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Archive of the Product Applications Category

Symetrix Automates Audio for Services at Marytown’s 24/7 Sanctuary

LIBERTYVILLE, ILLINOIS – FEBRUARY 2014: Marytown in Libertyville, Illinois is the National Shrine of Saint Maximilian Kolbe and is a ministry of the Conventual Franciscans Friars of Saint Bonaventure Province. Its stunningly beautiful sanctuary is a notable pilgrimage site and operates twenty-four hours a day, seven days a week for Eucharistic Adoration and prayer. In addition, Marytown holds mass twice daily and Liturgy of the Hours four times daily. In short, Marytown is a very serene, yet busy place. When its sound reinforcement system failed, Marytown called on CAVCOMM Audio Visual (Niles, Illinois) to make a speedy repair. Once the system was evaluated, replacing the aging analog system made more financial sense. A Symetrix SymNet Solus 16 open architecture, standalone audio DSP forms the heart of a robust, flexible system that the Franciscan Friars liked so much it inspired the installation of a Symetrix Jupiter 4 fixed architecture, standalone DSP in their residence.

“The layout of Marytown’s beautiful sanctuary is unique,” said Mike Canfield, president of CAVCOMM Audio Visual. “In front of the chancel alter area, the pews are perpendicular, and the pulpit and Father’s chair are situated towards the middle of the nave. Just before a major holy day, their mixer failed. I brought in a SymNet Solus 16 so they could get through the busy season. Having the flexibility of the open-architecture SymNet Solus 16 was great because we could use it in place of the old gear and we could still use the existing speakers and amplification. New Tannoy VLS15 passive line array speakers were added a few months later. I favor Symetrix processing based partly on its broadcast industry heritage, which requires products to have a quiet, neutral performance and the Symetrix processors are intuitive to program.”

Two Symetrix ARC-2e wall panel remote controls provide easy selection and volume control for a collection of seven Shure wired and wireless microphones and a CD/iPod deck. An eight-channel Lab.gruppen C10.8x amplifier powers the system. Because it was so easy to program the SymNet Solus 16, Canfield ran a few experimental setups with the Marytown friars. “I put in a gated mixing design for a few weeks and then tried a gain sharing design,” he said. “Then I asked which they liked better. Because so many different people with different speaking voices and volumes use the system, they felt the gain-sharing design worked better. It was nice to have that kind of flexibility.”

The friars were so pleased with the performance of the new system in the sanctuary that they requested a smaller DSP system for their dining/meeting room. “It’s very simple, and a Jupiter 4 together with a Symetrix ARC-2e wall panel remote control allows them to play music and have a microphone input for meetings,” Canfield said. “Right now it’s just two inputs and two outputs, but they might expand the system to include some outdoor landscaping speakers or another input. Everything that the Jupiter 4 contains couldn’t be touched by an analog system for anywhere near its price. It’s a tremendous value.”

ABOUT SYMETRIX Symetrix is dedicated to making life sound better. As a world leader in the development and manufacturing of digital audio signal processing (DSP) systems and accessories, Symetrix provides best in class audio management solutions to businesses, schools, non-profits and government organizations.

For more information on Symetrix products visit www.symetrix.co

BERKLEE COLLEGE OF MUSIC TO ADD FOURTH API LEGACY CONSOLE

BOSTON, MASSACHUSETTS – FEBRUARY 2014: The Music Production and Engineering Department (MPED) at Boston’s prestigious Berklee College of Music will add a fourth 32-channel analog API Legacy Plus console to its Studio A in early summer of 2014. At that time, a John Storyk-led renovation will overhaul the space to create a fourth facility with nearly identical equipment to three existing facilities for the instruction of foundational tracking and mixing courses. Because the MPED recognizes the importance of giving students abundant hands-on experience with definitive industry tools, it self-limits the number of Berklee students who can earn their degree in the department. Thus, only half of the Berklee students who apply to the MPED are accepted, which allows the department to maintain a student body of approximately three hundred students. The new API Legacy Plus will help alleviate competition for space and bottlenecks in studio scheduling.

“The API Legacy Plus offers us several advantages,” said Rob Jaczko, chair of the MPED and recording engineer for Bruce Springsteen, Sheryl Crow, James Taylor, and countless others. “First and foremost, its sonics and musicality are an industry benchmark. Just running tracks through it flat is an experience that our students should appreciate. Second, the Legacy Plus has a classic in-line analog signal path, which is very useful for teaching signal flow and problem solving. Finally, we’ve enjoyed a great relationship with API. We’ve always been happy with API’s outboard gear, which is included in seventeen of our studios, and the support we received from the API staff during the purchase and installation of the first three Legacies was great.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

DANLEY LOUDSPEAKERS COMPLETE THE FINAL PHASE OF GREEEN BAY PACKERS’ LAMBEAU FIELD EXPANSION

GREEN BAY, WISCONSIN: The Green Bay Packers have yet again expanded the seating capacity of legendary Lambeau Field, which raises it to the third-largest NFL stadium in the league with a total of 80,750 seats. The additional seats number 7,000 and fill in the south end zone, which had been the last remaining gap in Lambeau Field’s bowl architecture. With the bowl complete, designer Anthony James Partners and installer Pro Media Ultrasound were able to remove the longer-throw loudspeakers that had previously covered the south end zone seating and replace them with distributed Danley Sound Labs Synergy Horn loudspeakers that are mounted unobtrusively to the new structure. This final phase completes Lambeau Field’s all-Danley sound reinforcement system, which has been widely praised for its impact and fidelity.

“We knew going into the original system overhaul that the structural completion of the south end zone would give us the fully-symmetrical system we wanted,” explained Larry Lucas, director of audio engineering for Anthony James Partners (Richmond, Virginia). Lucas designed both phases of the Danley system overhaul at Lambeau Field. He continued, “Not only did it allow us to cover the original south end zone seating, it also allowed us to cover the 7,000 new seats as well.”

Over one hundred new Danley Synergy Horn loudspeakers comprise the addition. They include 26 Danley SM-100s, 31 Danley SM-96s, 42 Danley SH-MINIs, six Danley SH-46s, 21 Danley SH-21s, and, for good measure, two of Danley’s flagship SH-50s. Crown amplifiers power the system, with processing and control from BSS London. The existing Danley system is made up of twelve loudspeaker towers, each of which contains a Danley Genesis Horn GH-60 for primary coverage, a Danley SH-100 for fill, and a Danley TH-118 subwoofer for impactful bass.

Danley’s Mike Hedden commented, “Part of the commissioning process included STIPA measurements performed by the local authorities in charge of emergency and mass communication. They measured every seat not once but twice as they had never seen such high STIPA readings. Intelligibility is a huge hurdle in large venues and to have the third largest NFL stadium with stunning fidelity as well as intelligibility speaks to our superior technologies.”

“Danley’s small-format loudspeakers gave us the opportunity to tuck them under the soffits and under the new deck,” said Lucas. “Importantly, we did not have to place any loudspeakers on the front of the new deck, which is prime advertising real estate. The team has received a lot of comments from season ticket holders in the south end zone. They’re very pleased with the sound of the new system. As a system designer, it was especially gratifying to see the whole stadium come together. It was exciting to commission and verify that, as planned, all of Lambeau Field is now seamless.”

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.

www.danleysoundlabs.com

Funky Junk helps Ruadhri Cushnan Upgrade His Monitors

Funky Junk, Europe’s leading supplier of new and refurbished professional recording equipment and services, has supplied Award-winning Mix engineer Ruadhri Cushnan with a pair of ATC SM25A studio monitors.

“I knew ATC had a great reputation as a monitor manufacturer and I’d specifically heard a few people talk favourably about the SM25s,” Ruadhri Cushnan says. “When I mentioned to the Funky Junk guys that I needed to improve my monitors they suggested that I try them. I did, and they were amazing, so I decided to buy a pair.”

The monitors have now been installed at Cushnan’s project studio.

“I’ve had my own Mix space since 2007, but recently moved to my current space because it is slightly bigger and gives me more room to accommodate my ever expanding gear racks,”

Cushnan says. “Being near Funky Junk was a happy accident but one that has definitely worked out well. It’s like having a big studio maintenance department right on the doorstep. The guys are very friendly and always happy to help – and they have a good coffee machine.”

Ruadhri Cushnan started his career as an assistant engineer at Metropolis Studios before turning his hand to freelance projects. Having worked as a programmer, writer and re-mixer, Cushnan is now best known as a Mix engineer – an area he has been focusing on since 2007. Recent projects have included album and single mixes for Ed Sheeran, Half Moon Run, The Maccabees, Nina Nesbitt and Foy Vance. He was also responsible for mixing Mumford & Son’s album Babel, for which he received a Grammy in 2013.

Virtually all of Cushnan’s mix projects are carried out at his project studio where he tends to mix ‘in the box’, but with lots of traditional analogue outboard as part of the workflow.

“I occasionally record some vocals and overdubs but 90% of my time is spent mixing,” he explains. “Obviously monitoring is critical and that’s why I needed to upgrade. I’m delighted with the ATC SM25s, which I’ve been using for a little while now. They really do have an incredible amount of detail and are very easy to listen to. I can mix on them at a good level for hours and not get tired out. When I first got them I put on some old favourite vinyls that I thought I knew well and, although it’s a real cliché, it was like hearing them fresh for the first time. They are excellent speakers.”

Cushnan adds that he was very happy with the help and advice Funky Junk’s technical boffins gave him. “They have a great support system and are always very competitive on price,” he says.

The success Ruadhri Cushnan enjoyed in 2012 and 2013 looks set to continue this year as he is already busy working on album projects for Luke Sital Singh (Parlophone) Saint Raymond (Warner/Asylum), King Charles (Universal/Republic), Foy Vance (Glassnote) and Nina Nesbitt.

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

For more information please visit www.proaudioeurope.com

DPA Microphones Bring Added Clarity To David Gray’s Vocals

Leading singer songwriter David Gray has become the latest in a long line of vocalists to discover the benefits of DPA Microphones’ new d:facto™ Vocal Microphone.

Gray’s well-crafted songs were delivered with pristine clarity during his recent Sounding Out tour of Ireland after FOH engineer Graham Pattison introduced DPA’s d:facto II into the equipment line-up.

“I’ve been a fan of DPA microphones for some time because they deliver such great sound quality,” Pattison says. “However, this was the first time I’d had the opportunity to use the new d:facto II Vocal Microphone and I was really impressed with the results we achieved. Right from the first syllable in rehearsals I knew we were onto a winner, but it wasn’t until the first show in Ireland a few days later that I really heard the vocal clarity and exceptional quality through a large venue sound system. There were no gain or feedback issues, and even when left with a flat EQ it sounded exactly how I’m used to hearing David’s voice. The EQ I did end up using was just to help the vocal sit in well with the instrumentation.”

Pattison adds that Gray didn’t question why his microphone had been changed.

“He trusted my judgment and his own ears,” he explains. “During the two week tour we played 11 shows, and did a live streamed and filmed ‘other voices’ show and a live on air RTE radio show. Everyone was coming back to me with very positive feedback about the sound in general as well as his vocal performance.”

Pattison first began working with David Gray in 2007 and since then he has engineered all his live gigs. In 2011, Gray’s Lost and Found tour gave him the opportunity to experiment with a different technical approach and it was on that occasion that he began using DPA microphones.

“The Lost and Found tour was a more acoustic presentation of David’s songs, so we used different instrumentation,” Pattison explains. “We also added a couple of new musicians who could cover backing vocalist duties, so at times we had a five voice choir to back up David’s main vocal.”

Thanks to the acoustic nature of the show, Pattison decided that DPA microphones would be the perfect way to capture the instruments on stage. After speaking with DP’A UK distributor Sound Network about the tour’s requirements, Pattison settled on using two d:vote™ 4099 Instrument Microphones for the double bass and cello, two d:dicate™ 4011 Recording Microphones for the acoustic guitar and mandolin, two 4023 microphones for the grand piano and one d:vote 4099 Instrument Microphone for Gray’s trademark handpump harmonium.

“I chose DPA microphones for their sound quality – it really was as simple as that,” Pattison says. “DPA microphones have always been regarded as the best you can buy, so when I had an opportunity to acquire some mics for my studio and for live shows, I knew that DPA was the way I wanted to go. Apart from their exceptional sound quality, I’ve also find them extremely versatile because they can be mounted in so many different ways, including directly onto the instrument.”

Pattison says that DPA microphones are now standard on all the tours he engineers because they are so rugged and reliable.

“I did three tours last year, all with DPA, and I didn’t have any microphone failures,” he says. “Even the miniature cardioid microphone I’ve been using on David’s pump harmonium is still going strong. The build quality, particularly of the d:dicate 4011 Recording Microphones, is fantastic and no matter where in the world I ship them, they always withstand the rigors of freighting and come out of their boxes working perfectly every time.

“With an ever increasing vocal choir, I am now looking forward to getting my hands on some more DPA d:facto Vocal Microphones. With those, and the d:vote 4099 drum microphones, DPA will certainly be getting a good run in.”

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.

For more information, please visit www.dpamicrophones.com

GDS Pro Range ArcSystem LED Fixtures Meet the Needs of Fellowship Center at the First Baptist Church in Lewisville, Texas

When First Baptist Church in Lewisville, Texas decided it was time to install a new lighting system in its Fellowship Center, a GDS Pro Range ArcSystem met the challenge of illuminating the space. A.C.T Lighting is the exclusive distributor of GDS fixtures in North America.

“The house lighting for the room originally had dimmable metal halide pendant lights and high sconces in the ceiling of the Fellowship Center. Unfortunately the room was dark – just 12 to 30 footcandles – and had an extreme color temperature of 5620 Kelvin and terrible color. Everyone looked pale green,” says Keith Buresh, a consultant and lighting designer who specified the new GDS fixtures. “The church had investigated replacing the house lighting with incandescent fixtures, but they didn’t cover the space, added heat and they would have required extensive ceiling renovations. LED house-lighting fixtures were right on the edge of being usable, though. GDS had just come out with some new lights, and Jeff Mabray, a Specification Sales rep with Edwin Jones Company, and I worked with A.C.T to bring in one of the first ArcSystem prototypes to Dallas to test”.

“We sampled the GDS ArcSystem units with dimmers, and the dimming curve was really solid,” Buresh reports. “We also liked that the LED lighting module was recessed deep within the reflector, which reduced the glare factor – a real problem with numerous LED products. And its color rendering and output were great for this application.”

The First Baptist Church acquired (16) 8-cell Pro Range ArcSystem 4000 Kelvin/37degree fixtures tailored for wide areas and high bay installations. They are finished in white to complement the building’s architecture and were supplied by Barbizon Dallas.

ArcSystem LED auditorium lighting fixtures are designed in the UK for environments where dimming, quality of light and ease of installation are paramount. They are available in single-cell to multi-cell units with a range of beam angles incorporating high-efficiency optics and LEDs. ArcSystem is able to produce a rich, warm light with a CRI in excess of 90. A wide range of color temperatures is available to suit any environment.

All of the fixtures at the First Baptist Church are controlled wirelessly using ArcMesh, GDS’s proprietary mesh networking protocol that allowed the product to be installed and commissioned without installing control wiring to each fixture. “That reduced costs,” Buresh says. “All we had to do was pop in a junction box with a power receptacle to each unit; that’s very handy and simple for any sort of maintenance issues. And the wireless control unit is very easy to monitor. Any problems can be resolved quickly and easily.”

The ArcMesh transmitter receives DMX instructions from an ETC Paradigm Architectural Control Processor system, allowing a completely integrated single control mechanism for all architectural lighting. Part of the renovation included a new architectural control system, dimmers, light board and six wall control stations to allow users to activate lighting looks from numerous entrances into the room.

“We ended up changing over the entire house lighting for the room, including can lights, high sconces and wall sconces. So, at this point the entire Fellowship Center and overflow space have dimmable LED lamps in the fixtures. It took some trial and error but we were able to find A-bulbs and BR40 lamps that had appropriate Kelvin, Color Rendering Index values and dimmable curves that used the existing fixtures. We saved a lot by not having to retrofit fixtures.” Buresh says.

“The GDS fixtures are a great fit for the application, we’ve been really impressed with them. Configuration and integration into the Paradigm system was a breeze, one of the smoothest that I’ve seen,” reports Chris Leffel, the installer and project manager with Barbizon Dallas.

The overall light level with the new fixtures reaches up to 90FC in places, an increase of almost four times the level of the previous installation.

“Everyone has been very supportive,” says Buresh. “GDS was very helpful in getting the installation up and running for us, and A.C.T and GDS have been very open to suggestions and problem-solving.”

Tim Zednick is the technical director at the First Baptist Church, and has been very involved in the process and totally on board with programming the control system to work smoothly with the GDS ArcSystem software and units.

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COUNTRYMAN HELPS ENSURE THE MESSAGE IS CLEAR AT BROOKSIDE COMMUNITY CHURCH

**** Photo: Ryan “Ryno” Henderson ****

Ft. Wayne, IN – February 2014… One of the biggest challenges faced by today’s worship leaders is maintaining the attention of the congregation. If the message can’t be clearly heard and understood, its relevance is lost. As a result, houses of worship everywhere are paying more attention to the quality of their sound reinforcement systems. The focus starts at the input, which in most cases, is the microphone. To ensure the highest level of speech intelligibility, worship leaders at Brookside Community Church rely on H6 Headset microphones from Menlo Park, CA-based Countryman Associates. more

“Strictly Come Dancing” Has a Ball with HARMAN’s Studer Consoles

HERTFORDSHIRE, United Kingdom — “Strictly Come Dancing”, one of the BBC’s flagship family entertainment programs, has become the latest to benefit from the comprehensive broadcast production services at the new home of BBC Studios And Post Production – Elstree Film Studios. Facilities include a new audio installation featuring a MADI / fibre-optic infrastructure and flexible routing and mixing framework, with HARMAN’s Studer Vista and OnAir technology at its core.

Only the second show to use the new facility, “Strictly Come Dancing” made full use of the George Lucas 1 sound gallery’s 70-fader Studer Vista 8 console for primary mixing duties. In addition, a Studer OnAir 3000 console was used for grams and as a system routing hub—with control from BBC Studios and Post Production’s Broadcast Network Control System. A Studer Vista 1 console took care of the surround mix and down-mix check for the BBC 1 HD channel feed.
Sound Supervisor Andy Tapley specified the audio system, which is replicated across the other BBC Studios and Post Production stages/studios at Elstree, in order to maintain consistency and cope with some of the UK’s most complex TV productions.

Strictly Come Dancing is especially demanding. “By half past six on a Saturday night we have to be ready to go, whatever,” comments Tapley. “…And that involves the live music as well, which is one of the things that sets Strictly apart from other shows.
“The music is incredibly diverse—it can range from Carmen to classical pieces to heavy rock for the next one. We rely on instant snapshot recall…You can’t rely on the woodwind section just being one type of instrument so you might have to dial in another 15dBs on a mic, plus high pass filtering, just to get a flute through; and it has to happen just like that.”
Studer D21 I/O systems were used to move approximately 150 feeds from the show floor, including the 20-piece band and 60 channels of RF from contestants, presenters, judging panel, and IEM systems. More were employed for the Vision Apparatus Room (VAR) I/O, the grams/OnAir 3000 system, and the reverb/outboard bay.
The Vista 8 was the main show console, configured as a dual operator board for Andy Tapley and Sound Mixer Tony Revell. “The dividing line between operators is constantly re-definable,” comments Tapley. “It doesn’t have to be set before hand… If I need a hand I can drag and drop channels anywhere, as we go.”
On the evening, Tapley takes responsibility for the band mix, while Revel manages all of the microphone feeds, including an extensive audience mic set up. The Vista’s unique cascading control groups make the surround stem provisions much simpler, while for Tapley every spare moment before the show starts is an bonus: “Because of the schedule we’re grabbing every opportunity we can to refine the music mix. The second we get a break we can, at the press of a button, turn our band channels round to their second inputs and have the multitrack replay back though, refine the mix, and then save that as a snapshot.”

The new Studer VistaMix automatic mixing system was used for managing the judges’ and contestants’ microphones—especially effective in the show’s mezzanine area where co-presenter Tess Daily and the contestants gather in close proximity, often contributing ad-hoc comment.
Overall, the facilities and the crew at BBC Studios And Post Production, Elstree have proven themselves worthy of the biggest and most demanding broadcast productions around. The Studer Vista and OnAir systems are an important part of that story.

Photo Caption 1: (Left) Andy Tapley and Tony Revell working on the Studer Vista 8.

About BBC Studios and Post Production
BBC Studios and Post Production is a commercial subsidiary of the BBC, providing world-class studios, post production and digital media services. It works with media companies and broadcasters, making content for a variety of broadcasters including BBC, ITV, Channel 4, Five and Sky, from Channel 4’s Deal or No Deal and Big Fat Quiz, to EastEnders and Strictly Come Dancing. It’s award-winning digital media services team preserves, re-masters and manages content through its digital archiving, restoration and distribution services, working with content owners like Imperial War Museums to conserve and maximise the value of their material. Credits include Dr Who, David Attenborough’s Life on Earth and Trials of Life, The Sweeney, The Queen’s Coronation and The Trumptonshire Trilogy. Whilst Television Centre is being redeveloped, BBC Studios and Post Production has relocated its London studio business to Elstree, where it offers fully equipped HD TV studios and post production services. Its award-winning Digital Media Services team operates from a new permanent, purpose-built facility at Odyssey Business Park, South Ruislip.

www.bbcstudiosandpostproduction.com

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

FOR-A Super Slo Mo, Video Archiving, and Frame Rate Conversion Technology Employed for Coverage of Winter Games

Cypress, CA – FOR-A has announced that several of its products are being used for production of the upcoming Winter Games. Networks in the U.S., Canada, Brazil, and Japan are deploying the company’s 4K super slow motion camera, video archiving recorder, and frame rate converter technology for their coverage of sporting events.

Among the products being used is FOR-A’s FT-ONE 4K super slow motion camera. The camera is being rented to a major American broadcast network through Los Angeles-based Video Equipment Rentals. Japan’s national public broadcasting organization will also use the FT-ONE. Capable of recording up to 900 frames per second (fps), the FT-ONE will be on hand in Sochi to capture high-quality 4K imagery and provide super slow motion playback during pivotal moments in the competition. The award-winning full 4K variable frame rate camera has been used for production of several major sporting events, including last year’s professional football championship game, automobile racing, boxing events and several Red Bull competitions.

The same major broadcast network in America will also be using FOR-A’s frame rate conversion technology. Other users of FOR-A’s frame rate converters for the Winter Games include Canada’s national broadcaster and Quebec-based Aldea Solutions, who is providing conversion and transmission services to a Brazilian broadcaster. The networks will rely on FOR-A’s FRC-8000HS and UFM-30FRC to ensure seamless transmission of footage in the proper country standards. FOR-A announced new features of the FRC-8000HS HD/SD frame rate converter last year that cater to the production of winter sports, including the ability to select a ‘winter sports’ scene type, a special mode created to optimize the conversion process in environments with high-speed moving objects in highly saturated backgrounds that contain a lot of bright white, such as snow or ice. The latest software release offers FRC-8000 operators a unique level of in-depth user control, with the ability to customize settings based on their specific needs.

Also on hand in Sochi by the major American broadcast network will be FOR-A’s LTR-120HS video archiving recorder. The unit uses high-quality AVC-Intra/DVCPRO codec and MXF wrapper/un-wrapper to record MXF files. Designed to enable “archive at ingest” solutions, the LTR-120HS can easily record video footage as an MXF file in real time.

“At FOR-A, we pride ourselves on providing efficient, innovative technology that our customers can rely on,” explained Hiro Tanoue, FOR-A Corporation of America’s President. “We’re happy to have a number of our solutions deployed in Sochi for the biggest happening of the year in sports.”

About FOR-A

FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, postproduction and professional video markets. For more information about FOR-A’s product line, call 714-894-3311 or visit our web site at www.for-a.com.

TCS Adds Wide-Angle Zoom to Roster of FUJINON Cabrio Lenses

Wayne, N.J. – FUJIFILM North America Corporation, Optical Devices Division, has announced that Technological Cinevideo Services, Inc. (TCS), www.tcsfilm.com, just added its 11thFUJINON Cabrio lens to its equipment roster. Early last year, TCS purchased seven FUJINON Premier PL19-90mm Cabrio (ZK4.7×19) PL mount zoom lenses, and later in the year the facility added three PL 85-300mm Cabrio (ZK3.5x85B) lenses. Their most recent addition is the Premier PL 14-35mm Cabrio wide-angle zoom (ZK2.5×14.) Established in 1978, the New York-based TCS rents digital and film camera equipment and lenses to customers shooting motion pictures, scripted television series, documentaries, reality shows, commercials, and other high-profile projects.

According to TCS President Erik Schietinger, who co-owns the company with his brother, TCS’ VP and Chief Operating Officer, Oliver Schietinger, “We believe in owning the full range of common focal lengths covered in a lens set, and we were very interested in the 85-300mm lenses because they cover the telephoto range very well while keeping the form factor small and portable. A wide-angle option is key to this line though, because it allows productions to ensure the consistency of their look within the Cabrio line without having to move to wide-angle primes or zooms from different manufacturers when they need a wide-angle.”

TCS has found a growing marketing for shooters looking for a digital cinema look but with the portability of ENG-style equipment. “Our clients who are producing reality television and live events are very excited about the arrival of a PL-mounted zoom that can easily be converted from ENG-style functionality to a cinema set-up with motor controllers as needed in a matter of minutes,” said Schietinger.

The wide angle on the 14-35mm Cabrio is ideal for a variety of shooting scenarios common to TCS clientele, including establishing shots, filming in tight spaces for reality and low budget location shoots, and handheld and Steadicam work when deep focus and image stabilization are important.

“While 19mm is considered fairly wide in the Super 35mm format,” continued Erik Schietinger, “there is a frequent desire to go slightly wider due to spacial limitations on location, and the focal range of the zoom makes it easy to ‘dial in’ the appropriate focal length needed for any given shot without being married to an exact focal length until the next lens change. And with certain cameras now using crop sensor sizes, such as the recent influx of S16-sized digital cameras, a wide-angle like the 14-35mm can easily serve as a more standard zoom on a 1.6-2x cropped sensor.”

TCS clients MTV, National Geographic, and Al Jazeera have used Cabrio lenses on recent shoots, and they’ve been rented for use on the Youtube Music Awards and the documentary “Jay-Z: Made in America.”

About Fujifilm
FUJIFILM North America Corporation, a marketing subsidiary of FUJIFILM Holdings America Corporation consists of four operating divisions and one subsidiary company. The Imaging Division provides consumer and commercial photographic products and services, including: photographic paper; digital printing equipment, along with service and support; personalized photo products; film; and one-time-use cameras; and also markets motion picture archival film and on-set color management solutions to the motion picture, broadcast and production industries. The Electronic Imaging Division markets consumer digital cameras, and the Graphic Systems Division supplies products and services to the graphic printing industry. The Optical Devices Division provides optical lenses for the broadcast, cinematography, closed circuit television, videography and industrial markets, and also markets binoculars. FUJIFILM Canada Inc. sells and markets a range of Fujifilm products and services in Canada. For more information, please visit www.fujifilmusa.com/northamerica, go to www.twitter.com/fujifilmus to follow Fujifilm on Twitter, or go to www.facebook.com/FujifilmNorthAmerica to Like Fujifilm on Facebook. To receive news and information direct from Fujifilm via RSS, subscribe at www.fujifilmusa.com/rss.

FUJIFILM Holdings Corporation, Tokyo, Japan, brings continuous innovation and leading-edge products to a broad spectrum of industries, including electronic imaging, digital printing equipment, medical systems, life sciences, graphic arts, flat panel display materials, and office products, based on a vast portfolio of digital, optical, fine chemical and thin film coating technologies. The company was among the top 10 companies around the world granted U.S. patents in 2012, and in the year ended March 31, 2013, had global revenues of $26.7 billion*. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit www.fujifilmholdings.com.

* At an exchange rate of 83 yen to the dollar.

About TCS

Technological Cinevideo Services, Inc.

TCS, New York, USA provides the motion picture industry with products and services that help our customers achieve success in the most demanding environments. We specialize in cameras, lenses and support for the digital cinema, 35mm and Super 16mm film and broadcast HD markets.

TCS is a recognized leader in bringing new technologies to the professional rental market. We proudly offer the latest cameras from Arri, Canon, Red, Sony and Vision/Phantom as well as modern and vintage glass from Angenieux, Arri/Zeiss, Arri/ Fuji, B&L Baltars, Canon, Cooke, Fujinon, Leica, and Zeiss. For more information, please visit www.tcsfilm.com or go to www.twitter.com/tcsfilm.

All product and company names herein may be trademarks of their registered owners.

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