Archive for January 28th, 2013

Atomic Fiction Takes Flight with Shotgun Software

Los Angeles, CA – Visual effects and animation studio Atomic Fiction was recently nominated for a Visual Effects Society (VES) Award for their work on the crash sequence in Robert Zemeckis’ aviation drama Flight and it was Shotgun Software‘s Shotgun production management tool that kept the project organized. An agile, mid-size studio, Atomic Fiction strives to equip its artists with the best technology tools and Shotgun has been an integral part of that toolset since the studio launched in 2010.

“For our pipeline, we took the best of what we knew and then customized the implementation of those tools,” said Kevin Baillie, Atomic Fiction Co-Founder and VFX Supervisor. “Shotgun is simply the best off-the-shelf production management solution available. It’s web-based and we use the cloud quite heavily, and it made sense to use from a recruiting standpoint as nearly everyone is familiar with the system.”

From the outset, Atomic Fiction has relied heavily on cloud computing and Shotgun’s SaaS model plays nicely into that. Taking advantage of cloud computing for rendering, Atomic Fiction is able to expand quickly on demand while avoiding the costs of constructing and maintaining a large data center. Leveraging the cost efficiencies of rendering in the cloud along with the workflow efficiencies of Shotgun, a modest team of 35 was able to create 400 stunning VFX shots as the sole vendor for Flight.

“For Flight, the client relied on us to provide simplified reports that gave a snapshot of our status each week,” Baillie explained. “Shotgun enables us to export whatever info we need – such as shot name, description, length, status, etc. – either as a Shotgun report, or into a clean Excel spread sheet. It makes our lives a lot easier and eliminates room for interpretation or confusion.”

In addition to handling all the VFX work for Flight, recent projects from Atomic Fiction include creating digital facial replacements for Underworld: Awakening, digital facial prosthetics for “Boardwalk Empire,” sci-fi CG backgrounds for Looper and video game cinematics. Currently, the studio is wrapping up VFX work for a highly anticipated blockbuster with a slated summer release.

“With Shotgun, our productions are never out of sync with reality and there is one place for all the shared info,” Baillie said. “We can even populate our other pipeline tools using Shotgun’s API and pull data for artists working on shots. You can really tell there was a lot of thought put into the way Shotgun functions and anyone who produces content can benefit from that without having to invest hours and hours of proprietary R&D—which is what would have been required to have this level of built-in production management without access to Shotgun.”

“Atomic Fiction is really pioneering use of the cloud to make the entire VFX business model more sustainable, and we’re proud their use of Shotgun helps contribute to their success,” noted Don Parker, CEO of Shotgun.

Other tools used in addition to Shotgun include Autodesk Maya for modeling and animation, Autodesk 3ds Max and Luxology’s Modo for modeling, Chaos Group’s V-Ray for rendering, The Foundry’s NUKE for compositing and Tweak’s RV Software for playback. For more information about Atomic Fiction, please visit www.atomicfiction.com

About Shotgun Software
Shotgun Software was founded in 2006 by a group of visual effects professionals to build production tracking and pipeline solutions. The founding members worked together on a major studio animated feature and are developing Shotgun to fill the mounting industry need for a commercially viable system for managing complex projects spread across multiple locations. Shotgun is actively developing the system with more than 300 industry studios including Digital Domain, Double Negative, Reliance, Framestore, Pixomondo, Playstation, Blizzard and Zoic Studios. For more information and an online demonstration visit http://www.shotgunsoftware.com

Image of Atomic Fiction producer Dale Taylor using Shotgun.

MPC NY Inks Head of Production, Head of Color

Visit MPC
View Media

MPC reinforces both its VFX capabilities and recently launched NY-based color grading team with the addition of Camila De Biaggi as co-head of production alongside Derek Macleod-Veilleux, and Claudia Guevara as head of color. Both women join MPC from The Mill. The announcement follows the recent addition of industry pioneer Adrian Seery as the studio’s first colorist in New York and the promotion of Ed Koenig to U.S. EP of color grading.

“Camila and Claudia are outstanding additions to the talent we’ve already planted at MPC,” noted MPC NY MD Justin Lane. “Camila can handle the most minor details in bringing visions to life and has a great reputation as one of the top VFX producers. Claudia’s color expertise has made her one of the most trusted names in the industry. We are very pleased to have both of them here.”

De Biaggi, who has teamed up with directors Simon McQuoid, Victor Garcia, Andy Fogwill, Marco Brambilla, Peter Thwaites, and Jim Jenkins, brings an unrivaled portfolio with work paralleling her 2012 VES-nominated Rock Giant spot for Johnnie Walker.

Guevara has overseen grading work in spots for Axe, Hennessy, Fiat, Jordan Brand, the NFL, Land Rover, Coca-Cola, Mercedes-Benz, Budweiser, Ford, Johnnie Walker, State Farm, and Puma, teaming up with directors Ringan Ledwidge, Johnny Green, Robert Logevall, Ringan, Peter Berg, and McQuoid. Her projects have earned multiple AICP awards and a 2012 Cannes honor.

About MPC:

MPC is an award winning VFX and Digital studio servicing the advertising, motion picture and television industries. From its London, New York, Santa Monica, Vancouver, and Bangalore offices, MPC’s dynamic and diverse team delivers industry-defining VFX, animation, motion graphics, color grading, production, projection mapping, social and mobile application development, online advertising, data management, software R&D and pipeline development.

With a trio of integrated divisions, MPC utilizes a unified approach that drives the use of existing or newly created assets across the whole range of today’s media landscape. MPC Creative handles client projects directly with top-notch directing, CG animation and character design. MPC FX Studio is a dedicated corps of graphic and digital designers who bring clients’ visions to life. MPC Data Lab processes the content and makes it available for editing on demand. MPC is a Technicolor Company.

moving-picture.com

Email This Post Email This Post

Related Topics: News |

MPC Teams up with Spike Lee on NBA Spots Featuring Chris Paul and Bernard King

Visit MPC
View Media

MPC recently collaborated with Spike Lee and Goodby, Silverstein & Partners on a trio of NBA spots featuring Clippers point guard Chris Paul and New York Knicks legend Bernard King. VFX Supervisor Jake Montgomery and Producer Juliet Tierney led MPC’s VFX team on the efforts, while Mark Gethin handled the color grade.

“Disappearing Act” is a showpiece integration of 2D and 3D work in which MPC makes Paul disappear from the court in a cloud of dust and reappear in a restaurant booth where NBA all-timer Magic Johnson and Lakers guard Steve Nash are watching the game. To create the vanishing effect, MPC artists painted Paul out of stock game footage and restored the background, essentially inventing images that had previously been obstructed by the basketball player’s frame. The VFX team also executed a variety of compositing, clean up, and logo removal and replacement duties, while also using 3D technologies, including Maya Fluids and nParticles, to create the complex smoke effects.

“First we had to track all of the game footage, and match move a basketball character into each shot to match up with Chris Paul,” explained 3D Lead John Cherniack. “This gave us the ability to emit smoke on different frames and really customize how his movement was inherited into the smoke effect.”

“King of New York,” which features similarly intricate reflection replacement, compositing, cleanup, and logo removal, is a trip through Spike Lee’s memories of Bernard King’s epic 60-point performance at Madison Square Garden on Christmas Day in 1984.

Credits:

Client: NBA
Spot Title: “Disappearing Act”, “King of NY”, “Wanda”
Air Date: January 2013

Agency: Goodby, Silverstein & Partners
Executive Creative Director: Jeff Goodby
Creative Director: Nick Klinkert
Creative Director: Adam Reeves
Creative Director: Marty Senn
Copywriter: Justin Pedone (“Disappearing Act”)
Art Director: Dustin Blouse (“Disappearing Act”)
Copywriter: Nick Morrissey (“King of NY”) (“Wanda”)
Art Director: Meaghan Oikawa (“King of NY”) (“Wanda”)
Producer: Benton Roman
Executive Producer: Tod Puckett
Director of Broadcast Production: Cindy Fluitt
Account Director: Jason Bedecarre
Account Manager: Janice McManemy
Assistant Account Manager: Heather Morba
Senior Business Affairs Manager: Julie Petruzzo

Production Company: Pony Show Entertainment
Director: Spike Lee
Executive Producers: Jeffrey Frankel, Susan Kirson
Line Producer: Fern Martin
DP: Jess Hall
Production Designer: Sarah Frank

Editorial: Final Cut
Editor: Stephen Berger (“Disappearing Act”) (“Wanda”)
Editor: Matt Murphy (“King of NY”)
Assistant Editor: Kendra Juul, Chris Amos (“Disappearing Act”) (“Wanda”)
Assistant Editor: Chris Amos (“King of NY”)
Senior Producer: Suzy Ramirez
Executive Producer: Saima Awan

VFX: MPC
VFX Supervisor/2D Lead: Jake Montgomery
2D Team: Jake Montgomery, David Hernandez, Lisa Ryan (“Disappearing Act”), Katarina Arroyo (“Disappearing Act”)
3D Lead: John Cherniack (“Disappearing Act”)
3D Artists: William Schilthuis, Nikki Mull, Ian Wilson (“Disappearing Act”)
2D Smoke: Ben Davidson (“Wanda”)
Executive Producer: Asher Edwards
Producer: Juliet Tierney

Color Grading: MPC
Colorist: Mark Gethin

Mix: Lime
Sound Engineer: Rohan Young
Executive Producer: Jessica Locke
Music: Public Enemy “Get Up Stand Up” (“King of NY”)

Sound Design: Stimmung (“Disappearing Act”)
Sound Designer: Gus Koven

Music: Rude Muse (“Wanda”)
Composer: David Michel-Ruddy

About MPC:

MPC is an award winning VFX and Digital studio servicing the advertising, motion picture and television industries. From its London, New York, Santa Monica, Vancouver, and Bangalore offices, MPC’s dynamic and diverse team delivers industry-defining VFX, animation, motion graphics, color grading, production, projection mapping, social and mobile application development, online advertising, data management, software R&D and pipeline development.

With a trio of integrated divisions, MPC utilizes a unified approach that drives the use of existing or newly created assets across the whole range of today’s media landscape. MPC Creative handles client projects directly with top-notch directing, CG animation and character design. MPC FX Studio is a dedicated corps of graphic and digital designers who bring clients’ visions to life. MPC Data Lab processes the content and makes it available for editing on demand. MPC is a Technicolor Company.

moving-picture.com

Email This Post Email This Post

Related Topics: News |

NETIA Products at CABSAT 2013:

Radio-Assist(TM) 8.1 — Upgraded Radio Automation
At CABSAT 2013, NETIA will showcase the latest version of its powerful Radio-Assist(TM) range of digital audio automation software. Radio-Assist 8.1 will offer the same robust array of tools for streamlined end-to-end multimedia production, broadcast, and publication workflows, along with two significant new features: an integrated music-scheduling application and video editing capability. Users can access both new features from a single user interface.

NETIA’s Radio-Assist family of digital audio software programs covers each part of the production and broadcast workflow, allowing users to record, edit, or prepare a playlist. In addition to new browsing and publishing tools for full multimedia functionality, the software features tools for acquisition, sound-file editing, commercial and music production, newsroom systems, scheduling, multicasting, and administration.

Radio-Assist 8.1 allows users to leverage built-in music-scheduling functionality. With music management tools integrated into Radio-Assist 8.1′s FederAll playlist preparation module, users are able to automate playlist generation according to preset criteria, business policies, and a wide range of intelligent options for sequencing music.

The video editing tool now available within the Radio-Assist 8.1 interface complements the software’s Snippet and Snippet+ audio editing tools. Offering a convenient editing solution, this enhancement addresses the growing demand for radio broadcasters to provide video via their online portals. This simple and easy-to-use editing tool is available through the same GUI as the Snippet tool, providing a familiar utility that allows staff to produce video clips with very little training.

Additionally, NETIA will highlight further functional and technical enhancements that add to the value of Radio-Assist 8.1 in today’s radio broadcast operations.

Image Link: www.wallstcom.com/NETIA/RadioAssist8.zip
Image Caption: NETIA Radio-Assist(TM) 8.1 Music Scheduling

Image Link: www.wallstcom.com/NETIA/RadioAssist8.zip
Image Caption: NETIA Radio-Assist(TM) 8.1 Snippet Video

Content Management System
At CABSAT 2013, NETIA will showcase the latest version of its Content Management System (CMS) that allows users to manage all processes within the global production environment — from editing through post and distribution — through simple, easy-to-manage workflows and task automation, accessed through one unique and easy-to-use interface. With the NETIA CMS, users can connect all of their partners and vendors within a single production ecosystem, simplifying the sharing and managing of media assets.

The latest version of the CMS includes enriched features within its metadata management module and its indexing and segmentation functionalities, while the new, enhanced GUI allows a greater number of fields to be personalized. In order to automate the description of audio and video content, NETIA CMS interfaces with third-party speech-to-text transcription systems. A multilingual thesaurus module available in the new version ensures there are endless possibilities for describing content very precisely, in turn making it easier for users to access and retrieve specific content. Finally, the CMS includes an enhanced administration application that further simplifies system management.

Image Link: www.wallstcom.com/NETIA/CMS.zip
Image Caption: NETIA Content Management System (CMS)

Company Overview:

NETIA, a GlobeCast company, is a leading provider of software solutions that enable efficient management and delivery of content to today’s full array of media platforms. Relied on by more than 10,000 users in 200 installations in more than 40 countries, NETIA solutions allow content producers and owners to manage content from ingest to delivery, targeting multiplatform outlets including the Internet, VOD, IPTV services, and mobile devices.

NETIA provides content management solutions to major radio and television brands and to multimedia groups around the world. Clients include MOCI, Algerian Radio, Sultanate of Oman National Radio, Qatar radio, Soudan Radio, Ethiopian Radio, SBS and ABC in Australia, RAI Italy, MediaCorp Singapore, RTL France, Radio Globo in Brazil, RTM Malaysia, Radio France, the Associated Press, and France Télévisions. NETIA has its headquarters in France, with offices in the United States, Paris, Rome, and Singapore, in addition to a global network of professional distribution partners.

Email This Post Email This Post

Related Topics: News |

Attendees at Live Design’s 2012 Concert Master Classes See Robert Juliat Followspots in Action at Springsteen Concert

Robert Juliat participated in Live Design’s 2012 Concert Master Classes at USC, Los Angeles last month showcasing its fixtures for those attending the immersive two-day event and accompanying attendees to a performance of Bruce Springsteen and the E Street Band, whose tour rig includes Robert Juliat Manon and Topaze followspots.

The Concert Master Classes by Live Design annually brings together the touring industry’s top designers to discuss lighting and projection design challenges for the world of concerts. Award-winning lighting designer Jeff Ravitz, creative consultant to the classes, chaired an overview session on concert lighting design and gave a very personal perspective on how he lit Springsteen’s Wrecking Ball Tour in another session. Other panelists included Steve Cohen, Marc Janowitz, Steve Lieberman, Anne Militello and Seth Jackson.

Robert Juliat’s Fred Lindauer and Alan Keen were on hand for up-close-and-personal talks with attendees during the Manufacturers’ Showcase. They also highlighted the real-world application of three Manon and eight Topaze followspots for the Springsteen concert at the Honda Center in nearby Anaheim.

“Prior to the show attendees were treated to a behind-the-lighting-scenes tour by production lighting director Todd Ricci and programmer Jason Badger, which was very informative,” says Lindauer. “The lighting rig for the tour is supplied by Morpheus Lights; our Manon and Topaze fixtures are all specially configured for the tour. In addition, four Robert Juliat Lancelot followspots are employed when Springsteen plays stadium dates.”

Robert Juliat’s presence at the Concert Master Classes couldn’t have been more high profile, he notes. “The Manufacturers’ Showcase and the excursion to see Springsteen gave attendees a great idea of how Robert Juliat lighting works in the concert environment,” Lindauer concludes.

About Robert Juliat

Robert Juliat is a three-generation, independent family-run company dedicated to the manufacturing of professional stage lighting products. Robert Juliat lights are used by customers who include Cirque du Soleil, Celine Dion, New York’s Lincoln Center, LA’s Dorothy Chandler Pavilion, Bruce Springsteen, Disney Theme Parks, Carnegie Hall, The San Francisco Opera and Ballet, The Royal Shakespeare Company, The Comedie Francaise, The Sydney Opera House, plus theatres, schools and public venues around the world.

R&D, production and the company headquarters are based in the village of Fresnoy-en-Thelle, 50 km north of Paris. Robert Juliat USA is located in Wallingford, Connecticut. For more information visit www.robertjuliat.com.

Mobile Imagination Offers TV and Film Production Professionals Free doddle Premium Listings

Mobile Imagination Engages Professional Production Community in Social Media Outreach Campaign to Expand Reach into Global Production Markets

 

 

Boulder, CO (January 28, 2013) – Mobile Imagination LLC (www.doddleme.com) today announced  it is offering Free Premium Listings in the doddle International Production Directory for all businesses and professionals offering services to the industry, including vendors, crew, talent, and locations for film and television production. As part of this initiative, any business or individual offering services to the production industry can take advantage of a Free Premium Listing Offer by promoting doddle’s offer and/or services across their Facebook and twitter social networks.

 

Upon verification, doddle will provide a free listing value at $129/year, and will promote each listing to the industry at large through doddle’s online and mobile production directory currently used across the world featuring listings across the US, Canada, UK, and South Africa.  doddle’s Premium Listings features a dynamic presence in the directory,  promoting each business or professional’s service with high definition photos, video and audio files, lengthy bios, PDF documents, ratings from their peers, dozens of keywords for accurate search matching, links to all social media presence, IMDB work history, and seamless integration into the doddlePRO call sheets and crew management system.

 

The doddlePRO mobile app for IOS also allows for the creation, editing, and distribution of call sheets, providing users with instantly refreshed weather and lighting conditions, turn by turn directions to locations and emergency resources, multiple communication options with other participants, GPS marking for location scouting, instant photo add to enhance locations, schedule items, talent, and more.

 

Since its introduction at the Sundance Film Festival in 2011, doddlePRO and its accompanying online production guide, doddle, quickly grew in popularity among indie filmmakers as a necessary tool for planning productions under tight budgets and with scarce resources. The professional television production community worldwide has also taken notice and is embracing doddlePRO as their new hub for all facets of production planning and logistics management.

 

Tight budgets and scarce resources are issues not solely unique to indie filmmakers, however. With pressures in Hollywood – and worldwide – to keep production costs in check, work under increasingly tight deadlines and the highest efficiencies, production managers from prime time television shows, major television networks and production companies are standardizing on doddlePRO. To date, doddlePRO has been used to manage the logistics of major television productions, such as EXTRA; commercials and promos for Toyota, NASCAR, NBC’s The Voice, TaylorMade golf shoes, and for the New York Knicks; stage productions like Billy Elliot; by entrants in the 48 Hour Film Festival; and at media production companies like Manhattan Place Entertainment. Additionally, doddlePRO is used by 5 Creative/Channel 5 UK to produce Big Brother UK, and is in trials at the BBC Scotland and is being considered for company-wide deployment.

 

 

What doddle is All About: The doddle Platform

doddle is based on a powerful platform developed by Mobile Imagination to create collaborative, mobile and cloud-based efficiency tools for businesses and creative professionals.

 

Today, the Company provides four primary offerings for the professional production community:

 

  • The doddle Directory for the iPhone: doddle is the first entirely free interactive, digital mobile production resource guide for the film and video industry. doddle is designed for anyone involved in the production process and provides easy access to key resources and information to help find anything and anyone required for a shoot – from producers, directors, photographers, grips, gaffers, sound and talent to information about hotels, restaurants, catering, transportation, even the local weather forecast.

 

  • doddlePRO is a mobile, collaborative call sheets and productions planning efficiency tool optimized for the desktop/browser, iPhone and iPad.

 

  • doddlePRO Online is a browser based version of the Company’s collaborative call sheets and planning tool, ideal for larger productions and teams coordinating efforts from a central location and communicating to its people in the field. doddlePRO Online automatically synchs with iOs devices and provides a powerful hub of logistical operations for the crew.

 

  • doddleNEWS is a free online news service with daily industry news for the production community, reported by creative production professionals. It includes industry news for pros, reported by pros with the primary goal of delivering credible, valuable and relevant content for the community.

 

 

 

About Mobile Imagination, LLC

Mobile Imagination develops collaborative mobile and cloud based apps and services for business and creative professionals that take the pain out of logistics and data management associated with just about any project. Today, the Company provides a family of solutions for the professional production, television and film community and have designed a family of mobile and cloud-based solutions to help create a paperless, highly collaborative workflow experience for the filmmaking and television production community. The Company’s solutions are tailored for everyone from indie filmmakers to the world largest broadcast operations. The company was founded in 2009 by software industry and professional production industry veterans Jim Robertson and Rich Kwiat. For more information, please visit www.doddleme.com.

 

###

Hitachi Introduces Its First DLP® Projectors For the Professional Market

Hitachi America, Ltd., Digital Media Division, Business Solutions Group today announced the introduction of its first-ever DLP projectors, the CP-DX300 and CP-DX250. The projectors combine superlative DLP image quality with an array of all-new performance and energy-saving features at prices that offer outstanding value to business, educational and other commercial users.

“More professional users are moving to DLP projectors, and the time is right for us to enter this growing market segment with these entry-model DLP products that incorporate Hitachi’s high standards of performance and value,” said John Glad, product manager, Hitachi America, Ltd., Digital Media Division, Business Solutions Group. “The new CP-DX300 and CP-DX250 offer all the ease of use, dependable operation and flexibility customers have come to expect from Hitachi projectors along with the improved image quality DLP provides.”

The Hitachi CP-DX300 and CP-DX250 incorporate Texas Instruments™ 1-chip DLP technology to deliver images with higher contrast and brightness (CP-DX300: 3,000 lumens; CP-DX250: 2,500 lumens), while Texas Instruments’ BrilliantColor™ technology offers color processing to enhance color performance for rich, vibrant and accurate colors. Both projectors offer XGA resolution. The CP-DX300 and CP-DX250 offers a maximum diagonal image of 40 inches from a distance of 59 inches. The CP-DX300 and DP-DX250 are also 3D capable (3D glasses and a graphics card are required for 3D operation).

Measuring approximately 10.4 x 8.8 x 3.2 inches and weighing just 4.9 pounds, the CP-DX300 and CP-DX250 are designed for total ease of use, thanks to a new on-screen display and intuitive remote control that make setting up the projectors a breeze and provide ready access to all adjustments. Both models provide HDMI, two computer in, composite and S-video inputs, plus audio inputs and outputs and a computer monitor output. Both also feature a built-in 2W speaker and an RS-232C port.

The CP-DX300 and CP-DX250 include pre-set Bright, Presentation, Cinema, Game and RGB picture modes to accommodate different types of display situations and source material, as well as a User mode with fully adjustable image parameters. In addition, TI’s Wall Color Correction enables more accurate colors even when images are projected against light yellow, light green, blue and pink walls or even on a blackboard.

The projectors’ exclusive Intelligent Eco Mode automatically changes the brightness of the lamp according to the brightness level of the screen. Based on Hitachi’s ImageCare lamp power control function, these features provide optimal picture performance with maximum energy savings. The projectors’ fan is also regulated and the already-quiet 33dB operating level is reduced to 29dB in Eco mode.

For more information on Hitachi visit www.hitachi-america.us/digitalmedia

Follow Hitachi on Facebook at http://www.facebook.com/pages/Hitachi-Projectors/131067323636829

Follow Hitachi on Twitter at http://twitter.com/#!/HALProjectors

About Hitachi, Ltd.

Hitachi America, Ltd., headquartered in Tarrytown, New York, a subsidiary of Hitachi, Ltd., and its subsidiary companies offer a broad range of electronics, power and industrial equipment and services, automotive products and consumer electronics with operations throughout the Americas. For more information, visit www.hitachi-america.us. For information on other Hitachi Group companies in the United States, please visit www.hitachi.us.

Hitachi, Ltd. (TSE: 6501), headquartered in Tokyo, Japan, is a leading global electronics company with approximately 320,000 employees worldwide. Fiscal 2011 (ended March 31, 2012) consolidated revenues totaled 9,665 billion yen ($117.8 billion). Hitachi will focus more than ever on the Social Innovation Business, which includes information and telecommunication systems, power systems, environmental, industrial and transportation systems, and social and urban systems, as well as the sophisticated materials and key devices that support them. For more information on Hitachi, please visit the company’s website at http://www.hitachi.com.

grandMA2 Goes on a Mission to the InterVarsity Christian Fellowship’s Urbana 12

grandMA2 went on a mission shortly after Christmas when almost 16,000 people gathered in St. Louis for Urbana 12, the triennial student missions conference held by InterVarsity Christian Fellowship/USA. Dodd Technologies Inc. furnished the grandMA2 as part of its lighting, audio, video and scenic support for the event’s arena show. A.C.T. Lighting is the exclusive distributor of grandMA in North America.

With the theme of God’s “Great Invitation,” the conference ran from December 27-31 at the America’s Center and Edward Jones Dome. Attendees had access to more than 100 workshops and over 250 mission organizations and seminaries exhibiting at Urbana 12.

Dodd Technologies was responsible for supporting the three main stages for the show: one for the worship band, one for drama and skits, and the center stage for speakers and business activities. “We used one giant rig with 280 moving heads, which was set up so they could use some or all of it as they bounced back and forth from stage to stage,” explains lighting programmer Jason Greene. “We tried to plan for the size of the rig given the time constraints of programming. We had an hour or two in the morning to program each day, but there were so many cues and transitions.”

Building the show ahead of time using grandMA2 onPC with grandma 3D MA Lighting’s free visualizer software – gave the Dodd programmers a good leg up, however. “It was very helpful for the client and gave us a good idea of what everything was going to look like and how it was going to work,” says Greene. “It was huge to be able to start programming before we even left the office.”

Deploying two full consoles enabled the programmers to work double duty without stepping one each other’s toes. “The grandMA2′s user modes allowed us to do that,” Greene reports. “The NPUs and two port nodes were also handy. We had a lot of stuff out on the house, including five circle trusses. We had to get signals to a lot of places, and grandMA2′s functionality was great about getting the signal from the console to the lights.”

Networking was key to a smooth and easy show, he adds. “It was a very large room and networking allowed us to go over a very flexible and dependable medium. We were also capable of going over fiber. Having all these elements communicate with the console and all work together was huge.”

Andy Meghanhoffen was the lighting designer for the show at Urbana 12.

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.

About

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.

Calendar

January 2013
M T W T F S S
« Dec   Feb »
 123456
78910111213
14151617181920
21222324252627
28293031  

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication