Archive for February 5th, 2013

Sony Pictures Colorworks Launches 4K Television Post-Production Facility

Culver City, Calif.— Colorworks, Sony Pictures Entertainment’s digital intermediate facility, has opened a new facility focused on 4K television post-production. Located in the Capra Building on the Sony Pictures lot in Culver City, Colorworks 4K Television will provide post-production services for original programming shot in 4K and re-mastering services for film-originated media. It will deliver both HD masters for current distribution and 4K masters for future use.

The recent arrival of 4K Ultra HD TVs new 4K camera systems, including Sony’s F65 and F55, has prompted more television productions to capture in 4K. That, in turn, is creating growing demand for 4K post-production services, according to Colorworks senior vice president Bob Bailey.

“Sony Pictures Entertainment and Colorworks are supporting the growth of 4K television by providing producers with a seamless solution for mastering their shows in the format of the future, 4K,” Bailey said. “Our new television facility has been designed and built to move and process 4K data as easily as HD.”

Colorworks 4K Television will work closely with other units on the Sony Pictures lot, including picture editorial, sound editorial, sound mixing and visual effects, to provide producers, shooting on the lot and elsewhere, with an efficient, one-stop solution. Special packaging is available for productions taking advantage of inclusive services.

“The ability to collaborate across all segments of post-production makes the solution that we offer unique,” said Sony Pictures Entertainment Executive Director Sound and Digital Services Ben Benedetti. “Additionally, our experience with Sony during the development of the F65 and F55 cameras makes our facilities uniquely well qualified to service 4K television.”

The new television facility features two 4K color grading suites and a 4K editorial finishing suite. The latest 4K imaging technology is employed throughout, including Baselight EIGHT color grading systems. Each room also includes 4K Sony projection systems, high resolution digital monitors and support gear required by high-level post production.

Grading and finishing suites are directly connected to Sony Pictures’ Television Backbone, providing colorists and editors with immediate access to original production media, metadata and other critical production and post-production data.

ABOUT SONY PICTURES
Sony Pictures Entertainment (SPE) is a subsidiary of Sony Corporation of America, a subsidiary of Tokyo-based Sony Corporation. SPE’s global operations encompass motion picture production and distribution; television production and distribution; home entertainment acquisition and distribution; a global channel network; digital content creation and distribution; operation of studio facilities; development of new entertainment products, services and technologies; and distribution of entertainment in 159 countries. For additional information, go to http://www.sonypictures.com/

The Hollywood Post Alliance Presents the 19th Annual Tech Retreat

Powerful Confab Heads Back to the Desert for Insight, Conversation and Demonstration by Industry Thought Leaders

(Los Angeles, CA) For nearly twenty years, the Hollywood Post Alliance(r) (HPA) Tech Retreat(r) has drawn the top creative and technical experts involved in the creation and management of content to a conference where compelling ideas and new products are explored in lively conference sessions, networking events and demonstrations. The Tech Retreat is an informal meeting of the minds, where industry leaders in engineering, technology, creativity and strategic business; that are engaged in all aspects of digital-cinema, post production, film, television, video, and related endeavors, meet in an unparalleled environment for the exchange of knowledge and information. The gathering helps to define and clarify the development of technologies driving the industry. This year’s event returns to the Hyatt Regency Indian Wells in Indian Wells, California (Palm Springs area), on February 18-22, 2013.

Long recognized as the place where serious industry professionals go to connect and delve into the most current and relevant topics impacting the industry and their work, the HPA Tech Retreat presents significant opportunities for participants to stay competitive and informed of important industry issues and trends during the many networking events, presentations and technology demonstrations.

An overview of events at the HPA Tech Retreat include:
* Monday, February 18, Charles Poynton presents his highly regarded Technical Aspects of High[er] Frame Rate seminar.
* Tuesday, February 19, The HPA Super-Sized Session kicks off the HPA Tech Retreat with More, Bigger, but Better? – a look at the impact of higher resolution, higher frame rates, larger color space, higher dynamic range, more audio channels/objects, bigger screens and the push for all around pushing the envelope. Expert panelists speaking on this compelling topic are Leon Silverman, Phil Squyres, Stuart Bowling, Craig Henighan, Gilbert Lake, William Files, Jed Harmsen, Garrett Smith, and Evan Edelist, from companies including Park Road Post, Reliance Media Works, Sony Pictures Television, RealD, Dolby, and more.
* Tuesday also features the ATSC Seminar on Audio Loudness Control.
* Wednesday and Thursday will include back-to-back presentations on topics covering production and post, acquisition, IT, engineering, broadcasting, asset management, digital-cinema and distribution, manufacturing and much, much more.
* Breakfast Roundtables: Wednesday through Friday mornings put experts in a wide array of compelling issues in small group conversation about meaningful topics, including Cloud-Based Post Production, Ultra-Violet, Channel Sharing, File-Based QC, 4K Camera Workflows, the Workforce in Post and other developments and trends affecting the industry.

The HPA Tech Retreat Demo Room, completely re-imagined this year, will present over 60 leading companies and technologies in up close presentations and conversation.

Sponsors for the 2013 HPA Tech Retreat include; Foundation Sponsors: Avid, Company 3, Deluxe, Dolby, EFILM, Encore and Stereo D and Cloud Sigma, EMC(r) Isilon, Quantum, Sohonet and Technicolor. Media Sponsors include; Post Magazine, Shoot Magazine, Creative Handbook, Production Hub, and Sound & Picture.

Registration and reservations are highly recommended. The HPA Tech Retreat is a sold out event, year after year. A full schedule of the program can be viewed by visiting http://www.hpaonline.com/2013-program. Complete registration and information is available on the HPA website at http://www.hpaonline.com/2013-hpa-tech-retreat-home. For information regarding sponsorship or other opportunities call (213) 614-0860 or email ekramer@hpaonline.com.

About the HPA Tech Retreat(r)
The HPA Tech Retreat(r) is an informal gathering, in the Palm Springs area, of the top industry engineering, technical, and creative talent, as well as strategic business leaders focused on technology, from all aspects of digital cinema, post-production, film, television, video, broadcast, and related technology areas, for the exchange of information.

About the Hollywood Post Alliance(r)
Hollywood Post Alliance (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content.

# # #

Media Contact:
Chris Purse, 818.303.8088
ignite strategic communications
chris@ignite.bz or mimi@ignite.bz

LarMac LIVE Production Manages Donny & Marie Tour

Leading UK live show and event production and design practice LarMac LIVE production managed and co-ordinated all technical elements for Donny & Marie’s recent UK arena tour, presenting their record-breaking, hugely successful show from The Flamingo in Las Vegas to delighted UK fans.
LarMac LIVE’s Ian Greenway took up the Production Management role on the road, assisted by Siobhan Shaw.


Ian Greenway comments, “This was a very interesting project for us. In essence our brief was to take an established theatrical production show, and repackage it to deal with the rigours of rock ‘n’ roll touring schedule while still retaining the sumptuous Vegas feel.
LarMac LIVE collaborated closely with Donny & Marie’s creative and technical teams and their US Production Co-ordinator Chris Acton to ensure that the detailed and precise brief was covered, and also with UK promoter, Kilimanjaro Live.
They designed a touring stage set incorporating key elements from the Vegas show in conjunction with the client and sourced sound, lighting and video, rigging, backline, trucking, buses and catering.
This ensured that the production process was streamlined, seamless and offered maximum continuity to LarMac’s US colleagues.
Mark Cameron was appointed as Stage Manager and James Heath as the Production Rigger, and all the backline hires from Music Bank were managed by Adam “Flea” Newman for LarMac LIVE.
James Heath took care of all the technical departments’ rigging requirements, installing around 50 points daily, depending on the venue. During rehearsals – two days at London’s O2 Arena – the rig was monitored using a Kinesys LibraCELL system controlled via Rigorous Technologies’ new wireless App which runs on iPhone and iPad.
Set
LarMac LIVE’s Head Carpenter Stephen Thomas oversaw the set build. The touring set featured several special modifications including the addition of double frosted Perspex panels below the catwalk, which were back-lit to add extra depth and dynamics.
The catwalk measured 56 ft wide by 8ft deep and was mounted on Steeldeck leg-sharers in a format designed to be invisible when the lights shone through the panels. The band risers were also front-clads in Perspex to match the look and allow back light to shine through.
Two sets of 8ft high stairs were built to access the catwalk from the lower deck. These were on casters so they could be moved manually into different positions throughout the two act performance.
The set also included a scenic baby grand piano, which was made by Blackfriars Scenery, another regular LarMac LIVE supplier.
Stephen worked alongside Bert Trott on the road and they were assisted daily by six local crew.
Sound
Donny & Marie’s FOH sound engineer Rico Corrubia is a veteran of many acclaimed Broadway shows, and a highlight of his early career was mixing Frank Sinatra – so ‘only the best’ topped the agenda to enable his warm, rich, highly defined mix.
London based Capital Sound’s crew was Chiefed by Mark “Magic” Ellis-Cope and they supplied a Meyer Sound MILO system for the main PA, with left-and-right hangs of 16 x MILO 90s with two MILO 120 downs, plus side hangs of 12 x Meyer Sound MICA elements, complete with a centre cluster of MICAs.
A second set of side hangs comprising six Meyer M’elodie speakers each was installed in the venues which were sold 270 degrees, which also complimented the side IMAG screens.
Across the front of the stage were 12 x Meyer 700-HP subs arranged in six stacks of two, with a series of the low profile Meyer M’elodies for infills.
The FOH console was a Midas Vi6 specified by Rico, who also used a couple of selected outboards for ‘posh’ effects including Avalon 373 mic preamps and a TC M6000 reverb for the vocals.
For EQ, time alignment and zoning control they used a Meyer Sound Galileo system.
Onstage, the five band members utilised a combination of Sennheiser 200 series wireless IEMs together with Shure P6 hard-wired ears. L-Acoustics ARCs side fills delivered clear monitoring for the eight dancers.
Donny and Marie also used Sennheiser IEMs, plus Sennheiser SKM 5200 vocal mics together with Neumann K105 capsules.
Monitor engineers Joe Webster (for Donny & Marie) and Chris Acton (for the band) mixed on two cascaded Yamaha PM 5D consoles.
Lighting
Liverpool based Adlib Lighting have worked for LarMac LIVE on several other events and shows in recent years, and they supplied all the kit for Lighting Designer Joseph Eddy, plus all the rigging, trussing and motors required for the tour and a crew of three Chiefed by Andy Rowe.
Lighting was based on three trusses, two U-shaped (rear and mid) and a straight front truss, mimicking Donny & Marie’s rig at The Flamingo in Las Vegas.
The moving lights comprised around 90 Martin Professional units, a combination of MAC 2K XBs and Adlib’s new MAC Viper profiles and MAC Auras.
Philips CK ColorBlazes were positioned behind the frosted Perspex set panels, and the movable steps were back lit with Chauvet Colorado LED strips and edged with rope light.
Joseph Eddy operated using a grandMA2 light console.
Adlib also supplied LED lights, practicals and power drops for three quick-change areas backstage, and designed and provided the data distribution system to run Donny & Marie’s own Co2 jet system, brought with them from the US.
Video
Donny & Marie’s production supplied their own bespoke media server which ran the show’s playback content, while LarMac LIVE asked Chris Saunders’ Oglehog to co-ordinate the UK end of the supply. The hardware came out of PRG Nocturne, and was overseen on the road by Video Crew Chief Wolfgang “Wolfie” Schram working closely with Donny & Marie’s Video Director and ‘tech-nerd’ Glen Adams.
A large V-9 LED screen upstage was flanked by two smaller ones, all three above the rear set catwalk, and two 16 x 9 side IMAG screens were fed by Barco R12 projectors.
Glen Adams cut the cameras using a Pinnacle 9000 3ME vision mixer with inputs from four Ikegami HL 65W broadcast cameras and two Sony lipstick cams onstage on the drums and percussion. The whole system was designed to run on 110 Volts / NTSC / 60 Hz to easily accommodate all the US elements.
Their custom media server is made up from four MiniMac servers running Cubase, linked via MIDI and triggered by the drummer using a MIDI keyboard once the show was rolling.
Video was central to the whole stage presentation, with Donny himself being heavily involved in the actual creation and programming of content as well as the design of playback systems.
Some footage was taken directly from the Las Vegas show and other clips were specially created for the tour by Glen and his team once they were in the UK.
Trucking was supplied by Stardes, buses from Phoenix and mouth-watering catering was created by Upbeat … all picked for their quality service from LarMac LIVE’s pool of regular suppliers.

XL Events Supplies National Television Awards

XL Events supplied video production – including high powered projection system, control, screen management and crew – for the 2013 National Television Awards, broadcast live on ITV from London’s O2 Arena.


Working for producers Indigo Television, the event was project managed for XL by Paul Wood. XL has been involved in the event – this was its thirteenth year – since 2005, in which time the production video elements have expanded significantly.
This year, the stage and set was designed by Wieder Design from Munich, well known for their work on German Idol, X-Factor and a myriad of other high profile TV extravaganzas.
It consisted of a large upstage projection screen measuring 11 x 6 metres, surrounded by four smaller screens – two at 6 x 3 metres and two at 5 x 3 metres.
The large screen used four of XL’s new Barco HDF W26 26K projectors. Each of the outer screens was fed by a pair of Barco HDF W26s.
Four front projected live relay repeater screens were located around the O2 ensuring that everyone had a clear view of all the onstage action and excitement, and each of these was fed by Barco SLM12 12K projectors.
For Show Playback, XL supplied three Catalyst media servers, two Grass Valley Turbo2 hard drives and a laptop running Keynote. The event’s video content was uploaded and stored primarily on the Catalysts, which were programmed and operated by Jonathan Bond.
All the video sources were switched and output to screen via a 6 output Barco Encore screen management system.
The get-in schedule and tight rehearsal timeframe was the main challenge for XL’s crew who worked in two shifts – day and night – to be ready for the first rehearsals. All ran very smoothly and the event once again proved a major success, honouring the public’s favourite choices of programmes and personalities appearing on British TV throughout the year.
Paul Wood comments, “It was great to be involved in The NTA’s once again and to be working for Kim Turberville and Andy Bates (Indigo Producers). Production values continue to be high on the agenda and the new design was inventive and challenging.”

PipelineFX Introduces Run-Time Path Translation for Qube!

Automates Render Farm Path Translation Across Platforms for Film, Broadcast, Post, VFX, and Education Companies

Los Angeles, CA (February 5, 2013) – If your render farm is all Windows, and your desktops are all OSX and/or Linux, the process of getting your work rendered is going to require some workarounds. Unless you are running PipelineFX’s Qube!, which starting today, now includes built-in Run-Time Path Translation (RTPT) that automates this formerly time-consuming process across platforms. No more path entries before rendering, one step closer to full utilization.

Through a centrally managed dispatch, RTPT helps Qube! users manage simultaneous cross-platform rendering without defining remote worker paths. Traditionally in a mixed operating system environment, it has been difficult to send a render job created on one OS to another due to the difference in the way each operating system described network paths. Before RTPT, this impediment resulted in idle machines and lost time; today, studios can use this feature to maximize their nightly utilization rates by finally including every variant OS in their after-hours render assignments.

“100 percent utilization is a doorway to more money for a production studio,” said Richard Lewis, CEO of PipelineFX. “However, maximizing render pipeline throughput means utilizing every machine available, regardless of the operating system. Qube!’s new Run-Time Path Translation gives customers that maximum throughput with an extreme amount of flexibility.”

RTPT is a significant upgrade to Qube!’s previous path translation management system that required users to manually define translation mappings at submission time. Now the system administrator can manage these maps in a central configuration file that pushes out every change to the farm’s waiting worker nodes, eliminating the need for any user input.

“We want our customers to hit their ideal of 100 percent rendering resource utilization,” said Lewis. “Run-Time Path Translation is another powerful way Qube! gets them there. And since all the work is being done on the back end, user errors are reduced, and more work gets rendered right the first time. It’s hard to argue with that.”

Pricing and Availability

Run-Time Path Translation is available now and is free to Qube! customers under subscription. To request an upgraded or evaluation Qube! license, please contact support@pipelinefx.com.

About Qube!™ and Smart Farming™

Qube! is an intelligent, mature and highly scalable render management solution that can be quickly integrated into any production workflow, and is backed by world-class technical support. Smart Farming delivers intelligence to production pipelines by providing business-critical insight into render pipelines, maximizing investment in rendering infrastructure and automating manual processes. Qube! works out of the box with all leading content creation applications and is truly cross-platform with all software components available on Windows®, Linux®, and Mac OS®X operating systems.

About PipelineFX

As the leading provider of intelligent render farm management solutions for digital content creation, PipelineFX provides software, support, consulting and training services worldwide. Over 25,000 render nodes at more than 600 customers across film and visual effects, post production, broadcast, design, games and education include Arc Productions, BaseFX, BBC, Cinesite, Deluxe, Digital Domain, Dyson, Efilm, Electronic Arts, Google, HBO, Hasbro, L.M.U., Laika Studios, Lockheed Martin, Method Studios, NBC Sports, Nvidia, NHK, Original Force, Prana Studios, Pratt University, Procter & Gamble, ReelFX, South Park Studios, Target, Technicolor, and Telemundo. PipelineFX is headquartered in Los Angeles, CA, and has offices in London, Honolulu, Portland, Las Vegas, and Vancouver.

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Blue Man Group Launches New Vegas Production With DiGiCo In The Mix

The creative forces of Blue Man Group (BMG) have been working for two years to bring an all-new production to the Monte Carlo Resort and Casino in Las Vegas. This international entertainment phenomenon—one of many adaptations around the globe from Berlin to Boston—comprises a trio of blue men and an electrifying combination of music and inventive technology celebrating the intersection of art and apparatus. The show, co–created with world–renowned 3-D designer Michael Curry, adds a few new elements to the mix: instruments (including Percussipede, a musical centipede of percussion instruments), a six-piece band and a Showbot robot character.

One of the casino’s interior theatres was gutted for BMG’s new Vegas home and its audio team descended on the space to build out the room and install a new system. Sound supervisor Marcus Ross spearheaded the efforts and programmed the system, which included a d&b audiotechnik J-Series PA, Meyer Cinema Speaker Surround monitors and a DiGiCo SD7 at the show’s audio helm provided by production gear provider Solotech. A DiGiCo SD8 was added a few months later to handle additional audio production elements from behind the curtain.

“Even though we gutted the theatre, there were a lot of things we had to take into consideration in how we set up the system and how things worked,” explains Ross, whose extensive audio background includes a mix of Broadway and rock & roll—and a lot of hands-on time behind DiGiCo consoles. “We were kind of predisposed to do certain things based on how prior productions were structured—how we ran cable, where certain racks went, the flow of the system, etcetera. Because there was an install here prior, there was quite a bit of stuff that was useful to us. So I came through and took out the things we didn’t need, and starting getting it prepped for the new system. The gear arrived in boxes and in 12 days we were operational—from pallets in the air to hit-the-ground running.”

The show comprises 141 inputs/outputs, split between several elements including the six-piece band on a mix of gear from the traditional (guitar, bass, drum set and two percussion rigs) to the eccentric (Zither, Chapman stick), BMG’s massive PVC instrumental creations, programmed tracks and video playback.

LtoR: Blue Man Group Productions Audio Supervisor Marcus Ross, BMG Audio Department head/FOH engineer Matt Fox, BMG engineer Jeff Slater and Audio Assistant Rob Quick.

“One of our biggest challenges was maintaining a consistent sound with so many different entities in it. We have six band members, three Blue Men nightly, and that changes per show. While it is a scripted show, every person can and does add nuances to it. Plus, they’ve added some really cool, interesting instruments to the Blue Man in addition to the massive PVC—a huge rolling wagon of PVC tubing with specific lengths for different pitches that is the main instrument and that the three guys play. That alone has 15 microphones to amplify. A lot of the new instruments are wireless, which is a new challenge for Blue Man. For example, the drum bone is an instrument they’ve had for a long time, but the new version on this show is wireless. Now we have at least 20 RF channels we have to use for the different instruments. I used Professional Wireless Systems’ Intermodulation Analysis Software, which was key in an easy setup of the RF in an already RF heavy area. We also used information from other shows to find out what bandwidth ranges other shows were using so we could choose the best bandwidth range for our show.”

Ross was impressed with the SD7′s layout, flexibility and dynamic range, particularly on a show with massive range of sounds and instrumentation. “I really like the structure of the DiGiCo,” he says. “There’s a lot of digital stuff on the market but the architecture is locked with only a certainly amount of outs, for example. I think the thing that DiGiCo consoles have over all the manufacturers is how flexible they are, with great ergonomics, which make them easy to get around on. Plus, they sound great and have great dynamics, too. Although this is not a huge cue-based show, there are only 50, there are a lot of things going on in each cue. The things that we require the console to do are pretty cool and extensive and we use the internal dynamics extensively within the console cueing. With a show that has such a huge dynamic range of instrumentation and orchestration it was very important to have a console that the dynamics had the features and sonic quality we required. Another great feature is the ease at which we can not only set the global scope but also recall scope of each cue and control what we want when we want.”

“All of that is key; especially considering what we’ve required the console to do has changed and after a couple of weeks of previews, we added the SD8. Prior to that, we were going to use an Aviom system for the monitoring for the band. But we found that we weren’t able to get enough separation for what the band required and what FOH required, which is why we added the SD8. Basically the producers asked me for a couple of different scenarios, one of which included reprogramming the SD7 to run monitor inputs. But as soon as the producers approved the money expense, it was off and running and adding the SD8 made the most sense all the way around. Now, the console carries all the in-ear mixes and all of the band mixes. The OPTO SEND and RCV function allows us to add ports in the audio I/O section of the software that can show up as send and receive on the Optocore network and may be utilized to send info to and from the SD7 and the SD8 [utilized by longtime BMG engineer Jeff Slater], which is great. I rebuilt a new session and for a few days we actually ran dual sessions; we would soundcheck in the afternoon and then switch over to the show session. When we finally made the switchover, it was seamless.”

Matt Fox is head of the BMG audio department and an FOH engineer for the show and has logged in a lot of time working with DiGiCo desks. “The continuation of DiGiCo really listening to engineers is evident with the SD7,” Fox offers. “For me, going from using D1s and D5s to the SD7, I can really tell that DiGiCo has implemented feedback they’ve gotten over the years. And it’s exciting because you know it’s going to only improve over time and get better. Having the backup engine on the SD7 is great. But also, for our purposes the recallability using snapshots is unparalleled. There’s a lot of information we’re managing, video stuff, etc. We’ve got approx 135 inputs, a lot of which is playback stuff, what we call ‘direction track,’ which goes to the in-ears or that have a specific direction for what they’re supposed to do at a certain time. I can have my control groups be completely different from snapshot to snapshot and have different things recallable and other things not. Being able to dance in and out of different scenes is fantastic and allows the people backstage, who are plugging and unplugging things on a continual basis, to do this without the fear of them being hot in the PA. Having the functionality is great, too, as we have a bunch of different things that pop in and out, like maybe there’s a snapshot where only one instrument is being used and isn’t needed for rest of the show. Previously I’d have to, from song to song or track to track, use a playback machine, with external MIDI-driven buttons that would access outboard gear like a MOTU or something like that. And the ability of the console to fire MIDI on a snapshot eliminates all that active fire on my playback cues, which, just being able to implement the MIDI snapshots I can’t even begin to express how much that saves my life. Having to push the next scene or an output ‘go’ button on something else… it’s one more step that I don’t have to take and that’s amazing to me.

“Also, the tube drive on the channels and the dynamic EQ are amazing things and save us from having to use outboard gear,” Fox adds, “which is the goal of the console ultimately. I love the functionality of the touch screen, too. Being able to get what you need right now and not have to waste a lot of time to find it is great, especially with the amount of inputs we have, which is over 100. I can put them wherever I want to but also be able to monitor what’s happening on the overview screen if I can’t get to it right away.”

With the show in full production, Fox says he’s just begging to dig deeper and explore more of the console’s nuances and features. “Up to this point, we’ve not really added any icing to the cake to where we can really dig in and start exploring the functionality. We know its there but we’ve been too involved in getting the timing of our next scene change more than we are in spicing things up. We wanted to start things out for the show with the being consoled very organic. We wanted to keep everything as flat as we could from the word ‘go.’ As we go along, we’re gradually EQing things, starting to add some gates and comps and putting the finishing touches on. I’m really looking forward to having the whole the cake with icing and cherries, on top, too!”

About DiGiCo
DiGiCo is a UK-based manufacturer of some of the world’s most popular, successful and groundbreaking digital mixing consoles for the live, theatre, broadcast and postproduction industries, and is exclusively distributed in the United States by Group One Ltd. of Farmingdale, New York.

Integrated Microwave Technologies, LLC (IMT) Heads to CABSAT 2013 with Award-Winning Lineup of Microwave Gear

Company to Showcase and Demo Its Nucomm and RF Central Wireless Products

DUBAI, UNITED ARAB EMIRATES, FEBRUARY 5, 2013 — Integrated Microwave Technologies, LLC (IMT), a Business Unit within the Vitec Group’s Videocom Division, and a leader in advanced digital microwave systems serving the Broadcast and Sports & Entertainment markets, showcases its state-of-the-art digital microwave video systems for portable and fixed-link applications from its Nucomm and RF Central brands at CABSAT 2013 (Hall 8, Stand D8-20).

“IMT looks forward to demonstrating a wide range of its technology to attendees at the upcoming CABSAT show,” says Integrated Microwave Technologies Divisional Chief Executive Stephen Shpock. “As the Middle East and Africa’s largest broadcast digital media and satellite expo, CABSAT is the perfect avenue to meet with our local customers and distributors, and learn more about the specific, growing needs of broadcasters in this region of the world.”

IMT will be demonstrating its RF Central 2-GHz microLite HD Transmitter at CABSAT 2013. The camera-mountable 2-GHz microLite HD transmitter features SD/HD encoding in a miniature transmit solution package and has been specially designed to address both the domestic and international broadcasting band requirements within a single unit. The microLite HD now covers from 1.9 to 2.5GHz and delivers up to 200mW from a package of less than 12 cubic inches. Designed for a new generation of HD (SDI)-capable compact cameras, the transmitter supports video and embedded audio transmission. The unit’s size makes it ideal for broadcast ENG operations. The 2-GHz microLite HD may be camera mounted via a hot shoe or paired with Litepanels camera-mounted lighting solutions. It features superb H.264 SD and HD encoding capabilities and operates in the standard 2k DVB-T COFDM mode. The H.264 video encoder supports the main profile of the H.264 standard, providing a 30-percent bit-rate reduction or video quality improvement compared to encoders that only support the H.264 baseline profile.

IMT’s next-generation Nucomm brand CamPac2 Plus HD/SD COFDM Microwave Transmitter will also be on display. Intended for wireless camera applications, such as sports coverage and electronic news gathering (ENG), the CamPac2 Plus offers MPEG-4 encoding/decoding, superb HD, low power consumption and is available in licensed bands, along with other bands upon request. The CamPac2’s stylish and rugged machined housing provides durability and exceptional thermal characteristics for operation in the harshest of conditions. The CamPac2 Plus offers the same quality transmission as its predecessor, in half the amount of bandwidth, utilizing MPEG-4. It also allows more video paths in the same amount of bandwidth, attractive to stations in markets with high amounts of RF congestion.

Nucomm’s Newscaster DR2 will also be exhibited at the show. The Newscaster DR2 is a split-box HD/SD COFDM diversity microwave receiver intended for outside broadcast and other mobile video applications. Its stylish rugged machined housing provides durability and excellent thermal characteristics for operation in the harshest of conditions. The receiver has four RF inputs that communicate directly with the system’s external intelligent receivers in the 1.99 to 2.70 GHz and 6.40 to 7.75 GHz bands, with other bands also available. The use of external intelligent receivers allows the receive antennas to be remotely mounted.

IMT will also be showcasing its RF Central Direct VU COFDM (DVB-T-compliant) Diversity Handheld Receiver/Monitor. Direct VU offers exceptional RF performance and durability, combined with true ease of operation and superb H.264 and MPEG-2 decoding. The unit displays COFDM video transmissions using a built-in internal 9-inch, 16:9 format high-resolution LCD screen. The display also features an easy-to-use menu-driven interface. Much more than a COFDM handheld receiver, the Direct VU can send video over Ethernet to remote software or hardware decoders. This allows multiple remote viewers to monitor the same video simultaneously. An SDI output enables the user to view the incoming video on an external monitor if needed.

The RF Central RMR-X6-II will also be on display during CABSAT 2013. The RMR-X6-II is a software-defined, six-input digital diversity receiver that provides maximum ratio combining, DVB-T receive capabilities, an ASI output for forwarding the stream, UDP streaming over IP (Ethernet) and an internal MPEG-2 SD/HD decoder. The unit is controllable via the front panel, RS232, or Ethernet. Stream-monitoring capability is provided for network management. The sophisticated monitoring of the X6-II allows viewing of RF parameters such as SNR and transport stream functions for continuity and stream identification. A local CVBS on-screen display, in addition to the front-panel OLED, gives the operator all the vital characteristics of the incoming signals with a data and spectrum viewer screen.

About Integrated Microwave Technologies, LLC
Integrated Microwave Technologies, LLC (IMT) is a Business Unit within the Vitec Group’s Videocom Division. The company comprises the leading microwave brands Nucomm, RF Central and Microwave Service Company (MSC), offering broadcasters worldwide complete broadcast solutions. Nucomm is a premium brand of digital microwave video systems for portable and fixed link applications. RF Central is an innovative brand of compact microwave video equipment for licensed and license free broadcast applications. MSC is a premier provider of engineering, integration, technical support, installation and commissioning services. IMT is an ISO 9001:2008 certified QMS organization and recipient of multiple industry awards for design and innovations.

More information can be found at www.imt-broadcast.com.

A Snapshot of The Vitec Group
Vitec is an international Group principally serving customers in the broadcast, photographic and military, aerospace and government (MAG) markets. Listed on the London Stock Exchange with 2011 revenue of £351.0 million, Vitec is based on strong, well known, premium brands on which its customers worldwide rely. Vitec is organised 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 and video.
Services provides equipment rental, workflow design and technical support for camera, video, audio, fibre optic and wireless technology used by TV production teams and film crews.

More information can be found at www.vitecgroup.com.

Trusoundnewyork and Jimmy Cliff Get Happy for Volkswagen

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When Volkswagen and Deutsch LA needed a soundtrack to buoy their upbeat entry into Super Bowl XLVII, they tapped the creative team at Trusoundnewyork to deliver a reggae-inflected rendition of the classic Partridge Family theme song, “C’mon Get Happy,” featuring the legendary Jimmy Cliff. The song appears in the VW Super Bowl Game Day Teaser and “Get Happy,” a deliriously cheery spot in Volkswagen’s ongoing “Get In, Get Happy” campaign. A long-form version of the song is also currently available in the iTunes store.

“Deutsch had reached out to a few labels in search of a reggae version of the Partridge Family theme,” recalled Trusoundnewyork founder Camus Celli. “We have great relationships with all the major labels through our other company, Vel Records, so we heard about the project and jumped at the opportunity.” The project couldn’t have come along at a more perfect time for the company, whose co-founder Paul Conte had recently spent time in Kingston, Jamaica composing the music and casting the band to record the Red Stripe Reggae Orchestra “Hooray Beer” multi-spot campaign.

Adding to the excitement was the news that reggae legend Jimmy Cliff had signed on to provide lead vocals for the project. To prepare, the team dug deep into Cliff’s repertoire, eventually recording demos in a variety of styles. “We recorded a classic ‘rock-steady’ version and a more organic acoustic version,” noted Trusoundnewyork’s Co-Founder Paul Conte. “The agency liked elements of both so we offered a few ideas about how we could integrate the two without overshadowing the distinctive personality of Jimmy’s voice.”

From there, the Trusoundnewyork team took to their recording studio in DUMBO Brooklyn to create the track that would accompany the final spot. “Jimmy came to town after the initial sessions, and we spent a day in the studio working with him on vocals and tweaking the arrangement,” said Conte. “We obviously wanted his ‘stamp of approval’ on the track and he offered a lot of great ideas about the final production.”

Having collaborated with artists such as Nile Rodgers, Tina Turner, David Byrne, Gavin DeGraw, and worked alongside brands such as Nike, GM, Verizon and Visa, Trusoundnewyork offers more than 40 years of combined industry experience tempered by a sophisticated but open-minded approach. “Music for us has always been the key component in creating unique and memorable campaigns,” affirmed Conte. “The ability to make a emotional connection with Jimmy’s soulful interpretation of ‘C’mon Get Happy’ helps people to connect with the VW brand.”

Credits:

Client: Volkswagen
Spot Title: “Sunny Side”
Air Date: February 2013

Agency: Deutsch LA
Producer: Jeff Sweat

Music: Trusoundnewyork

About TruSoundnewyork:

TruSoundnewyork is a music and audio post production company specializing in composition, scoring, sound design and a fully customizable multi-genre based library for licensing for film, television, and web based projects.

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Sound Devices Gear is the Clear Choice for Watson Wu Studios

Portable Audio Equipment Holds Up to the Harsh Rigors of Field Production

BOCA GRANDE, FL, FEBRUARY 5, 2013 — Specializing in providing professional audio content for film, television, commercials and video games, Watson Wu Studios has come to rely heavily on Sound Devices portable mixers, recorders and interface gear for field recording, voice-over and music recording session projects.

Composer/Sound Designer/Field Recordist Watson Wu has worked on several projects that utilize Sound Devices gear. Most recently, his company completed a project for Korean video game Metro Conflict by Red Duck, which is slated to be released next year. Sound Devices 788T, 552, 442, 744T and MixPre-D were all used on location in order to capture several firearms recordings. Watson Wu Studios also recently completed work on the AAA video game Assassin’s Creed 3, where Wu was contracted to find, arrange and record the sounds of full-scale cannons being deployed. With an abundance of microphones placed strategically around the cannons and in the background, Wu and his team captured more than 24 channels of audio using various Sound Devices 744T and 722 Recorders, 302 Mixers and a 702 Recorder.

“Many years ago, I had the opportunity to listen to various unedited firearms recordings from colleagues who used Sound Devices recorders,” says Wu. “I was extremely impressed with how the microphone brands sounded so different from each other. Before that, most of the guns sounded like popcorn, and this was true from one brand of microphone to the other. My experiences and observations in the field prompted me to rent, and then eventually buy, my first Sound Devices field recorder, the 702. Now I’m using several Sound Devices products regularly, including the 442 Mixers, the USBPre 2 Audio Interface and the 788T-SSD Recorder.”

During the production for Dodge’s Guts, Glory, Ram TV commercials, Wu relied on his Sound Devices 442 Mixer to maintain control of beefy truck sounds. Wu has also worked on projects for the NBA, NHL and Lexus, where he composed and recorded music utilizing various microphones connected to the Sound Devices USBPre 2 Audio Interface.

“Sound Devices has always been the most reliable recording gear I’ve used,” adds Wu. “Since I often carry my entire rig on location, the lightness and thinness of Sound Devices gear is essential. Most of my recordings are done in super hot weather. Rarely do I encounter freezing temperatures, but the few cold-weather sessions I have been in have proven the reliability of the Sound Devices systems. Sound Devices also records true high-resolution sample rates, which is important, since most of my clients need 96 kHz and sometimes up to 192 kHz. There are other brands to choose from, but I really need the features and the robustness provided by Sound Devices.

During a few projects, Wu worked particularly long days at outdoor sessions, where the temperature rapidly rose by 30 degrees. “At the peak of the super hot day, the non-Sound Devices brands started to fail,” he recalls. “They either stopped responding or we had to keep adjusting the uncontrollable recording gains. During all of this, the Sound Devices gear we had just kept going without any problems.”

For current undisclosed projects, Wu is using his Sound Devices 442 Mixers, along with a 552 Production Mixer, to go in front of his 778T-SSD Recorder, as well as a 702 Recorder. This setup is being used to record full automatic weapons and exotic vehicles.

Wu incorporates Sound Devices gear into his portable setup for vehicle engine recordings by rigging DPA, Rode and other lavalier mics inside the engine compartment. He then routes the mic cables to 442 Mixers and sometimes a rented 552 Production Mixer. In addition, he also places various Sennheiser, Rode and Shure dynamic mics onto the body of the vehicle to capture exhaust sounds. The Sound Devices mixers’ incredibly fast responding limiters allow the recorders to capture these controlled extreme sounds. For external pass-by shots, Wu either uses Sennheiser MKH-418s or Neumann RSM-191s stereo shotgun mics connected to a Sound Devices 702 recorder.

“What I really like about all Sound Devices recorders is that I can use both external as well as the attached Sony L rechargeable batteries,” concludes Wu. “There were a few crucial takes where the 788T-SSD alerted me that the external battery was running extremely low. With an always-attached Sony L battery (while the recording was still going), I removed the external battery and plugged in fresh new one. You can do this same process again and again without interrupting the recordings. This is absolutely fantastic for my long session days. You just can’t match this feature. In addition, I’ve also had two CompactFlash memory cards fail on me where the internal SSD in my 788T-SSD retained the sound files. It’s a blessing to have this redundancy. Another great feature of the 788T is that it can record all eight channels at 24/96 on to single poly wave files. After a session, I can simply drag and drop a poly wave file into my editor, and all eight channels are perfectly lined up, ready for playback and editing.”

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The fourteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

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MTI Film Broadens, Expands Cortex Dailies Solutions

Cortex Editions are tailored to the needs of different user groups with extra features and codec support.

HOLLYWOOD—After a successful initial rollout of its Cortex product line in November 2012, MTI Film is announcing new editions of the software-based dailies solution that support formats targeted to specific users from on-set to large facilities. MTI Film has also added the ability to render watermarked QuickTime files to the Cortex Free Edition.

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