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SMPTE Expands Virtual Classroom With Courses on IP Media Transport and Navigating the UHD Ecosystem

New Courses Address Critical Industry Topics, Offer Access to Expert Coaching Within a Structured, Interactive Online Education Environment

WHITE PLAINS, N.Y. — Jan. 12, 2015 — 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, is expanding its virtual classroom with the introduction of two new courses — “The Essentials of Internet Protocol (IP) Media Transport for Broadcasters: Moving Real-Time Video and Audio Over Packet Networks” and “Navigating the Ultra High Definition (UHD) Ecosystem.” Designed to provide focused, technical knowledge critical to working in today’s digital media industry, the SMPTE Virtual Classroom courses also include the Society’s Cisco Certified Networking Associate (CCNA) Routing & Switching Program.

The Essentials of IP Media Transport for Broadcasters
The first course will begin Feb. 2 and run for six weeks. Subsequent courses will begin on April 6, July 13, Oct. 5, and Nov. 23.

To offer today’s media consumers a rich array of content on their choice of viewing devices, production and broadcasting facilities must implement complex infrastructure. With an understanding of IP video technology, content creators can establish streamlined, networked file-based supply chains that enable greater efficiencies and support greater scalability in meeting consumer demand.

“The increasing utility and ubiquity of packet-based network infrastructure for the creation, storage, transfer, and streaming of professional media make it more important than ever that broadcast engineers understand the basics of IP-based media transport,” said Pat Griffis, SMPTE education vice president. “With the art and science of the traditional film and broadcast industries being transformed by Silicon Valley technology, this knowledge is essential to the efficient and successful delivery of media across key media consumption platforms and all variety of viewing devices.”

SMPTE’s course on the essentials of IP media transport for broadcasters will give engineers, technicians, and professionals a solid grasp on the key principles of IP video and audio transport as implemented in modern production and broadcasting facilities. This virtual course offers industry members a unique opportunity to learn about these elements from the very organization whose standards continue to lead the future of networked media transport.

Upon completion of this course, participants should be able to describe the facility workflow domains for networked file-based and streaming media transport; compare and contrast serial digital interface (SDI) and IP-based workflow models; discuss the components and protocols used in an IP-based video production workflow; explain how to choose and configure video and audio codecs across business applications; and select appropriate image and audio synchronization methods during mixing and switching.

With a more comprehensive understanding of Internet delivery systems, participants will be able to discuss distribution outlets and common delivery protocols such as MPEG DASH, short for Moving Picture Experts Group Dynamic Adaptive Streaming over Hypertext Transfer Protocol (HTTP); Adobe Systems HDS (HTTP Dynamic Streaming); Apple HLS (HTTP Live Streaming); and Microsoft Smooth Streaming. They also will be able to identify factors that can impact network performance and perform basic troubleshooting for network-related workflow issues.

Navigating the UHD Ecosystem
The first course will begin March 9 and will run for eight weeks. Subsequent courses will begin on June 1, Sept. 14, and Dec. 7.

This SMPTE course is essential for engineers, technicians, and craft engineers who will deploy and use UHD systems, as well as those involved with content creation, distribution, and delivery. Editors, manufacturers, and equipment suppliers with an interest in UHD will benefit from the course, as well.

“SMPTE has been studying the entire UHD ecosystem, looking at higher frame rates (HFR), wider color gamut, pixel density, high dynamic range (HDR), peak brightness, and immersive audio,” said Richard Welsh, SMPTE governor for the EMEA and Central and South America Region and CEO at Sundog Media Toolkit. “Leading the way in practical implementation of UHD throughout the production and distribution chain, SMPTE published its first HDR standard, ST 2084, in September 2014. This course will take advantage of SMPTE’s extensive study and standards work to provide participants with an understanding of UHD and its future.”

The course begins with a review of UHD essentials, the standardization of basic parameters, and the impact that UHD will have on the industry. Turning to display technology, a critical element in making UHD practical, the course will examine techniques that support higher pixel densities and look at the current status of display manufacturing. In considering audio for UHD, the course will outline technical options for immersive sound systems, including object-based, scene-based, and discrete channel-based systems.

A subsequent discussion of UHD broadcast distribution and broadband delivery methods will focus on UHD compression, primarily high-efficiency video compression (HEVC), for transport across broadcast channels and IP-based networks via broadband Internet. The course then will examine how production and acquisition techniques are affected by working with UHD in uncompressed and compressed forms. Particular attention will be devoted to UHD interface standards and the need for faster storage with increased capacity.

Moving on to take a detailed look at UHD production workflows, the course will focus on prospects for an industrywide reference architecture — from camera to post to storage and archive — and present a case study on live UHD production. The course will conclude with a consideration of the strategic dimensions of UHD, including possible timelines and potential barriers to success.

Complete details and registration for all SMPTE Virtual Classroom courses, including the CCNA Routing & Switching Program, are available at www.smpte.org/education/courses. Space in each course is limited to 12 participants.

More information about SMPTE is available at www.smpte.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.

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 sustain the Society. Through the Society’s partnership with the Hollywood Post Alliance(R) (HPA(R)), this membership is complemented by the professional community of businesses and individuals who provide the expertise, support, tools, and infrastructure for the creation and finishing of motion pictures, television programs, 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.

Photo Link: www.wallstcom.com/SMPTE/SMPTE-PatGriffis-SMPTEAnnualConference.jpg
Photo Caption: Pat Griffis, SMPTE Annual Conference

Photo Link: www.wallstcom.com/SMPTE/SMPTE-RichWelsh-SMPTEAnnualConference.jpg
Photo Caption: Richard Welsh, SMPTE Annual Conference

Photo Link: www.wallstcom.com/SMPTE/SMPTE-IP_Media_Transport_Course_Screenshot.jpg
Photo Caption: IP Media Transport Course Screenshot

Electrosonic Promotes Bryan Hinckley to Entertainment Solutions Director

Bryan-Hinckley-headshotElectrosonic has promoted Bryan Hinckley to head of the worldwide Entertainment business, which includes the museum, theme park, visitor center and retail markets. The post was previously held by Chris Conte, who was recently named head of the new U.S. Business Development team.

Hinckley has been managing Electrosonic’s themed environments and attractions business in the U.S., where he was responsible for maintaining and growing the business as well as managing and supporting its U.S.-based sales team.

“Bryan’s promotion to lead the Entertainment business comes at a very exciting time for Electrosonic and for the AV market as a whole,” says Jim Bowie, President of Electrosonic Group. “As one of our key talents, Bryan is assuming new responsibilities at which I believe he will excel and help move the company forward.”

Hinckley says, “As Chris Conte moves to lead the Business Development team, he leaves big shoes to fill. I’m looking forward to taking on an expanded role at Electrosonic where I get to work with one of the most talented teams in the industry. I also look forward to bringing my 15 years of Electrosonic experience to our new and existing customers located throughout the world.”

Hinckley joined Electrosonic in 1999 as a project engineer.  He later served as a project manager for Electrosonic projects in Taiwan, Japan, New York City and other locations throughout North America.  Prior to his recent position leading the themed entertainment business in North America, Hinckley’s roles at Electrosonic have included managing the Electrosonic Products Division in the U.S., and managing the Electrosonic Design Consulting team.

About Electrosonic
Electrosonic 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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Symetrix Delivers a Boost to Flexible Communications Environments with New 2 Line VoIP Interface Card

The plug-in card for Symetrix SymNet Edge, Radius 12×8 EX and Radius AEC systems is ideal for conferencing, paging, remote monitorinand broadcast applications.

SEATTLE, WA 8 JANUARY 2015: In the same period that Symetrix unveils the latest, feature-intensive version of SymNet Composer software for SymNet Dante™-scalable VoIPDSPs, the company has also announced the launch of a new VoIP interface card to enhance communications interoperability and complement existing IT infrastructures across multiple professional applications.

A SIP-based plug-in card for use with the Symetrix SymNet Edge, Radius 12×8 EX and Radius AEC open architecture networked DSPs, the 2 Line VoIP interface card natively integrates with SIP-based call platforms and unified communications environments. Developed for maximum flexibility, the card supports both narrowband and wideband audio, and is capable of a broad range of telephony features.

Trent Wagner, senior product manager for Symetrix, comments: “With full call management features such as hold, reject, transfer, conference join and split, the SymNet VoIP interface card is more fully featured than many desk sets.”

The specification abounds in features that guarantee long-term ease-of-implementation for integrators, IT administrators and other end-users. Chief amongst these is the ability to manage the interface via any standard web browser from either the AV or VoIP LAN networks.

“This is an exclusive feature and a huge olive branch between the AV systems integrator and the corporate IT or telephony staff,”says Wagner. “Typically one does not have access to the other’s domain, which can lead to disruption and unnecessary back and forth if things do not work the first time, or the information necessary to configure the card was lacking. This approach provides the ideal antidote to that problem.”

In addition, the card’s provision of two independent VoIP lines –each with two concurrent call appearances –makes it possible to run a five-party conference call without having to deploy an external conference bridge. “This can greatly simplify and speed the set-up of the sort of ad-hoc meetings that so many companies need to undertake on a daily basis,”says Wagner.

Using built-in logic connections, the 2 Line VoIP card accommodates more sophisticated state-based applications such as paging and remote monitoring. The interface also facilitates a simple upgrade path from existing PSTN solutions to VoIP as there is no requirement to reprogram existing third-party control systems.

Validated with class-leading Cisco®and Asterisk®SIP-compatible call management platforms, the 2 Line VoIP card delivers low-delay audio packet transmission, adaptive jitter buffers, country-specific tone compatibility, and independent level adjustments for call progress, DTMF and ring tones.

A hugely beneficial asset to all manner of conferencing, monitoring and broadcast applications, the Symetrix 2 Line VoIP Interface Card is available for shipping now.




FURTHER IMAGES: Please click on an images caption for a hi-resolution copy.

[1] Symetrix SymNet 2 Line VoIP Card.

[2] Symetrix SymNet 2 Line VoIP Card alongside other SymNet I/O cards and SymNet Radius 12×8 EX DSP.

[3] Symetrix SymNet 2 Line VoIP Card inserted into SymNet Radius AEC.

[4] As above, with different angle.

[5] Headshot: Trent Wagner, Senior Product Manager, Symetrix

ABOUT SYMETRIX: Dedicated to making life sound better for almost 40 years.

With a current and broadly-based product portfolio that encompasses both open architecture (Edge, Radius 12×8 EX, Radius AEC, Solus) and fixed architecture (Jupiter, Zone Mix 761) solutions, Seattle, USA-based Symetrix is the global leader in digital audio signal processing. From a founding base in the studio and MI communities, Symetrix has emerged to take a defining role in commercial audio, its products now a default choice for large-scale installations in performance venues, sports arenas, educational establishments and many more. Benefiting from a worldwide distribution network that has seen its products specified in over 100 countries, Symetrix nonetheless continues to spearhead the entire design and build process from its Seattle HQ. The manufacturer is now enhancing its readiness for a new era of AV networking through its licensing partnership with Audinate, whose world-leading Dante media networking solution is fully integrated into the SymNet DSP platform.

For hi-res media files on the Symetrix product portfolio, please click here.

The following are either trademarks or registered trademarks of Symetrix, Inc.: Symetrix, SymNet, SymNet Composer, SymNet Designer, SymVue, Edge, Radius 12×8, Radius AEC, Jupiter, Integrator Series, Solus, xIn 12, xOut 12, xControl, ARC, SymLink, CobraLink, AirTools, Lucid. Windows is a registered trademark of Microsoft, Inc. Audinate®is a registered trademark and DanteTM is a trademark of Audinate Pty Ltd. Other product names mentioned herein may be trademarks and/or registered trademarks of other companies and are property of their respective owners.


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DPA Microphones Rings in the New Year at the Rainbow Room

PBS’ national New Year’s Eve festivities used a range of the company’s mics

DPA Microphones_ddicate 4011_PBS Rainbow RoomNEW YORK, JANUARY 8, 2015 DPA Microphones returned to The Rainbow Room for an exquisite and elite New Year’s celebration for PBS’ second national, primetime celebration from the recently re-opened iconic Manhattan venue, New Year’s Eve at The Rainbow Room with Michael Feinstein. After the success of the Fall Arts Festival program, DPA’s d:facto™ Vocal, d:vote™ 4099 Instrument, d:dicate™ 4011 Cardioid and d:screet™ Miniature mics once again found their way onto the guest list for the esteemed event.

DPA Microphones_dfacto Vocal_PBS Rainbow Room NYE ShowThe company’s wide range of products was perfectly suited for the various aspects of the production, including vocals and instrumentals. With the show’s swing/big-band at the heart of the special, there was no concern for the SPL levels, which can become soft in these situations. The DPA d:vote 4099 was properly adjusted to close-mic each instrument. Andy Brattain, Michael Feinstein’s production manager and FOH engineer placed the DPA d:vote 4099 either on the instrument or music stand, depending on whether the musician needed to quickly change mutes, to provide the proper isolation required for recording the performance.

DPA Microphones_dvote Instrument_PBS Rainbow Room NYE Show“A combination of DPA’s d:vote 4099 and d:dicate 4011C mics gave us a tight enough polar pattern so that each individual player could be isolated,” says Brattain. “With the saxophone, flute and clarinet performers doubling instruments within a song, we ended up positioning the d:dicate 2011C’s onto the mic stand to pickup each instrument being played. The d:vote 4099’s provided an equally matched tone and quality. DPA was able to handle this broad spectrum of instruments without any problems.”

In addition to Feinstein, a multi-platinum-selling, two-time Emmy and five-time Grammy® Award-nominated entertainer, New Year’s Eve at The Rainbow Room with Michael Feinstein features performances by Christine Ebersole, Darren Criss, Leslie Odom, Jr., Julia Goodwin, Aaron Tveit, Marilyn Maye and Kelli O’Hara.

DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

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Quantum’s StorNext Pro Solutions Win Visionary Product Award at Storage Visions Conference

New Family of Integrated, High-Performance Workflow Solutions Recognized for “Enabling Collaborative Storage Technology”

Quantum Corp. (NYSE: QTM) today announced that its StorNext(R) Pro Solutions received a Visionary Product Award for “Enabling Collaborative Storage Technology” at the 14th annual Storage Visions Conference in Las Vegas. The Storage Visions Awards recognize companies advancing the state of the art in storage technologies for consumer electronics and the media and entertainment industries, as well as visionary products for the digital content value chain and digital storage users.

[Learn how StorNext Pro(TM) Solutions enable collaborative workflows: www.stornext.com/solutions/stornextpro]

Powered by Quantum’s StorNext 5 technology, StorNext Pro Solutions include five high-performance storage systems optimized to enable collaborative workflows, providing faster and more cost-effective creation, management, processing and delivery of content:

* StorNext Pro 4K meets the demands of modern 4K media workflows from ingest to production to delivery with flash-based metadata appliances and highly scalable disk storage.

* StorNext Pro Studio makes it easier to refresh or enhance existing Apple Xsan deployments by providing a high-performance, scalable and 100 percent Xsan-compatible solution.

* StorNext Pro Foundation gives smaller production workgroups a high-performance, attractively priced solution for managing content from ingest to delivery to archive.

* StorNext Pro Workgroup provides ingest, production, review and delivery, with different options for petascale content storage and access at any stage of the workflow, including Quantum’s Lattus(TM) extended online storage.

* StorNext Pro Production supports complete, high-performance workflow storage spanning content production to content library management.

A partner program of the 2015 International Computer and Electronics Show (CES), the Storage Visions Conference is presented by the Entertainment Storage Alliance and Coughlin Associates.

Supporting Quote
Alex Grossman, Vice President, Media and Entertainment, Quantum
“In the rapidly evolving world of digital media production, with increasingly tighter deadlines, companies are struggling to ensure their storage infrastructure supports more complex, higher-volume workflows. We developed StorNext Pro Solutions to address this challenge head-on, enabling companies to work more efficiently from ingest to archive at any scale and adapt to new workflow demands. We appreciate Storage Visions recognizing the innovation and value Quantum is delivering to customers.”

Photo Link: www.wallstcom.com/Quantum/Quantum-StorNextProSolutions.png
Photo Caption: Quantum StorNext Pro(TM) Solutions
About Quantum
Quantum is a leading expert in scale-out storage, archive and data protection. The company’s StorNext 5 platform powers modern high-performance workflows, enabling fluid, real-time collaboration and keeping content readily accessible for future use and re-monetization. More than 100,000 customers have trusted Quantum to address their most demanding content workflow needs, including top studios, major broadcasters and cutting-edge content creators. With Quantum, customers can Be Certain(TM) they have the end-to-end storage foundation they need to manage assets from ingest through finishing, and into delivery and long-term preservation.


Quantum, the Quantum logo, Be Certain, Lattus, StorNext and StorNext Pro are either registered trademarks or trademarks of Quantum Corporation and its affiliates in the United States and/or other countries. All other trademarks are the property of their respective owners.

“Safe Harbor” Statement: This press release contains “forward-looking” statements. All statements other than statements of historical fact are statements that could be deemed forward-looking statements. Specifically, but without limitation, statements relating to 1) benefits and value to customers from using StorNext Pro solutions and 2) customer demand for and Quantum’s future revenue from such solutions, are forward-looking statements within the meaning of the Safe Harbor. All forward-looking statements in this press release are based on information available to Quantum on the date hereof. These statements involve known and unknown risks, uncertainties and other factors that may cause Quantum’s actual results to differ materially from those implied by the forward-looking statements. More detailed information about these risk factors are set forth in Quantum’s periodic filings with the Securities and Exchange Commission, including, but not limited to, those risks and uncertainties listed in the section entitled “Risk Factors,” in Quantum’s Quarterly Report on Form 10-Q filed with the Securities and Exchange Commission on November 7, 2014 and in Quantum’s Annual Report on Form 10-K filed with the Securities and Exchange Commission on June 6, 2014. Quantum expressly disclaims any obligation to update or alter its forward-looking statements, whether as a result of new information, future events or otherwise, except as required by applicable law.


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Cinematographer Timur Civan Relies on Lightweight FUJINON Cabrio Lens for High-End Productions

Wayne, N.J. – As a Director of Photography and producer with a degree in studio art and previous career as a sculptor, Timur Civan takes pride in telling an artistic story through his camera work. His production company Tstop Cinema LLC focuses on high-end commercial and feature film work, ranging from fashion and technology projects, to cooking, and Sesame Street promos. Over the last few years, one piece of equipment Timur has relied upon is the FUJINON PL 19-90mm Cabrio lens Timur Civan Cabrio Use-1(ZK4.7×19.) Timur Civan Cabrio Use-1Most recently, he used it to shoot a commercial for FILA sneakers and commercials for the Home Shopping Network (HSN).

When FUJIFILM Optical Devices introduced the Cabrio 19-90 T2.9 lens in 2012, Timur was one of its first customers. “I’d just sold my previous lens because it was expensive and was not renting well, and was in the market for a new one,” he explained. “At first I just thought that the Cabrio would be a good rental item, which it definitely is. What I didn’t expect was its high optical quality. Zoom lenses with such a long focal range can sometimes lack in image quality. But in this case, FUJIFILM did an amazing job with its image quality. The optics on the lens are just beautiful.”

Offering the longest focal range available in a lightweight zoom, Timur Civan Cabrio Use-2the FUJINON 19-90 Cabrio weighs in at only 2.85kg, including its Timur Civan Cabrio Use-2servo motors. Its compactness is something that Timur particularly appreciates. One feature that Timur is surprised he finds so valuable is the detachable servo drive. The exclusive detachable servo drive unit makes the lens suitable for use as a standard PL lens or as an ENG-Style lens. For a recent Home Shopping Network (HSN) fall fashion commercial, Timur relied exclusively on his FUJINON 19-90 lens mounted on a RED EPIC DRAGON camera for the nearly 15 hours of footage he shot.

“We were able to shoot through a variety of setups in the day using only the Cabrio. It saved us a lot of time and energy.”
On another recent shoot, this time a nighttime production for FILA’s TMNT Crossover Shoe, Timur again shot with the FUJINON Cabrio lens on a RED EPIC DRAGON. “The FUJINON lens covers 6K on the RED camera, so it produced full sharpness and breadth at the center. The lens is still sharp, even at the edges of the frame, with no soft corners. The Cabrio has a certain clarity that’s hard to explain.”

Citing the FUJINON Premier Series 18-85mm T2.0 zooms as his all-time favorite lens, Timur describes it on his website as “legendary” and “practically a miracle of modern optics.”

About Fujifilm
FUJIFILM North America Corporation, a marketing subsidiary of FUJIFILM Holdings America Corporation consists of four operating divisions and one subsidiary company. The Imaging Division provides consumer and commercial photographic products and services, including: photographic paper; digital printing equipment, along with service and support; personalized photo products; film; and one-time-use cameras; and also markets motion picture archival film and on-set color management solutions to the motion picture, broadcast and production industries. The Electronic Imaging Division markets consumer digital cameras, and the Graphic Systems Division supplies products and services to the graphic printing industry. The Optical Devices Division provides optical lenses for the broadcast, cinematography, closed circuit television, videography and industrial markets, and also markets binoculars.
FUJIFILM Canada Inc. sells and markets a range of Fujifilm products and services in Canada. For more information, please visit www.fujifilmusa.com/northamerica, go to www.twitter.com/fujifilmus to follow Fujifilm on Twitter, or go to www.facebook.com/FujifilmNorthAmerica to Like Fujifilm on Facebook. To receive news and information direct from Fujifilm via RSS, subscribe at www.fujifilmusa.com/rss.

FUJIFILM Holdings Corporation, Tokyo, Japan brings continuous innovation and leading-edge products to a broad spectrum of industries, including: healthcare, with medical systems, pharmaceuticals and cosmetics; graphic systems; highly functional materials, such as flat panel display materials; optical devices, such as broadcast and cinema lenses; digital imaging; and document products. These are based on a vast portfolio of chemical, mechanical, optical, electronic, software and production technologies. In the year ended March 31, 2014, the company had global revenues of $23.9 billion, at an exchange rate of 102 yen to the dollar. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit: www.fujifilmholdings.com.

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Digital Vision Appoint Sam Florey As Part Of Regional Growth

Digital Vision(LONDON, UK) – Digital Vision has announced the appointment of Sam Florey as Head of Sales for the Asia Pacific region. Sam will be working closely with Peter Charles and Felipe Muraca and will be responsible for developing and managing channel partners in the region.

Sam Florey, Digital Vision

Sam Florey, Digital Vision

Sam has over 25 years’ experience in distribution and representation for the technology sector. Starting out in Desktop Publishing at the beginning of the rise of the industry Sam was instrumental in establishing Adobe in the UK and throughout the rest of EMEA. Following a key role at Macromedia heading up its OEM sales internationally, Sam moved from the Rich Media and Graphics sector to spend 15 years in big data visualisation at several global consultancies in senior roles.

Sam relocated from London to India just over a year ago where he ran his own consultancy firm. His location added to his experience make him well positioned to manage the region for Digital Vision.

Kelvin Bolah, CEO, Digital Vision, said, “Sam’s technical sales expertise is backed up with a strong work ethic. I’m confident he will enhance the sales organisation and have an immediate and positive effect on our APAC business.”

Sam Florey said, “I am excited to join Digital Vision at this exciting time for the company, and am looking forward to contributing to its continued growth and success.”

About Digital Vision
Digital Vision is the supplier of the world’s best colour grading, restoration and film scanning solutions for the broadcast, film, commercial and archive industries. Founded in 1988 in Stockholm, Sweden, Digital Vision has offices in London, Los Angeles, Melbourne, New York, and Sweden. Digital Vision’s Emmy award winning technology and products include Nucoda and Phoenix colour grading, finishing, mastering and restoration solutions that are used to create much of the worlds’ high profile television, film and commercials media broadcast and distributed today. In addition to the Nucoda and Phoenix ranges, Golden Eye film scanners, Thor, and the Bifrost Archive Bridge solution provide innovative tools to create the industry recognised highest quality in scanning, film digitisation, preservation and archiving and 4K real time image processing. For more information, visit www.digitalvision.tv – All trademarks used herein, whether recognized or not, are the properties of their respective companies.

Digital Vision Marketing Contact:

Patrick Morgan | patrick.morgan@digitalvision.se | Tel: +44 (0) 20 7734 8282 | Mobile +44 (0) 7917674711

Digital Vision PR Contacts:

Chris Purse, Ignite | chris@ignite.bz | Tel: +1 818 980 3473

Dawn Bochenski, Bubble & Squeak | dawn@bubblesqueak.co.uk | Tel: +44 (0)7887 627764

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Christie Acquires coolux to Improve Multimedia and Live Event Experiences

Christie®, the global leader in visual displays and audio technologies, announced today that it has acquired Cologne-based coolux GmbH (‘coolux’), a world-renowned developer and supplier of 3D compositing and rendering systems, best known for its Pandoras Box product family. coolux will be integrated into Christie’s Global Market Solutions team, maintaining its office in Cologne, Germany.

Jennifer Smith, executive vice president, Global Market Solutions, said “Christie is committed to deepen its marketplace lead in supplying a total solution for advanced applications such as projection mapping, broadcast delivery and all manner of large-scale digital canvas creation, so the fit between our products and services and those of coolux is a natural one.”

Continuing, Smith said “Pre-visualization capability when creating stunning, experiential events
– including real-time rendering of same – is increasingly important in the creative plans of entertainment designer and creative visionaries. The acquisition is a boon to those who need multiple display technologies to come together to create both continuous and non-continuous digital canvases, but most importantly, to be able to create and manage the content that flows onto these canvases,” added Smith.

coolux CEO Jan Huewel, who will report to Jennifer Smith in his new position of senior director, Processing Solutions, commented that “In a world where visual and audio experiences are assuming new importance in inspiring and moving audiences, content orchestration and synchronized content delivery is paramount and with today’s news, Christie, with its already impressive presence in this arena, has gained another leading-edge product line and development team to ensure it keeps its lead.”

More detail on the announcement will be provided at the biennial coolux Connect Conference, to be held January 8-9, 2015 at Vulkanhalle, Building E, Lichtstr. 43, 50825 in Cologne, Germany.

Initial reactions to the news of the acquisition was positive among global leaders in augmented reality and experiential-marketing projects, exemplified by award-winning projection designer Bart Kresa of BARTKRESA design Inc. , who said “I’ve used coolux and Christie products in a number of my productions and value both for their feature-rich gamut and reliability, so I’m excited about what Christie will come up with in future, leveraging its expertise and that of the coolux team.”

coolux has become a welcome feature at various industry shows, including ISE, NAB, LDI and InfoComm, and this presence will continue in the Christie experiential marketing booths at said shows, beginning with the NAB 2015 show in Las Vegas, Nevada, April 13-16, 2015.

coolux, on its own and in combination with Christie products, has earned an enviable track record in delivering impactful 3D visualization and composting solutions and driving many notable events (details available upon request).

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Audio/Visual Firm Emergency Production Purchases FOR-A HVS-100 Portable Video Switcher

Cypress, CA – FOR-A America announces that Rhode Island-based event production and rental company Emergency Production recently purchased its HVS-100 portable video switcher. As the preferred labor provider for a number of New England’s premier events, Emergency Production has begun to rely on the HVS-100 in its video production, and is very happy with the switcher’s performance.

“A number of things led us to purchasing the HVS-100 switcher,” explained Chris Hubbard, owner of Emergency Production. “First and foremost, the switcher has proven that it’s highly reliable. We were also impressed with the HVS-100’s ability to Emergency Emergency Productions Switcher Use-1Productions Switcher Use-1 run multiple AUX controllers, operate native in both 1080p and 23.98PsF, which are client requested video format specifications, and its ability to assign ‘anything to anything’ with the outputs.”

The biggest project that Emergency Production has used FOR-A’s HVS-100 for thus far incorporated a five-camera chain running in 23.98PsF to achieve a film look, and was recorded on 14 decks with video fed to a presentation switcher for live image magnification. The event was simulcast live in three languages. Emergency Production found the HVS-100 AUX controllers running sub-switches to be an essential part of its video production.

Hubbard explained, “We’re extremely happy to have added this system into our inventory. After many demos and testing, in the end, purchasing the HVS-100 was a simple choice for us.”

Since its introduction into the market last year, FOR-A’s HVS-100/110 video switcher series has proven to be a popular fit for a wide range of applications. Boasting exceptional cost performance, the HVS-110 features an integrated main unit and control panel, while the HVS-100 switcher comes standard with a separate main unit and control panel. Both switchers offer diverse functions and features, including a frame synchronizer, multi-viewer capability, re-sizing engine, 2.5D wipe effects, dedicated bus buttons, AUX buttons, a fader controller, and DVE and keyer with chroma key. The HVS-100’s control panel design leverages the knowledge of expert operators, making it an ideal fit for Emergency Production’s production staff.

“We’ve relied on numerous FOR-A equipment in the past, and we’ve never had a negative experience. Plain and simple, FOR-A’s solutions are workhorses,” added Hubbard.

About FOR-A
FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, postproduction and professional video markets. For more information about FOR-A’s product line, call 714-894-3311 or visit our web site at www.for-a.com.

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Daddy Kev Chooses SSL XL-Desk For Mixing and Mastering at Cosmic Zoo

“For the first time in more than ten years, I’m back to a true analogue workflow and I feel like I’m just scratching the surface of what I can do with the console”

ATWATER VILLAGE, CA – When he’s not mixing for the hugely successful Low End Theory dance party at the Airliner nightclub on Wednesdays in LA, producer engineer and Alpha Pup Records label co-founder Daddy Kev, can be found at his California recording studio, Cosmic Zoo. With a parade of successful underground electronic music artists coming through the door, including Flying Lotus, Run the Jewels, Mr. Oizo, Thundercat, Nosaj Thing, Daedelus, Jeremih and Shlohmo, Cosmic Zoo recently became one of the first studios to feature SSL’s new XL-Desk. To keep up with the ever-changing sounds of the underground electronic movement, Kev installed the console for a variety of mixing and mastering applications.

XL-Desk at Daddy Kev's Cosmic ZooDaddy Kev’s affinity for SSL sound goes back to the late 1990’s when he was recording at Paramount Recording Studio B. When the XL-Desk was introduced, he jumped on it. Kev considers himself a “low rider,” positioning his monitors at 36 inches, so he had a custom desk built for the XL-Desk to accommodate the way he works. The custom setup combined with the ability to have his 500 modules within reach is changing his workflow – particularly for his mastering projects, his primary workload at Cosmic Zoo.

“I have mastered more than 40 albums this past year alone,” he explains. “In that process, I use a bunch of 500 modules. As soon as I installed the XL-Desk, I immediately took the 500 modules and installed them in the console’s built-in 500 format rack. Now, I’m able to access those modules – as well as the new SSL bus compressor that comes with the XL-Desk – through the console. I think that the whole genius of the XL-Desk is the ergonomics of having the 500 rack in-line with the channels. In the past, I’d sit at the mix position with my outboard processors on either side of me. I’d always have to move a few feet in either direction to access the outboard gear, which would take me out of my ideal listening and operating position. Now, my Focal CMS 65 monitors are on 36-inch stands, putting the tweeters perfectly at my ear level. So, I’m right on top of the console, but nothing blocks the monitors and I have everything within arms’ reach.”

Kev says that location isn’t the only element that has changed his mastering process. “The integration for controlling multiple monitors on the XL-Desk is fantastic,” he explains. “I’m using the speaker switching and LF management to run between both my Focal monitors or QSC KW153s three-way monitors and a pair of JBL SRX728S subwoofers, and the monitor path is still very clean. This might be the only XL-Desk wired to four 18-inch subwoofer drivers — so we can probably levitate the room if necessary!”

Kev reveals that, until now, he feels like he’s never been able to properly integrate his compressors and EQs. “I’ve been collecting outboard gear for years, and in my old situation without a console I was really just doing a lot of two-bus treatments. This is literally the first time in more than ten years that I’m back to a true analogue workflow. Now, when I mix, I can group or submix tracks in Pro Tools® and send them in stereo groups to the XL-Desk. I have all of the 500 module inputs, outputs, send and return insert points — as well as all of the XL-Desk’s channel insert points — on my patchbay, giving me a very easy way to integrate that outboard gear into my mixing and mastering processes.

“I can insert the 500 module that sits inline with a particular channel simply by pressing a button or using the patchbay to patch it into another channel. With the additional ‘INS’ button on every channel, I can actually have two processors on a single channel. The four ‘500’ buttons in the master section connect the mix buses to the 500 modules without need for patching. This gives me a wide range of options to best suit each project.”

In addition to his 500 modules — EQs from Avedis, Electrodyne, Rupert Neve Designs, Elysia and Empirical Labs, Kev also has an SSL X-Rack with two 9000 compressor modules and an SSL FX G384 bus compressor. “So, I have three different SSL compression options to work with during mixing or mastering and it’s very nice,” he adds. “I feel like I’m just barely scratching the surface of what I can do with the XL-Desk; it’s incredible. It’s very inspiring for me to come to the studio and want to work as much as I can on such a beautifully-designed piece of gear.”

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

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