A virtual press conference from Sound & Video Contractor

Archive of the Product Applications Category

d3 Technologies’ Media Servers Enable Mammoth Projection Mapping For “Marvel Universe LIVE!” North American Show Tour

It’s impossible not to use superlatives to describe “Marvel Universe LIVE!” the new arena spectacular – and first-ever live Marvel tour – produced by Feld Entertainment, Inc., which just made its 85-city debut with previews in Tampa, Florida. The live-action, movie-style production features amazing stunt performers, motorcycle chases, pyrotechnics, moving stages and astonishing projection mapping that features a three-story wall purported to be the largest projection surface ever built.

d3 Technologies media servers control a sizable array of projectors and LED for the immersive projection mapping, which has been praised in press reviews for enhancing the audience experience. Projections allow characters to seamlessly travel between The Avengers’ tower and Loki’s fortress; they showcase Tony Stark’s lab, a landslide in the Himalayas and the top of the Statue of Liberty.

Ash Nehru of d3 Technologies, says the size and complexity of “Marvel Universe LIVE!” represents an “unparalleled” usage of d3 media servers for projection mapping where scenic locations and effects map the set, props and arena itself. “There hasn’t been a show of quite this dramatic scale before with this kind of high-quality content,” says Nehru. The production is believed to feature the largest, most sophisticated video projection rig ever taken on tour. It utilizes 27 Barco HDF-W26 DLP projectors, each with 26,000-lumen output.

“Marvel Universe LIVE!” pits 25 Marvel characters in an epic battle over the Cosmic Cube, the source of ultimate power in the Marvel Universe, which has been shattered by Thor to prevent it falling into enemy hands. When his villainous brother Loki schemes to clone the Cube’s powers and threaten world domination Marvel’s biggest Super Heroes – including Iron Man, Captain America, Hulk, Spider-Man and Wolverine – must work together to retrieve the fragments from such adversaries as Green Goblin, Doctor Octopus, Red Skull, Madame Hydra, Aldrich Killian and Electro and reunite them.

In development and engineering for two years, the innovative production not only utilizes the entire arena floor but also a multilevel aerial space that puts audiences right in the middle of the action. “Marvel Universe LIVE!” has its world premiere in New York City’s Barclays Center, August 13. The first leg of its North American tour calls for stops in Washington, D.C., Philadelphia, Nashville, Miami and Atlanta.

Unprecedented Size and Scope

“Live representation of the Marvel Universe hasn’t existed successfully until this point,” says Bob Bonniol, video system and content designer for the production. His company, MODE Studios, provides turnkey video solutions for complex installations and consulted on the video system design for “Marvel Universe LIVE!” and supplied the projectors, d3 media servers and signal path equipment along with the expert content management, creation and design staff.

“When Disney bought Marvel it was very natural for live manifestations to be explored. It was equally natural for that exploration to ultimately be done by Feld Entertainment, a family-owned company that produces family entertainment,” he says. “They have enjoyed decades of successful collaboration with Disney producing live entertainment, they own and produce the Ringling Bros. and Barnum & Bailey Circus, and their motorsports division produces supercross, ‘Monster Jam’ and the enormously successful ‘Nuclear Cowboys’ stunt shows. This represents a ‘perfect storm’ of expertise that adds up to a tremendous show for Marvel.”

Bonniol says that from the outset director Shanda Sawyer and Kenneth Feld and Juliette Feld “were clear that we needed to completely immerse the audience in the show – that it needed to happen in front of them, around them, above them. We were going to have to convincingly endow real humans with super powers and place them in environments where cataclysmic battles would take place with flying, stunts, combat. It kept me awake at night wondering if we could really do this. And I’m sure I wasn’t alone!”

Bonniol had used d3 servers on a world tour for Mexican singer Paulina Rubio and a Vancouver Opera production of Mozart’s “Don Giovanni,” and his experience convinced him that, with d3 Technologies’ support, he could meet the unique demands of the show.

“We knew we had to track moving scenery, props and performers with mapped content. We were going to be the main ‘engine’ for imparting locations, combat effects and environmental effects and also for taking the audience on astonishing transitional journeys to get us from scene to scene. We needed a serving system that would do all of this, as well as move from city to city and efficiently be re-aligned.”

BlackTrax Integration and Previs

Bonniol worked closely with his associate Pablo Molina to conceive new ways to use localized content. Ash Nehru partnered with Bonniol, Molina and Cast BlackTrax development team to use the tracking data “across enormous resolutions with extraordinary accuracy and limited latency,” Bonniol says. BlackTrax is a comprehensive tracking technology solution that delivers precise 3D and 6D positioning in realtime from BTBeacons (attached to performers, vehicles and moving scenery) to controllers for automated/robotic technologies.

“We’ve been working with BlackTrax for some time. For our needs, it is the most advanced system that we know of.” Nehru reports. “On prior shows we had tracked 10-12 BTBeacons, but ‘Marvel Universe LIVE!’ requires 60. It was a learning experience to scale up and develop a system that could be easily managed by the user. But that has set us up well to provide solutions for other large-scale projects. Cutting-edge projects like Marvel Universe LIVE! really brought this feature we were already developing in d3 to a mature level so this will be something everyone will be able to benefit from soon.”

A d3 media server was also deployed during the previz process. “Since the show required an extended development period for content we were going to have to demonstrate easily and accurately what it would look like for Marvel, Disney and the Felds,” explains Bonniol. “I engaged The Antfarm to create most of my content, and we placed a d3 there at the beginning of the process. There were so many challenges in the content development process: understanding spatial relationships, making perspective work for multiple locations in the arena, sorting out how effects would transition among surfaces. D3 proved invaluable not just for client approvals but also for the content team to visualize all of these challenges and efficiently find solutions.”

“Viewing the content in 3D as they created it meant they were always working in a 3D environment and able to make critical decisions long before show time,” says Nehru. “When you use d3 in previs the savings in sweat, stress and money can be astronomical.”

Dynamic Soft Edge Launches

d3 Technologies also developed a new projector blending tool for the media server, which makes its debut with “Marvel Universe LIVE!” and will be standard in the system moving forward. “Typically, when you have multiple overlapping projectors there are bright areas where they overlap,” Nehru explains. “So you have to use a mask to blend them. It’s a manual and static process; you can’t have surfaces that move through the projector beam. With 27 projectors on ‘Marvel Universe LIVE!’ this would have been impossible.”

d3 Technologies had already been developing a solution to this problem. Marvel Universe LIVE! is the first large-scale implementation of this feature, called Dynamic Soft Edge. “With Dynamic Soft Edge we can generate masks automatically and dynamically so we’re able to move projection surfaces through multiple projector beams and come out with a flat color,” says Nehru. “This has huge implications for productions with moving scenery where there were always restrictions before.”

Bonniol says that “tracking scenery and performers through three dimensional space, having the server system understand how this was happening and be able to adjust on the fly how the projectors were blending and projecting the content is a deceptively simple thing to ask for but devilishly complicated to achieve. We asked for a very difficult thing to be achieved, and in the end it was.”

d3 Technologies also offers quick projector calibration – a huge advantage for a touring production with 27 projectors. “Each venue requires recalibrating, which takes five to ten minutes per projector,” Nehru says. “With 27 projectors, some of them moving-head projectors, more than 50 different calibrations have to happen in a few hours. The d3 media server is the only system that can handle this quickly and effiiciently by allowing multiple people to work in parallel on separate laptops.”

Bonniol calls d3 his “media server of choice when faced with sets that need projection mapping. I find d3′s programming interface to be intuitive and powerful and, right now, I think it’s absolutely the best choice for a media server that provides robust tools and process for mapping video onto non-traditional shapes and structures.”

Emmy Award-winner Joe Stewart is the production designer for “Marvel Universe LIVE!” and Norm Schwab is the show’s lighting designer.

About d3

d3 is the world’s first fully integrated visual production system for video professionals, combining a real-time 3D stage visualizer, timeline, video playback engine and projection mapping tools into one product. d3′s unique integrated workflow assists the designer at all stages of the project, from pitch through development to final delivery. www.d3technologies.com For more information contact Judith Hornman at d3 Technologies: +44 207 234 9840 / judith.hornman@d3technologies.com

About BlackTrax

CAST BlackTrax is the multi-award-winning realtime tracking technology solution that delivers precise streaming 3D & 6D positional data to controllers for targeting the connected automated robotic technologies already used extensively in event and entertainment production, and houses of worship. www.blacktrax.ca. For further information, please contact Katinka Allender, Publicist, k.allender@k-communications.com.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Product Applications |

WorldStage Provides 4k Solution for Adobe Connect Now Event at Lincoln Center

As part of its Creative Cloud 2014 event, a collective update of its entire line up of desktop and mobile apps for creative professionals, Adobe staged Adobe Connect Now, which debuted the 4K video capabilities of its Premiere editing software platform. WorldStage provided extensive 4K video and engineering support for the headline-making gathering at Lincoln Center’s Alice Tully Hall.

Adobe Connect Now is the latest in a series of Adobe events in which WorldStage has played a key role, including multiple AdobeMAX events and Digital Marketing Summits. PIX PRODUCTIONS, the producer for this event as well as past Adobe events, brought in WorldStage to handle the complex and exacting video display requirements of the show.

“This was the first 4k signal and work flow requirement for an Adobe event and we were delighted that our client PIX PRODUCTIONS called on us for support,” says WorldStage project manager Jack Dussault.

“With industry buzz centered on new, ‘cutting-edge’ 4K video applications, Adobe wanted to do demonstrations with a live audience, as well as have a web-streaming presence,” he explains. “The challenge for us was how to display 4K video, software, video switching and manipulation between several 4K sources for a live audience in a rather intimate theater setting of about 300 people while simultaneously streaming the live feed to an expected online audience of over 60,000.”

Dussault notes that WorldStage has done a lot of 4K – and larger – work in the past with projections up to 20K spanning a city block. “Almost all of our display applications exceed 2k or 4k resolutions,” he says. “But these are typically sourced from multiple HD outputs. Getting 4K out of single source is still relatively unusual.”

For Adobe Connect Now WorldStage “manipulated the four 1920×1080 quadrants of a native 4K signal and switched them via Vista Systems’ Spyder to a true Christie 4K projector,” he says. “Our engineers carefully planned and tested the signal path in our our California office before the event to reassure everyone that the system could manage this much information and behave as planned.”

Christie CP4230 34,000-lumen 4K DLP Digital Cinema Projectors with quad HD-SDI input card were used for the event. New Apple Mac Pro towers provided the 4k source material that was processed through the Vista X20 Spyder system.

The display was a 50-foot screen on stage at Alice Tully Hall where video clips and graphics would showcase how Premiere editing software easily masters 4K content. “One sequence with a snowy owl looked more 3D than 3D,” says Dussault. “The images were stunning, sharp, crisp and life-like.”

WorldStage is known for being in the forefront of emerging technologies, and 4K video is no exception. “3D projection, Pepper’s Ghost applications, wide-screen architectural mapping projections – we take on the cutting edge – and 4k source material will only push us further,” says Dussault.

For Adobe Connect Now, Jeremy Nichols was executive producer, Jamie Cherry was the producer, Jaki Johnsen production designer, John Bettini technical director, Shaun Boyle technical producer, Mark Jepsen camera director, Amy Richards live stage manager, and Lucas Hartog demo technical director.

At WorldStage, Richard Bevan was the account executive; Geof Gibson and Gary Kajikawa were in engineering development; Shane Zinke, Geof Gibson, Oleg Burmenko, Roger Gruchalski and Jeff Gottesfeld were live video engineers; and Paul Bevin, Luis Lojo and Erin Crane live audio engineers.

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.

For more information on PIX PRODUCTIONS, visit www.pixproductions.com.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Product Applications |

Worcester State University Upgrades to HD with FOR-A Video Switcher

Cypress, CA – When Worcester State University began its most recent studio upgrade, the school was looking for video equipment to take them into the world of high definition. In the market for a cost-efficient yet feature-rich switcher to train students, the university found what it was looking for in FOR-A’s HVS-390HS video switcher.

“We’d been using a switcher that limited our production capabilities. FOR-A’s HVS-390HS allows for more creativity and functionality, so we’re able to add an extra dimension into our teachings,” explained Tom White, Assistant Director of Multimedia Services at Worcester State University. “While our FOR-A switcher is HD, we had the option to keep our remaining equipment SD if we had to for budgetary reasons. This gave us some breathing room.”

Worcester State University’s video production studio went completely high definition in November 2013. The school primarily uses the HVS-390HS switcher for educational training purposes, but it also puts the switcher to work for in-house productions, such as student television shows, and announcement and marketing productions for the university.

The university has found the ease of use and design of the HVS-390HS switcher as two considerable benefits. Some of the students who operate the switcher have never done any type of video production before, but they quickly learn the basic functions of the unit. Durability and reliability are big factors of the HVS-390HS for the university, since around 80 students work with the switcher in a given week.

“We’ve been very impressed with the high cost performance of the switcher,” White said. “We’ve also noticed that there’s a great synergy with FOR-A’s HVS-390HS in the way it fits in our studio and works with our other equipment. It took almost no effort to integrate the switcher into our system. It’s just a beautiful unit that has been a great match for our school.”

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News, Product Applications, Switchers |

Guitarist/Singer Ben O’Neill Uses HARMAN’s AKG Microphones To Achieve Pure Sound

PHILADELPHIA, Pennsylvania – As a guitarist/singer/songwriter who has performed as a sideman for the likes of Kanye West, Christina Aguilera and Kid Cudi, and has recorded with Jason Nelson, Ben O’Neill relies on HARMAN’s AKG microphones for his own rock/alternative country acts, home recordings, and guitar recording classes at the University of Arts in Philadelphia.

O’Neill is a true jack-of-all-trades, having been nominated for a GRAMMY Award and fulfilling more roles in the music industry than some do in a lifetime. However, his pursuit of clean, organic-sounding tones within the music that he makes or teaches has never changed, which is why he continues to use AKG microphones. Whether it is the AKG C414 XLS microphone for recording, the 415 B in the classroom or the D5 microphone onstage, he has always relied on them for consistency and clarity.

“Unlike simulated sounds on a lot of records you heard on the radio, I try to make real guitar tones that are super-clean,” said O’Neill. “Whether I’m playing Bakersfield country or contemporary R&B, I’m looking for compelling sounds that are beautiful and organic. That’s why I love the C414 XLS microphone, because it gives the vocals and the guitars a level of clarity that you just can’t get from a dynamic microphone.”

O’Neill’s love for AKG is underscored by years of unwavering performance from his microphones. While affordable, AKG microphones are also designed to remain consistent throughout the years, capable of taking abuse that would leave other microphones faulty.

“When teaching, I try to incorporate a technology element in my lessons,” said O’Neill. “We look at amps, guitars, microphones and how they work in conjunction. AKG microphones are great for this purpose, and it’s always a blessing to be able to work with them. I really appreciate the support that I’ve received from the company, and the service has been great.”

For more information on Ben O’Neill, please visit www.benoneillmusic.com

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 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 global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: New Products, News, Product Applications |

Galaxy Macau’s Giant Crystals are Covered with Renkus-Heinz

Macau, China – August 2014… Macau is one of China’s hidden gems. Created as a special administrative region of the country, its famed Cotai Strip is modeled after its namesake in Las Vegas, awash with high-end casinos, resorts, and all the glitz that accompanies them.

The Galaxy Macau is one of the largest of the recent crop of major hotel-casino towers on the Strip. Among its amenities, the 2200-room complex offers six pools, including a wave pool with manmade beach.

The Galaxy’s casino hosts more than 1200 slot machines and 600 gaming tables. Visitors are greeted in the lobby by a fountain that transforms into a giant roulette wheel, just before a massive ten-foot (three meter) diamond rises from its top. As designer Jeremy Railton of Entertainment Design Corp explains, “the diamond is a metaphor for wishing casino visitors eternal luck and prosperity.”

The music accompanying the fountain is provided by a series of Renkus-Heinz ICONYX digitally steered column arrays. Eight IC8-R columns and eight more IC16-R columns provide even sound distribution throughout the area, overcoming the noise of the crowds and the fountain in this cacophonously reflective environment. The system, installed by Birket Engineering Ltd. and Audio System Consultants (Asia) Ltd., also includes eight ST8R self-powered three-way systems, with 12 PN112-SUBR 12-inch subwoofers for floor-shaking low frequency coverage. The entire system is digitally networked via RHAON for complete distribution and control.

On the other side of the Galaxy, the bus lobby is home to a series of giant crystals, floating above a shimmering pool. The crystals are designed with advanced motion sensor technology to trigger special visual effects as guests approach them, with good luck symbols flashing from the crystals and reflecting on the water.

The crystal display is also aligned with a Renkus-Heinz sound system, including 16 CF121 two-way systems and another dozen PN121 two-way systems. Nine SG81 speakers provide spot fills, and 12 PN112-SUBR subwoofers complete the system.

The Galaxy Macau opened its doors in 2012, and is presently undergoing the addition of another phase, to be completed in 2015.

 ###

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.

wysiwyg Lighting Design Video Challenge 2014

‘Be Smart, Be Creative’. Lighting Designers can enter their own unique Imagination into the wysiwyg Lighting Design Video Challenge by CAST Software! – a challenge open to all current wysiwyg R33 users and Members and to those who become so before the deadline of 26 September 2014.

“As in previous years, we’re looking to discover the next lighting design talent through previsualization, but this year’s participants will be challenged by having a “budget” just like they would in a real world project. This “budget” will be represented by an equipment limitation list,” explains, Igor Silva, marketing manager at CAST Group.

“Entrants can be pros or amateurs – all you need to do is be a registered wysiwyg Member, follow the equipment limitation list and guidelines, create a 2-minute video of your lighting design using wysiwyg version R33 then post it to your YouTube account and share it on CAST’s Facebook page. That’s the challenge!”

The best three entries will be handpicked by an expert panel of judges assessing entries on creativity in lighting rigs, programming and overall lighting design.

Winning entries will be showcased at the CAST Booth P10 at PLASA London on October 5th, 2014 then promoted online and in social media.

Additionally winners will take home:

1st place 1 year free wysiwyg membership
2nd place 9 month free wysiwyg membership
3rd place 6 month free wysiwyg membership

There will also be a People’s Choice award voted for on CAST Software’s Facebook page by industry peers, where the winner will receive a year’s wysiwyg membership or option to upgrade to ‘wysiwyg Perform’.

And the last word goes to Silva who says: “Show us what ‘Be Smart, Be Creative’ means to you!”

Raring to go?

The full terms and video requirements can be found here. Entry submissions start from 7 August to 26 September 2014.

Purchase wysiwyg and join the challenge. Go to https://cast-soft.com/cast/store/index.php.

Some Useful Links:

Twitter & Facebook: @CASTSoftware

CAST Forum: http://forum.cast-soft.com

About CAST Software

Established in 1994, Toronto Canadian-based software and hardware developer, CAST Software celebrates its 20th year in business in 2014. CAST Software serves its core markets in entertainment production, special events and meetings. Its award winning flagship software products are wysiwyg design and previsualization suite, and Vivien — Event Designer. All products are designed and created in-house and supported by an established global distribution and reseller network.

CAST Software Ltd. is a member of the CAST Group of Companies Inc.

www.cast-soft.com

Industry-Leading Harmonic Spectrum Server Line Offers Richer Functionality, Higher Density, and Lower Cost Per Channel

Spectrum Version 7.6 Release Boosts MediaCenter Channel Count and Capabilities, Enriches ChannelPort and MediaDeck Tools and Feature Sets

SAN JOSE, Calif. — Aug. 6, 2014 – Harmonic (NASDAQ: HLIT), the worldwide leader in video delivery infrastructure and market share leader in broadcast playout servers, today announced the release of version 7.6 of the company’s Spectrum(TM) media server product line. With this release, the Spectrum MediaCenter(TM) (MCP-2200A) media server system now supports 20 channels — eight more than previous models — and up to 32TB of integrated SAS storage in a compact 2-RU enclosure. The company also introduced a series of enhancements to the Spectrum ChannelPort(TM) integrated channel playout system and Spectrum MediaDeck(TM) server system that improve caption support, monitoring and scheduling capabilities, and integrated management tools.

“The MediaCenter platform has always been the best value for customers with moderate channel counts of four to 12 channels, and the MCP-2200A significantly increases that value, making an even more powerful Spectrum system available in a compact footprint and at a compelling price point,” said Andy Warman, director, product management, production and playout, Harmonic. “When combined with our Spectrum MediaPort and/or ChannelPort video I/O modules, this new addition to the MediaCenter family serves as a versatile yet straightforward solution for ingest, media prep, and playout.”

Ideally suited for transmission, studio production, news and sports highlights, and distributed broadcast workflows, the MediaCenter system allows users to simplify operation and maintenance while reducing overall rack space, power, and cost requirements. The high channel count (20 video channels at 50 Mbps or 10 channels at 100 Mbps) and increased SAS storage (approximately 1,200 hours at 50 Mbps) of the MCP-2200A are complemented by file transfer support for the ingest and export of clips, audio, and subtitle files. In addition to being easy to install and maintain, the system offers the rock-solid reliability for which the Spectrum product line is renowned.

The MediaCenter system supports conventional ingest and playout operations when combined with MediaPort I/O systems. When combined with ChannelPort systems for integrated channel playout (ICP) applications, it provides robust functionality including graphic branding, DVE, key and fill, video and audio switching, and much more. The ChannelPort system itself has been augmented with open caption support, which enables caption files that have been imported into a Spectrum server to be played out frame-accurately with the caption text burned into the video as a graphic. This capability is ideal for play-to-air scenarios in which captioning is required for multilingual viewers or the hearing impaired, and its integration into the ChannelPort system reduces the need for costly downstream insertion equipment.

A new Monitor Mode for the ChannelPort system enables each simulcast port to be used as a master control/gallery monitor wall output of the primary output, with timecode, clip status, and clip names burned into the video output. Operators thus gain at-a-glance access to on-air clips. The addition of a Schedule Tool application enables multiple users to create playlists that can later be played to air by Harmonic’s Onboard Playlist Control (OPC) automation.

In refining the company’s MediaDeck server system, Harmonic has embedded all configuration, maintenance, and monitoring tools within the system chassis. The user is presented with a Web page showing alarms and messages, configuration tools, status configuration, and licensing information and maintenance tasks in an easy-to-use interface.

At stand 1.B20 during IBC2014, Sept. 12-16 in Amsterdam, Harmonic will showcase its comprehensive line of market-leading solutions that optimize the production and delivery of high-value video services in the broadcast, pay-TV, and new media environments. Further information about Harmonic and the company’s products is available at www.harmonicinc.com.

# # #

About Harmonic
Harmonic (NASDAQ: HLIT) is the worldwide leader in video delivery infrastructure for emerging television and video services. The company’s production-ready innovation enables content and service providers to efficiently create, prepare, and deliver differentiated services for television and new media video platforms. More information is available at www.harmonicinc.com.

This press release contains forward-looking statements within the meaning of Section 27A of the Securities Act of 1933 and Section 21E of the Securities Exchange Act of 1934, including statements related to the anticipated capabilities and benefits of Harmonic’s, ChannelPort(TM), MediaDeck(TM), MediaCenter(TM), Spectrum(TM) products. Our expectations and beliefs regarding these products may not materialize and are subject to risks and uncertainties, including the possibility that the products may not meet some or all of their anticipated capabilities or provide some or all of their anticipated benefits, such as reliability, versatility, cost savings, robust functionality, and simplification of operations.

The forward-looking statements contained in this press release are also subject to other risks and uncertainties, such as those more fully described in Harmonic’s filings with the Securities and Exchange Commission, including its Annual Report on Form 10-K for the year ended Dec.31, 2013, its Quarterly Reports on Form 10-Q and its Current Reports on Form 8-K. The forward-looking statements in this press release are based on information available to Harmonic as of the date hereof, and Harmonic disclaims any obligation to update any forward-looking statements.

EDITOR’S NOTE - Product and company names used herein are trademarks or registered trademarks of their respective owners.

Visit Harmonic at IBC2014, Stand 1.B20

Photo Links:
www.wallstcom.com/Harmonic/Harmonic-SpectrumFacility.jpg
www.wallstcom.com/Harmonic/Harmonic-SpectrumFamily.jpg
www.wallstcom.com/Harmonic/Harmonic-SpectrumMediaCenter-Front.jpg

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News, Product Applications, Videos |

Nexidia QC v2.3 Features Caption Retiming and Expanded Support for International Formats and Languages

ATLANTA — Aug. 5, 2014 — Nexidia, developer of dialogue and audio analysis products and technologies for optimizing audio and video media, today announced Nexidia QC(TM) v2.3, the latest release of its software tool for automating quality control of closed captions, video description, and languages for broadcast and IP workflows. Nexidia QC v2.3 adds caption retiming, additional caption formats, and more languages to meet the needs of international broadcasters and media outlets that are facing increased caption regulations.

“Closed captions and subtitles have long been a challenge for broadcasters, but recent and pending legislation in the U.S. and throughout the world has created renewed motivation to tackle the complexities once and for all,” said Drew Lanham, senior vice president and general manager of Nexidia’s Media and Entertainment division. “We have added automated caption retiming for live captioned content to Nexidia QC, making it the first caption tool to automatically correct live caption-timing issues, ensuring that captions are synchronized with the speech in repurposed content. Also, we are implementing improvements to address the specific needs of international broadcasters with broader support for languages and caption file formats.”

Nexidia QC v2.3 can now test for and repair out-of-sync captions due to drift. Drift occurs when time codes are misinterpreted or changed as a result of a frame rate conversion to meet a delivery specification. For example, a frame rate mismatch of 29.97 DF (drop frame) versus 29.97 NDF (non-drop frame) will produce a caption drift of 3.6 seconds per program hour. This presents a problem for many organizations as the captions at the beginning of the video appear to be correctly timed, when in fact they are not. Nexidia QC compares the captions with speech throughout the entire audio file to detect and report these kinds of timing issues. Nexidia QC can now automatically correct the caption file timing preventing costly re-captioning.

As part of Nexidia QC’s language identification function, Nexidia QC v2.3 has an expanded library of languages and can now distinguish between dialects, such as Latin American Spanish versus Castilian Spanish.

Nexidia QC v2.3 has added support for STL and EBU-TT, the most widely used caption formats in Europe. It also fully supports the iTunes(R) Timed Text (ITT) format used for distribution to iTunes, enabling it to accommodate all types of media organizations around the globe.

Nexidia QC v2.3 can also identify the language of the captions displayed on screen regardless of the audio track or any language metadata included in the caption file. At the same time, a spell-check function has been incorporated to test for the proper spelling of captions.

These enhancements serve to provide the most thorough automated caption QC tool available today, whether used as a stand-alone application or as part of a unified QC system such as Amberfin’s UQC platform and workflow automation tools such as Telestream Vantage.

Nexidia will demonstrate Nexidia QC v2.3 at IBC2014 in stand 3.A54, in Telestream stand 7.C12, and in Dalet stand 8.B77. The product will be available in Q4 2014.

More information about Nexidia QC and other Nexidia products is available at www.nexidia.tv.

# # #

About Nexidia
Nexidia is the audio and video search company with patented technologies and breakthrough applications that make it quick and easy for customers to gain new insight, boost their competitive advantage, and monetize large volumes of audio and video assets from entertainment, sports, news, education, corporate, government, financial, house of worship, and non-profit organizations. More information is available at www.nexidia.tv.

All trademarks appearing herein are the property of their respective owners.

Visit Nexidia at IBC2014, Stand 3.A54

Photo Links:
www.wallstcom.com/Nexidia/Nexidia-NQCJobResult.jpg
www.wallstcom.com/Nexidia/Nexidia-NQCRetimingVisual.jpg

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.

# # #

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”

About

Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

Calendar

August 2014
M T W T F S S
« Jul    
 123
45678910
11121314151617
18192021222324
25262728293031

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication