Archive for January 10th, 2013

The Super Powers of DiGiCo’s SD7T Propel Batman Live Production

A superhero and cultural icon operating out of the fictional American Gotham City, Batman is assisted by various characters including his crime-fighting partner, Robin in his continuous war on crime. Armed with a keen intellect, detective skills, technology and physical prowess coupled with an indomitable will to fight an assortment of villains from Catwoman to the Riddler, Batman is proof you don’t need superpowers to be a superhero. Adopted for the stage, Batman LIVE is a spectacular live action adventure filled with stunts, acrobatic acts and illusions. The show’s North American circuit started in the fall of 2012, following a popular and acclaimed arena tour throughout the United Kingdom, Europe, and Latin America.

A DiGiCo SD7T at FOH was chosen by the show’s sound designer Simon Baker in conjunction with Clair Global, with a D5 local rack and DiGiCo stage racks connected via 500-feet of fiber optic cable. Two Apple Mac Pro’s with internal RME MADI cards run as hot, swappable redundant show playback machines, running QLab theatre control software enabling 48 channels of playback and flexible MIDI and Timecode programming.

The FOH system handles around 140 inputs overall: 24 channels of Sennheiser RF receivers, 2 x 48 channels of MADI playback, and 16 channels of external effects, as well as 22 zoned outputs to the FOH PA comprised of eight hangs of Clair Global i3 loudspeakers (56 boxes), 12 zones of Clair FF-2 boxes for front-fills built into the stage (26 boxes), two end-fire sub-arrays of Clair BT 218′s (12 boxes) and another 30 outputs for onstage and backstage monitoring in-ear monitors and press feeds. All effects are obtained within the console with the exception of an external Mac Mini running Apple’s MainStage 2 with a RME fireface interface for all vocal effects, and a TLA Audio valve compressor sitting across the vocal subgroups. [Pictured at right: Clair systems engineer Tim Peeling, FOH engineer James Meadwell, PA's Dane Barber and Kevin Leas.]

“The QLab machines send and receive MIDI signals back to the SD7 with pre-recorded Timecode to trigger all video cues, and some of the automation sequences,” says Clair systems engineer Tim Peeling. “We also pass MIDI triggers through the console exiting the stage rack to fire a hundred or so lighting cues. The comprehensive programming options available on the SD7T for this very snapshot-hungry theatre show are extensive. The powerful matrix, including the ability to delay matrix inputs, allows me to time-align the live mics separately to the track and sound FXs within the console. Sonically, the console is great as well, but where the SD7 really wins in this situation is the flexibility of the snapshot programming.”

“The SD7 is being used in a ‘control via MIDI’ mode with each of the snapshots assigned a MIDI value,” adds FOH engineer James Meadwell, who brings extensive experience mixing shows on London’s West End theatre district. “We then configured the desk’s NEXT and PREV buttons via the SD7 Macro page to send out MIDI commands to control the QLab’s Next and Previous functions. This created a loop with the desk triggering QLab, which in turn sent a trigger back to the SD7 recalling the snapshot needed. The music for the show has all been pre-recorded and we were able to get the SD7 snapshots to be recalled at exact musical points within the show. We programmed the QLab so the SD7 ‘reacted’ to the show’s sound cues, which makes mixing the show a very intuitive and enjoyable experience!

“We also used the SD7′s macro buttons extensively,” Meadwell continues. “We created a full set of transport controls for QLab, which meant that we could control both our main and backup machines simultaneously from the surface of the SD7. This was invaluable as it effectively did away with two computer keyboards and helped when cueing up to start from different points within the show. We assigned a whole page of macro buttons to trigger spot sound effects within the show. These were for moments that varied and therefore couldn’t be programmed into a set cue list structure. We assigned a MIDI note value to each macro button, which in turn, triggered a separate cue list of sound effects within QLab. An example of this in the show is where the Scarecrow walks around the stage on giant stilts. We follow his walk playing a sound effect with every step. Every performance is different, which gives the actor the freedom to do whatever he likes. Having the macro button as a sound effect button gives me total flexibility without having to jump around the show’s main cue list. We use the Alias feature heavily as a lot of the characters double up on inputs, so the ability to switch EQ settings between snapshots was great! Overall, I’d say the SD7T is by far the best digital desk for theatre I have ever used.”

Myers Unveils New Identity

COMPANY REVEALS LOGO & BRANDING INITIATIVES

Northampton, MA – Myers Information Systems – an established and highly respected developer of broadcast traffic, business, and content management software – today announced a major initiative to refresh the company’s presence in the marketplace. “We’re beginning 2013 – the company’s 30th year in business – by streamlining our name and introducing a new brand identity,” said Crist Myers, company CEO and president.

“We’ve been just plain ‘Myers’ to our customers for some time now. The ‘Information Systems’ part is a bit outdated and limiting; ProTrack has evolved tremendously from its early program management and scheduling software roots into a far more capable and robust broadcast management system that supports the entire broadcast chain from program acquisition to reconciliation,” noted Myers. The new brand identity builds on the company’s solid foundation of long-held and practiced core values: User-centric, innovative software backed by a team of knowledgeable, friendly people. “Myers has enjoyed great success partnering with, and building solutions for public television and radio stations; that’s not changing. We developed the new look to make our brand more accessible to digital content operators in parallel markets, such as corporate, educational, faith-based and government media channels.”

The company’s existing email domain and web address, www.MyersInfoSys.com, will continue.

ProTrack, Myers’ proven flagship suite, is available in both radio and television editions. It offers comprehensive scheduling and business management for individual, multichannel and multi-station facilities. Actively used by more than 226 media outlets, supporting more than 1,300 channels, ProTrack provides a high-level of structure, scalability, and systems integration for today’s rapidly evolving media environments.

ABOUT MYERS
The Myers team has been developing broadcast management software since 1989. The Company provides technology and services for television, radio and other digital media providers designed to improve every aspect of their operations, from contracting to invoicing, media management to scheduling, and from trafficking to reconciliation. For more information, please visit: www.myersinfosys.com

###

Myers Information Systems contact: Crist Myers
+1-413-585-9820 / sales@myersinfosys.com

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

Stephen Arnold Music Recharges ‘Showbiz Tonight’ on HLN With Bold New Music

DALLAS, TX – Updating one of the top daily entertainment shows on TV can be a daunting challenge. HLN’s long-running program “Showbiz Tonight” stayed with the sonic branding of Stephen Arnold Music for their makeover, turning once again to the original music creators that helped launch the show in 2005.

The composers at Stephen Arnold Music wrote five new arrangements to match up with a fresh graphics package and set for “Showbiz Tonight”, which is hosted by A.J. Hammer, from the network’s New York City studios. Built around the memorable four-note hook that Stephen Arnold Music first wrote for the show seven years ago, the bold new package incorporates a range of dubstep, dance, electronic and indie rock themes.

“A common thread of long-running daily entertainment shows is an unforgettable melodic theme,” Stephen Arnold, President of Stephen Arnold Music says. “A strong musical signature is essential to pop-culture based programs, and the lasting power of our sonic brand for ‘Showbiz Tonight’ reflects that. The new music package builds on the original hook, evolving it within modern styles to keep it catchy and current.”

Depending on the genre, Stephen Arnold Music employed everything from filtered loops and programmed beats, to live guitars and drums to drive the energetic new themes. In addition to the primary arrangements, Stephen Arnold Music also provided HLN with a large supply of long beds, short logo stingers, and other transitional elements. Culled from moments in the longer themes, the shorter elements sync up with the “Showbiz Tonight” sonic stamp, providing the show’s producers with a flexible toolkit to match their fast-moving graphics.

The “Showbiz Tonight” update was the latest in a long string of collaborations between Stephen Arnold Music and CNN/HLN. Other recent projects that the Dallas-based music company has created for the networks includes “Jane Velez-Mitchell,” “Dr. Drew,” and “Morning Express with Robin Meade.”

For Stephen Arnold Music, recharging the sound of “Showbiz Tonight” was a welcome opportunity to go deeper with the music they make.

“A project like this gives you the chance to explore all the different angles of a sonic brand,” Chad Cook, VP/Creative Director of Stephen Arnold Music says. “These new themes are a natural progression for an established show. They provide a fresh direction, while maintaining a familiar connection with its dedicated audience.”


About Stephen Arnold Music:
As a multiple Emmy, Addy and Promax Gold award-winning music production company, Stephen Arnold Music has over 20 years of success in delivering the sounds that make a difference to networks, television stations, advertising agencies, film studios and video game companies the world over. The company’s Commanding Sonic Branding approach to music production and commitment to industry-leading service is at the core of its promise. For more information, please visit http://www.stephenarnoldmusic.com.


Web Resources:
Click here to hear the HLN’s “Showbiz Tonight” brand music package:
http://youtu.be/HmlMU2U-mV4

Click here for more info about Stephen Arnold Music:
http://www.stephenarnoldmusic.com

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Canon U.S.A. Introduces Two New Cinema Prime Lenses, Expanding the Cinema EOS Prime Lens Product Line to Five Models

LAKE SUCCESS, N.Y., January 10, 2013 – Canon U.S.A., Inc., a leader in digital imaging solutions, announces the new CN-E14mm T3.1 L F and CN-E135mm T2.2 L F single-focal-length lenses for large-format single-sensor cameras employing Super 35mm or full frame 35mm imagers. These two new lenses join with Canon’s CN-E24mm T1.5 L F, CN-E50mm T1.3 L F, and CN-E85mm T1.3 L F primes to provide a broad line of five precision-matched, competitively priced EF-mount Cinema prime lenses that provide high optical performance levels and a choice of versatile focal lengths for a wide range of creative shooting choices. All five Canon Cinema prime lenses are part of the Canon Cinema EOS System of professional digital cinematography products, which include the EOS C500 4K/2K Digital Cinema Camera, EOS C300 Digital Cinema Camera, EOS C100 Digital Video Camera and EOS-1D C 4K DSLR Cinema Camera, and four Canon Cinema zoom lenses.

“Since our introduction to the film and television production industry back in November 2011, we have brought to market five Cinema prime lenses, two top-end Cinema zoom lenses, two compact Cinema zoom lenses, and four professional digital cinematography cameras all within 18 months,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “This is a testament to the Company’s dedication to the needs of the growing and diverse universe of professionals creating 4K, 2K, and HD moving-image content for theatrical, television, and other high-resolution digital production markets. We look forward to continuing to serve these professionals with Canon Cinema EOS products designed to help them achieve their creative imperatives and commercial aspirations.”

All Canon Cinema EOS lenses integrate advanced materials and coatings to meet high optical performance levels, including 4K (4096 x 2160) production standards. Each Canon Cinema lens is equipped with an odd-numbered 11-blade aperture diaphragm, which is ideally suited to achieve creative depth-of-field manipulation and pleasing “bokeh” effects of cinematographic quality. The Canon line of five Cinema prime lenses is precision-matched for consistent and solid optical performance that minimizes focus-induced changes in the angle of view. All feature a full-frame image circle in a lightweight, compact design, and they incorporate proven Canon lens elements designed to fulfill contemporary 4K production standards. All five primes also deliver color tone and balance that matches Canon’s top-end Cinema zooms and compact Cinema zooms. Canon Cinema prime lenses are also water-resistant for severe shooting conditions and deliver the operation and reliability required in professional film-style shooting environments.

All five Canon Cinema primes feature mechanical attributes specifically designed for motion-picture production, as opposed to still photography. These strategically integrated film-style characteristics include 300 degree rotation on the focus ring for precision focus control as well as large, highly visible engraved focus scales for convenient operation. These markings appear on the angled surfaces on both sides of the barrel, making them easy to both read and to adjust the stepless focus and/or aperture settings of the lenses from behind – or from either side – of the camera. Focus markings can be switched from standard labeling to metric, and control rings are engineered to maintain the proper amount of resistance with consistent operating torque and familiar tactile “feedback” for satisfying manual control. All Canon Cinema prime lenses also share the same uniform gear positions, diameters, and rotation angles, as well as front-lens diameters, making them compatible with matte boxes, follow focus gear, marking disks, and other third-party film-industry-standard accessories. Film crews can quickly change lenses without the need for accessory gear-position adjustments or other changes to the rig setup.

The new Canon CN-E14mm T3.1 and CN-E135mm T2.2 Cinema prime lenses – as well as the Canon
CN-E24mm T1.5, CN-E50mm T1.3, and CN-E85mm T1.3 primes – are fully compatible with the Canon EOS C500, EOS C300, EOS C100 and EOS-1D C digital cinema cameras. The EF-mount design of all five Canon Cinema prime lenses provides communication with these cameras for such handy features as display of the f number in the electronic viewfinder, recording of focus/zoom position and f number, and Peripheral Light Compensation for more pleasing effects shots.

The versatility of image-capture options using Canon EOS digital cinema cameras can be further extended with Canon’s Super35mm top-end Cinema zoom lenses (the CN-E14.5-60mm T2.6 wide-angle and the CN-E30-300mm T2.95-3.7 telephoto) and compact Cinema zooms (the CN-E15.5-47mm T2.8 wide-angle and CN-E30-105mm T2.8 telephoto). All four are available in both EF- and PL-mount versions, as are the EOS C500 and EOS C300 cameras. Almost all of Canon’s EF Series photographic lenses can also be used with these Cinema EOS cameras, including Image Stabilized zooms, tilt-shift models, and macro lenses. All of these products are designed to contribute to the continued advancement of tools for visual storytelling and all express Canon’s continuing commitment to cinematic culture.

Pricing and Availability
The CN-E14mm T3.1 L F single-focal-length lens is expected to be available in April 2013 for an estimated retail price of $5,500. The CN-E135mm T2.2 L F single-focal-length lens is expected to be available in May 2013 for an estimated retail price of $5,200.

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.

Prices, specifications and availability are subject to change without notice.

i The Peripheral Light Compensation Function will be available in 2013 and will require firmware upgrade for compatible cameras.

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Clay Paky Sharpy Fixtures Help Fans Get Blown Away on Carrie Underwood’s World Tour

Country music superstar Carrie Underwood continues her “Blown Away” Tour with a large inventory of Clay Paky Sharpy fixtures on hand to accent the video components of the show. The singer’s first worldwide tour is in support of her fourth album, “Blown Away.” Bandit Lites supplied the fixtures for the tour.

Lighting designer Peter Morse of Peter Morse Productions in South Lake Tahoe, California, based his lighting scheme around three extremely large, trapezoid-shaped, moving LED panels, which posed dynamic weight, power, and sight-line challenges. A tilting projection floor added to the task, “necessitating a ‘surgical’ application to lighting design and programming to avoid washing out all the projected images,” Morse reports. He decided to hang the trussing in a way to complement and amplify the angles created by the trapezoid-shaped moving LED walls.

Lighting programmer Brian Jenkins notes that, “we were crunched on programming time for starters and then there were complications with the overall size of the rig when we hit rehearsals. Thankfully, within a five-day span of programming, we didn’t have to worry about the Sharpy fixtures. Yoked out, on extreme angles, upside down, right side up – they’re an absolute work horse, the one fixture in the rig we didn’t worry about. Everyone sees Clay Paky’s engineering and reliability in their products. It’s about time someone set the bar higher in our industry.”

Morse opted to use the Sharpys for “visual amplification of various musical punctuation in an attempt to draw the eyes of the audience to the artist or other areas of importance” from which the extensive LED video imagery may have distracted them. “The Sharpy fixtures were positioned to accentuate the angular look of the scenery and LED panels,” he explains.

The Sharpys are performing “flawlessly,” according to Morse, who calls them “fast, bright and amazingly competitive against the otherwise overwhelming output of the LED walls.”

The Blown Away Tour has been “lots of fun,” he says. “A great artist, great music, fabulous visuals – it’s a large and physically complex show with a look you won’t see anywhere else.”

A.C.T Lighting is the North American distributor for Clay Paky.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, adds, “I’m proud to see the Sharpys on such a high profile tour and glad that Brian and Peter are getting the most out of them.”

About Clay Paky
Headquartered in Seriate (Bergamo), Italy, Clay Paky SPA has a history of designing and manufacturing innovative professional show lighting. The company was founded in 1976 by entrepreneur Pasquale Quadri who anticipated the enormous impact the evolution of technology would have on the show and entertainment worlds.

For more information on Clay Paky products, please contact:
Francesco Romagnoli francesco@claypaky.it
Davide Barbetta webmaster@claypaky.it

dnp enters LCD market with new bezel-buster

Integrated Systems Europe 2013, Amsterdam, January 29-31: Projection screen specialist dnp denmark enters the market for LCD panels by introducing InvisiBezel – an optical LCD panel cover that reduces bezels in multi-screen displays to 1mm.

The visible gap between neighbouring LCD panels is a classic problem with multi-screen displays. Even with so-called “super-narrow bezel” panels, the gap between the screens is usually around 5mm.

Says dnp Global Sales & Marketing Manager, Søren Kraemmergaard: “For more than 20 years we have used optical screen technology to boost the quality of projected images. Now we are using our optical know-how to give LCD multi-screen images a facelift.”

InvisiBezel is an optical front cover that can be mounted on top of standard “super narrow-bezel” LCD panels. The edges consist of prisms that optically stretch the pixels at the edge of the LCD panel in such a way as to conceal the bezel. The result is a near-seamless viewing experience. As a positive side-effect, it also protects the panels from scratches.

“The key market for the new product is public display/digital signage and corporate/exhibition. We are currently looking for partners who sell and service LCD panels, and who are interested in a dealership,” says Søren Kraemmergaard.

The InvisiBezel LCD panel cover will be on display at stand:
8-F230 where dnp denmark will be showing a 2 x 2 display of 46” LCD panels.

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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