Christie® technology was the clear choice when Atlanta-based PPi was asked to provide the projection technology for the 5LINX company sales meeting at the Las Vegas Convention Center recently. 5LINX is a direct marketing company providing electrical, power, cellular and satellite services to customers throughout America with its head office located in Rochester, New York.

PPi produces corporate events and for the 5LINX meeting, they used the best ideas from award and reality shows – especially American Idol – and combined them. The 64-feet wide by 40-feet deep multi-tiered stage was bathed in colors from numerous spotlights, a Christie YK100 moving yoke system, and several Christie projectors – creating a feast for the eyes.

Geoffrey Platt, event production designer at PPi, used one Christie YK100 yoke with a Christie WX10K-M projector and was impressed with the result.

“One of the main elements of the show was an opening segment with lighting and pyrotechnics shown behind a center screen measuring 23-feet across by 11-feet high that tracked eight feet up-and-down, from which presenters would emerge,� he said. “The Christie YK100 and projector were tracking to this center screen, which is why we used the yoke solution. The quality of the WX10K-M projector we used in the yoke was great.�

Designed for staging and event productions, the award-winning Christie YK100 supports the Christie M Series 3-chip DLP® platform as well as the Christie LX1500 LCD model, giving AV professionals a range of brightness levels from 5,700 to 15,000 ANSI lumens and a choice of resolutions to fit any event requirements. The flexible Christie YK100 moving yoke includes an interchangeable head system so technicians can swap out one Christie projector for another— on the same yoke. The Christie YK100 can be rigged or set up at floor level with both projector and yoke control from the same console using DMX512 protocol.

“There are some similar moving projection products on the market but they don’t even come close to the quality of the Christie YK100,� he said. “For what we were doing, I couldn’t conceive of a better fit. This was the first time I had used the Christie YK100 and the yoke performed beautifully.�

Christie HD10K-M and Christie HD18K Projectors Complete the Presentation

Platt said that 5LINX used Christie HD10K-M 3-chip DLP® projectors for both a secondary screen and the ‘halos,’ which were tension fabric cut in rings eight feet across that hung 20 feet above the stage. Projected onto the halos were graphic treatments above customized 5LINX logos.

PPi also used four Christie HD18K 3-chip DLP® projectors – one each for four separate, main screens – to display graphics, PowerPoint, video and IMAG.

Planning and executing such an elaborate show is a major undertaking but Platt knew Christie technology would perform as advertised.

“I have never had any problems with Christie projectors and they have always been rock solid,� he concluded. “We had no issues at all. I love the color, contrast and picture quality and everything worked flawlessly out of the box. Christie also has the moving yoke/projector system, which is a big plus and made the decision that much easier. Christie had everything we needed to ensure this event went smoothly.�

CASIO AMERICA, INC. TO PARTICIPATE IN ALMO PROFESSIONAL A/V’S E4 AV EVENTS IN DALLAS AND NEW YORK THIS FALL

Casio to Showcase Portfolio of Lamp Free Projectors  

DOVER, NJ, (AUGUST 30, 2012) – Casio America, Inc., a leader in the digital projection space, has teamed with Almo Professional A/V, the nation’s fastest growing audiovisual distributor, by participating in the next E4 AV training and networking event in Dallas on September 13 and New York on October 3. During the event, Casio will showcase its entire portfolio of lamp free projectors for the AV market.

An overview of the Almo Pro A/V E4 tour can be viewed here.

“Currently, we have the largest assortment of LASER & LED projectors on the market,� said Matt Mustachio, general manager of Casio’s Business Projector Division. “We strive to offer a comprehensive solution for AV professionals and are extremely proud of the progress we have made in the industry. We will continue to be the pioneers of lamp-free technology.�

“Casio’s lamp free projectors are easily one of the most popular product lines to see during our E4 events,� explained Sam Taylor, executive vice president for Almo Professional A/V.  “The theme for our fall tour is ‘Reveal Your AV Future.’ Casio lamp free projectors are certainly part of an AV pro’s future thanks to the simplified maintenance and Hybrid Light Source Technology, which also makes them a great green AV option. The differentiation has made them a very viable option for our partners to consider.�

Casio’s commitment to the projection industry is displayed through its full line of lamp free, LASER & LED Hybrid Light Source projectors including portable, multi-purpose, high brightness and short throw units that are equipped with a variety of features fit for a multitude of environments.

Now in its third generation, Casio’s revolutionary LASER & LED Hybrid Light Source combines a laser, a fluorescent element and LEDs to generate high brightness, while eliminating the need for expensive projection lamps that often need replacement. Due to the lamp-free technology, Casio’s LASER & LED Hybrid Light Source provides a reduced total cost of ownership and allows users to count on a 20,000 hour estimated life span. On average, users will save hundreds of dollars after approximately 6,000 hours of use compared to traditional mercury lamp projectors.

Casio’s projectors are also equipped with capabilities that will illuminate any room and aid in the creation of lively presentations. Other features include energy-saving modes, computer, HDMI and video inputs and the ability to display 3D content from a 3D capable computer. USB models incorporate LAN/wireless connectivity, MobiShow, Crestron Roomview control and select models are Interactive WhiteBoard ready.

The E4 Dallas event will take place on Thursday, September 13 at the Hyatt Regency Dallas while the E4 New York event is on October 3 at the Meadowlands Expo Center. Both events will run from 8:00 a.m. to 4:30 p.m. and are entirely free, including parking, to Almo Pro A/V’s reseller, integrator and consultant partners. To register, go to www.e4avtour.com.

The E4 AV program can be accessed on demand during and after each event for instructor videos, copies of the course presentations and live Twitter updates.

For additional information regarding Casio’s projectors, please visit www.casioprojector.com.

###

About Casio America, Inc.
Casio America, Inc., Dover, N.J., is the U.S. subsidiary of Casio Computer Co., Ltd., Tokyo, Japan, one of the world’s leading manufacturers of consumer electronics and business equipment solutions. Established in 1957, Casio America, Inc. markets calculators, keyboards, digital cameras, mobile presentation devices, disc title and label printers, watches, cash registers and other consumer electronic products. Casio has strived to fulfill its corporate creed of “creativity and contribution� through the introduction of innovative and imaginative products. For more information, visit www.casiousa.com.

About Almo Professional A/V’s E4 AV Tour

Launched in December 2009, The E4 AV tour is a free, full-day program with an intense educational focus that allows partners to earn valuable InfoComm International CTS RUs while networking with the industry’s top manufacturers. For more information, go to www.e4avtour.com.

About InfoComm International

InfoComm International® is the international trade association representing the professional audiovisual and information communications industries. Established in 1939, 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 Europe, Latin America, the Middle East and China.
Additional information is available at www.infocomm.org.

About Almo Professional A/V

Almo Professional A/V is the nation’s fastest growing distributor serving the needs of professional audiovisual integrators, dealers and consultants. With a highly skilled sales team, reseller education programs, 10 distribution centers across the U.S. and product lines for the Pro A/V channel, Almo Professional A/V provides customers with the full distribution experience on a local and a personal level.

The Almo Professional A/V sales team is InfoComm-trained and the majority is CTS-certified. Almo Professional A/V has aligned with InfoComm International to offer courses worth CTS renewal units that enable partners to stay ahead. At the same time, the division works with industry vendors to bring live and online product training opportunities directly to channel partners.

Almo Professional A/V is a division of Almo Corp., the nation’s leading independent distributor of consumer electronics and major appliances. For more information about Almo Professional A/V, please call 410-560-2890 or go to www.almoproav.com. Almo Professional A/V can also be followed on Twitter at http://twitter.com/almoproavand on Facebook at www.facebook.com/almoproav.

*All product and company names herein may be trademarks of their registered owners.

PULA, CROATIA, AUGUST 30, 2012 — The 59th Pula Film Festival, held in the ancient Vespasian’s Amphitheatre (dating back to the 1st Century) set a new standard for outdoor 3D film presentation.

Given its extraordinary technical setup, an attendance in the thousands and results that had never been achieved before, the event will be remembered as an industry first in three categories.

Firstly, the 3D projection setup achieved the longest throw distance (using a Barco DP2K-32B projector) ever recorded at 73.6 metres (242ft) exceeding the recommended throw distance. Furthermore, the setup, which included an 18.70 x 8.45m Stagelite Stereo 3D Screen from Harkness Screens, achieved a wide-viewing angle of 60º allowing the 3D presentation to be viewed at suitable brightness levels throughout the entire seating area.

As a result of this, the film festival was able to set what is believed to be a new Guinness World Record for an outdoor 3D presentation with an official attendance of 5,920 visitors.

“We were delighted to supply the Stagelite Stereo surface for the festival and provide installation support. The setup achieved by LMT (Laboratory of Multimedia Technologies in Zagreb), the festival’s technical resource, was nothing short of remarkable and they deserve much praise,� says Tony Dilley, European Sales Manager at Harkness Screens.

Stagelite Stereo is a front projection surface specifically designed for non-cinema 3D applications. Silver aluminium flake based PVC fixed to a unique base material provides high gain characteristics, very low depolarisation level (extinction ratio) and excellent colour temperature. The surface type also supports conventional 2D pictures and is also cleanable.

About Harkness Screens
Harkness Screensâ„¢ is the world’s largest manufacturer of projection screen surfaces, specialising in the design and production of cinema screens and custom screens of virtually any shape and size. Harkness Screens is the world leader in cinema with screens in more cinemas worldwide than any other manufacturer. From single-screen independent theatres to large multiplexes to large format immersive theatre experiences or live events, Harkness supplies thousands of screens every year for cinema, film production, special effects, live events and custom AV applications.

Founded in 1929, Harkness’ corporate office is located in Ireland with other offices and factories located in the USA, UK, France and China. Harkness Screens combines unrivalled experience with the latest technology and production methods to provide innovative solutions to the company’s key markets worldwide. For more information, visit the Harkness Screens web page at www.harkness-screens.com.

# # #

CONTACT:
Richard Mitchell
Harkness Screens
Unit A, Norton Road
Stevenage, Hertfordshire SG1 2BB UK
Tel: +44 (0)1438 725200
Email: r.mitchell@harkness-screens.com
Web: www.harkness-screens.com

VISIT BHV BROADCAST AT IBC

Owslebury, UK – BHV Broadcast, manufacturer of compact, cost-effective equipment for live and post-production, will return to IBC 2012 with a complement of products that have been acknowledged with awards for innovation. The Company will show an upgraded model of its Video Ghost phantom power system, an enhanced version of the TallyHo! wireless on-air indicator for vision switchers, the 3-input Callisto Micro miniature SDI switcher, the Proteus rate converter, and Syntax up converter.

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

New for IBC – Video Ghost is now available for camera attachment using the V-lock universal mounting system.

Syntax Up/Cross/Down-Converter – New Price Point!
Syntax will be at the show sporting the same broadcast quality specifications in Syntax Essence, a low-cost model. The economical version of the TV Technology STAR award-winner is BHV’s SDI up/cross/down-converter based on advanced Super-Resolution Bandlet Technology. The new model provides the same performance advantages of motion-compensated processing as its predecessor without the associated disadvantages of high cost and occasionally severe artefacts.

TallyHo! Wireless tally indication system
BHV Broadcast will also demonstrate an enhanced version of TallyHo!, a wireless tally indicator system that offers camera operators reliable remote on-air indication in the field. This unique design is comprised of a base station with direct interface to the local vision mixer and a set of camera hot-shoe mounted receiver modules. TallyHo! – recipient of IBC’s “What caught my eyeâ€� – gives the camera operator and, crucially, the camera subject, a highly visible indication of on-air status. TallyHo! operates seamlessly with any vision mixer (such as Sony Anycast) that has tally GPI outputs, but its operational potential is realised to the full when used with any of BHV Broadcast’s Callisto vision mixers.

“TallyHo! provides a viable method of transmitting real-time tally information,� explains Julian Hiorns, managing director of BHV Broadcast. “It stands alone in its ability to furnish wireless feedback to cameras; essential information that every operator in the field needs, but couldn’t access economically prior to TallyHo!�

Callisto Micro miniature SDI switcher
The three-input Callisto Micro SDI mixer is a broadcast specification (SMPTE-259M) 270Mbit video switcher designed to fit into the smallest spaces. Callisto can handle fully asynchronous (unlocked) SDI inputs environment and offers remote control and broadside bus switching, so can double as a miniature reclocking matrix.

Proteus Multi-Format/Multi-Purpose Converter
The award-winning Proteus multi-format, multi-purpose, motion-adaptive standards converter will be shown in both rack-mount and portable versions. The fully-featured broadcast specification converter features 10-bit SDI, analogue video and audio I/O, an advanced standards conversion algorithm, comprehensive audio facilities and ARC. Based on an advanced Motion Adaptive Standards Converter, Proteus offers full format conversion, frame synchronizing, TBC, video and audio Proc Amps, as well as bi-directional standards (rate) conversion. Proteus addresses lip-sync errors with variable audio delay (up to 10 seconds) featuring both tracking and block delay.

See all of BHV’s award-winning products at IBC 2012. Click on harriet@desertmooncomm.com to schedule a visit!

About the BHV Companies
BHV Broadcast is the sales and marketing arm of Brick House Video, designer and manufacturer of award-winning compact and cost-effective equipment for production and post-production including a full range of rack-mount and portable digital switchers to accommodate any application where space is at a premium. The Company also manufactures rate/standards and format conversion equipment. For further information: www.bhvbroadcast.com

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

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

For three days in August, an estimated 100,000 fans converged at the sold-out Outside Lands festival in San Francisco. With must-sees including Stevie Wonder, Neil Young, Metallica, and Foo Fighters, this year’s impeccable lineup at the Lands End main stage was supported by Meyer Sound’s freshly unveiled LEO large-scale sound reinforcement system. LEO’s exceptional fidelity made an instant impression on many attending industry professionals who encountered LEO for the first time, including Another Planet, producer of Outside Lands.

“Faithfully reproducing music for 65,000 is no easy task, but the Meyer Sound LEO system this year did an incredible job,� states Gregg Perloff, CEO of Another Planet Entertainment. “Legends like Neil Young and Stevie Wonder sounded better than I had ever heard them before, and LEO also made it easy for sound crews to do their job. LEO is definitely raising the bar for how live music should be appreciated.�

To cover the main audience area to a distance well past the first delay tower, more than 275 feet from the stage, sound provider Pro Media/UltraSound of Hercules, Calif. erected two main arrays of 15-each LEO-M loudspeakers at one end of Golden Gate Park’s oval Polo Field. Equally potent bass power was produced through side arrays of 12-each 1100-LFC low-frequency control elements and a center grouping of 10 700-HP subwoofers, all in cardioid configurations. Six MICA line array loudspeakers were used as downfills under the LEO-M arrays, along with dual out fills of 10 MICA loudspeakers each.

Big Mick Hughes, long-time FOH engineer for Metallica, mixed his first live show on a LEO system at this year’s Outside Lands. “The Metallica kick drum uses a considerable amount of high frequencies in order to create the attack required. There are parts in the show where the volume of the kick can hit a typical system’s high-frequency limiters. To my amazement this was not the case with LEO,� says Hughes. “LEO is such a unique animal. I think it’s a really exciting time for people to be able to hear things in this manner for the first time. LEO is going to make engineers expect more from all speaker systems.�

Two delay towers (a second at 500 feet) each held 16 MILO line array loudspeakers as dual hangs of eight, while CQ-1, CQ-2, MSL-4, and UPA-1P loudspeakers were deployed for, respectively, front fill, VIP stands, and a VIP tent. System drive and alignment were supplied by a Galileo Callisto loudspeaker management system with four Callisto 616 and two Galileo 616 processors.

Pro Media/UltraSound also provided a full complement of Meyer Sound MJF-212A stage monitors, dual hangs of five MILO loudspeakers per side as side fills with a pair of 700-HP subs, as well as the Avid D-Show FOH console used by some opening acts. Additional headliner-supplied consoles were by DiGiCo (SD5, SD7, and SD8), Midas (Heritage 3000, XL-8), and Yamaha PM-5D.

Derek Featherstone, Pro Media/UltraSound’s VP of tour and rental division, headed technical planning and coordination. “We were all impressed with how quickly the system came together sonically and how much headroom there was,� says Featherstone. “With this amount of power, the 1100-LFC had no problem keeping up with the LEO-M cabinets.�

Jason Mills served as FOH system engineer; Tom Lyon as system tech; Ian Dubois as crew chief; Tony Norris and Rick Stansby as stage techs; Nick Abru as tower tech; Sean McAdams as PA tech; and Nathan Harlow as overnight system engineer.

www.meyersound.com/news

On Thursday, August 16th, children enrolled at Camp Felix participated in an exhuberant talent show, capping a two-week camp of activities that included arts and crafts, music, creative writing, drama and several workshops. Camp Felix, which is hosted each year by The New York Foundling — a prominent family services organization specializing in child welfare — is an overnight summer camp located in Putnam Valley, NY that features a variety of educational events and activities abandoned and underprivileged children.

Thursday evening’s talent show included a wide range of performances from children aged 8 to 13 such as synchronized Spanish dance routines, singer/songwriter performances and several vocal acts. The performances, which were broadcast to an audience of approximately 200 attendees through a pair of K-array KR 200 loudspeakers, also featured a performance of “Walk This Way” by Darryl McDaniels of Run DMC to cap off the evening.

Perhaps the highlight of the evening was when McDaniels gave a heartfelt message of hope to the children, stressing that they can overcome challenges and achieve whatever they want to in life. The New York Foundling, which helps over 13,000 people each year and whose guiding principle is ‘abandon no one,’ strengthens families and communities by helping each individual reach his or her potential. 

McDaniels was enthusiastic about the sound of the K-array loudspeakers and Sennheiser’s overall participation in the event: “Sennheiser had the K-array speakers at Camp Felix for the kids’ talent show and it was amazing,” he said. “People out in the parking lot wanted to know who was sounding so good at ‘the concert.’ And it was only two speakers!”

Ben Escobedo, RF services & field support engineer, technical services, Sennheiser, was on hand to set up and provide mixing services for the event: “This camp was for a great cause, and the K-array’s were just fantastic,” he said. “For an outdoor venue such as this, I needed something that was portable and could fit in my car, but that was powerful enough to provide great sound for the entire camp audience.”

Escobedo, who was able to get the system up and running in a matter of minutes due to its extreme portability, set up a simple mixer and connected Sennheiser microphones including an ew135 G3 wireless to provide flexibility on the stage, as well as e835, e935 and e965 wired microphones.

Photo captions:
1. Darryl McDaniels of Run DMC communicates a message of inspiration to children attending Camp Felix.
2. Performances at Camp Felix included Spanish dance routines; K-array KR 200s are visible at the left side of the photo.

“Sandbox” Takes The Prize

(Los Angeles, CA) The HPA announced today that the organization’s distinguished HPA Judges Award for Creativity and Innovation in Post Production will be awarded to Gradient Interactive for their pre-visualization product, Sandbox.

The Creativity and Innovation Award recognizes companies and individuals who have demonstrated excellence in post production, whether in creative storytelling and/or technical innovation. Gradient was chosen from a large and varied field of entrants who provided presentations to a blue ribbon judging panel and will be on hand to accept the award during the HPA Awards gala on November 1, 2012 at the Skirball Cultural Center in Los Angeles, CA.

Leon Silverman, President of the HPA noted, “The Innovation and Creativity Award was created to honor those people or organizations that are pushing the envelope in post production forward. It was terrific to see the number of entrants and the response to this Award. I applaud the Blue Ribbon panel’s decision to recognize Gradient’s continued outstanding and innovative contributions.”

Gradient Interactive developed the software application Sandbox to offer near real time translation of on-set data into understandable ‘production’ data, ultimately creating a democratized workflow tool that allows users to Pre-visualize sequences. Gradient Interactive’s Sandbox is a mobile, real-time previs system, which enables users to scout virtual locations, record camera moves and render simple animations from an iPad or Android tablet. Offering a great advantage to most of the key departments in production, Sandbox supports the project from start to finish. A director can plan many of his shots without ever seeing location, while the Camera department can plan placement, lenses, lighting, and practice moves. The Production Design/Art Department can create story boards, place props and plan set extensions, while the Visual Effects team can start creating those set extensions. For the Special Effects department, Sandbox can help plan stunts and manage safety parameters.

Gradient Interactive’s Olcun Tan stated, “We are so proud to be recognized by our peers, the organization and by the Committee. The HPA, and in particular the C&I award is extremely meaningful to us, it represents what we strive for in all of our work and in particular the last three years of development of Sandbox. Thank you so much for this Honor.”

The HPA Awards will take place on November 1, 2012 at the Skirball Cultural Center in Los Angeles, CA. For further information, please visit www.hpaawards.net or call the HPA at 213.614.0860 or write info@hpaawards.net.

About the Hollywood Post Alliance(r)
Hollywood Post Alliance (HPA) serves 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.

About the HPA(r) Awards
The HPA Awards were created to foster awareness of post production, promote creative and technical excellence, recognize the achievements of post production talent, and build involvement in the Hollywood Post Alliance.

The HPA Awards will be presented with generous support from Premier Sponsor, NAB Show and Bronze Sponsor, RED Digital Cinema.

# # #

Media Contact:
ignite strategic communications
p: 818.303.8088
Christine Purse, chris@ignite.bz or Mimi Rossi, mimi@ignite.bz

ST. PETERSBURG, Russia – Once again delivering its world-class 3D technology in the most stylish form factor in the industry, XPAND 3D is announcing that it is the official sponsor of Kino Expo 2012, the international cinema industry convention taking place in St. Petersburg, Russia. This marks the third consecutive year that XPAND 3D is sponsoring Kino Expo.

In addition, XPAND’s local partner NEVAFILM will provide IR systems for the multiple 3D screenings at Kino Expo, which will employ 800 XPAND Infinity active 3D glasses.

Established in 1999, Kino Expo is the world’s third largest international exhibition of cinema equipment, with a focus on the markets of Russia and neighboring CIS (former USSR) countries, including Ukraine, Kazakhstan, Belarus, Lithuania, Latvia, Estonia, Armenia, Moldova, Azerbaijan, and Central Asian countries. At Kino Expo, the local offices of major studios, Russian and international independent distribution and production companies present their upcoming films and product reels directly to local exhibitors.

The XPAND Infinity 3D glasses provide up to 38% transparency and a 3000:1 contrast ratio. The glasses’ lightweight ergonomic designs ensure long-wearing comfort, and their wide 3D viewing angle provides an optimal 3D image across the entire cinema. All new XPAND cinema systems and glasses fully support HFR (High Frame Rate) double and single flash at 96fps, 120fps, 144fps, 192fps, 240fps and even variable fps.

“XPAND 3D offers more than the best 3D experience in the world; we enable filmmakers to truly realize their artistic visions, while providing viewers the ability to see 3D as it is meant to be seen,� said Maria Costeira, CEO of XPAND 3D. “At Kino Expo 2012, where some of the world’s most talented artists intersect with the heart of the Russian/CIS film community, XPAND 3D is the only option!�

“As one of the most prestigious cinema conventions in the world, it is imperative that Kino Expo offers cutting-edge cinema technology for its screenings,� said Dmitri Kazuto of Kino Expo. “With the XPAND Infinity glasses, we know our guests are enjoying that unmatched level of quality.�

“XPAND offers the highest-quality cinema 3D in the world and Kino Expo is one of the highest-profile opportunities to showcase this world-class quality,� said Katerina Agapova of NEVAFILM. “We are thrilled to once again be able to provide XPAND 3D cinema systems for Kino Expo.�

XPAND 3D is also the official partner of the Cannes Film Festival and the Venice Film Festival, and is used for the biggest 3D premieres around the world.

For more information on XPAND, please visit www.xpand.me

About XPAND 3D:
XPAND 3D is the global leader in 3D technologies for cinema, with systems used by over 5,000 3D cinemas in more than 50 countries. XPAND 3D is also the 3D solution of choice for home, business, post-production, education, military, medical and professional 3D applications. XPAND 3D designs, manufactures and OEMs a range of consumer electronics 3D solutions that are driving the 3D revolution. XPAND is committed to advancing the state-of-the art in technology to provide consumers, businesses, educators and medical professionals with the comprehensive advantages of stereoscopic 3D. XPAND provides glasses on a linear scale from the most advanced and feature-packed for sophisticated surgical, training and home theater to more ruggedized and affordable for cinema and mass market use. X6D Limited is a global company whose products and services are marketed under the XPAND brand name.

Panel of Experts From Haivision, iStreamPlanet, and Interxion to Discuss How Integrated Video Workflow Solutions Can Help Broadcasters Stream Live Events to Multiple Devices

MONTREAL and CHICAGO — Aug. 23, 2012 — Haivision, a global leader in advanced video networking and IP video distribution solutions, announced today its participation in a panel entitled “Live Streaming of the 2012 Olympic Games to Connected Devices: Enabling Olympic Rights Holder Broadcasters to Expand their Digital Footprint” as part of Sports Day at IBC2012. The panel discussion will include several industry leaders, and is scheduled for Sept. 8 from 4:00 to 5:30 p.m. more

It’s been nearly forty years since Springsteen’s debut Greetings From Asbury Park, NJ, and judging from the 3-hour-plus shows, sold-out arenas, and glowing critical reviews, both rocker and band [minus the late, beloved saxophonist Clarence Clemons and keyboardist Danny Federici] are still regaling in their ‘Glory Days.’ With the Wrecking Ball Tour, in support of their 17th studio album, Springsteen & Co are heading into a two-month U.S. fall stadium tour following a massive world tour that started in March of 2012 taking them around the globe. Solotech US Corp. is the tour’s production provider.

Critical monitor mixes for the 18-piece band are split in two between engineers Monty Carlo and Troy Milner and for the first time ever they’re employing a pair of DiGiCo SD7s outfitted with the Waves SoundGrid bundle. At stage left is Carlo, who’s been with Springsteen since ’92, handling a mix of wedges and in-ears for Bruce, guitarists Steven Van Zandt and Patti Scialfa, keyboardist Roy Bittan, background vocalists, and a five-piece horn section. Milner, onboard since 2001, is at stage right taking care of drummer Max Weinberg, guitarist Nils Lofgren, bassist Garry Talent, keyboardist Charlie Giordano and multi-instrumentalist, Soozie Tyrell.

The engineers specifically chose the SD7 for its flexibility and ability to grow with the size of the production, including the massive amounts of I/O capabilities that it offered. Onboard features from snapshots to multiband compressors and the Waves pro plug-in bundle offered lots of extra functionality.

“From 2002-2009 we used Yamaha PM1D’s for monitors,” Carlo explains. “Since then, our band has grown from 9 musicians to 18 on this tour with the occasional guest on top of that. We needed something that could handle a large number of inputs, (over 100), and a massive amount of outputs, about 56 on each side of the stage. The DiGiCo SD7 was the only console I found that could accomplish what I was going to ask of it. Before this tour, I’d never actually mixed on a DiGiCo of any variety. I spent some time in the past year building the console with the Offline Editor and getting familiar with its layout and feature set. In November 2011, I got together with Troy in Nashville and we spent a couple of days with Matt Larson getting a hands-on training session with the desk. Following that, we spent the first 3 months of 2012 in rehearsals and doing some small promo events (Grammy’s, Jimmy Fallon and SXSW Festival). With the addition of a horn section and percussionist a lot of songs ended up with slightly different arrangements and we spent a fair amount if time working through the new album since not many of the band members had worked on it in its entirety.”

“We needed consoles that could handle a lot of inputs and outputs and be flexible,” adds Milner. “Before rehearsals began, we still didn’t have a concrete plan for what was going to be needed as far as band members and layouts. Things were constantly changing even into the first run of shows. I used the SD7 last year with Garth Brooks—and the D5 on numerous tours with Michael W. Smith, Mercy Me, and Amy Grant—and it performed perfectly.”

With approximately 96 inputs alone coming from the stage, plus effects and talkbacks, Carlo is managing about 112 inputs total from stage left. Being able to mix mono and stereo sources on the same fader bank as I want to see them on the desk is a huge deal for him. “I love not losing two faders to a stereo input or output as used to happen on the 1D. The level you can customize the surface is so flexible and easy to change that as your input list and band grows you aren’t stuck simply adding channels at the end of the console. Being able to rebuild the desk in a way that better suits your workflow in mid-tour is a great luxury. Plus, the multiband compressors on each channel are a great tool that I’ve been using more than I thought I would.”

Carlo’s got his favorite Waves plug-ins. “On my in-ear mixes I use the C-6 compressor and Kramer PIE compressor across the mixes. I’m using the H-EQ as an insert on Bruce’s vocal channel to allow me to get a few additional bands of EQ that I can use for tight notches on troublesome frequencies. For effects I’m using H-Delay, TrueVerb and Renaissance Verb. I’m also using GTR Stomp and Amp plug-ins on Bruce’s guitar lines in case of a problem with his amps/cabinets on stage.”

Over at stage right, Milner mixes a staggering 140 inputs, comprised of a fair amount of effects for drums and guitars, in addition to a combo of wedges and in-ear systems, including Shure PSM1000′s for ears and a mix of Audio Analysts wedges consisting of SLP115, SLP212, plus a couple of double Audio Analysts 18″ sub cabinets for drum subs.

“I double assign the drum inputs so I can tailor them for the drummer independently from everyone else. Again, another great super easy feature on the SD7. One of the biggest challenges on this tour is just the large amount of inputs and outputs we have to deal with up onstage. We have settled in now but we still have plenty of options to easily add, change or move things around without reinventing the wheel. We also have a great Talk Back system for all the techs and backline guys that are in our ears at all times, so we can be attending to issues before anyone is even aware what is happening.”

Milner’s found a plethora of onboard features and functionality helpful in his day-to-day workflow. “Being able to assign the rotary knobs on each bank to a specific function is very handy. I’m using one row for Compressor Thresholds and on my drum input bank I use one row at my Gate Threshold. Max Weinberg is a very dynamic player and I’m constantly adjusting those gates for each song and throughout each song to keep things under control for him. Also, having the ability to move any fader to any place on the desk is so great. After mixing a few shows, I learned that just moving a few inputs to other banks and reordering my outputs could vastly improve my current layout. Such a great feature! I’m also finding all kinds of new things to use the Macro Keys for now. One is that between songs when the stage is dark, it can be a little hard to see the band onstage, so I have macro key that dims all the lights and monitors down so its easier to see what they might need. Also, using a Macro Key to switch the extra video monitor inputs. I’m getting a full production feed as well as other feeds and I can just use a macro to select the one I need for any given song.”

“For most of my reverbs I’m using the Renaissance Reverb and it sounds great in every application—from drums to background vocals to horns. I’m also using the SuperTap for some delay/slap effects on the drums and horns. The Waves C6 is one of my go-to plug-ins for just about anything, and I’m using it on the snare and toms to shape the sound in the ears and also on some vocals. The CLA-76 Bluey is another favorite, and the list goes on and on. It’s great to be able to easily try out all these fantastic plug-ins on inputs and or outputs to see what works for each application.”

One of the biggest challenges with the Springsteen show is the set list, which they receive literally 5 minutes prior to the start of the show. Not only does it change from night to night, but also during the show, Bruce can veer off the list at a moment’s notice. The snapshot feature has become invaluable for both engineers.

“With the PM1D, I had a sheet with all my scenes that I would have to jump around during the show,” Carlo recalls. “With the SD7′s snapshot panel, I can order the list as Bruce intends to do the show, but then when he decides to jump to something off the list, it’s as easy to get to as typing the first letter of the song until I get to the desired snapshot. Right now, I’m at around 130 snapshots.”

“We never know what Bruce will do next or what song he will pull out, so being able to load those snapshots quickly is a challenge,” adds Milner. “I use the keyboard and just type the first letter of the song and it will jump through all those snapshots starting with that letter. Then you can fire the snapshot with the space bar very quickly. This is usually not a problem on other tours but with over 150 snapshots it can take time to go through them all. I have an external monitor hooked on the ‘B’ engine so with everything mirrored to the ‘A’ engine I can make sure I’m running in complete redundancy at all times.”

For both engineers, the SD7 has proved to be a reliable and accommodating asset for this complex and unpredictable production.

Carlo says he’s found the SD7 to be one of the most flexible consoles out there. “I can configure it to look and operate exactly the way I need it to depending on what type of show/band I’m going to be mixing on it. It sounds great, it’s warm and full without any brittle or sterile characteristics that other consoles sometimes have. Looking ahead, and depending on the show, I might be inclined to try something a bit smaller than the SD7, however, the redundancy inherent in the SD7 with its dual engines and power supplies is a solid feature.”

Milner agrees. “Absolutely, I’ll be using DiGiCo again. They sound great and are so flexible to use especially with a large number of inputs and outputs and with all the different SD console options out now, it makes finding the right desk for each application simple. On this tour, the band seems to be really happy—and with 18 people on stage and all those open mics things can get messy really fast. We seem to have found a good balance for each band member and what works for them on any given song. The SD7 sounds great and is very neutral-sounding. It doesn’t seem to color the sound at all which is nice. You can start with the source and if that sounds good, then you know things will sound great with the console. I don’t know of any other desk out there right now that can do what we are asking of these consoles. With 140 inputs, 52 outputs and around 150 snapshots (and that number is always growing) we are making these desks earn their keep!”