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Engineer/Producer Ben Findlay Continues Success With Peter Gabriel Using HARMAN’s AKG K812 Reference Headphones

LONDON, United Kingdom – Ben Findlay, a GRAMMY®-nominated recording engineer and producer, recently added HARMAN’s AKG K812 reference headphones to his setup to achieve world-class sound when mixing the variety of projects that pass through his studio in the United Kingdom.

Findlay’s list of credits includes work with artists such as Paul McCartney, Robert Plant, Jeff Beck, Sting, Lionel Richie and more, but he is probably best known for his work with Peter Gabriel. Over more than 25 years, Findlay has supported Gabriel in the recording, mixing and mastering of multiple projects—a collaboration that continues to this day. “I am using the K812 headphones as we speak on the Peter Gabriel Back To Front Live Blue Ray; I am mixing and I will be using them on the road next year to master the audio for the CDs which we produce of every show from the tour, which I often have to do on the road, in a hotel room. The K812’s are superb headphones that will allow me to effectively do my job in any setting.”

Introduced in late 2013, the K812 offers an oversized 53mm driver for the highest dynamic range ever in an AKG headphone. Its copper-covered aluminum voice coil extends sounds beyond the limits of human hearing, hitting a full spectrum of frequencies. Each K812 is built for comfort with a fast, adjustable headband and extremely soft ear pads to ensure comfort in any application, for extended periods of time. It also features a new open-back design optimized for pristine and natural sound.

“The headphones are stunning, they’re unlike any other pair I have ever used,” Findlay said. “Although you have the physical sensation of wearing headphones, there is no sense of enclosure in the listening experience. This makes the imaging very open and defined by the musical content alone. The response is very flat with no cosmetic lumps or scoops. “

For more information on Ben Findlay, please visit www.benfindlay.co.uk

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the 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 14,600 people across the Americas, Europe, and Asia and reported sales of $4.5 billion for the last twelve months ended September 30, 2013.

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Sound Investment A/V Invests in Vista Systems Spyder x20

Chicago-based Sound Investment A/V has purchased a Vista Systems Spyder x20 image processor for its production inventory. By stepping up to the Spyder, Sound Investment A/V is now equipped with the next level of professional tools that can attract new clients with multi-image needs or offer greater creativity and production efficiencies to existing customers.

Parent company Sound Investment, a consulting firm, founded Sound Investment A/V with Peter Vanek in 2000 as a rental and staging company offering sound, video, lighting, scenic and staging solutions. It has become a top-tier provider for the industry both nationally and internationally.

“The Spyder is our first Vista Systems product,” says Vanek. “We plan to use it for large-format corporate events, such as general sessions featuring multi-screen, multi-projector situations.”

Vanek says the Spyder was chosen for its “ease of use and flexibility as a system. It can accomplish anything producers might throw at us on the fly. Or we can prebuild a show and be ready to go when we arrive on site. With other systems you have to do all the work once you get to the venue.”

He also notes that the Spyder was an affordable choice. “The price point is great considering the number of inputs and outputs you get,” he reports.

Sound Investment A/V already expects the Spyder to experience heavy usage right off the bat. “We have some big projects coming up,” Vanek says. “One is a 13-screen show with projection mapping, various projector blends and multiple outputs. That’s typical of how we’re going to deploy Spyder. We’re really excited about adding it to our inventory.”

About Vista Systems
Vista Systems’ switchers have become the industry standard for live multiple-destination video and data mixed signal switching with real-time windowing and composition. For more information on Vista Systems, visit their website at www.vistasystems.net.

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Funky Junk Takes On UK Distribution For Pearl Microphones

Funky Junk, Europe’s leading supplier of new and refurbished professional recording equipment and services, has added Pearl Microphones to its distribution roster.

“Having used and loved Pearl Microphones for more than 20 years, I was delighted when the opportunity arose to represent the brand in the UK,” says Funky Junk’s founder Mark Thompson. “These microphones have an exceptional pedigree and history. They deliver great results, particularly on acoustics instruments, and they are built to last. It’s no surprise to me that vintage Pearl Microphones are as much in demand as new ones.”

Pearl’s Chairman, Sven Olof Andersson, says: “We are extremely happy to be working with Mark Thompson and his crew of dedicated professionals in the UK. Pearl goes a long way back in Britain and we will now continue to grow there with an exciting line-up of products and new developments.”

Founded in 1941, Pearl is renowned for its award-winning rectangular membrane technology, which is used for natural and transparent recording all over the world. All Pearl microphones are crafted in Sweden.

Today Pearl is owned by Bernt Malmqvist and a group of private investors who have brought a new business savvy to the company and a renewed passion for the use of Pearl microphone technology.

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About Funky Junk:
Funky Junk is Europe’s leading supplier of new and refurbished professional recording equipment and services. It has offices in London, Paris, Milan and Spain and has been in business for over 20 years. The company is renowned for its high level technical knowledge, backed by extensive workshop facilities. As well as handling sales and repairs, Funky Junk also acts as a distributor to a number of equipment brands and deals with their service and warranty.

For more information please visit www.proaudioeurope.com

Prelite Studios Helps Lighting Designer Bob Barnhart Envision Super Bowl XLVIII Halftime Show

Preparations for Super Bowl XLVIII’s Halftime Show began early and for lighting designer Bob Barnhart they involved using Prelite Studios’ previsualization services to get a jump on working with the actual lighting rig on site at New Jersey’s MetLife Stadium.

Barnhart had 16 previous Hafltime Shows under his belt starting as a gaffer and working his way up to primary lighting designer on four of them. “I hadn’t used Prelite before, but it proved to be a fantastic application,” he says. “We set up at PRG in Los Angeles where we worked for about seven days then moved the entire studio to the basement of the stadium. Because of the bad weather in the east we got the rig two days later than we wanted, but Prelite allowed lighting director/lighting programmer Pete Radice to continue to work with the timecode track three or four days before rehearsal began.”

Prelite’s Tom Thompson configured two Prelite systems, one with WYSIWYG software and one with Vision software, at PRG on January 7. The systems complemented each other with Vision used for its UVW-mapping abilities and WYSIWYG for its performance.

“There were over 200 Magic Panel 602 fixtures, which WYSIWYG ran really well, along with Clay Parky Sharpys, Best Boys, Color Blocks, Solaris Flares, RGB LED Tape, a moving drum set, four on-stage lifts and all of the video,” explains Prelite partner Tom Thompson. “The Vision system had all of the video, the Sharpys, the Flares and the Best Boys. Using the two systems enabled everyone to previsualize things without compromise.”

Thompson worked closely with WYSIWYG developer CAST to make sure he had current fixture files for instruments such as the Clay Paky A.leda B-EYE K20s. “CAST even provided a new executable file that extended to cover 200 universes,” he reports. “The current release is only good for 100 universes, but that gets eaten up rather quickly these days with Magic Panels fitting three to a universe. So we asked for a new file and CAST responded two days later. We also got excellent service from ESP, Vision’s developer, regarding files for the 8-channel Solaris Flare.”

“The Hafltime Show was so massive in terms of its integration, universes and channeling size,” says Barnhart. “We spent our time in LA figuring out how to get the entire system working. The virtual world showed any problems we might encounter, things we would only have discovered with the rig in realtime when everything is more expensive and it’s later in the schedule. We actually found out that we needed to rewrite some software for faster Ethernet and fiber optic systems that we didn’t know would be a problem.”

By the time Barnhart, Peter Radice and lighting director David Grill arrived at the stadium they had “a rough idea of the focus and color palette and a very good idea of the cueing,” Barnhart says. “So when we were working in realtime we knew what overall adjustments to make.”

Radice recalls the crew working “in brutal winter weather conditions” at the stadium. “We loaded in Monday two weeks before the game and rehearsals started Tuesday of the following week. We could modify cues while the guys were checking the rig. We weren’t waiting for each other so we made the most of our time. When you have a limited amount of time at the venue and a big show it helps to lay the groundwork before you get there. With Prelite we could even see where the lights hit the back of the stadium, which we couldn’t see in the booth.”

Radice says the Halftime Show was the first time he used any previsualization, and it made an impressive debut. “Tom provided a great Prelite set up; it helped us a lot.”

Jason Rudolph was the video programmer/director for the Halftime Show and Bruce Rodgers the set designer.

About Prelite

Prelite was founded in San Francisco February 2000 by Tom Thompson and Norm Schwab as a place for lighting designers and programmers to use technologies to previsualize lighting projects. Its success led to the launch of Prelite NY in June 2001 by Kim Grethen and Rodd McLaughlin. The bicoastal company provides studios where previsualization and creativity take center stage away from the distractions and interruptions of a chaotic work environment and where clients save time and money and minimize stress. Prelite also offers on-site previsualization services for those who prefer the convenience of working at the venue. For more information, visit www.prelite.com or contact Thomas Thompson at 415-883-7727.

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Autoscript Launches WinPlus Remote

Unique, mobile teleprompting system brings speed and accuracy to field operations

TWICKENHAM, UK
Autoscript, part of Vitec Videocom, a Vitec Group company, has announced the launch of WinPlus Remote, an iOS-based teleprompting system that delivers up-to-date scripts to users in the field, anywhere in the world. The technology is also suited to remote news bureaus and smaller newsroom operations.

When WinPlus Remote is installed on a networked PC in the production facility, the latest version of the script can be seen by journalists on location, as well as in the studio. The software enables the script to be automatically uploaded to an FTP site where it can be downloaded onto an iPad by talent in the field and kept constantly updated. WinPlus Remote, developed by market leader Autoscript, works in conjunction with an iOS app, picoPrompt, and is supplied with a hand control.

“There have been iPad prompting apps on the market for some time,” says Robin Brown, product manager, Autoscript. “However, the link to the newsroom has been missing, which effectively means that there is no access to live, updated scripts on location. Now, with WinPlus Remote, field talent can quickly and easily download the latest script from the FTP site by simply connecting their iPads to the network.

“This brings both speed and efficiency to remote staff, as well as increased accuracy. Instead of having the director conveying the script changes via an ear piece and a journalist having to manually make the changes, this system allows them to refresh the script with the click of a button. In this way they will always have the latest version of the script on their iPad, allowing them to focus on the task at hand, such as reporting on breaking news.”

The WinPlus Remote system is ideal for use in applications where news is being updated constantly, such as sports reporting. It is also suited for use in locations where a prompting system with full camera unit and software products isn’t available or practical. In addition, WinPlus Remote can be used as an add-on in facilities where other prompting software systems already exist.

“You don’t need to be a current WinPlus user to benefit from WinPlus Remote,” adds Brown. “If a newsroom is running other prompting software, WinPlus Remote can be used in parallel. It effectively runs in the background and enables technicians to take the same script as their current prompting solution and upload it to the FTP site where the field talent can access it.”

The system is therefore also ideal for smaller news operations with limited budgets as it is a cost-effective alternative to a full software system.

WinPlus Remote is being officially launched at NAB in April and will be available from Autoscript. picoPrompt can be downloaded via the Apple App Store.

About Autoscript
Autoscript is the world leader in the prompting industry, providing professional teleprompting equipment to broadcasters across the globe. Established in the UK in 1984, with headquarters in the UK and the US, Autoscript designs and builds innovative hardware, PC cards and software to meet real world needs and continually enhance the production process. A prime example of this is Autoscript’s latest product, the E.P.I.C. (Enhanced Prompting Information Centre), an all-in-one prompter display and on-air talent monitor that vastly simplifies studio equipment, reduces power consumption and enables easier location prompting. Autoscript is a member of the Vitec Group.

For more information visit www.autoscript.tv

About Vitec Videocom
Vitec Videocom brings together some of the most respected, most innovative and most sought-after brands in the industry: Anton/Bauer, Autoscript, Litepanels, OConnor, Petrol, Sachtler, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business.

Vitec Videocom is an operating division within the Vitec Group, an international business serving customers in the broadcast, photographic and military aerospace and government markets. Vitec is based on strong, well known, premium brands on which its customers rely on worldwide.

Vitec Videocom – innovative products around the camera. Follow Vitec Videocom on LinkedIn, Facebook, and Twitter.

U.S. Press contact:
ignite strategic communications
818.980.3473
jared@ignite.bz

Clay Paky Igloos Domes and Sharpys Shine a Light on Holiday Trees for “Illumination: The Lights at The Morton Arboretum” in Chicago

Christmas trees were not the only magical trees during the holiday season. Visitors to “Illumination: The Lights at The Morton Arboretum” in suburban Chicago discovered magic of a different sort along a one-mile, gently rolling paved path where tree lighting effects were created by Clay Paky Sharpy fixtures in Igloo domes, which were programmed on grandMA consoles. A.C.T Lighting is the exclusive North American distributor for Clay Paky.

The Morton Arboretum was founded in 1922 by Morton Salt magnate Joy Morton whose father inaugurated Arbor Day in the U.S. The “Illumination” event featured stunning lighting effects along an outdoor path through the trees and offered opportunities to interact with the trees to change the color and intensity of the lights.

Lighting designer John Featherstone of design firm Lightswitch specified 28 Clay Paky Sharpys for “Illumination” choosing them to light the path and provide lighting effects. Their tight beams, long range and low power consumption were well suited to the tasks. The Sharpys were fitted into custom outdoor domes and a dozen Igloo domes from Clay Paky. Igloos are sturdy enclosures that offer protection against the elements while maintaining a perfect working temperature. Quick to install and simple to use, Igloos are indispensible for outdoor events, festivals and installations. Injection molded from UV-resistant transparent polycarbonate, Igloos ensure flawless projections without loss of light or image distortion.

“The fixtures and Igloo domes held up great – they sat outside from early October to mid-January, and we had almost no failures,” reports Matt Pearlman, senior account executive with Intelligent Lighting Creations (ILC), a Chicago-based lighting rental company. “We used wireless DMX control in the Igloo domes, which cut down on a lot of cable.”

Pearlman says the Sharpys created aerial patterns in some areas. “In one area the fixtures were placed within the landscape architecture of a massive hedge garden allowing the shafts of light to visually extend the pattern of the garden,” he notes.

The light show was programmed on a pair of grandMA2 consoles. “The programmers were able to share the show file and make adjustments in real time,” Pearlman says. “For the show run we ended up using solid state computers running grandMA onPC software with multiple nodes over a wireless network. The control system worked flawlessly.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “This is a great application of our Igloo Domes and a very interesting project. We’re glad they chose our product lines for this application.”

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High Resolution Systems’ UDC Gives Easy Front-End Control to Fibertech Networks’ Videowall

Rochester, New York-based AAVS (Advanced Audio Visual Solutions) selected High Resolution Systems’ UDC (Universal Device Controller) software for front-end control of a videowall at Fibertech Networks’ operations center in town. Fibertech Networks is a leader in building and operating fiber optic networks in the eastern and central region of the US. AAVS sells and integrates audio, video, lighting, communications, surveillance and control equipment in new and existing construction. It is the leading AV integrator and rental company in upstate New York.

To monitor T1 lines and fiber networks Fibertech uses a 64 ft x 8.5ft videowall and an RGB Spectrum video wall processor. Sixteen PCs feed the Spectrum; inputs can be displayed anywhere on the videowall and can be stretched between walls and minimized and maximized to fit the location. Six projectors, all edgeblended, can display any of the inputs to any part of the overall raster. Windowing is performed by the Spectrum.

“The advantage of using UDC as the front-end controller is the ease of moving things around,” says Graeme T. Poluch, vice president of sales at AAVS. “We have programmed some presets, but UDC is also fully customizable, so any of the 16 inputs can be any size and in any location on the wall.”

AAVS chose to employ UDC with a Windows RT 8 tablet interface. “We like that UDC enables us to use any type of Wi-Fi tablet we like,” says Poluch. “UDC has multiple output resolutions so it looks great on any tablet interface. We can select an input on the tablet then select the desired location for it. Typically, we’ll work with one of the existing templates, but if we want something customized we can modify from that point. Its ease of use and flexibility make it easy to love!”

Poluch notes that Fibertech Networks is “thrilled” with UDC control and more projects may be in store with the customer.

About HRS Control

High Resolution Systems known as HRS Control is a company with a strong systems engineering and applications background. Its founders have decades of experience in the audio visual rental and staging industry, broadcast applications, A/V installations and system design. This combined experience allows them to provide the highest possible quality solutions to its customers in the most efficient manner. For more information, visit www.HRScontrol.com.

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Stagesound Event Technology Deploys HARMAN’s AKG Microphones For Pollmann 125th Anniversary Celebration

VIENNA, Austria – Austria-based company Pollmann recently invited over 800 guests to celebrate its 125th year anniversary at an event in the Sports Hall in Waidhofen a.d. Thaya in Austria. The company is well-known around the globe for its development and production of electro-mechanical components for the automotive industry. The anniversary celebrated the company’s rich and successful history in illustrious fashion that required an elaborate sound system capable of withstanding a rigorous evening full of grand presentations. Austrian rental company, Stagesound Event Technology, developed a sound system consisting of HARMAN’s AKG microphones to ensure high-quality sound for all speeches and commendations given during the celebration.

Faced with numerous acoustical challenges in the 200 x 270-foot space, which was not structurally or acoustically designed for a large PA system, Stagesound used two AKG GN30 gooseneck microphones with CK31 high-performance condenser microphone capsules for each speaker. Stagesound system engineer Markus Kouba and audio engineer Andreas Mühlmann wanted to make the system as user-friendly as possible.

”Although the majority of speakers were professional presenters, the event also featured several untrained speakers,” commented Kouba. “For these inexperienced speakers we wanted to make the system as easy to use as possible while still providing a clear sound to the audience. The AKG microphones more than met that requirement.”

In addition, Stagesound developed a system for the live band that included two C414 B-ULS condenser microphones on drum overheads and several D112 microphones for the kick drum and bass amplifiers. Stagesound also deployed four C518 M miniature clamp-on microphones on the toms and snares for the drums.

“The AKG microphones impressed with clear sound and simple handling,” stated Kouba. “We are very satisfied with the performance, and with AKG in general for all of our events around Austria. It is important as a rental company to have equipment that will withstand the unique technical riders for each event, as well as the transportation and wear and tear during each project.”

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the 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 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

Prism Sound and Oxford Digital’s Audio Design Workshop LIVE Seminars Head To The USA

Following on from the success of the Audio Design Workshop LIVE seminars in Europe, Prism Sound and Oxford Digital are hosting their next event in the USA – at Cogswell Polytechnical College, Sunnyvale, California.

Taking place from 7pm PST on March 18, 2014, this audio engineering master class focuses on the design and optimisation of Active Loudspeakers and will be held in conjunction with Texas Instruments, CJS Labs and Audio EMC.

As on previous occasions Audio Design Workshop LIVE is open to all engineers, engineering managers, students and academics involved in audio engineering. The event will also be webcast and recorded for those who want to be part of the experience but can’t be there in person.

“These seminar sessions have proved exceptionally popular in Europe and we are very excited about extending the programme in the USA,” says Elliott Whyte, Applications Engineer at Prism Sound. “Their emphasis is on real-world, practical problem solving and alongside a comprehensive seminar programme delivered by some of the most experienced audio engineers in the business, there is also plenty of opportunities for hands-on experimentation and networking with the presenters and other participants. This is a fantastic chance for everyone involved in audio engineering to learn the tricks of the trade from luminaries within the audio industry.”

Audio Design Workshop LIVE at Cogswell Polytechnical College will feature the following speakers:

• Elliott Whyte, Prism Sound – Audio Measurement Challenges; a summary and an example

• Anthony Waldron, Audio EMC – EMC Considerations for Audio Products

• Christopher J. Struck, CJS Labs – Electroacoustics and Transducers

• Lars Risbo, Texas Instruments – Development in Amplifier Technology

• John Richards, Oxford Digital – Tuning the Sound of Consumer Audio Products

Prism Sound and Oxford Digital, who have joined forces to organise the Audio Design Workshop LIVE series, have extensive experience in the field of audio engineering.

Prism Sound has been developing audio measurement solutions for over 25 years and has pioneered many major innovations in this field. The company offers high quality audio analyzers that are suited to a wide range of test and manufacturing environments.

Oxford Digital specialises in digital audio signal processing for mobile and consumer equipment. Its products include an extremely compact audio DSP core with a rapid programming and development environment and Sonic Tuning Tools that allow rapid optimisation of the sound reproduced by compact loudspeaker systems. The complete toolset is targeted at reducing time-to-market and lowering software maintenance costs.

Places for Audio Design Workshop LIVE are limited and anyone wishing to take part is encouraged to register now. To register, please follow this link which also allows you to register for the live webcast and the webcast recording:

http://www.eventbrite.com/e/active-loudspeaker-design-masterclass-live-cogswell-polytechnical-college-registration-10200884119?aff=PR

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About Prism Sound
Founded in 1987 in Cambridge, UK, Prism Sound manufactures a range of high quality professional test equipment for audio applications. The company is organized in three divisions and in addition to audio test equipment, Prism Sound also manufactures equipment for high-quality recording and production for music and sound applications and for voice-logging recorders used in law enforcement, legislative and business applications. Prism Sound audio test equipment is used by many major consumer electronics brands in automotive, home entertainment, personal mobile, communications and other market sectors as well as most of the world’s leading broadcasters including the BBC. Prism Sound’s music recording products are widely used by leading professionals in music and film sound such as the legendary Abbey Road Studios in London.

For more information: www.prismsound.com

In the US
Sales department
Prism Media Products Inc.
21 Pine Street
Rockaway
NJ 07866
USA
Tel : +1 (973) 983 9577
Fax : +1 (973) 983 9588
e-mail : sales@prismsound.com

Doug Aitken Premieres New Video Installation “The Source (evolving)” with AV Support from WorldStage

Renowned artist Doug Aitken marked the U.S. premiere of his installation “The Source (evolving)” at New Frontier at the Sundance Film Festival in Park City, Utah with AV support from WorldStage, which provided design consultation, equipment and programming.

New Frontier at Sundance champions films that expand, experiment with and explode traditional storytelling. “The Source (evolving)” is a kaleidoscope of fast-paced, candid conversations with pioneers from different artistic disciplines from around the world. Aitken asks these shapers of modern culture where does the creative idea start and what is the journey to the finished creation?

“The Source (evolving)” was housed in the Pavilion, a new 2,000-square-foot circular structure adjacent to Main Street created in collaboration with U.K. architect David Adjaye. Six-channel video projections were arrayed along the inner circumference of the cylindrical structure’s interior and were visible from the outside at night when curtains were withdrawn to allow the screens to be viewed through The Pavilion’s large windows.

Aitken has said that his immersive documentary “examines the entire process of creation, not just the finished result, and speaking directly with the creators whose work has the ability to steer culture in a significant way, ‘The Source (evolving)’ takes viewers on a fast-moving road trip through the modern landscape of creativity.”

WorldStage previously worked with Aitken on “Sleepwalkers,” a multi-screen cinematic experience projected on seven facades of The Museum of Modern Art in New York City; a special single-channel version of that installation was presented at New Frontier at Sundance in 2008.

For “The Source (evolving)” the Pavilion’s partition walls created six adjacent, high-quality viewing theaters each equipped with a Panasonic PT-DZ7700 HD projector and Harkness Hall projection screen provided by WorldStage. WorldStage also supplied a near-field monitoring sound system and a directional Brown Innovations Soundbeam system for the theaters.

“We not only designed and specified the media components but also the wall construction to minimize crosstalk between the six separate theaters, which is typically an issue for installations like this,” says WorldStage project manager Randy Briggs.

“It was a pleasure to work with Doug Aitken again and to introduce his latest installation in a completely new custom built venue at Sundance,” Briggs continues. “Doug always creates unique experiences, and we’re honored to have collaborated with him on this ground-breaking six-channel projection. He is one of the most interesting voices in multimedia art today”

Aitken also developed an accompanying interactive website for “The Source (evolving),” which connected audiences not attending Sundance with the work and which will serve as a living archive that he will continue to populate with interviews.

For WorldStage, President Josh Weisberg created the system design and acoustics specs, Randy Briggs managed the project and Paul Clements handled the physical installation.

WorldStage Inc., the company created by the merger of Scharff Weisberg Inc and Video Applications Inc, continues a thirty-year legacy of providing clients the widest variety of entertainment technology coupled with conscientious and imaginative engineering services. WorldStage provides audio, video and lighting equipment and services to the event, theatrical, broadcast and brand experience markets nationally and internationally.

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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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