Archive for December, 2012

Bexel’s Custom RF and Fiber Solutions Help Viewers Around the World Ring in the New Year Live from Times Square

NEW YORK, DECEMBER 31, 2012—Bexel, a unit of the Vitec Group’s Services Division and a leading worldwide provider of broadcast services and solutions, will once again be on-site supporting live coverage of the iconic New Year’s Eve celebration in Times Square as it is broadcast around the world. Bexel’s team of expert engineers will coordinate the complex wireless operations and establish a fiber infrastructure for all feeds going to and from the production truck handling the coverage. For over a decade, Bexel has provided equipment and services to support national and international broadcasts of the Times Square celebration.

As this year’s event entails five zones of RF coverage—four outdoor locations, spanning from the main outside stage at 43rd Street up to 46th Street at the Nivea Stage, as well as inside Times Square Studios, including the green rooms and production hallways—Bexel will deploy its RF Over Fiber Antenna System. Designed to enhance the show’s wireless capabilities, the system is scalable to any size building or location and offers a single point of interface for wireless equipment to the production truck. Comprehensive coverage requirements for the host network extend from 47th Street and Broadway to 43rd Street and Broadway.

Full duplex, Bexel’s RF Over Fiber System offers the capabilities of both transmit and receive carriers over RF fiber—accommodating wireless microphones, IFB and wireless intercoms in one system. It also consolidates the required RF equipment, which can save on the use of very limited and coveted RF spectrum. In addition to Bexel-ASG’s RF Over Fiber Antenna System, other RF equipment provided by Bexel includes 12 channels of wireless PL using six Telex BTR800s, 24 belt packs, four Lectrosonics IFB transmitters and six wireless microphones. Bexel will also staff the event with six on-site engineers for audio and wireless setup and support.

“Seamless coverage of all zones through the RF Over Fiber System is a tremendous challenge due to the sheer quantity of wireless devices in use, the shrinking UHF spectrum and the density of people at the event,” says Jim Dugan, senior project engineer, Bexel. “Fortunately our expertise and solutions will allow us to provide another memorable New Year’s Eve to those watching on television.”

Bexel will also provide the fiber infrastructure for all feeds going to and from the production truck in Times Square. Installed during overnights by local union workers prior to the event, there are about three miles of fiber set up around Times Square. “These fiber solutions are the backbone of the show,” says Perry Sanderson, technical sales specialist/fiber, Bexel. “Bexel fiber essentially touches all feeds that are broadcast around the world.” Bexel will provide a custom rack built with fiber optic systems to accommodate signal transport to various locations around Times Square, including Duffy Square and Nivea Stage, to name a few. This infrastructure will then carry these signals from surrounding events and the classic ball drop and distributed to domestic and international broadcasters.

“Thanks to the relationships cultivated over a decade with the Times Square Alliance, Bexel is uniquely positioned to provide fiber optic infrastructure support,” says Sanderson. “Our portfolio of rental equipment and technical expertise allow us to create a fiber network that ultimately provides the opportunity for everyone around the globe to experience the most iconic New Year’s celebration in the world.”

About Bexel
Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers – including producers of the biggest and most important televised events in the world. For more information, visit http://www.bexel.com.

About the Vitec Group:
Capture the moment™
For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Service provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com.

Vaughn’s ‘Don’t Come A Knockin’ brings ‘Missouruh’ to the ‘Big Apple!’



On Saturday, September 29, 2012 a group of New Yorkers with country in their soul descended upon Manhattan with cowboy boots, hats and tight jeans.

Dwight Thomas Vaughn, a Southeast Missouri native who has lived, written music and performed in NY City and abroad for many years – debuts a new music video “Don’t Come A Knockin” filmed & directed by Michael Stever and choreographed by Leasen Almquist. This first in what Vaughn says will be a series of new music videos, are all designed to celebrate the release of a new sound in country music.

“In These Genes” is the title of Vaughn’s new CD, and is deeply rooted in traditional country and blue grass sounds, combined with a somewhat pop/rockabilly flare, strong lead vocals, memorable melodies, lyrics and tight harmonies. All surrounded by the electric and acoustic guitar, fiddle, dobro, steel guitar, banjo and rhythm from Nashville’s Music Row.

The video itself celebrates the music of the heartland embraced by the streets, sounds and iconic landscape of New York City. A cancer and heart attack survivor, Dwight Thomas celebrates life’s journey and the opportunity for growth each day brings.

To view ‘Don’t Come A Knockin’ click here,

“This path of self-revelation has produced a masterful songwriter. The many highlights in his recent show “Trail of Cheers” included those songs written by Mr. Vaughn as they allow him to guide his audience to a feeling of personal cheer.” Russ Weatherford, Times Square Chronicles, NYC

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XL Video Takes The Crown With Robbie Williams

XL Video supplied scenic LED plus projection and camera / IMAG systems – including some of their newest products – to Robbie Williams’ acclaimed three nights at London’s O2 Arena last week. With a rousing performance in-the-round, the star re-established himself in grand style as a solo artist and one of the UK’s greatest popular music entertainers.


For XL, it was the continuation of a long and fruitful relationship with Robbie Williams and his production team which stretches back over a decade. Video has always been an integral part of Robbie’s live shows and his tours have blazed a trail for innovative, design-led applications of new video technology.
This was once again the case, making maximum impact at the O2 shows. The third show was broadcast live on Sky 1, and in other territories worldwide, and can now be seen on Sky’s On-Demand service.
XL’s Project Manager, Phil Mercer, worked closely with Robbie’s long-term Production Manager Wob Roberts. The set and stage architecture was designed by Production Designer, Mark Fisher with Creative Director Willie Williams and overseen by Executive Producer, Lee Lodge.
More than 2000 of XL’s new Pixled FX-200 LED spheres were utilised. This very versatile product was made up into a series of oval shapes measuring between 2.5 to 4 foot in diameter, then rigged onto a set of hand-rails built by Tait Technologies. The structure flew in from the celling to meet a scenic bridge across the stage creating a colourful element of the ever-changing set.
The versatile FX-200 is a small opaque plastic ball encasing LEDs which can be fitted together and configured to suit any design. It’s ideal for bespoke applications of this type. The FX-200 offers twice the brightness of similar LED spheres and can be used both indoor and outdoor due to its IP 65 rating.
A large playback projection system featured six of XL’s brand new Barco HDQ-2K40 40K projectors – currently the world’s brightest projector for rental and touring. These offer an impressive 40,000 Lumens output with a 2K resolution. These shows were their first outing for XL.
Four of these were positioned in each corner of the Arena on special platforms; the fifth was rigged on an 18 ft high platform at what would normally be the ‘stage’ end of the O2; and the sixth was at the opposite end, up above the sky-boxes in the ‘gods’ of the venue.
These projected onto four reflective gauze surfaces, all of which moved in and out on an automation system.
The first gauze was 12 metres wide by 7 metres high landscape orientated, positioned at one end of the arena. There were three 15 x 7 metre portrait surfaces above the stage, each fed by three HDQ-2K40s rigged on their sides to optimise the brightness and framing capabilities.
The final two projectors – both in corner positions – were multi-purpose and mostly used to shoot video right across the stage and out into the audience, sometimes catching part of the screens, depending on their positioning at that time.
Playback material was produced by Sam Pattinson and Luke Halls from Treatment Studio to Willie Williams’ creative brief.
The HD camera mix was cut by Matt Askem using a Kayak DD 2.5 M/E switcher, for which XL supplied six Sony HXC-100 camera channels. Four of these – fitted with XJ86 lenses – were stationed right beside the projectors in the four corners of the auditorium, while the other two were fitted to Telemetrics ‘hot heads’ with HJ22 lenses. These were operated from backstage by XL’s Ed Moore and Marcus Wareham.
The IMAG was projected onto four 24 x 13ft screens hung high above the stage, rigged off T-trusses together, each fed with a pair of double-stacked Barco FLM HD20 machines also on each of the T-trusses.
The playback material was stored on and programmed in ten Virtual VTR servers feeding into a Barco Encore screen management system – operated by Video Jedi Richard Turner – from where it was sized and output to screen.
XL’s crew chief Stuart Heaney worked with seven other crew and co-ordinated everything on site, getting in on the Tuesday for a Thursday first show day. He comments that the scale of the shows was the major technical challenge, but with good pre-planning, an experienced crew and an excellent production team to work alongside…. the whole exercise ran very harmoniously.
Phil Mercer, Group Head of Concert Touring for XL Video, said: “As is typical of our long-standing relationship with Robbie Williams and his production team, we are always looking to keep the show state-of-the-art by using new video technology.
“As is so often the case, to achieve this we push new tech straight into action, and thankfully all of the new equipment performed flawlessly!”

Moog Music Resynthesizes 44-Year-Old Live Recording of the Grateful Dead Into New Tools for Artists

Moog Music today announced the official release of the Grateful Dead Expansion Pack, which innovatively turns the Grateful Dead’s live performance at the Carousel Ballroom on Feb. 14, 1968 into a source of harmonic content exclusively for Animoog, Moog’s TEC-Award Nominated synthesizer for the iPad. The pack features 82 Presets and 45 Timbres that were carefully extracted from the live recording, and then optimized for the Animoog’s Anisotropic Synthesis Engine.

Mike Adams, Moog Music President and CEO said, “Two very important legacies left by Bob Moog and his life’s work were the idea of looking at new technology and crafting new tools to enable musicians to make music in new and inspiring ways, and also the importance of collaborating with musicians to help shape those tools.  This innovative integration of textures from the Grateful Dead’s live recordings into Animoog’s timbre library is a true manifestation of this legacy.”

The Grateful Dead Expansion Pack is broken into three categories: ensemble, percussion and vocal sounds. In each case the timbres were extracted from individual vocal performances, percussion hits or instrument riffs performed during the Grateful Dead’s concert at the Carousel Ballroom 44 years ago. The pack allows musicians today to create dynamic soundscapes from the Dead’s rare and complex source harmonic content originally performed decades ago.

Cyril Lance, Moog Music’s Chief Engineer explains, “We’re not simply providing samples from the Grateful Dead’s body of work, rather we’ve distilled the essence of notes and phrases in a different way to transform these performances into new instruments — new voices. Now we’ve made these unique voices available to artists in a way that enables them to create their own music and voices based on this fundamental essence.”

The Grateful Dead’s Mickey Hart, who visited the Moog Factory on April 19, 2012 to test the development of the Grateful Dead Expansion Pack exclaimed, “Holy transmogrification, Batman… Amazing!” after hearing the Grateful Dead’s 44-year-old recordings transformed into sound design tools for artists.

The Grateful Dead Expansion Pack comes on the heels of Moog’s release of Animoog V2 on December 21, 2012. Animoog V2 is free for existing Animoog users. It includes many user requested features and product enhancements, such as: accelerometer integration which gives Animoog owners the ability to tilt their iPad in any direction as an interactive 3D modulation source; note hold and scale lock, and tools for advanced users like, Load/Save MIDI CC maps, Audiocopy/Audiopaste integration and support for the new Audiobus platform. Also, as a holiday gift, Animoog V2 features a powerful 4 Track Recorder, which gives Animoog users the ability to record audio from within Animoog or import audio tracks directly from their iTunes library. Users can then split, loop, copy, paste, and share individual clips, or mix down entire songs and upload them directly to SoundCloud, all from within the Animoog’s universe. This 4 Track Recorder will be free to existing users until Dec. 31, 2012 at which time it will revert to it’s regular price of $4.99 in the Animoog Store.

Furthermore, between Dec 20th and Dec 31st Animoog for iPad will be available at the promotional price of $14.99 (reg. price $29.99), Animoog for iPhone will be available at the promotional price of $4.99 (reg. price $9.99), and Moog’s first iOS app, Filtatron will be available at the promotional price of $4.99 (reg. price $7.99).

Prices:
Animoog V2- Animoog V2- $14.99 until Dec. 31, 2012 ($29.99 reg. price)
Grateful Dead Expansion Pack – $4.99
4 Track Recorder – Free until Dec. 31, 2012 (reg. price $4.99)

Links:
Animoog on the iTunes App Store: https://itunes.apple.com/us/app/animoog/id471638724?mt=8
Animoog product page: http://www.moogmusic.com/animoog
For more info on the Grateful Dead please visit www.dead.net
Moog Music website: http://www.moogmusic.com/
Moog Music on Twitter: http://www.Twitter.com/MoogMusicInc/
Animoog on Facebook: http://www.Facebook.com/animoog

Caption:
The Grateful Dead’s Mickey Hart visited the Moog Factory in April to test the development of the Grateful Dead Expansion Pack.

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XL Events Supply Super Bright Projection at the BBC

When BBC One’s ‘The One Show’ was chosen to launch the BBC One Christmas line-up, they commissioned arts and technology collective seeper to produce a large scale projection on to the front of the BBC.

The projection was used to map seeper’s specially-produced promo film of the BBC’s upcoming Christmas shows including Strictly Come Dancing, Doctor Who, Miranda, and EastEnders on to the building in Wood Lane, west London.

In the weeks running up to the launch, seeper brought in XL Events to specify and supply the projection element of the project. Several meetings and site visits were required to select the most effective placement for the projectors.

With companies such as Network Rail and Marks and Spencer in the close vicinity, great consideration was taken as to how the rigging of the projectors would affect the neighbours of the chosen location, The Ugli Building.

The decision was taken to rig via The Ugli Building’s car park. Impact Productions provided a weather-proof structure on which the projectors were stacked. Hewden supplied a large crane which transported the projectors, each weighing 250kg, up to the platform at the top of the building.

To satisfy the requirement for a very high Lux output, XL Events specified the newest, brightest Barco projectors to achieve the 150m throw to the BBC building. Five Barco HDQ-2K40 units, each supplying 40,000 lumens of brightness, were used to project the image which was over 35 metres wide.

Line-up and content tests on the evenings prior to the launch were very successful with the full brightness on view. On the evening of the live broadcast, a blanket of fog appeared across west London, and gave the projection a cloudy diffusion which reduced some of the clarity of the image. The high brightness levels of the Barco 40k units, however, meant that the images were still fully visible on camera.

Mark Rooney, Project Manager for XL Events commented: “We’d like to thank seeper for the opportunity to work on this high profile project. As expected, the Barco projectors performed brilliantly. It was unfortunate that the weather absorbed a little of the brightness on the night, but luckily Evan Grant from seeper recorded a great video the previous evening so the full impact of the projection can be seen as intended. Great work Evan!”

To check out the video of the projection, visit: http://seeper.com/bbc-one-christmas-launch/

For more information on seeper, visit www.seeper.com. For more information on XL Video, visit www.xlvideo.com.

Show Photos courtesy of seeper

Waveplant Composer Joel Corelitz Blends Traditional and Non-Traditional Musical Elements For Sublime “The Unfinished Swan” Videogame Soundtrack




Recorded With A Full Orchestra, Evocative Score Perfectly Captures The Mood Of Acclaimed Game Designed For Sony Playstation


CHICAGO, IL – The new Sony Playstation 3 game “The Unfinished Swan” is all about exploring the unknown. The same is also true for composer Joel Corelitz of Waveplant Studios, whose personal creative journey with the project found him writing some 60 minutes of original music that blends traditional and nontraditional elements into a wholly original score.




“People in music often talk about film and TV scores as either being traditional or non-traditional, with non-traditional frequently being characterized as at odds with a classic, melody-based score,” Corelitz says. “I wanted to create something that felt like a mix of both, a blending of organic instruments and ambient sound design that would feel fresh ten years from now.”


Set in a mysterious black and white landscape that grows more colorful as the game progresses, “The Unfinished Swan” centers on a lonely 10-year-old orphan named Monroe who follows a swan that has stepped out of an unfinished painting and wandered off into a surreal, storybook-inspired kingdom. Each chapter brings surprises, new ways to explore the world, a host of bizarre (and sometimes dangerous) creatures and encounters with the eccentric king who built this empire.


Finding A Balance:
For Corelitz, who Is perhaps best known for his work in advertising and film/video installations, such as LOOM, the interactivity musical installation work for HP, as well as traditional ads for Dodge Dart, Pop Tarts and Kelley Blue Book, one of the key challenges centered on taking the game’s moody narrative and composing a score that didn’t sound too minor key. The goal, he says, was to use those emotions and build on them with music that also captures a sense of wonder at this strange world.


“There’s a sad backstory to the main character,” Corelitz explains, “and we needed to bring those emotions to the table, but it was equally important that we infuse the music with a sense of curiosity and playfulness.”


With that in mind, Corelitz’s score features an array of plucked acoustic instruments, such as harps, marimbas and violins, layered onto a bed of ambient sound design and ethereal synth tones. It’s a blend that effectively borrows from traditional film scorers and non-traditional mood purveyors.


“As you play the game, the music is constantly evolving,” Corelitz says. “It’s never quite the same no matter how many times you play. The music is not just background noise, it’s part of the world, it’s part of how you feel, how the character feels. We didn’t want those things to be separate, we wanted it to be all one experience.”


Recording In Nashville:
The music was recorded at Ocean Way Studios in Nashville, TN, and for Corelitz hearing his score performed live by both a 25-piece orchestra and a simple string quartet was a powerful moment.


“Ocean Way is an amazing studio housed in a 100-year-old gothic church,” Corelitz says. “Hearing my music performed by this orchestra in this studio was amazing. ‘The Unfinished Swan’ let me spread out creatively and flex musical muscles that haven’t used in awhile. It was an amazingly satisfying project to be a part of and I’m proud of what we accomplished.”


About Waveplant:
Led by Composer Joel Corelitz, Waveplant transcends classification in its design-oriented approach to composition – creating a seamless sensory experience. Fusing music and sound design, Waveplant produces audio for advertising, broadcast, gaming, film and live installations. Firmly believing that truly special projects deserve originality in every aspect of their creation, as well as the idea that being hired to work on something should never preclude the incorporation of heart and soul, Waveplant is a haven for original sound. For more information go to http://www.waveplantstudios.com


Web Resources:
Click here to hear Waveplant’s score for “The Unfinished Swan”:
http://www.waveplantstudios.com/The-Unfinished-Swan


Click here for more information about Waveplant:
http://www.waveplantstudios.com


Click here for a behind-the-scenes look at the making of “The Unfinished Swan” music:
http://youtu.be/H1ebugoPsP0

IKA Collective Teams With Discovery Networks On Premieres For “American Chopper” and “Deadly Affairs”


Hybrid Creative Studio Crafts Powerful Promos For Popular Shows




From the “American Chopper” (left), and “Deadly Affairs” (right) promos, both produced by IKA Collective for Discovery Networks.


NEW YORK, NY – “American Chopper,” now in its ninth season on the Discovery Channel, remains one of cable’s most popular reality shows. When the network needed to promote the much-awaited new season it turned to frequent collaborator IKA Collective, the creative strategy, production, post hybrid studio led by Ian Karr. The conceptual spot, directed by Chris Stifel, centers on the rift between father and son and the rebuilding of their relationship.


Over at sister network, Investigation Discovery, Karr himself directed the launch promo for “Deadly Affairs,” the new series hosted by Susan Lucci that tells real-life tales of love gone terribly wrong.


“Both of these projects are very different, but perfectly showcase the range of services IKA Collective brings to our clients,” Karr says. “For ‘American Chopper’ we were there to support Chris’s vision and delicately handle the real-life estrangement between Junior and Senior. Conversely, ‘Deadly Affairs’ was a project in which we were asked to pitch the creative strategy and execute it.”


Tension In Orange County:
As any “American Chopper” fan will tell you, the Teutul family is a complex one, especially since the high-profile rift that saw Junior leave his dad’s famous motorcycle shop, Orange County Choppers. Their fractured relationship was a big consideration for Karr, who served as Executive Producer on the project.


“This is a big show for Discovery and everyone wanted the new season to begin with an epic promo,” Karr says. “We found an old airport hanger at Stewart Airport in Orange County, New York, that perfectly captured the gritty look Stifel and DP Pete Konczal were after.”


Set in a dramatically lit shop, reminiscent of OCC’s humble beginnings, the spot begins with audio echoes from past arguments between Senior and Junior, as we see the two enter and walk toward the center of the garage where a motorcycle sits on a table covered by a tarp. Facing each other, Senior says, “under this is where it all started.” “And now we’re going to rebuild it,” Junior replies, laying out the story arc for this pivotal season.


The production faced numerous challenges, including shooting in a hot, leaky TSA-monitored hanger located next to a live tarmac with constant plane traffic. In order to make the day, it was necessary to create multiple sets for simultaneous shooting.


“We pre-lit the entire spot to minimize on-set time for Junior and Senior,” Karr says. “After we fired up the cameras and the guys stepped in, you could feel the electricity in the air. With such great on-camera chemistry, it’s clear why the show is such a hit.”


Deadly Direction
For “Deadly Affairs”, the new real-life soap on Investigation Discovery that looks at love triangles gone terribly wrong, IKA’s creative team pitched several concepts for the promo. “The only mandate from the network was that they wanted an ending with a twist, just like in the show itself,” Karr notes. “We had to strike a balance between dark and light, entertaining the audience without minimizing the tragic nature of these true stories.”


The winning concept from IKA Collective and Creative Director Robbie Chafitz, begins with a woman entering her home, walking past a mantle and walls full of happy family pictures as a warm female voiceover says, “He’s the love of your life, the father of your children, the man you share your bed with.” The mood then turns sinister as the wife opens the bedroom door, revealing her husband with another woman. As she raises a gun toward the fearful cheaters, the voiceover adds, “and yours is the last face he will ever see.”


The spot ends with the sound of a gunshot, smash cutting to host Susan Lucci who buttons the spot by saying “first comes love, then comes marriage…and sometimes murder.”


In addition to the live action, Karr photographed a series of family portraits — wedding photos, a fun day in the park, soccer games, etc. — that served both as props in the home and as backstories for the characters.


“This was a fun scene to create,” Karr says. It’s partly an homage to Stanley Kubrick. I’ve always loved the way he used camera placement and motion to evoke a mood.


Karr adds, “The whole spot is shot using a Steadicam. It begins with us happily following the wife around, but when we cut to the scene outside the bedroom, the camera becomes more voyeuristic and you quickly sense that something’s off. Then she enters the room and we reveal she’s the murderer, not the victim. Sometimes the best way to tell the story comes down to where you put the camera and how you move it.”




About IKA Collective:
Founded by noted brand strategist/director Ian Karr, IKA Collective is more than a production company. Rather, they’re creative collective of writers, producers, editors, directors, composers, digital artists, fashionistas, foodies and horror film fanatics who love to tell stories. Whether it’s an ad, a network promo, a digital media project, or their own original content, IKA Collective is all about communicating in a way that entertains and gets results. Our facility includes a live insert stage, five edit rooms, digital color grading, graphics, compositing and audio mixing suites, allowing us to deliver great work at budgets that make sense in every medium. Recent clients include Fox TV, Discovery Channel, Continental Airlines, Hallmark Channel and Penguin Publishing. For more information go to http://www.ikacollective.com


Creative Credits:
Client: Discovery Channel
Project: “American Chopper” promo


Agency: Discovery Channel, New York
Creative Director/Director: Chris Steifel


Production: IKA Collective, New York
Director: Chris Steifel
Executive Producer: Ian Karr
Producer: Robbie Chavitz
DP: Pete Konczal


Post: IKA Collective, New York




Client: Investigate: Discovery
Project: “Deadly Affairs” promo


Agency/Production: IKA Collective, New York
Creative Director/Director: Ian Karr


Post: IKA Collective, New York


Web Resources:
Click here to watch the “American Chopper” promo:
http://player.vimeo.com/video/47600307?title=0&byline=0&portrait=0&color=dd6026&autoplay=1


Click here to watch IKA Collective’s “Deadly Affairs” promo:
http://player.vimeo.com/video/47602572?title=0&byline=0&portrait=0&color=dd6026&autoplay=1


Click here for more info about IKA Collective:
http://www.ikacollective.com

EDITSHARE ADDS NEW FEATURES TO SHARED STORAGE, ARCHIVING, VIDEO SERVER AND MAM SOLUTIONS

New updates to EditShare Shared Storage, Ark, Flow and Geevs streamline production and broadcast workflows
 
Boston, MA – December 21, 2012 – EditShare®, the technology leader in shared media storage and end-to-end tapeless workflow solutions, today announced the release of EditShare Shared Storage 6.3, Ark 2.3, Flow 2.3 and Geevs 5.3. The new versions include many enhancements and features that simplify workflows and improve the overall user experience.
 
“We continually look for ways to improve our products, and many of the new features in this release have evolved directly from ongoing dialogue with customers,” says Andy Liebman, founder and CEO of EditShare. “Whether they involve enhancements to user permissions, additional codec support, or new backup and archive features, they are all designed to increase productivity by making the workflow more efficient and seamless.”
 
New Enhancements for EditShare Shared Storage Version 6.3:
 
Per-Media-Space Selection of OS X Network Protocols – By specifying the use of either the SMB or AFP protocol for mounting each Media Space on a space-by-space basis, administrators can pick the best network protocol for each application without the risk of mixing protocols on the same space. This allows EditShare Shared Storage users to safely leverage the increased power and performance of AFP for high data rate codecs and applications on OS X.
 
Project Browser Compatibility for Adobe Premiere Pro in Windows – This matches the existing functionality for OS X-based Premiere projects. By using the Project Browser, multiple editors can safely open the same Premiere Pro project with the assurance that only one editor at a time will get read/write access to the project. Premiere editors can open a locked project in read-only mode in order to review it or copy project elements into their own project.
 
Read-Only Access for Avid Style Spaces – You can now limit users on Avid Style spaces to read-only access, extending the same fine-grained user permissions available in other EditShare space types to this Avid workflow.
 
New Enhancements for Flow Version 2.3:
 
Enhanced Frame Rate, Raster, Codec, and Wrapper Support – Flow 2.3 has vastly improved the range of codec support for SDI Ingest, File-based Ingest, and Scanning functions. Full support has now been extended for progressive frame rates/rasters, including 1080p (23.98, 25, 29.97) and 720p (23.98, 29.97, 60) in many codecs and wrappers. Also included are support for QuickTime-wrapped DNxHD and AVC-Intra, as well as support for EditShare’s patented Universal Media Files now using the DNxHD codec. Flow has also extended its File-based Ingest support to recognize many additional cameras and devices.
 
Asset Groups – The new Flow Asset Groups tab gives administrators an additional way to grant users permission to browse and search for clips in Flow Browse. It allows specified users to browse clips from Media Spaces that have been deleted, so that they can bring material back to online storage from the archive. It also allows a specified user to browse clips in Flow without granting them permission to mount the Media Space and access the high-resolution files.
 
New Enhancements for Ark Version 2.3:
 
Deletion From Ark Disk Via Flow Browse – Customers who have both Ark Disk and Flow can now delete individual clips from their Ark Disk nearline storage. Using the Flow Browse interface, authorized users can search for clips based on any criteria, including how long a clip has resided on Ark Disk, or whether there is also a copy on Ark Tape, and then delete all matching clips with one click thereby freeing up nearline storage space.
 
Storage to Ark Disk to Ark Tape Migration Workflow – Leveraging the new ability to delete individual clips from Ark Disk, it is now possible to institute “migration” workflows where clips move down through different “tiers” of storage. A clip might start out on EditShare storage, then be backed up to Ark Disk, and only deleted from Ark Disk or EditShare Storage after being successfully backed up on Ark Tape.
 
Ark Tape Backup Verification – This new option provides additional checks to ensure that Ark Backup/Archive jobs have been successfully written to LTO tapes.
 
New Enhancements for Geevs 5.3:
 
Capture and Playout of QuickTime (.mov) Wrapped XDCAM-EX and XDCAM-HD Are Now Supported – At either 35 or 50 megabits, this provides a space-effective HD codec alternative for immediate exchange between QuickTime-based NLE’s and ingest/playout.
 
Updates to Studio Multicam and Geevs Live User Interfaces – Based on user feedback, additional sorting, metadata and display features have been added to the Geevs Client applications. These features enhance productivity, accuracy, and speed.
 
About EditShare
EditShare is the technology leader in networked shared storage and tapeless, end-to-end workflow solutions for the TV and film industry. Our ground breaking products improve efficiency and workflow collaboration every step of the way. They include video capture and playout servers, high-performance central shared storage, archiving and backup software, media asset management and the world’s first three-platform (Windows/OS X/Linux) professional non-linear video editing application.
 
©2012 EditShare LLC. All rights reserved. EditShare® is a registered trademark of EditShare LLC. All other trademarks mentioned herein belong to their respective owners.
 
Press Contact
Janice Dolan
Zazil Media Group
email janice@zazilmediagroup.com
tel: +1 (617) 817-6595
 
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Listec Promptware Teleprompters Adds 58mm Support

What: The Listec PromptWare PW-04 now fits lens sizes up to 58mm
Where: Order through Tiffen Global Dealer Network
When: Available today

 
Hauppauge, NY — December 21, 2012The Tiffen Company, a leading manufacturer and distributor of award-winning accessories for the still imaging, video, motion picture, and broadcast markets, today announced that its Listec Promptware PW-04 Teleprompter product line now supports lens sizes up to 58mm. The Listec Promptware PW-04 turns any iPhone, iPod Touch or Android Phone into a professional prompter.
 
Fast and simple to use, the PW-04 is a perfect match for today’s popular small video cameras, compact HDRLS and Mirrorless cameras. Ideal for corporate training, small productions, presentations, interviews, blogging, YouTube videos, the PW-04 is complete with case and Bluetooth remote control. The lightweight Teleprompter quickly attaches to the camera lens.
 
Listec Promptware PW-04 Feature Highlights
 
Easily readable up to 10 feet
Easy to assemble – no tools required
Lightweight & Compact
Weight 0.6lbs (0.27kg)
Full Script Speed Control with Bluetooth QWERTY Keyboard Wireless Remote
Fits cameras with 58mm, 55mm, 52mm, 49mm, 46mm, 43mm, 40.5mm, 37mm or 30.5mm threaded lens
Folds flat for easy transport
Adjustable Cradle Holder: Max. Length: 4.9” (126.9mm) Max. Width: 3.2” (81.3mm) Mini. Width: 1.9” (49.8mm)
60/40 Trapezoidal Mirror with Glass Removal Tool
Complete package includes compact ABS hard case
1 Year Warranty: Register online for 2 Years (excludes mirror)
 
The Listec Promptware PW-04 supports the following popular video cameras:
 
Consumer:
Sony HDR-CX700V
Panasonic HDC-TM900K
Sony HDR-CX560V
Canon VIXIA HF M50
Canon VIXIA HF M52
Canon VIXIA HF M500
Sony DCR SX45
Sony HDR-CX130
Panasonic HC-V700M
Sony HDR-CX160/B
 
Professional:
Sony Professional HVR-A1U
Sony HDR-FX7
Sony HVR-HD1000U
Sony HVRA1U
Sony HXR-NX70U
JVC GYHM150U
Panasonic AG-HMC40
Panasonic AG-HMC80 3MOS
Sony HXR-MC50L
 
About Listec
The name Listec has been associated with the Broadcast Industry since 1967. Listec is defined by its uncompromising standards and over the years has gained a reputation for innovation, the reliability of its product and ongoing commitment to its customers.
 
About Tiffen
Tiffen has been a leading manufacturer of photographic filters, lens accessories, software, and camera accessories for the consumer/professional imaging and the motion picture and broadcast television industries for over 70 years. The company has a rich history of innovative product design, superior optical consistency, and unparalleled quality. Tiffen has been recognized for its product and engineering excellence, earning two Technical Achievement Awards and a Scientific and Engineering Award from the Academy of Motion Picture Arts & Sciences, as well as multiple Emmy® Awards from the Academy of Television Arts and Sciences. Today, the company offers a wide range of products, which include: Tiffen® filters, Steadicam® camera stabilizing systems, Lowel® lights, Listec™ teleprompters, Tiffen Dfx® digital imaging software, Domke® bags, Davis & Sanford® tripods, Genustech® camera accessories, Zing® camera covers, Stroboframe® flash brackets, Saunders® professional trimmers, and Kodak Wratten® filters. Tiffen continues to enhance its reputation as a leading imaging accessory manufacturer through aggressive growth in the image-making accessory industry.
 
For more information on Tiffen, please visit: http://www.tiffen.com.
 
Tiffen is a registered trademark of The Tiffen Company. All other trademarks and products mentioned herein belong to their respective owners.
 
Press Contacts
Tiffen North America
Anya Oskolkova
Zazil Media Group
anya@zazilmediagroup.com
(p) 617.817.6559
(skype) anya.oskolkova
 
Janice Dolan
Zazil Media Group
janice@zazilmediagroup.com
(p) 617.817.6595
(skype) janicedolan
 
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Related Topics: Broadcast, Cameras, News |

Digital Nirvana Provides 2012 Corporate Social Responsibility Year-in-Review

2012 efforts focused on educating children, feeding the hungry, sheltering the homeless, and reducing domestic violence

Newark, CA – Digital Nirvana, a provider of monitoring, management and compliance systems for broadcast, cable, and satellite networks, announces details of the company’s corporate social responsibility program this year.

Vibha, a non-profit company dedicated to helping Digital Nirvana has supported domestic violence victim advocacy non-profit organization Safe Alternatives to Violent Environments (SAVE) and sponsored an international amateur online photography contest, Kalakaar 2012, to benefit impoverished children in India. The photography contest was organized by underprivileged children who Digital Nirvana has been involved with for a variety of programs. Digital Nirvana also sponsored the annual breakfast fundraiser for Abode Services, an organization that provides housing and services to homeless people and works to end the cycle of homelessness. In 2012, Digital Nirvana also helped support the Second Harvest Food Bank of Santa Clara and San Mateo Counties, Alameda County Library Foundation, child development agency Kidango and The Akshay Patra Foundation, U.S.A.

“Digital Nirvana strives to be a good Corporate Citizen and is making Corporate Social Responsibility part of its corporate culture,” said Hiren Hindocha, Co-Founder, President, and CEO of Digital Nirvana, who also serves as a board member of Abode Services. “Digital Nirvana plans to continue supporting the efforts of these non-profit organizations in 2013. Our goal is to positively impact the world, in both our community efforts, and as we continue to flourish as an innovative technology provider.”

Digital Nirvana has been working with SAVE for over five years. In 2012, the company sponsored the non-profit’s 10th Annual Breakfast Eye Opener, which brings attention to the ways domestic violence affects us all. The services provided by SAVE help to support domestic violence survivors, give them a sense of empowerment, and aid them on their journey to safety and self-sufficiency.

This year, Digital Nirvana worked with Vibha to sponsor a contest called Kalakaar – a word that translates to “artist” in Hindi. Proceeds from the international online photography competition benefitted children in need. Digital Nirvana pledged to donate one dollar for every photograph submitted, and when Kalakaar ended in mid-November, the project had raised $5,250 and gotten 13,720 ‘likes’ on Facebook. To view the winning photos from the contest, please visit: http://kalakaar.vibha.org/contest/winners.

“Providing assistance to domestic violence victims is a cause that’s close to my heart,” explained Hindocha. “An old friend of mine was a victim of domestic violence, so I’ve been personally affected by it. Services provided by SAVE and other victim advocacy organizations are critical to survivors of domestic violence. Because we feel that it’s important to have such organizations thrive, Digital Nirvana has supported various events and programs of SAVE over the past several years. Additionally, my wife, Unnati Amin, who also works at Digital Nirvana, is both a member of SAVE’s board of directors and a volunteer on their hotline.”

About Digital Nirvana

Since 1996, Digital Nirvana has been empowering customers with robust, state-of-the-art knowledge management technologies. With extensive media industry expertise, Digital Nirvana makes it possible for organizations to streamline operations and gain competitive advantage with innovative product and service offerings. The industry-leading MonitorIQ Broadcast Monitoring System from Digital Nirvana is a full-featured monitoring platform incorporating the most advanced capabilities available in an affordable, networked appliance. Digital Nirvana is headquartered in Newark, California and has operations in multiple locations globally.

Further information is available at www.digital-nirvana.com.

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