London, UK – The top prize-winning film and television productions at this year’s Visual Effects Society Awards each relied on Codex technology for camera data recording and workflow management.
Archive for February 7th, 2013
At the 2013 NAB Show, Bittree will display its newest innovations in patchbays and patching solutions, each designed to help integrators and audio/video specialists achieve greater flexibility in rapidly changing media environments. Bittree highlights at this year’s show include a new line of fiber feed-through panels to support today’s increasingly fiber-based operations, as well as coaxial audio patchbay solutions — offering a specialized, high-density alternative to video-patching equipment in today’s demanding digital audio environments.
Bittree Products on Display at the 2013 NAB Show:
Digital Audio Coaxial Patchbay, 75 Ohm
Bittree’s digital audio coaxial patchbay was developed in response to the rapid growth of digital audio content. Traditionally, many installers used video patchbays for digital audio patching. Designed for discreet AES signals, the Bittree digital audio patchbay offers significant cost savings over video patchbays for this purpose, and the BNC rear interface is designed specifically for fast and easy installation.
Photo Caption: Bittree Digital Audio Coaxial Patchbay
Photo Link: www.wallstcom.com/Bittree/Coaxial75ohm.zip
Bittree Fiber Patch Panels
At the 2013 NAB Show, Bittree will showcase a new line of fiber patch panels developed in response to the rapid growth of fiber optic cable in broadcast and AV environments. Available for LC/LC, ST/ST, and SC/SC, these fiber feed-through panels are the industry’s first to provide optional designation strips. With the addition of this new fiber product line, Bittree now provides a single source for resellers and integrators to purchase both copper and fiber patching systems.
Photo Caption: Bittree Fiber Patch Panels
Photo Link: www.wallstcom.com/Bittree/fiber_patch_panels.zip
969-S Series Programmable Audio Patchbay
Programmable audio patchbays from Bittree’s highly popular 969-S series are mainstays in a wide range of large-scale broadcasting, mobile production, and postproduction operations. As the exclusive manufacturer of this unique design, Bittree offers a powerful blend of reliability and simplicity — making these systems the preference of installers and engineers alike. The patented front-panel programmable design of the 969-S series allows for quick and easy changes to the normal, and grounding for the entire patchbay or for individual circuits. The switched ground design maximizes reliability by eliminating differences in ground potential. Normals can be changed to full-normal, half-normal, or non-normal, and grounding can be changed to switched or bussed.
Photo Caption: Bittree 969-S Series Audio Patchbay
Photo Link: www.wallstcom.com/Bittree/969S-AudioPatchbay.zip
Bittree 3 x 32 Mini-WECO Monitor Patchbay
Bittree’s new 3 x 32 Mini-WECO monitor patchbay features an innovative design that adds an additional monitor row to the traditional Mini-WECO patchbay without exceeding the 2-RU panel height. Since engineers can now use the third row as a test point, this design has enabled new applications for patching — both in traditional broadcast studios and in industries ranging from aerospace and military to large content distribution centers.
Photo Caption: Bittree Video Mini-WECO High-Bandwidth Patchbays
Photo Link: www.wallstcom.com/Bittree/mini_weco.zip
“Since rapidly changing broadcast conditions call for prompt and reliable responses, Bittree patching systems are now standard gear in many popular, high-profile productions. In addition to our market leadership in North America, we’re highlighting our increased international focus with key new customers and resellers in both the Asia-Pacific region and Latin America. Bittree delivers the top-quality, high-performance, high-density solutions required by media operations of any size, anywhere in the world.” — Glenn Garrard, CEO, Bittree
Bittree offers a complete line of patching products, including audio, video, data, and integrated patchbays, as well as a variety of patchcords, tools, and accessories. Tailored for use in the postproduction, pro A/V, systems integration, and radio and television broadcasting fields, Bittree’s patching solutions are rigorously tested to ensure long-term functionality and dependability, especially for mission-critical operations and live events. To ensure consistency, performance, and adherence to rigid quality standards, all of the company’s patching products are designed, manufactured, and tested in its state-of-the-art facility in Glendale, Calif. More information is available at www.bittree.com.
New Location Boasts Creative Atmosphere and Expanded Technical Resources
CAMBRIDGE, UK, 7 FEBRUARY 2013 ? Clear-Com®, a global leader in critical voice communication systems, announces the relocation of its UK headquarters. The new office is located at 2000 Beach Drive, Cambridge, just down the road from the company’s previous UK headquarters. The new facility enables Clear-Com to continue its expansion in the region, while offering further creative resources for its staff members. more
Dramatic Feature Film Depicting Life of Mother Teresa Utilizes Full Range of Post Services from Blue Room Post; William Riead’s Epic Biopic Shot in India and London
Manhattan Beach, CA, Feb. 7, 2013 – Filmmaker William C. Riead is currently in the completion stages of post production on his upcoming epic biopic “The Letters,” depicting 50-years in the life of Mother Teresa, who died in 1997. Mr. Riead turned to Blue Room Post, located at Raleigh Manhattan Beach Studios, to deliver a full range of post production services on this historically accurate epic, 10-years in the making.
Blue Room Post’s Andras Ostrom is the editor of “The Letters,” with color correction being handled by Robert Douglas, and Mike Patterson providing ADR and Audio Mixing services. Flame Artist Brent Gilmartin is spearheading work on over 50 visual effects shots featured within “The Letters.” This VFX work includes a number of green-screen shots (moving vehicles, trains, and cars,) several crowd enhancement and duplication scenes, a transition scene from an old still photograph into live-action 1946 Calcutta, stock footage integration, and a variety of hidden FX, all of which help to enhance and embellish the overall storyline.
Mr. Riead said, “I chose to bring ‘The Letters’ to Blue Room Post specifically because they are so unlike many of the clinical, cookie-cutter post houses available out there. Blue Room offers a nicely paced, fun, and family-style atmosphere, while also providing thoroughly professional services.”
ABOUT “THE LETTERS:”
Written and directed by William C. Riead, “The Letters” is an independently produced feature film based on the real-life treasure trove of letters Mother Teresa wrote to a longtime spiritual director during the course of decades. The content of these letters revealed that Mother Teresa often suffered a feeling of isolation and abandonment during fifty years of her life working with the poor in Calcutta, India.
Acclaimed British actress Juliet Stevenson portrays Mother Teresa in the film, and the twice Academy Award nominated actor Max von Sydow plays her spiritual director (portraying a Jesuit priest for the first time since “The Exorcist” franchise.) Popular Dutch actor Rutger Hauer plays the Vatican advocate for Mother Teresa’s cause for sainthood.
During early 2012, Mr. Riead shot “The Letters” on location in India (including locations in Calcutta and Goa,) and in London. The film was shot in 2:40 widescreen Cinemascope format by Jack Green, Clint Eastwood’s longtime Cinematographer, who served as DP. Upon its completion, Mr. Riead and his production company CinemaWest Entertainment, will work with a leading motion picture distributor to ensure “The Letters” is seen in movie theatres worldwide. A Conservative Christian faith-based audience will be targeted by the film’s global marketing campaign, with a portion of the film’s profits earmarked for The Missionaries of Charity, a non-profit group founded by Mother Theresa in 1950.
To see a trailer of “The Letters,” please visit: http://www.cinemawestfilms.com/index.php?page=902619.txt
ABOUT BLUE ROOM POST:
With state-of-the-art facilities located at both MBS/Raleigh Studios in Manhattan Beach, and at Raleigh Studios in Hollywood, Blue Room Post is a full-service production and post production company that provides media content solutions at reasonable prices to major movie studios and independent filmmakers, television networks, home entertainment companies, and corporations and brands. Founded in 2009, the company specializes in all areas of editorial, including offline, on-line, color correction, motion graphics, compositing, title design, digital dailies, wire clean up and restoration.
BRP’s audio services include ADR, sound recording and mixing, foley stage & sound design, narration & VO recording, music recording and sound editing. Other company services include finishing, Blu-Ray DVD authoring, visual effects and support services.
In addition, Blue Room offers creative services through its in-house agency and content production division, Big Logo Advertising. Big Logo caters to the needs of a range of corporate clientele offering services from total ad campaign concept to development to testing and delivery. For more information, please see: www.BigLogoAdvertising.com
Among the high profile projects to which Blue Room Post has provided its services are the TV series “The Closer,” “Major Crimes” “Private Practice,” “Castle,” “Dallas,” “Revenge,” “90210,” and “Longmire” Additionally, in the feature film arena, BRP has supplied source ADR for Marvel Entertainment’s “Iron Man 2” and “Thor,” and temp ADR for the blockbuster movies “The Avengers” and “Captain America.” For more information, please see: www.blueroompost.com
XL Events supplied Haymarket Exhibitions with LED screens, projection, camera systems, control and crew for their annual fashion event, Clothes Show Live.
The event took place over 5 days at Birmingham’s National Exhibition Centre in December, with top designers and fashion retailers showing the hottest upcoming trends.
The central point of the exhibition was the Suzuki Fashion Theatre, a catwalk show that ran several times daily and featured more than 40 models and dancers.
For the catwalk show, XL Events supplied a 4.5m wide by 5.4m high LED screen located centrally at the rear of the stage. This was formed from 120 tiles of lightweight Pixled FX-11.
The LED screen was flanked either side by scenic projection using double stacks of Barco FLM HD 20 projectors, managed by chief projectionist Chris Johnson.
Built into the end of the main runway was an LED floor, utilizing Pixled F-30 measuring 5.7m by 4.8m. This added an extra visual dimension to the show.
Two Catalyst media servers set up by Salvador Bettencourt Avila and controlled by the show’s Lighting Designer, Nigel Catmur fed video content to the screens. All video playback files were integrated with the lighting cues, which in turn were triggered via timecode so everything happened simultaneously.
Playback content for the show was created by Colin Rozee of ZEEFX Motion Graphics, with whom XL Events worked closely.
To capture the latest fashions as displayed on the models and dancers, XL Events supplied three Sony HXC-100 camera channels, (one at Front of House, and one both sides of the runway). A further Sony SD Robocam was rigged above the end of the runway for overhead shots of the models and content displayed on the LED floor screen.
The accompanying HD PPU fed the IMAG footage to two Barco SLM R12 projectors which supplied the live images to two large relay screens either side of the main stage.
XL Events also supplied two 50” plasma screens for backstage monitoring, showing the live feed, with the timecode cueing the show.
Phil Smith, Project Manager for XL Events, commented: “Clothes Show Live Fashion Theatre is always an exciting project for the events team, and one on which we are pleased to support Haymarket. This year’s design of using a mix of both LED and scenic projection worked extremely well and created some visually stunning backdrops.”
Academy Award Nominated “Head Over Heels” Wins 2013 Annie Award; Director Timothy Reckart Launches Reckard Productions, Developing Two Stop Motion Feature Films
Los Angeles (February 7, 2013) – Director Timothy Reckart’s Academy Award®-nominated animated short film, “Head Over Heels” (headoverheelsfilm.com), won a 2013 Annie Award (annieawards.org) on February 2nd, at the 40th Annual Annie Awards—internationally recognized as the most prestigious animation awards in the world—in Los Angeles. Reckart, 26, is a student at the UK’s world-renowned National Film And Television School (NFTS), which is continuing to uphold its track record of producing animation projects that garner Oscar recognition. The school has also turned out successful graduates, including cinematographer Roger Deakins and composer Dario Marianelli (both are also Academy Award-nominated this year), and the Academy Award-winning Nick Park (Aardman Animations).
Reckart wrote and directed “Head Over Heels,” along with producer and fellow student nominee Fodhla Cronin O’Reilly. The short is the only student film in the Oscars race this year. The two enlisted a large crew of students to bring Reckart’s vision to life, which was inspired by a Rembrandt painting. The film, which captures the emotional distance between a long-married husband and wife, illustrated by one living on the ceiling and one living on the floor, is the third NFTS film to be nominated in the animated short film category since 2005.
Additionally, Reckart has announced the launch of his own production company, Reckart Productions, and is currently meeting with potential investors in the U.S. and the UK. The new banner is in development on two stop motion animation feature film projects: The first is entitled “Super Special Ed,” about a group of normal kids who fail to get into an elite superhero school and instead are enrolled in the school’s special ed program to develop their unusual and seemingly useless superpowers. The second, entitled “I Lost My Mind,” follows a boy whose brain escapes from his skull and runs around, wreaking havoc.
Nick Park, Reckart’s stop motion animation idol, and the creator of the famous “Wallace and Gromit” characters for his graduation film at the NFTS 30 years ago, said, “’Head Over Heels’ is one of those stand-out little gems that doesn’t come around that often. It’s a cleverly conceived but simple idea–a clear and inventively told story–very poignant and full of heart. I’m not surprised Timothy Reckart is winning awards with ‘Head Over Heels’–much deserved.”
In his Annie Awards acceptance speech, Reckart said, “It’s really an honor to get this Annie Award from ASIFA Hollywood, from all the voters who watched the films, because you are so passionate about animation. I’ve been really proud of the last decade of work that animation artists have been doing, especially this past year in stop motion—I’m really proud to be a part of that.”
Reckart was referring to the fact that 2012 marked the first time that three stop motion animated feature films—“Frankenweenie,” “Paranorman” and “The Pirates! Band of Misfits”—were released in one year. The fact that all three are also Oscar-nominated sets an all-time record.
The prize was presented by legendary voice actor Jim Cummings (Winnie the Pooh, Tigger) and “The Simpson’s” creator Matt Groening. In attendance were the directors of “Paranorman,” “Wreck-It Ralph,” “Rise of the Guardians,” as well as independent New York animator Bill Plympton.
NFTS director Nik Powell says, “For one of our graduation films to receive an Annie, the pinnacle of animation awards, we hope this win gives ‘Head Over Heels’ the momentum to get their extraordinarily human and humorous film noticed by Academy voters. Tim and Fodhla richly deserve the success and credit their film is receiving.”
The film has also been nominated for an Academy Award, alongside major studio films from Disney and Fox, for Best Animated Short Film.
The film can be seen at select theaters as part of the Shorts Program being distributed by ShortsHD The Short Movie Channel and Magnolia Pictures. “The Oscar Nominated Short Films 2013” is showing in more than 260 theaters across the U.S., Canada, and Europe. A key fixture of the awards season, the theatrical release featuring Live Action, Animation, and Documentary short films is the only opportunity for audiences around the country to watch the nominated shorts prior to the 85th Academy Awards ceremony on February 24.
About The National Film and Television School
The National Film and Television School (NFTS) is the UK’s centre of excellence for graduate film and TV training. It selects the most talented people to enter the film, games and television industry at a professional level and is ranked as one of the top film schools in the world by The Hollywood Reporter in its annual survey of Film Schools. Interesting factoids include: NFTS has averaged just shy of one Oscar or Bafta nomination every year for the past 40 years; NFTS has had three short films nominated for an Academy Award in the past seven years; NFTS students have won over 200 awards in the past year alone (2012); 10 NFTS graduates have been nominated in this year’s 2013 Oscars and Baftas, and 127 other graduates are credited in Oscar and Bafta nominated films; the NFTS Animation department is part of the main school, not separate as it is in most schools; the NFTS is a Skillset Film Media Academy and its MA courses are recognized by the Royal College of Art. Visit www.nfts.co.uk for more information or join us on Facebook and Twitter.
About Timothy Reckart
Timothy Reckart is an animator and director specializing in stop motion animation. He has a BA in history and literature from Harvard University and an MA in directing animation from the National Film and Television School. His debut short, “Head Over Heels,” has been nominated for an Academy Award. A native of Tucson, Arizona, Reckart lives in New York City.
Hosted Service Providers Can Seamlessly Tie Lync to their Cloud Offerings
Las Vegas, Nevada, February 7, 2013 – BluIP, Inc., a leading wholesale Broadsoft service provider, today announced the first simple and fully functional Microsoft Lync cloud integration platform. With this offering, service providers that are also Lync customers will be able to manage the presence, on-premise or cloud, in conjunction with BluIP or any hosted IP PBX powered by Broadsoft’s Broadworks.
“One of the challenges with Lync has been finding an effective way to connect hosted PBXs to Lync Online,” said Jon Arnold, principal of J Arnold & Associates. “People have been waiting a long time for this capability.”
The cloud based service leverages Microsoft Lync for the client app that dominates IM, email and video as well as integration with Microsoft Outlook and real-time presence sharing. This technology breakthrough comes from Australian-based Camelon I.T. which has given BluIP exclusive right to the sale and distribution of the Enterprise version of Camelon I.T’s flagship Presence application in North America.
“As technology advances at a rapid rate, it’s good to know we not only keeping pace but that with our products including the Presence application we can also be leading the way,” said Camelon I.T’s managing director, Myles McNamara. “The integration of BroadSoft’s industry leading softswitch platform and Camelon I.T’s presence tool, we ensure that BluIP is at the leading edge of delivering a reliable and cost-effective cloud-based solution that allows Broadsoft service providers to truly benefit from cloud communications services.”
“Lync integration has been the most critical component missing for the hosted service provider,” said Armen Martirosyan, CEO of BluIP. “With this integration, the Broadsoft providers now have the ability to offer the enterprise voice solution with Lync presence and call control.”
BluIP is a leading provider of Cloud-based Communication Services (CaaS), and a member of the Cloud Communications Alliance. The company delivers mission critical solutions, such as voice and unified communications, presence management, and customized call center solutions to SMBs and large enterprises. Their customized solutions have served enterprises across multiple vertical markets with multiple sites and complex application and infrastructure integrations, while satisfying the most stringent of industry compliance and security requirements. With unmatched depth of expertise to uncover, develop and implement leading edge cloud communications solutions, BluIP and its partner ecosystem focuses on providing exceptional support, high level of innovation, and an unwavering commitment to the success of its customers. BluIP’s solutions are fully integrated, flexible, scalable, and require no capital investment or ongoing maintenance. To learn more, visit www.bluip.com.
Canon EOS C300 Digital Cinema Cameras and Canon Cinema Zoom and Prime Lenses Help a Major Equipment Rental House Deliver High-Performance Imaging Options to Clientele
Providing the very latest in digital cinema cameras and lenses is essential for success in the motion-picture production equipment rental business. Offering clients a diverse portfolio of equipment helps them maintain their craft and stay abreast of the latest technology developments. For Koerner Camera Systems this means offering a range of Canon Cinema EOS equipment including EOS C300 digital cinema cameras and multiple Cinema zoom lenses and Cinema prime lenses from Canon U.S.A., Inc., a leader in digital imaging solutions.
To help boost its product offerings and reach additional filmmakers and production professionals, Koerner Camera Systems recently added eight Canon EOS C300 digital cinema cameras, one Canon CN-E14.5-60mm T2.6 L SP wide-angle cinema zoom lens, two Canon CN-E30-300mm T2.95-3.7 L SP telephoto cinema zoom lenses, and two Canon CN-E30-105mm T2.8 L compact telephoto cinema zoom lenses to its rental inventory. Three of the Canon EOS C300 digital cinema cameras take PL-mount lenses, while the remaining four utilize EF-mount lenses, including Koerner’s Canon CN-E24mm T1.5 L F, CN-E50mm T1.3 L F, and CN-E85mm T1.3 L F cinema prime lenses and its large inventory of Canon EF-series photographic lenses. This diverse equipment catalog, including Canon digital SLR cameras such as the EOS-1D C hybrid 4K DSLR cinema camera and the 5D Mark III camera, is well-suited to the broad range of customers Koerner Camera Systems serves from its facilities in Portland and Seattle according to company owner Michael Koerner.
“The Canon EOS C300 digital cinema camera is an awesome camera,” Koerner stated. “The EOS C300 digital cinema camera is compact and extremely lightweight. Its low-light capabilities are very impressive, its ergonomics are nice, and users like its intuitive menu system. The camera also produces an exceptional image. At the end of the day it’s all about picture quality, which is why our rental clients keep coming back for it.”
The price and performance of the Cinema EOS System allow Koerner to offer rental packages at an attractive pricepoint, while the compatibility and familiarity with Canon DSLR cameras help encourage new clientele to “step-up” their next shoot to a EOS C300 digital cinema camera. Compatibility with PL or EF lenses allow step-up filmmakers to use the same great EF lenses they own and love, while also taking advantage of some of Canon’s new EF Cinema lenses for additional optical diversity and mechanical performance.
“Even though we have eight Canon EOS C300 digital cinema cameras in our inventory, their popularity requires us to occasionally sub-rent more of them,” Koerner continued. “The price of the EOS C300 digital camera is just right, so it attracts clients from both ends of the rental spectrum. A lot of the jobs the EOS C300 digital cinema camera is rented for would normally have gone to more expensive cameras. There are also digital SLR users who have jumped up to the EOS C300 digital cinema camera. But unlike a digital SLR, the EOS C300 digital cinema camera is designed to do long takes, which has made it popular for episodic series shoots.”
Koerner noted that in addition to commercials, indie films, corporate videos, and a popular local sketch-comedy episodic television series, the Canon EOS C300 digital cinema camera’s compact size also makes it a favorite of documentary producers.
“The low profile of the EOS C300 digital cinema camera makes it look like a still camera,” he said. “This is advantageous for documentary shooters because people tend to clam-up and get nervous around big cameras. The EOS C300 digital camera lets you be less obtrusive and shoot things that might require a permit if you were using a bigger camera, which needs a larger crew.”
Diverse Lens Choices
Of particular importance to his Canon EOS C300 digital cinema camera rental clients is their ability to choose between the PL- and EF-mount versions of the camera, Koerner explained, depending on their own particular needs and creative priorities. The EOS C300 digital cinema camera is equipped with an EF lens mount for use with Canon’s line of more than 60 interchangeable EF and EF-S lenses designed for Canon EOS digital SLR cameras, as well as Canon’s line of EF Cinema lenses. The EOS C300 PL digital cinema camera is designed for use with the wide array of industry-standard PL-mount lenses, including several new high-performance Canon cinema lenses.
“Lens versatility is very important,” he noted. “We can provide Canon PL-mount or Canon EF-mount lenses, depending on what clients ask for. Many cinematographers already own Canon EF-mount lenses for their digital SLR cameras. A lot of times we’ll just rent out the EOS C300 digital cinema camera body to those users, and then they will use their own Canon EF-mount lenses, which run the gamut from extremely wide to very long. These Canon lenses are also lightweight, which makes them easy for documentary shooters to travel with and to pass through customs without attracting attention.”
Canon also makes five EF-mount cinema prime lenses and four cinema zoom lenses available in both EF and PL versions. These Canon cinema zoom lenses include two competitively priced top-end zoom models with over 4K resolution and two compact lightweight hand-held zoom models with 4K resolution. Koerner Camera purchased three of the top-end Canon zoom lenses: one CN-E14.5-60mm T2.6 L SP wide-angle cinema zoom lens and two CN-E30-300mm T2.95-3.7 L SP telephoto cinema zoom lenses. Koerner also purchased two CN-E30-105mm T2.8 L compact telephoto cinema zoom lenses and three Canon EF-mount cinema prime lenses. Koerner’s three Canon prime lenses – the CN-E24mm T1.5 L F, CN-E50mm T1.3 L F, and CN-E85mm T1.3 L F – provide high optical performance levels and a choice of versatile focal lengths for a wide range of creative shooting choices for large-format single-sensor cameras employing Super 35mm or full frame 35mm imagers.
“Our clients really like these lenses,” Koerner informed. “The Canon 30-300mm cinema zoom lens has great resolution, a nice size, and it’s long. It’s also refreshing that Canon is up-front about the specifications of the 30-300mm cinema zoom lens. Buying two of them was a big commitment, but we’ve had to sub-rent a third more than a few times this past summer. Putting it on the EOS C300 digital cinema camera really helps with the package price for a high-end imaging system.”
Koerner added that his company also rents the Canon EOS-1D C hybrid 4K DSLR cinema camera, and the Canon 5D Mark III, 5D Mark II, and 7D digital SLR cameras with such Canon EF lenses as the 16-35mm ultra-wide zoom, 24-70mm and 24-105mm standard zooms, and the 70-200mm telephoto zoom. “These cameras are being used by budget-conscious commercial and corporate shooters who may be seeking a lower profile and the look of the larger imager in the 5D Mark II digital SLR cameras,” he added.
A Positive Experience
In addition to providing Koerner with high-performance equipment Canon goes one step further to help Koerner keep their equipment running at top performance and operability. Koerner has special praise for the support Canon provides after the sale.
“It’s inevitable in the rentals business that equipment gets broken, things go down, and they need to be worked on,” Koerner noted. “We have been dealing with major manufacturers since I started Koerner Camera Systems 16 years ago, and the response from Canon is incredible. It’s pretty much unrivaled for a major manufacturer. They’re a pleasure to deal with.”
Canon realizes that no equipment downtime means more profits for businesses that rely on Cinema EOS products. Minimizing equipment downtime and providing service that is fast, high quality and flexible is central to Canon’s service philosophy. Services provided by Canon on professional products include priority repair processing, product cleaning and maintenance, training that allows businesses to maintain their own equipment, and much more.
“Canon also makes it really easy for processing your payment,” Koerner added. “If you ship them something, chances are you’ll get an estimate the day they receive it, or the next day for sure. You’ll get a breakdown on the condition of your camera or lens, and the replacement cost. It’s usually just a couple days to get it back. A lot of the major manufacturers’ cinematography parts are quite expensive, but Canon repairs are much more affordable.”
“We have had an extremely positive experience with Canon and it’s always exciting to see them come out with new products,” Koerner concluded. “Hopefully they can keep one-upping themselves.”
Canadian Hockey Broadcaster Turns to RTW for Loudness Metering and Measurement
TORONTO, FEBRUARY 7, 2013 – When the engineers at Canada’s Maple Leaf Sports and Entertainment (MLSE) decided to transition their studios to 5.1 audio, choosing the right equipment to support the switch was a top priority. In need of a device that could not only analyze meter levels in 5.1 but also measure loudness, the team chose several TM7 TouchMonitors from RTW, a leading manufacturer and distributor of professional audio metering and control devices for studio recording and radio and TV broadcast applications. The innovative seven-inch-touchscreen audio monitor is simple to use and provides the engineering staff with the measurement data necessary for keeping audio levels in check during the many live sporting events the network covers.
Alain Siodlowski, MLSE’s senior broadcast engineer and his team needed a budget-friendly solution to help them navigate loudness issues that arise during productions. The TM7, with its customizable modules, fit the bill. Prior to using it at the station, Siodlowski employed the TM7 whenever he needed to rent an OB van. As an operator, he saw first-hand how well it worked with a variety of consoles (the TM7 is used with SSL C10 HD consoles at the network). When the CRTC (Canadian Radio-Television and Telecommunications Commission) implemented a loudness mandate for Canadian broadcasters similar to the CALM Act in the U.S., the network saw the need for a reliable audio meter.
Launched in 2001, MLSE owns four professional sports teams: the Toronto Maple Leafs (NHL), Toronto Raptors (NBA), Toronto TFC (MLS) and the Toronto Marlies (AHL), and operates three television stations: Leafs TV, dedicated to coverage of the Toronto Maple Leafs professional NHL hockey team, NBA TV Canada, covering professional NBA basketball and GolTV Canada, which broadcasts professional soccer matches from across the globe. MLSE also owns three sports stadiums in Toronto: the Air Canada Centre, BMO Field and Rioch Coliseum. In addition to monitoring and broadcasting feeds from around the world, the MLSE networks also produce a lot of in-house programming, including hockey and basketball games for which it uses the RTW TM7 the most.
“In the control rooms, when we are mixing, we are basically in front of a blank canvas, saying, ‘How do we want to create this?’” says Siodlowski. “There are certain sound-placement rules: You put your announcers here, your rink sound here and your audience here, but then you have to really work on how to create the mix and still make it sound good in stereo. And that is where RTW’s vectorscope comes into play. It tells you if your levels are too high or too low or if you are too far forward or too much in the rear—it gives you nice visual feedback.”
“The other thing we liked about the system is that it is so user-friendly,” says Siodlowski. “You can move stuff around, you can set it up the way you want and if there is something you don’t need, you just don’t put it up or make it smaller. It’s so easy to maneuver with the touchscreen. Having that functionality has been really good for our operators. When there is a mix going on, our team members are super busy—there are people on the intercom screaming and yelling. The TM7 isn’t their main tool, so you don’t want this to be in their way, but you do want the comfort of knowing it’s there when they need it and that it works.”
The TM7 is part of RTW’s TouchMonitor family of products, comprising the TM7, TM9, TM3 and TM3-3G audio meters. The TM7 and TM9 TouchMonitor versions, featuring seven- and nine-inch touch-sensitive displays, respectively, provide unparalleled flexibility and modularity combined with intuitive control. The software visualizes multiple sources simultaneously. It supports displaying the same signal on multiple instruments in parallel, each with dedicated defaults with both horizontal and vertical operation. The system visualizes up to 16 analog and/or digital sources at the same time. The TM9 is even capable of providing a view of up to 32 digital channels when users implement the 3G SDI option.
“We are so happy to see the TM7 in use in such a time-sensitive environment as live sports production,” says Andreas Tweitmann, CEO, RTW. “The Toronto Maple Leafs is an important network serving its hockey-loving Canadian audience and the TM7 seamlessly fits right into its equipment protocol. Loudness control is a huge issue around the world and we are proud to offer a solution that is so well received by broadcasters.”
RTW, based in Cologne (Germany), has more than 40 years of experience in designing, producing, and marketing advanced recording-studio systems. The company focuses its business on professional audio signal metering tools that are in use in the leading recording studios as well as by radio and TV broadcasters worldwide. The current product portfolio highlights the TouchMonitor range, a new series of tools for visual signal analysis and comprehensive loudness metering. The TouchMonitor combines the highest of flexibility and modularity with an intuitive user interface and touchscreen-based multichannel-analysis features, integrating exceptional surround-signal visualization using the unique and groundbreaking Surround Sound Analyzer. The high-end SurroundControl series of products with fully fledged loudness measuring combines the convenient metering options of the RTW surround display devices and the control functions of an eight-channel monitoring controller.
HEBDEN BRIDGE, U.K. — Feb. 5, 2013 — In response to customer demand, Calrec has added Automixer, an automatic mixing function, to its Bluefin2 signal-processing engine, the driving force behind its Apollo and Artemis mixing consoles. Automixer attenuates the output levels of all channels under its control to maintain consistent program levels in environments with multiple open microphones and unpredictable audio content. The feature is especially useful on panel-style discussion shows where guests might speak over each other and dramatically raise their voices.
Users can have eight separate Automixers, each of which can be assigned to control any number of mono input channels and group paths on the control surface. Unlike compression of a mix bus, or use of individual or linked compressors on paths, the use of an Automixer applies differing amounts of attenuation to each path, depending on its own level, as well as the overall mix level. Paths can be assigned different levels of emphasis to allow, for example, the host of a show to stand out from the guests.
Artemis user Ryan Davidson, a broadcast audio engineer at the Christian Broadcasting Network (CBN) who works on the live program “The 700 Club,” said that Automixer allows him to focus less on the faders and more on fine-tuning other parts of the broadcast.
“When you’re mixing for live TV, there are many variables to control, and if you have a segment with a good number of guests on set, you have to ride the faders to control the voices in the midst of everything else you’re doing. The more guests on set, the more faders there are to adjust,” Davidson said. “Automixer is so intuitive that you can pretty much leave the faders at zero, and they will mix themselves. No more missed mics! If someone starts to talk, Automixer is right on top of it, probably faster than a human could do it.”
José Alfredo Alanís, audio engineer at Mexico’s Grupo Televisa, echoes that sentiment.
“The Automixer feature is an amazing new tool because it’s easy to use and very smart,” Alanís said. “It’s like having many hands operating the fader levels. All you have to pay attention to are the gain structure and the output levels. The microphones are clean, without the annoying reflections from the floor or the holes between the guest and the main anchor. Calrec makes everything easier.”
Automixers can be selected on a channel-by-channel basis to be placed in the signal path pre-EQ, prefader, or postfader. Upstand metering can be configured to show Automixer attenuation alongside signal level on each path.
“At Calrec, our customers drive our product lineup, and Automixer is another example of that philosophy,” said Henry Goodman, Calrec head of sales and marketing. “We pay close attention to our customers and put a great deal of effort into developing products that will make their jobs easier.”
Automixer is an upgrade to the Bluefin2 software. More information about Bluefin2, Apollo and Artemis consoles, and other Calrec products is available at calrec.com.
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About Calrec Audio Ltd.
Calrec Audio, part of D&M Holdings Inc., is exclusively dedicated to excellence in audio mixing for on-air and live production. A broadcast specialist for more than 40 years, Calrec has developed a range of digital consoles relied on by the world’s most successful broadcasters. For putting sound in the picture, broadcasters put their trust in Calrec. More information is available at www.calrec.com and www.community.calrec.com.
Photo Link 1: www.wallstcom.com/Calrec/Televisa1.zip
Photo Caption: Calrec console with Automixer upgrade installed at Televisa
Photo Link 2: www.wallstcom.com/Calrec/Televisa5.zip
Photo Caption: Televisa audio engineer José Alfredo Alanís
Photo Link 3: www.wallstcom.com/Calrec/Automixer.zip
Photo Caption: Automixer GUI from Calrec’s Bluefin2 range of consoles