A virtual press conference from Sound & Video Contractor

Archive by Sue Sillitoe

DPA CHOSEN FOR INTIMATE BALLET EXPERIENCE

To mark her Majesty Queen Elizabeth II’s Diamond Jubilee, the English National Ballet recently completed a series of 14 sell-out performances at the new 500-seat Theatre at The Concourse Performing Arts Centre in Sydney, Australia.

To achieve a natural effect where the music did not sound over amplified, the venue’s sound designer and production engineer, Owen Ironside, chose a selection of DPA microphones to capture the Willoughby Symphony Orchestra’s performance.

“The Theatre is a very intimate space and my goal was to make the mix as transparent as possible and merely bring the orchestra image out of the pit, sonically speaking, without it sounding like the PA was even on,” Ironside explains. “In total there were 29 musicians situated in the open pit, beneath the stage. To achieve the results I wanted I opted to mic each section with DPA microphones, with the addition of a solo DPA mic on 1st violin, as opposed to a traditional Decca Tree approach.”

On Ironside’s recommendation, the Concourse Arts Centre invested in 12 DPA 2011C Twin Diaphragm directional microphones, which were supplied by DPA’s Australian distributor Amber Technologies.

“I used directional microphones because the orchestra was situated directly under the PA,” Ironside says. “To mic the venue’s Steinway piano I used the directional DPA d:vote™ 4099P instrument microphone set mounted inside the piano with magnet holders, making it almost invisible. This was a last minute addition chosen for aesthetic reasons when the director decided to move the piano on and off stage during the performance. I also used DPA Reference Standard 4015A wide cardioid microphones for harp and timpani in order to minimise proximity effect. The harp sounded quite boomy before amplification so I certainly didn’t want to accentuate this. The wide cardioids’ wide pickup pattern also suited the harp and timpani’s wide radiation, while for the single double bass I used a d:vote 4099B instrument microphone. This allowed me to close mic and gave me maximum control within the mix.”

The combination of Owen Ironside’s attention to detail and the superb audio quality of the DPA microphones won much praise from the audience, performers, musicians and venue staff.

Gavin Sutherland, Music Director and Conductor for English National Ballet, says: “I was extremely impressed with the sound engineering for the Willoughby Symphony pit orchestra in the Theatre at The Concourse. The sound emanating from this moderately sized pit of 29 players, out front (in the auditorium) has a fulsomeness, richness and clarity worthy of some of the larger pit orchestras in Europe. A great natural sounding result was achieved.”

Following the success of the English National Ballet performance, the Concourse Arts Centre has increased its stock of DPA microphones by investing in 10 d:fine headset microphones, which it is using for musical theatre productions, and is also considering investing in different capsules for its Reference Series microphones to use during recording in its Concert Hall.

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Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

Hackenbacker Tackles The Audio Post For Hunted – A Major New Series For BBC One and HBO Cinemax

After completing the audio post production for all 10 series of the drama Spooks, Soho-based post production facility Hackenbacker has returned to the world of espionage – this time tackling the audio post for Hunted, a new eight-part suspense thriller produced by Kudos Film & Television in association with Big Light Productions, for BBC One and HBO’s Cinemax channel.

Written and created by the award-winning American television writer and producer Frank Spotnitz (The X-Files, Strike Back), Hunted stars Melissa George (The Slap, In Treatment) as Sam, a highly skilled operative for an elite private intelligence firm who survives an attempt on her life that may have been orchestrated by members of her own team. Once she returns to the firm, she performs her secretive duties without knowing who to trust and who wants her dead.

Adam Rayner (Hawthorne, Mistresses) plays Sam’s colleague at the firm and love interest. The dedicated and complex members of the firm operate in the shadows and must often confront life and death situations on secret missions where sometimes they are unaware of who or what they are fighting for.

Filmed on location in Scotland, London and Morocco, Hunted is scheduled to be screened by the BBC from October 4th at 9 pm. Additional cast includes Stephen Dillane (Game Of Thrones), Morven Christie (The Sinking Of The Laconia) Adewale Akinnuoye-Agbaje (Lost, Strike Back), Lex Shrapnel (Captain America: The First Avenger), Uriel Emil (Criminal Justice), Patrick Malahide (Five Days, Billy Elliot), Stephen Campbell Moore (The Bank Job, History Boys) and Oscar Kennedy (Toast).

Hackenbacker was chosen to handle the audio post production for Hunted on the basis of its Award-winning reputation for creating superb broadcast audio.

Frank Spotnitz says: “It was a joy collaborating with Nigel and his team at Hackenbacker. The work they did on Hunted was nothing short of spectacular. Their passion, attention to detail and artistry shine through in every moment of the series. They are true storytellers.”

Nigel Heath, founder of Hackenbacker, adds: “It was such a thrill to be approached by Kudos and HBO to provide sound services on this great production. For me, there was the added bonus of being able to work again with returning director SJ Clarkson for who’s work I have huge respect – and, of course, Frank Spotnitz, who has created so much incredible entertainment over the years. The producers have encouraged bold and original use of sound in this show, and the mix review sessions have had that wonderful feeling of everyone in the room (and there are sometimes quite a lot of us!) really wanting to achieve the same end result. For what is actually a large and technically demanding show there’s been a lot of fun in the studio, too. The composer Ruth Barrett has done a superb job and all of us on the sound crew are really quite chuffed with the final result. It’s been a real pleasure to work on and a fantastic experience for all of us.”

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About Hackenbacker:
With more than 25 years experience in the audio post production business, Hackenbacker provides a first class service to the film and television industries. Its award-winning team of sound editors, designers and mixers combine a thorough knowledge of today’s technology with an understanding of the importance of deadlines in order to deliver an exceptional service to all Hackenbacker customers. The facility offers full time technical support and access to the very latest equipment as well as some more esoteric specialist devices. www.hackenbacker.com

Jünger Audio’s LEVEL MAGIC™ Loudness Control Technology Helps Direct 8 and Direct Star Stay Within The Law

The need to comply with recently introduced broadcast audio loudness legislation has inspired French free to air digital channels Direct 8 and Direct Star to invest in new loudness control equipment from German dynamics processing specialist Jünger Audio.

Based in Puteaux, a suburb of Paris, Direct 8 specialises in delivering news, cultural programming, entertainment and film, while Direct Star focuses on music programming including music documentaries and live music broadcasts.
In conjunction with its French distributor 44.1, Jünger Audio has supplied Direct 8 and Direct Star with four D*AP LM4 four-channel digital audio processors. Each channel now has a pair of processors that are being used to control and regulate broadcast audio loudness. This investment in Jünger Audio’s EBU R128-compliant loudness control technology has ensured that both channels remain within the boundaries of new legislation recently introduced by France’s CSA (Conseil Supérieur de l’Audiovisuel).

Nicolas Albingre, Technical and Audio Visual Manager across both channels, says: “There are a number of loudness control solutions on the market that would have enabled us to implement the new EBU R128 loudness recommendation, but we chose Jünger Audio’s technology because we like the company’s LEVEL MAGIC™ adaptive control algorithm. LEVEL MAGIC™ is very effective at controlling loudness but it also gives us the audio transparency we were looking for. And, of course, it is compliant with R128, so it solves that problem as well.”

Jünger Audio’s LEVEL MAGIC™ algorithm allows broadcasters to adjust the audio level from any source at any time, with no pumping, breathing or distortion. Capable of using any kind of I/O (Analog and Digital) sources, as well as SDI, HD/SDI, Dolby 5.1 and all its related metadata, LEVEL MAGIC™ is based on a simultaneous combination of an AGC, a Transient Processor for fast changes and a “look ahead” Peak Limiter for continuous unattended control of any programme material, regardless of its original source. Its versatility, combined with its ability to deliver high-quality audio, has made it the algorithm of choice for line and real time processing.

Direct 8 and Direct Star are now using their D*AP LM4 units as part of their transmission delivery chain and Nicolas Albingre says he is very satisfied with the results they are achieving.

Jünger Audio’s Managing Director Peter Poers, adds: “Direct 8 and Direct Star are now part of a growing number of French broadcasters, including France Television and Canal Plus, which have chosen Jünger Audio’s loudness control technology to help them comply with the new CSA regulations. While it is satisfying to be able to provide a solution to a regulatory issue, it is even more satisfying that all of these broadcasters chose our LEVEL MAGIC™ solution because they appreciate the quality and transparency of the audio it delivers.”

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About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.junger-audio.com

Visual Unity Wins Major Connected World Award.TV At IBC 2012

Leading broadcast and multiscreen systems integrator Visual Unity is delighted to announce that its vuMedia™ integrated multiscreen content and delivery platform has won the ConnectedWorld.TV 2012 Award for the Best Use of Online Video by a Non-Broadcaster.

This ConnectedWorld.TV Award recognises the impact vuMedia™ has had in helping Czech company TopFun deliver its innovative Video-on-Demand and PayTV service. The solution distributes media streams commonly broadcasted via satellite and cable TV to smart phones, iDevices, set-top boxes and Smart TVs, in both SD and HD quality, and supports a unique application for Samsung TVs that lets viewers access live feeds and download movies direct to their TV.

vuMediaTM was developed by Visual Unity to help broadcasters and content owners control how their brand and assets are managed and monetized in the multiscreen environment – delivering a cutting-edge viewing experience on any screen or connected device. The platform supports comprehensive Video-on-Demand services, integrating with billing and CRM processes, providing TopFun with complete control of content delivery, monetization and subscriber management. TopFun also employs Visual Unity’s own Content Delivery Network to ensure secure and robust regional distribution.

Visual Unity, which was also nominated in two other categories, beat stiff competition from Angel Sharp and the Football Association to win this Award. Open to any organization with limited access to broadcast distribution, the Best Use of Online Video by a Non-Broadcaster Award aims to recognize how the Connected World has been successfully exploited to deliver multimedia and TV-style content to a defined target audience.

Tomas Petru, President of Visual Unity, says: “We are delighted to have received such a prestigious award and see it as a fantastic endorsement of the power and flexibility of the vuMedia™ platform. We are proud of TopFun’s success, where we have delivered a reliable and superior viewing experience for the subscribers, driven by an efficient back-end that will enable TopFun to expand in the future. The combination of this ground-breaking technology and Visual Unity’s experience in broadcast and multiscreen systems integration is enabling us to optimize workflows for our customers and deliver real value in the content-on-demand space.”

The ConnectedWorld.TV awards, held in conjunction with the IBC Connected World, celebrate the creativity of broadcasters, independent producers, technology companies and consumer electronics manufacturers pioneering the business of ‘content everywhere’. The Awards showcase many of the exciting developments arising from the growing use of broadband internet – both fixed and mobile – as an alternative distribution channel for TV and video content.

Nearly 150 entries were received from 102 organizations in 23 countries and the quality of the entries was described as ‘phenomenal’ by Neil Nixon, chairman of the judging panel and editor of ConnectedWorld.TV and IBE.

In 2011, the judging panel also shortlisted Visual Unity for an award based on the deployment of vuMedia™ for Czech TV. This system continues to be central to the state broadcaster’s online service, iVysliani, and helped deliver to the Czech Republic unprecedented multiscreen coverage of the London 2012 Games.

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About Visual Unity

Visual Unity is an international Systems Integrator bridging the gap between linear broadcast, IT and IPTV to help clients reach and engage audiences on any screen. Since 1991, the team has been designing and delivering turnkey broadcast and complex multiscreen solutions worldwide – from HD Outside Broadcast vehicles and major playout facilities to live internet streaming and Video on Demand services.
Visual Unity’s award-winning vuMediaTM platform helps broadcasters and content owners control how their brand and assets are managed and monetized in the multiscreen environment. Highly scalable and flexible, vuMediaTM delivers a cutting-edge live viewing experience on the web or any mobile or connected device, comprehensive VoD services, social network integration and secure robust content distribution – all of which can be deployed into existing workflows and business processes.
Visual Unity is based in Prague, London, Cologne, Moscow, Bratislava, Belgrade, Nairobi and Dubai. For further information, please visit www.visualunity.com

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intoPIX JPEG2000 technology selected for integration in the new “4K Gateway” product of Visual Unity

intoPIX, the leading provider of JPEG 2000 compression solutions, and Visual Unity, an international Systems Integrator providing turnkey solutions for the broadcast and film industry, today announced their strategic collaboration in Visual Unity’s new 4K Gateway product.

“With the broadcast market discovering the 4K format for Over-the-Top (OTT) delivery and the 4K format taking off in the East-European film industry, there is an increasing call for faster-than-software based compression solutions,” says Jakub Kabourek, CEO of Visual Unity. “Integration of the leading intoPIX JPEG2000 FPGA-based compression technology allows 4K Gateway to meet the new challenges of this growing market.”

“We feel proud to be selected as JPEG2000 technology provider by Visual Unity and its technology partners,” says Katty Van Mele, Director of Business Development at intoPIX. “Visual Unity’s 4K Gateway is a unique hardware compression solution that enables real-time streaming of content, even when bandwidth is limited, when multiple streams are simultaneously transported over gigabit networks or when broadcasting to multiple screens.”

Visual Unity will be showcasing 4K Gateway during the IBC Show (Booth 3:B60) in Amsterdam from September 7th-11th.

The intoPIX team is also exhibiting its latest technology developments at IBC (Booth 10:D31).

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About intoPIX
intoPIX is a leading supplier of image compression technology to audiovisual equipment manufacturers. We are passionate about offering people a higher quality image experience and have developed FPGA IP-cores and compression solutions that enable leading-edge JPEG 2000 image compression, security and hardware enforcement. More information on our company, customers and products can be found on www.intopix.com.

About Visual Unity
Visual Unity is an international Systems Integrator bridging the gap between broadcast, IT and IPTV to help clients reach and engage audiences – wherever they are. Since 1991, the team has been designing and delivering turnkey broadcast systems and multiscreen solutions worldwide – from HD Outside Broadcast vehicles and major playout facilities to automated Direct-to-Web platforms. More information on the company, products and services can be found on www.visualunity.com

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DK-Technologies and TSL Professional Products New Strategic Technology Partnership Delivered its First Product at IBC 2012

The new strategic partnership that was formed in August 2012, between DK-Technologies and TSL Professional Products Ltd, manufacturer of hardware and software audio monitoring, tally and power management products, has yielded its first audio measurement product, which launched at IBC 2012.

TSL unveiled the PAM PICo Audio Loudness Meter – at IBC 2012 (Stand 10.B41). Derived from the award-winning compact DK Meter, this latest member of TSL’s Precision Audio Monitor (PAM) product family meets increasing market demand for simple, cost effective audio metering, specifically with loudness measurement.

The new relationship between TSL Professional Products Ltd and DK-Technologies (Stand 8:E60), which manufactures high-quality audio and video metering equipment, aims to bring a range of unique product solutions to a variety of markets including the broadcast industry.

Andy Page, UK Director, DK-Technologies, says: “The partnership with TSL sprang from meetings we had when both companies were involved with equipping new broadcast facilities for a major UK independent television channel. TSL has excellent loudspeaker-based audio monitoring products, while DK offers exceptional audio metering solutions. We noted the synergy between our product ranges and recognised that, by combining our knowledge, we could provide more efficient workflows to not only broadcast, but to theatre, music productions and AV installations.”

Chris Exelby, managing director of TSL Professional Products Ltd, adds: “TSL is delighted to be collaborating with DK-Technologies, as DK has demonstrated true innovation and reliability when it comes to bringing new audio test and measurement products to market. With our combined knowledge, we’re looking to develop some exciting new ways of managing audio across the broadcast chain that will streamline present production needs while anticipating future trends. We are thoroughly energized to begin working with DK to bring our collective mission to fruition.”

TSL’s new PAM PICo Loudness meter is a compact, standalone unit that features DK’s revolutionary StarFish™ surround sound display technology and measures loudness to all known international standards including ITU, EBU R128 and ATSC. To create PAM PICo, DK has adapted its DK Meter to provide a menu structure and metering scales that are unique to TSL, thus enabling PAM PICo to dovetail perfectly with TSL’s existing product range.

Designed for use in any operational position where ‘at a glance’ audio metering is required, PAM PiCo is available in three formats; to display stereo, multichannel or surround sound audio from analogue, AES or embedded SDI signal sources, all measuring Loudness to international standards and recommendations. Simple to use and easy to configure, PAM PiCo puts high quality metering within easy reach of anyone involved in sound production, from operators working throughout broadcast production to music studio technicians and record producers.

“Everyone benefits as a result of this collaboration,” says DK’s Andy Page. “From DK’s point of view we are able to introduce new customers to our range and provide an upgrade path to our more comprehensive audio metering products such as the MSD600. TSL, meanwhile, benefits from having a highly regarded metering solution that fits in perfectly with its existing product offering – and the customer benefits through having a very affordable Loudness measurement solution that can be supplied as an integral part of TSL’s renowned audio management package.”

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About DK-Technologies
DK-Technologies develops and produces audio meters, video sync and test signal generators, as well as video waveform monitors and colour analysers both for LCD and CRT monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

DPA Microphones Help The Fukada Tree To Bloom

Internationally renowned recording engineer and lecturer Akira Fukada made an enormous impact at the New York AES Convention in 1997 when he unveiled the Fukada Tree seven microphone arrangement – a totally new technique for recording orchestral music in surround sound for subsequent broadcast or CD release.

Developed to resolve some of the problems engineers had encountered when trying to record spatial environments with traditional omni-directional microphones, the Fukada Tree clarified microphone positioning and also incorporated directional microphones for main and environmental sounds.

Akira Fukada originally developed the Fukada Tree while working for Japanese state broadcaster NHK, but since 2011 he has been CEO of his own company, Dream Windows Inc., that consults on a wide range of music recording, special sound design and audio issues. From the outset, Mr. Fukada specified DPA microphones as best suited to his Tree arrangement because they offer a rich bass and high frequency sound that doesn’t blot during the recording process. These were supplied by DPA’s Japanese distributor Hibino, with whom Mr. Fukada has subsequently presented a number of seminars and workshops explaining the Fukada Tree.

“I insist on using DPA microphones because I like the transparent feel they deliver,” he explains. “When recording piano, for example, they give me the clear attack sound and the beauty of reverberation when the sound attenuates. Their wide dynamic range and rich bass vigorously catches the expression of an orchestra, while for string ensembles recorded in a studio, they capture the rich overtones and give a better feeling of air.”

Since first announcing the Fukada Tree arrangement, Akira Fukada has made a number of positioning modifications to improve front localization, but his choice of microphones remains constant and continues to be DPA.

He says: “The LL/RR microphones on both sides are intended to pick up the orchestrated sound expanse and a smooth sound envelope covering the front and rear sections of the hall. However, I don’t use LL/RR microphones for small music ensembles. My arrangement incorporates DPA 4011A directional microphones and DPA 4006A omnidirectional microphones from the Reference Standard Microphone Series. The configuration of the tree can vary depending on the hall’s acoustic characteristics, while the intervals at which the microphones are placed can also change to conform to the size and formation of the orchestra.”

Ken Kimura, DPA Microphones’ Regional Sales Director, Asia Pacific, says: “Following the upgrade and release of our finest Reference Standard Microphones, and given Mr. Fukada’s requirement for the best audio equipment, I’m very pleased to see that he continues to rely upon our 4006A, 4011A, and 4015A mics for his recording sessions under Dream Windows Inc.”

In recent months Mr. Fukada has used DPA microphones and The Fukada Tree to record a number of prestigious projects including capturing Shostakovich’s Symphony No. 5 with the Saito Kinen Orchestra, directed by Seiji Ozawa.

“I also use DPA microphones for projects that don’t require the Tree,” he says: “Recently I used a DPA 4006 on a Decca Tree stereo configuration to pick up string ambience in a studio setting. I also use a DPA 4015 wide cardioid ORTF for piano, and if I am recording acoustic guitar I like to use a DPA cardioid 4011 XY. For me, DPA microphones are indispensable because they suit any musical instrument and provide all the accuracy that I need.”

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Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

Jazz Artist Esperanza Spalding Chooses DPA’s d:facto™ Vocal Microphone For Her Live Vocals

Bassist and vocalist artist Esperanza Spalding is currently touring with her new project Radio Music Society with a set-up of DPA microphones, including the new DPA d:facto™ Vocal Microphone that she is using for her vocal performances.

Esperanza Spalding draws upon many genres in her own compositions and has garnered numerous accolades for her musicianship and smooth, experimental sound. In 2011, she won a Grammy for Best New Artist, becoming the first jazz musicians to do so, and her career also includes collaborations with great artists like Wayne Shorter and Joe Lovano.

Jaime Armengol, who works as Esperanza’s sound engineer, chose DPA microphones for her 2012 tour because he was already well aware of the sound quality he could achieve with the brand.

He says: “We are using a full range of d:vote™ 4099 Instrument Microphones and have employed them on piano, upright bass and saxophone. They are really great and are giving incredible results that everyone is very happy with.”

Jaime is also delighted with the performance of DPA’s new d:facto™ Vocal Microphone – and he’s not the only one.

“To begin with I didn’t tell Esperanza that I had changed her microphone, but when we started sound checking she said ‘what did you do with my vocal? It sounds much better and more natural’,” he explains. “After that we decided to make the switch to the d:facto™ and Esperanza is now using it for her vocals during this year’s touring.

“It is a very clean microphone, which is typical of the sound you expect from DPA. I usually use a channel strip (first brands like Universal Audio, Empirical Labs, Millennia, Avalon etc) and the clarity at all frequencies is really impressive. The frequency response cuts the lows appropriately and it has a nice HF boost. It is evident that its capsule comes from one of the best mics ever – the DPA 4011 Cardioid Microphone. I was really impressed with the optimized proximity effect and so far I have not had any problems with feedback or pop and handling noise. I also liked the linearity in frequency and phase and the impressive off-axis response. It is a powerful microphone and DPA has done a really good job!”

DPA’s hand-held d:facto™ Vocal Microphone, which was launched earlier this year at Pro Light + Sound, bridges the gap between live stage performances and studio recordings. Offering an exceptionally natural sound, high separation from nearby sound sources and extreme sound level handling, this microphone is ideal for live music performances as it combines a supercardiod pattern with superb definition to give high separation and true sound color on stage. In common with all DPA mics, d:facto™ features superior gain before feedback, while the inbuilt 3-step pop protection grid effectively removes unwanted noise.
“Esperanza enjoyed the d:facto™ from the first minute she used it – and so did I,” Jaime Armengol adds. “Being able to use it on this tour is a wish fulfilled for me.”

To see Esperanza Spalding Live in Concert using the DPA d:facto, please visit this You Tube link: http://www.youtube.com/watch?v=iRipEPBsuTQ

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Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

NOVA Group Improves Its Viewer’s Audio Experience With Jünger Audio’s LEVEL MAGIC™ Technology

TV Nova, the biggest commercial television station in the Czech Republic, has replaced its former audio processors with Jünger Audio’s LEVEL MAGIC™ technology to help prevent surprise level changes when switching from one audio source to another.

The Prague-based station, which began broadcasting in 1994, is now owned by Central European Media Enterprises (CME). It reaches 98% of the country’s population of 10.2 million and provides a programme mix that includes its own fiction and non-fiction productions, foreign acquisitions, entertainment shows and news.

In 2008, Nova Group began broadcasting in High Definition via its Nova HD and Nova Sport HD channels. It also has a strong internet presence. It is now broadcasting five FTA channels and two online channels.

Nova Group initially invested in 10 Jünger Audio frame-based C8086 LEVEL MAGIC™, which were installed across four of its broadcasting channels. This summer, the broadcaster undertook an upgrade of its loudness processing systems by installing Jünger Audio’s new C8086+ 8ch LEVEL MAGIC™ II modules with R128 loudness processing. This means it can now comply with all current loudness recommendations.

Josef Uher, Technical Director of Nova Group, says: “It is clear to us that the decision to switch to Jünger Audio’s LEVEL MAGIC™ audio processing was the right one.”

Lukáš Kobl, Broadcast Maintenance Manager Nova Group, adds: “LEVEL MAGIC™ provides a safe algorithm for controlling audio level and is functionally very reliable. Our engineers are very pleased with the performance of these units and with their overall sound quality.”

Nova Group’s LEVEL MAGIC™ system was supplied and installed by Jünger Audio’s Czech distributor Mediatronik.

“Jünger Audio’s LEVEL MAGIC™ technology is providing Nova Groups channels with a viable solution to the problem of surprise audio level changes, “ says Mediatronik director Lubos Novacek. “The automated nature of the system makes it very easy for broadcasters to operate. All they have to do is install it into the transmission chain and set the correct parameters – after that there is very little to do because the system effectively looks after itself.”

LEVEL MAGIC is a sophisticated adaptive loudness control algorithm that is designed to adjust the loudness from any source at any time, with no pumping, breathing or distortion. It is based on a simultaneous combination of an AGC, a Transient Processor for fast changes and a “look ahead” Peak Limiter for continuous unattended control of any programme material, regardless of its original source.

Capable of using any kind of I/O (Analog and Digital) sources, as well as SDI, HD/SDI, Dolby 5.1 and all its related metadata, LEVEL MAGIC is available in a variety of configurations to suit different applications.

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About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities.

Oxygen DCT Brings A Plethora Of New Broadcast Products to IBC 2012

Oxygen DCT’s recently launched Evolution ProFlex monitors will be on show at IBC 2012 (10.B44) as part of a range of new products that the company will be debuting for the first time in Europe.

The latest addition to Oxygen DCT’s popular Evolution Pro range, the low cost, high performance Evolution ProFlex is targeted at more budget conscious installations by offering broadcast picture quality at consumer pricing levels.

“With Evolution ProFlex monitors we are giving control rooms and galleries access to professional grade monitoring, thus negating the need to use large domestic televisions that don’t offer the same level of picture quality,” says Steve Hathaway, Oxygen DCT’s Managing Director. “This new monitor range is flexible and capable of being driven by multi-viewer systems with between four and 64 signals on a single screen.”

There are seven different sizes in the range, from a super 9.7” to a high performance 10 bit, 1.06 billion colour 55” model and an enormous 70” screen. Unlike consumer screens, these monitors are a consistent ergonomic design that will not change model or design as occurs in the consumer market. They also have broadcast colour reproduction with adjustable colour controls, contrast and backlight setting allowing broadcast users to colour match panels together.

Each screen is equipped with the latest, high performance LCD panels and low energy LED backlighting. ProFlex monitors are designed to be flexible with control from either rear mounted buttons or a plug-in remote control panel. DVI and HDMI inputs are standard whilst 3G-HD-SDI is optional.

Initially developed in conjunction with ITN, which installed them in its new Channel Four News room, Evolution ProFlex monitors have also been supplied to customers such as the British Army Communications Media. Prices for the range start at £355 for the 9.7” to £477 for the 21.5” and £3,330 for the 55” model.

Also making its debut at IBC 2012 is Oxygen DCT’s powerful and feature-rich 3G 2-channel test signal generator that offers all the analysis tools engineers need in a highly portable, hand-held unit.

The OxTPG 1000 offers the full range of High Definition standards including 3G and HD/SDI up to 1080p resolution. While ideally suited to all film and broadcast applications, its portable nature makes it particularly well suited to those working in an Outside Broadcast environment with DSNG vehicles and fly-away units. By taking advantage of new technology, the unit is also significantly lower in price than many of its competitors.
“The OxTPG 1000 is the lowest cost high performance TSG on the market and comes with a selection of moving test patterns to test links and monitor performance,” Hathaway adds. “Users can also personalise the unit by loading their own test patters.”

The OxTPG 1000 features a variety of output modes including SD/SDI, HD/SDI and 3G/SDI test signals. Audio is incorporated within the test signal output and users can also Genlock the unit to a master reference. Optional fibre optic links can be supplied with the OxTPG 1000 should these be required. The unit can also be powered by an on-board battery, making it even more useful and versatile.

As Cinedeck’s leading European distributor, Oxygen DCT will also be showing the new 4-channel Cinedeck MX multi-channel recorder, which will be on display for the first time in Europe. This compliments the latest v3.5 versions of the Cinedeck RX Broadcast and RX Cine/444, and the Cinedeck EX.

Oxygen DCT will complete its IBC line-up with a host of monitors for broadcast and production and a range of studio glue products including the GlueBox™ Mio HD/SD-SDI to HDMI/DVI converter, a high quality, compact, reliable video conversion and interfacing device for broadcast television and digital film industries.

For more information about these products and the entire Oxygen DCT range, please visit the company in Hall 10, Stand B44 or visit www.oxygendct.com

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About Oxygen DCT:
Oxygen DCT is a broadcasts systems solutions provider with a deep knowledge and understanding of the broadcast and professional media markets. This dynamic organisation has amassed in just over five years, a very extensive and comprehensive products portfolio of over 3000 carefully designed broadcast and production products that represent the pinnacle of engineering excellence. Oxygen DCT was the first company in the broadcast industry to fully implement online facilities for its customers and its unique, comprehensive online ordering facility automatically configures equipment systems for customers, saving time and provides industry professionals with the convenience of immediate online pricing. The ‘one-stop-shop’ website caters for the smallest requirements whilst also allowing users to prepare their own quotes and place orders online with immediate order confirmation. Oxygen DCT also provides advice, support and expertise as part of its ‘life cycle’ care scheme, ensuring that customers are fully serviced throughout their career life cycles. www.oxygendct.com

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