Urbana, IL – Cobalt Digital (www.CobaltDigital.com), manufacturer of award-winning 3G/HD/SD-SDI conversion gear for broadcast environments, recently installed a complement of terminal gear in Turner Studios’ latest mobile units. The announcement was made by Cobalt’s svp of sales, Bob McAlpine, from company headquarters in Urbana, IL.

The two trucks received identical equipment packages slated for video processing, signal conversion and distribution. The order comprised eleven frames including Cobalt’s new award-winning HPF-9000 high-power, high-density frames. The units are populated with nearly 200 cards including the Company’s 3G/HD/SD-SDI Fusion3G® 9901-UDX up/down/cross format converter, numerous DAs and color correctors. Cobalt also supplied multiple OGCP-9000 control panels, and numerous Mini-DIN rears ensure maximum density. Fabrication was accomplished by Beck Associates, a systems integrator located in Pflugerville, TX.

Turner Studios is the full service production division of Turner Broadcasting Systems Inc. aligned under Turner’s Global Technology and Operations division. Turner Studios services include studio operations, live broadcast production operations, post production, visual effects and animation, design and creative services, digital media production, remote and outside broadcast production. Turner Studios services all of Turner’s Entertainment Networks including TBS, TNT, TCM, Cartoon Network and TruTV, as well as Turner’s news networks including CNN, and many of Turner’s International Networks such as TNT and Cartoon Latin America.
For information regarding the Turner Studios mobile units, please contact Susan O’Neal at susan.Oneal@turner.com.
# # #
ABOUT COBALT DIGITAL INC.
Cobalt Digital Inc. designs and manufactures award-winning 3G/HD/SD conversion gear for the broadcast television environment. Distributed through a worldwide network of dealers, system integrators, and other partnerships, Cobalt products are backed with a 5-year warranty. For more information, visit http://www.cobaltdigital.com.

Company Contact: Chris Shaw, EVP of Sales and Marketing
+1-217-344-1243 / chris.shaw@cobaltdigital.com

Press Contact: Desert Moon Communications / Harriet Diener
+1-845-512-8283 / harriet@desertmooncomm.com

Country artists Miranda Lambert and Dierks Bentley have Locked and Reloaded and grandMA2s along for the ride. Their 33-show national Locked and Reloaded Tour uses two grandMA2 light consoles to control about a hundred moving lights on a complex, multi-level set. A.C.T Lighting is the exclusive distributor for MA Lighting in North America.

“We wanted the production design to give us the opportunity to create different moods,” says Chris Lisle, Nashville-based production designer for the tour. “We have a lot of moving pieces. There’s a big wall of light for punch for the rock sets and some circular trusses for the moodier songs.”

Lisle had wanted to use grandMA2s “for years,” and programmer Scott Chmielewski suggested he try them for the tour. “It’s a very user friendly and functional console, yet it does so much,” says Lisle. “It’s very deep; it has so many layers, and you can get really detailed with it. One of the things I love is its ease of networking. I’ve had problems with that on other consoles.

“The grandMA2s effects engine is also amazing,” he adds. “There are so many things you can do so easily. It’s mind blowing! I had no idea we could do so many effects so simply.”

Lisle notes that Chimeleski uses the consoles for DMX merging. “There are so many functions, and some of the macros we’ve created are amazing. You can create the console you want, lay it out the way you need it to be. It was a great opportunity for me to be able to sit down with a programmer like Scott who knows the board so well. It was super easy to learn, but there’s so much more I can learn going forward.”

Lisle is impressed with the grandMA2s performance and robustness on the Locked and Reloaded Tour. “It’s a fantastic piece of equipment that’s also very reliable,” he attests.

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.

Prism Sound’s popular Mic to Monitor educational tour is back with new dates and new venues confirmed to 2013.

Targeted primarily at music production students, hobbyists and professionals, Mic to Monitor aims to dispel the many myths surrounding the recording process. Each seminar will feature presentations from recording professionals who will answer audience questions on recording techniques. There will also be the opportunity to demo equipment and win recording equipment from Prism Sound and SADiE – and from PMC and DPA Microphones, which are supporting the tour.

Mic to Monitor 2013 begins on April 23rd at Pulse College, Windmill Lane Studios, Dublin. During May and June it will visit the University of the West of England (UWE), Bristol; Anglia Ruskin University, Cambridge; SAE, Glasgow; Alchemea College, London; LIPA, Liverpool; Futureworks, Manchester and City University, Birmingham.

Acclaimed mastering engineer Aidan Foley (Foo Fighters, Van Morrison, U2) will speak at the first session in Dublin, where he will reveal the tricks and techniques he used on the hugely successful Dead Can Dance album, Anastasis – a European No.1 hit that achieved over 250,000 in sales last year. Aidan will discuss his approach to the Vinyl, CD and other digital releases during the project and the challenges he had to overcome in and out of the studio.

Other confirmed speakers include Simon Little (Jessie Jay, Quantic), Jake Gosling, (Ed Sheeran, Paloma Faith, One Direction) and Award-winning mastering engineer Many Parnell, whose recent projects include Bjork, Feist and Frightened Rabbit.

Graham Boswell, Prism Sound’s Sales Director, says: “As a company, Prism Sound is dedicated to providing training initiatives to the producers and engineers of tomorrow. Music recording students need the opportunity to learn skills that are applicable to the industries in which they will ultimately work. They also need to know about the equipment they will regularly come into contact with. These seminars are all taking place at educational establishments that offer courses in music recording and broadcast engineering because we recognise that this is where the producers and engineers of the future are currently getting their grounding. The aim is to give them – and any industry professional who wants to brush up on their skills – the chance to discuss new techniques, demo cutting-edge equipment and software and learn first-hand from the experiences of our guest speakers.�

Full details of dates, venues and guest speakers will be posted on the Prism Sound website. Anyone wishing to attend Mic to Monitor can do so by registering their interest online at www.prismsound.com.

-ends-

About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The range now includes SADiE digital audio workstations and location recorders. Prism Sound also manufactures audio test and measurement products such as the DSA-1 and the dScope Series III audio analyzer.

For more information please visit www.prismsound.com

CAMPBELL, CALIFORNIA – APRIL 2013: For nearly a century, St. Lucy Parish has been a cornerstone of religious life in Campbell, California. Its congregation grew steadily throughout the 1900s, prompting moves to ever-larger facilities, and culminating in the construction of a 1,200-seat sanctuary in 1967. Today St. Lucy Parish holds daily mass in that sanctuary, and on the weekend it is filled repeatedly for multiple masses, many of which use different musicians and groups that tailor their messages to different groups. Recently, the church hired local A/V integrator Zamar Media Solutions of San Jose to replace its decades-old sound reinforcement system. The new system is centered on a pair of cost-effective Symetrix SymNet Radius 12×8 DSP, which network together seamlessly using the Dante protocol and provide customized, open-architecture programming.

“St. Lucy Parish had been limping along with an insufficient sound system that was twenty- or thirty-years old,â€� explained Michael Dow, president of Zamar Media Solutions. “It was characterized by rack mixers with big knobs and inadequate ceiling speakers. I drew up a proposal for them a few years ago, but they decided to wait.â€� However, the old system recently failed completely, and they called me up. I dusted off my earlier proposal and made a few edits to bring it up to date.â€� For example, Dow had originally specified Symetrix SymNet Express DSP, but with the new Symetrix SymNet Radius 12×8 now available, he recognized that it would provide more processing power, a better I/O count, and near-zero latency Dante networked audio.

In addition to the new DSP, Dow and Zamar Media Solutions customer, system Programmer Tim Fairbairn equipped St. Lucy Parish with an entirely new front end and an entirely new loudspeaker system. Four new Shure ULXD digital wireless microphones replaced their old wireless mics. In addition, new Audix MG15 podium microphones and a pair of Audix M1255 condensers for the choir provide full-frequency capture worthy of the system’s back end. Music playback devices, an on-stage PreSonus band mixer, and multiple input jacks complete the input list. Powersoft’s M-series amplifiers power Martin Audio OmniLine loudspeakers and subwoofers, arrayed as left-right main, left-right side fill, and center subs. Distributed sound provides coverage throughout the building. Additional outputs include a Listen Technologies assisted listening system and a Denon PMD580 MP3/Wave recorder.

“There are a lot of differences from service to service, both in terms of the musicians present and in terms of the audio media required, and St. Lucy Parish is benefitting from the SymNet Radius 12×8’s ability to customize the processing on each of the many input channels,â€� said Dow. “Between the two boxes, we have twenty-four inputs and sixteen outputs, and any input can be sent to any output because they are networked together using Dante. We’re happy to see that Dante is being embraced by the industry because it’s easy to use and has almost no latency.â€� Fairbairn and Dow programmed the SymNet Radius 12x8s using Symetrix’ SymNet Composer software, which proved to be a transparent upgrade in feature set from the previous design software, SymNet Designer. “Users control the system using an Extron TLP 1000MV ten-inch touchscreen, which communicates with the SymNet Radius 12×8 system, the Furman power sequencing, the Denon PMD850 recorder, the music playback devices, and the entire dual screen projection system.

Fairbairn was present at the choir’s first experience with the new system. “The choir members were absolutely floored by the quality of the new sound system,� he said. “Indeed, this marks the first time ever that the choir can be heard by the rest of the congregation. During practice, the choir members took turns touring the seating area while the rest kept singing so that everyone could hear how well the choir can be heard now. Also, while the organist was playing for the choir, the choir could be clearly heard over the organ, a new experience! I overheard a lot of happy responses to the system at the following mass, such as ‘night and day!’ and ‘remarkable!’�

ABOUT SYMETRIX Symetrix engineers high-end professional audio solutions, specializing in DSP hardware and software. Symetrix products are distributed worldwide, and designed and manufactured in the U.S. at the Seattle area headquarters. Since 1976, customers have enjoyed the benefits of Symetrix’ independent ownership and management. For more information on Symetrix professional audio products, please visit www.symetrix.co or call +1 (425) 778-7728.

STOP BY AND SEE US AT INFOCOMM BOOTH #922

Jazz singer Claire Martin OBE says she can’t believe the clarity DPA’s d:facto II has given her voice, nor the benefits it has brought to her performance

OSLO, NORWAY, APRIL 12, 2013 – DPA Microphones’ new d:facto™ II Vocal Microphone has made internationally acclaimed jazz singer Claire Martin OBE very happy indeed. Since switching to the new microphone, Martin says she has never heard so much clarity in her voice and that the difference is so noticeable even her sound engineers are making positive comments.

“This is definitely the right microphone for me,� she says. “It picks up all the colors in my voice and I can hear every breath, which makes it easier to control phrasing. It almost makes singing easier as I can try out vocal ideas and actually hear myself changing the timber of my sound – something I felt was lost with other microphones. It also delivers great sound without my having to be right close to the mic. So, I can definitely play around with lower end notes by coming in a little closer for a bassier response. This works really well in ballads, I feel.�

Martin, who has been singing professionally for over 25 years, has garnered numerous awards and rave reviews for her work, including winning the BBC Jazz Award for Best Vocalist and six British Jazz Awards. She has released a total of sixteen albums, all on the Linn label, and has collaborated with various prominent musicians, including Martin Taylor, John Martyn, Stephane Grappelli, Kenny Barron, Sir Richard Rodney Bennett, Jim Mullen and Nigel Hitchcock. In addition to her singing career, she is also a co-presenter for Jazz Line Up on BBC Radio 3 which is now in its thirteenth year.

Martin’s decision to try DPA’s d:facto II Vocal Microphone was inspired by a sound engineer who was working with her at the Pizza Express Jazz club in London’s Soho.

“The engineer was raving about the mic and saying how it would suit my voice,� she explains. “Other singers, as well as my record company Linn Records, had often talked about the quality of these microphones, so at last I was able to try one out in an intimate club setting. I was immediately impressed by its lightness and handling.�

The d:facto II Vocal Microphone was supplied by DPA’s UK distributor Sound Network and after that initial try-out, Martin was hooked.

“The d:facto II captures every nuance of my vocal sound and, once I had worked out the direction handling, it actually made me feel very confident about my diction and tone. I also notice that I don’t lose any level when I give my sound more power and pull away from the mic. The sound is still clear, full and more rounded. You can hear the whole breath. As a jazz singer, this is the sound I’m after. This microphone certainly delivers what I want and I definitely feel I’m using the best microphone there is.â€�

Martin’s d:facto Vocal Microphone is now in use at every one of her concerts. Thanks to its ability to deliver high-quality audio she feels she can cope much better with whatever the PA system throws at her.

“In jazz clubs some PAs are better than others, and this microphone gives me a fighting chance of getting a great sound,� she says. “I also love how light it is.�

In June 2011, Martin was appointed Office of the Order of the British Empire (OBE) for services to music. She is currently touring with the Montpellier Cello Quartet, a Brighton-based cello group, showcasing new arrangements for voice and cello quartet by Sir Richard Rodney Bennett, Mark Anthony Turnage and Djano Bates. She plans to return to the recording studio later this year to begin work on her seventeenth album.

ABOUT DPA:
DPA Microphones A/S is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

THOUSAND OAKS, California April 17, 2013 – Graduation and Father’s Day are almost here and there’s no better way to reward both dedicated students and fantastic dads than with a SunBriteTV.

“Dads won’t find a better spot to watch the game with friends than the backyard or the deck,� said Tom Dixon, VP of Marketing, SunBriteTV. “And once the sun goes down, a SunBriteTV transforms hot summer nights into an outdoor family theater under the stars.�

What’s more is that the SunBriteTV Signature Series comes with a family-friendly price tag. The Signature Series starts at $1,495 (32�), $2,795 (46�), $3,995 (55�), and $6,995 (65�).

All SunBriteTV models withstand temperatures from -24°F to 122°F and completely resist rain, humidity, salt corrosion, dust, and insects. Anti-glare screens are specially designed to deliver bright high-definition images in any outdoor climate, any time of day or night.

Every SunBriteTV, one of the last U.S.-based television manufacturers, includes a two-year warranty, a weatherproof remote, and 20 watt built-in speakers. Optional accessories include a variety of wall-, ceiling- or pole-mount installation solutions, dust covers and FM Radio.

For more information on SunBriteTV please visit www.sunbritetv.com.

About SunBriteTV
SunBriteTV’s all-weather televisions have been time-tested in home installations, outdoor sports arena, restaurant and hotel patios and even on military vehicles participating in field operations. All models are available through SunBriteTV’s network of Authorized Dealers. To inquire about becoming an Authorized Dealer, contact SunBriteTV at 866.357.8688, or visit the Dealer Inquiry page at www.sunbritetv.com.

BANGKOK, Thailand – The Thai Government Department of Rural Roads is responsible for maintaining the roads that connect to the country’s main highways—this enables them to set up bypasses where necessary to improve traffic flow. To assist them in responding quickly to provide information across the vast network of roads, the Department has now set up its own radio station—initially for internal broadcasting before it becomes a full FM / AM broadcast channel, streaming digital information for the benefit of the general public. To help facilitate live broadcasts and flag up immediate alerts, HARMAN’s Studer’s Bangkok-based distributor 101 Technology (part of the Mahajak Group) has supplied a compact Studer OnAir 1500 production desk. Fitting a tight budget, the desk will be multi-functional, enabling the station to handle live broadcasts and record live sessions—while operating as a dedicated production mixer.

101 Technology reports that this is the first OnAir 1500 to be sold in the country. The company’s Wiboon Lertkultanon explains, “We put all the Studer OnAir 1500 launch information up online. The people involved in the radio station knew of Studer’s reputation and I was contacted immediately after they saw it on our website.�

In fact the OnAir 1500, configured with 12 faders, was designed to provide the versatile hybrid solution for radio broadcasting and production that the studio required … a compact and cost effective production room console. The additional integrated USB playback and record functions make the OnAir 1500 a highly comprehensive desk.

“After initial concerns about the budget they found they could do everything they needed with the OnAir 1500 and still have funding remaining for room decoration,� reports Wiboon. “The fact that the desk could double as a production mixer was a bonus since they don’t have the budget to build another production studio yet.�

The compact form factor provided another compelling reason for adopting this platform. Converted from a small meeting room, the studio measures just 4m x 3m and can accommodate a host and two guests. Notes Wiboon, “The idea of separating the surface from the DSP held the key to space saving. Also the ease of the flash drive plug and play is another highlight.�

Assigned to the faders are a host and two guest mics, solid state player, CD players, automatic play out, and two off-air feeds, a telephone hybrid and production workstation (plus GPIOs). The host microphone can also send out to record in the production workstation and the mixer takes the input from the production workstation back to the studio monitor.

The outputs feed: Internal broadcast; Radio broadcast; Internet Radio Streaming and Production workstation which runs Adobe Audition, enabling it to record and edit files.

Now up and running, the station is performing a valuable public service —spreading information to road users and enabling them to plot alternative routes. Conversely, drivers are able to phone in live reports to the station, flagging up road blocks, accidents and hold-ups.

In summary, Wiboon says, “The Studer name sells itself for the ease of use, reliability and sound quality. But its legendary quality has never come in such a compact box as this before. This, coupled with the 101 Technology support team, means that the OnAir 1500 is in safe hands.�

And one of the radio hosts added “The OnAir 1500 has met all expectations, showing that it can function as a production mixer within a tight budget.� And the sound remains top quality, even when playing MP3 sound files.

Further information from: 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 about 13,400 people across the Americas, Europe and Asia, and reported net sales of $4.4 billion for the twelve months ending June 30, 2012.

Corporate event production company Riverview Systems Group Inc. of Milpitas, California has become the first company to utilize UDC Timecode, a new feature in the Protocol Translation portion of High Resolution Systems’ UDC Pro Plus package. UDC Timecode enables users of the popular UDC (Universal Device Controller) software to sync with external timecode or turn UDC in to a timecode generator itself.

Riverview often needs to automate video and lighting cues simultaneously at clients’ tradeshow booths. “A couple of systems would allow us to do that, but they required complicated programming and required significant resources to implement,” says Derek Ytreeide, technology specialist with Riverview Systems Group.

“We had worked with Drew and Mike Taylor at High Resolution before and became familiar with UDC,” he continues. “We had a client who needed a big video playback system at a tradeshow. We figured UDC would work perfectly to trigger the video, but we had to go further – we needed to trigger the lighting cues, too. We could stripe timecode on the video roll or use an external timecode generator. But UDC had an internal timecode generator already, so High Resolution explored programming UDC to send out a timecode signal, while using a Kiss-Box transceiver in between. Once High Resolution wrote the code, we tested the new UDC Timecode feature and decided to use it at the show.”

UDC Timecode made its debut at the RSA Security conference in San Francisco for Riverview’s client, Symantec. “Conference goers walked into the theater within the Symantec booth where three 90-inch and eight 40-inch displays played individual videos which were all synchronized simultaneously from five playback machines,” Ytreeide explains. “We needed to trigger a library of three videos and an interstitial loop simultaneously from Playback Pro, combined with six lighting cues from our grandMA2 system.”

An additional complication emerged when Symantec wanted to tailor the videos displayed on the screens to specific clients that walked into the theater. The videos would not play in a scheduled or random order.

“A lot of systems are timeline-based with scheduled events; few are cue-based using commands which are independent of each other,” Ytreeide notes. “UDC Timecode proved to be an amazing solution for us, allowing us to do what Symantec required.”

Riverview was so pleased with UDC Timecode that it decided to implement the software at the American Association of Orthopedic Surgeons (AAOS) conference in Chicago for their client Zimmer.

“UDC Timecode will act as central control software performing two different functions: generating timecode to control the grandMA2 lighting console in the main theater and generate timecode for two sub-theaters where videos are shown, but not on a set schedule,” he explains. “We’ll have absolute control of the house lights and videos and can trigger the videowall to funnel people from the theater to a hands-on demo experience.”

UDC Timecode is available now for customers who have a Protocol Translation license on UDC Pro Plus.

About High Resolution Systems
High Resolution Systems, a member of the Society of Broadcast Engineers is a company with a strong systems engineering and applications background. Its founders have decades of experience in the audiovisual 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.

LAS VEGAS, Nevada — Underscoring its commitment to the increasingly popular Dolby® ATMOS™ platform, South African cinema chain Ster-Kinekor recently deployed HARMAN’s JBL Professional cinema loudspeakers and Crown amplifiers at its flagship Gateway Cinema in Durban. The system was unveiled in December at a premiere for Peter Jackson’s The Hobbit: An Unexpected Journey. South Africa professional audio distributor Wild & Marr supplied all the HARMAN components for the installation.

The theatre features five JBL ScreenArray 4732 loudspeakers with three suspended left-right-rear JBL 4642A dual 18-inch subwoofers. Forty-eight JBL 8350’s serve as the surround speakers for the sides, rear, and overhead. Twenty-nine Crown XTi4002 amplifiers power the system and three Crown XTi6002 amps power the subwoofers.

Dolby ATMOS creates life-like sound where each of the 48 JBL surround speakers are independently amplified, creating 48 separate channels of surround sound in the cinema. The use of JBL loudspeakers enables greater realism with a heightened impact in every scene.

“Being part of the scientific process of taking a piece of art and recreating it as the director had intended is awe inspiring. Interacting with Dolby to overcome technical challenges that face this very new concept was an honor and it was great to hear from Dolby that our method of installation was way above average,� stated Wild & Marr Systems Engineer, Gustav Teitge.

“We are proud to bring this groundbreaking technology to our No.1 Ster-Kinekor cinema in the country – Gateway. We are especially excited to launch this offering to the city of Durban where South Africans go to play, to holiday, to relax and to have fun this time of year. We think South Africans deserve the best. And we’re happy to bring it to them,� added Fiaz Mahomed, CEO of Ster-Kinekor Theaters.

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 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

For important presentations by Adobe, the dominant image software company, image quality may not be the only thing, but it is certainly is one of the most important parts of the experience. This was the case during the Adobe Summit: The Digital Marketing Conference, where WorldStage supported keynote presentations, helping make them a memorable experience for some 5,000 attendees.

Adobe Summit was held at Salt Lake City’s Salt Palace Convention Center, March 5-8 to provide insight and vision into the new technologies that are reshaping the digital marketing landscape. The event also showcased the new release of CQ 5.6 and the Adobe Experience Manager platform.

The Kenwood Group hired WorldStage, the new brand for Scharff Weisberg and Video Applications, Inc., to provide Adobe with a full complement of audio and video services for the Keynote Room. There, four “acts,� each 90-120 minutes long, played out with attention-grabbing visuals on mammoth screens supporting a roster of speakers and a number of different product demos.

The Keynote Room featured two overlapping, curved main screens with a nine-foot offset to allow presenter egress to the stage, while maintaining a continuous image across 234 feet of screen area. The curved screen at house left measured 124 feet wide and the curved screen at house right 110 feet with the total video area comprising 4,500 square feet and 14,515, 200 pixels.

“The projection combined with the content made for an extremely impressive sight,â€� says WorldStage account executive & VP of Prod. Services Richard Bevan. “Since the screens were so wide, the speaker support content was 3840×1080 and was pip’d on each of the wide screens. We used Pandora’s Box media servers for playback and had seven streams of HD content going to the wide screens via two Vista System Spyder X20s in expanded mode. Pandora’s Box supplied full screen playback and the backgrounds and animations for content appearing in windows within the screens and the IMAG windows as well.â€�

Sources included Mac towers for widescreen graphics and Apple iPads, Apple iPhones, Mac towers and robotic cameras, which created user-interactive experiences.

In addition to the main screens, three 16×9 delay screens were positioned in the audience. Cabling to the projectors, including six projectors dedicated to the delay screens, totaled 5.1 miles. WorldStage installed all of the projectors and cabling in 16 hours, which included unloading time, to be ready for the first tech run-through at midday on the second day of load in.

WorldStage also furnished the event’s audio equipment providing nine clusters of JBL VERTEC and VRX line array clusters for the Keynote Room with an audience of 6,000.

“Our WorldStage crew has worked together so long that even when things were super-intense we just nodded to each other and knew what needed to be done,� says projectionist Terry Nakamura. “The show was so complex and the time to install it was basically only one day, but our team remained very mellow.

“WorldStage and The Kenwood Group worked so closely together that we acted as one big company to pull off a difficult assignment,� he adds.

At The Kenwood Group Web Burrell was the senior producer, Daniel Pinkham the senior creative director and Wayne Leonard the executive producer.

At WorldStage Jack Dussault was the project manager, Neal Gass the EIC, Jason Spencer the Spyder operator, Terry Nakamura and Bryan Dominick the projectionists, Geof Gibson the A2 and Alex Bright the Pandora programmer. Freelancer Stan Dickerson served as A1.

For more information on this project, please visit:
Video: http://www.worldstage.com/adobe-digital-marketing-summit-video/
Images: http://www.worldstage.com/2013-adobe-digital-marketing-summit/
Press Release: http://www.worldstage.com/corporate-staging-adobe-summit/

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.