A virtual press conference from Sound & Video Contractor

Archive of the Product Applications Category

Rally Racing Film Lights Challenging Forest Track with Zylight F8 LED Fresnel

LOS ANGELES– For his graduation film, cinematographer student Sverre Sørdal, who is training at the National Film and Television School (NFTS) in Beaconsfield, U.K., did not take the easy road. Instead, he shot a film about rally racing on a track in the middle of the forest with a very tight shooting schedule and very unpredictable lighting.

Directed by Nick Rowland, Group B is named for the rallying era of the 1980s. The narrative follows Shane, who is returning to the track after aRally Racing-1 major accident, and explores his fears of getting back into racing while trying to find trust in his newly assigned navigator. Rowland and Sørdal previously collaborated on Slap, which received the Virgin Atlantic Little RedRally Racing-1 Award for Best Short Film at the Edinburgh International Film Festival in June.

Principal photography on Group B was five days on a rally track in the Welsh forest, with an additional day of shooting at Beaconsfield Studios. The production crew rented two daylight (5600K) balanced Zylight F8 LED Fresnels from Greenkit, a London-based film lighting rental company. “They are a great lamp to have in my rental stock, as they look great, perform really well and are very portable,” said Pat McEnallay, founder.

The forest location provided plenty of shooting challenges. “Trying to keep consistency was my main worry,” Sørdal recalled. “Our crew and budget were very limited. We split up scenes across multiple days, so we had to move quickly and try to be ready when the sun was. We had a little 6K generator for emergencies, but we did not use it much because we had the Zylights powered with batteries.”

Originally, the plan was to shoot on 35mm film, but the creative team eventually settled on the ARRI ALEXA for most of the shoot. “Luckily, we were helped by Tiffen getting some Black Satin filters that helped us achieve something a bit different,” Sørdal said. Most moving in-car footage was shot with an Iconix HD-RH1 mini-HD camera and RED EPIC, with some aerial footage captured with the Blackmagic Cinema Camera.

“At times when the light was changing at the end of the shooting days, I always brought out the Zylights to keep the consistency and to give some definition,” said Sørdal. “I also found the quality of light to be very good. Mixing it with daylight worked very well.”

Sørdal appreciated the convenience of the battery-powered F8s when compared to lights Rally Racing-2that needed to be connected to the generator, which would then have to be positioned far away so it would not Rally Racing-2interfere with audio for the scene. “We used the F8s handheld on some moving shots – and not having to worry about cabling was very convenient,” he added. “They were light enough to hand-hold over a long period of time, but still had enough weight so you felt you had control, which actually is quite important.”

For one complicated shot, Sørdal wanted to have Shane reflected in the wing mirror as the dust engulfed the image. “We had very little space and time to get the shot, as the light was going quickly,” he said. “While I was trying to figure out how to get the right exposure, our lead gaffer had placed two Zylights just out of shot. There was no real space on the right side of the car where the light had to be placed, but with the very slim profile of the F8s, he managed to get away with it. We had no generator ready on this location, so without them, I’m not sure how we would have managed to get the shot.”

The F8s were also a “blessing” during a night shot while sitting in the back of a van with a Steadicam. “At one point, we had to get out of the car and follow our lead actor further. My spark was sitting in the van with one of the Zylights rigged with handles to give some ambient light, so we could see him running through the forest road,” Sørdal said. “There was no way we could have achieved the same result without a light rigged on batteries.”

Group B is scheduled to premiere at the British Film Institute in February 2015, and Rowland and Sørdal plan to submit the film to film festivals later in the year. “For this project, the F8s were absolutely perfect,” Sørdal noted. ”I will always try to keep a few Zylights up my sleeve because they proved to be excellent.”

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.

James Blunt Chooses HARMAN’s Martin Professional to bring his “Moon Landing” World Tour to Life

MartinPro_JamesBluntAARHUS, Denmark — James Blunt, alongside his Production Designer Paul Normandale and Lighting Director Glen Johnson, are on the road for another tour with HARMAN’s Martin Professional lighting fixtures, including 41 MAC Auras, 32 MAC Viper Profiles, six MAC Viper AirFXs and two AF1 Fans.

Blunt released his newest album in October of 2013 entitled ‘Moon Landing’, which features an emotional and powerful side to the singer-songwriter we have not yet seen. The album is personal and intimate, reflecting back to where Blunt got his start and where he is now.

“We have worked with James Blunt since 2005, this is our fourth world tour with him, and all James’ shows have been dominated by Martin moving lights,” Said Johnson. “This is the largest production we have taken out on the road thus far.”

The theme of the tour is the romanticism and loneliness of the moon landings. For Normandale, this was a fun challenge. “My thoughts and vision with the lighting design were inspired by the lunar landing theme. That is where the idea of landing craft risers and panorama of the lunar planet LED screen came from,” explained Normandale.

“The Viper Profile has great color speed for snap chase,” said Normandale. “The optics and reliability of the fixture over this past year has been staggering. I don’t think we have swapped even one Martin fixture yet. The Viper Profiles have become the standard profile workhorse, with great gobo options and a fantastic color speed on the color wheel.”

“The MAC Viper AirFX has great zoom optics,” said Johnson. “It’s a great all-around fixture. I could do the whole show just with these.”

“I love the Viper Air FXBeams,” said Johnson. “They have become a great addition to the Martin range and filled a gap that Martin had. They work really well and have produced some fantastic aerial looks over the audience. The Aura I think I can say is Normandale’s favorite LED wash fixture as they seem to feature on nearly everything he does.”

The Moon Landing World Tour started in December 2013 in China and will run until spring 2015, making its way through North America, Europe, Africa and South America.

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

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of approximately 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.

WorldStage Goes Underground for “Dive” Immersive Art Installation for Summer Streets 2014

The New York City Department of Transportation’s Summer Streets 2014 arts festival once again turned Manhattan’s Park Avenue pedestrian tunnel into an immersive art experience with help from WorldStage, which provided audio and lighting support for Norwegian artist’s Jana Winderen’s sound installation, “Dive.” Last year WorldStage teamed with NYCDOT and artist Rafael Lozano-Hemmer on “Voice Tunnel,” the first time in history that an artist transformed the utilitarian space on Park Avenue between 33rd and 40th Street.

“We were excited to work with WorldStage last year, and when we decided to do a new project we came straight to WorldStage,” says Emily Colasacco, director of urban art/Summer Streets at NYCDOT. “The tunnel is such a challenging space: The exhibit was from 7 am to 1 pm on three Saturdays in August and had to be set up overnight and disassembled in the afternoon to open the tunnel back up to vehicular traffic. Then there was the additional challenge of how to create an intense sound piece in a space that echoes. We had to balance that intensity with allowing participants to talk.”

Jana Winderen has worked as an artist, curator and producer since 1993. She has researched the hidden depths of the world using the latest technology to reveal the complexity and strangeness of the unseen world beneath. She focuses on finding and revealing sounds from otherwise inaudible natural habitats and creatures.

The subterranean tunnel was a perfect venue for “Dive,” which featured sounds of crustaceans, fish and mammals recorded by Winderen in shallow to deep underwater environments from Greenland to Thailand and beyond. Those sounds mixed with lapping waves and man-made noises from boats and seal-scaring devices. The public explored eight habitats of sound diving deeper and deeper into the tunnel, which was bathed in evocative blue light.

“We are not used to listening underwater,” says Winderen, “so this offered a new and unique experience in a very special place. The space gave people room for concentrated listening. When I saw the tunnel I thought it was a great way to dive into the unknown.”

The artist says that it made sense to partner with WorldStage on the project “because they had the experience” of working in the tunnel last year. “They knew how to bring in power and [deal with] security issues. They knew how to help solve problems and make my ideas a reality.”

WorldStage provided 64 Meyer UPM-1P Compact Loudspeakers, 16 Meyer 500-HP Compact High Power Subwoofers and RedNet PCIe cards in external Thunderbolt Chassis for the signal audio control installation. WorldStage audio system designer Kate Brown once again integrated the sound system working with Winderen and Professor Tony Myatt, who designed and programmed the audio system to play in 3D spatial sound.

“WorldStage set up a demo room and an 25% scale mock-up in their New Jersey shop where I could work with the sound files and Tony did tests,” says Winderen. “WorldStage was totally great in all ways – very professional and friendly. They facilitated the job, helped us get the speakers we wanted and found the positions for them.”

Lighting also played a key role in creating the tunnel’s underwater atmosphere. Fixtures consisted of 100 Color Kinetics Color Blasts and 100 Astera wireless LED PARs, which supplemented 30 high-output LED fixtures provided by NYCDOT and the 12 high-output sodium fixtures – the regular tunnel lighting – that were gelled to match the WorldStage units.

“WorldStage came up with a blue light that worked – that was the right color and intensity,” says Colasacco. “Light was there to support the sound and reflect diving underwater and going deeper and deeper. Although the lighting was static it varied slightly in color.”

Terry Jackson, WorldStage vice president/director of lighting, says the company “definitely didn’t want to mimic last year’s tunnel lighting so we lit the installation with all LED fixtures and played with intensity, slight movement, fixture placement and color – all while maintaining the NYCDOT-approved level of light for general public safety.”

Colasacco sums up the WorldStage experience as “amazing. Terry was just phenomenal, so were Daryl [Carmen] and Erik [Perry]. The whole team was my team – all working together with the same purpose as part of the creative. WorldStage is always willing to jump in and do what needs to get done – and they can do pretty much anything. We would work with them in a second on any project.”

Winderen echoes that sentiment and adds, “I can’t think of anything that hasn’t been great!”

At WorldStage Dennis Menard was senior project manager, Daryl Carmen production manager, Michael Kacunel audio A1, Alison May lighting director/programmer and Erik Perry senior project manager/lighting. IATSE Local One provided the crew labor.

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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Doha Airport is Covered with ICONYX as Far as the Eye Can’t See

Doha, Qatar – September 2014…. Hamad International Airport covers nearly a third of the city of Doha, with more than half of the airport’s. 29 sq km (11 sq miles) reclaimed from the Arabian Gulf. Its state-of-the-art passenger and cargo facilities will serve more than 30 million passengers and 1.4m tons of freight per year.

Technology for the airport is equally impressive, including an RFID baggage handling system, high-tech air traffic control and radar systems, and a cutting-edge public address system based around Renkus-Heinz ICONYX digitally steerable line array loudspeaker systems.

The system includes 208 IC8-R, 30 IC16-R, five IC24-R, and two IC32-R loudspeaker columns, all networked to provide individual control of each individual unit. Strikingly, not a single one of the 245 speaker columns installed throughout the facility is visible to the naked eye.

“All the loudspeakers are hidden,” explains Renkus-Heinz Middle East Sales Manager Norbert Bau. “They have all been flush mounted and concealed behind grilles, or they have been integrated into custom-designed stainless steel pillars. It’s an architecturally stunning facility and the best Iconyx installation I’ve ever seen.”

Much of the credit for this impressive installation goes to the contractors, Consolidated Engineering Systems Co (CESCO), and subcontractors H. Robert Guild Associates, Inc (HRGA). “The system was designed by Acoustic Design Ahnert (ADA Gulf), and the entire installation was performed by CESCO, who brought in Robert Guild of HRGA to provide the experience and expertise for this very high-profile project,” Bau observes. The project also included a massive IED announcement control system and thousands of small ceiling speakers for the voice alarm system. Testing and commissioning the system was performed by HRGA, with support from Renkus-Heinz application engineers.

While the project has not been without its challenges, Bau points to good planning as an indispensible factor. “The design of the sound system was seriously considered when designing the airport. And ADA Gulf convinced the architect to apply acoustic treatment so the acoustic conditions are very good – it sounds very dry.”

Since opening its doors to passengers, Hamad International Airport is quickly becoming an international hub, providing the air travel capacity the city of Doha has been sorely needing, with a sound system that will clearly and intelligibly serve millions of passengers for years to come. As Norbert Bau concludes, “it is an impressive system for a very impressive airport.”

 

 

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About Renkus-Heinz  - Headquartered in Foothill Ranch, California, Renkus-Heinz, Inc. is the worldwide leader in the design and manufacture of audio operations networks, digitally steerable arrays, powered and non-powered loudspeakers, system specific electronics and fully integrated Reference Point Array systems.

MIRA Mobile M-12HD and SportsNet LA Capture High-Quality Close-Ups, Panoramic Shots and Night-time Slo-Mo With FUJINON Optics

Wayne, N.J. – When MIRA Mobile’s new M-12HD rolls into Dodger Stadium on behalf of MIRA customer, SportsNet LA, it does so with shot-capturing skills that rival the speed and focus of any Cy Young Award winner. Four of the truck’s six FUJINON XA99x8.4 ultra-wide field lenses outfitted on Sony HDC2570 studio cameras are positioned at various points on the field – high left field, mid first base, tight center field, and right field. One XA99x mans the high third base position placed on an I-MOVIX ultra-slow-motion system, provided by Fletcher Chicago. M-12 is also equipped with four XA77x9.5 telephoto field lenses.

(On August 29th, NEP announced that they have closed on their acquisition of the assets of MIRA Mobile Television. Per the deal, MIRA’s ten HD mobile units have joined NEP’s fleet, and MIRA’s engineering and support staff have become part of NEP’s team. The completion of this deal greatly expands NEP’s fleet of mobile units, which now includes over 80 HD trucks around the world.)

MIRA Mobile’s M-12 is used by SportsNet LA for production of the Dodger’s home games and the team’s away games on the West coast. During the baseball off season, M-12 stays busy covering west coast NCAA football, basketball, and other events for MIRA customers such as ESPN and the Pac 12 Networks.

“The 99x allows us to get the most intimate shot from across the entire stadium,” said Dustin Denti, Director, SportsNet LA. “They allow our camera operators to get that extra zoom when they need to shoot between two players on the field without looking awful. And they work in conjunction with the Sony camera beautifully. The colors are amazing.”

The versatility of the XA99x is most apparent at the high left field position, where the camera shoots down the third base line. From that remote position, the operator can follow the ball from its initial contact with the bat to a home run ascent over the fence. With a focal length range of 8.4-832mm, the ultra-wide angle lens provides camera operators at Dodger Stadium the ability to capture a fully panoramic image.

Speaking of the XA99x, Stuart Wesolik, Senior Video Engineer, SportsNet LA said, “We have not had a lens like this in this market in quite some time. Primarily, I like the pairing of the Sony 2570 with the 99x for the combined speed. Using a different cameras and lenses last season we were shooting at about an f4.0. This season we shot at about f8.0. There is very little drop off on the end of the lens.”

Speed is most a factor when capturing instant replays with the I-MOVIX variable frame rate camera and XA99x lens at the high third base position. “Even at night, because the 99x is so fast with its light transmission, they’re able to run the camera at a higher speed and get amazing, high-quality slow motion,” reported Frank Coll, Director of Operations and Business Development, MIRA Mobile. “In the past with a lens that wasn’t so fast, you’d have to bump the shutter back, and you couldn’t get the great frame rate on the slow motion system. A video operator using the same camera a Dodger Stadium last year with a different lens said this year’s combination is like night and day.”

Coll also points to the new technology of the lens and its lightweight design as tools enabling operators to be more creative than they have in the past. “This lens is a lot more refined than earlier generation HD lenses. It has super fast light transmission and it’s lightweight. It has a far-reaching telephoto capability yet can also capture wide, panoramic shots. It gives our customers a lot of versatility in one lens. Camera operators really seem to enjoy working with the XA99x. It opens up their ability to be more creative in their shot selections.”

“We’re thrilled with all of the feedback we’ve received from our long-time customer MIRA Mobile and their client SportsNet LA on the performance of our XA99x lens on MIRA’s newest M12 truck for the LA Dodger games,” said Thom Calabro, director, marketing and product development, FUJIFILM North America Corporation, Optical Devices Division. “The team at SportsNet LA are truly pushing the limits of what’s possible in live sports coverage. We’re proud to be a part of their very dynamic productions.”

About FUJIFILM North America Corporation
FUJIFILM Holdings Corporation, Tokyo, Japan brings continuous innovation and leading-edge products to a broad spectrum of industries, including: healthcare, with medical systems, pharmaceuticals and cosmetics; graphic systems; highly functional materials, such as flat panel display materials; optical devices, such as broadcast and cinema lenses; digital imaging; and document products. These are based on a vast portfolio of chemical, mechanical, optical, electronic, software and production technologies. In the year ended March 31, 2014, the company had global revenues of $23.9 billion, at an exchange rate of 102 yen to the dollar. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit: www.fujifilmholdings.com.

TC Furlong Hosts Digital Console Expo

LAKE FOREST, Ill.—TC Furlong, Inc. will host a Digital Console Expo on Tuesday, October 21 between 4:00 pm – 8:30 pm. Manufacturers include Yamaha Commercial Audio Systems, Avid, Midas, DigiCo, SSL Live, Soundcraft, Allen & Heath, Mackie, PreSonus, QSC, and several more. The companies will exhibit their latest digital consoles, and manufacturer staff will be on hand to answer questions.

The event is free of charge and will be held at the Moody Church, 1635 N LaSalle Street, Room 107, in Chicago. Food and beverages will be provided along with a raffle for prizes as well as giveaways.

Registration is required as space is limited. To register, visit www.tcfurlong.com/dce.

The Moody Church is easily accessible by public transportation, and there are several pay lots as well as limited street parking in the area.

This is the third Digital Console Expo presented by TC Furlong Inc. TC Furlong is a Chicago-area live sound rental and sales company that has been in business for 41 years.

For more information, visit www.tcfurlong.com/dce or call 888-823-8756.

-END-

Shotoku To Boost Worldwide Sales Initiatives with Appointment of New Technical Sales Manager

Trevor Sword To Focus On Increasing International Customer Base

Staines, United Kingdom – Shotoku Broadcast Systems, a leading international manufacturer of advanced camera support products, has named Trevor Sword its new Technical Sales Manager. James Eddershaw, Shotoku’s sales director, made the announcement from the company’s UK office where Sword will be based.

According to Eddershaw, Sword will be responsible for advancing sales of the company’s full range of robotic camera systems, increasing Shotoku’s customer base around the world, and supporting the company’s agents.

“We are very pleased to welcome Trevor to the Shotoku family,” says Eddershaw. “His technical background and years of experience in the broadcast market make him an ideal fit for our systems-based, technology-focused, sales environment. Trevor’s affiliation comes at an ideal time, just prior to IBC, where he will meet with our customers and be available to discuss his plans for helping Shotoku’s continued move forward.”

Sword brings more than 19 years of broadcast industry experience to Shotoku holding positions with such industry leading companies as Quantel and Snell & Wilcox. In his roles as Customer Support Team Leader and Customer Support Engineer, respectively, he has supported a global customer base throughout his career. Recently he progressed into a more commercial role providing technical solutions for customers.

Sword’s previous positions have required him to prepare technical documentation for internal sales teams, and prepare and present product demonstrations to internal staff and external customers on a regular basis. He was heavily involved in designing, organizing, installing and presenting demonstrations for trade shows around the world including NAB and IBC — a huge undertaking that involved months of planning and a large amount of integration with third-party customers and their equipment.

“I am thrilled to become part of the Shotoku team,” says Sword. “Over the years, I have supported various sales teams and took on many different roles, for a variety of projects, events and sales opportunities all over the world, from France, South Korea, and Sweden to Germany, Norway, Dubai and Denmark. The experience I gained has allowed me a greater understanding of customer requirements and puts me in a great position to further global Shotoku’s presence.”

About Shotoku Broadcast Systems
Shotoku Broadcast Systems is an international leader in the manufacture and marketing of a full range of camera support products with emphasis on manual and robotic pedestals and pan/tilt heads for the television broadcast industry. The Company also provides robotic camera systems capable of interfacing with third-party equipment. Established as an engineering design firm specializing in advanced mechanics and electronic control systems, Shotoku maintains headquarters in Japan with offices in Staines, UK and Torrance, CA. The Company’s robotic camera systems are designed, developed and manufactured in Staines, UK. For further information: www.Shotoku.tv
# # #
Shotoku contact: James Eddershaw
+44 (0) 1784 224650 / mailto:info@shotoku.co.uk

Press contact: Desert Moon Public Relations & Advertising / Harriet Diener
+1-845-512-8283 / mailto:Harriet@DesertMoon.tv

Clay Paky Hits the Road with Journey and the Steve Miller Band’s Summer Tour

Journey and the Steve Miller Band are in the midst of their 2014 summer tour, and Clay Paky Sharpys are along for the ride that will take them to 30 cities across the U.S. and Canada.

The tour unites two of the iconic groups that helped define The San Francisco Sound. In careers spanning 40 years, Journey has sold 80 million albums worldwide and the Steve Miller Band more than 30 million records.

Tour Tech East Ltd. in Dartmouth, Nova Scotia is providing lighting support for the tour supplying 34 Sharpys and 20 Sharpy Washes. Senior account executive Tracey Ploss has worked with Journey and the band’s lighting designer Kevin “Deuce” Christopher for eight years.

“Last year Deuce used a couple of Sharpys, but this year he specifically wanted Sharpy Washes for the tour so we added them to our inventory,” says Ploss. “We’ve made a significant investment in the Clay Paky fixtures.” Sharpys are very popular with Tour Tech customers for their output, size and low power consumption. Fixtures are currently out with Styx and Foreigner, and the Calgary Stampede deployed a large number for its famed rodeo.

Deuce, who has been lighting designer for Journey since 2004, says he “probably doubled” the number of Sharpys in his new tour rig. “There are 12 on the side trusses and four each per overhead truss for a total of 12 more. Plus one each on ten US Towers that top a wall of 20 Sharpy Washes,” he explains. “A video display, comprised of PRG/Nocturne V-28 and V-9 LED panels, is directly behind the band above the towers. It looks like there’s a wall of light with the video display resting on top.”

He says he “wanted to do something a bit different” in creating an interesting background for the band, “but the budget didn’t call for elaborate custom sets. So Tour Tech helped me deliver the desired effect without going custom.”

Tour Tech fulfilled Deuce’s idea of using black A-Type, 30×30-inch x 8-foot truss turned upright on casters. “At the bottom of each bay there is a wooden insert. Each Sharpy fixture is placed on the insert – all of the fixtures actually sit in the truss and none on top,” says Deuce. “Using the truss as set pieces housing the lights allows us to have a tidy pack in the truck, ease of placement and removal from stage, and convenient movement for set changes with our three-band bill.”

The Sharpy Washes enable him to “go from a very narrow beam for nice graphic geometry to a wide beam for a silhouette look on the band and wash out in the audience.” Their light output also had to be able to stand out against the video display.

The Steve Miller Band’s lighting designer, Andrew Richter of IOD Group in New York, has used Sharpys and Sharpy Washes “extensively” the last two years. “The pure power from such a fast and compact fixture makes it ideal for all but long-throw, wide-beam applications. I prefer the Washes in a mid-stage position for our non-shared rig due to their speed and depth of color rendering.”

The scenic design for the band calls for Richter to block off the Sharpy Washes on the rear lower truss with a fiber optic drop and a full stage drop designed by Stanley Meyers for “Jet Airliner” in which the Sharpys play a key role.

“The ‘Jet Airliner’ stage drop consists of a large central jet aircraft pointing upward with layers of smaller aircraft in a Japanese rising sun homage,” Richter explains. “I really wanted to create a sense of the jet in motion. My long-time colleague/programmer Scott McCowan and I worked on several different intensity chases and color bumps to a less than desirable effect. Ultimately, we thought of the old anime/manga ‘speed racer,’ where the primary subject is stationary and the windows show movement quickly zipping by.”

They achieved a similar effect by deploying Sharpys from a side position so they “graze the drop with the imagery of lines of clouds zipping downward past the static aircraft wings and fuselage creating movement,” he says. “It’s the perfect synergy of the right light and brilliant programming to create the vision I wanted without video, without animation wheels but using purely the speed and position recall accuracy that only a Sharpy can deliver.”

“I’ve had the pleasure of working with Deuce over his last few Journey tours – he’s always thinking of new ways to bring their performance to life for the audience. I knew the Sharpy Wash would be a nice addition for them and I was very excited that he liked it so much. Tracey and the Tour Tech East team are also great to work with, so the entire project has been a pleasure for A.C.T,” commented A.C.T Vice President, Automated Lighting, George Masek.

For Journey, Kevin Cassidy is the crew chief, Rob Kern production manager, Armando Figueroa in charge of power distribution and control, Oscar Carnales lighting tech, and Cole MacDonald FOH systems tech. Scott McCowan programmed the Steve Miller Band show.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “This is a very ambitious and impressive tour and both designers are doing a great job at deploying our fixtures to their fullest.”

A.C.T Lighting is the exclusive North American distributor for Clay Paky.

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AudioXL to Distribute Intellivox and AXYS Products in Benelux

(Left to Right) Thijs Dullaart, Audio XL; Nick Screen, Duran Audio; William van Druten, Audio XL.

DIEST, Belgium – HARMAN Professional is announcing that its Benelux distributor, AudioXL, has been named the exclusive distributor of the JBL Intellivox and AXYS loudspeaker products for the Benelux region. In October 2013, HARMAN acquired Duran Audio and its flagship Intellivox and AXYX lines, before incorporating them into the JBL product lineup.

“We are very excited about having the Intellivox and AXYS products as part of the JBL portfolio,” explained William van Druten, General Manager at AudioXL. “Intellivox was the first digitally steerable array on the market and the engineers from Duran Audio are widely regarded as the pioneers of and the authority on this technology. Intellivox is a great solution for delivering clear and intelligible speech in difficult acoustic environments and there are already many high-profile applications of the products around the world. This, combined with AudioXL’s experienced and skilled team and the wider portfolio of HARMAN products, is a recipe for success. I am sure we can continue to grow the market for the product and deliver fantastic solutions for many more projects.”

In recent years, Intellivox has become the preferred loudspeaker solution for major railway stations in Holland. Intellivox has not only been chosen for its ability to deliver the ultimate intelligibility but also for its subjective sound quality and natural sound reproduction. Stations now installed with Intellivox include: Den Haag, Rotterdam, Utrecht and Eindhoven.

The product has also enjoyed great success in the worship and AV markets. The AXYS range is also widely used by many rental companies in the region and is known for delivering transparent sound reproduction even at high sound pressure levels.

“This new relationship with AudioXL presents some really exciting opportunities,” Nick Screen, HARMAN Sales Director – Duran Audio Products. “With Intellivox it has always been about selling solutions, but it was a niche solution for intelligibility and many clients want a complete audio system. The HARMAN acquisition and the partnership with AudioXL means that we can now offer a complete HARMAN-based sound system solution that delivers Intellivox-quality intelligibility. Combine this with AudioXL’s team and large customer base and you have a winning formula.”

For more information on these products, please visit JBL Professional (www.jblpro.com) or AudioXL (www.audioxl.be and www.audioxl.nl)

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of approximately 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.

Fairlight Unveils the Next Generation of Audio Post Production

Internationally acclaimed as the first company in the world to introduce FPGA technology to the audio post production business, Fairlight has now consolidate its position as an innovator with the launch of its second generation Crystal Core (CC-2) technology.

Hailed as the most powerful post production audio engine ever created, CC-2 incorporates an impressive 1000 playback channels, 100+ output buses and 100 live inputs. When teamed with Fairlight’s new V5 operating software, it offers the ultimate professional solution for the demanding delivery requirements of today’s broadcast industry.

In keeping with Fairlight’s long tradition of seamless upgrade paths, CC-2 is entirely compatible with the audio hardware currently operating with the company’s established CC-1 engine.

Tino Fibaek, Fairlight’s Chief Technical Officer, says: “Future proofing our technology has always been at the heart of our business philosophy. With the launch of CC-2, we have ensured that existing Fairlight customers can easily upgrade without having to replace their current audio interfaces or control surfaces. This means they can extend the life of their original hardware investment, whilst benefiting from the increased capacity that CC-2 brings.”

Fairlight’s CC-2 engine features a processor chip that is five times more powerful than the chip in its CC-1 engine. It also has four times the PCIe bandwidth, new dual channel memory architecture, an on-board expansion slot and almost twice the MADI connectivity.

Augmenting Fairlight’s renowned editing model, V5 sees the addition of Clipbender, an enhanced time compression and expansion feature allowing audio within a single clip to be aligned to picture, with multiple bend points and real time non-destructive processing.

Fairlight’s V5 software has advanced to a full 64-bit application, allowing unrestricted access to the full power of Intel’s latest processors. The associated increase in memory and speed delivers more simultaneous plug-ins, more video formats and larger media files. When used in combination with CC-2, this platform delivers faster than real-time, offline mixdown.

Also developed a part of the new 64-bit architecture is a brand new video engine, leveraging GPU acceleration for real-time video processing, offering support 4K video resolution, and features built-in HEVC decoding.

For more information about Fairlight’s new CC-2 audio engine and V5 software, please visit www.fairlight.com.au

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About Fairlight:

Fairlight has been designing, engineering and manufacturing cutting edge, professional digital audio technology for more than 30 years. Its dedication to innovation, quality and customer service has made Fairlight one of the most respected companies in professional audio. With their integrated control surfaces and intuitive user interfaces, Fairlight’s award-winning media creation tools are renowned for their speed, flexibility and exceptional sonic quality. The company’s products offer full compatibility with virtually all open audio, video and sync standards, making them ideally suited to a wide range of audio post and live broadcast applications.

www.fairlight.com.au

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