Archive for May 9th, 2013

XL Video Supplies Video Package for the 2013 Olivier Awards

The Olivier Awards are a glittering celebration of the very best of British Theatre, recognising actors and productions alike for stunning performances across a range of genres.

For the 3rd consecutive year, XL Video sponsored the Award for Best Set Design (won by Bunny Christie and Finn Ross for ‘The Curious Incident of the Dog in the Night-time’) as well as supplying video equipment for the awards ceremony.

At London’s Royal Opera House, XL supplied the centre-stage LED screen, built from Pixled FX-11, 12 tiles wide by 7 tiles high, which linked up with the ITV broadcast feed and displayed live camera relay, VT clips and nomination packages.

The main screen was matched on either side by two dynamic portrait orientated screens measuring 5 x 6 tiles and 5 x 8 tiles respectively, which showed nominee logos, special guest awards and Olivier logos.

Content for the side LED screens was fed by XL’s Catalyst media servers (main and ‘hot’ backup) programmed and operated by Dan Bond with the main screen fully operated by the ITV Broadcast team.

XL Video also supplied scenic LED for the band risers in the form of Barco MiStrips. These were controlled via an additional dedicated main and backup lighting Catalyst unit, triggered from a grandMA2 console supplied by White Light.

For the presenters, Sheridan Smith and Hugh Bonneville, XL supplied a 65” Panasonic plasma screen for autocue, supported by several more plasma screens providing relay feeds to the press office, winners’ area and Royal Box.

All of XL’s LED at the Opera House was managed by Graham Vinall, Jolyon Oliver, Rob Smith, Steve “Spooky” Parkinson and Dan Bond, led by Project Manager Ed Cooper.

In addition to the Opera House ceremony, XL supplied video for the live outside broadcast site in Covent Garden Piazza.

During the ceremony the broadcast feed cut to the Piazza for the announcement of the special BBC Radio 2 Audience Award – to Billy Elliot The Musical – and for a one-off performance from the cast of ‘Loserville’.

In Covent Garden two 4 tile by 3 tile IMAG screens, formed from Lighthouse R7, showed a live relay of the ITV feed. Prior to the show XL’s Catalyst media server, running via a Roland V-800HD mixing desk, supplied the screens with footage of the Olivier Awards’ nominees interspersed with advertising from the Society of London Theatre.

XL’s screens and Catalyst in Covent Garden were managed by Ed Goddard, Catalyst Programmer Ingi Bekk and LED technicians Jan Van Geet and Gary Burchett.

Ed Cooper comments: “To be a part of the Laurence Olivier Awards is a great honour. It is fantastic to see colleagues in the industry and projects we have worked on receiving recognition. It is always tricky managing the two sites whilst fitting in around the busy Royal Opera House repertory schedule, but with a hard working crew and great teamwork, the ceremony was a huge success.”

Photo Credits: Jonathon Hordle – Rex Features, Florian Baeumler,

Mikkel Heimburger Forays Into High Profile Movie Trailer and Sound for Picture Projects with Antelope Audio Orion32

Santa Monica, CA, May 9, 2013 – Mikkel Heimburger is a sound for picture composer focusing primarily on movies, film and television commercials and advertising. During the last several years, he has successfully repurposed his audio career, having previously been an engineer/producer, focusing on the pop music scene. Recently, Heimburger has been working on several high profile projects. He placed a song in the latest Al Pacino film Stand Up Guys, and composed, performed and mixed the trailer score for the most recent Muppet Movie. Each day he relies on his Antelope Audio Orion32 audio interface as the cornerstone of his Los Angeles-based studio.”I was a creator of dance, pop and urban music just a few years ago,” Heimburger says. “But now I am producing trailers and advertising segments that are diverse and creative, but also more lucrative.” Needless to say, he is working in a segment that has become increasingly competitive and saturated. Heimburger says that to stand apart, he must ensure that his productions are ‘as good as they can be.’ Therefore he depends on his Antelope Audio Orion32 to help set his music apart.

“The companies I am pitching to often receive dozens of tracks in a day — I want them to remember mine not only for writing and performance, but also for sonic quality,” he states. The Antelope Audio Orion32 is now a key component in his set up: “When I first heard it, I was blown away,” he says. “It has what many of today’s other converters are lacking – punch. I really need this for the trailers I am working on, and with the Orion32, it happens automatically — it is just there and I don’t have to adjust the EQ or manipulate the low end.”

For Heimburger, the main differentiator between the Orion32 and other well known high-end converters rests primarily on sonic quality. “I’ve been through a half a dozen audio interfaces during the last decade, just trying to keep up with technology changes in the market,” he says. “When I A/B’d the Orion32 against the other units I had from other manufacturers, suddenly they sounded way too thin and overly sibilant. I also noticed that many of these other converters introduce a ’3D effect’ that just wasn’t true.”

In addition to raising the overall sonic quality of his mixing rig, the Orion32 has introduced workflow efficiencies at cost savings that was unexpected, but most welcome. “The Orion32 is considerably less expensive than competitors’ models — you basically get a 32 channel interface for $3,000,” Heimburger observes. “Other models typically cost $3,000 for 8 channels, and don’t sound as good!”

Having access to no less than 32 tracks of Antelope Audio conversion at the output stage has enabled Heimburger to employ creative summing techniques, which he says has led to increased fidelity. “I am using every single output on the Orion32, and having all these channels means I can sum my mixes the way I want. I use the Orion32 in combination with my Shadow Hills Equinox, which is a 30 channel summing mixer. This combination has made a really big difference as far as the width and depth of my mixes are concerned,” he says.

All in all, the Orion32 has earned a place in Heimburger’s studio not only from a sonic perspective, but also feature and price. “In my opinion, the Orion32 wins hands down in every measure,” he concludes. “I am pretty sure the competition will need to rework their product strategies.”

About Antelope Audio
Antelope Audio is the brainchild of Igor Levin who has more than 20 years’ experience and a number of innovations in digital audio and synchronization technology. The company is widely acknowledged as the leading manufacturer of audio master clocks.

In 2009 Antelope Audio launched its product line of high-resolution USB D/A converters, being among the pioneers designing a 384 kHz DAC. Antelope’s DACs employ their renowned 64-bit clocking and jitter management technologies and custom-designed circuits, achieving unprecedented precision and sound clarity.

# # #

All brands and trade names are the property of their respective owners.

Email This Post Email This Post

Related Topics: News |

“Lawrence of Arabia,” Digitally Restored with Help from MTI Film, Wins FOCAL International Award

HOLLYWOOD—The new 50th Anniversary Directors Cut of Lawrence of Arabia, which underwent digital film restoration processing at MTI Film, was awarded Best Archive Restoration/Preservation Title at the tenth FOCAL International Awards in London. The film was restored in 4K under the direction of Sony Pictures Entertainment EVP of Asset Management, Film Restoration and Digital Mastering Grover Crisp.

David Lean’s 1962 masterpiece, Lawrence of Arabia is widely considered one of the greatest films of all time. Prior to its 50th anniversary release by Sony Pictures last year, the film went through a meticulous restoration and re-mastering in 4K. more

iZotope Releases Iris+7 Bundle Featuring Two New Sound Libraries

Altered and Modular Sound Libraries Now Available

Cambridge, MA (May 8, 2013) – iZotope, a leading innovator in digital signal processing, has released two new sound libraries for Iris, the ground-breaking visual synthesizer. Altered and Modular, the largest sound libraries to date, will join Glass, Wood, Voice, Toys, and Food to round out the new Iris+7 bundle, available now.

Altered, the first of two new instrument based sound libraries for Iris, reimagines familiar musical instruments like piano, guitar, and bass by uncovering unconventional timbres through bowing, scraping, bending, and more. Altered includes over 300 new samples such as Plastic Rod on Harp, Piano Strings Resonant Spoon, and Didgeridoo Into Fan, and 200 professionally designed patches like Spectral Bubble, Dub Trombone, and Visual Karate.

Modular, the second new library, is based on samples created from new and vintage modular synths. Ranging from pulsing tones and lush effects to glitchy syncopations and Cartesian sequencing, Modular is designed to harness varied sonic palettes into musical patches for any project. Modular features over 600 samples including Growler Bass, Butterfly Chaos, and Funk Bot Pulse, and 300 patches like Metal Sloths, Zaptastic, Murky Glitch, and Ghost Mallets.

“When Iris was first released in April of 2012, we explored the incredible sonic possibilities of materials like Glass, Wood, Voice, Toys, and Food,” says Jack Cote, Product Manager at iZotope. “Now in 2013, Altered and Modular are bringing traditional musical instruments and vintage synth designs into the Iris world, with thousands of new sounds to kick off your next track. If you don’t have Iris yet, it’s the perfect time to get everything Iris, all at once, with Iris+7.”

To learn more about Iris+7 and the new Altered and Modular libraries, visit www.izotope.com/iris.

Pricing and Availability
Through May 23, 2013, all products in the Iris family are over 30% off, including Iris and all sound libraries.
Iris+7 is now available for $239 (reg.$349 / € 285 EUR MSRP)
Iris Altered is available for $34 (reg. $49 / €35 EUR MSRP)
Iris Modular is available for $34 (reg. $49 / €35 EUR MSRP)
To purchase, please visit www.izotope.com/products/audio/iris/buy.asp.

About iZotope
iZotope is a research-driven audio technology company based in Boston, Massachusetts. Its award- winning products and audio technologies are in use by millions of people in over fifty countries, from consumers to musicians to major film, TV, and radio studios. Some of the diverse clients include musical giants like BT, Depeche Mode, and RZA of WuTang Clan; radio stations like Boston’s iconic WGBH; and TV programming like CBS’s Survivor, the Discovery Channel’s Deadliest Catch, the World Cup broadcast, and the GRAMMY awards. Through an extensive licensing program, iZotope technology is also directly integrated into products made by industry leaders such as Adobe, Avid, and Sony; video games from companies like Harmonix and Ubisoft; as well as a growing number of mobile phone applications. For more information on iZotope products, visit www.izotope.com.

Media contact
Martina McConnon
Music Marcom
phone: 610-480-8360
email: martina@musicmarcom.com
www.musicmarcom.com

Email This Post Email This Post

Related Topics: News |

Method Studios Announces Top Flight Animation Hires

Global VFX House Welcomes Erik-Jan de Boer, James Jacobs and Keith Roberts

Los Angeles, May 9, 2013 – Method Studios, a Deluxe Entertainment Services Group company, announced today the addition of three world-class animation artists to the Method Studios’ creative team.

Erik-Jan de Boer, recipient of this year’s Academy Award(r) for Visual Effects for his work on “Life of Pi,” joins Method’s Vancouver office as Animation Supervisor. Joining him in Vancouver is Creature Supervisor James Jacobs, another Oscar(r) winning artist who received the 2013 Scientific and Engineering Academy Award(r) for character simulation software used in “Avatar.” Animation Supervisor Keith Roberts will work in Method’s Los Angeles office. A longtime member of the team at Rhythm & Hues, Roberts is versed in all styles of CG animation, and his impressive list of credits includes “The Chronicles of Narnia,” “The Cabin in the Woods” and “The Incredible Hulk.”

In welcoming de Boer, Jacobs and Roberts to the Method Studios family, the company reinforces its commitment to attracting top flight talent and growing an expert animation team that rivals the very best firms in the business.

“We are thrilled to have Erik, James and Keith join our team,” said Christian Kubsch, Method’s President. “Their arrival couldn’t have come at a better time, as Method Studios is in the process of expanding the character animation talent across our global network.”

Erik-Jan de Boer has been creating animations and visual effects for nearly a quarter of a century. Born in Amsterdam, the Netherlands, de Boer has worked at many top British VFX houses, including the Moving Picture Company. In 1996 he joined Rhythm & Hues where his credits include “The Golden Compass” (another Academy Award(r) winner in the visual effects category), “The Chronicles of Narnia: The Lion, The Witch and the Wardrobe,” “Night at the Museum” and many others.

“Joining Method presents a great opportunity for me to be part of a multi-facility visual effects house” says de Boer. “There are some impressive projects on the horizon and working on these in an artist-driven environment is an exciting prospect.”

James Jacobs, a world-class creature expert nominated for a 2013 Visual Effects Society Award for his work on the Goblin King (“The Hobbit”), has credits on numerous films, including “Prometheus,” “The Adventures of Tintin” and “King Kong.” A Toronto native, Jacobs has spent the bulk of his career focused on the unique challenges involved with creating compelling characters. From Method Studios in Vancouver, Jacobs is currently at work on director Wes Ball’s thriller “The Maze Runner.”

Jacobs notes: “Joining Method presents a unique chance for me to help enhance a character framework within a company that values innovation. I’m pleased to be here.”

Keith Roberts, originally from Yorkshire, England, most recently oversaw extensive visual effects work on the upcoming feature “R.I.P.D.” Roberts comments: “I’m looking forward to dividing my time between high-end feature film and commercial visual effects work here at Method – it’s a great opportunity for expanding my animation range even further.”

About Method Studios:

Method Studios is an award-winning international visual effects group with facilities in Los Angeles, Vancouver, New York, Chicago, Detroit, Atlanta, London, Sydney and Melbourne. As an artist-driven company known for its creativity, Method services high-end feature film, commercial and motion graphics clients. Post production offerings include conceptual design, look development, 3D animation/CGI, cinematics, motion graphics, matte painting, compositing and finishing. Credits include the commercials Kia “Space Babies,” Chevy 2012 “Silverado” (VES Award and HPA Award winner), Jameson “Fire” (Clio winner) and Kia “Share Some Soul” (AICP Award and VES Award nominee and AEAF and LIA winner); and films “Iron Man 3,” “Cloud Atlas,” “Argo” (VES nominee), “Abraham Lincoln: Vampire Hunter” and “Wrath of the Titans.” www.methodstudios.comsrc=”http://www.creativeplanetnetwork.com/the_wire/wp-content/uploads/2013/05/Erik-Jan-de-Boer_James-Jacobs_Keith-Roberts_left-to-right_low-res.jpg” alt=”" width=”640″ height=”281″ class=”alignright size-full wp-image-54680″ />

About Deluxe:

Method Studios is part of Deluxe’s Creative Services Group, a close-knit group of facilities including Company 3(r), Beast, Deluxe New York, EFILM(r), Encore, Level 3 Post, Method Studios, Rushes and StereoD. The group leverages a comprehensive suite of end-to-end services, access to world-class artists, technical expertise and a tight infrastructure with global connectivity. The Creative Services Group businesses are wholly owned by Deluxe Entertainment Services Group Inc., which is a wholly owned subsidiary of MacAndrews & Forbes Holdings Inc. www.bydeluxe.com

PESA Extends Vidblox DVI Series with 2K Extenders for Coax or Fiber Distribution

Huntsville, Alabama – PESA, a leading U.S.-based custom design and build manufacturing company for professional audio and video signal distribution, will showcase its new series of Vidblox 2K DVI dual link extenders, which transport 2K video over coax and/or fiber, at InfoComm 2013 (Booth 2958), which runs June 12-14 in Orlando, Fla. Vidblox 2K units extend ultra high-resolution, computer-based content to or from serial digital equipment.

Each Vidblox 2K transmitter (TX) and receiver (RX) pair supports coax, fiber, or both copper/fiber connectivity, which can be used to cost effectively distribute multiple 2K video signals simultaneously. Video resolutions up to 2560×1600@60Hz are supported via a DVI-D dual link connector, with analog stereo embedded in the video transport.

For added value, Vidblox 2K modules can be combined with PESA’s full line of 3G-SDI routing switchers for 2K distribution andswitching systems up to 288×288. On the local TX module, a looping DVI-D output allows quick monitoring status to check video content and image quality, and each Vidblox 2K can be networked for remote control using PESA’s Cattrax network control software.

“Vidblox 2K offers a simple and inexpensive solution to solve a number of integrator challenges for ultra high-resolution video,” said Dan Holland, PESA vice president of product marketing. “Our new extenders create the ideal long distance multi-path 2K solution for distribution of ultra high-resolution graphics used in production studios, command and control rooms, and geospatial imaging centers.”

About PESA

As a leading provider of audio/video connectivity, PESA offers a wide selection of routing switchers, matrix switchers, extenders, converters, media extenders, and signal processing gear to support government, military, industrial, commercial, broadcast and mobile truck applications. PESA offers one of the widest ranges of AV products – from large scale fiber optic routing to single-point CAT-5 DVI extenders – each with the integrity and innovative high performance technology expected from PESA. Our products are available around the world from a leading team of channel partners offering local support and installation; and all of our products are supported by 24/7 technical support. To learn more about our technologies and services visit www.pesa.com. PESA is located in Huntsville, Alabama with regional offices throughout the United States.

All products mentioned herein are trademarked property of their respective owners.

projectiondesign® and Barco has joined forces taking collaboration to the next level at InfoComm 13

At InfoComm 13 in Orlando, FL, Norway’s projectiondesign® will showcase its new products and highlight the positive synergies that have resulted from the company’s merger with visualization expert, Barco.

Set to wow visitors in the collaboration space, collaborative working will be projectiondesign’s core booth theme at InfoComm 13. Launched just a few months ago, the F35 panorama projector and its 21:9 aspect ratio and 2.7 megapixel resolution will be combined with Barco’s sophisticated ClickShare solution to show InfoComm visitors just how easy it is to connect and share content between participants in a collaborative environment.

Other projectiondesign highlights will include a six-channel projected dome showing 2D and 3D content for visitor attractions, with F35 AS3D active stereo projectors as the display source.

Also for InfoComm attendees to view will be a meeting-room environment featuring projectiondesign’s F22 1080 projector and Barco’s ClickShare collaboration solution; a rear-projection setup using a projectiondesign F32 1080 to show a high-end interactive experience; and an on-site demonstration by the projectiondesign Academy of the company’s ProNet.precision auto-alignment software and its ability to automatically adjust projection accuracy to ensure a seamless two-channel blend, using a pair of F32 wuxga projectors.

Maria Dahl Aagaard, Product Marketing Manager, projectiondesign, comments: “The ‘joining forces’ of projectiondesign and Barco gives us even more collaboration solutions than before, and we are looking forward to demonstrating fresh approaches to meeting the needs of our end-customers at InfoComm 13.

“We implicitly trust this show to reach not just our integrator channel but also the end-customers that the channel serves. And we believe that by combining Barco’s products with our own offerings, as well as showcasing the talents of trusted partners such as Cyviz, 7thSense Design and Pufferfish, we will have an InfoComm booth second to none in terms of visual innovation and performance.”

projectiondesign will exhibit on Booth 3615 at InfoComm 13 at the Orange County Convention Center, Orlando, FL, from 12-14 June 2013.

projectiondesign® and Barco has joined forces taking collaboration to the next level at InfoComm 13

At InfoComm 13 in Orlando, FL, Norway’s projectiondesign® will showcase its new products and highlight the positive synergies that have resulted from the company’s merger with visualization expert, Barco.

Set to wow visitors in the collaboration space, collaborative working will be projectiondesign’s core booth theme at InfoComm 13. Launched just a few months ago, the F35 panorama projector and its 21:9 aspect ratio and 2.7 megapixel resolution will be combined with Barco’s sophisticated ClickShare solution to show InfoComm visitors just how easy it is to connect and share content between participants in a collaborative environment.

Other projectiondesign highlights will include a six-channel projected dome showing 2D and 3D content for visitor attractions, with F35 AS3D active stereo projectors as the display source.

Also for InfoComm attendees to view will be a meeting-room environment featuring projectiondesign’s F22 1080 projector and Barco’s ClickShare collaboration solution; a rear-projection setup using a projectiondesign F32 1080 to show a high-end interactive experience; and an on-site demonstration by the projectiondesign Academy of the company’s ProNet.precision auto-alignment software and its ability to automatically adjust projection accuracy to ensure a seamless two-channel blend, using a pair of F32 wuxga projectors.

Maria Dahl Aagaard, Product Marketing Manager, projectiondesign, comments: “The ‘joining forces’ of projectiondesign and Barco gives us even more collaboration solutions than before, and we are looking forward to demonstrating fresh approaches to meeting the needs of our end-customers at InfoComm 13.

“We implicitly trust this show to reach not just our integrator channel but also the end-customers that the channel serves. And we believe that by combining Barco’s products with our own offerings, as well as showcasing the talents of trusted partners such as Cyviz, 7thSense Design and Pufferfish, we will have an InfoComm booth second to none in terms of visual innovation and performance.”

projectiondesign will exhibit on Booth 3615 at InfoComm 13 at the Orange County Convention Center, Orlando, FL, from 12-14 June 2013.

Email This Post Email This Post

Related Topics: News |

SundanceChannel.com and Tool Birth an unusual ‘MAMMA’S’ DAY E-CARD to Celebrate the Premiere of Isabella Rossellini’s ‘MAMMAS’ on Sundance Channel this Mother’s Day

New York, May 9, 2013 – This Mother’s Day, leave the flowers and Hallmark cards to the traditionalists, and give your Mom a gift she deserves. Sundancechannel.com commissioned Tool and interactive director James Cooper for Mamma’s Day Cards – a tablet-optimized HTML5 experience and video series that puts a wicked twist on the usual Mother’s Day pleasantries. It’s not a Mother’s Day card; it’s a Mamma’s Day card – an e-card that celebrates all the unusual types of moms in the world. Users select the ‘Mother’ which most resembles their own, and can opt to send the corresponding video as a quirky Mother’s Day e-card.


The Mammas e-card finds its inspiration from Isabella Rossellini’s latest short film series “Mammas,” which premieres on Sundancechannel.com on Mother’s Day, Sunday, May 12. After showing the world the unconventional mating and scandalous sex lives of animals in her Webby-award winning, internationally acclaimed short film series “Green Porno” and “Green Porno Seduce Me,” Isabella Rossellini returns to Sundance Channel and sets her provocative lens on creatures’ rites of passage into motherhood.


Featuring fantastical costumes and weirdly delightful enactments, the actress writes, directs and slips into the role of animal mother in nine episodes of “Mammas,” playing non-traditional creatures and the different ways their maternal instinct is put into action in nature. From cuckoos who willingly hand their young to another mother to fiercely loving wasps who bury animals alive for baby food, Isabella’s entertaining and educational portrayals will show varying ways mothers provide for their offspring.


“Mammas” is written and directed by Isabella Rossellini and produced by Patrice Haddad and Claire Marquet in association with Sundance Channel.


Mamma’s Day Cards is the latest in a line of Tool-Sundance collaborations, which include the FWA Award-winning site for Sundance’s first wholly-owned scripted drama series Rectify.


http://sundancechannel.com/mammasdaycard/

Credits:

Client: Sundance Channel
Title: “Mamma’s Day Cards from Isabella Rosselini”
Launch Date: May 2013

Digital Prod. Co.: Tool
Interactive Director: James Cooper
EPs: Dustin Callif, Brian Latt, Oliver Fuselier

About Tool:

Bicoastal Tool is an award-winning production company, representing top live-action directors and interactive directors for advertising projects. From funny… visually engaging… and/or interactive, Tool’s diverse roster of unique talent creates unforgettable commercial and digital content across all platforms.

About Sundance Channel:

Sundance Channel is the destination for What’s Next, Now. Showcasing both today’s creative icons and the emerging talent of tomorrow, Sundance Channel tells bold stories with a fresh point of view. In addition to award winning films, Sundance Channel is home to daring new original programming. Launched in 1996 and owned and operated by AMC Networks Inc., Sundance Channel provides perspectives dedicated to founder Robert Redford’s mission to celebrate creativity.



Visit Tool
View Media

Email This Post Email This Post

Related Topics: News |

The ACC Speeds Up Sports Content Distribution With Aspera

The ACC Advanced Media department used Aspera SDK to build a robust, customized video distribution portal with high-speed content transfers powered by Aspera faspex

EMERYVILLE, Calif.-May 9, 2013 -Aspera, Inc., creators of next-generation software technologies that move the world’s large data at maximum speed, today announced that the Atlantic Coast Conference (ACC), one of the premiere conferences in collegiate athletics whose league office manages championships for 25 sports that its 12, soon to be 15, member institutions compete in, has deployed Aspera’s patented high-speed transfer technology to power their digital sports content distribution service.

The ACC’s Advanced Media department, responsible for producing and distributing press conference coverage, highlights, and special event footage to media outlets, uses Aspera’s patented fasp transport to ingest video content from the schools at maximum speed, edit and transcode the content, and distribute it to media outlets via fast and reliable Aspera faspex(tm) transfers from a customized web portal.

Previously, the ACC had to wait several days for content to arrive on tape via FedEx, and by the time it was cut and put up on the satellite feed, the content was already old news – and that didn’t fly in today’s fast-paced world. The conference needed to have content ready for broadcasters on the same day as it was collected and within hours of the event, so that nearly 200 media outlets that subscribe to the ACC’s distribution service could incorporate the content into their programming in time for the evening news.

The ACC deployed software solutions from Aspera to meet their increasingly time-sensitive deadlines. First selecting Aspera Connect Server to speed up the end-to-end process from content ingest to distribution, the ACC later made the switch to faspex at the beginning of 2013 to take advantage of automated email notifications as well as data analytics that capture the details of user content consumption.

To pull in HD video content from schools, the ACC set up a series of workgroups and designated one for each of its member schools. Administrators at each school simply upload content into their workgroup, where the ACC pulls it down to their Avid platform for editing and then adds watermarking and creates versions in both ProRes and H.264 video compression formats. Using faspex, the ACC uploads the files to a customized web portal where media outlets can access them and select the content they need. Additionally the ACC has created workgroups for their television partners, ESPN, Raycom Sports, ACC Digital Network and Fox Sports Net South to share content with the conference.

Using Aspera’s SDK to customize the platform with ACC branding, the conference built the strong and robust portal, known as the ACC Video Clip Service (AVCS), with the intention of providing a simple and easy experience for the media members accessing it.

Due to restrictions emplaced by media rights holders, highlights can only be made available for seven days, and faspex allows ACC to control how long content stays on the site before it is deleted.

The ACC has received positive feedback from both the schools contributing content and the media outlets consuming it. Schools and media outlets benefit from the simplicity of the platform, which provides ease of use for staff with varying levels of technical expertise. The outlets also benefit from email capabilities that allow the ACC to alert end users through email, providing outlets with the content they need without requiring any extra effort on their part.

Immediacy is extremely important in the media industry, and the ACC can now make content available on its platform by 4pm to give media outlets enough time to incorporate it into programming for the six o’clock news. Faspex allows the ACC to become more aggressive in hitting media deadlines.

“With Aspera, we don’t have to wait on a third party to move our content around,” said Scott McBurney, ACC assistant commissioner for advanced media. “We’re now in control of our own destiny and better able to capitalize on providing a seamless platform to all of our constituents.”

“It was a pleasure to work with the ACC to integrate Aspera high-speed transfers into their web portal via our SDK, providing the efficiency and ease-of-use that was required by ACC administrators, member institutions, and the media outlets that use the video distribution service,” said Mike Flathers, CTO of the Aspera Developer Network. “With high-speed Aspera transfers, the ACC cuts time from their end-to-end distribution chain while benefitting from other desirable features, such as detailed reporting and notification capabilities, as well as the simplicity of email-based collaboration.
Media Contact:
USA -Kim Willsher, Red Lorry Yellow Lorry, ( 1) 310 569 2603, kimw@rlyl.com
EMEA – Rebecca Edwards, Red Lorry Yellow Lorry 44 (0)20 74038878, Rebeccae@rlyl.com
About Aspera
Aspera is the creator of next-generation transport technologies that move the world’s data at maximum speed regardless of file size, transfer distance and network conditions. Based on its patented fasp(tm) protocol, Aspera software fully utilizes existing infrastructure to deliver the fastest, most predictable file-transfer experience. Aspera’s core technology delivers unrivaled control over bandwidth utilization, complete security and uncompromising reliability. More than 2000 organizations across a variety of industries on six continents rely on Aspera software for the business-critical transport of their digital assets.
Please visit and follow us on Twitter @asperasoft for more information.
About ACC
The Atlantic Coast Conference, now in its 60th year of competition, has long enjoyed the reputation as one of the strongest and most competitive intercollegiate conferences in the nation. Since the league’s inception in 1953, ACC schools have captured 127 national championships, including 67 in women’s competition and 60 in men’s. In addition, NCAA individual titles have gone to ACC student-athletes 146 times in men’s competition and 102 times in women’s action.
For more information, visit the ACC.com.

Email This Post Email This Post

Related Topics: News |

About

Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

Calendar

May 2013
M T W T F S S
« Apr   Jun »
 12345
6789101112
13141516171819
20212223242526
2728293031  

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication