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Sound for Picture Track at the Upcoming 137th AES Convention in Los Angeles Offers Expertise of Film and TV Audio Professionals

— Panels and presentations will focus on the new frontiers of immersive sound and object-based mixing, as well as a session with award-winning women sound mixers of Hollywood —

New York, NY — The 137th Audio Engineering Society Convention, set for Thursday, October 9, through Sunday, October 12, 2014, at the Los Angeles Convention Center in Los Angeles, California, will feature a special track, “Sound for Picture,” chaired by acclaimed film sound engineer Brian McCarty (On Golden Pond, The Big Lebowski, Dick Tracy, others). The Sound for Picture Track at past AES Conventions has been both timely – recent events have looked at soundtrack loudness issues – and popular, evidenced by the standing-room-only crowd that audio specialists from the reality show “Deadliest Catch” drew at last year’s New York event. This year’s Sound for Picture track will look deeply into how cinema sound is becoming immersive, with the arrival of object-oriented audio platforms like Dolby’s Atmos®. It will also reflect the widening of the sector’s diversity with a panel featuring award-winning women sound mixers who work at the leading dubbing stages in Hollywood and elsewhere.

Additionally, for the first time, the Sound for Picture track will include workshops on Production Sound recording. This craft, the recording of dialog during the filming, is a specialized type of recording in a high-pressure environment that gives Hollywood productions a higher degree of realism. A workshop featuring the “Superstars of Production Sound Recording” along with a practical Master Class on Production Sound Recording techniques will draw large audiences. Additionally, as part of the AES137 Sound for Picture track, an off-site Tech Tour will feature a hands-on demonstrations and Master Classes on Auro3D Immersive Sound Mixing conducted at The Dub Stage in Burbank by Marti Humphrey and Chris Jacobson.

The full session schedule is set to include:

Sound for Picture Session SP1 Cinema Loudness Subcommittee Test Results and Proposed Solutions
Sound for Picture Session SP2 Music Production for Film—A Master Class
Sound for Picture Session SP3 The Award-Winning Women Sound Mixers of Hollywood
Sound for Picture Session SP4 Cinema Standards Review and the Road to Implementing Changes (A Joint Presentation with the SMPTE)
Sound for Picture Session SP5 Immersive Sound and One-Man Mixing
Sound for Picture Session SP6 World-Class Cinema Sound Mixers Discuss Their Craft
Sound for Picture Session SP7 Superstars of Production Sound Recording
Sound for Picture Session SP8 Recording Production Sound—A Master Class

“The ‘Sound for Picture’ track has been a tremendous success for the AES Conventions – the largest group of working sound engineers around the world are those that do Sound for Picture in one capacity or another,” stated McCarty. These working engineers learn new techniques from their peers at these workshops, which have been given by the top working professionals. The Los Angeles Convention will be no different. And with Hollywood being the home of cinema, we’re presenting a stellar group of Oscar winning professionals to the Convention.”

For information on the Sound for Picture Track and how you can get your FREE Exhibits-Plus badge (pre-registration required) for the AES137 Convention, as well as further Registration, Hotel, and Technical Program information, visit the AES137 webpage at http://www.aes.org/events/137/.

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Cambridge Sound Management Announces Qt Room Control™

New Product Allows Users to Control Sound Masking in Rooms with the Turn of a Knob

WALTHAM, MA, September 16, 2014 – Cambridge Sound Management, the global leader in Sound Masking solutions announces the Qt Room Control™ (QtRC), a new product that allows users of QtPro Sound Masking solutions to turn Sound Masking up or down in individual rooms without affecting other spaces where Sound Masking is offered.

With six possible volume settings, the QtRC allows for hands-on, immediate volume control of Sound Masking on a microzone level. Users in a private office desiring a reduction of outside distractions can turn their room’s Sound Masking up, while users in full conference rooms with a large distance between a talker and a listener can turn the Sound Masking down to ensure the talker is heard clearly. The QtRC is easy to install during new construction or retrofits, and fits in most standard electrical boxes, including open back, low voltage brackets.

“Our customers notified us about occasional situations where it would be useful for Sound Masking to be controlled on a ‘micro-zone’ level,” says Mitch Nollman, Vice President of Sales at Cambridge Sound Management. “Along with QtPro, the QtRC gives our users yet another tool to gain greater control over office noise distractions.”

”We see a lot of applications for the QtRC, particularly in the healthcare space where having increased control of Sound Masking can increase patient comfort and help caregivers keep conversations more private,” says Dean Hinton, President of Pro Tech Marketing, Cambridge Sound Management’s rep firm in the Mountain West. ”We’re excited about selling this new product.”

With an elegant, simple design and customizable faceplates, the QtRC easily blends into existing office décor. The product’s Decora® faceplate, centerplate, and knob are available in both white and ivory variations. One QtRC can control up to eight QtPro emitters, allowing it to adjust Sound Masking in rooms up to 800 square feet in area.

The QtRC is available now. For more information about the QtRC visit cambridgesound.com or call 800.219.8199.

About Cambridge Sound Management
Cambridge Sound Management, LLC manufactures QtPro sound masking systems to help organizations across multiple industries protect speech privacy, reduce noise distractions, and fuel workplace productivity. Powered by direct-field Quiet Technology, QtPro works by emitting a uniform, barely perceptible background sound at the frequencies of human speech. Cost effective and easy to install, QtPro is deployed in hundreds of millions of square feet of space throughout the world including commercial organizations, healthcare facilities, financial services, government agencies, and educational institutions.

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HARMAN’s Studer Introduces New MADI Card to Accompany D23 I/O System

AMSTERDAM, The Netherlands – In correlation with the introduction of its D23m I/O system and A-Link 3 Gbit/s optical interface, HARMAN’s Studer is announcing the first MADI I/O card specifically designed to fit in the new D23 frame, which works seamlessly with Studer Vista X and Vista V digital consoles. The card may also be used in the Vista 1 I/O card slot.

The new I/O card is a dual slot card fitted with two redundant MADI interfaces and provides up to 128 channels of inputs and 128 channels of outputs on the two fully redundant interfaces. SFP modules are used for the front panel MADI interfaces and these hot-pluggable devices are available in a variety of optical and electrical formats.

MADI is a worldwide standard and is used for high capacity interfaces to much studio equipment such as Digital Audio Workstations (DAWs), video and audio routers, other consoles and, most importantly, stage boxes. Studer stage boxes have embedded control within the MADI stream, even if all 64 channels are used for audio. This new card may be connected to two Studer stage boxes, either D21m type or the Compact Stagebox. Full microphone control and remote frame status monitoring for both frames is provided on the console application.

Each of the two MADI interfaces provides dual outputs (with the same audio and control data). The MADI inputs will automatically switch in less than a millisecond to the reserve input if the data is corrupt or fails, thus providing full cable redundancy for typical OB operations.

MADI channel count to the D23m backplane may be set for both interfaces in eight channel steps individually from eight channels to 64 channels. MADI outputs may be set to 56-channel mode for compatibility with legacy equipment. MADI inputs may be in either 64- or 56-channel mode. Input sample rate converters may be enabled for use with non-synchronous sources.

The MADI interfaces will run at 44.1 kHz, 48kHz, 88.1kHz and 96kHz in the D23m frame. Channel count is halved unless two pairs of cables are used.

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of approximately 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.

Apple Invites Larry Fishman To Speak At Special Employee Presentation


Cupertino, CA––With products such as iPhone, iTunes, MacBook, iMac and more, Apple Inc. is well known for beautiful design and seamless product integration. But where does Apple turn when looking for inspiration to help keep their ideas fresh?

Larry Fishman founder and President of Fishman, designer and manufacturer of pickups, amplification and other products for acoustic and electric musicians, was recently invited to speak to Apple designers, engineers and product managers.

Fishman delivered a presentation entitled “Inspiring Tools for Musicians: A Confluence of Engineering and Art” to a standing-room only audience. Not surprisingly, almost all in attendance raised their hand when asked by Mr. Fishman, “How many of you are engineers?” When asked the second question, “How many of you are musicians?” an equal number responded.

Fishman continues, “At that point I knew I was among friends. My own background with a Mechanical Engineering degree and years as a performing bassist has allowed me to seamlessly move between creative endeavors. Sometimes I’m playing my bass; sometimes I’m ‘playing’ my computer CAD system; at all times I’m creating.”

Mr. Fishman took the audience through his concept of creativity and how the engineering arts relate to and co-exist with the “fine” arts in terms of individuals and companies. He went on to explain how the Fishman culture of inspiration, rejecting institutional bias and “untying knots” has helped build an award winning, profitable and acknowledged leader in the MI industry over the last 33 years.

In addition to the lecture, music was used to reinforce key points and illustrate the end results of Mr. Fishman’s process. Performances featuring musicians Greg Koch, Roscoe Beck and Ritchie Fliegler were woven throughout the program.

Specific products were included such as Fishman’s first pickup design for upright bass along with his early relationship with guitar makers, which ultimately led to the development of the industry-standard Matrix pickup. Fishman spoke of his experience creating Parker Guitars with Ken Parker, and many of the challenges he faced with a radical new design that challenged the sensibilities of the conservative guitar market. Aura Acoustic Imaging Technology, Loudbox acoustic amplifiers and Fluence Multi-Voice electric guitar pickups were also used as examples to illustrate the Fishman creative technology process. Of particular interest to the Apple audience was the TriplePlay Wireless MIDI Guitar Controller and how it integrates with iOS and OS X software.

Fishman concludes, “At this point, Apple’s mark on product technology and design are indisputable. That they would invite me to speak to them as a peer is quite an honor. Being given the opportunity to share my views on product development to a receptive audience at Apple was an amazingly inspiring and humbling experience.

“Also, the fact that many of the attendees stayed and chatted well after the presentation was over definitely made my day. We could really relate to each other, as in ‘if you’re a computer company why are you making a phone?’ It’s not that much different from our expansion into digital processing, electric guitar pickups and amps. Ultimately, we all agreed the object is to bring value, something truly unique to people.”

For more information about Fishman, please click to www.fishman.com.

Masque Sound Takes Off with First National Tour of the High-Flying Hit Musical Comedy, Pippin

Custom Audio Equipment Package Delivers Broadway Experience to Audiences around the Country

DENVER, CO, SEPTEMBER 15, 2014 – When the Broadway smash hit Pippin embarked on its first national tour on September 6 at The Buell Theatre in Denver, Colorado, Masque Sound, a leading theatrical sound reinforcement, installation and design company, was along for the ride to support Sound Designers Jonathan Deans and Garth Helm’s vision for the high-flying, death-defying musical comedy.

Pippin tells the story of a young prince as he sets out on a thrilling journey to find meaning in his existence. He notes two potential paths: he can choose a happy, but simple life or risk everything in favor of a momentary flash of glory. A magical show, Pippin has become a well-known staple in the theatre community for its many classic Broadway numbers, including “Magic to Do,” “Corner of the Sky,” “Glory,” “No Time at All,” “Morning Glow” and “Love Song.”

Deans and Helm have been with Pippin since its Broadway opening in April 2013 and are both intimately familiar with the show’s audio requirements. “The creative concept behind Pippin was designed in New York, so we are now trying to bring that Broadway experience to the different theatres on the tour,” says Deans. “The show itself essentially stays the same as the one that appears on Broadway in every aspect, except for the sound design. Because we are putting on performances in different theatres of various sizes and capacities, as well as some with balconies and some without, we needed a very flexible sound system that could provide full coverage, with no matter to the room and its dimensions.”

In order to deliver as close to the Pippin Broadway experience as possible, Masque Sound provided the designers with a DiGiCo SD7 Live Digital Console complete with Stealth Digital Processing™. “The SD7 is very versatile, sounds great and does everything we want it to do,” says Helm. “It is extremely helpful in ensuring that we can expect exceptional sound coverage in all of the theatres in which the production will be playing.”

As part of the custom-designed audio system, Masque Sound also supplied an array of d&b audiotechnik speakers, which the designers chose for their excellent sonic soundscape, as the speakers help to keep the continuity between the Broadway show and the tour productions. In addition, a selection of microphones from Shure, Neumann and DPA, as well as a 40-channel wireless package featuring Sennheiser mics with DPA booms, were also included in the audio equipment package.

“The crew at Masque Sound is always wonderful to collaborate with,” adds Deans. “Masque Sound worked closely with us to build the ideal speaker package to fit our sound requirements. The crew really looks after the best interests of the show. They care about the production, they care about us, and that always makes working with them such a rewarding experience.”

In addition to providing the custom audio package for the show, Masque Sound also supplied frequency coordination for the show’s 40-plus channels of wireless microphones. Masque Sound’s expert team provided the touring crew with the information and RF equipment that they needed to ensure that all of the show’s wireless transmission would remain interference free.

Deans and Helm also acknowledge the importance of their own crew’s hard work in ensuring the show’s success. “Our Associate Sound Designer Drew Levy, Production Sound Supervisor Alex Ritter and two fantastic sound mixers, A1 FOH Mixer Maxine Gutierrez and A2 RF/Backstage Support Nathan Meredith, look after the show, tour with it and do an amazing job on all accounts.”

Pippin is directed by Diane Paulus and features choreography by Tony® nominee Chet Walker in the style of Bob Fosse and circus creation by Gypsy Snider of the Montreal-based circus company Les 7 Doigts de la Main, also known as 7 Fingers. The show opened on Broadway on April 25, 2013 and went on to win four 2013 Tony Awards, including Best Revival of a Musical and Best Director of a Musical for Paulus. The Pippin tour is currently slated to run through August 2015 with 33 stops, including Denver, Los Angeles, San Francisco, St. Louis, Washington DC, Atlanta, Dallas, Chicago and Seattle.

For ticket information, please visit www.pippinthemusical.com/tour.php.

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

Sennheiser launches Dante™ card for Digital 9000 wireless microphone system

Amsterdam, September 15, 2014: At IBC, audio specialist Sennheiser is launching a Dante™ card for the EM 9046 receiver, enabling its top-of-the-range Digital 9000 microphone system to be integrated into Dante™ audio-over-IP networks. Users can conveniently route the system’s high-definition audio data via Audinate’s Dante™ Controller.

EM_9046_DANWhen it comes to digital audio networking, Audinate’s Dante™ is among the leading solutions for live audio, broadcasting and installations. Dante™ works with existing network infrastructure using IP and Ethernet standards and offers hundreds of channels of high-quality audio. “This is what makes Dante™ so attractive for us,” says Claus Menke, Head of Portfolio Management Pro for Sennheiser’s Professional Division. “With the extension card, broadcast and live audio engineers now can easily integrate our best wireless microphone system into a Dante™ network and benefit from its exceptional sound.”

Digital_9000The EM 9046 DAN extension card is simply inserted into the expansion slot of the EM 9046 eight-channel receiver. Internally, the card features sixteen audio inputs to send the digital audio and command signals over the Dante™ network. Connection is via two Gbit RJ45 sockets that serve to establish two redundant network circuits or daisychain the signals. The card works with sampling rates of 44.1/48/88.2 and 96 kHz at a resolution of 24 bits. The EM 9046 DAN will be available from mid-October.

New Wireless Systems Manager software:

Sennheiser will also adapt its Wireless Systems Manager software to include a monitoring function for the Dante™ card. The new version 4.2 will also be available from October and will allow users to listen to and monitor the EM 9046’s Dante™ audio streams from any point in the network.

Visit Sennheiser at IBC, Hall 8, Stand No. D 50.

EM 9046 DAN includes license from Audinate Pty Ltd under U.S. patent number(s) 7747725, 8005939, 7978696, 8171152 and other patents issued, see www.audinate.com/patents.

About Audinate and Dante™
Dante™ is the digital audio networking solution of choice for over 155 professional audio manufacturers in the broadcast, live sound, commercial installed and conferencing markets. Audinate’s Dante solution builds on existing Internet (IP) and Ethernet net-working standards and offers a migration path to emerging standards like AES67. Dante networking replaces point-to-point cabling and matrix switching solutions offering hundreds of channels of high-performance audio, control and monitoring across existing network infrastructure. Installation and management is simplified through a unique combination of plug and play technologies, saving enormous installation and long-term ownership costs. Audio sources attached to any network port are available everywhere throughout the network with signal routing defined by software, not physical cabling. Audinate also offers a comprehensive set of interfacing options for PC and Mac equipment (Dante Virtual Soundcard and Dante PCIe card) enabling simple integration of existing software applications with the audio network.

About Sennheiser
The Sennheiser Group based in Wedemark near Hanover, Germany, was founded in 1945 and has gone on to become a leading manufacturer of microphones, headphones and wireless transmission systems. Sales in 2013 totaled 590.4 million euros. Sennheiser employs more than 2,500 staff worldwide and operates plants in Germany, Ireland and the USA. The company has a worldwide network of subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hongkong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico, and the USA. It also has long-established trading part-ners in other countries. Georg Neumann GmbH, Berlin, a maker of studio microphones and monitor speakers, and Sennheiser Communications A/S, a joint venture making headsets for PCs, offices and call centers, are also part of the Sennheiser Group.

More up-to-date information about Sennheiser is available at www.sennheiser.com.

Captions:
1) The EM 9046 DAN card simply slots into the Sennheiser receiver, enabling Digital 9000 to send uncompressed HD audio data over a Dante™ network
2) The Sennheiser Digital 9000 system

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HARMAN’s Studer: IBC Debut of D23m I/O System For Huge Channel Count

AMSTERDAM, The Netherlands – Featuring enhanced channel count architecture that allows customers of its Vista X and Vista V digital consoles to transfer a huge number of channels; HARMAN’s Studer is demonstrating the new D23m I/O system. The D23m works seamlessly with Studer’s new Infinity Core and A-Link interface technology.
The D23m is fully compatible with D21m systems already in the field; all existing D21m I/O-cards are fully compatible and can be used in the new D23m frame. Plug-and-play features like automatic card detection are also available with D23m.

The D23m offers a new and robust I/O frame for all future Studer mixing consoles using A-Link technology, wherever a high channel count is required. The ability to use D21m cards protects existing customer investments and offers a cost-effective solution. The use of different I/O modules, be it existing D21m cards or new I/O higher capacity and new format interfaces, provides an I/O system tailor-made for customer needs.
The audio between the mixing console or router system and the D23m connects via the A-Link interface. The A-Link HD card hosts a powerful processor to operate all required patching and may be used as the sync master to the system, or may be slaved to a variety of external synchronization signals.

The D23m can host up to 12 I/O cards with a total of 1,536 inputs and 1,536 outputs, dependent of the I/O cards fitted.

The new D23m I/O system comes with two A-Link ports and two hot-swappable power supplies (including secondary regulators) for secure, redundant operation. Status displays on the front panel indicate the status of the frame or the status of installed cards.

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of approximately 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.

Electrosonic Welcomes Josh Cottrell as System Consultant for the Entertainment Market

Electrosonic is pleased to announce that Josh Cottrell has joined the company as a System Consultant for Sales. He is based in the company’s Burbank office and will focus on Electrosonic’s Entertainment business that includes themed environments and attractions.

Josh Cottrell has worked at the highest levels of the entertainment industry for more than 16 years, and his credits include numerous award-winning productions. For 10 years, he served as Show Systems Manager, then subsequently as Project Manager/Show Systems Manager, at BRC Imagination Arts in Burbank where his projects spanned the globe. Among them were the Story Garden by AMOREPACIFIC; the USA Pavilion at Shanghai Expo 2010; “Exploration Space: Explorers Wanted” and the “Shuttle Launch Experience” at the Kennedy Space Center; The Heineken Experience in Amsterdam; and the Empire State Building’s “Dare to Dream” exhibit.

“Over the years Josh has done multiple projects with us as an Electrosonic client,” says Bryan Hinckley, Electrosonic’s Business Development Manager. “Having come on board from the client side, he has a unique perspective on the way we work and the services we provide. Josh has had such good experiences with Electrosonic that he ultimately wanted to join our team!”

“I am delighted to be part of a group that is respected throughout the industry and has completed countless world class projects,” says Cottrell. “I’m looking forward to adapting my skills to the Electrosonic side of the business and moving ahead with exciting new projects.”

Cottrell began his career in the entertainment industry as a technician at one of Southern California’s legendary theme parks, Knott’s Berry Farm. From there he expanded his talents to include special effects, audio, video and control systems, rigging, pyrotechnics, scenery, lighting, staging of live spectaculars and stunt shows, theme park design and planning, 3D and animated media, technical direction and project management.

For three years, he was a Producer, Project Manager and Technical Director at Landmark Entertainment in North Hollywood. Among his credits there were “Hershey’s Really Big 3D Show” in Hershey, Pennsylvania; “The Secrets of Castle O’Sullivan” at Busch Gardens in Williamsburg, Virginia; and “The Mask” at Warner Bros. Movie World Madrid theme park.

For 12 years, Cottrell also headed his own company, Precision Effects, in Sherman Oaks, California, which provided project management, special effects, show action, scenery, technical direction and production fabrication for a wide range of customers, including the Crystal Cathedral in Garden Grove, California; Magic Mountain’s “Batman Stunt Show;” and Tomb Raider’s “Jewels of the Serpent” at Paramount Parks.

Cottrell’s extensive experience has covered creative, technical, and management efforts from concept to production to the field. He has a proven ability to realize the creative intent, provide solid technology solutions and create seamless show and facility integration within a project’s resources.

“Josh is incredibly well respected in the industry, and his contacts and connections are second to none. We’re very proud to welcome him to the Electrosonic team,” Hinckley says.

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

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

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Quantum Introduces Extended Online Storage Architecture Combining High Performance With Unlimited Scalability for Content Workflows

New StorNext Pro Workgroup Solution Featuring Lattus Object Storage Seamlessly Extends Content Collaboration at Lower Cost with No Performance Compromises more

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Shotoku Broadcast Systems Announces New SmartTrack System at IBC 2014

Latest Solution Anchors New and Enhanced Studio and Field Camera Support Gear

Amsterdam • IBC2014 — Shotoku Broadcast Systems, the well-established leader in manual and robotic camera support, and virtual reality tracking, is anchoring this year’s IBC Stand with a new ‘smart’ rail camera system that targets the rigorous demands of daily TV studio use. The SmartTrack system is being shown alongside Shotoku’s advanced and high-performing control solutions, pan & tilt heads, robotic and manual pedestals, and virtual reality products for OB, studio, field production and legislative applications.

“As always, we are totally committed to IBC, which is a major event in our calendar. It allows us to showcase our systems to the European broadcast market as well as to professionals from so many other parts of the world. It’s a fantastic opportunity to meet new clients and catch-up with old friends with whom we’ve worked for many years,“ said James Eddershaw, sales director, Shotoku. “This year, we are showing a combination of systems from across our entire range of camera supports, including for the first time outside the USA the new SmartTrack rail-based camera system for floor or ceiling use.”

ROBOTIC HIGHLIGHTS
NEW SmartTrack

For the first time at IBC, Shotoku is demonstrating the new SmartTrack system, a fully integrated product based on the core track-based technology of MAT, Germany. In combination with Shotoku pan & tilt heads and control systems the MAT system is turned into the perfect solution TV studio use, day after day. It is highly adaptable, supporting floor or ceiling operation and a range of height column configurations, in both upright and inverted modes. The high quality engineering of the MAT and Shotoku systems ensure that the system is robust and stable, designed for long-term use in demanding applications such as 24/7 news or TV Shopping environments.

ENHANCED TR-XT Control Systems
Shotoku’s leading advanced control system is on display once again, incorporating the recent enhancements and expansions in terms of camera capacity and dynamic configuration. The systems on show are controlling multiple cameras and sharing camera operation across several controller-types.

ENHANCED Fully Robotic Pedestal
Shotoku is demonstrating the latest developments in fully robotic studio pedestals, providing complete X-Y-H camera positioning with free-roaming capability, where track systems would not be appropriate. Several enhanced features including Virtual Reality tracking and simple referencing make the pedestal ideal for many TV studio applications.

SEE IT LIVE Orchestra CMS Parliamentary Systems
Fully automated and with live video touch-screen operation, Shotoku’s world-leading parliamentary TV system is also being shown in action. The TG-27 pan and tilt head, becoming a standard among high-end parliaments and legislatures all over the world, is being demonstrated under the control of the TR-S panel.

MANUAL HIGHLIGHTS
NEW TTH1502C Carbon Fibre Tripod

Shotoku’s new 2-stage TTH1502C carbon fibre tripod incorporates the latest technology to give operators a lightweight, yet sturdy tripod system that is perfect for EFP or documentary production. Built to last with carbon fibre legs, the tripod weighs a mere 5.9kg (13 lbs.), features a 150mm bowl base, and stands over 1615mm (5’) tall at its maximum height. Available with a ground spreader or a mid-level spreader, the tripod is ideally paired with Shotoku’s SX300 pan & tilt head for optimal performance.

TRIED & TRUE SX300 Pan & Tilt Head
One of Shotoku’s latest mid-weight EFP pan & tilt fluid heads, the SX300 features outstanding balance, a robust build and ergonomic design. With a high capacity 38kg (83 lbs) payload and wide-balance capability, the SX300 supports an array of cameras, lenses and accessories, making it perfectly suited for field production, OB and studio use. The 300 head accommodates flat base or 150mm ball. Operators can not only expect top-class performance and reliability from the SX300’s VISCAM technology for smooth and adjustable pan & tilt drag with reinforced torque, but a continuously adjustable balance system.

FLEXIBLE SG900 Pan & Tilt Head
Shotoku’s SG900 manual pan & tilt head offers vibration-free speed in an ergonomically designed sturdy package. Ideal for OB and studio production with Teleprompters or box type lenses, the SG900 supports 90 kg (198 lbs), and features single knob balance adjustment. The unit incorporates the VISCAM ultimate fluid drag system to control smooth pan & tilt movement and REULAUX perfect balance system for maintaining the camera’s centre of gravity. The SG900 fits various pedestals including Shotoku’s TP200 lightweight, 2-stage pneumatic pedestal and both the TP-80 and TP-90 studio models.

BACKED BY EXPERIENCE Virtual Tracking Systems
Based on decades of extensive VR experience, Shotoku VR tracking systems offer outstanding design features, robust and reliable platforms for a wide range of camera and lens configurations. High-accuracy, real-time data output with absolutely no loss in manual performance is common to all Shotoku systems as is compatibility with all leading VR graphics systems. Shotoku’s VR range includes the simplest PT head and tripod right up through studio pedestals and high payload heads to state of the art cranes and jibs with total freedom of movement within VR studios small or large. Shotoku has samples of these systems on show at IBC.

About Shotoku Broadcast Systems
Shotoku Broadcast Systems is an international leader in the manufacture and marketing of a full range of camera support products with emphasis on manual and robotic pedestals and pan/tilt heads for the television broadcast industry. The Company also provides robotic camera systems capable of interfacing with third-party equipment. Established as an engineering design firm specializing in advanced mechanics and electronic control systems, Shotoku maintains headquarters in Japan with offices in Staines, UK and Torrance, CA. The Company’s robotic camera systems are designed, developed and manufactured in Staines, UK. For further information: www.Shotoku.co.uk
# # #

Shotoku contact: James Eddershaw
+44 (0) 1784 224650 / mailto:info@shotoku.co.uk

Press contact: Desert Moon Communications / Harriet Diener
+1-845-512-8283 / mailto:Harriet@DesertMoon.tv

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