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Archive by David Steinberg

Clay Paky Sharpys Light Up Drake vs. Lil Wayne Tour of Dueling Rappers

Photo: Todd Kaplan

Grammy-winning rappers Drake and Lil Wayne may be duking it out onstage this summer but behind the scenes it was no contest choosing Clay Paky Sharpys for their tour’s lighting rig.

Lighting designer/show design Guy Pavelo, of GP Design, is using 180 Sharpys provided by PRG for the Drake vs. Lil Wayne Tour, which kicked off at the beginning of August and runs through September. The show is also known as the Shed Tour for playing amphitheaters in 31 US cities, including New York, Chicago, Atlanta, San Francisco, Houston, Dallas and Los Angeles. The Grammy-winning rappers co-headline the tour performing dueling 10-minute sets, trading barbs and encouraging fans to use a special downloadable app to vote for one or the other of them. Drake and Lil Wayne ultimately make peace and perform together before the result of the poll is announced.

“We’re taking an arena-size rig and putting it in small outdoor venues pushing everything to the limit,” says Pavelo, who was lighting designer for Drake’s world tour. He has also lit Kanye West, Bon Jovi, Rihanna, Beck and Pharrell Williams. “A lot of the venues are literally wall-to-wall with trussing and lights.”

All 180 Sharpys are up in the air on two main sticks. “They are my gag trusses – and Sharpys in that quantity are crazy,” he says. “We can change the angles of the trusses, but we always see the Sharpys on the high line. They make really good visuals.”

Pavelo believes that Sharpys “help define the look of the show,” and he uses them on every show he builds. “They are definitely a staple for me these days,” he admits. “I’m always looking for new ways to do a different trick with them. I don’t have to use them for every single number, but Sharpys really help to highlight, make a statement and bring variety to a show.”

Pavelo notes that the tour is getting good reviews for its unique approach to showcasing the co-headliners. “Drake and everyone involved loves the show,” he says. “And I’m really happy with the Sharpys. The fact that we had to build the rig from stock-size elements and take it to all these places coast to coast is great.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “The Sharpy lights look amazing in those venues on that rig. We’re proud that Mr. Pavelo has chosen to use them on his tours.”

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

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WorldStage Supports Colombia Proexport Event at Metropolitan Pavilion

Proexport recently promoted the nation of Colombia brand to businesses in the US with a day-long series of events at the Metropolitan Pavilion in New York where WorldStage provided extensive audio, video and lighting support, including an unusual multi-projector array to accommodate the unique requirements of the Gallery’s reception visual display.

A government agency and part of the executive branch of the government of Colombia, Proexport is in charge of promoting Colombian exports, international tourism and foreign investment. The event featured panel discussions in the Metropolitan Suite, a Business Matchmaking Session and a closing cocktail reception, focusing on the campaign, “Colombian IT” in the Gallery.

WorldStage was approached by Sístole, a non-traditional marketing and advertising agency, based in Colombia, to handle all the technical elements for the event. “Our client had ambitious plans for the space, taking it well beyond the typical seminar and reception look, which is always a challenge we look forward to.” says WorldStage project manager Frank Mejia.

For the space called The Gallery, a beautiful space with white epoxy floors and custom lighting, Sonic Design from Bogota Colombia was called to designed an immersive lighting and video display system with several unique features aimed to overcome the challenges of limited ceiling height and exposed ductwork.

“We worked with Tim McDevitt from Kairos Productions to construct a scenic flat, measuring 52 feet wide and 6 feet 8 inches tall, to serve as a projection surface,” says Mejia. “WorldStage account executive John Panama, co-project manager Michael Cruz and I dialogued with Sonic Design and Sistole and decided the best course of action would be to utilize Panasonic’s ET-DLE030 Ultra Short Throw Lens in combination with Panasonic PT-DZ870ULK 8500-lumen projectors. WorldStage is one of the few companies that have invested in this expensive lens with the built-in mirror, but we were able to project a 12′ wide image from just 4′ away from the screen, maximizing space for guests to enjoy the reception. We used multiple projectors in an edge-blend configuration to cover the entire 52′ of image width.”

WorldStage also installed four Sharp 90-inch LCD monitors on truss; the client provided a Pandora’s Box media server and its programmer. A Lightware MX32 DVI digital matrix router frame handled signal routing.

WorldStage supplemented the Gallery’s ColorBlast TR fixtures with 36 Astera AL7 wireless floor spots, 72 Elation EPAR QA LED PARs and 10 Source 4 ellipsoidals controlled by a grandMA2 light.

Audio needs were met with a Yamaha QL5 mixer, 12 Meyer compact loudspeakers and 4 Meyer subwoofers.

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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Lightware Matrix Router Gets Kudos for Performance at Sochi Winter Olympics

Well before the start of the 2014 Winter Olympics in Sochi, Russia the Main Operations Center was installed inside the International Olympic Committee (IOC) building to run the day-to-day operations of various elements of the Olympic Village and venues, including transportation systems. Russia-based Live Sound Ltd. and its head of broadcast technologies, Andrei Mazurov, designed and installed central switching for the Center’s large videowall using a Lightware 65×65 MX-FR65R multifunctional matrix router. The company’s California-based arm, BBRS, Inc. handled procurement and part of the design work, including vendor communication. Lightware USA is the US distributor for Budapest-based Lightware Visual Engineering products.

The Main Operations Center was a powerful complex consisting of dozens of computers, monitors, a large multiscreen videowall, numerous management systems and many kilometers of wire. The big videowall, which displayed one continuous image or multiple views, showed operations personnel feeds of the sports competitions and the press room where Russian President Vladimir Putin, IOC members, heads of state and other VIPs held press conferences.

Lightware scored points for many of its features, which met the demanding applications of the Main Operations Center. “The most important requirements for all internal systems were superior reliability and intuitive, easy management despite the complexity of the systems. Operators did not have time to study all the details of the systems,” Mazurov recalls. “Based on these parameters the best solution for switching the videowall was the Lightware 65x matrix router.”

He notes that the modular design of the matrix allowed the technical team to configure the system to meet the objectives of the application. “The router offers more than 30 different modular I/O cards, which allowed us to interconnect many devices with different interfaces,” Mazurov explains. “The high quality of the both the main unit and each module, as well as the dual hot-swappable power supplies, raised the reliability of the device to the highest level.”

The router’s simplicity and ease of use meant “there were no problems even for users unfamiliar with the system and without prior experience with Lightware,” he adds.

Also scoring points for ease of use was High Resolution Systems’ UDC Raptor, which controlled the Lightware matrix. Raptor is a Linux-embedded server that significantly lowers costs to users compared to full-blown Windows servers; it supports the same user-friendly interfaces as popular UDC (Universal Device Control) software.

Mazurov says that the IOC “praised the work of all the organizational services working during the games and chief among them was the great job performed by the Main Operations Center where the multifunctional and extremely reliable Lightware matrix router was at the heart of the system.”

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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Lady Gaga Launches ArtRave Tour with Clay Paky Fixtures

Lady Gaga has launched her tour, ArtRave: The Artpop Ball, and Clay Paky’s A.leda B-EYE K20 innovative, LED-based moving lights and Clay Paky Sharpys are along for the wild ride.

ArtRave marks Lady Gaga’s fourth concert tour. It is in support of her third studio album, “Artpop” and kicked off May 4 in Fort Lauderdale. It will play 78 dates in North America, Europe, Oceania and Asia.

PRG has provided 120 B-EYEs for the tour as well as a large complement of Clay Paky Sharpys. Lighting control is performed with three full-size grandMA2s and 10 NPUs.

“Production and lighting designer Roy Bennett’s approach to the show was to make it an immersive rave that reflected Gaga’s non-stop party aesthetic,” says programmer Jason Baeri. “That means active, alive, vibrant and high energy — it requires us to be just as active on stage as in the crowd. The audience is every bit as much a set piece as they are a room of spectators, so we had to include them as part of Gaga’s same party not just watching the spectacle from afar. Cue wise, that’s almost like programming two shows at once: Both had to behave as one cohesive element.”

Bennett describes the set as three stages connected by Lucite catwalks over the audience so the crowd can dance while watching Gaga perform above them. “It’s very interactive. She plays off the audience with her dancing and a big rave vibe,” he says. Bennett had previously used B-EYEs for Lady Gaga’s gig at the Roseland Ballroom. On this tour they are mounted above the upstage video wall, which measures 3×40 feet. “They mainly act as eye candy,” he explains. “They’re working great; they’ve been very reliable.”

For the ArtRave tour the lighting designer has deployed the Sharpy rig “all over the place: the main stage, front, rear, side, as well as on the pods over the audience. The Sharpys act as our other main effects light. I always have at least 100 if not 200 hundred on shows.”

Baeri cites the data management challenge the tour poses given “the immense amount of pixels we’re controlling. There are about 120 B-EYEs on the show, all in full-tilt mode, which adds up to over 4,500 pixels of just B-EYEs — and we use them in every configuration possible. Gaga’s music is extremely detailed, so we’re using every part of that light for the various tones and inflections in every song.”

Solotech is the video contractor and 8th Day Sound the audio contractor for the show.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “It’s great to once again be a part of a Lady Gaga project and it’s always a pleasure to work with the very talented Roy Bennett. He and Jason are doing a great job on this tour.”

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

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Clay Paky Sharpys and grandMA2 Consoles Hit the Road with Journey and the Steve Miller Band’s Summer Tour

Photo: Todd Kaplan

Journey and the Steve Miller Band are in the midst of their 2014 summer tour, and Clay Paky Sharpys and grandMA2 consoles are along for the ride that will take them to 30 cities across the U.S. and Canada. A.C.T Lighting, Inc. is the exclusive distributor for both equipment brands in North America.

The tour unites two of the iconic groups that helped define The San Francisco Sound. In careers spanning 40 years, Journey has sold 80 million albums worldwide and the Steve Miller Band more than 30 million records.

Tour Tech East Ltd. in Dartmouth, Nova Scotia is providing lighting support for the tour supplying 34 Sharpys, 20 Sharpy Washes plus a pair of full-size grandMA2 consoles with two NPUs. Senior account executive Tracey Ploss has worked with Journey and the band’s lighting designer Kevin “Deuce” Christopher for eight years.

“Last year Deuce used a couple of Sharpys, but this year he specifically wanted Sharpy Washes for the tour so we added them to our inventory,” says Ploss. “We’ve made a significant investment in the Clay Paky fixtures.” Sharpys are very popular with Tour Tech customers for their output, size and low power consumption. Fixtures are currently out with Styx and Foreigner, and the Calgary Stampede deployed a large number for its famed rodeo.

grandMA2s are the “console of choice” across the board, too, notes Ploss and are “especially in demand for their networking capabilities.”

Deuce, who has been lighting designer for Journey since 2004, says he “probably doubled” the number of Sharpys in his new tour rig. “There are 12 on the side trusses and four each per overhead truss for a total of 12 more. Plus one each on ten US Towers that top a wall of 20 Sharpy Washes,” he explains. “A video display, comprised of PRG/Nocturne V-28 and V-9 LED panels, is directly behind the band above the towers. It looks like there’s a wall of light with the video display resting on top.”

He says he “wanted to do something a bit different” in creating an interesting background for the band, “but the budget didn’t call for elaborate custom sets. So Tour Tech helped me deliver the desired effect without going custom.”

Tour Tech fulfilled Deuce’s idea of using black A-Type, 30×30-inch x 8-foot truss turned upright on casters. “At the bottom of each bay there is a wooden insert. Each Sharpy fixture is placed on the insert – all of the fixtures actually sit in the truss and none on top,” says Deuce. “Using the truss as set pieces housing the lights allows us to have a tidy pack in the truck, ease of placement and removal from stage, and convenient movement for set changes with our three-band bill.”

The Sharpy Washes enable him to “go from a very narrow beam for nice graphic geometry to a wide beam for a silhouette look on the band and wash out in the audience.” Their light output also had to be able to stand out against the video display.

The Steve Miller Band’s lighting designer, Andrew Richter of IOD Group in New York, has used Sharpys and Sharpy Washes “extensively” the last two years. “The pure power from such a fast and compact fixture makes it ideal for all but long-throw, wide-beam applications. I prefer the Washes in a mid-stage position for our non-shared rig due to their speed and depth of color rendering.”

The scenic design for the band calls for Richter to block off the Sharpy Washes on the rear lower truss with a fiber optic drop and a full stage drop designed by Stanley Meyers for “Jet Airliner” in which the Sharpys play a key role.

“The ‘Jet Airliner’ stage drop consists of a large central jet aircraft pointing upward with layers of smaller aircraft in a Japanese rising sun homage,” Richter explains. “I really wanted to create a sense of the jet in motion. My long-time colleague/programmer Scott McCowan and I worked on several different intensity chases and color bumps to a less than desirable effect. Ultimately, we thought of the old anime/manga ‘speed racer,’ where the primary subject is stationary and the windows show movement quickly zipping by.”

They achieved a similar effect by deploying Sharpys from a side position so they “graze the drop with the imagery of lines of clouds zipping downward past the static aircraft wings and fuselage creating movement,” he says. “It’s the perfect synergy of the right light and brilliant programming to create the vision I wanted without video, without animation wheels but using purely the speed and position recall accuracy that only a Sharpy can deliver.”

Deuce has been a fan of the grandMA “almost since its introduction,” he reports. He recently migrated to the grandMA2. “I like the ease of taking a tour show file into a festival situation and having the same sort of consistent show in a few hours,” he says. “The networking capabilities allow me to bring in as many universes as necessary.”

On the summer tour the grandMA2 is controlling both lighting and video consisting of two Control Freak Multitap Custom Servers. Deuce programmed Journey’s portion of the show and operates the board. “I really like the layout view for easy selection of fixtures and different video elements,” he says. “I can work pretty quickly. I also like the larger work surface and screens.”

Richter is also a long-time MA user and programmer. “The MA line of products has been my favorite for several years now. I really like some of the advancements the grandMA2 offers,” he says. “I believe it’s hands down the most flexible, tour-ready, reliable, and efficient console on the market today.”

“I’ve had the pleasure of working with Deuce over his last few Journey tours – he’s always thinking of new ways to bring their performance to life for the audience. I knew the Sharpy Wash would be a nice addition for them and I was very excited that he liked it so much. Tracey and the Tour Tech East team are also great to work with, so the entire project has been a pleasure for A.C.T,” commented A.C.T Vice President, Automated Lighting, George Masek.

For Journey, Kevin Cassidy is the crew chief, Rob Kern production manager, Armando Figueroa in charge of power distribution and control, Oscar Carnales lighting tech, and Cole MacDonald FOH systems tech. Scott McCowan programmed the Steve Miller Band show.

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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Richard Bevan Promoted to Senior Vice President/General Manager of WorldStage West

WorldStage is pleased to announce that Richard Bevan has been promoted from Vice President of Production Services to Senior Vice President/General Manager of WorldStage West, located in Tustin, California. He will be reporting to WorldStage President Josh Weisberg.

“Richard has been a key member of the management team for many years, and I’m delighted to announce his new role and responsibilities at our West Coast operation,” says Weisberg. “This is a very natural progression as his role and influence within the organization has grown continually over the past years, supported by his deep knowledge or our industry and his terrific work ethic.”

Bevan says, “I’m honored by the trust that Gary Standard, (CEO) and Josh Weisberg, (President) have shown in me. It’s my goal to ensure that the quality of work we do remains at an all-time high as we continue to continue to grow the business in new and exciting ways.”

In addition to his general management duties, Bevan plans to continue to manage key accounts at WorldStage West, including projects for such end clients as the Milken Institute Global Conference, Adobe, Oracle, Nissan, Infiniti, VMware and Cisco.

“The West coast office is experiencing substantial growth,” Bevan says. “With the economy continuing to pick up steam and the event business hitting on all cylinders, we’re seeing significant new business adding to our roster of repeat business.”

Bevan joined Video Applications Inc., which merged with Scharff Weisberg Inc. to form WorldStage, in 1996 when the company launched its audio division. He came on board as a Senior Audio Engineer and witnessed the rapid growth of that division. “We grew from supplying audio services to about 20 percent of our shows to 80-90 percent of our shows over a four-year period,” he notes.

Bevan assumed the post of Director of Operations while still playing a leading role in the audio division. Later, he took over engineering administration and in 2011 moved into account management with the position of Vice President of Production Services.

Born and raised in Newton, Kansas, Bevan began his career as a touring audio engineer with A1 Audio in Hollywood, California. He was front of house audio engineer for Tony Orlando & Dawn at the age of 20 and several years later became audio engineer for the legendary Johnny Mathis, a post he held for eight 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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GO AV Adds UDC 400 from High Resolution Systems for Control of Blackmagic Design’s 2ME ATEM Switcher

High Resolution Systems’ UDC software-based Universal Device Controller (UDC) and UDC 400 is delivering additional functionality to GO AV’s Rudy Tessmer who’s taking advantage of UDC support of Blackmagic Design products to automate his Blackmagic Design 2ME ATEM production switcher.

Based in Phoenix, Arizona, GO AV provides video engineering and video equipment rentals for corporate events. It acquired UDC when compatibility with Blackmagic Design devices was introduced. UDC’s support of Blackmagic Design products offers Tessmer an easy and cost-effective way to automate his switcher and control an array of other equipment.

“For the same price as buying Blackmagic’s remote panel, which controls only the switcher, I invested in UDC, which allows me to control the switcher and PlaybackPro, record with my Ki Pros, and turn my projectors on and off or put them into patterns — all with one device: That’s very powerful,” Tessmer says. “It also gives me an unlimited ability to build macros and presets so I can create a look with the hit of a button.”

Tessmer has done six shows for the financial and insurance and IT sectors since taking delivery of UDC in May. “UDC makes my ATEM look like a high-end switcher with automation and recall ability,” he says. “UDC is easy to use, customizable and adds value to my switcher package. Using UDC with my Blackmagic ATEM switcher gives me the abilities of a more expensive switcher at a price I can afford. And I get additional device control – all in one tool.”

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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Electrosonic Provides AV Expertise to New Discovery Park of America

Discovery Park of America has opened in Union City, Tennessee, offering visitors a world-class entertainment and educational experience with more than 70,000-square feet of exhibits on nature, science, technology, history and art. Electrosonic provided audio-visual equipment for most of the ten exhibit galleries in the three-level space of the new Discovery Center.

The primary benefactor of Discovery Park of America is the Robert E. and Jenny D. Kirkland Foundation, which has donated approximately $80 million to the creation of the park and endowed a program for its continuing operational support and expansion. As long-time supporters of education in the area, the Kirklands have given Discovery Park the mission of enhancing the educational experiences of children and adults, and inspiring them to see beyond their current level of knowledge.

The Discovery Center’s diverse array of galleries include Children’s Exploration with fun Water Works experiments; Natural History with a number of dinosaur specimens; Regional History with a 20,000-gallon aquarium; and Transportation featuring 60 years of the American automobile.

Fabricators Maltbie, a kubik company, brought Electrosonic aboard at the new attraction. Electrosonic has partnered with Maltbie on a number of projects over the years.

The simulation theater in the Regional History gallery gives visitors a taste of what it was like to experience an earthquake along the New Madrid fault, which formed nearby Reelfoot Lake in the northwest area of Tennessee some 200 years ago. Electrosonic installed 270º wraparound screens and five ceiling-mounted Christie DS+6K-M projectors to deliver the visuals sourced from a 7thSense server. Special effects audio and tremors simulate the earthquake for the standing audience.

In the Native Americans gallery, a holographic storyteller recounts the legends and beliefs of the area’s indigenous people. Electrosonic furnished four 46-inch LCD monitors for the exhibit, which brings the mythical figure to life with a Pepper’s Ghost effect.

Electrosonic also provided many Samsung 32- and 55-inch LCD displays for the galleries along with Innovox Audio speakers for individual exhibits. The entire facility is controlled by a Medialon system programmed by Electrosonic.

Electrosonic located the equipment room on the middle level of Discovery Center, which made cable pulls more efficient. The equipment room is at capacity, but two additional equipment rooms are available above and below the main equipment room. Conduits connect the rooms for easy expansion as needed.

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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grandMA2 Consoles with VPU plus Amp Up the Visual Energy at the Electric Forest Festival

Dodd Technologies, Inc. of Pendleton, Indiana provided a pair of grandMA2 consoles with VPU plus for video control on the main stage of the Electric Forest Festival, a four-day, multi-genre event featuring electric music and jam bands held on the Double JJ Ranch in Rothbury, Michigan. grandMA2s were everywhere at Electric Forest: A total of five (four full-size grandMA2s and one grandMA2 light) were on hand during the show. A.C.T Lighting, Inc. is the exclusive distributor of MA products in North America.

Brought on board by Lambda Productions, Dodd Technologies was tasked with managing the content for two 8-meter screens configured upstage in a diamond-shape panel. The company created content for bands that didn’t already have big-screen imagery and routed some media to the screens for the DJs.

Dodd operated two powerful VPU plus video processing units with SDI inputs, which were connected to the grandMA2 consoles for state-of-the-art video control that was highly intuitive, familiar and easy to use. “We’ve used the VPU plus before and like them because, operationally, they’re very simple to connect to the console and don’t rob the consoles’ parameters,” says Andy Meggenhofen, lighting and production designer with Dodd Technologies. “They don’t eat brainpower on the consoles, and that’s not true of all systems. We can put the servers anywhere but still manage content. We can ingest media on the spot and distribute it through the network while we’re doing another show or programming – without being disrupted.”

Meggenhofen praises the SDI inputs. “The processing is so quick – latency is just a frame or two. We have a couple of POV cameras on stage and can work with them in realtime. The VPUs provide a lot of versatility and functionality that we didn’t have before. They’re a really viable solution for us.”

The equipment was particularly adaptable to the needs of the Electric Forest festival, he notes. “We didn’t know what a lot of the acts were going to be. We had a lot of media at our disposal and the ability to fade between clips on the same layer – all done on the fly as we went along with the band for the ride! To be able to respond like that with video was huge. We could make things interesting and unique.”

Meggenhofen says the grandMA2s and VPU plus performed “great” during the show. “We had a lot of power at our fingertips to pull from,” he reports. “And the systems’ roadworthiness was amazing. We have constant issues with other media servers but not with the VPUs. We’re really happy with their robust construction, layout, features and support. And there’s always someone there to help us if we need it.”

The extraordinary capability of the equipment was even noticed by the talent. “Andy Cass with String Cheese Incident fell in love with the VPU during the festival,” says Meggenhofen. “He was very impressed. He had used another system but prefers this one now and is specifying it for the band’s fall tour. Everyone who uses grandMA2 and the VPU loves it!”

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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Ohio’s Hamilton County Emergency Management Agency Adds Vista Phoenix for Street Camera System Display

When the Hamilton County (Ohio) Emergency Management Agency (EMA) had a complete technical renovation last year it acquired a Vista Phoenix system for use with its street camera system.

Based in Cincinnati, Ohio, the Hamilton County EMA runs a regional operations center for 12 counties in three states: eight in Ohio, three in Kentucky and one in Indiana. The agency is concerned with all natural and man-made hazards, including international and domestic acts of terrorism and homeland security functions.

Vista Phoenix is a network distributed open content management system for simultaneous encode, decode and display of AV data. “Our main use for Phoenix is to bring in our street camera system for viewing,” says Steven Siereveld, regional operations center manager. “We have approximately 100 street cameras in the Cincinnati area and river cameras in all three states. With Phoenix we can capture all the camera feeds, bring them in and view them in full HD quality on our new main display, a 14×35-foot videowall comprised of Christie Entero high-brightness 67-inch LED cubes.”

Prior to installing Vista Phoenix the Hamilton County EMA brought in the street cameras through a software web viewer and displayed multiple security camera-style views on monitors. “Now we can pull direct feeds from the camera with Phoenix. Our integrator, AVI in Cincinnati, recommended Vista Phoenix as a complement to our Christie videowall and Vista Spyder image processor. It’s a perfect fit,” Siereveld says.

The street and river camera displays are critical for emergency situations. “We need these camera feeds available for emergency viewing and for planned events like the annual River Fest, which draws half-a-million people, and next year’s MLB All Star Game,” Siereveld explains. “So far, we’ve only used Phoenix for testing and drills, but it works well and the quality of the camera feeds is just great.”

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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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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