A virtual press conference from Sound & Video Contractor

Archive of the Product Applications Category

Solid State Logic Live at Edinburgh Castle

“I actually said out loud, ‘wow, this is amazing’”

EDINBURGH, SCOTLAND, U.K. – This summer’s Commonwealth Games in Glasgow were preceded by Live at Edinburgh Castle, a 2.5-hour multi-act concert, televised live on the BBC from this unique location that dominates the Edinburgh skyline. The line-up for the event was extensive and included Culture Club, OneRepublic, Kaiser Chiefs, Motown legend Smokey Robinson, Jessie J, Paloma Faith and Il Divo. Various acts were backed by a 12-piece house band and the BBC Scottish Symphony Orchestra. To keep up with the fast-paced nature of the high-profile event, two SSL Live consoles were provided by Britannia Row Productions Ltd.

Though the event was headed by Brit Row Project Manager Lez Dwight, with Stefan Krista managing the inputs and cross-patch from scores of 12-way sub-snakes, Nahuel Gutierrez operated one SSL Live for the 75-member orchestra, generating group stems for FOH, monitors, BBC broadcast and 16 personal monitor stems for the orchestra. Niccolo Antonietti used the second SSL Live console to mix monitors/IEMs for the house band, along with guest vocals, guest backline and Pro Tools® tracks, totalling 60 outputs for 30 stereo mixes. Both SSL Live consoles were located remotely with only a BBC program shot to watch. As freelance engineers, rehearsal for the Edinburgh Castle concert was the first time Gutierrez and Antonietti had the opportunity to use an SSL Live console.

Antonietti’s console handled the house band, made up of drums, bass, guitars, two keyboards, percussion and three backing vocals, as well as director Mike Stevens’ keyboard and guitars. He also controlled the handheld microphones for guests, ambient microphones, intercoms, BBC feeds and 16 channels of Pro Tools, bringing Antonietti’s desk to 120 input channels. The two SSL Live consoles also had a MADI connection between them to feed stem subgroups back and forth.

“The orchestra was using personal monitors, so I sent them band stems, like guitar, rhythm section, keyboards and vocals, as well as Pro Tools stems,” Antonietti explains. “I then received a premix of the orchestra and of all of the other channels that I couldn’t get on my desk.”

Antonietti found the stems feature extremely advantageous. “The stems are especially important when you have that much to mix, with guests coming and going that you have to mix for and keep track of in such little time,” he says. “I could just mix the guest IEMs using stems, so it was really, really helpful. It was one of the best features on SSL Live for this show, because you can have a lot of channels that don’t need full processing.”

Over on the orchestra’s SSL Live console, Gutierrez used channel delay to synchronize the orchestra’s inputs. “The delays made everything sound a lot fatter and we loved it,” he says. “We measured the distances on stage and then put natural time delays from back to front, so percussion had the biggest delay and the first violins and cellos up front had the shortest delay.

With just a minimal amount of time to acquaint themselves with SSL Live at southwest London’s CATO Rehearsal space, Antonietti and Gutierrez had no trouble getting a feel for the console. “I felt very comfortable because SSL sent product specialists to help us out; after they showed me how to get into the system, it was really easy,” explains Antonietti. “We set up on Wednesday before the show on Saturday, so we only had a few days for the guests to rehearse with the orchestra and band. The quick learning curve of the SSL helped made rehearsals simple.”

Antonietti mentions SSL Live’s sound quality as his favourite feature. “The sound quality on the console is amazing; its preamps and its stereo capabilities are great,” he says. “I only needed to make slight gain adjustments to make it perfect and some EQ’ing to the really high and low ends to make it sound balanced for the IEMs. The console just sounded really good.”

“The most amazing thing about the desk is the sound,” echoes Gutierrez. “I’ve never played with an SSL before and the sound is crisp and very, very nice. It also has a wider stereo image than other desks. Don’t ask me why; that’s what I’m hearing with my ears.”

Gutierrez also mentioned SSL Live’s cueing. “One of the things that really amazed me was the solo feature,” he adds. “Being able to route the solos on any output, once you get your head around it, is really brilliant. Not having to preset the solo is really amazing. I actually said out loud, ‘Wow, this is amazing.’ ”

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

Studio Lambert Uses Forscene to Help Speed Up Post-Production Process of ‘Gogglebox’

LONDON — Aug. 5, 2014 — Forbidden Technologies plc (AIM: FBT), the AIM-quoted owner and developer of the market-leading cloud video platform Forscene, announced today that London-based production company Studio Lambert is using Forscene for the quick-turn production of Channel 4′s “Gogglebox.” Part of all3media, which is the U.K.’s largest independent television, film, and digital production and distribution company, Studio Lambert uses Forscene to search and select clips from the rushes while editing is in progress on the observational documentary.

“With less than a week to turn around a show like ‘Gogglebox,’ Forscene doubles the efficiency of the editing process. For example, whilst an editor is pulling material on the Avid editing system, the producer can pull different material and even create sequences simultaneously on Forscene,” said Chantal Boyle, series producer of Studio Lambert.

For “Gogglebox,” Studio Lambert shoots about 150 hours of material a week and logs the footage live during filming. As soon as filming wraps each night, the footage is driven straight back to Studio Lambert’s post-production house in central London, where it is ingested into the Avid nonlinear editing system and uploaded to Forscene so that it is ready for the edit team to start work the next morning. Edit producers and senior producers use a combination of shoot logs and Forscene to locate the best clips to weave into the show.

“The way Studio Lambert uses Forscene is a great example of the software’s value as a search tool,” said Greg Hirst, business development director, Forbidden Technologies plc. “Every second counts on this production, and Forscene makes it possible for the show’s many producers to search through a considerable amount of footage quickly without disrupting the editors.”

More information about Forscene can be found at www.forscene.co.uk. More information about Forbidden Technologies can be found at www.forbidden.co.uk.

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

Visit Forbidden at IBC2014, Stand 8.B38e

Photo Link: www.wallstcom.com/Forbidden/Forbidden-Gogglebox-LeonandJune.jpg
Photo Caption: Leon and June of “Gogglebox”

Media Group International Helps Sharjah TV Prepare For An HD Future

Leading systems integrator Media Group International has completed a major infrastructure project for Sharjah TV by upgrading the broadcaster’s Avid storage system and redesigning its network infrastructure to enhance day to day operations.

Based in the United Arab Emirates, Sharjah TV celebrates its 25th anniversary this year and has marked this milestone with a switch to High Definition broadcasting. Over coming months the broadcaster will be enhancing its audiences’ viewing experience by offering HD coverage of a wide range of cultural events, all of which tie in with Sharjah’s current status as Islamic Cultural Capital of the Arab region for 2014.

At the heart of Sharjah TV’s HD switch was the Avid upgrade, which was needed to provide additional storage for current production work and to ensure that Sharjah TV was ready for the new format.

His Excellency Dr. Khalid Al Medfa, Director General of Sharjah Media Corporation, commented: “Sharjah TV is committed to technological developments and professionalism. This commitment enhances performance and maintains an approach that is consistent with the ambition of Sharjah in its quest to achieve leadership in various fields. There is no doubt that the transition to High Definition TV broadcast is an important step for Sharjah TV in providing modern and cutting edge coverage. The move sheds light on our unlimited support that will lead to advancements in the media sector and highlights our leadership in this field.”

MGI’s expertise with Avid systems and its ability to provide Avid-trained in-house engineers was a key reason why Sharjah TV chose the company for this task.

Aisha Alzareef, Head of Broadcast IT at Sharjah Media Corporation, says: “MGI worked closely with us to ensure that this complex series of upgrades happened in a smooth and cohesive manner. We had to implement these changes in a very tight timeframe and were impressed that MGI managed the whole process so effortlessly, without any interruptions to our broadcast schedule. We were also grateful to MGI for ensuring that third party software from companies like Vizrt, FlipFactory and DivaArchive was upgraded in line with these changes.”

Commenting on this project, Mohamad Othman, Business Development Manager of MGI, says: “There were a number of challenges to overcome, not least the need to keep Sharjah TV on air throughout. The task was tackled in two phases to ensure that there was no downtime and that we stayed within the specified timeframe and budget.”

The project, which began at the start of 2014, involved upgrading Sharjah TV’s Avid Interplay Central® system and increasing the broadcaster’s storage capacity from 48TB to 768TB. MGI and Avid also redefined and engineered the broadcast workflow to ensure a smooth transition to HD and to provide Sharjah TV with a fully tapeless operation.

Founded by His Highness Dr Shaikh Sultan Bin Mohammad Al Qasimi, Member of the Supreme Council and Ruler of Sharjah, Sharjah TV comes under the umbrella of the Sharjah Media Corporation (SMC), which also includes the Sharjah Sports Channel, the youth and cultural channel Sharjah TV 2, Sharjah Radio Station and the Sharjah Media Training Centre. Renowned for its ground-breaking approach to technology, it was among the first broadcasters in the region to move from terrestrial to satellite transmission in 1996, and was credited with the title of the Arab Cultural Channel the year after.

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Notes to the editor:

About Ghanim bin Saad Al Saad & Sons Group Holdings

Ghanim bin Saad Al Saad & Sons Group Holdings (GSSG) was founded by Ghanim bin Saad Al Saad in 1993 and incorporated in 2007. Today it is one of Qatar’s most successful private sector business groups, making a major contribution to the country’s economic growth.

GSSG has enjoyed steady growth and success in many fields and industries locally and internationally. GSSG’s diverse portfolio gives it strength and enables its companies within the group to maximise global business opportunities wherever and whenever they arise.

The founder, Mr. Ghanim bin Saad al Saad, has enabled the group to grow to over 40 companies around the world. As an inspirational business leader, he has steered the group to achieve its success in industries that include aviation, maritime, automobiles, oil & gas, real estate, manufacturing, contracting and trading, finance & asset management, engineering, education, fitness, hotels, hospitality and fashion, information technology and telecommunications.

In addition to its corporate headquarters in Doha, GSSG also has five international offices located in London, Zurich, Cairo, Singapore and Dubai.

www.gssg.com

Media Group International

Media Group International (MGI) is an award-winning media broadcast and communications systems integrator, serving the media, telecommunications, security, education, hospitality and advertising industries in the Gulf region for more than 35 years. Formerly known as Salam Media Cast (SMC), the company joined GSSG Holdings in 2010, with offices in Qatar, UAE, Oman, Bahrain, Saudi Arabia and the UK.

Media Group International is diversifying its business into new technologies. As well as equipping professional television stations and studios, master control rooms, newsrooms, concert stages and theatres providing light and sound technology, the company also equips whole multivendor and multisensory environments. MGI provides solutions from safeguarding national security, such as in government operations, to creating the best educational venues in museums and classrooms, enhancing sports environments and revolutionising health facilities and satellite telecommunications.

Media Group International won the Digital Studio award for ‘System Integrator of the Year’ in March 2014. The company also holds ISO 9001:2008 certification, the world’s most recognised quality management standard. It is the first company of its kind to receive the prestigious accolade within the Middle East region, guaranteeing customers world-class quality assured products.

www.mgi.tv

Fairlight Demonstrates Ongoing Innovation at IBC 2014

Fairlight’s international reputation for pushing the boundaries of technology will be reinforced at IBC 2014 (7.H17) when the company shows a range of innovative products.

Leading the parade is Fairlight’s Live console family, which includes the Award-winning EVO.Live digital audio mixing system – a dual function console that allows engineers to switch between live and post modes at the touch of a button. Designed for the most demanding on-air and live productions, Fairlight’s versatile Live family covers a wide range of consoles, processing and I/O solutions, giving users highly scalable audio processing capabilities. In addition, Fairlight is showing its expanded range of live production tools, which includes the highly acclaimed iCan customisation software.

At IBC 2014, Fairlight will also be reinforcing the industry’s drive towards the ultimate in cinematic and immersive sound delivery by launching a new platform for Object Oriented 3D Sound Production.

This new platform supports traditional standard and custom bussing in simultaneous 2D and 3D, along with NHK’s 22.2, Dolby Atmos (via RMU) and DTS MDA. It also supports third party client applications such as Avid Pro Tools 10.x and Nuendo 6.0.

IBC 2014 will give new and existing Fairlight users their first opportunity to see the company’s fifth major software release, based on the brand new second generation CC-2 FPGA audio engine. The CC-2 audio engine with V5 software is perfectly suited to the demanding delivery requirements of today’s broadcast industry. By providing over 1,000 playback channels, 100 live inputs and 100+ output buses, the system is the most powerful audio engine ever made.

Fairlight will complete its IBC 2014 unveiling by showing how to deliver complex multi-sourced workflows by combining its open platform Media GateWay with its unique iCan workflow automation tools. These Gateways offer a glimpse into the future of broadcast post production by embracing collaborative editing environments such as Quantel’s Qtube, with internet based video source reference, original source audio and faster-than-realtime layback.

To learn more about Fairlight, please visit IBC 2014 Booth 7.H17, or www.fairlight.com.au for English information and www.fairlighteu.com for German information.

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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.fairlightau.com

San Antonio’s Tobin Center for the Performing Arts Chooses Clay Paky Lighting for Performance Spaces

San Antonio’s new Tobin Center for the Performing Arts will open in September with a complement of Clay Paky Alpha Spot QWO 800 fixtures dedicated to both the H-E-B Performance Hall and the Carlos Alvarez Studio Theater.

Rising behind the façade of the former San Antonio Municipal Auditorium along downtown’s famed River Walk, the 1,750-seat multi-purpose venue will be the home of the San Antonio Symphony and other resident companies. It also plans to offer a diverse array of entertainment from comedy legend Bill Cosby and radio icon Garrison Keillor and “The Prairie Home Companion” to the Scottish Ballet’s production of “A Streetcar Named Desire.”

The four-level H-E-B Performance Hall is the largest of the Tobin Center’s performance spaces; the Carlos Alvarez Studio Theater is a black box-style space with multiple seating options. Dealer Texas Scenic and rep Roy Harline are providing the Clay Paky products.

Six Clay Paky Alpha Spot QWO 800s were selected as “the best fit” for both performance spaces. “We required, quiet, low-maintenance fixtures that offer a variety of design options and would last for many years,” says Tobin Center Technical Director Stefan De Wilde. “Following extensive research, The QWO 800s had the smallest footprint, the lightest weight and the least amount of ambient noise. Their efficient lamp also has incredible output. The QWO 800s are also extremely flexible since they can be used as a wash or a spot fixture.”

The fixtures will be shared by both the H-E-B Performance Hall and the Carlos Alvarez Studio Theater.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “The Tobin Center is a great space and we’re proud to be a part of it. We congratulate Mr. De Wilde and everyone involved.”

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

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DPA Helps The Voice Australia Deliver a Great Live Experience

Thanks to DPA’s d:facto™ Vocal Microphone, vocal deliveries for the live broadcast of Australia’s The Voice were significantly improved, ensuring an even more enjoyable experience for TV viewers.

As with many TV singing/talent shows, the culmination of The Voice Australia relied on wireless microphone technology to ensure that the contestants could move freely about the stage. DPA’s award winning d:facto Vocal Microphone fitted the bill perfectly thanks to its state of the art adapter system that allows the high quality condenser capsule to be seamlessly integrated with many professional wireless systems or used in conjunction with DPA’s wired handle.

The decision to try DPA’s d:facto Vocal Microphone on the show was taken by Australian rental company, JPJ Audio.

John Simpson, Senior Audio Director of The Voice, says: “JPJ’s Brad Adamson told me he had DPA’s d:facto’s and we were keen to try them on a couple of TV shows we were working on. DPA has a great reputation for high quality mics and this interested me because I hadn’t been happy with any capsules on the RF systems we were using.”

Simpson knew that, being DPA, their pedigree would shine through the moment he brought up the faders.

“I realised we wouldn’t be needing that old EQ curve anymore,” he says. “The sound was natural, present and uncoloured, like having a top notch studio condenser available as RF. We don’t have to process anywhere near as much as we used to and everything sounds better; vocalists and presenters, male or female. The d:facto’s make it much easier to sit voices in a mix.”

Simpson adds that the Vocal Coach for the programme was also a fan. “He thinks they are a significant step up from anything he has heard and is very impressed, as are the operators at Monitors, FOH and Broadcast.”

“Just keep making them,” implores Simpson. “The capsules are the best thing we’ve heard for RF mics in a long time and have been an asset for us.”

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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

Hungary’s Liga TV Builds New HD OB Van With Complete Riedel Communications Solution

WUPPERTAL, Germany — Aug. 5, 2014 – Riedel Communications, a leading provider of real-time video, audio, data, and communications networks, announced that Liga TV, Hungary’s leading outside broadcast (OB) company, has equipped its newest HD OB van with a Riedel solution including the Artist digital matrix intercom, Acrobat digital wireless intercom, RiFace universal radio interface, and the country’s first MediorNet real-time media network. With this robust and versatile communications solution, Liga TV is positioned to continue its expansion into production of high-profile international sports events. OB3 was fully supplied and integrated by Rexfilm Ltd.

“We had tremendous success with Riedel equipment in our OB2 truck, which was Hungary’s first large HD OB van, so the decision to incorporate the company’s products into our new OB3 HD unit was quite simple,” said Zoltan Tihanyi, sound engineer at Liga TV. “The reliability, connectivity, and rich feature sets of Riedel intercom systems, as well as their popularity and widespread use, will be valuable as we extend our international activity.”

The Riedel solution in OB3 is identical to that installed earlier in OB2, with the addition of a MediorNet system that gives Liga TV valuable fiber-based signal transport capabilities. When more than one truck is required for a production, Liga TV can use OB2 and OB3 in tandem, connecting the two Riedel intercom solutions to serve as one.

“With OB2 and now OB3, Liga TV has implemented the advanced production technology necessary to meet international broadcast standards, as well as the requirements of the most demanding events and customers,” said Thomas Kloiber, international sales manager at Riedel Communications. “The Riedel gear installed in these units assures that as Liga TV continues its growth, it also will be able to maintain the clear, flexible communications that are critical to high-end productions.”

In addition to broadcasting matches from Hungary’s national football league, the OTP Bank League, Liga TV has completed international projects including production of various UEFA championship games, the LEN European Swimming Championship, and the KHL All-Star Game.

Further information about Riedel and the company’s products is available at www.riedel.net.

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About Riedel Communications
Riedel Communications designs, manufactures, and distributes pioneering real-time video, audio, data, and communications networks for broadcast, pro audio, event, sports, theater, and security applications. The company also provides rental services for radio and intercom systems, event IT solutions, fiber backbones, and wireless signal transmission systems that scale easily for events of any size, anywhere in the world. Founded in 1987, the company now employs more than 400 people at 11 locations in Europe, Asia, Australia, and the Americas.

Visit Riedel Communications at IBC2014, Stand 10.A31

Photo Link:
www.wallstcom.com/Riedel/Riedel-OB3-Exterior.jpg
www.wallstcom.com/Riedel/Riedel-OB3-IntercomPanel.jpg

Westlake Pro Hosts Mixing Master Class with Andrew Scheps

First videos in series now available on YouTube

Los Angeles, CA – Westlake Pro, a leading retailer of professional audio, video, broadcast equipment, recording, and live sound equipment, technical services and musical instruments, recently hosted a Mixing Master Class with legendary audio engineer Andrew Scheps. The seminar, which took place at The Village Studios in Los Angeles, was filmed and edited into a video series, with the first of 13 now available for viewing on Westlake Pro’s YouTube channel.

Known for his distinctive mixing style and ability to bring the emotion out of songs, Scheps has engineered and mixed for some of the biggest rock bands in music: Metallica, Red Hot Chili Peppers, Weezer, Audioslave, Linkin Park, Green Day and U2. He’s also worked with icons such as Johnny Cash, Neil Diamond and Iggy Pop, as well as many independent artists.

Having successfully mixed with computers and software, or “in the box”, and on large format analog consoles, Scheps brings a unique perspective to mixing workflow, which he demonstrates by deconstructing some of his current work using Avid Pro Tools and S6 Control Surface.

The Mixing Master Class video series is divided into 13 videos of five to eight minutes in length and cover a wide variety of mixing topics as well as a Q&A session with the audience of around 150 people, most of which are working audio professionals. New videos in the series will be posted on Westlake Pro’s YouTube channel over the next several weeks. Please visit https://www.youtube.com/user/WestlakePro1.

About Westlake Pro
Based I Los Angeles, Westlake Pro specializes in business-to-business and retail sales of professional audio and video equipment, broadcast equipment, video editing software, recording software, computers, musical instruments and live sound application products. The company also provides technical services from complete studio design to live sound system design. Westlake Pro serves the Post Production, Broadcast, Music Production, Educational, House of Worship and Government markets.
For more information, visit www.westlakepro.com.

Archimedia Technology IBC2014 Product Preview, Partnering With Front Porch Digital, Stand 7.D14

Archimedia Technology at IBC2014

Conceived less than 18 months ago out of the need to deliver and read files originating from 4K cameras, Archimedia Technology has rapidly become the new standard for testing and playing master-grade media files. Archimedia offers a range of tools that allow video engineers and archivists to access, play, manage, and test files in all mastering formats, including JPEG 2000, ultimately making content deliverable more quickly at higher quality. Visitors to Archimedia’s stand at IBC2014 will see firsthand the power of this unparalleled line of tools on HD and UHD screens, including the foundation of its product line, the award-winning Archimedia Master Player. Archimedia will also introduce a new player built for everyday business use and a suite of desktop quality-measurement tools that replace existing desktop applications and traditional SDI hardware.

NEW Archimedia Enterprise Player
At IBC2014, Archimedia will demonstrate the Archimedia Enterprise Player, a new player designed for all stakeholders — expert or not — who must be able to view professional video reliably and precisely in order to do their jobs, especially those who need specialized technical support to deal with professional media. Users range from those who lack the technical expertise to use professional video tools, to video experts who simply need to review their work without tying up an edit suite.

The Archimedia Enterprise Player installs easily on any computer equipped with Windows(R) 7 or 8 by simply downloading the software from Archimedia’s website. Users can get media-specific email support from Archimedia, as well as Archimedia’s live online or phone support when needed. The Archimedia Enterprise Player plays all professional and consumer video and audio formats except for JPEG 2000, DPX, and 4K/UHD, which are found only in cinematic or production masters. Like the Master Player, the Enterprise Player can play captions and subtitles in more than 80 external formats and more than 50 embedded formats, and all video can play to a normal TV over HDMI so that what the user sees is real TV rather than a PC approximation of it. The Enterprise Player also delivers accurate audio in all modes — fast forward, rewind, slow, and scrub.

Because the Enterprise Player is designed for either operations budgets or capital budgets, a business can better control the balance sheet by adjusting operations costs based on changes in headcount. This pricing model enables enterprises to provide a sophisticated media player and specialized technical support to a defined number of employees without worrying about auditing licenses or the cost of maintaining in-house technical expertise. Made to run on existing office computers, the player software is free for businesses with an active support account, or can be purchased affordably with annual support included.

Photo Link: www.wallstcom.com/Archimedia/Archimedia-Enterprise-Media-Player.jpg
Photo Caption: Archimedia Enterprise Media Player

NEW Archimedia QuSee(TM) Suite
IBC2014 will see the debut of the Archimedia QuSee(TM) Suite, a family of tools to inspect and measure video, audio, and metadata for broadcast, postproduction, A/V, mastering, and distribution. Working in tandem with the Archimedia Master Player, the Archimedia QuSee Suite brings validation and verification functions to the desktop, allowing users to perform quality tests on files rather than on SDI streams created from files. The Archimedia QuSee Suite replaces aging SDI hardware such as video and audio waveform monitors, vectorscopes, and audio phase meters, as well as their desktop counterparts, which don’t come with a player that supports all of the common professional mastering formats as Archimedia Master Player does.

The Archimedia QuSee Suite contains a traditional video waveform monitor and vectorscope in a desktop floating window, with support for SD, HD, UHD, and 4K video sizes; standards-based frame rates; and all professional video formats including broadcast, cinema, and Web. For audio, a traditional audio waveform monitor and phase meters appear in a desktop floating window. The audio tools support uncompressed PCM and compressed audio formats including Dolby(R). One benefit of integrating desktop validation and verification with the Archimedia Master Player is the player’s unique ability to keep compressed video and compressed audio in perfect sync, even in fast forward, rewind, and slow-motion modes — an important factor in all kinds of media work.

Photo Link: www.wallstcom.com/Archimedia/Archimedia-QuSeeSuiteTeaser.jpg
Photo Caption: Archimedia QuSee(TM) Suite

Archimedia Master Player v2.2
At IBC2014, Archimedia will display the newest version of its inaugural product, the award-winning Archimedia Master Player. Designed for video engineers, producers, directors, manufacturers, and archivists who work with professional video formats, Archimedia Master Player is the first software player to support all common master formats in use today and the first to allow users to view, test, and measure archival-quality files on a standard UHD/HDTV and traditional SDI equipment. This revolutionary capability not only makes content deliverable more quickly at higher quality, but also makes it unnecessary to create and store the content in other formats. The ability to control audio and video remotely using RS-422 jog/shuttle wheels, with smooth scrub sounds for all supported formats in slow-motion, forward, and reverse, is one of the features that makes the player a true 4K-era replacement for videotape machines for master-grade quality control and archiving functions.

Version 2.2 delivers the ultimate set of formats and features to make Archimedia Master Player the player of choice for media professionals. Besides support for the emerging formats HEVC 4K and IMF, version 2.2 has a caption and subtitle viewer/navigator; high-quality scaling into SDI; the ability for nontechnical users such as archivists, directors, producers, and quality control specialists to decrypt digital cinema packages; and folder traversing for sequences such as DPX, TIFF, and EXR, which typically come in folders of thousands of files.

No other master player offers the combination of features and benefits that the Archimedia Master Player does.

Photo Link: www.wallstcom.com/Archimedia/Archimedia-MasterPlayerv2-2.jpg
Photo Caption: Archimedia Master Player v2.2

Archimedia Workstations
Visitors to the Archimedia stand at IBC2014 will get a close look at Archimedia Workstations driven by Archimedia’s breakthrough Master Player software. For QC operators, producers, directors, archivists, managers, and other media professionals in the digital cinema and broadcast industries, Archimedia Workstations take the guesswork and headache out of buying hardware for critical viewing and quality control of master media files. Available in broadcast HD, 2K Digital Cinema, and 4K/UHDTV versions, each Archimedia Workstation comes with a state-of-the-art HDMI output up to 4K@60Hz, 70 alignment test patterns up to 4:4:4 12 bits, and remote control support for the user’s choice of jog/shuttle/scrub device by Sony 9-pin protocol. Optional HD-SDI, 4K-SDI, and Quad 4K-SDI cards are available for SDI monitoring, and an optional Fibre Channel card enables use with a storage area network. Optional advanced test patterns up to 4:4:4 12 bits allow the most sophisticated users to set up critical workflows and systems.

Photo Link: www.wallstcom.com/Archimedia/Archimedia-Workstations-SoftwareIncluded.jpg
Photo Caption: Archimedia Workstation

Archimedia HD-SDI, 4K-SDI, and Quad 4K-SDI Cards
At IBC2014, Archimedia will display the Archimedia HD-SDI, 4K-SDI, and Quad 4K-SDI cards for the Archimedia Master Player. The cards, made by Bluefish444, include a Master Player installer that will flash the cards’ firmware so that they behave properly under control of the Master Player. By deploying the cards, video engineers and archivists can use an Archimedia Workstation as an HD or cinematic-quality videotape player or disk-based SDI video server. (The most sophisticated users could even deploy the cards with the Archimedia Master Player software on a standard Windows(R) 7 or 8 computer.) Under the control of the Archimedia Master Player, the user’s HDTV or UHDTV can display a video file at the same frame rate as the original when in full-screen mode, marking the first time that an HDMI monitor and SDI monitor can be faithfully compared up to 4K resolution alongside a computer desktop. For quality control, the file’s technical metadata can be viewed while the file is playing.

Photo Link: www.wallstcom.com/Archimedia/Archimedia-HDUHDand4KSDICards.jpg
Photo Caption: Archimedia HD-SDI, 4K-SDI, and Quad 4K-SDI Cards

Archimedia Advanced Test Suite
Along with other products that accompany the Archimedia Master Player, Archimedia will demonstrate the Archimedia Advanced Test Suite, including test pattern videos up to 4K designed in cooperation with the Library of Congress and a major global OTT VOD provider. These are a set of advanced test patterns developed by renowned video test and measurement company VideoQ specifically for aligning monitors precisely and pushing codec systems to the limit. Designed for use with the Archimedia Master Player and available in HD and 4K versions, the Archimedia Advanced Test Suite allows users to test, align, configure, troubleshoot, and stress any equipment with an SDI or HDMI input. Such devices include encoders, transmitters, video recorders, monitors, projectors, standards converters, editors, and ingest and capture devices. When combined with partner VideoQ’s VQMA-3 software analyzer and one of Archimedia’s SDI conversion cards, the Master Player and Advanced Test Suite offer the industry’s first full-featured test environment that is far less costly and far easier to transport than previous comparable test environments.

Photo Link: www.wallstcom.com/Archimedia/Archimedia-AdvancedTestSuite.jpg
Photo Caption: Archimedia Advanced Test Suite

Company Quote:

“After winning the STAR Award for the Archimedia Master Player at IBC last year, I’m happy to say that the player has become the reference standard in major movie studios and broadcast networks around the world. We’re excited to show visitors the most sophisticated version of the Master Player yet. We want Enterprise Player to replace free players that can’t offer tech support. And our newest tools move traditional SDI measuring tools onto the desktop and extend the Master Player technology even to nontechnical business users.”
– Mark Gray, President and CEO, Archimedia Technology

About Archimedia Technology
Archimedia Technology specializes in the processing, conversion, and playback of mastering formats, including JPEG 2000 and HEVC, for the professional broadcast, digital cinema, and video archival industries. Its technology and applications bring precise multiformat viewing to the professional’s desktop, TV, UHDTV, and infrastructure. Archimedia’s products fulfill a critical piece of production and archival workflows, encapsulating complex file interchange and quality control processes for mastering and archive formats into practical solutions that give end users a new level of access to their assets. More information is available at www.archimediatech.com.

All trademarks and registered trademarks mentioned herein are the property of their respective owners.

Jünger Audio Launches D*AP8 Codec Edition At IBC 2014

Digital audio specialist Jünger Audio is using the IBC 2014 platform (Hall 10, Stand A49) to launch a new Codec Edition of its D*AP8 Digital Audio Processor.

This unique device has a vital role to play in today’s broadcast environment because it is the only combination of broadcast audio codec and processor on the market that can carry out real-time metadata emulation.

Peter Poers, CEO of Jünger Audio, says: “Following Dolby’s decision in 2013 to discontinue its DP570 Multichannel Audio Tool, we are now the sole company in the world making and supplying a product that fills that gap. Our D*AP8 Codec Edition incorporates a Dolby decoder as standard and with a choice of optional encoders means that broadcast engineers in post-production, DVD and DTV facilities can check the quality of Dolby Digital AC3/E-AC3 encoded audio prior to transmission. Without this product, it is fair to say that broadcast engineers would not be able to carry out precise real-time metadata emulation in recent build production environments and would therefore have no way of checking exactly what television audiences hear at home.”

Mike Babbitt, Senior Manager, Professional Support Dolby Laboratories, Inc., says: “Dolby is happy to partner with Jünger Audio in bringing critical and innovative broadcast-enablement products to the worldwide broadcast community. Through our technical partnerships with valued partners like Jünger Audio, Dolby is continuing to enable current and next-generation broadcast and OTT workflows to provide consumers with the ‘In Dolby’ experience.”

The D*AP8 Codec Edition features a built-in Dolby® Metadata generator and Dolby® decoder that allows users to decode Dolby-E, Dolby-D (AC-3) and Dolby Digital plus (E-AC-3).

“Metadata is important because it ensures that television audiences at home hear their programs the way producers and content creators intended them to be. All kinds of audio parameters, including Loudness levels, are controlled this way. In countries where you can be fined if you get audio loudness wrong, it’s vital that broadcasters can check exactly what consumers will hear before material leaves their facilities.” Peter Pörs adds.

By incorporating SDI I/O with 3G/HD/SD auto detection, the D*AP8 Codec gives users the option of dealing with all 16 channels of SDI embedded audio at the same time. It is also possible to send further embedded programs to D*AP8 MAP’s AES outputs to feed a third party instrument for analyzing and/or display.

The D*AP8 Codec SDI board also acts as an embedder and comes with video delay to compensate for any kind of audio delay. This feature is ideal for those looking to maintain lip sync before encoding in QA suites or control rooms.

“Now that most of the DP products are no longer available, broadcast engineers still need hardware based solutions that can decode and encode Dolby®-E, Dolby®-D (AC-3) and Dolby® Digital plus (E-AC-3), as well as HE-AAC formats, and provide the essential metadata emulation function” Poers explains. “Our D*AP8 Codec Edition is the latest unit on the market that can offer various combinations of this and is effectively the successor of not just the DP570, but also in combination with the DP564/569 and 571/572.”

For more information about Jünger Audio, please visit IBC stand 10.A49 or visit the company’s website at www.jungeraudio.com

-ends-

About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.jungeraudio.com

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