Archive for June, 2013

XL On Tour With ‘Priscilla Queen Of The Desert The Musical’

XL Video is supplying LED screens, LED animation cloth and Catalyst media server control to the current David Ian Productions and Ambassador Theatre Group UK and Ireland touring version of the hit ‘Priscilla Queen Of The Desert The Musical’.


The colourful, award winning, glittering, fast paced, witty show which features a stream of disco stomping musical numbers is the latest high profile West End musical to hit the road, and is being project managed for XL by Ed Cooper, who has worked on previous shows for the producers.
For this one XL engaged in some heavy customization of the main scenic piece – the bus – which is built onto a large stage truck and forms the hub of Brian Thomson’s touring set design.
The bus has four ‘windows’, which are made from 96 panels of XL’s Pixled Flex-10 high-resolution flexible LED screen product.
The Flex-10 is used to make up straight panels on this case, but was chosen because they needed a double-sided screen product, and at 8.5mm deep it’s extremely thin, and highly practical for the application especially as the bus is broken down into various component parts each time the show moves.
The video content for the bus windows which includes various journeys, graffiti, fireworks and other interactive elements is stored and replayed via a Catalyst media server sat at the side of the stage in the main video control rack.
Data signals are sent via a WDMX wireless DMX system to a Mac mini server built into the floor of the bus, together with processing and other bits of control engineering. This means the bus is completely wire free and can be more easily moved around the stage and taken apart for the moves.
XL fitted the entire processing and control infrastructure into the bus at Rocket Scenery in Nottingham. The tour is out (currently) until the spring of 2014, so it was essential that all the work be completed to long term touring standards.
A special 8 metre wide by 7metre high version of S+H Technical’s Animation Cloth was manufactured for the tour, made with a 130mm grid matrix of pixels (on the standard Animation Cloth, this is random). The modifications were needed to display the specific content being played through it.
The Animation Cloth comes in and out at key points in the show and is also fed from the Catalyst.
The third video element is a Barco O-lite border (dubbed the ‘Twitter screen’ by the crew), which is 10mm in pitch, measuring two blocks high by 62 wide. This comes in at the start of the show and is used to relay local information like the population of the current town and its distance from certain Australian references.
Content for the bus windows, the Animation Cloth and the Twitter Screen is all stored and played back via the main Catalyst, which is in turn fired by the GrandMA console running all the lights, complete with a tracking Catalyst and lighting console supplied for backup. Oliver Luff programmed video with the lighting by Chris Hurst.
Lighting and video are being looked after on the road by Chief LX Joe Dowling, who comments, “Working with XL has been brilliant. The services are excellent and Ed is always there for whatever you need”.
Ed Cooper adds, “This was a challenging project dealing with new equipment and a truly unique design, which required real attention to detail and close relationships with production and management alike. The end product looks great and really adds to the high production values set throughout. The crew are fantastic to work with and the show a rewarding production.”

Tool Makes Strides into Long-Form Production with Award-Winning Film Starring Mireille Enos



Tool has teamed with director/writer Stephanie Ann Martin to produce Wild Horses, a heartbreaking and courageous tale that features World War Z star Mireille Enos and documents the plight of horses in the American West. The film, which features cinematography from three-time Academy Award-winning DP, Robert Richardson, and was executive produced by Tool’s Erich Joiner, took Best Live Action Short Over 15 Minutes at the 2013 Palm Springs International ShortFest. Wild Horses represents the latest in Tool’s full-bore push into long form film, an endeavor led by Head of Film and TV, Josh Gold.

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.


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Aquafadas Presents Digital Publishing Workflows for Delivery on Tablets at Tokyo International Book Fair

Demonstrations of the latest Aquafadas Digital Publishing capabilities and special customer workflow presentations held on Aquafadas/MSI stand 26-53

Tokyo, Japan — June 28, 2013 – Aquafadas, developer of digital publishing solutions, will participate in the 2013 Tokyo International Book Fair, held from July 3-6 in Tokyo, Japan. Aquafadas experts will showcase the latest digital publishing technology as well as participate in special customer presentations on real world examples of Aquafadas Digital Publishing workflows. “Aquafadas customers push the limits of our technology to produce super enriched digital publications. We’ve been working extensively with our Japanese business partner MSI to ensure Aquafadas Digital Publishing capabilities exceed market expectations and deliver on the imagination of the highly creative, tech-savvy Japanese publishing industry,” comments Claudia Zimmer, CEO of Aquafadas. “I look forward to co-presenting advanced Aquafadas Digital Publishing workflows customers are using and giving attendees a glimpse into the future of just how much they can accomplish with Aquafadas’ digital publishing capabilities.”

Attendees can see the new digital publishing technologies and special presentations on Aquafadas/MSI Corporation stand (26-53).

“We have been providing the Japanese market digital technologies and services for more than two decades, and it is important that we are on top of the latest trends. The digital publishing era is just beginning, and companies like Aquafadas are serious innovators in this transitional and transformational stage for publishers,” says Satoshi Hayashi, CEO of MSI Corporation. “MSI is working side by side with Aquafadas to ensure Japanese corporations have a partner on the ground that fully understands and can assist them with their transition to digital publishing. Whether they are a publisher with hundreds of titles or an ad agency serving clients with a list of needs ranging from catalog creation to digital magazine design, MSI and Aquafadas are working together to provide them with the solution to best fit their needs.”

Special Technology Preview – New Aquafadas Digital Publishing System 3.0
Aquafadas will also be giving Tokyo International Book Fair attendees a sneak preview of the newest capabilities of version 3 of its Digital Publishing System, due out in July 2013. In addition to iOS, the version 3 release lets publishers create interactive and graphics-rich content that can be published to the web, Android OS and Kindle Fire. Feature highlights include:

• Publish content on the latest tablets available with newly optimized file formats including Kindle Format 8 for Amazon Kindle
• Publish AVE files in an app: Google Play based on Android OS and Amazon App Store based on Android OS
• Web-Reader: AVE files embedded in a web reader based on Flash
• Updated version of Adobe InDesign plugin with the new ePUB exports and new Web-Reader, plus new features
• Brand new version of AVEpublishing.com – new offer also comes with an update of the Aquafadas website including a clear presentation of Aquafadas pricing

About the Aquafadas Digital Publishing System
Aquafadas’ Digital Publishing System covers all aspects of digital publishing from content design and app creation to distribution. It combines the most advanced tools with a versatile library of ready-to-use apps, ePub3 export, and a Web reader. The digital publishing platform also provides powerful marketing tools, including the ability to integrate advertising campaigns and offer one-click in-app purchases then analyze sales and reading behavior using standard analytics tools such as Google Analytics.

Book a Press Appointment
Members of the media are invited to book a private press appointment with a member of the Aquafadas team. To book a meeting, contact Anya Oskolkova at anya@zazilmediagroup.com or register via this link.

About Tokyo International Book Fair
TIBF is Asia’s leading publishing trade show. As the centre of publishing trade, TIBF is a core venue to negotiate publication rights, book imports/exports, and other related business with key publishing professionals in Japan and Asia. More info: http://www.bookfair.jp/en/

About Aquafadas
Aquafadas creates innovative digital publishing solutions to enable new and high-quality ways to publish magazines, books, newspapers and comics. Aquafadas solutions allow and facilitate the dissemination of digital content on all major new platforms, including smartphones, tablets and the web. Creation tools offered by Aquafadas meet the specific industry needs of publishers. Amongst our clients are Egmont International, Sanoma, Lagardere, Mondadori, Reader’s Digest, Bayard, Standard & Poors, Vodafone, Carrefour, EDF and Ouest France. Comics publishers use AveComics, the digital comics platform created by Aquafadas, to distribute comics on the new devices. The business world uses Aquafadas tools to enable migration of digital content such as marketing, technical documentation, commercial or financial. Aquafadas user-friendly creative software for Flash®, HTML5, photo and video editing, is also used by graphic design professionals and consumers.

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

Megan Linebarger
Zazil Media Group
megan@zazilmediagroup.com
(p) 617.480.3674
(skype) megan.zazil

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RTW TM3 TouchMonitor Keeps It Level for Broadcasters

Budget-Conscious Stations Across the U.S. Employ TM3 for CALM Compliance

LUTZ, FLORIDA, JUNE, 27, 2013 – When it comes to helping his customers at U.S. broadcast stations comply with the CALM Act, Alan Vernick, president of Vernick Technology Incorporated (VTI), a manufacturers’ representative, value-added reseller and broadcast technology systems integrator, turns to RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control. Since 2012, the Florida-based Vernick Technology has implemented RTW’s TM3 TouchMonitor audio meter at its customer broadcast stations across the country, providing them with a simple, easy-to-use solution for monitoring audio levels in order to normalize them, throughout several stages of the broadcast production process.

According to Vernick, many U.S. broadcast stations are aware that they need to incorporate an audio-leveling device to comply with the CALM Act, but don’t know how to fit one into their production workflow. He has found that employing an RTW TM3 TouchMonitor at several key phases of the production and on-air workflow enables customers to monitor their audio levels to comply with normalization, quickly and efficiently. He recommends implementing various TM3s to monitor the output of a station’s on-air master control switcher, server ingest stations and the production control room.

“A lot of stations try to monitor the audio level downstream, which is what you need for FCC compliance,” says Vernick. “One obvious place for the TM3 is on the output of the master control switcher, before the audio level control. If you try to adjust audio levels manually ahead of that, you’re looking at a signal that has already been processed. You’ll want to use it to monitor the output of the server ingest workstations as well, when they are first taking in all the content, so that you can ensure everything is at the same level.

“As for the production control room, broadcasters still mix their microphones with VU-meters, so they need a TM3 or other product in the RTW TouchMonitor line, to monitor and adjust the LKFS levels.”

With its compact, 4.3-inch touchscreen and stylish exterior allowing for horizontal and vertical placement, the TM3 is ideal for small control rooms, OB vans, editorial suites and similar environments. It includes features of the larger TM7 and TM9 TouchMonitors, but at a more budget-friendly base price. As with the entire TouchMonitor line of meters, the TM3 allows for monitoring separate signal groups and using multiple instruments at the same time. This way, up to 16 analog or digital signals (with 3G-SDI interface up to 32) can all be displayed for the engineer monitoring the audio levels. The TM3 also includes the Magic LRA instrument, specifically designed by RTW, for intuitive visualization of the loudness range and integrated-loudness parameters. In addition, RTW recently launched the TM3-SWMC Software license, an add-on option that incorporates a moving-coil emulation display.

“We like that the TM3 has an LKFS meter that can be customized according to the user’s needs,” adds Vernick. “It’s a great LKFS meter, depicting the three different durations most stations want to measure all on one screen, along with manual start/stop and peak meters. As a pre-set feature, the TM3 displays the LKFS number in a big, bold numbers, however you can customize it any way you want. It’s simple enough to use that my customers who wouldn’t know how to customize it can still work with it. All I need to do is tell them how to read the meter and what kinds of levels they should be targeting, and they can start working with it.”

While Varnick also sells other models in the RTW TouchMonitor line—such as the TM9 TouchMonitor to larger broadcast stations—he finds the TM3 to be ideal for many applications for his broadcast customers. It works well with mono or stereo outputs and easily fits into environments such as a master control room, which are often cluttered with multiple types of gear. In addition, the TM3 is equipped to work in surround sound, as well, especially important as more broadcast stations adopt this as their standard.

“RTW is very pleased that its TM3 TouchMonitor has become so popular with the U.S. broadcasters,” says Christopher Spahr, Director of U.S. Sales and Operations. “We designed this product as a means of giving broadcasters on a budget many of the same great features found in other models of the TouchMonitor line, but at a more affordable price point that still enables them to easily monitor audio levels, in compliance with the CALM Act.”

Created to help adhere to all major loudness standards, including EBU R128, ITU BS.1770-3/1771-1, ATSC A/85 and ARIB, RTW’s TouchMonitor family of products comprises the TM7, TM9, TM3 and TM3-3G audio meters.

ABOUT VTI
VTI is a broadcast equipment supplier and systems integrator serving the US broadcast industry since 2001. VTI takes pride in providing a high level of customer service whether it is for a small order or a full system. We always want to know how a product is going to be used so we can recommend the right product for the needs. We are experts in all aspects of ATSC encoding, master control rooms and production control rooms. We represent the best products in the broadcast industry. For more information on VTI, visit www.vti.com, call 866-228-1570 or email: DigitalDoneRight@VTI.com

ABOUT RTW
For more than 45 years, Cologne-based RTW has accompanied the steady technological progress in the professional audio industry with innovative instruments and technologies for visual audio monitoring in broadcast, production, post production and quality control. Its state-of-the-art audio and loudness metering systems have an excellent reputation throughout the world. With groundbreaking products such as the Surround Sound Analyzer, the company has been a key vendor of professional broadcast and audio metering equipment for decades.

RTW’s ranges of products currently includes the SurroundControl series for monitoring, controlling and routing stereo, multichannel and surround audio and the TouchMonitor range, which truly marks a paradigm shift in visual audio monitoring and loudness metering. Combining maximum flexibility and modularity with an intuitive touch-enabled surface and multichannel signal analysis, the TM7 and TM9 units are the essence of many years of experience. The attractively priced TouchMonitor TM3 entry-level system opens new markets, targeting applications such as journalist cubicles, edit suites and small control rooms.

As part of its expansion into the U.S. market, in 2013 RTW established RTW International Corp. in Lancaster, Pennsylvania. The new office is the first U.S. location launched by the Cologne, Germany-based RTW, offering further proof of the company’s continued dedication to supporting its customers and dealer networks in the U.S. The new U.S. office will house all customer service, repair and final product assembly activities for U.S.-based RTW customers, further reducing product delivery lead times.

For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130. For more information on RTW International Corp., visit www.rtw.com or call 877-938-7221.

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Cinematic Image Capture, Extreme Mobility, Low-Light Performance, and Workflow Advantages Make the Canon EOS C300 Cinema Camera Perfect for Filming a New Indie Comedy

When shooting his recent independent feature Heads We Do, cinematographer Andrew Huebscher faced challenges including a tight budget, a 15-day shooting schedule, exterior night scenes, and the need for outstanding motion-picture image quality. His solution to these issues was shooting with EOS C300 Cinema Cameras from Canon U.S.A., Inc., a leader in digital imaging solutions. “The EOS C300 camera delivers a high quality, cinematic look in a compact package,” said Huebscher. “And the ability to use Canon EF still lenses alongside standard motion picture film-style accessories makes the camera scalable from run-and-gun shooting up to studio-style work.”

According to Huebscher, numerous long dialogue takes, strong ensemble performances, a rigorous production schedule, and frequent changes in camera set-ups necessitated both the high quality image capture and the extreme mobility of Canon EOS C300 Cinema Cameras. He added that the EOS C300 cameras provided him with the creative freedom to shoot Heads We Do as director Andrew Putschoegl desired, and within the budget allowed. Recording to two Compact Flash (CF) cards through hot-swappable dual slots, the EOS C300 camera was able to provide up to 80 minutes of recording per 32GB CF card.

“We were stretched to the penny on this movie, and we had some scenes that were upwards of six or seven pages,” Huebscher added. “When film was the only viable capture medium, this would have amounted to shooting 600 ft. of 35mm – with raw stock, processing, and telecine costs totaling hundreds of dollars per take. But with the CF cards in the EOS C300 camera, shooting time was never a hindrance for us.”

Heads We Do is a new indie comedy about two best friends, Katherine and Samantha, who pretend to be in a relationship in order to attend a free couples’ retreat. They go, hoping to spend the weekend relaxing by the pool and gathering some good stories to tell when they get home, but instead end up being drawn into the group dynamic and find that the weekend changes them – and their relationship – in ways they never considered.

High Mobility
With a body weighing just over 3 lbs., the Canon EOS C300 Cinema Camera can accommodate virtually any shooting setup. It can be hand-held using its removable, rotating side handgrip or its detachable top handle. The EOS C300 camera can also be used with a wide variety of third-party shooting accessories, ranging from shoulder mounts to Steadicams® and all the way up to advanced support devices.

“The mobility of the Canon EOS C300 camera was a key factor for us,” Huebscher reiterated. “We didn’t want a camera that was going to be a beast every time we needed to move it across the room for a different angle. Larger cameras can really slow you down, especially when you’re ‘in the moment’ with actors and you need to be able to reset something quickly. The EOS C300 camera is versatile enough that you can work with it in a number of different ways. It isn’t cumbersome, and it can be used in tiny rooms if necessary. It’s comfortable in handheld or shoulder-mounted configurations, and the detachable top handle allows for close-to-ground operating.”

Huebscher first learned of the advantages of the Canon EOS C300 Cinema Camera when he used one to shoot a network comedy series. He was so impressed with its image quality, mobility, performance, and affordability that he purchased one for himself. He used two of the cameras to shoot Heads We Do.

“I had looked at another digital cinema camera that was priced similarly to the EOS C300 camera but it was twice the size, would have required an external recorder, and we didn’t have the budget to rent the recorder or a crew to support a larger camera,” he recalled.

Canon Optics
According to Huebscher, his use of three Canon EF series still photography lenses further enhanced production economy. A crucial lens was the Canon EF 24-105mm f/4L IS USM zoom, which features built-in Canon Optical Image Stabilizer technology. Huebscher mounted an EOS C300 camera onto a “hostess tray” on the side of a car, and noted, “The 24-105 zoom virtually eliminated vibrations that often accompany car rigs. With larger cameras, we’ll sometimes deploy gyro motors or image-stabilized heads, but the built-in optical stabilization of this lens effectively achieved the same thing, saving us time and money.”

“We also used the Canon EF 70-200mm zoom for some longer telephoto shots, and a Canon EF 16-35mm ultra-wide zoom lens for a couple of situations where we needed to be very wide but still have the short zoom range that we couldn’t get from the [third-party] prime lenses we were using,” Huebscher said. He added that the three manually operated glass Neutral Density (ND) filters built into the EOS C300 Cinema Camera were also an advantage.

“Adding an ND filter just by flicking a switch on the side of the EOS C300 camera was a lifesaver,” he noted. “We were shooting in Malibu and battling frequently changing weather. Being able to instantly adjust ND via a switch meant minimal reset time between takes. If we had been dropping and pulling ND filters, it would have slowed us down considerably.”

Pushing the ISO
Equipped with a Canon Super 35mm CMOS Sensor and superb Canon DIGIC DV III Image Processor, the EOS C300 Cinema Camera delivers a selectable ISO range up to 20,000 for excellent low-light performance.

“The Canon EOS C300 camera’s ability to crank up the ISO beyond where I would normally be comfortable on a digital cinema camera is very impressive,” Huebscher said. “With just 15 days to shoot a feature you’re working crazy fast. Long scenes and a limited budget don’t let you spend as much time on lighting set-ups as one would like. The EOS C300 camera enabled us to work at lower light levels but still keep the images clean. There were some instances where we used available light and only needed a little extra illumination to augment it.”

That said, Huebscher cautions against the idea that digital cinematography doesn’t require careful, well-crafted lighting. “My approach to lighting is the same digitally as with film. The difference is that a camera like the EOS C300 allows me to dig into the shadows a little more, making it friendlier in available-light conditions. Frankly, I was shocked by how far we could push the ISO on the EOS C300 camera and still be within acceptable noise levels.”

Monitoring Choices
In addition to its remarkable low-light performance, extreme mobility, and cinematic image quality, the Canon EOS C300 Cinema Camera provides a generous complement of advanced features specifically designed for operator convenience. A top-mounted removable control panel includes a 1.23 megapixel adjustable-angle 4-inch color LCD monitor for accurate judgment of composition, focus, and color. A bright 1.55 megapixel electronic viewfinder (EVF) is built into the camera body. The LCD monitor can display a waveform monitor, vectorscope, and other screens for adjusting picture quality. Huebscher cited all of these features as being vital to the principal photography of Heads We Do.

“The moveable LCD, combined with a Movcam® custom top handle for the EOS C300 camera allowed various mounting options to accommodate all flavors of ergonomic shooting,” he said. “Usually my assistant would use the onboard LCD, and I would operate off an externally mounted display. In really tight spaces, I’d just simply use the small EVF. The director and other crew viewed a 17-inch monitor for each camera from the HD-SDI output. The internal menus are intuitive and straightforward, and you can access them via the side buttons or top-mounted LCD. There’s also a luminance waveform on the LCD display, which I prefer over zebras and histograms. It’s all intelligently designed and allowed us to keep up with the pace of the shoot.”

Postproduction Workflow Convenience
The advanced digital imaging technology of the Canon EOS C300 Cinema Camera expedited not only the production of Heads We Do, but its post-production as well. The editing/post workflow advantages of the EOS C300 camera are enabled by its employment of the industry-standard Material eXchange Format (MXF) container file format, which provides compatibility with all major editing software and systems. In addition, the EOS C300 camera can record in Canon Log mode, which helps to ensure capture of a full 12 T-stops of dynamic range for obtaining the utmost quality and creative options for color-grading the images.

“The EOS C300 camera postproduction experience is easy and flexible,” Huebscher said. “You can edit immediately by dropping the MXF files into Avid, FCP, or Premiere. And the Canon Log gamma setting on the EOS C300 camera gave us pleasing images right out of the box – it’s not totally washed out. Having worked as a colorist, I knew that its 50 Mbps data rate combined with the 4:2:2 color sampling and Canon Log meant flexibility in grading. The images are filmic, tack-sharp, and render skin tones beautifully.”

“We ran dailies on set,” Huebscher continued. “After pulling a CF card, our data wrangler would make backups. The original MXF files were then loaded into DaVinci Resolve color correction software, where I’d make a quick ‘one-light’ grade, and then we’d export Avid-specific MXF files for editorial. The transcode time on a new PC was relatively fast at about 30 frames per second – much speedier than if we had been debayering larger raw files. We turned around graded dailies the same day, thanks to the ease of the EOS C300 camera’s native recording format.”

“The Canon EOS C300 is the perfect indie-friendly camera,” Huebscher concluded. “Its compact size and weight, combined with professional features like 4:2:2 internal recording, Canon Log gamma, SMPTE time-code inputs, and low-light capabilities, really saved the day. We were all impressed by the images it captured.”

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iZotope Insight™ 30Day Trial Included in Avid® Media Composer® 7

iZotope, Inc., Cambridge, MA (June 27, 2013) – iZotope,a leading innovator in digital signal processing, has partnered with Avid Technology to provide Insight, an Essential Metering Suite, with every copy of the new Media Composer 7, an industry-leading nonlinear editing solution. Insight, a collection of fully scalable, customizable meters for post production and broadcast applications, will be installed automatically with Media Composer and free to use for 30 days.

When placed on the new Master Audio Fader in Media Composer 7, Insight will help ensure adherence to current broadcast standards using meters for immediate loudness calculation and TruePeak detection, loudness calculation over time, and faster than real-time offline loudness calculation. Additional advanced visualization and spatialization displays, like the innovative Surround Scope and the 3D Spectrogram, further aid in detecting problems that the ears cannot perceive.

“Media Composer 7′s new Master Audio Fader gives video editors an invaluable way of quickly taking control of their entire audio mix, but when paired with iZotope’s Insight plug-in, it’s as rich a set of audio tools as you’ll find in an NLE,” explains Rob D’Amico, Product Manager for Avid Media Composer. “iZotope’s intuitive user interface, powerful audio processing, and unique focus on post production and audio enhancement make their products a perfect fit for Media Composer 7.”

“iZotope’s Insight was developed to directly address the audio needs of post production and broadcast engineers who require an all in one, surround supported, loudness compliant metering tool set,” says Scott Simon, Business Development Manager at iZotope, Inc. “iZotope is committed to the professional media creation community, and we are thrilled to partner with Avid in order to deliver cutting-edge audio processing for the video professional.”

For more information on Avid Media Composer 7, visit http://www.avid.com/mediacomposer

For more information on iZotope Insight, visit http://izotope.com/insight

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.

About Avid
Avid creates the digital audio and video technology used to make the most listened to, most watched and most loved media in the world – from the most prestigious and award-winning feature films, music recordings, and television shows, to live concert tours and news broadcasts. Some of Avid’s most influential and pioneering solutions include Media Composer®, Pro Tools®, Interplay®, ISIS®, VENUE, Sibelius® and System 5. For more information about Avid solutions and services, visit www.avid.com, connect with Avid on Facebook, Twitter,YouTube, LinkedIn, SoundCloud; or subscribe to Avid Buzz.

SYMETRIX CEO MARSHALL CONFIRMED

SEATTLE, WASHINGTON – JUNE 26, 2013: Symetrix announces today the appointment of Mary Marshall to the position of CEO. Marshall has worked in an advisory role with Symetrix for many years and has been an integral part of the management team. As CEO she will be able to bring her experience as a leader and strategic driver to the forefront of the Symetrix story. Marshall’s experience includes growing companies from the ground up, owning and operating multiple businesses, orchestrating corporate financial planning, and designing and executing business development strategies. Recently, Marshall ran the U.S. Western Division of Vistage International, running business development programs, leadership development programs, and working with hundreds of companies and their leaders through Visage’s network of partners.

“Symetrix is perfectly positioned to move to the next level with our strong product line and the most dynamic team in the industry. After decades of building our brand we are excited to include Mary’s successful track record as a change agent and a builder of companies,” said Dane Butcher, Symetrix Chairman.

ABOUT SYMETRIX Symetrix is dedicated to making life sound better. As a world leader in the development and manufacturing of digital audio signal processing (DSP) systems and accessories, Symetrix provides best in class audio management solutions to businesses, schools, non-profits and government organizations. Please visit www.symetrix.co for more information.

BEHIND THE SCENES IN THE BIG WEB 2.0 COMPANY CONFERENCE ROOMS WITH SYMNET AEC EQUIPPED EDGE DSP

SUNNYVALE, CALIFORNIA – JUNE 2013: Headquartered in Silicon Valley, Thresher Communications has been designing and installing cutting-edge corporate A/V systems since 1995. It’s commitment to building cost-effective, simple, and powerful audio/video systems has made Thresher the go to A/V contractor for rising star Web 2.0 companies. Pick almost any big Internet name: it’s likely on Threshers’ client list. Longtime champions of Symetrix SymNet DSP technology, the company has seized on Dante networking and the advanced acoustic echo cancellation (AEC) technology of SymNet Edge to further simplify and enhance the systems it installs.

“We’re all about the ubiquity of A/V,” said Dave Haynes, vice president of engineering. “Our goal is to build systems that are immersive and fun for the end user yet simple and reliable for the IT staffs that maintain them.

Haynes sites SymNet Composer open architecture software and the Edge DSP frame with AEC option cards as key components. “Edge hardware and software are completely flexible, allowing us to customize each system to meet the precise needs of the client,” he said. “The Composer software is fast and easy to use. Our guys can make client directed changes on site without having to bog things down with change orders.”

The fact that SymNet Edge uses the Dante network audio protocol dramatically streamlines Threshers’ designs. “Shure has also embraced the Dante protocol, and so these days most of our installations involve Shure wireless microphones with SymNet Edge processors,” Haynes added. “The Shure ULX system and the forthcoming MXP system deliver output from a ceiling-mounted wireless receiver via Dante. Of course, Shure also sells hardware that converts that Dante stream into other audio formats, but we bypass that by going straight into SymNet Edge with Shure’s Dante output. The simplification is tremendous. We roll out a few of those systems a month.”

Advanced AEC processing is also a critical component of Thresher Communications installations. “Most of the Web 2.0 companies go for a ‘European look’ in their offices and meeting rooms,” said Haynes. “We’re often dealing with spaces that are nothing but brick, concrete, and glass surrounding a large hardwood table. The RT60 times can approach two seconds! That’s challenging for any AEC algorithm, but Symetrix’ processing deals with it effectively. Almost without exception, we place separate AEC processing on each microphone for the best results.”

With the march of technology led by Symetrix and other pioneering companies, the systems that Thresher Communications designs and installs are becoming smaller, more reliable, more intuitive and more powerful. “It used to be that A/V contractors tried to oversell clients on hardware as much as possible,” said Haynes. “Audio/video was thought to be expensive and complicated. Apart from questionable ethics, overselling sacrifices long-term client relationships for short-term gains. We built Thresher Communications with a smarter approach, and now clients in general have become more savvy.” Of course, Thresher Communications maintains its edge… with the help of the SymNet Edge!

ABOUT SYMETRIX Symetrix is dedicated to making life sound better. As a world leader in the development and manufacturing of digital audio signal processing (DSP) systems and accessories, Symetrix provides best in class audio management solutions to businesses, schools, non-profits and government organizations.

For more information on Symetrix products visit www.symetrix.co

Australia’s MediaHub Uses Snell Morpheus Automation and ICE Channel-in-a-Box Systems Within Flexible, Efficient Digital Playout Operations

READING, U.K. — June 27, 2013 — Snell today announced that MediaHub Australia, a digital playout facility established by the Australian Broadcasting Corporation (ABC) TV and the WIN Television Network (WIN TV), is using Snell automation to help deliver its clients’ television channels — lineups of as few as three to as many as 90 channels — to viewers in metropolitan and regional Australia.

At MediaHub’s ingest, master control, and presentation playout operations in Ingleburn, the Snell Morpheus automation system serves as an efficient and flexible solution for handling high volumes of channels, constantly changing playout schedules, and the challenges of live event playout. While the facility incorporated Morpheus when it was built in 2010, MediaHub has since introduced the Snell ICE channel-in-a-box platform to enable the rapid launch of very efficient additional channels.

The Broadcast Centre at Ingleburn was built to address the shift of broadcast media management from traditional tape-based formats to file-based digital media. Within this facility, MediaHub Australia was conceived to address clients’ growing needs to deliver content to multiple platforms cost-effectively. MediaHub was designed for the playout of 300 channels — a combination of main and sub-channels — delivered across an array of different regions and markets.

Snell’s scalable multi-channel, multi-screen Morpheus playout automation solution streamlines program playout at MediaHub while enabling operators to manage multiple live content streams and variations in regional specific content. Also highly scalable, the ICE platform unites a video server, graphics, switchers, channel branding, captioning, and subtitling in a convenient power- and space-saving 3-RU package, all managed by Morpheus automation. With this solution, MediaHub can quickly and cost-effectively add fully redundant services for its customers.

MediaHub uses the commercial “hot list” feature within Morpheus to assure smooth handling of live events including popular sports coverage. With a single button press, operators can manipulate commercial inventory at a moment’s notice. In addition to enabling accurate playlist editing, this feature helps MediaHub to make on-the-fly changes to commercials or an entire ad break in one or as many as 30 regions. With ICE integrated into this solution, users realize extremely fast cue times in accommodating last-second changes.

Information about Snell and the company’s full product line is available online at www.snellgroup.com.

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About MediaHub:
MediaHub Australia is an autonomous joint venture company established by the Australian Broadcasting Corporation (ABC) and the WIN Television Network (WIN TV). MediaHub Australia is a large scale multi-client digital media, play-out, and distribution facility, currently delivering over 171 channels to the Australian metropolitan and regional markets. MediaHub embraces the future of broadcasting, including delivery for IPTV, mobile content, and other handheld devices. We afford our clients the opportunity to deliver cost-effective services to their audiences. MediaHub offers our clients a centralized digital media handling facility, including presentation and master control (MCR) functions, where content is received, prepared, and distributed as required. This includes content from external sources such as studios, outside broadcasts, international feeds, or production environments. More information is available at http://www.mediahubaustralia.com.au.

About Snell:
Snell is a leading innovator in digital media technology, providing broadcasters and global media companies with a comprehensive range of solutions for creating, managing, and streamlining the distribution of content for today’s multi-screen world. Specializing in TV Everywhere and Live TV applications, Snell provides the necessary tools to transition seamlessly and cost-effectively to 4K UHDTV, file-based, and 3Gbps operations, while enabling broadcasters to monetize and deliver their media assets across multiple distribution platforms. Headquartered in the U.K., Snell serves more than 2,000 broadcasters, post facilities, and global media companies in more than 100 countries through its worldwide team of sales and support personnel. More information is available at www.snellgroup.com.

All trademarks mentioned herein are acknowledged as property of their respective owners.

Photo Link: www.wallstcom.com/snell/mediahub.zip

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Front Porch Digital Featured Products at Mediatech Africa 2013:

DIVArchive(R) V7.1 — Now for a Broader Array of Applications
At Mediatech Africa, Front Porch Digital will showcase its DIVArchive(R) V7.1 content storage management (CSM) system. New features and capabilities make the system ideal for a broader array of applications. The new AXF Explorer offers an intuitive interface for parsing Archive eXchange Format (AXF) objects, with straightforward operations that are performed using drag-and-drop procedures similar to the Windows(R) operating system. DIVArchive V7.1 also enables a complete range of world-class video transcoding and workflows and is directly integrated with Telestream’s Vantage(R) Transcode and Vantage Transcode Pro. The enhancements to DIVArchive extend its applicability to media operations of every kind — broadcasters, educational and heritage institutions, the film industry, and government entities. With its unique ability to interconnect every element of operations from archive to production to transmission, DIVArchive V7.1 becomes the highly effective foundation on which to base cost-effective, seamless file-based workflows.

In March, Front Porch Digital announced an agreement with file-transfer software company Data Expedition Inc(R) to integrate its ExpeDat(TM) WAN acceleration product into DIVArchive V7.1. The integration gives DIVArchive users a WAN acceleration option that is fully managed and supported by Front Porch Digital. It is the first direct integration of a WAN acceleration protocol directly into a CSM cloud-based solution.

Photo Link: www.wallstcom.com/FrontPorch/DIVArchiveScreen.zip
Photo Caption: DIVArchive(R) Content Storage Management System

DIVAdirector(R) V5.1 — Easy and Efficient Media Asset Management System
DIVAdirector(R) V5.1 is Front Porch Digital’s newest update to its DIVAdirector media asset management (MAM) system. It is a permission-based Web application that enables complete access to file-based content stored by DIVArchive(R) content storage management (CSM) systems. DIVAdirector V5.1 contains new features that make it even easier for any media organization with DIVArchive to manage its digital files, especially if that organization is using Front Porch Digital’s new LYNX(SM) platform for moving, archiving, and publishing video to the cloud.

With cloud operations starting to dominate the industry, DIVAdirector V5.1 addresses LYNX-specific workflows and requirements, such as site awareness, with a single DIVAdirector system showing all enterprise assets stored across different archive systems — local, networked, or cloud-based systems, or any combination thereof — with integrated user permissions controlling access.

Photo Link: www.wallstcom.com/FrontPorch/DIVAdirectorV5.1.zip
Photo Caption 1: DIVAdirector(R) V5.1 Organization and Clipboard
Photo Caption 2: DIVAdirector(R) V5.1 Organization and Shot Lists

LYNX(SM) — Cloud Content Storage Management System
LYNX(SM) from Front Porch Digital is the industry’s first enterprise-scale cloud implementation of content storage management (CSM). LYNX delivers adaptable on-demand scalability, reduces capital and operational costs, and revolutionizes the way media organizations manage assets. LYNX leverages the latest cloud and Web technologies to provide a range of networked and distributed solutions.

The company will show LYNXdr and LYNXlocal at Mediatech Africa. LYNXdr is a hosted disaster recovery service that allows global media enterprises to centralize critical assets and consolidate operations, and LYNXlocal is a simple extension to LYNX that operates locally as an appliance, caching cloud content and providing integration to specialized systems as required. LYNXlocal is billed as a service element at a low monthly rate.

Photo Link: www.wallstcom.com/FrontPorch/LYNXCubicCloud.zip
Photo Caption: LYNX(SM) Cloud-Based Content Storage Management

DIVASolutions SAMMA(R) Migration Systems
Front Porch Digital will also showcase its SAMMA(R) product lines at Mediatech Africa. These solutions are the first of their kind to automate the digitization of videotape, moving content into secure, accessible, and searchable digital storage. SAMMArobot and SAMMAsolo take content from videotape on the shelf into the digital environment using an automated workflow that is tried and tested in high-profile installations. The SAMMAsolo product line offers a range of migration solutions built to meet specific archive migration needs. In solutions ranging from a single SAMMAsolo to a multiple-stream SAMMArobot, efficiency is maximized by simultaneous encoding to multiple formats while content is analyzed to ensure the quality of the migration.

Company Quote

“Mediatech, the largest trade exhibition in Africa, has become a hub of interaction and home to the latest in groundbreaking technology in the media industry. We are excited to share our technical accomplishments at the event this year.” — Rino Petricola, SVP, General Manager of Front Porch Digital

Company Overview:

Front Porch Digital is the global leader in solutions for migrating, managing, and monetizing media content. Operating on-site and in the cloud, the company’s purpose-built software employs the latest technologies to deliver truly flexible and scalable media workflows. Solutions delivered by Front Porch Digital appropriately manage large and complex media files and workflows while ensuring optimal performance and utmost security. More information is available at fpdigital.com.

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