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Archive of the Product Applications Category

Canvas Church Brings Active Integration into their New Home

Irvine, CA – June 2014…. As the old saying goes, sometimes you have to break away to come back home. The faithful who founded Canvas Church know that story well. The founders of Canvas, a small group of self-described “entrepreneurial misfits,” broke away from Irvine Presbyterian in 2011 to form a different kind of church: a church “for people who don’t like church.”

The original congregation has more than tripled in size since then and recently relocated to a larger home. The new digs are, not surprisingly, a bit unconventional, occupying a warehouse space in a relatively nondescript industrial park. The inside, however, is warm and welcoming, and the cozy sanctuary is outfitted with a powerful audio system centered on the new PreSonus® StudioLive™ AI Active Integration™ line of mixers and loudspeakers.

“We do a sort of post-contemporary service, and we’ve typically got anywhere between four and nine musicians up on the stage,” explains Norman Gordon, the parishioner who specified the system and can typically be found running front-of-house. “It’s a full band: bass, drums, guitars, keyboards, and a few vocalists. There’s a lot of stuff going on.”

Gordon recommended the new PreSonus StudioLive 32.4.2AI console, along with StudioLive 328AI full-range speakers and a StudioLive 18sAI subwoofer as the main front-of-house system. “The AI series really had everything we needed,” he explains. “We had a 24-channel analog console we’d been using, and even though we really didn’t need the extra channels right away, we went for the 32-channel mixer because it was the first console released in the AI line.”

For Gordon, it begins with the sound. “Having been an analog guy most of my life, I really love that warm, English, analog sound. It’s something I wouldn’t have expected with digital. I have to say, though, I was really, really pleasantly surprised at how warm and open the console sounded.”

Of course, the StudioLive’s digital features are also well utilized. “We use the snapshot scene memory for a lot of stuff: mute scenes, mix scenes. It allows us to get to things very quickly. And having all that DSP horsepower, with compression and EQ and everything, really enables us to do a lot of very cool stuff.”

Every service gets recorded, Gordon adds. “We use Capture™ software to record the individual tracks in real time, and then we import them into Studio One® for mixing.”

A pair of StudioLive 328AI Active Integration monitors completes the package, with an 18sAI subwoofer for low-frequency reinforcement. “While we were waiting for the speakers to arrive, we had a couple of different loaner systems in here,” Gordon recounts. “It didn’t sound bad, but when we installed the StudioLive speakers and fired them up for the first time, the difference in clarity was just amazing. Articulation is really, really important to me — the ability to understand both the singing and the spoken word. And the StudioLive monitors sounded great right out of the box. They’ve got a really smooth response.”

Gordon reports that the entire congregation has been happy with the new system. “You know what they say about the soundman — if you don’t get any complaints, it means you’re doing your job.”

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About PreSonus

Founded in 1995, PreSonus Audio Electronics, Inc., is a leading designer and manufacturer of audio-recording and live-sound software, hardware, and related accessories. PreSonus’s software, microphone preamps, signal processors, digital audio interfaces, digital mixers, control surfaces, loudspeakers, and other products are used worldwide for recording, sound reinforcement, broadcast, sound design, and Internet audio.

 

Skyscraper is Movie Screen for WorldStage Projection of Iconic Moments in Film History

The famed Tribeca Film Festival likes to regard all of New York City as a canvas for filmmakers. That was never truer than this year when, as part of a fully-integrated campaign by agency Spinifex for new presenting sponsor AT&T, iconic moments from great films were re-imagined and projection mapped by WorldStage onto the AT&T Long Lines Building in lower Manhattan.

The 550-foot high AT&T Long Lines Building was an ideal choice for bringing the Tribeca Film Festival to the streets. The windowless skyscraper features a concrete slab façade clad with granite that acted as the 125-foot wide x 300-foot tall projection surface for a three-minute video that captivated New Yorkers watching on the streets below.

With the theme that great films are meant to be shared, the video projected an animated homage of memorable moments from cinema history: Muybridge’s racing horses, “King Kong” swatting airplanes from atop The Empire State Building, gears forming the face of Charlie Chaplin in “Modern Times,” the winding Yellow Brick Road of “The Wizard of Oz,” little Danny pedaling across the patterned hotel hallway carpet in “The Shining,” “ET” silhouetted against a full moon, “Godzilla” crashing through a wall, the “Transformers” clicking into action, defying “Gravity” in outer space. All of the segments were re-imagined as playful, brightly colored graphics by Spinifex.

The video projection also invited New Yorkers to cast their votes via Twitter hashtag #FilmForAll for the one film every New Yorker should see. The winning film will be screened to the public in all five boroughs this summer. Selected voters were invited to have their avatars integrated with the Long Lines Building projection proving that every New Yorker has the makings of a movie star. The projection mapping was staged for five nights, April 22-26.

The WorldStage team lent its technical prowess to the complex outdoor job starting with painstaking preproduction planning and extending to being buffeted by 40 mph rooftop winds during the install and exhibition. The completed design was engineered to ensure there was enough light to make the projected images pop when viewed by New Yorkers on the street.

WorldStage supplied four banks of multiple projectors that delivered more than 300,000 lumens of illumination. The projectors were housed in temporary enclosures, furnished by Mountain Productions, and located on the roof of the building across the street from the Long Lines skyscraper. A d3 Technologies media server fed the projectors, providing super-accurate warping and pre-visualization capabilities.

Spinifex provided a system that enabled the integration of voters’ avatars; a camera located near the projectors captured an image of the customized projection and tweeted it back to the contributor.

The WorldStage team included account executive Lars Pedersen, project manager Tom Whipple, d3 programmers Peter Acken and Ben Keightly, network technician Kim Dowd, projectionists Alex Donaldson and Michael Johnson, and installation technicians Gabriel Weisberg and Jeff Wong.

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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Miami’s 1300 Studios Keeps Hot Shoots Cool with Zylight

LOS ANGELES – Denis Lauzon has built a 30-year career in advertising, still photography and video production. As the co-owner of 1300 Studios, a full service studio in Miami, he has built a production and rental facility designed to accommodate the needs of professionals and their crews.

The facility includes a 12-person conference room equipped with a 90-inch studio monitor, lounge that doubles as a green room with a 60-inch monitor, three-station hair and makeup room with daylight-balanced lighting, kitchen for food-based projects, and reception area. Plus, there are a number of industrial spaces for various types of location shooting surrounding the studio, as well as five acres of open space for exterior shoots.

In the 30×40-foot studio, Lauzon has taken the necessary steps to limit his time on a ladder. He keeps four Zylight IS3c LED large panel lights mounted on the lighting grid, two of which are used to color the cyc. Lauzon uses the Zylight Remote to wirelessly adjust the color and intensity of the IS3c lights on the grid. (The lights can also be controlled via DMX through XLR connectors.)

All Zylight lighting instruments feature Zylink wireless technology, which allows remote control of all functions, including color hue and saturation, color temperature, and brightness. Plus, Zylights that are linked together adjust simultaneously for uniform results.

Recently, Lauzon was approached by a client who wanted to match the background to precise logo colors, which Lauzon was able to accomplish quickly without gels or filters. During a music video shoot, Lauzon used the Zylight

Remote to dynamically change the background color of the cyc during the recording artist’s performance. “The whole wall was lit and changing color,” Lauzon explained. “It looked great.”

Despite pre-planning, performers can cause problems with chromakey by the choice of color. Lauzon has programmed two memory presets on the IS3c lights – blue and greenscreen – so it is easy to accommodate last minute changes. “Wardrobe and hair color dictate chromakey,” Lauzon explained. “To fix the issue, we press the button. There’s no repainting backdrops.”

Now, the only time Lauzon has to get on the ladder is to adjust his IS3cs is to flip the instruments for lens flare effects in music videos. The IS3c’s advanced color mixing system provides rich, accurate color rendition, while its 90-degree spread makes it an ideal soft light for widescreen shots.

1300 Studios owns seven IS3c lights with soft boxes, available for rental, plus two F8 LED Fresnels (one daylight balanced and one tungsten) and one Z90 compact LED light. Lauzon said the IS3c is great on location, and he has been impressed with the F8 LED Fresnel, which collapses to less than for inches thick for easy transport. “There’s no other Fresnel like that,” Lauzon said. “The industry is definitely changing toward LEDs. There are other brands out there, but Zylight has the best features we were looking for in one package.”

ABOUT 1300 STUDIOS

Located in Miami, 1300 Studios is one of the finest full-service digital photography and video studio rental facilities in South Florida. Our seasoned professional staff ensures a flawless production in a comfortable atmosphere you will appreciate. Contact us at (305) 628-0000 or visit www.1300studios.com.

ABOUT ZYLIGHT LLC

Founded in 2003, Zylight LLC is the leading manufacturer of intelligent LED lighting instruments for the film and video production industry. Every model in its easy-to-use lighting system produces fully calibrated bright white light, while some also provide a spectrum of adjustable colors without gels. Full wireless control and DMX integration are included, and AC or DC power options are available. The Zylight state-of-the-art LED system is truly the most unique and flexible lighting system on the market today. With more than 50 dealers worldwide, Zylight continues to develop innovative LED lighting solutions to help make your job easier. More Than Bright – Zylight. Find out more at www.zylight.com.

Masque Sound Custom Audio Equipment Package Captures the Magic for Shakespeare’s Fantasy Play, The Tempest

CAMBRIDGE, MA, JUNE 5, 2014 – When Sound Designer Darron L West and Associate Sound Designer Charles Coes were looking to create a dazzling audio experience for William Shakespeare’s fantasy play The Tempest, they turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, to provide a custom audio equipment package.

The Tempest is a co-production between The Smith Center for the Performing Arts in Las Vegas and the American Repertory Theater (A.R.T.) in Cambridge, Massachusetts. The play premiered under a big top tent in Las Vegas on April 1 and is now playing at the A.R.T’s Loeb Drama Center.

The Tempest tells the story of shipwrecked aristocrat Prospero and his daughter Miranda who wash up on the shores of an enchanted and strange island. They find themselves immersed in a world of trickery and amazement, in which Tom Waits’ and Kathleen Brennan’s Dust Bowl balladry, Teller’s (of the legendary duo Penn & Teller) magic, and Pilobolus’ dance movements animate the spirits and monsters.

The sound designers’ goal was to create a very traditional Shakespearean play in the most modern way possible. Most of the soundscape was created by a four-piece live band and an array of eclectic percussive instruments.

“We have live musicians on stage accompanying the actors, so we utilized a lot of microphones and effects units,” says Coes. “We took a modern spin on the idea of a traditional Shakespearean ensemble by updating it to include a mix engineer and console. We really wanted to bring the band out and lift the vocals up so that you could effectively and clearly hear both from within the theater.”

One of the main challenges on the project was to create a sound design for two very different venues. “We encountered quite a bit of ambient noise from air conditioners, trains, helicopters and the nature of being in an unprotected acoustic space at the tent in Las Vegas,” adds Coes. “From there, we transitioned to the very quiet, typical theater space at the A.R.T.”

To give the designers the flexibility and dynamic audio that they were looking for, Masque Sound provided a custom equipment package featuring a Yamaha CL5 mixing console along with Yamaha Rio3224-D Dante digital network remote I/O racks.

For the speaker package, Masque Sound provided d&b audiotechnik Q1s for the left and right line array and a Meyer Sound M’elodie array for the center cluster. “We needed speakers with a lot of horsepower for Las Vegas, but the real challenge lay in the fact that we then needed to fit that same amount of equipment into the A.R.T., which is a shorter house,” continues Coes. “The crew at Masque Sound worked very hard to get us another M’elodie QuickFly frame in an extremely short amount of time, so that we could split our array from a single eight cabinet rig into two side-by-side four cabinet rigs.”

Although not in the original plans, 16 channels of Sennheiser wireless were used as well. “Right before we left the shop, the directing team had some concerns about the background noise in the tent and area mics, and we moved very quickly to change the show over from those area mics to a full RF package with body mics for everyone,” says Coes. “We went from a little bit of wireless to expanding it out to the full cast of 13, and we did it in about three days. Masque was incredibly accommodating and incredibly speedy in making it happen. They are always a great company to work with.”

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

John Stanley Productions Uses Forscene for Ad Production

LONDON — June 4, 2014 – Forbidden Technologies plc (AIM: FBT), the AIM-quoted owner and developer of the market-leading cloud video platform Forscene, announced today that John Stanley Productions used Forscene in its workflow to produce television and Internet ads for Boots No7 Protect and Perfect Anti-Ageing Serums, marking the first time Forscene has been used in the production of a commercial.

“The ratio of filming to finished product on this project was enormous. The challenge was how to tell the story in just a minute when we had enough material for an hour-long programme. That meant culling a lot of material in a hurry,” said Michelle Langer, executive producer at John Stanley Productions. “One of our producers had used Forscene before and was impressed with the ability to view and select clips independently of the editor. Forscene was an invaluable tool for enabling efficient communications between the crew on a shoot and the producer and editor in the edit suite at The Farm.”

John Stanley Productions had three crews working throughout the country, simultaneously filming eight women who were living without mirrors for four weeks while they tested the product to see the difference it made to their lines and wrinkles. Every other day they sent drives back to The Farm to be ingested. As each day’s footage was copied to The Farm’s media storage, proxies were automatically uploaded to JSP’s Forscene account — so that the rushes were immediately available to be viewed by Rachel Viner, senior producer. From that footage, the company produced a 60-second TV ad, a 40-second TV ad, and a three-minute online version that all told the story of the women’s experiences.

Before the main edit block, producers and editors had one day a week in an edit suite to cut weekly highlights. Having access to the media in Forscene made it possible to preselect the clips before edit day, making the time in the edit suite much more productive.

“Those weekly edits would have been a much longer process if the editor and producer had to wait until they were in the edit suite to view all the rushes from the three directors, or if they had been working from paper edits,” Langer said. “Forscene made the entire process run more smoothly and efficiently.”

Forscene also improved efficiency in the final edit by allowing the producer to view and select alternative clips whilst the editor was working on the master cut.

“In this production a lot of footage had to be condensed into just a minute of ad time. This plays well to Forscene’s ability to provide access to rushes in an efficient and cost effective way to help reduce edit time and costs,” said Greg Hirst, business development director, Forbidden Technologies plc. “As previous Forscene users, the team at John Stanley Productions could immediately see how Forscene could be an effective tool for this unique requirement.”

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 John Stanley Productions
John Stanley Productions was set up in 2011 by award-winning comedy writer and performer Matt Lucas. In September 2013 John Stanley Productions entered into partnership with all3media, the UK’s largest independent content production and distribution group. The production company specialises in producing high quality comedy and entertainment shows for television and radio. www.johnstanleyproductions.com

About Forbidden Technologies plc
Forbidden develops advanced technologies that enable media makers and broadcasters to create and distribute compelling viewing experiences to demanding worldwide audiences. Forbidden’s flagship product, Forscene, is the world’s most advanced cloud-based video post-production platform. It allows post-production professionals to make and deliver stories with high quality and production value in demanding, fast-paced landscapes. Quoted on the London Stock Exchange Alternative Investment Market, Forbidden partners with high-profile media and technology organisations, including Atos, BIM, deltatre, EVS, and Key Code Media. More information about Forbidden can be found at www.forbidden.co.uk. More information about Forscene can be found at www.forscene.co.uk.

Video Link: www.no7serum.co.uk/?autoplay
Video Caption: Commercial for Boots No7 Protect and Perfect Anti-Ageing Serums produced by John Stanley Productions using Forscene.

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HARMAN’s JBL Professional Introduces High-Humidity Grilles for Control® 10 Series Ceiling Speakers

NORTHRIDGE, California – HARMAN’s JBL Professional is introducing the MTC-14WG and MTC-16WG high-humidity grilles for its industry-leading Control® 10 Series ceiling speakers. These grilles fit JBL’s Control 12C/T, Control 14C/T, and Control 16C/T, as well as Control 26C and 26CT. Made of an aluminum alloy material that does not rust and finished in a durable powder-coat, these grilles can extend the longevity of ceiling speakers when installed in humid environments.

The MTC-14WG and MTC-16WG address the weakest link when using ceiling speakers in high-humidity applications: a steel grille that can rust. These high-humidity grilles extend the longevity of JBL’s Control 10 Series model ceiling speakers, as their aluminum alloy material does not rust and the durable powder-coated finish prevents pitting that could otherwise occur with raw unfinished aluminum. The finish provides a nice look that matches with the speaker.

“JBL has offered weather grilles for many of our surface-mount speakers and these MTC-WG grilles are the first such products for our ceiling speakers,” said Rick Kamlet, Senior Manager, Commercial Sound, JBL Professional. “With these new grilles, our ceiling speaker models can be used in high-humidity applications, such as outdoor patios, business entranceways and restrooms.”

The MTC-14WG and MTC-16WG high-humidity grilles are available in either white or black.

HARMAN (www.harman.com) 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 15,200 people across the Americas, Europe, and Asia and reported sales of $5.1 billion for the last twelve months ended March 31, 2014.

Trevisans Supplies Stations and Producers for the World Cup in Brazil

Trevisan’s Lens division is supplying the latest high-quality optics for TV stations and producers in Brazil to cover this summer’s World Cup, including the Cabrio Series. Trevisan’s has been the official representative of FUJINON lenses for the past 30 years.

The World Cup will be broadcast live to millions of viewers. The importance of this premier annual event means our customers need the best possible lenses to cover this event.

“FUJINON lenses are the most robust, resistent, and produce the best results on big events,” said Flavia Trevisan, Owner, Trevisans.

Trevisan offers nationwide service with support centers in São Paulo and Rio de Janeiro and has the best optical specialists in the country.

Trevisan’s Lens São Paulo

55 (11) 4508-5650

Rua Brigadeiro Jordão 113 – Ipiranga – São Paulo / SP – CEP 04210-000

Trevisan’s Lens Rio de Janeiro

55 (21) 2147-1570 / 1573

Av das Américas 500 bl 8 sala 255 – Barra da Tijuca – Rio de Janeiro / RJ – CEP 22640-100

For more on Trevisan’s Lens access: www.trevisans.com.br

New Jersey Township Chooses Yamaha CIS System

BUENA PARK, Calif.—The Township of Evesham, New Jersey courthouse is a typical municipal courtroom. It doubles as a non-jury courtroom, as well as a council meeting room and a township meeting room. Between the court and various town meetings, there can be up to 16 microphones on at any given time. The microphones need to be fed to the live speakers and for multi-track recording purposes.

ACIR Professional of Mays Landing, New Jersey was chosen to replace the live portion of the Township’s audio system in the hope of obtaining a cleaner, clearer sound. “In addition to obtaining a better quality sound, the customer still wanted to be able to send audio via multi-track to record,” states Vice President of Sales, Bobby Harper. “Having just demoed the new Yamaha CIS (Commercial Installation Solutions) Series products, the design became obvious.”

ACIR Pro chose a Yamaha MTX5-D processor with the EiX8-8 channel extender in order to accommodate the 16 inputs required. The processor also handles the routing of multi-track and a 4-zone (mix minus) to the Yamaha XMV4280-D Dante-enabled 4-channel amplifier. Yamaha VXC8W speakers were chosen for their clarity and ease of installation. The speakers are zoned for maximum gain before feedback. With assistance from a Dugan MY-16 Auto Mixer card installed in the MTX5-D and the extensive parametric EQ capabilities on each zone output.

Harper said the volume and clarity before feedback was staggering for both courtroom and meeting pre-sets. The presets were stored in the Yamaha MTX5-D library. Recall is available from an in-wall mounted Yamaha DCP1V4S-US controller that the clerk has at his/her fingertips. “Overall Yamaha was selected because of its new all-in-one CIS solution.”

ACIR also installed a Yamaha HS Studio Monitor along with 16 Shure MX418 D/C microphones.

For more information on ACIR Professional, visit www.acirpro.com.

For more information on Yamaha CIS products, visit www.yamahaca.com.

-END-

PHOTO CREDIT: Digital Warmth

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

Full Motion Productions Adds Vista Systems Spyder x20

Full Motion Productions (FMP) in New Orleans has invested in the Vista Systems Spyder x20 and control surface. By acquiring the image processor FMP expands its capabilities with a next-level professional tool designed to offer increased creativity and efficiency to new and existing customers with multi-image needs.

Founded in 2005 with a remote television truck, FMP has steadily grown to service the video production needs of the southern states with its mobile unit and fly packs. FMP specializes in broadcast, corporate and large-scale festival video production, including such events as the New Orleans Jazz & Heritage Festival and the Essence Festival, as well as corporate clients such as Microsoft.

“This will be our first Spyder,” says FMP co-founder Nate Page. “It’s something that we needed to buy to fill our customers needs and to take our events to the next level.”

Page calls Spyder “the hot box, the only thing on the market that does what it does. Its 16 inputs and 8 outputs are very flexible. There’s nothing it can’t do in routing, switching and control. It’s the right box for all of our applications.”

He sees deploying the Spyder on “numerous jobs that have multi-image components. We work with companies that own thousands of LED panels, for example, and they don’t have a Spyder. So we’ll be collaborating with them, using our new system.”

FMP also plans to take advantage of Spyder training, which Vista Systems offers.

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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Clay Paky Sharpys and grandMA2 Treat TV’s “Nashville” Stars Like Country Music Greats

ABC-TV’s musical drama, “Nashville,” features a number of performances in every episode. The final episodes performance got the full star treatment with Clay Paky Sharpy fixtures and two grandMA2 consoles for lighting and media control. A.C.T Lighting, Inc. is the exclusive North American distributor of both brands.

The series, which just finished its second season, shoots in and around Nashville with many of the musical performances staged in a purpose-built studio in town. Sometimes the musical sequences are shot on location; the recent two-part season finale featured performances at Fort Campbell, the US Army base on the Kentucky-Tennessee border, and at Nashville’s LP Field.

“The storyline included performing for the troops at Fort Campbell and involved a mobile stage on the tarmac with Apache helicopters flying over the stage,” says lighting director Steve Fallon, who works with DP Michael Lohmann on the lighting design for these segments. “Then we had the star of the show in the grandeur of a stadium performance at LP Field.”

Fallon, of Fallon Media Design, has been using Clay Paky Sharpy Wash fixtures throughout season two. “They’re a great light for TV in terms of color temperature and their small footprint,” he reports. “But we opted for the Sharpy Beams for the stadium, and they were perfect.”

The stadium was a challenge to light because Fallon had “a vast, three-level area to cover,” he explains. “Sharpy was the right choice because it was the only fixture that would give us the throw distance required. And it was the only one that delivered the punch we needed.”

Fallon deployed 150 Sharpys from Tony Macre of VER Nashville spread over multiple levels of the stadium, and reports no failures. “The load in was in the rain and freezing cold, but we had literally a zero failure rate. That’s amazing. We’re very happy with the Sharpys.”

The grandMA2 was located on the 50-yard line, “1,000 feet away from many of the instruments,” he notes. A back up unit was also on hand. The show marked Fallon’s first time using the grandMA2, and David (Fuji) Convertino handled the programming.

“We needed grandMA2′s networking capabilities since it was controlling not only the lighting but also the Hippotizer, video elements, the stadium Jumbotron and video ribbons. grandMA2 was the only solution for handling everything; it was the console of choice for that kind of application. Distribution was via the console to the NPUs; we used fiber optics, which made the process really simple.”

According to Fallon, the plan for season three of “Nashville” will include larger production values. “It will feature lighting, media servers, ENG cameras and video screens, all controlled via grandMA2.”

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.

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