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Masque Sound Blows the Roof Off The Acorn Theatre for Explosive New Musical, Atomic

Custom Audio Equipment Package Brings the Story of the Creation of the First Nuclear Bomb to Off-Broadway Stage

NEW YORK, JULY 30, 2014 — When the highly charged, new rock musical, Atomic ignited the stage at The Acorn Theatre at New York’s Theatre Row, Masque Sound, a leading theatrical sound reinforcement, installation and design company, was on-hand to provide a custom audio equipment package to support Sound Designer Jon Weston and his team.

Atomic is a thrilling new off-Broadway musical that blasts open the doors of The Manhattan Project, a Government-funded program of top scientists who were faced with the task of creating the world’s first Atomic Bomb. The production depicts Hungarian American physicist and inventor Leó Szilárd as the mastermind behind atomic power whose heart has reservations. Ethics, scientific progress and true love are tested as Szilárd discovers exactly what he’s capable of when someone believes in him.

One of Weston’s biggest challenges in designing the sound for Atomic was the theatre’s layout itself. “The space we were dealing with is very wide and shallow, so coverage was a big concern,” says Weston. “In order to address those issues, equipment selection and its placement within the theatre, was critical. To accommodate the large scale of the show, we created an extensive sound system with Masque Sound’s assistance and support. Working in such a vast space, it was important to both the composer and director that the sound accurately depicts the many different emotions that run throughout this production, and I think that this custom audio equipment package allowed us to achieve that.”

In order to attain the soundscape he desired, Weston turned to the Avid VENUE Profile Console, which provides the sound quality, flexibility and reliability he was after. The main speaker system is comprised of a pair of d&b audiotechnik C7-TOP 15-inch two-way speakers. “The C7-TOP is a very musically-inclined, accommodating speaker,” Weston says. “It doesn’t wrap around or spill everywhere; its range goes exactly where it’s intended to and not much comes off the sides. It really is an excellent speaker and ideal for this production. We rounded out the main system with EAW JF200s and Meyer Sound UPA-1Ps, and it really sounds great.”

The surround system features RE Audio MT18s and Meyer Sound UPQ-1Ps that are also used as part of the effects system. The large, low end of the system includes d&b audiotechnik B4s and Q-subs, and Meyer Sound 650Ps. “The goal in the design of this surround system was to have an abundance of speakers working well within their set range, as opposed to having fewer speakers set up in a way that they sound draining,” adds Weston. “The system appears loud because of the contrast, but in reality it isn’t that loud.”

Additionally, Masque Sound supplied a microphone package featuring Sennheiser MKE-2s for the cast, as well as a wireless package featuring Sennheiser 5212 and 3532s. Masque Sound also provided frequency coordination for the 14 channels of wireless used for the show.

“Working with Masque Sound allows me to maximize my available options and budget,” says Weston. “It’s all about the relationship with the shop. I usually deal one-on-one with department personnel at Masque Sound, and they are always willing to go that extra step to help, which is critical to the success of a production’s sound design. I am very specific in my visions, and I know that can sometimes slow things down a bit, but they are always happy to oblige me, which is wonderful. The equipment Masque Sound provides, especially the microphones, are always top-notch. Even legacy equipment, which I like to use, is in stock and always in great shape. In addition to Masque Sound, I could not do what I do without the hard work of my personal team. Mixer/Associate Josh Millican and Assistant Sound Josh Staines do a great job of bringing it all together every performance.”

Atomic, running for a limited eight-week engagement, officially opened on Sunday, July 13 and is slated to run through August 16 at The Acorn Theatre at Theatre Row (410 West 42nd Street, between 9th and 10th Avenues). To learn more about Atomic, visit www.atomicthemusical.com.

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.

Entertainment and Film Industry Veteran Tony Miceli Joins Electrosonic

Electrosonic is pleased to announce that Tony Miceli has joined the company as Executive Consultant working with the Entertainment sales and the Design Consulting teams. Tony will be based in Electrosonic’s Orlando office.

Tony has been a leader in the entertainment industry for more than 25 years. He cofounded Soundelux Entertainment Group in Hollywood, California, and Orlando, Florida, in 1991 and, as its president, was the driving force behind their theme park creative development, audio-visual technologies design and installations, sound design, video and animation production and their Academy Award-winning feature film soundtracks. For the last ten years he has run his own company, Tony Miceli Creative, LLC., and worked as the Creative Media Director and Producer for Universal Creative.

“Tony has a very unique skill set that will be a big asset to our Entertainment business,” notes Chris Conte, Electrosonic’s VP of Entertainment. “He has extensive experience in audio and video system design, sound design and mixing and show programming. Tony is also an accomplished writer, director and producer of content with a focus on projection mapping and visual experiences. His direct experience in media creation, including audio composition, video, animation and graphics, will allow us to support our clients and also support our creative media associates in a variety of ways.”

Tony will work in concert with the design, sales and management teams to build and maintain new client relationships, perform senior level design consulting services, and develop business for existing and new markets.

“I am very excited to be joining Electrosonic and look forward to what the future holds,” says Miceli. “I have had the great fortune of participating in some benchmark setting projects over the years, working side by side with the Electrosonic team, and I’ve always been impressed with the quality and professionalism they have consistently delivered. My experience in various aspects of entertainment is a good match for Electrosonic’s roster of innovative projects and will help forge new business relationships while delivering the next generation of groundbreaking experiences.”

Most recently Tony, through Tony Miceli Creative, LLC., provided all AV design and installation and creative media production on Legoland Florida’s “World of Chima.” Tony did concept design development and creative direction for the redesign and renovation of theme park Parque de las Ciencias in Bayamon, Puerto Rico, and co-created, wrote and directed the 3D projection mapping show experience “La Isla del Encanto” at the historic Ballaja Plaza Mayor in Old San Juan, Puerto Rico.

While with Universal Creative, Tony worked with the theme park design development team on Universal Studios Dubailand. Also at Universal Creative, Tony was Music Director and Sound Producer, responsible for all sound effects, music selections, editing and mixing for all of “The Wizarding World of Harry Potter” land, including “Harry Potter and The Forbidden Journey,” “Dragon Challenge” and “Flight of the Hippogriff.”

Many of the Brooklyn native’s projects have received Thea and Telly Awards, including “Terminator 2 3D,” “Men in Black: Aliens Attack,” ‘Daytona USA,” and “The Amazing Adventures of Spider-Man – The Ride” to name just a few. In 1995, his company Soundelux won an Academy Award for sound effects editing for “Braveheart.”

About Electrosonic
Electrosonic, celebrating its 50th anniversary, is an international audio-visual company that creates tailored, state-of-the-art solutions for a wide range of markets including theme parks, museums, control rooms, and corporate meeting rooms. Since its founding in 1964, Electrosonic has built a strong reputation for working on complex projects, both large and small, and has developed lasting partnerships with customers and suppliers. Beyond complete integrated systems, Electrosonic provides a comprehensive scope of services including technical design, projector lamp sales, maintenance and operational support.

Learn more about Electrosonic. Visit http://www.electrosonic.com

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AV Stumpfl gives Norwegian rock ‘Wings’ for Pink Floyd tribute concerts

YouTube video: watch?v=BeOmGmiHa-s&feature=youtu.be © Blank

Unique projection mapping, blending and warping in spectacular setting

Everyone is familiar with the idea of a rock concert, but few events take the word ‘rock’ as literally as the recent series of outdoor gigs staged in Norway by the Pink Floyd tribute band Puls. Against the dramatic backdrop of the Kilden-Fjæreheia quarry in Grimstad, the band played six sold-out nights to audiences who were wowed not just by the music but by the spectacular projection-mapped backdrop that was created courtesy of AV Stumpfl’s Wings AV multi-image control technology.

Event design and production for the Puls concerts was the responsibility of Norwegian company Blank. Tomas Håvik, CEO of AV Stumpfl’s Scandinavian distributor Preqbi AB, recalls the project’s technical origins:

“Blank were searching for a solution that could deliver edge-blending and warping of multiple projected images, automated according to a timeline and with built-in media serving capability. We advised them that Wings AV could deliver exactly what they needed, and once the decision had been taken, we helped them with education and support.”

Kent Bakke, General Manager at Blank, explains: “Our challenge was that we wanted to map the actual face of the quarry that provides a backdrop to the band’s stage set. The face of this ‘mountain’ measures about 55 metres wide by 20 metres high, and our render size for the project was 3120 x 1200 pixels, with a 256 pixel overlap between the two halves of the image.

“The Vioso module of Wings split the image into a multi-display, blending and warping the output of six high-output HD projectors with ease. We also used Vioso to create and edit the video content, building up an exact replica of the ‘mountain’ in 3D.

“The content was stored and played back using the Wings Engine media server, with the Wings Avio control protocol allowing secure and perfectly synchronised connection via MIDI to the show’s lighting-control desk. This meant that the video timeline was perfectly sync’d to the music and associated lighting cues, every step of the way.”

With an audience of around 950 people per night seated in a U-shaped amphitheatre exactly opposite the quarry wall, each show culminated in a spectacular climax that echoed the finale of Pink Floyd’s ‘The Wall’, with pieces of rock from the quarry appearing to break up and fall towards the stage and theatre.

Tobias Stumpfl, Commercial Director, AV Stumpfl, concludes: “From video editing to large-scale projection, interactivity and show control, our Wings platform does it all. With the support of local partners such as Preqbi AB and the superb creativity of customers like Blank, our technologies are delivering spectacular results that wow audiences all over the world.

“We congratulate everyone involved with the Puls concerts in Norway and look forward to many more exciting applications of Wings to come!”

Some useful links:

Facebook:
@AV.Stumpfl.Pro
@blank.no
@Preqbi-AB

More information about Preqbi AB can be found at www.preqbi.se.

About AV Stumpfl
AV Stumpfl is an award-winning Austrian company that designs, manufactures and markets a range of high-performance mobile and installation projection screens and multi-display and show control systems for professional and business applications. As a family business, its founders started the company out of a passion for the advancement of presentation and installation technologies. The product range is warranted for 24/7 usage. AV Stumpfl is located in Wallern, Austria, and is supported by a global network of distribution and service partners.
www.avstumpfl.com

Nouvelle Star’s Amel Bent Takes SSL Live on the Road for 2014 Instinct Tour

“This is the console I have been waiting for; it gives me the utmost in flexibility, ergonomics, sound and options”

PARIS – Pop star Amel Bent first took France by storm as a semi-finalist on the pop idol television show Nouvelle Star in 2004. Ten years later, she’s still going strong. Currently in the midst of her Instinct Tour, Bent is performing to enthusiastic audiences across France and Switzerland, where a pair of SSL Live consoles, supplied by SGroup’s Alès location, are handling FOH and monitors.

Having previously worked with Christophe Willem, Zazie and 1789 Les amants de la bastille as PA tech, FOH engineer Thibault Maestracci joined Bent in November 2013 at the start of the tour. For this production, he takes approximately 50 channels from the stage and handles FOH mixing with a system that incorporates two Pro Tools® HD rigs.

“The first Pro Tools system is used as a ‘toolbox,’ mainly for effects for ‘stem group’ processing,” he explains. “The second system functions primarily as a backup during the show, but I can also use it as a multi-track recorder/player for rehearsals. The microphone preamplifiers are located on stage and are connected to the FOH console using SSL’s Blacklight II audio transport on two optical fibre connections. Alex [Maggi, the monitor engineer] and I have independent control over preamp gain for each desk.”

Maestracci is very happy with the results he gets with the SSL Live. “The sound quality is excellent and preamplifiers have the headroom to accept high input levels,” he adds. “I don’t need an external preamplifier with this desk — even for the lead vocal! The fader and encoder layout is great, and the way you can deploy the channels on different banks is very useful. You can put what you want where you want it. Once you understand the logic behind the desk, it is very easy to customize, and the ability to use both screens simultaneously is a powerful feature.”

According to Maestracci, the Instinct tour began indoors with a PA system that was configured for audiences between 500 and 1200. “For the summer, we’ve switched to an outdoor configuration with a local ‘festival-style’ PA,” he continues. “With this setup, the main output of the SSL Live is sent at 96 kHz via the AES output to two system processors, then distributed via Dante to the power amps.”

Meanwhile, Maggi, whose credits include Lara Fabian, Nolwenn Leroy and the production of Les Victoires de la Musique, mans his SSL Live from stage left, feeding monitor mixes to wireless IEM transmitters and wired IEM amplifiers. He met the Parisian pop sensation in 2004 while working on Nouvelle Star and soon after began touring as her monitor engineer.

“I’ve been waiting for a new generation of digital mixing consoles that could provide a higher number of output buses and increased reliability over the older digital desks I had been using,” he says. “The SSL Live gives me all of that, plus more. A big strength of the desk is that I can operate it in any number of methods. I can use the large touch screen or the small touch screen with its associated knob controllers, to access parameters for any input or output channel — whatever way is best for me. I find that I mainly use the small touch screen and the Channel Control Tile, which gives me rotary controls for the parameters and dedicated buttons to quickly access EQ, dynamics, panning and inserts. This is the console I have been waiting for. It gives me the utmost in flexibility, ergonomics, sound and options.”

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.

Video Devices PIX 260i Captures Footage Fit for a King as Part of The Royal Society Headquarters Refit

LONDON, JULY 30, 2014 – When The Royal Society in London was looking to refit the audio and visual facilities in two rooms at its headquarters at Carlton House Terrace in London, it turned to Video Devices, mission-critical video products by Sound Devices, and its PIX 260i for its video recording needs.

A fellowship of the world’s most eminent scientists and the oldest scientific academy in continuous existence, The Royal Society acts as a scientific advisor to the British government, receiving a parliamentary grant-in-aid. Installed by Winchester-based AV integrator Whitwam, and provided through Shure Distribution UK, The Royal Society fitted three PIX 260i’s in its largest gallery, the Wellcome Trust lecture theatre, to capture video from the four cameras installed in the space. Throughout the year, members of the Society give presentations in the various lecture halls. Many are broadcast, recorded and archived. In addition, the organization installed two Shure SCM820 eight-channel automatic audio mixers in the dining rooms as part of its improved sound reinforcement efforts for speeches and awards.

The rack-mounted PIX 260i is a file-based audio and video recorder that seamlessly replaces tape-based video decks in production and post-production environments. The Video Devices PIX 260i also offers 32 tracks of audio recording and playback as well as control from browser-capable computers and tablets. It records QuickTime files in either Apple ProRes or Avid DNxHD video formats. Files recorded in these intra-frame codecs are ready for editing directly from the recorder in such common editing environments as Avid, Final Cut Pro and Adobe Premiere, eliminating time-consuming transferring and transcoding. For color-critical applications, the PIX 260i supports Apple ProRes 4444 through its 12-bit, 4:4:4 3G-SDI I/O. Users can also play out files from the PIX 260i for real-time applications.

PIX 260i recorders can be controlled from browser-capable computers and tablets. When connected to a data network, transport controls and setup menu controls are available on the Video Devices PIXNET, which offers IP-addressable control of one or multiple PIX 260i recorders. Users can group multiple units for simultaneous control. Data drives connected to the PIX 260i are also accessible on Ethernet-based networks as read-only SMB shares, opening up endless possibilities for file sharing. Files can be copied from any PIX 260i located on a network, enabling access from across a room or the globe. Up to four SATA drives can be connected to the PIX 260i simultaneously. For RAID-type redundancy and to eliminate the need for post-record copying when multiple copies are required, users can record to all four drives simultaneously.

Building on the company’s deep heritage in production sound, Video Devices has infused the PIX 260i with 32-track record/playback capabilities. In addition to 16 channels of embedded SDI audio and eight channels of HDMI audio, the PIX 260i also accepts eight channels of line-level analog I/O and eight channels of AES digital audio. Using Audinate’s Dante, the PIX 260i accepts and transmits up to 32 channels of audio over Ethernet.

The PIX 260i includes a built-in Ambient Clockit time-code generator and reader with genlock output for rock-steady multi-camera and double-system sound applications. In addition to generating ultra-stable time code, time code can be read from the SDI stream, the HDMI stream or from an external source. It also includes a sophisticated scaler and frame-rate converter. Regardless of the incoming signal, the PIX recorders can record the signal after up-, down- or cross-conversion at the same or a different rate. Hardware-based 3:2 pull-down removal and anamorphic conversion is also available. PIX 260i’s convenient half-rack, 2U chassis dimension allows it to be easily integrated into any existing environment. It is powered by 10-27 VDC through its four-pin XLR connector.

Video Devices, a brand of Sound Devices, includes digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production. Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters, with additional offices in Madison, WI and Highland Park, IL. For more information, visit Video Devices and Sound Devices websites, www.videodevices.com; www.sounddevices.com.

Symetrix Appoints Millar Electronics as Rep in Southeast U.S.

SEATTLE, WASHINGTON: Symetrix, manufacturer of a wide range of DSP solutions for the installed sound market, from turnkey Jupiter processors to Dante-based, open architecture Radius and Edge processors, announces the appointment of North Carolina-based Millar Electronics as its rep in the Southeast. Millar Electronics will cover North Carolina, South Carolina, Georgia, Tennessee, Alabama, and Mississippi, where it has a deep history and a well-established network of connections. Millar Electronics was founded ninety years ago – in 1924 – as a components company selling capacitors, resistors, and the like. Over the decades, it grew with the times to become an audio/video manufacturers rep firm.

“Millar Electronics has built its success on relationships,” said Craig Richardson, vice president of global sales with Symetrix. “When I talk with people who do business with Millar Electronics, they always relate the trust they have in the salesmen they work with. Those salesmen are always out in their territories, talking with their clients, and keeping on top of what’s going on. They help their clients make the right choices for success now and in the long run.”

“We’re excited to work with Symetrix,” said Pete Petty, sales manager with Millar Electronics. “Symetrix builds cutting-edge DSP solutions, and its Edge and Radius products use Dante as a networking platform. Of course, Dante is becoming a big part of the industry, and Symetrix’ native Dante capacity will work hand-in-hand with a lot of the other equipment we represent and provide our clients with a complete solution. Moreover, great people work to make Symetrix what it is, and, having personally worked with them before, I know they’ll make it easy for us to go out and do our job. We’re looking forward to delivering a substantive increase in Symetrix’ market share in our territories.”

ABOUT SYMETRIX Symetrix is dedicated to making life sound better. As a world leader in the development and manufacturing of digital audio signal processing (DSP) systems and accessories, Symetrix provides best in class audio management solutions to businesses, schools, non-profits and government organizations.

For more information on Symetrix products visit www.symetrix.co

Flux releases IRCAM SPAT v3 for AAX/AU/VST

Flux completes migration to v3 with the release of SPAT v3 adding support for AVID AAX and 64 bit systems.

Oceanside, California, USA – Flux Sound and Picture Development of Orleans, France is proud to announce the release of SPAT v3, a positional audio plug-in combining three independently definable surround reverbs in a single plug-in with the ability to position and animate, with full automation, mono and stereo sound sources within these reverberant spaces.

SPAT may also be used to position and animate sources with all reverbs disengaged. This advanced feature set makes SPAT an indispensable tool for post-production professionals for ADR.

SPAT has been embraced by many within the community of orchestral composers as a tool for placing instruments on a virtual performance stage for position-correct and convincing orchestral emulations.

SPAT v3 adds support for AVID’s new AAX Native plug-in format. In addition to AAX, Audio Units and VST remain supported on both Mac and Windows. SPAT v1 remains available for users of RTAS systems.

All Flux v3 audio tools support both 64 and 32 bit systems with sample rates up to 384K. The Flux v3 platform delivers exceptionally rich, informative and responsive metering with near zero CPU cost by distributing UI processing to your systems’ GPU. All Flux audio tools are 8-channel ready for surround applications up to 7.1. The only exception is the distinctly named Stereo Tool freeware.

SPAT v3 is available to current SPAT users for no charge. Download SPAT v3 here: www.fluxhome.com/download

In celebration of both the release of SPAT and the completion of the Flux migration to v3, Flux is offering SPAT, the IRCAM TOOLS bundle containing SPAT and all upgrades to SPAT at a 30% discount, effective immediately.

Locate an authorized dealer for Flux and IRCAM Tools by visiting the exclusive Flux US distributor: www.AudioSage.com.

About Flux
Flux Sound and Picture Development of Orleans, France are developers of advanced software audio tools compatible with all major DAWs. Flux specializes in advanced dynamic control, rich real time analysis and EQ. Flux produces the IRCAM Tools line of psychoacoustic post-production tools in collaboration with the prestigious IRCAM Institute of Paris.

Lee Boylan Joins the PreSonus Europe Team

Belturbet, County Cavan, Ireland, July 2014… Highly respected multi-instrumentalist, producer, and engineer Lee Boylan has joined the PreSonus® Europe Ltd. team as a product specialist. In his new position, Boylan will demonstrate PreSonus products to dealers and distributors in Europe, the Middle East, and Africa; provide technical support; and generally assist PreSonus distributors in the region.

“We’re delighted to have Lee on our team,” says PreSonus Europe Ltd. Managing Director Michelle Lynch. “His knowledge, experience, and ability to work with a wide variety of people are exactly what we’ve been looking for.”

“I’m very excited to get the opportunity to work with such a passionate and innovative company as PreSonus,” responds Boylan. “It’s a pleasure to be given the task of showing people how great these products are every day.”

In addition to his responsibilities with PreSonus, Boylan operates a recording studio and works as a live-sound engineer in his native city of Dublin, Ireland. He had a number 1 hit album in Ireland with his band Fight Like Apes and has played in a wide variety of other bands, including drumming with John Illsley (ex-Dire Straits). Boylan also holds a Masters degree in Music and Media Technology from Trinity College Dublin.

For more information about PreSonus, please visit www.presonus.com.

***

About PreSonus Audio Electronics, Inc. – Founded in 1995, PreSonus Audio Electronics, Inc., is a leading designer and manufacturer of audio-recording and live-sound software, hardware, and related accessories. PreSonus’s software, microphone preamps, signal processors, digital audio interfaces, digital mixers, control surfaces, loudspeakers, and other products are used worldwide for recording, sound reinforcement, broadcast, sound design, and Internet audio.

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HPA to Host Symposium Leading Into SMPTE 2014 Annual Technical Conference & Exhibition

‘Making Do With More’ Event at Hollywood’s Historic El Capitan Theatre Will Explore the Impact of Enriched Pictures and Sound for Filmmakers and Content Creators

WHITE PLAINS, N.Y. — July 24, 2014 – The Society of Motion Picture and Television Engineers(R) (SMPTE(R)), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries, today announced that the SMPTE 2014 Annual Technical Conference & Exhibition (SMPTE 2014) will feature a pre-conference event — the SMPTE 2014 Symposium, hosted by the Hollywood Post Alliance(R) (HPA(R)) and titled “Making Do With More.” The daylong event is scheduled for Monday, Oct. 20 at the historic El Capitan Theatre in Hollywood, California.

“As we consider how technological advances will improve the entertainment experience, we must also address the workflow challenges that will arise,” said Pat Griffis, SMPTE education vice president. “Each area of potential enhancement — higher resolution, greater contrast and color, higher brightness, more frames, and more objects associated with sound — brings with it new demands on workflow. Sessions within the SMPTE 2014 Symposium will address these and other next-generation workflow concerns from both a technical and creative standpoint.”

The SMPTE 2014 Symposium is among the first joint efforts of SMPTE and HPA as they move forward with plans for full consolidation by May 2015, and it highlights the strengths of both organizations. HPA is known for facilitating dialog among all disciplines in the entertainment industry, and for its contributions to SMPTE educational events such as SMPTE 2014 that enrich and expand the larger conversation about key topics shaping the industry.

HPA is well-known for the annual HPA Tech Retreat(R), which brings technologists and filmmakers together to address many controversial topics influencing the industry. In developing the SMPTE 2014 Symposium as a “filmmaker’s symposium,” HPA is orchestrating sessions that take an in-depth look at advanced technologies that bring new tools to storytelling. The symposium will include creative sessions from renowned cinematographers, visual effects specialists, colorists, and other filmmakers discussing what they hope to do with enhanced pictures and frame rates.

Additional sessions will offer a look at immersive sound, its impact, and how it’s being applied today; changing models for delivery of content to the consumer — including theatrical, broadcast, physical media, and digital distribution — across TV sets, computers, and mobile devices; and the standards and practices being developed to address the changing content life cycle.

“By connecting the creative community and its supporters with the technical community at the SMPTE 2014 Symposium, SMPTE and HPA are creating an opportunity for all participants to gain a richer and deeper understanding of technology’s impact on the creative process,” said Leon Silverman, HPA president. “The new displays and distribution approaches being proposed by technology companies need to be understood in the context of how the creative community will use this extended tool kit. It is also critical that we examine the standards and workflow approaches that will be necessary to deliver something more to consumers than a higher numbers of pixels.”

SMPTE 2014 is the premier annual event for motion-imaging and media technology, production, operations, and the allied arts and sciences. Each year the event draws elite and world-renowned technology thought-leaders from motion picture studios, broadcast and distribution networks, production and postproduction communities, software companies, systems integrators, manufacturers, display technologies, distribution providers, over-the-top providers, and others leading the evolving motion-imaging industry.

Further information about SMPTE 2014 and the preconference symposium is available at www.smpte2014.org/.

# # #

About the Hollywood Post Alliance(R)
Hollywood Post Alliance(R) (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools, and infrastructure for the creation and finishing of motion pictures, television, commercials, digital media, and other dynamic media content. The annual HPA Tech Retreat(R) draws top industry engineering, technical, and creative talent, as well as strategic business leaders focused on technology, from all aspects of digital cinema, postproduction, film, television, video, and related technologies together for an informal exchange of information. The 2015 HPA Tech Retreat is scheduled for Feb. 9-13 in Indian Wells, California. Further information is available at http://hollywoodpostalliance.org/?ai1ec_event=2013-hpa-tech-retreat&instance_id=293. Information on joining HPA is available at http://hollywoodpostalliance.org/.

About the Society of Motion Picture and Television Engineers(R) (SMPTE(R))
The Oscar(R) and Emmy(R) Award-winning Society of Motion Picture and Television Engineers(R) (SMPTE(R)), a professional membership association, is the preeminent leader in the advancement of the art, science, and craft of the image, sound, and metadata ecosystem, worldwide. An internationally recognized and accredited organization, SMPTE advances moving-imagery education and engineering across the communications, technology, media, and entertainment industries. Since its founding in 1916, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 800 standards, recommended practices, and engineering guidelines.

The Society is sustained by more than 6,000 members — motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students — who meet in Sections throughout the world. Through the Society’s partnership with the Hollywood Post Alliance (HPA), this membership is complemented by the professional community of businesses and individuals who provide expertise, support, tools, and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media, and other dynamic media content. Information on joining SMPTE is available at www.smpte.org/join.

All trademarks appearing herein are the property of their respective owners.

Professional Wireless Systems Sets the Stage with Wireless Equipment Package and Frequency Coordination Services for Univision’s Premios Juventud

MIAMI, FL, JULY 23, 2014 – When the world’s biggest Spanish-speaking celebrities gathered in Miami for the 10th annual Premios Juventud awards show on July 17 at the BankUnited Center, Professional Wireless Systems (PWS) was once again backstage with a custom RF entertainment and intercom package to manage frequency coordination for the festivities.

Presented by Univision, Premios Juventud (Youth Awards) is an awards show that nominates Spanish-speaking celebrities to celebrate their artistic achievements in 27 unique categories within the areas of film, music, sports, fashion and pop culture. In an interesting twist, the awards show asks the public to nominate their favorite singers, athletes and actors for award consideration and to then subsequently choose the winners through an online voting portal. Past winners include high-profile pop culture celebrities such as Shakira, Daddy Yankee, Antonio Banderas and Jennifer Lopez.

PWS has been providing equipment and handling wireless frequency coordination for the show since its inception in 2004. PWS managed a total of 130 frequencies for the main stage performances this year. In order to ensure that there were no signal interference issues, PWS utilized a wireless package from Sennheiser, which included 3732-II receivers with 5200-II handhelds and 5212-II belt packs. The crew also utilized a Shure Axient® Wireless Management Network along with Shure PSM1000 in-ear monitors. PWS primarily selected the Shure Axient for the show’s artist presenters, as it is a comprehensive, innovative and fail-safe system with highly advanced planning, setup and control capabilities that make it a dependable product capable of combating any unforeseen challenges with ease. In addition, Univision supplied 20 Shure UHF-Rs to complement the Shure Axient system as well as eight PSM 1000 in-ear monitors.

“One of the biggest challenges we face when providing wireless for an event of this caliber is managing last-minute equipment changes, as many artists bring in their own mics and transmitters for the show,” says Evan Hall, PWS lead RF coordinator. “This is one of the primary reasons why we choose to rely on the Sennheiser 3732-II receivers and Shure Axient Wireless Management Network, because they are the only two products currently on the market that offer the entire spectrum range. With Sennheiser and Shure, we know that our crew will be adequately prepared to handle any artist equipment accommodations that may arise without repatching the entire system.”

PWS also supplied and deployed a number of Telex BTR-800s for its wireless communications as well as a majority of its own equipment, including a combination of its Domed and Helical Antennas, DB Series – Multicouplers, as well as GX-8 Combiners for intercom, IFB and in-ear monitors. “We used 11 Telex systems, which presented quite a challenge, as it comprised more than half of our available spectrum,” adds Hall. “For this type of high-profile awards show, the wireless intercom system has to work on stage and off. We efficiently managed the large number of intercoms, along with all the other wireless equipment, with PWS’ GX-8s and DB-IC Multicouplers.”

Tying everything together, PWS managed the show’s frequencies with its own Intermodulation Analysis Software System (IAS). PWS’ IAS software cuts down on setup time by combining a database of wireless performance equipment and access to local television frequencies in use, allowing the RF technician the ability to simply enter the current zip code and, in a matter of moments, inventory the entire list of equipment and frequencies in-use. “IAS is the building block to all of the productions that PWS works on, as it helps us to quickly choose the clear frequencies for each specific wireless system and tuning range,” adds Hall. “The PWS team once again did an amazing job; the show looked and sounded great.”

For more information about Professional Wireless Systems, visit http://www.professionalwireless.com.

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.

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