A virtual press conference from Sound & Video Contractor

Archive of the NAB Newslink Category

Turner Trucks Hit The Road With Cobalt Digital Terminal Gear

Urbana, IL – Cobalt Digital (www.CobaltDigital.com), manufacturer of award-winning 3G/HD/SD-SDI conversion gear for broadcast environments, recently installed a complement of terminal gear in Turner Studios’ latest mobile units. The announcement was made by Cobalt’s svp of sales, Bob McAlpine, from company headquarters in Urbana, IL.

The two trucks received identical equipment packages slated for video processing, signal conversion and distribution. The order comprised eleven frames including Cobalt’s new award-winning HPF-9000 high-power, high-density frames. The units are populated with nearly 200 cards including the Company’s 3G/HD/SD-SDI Fusion3G® 9901-UDX up/down/cross format converter, numerous DAs and color correctors. Cobalt also supplied multiple OGCP-9000 control panels, and numerous Mini-DIN rears ensure maximum density. Fabrication was accomplished by Beck Associates, a systems integrator located in Pflugerville, TX.

Turner Studios is the full service production division of Turner Broadcasting Systems Inc. aligned under Turner’s Global Technology and Operations division. Turner Studios services include studio operations, live broadcast production operations, post production, visual effects and animation, design and creative services, digital media production, remote and outside broadcast production. Turner Studios services all of Turner’s Entertainment Networks including TBS, TNT, TCM, Cartoon Network and TruTV, as well as Turner’s news networks including CNN, and many of Turner’s International Networks such as TNT and Cartoon Latin America.
For information regarding the Turner Studios mobile units, please contact Susan O’Neal at susan.Oneal@turner.com.
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ABOUT COBALT DIGITAL INC.
Cobalt Digital Inc. designs and manufactures award-winning 3G/HD/SD conversion gear for the broadcast television environment. Distributed through a worldwide network of dealers, system integrators, and other partnerships, Cobalt products are backed with a 5-year warranty. For more information, visit http://www.cobaltdigital.com.

Company Contact: Chris Shaw, EVP of Sales and Marketing
+1-217-344-1243 / chris.shaw@cobaltdigital.com

Press Contact: Desert Moon Communications / Harriet Diener
+1-845-512-8283 / harriet@desertmooncomm.com

BHV Broadcast Exhibits Award-Winning Battery Replacement System and Format Convertors at NAB 2013

Las Vegas, NV – BHV Broadcast, manufacturer of compact, cost-effective equipment for live and post-production, is exhibiting its award-winning Video Ghost phantom power system, the Proteus rate converter and the Syntax Essence, a low-cost version of its award-winning up-converter at NAB 2013 in Booth N 921.

Video Ghost
Through the medium of modern technology, BHV Broadcast brings you Video Ghost! Developed as a low-cost, reliable replacement for batteries, Video Ghost brings phantom power to the digital video world! The unit – recipient of TV Technology’s Mario Award, Broadcast Engineering’s Pick Hit AND IBC’s What Caught my Eye – now provides a hefty 65 watts of power at 12V for camera head-ends and remote monitors using the existing serial digital video coaxial cable. Equally at home with SD or HD signals, it can also be used to power composite to SDI converters at the camera, avoiding the signal degradation suffered by composite video over long distances.

Video Ghost is being shown for the first time in the USA using the V-lock universal mounting system and sporting a new, sleek design.

Syntax and Syntax Essence Up/Cross/Down-Converters
BHV Broadcast is also introducing the US market to Syntax Essence, an economical version of its popular and award-winning Syntax SDI up/cross/down converter. Based on advanced Super-Resolution Bandlet Technology like the original, Syntax Essence offers the same essential features and processing power while helping operators maintain their quality standards within the confines of limited budgets. Syntax and Syntax Essence bring the performance advantages of motion-compensated processing without the associated disadvantages of high cost and occasionally severe artefacts. The full Syntax model also features analogue video inputs and ARC facilities.

Proteus Multi-Format/Multi-Purpose Converter
The award-winning Proteus motion-adaptive rate converter will be shown in its rack-mount version. The fully-featured broadcast specification converter features 10-bit SDI, analogue video and digital/analogue audio. It employs an advanced rate conversion algorithm, comprehensive audio facilities and Aspect Ratio Conversion. Proteus also offers full format conversion, frame synchronizing, timebase correction, and full video and audio level control. Proteus addresses lip-sync errors with variable audio delay (up to 10 seconds) featuring both tracking and block delay, and also offers audio group switching.

BHV’s award-winning products are being demonstrated in Booth N 921. Click on harriet@desertmooncomm.com to schedule a visit!

About BHV Broadcast
BHV Broadcast is the manufacturer of award-winning compact and cost-effective equipment for production and post-production including a full range of rack-mount and portable digital switchers to accommodate any application where space is at a premium. The company also manufactures rate and format converters and video power systems. For further information: www.bhvbroadcast.com

BHV Broadcast contact: Martin Cook
+44 (0) 1962 777733 • sales@BHVBroadcast.com

Press contact: Harriet Diener / Desert Moon Communications
1-845-512-8283 • harriet@desertmooncomm.com

DiGiCo/Optocore System Streamlines Complex 2013 TED Conference

Leading thinkers and doers from around the globe recently gathered in Long Beach, California, for the annual TED Conference. The topical event, which was held February 25-March 1, 2013, was structured around a theme: “The Young. The Wise. The Undiscovered.”

The fast-paced format of 50+ TED Talks and musical performances presented a dizzying array of talent exploring science, business, the arts and global issues facing our world, and introduced attendees to people who are collectively shaping the future. The production was recorded live, simulcast throughout the Long Beach Performing Arts Center and a satellite location in Palm Springs, and also mixed down for broadcast via webcast to a worldwide audience.

McCune Audio TED Crew: Pete Bender, project manager, McCune; Nick Malgieri, monitors/head of audio (SD10); Erik Sandberg, Front of House mixer/System Tech (2x SD10); Louis Adamo, assistant broadcast mixer/Pro Tools (SD5); Bill Knight, head broadcast mixer (Stage Tec Crescendo fed via MADI from SD5); Matt Chavez, grounds mixer (SD8-24); John Wolcott, Technical stage manager; Chris ("Crimson Avenger") de la Fuente, wireless mic wrangler; David Roth, RF/asst com; Mike Breckenridge, com/asst RF

McCune Audio/Video/Lighting, one of the oldest and largest rental/sound service companies in the country, has been handling TED’s production since the first Conference was held in 1984. McCune is responsible for cameras, live sound/broadcast mixes, amplification, graphics and video projection, and simulcast.

For the 2013 event, McCune’s Nick Malgieri, with cooperation (and console support) from Hi-Tech Audio’s Louis Adamo and freelance FOH engineer Erik Sandberg, undertook the massive task of retooling the audio footprint to handle the ever-growing demands of the multifaceted conference. The decision to go with an all-DiGiCo/Optocore network offered speed, flexibility and a streamlined infrastructure for the elaborate production. Preproduction alone for the event took nearly a week.

The overall audio system was comprised of two SD10s for FOH, an SD10 for monitors, an SD5 that handled live music mixes for broadcast, an SD8-24 for submixing/distribution, four D racks, and an SD-Rack for all I/O, complemented by an extensive, 12-zone Meyer PA and McCauley wedges.

“The TED Conference is the most technically challenging project that I’ve ever had the privilege to be a part of,” says McCune Project Manager Pete Bender, who has been involved since TED3 back in 1992. “It has become the conference by which all others are measured, and every year they raise the expectations on content and quality. There is such a wide variety of content, and so many different audiences and recording needs that need to be managed, that it requires an extremely flexible audio system. The DiGiCo and Optocore system was an enormous improvement over previous years. The flexibility of the networked DiGiCo consoles, as well as the Stage Tec console in the TV truck, gave us the ability to route submixes and outputs to virtually any location on the stage or in the truck. This streamlined the system and allowed the engineers to respond to every last-minute request that we could possibly throw at them. And we threw them a lot. Additionally, the fiber network contributed to savings in time and manpower on both the install and strike days.”

At FOH, a pair of side-by-side DiGiCo SD10s helmed by Erik Sandberg handled the live audio mix—approximately 200 inputs, including 26 channels of wireless, 24 channels of stereo playback devices (primarily video sources), 48 inputs allotted for guest artists and bands as well as a number of submixes for the other consoles.

One SD10 was set up specifically for the corporate production inputs, while the other managed all the live music inputs. A third monitor SD10 console was housed in a rolling road case and wheeled on and offstage to accommodate six ear mixes and a dozen wedge monitor mixes, as well as backstage monitors and production monitors. At FOH, a D Rack handled all FOH inputs and outboard gear inserts, and an additional two D racks at the A2 position onstage handled production inputs such as wireless mics and outputs to the PA system or monitors. An SD-Rack in video world served all of the I/Os, and a fourth D rack was mounted in the thrust staging to manage on-the-fly presenter and artist inputs, mainly for the musical performers.

“As we started doing rehearsals, I was able to cover all my bases with this setup and jump between the two consoles,” says Sandberg, who has handled TED’s FOH for the past eight years. “I had the console split with mics on the left bank and playback devices on the right – with a show this fast-paced and complex, it’s important to keep the structure of the consoles as simple as possible. On the production console, I pretty much ran it from one snapshot and relied instead on presets for each presenter’s EQ. On the music console, every act had its own snapshot. Often bands will show up [at the conference] with their own engineer, and it made life easier to have a separate console so that they could check PFLs, and check channels before they went on. I had it set up like a typical nightclub system, simple and similar to what they’re all accustomed to: kick, snare, hat, rack, floor, right down the line, effects and delay. We had two foldback lines from FOH but a vast majority of onstage monitoring was done backstage by Nick [Malgieri].”

The show consisted of 26 channels of wireless; the first 12 were DPA 4088 headset mics. “TED is known for using the headset mics,” Sandberg explains, “and it’s become part of the look of the TED Talks. The DPAs worked well for that. We also had a series of handheld mics that floated around the audience for Q&As. Onstage, there were five rolling podiums with audio that presenters could plug into with their laptops, plus there was an incoming feed from Palm Springs via Polycom. A lot of playback originated at FOH and I was able to send that as a console send into the network. This made it really easy for everyone to customize their inputs based on what they needed. In the past when we’ve had analog splits, it’s been a challenge because I’d end up with more inputs at FOH and I’d have to do separate snake runs to all the other consoles so they could get what I was getting. It’s one of the reasons we decided to go with the DiGiCo/Optocore network—and it’s made a big difference. It sounds good and it’s easy to use and flexibility is key. Setup time was a fraction of what it used to be.

“The SD10 is a very easy console to navigate. The surface is extremely intuitive, so I was able to organize the desk the way that made sense to me from where I physically sat; I was able to put anything I wanted anywhere, which was invaluable. I was able to put all headset mics on the left side of the console near the Dugan auto mixers, which I inserted on all the channels for panel discussion or multiple mics. They helped to get a clean, lower noise floor. I used a WAVES server on the production console. The plugin was a WNS Noise Suppressor that I inserted into each of my headset mics. It’s a giant, wooden and very reverberant room; the plugin helped knock down reverb. I relied on those noise suppressors quite a bit and they certainly help with intelligibility.”

Backstage, Malgieri found that the Optocore network allowed his monitor console to be mobile and also cut down the amount of gear needed to do the gig. “All risers, band equipment, scenery, grand piano, and whatever else they decided to put onstage went in and out through there, so real estate was a really big deal on stage left,” he explains. “Not running copper snakes this year was huge, and was another benefit of the DiGiCo consoles because I got rid of three split racks and a rat’s nest of cable. We’ve shrunk the footprint from about 50 feet down to half that, to sharing mic pres, no splitters and a lot of fiber—and I was able to leave six to eight large boxes at our warehouse. Also, we used to have this enormous hod [bundle] of cables, and it was a 12-guy, eight-hour ordeal to pull it through the PVC conduit to FOH… This year, with just the two fiber cables and two guys, we were able to save a lot of labor and man-hours. And because I was able to keep the monitor desks tethered down to a loom, it was easy to roll on and offstage for soundchecks. We only had one-and-a-half hours between sessions and, in that time, we had to rehearse four speakers and soundcheck a band in 20 minutes.”

In addition to mixing wedges and in-ear monitors for all the bands and presenters, Malgieri handled Announce from the truck for monitors onstage and off. “I was like the production switchboard for anything around the stage,” he laughs. “Anyone that showed up and needed a temporary speaker, that was me. The stage Announce output from the trucks’ communication system came in and through some creative sidechain-ducking programming I built a Program Interrupt to the backstage monitors, which were time-aligned to the video monitors but fed from the FOH mix, not the broadcast mix. So when anyone was speaking from the truck it cut the monitoring to all the backstage monitors like a TV studio. The flexibility of the console allowed me to do that. I can’t think of any other console that’d allow me to do that in the same way. Another huge thing was that I was able to program a macro to undo that interrupt function without having to get back into my layers and figure out the complicated routing and processing I did. One button press undid it and I didn’t have to think about it on the fly. I just hit the button as an emergency bailout.”
Situated between the venue and the truck, an SD8-24, run by mixer Matt Chavez, with optics on optical loop, served as a distribution hub, routing to lobbies, tents, the plaza, the loge and the balcony. It also broadcast TED’s Walk-in Music at the beginning of each session, and controlled the announcement system that covered the entire venue.

Inside the mobile truck, an SD5 run by Adamo served as an interface between the venue’s audio consoles and truck, running more than 200 I/Os. All channels from the venue were routed over Optocore into the truck and were tied into the main broadcast console via MADI. Additionally, Adamo mixed the musical acts and sent them to the truck, and multitracked to a 128-channel Pro Tools rig via two MADI streams.

A few of the conference highlights were the Kinshasa Orchestre Symphonique (introduced by Ben Affleck), a choir that consisted of 100 members onstage and many more coming in via 32 live Skype feeds, Amanda Palmer and her punk rock ukulele, and Wang Li, the extraordinary master of the Jew’s harp. “The awesome DiGiCo EQ shined during the Jew’s harp performance,” Sandberg recalls, “as he was going for loud volume, which (surprisingly) really put my subs to work. There were lots of small notches under 80hz! The Optocore network was amazing. Because we used very little copper this year, we never had a problem with strange buzzes and hums that have popped up during install and rehearsals in years past. Also, the ability of all five consoles to grab any and all inputs was invaluable. All in all it was great, and DiGiCo shone as expected.”

“The system worked fantastically,” Malgieri adds. “We had no failures or issues; no hums or buzzes. This year was the easiest TED conference so far, due in large part to the DiGiCo/Optocore system. It was also the fastest load-out in the history of the show… by a lot! Every year TED gets a little bit bigger and they request a new technology or infrastructure. Every year, with new changes, we add more gear to our inventory to keep up with the changes, and it’s grown at just the right pace so that we can keep up. This gig ended up raising the expectations for our other clients because they see the benefits of the new gear and systems we’re adopting and implementing. This is the first time I’ve done more than two consoles on an Optocore network so anytime this scenario ever comes up again, it will become a new standard for a large McCune show.”

DiaQuest ProductionLink Now Available for Adobe Premiere Pro, After Effects

Software Plug-In Now Sold Separately or Bundled at Reduced Price

EMERYVILLE, CALIF. – DiaQuest Products, a software development firm with a focus on the video and film industries, today announced two new versions of its ProductionLink plug-ins for Adobe® products. ProductionLink for Premiere Pro and ProductionLink for After Effects add Avid® Interplay to the list of available render formats for both programs. Once installed, ProductionLink features appear within the Adobe user interface and provide a reliable, seamless link between applications.

ProductionLink for Premiere Pro and ProductionLink for After Effects will each sell separately for $299. A bundle of both products is available for $499, and a bundle of four seats of the bundled version is available for $1,000. Mac and PC versions are available.

“We’ve restructured ProductionLink and are offering some very cost effective multiple seat licenses to make it more accessible than ever. Now, editors and graphic designers can spend their time being creative instead of transcoding files,” said Dave Van Hoy, president of DiaQuest.“ProductionLink saves a lot of time and aggravation, because it automatically resolves compatibility issues when transferring files from Premiere Pro or After Effects into Avid Interplay.”

ProductionLink automatically adds the file organization and metadata capabilities of the Interplay production asset management (PAM) system to established Adobe workflows. The plug-in exports Avid Mediafiles DNxHD® MXF OP-atom video files and individual PCM MXF OP-atom audio channel files that are fully compliant with Avid file formatting and folder organization, so saved files can be used immediately in Media Composer™ and other Avid applications.

Individual and bundled products, as well as four-seat license bundles, are available through DiaQuest Direct, the company’s online store, plus select system integrators and Adobe and Avid resellers. Product bundles and ProductionLink for Premiere Pro can be purchased through Adobe Exchange, which is accessed through the Creative Suite 6 application. DiaQuest also offers ProductionLink for ASSIMILATE SCRATCH, which streamlines post-production and dailies DI workflows for motion pictures, independent features, and episodic television.

For more information, contact DiaQuest at (510) 547-4544 or visit www.diaquest.com.

About DiaQuest:

Based in Emeryville, Calif., DiaQuest Products LLC has been developing mission critical software for the video, film, and broadcast industries since 1982. The company develops software as an OEM for several manufacturers, as well as custom software tools for a variety of clients. In addition to software development, DiaQuest provides professional-level support of related software and hardware products. Find out more at www.diaquest.com or call (510) 547-4544.

RTW Unveils Moving Coil Software for TM3 at NAB 2013

Loudness Moving Coil Instrument Now Available

LAS VEGAS, APRIL 10, 2013 — RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, is proud to unveil the new TM3-SWMC Software for its TM3 series of TouchMonitors at the 2013 NAB Show (Booth C1844). This new software license, available as an add-on option, incorporates a moving coil emulation display.

This license expands the functionality of the TM3 TouchMonitor series, which includes the TM3 and TM3-3G, with PPM, VU and the new loudness moving coil instruments. The display can be chosen with vertical or horizontal orientation, numeric level information and peak indicators. Single-, double- and stereo-channel, instruments are now available. For stereo groups with PPM moving coil mode, additional M/S moving coil emulation is selectable. As with all instruments in the TouchMonitor series products, the user can individually define the instrument size and positioning on the screen to meet his specific application needs.

RTW’s TM3 includes features of the larger TM7 and TM9 versions in a compact size. Users can control it with a touch-sensitive display. With its budget-friendly base price, 4.3-inch touchscreen and stylish exterior allowing for horizontal and vertical placement, the TM3 is an appealing compact device, ideal for edit suites, control rooms and OB vans. The TM3-3G, introduced in 2012, is a compact yet versatile solution for metering, de-embedding and monitoring 3G-SDI audio. It also features a 4.3-inch touchscreen for horizontal as well as vertical orientation, which can display any of the eight audio channels contained in a 3G-SDI stream.

ABOUT RTW
For more than 45 years, Cologne-based RTW has accompanied the steady technological progress in the professional audio industry with innovative instruments and technologies for visual audio monitoring in broadcast, production, post production and quality control. Its state-of-the-art audio and loudness metering systems have an excellent reputation throughout the world. With groundbreaking products such as the Surround Sound Analyzer, the company has been a key vendor of professional broadcast and audio metering equipment for decades.

RTW’s ranges of products currently include the SurroundControl series for monitoring, controlling and routing stereo, multichannel and surround audio and the TouchMonitor range, which truly marks a paradigm shift in visual audio monitoring and loudness metering. Combining maximum flexibility and modularity with an intuitive touch-enabled surface and multichannel signal analysis, the TM7 and TM9 units are the essence of many years of experience. The attractively priced TouchMonitor TM3 entry-level system opens new markets, targeting applications such as journalist cubicles, edit suites and small control rooms.

As part of its expansion into the U.S. market, in 2013 RTW established RTW International Corp. in Lancaster, Pennsylvania. The new office is the first U.S. location launched by RTW, showing the company’s dedication to supporting its customers and dealer networks in the U.S. The new U.S. office will house all customer service, repair and final product assembly activities for U.S.-based RTW customers.

For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130. For more information on RTW International Corp., visit www.rtw.com or call 877-938-7221.

Digital Rapids Expands Award-Winning StreamZ Live Encoder Family with Trio of Powerful New Models

New StreamZ Live 4000EX, 6000EX and 8000EX target live and linear multiscreen, broadcast and converged applications

April 10, 2013 — NAB Show, Las Vegas, Booth SL5624: Digital Rapids – the trusted provider of innovative media transformation and workflow solutions for bringing video to wider audiences — is unveiling powerful new models in the company’s award-winning StreamZ Live family of live encoders. Building on the superior multi-format flexibility, quality and reliability of the StreamZ Live series, the new additions include the StreamZ Live 4000EX for premium multiscreen applications; the StreamZ Live 6000EX for dedicated broadcast applications; and the StreamZ Live 8000EX for converged broadcast and multiscreen deployments.

The new StreamZ Live 4000EX multiscreen encoder combines the proven benefits of existing StreamZ Live models with increased fault-tolerant redundancy and expanded control capabilities for premium live and linear multiscreen encoding applications from IPTV and over-the-top (OTT) services to high-profile and mission-critical live streaming deployments. The StreamZ Live 4000EX features rich adaptive streaming format support for providing viewers with high-quality experiences on the broadest range of devices, from ‘smart TVs’ and desktop computers to tablets, game consoles and mobile phones.

Leveraging the flexible software architecture of the Kayak technology platform, the StreamZ Live 4000EX can be easily upgraded to support new features, formats and technologies as they emerge. Streams can be output in multiple formats simultaneously, with independent management of each output for exceptional control. Output profiles can be started, stopped and reconfigured separately without interrupting other concurrent outputs — even those from the same input.

The StreamZ Live 4000EX can be managed and controlled through an intuitive web interface, optional touchscreen front-panel controls or through a new version of the scalable Digital Rapids Broadcast Manager multi-encoder management software for multi-channel automation, scheduling, monitoring and failover. Its robust new hardware platform bolsters fault tolerance with features including redundant inputs and outputs, multiple network interfaces and redundant, hot-swappable power supplies.

Existing StreamZ Live models also continue to be available for professional live streaming and multiscreen applications not requiring the advanced redundancy and control capabilities of the 4000EX.

Convergence without Compromise

Simplifying the convergence of core television and multi-platform streaming operations now occurring within media enterprises, the StreamZ Live 8000EX integrated broadcast/multiscreen encoder combines all of the capabilities of the StreamZ Live 4000EX with robust features for the unique demands of broadcast, cable, telco and satellite television operations. Reducing complexity and costs, the StreamZ Live 8000EX features simultaneous encoding for broadcast television (H.264 or MPEG-2) and adaptive bit rate streaming for multiscreen distribution — all in a single 1RU encoder.

The new StreamZ Live 6000EX delivers the same robust, premium-quality broadcast encoding capabilities as its sibling 8000EX in a tailored configuration for dedicated broadcast, cable and satellite television applications.

All three new models offer a broad range of configuration options to match customer and project requirements. Units are available in single, dual and quad-channel input densities with input options including SDI, IP and ASI interfaces. The StreamZ Live 4000EX features IP outputs, while IP and ASI output options are available for the StreamZ Live 6000EX and 8000EX. The units are also easily field-upgradeable with expansion options including single-channel to dual-channel, SD-only to HD and more.

“The introduction of the StreamZ Live 4000EX, 6000EX and 8000EX rounds out our comprehensive range of high-quality live encoders with robust, application-tailored solutions for multiscreen, broadcast and combined deployments,” said Tony Huang, Senior Product Manager, Broadcast and Live at Digital Rapids. “The expanded resilience, redundancy and control capabilities of the new models reflect the pivotal role that live and linear multiscreen delivery now play in media organizations’ business strategies, while the StreamZ Live 8000EX directly addresses and simplifies the convergence of their multi-platform streaming initiatives into their core television operations.”

The complete range of Digital Rapids solutions is being showcased in booth number SL5624 at the 2013 NAB Show, April 8-11 in Las Vegas. For more information about Digital Rapids, please visit www.digitalrapids.com.

About Digital Rapids Corporation — Digital Rapids provides market-leading content transformation and workflow solutions that empower the world’s leading media organizations to reach wider audiences more efficiently, more effectively and more profitably. Recipients of more than two dozen prestigious awards for company and product excellence, Digital Rapids combines innovative technology with proven expertise and visionary insight to help our customers expand their audiences, increase their revenues, and reduce their costs. Digital Rapids Corporation (www.digitalrapids.com) is headquartered in Ontario, Canada with offices in the United States, the United Kingdom, Hong Kong, Australia and Argentina.

Clear-Com, Optocore and BroaMan Host Joint Demonstrations of Real World Signal Distribution at Prolight + Sound 2013

Companies Showcase Digital Distribution of Audio, HD Video, Data and Intercom over Fiber

FRANKFURT, APRIL 10, 2013 – Clear-Com® (Hall 8, Stand L51), a global leader in critical voice communication systems is highlighting its expanded partnership with fiber network specialists, Optocore and BroaMan at Prolight + Sound 2013 (Hall 8, Stand G41). The companies are utilizing Optocore technology for integrated real-time transport, routing, conversion and management of professional video, audio and data. Together, Clear-Com, Optocore and BroaMan provide turnkey integrated real-time solutions for stage, outdoor productions and industrials.

“At this year’s Prolight + Sound, we’re looking to illustrate how easy it is for professional live event production companies handling a large remote event to set up a video, audio, communications and data backbone quickly and efficiently utilizing Clear-Com, and BroaMan and Optocore solutions,” says Bob Boster, President of Clear-Com. “We are happy to partner with Optocore and BroaMan once again to bring further connectivity options to our users.”

To demonstrate the partnership, Clear-Com and Optocore have connected their stands via fiber-optic cable. Both stands are linked with the Optocore and BroaMan real-time fiber solutions for audio, HD video, intercom and data. To create a live production, two strands of fiber will connect the Clear-Com stand to the Optocore stand (Hall 8.0, Stand G41). Optocore and BroaMan products will be transporting HD video, audio-playback and talkback to one of the kiosks within the Clear-Com stand.

“We have developed the BroaMan video products to help support the transport of video signals along with audio, data and intercom via our Optocore network,” says Tine Hemle Managing Director, BroaMan. “We are glad to be working with Clear-Com to demonstrate the possibilities of our solutions.”

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 Optocore
Based in Munich, Germany, Optocore is the world market leading provider of scalable, high-bandwidth, low–latency fiber-optic networks for the transmission of audio, video and data. For 19 years, Optocore has been continuously innovating and setting new standards with regards to digital network technology. Optocore builds and develops synchronous optical fiber and CAT5 based network solutions for broadcast professionals, fixed installations and live event applications. Utilizing leading-edge technology and high-quality components Optocore guarantees durability and therefore long-term market and customer satisfaction. Due to the open system architecture, Optocore’s platform offers other manufacturers the option to transfer conventional standard audio, video and data formats used in the pro audio industry, via a fiber and CAT5 network. Technical expertise, QoS and an extensive support structure are guaranteed to all customers, together with the highest level of quality controls. For more information, visit www.optocore.com.

About BroaMan
BroaMan, (Broadcast Manufactur GmbH) based in München-Gräfelfing, Germany, manufactures infrastructure solutions for broadcast applications such as studios, OB vans or sporting events. The turnkey solutions convert, transport and route all types of commonly used broadcast signals, including digital and analog video, audio, intercom, and control data, over a high-bandwidth fiber infrastructure. If required, this includes format conversions, e.g. from copper to fiber or from analog to digital, as well as routing of signals based on automatic or manual rules, up/down scalers, frame synchronizers, and many more features. The company offers customized solutions for every application that requires 3G/HD/SD-SDI video transport or routing—whether a big and complex system for broadcast studio or OB Van, or a simple point to point for a small church or conference hall. For more information visit: www.broaman.com.

New FOR-A MXF Video Clip Servers Ideal for File-Based Ingest, Playout Applications

Cypress, CA - FOR-A Corporation of America, a leading manufacturer of video and audio systems for the broadcast and professional video industries, has announced two new compact MXF clip servers, the MBP-120SX and MBP-125SX, for ingest, playback, and playout applications. Ideal for file-based production workflows, the new 1 RU servers are being demonstrated at the 2013 NAB Show (C5116), which runs April 8-11 at the Las Vegas Convention Center.

For ingest, the MBPs can capture files from an external XDCAM drive or network drive, convert HD/SD-SDI signals to MXF files in real time, and support up to eight channels of embedded audio (the MBP-125SX also supports for eight-channel AES audio). Both models are equipped with HD/SD-SDI I/O and solid-state drive (240 or 480 GB), and both are compatible with Sony XDCAM, XDCAM HD, XDCAM HD422, MPEG HD422, MPEG HD, and MPEG IMX file formats.

Multiple MBPs can also be components of a user-constructed playout system that does not require a dedicated playout server. Material can be stored on a shared NAS unit, then specified MXF files can be transferred over the network to multiple MBPs. Output from the MBPs follows the automatic program playout system. MBPs can also be combined with another video server for more advanced configurations. Clips can be added over the network, even during video recording or playback, for seamless operation.

“With built-in flash memory, the new MBP-120SX and MBP-125SX create a very stable ingest or playout environment,” said Pedro Silvestre, Sales Director, FOR-A Corporation of America. “These are very versatile servers that can be deployed in a variety of applications.”

In conjunction with FOR-A’s MediaConcierge media management system, an MBP can be incorporated into a user-constructed clip server application, providing database-driven management of video clips and playout programs. Each MBP ships with control software for standalone operation, and registered clips are instantly recognizable by thumbnail display in the control software. Optional software offers remote control of the system over the network and manages list-based clip playout.

The MBP-120SX features one HD/SD-SDI input and output, while the MBP-125SX has four outputs, two of which support time code display. In addition to the MBP-120SX’s support for SMPTE RP188 ANC time code, the MBP-125SX also adds support for ANC and LTC time code. A full range of interfaces on both models includes an 100Base-TX/1000Base-T Ethernet port for high-speed file transfer, USB ports for connecting an external XDCAM or keyboard and mouse, RS-422 for external control, GPI for remote control of playback, and a DVI-I computer display port for use of the included control software.

The MBP-120SX and MBP-125SX will be available in June.

About FOR-A

FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, postproduction and professional video markets. For more information about FOR-A’s product line, call 201-944-1120 or visit our web site at www.for-a.com.

Xytech’s MediaPulse Digital Order Integrates with Sony’s Media Backbone System

NAB 2013 – Booth # SL2427

(Mission Hills, CA) Xytech, the global leader in facility management software for the broadcast and media services industries, is announcing complete integration of its MediaPulse Digital Order with Sony’s Media Backbone system. This comprehensive approach to end-to-end facility management will be demonstrated during NAB 2013, in Las Vegas, NV, April 8th through April 12th, in Sony’s NAB Booth #C11001.

The announcement heralds a combination of technologies that allows clients to plan, orchestrate, streamline and manage complex workflows, bridging manual and automated steps as part of a holistic facility management solution. Now all the disparate activities of a broadcast facility – resource management, asset management, crewing, and job costing – are tied together to give clients a real-time understanding of all tasks as well as the cost implications for each decision.

Today’s announcement is meaningful to media companies that require real-time integrations to monitor events along the digital supply chain in broadcast and post production environments, enabling them to compete in a complex environment. MediaPulse supports SOA and transactionalizes events so facility staff can manage related business processing, resource scheduling, and media asset cataloging within its Digital Order structure. The value proposition for clients lies in the complete meshing of order entry, resource management, operational execution, and financial systems.

“Sony’s Media Backbone Solutions family is designed to support the widest range of complementary products and technologies,” said Wayne Zuchowski, Marketing Manager for Media Backbone Solutions at Sony Electronics. “The compatibility with MediaPulse extends the workflow management potential to a much broader audience. We are proud to be collaborating with Xytech on this new solution.”

Greg Dolan, COO of Xytech, commented on the new solution, “Previously, only highly customized solutions were available, with price tags and timelines that were no longer tolerable to the broadcast community. At Xytech, we are providing truly productized solutions. We are thrilled to be working with Sony and excited to show off our efforts at NAB 2013″

About Xytech
Xytech Systems Corporation(tm) is the leading global provider of facility management software for today’s media and broadcast companies. Leveraging a 25-year history of innovation and market expertise, Xytech brings unparalleled proficiency to its customers with flexible, transparent and evolutionary solutions that set the standard for successfully managing the continuous business realignments that define today’s marketplace. Xytech’s collaborative MediaPulse platform and suite of solutions enable craft workflow and asset management systems to work seamlessly with the company’s renowned planning, scheduling and financial management tools. Xytech has over 450 software deployments in more than 20 countries around the world and is headquartered in Mission Hills, California, with regional offices in New York and London.

# # #

Media Contact:
Chris Purse, 818.908.3473
ignite strategic communications
chris@ignite.bz or mimi@ignite.bz

Christie Achieves Milestone with Industry’s First 4K Resolution 3-chip DLP Projector Running at 60 Hz

The quality, clarity and brightness of amusement park attractions, video and image-intensive shows, and exhibitions and virtual design applications take a significant leap forward today with the introduction of the new Christie® D4K2560 and Christie D4K3560 projectors. The new D4K models are the first projectors to combine 4K resolution, high frame rates at 60 frames per second (fps) and 3-chip DLP® technology. Both the Christie D4K2560 (25,000 center lumens) and Christie D4K3560 (35,000 center lumens) provide razor-sharp image detail – and video with smoother motion and transitions – for unsurpassed image quality and a more vibrant and appealing visual experience. The new projectors replace the Christie D4K25 and D4K35, respectively, and are perfect for any application requiring 4K, 60 fps, 3-chip DLP® projectors with high brightness.

The New Christie D4K3560 4K Resolution 3-Chip DLP Projector

“Christie is the only manufacturer providing full 4K (4096 x 2160) resolution at 60 Hz and the reliability and image clarity of 3-chip DLP® all in one package. Both projectors are a quantum leap forward in video image processing and a breakthrough in high frame rate and high resolution video projection,” said Mike Garrido, senior product manager, Business Products, Christie.

The Christie D4K2560 and Christie D4K3560 projectors are the first of Christie’s new TruLife™ Electronics platform that offers customers superior image and video quality for the most comfortable and realistic viewing experience. Additionally, the units come equipped with 3G SDI, Display Port, and DVI/Dual Link DVI inputs, so Christie customers can update their existing sites for future projects without the constraints of SDVI inputs.

“Customers such as automotive designers and amusement park operators will love the increased dynamic range and the highest fidelity content with immaculate, deep, and vivid color transitions,” Garrido continued. “Amusement parks, for example, are open all day and well into the evening seven days a week and the combination of 4K, 60 Hz and DLP® reliability can manage the heavy workload with smooth, crystal-clear video content much longer than what has been available.

“With the launch of the Christie D4K2560 and D4K3560, Christie stands above the crowd in its ongoing commitment to providing the ultimate visual experience to its customers. Our new projectors continue to demonstrate our dedication to being the industry leader with incomparable solutions and customer service.”

The Christie D4K2560 and Christie D4K3560 have a three-year parts and labor warranty and ship in June 2013.

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