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Media Vision Launches Microphone Buyback Program

An appealing campaign just launched by Media Vision is stirring the industry: the first microphone buyback program. For a limited time, until July 15th 2014, Media Vision is offering $50 per microphone to customers trading in their obsolete or inadequate technology for a new TAIDEN conferencing microphone system. The program is supported by Media Vision’s nine offices across North America and Europe.

Media Vision’s buyback program is available to all. “We accept to trade in any microphone from any manufacturer” says Kevin Stoner, Director of Operations at Media Vision “whether your old solution is a wired, wireless, ceiling-mounted or boundary microphone system, we will take it back and give you $50 per mic.”. With these open terms, Media Vision is making it easy for most organizations to upgrade to conferencing microphones and finally experience intelligibility in their meeting environment.

To get the full trade-in value Media Vision only requires that the used microphones be returned with all accessories, including main unit and cables or batteries, as the company will attempt to recondition them for resale or donation. “If the system is in working condition, we will strive to find an organization in need of those products that you no longer want” says Kevin, “The goal is to keep electronics out of the waste stream”. However, if the old microphones are damaged and reuse is not possible, Media Vision offers to recycle them according to local regulations.

Media Vision’s microphone buyback program combines a financial incentive with sustainable practices; now, wouldn’t you agree it is time to upgrade your microphones?

For more information on the program, including a video presentation, complete FAQs, as well as all registration details, Media Vision has created a dedicated support line on their website and via email: buyback@media-vision.com

About Media Vision
Media Vision is a leading provider of professional wired and wireless conferencing solutions for multipurpose meeting rooms, VTC boardrooms, training centers, council chambers and auditoriums. Supported by feature-rich, flexible technologies, powerful software, and a dedicated product engineering team, we work with system integrators and consultants to design conferencing solutions that improve the audio intelligibility in the room and on the far end for distance communication. Additional information can be found at www.media-vision.com

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Masque Sound Takes Lincoln Center Theater Audiences on a Sonic Tour of New York City in Moss Hart’s Autobiographical Play, Act One

NEW YORK, APRIL 16, 2014 – Masque Sound, a leading theatrical sound reinforcement, installation and design company, returned to the Vivian Beaumont Theater at Lincoln Center to support Sound Designer Dan Moses Schreier with a dynamic custom audio equipment package for Lincoln Center Theater’s newest production, Act One.

In Act One, James Lapine directs his own adaptation of Moss Hart’s classic autobiography, which chronicles the legendary playwright and theater director’s struggle to escape poverty and forge a career in theater. This led to his collaboration with George S. Kaufman, and culminated in his first great success, Once in a Lifetime.

Schreier’s biggest challenge in designing the sound was dealing with the acoustics of the theater itself. “The Vivian Beaumont Theater is notorious for requiring special acoustic systems, since there is no natural reverb in the room,” says Schreier. “When the theater was constructed it was built with traps all the way around the back wall of the auditorium, which gives the effect of an acoustically dead space. Technologies have evolved so much since the theater opened in 1965, however, that it is now possible to make the room feel alive.”

Part of the aesthetic of Act One is driven by the set design, as it features a three-story structure built on an 80-foot revolving turntable. Each part of the turntable highlights a different New York City locale throughout the play. “It’s very monumental, it’s very theatrical and it’s a very beautiful structure,” adds Schreier. “All of the sound effects were driven by the look and the movement of this turntable, which signifies that specific time period of Moss Hart’s life. In addition, every time it spins, you get a different sonic picture of New York City — sometimes it’s the subway, other times the street or a playground. The idea behind the sound design was to create a sonic version of New York City. With Masque Sound’s help, I think we did a wonderful job.”

Another key component of the sound design was the use of Yamaha’s DME 64 Programmable DSP Engine. “I worked very closely with my Associate Sound Designer Joshua Reid to create nine different zones that all have different timings to help with the architecture of the space,” says Schreier. “Because of the theater’s shape, a third of the audience is always looking at the back of an actor. A big part of the sound design was to compensate for this, which is why we created these different time zones based on the actor’s locations on the set.”

In order to achieve the sound he was looking for, Schreier chose the Yamaha CL-5 digital mixing console. With a three-section fader layout for efficient hands-on control, the CL-5 is an ideal choice for a diverse spectrum of live sound systems, giving Schreier exactly what he needed. He utilized 12 discreet outputs of the console going to various areas of the theater in order to provide real sound effects, such as the sound of the subway moving across the back wall of the theater at the same time as dogs barking upstage. This added real depth and three dimensions to the design.

For his PA, Schreier thought a lot about what speakers would be right for the space. “The Vivian Beaumont Theater seats like a coliseum with a three-quarter fan shape,” he continues. “There was one speaker in particular, the d&b audiotechnik E12-D, that I thought would solve the problem of the theater very elegantly, and it did. The coverage is smooth and it’s amazing how well the speakers work. I think the sound reinforcement part of the design sounds quite fantastic and I really have to thank Masque Sound for that, because they had to purchase this particular model for this production.”

Schreier chose the d&b E12-D for its rotatable horn, as it provides a very wide dispersion. By rotating the horns up and down, he was able to cover the theater almost entirely with one cabinet, thus eliminating the need for an array. Masque Sound also provided d&b Q-subs as well as Meyer Sound M1Ds for the rear orchestra fill and balcony delay ring. In addition, Schreier also utilized the Beaumont Theater’s Qin-house PA system for some of the sound effects when he wanted to envelop the audience.

Act One opened on Thursday, April 17 at the Vivian Beaumont Theater. The show features a cast of 22 including Tony nominees Tony Shalhoub and Santino Fontana and Tony Award-winner Andrea Martin. The limited engagement is currently scheduled to run through June 15, 2014.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

West Coast Catalyst AV Distribution Network Member Custom Plus Distributing Announces Expansion in Northern California

Auburn, WA – April 16, 2014 – Custom Plus Distributing and manufacturers’ rep firm Oliver Marketing today announced the addition of a new distribution warehouse in San Jose, California. This is the second location for the sister companies in Northern California.

This announcement represents the fourth location for Custom Plus Distributing and Oliver Marketing, headquartered in Auburn, WA – with additional locations in Portland and Sacramento.

The new location will be led by San Jose resident Kevin Mitchel, who brings a strong background in custom home audio and video, including years as a Regional Sales Manager for Atlona Technologies.

“We’re excited about the appointment of Kevin Mitchel as Branch Manager,” said Mike Munger, General Manager for Custom Plus Distributing, adding “Kevin will be able to provide superior support to customers through his deep understanding of custom integration needs.”

The location will carry Nest, APC, EnGenius, Atlona, TiVo, IC Realtime, ClearView CCTV, Vivitek, ICE Cable, Perfect Path, Vanco, Rapid Racks and Mounts, Catalyst Wire & Cable, 2GIG, Sony, Russound, Klipsch, SpeakerCraft, URC and more.

The warehouse is merchandised for integrators to evaluate and select their items in a self-serve shopping environment. This allows them to see the breadth of product available to them, easily identify deals, and through quick product selection, move on to their jobs.

Bob Oliver, President and Owner of Custom Plus Distributing and Oliver Marketing, commented, “Silicon Valley is a hotbed of growth and we are committed to delivering the same superior products and levels of customer support that our company has become known for in the markets we serve.”

The new Custom Plus Distributing location is 751 Charcot Ave, San Jose, CA 95131.

For more information visit http://www.customplusdistributing.com/sanjose.html or email info@customplusdistributing.com

About Custom Plus Distributing
Established in 1996, Custom Plus Distributing is a leading Distributor covering Washington, Oregon, Idaho, Alaska, Montana, Northern California and Nevada territories. Custom Plus Distributing specializes in both car and home categories, providing audio, video, security, and networking products. CPD is also a founding member of Catalyst AV, a consortium of consumer electronics distributors, serving over 15,000 dealers nationwide. www.customplusdistributing.com

About Oliver Marketing Inc.
Oliver Marketing, Inc., a manufacturers’ representative firm, was founded in 1986, and represents major brands Sonos, Harman, Sony, Kenwood and Rockford Fosgate, among others.

About Catalyst AV
Founded in 2012, Catalyst AV is a network of 12-independent consumer electronics distributors serving the residential and professional AV channels in the U.S. Catalyst AV grants manufacturers a consistent and cohesive nationwide distribution model to more than 15,000 professional integration specialists. Catalyst AV benefits integrators by delivering all the products and support necessary to execute the demands of job specifications with confidence. The Catalyst AV Board of Directors consists of Mike Hench (Electronics Source Distributors); Steve Presti (Easy Access Distribution) and Wally Whinna (Allnet Distributing). www.catalystav.com

Powerful Christie Projectors Drive Idaho Power’s Unique Hybrid Control Room Wall

Christie® projection technology is an integral part of a groundbreaking hybrid display wall solution for Idaho Power’s new control room that is helping the electric utility serve its half-million customers with a more efficient, more informative, and more reliable monitoring system. The SA2™ patent-pending solution designed by Primate Technologies, Inc. overlays dynamic projected content from a series of Christie DS+6K-M SXGA 3-chip DLP® projectors onto a digital-based modular tile mapboard from Monitor Mapboard Systems. The unique combination allows abnormal conditions to be projected and lit upon the screen, making it easier to see situations such as an open breaker or multiple breakers flashing at different stations.

Idaho Power’s service area spans some of the most rugged and remote landscape across southern Idaho and eastern Oregon to serve a population of approximately 1,000,000 people. When the utility was moving to a new location, it sought to remodel its control room and started exploring potential alternatives to the traditional, static-type mapboards that would not be affected by the ambient light from the windows. In the past, the utility had used anything from a paper map to a tiled mapboard. Idaho Power was intrigued by the hybrid Scadaboard solution suggested by Monitor and Primate that still met all its criteria for a rugged, 24/7 wall that was also customizable, providing up-to-the-second information while maintaining a static component of the control monitoring display which is critical during outages or catastrophic events.

Primate Technologies Inc., which builds robust visualization software products for the energy industry, developed the unique concept of overlaying projected content from overhead Christie projectors in strategic areas of Monitor Mapboard Systems’ modular, digital output based mapboard with software driven dynamic content just in the areas needed. The result was a hybrid display wall that is much more visible to the entire room, allowing for increased situation awareness and the ability for operators to easily add collaborative information and tags to the projected dynamic content. Primate Technologies, Inc. software also allows users to add additional displays or change the appearance of the dynamic content projected on the board.
“Idaho Power’s hybrid solution is the first of its kind and represents a marriage of leading technologies in 24/7 control rooms,” said Rita Patterson, vice president of Sales, Marketing and Customer Relations at Primate Technologies, Inc. “With the primary goal of providing a highly efficient control room environment, we needed to make sure that the companies we chose fully understood that environment. For digital front projection, Christie was the clear choice as they came highly recommended by trusted customers.”

Monitor Mapboard Systems provides situational awareness tools for displaying the ‘big picture’ in the form of large, physical dynamic mapboards, which are graphic representations of the client’s grid or service territory. It also offers dynamic mapboards that are wired with LEDs to show abnormal status. When coupled with Primate Technologies’ dynamically projected software, this “live” Scadaboard™ provides the ultimate situational awareness mapboard solution.

“Electric utilities have a history of using mapboards to display their big picture system status, making them a critical tool for alerting the dispatcher when something has happened,” noted Vince Blaeser, principal, Monitor Mapboard Systems. “The hybrid Scadaboard solution brings additional layers of relevant and dynamic content to the system operators.”

“Analog display walls are common in the industry, and we considered everything from using materials that included metal or plastic tile boards, to massive silkscreen tile boards with switches or lights,” said Gary Felton Jr., Chief Dispatcher, Load Serving Operations, Idaho Power. “The hybrid display was the ideal solution. We are especially impressed with the images from the three Christie DS+6K-M projectors. They are exceptionally bright, crisp and vibrant, and really ‘pop’ when you see them on the board.”

“We are pleased to be selected for this unique solution for Idaho Power that represents a perfect marriage of three leading technologies for control rooms. This hybrid display has a truly high-tech feel,” said Dave Muscat, senior director, Control Room Solutions, at Christie. “It’s really inspiring to see how Primate Technologies, Inc. and Monitor Mapboard Systems helped Idaho Power brilliantly meet its needs.”

At Booth 9207 at the IEEE Conference and Exposition April 14-17 in Chicago, Monitor Mapboards will feature Scadaboard™, a real-time monitoring display wall technology that uses Primate Technologies, Inc.’s data visualization software and Christie DHD800 HD DLP® front projection to bring timely content to a Monitor mapboard, delivering enhanced situational and operational awareness.

Leading Italian Hire Company AGORA Adds SSL Live to its Console Portfolio

“The sound quality reminded me of the high level analogue sound that I was used to”

ROME – AGORA, the leading Italian rental company, has purchased an SSL Live console to support the local and international music, sports and corporate events that it serves. In the nearly 25 years that it has been in business, AGORA has become the standard for the tours of top Italian artists, such as Andrea Bocelli, Laura Pausini, Ligabue and Tiziano Ferro, as well as high-profile international events, such as Carlos Santana, Red Hot Chilli Peppers and Elton John, the Live 8 concert and the opening and closing ceremonies of the 2006 and 2014 Winter Games in Turin and Sochi.

AGORA’s Live console has already hit the road with one major client, Italian blues singer Mario Biondi, whose front of house engineer, Piefrancesco “Hugo” Tempesta, has been using it on tour for almost two months and has been extremely happy with the results. “Before I decided to use the SSL Live on tour, I did a simple but efficient test,” says Tempesta. “I used one channel and carefully listened to the performance of the mic pre, summing and overall sound quality, which reminded me of the high level analogue sound that I was used to. I had no doubt in my mind that this was the console for me, and I feel very confident in my choice.”

It wasn’t just the sound quality that drew Tempesta to the SSL Live, but also the user-friendly interface, which he says is well-designed and intuitive. Another key feature for him is SSL’s Blacklight II high bandwidth multiplexed MADI, which transports several MADI ports on a single fibre connection.

Wolfgango and Vittorio De Amicis, brothers and co-owners of AGORA added their own comment regarding their addition of SSL Live to their hire portfolio. “AGORA usually invests with major players in the industry and of course SSL is one of them, even if it has just joined the live touring market. We expect that SSL’s reputation will follow the company into the live space and make Live a leading contender in the market.”

www.solidstatelogic.com/live
www.agoraaq.it

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

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Atlona(R) Appoints Thorsten Goecke as Director of Business Development for EMEA, Commercial

SAN JOSE, Calif. — April 15, 2014 — Atlona(R), a leading AV distribution solutions provider, today announced the appointment of Thorsten Goecke as director of business development for the company’s EMEA commercial division. In his new role, Goecke will work to extend Atlona’s partner network and brand awareness in the European AV installation market. more

Denon Professional’s DN-700R Selected by KCHO-FM

Northstate Public Radio Turns to SD/USB Audio Recorder to Provide Networked Recording, Archiving, and Playback Capabilities more

SSL Live Console on the Road with Flogging Molly’s GREEN 17 TOUR

“Bar none, it’s the best digital console on the market”

LOS ANGELES - When an analogue stalwart front-of-house engineer who’s known to eschew digital consoles finally finds one that meets his standards it’s a milestone. Flogging Molly is named for their inauspicious start playing Molly Malone’s Pub in Los Angeles Monday nights in the Nineties. The seven-piece Irish/American, punk/folk ensemble is a rock band with traditional Irish instruments, fronted by Dave King on acoustic guitar and Bridget Regan on fiddle, with electric guitar, bass drums, accordion and banjo. An SSL Live console, supplied by VER Tour Sound, the latest addition to SSL’s Live partner network, was deployed at front of house for the group’s 10th Annual GREEN 17 TOUR, the band’s countdown to St. Patrick’s Day. Stopping at 27 cities, the tour started at Atlanta’s Tabernacle and ended five weeks later at New Orleans’ House of Blues.

FOH engineer Kevin Lemoine describes the touras “theaters and larger clubs, like the House of Blues, with loudspeakers ranging from a very nice d&b J-series outside <where everything is pristine and clean, all the way down to 15-year-old EV boxes.”

Lemoine has mixed Green Day for 13 years and is known for carrying an analogue console during most of his tours. He has mixed a number of other well-known acts, including Sugar Ray, Buck Owens, the Luna Chicks, Iggy Pop, Ice-T, Jane’s Addiction, The Black Crowes and The Reverend Horton Heat, among others.

VER’s Jason Vrobel has worked Green Day shows with Lemoine since 2004 as crew chief and system engineer. “I’ve known Kevin for a very long time,” Vrobel states. “He’s always been anti-digital. Always uses analogue as much as he possibly can. Anytime there’s analogue/digital situation, it wasn’t his choice. This was the first time he was extremely happy.”

“I didn’t have any time on the SSL Live before we went out on tour,” says Lemoine. “Back at VER, Jason programmed the inputs, effects sends and returns, groups, basically assigning the whole console before the tour. So no training, a little bit of YouTube searching about how things work, how it was set up, how it operated, but the rest of it was hands-on right there. It’s not a very difficult console to get around on.”

SSL Live is designed to provide a flexible workflow with several operational approaches, combining a large multi-touch daylight screen, with a second channel control screen surrounded by dedicated encoders, and up to three five-layered, 12-channel fader tiles plus, under the hood, there’s abundant, adaptable bus architecture. “The first day, was a little nerve-wracking because I was just learning the console,” says Lemoine. “Second day, I got a little deeper into what was available on each input; compressors, limiters, gates and how things worked. For the stuff that you use every day, it’s laid out pretty well. The sound was great on the first day and throughout the tour, I just refined the great sound.”

“There are two schools of thought from a FOH perspective,” continues Lemoine. “Pretty much, it boils down to digital versus analogue consoles. To my ear, and to most of my friends’ ears, analogue consoles sound the best, but the one negative factor is transport, size, weight and all that stuff. On the other hand, you have the digital realm where the console is small, light and easy to pack around, but their sound is usually kind of inept, I think. The features are there, but in the end, the sound isn’t really what you’re looking for. So now, you have this SSL Live, which seems to be in its own realm. It’s a small digital console, easy to pack around and fits into any venue, but it doesn’t sound like a digital console, it sounds like an analogue console. It’s very pleasing to the ear.

“It’s a very wide sound stage,” adds Lemoine. “A lot of consoles don’t go that wide. It’s nice to hear your drummer’s toms go from left to right and hear a true stereo image on your cymbals. It’s definitely a wide sound stage. Bar none, it’s the best digital console on the market. I have no doubt in my mind. I really like Live’s mic pres, they’re pretty amazing.”

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

Zylight Brings Upgraded F8 LED Fresnel to NAB 2014

LOS ANGELES – Zylight, a leading manufacturer of innovative LED lighting solutions, showcased an improved F8 LED Fresnel at the 2014 NAB Show. Introduced last year, the reengineered lighting instrument still delivers close to the light output of a traditional 1000-watt Fresnel and collapses to less than four inches thick for easy transport, but a number of refinements deliver improved performance for field and studio applications.

The yoke mount has been angled for greater positioning range and able to accommodate 90-degree stand mounting. Plus, all locking and adjustment is done with a single knob. On the light, the self-locking focus now automatically holds focus position. Other improvements include improved bellow design for smoother operation, a self-terminating DMX input, better protection from the elements and a new heat sink orientation that allows 20 percent better cooling.

“We have been blown away by the response to the F8. Broadcast studios, ENG news crews, commercial producers, independent filmmakers – our LED Fresnel has been embraced by video professionals across the industry,” said Joe Arnao, president of Zylight. “We went back to the drawing board to make the F8 even better, without changing the features that make it the most exciting lighting instrument on the market.”

Available in daylight (5600K) or tungsten (3200K) versions, the F8 lighting instrument draws only 100 watts. It has a high CRI (color rendering index) and its eight-inch SCHOTT glass lens maintains single shadow traditional Fresnel beam shaping. The fully dimmable F8 offers an adjustable beam spread (16-70 degrees), with a patented focusing system for spot and flood operations.

Bright like an HMI, the F8 is a better choice for run-and-gun ENG applications – it can be powered by a standard 14.4V camera battery or AC adapter, and it is water resistant (IP54) for use in challenging location conditions. Its LED engine features quantum dot technology to provide a more refined and balanced natural light output, which has been tuned to work with today’s digital camera systems. Like other Zylight models, the F8 features ZyLink wireless technology, which makes it easy to link multiple Zylights for simultaneous remote control. The F8 ships with barn doors and yoke mount, but additional accessories are available separately.

ABOUT ZYLIGHT LLC

Founded in 2003, Zylight LLC is the leading manufacturer of intelligent LED lighting instruments for the film and video production industry. Every model in its easy-to-use lighting system produces fully calibrated bright white light, while some also provide a spectrum of adjustable colors without gels. Full wireless control and DMX integration are included, and AC or DC power options are available. The Zylight state-of-the-art LED system is truly the most unique and flexible lighting system on the market today. With more than 50 dealers worldwide, Zylight continues to develop innovative LED lighting solutions to help make your job easier. More Than Bright – Zylight. Find out more at www.zylight.com.

DAS Unveils Initial Lineup of Experts and Case Studies from Real World Digital Asset Projects

Multi-Industry experts look at the lifecycle of assets from Production Through Rights Management

(Los Angeles, CA) – AMIA has announced the preliminary lineup for its popular Digital Asset Symposium (DAS). DAS will be held on May 15 & 16, 2014 at the Linwood Dunn Theater in Hollywood, CA.

“Since the beginning, DAS has been the place where projects, problems, and solutions are discussed within a real world framework. This year’s event continues that and will engage an even greater diversity of experts and industries. We want the entire community of technical and creative users to share what they are working on, the lessons learned, what challenges they’re facing now and what might be around the corner,” noted Tom Regal, the DAS program chair.

An early peek at the lineup includes compelling experts and speakers. Additional presenters and case studies are being announced weekly.

Flexibility, Inventiveness and Creativity: A Case Study in Data Centric Storytelling
Jacob Rosenberg (Bandito Bros) and Tom Vice (nextLAB)
This keynote case study will focus on new production strategies in the modern era of gigabytes and terabytes and file based cameras that are empowering to the creative teams and daunting to those that have to track and manage these assets.

Digital Rights: Navigating Copyright in a Digital World
Eric J. Schwartz (partner, Mitchell Silberberg & Knupp)
Schwartz will discuss current U.S. copyright law including a review of recent cases and issues such as asset copying, mass digitization, fair use, and preservation and access of audiovisual materials. Schwartz is one the most highly regarded experts in this field, bringing invaluable insight from more than 25 years of experience as a copyright attorney providing counseling on U.S. and foreign copyright laws – including rights, ownership and enforcement issues – relating to new technology rights, social media, and management matters.

Where Has All the Content Gone?
In partnership with Creative Storage, Entertainment Storage Alliance
The preservation of digital content requires the right digital storage technologies, the right practices and a commitment to a long-term storage objective. Tom Coughlin – noted expert and founder of Creative Storage Conference – will explore trends in content creation and storage, conversion of content, a survey of available and future archiving technologies and their trade-offs and provide guidance on the best way to bring valuable digital and analog content into the future.

Laura Rooney, AMIA managing director, notes, “We believe bringing together a diversity of knowledge leads to new solutions to shared challenges. New media assets are being created at a speed that grows exponentially, in almost every industry, every day. Everyone is dealing with similar challenges and we can learn a lot from each other, but only if we’re in the same place. DAS is where those discussions happen – where experts in each stage of the digital life cycle put aside theory and share real world experience.”

Registration is now open for DAS. Tickets are available at www.DAS2014.org. The two day event includes all panels, case studies, and two cocktail receptions.

Industry partners include; American Cinema Editors, Creative Storage Alliance, Law Enforcement Video Association, Media & Entertainment Services Alliance, Iron Mountain Entertainment Services, Deluxe, LAC Group, and Reflex Technologies.

For further information, visit www.DAS2014.org.

About DAS
DAS addresses the full life cycle of the media asset – from content creation to rights management to assuring asset preservation – with speakers and case studies that address what works in the real world. Each part of the life cycle impacts the next and DAS is the only place where everyone is part of the conversation – content creators, post-production, systems designers, archives, asset managers – where commercial meets nonprofit and corporate meets public.

About AMIA
As the world’s largest international association of professional media archivists, AMIA is uniquely poised to bring together a broad range of experts. Members represent film studios, corporate and national archives, historical societies, labs, post production, universities, footage libraries and more. Because of this diverse membership, AMIA provides an opportunity to interact with every facet of the field and a single forum to address the best ways to preserve our media assets.

# # #

Media Contact:
Chris Purse or Stacey Humphrey
ignite strategic communications
818.980.3473
chris@ignite.bz; stacey@ignite.bz

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

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