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Press Releases For : April 8, 2014

Cinemark Chooses Christie Vive Audio Cinema Solution for Cinemark’s Starcreek 16 in Allen, Texas

Christie®, a dominant brand in the digital cinema projection market, today announced that Cinemark Theatres has installed the Christie Vive Audio™ cinema sound system in its state-of-the-art Cinemark XD: Extreme Digital Cinema auditorium at the Cinemark StarCreek 16 in Allen, Texas. The 282-seat premium auditorium, which includes Auro 11.1 by Barco audio platform, features a huge, wall-to-wall screen and plush seating for maximum comfort; and now, Christie’s leading-edge immersive line array technology that makes every seat the best seat in the house.

“We applaud Cinemark for adding a critical piece of the cinema experience with the decision to install our Christie Vive Audio solution in their premium XD Auditoriums,” said Craig Sholder, vice president, Entertainment Solutions, Christie. “We believe the performance of our line array speaker technology provides a great audio experience to their XD guests, in every seat.”

Christie Vive Audio System

The innovative Christie Vive Audio system unlocks the full potential of the DCI digital cinema audio format and supports leading formats such as Auro 11.1, Dolby® Atmos™, 7.1 and 5.1 surround sound. It is comprised of wall and ceiling surround speakers that use unique ribbon driver technology in a line array design, purpose-built for cinema environments. Christie Vive Audio speakers featured at the Cinemark XD: Extreme Digital Cinema auditorium include the Christie LA3 series for screen channels, wall and ceiling surrounds and the Christie S218 subwoofer.

“We are excited to add the Christie Vive Audio solution to our Cinema XD auditorium,” said Damian Wardle, SVP Theatres Technology & Presentation at Cinemark. “Offering the ultimate in immersive cinema sound is part of Cinemark’s commitment to bringing the highest quality movie-going experience to all our guests.”

Phil Hacker, director of Presentation at Cinemark added, “We continue to seek out and bring the latest technology to our guests and the new generation of immersive sound is the differentiating factor. For Cinemark, Christie Vive Audio continues that objective and allows us to take full advantage of powerful immersive technology such as Auro 11.1, to bring our guests a movie-viewing experience that is also unmatched for its audio clarity.”

Recognized for their exceptional timbre matching, enhanced voice intelligibility, and low distortion, the Christie Vive Audio speakers’ unique line array design increases the optimal-listening area up to four times that of the standard point source systems. The complete Christie Vive Audio solution includes ceiling surrounds, wall surrounds, screen channel speakers, subwoofers, and Class D amplifiers. The system is ideal for traditional and premium large-format auditoriums, as well as postproduction studios and screening rooms.

For more information on Christie’s new audio initiatives, visit www.viveaudio.com.

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RED RELIES ON NIPROS CAMERA SYSTEMS FOR NAB DEMOS

LAS VEGAS – NAB BOOTH #N314: Seeking a high performance camera system to support NAB demos of their 4K/HD EPIC DRAGON Cinema Camera, RED Digital Cinema engineers reached out to Samaserve CTO Sal Sandoval for details on the Nipros LS-750GT and LS 750 camera-mounted fiber adapter systems. The demos, scheduled throughout the 4-day NAB Show, will find the DRAGON providing a live 4K feed produced at the Vizrt booth (#SL2419)’s “Virtual Studio” set that will be sent to the Snell booth (#N1820), located in separate halls, via fiber-optic cabling for viewing and live switching

“I first learned about the LS-750 and 750GT Systems from Sal Sandoval last year,” said Steve Pizzo, co-founder of Element Technica, a division of RED Digital Cinema. “I reached out to Samaserve in December when we began formulating our NAB 2014 demo program. We needed a comprehensive camera system capable of flawlessly transmitting uncompressed 4K and HD signals simultaneously from Vizrt’s booth to Snell’s booth for display on a large, high res Samsung screen. The specs on the Nipros System met all our requirements.”

In February and March, Nipros’ Sandoval provided Pizzo with an LS-750 system for testing at the Red facility in Burbank. The rig’s signal conversion and other features for 4K acquisition performed flawlessly. “Those trials convinced us that the system was ideal for our purposes,” Pizzo said. “[Sandoval] then demoed a 750GT system, which further assured us that Nipros met all of our needs.”

The flagship Nipros LS-750/GT camera-mounted fiber adapter system, which is being used at the Vizrt Demo area in booth SL2419, supports virtually any 4K camera. The system acquires and flawlessly passes simultaneous uncompressed 4K and HD signals for distances of up to 1.24 miles with the option of distances beyond 6.2 miles. The LS-750/GT offers users five 3G SDI streams directly out of the camera, as well as one return 3G/HD-SDI/SD-SDI signal. All types of 4K plus HD, or five separate HD streams, can be transported simultaneously, with the ability to mix the five asynchronous 3G/HD/SD streams independently. RED Digital is using 4K signals from a Nipros LS 750 System at the Snell booth where the feed is switched live via a Kahuna 360. Both the LS 750/GT, which offers up to 300 watts of power at the camera and has 12/24-volt capability, and the LS 750 which offers 60 watts of power, are on display at the Nipros booth as well as on the RED and Vizrt demo sites.

“Nipros Systems was a primary catalyst behind my partners and I deciding to form Samaserve,” Sandoval said. “Earning this level of support at an early stage in the introduction of an important new system is critical. We are extremely pleased to have earned RED’s trust to support their DRAGON Cinema Camera Demos.”

Photo: Nipros Systemized Camera System in use with a RED DRAGON Cinema Camera for NAB 2014 live demos at the Las Vegas Convention Center.

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Samaserve \ sam-ma-serve \ n 1 An enabler 2 : Sole authorized Sales, Marketing, Service and Support arm for the entire Nipros (nee- pros) range of broadcast and professional digital video production technology 3 : Samaserve offers 3 a : systemized, 2K, 4K, HD-compatible and SD camera solutions 3 b : deep product knowledge 3 c : proactive, cost-effective, future-proofing counsel 4 : connectivity via www.samaserve.com

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Lighting Designer Ira Levy Selects Clay Paky Fixtures for H&M Flagship Store in Times Square

When Swedish retail giant H&M opened its newest US flagship store in Times Square, lighting designer Ira Levy selected Clay Paky Sharpy and A.leda Wash K10 LED-based lights to enhance the store’s futuristic, high-tech look. A.C.T Lighting is the exclusive distributor of Clay Paky fixtures in North America.

The H&M Times Square branch encompasses 42,000 square feet and has a number of tech-savvy features, including a mezzanine with Social Media Lounge, 7,000 square feet of LED screens, a 53-foot glitter wall, interactive mannequins and a virtual runway for shoppers. Lady Gaga cut the ribbon to open the new store and spent time with 20 lucky shoppers who had waited overnight in line for the privilege of being the first through the doors.

“The idea was for the store to appear as if shoppers were coming to a New Year’s Eve party 24 hours a day,” says Ira Levy who heads New York City-based Levy Lighting | NYC. “The flagship store is located across from where the ball drops on New Year’s Eve, and it has a club environment with lots of glitter and reflective surfaces. We use moving lights to add energy to the retail experience and shoot the lights against all the reflective surfaces, almost like a stylized mirror ball.”

Levy has employed Sharpys and A.ledas in the space. “The ceiling height is about 60 feet, so we wanted to have a light that is able to punch through the ambient light in a highly-illuminated space. But we also needed to hit all the way to the ground floor. Sharpy gives me that,” he says.

Levy was also looking for a fixture “with a very long lamp life. We have scheduled maintenance four times a year based on calculating Sharpy’s lamp life,” he explains.

The A.leda Washes give Levy the option of color washes in that same area. “The zoom gives me a lot of range,” says Levy. “I’m able to have tight beams for long throws and wider beams to illuminate shorter distances. I wanted color out of an automated light and something that had a long maintenance life, and I get both from the A.ledas.”

The lighting designer reports that he’s been “very happy” with both fixtures, which are “working great” in the high-profile store. “I used to work with Clay Paky and know the quality and reliability of the units. A lot of companies make [moving light] fixtures, but I wanted top quality motors and have been happy with Clay Paky’s in the past. I’m very happy with their performance.”

Levy was also impressed with A.C.T Lighting’s customer service. “They’ve been great, really supportive with very good back up,” he reports. “A.C.T staff members have been very responsive to everything and always available to me. I’ve never had to wait for anything.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “The A.ledas and Sharpys work very well together in the H&M store and we’re honored to have been chosen to help illuminate this retail institution.”

Blackmagic Design Announces Powerful ATEM 2 M/E Production Studio 4K

New advanced Ultra HD live production switcher allows live production in SD, HD and Ultra HD, with 20 6G-SDI sources, SuperSource™, DVE, motion graphics and much more!

NAB 2014, Las Vegas, USA – April 7, 2014 – Blackmagic Design today announced ATEM 2 M/E Production Studio 4K, a new extremely powerful 2 M/E based Ultra HD live production switcher with 20 6G-SDI inputs, SuperSource layering engine and much more for $3,995.

ATEM 2 M/E Production Studio 4K will be shown on the Blackmagic Design NAB 2014 booth at #SL219.

The new ATEM 2 M/E Production Studio 4K includes 20 independent SD, HD or Ultra HD 4K video inputs with each input featuring a full frame synchronizer. ATEM 2 M/E Production Studio 4K also includes all the features expected from a professional switcher, including chroma key, transitions, DVE, media pool, downstream keyers, audio mixer, two multi view outputs and 6G-SDI and HDMI 4K video connections.

This new high end model of the ATEM Production Studio family includes all the powerful features of the other models as well as the exciting SuperSource multi layer processor. SuperSource provides customers with a completely separate 5 layer switcher with the power of 4 picture in picture DVEs and 4 keyers assigned to any ATEM video input. SuperSource allows for multi camera interviews or picture in picture production while leaving all M/Es, keyers and the DVE completely free for other tasks.

ATEM 2 M/E Production Studio 4K supports 6G-SDI so it can be switched between most SD, HD and Ultra HD video formats instantly. Ultra HD is four times the resolution of regular high definition video for a massive 3840 x 2160 frame size. The new 6G-SDI and HDMI 4K video connections effortlessly handle Ultra HD and customers can connect all cameras using a single cable. There is also a high definition down converted HD-SDI program output for when the switcher is operating in Ultra HD formats, but a regular HD program feed is required.

The ATEM 2 M/E Production Studio 4K features a strong and elegant 2 rack unit machined aluminum front panel based design. The front panel keypad lets customers select between each of the 6 independent auxiliary output sources and the 5 inch LCD screen provides instant feedback on the status of the auxiliary output. The aux switching is also a valuable tech monitoring tool for setting up and for live aux switching during production.

The ATEM 2 M/E Production Studio 4K includes the ATEM Software Control Panel for both Mac and Windows that provides complete control of the switcher from a laptop or desktop computer. This software provides full control of transitions, keyers, built in audio mixer and switcher settings. If customers prefer working with a traditional hardware control panel they can add either a ATEM 1 M/E Broadcast Panel or ATEM 2 M/E Broadcast Panel.

ATEM 2 M/E Production Studio 4K features two built in multi view monitoring outputs so customers can view all sources on a single SDI monitor or HDMI TV. Because the multi view outputs are down converted to HD, even when operating in Ultra HD, customers can still use commonly available HD monitors or televisions. Each of the two multi view outputs includes independent views for program, preview and 8 switcher sources.

ATEM 2 M/E Production Studio 4K includes the same high quality transitions found on regular high definition professional switchers, but now all these transitions operate in native Ultra HD. Customers get the choice of mix, dip and wipe effects with full control of the transition type, pattern, length and other attributes. ATEM 2 M/E Production Studio 4K includes 2 built in media players that can store up to 32 full resolution Ultra HD still frames with key and fill. Media players are ideal for lower third name straps, logos and more. ATEM 2 M/E Production Studio 4K also includes a Photoshop™ plug in that allows direct download of graphics and titles from Photoshop to the switcher.

For seamless multi layering, ATEM 2 M/E Production Studio 4K includes 4 upstream keyers and 2 downstream keyers. The upstream keyers includes independent chroma, pattern, shaped and linear keying. These keyers are independent of the SuperSource processor which adds another 5 layers to the massive number of layers available in this switcher.

A built in audio mixer is also included that allows any switcher to use embedded HDMI and SDI audio from cameras as well as external audio from the analog XLR and HiFi audio inputs. Customers can use the mixer in direct input mixing or in audio follow video where the audio from each camera will automatically be cross faded while switching. The analog audio inputs are great for microphones, audio mixers or music players.

ATEM 2 M/E Production Studio 4K uses an aviation grade operating system that ensures mission critical reliability, unlike cheap computer based switchers that interrupt video if the computer crashes.

“With a flood of Ultra HD televisions hitting the market, consumers are gearing up for an amazing transition into a cinema viewing experience in the home! This new ATEM 2 M/E Production Studio 4K is a massive switcher that’s $1000 less than the model it replaces, but features a better design, better technology and many more inputs, plus of course the ability to operate in Ultra HD!” said Grant Petty, CEO, Blackmagic Design. “Live production is the fastest way to generate massive amounts of Ultra HD content quickly and live events offer some of the most exciting sources for entertainment. We think even the largest broadcaster will find the new ATEM 2 M/E Production Studio 4K has all the features and inputs they require for large complex live production jobs!”
ATEM 2 M/E Production Studio 4K Key Features

Full 2 M/E switcher with each M/E featuring media players, chroma key, transitions and more.
Switcher can be switched between SD, HD and Ultra HD video formats instantly.
2 x built in multi view allows 16 sources, 2 x previews and program on HD-SDI and HDMI outputs.
20 x inputs for a total of 20 x 6G-SDI and 1 x HDMI input. All inputs feature auto re-sync.
2 x 6G-SDI program outputs, 1 HDMI 4K program out and 1 down converted HD-SDI program out.
Built in media pool graphics storage for 32 RGBA Ultra HD stills and 180 frame Ultra HD clips.
Built in full motion 2D DVE with position, scale, resize and rotate features.
Built in SuperSource allows 4 DVE’s and 4 keys layered as an independent video source.
2 media players allow graphics to be connected to keyers for fill and key layering.
Transitions include cut, mix, dip to color, SMPTE wipes and more.
4 upstream keyers include chroma keyer and 2 downstream keyers are included.
6 auxiliary outputs include front panel aux switching buttons and LCD screen for viewing.
Built in audio mixer live mixes embedded audio from all video inputs and independent audio inputs.
Balanced XLR stereo analog audio inputs and 1 HiFi RCA stereo audio inputs into built in audio mixer.
Audio mixer main and preview outputs onto balanced XLR audio outputs and on all video outputs.
Internal sources include black, color bars, two color generators and media pool.
Ethernet connection for control panel connection. Mac and Windows control panel software included.
Compatible with all ATEM Broadcast Panel control panels when hardware panel is required.
Black Burst and HD-Tri-Sync genlock input for integration into large systems.
Compact 2 rack unit size is perfect for when a lot of power is required in a portable solution.

Availability and Price

The ATEM 2 M/E Production Studio 4K is available now for US$3,995 from Blackmagic Design resellers worldwide.
Press Photography

Product photos of the ATEM 2 M/E Production Studio 4K, and all other Blackmagic Design products, are available at www.blackmagicdesing.com/press/images
About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

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Blackmagic Design Announces Blackmagic Studio Camera

Introducing the world’s smallest live broadcast camera with the world’s largest viewfinder!

NAB 2014, Las Vegas, USA – April 7, 2014 – Blackmagic Design today announced Blackmagic Studio Camera, a new camera specifically designed for live production and available in 1080 HD and Ultra HD models starting from only $1,995.

Blackmagic Studio Camera will be demonstrated on the Blackmagic Design NAB 2014 booth at #SL219.

Blackmagic Studio Camera is one of the most advanced broadcast cameras for live production because it includes features specifically targeted at the requirements of live production! Currently customers often need to use cameras designed for general video production for live work and this means they don’t get features that live production demands, such as large viewfinder, talkback, tally, optical fiber and a super strong metal design.

Inside the incredibly tough and lightweight magnesium alloy body, the Blackmagic Studio Camera features a very large 10” viewfinder, long duration 4 hour battery, talkback, tally indicators, phantom powered microphone connections and built in optical fiber and SDI connections that let you connect to a live production switcher with a single cable!

One of the problems of cameras used in live production is small viewfinders and the Blackmagic Studio Camera includes a massive 10 inch screen that allows incredible creativity when framing and accurately focussing. The viewfinder’s LCD is extremely bright and has a very wide viewing angle so it is perfect for use even in direct sunlight. The camera also includes a large fold up sun shield making it perfect for outdoor use and the sun shade also acts as a privacy shield when in use.

The Blackmagic Studio Camera features an active Micro Four Thirds lens mount that is compatible with an incredibly wide range of lenses and adapters. This allows customers to use high quality photo lenses for smaller setups or fixed camera use, and then use high end broadcast ENG lenses for large live broadcasts using an MFT to B4 lens mount adapter. This means customers can start out with a more affordable setup based on photo lenses and then move to larger but more expensive ENG lenses as they grow their business.

The Blackmagic Studio Camera includes a built in fiber optic connection, allowing customers to get the many advantages of long lengths and small size and weight of optical fiber for a single thin tether cable to connect cameras to your live production switchers. The optical fiber connection is bi-directional and carries HD or Ultra HD video with embedded audio, talkback, tally and even camera remote control. The built in talkback allows the camera operator and crew to communicate at all times during production using commonly available and very robust general aviation headsets for better quality talkback with better noise canceling at a much lower cost.

The Blackmagic Studio Camera supports the tally SDI standard used on the ATEM range of live production switchers and tally lights illuminate automatically with a light on the front for talent, and a light above the viewfinder for the operator, making it easy for the cast and crew to see which cameras are on air. To allow independent operation with only a single optical fiber cable, the Blackmagic Studio Camera also includes a massive 4 hour battery that means the camera has enough power for use on long live productions as well as setup time before the event starts. The operator side control panel allows instant access to focus, iris and on screen menu settings. On screen menus are overlaid on the viewfinder and slide on and off as needed.

“I have dreamed of a camera perfectly designed for live production for a long time”, said Grant Petty, CEO, Blackmagic Design, “When we looked at how we would design a camera for live production what really surprised us was how small we could make it, but then the viewfinder would also become small. We did not want a small viewfinder, we wanted a very large viewfinder and so we ended up with this amazing camera that’s incredibly tiny, but then the viewfinder is incredibly large. It’s really a dream to operate a camera with such a large viewfinder and it’s amazing the detail in focus and framing that’s available to the operator! I totally love this camera and it’s my dream product!”
Blackmagic Studio Camera Key Features

High resolution 1080HD in HD model and Ultra HD sized sensor in 4K model.
Built in large 10 inch super bright wide viewing angle LCD viewfinder with sun shade.
Built in optical fiber and regular SDI connections for camera output and monitoring input.
Compatible with high quality Micro Four Thirds lenses. Compatible with other mounts via common third party adapters such as B4 broadcast lens mount.
Built in, two way digital quality talkback using high quality affordable general aviation headsets.
Includes front and rear tally indicators using tally over SDI protocol.
Features all standard connections, including dual XLR balanced mic/line audio in with switchable phantom power, headphone and microphone jack for talkback, LANC remote control and standard 4 pin XLR broadcast standard DC 12V power connection.
On screen menus for all camera settings.
Supports 23.98, 24, 25, 29.97, 30 and up to 60 fps in HD model, up to 30 fps in 4K model.
Compatible with ATEM range of live production switchers.

Availability and Price

Blackmagic Studio Camera HD is available now for US$1,995 and the Blackmagic Studio Camera 4K will be available in June for US$2,995 from Blackmagic Design resellers worldwide.
Press Photography

Product photos of the Blackmagic Studio Camera, and all other Blackmagic Design products, are available at www.blackmagicdesing.com/press/images
About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

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Press Releases For : April 7, 2014

Digital Vision Brings Latest Post Production, Restoration and Archive Solutions to NAB 2014

- First look at Golden Eye 4 film scanner, Bifrost Archive Bridge and latest versions of Nucoda and Phoenix -

NAB 2014, Stand SL6026 / Chairman’s Suite, Renaissance Hotel

(London, UK) – Once again Digital Vision invites NAB visitors to its Demo Lounge at the Renaissance Hotel, adjacent to the LVCC, where it will present a range of products for post production, restoration, archive and broadcast.
Visitors can get a first look at the new Golden Eye 4 film scanner for restoration and archive, which incorporates many new features and enhancements that have been requested by users of Golden Eye 3. In addition Digital Vision will present the Bifrost Archive Bridge that provides streamlined archive workflow tools, enables archive owners to preserve and restore their precious film assets.

Digital Vision will demonstrate the latest 2014 versions of the Nucoda colour grading suite and the Phoenix range of film restoration tools. Also on show will be realtime 4K image processing using THOR hardware and distributed automated processing using Loki.

Kelvin Bolah, President, Digital Vision, said, “Our Market Managers and R&D team have been working hard to develop tools that enable our customers to preserve, restore and create beautiful images while maintaining quality. We have some exciting products to share that will undoubtedly be the best at what they do. At NAB we look forward to introducing new and existing clients to our growing product portfolio.”

The Digital Vision Demo Lounge at the Renaissance provides a respite from the noise and bustle of the show floor, allowing guests to sit down, enjoy some refreshments and have a proper discussion with Digital Vision’s knowledgeable team about their requirements. To book a demo or meeting at the Demo Lounge, please contact Patrick Morgan patrick.morgan@digitalvision.se or visit Digital Vision’s reception stand on the show floor at SL6026.

About Digital Vision
Digital Vision is the supplier of the world’s best colour grading, restoration and film scanning solutions for the broadcast, film, commercial and archive industries. Founded in 1988 in Stockholm, Sweden, Digital Vision has offices in London, Los Angeles, New Zealand, and Linköping in Sweden. Digital Vision’s Emmy award winning technology and products include Nucoda and Phoenix colour grading, finishing, mastering and restoration solutions that are used to create much of the worlds’ high profile television, film and commercials media broadcast and distributed today. In addition to the Nucoda and Phoenix ranges, Golden Eye film scanners and the Bifrost Archive Bridge solution provide innovative tools to create the industry recognised highest quality in scanning, film digitisation, preservation and archiving.

In April 2011, Digital Vision acquired Image Systems and is now a division of the Image Systems group of companies. For more information, visit www.digitalvision.se.

All trademarks used herein, whether recognized or not, are the properties of their respective companies.

# # #

Digital Vision Marketing Contact:
Patrick Morgan | patrick.morgan@digitalvision.se | Tel: +44 (0) 20 7734 8282 | Mobile +44 (0) 7917674711

Digital Vision PR Contacts:
EMEA/APAC
Dawn Egerton, Bubble & Squeak | dawn@bubblesqueak.co.uk | Tel: +44 (0)7887 627764

USA
Chris Purse, Ignite | chris@ignite.bz | Tel: +1 818 980 3473

Bexel and Riedel Communications Take Flight with Collaborative Offering

Bexel’s Falcon Sportscaster Unit to Feature New Riedel AVB Interface

Bexel Used Sales: NAB Booth #N1205
Riedel Communications: NAB Booth #C4937

(LAS VEGAS, NV) – Bexel, a unit of the Vitec Group‘s Services Division and a leading worldwide provider of broadcast services and solutions, announced a new, collaborative offering with Riedel Communications at NAB 2014. Bexel’s Falcon Sportscaster Unit will now feature an AVB (audio-video bridge) interface, developed by Riedel. The optional AVB capability provides direct digital network connectivity to the announcer in the most advanced media network architecture available.

The Falcon is able to satisfy all of the demands of professional sportscasters and audio operators with its unique, interchangeable nature. The unit’s inherent flexibility can accommodate a variety of interface connectivity solutions to meet a customer’s specific needs, and now broadcasters will be able to utilize the state-of-the-art Riedel AVB interface, as the Falcon is not bound to a singular solution for connectivity.

“With Riedel, we are working with a partner company that is dynamic, resourceful and innovative,” said Andrew McHaddad, chief audio engineer, Bexel. “This collaboration is a perfect fit for everyone involved, but especially for our customers. We pride ourselves on being a leader in the sportscaster equipment market with our Falcon platform. Working with a technology-driven company like Riedel strengthens our offerings and improves users’ experiences.”

Riedel, a provider of pioneering real-time video, audio, data and communications networks, approached Bexel about partnering on an AVB interface for the Falcon.

“It has been very rewarding to work with Bexel on this new AVB application,” said Christian Diehl, product manager for Riedel Communications. “We are very interested in furthering the usage of AVB globally, and this single-cable option for the Falcon is a perfect application for it.”

The new Riedel AVB option allows a single CAT-5 cable to connect to an AVB network carrying all five audio signals: broadcast microphone, Talk-Back #1, Talk-Back #2, IFB left, IFB right and power. All audio signals exist on the network as data, with all AD/DA conversions occurring within the Falcon unit. Powered through the network connection, this version provides the highest density of capability in the smallest footprint available in the marketplace.

“Riedel is a leader in technological innovations, and our new AVB interface brings their exciting work into the sportscaster equipment market,” concluded McHaddad. “It has been a rewarding experience working with the team from Riedel, and we are already looking forward to further collaborations.”

To see the new Riedel AVB interface for Bexel’s Falcon Sportscaster Unit, visit the Bexel TSS Booth (Stand #N1205) or the Riedel Communications Booth (Stand #C4937) at NAB 2014, April 7-10, in Las Vegas.

About Riedel
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 as well as fiber-based and wireless audio & video transmission systems that can be easily scaled to 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. For more information, visit www.riedel.net.

About Bexel
Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers – including producers of the biggest and most important televised events in the world. For more information, visit www.bexel.com, and follow them on Facebook and Twitter.

About the Vitec Group
Capture the moment(tm)

For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com.

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Cinnafilm and Wohler Set Standard for File-Based Media Retiming With Release of Tachyon Wormhole

LAS VEGAS — April 7, 2014 — Cinnafilm(R) and Wohler Technologies today announced the release of Cinnafilm’s Tachyon(R) Wormhole(TM), an automated file-based retiming solution that enables up to a plus or minus 10 percent runtime adjustment while preserving not only video and audio quality, but also closed caption integrity. Based on Cinnafilm’s popular Tachyon Standards Transcoding(TM) plug-in for the Wohler RadiantGrid Intelligent Media Transformation Platform(TM), Tachyon Wormhole gives time back to broadcasters, allowing them to realize new revenue opportunities without materially altering the viewer’s experience of their media assets.

“Tachyon Wormhole allows users to eliminate nearly $500,000 worth of specialized hardware with a single server equipped with two graphics cards, at a price that is a fraction of the cost of the baseband hardware it is replacing,” said Ernie Sanchez, chief operations officer of Cinnafilm. “Never before has a single commodity-hardware-based solution replaced so many pieces of dedicated SDI hardware.”

Wohler’s RadiantGrid software platform serves as the processing framework for the Tachyon Wormhole appliance. Equipped with powerful NVIDIA Tesla GPUs, the technology also facilitates retiming of closed captioning data and integration of audio retiming into the Cinnafilm Tachyon Wormhole video processing workflow. The turnkey Tachyon Wormhole system can process up to two HD streams in real time, handles unlimited channels of audio, and resynchronizes CEA-608 and -708 and SMPTE 436M and 360M caption data. Users simply select their target run time by choosing a specific length or by entering a percentage adjustment.

In addition to enabling automated retiming, Tachyon Wormhole also offers all of the features/functionality of the award-winning Tachyon Standards Transcoding Appliance. The features and functionality include standards conversion, high-quality deinterlacing, superlative resolution conversion, inverse telecine, broken cadence removal/correction, and options such as audio loudness correction, color legalization, and watermarking.

“Transcoding is a cost of doing business for broadcasters and cable providers, and Tachyon Wormhole transforms that cost of doing business into an immediate source of revenue generation,” added Craig Newbury, vice president sales for Wohler’s RadiantGrid business line. “In leveraging the power of the RadiantGrid platform, the ROI for Tachyon Wormhole is incredibly fast, and in some installations the appliance will pay for itself in its first week of operation.”

Tachyon Wormhole is available for purchase from Cinnafilm and its resellers. More information about Cinnafilm and Tachyon Wormhole is available at http://cinnafilm.com/tachyon/tachyon-wormhole/.

Information about Wohler and the company’s products is available at www.wohler.com.

# # #

About Cinnafilm(R)
Cinnafilm(R) Inc. are the creators of ultimate-quality video optimization and conversion software for cinema, broadcast, and multimedia delivery. Cinnafilm’s Tachyon(R) conversion technology is integrated into high-value transcoding platforms like Wohler RadiantGrid(TM), creating the world’s fastest Standards Transcoding(TM) solution and providing clients an affordable and scalable alternative to legacy SDI-based conversion technologies. Visit http://cinnafilm.com/ for more information.

About Wohler Technologies Inc.
Wohler’s tradition of innovation began with the creation of the industry’s first in-rack audio, video, and data monitoring products, and it continues today through the company’s development of signal management and monitoring solutions for video, audio, and captioning applications. Wohler’s RadiantGrid(TM) platform extends the company’s award-winning product lines to include solutions for efficient file-based content creation and distribution, quality control, accelerated transcoding, and standards conversion. Together, Wohler’s advanced file-based solutions and proven, cost-effective confidence monitoring and content management products ensure high-quality media production across any platform and delivery to any device. More information about Wohler and RadiantGrid products is available at www.wohler.com.

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

Photo Link: www.wallstcom.com/Wohler/Wohler-Tachyon-Wormhole.jpg
Photo Caption: Tachyon(R) Wormhole(TM), automated file-based retiming solution.

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Forscene Integrates With Sony Wireless Camera Adapter to Reduce Lag Time Between Shoot and Edit

First Use of Integrated Workflow by Maverick TV on Show Commissioned by Channel 4

LONDON — April 7, 2014 — Forbidden Technologies plc (AIM:FBT), the AIM-quoted owner and developer of the market-leading cloud video platform Forscene, announced today that it has created a professional workflow using Sony’s new CBK-WA100 wireless adapter for Sony cameras.

Forbidden worked together with Sony to create a new integrated workflow and to provide a professional broadcast test case. This new workflow allows production crews to upload content directly from the Sony camera over a wireless LAN to the Forscene cloud, eliminating any delay between the shoot and post-production. Forbidden client Maverick TV is the first to use this new Forscene workflow integrated with Sony’s wireless adapter on a programme commissioned by Channel 4.

This integration is ideal for remote video production, especially reality-based, unscripted, or high-shoot-rate long-form programs. Having access to footage as it is being shot means that production teams can give feedback and direction to the location crew during the shoot, rather than having to wait for media to be uploaded at the end of the day or sent on drives from the location to the production centre.

“Production teams are becoming more and more dispersed, with remote crews needing to submit content to centralized post facilities from all over the world. The ability to get the content from the camera to the edit point quickly and efficiently is an important part of video production, and Forscene lends itself perfectly to such a workflow,” said Greg Hirst, business development director, Forbidden Technologies plc. “Forbidden has a reputation for being able to integrate easily and has established cloud-based post-production clients. The deployment at Maverick is a demonstrable use case for Sony’s wireless adapter in a cloud post environment, and the fact that Maverick is using it on a real-world production further proves the viability of the workflow.”

Crew in the field control the camera adapter from a smartphone or tablet, selecting content to upload directly from the camera to the Forscene cloud. Forscene reads the proxy in XAVC(TM) format, transcodes it and loads it into the user’s Forscene account. The material is immediately available in Forscene for production teams to review, log, edit, and give feedback to the on-location crew. At the same time, directors in the field can log in to their Forscene accounts to view and begin putting rough cuts together from anywhere with an Internet connection. Clients then have the option of exporting an EDL to complete post and relink with the high-resolution material on their local storage or finishing in Forscene and publishing directly to distribution channels from high-resolution media stored in the Forscene cloud.

Maverick, part of production giant all3media and a long-time Forbidden client, is using the Sony wireless adapter and Forscene integrated workflow on an observational documentary that is currently in production for Channel 4.

Forbidden and Sony are demonstrating the new integrated workflow for long-form production at the 2014 NAB Show at the Sony booth C11001. In addition, at the Forbidden booth SL5305, Forbidden will demonstrate the new integrated workflow for Web distribution — including native content ingest to Forscene via the Sony adapter and post-production and publishing from Forscene.

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

XAVC is a trademark of Sony Corporation.

# # #

About Forbidden Technologies plc
Forbidden Technologies plc is an award-winning technology company that develops and delivers cloud-based solutions for collaborative video post-production. Its flagship product, Forscene, is one of the world’s most advanced cloud-based video post-production platforms. Launched at IBC in 2004, Forscene has been used to log, edit, review, and publish more than 3 million hours of professional video content. 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 Forscene can be found at www.forscene.co.uk. More information about Forbidden Technologies can be found at www.forbidden.co.uk.

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

Photo Link: www.wallstcom.com/ForbiddenTechnologies/Forbidden-Sony-workflow.jpg
Photo Link: www.wallstcom.com/ForbiddenTechnologies/Forbidden-Sony-Cam-with-Wireless-adapter.jpg

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Forbidden Technologies Unveils New Brand Identity Based on Its Vision for Change

LONDON — April 7, 2014 — Forbidden Technologies plc (AIM:FBT), the AIM-quoted owner and developer of the market-leading cloud video platform Forscene, announced a new brand identity that reflects the evolution of its vision for the organisation and its role in the media industry. As remote productions become more common, production teams become more dispersed, and more people in multiple locations must feed the post-production process simultaneously, Forbidden has renewed its commitment to helping media makers change their vision of how they make media, how media is viewed, and of the media industry as a whole. In addition, this new brand identity will give Forbidden the opportunity to launch new products outside of broadcast and post-production.

“With the new brand, our mindset is focused on removing the barriers that challenge all media makers and ensure that now, the only thing forbidden’ is limitation itself,” said Greg Hirst, business development director, Forbidden Technologies plc. “That viewpoint is powering the development of Forscene and how it integrates into various workflows, enabling our customers to craft stories with the qualities their audiences want — global, real-time, multichannel, compelling — more quickly and flexibly than ever.”

Forscene is the world’s leading cloud-based video editing tool, and for more than ten years has been supporting media organisations in creating stories flexibly and easily. It provides professional post-production tools in a software-as-a-service (SaaS) package for all video industries, including broadcast post-production, news, and sport. Forscene takes advantage of cloud computing to enable the centralisation of material and collaboration in workflows. The result is the ability to connect from any Web browser and perform the full range of post-production functions using flexible monthly SaaS pricing.

Attendees of the 2014 NAB Show can experience the new brand identity — and learn more about the change in vision behind it — in Forbidden’s booth, SL5305.

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 Technologies plc is an award-winning technology company that develops and delivers cloud-based solutions for collaborative video post-production. Its flagship product, Forscene, is one of the world’s most advanced cloud-based video post-production platforms. Launched at IBC in 2004, Forscene has been used to log, edit, review, and publish more than 3 million hours of professional video content. 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 Forscene can be found at www.forscene.co.uk. More information about Forbidden Technologies can be found at www.forbidden.co.uk.

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

Photo Link: www.wallstcom.com/ForbiddenTechnologies/Forbidden-NewLogo.jpg

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