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Archive of the News Category

The Pursuit of Perfect Sound – Sennheiser celebrates its anniversary: 70 years of innovation

1Old Lyme, CT, February 5, 2015: For decades, the name Sennheiser has been synonymous with high-quality products, excellent sound and numerous innovations that have set new standards in audio technology. This year, the audio specialist is celebrating its 70th anniversary. It remains a family-owned and operated enterprise, now headed by a third generation of the Sennheiser family: today’s CEOs, Daniel Sennheiser and Dr. Andreas Sennheiser, are the grandchildren of the company’s founder, Prof. Dr. Fritz Sennheiser.

The list of product innovations from Sennheiser is as extensive as it is impressive. Sennheiser has made a significant impact on the evolution of audio technology over the past seven decades, from the world’s very first open headphones, the HD 414, to present-day innovations such as the Digital 9000 wireless microphone system and MobileConnect, an inclusive audio-streaming solution for people with sight and hearing impairments. Numerous patents and awards – including an Emmy, a Grammy, a Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences, and the Engineering Emmy‘s® Philo T. Farnsworth Award – bear witness to the company’s unique innovative drive. “In the past, our products have surprised and amazed the audio world over and over again. Why? Because they have gone beyond the common standard. As a result, nobody anticipated them,” says Dr. Andreas Sennheiser, who is co-CEO of the company alongside his brother Daniel Sennheiser.

The beginnings
2The company was founded on 1 June 1945 as Laboratorium Wennebostel – or “Labor W” for short – by electrical engineer Prof. Dr. Fritz Sennheiser in Wennebostel, near Hanover, Germany. Initially, the young enterprise produced tube volt meters. They sold well, but Fritz Sennheiser had higher ambitions: Driven by the ethos of making good existing products even better while advancing new technologies, the lab developed a constant stream of new solutions. The product range gradually expanded over the years. In 1947, Sennheiser launched its first microphone developed in-house. The first “shotgun” microphone followed in 1956, and a year later the company was already producing 100 different types of products. In early 1958, Labor W was renamed Sennheiser electronic – the inception of a brand that ten years later would spark a worldwide boom by developing and producing the first open headphones.

Second and third Sennheiser generation
3In May 1982, Sennheiser saw its first change of generations. Prof. Dr. Jörg Sennheiser, son of Prof. Dr. Fritz Sennheiser, was appointed Managing Director, while his father became a limited partner. Over the years, Prof. Dr. Jörg Sennheiser gradually modernized and inter–nationalized the company’s structure, turning Sennheiser into a GmbH & Co. KG. Cutting-edge developments across various areas of acoustics, and new sales locations worldwide, followed with unprecedented momentum. Sennheiser opened an additional production plant in Tullamore, Ireland, and a branch office for research and development in the USA. An additional plant followed in Albuquerque, New Mexico, USA, and a joint venture with Denmark’s William Demant Holding was initiated, forging a path for the founding of Sennheiser Communications A/S in 2003.

4In July 2013, Daniel Sennheiser and Dr. Andreas Sennheiser, the sons of Prof. Dr. Jörg Sennheiser, took over as the CEOs of Sennheiser electronic GmbH & Co. KG. Both share their grandfather and father’s entrepreneurial ambition of aiming to shape the entire audio sector through a dynamic culture of innovation and an uncompromised passion for excellence. Thanks to this spirit, Labor W, a start-up based in a half-timbered house in Wennebostel, has grown to become a global player, sustaining a continual increase in turnover over the decades. Today, Sennheiser has more than 2,700 employees, with around half of them based in Germany. In 2013, the family company, whose Management Board still regards independence as a core value, generated turnover of €590.4 million.

A smart approach to the future
As an innovation-driven company, Sennheiser will continue playing a key role in shaping the future of audio. The foundations for this have already been laid with its new Innovation Campus, built on the company site in Germany. “Here, as at our worldwide innovation centers, we will work in cross-functional teams that bring together our breadth of expertise to shape unique solutions, such as ones to individualize audio content even more,” Daniel Sennheiser explains. “In the future, we will align our product development even more closely to customers’ true needs, wherever they arise – on live stages, at professional studio productions, in offices, or simply while listening to music and relaxing – while always striving to achieve acoustic perfection.” With adaptable and increasingly smart products, Sennheiser will keep on developing and delivering future solutions that redefine audio technology.

5Throughout 2015, Sennheiser’s anniversary year, the online magazine “Bluestage” will present exciting background stories about the audio specialist’s products and the corporate history every month. More information is available at: http://en-de.sennheiser.com/bluestage-magazine.

1: Prof. Dr. Jörg Sennheiser, Alannah Sennheiser, Daniel Sennheiser, Prof. Dr. Fritz Sennheiser, Dr. Andreas Sennheiser, Karin Sennheiser (from right to left)
2: Historical photo of Laboratorium Wennebostel in Wennebostel/Wedemark, near Hanover, Germany
3: Prof. Dr. Jörg Sennheiser, Prof. Dr. Fritz Sennheiser
4: Dr. Andreas Sennheiser, Daniel Sennheiser (l/r)
5: Timeline of innovations over Sennheiser 70 year history (download here).

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 2,700 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, Hong Kong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico, and the USA. It also has long-established trading partners 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 information about Sennheiser is available on the internet at www.sennheiser.com.

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Home to NHL Jets Knocks One In With Sound Art and Yamaha CL5

MTS Centre

BUENA PARK, Calif.—The MTS Centre (Winnipeg, Manitoba) recently installed a Yamaha CL5 Digital Audio Console along with two Rio1608-D input/output boxes courtesy of Sound Art Winnipeg Inc. Home to NHL’s Winnipeg Jets, the Centre seats over 15,000 and plays host to a multitude of indoor sporting and entertainment events.

Sound Art is a premier international professional sound rental company offering clients complete and comprehensive audio production services. With offices in Calgary, Winnipeg, and Toronto, they provide state-of the-art audio equipment for rental and installations.

The Yamaha CL5 is used primarily for Jets game production and was chosen for multiple reasons. “The Centre had reached the capacity of its existing analog console, states Iain Graham, Technical Projects Manager for Sound Art. There were serious issues with sub-mixes for the concourse, etc. being altered between hockey games and not being reset. The ability to have a digital signal path from the control room located in the loading dock area, to the press box production booth, was essential.”

MTS Centre CL5

Graham also said in addition to the creation of a digital signal path, it was essential that the Centre be able to use all of the analog ‘trunking’ from the original install. “Dynamics on every channel was a welcome bonus and custom fader layers allow the engineers for various scenarios to only see the faders they need to see. Of course, the ability to use a redundant power supply tipped the purchasing decision to the Yamaha CL as compared to the competition being looked at during the selection process. The touch screen was also very attractive.”

The Centre has recently started to use the multi-track feature of the CL with Nuendo. “Nuendo enables the technical staff to archive shows and also allows offline troubleshooting if an action during a game needs to be reviewed, says Graham. There are significant fines from the NHL if anything interrupts a game, so staying on top of any potential issue is important.”

The Yamaha CL5 was phase two of the audio installed by Sound Art. Previously, the company upgraded both the bowl and concourse PA systems.

For more information on Sound Art, Inc. visit www.soundart.com.

For more information on the Yamaha CL Series, visit www.yamahaca.com.

-END-

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of professional audio products offering complete systems solutions for the sound reinforcement, touring, broadcast, commercial recording, and post-production markets with a complete line of digital mixers, amplifiers, speakers, processors, networking capabilities, and NUAGE Advanced Production DAW System. YCAS is also the official North American distributor for NEXO speaker products. With the new CIS Series that includes ceiling and surface mount speakers, mixer and power amplifiers, and matrix processors, the Company furthers is commitment to their commercial installation solutions customers. All market sectors receive comprehensive in-house/field product training, a dedicated dealer network, and 24/7 technical support.

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SurgeX Introduces Axess Elite with International Electrical Standards for Smart Energy and Power Management

The IP-enabled Axess Elite is a surge eliminating, mains management system that enables users to monitor and control power distribution platforms.

Amsterdam RAI, NL – Integrated Systems Europe 2015 – February 10-12 – Stand 7-T180 – ESP/SurgeX, the leader in surge elimination and energy intelligence, introduces its Axess Elite web-enabled mains conditioning and energy management system for the 16 amp CEE7/7 and 10 amp AS3112 international electrical standards. Available in Q2 2015, the Axess Elite is one of the first IP-enabled smart energy solutions to carry these standards and it addresses a growing demand for connected power products internationally.

Combining surge elimination with advanced mains management capabilities, the SurgeX Axess Elite also provides remote monitoring and control of power distribution platforms across multiple sites simultaneously. Custom settings, scheduling and on/off controls can be configured on individual outlets and custom sequences can be created across the entire network with e-mail notifications sent about different issues, based on user-defined conditions.

This unique device gives integrators the ability to manage customer’s systems more efficiently and reduce costs through fewer service calls. One of the most common service calls is for locked gear; a simple fix, but typically requiring an onsite visit to correct the problem. With Axess Elite, integrators can hard reboot locked up equipment remotely via the outlet reboot command. Utilizing AutoPing, a trigger can be set to automatically fire if the Axess Elite fails to get a ping response from the device that has locked up, thus eliminating the time and costs associated with sending an integrator onsite for a simple reboot.

Beyond monitoring and management, Axess Elite measures system energy usage collecting temperature, voltage and current draw measurements. Data is recorded and reported back via a user-friendly GUI. Energy usage data is displayed per outlet to provide a detailed report of the system’s energy consumption by each connected device. The Axess Elite also compiles an internal history log file for advanced monitoring of the system and user access.

“SurgeX has engineered the most comprehensive remote energy management and power protection solution available for the global market,” said Shannon Townley, president, SurgeX. “Axess Elite consolidates energy monitoring, power management, and consumption while providing surge protection from a single, rack-mountable device. This solves a big problem for integrators and their customers.”

The Axess Elite features the core technology behind the SurgeX brand: Advanced Series Mode® (ASM) Surge Elimination Technology. The SurgeX patented Advanced Series Mode Surge Elimination Technology is completely non-sacrificial and eliminates surge energy without producing harmful side effects such as ground contamination or common-mode disturbances. This proprietary technology protects AV equipment from power disturbances that can disrupt sound quality and digital performance, and provides a professional grade power protection product line that is more robust than traditional surge suppression products.

The Axess Elite also comes equipped with the Axess Manager and Axess Manager Mobile, new desktop and mobile apps designed to let users monitor power conditions and control power functions of multiple installations from a single location. Integrators using Axess Manager in multiple locations will appreciate the single interface and the ability to uniquely classify and manage each installation. The streamlined approach makes it easy to identify power-related issues quickly and allows for simple navigation and management of existing installs, especially when new devices and systems are constantly being added to the network.

SurgeX will be demoing the Axess Elite at Stand 7-T180 at the Integrated Systems Europe Show.

To learn more about SurgeX, please visitwww.surgexinternational.com.

About ESP/SurgeX

ESP/SurgeX is the leader in energy intelligence and power protection products. Our comprehensive product portfolio offers a complete line of AC power solutions for surge protection, power conditioning, diagnostic analysis, and control of sensitive electrical and electronic equipment. Backed with 42 patents/patents pending, ESP/SurgeX products are engineered to safeguard against power anomalies that can “confuse” the circuitry in digital equipment and cause both equipment degradation and downtime. Independent research proves that ESP/SurgeX technology can improve equipment performance, profitability, and ROI. For over 25 years, business leaders worldwide have trusted ESP/SurgeX to protect and improve their electronic systems. For more information visit www.espei.com.

ESP/SurgeX products are manufactured in Knightdale, North Carolina. Visit www.surgex.com or www.espei.com for further company and product information.

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HARMAN’s Martin Professional Lighting Fixtures Are Crucial Design Elements, Enhance Creative Process for Kylie Minogue’s “Kiss Me Once” Tour

Martin_Kylie2LONDON – Australian pop sensation Kylie Minogue recently completed the first leg of her Kiss Me Once tour, which included stops throughout Europe. The second leg of the tour begins in March 2015 with five shows in Kylie’s native Australia. Following the successful tour of Europe, Lighting Designer Rob Sinclair and Lighting Director Louisa Smurthwaite provided insight into the creative processes behind the tour’s extensive lighting design, which prominently featured fixtures from HARMAN’s Martin Professional

Very early in the process, even before the new music was available, Sinclair had a meeting with Creative Director William Baker and Set Designer Alan Macdonald, during which it was decided that ‘precise geometry’ and ‘Bauhaus aesthetics’ were to be the key themes for the set design, inspired by the lines of the set and the early costume ideas. Baker then created a very detailed and instructive style guideline for each section of the show. For Sinclair, this was extremely useful to begin the process of designing the lights. About a month before rehearsals, the music arrived and Sinclair began working on the lighting design, creating a series of detailed notes.

Sinclair sent his notes and instructions to Smurthwaite who patched it up and set up the consoles. By now it was time for band rehearsals and Sinclair and Smurthwaite spent two weeks in a small, badly ventilated room to pre-visualize the preliminary design in action and to make adjustments where necessary. Next came ten days of strenuous production rehearsals, during which the duo learned that nothing from the pre-visualization worked. Consequently, the design had to be changed an additional two or three times to ensure all the details were correct as well as incorporate feedback from Baker and Kylie.

“Nothing from pre-visualization ever works,” says Sinclair “It’s useful to have a start but the transfer from screen to reality is always jarring. Baker and Kylie had some great notes about color and pace and we produced pages of our own. We both have a great eye for detail and had long discussions about the timings of single cues.”

Sinclair and Smurthwaite’s final design included 12 Martin MAC Auras and 120 Martin MAC Viper AirFXs, which made up the majority of the rig. According to Sinclair, the lighting design was precise and meticulously detailed.

“We chose them [the Auras and AirFXs] particularly for their brightness,” says Sinclair “We needed a hard-edged fixture that would be visible against a video wall and needed to be seen in the air more than on stage. I did a shoot-out in Vegas and the AirFX was the clear winner.”

Working with this large amount of fixtures was a great challenge for this creative duo as it pushed them to develop designs that were more than just ‘here come the spots or the washes’. “Having the purity of one type of light source really captured our imaginations,” says Smurthwaite “It allowed us to create a clever and classy lighting design – it wasn’t obvious and I really like that.”

Talking about the lighting design for a particular song, ‘Kiss Me Once,’ Smurthwaite said they were trying to create an intimate experience for the audience by going from warm, soft looks to bold lasers to a petal drop. “The lights, the effects and the laser paired flawlessly with both the music and Kylie’s stage presence, and the audience got sucked in,” says Smurthwaite.

“Musically, I really enjoy the composition,” says Smurthwaite. “The costumes took a life of their own, the dancers looked incredible and it’s where Kylie appeared so close to the audience on the B stage after an onslaught of laser mapping, video content, lighting and dancers. It’s a special moment.”

Ultimately, both Sinclair and Smurthwaite look back on the first part of the tour as a great success. “It was long and at times painful,” says Sinclair. “The drawing of plots and arguing about budgets took most of the summer. I’m not sure that either of us were making sense after so long without sleep but I’m very, very proud of what we achieved.”

While Kylie Minogue prepares for the Australian tour, Sinclair is on tour with Queen and Adam Lambert where he also decided to build an entire rig around the MAC Vipers. Sinclair will be present for rehearsals for Kylie’s Australian tour and Smurthwaite will be running the shows.

Sinclair trained as an electrician. He started sweeping floors at Vari-Lite and gradually worked his way up fixing lights in the shop, then fixing them on the road, operating other people’s lighting design, then designing his own. He is a new member of Kylie’s team and also designs lighting for Queen, Peter Gabriel, Adele, Pet Shop Boys, Miley Cyrus, Vampire Weekend and several others. He feels privileged and proud to be making a living doing something he loves so much.

Smurthwaite started in the theatre and corporate events industry but left to try working with other technologies for a design multi-media company. She did projection mapping and guerilla marketing with digital equipment and interactive environments. Here, she got mesmerized by lasers and programmed and designed shows for music tours, where she turned up on Pulp in 2011 and met Sinclair. Smurthwaite came along with Sinclair to join the Kylie tour. Since then she has had the pleasure of working with him on Pulp, Bloc Party, Birdy and Goldfrapp.

Martin Equipment List
120 units x Martin MAC Viper AirFX
12 units x Martin MAC Aura

Read more about Kylie Minogue

Read more about Rob Sinclair

Read more about Louisa Smurthwaite

For full story, please visit: http://martin.com/en-US/View-Case?pid=13699&itemId=CaseStory:14304

For more information, please visit: www.martin.com

As a world leader in the creation of dynamic lighting solutions for the entertainment, architectural, and commercial sectors, Martin lighting and video systems are renowned the world over. Martin also offers a range of advanced lighting controllers and media servers, as well as a complete line of smoke machines as a complement to intelligent lighting. Martin operates the industry’s most complete and capable distributor network with local partners in nearly 100 countries. Founded in 1987 and based in Aarhus, Denmark, Martin is the lighting division of global infotainment and audio company HARMAN International Industries. For more information please visit: www.martin.com.

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and enterprise automation solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, Mark Levinson ® and Revel®, 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 17,600 people across the Americas, Europe, and Asia and reported sales of $5.9 billion during the last 12 months ended December 31, 2014.

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Recorded at St. Louis Symphony on a HARMAN Studer Vista 5 Console, John Adams’ City Noir Earns GRAMMY® Nomination for Best Engineered Album, Classical

Studer_StLouisSymphonyST. LOUIS, Missouri – St. Louis Symphony’s recent investment in a HARMAN Studer Vista 5 digital console has paid immediate dividends in many ways, the most recent being the nomination of a 2015 GRAMMY® Award for classical artist John Adams’ album, City Noir. Nominated for Best Engineered Album, Classical, as well as a nomination for Best Orchestral Performance, City Noir was recorded at the St. Louis Symphony, engineered by Richard King and released on Nonesuch Records.

Described by John Adams as “jazz-inflected symphonic music”, City Noir is a 35-minute, 3-movement work featuring solos for alto saxophone, trumpet, trombone, horn, viola and double bass. The GRAMMY-nominated City Noir album was recorded over two performances in February 2013 and was released through Nonesuch Records in May 2013.

Since acquiring the Vista 5, the St. Louis Symphony has used the console to record all of its Saturday performances in 96k, including John Adams’ symphonic works, along with live radio broadcasts on Saturday nights via St. Louis Public Radio 90.7-KWMU. The Vista 5 is the heart of the Saturday broadcasts and recording, taking multiple streams and splitting the mixes to a multi-track, 2-track hi-res feed and then also to the mix for radio.

Paul Hennerich, lead engineer for the St. Louis Symphony and owner of the Pan-Galactic Company, found the Vista 5 to be the most versatile and efficient console for the Symphony’s needs. “For our recordings with Nonesuch, the Vista 5 was one of the few consoles that had the ability to do high-resolution recordings that we needed to track,” Hennerich said last October. “And, of course, the sound quality is phenomenal, so the console hit all the requirements we had.”

In addition, the Vista 5’s EQ capabilities also sold the St. Louis Symphony on the console. “With classical music, you need a phase-accurate EQ to really bring out the subtleties of the orchestral performances,” Hennerich noted. “We also have the Vista FX feature with the built-in Lexicon effects. Having the ability to adjust multiple reverb sends at the same time makes the workflow that much faster. Also, being able to have two engineers work on their own control surface has been a nice feature.”

For more information on the St. Louis Symphony, please visit www.stlsymphony.org

For more information on the Pan Galactic Company, please visit www.pangalacticrecording.com

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and enterprise automation solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® , Mark Levinson ® and Revel®, 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 17,600 people across the Americas, Europe, and Asia and reported sales of $5.9 billion during the last 12 months ended December 31, 2014.

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Kramer to Showcase Innovative Live Event Solution at ISE 2015

3 vp-722_hiRes_PR

VP-772 8-input 4K Dual Scaler offers seamless switching and special effect transitions

Kramer Electronics announced today the release of the VP-772 8-input 4K Dual Scaler with seamless video switching and special effect transitions. The company will be showcasing VP-772 at ISE 2015 (Stand 1.F20) in Amsterdam as a part of Kramer’s pro AV solutions for live events.

With Kramer’s state-of-the-art scaling technology, the VP-772 is designed for projection and display systems at live events, churches, auditoriums, conference rooms, boardrooms, hotels, and production studios.

VP-772 scales and processes video and audio inputs and outputs to independent preview and program DVI-I outputs (VGA, DVI-D and HDMI) and two balanced stereo audio outputs. The dual scaler also features DVI-U inputs (with analog, DVI and HDMI support) and stereo-balanced audio signals. The preview output, featuring an on-screen display menu, lets you view how the program output will look on the live display.

VP-772 includes 4K support on the outputs for the latest devices and displays with native resolutions beyond 1080p60. VP-772 also includes Breakaway or audio-follow-video functionality.

About Kramer Electronics:

Since 1981, Kramer Electronics has been a leading player and pioneer in the Pro AV industry. With 26 global offices, supporting and distributing its products in over 100 countries across six continents, Kramer offers an extensive and innovative Pro AV solutions portfolio for Corporate, Education, Houses of Worship, Government, Live Events, Healthcare, and more.

For over three decades, Kramer has built its reputation on strong personal relationships with its customers and providing the highest level of service and support in the industry.

Kramer has won numerous awards, including the 2013 Pioneer of AV Award at InfoComm in honor of its Founder, President & Chairman, Dr. Joseph Kramer. Kramer’s award winning analog and IP-driven solutions for collaboration, streaming and control are at the forefront of an ever-evolving Pro AV industry. Kramer’s consistent sales growth and expansion into new markets is a testament to the company’s commitment to R&D and reliance on customer feedback.

For more information, visit us at: www.kramerAV.com

d3 Technologies’ Media Servers Turn in Winning Performance on “People’s Choice Awards” Live Telecast

IMG_2540The glittering “41st People’s Choice Awards,” honoring the best in pop culture for 2014, helped kick off awards season with a live broadcast from the Nokia Theatre, Los Angeles. PRG/Nocturne, Burbank, supplied Laura Frank of Luminous FX with six media servers from d3 Technologies to control and manage the motion graphics-based scenic media content, created by Syndrome Studios, LA, on an array of on-stage screens.

An elegant, sophisticated set designed by Steve Bass combined curved and linear elements. Five flown, curving LED screens formed an elevated backdrop with a three-part hero screen at center flanked by house screens. Four sliding towers, with a vertical openwork structure, moved to various positions on the stage. Each featured five plasma screens hung in portrait mode and offset from each other.

This year marked Frank’s fourth year working on the show; she was brought on board by lighting designer Allen Branton, with whom she has worked on numerous television projects.

For the “People’s Choice Awards,” a dedicated d3 master managed four slaves; a fifth d3 media server was on hand as an understudy. “The master drove the content and told the slaves what to output,” explains media server technician Cory Froke, who was also project manager for PRG/Nocturne, Burbank. “d3 was very flexible in handling the different mapping configurations and different looks. d3 enables you to put content anywhere very easily.”

Laura Frank had been following the development of d3 media servers “for years” but hadn’t used them since she required a very specific functionality to match her approach to shows. “Although all my live shows are planned as linear events I tend to not know what is going to happen until they’re on the air,” she says. “So I need an environment that will allow me to think non-linearly: A timeline is a liability to me. I need to be prepared to navigate the roller-coaster ride that is live, on-air television.”

That’s where d3′s introduction of SockPuppet DMX in r.11.2 proved a game changer for Frank. SockPuppet enables those who want to tap all d3′s mapping, playback and projection features to do so while using their preferred control surface, including most lighting consoles.

“I tried SockPuppet last summer for Univision’s ‘Premios Juventud’ awards show and have basically moved all my shows to d3,” says Frank. “My workhorse control surface is a grandMA console. My pre-production workflow is 3D-dependent, so it feels natural to be in a playback environment that uses the same logic. However, I am very tied to using the grandMA to control a server, so I waited for SockPuppet before I could utilize d3 on my shows.”

When working on live broadcasts, “rehearsals are rushed and often details can be missed,” she notes. “Having SockPuppet frees me from the linearity of the d3 Timeline, so I can make on-the-fly choices about where content appears on the stage as I see it happen.”

For the “People’s Choice Awards” Frank provided the delivery spec, including a templated delivery workflow for Adobe After Effects and MAXON CINEMA 4D. She also worked with Sweetwater, which supplied the screens, on the video engineering specs for all the signal paths going to the stage screens’ system.

According to Frank, “it’s unique to d3 that a screen output is a variable. That allows me to be more flexible in the way I program. In a single layer I can select an image and bounce it through the output screens to decide where I want it to go. That worked very nicely for ‘People’s Choice.’”

Froke recalls when, the day after the load-in, two projectors were added for Iggy Azalea’s performance. “We weren’t planning on that, but d3 enabled us to adapt two projectors into the rig and switch feeds for the performance.”

Frank praises d3′s ability to deliver Ultra HD-format files, which gives her “flexibility when working with content providers.” For example, Syndrome delivered the scenic content for the “People’s Choice Awards” in the Hap video codec, “which works really great for broadcast .”

The show was the first time she used timecode as a sync source with SockPuppet, she adds. “It worked flawlessly.”

Froke is an enthusiastic as Frank about SockPuppet’s potential. “It’s incredibly powerful – it fits right into the workflow and gives me a whole new toolset not found on other servers. D3 Technologies figured out what programmers wanted from the software before they released it, and they really nailed it.”

Frank feels that each application of SockPuppet furthers her understanding of the software’s capabilities. “d3 and the coding team have been incredibly responsive to my requirements about the way SockPuppet behaves and how to improve its performance,” she says. “I feel that we’re real partners in this.”

Felix Peralta, Kevin Lawson and Darren Langer were the lighting directors for the show. Kristen Merlino was the art director, Tony Pieterzak the technical director and Lizz Zanin the screens’ AD.

About d3

d3 is the world’s first fully integrated visual production system for video professionals, combining a real-time 3D stage visualizer, timeline, video playback engine and projection mapping tools into one product. d3′s unique integrated workflow assists the designer at all stages of the project, from pitch through development to final delivery. For more information contact Judith Hornman at d3 Technologies: +44 207 234 9840 / judith.hornman@d3technologies.com

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NUGEN Audio Announces Major New Release of Loudness Toolkit, Including Upgrades to VisLM, LM-Correct, and ISL

Company’s Industry-Leading NLE/DAW Editor-Based Loudness Solution Will Feature Powerful New Workflow Enhancements and a New DynApt(TM) Dynamic Adaptation Extension for LM-Correct

LEEDS, U.K. — Feb. 4, 2015 — Following extensive development and consultation with the post-production community, NUGEN Audio today announced Loudness Toolkit 2. Available in April 2015, this will be a significant upgrade for the company’s loudness measurement and correction suite. The Loudness Toolkit 2, which will include the VisLM-H meter, LM-Correct quick-fix tool, and ISL true peak limiter, will feature upgrades that make it an even more powerful workflow companion for NLE and DAW users. Within the Loudness Toolkit 2, NUGEN Audio is also making its industry-leading DynApt(TM) dynamic adaptation technology available as a time-saving extension for LM-Correct, enabling streamlined LRA targeting.

“NUGEN Audio’s Loudness Toolkit has been widely accepted as a standard for workstation-based loudness metering and correction throughout the film and television industry. With this latest release, we’ll provide new and radical time-saving workflow enhancements and broader industry standard compliance,” said Jon Schorah, founder and creative director, NUGEN Audio. “Also, the new DynApt extension for LM Correct will bring the huge time-saving benefit of automated dialog clarity preservation to every seat and will make it easier than ever before to repurpose audio dynamics for a specific playout LRA target, such as TV, radio, Internet streaming, or podcast.”

Loudness Toolkit 2 includes the following enhancements to the VisLM-H visual loudness meter:

* A Timecode and Loudness Profile Memory Function that tracks and retains the timecode and loudness profile so that the overall loudness measurement can be updated automatically at any time. This profile can be saved with the session, and re-measuring and rebooting delays are eliminated.
* An all-new Program Loudness Over-dub Mode for enhanced workflow efficiency, which memorizes the program loudness profile so that only changes need to be measured. The changes are then integrated automatically and intelligently with the memorized loudness profile to provide accurate program loudness readings on the fly.
* New zoomable and scrollable history and log file capabilities that allow detailed inspection of the entire file history using customizable parameters. A text file summary can also be created.
* A fully resizable and configurable interface that is now completely adjustable to show exactly what is required with unsurpassed clarity, maximizing precious screen real-estate.

In addition, the Loudness Toolkit 2 includes the following enhancements to the ISL Inter Sample Limiter:

* New Intelligent Dynamic Release Mode to enhance algorithm transparency by automatically adjusting to program content in real time.
* User interface workflow and display enhancements, including waveform visualization and innovative new readouts that indicate surround ducking and steering. The UI also now includes horizontal compact view and vertical view modes.
* Advanced Variable Center Channel link settings including new controls to tame steering and ducking and prevent the center channel from driving side channel behavior unpredictably.

In the Loudness Toolkit 2, NUGEN Audio’s LM-Correct loudness measurement and correction tool includes the following upgrades:

* Single-click analysis and correction to uniquely accelerate workflow for every seat, executing loudness analysis and correction at up to 100 times real time.
* Enhanced processing criteria to meet increasingly complex target requirements for today’s ever-changing loudness landscape.
* Combined program and short-term or momentary loudness correction that enables simple compliance with new regulations, including the recent supplement for short-form content creations (EBU R128 S1).
* A new LRA targeting option to automatically adjust audio to meet specific LRA targets.

With the release of the Loudness Toolkit 2, NUGEN Audio’s market-leading DynApt dynamics adaptation technology will be included as a new extension for LM Correct. Previously only available in the company’s LMB Processor for server-side batch file processing, the new DynApt extension places NUGEN Audio’s proprietary, highly efficient, and reliable time-saving method of advanced LRA targeting at the fingertips of every editor.

The NUGEN Audio Loudness Toolkit 2, including upgraded versions of VisLM-H, ISL, and LM-Correct, will be available in April 2015. Pricing will be announced at a later date. Clients who have purchased the current version of the Loudness Toolkit, VisLM, ISL, or LM-Correct after Jan. 1, 2015, will receive complimentary upgrades to the new versions. In addition, special pricing will be offered to all current Loudness Toolkit owners upon the release of the Loudness Toolkit 2.

Supported plug-in formats for VisLM-H and ISL include AAX, RTAS, VST2, VST3, and AU. VisLM-H and LM-Correct are also available as stand-alone products and as Avid Audio suite plug-ins.

More information about NUGEN Audio products is available at www.nugenaudio.com.

# # #

About NUGEN Audio
NUGEN Audio provides the broadcast and post-production industry’s most advanced solutions for end-to-end loudness management, metering, and correction from content acquisition through to playout. Reflecting the real-world production experience of the NUGEN Audio design team, the company’s products make it easier to deliver high-quality, compliant audio while saving time, reducing costs, and preserving the creative process. NUGEN Audio’s tools for audio analysis, loudness metering, mixing/mastering, and tracking are used by the world’s top names in broadcast, post-production, and music production. For more information, visit www.nugenaudio.com.

All trademarks appearing herein are the property of their respective owners.

Photo Link: www.wallstcom.com/NUGEN/NUGENAudio-Toolkit.jpg

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Related Topics: Audio, Audio Processing, News |

Video Clarity 2015 NAB Show Product Preview

New at the 2015 NAB Show:
Booth SU11907

ClearView Shuttle 4K
For the first time at the NAB Show, Video Clarity will demonstrate its ClearView Shuttle 4K, a new system that adds another 4K-capable solution to the company’s ClearView video quality analyzer line. Originally designed as a portable, entry-level solution for HD video quality-of-service testing, ClearView Shuttle now includes record and playback capabilities for testing 4K video with audio. With the ability to record, play back, and compare sequences of uncompressed 4K video, ClearView Shuttle is ideal for device manufacturers and media operators that need to test new encoding technologies and existing processing devices already installed in their operations.

To maintain video and audio quality as compression standards change, everyone along the broadcast chain needs to measure continually the performance of the compression engines on which their day-to-day operations depend. And now, as more and more devices with 4K capabilities are built and deployed, device manufacturers as well as operators require quality testing with the ability to record at native 4K resolutions in addition to HD and SD formats. ClearView Shuttle 4K is an evolutionary step that provides 4K I/O device and signal path testing at a lower price point with repeatable, objective quality measurements that closely resemble subjective results.

Photo Link: www.wallstcom.com/VideoClarity/VideoClarity-ClearViewShuttle4K.zip
Photo Caption: Video Clarity’s ClearView Shuttle 4K

RTM With Real-Time HEVC Testing
Making its NAB Show debut will be Video Clarity’s RTM real-time audio and video monitoring solution for performing real-time quality measurement and monitoring of new HEVC codecs and services. The new HEVC testing feature, now available via update on most RTM solutions, will be important for broadcasters and content delivery networks that must compare codecs and test their performance to determine which ones offer the best A/V quality. The feature also applies to transcoder and statistical multiplexer product testing throughout firmware version development for manufacturers and live-channel performance testing to check new encoder deployment and bit-rate performance over a given transmission path for TV networks and service providers.

RTM with HEVC testing provides full-reference, uncompressed DMOS measurement using any MPEG source stream or baseband input, and can decode and align encode/transcode HEVC video streams with source input for long-duration quality measurement and logging functions. RTM automatically records a sequence when video and audio quality drop below preset thresholds.

Photo Link: www.wallstcom.com/VideoClarity/VideoClarity-RTM1RUfront300dpi2in.zip
Photo Caption: RTM Now With Real-Time HEVC Testing

ClearView Player 4K Portable
NAB Show attendees will be the first to see Video Clarity’s ClearView Player 4K Portable, the company’s latest product that helps manufacturers play back uncompressed video to show performance with new encoding technologies. The new portable system builds on the ClearView Player 4K, a player/recorder system for uncompressed Quad/4K, HD, and SD video with embedded audio and 4K HDMI output. This new small, lightweight appliance comes with multiple file format decoding and IP stream decoding for recording uncompressed video and 2 TB of storage — all in a shoe-box-sized hand-held hard case. Broadcast encoder manufacturers can use ClearView Player 4K Portable to prepare and play back sample clips when evaluating picture quality for prospective customers.

Photo Link: www.wallstcom.com/VideoClarity/VideoClarity-CVP4K_2RuFront300dpi2in.zip
Photo Caption: ClearView Player 4K Portable

Company Quote:

“ClearView Shuttle 4K makes it easy and cost-effective to analyze compression performance with 4K formats. We look forward to showing NAB visitors how Video Clarity leads the industry in bringing new 4K testing features to market.”
– Blake Homan, President and Founder of Video Clarity

Company Overview

Video Clarity Inc. provides audio and video quality assessment and analysis systems for researchers, broadcasters, equipment vendors, and entertainment distribution engineers that must continually measure the quality of their products and services. Propelled by market-leading technology, Video Clarity solutions have been adopted the world over by major media networks such as NBC Universal and BSkyB; leading broadcast-product manufacturers such as Cisco and Harmonic; and educational, government, and research organizations such as the Royal Melbourne Institute of Technology, the U.S. Army, and NASA. Video Clarity was founded in 2003, with headquarters in Campbell, California, and distribution worldwide. Additional information is available at www.videoclarity.com.

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Related Topics: NAB Newslink, News, Tradeshows / Events |

NETIA Names Jérémie Mekaelian Head of International Sales

CLARET, France — Feb. 3, 2015 — NETIA today announced the appointment of Jérémie Mekaelian as the company’s head of sales. In this new position, Mekaelian will supervise NETIA’s worldwide sales force and lead continued development and implementation of sales and presales programs.

“Jérémie comes to this position with a wealth of experience surrounding the sales and marketing of technology for the audiovisual industries,” said Thierry Gandilhon, managing director of NETIA. “He is passionate about technology, and his enthusiasm and expertise in virtually all aspects of technology sales make him a wonderful addition to the company.”

Mekaelian has more than 10 years of experience in the IT, telco, and media industry, and his expertise includes audio, speech, and video coding; technologies for collaborative solutions; network engineering and optimization; and intellectual property protection and enhancement. He has held key roles with several French government-owned companies, including the position of business developer for France Telecom’s R&D division. There he helped to rebrand the division as Orange Labs, a globally renowned research and development center with an influential presence in standardization bodies.

Mekaelian was a 1999 graduate of the ENSI Caen and holds a master’s degree in materials science and subsequently became a specialized master at the prestigious ESCP Europe business school, where he spent five years teaching key-account management.

“I am thrilled to be part of NETIA,” Mekaelian said. “I look forward to helping the company leverage its valuable client portfolio even more effectively and to working with the company’s international sales team to extend worldwide deployment of the powerful NETIA product range.”

More information about NETIA and its product portfolio is available at www.netia.com.

# # #

About NETIA
NETIA, a Globecast company and part of Orange, is a leading provider of software solutions that enable efficient management and delivery of audiovisual content to today’s full array of media platforms. Relied on by more than 15,000 users in 200 installations in more than 40 countries, NETIA solutions allow content producers and owners to manage content from ingest to delivery, targeting multiplatform outlets including the Internet, VOD, IPTV services, and mobile devices.

NETIA provides radio automation, media asset, and workflow management solutions to major radio and television brands and to multimedia groups around the world. Clients include The Associated Press, ABC News Radio Network, WestwoodOne, Radio Globo in Brazil, RTM in Malaysia, SBS and ABC in Australia, MediaCorp Singapore, RAI Italy, RTL France, Radio France, RTBF in Belgium, and France Televisions. NETIA has its headquarters in France, with offices in the United States, Paris, Rome, Moscow, and Singapore, in addition to a global network of professional distribution partners.

Photo Link: www.wallstcom.com/NETIA/NETIA-JeremieMekaelian.jpg
Photo Caption: Jérémie Mekaelian

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