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Archive by Sue Sillitoe

Visual Unity and Salam Media Cast Announce An Innovative New Partnership

The need for broadcasters to integrate multiscreen IP solutions and mobile content delivery into their existing workflows has led to a ground-breaking partnership between Visual Unity and Salam Media Cast – two leading systems integration companies in the Middle East.

Under the terms of the new cooperation, broadcast and multiscreen system integrator Visual Unity will work alongside fully integrated broadcasting solutions provider Salam Media Cast (SMC) to provide its renowned multiscreen expertise in managing content across the networks and solutions that SMC installs.

This innovative arrangement covering the Middle East and North Africa will allow SMC, which already has a significant presence in these regions, to enter new markets and develop its business in the burgeoning multiscreen environment. In return, Visual Unity, which recently established an office in the Middle East, will have the opportunity to leverage SMC’s regional presence and facilities.

Based in Dubai, SMC has been serving the media industry in the Gulf region for nearly 40 years. It represents many worldwide manufacturers such as Avid Technology, Quantel, SeaChange, Leitch, Drake Electronics, Vinten Broadcast Ltd., Strand Lighting, Telestream, Vizrt and EVS Broadcasting. It also serves TV channels and networks, movie studios and network operators in the region, providing telecommunications, broadcasting, integrated systems and state-of-the-art security.

Under the direction of newly appointed CEO Paul Hennessy, the company is making a shift that reflects the dynamics of the industry with the aim of bringing innovation and the latest technology to the region.

Visual Unity, which also has an office in Dubai, is already helping broadcasters and operators worldwide to deliver the premium viewing experience that their audiences demand. Clients such as Al Aan TV and government agencies across the Middle East and Asia are reaping the benefits of solutions provided by Visual Unity, efficiently delivering content to any screen. Recently established PoPs in UAE, Bahrain and Saudi Arabia now enable Visual Unity to offer the benefits of its own Content Delivery Network (CDN) to Middle East customers, providing cost effective, secure and robust content distribution across the region.

Commenting on the new arrangement between the two companies, Paul Wallis, Head of Business Development at SMC, says: “Visual Unity’s expertise in multiscreen systems integration, combined with its powerful vuMedia™ platform that allows broadcasters to manage and monetize multiscreen content, provides SMC with a complimentary addition to our existing business model. SMC is targeting growth across a number of new business areas and this collaboration with Visual Unity opens up exciting possibilities for us.”

Tomas Petru, Managing Director of Visual Unity, says: “Visual Unity will provide SMC with multiscreen IP solutions, software development and mobile delivery knowledge in a way that compliments SMC’s existing offerings. From our perspective, this arrangement brings enormous benefits as it will enable us to extend our reach via one of the largest and well-funded integrators in the Middle East region.”

Jamal Bnari, Visual Unity’s Head of Sales and Marketing for the Middle East and Asia, adds: By working with SMC we can engage in opportunities that require both traditional linear and multiscreen systems integration input. We are already collaborating on large tenders for IPTV, application development and digital signage tenders.”

Both Wallis and Petru believe the synergy between the two companies will benefit broadcast customers as they move into the multiscreen broadcast market.

“Over 100 clients across the Middle East are already using broadcast systems installed by SMC,” Wallis adds. “We are able to design and build full turnkey system solutions using our team of international and local talent. With Visual Unity by our side we can now extend modern thinking and expertise in managing content for multiscreen environments to our customer base. The way audiences view content is changing dramatically – and fast. I hope that, together with Visual Unity, we can present new and exciting solutions that enable broadcasters to maximize content revenue.”

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Notes to the editor:
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, mobile or any connected device, comprehensive Video on Demand 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

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

About Ghanim bin Saad Al Saad & Sons Group Holdings
Ghanim bin Saad Al Saad & Sons Group Holdings (GSSG) was founded by Ghanim bin Saad Al Saad in 1993 and incorporated in 2007. Today it is one of Qatar’s most successful private sector business groups, making a major contribution to the country’s economic growth.
GSSG has enjoyed steady growth and success in many fields and industries locally and international. GSSG’s diverse portfolio gives its strength and enables its companies within the group to maximise global business opportunities wherever and whenever they arise.
The founder, Mr. Ghanim bin Saad al Saad, has enabled the group to grow to over 40 companies around the world. As an inspirational business leader, he has steered the group to achieve its success in industries that include aviation, maritime, automobiles, oil & gas, real estate, manufacturing, contracting and trading, finance & asset management, engineering, education, fitness, hotels, hospitality and fashion, information technology and telecommunications.
In addition to its corporate headquarters in Doha, GSSG also has five international offices located in London, Zurich, Cairo, Singapore and Dubai. info@gssg.com; www.gssg.com

Salam Media Cast (SMC)
Salam Media Cast is a fully integrated broadcasting solutions provider, serving the media industry in the Gulf region for nearly 40 years and a proven local systems integrator for broadcasters and media companies. In 2010, SMC joined GSSG Holdings as part of its Media Group, with offices in Qatar, UAE, Oman, and Saudi Arabia.
Salam Media Cast pioneers not only in equipping professional television stations and studios, master control rooms, newsrooms, concert stages and theatres providing light and sound technology but equips a whole multivendor environment. But also provides solutions from safeguarding national security such in government operations, creating the best venues for education such as museums and classrooms, enhancing sports environments, revolutionizing health facilities and satellite telecommunications.
To support the workflow and innovation demands of our valued customers, we have recently expanded our team with new local and international talent. We use our expertise to help realise your goals and ambitions – we listen, advise, design and build great workflows that work for you. Our ambition is to be your trusted partner in the Gulf region. Website: www.salammediacast.com

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Red TX Revamps Its Popular RED I Mobile Recording Truck

Broadcast sound specialist Red TX has completely rebuilt its RED I mobile recording unit to bring it up to the same specifications as RED II, which was refurbished last year.

The interior of RED I has been transformed and an internal wall has been moved to create more space for the audio engineers and clients. New PMC ALM 1 active 7.1 surround sound monitoring has been installed and the acoustics and insulation have been improved to ensure that those working on board are not distracted by external noise.

Ian Dyckhoff, managing director of Red TX, says: “Having two state of the art trucks on the road has allowed us to increase workflow and offer clients the very latest audio for broadcast technology. With all popular record formats available, the truck is well equipped to handle any audio challenge.”

Like its sister truck, Red I is equipped with a Studer Vista 8 Digital mixing system powered. Recording is carried out via Pyramix, Pro Tools and Logic, and there is also an extensive range of digital effects on board. The truck also includes 96 x 24/96 remote mic amps, with additional blocks of 48 (up to 240) available for larger projects. All microphone inputs are 24bit/96kHz with full DSP on every channel.

“As important part of the refit involved bringing the engine up to the latest ‘green’ LEZ specifications,” Ian Dyckhoff adds. “This means it can now go anywhere, even into parts of London and other cities where emissions regulations are enforced.”

Since completing the renovation, Red TX has used RED I on a number of projects including two related to the recent Titanic celebrations – recording MTV Presents Titanic Live in Belfast and recording the world premiere in London of Titanic Requiem, a new classical piece written by former Bee Gee Robin Gibb in collaboration with this son Robin-John Gibb.

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About Red TX:
Red TX provides a comprehensive concert recording and broadcast service to the music and television industries. The company has state-of-the-art mobile recording facilities and can handle projects of any size or complexity. As well as recording audio for broadcast, the company also records live music events for subsequent release on CD or DVD. It is headed by Ian Dyckhoff and Tim Summerhayes, both of whom have extensive experience in delivering high-quality audio for broadcast. www.red-tx.com

Jünger Audio Adds A Third Prism Sound dScope Series III To Its Equipment Arsenal

After 30 years’ experience of an extensive range of audio Test and Measurement equipment, Jünger Audio’s Technical Support engineer Bernd Fuhrmann has voted Prism Sound’s dScope Series III as the instrument he likes best.

“It is definitely the one for me,” he says. “Over the years I’ve used many other brands and I am very familiar with all their pros and cons. However, I was curious about the dScope Series III and had the opportunity to test it before buying. It took only a few minutes to make the first measurements and was extremely accurate and easy to use.”

Prism Sound’s dScope Series III includes precision analogue and highly-optimised digital outputs and inputs. Precise and automatic gain-ranging allows high resolution measurements over a massive range, from a few micro-volts to more than 150 volts RMS, and from less than 1 Hz to over 90kHz. Its interface processor uses dedicated DSP to provide a wide range of real time measurements, while its software uses the host PC for almost unlimited number crunching and analysis options such as Fast Fourier Transforms, unique ‘FFT Detectors’, swept sine and multi-tone testing. Designed to be highly programmable, the dScope Series III can be automated from a wide range of third-party software using Active X controls, or internally using VBScript.

Jünger Audio manufactures high quality audio loudness and dynamics equipment and already has two Prism Sound dScope Series III instruments – one in the R&D department and one in the quality control test lab. Although compatibility with these units was a factor, Bernd Fuhrmann was free to choose whatever brand he liked for the Technical Support department.

“Positive recommendations from my colleagues were important but in the end my choice was made on the features dScope Series III offered,” he says. “The price/performance ratio in comparison to other test equipment was a major reason for choosing it, plus I really like the automatic logging functions and the fact that it integrated seamlessly into my test environment.”

Fuhrmann is using his dScope Series III to check audio quality with sweeps, long term min/max tests, THD+N and long term bit tests.

“I have found this instrument very easy to install and I’m happy with its performance,” he adds. “I also like its small footprint and the fact that it is totally PC controlled.”

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About Prism Sound
Founded in 1987 in Cambridge, UK, Prism Sound manufactures a range of high quality professional test equipment for audio applications. The company is organized in three divisions and in addition to audio test equipment, Prism Sound also manufactures equipment for high-quality recording and production for music and sound applications and for voice-logging recorders used in law enforcement, legislative and business applications. Prism Sound audio test equipment is used by many major consumer electronics brands in automotive, home entertainment, personal mobile, communications and other market sectors as well as most of the world’s leading broadcasters including the BBC. Prism Sound’s music recording products are widely used by leading professionals in music and film sound such as the legendary Abbey Road Studios in London.

For more information: www.prismsound.com

Prism Sound Fulfils An Important New Order For Its SADiE 6 Craft Editing Software

Less than one year after installing 50 SADiE 6 editing systems at BBC North in Salford, the BBC has expanded its SADiE editing capabilities by ordering another 250 systems. These will be strategically located in the Corporation’s radio studios around the UK.

Following a comprehensive review of a range of potential solutions, the broadcaster selected SADiE as its standard “Craft Editor” for audio to complement its radio production and playout automation systems. This decision helped the broadcaster to streamline the range of tools that it supports internally for its radio programme makers.

The Corporation already has many hundreds of SADiE installations. Key to this success is the unique approach that SADiE has to audio editing and productivity, tailored to high-end radio production workflow. The new SADiE 6 software is primarily being used as a software-only application on the broadcaster’s desktops, but it can also be installed on existing SADiE 5 hardware as an upgrade.

The Craft Editor specification demanded a number of feature enhancements for the new SADIE 6 software, including the integration of a comprehensive signal processing plug-in package. This has been met with the iZotope plug-in pack for SADiE 6. In addition, Prism Sound has developed a USB interface for SADiE 6 that supports the broadcaster’s 200-plus SADiE hardware controller. This enables re-use rather than replacement of the controllers.

Graham Boswell, Sales Director of Prism Sound, says: “We are delighted that the BBC is making SADiE 6 available to many more of its radio production employees and we feel confident that they will appreciate the benefits that SADiE 6 brings.”

SADiE digital audio workstations and LRX 2 digital audio workstation have long been the mainstay of the broadcast community thanks to their editing and location recording capabilities. The SADiE product range is renowned for its speed and ease of use, making it ideal for radio drama production and topical documentaries where the emphasis is on a quick turnaround. The new SADiE 6 software operates on any computer running Microsoft Windows as well as existing SADiE 5 hardware platforms.

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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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Jünger Audio Makes Audio Loudness Its Focus At Broadcast Asia 2012

Dynamics specialist Jünger Audio will focus on controlling audio loudness in the broadcast chain at this year’s Broadcast Asia convention in Singapore (June 19th – 22nd. Booth 4U3-01).

On show for the first time in the Far East will be two new additions to Jünger Audio’s *AP family of loudness control processors, a range of products that are specifically designed to help broadcasters stay within the parameters of newly introduced loudness legislation such as the CALM Act in the USA.

The *AP family all incorporate Version II of Jünger Audio’s renowned 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.

The two new additions to the *AP family are the D*AP LM4 and the D*AP LM2.

The D*AP LM4, a four-channel Digital Audio Processor aimed at television broadcasters and video production and post production companies that need to control audio loudness while creating and editing broadcast content. Similar in concept to the hugely popular Jünger Audio B46 processor, which it replaces, the D*AP LM4 also features on board AES/EBU digital I/O, along with optional 3G/HD/SD-SDI I/O or analogue I/O. This combination of formats is likely to open up many new markets for the unit. Control of this 19” rack-mountable unit is via a smart new front panel or via a Web interface for those who wish to operate it remotely.

The D*AP LM2 is a two-channel Digital Audio Processor that replaces Jünger Audio’s ground breaking D06 unit. The D*AP LM2 offers a powerful combination of dynamics and loudness control, making it suitable for a wide range of applications including television, radio, music production and PA. It can handle both analogue and digital (AES/EBU) audio and features an automatic input switchover with parallel output formats. It also fits neatly into a rack and is controllable through a newly designed front panel or via a Web based interface.

Both the D*AP LM2 and D*AP LM4 come with optional redundant PSU and a power fail bypass to ensure maximum operational security. They also feature Jünger Audio’s Adaptive Dynamics as standard, allowing customers to incorporate additional processing blocks such as compressors and expanders. Spectral Signature™ will become an option for these processors.

Jünger Audio will also show its Award-winning T*AP TV Audio Processor, which made its operational debut at the 2011 Eurovision Song Contest and has now being installed in numerous broadcast facilities. Primarily designed for TV playout, the device provides Loudness control, Upmix and surround sound processing for up to eight channels of audio (8×1, 4×2, or 6+2).

T*AP focuses on automatic and adaptive loudness control and also offers Jünger Audio’s Spectral Signature™ as standard. This remarkable proprietary technology gives TV and radio broadcasters the ability to create a signature mask as a template so that they can recreate the same atmosphere and dynamics on subsequent audio content. 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, which has been upgraded to deliver greatly improved performance and a range of new settings.
Junger Audio is completing its Broadcast Asia line up with Loudness Logger, a powerful tool that offers customers of all Jünger Audio levelling processors an easy way to monitor the development of the loudness over time. This innovation is critical to all broadcasters who now need to show precisely how their audio levels are performing in order to comply with new legislation on Loudness. Using this new software, broadcasters can monitor in real time or by analyzing previously stored loudness log files. The software, which is an MS Windows application, can be purchased from Jünger Audio on a license basis per PC and is protected by an USB dongle. The Loudness Logger works with Jünger Audio’s entire range of new box processors as well as with recent versions of LEVEL MAGIC™ cards in the modular C8000 system.
If you would like more information about these products please visit Junger Audio at Broadcast Asia 2012 – Booth 4U3-01 – for a demo.

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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.

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PDG Helicopters Takes to The Skies With A Cinedeck RX Solid State Recorder

Leading on-shore helicopter operator PDG Helicopters has become the first company in the UK to use a Cinedeck RX dual channel, solid-state recorder to deliver high quality digital aerial filming to clients in film, TV broadcast, commercials and corporate production.

Based in Scotland, PDG Helicopters has over 40 years of knowledge in helicopter charter, a fleet of 17 aircraft, and registers over 10,000 flying hours each year across a range of services. These include passenger flights, aerial crane, aerial survey, helicopter maintenance, scenic helicopter tours and aerial cinematography.

PDG Helicopters acquired its Cinedeck RX from Cindeck’s UK distributor Oxygen DCT. The unit is now being used to record uncompressed 4:4:4 from a gyro-stabilised Cineflex V14 HD camera, in a wide range of frame rates, recording variations of Apple ProRes, Avid DNxHD and Cineform codecs, according to each customer’s preference.

Peter Jones, aerial cameraman and PDG Helicopters’ camera systems manager, says: “We researched where to buy our Cinedeck RX and decided on Oxygen DCT because it has such a strong reputation for aftersales support. The company’s staff are incredibly helpful and have answered all our technical queries quickly and knowledgeably.”

Jones adds that Cinedeck RX has allowed PDG Helicopters to mirror the industry trend towards tapeless capture, and to extract the full performance of its Cineflex camera system.

“As it records to a range of codecs, clients can leave the shoot with edit-ready footage, which ultimately helps their production costs – and that’s a great selling point for us,” he says.

Since acquiring their Cinedeck RX, PDG has used the unit on projects for BAE Systems, QinetiQ, a commercial for McDonald’s through Thomas Thomas Films, and a corporate production for LineUp TV.

“Aerial cinematography has a number of issues, not the least of which is vibration,” Peter Jones explains. “With a tape deck, you’re always concerned there might be dropped frames or other image degradation. With other capture devices you just have to trust the takes are there when you land. There’s huge merit in the RX being a solid-state recorder, with built-in redundancy, that lets you review material in the air. It gives you great confidence while you’re shooting. I was absolutely delighted to discover that it was developed by a fellow cinematographer (Cinedeck CEO Charles Dautremont) with expertise in aerial shooting, who had encountered exactly the same issues as me.”

Jones adds that a key advantage of Cinedeck RX is the choice of production formats it offers.

“The Cinedeck RX has tremendous appeal for producers because it can record uncompressed 4:4:4 and the native codec for editorial. Program makers can leave the shoot with edit-ready material, normally Avid DNxHD or Apple ProRes, and there are no extra costs for ingest and transcoding. This helps to reduce their post production costs, and ultimately has a positive impact on the overall budget.”

On an operational level, Jones says the dual channel Cinedeck RX is much smaller and lighter than a tape deck, and offers greater performance and functionality over flash cards.

“With Cinedeck RX, you just glance at the screen and immediately know you’re recording,” he says. “Whilst we’re in the air, I can check the levels on the waveform, and easily scrub through the clips to double-check that I have shot what the director required. If required, we can look at ways we can improve a shot by changing the flight profile of the helicopter, or the camera move.”

Recording duration and security are other crucial considerations for aerial filming, and PDG has equipped its Cinedeck RX with four caddies that hold eight solid- state drives, providing a total 2TB recording capacity.

“Some jobs might take a couple of hours, and we can normally fit the footage onto one SSD drive,” says Jones. “But on larger jobs, we might be away for several days. Having such a large recording capacity, being able to change drives in flight and to keep rolling is a real bonus. The fact that material is protected with the redundant record provides piece-of-mind too.”

While Jones is appreciative of the technical support PDG has received from Oxygen DCT and Cinedeck, he’s even more delighted by the profile Cinedeck has amongst clients.

“We’re now getting calls from clients asking for Cinedeck. This kind of brand- awareness makes us feel we made the right decision to buy,” he exclaims. “I can see Cinedeck RX rapidly becoming our main recorder in the future. It certainly ticks all the boxes right now.”

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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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Mateo Willis Captures Eagles In Flight With A GearNex Geared Camera Head Supplied By Oxygen DCT

As a highly regarded wildlife cameraman, Mateo Willis is in great demand from blue chip broadcasters such as the BBC and the Discovery Channel, which employ him to work on many of their most prestigious nature documentaries.

Mateo’s speciality is long-lens work and he often spends large amounts of time in remote locations filming everything from small lizards to large carnivores.

In a bid to find a more accurate way of framing shots, particularly when working with heavy cameras and lenses, Mateo has been experimenting with a CineToys GearNex geared camera head, supplied by CineToys’ UK distributor Oxygen DCT.
This unique product was developed by former Hollywood cameraman Bret Allen in response to a significant gap in the market for affordable geared head technology. It is designed to give film makers access to Hollywood-style geared heads without paying Hollywood prices.
“I was going on a shoot to film Verreaux eagles that required very fine precision moves combined with rock-steady stops,” Mateo explains. “Nothing beats the motivation of following an eagle in flight – in wildlife filming there are no repeat takes. Having read about the characteristics of geared heads I thought they were worth experimenting with and when Oxygen DCT offered me a GearNex for a trial run I jumped at the chance.”

Launched at NAB 2008, GearNex immediately won two prestigious awards including a Best of Show and a Creative Cow Blue Ribbon Award. Among the many film makers who have spotted the unit’s potential is director Robert Altman Jr, who has used GearNex with a Redrock DSLR Cinema Bundle.

Steve Hathaway, managing director of Oxygen DCT, says: “Today’s cameramen face the challenge of operating cameras adorned with monitors, matte boxes, power packs and focus-assist products, all of which can make them heavy and unwieldy. What GearNex offers is the ability to smoothly pan and tilt, even when the camera is loaded with additional equipment. It delivers a much smoother panning experience than conventional fluid heads and is ideal for a wide variety of filming tasks including motion pictures, music videos, short films, television documentaries, commercials and corporate videos.”

Mateo Willis used GearNex with a Panasonic Varicam and hopes to try it with different cameras in the future.

“Like other areas in the industry, the introduction of high-end but relatively low-cost digital cinema cameras is creating a fast-changing landscape in wildlife filming,” he explains. “Last year I was working mainly with ENG cameras supplemented with specialist cameras such as the Phantom, but this year I’ve shot almost everything with Red Epic and Arri Alexa although I haven’t had an opportunity to use those with the GearNex yet.”

As a newcomer to geared head technology, Mateo says there was initially a steep learning curve, but once he became comfortable with GearNex he found it incredibly useful and really appreciated the extra control it gave him.

He explains: “The camera I was using was mounted with a long lens and counterbalanced by several batteries, so was fairly hefty. Once the GearNex was in place I was impressed at how little energy, and hence more control, it took to precisely move the camera. Also, I found the Gearnex robust enough to put up with the arduous conditions of the desert; dust, rough roads and heat. Finally, I was impressed with its size and weight – everything fitted into a single Peli. When you’re travelling with thirty cases, the less you have to load in and out of vehicles the better!”

Mateo adds that GearNex has demonstrated that inexpensive but high-quality geared heads can be made and he is looking forward to seeing where CineToys will go with the next generation.

“My next project is filming geese on the side of a cliff in Greenland, for which I am designing a ‘vertical’ tripod to hang on a sheer rock face,” he says. “This will allow me to film while sitting in a climbing harness so only a super-light head will be appropriate. Now if the Gearnex head was motorised……”

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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

Red TX Records MTV Presents Titanic Sounds For International TV Broadcast

Broadcast sound specialist Red TX was recently commissioned to record the audio for MTV Presents Titanic Sounds, an open-air festival to mark the opening of the Titanic Belfast tourist attraction.

Set against the backdrop of the new building, this one-off major music gig featured performances by Olly Murs (with a full nine-piece band), Pixie Lott, Katy B, Rizzle Kicks and Sean Paul.

Red TX used its newly refurbished Red 1 truck for the 5.1 audio recording, with director Tim Summerhayes manning the controls.

Summerhayes says: “Apart from the weather, which was absolutely freezing, the recording was a huge success and we had a great time working with the MTV production team. The setting, on the slipway in front of the new Titanic Belfast tourist attraction, was perfect and the concert was very well received by the audience.”

MTV Presents Titanic Sounds will be broadcast internationally on MTV on May 25th 2012 as part of MTV’s World Stage music series.

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About Red TX:
Red TX provides a comprehensive concert recording and broadcast service to the music and television industries. The company has state-of-the-art mobile recording facilities and can handle projects of any size or complexity. As well as recording audio for broadcast, the company also records live music events for subsequent release on CD or DVD. It is headed by Ian Dyckhoff and Tim Summerhayes, who have extensive experience in delivering high-quality audio for broadcast. www.red-tx.com

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France Television Places A Substantial Order For Jünger Audio Loudness Processing Equipment

The decision by France’s CSA (Conseil Supérieur de l’Audiovisuel) to link the EBU’s Loudness Recommendation R128 to its own audio-visual legislation is now focusing the attention of French broadcasters on purchasing loudness processing equipment that complies with the EBU R128 standard.

One manufacturer that has already benefited is German dynamics specialist Jünger Audio, which recently won a significant order for its loudness processing equipment from the French public broadcaster France Television.

Jünger Audio’s Managing Director Peter Poers says: “Our EBU R128-compliant loudness processing equipment has already been installed at every major broadcast facility in Germany and Switzerland, and we are delighted that France’s public broadcaster has also chosen to endorse our technology. Broadcasters have recognised the benefit of using our proprietary LEVEL MAGIC™ adaptive control algorithm and like the fact that it allows them to adjust the audio level from any source at any time, with no pumping, breathing or distortion. As a result it has become the algorithm of choice for line and real time processing.”

France Television is a state-owned company that consists of a number of channels including France 2, France 3, France 4, France 5 and France Ô. The broadcaster, which is primarily funded by revenue from television license fees, is highly influential with more than 40% of the French population watching its programming every day. As a public broadcaster it is firmly committed to providing high quality news, sports and entertainment programming that reflects a diversity of views.

The order France Television has placed with Jünger Audio is for a total of 73 loudness processors – 22 D*AP LM4 four-channel units and 51 D*AP LM2 two channel units. These are now being rolled out to France Television facilities and will eventually cover all Paris-based channels, plus all 23 regions, with each region having one Jünger Audio processor for its main transmission path and another for back-up.

France’s CSA decision to link with EBU R128 means that previously unenforceable laws on loudness can now be better defined and therefore enforced. This will protect viewers from the unpleasant and unpopular lurches in the volume of programmes and adverts that have resulted worldwide in so many complaints over the years.

In order to comply with the new law, French broadcasters must now ensure that all production and distribution equipment they use is compliant with EBU R128. They must also manage audio correctly and ensure that all material provided by production houses also complies with the new ruling. The new law is being introduced in three phases: normalization of short programmes from 1 January 2012, of live programmes by June 2012, and of all programmes by the end of 2012.

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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

PRISM SOUND OPENS A NEW EUROPEAN SALES AND DISTRIBUTION OFFICE IN GERMANY

Prism Sound, manufacturer of premium-quality test and measurement instruments, audio interfaces and processors and for the recording and broadcast markets, has opened a European Sales and Distribution office in Munich, Germany.

Operating under the Prism Media Products Ltd banner and covering the territories of Germany, Austria and Switzerland, the new office will handle all Prism Sound test and measurement, music recording and production products including the dScope Series III audio test instrument, ADA-8XR multichannel converters and the Orpheus FireWire interface.

Bernard Nocker, formerly Sales Manager for Prism Sound products at DIME Medientechnik GmbH, has been appointed to head the Munich office.

He says: “I am delighted to have the opportunity to develop Prism Sound’s business in these territories. Audio is my passion and I have hands-on experience of using Prism Sound’s products, which makes it much easier to explain their features and benefits to potential customers. I also believe that this new arrangement will allow me to concentrate on developing much closer relationships with existing customers and explore new markets for Prism Sound, particularly in the test and measurement arena.”

The new structure will enable Prism Sound to more effectively develop resellers and representatives in the German-speaking market and the company is now actively seeking retailer partnerships for its music recording and production products, as well as closer relationships with industrial test system integrators and supply chain companies.

Graham Boswell, Sales Director for Prism Sound, says: “In 2011, Prism Sound’s sustained export performance won the company the prestigious UK Queens Award for Enterprise in the International Trade category. The German speaking market was a significant factor in winning this award and has been important to the company for 20 years, having first been developed by FFD GmbH in the early 1990’s. More recently distribution has been handled by DIME Medientechnik GmbH and the business has grown considerably over the period.

“Our decision to open the Munich office was based on a desire to conduct closer relationships with our key customers and to be more responsive to local market conditions. The change will bring immediate benefits to our customers in Germany, Austria and Switzerland in the form of a new Euro price structure. Former inter-company pricing has been replaced with a simpler structure and, despite the recent gains in the GBP/EUR rate, the new Euro pricing will be slightly lower than previously.”

Prism Sound and DIME have agreed a swift and amicable handover, with DIME now completing only specific orders already in hand. All new orders will be handled directly by Prism Sound. Warranty and service for all products formerly sold by DIME or by its predecessor SDI will be handled directly by Prism Sound through the Munich office.

Sales of Prism Sound’s SADiE product line continue to be handled by For-Tune GmbH. The new arrangements in Germany will mean closer co-operation between the two companies and offer a range of new marketing opportunities for the SADiE and Prism Sound brands.

Bernhard Nocker can be contacted at Tel: +49 176 27927901. Email: Bernhard.Nocker@prismsound.com. Prism Sound’s Munich office is located at Trappentreustr. 5, 80339 München, Germany.

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About Prism Sound
Founded in 1987 in Cambridge, UK, Prism Sound manufactures a range of high quality professional test equipment for audio applications. The company is organized in three divisions and in addition to audio test equipment, Prism Sound also manufactures equipment for high-quality recording and production for music and sound applications and for voice-logging recorders used in law enforcement, legislative and business applications. Prism Sound audio test equipment is used by many major consumer electronics brands in automotive, home entertainment, personal mobile, communications and other market sectors as well as most of the world’s leading broadcasters including the BBC. Prism Sound’s music recording products are widely used by leading professionals in music and film sound such as the legendary Abbey Road Studios in London.

For more information: www.prismsound.com

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