Archive for July 17th, 2013

FOR-A to Showcase a Variety of its Popular Solutions at SET Broadcast & Cable Show

Cypress, CA – At the upcoming SET Broadcast & Cable Show, FOR-A Corporation of America will demonstrate a number of its video and audio solutions in Booth F1. This year marks the 22nd SET Broadcast & Cable Show, which will take place in São Paulo, Brazil at the Exhibition Centre Immigrants from August 20-22.

One of the highlights of the FOR-A booth will be the FT-ONE 4K variable frame rate camera. The FT-ONE employs FOR-A’s “FT1-CMOS” high-sensitivity color sensor and has the ability to record up to 900 frames per second. The camera captures images as uncompressed raw data on the system’s internal memory, which has a recording capacity of 9.4 seconds. This data is then stored on one of two hot-swappable SSD cartridges, each of which is capable of storing 84 seconds of full 4K resolution images. Since its introduction last year, the FT-ONE has been used for a variety of high-end sports broadcast and digital cinematography applications, including the championship football game earlier this year in New Orleans, professional boxing, rugby, soccer and ice cross downhill competitions.

Another camera that FOR-A will showcase is the FLOVEL FZ-B1 high-sensitivity HD unit. The newest addition to FLOVEL’s extensive line of high-end HD specialty cameras, the new FZ-B1 has at its core a 2/3-inch CMOS 1.3 megapixel color image sensor. The compact camera records in 1080/59.94i, 1080/50i, 720p/60p and 720/50p formats and has an unprecedented low-light sensitivity of only 0.01 lux. Superior HD color imagery coupled with low-light sensitivity makes the compact camera ideal for demanding high-resolution applications, such a day/night nature video production.

FOR-A’s HVS-390HS compact, cost-effective video switcher will also be shown. The unit includes 16 HD/SD-SDI inputs and eight outputs (expandable to 24 inputs and 13 outputs), with frame synchronizers for all inputs. The HVS-390HS was first introduced last year, with new capabilities recently announced. The new functionality, referred to as a MINI M/E, is an extension of the aux bus system that allows operators to deploy any aux bus transition with cuts, mixes, or wipes, and display a keyer complete with DVE functions. These features are offered as standard in the HVS-390HS.

FOR-A will also show its newest line of video switchers, the HVS-XT100 and HVX-XT110 HD/SD portable units. Shown for the first time in Latin America, the HVS-XT100 comes with a separate main unit and control panel, while the HVS-XT110 features a compact, integrated design.

The award-winning FA-1010 signal processor will also be in FOR-A’s booth. With 10 video inputs and outputs, the new FA-1010 offers multi-channel routing between sources as well as effective video and audio signal processing for line, relay, reporting, production, editing, and delivery applications. Providing extreme connectivity and functionality, the unit is referred to as THE Processor. Another signal processor that will displayed by FOR-A is the FA-9520 3G/HD/SD dual channel multipurpose unit. The FA-9520 is suited for a variety of applications, including master control, mobile production, post production services and live production.

Other products to be showcased in FOR-A’s booth include the MV-1620HS HD/SD high resolution multi-viewer. The compact (1RU) unit features a customizable layout, audio meter, and title and timer display. The IVS-710HS HD/SD video stabilizer will also be demoed. The unit provides real-time correction of unwanted camera movement and vibrations. FOR-A’s lightweight, compact VTW-330HS HD/SD character generator and FRC-30 HD/SD frame rate converter will be showcased as well.

“Brazil’s Broadcast & Cable Show is an exciting event for us,” said Mario Rodriguez, FOR-A’s Latin American Sales Manager. “The show attracts key decision makers in television engineering, radio, and telecommunications in Latin America, and is a great chance for FOR-A to show off our new and popular solutions in a region that’s so important to us.”

About FOR-A

FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, postproduction and professional video markets. For more information about FOR-A’s product line, call 714-894-3311 or visit our web site at

Shotgun Software Showcases Latest Software Releases at Siggraph 2013

Shotgun 5.1, User Events and More at Anaheim, Calif Conference

Los Angeles, CA — Shotgun Software will be showcasing the latest 5.1 release of their popular production management platform at the 2013 Siggraph Conference, July 22-25 at the Anaheim, Calif Convention Center from booth #737. Shotgun Software is the leading pipeline tools developer for the visual effects and animation industry, and with the Shotgun 5.1 release, enables a host of new features including a redesigned user interface, simplified browsing tools and the option to create and edit playlists in Shotgun’s included Screening Room review tool. Demonstrations from Shotgun integration partners Tweak Software, Zync Render, Fabric Engine and Codex will also be available at booth #737 throughout the conference.

At Siggraph, Shotgun will be hosting two events open to Shotgun customers, or anyone interested in optimizing VFX, animation and game development pipelines. The Shotgun User Group meeting will be held on Tuesday, July 23rd from 2-3:30 in room 213a and will provide a sneak peek at what’s coming in Shotgun 5.2 this fall, and an opportunity to share industry best practices and discuss common challenges with peers. A second Pipeline Toolkit User Group event will be held on Wednesday July 24th from 2-3:30 in room 213a and will host an in-depth technical discussion focused around Shotgun’s latest tools, multi-studio and script to screen pipeline prototypes, and a general discussion about common issues and best practices around modern pipeline development.

Key features in Shotgun 5.1 include:
– New Project Overview page providing at-a-glance access to essential project information
– Screening Room updates simplifying access to media review
– Multi-panel browsers allows faster navigation of tracked data
– More of the application has been redesigned with a simpler and more user-friendly interface

“Siggraph is an amazing show for us each year where we can get in front of a huge cross section of our clients and talk to them about what we’ve accomplished, where we’re headed, and what else we should be thinking about,” said Don Parker, CEO and co-founder of Shotgun Software. “We have a lot to show this year and are looking forward to connecting with our clients and partners.”

About Shotgun Software
Shotgun Software was founded in 2006 by a group of visual effects professionals to build production tracking and pipeline solutions. The founding members worked together on a major studio animated feature and develop Shotgun 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 400 industry studios including Double Negative, Blue Sky, Laika, Framestore, Illumination, Prime Focus, EA, Playstation, Blizzard and Zoic Studios. For more information and an online demonstration visit

“Oscars® Outdoors” Summer Film Series Shines Bright With Christie DLP Cinema Technology

With its second season underway as of June 15, “Oscars Outdoors,” a ten-weekend summer film series sponsored by The Academy of Motion Picture Arts and Sciences, is receiving rave reviews. And integral to the success of its weekend screenings – offering contemporary favorites and classic Hollywood films – is the Christie Solaria® Series CP2230 DLP Cinema® projector.

Oscar Outdoors (Photo credit- Todd Wawrychuk ©A.M.P.A.S.)

Capable of projecting 2D and 3D films at high resolutions and in brilliant color, even through the challenges of outdoor cinema projection, the Christie Solaria projector continues to fill a black-backed, 40 foot by 22.5 foot Harkness screen with amazing images for the 500+ families in attendance most weekends. Complementing the visual impact is an impressive L-ACOUSTICS sound system.
“We improved upon our first season by incorporating the Christie® solution, a higher-quality projection,” said Jay Palmer, Theater Operations Engineer with the Academy of Motion Picture Arts and Sciences. “The enhanced functionality combined with superb setup by Christie all figured in a very successful debut.”
Besides the Oscars Outdoors screening series, the open-air theater – on the property of the Academy at 1341 Vine St., between De Longpre and Fountain Avenues and between Vine Street and Ivar Avenue, just south of the ArcLight Cinemas – has been used by both the Academy and community as an event space for special screenings, educational events and other festivities.
“For more than 80 years Christie has been serving the movie industry and filmgoers, so it was natural that, when approached to assist with this worthwhile project, we readily agreed,” said Craig Sholder, VP for Entertainment Services, Christie. “Our technology is leading-edge and our ability to play well with other cinema offerings ensures successful showings.”
For more information on the Academy’s public events, visit .

Tweak RV Facilitates Global VFX Playback and Review for MPC

RV Also Selected as Backbone of MPC’s Proprietary ReviewTool Software

San Francisco, CA — Leading global visual effects studio MPC has standardized on Tweak Software’s image and sequence viewer, RV, for playback and review across its feature film VFX facilities in Vancouver, Montréal, London and Bangalore. As early adopters, RV was first used at MPC in 2010, and is now fully integrated into its global pipeline, and has successfully streamlined VFX production on both 2D and stereo 3D blockbuster films including Pirates of the Caribbean: On Stranger Tides, X-Men: First Class, Harry Potter and the Deathly Hallows: Part 2, Prometheus, Life of Pi, Skyfall, Fast & Furious 6, Man of Steel, World War Z and many more.

Tweak’s RV is a collaborative cross-platform, real time, high dynamic range image and sequence viewer offers pipeline-friendly customization, out-of-the-box integration with key tools including Nuke and Maya, support for a variety of industry standard image formats, one-click remote sync, and more. With over 1,000 artists to manage across multiple continents, MPC taps RV in the screening room, at artist workstations and as the underlying platform for its new proprietary ReviewTool VFX editing software.

“All of our films run through RV, and we’ve had a great experience with it since day one,” said Damien Fagnou, Global Head of Software at MPC. “We’re able to use RV very successfully across facilities and like the fact that it runs on Linux, Mac and Windows and supports all of the formats we use from EXR to Cineon, and it also supports a wide variety of LUTs.”

One of the biggest benefits MPC has realized in working with RV is in the screening room. “Before using RV, we used to use really specialized equipment in the screening room, like expensive 2K players that required dedicated operators—our other option was to play work back in Final Cut Pro, but then we couldn’t review 2K frames,” explained Fagnou. “With RV, we enable all artists, leads and supervisors to drive their own review sessions and that has made a huge impact. We are installing a Wacom tablet at the front of each screening room so, for example, supervisors on London can annotate directly on the 2K content they’re reviewing in a synced session with artists in Bangalore, which is the kind of direct, real-time feedback that is crucial.”

MPC has also significantly improved the speed with which artists can interact with their shots in review. “With the customization ability in RV, we have embedded our proprietary asset management system directly into RV. It has improved the rate at which we can review shots and interact with media by 10X. Artists in particular love this,” continued Fagnou.

At the SIGGRAPH conference July 21-25 in Anaheim, Calif, MPC will be presenting a paper about its new in-house VFX editing software, ReviewTool. Development of ReviewTool was driven by production needs as VFX Supervisor Adam Valdez was working on World War Z. ReviewTool is a database-driven VFX editing application that MPC built on top of RV. ReviewTool and RV allows supervisors to edit VFX sequences without an editor. Fagnou explains, “Artists can be in control of simple VFX editing directly from their workstations to review in 2K with their team before passing it along to an editor for final implementation. This has changed how the VFX teams interact with their media in a big way.”

Fagnou and Valdez continue to refine ReviewTool as MPC artists test it on work for upcoming films. “There are so many technological aspects to RV that make it a great platform for MPC – but it’s also about the people,” concluded Fagnou. “Tweak’s crew always give us stellar support, and we’re very confident in their abilities. We’re thrilled to have developed such a great partnership with them – they’ve truly changed how our artists work.”

About Tweak Software
Tweak Software was founded in 2007 to develop tools that address real-world production needs of VFX and animation professionals. The Tweak partners Jim Hourihan, Seth Rosenthal and Alan Trombla spent many years at Industrial Light and Magic where they developed tools and techniques still in use at that facility today. Jim Hourihan is the recipient of two Sci-Tech Academy Awards and is best known for developing Dynamation, the first commercial particle system that was subsequently incorporated into Autodesk’s Maya software. For more information, visit

Faceware Technologies Unveils Realtime Product, Faceware Live, at SIGGRAPH 2013

Faceware Live captures and transfers live facial performances to 3D facial rigs in real time

Los Angeles, Calif. – July 17, 2013 - Faceware Technologies, the leading provider of markerless 3D facial motion capture solutions, today announced a new realtime product: Faceware Live. The new software solution, which will be available in Q4, 2013, captures a live actor’s facial performance with any video source, and instantly transfers that performance to a 3D character in real time. Faceware Live will be on display at this year’s Siggraph, booth #809 (July 23-25, 2013).

Faceware Live captures facial performances of actors without markers using either onboard computer video or webcam, the Faceware Head-Mounted Camera, or any other video capture device, then streams that into Autodesk® MotionBuilder®. After a quick one-button calibration, Faceware Live tracks and solves the performance directly onto any 3D model. If the actor smiles, so too does the model, in real time. Faceware Live currently works on Windows®. Future versions of Faceware Live will support additional Autodesk products, operating systems and game engine technologies.

“We’ve seen growing demand across a number of industries for realtime facial motion capture,” said Peter Busch, vice president of business development at Faceware Technologies. “Faceware Live is our revolutionary approach to meeting this demand. This product addresses the many challenges that arise in production and enables rapid content creation for anything from live stage performances to on-set pre-visualization to a desktop tool for animators.”

Faceware Live has many applications, including:

- On Set Pre-Visualization — Directors, actors, and creative leads can see their on-set facial performances streamed onto their digital characters instantly, which helps them gain an immediate understanding of how a live performance translates to the digital character. Faceware Live even captures highly accurate eye movement, allowing for a true indication of performance for real-world production tasks such as 3D camera blocking and placement.

- Live, Interactive Experiences — Digital characters can now interact live with real performers for an unlimited number of use cases, including broadcast television, corporate events, and tradeshows.

- Desktop Production Tool- Artists can produce animation instantaneously for rapid prototyping and content creation, all at their own workstation.

How It Works

Faceware Live consists of two simple components: Image processing and data streaming. In realtime, Faceware Live reads from a selected video source, running at any frame rate, and tracks and solves the facial performance to a set of animation values that are streamed from the application. Autodesk MotionBuilder accepts the stream of animation and applies it to a set of pre-defined controls. Using Faceware’s Character Setup tool the animation can be easily mapped onto any digital character.
“We’ve designed Faceware Live so that the image processing component does all of the heavy lifting. There is almost no work for MotionBuilder other than applying animation curves to your character,” said Jay Grenier, director of technical operations. “This gives you an extremely stable and scalable solution for realtime facial animation.”

Where to See Faceware Live

Anyone can demo the new software in Faceware Technologies’ booth #809 at Siggraph 2013, July 23-25 in the Anaheim Convention Center.

For more information, visit or contact

# # #

About Faceware Technologies

Sherman Oaks, California-based Faceware Technologies Inc. (FTI), which spun off from Image Metrics in 2012, is dedicated to meeting the needs of professional animators in the video game, film, television, and commercial industries. The company’s Faceware product line has been utilized in the production of more than 80 AAA video game titles, feature films, music videos, commercials, television shows, and stage plays, and is the leading facial animation solution provider for clients such as Double Negative, Digital Domain, Blur Studios, Activision-Blizzard, Rockstar Games, Microsoft, 2K Sports, Electronic Arts, Ubisoft, Sega, Sony, Bethesda, Motion Theory and Moving Picture Company. The Faceware Facial Motion Capture product line consists of the Faceware Head-Mounted Camera System (HMCS), the 6th generation facial performance capture hardware; Faceware Analyzer, which allows clients to analyze and process their own performance videos without IP or content going offsite; and Faceware Retargeter, a free plug-in which allows users to create facial motion capture data at a much faster rate than traditional methods.

For more information, please visit:





Email This Post Email This Post

Related Topics: News |

Render Rocket Debuts LaunchPad and Throttle at Siggraph 2013

New technical innovations and pricing model greatly reduce costs and bottlenecks in the render process for individual artists and studios

LOS ANGELES – July 17, 2013Render Rocket LLC, an advanced cloud-based rendering services company, today announced that it will showcase two new innovations at this year’s Siggraph — a new, open source cloud-rendering application called Render Rocket LaunchPad and a new cloud resource management tool called Render Rocket Throttle — as well as a new pricing model. Render Rocket will be presenting all three at the Intel Studio Lounge (Room 201B, off the show floor) at Siggraph 2013.

Once installed, LaunchPad allows artists to tap into the power of cloud rendering with one click-and-submit step. Accessed directly from within the menu of Autodesk® Maya®, 3ds Max®, or Maxon Cinema 4D, LaunchPad will automatically check, package up and submit a render job (or series of jobs) to the Render Rocket cloud. This helps artists launch render jobs faster, and removes the risk of render failures by ensuring that all elements of the scene file, all references and networks paths, are correct. Once submitted, artists can monitor their submitted renders from within the application in order to see which jobs are launched and rendering. LaunchPad will be available for Windows and Mac.

“Our users just want renders to work. With LaunchPad, we’ve managed to take the very complex process of cloud rendering and make it as easy as one-click from within their favorite 3D application. We’ve also made our LaunchPad plugin open source, so our power users can customize it to align with their workflow,” said Ruben Perez, CEO of Render Rocket.

In addition, Render Rocket’s Throttle puts customers in the pilot’s seat with the ability to control render resources working on their project and the ability to manage their project costs and render delivery. With Throttle, users can now scale up or down the number of servers working on their renders on-the-fly in order to meet their deadlines and budgets. For high performance “need it yesterday” jobs, users can “throttle up” to hundreds of servers; or for projects where cost management is critical, users can “throttle down” the number of servers for significant cost savings. In addition, users can prioritize their render jobs using drag-and-drop functionality in order to best use their resources.

Starting on September 1, 2013, Render Rocket will also charge by the number of renders nodes per hour rather than by cores per hour. Each individual render node will cost $1-$4/hour, representing a 35% decrease versus current pricing. Loyalty discounts will now apply for studios that use Render Rocket’s services often to further reduce render costs. This lower cost combined with the increase in control with Throttle provides a far better experience and return on investment to artists, producers and studios who are working in fast-paced environments with constantly shifting priorities.

“Render Rocket has always been known for its great customer service, but we always knew there was more to be done. These innovations bring the customer experience to a completely new level,” said Ruben Perez, CEO of Render Rocket. “Customers will now have more confidence in their render jobs, better control of their job priorities and costs, and more peace of mind overall.”

Render Rocket will debut the two new innovations at this year’s Siggraph in the Intel Studio Lounge (Room 201B off the show floor). Both LaunchPad and Throttle are expected to launch in early Fall.

About Render Rocket

Render Rocket began selling remote rendering services to the media and entertainment industry in 2005 with a vision to deliver professional-level rendering power on-demand to any 2D and 3D production team, regardless of its size or location. Today Render Rocket is the leading cloud-based rendering solutions company and offers it’s services to film, post production, visual effects, broadcast, universities, industrial design, automotive, architecture, game cinematics, and graphic design companies. It counts among its numerous customers companies such as Nike, Nokia, Superfad, Nickelodeon, Sony Imageworks, Lockheed Martin, THQ, The Antfarm, Picture Mill, NYU, Columbia University and Engine Room. For more information, visit or email



Email This Post Email This Post

Related Topics: News |

Seattle Mariners Debuts FUJINON HD Imagery on Big Board at Safeco

Lenses selection based on ability to produce sharp HD picture on LED display eight times larger than previous board

Wayne, N.J. – FUJIFILM North America Corporation, Optical Devices Division has announced that the Seattle Mariners—a Major League Baseball American League team—debuted a new Panasonic Lighthouse HD LED video display featuring imagery from new HD camera equipment put into service just before the season opener in April.

The new camera equipment includes: two Grass Valley LDX 80 Premiere multi-format studio/field cameras paired with two FUJINON XA77x9.5 HD telephoto field lenses. The Seattle Mariners also ordered a FUJINON HA14x4.5 super wide-angle HD ENG/EFP lens for use on a Sony PMW500-HD02 XDCAM camcorder. A second XDCAM camcorder is paired with a FUJINON ZA22x7.6BERD ENG/EFP HD lens acquired last year.

Since the new camera equipment was installed and commissioned in late March 2013, it has been used for game-day entertainment at Safeco Field—the home ballpark for The Seattle Mariners—starting with the 2013 season opener. It has also been used to support and enhance a variety of community events, including a private Microsoft corporate party and a series of high school baseball games held at Safeco.

“Considering the size of our new, widescreen HD video board, it’s critical to have acquisition gear that can produce exceptional HD picture quality that stays clear and sharp on such a massive display,” said Yezmin E. Blue, BSCS, CBTE, manager of broadcast engineering for the Seattle Mariners. The new 11,425 square foot Panasonic LED display is roughly eight times larger than the Safeco’s previous video display.

“With 81 regular season home games and over 450 private events annually, our cameras and lenses are in constant use, often in windy, rainy, or dusty conditions,” Blue added. “We’re committed to producing the best possible big-screen video show and these rugged, reliable FUJINON lenses enable us to do that.”

After the public had a chance to see the new 1080i HD video display and camera equipment at an Open House and media event prior to the start of the 2013 season and during the season opener, the gear was used for a double-header featuring two Seattle high school baseball teams on April 20, 2013. These new resources were also used on May 2, 2013 when Safeco hosted a private party held by Microsoft to honor 750 employees who had reached their 10-year anniversary with the company.

“During the high school games, we featured the student athletes on our video board in Major League Baseball style,” said Blue. “For the Microsoft party, our cameras captured all the day’s activities for the video screen, including the fun the employees had running the bases, enjoying food in our private clubs, as well as the special music concert held in their honor that evening.”

To cover action on the field, the two studio cameras are situated on tripods on the club level behind home plate. Video signals are carried over 1,000 feet via triax cable to the control room, also on the club level, where they’re switched using a Ross Vision production switcher. The two camcorders are shoulder-mounted, and VistaLink HD RF wireless transmission systems enable the operators to freely rove the stands for crowd shots. The video for the HD screen is also displayed on TVs throughout the concourse and suites.

“When you make a significant investment in production equipment, you want assurance that the vendor stands behind its product. With our new broadcast-grade lenses, I can honestly say that the service we’ve received from FUJINON Sales Rep Josh Ewing has been outstanding,” Blue said. “When I recently requested a lens cleaning kit, Josh came out to Safeco with supplies, and even gave our technicians an impromptu demonstration on the proper way to clean and care for the lenses. I’ve been very impressed with our FUJINON lenses and the manufacturer’s commitment to excellent customer service.”

About Fujifilm
FUJIFILM North America Corporation, a marketing subsidiary of FUJIFILM Holdings America Corporation consists of four operating divisions and one subsidiary company. The Imaging Division provides consumer and commercial photographic products and services, including: photographic paper; digital printing equipment, along with service and support; personalized photo products; film; and one-time-use cameras; and also markets motion picture archival film and on-set color management solutions to the motion picture, broadcast and production industries. The Electronic Imaging Division markets consumer digital cameras, and the Graphic Systems Division supplies products and services to the graphic printing industry. The Optical Devices Division provides optical lenses for the broadcast, cinematography, closed circuit television, videography and industrial markets, and also markets binoculars. FUJIFILM Canada Inc. sells and markets a range of Fujifilm products and services in Canada. For more information, please visit, go to to follow Fujifilm on Twitter, or go to to Like Fujifilm on Facebook. To receive news and information direct from Fujifilm via RSS, subscribe at

FUJIFILM Holdings Corporation, Tokyo, Japan, brings continuous innovation and leading-edge products to a broad spectrum of industries, including electronic imaging, digital printing equipment, medical systems, life sciences, graphic arts, flat panel display materials, and office products, based on a vast portfolio of digital, optical, fine chemical and thin film coating technologies. The company was among the top 10 companies around the world granted U.S. patents in 2012, and in the year ended March 31, 2013, had global revenues of $26.7 billion*. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please

* At an exchange rate of 83 yen to the dollar.

Orad to Showcase New Powerful Broadcast Graphics and Video Server Solutions at IBC 2013

Orad’s lineup will include state-of-the-art on-air graphics, sports, MAM and video server solutions

Amsterdam, The Netherlands – July 17, 2013 – Orad, a global developer, marketer and distributor of graphics solutions for the broadcast market, will be presenting its newest product lineup at the upcoming 2013 IBC Show held at the RAI Convention Center in Amsterdam from September 13 – 17, 2013 (stand 7.B27). Orad’s professionals will be on-site to provide attendees with informative demonstrations and presentations of its MAM, sports and video server solutions.

“During IBC2013, Orad will demonstrate our wide variety of unique broadcasting solutions. Booth visitors will enjoy exciting, interactive demos and gain a better understanding of the endless possibilities Orad solutions can offer,” comments Avi Sharir, president and CEO of Orad.

IBC2013 Lineup – What to See at the Orad Booth
Press and attendees are invited to stop by the Orad stand (7.B27) to see Orad’s award-winning solutions.

Video Server Solutions
Orad’s family of video server solutions has been extended to include slow motion, production and playout server solutions – all designed to increase productivity while decreasing operational costs. The Blend file-based channel-in-a-box solution provides HD/SD video playout coupled with 3D real-time graphics. By providing a full solution for playout and branded graphics, Blend eliminates workflow complexity, making it ideal for MCRs, playout facilities and disaster recovery. PlayMaker, Orad’s next-generation sports replay server, provides up to eight I/O channels of high-quality ingest in multiple video formats, with synchronized slow motion replay and powerful yet simple editing tools. PlayMaker has been enhanced for IBC to include studio mode, a dedicated workflow for multiple playlist highlight editing from various incoming feeds, and FlexFX, which enables real-time video effects and 3D graphic transitions for sports highlights integrated into PlayMaker’s workflow. Orad’s VJ production server provides a tapeless workflow from ingest to playout. New features for IBC include adding metadata to each clip and TimeControl, a 24/7 plugin that schedules recordings and playout automatically.

Broadcast Graphic Solutions
From authoring to playout, Orad’s powerful on-air graphic solutions provide a complete suite to address the different aspects of broadcasting graphics. Included in Orad’s extensive on-air graphic solutions are authoring news and studio productions, channel branding, interactive graphics, video wall graphics, virtual studios and more. Orad’s broadcast graphic solutions on display at IBC will feature Maestro enterprise graphics solutions for studio and news production. Maestro integrates with commonly used newsroom NLEs and studio automation systems offering an integrated graphics solution. This IBC, Maestro will be demonstrated along with Orad’s new Smart Shot – a dedicated programmable shot box, allowing triggering graphics to air.

New at IBC is Orad’s Social Media Hub. The social media hub retrieves data from social networks such as Twitter and Facebook, filters the data and displays it on air. At the same time, using the social media hub, graphic elements such as lower thirds could be pushed to the social TV creating a two-way communication channel.

TD Control, Orad’s new generation of studio automation, consolidates different content, such as video inputs, video clips, sophisticated graphics and data for either video boxes or video walls, with a click of a button. Orad Interact, which enables presenters to control graphics content directly on their touch screens, video walls and other input devices, will feature interaction with live web content from within the interactive graphics at this year’s IBC. Also on display will be Orad’s PowerWall system for video walls, based on Orad’s HDVG4 platform. PowerWall provides up to 16k resolution output from a single four-rack unit system.

Orad’s iFind is an easy-to-use, cost-effective and scalable browser-based management solution for all assets wherever and whatever they are – video, audio, graphics, etc. Powerful new configuration and workflow management modules put customers in control, making it easy to configure and manage users, metadata sets and workflows. Graphics management capabilities continue to be expanded with powerful integration with Maestro and newsroom systems, new work-order management features, and the ability to manage the complex structures of graphic content during production.

Book A Private Press Briefing
To set up a press briefing with a member of Orad’s management team or a private product viewing, please contact Anya Oskolkova at

About Orad
Orad Hi-Tec Systems is a world-leading provider of real-time 3D broadcast graphic and video server solutions including news, channel branding, sports production and enhancement, elections and special events, virtual studios, and virtual advertisement. Orad’s compelling solutions streamline production workflow, enhance viewer experience, and improve production value. Founded in 1993, Orad is a public company listed on the Frankfurt Stock Exchange (OHT). More information is available at

Press Contacts
Ofir Benovici
VP Marketing
Orad Hi Tec Systems

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


AES Draws World R&D Community for Sound Field Control Conference

— AES’s 52nd International Conference titled “Sound Field Control – Engineering and Perception” in Surrey, Guildford, UK, September 2-4, 2013 —

New York, NY, July 16, 2013 — Registration is now open for the first AES international conference on Sound Field Control, slated to take place at the University of Surrey, Guildford, UK, September 2-4, 2013. Held within a short distance of London’s major international airports, this conference aims to bring together engineers and perceptual scientists from around the world to share their research in this fast-moving field, and to discuss the numerous interactions between acoustics, signal processing, psychoacoustics and auditory cognition.

Inviting the world R&D community to attend the conference, chair Francis Rumsey said, “This is an unmissable event for anyone involved in the active control of sound fields, whether as a researcher, developer or practitioner. This is going to be a major theme of audio product development and design over the next ten years, and the personalization or customization of sound fields using audio technology is a becoming a really big deal. We’ve accepted over 40 contributions, including a number of invited presentations from the leading minds on beam forming, arrays, sound zones, spatial issues, perception and signal processing, and there’ll be some fascinating workshops and demos for people to experience the issues first-hand.”

Three fine keynote lectures from leading experts go hand-in-hand with live demonstrations and workshops on the interface between perception and engineering in this fast-moving research field. Keynotes include Professor Steve Elliott of the ISVR in Southampton, UK, who will give an introductory tutorial on “Active control of sound fields”; Professor Armin Kohlrausch of Philips Group Innovation and Eindhoven University of Technology, Netherlands, on “Evaluation of spatial sound fields; how far can we get with perceptual models?”; and Dr Frank Melchior, Head of Audio Research, BBC, UK, to discuss “Creative Sound Field Control.”

Sound field control enables the active management of audio delivered in an acoustical environment. Sophisticated signal processing and reproduction tools increasingly enable the engineer to tailor the sound field for specific applications, occupancy or listeners’ requirements. This can include the creation of independent sound zones in listening spaces, the active control of noise, personal communication systems, the electroacoustic manipulation of auditorium acoustics and the generation of complex spatial sound fields using multi-channel audio systems.

Discover the preliminary program and make your travel plans now to visit the UK in early September. Low-cost accommodation has been arranged in high-quality ensuite university rooms for conference delegates. Find out more and register for the event at the conference website: Find us on Facebook at and follow us on Twitter at #AES_SFC.

Email This Post Email This Post

Related Topics: News |

AS Project Co. First to Install Focusrite RedNet in Japan

RedNet user base continues to expand globally

Los Angeles, CA, July 16, 2013 – RedNet is Focusrite’s flagship modular high-quality audio networking system based on Dante®’s powerful digital audio network. AS Project Co. Ltd., located in Shinjuku, Tokyo, recently became the first users of RedNet in Japan.

AS Project Co. specializes in live and event sound and has been using the Yamaha CL live console series in conjunction with Pro Tools HD. As existing Yamaha CL series users, AS Project Co. decided to take advantage of the fact that the console has built-in Dante functionality by choosing RedNet 5. Two RedNet 5 units are connected to Pro Tools HD and to the Dante network, allowing 64 channels of high-quality, uncompressed digital audio to pass between the console and the recording system.

Sound engineer Masahiro Fukuhara spoke about his implementation and initial thoughts of RedNet: “RedNet 5 is recognized immediately as two 192 Digital I/O™ units from the Pro Tools® side, and therefore the routing is very straightforward. RedNet Control and Dante Controller are installed in the MacBook Pro with Nuendo Live. Pro Tools HD is installed on the main Mac Pro machine and Nuendo Live works as a backup for recording. Within the Dante network, digital audio signals for recording are connected through a Gigabit Luminex GigaSwitch 8 Ethernet switch. Long-distance cabling requirements are taken care of by high-quality Cat5e cable. The master clock from the system is taken from a black burst generator converted to word clock by a SYNC I/O™ into the Yamaha CL5, which is then the master clock for the Dante network. RedNet 5 provides the loop sync for an additional 192 I/O™. I’ve had experience with Dante, but installing RedNet 5 was easy – just connect and power-on. We’ve already used it for some live recordings, and it’s worked well every time.”

192 I/O, SYNC I/O and Pro Tools HD are trademarks or registered trademarks of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries.

Email This Post Email This Post

Related Topics: News |


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.


July 2013
« Jun   Aug »

Your Account


Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication