Archive for July 12th, 2013

Vizrt to Highlight Integrated Video and Graphics, IP Streaming at SMPTE Australia Show

At the upcoming SMPTE Australia Conference and Exhibition, Vizrt (Booth G17) will highlight its solutions for integrated video and graphics production and distribution. The company will also focus on the IP media streaming capabilities of its Viz Engine real-time compositing and rendering engine. SMPTE (Society of Motion Picture and Television Engineers) is the leading technical society for the motion imaging industry. Taking place July 23-26 at the Sydney Exhibition Centre, the show’s theme of Delivering the Personalized Content Experience is at the heart of Vizrt’s technology at the show.

Multi-platform content distribution

The new IP version of Viz Engine is capable of real-time IP streaming input and output, including compositing of 3D graphics and HD/SD video. First introduced in April at the 2013 NAB Show, the IP version allows multiple Viz Engines to render the same content and output different formats for multiple platforms. The latest version of Viz Engine eliminates the need for an expensive video card or transcoding capability for every platform, and provides an affordable and compact solution for online delivery.

Vizrt will also show a multi-platform workflow enabled by the Viz Media Engine media asset management system, which automatically encodes live video from high-resolution to any format at speeds faster than real-time for online and mobile devices. It efficiently integrates video, graphics, and branding tailored to the targeted device as part of its file-based transcoding and media asset management workflow.

Efficient newsroom workflows

Vizrt gives journalists the edge in getting a story on-air and online quickly with a newsroom workflow that integrates easy-to-use templates with the journalists’ native newsroom computer systems (NRCS). With Viz Content Pilot, journalists can access templates for creating graphics, editing maps with Viz World and selected videos from Viz Media Engine to add to a playlist for on-air use and online multi-platform delivery.

Complete online workflow

Vizrt will showcase its Vizrt Online Suite, a highly integrated workflow for online publishing that includes the Escenic Content Engine content management system. The Vizrt Online Suite enables multi-channel and cross publishing to Web and mobile platforms, and efficient graphics and video use in the storytelling.

Social TV

At the show, Vizrt will also demonstrate how the audience becomes part of the
story with social media content captured, moderated, then visualized using 3D graphics capabilities of its Social TV solution. Content is captured from social media platforms, including Twitter, Facebook, Flickr, Youtube and Instagram. It also captures content from third party partners like never.no, who will be at the booth with Social TV demos that will highlight the latest enhancements to its Interactivity Suite. The never.no suite provides technology that connects fragmented media platforms across broadcast TV systems, mobile, and social media platforms and enables real-time viewer participation, social TV, and synchronized companion apps.

Virtual studio

SMPTE will feature a public show displaying the advanced features of Viz Virtual Studio, an advanced virtual set solution that is fully integrated with Vizrt’s video and graphics newsroom workflows.

About Vizrt:

Vizrt provides real-time 3D graphics and asset management tools for the broadcast industry – from award-winning animations & maps to online publishing tools. Vizrt’s products are used by the world’s leading broadcasters and publishing houses, including: CNN, CBS, Fox, the BBC, BSkyB, Al Jazeera, ITN, ZDF, Star TV, Network 18, TV Today, CCTV, NHK, The Globe and Mail, Times Online, The Telegraph, and Welt Online. Furthermore, many world-class production houses and corporate institutions such as the Stock Exchanges in New York and London use Vizrt systems.

Vizrt is a public company traded on the Oslo Main List: VIZ, ISIN: IL0010838154. For further information please refer to www.vizrt.com

Christie and Space Shuttle Endeavour Launch Guests into the Cosmos at California Space Center Discovery Ball

Christie® technology and the Space Shuttle Endeavour journeyed to the cosmos in an extraordinary visual display created by BARTKRESA Design at the California Science Center’s annual Discovery Ball charity event. In line with the evening’s theme: ”Space Exploration: Past, Present, Future,” guests dined beneath Endeavour’s enormous wings while nine Christie Roadster S+20K 3-chip DLP® projectors displayed a night sky replete with stars, planets, comets and other galactic matter on the front and two side walls – including one portion of the show displaying a gorgeous multi-hued sunset morphing into a clear, star-filled night sky. The fourth wall contained a starry backdrop using lights.
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“This was an exciting project to work on because I am always looking for opportunities to make the most of the architecture I have to work with and even making it part of the display if that is feasible,” said Bart Kresa, founder and projection designer, BARTKRESA Design. “One part of the show using the Christie projectors included both the sky and background looking like you were at Kennedy Space Center. We also showed views as if you were taking off on the shuttle followed by views of both the earth and space from orbit.”
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With crossbeams, girders and the shuttle itself overhead in the pavilion hangar, Kresa’s challenge was how to map everything cleanly without breaking up the images.
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“I knew that if we just projected over everything it would not look professional, the image would break up because of the beams,” said Kresa.
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“We started by creating the design for the background and separated the elements in the show from the construction elements. We ended up projecting at angles. Because the space shuttle took up pretty much the entire hangar, we had to place the gear – including the projectors – in odd spaces. We placed some projectors underneath the trunk of the shuttle and used the Christie projectors’ keystone correction to make it all come together. Everything looked wonderful and it was really something to see.”
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“Christie projectors are just great; they provide beautiful images and exceptional color,” he concluded. “They are very durable and the overall performance is excellent. I just love working with Christie projectors.”
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Kresa has used Christie on other projects, including Shark Week, and continues to be excited to work with Christie technology.

ANTON/BAUER HITS THE ROAD WITH ALEX BUONO FOR VISUAL STORYTELLING TOUR

SHELTON, CT, JULY 12, 2013—Anton/Bauer®, part of Vitec Videocom, a Vitec Group company and a premier global provider of batteries, chargers, lighting and other mobile power systems for the professional broadcast, video, film and healthcare technology industries, is pleased to announce its sponsorship of Alex Buono’s Visual Storytelling Tour. more

Texas Tenors Sing for grandMA2 During the Making of Their PBS Special

After taking “America’s Got Talent” by storm four years ago, the operatic cowboys known as the Texas Tenors have taped a PBS special on which a grandMA2 light controlled all the lighting fixtures. A.C.T Lighting is the exclusive distributor of the MA Lighting in North America.

Known for taking audiences “from Alabama to Puccini,” the Texas Tenors (John Hagen, Marcus Collins and JC Fisher) performed a diverse set at Grand Canyon University in Phoenix with the Phoenix Symphony, the New Life singers and the college’s choir. The resulting special, “You Should Dream,” will air on PBS stations nationwide.

Lighting designer/director Matthew Firestone already had a show for the Canadian Tenors under his belt when he was tapped for the Texas Tenors’ special. “The Texas Tenors had seen the show and liked it. They hired the director of that show, and he insisted they bring me in, too,” says Firestone.

“We didn’t have a lot of time – three days to program 18 songs. But we were pretty much done when we got on site thanks to three days of pre-viz,” he explains. Firestone and programmer Eric Gorleski “got in crucial previs time” at the A.C.T offices. “Without previs, it wouldn’t have worked – once we were on site we had an overnight load in for a 2 pm start. That’s a really quick turnaround.”

Firestone notes that, “a major plus on this project was using grandMA 3D for previs. I had used it before, and it went really well. The 3D is so integrated – we got some really good looks.”

He says specifying the console “was a no brainer” and cites grandMA2′s “ease of programming, speed and very detailed cueing” as attributes he appreciates.

“Being able to pull off the project in that amount of time was unbelievable,” Firestone concludes. “This was a very painless job. With the support of A.C.T and grandMA 3D we were able to produce a really good quality television program with little to no on-site programming time.”

Clearwing Productions in Phoenix provided the grandMA2 console.

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