Christie® and Cineviz are tying technology and art together at the Midland Center for the Arts in Midland, Michigan, with a tailor-made experience highlighting the abilities of Christie Interactivity Kit. With its ‘Escape the Ordinary’ theme, the center is unique in that it encourages both participation and appreciation for art, music, science and history.
“This project started when I showed the people at the center a trade show video where Christie displayed a digital paint canvas and they loved what they saw,” said Mike Driedric, vice president of business development, Cineviz. “Then the conversation steered itself to this exhibit space – and having an actual paint wall here. The director of exhibits – who is an artist by trade – really wanted to create an experience for the facility.”
In the main gallery, Cineviz installed four high definition Christie FHD551-X LCD flat panels in portrait mode – two on each side of a four-inch gap. The two canvasses allow participants to engage and interact with a digital paint palette using Christie Interactivity Kit and an application developed by Nytric in conjunction with Baanto™ Touchscreen technology. To reduce wear and tear, Cineviz placed tempered glass over the flat panels with the Interactivity Kit’s modular frame placed around the display.
Christie Interactivity Kit Differentiates Itself
Christie Interactivity Kit lets multiple users interact simultaneously with a rectangular video wall, with the resolution and speed needed to support finger-based gestures such as flicking, pinching, rotating and scrolling with reliable, accurate performance.
Designed in pieces that fit perfectly around Christie MicroTiles, the Christie Interactivity Kit can be configured into 84 different sizes. The kit can accommodate practically any large format display up to 21.33 feet wide and 6 feet high, or up to a 16-units wide by 6-units tall Christie MicroTiles array. The easy-to-use, field-installable kits attach around the display wall perimeter and plug into a computer USB port without any need for drivers.
“In a lot of paint programs, you use a plus/minus sign to control the intensity of the color. However, with the Interactivity Kit, you actually replicate the painting experience because you can use a paintbrush and blend, for example, pink and blue to make purple. You can also push harder to have a larger spot or a deeper shade of purple. Or you could run a thin line off the brush.”
Driedric also said the project shows how ideas can come to life thanks to Christie Interactivity Kit. “This display really showcases interactive visual displays.We tailored the solution specifically to the museum – tying a physical solution with an interactive solution to deliver an experience that people can’t get anywhere else.”
Higher Expectations Met with Cineviz and Christie Interactivity Kit
In today’s rapidly changing world, the technology of yesterday is no longer the draw it used to be for museums – especially for the younger generation who quickly embrace the newest technology.
“The youth of today quickly lose interest in static displays so Cineviz gears its design and engineers its solutions for the museum market to the tweener (ages 8-12) population,” added Driedric.
The reaction has been overwhelmingly positive and, as Driedric pointed out, the staff is just as fascinated as the exhibitors are. “When you hear that, you know the installation is a winner,” he added. “This is the right solution. We are proud of what we have done at Midland and we are proud to work with Christie.
“There is a lot of brand equity with Christie and utilizing that brand for this project was a valuable asset. We love working with Christie and enjoy the experience they bring to the table. We are committed to the Christie solutions because we believe it represents the leading technology in display solutions,” Driedric concluded. “We believe the Christie product surpasses anything else on the market.”
Archive for February 13th, 2013
Christie® and Cineviz are tying technology and art together at the Midland Center for the Arts in Midland, Michigan, with a tailor-made experience highlighting the abilities of Christie Interactivity Kit. With its ‘Escape the Ordinary’ theme, the center is unique in that it encourages both participation and appreciation for art, music, science and history.
When Luke Bryan launched his “Dirt Road Diaries Tour” FadeUp Design Group and tour Production Manager Pete Healey made sure the country singer was outfitted with an inventory of cutting-edge lighting, control and atmospheric gear supplied by Elite Multimedia Productions. Elite provided Clay Paky’s new A.LEDA Wash K10 and K5 LED moving heads, grandMA2 consoles and MDG theONE digital fog/haze atmospheric generators and MDG ICE FOG Q generators for the 20-city tour. A.C.T Lighting is the distributor in North America for all of the brands.
“These brands are all leaders in their fields,” notes Tom Wilson, vice president of event productions at Elite. “MA consoles, MDG foggers and hazers and Clay Paky fixtures are all viewed as the high end of the business. We’ve been thrilled with Clay Paky Sharpys over the last year and have now supplied A.LEDAs. With Clay Paky it’s all about the quality of the build. The equipment is fully engineered and ready to go when it comes out of the box. We haven’t had any failures at all. As a company owner that’s a huge thing to me. The MAs and MDGs are also rock solid. The output from the MDGs is simply stunning.”
Justin Kitchenman of FadeUp Design Group, who acts as lighting designer for the tour, was challenged with fulfilling Bryan’s desire to put on a big show for his fans while maintaining an intimate interaction with the audience. “That was the balance we aimed for throughout the design process,” he says. “We figured the best way to accomplish this would be to give Luke plenty of performance space out among the audience. As for the lighting aspects, we wanted a big, powerful rock ‘n roll lighting rig.”
The tour is using 12 A.LEDA K10s and 36 A.LEDA K5 fixtures. “We chose them after seeing them at LDI 2012,” Kitchenman explains. “We went looking for the next-generation LED moving light and feel we found the best the industry has to offer.”
Kitchenman doesn’t like the “gum-ball dish” look that shows many RGB LEDs at the source. “For the most part LEDs are faster, have nice beams, and are energy and heat efficient. All those things are a plus. But as soon as I look on a monitor and see the source I want to shut them off! They become almost a distraction. But A.LEDA fixtures don’t have that problem – they’re a beautiful source.”
He’s also a fan of the ability to pixel map the cells of the fixture, which enable him to incorporate them into the show’s video content. And he likes the color correction channel, too. “It allows me to closely match my color temps with the rest of the lighting rig so my LEDs don’t look so LED-ish,” he says.
Selecting the grandMA2 was “a no-brainer for me,” Kitchenman reports. “I have been using the grandMA for more than six years now, and this tour was the perfect opportunity to make the upgrade. It’s proving to be a powerful tool for us: We’re currently running three networks during our show – MA-Net, Art-net, and Kling-Net via the Arkaos media severs.”
He’s “really happy” with the “seamless transition” from grandMA. “Most of the functions, labels and even the button grouping remained the same. The biggest thing I had to get used to was retraining my muscle memory to execute key strokes. I love the large touchscreens, backlit keys and, in my opinion, the improved effects engine. I’m still really diving into the grandMA2 and feel like I’m learning something new about the console every day.”
Kitchenman gives kudos to the grandMA2′s CITP/MSEX thumbnail exchange, which allows him to upload thumbnail files from the media server and “keep media a bit more organized at my end.” He also finds that playback during shows “feels a little more natural” with an array of assignable buttons and faders conveniently placed for right and left hand operation. “All too often in the past I’d find myself doing cross- handed ‘button slaps,’” he recalls. “I’m looking forward to growing with this and future generations of the MA family.”
Kitchenman chose MDG theONE digital fog/haze atmospheric generators and MDG ICE FOG Q generators to showcase the beams from the powerful lighting rig. “The large rig means very little if you can’t see the beams,” he explains. “We selected MDG theONE for three reasons: output, output, output! The first time we turned it on in rehearsal we fogged the room so thick we couldn’t see the video wall. That was an indication that atmosphere would not be an issue on this tour.”
He notes that, “by controlling [the units] from the console I can ramp the output up or down as needed during the show. And when we play outside I know I have a fighting chance to keep a steady flow of haze moving across the stage.” The MDG ICE FOG Q is on hand for its ability to produce maximum low-lying fog with zero residue, he adds.
Kitchenman says he’s “always been amazed at the level of support I get from the A.C.T staff. Phone calls are always returned promptly. The support staff is always patient and polite and never gives off the vibe that ‘you’re just doing it wrong and I can’t help you.’ My hat’s off to them for having in-depth knowledge and real-world experience of their products. They have saved me from impending doom on more then one occasion! The support that comes from A.C.T is a major factor why I will always look to their products first.”
Elite’s Wilson echoes Kitchenman’s praise. “Across the board we are really happy. Support from A.C.T has been great. They’re staffed with people who are familiar with the equipment and can speak intelligently about it.”
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.
It’s no secret that Vans is one of the most vibrant brands of the past 40 years, so when they launched their recent “Off the Wall” campaign, they hooked up with F360 CDs/Directors Ross Harris and Joel Fox for an equally off the wall concept. Drawing on a diverse Vans fan base, the two creative directors helped develop a fresh and totally immersive brand experience with F360 ultimately producing and filming a full parade. The end result features a rowdy procession of skaters, bikers, bands, and floats emphasizing the unique voice and spirit of the well-known shoe brand.
Vans, who offered up the original idea of a parade, “had us involved from the ground up,” says Fox on the initial development of the shoot. “Ross and I collaborated with Vans to mix these things together in the loose structure of a parade. Vans employees came out, friends came out, we wanted people there. We knew we had to make something great that everyone would want to be at, or wish they had been at.” However, the creative duo also credits much of the success to creative casting. “We invited a bunch of pro skaters and BMXers as well as our friends and family,” recalls Harris. “We had a barbecue, a raffle, and a skate session. It really helped to keep the energy up. No bored extras looking at their phones counting the minutes for it to be over.”
In addition to the production, Harris and Fox worked to develop a social engagement component for the parade that encouraged the participants to share using #vansparade and spread photos from the shoot around Instagram and various other social hubs. Over 500 pictures made the rounds, helping to shape the buzz behind the ad. “In most cases these days clients want to keep the surprise of a spot entirely under their control,” acknowledged Fox. “There are many good reasons for this. But in general, I think its great to let the people involved tell their friends and the world. It’s the best buzz for an upcoming spot and can greatly increase its reach. Everyone there wants to do it. Give them a bullhorn!”
And while the spot will be hitting television soon enough, an extended web version is also on the way, giving an even deeper look at the “Off The Wall” parade in all its glory.
Creatives: Jared Abe, Steve Zeitzoff
Production Co.: F360
Directors / Creatives: Ross Harris and Joel Fox
Executive Producers: Eric Tu, Peter Friedman
Director of Photography: Tom Banks
Editors: Ross Harris, Jared Abe
We were born to explore, to discover, and solve the world’s most difficult problems with the world’s best talent. Whether it be traditional broadcast, experiential events, or multi-disciplinary interactive projects, we will build custom solutions from scratch to solve each and every brief.
We are F360.
Stockholm-based UtopiaPeople, led by Co-Founder/CTO Stefan Ström and Co-founder/CFO Hanna Kallin, has started 2013 with an exciting launch: opening their new global talent resource, UtopiaBook, to the worldwide digital and post-production communities. Ström, an award-winning editor who has worked with Nike, Crispin Porter & Bogusky, Saatchi & Saatchi, and Wieden+Kennedy, joined with TV4 Sweden’s Kallin, pooling their combined experience to create the premium platform for connecting brands, agencies, film studios, and post-production shops to their database of more than 13,000 freelance artists.
UtopiaBook is a cloud-based system that works simultaneously as a booking tool, as well as a management and organizational hub. “The idea came after several years of recruiting for the film and VFX industry,” explained Stefan Ström of UtopiaPeople, “And having successfully recruited in over 30 countries, we clearly saw ways that we could improve how our clients found their talent and significantly cut the time and money they spend on finding them quickly and effectively.” Accordingly, UtopiaBook gives clients direct access to one of the largest databases of VFX talent in the world without the need of an intermediary, allowing them to crew-up entire departments within hours. For talent, UtopiaBook presents a free, non-exclusive way to be considered for top-tier work. The detailed application also continuously introduces new talent into the database, so members can find the best and brightest, helping encourage creativity while exposing more individuals to a wider range of opportunities.
One of the most valuable features of UtopiaBook is its open database-style functionality, allowing artists and members the ability to search and access reels, contacts, references, and more. “Few companies have the resources to build a system like this; a system built entirely for the digital and post-production community that’s completely white-labeled,” said Hanna Kallin of UtopiaPeople. “The system also allows members the ability to import all existing contact lists, which removes the need to double-up on effort.”
Building considerable momentum, UtopiaBook has already signed 25 clients pre-launch with plans to grow to 100 clients and 20,000 artists by year’s end.
UtopiaPeople is a new breed of recruitment agency, helping great companies find great people. Formed in 2007 in Stockholm, Sweden, we assist production companies, agencies, and VFX studios in finding freelancers for contract jobs and permanent placement. Today we represent over 13,000 artists from more than 32 different countries.
Selected past clients:
Partizan, Primefocus, ACNE, Visual art, Smoke&Mirrors, Glassworks, Ghost. ACHT, B-Reel, Chimneypot, Screen Scene, Sinefekt, STINK, Swiss, 1000 Volt, Windmill postproduction, Nexus, Crystal CG, Uncle, STOPP, Digital Dimension, Velvet, DDB, Society 46, Framestore, B-reel, Acne.
Montpellier, France – February 13, 2013 – Aquafadas, innovative developer of digital publishing solutions and creative software for HTML5 creation, today announced it will showcase the Aquafadas Digital Publishing Solution at Mobile World Congress 2013 in Barcelona this February in Hall 5 Stand 5G100. Organizations across all industries, from corporate communications to magazine/book publishers to design agencies, rely on Aquafadas technology to achieve their digital and mobile App strategies.
Mobile World Congress attendees are invited to stop by and talk with Aquafadas Digital Publishing experts about how customers like Air France, Lagardère Active, Egmont Publishing and Design Central have leveraged the Aquafadas Digital Publishing platform to successfully launch and monetize their respective mobile App businesses. In addition, the Aquafadas technical team will demonstrate first-hand the system’s ease of use and adaptability to many business’s needs, whether they are publishing content on a tablet, a smartphone or on the web.
Aquafadas AVE AppFactory Upcoming Release
Coming to the Aquafadas Digital Publishing System at the end of the month is the ability to publish multiple titles within one app. ePublishers will be able to consolidate multiple magazines, newsletters, dailies and more publications into a single App using the new Aquafadas multi-title AVE AppFactory template. Rather than creating a dedicated app for each publication, the new template lets publishers manage title purchases via one single app, creating opportunities to cross-market titles and strengthen brand recognition. Highlight features include:
- Sell different magazine titles from one app using in-app purchases
- Apps can easily be linked to a customer database, where print subscribers can log into the app and find the respective digital editions
- Feature items within the app, including banners to showcase the latest issues
- Market title offerings to targeted groups of readers and tailor messages specifically for your audiences – all in one single app
- Graphical user interface means Digital Publishers do not need to write code
To book a press appointment with a member of the Aquafadas team at Mobile World Congress, please contact Anya Oskolkova at firstname.lastname@example.org.
Aquafadas creates innovative digital publishing solutions to enable new and high-quality ways to publish magazines, books, newspapers and comics. Aquafadas solutions allow and facilitate the dissemination of digital content on all major new platforms, including smartphones, tablets and the web. Creation tools offered by Aquafadas meet the specific industry needs of publishers. Amongst our clients are Egmont International, Sanoma, Lagardere, Mondadori, Reader’s Digest, Bayard, Standard & Poors, EDF and La Tribune. Comics publishers use AveComics, the digital comics platform created by Aquafadas, to distribute comics on the new devices. The business world uses Aquafadas tools to enable migration of digital content such as marketing, technical documentation, commercial or financial. Aquafadas user-friendly creative software for Flash®, HTML5, photo and video editing, is also used by graphic design professionals and consumers.
Zazil Media Group
Zazil Media Group
NEW YORK: Multi-Platinum engineer/producer Young Guru was highly visible at the recent 133rd AES Convention in San Francisco. In addition to participating in the SRO Platinum Producers/Engineers Panel with super hit makers Jack Douglas (John Lennon, Guns N’ Roses) and Narada Michael Walden (Aretha Franklin, Whitney Houston), he also made an impressive presentation at the Convention’s highly successful Project Studio Expo.
A prolific producer/engineer/A&R wizard, Young Guru has amassed credits for more than a dozen Platinum hip hop classics including Jay-Z’s The Black Album, Life & Times of S. Carter, and The Blueprint; Kanye West’s The College Dropout; Ghostface Killah’s FishScale; Nellyville, Drake’s Thank Me Later and Beyonce’s Crazy In Love. In 2011 he was a Grammy nominee for his work on the Alicia Keys/Jay-Z Empire State of Mind smash hit.
A highlight clip of Young Guru’s AES Convention experience may be viewed at:
With over a decade of Grammy-winning projects for Roc-A-Fella and Def Jam Recordings, Young Guru is committed to sharing his knowledge, and experience. He lectures extensively, and has established the Young Guru Scholarship Fund for students pursuing careers in Communications, Audio Engineering, Music Education and Music Business.
Photo: Young Guru at 133rd AES Convention
About Young Guru Revered as “The Sound of New York,” Young Guru has over a decade of experience in sound engineering, production, and A&R for the acclaimed Roc-A-Fella Records and Def Jam Recordings. Most recognized for shaping some of the biggest talent in hip hop, he has mixed 10 of Jay-Z’s 11 albums, and officially became Jay-Z’s tour DJ in 2010. For more information on Young Guru visit: www.djyoungguru.com
The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org
The perennially touring Lady Gaga is at it again. The five-time Grammy winner is in the midst of the Born This Way Ball tour, a seemingly endless succession of dates that will hit virtually every corner of the globe for more than a year—or longer. The elaborately gothic-inspired production was birthed in Seoul, Korea, in April of 2012 and has received glowing reviews (“the best live show you will see this year,” per the UK Sun newspaper) and was honored as Major Tour of the Year at the Pollstar Concert Industry Awards.
Eighth Day Sound is again at the helm of the production, coordinating multiple universal stadium systems that at times are air-freighted with the stage set, leapfrogging across several continents to meet the tour.
“Each tour system is comprised of two DiGiCo SD7 Mach III systems at FOH outfitted with Waves and two Waves servers, with one running on a UPS for redundancy,” explains Eighth Day Chief Technology Officer Jason Kirschnick. “A 192kHz DiGiCo SD Rack at FOH is loaded with 32 analog ins/32 analog outs, as well as 24 AES ins/outs for local I/O. At the stage end for FOH are two more 192 SD racks loaded with 48 analog ins, eight AES ins, eight AES and eight analog outs. We are deploying an Optocore switcher so there are three fiber loops for FOH—one loop of all three racks for FOH is connected to a Route 66 Optocore fiber router device. The primary console is in a loop with the two respective engines to the Route 66 as well as the second SD7 at FOH in a loop with the Route 66. This enables us with a push of one button to move the entire rack loop between the two FOH consoles for support acts and dual redundancy. At the monitor end is another SD7 running two Waves 9 servers (with one running on a UPS). There are two more 192kHz SD Racks at monitors loaded with 48 analog, eight digital inputs, 40 analog and eight digital outputs each.”
The PA system is d&b audiotechnik, comprised of 96 d&B J Series made up of a combination of J8 and J12s (4 x hangs; 24 boxes deep), 32 d&B Flow J subs (4 x hangs of 8 deep), 48 d&B B2 subs on the ground (stacked on each side of the stage and along the front of the stage), 12 d&B Q7 front fills (spread across the front of the stage), with a stadium delay system consisting of 4 x hangs of 12 d&B V8 and V12s. [pictured: Chris Rabold FOH with Eighth Day Sound Chief Technology Officer/Project Manager, Jason Kirschnick]
“The system is all-digital at 96kHz,” adds Kirschnick, “with a complete analog backup comprised of Dolby Lakes and LM44s with wireless control of the complete system. The d&B amplifiers are all monitored and controlled remotely through the entire system as well.”
The five-piece band consists of bass, two guitars, a sizable drum kit and a lot of stereo bass and keyboard elements, plus a programmer who supplies various stems. There are 70-some inputs at FOH, including talkbacks and audience mics and Lady Gaga’s various headset and handheld mics.
“I came onboard between legs of the tour,” explains Chris Rabold, whose previous gigs include stints with Beyoncé, The Fray and Widespread Panic. “I knew I’d only have a couple days of rehearsal before the first show so I went ahead and put a plan into effect that would ensure that I’d be as close to show-ready as I could be once we hit Bulgaria, the site of the first show on the second leg of the tour. I spec’d an SD7 for me at FOH above all else for its sonic quality. It has a million and one great features but at the end of the day, it’s the sound of the desk and the sound of my mixes through the desk that matter the most. The DiGiCo consoles simply sound better than anything else out there. There are several strong platforms in the digital console realm, but this is the one. Period. [pictured: FOH Tech/Recording Engineer Wayne Bacon; FOH Engineer, Chris Rabold; Systems Engineer, Mike "Stacker" Hackman]
“I built the console offline on my computer and sent the file to the guys at Eighth Day, who prepped the desk. From there I was able to get on the console in Los Angeles for a few days, where I worked with the tour programmer on some tracks. The desk then bounced back to the Eighth Day shop in Cleveland where I worked some more on it, concentrating on some of the finer details with routing, system integration, etc. By the time we made it to load-in, I had a basic gain structure in hand, my EQs were at a decent starting point, I had a good idea of what dynamic processing I needed, snapshots written for each song, effects laid out… Basically every last detail was in place before I even saw the band—and this was on a show with a pretty sizable number of inputs. All of the work I was able to do beforehand was absolutely invaluable.”
Rabold cites the flexibility of the snapshot section as one of the main features of the desk that aids in his daily workflow. “With a big pop show like this that is scripted very carefully, the goal is consistency and more or less perfection every single night. I don’t think we’ll ever get the perfection part of that equation down, but we can sure get the consistency through the use of snapshots. The SD7 is so much more configurable than other platforms. You can tweak it snapshot by snapshot, not just globally across all snapshots because automation is and isn’t recall safe. This is tremendously helpful and keeps you from being tied to an all-or-nothing kind of mindset. For example, if I know I want to handle a bass guitar input in the traditional sense and just EQ on the fly for a few numbers, I can do that. But if I also know that by snapshot 17 I want it to have a very specific sort of treatment, I can have it where the recall safe feature comes off and suddenly that input is recalling precisely what had been written previously. It really allows you to be flexible when you need to be and by-the-book-exact when you want to go that route, all on a per-song basis.”
Asked about outboard gear, he says he’s using a combination of outboard and onboard plug-ins. “I basically use some of the same analog things I’ve used on and off for years on certain inputs just because I know they work for me. Lead vocal and drums see the outboard devices. I use the console’s onboard complements of EQ, effects and dynamics for the real nuts-and-bolts work. The overwhelming majority of the inputs see nothing but onboard processing. As far as plug-ins go, I try to use the Waves server more as an effects device. I pull a lot of delays and specialty things from there and it’s definitely a crucial part of the mix structure. I use C6s on the playback stems. A lot of times tracks can be overly bright or overly boomy for what really works live. These allow me to reshape certain frequency ranges yet keep the overall feel and intent of the tracks in place. These are my go-to problem solvers for playback stems in the live pop world. I use the Super Tap delays and H Delays as well. They sound great and can be synced to a song’s BPM. Both of these are very flexible with how you can color them and how you can manipulate individual left and right sides of a stereo delay. Very cool. I use an L2 limiter on the output of a two-track mix as well. This is very handy when I know a board mix might be taken from the night and then played back by the artist right next to fully mastered album mixes. I want my mixes to sound competitively loud with anything they might be referenced to. You never know. Little stuff like that can go a long way toward keeping everyone happy.”
Rabold says he multitracks nightly, mainly just for virtual soundchecking and to tweak his mixes during downtime. “When time permits, I can play back a show and tweak things in the mix. I do rely on this ability and have for several years now. Soundchecking in an empty room can be pointless. Listening to a mix with nearfields or headphones that have a response that you’re familiar with can be way more helpful when it comes to listening critically and judging what’s needed in a mix. We go standard MADI out of the desk and convert that to optical MADI via an RME MADI Bridge. From there the signal goes into SSL Delta-Links, where it is converted to HD so that we can record to Pro Tools. Pro Tools 9 is running on a MacPro with a ridiculous amount of memory due to the staggering track count. Because there are so many tracks and because we’re recording at 96kHz, we split the audio files across three SSD drives.”
Ramon Morales, who’s mixed monitors previously for Beyoncé as well as other A-list artists including Destiny’s Child, Mariah Carey, Mary J Blige and Pitbull, handles monitors for the band members, all of whom are on Sennheiser 2000 series IEM systems (with JH Audio JH16 custom in-ears), as well as the audio techs. He oversees a total of 12 stereo mixes, flown side fills, bass and drum subs, two mono mixes (for drum subs and thumpers on bass and drums) and several stereo FX sends. [pictured: Monitor Engineer, Ramon Morales; Audio Crew, Lee-Fox-Furnel; Audio Crew Chief/Monitor, Tech Klocker]
“Everything about the console is great,” he enthuses. “Sonically, it’s one of the best consoles out there and definitely my favorite. I can have as many ins and outs as I need or want, and having the backup console mirrored—as well as all the other features it has—what else would you want? I’ve found the Macro feature to be very useful. We’ve set many of them up to do specific things for the show and no matter where I am on the console, I can access what I need on the macro section without having to scroll through aux sends or layers and banks. Our show intercom system is also routed through the monitor console, so the techs that need show comms in their mix can have it and plenty of talkback mics using the macros.
“I’m also using many of the built-in effects including Waves to add different colors to the mix. My favorite has to be the SSL channel and the C4, which I mainly use for my vocal inputs, since the console itself sounds great. I just use them to enhance what is already there. The only outboard gear we’re using is a TC Electronics 6000 reverb system for a vocal verb. It’s a Gold Plate and one of my favorites for vocals; it’s very smooth and cuts through just enough to hear it and not overpower anything else going on in the mix. I also use it for a drum verb.”
The console’s ability to receive a video feed aids both Morales and Rabold in managing the spontaneous stage antics of the mercurial artist. “This is crucial when mixing monitors from under the stage,” says Morales, “and having limited sightlines. Having a program feed straight into the console really helps.”
“I barely even look at the stage now,” adds Rabold. “This especially comes in handy when I have to watch for the moments where she yanks off her headset mic and goes for the handheld. There’s no cue for that and being able to see it on a screen two feet in front of my face sure beats trying to see what she’s doing 150 feet away across a sea of fans!”
A great deal of time and planning was invested prior to launching the multiple systems in the field, to ensure the production ran as smoothly as possible with no margin of error. “I personally spent weeks researching and testing the fiber loops and to failsafe the redundancy on as many things as possible,” Kirschnick reflects. “I did this research and testing at our shop in Cleveland, and a great deal of time was spent making sure everything was running smoothly weeks before the tour embarked on its first show last spring. And now, with over six months of time logged with the systems in the field, the band and crew think the console and sound system sound incredible and unmatched.”
Eighth Day tour crew:
Chris Rabold: Foh Engineer
Ramon Morales: Monitor Engineer
Dan Klocker: Audio Crew Chief / Monitor Tech
Wayne Bacon: Audio Crew
Christopher Bellamy: Audio Crew
Bill Flugan: RF Tech
Lee Fox-Furnell: Audio Crew
Mike “Stacker” Hackman: Systems Engineer
James La Marca: Show Coms / Audio Tech
Matt Strakis: Audio Crew
Boinx’s latest update to FotoMagico revels in the spirit of Mardi Gras by adding Masks that will make slideshows as fun as the floats journeying down Bourbon Street
FOTOMAGICO 4.2 ANNOUNCEMENT HIGHLIGHTS
• New version of Boinx Software FotoMagico 4.2 – Comprehensive Slideshow App for Photographers – now available
• New Masks feature makes working with multiple layers much easier and more fun
• FotoMagico 4.2 now supports OS X Mountain Lion Auto Save
Puchheim, Germany – February 13, 2013 – Fat Tuesday has come and gone, but that doesn’t mean you can’t indulge in some sweet slideshow making! Hot off the press, FotoMagico 4.2 is now available just in time to savor all (or at least most) of the favorite memories captured during the past week of Mardi Gras celebrations. The latest update to Boinx’s slideshow presentation software, FotoMagico 4.2 is all about Masks. Just like the masks worn at Mardi Gras celebrations, FotoMagico 4.2 Masks bring excitement to slideshows, only revealing desired parts of an image, while strategically hiding others to create mystique.
“Masks are the kind of advanced feature that power users crave,” comments Oliver Breidenbach, CEO, Boinx Software. “Masks give users the next level of creative freedom, making it easier than ever before to create stunning animation effects and evoke specific emotions within the audience. Clearly, we are committed to providing the very best slideshow creating experience on the Mac.”
When you create with FotoMagico, we’ve always got your back. Your work will automatically be saved with FotoMagico 4.2 support for OS X Mountain Lion Auto Save. Because just like Mardi Gras, sometimes productions can get a little crazy, and having Auto Save can be a major life-saver at times.
New Features in FotoMagico 4.2
• Apply Masks to images, movies or titles in the shape of a rectangle or oval to highlight or hide a specific area of the desired image
• Fine-tune Masks by moving and scaling, inverting, and blurring the edges – all independently of the layer they apply to
• Change individual layer opacity to create partially transparent images, movies or titles
• Save work quickly and automatically with Auto Save, which never interferes with the process of creating
See Masks in action! Watch these videos to find out more:
FotoMagico 4.2 Promo
For an introduction to FotoMagico and to explore its new features, check out our webinar today at 2pm EST. Simply click this link to join in!
FotoMagico 4.2 Pricing and Availability – Special Pricing Limited Time Only!
FotoMagico 4.2 is available now for 20% off for a limited time only at the Mac App Store and on the Boinx Software website, at just 79.99 USD. FotoMagico 4.2 is a free upgrade for existing version 4 users.
Members of the media are invited to review FotoMagico 4.2. For more information, please contact Anya Oskolkova at email@example.com.
FotoMagico, winner of two Apple Design Awards including “Best Mac OS X Leopard Graphics and Media Application Runner-Up 2008″ and “Best Mac OS X User Experience Runner-Up 2006,” is the gold standard in slideshow apps, made exclusively for the Mac. FotoMagico, used by thousands of professional and amateur photographers around the world, allows you to create customized slideshows, mixing photos with movies and audio, for a storytelling effect like none other. FotoMagico brings your photos to life and keeps your audience at the edge of their seats.
About Boinx Software
Boinx Software Ltd. is located in Puchheim, near Munich, Germany. Boinx Software develops award-winning animation, video production and photography software for the Mac® platform and iOS devices including the iPhone, iPad and iPod. Boinx iStopMotion, available for Mac and iPad, is the leading solution for stop motion animation and time-lapse capture, used by many thousands of enthusiastic animators at home, in schools, in advertising agencies and professional animation studios. iStopMotion for the Mac was named one of the Best Apps of 2012 on the Mac App Store. Boinx FotoMagico, winner of two Apple Design Awards – “Best Mac OS X Leopard Graphics and Media Application Runner-up 2008” and “Best Mac OS X User Experience Runner-up 2006” – is a presentation tool for professional photographers. BoinxTV, winner of the “Apple Design Award 2009,” is revolutionary live production software that turns any Mac into a TV studio. Boinx PhotoPresenter, winner of the Apple Design Award 2005 “Best Mac OS X Student Product,” is a quick slideshow tool with a variety of pre-built templates. Boinx Mouseposé is the indispensable mouse pointer-highlighting tool for users developing presentations, training or demos. You Gotta See This! is Boinx’s iPhone app that works off of 4th generation gyroscope technology to create amazing 360-degree photo collages. LightLoupe for the iPad provides photographers with an on-the-spot analysis of the technical quality of their photos and VGA connection capabilities for viewing photos on the big screen.
Follow @boinxsoftware on Twitter and Facebook.
For more information, please visit the Boinx Software website.
Zazil Media Group
(cell) +1 617.817.6559
(fax) +1 617.812.7683
Zazil Media Group
(cell) +1 617.480.3674
(fax) +1 617.812.7683
Alcorn McBride Digital Video Machines Support “Double Portrait” Exhibition at Philadelphia Museum of Art
A pair of Alcorn McBride DVM-8400HD Digital Video Machines have a key supporting role in “Double Portrait: Paula Scher and Seymour Chwast, Graphic Designers,” at the Philadelphia Museum of Art. The CBS television affiliate in Philadelphia named the show one of the top Museum Exhibitions to look forward to in 2013.
“Double Portrait,” which runs through mid-April, is the first joint exhibition by the husband and wife designers. It showcases Chwast’s iconic works, including his famed anti-Vietnam War poster “End Bad Breath,” and other work inspired by German Expressionist woodcuts, Victorian typography, children’s art, primitive and folk art, and comics. By contrast, Scher is best known for her reimagining of typography in the fields of graphic identity and environmental graphics; among her works in the show is the poster for the play “Bring in ‘da Noise, Bring in ‘da Funk,” whose typographic rhythms reflect the production’s dynamic dancing.
The Philiadelphia Museum of Art has quite a bit of Alcorn McBride gear running other exhibits so turning to Alcorn McBride for this project was a natural choice. Two Alcorn McBride’s DVM-8400HD’s run the slide shows which are at the heart of “Double Portrait.” “Paula Scher and Seymour Chwast have produced an immense and varied body of distinguished work over the years,” says Kathryn Bloom Hiesinger, Ph.D., The J.Mahlon Buck, Jr. Family Senior Curator of European Decorative Arts after 1700 at the Philadelphia Museum of Art. “It is only through these slides that visitors to the exhibition can see and understand the full range of their work.”
Alcorn McBride’s Digital Video Machine is a studio quality MPEG-2 player with all the interfaces AV contractors need for professional installations. The DVM-8400HD stores video on CompactFlash cards, so playback is virtually instantaneous. Clips may be triggered via external contacts or pushbuttons, serial RS-232 messages, Ethernet, playlists or the built-in realtime scheduler. The unit can also simply loop continuously when powered.
Stephen A. Keever, manager of the museum’s Audio-Visual Production, calls the Alcorn McBride video players “excellent” and “tremendously reliable.” They “help the museum maintain the highest standards of presentation,” he reports.
About Alcorn McBride:
Founded in 1986, Alcorn McBride is the leading manufacturer of show control, audio and video equipment for the themed entertainment industry, and a rapidly growing provider of audio and video systems for retail environments and transportation applications. Staffed by some of the industry’s best engineers and backed by outstanding customer support, the company has demonstrated great agility in bringing new designs to market. A hallmark of Alcorn McBride products is their durable, zero maintenance design. The company’s products provide consistent, reliable operation for audio and video playback applications worldwide. For more information, visit www.alcorn.com.
Cache-A LTO-6 appliances deliver increased capacity and transfer rate, plus advanced LTFS archiving capabilities
Cache-A Corporation (www.cache-a.com), manufacturer of award-winning LTO archiving appliances, will debut the first in its new generation of LTO-6 archive appliances at the 2013 HPA Tech Retreat (www.hpaonline.com), Feb 18-22, Indian Wells, CA.
Cache-A appliances meet the media and entertainment industry need to safeguard ever-increasing volumes of priceless assets at minimal cost, while delivering state-of-the art tools and performance for reliable, future-proof archiving. They can be deployed in a wide variety of professional digital media workflows – from on-set cart systems to SAN and NAS storage systems in post-production.
Cache-A’s new LTO-6 appliances deliver significantly faster throughput and close to 70% greater storage capacity over LTO-5 appliances. They combine Cache-A’s advanced LTFS capabilities with a simple, web-based user interface, while maintaining identical space-saving desktop and rack-mount form factors as previous Cache-A products.
LTO-6 technology is now available across Cache-A’s flagship Pro-Cache6, high-performance Power-Cache, and flexible Library 24/48 automation systems, with an anticipated release for the desktop Prime-Cache6 appliance around NAB 2013. In addition to demonstrating its LTO-6 appliances, Cache-A is also sponsoring breakfast roundtables at the 2013 HPA Tech Retreat with the focus on the latest trends in archiving.
“With trends like 4K, 3D and High Frame Rate high on the agenda, and the consequences they have on storage and long-term archiving, we welcome the chance to share ideas, experience and knowledge with industry professionals attending the retreat,” said Tom Goldberg, Cache-A VP of Product Development. “Within the forum the HPA Retreat provides, we’ll be showing how Cache-A’s new LTO-6 appliances can be used to archive production source masters or entire post-production projects.”
LTO-6 cartridges can hold up to 2.5TB of data natively – an increase of 67% over LTO-5, which holds 1.5TB natively. LTO-6 drives offer a performance hike to 160MB/s native data transfer rate, whereas LTO-5 drives work at 140MB/s. To accommodate the extra capacity, Cache-A has increased the internal disk cache storage in its appliances – from 4TB to 6TB in Pro-Cache6, while Power-Cache has been upgraded from 8TB to 12TB. Internal disk storage on Pro-Cache6 models can be configured for either RAID 0 or RAID 1, while Power-Cache systems can be configured for either RAID 0 or RAID 5.
Cache-A has seamlessly carried its trailblazing LTFS (Linear Tape File System) capabilities into its new LTO-6 appliances, along with the industry standard tar format. Cache-A’s LTFS implementation enables cartridge-spanning of large projects and high-speed dubbing for additional copies. Each appliance has Cache-A’s renowned built-in catalog database making it easy for users to track, search and retrieve content across every tape it has ever seen.
LTO-6 is the sixth generation of Linear-Tape Open (LTO) technology. LTO was launched in 2000, and LTO tape has a shelf life of at least 30 years. With four million tape drives in use, plus more the 200 million cartridges sold worldwide, it has proven the most economical and safe long-term storage technology for the IT and media and entertainment industries.
About Cache-A Corporation:
Cache-A’s award-winning, archive appliances are employed daily by thousands of users worldwide, in media/entertainment, Fortune 500 corporations, government departments, higher-education and houses of worship, to securely archive, search and retrieve vital digital assets. The company was founded in 2008 with a dedication to make archiving easy, and combines extensive experience in data storage and video media, with a reputation for delivering innovation and excellence to digital media professionals at a reasonable cost. Cache-A’s product range includes desktop and rack-mount appliances that are compatible with Windows, Mac OS and Linux/Unix networking infrastructures. Renowned for their ease-of-use, Cache-A products deliver leading-edge performance in video and digital film workflows, and lead the field in using the secure, portable, interchangeable, industry-standard LTFS and tar formats on LTO-6 media. Cache-A’s Pro-Cache was awarded Creative Cow’s prestigious Blue Ribbon in 2011 for “Best Archiving System”, and Power-Cache won Studio Daily’s 2012 Prime Award for “Best User Interface/User Experience”. www.Cache-A.com