A virtual press conference from Sound & Video Contractor

Archive by Sue Sillitoe

German Broadcasters Turn To Jünger Audio’s LEVEL MAGIC™ Algorithm For EBU R128-Compliant Loudness Processing

The recent announcement by the EBU that German public and commercial TV broadcasters are harmonizing on the R128 Loudness recommendation for their audio levels has come as no surprise to dynamics processing manufacturer Jünger Audio, which already supplies EBU R128-compliant loudness processing equipment to all of the major players in the German market. more

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Visual Unity Introduces Middle East Broadcasters To Its Award-Winning vuMedia™ Multiscreen Platform

Leading Broadcast and Multiscreen System Integrator Visual Unity will use CABSAT 2012 (Stand S2.C20) to highlight its integrated content and delivery framework that allows broadcasters to effectively deliver and monetise content in the multiscreen environment.

With more than 20 years’ experience of Broadcast and Multiscreen System Integration including the design and delivery of turnkey TV systems, broadcast-IT convergent and multiscreen solutions for global brands, Visual Unity helps broadcasters bridge the gap between traditional broadcast and new media systems, enabling them to integrate web and mobile delivery into existing workflows and improve operational performance.

Visual Unity’s President Tomas Petru says: “The Middle East presents a unique set of challenges for the delivery and consumption of multiscreen content. Audiences are culturally diverse, with a large international migrant population and young tech-savvy demographic; this mix is reflected in the demand for a wide range of content, particularly across mobile devices.”

Petru adds that whilst advanced “last-mile” services are well established at a local level across the Middle East, “multiscreen” content is for the most part distributed through bottlenecks (often hosted in the USA) that severely restrict the user experience. This has left regional broadcasters in an untenable position, with poor delivery hindering opportunities for revenue generation.

He explains: “Broadcasters need to adapt their business models and culture to meet the demands of the emerging social viewer by engaging and interacting with audiences and delivering real value in real time – whether the viewer is mobile or at home in front of the TV set. Visual Unity is well placed to help them become more agile and competitive, thanks to our proven experience in broadcast integration and vuMediaTM, our award-winning integrated content management and delivery platform.”

At CABSAT, Visual Unity will demonstrate how vuMediaTM helps manage, automate and monitor multiscreen delivery. Through four highly robust and scalable modules, it delivers a cutting-edge web-based and mobile viewing experience, comprehensive VOD services and secure distribution – all of which can be seamlessly deployed into existing workflows:
• vuChannelTM for web-based and mobile viewing, fully integrated into the station backend;
• vuDemandTM for comprehensive VOD services, including billing & reporting;
• vuMobileTM for mobile content and applications;
• vuNetTM providing secure content control over distribution and user-experience management.

“We are excited to showcase the full capabilities of the vuMedia™ platform, particularly the vuMobile™ module, which provides mobile-optimised content and enhanced video, with application and interactive marketing tools, to effectively engage mobile audiences,” says Visual Unity’s CEO Jakub Kabourek.

Especially relevant to Middle East broadcasters is vuNetTM, which provides a robust and secure infrastructure to effectively ingest, manage, monetise and distribute assets. vuNet™ connects seamlessly with global CDNs and cloud-based services. However, in regions such as the Middle East where cloud access is unavailable, expensive or may be unfavourable to the content owner, clients can benefit from Visual Unity’s own Content Delivery Network (CDN), with a current installed capacity of more than 100 GBps and almost 400 TB storage space. Capable of supporting tens of thousands of concurrent users, the CDN provides coverage across Europe and Central Europe, including Germany, Hungary, Slovakia and Romania and Visual Unity has recently established pops in Dubai, Bahrain and Saudi Arabia.

Kabourek concludes: “With pops now across the Middle East, Visual Unity’s CDN is effectively supporting the development of more regionally executed services, delivering a much-improved user experience and securing the future of multiscreen broadcasting in the region.”

Visual Unity will be showcasing its leading integration capabilities and demonstrating the vuMediaTM platform at CABSAT 2012, 28-February- 1 March, Sheikh Saeed Hall 1, Stand S1.C20. For further information visit www.visualunity.com

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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.

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Oxygen DCT Introduces New Concept In Mobile Tapeless Workflow for TV and Film Acquisition and Editing

Oxygen DCT has launched a new concept in mobile production for field and on set recording for television and film productions. Featuring Cinedeck recorders and Final Cut Pro editing, the custom-built Land Rover Discovery is designed for a one or two-person team who can record and edit material instantly on set or on a mountain road.

This new approach is a result of a close collaboration with Broadcast Networks, who are acclaimed for the design and build of quality broadcast and media systems for UK international broadcasters and media organisations including recent work for a new 3D production OB vehicle for Norway’s OB-Team.

This latest collaboration came about as a direct response to market demand for fast turnaround, high quality and durable live productions that can be rapidly deployed with minimal set up and crew. This new approach allows crews to drive into a studio or location connect their cameras up and record without the rigmarole of unloading numerous flight cases and cabling up a plethora of equipment. This ‘ready-to-go’ approach saves time, reduces cost and dramatically improves reliability as everything is set up in the Discovery.

The backbone of this mobile production facility is Cinedeck RX dual channel recorders that can record and instantly playback up to 4 camera chains. This unique application of tapeless workflow means that the recorded material is immediately ready to edit on the Final Cut Pro edit system in the vehicle. Director of Production and Producers can immediately see either a final edit or a working production edit allowing them have more creative input to the finished production.

This collaborative network-editing environment means that material can be ingested stored and edited on the fly. It allows a number of cameras to be linked to Cinedeck RX recording systems that captures their output without the need for a large production team. The live ingest system also enables a single operator to monitor multiple cameras and even create a simple ‘cut edit’ list whilst the camera feeds are being recorded, effectively reducing overall editing time. Once the production content is recorded, the data is transferred onto the main post production server for final editing. As the Cinedeck recorders record edit ready material in a variety of Apple ProRes formats, the whole production process is quick to set up and easy to operate, thus also reducing training and operational costs.

Oxygen DCTs is renowned for its customer focussed, practical innovations and the Land Rover Discovery 4 is an opportunity to use one of the most versatile and durable four-wheel drive vehicles on the market. Inside the vehicle is a central working area that can be utilised by a one or two-person production team. The rear interior has been stripped and fitted with a sliding custom-built rack (for ease of use and servicing) and features a 5KVA 240V generator.

The vehicle was designed and built by Broadcast Networks and Tom Haye, Managing Director says: “With a smaller equipment footprint and reduced power requirements, our vehicle platform is ideal for any media company involved in the rapid generation, editing and content delivery for TV and Film production companies. It is also well suited to content providers in emerging markets where there is minimal broadcast infrastructure, but where efficient fuel consumption and reliability in extreme terrains is essential.”

Steve Hathaway, Managing Director of Oxygen DCT adds “Before Cinedeck’s tapeless workflow, VTR decks would have been required for recording productions and the space required for this alone would have precluded the possibility of such a system in a relatively small vehicle. What’s more, the efficiency of operation and operating costs are scaled back considerably by using Cinedeck’s ready-to-edit tapeless workflow and this is well proven and extremely attractive proposition for TV and Film Directors, Producers and Production companies.”

Oxygen DCT has in place an agreed worldwide support deal with Land Rover to offer full vehicle warranty for DSNG and Live Production vehicles. With a complete full-cycle offering, from design and build to servicing the modified vehicle itself, this mobile production unit is an even more attractive proposition and can easily be shipped or air freighted to any location around the world and reduces the business risks of deployment and operational stress.

For more information please contact 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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Prism Sound Launches SADiE 6 Dongles and New Software Version

Prism Sound is delighted to announce the release of the latest version of its SADiE 6 software. In addition to various enhancements, SADiE users can now use their SADiE 6 editing software on any computer, anywhere in the world, thanks to the dongle-based security that gives users the ultimate in flexibility. SADiE 6.0.2 supports dongle operations, and the dongles themselves are now shipping.

Full details of the enhancements and the benefits they brig are available on the SADiE website – www.sadie.com – and are also included with each installation.

“The new release software adds a number of advantages, particularly to editors with new functions in the trim editor that speed up workflow by allowing adjacent clips selection and pairing of clips,” says Prism Sound and SADiE’s Broadcast Consultant Pete Nash. “Stability with certain Windows issues have now been resolved and the dongle support is particularly useful to customers who are using SADiE 6 for location recording, or in organisations where the software is more likely to move from computer to computer.”

Dongles are now shipping and customers who would like one should contact SADiE so that they can be helped with their installation.

The launch of SADiE 6 software marks another step in the evolution of the high-quality audio recording and production system in the computer environment, allowing a choice between proprietary audio I/O and DSP processing, or standard soundcard I/O and DSP functions running on the host computer.

The new version of SADiE 6 is available for download from the company’s website.

2011 has been a busy year for SADiE, and many interesting developments including the rolling out of the SADiE 6 to the BBC in Manchester. The company has also launched an accreditation scheme for training establishments to ensure that future broadcast engineers receive the very best training in this ground breaking craft editing technology.

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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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From Sitcoms To Zombies, Cinedeck Extreme Delivers Great Rental Results For Filmscape

The Award-winning Cinedeck Extreme cinema grade monitoring, recording and playback device is delivering great results for digital facilities company Filmscape, which recently supplied units to a variety of clients including a major feature film production and a pilot for a new television sitcom.

Established in 2005 by two independent filmmakers, West London-based Filmscape is passionate about the latest digital technology. As one of the major UK suppliers of film and television equipment, Filmscape’s customers include most of the UK’s top TV networks, production companies and indie producers, as well as major universities and UK film schools.

Anthony Holt, Filmscape’s Operations Director, says: “We are passionate about the latest digital technology and continually invest in new equipment. We have always been at the forefront of 35mm replacement cameras, pioneering the Red One in this country and growing today to include RED Epics, Arri Alexas and Sony F3s and a huge stock of 35mm lenses. Stocking a unit such as the Cinedeck Extreme makes perfect sense because it complements our camera range and we can see plenty of rental opportunities for it.”

Supplied through Oxygen DCT, Cinedeck EXTREME is an ultra-portable, affordable, camera-mountable, high-grade DDR that is revolutionising digital cinematography and TV production by enabling a digital video tapeless workflow that drastically reduces production time and associated costs. This single, compact unit, which has already won numerous awards and accolades since making its first public appearance at NAB 2010, negates the need for a separate time-code generator, monitor and field recorder, thus reducing location set-up time and simplifying video acquisition. Furthermore, the device has three internal codecs that allow users to make recordings in the edit format of their choice, which improves workflow by removing the need for the often fraught process of file ingest and format translation.

Filmscape now has two Cinedeck Extreme units available for rental and Holt says they are becoming increasingly popular with customers.

“When we were first shown the Cinedeck we were massively impressed with its size and recording quality, combined with its price,” he explains. “Equivalent decks were previously ten times the price and, as a playback unit, it was much better than anything else on the market. It was increasingly frustrating in an age of cameras that only output HD signals that the only playback unit ever requested or known about was the DV Clamshell from Sony. In our opinion this has a terrible low resolution image, records to DV tape that we don’t stock and requires a down converted signal before going into it as it can only take standard definition. This leads to bulky cable setups, an outdated workflow and frustrated calls from clients.”

After being introduced to the Cinedeck by Oxygen DCT, Filmscape realised that the unit had the potential to serve multiple purposes. It could increase the quality of recording on smaller cameras such as the EX3, record an equal quality backup of the footage being recorded on higher end cameras such as the Alexa and replace outdated playback systems.

“As the Cinedeck takes HD signals, has a high resolution display and comes equipped with a variety of staple modern recording formats, it fits perfectly with our current stock. With future upgrades available there’s no end to what it can potentially record.”

Customers who have recognised the potential of Cinedeck include Objective Productions, which used it to film a new sitcom pilot, and The Tea Shop and Film Company, a new production company established by James Harris and Mark Lane, which used Cinedeck on its first feature film Cockneys Vs Zombies.

Holt says that in both cases the production companies didn’t specifically request Cinedeck but were steered towards it because they needed an HD playback unit that was easy to use.

“The unit fitted perfectly with their existing monitor and camera setups and it got fantastic feedback from both crews,” Holt says. “Generally the feedback was excellent. It’s small, solid and incredibly versatile. On one of these productions it was handed to the continuity supervisor to manage and was found to be very reliable and simple to use as a playback unit.”

The success of Cinedeck Extreme has now prompted Cinedeck LLC to release Cinedeck RX, a rack mountable, multi-format version of the Extreme that offers multi-channel HD-SDI recording, monitoring and playback. This unit is designed to meet the challenging requirements of the mobile broadcaster and is ideal for production facilities and OB productions.

For further information about Cinedeck Extreme or Cinedeck RX, please visit Oxygen DCT’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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Bournemouth University Gains SADiE Accreditation Status

Bournemouth University has been named as the first UK Accredited SADiE Training Establishment as part of a new scheme launched by SADiE to improve training for students using its editing equipment.

The university, which was also the first in the UK to take delivery of the new SADiE 6 software, achieved its accreditation through the quality of its teaching.

Pete Nash, Prism Sound and SADiE’s Broadcast Consultant who is in charge of the Accreditation process, says: “We established the accreditation scheme to give recognition to those training facilities that are offering exemplary lecturing standards in terms of technical and creative awareness of SADiE as a high end editing process.

“As the craft editor of choice for many international broadcasters, including the BBC, it is important that students entering the job market have the necessary skills to work with this industry-established tool. By having SADiE Accreditation, Bournemouth University students can prove to future employers that they have been trained to a very high standard and thoroughly understand the SADiE editing equipment they are likely to encounter in the real world.”

Jo Tyler, who lectures in Radio Production at Bournemouth University, says: “Today’s students need every advantage they can get if they are to compete in what is a very difficult employment environment. As an Accredited SADiE Training Establishment, we offer our students the option of undertaking a set of exercises and tests to become accredited SADiE operators. This enables them to walk into any broadcast establishment anywhere in the world and say ‘I am an accredited SADiE operator. I come to you on a plate because I am already trained’. In real terms this will be a major advantage in the job market.”

Earlier this year Bournemouth University launched a BA in Radio Production, which runs alongside its existing MA and Foundation degree top-up BA. Thanks to its investment in SADiE 6 software, the university can now offer students on both its MA and BA courses access to SADiE technology because the software runs on existing computers and laptops.

Pete Nash adds: “As well as working with universities to improve training standards, we are also in discussion with key broadcasters to get our accreditation recognised by those responsible for employing production and editing staff.”

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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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Producer Alex Silva Chooses Prism Sound Conversion For Herbert Gronemeyer’s Live DVD Mix

EMI Music Germany is about to release Live In Leipzig, a DVD that captures the performance of legendary German pop star Herbert Gronemeyer during his recent Schiffverkehr tour.

This major project, which was filmed in one evening, encompasses Gronemeyer’s ‘warts and all’ approach to live DVDs by allowing the viewer to see and hear the concert as it really was.

“What is on the DVD is 100% pure,” says producer Alex Silva who was responsible for mixing the audio. “As nothing was going to be repaired or fixed in the mix, everyone had to bring their A-game to the concert, which certainly made for an adrenaline filled evening behind the scenes. Of course there were problems – with a live event a lot can go wrong and technically things often do. For this project we had to contend with heavy rainfall on the crowd microphones (and there was a lot of rain) to interference on the 128 radio mics – not to mention things that were best left in the bar after the gig!”

Originally from Cardiff, Alex Silva has been part of Gronemeyer’s production team for nearly 15 years. He began his career in record production under the direction of former Eurythmics artist and producer Dave Stewart and has subsequently worked with many international artists including Texas, Mick Jagger, Daryll Hall, Manic Street Preachers, Suede and Jon Bon Jovi.

For the Live in Leipzig project, Silva and Gronemeyer chose to mix at Hansa Studios in Germany, in conjunction with Michael Ilbert. Integral to the sound of the mix was Prism Sound conversion. Silva used a Prism Sound ADA-8XR multichannel AD/DA converter with a Pro Tools digital interface option as a replacement for 192 and 96 IOs that come as standard on a Pro Tools system.

“We chose Prism Sound conversion for its sound quality and also for its versatility.” Silva explains. “We used the unit as our converter while transferring the multitrack audio from one Pro Tools system to another to create the 5.1 mix. We also used it for the analogue fold-down for the stereo mix. The converter did everything I had hoped for and I was very happy with the results.”

As with any live recording, preparation is key to its success and this project was no exception.

“My production technique in this situation really happens in the rehearsal process,” Alex Silva says. “Technically there was a lot of preparation for these shows and artistically the songs had to be re-worked to suit a stadium environment. Basically, I push things as far as possible without tiring everyone’s patience.”

After 14 years of collaboration, Silva and Gronemeyer have developed a close relationship that enables them to know how the other will react and think during the recording and mixing process.

“We have our own studio, which is based around an API board and a Pro Tools system, plus we also have a lot of vintage mic pre’s and outboard equipment such as Helios, D. W Fern and ADL, and a great collection of microphones including Altec, RCA, Telefunken and Coles,” Silva says. “Part of my work is to challenge the artist creatively and this is something that Herbert excels at. He has a gift for letting go and allowing his songs to evolve without fear. It is very liberating for a producer to feel trusted and be allowed to explore a song’s potential. Herbert has an amazing gut feeling for things and I know I can reply on his opinion. For me, that is the mark of a truly great artist.”

Herbert Gronemeyer’s Live In Leipzig DVD was filmed by Austrian production company Just 24/7 and will be released through EMI Germany this month.

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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 company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

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Visual Unity Helps Czech TV Move In To Full HD Outside Broadcast Production

Leading systems integrator and multiscreen platform provider Visual Unity has enabled Czech TV to enhance its production capabilities by delivering the broadcaster’s fully High Definition-equipped Outside Broadcast vehicle
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Designed to capture mainly sporting and cultural events, the new vehicle is based on a 26 ton MAN chassis with a single expanding side. At 12 meters long and nearly four meters high, it is the second completely HD equipped vehicle in Czech TV’s fleet and provides the entire technical infrastructure needed to deliver Outside Broadcast content in full HD.

Visual Unity was commissioned to handle this prestigious project on the basis of its extensive experience of designing, delivering and integrating turnkey TV systems, broadcast-IT convergent and multiscreen solutions. Borne out of respected international SI Visual Connection (latterly KIT digital Czech), Visual Unity offers an in depth understanding of the complexities of the broadcast chain coupled with extensive in-house software expertise.

Jakub Kabourek, CEO of Visual Unity, says: “As the Czech Republic’s state broadcaster, Czech TV is committed to delivering a premium viewing experience for its audience and constantly strives to deploy the latest technology to optimize its operations. This philosophy was the driving force behind its decision to invest in a new vehicle that could deliver High Definition content from major outside broadcast events.”

Visual Unity’s brief was to ensure that the new vehicle was compatible with Czech TV’s existing systems and interfaces, while also providing the high standard and effective design needed to tackle demanding video and audio productions. As one of the region’s most respected and successful broadcasters, Visual Unity was conscious of the importance Czech TV placed on this project and was fully committed to delivering a state-of-the-art solution that fulfilled all of the design criteria.

Jiri Jires, Head of Czech TV’s Outside Broadcast department, says: “Our main aim was to build a truck that could easily be used for the daily production of material from smaller sports venues and theatres, and from places within cities where we can’t use larger trailers. We intend to gradually expand and upgrade our OB fleet and we believe that our next truck will follow the design of this latest vehicle. I was very impressed with the way in which Visual Unity incorporated all our special requirements into this project.”

Under the direction of project leader Tomas Vesely, the new vehicle was coachbuilt in the UK by Spectra Engineering and engineered together with Megahertz. Once this part of the project was completed, the truck was driven to Visual Unity so that the engineering team could finish the custom installation. In total the project took just 10 months to complete.

Tomas Vesely says: “The most demanding stage of the project was the initial layout design, which we worked on very closely with the customer. We needed to install a lot of equipment, while at the same time provide an efficient, ergonomic operational space for the crew, including a comfortable 5.1 surround sound suite for audio mixing. Achieving this required some thought, given the fixed size of the 12 meter chassis. Another issue we had to resolve was incorporating several different heating systems, which are needed because Czech TV plans to use the truck extensively for winter sports events. The final systems integration challenge was integrating LSB’s VSM control system, which is used to control the majority of the systems on board the truck.”

The vehicle is equipped with eight cameras – six LDK 8000 Elite series HD cameras (all Triax based), plus one radio camera and one SuperMotion camera. It also has two EVS XT-3 servers, IP Director, XF2 storage with removable drives for data exchange with post production facilities, a Snell Kahuna 3ME vision mixer, a Miranda NVISION NV8280 matrix router, an LSB VSM control system, a Studer Vista 8 audio console, Genelec and Fostex audio monitoring, Dolby E encoders-decoders, Clear-Com Eclipse intercom and Harris G5 graphics.

Czech TV took delivery of its new OB truck in October and has already put it through its paces. Its first successful live production was the Euro Floorball Tour 2011, which took place in Bmo, Czech Republic, at the beginning of November.

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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

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Oxygen DCT Launches a Website For Cinedeck Hire & Rental


Following continued market demand Oxygen DCT has launched a new website that helps production companies, film makers, facilities and broadcasters to gain access to Cinedeck production equipment.

Cinedeck film and TV production recorders are dramatically changing the production scene and leading the way to full tapeless production for film and television projects around the world.

Steve Hathaway, Managing Director of Oxygen DCT which distributes Cinedeck in UK and parts of mainland Europe, says: “The cost savings over more traditional production kit are enormous, especially for drama, series and film work but it is the tapeless work flow and instantaneous editing that really score with post houses, allowing faster turnaround. Directors, producers and crews all over Europe are realising the benefits of Cinedeck and there is an enormous and growing demand for hire and rental.”

Oxygen DCT delivered the first Cinedeck systems to European customers in July 2010 and has seen a dramatic acceleration in take up this year. It expects this demand to accelerate particularly in 2012 when many international broadcasters will have a UK base to cover the Olympic summer games. The company holds stock of both the EX and RX models to support its customers and, as a high service orientated organisation, is addressing hire demand by creating a forum for hire companies and production companies with the Cinedeck hire and rental website, www.cinedeckhire.com or www.cinedeckrental.com.

Whether users are looking to hire, rent, buy or just to advice on CineDeck EX and RX models, www.cinedeckhire.com is their first port of call. It puts production users in control, enabling them to competitively source exactly what they need, when they need it. The website also acts as a central portal for information where by users can easily find out about production stories, how to get the best out of their systems, interfacing to various types of cameras, technical information and even software updates.

Oxygen DCT is encouraging all of its Cinedeck clients to list themselves on the new site so they can maximise their investment in this technology by making their kit available for hire/rental.

“Any rental company in Europe that owns a Cinedeck should be on this site, so that production companies can find them and rent from them when they are working in their country,” Hathaway adds. “Getting on board is easy – all the rental company has to do is complete a short form online and we’ll do the rest.”

One company that has already taken advantage of the new site is Bestlight, whose director Steve Eveleigh says: “This is a great idea and a marvellous addition to the support you usually get from Oxygen DCT. Making it easier for film makers to hire Cinedeck will also help spread the word about these products and how good they are. It gives them the opportunity to try before they buy.”

The site also includes a section with new and used equipment for sale and Oxygen DCT will continue to develop the site over coming months with additional features such as ‘Pimp My Cinedeck’, a one-stop shop where Cinedeck owners and rental customers can access add-ons such as batteries, SSD drives, hoods and other production equipment.

For more information about the Cinedeck range or to organise a demo, please contact Oxygen DCT either direct or via the new Cinedeck website.

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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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Red TX Brings Stunning Broadcast Audio Quality To Coldplay’s Madrid Album Launch

Broadcast sound specialist Red TX has once again helped a mega band reach out to its fans around the world by capturing the broadcast audio for Coldplay’s recent album launch at the Plaza de Toros Stadium in Madrid.

17,000 fans in the stadium were joined by 44 million other fans around the world to watch the spectacular show on You Tube. Coldplay’s set included hits such as Yellow, God Put A Smile Upon Your Face, Fix You, Clocks and Viva La Vida as well as the singles Paradise and Every Teardrop Is A Waterfall from their new album Mylo Xyloto.

The concert was mixed on board Red TX’s new truck, Red II, by renowned live sound engineer and Red TX director Tim Summerhayes. He provided a live stereo audio feed to the Visions mobile, which was capturing the video in High Definition and providing onward broadcast to You Tube.

Summerhayes also recorded the concert in 5.1 surround sound for subsequent DVD release.

Commenting on the project Tim Summerhayes says: “It was a challenge because we had very limited rehearsal time, but we worked closely with Coldplay’s production team of Dan Green and Rick Simpson and between us we kept everyone smiling.”

Red TX was commissioned to handle the broadcast audio for the Amex sponsored concert by Live Nation.

Mylo Xyloto is Coldplay’s fifth studio album and it was released worldwide on October 24th by EMI. The album has subsequently charted at No. 1 in 17 countries and sold more than 200,000 units in the UK alone in its first week.

-ends-

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

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