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M3 (Music Mix Mobile) Employs Waves Plugins with Studer Vista 8 for the Jay-Z & Beyoncé “On The Run” HBO Taping from Stade de France in Paris

JoelSinger Singer_OTR_Setup

TEL AVIV, ISRAEL, November 10, 2014 — M3 (Music Mix Mobile), a New Jersey/California-based remote facilities company combining the talents of award-winning production professionals and state-of-the-art audio solutions, was recently tasked with capturing the broadcast audio for two performances (September 12 and 13, 2014) from Jay-Z and Beyoncé’s co-headlining “On The Run” tour, live from Stade de France in Paris. As they often do, M3 Engineer-in-Charge Joel Singer and the rest of his team turned to products from Waves Audio, a leading provider of digital signal processing software and hardware solutions. Singer and his team employed Waves plugins as well as a Waves MultiRack SoundGrid® setup with a Studer Vista 8 Digital Live Production Console when recording and remixing the concerts, which were prepared for the HBO special On the Run Tour: Beyoncé and Jay Z, first broadcast on September 21, 2014 – only eight days after the second concert.

Singer and his team used a 4U rack featuring the following components: a MultiRack SoundGrid plugin host, installed on an Apple Mac Mini in a Sonnet Rack Mac Mini chassis; a SoundGrid-qualified 8-port network switch to connect all components; a DiGiGrid MGO optical MADI-to-SoundGrid interface; and Waves SoundGrid Server One.

Singer says, “Interfacing plugins with Waves MultiRack to the Studer Vista 8 was straightforward. The DiGiGrid MGO interface was attached to a free optical MADI port on the Vista and used as 32 channels of inserts via one port, since we were running at 96 kHz. We used a variety of plugins that allowed our engineer John Harris to be comfortable mixing: Waves Renaissance DeEsser, Renaissance Vox and CLA-76 Compressor/Limiter for all vocal inserts; Waves CLA-76, Renaissance Compressor and V-Comp for various instrument inserts; Waves H-Delay Hybrid Delay for vocal delays; and Waves V-EQ4 and SSL G-Equalizer for various other channels.”

Singer adds, “Waves MultiRack is the easiest program to use as a plugin host for live shows. We set up a static page with a snapshot, which was a general recall – a complete reset. Then, as the rehearsals for the show began, we changed and manipulated the settings of plugins. This didn’t change much on most channels, as the levels of instruments across these 128 channels remained very constant. The ability to fire off the MultiRack snapshots via MIDI from the Vista is a great feature. Running plugins with MultiRack on this Vista or any MADI-enabled console is a true-life saver. Our engineers, and many others worldwide, have come to rely on Waves plugins as their go-to audio tools. It’s like the days when each engineer used to carry around a large rack of his or her favorite hardware toys. Now we can do the same, anytime, anywhere, in our 4U rack that fits neatly into a Pelican case and can be deployed on any given mixing console. I look forward to the continued development of this platform and the addition of plugins and features specifically designed for the production and broadcast markets.”

For more information, please visit www.waves.com and www.waveslive.com.

Photo Caption 1: M3 Engineer-in-Charge Joel Singer

Photo Caption 2: Joel Singer’s setup for the On the Run Tour: Beyoncé and Jay Z taping, live from Stade de France in Paris, September 12 and 13.

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The Audio Engineering Society to Host 57th International Conference on the Future of Audio Entertainment Technology

AES_57th

New York, NY, November 10, 2014 — The Audio Engineering Society is set to host its 57th International Conference on Friday, March 6 – Sunday, March 8, 2015, in the Hollywood neighborhood of Los Angeles, California, at the renowned TCL Chinese 6 Theatres in Hollywood, with hotel accommodations across the street at the historic Hollywood Roosevelt Hotel. With the participation of industry partner SMPTE – the Society of Motion and Television Engineers – and following on the heels of the highly-successful Sound for Picture program track at the recent AES137 International Convention in L.A., the 57th Conference is perfectly positioned to set yet another milestone for the AES. With a direct focus on the Future of Audio Entertainment Technology, this conference will explore the latest issues facing audio professionals today in regards to cinema, television, online content and more, and is being co-chaired by Brian McCarty and Dr. Sean Olive.

Sound production for multi-media has evolved over a much different route than the more unified approach taken by the producers of visual assets, and this approach has left a streamlined production path for motion pictures but a complex and expensive production path for sound. Several dramatic changes are occurring in cinema exhibition, with “immersive sound” being the new buzzword. While Ultra High Definition Television (UHDTV) looks to be the next step in home entertainment, consumers are increasing their use of personal media devices, with headphones and portable audio looking to be a major segment of the entertainment technology future. This first-ever Future of Audio Entertainment Technology Conference brings together the best researchers, acousticians and engineers to address the current and future audio needs of the cinema, television and Internet (online) mediums.

Also of note at the AES 57th Conference is the SMPTE report entitled B-Chain Frequency and Temporal Response Analysis of Theatres and Dubbing Stages in regards to current standards and practices regarding B-chain electroacoustic response and calibration (https://www.smpte.org/standards/reports). The paper was produced with extensive participation from AES members and will serve as a foundation for further necessary advancements in audio technology in the Sound for Picture arena.

Topics slated to be covered at the AES 57th International Conference include:
- Acoustical design and performance of the modern motion picture theater
- Testing and alignment practices for cinemas
- Dialog intelligibility
- Playback of film as well as live event broadcasts in a cinema
- Immersive sound and psychoacoustics
- Reproduction of immersive sound in home theater applications
- Reproduction of multi-channel audio using lesser numbers of speaker locations
- Speech intelligibility and microphone design
- Production sound immersive audio recording
- Loudness control and OSHA/European Standards
- Lossless coding of immersive sound for low bandwidth channels
- Immersive sound using headphone technologies
- Loudspeaker performance from all-in-one television receivers and sound bars

30-year veteran Hollywood sound engineer Brian McCarty, co-chair of the conference, said “AES expertise has been responsible for major improvements in live sound, streamlining of game audio production, and advancements in music production. The AES has called this conference to bring together the traditional production communities of cinema and television with the ‘new media’ audio distribution channels to address current and future audio needs.”

AES Past President and 57th Conference co-chair Dr. Sean Olive states, “This is the first international conference of its kind focused solely on audio applications, technology and research related to sound in cinema, television and multi-media. It’s exciting to be hosting this event in the entertainment capital of the world, where many audio-visual content creators, scientists and engineers live and are able to participate in this historic event.”

“SMPTE has been involved heavily in examining and exploring ways in which standards work can help to enhance the production, delivery and presentation of audio for moving images,” said Barbara Lange, SMPTE executive director. “We partnered with the AES at the AES137 International Convention to deliver compelling sessions addressing the future of audio engineering in both the cinema and television sectors. The Conference gives us another chance to work closely with the AES to offer industry members a fresh look at critical issues and advances in the realm of audio and visual entertainment technology.”

For further information on the Audio Engineering Society AES 57th Conference visit http://www.aes.org/conferences/57/.

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Audio-Technica Provides Microphone Solutions for CMA Awards for the 21st Straight Year

48th Annual CMA Awards - Show 48th Annual CMA Awards - Show

— For the 48th annual event, which aired live on Wednesday, November 5, 2014, leading music mixers and award-winning performers again picked A-T for sound quality and reliability —

STOW, OH — Audio-Technica, a leading innovator in transducer technology for over 50 years, supported the Country Music Association (CMA) Awards for the 21st year in a row by providing an extensive selection of vocal and instrument microphones for its annual awards show. The 48th Annual CMA Awards aired live in 5.1-channel surround sound Wednesday, November 5, 2014, on the ABC Television Network from the Bridgestone Arena in Nashville, and featured over 150 Audio-Technica microphones, including an impressive array of hard-wired mics and Artist Elite® 5000 Series UHF Wireless Systems with AEW-T6100a Hypercardioid Dynamic Handheld Microphone/Transmitters. Audio-Technica microphones were chosen for their ability to provide clear and consistent audio quality for live broadcast.

The CMA Awards presentation is recognized as Country Music’s Biggest Night™ and represents the pinnacle of achievement for those involved in country music. The team of industry veterans responsible for the audio at this year’s CMA’s again included a who’s-who of broadcast audio. Serving as Co-Audio Producers were Tom Davis and Paul Sandweiss; ATK/Audiotek provided the sound system with FOH (front-of-house) mixers Patrick Baltzell (Production Mixer) and Rick Shimer (Music Mixer); the broadcast music mix was handled by New Jersey/California-based M3’s (Music Mix Mobile’s) John Harris and Jay Vicari. Stage monitoring was handled by Tom Pesa and Jason Spence.

Audio-Technica’s acclaimed Artist Elite 5000 Series UHF Wireless System with the AEW-T6100a Hypercardioid Dynamic Handheld Microphone/Transmitter was used for lead vocals by A-T endorser Jason Aldean, who performed “Burnin’ It Down”; fellow A-T endorser Thomas Rhett, who sang “Get Me Some of That”; and Cole Swindell on his hit “Chillin’ It.” 5000 Series Wireless with the AEW-T6100a Transmitter was also used by Doobie Brothers founding members Tom Johnston, Pat Simmons and John McFee on an all-star performance of “Listen to the Music” and “Takin’ It to the Streets.”

The backline mic complement of A-T wired microphones included the AT4080 Phantom-powered Bidirectional Ribbon Microphone on guitars; AT4050 Multi-Pattern Condenser Microphone on guitars, bass and overheads; AT4040 Cardioid Condenser Microphone on overheads; AE2500 Dual-Element Cardioid Instrument Microphone on kick drum; AE5100 Cardioid Condenser Instrument Microphone on hi-hat and ride cymbals; ATM650 Dynamic Instrument Microphone on snare; and ATM350 Cardioid Condenser Clip-On Microphone and ATM250 Hypercardioid Dynamic Instrument Microphone on toms.

“Audio-Technica is a key supporter for us during the CMA Awards,” stated Tom Davis, Co-Audio Producer of the 48th Annual CMA Awards. “Their artist relations and on-site technical support are both second to none. And of course, their wired and wireless mics sound great, and are consistently reliable. Having A-T in our corner makes our lives a whole lot easier!”

Jay Vicari, Co-Music Mixer, stated, “It is a very easy decision for us to choose Audio-Technica for the CMA’s year after year. A-T microphones are consistent from mic to mic, and A-T offers a wide range of microphones perfect for the singers and instrumentalists featured on the show. When doing a live broadcast, you want reliability, and A-T’s products and support put us at ease.”

Please visit www.audio-technica.com for more information.

Photo Caption 1: Cole Swindell, performing at the 48th Annual CMA Awards on November 5, 2014, using Audio-Technica’s Artist Elite® 5000 Series UHF Wireless System and AEW-T6100a Hypercardioid Dynamic Handheld Transmitter. Photo by Rick Diamond/Getty Images. (This photo is the property of Rick Diamond/Getty Images and may be used by the press only for the purpose of one-time reproduction. Unauthorized use, alteration or reproduction of this photograph is strictly prohibited.)

Photo Caption 2: Audio-Technica endorser Jason Aldean, performing at the 48th Annual CMA Awards on November 5, 2014, using Audio-Technica’s Artist Elite® 5000 Series UHF Wireless System and AEW-T6100a Hypercardioid Dynamic Handheld Transmitter. Photo by Rick Diamond/Getty Images. (This photo is the property of Rick Diamond/Getty Images and may be used by the press only for the purpose of one-time reproduction. Unauthorized use, alteration or reproduction of this photograph is strictly prohibited.)

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Americus, Georgia’s Central Baptist Church Gets a Total Audio Makeover with the Help of GC Pro

CentralBaptist

— GC Pro Account Manager Brad Lyons and GC Pro Affiliate Program Member Commercial Sound And Video take Central Baptist Church into the era of contemporary worship with a new sound system includingdigital audio console, in-ear monitoring and upgraded backline —

WESTLAKE VILLAGE, CA, November 6, 2014 — The last time the Central Baptist Church of Americus, Georgia, got a new sound system, the church’s music was focused around the traditional elements of choir and organ. Times changed, and so did the church’s style of worship, which has expanded to encompass more contemporary forms of praise and worship music, with electric guitars and drums joining the joyful noise. These changes, however, made the inadequacy of the original sound system readily apparent. “There was more instrumentation and far more low-end signal to the newer music, and that exposed the shortcomings of the old sound system,” says Rodney Powe, the Central Baptist Church’s Worship Leader. “The style of worship and available technology had advanced, and it was just time to move to a new sound system.” That led the church to Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users.

Atlanta-based GC Pro Account Manager Brad Lyons spent time listening to the needs of the church and helped design a completely new sound system, including connecting them with locally based AV systems integrator Commercial Sound And Video, which provided installation services. “We knew it would be a big undertaking, so we were pleased that we had partnered with a company that could handle the entire project, helping us choose products and equipment and directing installation,” says Powe.

And it was a big project. Lyons summarized the situation: “Some areas were too loud, others you could barely hear anything at all, and no bass response,” he says of the sanctuary’s sound system. “On-stage monitoring for the band was a hodge-podge at best. We transformed their entire sound system, customizing it to the unique challenges in their large worship space, but we also re-designed the stage layout and provided a state-of-the-art personal monitoring system for the large praise team and orchestra.”

A new system using four Electro-Voice EVF1152D 15-inch cabinets was flown above the main floor in a 90×60 coverage pattern, and each with an Electro-Voice EVU1082 8-inch downfill cabinet mounted. A total of eight Electro-Voice EVU1082 fill cabinets were placed in the balcony, four per side. A pair of Electro-Voice EVF2151D Dual 15inch subwoofers fills the entire sanctuary with powerful bass. The power amps are Electro-Voice CPS-series power amps, with control using an Electro-Voice DC-ONE system processor. The existing 48-channel analog mixer (with 16-channel auxiliary mixer) was replaced with a 64-channel AVID S3L console with four independent stage boxes. Three racks on-stage and one at the FOH booth completely bypass the original analog patching system, providing a superior upgrade in sound and eliminating cable mess on the stage. The AVID S3L also provides 64-tracks recording to Pro Tools connected via CAT5 to the supplied Apple iMac computer and Glyph hard-drive, designed for playback in virtual sound check mode. This allows them to record rehearsals, then play the tracks back to fine-tune the individual channel settings for a better mix.

“Central Baptist broadcasts live over local radio, and this greatly enhances the quality of mix,” says Nathan Miller, owner and founder of Commercial Sound And Video. “However, they are going to transition into post-production, allowing them to remix the worship services for a more polished sound, something not previously possible for them.”

Lyons added, “With the S3L there is full recall of all settings and scenes. Every Easter they have a big production and this will allow them to have total control of the production.”

Based on Lyons’ design, Commercial Sound And Video installed a PIVITEC 32-input personal monitor system controlled via Apple iPad Minis with a total of nine independent mix stations and the ability to add as many more as they wish. There were many custom touches, with the goal of making the operation as simple as possible. One such feature was a customized patch panel consisting of eight XLR Male and eight SPEAKON connectors that took the guesswork out of connecting a stage monitor into the system.

Lyons adds, “Although the PIVITEC in-ear system was an amazing upgrade for the worship band, we still needed to provide traditional monitors to the choir, instruments, lead vocals and other musicians. Typically I would have to go find a speaker, a power amp and the cables, route a channel out of the console into the amp, connect a speaker cable to the speaker, and so forth. But here I designed the panel to take any confusion or error out of the situation. The process is simple really — I designed eight specific outputs from the VENUE S3L console for MONITOR MIX OUTPUTS, labeled MONITOR 1 through MONITOR 8. Patching into any of the XLR Inputs of the panel fed directly to a specific amplifier channel on the Electro-Voice CPS8.5 power amp (eight channels at 500-watts power per channel), and that speaker output then fed back to the SPEAKON out below the XLR connector. Powe and his team can simply plug in a speaker cable to the desired speaker, and voila!”

“Another thing that makes GC Pro so unique is their access to Guitar Center’s entire inventory,” states Rodney Powe. “We invested in four Radial JDImk3 direct boxes (keyboards) and two RED DI instrument pre-amps from A-Designs for the guitars. But with the new DP7 microphone package from Audix, our drums sound better than ever, because each drum is individually mic’d, plus a pair of overheads which we didn’t have before. And with that combined with our 32-channel PIVITEC personal monitoring system, our musicians can hear everything. This is one of the many reasons that our leadership at Central Baptist Church chose the design from GC Pro, because it was more than just upgrading speakers – it was a full solutions systems approach.”

The result was a total success. “We are getting lots of positive comments on the way our music sounds now, and we have GC Pro to thank for that,” says Powe, who adds that GC Pro continues to support them, with Brad Lyons calling recently with a free software upgrade for the Avid console. “They were there for us during a complicated upgrade, and they continue to be there for us. It’s great working with them.”

For more information, please visit www.gcpro.com.

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Bose® RoomMatch® System Used by Foreigner at Borgata Hotel Casino & Spa in Atlantic City

Foreigner_4_RoomMatchB

Rock legends expand their relationship with Bose® Professional with new RoomMatch® system, installed for a special concert of fan favorites and deep cuts from the classic 1981 album 4

Framingham, Massachusetts, November 6, 2014 – Rock legends Foreigner recently staged a special concert event at the Borgata Hotel Casino & Spa in Atlantic City, New Jersey. As a special treat for fans, the band focused on both classic singles and deeper cuts from the classic 1981 album 4 – the original home of “Juke Box Hero,” “Urgent,” “Waiting For A Girl Like You” and other fan favorites. They even pulled out special acoustic arrangements of well-known concert staples to give the fans something distinct. For the audio system, the band, its management and audio team turned to a trusted name: Bose® Professional.

The band currently uses Bose L1® Model II systems with B2 bass modules and T1 ToneMatch® engine for their VIP performances, but for this event, they used a custom-installed system consisting of two six-module RoomMatch Progressive Directivity Arrays with six RMS218 subwoofers. The system was powered with PowerMatch® amplifiers and employed Dante™ networking to pass audio between stage left and right amplifier locations. Brian Simon, FOH Audio Engineer for the band, had taken part in a RoomMatch system demo several months ago, and thought this performance and venue in particular would be a golden opportunity to put such a system to good use.

“Bose is a name we trust in the Foreigner organization, based on our experiences in the past,” stated Brian Simon. “After the RoomMatch demo, I was curiously awaiting a chance to mix the band on a RoomMatch system in the right venue. In fact, I wanted an opportunity to ‘push’ the system with higher SPL’s. I was not disappointed; the system performed very well in the room and provided the audience an all-around balanced sound in every seat. I was impressed.”

Phil Carson, Foreigner Manager, stated, “We did not know exactly what to expect with a RoomMatch system, but I do know our expectations were high. We have used Bose products at our VIP events with excellent results. The band and our FOH Audio Engineer were extremely happy with the sound of the system, and the bottom line is that the audience really loved the sound that night. We always knew the system would deliver, and in fact it exceeded our expectations.”

Founding member and lead guitarist Mick Jones agrees: “Bose continues to impress. The Borgata show was all about the fans; we’ve put on some great-sounding shows recently, but it was extra-important to us that the sound for this one would be impeccable. We’ve used the L1 system for our VIP events to achieve a close, intimate environment – the RoomMatch system did something similar, but on a much larger, more powerful scale. Everyone was thrilled – the band, our engineers, the fans, and everyone else. Thank you to Bose for a magical night.”

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Genelec Home Audio Unveils G Five Active Loudspeaker

G_Five_Black G_Five_White

NATICK, MA — Genelec Home Audio is unveiling its new G Five Active Loudspeaker, the flagship model in the Genelec G Series of Active Loudspeakers for home audio. Despite its relatively small size, the G Five brings out a level of performance comparable to much larger loudspeakers. Its bass reproduction goes lower than what most subwoofers can do, providing at the same time extremely high sound pressure with very low distortion. Thanks to its large waveguide, the Genelec G Five reproduces all the nuances and dynamics of the audio material with incomparable fidelity. As featured in all Genelec G Series, the G Five provides acoustical response adjustments to allow correct setup and acoustical calibration to the room it is placed in. The G Five can even be placed in an acoustically challenging room and provide an amazing listening experience.

The G Five (Woofer 8″ + Tweeter 1″) joins four other models in the G Series: G One (Woofer 3″ + Tweeter 3/4″), G Two (Woofer 4″ + Tweeter 3/4″) and G Three (Woofer 5″ + Tweeter 3/4″) and G Four (Woofer 6.5″ + Tweeter 3/4″); as well as the complementary F One (6.5″ active) and F Two (8″ active) subwoofers. The G Five and its brethren feature elegant industrial design by award-winning designer Harri Koskinen and Genelec’s R&D team. Designed to be used together or separately, G Series models and the complementary F Series subwoofers offer an exceptional home audio solution.

The G Five active two-way loudspeaker combines an organic, rounded form with powerful and precise sound reproduction. The gently curving design is not chosen for good looks alone. Sharp edges or corners on a loudspeaker enclosure cause acoustic reflections that interfere with the direct sound. This harmful interference – diffraction – is dramatically reduced by the smooth, curved design of the G Series, audible in the excellent resolution and solid sound imaging of the products. Blending seamlessly to the enclosure shape, the proprietary Directivity Control Waveguide™ (DCW™) formed around the high-frequency driver is designed to match the frequency response and directivity characteristics of the two drivers. This results in a smooth frequency response on- and off-axis and controlled directivity maximizing the direct sound aimed to the listening area.

G Five Specifications:

Maximum sound pressure: 110 dB per loudspeaker @ 1 m
Frequency response: 35 Hz – 21 kHz (-3 dB)
Drivers: Bass 8″ + Treble 1″ metal dome + DCW
Amplifier power: Bass 150 W + Treble 120 W
Dimensions: H x W x D: 17.8125″ x 11.25″ x 10.9375″ with Iso-Pod™ (452 x 286 x 278 mm)
Weight: 28 lb (12.7 kg)

For more information, please visit www.genelecusa.com.

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BlackTrax delivers realtime tracking to d3 at LDI 2014

1 BlackTraxBeacon

BlackTrax delivers realtime tracking at the d3 Technologies booth 1275 at LDI 2014, 20-23 November 2014, Las Vegas Convention Center, NV

Realtime motion tracking solution specialists, CAST BlackTrax will provide core motion tracking to support d3 Technologies booth at LDI 2014. In addition, BlackTrax expert staff will be present on the d3 booth to answer any questions in relation to tracking. The d3 booth is aimed at enabling creative designers and entertainment production professionals to see its latest hardware and to get a glimpse of what the future of live projection has in store.

Delivering targets on time

Whilst the exact nature of the d3 demonstration is a closely guarded secret until the show, the booth is designed to give projection designers the ultimate freedom to move. BlackTrax will be integrated with d3’s upcoming Dynamic Blend feature to track several objects.

With the benefits of fast, consistent and precise image tracking quality and reliability, BlackTrax delivers realtime tracking data to downstream technologies such as audio, lighting, multimedia and video cameras. At the same time, it can track performers, props, a moving video wall or projection display canvas.

Excited about the latest step in the technical collaboration between the two companies, Gil Densham, President at CAST BlackTrax said: “We have worked alongside d3 on a number of the world’s highest-profile, cutting-edge projects such as Marvel Universe LIVE! and a Honda Dealer Meeting, during 2014. We’re delighted to provide our BlackTrax solution to the d3 booth, helping to show its new media servers at their best.”

Ash Nehru, Software Director at d3 Technologies added: “We’re always looking for ways to advance the state of the art, and the ability to easily project content onto moving objects is clearly the next step. We’re conscious that we’re discovering a whole new design vocabulary – we’re excited to put this in front of creative designers at LDI, and see what they will do with it. BlackTrax has played an integral role in helping us to deliver that vision consistently in the high-pressure live environment.”

1 Gil Densham, President & CEO, CAST Group and Ash Nehru, Director of Software, d3 Technologies

Gil Densham, President at CAST BlackTrax and Ash Nehru, Software Director at d3 Technologies.

www.blacktrax.ca

Forbidden Hires Jeff Krebs as Regional Manager for Canada and Eastern U.S.

LONDON — Nov. 12, 2014 — Forbidden Technologies plc (AIM: FBT), the AIM-quoted owner and developer of the market-leading cloud video platform Forscene, announced today that Jeff Krebs has joined the team as regional manager for Canada and the Eastern U.S. In that role, Krebs will be responsible for sales and training as well as continued involvement in the development of new workflow initiatives based on cloud infrastructures.

“Jeff is professional and engaging, not to mention experienced across a range of technologies in broadcast media and hardware/software environments, so he was the perfect choice to oversee client relationships in this important region,” said Greg Hirst, president, North America, at Forbidden Technologies plc. “We were especially drawn to his background in video editing and workflow design, which will be a real benefit to our clients.”

Krebs comes to Forbidden from Eyeon Software, where he held several positions across a range of functions from sales and marketing to content production. As director of products, he boosted sales in an existing saturated market and created new opportunities in the broadcast market. As a workflow designer and editor, he worked with filmmaker and legendary special-effects guru Douglas Trumbull on “UFOTOG,” the world’s first 120 fps, 4K stereoscopic film, which was recently screened at the Toronto International Film Festival. Krebs designed an editorial pipeline for Trumbull that transitioned the director to an Avid/Eyeon pipeline using unique playout and projection methods. Before Eyeon, Krebs had a long career in post-production, visual effects, and interface design, and was the founder and president of the Toronto HD post-production boutique Serial Digital Post.

Krebs is based in Toronto and reports to Brian Boring, general manager, North America at Forbidden.

More information about Forscene can be found at www.forscene.co.uk. More information about Forbidden Technologies can be found at www.forbidden.co.uk.

# # #

About Forbidden Technologies plc
Forbidden delivers high-performance cloud video services for media makers and broadcasters. Its flagship product, Forscene, is the world’s most advanced cloud-based video post-production platform, powering entirely new workflows from creation to delivery. Quoted on the London Stock Exchange, Forbidden partners with high-profile media and technology companies to complement its cloud infrastructure and provide greater value and efficiency to its clients.

More information about Forbidden can be found at www.forbidden.co.uk. More information about Forscene can be found at www.forscene.co.uk.

Photo Link: www.wallstcom.com/Forbidden/Forbidden-JeffKrebs.jpg
Photo Caption: Jeff Krebs

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BenQ Introduces Market’s First TI DLP(R) Projector With True-to-Life sRGB Color Accuracy

Colorific(TM) HC1200 Delivers Industry Standard sRGB Color Precision and Doubles ANSI Contrast Levels for More Accurate, Crisp, and Long-Lasting Image Quality

COSTA MESA, Calif. — Nov. 13, 2014 — BenQ America Corp., an internationally renowned provider of visual display solutions and the No. 1-selling projector brand powered by TI DLP(R) technology in The Americas(1), today introduced the newest addition to its stunning, high-brightness Colorific(TM) professional and home theater projector lineup: the HC1200. BenQ’s new HC1200 is purpose-built to follow the sRGB (standard Red, Green, Blue) industry color standard — a well-known and widely used guideline for color accuracy in smartphones, monitors, cameras and printers, and throughout the Internet. more

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Scott Kelley Joins RTI as Vice President of Sales and Marketing

SHAKOPEE, Minn. — Nov. 13, 2014 — Remote Technologies Incorporated (RTI) is pleased to announce that Scott Kelley is joining the company as vice president of sales and marketing. In his new position, Kelley will be responsible for RTI’s global sales and marketing organization, with a focus on growing RTI to the next level and driving increased brand awareness in the consumer and commercial markets. His extensive background in technology and engineering, coupled with his sales and marketing expertise, will allow Kelley to optimize the value chain by connecting with RTI’s distributors, dealers, and end users, and incorporating their valuable feedback into the company’s product roadmap. more

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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