We felt it was a real opportunity for our industry to branch out from what people expect us to do – light for New York theater and concerts – and also capitalize on the general public’s fascination with light. It opened the door for more than B-to-B relationships. We were gratified to see so many young people and hope kids will remember it and students will think of light as a career path. NYFOL can also be a hatching ground for manufacturers to think about different – maybe unintended – ways to use their lights. It opens up the industry to more creativity by more people.”

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

IMG_7890Clay Paky Sharpy and B-EYE K20 fixtures 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.

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.”

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. 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.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, added, “This was a very interesting project and we’re so glad the B-Eyes were able to delivery everything Scott needed for this. We look forward to working with him again.”

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Moorpark College’s MDG Ice Fog Q Generator Delivers Just the Right Atmosphere for New Production of “Dracula”

MC DRAC 1Dracula is eternally popular. A new version of the tale of Vlad the Impaler hit big screens recently while on stage Steven Dietz’s adaptation of Bram Stoker’s “Dracula” opened at the Moorpark College Performing Arts Center where an MDG Ice Fog Q generator helped create just the right atmosphere for the play. A.C.T Lighting, Inc. is the exclusive distributor of MDG foggers in North America.

Moorpark College is one of three in the Ventura Country Community College District near Simi Valley, California. The Performing Arts Center staged “Dracula” in time for Halloween with evening and afternoon performances in mid- to late-October.

“When the theater opened in 1996 we had two dry ice barrels with pumps for fog effects, and they broke down a lot,” recalls Mickey Howell, the performing arts technician at the theater. “Then we rented MDG Ice Fog units. In the last couple of years funding from the state has enabled us to buy new equipment, and an MDG fogger was one of the things on my list.”

Unlike traditional dry ice machines, MDG Ice Fog generators use liquid CO2, or liquid N2, to create the maximum low-lying fog with zero residue. The machines are extremely quiet, self-contained units on wheels for easy operation. They offer adjustable low fog output and are compatible with remote control timers and a DMX interface.

Howell had seen an MDG Ice Fog Q machine at LDI and was impressed by the amount of its output in a short amount of time. “Also, you could pump it out for long periods – five or ten minutes continuously,” he says. In addition, “the fog dissipates rather than rises. With dry ice there are so many nuances and it can be dangerous, especially around students. But the MDG fogger is very easy to use. It’s the best I’ve seen in the past two years.”

“Dracula” marked the debut of the system. And it couldn’t have picked a better play to showcase its capabilities. Fog shrouds Dracula’s castle and Lucy’s tomb and, at times, Dracula himself appears as fog. “One of the characteristics of Dracula is that he is actually fog in part of the play,” Howell explains. “It’s a great effect, and we’re glad to be in the position to create it now.”

He reports that the MDG Ice Fog Q “worked out really well” for “Dracula.” “It’s an incredible unit that does what we tell it to do. It produces great effects and is very reliable. And in theater reliability is especially critical.”

Howell gives kudos to A.C.T Lighting president Bob Gordon who has “helped educate” him on equipment to enhance the Moorpark College productions. “The first set of scrollers we ever got were from Bob – we’ve been dealing with A.C.T since we opened,” he says. “Bob has helped me to grow the equipment inventory and the quality of my theater. It’s nice to work with someone you know and trust.”

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 Makes Big Tech Staff Expansion To Support Continuing Growth

WorldStage is pleased to announce five new hires, across a wide range of departments, at its East and West Coast offices. Coming on board are Susanna Harris-Rea as lighting project manager, Russell Cowans as audio engineer, Gus Garces and Greg Duffin as staging project managers, and Frank Musgrove as senior video engineer.

“We are delighted to welcome these five talented and experienced professionals to the WorldStage family,” says company president Josh Weisberg. “We prefer to have our technical people on staff rather than freelance and we pride ourselves on having the most professional staff around. These “newbies” fit right into that philosophy, although I can’t say they’re that new, as we’ve known them all for years.”

Susanna Harris-Rea joins WorldStage in New York in the role of lighting project manager. A graduate of Ohio’s Oberlin College, she has been a freelance production electrician and gaffer for the last 15 years and served as artistic director from 2000 to 2009 at Overlap Productions, a New York based theater company.

Audio engineer Russell Cowans returns to WorldStage after a three-year absence. He was audio engineer at WorldStage predecessor Scharff Weisberg from 2004 to 2011 then joined the celebrated Alvin Ailey American Dance Theater where he remained for the last three years.

Gus Garces comes to WorldStage as staging project manager having served as audio tech/production manager and most recently in sales and production at New York City events agency Production Glue LLC.

Garces previously was director of sales at Paratore Audio Visual, director of production at Star Group Production and Cipriani, production manager/audio engineer at Manhattan Center Studios/Hammerstein Ballroom and staff engineer at Sound Works Studios and The Hit Factory Recording Studios. Like Cowans, Garces enjoyed a stint at Scharff Weisberg earlier in his career where was audio tech/production manager from 2003 to 2005.

Staging project manager Greg Duffin has more than 20 years experience in recording, theater, concerts, events and corporate meetings, including world tours with gold and platinum recording artists. For the last four years he has headed Duffin Design in New York City where The Tribeca Film Festival, ABC, Warner Bros Records, A&E Networks, AMEX, Morgan Stanley, Standard & Poors, the NYC RoadRunners and Columbia University were among his clients.

Previously, Duffin was a sound designer with Basil Twist/Tandem Otter Productions, FOH concert engineer/systems technician at Martin Systems Audio, resident sound designer at the Japan Society of NYC and production manager/FOH engineer for Regina Spektor’s touring show. A graduate of Missouri State University, Duffin began his career with audio positions in Springfield, Lawrence and Kansas City, Missouri and in Atlanta.

Frank Musgrove joins WorldStage in Tustin, CA as a senior video engineer with 15 years experience in leading and managing AV production for a variety of events and programs for corporations, media outlets and staging companies. For 19 years he has been on the production staff of MLB’s San Diego Padres doing live and taped events at the stadium and off site; for almost as long Musgrove has been a member of the Boltvision game day staff for the NFL’s San Diego Chargers.

Musgrove was a senior AV production staffer with Qualcomm INC. from 2007 to 2012 and video head/project manager at Multimedia Presentation Group from 2004 to 2007.

He has done video replay and served as camera operator and EIC for numerous sports productions, including events from host broadcasters, ESPN, Fox, NBC, ABC and CBS. He also handled Vista Systems’ Spyder and Encore video playback and projection for sporting events, concerts and other multi-camera events in the San Diego market. Earlier in his career he had posts at San Diego State University, KUSI Television, King Video Cable and KCRA-TV.

Gary Standard, WorldStage CEO, concluded, “These hirings are another example of the continued growth of WorldStage on both coasts. We welcome all of these professionals to our staff and look forward to the contributions they will bring us.”

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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Kyle Means Creative Uses High Resolution Systems’ UDC Software for Custom Video Switching

IMG_0119Kyle Means, AV producer and engineer at Atlanta-based Kyle Means Creative, has found High Resolution Systems’ UDC (Universal Device Controller) to be his controller of choice for projects nationwide.

Kyle Means Creative specializes in providing screen switching, video content and camera switching for companies like PSAV, PRG, Spectrum Productions and others; Means also works directly with corporate clients. Means is a former lead show team technician and director of sales at PSAV, Atlanta. He also serves as technical director of Titanium Conferences for the International Titanium Association.

“I use UDC 400 and an iPad to create custom switching services,” he explains. “A lot of people use UDC to control Vista Systems’ Spyder [image processor], but what I think is really cool is using UDC to control other devices like DT Videolabs’ PlaybackPro so we can run concurrent video playback on multiple screens simultaneously. That can only be done through UDC.”

Means also likes the ability “to manage multiple AJA Ki Pro record decks,” he says. “I can roll multiple Ki Pro machines and manage multiple record decks.”

He’s beginning to experiment with using UDC to control multiple single destination switchers from a single control surface. “That essentially gives clients who can’t afford a true matrix switcher the kind of show that has multiple destinations,” says Means. “A lot of companies don’t have these big matrix switchers but need that capability for a show. So we’ll have a number of switchers set up with UDC as the central control surface. Through programming and UDC we can deliver the same kind of functionality as a big matrix switcher.”

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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LUMINEX Shows Latest Product Developments at LDI 2014

GigaCore_New_FamilyLUMINEX Network Intelligence, a Belgium-based developer of lighting control, pro audio and video data distribution equipment for the entertainment industry, will showcase its latest product developments, GigaCore 16RFO, GigaCore RPSU and GigaCore firmware V2, at LDI 2014 in Booth 1366.

Last summer, LUMINEX introduced the latest member of its product family, the GigaCore 16RFO Ethernet switch specially tailored for touring applications and designed with the input of key industry players.

The unit brings all the advanced functionalities of the GigaCore Ethernet switch range to a custom touring package. The 2U-high device offers rugged optical connector options, including OpticalCon, which can be set at the front or rear of the unit, for a very flexible solution. A full back up power supply is available for true redundancy at the power level. A redundant PoE supply kit is available as an option.

“We are very pleased to add this touring-friendly device to the GigaCore product line,” says Hugo Larin, Director of LUMINEX Network Intelligence in America. “Front-end display, rugged connectors and the easiest managed switch interface on the market combine in a no-compromise Ethernet switch that is the result of feedback from the best users out there.”

LUMINEX recently announced the introduction of GigaCore firmware V2, which ushers in a brand new core system for the GigaCore family of Ethernet switches. V2 firmware features support of precision time protocol (PTP v2), new group web interface and enhanced PoE and Multicast media support.

Also on hand at LDI will be the GigaCore RPSU, a redundant main and PoE supply rack-mount device for the GigaCore family. It can support two GigaCore Ethernet switches and provide back up to one unit in case of power failure.

Luminex will also display the beta version of 4.2.0 firmware for its range of Ethernet-DMX converters. This version brings evolutions such as synced output mode, which allows all outputs to sync perfectly within the entire network. This guaranties a smooth and synced data flow on large-scale installations, such as media facade pixel mapping. The other new feature of this 4.2.0 firmware is the fade between sources. Users can now seamlessly switch between two ArtNet, sACN or DMX sources

“We are very excited to be back at LDI showing all these latest developments from LUMINEX,” say Larin.

About LUMINEX

LUMINEX Network Intelligence was formed by Bart Swinnen and Jan Renckens as a branch of parent company LUMINEX Lighting Control Equipment nv, which has an extensive technical background in the lighting industry. LUMINEX Network Intelligence launched its successful Ethernet-DMX8 converter in 2004 when it ran 32 DMX lines at the Paralympics in Athens. Their complete DMX and Ethernet solutions range debuted at Siel 2005 in Paris.

For more information visit www.luminex.be

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