Archive for June 10th, 2013

New Broadcast Pix Version 3.5 Software Brings Cloud-Based Content to Live Productions

Billerica, Massachusetts – Broadcast Pix™ today announced its new Version 3.5 software, which brings the cloud-based file and data access of its award-winning Flint™ integrated production system to its Mica™ and Granite™ systems. The software upgrade connects any system to Dropbox, Google Drive, Microsoft SkyDrive, or any cloud-based resource for access to graphics, animations, and clips during live productions. V3.5 also provides access to Twitter, RSS feeds, and cloud-based databases for live updates to on-air graphics. The new software will be demonstrated at InfoComm 2013 (Booth 2528), which runs June 10-12 in Orlando, Fla.

Access to cloud-based content is becoming more important in today’s live video production environment. Using Fluent Watch-Folders, Broadcast Pix’s built-in ingest and content management system, V3.5 allows access to any file from a cloud-based resource, even during the middle of a live production. The system operator is alerted when a file arrives, the file’s thumbnail appears on the system monitor, and the file name appears on the control panel’s button. V3.5 includes enhanced PixMaster file management software to view and manage file metadata, such as setting files to auto-start when taken into the live show.

V3.5 also enables any Broadcast Pix system to run an enhanced family of optional Fluent Rapid CG software to connect cloud data directly to on-air graphics. New Fluent Rapid CG LT connects to Twitter and other cloud data sources, enabling the viewing audience to become part of the production. Tweets can flow directly to air or be pre-screened with a built-in management system for editing, reordering, or deleting Tweets. Specific words and users can also be automatically blocked. Fluent Rapid CG LT also enables RSS, clock, and weather feeds to flow into on-air graphics.

New Fluent Rapid CG V3 includes all the LT features plus dual-channel connectivity to local and cloud-based databases, news automation, and scoreboards. Cloud-based databases are becoming common for sports, elections, and other applications, for example, and Fluent Rapid CG V3 allows sports scores in league databases to automatically flow into on-air graphics.

Free upgrades for customers who are under service agreements, the new V3.5 software and optional Fluent Rapid CG products are now available for download in Beta versions, and are expected to be available in final versions later this month.

About Broadcast Pix The leader in live video production systems with end-to-end integration, Broadcast Pix was founded in 2002 and has customers in more than 110 countries. Its systems combine an integrated switcher, clip server, CG, and external control software with patented control panels, unique touch-screens, and exceptional displays. Systems range from compact systems controlled by touch-screen or voice automation to large sophisticated control panels. Customers include leading streaming, broadcast, sports, corporate, education, religious, and government studios. Learn more at

Broadcast Pix, Flint, Mica, Granite and Fluent are trademarks of Broadcast Pix, Inc. Patented. Made in USA.

Bexel Supports Healing in the Heartland: Relief Benefit Concert

Special Live Telecast Raised Money for United Way of Central Oklahoma

Bexel, a unit of the Vitec Group's Services Division and a leading worldwide provider of broadcast services and solutions, contributed broadcast equipment and engineer expertise to the recent telecast of Healing in the Heartland: Relief Benefit Concert at Chesapeake Energy Arena in Oklahoma City. Organized by Oklahoma native Blake Shelton, the concert was televised live on NBC. It also aired live and/or delayed on cable networks Style, G4, Bravo, E! and CMT.

"Bexel has an outstanding relationship with some of the top tech managers throughout the country, and when the Healing in the Heartland event was conceived, they reached out to us," says Justin Paulk, fiber business segment manager, Bexel ESS. "Due to our involvement with the NBA, we have documentation showing the infrastructure of the Chesapeake Energy Arena. We provided this information to the tech managers, giving them quick insight into the facility. We also offered available gear and staff, including prebuilt press bridges from our Burbank office."

Due to the quick nature of this project, the Bexel team drove the necessary equipment and staff to Oklahoma City. Once there, Bexel provided onsite technical support, the press bridge set up, fiber cable, and the fiber electronics to move the additional signals needed around the arena.

"We were honored to be a part of something so special and thrilled that the network of people we work with regularly trusted us to respond," adds Paulk.

Blake Shelton performs at the HEALING IN THE HEARTLAND: RELIEF BENEFIT CONCERT. Photo by: Trae Patton/NBC; (c)NBC Universal, Inc.

The program, which earned the highest viewer ratings the night of May 29, was executive produced by R.A. Clark (Academy of Country Music Awards, MDA Show of Strength) with supervising producer Rob Paine and director Gregg Gelfand.

In addition to Shelton, Miranda Lambert, Reba McEntire, Vince Gill, Rascal Flatts, Luke Bryan and Darius Rucker performed.

The event raised funds for the United Way of Central Oklahoma May Tornadoes Relief Fund. The United Way of Central Oklahoma will use the money for recovery and rebuilding efforts in Oklahoma following the tornadoes that recently devastated the area.

For more information about Bexel, visit, and follow Bexel on Facebook ( and Twitter (@Bexel).

Shotgun Ups Matt Daw to CTO; Isaac Reuben Moves Into Chief Strategist Role

Los Angeles, CA - Leading pipeline tools developer Shotgun Software today announced the promotion of Matt Daw to Chief Technical Officer. One of Shotgun’s earliest employees, Daw previously led engineering and development for the company. He succeeds Shotgun Co-founder Isaac Reuben, who is shifting to the position of Chief Strategist to focus on overall company direction and development.

“Over the years Matt has taken on more and more responsibility for our dev team and technical direction, which has allowed me to focus on the long term strategy for the company as a whole,” said Reuben. “As we head into this next phase of growth, it was the right time to officially promote Matt in recognition of his important role in our company.”

Added Shotgun Co-founder and CEO Don Parker, “These title changes reflect how their roles have evolved naturally over time. Matt has become our trusted technology leader and visionary, while Isaac contributes widely across the entire company. Both are essential to our success as a trusted production platform.”

“It has been an amazing journey to have been a big part of growing with Shotgun from a team of four working with a few studios to a team of almost forty working with hundreds of studios. As CTO, I’m excited to focus on applying the evolving best practices for building reliable, scalable and secure software in the cloud to the Shotgun platform,” Daw noted.

Matt Daw joined Shotgun in early 2007 from Australian VFX house Rising Sun Pictures where he was R&D Technical Director. Prior to that, he was Supervising Technical Director on Disney animated feature, “The Wild” at CORE Feature Animation. He also spent time at French animation studio and production company Action Synthese, and at Toronto-based animation and VFX facility Topix. With over 13 years of production experience, Daw leverages his technical and creative background to solve complicated pipeline problems – continuing Shotgun’s legacy of creating production tools developed by production professionals. In addition to helping oversee the engineering teams, Daw will assist customers with Shotgun implementation as well as steer product direction.

Isaac Reuben co-founded Shotgun Software with Don Parker in 2006 after working together to build an internal pipeline management tool while working on the film, “The Wild”. Reuben started working in production in the late ’90s developing web projects and eventually custom production management tools at production company Complete Pandemonium.

For information about Shotgun Software and its pipeline solutions, please visit

About Shotgun Software
Shotgun Software was founded in 2006 by a group of visual effects professionals to build production tracking, review and asset management solutions for modern studio pipelines. The founding members worked together on a major studio animated feature and develop tools to fill the mounting industry need for a commercially viable system for managing complex projects spread across multiple locations. Shotgun is actively developing the system with more than 300 industry studios including EA, Blue Sky Double Negative, Reliance, Framestore, Pixomondo, Playstation, Blizzard and Zoic Studios. For more information and an online demonstration visit

MetroEast and Portland Community Media Centers Each Acquire Eight Hitachi HD Cameras for Public Access Production

Diversified Systems Plays Key Role in Both Sales

WOODBURY, NEW YORK – Hitachi Kokusai Electric America, a leading provider of affordable, high performance cameras, today announced that MetroEast Community Media and Portland Community Media—two non-profit public access media centers serving Portland, OR—each installed eight Hitachi Z-HD5000 HDTV studio/field production cameras.

Brad Fisher at Diversified Systems, a national systems integration firm with an office in Portland recommended this camera based on its price performance. He placed the order with Hitachi Sales Representative David Morris on behalf of the two customers.

While the community media centers are not related, they often coordinate their equipment choices and studio configurations to ensure that their operational workflow will be familiar to all Portland residents who use both facilities. After Portland residents complete the training sessions, they are free to use the broadcast-quality studios to produce and cablecast Public Access, Educational, and Government (PEG) programming on any issue or topic.

“Both of these community media centers do an excellent job keeping their facilities running, and they do it on very limited funds. One way I feel I can help them is by making sure that their dollars are leveraged in the best way possible. I recommended the Hitachi Z-HD5000 camera because I felt it would enable their HD transitions at a very affordable price and give them the quality they deserve,” said Fisher.

Portland Community Media

Portland Community Media, which focuses on Multnomah County, receives 70 percent of its operating budget from the City of Portland. Despite the tight budget, Portland Community Media is nearly finished transitioning its facility to HDTV.

According to Bea Coulter, director of operations for Portland Community Media, they currently downconvert their HD programs to SD for broadcast by local cable systems. However, when these cable systems provide them with HD channels—which is expected within the next four months—they’ll be ready.

Five of the eight Hitachi cameras purchased in the summer of 2012 are situated in Studio A, and three are in Studio B. These 2/3-inch Hitachi Z-HD5000 HD cameras, which replace older 1/3-inch HD cameras, were chosen because they offer higher video quality at an affordable price point.

“We immediately recognized that this camera offers high-end functionality, and the ability to produce high-quality programming. Since the people who use our studio equipment are not video professionals, the user-friendliness of this camera was very appealing,” said Coulter. “These factors made the decision to choose this camera very easy. The training, tech support and service we’ve received from Hitachi has been great, so much more than I expected from an equipment vendor.”

MetroEast Community Center

MetroEast Community Center, which serves East Multnomah County and towns east of Portland, installed four of its eightHitachi Z-HD5000’s in Studio A, which has a green screen for live graphics. The remaining four Hitachi cameras are in a fly-pack in a mobile video unit used for multi-camera remote productions, including town council meetings and high school sporting events.

MetroEast’s operating budget is funded in part by franchise fees collected from Comcast cable and Frontier Fios, two local cable systems that carry the programming. MetroEast also expects to be producing and broadcasting in full HDTV this summer.

According to Jamie Groce, technical manager for MetroEast Community Media in Portland, these Hitachi Z-HD5000 cameras are the first step in their transition to HD. “Budget was a big issue for us,” said Groce. “We felt that this camera had all the features we needed at a competitive price. So it came down to bang for the buck on an all-around great product.”

Their cameras are configured for digital fiber optic cabling, which Groce said enables them to have long cable runs fairly inexpensively compared to triax or multicore cabling. The durability of fiber optic cabling is especially important when the cameras are used for field production.

Both Portland Community Media and MetroEast Community Media received cameras outfitted with FUJINON HD lenses as well as Hitachi CU-HD500 camera control units and Hitachi RU-1000VR control panels. The Hitachi Z-HD5000 offers three high-sensitivity, low noise 2/3-inch IT CCDs in a lightweight 2-piece dockable camera body as well as 800 TVL resolution, F10 sensitivity, and 14-bit analog to digital conversion.

About Hitachi, Ltd.

Hitachi, Ltd. (TSE: 6501), headquartered in Tokyo, Japan, is a leading global electronics company with approximately 326,000 employees worldwide. Fiscal 2012 (ended March 31, 2013) consolidated revenues totaled 9,041 billion yen ($96.1 billion). Hitachi is focusing more than ever on the Social Innovation Business, which includes information and telecommunication systems, power systems, industrial, transportation and urban development systems, as well as the sophisticated materials and key devices that support them.

For more information on Hitachi, please visit the company’s website at

a52 Continues Fincher Collaboration With Netflix Breakout “House of Cards”

Continuing an already exciting year, VFX studio a52 brings the finishing touches to David Fincher’s game-changing Netflix-exclusive series, “House of Cards.” Led by Colorist/Lead Smoke Artist Paul Yacono, the a52 team delivered comprehensive color and finishing services for the series’ first season. a52 sister company, Rock Paper Scissors, contributed as well with two-time Oscar-winning editor Kirk Baxter cutting the series’ first two episodes, which were directed by Fincher, and fellow Oscar-winner and RPS co-founder Angus Wall editing the series’ title sequence. The final result is a sprawling epic comprising 13 one-hour episodes, and representing one of the largest undertakings in a52 history.

“From working with David on The Social Network, I already had an understanding of his attention to detail in his imagery, with a focus on contrast, color, and composition,” explained Yacono. “He’s an idiosyncratic director with an incredible eye and he knows the look he likes and doesn’t like; rarely is there an in-between. Yet at the same time he would be completely non-restrictive, allowing us to explore within the world that he and DP Eigil Bryld provided.”

Once the initial look was established, Yacono and a52 second colorist Tommy Hooper tag-teamed the remaining 12 episodes over a five-month period. During this time, the rest of a52’s House of Cards team, including lead online editor Matt Sousa, set about conforming each episode and adding touches of subtle VFX.

To complete the massive project on schedule, a52 producers, engineers and artists developed a pipeline that would serve both the technical challenges and creative aspirations of the series. Led by Chief Engineer Kevin Bass, the team created a hugely flexible yet structured workflow that allowed for rolling editorial changes on all episodes. “Unlike traditional networks, Netflix releases an entire season in one go,” explained Bass. “As the show took shape, the editorial department needed the flexibility to change episodes at will without slowing down the finishing for the rest of the series.”

Another unconventional aspect of working with Netflix took the form of the online content provider’s all-digital delivery system. Though modern day spot work and production practices had well prepared a52 for digital delivery systems, the magnitude of the House of Cards project still required several creative engineering solutions. Hooper was instrumental in this process, trading in his colorist hat to help develop the differing compressions and framing charts needed for the numerous deliveries, including PIX H264, ProRes, and Mpeg2 Quicktime masters.

In particular, use of the PIX system proved integral to the process. “We wanted David to be able to keep track of the work and make comments on critical imaging from anywhere – whether he was looking at a 26-inch 1080p Boland LCD Monitor or an iPad,” noted Hooper. “With PIX we were instantly notified of David’s comments on the work allowing us to quickly make adjustments and resubmit for approvals.”

Yacono has led a52’s color efforts on numerous commercial campaigns, including spots for Target, Nike, Visa, and HP. “a52 has always been known as a boutique VFX company,” noted Executive Producer Megan Meloth. “This starts a new chapter in our history. We’re committed to doing more DI whether it be for commercials or long form. Paul is an incredibly talented colorist and with a sophisticated engineering department behind him, we’re ready to take on our next challenge.”

About a52:

Established in 1997 as a destination for the latest high-end photoreal visual effects, a52 has become home to the industry’s most innovative and talented artists. What began as an extension of award-winning editorial company Rock Paper Scissors, and drawing on the talented directorial roster of Elastic, a52 is now a full-service studio in Santa Monica, led by industry leaders Patrick Murphy and Andy Hall. Best known for seamless visual effects integration, the studio consistently works with top directors, agencies and clients earning not only an Emmy for Outstanding Commercial achievement, but recognition from numerous award shows including: AICP, Andy, BDA, Belding, Clios, British Design and Art Direction, International Monitor, International Automotive Advertising, London International Advertising and One Show awards.

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Click 3X Hires Megan Kelly as Executive Producer/Managing Director of Live Action

Click 3X has added production and agency veteran Megan Kelly to its roster as executive producer and managing director of live action. In her new role, Kelly will be charged with oversight and expansion of Click 3X’s already robust veteran roster of live-action directors, which includes Jonathan Yi, Juan Delcan, Simon Blake, and the duo of Josh and Vince.

“Megan brings a tremendous breadth and depth of knowledge to Click 3X’s already very experienced roster,” states company founder Peter Corbett. “From founding her own international companies to working at all stations on the production pipeline, she has proven herself as one of the top overall talents in the industry today.”

“Click 3X has amazing talent and an incredible facility, and is doing enormously exciting work,” notes Kelly. “I have been an admirer of their work for a very long time, and I look forward to helping the company develop their live-action capabilities even further. Our immediate priority will be expanding the roster with a diverse group of directing talent to produce amazing content across multiple platforms.”

A creative problem-solver with rich and varied production experience, Kelly is adept at working with nearly any conceivable combination of creative and budget. Prior to joining Click 3X, she helped to establish international production company Savage in the US and played a similar role with consultancy Runaway International. She honed her live-action skills at Shilo and worked on both digital content and broadcast spots at Publicis. Kelly also spent time as head of production at The Sweet Shop, Public Domain, and Czar.

About Click 3X:

Click 3X, and its interactive division ClickFire Media, create engaging film, TV, web, and branded content. Positioned at the intersection of entertainment, advertising, and technology, the studios work in tandem or autonomously. Click 3X shoots, edits, designs, animates and creates VFX; ClickFire Media brings those disciplines into the interactive space. Click operates a full service, 23,000 square foot state of the art studio in Manhattan outfitted with 70 fulltime staffers.

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Host the Backyard Party You’ve Always Dreamt of With a SunBriteTV

THOUSAND OAKS, California, June 7, 2013 – The Summer Solstice this year falls on a Friday, June 21, and there’s no better day to show off your backyard’s new SunBriteTV all-weather television. Enjoy more sun than any other day of the year, all the while entertaining your guests with a modern outdoor entertainment system.

“The Summer Solstice might not be your sole reason for throwing a summer party,” said Tom Dixon, VP of Marketing, SunBriteTV. “But a SunBriteTV will certainly be the reason your guests clamor to know when you’ll be hosting the next one.”

Much more than just a television, SunBriteTV’s transform outdoor areas into outdoor living rooms. Even after the big party is over, a SunBriteTV becomes the center of a moonlit family home theater in idyllic summer heat.

All SunBriteTV models withstand temperatures from -24°F to 122°F and completely resist rain, humidity, salt corrosion, dust, and insects. Anti-glare screens are specially designed to deliver bright high-definition images in any outdoor climate, any time of day or night.

Every SunBriteTV includes a two-year warranty, a weatherproof remote, and 20 watt built-in speakers.
Optional accessories include a variety of wall-, ceiling- or pole-mount installation solutions, dust covers and FM Radio.

For more information on SunBriteTV please visit

About SunBriteTV
SunBriteTV’s all-weather televisions have been time-tested in home installations, outdoor sports arena, restaurant and hotel patios and even on military vehicles participating in field operations. All models are available through SunBriteTV’s network of Authorized Dealers. To inquire about becoming an Authorized Dealer, contact SunBriteTV at 866.357.8688, or visit the Dealer Inquiry page at

Vaddio Launches WideSHOT High Definition Camera for Conferencing Rooms Requiring a Wide Field-of-View

Vaddio introduces the WideSHOT point-of-view camera, designed for conferencing rooms that require professional-quality high definition video images with a wide field-of-view.

“Our WideSHOT camera was designed for our consultants and integrators that need an HD camera for meeting rooms that require a very wide field-of-view to cover all of the participants sitting at a table,” explained Rob Sheeley, President of Vaddio. “We discovered that in smaller conferencing applications, the end users don’t really want to move the camera around as people talk to keep them in the picture. They would rather have everyone in the picture to begin with.”

The WideSHOT Varifocal Multi-Element Glass Wide-Angle Lens provides a wide 82-degree field-of-view that results in an exceptionally wide image and depth of field. A 3x manual optical zoom provides plenty of zoom range for framing the video image. Additional imaging control functions include manual iris for aperture adjustment for room lighting conditions and manual focus.

Built around a 1/3-Type progressive scan image sensor, the WideSHOT performs extremely well in low light conditions down to 0.3 LUX. Powerful DSP provides a Wide Dynamic Range of 110dB, video noise reduction, excellent contrast under varying light conditions, vivid color reproduction and exceptional high-resolution detail. Video output resolutions include 720p 30/59.94/60, 1080i 30/59.94/60. 1080p 30/59.94/60.

Each WideSHOT Camera system comes with an integrated Quick-Connect Cable interface to allow for easy installation with Cat 5 Cabling. Quick-Connect head-end signal output options includes USB, HDMI, Analog Component and Ethernet.

Vaddio’s complementary QuickSET mounting system offers simple installation by just positioning the camera to a required shot and locking it in place. Optional wall and ceiling mounts are available in addition to the standard set-top mount.

For more information on the WideSHOT please visit the Vaddio website at

About Vaddio:
Vaddio is the leading manufacturer of specialty PTZ cameras and camera control systems used in the audiovisual, videoconference and broadcast industries. Your customers demand cutting-edge technology that’s simple to use. You want equipment that’s easy to install and reliable to operate. Vaddio serves integrators and operators alike – with broadcast-quality PTZ cameras and control systems that deliver the performance you need with the convenience you demand. More information can be found on the Vaddio website, or at (800) 572.2011.

Evolve Digital Cinema | IMG Wins Two 2012 Sports Emmy Award for Outstanding Cinematography and Outstanding Journalism

With a Total of 9 Nominations in 2012, Creative Team at Evolve Recognized by the 

National Academy of Television Arts & Sciences for their Work with ESPN


Chicago, IL (June 10, 2013) – Evolve Digital Cinema | IMG (, a boutique creative production company, announced today it has won two coveted 2012 Sports Emmy Award in the category of Oustanding Cinematography and Outstanding Journalism. Evolve was recognized for their work with ESPN. The first Emmy Award was presented for outstanding cinematography for ESPN’s Breaking the Silence (the trailer is available here: The second Emmy Award was presented for Outstanding Journalism for the ESPN E:60 feature “Beitar Jerusalem.” The Evolve Team had a record high total of 9 Emmy nominations in the 2012 National Sports Emmys Awards.


More information on the 2012 Sports Emmy Awards can be found by visiting the Offical Emmy winners page: The Sports Emmy Award recipients were chosen by a Blue Ribbon Panel of industry peers.  The awards recognize outstanding achievement by individuals and programs broadcast throughout the 2012 calendar year.


“As a creative artist, Cinematography and Editing are the one’s you really want, and for this piece to be nominated in both of the categories was incredible,” said Joel Edwards, co-founder and director of production for Evolve Digital Cinema | IMG. “For the team at Evolve to actually win one of those, especially with so many other talented people and amazing work in those categories, is truly honoring and humbling. We’re incredibly grateful and thankful to ESPN for opportunities to create content for them. For that content to win the biggest award in TV is surreal.”







Evolve’s Award Winning Work: Behind The Scenes


The Emmy Award for Outstanding Cinematography

  • Breaking the Silence - Trailer here:
  • Shot by Joel & Jesse Edwards, Bill Roach, Mike Bove.
  • Produced by Kory Kozak. Executive Producers: Victor Vitarelli & Valerie Gordon.


Shot over six weeks from the streets of Dallas to the hills of Norway,  the piece begins with a nightmare sequence envisioned by Monika herself. Supporting images were built via a studio art department, and extras were cast to depict Monika’s own fears. The opening sequence creates a powerful beginning to a story with an equally powerful message. The story then transitions to the safe and peaceful fjords of Norway, where Monika grew up and trained.

The TV feature was shot on a AbelCine ( high speed Phantom V65 package and Sony F3 Digital Cinema cameras, complimented by Angenieux zoom primes, Zeiss primes and Canon 5D Mk 3 cameras with Canon L Cine Mod lenses.

“At that time, the Phantom cameras were still being modded for remote field use. They were much more studio friendly, so remote fjords in Norway presented some real challenges,” added Jesse Edwards, co-founder of Evolve. “Mike Nichols at AbelCine was key to the shoot and worked closely with us to help put together numerous solutions, like the Phantom PCU control system and several remote power options.”

Kessler mo-con system was used for several of the shots in this feature to yield highly elaborate motion control moves. Multiple scenes incorporated specific movement photography utilizing Kessler camera Jib arms, dolly sliders and Steadicam. Finally, an elaborate mix of point-of-view, van to subject filming, statics and handheld shots were incorporated to add perspective.

Joel and Jesse Edwards also edited the piece with Final Cut Pro 7, Adobe After Effects, mocha Pro Red Giant Magic Bullet Suite and Davinci Resolve.


The Emmy Award for Outstanding Journalism

  • Beitar Jerusalem
  • Produced by Beein Gim, Shot by Joel & Josh Edwards, Bill Roach, Edited by Tim Horgan
  • Executive Producers: Andy Tennant, Michael Baltierria, Ben Houser


Arguably the most converted Emmy Award of the evening – Outstanding Journalism – went to E: 60′s Beitar Jerusalem, a short feature that dives into Jerusalem to report on those who have been called “the most dangerous fans” in Israeli soccer. Racism, politics and sports all collide in
this amazing journalism TV story. The Evolve team traveled to Jerusalem for principle photography back in September of 2012, and the piece aired later that Fall. The piece was edited by Tim Horgan and Bluefoot Entertainment (, and was produced and written by the E:60 Team; Beein Gim, Producer, Jeremy Schaap, Reporter / Writer and Executive / Sr. Producers Andy Tennant, Michael Baltierria, Ben Houser.

About The National Academy of Television Arts & Sciences

The National Academy of Television Arts & Sciences (NATAS) is a professional service organization dedicated to the advancement of the arts and sciences of television and the promotion of creative leadership for artistic, educational and technical achievements within the television industry. It recognizes excellence in television with the coveted Emmy® Award for News & Documentary, Sports, Daytime Entertainment, Daytime Creative Arts & Entertainment, Public & Community Service, and Technology & Engineering. Regional Emmy® Awards are given in 19 regions across the United States. NATAS also presents the Global Media AwardsTM which recognizes excellence in the world-wide intersection of digital entertainment and technology. Emmy® Awards given out for primetime programming are presented by our sister organization, the Academy of Television Arts & Sciences (ATAS). Beyond awards, NATAS has extensive educational programs including Regional Student Television Awards for outstanding journalistic work by high school students, as well as scholarships, publications, and major activities for both industry professionals and the viewing public. For more information, please visit the website at

About Evolve Digital Cinema | IMG

Evolve Digital Cinema | IMG is a boutique creative production company that produces digital film, TV, HD Video, Photography and Graphic Design. As a creative & technical full service shop, Evolve facilitates full campaigns, or has the ability to work as ala carte freelance contractors for the convenience of it clients. Based in Chicago, Evolve retains a global client base. For more information, please visit 







Clay Paky Sharpys and grandMA2 Consoles Accompany Tim McGraw’s Two Lanes of Freedom Tour

Clay Paky Sharpys and grandMA2 consoles are heading out on the road with Tim McGraw as the country superstar kicks off his Two Lanes of Freedom 2013 Tour in support of his new namesake album. A.C.T Lighting is the exclusive distributor of both Clay Paky and MA Lighting in North America.

McGraw’s Two Lanes of Freedom Tour will play 30 cities across the country. It follows his incredibly successful joint Brothers of the Sun tour with Kenny Chesney, last year’s highest-ranking country tour in Billboard’s list of the top treks of 2012.

For McGraw’s latest show Premiere Global, which has been a vendor for the artist for the last decade, supplied 30 Sharpys and two grandMA2 full-size consoles. “The Sharpys are being used on the floor, on the rig and in the air for fanouts. They give a really big look,” says Steven (Creech) Anderson with Premier Global.

“The shape of the production is a big spider with arms coming down and pods at the end of each,” he continues. “There are lots of LEDs and video, and the Sharpys really enhance things. They’re great lights – everyone is trying to copy them right now, but there are no fixtures out there that compare to them.”

Lighting designer Pat Brannon went with “the ACL old-school look” by clustering four groups of four Sharpys on the rig and positioning 14 more on the floor. “I’ve used them before, but this is the first time I’ve had Sharpys on a tour,” he says. “I’m really happy with them. I like their narrow beam, the quickness and brightness of the lamp, and the great color choices. They’re small and lightweight but make a huge impact.”

Everything in the show, including the video content, is triggered by the grandMA2; a back up unit is also on hand. “We had a multi-user interface for two programmers,” says Brannon. “They could save to the same cue files at the same time, and that was great. The main feature is the video interface; I’m very fond of the DMX bridge that Control Freak provides. And it’s great to be able to write your own fixture profile.”

Brannon says he “loves the feel of the desk and using the NPUs. The speed and processing is unmatched by anything I’ve ever used.” He enjoys the new layout feature of the grandMA2 series, which he finds “very useful – it eliminates the old fashioned process of grouping. Now you can lay out in the exact formation that you have in the system. You can see what your fixtures are doing live by just looking on the screen.”

John Zajonc is production manager for the tour and Troy Eckerman was the programmer. Jeff Bertuch assisted on the video programming. Drew Finley is the content creator.


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.


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