Archive for April 25th, 2013

FSR’s FLEX-LT Delivers Ultimate Control for Harmony Elementary School


Monroe, GA – FSR, a manufacturer of connectivity solutions for the audio/video, education, hospitality, government and religious markets, is pleased to announce that Harmony Elementary School, a public education institution serving students from grades one through five, has installed 60 FSR Flex-LT200 control systems and 60 IT-AS411-S8 audio switchers/amplifiers in all of its classrooms, media center, conference room and cafeteria. The Flex-LT200 enables teachers and administrative staff at the school to control each room’s DVD player, projector, laptop integration, audio sources and other devices from a simple, easy-to-use touch LCD screen. The IT-AS411-S8 units deliver audio from these sources to each classroom’s speaker system.

In addition to traditional classroom instruction, Harmony Elementary employs DVD players, projection screens, computers and other electronic devices to teach its students. Prior to implementing the FSR Flex-LT200s, teachers and administrative staff operated each device with several handheld remote controls, often forcing them to spend valuable classroom time hunting for the correct remote, finding the correct audio source for a device or managing the operation of multiple devices at the same time. The Flex-LT200, which can sit on a desk or be mounted into a wall, allows them to control all these devices from its user-friendly touch LCD screen. This way, they can spend less time navigating multiple control systems or looking for misplaced remote controls and more time teaching. At the same time, the cost of this system is comparable to or less than other button-only panel solutions. For added convenience, users can control the Flex-LT200 from a wireless tablet.

“We turned to the FSR Flex-LT200 for the Harmony Elementary School installation because we knew it could deliver the kind of control the school needed in a cost-effective, simple-to-operate package, and had great customer support to back that up,” says Todd Maynard, partner, TechOptics, the systems integrator and distributor that performed the installation of the FSR units at the school. “Using the Flex-Able configuration utility, we were able to program each Flex-LT200 to control all the tasks the school needed to perform with its electronic devices. We created the room control design using the configuration utility and loaded it directly into each room’s Flex-LT200, so that it would appear on the devices’ touch panel. It was very easy; a simple drag-and-drop functionality that someone without any knowledge of programming could create. This way, school employees can access all the control buttons they need from one unit.”

FSR’s award-winning, American-made Flex-LT series of self-contained control systems provide fingertip room control at an attractive price point. A built-in scheduler automatically shuts off displays that are not in use—making it an energy-saving device—and can deliver an alert if there is an issue in the room, such as an elevated lamp life that needs attention. Additionally, the Flex controller has an optional motion sensor that controls system power if a room stays vacant for a period of time, contributing to further energy savings. Flex-LT presents even the most non-technical user with an easy-to-use and understand color touch screen that controls the source being displayed, volume, lights, shades or screen. The series has five models: The Flex-LT100, LT150, LT200, LT300 and the new T6-Flex, which has a Flex control system built into a very attractive table box.

FSR’s IT-AS411 Series are 4 x 1 audio switchers with a microphone/line-level input for a voice lift system or direct microphone input. All models in the series have four switched program audio inputs and an independently controlled microphone or line-level input that is mixed with the selected active program audio. All models also have balanced or unbalanced audio input and output capability. DIP switches are provided to set the voice input level to microphone or line, adjust microphone sensitivity, set phantom power and select mono or stereo operation. The IT-AS411-S8 also has a 25-Watt amplifier built into the unit for powering the speakers.

About FSR –
FSR, established in 1981, manufactures a wide variety of products for the audio / video, education, hospitality, government, and religious markets, including AV floor, wall, table, and ceiling connectivity boxes, as well as a full line of interfaces, distribution amplifiers, matrix switchers, seamless switchers and CAT-5 solutions. The Flex LT control systems and IT-AS411 Series Audio Switcher/Amplifiers are 100% made in the USA.

All FSR products are designed and manufactured in its Woodland Park, NJ facility. The company is an Energy Star Partner and complies with the American Recovery and Reinvestment Act of 2009 to demonstrate its deep commitment to preserving the planet. FSR offers live 24/7 technical and sales support throughout the country from expertly trained technicians and sales representatives.

About TechOptics –
TechOptics was established in 1994. Our goal from the beginning was to provide a “one-stop” solution for our customers’ technological needs. Today, we accomplish that goal by providing our customers with solutions from the ground up, including: network infrastructure, business telephone systems, and security and monitoring solutions. We not only help customers identify solutions that are perfect for their needs, we also specialize in the design and implementation of those solutions. We have customers of every size ranging from small, local businesses to sprawling educational institutions and international corporations. Through our extensive work with both the public and private sectors, we have become acutely aware of the particular challenges and issues that our customers face on a day-to-day basis. More importantly, we have the experience and know-how to help our customers solve these issues.

# # #
FSR Contact: Jan Sandri
973-785-4347 •

Press Contact: Desert Moon Communications
Harriet Diener
845-512-8283 •

Egyptian Broadcaster Al-Nahar TV Chooses Virtual Studio and Robotic Camera Solutions from Hybrid

Plans installation in two studios used for live sports and entertainment shows

Montrouge, France – Hybrid, a leading provider of real-time graphics and robotic camera systems, announces that Al-Nahar TV—a global entertainment and news network leader in Egypt—has purchased Hybrid 3D virtual studio solutions and robotic camera heads. The equipment will transform two studios used for daily news, entertainment and live sports programming for Al Nahar Entertainment and Al-Nahar Sports channels respectively.

Each studio will employ the same configuration of Hybrid products: two Silver II PTZF robotic camera heads, a Cobalt control panel with Mercury control software, and one camera in the ceiling for beauty shots using Hybrid’s Neon trackless virtual set solution.

“We’ve been extremely thorough in our review of the available virtual studio systems,” said Amr El-Kahky, the Head of Al-Nahar TV Network. “We feel confident that the Hybrid virtual studio solutions and robotic camera support will meet our needs. We’re looking forward to all of the design and operational benefits they’ll provide our network.”

Al-Nahar TV Network, who’s clinched a dozen awards since launching in June 2011, has been among the top three TV networks in Egypt’s post revolution era. The Egyptian broadcaster’s management seeks modern and robust technology to jump to the top of the competitive charts.

The sale agreement was finalized at the 2013 CABSAT Show, which occurred from March 12-14, 2013 in Dubai, UAE. Systems Design and Technology KAR— two systems integration firms and Hybrid technology partners based in Egypt—facilitated the sale and will manage the installation. Al-Nahar TV, which operates a total of five satellite channels in Arabic and English, is currently designing the virtual sets.

“We’re very happy to enter into this new relationship with Al-Nahar TV. We’ve been in communication with them for a long time, so this is a very rewarding win for us. We believe that our virtual studio solution enables them to meet and expand their high-quality live program offerings,” said Olivier Cohen, CEO of Hybrid.

The trackless virtual set Neon is based upon the same core engine as Hybrid’s higher-end Krypton system, but it allows for virtual camera movements in real-time from fixed cameras on set. It requires only a PC and software and operates with a simple drag-and-drop process. It creates the illusion of sophisticated camera moves within a virtual set without use of a tracking system, chroma keyer or other accessories – this allows Neon to be a fully portable virtual studio system. Neon can import 3D scenes and models from all common modeling software, such as 3D Max, Maya, Softimage.

Al-Nahar TV also ordered two Hybrid Silver II robotic pan/tilt/zoom/focus (PTZF) camera control systems for tracking virtual studio camera moves, such as zooms from wide to close-up. A fixed camera will be mounted at ceiling height for dramatic camera tracking effects during live shows, such as camera moves that start from the studio entry and zooming in toward the talent.

“Al-Nahar TV has many current shows and plans to produce many more. So Hybrid technology will be an ideal solution,” said Ahmed Gamal, managing director of Systems Design. “They’ll be able to save money they would have spent building physical sets, plus they’ll be able to easily modify the scenes whenever necessary. With their Hybrid virtual studio solutions, they’ll be able to produce shows with greater creativity and flexibility.”

About Hybrid

Hybrid is a leading manufacturer of broadcast production technologies. The company’s mission is to develop solutions and products that allow the digital media market to produce value-added content within an integrated workflow. Our product range includes virtual studio and augmented reality solutions and broadcast robotic camera supports. Hybrid consistently develops new products and solutions that push the limits of content creation while providing a clear rationalization of costs. Further information is available at

Barnfind Technologies First NAB Results in Multiple Orders

Company’s Multi-Functional Signal Neutral Transport Platform Wins Favor Across a Broad Section of Applications

Sandefjord, Norway – NAB 2013 set the stage for the launch of Barnfind Technologies, a new manufacturer that debuted its BarnOne, a revolutionary 1RU multi-functional, signal neutral transport platform developed to accommodate all segments of the broadcast industry. Wiggo Evensen, CEO of the Norwegian company, revealed positive results for Barnfind’s first exhibition and simultaneously announced plans to double its presence at NAB 2014.

“Our first NAB surpassed our expectations by far,” said Evensen. “Attendees from the smallest TV station to the biggest Telco operator crowded our booth to see BarnOne deliver via fiber, 3G, HDMI and CWDM. We are happy to report numerous orders and agreements with many business partners. The results were so overwhelmingly successful that we’ve already booked a booth twice the size for NAB 2014.”

Barnfind demonstrated its flagship BarnOne, a powerful and affordable system that provides up to 32 ports with either 32 x SFPs from various manufacturers offering different capabilities, or a mix with 8 or 16 BNC’s or HDMI/ DVI. The unit features a built in electrical and/or optical router with a flexible configuration of CWDM (8/16ch), DWDM (up to 40ch) or 10Gbit Ethernet trunks. A comprehensive functionality suite includes standard SDI conversion, routing, multiplexing, embedding, add/drop, crossover, distribution, IP to ASI/ASI to IP conversion, STM-1 Telco, MADI, AES etc., with more to come. All SFP+ cages are 10Gbit ready. BarnOne offers the end-user the unique ability to use any kind of SFP or SMART SFP, opening up a whole new set of options and advantages.

Attendees were impressed by BarnOne’s superior functionality, affordable price point, the 5-year warranty, and the platform’s versatility. In addition to Broadcast and Telco, BarnOne accommodates adjacent markets including Worship, Oil & Gas, Digital Signage, Telemedicine/Healthcare, Education, Government, CCTV/Security, Defense, AV applications, and Entertainment and Sports Events.

“BarnOne offers solutions for such a broad cross-section of applications,” Evensen continued, “that over 50 organizations are in the process of being signed as Business Partners to serve customers all over the world.”

Barnfind also received several important initial orders for systems as well as demo units on the show floor. Shipping will commence by the end of June.

About Barnfind Technologies AS
Barnfind Technologies, headquartered in Sandefjord, Norway, manufactures a multi-function, low power consumption platform that supports numerous signals in one frame.
# # #
Barnfind contact: Wiggo Evensen

Press contact: Desert Moon Communications
Harriet Diener / / +1 845-512-8283

134th AES Convention Zeros In On Loudness

Loudness Track To Address Critical Issues From Every Conceivable Angle

ROME: The Loudness wars have waged on air and in ear for decades, leaving millions of frustrated listeners in their wake as collateral damage. The FCC, EBU, and ITU have responded with a family of standards aimed at measuring and controlling loudness, and designed to ensure an acceptable listening experience. 134th AES Convention Chairman Umberto Zanghieri reports that the Loudness Track, anchored in a full day of focused events on Sunday May 5th, represents, “A comprehensive and authoritative overview of the many complex issues related to this enduring problem.”

To emphasize the importance of the Loudness Issue, the 134th AES Convention has declared Sunday, May 5th Loudness Day. Assembled by Florian Camerer, Chair of the EBU Loudness Group, PLOUD, these Papers and Panels will explore the latest research and practices and, address recommendations for demystifying and ameliorating this exasperating scourge. The 134th AES Convention will be held May 4 -7, 2013 at Rome’s Fontana di Trevi Conference Centre.

AES Rome: Loudness Track: Saturday, May 4

Loudness Measurement of Multitrack Audio Content Using Modifications of ITU-R BS.1770: Recipient of the Convention’s Best Peer-Reviewed Paper Award, this far-reaching primer on recent ITU and EBU loudness measurement recommendations, will be presented by Pedro Pestana who co-wrote with Josh Reiss and Alvaro Barbosa.

Loudness Papers presented on Saturday under the heading: Perception: include:

1.The Relation Between Preferred TV Program Loudness, Screen Size and Display Format 2. A Framework for Adaptive Real -Time Loudness Control

AES Rome: Loudness Day – Sunday May 5

A Hichhiker’s Guide to Audio Nirvana: Presenter Florian Camerer, ORF – Austrian TV – Vienna, Austria; EBU – European Broadcasting Union – Targeted to sound engineers, this session will bring participants up to speed regarding virtually all the key aspects of loudness control and metering.

All Loudness Recommendations Are Equal-But Some Are More Equal than Others: Presenter Andrew Mason, BBC Research and Development, London – This tutorial will offer an explanation of the different loudness standards used in Europe (R 128), the US (A/85), and such other countries as Australia and Japan.

Loudness for Commercials-How Esthetics Change(d)

Are Movies Too Loud? The Loudness Race Reaches the Cinema: Presenters: Florian Camerer, ORF – Austrian TV – Vienna, EBU – European Broadcasting Union; Eelco Grimm, Grimm Audio – Utrecht, Netherlands, Alessandro Travaglini, Fox International Channels Italy – Guidonia Montecelio (RM), Italy – Cinema audiences constantly complain that soundtracks are “too loud.” Just turning the level down results in lowered dialog levels, which leaves the movie quieter but unintelligible. EU loudness standards are starting to be applied to cinemas. There may be a need for standards to ensure that theaters receive soundtracks that meet EU laws. This workshop will investigate the issues and the work necessary to resolve them.

Make LUFS Not War: Chair, Thomas Lund, TC Electronic A/S Denmark; Panelists: Florian Camerer, ORF – Austrian TV, Vienna; EBU – European Broadcasting Union; George Massenburg, Schulich School of Music, McGill University, Montreal – Newly produced pop/rock music rarely sounds good on fine loudspeakers, commercials on TV are annoyingly loud, and a visit to the cinema may be a deafening experience. This is audio’s dark Middle Ages. However, 2013 could be the year where a renaissance again spreads from Italy. Transparent loudness normalization has arrived to radio, TV, and iPod; The panel will address the far-reaching implications this development will have on audio production.

Give Peaks a Chance: Presenter: Thomas Lund, TC Electronic A/S – Risskov, Denmark – Hearing is our most acute temporal sense, but the terms we have for describing dynamic changes in audio are not well defined. This session will explore micro and macro-dynamics in music and speech, their effects and, what it takes to actually register them as a listener. But, engineers be warned! Although audio samples will be played, this presentation will focus on anatomy, physiology, and psychology.

Loudness Work in Live Sports – Case Studies, Upmix And Downmix

Loudness In Radio – The Next Step

“We are extremely proud of this historic Loudness Track,” states AES Executive Director Bob Moses. “We hope it will produce meaningful dialogues on correcting this ongoing problem. We also recommend that attendees refer to the Preliminary Events Calendar - to confirm times and locations for all these events. Packed with descriptive abstracts of Papers, Workshops, Tutorials and Special Events, the Preliminary Events Calendar provides an invaluable overview of the first AES Convention to be held in the Eternal City.

Photo: Florian Camerer, Chair of the EBU Loudness Group, PLOUD


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

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Deluxe MediaCloud Receives Pick Hit Award at NAB 2013

Las Vegas, NV – Deluxe MediaCloud the revolutionary cloud-based playout platform from Deluxe Entertainment Services Group Inc., received a Pick Hit award from Broadcast Engineering, one of only 33 presented, at NAB 2013, the world’s largest electronic media show.

Pick Hits are amongst the most prestigious technical awards given at NAB. A panel of independent judges tours the show floor for three days looking for innovative products and technology. The judges make their selections based on several criteria, including the product’s capacity to bring technical and financial improvements to a facility’s operation. Broadcast Engineering’s editors and publishers are not involved in the selection process.

MediaCloud’s significant benefits include reduced upfront infrastructure, technology and staffing costs that result in considerable savings and a quicker path to profitability. It combines cutting-edge IT technologies and state-of-the-art media tools to provide a next-generation cloud-based playout, media asset management and delivery platform. MediaCloud facilitates very fast time-to-launch while enabling broadcasters and content owners to fully exploit rights for brands and major events. This new playout model brings a new way of broadcasting, with the potential to interface to media assets and create a television station anywhere in the world.

MediaCloud delivers to any broadcast format, with a very high service quality from a highly resilient infrastructure. Robust system and data security levels rival those found in major banks and military operations. Full disaster recovery is implicit within the service offering.

Alec Stichbury, Chief Technology Officer, Deluxe MediaCloud says, “We’re delighted that MediaCloud has been recognized for its innovation with a prestigious Pick Hit award from Broadcast Engineering. It has certainly been designed to meet the award’s criteria by eliminating many traditional broadcasting costs and geographical barriers, and allowing broadcasters to attract new audiences and drive revenues quickly.”

About Deluxe Entertainment Services Group Inc.
A wholly-owned subsidiary of MacAndrews & Forbes Holdings Inc., Deluxe is a leading provider of a broad range of services and technologies for the global digital media and entertainment industry. Bringing together a comprehensive network of specialized companies with best-in-class artistry, cutting-edge technology, streamlined delivery and distribution solutions and customized management strategies, Deluxe approaches all of its businesses with an ingrained attention to quality, detail and creativity. From start to finish, in whatever format or language is required, Deluxe has the infrastructure and in-house capacity to provide complete solutions to a broad range of customers, including: major motion picture studios, television networks and cable companies, advertising agencies, brands, production companies, independent distributors and content owners.

Company contact:
Maurizio Cimelli
Tel: 44 (0)207 149 2662
Email: Web:

The Americas Press contact:
Desert Moon Communications
Contact: Harriet Diener
Phone: +1 845-512-8283
Cell: +1 914-263-0613

International Press contact:
Jump PR
Contact: Kate Ford
Phone: +44 (0)1932 240001
Mobile +44 (0)7740 948065

The Colors of Africa: Colorflow Grades “Born This Way,” a New Documentary Feature on the Gay and Lesbian Underground in Cameroon

Berkeley, CA—Colorflow, the Berkeley full-service post-production house, recently completed final post production work on Born this Way, a riveting, feature-length documentary from producers/directors Shaun Kadlec and Deb Tullman on the underground gay and lesbian community in the African Republic of Cameroon.

Final color grading was done at Colorflow with lead colorist Kent Pritchett working with the two filmmakers to set the final look. It was a challenging process due, in part, to the unusual circumstances surrounding the film’s production. As homosexuality is a crime in Cameroon punishable by lengthy prison terms, Kadlec and Tullman had to work incognito. They traveled under tourist visas and shot primarily with small, prosumer cameras, including a Canon DSLR. more

Rhythm & Hues Alumni Thom Burkhart Named Senior Producer at STEELE Studios

Santa Monica, CA, April 25, 2013 – STEELE Studios, a leading post production company and creator of visual imagery for Films, Commercials, Television, Broadcast, Music Videos and Online/Viral Media, has named Thom Burkhart as the company’s new Senior Producer. Most recently, Burkhart had been Head of Digital Post Production for Rhythm & Hues for 14 years.
“I’m thrilled to be at Steele Studios,” said Burkhart. “I’m most excited about spreading the word how they have streamlined the entire post pipeline using their Quantel Pablo’s. Jerry Steele has figured out how to use the Pablo to its fullest potential. And the potential is huge. This means saving clients’ substantial time and money on post, and also opening up more opportunities to take creativity to its fullest capability. When I saw what Steele Studios was up to, I was blown away and I wanted to be a part of it.”
Prior to joining STEELE Studios, Thom Burkhart had been the Head of Digital Post Production with Rhythm & Hues Studios for 14 years, until that company shuttered its post division in late 2012. During that time, he upgraded the department to a full HD post facility, and shepherded the post production services for many high profile commercials, feature films, and theme park ride films. In conjunction with those projects, he worked in tandem with such major directors as Ron Howard, Jake Scott, Peter Berg, Harold Ramis, Steve Beck, Charlie Watson, Clark Anderson, Michael Patterson, Jay Vigon, Randy Roberts, and with VFX supervisors Bill Westenhofer, Doug Smith, John Heller, Todd Shifflett, Richard Hollander, and Steve Beck, to name just some.
Among the hit feature films on which Burkhart worked during his tenure with Rhythm & Hues were: “Life of Pi,” “The A-Team,” “The Chronicles of Narnia: The Lion, The Witch and The Wardrobe,” “Fast and Furious 3 & 4,” “X-Men,” “Night at the Museum 1 & 2,” “Moneyball,” “The Lord of the Rings: The Fellowship of the Ring,” and “The Lord of the Rings: The Return of the King,” among many more. He also worked on the ride experience films “F-27” and “F-26” for Ferrari World in Abu Dhabi. His commercial projects with Rhythm & Hues included spots for Budweiser, Coca-Cola, GMC, Mazda, Dodge Neon, Geico, McDonald’s, Wendy’s, Sears, Honda, and Toyota, among others.
Before R & H, Burkhart was with View Studios, where he worked on such episodic series as “The X-Files,” “Sliders,” and “The Outer Limits,” and on many commercials and films, including a Honda commercial directed by David Lynch, and the film “The End of Violence” for director Wim Wenders. He also worked on feature title sequences and broadcast design packages for other projects.
Burkhart began his career in live production with a company called Performance Video, supplying large scale video screens and equipment to The Grateful Dead, The Rolling Stones, Bon Jovi, Ozzy Osbourne, Janet Jackson, Paula Abdul, and many top performers. While working with Tell-A-Vision Post, he edited trailers and episodic promos for a variety of TV shows.
STEELE Studios is an award winning Post Production Facility with over 23 years of experience and completion of over 2,000 projects for Films, Commercials, Television, Broadcast, Music Videos and Online/Viral Media. The company is internationally recognized for its innovation in post production techniques and stereoscopic technology, and industry renowned for its design and creation of compelling and memorable visual imagery.
STEELE’s diverse range of services include Stereoscopic 3D, 4K, 2K, HD, Digital Intermediate, Dailies, Color Grading, Online, Offline, Visual Effects, FX Supervision, Animation, Motion Graphics/Design, Titles and Beauty/Retouching/Age Regression.
Among the major advertisers for whom STEELE Studios has worked are Coca-Cola, Pepsi, Budweiser, Smartwater, Burger King, Gap, Old Navy, Microsoft, Dell, Nokia, Lexus, Cadillac, Nissan and BMW. The company’s corporate entertainment industry clients include 3net, Discovery, Sony Pictures Entertainment, Sony Japan, Sony Music, NBC, ABC, CBS, Showtime and Disney. STEELE has also provided its services to such international megastars as Jennifer Aniston, Lady Gaga, Beyoncé, Brad Pitt, Angelina Jolie, Mariah Carey, Jennifer Hudson, Mike Myers, Mary J. Blige, Alicia Keys, Usher, Kanye West, Rihanna, Katy Perry, Madonna, and Britney Spears, to name but a few.
STEELE Studios’ new headquarters is located at 1131 Olympic Boulevard, Santa Monica, CA, 90404, with affiliated partnerships worldwide. Phone is (310) 450-0600 and website is:

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Emmy Award-Winning Cinematographer Sean Conaty Selects Anton/Bauer Batteries to Help Fuel Narrative Work

LOS ANGELES, APRIL 25, 2013—Beginning with his days as a Master’s student of cinematography at the University of Southern California, Emmy® Award-winning cinematographer of narrative and documentary features, commercials and music videos Sean Conaty has powered countless creative projects with Anton/Bauer® batteries and accessories. Thanks to the rugged build and reliability behind the company’s power solutions, Conaty can count on uninterrupted power no matter where his productions take him on-location—from the dry heat of the desert for the short film Jack and the Dustbowl to the rainy high school football field in rural Ohio for the feature film Underdogs.

With a run-time of just under 20 minutes, Jack and the Dustbowl is the story of Jack Spriggs, an impoverished dust bowl farmer in 1930s Alabama. Despite the record heat waves and damage from over-farming that turned much of the fertile soil in America’s farming communities into dust during the Great Depression, Spriggs vows to keep his family’s land, and goes to extraordinary measures to do so. The film, directed by Brandon McCormick, was shot in four days with an ARRI ALEXA camera, in a location about two hours north of Atlanta, Georgia. Conaty, along with 1st AC Joe Trimmer, used DIONIC® HC batteries, attached to the company’s QR-Gold Mount kit, to also power a wireless follow focus system used during the shoot.

“For most of this shoot, we powered the ALEXA and wireless follow focus system with Anton/Bauer batteries,” says Trimmer. “When we had to drive off set to get B-roll and establishing shots of the farm, the Anton/Bauer batteries were our best friends. They also held up really well in the chilly mornings and hot afternoons, even with all the dust blowing on set. I think we ended up using three out of the four batteries each day. We couldn’t be happier with them.”

Part of the company’s Logic Series® batteries, the 91Wh DIONIC HC is suitable for powering high-current applications in a lightweight package. Transported as carry-on luggage without restrictions, the DIONIC HC is the perfect lightweight battery for shooting on location. Working closely with cell manufacturers, the HC series incorporates high-capacity cells offering 10 amps. To continually ensure cell protection and performance integrity, a special honeycomb cell pack design protects the cells. An enhanced RealTime® display indicates both fuel gauge and remaining run-time data simultaneously, without requiring any setup. The display incorporates readouts of hours, minutes and remaining capacity, making battery change decisions quick and easy. Its motion-detection feature incorporates a sleep-mode setting that reduces battery self-discharge, allowing for extended periods of storage with minimal capacity loss. The battery can be “awakened” by the built-in motion sensor. These patented features offer confidence for the camera operator.

For the feature film Underdogs, the production team went on-location to shoot in rural North Canton, OH. Written by David Latham, Underdogs is the story of a small-town high school football team destined to play their cross-town rival, a perennial powerhouse, while standing up for an entire community. “For this particular project, we really had to prepare for the elements like unpredictable rain showers and the changing temperatures—whether we were filming in the daytime or at night, inside a factory or outside on the football field,” says Brian Udoff, Conaty’s A Cam 1st AC for the film Underdogs. “When making preparations for the film and selecting our gear, we were especially vigilant and had to plan around that in regards to selecting equipment and shooting. The Anton/Bauer CINE VCLX battery, provided by The Camera Department in Cincinnati, was long-lasting and rugged.”

The reliability came into play as the film expanded from a one-camera shoot, to two-cameras. Most of the football scenes were filmed at night, so the team had to ensure they were able to get as much shooting done as possible in that time. Many times the second crew would be filming on the other side of the town, so with the CINE VCLXs in tow, the team didn’t have to worry about having enough power to get through the day.

Recently awarded the Scientific and Engineering Award (Academy Plaque) from the Academy of Motion Picture Arts and Sciences (A.M.P.A.S®), the CINE VCLX system provides superior run-time and service life for the power demands of today’s cinema production and lighting equipment. All the safety and high power draw performance of Nickel Metal Hydride cell chemistry technology is available in a power package specifically designed for the integration of 24V film and 14V video equipment. CINE VCLX batteries are powerful enough to run for extended periods of time with many cameras predominantly used in the world of film and digital cinematography. The RealTime LCD that accurately displays remaining run-time and a visual LED warning indicator when 15 minutes of run-time remain.

“The best thing about using Anton/Bauer products is that I never have to worry,” concludes Conaty. “Unlike other camera gear, I’ve never had a single issue.” Conaty, whose narrative work has been shown at the Sundance, Cannes and Berlin film festivals, was nominated for a Student Academy Award® by the Academy of Motion Picture Arts & Sciences® for his experimental short, Breathe. He has also used Anton/Bauer batteries and accessories on his music video and commercial projects. Among the artists he has shot music videos for include The Killers, Miles Fisher and Ben Harper. His commercial clients include Sony, Microsoft and Motorola.

Jack and the Dustbowl had its premiere in Atlanta, and is currently out for submission to various prominent film festivals. Underdogs was screened at the Cleveland International Film Festival earlier this month.

For more information, visit

About Anton/Bauer
Anton/Bauer is recognized as the world’s innovator and a premier provider of batteries, chargers, lighting and other key mobile power systems for the professional broadcast, video and film and healthcare technology industries. Based in the United States in Shelton, CT with offices in Europe and Asia, Anton/Bauer was established in 1970 and has expanded its product offerings to include many signature lines such as its leading Gold Mount® system, InterActive® chargers and Logic Series® batteries such as the HyTRON® 50, 100 and 140, and DIONIC® 90, HD, HC and HCX. Their products are compatible with every camera brand on the market today. Other Anton/Bauer high performance products include the Ultralight® 2, ElipZ®, CINE VCLX and the Tandem 150 Modular Charging System. Their superior-quality products have become an industry standard. For more information on Anton/Bauer, visit

About Vitec Videocom
Vitec Videocom brings together some of the most respected, most innovative and most sought-after brands in the industry: Anton/Bauer, Autoscript, Camera Corps, Litepanels, OConnor, Petrol Bags, Sachtler, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business.

Vitec Videocom is an operating division within the Vitec Group, an international business serving customers in the broadcast, photographic and military aerospace and government markets. Vitec is based on strong, well known, premium brands on which its customers rely on worldwide.

Vitec Videocom – advancing the quality and science of media production.

Rohde & Schwarz Teams with Hollywood HEART to Teach Filmmaking Skills to At-Risk Youth

May “Shooting Stars” workshop will provide teens an opportunity to learn from industry pros; teen-produced films to be given a red carpet screening in June.

BURBANK—At-risk teens from across Los Angeles will learn filmmaking skills from Hollywood professionals as part of a unique two-day workshop sponsored by Burbank-based Rohde & Schwarz DVS and the nonprofit organization Hollywood HEART. Teens will receive training from industry veterans in cinematography, screenwriting, acting, editing and sound in the “Shooting Stars” workshop scheduled for May 4th and 5th. The event will yield three to four short films that will be showcased at a red carpet theater screening on June 6th.


ReaLED technology from projectiondesign powers ‘Earthquake’ exhibit at California Academy of Sciences

Click here to watch the movie. Also available on YouTube.

FL32 projectors chosen for accuracy, sustainability, and low cost of ownership

(c) projectiondesign

Norway’s projectiondesign is delighted to announce that it has supplied its FL32 DLP® projectors to the California Academy of Sciences for use in its ‘Earthquake’ exhibit.

The projectors, which use the manufacturer’s ReaLED™ solid-state light-source technology, are used to drive the display aspects of a 20ft-wide immersive dome, which shows a three-minute film linking the concepts of geological time (plate movements over millions of years) and human time (earthquake activity, specifically in the San Francisco Bay Area).

The outputs of the projectors are seamlessly edge-blended onto a domed projection surface, with content being derived from 7thSense Delta media servers, and image processing and alignment from Scalable Display Technologies. Visual Acuity acted as an independent technology consultant for the project, effectively reprising the role the company performed in the original design of the Academy’s planetarium. Systems integration was performed by local AV systems company BBI Engineering.

This latest project for the Academy comes after projectiondesign supplied several projectors to the institution for its Morrison Planetarium, Water Planet exhibit, Hohfeld Hall pre-show area and scientific Visualization Studio in 2008.

Maria Dahl Aagaard, Product Marketing Manager, projectiondesign, adds: “When our relationship with the California Academy of Sciences started, we knew that they wanted to achieve Platinum LEED certification for sustainable building design, and we were delighted that the low power consumption and high efficiency of our projectors helped to make them first-choice.

“Four years later, with the Academy having achieved a second Platinum rating for its environmentally responsible operations and maintenance, the emphasis is even more firmly on sustainability. The ReaLED technology that powers our FL32 promises 100,000 hours of service life with no deterioration in output over time, which in addition to helping preserve our planet, also gives the customer a very low and completely predictable cost of ownership.”

Independent international technology consultant and long term partner with the California Academy of Sciences, Blair Parkin, Managing Director at Visual Acuity adds: “having worked extensively with projectiondesign and their integration partners during the 2008 opening we knew just where to go to find the latest in projection technology. Since the original project projectiondesign have made massive strides in furthering energy efficient display technology with the launch of their ReaLED product range hence it was an easy decision to select the FL32 projectors for this demanding application.”

‘Earthquake’, which contains a number of other attractions in addition to the mini-dome, occupies the entire west hall of the Academy and opened to the public for the first time on May 26, 2012. It is expected to be part of the Academy’s visitor offerings for several years.


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