Archive for December 21st, 2010

ADLIB Lights Ellie Goulding in Style


Liverpool, UK, based ADLIB is supplying its brand new Pixled F30 LED screen, a Catalyst media server, full production lighting, FOH and monitor sound consoles and a stage monitor system, plus crew for the BRIT Award winner Ellie Goulding’s UK tour. For selected shows, including the London showcase at Hammersmith Apollo, they also supplied the full PA , as required by Jamie Butterworth – Ellie’s affable & unflappable Production Manager.

ADLIB’s Ian Tomlinson has designed a stylish and elegant lightshow for Goulding – the UK’s hottest rising singing/songwriting talent – on her first full production tour, which is surfing high in the wake of her phenomenally successful first studio album, “Lights�.

Taking the art of ‘less is more’ to new, expressive environments, the minimalist lighting concept was developed in close collaboration with Goulding’s drummer and musical director Joe Clegg, who produced more

Gearhouse SA Supplies A R Rahman World Tour in South Africa

Gearhouse South Africa supplied technical production, including sound, lighting, video equipment and a stage/roof system for the Durban show – the first music show to be staged in the new Moses Mabhida stadium – plus crew for the South African leg of legendary Indian singer/musician A R Rahman’s “Jai Ho” world tour.
Gearhouse SA’s project manager was Bill Lawford, who started work 2 months in advance, collaborating closely with the tour’s US-based production manager, Nick Jeen. more

Grass Valley Delivers Full AVC-Intra Workflow Solutions for News, Production and Playout Applications

Grass Valley K2 Solo

Grass Valley K2 Solo server

An ongoing collaborative technology development between Grass Valley™ and Panasonic Corporation has delivered seamless interoperability with Panasonic’s AVC-Intra compression format across Grass Valley’s complete line of HD media servers and editing products, streamlining a variety of content creation processes for an end-to-end video compression solution.

When using AVC-Intra 50/100 compression, the Grass Valley K2 Dynoâ„¢ Replay System on a K2-based storage area network (SAN) offers users a true shared environment for replaying content, as well as sharing and managing highlight clips between multiple nonlinear editing systems networked together. AVC-Intra content being recorded to the SAN can be replayed, edited, searched, and played out without the time-consuming need to transfer files between various individual departments. Standalone K2 Summitâ„¢ production clients and K2 Soloâ„¢ servers with AVC-Intra meet the tough demands for 10-bit quality needed in graphics support, 3D playback, and live event productions.

“Broadcasters are always looking for new and advanced technology to help them store and transfer their content in the most efficient way, and that’s exactly what the AVC-Intra codec is designed to do,� said Tadao Shimozuru, Director of Professional AV Systems B.U., Panasonic Corporation. “No format can be successful without the support of key vendors like Grass Valley, which has been a great partner in the evolution of the ACV-Intra format. Grass Valley has helped show its customers how frame-based compression positively affects HD editing, storage, and playout.�

Since April 2010, more than 100 AVC-Intra based, multi-channel Grass Valley K2 Summit™ and K2 Solo™ media servers and K2 Dyno Replay Systems have been delivered to prominent organizations for live event, news, and television production. In addition, Grass Valley now offers full open file compatibility with AVC-Intra among its Aurora™ and EDIUS® real-time HD nonlinear editing platforms.

“Since the introduction of AVC-Intra, we have recognized the value of this next generation codec for our customers and have worked diligently to provide seamless compatibility across many Grass Valley product lines,� said Jeff Rosica, Senior Vice President of Grass Valley. “AVC-Intra is now a market-accepted format for production and we’re committed to supporting it across many of our product lines.�

Among those customers that have already adopted the next-generation Grass Valley K2 Dyno Replay System and an AVC-Intra workflow for all types of productions are: WPVI (Philadelphia, PA—facility and mobile), Dorna Sports SI (Spain), EuroSport (France), NEP Supershooters, ESPN, Rainbow Network, and WPIR (Puerto Rico), as well as the production departments of an increasing number of US-based professional NFL football teams such as the Carolina Panthers and Green Bay Packers.

Some customers are using AVC-Intra 50 to maximize their recording space while maintaining high-quality content. The AVC-Intra 50 codec delivers high-quality and fast file transfers over a Gigabit Ethernet networked environment. Other customers are employing the AVC-Intra 100 compression format for key+fill production switcher sources and high-quality graphics playback. Many K2 Solo servers have been sold for this purpose and for use with Grass Valley production switchers.

In addition, Panasonic uses the Grass Valley K2 Solo media server at trade shows and other events to demonstrate AVC-Intra based playback of 3D content using Grass Valley ChannelFlex technology, which allows all K2 Summit and K2 Solo servers to be expanded from four or two bidirectional channels to process up to eight or four video streams, respectively. This allows customers to get more functionality out of their investment while providing an ideal bridge from HD to 3D production.

The AVC-Intra codec uses intraframe (single frame), AVC compliant compression algorithms to allow users of Panasonic’s solid-state P2 systems to record HD data into smaller files on a P2 card and to store more content on Grass Valley servers for mission-critical playout and editing applications when compared to other professional codecs.

The combination of intraframe coding and 10-bit 4:2:2 color at a highly efficient bitrate has made AVC-Intra an extremely popular choice for both news and production editing. Grass Valley’s EDIUS and Aurora editors both support AVC-Intra as a native editing codec, and the format is fully supported by Apple and Avid editing products. News operations using Panasonic camcorders and Grass Valley servers and editors at WABC (New York), KWCH (Wichita, KS), WBNS (Columbus, OH), and WTHR (Indianapolis, IN), along with many others, enjoy a seamless AVC-Intra workflow from acquisition through playout with no transcoding required.



chrome Touches the Right Note with Dell Campaign

chrome Editors Hal Honigsberg and Lance Pereira, collaborating with Psyop/Smuggler and Wunderman, just released a slate of :30s promoting Dell’s exciting new products. The project showcases a myriad of challenging split-screens and an ever-changing mix of graphic and live-action footage.

Inspiron One is an exhilarating perspective on Dell’s Inspiron One Touch Screen. A high-speed cavalcade of images flashes by, sometimes with the screen split into three streaming bands, scrambling images of smiling bystanders. The screen – which often features vibrant graphic images – splits in half or into quads as the focus shifts from potential Dell users to the slick computers themselves.

Inspiron R is a narrator-driven adventure emphasizing Dell’s affordable Inspiron 15R laptop and tremendous customer support. The spot skips from triple-screen, scrolling images of customers to crazy fantastical graphic worlds populated with planet-sized monsters to a live-action laptop covered in miniature laborers maintaining the more

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The Award-Winning Creative Post House’s Recent Upgrade Of Its Color Services With The New Digital Vision-Based Color Suite – And The Experience + Skill Of Renowned Colorist SUE – Push The Technology To Its Limits

MN: Holiday goers may be familiar with the colors of Christmas: red, gold and green. However, CRASH+SUES, the creative post and VFX company, and its award-winning colorist, SUE, stretched that spectrum of color with their new Digital Vision Nucoda Film Master color correction system for a holiday campaign for Best Buy.

The spots, “Sprint� and “Verizon,� feature the national retail chain’s employees touting the features of the latest smartphones, Sprint’s HTC DVO 4G and Verizon’s Samsung Fascinate.


CRASH+SUES handled color correction on the spots, and their FX/Animation team created the motion design, which included particle animation that dynamically more

FxFactory Development Partner PHYX Inc. Raises the VFX Bar with New Plug-in for Final Cut Studio and After Effects


The image processing power and visual effects creation capabilities of PHYX Stylist elevate the results of any video project

Boston, MA – Noise Industries, developer of visual effects tools for the post-production and broadcast markets, announced that development partner PHYX Inc. has released PHYX Stylist for the FxFactory® platform. PHYX Stylist is a brand new collection of generators and filters designed to work inside Adobe® After Effects®, Apple® Final Cut Pro®, Apple Motion®, and Apple Final Cut® Express applications.

PHYX Stylist’s range of image processing tools provide artists with the ability to quickly and easily replicate the looks of various optical systems, generate realistic fog with control over detail, and produce shimmering stars, highlights and illuminations. PHYX Stylist also enables users to re-light actors and remove unwanted haze from footage.

“PHYX Stylist reboots essential photographic looks, pushing beyond the boundaries of physical more


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December 2010
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