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Press Releases For : December 15, 2014

PIX PRODUCTIONS and WorldStage Push Back the Boundaries at Adobe MAX 2014

2014_Adobe_MAX-2343Adobe MAX 2014 – The Creativity Conference unveiled the latest in new technology by using one of the world’s oldest staging techniques with projection mapping support from WorldStage.

The annual Adobe users’ conference, Adobe MAX is s a source of ideas and inspiration, a place where creative minds meet. It held its general sessions at Nokia Theatre L.A. Live. In the past, Adobe MAX has used extensive video projection pixel mapping as a canvas for showcasing artistic and graphical elements on stage. Bicoastal WorldStage has lent its projection mapping expertise to Adobe’s biggest annual event for the last three years.

This year PIX PRODUCTIONS, with scenic designer Peter Crawford, devised an interesting challenge for the producers, designers and engineers supporting the project. The question raised was whether it would be possible to project onto a pair of motorized 27×30-foot periaktoi and warp and track the imagery as the set pieces moved? The periaktoi would be projected upon from multiple 3D angles so the video images had to be perfectly reshaped, dynamically and on the fly, as the triangular screens rotated.

Dating back to ancient Greek theater, periaktoi are triangular-shaped devices used for displaying, and rapidly changing, theater scenes. For Adobe MAX, Crawford proposed to place a pair of periaktoi in the middle of an array of big screens on stage. As the periaktoi rotated they would alternately present angled and flat surfaces to the audience for a dazzling new twist on projected content.

“The dynamic reshaping of images projected across moving screens is a process that was not even possible just a few short years ago,” says WorldStage project manager Jack Dussault. “The combined efforts of technology experts at Worldstage East and West were deeply involved in the development and utilization of the pixel mapping technologies in this event.”

WorldStage devised a 28-channel, 42-projector rig that covered two large projection screens as well as the giant periaktoi. “This is the first time I’m aware of this type of mapping/tracking projection being used on a corporate presentation stage,” says WorldStage president Josh Weisberg.

“The show was a great success. Some of the first words from the Adobe CEO when he appeared on stage was, ‘What about those screens?’ followed by an eruption of applause and shouts from the audience. The screens were truly amazing,” Weisberg says. “The teams from PIX PRODUCTIONS and WorldStage, along with the content team at Core Studios, and set builders Mystic Scenic, accomplished something very noteworthy.”

Thirty-two channels of Pandoras Box were used as the primary media servers for pixel shaping and media playback. Christie Roadster HD20K-J projectors were used for the main and side screens and Christie Roadster S+20K projectors for the periaktoi.

“An All Star team of WorldStage projectionists and media server techs worked in shifts for several days, around the clock, to do the intricate programming and adjustments necessary for the convergence of multiple layers of overlapped projection in the very demanding, dynamic scenario,” Dussault reports. The result was “stunningly sharp images moving across changing, rotating angular surfaces, combining the stage and theater walls into a mesmerizing kaleidoscope of imagery.”

In addition to the stellar projection mapping, WorldStage supported more than 40 live demos of various mobile devices and software apps from two on-stage kiosks over two days of the convention. WorldStage provided 13 HD cameras – manned, unmanned and robotic – to capture the show for broadcast and live streaming over the web to viewers worldwide. Switching was performed with a Ross Vision HD multi-format production switching system and three Vista System Spyder X20 screen switching frame groups.

Los Angeles-based IATSE LOCAL 33 provided all of the Nokia Theatre technical staff and crewing.

“Once in a while we do a show that’s really special, and Adobe Max 2014 was one of those,” says Dussault. “I couldn’t be more proud of our teams’ efforts: from shop prep to the on-site team, the All Star projection team, our brilliant engineers and the fun and quirky Pandora team.”

“The collaboration from start to finish with WorldStage makes high-end, technically challenging and wildly creative beautiful events possible,” says Jeremy Nichols, executive producer at PIX PRODUCTIONS. “The engagement at all levels of the company and the close working relationship with WorldStage are the keys to the success of these events.”

At PIX PRODUCTIONS Shaun Boyle was the technical producer and John Bettini the technical director. At Core Studios Gary Jaeger was the director of the opening video.

At WorldStage Richard Bevan was the account executive, TJ Donoghue was the media server project manager and Florian Mosleh and Michael Kohler and Brianna Bainbridge were the media server programmers. Terry Nakamura, Scott Goegebuer, Dennis Alfonso, Luke Frey, Andrew Taylor and Jerry Edgerly were the projectionists. Jason Spencer served as the Spyder operator.

Neal Gass, Jason Spencer, Shane Zinke, Jerry Edgerly, Frank Musgrove, Jon Tanner, Patrick DelaCruz, John Muldoon and Shawn Hutcheson comprised the WorldStage engineering team.

Stan Dickerson, Gabe Benzo, Ryan Trefethen and Will Herald headed up the audio team.

Fabian Yeager was the lighting designer; Mark Jepsen handled the live camera direction. Dan Eslinger was the Mystic Scenic Automation Engineer and integral to the success of the mapping project. Dan Kirsch was the production carpenter; production rigging was supplied by Rigtech/Show Group.

WorldStage Inc., the company created by the merger of Scharff Weisberg Inc and Video Applications Inc, continues a thirty-year legacy of providing clients the widest variety of entertainment technology coupled with conscientious and imaginative engineering services. WorldStage provides audio, video and lighting equipment and services to the event, theatrical, broadcast and brand experience markets nationally and internationally.

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Renkus-Heinz IC2 Steers Grove City Church in Right Direction


Grove City, OH – December 2014…
Grove City Church of the Nazarene – known to congregants and locals as The Naz – has built a large and diverse congregation in this Columbus suburb. The church offers a mix of both contemporary and classic worship services, as well as hosting many conferences and concerts from touring Christian artists.

The Naz’s 2800-seat sanctuary has long struggled with sonic issues, including poor intelligibility and uneven coverage, and the church was more than ready to upgrade their sound system. Technical director Matt Groves and front of house sound engineer Doug McLaughlin undertook the job of researching possible solutions. “We looked at several major loudspeaker brands and invited several in to do demos for us,” he recalls. “They all sounded fine, but the Renkus-Heinz IC2 really stood out. They demonstrated the beam steering by putting us up in the balcony with the IC2 cabinet on stage. We could hear it just fine. Then he opens his laptop and says, ‘Watch this,’ and steers the speaker digitally so it’s hitting us directly upstairs. All of a sudden, boom, there it was, with unbelievable clarity. I looked at my front of house engineer and we both said, ‘That’s the one.’ It was the coolest thing.”

The system, installed by Tech Art Production of Columbus, comprises a left-center-right,  dead-hung configuration, with three IC2-FR modules in the center flanked by five more on either side. Each full-range IC2-FR module contains four 8-inch speakers and four vertically aligned one-inch high frequency drivers. To deliver the bass needed for the church’s powerful contemporary presentation, the arrays are supplemented by six DR18-2R powered subwoofers, hung in two groups of three between the main IC2 arrays.

Like most contemporary houses of worship, this installation requires both musicality and intelligibility, and the IC2 system delivers. “The music sounds amazing, and the spoken word is crystal clear in every seat, even under the balcony,” says Groves. “The IC2‘s digital steering enabled us to aim a beam down to hit the front rows and another to cover beneath the balcony. And we have totally eliminated the slap-back echo from sound bouncing off the balcony facing.”

Groves also appreciates the economy of cabinets required to covers the church’s wide, cavernous sanctuary. “Having 120 degree dispersion lets us cover the full width of the room, even the side wings, with just the three LCR arrays,” he reports. “To do this room with standard line arrays would take two groups 9 or 10 boxes in a curved hang, plus extra speakers to cover the dead spots. Our biggest arrays are only five cabinets tall, and we have clean sightlines from every seat. There are no front fills, no side fills, and no speakers under the balcony.”

The early Sunday service is the classic presentation, with an 80-voice choir, 20-piece orchestra, plus a rhythm section. Thirty minutes after that service ends, the room is reset for the contemporary service, with the choir loft walled off and the stage reconfigured. There is also a hybrid service on Saturday. The system’s advanced RHAON control software can instantly recall multiple configurations for each service’s different demands.

“The contemporary service is a pretty high octane and edgier presentation that includes a rhythm section, six vocalists, a whole lot of bass, and is very guitar driven,” says Groves.  “The traditional service needs less bass reinforcement, which we have set up in the RHAON software as a preset. Both sound fantastic from every seat in the house.”

The Renkus-Heinz IC2 has proven to be a perfect fit for the Grove City Church of the Nazarene. “From the first service onward, we’ve gotten nothing but compliments on the system,” says Groves. “The senior pastor is immensely pleased with it. It’s easy to differentiate everything in the mix, the sermon is perfectly clear, and we have plenty of power to get that rock concert feel when we need it. We couldn’t be more pleased with the system.”

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About Renkus-Heinz - 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.

LOUD Appoints Jason Tan as Mackie APAC Product Specialist

MAC-JasonTan copySingapore – December 2014… LOUD Technologies Music Gear Group has announced the appointment of Jason Tan to the position of Mackie Product Specialist for the APAC Region. Based in Singapore, Tan joins LOUD after more than 20 years in the professional audio industry.

In addition to a lengthy career in live sound and recording, Tan is the founder of Eastwardaudio, one of the region’s major production facilities, where he oversaw productions for Universal Music, Sony BMG, EMI, Pony Canyon, and other major labels, as well as film scores and corporate clients including Coca Cola, Lexus, Hitachi, and Motorola. Singapore’s National Arts Council also appointed Tan as a mentor to their youth music program.

“We are very excited to have Jason on board as our Mackie Product Specialist for the APAC region,” remarked Rohan Smith, LOUD Director of APAC Music Gear sales. “He brings a wealth of Pro Audio experience to the table, from both a distribution and an audio engineering/production perspective. His technical and training expertise is first class. I am confident he will add significant value to all of our distribution partners’ businesses as we drive forward with new, groundbreaking products.”

Tan added, “Working with LOUD is like a dream come true. I’ve used Mackie and Ampeg products since I began making music. I can’t remember how many hours I’ve spent making and mixing music with Mackie gear. It’s fantastic working for a company at the forefront of Pro Audio technology. I’m looking forward to supporting the events and activities of Mackie’s great partners in the region.

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Press Releases For : December 12, 2014

SMPTE to Produce Documentary on Evolution of Motion-Imaging Technology and the People Behind It

Treatment Completed by Chris Kenneally, Randall Dark to Begin Production With Director Howard Lukk

WHITE PLAINS, N.Y. — Dec. 11, 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, is producing a documentary on the intriguing history of motion-imaging technology to celebrate the Society’s centennial anniversary in 2016. SMPTE has named motion-imaging technology and creative visionary Randall Dark as producer. Howard Lukk, former vice president of production technology at The Walt Disney Studios, will serve as director on the initial project. Chris Kenneally, who is best known as the writer and director for the acclaimed documentary “Side by Side,” produced by Justin Szlasa and Keanu Reeves, already has completed the initial treatment for the film.

“For this project we specifically selected a team with both production expertise and firsthand knowledge of the innovations and inventions that have influenced the art and science of the motion-imaging industry ecosystem,” said SMPTE Documentary Committee Chair and Past President Peter Ludé. “I am excited that the unique personal perspective that Randall and Howard bring to the project will bring this exciting story to a large general audience, as well as cinema buffs, history enthusiasts, and industry experts.”

The documentary, which goes by the working title “Moving Images,” will explore the excitement surrounding the development of motion-imaging technology from the turn of the 20th century through the present while inquiring about what the future has in store. Through interviews with top filmmakers, historians, entrepreneurs, and engineers, the documentary will investigate the influence that art and science have on one another.

“SMPTE has played a vital role in the advancement of movies and television for nearly 100 years,” said Dark. “I’m so honored that I get to help tell the story of the people who literally invented the technology that I’ve built my entire career.”

The film will expose the human element behind epic engineering feats and technological achievements, examining the ways it has advanced the artistic element of content creation. The documentary will serve as a celebration of the ingenuity, invention, and personalities that are responsible for many important works of art while demonstrating how SMPTE’s important work on industry education and standards has guided the technology.

“Technology inspires, thrills, and defines us. It teaches us to dream and helps us communicate,” said Lukk. “Through this film, we will honor those engineers and technologists who have enabled producers and directors to tell their stories and push the boundaries of their craft.”

The SMPTE Board of Governors has authorized initial funding for the project, which has included Kenneally’s treatment and Dark’s initial production work. The intent is to produce a 90-minute theatrical feature, as well as an abbreviated television version.

SMPTE is now seeking supporters to underwrite the project to fulfill this intention. Supporters will become part of the SMPTE legacy of setting the standard for motion imaging. The Society has set up a verified nonprofit crowdfunding campaign with Indiegogo. Contributions to the campaign will be processed by FirstGiving and may be tax deductible. Learn more about the documentary and become a supporter at http://igg.me/at/smptedoc.

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About Randall Dark
Randall Dark is a pioneer within the digital media industry and renowned expert in emerging technologies. Dark and his companies, including Randall Dark Productions, have been involved in more than 2,000 high-definition (HD) projects including feature films, documentaries, commercials, music videos, corporate presentations, product launches, and live events, and he has received one of the International Electronic Cinema Festival’s (IECF) top honors, The Pioneer Award, in recognition of extraordinary contributions to the success of HD. HD programs directed by Dark have received awards from the Consumer Electronics Association (CEA), Telly, IECF, Communicator, Aurora, Axiem, WorldFest Houston International Film Festival, Videographer, The American Corporate Video Awards, and Cinema Chicago. In 2007, during the making of “Closing Escrow,” Dark earned an Independent Filmmaker Award for Achievement from the Maxell Corporation. He also served as executive producer of the independent feature “Angels Sing,” released in November 2013. Dark is a member of the Academy of Television Arts & Sciences (ATAS).

About Howard Lukk
Howard Lukk is a SMPTE Standards Director and former vice president of production technology at The Walt Disney Studios, where he was responsible for helping to incorporate new technologies into the workflow of the studio. Prior to Disney, Lukk was director of technology for DCI, where he was responsible for researching and documenting Digital Cinema System Specifications. Lukk has always had a deep passion for film. While earning a living as a motion picture engineer, Lukk, in his spare time, shot short subject dramatic and documentary footage over the years and is now pursuing the craft of filmmaking full time. Lukk has just completed directing his second short film titled “Emma” (2014). This comes on the heels of his directorial debut “Make Believe” (2013) that was shot in 3D with the prototype hybrid 3D camera rig in Berlin. Lukk is a SMPTE Fellow and an associate member of the American Society of Cinematographers (ASC).

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(R) (HPA(R)), 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.

Photo Link: www.wallstcom.com/SMPTE/SMPTE-HowardLukk.jpg
Photo Caption: Howard Lukk, Director at Pannon Entertainment, Inc.

Photo Link: www.wallstcom.com/SMPTE/SMPTE-MOVINGIMAGES.jpg
Photo Caption: Moving Images Graphic

Photo Link: www.wallstcom.com/SMPTE/SMPTE-RandallDark.jpg
Photo Caption: Randall Dark, President at Randall Dark Productions LLC

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Sonnet Introduces New Family of Optical Thunderbolt Cables

Fiber Optic Cables Span Longer Distances Without Loss of Performance

IRVINE, Calif. — Dec. 10, 2014 — Sonnet Technologies today introduced a new line of optical Thunderbolt(TM) cables designed to connect computers and devices over longer distances in a wide variety of production environments. With support for both 20Gbps Thunderbolt 2 and 10Gbps Thunderbolt connections, the Sonnet Optical Thunderbolt Cables are thin, lightweight, and durable, with performance equivalent to copper Thunderbolt cables at distances of up to 60 meters.

The Sonnet Optical Thunderbolt Cables are ideal for use in situations requiring the computer to be segregated from other equipment without a loss in functionality or data-transfer speed. One example is when a computer and other peripherals must be remotely located in a secure equipment room, with the cable running out to a desktop with a Thunderbolt dock that supports a display, mouse, keyboard, and other peripheral devices. Another example might be an audio production workflow that requires a particularly quiet operating environment. The longer optical Thunderbolt cable allows devices with fans to be located in another room and out of earshot.

“Thunderbolt technology has been an amazing enabler of high-performance device and display connectivity with any computer that has a Thunderbolt port,” said Robert Farnsworth, CEO of Sonnet Technologies. “Optical Thunderbolt cables literally extend those benefits over very long distances, a capability that is essential for many of our customers.”

Available in 5.5-, 10-, 30-, and 60-meter lengths, the Sonnet Optical Thunderbolt Cables feature Optical(TM) Cable technology by Corning. They provide dual-channel, bidirectional connectivity for 10Gbps Thunderbolt devices, or 20Gbps bidirectional support when used with a Thunderbolt 2 host and Thunderbolt 2 devices. The cables are hot-swappable, and each can carry both data and video.

Sonnet’s Optical Thunderbolt Cables are available now with prices starting at $179. More information on Sonnet’s Optical Thunderbolt Cables is available at www.sonnettech.com/product/opticalthunderboltcables.html.

More information about Sonnet’s complete product family is available at www.sonnettech.com.

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About Sonnet Technologies
Sonnet Technologies Inc. is a leading provider of Thunderbolt(TM) 2-to-PCIe(R) card expansion systems, pro media readers, RAID storage systems, and storage, network, and other interface cards for pro users in the audio, video, and broadcast industries. Sonnet’s Thunderbolt expansion products enable the use of pro audio I/O and DSP cards, pro video capture and transcoding cards, network and storage interface cards, and other high-performance PCIe cards with Thunderbolt technology-enabled computers. For nearly 30 years Sonnet has pioneered and brought to market innovative and award-winning products that enhance the performance and connectivity of Mac(R), Windows(R), and other industry-standard computers. More information is available at www.sonnettech.com.

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

Photo Link: www.wallstcom.com/sonnet/sonnet_optical_thunderbolt_cable.jpg

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DPA Microphones Get a ‘Royal’ Seal of Approval

Royal Blood 3

Mercury Prize nominees Royal Blood, one of the breakthrough bands of the year, have been using a range of DPA microphones on their recent UK tour.

“We use DPA’s d:facto™ Vocal Microphone on vocals and d:vote™ 4099 Instrument Microphones on snare bottoms and toms,” says Front of House engineer Phil Jones from Output Audio. “I was never a fan of snare bottom and now literally can’t imagine not using one.”

Jones adds that he is now a confirmed fan of the quality that DPA microphones deliver.

“They just sound great. The d:facto Vocal Microphone is genius. Even in a small club I can get it as loud as most dynamic mics without hideous feedback, but the sound quality and ‘intelligibility’ is still there. Both the d:facto and the d:vote 4099s sound very natural without having to use any obvious big cuts and boosts. It makes for a far better starting point EQ and processing-wise, as long as your source is good.”

Brighton-based Royal Blood consist of bassist & vocalist Mike Kerr and drummer Ben Thatcher. Jones started off playing the drums himself and so has a fine appreciation of the amount of spirited abuse Thatcher gives his kit.

“Honestly, I didn’t think the d:vote 4099s would survive with the way Ben plays drums,” Jones says. “A couple of times in the summer he pushed the whole drum kit over and I was mildly terrified what I would find when the risers got pushed round. But, fingers crossed, no problems so far. The d:vote 4099s are so small and discreet they just stay out of the way, which is extremely important. They sound very natural; they sound like the drums! I do very minimal EQ work and that’s what we like — natural sound.”

Working with a duo, even one as energetic and sonically bombastic as Royal Blood, brings a certain degree of precision to Jones’ work. “With only 17 channels to work with, it has to be perfect,” he says. “You’re not going to get away with losing the third keyboard or second backing vocal in a mix. If something is slightly off, you’re in big trouble; there’s nowhere for anything to hide. I’m constantly on my toes, but it does leave quite a bit of room for interesting FX and creativity.”

As part of that creative experimentation Jones has been using a DPA d:discreet™ 4091 Omni-Directional Miniature Microphone on Thatcher’s kick for a couple of months now and says that it has been an eye-opening experience.
“I come from more of a jazz background and for that, it would be amazing,” he says. “Outdoors, with lots of sub, and control of the sub especially, it’s brilliant. I get some extra bottom end that I can’t put my finger on and I love it.”

Royal Blood’s autumn tour and subsequent clutch of European dates were thrown into disarray when Kerr went down with tonsillitis. However, dates are being rescheduled, and it’s almost easier to find places where they aren’t playing in 2015 than where they are, with a support slot on a North American tour with the Foo Fighters being one of the highlights.

And where Royal Blood goes, from Europe to North America, Australia and beyond, Jones and his DPA mics go too.

“All of our DPA microphones were supplied by the company’s UK distributor Sound Network,” Jones says. “We now fly the mics round the world and use them for everything. We have some very expensive mics, but the results are fantastic and consistency is key. That’s especially true for broadcast when we can’t have total control, but we just turn up, turn it all up, and basically it sounds great.”

-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

Press Releases For : December 11, 2014

BenQ Announces New Product Lineup for the 2015 International CES

New treVolo Electrostatic Bluetooth(R) Speaker, Pro Gaming Monitors, Design-Focused Displays, and Colorific(TM) Projectors Let Users Do It All With Flying Colors

COSTA MESA, Calif. — Dec. 11, 2014 — BenQ America Corp., an internationally renowned digital lifestyle solutions provider, today announced its exciting new product portfolio for the 2015 International CES. Unveiling an all-new showcase that lets users do it all with flying colors, the company’s latest innovations include the official launch of BenQ’s treVolo electrostatic Bluetooth(R) speaker, a new line of fast-paced professional gaming monitors, design-focused photography and CAD/CAM displays, and Colorific(TM) projectors which produce color accuracy that goes far beyond the imagination. (more…)

Fairfax Media Takes Xsan Environment to the Next Level With Quantum StorNext Platform

Redesigned Workflow Enables 40 Percent Increase in Productivity and Greater Scalability While Maintaining Open Systems Collaboration

SAN JOSE, Calif. — Dec. 9, 2014 — Quantum Corp. (NYSE: QTM) today announced that Fairfax Media, a leading media company in Australia and Asia, has moved from an Apple Xserve-based Xsan to a workflow centered on Quantum’s StorNext(R) platform. The upgraded solution has provided Fairfax with the high-performance storage and scalability it needs to meet growing content collaboration demands and ever-shorter production cycles. In addition, the company was able to make the transition seamlessly because of StorNext’s 100 percent compatibility with Xsan.

Aging Xserve Spurs Search for New Solution
Fairfax’s production system was based on Xsan metadata controllers running on Xserve hardware for collaboration, Xserve RAID storage and Mac workstations running Final Cut Pro as the primary production tool. However, with Apple no longer supporting Xserve, Fairfax decided it needed to look for a new solution partner that would allow the company to maintain 100 percent Xsan compatibility for current Xsan workstation clients while providing enterprise server-quality metadata appliances for rapidly growing collaboration.

As the company looked for a viable alternative, high performance and scalability were not the only critical factors. Fairfax wanted a partner with deep storage experience in media and entertainment, a visionary roadmap for improving workflow efficiency and productivity and a long-term commitment to the market. Other major requirements were an open systems approach and assurance that refreshing the current Xsan network would not disrupt the tools and processes Fairfax’s editors were already using.

“We chose Quantum partly for technical reasons — the products were just what we needed — but also because the Quantum team understands the video production environment like no one else we talked to,” said David McMillan, head of production, Metro Video at Fairfax.

Seamless Transition with Immediate Benefits
Working with Computers Now, an experienced integrator, Fairfax chose a complete StorNext high-performance storage system for collaborative file storage and sharing. The transition required no retraining and was achieved with no downtime.

Fairfax immediately began to see the benefits of deploying StorNext with high-performance Quantum disk storage. Multiple editors can share high-resolution content more easily and efficiently. In addition, because StorNext — like Xsan — supports heterogeneous environments, editors have the flexibility to work with their preferred Mac- and Windows-based clients and applications. All of this has enabled the company to increase the number of clips it can publish per week by approximately 40 percent.

Going forward, StorNext’s scalability will allow Fairfax to accommodate growing demand for its production services. Also, the company is planning to take advantage of StorNext’s uniquely integrated archiving capabilities.

“StorNext AEL Archive libraries are attractive in that they will let us make copies of our content on tape automatically, both to protect it and archive it, while keeping it accessible for rapid re-use,” said McMillan. “This next phase in our StorNext deployment will further speed up our production process and give us a much more economical platform than one built only on disk storage.”

“Fairfax is a great example of a leading media company evolving to meet new content demands and business opportunities,” said Alex Grossman, vice president, media and entertainment at Quantum. “Helping customers make this transition is a key focus for Quantum, which is why we offer a range of customized storage systems specifically designed for advanced media workflows, from Xsan refresh to 4K operations to end-to-end content production and management.”

Additional Resources
* Read more details about Fairfax Media’s move to StorNext: www.quantum.com/customerstories/fairfax/index.aspx
* Learn about Quantum’s StorNext Pro(TM) Solutions for Xsan and 4K environments: www.stornext.com/solutions/stornextpro

About Quantum
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. See how at www.stornext.com.

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Quantum, the Quantum logo, Be Certain, StorNext and StorNext Pro 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.

“Safe Harbor” Statement: This press release contains “forward-looking” statements. All statements other than statements of historical fact are statements that could be deemed forward-looking statements. Specifically, but without limitation, statements relating to 1) benefits and value to customers from using StorNext solutions and 2) customer demand for and Quantum’s future revenue from such solutions, are forward-looking statements within the meaning of the Safe Harbor. All forward-looking statements in this press release are based on information available to Quantum on the date hereof. These statements involve known and unknown risks, uncertainties and other factors that may cause Quantum’s actual results to differ materially from those implied by the forward-looking statements. More detailed information about these risk factors are set forth in Quantum’s periodic filings with the Securities and Exchange Commission, including, but not limited to, those risks and uncertainties listed in the section entitled “Risk Factors,” in Quantum’s Quarterly Report on Form 10-Q filed with the Securities and Exchange Commission on November 7, 2014 and in Quantum’s Annual Report on Form 10-K filed with the Securities and Exchange Commission on June 6, 2014. Quantum expressly disclaims any obligation to update or alter its forward-looking statements, whether as a result of new information, future events or otherwise, except as required by applicable law.

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Texadia Systems celebrates a successful first year in business, forecasts continued growth in 2015.

DALLAS, TX. –  Texadia Systems, an emerging audio visual integration firm located in Dallas, Texas, celebrated its one year anniversary this month with over 150 commercial and residential design-build installations completed.

“We are incredibly excited about the projects we’ve completed and the growth we have experienced this year.” states Steve Burke, the company’s President and Founder. ”Our team’s ‘Commitment to Excellence’ was displayed throughout several large scale corporate relocation projects and high-end residential systems. By continuing to offer our clients a single point of contact for the design, installation, and continued maintenance and support of the solutions we provide; we stand apart from our competition.”

Texadia expects to continue its growth next year as more and more corporate and residential customers become aware of their services and offerings. “There are many corporate clients that have not yet made the transition from analog to digital in the conference room.” states Scott Birdsong, VP of Engineering. “And now with the increased demand for 4K technology, cloud based conferencing solutions, IP based video distribution, etc.; our customers are challenged with understanding what technologies will help to improve their business. Our focus next year will be to continue to identify those needs and deliver innovative designs, quality installations, and provide the highest level of service to our customers.”

Texadia Systems, LLC is an audio-visual design and integration firm that specializes in both commercial and high-end residential solutions. The company is located in Dallas, Texas and currently supports clients across the U.S. and Canada.

For more information, contact Luz Rodriguez, Executive Services Administrator, at lrodriguez@texadiasystems.com or 214.956.5820.

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Harmonic Enhances Polaris Playout Management Suite With Cost-Effective Integrated Master Control Functionality

Polaris Play Automation Software Offers Rich Application Toolbox for Scheduled and Live Playout in Channel-in-a-Box Environments

SAN JOSE, Calif. — Dec. 9, 2014 — Harmonic (NASDAQ: HLIT), the worldwide leader in video delivery infrastructure, today announced its new Polaris(TM) Play channel-in-a-box (CIAB) automation software for the company’s Polaris playout management suite. Tightly integrated with Harmonic’s market-leading Spectrum(TM) media server system, Polaris Play blends a rich set of automated ingest, media preparation, and playout workflow capabilities that enable efficient and cost-effective management of up to four fully branded SD or HD channels, each with matched simulcast channels, in a single rack unit.

“Designed specifically for broadcasters with modest playout requirements and budgets, Polaris Play gives users a breadth of control capabilities that enable straightforward management of the critical elements that support an on-air channel,” said Tom Lattie, vice president, product management at Harmonic. “Users can leverage Polaris Play to drive a cost-effective CIAB model for their playout channels.”

Polaris Play provides a suite of master control room (MCR) tools that enable ingest, content preparation, segmentation, preview, and channel playlist control. Scheduled operations can be driven by traffic or by manually created playlists. Coupled with the Spectrum MediaDeck(TM) integrated media server and its high-density I/O capabilities, integrated file services, and native codec and file wrapper support, Polaris Play simplifies deployment and operation of the playout workflow.

The Polaris suite represents Harmonic’s evolving offering in the emerging Media Orchestration category, which is important as workflows consolidate and simplify. Within this suite, Polaris Play offers broadcasters a robust, yet attractively priced, CIAB solution powered by the industry’s most trusted server platform, enabling users to reduce both capital and operating expenses.

Polaris Play can be combined with the recently announced Harmonic Polaris Live manual device control application, enabling the Spectrum ChannelPort(TM) integrated channel playout system to fulfill both production and master control requirements for many live-to-air workflows. The resulting hybrid environment offers powerful and highly efficient integrated master control room (iMCR) capabilities, allowing users to switch between scheduled playout and manual playout of live events based on the schedule or on an ad hoc basis.

“The iMCR model can be a game-changer in that it enables users to drive graphics-intensive live-to-air workflows,” said Lattie. “Together, Polaris Play and Polaris Live offer the benefits of CIAB solutions — reduced equipment costs and workflow complexity — while providing the power and flexibility critical within the most demanding production environments.”

In addition to reducing hardware costs, the iMCR model supports highly flexible and efficient workflows that users can customize with Polaris Live’s simple touch-screen interface.

Polaris Play will be available in the first quarter of 2015. Further information about Harmonic and the company’s products is available at www.harmonicinc.com.

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

This press release contains forward-looking statements within the meaning of Section 27A of the Securities Act of 1933 and Section 21E of the Securities Exchange Act of 1934, including statements related to the anticipated capabilities and benefits of Harmonic’s Polaris(TM) Play software, Spectrum(TM), Spectrum ChannlePort(TM), and Spectrum MediaDeck(TM) products. Our expectations and beliefs regarding these products may not materialize and are subject to risks and uncertainties, including the possibility that the products may not meet some or all of their anticipated capabilities or provide some or all of their anticipated benefits, such as cost-effectiveness, giving users a breadth of control capabilities, simplification of deployment and operation, flexibility, and efficiency.

The forward-looking statements contained in this press release are also subject to other risks and uncertainties, such as those more fully described in Harmonic’s filings with the Securities and Exchange Commission, including its Annual Report on Form 10-K for the year ended Dec.31, 2012, its Quarterly Reports on Form 10-Q and its Current Reports on Form 8-K. The forward-looking statements in this press release are based on information available to Harmonic as of the date hereof, and Harmonic disclaims any obligation to update any forward-looking statements.

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

Photo Link: www.wallstcom.com/Harmonic/Harmonic-PolarisPlay_Screenshot.jpg

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