Archive for April 26th, 2013

Something’s Fishy: Filmworkers’ Fred Keller Grades New State Farm Campaign

CHICAGO—Filmworkers colorist Fred Keller applied the final color grade to a new spot for State Farm that makes a point about life insurance through a touching graveside scene that’s not quite what it seems.

Conceived by DDB Chicago, the spot shows a father and his young daughter who, together under an umbrella, discuss the passing of “Mr. Goldman.” To the girl’s suggestion that the dear departed surely was protected by a State Farm life insurance policy, the father says, “No.” After all, Mr. Goldman was a fish. A pull-back, reveals a tiny headstone in the family backyard. more

Christie Projects Tribute to Barbra Streisand For 40th Anniversary Chaplin Award Gala at Avery Fisher Hall

A Christie® digital projector was chosen to honor Barbra Streisand at the 40th Anniversary Chaplin Award Gala at Avery Fisher Hall in Lincoln Center on April 22, 2013. Former President Bill Clinton presented the pop culture icon with the prestigious Chaplin Award for her lifetime of achievements and contributions to the art of film. The Christie projection system screened a tribute montage of Streisand’s illustrious career, which includes her Academy Award®-winning performance in “Funny Girl” and her role as director, co-producer, co-writer, and star of the film “Yentl.”
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A 40-year tradition, the Chaplin Award Gala is The Film Society of Lincoln Center’s major fundraising event, which helps support the organization’s “ongoing work in education, artist development, and cross-cultural film outreach,” according to the Film Society. Special guests included actors Pierce Brosnan, Blythe Danner, Amy Irving, and Kris Kristofferson, with musical performances by Tony Bennett, Wynton Marsalis, and Liza Minnelli.
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“We were thrilled that Christie technology was chosen to deliver the visual experience that honored Barbra Streisand with this deserving award at Lincoln Center,” said Kathryn Cress, vice president, Global & Corporate Marketing, Christie. “We recognize that, with a sold-out audience filled with distinguished guests, a visual solution worthy of showcasing Ms. Streisand’s legendary performances was needed. And that we delivered, as our projectors are recognized for delivering the most brilliant, high-definition images in the industry today and with the reliability expected from the Christie brand.”
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The Film Society of Lincoln Center chose Digital Media Systems to install a powerful and reliable projection solution for the gala at Avery Fisher Hall, one of Lincoln Center’s largest venues with a capacity of over 2,700 people. Digital Media Systems in turn selected a Christie Roadster HD18K 1080 HD DLP® Projector to light up a 32ft. screen throughout the event, confident that it would deliver an image that was bright and powerful enough to meet the demanding needs of the high-profile evening.
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According to Gregg Paliotta, president and owner of Digital Media Systems, “We have done other projects for various Lincoln Center venues and events, and we always ensure that any projection and sound solution we use is world premiere standard. Quality and reliability are paramount. Absolutely nothing can go wrong once the curtains go up, which is why we choose Christie to deliver at these prestigious events. The Christie HD18K projector was the perfect solution for the challenging distance, angle, and space limitations of the projection booth.”
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“This is an incredibly important event for us each year, as it helps support our organization through the celebration of those who have advanced the art and culture of film,” said Lesli Klainberg, managing director, The Film Society of Lincoln Center. “For the 40th Anniversary Chaplin Award Gala, we really wanted the clips from Barbra Streisand’s career to pop with bright, sharp images. We have worked with Gregg Paliotta of Digital Media Systems in the past, and are always impressed with the quality of the Christie projectors and the exceptional services he provides in setting them up for our most important functions.”
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Part of the Christie HD Series, the Christie Roadster HD18K features full 1920 x 1080 resolution, proven 3-chip DLP® technology with Xenon® illumination, high quality optics and 10-bit image processing for the brightest, clearest HD imaging available in the industry today.
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About The Film Society of Lincoln Center
Founded in 1969 to celebrate American and international cinema, the Film Society of Lincoln Center works to recognize and support new directors, and to enhance the awareness, accessibility and understanding of film. Among its yearly programming of film festivals, film series and special events, the Film Society presents two film festivals in particular that annually attract global attention: the New York Film Festival which just celebrated its 50th edition, and New Directors/New Films which, since its founding in 1972, has been produced in collaboration with MoMA. The Film Society also publishes the award-winning Film Comment Magazine and a year-round calendar of programming, panels, lectures, educational and transmedia programs and specialty film releases at the famous Walter Reade Theater and the new state-of-the-art Elinor Bunin Munroe Film Center. For more information, visit www.filmlinc.com.
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About Digital Media Systems
Digital Media Systems, Inc. represents the motion picture post production, distribution and exhibition communities for complete projection and sound services. It specializes in equipment and engineering support for world premieres and event screenings. It also provides multiplex and screening room installation service and maintenance. For more information, visit www.dmediainc.com.

HARMAN’s JBL And BSS Audio Featured In New Zealand-Based Auckland Art Gallery Upgrade

NORTHRIDGE, California – New Zealand’s oldest and largest public art gallery, the Auckland Art Gallery Toi o Tamaki, recently underwent a massive restoration that transformed the building into a world-class cultural facility that now features a world-class audio system with HARMAN’s JBL loudspeakers. The upgrade was designed and installed by two New Zealand-based companies, Jands and Provision, working together to provide a networked audio system as part of the AV upgrade.

Opening in February 1888, the gallery has increasingly become a focal point of Auckland’s art scene, and now lies at the heart of the New Zealand art experience for both the local community and visitors alike. Stephen Ward, project manager and lead designer for the project, commented, “This project was unique, in that two of the buildings we were cabling were Heritage Buildings over 100 years old, and not linked, while demolition and construction continued around us. I was able to draw from my knowledge and experience from working and maintaining similar heritage sites in the UK, such as the Royal Society of Art and Tait Britain to assist with the planning and implementation of this project, allowing me the insight and understanding as to how the client would ideally use the spaces.”

In total, over 250 HARMAN JBL speakers were installed throughout the complex including Control 26CT, Control 24C and JBL Control 52 satellite speakers.

One of the design challenges was to provide an audio network with up to 25 discrete zones and over 100 patchable inputs (four per zone), as well as a separate BGM and paging level control per zone. Each of the 25 zones then needed the flexibility to be virtually patched to any combination of other zones. Fortunately the BSS Audio Soundweb London BLU-100 signal processors, featuring a 48-channel digital audio bus, gave the flexibility required to make this work within the tight budget.

Ward continued, “The audio was of high importance due to the changing nature of the open spaces in the art gallery and varying exhibitions and the use of Soundweb London allowed us complete flexibility in its design and linking. This provides the ability to expand the AV systems in a modular way and meet the users ever changing needs.”

Provision went about installing 10 Soundweb London BLU-100 devices between the five AV plant rooms. An audio network was setup between the plant rooms using fiber optic cable, which linked the digital audio bus and Ethernet control.

The mammoth task of mapping the level controls from 10 different Soundweb London DSP devices began.

Logan Bent, programmer for Provision with 15 years’ experience and dozens of existing projects involving BSS Audio went about the task of integrating the whole system. Logan comments, “The actual programming was relatively straight forward once a clear scope of works and client discussions in developing the interface were conducted. The most time consuming component during implementation and commissioning was the grand scale of the project. The greatest challenge with the interface was coming up with a way to overflow any of the inputs to any of the output zones. Along with that a simple way to disable a certain link was needed.”

For more information on ProVision, please visit www.provision.co.nz

HARMAN (www.HARMAN.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets — supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported net sales of $4.4 billion for the twelve months ending June 30, 2012.

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Colorworks Aids in 4K Restoration of “Richard III”

Culver City, Calif.—A few months before the bones of Richard III were discovered below a parking lot in Leicester, England, the infamous British monarch was the focal point of a very different type of reclamation project halfway around the world in Culver City, California. There, Colorworks, Sony Pictures’ digital intermediate facility, applied the finishing touches to an exhaustive 4K restoration of Richard III, Laurence Olivier’s 1955 film adaptation of the Shakespeare play.

The project was completed under the auspices of The Film Foundation, a non-profit organization formed in 1990 by Martin Scorsese to preserve endangered films. The group has supported the restoration of over 600 films to date. The restored Richard III is being released in April on Blu-ray by Criterion. more

Adorama Introduces Flashpoint Video Shootskate II Dolly for Film and Video Production

New York, NY – April 26, 2013 – Adorama, one of the world’s largest photography, imaging, video and electronics retailers, and a leading destination for iPhone photo specialty accessories, has begun selling the Flashpoint Video Shootskate II Dolly. With a slick design and graceful gliding, the dolly facilitates silky smooth camera movements for film and video production from dynamic low angles to tabletop. The super subtle wheels absorb and dampen vibration to the camera while independently locking turrets provide for a variety of styles of dolly rolls according to personal preference or surface conditions. Equipped with convenient grip handles on either side, the Shootskate gives all users direct, hands-on mobility during any production. Adorama is also now selling the Flashpoint Video Shootskate II Dolly Kit, which includes the dolly bundled with the Flashpoint PB-70 Pistol Grip Head Metal construction Designed by Doug Gordon, a ball head pistol grip that allows shooters to position the head through a simple-to-use trigger control.

The Flashpoint Shootskate II Dolly features:
• 12” wheel base diameter
• Three polyurethane bearing wheels
• Independently lockable 270-degree pivot rotation and engraved angle scale on each wheel
• Four possible head position threads for heads, arms, and accessories
• Three grip-control handles on base

The Flashpoint Shootskake II Dolly provides any filmmaker with a range of camera level solutions, for example using fluid heads, articulating arms, ball and socket heads, and direct to the camera – without the need for a tripod. For those in need of some tips for starting your own film with the Flashpoint Shootskate II, check out Jay Miles’s “A Fearless Approach to Creating Your Own Videos” for jumpstarting your next project. Plus, find out why the video dolly is an essential HD video accessory for DSLRs for serious video work.

Pricing and Availability
Flashpoint Shootskate II Dolly retails at the special rebate price of 69.95 USD (regularly 149.99 USD). The Flashpoint Shootskate II Dolly Kit is also now available at the price of 109.95 USD. These products are available online at www.adorama.com or at the Adorama superstore located at 42 West 18th Street New York, NY 10011.

Flashpoint is Adorama’s in-house brand, featuring high quality photo and video accessories and gear, such as the Flashpoint Shootskate II Dolly, at price points lower than competing name brands like Manfrotto and Sachtler.

ABOUT ADORAMA
ADORAMA: More Than a Camera Store

Adorama is more than a camera store – it’s one of the world’s largest photography, imaging and electronics retailers. Serving customers for more than 30 years, Adorama has grown from its flagship NYC store to include the leading online destination for photography, imaging and consumer electronics. Adorama’s vast product offerings encompass home entertainment, mobile computing, and professional video and audio, while its services include an in-house photo lab, AdoramaPix, pro equipment rental at Adorama Rental Company and the award-winning Adorama Learning Center, which offers free education for photographers in video channels such as the popular AdoramaTV.

Adorama is listed as Forbes.com’s “Best of the Web” and in the Internet Retailers Top 100, and is the official Photo and Electronics Retailer of the NY Giants.

Visit ADORAMA at www.adorama.com.

Press Contact:
Anya Oskolkova
Zazil Media Group
(e) anya@zazilmediagroup.com
(p) 617.817.6559
(skype) anya.oskolkova

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San Francisco Ballet Finds Prelite Previsualization Services Invaluable for Complex Lighting Demands of World Premiere of “Borderlands”

The unusual lighting demands of the world premiere of “Borderlands,” a modern dance piece performed by the San Francisco Ballet at the War Memorial Opera House, were facilitated when Maria T. Mendoza took advantage of Prelite Studios’ previsualization services before arriving on stage.

Mendoza, key lighting programmer and Assistant Master Electrician with the San Francisco Ballet, had worked successfully with Prelite on a number of corporate productions. “I was very excited to finally be able to introduce Prelite to the Ballet and apply the process to a more theatrical environment,” she says.

Mendoza set up the full Prelite system in the Ballet’s electrical shop ten days in advance of hitting the stage. “Choreographer Wayne McGregor’s ‘Borderlands’ was an unusual case for us. We usually use our lighting inventory of 600-700 conventional fixtures to which we add movers, HMIs and other lights depending on the designer’s request and production budget,” she explains. “The lighting designer for ‘Borderlands,’ Lucy Carter, came up with a rig consisting of 32 six-foot RGBAW ColorBlaze TRX fixtures that spanned the stage; they were configured eight each on four system pipes about ten feet apart.

“The set featured three large gray canvas frames, about 50×30 feet, that basically created a three-wall boxed set,” Mendoza continues. “Once San Francisco Ballet Master Electrician, Kelly Corter, and I saw the lighting plot and Lucy’s intentions, we immediately thought of Prelite given the limited on-stage time we’d have once the lights and set were physically set up. There was no way my fellow board op Anna McGriff and I could be programming on-stage for ten days with a full crew standing by.”

Prelite was especially helpful in supporting the pixel-mapping feature on ETC’s EOS lighting console. “We used pixel mapping in conjunction with the standard console protocol; cues would use one or the other. This was the first time for the Ballet and myself using the EOS Pixel Mapper, and it was very effective,” Mendoza reports. “I have used various media servers and consoles in this application before, but we decided to stick with the EOS in-house and for the ballet’s eventual tour. There was a bit of a learning curve, but the folks at ETC tech support were incredibly helpful, and Prelite tech Adam Rechner was with us on site at all times so that any issues that might have come up could be addressed immediately. With Prelite we were able to tackle the EOS Pixel Mapper learning curve without using up precious stage tech time.”

Mendoza found many other advantages to using Prelite as well. “Once Lucy arrived on site we spent days recording and creating every imaginable way of loading media, grouping and building effects for hundreds of individual channels. Prelite allowed us to then take all of the content clips, groups and effects and see how they interacted before actual live cueing began.”

She is convinced that “there was absolutely no way that we would have been able to be prepared for a rehearsal one day after install without all the work we did with Prelite. I’d recommend Prelite to anyone who has a time-consuming programming project and very limited on-site time. We would not have had the same outcome without it.”

About Prelite

Prelite was founded in San Francisco February 2000 by Tom Thompson and Norm Schwab as a place for lighting designers and programmers to use technologies to previsualize lighting projects. Its success led to the launch of Prelite NY in June 2001 by Kim Grethen and Rodd McLaughlin. The bicoastal company provides studios where previsualization and creativity take center stage away from the distractions and interruptions of a chaotic work environment and where clients save time and money and minimize stress. Prelite also offers on-site previsualization services for those who prefer the convenience of working at the venue. For more information, visit www.prelite.com or contact Thomas Thompson at 415-883-7727.

Waves Audio GEQ Graphic Equalizer Plugin Now Available

TEL AVIV, ISRAEL, April 25, 2013 — Waves Audio announces the availability of its new GEQ graphic equalizer plugin. Developed primarily for live users (but sure to find a home in the studio as well), Waves GEQ is a full-featured graphic equalizer plugin with both Classic and Modern mono and stereo components, featuring 30 ISO bands plus high and low pass filters, a high precision floating parametric EQ bell filter, and a real-time analyzer.

GEQ Classic components use traditional proportional Q filters inspired by the renowned DN series 1/3 octave equalizers, which narrow the filter width as you increase a band’s gain; GEQ Modern components utilize special Flat-Top filters, which eliminate the artifacts associated with band interaction, and provide perfect plateau and stair-stepped responses. Users can set band gains one-by-one, or draw their curve via touch-screen or mouse. Finally, GEQ’s integrated real-time analyzer lets users compare the difference between two sources.

Features:

30 ISO bands with selectable 6, 12 & 18 dB scales
Independent HPF, LPF and parametric bells per side
Classic component with Proportional Q filters
Modern component with non-interactive Flat-Top filters
Real-time analyzer
Zero latency

Controls:
GRAPHIC EQ SECTION

SCALE controls the maximum range of GEQ faders.
Q functions as a multiplier for the proportional Q algorithm.
ISO FADERS control the gain of selected frequency centers.
DRAG selects the method of setting the band faders.
LINK relatively links left and right channels, including all bands, high and low pass filters, floating Parametric Bell EQ and Master Gain settings.
FLAT snaps all bands to 0 dB.

FLOATING PARAMETRIC EQ SECTION

HP activates the high pass filter.
HP FREQUENCY sets the cutoff frequency of the high pass filter.
LP activates the low pass filter.
LP FREQUENCY sets the cutoff frequency of the low pass filter.
PARAMETRIC BELL activates the floating parametric bell filter.
PARAMETRIC BELL FREQUENCY sets the cutoff frequency of the floating parametric bell filter.
PARAMETRIC BELL GAIN controls the gain of the floating parametric bell filter.
PARAMETRIC BELL Q determines the width of the floating parametric bell filter.
MASTER GAIN controls the output level of the entire plugin.

ANALYZER SECTION

GRAPHIC DISPLAY / ANALYZER show the EQ curve, RTA1 and RTA2 input RMS frequency responses and the Difference between them.
INPUT METER displays input level (peak) in dBFS.
OUTPUT METER displays output level (peak) in dBFS.
RTA1 assigns the first input to the real-time analyzer.
RTA2 assigns the second input to the real-time analyzer.
DIFFERENCE mode turns off the real-time analyzer and displays the difference in frequency response between RTA1 and RTA2.

CALIBRATION MODE

CALIB activates the Calibration mode which calibrates the analyzer.
RTA1 & RTA2 FADERS are used to adjust and match the analyzer input levels.
RTA RESPONSE sets the response time of the analyzer.
RTA1 DELAY sets the alignment of RTA1 to RTA2.

The GEQ Graphic Equalizer Plugin is now available with a U.S. MSRP of $200.00, with a special introductory price of $99.00. Visit www.waves.com and www.waveslive.com for more information.

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Genelec 1032A Monitors and 7070A Subwoofer Are The Step Up That Studio 22 Was Looking For

— Unique Los Angeles-area facility that combines audio recording with photography and videography to create a one-stop for a wide range of media needs now relies on Genelec monitoring in its main studio —

NATICK, MA, April 25, 2013 — Studio 22 is a four-year-old facility in the L.A. suburb of Sun Valley that serves clients with two audio recording studios with a photography and videography space, and the facility recently experienced an upgrade with the purchase of new monitoring from Genelec, the world’s longstanding pioneer in active monitoring. The facility’s Studio A installed a pair of Genelec 1032A Bi-Amplified Loudspeaker Systems and a Genelec 7070A active subwoofer as part of a facility-wide renovation last year. The system was sold to Studio 22 via Guitar Center Northridge, California.

The reaction from clients has been excellent at the facility, with its private key code entryways, two full-scale recording studios, make-up, wardrobe and shooting areas, theater and conference room. Studio Manager Elba Horne notes, “We get a very wide range of clients in Studio 22, from students to seasoned professionals, and all of them have commented on how good the sound in Studio A is. The speakers we had been using in the studio were very good, but after talking to engineers, record producers and artists, it was becoming clear that Genelecs were widely regarded as the industry standard. We want the absolute best for our clients, and that was pointing us toward Genelec. So when we upgraded other aspects of the studio’s equipment, including the addition of high-end Neumann recording microphones, we decided that we had to have Genelec monitoring, to keep us at the leading edge.”

The move has worked out well, observes Horne, who says clients have been consistently pointing out the cleaner, natural higher-fidelity sound of the Genelec Active monitoring system. “They want the best, they deserve the best, and with the Genelec monitors, that’s what we can give them.”

For more information, please visit www.genelecusa.com/.

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Calibre UK appoints new distributor for sub-Saharan Africa

Johannesburg-based Prosound adds HQView and FoveaHD ranges of image-processors to impressive brand roster

Calibre UK has extended its global reach still further with the appointment of Prosound as its new distribution partner for sub-Saharan Africa. Based in South Africa, Prosound is a hugely experienced distributor and rental company with several decades of expertise in supplying professional sound and lighting equipment under its belt.

With more and more of its customers also requiring hardware solutions for multi-screen shows and installations, the link with Calibre UK was a natural progression, according to Prosound’s Technical Director, Mark Malherbe:

“Our reputation has been built on using only market-leading products in both our sales and hire departments, so when the opportunity arose to add Calibre to our roster, we jumped at the chance.

“We supply a number of high-end production companies not just in South Africa but in East and West African countries as well. Whether they are putting on a small conference or a 10-screen, multi-input show, we believe we will have a Calibre UK image-processing solution that meets their needs, and which they can trust to be seamless and stable.”

Pauline Brooksbank, Managing Director, Calibre UK, adds: “The market for high-quality image processing in sub-Saharan Africa is growing very fast, and we believe Prosound is perfectly positioned to offer our entire range to this market including the HQView and FoveaHD ranges.

“The synergy between video production, sound and light is growing not just in the rental arena but in fixed installations as well, and we look forward to seeing more of our products being sold into all these sectors through the good auspices of the team at Prosound.”

www.calibreuk.com

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