Archive for June 21st, 2012

The hottest iPad gadget to hit the market, the brand new Padcaster lets you shoot, edit and share high-quality footage right from your iPad
 
New York City, NY – June 21, 2012 - Designed for video journalists, videographers, DSLR shooters and more, the brand new Padcaster transforms an iPad into an on-the-go production studio, providing an easy and professional way for users to create stunning videos on the iPad, from storyboarding and shooting to editing and sharing. Perfect for professional and amateur videographers alike, the Padcaster is an aluminum frame with a urethane insert that snugly holds your iPad for a secure and solid feel. Threaded holes lining the edges of the frame allow filmmakers to attach external mics, lights and countless other accessories to enhance their finished product. A standard ¼-20 screw thread and locking-pin design centered on the bottom of the Padcaster lets users connect it to a professional tripod, monopod or shoulder mount for easy, smooth filming.
 
“The Padcaster is an invention born out of my own needs as a filmmaker. I was shooting interviews with an iPad 2 about a year ago and was frustrated that there was no way to mount it onto a tripod. That’s when I decided to build something myself,” said Josh Apter, founder and president, The Padcaster, LLC. “Now, just about a year later, we have the Padcaster. I’ve been testing the prototype and I have to say, I’m quite pleased with the results. Not only can I record high-quality footage right from the iPad, but I can also cut, add effects, and upload it to our Twitter, Facebook, Vimeo and blog feeds simultaneously – all from the same device, almost instantly.”
 
The Padcaster’s aluminum frame can also be used as a standalone DSLR cage. Filmmakers can rig a DSLR or other video camera into the cage, enabling them to attach numerous accessories to enhance their shoot. In the future, Apter plans to design urethane inserts to fit other popular tablets and iOS devices, like an iPhone or Android.
 
As the iPad increasingly makes its way into the world of production and post, the Padcaster serves as the perfect gadget to transform it not just into a mobile production studio, but also into the perfect in-studio or on-location assistant. When paired with the Padcaster, the iPad can become an on-set monitor, teleprompter, film slate, portable light source and more – all held in an incredibly rugged iPad case. With its versatile frame, add-on capabilities and ability to house the world’s most advanced tablet combined with the imaginations of industry creatives, the possibilities are virtually endless with the Padcaster.
 
Padcaster Accessories – The Lenscaster
For videographers looking for more advanced filming options than what the new iPad or iPad 2 cameras offer, Apter created the Lenscaster – a separate accessory that attaches to the Padcaster and allows users to shoot footage on the iPad with a more powerful lens. Additional lenses can be attached via the Lenscaster to create a wider field of view or bring telephoto capabilities to the iPad’s fixed lens. And coupled with a 35MM lens adapter (not included), shooters can use cinema lenses to add shallow depth of field and better focusing for a DSLR-like feel.
 
The total Padcaster package transforms the iPad from consumer device to content creator with the ability to produce film-quality footage as an all-in-one production studio on the go.
 
“The iPad’s a great tool for editing and sharing video, and the new model even has an excellent camera, but without multiple lenses, or a tripod mount it’s not as usable or versatile as dedicated video cameras. The Padcaster aims to change that: it’s a sturdy case that lets you connect your tablet to a tripod and a lens, and turn it into a one-step solution for recording, editing, and sharing video.” – David Pierce, The Verge
 
Padcaster Specifications

 
Take a virtual product tour of the Padcaster
 
Watch Sprung Spring, shot with the Padcaster
 
Padcaster and Lenscaster Pricing and Availability
The Padcaster, 199 USD, and Lenscaster, 59 USD, will be available in early August. They are available now for preorder at special intro prices of 149 USD for the Padcaster and 189 USD for the Padcaster / Lenscaster combo. Additional accessories not included.
 
About The Padcaster, LLC
Headquartered in New York’s Union Square, The Padcaster LLC is an innovative startup aimed at developing tools for filmmakers and videographers of all stages of development and skill levels. Established in 2012, its flagship title product, the Padcaster, is a multifunctional iPad case that takes users from passive consumer to creative filmmaker. The Padcaster was made by and for videographers to fit the needs of just about any filmmaker working with the ever-expanding set of production tools and technology. For more information, visit the Padcaster website.
 
Follow @thePadcaster on Twitter
 
The Padcaster is a trademark of The Padcaster LLC. All other trademarks, registered trademarks and products mentioned herein belong to their respective owners.
 
Press Contacts
Anya Oskolkova
Media Relations
anya@zazilmediagroup.com
617-817-6559
 
Megan Linebarger
Media Relations
megan@zazilmediagroup.com
617-480-3674
 
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Campus’ Second UTAH-400 Routing System Accommodates Dual Production Switchers and Reduces Configuration Time

SALT LAKE CITY — June 19, 2012 — Utah Scientific, the worldwide leader in routing and master control switchers, today announced that Wright State University has deployed Utah Scientific equipment in its newly renovated control room at the Nutter Center, the university’s 10,000 seat sports arena. The new control room is part of an overhaul of the arena’s video production system to support full HD video.

“The system includes two separate production switchers for simultaneous productions within the arena,” said James Graham, senior broadcast engineer at Wright State. “We needed a router in order to achieve the necessary level of flexibility, and Utah Scientific had the right mix of features and performance for our project.”

The university’s Video Technology Services unit installed a UTAH-400/144 routing switcher to bridge all of the production system components. The UTAH-400 dynamically allocates sources to switchers, monitors, and replay systems, and outputs signals to recordings, air feeds, encoders, and arena signage and displays.

The university also installed an SC-4 system controller, a UCP-SX full matrix control panel, four UCP-36 single bus control panels, and a SoftPanel-2 GUI control panel system. The full matrix panel is used to configure the system before each production, while the others change content during events.

“The UTAH-400 has dramatically reduced the amount of patching required, which reduces the amount of labor, equipment, and configuration time needed for each event,” Graham said. “Not only does that allow us to be more dynamic in our response to athletic department requests, it also translates to savings we are able to pass on to our clients.”

This is the second Utah Scientific UTAH-400 routing system on the Wright State campus. Though the reliability of the equipment and customer support were cited as being major factors in the purchasing decision, having a second unit on campus has delivered maximum benefit by allowing the university to economize on its spare part inventory, and to take advantage of its experience base for programming and maintenance. Other important benefits include the modularity and availability of numerous control options, as well as the ability to support 3 GHz and fiber.

“Before purchasing each of our UTAH-400 systems, we did extensive research to investigate all available alternatives,” Graham said. “Utah Scientific was clearly superior when we considered all of our key criteria. Utah Scientific has what is possibly the best warranty program in the industry, and in the rare event that you need to contact support, an actual person will be available to help you work through the problem — not because the unit is under warranty, but because it says Utah Scientific on the box.”

“The award-winning Nutter Center is a first-class entertainment and sports facility,” said Tom Harmon, president and CEO of Utah Scientific. “To maintain the Center’s stellar reputation, it’s critical that the video production system is the top of the line. Our routing and control systems were designed for just this type of challenge and we are confident that these systems will serve Wright State for many years to come.”

More information on Utah Scientific routing and master control switching products can be found at www.utahscientific.com.

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About Wright State University
Wright State University is a public research university in Fairborn, Ohio, just outside of Dayton. The school offers degrees at the bachelors, masters, and doctoral level. As of 2012, the university enrolls over 19,000 students. The Wright State University Nutter Center is home to Wright State athletics, and is also a popular venue for national touring concerts and performances.

About Utah Scientific Inc.
Throughout more than 30 years in business, Utah Scientific has earned its position as worldwide leader in routing and master control switchers by working with customers to meet their needs for advanced signal distribution and control technology. The company’s confidence in its industry-leading products is exemplified by its renowned no-fee, 10-year warranty, and validated by multiple Frost & Sullivan Customer Service Leadership Awards. Additional information about Utah Scientific and its products can be found at www.utahscientific.com.

Urbana, IL – Chris Shaw, executive vice president of sales and marketing for Cobalt Digital, manufacturer of award-winning 3G/HD/SD-SDI conversion gear for broadcast environments, has announced the appointment of Gencom Technology as Master Distributor for the Southeast Asia region.

“As our customer base expands in Souteast Asia, we recognize the need for a strong, local presence,” states Shaw. “We are delighted to partner with Gencom whose professional strength and expertise will provide end-users and dealers with outstanding regional sales and service support.”

Gencom Technology is a New Zealand based engineering firm specializing in providing the latest technologies and complex media workflows to the broadcast, multimedia and telecommunications sectors. Founded in 1969, the Company enjoys a leadership position as an independent supplier and systems integrator with offices and factories in New Zealand, Australia, Singapore, and South Africa.

Ray Sanders, CEO of Gencom comments, “Gencom’s longstanding relationships with the world’s premier equipment manufacturers allow us to provide the best technologies available in the industry. For some time we’ve been aware of Cobalt Digital and their first-class quality products. We welcome the opportunity to work together to elevate Cobalt’s presence in the region and provide local support.”

Adds Shaw,“ Gencom are one of the first Master Distributors to be added to the Cobalt team. We value their participation as we continue our global expansion into international markets”

Gencom and Cobalt Digital have already worked together on a variety of projects in recent years.

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ABOUT COBALT DIGITAL INC.
Cobalt Digital Inc. designs and manufactures award-winning 3G/HD/SD conversion gear for the broadcast television environment. Distributed through a worldwide network of dealers, system integrators, and other partnerships, Cobalt products are backed with a 5-year warranty. For more information, visit http://www.cobaltdigital.com.

ABOUT BENCOM TECHNOLOG
Gencom is a leading provider of integrated broadcast solutions, which has built a strong reputation for inspiration, partnership and support over the last 40 years.
Gencom’s investment in not only the finest technology but the training of their staff in areas of HDTV transmission, media asset management and delivering technologies like IPTV on a global scale, has made them one of the most talented and experienced design and support services world-wide.
Gencom provides end-to-end technology solutions for the broadcast, multimedia and telecommunications industries from its headquarters in Auckland, New Zealand, and design centres in Sydney and Singapore; as well as regional offices in Melbourne, Wellington, and Johannesburg and representatives in Delhi and London.

Company Contact: Chris Shaw, EVP of Sales and Marketing
+1-217-344-1243 / chris.shaw@cobaltdigital.com

Press Contact: Desert Moon Communications / Harriet Diener
+1-845-512-8283 / harriet@desertmooncomm.com

Device is Industry’s First Dedicated Four-Slot Professional CF Media Reader Compatible with Thunderbolt(TM) Technology

IRVINE, Calif. — June 21, 2012 — Sonnet Technologies today announced the launch of the Qio(TM) CF4 professional CompactFlash(R) (CF) media reader. The latest member of the Sonnet Qio series of professional media readers offers a high-speed, cost-effective alternative to conventional card readers for videographers, studios, and photographers alike. The CF4 is the first four-slot CompactFlash (CF) memory card reader available with support for concurrent file ingest from all four slots and an integrated two-port 6 Gb/s eSATA interface for connecting external storage systems.

With Sonnet’s Qio CF4, users can transfer data concurrently from four CF memory cards used by professional HD camcorders from RED(R) and Canon(R), as well as DSLR cameras from Canon and Nikon(R), thereby dramatically increasing efficiency by reducing ingest times. The Qio CF4′s fast PCIe 2.0 interface delivers an aggregate ingest speed of up to 400 MB/sec with four CF cards, enabling users to copy files rapidly among cards, attached storage, and computers. Designed for both in-studio and on-location use, the CF4 features a compact, rugged aluminum case with the same 15-centimeter by 16-centimeter (5.9-inch by 6.2-inch) footprint as the original Qio, but with a thinner profile, yielding a lightweight and highly portable ingest device.

The Qio CF4 is compatible with Thunderbolt(TM) technology and performs at maximum speed when connected with Sonnet’s Echo(TM) ExpressCard(R) Pro Thunderbolt Adapter, xMac(TM) mini Server, Echo Express, or Echo Express Pro Thunderbolt Expansion Chassis. Two eSATA connectors on the back of the Qio CF4 enable the user to connect two Sonnet Fusion(TM) F2QR or F3 portable two-drive hardware RAID SATA storage systems or other SATA storage. These fast SATA connections accelerate card ingest when an eSATA interface is not otherwise available on a computer.

“The Qio CF4 is ideal for our customers who don’t need the variety of slots included in the original Qio, but instead require multiple CF slots in their workflow,” said Robert Farnsworth, CEO of Sonnet Technologies. “Studios that use RED ONE(R), RED EPIC(R), and Canon and Nikon pro digital cameras will find that the CF4 delivers incredibly fast ingest speeds for increased efficiency.”

Compatible with Mac OS(R) X 10.6.8+ (including Lion(R)), Microsoft(R) Windows(R) 7, Vista(R), and Server 2008, the Qio CF4 is now available at a suggested retail price of $599 with either an internal PCIe 2.0 interface card or an ExpressCard/34 interface card. More information on Qio CF4 is available at www.sonnettech.com/product/qiocf4.html.

More information on Sonnet and its products is available at www.sonnettech.com.

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About Sonnet Technologies
Sonnet Technologies Inc. is a leader in providing storage systems, media readers, and Thunderbolt(TM) technology PCIe expansion products for professional users of Macintosh(R), Windows(R), and UNIX(R) systems in the film, video, and broadcast industries. The company’s product line features a range of high-performance, cost-effective, and reliable desktop and rackmount RAID storage solutions ranging from two- and four-drive portable units, to eight- and 16-drive desktop attached storage with advanced RAID controllers, to 16-drive, 16-port, 8Gb Fibre Channel shared storage systems that are expandable to 384TB. Celebrating 25 years in business, Sonnet has pioneered and brought to market numerous innovative solutions that enhance the performance and connectivity of Macintosh, Windows, and other industry-standard computers. More information is available at www.sonnettech.com.

All trademarks appearing herein are the property of their respective owners.

Seoul —– Autodesk, Inc., (NASDAQ: ADSK) has announced that Nexon (TSE: 3659), a world leader in free-to-play online games uses Autodesk Entertainment Creation Suite to regularly update “Vindictus” (Mabinogi Heroes), its massively multiplayer online role-playing game (MMORPG). The suite offers a wide array of specialized creative toolsets — integrated through single-step workflows — that help the game developer produce large amounts of high-quality content on a tight update schedule.

“Vindictus” stands out from other MMORPGs by offering console-quality graphics and physics, with high-speed combat. It is frequently updated with new online content, expanding on the game’s existing 10 episodes and numerous customizations for the five main playable characters.

To maintain high graphics quality, while frequently delivering new online game assets, Nexon uses Autodesk 3ds Max software to model characters and props, along with Autodesk Mudbox digital sculpting and painting software to add realistic textures and detail to the assets. Single-step workflows between the applications help artists move more freely between toolsets until they achieve the desired result.

To produce more realistic character animation in less time, Nexon uses Autodesk MotionBuilder character animation software to manage, edit and retarget motion capture data. Nexon credits the software with improving the efficiency of its animation workflow by approximately 50 percent.

“We must continually meet gamers’ high expectations. Autodesk Entertainment Creation Suite boosts our productivity and lets our artists concentrate on creative work for ‘Vindictus’, resulting in higher-quality art assets and a better game. We take full advantage of the Autodesk suite’s interoperability, saving time on file conversions and other technical requirements,” said Park Seong-Sub, Vindictus Art Director at Nexon.

Nexon has received six awards for “Vindictus,” including the Grand Prize, Graphic Technical Creativity Award and Game Character Technical Creativity Award at the 2010 Korea Game Awards.

About Nexon
NEXON Co., provides media and content based on the development and publishing of online games. Game titles by Nexon include “The Kingdom of Winds,” “Legend of Darkness,” “Talesweaver,” “Elancia,” “Asgard,” “MapleStory,” “Vindictus” (Mabinogi Heroes), “Qplay,” “CA-BnB” and “KartRider.” In March of 2004, Nexon opened a web portal (www.nexon.com), which ranks number one amongst game portals.

About Autodesk
Autodesk, Inc., is a leader in 3D design, engineering and entertainment software. Customers across the manufacturing, architecture, building, construction, and media and entertainment industries — including the last 17 Academy Award winners for Best Visual Effects — use Autodesk software to design, visualize and simulate their ideas. Since its introduction of AutoCAD software in 1982, Autodesk continues to develop the broadest portfolio of state-of-the-art software for global markets. For additional information about Autodesk, visit www.autodesk.com.

Autodesk, AutoCAD, MotionBuilder, Mudbox and 3ds Max are registered trademarks or trademarks of Autodesk, Inc., and/or its subsidiaries and/or affiliates in the USA and/or other countries. Academy Award is a registered trademark of the Academy of Motion Picture Arts and Sciences. Autodesk reserves the right to alter product and services offerings, and specifications and pricing at any time without notice, and is not responsible for typographical or graphical errors that may appear in this document.


© 2012 Autodesk, Inc. All rights reserved.

Singapore Jampro Antennas, Inc. — a world leader in the manufacture and design of radio frequency components and antennas for radio and television transmission — returns to Broadcast Asia with their full range of their best-selling, flexible and economical television & radio solutions engineered to address all aspects of the broadcast industry including DTV, DVB-T, FM and HD Radio solutions.

HIGHLIGHTS INCLUDE:
Jampro JAT-U UHF Super Turnstile Antenna
The radome-enclosed JAT-U UHF Broadband, Band IV/V 470 – 860 MHz antenna can be either top or side-mounted on a tower for a long life of continuous service. Ideal for broadband multi-channel UHF applications, the unit features minimum wind loading with wide broadband response. The JAT-U is the perfect solution for applications where either one channel is defined, or multiple channels are combined.

Jampro JUHD Broadband UHF Panel Antenna
The radome-enclosed JUHD Broadband UHF panel antenna, designed for either side or top-mounting, is based on a modular design. It can be configured to provide a variety of azimuth and elevation patterns and offers optional beam tilt and null fill to insure maximum coverage. This horizontally polarized antenna can be configured to include varying levels of vertical polarization, with results ranging from small amounts of elliptical to full circular polarization.

Prostar JA/MS-BB Broadband UHF Slot Antenna
Jampro’s JA/MS-BB Broadband UHF Slot antenna, part of the legendary Prostar™ line, offers an economical alternative to buying, installing and maintaining multiple antennas. A single, compact solution, it conserves tower space and minimizes wind loading. Especially designed for multi-channel or combined-channel operations in analog-analog, analog-digital or digital-digital TV applications, the JA/MS-BB antenna comes factory tuned in an elegant, ready-to-install and streamlined design.

RCEC Mask Filter
Jampro’s new 8” RCEC Mask Filter provides superior mask filter performance at an affordable price with 5ks of output power. Cross coupling creates steep rejection skirts and its high-Q cavities provide low pass band insertion loss in a compact design.

RCCC-102-FM Constant Impedance FM Bandpass Combiner
Jampro’s RCCC-FM Constant Impedance Combiner is a compact modular design, configurable to fit even the smallest transmitter rooms, and allows an additional frequency to be easily added. These combiners use temperature compensated Bandpass Filters with integrated heat sink tops to keep filters cool and locked on their frequencies. Various models are available for different channel spacing.

About Jampro
Jampro Antennas Inc., established to answer the need for quality broadcast systems at a reasonable price, is a leading supplier of antennas, combiners & filters and RF components for every application in the broadcast industry. Reputed for innovation and customization, Jampro builds each system to the specifications of the individual broadcaster. From the first system delivered in 1954 to those installed today, the Company is committed to consistent performance and quality founded on solid engineering. Today, over 15,000 broadcasters worldwide benefit from the quality and performance provided by Jampro systems. For additional JAMPRO information, please visit: www.jampro.com.

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Jampro contact: Sonia Del Castillo
916-383-1177 • Sonia@jampro.com

Press Contact: Desert Moon Communications
Harriet Diener • 845-512-8283
harriet@desertmooncomm.com

One-of-a-Kind Event Focuses on Trends, Technologies and the Business of Post Production in New York Sessions

(Burbank, CA) Createasphere will once again present its popular Post Production Master Class at the New Yorker Hotel in Manhattan on September 27, 2012, with an impressive roster of top professionals in the Eastern U.S. post production community as well as leading solution providers. The Post Production Master class is an afternoon of focused educational sessions, expert information on important tools and technologies, and networking opportunities directed at working professionals engaged in careers in post production, working on projects in the post process, or exploring the career landscape.

The format of the Master Class is designed to provide attendees maximum benefit with small group sessions that give them direct access to post production professionals who are eager to share their knowledge and answer questions about this constantly-evolving craft.

Createasphere’s Post Production Master Class features a top lineup of experts offering valuable insight for professionals at work in the entire spectrum of content creation. Directors, producers, editors, assistant editors, post supervisors, line producers and VFX team members, as well as studio & broadcast professionals, will be in attendance. Registration is now open.

Session highlights include:

The Keynote Spotlight: The Agency
Meet creatives and producers from the hottest shops in advertising. The session will include the opportunity to go behind the concepts and explore a series of spots and projects that drew attention, and meet the teams that were responsible to execute the creative.

Talent, Story, Tools and Technology in Television Post Production, New York Style!
Follow a project from start to finish to see how the production and post pathways are interlocked and evolving.

The Colorful Keynote Conversation
The relationship between colorist and cinematographer is crucial – impacting the delivery of the story both technically and creatively. Colorists from leading-edge companies will discuss their careers, the impact of changing production pathways and the future.

A cocktail reception follows the day’s events. For more information, please call 818.842.6611, or visit http://createasphere.com/PPMC

About Createasphere
Createasphere is the premier business development partner for technology enabled entertainment, marketing, and communications organizations. We advance careers and technologies by connecting world-class professionals globally online and in person. Createasphere was founded in 2001, and over the past decade has grown into a global company that in 2011 produced seventeen events over three continents as well as five websites. Createasphere became part of Diversified Business Communications in 2008 and now drives their entertainment, media, technology strategies and properties division. Currently, Createasphere produces the Entertainment Technology Expos in Los Angeles; the Digital Asset Management Conference in New York, Los Angeles and Europe; The DAMMY Awards in New York; the Executive Marketplaces for Houses of Worship in Los Angeles and Chicago; Post Production Master Classes in New York and Los Angeles; the Digital Process Workflow Lab and the online news and content portals ProVideoCoalition.com, DamCoalition.com and ProPhotoCoalition.com.

Connect with Createasphere on:
Facebook (http://www.facebook.com/pages/createasphere/120410987973181)
Twitter (https://twitter.com/createasphere)
LinkedIn (http://www.linkedin.com/company/createasphere)
Vimeo (http://vimeo.com/createasphere)
Flickr (http://www.flickr.com/search/?q=createasphere&f=hp)

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

Electrosonic provided a 21st-century update to the venerable New-York Historical Society Museum & Library, which underwent a three-year, $70-million renovation. Electrosonic designed and supplied all the audio, video and control systems for the renovation of New York City’s oldest museum.

The New-York Historical Society Museum predates the founding of the Metropolitan Museum of Art by nearly 70 years. The Museum supports the New-York Historical Society, one of America’s preeminent cultural institutions, whose mission is to explore the richly layered political, cultural and social history of New York City, New York State and the nation, and to present history and art exhibitions and public programs that reveal the dynamism of history.

Platt Byard Dovell White Architects and Lee H. Skolnick Architecture + Design Partnership were the design team on the project. Included in the scope of the project was a sweeping new 3,400-square-foot space that combines museum admissions, the adjacent Robert H. and Clarice Smith New York Gallery for American History and Robert H. Smith Auditorium on the first floor, and the only children’s history museum and library in the city.

The Robert H. and Clarice Smith New York Gallery of American History forms the new Great Hall. “It’s an impressive admissions area that fascinates visitors with multiple multimedia exhibits,” says Andrew Kidd, Electrosonic’s sales consultant.

At the theater entrance and over the admissions desk are striking, sleek, semi-mirrored glass digital signage cases. Designed by Lee H. Skolnick Architecture & Design and built by DCL in Boston using Ad Notam glass, the signage provides visitors with information about the museum’s offerings and Historical Society activities. With the help of AV consultant TAD, Electrosonic supplied C-Nario signage software and players, which Unified Field used to craft the signage content.

Near the admissions desk is an interactive ‘living painting’ by Small Design Firm of Cambridge, MA. The living painting, based on Pulling Down the Statue of King George III, New York City (1852-1853) by Johannes A.S. Oertel from the museum’s collection, is displayed on a 2×5 landscape-oriented videowall made up of ten narrow-mullion Planar Matrix 55-inch monitors supplied and installed by Electrosonic. At first glance the painting on the videowall appears to be static. But behind the monitors, Dell computers run an application that makes the picture come alive.

Using a Microsoft Kinect camera, which tracks the movement of visitors, the computers launch a sequence of activities that change the content of the painting. Initially, visitors can hear the crackling and burning sound of the fire in the painting. When they approach the monitors, the dog in the foreground starts to move. As more visitors gather in front of the videowall and the longer they remain, captivated by what they see, the painting continues to come to life. The Revolutionary War colonists begin to tug on the ropes around the man-on-horseback statue in the midground, and sounds of their struggle increase. Finally, the statue crashes to the ground and smoke and ashes rise in the air. Then, miraculously, the painting returns to its original state.

In the Smith Gallery, which is capped by a remarkable ceiling by the late artist Keith Haring’s Pop Shop Studio, Small Design Firm created two interactive experiences relating to the historical artifacts on view. The New York Rising exhibit, which features a huge array of paintings and artifacts, uses five rotating display housings which contain portrait oriented 46-inch Samsung touchscreens installed by Electrosonic. When a visitor rotates one of the touchscreen cases, panning across a portion of the exhibit, the graphical images on the touchscreen pan with it, thereby highlighting the artifacts on the wall directly in line with the display. The visitor touches the image in the viewfinder to discover more information about the particular piece of artwork or artifact.

In addition, six pairs of 55-inch displays, mounted in portrait orientation, are mounted on the east and west building columns, showcasing treasures from the museum’s collection. Four Sony Vaio 22-inch touchscreens are on hand for further information gathering.

Adjacent to the Smith Gallery is the 420-seat Robert H. Smith Auditorium. This multi-purpose space, expanded with a mezzanine floor to greatly increase its capacity, hosts presentations in the form of a “distinguished speaker series” and other public programs and performances in the evenings, but during the day showcases an 18-minute multi-screen media experience titled “New York Story”. Produced by Donna Lawrence Productions and narrated by Liev Schreiber, “New York Story” traces the history of the city from its beginnings as a remote outpost to its current role as a world force.

In the auditorium, Electrosonic installed a three-projector blend system comprising Christie WU12K-M projectors fed by Extron JMP 9600-2K JPEG2000 video players controlled by a Medialon show control system. “New York Story” imagery begins at the front of the stage on four 6-foot wide screens, which roll up and down and widen to a total of ten as the tale unfolds. Images are also shown on gray drapes, set just behind the white roller screens. Midway through the show, some of the movable screens lift up to reveal the center portion of a 72-foot wide backscreen bearing a single image. During the last five minutes of the experience, the entire 72-foot span is revealed. The stage machinery for the display surfaces was provided by PDO and LA Propoint. Electrosonic designed the projection system to cover the three screen planes, which are sometimes used simultaneously. To ensure that it was feasible, Electrosonic and Donna Lawrence Productions did full size tests at Electrosonic’s Burbank facility one year prior to installation.

Electrosonic installed 38 Renkus-Heinz speakers for surround sound, augmented by two double 15″ JBL sub-woofers. Digital sound processing is by MediaMatrix Nion.

To maximize usability of the theater, an AMX-controlled full presentation system allows for everything from a complete band set up to a simple PowerPoint presentation. It features a Panasonic projector, connections for up to 18 microphones, Blu-ray and DVD players and podium control for the PowerPoint computer. The presentation system only shares speakers and the screen with the show. The theater’s mezzanine houses a touchscreen control position for Medialon and AMX, and features a Yamaha LS9-32 sound mixing board.

Outside the theater, Electrosonic equipped the Smith Gallery and Dexter Hall with fixed speakers and portable special events audio and video systems that allow presentation in either gallery with either local or theater generated audio and video. The portable part of the system can be used as a stand-alone setup anywhere in the building.

Downstairs at the New-York Historical Society, kids get their own taste of the past – even its dark side – at the DiMenna Children’s History Museum, the first ever museum devoted to children’s history. One exhibit introduces kids to Newsies, the newsboys who eked out a living selling papers on the street, while another tells the tale of the Orphan Trains used to ship destitute children out west to work on farms.

The DiMenna museum features exhibits designed by Lee H. Skolnick, with fabrication by Explus, Superior Exhibits, Murphy Catton and DCI. Interactive software and video media were created by Unified Field.

Electrosonic’s design consulting team provided design services for the auditorium as well as portions of the Great Hall and Dexter Hall. The team worked closely with Donna Lawrence Productions on the auditorium’s schematic and design development, creating two different full-scale mock ups of a section of the theater to test the design against the unique demands of the multi-screen projection.

The design consulting team also devised an innovative solution for the auditorium’s sound system. Since the main screen had limited space behind it for speakers, and placing speakers behind the main screen could not be used once the 2-foot wide screens were deployed, they opted to hide speakers in the apron and ceiling of the stage to give the audience the illusion that sound is coming from the center of the screen. The design consulting team continued its audio role post-installation, supporting Donna Lawrence Productions with the final audio mix on site.

Electrosonic’s project managers were Jackson Benedict and Ellen Simich, and commission engineer and programmer was Tony Peugh.

About Electrosonic
Electrosonic is an international audio-visual company that creates tailored, state-of-the-art solutions for a wide range of markets including theme parks, museums, video conferencing and control rooms. Since its founding in 1964, Electrosonic has built a strong reputation for working on complex projects, both large and small, and has developed lasting partnerships with customers and suppliers. Beyond complete integrated systems, Electrosonic provides a comprehensive scope of services including technical design, projector lamp sales, maintenance and operational support.

Learn more about Electrosonic. Visit http://www.electrosonic.com

Austin, TX (June 21, 2012) — Calibrated Software, an innovator of applications and plug-ins for video, asset management and mobile platforms, has released Calibrated{Q} AVC-Intra Encode, a QuickTime Encode codec that enables exporting of up to 10-bit compressed AVC-Intra .MOV files from PC- and Mac-based applications that support QuickTime. Now available from www.calibratedsoftware.com, the product extends new options to professional content creators who need to export or deliver high-quality 10-bit compressed media from Windows or OSX platforms.

Calibrated{Q} AVC-Intra Encode also introduces a unique Post-Encode feature that lets users embed Final Cut Pro X MetaData such as ReelName, Scene and Location information, and a Clip Memo into an AVC-Intra .MOV file after encoding. Once embedded, this information can be readily seen when imported into Final Cut Pro X. Additionally, the Post-Encode feature allows users to insert new timecode via a new TimeCode Track in the AVC-Intra .MOV file which can be seen by applications that support QuickTime TimeCode Tracks.

Key capabilities of Calibrated{Q} AVC-Intra Encode include:

• AVC-Intra encoding to QuickTime .MOV files from third party applications that support QuickTime
• YUV conversion from either SMPTE RGB or full-range RGB
• Support for 8/10-bit YUV 4:2:2 colorspace
• Support for 8/16-bit RGB colorspace
• 100Mb or 50Mb I-frame AVC-Intra compression at industry-standard resolutions and frame rates
• A variety of gamma correction settings

“Native AVC-Intra among leading broadcast video servers and post platforms has enabled many enterprise facilities to use the award-winning 10-bit Intra frame AVC-Intra compression across platforms as a mezzanine compression format,” said Panasonic Senior Business Development Manager Michael Bergeron. “With solutions like Calibrated {Q} AVC-Intra Encode, independent post-production teams can easily share AVC-Intra files across more platforms and applications than ever before. This should help make AVC-Intra files as popular for content exchange and deliverables as they have been for acquisition.”

“Many PC professionals want to work with 10-bit compressed media but they may not be able to easily ‘hand off’ 10-bit compressed media to Mac professionals,” said Greg Booth, President, Calibrated Software. “Calibrated{Q} AVC-Intra Encode solves this workflow hurdle for customers who are using Adobe After Effects or Adobe Premiere Pro CS5/CS6 applications on the PC so that they can now export AVC-Intra .MOV files which can easily be imported into Apple Final Cut Pro 7 or Apple Final Cut Pro X. It also opens up additional encoding options for customers using Adobe After Effects or Adobe Premiere Pro CS5/CS6, Compressor 3.5/4, or Apple Final Cut Pro 7/X on the Mac.”

AVC-Intra is an advanced 10-bit video compression technology developed by Panasonic for cameras in the company’s professional P2 product line. In addition to Calibrated{Q} AVC-Intra Encode, Calibrated Software also offers Calibrated{Q} AVC-Intra Decode, a cross-platform QuickTime Decode codec for viewing and playing back AVC-Intra .MOV files in QuickTime Player and other applications that support QuickTime.

System Requirements:

Windows users should be running 32/64-bit Windows 7 or Vista (Business or Ultimate) or Windows 32-bit XP with SP3 on an Intel Processor with SSE3 support and a recommended setup of at least an Intel Core 2 Duo with two physical cores. A Virtual Windows OS is not supported on the PC. Mac users should be running Mac OSX 10.6.8 (Snow Leopard) or Mac OSX 10.7.2 (Lion) on a MacIntel with an Intel Core 2 Duo processor with a minimum of two cores or two physical processors. All users should be running QuickTime Player 7.6.6 or higher. Viewing and playback of AVC-Intra .MOV files in applications that support QuickTime requires a licensed install of Final Cut Pro 7, Final Cut Pro X, Compressor 3.5/4 or Calibrated{Q} AVC-Intra Decode.

Pricing & Availability:

Version 1.0 of Calibrated{Q} AVC-Intra Encode for PC and Mac is available now. For pricing information and to purchase a software license, please visit www.calibratedsoftware.com.

About Calibrated{Q} Components

Calibrated Software delivers a range of QuickTime components that bridge video capture and video editing workflow gaps. Products include Calibrated{Q} MP4-EX Import, a QuickTime import component offering native import and editing of MP4 files from JVCPro HD HM700 and Sony XDCAM EX cameras within Final Cut Pro 6/7; Calibrated{Q} MXF Import, a QuickTime import component enabling native importing and editing of Material eXchange Format (MXF) files from Panasonic P2, Sony XDCAM-HD and Ikegami GFCam HD cameras, and DNxHD MXF files from Avid Media Composer in Final Cut Pro 6/7; and a family of cross-platform, multi-threaded decode codecs that introduces the freedom to view and share AVC-Intra, DVCProHD, XDCAM HD/EX, HDV, IMX and DV50 QuickTime movies on Macintosh and Windows systems.

About Calibrated Software

Calibrated Software, Inc. develops applications and plug-ins for video, asset management, and mobile workflows. Tools introduced by Calibrated Software are used across the professional media creation market to help customers open up new post-production workflows and navigate the evolving landscape of today’s digital camera and file format technologies. Calibrated Software products include the Calibrated{Q} line of QuickTime import components and decode codecs for Macintosh OSX and Windows. For further information, please visit www.calibratedsoftware.com.

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Expert Frequency Coordination Team Takes the Court to Ensure Solid RF Coverage

OKLAHOMA CITY, OK, JUNE 21, 2012—From the moment the Oklahoma City Thunder hosted the Miami Heat in game one of the NBA finals at the Chesapeake Energy Arena, Professional Wireless Systems (PWS), a Masque Sound Company, and experts in supplying and supporting wireless systems for live and broadcast events, has worked tirelessly behind the scenes to maintain all RF communications equipment and signals for the games. PWS will remain on-hand for the duration of the finals until the NBA crowns a champion.

Having worked on the NBA Finals since 2005, PWS is charged with handling the RF coordination at this year’s finals. For this event, PWS Lead RF Coordinator John Garrido is working hand-in-hand with the Oklahoma City Thunder and Miami Heat home arenas—the Chesapeake Energy Arena and American Airlines Arena, respectively—to familiarize his team with the facilities’ RF layouts. Garrido will be joined by RF Coordinator Larry Myhre, who comes from the NBA, to help keep things running smoothly throughout the duration of the Finals.

PWS is responsible for coordinating with the networks broadcasting the games, along with the local Society of Broadcast Engineers (SBE) coordinators, to ensure it has the necessary RF information for Miami and Oklahoma City. “We have to be especially proactive and call in advance,” says Garrido. “The SBE coordinators are local and work regularly with the local broadcasters, so they have many contacts, and are dialed in to the information we need.”

With a live broadcast, especially of such a high-profile series of events, Garrido knows that communication is the key to success. “There is a lot of communication needed to track down the proper parties, as they don’t want to give out frequencies to the general public. Once we have the RF list from the arena, we contact the broadcasters and get them live on the air.”

Another challenge concerns the high volume of ENG crews and news reporters that cover the events. “There are a lot of media covering the events, and they are spread all over the arenas, which can make things harder to manage. Each year more and more news outlets come in and the frequency list is continuously growing. It is our job to stay on top of it and keep everyone on their proper frequency.”

In order to keep the high volume of RF signal usage in check and to ensure frequencies maintain solid signals, PWS brings along its high-end portable equipment, including spectrum analyzers (weighing six pounds) as well as its portable analyzers (weighing two pounds). Having both options is essential, as the portable gear allows PWS to literally chase down a problem.

“It’s always a big challenge when working an event of this size and scope,” adds Garrido. “Thanks to our hard work, preparation and expertise we are able to continue to provide interference free coverage to outlets worldwide.”

For more information about Professional Wireless Systems, visit http://www.professionalwireless.com.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies” and “Once” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.