A virtual press conference from Sound & Video Contractor

Archive by David Steinberg

PIX PRODUCTIONS and WorldStage Push Back the Boundaries at Adobe MAX 2014

2014_Adobe_MAX-2343Adobe MAX 2014 – The Creativity Conference unveiled the latest in new technology by using one of the world’s oldest staging techniques with projection mapping support from WorldStage.

The annual Adobe users’ conference, Adobe MAX is s a source of ideas and inspiration, a place where creative minds meet. It held its general sessions at Nokia Theatre L.A. Live. In the past, Adobe MAX has used extensive video projection pixel mapping as a canvas for showcasing artistic and graphical elements on stage. Bicoastal WorldStage has lent its projection mapping expertise to Adobe’s biggest annual event for the last three years.

This year PIX PRODUCTIONS, with scenic designer Peter Crawford, devised an interesting challenge for the producers, designers and engineers supporting the project. The question raised was whether it would be possible to project onto a pair of motorized 27×30-foot periaktoi and warp and track the imagery as the set pieces moved? The periaktoi would be projected upon from multiple 3D angles so the video images had to be perfectly reshaped, dynamically and on the fly, as the triangular screens rotated.

Dating back to ancient Greek theater, periaktoi are triangular-shaped devices used for displaying, and rapidly changing, theater scenes. For Adobe MAX, Crawford proposed to place a pair of periaktoi in the middle of an array of big screens on stage. As the periaktoi rotated they would alternately present angled and flat surfaces to the audience for a dazzling new twist on projected content.

“The dynamic reshaping of images projected across moving screens is a process that was not even possible just a few short years ago,” says WorldStage project manager Jack Dussault. “The combined efforts of technology experts at Worldstage East and West were deeply involved in the development and utilization of the pixel mapping technologies in this event.”

WorldStage devised a 28-channel, 42-projector rig that covered two large projection screens as well as the giant periaktoi. “This is the first time I’m aware of this type of mapping/tracking projection being used on a corporate presentation stage,” says WorldStage president Josh Weisberg.

“The show was a great success. Some of the first words from the Adobe CEO when he appeared on stage was, ‘What about those screens?’ followed by an eruption of applause and shouts from the audience. The screens were truly amazing,” Weisberg says. “The teams from PIX PRODUCTIONS and WorldStage, along with the content team at Core Studios, and set builders Mystic Scenic, accomplished something very noteworthy.”

Thirty-two channels of Pandoras Box were used as the primary media servers for pixel shaping and media playback. Christie Roadster HD20K-J projectors were used for the main and side screens and Christie Roadster S+20K projectors for the periaktoi.

“An All Star team of WorldStage projectionists and media server techs worked in shifts for several days, around the clock, to do the intricate programming and adjustments necessary for the convergence of multiple layers of overlapped projection in the very demanding, dynamic scenario,” Dussault reports. The result was “stunningly sharp images moving across changing, rotating angular surfaces, combining the stage and theater walls into a mesmerizing kaleidoscope of imagery.”

In addition to the stellar projection mapping, WorldStage supported more than 40 live demos of various mobile devices and software apps from two on-stage kiosks over two days of the convention. WorldStage provided 13 HD cameras – manned, unmanned and robotic – to capture the show for broadcast and live streaming over the web to viewers worldwide. Switching was performed with a Ross Vision HD multi-format production switching system and three Vista System Spyder X20 screen switching frame groups.

Los Angeles-based IATSE LOCAL 33 provided all of the Nokia Theatre technical staff and crewing.

“Once in a while we do a show that’s really special, and Adobe Max 2014 was one of those,” says Dussault. “I couldn’t be more proud of our teams’ efforts: from shop prep to the on-site team, the All Star projection team, our brilliant engineers and the fun and quirky Pandora team.”

“The collaboration from start to finish with WorldStage makes high-end, technically challenging and wildly creative beautiful events possible,” says Jeremy Nichols, executive producer at PIX PRODUCTIONS. “The engagement at all levels of the company and the close working relationship with WorldStage are the keys to the success of these events.”

At PIX PRODUCTIONS Shaun Boyle was the technical producer and John Bettini the technical director. At Core Studios Gary Jaeger was the director of the opening video.

At WorldStage Richard Bevan was the account executive, TJ Donoghue was the media server project manager and Florian Mosleh and Michael Kohler and Brianna Bainbridge were the media server programmers. Terry Nakamura, Scott Goegebuer, Dennis Alfonso, Luke Frey, Andrew Taylor and Jerry Edgerly were the projectionists. Jason Spencer served as the Spyder operator.

Neal Gass, Jason Spencer, Shane Zinke, Jerry Edgerly, Frank Musgrove, Jon Tanner, Patrick DelaCruz, John Muldoon and Shawn Hutcheson comprised the WorldStage engineering team.

Stan Dickerson, Gabe Benzo, Ryan Trefethen and Will Herald headed up the audio team.

Fabian Yeager was the lighting designer; Mark Jepsen handled the live camera direction. Dan Eslinger was the Mystic Scenic Automation Engineer and integral to the success of the mapping project. Dan Kirsch was the production carpenter; production rigging was supplied by Rigtech/Show Group.

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 Launches Two New Products at IAAPA 2014

Alcorn McBride, the leading manufacturer of show control, audio and video equipment for the themed entertainment industry, introduced two new products at the recent IAAPA (International Association of Amusement Parks and Attractions) 2014 convention: AmpTraXX, a16-channel amplifier with DSP, and the DVM8500-AB, a single-channel HD video playback unit with built-in amp and DSP.

“It’s always exciting to unveil our latest technologies at IAAPA” says Scott Harkless, Director of Sales at Alcorn McBride. “Our new feature-packed AmpTraXX amplifier is the perfect device for on-board audio applications such as ride vehicles. For kiosk applications that require the excellent video and audio quality, our new DVM8500-AB is a truly unique solution.”

AmpTraXX_front_smSpecially designed for vehicle applications, the compact, energy-efficient chassis of AmpTraXX packs 400W RMS into 16 channels of amplification and DSP. Each AmpTraXX channel can provide up to 25W into 8 ohms and independent DSP capability, including a 9-band EQ, dynamic range and compression control, as well as gain and stereo/mono mixing capability. Channel pairs can also be bridged to provide 50W operation if more power is required.

AmpTraXX is programmed with user-friendly software included with each unit. Set up is simple: Select a channel, click on the DSP element you want to program and type in the desired frequency or gain settings.

All settings are non-volatile; the USB and serial interfaces can also be used for on-the-fly volume and mute adjustments for installations equipped with a control system. AmpTraXX can even be controlled directly from RideTraXX, eliminating the need for an external control system.

Alcorn McBride now offers three models in its Single Channel HD video playback family: the DVM8500, the DVM8500-SYSD and the new DVM8500-AB. The latest addition to the line grew out of a customer request for the museum marketplace.

DVM8500_frontThe DVM8500-AB saves time and money and simplifies systems by enabling users to feed a flat-panel kiosk display and high-quality speakers without the need for a separate DSP and amplifier. The model includes a built-in 25W x 2 audio amplifier and DSP, making it the ideal solution for kiosk applications.

The unit features a solid-state, energy-efficient design, which plays back from CompactFlash so there are no moving parts to break. For user-friendly touch panel control, just team the DVM8500-AB with an Alcorn McBride show controller and ShowTouch solution.

Both the AmpTraXX and the DVM8500-AB resulted from client requests. “Nothing is more important to us than our personal relationships with industry partners” says Harkless. “These two new products are a fantastic example of how close cooperation with those partners can result in new product ideas that benefit the entire industry.”

These products are shipping in early Q1 2015.

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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Clay Paky and grandMA2 Help Light Up Austin City Limits Music Festival

ACL_HondaStageThe Austin City Limits Music Festival returned to Zilker Park for two three-day weekends in October to showcase more than 130 rock, pop and hip hop artists on eight stages, including Outkast, Beck, Eminem, Skrillex, Calvin Harris and Pearl Jam. Clay Paky A.leda B-EYE K20 and Sharpy fixtures and grandMA2 consoles were on hand to provide lighting support and control for festival performers. A.C.T Lighting, Inc. is the exclusive distributor of Clay Paky lighting and MA products in North America.

Eight K20s, supplied by LD Systems, were dedicated to each of two secondary headline stages and positioned in an upstage array across the rear truss.

“Most of the rig was a lot of smaller fixtures, so we wanted something that would give a big, full color wash,” says Seth Jackson, who served as festival lighting designer and lighting coordinator. “There were no backdrops on these stages and, given the power situation, the B-EYEs were the perfect choice to fill the whole back picture. They really blasted through everything else, and the guys who did the overnight programming had time to dig into the features and use the multi-array tricks that come out it.”

In addition to the K20s, “massive amounts” of Sharpy fixtures were deployed on the two primary stages, says Jackson. “They were very prominent. I knew everybody was going to want them, and we put in a lot of fixtures so people didn’t need to bring their own.” Bandit Lites supplied the Sharpy inventory.

Full-size grandMA2 consoles were found “everywhere you turned” at the festival, Jackson adds. “It looked like an MA showroom! There were grandMA2s on every stage. We had two at every station, and sometimes the bands brought their own.” LD Systems and Bandit Lites furnished the popular consoles.

“Ninety percent of the artists use grandMA2,” Jackson reports, “and they bring their own show files. With grandMA2’s networking capabilities people can work on systems simultaneously: Two artists can program their respective shows at the same time or one can prep their show while the other is performing. It all works really great.”

He also gives kudos to the K20s. “They worked flawlessly. We just turned them on and they worked long days – maybe 19 hours a day. All the lighting designers really got into them and were very happy with the rig.

“Everybody wants to use Clay Paky lights and grandMA2s!” Jackson declares.

George Masek, A.C.T Lighting Vice President – Automated Lighting, commented “”It is a pleasure for to have the chance to work with Seth again.  His designs are always innovative and he’s always thinking of ways to get more out of the luminaires. We’re also very proud to work with LD Systems this year providing the B-Eye fixtures and the grandMA2 consoles to them.  They have been great partners for us.”

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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Lightware Matrix Router Failsafes the Set for Innovative Rise Against Music Video

IMG_6008Lightware Visual Engineering’s MX8x8DVI-Pro matrix router played a key role on the set of the new “Tragedy + Time” music video from the American punk rock band, Rise Against. Lightware USA is the US distributor of Lightware Visual Engineering products manufactured in Budapest, Hungary.

“Tragedy + Time” is from the band’s latest album, The Black Market, and was directed by Wes Kandel and Casey Hupke of Zoic Studios. It features the band performing against a backdrop of stylized skyscrapers on which lighting effects and moving video images are projected.

Media server programmer Cory Froke, of Chaos Visual Productions in Burbank, selected the Lightware router to work in conjunction with a mixed d3 Technologies master server and a d3 understudy, which fed two stacks of two Barco FLM-HD20 ultra-bright projectors. Rectangular cardboard boxes covered in butcher paper and standing on end were the skyscraper-like set pieces mapped with dynamic, patterned imagery.

“Lightware was there to handle failover. We were shooting straight to tape with no postproduction,” says Froke. “In the event of a media server failure, we relied on d3 to send network switching commands to the Lightware router, which acted as a video signal switch from one server to another. The d3 custom scripting handles automatic failover with less than one frame of delay in the event the main media server failed.”

Froke explains that the innovative music video “was loaded in, programmed, shot and loaded out in under 12 hours with no preproduction and almost no post other than editing. All the color correction, slow motion and framing was done in-camera so the editors simply chose the best shots for each take.”

Froke says that the Lightware MX8x8DVI-Pro “is the most efficient router we have in stock. All of the Lightware gear is very seamless and reliable. You don’t even notice if it switches over. And its advanced EDID management is always super useful.”

In addition, “the router’s compact form factor was perfect for a job like this. It didn’t take up much space. There was a great feeling of relief to have it on board for this music video.”

Froke finds that “Lightware USA is always there if you need support on a project. It’s one of the few companies left where you call someone’s cell phone and it’s guaranteed that they will answer.”

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, system design and technical support.

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

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Clay Paky B-EYE K20s Get The Thumbs Up at The Colosseum at Caesars Windsor Hotel and Casino

DSC_6291Caesars Windsor Hotel and Casino in Windsor, Ontario has added 26 Clay Paky A.leda B-EYE K20 LED-based moving lights to the inventory of its concert venue, The Colosseum. A.C.T Lighting, Inc. is the exclusive distributor of Clay Paky lighting fixtures in North America.

A 5,000-seat venue, The Colosseum ranks #15 among venues in North America in desirability, service and shows, reports production supervisor Dan Leroux who toured for 25 years with Metallica, Pearl Jam and other top bands. “Artists come through this venue and are blown out of the water. We have close to 600 fixtures in the air, 10 moving pods on back and front truss, and all the latest lights, including B-EYE K20s.

“When a recent artist came, they left their lighting truck in Detroit because they didn’t need it. Another major headliner didn’t need to bring in their two trucks. Our rig is used by artists 90 percent of the time, which saves time and labor. They bring their ground packages and that’s it.”

Leroux noticed K20s on several TV shows, including a concert by Soundgarden and asked Andrew Beck, general manager of A.C.T Lighting Canada, Inc., about the fixtures. “Andrew brought some for us to see and the director and vice president of Caesars said we’ve got to buy these!” he recalls. “I’d never seen a fixture like it before. It’s amazing what it can do, and its brightness and color saturation are unbelievable.”

Each of the 10 lighting pods at The Colosseum has a K20; six pods are mounted on the upstage truss and four on the front truss. The remaining 16 K20s are positioned on the ground. PRG Toronto supplied the fixtures.

“The fixtures really made an impression when a network television show was here,” Leroux says. “Their lighting director told me he changed his plans and was going to use them in the show’s upcoming rig – they made that heavy an impact on him.”

Leroux likes “how versatile the K20s are: You can use them as a wash, as a spot, even turn them into a Sharpy with the size of that beam. I love having independent control over every pixel, the effects macros are amazing and the colors are vibrant with true reds and purples.”

He admits to being “pretty fussy about fixtures” and says he looks at a lot of lights that don’t make the grade. “Automated fixtures are changing, the technology is changing and the K20s are years ahead of everything else. It’s a real world-class fixture. Clay Paky hit on a winner with this product.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, added, “This venue sounds perfectly suited for our B-EYE’s. Their versatility should work well for any performance they bring in.”

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NASA Headquarters Adds Vista Systems’ Spyder to Multi-purpose Auditorium

Washington-20141121-00047NASA headquarters in Washington, D.C. has upgraded its main auditorium with a Vista Systems Spyder image processor installed by Whitlock, a global AV and unified communications solutions provider headquartered in Richmond, Virginia.

“NASA hosts a variety of events in their auditorium from project reviews and town halls to press conferences and tweet ups,” says Jim Stephens at Whitlock. “NASA needed to be able to see multiple images on one screen, which was already in place. So we suggested three Christie projectors, edge blended, and a Vista Spyder to achieve the required results.”

“The auditorium holds 200 people and is also used by NASA TV for broadcasts,” notes Gerald Gloster, branch chief for facilities and space planning at NASA HQ. “We have a one-piece glass screen, approximately 8×22 feet in size, with rear projection. We need to be able to handle a number of different inputs and different AV aspect ratios and put multiple images up on the screen.”

Whitlock chose Spyder after having many positive experiences with the system. “We’ve been using Spyder for several years on projects, and it has proved to be great, a solid workhorse,” says Stephens. “Spyder is at the top of its class – it’s really the best product for this kind of installation.”

Spyder gives the auditorium eight inputs so it can source from DVD players, Blu-ray players, NASA TV feeds and multiple laptops and display their images on the screen. “We can run something off the DVD player and show PowerPoint graphics on a split screen,” Gloster explains. “We can split the screen for up to eight different images.”

Gloster says, “Whitlock took us down the right path with Spyder. It’s been working great, and we’ve been very happy with it.”

Stephens finds that “Vista Systems is always good to work with. They’re helpful and smart guys. And when you ask for support they’ll jump through hoops to give it to you.”

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.

About Whitlock
Whitlock is a Global Audiovisual (AV) and Unified Communications (UC) Solutions Provider, specializing in collaborative technology design, integration and managed services. The company helps customers meet goals, drive action and improve efficiency by streamlining interactive technologies and standards. Areas of expertise include enterprise videoconferencing, unified communications, digital media, digital signage, video walls and projection technologies. Whitlock also offers follow-the-sun 24×7 service level agreements as well as onsite and remote AV/NOC support. Whitlock serves customers from 20 U.S. locations, plus a worldwide delivery partner network through the Global Presence Alliance.

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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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