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Press Releases For : July 28, 2014

Seattle’s Iconic Comet Tavern is Reborn with Mackie DLM Series Sound

Seattle, WA – July 2014… Since 1935, the Comet Tavern has been a fixture of Seattle’s storied Pike/Pine corridor. The well-worn wood bar of this venerable Capitol Hill pub has bent the elbows of generations of locals and visitors, and its stage has played host to multiple decades of Seattle music and culture.

When the Comet was shuttered late last year, many long-time Seattle residents feared it was another nail in the coffin of what local entrepreneur Dave Meinert refers to as the city’s “black hole of gentrification.” But thanks to Meinert and partner Jason Lajeunesse, the Comet has opened its doors once again. The landmark pub’s atmosphere remains relatively unchanged, though the club has added a food menu, and the old sound system has been replaced with a new distributed system featuring Mackie’s DLM Series loudspeakers.

As Lajeunesse explains, the new owners placed a high priority on continuing the Comet’s legacy. “The Comet has always served as a living room and gathering place for a lot of the local community, including musicians, artists, writers, actors, and other creative people,” he says. “We had the opportunity to step in and restore the club, and in doing so we knew we really wanted to pay homage to its history, including games, pool, and hosting live music. It was important to us that the Comet still resonates as a cultural gathering place for the community, and I think we’ve embraced that. It’s still a neighborhood living room.”

The Comet’s new sound system, designed and installed by Kelly Berry of Seattle-based K Berry and Associates, includes ten Mackie DLM8 full range powered loudspeakers. “We’ve configured the system into three zones, covering the bar, balcony, and main seating area,” Berry explains. “It gave us a really great distribution of sound. Right out of the box, it sounded great.” A pair of DLM12S powered subwoofers provide more than enough low end for the room. “The system was really easy to install, too,” Berry adds. “The SWM300 wall mount bracket made it a breeze.”

Versatility was an essential demand for the new sound system, and the DLM Series more than delivered. “We’re open from noon to 2:00 AM, seven days a week,” Lajeunesse explains. “We needed a system that could deliver great sound and consistent coverage 14 hours a day, at times when there are only eight people in the room, and when there are 250. With the new system, we’re able to consistently bring up the volume as needed, as the room fills up, without ever being too loud for one single person or table.”

Lajeunesse says the new DLM system has upgraded the Comet’s sound without affecting the club’s personality. “We were really pleased with the DLM8,” he concludes. “The speakers provided us with all the coverage we needed, but they’re low profile enough that we were able to tuck them into corners and areas where they didn’t interfere with the look and the vibe we were after.”

 

PreSonus Helps Avengers S.T.A.T.I.O.N. Come Alive

New York, NY — July 2014… After nearly half a century, more than 700 comics, and a dozen motion pictures, fan fascination with Marvel’s The Avengers franchise shows no sign of slowing down. The newest iteration, Avengers S.T.A.T.I.O.N. (Scientific Training And Tactical Intelligence Operative Network), has just opened its doors in Manhattan’s Discovery Times Square, in the home of what was once the famed New York Times building.

As the exhibition’s audio supervisor, Mark Edward Lewis, explains, Avengers S.T.A.T.I.O.N., produced by Victory Hill Exhibitions in association with Marvel Entertainment, is “an amazing, interactive, multimedia integration of Marvel characters that we love, with cutting-edge audio and video technology, in a giant 10,000-square-foot exhibit housed in one of the most celebrated legacy venues in America.”

Visitors to Avengers S.T.A.T.I.O.N. can enjoy a wealth of exhibits that both excite and inform — everything from exploring Captain America’s Birth Pod and the Tesseract Portal Device to soaring in a flight simulator and witnessing a particle accelerator. “It’s very science-oriented,” says Lewis. “Each of the rooms is a different kind of science that is fun, but you’re also learning about DNA and gamma radiation and bio science and all sorts of other things.”

Sound plays an important part of the exhibit’s interactive experience, with Lewis and senior sound designer Frank Serafine creating a powerful sonic environment to complement the exquisite visual experience. As Serafine explains, the challenge was not only to create an amazing sonic experience but to do so in an environment that bore all the earmarks of an acoustical nightmare.

“The biggest problem we had was isolation,” he says. “The space is basically a concrete basement with parallel walls, and we had to find a way to keep the sound from each part of the exhibit from leaking through to the rest of the space.”

Lewis and Serafine found the solution by bringing in a range of PreSonus® near-field monitors, including Eris™ E5 and E8 and Sceptre™ S6. “The PreSonus monitors – the S6 in particular — are some of the most directional speakers I’ve ever heard,” says Lewis. “They enabled us to focus the sound within a really narrow area where people would be standing, while keeping it isolated from the rest of the exhibit.”

The 5.25-inch E5 and 8-inch E8 feature Kevlar® low frequency transducers, low-mass silk-dome tweeters, responsive Class AB amplification, and professional acoustic-adjustment controls. The S6 features a unique coaxial transducer, combining DSP time-correction and point-source design for a symmetrical soundstage and micro-definition imaging.

To handle low frequencies, Lewis and Serafine chose the PreSonus Temblor™ T10 subwoofer. The T10 features a 10-inch, glass-composite, low-frequency transducer and a front-firing, bass-reflex acoustic port. “For us, the T10 was the ideal sub for delivering strong bass frequencies in this kind of enveloping room,” says Lewis. “Because the T10’s port is in the front, sound doesn’t get projected out the back and bounce off the ceiling and walls. Anywhere we had an enclosed space, the T10 was the perfect thing for us.”

The need for multiple tracks of audio playback was another area where PreSonus offered an ideal solution, with Lewis and Serafine opting for AudioBox™ 1818VSL and 22VSL multichannel interfaces.

“When you’re running 220-plus speakers and 168 discrete channels in a 10,000 square foot exhibit, you’ve got to have DSP,” Lewis observes. “What’s great about the AudioBox VSL is that it’s got more than enough DSP per channel — not just EQ, but compression, limiting, even some reverb. We’ve got discrete control of the sounds, which makes it a great alternative to using a lot of expensive DTS encoders.”

Serafine points to wireless iPad® control as one of the most important advantages in using the AudioBox 1818VSL. “Once the exhibit is set up, all of these workstations will be behind walls,” he explains. “Having the ability to mix and adjust remotely via an iPad means we don’t have to open up a wall to adjust the sound. It’s a huge advantage.”

PreSonus Studio One® DAW was more than up to the task of playing back the multiple tracks of music and effects. “Some of the soundscapes are comprised of a large number of tracks, and stability is not something we can compromise on in a setting like this,” remarks Serafine. “Studio One is one of the most rock-solid programs out there, and it sounds fantastic.”

Lewis sums it up: “As multimedia artists, audio is one of the most immersive tools we have. If it’s done well, it becomes an integral, powerful, but almost unconscious part of the experience — passive but moving at the same time. The sounds we choose, the way we mix them, and the equipment we use to convey that to the audience, are all critical to the experience. And PreSonus is a big part of that experience.”

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About PreSonus

Founded in 1995, PreSonus Audio Electronics, Inc., is a leading designer and manufacturer of audio-recording and live-sound software, hardware, and related accessories. PreSonus’s software, microphone preamps, signal processors, digital audio interfaces, digital mixers, control surfaces, loudspeakers, and other products are used worldwide for recording, sound reinforcement, broadcast, sound design, and Internet audio.

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Related Topics: Large Venue, Loudspeakers, News

World Bank Counts on ICONYX

Washington, DC – July 2014… Located just blocks from the White House, the World Bank opened for business at 1818 H street on June 25, 1948.  Today, the Bank’s address remains the same, but as the organization’s focus has evolved, so has the footprint of its headquarters.  The Bank’s H Street headquarters is now a multi-building complex covering an entire city block.

The buildings are enclosed by a massive glass atrium more than 150 feet tall and 150 feet wide. The atrium has become a popular setting for World Bank events, including cultural activities, exhibits, presentations and a stage for dignitaries, including the Bank President, to make speeches.

Not surprisingly, the atrium’s reflective surfaces do present some acoustical challenges, and as the space has hosted a growing number of business and theatrical events, it was time for the audio system to evolve to meet these needs. To address this challenge, World Bank officials called on Boulder, Colorado audio consultants K2 Audio.

“It’s a pretty challenging acoustical space, with lots of standing waves and lots of echoes,” said Rodrigo Ordóñez, principal at K2 Audio. “Their original system didn’t deliver adequate performance for much of what they were doing in there now, and they wanted to move to a more versatile sound solution.”

The challenges of a reflective, cavernous space were only the beginning. The system itself needed to be versatile enough to accommodate a variety of performance types – from bands, to dignitaries, to dance troupes. Add to that significant limitations on where the speakers themselves could be located.

“Infrastructure wise, they didn’t want to do any kind of construction work,” Ordóñez explains. “We were limited to re-using existing loudspeaker locations and existing infrastructure for loudspeaker cables and lighting.” The coverage needs also extended to a number of smaller nooks and corners that were largely unserved by the previous system.

The system is comprised of a single Renkus-Heinz ICONYX IC32-R-II digitally steered line array covering the main area, with nine ICONYX IC16-R-II cabinets distributed throughout the covered shaded areas. “We time-aligned the IC16 boxes to the main IC32 in front,” said Ordóñez. “There is no overlapping. Each speaker is covering a specific area. No matter where you are in the space, the orientation towards that front position is amazing. And the ICONYX loudspeakers are very clean — they project little to no sound out the back of it so there are no weird echoes throughout the space.”

2 designed the loudspeaker control system to match the versatility requirements. “There are seven total presets in different modes,” said Ordóñez. “For smaller events, they can take the DSP and mute some of the speakers to direct sound towards one side of the atrium. The system remembers all the different settings and they have a touch panel that sits in the rack and they can change it from there.”

Ordóñez reports that World Bank officials are very happy with the new ICONYX system. “They always had a lot of complaints with that space,” he says. “It never really performed to their expectations. We have heard only positive things since installing the ICONYX. Everybody is happy with the system, from the guys who are operating it on a daily basis, to the highest level.”

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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.

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Lee Boylan Joins the PreSonus Europe Team

Belturbet, County Cavan, Ireland, July 2014… Highly respected multi-instrumentalist, producer, and engineer Lee Boylan has joined the PreSonus® Europe Ltd. team as a product specialist. In his new position, Boylan will demonstrate PreSonus products to dealers and distributors in Europe, the Middle East, and Africa; provide technical support; and generally assist PreSonus distributors in the region.

“We’re delighted to have Lee on our team,” says PreSonus Europe Ltd. Managing Director Michelle Lynch. “His knowledge, experience, and ability to work with a wide variety of people are exactly what we’ve been looking for.”

“I’m very excited to get the opportunity to work with such a passionate and innovative company as PreSonus,” responds Boylan. “It’s a pleasure to be given the task of showing people how great these products are every day.”

In addition to his responsibilities with PreSonus, Boylan operates a recording studio and works as a live-sound engineer in his native city of Dublin, Ireland. He had a number 1 hit album in Ireland with his band Fight Like Apes and has played in a wide variety of other bands, including drumming with John Illsley (ex-Dire Straits). Boylan also holds a Masters degree in Music and Media Technology from Trinity College Dublin.

For more information about PreSonus, please visit www.presonus.com.

***

About PreSonus Audio Electronics, Inc. – Founded in 1995, PreSonus Audio Electronics, Inc., is a leading designer and manufacturer of audio-recording and live-sound software, hardware, and related accessories. PreSonus’s software, microphone preamps, signal processors, digital audio interfaces, digital mixers, control surfaces, loudspeakers, and other products are used worldwide for recording, sound reinforcement, broadcast, sound design, and Internet audio.

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Press Releases For : July 25, 2014

Thunder Audio Rolls and Roars with L-ACOUSTICS

Thunder Audio's Tony Villarreal (left) and Paul Owen with a few of their new L-ACOUSTICS K1 enclosures

Detroit/Nashville sound company purchases K1 system after taking K2 on Vampire Weekend tour

LIVONIA, Michigan — After putting a new K2 loudspeaker system through its paces – including a recent trek on Vampire Weekend’s North American tour leg – Thunder Audio, Inc. has expanded its inventory with a large-format K1 system from L-ACOUSTICS.

According to Thunder Audio Business Development Manager Greg Snyder, the company is currently taking delivery of 48 K1 enclosures, as well as bringing the rest of its total L-ACOUSTICS inventory up to 36 K2 and 24 KARA elements, 18 K1-SB and 34 SB28 subs, six ARCS II and 22 LA-RAK, each loaded with three LA8 amplified controllers. An additional 48 K2 are also on order for the first quarter of 2015.

“K1 has become the industry’s first choice for live audio reinforcement systems, but K2 is the reason we finally became a member of the L-ACOUSTICS family,” says Snyder. “It’s a stellar system for arena tours, like Vampire Weekend, as well as the perfect support box for K1 on larger stadium and festival shows. We are thrilled with the linearity in performance across L-ACOUSTICS’ entire product range and excited about the solutions that these systems will provide for our clients.”

Vampire Weekend performing on Thunder Audio's K2 system in Chicago

Client response has, indeed, been very favorable. Neil Heal, Vampire Weekend’s FOH engineer since late-2007, commented on his use of Thunder Audio’s K2 rig. “The typical configuration on our most recent American tour leg was left and right arrays of 14 K2, plus eight KARA outfills and four SB28 per side, all of which sounded fantastic. It seemed odd to be using so few subs, but more than that would have been overkill with K2, which is such a full range enclosure with a really nice usable low end. Vampire Weekend’s mix is all about vocal and instrumental clarity, and I could literally run the rig without subs in most arenas, but having just a few of them more than adequately filled out the low end.”

“We used K2 both indoors and outdoors, with arrays ranging between eight and 14 boxes per side, and I’m very impressed with the sonic consistency we got from night to night,” he continues. “K2′s ‘steerability’ with Panflex is also really nice in the event that Jonny [Winkler, Thunder Audio FOH systems engineer] had to hang the arrays near a glass wall or whatever; we could aim the top end away from it, which is great.”

Thunder Audio’s Winkler appreciates not only the fidelity of K2, but also the ease with which the system flies and strikes. “We flew the rig so fast each day that the lighting guys and carpenters were angry with me,” he laughs. “It takes longer to get the pins pre-set than it does to fly it, and that doesn’t even take that long. We have several other manufacturer’s boxes in our inventory here at Thunder Audio, and this is by far the fastest and easiest. I’ve flown an entire K2 rig totally by myself in less than four hours.”

Vampire Weekend heard via L-ACOUSTICS K2 at Chicago's UIC Pavilion

As for Heal, his only regret is that he didn’t have the system earlier. “The band was out on the road for 17 months and carried another PA for most of the tour because K2 simply didn’t exist when we started,” he says. “But I really prefer K2. It’s awesome. I’d love to have it every night, without a doubt. But it’ll be available on the next tour, and I’ll certainly take it out again. Plus, our festival stops this summer are on K1 mains with K2 outfills, which is just perfect.”

Thunder Audio Vice President Paul Owen sums up his investments by adding, “This was a huge undertaking by Tony [Villarreal, President] and I, and we had to take a lot into consideration before moving forward with K1 and K2: popularity, demand and, of course, availability. K1 is the first choice on the majority of riders that we handle and the predominant system when it comes to festivals. There’s no denying its sheer power and quality. We feel that K1 and K2 are our best venture to date for attracting new customers and facilitating old ones, and we’re very excited for what these systems can do for our clients and company’s future.”

For more info on Thunder Audio, visit www.thunderaudioinc.com.

L-ACOUSTICS is a leading innovator and manufacturer of high-performance loudspeakers, amplifiers and signal processing devices for touring and installed sound markets. Known around the globe for pioneering and championing the modern line array loudspeaker concept with V-DOSC, the company has received numerous accolades for its K1, K2, KUDO, KARA, KIVA, ARCS, XT coaxial loudspeaker systems and SB line of subwoofer enclosures, all powered and processed with the LA4 and LA8 amplified controllers in fulfillment of a “total system approach.” Product distribution and customer service for North America is handled by L-ACOUSTICS’ subsidiary in Oxnard, California.

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Contact:
L-ACOUSTICS US
2201 Celsius Avenue, Unit E, Oxnard, CA 93030
Tel: 805.604.0577 / Fax: 805.604.0858
Email: info@l-acoustics-us.com / Web: www.l-acoustics.com

Archimedia Announces Enterprise Media Player for Any Media Professional, Regardless of Expertise

Designed for Operations Budgets, Player Is Free With Active Support Agreement

DELRAY BEACH, Fla. — July 24, 2014 – Archimedia Technology, a company whose technology and applications bring precise multiformat viewing to the professional’s desktop, TV, UHDTV, and infrastructure, today released the Archimedia Enterprise Player, which comes free with an active support agreement. The new product is designed for all stakeholders — expert or not — who must be able to view professional video reliably and precisely in order to do their jobs, especially those who need specialized technical support to deal with professional media.

Enterprise Player users could range from those who lack the technical expertise to use professional video tools, to video experts who simply need to review their work without tying up an edit suite. They could come not only from media and entertainment organizations, but from any business that uses video in its operations, advertising, training, public relations, websites, exhibitions, public areas, and employee desktops.

The Enterprise Player is appropriate not only for professional editors, colorists, and compressionists, but also for nontechnical supervisors, project managers, salespeople, lawyers, caption spellcheckers, customer support staff, event coordinators, conference room service technicians, set designers, writers, producers, videotape dubbers, data I/O technicians, and anyone else associated with that business — all of whom must work together to keep the video projects and the business on track.

“The Archimedia Master Player is the world’s most sophisticated and precise professional media player, and it has become the reference standard in major movie studios, archives, and broadcast networks around the world. Now we’re bringing the expertise and software tools that we developed for the studios to anyone needing quality and precision in everyday viewing,” said Mark Gray, Archimedia president and CEO. “Archimedia’s new Enterprise Player is intended to find its way into the office of every producer and executive — and the offices of their staff. In the past, people used VTRs when they needed to view video. Now that type of convenience and efficiency is available with the Archimedia Enterprise Player on any desktop or laptop.”

The Enterprise Player serves a dual purpose. First, it replaces the VTR and videotapes that used to serve as the universal sharing device. Anyone who has installed the Archimedia Enterprise Player can simply double-click on a file to play it. At the same time, the Enterprise Player augments the robust Archimedia Master Player, giving expert users a fast, accurate, reliable media player with which to check their work or view media-specific data.

Perfectly suited for users who have limited experience working with the intricacies of professional media, the Archimedia Enterprise Player installs easily on any computer equipped with Windows(R) 7 or 8 by simply downloading the software from Archimedia’s website. Users can get media-specific email support from Archimedia, as well as Archimedia’s live online or phone support when needed. In this way, the Archimedia Enterprise Player also replaces consumer-oriented open-source downloads and free media players that come with PCs, none of which offer any meaningful technical support for people dealing with professional media. Having access to Archimedia’s experts eliminates the need to call on the in-house IT department, which likely doesn’t have the expertise to deal with the ever more complex world of media formats.

The main difference between the Archimedia Master Player and the Archimedia Enterprise Player is in the formats they support. The Archimedia Enterprise Player plays all professional and consumer video and audio formats except for JPEG 2000, DPX, and 4K/UHD, which are found only in cinematic or production masters. Like the Master Player, the Enterprise Player can play captions and subtitles in more than 80 external formats and more than 50 embedded formats, and all video can play to a normal TV over HDMI so that what the user sees is real TV rather than a PC approximation. The player also delivers accurate audio in all modes — fast forward, rewind, slow, and scrub.

The Archimedia Enterprise Player is designed for operations budgets as opposed to capital budgets, which can save businesses $100,000 a year or more and helps preserve capital. At the same time, a business can better control the balance sheet by adjusting operations costs based on changes in headcount. This pricing model enables enterprises to provide a sophisticated media player and specialized technical support to a defined number of employees without worrying about auditing licenses or the cost of maintaining in-house technical expertise. Made to run on existing office computers, the player software is free for businesses with an active support account.

The Archimedia Enterprise Player is available now for download from the Archimedia website. Archimedia will demonstrate the new player at IBC2014 on stand 7.D14.

Information about the Archimedia Enterprise Player, including an online demo and a free trial, is available at www.archimediatech.com.

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

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

Visit Archimedia Technology at IBC2014, Stand 7.D14

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

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West Coast Catalyst AV Distribution Network Member Custom Plus Distributing Appoints Steven Ricks as Territory Sales Manager

Auburn, WA – July 25, 2014 – Custom Plus Distributing today announced the appointment of Steven Ricks as Territory Sales Manager of the company’s new San Jose, California location.

Steven Ricks is ready to drop-off the gear you need for today's install

Steven Ricks is an industry veteran. He previously served as Custom Plus/Oliver Marketing as a Sales Representative from 2002 to 2006. Additionally, Ricks held corporate roles with NetStreams and Crestron, where he honed his knowledge of control systems and design.

”Ricks’ focus is on working with dealers to maximize their profit and inventory levels to make sure that they run efficient businesses,” says Custom Plus Distributing President and Owner Bob Oliver. “Working with dealers to help close business is something that Ricks enjoys greatly. He looks forward to meeting new dealers and reacquainting himself with those he has worked with in the past.”

Call Ricks at 408.515.5173 or email ricks@customplusdistributing.com.

About Custom Plus Distributing
Established in 1996, Custom Plus Distributing is a leading Distributor covering Washington, Oregon, Idaho, Alaska, Montana, Northern California and Nevada territories. Custom Plus Distributing specializes in both car and home categories, providing audio, video, security, and networking products. CPD is also a founding member of Catalyst AV, a consortium of consumer electronics distributors, serving over 15,000 dealers nationwide. www.customplusdistributing.com

About Catalyst AV
Founded in 2012, Catalyst AV is a network of 11-independent consumer electronics distributors serving the residential and professional AV channels in the U.S. Catalyst AV grants manufacturers a consistent and cohesive nationwide distribution model to more than 15,000 professional integration specialists. Catalyst AV benefits integrators by delivering all the products and support necessary to execute the demands of job specifications with confidence. The Catalyst AV Board of Directors consists of Mike Hench (Electronics Source Distributors); Steve Presti (Easy Access Distribution) and Wally Whinna (Allnet Distributing). www.catalystav.com

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HPA to Host Symposium Leading Into SMPTE 2014 Annual Technical Conference & Exhibition

‘Making Do With More’ Event at Hollywood’s Historic El Capitan Theatre Will Explore the Impact of Enriched Pictures and Sound for Filmmakers and Content Creators

WHITE PLAINS, N.Y. — July 24, 2014 – The Society of Motion Picture and Television Engineers(R) (SMPTE(R)), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries, today announced that the SMPTE 2014 Annual Technical Conference & Exhibition (SMPTE 2014) will feature a pre-conference event — the SMPTE 2014 Symposium, hosted by the Hollywood Post Alliance(R) (HPA(R)) and titled “Making Do With More.” The daylong event is scheduled for Monday, Oct. 20 at the historic El Capitan Theatre in Hollywood, California.

“As we consider how technological advances will improve the entertainment experience, we must also address the workflow challenges that will arise,” said Pat Griffis, SMPTE education vice president. “Each area of potential enhancement — higher resolution, greater contrast and color, higher brightness, more frames, and more objects associated with sound — brings with it new demands on workflow. Sessions within the SMPTE 2014 Symposium will address these and other next-generation workflow concerns from both a technical and creative standpoint.”

The SMPTE 2014 Symposium is among the first joint efforts of SMPTE and HPA as they move forward with plans for full consolidation by May 2015, and it highlights the strengths of both organizations. HPA is known for facilitating dialog among all disciplines in the entertainment industry, and for its contributions to SMPTE educational events such as SMPTE 2014 that enrich and expand the larger conversation about key topics shaping the industry.

HPA is well-known for the annual HPA Tech Retreat(R), which brings technologists and filmmakers together to address many controversial topics influencing the industry. In developing the SMPTE 2014 Symposium as a “filmmaker’s symposium,” HPA is orchestrating sessions that take an in-depth look at advanced technologies that bring new tools to storytelling. The symposium will include creative sessions from renowned cinematographers, visual effects specialists, colorists, and other filmmakers discussing what they hope to do with enhanced pictures and frame rates.

Additional sessions will offer a look at immersive sound, its impact, and how it’s being applied today; changing models for delivery of content to the consumer — including theatrical, broadcast, physical media, and digital distribution — across TV sets, computers, and mobile devices; and the standards and practices being developed to address the changing content life cycle.

“By connecting the creative community and its supporters with the technical community at the SMPTE 2014 Symposium, SMPTE and HPA are creating an opportunity for all participants to gain a richer and deeper understanding of technology’s impact on the creative process,” said Leon Silverman, HPA president. “The new displays and distribution approaches being proposed by technology companies need to be understood in the context of how the creative community will use this extended tool kit. It is also critical that we examine the standards and workflow approaches that will be necessary to deliver something more to consumers than a higher numbers of pixels.”

SMPTE 2014 is the premier annual event for motion-imaging and media technology, production, operations, and the allied arts and sciences. Each year the event draws elite and world-renowned technology thought-leaders from motion picture studios, broadcast and distribution networks, production and postproduction communities, software companies, systems integrators, manufacturers, display technologies, distribution providers, over-the-top providers, and others leading the evolving motion-imaging industry.

Further information about SMPTE 2014 and the preconference symposium is available at www.smpte2014.org/.

# # #

About the Hollywood Post Alliance(R)
Hollywood Post Alliance(R) (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools, and infrastructure for the creation and finishing of motion pictures, television, commercials, digital media, and other dynamic media content. The annual HPA Tech Retreat(R) draws top industry engineering, technical, and creative talent, as well as strategic business leaders focused on technology, from all aspects of digital cinema, postproduction, film, television, video, and related technologies together for an informal exchange of information. The 2015 HPA Tech Retreat is scheduled for Feb. 9-13 in Indian Wells, California. Further information is available at http://hollywoodpostalliance.org/?ai1ec_event=2013-hpa-tech-retreat&instance_id=293. Information on joining HPA is available at http://hollywoodpostalliance.org/.

About the Society of Motion Picture and Television Engineers(R) (SMPTE(R))
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.

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

Calrec Audio IBC2014 Product Preview, Stand 8.C58

Calrec Products at IBC2014

Summa Audio Console
At IBC2014 Calrec will showcase its new Summa audio console. The Summa console is designed for broadcast professionals who need a straightforward solution for producing creative and engrossing broadcast audio, but not all of the resources offered by Calrec’s Apollo and Artemis consoles.

Designed to ensure intuitive operation in live broadcast applications, Summa simplifies even complex workflow tasks, such as creating mix-minus feeds, with a highly intuitive GUI suitable for a broad range of operator levels. Users control the console via a 17-inch multitouch screen inspired by familiar tablet technology. The crisp high-resolution display provides elegant controls and a clear presentation of information. The console’s other large displays are fully configurable to display bus, output, and loudness meters, and they feature dedicated metering, routing, and processing information for each fader.

Photo Link: www.wallstcom.com/Calrec/Calrec-SummaLongshot.jpg
Photo Caption: Calrec’s Summa Broadcast Audio Console

Company Quote:

“IBC is the leading industry event for Europe, but it also attracts an international audience. We look forward to showcasing our new products at the show this year and look forward to the feedback from our customers and partners in the region.”
– Henry Goodman, Head of Sales and Marketing, Calrec Audio

Company Overview

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.

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Award-Winning Gefen Solution Distributes HDMI with USB, RS-232, IR and Audio over a Local Area Network with Option to Create Virtual Matrix Switching Solution

CHATSWORTH, CA – Digital connectivity solutions provider Gefen today announced that its HD KVM over IP solution won the AV Technology Best of Show Award at InfoComm 2014.

Gefen’s HD KVM over IP sends 1080p high definition content over a LAN with the option to integrate various video formats and create a virtual, cross-point matrix. The sender/receiver system allows the remote control of computers from any workstation on the LAN when using a Gigabit Ethernet switch. Users access content using a keyboard, video display and mouse (KVM). Video resolutions in the HDMI format up to 1080p, four USB peripherals, bi-directional audio, RS-232 control signals and IR are transported on the LAN with optional extension up to 100 meters on both sender and receiver sides using a single CAT-5 cable. This extension system boasts latency of less than two frames.

One of the best features of this new solution is its ability to support additional sender and receiver units on the same LAN. Each sender and receiver can be automatically or manually configured to a unique IP address to support multiple units. Up to 256 sender and a theoretical limit of just over 65,000 units total can be routed through the LAN, creating a scalable, virtual cross-point matrix with no additional wiring. The HD KVM over IP can also be combined on the same LAN with Gefen’s DVI and VGA KVM over IP extenders. These integrated systems support both analog and digital video in a virtual matrix that sends data to any workstation regardless of the video format. Resolutions are supported up to 1920×1200 at 60 FPS.

Gefen’s HD KVM over IP helps facilities improve performance by increasing remote control options and streamlining equipment. Each system includes a web server interface for easy configuration and setup. Each receiver unit comes equipped with an Ethernet switch and two Ethernet ports for connecting additional computers at the remote location.

The Best of Show designation is awarded to those companies with outstanding products exhibited at InfoComm. Winners were selected by panels of professional users and editors, and on judges’ inspection at the convention.

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