Archive for December 3rd, 2012

Danish Film Institute Taps Front Porch Digital to Preserve Country’s Film Heritage

SAMMA(R) and DIVArchive(R) Technologies Will Help Denmark’s National Film Archive Migrate and Maintain Open-Source Library

ANNECY, France — Dec. 3, 2012 — Front Porch Digital, the global leader in content storage management (CSM) solutions, today announced that the Danish Film Institute (DFI) has purchased a SAMMAsolo G4 HD single-stream migration solution, a DIVArchive(R) V7.0 CSM system, and a DIVAdirector(R) media asset management (MAM) system for digitizing, archiving, preserving, and managing its legacy video archive. Copenhagen-based DFI is the national institution responsible for preserving Denmark’s film heritage.

“The fact that Danish cinemas now work with digital files rather than 35mm films, coupled with the government mandate for producers to deposit their work at DFI for preservation, meant our servers filled up quickly, so we needed an immediate solution to handle our increasing amount of digital material,” said Jacob Trock, head of the DFI archive. “We invested in a smaller SAMMA and DIVArchive solution that would allow us to get started in proper digital archiving and expand easily as we are able. DIVArchive and DIVAdirector give us a complete professional, integrated archiving solution and a platform for easy access to holdings within our organization.”

DFI is in the midst of integrating its SAMMAsolo unit into its preservation workflow. Ultimately, DFI will rely on SAMMA’s encoding architecture and integrated quality-control reporting capabilities to ensure optimal encoding as videotapes are ingested. DFI is using SAMMA(R) to upscale SD video to HD files for distribution in digital cinema packages, and testing has gone well.

DIVArchive V7.0, which DFI is in the late phase of testing, features Front Porch Digital’s new open Archive eXchange Format (AXF) technology, which will help DFI to fulfill its mandate for optimal, reliant, and efficient open-standard archiving in accordance with OAIS rules. DFI’s DIVArchive will house all of the institution’s legacy video masters, trailers, digital cinema packages, distribution masters, and audio files, as well as all documentaries, short films, and feature films that are delivered to the DFI film archive for preservation. DFI has archived more than 3,000 items totaling more than 60 TB of data within the first six months of using the system.

DIVArchive uses LTO technology, which provides a more affordable storage solution than spinning servers without compromising reliability. DIVArchive allows DFI to have its entire archive in near-line storage, reducing the need for further investment in larger servers. DIVArchive also gives DFI an easy way to ingest files from outsourced, large-scale digitization projects with minimal effort — a time-saving benefit that cuts down on labor costs. Internal DFI users access files through the DIVAdirector MAM system.

“Archiving into DIVArchive has now been integrated into our workflow when handling files, and the great advantage is that people in-house can serve themselves,” said Trock. “For example, DIVAdirector gives our festival promoters easy access to trailers and electronic press kits. At the same time, we can control and limit that access so that the promoters can get only what they need without risking loss of any other data.”

“Front Porch Digital products are making it possible for DFI to sustain a broad migrate-and-manage workflow, and as one of the early adopters of AXF, DFI will be able to ensure its archive easily serves its stakeholders for generations to come,” said Rino Petricola, SVP and managing director of Front Porch Digital International. “DIVArchive is designed specifically to handle video files and the management challenges that come with them, so it is especially well-suited to DFI’s stringent requirements for maintaining Denmark’s national video heritage.”

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

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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 1: www.wallstcom.com/FrontPorch/SAMMAsoloscreen.zip
Photo Caption: DFI is integrating SAMMAsolo into its preservation workflow

Photo Link 2: www.wallstcom.com/FrontPorch/MarianneJerris.zip
Photo Caption: Marianne Jerris, print manager at the DFI Filmarchive

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Calrec Promotes Letson to Lead Operations in Americas

HEBDEN BRIDGE, U.K. — Nov. 30, 2012 — In a move that reflects its strong and expanding presence in the United States, Calrec has promoted Dave Letson to director of sales for Calrec America. In his new position, Letson will lead Calrec’s operations in the United States, Canada, and Latin America.

Letson has a long history with Calrec dating back to 2001. Letson initially joined Calrec as U.K. regional sales manager and later took on Europe and the Middle East. In 2011 he became a regional director of sales for the Western United States and South America. In this role, he oversaw the establishment of Calrec’s new West Coast office. Letson has also worked in the intercom market, and he brings a wealth of experience in broadcast and mixing console sales to his new role, which makes him the ideal person for the position. Letson will continue to strengthen Calrec’s strong presence in the United States.

“Calrec has enjoyed great success in the U.S. broadcast market, where our consoles have become more and more popular, thanks to their rock-solid performance, flexibility, and ease of use,” said Letson. “This is an exciting time for Calrec in America. I’m looking forward to digging in with my colleagues to build on our success.”

Letson will report to Henry Goodman, Calrec’s head of sales and marketing.

In fall 2012, Calrec opened an office in Santa Clarita, Calif., to support customers in the Western, Southeastern, and South Central United States and Western Canada.

# # #

About Calrec Audio Ltd.
Calrec Audio, part of D&M Holdings Inc., is exclusively dedicated to excellence in audio mixing for on-air and live production. A broadcast specialist for more than 40 years, Calrec has developed a range of digital consoles relied on by the world’s most successful broadcasters. For putting sound in the picture, broadcasters put their trust in Calrec. More information is available at www.calrec.com and www.community.calrec.com.

Photo Link: www.wallstcom.com/Calrec/DaveLetson.zip

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The Finest Tool in the Shed: How Will Putney Mixed a Number One Record Entirely on Sennheiser Open-Aire Headphones

Underground metal band The Amity Affliction has officially made a name for itself in its native Australia, where the band’s third album, Chasing Ghosts, was released on September 7th of this year and subsequently raced up the charts to capture the number one position. NJ-based producer Will Putney, who was recruited by the band to mix the album in a time crunch, mixed and mastered the entire album on a pair of Sennheiser HD 600 Open-Aire headphones in his bedroom. By the time he was able to listen to the album on a pair of monitors in a traditional studio, the album had already been pressed and was on its way to reaching number one on the Aria Charts in Australia.

Putney, who works out of The Machine Shop studio based in Belleville, NJ, was already mixing another record at an L.A. studio when The Amity Affliction inquired, asking whether he could mix their new record. Putney already had his days fully booked at the studio, but didn’t want to turn down the gig. Thankfully, he had access to a remote mixing rig and a pair of Sennheiser HD 600 headphones, and was enthusiastic about mixing the record over several late nights in the bedroom where he was staying. Putney explains:

How did you come across the Sennheiser HD 600s?
I have been using the HD 600s as a mix reference for a long time. I had been using these headphones more than usual because at the time I was between rooms and finishing construction on my mix room. That said, I’ve always had the sense to check my mixes on real monitors, and as a result have become more acutely aware of what to look out for in how things translate. But for this record, I never even wound up hearing it on speakers until well after the fact.

Did mixing on headphones give you any advantages?
Yes. This album was pretty synth heavy, so I was able to hear all the waveform decays, effects and sonic placements more accurately than I would have if I had been mixing on traditional monitors. Also, if something was too bright inside the headphones, I was able to spot this much earlier and either fix it in the mix or get rid of it entirely.

From an end-user perspective, I think people tend listen to music either on laptop speakers and headphones — even more so headphones. I mean, just sitting on a train going into New York, everyone has an iPod with a pair of headphones on. When I am sending out mixes to bands that are on tour, nine times out of ten they are evaluating their own mixes on a pair of headphones — and it is their own art. So if artists are making their decisions on how things sound on headphones, maybe I should be listening to my mixes on headphones more, too.

How do you choose a pair of headphones for mixing?
I think one of the most important things for me is how the sound translates in different listening environments. One of the reasons Sennheiser is so popular that if it sounds good on these headphones, it probably sounds good just about everywhere else. With many other fashionable headphones, it can be very deceiving as to what you are listening to. Without mentioning brand names, I purchased a pair of non-Sennheiser headphones I thought I would be able to mix on and it just sounded wrong in my car, on a stereo and everywhere else I heard it. I was drawn to Sennheiser’s Open-Aire design because I knew I would be getting a more realistic texture across the board. With my HD 600s, I know I can get a mix that will work everywhere.

How do the HD 600s perform?
The HD 600s have a pretty flat frequency response across the board, with a clear low-mid picture that is not overly exaggerated. It is clear enough that I can hear where my kick drum sits and where the bass is in relation to that. It also has the high end, but it is not painfully high — so I can listen to them for extended periods of time without enduring unnecessary ear fatigue. With other headphones, ear fatigue seems to kick in much faster, perhaps from overly exaggerated frequency response curves and because they are not as comfortable.

Were you surprised when the The Amity Affliction record topped the charts?
Definitely. I knew it was going to be a big record in Australia, but I think a number one was probably a big surprise to a lot of people. It was a big win for the underground! From a working perspective, these guys always knew what they wanted. They are a very hard working band and cared a lot about how the record was going to sound. For me, the Sennheiser HD 600s were a critical tool in getting the job done and I am glad that in the end everyone was ultimately happy with the record.

What other tools did you use besides the HD 600s?
I work on an Apple Intel PowerMac, in kind of a hybrid analog/digital mix set up. I have a floating mix rig in a giant rack, which contains all my compressors and EQs. I mix in the box in Logic Pro, then go out to my rack of analog stuff and then bring it back into Logic. I use MOTU 2408 and 24 I/O interfaces and an Alan Smart CS2 compressor for my mixes. I also have other tools you might expect, such as Empirical Labs Distressors, Universal Audio LA3As and others. In Logic, I use Waves and Sony Oxford plug-ins, well as some of the native software instruments in Logic.

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Scion Expands “What Moves You” Brand Campaign with “Motivate” Program Driven by Cross-Media Creative Elements from ATTIK

Motivate Offers Self-Starters Chances to Win Funds, Mentors and Vehicles

SAN FRANCISCO – Dec. 3, 2012 – As the newest facet of its “What Moves You” brand campaign, Scion has launched a new program entitled Motivate that presents young self-starters in the creative arts community with opportunities to achieve their dreams by winning personal business mentors, up to $10,000 and Scion vehicles. Full contest rules and details are now available at www.scion.com/motivate.

The evolving brand campaign debuted in late September. Since then, custom “Motivate” versions of Scion’s cross-media campaign elements from global creative agency ATTIK have debuted in targeted television and cable outlets, while the print and online assets including Scion’s new Motivate section on its website feature original illustrations that present different visions of entrepreneurship from the creative arts community. By reflecting Scion’s support of this realm in a way that is artistically grounded, the approach aims to add new dimensions to the unique Scion Story.

“Scion has been helping people follow their dreams for nearly ten years,” begins the copy from the new “Motivate” :30 TV spot. “If you’ve already started turning your passion into your profession, we can help you take it to the next level.” Standing firmly on the positioning that has guided Scion since its official launch in 2003, the announcer concludes by saying, “It’s what’s inside that moves us. What moves you?”

“Ten years ago, the forward-looking people behind Scion set out to offer quality vehicles that allow drivers to express their personalities and lifestyles while also being affordable, and they also made real commitments to fostering and supporting people who follow their passions,” said Simon Needham, ATTIK’s co-founder and executive creative director, who has also directed most of the Scion TV and cinema spots over the years, including the newest ones.

Through their close working relationship with Scion’s executives, ATTIK’s creative and account teams know that the recent introductions of the FR-S sports car and the premium micro-subcompact iQ have expanded the brand’s target audience, and they also realize that many people are not aware of everything Scion does to support emerging talents. These insights set the stage for the “What Moves You” campaign to engage the brand’s audience more deeply within its unique offerings.

“Supporting emerging artists is a Scion cornerstone,” said Scion’s national marketing and communications manager Owen Peacock. “Since launching, Scion has had an affinity for the creative arts that has resulted in helping more than 1,700 artists follow their passions. Our new program is an exciting way of ensuring our unique passion and business approaches continue to shine through with the next generation of self-starters.”

Also speaking of Motivate, Scion vice president Doug Murtha added, “Scion’s customers have long been among the youngest in the industry, but many are also characteristically self-starters with strong interest in pursuing their passions. Drawing on the unique strengths of our creative communities and Scion’s commitment to the arts, we designed a powerful way to support young entrepreneurs in pursuing their dreams. We hope to inspire young leaders to seize the day and succeed.”

For ATTIK, along with Simon Needham, credits go to creative director Ron Lim, interactive creative director Jacob Ford, senior copywriter Mike Brenner, senior art director Greg Coffin, senior art director David Ziganay, account director Michelle O’Hea, director of broadcast Patty Lum, and planning director Tonia Lowe, among many others.

The work of illustrator Sarah J. Coleman is featured in the campaign’s print and online elements. For the broadcast spots produced through Blueyed Pictures, production credits include executive producer Jamee Natella, line producer Jon Goldberg, and director of photography Damian Acevedo. The spots’ graphics and visual effects are courtesy of executive producer John Denis, producer Francine Marchetti and VFX supervisor Aaron Powell of Pixomondo, and telecine was handled by Clark Muller of Incendio. Music from Scion-supported band Static Revenger appears in the spot, and post audio credit also goes to Jason Harcharic of Beyond Marketing Group. Full campaign credits are available upon request.

About ATTIK
ATTIK (www.attik.com), part of the Dentsu Network, is a global creative agency focused on developing integrated advertising, digital and branded experiences. Specifically, the agency’s expertise in strategic planning, design, advertising, production, client service and research has driven extraordinary success across most consumer product and service categories. Articulating corporate brand strategy and designing creative solutions for advertising, below-the-line and online media, ATTIK ensures target audiences are vitally connected to client brands. For inquiries, please call Ric Peralta (Ric@attik.com) at +1-415-284-2600.

About Scion
Scion, from Toyota Motor Sales (TMS), U.S.A., Inc., was developed with a new generation of youthful buyers in mind. Scion’s mission is to provide distinctive products, the opportunity to personalize, and an innovative, consumer-driven process at the retail level. The brand features five groundbreaking models with a wide array of standard features: the xD urban subcompact five-door, the iconic xB urban utility vehicle, the tC sports coupe, the premium micro-subcompact iQ and the FR-S rear-wheel drive sports car. The Scion brand often applies new practices in all aspects of its business and pushes the creativity envelope with non-traditional advertising and marketing to engage young consumers. Scion also supports originality through its programs in the artistic community. For more information, visit www.scion.com.

Zero-G Urban Definition now available at SoundsOnline.com

Urban Definition – over 3 GB of ultramodern Hip Hop and R&B content

Hollywood, CA (December 3, 2012) – Zero-G and Xfonic, the makers of the best-selling Urban Ammunition, present Urban Definition, another massive, deluxe-quality sample library which fits every urban producer’s requirements.

Urban Definition features an impressive number of urban construction kits, drum loops and hits. With over 3000 samples at your disposal, Urban Definition will always provide the discerning producer with bucket-loads of inspiration. All the samples are recorded in pristine 24bit and mastered to perfection using state of the art production techniques. Inspired composition, cutting edge programming and loads of live instrumentation – this collection is all that you will need to produce your next hit tracks in genres from Hip Hop, R&B and gangsta rap to Modern Pop, Urban Dance and more.

The material includes 48 full construction kits and over 800 loops. There are also 250 drumloops, 1550 single hits as well as over 50 multi-sampled synth instruments specifically created for use in urban tracks. This huge pack offers all you need to produce like the hottest urban producers in the ranks of Timbaland, Dr. Dre, Kanye West and Will.i.am.

This fantastic library comes as a dual layer DVD set from Zero-G in the following formats that will suit every music producer. Formats supported include:
• Acid™WAV
• AIFF Apple Loops
• Stylus Compatible Rex2 files
• EXS24 Instruments
• Kontakt Instruments
• Reason NN-XT Instruments

Features:

• 3.1Gb of sounds in each format
• 3100 Acidized WAV files
• 3100 AIFF files
• 700 Stylus Compatible Rex2 files
• 150 EXS24 Instruments
• 150 Kontakt Instruments
• 150 NN-XT Instruments
• 48 Full Construction Kits
• 250 additional drumloops
• 1500 additional single drum hits
• Drum Loops
• Bass Loops
• Piano Loops
• String Loops
• Flute Loops
• Guitar loops
• Synths
• FX and more…

Pricing & Availability
Retail Price: US $115.95
For full product info including demo songs visit the Urban Definition webpage on the SoundsOnline.com website at: http://www.soundsonline.com/Urban-Definition
Catalog (SKU) number: ZG186

About Sounds Online
Based in Hollywood, USA, SoundsOnline.com (soundsonline.com), is a wholly owned division of EastWest, and the #1 online source for professional sounds and virtual instruments. Based in Amsterdam, SoundsOnline-Europe (soundsonline-europe.com) distributes EastWest/Quantum Leap products in Europe.

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Bexel Hits Hole-in-One For PGA Grand Slam of Golf in Bermuda

Bexel Provides Portable Solutions, Fiber and Engineering Support to Remote Setting for Sixth Consecutive Year

SOUTHAMPTON, BERMUDA, DECEMBER 3, 2012Bexel, a unit of the Vitec Group’s Services Division and a leading worldwide provider of broadcast services and solutions, was on site at the 2012 PGA Grand Slam of Golf for the sixth consecutive year, providing engineering support, portable solutions and fiber for the renowned tournament. Bexel set up the event’s broadcast facility, including the company’s customizable Hercules Flypack, to help meet the competition’s complex, remote production requirements in Southampton, Bermuda.

“We look forward to this event each year, as it is a challenging event in terms of logistics, and yet it all comes together beautifully,” says Johnny Pastor, director, Bexel. “Our expertise really came into play this year, as the island just missed Hurricane Rafael before the start of the event. It caused delays in getting to Bermuda for the event, but once on the ground, our team of experts was able to set up for it swiftly.”

Included in the Hercules Flypack this year was the Sony MVS-7000X 4 M/E multi-format digital 3G production switcher; EVS XT3 six-channel production servers; a custom production monitor wall with up to 224 virtual displays utilizing Evertz multi-image display processors; an Evertz EMR multi-format video router—160×288 with 11 XLink™ video display processors; an Evertz audio router—576×576 AES, 96×96 analog audio, 20 MADI ports; and a mix of Sony and Panasonic multi-format HD VTRs. Fourteen Sony HDC-2500 camera systems were utilized, as well as two Calrec Artemis Beam digital audio consoles with Bluefin 2 high-density signal processing, 48 multi-layer faders and the Calrec Hydra2 I/O network.

In addition, the Grand Slam announce booth was based around a Calrec Hydra2 32×32 analog I/O box—using Calrec 32×32 Edac analog I/O. The box was interconnected to the main console with single-mode fiber, and all microphone, talkback, IFB and four-wire signals were distributed to the booth via the Calrec Hydra2 I/O.

Two fiber engineers were on site, charged with handling the extensive fiber optic specifications for the event. The infrastructure included 15,000 feet of tactical fiber cable for RF camera antennas, 32,000 feet of tactical fiber cable for Telecast HDX camera SMPTE eliminators and 47,000 feet of SMPTE fiber camera cable.

“Whether it was developing a state-of-the-art, network-level production facility overnight or implementing a fiber infrastructure, Bexel’s Hercules Flypack and our team of eight engineering professionals proved yet again to be a winning combination for this year’s championship,” concludes Pastor.

Established in 1979, the PGA Grand Slam of Golf is a 36-hole tournament that matches the current winners of golf’s four major championships—The Masters, US Open, British Open and PGA Championship. This season-ending event was televised October 22 to 24.

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.

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Etabeta Selects Clear-Com for Its FlexiVan OB Project

ROME, 3 DECEMBER 2012 – Clear-Com®, a global leader in critical voice communication systems, is pleased to announce that Etabeta, the Rome-based outside broadcasting (OB) division of Italy’s Gruppo Comunicazione Italia, has selected its Eclipse-Omega digital matrix intercom for the Etabeta FlexiVan OB vehicle. The Eclipse matrix system and V-Series intercom panels will be used to coordinate complex broadcast productions, including sports, talk shows and conventions. The installation was specified and facilitated by Video Progetti, Clear-Com’s broadcast distributor in Italy.

As a leading production company for more than 25 years, Etabeta has created some of the most technically advanced television programs for such top networks as RAI and Mediaset. As part of its commitment to providing quality productions to the global market, Etabeta develops programs of almost every style. Its latest OB vehicle, FlexiVan, serves as a broadcast production hub and connects multiple broadcasters’ OB vans. FlexiVan also comes with a full ENG crew to accommodate events of any size at any location in the world.

The 240-port Eclipse-Omega system is the communications backbone of the FlexiVan operations, allowing tight collaboration among engineers and studio staff to efficiently manage all production activities. Eclipse seamlessly interfaces with third-party systems as well as telephone lines to provide more user connections. The advanced V-Series key-panels are used among operators for fast audio routing, and offer sophisticated features, such as 10-character OLED display labels and a ‘Listen Again’ digital memory replay. Moreover, any system changes can be quickly achieved through the Eclipse Configuration Software (ECS) so that the FlexiVan team can easily adapt to last-minute production changes.

“Due to the many requirements of the FlexiVan, we carefully evaluated all possible intercom solutions on the market,” says Rosario Messina, OB Van Engineering Manager, Etabeta. “We found that the Clear-Com product line meshes perfectly with our needs for flexibility since it offered several communication paths, intelligent integration with other systems and scalability for each production. Also, because of Etabeta and Video Progetti’s long-running relationship with Clear-Com, we know the company provides high-quality products as well as excellent customer support.”

“The Eclipse-Omega digital intercom system with V-Series panels is the perfect system for a busy broadcaster like Etabeta,” says Karlie Miles, Director of EMEA Sales, Clear-Com. “Broadcast production teams do not necessarily know what new demands are around the corner, but Clear-Com’s intercom solution gives them the ability to adjust to and fulfill the demands of any production. We are thrilled that Etabeta has entrusted Clear-Com to handle communications for its FlexiVan OB vehicle, and we’re excited to continue helping the company far into the future.”

About Clear-Com
Clear-Com®, an HME company, is the global market leader in critical voice communications systems for professional productions. Since 1968, Clear-Com developed and marketed a comprehensive range of analog, digital and IP-based wired and wireless intercom technologies for party-line and point-to-point communications. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communication solutions. More information about Clear-Com can be found at www.clearcom.com.

Sonixphere Connects INNOCEAN’s Body of Work with Cutting Edge Tracks

Sonixphere, a global resource for everything connected to music and sound, was tapped by INNOCEAN USA Executive Creative Director Greg Braun to create the soundtrack for the agency’s high velocity, 360 branding video to be featured on the agency’s newly updated website. more

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XL Video for Killers’ Battle Born Tour

XL Video is supplying LED screen, custom scenic video elements, cameras / PPU and crew for the new Killers ‘Battle Born’ tour which has just kicked off in the UK following the release of the band’s fourth and eagerly anticipated studio album in September.
Video was specified by lighting, set and visuals designer Steven Douglas, known for his innovative and original approach. It renews a positive and long-term working relationship between XL Video and the band, and follows XL’s supply of video specials for festival headliners and own shows throughout the summer. XL’s project managers are Jo Beirne and Phil Mercer.

Douglas’s starting point for the tour design was that the band wanted the stage to have a generally more raw and stark look and feel than in the past. He also wanted the video to be different, distinctive and edgy, toned with subtlety and suggestion yet high impact.
A large part of this aura is created by thoughtful use and clever content.
This has been created by a combination of Douglas and LA based video artist Chris Callister, with Tim Burton’s seminal music video for ‘Bones’ playing out to a stomping rendition of the song.
The upstage screen is Pixled F15. The bottom ground stacked section is 48 ft wide by 6 ft high and the top flown section is 15 ft by 48 ft. Douglas used F30 for the summer shows which proved very reliable, and decided to step up the definition to F15 for the tour.
Sometimes the screen simply disappears into the background. At others, it brings a completely three-dimensional depth to the performance space or a challenging moody ambience.
In addition to the screen – which splits in half horizontally with the top section flying out to reveal a wall of moving lights behind – the design’s videology incorporates some set elements.
The main band riser fronts are covered in 618 blocks of 10mm Barco O-Lite from XL – an idea first tried out in the summer.
Eight downstage d&b M2 wedge covers have been populated with Pixled F11 video panels, which are rotated 90 degrees for a good fit.
Wedges have been utilised as visual props on Killers shows for some time, and cladding them in video was a new evolution of the trend.
The surface needed to be extremely hard-wearing as the band frequently jump and stand on the monitors during their highly energetic set, and F-11 was selected as the highest resolution product that would fit the monitors without making them unwieldy and impractical to tour. It also offers a contrasting look to the other video surfaces.
The camera feeds come from six static ‘lipstick’ units and four robo-cams dotted all around the stage. The mix is cut by XL’s Chris Isaacson using a Grass Valley Kayak switcher, and he also operates the four robo cams – working closely with Douglas. They are using a Thundering Jacks Video Dust system to add some effects.
The grainy, dirty camera aesthetic is used sparingly, probably for around a third of the show, and is exciting as well as the complete antithesis of a standard IMAG mix.
Content is stored on and played back from an ArKaos media server running the latest Media Master software, supplied by ChristieLites and looked after by FOH/Media Server tech Mike Kapler, a long standing Killers crew member. All the camera feeds are also formatted and output to the various screens via the ArKaos, which is triggered from Douglas’s grandMA2 light console, also controlling the lighting rig and nine lasers.
Joining Isaacson on the XL crew are engineer Oliver Derynck and LED techs Tim Bolland and Connor Canwell.
Douglas has worked with XL Video many times over the years, “I have a fantastic relationship with Jo, Phil and all the crew,” he concludes.

Foley Artist John Roesch to Receive MPSE Career Achievement Award

Los Angeles—The Motion Picture Sound Editors (MPSE) today announces that veteran Foley artist John Roesch will be the recipient of its 2013 Career Achievement Award to be presented at the 60th MPSE Golden Reel Awards on February 17, 2013 in Los Angeles. Roesch has contributed to more than 400 films in an illustrious career spanning more than three decades. His credits include this past summer’s blockbuster The Dark Knight Rises as well as its predecessor The Dark Knight, all three films in the Matrix trilogy and Inception.

“John Roesch is an outstanding craftsman,” said MPSE president Bobbi Banks. “As a Foley artist, John’s art is so subtle that movie-goers may not recognize it, and yet it is an essential element in creating the environment, atmosphere and mood of films. Even after 30 years, he continues to innovate and push the boundaries of his craft. The MPSE takes great pride in saluting his work and career.” Roesch is the first Foley artist to receive the MPSE Career Achievement Award. more

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