Archive for July 2nd, 2013

NUGEN Audio Promotes Charles Blessing to Chief Technology Officer

LEEDS, U.K. — July 2, 2013 — NUGEN Audio, creator of intuitive tools for audio professionals, today announced that the company’s steady growth has led to the promotion of Charles Blessing to the role of chief technology officer (CTO). In his new position, Blessing will take on all strategic and operational responsibility for the technology of the company.

“We’ve been fortunate to see significant growth at NUGEN Audio due to the popularity of our products leading to an industry-wide adoption of our loudness solutions around the world,” said Jon Schorah, creative director of NUGEN Audio. “The time was right for us to appoint someone who would focus specifically on the technology, especially the technical aspects of product development and delivery.”

Blessing, who is being promoted from his role as senior programmer, will replace company co-founder Dr. Paul Tapper in overseeing the expanding programming team to ensure products are developed and delivered according to company strategy. He will report to the company directors. Dr. Tapper’s role will now focus more on business development.

Blessing has more than 15 years of professional software engineering and technical management experience. He specializes in running software engineering teams and managing multiplatform code frameworks. Since 1995, Blessing has programmed software for PC, Mac(R), and various specialist hardware platforms, and he has held a number of senior engineering positions along the way. Most recently, he served as programming manager at Team17 Digital Ltd. before joining NUGEN Audio in January.

More information about NUGEN Audio products is available at

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About NUGEN Audio
NUGEN Audio creates innovative, intuitive professional audio tools for high-end music producers, post-production engineers, and broadcasters. Reflecting the real-world production experience of the design team, the company’s products make it easier to deliver better quality, save time, and reduce costs. NUGEN Audio’s tools for audio analysis, loudness metering, mixing/mastering, and tracking are used by the world’s top names in broadcast, music, and audio production. For more information, visit

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

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Poland’s TVN24 Replaces News Studio Switchers With Snell Kahuna 360 Multi-format SD/HD Production Switcher

Kahuna 360 Selected for Matchless Flexibility in Handling SD and HD Inputs

READING, U.K. — July 2, 2013 — Snell today announced that Poland’s TVN24 has upgraded its news studio video switcher systems with the installation of two Kahuna 360 multi-format SD/HD production switchers. Supplied by systems integrator Studiotech Poland, the Snell systems have replaced existing systems to bring the broadcaster greater flexibility and versatility in handling SD and HD content. With the ability to work efficiently with either format, TVN24 is positioned to make a smooth transition to HD.

“Snell’s Kahuna is the only mixer that does not have any restrictions in handling multiple formats,” said Jaroslaw Kielmel, technical director at TVN24. “With our Kahuna 360 systems, we enjoy endless freedom in multi-format operations, and this is particularly important in our current migration from SD to HD. Switching the channel to HD is as simple as changing the Kahuna output format. The only criterion we must apply is that of signal quality, which the Kahuna’s high-quality upconversion capability addresses easily.”

TVN24 conducted a “shoot-out” comparing switchers from three vendors and selected the Kahuna live production switcher for its unparalleled format flexibility. The broadcaster’s news production operations receive both HD and SD inputs, and the Kahuna systems readily accept either format, thus eliminating the need to reconfigure inputs and outputs to accommodate different formats. The switcher automatically detects the format of the input signal and uses its exclusive FormatFusion3 technology, which supports a mix of SD, HD, 1080p, and now 4K, to provide the output required by TVN24.

In addition to supporting any format in and any format out, Kahuna 360 also features unique Make M/E(TM) technology, which makes it easy for the operator to leverage available mixer power and create a tailor-made mix effect (M/E), delivering unmatched flexibility when sharing mainframe resources with multiple consoles. Kahuna 360 offers up to six full M/Es, seven keyers per M/E, 120 HD/SD inputs, 64 HD/SD outputs, and a clip-store with 40 minutes SD or eight minutes HD. The switcher also supports up to 16 simultaneous broadcast productions from a single mainframe.

“TVN24 is among a growing number of broadcasters electing to replace their less-capable switchers with more sophisticated yet cost-effective solutions that facilitate transparent multi-format operations while supporting the migration to HD formats,” said Stefan Geradts, Snell sales director, Central and Eastern Europe. “Kahuna 360 is proving to be the perfect fit for these operations.”

Further information about the Kahuna 360 multi-format production switcher and other Snell products is available at

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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

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

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NETIA Celebrates 20 Years in Broadcast Industry

CLARET, France — July 1, 2013 — Having developed and refined an acclaimed product portfolio over the past two decades, NETIA celebrates its 20th anniversary this month. Founded in July 1993 in Claret by Christophe Carniel and Pierre Keiflin, both engineers from L’École des Mines d’Alès, the company has grown into a leading global supplier of software-based solutions for media asset management and delivery of audiovisual content.

“From its humble beginnings 20 years ago, NETIA has evolved into a strong company and a leader within a competitive and rapidly evolving marketplace,” said Philippe Fort, CEO at NETIA. “Through the years, our agility, our unparalleled research and development department, and our willingness to meet the specific needs of our customers have made NETIA a success in delivering valuable, forward-looking solutions for smart, cost-effective media production, management, and content delivery for radio and TV broadcasters throughout the world.”

NETIA launched its first product range, “News-Assist,” in 1995 to enable audio storage, editing, and mixing. Its second product, “Video-Assist,” enabled France-based Euronews to deliver its broadcast programming in the language appropriate to each of its target regions. Over the subsequent years, NETIA worked with key partners in the broadcast space — such as France Telecom, Sony, and EVS — to design and deliver solutions, including the U-Share product, that facilitate more efficient handling of digital A/V content and its metadata.

In 1999, following the acquisition of Audio Follow and its music planning and broadcast production technology, NETIA introduced the first version of its acclaimed Radio-Assist solution, which today is deployed in more than 40 countries. In 2000, the company enhanced its Radio-Assist solution and secured major contracts with international radio and television broadcasters. Broadcasters from the United States, Africa, the Middle East, and Asia continued to invest in NETIA solutions in the next few years.

With the 2005 acquisition of Manreo, NETIA completed its range of video solutions and laid the foundation for the NETIA Media Asset Management solution and then the NETIA CMS (content management system), announced in 2010. NETIA itself became part of the GlobeCast family in 2008. Through the work of its 60 employees, distributed across 40 countries, NETIA today is a global company providing sophisticated, intuitive solutions to some of the media industry’s largest players.

More information about NETIA and its product portfolio is available at

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NETIA, a GlobeCast company, is a leading provider of software solutions that enable efficient management and delivery of content to today’s full array of media platforms. Relied on by more than 10,000 users in 200 installations in more than 40 countries, NETIA solutions allow content producers and owners to manage content from ingest to delivery, targeting multiplatform outlets including the Internet, VOD, IPTV services, and mobile devices. NETIA provides content management solutions to major radio and television brands and to multimedia groups around the world. Clients include SBS and ABC in Australia, RAI Italy, RTBF in Belgium, MediaCorp Singapore, RTL France, Radio Globo in Brazil, RTM Malaysia, Radio France, the Associated Press, France Télévisions, and Canal+. NETIA has its headquarters in France, with offices in the United States, Paris, Rome, and Singapore, in addition to a global network of professional distribution partners.

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EditFest London Makes Starry Debut

American Cinema Editors Event Presents World Class Talent to Sold-Out Audience

(Universal City, CA/London, UK) - American Cinema Editors (ACE), the honorary society of motion picture editors, made its international debut last weekend in the UK with EditFest London. The event took place at the Ray Dolby Theater in Soho to a sold-out crowd of working and aspiring editors and industry professionals. An impressive roster of top editors shared their experiences over the course of the day, offering a rare opportunity for attendees to hear the most compelling artists talk about their work, ask questions of them, and mingle with colleagues. Los Angeles-based ACE Board Member Steve Rivkin, A.C.E. (Avatar, Pirates of the Caribbean: The Curse of the Black Pearl, Dead Man's Chest and At World's End) opened the day and welcomed panelists and attendees to the event.

EditFest London featured interactive, face-to-face dialogue and Q&A sessions, which included Small Screen, Big Picture - Panel with Television Editors, moderated by Gordon A. Burkell (Art of the Guillotine) and featured panelists Kristina Hetherington (Room at the Top, Birdsong), Oral Norrie Ottey (Generation Kill, Game of Thrones), and Kate Evans, A.C.E. (Buddha of Suburbia, The Shooting of Thomas Hurndall). Mick Audsley (Harry Potter and the Goblet Fire, Prince of Persia: The Sands of Time) moderated From Dailies to Delivery - Editing Features with panelists; Chris Dickens, A.C.E. (Les Miserables, Slumdog Millionaire), Tracy Granger, A.C.E. (Still Life, Frank), John Wilson, A.C.E. (Day of the Flowers, Billy Elliot), and Eddie Hamilton, A.C.E. (X-Men: First Class, Kick Ass 2).

EditFest London closed the sessions with a conversation with Anne V. Coates, A.C.E. (Lawrence of Arabia, The Elephant Man, Erin Brockovich), moderated by Tom Rolf, A.C.E. (Taxi Driver, The Right Stuff). The evening ended with a cocktail reception at the nearby Soho Hotel, where panelists and attendees continued conversation and discussion.

Launched in Los Angeles in 2008, expanded to New York, EditFest London has been long-requested by the UK community. EditFest was designed for professional as well as aspiring editors, post production team members, content creators, production execs, and those who love the art and craft of editing. Sponsors for EditFest London included Avid, Motion Picture Editors Guild, Dolby, Televisual Media UK, ignite strategic communications, Salon Editing Equipment Rental, BOSCPU, and Pivotal Post. For more information about EditFest and upcoming events, visit For more information about American Cinema editors, visit

About ACE
AMERICAN CINEMA EDITORS (ACE) is an honorary society of motion picture editors founded in 1950. Film editors are voted into membership on the basis of their professional achievements, their dedication to the education of others and their commitment to the craft of editing.

The objectives and purposes of the AMERICAN CINEMA EDITORS are to advance the art and science of the editing profession; to increase the entertainment value of motion pictures by attaining artistic pre-eminence and scientific achievement in the creative art of editing; to bring into close alliance those editors who desire to advance the prestige and dignity of the editing profession.

ACE produces several annual events including EditFest (a weekend editing festival in the summer), Invisible Art/Visible Artists (annual panel of Oscar(r) nominated editors), and the ACE Eddie Awards, now in its 63rd year, recognizing outstanding editing in ten categories of film, television and documentaries. The organization publishes a quarterly magazine, CinemaEditor, highlighting the art, craft and business of editing and editors.

About ACE EditFest
Launched in Los Angeles in 2008 to put the leading film editors in touch and in communication with editors and those who work with editors and editing enthusiasts, EditFest expanded to New York in 2010 and London in 2013. EditFest presents panels, conversations and social interaction with some of the most influential editors working in film and television. The highly anticipated annual event, which sells out each year, has plans to expand to additional cities in the future.

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Media contacts:

For ACE:
Lea Yardum
Perception PR
c: +1.323-606-2080
o: +1.323.956.2817

For EditFest:
Christine Purse
ignite strategic communications
c: +1.323.806.9696
o: +1.818.980.3473
UK: 44(0) 77 1010 9524 | skype@cpurse

Sennheiser Announces Shipment of its New HDVD 800 Digital Amplifier

OLD LYME, Conn. – July 2, 2013 — Audio specialist Sennheiser announced that its new HDVD 800 digital amplifier is now shipping. The new amplifier is designed to provide a crystal clear, brilliant response and is ideally suited for driving the entire line of high-end headphones from Sennheiser, including the HD 600, HD 650, HD 700, HD 800 and other models.

The new HDVD 800 provides a crisp and detailed, distortion-free response — making the listener feel as they were sitting directly in front of the audio source. Designed, developed and manufactured in Germany, the new amplifier is a manifestation of the effort and vision that drives Sennheiser in the development of its high-end products, creating an unsurpassed level of acoustic performance.

Balanced sound image and impressive spaciality?Sonically, the HDVD 800 delivers a balanced sound image, maximum precision and impressive spatiality. It features a fully symmetrical layout that ensures even signal transmission from the source to the headphones. “The fully symmetrical principle effectively compensates for interference and distortion,” explains Axel Grell, Sennheiser’s High-End Product Manager at Sennheiser. “The sound therefore becomes much clearer as total harmonic distortion is minimized.”

The HDVD 800 is also equipped with an asymmetrical input socket; when using this input, incoming signals are symmetrized before further processing takes place. Digital sources are connected to the rear of the unit as an AES/EBU input or S/PDIF (optical and coaxial). The HDVD 800 also features an extra USB input, which offers 24 bit data transmission at 192 KHz*.

Sophisticated materials for a premium touch

A glass panel embedded in the aluminium housing of the amplifier gives a clear view of the top-quality interior of the devices. The rotary potentiometer is mechanically connected to the volume control by a 150mm long shaft. This unusually long shaft allows the signal path between the audio source and the potentiometer to be kept very short, thus preventing possible interference of the signal. High-quality components (Alps RK 27 quad) ensure that the volume is controlled with maximum precision and a fine rotary ‘feel’. Also visible through the glass panel are the cooling element, the audio relay and countless MELF resistors for the amplifier.

The housing, the potentiometer control as well as the rotary switch for selecting the source are all made of anodized aluminium, while the front panel of the housing and the controls are milled from solid material. The HDVD 800, which is priced at $1,999.95, was developed and designed in Germany.

The Sennheiser Group, with its headquarters in Wedemark near Hanover, Germany, is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. The family-owned company, which was established in 1945, recorded sales of around €531 million in 2011. Sennheiser employs more than 2,100 people worldwide, and has manufacturing plants in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Canada, Mexico and the USA, as well as by long-term trading partners in many other countries. Also part of the Sennheiser Group are Georg Neumann GmbH, Berlin (studio microphones and monitor loudspeakers), and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres).

You can find all the latest information on Sennheiser by visiting our website at

*Driverless operation on a Mac from operating system OS 10.5 onwards. A driver is included for Windows computers from XP operating system onwards for 192 kHz operation.

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Canon 70D digital camera announced and now available for pre-order at Adorama

The new flagship APS-C sensor camera promises camcorder-like video focusing and
a host of other intelligent features.

New York, NY – July 2, 2013 – Adorama, one of the world’s largest photography, video, imaging and electronics retailers, now has available for pre-order the newly announced Canon 70D. Positioned between the Canon EOS 7D and Canon 60D, the Canon EOS 70D introduces a handful of key new features that promise improved video quality, faster and more decisive autofocus, built-in Wi-Fi and higher resolution.

The big technology advancement for the Canon EOS 70D is its sensor-based autofocus. Called Dual Pixel CMOS AF, this technology was made possible by reworking the design of the sensor. Instead of offering one photodiode per pixel, the 70D’s sensor has assigned two photodiodes per pixel. This allows the camera to simultaneously capture light and perform phase-difference detection autofocus. What this means to the average user is that the camera will focus faster and more accurately, and the autofocus operate smoothly and accurately while shooting videos in Live View. In shooting still images, users will be able to take full advantage of the 70D’s 3-inch, high resolution Vari-angle Touch Screen Clear View LCD monitor, 19-point all cross-type AF system and 7 frame per second continuous shooting rate to get crystal clear images from the action in any scene.

The Canon EOS 70D camera’s 20.2 megapixel CMOS sensor, the highest-resolution APS-C sensor to date, records 5472 x 3648 pixels and offers 14-bit signal processing for improved tonal gradation. The new DIGIC 5+ Image Processor will yield improved data processing speeds, greater noise reduction and real-time compensation for chromatic aberration. The Canon 70D will also record up to 16,384 colors per channel thanks to its 14-bit analog-to-digital conversion, and the camera has a wide ISO range of 100-12800, expandable to 25,600 in H mode; users will note improved noise reduction and better performance in low-light shooting.

In addition to the new Live View autofocus system, a second big new technology for Canon’s APS sensor lineup is the addition of built-in wireless technology. The camera’s exposure settings, focus, and shutter can be operated wirelessly using an iOS or Android smartphone with the free Canon EOS Remote app. Users can shoot remotely from a distance, even in Live View mode, and remotely review images stored on the EOS 70D from their smart phone or tablet. Still images can be transferred between two wireless-enabled Canon cameras over a Local Area Network (LAN) and can be uploaded via Canon iMage Gateway and printed directly from a wireless PictBridge printer without the need for a PC.

The Canon EOS 70D offers a wide range of shooting modes and effects, including High Dynamic Range that covers a range of plus- and minus- 3 stops, multiple exposure mode up to 9 images in RAW and JPEG, a handheld night scene mode that combines four shots at fast shutter speed to reduce camera shake, HDR backlight mode and seven creative filters: Grainy Black and White, Soft Focus, Fisheye Effect, Toy Camera Effect, Miniature Effect, Art Bold Effect and Water Painting Effect. Each of these effects can be applied at three levels of opacity. Other effects include multi-shot noise reduction: the camera captures four images in quick succession, merges and aligns them to reduce noise. A lens aberration correction tool corrects for vignetting and color fringing. The camera has an on-board help mode called Feature Guide, which briefly describes each mode. It is compatible with the optional Canon GP-E2 GPS receiver.

To learn more about the Canon 70D, visit the Adorama Learning Center for a complete review and free photography instruction resources. Pre-order the Canon 70D now from Adorama.


ADORAMA: More Than a Camera Store

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

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

Visit ADORAMA at

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


Solid State Logic Appoints Jay Easley as Vice President of Live Consoles

Industry Veteran Will Lead the Company’s Expedition into the Live Market in North and South America

OXFORD, UK – SSL Inc., the U.S. operation of Solid State Logic, is pleased to announce that Jay Easley has been appointed Vice President of Live Consoles in the Americas. Previously with Midas and Klark Teknik (MKT), Easley has had a successful sales and marketing career in the live sound market, with many years experience in global audio console launches, acquiring new business and increasing market share. In this new role, Easley brings his vast understanding of the live market to promote SSL’s recently introduced ‘Live’ console, which brings the industry standard, sonic legacy of the SSL brand to the stage.

Working closely with the team in the Americas, Easley’s initial goal is to build industry awareness of the SSL Live Console. He will also work closely with Jason Kelly, SSL’s newly appointed Live Product Manager, to define future product enhancements tailored to the needs of specific clients. Using his extensive knowledge of the performance market through years of successful console placements, Easley will help dealers and mix engineers understand the many benefits of this innovative, advanced technology live sound console.

“Jay’s extraordinary stature in the live sound industry brings a high level of credibility for SSL as we enter this exciting market segment,” says Piers Plaskitt, CEO of SSL, Inc. “His surgical focus and successful experience in live sound applications makes him the ideal choice to lead the charge for the Live Console in North and South America. We believe the addition of Jay on the SSL team will herald in a new era of technology leadership for the live sound market.”

Most recently, Easley served as Associate Vice President of MKT’s North American operations. In this position, he developed and executed sales and marketing strategies, new product introductions, and delivered presentations, seminars and training classes to clients and partners.

“I am truly honored to work for SSL, a company that I consider to have an unparalleled reputation for excellence and reliability,” says Easley. “I am excited to lead the Live Console business in the Americas. We have the opportunity to show customers SSL’s advanced console technology that exceeds industry expectations for what is now available for live sound. This is SSL and we expect the Live Console will have the same leadership impact on the live sound industry as it has enjoyed with the music, broadcast, post and film markets for decades.”

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit:

Canon Cinema EOS C300 Cinema Camera, EOS 5D Mark II Digital HD SLR Camera, and EF-Series Lenses Help to Expedite the Production of an Action-Packed Feature Film

When an action movie script on a tight budget included such challenges as close-ups of mixed martial arts fighting, a high-speed car chase shot from a low-flying helicopter, and low-light location scenes, director of photography, David E. West, knew the solution was to capture it all using a Canon Cinema EOS C300 digital cinema camera, a Canon EOS 5D Mark II Digital SLR camera, and EF-Series lenses from Canon U.S.A., Inc., a leader in digital imaging solutions. Having used the EOS C300 camera on a previous assignment, West was enthusiastic about its portability and low-light advantages. He also owned an EOS 5D Mark II camera, and was a fan of Canon lenses both for photography and for shooting reality TV. West decided from the outset that the ambitious visuals needed for Blunt Force, a new film from director Daniel Zirilli, would make this an all-Canon project. Shot on location in Mississippi, the movie tells the story of an ex-soldier imprisoned and forced to be part of an Internet cage-fighting club.

“There are a lot of reasons why I chose the Canon Cinema EOS C300 camera,” West recalled. “One is its lightweight design. We had to shoot a lot of close-up stunt fighting that required me to be just inches away from the performers. These shots could only be done hand-held, and the EOS C300 camera is so completely well designed in terms of portability that it enabled me to maneuver it into positions where heavier cameras just couldn’t go. Guys were being vaulted into the air and I was on the ground shooting them flying over me. Hand-held shooting also helps boost the energy level of fight scenes because it enables you to get in close and add your energy to the performers, so things become even more intense. The compact size of the EOS C300 camera and its detachable LCD monitor also enabled me to keep my eye on what was going on around me in the middle of these tricky fighting situations.”

The Canon Cinema EOS C300 camera’s body weighs just over 3 lbs. and can accommodate a wide range of shooting setups. It can be held by its removable, rotating side handgrip, its detachable top handle, or a wide variety of third-party support devices and accessories. Equipped with a Canon Super 35mm CMOS sensor, innovative Canon DIGIC DV III Image Processor, and a 50 Mbps 4:2:2 MPEG-2 codec for full 1920 x 1080 HD, the EOS C300 cinema camera delivers a selectable ISO range up to 20,000 for outstanding low-light performance. This proved crucial for Blunt Force’s fight scenes, which took place in dark, grim prison interiors.

“We didn’t have a huge budget, and we were shooting on-location so I needed a camera we could really rely on,” West explained. “The EOS C300 camera doesn’t require monster lights drawing lots of power. Its ability to go up to ISO 20,000 is just amazing. The image holds up in those ranges, and it gets you to the point of being able to light more naturally. But even when you’ve lit your set the way you want to, actors can still step into dark areas. With this camera you can immediately adjust for that and continue capturing the action. You always want to see the actor’s eyes and faces and not be in the dark. The ability to see into dark situations with the EOS C300 camera was extremely helpful.”

West added that the ability to instantly play back footage recorded on the EOS C300 camera’s digital CF cards was another benefit to the production, as it enabled the director and stunt performers to review complex fight sequences and determine whether reshoots were needed before moving on to the next scene. “We also ran an external monitor for the director to look at,” he noted. “The LCD that comes with the EOS C300 camera got the most use during shooting. It has amazing picture quality.”

Four inches wide, this removable 1.23 megapixel LCD monitor/control panel rotates 135? left/right or 270? down, and can be mounted directly on the camera body or on its removable handle unit. In addition to its use for live monitoring, the LCD can also display a waveform monitor, vectorscope, and other displays for adjusting picture quality. “That was really helpful,” West added, “especially on a run-and- gun shoot such as this one, to be able to quickly glance at those and evaluate where you are. My career has included the worlds of both broadcast video production and filmmaking. It’s nice to be able to use ‘video’ features such as a waveform monitor and a vectorscope for motion-picture production. I love being able to use the power of both worlds to be as creative and efficient as I want to be.”

Digital HD SLR Advantage
While a Canon EOS C300 camera served as his “A” camera, West also made ample use of a Canon EOS 5D Mark II Digital HD SLR camera for B-roll and even for taking production stills. The Canon 5D Mark II camera features a full-frame 21.1-Megapixel CMOS image sensor for outstanding sensitivity and low-light performance. “I had the EOS 5D Mark II camera on a shoulder strap at all times and I used it whenever I could during this action movie,” West explained. “I love photography, and magic moments can happen at any time, but you can’t capture them unless you have your camera ready. Using the EOS 5D Mark II camera, I was able to get secondary shots in just a matter of moments. Sometimes when the EOS C300 camera was on a tripod I’d grab the EOS 5D Mark II camera and use it to film dramatic wide shots. For the chase scenes, I got beautiful wide shots with the EOS 5D Mark II camera and then shot the close-ups on the EOS C300 camera. I would even rip off stills during rehearsals. I created a whole poster of photography with the EOS 5D Mark II camera, which we could never have done without this additional camera.”

West added that production was further expedited because both his EOS C300 and EOS 5D Mark II cameras used EF-mount lenses, which enabled quick lens changes when necessary. “With the EOS 5D Mark II camera on my shoulder strap I was able to switch lenses right then and there,” West confided. “I didn’t have to call for the AC to run to get another lens. I would put either the wide or longer lens on my EOS 5D Mark II camera, and put the other lens on the EOS C300 camera. There was barely any delay, which really helped the flow of filming the action. When you get in the heat of the battle with all these different stunt people working and you are getting all these different shots, it’s crazy to have to delay things because of a lens change. So this technique I came up with really paid off in speed.”

Blunt Force was totally photographed with Canon EF-Series lenses, including the EF 16-35mm ultra-wide zoom, and EF 70-200mm and EF 75-300mm telephoto zooms.

“Director Daniel Zirilli and I both like the look of wides and longs,” West elaborated. “The movie didn’t play that much in the mid-range. We used the Canon 16-35mm ultra-wide angle for the fighting sequences, and then the longer lenses for everything else. I love Canon lenses and have a long history of using Canon ENG lenses for mainstream TV, including music shows, specials, and feature documentaries. The Canon HJ22ex7.6B and HJ14ex4.3B ENG lenses are my favorite HD zooms for shooting TV, and I always request them on every project.”

Production Pace and Value
“The Canon Cinema EOS C300 camera is an incredible tool to be able to get the exposures you need,” West stated. “The combination of the EOS C300 camera and my experience in shooting reality TV enabled us to shoot a feature in essentially sixteen scheduled days. Every day was a packed day. We shot stunts and fighting scenes. I used the EOS C300 camera to shoot a police chase handheld from a helicopter flying six feet off the water, and it came out perfectly. The director was ecstatic because we got it on the first take.”

“Blunt Force is going to look like we spent a lot of money on it, and much of that will be thanks to Canon equipment,” West concluded. “I love everything that Canon’s been doing for a long time, and I’m very happy that they are in the motion-picture production world. I am very impressed with the EOS C300 camera and now I want to get into 4K production with the Canon Cinema EOS C500 camera for the next film that I’m scheduled to shoot.”


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Small Tree Provides Critical Shared Storage Support to Artsis Media on Emmy Award Winning Project

Artsis Media, a full-service video production company in the New York Metro area, recently received a 2013 New York Emmy Award for its work on “9/11, a Look Back” – a documentary commissioned by the New York Post to commemorate the 10 year anniversary of the terrorist attacks. Working closely with New York Post Photographer Matt McDermott to tell the story, Michael Artsis, founder and owner of Artsis Media, relied on shared storage technology from Small Tree to meet the project’s exceptionally tight deadline.

“The memory of the tragic events surrounding the terrorist attacks on September 11, 2001 will remain with Americans forever and I was honored to have been chosen to work with Matt on this project,” Artsis said. “As the video journalist, I was the camera person, producer, interviewer, lighting technician, sound engineer and video editor, so the last thing I needed was to worry about possible delays in post-production. Fortunately, we equipped our facility with Small Tree shared storage a few years ago, so I knew performance wouldn’t be an issue.”

Artsis Media features a 24TB GraniteSTOR ST-RAID, an Ethernet-based shared storage system from Small Tree, connected to each of the facility’s four editing bays. While Artsis was working post-production for the 9/11 documentary, sharing the stunning images of courage and destruction that unfolded that unforgettable day, the rest of his editing team also needed to access content on the server for other client projects, making the storage system’s mission critical.

“I shot all of this content on a very tight deadline and couldn’t afford to lose any of the footage,” Artsis recalled. “With the raw emotion on the footage we captured during production, we knew there would be no going back to reshoot anything should we lose something in post-production. To know that I would be able to work long hours and that no matter how hard I pushed the system I was not going to lose vital content was a tremendous relief.”

Using footage captured on a variety of Cannon DSLRs and GoPro cameras, Artsis edited the entire documentary with Final Cut Studio 7 via his iMac connected to Small Tree’s ST-RAID.

“We’ve had the ST-RAID at our facility for more than two years and it has met every challenge,” Artsis stated. “Not only is the product fabulous, but the people behind the product are
phenomenal as well. As the owner of a small video production company, the type of support I know I’ll receive from Small Tree takes a lot of burden off of me.”

For more information about Small Tree and its growing line of shared storage and networking products, visit Follow Small Tree on Facebook at or on Twitter @SmallTreeComm.

JCB’s New Brand Experience Made Possible With the Help of Electrosonic

World-renowned construction and agricultural equipment company JCB opened a new brand experience at its headquarters in Rocester, England. Electrosonic was on board to support the integrated AV presentations that play a key role in helping visitors interpret “The Story of JCB.” As the AV systems integrator, Electrosonic continued a very long association with JCB, which goes back some 40 years.

Designed by Studio MB, the customer attraction – which combines a museum, a showroom and an immersive exhibition with brand promotion – is primarily targeted to the company’s sales efforts. JCB headquarters receives some 15,000 customer visits annually from all over the world, and this number is expected to increase as a result of the launch of “The Story of JCB.” The 25,000 square-foot installation is housed in the former JCB Design Centre and showcases 16 vehicles of all vintages.

The company’s origins date back to 1820 as Bamfords Agricultural Engineers. Joseph Cyril Bamford (Mr. JCB) brought the company into the modern era after military service in WWII. The Early Years exhibition includes a corrugated iron “barn wall,” which acts as a projection surface for a film about the early years in the post-war era. Stacked bales of straw also serve as a projection screen for visuals alongside a single-arm hydraulic loader that fits on most tractors – a very successful product for JCB.

The next part of the exhibition depicts how JCB was built up as a brand and features one of the celebrated “Dancing Diggers,” a famous aspect of JCB’s product introductions which were used to perform intricately choreographed moves showing off the product’s versatility. A digger in mid-dance frames a screen presenting a video on brand development. Exhibits on the Loadall telescopic loader and the 110 crawler digger explain the evolution of their design, and include a localized soundtrack fed through four overhead loudspeakers triggered by a break-beam sensor.

The Global Expansion zone looks at JCB’s 22 plants around the world. The company’s international activities are projected onto a hemisphere set into the floor. Individual exhibit tables with built-in LCD screens detail the activities of some of the principal units. An LED ticker overhead displays statistics.

A full-size wireframe model of the JS200 tracked excavator, made from 8mm steel rods and weighing two tons, is a striking introduction to the exhibit “Our Largest Vehicles for the World’s Largest Projects.” A nearby screen displays a video on the excavator and JCB’s other heavy equipment. Opposite the JS200, a three-ton JCB Fastrac chassis is suspended over a nine-screen videowall located in a raised bed on the floor. It displays a video about the pioneering chassis design and the products based on it.

A curved wall comprised of crates of spare parts acts as a projection surface highlighting the company’s worldwide parts and service organization. Another exhibit explores products for the military and includes visuals of the products in action.

More AV elements come into play for the exhibit on diesel engines and the super-sleek JCB Dieselmax car, which holds the world speed record for a diesel-powered car at 350 mph. A panoramic screen behind the vehicle displays its record-breaking run on the Utah salt flats.

In the awards section, a rear projection screen shows the many distinguished visitors to JCB, including prime ministers and royals.

“The Story of JCB” concludes with the Wonderwall, which is formed by a line of four 46-inch LCD screens. In interactive mode, the displays perform like an animated card index of JCB products; at other times, they scroll through images of JCB products.

Customers typically take a guided tour of the exhibits with guides using Apple iPods to trigger installations. The shows can also run automatically in sequence or play as continuous loops with no formal visitor control. The entire AV system can be controlled from simple touch panels at the exhibition entrance and exit. The password-protected controls can fire up or shut down the whole system and select the mode of operation.

Electrosonic opted to standardize the AV equipment throughout the installation as much as possible. 7thSense Delta Nano servers replay video for the loader, Global Expansion and Parts and Service displays, where irregular screen shapes require some geometry correction. A 7thSense Delta Duo server replays video for the Dieselmax car exhibit, which requires both edge blending and synchronized playback.

All other video playback is from Brightsign HD220 units, some of them located adjacent to the displays and controlled by LAN using powerline plug-in adapters. In all other cases, video distribution is over CAT 5 cable using DVI extenders.

Electrosonic chose an Optoma projector for the introductory “barn wall” screen. All other projectors are high-output, single-chip DLP Christie projectors (models DHD670-E, DS+750, DHD800) with light outputs in the range of 5800-8000 lumens, and accommodating both HD and SXGA formats.

NEC 46-inch LCDs are deployed in the Wonderwall and in the videowall under the Fastrac chassis. Winmate open-frame 21-inch LCDs are built into display counters.

Source and control equipment is located in three racks alongside the exhibition to minimize cable runs. Within each rack, audio from the media players is fed to an AMX Precis DSP, and then to Cloud multi-channel amps in a mixture of 4- and 8-channel units.

Exhibit loudspeakers are primarily from the Tannoy Di range (models Di 8DC, Di 6DC, Di 5DC).

The entire AV system is controlled by an AMX NI-900 integrated controller; all devices are connected to it through a LAN. In addition to the small control panels previously cited, full control and monitoring of every device is available from a master control built into the main AV rack and from an AMX MVP-9000i wireless control panel. These panels can only be operated by authorized maintenance personnel.

Studio MB of Edinburgh was the design and build contract lead. Exhibition fit out was performed by SharmanShaw Exhibitions Ltd. of Leeds. Lighting design was by Nich Smith of Glasgow and the electrical contractor was Andrews Electrical of Burton on Trent. AV content was written and co-designed by Studio MB, and co-designed and produced by ISO Design of Glasgow. Quadrille Media Ltd. of Edinburgh encoded the content. The AV consultant for the project was Edinburgh-based Douglas Bolton.

About Electrosonic
Electrosonic is an international audio-visual company that creates tailored, state-of-the-art solutions for a wide range of markets including theme parks, museums, control rooms, and corporate meeting rooms. Since its founding in 1964, Electrosonic has built a strong reputation for working on complex projects, both large and small, and has developed lasting partnerships with customers and suppliers. Beyond complete integrated systems, Electrosonic provides a comprehensive scope of services including technical design, projector lamp sales, maintenance and operational support.

Learn more about Electrosonic. Visit


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