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Archive by Sue Sillitoe

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.”

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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

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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

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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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VISUAL UNITY EXPANDS ITS MANAGEMENT TEAM WITH TWO KEY APPOINTMENTS

Leading Broadcast and Multiscreen System Integrator Visual Unity has expanded its management team with two key appointments – Tony Hasek and Asheem Parikh. These appointments will further strengthen Visual Unity’s sales channel and its ability to help customers as they make the transition from traditional broadcasting to a modern multiscreen workflow.

As Vice President of Sales, Tony Hasek will drive Visual Unity’s international business development and take charge of internal sales management. He brings 20 years experience in both Systems Integration and Mobile technology to the role, having previously founded system integrator Kinetik and Anyware, a developer of custom and stand-alone applications for Apple’s iOS (iPhone/iPad) and Google’s Android OS, Blackberry and Windows Mobile.

Client Services Manager Asheem Parikh, who joins Visual Unity from KIT Digital, will assist customers with effective project deliveries. His extensive experience in programme management and professional services will ensure best practice and a smooth transition for customers who are expanding or adapting to the multiscreen environment.

Commenting on the new appointments, Visual Unity’s CEO Jakub Kabourek says: “Tony and Asheem are valuable additions to our team and their experience extends our unique expertise in linear and multiscreen solutions. They join at an exciting time for Visual Unity, following the successful delivery of a High Definition production OB vehicle to Czech TV and news that the national broadcaster’s online service iVysilani, driven by Visual Unity’s vuMedia™ integrated multiscreen content and delivery platform, has won two industry awards for innovation to power the second screen.”

Visual Unity is now consolidating its position as a multiscreen specialist by launching new and enhanced mobile features for its vuMedia™ platform and extending its Content Delivery Network outside Europe with new pops in the Middle East.

Over the next 12 months Visual Unity will be taking part in a number of trade events including the CABSAT, NAB and IBC exhibitions.

For more information about Visual Unity, its products and its services, please visit www.visualunity.com

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About Visual Unity
Visual Unity is an international Systems Integrator blending broadcast, IT and multiscreen expertise to help clients reach and engage audiences – wherever they are. The team has been designing and delivering turnkey broadcast-IT convergent and multiscreen systems since 1991 – from HD Outside Broadcast vehicles and major playout facilities to automated Direct-to-Web and second screen solutions.

Visual Unity’s award-winning 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 secure, robust content distribution – 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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Jünger Audio Gives US Broadcasters The Tools To ‘CALM’ Audio Loudness

Dynamics specialist Jünger Audio will be attending the NAB 2012 convention (Booth SU3604) with two new additions to its *AP family of loudness control processors. These units are specifically designed to help US broadcasters stay within the parameters of the newly introduced CALM legislation.

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.

Peter Pörs, managing director of Jünger Audio, says: “When it comes to controlling audio loudness and ensuring that broadcast audio stays within the law, our *AP family provides broadcasters with all the tools they need. 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.”

At NAB 2012, Jünger Audio will 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.

The two new additions to the *AP family, which will be on show for the first time in the USA, include 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 be showing a prototype of the V*AP two-channel voice processor, a new addition to the *AP family that will be officially launched at IBC 2012.

The development of this unit has been driven by market demand for a voice processor that allows TV and radio journalists to capture their own narrative style, particularly when operating outside the studio. The V*AP will come with either a microphone (optional dual high end Mic preamps) or AES I/Os so that it can be used with a mixing desk as a high end outboard dynamics processor. Featuring Jünger Audio’s renowned audio quality, this 19” 1RU device will combine classic dynamics processing, filters, EQ and Spectral Signature, Jünger Audio’s new dynamic equalization algorithm. It is designed to be extremely easy to use and will have powerful User Interfaces including front panel operation, GUI selection and API for third party application (HTTP, Ember).
Junger Audio is completing its NAB 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 NAB 2012 – Booth SU3604 – 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. www.junger-audio.com

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Oxygen DCT Presents Seven New Monitors And Award Winning Monitoring Innovations At BVE 2012

Renowned as the UK market leader in LCD monitoring products, Oxygen DCT will showcase a host of new monitors for broadcast and production at BVE 2012, including a new generation of 3D monitoring. The new products and technologies will touch a wide variety of television and digital film from DSLR camera operators to 3D shooting and production galleries for studios and outside broadcast.

Oxygen DCT has become the UK leader in broadcast monitors through its most extensive product range, expertise, objective advice and solutions. These new innovations compliment and expand on the existing product range of own label Evolution Pro Series monitors and those from Penta, Astrodesign and Osee for whom Oxygen DCT is an exclusive distributor. There will be a 5” DSLR monitor, a new 18.5” multipurpose monitor, 17” production monitor, 24” and 47” 10 bit, reference monitors as well as an impressive monitor wall with 3D monitoring.

Whilst the OxyStack monitor wall replicates a typical production gallery capable of monitoring up to 32 signals it raises the standards with grade 1, Penta 24”, 10 bit monitors giving precise colourimetry to REC709 standards, future proofing it for 1080p productions. Furthermore, the PVW preview and PGM programme reference monitors are able to displaying 3D images adding flexibility for use at live 3D events and productions. This OxyStack is available as a turnkey system and can be customised to individual requirements with installation available worldwide, in studios and outside broadcast vehicles.

“As part of our ‘customer choice’ package, we have introduced new 3D monitoring, which allows production crews to operate in 3D mode at a touch of a button,” says Steve Hathaway, Oxygen DCT’s Managing Director. “This is a high advantageous situation not only because of the flexibility but because it also allows the integrity of the gallery to remain in a familiar layout and design, thus negating the need for a special design for viewing 3D signals.”

By contrast Oxygen DCT is showing the MultiStack™, a low cost monitor wall system for temporary and permanent fixed installations. MultiStack™ has been designed as a more budget conscious monitor wall with individual source monitors arranged in rows according to production requirements. Whilst less than 60% lower cost than a 32 signal source Grade 1 monitor stack it has some benefits too as far as resilience is concerned and viewing angle as the 9.7” monitors use IPS LCD technology to give a wider viewing angle, approaching a full 180 degrees.

Hathaway adds: “Monitoring is often a challenge to many broadcast engineers as they try to balance monitor wall design with ergonomics and available budget. Oxygen DCT’s vast range of monitors and multiviewer systems, coupled with our extensive experience in monitor gallery design, enables us to provide our customers with the practical advice they need to achieve the very best results.”

Oxygen DCT’s new 18.5” multipurpose LCD monitors has been introduced as a replacement for popular 17” LCD monitors, which are fast approaching end of production. This new monitor will rack mount and has the benefit of a larger picture area. It inherits all the features of its predecessor such as simultaneous waveform monitor and vector display, audio metering, safe area markers, multiple inputs up to 1080i and audio outputs. The OBSM182 is shipping now and priced at well under £2000. Complimenting this is the 3G OBXM171, a dual display 3G, 1080p capable monitor with full signal monitoring and not just picture display. In addition to the waveform and vector display and audio metering, there’s signal status monitoring for CRC errors, Sync, signal format and more. It also incorporates Oxygen DCTs wrap around FlightDeck™ status display, simultaneously showing picture, audio, meters and signal status data.

For production people, the IBC award winning Evolution P3 7” and 17” monitors will be on display, together with a new 5” monitor range for DSLR cameras such as the popular Canon 5D and 7D.
In contrast, the new 47” Grade One reference monitor – the PDP-47-3G – offers customers such astonishingly life-like picture quality that many users have described it as ‘better than reality and like 3D’. Already in use as a grading monitor with BBC TV and another major post houses, the PDP-47-3G has at its heart 10 bit LCD technology that is driven from 16 bit over-sampled inputs and signal processing. The monitor also conforms to REC709 colourimetry, making its equally suitable as a reference monitor for grading as well as on set replay.

“The colour accuracy of this monitor is simply tremendous,” Hathaway says. “It also addresses the film sector as there are pre-set LUST for Cinespace and users can make their own colour look up tables according to production requirements.”

For further information about Oxygen DCT and its entire product range, please visit stand i60 at BVE 2012 or the company’s website at 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.

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UNITY Mobile Delivers Viewer Engagement & Effective

UNITY Mobile, a provider of cloud-based services, will showcase its innovative solution for mobile website creation, management and mobile video delivery at CABSAT 2012 on Stand S1.C20, 28 February – 1 March 2012, Dubai.

UNITY Mobile is revolutionizing the way that businesses connect to the entire mobile ecosystem, enabling organisations of all sizes to create and manage best-in-class mobile websites, mobile applications, multimedia content, e-commerce, and mobile marketing tools.

At CABSAT, UNITY Mobile will demonstrate how its platform helps broadcasters and content owners to engage and interact with mobile audiences, as well as implement effective, measurable mobile campaigns. Using video transcoding technology, the platform automatically converts and optimizes multimedia for streaming and download – making it easy to manage and monetize content. And thanks to a unique device recognition system, it is able to deliver video content to any device, providing the best mobile viewing experience possible for audiences on the go.

Thomas Wittig, CEO UNITY Mobile says, “Mobile is central to maintaining and attracting new audiences. A recent Nielsen report found that 86% of mobile internet users (and 92% of 13-24 year olds) use their devices simultaneously with TV. A quarter of them say they are browsing content related to what they are watching. That’s a compelling opportunity for broadcasters and content providers to complement the TV viewing experience on the mobile platform, particularly in the Middle East, where both mobile penetration and demand for mobile content are so high.”

UNITY Mobile will be co-exhibiting at the show with Visual Unity, a leading Multiscreen Systems Integrator. Together they will highlight vuMediaTM, Visual Unity’s integrated content management and delivery framework for TV everywhere. vuMediaTM comprises four scalable modules to manage, monetise and deliver multiscreen content and applications. The framework’s mobile component, vuMobileTM, employs UNITY Mobile technology to enable broadcasters (via the cloud, global or local Content Delivery Networks) to easily deploy and seamlessly integrate mobile services into existing broadcast workflows and business services– with minimum investment and minimum operational disruption.

Visit the UNITY Mobile in Dubai for a demo of their mobile platform, including tools for interactive mobile marketing and to learn how Visual Unity’s vuMediaTM framework, powered by UNITY Mobile, enables broadcasters to harness the enormous potential of mobile audiences.

About UNITY Mobile
UNITY is a provider of a cloud-based services platform that enables organizations to easily leverage Internet strategies and operations directly in the mobile channel. UNITY’s innovative publishing, management and marketing platform enables brands and advertisers to rapidly build on core digital media investments and processes and seamlessly access new mobile audiences.

Headquarters / EU Office: Na hrebenech II 1718/8, Praha 4 14700, Czech Republic
T: +420.226.003.400

US Office: 5401 W. Kennedy Blvd,Suite 1060 Tampa, FL 33609 T: +1.888.519.8561

Statement
Except for historical information, this news release may contain certain ‘forward-looking statements’. Forward-looking statements are statements that are not historical facts and are subject to a variety of risks, uncertainties and other factors that may cause the actual results, level of activity and performance to be materially different from the Company’s expectations and projections.

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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