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ADX TRAX Audio Separation Software Now Available

New Software Provides Powerful Tool for Remixing or Creating New Compositions

LOS ANGELES (January 23, 2014) – Audionamix® announces the release of ADX TRAX™, unique audio separation software built on the company’s proprietary ADX® Technology. ADX TRAX separates full mixes into two audio files: a vocal track and its accompanying music track. This cloud-based technology allows musicians, mixers, audio engineering professionals and producers to achieve superior vocal isolation for a number of creative applications. The company is demonstrating ADX TRAX (booth #7523 in The Venue) at The NAMM Show in Anaheim, which runs January 23-26, and it is available to download at www.audionamix.com.

“ADX TRAX puts a piece of our innovative, melodic source separation technology into the hands of the professional music community,” says Rick Silva, VP of Production and Product Manager at Audionamix. “We’ve designed TRAX to be a user friendly tool for speeding up the labor-intensive task of creating vocal isolations and instrumental tracks. By utilizing the power of cloud computing, the process is now automated for quick, high-quality results.”

ADX TRAX features intuitive navigation and editing tools in an environment that is familiar to all DAW users. The software is unique in that it has the ability to perform separations on mono, as well as stereo recordings, and it is compatible with multiple file formats, bit depths and sample rates.

Specific to the software, ADX TRAX provides users with a vocal volume control feature. This is an extremely valuable option when lead vocal levels of a mixed music track need to be adjusted for various commercial applications.

Additional software features address reverb, and an A/B button provides the ability to refer to the current refined pitch guide, as well as return to the automatic separation and associated pitch guide.

ADX TRAX is client and cloud-based audio separation software designed for MAC OS (10.6 or later). It is intended for use with owned or licensed content, or content obtained from the public domain, and may not be used to violate any law, including copyright laws.

An annual, prepaid software license for ADX TRAX begins at $240. Audionamix is offering a 20% discount to anyone who purchases the software through February 28. There is also a free 7-day trial available for anyone who signs up by January 31. After that, it will be a free 3-day trial period.

As a special show offer, NAMM attendees can visit the Audionamix booth for a promo code to save an extra $120 on the Premium subscription package, which can be applied with the 20% discount through January 31, for a total savings of $168. To download ADX TRAX, and for more information on subscription plans, visit www.audionamix.com.

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About Audionamix
Founded in 2008, Audionamix is a global leader in audio source separation. Based on years of research, the company developed the revolutionary, patented ADX Technology and continues to pioneer audio solutions for the film, broadcast and music industries. Audionamix’s technical expertise in isolating and separating elements from a master recording empowers content owners, engineers, producers, and artists to create new arrangements, and unlock television and movie assets for expanded distribution. ADX TRAX is specialized software that utilizes the company’s technology to easily, quickly and effectively isolate vocal elements from its accompanying music track. Located in Los Angeles and Paris, the company’s technology and service offerings provide innovative solutions to a wide range of audio challenges. For more information, visit www.audionamix.com, or follow them on Facebook, Twitter, YouTube, Vimeo, and LinkedIn.

(Audionamix, ADX and ADX TRAX are trademarks of Audionamix.)

Media Contacts:
ignite strategic communications
Lisa Muldowney, lisa@ignite.bz / 760.212.4130 direct
Sally Christgau, sally@ignite.bz / 415.238.2254 direct

Bexel Heads Home for FOX Sports 1 Remote Studio Kits

Self-contained Broadcast Units Bring FOX Sports 1 Talent to Air

(BURBANK,CA) Bexel, a unit of the Vitec Group‘s Services Division and a leading worldwide provider of broadcast services and solutions, recently built, tested, shipped, and installed 16 self-contained, crewless home studios for some of FOX Sports 1′s top talent. The innovative systems are permanently installed in the analysts’ homes, allowing them to go on air immediately when something pertaining to their specialty occurs.

“We had less than 30 days to procure, build, test and distribute all 16 systems, but we were more than ready for the challenge,” said Senior Vice President of Bexel ESS Scott Nardelli. “We were able to manage logistics and get the gear needed, where they needed it. From staging the units in various holding locations around the country before deployment, to installing the bonded T1s from the point of presence to the interior of the homes, to running the cables in a way that hid them from view and worked within the existing décor and framework of the houses, our team delivered at every step in the process.”

Since the network’s August launch, the in-home location segments have become staples of FOX SPORTS LIVE, FOX FOOTBALL DAILY and other FOX Sports 1 programming. Brian Billick in Queenstown, Md., Ken Rosenthal in New York, N.Y., Mike Garafolo in Hoboken, N.J., Jon Paul Morosi in Ann Arbor, Mich., Reid Forgrave in Des Moines, Iowa, and Alex Marvez in Miami, Fla., are among the analysts who have been prominently featured from the new installations. FOX Sports 1 simply connects into any of the in-home studios via a bonded T1 pair, and goes live with HD quality video.

The systems include AW-HE60SN Panasonic cameras that can be manned remotely from the FOX Sports 1 control room in Los Angeles, allowing them to pan, tilt, zoom or adjust color and saturation. Litepanels 1×1 Bi-Color panels were chosen to provide key light, fill light, and back light on stands, and can also be controlled remotely. The backdrops, approximately 6-by-6 feet and featuring the FOX Sports 1 logo, are customized to the individual home locations. Beyond the standard backdrops are smaller pull-up devices, and in one case, a motorized unit that comes down from the ceiling.

Rack mounted cases, approximately 48-by-24-by-30 inches, are at the core of the systems. Their contents include a UPS that controls power, an IP Power Switch which allows the system to be turned on and off remotely from Los Angeles, a network switch that keeps the circuit open, a Haivision Mako encoder, and audio and video support that provides the IFB and camera feeds.

While most functions of the in-home studios are controlled remotely, the units were designed to make it easy for the on-location users to complete the tasks they do have to perform. “We used a very straight forward audio system, so the talent doesn’t really have to do anything beyond plugging in their microphone,” adds Nardelli. “They also have a volume control for their earpiece right on the desk, so they can control the volume of the IFB easily, without having to go to the rack and figure out which knob to turn. We worked closely with the FOX team to create clear and concise ‘cheat sheets’ for the talent, so they’d be comfortable with the technology around them.”

“Speed to market is crucial in the world of sports news, and these in-home studios have been very effective for us in delivering breaking news,” notes Doug Levy, VP of post production for Fox Networks Engineering and Operations. “In approach, it really represents a sea change. Everyone worked incredibly hard to make this work, and it was a unique learning process for all those involved. We felt from the beginning that Bexel was the most appropriate choice for this project. They have a long and extremely good track record as both a rental house and an integration company, and we knew their team could get the job done.”

About Bexel
Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers – including producers of the biggest and most important televised events in the world. For more information, visit http://www.bexel.com, and follow them on Facebook and Twitter.

About Litepanels
Litepanels was founded in 2001 by five professional gaffers and engineers who saw the future and pioneered LED (light emitting diode) lighting for motion pictures, television and the audio-visual industry. Their Emmy(r) award-winning technology has now been used on thousands of productions worldwide and is trusted by the world’s leading broadcast organizations. Backed by the Vitec Group’s legacy of 100+ years in the broadcast and production industry, Litepanels continues to expand its suite of flicker free, color accurate, fully-dimmable soft lights that talent and lighting directors admire. These environmentally friendly fixtures practically pay for themselves with power savings and long life, setting a new standard in professional lighting. Along with other leading brands in the broadcast and professional videographer industry, Litepanels is part of Vitec Videocom, a Vitec Group company. For more information on Litepanels, visit www.litepanels.com

About the Vitec Group
Capture the moment(tm)

For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com.

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Media Contacts:
ignite strategic communications
818.980.3473
Sally Christgau: sally@ignite.bz, direct 415.238.2254
Lisa Muldowney: lisa@ignite.bz, 760.212.4130

HPA Tech Retreat Celebrates 20 Years of Inquiry and Illumination

Industry Thought Leaders and Technology Mavens Head Back to Palm Springs for Thoughtful Exploration of an Industry in Transition

(Los Angeles, CA) For the past twenty years, the Hollywood Post Alliance(r) (HPA) Tech Retreat(r) has gathered a veritable who’s who in engineering, technology, creativity, and strategic business together for a structured yet informal meeting of the minds; where top industry leaders engaged in all aspects of production, distribution, post production, film, television, web and related endeavors, gather in an environment conducive to the exchange of knowledge and information. This year’s 20th Anniversary confab promises all of that and more from February 17-21, 2014 at the Hyatt Regency in Indian Wells near Palm Springs, CA.

The Tech Retreat offers attendees the chance to explore the opportunities and the complexities facing an industry in transition, and to investigate new solutions and technologies that impact its many constituents.

The HPA Tech Retreat offers lively conference sessions, networking events and technology demonstrations to an engaged audience of participants and panelists that hail from a pool of the top technical, creative, business and hands-on experts. Topics will take the Tech Retreat audience from the nitty gritty to the very precipice.

For a full schedule, visit http://bit.ly/1cwt7B2. On Monday, February 17th, the event opens for early registration and a pre-Retreat course titled Physics, Psychophysics, and Vision for Advanced Motion Imaging from Charles Poynton and John Watkinson. Tuesday launches the HPA Tech Retreat, with the HPA Supersession: The New Normal is Anything But, focusing on the impact of new distribution platforms in production and post. Wednesday through Friday mornings feature breakfast roundtables where any industry relevant topic goes. The HPA Demo Room opens on Tuesday with demos and cocktails and is a hotbed of new products and technologies that feature curated and expert-demos which illustrate the latest developments. Wednesday focuses on the consumer experience and impact, and Thursday production and post. The Tech Retreat concludes Friday morning, with highlights and an emphasis on engineering. The entire event features many opportunities for one-on-one discussion with industry innovators, technology experts, business executives and other top professionals.

Mark Schubin, Multiple-Emmy-award-winning SMPTE Fellow has been working in television since 1967, writing about it since 1972, and chairing the HPA Tech Retreat program since 1997, commented on the engaging presentations set for next month. “We are dealing with fundamental changes in the very nature of our industry, from changing methodologies – broadcast, cable, DVD, DVR, for example- to the previously unthinkable, such as giving fans in a stadium access to their own instant replays, letting social media shape programming, and all of those things that lay beyond. This is a challenging but expansive time. For example, at the Tech Retreat, we’ll feature a presentation that may appear to be purely tech-focused and narrow (i.e., new display connections) but it will show how the consumer technology is powerfully driving the professional world. As always, we’ll be digging into important topics that are thought provoking, but are also important in terms of our businesses and careers, including two of the most critical issues in our industry: the change from video-specific technology to commodity information technology, and the question of what comes next on the screen, and what delivers the biggest bang for the buck?” Schubin notes, “Maybe it’s something a lot simpler than “4K.” He concludes, “And, we’re spending a day with a provocative dive into one of the most important topics there is – color.”

Leon Silverman President of the HPA noted, “This year is a significant milestone for the HPA Tech Retreat as we look back over the incredible effect that technology has had on our industry over the past 20 years. As the world of film and television became increasingly impacted by computer and digital technologies, the HPA Tech Retreat served as an important common ground for our industry to experience and drive transformative change together. Now more than ever, the Tech Retreat serves as an important bridge between so many of the rapidly changing aspects of our industry. As I do every year, I look forward to spending time with the most interesting people I know, and ones I hope to know, at the HPA Tech Retreat.”

Early bird registration pricing will end on January 10 and the Tech Retreat demo room still has a few remaining spaces left. For full information and registration visit www.hpaonline.com or call the HPA office at (213) 614-0860 or email Eileen Kramer – ekramer@hpaonline.com.

About the HPA Tech Retreat(r)
The HPA Tech Retreat(r) is an informal gathering, in the Palm Springs area, of the top industry engineering, technical, and creative talent, as well as strategic business leaders focused on technology, from all aspects of digital cinema, post-production, film, television, video, broadcast, and related technology areas, for the exchange of information.

The HPA Tech Retreat(r) will be presented with generous support from Foundation Members: Avid, Company 3, Deluxe, Dolby, EFILM, Encore; Gold Sponsor: Rohde & Schwarz and Brand Sponsor: Cloud Sigma.

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.

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Media Contact:
Chris Purse, 818.303.8088
ignite strategic communications
chris@ignite.bz or mimi@ignite.bz

Bexel Promotes Greg Bragg to VP of Global Sales

(BURBANK, CA) Bexel, a unit of the Vitec Group’s Services Division and a leading worldwide provider of broadcast services and solutions, has named Greg Bragg vice president of Global Sales.

“Greg’s comprehensive understanding of our day-to-day operations and his strong customer relationships make him a perfect match for this new role,” said Bexel President and General Manager Halid Hatic. “He has learned our business from the ground up, and his leadership will be instrumental as Bexel continues to expand its reach across the worldwide broadcast industry.”

Bragg started his career with Bexel in 1995; working his way up through positions such as quality control supervisor and audio department technician, to rental department division coordinator, among others. In 2006, Bragg was named rental manager for the company’s headquarters in Burbank, Calif. Within a few years, he was appointed to serve all Bexel locations, and soon after was promoted to associate director of Network Rentals. He has been serving as director of sales since 2012.

Bragg has played a critical role in broadening Bexel’s broadcast services to include reality programming and production support. He has developed strong relationships with reality production companies that include Mark Burnett Productions (Apprentice), Upper Ground Enterprises (Hell’s Kitchen), Endemol USA (Extreme Makeover: Home Edition), Evolution Media (Real Housewives franchise) and Original Media (LA Ink, NY Ink).

“I am excited about this opportunity to represent the entire Bexel family in my new role,” said Bragg. “Bexel has a long history of superior customer service and engineering excellence. I am confident in my vision for our sales organization, and a lot of that stems from the fact that that I am surrounded by the best sales team, engineering, and support staff in the industry”

About Bexel:
Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers – including producers of the biggest and most important televised events in the world. For more information, visit http://www.bexel.com, and follow them on Facebook and Twitter.

About the Vitec Group:
Capture the moment(tm)

For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com.

Media Contacts:
ignite strategic communications
818.980.3473
Lisa Muldowney: lisa@ignite.bz
Sally Christgau: sally@ignite.bz

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Bexel is First to Take Advantage of Sony’s New HDC-3300R

ESPN Utilizing Super Slow-Motion Camera for Game Day Action

(BURBANK, CA) Bexel, a unit of the Vitec Group‘s Services Division and a leading worldwide provider of broadcast services and solutions, is the first to take delivery of the latest HDC-3300R Super Motion Camera. Bexel currently has two cameras deployed for ESPN, Inc., The Worldwide Leader in Sports, for NCAA football games.

“Bexel has always taken a leadership position in slow-motion cameras and the new version of the HDC-3300R Super Motion Camera fosters our service capabilities in that space,” says Tom Dickinson, chief technology officer of Bexel. “We are very excited to have the new 3300R version in our rental fleet. The 1080p capability and improved sensitivity allows this camera to perform at a higher standard for indoor and outdoor applications.”

The Sony HDC-3300R’s new feature enhancements include advanced CCD imagers with 16-bit A/D conversion; additional capturing frame rates of 1080/179.82P, 150P, 59.94P and 50P; 3G HD-SDI support; and Level A and B switchability.

“Sony has been at the forefront when it comes to developing cameras that provide high-quality, slow-motion image capture, which has been a staple feature for sports coverage,” says Sony Senior Marketing Manager Wayne Zuchowski. “And now the widely accepted HDC-3300R continues that legacy.”

“Super slow-motion cameras are a vital part of every sports broadcast today,” says Joe Wire, Bexel vice president of Business Development. “Having the ability to offer our clients the latest creative tools further enhances their storytelling capabilities. Utilizing these cameras on college football’s national championship games for the next two years demonstrates the commitment broadcasters have to using the latest technology on the most important games.”

About Bexel
Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers – including producers of the biggest and most important televised events in the world. For more information, visit www.bexel.com, and follow them on Facebook and Twitter.

About the Vitec Group
Capture the moment(tm)

For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com.

American Society of Cinematographers Reveals Television Nominees

HBO and Starz Lead Nominations

(LOS ANGELES, CA) The American Society of Cinematographers (ASC) has selected its television nominees for the organization’s 28th Annual Outstanding Achievement Awards. The winners will be announced at a gala on February 1, 2014, here at the Hollywood & Highland Ray Dolby Ballroom.

The nominees in each of the three categories are:

One-hour Episodic Television Series:
* Steven Bernstein, ASC for Starz Network’s Magic City (“The Sins of the Father”)
* David Franco for HBO’s Boardwalk Empire (“Erlkönig”)
* Jonathan Freeman, ASC for HBO’s Game of Thrones (“Valar Dohaeris”)
* Pierre Gill, CSC for Showtime’s The Borgias (“The Purge”)
* David Greene, CSC for The CW’s Beauty and the Beast (“Tough Love”)
* Anette Haellmigk for HBO’s Game of Thrones (“Kissed by Fire”)
* Kramer Morgenthau, ASC for Fox’s Sleepy Hollow (“Pilot”)
* Ousama Rawi, BSC, CSC for NBC’s Dracula (“The Blood is the Life”)

Half-hour Episodic Series:
* Peter Levy, ACS, ASC for Showtime’s House of Lies (“The Runner Stumbles”)
* Matthew J. Lloyd, CSC for Amazon’s Alpha House (“Pilot”)
* Blake McClure for Comedy Central’s Drunk History (“Detroit”)

Television Movie/Miniseries:
* Jeremy Benning, CSC for National Geographic Channel’s Killing Lincoln
* David Luther for Starz Network’s The White Queen (“War at First Hand”)
* Ashley Rowe, BSC for Starz Network’s Dancing on the Edge (Episode 1.1)

“The new heights that storytelling has reached on television are in part because of the tremendous artistry and outstanding work being done by the shows’ cinematographers,” says ASC President Richard Crudo. “It was difficult for our members to narrow down the field to these nominees given the high caliber of the submissions.”

Franco has been previously nominated for Boardwalk Empire (2012), Bury My Heart at Wounded Knee (2008), Intensity (1998), Falling for You (1996) and Million Dollar Babies (1995).

Freeman has collected three ASC Awards. His wins were for Boardwalk Empire (2012, 2011) and Homeland Security in (2005). He has also earned additional nominations for Taken (2003), Strange Justice (2000) and Prince Street (1998).

Gill and Morgenthau have each previously earned an ASC Outstanding Achievement Award.

Gill took home an Award for Hitler: The Rise of Evil (2004), and was nominated for Joan of Arc (2000).

Morgenthau earned his first ASC Award last year for Game of Thrones, and has nominations for Boardwalk Empire (2011), Life on Mars (2009) and The Five People You Meet in Heaven (2005).

This is Levy’s fourth nomination, having been nominated for House of Lies (2013), The Life and Death of Peter Sellers (2005) and 24 (2002).

Rowe and Rawi have both previously been nominated for The Roman Spring of Mrs. Stone (2004) and The Tudors (2009), respectively.

Benning, Bernstein, Greene, Haellmigk, Lloyd, Luther and McClure are all first-time nominees.

HBO and Starz led the pack with three nominations each, followed by Showtime with two noms. Amazon, Comedy Central, Fox, NBC, The CW, and National Geographic Channel are also represented.

For information regarding the 28th ASC Awards for Outstanding Achievement in Cinematography visit www.theasc.com or call 323-969-4333.

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About The American Society of Cinematographers
The American Society of Cinematographers (ASC) is a nonprofit organization dedicated to advancing the art of filmmaking. Since its charter in 1919, the ASC has been committed to educating aspiring filmmakers and others about the art and craft of cinematography. For additional information about the ASC, visit www.theasc.com. Join ASC on Facebook at http://www.facebook.com/The.ASC and American Cinematographer magazine fan page at http://www.facebook.com/AmericanCinematographer.

(Oscar and Academy Award are registered trademarks of the Academy of Motion Picture Arts & Sciences.)

(Emmy is a registered trademark of the Academy of Television Arts & Sciences.)

Media Contacts:
ignite strategic communications
818.980.3473
Sally Christgau, sally@ignite.bz
Lisa Muldowney, lisa@ignite.bz

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Bexel Completes RF System Integration for Fusion Network and Upgrades WCBS-TV with Managed Antenna System

Custom RF Solutions Meet Broadcasters’ Unique Needs

(BURBANK, CA) Bexel, a unit of the Vitec Group‘s Services Division and a leading worldwide provider of broadcast services and solutions, recently completed major projects for two broadcasters, the new cable network Fusion and WCBS-TV of New York. Bexel provided complete RF system integration for the newly launched Fusion studio located in Doral, Florida. For WCBS-TV, the studio was just upgraded with Bexel’s proprietary Managed Antenna System (MAS). Both jobs were overseen by the company’s Audio Specialties Group (ASG), whose unique RF services deliver the ability to communicate over longer distances and with more information than was previously available to the broadcast market.

Fusion, a joint venture between ABC News and Univision, launched October 28. The English-language network features news, information and lifestyle programming aimed at Latinos and young Millennial viewers. Bexel was contracted by The Systems Group to provide complete RF system integration for the new facility that was built from the ground up to support Fusion, as well as Univision’s news programming. The entire process, from the planning stages to final installation, took nearly a year.

Bexel’s skilled engineers provided a MAS to facilitate the use of all wireless production equipment throughout the entire Fusion facility, allowing the complete network of equipment to work in all studios as a shared resource. The project required eight zones of RF coverage, and installed equipment included five Bexel IS8 Combiners, five PA1 Distribution Amps, five UHPS1X8 Power Splitters, three UMC16X16 Receive Multicouplers, 28 Shure Axient Systems, 54 Lectrosonics IFB systems, and nine Telex BTR800 Wireless Intercom systems. Approximately 20,000 feet of coax cable was deployed for the job, along with nearly 80 antennas.

“It is always a tremendous opportunity when we can get in on the ground floor of a project,” says Jim Dugan, senior project engineer, Bexel. “With Fusion’s new studio, we were able to start with a blank canvas, and our experts were really able to configure a system that was right for their specific and varied needs. Beyond consulting on all the RF in the facility, we provided project management, frequency coordination, bandwidth planning, and equipment purchasing as well.”

For WCBS-TV studios in New York, Bexel recently upgraded the MAS for this market’s top-rated news station, which is also home to local area talk show “The Couch.” The system allows talent to roam from their home studio, CBS Studio 46, to the adjacent newsroom and the soon to be completed Studio 55. The wireless antenna solution at WCBS accommodates 16 Sennheiser wireless microphones, eight Lectrosonics IFB systems, and two Telex BTR800 Wireless Intercom systems on a single, four-zone system.

WCBS is located in the CBS Broadcast Center, a million-square-foot production facility in Manhattan that serves as the headquarters of CBS News and CBS Sports. Over the last two years, Bexel has also installed Managed Antenna Systems in all five of the complex’s other studios.

“We are proud to continue our work at the CBS Broadcast Center. With our Bexel MAS installed in Studio 46, the WCBS news team is going to enjoy a whole new level of flexibility and freedom. Our RF configurations streamline audio communications for the production workflow.”

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About Bexel
Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers – including producers of the biggest and most important televised events in the world. For more information, visit www.bexel.com, and follow them on Facebook and Twitter.

About the Vitec Group
Capture the moment(tm)
For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com.

Media Contacts:
ignite strategic communications
Lisa Muldowney – lisa@ignite.bz / 760.212.4130
Sally Christgau – sally@ignite.bz / 415.238.2254

American Society of Cinematographers to Pay Tribute to Dean Cundey, Eduardo Serra and Richard Rawlings

Trio will be Presented Awards at Annual ASC Gala

(LOS ANGELES, CA) Dean Cundey, ASC; Eduardo Serra, AFC, ASC; and Richard Rawlings, Jr., ASC will be recognized by their peers during the 28th Annual American Society of Cinematographers (ASC) Outstanding Achievement Awards on February 1, 2014, here at the Hollywood & Highland Ray Dolby Ballroom. Cundey will receive the ASC’s Lifetime Achievement Award; Serra will be presented with the International Achievement Award; and Rawlings will pick up the org’s Career Achievement in Television Award.

“Anyone who has been in the presence of these three brilliant and talented individuals should count themselves lucky,” notes ASC President Richard Crudo. “Dean, Eduardo and Dick have each had an immeasurable impact on our art form, and we’re proud to have the opportunity to honor their outstanding craftsmanship.”

Cundey first attracted widespread attention when he collaborated with John Carpenter on the production of Halloween (1978). The two filmmakers continued to work together on such memorable films as The Fog, Escape from New York, The Thing, Halloween II and III, and Big Trouble in Little China.

For his work on Robert Zemeckis’ landmark, live-action film Who Framed Roger Rabbit (1988), Cundey garnered both Oscar(r) and BAFTA nominations. Zemeckis and Cundey also teamed up on the beloved Back to the Future trilogy, Romancing the Stone, and Death Becomes Her. Cundey earned his first nomination from his peers at the ASC for Steven Spielberg’s Hook (1991), and a second one for his gripping imagery of Ron Howard’s Apollo 13 (1995). He also earned the Society of Operating Cameraman’s President’s Award in 1999.

Cundey’s credits also include such notable films as Jurassic Park, What Women Want, Garfield, The Holiday, The Spy Next Door, Jack and Jill, Crazy Kind of Love, and the upcoming releases Walking with the Enemy and Carry Me Home.

“Dean has continually raised the bar with his magnificent imagery, and I’m certain he will continue to do so for many years to come,” says ASC Awards Chairman Lowell Peterson. “He has compiled an incomparable body of work that has made a meaningful and indelible impression on the art of filmmaking. This award is a symbol of our respect and admiration for both the man and his work.”

Serra earned his first Academy Award(r) nomination for Iain Softley’s The Wings of the Dove (1997), which also netted him a BAFTA Award. In 2004, he received Oscar(r) and BAFTA nominations for Peter Webber’s Girl with the Pearl Earring. His work on such films as Jude, Map of the Human Heart, What Dreams May Come and Funny Bones is highly acclaimed. Serra has over 50 feature films to his credit, including A Promise, Harry Potter and the Deathly Hallows Part 1 and Part 2, Blood Diamond, Beyond the Sea, Unbreakable, and The Widow of Saint-Pierre, among others. In 2004, for his services to enhance Portuguese culture, he was presented with the prestigious Order of Prince Henry the Navigator, one of the highest honors given by his native Portugal.

Rawlings grew up in Hollywood, under the tutelage of his father, Richard Rawlings, Sr., ASC. He worked alongside his father for years, learning the industry from the ground up. His first TV series as director of photography was in 1978 on the cultural phenomenon Charlie’s Angels. He went on to shoot such memorable series as Matt Houston, Stingray, L.A. Law, Boston Public, Gilmore Girls and Desperate Housewives, among others. Rawlings telefilm credits include Halley’s Comet, Spring Awakening and Gidget’s Summer Reunion. He has earned Emmy(r) nominations for the series Ohara (1987), Paradise (1988), Reasonable Doubts (1991), and the television movie Big Dreams & Broken Hearts: The Dottie West Story (1995). Rawlings also earned an ASC Outstanding Achievement Award for Paradise in 1989, and another nomination for the series in 1990. In 1993, he received his third ASC Award nomination for the telefilm When No One Would Listen.
For information regarding the 28th ASC Outstanding Achievement Awards, visit www.theasc.com or call 323-969-4333.

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(Photos of the ASC honorees are available upon request.)

About The American Society of Cinematographers
The American Society of Cinematographers (ASC) is a nonprofit organization dedicated to advancing the art of filmmaking. Since its charter in 1919, the ASC has been committed to educating aspiring filmmakers and others about the art and craft of cinematography. For additional information about the ASC, visit www.theasc.com. Join ASC on Facebook at http://www.facebook.com/The.ASC and American Cinematographer magazine fan page at http://www.facebook.com/AmericanCinematographer.

(Oscar and Academy Award are registered trademarks of the Academy of Motion Picture Arts & Sciences.)

(Emmy is a registered trademark of the Academy of Television Arts & Sciences.)

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Panavision Unveils New Primo V Lenses Optimized for Digital Cameras

(WOODLAND HILLS, CA) – Panavision, the company behind many of the industry’s most respected cinema lenses for the last 60 years, has introduced a new line of Primo lenses, the Primo V series, specifically designed to work with today’s high-resolution 35mm digital cameras.

“Panavision’s unmatched optical expertise and high-quality manufacturing capabilities have now been brought to bear on lenses adapted for digital cameras,” says Kim Snyder, Panavision’s Chief Executive Officer. “We’re focused on providing cinematographers with the best tools to tell their stories with vision and creativity. With the industry’s ongoing transition to digital capture, we want our customers to know they can continue to trust Panavision to bring innovative, world-class solutions to the marketplace.”

The Primo V lenses are designed to bring the look and feel of Panavision Primos to digital cinematography, using the lens elements from existing Primo lenses, long an industry standard for top cinematographers. Primo V lenses take advantage of specific design adaptations to work in harmony with digital cameras, maximizing image quality while delivering Primo quality and character.

“Cinematographers tell us that the hyper-sharp sensors in today’s digital cameras can result in images that are harsh and lack personality,” says Panavision’s VP of Optical Engineering Dan Sasaki. “That’s one reason why there’s so much emphasis on glass these days. The Primo V lenses bring the smooth, organic flavor of Primo lenses to the high fidelity digital image. Our philosophy is to take what cinematographers love about the Primos, and update them for the digital world.”

Digital cameras require additional optical elements including low-pass and IR filters that increase off-axis aberrations. ND filters are sometimes part of the chain. Primo V lenses have been re-engineered to correct for this. Patent pending modifications eliminate the coma, astigmatism, and other aberrations introduced by the additional glass between the lens and the sensor, while preserving the desirable imaging characteristics of the Primo optics. The resulting image appears more balanced center-to-edge.

The Primo V lenses are compatible with any digital camera equipped with PL or Panavision 35 mount systems. They cannot be used on film cameras. The internal transports and mechanics of the Primo V lenses will retain the familiar Primo feel. Since the Primo V lenses retain the essential Primo character, imagery from Primo V and standard Primo lenses will intercut well. A set of Primo V primes will include 14.5, 17.5, 21, 27, 35, 40, 50, 75, and 100mm focal lengths.

“Filmmakers have embraced Panavision Primo lenses since their introduction 25 years ago,” notes Snyder. “Now the classic Primo look has been refined and optimized for use with the latest generation of 35mm sensor digital cameras.”

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About Panavision
Panavision Inc. is a leading designer and manufacturer of high-precision camera systems, including both film and digital cameras, and lenses and accessories for the motion picture and television industries. Renowned for its world-wide service and support, Panavision systems are rented through its domestic and internationally owned and operated facilities and distributor network. Panavision also supplies lighting, grip and crane equipment for use by motion picture and television productions

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2013 Hollywood Post Alliance Award Winners Announced

Gala Event Spotlights Leaders and Innovators in Post Production

(Los Angeles, CA) The 2013 HPA Awards(r) took place tonight, celebrating talent and innovation in 12 creative categories as well as in three special honors. The HPA Awards recognize individuals and companies for outstanding contributions made in helping to create features, television programs, spots, and entertainment enjoyed around the world. Presented by the Hollywood Post Alliance(r) – the professional organization for the post production community – the 8th Annual HPA Awards took place at the Skirball Cultural Center in Los Angeles, in front of a sold out audience of industry insiders and luminaries.

As announced earlier, Avid was honored with the prestigious Charles S. Swartz Award for Outstanding Contribution in the Field of Post Production. Avid President and CEO Louis Hernandez, Jr. accepted the Award on behalf of the company. Other special awards were presented, which included honors for Engineering Excellence, and the HPA Judges Award for Creativity and Innovation in Post Production.

The winners of the 2013 HPA Awards are:

Outstanding Color Grading – Sponsored by Dolby Laboratories

Outstanding Color Grading – Feature Film

“Life of Pi”
David Cole // Technicolor

Outstanding Color Grading – Television

“Castle – Hunt”
Anthony Smith // Encore

Outstanding Color Grading – Commercial

Under Armour “Brought To You By Under Armour”
Tom Poole // Company 3

Outstanding Editing – Feature Film

“Argo”
William Goldenberg, A.C.E.

Outstanding Editing – Television

“Breaking Bad – Dead Freight”
Skip Macdonald, A.C.E.

Outstanding Editing – Commercial

Nextel/Ferrari “Combustion”
Doobie White // Therapy Studios

Outstanding Sound – Feature Film

“Argo”
Erik Aadahl and Ethan Van der Ryn
John Reitz and Gregg Rudloff // Warner Bros. Sound

Outstanding Sound – Television

“Game of Thrones – The Climb”
Tim Kimmel, Paula Fairfield, Brad Katona, Jed Dodge, Onnalee Blank and Mathew Waters // Todd AO

Outstanding Sound – Commercial

Honda “Hands”
Anthony Moore // Factory

Outstanding Visual Effects – Feature Film

“Pacific Rim”
Lindy DeQuattro, Eddie Pasquarello, Nigel Sumner, Derrick Carlin and Chris Lentz // Industrial Light & Magic

Outstanding Visual Effects – Television

“Game of Thrones – Valar Dohaeris”
Joe Bauer and Jabbar Raisani
Jörn Grosshans and Sven Martin // Pixomondo
Doug Campbell // Spin VFX

Outstanding Visual Effects – Commercial

Galaxy “Chauffeur”
Simon French, William Bartlett, Stephen Cullingford and Grant Walker // Framestore

A number of special awards, which had been announced earlier, were bestowed during the evening including:

Charles S. Swartz Award for Outstanding Contribution in the Field of Post Production

Avid(r)

HPA Engineering Excellence Award sponsored by NAB Show

* DTS, Inc. – MDA
* NVIDIA – NVIDIA GRID(tm) Visual Computing Appliance (VCA)
* Sony Pictures Imageworks and The Foundry – FLIX
* Telestream – 16 bit 4:4:4:4 Transcoding Technology

HPA Judges Award for Creativity and Innovation in Post Production
Park Road Post Production – Next Generation Feature Film Workflow: Enabling HFR 48FPS Stereoscopic 3D On Set to On Screen

For further information about the Hollywood Post Alliance, contact: 213.614.0860, or visit http://hollywoodpostalliance.org/.


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.

The HPA Awards were presented with generous support from Premier Sponsor: NAB Show; Foundation Members: Avid, Company 3, Deluxe, Dolby Laboratories, EFILM, Encore; Bronze Sponsor: Sohonet and Brand Sponsor: NVIDIA

# # #

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