A virtual press conference from Sound & Video Contractor

Archive of the Tradeshow News Category

ZONA RECORDING STUDIOS ADDS API’s THE BOX

LONG ISLAND, NEW YORK – JULY 2014: Recording engineer John Zona works with much of the talent in the artistic-rich area of Huntington, New York through Zona Recording Studios. While currently running the studio around his full-time gig of pin striping motorcycles, he is transitioning his time mixing and recording from a hobby to a full-scale operation. As part of that transition, Zona has added API’s THE BOX to help bring enthusiasm and excellence to clients, ensuring they’ll come back and refer others.

“I am very pleased with my decision to purchase THE BOX,” recalls Zona. “After shopping around, doing research, and even demo-ing the board at the API headquarters in Maryland, it became clear API was the way to go. I am very impressed with the quality of the EQs, mic pre’s, as well as the reputation, construction, and warranty of the board.”

Zona, who is also an accomplished drummer, bass guitarist and composer, is presently taking the final steps in reconfiguring and wiring his updated studio space. While doing that, he’s using THE BOX to re-mix music he’s previously recorded. “I am getting results I had not even anticipated,” shares Zona. “I look forward to being an API customer for years to come.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and THE BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

Quantum IBC2014 Preview, Stand 7.B26, Sept. 12-16, Amsterdam

Quantum Products at IBC2014

Quantum StorNext(R) is the market-leading storage technology for media and entertainment workflows, enabling high-performance, real-time collaboration and keeping content readily accessible for reuse and remonetization. For more than a decade, the world’s top studios and broadcasters, along with thousands of cutting-edge content creators, have put their trust in Quantum for their most demanding media workflows.

All StorNext solutions are built on the power of StorNext 5, the new generation of Quantum’s award-winning storage platform. StorNext 5 solutions empower media professionals to rethink their workflows for higher performance and cost-effective efficiency. With StorNext 5, they can ingest more content from multiple camera sources, create more content, deliver it on time, and preserve owned content for future monetization.

StorNext(R) Pro Solutions High-Performance Workflow Storage
At IBC2014, Quantum will showcase its StorNext(R) Pro Solutions, which offer postproduction and broadcast professionals three complete high-performance workflow storage solutions.

StorNext(R) Pro 4K addresses the performance and scalability demands of true 4K production. With flash-based metadata performance using the StorNext M445 SSD metadata appliance and scalability provided by StorNext QX-1200 RAID Storage (144 TB raw capacity), this rock-solid storage solution enables efficient 4K workflows, including ingest, post, and delivery. StorNext Pro 4K empowers users to ramp up 4K production and meet aggressive deadlines while staying within budget.

StorNext(R) Pro Studio refreshes or extends existing Xsan deployments with 100 percent compatibility. A complete solution for storage deployment in the production studio, StorNext Pro Studio is ideal for postproduction facilities with aging Xserve(R) systems or with any other aging storage system that is incapable of expanding to meet the user’s growing demands. The solution combines the StorNext M441D metadata appliance with the StorNext QX-1200 RAID storage (48 TB raw capacity) in an integrated solution that is cost-effective and easy to deploy.

StorNext(R) Pro Production enables content owners to manage workflows ranging from production to the creation and maintenance of long-term content libraries. The solution combines the powerful StorNext M662XL metadata appliance, StorNext QX-1200 RAID storage (96 TB raw capacity), and a StorNext AEL500 41-slot LTO-6 library with 102.5 TB raw capacity for cost-effective archiving automated by StorNext Storage Manager. The solution facilitates control, monetization, and long-term management of content by uniting production, review, archive, and LTFS sharing functions in one system, thus offering incredible storage capacity and very high performance.

Photo Link: www.wallstcom.com/Quantum/Quantum-StorNextProStudio.jpg
Photo Caption: StorNext(R) Pro Solutions

StorNext(R) Connect Monitoring and Management
For the first time at IBC, Quantum will introduce StorNext(R) Connect, a new way to monitor and manage StorNext deployments. StorNext Connect dramatically simplifies the process of configuring systems and eases ongoing system management and health monitoring. Through StorNext Connect, customers can install StorNext software, upgrade StorNext clients and servers, restart clients, check status on automated tasks, and troubleshoot performance issues through real-time graphs.

Quantum StorNext(R) Demonstration at IBC2014

During the IBC2014 exhibition, Quantum will feature a demonstration of its StorNext(R) technology in cloud-enabled environments. By building on its leadership in moving media workflows to the cloud and by working closely with its extensive partner ecosystem of leading media management and production automation vendors, Quantum has developed StorNext cloud solutions. These solutions enable wide-scale collaboration on content stored in the cloud without disrupting users’ existing and familiar workflows.

Photo Link: www.wallstcom.com/Quantum/Quantum-SNintheCloudSlide.jpg
Photo Caption: Quantum StorNext(R) in the Cloud

Company Quote:

“IBC is always a great place to engage closely with current and prospective customers and to demonstrate how the latest StorNext developments can benefit their businesses and operations. This year we look forward to showcasing not only the power and robust functionality of our StorNext Pro Solutions, but also the convenience and control that come from StorNext Connect. Attendees also will have the chance to examine ‘StorNext in the Cloud.’ They will see how it allows people to collaborate on content in a secure, private cloud within a familiar, natural workflow.”
– Alex Grossman, Vice President, Media and Entertainment at Quantum

Company Overview:

Quantum is a leading expert in scale-out storage, archive, and data protection. The company’s StorNext 5 platform powers modern high-performance workflows, enabling fluid, real-time collaboration and keeping content readily accessible for future use and re-monetization. More than 100,000 customers have trusted Quantum to address their most demanding content workflow needs, including top studios, major broadcasters, and cutting-edge content creators. With Quantum, customers can Be Certain(TM) they have the end-to-end storage foundation they need to manage assets from ingest through finishing, and into delivery and long-term preservation.

Quantum, the Quantum logo, Be Certain, and StorNext are either registered trademarks or trademarks of Quantum Corporation and its affiliates in the United States and/or other countries. All other trademarks are the property of their respective owners.

Calrec Consoles Drive Audio During World Cup Coverage

Artemis Consoles Used to Create Full Mixes in 5.1 and Stereo Simultaneously

HEBDEN BRIDGE, U.K. — July 21, 2014 – The BBC relied on Calrec Audio’s digital audio consoles during its coverage of the FIFA World Cup beginning in June. The broadcaster used a combination of three rented consoles to mix the audio in Brazil for transmissions in the U.K.

At the International Broadcast Centre (IBC) in Rio de Janeiro, two 24-fader Artemis Light consoles served as the first point of control in the signal path, responsible for submixing all sound associated with the matches and creating simultaneous 5.1 and stereo mixes. In addition, controlled commentary and controlled effects were passed on to all other users including the edit suits in the IBC, the various multiplatform control suites in the U.K., and the BBC’s studio broadcasting center (SBC), also in Rio.

At the SBC, a 56-fader Artemis Beam was used to combine the submixes from the IBC with other sources, including studio mics, postproduction playbacks, contributions from venue reporters/presenters, and audio-only playback such as music, sound effects, and voice recordings. These were all mixed into final 5.1 and stereo feeds and then passed on to the transmission network in the U.K.

“The BBC is our oldest customer and we have a long history of collaboration to ensure the products evolve to meet its needs,” said Jim Green, Calrec’s U.K. sales manager. “We’re always eager to support major projects like the World Cup broadcast from Brazil, where the BBC has taken advantage of Calrec functionality to make the whole workflow more efficient.

“Technology and viewer expectations are always moving forward, so each tournament faces new challenges that require better solutions,” Green added. Since the last World Cup there has been advancement in surround sound and loudness regulations, and this year the BBC has incorporated augmented- reality visual effects that bring their own set of audio-visual synchronization challenges. Calrec works closely with its customers to stay abreast of the technology and evolving requirements.”

Information about Calrec and its products is available at calrec.com.

# # #

About Calrec Audio Ltd.
Calrec Audio is exclusively dedicated to excellence in audio mixing for on-air and live production. A broadcast specialist for 50 years, Calrec has developed a range of digital consoles relied on by the world’s most successful broadcasters. For putting sound in the picture, broadcasters put their trust in Calrec. More information is available at calrec.com and community.calrec.com.

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

Visit Calrec Audio at IBC, Stand 8.C58

Photo Link: www.wallstcom.com/Calrec/Calrec-BBC-DaveinStudio.jpg
Photo Caption: Dave Lee, Lead Sound Supervisor, BBC Sport

Photo Link: www.wallstcom.com/Calrec/Calrec-Artemis-closeup.jpg
Photo Caption: Calrec’s Artemis Audio Console

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Jünger Audio’s IBC 2014 Line Up Delivers Perfect Voice Recording

At IBC 2014 (10.A49), dynamics processing specialist Jünger Audio will show its D*AP4 VAP Voice Processor – a unique unit that is designed to make life easier for engineers working in radio stations, TV production voice-over studios and feature film ADR facilities.

What makes this processor so special is the inclusion of Jünger Audio’s proprietary Spectral Signature™ dynamic EQ – a totally new creative tool that offers automatic and dynamic EQ control to balance spectral differences in real-time. By analyzing incoming audio and comparing its spectrum with individually predetermined voice ‘fingerprints’, this clever unit can automatically apply dynamic EQ corrections to give a consistent sound.

For people working in TV voice over and feature film ADR, this facility is a Godsend because it allows them to deal with any changes in a performer’s voice. For example, if a performer has a sore throat on day three of a recording session and therefore sounds a bit different, this clever unit will look at the tonal characteristics of the actor’s voice on day one and automatically adjusts the frequency until both voices match. This ability to deliver consistent sound means that producers save money and time because they don’t have to cancel voice over or ADR sessions while they wait for an actor’s voice to return to normal.

Jünger Audio’s D*AP4 VAP Voice Processor is equally interesting to radio broadcasters who want to create an aural identity for their radio stations. By using similar spectral sound management principles, the unit measures the running program and uses the station master sound fingerprint as a reference. The Spectral Signature algorithm matches all different program elements to this reference signature, thus creating a dedicated ‘station sound’.

“The D*AP4 VAP draws on our extensive experience with previous Voice Processing devices such as our popular VO2, but adds new tools and algorithms to create an easier and more efficient approach to voice processing with no compromise in sound quality,” says Peter Pörs, CEO of Jünger Audio. “We have also included processing such as HP/LP filtering, versatile dynamics section, full parametric EQ and de-essing, and made the unit really easy to use – even for non-technical radio staff such as producers and journalists.”

Jünger Audio has also provided a dedicated voice leveler combined with an auto-mixer circuit to help mixed voice programs into loudness-based broadcasting on the fly. Using the optional SDI I/O card automated voice over for SDI embedded audio becomes an attractive feature of the D*AP4 VAP.

Connected as either an insert into a mixing desk or as a stand-alone unit, D*AP4 VAP offers interfaces that allow integration in existing environments via an AES insert. The unit can also be used with an optional analogue board that adds two high quality mic-preamps.

For more information about Jünger Audio’s D*AP4 VAP, please visit IBC stand 10.A49 or visit the company’s website at www.jungeraudio.com

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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

DPA Gets Up Close And Personal With Scarlett Johansson

DPA microphones turn up in some unusual places, but inside Scarlett Johansson’s t-shirt has to be one of the brand’s more exotic locations.

According to French sound engineer Stéphane Bucher, DPA’s d:screet™ 4060 miniature microphones were absolutely perfect for this role because they offered such exceptional audio quality. He used three of the mics to capture Johansson’s performance during the making of Lucy, a new film directed by Luc Besson that is due for theatrical release later this month.

“d:screet 4060 microphones are very small but that wasn’t the reason why I chose to use them,” Bucher explains. “It was all about their audio fidelity – when it comes to sound quality DPA 4060′s are much, much better than other lavalier mics on the market.”

As an internationally acclaimed sound engineer, Bucher has worked with numerous famous actors and directors including Morgan Freeman, Pierce Brosnan and Kevin Costner. In recent years many of the projects he has undertaken have come via major feature film producers such as EuropaCorp. He also owns and manages the Paris-based rental company, A4Audio, which supplies audio equipment to film and TV clients.

“During the filming of Lucy, it was important to take on board Luc Besson’s directing style,” Bucher explains. “He is not the easiest person but I was really happy to work with him. He shoots so fast and wants the actors ready to go when they come to set because he already knows exactly what he wants. Once the actors are here, it is too late, you’ll not have time to put a lavalier on anyone.”

Fortunately, the film’s costume designer Olivier Beriot completely understood Bucher’s problems and was able to work with him to devise a way of permanently attaching a microphone to Scarlett’s main costume.

“Olivier is the best costume designer I have ever worked with and I have huge respect for him,” Bucher says. “Scarlett’s main costume was a white, half translucent T-shirt so we used a white d:screet 4060 microphone which was inserted into the seam of the t-shirt by the dressmaker. We had three t-shirts ready at all times and the solution worked perfectly, giving us great audio but without any visibility issues.”

Bucher adds that this wasn’t the first time he’d used DPA microphones – indeed, he first started using them many years ago when he was recording classical music.

“Like every other sound mixer, my equipment is really important and I’m constantly looking for the best microphones, mixers, recorders, etc,” he says. “When I started working in film and TV sound, I was using the same lavalier microphones as everyone else because I didn’t really have a choice. Now I do have a choice and I can use the best mics available for cinema sound, which happen to be DPA. I originally chose them because I was tired of going to the cinema and hearing that recognizable sound you get with other lavalier microphones. DPA’s sound is really translucent and clear – to the point where sometimes I can’t tell if I’m listening to the boom or the 4060.”

Since completing Lucy, Bucher has been in the USA working with director Olivier Megaton on the film Taken 3, which stars Liam Neeson and Forest Whitaker. As the film requires audio to be recorded inside a car, DPA’s French distributor Audio2 equipped him with a number of d:dicate™ 4018 supercardioid microphones, which are ideally suited to this type of location work.

“They were great,” he says. “I used them for one particular car chase where Liam Neeson is driving very fast on the highway. I needed a very small mic to put into the car’s sun visor. We bought two new sun visors, opened them up and put the 4018 mics inside. This worked perfectly. We also tested them on a much simple car scene, in which Forest Whitaker is driving and talking, and they worked great for that, too.”

Stéphane Bucher is now in France preparing for his next film project, which will undoubtedly feature DPA microphones in a starring role.

“I’ve always been really happy with the audio quality DPA microphones deliver and that’s why I keep going back to them,” he says.

-ends-

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

Primestream, IBC2014 Preview, Stand 7.D21

Products on Display at IBC2014:

FORK Production Suite v4.6
At IBC2014, Primestream(R) will show FORK(TM) Production Suite v4.6, the latest version of its acclaimed software platform for managing the automation of the most complex broadcast workflows. With new modules, functionality, and integrations with the leading broadcast hardware and software vendors, FORK v4.6 is the most extendable, configurable, and powerful version of FORK ever released and includes major revisions to the underlying structures of the version that debuted at the 2014 NAB Show. These upgrades increase overall system responsiveness and provide for the handling of a vastly increased quantity of media assets.

These many improvements position FORK for the support of H.264, H.265, and mXF formats as well as 64-bit and 4K workflows. Behind this thinking is the intent that its customers feel secure that investments they make today pay big dividends in the future as they move toward the adoption of new formats and standards. FORK v4.6 also includes deep two-way integrations with nonlinear editors like Adobe(R) Premiere(R) Pro, Avid(R) Media Composer(R), and Apple(R) Final Cut Pro X(R). The integrations support edit-while-capture workflows with XDCAM(R), ProRes(R), and AVC-Intra(R) — empowering sports, news, entertainment, and corporate video operations to use industry-leading NLEs — while gaining the benefits of the FORK media asset management and automation platform for I/O, logging, tagging, proxy editing, workflow management, and archiving.

Photo Link: www.wallstcom.com/Primestream/Primestream-FORK4-6ProductionSuite.jpg
Photo Caption: FORK(TM) Production Suite v4.6

FORK Xchange Suite v3.0
Making its European premier at IBC2014, Primestream(R) will demonstrate FORK(TM) Xchange(TM) Suite v3.0, a major upgrade to the application that gives broadcasters instant Web access to content on their FORK Production servers from any Windows(R), Mac(R), or tablet device. Xchange v3.0 features a completely redesigned iPad(R) interface optimized for Apple(R) iOS 7. Also new in Xchange, users can now manage non-video files such as audio, image, document, and project files. Direct integration with multiple transcode engines for proxy rending is also made available in Xchange v3.0.

Other new features and capabilities include:

* Xchange Uploader: Allows users to submit raw or finished packages directly into the FORK production environment via a Web-based interface.
* Xchange Downloader: Allows users to download source content in order to edit final packages locally, with the ability to choose among multiple qualities to download.
* Xchange Partial File Download: Users can download sections of media, allowing faster download workflows and eliminating the need to download entire media.
* Quick, Cuts-Only Editing: Allows users to create a rough cut with footage in Xchange and send the timeline to the FORK Production environment for distribution.

Photo Link: www.wallstcom.com/Primestream/Primestream-FORKXchangeSuite3.jpg
Photo Caption: FORK(TM) Xchange(TM) v3.0

Archive Bridge v1.0
Making its European premier at IBC2014, Archive Bridge(TM) v1.0 is a new module for the FORK(TM) Production Suite that provides tight integration between industry-leading archival solutions and the FORK media asset management and production automation platform. Archive Bridge enables disaster recovery workflows and interconnects multiple production environments with a central archive point — adding essential visibility into the archival workflow and allowing facilities to make the most of their archiving dollars.

Photo Link: www.wallstcom.com/Primestream/Primestream-ArchiveBridgeUI.jpg
Photo Caption: FORK(TM) Archive Bridge(TM) v1.0

FORK Logger With STATS Makes European Debut
Making its European debut at IBC2014, FORK(TM) Logger, the metadata tagging module in the acclaimed FORK Production Suite, now integrates with in-depth data feeds from STATS, the global leader in sports information, technology, and content. With this service, FORK Logger users can start their sessions with prepopulated placeholders that contain rich event data, such as team name, location information, rosters, conference name, and win/loss records, pulled from the STATS feed. Working from these populated placeholders enables users to avoid manually entering data, which increases the accuracy of the descriptive information.

Photo Link: www.wallstcom.com/Primestream/Primestream-Logger-sports.jpg
Photo Caption: FORK(TM) Logger for Sports

Company Quote:
“In response to customer feedback, we have been hard at work further future-proofing the foundations of the FORK ecosystem. With a completely rebuilt foundation, FORK is ready for the UHD future and our customers have a roadmap to take their operations to the next level.”
– Claudio Lisman, Primestream President and CEO

Company Overview:
Primestream(R), a leader in advanced automation and asset management software, offers a seamless end-to-end platform for the digital acquisition of live and file-based content, editing, logging, control room and master control playback, Web publishing, smartphone video contribution, and archiving. Primestream’s proven solutions are implemented by some of the world’s leading broadcasters, uplink service providers, online digital media operations, corporations, and production/postproduction facilities — and is ideally suited for multisite operations. More information is available at primestream.com.

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Artspace Studio Buys a Prism Sound Titan Audio Interface

Artspace Studio, one of London’s premier boutique recording, has recently invested in a Prism Sound Titan USB multi-track audio interface for its Brixton-based facility.

“Titan was recommended to me by quite a few people, including mastering engineer Mandy Parnell at Black Saloon Studios and Kirk DeGiorgio (aka As One),” explains mixing and mastering engineer/producer, Tom Gillieron. “We thought we’d test one out, and we were amazed! I do a lot of mixdown work for people and they send me tracks that they’ve mixed down ‘in the box’ in Pro Tools, Ableton or Logic. When I compare the mixes I have done through the Titan and then summed on the SSL Matrix, the clarity in the high end is amazing and the stereo image is far clearer and more impressive.”

Studio owner Olsi Rama agrees that the Prism Sound Titan has been the best purchase Artspace has made this year.

“We have used the pre amps a lot because they are great, and we have also used it to clock from our Digidesign 192s,” Rama says. “We have an 8-track 3M tape machine at the studio and sometimes we like to record drums onto that. With the Titan’s fantastic conversion we can get back into the computer really easily without losing the warm analogue sound.”

Artspace is developing a strong reputation as the place to record in London. Artists who have recently worked in the facility include Jamie T, Marmozets, The Severed Limb and Martyn Ware (Human League). It is a mixed digital and analogue recording facility that offers three rooms, including a large live room, the Octagon, billed as a distinctive space ideal for laying down drums and group recordings.

Rama adds that another feature both he and Gillieron like is Titan’s versatile USB connection.

“This is great because it allows visiting engineers to just plug in their laptop with their preferred software and make an immediate connection to our vintage outboard processors without losing any of the detail,” he says.

Gillieron adds: “I have mixed down some tracks that I started elsewhere, on different speakers and on headphones and so on. The Prism Sound unit gave all the projects a bit of a boost – to my ears – which was exciting but also made me listen to them more carefully and mistakes became more obvious.”

For the future Gillieron is looking forward to using the Titan on multitrack field recordings of live musicians, but he’s already impressed with what it has revealed through his current and long-standing audio set-up.

“I have mastered a few tracks using the Titan and I find it’s easier for me to pinpoint unnecessary resonance than it was with what we were using before,” he says. “And I’ve been using the same speakers and amp for about 18 years.”

Gillieron has recently remixed PHORIA and his re-mix can be heard at this link: https://soundcloud.com/phoriamusic/emanate-tom-gillieron-remix

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

Riedel Communications IBC2014 Product Preview

Visit Riedel Communications at IBC2014 at Stand 10.A31

Riedel Products at IBC2014:

Tango — Next Generation Matrix Intercom
At IBC2014 Riedel will introduce Tango. Tango is an entirely new intercom solution, breaking systems boundaries.

Photo Link: www.wallstcom.com/Riedel/Riedel-TangoTeaser.jpg
Photo Caption: Tango Teaser Ad

MediorNet 2.0, MediorNet MetroN, and MediorNet as a WAN Solution
Making its European debut, MediorNet 2.0 is a firmware update for the MediorNet real-time media network that provides video router functionality and high-speed rerouting. MediorNet 2.0 is available now.

The MediorNet MetroN is a 2-RU large-scale core router that provides a real-time routing capacity of 64x 10G ports. MediorNet MetroN can function within a larger MediorNet installation, interfacing with other MediorNet frames via fiber.

Finally, the MediorNet networked approach to signal routing and distribution has been expanded to include WAN capabilities. Supporting forward error correction, retransmission management, and dynamic bit rate management, the Code One Transport Protocol used by MediorNet H.264 encoders and decoders ensures that the public Internet can be used effectively for point-to-point transmission of professional audio and video.

Photo Link: www.wallstcom.com/Riedel/Riedel-MediorNet2_0Update.jpg
Photo Caption: MediorNet 2.0 Update

Photo Link: www.wallstcom.com/Riedel/Riedel-MetroNCoreRouter.jpg
Photo Caption: MediorNet MetroN Core Router

Photo Link: www.wallstcom.com/Riedel/Riedel-MediorNet-H264-DPro.jpg
Photo Caption: MediorNet WAN Solutions

Other Products on Display:
- MediorNet Modular and MediorNet Compact
- MediorWorks software
- Performer, Artist, and Acrobat communications systems
- RockNet Fiber-Optic Converters and console interfaces

Company Quote:

“As quickly as the business of broadcasting is evolving, so is Riedel. We are continuing to develop next-generation solutions that leverage the power and convenience of our networked approach to signal transport and routing, and look forward to launching a few of these at IBC in September.”
– Thomas Riedel, CEO, Riedel Communications

Company Profile:

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.

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2014 Entertainment in the Internet Age (ETIA) Conference Show Report

ETIA 2014 Overview

Showcasing the state of the art in technologies for providing entertainment over digital infrastructures, the second Entertainment in the Internet Age (ETIA) conference was jointly sponsored by SMPTE and Stanford’s Center for Image Systems Engineering (SCIEN). On June 17 and 18, attendees gathered in the Nvidia Auditorium in the Huang Engineering Building on the Stanford campus to hear presentations from more than 50 industry experts. These visionaries shared their insights on best practices and future challenges for serving the entertainment needs of consumers worldwide over IP-based infrastructure — most commonly using the Internet.

Keynote Session: Web Business Models for Entertainment
In her keynote address, Vubiquity’s Darcy Antonellis provided impressive statistics about the state of nontraditional TV viewing. Only 21 percent of pay TV customers are making use of on-the-go viewing, but that number is increasing quickly. She stressed both the amount of behind-the-scenes work required to make the system work, and the need for improvement in the way options are presented to the viewer. Antonellis pointed out that users want a combination of a linear viewing experience with a personalized navigational capability and a social component for sharing, commenting, and rating. From a business perspective, Antonellis noted that the challenge is figuring out how to use big data to determine when to hit users with offers for something they want to buy at that time.

Photo Link: www.wallstcom.com/SMPTE/SMPTE-DarcyKeynote.jpg
Photo Caption: Darcy Antonellis Keynote Address

Tools of the Trade: VP9 and Cloud-Based Content Delivery
With participation by Jan Skoglund and Renganathan Ramamoorthy from Google, this panel focused on the motivation for the new VP9 codec that is now being deployed to enable 4K video streaming. VP9 has also greatly reduced buffering for YouTube viewers — by 25 percent in developed markets and 50 percent in developing markets — while allowing HD videos to start 15 percent faster. YouTube’s own Anil Kokaram followed up with some of the underlying technical data about the site’s streaming backend. He said that parallel processing is critical to timely content delivery, but that doing it effectively requires content-aware splitting of videos to avoid creating artifacts. He also said that YouTube typically does a relatively quick first pass on content to make it available as soon as possible, but then the company does a more time-intensive second “high-quality” pass for content that proves to be popular. Kokaram’s YouTube colleague Doug Stallard explained that the two-pass system enables the company to handle the 100 hours of user-generated content uploaded to YouTube every minute. Finally, Microsoft’s Martin Wahl took the audience through the advantages of a cloud-based media platform such as Microsoft’s own Azure Media Services. Microsoft’s Origin Server can provide real-time delivery of content in whatever format is needed for a particular viewing device, customized with business logic supplied by the content provider.

Photo Link: www.wallstcom.com/SMPTE/SMPTE-ToolsoftheTradeSession.JPG
Photo Caption: Renganathan Ramamoorthy, Google Chrome (Left), and Jan Skoglund, Google (Right)

Disruptive Innovation in Moviemaking, Sports, and Games
New York University’s Chris Bregler moderated a panel featuring Marv White of ESPN, Kim Libreri of Lucasfilm, and Erik Johnson of game-maker Valve. White marveled that the equipment ESPN needed to implement the famous “first and 10″ first down overlay for football originally filled an entire truck but can now fit on a tabletop. Going forward, ESPN is working on new ways to mix broadcast and computer content; one example is to integrate video games with broadcast content.

Libreri revealed that Lucasfilm is exploring integrating movie technology into real-time games, such as in the company’s 1313 project. Interestingly, Lucasfilm has found that the same technology can be used as a creative tool for moviemakers, allowing directors to preview the end results of action on their motion-capture stages with full lighting, computer-generated costumes, and backgrounds.

Johnson from Valve represented the hard-core gaming community, which has more than 75 million active gamers as users. Valve’s core online gaming offering has been rounded out with a growing live tournament presence — now filling entire arenas — and even a documentary movie about the experience of creating the tournaments.

Exploration Zone: Toward the Entertainment Holodeck
Unique to this year’s ETIA conference was a demonstration of cutting-edge products and prototypes for virtual reality (VR), which was designed to showcase the variety of technologies needed to create the ultimate immersive entertainment experience. The event was dubbed “The Entertainment Holodeck” after the famous “Star Trek” virtual reality environment. Organizer David Singhal of LightField Interactive was able to attract a range of companies large and small, including many that were exhibiting their cutting-edge technologies publicly for the first time.

During the two-hour interactive session, attendees enjoyed hands-on demos of several recently introduced and much-talked-about products including Google Glass; a cinematic VR system from Jaunt VR; the Leap Motion Controller from Leap Motion; an untethered VR device from GameFace Labs; 3D technology from Sixense; a concave HIVE (Highly Immersive Visualization Environment) video wall measuring 10 feet by 24 feet; and Epson’s new augmented reality platform. Contributions from colleges and universities included a smartphone-based 3D modeling solution created by Stanford Project Tango and a wireless VR solution from the VR Club at Homestead High School in Cupertino, California. (A complete list is online at www.etia2014.org. Click on the “Exploration Zone” link in the right-hand column.)

VR headsets were standard equipment among the exhibits, which included several immersive experiences built around Oculus Rift models augmented with audio. One of the most elaborate of these was “Surround House 2: Monsters in the Orchestra” from AMD. Shown for the first time in a personalized form, the system combines an Oculus Rift headset with high-quality headphones and a Leap Motion Controller to allow the user not just to fly around a 3D world, but also to control a variety of animated monsters and their simulated musical instruments. The immersive visual experience is coupled with a very effective 3D sound capability so that as the player and the monsters move, the sound from their instruments appears to move as well.

Photo Link: www.wallstcom.com/SMPTE/SMPTE-ExplorationZone.jpg
Photo Caption: Oculus Rift Demonstration With Dulce Ponceleon, IBM
Photo Credit: Steve Phipps

Evening Event: Entertainment for the Next Generation
The most talked-about event at ETIA was a special evening session following the Exploration Zone demos. The session began with Electronic Arts co-founder and KPCB partner Bing Gordon in a one-on-one conversation with Dave Singhal, in which they discussed the power of immersive technologies to complement and enhance entertainment experiences. That discussion was followed by a panel in which Gordon and Singhal were joined by Kati London of Microsoft Research, Paul Debevec of the University of Southern California’s Institute for Creative Technologies, and David Cohen of Variety magazine, as well as moderator Jon Peddie of Peddie Research. The panel further examined the role of technology and the importance of content development platforms in bringing once-fanciful concepts for immersive experiences closer and closer to reality. The panel discussion also offered news on the most recent developments in the field.

Photo Link: www.wallstcom.com/SMPTE/SMPTE-EveningEvent.jpg
Photo Caption: Left to Right: Variety’s David Cohen With Kati London, Microsoft Research; Bing Gordon, KPCB; Dave Singhal, Light Field Interactive; and Paul Debevec, USC ICT

Company Overview

The Oscar(R) and Emmy(R) Award-winning Society of Motion Picture and Television Engineers(R) (SMPTE(R)), a professional membership association, is the preeminent leader in the advancement of the art, science, and craft of the image, sound, and metadata ecosystem, worldwide. An internationally recognized and accredited organization, SMPTE advances moving-imagery education and engineering across the communications, technology, media, and entertainment industries. Since its founding in 1916, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 800 standards, recommended practices, and engineering guidelines.

The Society is sustained by more than 6,000 members — motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students — who meet in Sections throughout the world. Through the Society’s partnership with the Hollywood Post Alliance (HPA), this membership is complemented by the professional community of businesses and individuals who provide expertise, support, tools, and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media, and other dynamic media content.

Information on joining SMPTE is available at www.smpte.org/join.

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Joseph Electronics/JFS IBC2014 Preview

Visit Joseph Electronics/JFS at IBC2014 Exhibiting With Bluebell Opticom Limited at Stand 10.F24

Joseph Electronics/JFS at IBC2014:

DFT-12 Series by Joseph Fiber Solutions
The DFT-12 EXP and DFT-12JR fiber transport systems are making their debut at IBC2014. Requiring only 2 RU, each features 12 paths of 3G/HD-SDI and ASI signals over one or two fibers. Additionally, modules for AES or analog audio, MADI, 1 Gb Ethernet, RTS intercom, POV interface (genlock and video), or data can be fitted into the four available expansion slots to provide a complete signal transport solution for remote announce booths or split feeds. More modules are in development.

All signal paths for any unit in the DFT Series are user-configurable in pairs of two in order to meet any send/receive requirements, and redundant power supplies are standard to ensure a complete backup of critical paths. Full-fiber redundancy with automatic fail-safe switchover is available as an option for all DFT Series frames.

Photo Link: www.wallstcom.com/JosephElectronics/JFS-DFT-12-EXP.jpg
Photo Caption: DFT-12 Fiber Transport System

Camera Tote by Joseph Fiber Solutions
The JFS Camera Tote system offers a new option that enables quicker operator deployment of point-to-point communications. Built into an industry-standard Pelican enclosure, the compact Camera Tote system provides water-resistant protection of field electronics in the harsh environments encountered by news and field crews. An internal filtered fan ensures that extreme temperatures will not be a factor when the system is used in exposed locations.

The system’s standard signal complement includes 4×4 3G/HD-SDI, 4×4 analog audio, 1 Gb Ethernet, and wet intercom. The unit is also available in a 2-RU rack-mount model for permanent installation. Fiber options include Lemo, ST, OpticalCon Quad, or MX. When four fiber connectors are used, two units can be daisy-chained for multicamera applications.

Photo Link: www.wallstcom.com/JosephElectronics/JFS-CameraTote.jpg
Photo Caption: Camera Tote Portable Fiber Optic System

Company Quote:

“We are looking forward to another successful IBC with our host, Bluebell Opticom. We hope you’ll stop by the stand to see our new fiber solutions, which are designed to make remote broadcasting faster and easier.”
– Yohay Hahamy, CEO, Joseph Electronics/JFS

Company Overview:

Joseph Electronics (JE) is an authorized stocking distributor for more than 100 premier broadcast and pro A/V brands with stocking locations in both Illinois and California. Its full-service fiber division, Joseph Fiber Solutions (JFS), designs and supplies innovative custom fiber solutions — such as the Caddie Series, DFT Series, and 4K Studio Caddie — for broadcasters and system integrators alike. Equipped with a state-of-the-art fiber lab staffed with fully certified professionals, JFS can fabricate, terminate, or repair any connector, assembly, panel, breakout, or interface in use today. JE has served the broadcast industry for more than 65 years and has representatives in California, New York, London, and Zurich. More information about Joseph Electronics can be found at www.josephelectronics.com.

Product or service names mentioned herein are the trademarks of their respective owners.

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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.

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