Archive for February 19th, 2013

Cobalt Digital’s Growth Spurs Move To Larger Quarters

FOR IMMEDIATE RELEASE

Click here to Visit Cobalt at NAB 2013 Booth N 4624COBALT DIGITAL’S GROWTH SPURS MOVE TO LARGER QUARTERS

Urbana, IL – Cobalt Digital is on the move. Citing tremendous growth as the catalyst, Chris Shaw, Cobalt Digital’s EVP of sales and marketing, has announced that the company is moving to larger quarters in Champaign, IL. The manufacturer of award-winning 3G/HD/SD-SDI conversion gear has already begun the process by relocating the engineering staff to its new 20,000 sq. ft. facility. The remainder of the company will follow later this year.

The new building more than doubles the size of the Company’s headquarters which will house administration, manufacturing, management, technical support and accounting. Cobalt’s sales team will continue to operate from regional offices strategically located throughout the world.

“Every aspect of Cobalt Digital is growing!” exclaimed Shaw. “We’ve recently expanded the sales staff, and thanks to input from our customers, our product ranges are reaching broader markets and geographical regions. Having all departments under one roof will streamline the entire R&D and manufacturing process and allow us to react to customer requests faster.“

The move coincides with numerous product launches scheduled to be revealed at a Press Conference to be held at the National Association of Broadcasters (NAB) on Tuesday, April 9, 2013 at 9AM in Booth 4624 in the LVCC, Las Vegas, NV.

# # #

ABOUT COBALT DIGITAL INC.
Cobalt Digital Inc. designs and manufactures award-winning 3G/HD/SD conversion gear for the broadcast television environment. Distributed through a worldwide network of dealers, system integrators, and other partnerships, Cobalt products are backed with a 5-year warranty. For more information, visit http://www.cobaltdigital.com.

Company Contact: Chris Shaw, EVP of Sales and Marketing
+1-217-344-1243 / chris.shaw@cobaltdigital.com

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

Vizrt brings a complete workflow for video and graphics production to CABSAT 2013

See us in Dubai, March 12th – 14th 2013. Booth D8-10

CABSAT is the Middle East and Africa’s largest broadcast digital media and satellite expo. Held annually in Dubai, the show gives media companies across the region access to the latest technologies in the media industry.

Vizrt Middle East, based in Dubai, will be on hand at the show with a large booth designed to display the complete graphics and video workflow Vizrt has created for broadcasters.

Newsroom workflow

Vizrt gives journalists the edge for getting a story on-air and online efficiently with a newsroom workflow that integrates easy-to-use templates with the journalists’ native newsroom control system (NRCS). With Viz Content Pilot, journalists access these templates for creating graphics, editing maps and selecting videos from Viz Media Engine to add to a playlist for on-air use and online multi-platform delivery.

IP Streaming

The powerful Viz Engine, Vizrt’s real-time 3D compositing system, now has IP-streaming capability. This allows broadcasters to stream multiple formats and resolutions for creating online and mobile graphic and video content.

Video integration

Adobe and Vizrt combine to create a package that gives the editor complete control of graphic and video content from within Adobe Premiere Pro CS6 for live and post-production requirements.

Video content can be reached from the Viz Media Engine through the Viz NLE plugin giving Adobe Premiere Pro CS6 editors access to content across the complete asset management solution from Vizrt or using the Viz Media Engine as a bridge to other asset management systems.

Viz NLE is Vizrt’s plugin for non-linear editing systems that allows editors to have access to templates extending the branding from live on-air to pre and post production.

The latest version of the Viz Media Engine offers a comprehensive media management platform from ingest to playout for local clip and still stores up to full enterprise media asset management and archive systems. At CABSAT we will be showing the Viz Media Engine as an integral component of the unique unified workflow solution offering the tools to present efficient multi-platform delivery with consistent branding across all media channels.

Unlimited studio possibilities

Viz Virtual Studio presents producers with unrivaled possibilities. Complex 2D and 3D virtual sets, which include interactivity, can be easily created using an intuitive interface. The solution was created to fully support the Vizrt family of applications and can be seamlessly integrated with existing software installations. Viz Virtual Studio supports all major camera-tracking solutions and other studio peripherals, offering broadcasters a cutting- edge solution for the creation of virtual sets.

Social TV

With the Social TV solution, Vizrt brings a workflow that captures social media content and allows presenters to tell a story in visually compelling ways. Content is captured from Twitter, Facebook, Flickr, YouTube, Instagram as well as third party partners like never.no, TrendrrTV and Mass Relevance.

Weather and news maps

Viz World is Vizrt’s premiere mapping solutions and with new integrations with OpenStreetMaps, broadcasters now have access to a world of local street data. Add in the capabilities of Viz Weather with the new sandstorm data and Vizrt continues to bring broadcasters everything needed in a template-based mapping workflow.

At CABSAT 2013 Vizrt will be showing all these systems and much more. Make an appointment today and we will see you at the show!

About Vizrt:

Vizrt provides real-time 3D graphics and asset management tools for the broadcast industry – from award-winning animations & maps to online publishing tools. Vizrt’s products are used by the world’s leading broadcasters and publishing houses, including: CNN, CBS, Fox, the BBC, BSkyB, ITN, ZDF, Star TV, Network 18, TV Today, CCTV, NHK, The Globe and Mail, Times Online, The Telegraph, and Welt Online. Furthermore, many world-class production houses and corporate institutions such as the Stock Exchanges in New York and London use Vizrt systems.

Vizrt is a public company traded on the Oslo Main List: VIZ, ISIN: IL0010838154. For further information please refer to www.vizrt.com

Martin Burkhalter / CEO / +41 22 365 75 01 / MBurkhalter@vizrt.com

Ofra Brown / CFO / +47 5351 8040 / OBrown@vizrt.com

Håvard Myklebust / EVP Products & Marketing / +4791845602 / HMyklebust@vizrt.com

AJA Ki Pro Facilitates Preview Screening of ‘A Good Day to Die Hard’ for Troops in Kuwait

Grass Valley, CA — AJA Video Systems, a leading manufacturer of professional video interface and conversion solutions, recently delivered AJA Ki Pro portable tapeless recorders to the editorial team of A Good Day to Die Hard to facilitate preview screenings of the film to United States troops stationed in Kuwait. A Good Day to Die Hard stars Bruce Willis returning in his iconic role as John McClane; the film opened in theatres on February 14, 2013.

Longtime AJA customer and editor of A Good Day to Die Hard, Dan Zimmerman traveled to Kuwait to set up the screening together with a USO production team. “Ki Pro is so small, portable and flexible. I was able to travel to Kuwait with a single carry-on backpack with two Ki Pros, to power two simultaneous high quality screenings of our film for over 1100 troops.” Said Zimmerman. “With one Ki Pro we were able to plug directly into a Barco projector and a Yamaha MC7 board and the picture and sound quality were both awesome — this was the easiest screening I’ve ever done. Anything else would have been much more complicated.”

Moreover, Zimmerman and VFX Editor Ryan Chavez also used AJA’s T-TAP™ Thunderbolt-based adapters to drive a more seamless edit process while on set in London, Budapest and Los Angeles during production of A Good Day to Die Hard. The T-TAP’s were used to drive on-set playback from laptops to show the director how new shots were being incorporated into the movie, and provide a rough facsimile of how scenes were cutting together to enable the director to review scenes and make edit decisions while shooting.

“I’ve been a professional editor for over ten years and am constantly testing and evaluating the latest gear — from editorial software to video cards to recorders and converters,” said Zimmerman. “Nothing works as easily or is as compatible with as wide a variety of file formats and workflows as AJA’s video cards, recorders, I/O devices and converters. AJA products are as reliable in the edit bay as they are on the field, and they simply just work.”

About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of high-quality and cost-effective digital video interface, conversion, acquisition and desktop solutions supporting the professional broadcast and post- production markets. With headquarters in Grass Valley, California, AJA maintains an extensive sales channel of dealers and systems integrators around the world. For further information visit http://www.aja.com.

Brands Looking to Post Asylum for More than Post

The Founder and Managing Partner of Truth Spirits, Graham Wasilition, was originally referred to Post Asylum by his San Antonio based advertising agency, Blue Clover. “Our agency had previous experience with Post Asylum as a shop that could both develop and execute the high end, engaging content I was looking for,” notes
Wasilition. “I met with the PA team to share our brand’s story and message, and they really just took it from there.”

The Post Asylum Design/VFX Team explored different visual approaches to convey Tenneyson’s message of beauty and sophistication mixed with the mystery that surrounds absinthe. “We explored several animation and motion design options but kept coming back to the elegant bottle made of painted French glass and the
way it pours crystal clear and becomes an opalescent louche when water is added,” said Post Asylum Design/VFX Artist Alex Prudic-Dennis. “So we ultimately decided to capture high-speed live action product shots and brought in our long time production partner, Ben Hoffman of Noonday Pictures.” Post Asylum Producer Caroline Stephens and Prudic-Dennis worked closely with Hoffman to compose and capture compelling product visuals with a Phantom Flex camera.

Post Asylum Editor, Caitlin Van Dusen, known for her good taste and deft touch, handled the creative editorial. Pure Evil Music Composer Aaron Rose scored original music to complement the dramatic imagery. “It’s so advantageous to have our own Editors and Composers collaborating from the very beginning,” said Stephens. “It allows us to be more efficient and explore more creative options along the way.”

Post Asylum Finish/VFX Artist Michael Sands completed the color and compositing work in Smoke. The hand labeled Tenneyson bottle is monochromatic save for a small wink of blue on the verso of the label, so subtle blue motion design and highlights were composited in Smoke to enhance this color as a unifying brand signature throughout
the spot.

Post Asylum Executive Producer Graham Hagood notes, “With our depth and breadth of experienced in-house talent, we have the unique ability to scramble a ‘creative strike force’ to effectively produce projects like this.” Brands such as Neiman Marcus, Adams Golf, Frito-Lay, and HP have started turning to Post Asylum for design, concept development and production in addition to traditional post
services.

“Post Asylum came highly recommended, and they still exceeded my expectations,” concluded Wasilition.

Media Contact: Lanny Sher, 323-653-0380; prals@pacbell.net

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Autodesk Kicks Off ‘Gwen & Dave’ Animated Vacation Getaway Contest

It’s time to put on your thinking caps! Autodesk is calling all artists to design the animated vacation of a lifetime for Gwen and Dave – new characters from “Gwen & Dave,” an animated short created by Autodesk and Hatch Studios.

Entrants are encouraged to submit an imaginative vacation short film and/or postcard using a combination of assets from the film and one or more products from the Autodesk Entertainment Creation Suite Ultimate, including 3ds Max, Maya, Softimage, MotionBuilder, Mudbox or Sketchbook Designer. The contest will run from today to May 15 and is open to residents of US and Canada (excluding Puerto Rico and Quebec).

Grand Prizes will be awarded to the best submissions and range from a license of the Autodesk Entertainment Creation Suite Ultimate and Lenovo ThinkPad W530 Mobile Workstation to a license of Autodesk Mudbox and an NVIDIA Quadro card.

For more information on contest guidelines and the submission process, check out the contest details on AREA: area.autodesk.com/contest.

Filmmaker David Slade Signs with Logan & Sons

Visit LOGAN
View Media

Logan & Sons is proud to announce the signing of filmmaker David Slade for commercial representation. Previously with Anonymous Content, Slade brings a wealth of talent for crafting powerful experiences for film, music videos, and broadcast.

Boasting a diverse portfolio, Slade has helmed spots for the Assassin’s Creed: Brotherhood video game series, the Washington Lottery, and the MTV Exit Foundation spot “Goodnight, Travel Well,” for which he received a Cannes Silver Lion. His agency collaborations include campaigns with Cutwater, Publicis, and Saatchi & Saatchi, to name a few.

Slade also directed episodes of AMC’s Emmy Award-winning Breaking Bad, the pilot episode of NBC’s Awake, and the third film in the Twilight franchise, Twilight: Eclipse. Most recently, he has transitioned into a producer role, overseeing the development and direction of the eagerly awaited series Hannibal starring Mads Mikkelsen, Lawrence Fishburne, and Hugh Dancy.

“We’re excited to count David’s enormous creative talent as part of our team,” said Logan & Sons Founder/MD Alex Tylevich. “We look forward to developing a fruitful relationship.”

Slade got his start directing music videos for artists such as Aphex Twin, Muse, Stone Temple Pilots, Tori Amos, and System of a Down. Moving to the United States from London, England, he later directed his first feature length film, the two-character thriller, Hard Candy starring then up-and-coming actors Ellen Page and Patrick Wilson. The film was an overnight indie success and went on to win the Audience and Jury prizes at the Stiges Film Festival in Spain, followed by a premiere at the Sundance Film Festival where it was ultimately bought by Lions Gate Films. Transitioning into a full-fledged Hollywood director, Slade followed Hard Candy with the dark vampire comic book adaptation, 30 Days of Night.

About LOGAN:

LOGAN (www.logan.tv) is an award-winning New York and Los Angeles-based creative studio and production company specializing in groundbreaking content creation. Their team of producers, directors, creative directors, VFX artists, and animators excel at problem solving and helping clients bring their vision to life. Concepting, ideation, design, live-action production, 2D and 3D animation, VFX, editorial, and ?nishing take place under one roof, making work?ow a truly seamless experience.

Logan & Sons (www.loganandsons.com) acts as the live-action division of LOGAN and represents a broad spectrum of directorial talent.

Known for its iconic work for top brands, LOGAN helped create many memorable cultural moments, including commercial campaigns like the Apple’s iPod Silhouettes, viral hits like the Gymkana ?lms (over 165 million views), opening titles and sequences for ?lms like Zombieland, The Avengers, Premium Rush, and Gangster Squad, content and marketing campaigns for hit video games like Elder Scrolls: Skyrim, Call of Duty, Borderlands, Resistance, Metal Gear Solid, and many others.

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Bonfire Labs Helps San Francisco Rediscover The Exploratorium

San Francisco, CA - Bonfire Labs was recently tapped to help announce the grand reopening of the renowned San Francisco interactive learning laboratory, the Exploratorium, which is moving to Pier 15 on the historic Embarcadero. A whimsical mix of live action and animation, the :30 spot can be viewed here: http://vimeo.com/57226205.

Working closely with the Exploratorium, creative brand consultants from Landor Associates in Chicago and executive producer Lee Anne Weldon of Late for Yoga, Bonfire was challenged to create a commercial that would convey the true ethos of the museum and build excitement for the new space.

“San Franciscans love The Exploratorium for the hands-on nature of the exhibits so the Landor creative team wanted to find a way to include that feeling in the spot,” said Lee Anne Weldon, executive producer, Late For Yoga. “Bonfire brought so many talented people with excellent ideas to the table. We could not have been happier with their ‘all hands on deck’ approach and the final spot looks fantastic.”

“When Lee Anne brought Bonfire on board, she knew our expectations were extremely high,” added Christopher Lehmann, executive creative director, Landor Associates. “We needed folks who, deep down, already knew what makes Exploratorium so cool. Bonfire was that in spades. For all of us, working on this campaign was an act of geeky love as much as a fantastic creative opportunity.”

“A lot of the spot elements are handmade and pretty much everyone at Bonfire touched this project in some way,” noted Jonathan Keeton, executive creative director, Bonfire Labs. “We had a lot of fun coming up with all of the components and figuring out how they would interact.”

Directed by Keeton with assistance from lead artist Phil Spitler, the spot features hand drawn animation from Catherine Margerin and stop motion animation from Carl Willat. A majority of live-action elements were filmed in one day at a studio so that the exhibits could be captured with optimal lighting. As the creative evolved, additional shooting was done on Bonfire’s stage. Bonfire began working on the spot in October and it was finalized in December.

“Since the boards weren’t ever really locked, we worked off an animatic and slowly swapped out the rough content for the finished shots. Determining the final flow was a very iterative and collaborative process. Everything had to be shown in context to make sense,” Keeton explained. “Once the style was set, we created simple scenes to sketch out the timing. Then we replaced them with previs animation followed by real renders and finally added in the dancing animation. I think the end result really captures the essence of the museum.”

The Exploratorium re-opens on April 17, 2013. More information about the Exploratorium can be found at: http://www.exploratorium.edu/

About Bonfire Labs
Bonfire Labs is a collaborative design studio that blends art & technology to create beautiful, highly innovative narrative experiences to ignite brand stories. For more information about Bonfire, please visit www.bonfirelabs.com.

CREDITS
Executive Creative Director: Christopher Lehmann (Landor)
Art Director: Christopher Cullen (Landor)
Copywriters: Matt Gordon, Phyllis Murphy (Landor)
Executive Producer: Lee Anne Weldon (Late For Yoga)
Account Director: Kendra Wehmeyer (Grow Marketing)
Executive Creative Director: Jonathan Keeton (Bonfire Labs)
Lead Artist: Phil Spitler (Bonfire Labs)
Animators: Catherine Margerin, Carl Willat (Bonfire Labs)

InfoComm 2013 to Feature Innovative Conference and Educational Programming

Largest Commercial Audiovisual Show Adds New Training Programs and Floor Features



InfoComm 2013 adds timely new programming, including several workshops to the roster of can’t-miss events at the annual show, taking place in Orlando, Florida, June 8-14, at the Orange County Convention Center. New show programming and events for 2013 include a revised InfoComm Opening Reception, Tech Zone Pavilions, InfoComm University sessions and more providing a comprehensive schedule of events introducing new content throughout each day. Full conference information and attendee registration information is now available at infocommshow.org.

“In the evolving audiovisual (AV) industry, new possibilities for creative interaction and innovation are constant,” said InfoComm Executive Director and CEO David Labuskes, CTS, RCDD. “All year long, InfoComm strives to keep abreast of those evolutions and offer a nurturing environment for ideas, growth and innovation. This makes our annual show the place for the entire industry to collaborate, communicate and connect.”

New InfoComm 2013 Programming Highlights
InfoComm 2013 will feature expanded programming from InfoComm University. More than half of all InfoComm University programs are new, including:
• Women in Technology Symposium
• Digital Image Content in Live Event Production
• CTS-I Prep
• Business Leadership Workshop
• Four new digital signage sessions
• Integrating AV Services in an IT Dominated World

Exhibit Floor Highlights
InfoComm 2013 is adding smaller, more focused exhibit areas on the show floor with the introduction of Tech Zone Pavilions featuring new products and services in emerging categories of security, education technology and digital content creation.

Networking Opportunities
InfoComm 2013 is the place for the AV industry to connect and collaborate. New this year, the show offers new opportunities for networking and collaboration.

• InfoComm Opening Reception – free reception with defined networking areas to facilitate peer-to-peer interaction.

• First-Timers Orientation & Tour – meet the InfoComm team on a guided tour of the show floor

InfoComm 2013, the largest commercial audiovisual show, has grown to attract more than 35,000 attendees from wide-ranging market sectors, including business, government, military, education, worship, healthcare, hospitality, retail and entertainment. Along with a trade show floor that exhibits the latest from all of the industry leaders in audiovisual, staging, signage and more, the educational programming provides attendees with opportunities to develop skills and update certifications during the conference.

For more news on InfoComm 2013 before, during and after the show, visit infocommshow.org or follow the show on Facebook, and Twitter and the InfoComm 2013 Blog.

InfoComm is sponsored by Black Magic Design, Christie, Crestron, Panasonic and Samsung.

About InfoComm International

InfoComm International® is the international trade association representing the professional audiovisual and information communications industries. Established in 1939, InfoComm has more than 5,000 members, including manufacturers, systems integrators, dealers and distributors, independent consultants, programmers, rental and staging companies, end-users and multimedia professionals from more than 80 countries. InfoComm International is the leading resource for AV standards, market research and news. Its training, certification and education programs set a standard of excellence for AV professionals. InfoComm International is the founder of InfoComm, the largest annual conference and exhibition for AV buyers and sellers worldwide. InfoComm also produces trade shows in Asia, Europe, Latin America and the Middle East. Additional information is available at infocomm.org.

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OPTOCORE TECHNOLOGY SUPPORTS AUDIO FOR THE 2013 U.S. PRESIDENTIAL INAUGURATION

Maryland Sound International Utilizes Optocore Network Rings for Signal Distribution and Monitoring

WASHINGTON D.C., FEBRUARY 19, 2013 – When audio integrator Maryland Sound International (MSI) was once again tasked with supplying the main audio system for President Barack Obama’s second presidential inauguration on January 21, 2013, the company employed two Optocore Networks. MSI, a longtime user of Optocore technology, a leading choice for powering professional audio, video and data transmission networks in a variety of markets, including broadcast, post production and AV, chose the networks for their multiple levels of redundancy and reputation of superior reliability. This marks the third presidential inauguration in a row for which MSI has chosen Optocore equipment for the critical audio distribution.

With the ceremony taking place on the grounds of the Capitol in Washington, D.C. in January, MSI was faced with unpredictable winter conditions as well as a long transmission path back to MSI’s Front-of-House position, nearly 2,000 feet from the last speaker tower. MSI and audio designer Patrick Baltzell needed a way to distribute audio signals with as few conversions as possible in order to ensure the approximately 1,000,000 attendees of the ceremony heard every word.

MSI chose Optocore Network technology in order to drive the signal chain directly from the Yamaha PM5D FOH mixing console using Optocore YG2 Yamaha cards that were connected with redundant fiber cabling to the locations of the loudspeaker processors and amplifiers. This provided MSI with lossless digital transmission, which is critical in order to properly transport the audio with crisp sound and clarity over such a long distance transmission path without any glitches.

“The Optocore Networks we put in place for this year’s ceremony certainly made access to all of the amplifiers, signal processors and overall signal distribution far easier and more reliable than in the past,” says Brian Bednar, system technician, MSI. “This time around, everything was more streamlined and faster to set up and tear down at the end of the event.”

The main Optocore Network consisted of one YG2 card in the Yamaha PM5D FOH mixing console connected to an Optocore DD32 networked AES/EBU device on stage right and another DD32 on stage left. Each DD32 was connected to an Optocore X6P-8/8 analog converter and a Dolby DLP loudspeaker processor via AES. The X6P converters gave MSI the ability to feed all the devices that were not AES and/or not driven through the Dolby processor units.

The second Optocore Network consisted of one YG2 card in the PM5D connected to an Optocore DD32R-FX networked AES/EBU device at delay zone 1 (700 feet away) and another DD32R-FX at delay zone 2 (1500 feet away). Each DD32R-FX was connected to an Optocore X6P-16IN analog converter and a Dolby processor via AES. Both networks featured redundant fiber connections.

The DD32R-FX proved to be a helpful add-on for this year’s sound system, with its built-in network wide Ethernet switch. The Optocore Network allowed MSI an easy access to the Dolby DLP loudspeaker processors and amplifiers located off the main site. With a broad part of the sound system offsite, it was then easy to maintain control and monitoring of all the devices on the network to see if they were functioning to MSI’s specifications.

“It is my role to help the FOH engineer tune the system, so having access to all parts of the system at all times in order to make changes without my needing to leave the FOH position is invaluable,” says Art Isaacs, project manager, MSI. “The X6P-16IN converters gave us the functionality to run measurement microphones from multiple city blocks away back to the FOH position. Using the Optocore system proved itself to us in many ways. The sound system was extremely quiet due to the all-AES based drive system. Ethernet access to all of the online devices proved extremely helpful and provided great flexibility. I can only hope that in 2017 that we can continue to work with Optocore systems and further enhance the sound system.”

The relationship between Optocore and MSI goes back for almost a decade. “Optocore has been part of MSI’s rental inventory since 2004,” says Tine Helmle, director, Optocore. “We are proud to provide MSI with the solutions it needed to ensure the audio was heard loud and clear during such an important and historic U.S. event as the presidential inauguration. We look forward to working with them well into the future.”

About Optocore
Based in Munich, Germany, Optocore is the world market leading provider of scalable, high-bandwidth, low-latency fiber-optic networks for the transmission of audio, video and data. For 19 years, Optocore has been continuously innovating and setting new standards with regards to digital network technology. Optocore builds and develops synchronous optical fiber and CAT5 based network solutions for broadcast professionals, fixed installations and live event applications. Utilizing leading-edge technology and high-quality components Optocore guarantees durability and therefore long-term market and customer satisfaction. Due to the open system architecture, Optocore’s platform offers other manufacturers the option to transfer conventional standard audio, video and data formats used in the pro audio industry, via a fiber and CAT5 network. Technical expertise, QoS and an extensive support structure are guaranteed to all customers, together with the highest level of quality controls. For more information, visit www.optocore.com.

TNDV Pours ‘Passion’ into Live Multi-Day Worship Event Production

Mobile production specialist integrates two trucks to build a common infrastructure for in-house projections and live web streams in support of Passion 2013

NASHVILLE, February 19, 2013 — The Georgia Dome in Atlanta recently hosted more than 60,000 college students representing more than 2,000 universities from 56 countries for Passion 2013, with four days of prayer, inspirational speakers, worship and efforts to end human slavery. Mobile production specialist TNDV captured the entire event, bringing its two largest trucks onsite to create spectacular in-house HD projections and live broadcast-quality web streams.

TNDV unified its 52-foot expanding side Aspiration and the 40-foot Inspiration trucks to create one integrated mobile production infrastructure. This satisfied the enormous production requirements, which included 23 cameras in multiple configurations, a fully populated video and audio routing architecture, a bank of 26 file-based recorders for web content, and more than 120 intercom ports for venue-wide communications.

The 23-camera operation, one more than this year’s Super Bowl, included seven dollies, six long lenses, three wireless cameras, two SteadiCams, two jibs and a flying wire camera among others. This helped TNDV capture the staging from all angles and directions, including live bands and musicians, with cameras strategically positioned around the entire venue.

“The entire event was in the round, which meant we had to cover multiple angles simultaneously,” said Nic Dugger, president of TNDV. “The lighting was of incredible scope, and there were two gigantic LED screens, each 96 feet in length. The scope of the event itself, and the fact we used 100 percent of the venue, truly drove the production requirements.”

“This year Passion 2013 presented a huge challenge, as it was the largest event we have done along with the least amount of load-in time we ever had,” said Jonathan Sheehan, organizer of the Passion Conferences. “We needed a fresh approach to create the best ‘Dome-sized’ production, as audio, video, lighting and staging is very different in the round than in an arena or end-configuration stadium setup. Almost everyone is looking at a screen so video is of utmost importance. With the compressed load-in time, we knew that TNDV’s detailed planning, preparation, and execution was critical to pulling off the experience we were trying to create.”

Dugger assigned web content responsibilities to Inspiration, with Aspiration staff producing in-house LED displays. Content was delivered in five aspect ratios, including 1080i for the web stream, and custom configurations for three widescreen displays and two ribbon LED displays that circled the venue. A Harris Broadcast Platinum dual-router configuration delivered signals between trucks and across the venue, including the front of house position and an in-venue graphics station where lower thirds, full-screen graphics and video playback were sourced. Aja Ki-Pro systems accommodated 30TB of recorded content throughout the event, with 26 recorders attached to 56 RAID-protected storage drives.

The Platinum router’s integrated Harris Broadcast HView SX Hybrid multiviewers were also well-utilized, with 12 configurations across the two trucks and venue used to monitor all video, audio and data sources for in-house and web signals.

“We really put the multiviewers to use, all the way down to using multiple tally light indicators,” said Dugger. “In-house feeds got a red tally, web feeds a green tally, and signals sourced for both got a yellow tally. We built PIPs and established custom quad splits for directors that allowed them to pull up any sources they needed. We even created an RSS feed on the multiviewers to display tweets about the event.”

Dugger noted that while the event itself was massive, the main challenges came on the front-end of the show – namely, a very tight load-in schedule.

“We had less than 16 hours to load in the infrastructure for two trucks, run tests and make our connections,” said Dugger. “Standing in the Dome on night one, looking at four massive LED screens and feeling the energy of 60,000 college students and young adults was very rewarding — all while watching the tally lights flashing, playback systems working and sources keyed correctly. It proves that live productions of any size and scale are possible with the right team.”

ABOUT TNDV: Television
Formed in 2004, TNDV: Television represents the culmination of many years of broadcast and live production for Nic Dugger, owner and president; and his staff of full time engineers. TNDV produces events from small single-camera productions all the way up to multi-million dollar international TV events, and takes pride in building custom solutions for challenging productions of any size, in any situation. TNDV specializes in creating productions that are of the highest quality while being ultra-mobile and always professional. Recent productions include the Emmy Award winning Bluegrass Underground, The Grand Ole Opry Live and the inaugural season of the all-new Hot20 on CMT. Please call 615-585-6528 or visit www.tndv.com for more information.

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