Archive for November 6th, 2012

KBVO Delivers Local Sports Coverage with Broadcast Pix

Billerica, Massachusetts – Broadcast Pix™ today that KBVO, the MyNetworkTV affiliate serving Austin, Texas (DMA #47), is using a Granite™ 1000 Video Control Center™ to produce local high school football and basketball games. Granite is a key component in the station’s 20-foot box production trailer, because its built-in Fluent™ workflow tools allow a two-person team in the trailer to produce a professional broadcast.

“I love the Granite system. It’s very easy to use,” said Korey Wisland, production manager, who directs almost every local sports program. “We wouldn’t be doing this the old conventional way – it costs too much. The Granite makes it possible. With a larger production crew, the numbers don’t work.”

Owned by LIN Television Corp., KBVO is co-located with sister station KXAN, the local NBC affiliate, and KNVA, the CW affiliate with which LIN has a local marketing agreement. Last year, station officials decided to rebrand KBVO as a local sports station. The strategy included a new on-air look, broadcasting San Antonio Spurs basketball and Texas Rangers baseball, expanding coverage of Big 12 college basketball and SEC college football, and producing coverage of local high school football and basketball.

The HD production trailer, purchased through Markertek in 2010, is being used for its third season of high school football. The Granite was purchased from Omega Broadcast Group in Austin. Beyond high school sports, KXAN has also used the production trailer for town hall events, and will use it for news coverage of upcoming Formula 1 racing events.

During high school football season, KBVO usually produces two games each week, a Thursday night game that is broadcast live and a Friday night live-to-tape game that is broadcast during the weekend. Games are also available for online viewing at www.kxan.com.

Fluent-View provides multi-view capabilities for the trailer’s four 20-inch LCD monitors. Wisland has created several customized layouts for football, basketball, and news coverage. For game coverage, Fluent Clip Store is used extensively for commercials and sponsor billboards, as well as promos and show opens. In addition, the station’s graphics department creates backgrounds and lower-third graphics, and Granite’s built-in Inscriber CG is used to add text for each contest.

On game day, a typical five-camera setup includes two high cameras and two field cameras, plus one robotic camera in the booth that is controlled through the Granite. During the game, one crew member is responsible for video replay and audio, while the second crew member handles directing, graphics, and clips.

With a skeleton crew in the trailer, Wisland said Fluent Rapid CG™ 2 is a “critical” tool during football and basketball coverage. “We have to use it for sports, especially ‘down and distance’ stats,” he explained. “It’s the only way we could keep up with the score. It’s a simple as it could possibly be.”

An option for Granite and Mica™ systems, Fluent Rapid CG 2 streamlines data-intensive CG graphics creation by automatically integrating databases, RSS feeds, and custom actions like scorekeeping into templates. The result is customized graphics with significantly less manual effort. Fluent Rapid CG 2 also supports Daktronics scoreboards, which saves Wisland from having to set up an additional camera at most sites to shoot the scoreboard clock.

About Broadcast Pix The leader in live video production systems, Broadcast Pix was founded in 2002 and has customers in more than 110 countries. Its Video Control Centers™ combine an integrated switcher, clip server, CG, and device control software with patented control panels, unique touch-screens, and exceptional displays that enable operators to create with confidence. That confidence is further enhanced with rock-solid stability, patented technologies to maintain lip sync, and great technical support. Systems range from compact systems controlled by touch-screen or voice automation to sophisticated 2 M/E control panels. Customers include leading broadcast, corporate, education, religious, government, webcast, entertainment and mobile studios. Learn more at www.broadcastpix.com.

Broadcast Pix, Granite, Mica, Fluent, Fluent Rapid CG, and Video Control Centers are trademarks of Broadcast Pix, Inc. Patented. Made in USA.

Blake Shelton Captures “Entertainer of the Year” at 46th Annual CMA Awards, as Sennheiser Carries Pristine, Flawless Performance to Millions

During the 46th Annual Country Music Association (CMA) Awards last Thursday, Sennheiser users including Blake Shelton, Miranda Lambert, Lady Antebellum and the Zac Brown Band were at the fore delivering star powered performances through Sennheiser transmitters, capsules and wireless systems. Shelton took home the coveted “Entertainer of the Year” and “Male Vocalist of the Year” awards and also took part in a Lifetime Achievement Award performance honoring Willie Nelson along with Lady Antebellum. Lambert was also recognized with “Female Vocalist of the Year.”

One of the more moving awards of the evening was “Song of the Year,” which went to Blake Shelton and Miranda Lambert – the first married couple to ever win the award. The duo wrote the song in memory of Shelton’s brother, who passed away many years ago.

Being recognized as ‘Entertainer of the Year’ is yet another stellar achievement for Shelton, who has enjoyed incredible success as a coach on the NBC hit show ‘The Voice,’ and who delivered his inaugural number 1 album “Red River Blue” on the Billboard Charts last summer – an album that also spawned three number 1 hits.

Sennheiser at Their Back
Following an intense week of rehearsals and technical preparations with its sponsored artists and their production teams, Sennheiser’s microphones and wireless systems performed flawlessly for the duration of the awards ceremony, which was broadcast live from Nashville to an audience of over 13 million viewers.

RF Consultant James Stoffo reports that no less than 12 Sennheiser EM 3732-II receivers were used for the show, along with Sennheiser SKM 5200 and SKM 2000 wireless transmitters. Blake Shelton, Lady Antebellum and the Zac Brown Band all chose an SKM 5200 transmitter and a Sennheiser MD 5235 dynamic capsule combination to help their vocals cut through the often-loud stage volumes, whereas Miranda Lambert opted for a customized pink SKM 2000 and Sennheiser MMD 935-1 capsule combo. Throughout the evening, hosts also used a SKM 5200 paired with a MD 5235 capsule.

Stoffo appreciates the ease of set up and flawless performance of the Sennheiser wireless: “In the EM 3732-IIs, the ability to align the audio processor to work in multiple modes is a really useful tool. Also, the wide frequency tuning over the entire 470-698 MHz band made finding the cleanest frequencies available easier than it has ever been since the invention of wireless microphones.”

Sennheiser evolution in the Backline
In addition to being the wireless transmitter of choice for Blake Shelton, Miranda Lambert, Lady Antebellum and the Zac Brown Band, a full complement of Sennheiser evolution wired mics was also in constant use on the backline and other vocal applications over the course of the evening. These broad range microphones included:

(20) e 935 (vocals)
(20) e 840 (vocals)
(5) e 901 (inside kick drum)
(5) e 902 (outside kick drum)
(5) e 905 (snare)
(20) e 904 (toms)
(10) e 906 (guitar amplifiers)
(10) e 914 (overheads)
(30) e 602-II (bass / kick drum / floor toms)
(5) e 614 (high hat)

“Everything about my mixes starts with drums, and I specifically request Sennheiser evolution series microphones all over the kit,” commented John Harris, music mixer. “In particular, the e602-II on the toms and kick drum allow me to get the crisp sound I need much faster with little or no equalization. Also, the balanced frequency response of the MD 5235 and MMD 935-1 wireless mic capsules allow me to capture an honest, natural sound from the vocals.”

When mixing a superstar like Blake Shelton, RF dependability must be clean and unwavering. In addition to sound quality, this is where Sennheiser excels, says Harris: “No matter what your production role is in a high profile, live broadcast situation such as this, it all begins and ends with the integrity of the signal, and I have never experienced anything but complete dependability from Sennheiser. As far as the sound quality of the wired and wireless mics are concerned, I know that all I need is a solid gain structure and I am 99% of the way there. I am so much more comfortable when I know that Sennheiser has my back.”

Caption:
Blake Shelton performs with his Sennheiser SKM 5200 transmitter, coupled with a Sennheiser MD 5235 dynamic capsule.

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CSP Mobile Productions Chooses Ten More Canon HD Lenses for its On-Location Vehicles, Including the New 53-ft. HD-2

LAKE SUCCESS, N.Y., November 6, 2012 – Specialists in providing on-location HD facilities for the coverage of major league and college sports throughout the U.S., CSP Mobile Productions has recently outfitted HD-2, its new 53-ft. production vehicle, with ten HD lenses from Canon U.S.A., Inc., a leader in digital imaging solutions. HD-2, CSP Mobile Productions’ third new HD production vehicle introduced within the past two years, will carry eight newly purchased Canon HD lenses, including: one XJ100x9.3B, two XJ86X13.5B, and three XJ72x9.3B long-field HD zoom lenses; one HJ14ex4.3B wide-angle portable HD lens; and one KJ20x8.2B portable HD lens with 2x extender. HD-2 will also be equipped with two Canon HJ22ex7.6B portable HD lenses from CSP Mobile Productions’ existing inventory. Two additional newly purchased KJ20x8.2B portable HD lenses will be carried by the company’s two other HD trucks, HD-1 and HD-3.

“We run Canon HD lenses exclusively on all of our HD trucks primarily due to the reliability of the lenses themselves and Canon’s service,” noted Len Chase, president/co-owner of CSP Mobile Productions. “Our company is based in Saco, Maine and, in addition to sports, we also provide on-location HD production facilities for such clients as broadcast and cable networks, corporate communicators, pay-per-view producers, and Internet content providers. HD-2, which debuts this November, was built by Kentucky Trailer Technology. It is a highly advanced 53-ft. expando truck that’s wired for seven eight-channel video servers and also includes an advanced HD production switcher, a digital audio console, and facilities for 16 cameras, each of which has a Canon HD lens on it.”

Canon’s long-field HDTV zoom lenses are the most widely used lenses in HD sports and entertainment production. CSP Mobile Productions is using the Canon XJ100x9.3B and XJ86x9.3B HD lenses, which both feature Canon’s unique Image Stabilizer technology for rock-solid shots at telephoto distances. Both of these lenses, as well as the new Canon XJ72x9.3B HD lenses purchased by CSP Mobile Productions, all feature specialized multilayer coatings on each optical element, advanced computer-aided lightweight design, heightened long-range zoom capabilities, and the HD optical precision that have helped make Canon a global leader in the field.

All of these long-field HD zoom lenses also utilize Canon’s second-generation digital servo systems for improved ease-of-operation and superb tactile control of zoom, iris, and focus, precision repeatability of settings, and microcomputer compensation of lens-focus breathing (the inadvertent alteration of field-of-view when operating the focus control).

Canon’s HJ14ex4.3B portable HD zoom lens combines an extended 14 times zoom range with a minimum focal length of 4.3mm and an angular field of view of 96.3 degrees at the wide end of the 16:9 HD aspect ratio, making it an exceptional wide-angle portable HD lens. The 14x zoom range of this lens reaches to 60mm (120mm with extender), which greatly expands creative options for the acquisition of clear HD video images. Canon’s mastery of computer-based optical design techniques and new multi-layer optical coating technologies help to ensure superb imaging performance with minimum distortion.

The KJ20x8.2B portable HD lens is the newest member of Canon’s cost-effective HDgc Series of portable HD zoom lenses. Advanced features of the KJ20x8.2B include its built-in 2x extender, an important imaging feature (previously seen on higher-end HD lenses) that provides camera operators with greatly improved subject-framing flexibility. The KJ20x8.2B is also Canon’s widest (8.2 mm) lens in the affordable 20x zoom class, and it covers a generous range of focal lengths, particularly when combined with its built-in 2x extender expanding its 8.2mm-164mm focal length to 16.4mm-328mm.

In addition to the two extra KJ20x8.2B portable HD lenses purchased for CSP Mobile Productions’ HD-1 and HD-3, those trucks are also equipped with previously purchased Canon XJ100x9.3B, XJ86x9.3B, and XJ72x9.3B long-zoom HD field lenses and eight HJ22ex7.6B portable HD ENG lenses.

Canon’s HJ22ex7.6B is the Company’s longest focal length range portable HD zoom lens offered (without an image stabilization system). The HJ22ex7.6B, HJ14ex4.3B, and KJ20x8.2B all feature Advanced Drive Unit technology for precise, automated repeatability of select lens settings, which can be a handy feature for fast-moving sports coverage.

“We are very particular about the production equipment we order for our HD mobile trucks – including HDTV lenses – because our clients expect high-quality productions from us,” Chase stated. “We have had virtually no issues with Canon lenses in the field and any time we have had any problems – most of which were primarily because of a dropped lens or an element that had been broken due to mishandling – Canon’s service has been phenomenal; they have made sure the issue is taken care of immediately, which is of the utmost importance in our business.”

About Canon U.S.A., Inc.
Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With approximately $45.6 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents registered in 2011† and is one of Fortune Magazine’s World’s Most Admired Companies in 2012. In 2012, Canon U.S.A. has received the PCMag.com Readers’ Choice Award for Service and Reliability in the digital camera and printer categories for the ninth consecutive year, and for camcorders for the past two years. Canon U.S.A. is committed to the highest level of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

†Based on weekly patent counts issued by United States Patent and Trademark Office.

All referenced product names, and other marks, are trademarks of their respective owners.

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Bittree Expands Into Thai Market Through Reseller Partnership With DSE

GLENDALE, Calif. — Nov. 6, 2012 — Bittree, a manufacturer of professional audio and video patching systems, today announced its entry into the Thai broadcast market through a new distribution agreement with DSE, one of Thailand’s leading providers of broadcast equipment. As Bittree’s exclusive reseller in Thailand, DSE will represent the company’s line of HD-compatible video and TT (Bantam) audio patchbays and patch panels.

“As we continue to expand our presence throughout the Asian market, DSE will be a very important and strategic partner. DSE’s loyal customer base and local industry knowledge, paired with the innovative design of our patchbays, create the perfect combination for meeting Thai broadcasters’ requirements,” said Glenn Garrard, CEO of Bittree. “We look forward to working with DSE to expand our joint customer base in a truly dynamic and thriving country.”

DSE will handle all Bittree sales in Thailand, working with broadcast networks and systems integrators to develop custom solutions to match their project requirements.

“We are pleased to partner with Bittree and represent their products in Thailand. Bittree’s products are very complementary to our overall solution set; in fact, their patchbays are often specified together with coaxial cable and other equipment that we represent,” said Chai Mekratri, president of DSE. “In our 25 years of business, we have always been committed to supplying our customers with the highest-quality products and a comprehensive solution set. Our partnership with Bittree is the latest example of this commitment, enabling us to complete our product portfolio and offer comprehensive solutions to our new and existing customers.”

More information about Bittree’s full range of video and audio patchbays is available at www.bittree.com.

# # #

About Bittree
Bittree offers a complete line of patching products, including audio, video, data, and integrated patchbays, as well as a variety of patchcords, tools, and accessories. Tailored for use in the post-production, pro A/V, systems integration, and radio and television broadcasting fields, Bittree’s patching solutions are rigorously tested to ensure long-term functionality and dependability especially for mission-critical operations and live events. To ensure consistency, performance, and adherence to rigid quality standards, all of the company’s patching products are designed, manufactured, and tested in its state-of-the-art facility in Glendale, Calif. More information is available at www.bittree.com.

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Genelec 2012 AES Press Kit

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Cognacq-Jay Image Uses Front Porch Digital’s DIVArchive(R) for Playout Storage

ANNECY, France — Nov. 5, 2012 — Front Porch Digital, the global leader in content storage management (CSM) solutions, today announced that digital content management and delivery provider Cognacq-Jay Image (CJI) is using a DIVArchive(R) CSM system to store and archive content for the playout of MultiThématiques, a group of 15 SD and five HD channels broadcast by French television group CANAL+. Installed in CJI’s new playout center near Paris, the DIVArchive system manages 30,000 hours of media among CJI’s archive library, near-line server, and playout servers. CJI uses two tape libraries on two different sites — in the long term, one could be the backup for the other.

“Our deal with CANAL+ allowed us to create a new playout center with archiving capabilities for 20 channels, which means we needed huge storage volume for this project,” said Mickael Drouet, deputy CTO at CJI. “DIVArchive gives us a scalable, high-performance archive system for 20 channels and more, so we can restore media very quickly for each channel. We chose DIVArchive for its scalability, reliability, and ability to manage multiple restores in a very short time.”

CJI’s DIVArchive architecture consists of one DIVArchive Manager and six DIVArchive Actors that integrate with CJI’s existing automation and control systems. DIVArchive is controlled by SGT playout automation, and is supervised through the DIVArchive Manager GUI and SNMP integration with CJI’s Miranda iControl system.

The SGT system manages the file-based ingest of media from CANAL+ and also coordinates with DIVArchive to archive the media in the library. When a playlist is loaded for playout, the SGT automation directs DIVArchive to restore the media from the library to the playout server. The system is designed to archive 50 hours of video per day in two instances, while simultaneously restoring 10 hours of video per channel with less than 12 hours’ delay.

“CJI must manage a vast amount of data and access it regularly, and DIVArchive helps them do it in a cost-effective and efficient way,” said Rino Petricola, SVP and managing director of Front Porch Digital International.

DIVArchive, the world’s leading CSM system, is a centralized content repository for digital media assets regardless of format, size, or type, with direct and proven interfaces into all leading broadcast devices, nonlinear editing platforms, media asset management (MAM) solutions, and broadcast control systems. DIVArchive is the industry standard for CSM in broadcast, production, education, government, and historical archiving. DIVArchive’s suitability for mission-critical applications and large-scale operations is further enhanced through a uniquely scalable architecture and the option to operate over multiple sites.

More information about Front Porch Digital products is available at fpdigital.com.

# # #

About Cognacq-Jay Image
Cognacq-Jay Image, a TDF Group company, is the leader for outsourced video managed services in France. From its Paris hub, it offers TV channels, service operators, and content owners a wide range of playout solutions, on-demand content management and processing, and multidevice head-ends. As a recognized video expert, the company engineers best-of-breed solutions and innovations for its customers, with high SLA operations.

TDF Media Services is the TDF division dedicated to providing innovative solutions for the media, telecom, and corporate industries. Composed by BeBanjo, Cognacq-Jay Image, Mediamobile, Qbrick, PSN, and SmartJog, respective leaders in their markets, TDF Media Services provides best-of-breed solutions for the management and delivery of audiovisual content, anytime, anywhere, and on any device.

About Front Porch Digital
Front Porch Digital is the global leader in solutions for migrating, managing, and monetizing media content. Operating on-site and in the cloud, the company’s purpose-built software employs the latest technologies to deliver truly flexible and scalable media workflows. Solutions delivered by Front Porch Digital appropriately manage large and complex media files and workflows while ensuring optimal performance and utmost security. More information is available at fpdigital.com.

Photo Link: www.wallstcom.com/FrontPorch/CJIDeputyCTO.zip
Photo Caption: CJI’s Mickael Drouet uses DIVArchive(R) to manage 30,000 hours of media

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The Recording Academy P&E Winig 2012 AES Press Kit

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Aphex 2012 AES Press Kit

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Audio-Technica 2012 AES Press Kit

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Audio-Technica and Fred Ginsburg, CAS, Team Up to Raise Awareness of the Importance of Quality Production Audio for Film and Television

— Ginsburg’s work on classic hit films and television shows including St. Elsewhere, A-Team, 90210, Caveman, The Island and Platoon has created a platform from which he is shaping a new curriculum for film sound that better incorporates the knowledge base for production sound —

133rd AES CONVENTION, SAN FRANCISCO, CA, October 27, 2012 — Audio-Technica (booth 705), a leading innovator in transducer technology currently celebrating “50 Years of Passionate Listening,” is teaming up with sound mixer/educator Fred Ginsburg to help students acquire the professional tools and skills needed for production sound recording.

A skilled Hollywood sound acquisition specialist who worked on classic television shows like St. Elsewhere and films including Platoon and Used Cars, Ginsburg uses his professional experience as a Production Sound Mixer and Sound Designer to refashion the educational curriculum of sound for picture. Audio-Technica provides microphones and educational materials for workshops Ginsburg offers throughout the country, helping students establish a base of knowledge about this critical but under-taught aspect of cinema and television sound.

Fred Ginsburg has a mission to empower the next generation of film-sound professionals with experience, understanding and expertise about cinema and television sound. Ginsburg, with a Ph.D. in audio and membership in the Cinema Audio Society (C.A.S.), has taught his courses in production sound at California State University Northridge and Chapman University, doing so with microphones and educational materials provided by Audio-Technica.

Ginsburg says that contemporary professional audio education programs have emphasized the post production elements of film and television sound, often at the expense of production audio, which is the foundation of a film’s or series’ sound, comprising dialog and authentic location ambience and effects.

“The emphasis has been on working with programs like Pro Tools and Final Cut Pro in post, but what’s lacking is what students need to know about sound acquisition on location,” Ginsburg explains. “Even at schools like Chapman, which has an ADR stage modeled after the one at Warner Bros. and a mixing room that rivals the one at Universal, there recently wasn’t enough emphasis on the foundation sound that is production audio. That’s what I’ve set out to do: integrate production audio into the curriculum at the level that things like post and mixing are at now.”

Ginsburg accomplishes this by demonstrating his techniques in classes and at workshops around the country, by showing and explaining how he chooses tools and how he uses them to create sound elements that combine with mixing and post production to produce exceptional soundtracks. For instance, when demonstrating how to take echo out of a small room so that dialog becomes more intelligible, Ginsburg shows how he sets up an Audio-Technica AT4051b Cardioid Condenser Microphone on a boom.

“That microphone was designed for music, but a lot of Hollywood location sound people have embraced it for their kit because it’s so great at mellowing out dialog and wiping out echo in a room,” Ginsburg explains. Similarly, he uses an Audio-Technica BP4071L Line + Gradient Condenser Microphone (aka long shotgun) to keep extraneous noises like traffic out of the background on exterior shots, again to keep the focus on the dialog. An Audio-Technica BP4073 Line + Gradient Condenser (short shotgun) allows the recordist to cover from 2 feet to 6 feet overhead for wider interior situations, as well as to serve as a secondary microphone to the long shotgun outdoors, or the 4051 indoors.

Lavalier microphones are critical to location dialog sound, and Ginsburg has hidden mics like the MT830R Omnidirectional Condenser Lavalier Microphone in planters and other props on a set, when close-in dialog recording is needed. He recommends using the AT899 Subminiature Omnidirectional Condenser Lavalier Microphone attached to the sun visor of a car, to capture interior audio and dialog without having to put a microphone on the actor, which could result in noise from clothing and body movements.

“Audio-Technica has fantastic warranties and repair services, and technical support is always just one phone call away. A-T always makes sure that there are good instructional materials available. It’s a big job making sure that production audio gets its due in the education mix, and I’m glad that A-T is there to help make that happen,” Ginsburg says.

For more information, please visit www.audio-technica.com.

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