Archive for January 19th, 2012

Anaheim, Calif. – January 19, 2012 – Audio specialist Sennheiser is launching its brand new XS Wireless Series at the 2012 NAMM Show. Designed for users who want to easily go wireless, this entry-level series offers complete sets with sturdy units, simple operation and high quality sound. The transmitters have a battery life of up to 10 hours, while a switching bandwidth of up to 24 MHz allows for flexibility in the choice of frequencies. The series is comprised of two vocal sets, an instrument system and presentation sets with clip-on microphone or a headmic.

“With the XS Wireless Series, Sennheiser offers reliability and quality sound at an entry-level price,” explained Martin Fischer, Product Manager for Sennheiser’s wireless systems. “It offers good value for money and will benefit small event and conference venues, houses of worship as well as bands, vocalists and musicians.”

Wireless without fuss
The designers have focused on ease of use: the systems are operated via intuitive menus, they automatically search for free frequencies, and transmitters are synchronized with their receivers via a wireless link. “We wanted to make sure that users can fully concentrate on their performance, their speech, etc. without having to worry too much about the set-up and technology,” Fischer said.

Extras for bands…
XS Wireless includes two systems for vocalists and one instrument set for guitarists. Vocalists can choose between a handheld with a super-cardioid condenser capsule and one that includes a genuine dynamic e 835 capsule. “The XSW 35 system takes the assertive sound of the cardioid e 835 to new user groups,” Fischer added.

… and speakers
For installed sound applications and presentations, users can choose between systems with a handheld transmitter or a bodypack transmitter with either a head-worn mic or an unobtrusive clip-on microphone. Mute buttons on the handheld and the bodypack ensure that speakers are in control of the transmission.

Ruggedness and flexibility
To withstand the rigors of daily use, the true-diversity receiver is housed in a sturdy metal case. In the transmitters, one set of batteries will last for up to 10 hours—not only good for energetic stage shows, but also for long events and conferences. The systems feature freely tunable frequencies within a switching bandwidth of 24 MHz (13 MHz for the E frequency range). This allows up to 12 wireless links to be operated simultaneously, ensuring trouble-free operation even at somewhat larger events.

Visit Sennheiser at NAMM, Hall A, Booth # 6579.

XL Video are supplying video production – including a projection system, LED screen, cameras and PPU – to Coldplay’s acclaimed “Mylo Xyloto” (MX) world tour, continuing its long working relationship with the band that started in 2005.

Live video director is Andy Bramley and the content / media servers are designed and programmed by Ben Miles. Together they have evolved a unique, almost cinematic video aesthetic for the band’s live performances, working closely with the production and lighting designer Paul Normandale, who designed the screen layout, and Phil Harvey, Coldplay’s creative director. Misty Buckley styled the vibrant graffiti tagged set decoration which adds another layer to the visual tone.
Played to a 360 degree audience where possible, with audience seated behind the stage which is still in the end-on position, video is an intricate blend of raw and soft / colourful and monochrome elements in a lively, edgy interactive environment.
Both Bramley and Miles have worked with XL Video on many previous occasions and describe the service, equipment and attitude as “Excellent”.
Over the stage is a single five metre diameter circular Barco O-Lite (10 mm) screen –which is directly backed with a projection screen surface for the 360 degree shows. Out in the auditorium are four circular screens – two at 6 metres and two at 4 metres – flown in the roof above the audience.
This ensured that everyone in the arena has a good view of the video. The screens showed a mix of IMAG and playback throughout the performance, and video was again an essential part of the band’s communication with the audience.
Bringing the screens out to the audience also helps close the space down and make it intimate and theatrical when needed. Coldplay are one of a handful of bands to master the art of making large venues feel intimate and personal with a combination of performance, presence and production!
Each screen is fed by a pair of XL’s Barco FLM 22K projectors with overlaid images, all connected via a fibre network, specified as the best data solution to deal with the long distances which can be up to 200 metres between projector and control.
Miles is running two active Catalyst media servers, via a grandMA Lite console, with two hot backups. Each is fitted with a TripleHead2Go giving three outputs per device – one for each of the six screens, so all can receive independent feeds in any configuration.
This gives the full flexibility to send any source to any screen, together with a 16 x 16 Lightware DVI matrix supplied by XL Video, a new product geared to touring and also remotely controllable. XL built a custom rack to house all the Catalysts, the matrix, associated devices and a UPS.
Miles does all the screen management and effecting both playback and camera outputs – an organic Bramley / Miles process often with a flourish of improv– in the Catalyst.
The playback footage follows a graffiti inspired trajectory, including re-edited video of the bespoke ‘hypnoflow’ laser frame from the summer festival tour – and other funkiness, presented with futuristic twists of psychedelia.
Bramley has directed Coldplay’s live video since 2005’s Twisted Logic tour. He and Miles worked in tandem on 2008/09’s Viva La Vida tour, where their particular synergy and style of harmonising IMAG, playback and lighting in colour and movement was initiated.
XL are supplying four main cameras for this leg of the tour, one stationed at front of house with a long lens and three hand-helds in the pit – where they can move freely and follow the band. These and one robot cam onstage are cut by Bramley on his GV Kayak console and then sent into the Catalyst system along with the TX feed, and from there, output to screen.
This beautifully balances a fresh, different and off-beat mix with but the all important criteria of enabling the fans to see the band close up … and with a year of touring on the horizon, there’s no shortage of scope for future development on the visuals front.
XL is supplying six crew to work with Bramley, including Miles, engineer Ed Jarman, projectionist Kevin Parry, LED tech Pieter Laleman and Rob Wick and Sacha Moore on cameras. James Morden and Tracey Donnelly have been XL’s technical and project co-ordinators, with Phil Mercer from the LA office as the project manager.
This tour sees the continuation of a long and successful history between XL Video and Coldplay, and is currently scheduled to continue throughout 2012.

For more press info on XL Video UK, please contact Louise Stickland on +44 (0)1865 202679 or +44 (0)7831 329888 or Email ‘louise@loosplat.com’. To contact XL Video UK direct, call +44 (0)1442 849400 or check www.xlvideo.tv

– Leveraging 10 Years of Supporting and Improving Avid Workflows, Archion Provides More Functionality at Nearly Half the Price -–

Burbank, CA (January 19, 2012) – Continuing to introduce products that leverage its more than 10 years of experience supporting Avid media workflows, Archion Technologies is now offering Avid project sharing on its EditStor ES Shared Storage System. EditStor ES provides real Avid project sharing that enables complete collaboration between multiple Avid editors simultaneously working on the same open project.

“EditStor ES now offers the native Avid project sharing that once only existed when using Avid shared storage solutions,” said James Tucci, Chief Technology Officer at Archion. “We’ve now made it possible for Avid users to realize the benefits of this feature while also enjoying greater media management tools. This once again underscores our commitment to building innovative, highly affordable products that combine compelling value, like our EditStor ES, with features that make them attractive to almost any facility.”

Native project sharing is the latest example of how Archion continues to provide more functionality than systems that cost nearly twice the price. Unlike very basic networked solutions, EditStor ES is a shared storage system that has been specifically designed with the level of features and scalability needed for media workflows, including such functionality as project sharing and on the fly volume expansion.

“Having more than a decade of Avid workflow and shared storage experience, our customers rely on us to introduce and enhance products that improve their workflows,” said Reuben Lima, Chief Operating Officer of Archion. “EditStor ES is a great example of our continuing development of products and toolsets that meet the needs of today’s digital media professionals. At the same time, EditStor ES is an unmatched investment – and the cost of scaling is even better.”

Project sharing on EditStor ES is transparent to the Avid workflow. When projects are placed on EditStor ES volumes, several users can work on the same project at the same time. Using the native locking mechanism, Avid editors do not have to keep track of who is currently working in a bin — the lock shows them. This allows only one user to write to a bin, but allows multiple users to read the files in that bin. This ensures that changes aren’t inadvertently overwritten to clips or sequences in the bin.

Other features include:
• On-the-fly volume expansion without interruption
• High-performance 10 GigE to support demanding file types
• Hot scalable storage that enables expansion without shutting down
• User-friendly administrator console offers simple management
• Compatibility with Windows, Linux and Mac OS

EditStor ES is ideal for almost all production, post production and content creation environments. It can benefit Avid, Apple and Adobe users working in a full range of industries, including film, television, broadcast, houses of worship, education, commercials, corporate and the government.

Pricing and Availability
The investment for a complete EditStor ES can be as low as $17,995, while a 64TB system can be configured at a total cost of less than $50,000, approximately 50% the cost of competitive solutions. Systems are available for immediate delivery.

About Archion
A leading provider of intelligent networked storage solutions specifically designed for post production and graphic professionals, Archion Technologies is prominently known for its Synergy product line, which seamlessly expands Avid Unity MediaNetworks at a fraction of the cost. Founded by a team of post production, technology and entertainment industry professionals in 1999, Archion set out to create a new standard of data protection and performance for those creating video, audio and graphical content. Since then, Archion’s high-performance storage technology has been critical to the success of hundreds of TV and feature film projects and is prominently used in Avid, Apple, Adobe, Autodesk and Pro Tools environments. Archion is based in Burbank, CA. www.archion.com

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Contact:
Randy Savicky
Strategy+Communications
W : (203) 226-6156
M : (203) 571-8151
randy@strategypluscommunications.com

Think the cooing, grunting or wailing sounds a baby makes mean nothing? Think again.

By using Vaddio cameras, East Carolina assistant professor, Heather L. Ramsdell is studying how baby sounds develop in the first year of life and the link between those sounds, first words and early language development. “The ultimate goal is to gain a better understanding of normal vocal development patterns in infants, so we can identify earlier those who are at risk for developing speech and language problems,” explains Ramsdell.

Since joining ECU in 2010, Ramsdell has created the Infant Vocal Development Laboratory (IVDL) in the Department of Communication Sciences and Disorders. The IVDL provides a state-of-the art infant and child recording suite consisting of a nursery/playroom and a control room.

The nursery lab is filled with colored blocks, books and stuffed toys – so parents and children can eat, nap, play – do whatever they do at home. An infant would never even notice the eight cameras partially hidden by purple monkeys mounted strategically throughout the room.

“We have eight cameras – four upper and four lower – but we only need to record two at a time,” explains Ramsdell. “The reason we have so many cameras is that when we analyze the data we need to have a very good view of the baby’s face.” Two angles are recorded: a close up shot of the baby and a wide shot of the interaction between the parent and baby. “We need to know where the baby is looking while talking and be able to see the facial affects. Was the baby happy or sad? Was he or she looking at mom? Did the baby respond to something mom did or said? We have to have the flexibility of changing camera angles to the best views possible.” Having eight cameras provides this flexibility.

“Vaddio allows us to have even more flexibility because all of the cameras move side-to-side and up-and-down.” Each mount is located on a sliding track so they can be repositioned even more. To permit even more camera angles, each wall is covered in mirrors. “We might not be able to get a good camera angle from Camera 1 or 2, but we can get a great shot in the mirror from Camera 3.”

Audio is recorded separately with attached wireless microphones worn by both mom and baby.

The audio and video is captured in an adjacent control room with two Vaddio ProductionVIEW FX camera control systems, two capturing devices and two monitors for viewing. Mark Allen, ECU’s electronics specialist, designed the system according to what Ramsdell needed. “When Heather came in she had a list of all the equipment she had been using in Memphis where she recently completed her Ph.D.,” explained Allen. “The way academia works is we try and replicate the labs they came from. I looked at her list and started searching the Internet and other departments on campus.” This is where he was redirected to Herb McGrail with Whitlock.

“I had worked with Vaddio cameras on previous installs at the ECU Brody School of Medicine,” explained McGrail. “I worked with Mark to create a list of everything he would need.”

The entire install only took two months. “By the time we got the funds we needed, we knew exactly what we wanted,” said Ramsdell. “I had already started recruiting participants.” Sixteen families are participating in the study and have been coming in once a month for eight months now. Between Ramsdell and her small army of undergraduate and graduate students in the Department of Communication Sciences and Disorders, they’ve recorded over 112 times.

Every time a family comes in at least three people are needed to control everything. During recordings, laboratory staff members have control over each individual Vaddio camera. “Let’s say Camera 1 has a wide shot of mom and baby playing on the mat,” says Ramsdell, “We can zoom in with Camera 1, but Camera 3 would be at a much better angle because I could get a close-up of the baby’s face. All of this can be done simultaneously. We can record and change from any two cameras all at the same time. We just work together and communicate to get the best angles possible.”

In the end, Ramsdell hopes the study will lead to better and earlier treatment of speech and language disorders in young children. The discovery that an early communication problem may be developing allows her team – and eventually others in the field – to facilitate diagnostic and treatment intervention at an extremely early age.

“It’s a very specialized study, but you’d be surprised at how many research labs across the country have recording rooms like this,” explained Ramsdell. “I have a lot of students who may eventually continue on for their doctoral degrees and one day create their own infant labs – across the country – across the world.”

Los Angeles, January 19, 2012 — Independent music publishing company pigFACTORY Music, whose roster includes recordings and songs by artists such as Def Leppard, Jordin Sparks, Fatboy Slim, and Iggy Pop, is proud to announce that it has signed artist/writer/producer Bleu to an exclusive worldwide publishing administration deal. The announcement was made today by Keatly Haldeman, CEO, pigFACTORY Music.
Said Haldeman, “We are truly excited to welcome such a talent into the pigFACTORY family. Bleu is a triple threat – songwriter, producer and artist – on a level with the superstars in today’s pop music landscape. It’s going to be fun to work with him.”
ABOUT BLEU:
A graduate of Berklee College of Music, Bleu is a songwriter-producer, singer and performer currently living in Los Angeles. He started out his career as an artist, making his debut with Columbia Records in 2001 and touring internationally with acts such as John Mayer, Train, Switchfoot, and Hanson. Early successes included a featured track on the platinum selling Spider-man soundtrack as well as being included in NPR’s Top Ten Records of the Year. In 2004 Bleu began to focus on his songwriting and producing for other artists which has lead to over 20 cuts with artists like Demi Lovato, Meat Loaf, Hanson, Kate Voegele and includes gold and platinum records with artists such as the Jonas Brothers, Selena Gomez, Boys Like Girls, and more.
He continues to tour and release his own records (including a few critically admired side-project bands L.E.O. and The Major Labels), and was recently named Kickstarter’s “Best Music Project 2010″ for his acclaimed fan fundraising campaign for his latest CD release – “FOUR” which has been critically admired by the LA Weekly, Buzz Bands LA, The Boston Globe, Sunday Times UK, The Huffington Post and American Songwriter.
Bleu has a catalog of 300 songs he’s co-written and produced that are available for sync from indie to major label artists, including such acts as: Alpha Rev, Armor For Sleep, Ben Romans, Brad Kavanagh, Chris Mann, Creed Bratton, Dan Wilson, Daniel Powter, Drake Bell, Ed Roland, Gin Wigmore, Green River Ordinance, Jasmine Ash, Jess Furman, Jill Sobule, Julian Velard, Lindsey Ray, Madi Diaz, Megan & Liz, Megan Joy, Meghan Kabir, Mike Doughty, Mike Viola,

MoZella, Nakia, Nik & Sam, Red Riders, Robert Schwartzman, Shane Harper, Sherwood, Slow Down Honey, Steel Drum Corps, Sofi Bond, Tristan Prettyman, TV/TV, VASSY, Wicker, Will Dailey & more.” http://www.bleutopia.com/
Bleu’s “Four” has received numerous articles and mentions in the press. These include: Best Music Project 2010 – Kickstarter Awards 4 Stars – Sunday Times UK; Favorite local album of the year – Buzz Bands LA Recent features, reviews, awards in: Q Magazine, Classic Rock Magazine, Hypebot, All Music Guide, American Songwriter, Berklee News, Boston Music Awards, Boston Herald, City’s Best LA, Huffington Post, LA Weekly, BlogCritics, Magnet Magazine, and many others.
Bleu’s songs have been recorded by Demi Lovato, Boys Like Girls, Kate Voegele, Hanson & more: www.bleutopia.com/bleusongwriterdiscography.html
To view the Music Video: “How Blue” featuring Justin Kirk from Weeds

Upcoming events:
- Jan. 27th – Bleu show at Bootleg Theater, Los Angeles
- March 13th – “Fall From Grace” penned by Bleu comes out in the US on Meat Loaf’s new CD “Hell In A Handbasket”
- March 15th – SXSW – Bleu speaks on the panel: Age of the Benefactor: The 21st Century Fan Club moderated by Scott Perry

ABOUT PIGFACTORY MUSIC PUBLISHING:

pigFACTORY Music Publishing specializes in the international placement of music in film, television, film trailers, advertising, and videogames, and in the collection of publishing royalties, worldwide. To that end, the company leverages an advanced digital publishing system to proactively exploit its clients’ music catalogues and track music publishing royalties on a global scale. The company represents top songwriters, artists, record producers, labels, and publishers, with a roster of over 250,000 songs, including an extensive selection of classic hits.

pigFACTORY is one of the few independent publishers in the international marketplace to affiliate directly with a large number of royalty societies throughout the world. Via its direct memberships and partnerships, and by using state-of-the-art royalty software, pigFACTORY quickly and accurately registers its clients’ song catalogues with the publishing rights societies, and collects ‘at source’ in most major international territories.

The U.S. headquarters of pigFACTORY is 8075 W. Third Street, Suite # 540, Los Angeles, CA, 90048. The phone is 323/653-1200, and the website is www.pigfactory.com

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ANAHEIM, California – HARMAN’s BSS Audio today introduced AVB (IEEE Audio Video Bridging) functionality to its acclaimed Soundweb London family of digital signal processors with the addition of two Soundweb London devices. The new Soundweb London BLU-805 and BLU-325 devices are AVB versions of the BLU-800 and BLU-320 CobraNet™ siblings from which they are derived.

The BLU-805 offers the same configurable signal processing capability as the existing BLU-800 device. Both new devices offer configurable inputs and outputs, compatibility with all Soundweb London input and output card options, logic processing capability, the 256-channel Soundweb London digital audio bus and GPIO.

Each device offers up to 16 inputs and outputs, configurable in banks of four. Card options include analog mic/line inputs with Phantom Power, analog outputs, digital inputs (AES/EBU and S/PDIF), digital outputs, the Soundweb London AEC Input Card and the Soundweb London Telephone Hybrid Card.

The BLU-805 and BLU-325 devices allow 64 incoming AVB channels and 64 outgoing AVB channels at 48kHz, or 32 incoming AVB channels and 32 outgoing AVB channels at 96kHz. Configuration, control and monitoring is provided by HiQnet™ London Architect.

Iain Gregory, Marketing Lead for Installed Sound at Harman Signal Processing stated, “Combining the proven and respected Soundweb London platform with the industry-supported AVB transport is a very natural evolutionary step for Soundweb London. It gives access to the incredible flexibility of Soundweb London and contemporary transport technology, all in a familiar environment.”

The BLU-805 and BLU-325 along with the other members of the Soundweb London family provide the building blocks of the perfectly tailored system solution.

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.

Featured Software Tool Facilitates the Creation of Professional Drawings of Custom Panels and More for System Integrators and A/V installers

ANAHEIM, CA, JANUARY 20, 2012 ? The RapcoHorizon Company, a leading manufacturer of audio/video interfacing and cable equipment, is featuring DesignVision, a panel design program created specifically for the company’s network of professional systems integrators, dealers and contractors, at the 2012 NAMM Show (Booth 4558, Hall C). The software allows The RapcoHorizon Company’s professional network to create expert quality custom installation diagrams for A/V installation projects.

Perfect for companies that specify audio and video in permanent installation projects, DesignVision features a simple interface that enables someone with no computer aided design (CAD) experience to create CAD-like setups of custom rack panels, wall plates and floor pocket inserts. The intuitive system speeds up the quoting process and can be downloaded to run locally on any Windows computer, which enables laptop users to access the software from anywhere – including on-site client meetings.

“With the fast-paced world we now live in, our systems integrators, dealers and contractors are always looking for the quickest and easiest way to make their clients happy,” says Darius Seabaugh, vice president of marketing for The RapcoHorizon Company. “The DesignVision software not only provides these professionals with the power of speed but it also ensures expert quality designs. All this, wrapped neatly in one easy-to-use, downloadable interface.”

To create a system design, a user simply selects the preferred panel and utilizes the drag and drop feature to place the desired connectors directly on the panel. By using a basic set of design tools, the user can even create a template for engraving.

When the drawing is complete, the dealer can email a PDF and a completely accurate price quote to the tour manager for approval. Once approved, the integrator can email the same design with its full bill of materials to their RapcoHorizon sales representative. This ensures an expedited distribution of the custom panel to the client.

“With just the click of a button, users will receive fast, accurate quotes,” continues Seabaugh. “This reduces uncertainty and increases the turnaround time that is involved with processing an order.”

The RapcoHorizon Company’s DesignVision software will be available for free download at www.rapcohorizon.com. Users will be required to have a unique login and password, which can be obtained from their RapcoHorizon representative.

The RapcoHorizon Company, located in Jackson, Missouri, is one of the world’s largest manufacturers and suppliers of audio, video, home theater, data and telecommunications cable in both bulk wire and assemblies. Used worldwide by concert touring sound companies, video and sound contractors, recording studios, system integrators, audiophiles and musicians, The RapcoHorizon Company’s products provide optimal flexibility and premium performance. The company’s state-of-the-art Custom Shop can modify existing products or build new devices to meet any need. For more information, please visit The RapcoHorizon Company’s Web site at www.rapcohorizon.com.

Blackmagic Design today released a new version of its popular HyperDeck Shuttle Solid State Disk recorder. HyperDeck Shuttle 2 replaces the existing model and adds broadcast quality 10-bit recording and playback to the Avid DNxHD format for the same low price of $345.

HyperDeck Shuttle 2 is shipping now and available from Blackmagic Design resellers worldwide. HyperDeck 2.0 software public beta is available to download now from the Blackmagic Design web site. Any customer who has HyperDeck Shuttle 2 can download this software update to add DNxHD compressed recording.

HyperDeck Shuttle now records the highest quality uncompressed or compressed video formats onto common low cost SSDs in the smallest possible size! HyperDeck Shuttle is small, affordable and battery powered so it’s perfect as a field recorder. For direct camera mounting, HyperDeck Shuttle Mounting Plate can be added to provide multiple pre drilled 1/4” and 3/8” mounting holes.

HyperDeck Shuttle turns low cost cameras into high end broadcast cameras because it allows video file recording to bypass the camera’s compression by recording from SDI and HDMI directly to 10-bit uncompressed QuickTime or Avid DNxHD MXF formats. SSDs are cheap and fast, and can be plugged into an eSATA dock for instant access to the media files, so are the most flexible recording medium available.

DNxHD is a broadcast industry standard for media files and adding native support for this compressed video format into HyperDeck Shuttle will allow dramatically longer recording times, lower media storage costs, and provide full file format compatibility with Avid Media Composer systems. All media is recorded in MXF format that’s immediately available for all Avid Media Composer systems and leading video applications including Blackmagic Design’s DaVinci Resolve.

SSDs are the latest computer disk technology that features flash storage in a low cost and small 2.5″ size. Using SSDs with HyperDeck Shuttle provides video recording with blazing fast speed, low power consumption and totally silent operation. This is a perfect replacement for mechanical tape based acquisition and also eliminates complicated and expensive disk arrays. With no moving parts, SSDs are unbelievably robust and can handle shocks and vibrations that would destroy conventional hard drives or videotapes.

With SDI and HDMI inputs and outputs, HyperDeck Shuttle works with virtually every camera, deck or monitor and effortlessly plugs into monitors or televisions for instant on set preview. HyperDeck Shuttle can also be used as a video playback source for digital signage systems or connected to a live production switcher for recording events and then used for live playback!

“Recording DNxHD files straight to disk now costs less per minute than recording to professional tape plus it’s the most efficient workflow possible,” said Grant Petty, CEO, Blackmagic Design. “A 64Gb SSD is less than $100 and will record 50 minutes of the highest quality DNxHD video! This update means that both HyperDeck Studio and HyperDeck Shuttle customers can record broadcast quality DNxHD files for less than $2 a minute!”

HyperDeck Shuttle Key Features
Capture and playback with Solid State Disks in uncompressed and compressed 10-bit quality.
10-bit capture and playback of uncompressed QuickTime and compressed Avid DNxHD MXF files.
SSD is removable for editing, and changing to blank disks.
3 Gb/s SDI input using mini coax SDI connector and HDMI input. Auto selects.
3 Gb/s SDI output using mini coax SDI connector and HDMI output.
Power supply connection also recharges battery.
USB connection for software updates and settings.
Machined out of solid block of aluminum for maximum strength and attractive design.
File compatibility with Media Composer, Final Cut Pro, Premiere Pro, DaVinci Resolve and more.

Availability and Price
HyperDeck Shuttle 2 is shipping now and available from Blackmagic Design resellers worldwide. HyperDeck 2.0 software public beta is available to download now from the Blackmagic Design web site. Any customer who has HyperDeck Shuttle 2 can download this software update to add DNxHD compressed recording.

Press Photography
Product photos for HyperDeck Shuttle, and all other Blackmagic Design products, are available at www.blackmagic-design.com/press/images.

About Blackmagic Design
Blackmagic Design creates the world’s highest quality video editing products, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and film restoration software for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability, while the company’s DaVinci EmmyTM award winning color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including stereoscopic 3D and 4K workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore, and Australia. For more information, please check www.blackmagic-design.com.

Alcorn McBride has announced the introduction of two innovative products for the themed entertainment industry. New items include a single universe lighting controller with Ethernet control, and software that allows simple transcoding of media files. Both will be shown in booth 9D104 at the upcoming ISE show in Amsterdam:

LightCue with Ethernet is an enhanced version of the popular LightCue model. The new LightCue with Ethernet replaces expensive lighting consoles in permanent installations by capturing the DMX data and playing it back exactly the same way every time. Lighting designers can program their lighting using their favorite DMX lighting console, record into the LightCue with Ethernet and then take the console away. LightCue with Ethernet handles up to 40 pile-ons and stores at least 100 hours of DMX data. The unit operates via front-panel push-buttons, SMPTE timecode, RS-232, Ethernet or contact closure/voltage inputs. Users can create a schedule to trigger playback using the built in real-time clock and examine or edit the recorded DMX data with included cue management software.

MediaFlow – Alcorn McBride will introduce a complete video workflow solution. MediaFlow software encodes your source material and transfers it to Alcorn McBride video players. MediaFlow software is preconfigured to produce video 100% compatible with Alcorn McBride products. It steps through the process and quickly readies content for use. After your material is encoded, MediaFlow’s built-in FTP capability can automatically transfer files to Ethernet-enabled devices. It accepts all the major video formats and outputs H.264 or MPEG2 video (MPEG or AAC audio). MediaFlow supports PAL and NTSC.

ProTraXX is now shipping. Currently in use in a new major theme park in Florida, the ProTraXX plays eight independent stereo tracks from a single economical rack mount unit. Enhanced features include Ethernet for remote updating and microphone/auxiliary inputs for zone paging. ProTraXX offers high-quality MP3 audio playback in a compact, solid-state unit. Hours of audio clips can be stored on CompactFlash cards for years of reliable service. Each track is designed to operate independently and can be individually triggered by a dedicated discrete input; this allows direct connection to proximity sensors or switches. All tracks can also be controlled from a single RS-232 or Ethernet port.

Also on display at ISE 2012 will be Alcorn McBride’s current suite of audio, video, lighting and control products for themed entertainment. Products at the show will include the V16 Pro Show Controller, ShowTouch, the GPS-enabled Digital Audio Machine, the eight-channel Digital Binloop HD, LightCue Pro and the DMX OverRide.

“ISE is a productive show for us,” said Jeremy Scheinberg, Alcorn McBride COO. “It is a great opportunity to visit with our international distributors and overseas clients.”

About Alcorn McBride:
Founded in 1986, Alcorn McBride is the leading manufacturer of show control, audio and video equipment for the themed entertainment industry, and a rapidly growing provider of audio and video systems for retail environments and transportation applications. Staffed by some of the industry’s best engineers and backed by outstanding customer support, the company has demonstrated great agility in bringing new designs to market. A hallmark of Alcorn McBride products is their durable, zero maintenance design. The company’s products provide consistent, reliable operation for audio and video playback applications worldwide. Alcorn McBride appears in the 2011 Inc 5000 list of fastest-growing private companies in the USA. For more information, visit www.alcorn.com.

At the International Automobile Exhibition (IAA) in Frankfurt nine ClipDisk TNG players and four ClipRecorder 2k were used successfully at the BMW stand for a multimedia production of the BMW world premieres.
The BMW Group presented their innovations in the form of a drivable stage show on a several hundred meter long circuit. In parallel to the stage shows, further highlights were shown on the large scale 900sqm LED walls for multimedia accompaniment.

The company ICT – Innovative Communication Technologies – was responsible for the technical implementation at the IAA. The ICT team is known for outstanding and innovative multimedia system solutions, supplying trade shows, concerts, temporary and permanent installations.

Because of the huge screens set up at the BMW stand the indispensable requirements were that no compression artifacts occurred and compressed file formats were supported. Source material video sequences in 720p50 and 1080p50 were used. As the content was played back on seamlessly strung together inspireLED displays, frame-synchronous replay was also required. A mismatch of even one single frame with the partially computer-generated content would have attracted attention.
Given that the largest display elements were used to visualize the live show, the play delay had to be less than 100ms. All these conditions were fulfilled by the ClipDisk TNG and the ClipRecorder 2k.

The brain of the media event was ICT’s HD studio built at IAA. Everything was coordinated there: live cameras, control, stage direction and flow control.
All players used on the show were controlled by a central media control via Louth / Odetics protocol. The respective playlists were managed there and the players were also grouped together.
In the unlikely case of an “emergency situation” the setup featured the capability to revise individual players frame-accurately within an additional set of RS-422 protocol commands. For this purpose the setup featured a specially implemented 50p timecode.

In event industry applications the ClipDisk TNG stands out for its extreme flexibility (support for both compressed and uncompressed files) as well as special features such as 50p timecode, frame-accurate re-adjustment, and pixel-accurate synchronization.

The ClipRecorder extends this functionality to provide frame-accurate recording from external sources (VTR, camera, etc). Of course both devices feature professional interfaces (HD-SDI, Component, Composite, etc).

At http://www.digitalvideo.de/Company/News.htm a video is provided for an impressive overview of the spectacular installation at the IAA.