Archive for November 1st, 2013

Broadcast Pix Demonstrates Upgraded Flint, Granite X Integrated Production Systems at CCW

Billerica, Massachusetts – Broadcast Pix™ will demonstrate Version 2.0 of its new Flint™ integrated production system, as well as upgrades to its new Granite™ X large-scale live production system, at Content & Communications World (Booth 861), Nov. 13-14, 2013, at Javits Convention Center in New York City.

Recently unveiled at IBC 2013 in Amsterdam, Flint V2 adds an internal eight-channel audio mixer, as well as broadcast quality internal H.264 recording and.WMV Web streaming, while Granite X has improved its multi-view monitoring and added advanced DDR control. Both Granite X and Flint can add cloud-based content – from Skype, Twitter, RSS feeds, Dropbox, and a variety of other online sources – during a live production while maintaining lip sync.

Flint’s new audio mixer takes audio from any camera input or internal clip store, and is controlled through an intuitive audio interface with on-screen stereo faders and VU meters. Other features include peak hold capability, mute and solo functions, and built-in audio-follow-video. Two outputs allow separate mixes with independent control for master recording and Web presentations. The audio mixer can also be controlled through Fluent Macros, an advanced macro system that easily executes any combination of video, audio, files, and device moves for complex effects.

“Flint was designed specifically for operations with limited budgets and limited manpower,” explained Steve Ellis, Broadcast Pix CEO. “An integrated audio mixer means one less piece of hardware to purchase plus easier audio control. It’s an important addition for our commitment to end-to-end integration.”

Expanding on its included Adobe Flash streaming, Flint V2 adds the ability to steam to a Windows Media Server using Microsoft Expression Encoder in up to 720p resolution. Flint V2 also adds built-in recording of the program output to the internal hard drive. Broadcast quality 1080i H.264 .MOV clips can be added to a show automatically using Fluent™ Watch Folders, Flint’s built-in file management system, or exported to an NLE system for later use.

Another enhancement adds a network input so video and audio from a Windows-based PC can be accessed as a source in Flint’s built-in production switcher. This not only reduces the amount of physical inputs, but allows cloud-based content from Skype and other sources, as well as other remote applications, to be seamlessly integrated into a live production.

Flint’s multi-format 1 M/E production switcher supports up to six cameras and includes eight channels of clips and graphics, three keyers with PiP and customizable DVE, Inscriber CG with six graphic channels, and a built-in, two-channel clip server stores up to 30 hours of clips and animations in a variety of file formats. Other features include the customizable Fluent-View multi-view, customizable virtual sets, and control of robotic cameras and other external devices.

Granite X improvements include advanced Fluent-View customizable multi-view capabilities, with 16 full motion source windows. It also offers enhanced DDR control that allows for different clips in each of the four channels of Harris, Omneon, Grass Valley K2, and 360 Systems servers. Ideal for large-scale productions, the 2 M/E Granite X features a Granite Switcher with 22 HD/SD-SDI inputs and 12 outputs, seven channels of file-based inputs, and six key layers for compositing. The system also includes a Granite Server that holds up to 180 hours of clips and graphics, Fluent™ integrated workflow tools, and redundant power and switching.

Flint V2 will ship in November with all new Flint systems and will be a free upgrade for all Flint systems under warranty. Granite X is now shipping and the new upgrades are available for any current user.

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

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

New Premium Videoconferencing Solution from Eclipse Services

London UK based Eclipse Services is offering a new high quality advanced videoconferencing solution providing secure, reliable, cost-effective, fully supported HD resolution communications and taking advantage of exclusive non–public high bandwidth internet services … available only through Eclipse.


With this new managed service, Eclipse Services – part of the Eclipse Presentations Group – can offer clients the huge flexibility of fully supported multipoint video meetings at maximum quality and efficiency.
The concierge and bridging service can be tailored exactly to client requirements in terms of the number of participants, required points of connection … and wherever their location around the world.
The service is secure, stable and provides seamless integration between VC and TelePresence units, codecs, laptops, desktops, iPads and other tablets, all with real-time audio and video synchronisation.
During the conference session, documents can be opened and effortlessly shared live at the click of a button.
Furthermore, Eclipse is offering a free two week trial for interested parties – with no obligation.
Says Charles Steward, Head of Managed Services at Eclipse, “The service is super-fast and consistent as well as seriously more affordable than other videoconferencing services. It can be used to connect people in a myriad of situations – for meetings of all types, board discussions, interviews, etc.”
Videoconferencing continues to grow in commercial popularity as it can significantly reduce the need for travel to bring people together, making the process of national and international meetings faster, more efficient and secure … as well as considerably more carbon neutral and sustainable.
Eclipse sees this as a perfect opportunity to offer its clients a safe, rock-solid premium service using this highly convenient technology.
Utilising a dedicated infrastructure ensures that latency is virtually non-existent and only two ‘hops’ are involved in the transmission process – for a clean, crisp, clear hook-up.
Once the connection is established, multiple users can be invited to the virtual meeting room and participate.
Eclipse will also co-ordinate the soft-client licensing agreements.

ArsenalFX Color Provides Picture Post Production Services for ABC TV’s New Hit Series “Marvel’s Agents of S.H.I.E.L.D.”

Santa Monica, CA, November 4, 2013 — ArsenalFX Color, a leading TV post house, and a sister company to ArsenalFX, has announced its role in providing extensive post production services, ranging from dailies through delivery, for “Marvel’s Agents of S.H.I.E.L.D.”, the new hit series on ABC. The announcement was made today by ArsenalFX Color Co-Founders Mark Leiss and Larry Field.
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Beginning with the pilot, and continuing to the present, ArsenalFX Color has provided its diverse range of post services to every episode of “Marvel’s Agents of S.H.I.E.L.D.,” which premiered on ABC TV Sept. 24. These services include color corrected dailies, conform, final color mastering, titling, VFX support, and final deliverables.
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Chris Cheramie, Co-Producer, “Marvel’s Agents of S.H.I.E.L.D.,” said, “The gang at ArsensalFX Color is absolutely great – they are a rock for us. Theirs is a real home-style environment that makes everyone feel welcomed. They have our backs at every turn, and deliver our post services within quick turnaround times. We consider them a true extension of our team, and they provide us with really high-quality work.”
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Adds ArsenalFX Color’s Field, “This show represents, exactly, the type of project we modeled ourselves to be able to handle. Our goal with ArsenalFX Color is to provide top-tier services and quality for productions that would appreciate the value they receive as a result of our artist-owned and managed infrastructure. Everyone here at ArsenalFX Color is tuned into the needs of ‘Marvel’s Agents of S.H.I.E.L.D.’ We couldn’t be more thrilled with the fact that we’ve earned the confidence and support of a project as big in scope as this new hit series.”
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ABOUT “MARVEL’S AGENTS OF S.H.I.E.L.D.:”
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“Marvel’s Agents of S.H.I.E.L.D.” is from Executive Producers Joss Whedon (Marvel’s “The Avengers, “Buffy the Vampire Slayer,”) and Jed Whedon & Maurissa Tancharoen (“Dollhouse,” “Dr. Horrible’s Sing-Along Blog.”), who co-wrote the pilot with Joss Whedon. Jeffrey Bell (“Angel,” “Alias,”) and Jeph Loeb (“Smallville,” “Lost,” “Heroes,”) also serve as Executive Producers.
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“Marvel’s Agents of S.H.I.E.L.D.” is produced by ABC Studios and Marvel Television.
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ABOUT ARSENALFX COLOR:
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A sister company to ArsenalFX, ArsenalFX Color was founded in 2012 by partners Mark Leiss and Larry Field in Santa Monica, CA. In just a short time, the company has earned a strong reputation in Hollywood for providing the horsepower and top gear that major TV studios expect, within a personalized, comfortable, boutique-style environment.
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Artist-driven companies ArsenalFX Color and ArsenalFX specialize in post services that range from dailies to delivery, including creative color, finishing, titling and visual effects, using the Autodesk platform of Flame, Lustre, Smoke, and Maya, along with Avid, Final Cut and After Effects platforms. ArsenalFX specializes in commercial finishing, while ArsenalFX Color specializes in television finishing. The sister companies often collaborate on various projects, as each has the ability to utilize the services of the other.
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The company, which features an additional finishing suite in New York City, has the expertise and technology to provide virtual color and/or VFX sessions for any TV show, feature film, or commercial, regardless of its size or location, anywhere in the world.
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Field, a renowned Colorist, spearheads ArsenalFX Color’s projects, along with Senior VFX/Flame Artist O.T. Hight, and Josh Baca, Conform Specialist/Technologist. Since its formation, ArsenalFX Color has been involved with post production on such hit TV programs as “Marvel’s Agents of S.H.I.E.L.D.,” “Bones,” and “The Bridge,” and is currently involved with the upcoming TV shows “Turn,” “Salem,” and “Saint George.” Prior to the formation of ArsenalFX Color, high profile TV series to which Field and Hight contributed include “24,” “Terra Nova,” “Shameless,” “The Simpsons,” “Dollhouse,” “Flashforward,” “Nashville,” and hundreds of others.
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ArsenalFX Color and ArsenalFX are located in Santa Monica, CA. ArsenalFX Color phone: 310/453-5444. ArsenalFX phone: 310/453-5400. The company website is: www.arsenalfx.tv
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About Marvel Entertainment:
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Marvel Entertainment, LLC, a wholly-owned subsidiary of The Walt Disney Company, is one of the world’s most prominent character-based entertainment companies, built on a proven library of more than 8,000 characters featured in a variety of media over seventy years. Marvel utilizes its character franchises in entertainment, licensing and publishing. For more information visit marvel.com.
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Matrox Support for Latest Release of Adobe Creative Cloud Now Available

Matrox® Video today announced the immediate availability of full support for the latest release of Adobe® Creative Cloud™ software across the entire line of Matrox MXO2™ I/O devices and the Mojito MAX™ I/O card.
Matrox MXO2 Family and Mojito MAX
The award-winning Matrox editing products provide broadcast-quality video and audio input, output and monitoring to enable traditional tape-based workflows including deck control for frame-accurate batch capture and print-to-tape. They are also the only I/O solutions on the market that let users encode H.264 files for delivery to the web, iPad® and iPhone® up to five times faster than software alone without sacrificing quality. In addition, MXO2 devices provide cross-platform Mac® and Windows® support and are still the only solutions that connect anywhere, Mac and PC, via Thunderbolt™, PCIe® or ExpressCard/34® — with the same versatile unit.

“Delivering unsurpassed stability and timely releases to our customers has always been a priority for us,” said Wayne Andrews, product manager, Matrox Video. “Our long-standing collaboration with Adobe ensures tight integration of the latest tools from our respective companies.”

Price and availability
Matrox MXO2 devices are priced starting at $449 US (£338, €382) not including local taxes and delivery. Matrox Mojito MAX is priced at $995 US (£749, €799). Matrox products are available through a worldwide network of authorized dealers. Support for the latest release of Adobe Creative Cloud is part of Matrox driver releases 7.5.1 for Windows and 4.0 for Mac, which are available to registered users as free downloads from the Matrox website.

About Matrox Video
Matrox Video is a technology and market leader in the field of HD and SD digital video hardware and software for accelerated H.264 encoding, realtime editing, audio/video input/output, streaming, A/V signal conversion, capture/playout servers, channel-in-a box systems and CGs. Matrox’s Emmy award-winning technology powers a full range of multi-screen content creation and delivery platforms used by broadcasters, telcos, cable operators, post-production facilities, videographers and A/V professionals worldwide. Founded in 1976, Matrox is a privately held company headquartered in Montreal, Canada. For more information, visit www.matrox.com/video.

TricolorIndia Designs & Specifies Giant Projection Spectacle in Delhi

London based projection artist Ross Ashton designed and specified the large format projection elements of a new permanent immersive multi-media spectacle in Delhi India, at the Guru Tegh Bahaur Memorial on the NH1 highway at Singhu Border.


Ashton and Himanshu Sabharwal, his business partner in TricolorIndia, were commissioned by the Delhi Tourism & Transportation Development Corporation (GTDB) to create the piece, for which Sabharwal was the overall Show Director.
Their brief was to create an awesome looking immersive experience that had a universal spiritual appeal to people of all faiths, and that could work harmoniously with the new age minimalist architecture of the monument.
TricolorIndia delivered the entire technical infrastructure involved including projection, lighting and audio. Hailed as the largest installation currently in India, the challenge was to ensure that the substantial amount of equipment and engineering involved seamlessly dovetailed into the beautifully landscaped site.
The looped 20 minute visual show runs every night and is based on the phrase ‘Hind ki Chadar’ a popular reference to the Guru Tegh Bahaur which energises ‘Kudrat ki Chadar’ the five elements of nature – earth, wind, fire, water and void.
Ashton and Sabharwal came up with a concept which was then dramatically interpreted for them as the five elements by sarod maestro and Indian classical music legend, Ustad Ali Khan
The five elements are represented by fantastical imagery, starting with the Void and ending with the Earth, incorporating a myriad of potential and interlinking ideas and suggestions and including amazing visuals of flying fish, giant butterflies, flying kites, etc. – all of them drawn from the imagination and magic of Indian mythology.
The massive monument has a central tower that represents Guru Tegh Bahadur, with three semi-arches signifying his three disciples and ten surrounding monoliths denoting ten Sikh Gurus disseminating their teaching. There is a 45 x 45 metre diameter circular surface at floor level.
The monument is projected onto by 16 x Christie 20K Roadster machines, specified by Ashton for their robust build – which had to withstand the climate and outdoor environment – and excellent brightness. Six machines are focussed on the floor area and the other ten cover the 5 metre wide panels of the ten monoliths.
All 16 projectors are mounted on the top of purpose built pylons, designed to integrate with the architecture of the monument. The pylons are a variety of heights between 5 and 10 metres, each about 5 metres wide.

Covering the floor area was a real challenge as the projectors are beaming down at very steep angles, and some serious keystone correction was needed in the Dataton Watchout control system, which also facilitated all the necessary edge-blending.
Watchout was chosen as the most appropriate control system for this project by Ashton, which is run day-to-day by a local site crew.
The lighting specification includes 16 x PR300 Beam and 12 x PR-8802 fixtures from PR Lighting which are run from an Avolites Titan Mobile in conjunction with the Watchout system. Show audio is played out via a Tannoy system driven by Labgruppen amps.
The content origination was completed through UK based company The Projection Studio, and TricolorIndia oversaw the projection installation on site.

India is one of Ashton’s favourite countries. He says, “It was really great to be back in India again and have the chance of realising this amazing work in conjunction with some extremely inspirational people. We hope TricolorIndia will be doing more video and projection installations in the near future”.

Use ANY App on Your Tablet, PC or Mac in a Meeting Room with Vaddio’s GroupSTATION – Now Shipping

Vaddio is now shipping GroupSTATION – a meeting room solution that enables meeting room participants to use their own personal applications on their own devices (tablets, laptops and network computers.)

“Mobile computing has really redefined how and where we work in the enterprise,” explains CEO of Vaddio, Rob Sheeley. “Remember when the only place we could work was at our desk? These desktop computers are now mobile devices we take with us everywhere. The problem as that mobile users want the ability to share their content and collaboration tools from these devices in a meeting room with local and remote participants. GroupSTATION solves this by allowing you to bring your mobile device into the meeting room. Now any app you use on your mobile device can be presented or shared as a group.”

Employees can share PowerPoint or Keynote presentations, engage in high definition videoconferencing using Skype, Microsoft Lync, WebEx or any other UC application. GroupSTATION allows any application to be shared or collaborated in the meeting room. Users can also use the standalone SIP based speakerphone for audio conferencing calls.

GroupSTATION includes the necessary peripherals to create a high-quality multi-use room and group collaboration experience: an HD PTZ camera, loudspeakers, microphones and a control dock. Users simply connect personal devices to the GroupSTATION via a USB, VGA or HDMI connection and begin using their favorite collaboration tools.

“It’s that simple,” says Rob Sheeley, CEO of Vaddio. “Whatever device people want to use, whatever operating system they have, whatever way they want to collaborate, and whatever application they want to use – they can.”

Former Maker Studios CEO Danny Zappin to Deliver Keynote at Entertainment Technology Expo

Web Entertainment Pioneer to discuss the future of content creation and distribution in a world where there is no “business as usual.”

Burbank, CA— Danny Zappin, co-founder and former CEO of the pioneering YouTube network Maker Studios, will deliver the keynote address at Createasphere’s 13th Annual Entertainment Technology Expo (ETE). Entitled Wake Up!! There Is No “Business As Usual,” the session will be moderated by Benny Luo, founder of the influential web entertainment site NewMediaRockstars. It’s scheduled for 11:00 a.m. on November 7th in Theatre 1 at the ETE host site, the Los Angeles Marriott Burbank Airport Hotel in Burbank, California. more

SMPTE 2013 Annual Technical Conference & Exhibition Drives Progress Toward Next-Gen Images and Audio

SMPTE Event Enjoys Record Attendance as Experts Examine Transformative Technologies Including 4K/UHD and Beyond

WHITE PLAINS, N.Y. — Oct. 31, 2013 — The Society of Motion Picture and Television Engineers (SMPTE), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries, today announced that the SMPTE 2013 Annual Technical Conference & Exhibition concluded successfully on Oct. 24 with record attendance following a series of presentations, debates, panel discussions, and technology exhibitions that demonstrated why this has become the premier annual event for motion-imaging and media technology, production, operations, and the allied arts and sciences.

“UHDTV drove much of the conversation this year, and we saw creative approaches and innovative thinking everywhere, from the preconference technical symposium and 4K/UHDTV demo area through three days of presentations and the conclusion at our honors and awards ceremony,” said SMPTE Executive Director Barbara Lange. “Key players in the worldwide media and entertainment industry came together to discuss state-of-the-art technologies and techniques for working with moving images, often breaking new ground in the journey toward even better consumer experiences with media.”

More than 2,000 people attended the technical conference and exhibition, which drew world-renowned technology thought leaders from motion picture studios, broadcast and distribution networks, production and postproduction communities, software companies, systems integrators, manufacturers, distribution providers, over-the-top providers, and others leading the evolving motion-imaging industry.

The preconference SMPTE 2013 Symposium, held Oct. 21 and titled “Next-Generation Imaging Formats: More, Faster, and Better Pixels,” featured technical and business tracks, as well as a first-of-its-kind demo room, all focused on the next generation of image formats. The day-long event addressed higher frame rates, wider color gamut, and increased dynamic range along with 4K (UHD-1) and 8K (UHD-2) resolutions.

The conference and exhibition itself launched with a keynote by Thomas Gewecke, chief digital officer and executive vice president for strategy and business development at Warner Bros. Entertainment. He stressed that industry members have an opportunity to redesign what entertainment experiences will be and thus must act to drive innovation.

Building on this imperative, conference sessions covered topics ranging from the cloud and immersive audio standards to image processing and multiview production. With respect to the latter, Disney’s Howard Lukk described a new “hybrid 3D” approach that uses a prototype trifocal camera system, and ARRI’s Johannes Steurer presented a “motion scene camera” that incorporates a time-of-flight sensor to generate depth information.

NHK’s Hiroshi Shimamoto reported on development of a 120 fps 8K 12 bit CMOS image sensor that the broadcaster recently built into an 8K compact camera. During his presentation on lens considerations for digital cinematography, Larry Thorpe of Canon treated attendees to a preview of “The Human Voice,” a 30-minute short shot with the Canon C500 camera in 2K 12 bit, using Cooke S4/i Prime lenses and Canon zooms.

Complementing these presentations and sessions, the sold-out exhibition hall featured displays and demonstrations from leading technology and solution providers. While Cisco(R) hosted a display showing imagery using its 4K HEVC compression in 6 Mbps (1000:1 compression of the original file) in 4:2:0 color depth, Fusion-io showed playback of 4K uncompressed imagery at 120 fps on a Sony(R) 84-inch 4K display from an HP(R) Z820 workstation equipped with four Fusion-io ioFX cards with 1.6 TB capacity.

On the final night, 2012 SMPTE Progress Medal recipient David Wood served as master of ceremonies for the annual awards ceremony, bestowing this year’s Progress Medal honor on NHK’s Keiichi Kubota. The society celebrated numerous other luminaries with awards recognizing their unique contributions to the industry, and 14 SMPTE members were raised to prestigious Fellow status. The evening concluded with the second annual SMPTE Jam, which featured the “Resolution Blues,” written by SMPTE Governor Richard Welsh.

Further information about SMPTE is available at www.smpte.org.

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About the Society of Motion Picture and Television Engineers
The Oscar(R) and Emmy(R) Award-winning Society of Motion Picture and Television Engineers (SMPTE), a professional membership association, is the worldwide leader in developing and providing motion-imaging standards and education for the communications, technology, media, and entertainment industries. An internationally recognized and accredited organization, SMPTE advances moving-imagery education and engineering across the broadband, broadcast, cinema, and IT disciplines. Since its founding in 1916, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 650 standards, recommended practices, and engineering guidelines. More than 6,000 members — motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students — who meet in Sections throughout the world, sustain the Society. Information on joining SMPTE is available at www.smpte.org/join.

All trademarks appearing herein are the property of their respective owners.

Photo Link: www.wallstcom.com/SMPTE/Conference.zip
Photo Caption: 2013 SMPTE Annual Conference & Exhibition

Video Link: www.youtube.com/watch?v=VjsKgtszQo0&feature=share&list=UUGWzDvT6KmdSMBRsbcdToSg

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New Video Clarity Products at CCW 2013:

Auto RTM for Testing Multiple IP Streams
CCW 2013 attendees will be the first to see Auto RTM, a new software application for Video Clarity’s RTM real-time audio and video monitoring solution that enables users to test multiple IP streams from a single RTM unit. Created for TV networks, cable program originators, satellite operators, and content delivery networks delivering IPTV programming — all of which must test and verify the quality of their content streams — Auto RTM gives users a fast, structured, and easy way to test multiple streams automatically for quality in video, audio, lip sync, and loudness. The new application allows RTM to run sequential tests of programs that are being streamed over a network, and it saves time by allowing the user to set up multiple profiles and multiple video/audio formats to be tested in a batch. It is the first automated, real-time, reference-based testing solution that contains not only an extensive feature set for testing the perceptual quality of video, but also audio testing features, as well.

Photo Link: www.wallstcom.com/VideoClarity/AutoRTMscreen.zip
Photo Caption: Auto RTM Screenshot

ClearView Extreme 4K Video-Quality Analyzers
At CCW 2013, Video Clarity will showcase its ClearView Extreme 4K video-quality analyzers, which provide a new level of input/output capability and performance in subjective picture-quality comparison.

With the continuing advancement of new coding algorithms for entertainment program delivery and new processing devices for flat-panel televisions, the ClearView quality analyzer solutions allow researchers in broadcast and consumer product manufacturing to understand the generational and picture-quality potential of new 4K formats. These requirements also extend into engineering departments in television broadcasting, cable, and IPTV program-delivery networks.

The new products are capable of interactive playback and comparison of two uncompressed 4K (3840 X 2160) sequences at up to 60 Hz in real time. With the easy-to-use ClearView solution, users can import and play A/V sequence files to compare processed video to original sources with new 8- and 10-bit high-resolution displays, and also to test for perceptual video quality.

Photo Link: www.wallstcom.com/VideoClarity/ClearViewExtreme4KAngle.zip
Photo Caption: ClearView Extreme 4K Video-Quality Analyzers

Company Quote:

“Our aim is to make it easy for operators to assess the quality of their products and services. Theirs is a challenging task, so we continually develop our products to help them stay on top of evolving technology. Our new Auto RTM application is a good example. Today’s operations must test an ever-growing number of streams, and that requirement drove us to add Auto RTM.”
– Blake Homan, President and Founder of Video Clarity

Company Overview

Video Clarity Inc. provides audio- and video-quality assessment and analysis systems for researchers, broadcasters, equipment vendors, and entertainment distribution engineers that must continually measure the quality of their products and services. Propelled by market-leading technology, Video Clarity solutions have been adopted the world over by major media networks such as NBC Universal and BSkyB; leading broadcast-product manufacturers such as Cisco(R) and Harmonic(R); and educational, government, and research organizations such as the Royal Melbourne Institute of Technology, the U.S. Army, and NASA. Video Clarity was founded in 2003, with headquarters in Campbell, Calif., and distribution worldwide. Additional information is available at www.videoclarity.com.

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New LED-Based Christie Mirage WQ-L Stereoscopic Projector Expands Christie’s Line of High Performance 2D and 3D Visual Display Systems

Christie®, a global leader in visual display solutions, announced the expansion of its Mirage Series of high-performing 2D and 3D projectors with the launch of the Christie Mirage WQ-L, an LED-based 1-chip DLP® projection system with WQXGA (2560 by 1600) resolution and 800 ANSI lumens for sharp images and exceptionally accurate and lifelike colors. Offering a stable and reliable LED light engine rated at 60,000-hours (approximately 6.5 years) life cycle, the Christie Mirage WQ-L includes Christie ArrayLOC™ for synchronized color and brightness management, which reduces calibration requirements.
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A powerful but cost-effective and flexible display solution, the Christie Mirage WQ-L is ideal for a wide range of markets, from aerospace and automotive to oil and gas, government, academia, and entertainment. Its solid-state LED light engine delivers years of worry-free operation without compromising image quality.
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“We received positive reviews when we previewed the Christie Mirage WQ-L at SIGGRAPH 2013,” said Larry Paul, senior director of technology and visualization solutions management, Visual Environments, Christie. “The projector’s sealed LED-based light engine eliminates the need for filters, reduces heat and makes it virtually maintenance-free. Its flexibility and low-maintenance design makes it the perfect display solution for a wide range of customers that require a high-performance system that is also eco-friendly and backed by Christie’s reputation for quality and reliability.”

Christie Mirage WQ-L Projector


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The Christie Mirage WQ-L operates off the exclusive Christie KoRE™ electronics and firmware platform, which provides the most extensive level of input capability and control flexibility available for advanced visualizations systems.
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The Christie Mirage WQ-L is now shipping.

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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