Archive for May 22nd, 2012

(Burbank, CA) Visual Data Media Services, a leading provider of integrated end-to-end post production solutions and distribution for all media outlets, has announced the grand opening of their audio division. Visual Data now offers comprehensive audio services that include Sound Editorial and Design, Foley and ADR Recording, Television and Theatrical 5.1 Mixing, and full M&E Services.

As international territories move quickly towards day and date releases, Visual Data’s new M&E Augmentation Services are more vital than ever. International M&E Augmentation has to meet stringent territorial standards for global distribution, and it requires talented artists, specifically skilled in this area, to create a fully-filled M&E that meets world-wide requirements.

John Trautman, President of Visual Data, said of the announcement, “With the addition of this full spectrum of sound services, Visual Data is uniquely positioned to support all aspects of a project. We have the experience behind our M&E Augmentation Services to meet all international territory standards, so projects will be accepted and ready for distribution right on time.”

For more information on Visual Data’s new audio services, please visit www.VisualDataInc.com/Audio-Services.htm.

About Visual Data Media Services, Inc.
Visual Data earned its reputation for outstanding quality, service and dependability by providing integrated end-to-end post-production solutions for over 17 years. To meet the ever evolving needs of television, feature film, and new media clients, Visual Data focuses on the seamless repurposing and distribution of content for all media outlets; including Domestic Syndication, Network Broadcast, International Distribution, Home Video, Video-On-Demand, the Internet, and Mobile Devices. Visual Data’s veteran management team, with over 85 years of combined industry knowledge, ensures that customers will be met with a high level of service and efficient turn-around on tight deadlines. Strategically integrated services, all under one roof, allow Visual Data to fulfill complex deliveries and solve difficult problems for clients with ease.

Visual Data is located at 145 West Magnolia Boulevard, Burbank, CA 91502. For more information on our services, please call 818.558.3363 or visit www.VisualDataInc.com.

Following an extended run freelancing with the company, Erik Yang has joined HUSH’s roster. The signing, which follows the recent additions of Head of Production Ryan McGrath and Designer Evan Anthony, adds a brand design specialist whose experience includes work with Syfy, ABC, MTV, Toyota, American Express, the New York Public Library and Art Directors Club.

Erik is out strong already working on a rapidly growing concept and installation project for Nike, environmental and digital design projects for two notable fashion brands, and concept development for digital experiences.

With strong portfolios in environmental/architectural design, branding/identity and motion/Web, Erik impressed HUSH before he’d even stepped into their facility. “We were blown away not only by the quality of the portfolios, but by the fact that there were three, and they were all strong,” noted HUSH Creative Partner David Schwarz. “Even the design of the portfolios themselves was slick. We saw a great design mind instantly and couldn’t wait to get him involved.”

Erik did not disappoint. The day he started, he had an idea for a concept pitch. The rest of the crew went off to pull references and comp together some frames in Photoshop, only to find Erik cutting out complex geometric forms in paper and taping them together into a structural version of his idea. “This guy was different,” laughed Schwarz. “Why render it in 3D when you can just build the damn thing? We hung it on the wall.”

“I hope that, with my craft-oriented toolkit, I’ll be a great complement to the talent in place at HUSH,” stated Erik. “The crew has amazing technical skills that can make anything come to life. My role is to inform that technical wizardry from a design standpoint and bring out the best in everyone.”

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About HUSH
HUSH is a design agency. We craft visual concepts and design for digital experiences and creative content. We are Thinkers and Makers.

Brand Collaborations:
Nike, Sony Ericsson, Nokia, Microsoft, Zune, HP, Coca-Cola, Honda, Hyundai, Acura, Kiehl’s, E*TRADE, MARSH, Random House, Dove, Stylecaster, Showtime, Esquire, MTV, Syfy, Discovery, HBO, PBS, Cartoon Network, Nickelodeon, Starz, among others.

Agency Collaborations:
McGarryBowen, McCann Worldgroup, Jack Morton Worldwide, Momentum Worldwide, Mindshare Entertainment, George P. Johnson, Grey, BBH, Sapient, space150, Central Planning, among others.

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The VFX wizards at MPC recently teamed up with Skunk directing team Ne-O via DDB NY to conjure an army of magical little blue-suited folks for a New York Lottery spot. The studio handled color grading and all VFX work.

The Arrival opens on a day just like any other, as a man travels from the suburbs to the city for work. But wait – what’s that behind the bushes? Peaking over the subway rail? Riding by in a city bus? Why it’s Little Bit of Luck, the beloved NY Lottery character and he’s back with some friends. There are now multiple Little Bits of Luck to reinforce that there are nearly a million New York Lottery winners a day. So now there’s a little bit of luck for everyone.

“What a great chance to team up with a talented directing team like Ne-O on a whimsical, fun spot,” noted MPC NY MD Justin Lane. “It was a tremendous amount of work to pull this off, each shot presented its own challenges as the spot grew in complexity and size. While we aimed at maintaining a lighthearted feel, we also needed everything to be precise and seamless to make the spot feel as real as possible.”

MPC’s principal task was to integrate the little guys with their green screen heads. MPC’s Creative Director Alex Lovejoy explains, “Having collaborated with Ne-O on the famous VW Singing In The Rain commercial, Ne-O and our team knew exactly how to best approach a project this complex. Detailed measurements and reference passes from the shoot proved invaluable on the green screen set, where we made rough composites to check lighting and camera positions. Some 80 heads later and it was back to MPC for some serious comping!” The studio finished off the spot with CG crowd duplication to portray a city landscape packed with Little Bits of Luck both walking and sailing through the air with 3D parachutes as MPC-generated confetti floats to the ground. When it came time for color grading, MPC evened everything out with a technical grade and then ran a final tape-to-tape session to blend it all together.

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Credits
Client: New York Lottery
Spot Title: The Arrival
Air Date: May 2012

Agency: DDB-NY
CCO: Matt Eastwood
GCD: Rich Sharp
CD/Copywriter: Scott Cooney
ACD/Art Director: Dave Tomkins
Producer: Brett Fisher
Executive Producer: Walter Brindak
Head of Prodcution: Ed Zazzera

Prodcution CO: Skunk
Director: Ne-O
Director of Photograhy: Manel Ruiz
Executive Producer: Matt Factor
Executive Producer: Shelly Townsend
Producer: Carla Tate

Editorial: Union
Editor: Tim Thonrton-Allan
Editor Ass: Nellie Phillips
Producer: Sara Mills

VFX: MPC
VFX Supervisor: Alex Lovejoy
Creative Director/Lead Flame Artist Alex Lovejoy
Senior Flame Artist: Aska Osaka
Nuke Compositor: Mikael Pettersson
Roto: Dan Di Felice
Head of CG: Vicky Osborn
CG: Bill Dorais, Ivan Guerrero
Senior Producer: Derek Macleod-Veilleux

Telecine: MPC
Colorist: Jean-Clement Soret

Music: Human
Song: Colonel Bogey March
Executive Producer: Kit Winter
About MPC
MPC is an award winning VFX and Digital studio servicing the advertising, motion picture and television industries. From its London, New York, Santa Monica, Vancouver, and Bangalore offices, MPC’s dynamic and diverse team delivers industry-defining VFX, animation, motion graphics, color grading, production, projection mapping, social and mobile application development, online advertising, data management, software R&D and pipeline development.

With a trio of integrated divisions, MPC utilizes a unified approach that drives the use of existing or newly created assets across the whole range of today’s media landscape. MPC Creative handles client projects directly with top-notch directing, CG animation and character design. MPC FX Studio is a dedicated corps of graphic and digital designers who bring clients’ visions to life. MPC Data Lab processes the content and makes it available for editing on demand. MPC is a Technicolor Company.

moving-picture.com

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Santa Monica, Calif., May 21, 2012 – To bring attention to Honda’s unique corporate culture rooted in racing and the manufacturer’s affiliation with IZOD IndyCar®, a campaign and sweepstakes recently began starring world-renowned driver Mario Andretti. Developed by Honda’s long-standing agency, RPA, the work communicates Honda’s racing spirit and the advanced technology and performance found in the Honda vehicles.

A TV spot, “Imagine,” features Andretti in a two-seater IndyCar® driving a passenger. The voice-over encourages viewers to visit http://shophonda.com to enter the “Fastest Seat in Sports” sweepstakes to win a ride at the start of an IndyCar® race with Andretti. In the spot, a man is encouraged to envision “winning something really cool,” but his lack of ambition leads him through a variety of increasingly comical scenes like a roomful of half-naked bodybuilders and a chaotic paintball course. The spot uses compelling imagery to convey the ultimate experience-a ride with Andretti.

A 60-second version will first air during the Indy 500, and a 30-second version began airing April 1 to promote the sweepstakes. A video showing the making of “Imagine” is on Honda’s YouTube channel. Spots will air through September. The campaign also includes web banners, POP and social media.

The “Fastest Seat in Sports” sweepstakes gives race enthusiasts the opportunity to win a ride in the IZOD IndyCar® two-seater driven by Andretti at one of 12 races for the 2012 IndyCar® season. For the first time, this year’s sweepstakes prizes include rides in the Indy 500 and two international races in Brazil and China.

“Honda is offering race fans one of the most exciting opportunities in all of sports fandom,” said Richard Kent, senior manager, marketing at American Honda Motor Co., Inc. “Look for the specially made 2-seater leading the pack on Sun, May 27 while the field takes the green flag.”

Honda is further reinforcing its high-performance racing programs led by Honda Performance Development with additional integrated creative that communicates Honda’s pride as a partner of the IZOD IndyCar® Series. Assets will run on TV, homepage takeovers, banners on sites such as ESPN, Fox Sports and Sports Illustrated and in print and drive traffic to http://hondaracing.com.

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Credits
Spot: “Imagine” (:60 first air: 5/27/12) (:30 first air: 4/1/12)

Agency: RPA
EVP, ECD: Joe Baratelli
SVP, GCD: Jason Sperling
AD: Cheston Kwan
Jr. CW: Josh Hill
Agency Executive Producer: Gary Paticoff
Agency Producer: Joshua Herbstman

Production Co: Imperial Woodpecker
Director: Peter Martin
DP: Bill Pope
Executive Producer: Doug Halbert
Line Producer: Adam Cramer

Editorial Company: Union
Editor: Jim Haygood
Assistant Editor: Tyler Nelson
Executive Producer: Michael Raimondi
VFX Company: Resolution

Telecine Company: New Hat
Telecine Artist: Beau Leon
Telecine Producer: Christina Geambazi
Music and Sound Design Company: Beacon St.

Hondaracing.com digital units: launched 5/1/2012

Agency: RPA
EVP, ECD: Joe Baratelli
SVP, GCD: Jason Sperling
CD: Curt Johnson
AD: Sarah Romanoff
AD: Rajat Gupta
CW: Dan Hawes
CW: Tylynne McCauley
Video producer: Joshua Herbstman
Camera/editor: Derrick Hausen
Flash artist: Chris Gomez
Flash artist: Richard Mulvihill

Hondaracing.com print

“The Car Goes 225 mph”: first insert May 2012
“For our engineers”, this year’s Indy 500 started 12 months ago.”: first insert May 2012

Agency: RPA
EVP, ECD: Joe Baratelli
SVP, GCD: Jason Sperling
CD: Curt Johnson
AD: Curt Johnson
CW: Tylynne McCauley
Photographer: Kevin Necessary, Michael Levitt
About RPA
RPA, headquartered in Santa Monica, Calif., is a leading independent advertising agency. RPA builds momentum for brands by offering its clients truly integrated campaigns that resonate throughout its disciplines, which include traditional advertising, interactive, and direct and event marketing. RPA’s client list includes American Honda, both the Honda and Acura brands, ampm, ARCO, Castrol, California Department of Public Health, Intuit Small Business, La-Z-Boy, Farmers Insurance Group and Mandalay Bay Resort and Casino. For more information, visit http://www.rpa.com.

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The crossover vehicle is still trying to figure itself out – is it a large car? A small SUV? Something in between? jumP LA Editor Patrick Griffin, working with Smuggler Director Filip Engstrom and The Mill, tackles this riddle in a humorous and engaging story of a spot introducing Mazda’s new CX-5 crossover.

Better, Stronger, Smarter, borrowing music from and paying visual homage to 1970s hit TV series The Six Million Dollar Man, opens on a beaten-up jalopy sailing across the desert, its multi-colored doors falling off and tumbling into the dust trail behind it. As the hood pops off in a geyser of sparks and the dumbfounded driver pulls the gear shift right off the frame, the narrator assails the current generation of crossovers as a mish-mosh of compromises that have created vehicles suitable for nobody.

Shift scenes to Mazda’s state-of-the-art labs, where an armada of white suit coats labors tirelessly to create the CX-5. Griffin delivers a parade of images portraying the staff at work behind elaborate testing machines, clocks, gauges, and giant computer screens, until they kick out their new creation, a “crossover without compromise.”

“I was a huge fan of the Six Million Dollar Man growing up, so it was really fun for me to cut this spot,” noted Griffin. “The biggest challenge we faced here was cutting all the funny footage that Filip shot down to a coherent 60.”

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Credits
Client: Mazda of North America
Spot Title: Better, Stronger, Smarter
Air Date: April 2012

Agency: The Garage Team Mazda
Chief Creative Officer: Harvey Marco
CD/Copywriter: Napper Tandy
CD/Art Director: Dino Spadaveccia
Art Director: Aaron Onsurez
Copywriter: Owen Flint
Director of Integrated Production: Jamil Bardowell
Producer: Brandon Boerner

Production Company: Smuggler
Director: Filip Engstrom
Director of Photography: Par Ekberg
EP: Laura Thoel
Producer: Kendall Henry

Editorial: jumP LA
Editor: Patrick Griffin
Assistant Editor: Keith Hamm
EP: Betsy Beale
Producer: Gavin Carroll

Visual Effects: The Mill LA

Sound Design/Mix: 740 Sound
About jumP
Bicoastal jumP is an award-winning creative editorial boutique focusing on commercials, features, short films, music videos, and emerging media content. The firm works with a wide-range of top-tier brands, directors, and agencies continually delivering powerful and efficient results for each of its clients. The company roster includes Partner/Editors: Luis Moreno and Michael Saia, Editors: Lin Polito, Troy Mercury, Terence Ziegler, Richard Mettler, Patrick Griffin, David Trachtenberg, Mark Imgrund, Richard Cooperman, Wendy Rosen, Jonathan Edwards, EPs Betsy Beale and Alexandra Leal, and Partner/Managing Director Dee Tagert.

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New Job Title Reflects Organizational Evolution

NEW YORK: Recognizing the importance of engaging directly with its stakeholders, Executive Director Bob Moses has named Steve Green AES Business Development Manager. An accomplished audio systems and applications engineer, and skilled technical marketing manager, Green will focus his energies on expanding the AES constituency and maximizing the value of its many assets and services.

“I’ve known Steve Green over twenty years,” Moses said. “I was his customer for more than half of them, and I learned that I could go to Steve whenever I needed an honest answer to a question, or help getting my project out the door. I want that experience for all AES members, exhibitors and attendees. His mission is simple – talk to people and find out how we can make AES better. Then, as we used to say in the manufacturing business, ship it.”

Sharing his thoughts for his new position, Green remarked, “As an AES member for over 30 years, I have a personal interest in the continued success of the organization. My primary goal is to increase the value of the AES for the individuals, companies and educational organizations within the audio community. One of the unique attributes of the AES is the incredible diversity in the interests and focus areas of our members. Facilitating the exchange of ideas and knowledge both within and between these groups is something that only the AES is in a position to provide. I look forward to meeting with many old friends and to building many new relationships on my new journey.”

Steve Green has worked for the past 20+ years with integrated circuit manufacturers focused on audio products, primarily with Crystal Semiconductor/Cirrus Logic. He has held various positions including Applications Engineer, Applications Manager and Technical Marketing Manager. In November 2010 he was awarded an AES Fellowship, “In recognition of two decades of valuable contributions to mixed-signal audio design and implementation.”

Photo: Steve Green has been named AES Business Development Manager

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

Product Display to Include New PL 19-90 Cabrio Lens

Wayne, N.J., May 21, 2012 – FUJIFILM North America Corporation, Optical Devices Division will showcase several products designed for the film and video production community at the Cine Gear Expo, which takes place in Los Angeles at The Studios at Paramount in Hollywood from June 1-3. The company will display its Premier Series of PL Mount zoom lenses, including the new 19-90 Cabrio compact zoom, a variety of HD broadcast lenses, accessories for studio and field production, as well as its wireless control system for remote lens control.

Cine Gear Expo marks the first time that the PL 19-90 Cabrio (ZK4.7×19) Mount Zoom will be shown exclusively to the west coast film and video production community. The lens features a detachable servo drive unit – a first for Cine-Style lenses – making it suitable for use as a standard PL lens or as an ENG-Style lens. With a 19-90mm focal range, T-stop 2.9, and weight of only 2.7kg including servo motors, it boasts the longest focal range available in a light weight zoom. The ZK4.7×19 also features flange focal distance adjustment, macro function, and is LDS (Lens Data System) and /i metadata compatible. It will be shown working on a Sony F3 camera at the Cine Gear show.

“We’re eager to showcase our new products exclusively to the video and film production industry at this year’s Cine Gear,” explained Thom Calabro, director, Marketing and Product Development, FUJIFILM North America Corporation, Optical Devices Division. “We’re particularly excited about displaying our new PL 19-90 Cabrio zoom, which features a first for cine-style lenses with its detachable servo drive. Our company is proud that many of the entertainment industry’s top directors and directors of photography have continually relied on FUJINON lenses and accessories. We look to maintain that level of trust with our customers. We always look forward to exhibiting at Cine Gear and showing our latest technological advances to this dynamic market.”

The Optical Devices Division will exhibit its entire family of Premier PL Mount Series lenses, available in 14.5-45mm T2.0, 18-85mm T2.0, 24-180mm T2.6, and 75-400mm T2.8-T3.8. This 4K+ series of FUJINON lenses feature the fastest T speeds available in a group of zooms, with color matched 4K and beyond optical performance. All four zooms are similar in size and weight, with uniform gear placement and front barrel diameters, enabling quick and efficient lens changes. At Cine Gear, the 18-85mm PL Mount lens will be shown on Sony’s new high-end digital motion picture camera, the F65 CineAlta.

Additionally, a number of FUJINON HD broadcast zoom lenses and accessories will be on display, including the new wireless control system for remote control of FUJINON lenses.

The company will also exhibit its ergonomically designed DigiPower servo control system for FUJINON Select and Premier Series lenses. This new digital servo features lower power consumption, and reduced backlash for an extremely precise and steady zoom movement.

About Fujifilm
FUJIFILM North America Corporation, a marketing subsidiary of FUJIFILM Holdings America Corporation consists of five operating divisions and one subsidiary company. The Imaging Division sells consumer and commercial photographic products and services including film, one-time-use cameras, online photo services and fulfillment, digital printing equipment and service. The Electronic Imaging Division markets consumer digital cameras. The Motion Picture Division provides motion picture film, and the Graphic Systems Division supplies products and services to the printing industry. The Optical Devices Division provides binoculars, and optical lenses for closed circuit television, videography, cinematography, broadcast and industrial markets. FUJIFILM Canada Inc. markets a range of Fujifilm products and services. For more information, please visit www.fujifilmusa.com/northamerica, or go to www.twitter.com/fujifilmus to follow Fujifilm on Twitter. To receive news and information direct from Fujifilm via RSS, subscribe at www.fujifilmusa.com/rss.

FUJIFILM Holdings Corporation, Tokyo, Japan, brings continuous innovation and leading-edge products to a broad spectrum of industries, including electronic imaging, digital printing equipment, medical systems, life sciences, graphic arts, flat panel display materials and office products, based on a vast portfolio of digital, optical, fine chemical and thin film coating technologies. The company was among the top 16 companies around the world granted U.S. patents in 2010, and in the year ended March 31, 2011, had global revenues of $25.8 billion*. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit www.fujifilmholdings.com.

* At an exchange rate of 86 yen to the dollar.

All product and company names herein may be trademarks of their registered owners.

FUJIFILM Optical Devices Division, 10 High Point Drive, Wayne, New Jersey 07470. Phone: 973-633-5600. Fax: 973-633-5216. Web site: www.FUJINON.com

Cinematographer Anette Haellmigk, who photographed three seasons of HBO’s Big Love, will be presented with the Kodak Vision Award at the 2012 Women In Film (WIF) Crystal + Lucy® Awards in Los Angeles on June 12. The award is given annually to a female filmmaker with outstanding achievements in cinematography, who also collaborates with and assists women in the entertainment industry.

“We are honored to recognize Anette alongside Women In Film at this prestigious event,” says Kodak’s Kim Snyder. “This award pays tribute to Anette’s creative accomplishments as well as her focus and determination to succeed in a challenging line of work. Her passion is contagious, and she is a strong role model.”

A German native, Haellmigk’s first feature film experience was in 1981 working on the legendary cinematic masterpiece Das Boot, shot by Jost Vacano, who also mentored Haellmigk early in her career. She continued working in Europe on various productions as a focus puller, pioneering the role of women in a male-dominated profession.

Haellmigk made her way stateside for Paul Verhoeven’s Robocop as a camera assistant. This collaboration began a long-term relationship, and Haellmigk has worked on Verhoeven’s crews for such projects as Starship Troopers and Hollow Man as second unit director of photography, and on Total Recall as A camera operator. She has also served as second unit cinematographer on S.W.A.T. and Never Been Kissed. Other collaborators include such first-class DPs as John Bailey, ASC (Divine Secrets of the Ya-Ya Sisterhood), Bill Pope, ASC (Spider-Man 2), and Alex Nepomnaischy (All the Rage).

Her credits as a director of photography include various independent films in Europe and the U.S. She broke through the TV glass ceiling in 2003 when she got the opportunity to shoot several episodes of The West Wing. In addition to her work on Big Love, her TV credits include The Nine, Journeyman, The Whole Truth, Poe, and the upcoming Bunheads and 666 Park Avenue. more

Electrosonic is proud to announce that it has qualified at the Diamond level in InfoComm’s Certified Audiovisual Solutions Provider Program (CAVSP), the only organizational-level recognition of its kind. Diamond is the highest level designation; it recognizes that 50 percent of the company’s sales, customer service and technical staff worldwide have achieved and maintain individual InfoComm Certified Technology Specialist (CTS) certification and completed relevant coursework from the InfoComm Academy.

“We are pleased to have achieved the coveted InfoComm CAVSP Diamond-level certification,” says Electrosonic President Jim Bowie. “The designation highlights Electrosonic’s dedication to excellence as an international audio-visual solutions provider. It also signals the importance we place in having our staff worldwide continually sharpen their skill set via individual InfoComm CTS certification.”

Randal A. Lemke, Ph.D., InfoComm International’s Chief Executive Officer, says that a CAVSP designation “gives AV companies a competitive advantage in the marketplace. Customers of audiovisual communications and presentation systems can be confident of professionalism and an aspiration to excellence when working with these companies that have invested in education and training to stay current on the latest AV technologies and techniques.”

“We have always focused on demanding audio-visual solutions and believe that we best serve our customers by constantly developing our staff,” says Ilari Anttila, Vice President, EMEA of Electrosonic. “Achieving this Diamond-level CAVSP designation is a recognition of our efforts, and it will allow us to continue supplying our customers with high-quality AV solutions.”

The organizational-level CAVSP recognition program is the only program of its kind available for the commercial audio-visual industry. In addition to confirming that 50 percent of the company’s employees are InfoComm-certified and have completed important coursework, the Diamond-level designation means that Electrosonic has agreed to comply with 10 Standards of Excellence developed in collaboration with industry experts to emphasize the best practices of audio-visual businesses.

These Standards of Excellence are a guidepost for AV companies and professionals who place the customer first and offer quality AV solutions. They include the commitment to provide complete customer satisfaction with AV solutions that provide value to the client. They convey the importance that providers place on their own skills development through continuing education and reflect the critical role that AV professionals play as partners with IT specialists, architects, building managers and others.

May 22, 2012… Concert recordings from the Liszt Festival, which took place from March 23-25 in Raiding, in the Burgenland region of Austria, were the inauguration and the first live broadcasts from the matinee in Bad Tatzmannsdorf and from the Easter Liturgy in Neudörfl took place in early April. To guarantee optimal sound, the ORF (Austrian National Broadcaster) uses its new OB van, the HÜ-8D. Fully equipped with digital technology and a Lawo mc²66 console at its heart, the eighth digital OB van in the ORF’s arsenal has by now proved its flexibility in a high pressure situation.

OB Van Concept
At its base, the OB van for the ORF’s regional studio Burgenland consists of a M.A.N truck with a box-type van body. Using an aluminum sandwich construction method, it features separate A/C for each room and device; the power is supplied by a three-phase grid connection delivering a maximum of 16A. Of course, acoustics and sound insulation were among the top priorities in the OB van in order to guarantee high-quality productions. With this design, all program requirements are covered and even music recordings, such as recordings of classical concerts at open-air events and in concert halls for CD productions or for broadcasts of classical music on Ö1 (first programme of ORF). The concept allows for the handling of mid- to large-scale productions for recording and live operations and makes both audience inclusion and an improved presentation to the audience possible. more