A virtual press conference from Sound & Video Contractor

Archive by Lisa Muldowney

Lights, Power and Broadcast Support on Display at SET Expo 2014

Anton/Bauer, Autoscript, Litepanels and Sachtler to Showcase Latest Wares

SAO PAULO, BRAZIL - Autoscript, Anton/Bauer, Litepanels and Sachtler - brands of the Vitec Group - will be showcasing their latest production support gear at SET Expo 2014 at booth # D01. The tradeshow and conference is presented by the Brazilian Society of Television Engineers (SET) and focuses on broadcast and new media technology. The expo runs August 25-27 at the Expo Center North here in Sao Paulo.

SET is the technical association of professionals and companies focusing on disseminating, expanding, studying and improving all technical, scientific and operational knowledge in television, telecom, radio, internet and new media sectors of the industry. It is one of the largest broadcast events for Latin America.

The Vitec booth will include:

* Anton/Bauer(r)'s V-Mount Digital Battery Series will be on display. The company's revolutionary Digital Battery Series is the first battery line designed specifically to power digital productions and deliver a new level in safety. Their innovative design features a "double skinned" architecture where the cells are individually contained in an impact-resistant and flame-retardant plastic honeycomb, with a 2mm air gap between them, ensuring no cells touch and air can circulate to keep the pack cool. This entire cell pack is "suspended" within the stylish impact resistant outer case, maintaining a 5mm air gap around it to prevent crushing and accidental penetration of the cells themselves by a sharp object. Additional safety features include thermal sensors that continually monitor the battery, and if a rise in temperature is detected a switch is opened to prevent further charge or discharge. Similarly the charge and discharge currents are continually monitored and if too much current is flowing, the battery switches off.

The new battery series, also available with Gold Mount(r) connectors, meets the unique needs of 4K camera set-ups and other digital cameras in use today, while providing top-tier levels of safety, performance and reliability. With the introduction of a V-Mount option to the Digital Battery Series, Anton/Bauer's best of breed batteries will now be available for use with any camera, accessories, lights, monitors, and recorders, among other equipment, and includes three battery sizes (90 Wh, 150 Wh and 190 Wh).

* Autoscript will demonstrate their EPIC 17, the world's first fully integrated prompting and on-air system. It features the brightest 17" LED prompting screen combined with an integrated 17" full HD-SDI on-air monitor that bring flexibility and versatility to studio operations. The system negates the need for extra mounting brackets and therefore ensures that camera operators can make use of the full camera tilt range. The system is also power efficient, using 20% less power than other solutions and weighing 3kg less. Other features include long lifetime of the prompting screen - more than 70,000 hours - and simplified cable management with just one cable for both prompter and monitor.

Autoscript will also exhibit their WinPlus Remote solution, an iOS-based teleprompting system that delivers up-to-date scripts to users in the field, anywhere in the world. The technology is also suited to remote news bureaus and smaller newsroom operations. When WinPlus Remote is installed on a networked PC in the production facility, the latest version of the script can be seen by journalists on location, as well as in the studio. The software enables the script to be automatically uploaded to an FTP site where it can be downloaded onto an iPad by talent in the field and kept constantly updated. WinPlus Remote works in conjunction with picoPrompt, a popular teleprompting iOS app, and is supplied with a hand control for scrolling on mobile devices.

* Litepanels will showcase the ASTRA 1x1 Bi-Color panel. Building on the legacy of their original 1x1 fixture, the ASTRA sets a new standard for the form and function of professional LED panels. With a one-square-foot form factor, the ASTRA 1x1 offers a light output up to four times brighter than the company's original 1x1 Bi-Color fixture, high CRI (color rendering index), and user selectable active or passive cooling modes. The ASTRA 1x1's are also designed with select premium quality surface mount LEDs that are paired with custom designed TIR (total internal reflection) optics. The innovative daylight-to-tungsten tunable color model is the first in the company's new ASTRA line of panels, with additional fixtures in the series set to debut later this year. The line's development was years in the making, and every element in the ergonomic, modular design was meticulously crafted. Litepanels drew from its wealth of experience building professional LED fixtures and accessed the feedback received from their extensive customer base to produce an LED fixture that is both innovative and affordable.

* Sachtler will display their Ace Accessories, a new range of premium camera support gear, which includes the Ace Base Plate, Ace Follow Focus and Ace Matte Box. The accessories can be bought individually or as a package.

Sachtler also will showcase its Ace Shoulder Rig, comprised of a shoulder mount that offers a solid point of contact and support for secure and smooth off-tripod shooting, and hand grips that can be fitted on a universal mount. Mounted on a fluid head, the Ace Shoulder Rig also can be used as double pan bars.

Sachtler's SPEEDLEVEL Clamp incorporates the company's SPEEDLEVEL technology, making levelling the head faster and more convenient. The innovative product is ideal for those broadcast applications where there is a need to frequently level the head when changing location. The new SPEEDLEVEL Clamp is the ultimate partner for Sachtler's 100mm range fluid head, enhancing the functionality and performance and making the levelling process even simpler and quicker.

The Vitec Group brands are technology leaders in the broadcasting, pro-video and cinematography sectors of the industry. They are characterized by innovation, reliability and long-term cost savings, with the highest levels of customer support. For further information, visit their booth at SET Expo.

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Xytech Launches MediaPulse Cloud at IBC 2014

Company Redefines Facility Management Software with MediaPulse 2014

IBC Stand # 6.C22

(Mission Hills, CA/London, UK) – Xytech, the market leader in facility management software for the broadcast, production, media services and video transmission industries, will introduce MediaPulse Cloud at IBC 2014. MediaPulse Cloud delivers the complete functionality of Xytech’s flagship MediaPulse platform in a secure, managed solution operating 24/7/365. With Xytech’s scalable cloud offering, customers will no longer need to purchase, maintain and upgrade their own IT infrastructure.

The innovations present in MediaPulse Cloud represent a significant advancement for the industry-leading facility management system and offer unparalleled flexibility, whenever and wherever users need it. Compatible with any IT environment, MediaPulse Cloud works seamlessly with Windows PCs and tablets, Macs, iPads and Android tablets.

Xytech MediaPulse Cloud


Xytech invested in a high performance, fault tolerant infrastructure to ensure MediaPulse Cloud’s responsiveness. Users are set up with unique databases to ensure security, and MediaPulse Cloud is supported by industry best practices.

In addition to MediaPulse Cloud, the latest version of Xytech’s MediaPulse platform will also be on display at IBC. MediaPulse 2014 delivers asset management, order management, resource management and financial management in a configurable, platform-independent, browser-based application.

The 2014 release includes hundreds of new features and performance improvements. The new features center on four core areas:

User Interface
SKY 2014, the platform-independent and browser-based interface for MediaPulse, has been upgraded to include a complete graphical scheduling application, real time dashboards for user-defined KPIs and a form editor to modify all screens.

Media Order and Transmission Order modules have also received significant enhancements, enabling users to create complex order profiles with a simple click.

System Interoperability
MediaPulse 2014 features new adapters for Miranda, Telestream, Avid AirSpeed and Avid Capture, expanding integration capabilities and facilitating automated workflows involving a huge range of third party systems via Xytech’s Digital Order technology. Clients can also add any hardware platform to the MediaPulse ecosystem using our unique MediaPulse Adapter technology and new SNMP (Simple Network Management Protocol) tool.

Asset Management
Xytech’s new MetaVault MAM (Media Asset Management system) provides a complete content backbone for the creation and storage of files, proxies and metadata. This new functionality makes integrating multiple MAMs, including those from other vendors, into a comprehensive, federated solution a reality.

Internationalization
MediaPulse 2014 includes a host of fully supported Language Packs to facilitate global usage. German is now offered in addition to French (European dialect), Korean, Norwegian and Portuguese. Additional Language Packs are available upon order.

“Xytech continues to define the marketplace with the most innovative and client-centric products available,” said Greg Dolan, Chief Operating Officer of Xytech. “We are intensely focused on our clients’ need for flexible, scalable solutions to the issues they face, and we feel that MediaPulse Cloud raises the bar for facility management. Over the past year, we’ve tested the system throughout the US, UK, Europe, Asia and the Middle East, and users around the world consistently tell us that MediaPulse Cloud delivers superior performance. We’ve also increased the power of MediaPulse with our 2014 release, giving our customers the competitive edge they need to succeed in today’s market. At Xytech, we are always moving forward.”

Greg Dolan, CEO - Xytech


Visit Xytech at IBC 2014, Stand 6.C22.

About Xytech
Xytech is the leading global provider of facility management software for the media and broadcast industries. For over 25 years, the world’s best media services companies, broadcasters, and transmission facilities have depended on Xytech to run their businesses. Xytech’s collaborative MediaPulse platform is the only end-to-end solution for the complete content lifecycle, providing scheduling, automation, asset management, billing, and cost recovery in a scalable, platform-independent application. Xytech has over 450 software deployments in more than 20 countries around the world, and the company is headquartered in Mission Hills, California, with regional offices in New York and London. For more information, please visit www.XytechSystems.com or call +1.818.698.4900 (US) or +44 (0)20.7903.5170 (UK).

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Media Contact:
Chris Purse, 818.908.3473
ignite strategic communications
chris@ignite.bz or mimi@ignite.bz

AMIA Partners with Alamo Drafthouse to offer 35mm Projection Workshop

Archival experts provide projection training for movie houses offering the 35mm film experience

(Los Angeles, CA) – AMIA will present a Film Projection Workshop in partnership with the Alamo Drafthouse to offer expert-led training for managers, curators and projectionists presenting 35mm film in theaters. The workshop will be held October 28, 2014 in Austin at the Alamo South Lamar location.

As digital technology has presented new opportunities to filmmakers and exhibitors, it has also impacted the availability of prints for theatres showing 35mm film. Fewer prints are available, and many of those come from archives and similar institutions that cannot replace these valuable assets should they become damaged. This makes the handling and projection of film prints critical, and the need for training vital.

“While digital has become the primary exhibition format, many theaters continue to show 35mm film prints. A number of films are simply not available in digital and showing them in their original 35mm format allows new audiences to appreciate rare prints, archive films, and titles from private collections,” noted AMIA board member Elena Rossi-Snook. “But it also requires special skills to work with rare and archival prints.”

The workshop will offer a hands-on tutorial for projectionists and theater staff working with 35mm film prints and will focus on film preparation and projection as well as special stipulations for archival projection, coordinating with lending institutions, and paperwork. Class size will be limited to 20 participants.

“I love digital projection for new release films, but only a tiny sliver of our vast film history will ever make it to the DCP format,” said Alamo Drafthouse CEO Tim League. “As an industry, we must continue to preserve, protect and carefully screen 35mm films and maintain our 35mm projection equipment. The day we stop is the day cinema as we know it is dead.”

Participants will receive industry-wide recognition for completion of the workshop, indicated by a certificate from AMIA. Participants may find more information and register at www.projectionworkshop.org. Registration opens August 10, 2014.

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ABOUT AMIA
As the world’s largest international association of professional media archivists, AMIA is uniquely poised to bring together a broad range of experts. Members represent film studios, corporate and national archives, historical societies, labs, post production, universities, footage libraries and more. Because of this diverse membership, AMIA provides an opportunity to interact with every facet of the field and a single forum to address the best ways to preserve and provide access to our media heritage in digital and analog formats. For further information, visit www.AMIAnet.org.

ABOUT ALAMO DRAFTHOUSE
Tim and Karrie League founded Alamo Drafthouse Cinema in 1997 as a single-screen mom and pop repertory theater in Austin. 17 years later, the now 20-location chain has been named “the best theater in America” by Entertainment Weekly and “the best theater in the world” by Wired.com. The Alamo Drafthouse Cinema has built a reputation as a movie lover’s oasis not only by combining food and drink service with the movie-going experience, but also introducing unique programming and high profile, star studded special events. Alamo Drafthouse Founder & CEO, Tim League, created Fantastic Fest, a world renowned film festival dubbed “The Geek Telluride” by Variety. Fantastic Fest showcases eight days of genre cinema from independents, international filmmakers and major Hollywood studios. The Alamo Drafthouse’s collectible art gallery, Mondo, offers breathtaking, original products featuring designs from world-famous artists based on licenses for popular TV and Movie properties including Star Wars, Star Trek & Universal Monsters. The Alamo Drafthouse Cinema is expanding its brand in new and exciting ways, including Drafthouse Films, which has garnered two Academy Award nominations in its short three-year existence and Badass Digest, an entertainment news blog curated by veteran journalist Devin Faraci.

More information about the Alamo Drafthouse is available on the official website at www.drafthouse.com.

Media Contact for AMIA:
Chris Purse
ignite strategic communications
818.980.3473
chris@ignite.bz

RSG Media and Xytech Join Forces to Streamline the Digital Supply Chain

Joint Solution Implemented at One of America’s Largest Spanish-Language Broadcast Networks

(NEW YORK, NY/MISSION HILLS, CA) – RSG Media, purveyor of the dominant media business rights management system and Xytech, the leader in facility management software for the broadcast and media industries, today announced a technology partnership integrating the companies’ flagship products. For content owners taking on the complex task of automating the digital supply chain to maximize the monetization of their content, the joint solution will simplify and streamline their efforts.

As content programmers seek to grow digital revenues by taking advantage of the increasing number of new platforms available to them, they are faced with a time consuming and expensive process, filled with an ever changing variety of requirements, formats and standards. Xytech and RSG’s solution successfully combines rights and order management functions in one system, effectively closing gaps previously found in the digital supply chain.

RightsLogic(r), RSG’s rights management product, helps programmers determine which media assets programmers can use, when, and how (e.g. territories, platforms, languages, formats) it lets them window and schedule the content for maximum profitability. The system handles the financials, from amortization through royalty payments, and it presents usage, revenue and royalty information from every platform in at-a-glance dashboards and custom reports.

Xytech’s MediaPulse platform is a scalable solution automating workflows, managing assets, scheduling resources and offering an end-to-end order and billing system. The platform-independent, browser-based application tracks and manages workflow, resources, and costs from the moment a programmer publishes a schedule through media asset delivery for distribution or play-out.

As the companies have pre-integrated their two systems, programmers can implement a joint solution, gaining the benefits of digital supply chain automation quickly and easily. Xytech and RSG Media have already implemented their solution at one of the U.S.’s largest, Spanish-language broadcast networks.

“Automating the digital supply chain is absolutely vital to our clients looking to leverage the array of distribution platforms available,” said Greg Dolan, COO of Xytech. “Rights management is a key element in the chain, and RSG is the industry leader in this area. Integrating our two systems has already brought us success with a major broadcast client, and it is a win for all of our clients moving forward.”

Thomas Siegman of RSG Media


“Managing and optimizing the digital supply chain can be daunting and costly for organizations,” said Thomas Siegman of RSG. “By pre-integrating RightsLogic(r) with MediaPulse, we’ve taken the burden off of our customers while lowering their costs. Our joint solution already has a proven track record, therefore potential clients know it will work seamlessly for them as well.”

About RSG Media
The world’s leading media & entertainment companies use RSG Media’s expertise and software to maximize revenues from their content and advertising inventories. RSG Media’s RightsLogic is the dominant media business rights management system; it lets content owners & distributors, gaming companies, IP licensors, and sports leagues manage and report on the content lifecycle, including acquisitions, sales, planning & scheduling, and associated financials. RSG Media’s order-to-cash ad sales systems help clients plan and manage deals across all platforms quickly and easily. Their AdVant yield optimization suite uses advanced mathematics to optimize proposals, flighting, logs, and promos, significantly lowering liabilities while generating new revenues. They are headquartered in New York, with offices in London, Delhi, and Mumbai.

About Xytech
Xytech is the leading global provider of facility management software for the media and broadcast industries. For over 25 years, the world’s best media services companies, broadcasters, and transmission facilities have depended on Xytech to run their businesses. Xytech’s collaborative MediaPulse platform is the only end-to-end solution for the complete content lifecycle, providing scheduling, automation, asset management, billing, and cost recovery in a scalable, platform-independent application. Xytech has over 450 software deployments in more than 20 countries around the world, and the company is headquartered in Mission Hills, California, with regional offices in New York and London.

For more information, please visit www.XytechSystems.com or call +1.818.698.4900 (US) or +44 (0)20.7903.5170 (UK).

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Media Contact:
Chris Purse, 818.908.3473
ignite strategic communications
chris@ignite.bz or mimi@ignite.bz

Sohonet Appoints Chuck Parker to Executive Chairman

Company Continues Global Geographic Growth and Market Expansion

London and Los Angeles (July 29, 2014): Sohonet, the leading expert in connectivity and Infrastructure-as-a-Service (IaaS) for the media and entertainment industry, is pleased to announce the appointment of Chuck Parker to Executive Chairman, whose expertise will continue to guide the company in its global expansion efforts.

Parker joins Sohonet following the successful acquisition of Unicorn Media, a leading provider of cloud video ad insertion technology, by Brightcove, a global provider of cloud services for video. Parker served as Chief Revenue Officer at Unicorn and as VP of Global Media Sales at Brightcove. In addition to fulfilling non-executive chairman duties on the Sohonet Board for the past year, he is a well-known industry thought leader who brings a wealth of media and technology experience to Sohonet.

Previously, Parker spent 15 years at Technicolor where he fulfilled a variety of roles, including Chief Commercial Officer, President of Technicolor's Broadcast and Digital Division, and EVP/Managing Director of Technicolor's International Home Entertainment division and CIO. Parker is also currently the Chairman of the 2nd Screen Society, an innovative digital video industry body he founded in 2012.

Dave Scammell, CEO of Sohonet, said: "We are very excited that Chuck has joined us full-time. Over the past year, he has proven to be invaluable in his insight on the industry, and his drive and passion for the business is infectious. As we expand our renowned Sohonet Media Network (SMN) further into the cloud and grow our range of specialist, media-aware IaaS offerings, Chuck will drive these new offerings to market and ensure they are well tuned to the needs of our expanding client base."

Sohonet recently expanded its Sohonet Media Network to a growing number of cloud providers, including AWS, Google and Softlayer, creating a "fast lane" to the cloud by providing speedy access and reduced charges for all SMN clients. In the last 12 months, the company has expanded services to customers in Singapore, Montreal, Atlanta, Manchester and Amsterdam, and has significantly increased its client base in Vancouver, New York and core locations of London, Sydney and Los Angeles.

"Sohonet is a highly ambitious company at the leading edge of change and is perfectly positioned to capitalize on the media industry's continuing demand for better, secure solutions to manage its valuable and ever growing digital assets," said Parker. "The company is the recognized global leader in network services for the media and entertainment industry with its renowned Sohonet Media Network. Sohonet has listened carefully to its customers to develop a range of flexible, cost-effective offerings that will ensure media companies are better equipped to meet the many challenges of the rapidly changing digital landscape. I look forward to working with the team to significantly increase Sohonet's footprint on the global stage."

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Bexel Expands Inventory with $13 Million Investment to Support 2014 FIFA World Cup(tm) and Beyond

Company Upgrades Key Products to Service US Rights Holders Host Coverage

BURBANK, Calif. - Bexel, a unit of the Vitec Group's Services Division and a leading worldwide provider of broadcast services and solutions, recently completed a major inventory upgrade to support the company's extensive installations for both the Spanish and English-speaking U.S. rights holders at the 2014 FIFA World Cup Brazil(tm). The $13 million investment increases Bexel's service offering of products in several key areas, including camera systems, switchers and routers, and servers.

The significant investment is strategically aligned to support Bexel's continuing expansion into the major global sporting event sector. "Bexel has had an incredibly busy year," commented Tom Dickinson, CTO of Bexel. "We came right off doing the winter games in Sochi, Russia, directly into World Cup preparation. This was the largest World Cup effort that Bexel has ever undertaken, as we provided complete turnkey facilities with on-site technical support to two major broadcasters. To support these live events that are international in scope, we invested millions to expand our systems and solutions so that we can service our clients with the technology they require to execute at this level."

Grass Valley and Sony Camera Systems-


Bexel has made a significant investment in the expansion of its camera inventory. Over 50 new camera systems were purchased to support Bexel's increased servicing of global sports arenas. Thirty Grass Valley LDX 80 Compact cameras and 20 Sony HDC-2400 cameras have been added to the Bexel roster. All 50 camera chains were used in Brazil.

In addition to the cameras, Bexel bought more than 50 supporting lenses, ranging from wide-angle lenses to Cannon XJ95x and Fujinon XA99x8.4 super-telephoto lenses. The company's inventory of camera support equipment has also grown, including new Vinten Vector 75 Pan and Tilt Heads and Sachtler tripods.

Evertz Routers and Grass Valley Switchers-

Bexel has undertaken a major upgrade of its routers and increased the quantity to include two new Evertz EQX routing systems from 288x853 up to a full size 394x970. In addition, Bexel has an Evertz EMR router at 288x864. These routers are central to the company's support of its large systems and bigger than what would be found on many mobile trucks.

"The World Cup, being such an expansive event, required host broadcast facilities to have very extensive routing capabilities to manage the signals coming in from all the venues simultaneously," said Dickinson. "This routing of the signals was one of the key requirements, due to the complexity of the event and the large amount of content being managed in a given time period. To support that, and to ensure that both networks had maximum production flexibility, we upgraded our router fleet with two additional, high-end EQX systems, both of which were deployed in Brazil."

Two new 5M/E Grass Valley Kayenne Video Production Centers were also acquired, for an inventory total of six production switchers. "We're continuing to invest in Kayenne switchers, as we build out our flypacks to support massive global events like Sochi and the World Cup," stated Dickinson. "We were able to do both US host facility installations with all Grass Valley Kayennes, which worked perfectly. We had four of our switchers in Brazil with a total of five control panels.

EVS XT3 Video Servers-

Bexel has also upgraded and expanded its entire fleet of EVS servers, as well as acquired a host of EVS support products. With the $5 million purchase of 25 new XT3 video servers, Bexel now has a deployable fleet of more than 50 XT3 units. The servers range from six-channel to eight-channel units, and include a new 10 gigabit Ethernet networking feature that allows users to move files over an IP network much more efficiently.

Both U.S. host providers used Bexel's EVS XT3 servers in Brazil. "The XT3s were crucial to the systems we set up in Brazil," noted Dickinson. "Both broadcasters' workflows were file-based and very EVS-centric. The EVS XT3s were key to how the large amount of content was managed from all the World Cup venues."

To service U.S. hosts' coverage over the course of the entire month-long tournament, Bexel transported approximately 26,000 pieces of equipment and 35 senior engineers and support staff to Brazil.

The Spanish-language rights holder for the U.S., broadcast extensive coverage from Rio de Janeiro in addition to the actual World Cup matches. The Bexel set-up served as the hub supporting their extensive pre- and post-game coverage and entertainment broadcasts of its morning show from Copacabana Beach, and the rooftop of the Atlantico Sul Hotel.

"We put together a total of five control rooms on site in Brazil, and everything worked seamlessly," concluded Dickinson. "The extensive investment we made for the World Cup has positioned Bexel to be able to handle any major sporting event anywhere in the world, with the highest quality of well-built systems. We are already looking forward to upcoming events, and we're confident that this investment will allow us to continue supporting our clients with both the strongest systems and the smartest solutions available."

Bexel will also utilize the new broadcast solutions and equipment on upcoming telecasts of the U.S. Open, NCAA Football, MLB, and the NFL, as well as other live events.

Bexel Scores with FIFA World Cup Games

BURBANK, Calif. – With almost a third of the world’s population predicted to tune in to watch one or more of the FIFA World Cup soccer matches, the tournament has become one of the biggest international broadcasts of all time. So when the English speaking U.S. broadcast rights holder wanted to build temporary studio production facilities in Rio de Janeiro, they turned to Bexel, a unit of the Vitec Group’s Services Division and a leading worldwide provider of broadcast services and solutions.

The original concept for the project when it launched in November 2012 was limited to a small flypack located near Copacabana beach.

“When the broadcasters saw the beauty of the beachside location, they decided to build their main control room in Clube dos Marimbás, a Brazilian beach club,” said Joe Wire, Bexel’s vice president of Sales and Account Development. “So what started as just enough camera equipment to fit into a 20-foot shipping container soon grew into a 4,000 square-foot technical facility housed in its own custom-designed building.”

Since the FIFA World Cup competition takes place in 16 different stadiums, around the country, there was no central venue that could host the broadcasts. But, by locating the main studio right at the beach, there would always be something interesting happening behind the anchors’ and commentators’ desks to keep the pictures interesting.

Once it was installed, the studio’s entire infrastructure was built around an Evertz EQX 394 X 970 video router with all Grass Valley cameras, a Grass Valley K-Frame Kayenne 4 M/E digital production switcher and a Calrec Artemis 24 fader audio console.

“This project involved tight integration between Bexel and the U.S. rights holder,” Wire said, “and by the time we shipped the equipment in late April, the complement included 27 cameras, three control rooms and two production sets, all linked via fiber from the beach club to their main facility in Bristol, Conn.”

Once they started to build the gear into the Rio de Janiero location in May, there were two main challenges the Bexel team had to overcome: power and logistics. “Every country to host a large event presents unique challenges and Brazil is no different,” Wire commented.

Bexel’s crew had to conform to the Brazilian concept of how and when to work. “We learned to adapt to the city’s own regulations that keep trucks carrying containers over 6-feet long off the streets between 6 a.m. to 10 a.m. and 5 p.m. to 10 p.m.” Wire said. “Most of our unloading had to happen during the night. But adapting to those intricacies is just typical of the type of service that people have come to expect from Bexel.”

The two-story technical facility complete with two control rooms was completed on June 4 when Bexel’s team handed it over to their client after certifying that everything was up and properly functioning.

“Since we had to build the technical infrastructure inside the Clube dos Marimbás beach club, we were working in a defined space,” Wire said. “But by the time the games started to air, we had created a world-class broadcast facility on time, and within the specified budget at one of the most beautiful locations on the earth.”

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Videomakers at VidCon to Receive Behind-the-Scenes Insight on Production Gear for Content Creation

Highlights of Conference include an All-Star Lineup of Speakers

ANAHEIM, Calif. - Anton/Bauer, Litepanels, Sachtler, and Teradek - all Vitec Group brands - will support the independent, online videomaking community at the 5th Annual VidCon, which takes place at the Anaheim Convention Center in Anaheim, Calif., from June 26-28. As a sponsor of the conference, content creators at the show will receive insight into the innovative tools available from these brands, which help them get the shots they need to capture the eyeballs of "Generation Like."

Anton/Bauer, Litepanels, Sachtler, and Teradek are also backing some of the conference panel sessions, including:

    Intentional Virality (Friday, June 27, 12:30pm in Room 209AB): This panel explores how some creators and brands manage to continually create content that people share until 10 or even hundreds of millions of people have watched? Moderated by CEO / Founder, Digital LA Kevin Winston. Panelists include Niko Pueringer and Sam Gorski of Corridor Digital; Michael Gregory of Gregory Brothers; Evan Hadsfield; Henry Reich of MinutePhysics; Will Pearson, President, co-Founder of Mental Floss, Inc.; Mangesh Hattikudur, Chief Creative Officer, co-Founder, Mental Floss, Inc.

    Special Effects: How and Why (Friday, June 28, 3:30pm in Room 202AB): Experts will discuss why special effects aren't so special anymore. With the right tools, teenagers in their bedrooms are creating better effects than whole teams could just a few years ago. But that means it's even harder to differentiate yourself. What's next in effects, and what opportunities are available to those who have the skills. Moderated by CDS Director of Network Development John Carle. Panelists include Pueringer and Gorski of Corridor Digital, Zach King of FinalCutKing, Andrew McMurry of AndrewMFilms, and Clinton Jones of Pwnisher.

The Vitec brands will also make sure the conference's special guests are taken care of by lending support to VidCon's VIP Lounge. In addition to community and industry panels, there will be signings, live performances, and movie screenings. Other speakers include DreamWorks Animation CEO Jeffrey Katzenberg; YouTube CEO Susan Wojcicki; Maker Studios CEO Ynon Kreiz; John Green; Lauren Zelaznick; Fullscreen founder George Strompolos; Burnie Burns; Brian Robbins; Big Frame's Sarah Penna; Grace Helbig; Freddie Wong; Ingrid Nilsen; BrandonJLA; Josh Sundquist; The Gregory Brothers; Philp deFranco; Lisa Schwartz; and Amanda Steele, among others.

VidCon is the largest industry conference and fan event in the world for online video. This year's conference is expected to draw more than 18,000 fans, content creators and industry executives. More information is available at www.VidCon.com.

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St. Cloud State University UTVS Puts Real World Broadcasting Into Student Experience with Autoscript E.P.I.C. Prompting

University Television Station (UTVS), the student-run TV station on the campus of St. Cloud State University, is using three Autoscript E.P.I.C. prompters for their busy production slate. UTVS delivers a variety of programming to the campus and the larger St. Cloud, Minnesota, community.

UTVS serves locally produced programming to 33,000 households on Charter Channel 21, also streamed live 24/7 on utvs.com. Founded in 1978, the station is staffed by the SCSU Mass Communications students: TV production majors work behind the scenes, and broadcasting majors appear in front of the camera and work as producers.

About 100 students actively produce news for UTVS. This semester features two half-hour evening newscasts, a weekly half-hour Spanish-language newscast, and a half-hour week-in-review news program on Friday.

As part of a full lineup of programming, UTVS produces sports and entertainment shows. "Back to the Movies" is a weekly movie review series; "Monday Night Live" is a weekly one-hour music show simulcast on campus radio station KVSC 88.1FM; and "Trivia Weekend" is a popular annual 50-hour trivia marathon staged in conjunction with KVSC. The upper level TV production class produces the new "Husky Faceoff" weekly sports show; and the weekly sports round up, "Husky Magazine," has been on the air since the 1980s. The St. Cloud State Sports Network will begin broadcasting round the clock in the fall with live coverage of a wide array of college sports, a new slate of sports shows, and replays of classic games.

Since UTVS is training the broadcasters of tomorrow, the university is keen to ensure that students' experience on-air and in production replicate real-world working environments. "We give our students a taste of what it's like in the professional world," says Derrick Silvestri, TV studio manager at UTVS. "Our main objective is to have them use the equipment they'll encounter in the newsroom, so when they graduate they will be more than prepared to work in a professional environment."

Twelve edit suites, which feature Apple Final Cut Pro, Avid Media Composer and, starting in the fall, Adobe Premiere, are dedicated to UTVS; media control takes care of media management and sports replays while the master control center handles commercial insertions and broadcast playback. Production equipment includes nine Grass Valley LDX studio cameras, Chyron Mosaics, Wheatstone and Grass Valley production switchers and RTS intercoms.

In the summer of 2013, UTVS acquired a trio of Autoscript E.P.I.C. 17-inch prompters, which they operate with three LDX cameras mounted on Vinten pedestals and heads.

"We were one of the first to have the E.P.I.C. systems," says Silvestri, who purchased the units from systems integrator Alpha Video in Edina, Minnesota. "Before, we used a wide variety of systems, including the EZNews all-in-one script writing and prompting system. But our slate demanded a more professional-style system with automated workflows and MOS control. We got AP's ENPS for scripting, but it didn't offer prompting. That's where Autoscript stepped in. Their products are a top choice in the professional world, and with E.P.I.C. we could use ENPS for writing and Autoscript's WinPlus Ultra software for prompting. E.P.I.C. gives us a seamless workflow that works perfectly every day."

In that workflow news writers prepare scripts with ENPS, E.P.I.C. ingests the text and a MOS-activated rundown is sent to +WinPlus Ultra for prompting.

Students have various control options for E.P.I.C. prompting. "We have two hand controllers in two control rooms. This way producers can keep pace - two wireless hand controllers for two studios for producers or reporter stand ups, and two foot pedals, one for talent on the sports set and one for talent on the news set," Silvestri explains.

"About five years ago, with the advent of one-person journalism, we had alumni tell us that talent needed to be able to prompt themselves," he notes. "So we transitioned from having a crew position prompter to having the news and sports anchors prompt themselves. That's most likely what they will encounter when they graduate and move to a small-market station equipped with hand-and-foot controllers.

"E.P.I.C.'s foot pedals are particularly awesome. We've had a lot, and these are by far the best."

Silvestri also gives kudos to E.P.I.C.'s 20-percent savings in power consumption and its class-leading High Bright LED prompting screens. "The talent loves the fact that we can do colors now for different slugs and cues," he adds. The Clock Plus E feature for time of day and Tally Plus feature for live cameras also come in handy, he reports.

An additional attraction of E.P.I.C. is its streamlined good looks with no extra mounting bracket required. "It's a very clean unit," says Silvestri. "It works well and it looks really good. We do studio tours and want to impress the people we show around. This unit is designed to impress."

Although he reports that the E.P.I.C. systems "worked perfectly out of the box," Silvestri gives kudos to Autoscript's customer support. "When I've called with general questions they call me back instantly," he says. "Autoscript really stands behind this product."

Three E.P.I.C.s are meeting the current needs of UTVS but Silvestri envisions expansion possibilities. "Right now we roll the cameras between the two studios, but if we invest in separate cameras for the news and sports studios, I can see us adding two more E.P.I.C.s."

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The Hollywood Post Alliance(r) Announces the 2014 Engineering Excellence Award Call For Entries


(Los Angeles, CA) The Hollywood Post Alliance has announced the 2014 Call for Entries for its Engineering Excellence Award. The Engineering honor showcases inventors, manufacturers, vendors and/or peer post production companies for outstanding product or technology application offerings. Valid offerings may include products or processes, and must represent a step forward for its industry beneficiaries. The HPA Engineering Excellence Award is recognized as one of the most important technology honors in the post production industry.

The Engineering Excellence Award spotlights the companies and individuals who draw upon technical and creative ingenuity and apply it to real world post production demands. Any individual, group of individuals or entity offering a submitted entry to the post production industry at large can submit an entry for the Award. The Engineering Excellence Award will be presented at the 2014 HPA Awards on the evening of November 6, 2014 at the Skirball Cultural Center in Los Angeles, CA.

Launched in 2006, the HPA Awards have become the standard by which creative and technical excellence in the art, science and craft of post production is measured. The Engineering honors have been considered a crucial part of the HPA Awards from its inception. The 2013 winners were DTS, Inc. for MDA, NVIDIA for NVIDIA GRID(tm) Visual Computing Appliance (VCA), Sony Pictures Imageworks and The Foundry for FLIX, and Telestream for their 16 bit 4:4:4:4 Transcoding Technology.

In addition to the Engineering Excellence Award, the HPA Awards honor the important post production categories of: Outstanding Color Grading, Editing, Sound and Visual Effects for feature film, television and commercials, as well as the HPA(r) Judges Award for Creativity and Innovation in Post Production.

Complete rules, guidelines and entry information are available at: www.hpaawards.net. Submissions for the Engineering Excellence Award will be accepted May 16, 2014 through June 20, 2014. Entrants for the Engineering Excellence Award will be invited to present at a special HPA judging event in early August. For more information about the HPA Awards, visit www.hpaawards.net or call 213.614.0860.

Contact Alicia Rock at 213.614.0860 or write to arock@hpaonline.com for information about sponsorship opportunities for the 2014 HPA Awards show. For more information about the HPA Awards, visit www.hpaawards.net or call 213.614.0860.

# # #

About the Hollywood Post Alliance(r)
Hollywood Post Alliance (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content.

About the HPA(r) Awards
The HPA Awards were created to foster awareness of post production, promote creative and technical excellence, recognize the achievements of post production talent, and build involvement in the Hollywood Post Alliance.

Media Contact:
ignite strategic communications
p: 818.980.3473
Christine Purse, chris@ignite.bz or
Mimi Rossi, mimi@ignite.bz

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