Archive for November, 2011

Crowd Control: Wexler Video’s Audio Services Department Helps Fox’s “MOBBED” Maintain a Large RF Environment on Location

BURBANK—Wexler Video is currently supplying production gear for the Fox reality series “MOBBED.” The package includes camera, lighting and editorial systems, as well as a huge assortment of wireless technology to support the production of the “flash mob” performances that are a central feature of the show.

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Genelec Research and Development Manager, Dr. Aki V. Mäkivirta, Appointed As a Fellow of the Audio Engineering Society

Genelec is pleased to announce that Dr. Aki V. Mäkivirta, Research and Development Manager at the company, has achieved the distinction of becoming a Fellow of the Audio Engineering Society (AES). The Society’s Fellowship Award is given to a member who has rendered conspicuous service or is recognized as having made a valuable contribution to the advancement in, or dissemination of, knowledge of audio engineering or in the promotion of its application in practice.

“It is a great honor to receive this award,” says Dr. Mäkivirta. “I have worked in audio research for many years, so it is gratifying to have that work recognized by my peers. Over the years we have produced some great products, and I am proud to have played a part in that success.”

Aki V. Mäkivirta was born in 1960 in Tyrvää, Finland. He received Master of Science, Licentiate of Science, and Doctor of Science degrees from Tampere University of Technology in 1985, 1989 and 1992, respectively, and a degree in pedagogy from Jyväskylä University of Applied Sciences in 2005.

Dr. Mäkivirta joined the Biomedical Engineering Laboratory at the Research Centre of Finland in 1986. In 1990 he joined Nokia Research Centre to develop advanced digital audio processing methods for television products. He came to Genelec in 1995 to develop the DSP monitoring loudspeaker system concept and products. This product family can be found at http://www.genelec.com/dsp-products/, and the newest additions to this family include 8260A Tri-Amplified DSP Monitoring System and 1238CF Tri-Amplified DSP Monitoring System. As a Technology Manager, he is now responsible for working to create innovative solutions to audio reproduction problems.

Dr. Mäkivirta has published numerous conference papers, journal articles, and book chapters. He holds several patents related to audio technology. He has been teaching graduate and undergraduate courses in technology, including courses in electroacoustics and digital signal processing.

Dr. Mäkivirta has been an AES member since 1994. He has contributed to the activities of the AES in conferences and conventions, and as a member of the Finnish AES Section. He is also an Associate Editor for the Journal of AES.

For more information, please visit www.genelecusa.com.

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Guitar Center Professional Has Strong Showing at AES 2011

— With new product launches and high-profile booth attendees, GC Pro was present in full force at this year’s convention —

Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, again had a strong showing at this year’s AES convention, which took place October 21-23, 2011, at the Javits Center in New York City. GC Pro has been celebrating its 10th anniversary throughout 2011 as the organization continues to grow, and AES was the perfect opportunity to highlight the new and exciting things that they have to offer.

At the booth, GC Pro showcased some of the products that they exclusively distribute in the U.S., such as the Neve Genesys Console, which sports new enhanced functionality and many new features; the new Ocean Way HR-3 High Resolution Reference Monitor System, which provides virtually unlimited dynamic range while maintaining absolutely matched uniform frequency response between channels; and the new Sterling Audio ST6050 Ocean Way Signature Series Microphone, a limited-edition Class-A FET studio mic.

GC Pro’s booth also served as a meeting place for some of the show’s most notable attendees, among them Germano Studios’ Troy Germano, Ocean Way Recording’s Allen Sides and legendary producer/engineer Alan Parsons.

Richard Ash, GC Pro Business Development Manager for the Eastern Region, noted, “As GC Pro has grown rapidly over the past few years, so have our relationships with the leading figures in our industry. We are proud that they choose GC Pro as their supplier partner, and we are thrilled to have such incredibly influential and discerning minds spend their time at our booth, interacting with each other and the GC Pro team. But aside from the more notable names, we had all manner of talented and rising producers, engineers, studio owners, artists, bloggers, students and gear addicts here at the booth. They are the future leaders in our industry, and as such they are incredibly important to its vitality and success. As GC pro continues to grow, part of our mission is to ensure that these young professionals have all the tools at their disposal to grow with us, and move our industry forward. I think I can speak for everyone here that the mix of people who passed through our booth was a truly special thing, and that the future certainly looks bright.”

GC Pro Vice President Rick Plushner stated, “What can I say? It’s AES – it’s always a highlight of our year, and this was a particularly great show for everyone. With the economy the way it is, early buzz was saying that this show was going to be relatively quiet. But that’s not what we saw – rather, we saw an industry excited about growing, changing and re-imagining itself. Attendance was far higher than expected, and I think we can be extremely optimistic about that. Passion always wins, and the passion for audio on display at this year’s show – not only at the vendors’ booths, but also on the faces of everyone in the Javits Center – was simply inspiring. And GC Pro is poised to be an outlet for that passion. If AES is the organization through which the audio industry learns and grows, we want GC Pro to be the place where it gets its tools. I am very excited as GC Pro moves into its second decade, and we look forward to next year’s AES to again celebrate the state of the industry.”

For more information, please visit www.gcpro.com.

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Gravity Produces More Than 200 VFX Shots for Universal Pictures’ New Action-Comedy “Tower Heist”

New York, November 7, 2011 — International visual effects and design company Gravity today announced that it produced more than 200 visual effects shots for Universal Pictures’ new action-comedy “Tower Heist” currently in theaters. The announcement was made by Zviah Eldar, Gravity’s Chief Executive Officer and Chief Creative Officer.

Gravity’s visual-effects accomplishments on “Tower Heist” included digital set extensions, photorealistic CG buildings, a CG car, CG stunts, CG face replacements, digital matte paintings, and simulations. Under the direction of Yuval Levy, Gravity’s Digital Effects Supervisor, and Karin Levinson, Vice President of Features & Television, the team provided Director Brett Ratner and Visual Effects Supervisor Mark Russell with a series of pre-visualized sequences and style frames that illustrated the most climactic scenes of the film. These previs scenes became the blueprint for the shooting of the heist sequences.

“Working with Gravity from the beginning on the previs gave us a head start in making these sequences work down the road,” Russell said. “They had a very early understanding of what Brett and I were after, and they were able to build on that even before the shooting began.”

The majority of Gravity’s visual-effects work focused on the sequences involving the heist in which characters played by Ben Stiller, Eddie Murphy and Matthew Broderick steal a classic Ferrari from a corrupt billionaire’s penthouse apartment through an exterior window on the 65th floor. Prior to the actual heist sequence, Gravity created a complex series of green-screen window comps, so that views of Manhattan as seen from inside the penthouse and another of The Tower’s most opulent apartments would be completely authentic.

The visual-effects team digitally re-created a section of Manhattan at Columbus Circle to provide the sweeping 220-degree backdrops that may be seen from two apartments. Additionally, Gravity created a photorealistic CG Tower, matching the Trump International Hotel & Tower, to supplement the partially constructed façade that was built on a NY soundstage. Employing a combination of live- action plates, digital imagery and CG elements, Gravity placed the action of the film at the top of New York’s most expensive real estate all during the Thanksgiving Day Parade. Gravity also created a number of helicopter POV shots entirely in CG to tie the scenes together.

Gravity’s Digital Effects Supervisor Yuval Levy said, “Some of our most complex work on the film was creating a photoreal CG Ferrari and CG doubles for Stiller and Murphy, which were seen during a CG ‘stunt’ as the car is being lowered down the side of The Tower. Our visual-effects team also created an overhead point of view of the heist as though observed from a helicopter during the Macy’s Thanksgiving Day Parade. We blended scenes from the actual parade along with both CG and stunt elements, which were shot on the stage. This allowed us to create a view of the heist and the parade as they would appear if actually witnessed from above.”

Russell added, “It was a pleasure working with Yuval and the entire team from Gravity on ‘Tower Heist’. They have proven, yet again, that New York can deliver top-notch visual-effects.” In addition to “The Adjustment Bureau,” this is Mark Russell’s second collaboration with Gravity.

ABOUT GRAVITY:

Gravity is an international visual effects, design and brand communications company with proven expertise in three integrated divisions: Features & Television, Commercials, and Digital. With 250 talented professionals across offices in New York, Los Angeles, Connecticut and Tel Aviv, the company is a widely renowned generator of high-end visual effects, creative content, motion graphics design, animation, branding, and digital strategy.

The company’s clients include Universal Pictures, Warner Bros., DreamWorks, Sony Pictures Entertainment, HBO, Paramount Pictures, The Weinstein Company, Dimension Films, Coca-Cola, General Motors, Mercedes Benz, Verizon, Pantene, MGA Entertainment, Carlsberg, Kmart, and Braun. In addition to “Tower Heist”, Gravity’s other recent feature film credits include “Crazy, Stupid, Love”, “The Adjustment Bureau”, “Arthur”, “The Other Guys”, “Salt”, “The Reader”, and “Ghost Town.” The company’s television credits include HBO’s “Bored to Death”, “The Sopranos”, and “Sex and The City.”

Gravity’s New York office is located at 315 Madison Avenue, 3rd Floor, New York, NY, 10017. The phone is 212/986-1584. The company’s West Coast office is located in the Lantana Building, 3000 West Olympic Blvd., Santa Monica, CA, 90404. The phone is 310/264-3909. For more information, please visit www.gravityworld.com

ABOUT “TOWER HEIST”:

Ben Stiller and Eddie Murphy lead an all-star cast in “Tower Heist,” an action-comedy about working stiffs who seek revenge on the Wall Street swindler who stiffed them. After the workers at a luxury Central Park condominium discover the penthouse billionaire has stolen their retirement, they plot the unique revenge: a heist to reclaim what he took from them. www.towerheist.net

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Autodesk Acquires GRIP Entertainment Technology Assets

Transaction Accelerates Strategy to Simplify Creation of Believable Interactive Characters for Video Games


SAN RAFAEL, Calif., Nov. 7, 2011 — Autodesk Inc., (NASDAQ: ADSK) announced that it has acquired certain technology-related assets and hired individuals associated with GRIP Entertainment, a privately-held artificial intelligence (AI) game middleware company, based in Montreal. Terms of the transaction were not disclosed.


“The acquisition accelerates Autodesk’s strategy to offer a more complete, simplified solution for the creation of believable interactive characters,” said Marc Stevens, Autodesk vice president, Games. “The technology and expertise acquired complement Autodesk’s existing Gameware offerings, including Autodesk Kynapse artificial intelligence middleware. This transaction will enable us to offer game developers a more comprehensive AI solution.”


More information about the acquisition is available on the new Autodesk Gameware website.


Safe Harbor Statement
This press release contains forward-looking statements that involve risks and uncertainties, including statements regarding: the impact of the acquisition on Autodesk’s product and services offerings and the impact of the combined product capabilities and how Autodesk’s products and services will evolve and change. Factors that could cause actual results to differ materially include the following: difficulties encountered in closing the acquisition of GRIP Entertainment and integrating GRIP Entertainment’s technology and employees; costs related to the proposed acquisition; whether certain market segments grow as anticipated; the competitive environment in the software industry and competitive responses to the acquisition; our success developing new products or modify existing products and the degree to which these gain market acceptance; general market and business conditions; the timing and degree of expected investments in growth opportunities; failure to achieve; pricing pressure; failure to achieve continued cost reductions and productivity increases; changes in the timing of product releases and retirements; failure of key new applications to achieve anticipated levels of customer acceptance; failure to achieve continued success in technology advancements; interruptions or terminations in the business of our consultants or third party developers; the expense and impact of legal or regulatory proceedings; and unanticipated impact of accounting for acquisitions.


Further information on potential factors that could affect the financial results of Autodesk are included in the company’s annual report on Form 10-K for the year ended January 31, 2011, and Form 10-Q for the quarter ended July 31, 2011, which are on file with the Securities and Exchange Commission. Autodesk does not assume any obligation to update the forward-looking statements provided to reflect events that occur or circumstances that exist after the date on which they were made.


About Autodesk
Autodesk, Inc., is a leader in 3D design, engineering and entertainment software. Customers across the manufacturing, architecture, building, construction, and media and entertainment industries — including the last 16 Academy Award winners for Best Visual Effects — use Autodesk software to design, visualize and simulate their ideas. Since its introduction of AutoCAD software in 1982, Autodesk continues to develop the broadest portfolio of state-of-the-art software for global markets. For additional information about Autodesk, visit www.autodesk.com.


###


Autodesk, AutoCAD and Kynapse are registered trademarks or trademarks of Autodesk, Inc., and/or its subsidiaries and/or affiliates in the USA and/or other countries. Academy Award is a registered trademark of the Academy of Motion Picture Arts and Sciences. All other brand names, product names or trademarks belong to their respective holders. Autodesk reserves the right to alter product and services offerings, and specifications and pricing at any time without notice, and is not responsible for typographical or graphical errors that may appear in this document.


© 2011 Autodesk, Inc. All rights reserved.

GIANT DNP REAR-PRO WALL FOR SOUTH CHINA MILITARY BASE

Wincomn Technology has completed a complex rear projection upgrade in a command room at a military base in Guangdong Province, South China. They achieved this with the aid of advanced displays from dnp denmark, the world’s leading supplier of optical projection screen technology.

The display wall comprises three central 200” GWA (Giant Wide Angle) screens, butted together using narrow bezels, and flanked by a pair of GWA 150″ screens.
The screens are projected onto by five EIKI projectors — creating a wide field of vision over a massive digital landscape, for military personnel assembled in the large 30m x 20m meeting room.

The customer needed to present a large volume of information being streamed in different formats, including data, graphics, crystal clear high-resolution images, video and real-time signals. Existing switchers and processors were redeployed for the purpose and multiple windows and PIP’s can be presented across the screen.

The display needed to be seamless, and although the client reviewed other options they favoured the high visual acuity and colour rendering of the GWA, as well as the uniformity over the large digital canvas.

Purpose designed for the projection of large, high-quality images in conference and control rooms with long viewing distances, dnp’s 200” GWA became the world’s first optical rear projection screen when it was introduced. The single element optical system has two active lens surfaces, and due to its lens design offers good brightness uniformity and contrast levels.

A spokesperson for the Command Hall said, “The screens perform excellently and look virtually seamless.

“The climate in South China is severe, insofar as screens are subject to high temperature and high humidity. Every three months Wincomn will provide engineer site visits to check and adjust the alignment where the screens butt together, and this will ensure they remain in good condition.”

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PHOSPHENE CREATES ELABORATE CG ENVIRONMENTS FOR UNIVERSAL PICTURES AND IMAGINE ENTERTAINMENT’S NEW ACTION-COMEDY “TOWER HEIST,” STARRING BEN STILLER AND EDDIE MURPHY AND DIRECTED BY BRETT RATNER

Ben Stiller and Eddie Murphy lead an all-star cast in “Tower Heist”

NEW YORK, NEW YORK – November 7, 2011 – Independent design and visual-effects company Phosphene announced today that it created elaborate CG environments for Universal Pictures and Imagine Entertainment’s new action-comedy starring Ben Stiller and Eddie Murphy, “Tower Heist.” Building an elegant swimming pool and deck on the roof of an opulent Manhattan condo tower or the interior of a three-cab, 60-story elevator shaft is all in a day’s work for the company.

The Phosphene visual-effects team, under the direction of Creative Director/VFX Supervisor John Bair, augmented and manipulated the physical environment in approximately 70 very complex 3D CG set extensions for Universal Pictures’ new action-comedy, “Tower Heist”, probably the biggest film effects project ever completed in NYC. The film, directed by Brett Ratner, was released nationally on November 4, 2011.

Explained Phosphene co-founder and VFX executive producer Vivian Connolly: “New York’s VFX infrastructure and community is growing at a very fast pace, and it has been amazing to be able to take on a film this size and show the worldwide film community how capable the New York visual-effects talent pool is. We are experiencing a trend of wonderful directors finishing their films here and feel incredibly fortunate to be part of the growth of the visual-effects community in the city.”

Said Ratner of the collaboration: “John Bair and his company, Phosphene, with a very small group of artists, were able to deliver shots for ‘Tower Heist’ with absolutely no compromises and perfect execution. It would have taken any other huge VFX company months to pull off what Phosphene did in a matter of weeks with perfection…there were no CBB’s [could be betters] when it came to Phosphene’s shots!“

For the exterior of The Tower (in real life, Trump International Hotel & Tower at Columbus Circle on Manhattan’s Westside), Phosphene created a luxurious outdoor environment for the film’s Wall Street billionaire, Arthur Shaw. Removing the array of satellite dishes and technological equipment on the existing building, Phosphene replaced the roof with an expansive swimming pool—with a floor that sports a painted $100 bill—and a roof deck. These digital replacements were vital for the numerous aerial shots, as well as shots that required the addition of city vistas behind the film’s actors.

Phosphene’s Bair explained the scope of the company’s CG work: “The trickiest shot is the film’s opening, a sweeping tracking shot which begins with a tight shot on the $100 dollar bill. As the camera pulls up we hear a splash, the edges of a pool come into view, a swimmer moves through the frame and water ripples over the bill on the pool’s bottom. As the camera continues to pull up, it is revealed that the pool is on top of a residential tower. Pulling back still further, the rooftop disappears into a vast aerial view of Manhattan at night. We shot the swimmer on set; the building rooftop was filmed from a helicopter. Then we built a CG pool and CG water and married the elements, making sure they flowed seamlessly together. It is a powerful opening.”

The largest number of scenes that required Phosphene’s work were those in which the characters traveled into the tower’s elevator shaft. Three floors of shaft were constructed on the set. The actors traveled up and down the length of the 60-story shaft riding atop an elevator cab. Additionally, they climbed ladders and over the grid work in the shaft, all of which required either a complete CG environment or a massive extension of the environment to make it look as if it is actually a 60-story building and a three-unit-wide shaft. “The challenge was making sure that all the shots were completely integrated, that they were consistent from all angles and that the space feels cohesive,” Bair continued.

Phosphene VFX producer Renuka Ballal added: “We worked closely with the edit as the cut developed because the speed at which the characters and elevator cab travel through the elevator shaft is the core of the scene’s tension. There were so many moving parts—literally, moving cables, wheels and additional elevator cabs—that we had to be mindful to ensure we were accurately conveying the velocity of the set piece. These are specifics that may not be strictly evident to the typical viewer, but which completely sell the shots and make a huge emotional impact when watching the film.”

Heist Productions’ VFX Supervisor Mark Russell said: “John, Vivian and the team at Phosphene amaze me with their ability to perfectly execute the most complicated work, on time and with absolute professionalism. It was my pleasure working with them on ‘Tower Heist’.”

The Phosphene creative team, led by company Creative Director/VFX Supervisor John Bair, Visual Effects Executive Producer Vivian Connolly and Visual Effects Producer Renuka Ballal, included Visual Effects Associate Producer Lea Prainsack, Lead CG Artist Vance Miller, and Lead Compositors Thomas Panayiotou and JD Yepes.

Representing Heist Productions, LLC were Director Brett Ratner, VFX Supervisor Mark Russell, VFX Producer Ginger Theisen, and VFX Coordinators Jessica Wilson-Silas and Bryan Wengroff.

Phosphene utilized Nuke, 3ds Max with a V-ray rendering engine and After Effects CS5 and PCs running Windows 7 64-bit in the execution of this project.

Company 3 (New York, NY) was responsible for the digital intermediate and Deluxe (New York, NY) handled the lab processing.

The film’s exteriors were shot at Trump International Hotel & Tower in Manhattan and in Queens, while most of the interiors were shot with green screens at Cine Magic Riverfront Studios (Brooklyn, NY).

ABOUT “TOWER HEIST”

Ben Stiller and Eddie Murphy lead an all-star cast in “Tower Heist,” an action-comedy about working stiffs who seek revenge on the Wall Street swindler who stiffed them. After the workers at a luxury Central Park condominium discover the penthouse billionaire has stolen their retirement, they plot the ultimate revenge: a heist to reclaim what he took from them. www.towerheist.net

ABOUT PHOSPHENE

Phosphene is an independent design and visual effects house led by founders/co-owners John Bair and Vivian Connolly who have collaborated on projects since 2005. In 2010, the duo launched Phosphene and immediately hit the ground running with visual effects and title design for Barry Levinson’s “You Don’t Know Jack” (HBO), Phillip Noyce’s “Salt,” George Nolfi’s “The Adjustment Bureau,” Jodie Foster’s “The Beaver” and Brad Anderson’s “Vanishing on 7th Street.”

Currently, Phosphene is working on Stephen Daldry’s “Extremely Loud and Incredibly Close” with Tom Hanks and Sandra Bullock and has recently wrapped Jason Reitman’s second collaboration with Diablo Cody, “Young Adult,” starring Charlize Theron.

For the company’s television clients, in addition to their Emmy-nominated work for Todd Haynes’ HBO miniseries “Mildred Pierce,” Phosphene is busy on season two of CBS’s “Blue Bloods,” ABC’s “Pan Am,” and, having recently completed season five of NBC’s “30 Rock,” is currently working on season six. In addition, Phosphene has teamed with HBO to create all visual effects for seasons one and two, and is about to begin work on season three of “Treme.”

Phosphene is located at 180 Varick Street, Suite 1621, New York, NY 10014. For further information contact vivian@phosheneFX.com; Phone (646) 350-3370; Fax 212) 671-1734; or visit www.phosphenefx.com.

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GIANT DNP REAR-PRO WALL FOR SOUTH CHINA MILITARY BASE

Wincomn Technology has completed a complex rear projection upgrade in a command room at a military base in Guangdong Province, South China. They achieved this with the aid of advanced displays from dnp denmark, the world’s leading supplier of optical projection screen technology.

The display wall comprises three central 200” GWA (Giant Wide Angle) screens, butted together using narrow bezels, and flanked by a pair of GWA 150″ screens.

The screens are projected onto by five EIKI projectors — creating a wide field of vision over a massive digital landscape, for military personnel assembled in the large 30m x 20m meeting room.

The customer needed to present a large volume of information being streamed in different formats, including data, graphics, crystal clear high-resolution images, video and real-time signals. Existing switchers and processors were redeployed for the purpose and multiple windows and PIP’s can be presented across the screen.

The display needed to be seamless, and although the client reviewed other options they favoured the high visual acuity and colour rendering of the GWA, as well as the uniformity over the large digital canvas.

Purpose designed for the projection of large, high-quality images in conference and control rooms with long viewing distances, dnp’s 200” GWA became the world’s first optical rear projection screen when it was introduced. The single element optical system has two active lens surfaces, and due to its lens design offers good brightness uniformity and contrast levels.

A spokesperson for the Command Hall said, “The screens perform excellently and look virtually seamless.

“The climate in South China is severe, insofar as screens are subject to high temperature and high humidity. Every three months Wincomn will provide engineer site visits to check and adjust the alignment where the screens butt together, and this will ensure they remain in good condition.”

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From Krakow, Poland new stock footage timelapse video clips royalty free in HD, 2K, 4K resolution

New high definition (HD, 2K, 4K) royalty-free stock footage timelapse shot in Krakow, Poland have been added in different categories (City, Architecture and People) on HDtimelapse.net website.



Some of the locations from Krakow, Poland are Aerial View of Krakow, Market Square, Town Hall Tower, Cloth Hall, Drapers’ Hall (Sukiennice), St. Mary’s Basilica, Cracovia Old Town, Gothic Wawel Royal Castle, Wawel Cathedral, Wawel Hill, Florianska Street, St. Florian’s Gate, The Collegiate Church of St. Florian, UNESCO, World Heritage Site, The Krakow Barbican Area, Barbakan, Basztowa Street, Old Town Gateway, Juliusz Slowacki Theatre, Holy Cross Church, Church of St. Adalbert, Adam Mickiewicz Statue, Basilica of the Sacred Heart of Jesus, Cracovia Business Center Tower, Vistula River, Matejko Square, Church of Saints Peter and Paul, Basilica of the Holy Trinity, Grodzka Street, The Royal Road, Royal Route, Rain, Twilight.

HDtimelapse.net library contains 6500+ time lapse video clips from 125 locations in 40 countries.

Timelapse royalty-free stock footage here: http://www.hdtimelapse.net

GIANT DNP REAR-PRO WALL FOR SOUTH CHINA MILITARY BASE

Wincomn Technology has completed a complex rear projection upgrade in a command room at a military base in Guangdong Province, South China. They achieved this with the aid of advanced displays from dnp denmark, the world’s leading supplier of optical projection screen technology.

The display wall comprises three central 200” GWA (Giant Wide Angle) screens, butted together using narrow bezels, and flanked by a pair of GWA 150″ screens.
The screens are projected onto by five EIKI projectors — creating a wide field of vision over a massive digital landscape, for military personnel assembled in the large 30m x 20m meeting room.

The customer needed to present a large volume of information being streamed in different formats, including data, graphics, crystal clear high-resolution images, video and real-time signals. Existing switchers and processors were redeployed for the purpose and multiple windows and PIP’s can be presented across the screen.

The display needed to be seamless, and although the client reviewed other options they favoured the high visual acuity and colour rendering of the GWA, as well as the uniformity over the large digital canvas.

Purpose designed for the projection of large, high-quality images in conference and control rooms with long viewing distances, dnp’s 200” GWA became the world’s first optical rear projection screen when it was introduced. The single element optical system has two active lens surfaces, and due to its lens design offers good brightness uniformity and contrast levels.

A spokesperson for the Command Hall said, “The screens perform excellently and look virtually seamless.

“The climate in South China is severe, insofar as screens are subject to high temperature and high humidity. Every three months Wincomn will provide engineer site visits to check and adjust the alignment where the screens butt together, and this will ensure they remain in good condition.”

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