Archive for September 12th, 2013

Osheaga Music and Arts Festival Leaps Onto the World Stage as Sennheiser Provides Exquisite Sound for Fourth Year in a Row

Montreal, September 12, 2013 – Montreal’s Osheaga Music and Arts Festival, held every summer at the city’s breathtaking Parc Jean-Drapeau on Île Sainte-Hélène, is not only well established as Canada’s top music festival, but is also ranked as one of the top music festivals in the world. With many thousands of passionate indie music fans in attendance, audio manufacturer Sennheiser was on hand to support the Green Stage (La scène verte) for the fourth year in a row, along with loudspeaker manufacturer K-array.

Since launching in 2006, when headliners including Sonic Youth, Ben Harper, and the Flaming Lips drew a crowd of 25,000, Osheaga has grown to attract no less than 135,000 music fans – and along the way has become an essential stop among many touring artists’ itinerary. In 2012, Pollstar ranked Osheaga Music and Arts Festival as the 11th largest in the world. This year, amidst mostly sunny skies, international touring artists gracing the Green Stage included The Breeders, The Gaslight Anthem, Tricky, Explosions in the Sky, Beach House and many others. Sennheiser’s Global Relations Team supported Osheaga’s Green Stage by supplying an impeccably pre-configured rack of its wireless solutions including IEMs (in-ear monitors), while Sennheiser Canada supplied a comprehensive selection of instrument and vocal microphones as well as the latest energy-efficient loudspeakers from K-array.

“The Osheaga Music and Arts Festival continues to enjoy an increasing international profile as a ‘destination music festival’, attracting music fans from all around the world with the beautiful backdrop of Montreal,” said Sennheiser’s Kristy Jo Winkler, relations manager, Americas. “Four years ago, Sennheiser helped the Green Stage establish an impressive standard in sound quality, staging and power efficiency. We hope to continue doing this for many years to come.”

Sennheiser makes Osheaga’s La Scène Verte sing

Dozens of veteran and emerging artists delivered electrifying sets through to a rapt audience of as many as 25,000 at the Green Stage. Living up to its “green” moniker, the stage featured the latest, highly efficient line of K-array speakers, as well as Sennheiser’s 2000 series wireless transmitters and receivers, its evolution series wired microphones, and its ew 300 IEM G3 wireless monitoring systems.

Sennheiser e 935 wired microphones were used as well as MMD 935-1 microphone capsules in conjunction with SKM 2000 XP handheld wireless transmitters. “I have been using Sennheiser 935 capsules for many years now and I love them,” states Greg “Monk” McClement, front-of-house engineer for the Sennheiser Green Stage. “We used them throughout the festival, in both wired and wireless applications. That’s the main vocal capsule I use on anything I do.”

Sennheiser’s evolution series microphones were also used throughout the backline. Monk had Sennheiser mics covering the entire drum kit on the stage, starting with the e 602-II cardioid microphone on the kick drum: “When the e 602-II mic came out, suddenly I had the attack, as well as the softness that is necessary for the type of music that I am doing,” he says. “All kick drum mics are different, but the e 602-II gives me more options to find the sound I am looking for.”

For the rest of the drum kit, Monk used a Sennheiser e 905 on the snare, an e 604 on the toms and a Neumann KM 184 on the hi-hat. “The e 604 clip-on is great because it not only sounds great but also helps facilitate the quick changeover we need in between acts for the patch guys on stage,” observes Monk.

The guitars amplifiers were covered by Sennheiser e 906s and e 609s, which were used in combination with a Sennheiser MK 4 large-diaphragm microphone on some of the amps. “The large-diaphragm on the MK 4 helps me pick up the mid-range frequencies properly. On the guitar amps, we had the mic pretty close up to the speaker and the capsule really held up,” Monk says.

Monk was particularly pleased with the state the Sennheiser rack containing the wireless receivers and handheld transmitters arrived in. “Everything seemed to be tuned, and it was super-easy for us to access all the packs and handhelds we needed,” he says. In a live scenario where every production minute counts, this made set up more efficient: “We don’t have time to mess around,” he says. “We are doing live music and everything has to work on the first shot.” The Sennheiser IEMs, as well as the wireless transmitters, proved to be a magical combination for both the production staff and the artists: “When the in-ears sound this good, the bands are all just so happy,” Monk observes. “The clarity between the wireless mics sending and the in-ears receiving is just insane – I have never heard that kind of quality from any other company.”

K-array Powers The Green Stage for Four Years Running

The self-powered PA system on the Green Stage consisted of ten KH4 two-way speaker systems, ten KS4 dipole subwoofers, and ten KO70 dual-21-inch sub-bass cabinets, with additional KH4/KS4 arrays as well as KH15 compact two-way speakers providing fill and delay. “It felt like we were indoors,” says Monk. “It’s very difficult when you are outdoors to have that feeling, but the K-array system managed to deliver that. All the bands’ sound guys were very impressed and really felt like they were mixing inside.”

Vaino Gennaro, Business Director-Live sound Sennheiser Canada, articulated how the K-array speaker system continues to deliver significant energy and cost savings: “The power consumption on the K-array KH4/KS4 speaker system is reduced to a minimum thanks to the use of digital amplifier modules with high-energy output from minimal power input, hence saving energy and becoming the first ‘green’ PA in the market.”

“The compact size, shape and light weight of the K-array system will fit most PA system demands while requiring only a minimal footprint,” Gennaro continued. “This results in savings on trucking – smaller trucks mean lower rental costs, savings on fuel, and requires only a regular driver’s license.” He also observes that the labor for set-up and teardown is minimized, because less crew and man-hours are required. “A lighter system requires fewer rigging points, smaller motors, and can be easily ground-stacked,” he says.

Aside from the cost and set-up efficiencies, the K-array over-delivered when it came to the sound. With its built-in DSP settings, the entire rig was easy to tune and optimize for the venue. “It delivered an awesome clean and true sound that could be heard even from a distance!” says Gennaro. One of the main considerations in setting up the PA was ensuring that the PA would deliver sufficient headroom, in case a sound engineer were to push the system by a few dBs. Gennaro recalls such an instance: “During a set by C2C, the engineer pushed the system and the K-arrays really rose to the occasion and sounded amazing,” he says. “On the live console faders for a system this large, the difference of zero plus one or zero plus two can mean a huge amount of sound. We knew the speakers would handle this and there was absolutely no distortion.”

Looking back on another successful Osheaga festival, Monk is grateful to have Sennheiser at his back: “Sennheiser takes professionals very seriously, and the company stands behind their products when they are engaged at a festival like this,” he concludes. “Each time, they put a really good team together with a lot of experience. This goes a long way during a festival that has many of us working long hours over the course of many days. It is also great for the bands coming in to play, because they know they’re going to get great sound.”

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. In 2012 the family company, which was founded in 1945, achieved a turnover of around 584 million euros. Sennheiser employs more than 2,300 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, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Australia and New Zealand, 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 www.sennheiser.com.

Photo captions:
1: Sennheiser Canada artist Misteur Valaire performs on the Green Stage using Sennheiser equipment
2: Richie Follin from Guards, singing through a Sennheiser e 935 wired microphone
3: Front-of-house engineer Greg ‘Monk’ McClement, manning the Green Stage at Osheaga
4: Racks containing Sennheiser ew 300 IEM G3s wireless monitors and 2000 series wireless microphones
5: France’s C2C turntable quartet pushed the highly efficient K-array PA system to its limits
6: The K-array KH4 and KS4 loudspeakers, at left of main stage

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Celain Increases Its Digital Business Thanks to the New Aquafadas Web Store

Montpellier, France – September 12, 2013 – Aquafadas (http://aquafadas.com/), innovative developer of digital publishing solutions, is making digital publishing fast, friendly and easy with its brand new web store (http://store.aquafadas.com/). One of the first web store customers, Finnish publisher Celain (http://www.celain.fi/), shared its enthusiasm for the ease-of-use and positive impact the new store has made on its own client services. Celain, a company founded less than a year ago by four former Sanoma employees, primarily provides publishing services for the creation of tablet magazines, mobile brochures and applications, and other digital publishing projects. The team experimented with numerous digital publishing systems before discovering the immense benefits of the Aquafadas digital publishing technology. “Aquafadas offers the features we needed – and then some – to produce high quality digital content at a price that can’t be beat,” comments Esa Jalonen, who manages marketing and sales operations at Celain.

With the new streamlined Aquafadas web store, Celain is able to efficiently provide its clients a very comprehensive digital magazine publishing service. “Aquafadas opened its web store just in time for us to begin publishing on behalf of our clients,” Jalonen says. “Through the new store, we can quickly and easily generate our own quotes based on our client’s specific needs. This is a huge time saver as in the past, it often took days of back and forth to finalize a quote. The new Aquafadas store is so simple to use, just like the Aquafadas publishing tools we use after the point of purchase.”

Celain also recently launched its own magazine, GuitarFan, which is available now for iOS as well as for Android. The Finnish publisher is happy to announce the tablet magazine will also soon be available in English. In the near future, Celain plans to grow its digital magazine offering with even more titles for the iPad and Android devices.

About Celain
Celain is a Finnish publisher that develops and publishes tablet magazines and books. The company also offers advertising agency services. For more information, please visit the Celain website: http://www.celain.fi/.

About Aquafadas
Aquafadas, a pioneer in digital publishing technology, enables the creation and mass distribution of graphics rich, interactive digital content such as books, comics, corporate documents, magazines, and newspapers, across all major platforms including smartphones, tablets and the web. Businesses all over the world rely on Aquafadas’ purpose-built content creation and distribution solutions to achieve their digital publishing strategies, significantly expanding content reach while lowering overhead costs. Some of Aquafadas prestigious customers include Bayard, Carrefour, Egmont International, Kelby Media Group, Lagardere, Mondadori, Reader’s Digest, Sanoma, Standard & Poors and Vodafone.

In addition to the Aquafadas Digital Publishing Solution, the company’s line of award-winning creative software is utilized daily by thousands of graphic designers, web developers, photographers and video editors from the avid enthusiast to the seasoned professional.

A Rakuten group business, Aquafadas also provides its technological expertise to Kobo, the world’s fastest growing e-reader provider. For more information about Aquafadas, please visit www.aquafadas.com.

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

Lauren Leger
Zazil Media Group
lauren@zazilmediagroup.com
(p) 508.498.8433
(skype) lauren.zazil

####

Harmonic Announces Interoperability of MediaGrid Storage System With Adobe Anywhere for Video

SAN JOSE, Calif. — Sept. 10, 2013 — Harmonic (NASDAQ: HLIT), the worldwide leader in video delivery infrastructure, today announced interoperability of the Harmonic MediaGrid shared storage system with the Adobe(R) Anywhere for video collaborative workflow platform. Integration of the two products enables media organizations to centralize and manage media delivery services from a primary location while giving users of Adobe professional video tools the benefit of collaborating remotely with fast response times and the best available quality that can be delivered over the available network connection.

“Adobe Anywhere brings together teams of talent to collaborate and create productions from virtually any location where there is network connectivity. Many editors say now, even in remote environments that don’t have high bandwidth, the combination of MediaGrid and Adobe Anywhere makes it possible to edit efficiently,” said Michael Coleman, senior product manager, collaborative workflows, professional video at Adobe. “Today’s announcement ensures users can tap into the full potential of Adobe Anywhere to enable truly effective remote editing workflows.”

Adobe Anywhere is a modern collaborative workflow platform that empowers users of Adobe professional video solutions to work together, using centralized media, across standard networks. The MediaGrid shared storage system provides the bandwidth performance and storage capacity needed to support the on-demand adaptive bit rate transcoding used by Adobe Anywhere transcode engines to stream content over bandwidth connections that may lack performance normally needed to edit centrally stored high-resolution, high-quality images.

Providing a compelling alternative to remote editing solutions that rely on low-resolution proxy material, non-real-time file transfers, or even the exchange of hard drives, the integration of the MediaGrid system with Adobe Anywhere offers significant time savings while eliminating compromises in resolution, image, and sound quality. By minimizing the hardware and support needed by satellite sites, the solution also simplifies administration and management tasks while reducing CAPEX and OPEX expenditures.

Together, Adobe Anywhere and MediaGrid are ideal for editing applications in news, production, postproduction, or any other situation in which collaborative workflows or media access is limited by or unsuitable for traditional edit-in-place operations.

“This integrated solution takes full advantage of the MediaGrid storage system’s ability to deliver high-bandwidth, low-latency performance to attached I/O devices,” said Tom Lattie, vice president of product management, at Harmonic. “MediaGrid provides known and sustainable performance, delivering bandwidth consistently and at the same throughput level whether storage is 1 percent or 99 percent full. The exceptional bandwidth performance of the storage system allows users to maximize the performance of the Adobe Anywhere solution and, in turn, to realize a host of other operational benefits stemming from efficient and reliable collaborative editing workflows.”

Harmonic’s line of advanced broadcast and multiscreen solutions, including the MediaGrid shared storage system, will be featured at Harmonic’s stand 1.B20 during IBC2013 in Amsterdam, Sept. 13-17. Further information about Harmonic and the company’s products is available at www.harmonicinc.com.

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About Harmonic
Harmonic (NASDAQ: HLIT) is the worldwide leader in video delivery infrastructure for emerging television and video services. The company’s production-ready innovation enables content and service providers to efficiently create, prepare, and deliver differentiated services for television and new media video platforms. More information is available at www.harmonicinc.com.

This press release contains forward-looking statements within the meaning of Section 27A of the Securities Act of 1933 and Section 21E of the Securities Exchange Act of 1934, including statements related to the anticipated capabilities and benefits of Harmonic’s MediaGrid storage system. Our expectations and beliefs regarding these matters may not materialize and are subject to risks and uncertainties, including the possibility that the MediaGrid storage system may not meet some or all of its anticipated capabilities or provide some or all of its anticipated benefits, such as exceptional bandwidth performance, and the realization of efficient and reliable collaborative editing workflow.

The forward-looking statements contained in this press release are also subject to other risks and uncertainties, such as those more fully described in Harmonic’s filings with the Securities and Exchange Commission, including its Annual Report on Form 10-K for the year ended Dec.31, 2012, its Quarterly Reports on Form 10-Q and its Current Reports on Form 8-K. The forward-looking statements in this press release are based on information available to Harmonic as of the date hereof, and Harmonic disclaims any obligation to update any forward-looking statements.

NOTE TO EDITOR – Product and company names used herein are trademarks or registered trademarks of their respective owners.

Photo Link: www.wallstcom.com/Harmonic/MediaGridAdobeAnywhere.zip

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Camera Corps Q-Ball Achieves Iconic Status During a Great Summer of Sport

LONDON, SEPTEMBER 12, 2013 — Camera Corps, a Vitec Group Company, is pleased to report a highly successful summer of sport both in its role as a broadcast production service provider and as manufacturer of robotic camera systems. From the Extreme Sports X-Games in Germany, Spain and Brazil, to high-level car racing and the stunning win by Englishman Andy Murray at Wimbledon Lawn Tennis Championships, Q-Ball robotic camera systems were on the scene, unobtrusively delivering all the shots no other camera could get as part of televising the competitive action to the viewing audience.

During April, May and June, Camera Corps provided Q-Ball systems along with a wide range of support equipment for the X-Games series shot in Europe and South America by NEP Visions for ESPN. “The entire Camera Corps team and Q-Ball offering was great,” comments David O’Carroll, Technical Projects Manager, NEP Visions. “From our earliest conversations the personnel and the Q-Ball provided the experience, flexibility and shots necessary to help us achieve the best possible coverage for ESPN.”

Camera Corps was also active at a total of three X Games extreme-sports events in Brazil, Germany and Spain. Camera Corps technicians attended each X-Games event working with O’Carroll and his colleagues to capture dynamic close-up images of the action as well as long-range wide-angle views. The Q-Ball heads were operated as com-cams, providing images of the announcers as they described the action. Because of the compact size and excellent HD-quality images, Q-Ball delivered all the detail necessary for an HD broadcast while allowing the announcers’ personalities to naturally come through, as a large, broadcast camera with operator can be distracting. All cameras were controlled using Camera Corps PTZF joysticks, which provide the tactile feedback essential for covering fast-moving live content. Other Camera Corps equipment used at each event included Camera Corps VHR pan/tilt heads, point-of-view cameras and long-range optical fiber links.

“Everything worked well at all three X-Game venues, including outdoor cameras operating under protective rain-covers and the Q-Ball systems,” adds Camera Corps’ Senior Technician David Sisson “The resultant footage showed some of the most exciting events ever captured during outside broadcast productions and really was nothing short of extreme. This is what Q-Ball offers – the shots no other cameras can achieve – that production and viewers want every time.”

Commenting on the motor racing and tennis event parts of the successful summer of sports for Camera Corps, Shaun Glanville, Business Development Director, Camera Corps, said, “One of the high points of our year to date was seeing a number of Camera Corps Q-Balls achieving global publicity when the winners of a major motor racing event celebrated their UK-leg triumph this past June. The Q-Balls were so close to the action that they were showered with champagne on the winners’ podium. Images of this event and of two Q-Balls looking no bigger than a microphone were broadcast live around the world and published throughout the international press. Earlier in June, Q-Ball captured close-up high definition images of Andy Murray at the climax of his success in the 2013 Wimbledon Lawn Tennis Championships. This was a moment England had been waiting for since Fred Perry’s win in 1936.”

“We have provided Q-Ball cameras and support services to Wimbledon for over 10 years,” adds Neil Ashworth, Equipment Manager, Camera Corps. “These have been used in a variety of roles, giving television directors the opportunity to capture close-up images of the games in progress and of the commentators, as well as cutaways to long-range ‘beauty’ shots from cameras mounted high overhead. Our recently-introduced single-mode optical and simply SMPTE dual-mode electro-optical camera links were used at Wimbledon wherever we needed to deliver live high-definition video over long distances.”

Camera Corps full line of products, including its best-selling Q-Ball robotic system, is available globally for both sale and rental. For more information regarding rentals in the Americas, please contact sister Vitec company Bexel at 1 (800) 225-6185 / www.bexel.com or Camera Corps direct at www.cameracorps.co.uk.

About Camera Corps Ltd.
Camera Corps Ltd. is a leading innovator of specialty remote cameras, tracking systems and camera support systems. A Vitec Group Company, Camera Corps is recognized for the development and manufacture of bespoke camera systems. Today, the company’s solutions are employed worldwide by leading broadcasters and producers looking to capture sports, entertainment and reality TV performances from unique and often previously unattainable angles.

The Camera Corps equipment fleet encompasses HotShots, MiniShots and array of remote specialist cameras and lenses, remote underwater systems, cranes, platforms and dollies, Equipment of Camera Corps’ own design includes the iconic Q-Ball, Q-Ball Preset and RF Q-Ball, as well as bespoke builds such as Pop-Up Ice-Cam. Baseball Base Cam, Archery Cam, Underwater Remote Cam, Slalom Pole Cam, Helmet Cam and Body Cam

For more information, visit http://www.cameracorps.co.uk.

About Bexel
Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers – including producers of the biggest and most important televised events in the world. For more information, visit www.bexel.com, and follow Bexel on Facebook (https://www.facebook.com/BexelBroadcast) and Twitter (@Bexel).

About Vitec Videocom
Vitec Videocom brings together some of the most respected, most innovative and most sought-after brands in the industry: Anton/Bauer, Autoscript, Camera Corps, Litepanels, OConnor, Petrol Bags, Sachtler, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business.

Vitec Videocom is an operating division within the Vitec Group, an international business serving customers in the broadcast, photographic and military aerospace and government markets. Vitec is based on strong, well known, premium brands on which its customers rely on worldwide.

Vitec Videocom – advancing the quality and science of media production.

Forbidden Integrates With Windows(R) Azure(TM) Media Services to Show Cloud Editing and Publishing Workflows at IBC2013

LONDON — Sept. 10, 2013 — Forbidden Technologies plc (AIM: FBT), the AIM-quoted owner and developer of the market leading FORscene cloud video platform, is pleased to announce that it is integrating with Windows(R) Azure(TM) Media Services to promote cloud video workflows at IBC2013 in Amsterdam Sept. 13-17.

Windows Azure Media Services is an open and flexible cloud platform that enables customers to build, deploy, and manage applications quickly across a global network of Microsoft(R)-managed data centres. It is an extensible, multitenant media services platform on Windows Azure, offering the best of the Microsoft media platform components combined with integrated partner offerings, which allows customers to build end-to-end media solutions on top.

Forbidden’s well-respected FORscene cloud video platform will be shown working with Windows Azure Media Services to allow remote, browser-based editing of footage. Remote edits will be conformed against live, high-resolution footage for Web and mobile distribution. This near-time clipping of live footage for global video-on-demand delivery will be of particular interest to sports rights holders and news organisations looking for frame-accurate, high-quality editing tools.

The solution will be displayed at IBC2013 on the Forbidden stand 7.J15D.

“Windows Azure Media Services is a highly scalable and reliable platform of ready-to-use services that enables our customers to work with a variety of leading technology providers,” said Sudheer Sirivara, partner director of program management, Windows Azure Media Services, of Microsoft Corporation. “FORscene’s use by sports broadcasters in 2012 to enhance coverage of the major sporting events of the summer was a key proof point. We are pleased to be working with Forbidden to offer customers the benefits, cost advantages, and flexibility of cloud-based editing and publishing workflows with FORscene and Windows Azure Media Services.”

“Microsoft has firmly established Windows Azure Media Services with broadcasters and sports rights holders,” said Stephen Streater, CEO, Forbidden Technologies. “FORscene, with Windows Azure, creates a powerful combination. Clients in the sports and news markets will have access to a set of integrated editing and publishing tools allowing them to reach the widest possible audience quickly and cost-effectively.”

More information about FORscene is available at www.forbidden.co.uk.

Photo Link: www.wallstcom.com/ForbiddenTechnologies/AzureMediaServices.zip

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About Forbidden Technologies plc
Forbidden Technologies plc is an award-winning technology company that develops and delivers cloud-based solutions for collaborative video post-production. Its flagship product, FORscene, is one of the world’s most advanced cloud-based video post-production platforms. Launched at IBC in 2004, FORscene has been used to log, edit, review, and publish more than 3 million hours of professional video content. Listed on the London Stock Exchange Alternative Investment Market, Forbidden partners with high-profile media and technology organisations including Atos, BIM, deltatre, EVS, and Key Code Media. More information is available at www.forbidden.co.uk.

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Digital Rapids Unveils New Format Support, Features and Workflow Advances for Highly-Acclaimed Media Processing Platform

x264 and DPP support, mixed-platform workflows and advanced video processing tools top broad list of new features and formats

September 12, 2013 — IBC 2013, Amsterdam, Stand 7.F33: Digital Rapids is showcasing a wide range of new features and enhancements for the Digital Rapids Transcode Manager 2.0 automated, high-volume media transformation software and its underlying Kayak dynamic workflow platform at the IBC 2013 exhibition in Amsterdam. Previously-unannounced new capabilities include support for the x264 codec, AVC-Intra format and Digital Production Partnership (DPP) file specification; mixed-platform distributed workflows including ProRes encoding on Mac(r) OS X(r); and enhanced core video processing tools. These new extensions are being demonstrated alongside advances such as HEVC (H.265) format support and 4K Ultra HD encoding first previewed earlier this year. more

Padcaster Launches a ‘Mini’ Kickstarter Campaign

New York City, New York – September 12, 2013 – The creators of the Padcaster, a revolutionary iPad case that transforms the tablet into an on-the-go production studio, plan to bring the versatile filmmaking accessory to the iPad mini. Since its official launch just over a year ago, the Padcaster has been named one of “12 unusual gadgets that you’ll love” by CNET, among many other accolades. With the help of dedicated backers, the forces behind the Padcaster hope to create yet another gadget you’ll love – the Padcaster Mini. Employing the popular crowdfunding platform Kickstarter, the Padcaster will run a campaign to raise $30,000 to help fund the project. Visit the Padcaster’s Kickstarter Campaign page for more information: click here.

“With crowds literally following us around the show floor at NAB (National Association of Broadcasters), it was clear to us that Padcaster was striking a major chord with people,” says Josh Apter, founder, The Padcaster. “I’m happy to say, after one year, the excitement and interest has turned into a successful business that has well surpassed our expectations. The response has been great – from the enthusiastic reactions we get when shooting on the streets or at events to the really positive reviews from industry professionals. One of the biggest questions we always get asked is – ‘When is there going to be one for the iPad mini?’ We hope that, the next time someone asks this, we can tell them it’s on its way.”

While development for the Padcaster Mini is already underway, the Padcaster team is looking to fast track the expensive manufacturing, prototyping and initial production process with funds from the Kickstarter program. The team also hopes the additional funds will aid them in the continuous production of the regular Padcaster, which will be updated to version 2.0 just in time for the campaign.

Preorder Your Padcaster: Support the Cause Now, Get Your Padcaster First
Among many exciting perks available through the Padcaster’s Kickstarter campaign is the opportunity to preorder a Padcaster Mini or the brand new version of the Original Padcaster – available exclusively through the brand’s Kickstarter Perks. In addition to getting first dibs on one (or both) of these hot new products, supporters will receive steep discounts on either unit. The perk for a donation of $129 (or more) is the Original Padcaster (a $149 value) plus an “I Kickstarted the Padcaster” T-shirt. For the early birds out there, the Padcaster is offering a Padcaster Mini (and then some) for the first 200 to donate $99 or more. For those who need both, the Padcaster is offering the “Have It All Pack” perk; for a donation of $229, these enthusiasts will receive both the Original Padcaster, version 2.0, and the Padcaster Mini. Learn about these and more perks here – http://www.kickstarter.com/projects/thepadcaster/padcaster-mini-turn-your-ipad-mini-into-a-mobile-s .

More on the Padcaster
The Padcaster has received rave reviews among consumer and professional industry media alike. A tool that makes the iPad an all-in-one content-creating machine, the Padcaster continues to be recognized by many for its unique ability to transform the iPad into an even cooler, more capable device.

“The Padcaster is one of those accessories that pushes the Apple iPad beyond what most people do or would think of doing with it. It takes iPad Videography to the next level.” – Joshua Goldman, CNET

“Anyone who is interested in using an iPad for filmmaking or broadcasting – either as an amateur or professionally – should consider getting the Padcaster. It’s a brilliantly conceived and well-built accessory that should be extremely popular with the video and filmmaking crowd.” – Steve Sande, TUAW

“The iPad is an amazing tool for shooting photos and video. It’s not a case. It’s not a fashion statement. It’s a tool, a piece of pro-level gear. And for the people who recognize that, the Padcaster is an equally amazing, though simple way for them to use it for video production.” – Bill Stiteler, Technology Tell

About The Padcaster
The Padcaster transforms an iPad into an on-the-go production studio, providing an easy and professional way for users to create stunning videos on the iPad. Perfect for professional and amateur videographers alike, the Padcaster is an aluminum frame with a urethane insert that snugly holds the iPad for a secure and solid feel. Threaded holes lining the edges of the frame allow filmmakers to attach external mics, lights and countless other accessories to enhance the finished product. A standard ¼-20 screw thread and locking-pin design centered on the bottom of the Padcaster lets users connect it to a professional tripod, monopod or shoulder mount for easy, smooth filming. Additional lenses can be attached via the Lenscaster, a separate accessory, to create a wider field of view or bring telephoto capabilities to the iPad’s fixed lens.

The Padcaster’s aluminum frame can also be used as a standalone DSLR cage. Filmmakers can rig a DSLR or other video camera into the cage, enabling them to attach numerous accessories to enhance their shoot.

About The Padcaster, LLC
Headquartered in New York’s Flatiron District, The Padcaster LLC is an innovative startup aimed at developing tools for filmmakers and videographers of all stages of development and skill levels. Established in 2012, its flagship title product, the Padcaster, is a multifunctional iPad case that takes users from passive consumer to creative filmmaker. The Padcaster was made by and for videographers to fit the needs of just about any filmmaker working with the ever-expanding set of production tools and technology.

Follow @thepadcaster on Twitter. For more information, visit http://www.thepadcaster.com.

The Padcaster is a trademark of The Padcaster LLC. All other trademarks, registered trademarks and products mentioned herein belong to their respective owners.

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

Lauren Leger
Zazil Media Group
lauren@zazilmediagroup.com
(p) 508.498.8433
(skype) lauren.zazil

####

The Padcaster

iZotope Releases RXTM 3: A Complete Audio Repair Suite

IBC, Amsterdam, Netherlands, (September 12, 2013)iZotope Inc., a leading audio technology company, has released the much-anticipated update to its spectral audio editing and repair suite, RX. RX 3 and RX 3 Advanced provide audio professionals with a completely redesigned user interface, the ability to reduce or remove reverb, clean up dialogue in real time, and new features for post production, music production, mastering, and more.

“RX 3 and RX 3 Advanced are the culmination of three years of invaluable user feedback. We’re happy to bring these customer-driven improvements to our industry-leading repair software,” says Alex Westner, Director of Product Management at iZotope, Inc. “Crafting broadcast-quality audio is now even easier with RX 3’s workflow improvements designed to enhance speed, power and flexibility for time-strapped professionals working in post production.”

KEY FEATURES:

What’s New in RX 3 Advanced?
- Remove or reduce reverb from audio using the new Dereverb module.
- Clean up dialogue in real time with the new Dialogue Denoiser.
- Monitor your audio and loudness compliance using InsightTM, iZotope’s comprehensive metering suite, now included with RX 3 Advanced.
- Advanced features and settings for Declip, Declick, Time & Pitch, Channel Operations and more.

What’s New in RX 3?
- Work up to six times faster than before in the RX 3 standalone application, thanks to intelligent DSP and optimized multicore processing.
- Time-saving features like a completely redesigned user interface, the new RX Document format and multi-file workflow.
- Addition of audio recording and monitoring, SRCTM sample rate conversion, waveform statistics, and more.
- Overall enhancements to Denoise and Declip modules, parametric EQ, drawing and selection tools, MBIT+TM dither, and more.

Used everywhere from Hollywood post production studios to leading sound editing facilities, iZotope RX 3 transforms troubled recordings into professional-grade material with remedies for noise, clipping, hum, buzz, crackles, and more. With an intuitive spectral editor and 10+ intelligent modules, RX 3 enables you to fix troubled audio with unprecedented power and precision.

For more information on RX 3 and RX 3 Advanced, visit www.izotope.com/rx.

Compatibility
RX 3 works as a standalone application, or as a suite of plug-ins for use in a host, including many popular DAWs and NLEs. Supported plug-in formats include AAX for Pro Tools 11, RTAS, Audio Suite, VST & VST 3, and Audio Unit.

Pricing and Availability
RX 3 and RX 3 Advanced are available now. Through September 27, 2013, get RX 3 for $249 (Reg. $349/ €285) MSRP or get RX 3 Advanced for $749 (Reg. $1199 / €919) MSRP.

RX 2 or RX 2 Advanced users who purchased after July 1, 2013 will receive a free upgrade to RX 3.

Users of previous RX versions can log in to their iZotope accounts at www.izotope.com/myaccount for upgrade information and special upgrade pricing.

About iZotope, Inc.

iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony.

For more information on iZotope products, please visit www.izotope.com.

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MTh Directors Grady Hall and Mark Kudsi Join Forces for Katy Perry’s ‘Roar’

Los Angeles, CA MTh (Motion Theory) directors Grady Hall and Mark Kudsi teamed up to crown international popstar Katy Perry as ‘Queen of the Jungle’ in the new music video for her biggest ever #1 smash hit, “Roar.” Inspired by the song’s message of empowerment, Hall and Kudsi conceived the almost 5-minute epic as an homage to adventures and legends in the vein of Tarzan, Robinson Crusoe and comic book heroine Sheena.

While each award-winning director generally focuses on solo projects, the music video was such an enormous undertaking, it provided an opportunity for the pair to join forces and collaborate with each other, along with the talented team of artists at Mirada to deliver over 100 visual effects shots in just three weeks. Hall recently directed the music video for Capital Cities’ “Safe and Sound,” which won a MTV VMA, and Kudsi’s accolades include a Grammy Award for his directing contributions to The Black Eyed Peas’ “Boom Boom Pow” music video.

Hall explained, “Mark and I wanted the video to reflect both the anthemic and personal sides of ‘Roar.’ Since we already had a fiery plane crash, a bunch of animal scenes, and in-camera vine swinging in the works, we decided to fully develop the story and scenes before working out the rest of the ‘icing’ of the huge visual concepts, animations, and surprises. We find that when the story’s right, the visuals usually fall in line.”

“There’s no small way to do the concept ‘Katy Perry, Queen of the Jungle,’” Kudsi added. “But we stayed loyal to a shared vision of always honoring the song and making sure every scene unfolded in a uniquely Katy way. The process was a great collaborative effort between our entire team, the label, Katy’s team, and Katy herself, who was funny, whip-smart, creatively engaged, and adventurous enough to throw herself into all of our crazy ideas.”

“Roar” opens with hand-drawn vintage-style posters that transition into a vibrant live-action shot, revealing a small plane that has just crashed in a lush jungle wilderness. A modestly clad Katy and her self-involved male companion emerge from the burning fuselage, only for the handsome escort to be promptly devoured by a tiger. Initially panicked, she flees screaming into the brush until a survivalist resolve sets in, which has her handling tarantulas, bathing with help from an elephant, taking ‘selfie’ pictures with a capuchin monkey, swinging on vines and hunting with a stiletto-tipped spear. Playfully attired in a leopard bustier and banana leaf skirt, Katy then faces off with the tiger, asserting her dominance and completing her evolution as Queen of the Jungle.

Hall and Kudsi spent two weeks on extensive R&D to establish vignettes that told a rich visual story in line with the core idea of the song, with Katy Perry and Danny Lockwood, Capitol Music Group’s SVP of Creative & Video, providing significant input. Much of the action was captured in-camera over three shoot days at the Los Angeles County Arboretum and Botanic Garden, with a courageous Ms. Perry completing the majority of her own stunts – including swinging on the vine and standing atop a towering 40-foot waterfall. Various jungle animals featured in the video were also on set for the complex shoot. After three weeks of editing and postproduction, “Roar’” was delivered, featuring a staggering 139 shots in the final cut.

While the Arboretum provided a substantial amount of foliage as a jungle location, Mirada artists completed the transformation through set extensions and matte paintings. Led by Creative Director Jonathan Wu and Visual Effects Supervisor Michael Shelton, the Mirada team created the cave drawing cel animation, detailed particle work in the stunning firefly sequence and plate compositing for some of the animal scenes along with a substantial amount of rig clean up.

Currently topping the Billboard Hot 100, “Roar” is the lead single off Katy Perry’s upcoming Prism album, which will be released on October 22, 2013 by Capitol Records. To see the full video, visit: http://www.youtube.com/watch?v=CevxZvSJLk8

About MTh
MTh is a creative home for directors with a sharp visual and narrative focus. In addition to Grady Hall and Mark Kudsi, roster directors include: Akama, Atanasio + Martinez, Mathew Cullen, Guillaume de Fontenay, Jesus de Francisco, Guillermo del Toro, Brent Jones, Christopher Leone, Mårlind & Stein, Mark Palansky, Chris Riehl, Syyn Labs and Arni Thor Jonsson. www.motiontheory.com

###

“ROAR” CREDITS

CLIENT
Artist: Katy Perry
Record Label: Capitol Music Group
SVP, Creative & Video/Producer: Danny Lockwood

PRODUCTION
Production Company: MTh (Motion Theory)
Directors: Grady Hall, Mark Kudsi
Executive Producer: Javier Jimenez
Director of Photography: Maz Makhani
Line Producer: Oualid Mouaness
Creative Consultant: Mathew Cullen
2nd Unit Director: Jonathan Wu
Director of Marketing: Caroline Gomez

POST PRODUCTION
Post Production Company: Mirada
Chief Creative Officer: Mathew Cullen
President: John Fragomeni
Executive Producer: Patrick Nugent
Creative Director: Jonathan Wu
Art Director: Daryn Wakasa
VFX Supervisor: Michael Shelton
VFX Producer: Derek Johnson
VFX Coordinator: Kate DeCrosta
Designers: Luke Belderes, Clara Moon, Jing Zheng, Ken Lee, James Levy, An Nguyen, Charles Wang
Matte Painters: Niall Booker, Maxx Burman, Jason Dunn, Jim Hawkins, Rei Sparks
Designer Animators: Phil Guthrie, Ivan Cruz, Eddie Won, Andrew Tan
Design Intern: Su Jung
Houdini Artist: McKendree Schilthius, Kevin Gillen
Cel Animators: Song Kim, Jahmad Rollins, Laura Yilmaz, Ashley Becerra
Tracking Artists: Michael Makers, Jared Sanders
Nuke Artists: Jason Bidwell, Geoff DuQuette, Jim Kuroda, Mark Robben, Ryan Quinlan
Flame Artists: Dave Stern, Pilon Lectez, John Geehreng
Production Manager/HR Director: Tina Van Delden
Creative Consultant: Ryan Erke

EDITORIAL
Editorial Company: Mirada
Editor: Alan Chimenti
Editorial Assistant: Michael Vargas

COLOR
Color House: Ntropic
Colorist: Marshall Plante

SOUND
Sound Company: Therapy Studios
Sound Designer: Eddie Kim
Sound Mix: Lihi Orbach

iZotope Releases RX™ 3: A Complete Audio Repair Suite

Built for the Toughest Audio Repair Tasks in Music, Post Production, and more

IBC, Amsterdam, Netherlands, (September 12, 2013) - iZotope Inc., a leading audio technology company, has released the much-anticipated update to its spectral audio editing and repair suite, RX. RX 3 and RX 3 Advanced provide audio professionals with a completely redesigned user interface, the ability to reduce or remove reverb, clean up dialogue in realtime, and new features for post production, music production, mastering, and more.

“Anytime you put a microphone on a sound and record it—whether it’s a vocal, an acoustic guitar, or a snare drum – you’re going to pick up a variety of unwanted noises. These user experiences are what RX is built on,” explains Alex Westner, Director of Product Management at iZotope, Inc. “RX 3 now provides even more features to help enhance audio for all musical applications, from simple podcast recording to professional mastering.”

Key Features: What’s New in RX 3 Advanced?
- Remove or reduce reverb from audio using the new Dereverb module.
- Clean up dialogue in real time with the new Dialogue Denoiser.
- Monitor your audio and loudness compliance using Insight™, iZotope’s comprehensive metering suite, now included with RX 3 Advanced.
- Advanced features and settings for Declip, Declick, Time & Pitch, Channel Operations and more.

What’s New in RX 3?
- Work up to six times faster than before in the RX 3 standalone application, thanks to intelligent DSP and optimized multicore processing.
- Time-saving features like a completely redesigned user interface, the new RX Document format and multi-file workflow.
- Addition of audio recording and monitoring, SRC™ sample rate conversion, waveform statistics, and more.
- Overall enhancements to Denoise and Declip modules, parametric EQ, drawing and selection tools, MBIT+™ dither, and more.

Used everywhere from Hollywood post production studios to leading sound editing facilities, iZotope RX 3 transforms troubled recordings into professional-grade material with remedies for noise, clipping, hum, buzz, crackles, and more. With an intuitive spectral editor and 10+ intelligent modules, RX 3 enables you to fix troubled audio with unprecedented power and precision.

For more information on RX 3 and RX 3 Advanced, visit www.izotope.com/rx.

Compatibility
RX 3 works as a standalone application, or as a suite of plug-ins for use in a host, including many popular DAWs and NLEs. Supported plug-in formats include AAX for Pro Tools 11, RTAS, Audio Suite, VST & VST 3, and Audio Unit.

Pricing and Availability
RX 3 and RX 3 Advanced are available now.
Through September 27, 2013, get RX 3 for $249 (Reg. $349/ €285) MSRP or get RX 3 Advanced for $749 (Reg. $1199 / €919) MSRP.
RX 2 or RX 2 Advanced users who purchased after July 1, 2013 will receive a free upgrade to RX 3. Users of previous RX versions can log in to their iZotope accounts at www.izotope.com/myaccount for upgrade information and special upgrade pricing.

About iZotope, Inc.
iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony. For more information on iZotope products, please visit www.izotope.com.


Media Contact:
Music Marcom
Martina McConnon
v: 610-577-4982
e: martina@musicmarcom.com
www.musicmarcom.com

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