Archive for January, 2012

SOLID STATE LOGIC APPOINTS BELLA MCAVOY AS MARKETING COMMUNICATIONS MANAGER

SSL creates new senior marketing role

OXFORD, UK – Solid State Logic is pleased to announce that Bella McAvoy has joined the company as Marketing Communications Manager. McAvoy brings a multitude of experience to the table from her varied work in communications, as a broadcast journalist and as composer and songwriter.

Bella McAvoy

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3D BULLET RIG with panasonic hpx250 cameras

New 3D BULLET RIG shown with Panasonic HPX250 cameras. The most affordable, modular 3D beam-splitter made. Adustable IO (3.5″), convergence (0-2 deg), XYZ axis, camera elevation and mirror angle (44 to 46 deg) for perfect image alignment. Fits easily on Steadicam, handheld mode (shoulder mount incl), EasyRig, jib and any tripod. Weighs just 15 lbs. Accomodates Red Epic, Scarlet, Sony EX3, F3, Canon XF305, XF105, 5D, Si-2K, & many other cameras. Visit www.3DFilmFactory.com

Aviom’s AllFrame Multi-Modular I/O System Now Available Internationally

New System Makes Digital More Flexible, Affordable for Permanent Installations and Portable Live Sound Applications

WEST CHESTER, PA, JANUARY 31, 2012 – Aviom, the exclusive developer of the world’s most powerful audio transport protocol, A-Net, is pleased to announce that the AllFrame Multi-Modular I/O System is now shipping internationally (ISE Stand 3.D140). The new AllFrame Multi-Modular I/O System is suitable for a wide range of permanent and portable applications, bringing the flexibility of the company’s powerful Pro64 audio network to the wall box, stage box or floor pocket.

“We couldn’t be more pleased to announce the availability of the AllFrame outside the U.S.,” says Carl Bader, president and CEO of Aviom. “We look forward to continuing to offer streamlined solutions, including the AllFrame, for all of our customers. Designed with the system designer and installer in mind, the system helps to make digital more affordable and flexible, keeping analog cabling to a minimum and reducing system complexity and labor costs.”

Based on extensive market research, the AllFrame Multi-Modular I/O System eliminates several expensive and labor-intensive stages of the signal chain while reducing cable clutter, making it ideal for permanent installations such as theaters, schools, houses of worship, and conference centers, as well as touring and portable live sound applications. Each device supports Cat-5e cable runs of up to 400ft (120m) between devices, with no loss of fidelity. Since it requires only a single Cat-5e or fiber connection, the AllFrame Multi-Modular I/O System eliminates the need for soldering, terminating and testing scores of analog connections as well as installing conduits and pulling separate cables for each audio signal, significantly reducing setup time.

At the heart of Aviom’s AllFrame Multi-Modular I/O System is the F6 Modular I/O Frame, a multi-purpose network frame with six field-configurable I/O card slots and integrated Cat-5e and fiber optic connectivity. The F6 can be outfitted to meet the audio I/O requirements of nearly any application. The unit can be mounted on a wall or in a wall using a standard NEMA Type 1 enclosure. Using the RK6 rack-mounting kit, the F6 can be rack-mounted, with connectors facing the front or rear. The F6 can be powered through a four-pin XLR connector, a Euroblock connector or one of the Cat-5e A-Net ports.

Another mounting kit that is now available is the SK6 Stage Kit, which allows for AllFrame I/O boxes to be used as drop-boxes on stage. The SK6 provides an enclosure for the AllFrame to be used as a stage box in live applications—a perfect solution for touring and portable live sound applications. What’s more, for installations that use Power Over A-Net, the POA80 Power Over A-Net Power Supply has recently been updated to offer superior protection against voltage surges and to deliver enhanced flexibility for users.

“Our customers will appreciate the fact that the AllFrame can be used in conjunction with the complete line of Pro64 audio networking products and Pro16 Series Personal Mixers,” adds Bader. “Because Pro64 supports any combination of serial and parallel wiring topologies without affecting signal flow at any point, I/O points can be placed anywhere the application requires. This simplifies design and installation and gives the end user more flexibility.”

The system offers users multiple connectivity options via modular I/O cards. The C4m Mic/Line Input Card provides four remote-controllable analog mic- or line-level inputs. With the same mic preamp circuitry found in Aviom’s 6416m Mic Input Module, the C4m provides clean, transparent, archival-quality sound. Preamps on the C4m can be controlled from an MCS Mic Control Surface, select Yamaha digital consoles or Pro64 Network Manager software. The C4o Output Card provides four XLR analog outputs with variable output levels. For those looking to stay digital throughout the signal chain, there will be a C4dio Digital I/O Card with 4×4 AES3 I/O with Word Clock I/O.

Aviom pioneered personal mixing with its Pro16 Monitor Mixing System and continues to break new ground with the revolutionary Pro64 Series of audio networking products. With tens of thousands of products in the field today, Aviom has set the standard for high performance, scalable digital solutions. All Aviom systems harness the power of A-Net, Aviom’s innovative digital audio technology that simplifies system design while enhancing flexibility and fidelity. All Aviom products are designed, tested, and manufactured in the USA. For more information, visit www.Aviom.com.

JVC UNVEILS PROHD PORTABLE MONITOR SERIES

WAYNE, NJ (January 30, 2012) – JVC Professional Products Company, a division of JVC Americas Corp., today announced the DT-X71 Series of portable ProHD LCD monitors. Ideal for field and studio applications, the new seven-inch AC/DC monitors offer 1024×600 resolution with a 160-degree viewing angle – and can display 480i, 480p, 720p, 1080i, and 1080p video signals at a variety of frame rates.

There are three models in the DT-X71 Series, with scaled I/O options and features for specific needs. The basic DT-X71C model offers one HDMI and one composite video input, while the DT-X71H adds two HD/SD-SDI inputs and an HD/SD-SDI loop through output. The DT-X71F includes an additional HD/SD-SDI loop through output and one HDMI converted to SDI output. All three models include stereo audio input.

Other features include an adjustable 16:9/4:3 display, dual three-color tally lights, underscan and overscan, image flip, customer editable video title, Canon DSLR scale zoom-in, and safe mark display. The DT-X71F, the most feature-rich model in the series, also includes a waveform, vector scope, RGB histogram, red/blue peaking focus assist, zebra, false color, blue only, internal color bars, image rotation, and 16-channel SDI (two-channel HDMI) audio meter.

Each monitor is powered via a four-pin XLR 12V DC connector with included AC adapter or an optional snap-on JVC BN-VF823USP 7.2V battery. DT-X71 Series monitors also ship with a cold shoe mounting adaptor and hood.

“The new ProHD monitors are an affordable option for video professionals in the field and the studio,” said Dave Walton, assistant vice president of marketing and communications. “They are lightweight, deliver great images, and are built to last.”

Along with the new HZ-HM150VZR ProHD remote lens control, the DT-X71 Series is part of JVC’s new ProHD Compact Studio system, which configures the GY-HM150 ProHD handheld camcorder for studio environments. When mounted to the GY-HM150, the DT-X71 serves as a full-size studio camera monitor.

The DT-X71C has a suggested list price of $595, the DT-X71H is priced at $1,095, and the DT-X71F is priced at $1,695. All models are now available.

ABOUT JVC PROFESSIONAL PRODUCTS COMPANY

Headquartered in Wayne, New Jersey, JVC Professional Products Company is a division of JVC Americas Corp., a wholly-owned subsidiary of JVC Kenwood Corporation. JVC is a leading manufacturer and distributor of broadcast and professional video and audio equipment, security products including IP network cameras and recorders, premium front projection systems for home theatre use, and projection displays and optics used in aviation simulators. The JVC Technology Center provides advanced technology in support of major JVC business alliances. For further product information, visit JVC Professional’s Web site at http://pro.jvc.com or call (800)582-5825.

HPA Tech Retreat Preps Attendees for Ongoing Industry Climate Changes

Inspiring Demonstrations, Collegial Atmosphere and Unparalleled Sessions Bring Experts from Entertainment, Government and Research Together in Vibrant Exchange

(Los Angeles, CA) The Hollywood Post Alliance(r) – the trade association for the post production community – has announced the lineup for the HPA Tech Retreat(r), set to take place February 13 -17 at the Hyatt Grand Champions in Indian Wells, CA. The HPA Tech Retreat is the annual conference that brings together thought leaders from digital and content creation, media and entertainment, forensics, medicine, digital imaging, to academic research.

The event consists of three days of sessions, and two days of additional conference programming including an all day super session, seminars presented by ATSC and by imaging-guru Charles Poynton, a demo room with groundbreaking technologies, cocktail receptions, a welcome dinner, and three days of breakfast roundtables, fireside chats and opportunities for networking throughout each day. The Tech Retreat is designed to foster ideas and information sharing among industry experts.

Leon Silverman, President of HPA, notes, “Our industry’s incredibly accelerated pace of change makes it extremely difficult to know to whom or where one can turn to make sure you’re plugged into the knowledge and people you need to know to survive and navigate in this environment. The Tech Retreat is a yearly way to literally get into the heads and private conversations of the people who are driving and leading our industry through this transformative change. There really is nothing like it anywhere. A ticket to the Tech Retreat is a front-row, up close & personal seat on the cutting edge.”

Mark Schubin, who has led the programming for the Tech Retreat for 15 years, sums up the event, “There will be someone there who knows the answer, whatever the question is!” And, that fact, he contends, is why the Tech Retreat remains a mandatory event for many in the industry. “It doesn’t matter what you are dealing with – movies, television, media for the physically impaired, forensics, optical issues for 3D – there are experts here who want to discuss their latest findings, show you what they’ve been working on, and share. It’s the place where questions are explored in depth.”

The Tech Retreat is also an event where technologies, chosen by a committee of experts, are presented in a carefully curated demo room. “This year I am particularly excited about the Demo Room. There are a number of truly interesting technologies and companies debuting here. We are presenting a technology that makes any camera a stereoscopic 3D camera, a 360-degree camera from which HD images can be extracted, demos of how depth perception varies with viewing distance, high frame rate tests, Ethernet AVB, and more. It’s inspiring to say the least.” Schubin concluded.

Registration for the HPA Tech Retreat is limited. Information and registration is available at http://www.hpaonline.com/mc/page.do?sitePageId=130712. The Tech Retreat is sponsored by the Hollywood Post Alliance(r), serving 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.

A complete schedule of the event is available online by clicking here: (http://www.hpaonline.com/mc/page.do?sitePageId=130539). A summary of speakers, panels, and participating companies follow.

Expert speakers confirmed include:

o Andrea Kalas
o Andy Maltz
o Annie Chang
o Arjun Ramamurthy
o Bob Liodice
o Brian Zents
o Bruce Devlin
o Chris Lennon
o Clyde Smith
o Craig Merkin
o Craig Todd
o Curtis Clark
o Dan Germain
o Debra Kaufman
o Edgar Shane
o Geoffrey Tulley
o Henry Gu
o Jenny Read
o Jerry Pierce
o Jim Berger
o Jim DeFillipis
o Jim Taylor
o John Hurst
o Larry Thorpe
o Leon Silverman
o Mark Aitken
o Mark Lemmons
o Mark Schubin
o Masayuki Sugawara
o Michael Koetter
o Mike Krause
o Paul Chapman
o Peter Putman
o Peter Symes
o Phil Squyres
o Rob Hummel
o Sean Cooney
o Skip Pizzi
o Steve Kochak
o Steven Poster
o Tim Claman
o Tom Burn
o Wendy Aylsworth

Also joining the line-up are the filmmakers from the Girl with the Dragon Tattoo, and an announcement of additional speakers is expected shortly.

Panelists representing studios, companies, and organizations include:

ABC
Adobe
ATSC
ARRI
Barco
Belden
Canon
CBS
CNN
DECE
Deluxe
Digital Domain
Digital Projection
Disney
Dolby
DVS
Fox
Harris
ICG
JVC
Laser-Illuminated Projector Association (LIPA)
Light Iron
NAB
NBC
Newcastle University
NHK
Oracle
Panasonic
PBS
RE: Vision Effects
RED
Rods & Cones
Sinclair
SMPTE
Sony
Sony Electronics
Technicolor
The Association of National Advertisers (ANA)
Vision Research
Warner Brothers
Walt Disney Company

More programming, panelists and organizations are to be announced shortly.

The HPA Tech Retreat is known for presenting topical, latest-knowledge panels and presentations. Among others, this year’s presentation topics include:

o Forecast for SuperSession 2012: Snowflakes with an Increasing Chance of Clouds
o 4K Cameras and their Workflows
o The Image Interchange Framework Demystified: What It Is and Why It Matters
o High-Dynamic-Range Acquisition
o Optical Temporal Filtering
o Broadcasters Panel
o The Current State of Connected TV
o The Home Ecosystem: What Will Make It Work?
o CES Review
o HPA Monitor Symposium Recap
o Next Generation Projection Systems
o Getting Creative Intent to the Viewer
o Digital Commercial Slates: a New Era in Commercial Workflow – a bicoastal live presentation
o Washington Update
o CALM Down? Stereo vs. Surround Loudness
o VFX Panel
o IMF Moving Forward
o What Happened to Dailies?
o Digital Preservation: An Ecosystem
o Perceiving 3D
o Increasing Resolution by Covering the Image Sensor, and much more.

Sponsors of HPA Tech Retreat in 2012 include: AJA, Dolby, DataDirect Networks, and Testronic Labs and Media Sponsors Createasphere, Post Magazine and LA 411.

About the Hollywood Post Alliance(r)
Hollywood Post Alliance (HPA) serves 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.

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Media Contact:
Chris Purse, 818.303.8088
ignite strategic communications
chris@ignite.bz or mimi@ignite.bz

Red Giant Announces Magic Bullet Looks 2 Support for Apple Final Cut Pro X

 

 

New Looks 2 Gives Professional Video Editors a Full-Featured Color Treatment Software for

Apple Final Cut Pro X

 

Portland, OR (January 31, 2012)Red Giant today announced that their flagship color treatment product, Magic Bullet Looks 2, is now available for Apple Final Cut Pro X. The new release of Looks 2 gives professional video editors the ability to add high quality color effects and color grading inside the Final Cut Pro X timeline. Looks 2, a powerful full-featured color treatment software available for Final Cut Pro X, delivers the same professional color finishing used on big budget movies like The Curious Case of Benjamin Button and independent films like Plot Device.

 

In preparation for this launch, the Red Giant development team has worked closely with Apple to ensure seamless integration and flawless performance with Final Cut Pro X. Looks 2 delivers a speedier effects preview that takes advantage of Final Cut Pro X’s background rendering feature, letting editors see the impact of Looks on their footage more quickly than before. The new Looks Overlay palette is directly integrated with Final Cut Pro X footage, and gives a fast display of the Looks 2 tools applied to a shot. These time-saving capabilities allow editors to see the immediate impact of Looks 2 on their shots without long render times.

 

With Magic Bullet Mojo and now Looks 2 available for Final Cut Pro X, Magic Bullet Suite 11 continues to deliver the color design workflow that has made it the definitive color toolset for filmmakers, editors and VFX artists worldwide.

 

Looks 2 for Final Cut Pro X and Magic Bullet Suite 11.2

Magic Bullet Looks 2 for Final Cut Pro X is available as part of Red Giant’s Magic Bullet Suite 11.2 and extends a powerful, flexible and accessible feature set to a new audience of editors with support for Final Cut Pro X. It includes:

 

  • A professionally designed and modernized user interface;
  • 64 new and updated presets designed by professional colorists and designers;
  • New scopes, including Hue/Lightness, Skin Scope, Hue/Saturation and Memory Colors;
  • Six new tools including the Colorista II 3-Way, Ranged HSL and Pop, bringing the power of Colorista II right into Looks. New tools like Cosmo, Haze Flare and Lens Distortion open up users’ creative possibilities;
  • Improved speed, size and resolution for better handling of large file formats and more efficient rendering;
  • The ability to share looks with other Looks 2 users in After Effects, Final Cut Pro 7, Final Cut Pro X, Premiere Pro, Motion and Avid Media Composer.

 

Pricing and Availability

Magic Bullet Looks 2 for Final Cut Pro X is available immediately and is priced at $399 USD for new customers, and is available as a free upgrade for existing Looks 2 customers. Magic Bullet Suite 11.2 including Looks 2 for Final Cut Pro X is also available immediately and is priced at $799.00 USD for new customers.

 

As a special promotion for new customers, Magic Bullet Looks 2 for Final Cut Pro X will be available at a 50% discount until February 7, 2012.

 

Magic Bullet Suite includes the new software updater, Red Giant Link, which keeps customers connected to Red Giant. Similar to the Apple Updater, Link is a small automated program that detects if Magic Bullet products are installed. Link will notify users of important free compatibility or bug updates, and whether there is a new feature-rich paid upgrade available.

 

For more information or to purchase Magic Bullet Looks for Final Cut Pro X, please visit http://www.redgiantsoftware.com/products/all/magic-bullet-looks/. For more information or to purchase Magic Bullet Suite version 11.2, please visit http://www.redgiantsoftware.com/products/all/magic-bullet-suite/.

 

 

About Red Giant 

Founded in 2002, Red Giant (www.redgiant.com) creates an ever-expanding universe of effects tools ranging from plug-in suites, applications and mobile apps to Guru Presets, free products and sharing communities. We provide software for motion design, photography and color correction that is used for everything from major motion pictures to worldwide television programming to web production. Red Giant offers the industry-leading Trapcode tools for broadcast design; Magic Bullet Suite for color correction; and over 60 products that run in After Effects, Final Cut Pro, Motion, Premiere Pro, Photoshop, Lightroom, Aperture, Avid, Vegas, Nuke, and Avid Studio. Our effects have enhanced dozens of feature films such as Angels & Demons and The Social Network, and added sparkle to networks like NBC Universal, ESPN, Disney, CNN, Comedy Central, MTV, and TNT. Join us on Facebook (RedGiantSoftware), follow us on Twitter (@RedGiantNews) and get free content at Redgiantpeople.com.

 

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HARMAN’s AKG WMS470 Wireless System Band 10 Opens Frequencies To European Markets With Changes Slated For Mobile Internet Access Regulations

AMSTERDAM, The Netherlands – AKG introduces a new version of its WMS470 wireless system with revised operating frequencies for the European market at ISE 2012. WMS470 Band 10 operates on frequencies between 823 and 832 MHz known as the ‘duplex gap.’ This frequency range lies between the areas that will be used for upcoming high-speed Internet service for mobile devices, and will enable future proof, interference-free operation.

“In many European countries the frequency range between 823 and 832 MHz will be exclusively reserved for wireless microphones and In-ear monitoring – in Germany the range can even be used for free.” said Wolfgang Fritz, product marketing manager – tour sound, AKG. Band 10 operates with up to eight channels simultaneously, and compatible frequencies are stored in preset groups. Users can also manually program frequencies in 25 MHz steps.

Designed for total ease of use, the WMS470 is ideal for a variety of installed applications including hotels, conference centers, houses of worship, schools, universities and other facilities. It’s also perfect for touring musicians and bands, especially those who will be travelling in different countries throughout Europe.

The WMS470’s automatic frequency setup function immediately finds and displays all available channels, making the system ideal for less experienced users to operate. Before opening a channel, the pilot tone function will prevent unwanted startup noise – the receiver will only open the audio if the pilot tone is detected.

WMS470 transmitters are powered using a single alkaline, lithium or Ni-MH rechargeable battery, providing up to 14 hours of use with lithium batteries. The WMS470 handheld microphone has a built-in dipole antenna to ensure reliable transmission with 50 mW output power, even if the user covers one antenna with their hand.

“With WMS470, artists and engineers in all environments will have a reliable, yet robust technology at their fingertips that is completely compatible with the changing European wireless environment of 2012,” Fritz continued.

The WMS470 is available in a variety of configurations for live music, instrumental, sports and presentation use including handheld, headworn and lavalier mic options. Packages include the WMS470 D5 and C5 handheld sets, the WMS470 Instrumental set, the WMS470 Sports set and the WMS470 Presentation set.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets — supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 12,500 people across the Americas, Europe and Asia, and reported net sales of $4.0 billion for twelve months ending September 30, 2011.

Barix Announces Wi-Fi Voice Paging App for iOS Devices

ZURICH, SWITZERLAND, January 31, 2012Barix AG, a pioneer in IP audio, control and monitoring, brings voice paging to the iPhone and iPad via the Barix Wi-Fi Paging App — the first open-standards IP and multicast voice announcer application for mobile iOS devices.

The Barix Wi-Fi Paging App, now available in the iTunes App Store, enables zoned voice paging from iOS devices on commercial, public and residential properties. Barix’s open-standards approach turns nearly any VoIP or IP Audio receiving device into a simple IP paging/announcement system. Besides the full range of Barix IP Audio devices, many IP phones are supported, as well as third-party IP Paging gateways and speakers. A one-time configuration process ensures that users can quickly set up a paging solution for immediate and ongoing use without hassle.

“Barix is bringing more than ten years of knowledge and leadership in VoIP and IP audio devices to the smartphone universe,” said Johannes G. Rietschel, CEO and founder of Barix. “The Barix Paging App draws from our professional IP Audio and paging knowhow to make Wi-Fi paging available for millions of smartphone owners across commercial, residential, medical and professional markets.”

Ease of use is central to the Barix Paging App. Upon download, users add existing paging receivers such as IP phones, IP speakers or VoIP paging gateways in the setup part of the application. Multicast addresses can be used to set up zones with multiple receiving devices. Configurations are stored within the app or an optional location device, ensuring a one-time setup process per site. For existing Barix customers, the configuration process can automatically discover Barix IP Audio devices.

Users can assign photos to each device or zone to create clear visuals for the paging targets. Once setup is complete, users can make announcements to one, many or all configured targets by simply touching the appropriate zone icons and initiating audio with the “push-to-talk” soft-button. Real-world applications include calling the kids for dinner, making general announcements to all classrooms in a K-12 school, paging doctors in a hospital, and announcing new security measures across a large corporate campus.

All Barix VoIP-enabled IP Audio products are compatible with the Wi-Fi Paging App, including:
• Single- and multi-zone VoIP Paging Gateways (Exstreamer and Annuncicom two-way audio product families)
• The “IP Speaker without the speaker” (Exstreamer P5)
• The ruggedized Annuncicom 155 for use in harsh environments
• The Exstreamer 205, which provides up to 50W output power for high-quality music distribution applications — and now Wi-Fi Paging
• Affordable Power over Ethernet (PoE) master paging stations (Annuncicom PS1 and PS16)

More information can be found at http://www.wifi-paging.com or the Barix homepage.

Metropolitan Opera Takes Delivery of Robert Juliat Victor Followspots

Victor

Victor

The Metropolitan Opera at New York City’s Lincoln Center has expanded its lighting inventory with the acquisition of four Robert Juliat Victor 1800W followspots as specified by Patrick Eagleton of Contemporary Lights & Staging, Stamford, Connecticut.

“The Met is all about quality and very particular about the products they buy, and the Robert Juliat name speaks for itself in that regard,” says Fred Lindauer, of Robert Juliat. “The Met already has a number of RJ 2.5W Profiles in their inventory so they were very willing to consider Robert Juliat followspots for this new application,” according to Lindauer.

They followspots had to be portable, easy to set up, and fit in the space reserved for them. In addition, they had to be very quiet since they would be located in the audience seating area. “After on-site tests the team at the Met loved the fact that the Victors operated silently and could be moved in and out of the theatre with ease,” Lindauer says. “The changeovers have been perfect. The Victors are durable fixtures so they can withstand being moved in and out on a regular basis without any problems.”

“The Robert Juliat name may have gotten us in the door at The Met, but it was the unique properties and craftsmanship of the Victors that sealed the deal,” says Lindauer.

Robert Juliat’s Victor followspot features a high-performance double condenser optical system, flicker-free electronic ballast, 100 percent closing iris in a removable cassette, 100 percent closing mechanical dimmer and ‘A’ size gobo holder. Victor boasts a six-way color changer system with removable filter frames as standard. The Met elected the optional Push Pull color changer since it is silent operating. Victor also comes standard with frost and IR filter frames.

About Robert Juliat

Robert Juliat is a three-generation, independent family-run company dedicated to the manufacturing of professional stage lighting products. Robert Juliat lights are used by customers who include Cirque du Soleil, Celine Dion, New York’s Lincoln Center, LA’s Dorothy Chandler Pavilion, Bruce Springsteen, Disney Theme Parks, Carnegie Hall, The San Francisco Opera and Ballet, The Royal Shakespeare Company, The Comedie Francaise, The Sydney Opera House, plus theatres, schools and public venues around the world.

R&D, production and the company headquarters are based in the village of Fresnoy-en-Thelle, 50 km north of Paris. Robert Juliat USA is located in Wallingford, Connecticut. For more information visit www.robertjuliatamerica.com.

Crystal Vision’s clean switch uses two framestore synchronizers and loss of reference protection to keep broadcasters on air

Crystal Vision’s Safe Switch 3G provides clean and intelligent 2 x 2 switching between two 3Gb/s, HD or SD sources containing up to four groups of embedded audio and is the only way to guarantee a clean switch. The full framestore synchronizer on each input allows it to correct for any timing difference between the two inputs resulting in no disruption to the output picture when a switch takes place, while it can even lose the reference and not affect the output. It can be used for planned maintenance switches to manually re-route a good signal around broken equipment, or as an intelligent emergency transmission switch with the option of selecting from 16 different fault conditions to automatically trigger the switch. Available in two versions – as Safe Switch 3G and Safe Switch-L 3G – it provides a robust, one-board solution that replaces a switch and two synchronizers, simplifying system designs and saving broadcast engineers both money and rack space.

Safe Switch 3G can be switched either automatically or manually. To help broadcasters ensure continuity of service, Safe Switch 3G is ideal for use on the final output stage of a transmission system, before the signal gets to the MPEG encoder. Typically the backup signal going into the switch will have gone a simplified route compared to the main programme, resulting in a time difference between the two feeds which can upset the MPEG encoder on a switch to backup. Safe Switch 3G is a one-board solution which prevents this corrupted video by balancing the delays between the main and backup feeds. It can alternatively be used to manually switch to backup in non-emergency situations when equipment in the chain needs fixing or updating.

Safe Switch 3G’s clean switching comes from the full framestore synchronizer in each input stream which will ensure that both inputs to the switch are correctly timed to the external analogue reference resulting in no disruption. The synchronizers act as a self-adjusting delay, allowing a clean transition between the two channels even if their relative timing has slipped. Safe Switch 3G can even lose the reference signal and not affect the output. Loss of reference protection – where Safe Switch 3G will change its timing smoothly between the reference and the inputs, keeping the output valid at all times – is an unusual and technically-advanced feature which further extends the board’s primary purpose of protecting the output from any disruption.
Safe Switch 3G is also an intelligent switch. It constantly checks both of the inputs so that the output of the switch always remains proper and valid, and can be set to automatically switch away from the user-selected input if it does not meet the set requirements. It extracts information about various parts of the video signal to decide which of the two inputs is better, based on the engineer’s selection of which faults are significant. The 16 video and audio parameters which can be selected to perform a switch, and which are listed in order of priority, are input missing, input video standard incorrect, EDH missing, EDH full field error, EDH active picture error, line CRC error, audio group 1 missing, audio group 2 missing, audio group 3 missing, audio group 4 missing, active video black, active video frozen and audio silence in a selected group. With some processes – such as video compression or converting to analogue and back – introducing small changes frame-to-frame even if the input picture is frozen, the customer-requested processed frozen picture detection feature allows Safe Switch 3G to intelligently distinguish between this noise and real changes in the picture content – and so correctly flag up an error condition and auto switch. Safe Switch 3G will switch away from an error on the user-selected input only if the other input is free of that fault. If both inputs have different alarms, it will use the most significant alarm to decide which feed to select. Following a switch it can either reselect the main feed automatically or by user intervention.

In addition to the automatic switching, two fault indications – with their own list of chosen parameters – can also be set and assigned to GPIs if desired, allowing very flexible monitoring. Each fault indication can be assigned to a specific input, to either input, or to only become active if both inputs show a selected fault.

Explained Crystal Vision’s Managing Director, Philip Scofield: “The Safe Switch 3G was developed after specific requests from two large broadcasters in different parts of the world. Both broadcasters now use the Safe Switch 3G to give them confidence that they can manage failures in video, audio or reference signals and still meet their service level requirements that only allow a few minutes of downtime per year.”

Safe Switch 3G and Safe Switch-L 3G are both space-saving 100mm x 266mm modules which can be housed alongside any other products in the standard Crystal Vision frames – available in 4U, 2U, 1U and desk top box sizes. Up to 12 Safe Switch 3G modules or six of the ‘double decker’ Safe Switch-L 3G can fit in a 2U frame, with the Safe Switch-L 3G additionally providing a second feed of output B, input and reference loop-throughs, and extra GPI connections. Both boards include relay bypass protection on power failure or board removal, giving the system an extra layer of security and preventing signal loss. The Safe Switch 3G version can also include integrated fiber output connectivity by fitting the FOP fiber output option – ideal for when it is being used as the last point on the output of a studio with the signal needing to be sent over a long distance to the central router or station transmission output.

There is a choice of control options to suit all preferences. The Statesman PC control software can be used to either ignore or create an alarm on any of the fault conditions that Safe Switch 3G can measure. Also available are very flexible GPIs – ideal for GPI-focused broadcasters who want to have direct control of the board. The six GPIs on the Safe Switch 3G and 12 GPIs on the Safe Switch-L 3G are all bi-directional, allowing them to be configured as either GPI inputs or GPI outputs which gives flexibility when setting up buttons and lights for GPI control and monitoring of alarm conditions. Other control options include board edge switches, an active front panel on the frame, a remote control panel and SNMP.

Safe Switch 3G and Safe Switch-L 3G are both shipping now.

Based at Whittlesford near Cambridge in the UK and with an office in the USA, Crystal Vision provides digital keyers, picture storage modules and a full range of interface equipment including converters, synchronizers, distribution amplifiers and audio embedders to the professional broadcasting industry worldwide.

www.crystalvision.tv

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