Archive for May 14th, 2013

STS-GRIOT Gets Organized with Facilis TerraBlock SAN

Michigan-based creative editorial boutique STS-GRIOT offers clients a complete post-production experience – delivering rough cuts, finishing, motion graphics, compositing, color grading, sound design and more. Award-winning editors at the mid-size studio collaborate with local and national ad agencies to deliver TV and web spots for high-profile companies such as Toyota, Ford, Chevy, Comcast and the US Navy.

Earlier this year, Burrell Communications enlisted STS-GRIOT’s services for a new Toyota campaign involving several different vehicles. In anticipation of such a large project, Owner/Editor Terry King and Operations Manager Greg Gabry opted to invest in a Facilis TerraBlock 24D shared storage system to streamline media organization across the facility and enhance collaboration.

Before transitioning to TerraBlock, Gabry and his 10-person team had relied on an Avid Unity shared storage system, but when it became obsolete, they turned to individual hard drives for storage. “Quickly, the external hard drives began accumulating; we knew what we were missing and that we had to have shared storage again,” he explained. “With TerraBlock in place now, it’s scary to think we ever lived without it; it’s huge for us. Our projects are more organized and accessible, and we no longer have to waste time mounting external drives just to see what’s on them.”

STS-GRIOT works on a variety of projects, so having access to a wide range of toolsets that are compatible with the TerraBlock is essential. The facility houses five offline editing bays, two online editing bays and a graphics suite – all connected to the TerraBlock via high-speed Fibre Channel. Each suite runs different creative programs including Apple® Final Cut Pro®, Avid® Media Composer®, Adobe® Creative Suite®, Autodesk® Smoke® and Quantel® Pablo Rio®. Gabry shared, “Different jobs call for different tools, and I love that TerraBlock gives us the freedom to choose the best tool for the job. We can easily move from room to room to work on whichever application we want.”

“Centralized storage has changed our workflow so much for the better,” he added. “As a team, we now have access to everyone’s work, so we’re able to collaborate across workstations more effectively. This is vital when working on projects that involve multi-spot packages like the Toyota campaign.”

Project to project scalability is a key component to STS-GRIOT’s success, and the option to connect to the TerraBlock via Ethernet has also allowed Gabry to bring in additional freelance team members. He can easily install TerraBlock Manager to a freelancer’s laptop, plug it in via Ethernet (or even wirelessly) and give the freelancer direct access to project files on the TerraBlock. “Ease of use is huge for me, especially because I’m not an engineer,” expressed Gabry. “I’m responsible for making everything work, and I’m 100% confident that I can have a group of freelancers up and running in just an hour. I couldn’t say that about any other competitive solution on the market.”

After a few months, STS GRIOT has only just begun to scratch the surface of TerraBlock’s capabilities. “In a short time, we’ve already grown leaps and bounds, but there is so much more we look forward to exploring. There are so many different ways of using the TerraBlock; it’s just bulletproof.”

He concluded, “Talent is what sets companies apart, and bottom-line, TerraBlock allows our editors more freedom to be talented, which we appreciate immensely. It’s been a great addition to our workflow!”

About TerraBlock
Facilis TerraBlock is a high-capacity, multiplatform, shared storage system for post-production and content creation. It fosters collaboration, supporting Fiber channel and Ethernet, volume and file-level control.

About Facilis Technology
Facilis Technology, Inc. was founded in 2003 to bring advanced shared storage to television and film post production at a reasonable price. The company designs and builds high-capacity, turnkey solutions that are open, flexible and scalable; enabling content creators to collaborate and work more efficiently. http://facilis.com/

All trademarks, trade names, service marks, and logos referenced herein belong to their respective companies.

KRBK Springfield, Missouri, Creates Single Frequency Network with Multiple Jampro UHF Slot Antennas

Sacramento, CA – Jampro Antennas of Sacramento, California, a world leader in radio and TV broadcast antenna systems, recently delivered five of its Prostar UHF slot antennas to KRBK in Springfield, Missouri. KRBK is the primary Fox television station for Springfield and the Ozark Plateau area.

The antennas were deployed at various sites around the area and configured into a Single Frequency Network (SFN) where several transmitters simultaneously send the same signal over the same frequency channel.

Alex M. Perchevitch, Jampro president commented on the project: “Few stations in the United States have deployed a single frequency network in a multiple antenna design successfully. Both Jampro and KRBK are very proud of that accomplishment.”

One of the critical aspects of successfully implementing the SFN was engineering and producing slot antennas which complied with critical azimuth and special elevation patterns. The Jampro engineering staff worked closely with the KRBK consulting engineers in the development.

In order to create the SFN, Jampro delivered five from its line of Prostar brand UHF slot antennas. These antennas are internationally proven for performance, quality and reliability. Compatible with DTV, ISDB-T and DVB-T broadcasts, Prostars are available in power ratings ranging from 1 kW to 90kW. The feed lines are pressurized for pro¬tection, and the slots are radome sealed to protect the antenna from the environment. Prostars are constructed from the finest marine brass, copper and virgin Teflon. Computer modeling is used in the pattern designs and the patterns were confirmed at Jampro’s facility in Sacramento before the an¬tennas were shipped to KRBK. Measured performance and the factory tuning before shipping gave KRBK the confi¬dence that the SFN would perform as desired.

Owned by Koplar Communications, KRBK is the primary Fox and secondary MyNetworkTV television station for Springfield and the Ozark Plateau area of southwestern Missouri. Licensed to Osage Beach, it broadcasts a high definition digital signal on UHF channel 49 from a transmitter in Eldridge.

About Jampro
Jampro Antennas Inc., established to answer the need for quality broadcast systems at a reasonable price, is a leading supplier of antennas, combiners & filters and RF components for every application in the broadcast industry. Reputed for innovation and customization, Jampro builds each system to the specifications of the individual broadcaster. From the first system delivered in 1954 to those installed today, the Company is committed to consistent performance and quality founded on solid engineering. Today, over 25,000 broadcasters worldwide benefit from the quality and performance provided by Jampro systems. Additional information on JAMPRO can be obtained at www.jampro.com.
###

Jampro contact: Sonia Del Castillo
916-383-1177 • mailto:Sonia@jampro.com

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

CBC / Radio-Canada Receives Custom 32-Bay UHF Slot Antenna System from Jampro

Sacramento, CA — Jampro Antennas, headquartered in Sacramento, California, recently provided CBC/Radio Canada’s Camp Fortune, Quebec tower with a uniquely configured 32-Bay UHF Broadband slot antenna system. The Jampro model JA/MS-BB Broadband antenna was custom designed for CBC to provide 150 MHz of bandwidth, something unheard of with slot technology. Camp Fortune is a commercial ski centre located in the Gatineau Hills near Downtown Ottawa, Ontario.

Jampro president Alex M. Perchevitch commented on the shipment, “The Canadian Broadcasting Corporation has been a long-time Jampro customer and we were delighted to address this special engineering request to meet their broadcast requirement for a single cost-effective solution. The Broadband Slot meant CBC could avoid costly Tower re-enforcement. The challenge of providing a system with such bandwidth and yet minimizing weight and windloading at a fraction of what a typical UHF panel array would impose on a tower has made our Broadband Slot solution a very attractive and cost effective alternative. Jampro also provided its patch panel/power splitter system and related RF components to support the antenna.”

Jampro’s JA/MS-BB UHF slot antenna is one of the company’s legendary Prostar series, which are economical alternatives to buying, installing and maintaining multiple antennas. Ruggedly constructed of marine brass, copper, aluminum and Teflon, the JA/MS is ideal for Camp Fortune’s harsh Canadian winters. In this case, JA/MS-BB provided a single, compact solution that conserved tower space and minimized wind loading.

From its head office in Ottawa, CBC/Radio-Canada operates 82 radio stations and 27 television stations across the country. In 1952 the first CBC/Radio-Canada television broadcasts began in Montreal (bilingual) and Toronto (English). Internationally, CBC/Radio-Canada News has over a dozen foreign bureaus, offering the most extensive and in-depth coverage of any Canadian media organization.

About Jampro
Jampro Antennas Inc., established to answer the need for quality broadcast systems at a reasonable price, is a leading supplier of antennas, combiners & filters and RF components for every application in the broadcast industry. Reputed for innovation and customization, Jampro builds each system to the specifications of the individual broadcaster. From the first system delivered in 1954 to those installed today, the Company is committed to consistent performance and quality founded on solid engineering. Today, over 25,000 broadcasters worldwide benefit from the quality and performance provided by Jampro systems. Additional information on JAMPRO can be obtained at www.jampro.com.

###

Jampro contact: Sonia Del Castillo
916-383-1177 • mailto:Sonia@jampro.com

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

Kodak Appoints Christian Richter to Film Lab and Studio Relationship Manager



(ROCHESTER, NY) As part of Kodak’s ongoing efforts to support the motion picture film infrastructure, the company has appointed Christian Richter to the newly created role of film lab and studio relationship manager, effective immediately. Richter will be responsible for developing and managing strategies to optimize the workflow between studios, filmmakers, laboratories and post-production facilities. He will report to Andrew Evenski, Kodak’s president and general manager of the company’s Entertainment Imaging division

“There is a growing concern that the changes occurring in the industry will be detrimental to the motion picture film infrastructure, and we want to alleviate that concern,” says Evenski. “There is a thriving, global lab network and many filmmakers are choosing film. Christian has more than 15 years of extensive, international experience to contribute to this new role. He will liaise with our customers and promote the options for shooting anywhere in the world, utilizing the high-quality film system in place to support those productions.”

Since joining Kodak in 1997, Richter has worked solely in the Entertainment Imaging division, fulfilling roles on an international scale. His responsibilities have ranged from managing the business unit’s initiatives for students, film schools and emerging filmmakers in Germany, to general management of Kodak’s Cinelabs in Dubai and Bulgaria. After developing broad international sales experience over several years, he became an integral part of Kodak’s product development and innovation advocacy teams, working with R&D scientists to drive product quality and growth. His business acumen includes a skill set for overseeing people, projects, products and industry partnerships.

Richter is currently the business manager for Europe, the Middle East and Africa, a title he’ll maintain as he embarks on his new responsibilities. Previously, he was the Business Development Manager for Western Europe.

“I want to make it as easy as possible for filmmakers to shoot on film, regardless of where they are shooting around the globe,” says Richter. “Filmmakers do not have to shy away from using film because of uncertainties around the availability of laboratory services. That infrastructure is in place. At the same time it will be exciting to work with the lab community, ensuring their services are well promoted within the industry.”

#

About Kodak’s Entertainment Imaging Business
Kodak’s Entertainment Imaging business is the world leader in providing motion picture film and imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion. Follow us on Facebook (facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm), and YouTube (youtube.com/KodakShootFilm).

Zylight Demos New F8 LED Fresnel at 2013 Cine Gear Expo Los Angeles

LOS ANGELES – Zylight, a leading manufacturer of innovative LED lighting solutions, will demonstrate its new F8 LED Fresnel at 2013 Cine Gear Expo Los Angeles (Booth 325), which runs May 31 – June 2 in Hollywood, Calif. Available in tungsten (3200K) or daylight (5600K) versions, the compact lighting instrument collapses to less than four inches thick for easy transport and storage.

Equipped with an eight-inch SCHOTT glass lens, the fully dimmable F8 maintains single shadow traditional Fresnel beam shaping, and offers a patented focusing system for spot and flood operations. Its beam spread is adjustable between 16-70 degrees for even coverage for widescreen productions. Like other Zylight models, the F8 is equipped with ZyLink wireless technology, which makes it easy to link multiple Zylights for simultaneous remote control.

While the F8 draws only 100 watts, it has close to the light output of a traditional 1000-watt Fresnel. It is also water resistant (IP54) for use in challenging location conditions, and can be powered by a worldwide AC adapter or standard 14.4V camera battery. The F8 ships with barn doors and yoke mount, but additional accessories are available separately.

“Cine Gear Expo is an ideal venue to showcase the innovative F8 LED Fresnel for the motion picture industry,” said Charlie Collias, senior vice president, worldwide sales. “We’ve replaced the traditionally hot and bulky Fresnel with compact LED technology. The F8 delivers all the performance of a traditional Fresnel but in a much more compact and energy efficient design.”

Zylight will also showcase its IS3c LED light, an updated version of Zylight’s acclaimed IS3 large panel cyclorama and beauty light, at Cine Gear Expo. Now shipping with a custom soft box produced exclusively by Chimera for Zylight, the fully dimmable IS3c is a wide, high-output soft light with built-in controls for adjusting color temperature, color correction, and Zylight’s Color Mode, which produces millions of colors without gels or filters.

ABOUT ZYLIGHT LLC

Zylight was founded in 2003 with one mission: Bring truly intelligent, time-saving lighting to the entertainment production industry. Our award-winning team has more than 80 years of combined industry experience, and we continue to develop innovative LED lighting solutions to help make your job easier. With more than 50 dealers worldwide, Zylight continues to grow its brand to a large international audience. More Than Bright – Zylight. Find out more at www.zylight.com.

East Pleasant Signs Directing Team CRUSH+LAB

East Pleasant has added directing team CRUSH+LAB to its roster, bringing Director David Solomini, Producer Alexander Kafi and Creative Director/Stylist Paula Tabalipa to the studio in one comprehensive package. The do-it-all collective brings a reel stuffed with fashion films, TV, branded content, commercials, along with an extensive client list that includes major broadcast and cable networks, fashion brands, auto companies, telecommunications, magazines and more.

The team specializes in developing contemporary multi-platform content and strategy, providing bespoke digital and on-air solutions, and seamlessly bridging the gap between production, marketing, branding, advertising and distribution. “CRUSH+LAB is a huge addition to East Pleasant,” remarked East Pleasant EP Michelle Cuccuini Hicks. “This is a multi-talented team capable of taking on projects in several distinct genres for any sort of client you could name. Signing one new talent is always a big deal – signing three of this caliber is enormous. We couldn’t be happier to have them here.”

David Solomini is a go-to industry resource and multi-discipline pro who can write and develop content and show format, direct single and multiple cameras, write and conduct all talent interviews, and guide projects through postproduction and final delivery. Alex and Paula have both been with the CRUSH+LAB since 2010.

“We’re all creatives at heart and eager to push the envelope artistically,” stated Solomini. “We understand how to get the most out of a budget, and we understand how to collaborate. After rolling through an endless stream of work for clients we really respect and admire, we wanted to join forces with an entity that could help us sustain what we’d built and make it bigger.”



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RAI Invests in First Four HARMAN Studer Vista 9 Digital Consoles

MILAN, Italy – Italian state broadcaster, RAI, has taken delivery of its first four Studer Vista 9 digital mixing consoles from Italian distributors Leading Technologies (LT) — including a production console for the control room at the famous La Scala Theatre in Milan (Teatro alla Scala). All formed part of a single tender resulting from a unilateral decision to move up to Studer’s Vista 9 platform.

The new console has been installed in the RAI control room at the theatre, replacing the previous Vista 8, and will be used for live broadcasting for radio and TV, as well as recording of operas and classical concerts. This will meet the venue’s wish for upgraded facilities within the Vista architecture, with the emphasis on 5.1 production.

According to LT’s Studer product manager, Mauro Bucchia, the RAI sound engineers were keen to maintain working with the Vistonics interface. “The TFT based metering in the Vista 9 has provided additional facilities but a further advantage for them was the SCore Live engine, which doubles the DSP capacity, and which the existing Vista 8 doesn’t have.”

The desk is configured with 64 Mic inputs from the stage plus Line and AES I/O for local effects and machines and two MADI interfaces for multitrack recorders.

This is one of four Vista 9s supplied by the Studer distributors, who over the years have provided Studer solutions for all four RAI production centres — in Milan, Rome, Turin and Naples.

A further Vista 9 has been installed in the RAI auditorium in Turin, supplied along with a Vista Compact Remote Bay to work in parallel. Replacing the venue’s previous digital console, this will be used for live broadcasting or the recording of classical music, since Turin is the base of the RAI National Symphony Orchestra.

The state broadcaster took the decision based on the success they had enjoyed with earlier Vistas, and their familiarity with the desk ergonomics.

The other stand-out features which defined this decision were the TFT metering and the HISTORY mode, which records events such as overloads in the audio path of each channel, and highlights them in red on the channel waveform. This enables the operator to review which channel had such an event, up to 30 seconds after the event has occurred.

The Vista 9 is configured with 88 Mic inputs plus Line and AES I/O for local effects and machines and two MADI interface for multitrack recorders.

At their Rome broadcast facilities, RAI has similarly upgraded its former digital desk to a Vista 9 in the radio production centre of a general purpose studio, which is predominantly used for live music, talk shows and drama. Once again, the HISTORY mode and TFT metering features will future proof the studio’s needs.

This Summer, another studio, identical to the first one, will be upgraded with the second Vista 9 assigned to Rome. Both Vista 9 consoles have the same configuration, with 48 Mic inputs plus Line and AES I/O for local effects, and MADI link to the studio’s monitor mixer.

This is the latest in a long list of Studer desks supplied by LT to Italy’s state broadcaster. Aside from the four Vista 9s, this includes two Vista 7 and a Vista 5 (for radio), as well as two Vista 8s and three Vista 5s for television broadcast.

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of audio, lighting and infotainment solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson®, and leading-edge connectivity, safety and audio technologies. 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 14,300 people across the Americas, Europe, and Asia and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

Trollbäck + Company Creates Brand Package For YEAH! TV Launch

AMC Networks tapped strategic design agency Trollbäck + Company (T+Co) to create the branding for YEAH! TV, the new interactive streaming movie service. YEAH! lets die-hard fans watch their favorite cult classics in unrivaled detail: behind-the-scenes factoids, exclusive interviews, real-time quizzes and polls and more. YEAH! launched at SXSW Interactive 2013 in March.

Led by Executive Creative Director Jakob Trollbäck and Art Director Kelli Miller, T+Co created 15 unique promo trailers introducing the first wave of rentals now available in “YEAH! DEFINITION” as the interactive experience is branded. T+Co also redesigned the website and produced a design style guide for the overall brand.

Each promo revolves around featured titles Blade Runner, Child’s Play, Clerks, Pulp Fiction, Scream, Terminator, The Exorcist and more. T+Co culled iconic film scenes spliced to dynamic motion graphics across a prismatic palette. The final package is a thrilling visual run-down of the interactive movie platform.

To view a selection of trailers & images, please visit: http://www.trollback.com/yeah/

“Trollback + Company was the first and only choice of agency to design YEAH!’s brand identity and user interface,” said Lisa Judson, YEAH!’s General Manager. “Their work is consistently intelligent, sophisticated and cutting edge – the perfect combination needed to create YEAH’s next generation video experience.”

For the trailers, T+Co created several animated 2D treatments of the YEAH! logo: a modern geometric comment box encompassing the network’s name. The design elements for the package as a whole needed to feel contemporary and bold, and dialed in to pop culture.

The website’s interactive components inform the overall brand blueprint for YEAH! The clean and simple user-friendly web interface emphasizes the same emboldened typography and graphics seen in the trailers. The intuitive interface T+Co designed is essential to the seamless movie-watching experience envisioned by YEAH!.

According to T+Co, the design and branding of both the website and the trailers needed to be unified and function in a manner that ultimately let the content shine.

“The films and the interactive features are engaging in and of themselves, so we created designs and animations with a cross-platform brand fluency in mind to subtly highlight the network’s edgy brand language and features, from catchy slogans, to polls and trivia,” explains Trollbäck.

“This was an exciting challenge that allowed us to really re-think the way content is delivered online and how that relates to an overarching brand strategy,” concludes Miller. “AMC Networks’ had a great concept and vision for YEAH!; all we had to do was bring it to life.”

Project: YEAH! TV Launch Campaign

Client: YEAH! TV
General Manager: Lisa Judson

Strategic Design Agency: Trollbäck + Company
Executive Creative Director: Jakob Trollback
Art Director/Lead Designer: Kelli Miller
Digital Creative Director: Steve Baker
Head of Production: Erica Hirshfeld
Producer: Dina Chang
Designer: Rachel Digerness
Animation: Ben Nichols, Mo Ghayour, Rachel Digerness
Editorial: Nate Buchik, Caroline Kallback

About Trollbäck + Company:
Trollbäck + Company is an award-winning creative studio communicating engaging ideas in the simplest, smartest and most visionary ways. Led by executive creative director Jakob Trollbäck, the collaborative group directs television commercials, designs opening titles, brands networks and creates experience-based content for global brands. Trollbäck + Company is the recipient of numerous awards including a primetime Emmy, and is regularly featured in publications and exhibits around the world.

http://www.trollback.com

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Short & Spikey Takes AJA Ki Pro Rack on Tour with The Cure

Video company Short & Spikey specializes in the video engineering production of live stage shows for high profile musical acts. Over the last twelve years, Short & Spikey Founder Jason Harvey has worked with Lady Gaga, Cher, Madonna, Bon Jovi, Paul McCartney, Christina Aguilera and Van Halen to name just a few, both as a freelancer and as a contractor for PRG Nocturne, a major producer of live stage shows. For his latest gig, Harvey was contracted to be the video recording engineer for a South American tour by legendary British band The Cure. Highlights filmed during live performances in eight cities are being pieced together to create a documentary style home entertainment release.

When assembling his setup for the tour, Harvey wanted to go with a powerful, proven solution that would stand up to the pressures of operating in less technically advanced locales such as Brazil, Argentina, Chile, Paraguay, Columbia and Mexico City. Anticipating over 300 hours of footage that needed to be turned around quickly, tape was not an option. The editors also encouraged him to deploy a pipeline that would support the Avid® DNxHD 220 codec for editorial. AJA’s Ki Pro Rack fit the bill perfectly.

Harvey noted, “I’ve toured with AJA gear for years and it has always performed great, even when it’s banged around in planes and trucks. Obviously there is a great appeal in staying with a manufacturer you know and trust, and a digital workflow was a no-brainer here. We were going to be dealing with a tremendous amount of footage so we needed a recorder that could capably handle the data as well as withstand the physical demands of the road, so the Ki Pro Rack was a natural choice. It was also crucial to have the DNxHD codec for dailies ingest.”

Though Harvey was quite familiar with Ki Pro technology, the tour marked the first time that he used Ki Pro Rack units for multi-camera recording. He relied on up to 14 Ki Pro Racks and one Ki Pro to record each performance, which were captured with anywhere from seven to fifteen cameras. A typical show would have ten cameras feeding into ten Ki Pro Racks with a line cut out of a switcher and a backup, for a total of 12 outputs. Due to varied availability depending on the region, Harvey often had to mix and match different HD cameras, as the gear and crews were all locally hired.

“In Chile, we ended up renting a broadcasting truck that was actually the back end of an old transit van welded to the front of a U-Haul tow unit with a flat screen inside,” Harvey said. “It was nice to have such solid recorders considering the cameras ranged from top-line HD to prehistoric Stone Age HD, but that is the kind of challenge you have to put up with when keeping up with the pace of a concert tour on the road across South America
when taking your own Video truck is not an option.”

During the show, Harvey monitored each feed and camera to ensure the Ki Pro Racks and Ki Pro were operating properly. When shooting was complete, the data from the recorders’ KiStor drives was transferred via the new AJA KiStor Docks with their Thunderbolt(TM) and USB 3.0 connections to five G-Tech 8 TB drives connected to five Mac laptops. Each show averaged 350 GB of data per camera- adding up to over seven and half TB of data after eight shows. After the masters were created, data was transferred to backup then the recorders were wiped and prepped for the next show.

“Working digitally saved us a ton of time, especially considering the massive amount of footage we were capturing. Also, we were able to offer an H264 live encode of the whole show – in HD 1920 x 1080 30p compressed to MPEG-4 – on a USB drive right after the show, so that Robert Smith and the director could review for feedback and input, informing future shows. The flexibility of Ki Pro Rack is great,” explained Harvey.

Additionally, Harvey was able to record his multiscreen setup view of his system with all running cameras in a 4 X 4 picture in picture box. The images came in directly from the Ki Pro Racks (BITC output), so the director, Tim Pope, could watch the multi-view as if he were viewing a monitor gallery display in a truck and take notes. Recorded at 720p, Pope could review files that were a nice quality and but not overly large, making edit selects easier when doing the offline / online post production back in London.

Harvey concluded, “AJA technical support was impressive. Anytime we ran into an issue, AJA was very quick and helpful in their response. The whole experience reinforced that AJA technology will do what it’s supposed to do.”

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

All trademarks, trade names, service marks, and logos referenced herein belong to their respective companies.

Christie Lites Increases Investment in MA’s onPC command wings

Christie Lites has purchased an additional 200-plus MA onPC command wings from A.C.T Lighting, the exclusive distributor of the MA Ligthing in North America. The company’s new investment brings its inventory of onPC command wings to over 250.

Earlier this year Christie Lites took delivery of 50 onPC command wings to extend usage of the flexible and powerful grandMA2 control system to customers working on location or those who find it physically difficult to fit a full grandMA2 console at their venue. With 12 locations in the U.S. and Canada, Christie Lites supplies equipment and services to lighting designers and chief electricians across an extensive client base.

MA’s onPC command wing is a portable solution offering realtime control for 2,048 parameters in combination with grandMA2 onPC. Designed as the perfect hardware expansion to the grandMA2 onPC software, onPC command wing enables the look and feel of the software to be as close as possible to a real grandMA2 console.

Its command section is similar to the grandMA2 layout and features 2 A/B faders, one level-wheel, individually backlit and dimmable silent (clickless) keys and an integrated universal power supply. The unit has an ergonomic design and is lightweight (tipping the scales at just 6 kg) and rock solid.

onPC command wing comes with free grandMA2 onPC software. It offers two built-in DMX ports as well as the possibility to send two additional DMX universes via Ethernet. A simple USB connection between the MA onPC command wing and the computer running the grandMA2 onPC software permits all inputs and outputs of a grandM2 console to be available to the user. DMX, MIDI, timecode and analogue remote are all on hand directly at onPC command wing.

The portability and mobility of onPC command wing also make it an ideal backup solution within the grandMA2 system; a powerful control solution on the road or in smaller theaters, shows and clubs; or a handy choice for preprogramming.

“The popularity of the onPC command wings with our customers prompted us to invest in a substantial inventory of units,” says Christie Lites CEO Huntly Christie at the company’s Orlando headquarters. “The onPC command wings can be used anywhere and for an affordable price. They’re a win-win solution.”

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.

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