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Clear-Com’s HelixNet Partyline Now Shipping At InfoComm 2012

World’s First Networked Partyline Intercom System Delivers Greater Efficiency, More Flexibility and Cost-Savings Through a Revolutionary Platform Design

LAS VEGAS, JUNE 11, 2012 ─ Clear-Com®, a global leader in critical voice communication systems, is pleased to announce at InfoComm 2012 (Booth C10345) that its HelixNet™ Partyline intercom system is available and shipping. HelixNet Partyline, the industry’s first networked partyline intercom system, features a unique set of capabilities for achieving greater efficiency, cost-savings and flexibility from setup to operation and maintenance. The initial release of HelixNet Partyline consists of the HMS-4X main station, HBP-2X HelixNet beltpack, HLI-2W2 two-wire interface module and the HLI-4W2 four-wire interface module.

HelixNet Partyline is the first set of products to combine a revolutionary platform with the superb audio clarity of the digitized Clear-Com sound, central administration of the entire system (firmware upgrades and maintenance) from the main station with a single cable and flexible cable options—with the ability to leverage one’s existing cable infrastructure.

“For more than 40 years, the pro audio community has been using the common, three-pin XLR microphone cable to carry audio for analog partyline systems,” says Chris Barry, Product Manager at Clear-Com. “In order to preserve our customers’ investments in intercom systems and cabling infrastructure, we specifically designed the HelixNet Partyline to transmit four channels of digital-quality audio, plus program and power for beltpacks, over a single, shielded twisted-pair cable (ex. microphone cable, CAT5 or CAT6 cable). This capability alone is unprecedented in the history of intercom technology.”

Furthermore, the HelixNet Partyline system offers many unique features to create much higher audio quality, increase efficiency during setup and maintenance processes, and simplify operations.

HMS-4X HelixNet Main Station and Interface Module

High channel density and high user capacity. The sleek 1RU HMS-4X HelixNet main station fits into any standard 19-inch rack and provides power, four channels of audio and program audio over a single twisted-pair cable

No hum. No buzz. Unlike unbalanced analog intercom systems, the all-digital HelixNet system is immune to electro-magnetic interference and ground loops.

Highly flexible, with intuitive user operations. System settings and menus are quickly accessible. Firmware maintenance and upgrades can be achieved easily via USB ports.

Greater connectivity with existing analog intercom systems and audio devices. Three expansion bays in the main station accept optional HLI-2W2 two-wire and HLI-4W2 four-wire interface modules, providing seamless connectivity with existing analog intercom systems and audio devices.

HBP-2X HelixNet Beltpack

High channel density and selectable channels. The rugged, ergonomically-designed HBP-2X HelixNet two-channel beltpack offers access to two of any four intercom channels plus program audio, each with individual level control. Networked audio is distributed over a single, shielded-twisted pair, keeping the number of cables required low.

Easy to operate. Optimally positioned buttons and volume controls are easy to identify and navigate. The high-contrast, 10-character OLED display provides users specific, logical channel labels. Cabling simplicity allows operation on a wide variety of cables with the ability to configure the beltpacks in daisy-chain or star configurations, with no need for active split-boxes.

Highly durable and flexible. HelixNet beltpacks are highly durable and fabricated from lightweight cast aluminum. A sturdy beltclip, rubber bumpons and an integrated strap guide offer a variety of practical mounting options.

About Clear-Com®
Clear-Com, an HME company, is a global provider in professional voice communications systems since 1968. We develop and market proven intercom technologies such as Analog & Digital Partyline, Digital Matrix, Wireless and Intercom-over-IP systems for critical communication applications in broadcast, performance venues, military, government and enterprise markets. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communications solutions. For more information, please visit www.clearcom.com.

About HME
HM Electronics, Inc. is a diverse group of companies providing solutions that enhance productivity and customer service in markets including restaurants, sports and professional audio. Founded in 1971, we sell, service and support products in 89 countries worldwide, via company-owned offices in the U.S., Canada, Europe, and China, and an extensive network of HME-authorized distributors, dealers and service agents. Every day quick service restaurants take over 24 million orders using HME systems. With the recent acquisition of Clear-Com, HME is the world’s leading provider of professional intercom systems. To learn more, visit www.hme.com.

Studio Technologies Introduces Live-Link Jr. Remote Camera Interface System at InfoComm 2012

Unit Carries on Established Live-Link Tradition

LAS VEGAS, JUNE 11, 2012 – Studio Technologies, the manufacturer of tailored, high-performance video, audio and fiber-optic products for the professional audio, installation and broadcast markets, is pleased to introduce the new Live-Link™ Jr. Remote Camera Interface System at InfoComm 2012 (Booth C5950). Carrying on the successful tradition set by the original Live-Link system, Live-Link Jr. offers a generous feature set, coupled with excellent audio quality and a compact form factor optimized for the capture of events, concerts, corporate meetings, ENG and uplink vehicle applications. Providing everything needed for a single-camera live shoot, Live-Link Jr. delivers performance flexibility, ease of use and support for high-quality program, along with broadcast-standard talent cue (IFB) and intercom audio.

“The Live-Link Jr. Remote Camera Interface System was developed to efficiently support single-camera remote production situations and is especially suited for feeding content to the multiple media outlets now associated with live events, meetings, concerts and the like,” says Gordon Kapes, president of Studio Technologies. “We are constantly out in the field talking to professionals about what equipment and features they would like to have to complete a project. Live-Link Jr. was developed from these conversations and we believe the commercial integration and AV industries will respond positively, as the system solves an abundance of very real production and system deployment problems.”

Live-Link Jr. is the quintessential video, audio, communications and control data-link between a camera operator in the field and a production vehicle or fixed installation. The system transports one SDI video signal in each direction: camera end-to-truck end and truck end-to-camera end, supporting SD-, HD- and 3G-SDI data signals. All Live-Link Jr. audio and support signals are transported between camera end and truck end units as embedded SDI data. Linked using just two single-mode optical fibers, Live-Link Jr. delivers excellent operational performance regardless of the distance between the camera end and truck end units — whether hundreds of feet or miles apart. The camera end unit allows for remote powering using hybrid fiber/copper cable, 12 volt DC or Anton/Bauer® or “V-Mount” batteries. The truck/studio end unit offers both AC and DC powering capabilities, with fail-safe operation from the DC input, should the AC mains fail.

The camera end unit offers two mic/line inputs that are compatible with microphone or line-level signals. Related features include adjustable input sensitivity, phantom power and level metering. Each input stage can be independently set for compatibility with line-level signals (0 dB gain) or mic signals (gain of 15, 30 or 45 dB). Two balanced line-level outputs are provided on the truck end unit’s back panel and are associated with the camera end unit’s mic/line inputs. Two additional balanced line-level outputs are also located on the truck end unit’s back panel to provide de-embedded analog signals associated with group 1, channels 1 and 2 of the transported SDI signal. These “convenience” outputs allow audio embedded, for example, by a camera connected to the camera end unit to be accessible without the need for an external de-embedder unit at the truck/studio end.

A major strength of Live-Link Jr. is its integrated 2-channel intercom system, which tames the typical hassles and limitations associated with field intercom system implementation. A 2-channel party-line intercom interface is provided on both the camera end and truck end units, allowing beltpacks to be directly connected and powered. A fully functional camera end-to-truck end comms system can be up and running in just minutes. Additionally, a 4-wire input and output allows direct interconnection with matrix intercom systems. Two line-level audio signals can also be transported from the truck end to the camera end via fiber connection, allowing for IFB communications. The balanced line/IFB inputs are located on the back panel of the truck end unit and allow the connection of a variety of analog audio signals, including talent cueing. However, unlike traditional IFB systems, the audio quality can support transporting on-air signals. For flexibility, both line-level and “wet” IFB (power and audio) outputs are provided on the camera end unit.

“Live-Link Jr. provides crystal-clear audio quality throughout the system, conforms to all relevant SMPTE® standards, successfully integrates party-line and 4-wire intercom support and uses industry-standard optical, video and audio connectors,” adds Kapes. “It also allows a serial data port and a contact closure to be transported in each direction. The RS-422 data path and GPI (general purpose input)/GPO (general purpose output) resources make implementing remote camera control, including tally, a simple task. In short, Live-Link Jr. is a high-quality, versatile problem solver that can be deployed quickly and efficiently and operates flawlessly.”

About Studio Technologies, Inc.
Studio Technologies, Inc. provides tailored, high-performance video, audio and fiber optic products for the professional audio and broadcast markets. The company was founded in 1978 with a commitment to design and manufacture dependable, individualized solutions for broadcast studio, stadium and corporate environments. Known for “designing for the way professionals work,” the company is recognized as an industry leader that has never wavered from its individualized design pledge. Product categories include fiber-optic transport, broadcast support, mobile broadcast, intercom and IFB, announcer consoles, loudspeaker monitor control systems, distribution amplifiers, cable testers and sound pressure level monitor systems. For more information, please visit the Studio Technologies website at www.studio-tech.com or call +1 847-676-9177.

DPA Microphones Appoints Eric Mayer as President of U.S. Operations

DENVER, CO, JUNE 7, 2012 – To strengthen its market position further in the Americas, DPA Microphones (InfoComm 2012 Booth C9850) has chosen Eric Mayer to serve as president of the company’s U.S. operations. A fixture in the pro audio industry for more than two decades, Mayer will utilize his expertise in the market to help the company continue its growth stateside.

Eric Mayer, President of U.S. Operations for DPA Microphones

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Bexel Expertise Forges Growing Relationship with the NHL

BURBANK, CA, JUNE 7, 2012—From the All-Star Game to the Stanley Cup finals, Bexel, a unit of the Vitec Group’s Services Division, and a leading worldwide provider of broadcast services, has been building a successful partnership with the National Hockey League (NHL). Throughout the season, the league has increasingly involved Bexel in the planning of its broadcast productions, enabling the NHL to take full advantage of Bexel’s wide spectrum of offerings, including broadcast-infrastructure streamlining, frequency coordination, engineering expertise and state-of-the-art broadcast equipment rentals.

“NHL initially asked us for help with an issue they were having with their RF and fiber infrastructure, and this led to working on a series of projects for them,” says John Mills, business development manager, Bexel. “Throughout the past year, each of these projects has demonstrated the extent of our capabilities, further building the NHL’s trust in our solutions. With every new project, we get more involved from a planning and logistical perspective, ultimately accomplishing the task at hand with great success.”

The major project that helped cement the relationship between Bexel and the NHL was the 2012 NHL All-Star Game, which took place at Ottawa’s Scotiabank Place earlier this year. Bexel’s team of engineering experts coordinated the production’s complex wireless operations and helped to establish a fiber system that added great efficiency to the large, star-studded event for broadcasters, including the NHL Network, NBC, CBC and RDS. “At this year’s NHL All-Star Game, Bexel was charged with improving workflows,” says Justin Paulk, broadcast fiber solutions manager, Bexel. “To do so, we worked with the NHL to support all of the rights holders with cable assignments for the 46 camera locations throughout the facility. From managing the internal broadcast infrastructure, including fiber optic cables and audio/video cables, to getting each of the rights holders’ requirements, Bexel worked closely with the NHL and their clients ensuring that the appropriate signals were distributed throughout the arena. The key to our success was the pre-planning and on site project management that went into it.”

To help establish faster, more lightweight connectivity between the NHL Network truck outside and the set indoors, Bexel created its Fiber Booth Kit solution for the event. “Instead of having to run many copper cables, the fiber rack allowed us to run just two cables,” adds Paulk. “The distance between the set and the truck was exceptionally long, so by utilizing our fiber rack system, it allowed for easy configuration and resulted in a more streamlined setup and strike.”

Prior to the game, Bexel engineers performed on-site copper and fiber cable testing and certification at Scotiabank Place. Walk-throughs were also held with each rights holder prior to game day to ensure all wireless technologies—including player and referee microphones, goal cams, in-ear monitors and wireless radios—wouldn’t interfere with one another. “This year being our second NHL All-Star Game, we had a lot more in place in terms of process and how we handle the media and their RF spectrum needs,” says Jim Dugan, RF engineer, Bexel. “From the way we interact with the media to the pre-event coordination efforts that we’ve established, our custom frequency coordination package is designed to provide the overall media an interference-free experience. It’s a very big event, especially considering the media coverage, as well as the number of fans participating in interactive event experiences.”

As a full-service solutions provider, Bexel’s expertise derives from its ability to provide all facets of a client’s needs, including equipment rental, integration and frequency coordination. Above all else, however, is the company’s extensive engineering support. In anticipation of the playoffs, the NHL tasked Bexel with setting up new fiber racks in each of the playoff arenas. This would allow for the officials’ review of goals as well as being able to provide video to the officials from the broadcast feed league-wide. “Essentially the NHL needed a group to partner with to ensure all of the playoff teams would have the same new system installed in each arena,” concludes Paulk. Once the racks were shipped to each arena, Bexel supplied a team of engineers to go into each facility back-to-back, and install the new cabinets, reroute the cabling to the truck compound and catwalk, provide training at the local venue and then head to the next arena.

Looking to the playoffs and the Stanley Cup Finals, Bexel provided more video equipment, including camera accessories and interconnectivity equipment, for the NHL Network set and truck. In addition, Bexel’s audio team will come into play on a larger scale, as the league is working to implement a new, more secure encrypted referee mic system for the start of the 2012 season. Bexel is also in the midst of helping the league manage its facilities remotely from its offices in New York, as well as provide other solutions that allow for remote access to the mics, video feed, official reviews and truck feeds from across the country.

“After the success of working together this year, the NHL has truly experienced all that Bexel has to offer,” adds Mills. “This is just the start—we are working with our partners and bringing the very best technology to the NHL and future-proofing that technology as we install it. We like to think of our relationship growing to the point where we’re more than a service or equipment provider, but a partner, and we value being a part of the team.”

About Bexel
Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers – including producers of the biggest and most important televised events in the world. For more information, visit http://www.bexel.com.

A Snapshot of The Vitec Group
Vitec is an international Group principally serving customers in the broadcast, photographic and military, aerospace and government (MAG) markets. Listed on the London Stock Exchange with 2011 revenue of £351 million, Vitec is based on strong, well known, premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Imaging & Staging, Videocom and Services. Imaging & Staging designs, manufactures and distributes equipment and accessories for photography, video and events. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production teams and film crews. More information can be found at http://www.vitecgroup.com.

Cinematographer James Mathers Casts Power Solutions from Anton/Bauer to Ride Alongside Actor Stephen Dorff for Indie Film Brake

Anton/Bauer Batteries Helped Resolve Unique Filming Challenges

STUDIO CITY, CA, JUNE 7, 2012—To meet the needs of his wide-ranging career as one of the most in-demand cinematographers in film, James Mathers is always on the lookout for dependable, long-running batteries. That’s why he counts on Anton/Bauer®, part of Vitec Videocom, a Vitec Group company, and a premier global provider of batteries, chargers, lighting and other mobile power systems for the professional broadcast, video and film industries, for power solutions. For his most recent shoot, the indie thriller Brake, Mathers once again used Anton/Bauer batteries and accessories, with great success.

Brake, starring Stephen Dorff and directed by Gabe Torres, posed unique challenges for Mathers. Dorff stars as Jeremy Reins, a Secret Service agent who is held captive in the trunk of a car and endures mental and physical torture as terrorists attempt to extract information for their plot against the U.S. president. Since the film is shot almost entirely inside what appears to be the trunk of a moving car, Mathers chose the RED ONE digital cinema camera to capture the dramatic events of the film.

“The RED ONE has a good appetite for power, especially when you’re running accessories like the zoom motor and monitors,” says Mathers, who equipped his two RED ONE cameras with six Anton/Bauer HyTRON 140® batteries. “The Anton/Bauer HyTRON 140 dependably powers the camera for well over an hour. Another thing about the HyTRONs in particular is that there are no air travel restrictions.” The HyTRON 140 is a 140 Wh NiMH battery, designed for the power demands of today’s HD gear and on-camera lighting systems. Offering excellent counterbalance for lens weight, it is ideal for a high-current draw and can be used with portable HMI lights. On Brake, Mathers took advantage of the HyTRON 140 to also power his 1’x1’ Litepanels when working with water necessitated using only DC power for the safety of the actor.

Additionally, Mathers would not have been able to meet the special needs of the shoot without Anton/Bauer’s signature Gold Mount® system, which ensured that the RED ONE camera was always securely locked to a battery despite the constant rough movement the camera endured during filming. “In order to get Stephen to look like he’s bouncing around in the trunk, we had to hard-mount the camera onto the vehicle and then physically bounce the vehicle around,” he says. “The sturdiness of the three-point Gold Mount adapter made it certain that the battery stayed on the camera even if it was violently jostled in order to get the effect of the actor doing the same inside the trunk. Other batteries probably would have flown off the camera during the violent shaking. One of the things I like best about Anton/Bauer is the fact that I can use one power solution for the many different types of cameras I use, whether it’s ARRI, Panasonic, or Sony.”

Providing power requirements ranging from 7.2 to 28V, the Anton/Bauer Gold Mount system is the most widely used battery mounting system by professionals in the industry. Thanks to Anton/Bauer’s strong relationships with key camera manufacturers, the Gold Mount is available as factory standard equipment on many models.

“The ability to see the battery status on the camera itself was also a huge asset,” Mathers adds. Anton/Bauer is the only battery manufacturer authorized by RED for communication with the RED ONE using the QR-RED Gold Mount. The battery’s remaining run time is displayed directly on the camera’s LCD via Anton/Bauer’s proprietary InterActive® Viewfinder fuel gauge.

The Anton/Bauer QR-HOTSWAP-GM also helped Mathers meet other requirements of the Brake shoot. “The whole system gives you lots and lots of flexibility regarding how you can set up your camera and accessories to fit into the space as necessary,” he adds.

In his 30 years of using Anton/Bauer products, Mathers, who also serves as the president of the Digital Cinema Society, has found the batteries have never been more indispensible than on the Brake shoot. He also holds the Anton/Bauer customer support team in high regard, citing its high level of efficiency. “Filming an indie movie like Brake is a fast-paced, sometimes chaotic experience, so when a piece of equipment needs attention, either for repair or upgrading, I need the problem solved as quickly as possible so as not to hinder production. Anton/Bauer has come through again and again in this area and they have been my go-to battery throughout my career, and will remain so for upcoming projects.”

For more information, please visit www.antonbauer.com.

About Anton/Bauer
Anton/Bauer is recognized as the world’s innovator and a premier provider of batteries, chargers, lighting and other key mobile power systems for the professional broadcast, video and film industries. Based in the United States in Shelton, CT with offices in Europe and Asia, Anton/Bauer was established in 1970 and has expanded its product offerings to include many signature lines such as its leading Gold Mount® system, InterActive® chargers and Logic Series® batteries such as the HyTRON® 50, 100 and 140, and DIONIC® 90, 160, HC and HCX. Their products are compatible with every camera brand on the market today. Other Anton/Bauer high performance products include the Ultralight® 2, ElipZ®, CINE VCLX and the Tandem 150 Modular Charging System. Their superior-quality products have become an industry standard. For more information on Anton/Bauer, visit www.antonbauer.com.

About Vitec Videocom
Vitec Videocom brings together some of the most respected, most innovative and most sought-after brands in the industry: Anton/Bauer, Autoscript, Litepanels, OConnor, Petrol, Sachtler, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business.

Vitec Videocom is an operating division within the Vitec Group, an international business serving customers in the broadcast, photographic and military aerospace and government markets. Vitec is based on strong, well known, premium brands on which its customers rely on worldwide.

Vitec Videocom – innovative products around the camera.

Autoscript Donates Teleprompters to Kiowa County Media Center

Vitec Videocom Helps Launch New Benchmark in Community Television

SHELTON, CT, JUNE 6, 2012—Autoscript, part of Vitec Videocom, a Vitec Group company, and the world’s leading teleprompting company, is pleased to announce its donation of entry-level teleprompters and software to the Kiowa County Media Center in Greensburg, Kansas. Following the EF5 tornado—with winds estimated at 205 mph—that devastated Kiowa County in 2007, the Kiowa County Media Center was formed to bring a new communication medium to the community. Dedicated to citizen journalism, it features a high definition broadcast studio, as well as a 22-foot television production trailer for remote broadcasts throughout the region—equipped with the latest professional broadcast gear through generous manufacturer donations.

Following the destruction of the 2007 tornado, Kansas State University’s Bert R. Biles, Ph.D., led the charge to bring better communication to Kiowa County. “When my team from Kansas State University drove down to Greensburg for the first time in September of 2007, we came to explore a dream with the citizens of Kiowa County—the idea that a community could take responsibility for creating a new form of community journalism,” says Biles, who is executive producer in K-State’s division of Communications and Marketing. After five years, funding from the county and corporate sponsorships of broadcast gear, the Kiowa County Media Center opened its doors on November 1, 2011, with an open house event held on Main Street in Greensburg to celebrate the $6.1-million LEED (Leadership in Energy and Environmental Design) Platinum Kiowa County Commons building. The building includes the Media Center, which boasts a state-of-the art HDTV production trailer and a television studio, radio studio and editing laboratory, as one of its four tenants.

“The Kiowa County Media Center project is the centerpiece of a phenomenon—the restoration of a community that had been completely destroyed only five years prior,” says David Cox, key accounts manager, Autoscript. “Not only has the community sprung back, it is dedicated to bringing the latest advances from rebuilding a green community to forward-thinking communications facilities.”

Facilitated by Autoscript Managing Director Brian Larter, Autoscript donated two ELP15 LED-backlit 15-inch prompters, along with the corresponding WinPlus software. The perfect prompting solution for schools, colleges, universities and broadcasters, the ELP15 uses less power than older CRT units and provides a slimmer, more compact design in a rugged, all-metal case with either a lightweight folding hood for portability or a molded hood for the studio applications. Weighing just under six pounds, the ELP15 is an ideal teleprompter to stand up to entry-level users, while also offering great performance in the newsroom.

The new 15-inch monitor furthers the Media Center’s goal of energy efficiency, as it promotes longevity, performance and reliability—along with green energy savings—with 400 nits of brightness, composite, VGA and s-video inputs as well as the image-reversal capabilities necessary for prompting. Powered from an external AC to DC 12-volt power supply, the ELP15 can also be powered with 12-volts DC from a battery for portable applications. “The wonderfully lightweight and portable ELP15s are also easily adapted for field use in conjunction with the mobile production trailer,” adds Cox.

While prompters are most common in broadcast television newsrooms, they will have many uses in the Media Center. “With its staff of citizen journalists both in front of the cameras and behind them, I am absolutely convinced that the Autoscript teleprompters will help the Media Center team produce articulate, polished video presentations,” says Biles. “It will also provide an opportunity for the production staff to become accustomed to working with state-of-the-art prompters.

“Autoscript, their partners in the Vitec Group and the two dozen or so other companies from the television and radio broadcast and data communications industries have helped bring to reality a true miracle of the human spirit,” says Biles. “We especially want to thank David Cox of Autoscript for his unstinting efforts on behalf of the Media Center to encourage the various companies within the Vitec Group to support the project. The aggregate total of contributions puts the Vitec Group in the top tier of companies supporting the Media Center.”

Additional Vitec Group gear donated to support this initiative included batteries and chargers from Anton/Bauer; Sachtler, Vinten and Manfrotto camera support systems; Litepanels’ Emmy award-winning LED studio lighting technology; as well as camera backpacks, accessory bags, fanny packs, duffel bags and camera rain covers from Petrol to support field operations.

“I feel awed when I realize that in less than five years, the Media Center has been created as a vibrant, new journalistic model,” says Janet West, president, board of directors of the Kiowa County Media Center. “It is with heartfelt gratitude that we acknowledge the spirit of community, friendship and partnership with companies such as Autoscript and the Vitec Group that have brought this amazing community resource to fruition. Local programs produced by volunteers will have a network-style professional quality as a consequence of using the two Autoscript prompters in our HDTV Studio.”

For more information, visit www.Autoscript.tv.

About Autoscript
Established in the UK in 1984, with headquarters in the US and the UK, Autoscript is the world leader in the prompting industry. Autoscript provides a complete range of teleprompters for PC and the i-Series, the best designed and built hardware, PC cards and software, and—with its expanding line of intuitive accessories—is the new definition in prompting. Autoscript is a member of the Vitec Group. For more information visit www.autoscript.tv.

About Vitec Videocom
Vitec Videocom brings together some of the most respected, most innovative and most sought-after brands in the industry: Anton/Bauer, Autoscript, Litepanels, OConnor, Petrol Bags, Sachtler, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business. Vitec Videocom is an operating division within the Vitec Group, an international business serving customers in the broadcast, photographic and military aerospace and government markets. Vitec is based on strong, well known, premium brands on which its customers rely on worldwide.

Vitec Videocom – innovative products around the camera.

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Bexel Returns to the Court for 20th Season of TNT’s NBA Playoffs Coverage

Custom Rental Package Includes Equipment, Technical Support and Services

BURBANK, CA, JUNE 4, 2012—As the NBA playoffs heat up into the conference finals, Bexel, a unit of the Vitec Group’s Services Division and a leading worldwide provider of broadcast services, is once again providing a custom solution, including equipment, technical support and services, for the Turner Network Television (TNT) NBA playoffs broadcast coverage. This year marks the 20th season that Bexel has been providing custom solutions for TNT’s playoff coverage. Turner will cover nearly 40 games in 30 days throughout May and June, with Bexel behind the scenes from start to finish.

“The gear Bexel is providing to Turner for its playoff efforts are essential for the telecasts,” says Lee Estroff, vice president of account development, Bexel. “Ranging from the latest HD super slo-mo systems, to a variety of HD EVS’s, encrypted RF audio packages, fiber optics and on-site non-linear editing facilities, we provide our gear based on Turner’s needs for every single TNT telecast through the Western Conference Finals.”

Bexel is facilitating five systems moving from game to game, some living on trucks and others being shipped around to the various arenas through the Western Conference Finals. With TNT counting on Bexel to help transport the equipment around to various sites, the Bexel team is in constant contact with the network and heavily involved in coordinating and working out logistics 24 hours a day, seven days a week.

“Having worked with Turner in support of its coverage of the NBA playoffs for the past 20 years, we are able to anticipate many of the challenges that they are faced with during such an aggressive schedule with the limited lead time between games,” adds Estroff. “With our knowledge and experience, there is no learning curve on a project that cannot afford any service lapses.”

Bexel is also supporting NBA TV’s extensive coverage of first-round games and live studio coverage, supplying EVS and RF audio packages to the league’s network.

About Bexel
Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers – including producers of the biggest and most important televised events in the world. For more information, visit http://www.bexel.com.

A Snapshot of The Vitec Group
Vitec is an international Group principally serving customers in the broadcast, photographic and military, aerospace and government (MAG) markets. Listed on the London Stock Exchange with 2011 revenue of £351 million, Vitec is based on strong, well known, premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Imaging & Staging, Videocom and Services. Imaging & Staging designs, manufactures and distributes equipment and accessories for photography, video and events. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production teams and film crews. More information can be found at http://www.vitecgroup.com.

MIAMI’S NEW WORLD SYMPHONY DEPENDS ON DPA MICROPHONES

DPA 4023 and 4028 Microphones Used for All Performances

New World Symphony’s Director of Audio Services Roberto Toledo relies on DPA Microphones’ 4023 compact cardioid microphones and 4028 compact wide cardioid microphones for all performances at the New World Center, including the recent Juanes MTV “Unplugged” concert.

New World Center in Miami is home to the New World Symphony, America’s Orchestral Academy. This Frank Gehry-designed building and the music presented through the leadership of Artistic Director and renowned conductor Michael Tilson Thomas, reflect the height of musical and architectural excellence.

DPA microphones are the mics of choice for all musical events presented by the New World Symphony at New World Center. For an orchestral concert, the DPA mics used include the 4023 or 4028 for the wind instruments and additional 4023s for spot mics when needed. Toledo is very familiar with DPA and was happy to discover the mics were a part of the center’s sonic toolkit. “When I came to New World Symphony, I was very pleased with the extensive selection of DPA microphones that would be available to me,” he says.

For the symphony’s WallCasts performances in particular, the microphones need to be as unobtrusive as possible. The WallCasts are special events where performances of the New World Symphony at the New World Center are projected live onto a 7,000-square-foot projection wall at Miami’s SoundScape Park. Since the performances for the WallCasts appear very large with outside projection, the mics and the shadows they create are magnified and need to be reduced as much as possible. DPA’s 4023 or 4028 along with 4053 compact omnidirectional microphones give viewers in the park the feeling of being there in the performance space with minimal impact to the visuals. “For our shows, smaller is better,” says Toledo. “We have five projection surfaces with fourteen 30k Christie Roadhouse projectors shooting at multiple angles, so if a shadow is created by audio equipment, again, a smaller shadow is better. When we do our WallCasts, we can have up to 10 robotic cameras being used to project the concert to the audience outside. Again, if a microphone is in one of the camera shots, it is more acceptable if it is small, which the DPA mics are.”

Although New World Symphony primarily presents classical music, the look and sound of the space lent itself to a recent MTV “Unplugged” concert by the Colombian singer/songwriter/guitarist Juanes. As Toledo explains, for the “Unplugged” concert, the producers were looking for clean visuals to pair up with great sound. DPA was able to deliver on both. “For Juanes, the issue was more about what was seen in the camera shot,” Toledo states. “With the exception of Juanes’s vocal mic, all the other mics had to be as hidden as possible. Getting good sound from the choir [that performs with Juanes] was important, but having mics not being seen or being seen as little as possible by the cameras was also a priority. Since the DPA mics are black, as is the Flamingo hardware used with them, we were able to position them as needed while making sure it did not become an issue for the director of the show.”

Toledo found that the microphones’ sizes in no way compromised their sound quality. “Since we own only DPA’s Compact Series of microphones, their size has been the biggest asset,” he says. “In my mind, there is no degradation in quality compared to the stand-body versions, so visual impact is minimal, but I still get the usual DPA sound. For our shows, the DPAs have been nothing but spectacular. One thing I appreciate about our DPAs is that I have to do little to no equalization to our main array. It’s simply a matter of getting the mics in the right spot. The less processing I have to do, the better, and with the DPAs, that’s pretty much what I get.”

About DPA
DPA Microphones A/S is a leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.

For more information on DPA Microphones, please visit: www.dpamicrophones.com.

MIAMI’S NEW WORLD SYMPHONY DEPENDS ON DPA MICROPHONES

DPA 4023 and 4028 Microphones Used for All Performances

New World Symphony’s Director of Audio Services Roberto Toledo relies on DPA Microphones’ 4023 compact cardioid microphones and 4028 compact wide cardioid microphones for all performances at the New World Center, including the recent Juanes MTV “Unplugged” concert. more

Anton/Bauer Batteries Power Filming of The Push: A South Pole Expedition Documentary

DIONIC HCs Stand Up to Below-Freezing Temperatures during Historic Trek by Adaptive Athlete Grant Korgan

SHELTON, CT, MAY 30, 2012— Faced with traveling through the extreme cold and snowy terrain of the South Pole, the production team behind the documentary The Push: South Pole Expedition, turned to Anton/Bauer®, part of Vitec Videocom, a Vitec Group company, and a premier global provider of batteries, chargers, lighting and other mobile power systems for the professional broadcast, video and film industries, to power the crew’s video cameras during adaptive athlete Grant Korgan’s two-week-long trek. Cinematographer Tom Day, of Warren Miller Entertainment, chose Anton/Bauer’s DIONIC® HC battery to keep the team’s Sony HXR-NX5U professional camcorders and Canon EOS 7D Digital SLR camera running through the tough last leg of the trek.

The documentary, directed by Steve Sig, filmed by Day and Petter Nyquist and photographed by Keoki Flagg, follows adaptive athlete Grant Korgan, who suffered a paralyzing spinal cord injury in 2010, and his team, Doug Stoup, founder and expedition leader of Ice Axe Expeditions and Tal Fletcher, a guest guide for Points North Heli-Adventures. Throughout the documentary, the team works together to help Korgan reach his goal of trekking to the South Pole first by use of a sit-ski, which allows him to use his arm power to push him along, and finishing the expedition on skis, in a standing position. Thanks to help from Anton/Bauer’s DIONIC HCs, Day and his production team were able to capture Korgan reaching his goal by his target date of January 12, 2012, the 100th anniversary of Robert Falcon Scott’s Terra Nova expedition.
Faced with a 75-mile journey in up to -35 degree weather on dry snow, which is difficult to glide on, Day and the production team knew they would need a rugged, reliable power source to keep their equipment running. Day and his team, who trained for a year for the expedition, were unsure of how long the on-board batteries of their cameras would last, so they decided to travel with a stock of 25 DIONIC HCs as back-up power. The compact, lightweight-yet-powerful batteries were easy to fly with and, as it turned out, proved to be the best solution for the final mile, which was also the most difficult.
“My first challenge going into this shoot was picking a camera and batteries that I thought would work in this unusual situation,” says Day. “Anton/Bauer’s recommendations were spot on. The DIONIC HCs were lightweight, portable and tough enough to withstand the cold, which was key. It was just so cold; every time we took a shot, we didn’t want it to be a big process. We just wanted to be able to grab our camera, take a shot and move on. Moving is how you stay warm and I didn’t want to compromise too much. I wanted to have a certain look to the film and I wanted to have the camera gear not hinder that too much.”

DIONIC HC provides 91Wh and can operate a 40-watt HD camera for more than two hours. Transported as carry-on luggage without restrictions, the DIONIC HC is the perfect lightweight battery for shooting on location. Part of the company’s Logic Series® batteries, the DIONIC HC is suitable for powering high-current applications in a lightweight package. Working closely with cell manufacturers, the HC series incorporates high-capacity cells offering 10 amps. To continually ensure cell protection and performance integrity, a special honeycomb cell pack design protects the cells. An enhanced RealTime® display indicates up to nine hours of run time (under low power-load conditions) using a seven-segment display enclosed by four circular arcs that indicate 15-minute time intervals, ensuring high confidence in those filming with the battery.
Day’s biggest challenge was the last mile of the trip, which he knew was going to be an emotional time, as the entire team reached the end of their very long journey. Day and the film crew wanted to keep their cameras running, even if they weren’t necessarily shooting because they wanted to get the audio.
“This trip was planned for an entire year before we began,” explains Day. “We had been training and Grant was training real hard. We’d been documenting all of our training trips and everything that led up to the South Pole; we had been working together as a team. I knew that last mile was going to be emotional. We basically never turned our cameras off—they ran for a full half hour. I was happy that was able to happen. I’m not sure if any of the other batteries would have lasted for a full half-an-hour shot at -35 degrees.”
In order to protect the batteries and keep them warm during filming, Day tucked a DIONIC HC under the layers in his camera pouch. Then, each time he would shoot, he hooked up the battery adapter. He and the crew also kept back-up batteries in their jackets to protect them from the cold. Later, at night, he and the crew would each sleep with one battery to keep it warm and also used some of the batteries to film time lapses using the Canon EOS 7D.
“Since the sun never sets at the South Pole, I really wanted to do time lapses of the sun moving across the sky as we were in our tents,” says Day. “There was no way that the camera’s on-board battery was going to last that long. I was able to get a couple of all-night shoots with just one Anton/Bauer battery, which I was pretty pleased with.”
Currently, The Push: A South Pole Adventure is being edited for a documentary film and TV series on NBC Universal Sports, scheduled for release in the fall of 2012. The Push expedition is in support of the Truckee, California-based High Fives Foundation, a 501c3 helping injured athletes recover and, ideally, get back to their sport. For more information about the documentary, visit www.southpolepush.com
For more information about Anton/Bauer’s roster of products, visit www.antonbauer.com.

Notes to Editors:

About Anton/Bauer
Anton/Bauer is recognized as the world’s innovator and a premier provider of batteries, chargers, lighting and other key mobile power systems for the professional broadcast, video and film industries. Based in the United States in Shelton, CT with offices in Europe and Asia, Anton/Bauer was established in 1970 and has expanded its product offerings to include many signature lines such as its leading Gold Mount® system, InterActive® chargers and Logic Series® batteries such as the HyTRON® 50, 100 and 140, and DIONIC® 90, 160, HC and HCX. Their products are compatible with every camera brand on the market today. Other Anton/Bauer high performance products include the Ultralight® 2, ElipZ®, CINE VCLX and the Tandem 150 Modular Charging System. Their superior-quality products have become an industry standard. For more information on Anton/Bauer, visit www.antonbauer.com.

About Vitec Videocom
Vitec Videocom brings together some of the most respected, most innovative and most sought-after brands in the industry: Anton/Bauer, Autoscript, Litepanels, OConnor, Petrol, Sachtler, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business.

Vitec Videocom is an operating division within the Vitec Group, an international business serving customers in the broadcast, photographic and military aerospace and government markets. Vitec is based on strong, well known, premium brands on which its customers rely on worldwide.

Vitec Videocom – innovative products around the camera.

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