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Cinemagic to Digitize National Chain with Christie Cinema Solutions

Cinemagic, a cinema chain focused on building cinemas in towns between 50 and 70 thousand inhabitants of Mexico, and Christie®, the dominant brand in the global digital cinema projection market, today announced the joint digitization of 70 screens currently operated by Cinemagic in Mexico.

Christie will supply an assortment of Christie Solaria® One+ and Christie CP2220 projectors to the Cinemagic complexes, facilitated by Scrabble Entertainment, an international deployment entity whose financing of DCI-compliant digital cinema projector conversions helps all manner of cinemas make the move to digital technology.

“With Christie supplying the highest quality of digital cinema equipment and technical support, Cinemagic will be able to offer to our audience the best quality in cinema projection in each of the cities we serve,” said Roberto Quintero, CEO, Cinemagic.

“Cinemagic is to be commended on its mission to bring cinema to the small communities without entertainment options in Mexico,” said Ernesto Armus, general manager for Christie Mexico. “We are honored to be part of its mission and are committed to supplying Cinemagic with the world’s leading digital projection hardware, software and services.”

Roberto Quintero said, “We are confident that with dedication, effort and together with our strategic partners, we will ensure the growth and consolidation of our project to successfully bring cinema to the small communities of our country.”

Christie to Demo Breakthrough 3D Cinema Technology For Premium Cinema Experiences with Latest ‘6-Primary’ 4K Laser Projector

Christie® today announced upcoming demonstrations of the world’s most advanced laser projection architecture and Dolby® 3D, to be held in the Christie Innovation Theaters throughout CinemaCon 2014 (Caesars Palace, March 24-27) and the National Association of Broadcasters NAB Show® (Las Vegas Convention Center, April 5-10). Christie DLP Cinema® laser projectors using 6-Primary (6P) color laser modules, earmarked for mass production in early 2015, will show how 3D light levels, image uniformity, viewing comfort, and a sense of immersion can be vastly improved, especially when combined with advanced separation technology like Dolby 3D, versus conventional 3D systems found in cinemas around the world today.

“Recent declines in domestic 3D movie attendance are a sign that the novelty is wearing off, with audiences less willing to pay a premium for what is all too often a mediocre experience. The lackluster quality of this experience results from a number of technical limitations with current 3D system architectures, the most serious one being restricted light levels that amount to only 10-30 percent of those levels achieved for 2D presentations,” said Don Shaw, senior director, Product Management, Christie Entertainment Solutions. “Simply put, the movies are too dark, leaving audiences struggling to discern critical details that make up the image in front of them.”

“Christie’s latest laser projection technology, using 6 specific primary colors rather than filtered or polarized broad-spectrum white light, brings dramatically improved 3D efficiency to projection systems, regardless of the size of screen in premium movie theaters,” added Shaw. “We believe that this is the future of 3D cinema projection, that it is right around the corner, and that it will be a key element in boosting 3D box office revenues around the world. Our CinemaCon and NAB Show demonstrations will be the first 6P laser events available to the broad cinema community, from filmmakers to exhibitors, and reaffirms Christie’s 80-year commitment to cinema innovation, rather than ‘moving beyond digital cinema’ as some other industry players have promised.”

At least twice as efficient as today’s best 3D systems, Christie’s 6P laser projectors generate a proprietary mix of photoptically-optimized light wavelengths for each eye directly from the source, in effect eliminating the need for a highly inefficient stage of filtering or polarizing the light as it leaves the projector. The Christie demos will use Dolby® 3D glasses specifically engineered to exactly match the 6 primary laser light wavelengths to yield nearly 90 percent light efficiency. “Their color separation based technique for 3D is well regarded as the gold standard among industry professionals, especially for its true color reproduction, compatibility with low-gain white screens, and superior crosstalk performance – only now it can be part of a system that is tremendously more light efficient,” said Shaw.

“Dolby 3D’s advanced color separation technology is ideally suited for next generation laser projectors,” said Doug Darrow, Senior Vice President, Cinema, Dolby Laboratories. “With extremely high light efficiency, nearly no crosstalk and crisp images with vibrant colors, we believe Dolby 3D combined with laser projection produces the best possible 3D viewing experience for audiences.”

“Having had the opportunity to witness an early 6P laser demo at Christie’s worldwide center for engineering, research and development in Canada, I can confidently state that this is an exciting and important innovation in 3D cinema,“ said Matt Cowan, Co-founder & Senior Technical Advisor at Entertainment Technology Consultants. “I look forward to further refinement of this technology and upcoming installation in premiere theaters around the world.”

Consistent with efforts so far in developing 3-Primary (3P) laser projectors, which Christie sees filling important needs in several, non-cinema industries, Christie laser projectors will provide industry-leading brightness (up to 72,000 Lumens per projector head), wider color gamut capabilities, higher contrast, and dramatically reduced maintenance requirements, resulting in a better experience for all applications. As part of its largest research and development program ever, Christie will continue to develop superior 6P and 3P laser projection solutions for all of its global customers.

Specific to the development of cinema laser projectors, Christie leads the industry in this area, having announced last year that it would supply and install the world’s first commercial laser projection solution for the Seattle Cinerama Theatre, and that it was the first to receive a US FDA approval of variance allowing the sale and installation of laser projectors in movie theaters and other high performance projection venues.

Thunder Audio Storms Into 2014 With K2

Prominent Midwest-based SR provider takes delivery of its first L-ACOUSTICS system

The Thunder Audio crew with several of its new L-ACOUSTICS enclosures

LIVONIA, Michigan — Fresh back from the 25th annual Pollstar Awards in Nashville, where they were nominated for “Sound Company of the Year,” Thunder Audio President Tony Villarreal and Vice President Paul Owen proudly announce that they have now officially taken delivery of their company’s first L-ACOUSTICS system, the new K2.

Comprised of 36 K2 and six KARA variable curvature WST® line source elements, eight K1-SB and 18 SB28 subs, six ARCS II constant curvature enclosures and 10 LA-RAK touring racks — each housing three LA8 amplified controllers — the sound reinforcement provider’s recent purchase marks one of the very first K2 systems sold in the U.S.

Thunder Audio’s company principals made the decision to join the L-ACOUSTICS family after critically listening to K2 late last year at the manufacturer’s corporate headquarters in Marcoussis, France. Fully aware of the impact that L-ACOUSTICS’ larger K1 system has had on the festival and touring industries, both Villarreal and Owen are equally optimistic about K2′s potential.

Paul Owen (left) and Tony Villarreal at the 25th annual Pollstar Awards at the historic Ryman Theater in Nashville where Thunder Audio was nominated for "Sound Company of the Year"

“In the past, we’ve always purchased large-scale systems based on the requirements dictated by a specific tour or application,” notes Owen. “This is the first time, however, that we’ve taken delivery of a product purely from the standpoint of feeling in our gut that it will be a success. Given the overwhelming reputation of K1 — as well as the more than 20-year legacy of K2′s predecessor, V-DOSC — we knew that getting in on the ground floor of this new system with such a stellar pedigree was absolutely the right choice for us and our client base.”

“With its compact profile, surprisingly light weight and exceptional horsepower, K2 is perfect for so many of our customers — from corporate to touring to theatrical,” agrees Villarreal. “And, of course, the sound is absolutely phenomenal. We A/B-ed it with the other four systems in our inventory and felt that it shined above and beyond anything else. We really have a sense that this is very quickly going to become the number one requested box on the market, and we’re so confident in that fact that we’ve already put in a purchase order for an additional 48 K2 for early next year, which is about the soonest we can get more seeing how popular they are right now!”

According to the two company principals, Thunder Audio is ultimately hoping to set its sights on K1 ownership as well. “In addition to being terrific as a standalone system, K2 is also a great stepping stone for us potentially getting into K1,” Owen describes. “It would make a lot of sense for us to be able to repurpose our K2 arrays as side hangs on a stadium-sized rig, which is one of the big reasons that we began looking into it in the first place. We’ve had some prior clients that have requested L-ACOUSTICS in the past, and with K2 — and eventually K1, perhaps — we’ll be in a position to give them both the service that has been our hallmark and the systems that they’re looking for.”

Villarreal sums things up by adding, “We feel that we’ve definitely made a wise investment here. The demand for the product is strong and the support we’ve received from L-ACOUSTICS has been fantastic. It’s truly a winning combination.”

About Thunder Audio
Headquartered in the Detroit suburb of Livonia, with a new office and rehearsal space in Nashville, Thunder Audio has grown over the past three and a half decades into one of the world’s top touring sound reinforcement companies. For more information, visit www.thunderaudioinc.com.

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Contact:
Thunder Audio
28501 Schoolcraft Rd., Livonia, MI 48150
Phone: 313.291.5020 / Fax: 313.291.5124
Web: www.thunderaudioinc.com

DiGiCo Sweeps the GRAMMY® Awards

ATK Audiotek deploys numerous SD Series consoles for “Music’s Biggest Night”

FOH Music Mixer Ron Reaves manning ATK Audiotek's DiGiCo SD7 console at the 2014 GRAMMY Awards

LOS ANGELES — Southern California-based live event sound, equipment rental and broadcast audio production specialist ATK Audiotek recently acquired a slew of DiGiCo digital consoles, immediately putting them to work on the 56th annual GRAMMY® Awards telecast in Los Angeles in late January. This is the third consecutive year that ATK has relied on DiGiCo consoles for the production of “Music’s Biggest Night,” with this year’s show marking the very first outing for the company’s latest purchases.

ATK, the audio production provider for the Recording Academy’s annual music celebration since the telecast permanently relocated to the Staples Center in downtown L.A. fourteen years ago, made the switch to DiGiCo consoles in 2012. This year, the console complement included an SD10 for Mikael Stewart, FOH production mixer and ATK’s vice president of special events, plus an SD7 for Ron Reaves, FOH music mixer, seated alongside Stewart.

“Everybody who comes through the GRAMMYs leaves happy, and all I use is the onboard processing,” says Reaves. “But my partner in crime at the GRAMMYs, Mikael Stewart, uses the Waves plugins quite extensively. He mixes all the dialog and the production elements, so he makes use of the DNS plugin on some of the podium micas.” Stewart, whose console was directly connected to a DiGiCo SoundGrid server, used the Waves Dialog Noise Suppression plugin to reduce the room regeneration coming back in to the microphones and also made use of the Waves C6 Multiband Compressor.

The DiGiCo SD8-24 desk positioned backstage at the Staples Center and used for signal distribution monitoring

Tom Pesa, the A stage monitor engineer, and Michael Parker, monitor engineer for the B stage, each mixed on an SD7 with a redundant engine. This year, for the first time, an SD8-24 — supplied by Hi-Tech Audio for the occasion — was positioned backstage at A2 world, and that enabled an assistant engineer to more efficiently monitor signal distribution throughout the venue.

As in previous years, Parker and Pesa each accessed common head amps in the four SD-Racks positioned backstage. But this year, in another first, two SD-Racks were added in parallel in order to provide Reaves with discrete preamp control at FOH. “Those were running MADI to his console. Staying at 48 kHz, we got an entire rack down one MADI cable instead of two,” says Jeff Peterson, ATK’s system designer. A further four SD-Racks were dedicated to outputs. ATK’s recent purchase was comprised of six consoles — two SD10s, two SD7s and two SD5s — plus 14 SD-Racks.

ATK was not the only company utilizing DiGiCo equipment at the GRAMMY Awards show. Outside the venue, in the Music Mix Mobile (M3) Eclipse truck, which provides the 5.1 surround music mix for the broadcast, Joel Singer, engineer-in-charge and M3 company partner, made use of a DiGiGrid MGO dual-port optical MADI interface and SoundGrid SGS-1 Server One. The setup enabled co-broadcast music mixers John Harris and Eric Schilling to insert Waves Renaissance Vox and DeEsser as well as CLA-76 and SSL Compressor plugins on the truck’s console and Pro Tools system.

About DiGiCo
DiGiCo is a UK-based manufacturer of some of the world’s most popular, successful and groundbreaking digital mixing consoles for the live, theatre, broadcast and post production industries and is exclusively distributed in the U.S. by Group One Ltd. of Farmingdale, New York. For more information, go to: www.DiGiCo.biz

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DiGiCo’s SD5 Wins at Super Bowl XLVIII

Twin FOH and monitor consoles deployed for Halftime Entertainment Extravaganza featuring Bruno Mars and Red Hot Chili Peppers

ATK Audiotek's DiGiCo SD5 console used to mix FOH for Super Bowl XLVIII's halftime performance by Bruno Mars and Red Hot Chili Peppers (photo: Dave Rat)

EAST RUTHERFORD, New Jersey — For the 82,529 fans that braved forecasts of cold, snowy weather predicted for Super Bowl XLVIII on February 2, Bruno Mars and the Red Hot Chili Peppers delivered an enthusiastic show that was long on great musicianship and killer showmanship. And making sure that show also sounded great were a pair of DiGiCo SD5 digital audio consoles used for both front-of-house and monitor mixes. more

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Related Topics: Case Studies, Corporate AV, Large Venue, News |

Extron Pro Series Control Processors Deliver Speed, Security, Power

Extron is pleased to introduce six IP Link Pro Series control processors. All of these are faster, more secure, and more powerful than ever. Built-in Gigabit Ethernet and the latest network protocols allow fast, secure connections with multiple TouchLink Pro touchpanels using today’s network infrastructure. IP Link Pro control processors are built to work with TouchLink Pro touchpanels and are fully customizable with Extron’s most powerful configuration software – Global Configurator Professional. more

Focus 21 Celebrates 10 Years Diamond Status with InfoComm International

Jim Harwood, Focus 21 and David Labuskes, InfoComm International. © Sander Ruijg, courtesy of Installation.

UK NEWS

Design and integration firm, Focus 21 Visual Communications Ltd for the last ten years has held Diamond Certified AV Solutions Provider status from InfoComm International®, the leading trade association representing the audiovisual and information communications industries worldwide.

Over 50 percent of Focus 21’s technical sales, service and operational staff hold general or advanced InfoComm Certified Technology Specialist (CTS™) certification.

“InfoComm recognizes companies that voluntarily improve quality and professionalism through employee participation. We’re delighted that a growing number of companies, such as Focus 21, are educating staff and provide better service to their customers that comply with professional standards,” said David Labuskes, CTS, RCDD, Executive Director and CEO, InfoComm International.

Jim Harwood, CTS-D, managing director at Focus 21 said: “Our customers always ask what our accreditation is or what standard we work to. They expect systems to use the best technology and designed to be future proof.”

Focus 21 keeps AV systems in check

Focus 21 is using relevant criteria from the InfoComm Performance Verification Standard and checklist on an online cloud based system at various project sites and during commissioning and testing.

The Checklist was introduced by InfoComm International and is a member-developed resource with 162 criteria to determine if the AV system achieves the client’s objective and is performing in accordance with systems design.

“This type of checklist improves standards and ensures that they are constantly evolving,” said John Chandler, HR and training manager at Focus 21.

Focus 21 proactively trains its staff at various knowledge levels on an evolving basis

“InfoComm offers an outstanding framework for young people to grow their knowledge. Currently we employ eight apprentices,” said Chandler.

“What’s also interesting is that The British Standard BS 8590-2014 ‘Code of Practice for the installation of audio visual equipment’ that was released on 31 January 2014 is based around InfoComm’s own standards and Focus 21 meets the criteria for both.”

About InfoComm International
Now in our 75th year, InfoComm International® is the international trade association representing the professional audiovisual and information communications industries. InfoComm has more than 5,000 members, including manufacturers, systems integrators, dealers and distributors, independent consultants, programmers, rental and staging companies, end-users and multimedia professionals from more than 80 countries. InfoComm International is the leading resource for AV standards, market research and news. Its training, certification and education programs set a standard of excellence for AV professionals. InfoComm International is the founder of InfoComm, the largest annual conference and exhibition for AV buyers and sellers worldwide. InfoComm also produces trade shows in Asia, Europe, Latin America and the Middle East. Additional information is available at infocomm.org.

Wilson and Gilkes Rejoins Draper as Australian Distributor

(Spiceland, Ind.) –New South Wales-based Wilson and Gilkes has rejoined Draper, Inc., as the company’s AV products distributor in Australia and New Zealand.

Wilson and Gilkes Managing Director Ian Wilson points to Draper’s significant research and development investment in viewing surface technology as one big reason for the move.

“Predictions for future market trends have convinced us that Draper will be at the forefront of screen technology in the years to come,” Wilson says. “This will place us and our customers in a very strong position. We’re all very excited about our new direction and look forward to servicing the market needs with the most suitable products the market can offer.”

(left to right) James Hunt of Wilson & Gilkes; Bob Mathes, Draper AV Video Market Manager; Dale Arnull and Managing Director Ian Wilson of Wilson and Gilkes; and Jentry Wittkamper, Export Sales Manager for Draper.


Wilson and Gilkes has had an association with Draper dating back to the 1970s, when the company supplemented its own range of projection screens with Draper products.

“We couldn’t be happier with this announcement,” according to Draper Export Sales Manager Jentry Wittkamper. “With the combined strengths of Draper and Wilson and Gilkes, we will be able to serve the Australian market better than ever, and better than anyone else.”

To learn more, visit www.draperinc.com.au or www.wilsongilkes.com.au.

About Draper
Founded in 1902 as a window shade manufacturer, Draper, Inc., is a Spiceland, Ind.-based manufacturer of projection screens and lifts and mounts for projectors and displays, providing AV related equipment for over half a century.
Draper has focused a lot of resources on product design, with innovations like the Access family of motorized screens, improved tab tensioning system and revolutionary modular portable screens.

Two and a half years ago we moved our primary focus to the surfaces themselves, and their optical performance. We built a world class testing lab, and worked with consultants and key suppliers to identify and refine ingredients to improve the optical performance of our surfaces. Since then we have introduced many new surfaces to address specific needs in the marketplace. And we developed the new standard in surface planning tools, the Draper Pro Screen Calculator.

Draper products are sold to dealers and shipped throughout the United States and to more than 100 countries. In addition to its Spiceland, Indiana headquarters, Draper, Inc. has sales offices in Placentia, CA and in Blackwood, Gwent, United Kingdom. Draper also has four wholly owned subsidiaries: Draper Group Ltd., a sales and warehouse facility in Corby, Northamptonshire, United Kingdom, and three manufacturing companies in Sweden: Draper Europe AB, a leading European projection screen manufacturer; SMS Smart Media Solutions AB, a leading European provider of video projector and flat screen mounts; and Evoko Unlimited AB, provider of the Evoko Room Manager. For more information, visit www.draperinc.com.

MuxLab Releases HDMI Matrix Switch with HDBT Technology

FEBRUARY 24, 2014, MONTREAL, CANADA – MuxLab Inc. is excited to announce at ISE the launch of a new HDMI 4×4 Matrix Switch (500416-PoE) that allows up to four different HDMI sources to be connected and/or distributed to up to four HDMI displays via Cat5e/6 unshielded twisted pair cable.

The new 500416-PoE works in conjunction with MuxLab’s HDMI receivers supporting up to 230 ft (70m) at all resolutions up to 1080p via Cat5e cable.

“The Matrix’s management functions include pushbutton, IR, USB, RS232 and webserver interface” states Marc Bohbot, MuxLab’s Director of R&D. “This makes the matrix versatile and easy for anyone to use”.

Ideal for applications such as commercial and residential AV systems, classroom projector systems & boardroom systems, the new Matrix is a great new addition to the already thriving and popular line of MuxLab HDMI products.

The 500416-PoE is also available as a PoE Kit that includes 4 PoE receivers (500416-POE-US-KIT, 500416-POE-UK-KIT, 500416-POE-EU-KIT).

About MuxLab
MuxLab Inc. is a leading designer of value-added connectivity hardware allowing CCTV and audio-video equipment to be connected via cost-effective copper twisted pair. For almost 30 years, the MuxLab brand has been synonymous with quality, performance and reliability. MuxLab is Your #1 Choice for CCTV and Audio-Video Connectivity Solutions.

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For more information;
www.muxlab.com
press@muxlab.com
514-905-0588

 

ALTINEX ANNOUNCES PRICE RESTRUCTURING ON TABLETOP INTERCONNECT UNITS

**** Photo: Altinex TNP128 (left) and TNP128S (right) interconnect boxes ****

Brea, CA – February 2014… Altinex, a leading manufacturer of Signal Management Solutions®, is pleased to announce a dramatic price restructuring on the entire range of tabletop connectivity solutions, including the Tilt-N-Plug, Tilt-N-Plug Jr, Pop-N-Plug, Cable-Nook, Cable-Nook Jr, Table Buddy, and Under Table series of interconnect solutions. In addition to more competitive pricing for all models—both present and future—the restructuring results in greater selection and value while preserving the ability to quickly order custom configured interconnect units. more

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