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Archive by Sue Sillitoe

Broadcast Networks Delivers A Unique Operational Area For Arqiva

Systems Integration specialist Broadcast Networks has supplied Arqiva with a new operational area within its Chalfont Grove Media Centre to monitor and control the playout services supported from the facility. Arqiva provides much of the infrastructure and services behind television and radio channels in the UK and internationally.

Designed to the highest specifications, the new area enables Arqiva to achieve greater operational efficiency and provides room for the company to expand its playout business in the future.

As one of the UK’s leading system integrators, Broadcast Networks was ideally placed to tackle this project. With more than 20 years’ experience, Broadcast Networks specialises in the design and implementation of HD and SD Master Control Rooms, studio systems, Outside Broadcast vehicles, On Location communications, satellite uplinks and facilities for streaming media.

Paul Wallis, Sales Director for Broadcast Networks, says: “As well as allowing room for future expansion of its services, Arqiva’s European Playout Centre needed to reflect the company’s position as an internationally renowned provider of broadcast and media services. The design brief was an important part of this assignment as Arqiva wanted to distinguish itself from the competition by creating a facility that would immediately appeal to its top tier customers.”

Kevin Hunt, Arqiva’s Project Manager, says he is delighted with the results that Broadcast Networks has achieved.

“The new European Playout Centre looks stunning and reinforces Arqiva’s reputation for delivering high quality playout services,” he says.

Broadcast Networks was responsible for the entire project management, including interior design, construction, CDM/health and safety supervision, systems integration and equipment and furniture installation. The company worked in partnership with interior designers Design Original, construction group Hi-Tec Building Services and technical furniture manufacturers Custom Consoles to create a space that was modern and functional as well as dynamic.

“When it comes to visual impact, Arqiva’s new European Playout Centre really has the wow factor,” Broadcast Networks’ Project Manager Matthew Slater adds. “The playout suite is adjacent to the Media Centre’s reception, which has a large picture window, glass walled corridors and a mezzanine floor where visitors view the operators as they carry out their technical duties. Large scale graphics create a visual link between the interior design of the playout suite and the Media Centre’s reception and this overall graphic style, influenced by the circular nature of the desk layout, presents a professional and dynamic feel in a soft, friendly and open way. We have used a matrix of dots instead of large blocks of solid colour to relax the eye and ensure that both visitors and operational staff experience a positive, modern, open, light and airy space that is immediately recognisable.”

The new playout suite incorporates a horseshoe-shaped main control desk accommodating three operator positions. There is also room for a future operator position and an engineering position. A smaller desk facing the main control desk accommodates the TX supervisor. Both desks incorporate LED lighting that dramatically illuminates the legs of the desk.

Four monitor stacks, each comprising four portrait-mounted large format 52” JVC LCD screens, are positioned in front of each of the operator positions. Underneath each monitor stack is a storage unit with three 19” rackmount bays for mounting the PCs associated with the operational positions. In the corner of the room, out of sight behind a monitor stack, are three equipment racks with lockable rear doors integrated into the reception area’s dividing wall. This storage ensures the operational space is kept as free as possible from technical ‘clutter’ to maintain the futuristic, streamlined look.

Matthew Slater says: “Broadcast Networks supplied various monitoring equipment including the new JVC monitors. The rest of the equipment was migrated from Arqiva’s previous playout facility whilst all services remained on-air. To maintain the light and spacious feel, thin bezeled monitors are mounted on an unobtrusive monitor stack to give the impression that they are floating in the air. This, combined with the unusual furniture and overall colour scheme, is very effective and creates an environment that is unlike any other control room.”

Arqiva’s Media Centre currently monitors over 50 channels, and room for expansion has been built into the design. The European Playout Centre was officially opened earlier this month and is now in use 24 hours a day.

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About Broadcast Networks Ltd:
Broadcast Networks is a UK-based Systems Integrator with clients the world over. From High Definition studio systems to Outside Broadcast vehicles, on location communications to satellite uplinks, Broadcast Networks offer a totally integrated and bespoke solution. The team’s technical and operational experience means it can meet the demands of both broadcast and IT-centric projects. The company’s very flexible approach and a high level of commitment and service ensure it meets all customers’ needs.

Unit 2, Riverwey Industrial Park, Newman Lane, Alton, Hampshire, GU34 2QL, UK
Tel: +44 (0) 1420 592100 Email: info@bcnet.co.uk www.bcnet.co.uk

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BROADCAST NETWORKS HELPS PROCAM TELEVISION MOVE INTO THE MOBILE PRODUCTION MARKET

Internationally acclaimed broadcast hire company Procam Television is now able to offer clients fully mobile production facilities after taking delivery of its first multi-purpose production vehicle, which was built by leading UK systems integration specialist Broadcast Networks.

The new vehicle can accommodate up to 12 cameras and is based on a sturdy Volkswagon Crafter chassis. It has sufficient room to accommodate a crew of five and incorporates some of the most sophisticated broadcast and production technology on the market.

John Brennan, Managing Director of Procam Television, says: “Our philosophy has always been to invest in the very latest technology so that we can provide our customers with the right solutions to make their productions easier and, where possible, more cost effective.

“We have invested in this new vehicle because we wanted to offer our customers facilities for continuous filming in a range of setting. We hope to see the Pro truck working in lots of different markets, and a large part of its attraction is its versatility and green ecological friendliness.”

With more than 25 years’ experience in designing and delivering media systems and Outside Broadcast vehicles to clients such as Chellomedia in Holland, Bloomberg in Germany, ITV and Arqiva in the UK, OB Team in Norway and SBP in Italy, Broadcast Networks was ideally placed to help Procam Television move into this new market sector.

“Choosing Broadcast Networks was an easy decision to make,” Brennan adds, “With such a firm heritage in television production, it made little sense to go elsewhere.”

Perry Mitchell, Procam Television’s Technical Director, says, “Our brief to Broadcast Networks was to provide us with a production vehicle that offered maximum flexibility and could also operate in situations where an external power supply wasn’t available. They achieved this by sourcing equipment with 12 volt inputs and by incorporating a 12 volt power system with on-board batteries and an AC inverter. This highly sophisticated power system was originally developed for the luxury yacht market, but it works perfectly on board this vehicle as the combination of 12 volt equipment and 12 volt power means that the truck can operator for up to five hours without access to an external generator or mains power.”

Procam Television’s new production vehicle is equipped with four Cinedeck RX two-channel High Definition tapeless digital video recorders, which were chosen because they have removable disks and accept a variety of formats including ProRes, DNxHD, Cineform and uncompressed 422 and 444, up to 1080p. The vehicle also has a Blackmagic 40 x 40 Videohub video router that can be used with iPad control and a Blackmagic ATEM 2M/E production switcher.

Also unique is the inclusion of seven Sony TRIMASTER EL™ monitors with proprietary OLED (Organic Light Emitting Diode) technology. Procam Television chose these monitors for their colour accuracy and was the first Sony customer in Europe to take delivery of the new units.

Matthew Slater, Project Manager for Broadcast Networks, adds that the interior of the vehicle has been carefully thought out to ensure maximum space and flexibility for the operating crews.

“The sound, production and engineering control areas are on a single desk across the length of the vehicle and we have designed the desk so that different audio mixers can be accommodated depending on the production,” he explains. “We have also cabled the vehicle in such a way that crews can specify the free-standing production equipment they want to work with and then have it quickly and easily installed.”

Externally, the vehicle has a pneumatic telescopic mast that can be used to mount cameras for overhead shots, plus a roof platform for camera personnel.

Since taking delivery of the new vehicle, Procam Television already has bookings in place for several observational documentary projects across the UK.

Such is the demand that Procam is currently planning the build of a similar fleet of vehicles.

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About Broadcast Networks Ltd:
Broadcast Networks is a UK-based Systems Integrator with clients the world over. From High Definition studio systems to Outside Broadcast vehicles, on location communications to satellite uplinks, Broadcast Networks offer a totally integrated and bespoke solution. The team’s technical and operational experience means it can meet the demands of both broadcast and IT-centric projects. The company’s very flexible approach and a high level of commitment and service ensure it meets all customers’ needs.

Unit 2, Riverwey Industrial Park, Newman Lane, Alton, Hampshire, GU34 2QL, UK
Tel: +44 (0) 1420 592100 Email: info@bcnet.co.uk www.bcnet.co.uk

About Procam Television:

Since forming in 1991, Procam Television has become one of the leading hire facilities in the UK.

Working with most major broadcasters, production companies and corporate blue-chip clients both in this country and worldwide, Procam strongly believe in providing individually tailored solutions with unbiased advice. Providing equipment and crews for shoots of various sizes, from one cameraman and his camera to a fully staffed studio crew, Procam Television can meet the needs of your production. Continually investing in the very latest broadcast technology, Procam strives to find the right solutions that make production easier and where possible more cost effective.

Procam Television
Unit 3 Battersea Business Park, 102-104 Stewarts Road, London, SW8 4UG
Tel: 020 7622 9888 (24 hours). Fax: 020 7622 1887
General enquiries: info@procam.tv

Procam Television – Manchester
Unit 4, Clayton Court, The City Works, 5 Welcomb Street (Off Ashton Old Road), Manchester, M11 2NB
Tel: 0161 604 0701. Fax: 0161 220 9801
General enquiries: manchester@procam.tv

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Larson Studios Installs Jünger Audio’s Loudness Solution To Solve Its CALM Compliance Issues

The need to comply with the recently introduced CALM Act on broadcast audio loudness has led Hollywood-based Larson Studios to invest in two Jünger Audio T*AP Television Audio Processors. These have now been installed in the facility’s transfer rooms where they are already proving invaluable in terms of saving time.

Larson Studios is renowned as a full-service post production sound company specialising in digital mixing for standard and High Definition television, film and multimedia. From its two 10,000 square-foot landmark buildings in the heart of Hollywood, Larson Studios offers ADR/Foley stages, sweetening rooms, edit suites and seven Chris Pelonis/George Massenburg-designed 5.1/7.1 surround mix stages. In addition to award-winning television and film audio post that is fully CALM compliant, Larson also offers complete audio restoration, remixing, repurposing and pre-mastering.

Prior to investing in Jünger Audio’s T*AP units, Larson Studios conducted its own research into available loudness control products and reached the conclusion that T*AP offered the best all-round solution.

David Dondorf, Larson Studios’ Chief Engineer, says: “We did a shoot-out between Jünger Audio and two other Loudness control boxes from major manufacturers and eventually chose the Jünger Audio units because they sounded better. Our testing showed that they were completely accurate, especially from the aspect of dialnorm. They were also easier to use and offered a clear path to creating the presets we needed. The default presets sold the box, along with the fact that you can go into great depth – or not.”

Larson Studios delivers product to all major broadcast and cable networks and, as an extremely busy facility, does not have time to constantly re-deliver audio material that doesn’t comply with the regulations specified by the new CALM act.

“Before we invested in the T*AP processors, we were wasting hours fixing shows that were being rejected because they were one tenth of a dB out,” Dave Dundorf adds. “These units have not only saved valuable time but they also allow us to deliver audio material that sound as good as our customers expect.”

Jünger Audio’s award-winning T*AP Television Audio Processor incorporates Version II of the company’s LEVEL MAGIC™ adaptive loudness algorithm, which is compliant with all current broadcast audio loudness recommendations including ITU 1770 (versions 1 and 2), ATSC A/85, ARIB TR-B32 and EBU R128. Based on a Multi-Loop dynamic range control principle where slow changes (AGC), fast changes (Transient processing) and Look Ahead peak limiting are handled simultaneously, LEVEL MAGIC™ offers level management with exceptionally high audio quality and without coloration, pumping, breathing, distortion or modulation effects.

Primarily designed for TV playout, T*AP focuses on automatic and adaptive loudness control, Upmix and surround sound processing for up to eight channels of audio (8×1, 4×2, or 6+2). Optional Dolby Decoding and Encoding (D, D+, or Pulse), as well as metadata management, are also provided along with 5.1 Downmix and Jünger Audio’s 5.1 UPMIX circuit.

Major broadcasters around the world are choosing these products because they allow loudness consistency to be maintained in a very easy and cost effective way – and without any detrimental effects on sound quality.

Larson Studios’ T*AP units were supplied by Jünger Audio’s US distributor Group One. According to Dundorf, they have completely solved the facility’s CALM compliance issues.

“Now, when we receive a client delivery spec, we know we will meet it exactly, quickly, accurately, and with minimal negative change to the original mix. We are using T*AP on all Deliverables from both our facilities and we are very happy with their performance,” he says.

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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.

For more information about Jünger Audio products in the USA, please contact Group One, Ltd, 70 Sea Lane, Farmingdale, New York 11735. Telephone: +1 515 249 1399. Email: sales@g1limited.com, or visit www.g1limited.com

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Visual Unity Helps TopFun Expand Into The Multiscreen PayTV Arena

TopFun, one of the first online video stores in the Czech Republic, is powering its new PayTV media distribution service, TopFun TV, using technology supplied by leading broadcast and multiscreen systems integrator Visual Unity.

Established in 2010, TopFun offers a huge range of movies to download and watch online via its video on demand (VoD) service. Similar to the hugely popular NetFlix, TopFun allows customers to sign up for an account and watch movies immediately, or save them locally on their PC or multimedia device. In January 2012, TopFun launched TopFun TV, a new service that distributes media streams commonly broadcasted via satellite and cable TV to smart phones, iDevices, set-top boxes and Smart TVs, including a unique application for Samsung TVs which lets viewers access live feeds and download movies direct to their TV.

Since its launch, TopFun has partnered with Visual Unity, a leading broadcast and multiscreen systems integrator, to design and expand its operations. Instrumental to the success of its services is Visual Unity’s award-winning vuMediaTM integrated content management and delivery platform. vuMediaTM ensures a cutting-edge viewing experience on any screen or connected device, enabling broadcasters to manage, monetize and monitor multiscreen delivery. The platform supports comprehensive VoD services, integrating with billing and CRM processes.

Visual Unity initially provided TopFun with a vuMedia-based solution for its movies on demand service. This incorporated a protected VoD solution alongside content delivery to the Czech and Slovak Republic through vuNet™, Visual Unity’s robust and secure distribution infrastructure that ingests, manages and distributes assets. vuNet™ connects seamlessly with global Content Delivery Networks and cloud-based services, although in the case of TopFun the company has employed Visual Unity’s own Content Delivery Network (CDN), which has an installed capacity of more than 100 GBps and almost 400 TB storage space. Capable of supporting tens of thousands of concurrent users, Visual Unity’s CDN provides secure local coverage across Europe and Central Europe, including Germany, Hungary, Slovakia and Romania, with new POPs now in action across the Middle East.

Tomas Petru, President of Visual Unity, says: “TopFun chose to work with Visual Unity on the basis of our proven experience in multiscreen integration. With over 20 years’ experience in delivering and technically supporting linear to multiscreen solutions, we were able to demonstrate to TopFun that we had successfully handled similar VoD projects for customers such as voyo.cz and cinema.cz.”

The success of this initial involvement was acknowledged in January when TopFun returned to Visual Unity for help in setting up TopFun TV. This involved an expansion of the vuMedia system to incorporate secure, live multiscreen content distribution to mobile devices and on the fly transcoding of 15 live channels in SD and HD quality. Plans are in place to expand the system to 30 channels.

Radek Přikryl, sales director of TopFun, says: “We enlisted Visual Unity’s help with this project on the basis of our excellent relationship with the company and our good experiences with its vuMedia platform, which has allowed us to get as close as possible to our end customers. We are also very happy with Visual Unity’s vuNet module, which has enabled us to stream digital content in the Czech and Slovak Republics and to distribute both VoD and linear broadcast streams. Visual Unity has given us all the technical support we have needed and this on-going assistance is greatly valued by TopFun.”

Tomas Petru adds: “The TopFun projects have worked extremely well and it is always satisfying when a customer returns to Visual Unity for help in expanding their business. We are continuing to support TopFun and TopFun TV and we are confident that our in depth understanding of the complexities of the broadcast chain, coupled with our in-house software expertise, will enable them to optimize their workflow and control how their brand is managed and monetized in the multiscreen environment.”

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About Visual Unity
Visual Unity is an international Systems Integrator bridging the gap between broadcast and software-based media systems, to help clients reach and engage audiences – wherever they are. The team has been designing and delivering turnkey TV systems, broadcast-IT convergent and multiscreen solutions worldwide since 1991 – from HD Outside Broadcast vehicles and major playout facilities to automated Direct-to-Web platforms.

Visual Unity’s award-nominated vuMediaTM platform helps broadcasters and content owners control how their brand and assets are managed and monetised in the multiscreen environment. Through four highly scalable and flexible modules, the vuMediaTM platform delivers a cutting-edge web-based and mobile viewing experience, comprehensive VOD services and a secure robust Content Delivery Network – all of which can be seamlessly deployed into existing workflows.

Visual Unity is based in Prague, London, Dubai and Belgrade.

For further information, please visit www.visualunity.com

Visual Unity: Na hrebenech II 1718/8, Prague 4, 147 00, Czech Republic
T: +420 271 742 111 F: +420 271 742 112 E: info@visualunity.com

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Colourist Jason R Moffat Chooses Penta Monitor For Grading

As an acclaimed colourist with a reputation for delivering a great film grading, Jason R Moffat is understandably fussy about the equipment he uses.

This is particularly true of colour grading monitors, which need to be critically accurate in a film grading studio, where ‘almost there’ is not good enough.

For this reason Moffat, who owns and runs a DaVinci Resolve-based grading suite in London, recently upgraded his Grade 1 picture display to a Penta HD2Line Pro 32″ monitor, which was supplied, installed and calibrated by leading UK monitor supplier Oxygen DCT.

“I wasn’t happy with the level of calibration I was achieving with my previous monitor, so I decided to upgrade,” he explains. “Steve Shaw from LightIllusion, who provides some of my film profiles, recommended the Penta and when I approached the company for a spec they put me in touch with their UK partner, Oxygen DCT.”

After consulting with Moffat about his work and aspirations, Oxygen DCT’s staff provided him with both 23” and 32” Penta models for comparison. Moffat conducted extensive testing within his work environment before choosing the 32” version as more suitable, particularly for the size of the room and detailed images.

“I was very impressed by the colour range in the monitor and how faithfully it matched cinema projection,” he says. “What I particularly like about the Penta is the scale and response of the display which allows me to make faster decisions on density and how much light to put in a scene without having to consult the scopes as often. As the vast majority of my work is film, it’s good to have a large, highly detailed display that I can trust. Like most colourists, I have a slightly OCD approach to grading, so precision is vital. Knowing that what you see in front of you is accurate makes the process more transparent from grading session to theatre.”

Oxygen DCT’s Penta series monitors are precision monitors that are built to order, using only the highest ‘grade A’ 10-bit LCD panels. Every aspect of the monitors is optimised to give the highest level of performance with precision accuracy, with user adjustable parameters right down to tolerance of 0.1Cd of brightness. The introduction of 10-bit LCD technology has pushed the quality boundary even further, enabling the recently introduced Penta Gold Series to exceed, in many parameters, the performance of Grade 1 CRT reference monitors.

“Numerous grading houses and post facilities including Framestore, Objective Productions, Mwinci, Films@59, Sequence Post, BBC, C4 and ESPN have chosen Penta Series picture monitors because they offer such exceptionally high performance – and they are tremendously affordable,” says Oxygen DCT’s Managing Director Steve Hathaway. “All the monitors in the Penta Series have a long life cycle and require minimum calibration because their factory calibration is so well within the REC709 colourimetry specifications, which saves our customers considerable time and money. What’s more, these monitors deliver astonishing detail, lifelike colour and sublime results, which is a very important factor for a sector of the TV and film industry where monitor quality has become such a critical issue.”

Since installing his Penta, Moffat has used it to grade a variety of film projects and commercials, including Romola Garai’s directorial debut Scrubber, shot on 35mm, one of Nigeria’s most celebrated directors Kunle Afolayan’s new feature Phone Swap, and Emily Wardill’s art feature Full Firearms, in association with the Serpentine Gallery, where precise colour palates were a critical part of the process.

“The majority of my work involves fiction features and shorts and there tends to be an even split of 35mm and 16mm film and digital formats,” he explains. “Depending at what point I enter the process, my job can range from just working on the final filmed project, through to consulting during the pre-production stage and providing tests setting the basis for film stock choices, lighting conditions and pallets.”

Moffat adds that, apart from the actual manipulation of the colour of the filmed footage, colourists generally have a good knowledge of formats, colour spaces, colour science and film stocks.

“We’re there to bring the director’s and DOP’s visions together in a cohesive visual harmony that is also appropriate for the tone and pace of the film. In the best case scenario, a colourist will balance and create continuity scene by scene and additionally, if required, apply an aesthetic look to a piece. In less than ideal situations, a colourist may have to effectively relight scenes or fix extreme colour contamination or temperature issues.”

As collaboration is key to the success of a colourist’s role, it is no surprise that Jason Moffat expects an equally collaborative service from the people who supply his equipment.

“I’ve certainly received that from Oxygen DCT,” he says. ““The level of attention they gave me was vital when it came to choosing the Penta, because Oxygen DCT will ultimately be responsible for keeping the display calibrated and accurate. They have already calibrated the unit on-site and have been very interested in what I am doing with it. I’ve continued to have a rewarding experience with both Penta and Oxygen DCT and I’m delighted I chose this monitor, I’ve seen very little that can touch it in terms of accuracy and size in the LCD market.”

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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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Peregrine Andrews Uses Prism Sound’s Orpheus To Record David Tennant For The BBC

Long-time SADiE user Peregrine Andrews has now added a Prism Sound Orpheus FireWire interface to his equipment list to help tackle recording, digital to analogue conversion and monitoring with 5.1 capabilities.

Renowned for his high-end radio and TV mixing work for clients such as the BBC, Mentorn, Wall to Wall and Falling Tree Productions, Peregrine Andrews operates mainly from his own private studio, Moving Air, which is based in west London.

“I spend about half my time mixing, and occasionally producing, radio (documentaries and drama), and the other half mixing TV (documentaries and comedy)… and the odd film,” he says.

“Recently, on the new series of the BBC sitcom Twenty Twelve, I used the Orpheus to record David Tennant’s voiceover. I also used it for all the ADR on the new BBC Dickens-style comedy Bleak Old Shop of Stuff. As a straight wire device, I don’t really expect the Orpheus to have a ‘sound’, but the voice recordings I’ve done where I’ve plugged the mic straight in have sounded excellent with very little EQ added in the mix.”

The Moving Air studio is equipped with SADiE, Nuendo, PMC monitoring and a Smart AV Tango control surface. His reason for buying the unit was to access a high grade DA/AD converter and monitoring controller so that he could replace the old Yamaha O1V desk that had previously been performing that function.

“I mix in the box so I don’t need any kind of console in the room,” he says. “The Orpheus is three things in one box – Preamp, AD/DA and monitoring controller. Prism Sound loaned me a unit and it worked well, sounded good and looked great, so I decided to buy it. I like its precise volume control of multiple outputs and its ability to derive an independent headphone mix. It’s a single box solution and removes any requirement for a separate soundcard, preamp/mixer, volume control etc.”

Andrews adds that although he had good practical reasons for buying an Orpheus, there were also more sentimental concerns at stake – not least his long association with SADiE, which is now part of the Prism Sound group.

“I’ve been a SADiE user since 1995 and rely heavily on it to make my business work,” he explains. “For precise speech and music editing it’s unequalled. The slip function and the trim editor alone make intense speech editing and assembly very fast. A lot of radio now is recorded in stereo by default (e.g. using flash recorders with built-in mics) but sometimes only one leg is really useful. SADiE allows stereo pairs to be split or re-joined in a keystroke. Also, the ability to have multiple EDLs is very useful at the assembly phase of documentary-making.”

Given this background, it’s no surprise that sentiment played a part in Andrews’ buying decision.

“Prism Sound has an excellent reputation – I’ve never read a bad review and I know, from talking to them, that they design their products using a sensible engineering approach,” he says. “I admit I was looking for a way of continuing to invest in Prism Sound/SADiE because it’s been a long time since I sent any money their way, yet I use their systems almost daily with fantastic support.”

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The range now includes SADiE digital audio workstations and location recorders. Prism Sound also manufactures audio test and measurement products such as the DSA-1 and the dScope Series III audio analyzer.

For more information please visit www.sadie.com or www.prismsound.com

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DK-Technologies Shows A New Version Of Its Award Winning DK Meter at NAB 2012

Danish manufacturer DK-Technologies will be using the NAB 2012 platform to unveil a new version of its Award-winning ITU, EBU R128 and ATSC-compliant DK Meter.

The DK3 Compact Audio Loudness Meter (CALM) features a 3G HD/SDI video input so users can de-embed audio from a video stream. This useful addition makes the DK Meter range even more versatile as broadcast engineers will now be able to work with any 5.1 audio format, including analogue, AES and SDI.

DK-Technologies will also be showing the DK1 and DK2 meters that have been the subject of huge interest since their launch in 2011. The meters, which are now shipping, are no bigger than a smart phone and are designed to meet increasing demands from the market for cost-effective stereo and 5.1 metering, including loudness.

The DK1 is ideal for anyone working in stereo, while the DK2 is specifically aimed at the burgeoning 5.1 surround sound market.

All three DK Meters are easy to use, easy to install and can be powered from a computer USB port, making them ideal for location recording. They are supplied with all known loudness measurement recommendations, as well as the standard DK-Technologies meter scales. Pricing for these products is highly competitive – starting at just $1295.00 in the US and €995.00 in Europe.

Richard Kelley, Sales and Marketing Director for DK, says: “The DK Meter is exactly what the industry has been waiting for – an affordable audio metering solution that not only delivers conventional metering but also ITU, EBU R128, ARIB and ATSC-compliant loudness metering at the same time, on the same display and in a single box.”

DK-Technologies will also be showing its full range of audio and video metering solutions, all of which are compliant with current loudness recommendations. These include the DK PT0760 HD/SD waveform monitor, which features a new software upgrade allowing users to swap functionality between its various control buttons.

Alongside its loudness metering products, DK-Technologies will be showing a number of other new innovations including the PT0700R Client Panel – a remote unit for the award winning PT0760M HD/SD Multi-channel Video Waveform Monitor; the PT0740M, an audio-only version of the versatile PT0760M waveform monitor, and the popular PT5300 Compact VariTimeTM Sync Generator.

DK-Technologies can be found at NAB 2012 Booth C9942. If you would like a demonstration or more information about any of these products, please visit the booth or visit www.dk-technologies.com

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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.

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Jünger Audio Secures a Prestigious Order from Chinese Broadcaster NBTV

As China turns its attention to the issue of loudness control across TV and radio, one of the country’s most prestigious broadcasters has chosen technology from German dynamics specialist Jünger Audio to ensure delivery of superior audio quality to its audiences.

Based in Ningbo in the East China province of Zhejiang, NBTV has installed five Jünger Audio D*AP LM4 four-channel Digital Audio Processors to tackle loudness control across all of its television channels. The D*AP LM4 units incorporate Version II of Jünger Audio’s renowned LEVEL MAGIC™ algorithm and feature on-board AES/EBU digital I/O, along with optional 3G/HD/SD-SDI I/O or analogue I/O.

This important sale was negotiated by Jian Gao, head of Jünger Audio’s China office, in conjunction with the company’s local sales partner Rotec China which specialises in providing high end solutions to the broadcast market. Based in Shanghai, Rotec China also supplies equipment from manufacturers such as Dolby, Sony, Cannon and FOR-A.

Mr Tim Zhong, Sales Engineer for Rotec China who was in charge of the NBTV project, says: “NBTV has a strong reputation for installing cutting edge technology and is renowned for thoroughly testing all equipment before making a decision to invest. In this case the broadcaster was looking to upgrade its automatic transmission equipment to incorporate loudness control and Rotec was approached to recommend suitable products.

“Jian Gao and Rotec China visited the broadcaster on a number of occasions and suggested Jünger Audio’s D*AP LM4 processor because it was perfectly suited to NBTV’s needs. Not only is the unit compliant with all current broadcast audio loudness recommendations (including ITU, EBU R128 and ATSC A/85) but it can also be automatically controlled via a web interface for remote applications.”

NBTV tested a number of different manufacturer’s loudness solutions before choosing the Jünger Audio D*AP LM4. Its decision was based on the unit’s overall sound quality and its ability to control loudness across different programmes and different channels.

Mr Shi-Song Wu, the director of NBTV’s Technical Center, says: “We installed five D*AP LM4 units in time for the recent Chinese New Year celebrations. Their performance has been great and we are very impressed with their ability to accurately control audio loudness. The combination of German reliability and precision engineering were also key factors in our decision to invest.”

Loudness control in China is now receiving serious attention from both the Government and from the major broadcasters, all of which are state owned and have their investment in technology secured every year. As in other parts of the world, loudness control is being driven by complaints from viewers who are often irritated by inconsistencies in level between different channels and between programmes and commercials.

Tim Zhong says: “China’s regulatory body SARFT is set to issue its own standard on audio loudness and we believe that this will be specify -24LKFS as the average loudness level. This is similar to the standard that has already been adopted in Europe and the USA and for this reason many Chinese broadcasters, including NBTV, are implementing the ITU1770 standard.”

Another broadcaster that is implementing the ITU standard is FJTV, a provincial station in Fujian. FJTV is also an advocate of Jünger Audio ITU-complaint loudness control technology, having installed a number of the company’s B46 units in recent years. The broadcaster recently added to its equipment itinerary with three more B46 units, which it is using for newly added channels.

Jünger Audio’s Jian Gao says: “The B46 processor has been a good and affordable solution for Chinese broadcasters but it is being superseded by the D*AP LM4. We are now arranging for FJTV to trial the D*AP LM4 as it offers a lot more functionality including the ability to log loudness levels, which will be an important consideration for broadcasters if they are to comply with any new legislation.”

-ends-

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

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Peregrine Andrews Upgrades His Studio With A White Mark Fast Studio System

Recording engineer Peregrine Andrews, who specializes in mixing radio and television, has installed a White Mark Fast Studio acoustic system in his west London-based private studio.

Developed by studio and design consultancy White Mark Ltd, Fast Studio allows producers, composers and studio owners to build high performance facilities in far less time and at far less cost than would normally be anticipated. The system uses properly constructed and individually specified acoustic modules that are assembled off-site, making them very quick and easy to install. It is ideal for rooms using free-standing monitors and in which there is no need for full isolation.

White Mark’s managing director David Bell says: “Fast Studio meets market demand for high quality studios that are acoustically accurate, quick to install and preserve more of the character of the original building. Not everyone has the time or the requirement to invest in high levels of isolation. With Fast Studio, we can install a room that sounds good and delivers great acoustic results. We always insist that Fast Studio customers have their initial drawings and monitor set-ups carried out by our team of experts so that we can guarantee both the viability of using the system and the level of performance that will be achieved, but, provided the room meets our criteria, we can deliver a studio that satisfies our customers’ requirements – and in a fraction of the normal time.”

Peregrine Andrews says he chose White Mark for his studio upgrade on the basis of the company’s reputation for excellence in acoustics.

“My studio is a converted room in my flat and I use it for all my radio work and an increasing amount of TV,” he explains. “It is equipped with SADiE and Nuendo, a Smart AV Tango control surface set into a bespoke desk and stereo PMC monitoring, although I’m planning to install surround sound monitoring soon.

“I chose White Mark because I knew they had designed a lot of the top audio post rooms in London and a couple of friends in the business had used them. David Bell recommended the Fast Studio system as suitable for my needs and the company installed a set of panel absorbers and a bass trap in a void at the back of the room. David and Matt Dobson optimized the height and position of my speakers using their measurement system and they achieved an impressively flat response. I am really delighted with the sound of the room and the speed at which the work was carried out.”

Andrews, who trained at the BBC and now runs his own company Moving Air, has already put the studio through its paces mixing a variety of projects.

“In radio I do a lot of fast turnaround mixes, mainly documentaries, for the BBC
and also some drama. Recent TV work for the BBC includes the comedies “Twenty Twelve” and “The Bleak Old Shop of Stuff”, the Queen music doc “Days of their Lives”, and a series of “Motorway Cops”.

White Mark’s Fast Studio system has now been used to great effect on a number of other studio projects including an advertising agency in Mexico City, Giles Martin’s new room at Abbey Road and Cenzo Townshend’s new mixing facility in Suffolk.

For more information about Fast Studio visit www.whitemark.com

For more information about Moving Air, please contact Peregrine Andrews. Email: pez@moving-air.com

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About White Mark:

Established in 1997 by David Bell, John Dunnill, Derek Buckingham and Alan Cundell, White Mark Ltd specialises in production facilities for music recording and the film and television industries. Over the last decade it has designed and supervised the construction of over 170 audio production suites worldwide. The company’s impressive client list encompasses some of the world’s most famous music recording facilities including Peter Gabriel’s Real World Studios in the UK, Hit Factory in New York (for which the company won a coveted TEC Award for Best Acoustic Design), Hit Factory/Criteria Recording Studios in Miami, Strongroom in London and private studios for producers and musicians such as William Orbit and Damon Albarn. In the area of audio post production, White Mark has completed over 100 studios for more than 40 companies in Soho alone. The list includes Grand Central, Hackenbacker, Envy, Scramble, Lipsync, Molinare, Ascent Media, Wave and Boom. This impressive achievement means that a significant proportion of mainstream British television output passes through rooms designed by White Mark. www.whitemark.com

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Oxygen DCT Launches The GlueBox™ Mio HD/SD-SDI To HDMI/DVI Converter at BVE 2012

At BVE 2012, Oxygen DCT will be launching the GlueBox™ Mio HD/SD-SDI to HDMI/DVI converter, a high quality, compact, reliable device for broadcast television and digital film industries.

This useful and practical product addresses the everyday and ever changing requirements of video conversion and interfacing by offering an exceptional range of facilities that overcome many of the limitations commonly found with other converters.

Ideal for a wide range of applications, the highly adaptable GlueBox Mio HD/SD-SDI to HDMI/DVI converter is equally at home in a master control room, in the back of a rack, on a studio floor or mounted on a crane. It can be powered from a 12v DC battery or from the AC to DC power unit that is supplied as standard with each box.

A key feature of this unique product is its flexible multi-mode scaler, which has 14 modes enabling automatic output scaling or user selection of 13 different output resolutions from 1920×1200 down to 1024×768. The box also incorporates broadcast grade filtering, which delivers superior image conversion, permitting greater detail and eliminating the artifacts often found on low quality converters.

The GlueBox™ Mio HD/SD-SDI to HDMI/DVI converter accepts all HD-SDI signal formats including 3G-SDI (dual or single link), HD-SDI or SD-SDI and from 1080p/60 down to 525i with automatic signal detection. There is also an active, non-reclocked looped out that negates the need for additional distribution equipment in the signal path.

Steve Hathaway, Oxygen DCT’s Managing Director, says: “This product is packed with features that are often not available on similar converters. These include audio monitoring on HDMI – a really useful facility that allows users to fully monitor a HD-SDI signal on a low cost HDMI monitor. By incorporating audio output with the HDMI signal, the audio within any of the four groups embedded in the HD-SDI stream can be extracted and output as a stereo pair. The side mounted dip switches allow users to select the stereo audio pair for the HDMI output or blank the audio output to the HDMI signal, if required.”

The GlueBox™ Mio HD/SD-SDI to HDMI/DVI converter also offers a DVI connector output interface, as well as a DVI to HDMI converter for HDMI applications. Two LED status indicators show the unit is powered up correctly and that it has a valid video signal, free from errors.

Steve Hathaway adds: “This unit is perfect for both studio and field portable applications and is widely used with HD-SDI signals to provide a DVI/HDMI output for use with large monitors such as Oxygen DCTs Evolution Pro-M series. The fact that this product is both simple to operate and very affordable makes it ideally suited to customers who want an inexpensive conversion solution without having to compromise on quality.”

For further information about Oxygen DCT’s GlueBox Mio range, please visit stand i60 at BVE 2012 or the company’s website at www.oxygendct.com

-ends-

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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