Archive for November 5th, 2013

Harmonic Inter BEE Product Preview

At Inter BEE 2013, Harmonic will provide demonstrations of its ProMedia(R) suite of HEVC-ready multiscreen software applications.

Harmonic Products at Inter BEE 2013

ProMedia(R) Multiscreen Preparation Solution
ProMedia(R) is the industry’s most complete multiscreen preparation solution and the market-share leader in multiscreen software transcoding. New features include support for HEVC encoding and the 4K/Ultra HD video format; increased synergy with the Harmonic(R) MediaGrid shared storage system for the delivery of time-shifted TV services; and support for closed captioning, regional blackouts, and local ad insertion. The latest enhancements to the product family arrive at a time when more broadcasters and service providers are looking to expand their portfolios with scalable, high-quality multiscreen services that deliver amazing video. With the ProMedia suite, Harmonic customers now have the flexibility, scalability, and efficiency needed to accomplish this goal, drive new revenue streams, and improve the video experience.

Photo Link: www.wallstcom.com/Harmonic/ProMediaScreenshot.zip
Photo Caption: Harmonic ProMedia(R) Carbon Screenshot

Company Quote:

“Inter BEE is a great venue for meeting with our Japanese customers and partners. We will demonstrate new Ultra HD and HEVC capabilities and show how a Harmonic media storage and processing platform offers industry-leading performance while enabling users to optimize their production and delivery workflows.”
– Andrew Thornton, Vice President of Sales, Harmonic Asia-Pacific

Harmonic Company Overview:

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.

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New XL Video Hybrid LED Screen Debuts with Ellie Goulding

XL Video’s brand new Hybrid 18mm LED screen made its touring debut on the recent UK leg of Ellie Goulding’s “Halcyon Days” tour, where it was specified by Lighting and Visuals Designer Cate Carter of Bryte Design and integrated into her vibrant production design for the tour.
The Hybrid 18 screen panel features a standard medium 18 mm pitch comprising 32 x 32 pixels per panel, with 4 x 4 higher brightness (7700nit) low resolution pixels also embedded in the same panel.


For the Ellie Goulding tour, 19 TAIT produced touring frames to make up a rear video screen. Each frame contained 2×2 panels of Hybrid 18 (four in total) giving a surface of 64 x 64 medium resolution pixels and 8 x 8 low resolution pixels … per touring frame.
The touring frames were flown at 45 degree angles so they were an attractive diamond shape mosaic surface upstage.
The idea of using something new appealed to Carter … and also to her business partner Pablo Beckett who created all the custom video content for the show. They saw a demo at XL together with the tour’s Video Director Ben Miles, after which all three were keen to use the new product.
XL’s Head of Concert Touring, Phil Mercer, originally suggested the Hybrid 18mm to Carter. “It’s a unigue product and requires the creative use of bespoke content and a clever control solution to get the best out of it,” said Mercer. “I knew that Cate, Pablo and Ben would achieve this.”
Carter had originally wanted a screen with some degree of transparency and also a mesh effect which the Hybrid 18 has when lit from behind, together with the option of running standard content through the low resolution pixels or mapping them directly via Artnet from the lighting desk to give some fabulously fluid sparkling effects.
Her stage design also required the screen panels to be orientated at 45 degrees – the diamond shapes related to the original stage set concept from earlier in the tour and to certain geometry in the album artwork – and to have a specific ‘fragmented’ physical effect … So in addition to the creative requirements, it was essential that the LED product was easy to rig.
XL helped produce a solution for this that enabled the screen to be rigged quickly and efficiently at each venue.
A centre cluster of 3 x 3 touring frames made up a perfect diamond shape in the middle, and the other frames were increasingly offset from each other the more offstage they were.
Ben Miles then mapped each of the panels via the LED processors to optimize the overall effect of content running through them at the 45 degree angling and to eliminate ghosting.
Miles specified a Hippotizer media server for control – which he ran from FOH using a Zoo Keeper remote. This was chosen because of its visual interface and “Quick, easy and fun” mapping capabilities, allowing him to either map individual tiles or use the entire screen as a 1280 x 720 resolution surface – according to the content being played.
Some content also had to be re-mapped daily if the screen configuration had to be changed to fit into certain venues.
During rehearsals at Brixton Academy in London, Miles and Beckett worked on the existing show video content. They stripped some of it back picking out highlights that would look good run across the low resolution screen elements.
As well as being mapped in the Hippotizer, for full flexibility the low res Hybrid 18 pixels were also DMX patched directly into the grandMA2 console and using its DMX Merge facility, these could also be programmed, treated and run as RGB light sources.
Carter decided to hang a lightly printed sharkstooth gauze in front of the LED screen for general softening and for creating a different texture during the first two thirds of the show and also to bring a hint of ‘theatre’ to the stage.
This was kabuki’d in for the final numbers of the set which built up into a hi energy crescendo, complete with bolder and starker video content, resulting in the LED changing appearance yet again, really showing its versatility and chameleon like qualities throughout the performance.
Nilkanth Patel was XL’s project manager, who also supplied Markus Wareham as the tour’s Video Technician. He, Miles and Carter all worked very closely with Lighting Crew Chief Glen Johnson and Lighting Tech Martin Garnish from lighting contractor Lite Alternative whilst on the road as one integrated visual department. Sound for the UK section was supplied by Adlib and the tour is being Production Managed by Derek Fudge.

Harmonic CCW Product Preview

At Content and Communications World (CCW) 2013, Harmonic will highlight next-generation solutions for producing and delivering content that yields amazing viewing experiences. The company will demonstrate how its versatile and robust channel-in-a-box system facilitates fast, cost-effective channel deployment while supporting powerful graphics, independent branding of simulcast channels, dynamic subtitle insertion, and other valuable capabilities. Harmonic will also showcase its acclaimed encoding system, engineered for broadcast contribution applications, and its ProMedia(R) suite of solutions that enable versatile and cost-effective multiplatform content delivery. The booth will include a live demonstration of an end-to-end solution for true HD (1080p60) playout and distribution of the highest-possible video quality.

Harmonic Products at CCW 2013

Spectrum(TM) ChannelPort(TM) Integrated Channel Playout System
Harmonic will showcase recent enhancements to its market-leading Spectrum(TM) media server product line. The Spectrum ChannelPort(TM) integrated channel playout system features powerful new channel-in-a-box capabilities such as dual DVE functionality, dual live inputs, independent branding of simulcast channels, and support for external key/fill to enable more powerful graphics. The addition of AVC-Intra and ProRes enables exceptional codec flexibility, and new dynamic subtitle insertion allows for just-in-time playout of multilingual content.

The Spectrum ChannelPort platform speeds the cost-effective deployment of new SD and HD television channels by integrating branding and master control switching with clip playback on the industry’s most trusted media server platform. Fully compatible with Spectrum MediaCenter(TM) and MediaDeck(TM) 7000 servers, ChannelPort fits seamlessly into existing production and playout infrastructures, reducing complexity and cutting the time it takes to launch new services.

Photo Link: www.wallstcom.com/Harmonic/ChannelPort.zip
Photo Caption: Spectrum(TM) ChannelPort(TM) Integrated Channel Playout System

ProMedia(R) Multiscreen Preparation Solution
ProMedia is the industry’s most complete multiscreen preparation solution and the market-share leader in multiscreen software transcoding. New features include support for HEVC encoding and the 4K/Ultra HD video format, increased synergy with the Harmonic MediaGrid(TM) shared storage system for the delivery of time-shifted TV services, and support for closed captioning, regional blackouts, and local ad insertion. The latest enhancements to the product family arrive at a time when more broadcasters and service providers are looking to expand their portfolios with scalable, high-quality multiscreen services that deliver amazing video. With the ProMedia suite, Harmonic customers now have the flexibility, scalability, and efficiency needed to accomplish this goal, drive new revenue streams, and improve the video experience.

Photo Link: www.wallstcom.com/Harmonic/ProMediaScreenshot.zip
Photo Caption: Harmonic ProMedia(R) Carbon Screenshot

Ellipse(R) Contribution Encoder
At CCW 2013, Harmonic will showcase the Ellipse(R) 3000 contribution encoder, leveraging Harmonic’s industry-leading compression expertise and a flexible system architecture to bring new levels of video quality and workflow efficiency to broadcast contribution applications. Multiformat, multicodec versatility, low latency, and an optional integrated modulator make this all-new compression platform ideal for both digital satellite newsgathering and fixed contribution. A compact footprint and plug-and-play deployment deliver the additional benefit of low cost of ownership.

The Ellipse 3000 supports all SD and HD MPEG-2 and MPEG-4 AVC codecs at 4:2:0 or 4:2:2 8 or 10 bit subsampling. Fully firmware upgradeable, the encoders offer a smooth and cost-effective migration path from MPEG-2 SD 4:2:0 8 bit to AVC HD 4:2:2 10 bit compression schemes, making them among the most versatile contribution encoders available.

Photo Link: www.wallstcom.com/Harmonic/Ellipse3000.zip
Photo Caption: Ellipse(R) Contribution Encoder

Company Quote:

“Equipped with forward-looking functionality and built on flexible, scalable designs, the products we’ll show at CCW are among the many Harmonic solutions leading the way toward more economical and efficient delivery of high-quality content to any screen.”
– Eric Armstrong, Vice President, Sales, North America Broadcast at Harmonic

Harmonic Company Overview:

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.

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WATCHOUT MANAGES CONTENT FOR THE BIG PICTURE, THE WORLD’S LARGEST HIGH DEFINITION VIDEO WALL

Standing over 15 meters tall and 60 meters wide, “The Big Picture” has the official Guinness World Records title for the “Largest High Definition Video Wall”. It is located inside the main lobby and entrance to Suntec Exhibition and Convention Centre (Suntec Singapore) and is fast becoming a hotspot for photo-taking by delegates and Suntec City shoppers alike. The system relies on the amazing Dataton WATCHOUT™ multi-image display and presentation software to manage its large-format, dynamic and ever-changing content that is presented over 664 integrated LG LED flat panel displays.

Arun Madhok, CEO of Suntec Singapore said: “The full HD digital wall is an integral part of our technology suite which includes digital signage and free Wi-Fi. This mega screen with its captivating content is fast becoming a hotspot for photographers providing an iconic and memorable souvenir of Singapore. High definition content is played 16 hours each day delighting the convention centre visitors and Suntec City shoppers alike.

“The Big Picture is fast becoming a hotspot for photo-taking providing an iconic and memorable souvenir of Singapore. In addition, it has successfully achieved a new Guinness World Records title for Largest High Definition Video Wall.”

Fredrik Svahnberg, marketing director at Dataton said: “Our software designers have worked tirelessly over the years to create a single robust system that can handle an unprecedented quantity of video and data on such a huge real-time display. We’re delighted that WATCHOUT technology has been put to the test and is an integral part of The Big Picture at Suntec Singapore. It’s validating that the project and its technology partners involved are officially recognised by Guinness World Records and as part of a smart building our technology is used to bring a return on investment to the owner as well as to inform, engage and enthral local and international visitors to Singapore.”

An ecosystem of technology partners brings The Big Picture to life

The project was managed by Suntec Singapore working with an expert team of Asia-based technology partners including global automation controls specialist, Honeywell who were appointed master systems integrators for the project.

“We understood Suntec Singapore’s vision to be a convention and exhibition centre of the future,” said Ananda Seshadri, regional marketing leader at Honeywell. “We leveraged the latest technologies to help Suntec achieve their business goals. The big digital screen with the application of WATCHOUT certainly has the ‘wow factor’ for visitors and Suntec exhibitors use it as a fantastic advertisement placement.’

LG acted as systems engineers to design and analyse the system and manage subcontractors such as ACETEL Korea.

“ACETEL were responsible for supplying Dataton WATCHOUT for The Big Picture as well as designing and installing the visual display system according to LG and Honeywell’s requirements,” explains Jeong-Mok Byun, team leader of visual solution division at ACETEL.

Big pixel display

The Big Picture is designed to support a resolution of 32,051 pixels wide by 7,941 pixels high, which is 84 times the resolution of HD (1 UHD = 4HD).

The Big Picture acts as a standalone exhibit allowing a combination of multiple media such as still images, animations and video clips to be shown at the same time, or a single media image in native format to be displayed over the entire wall.

Interactive features are integrated with RFID tracking systems and sensors on the escalators located just in front of The Big Picture. With these integrated sensory systems, The Big Picture can be adapted to display welcome messages, or show specialised content alongside riders on the escalator from levels 1 to 3.

Mr Oh, Technical Manager, LGE Singapore explains: “LG worked on the design of the visual display system and it evolved to be the largest HD LED screen in the world. Early in the design phase, we discussed with Dataton the possibility of the project being the largest HD LED screen and on finding out that it could, we selected WATCHOUT as the main multi-image display and presentation system.

“The Big Picture is controlled and operated by three major subsystems which are the video wall, playback, integration and control. Playback manages content and the principle of the design is to support multi-display and 4K images from 21 WATCHOUT display servers, serving 84 full HD outputs.

“The integration and control system acts to control The Big Picture and servers, turning them on or off as required. It also manages playback where a part of a show at a specific time can be selected or it can be used to manage interactive content.”

Mesmerising audiences through dynamic content

Content for the system can be updated according to the exhibition taking place. It also uses a variety of ultra-high resolution content from Suntec Singapore and its advertisers.

Lasanthi Bandara, manager, audio-visual technology and content at Suntec Singapore explained: “WATCHOUT is being used to primarily display content on all 664 screens seamlessly. Content is also designed, animated, and produced within the WATCHOUT system itself.

“There was no other feasible and scalable technology available in the market that could enable us to create such high definition display. WATCHOUT was selected because of its primary capability to display synchronised content on multiple screens,” added Bandara.

Bernard Ng, digital creative curator at Suntec Singapore explained: “Audio, video and graphic content are used together to create spectacular showcases and presentations on The Big Picture. The design challenge here is simply the immense size of our entire screen. Producing and rendering videos and animations at this scale is incredible but potentially time consuming. However, production time is greatly reduced by maximising WATCHOUT’s ability in allowing us to create amazing content directly within the system itself.

“For content management, WATCHOUT allows content to be stored and managed in media containers with auxiliary timelines. This allows my team to manually organise and manage content according to scheduling and requirements.”

Smart building design

The system is designed to be integrated with other building systems and to bring in return on investment.

“The initial plan was not to build the largest HD LED screen in the world. The Level 1 of our building was initially designed as the lobby entrance to our venue and following a major modernisation programme, the idea of having a HD LED screen was realised in the form of The Big Picture. The size of The Big Picture was in accordance to our overall design of venue entrance. We are very delighted that an unexpected design step turned into the largest HD LED screens in the world,” said Arun Madhok, CEO of Suntec Singapore.

Measuring project success

Suntec Singapore measures the success of The Big Picture from its reception on multiple social media platforms tagging Suntec Singapore as their check-in location, newspaper and media coverage featuring The Big Picture as well as filmography interests. Operationally there are benefits such as reduced costs and increased advertising revenue that assist the centre in being profitable and sustainable.

“It is great to see our organisers and delegates posing in front of The Big Picture with big smiles. One more reason why Suntec Singapore is the Preferred Place to Meet,” ended Madhok.

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Sound Devices Latest Firmware Adds Additional Inputs to 664 Production Mixer

Unit offers 12 Analog Inputs and 16 Recording Tracks

REEDSBURG, WI, NOVEMBER 5, 2013 — Sound Devices, experts in portable audio and video products for field production, continues its tradition of adding significant features to its products through regular firmware updates. The latest update, Version 2.00 for its flagship 664 Production Mixer, unlocks six additional line-level inputs on this already powerful field mixer. The 664 now offers 12 analog inputs and 16-track recording without requiring the CL-6 Input Controller.

Sound Devices 664 features six ultra-low-noise, high-dynamic-range preamps that accept mic- or line-level signals and include analog peak limiters, high-pass filters, and input trim control. Version 2.0 firmware provides access to six additional, menu-controlled, line-level inputs for a total of 12 inputs. Inputs 7-12 appear on TA3 connectors shared with the direct outputs. Inputs 1 and 6 can be set to accept AES3 or AES42 for digital microphones, each with its own SRC for simplicity in system clocking.

With version 2.00, the 664 can record 16 track files, which include all 12 inputs plus its four outputs, without requiring the CL-6 Input Controller. The CL-6 continues to be an important accessory for users requiring hardware fader control of inputs 7 through 12. Firmware revision 2.00 also brings additional LCD metering modes to support the expanded input capability. Three menu-set metering modes are selectable from the front panel meter button. Meter modes offer combinations of input and output levels.

The 664 records 16-track monophonic or polyphonic broadcast WAV files or stereo MP3 files to SD and/or CompactFlash cards. All inputs and outputs are individually selectable for recording, and feature up to three seconds of record pre-roll. With its dual card slots, the 664 can record content to either or both cards simultaneously, with the ability to assign different tracks to each memory card. With cards not optimized for multi-channel monophonic file recording or if the monophonic 10-track limit is exceeded, a warning message is displayed on the LCD display when starting a recording. In addition, when formatted in the 664, SD cards 64 GB and larger are automatically formatted as ExFAT (in accordance with the SD Association’s recommendation). All CF cards and lower-capacity SD cards remain FAT32.

The 664 offers greater flexibility and ease-of-use with its “LCD Daylight Display” mode, which incorporates a daylight-specific color scheme and solid-bar metering option for improved readability in direct sunlight. In addition, it includes a high-precision, Ambient-based timecode generator/reader for multi-camera and double-system sound applications.

Existing 664 users can download version 2.00 for free by visiting http://www.sounddevices.com/download/664-firmware/.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. Founded in 1998, the company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

Integrated Microwave Technologies, LLC (IMT) Showcases Complete Line of Best-Selling RF Central microLite Transmitters at CCW 2013

Full Range of Connectivity Options On Display

NEW YORK, NOVEMBER 5, 2013 – Integrated Microwave Technologies (IMT), a Business Unit within the Vitec Group’s Videocom Division and a leader in advanced digital microwave systems serving the Broadcast, Sports & Entertainment, and Military, Aerospace & Government markets, showcases its complete family of RF Central microLite HD Transmitters at Content & Communications World 2013 (CCW Booth 1011). Comprising the RF Central microLite HD camera-top Transmitter and two RF Central microLite HD camera-back transmitters including the Anton/Bauer and V-Clip mount options, the complete microLite family of HD transmitters offers a full range of docking options for compatibility with nearly every camera on the market.

Users can mount the RF Central microLite HD camera-top Transmitter via a hot shoe, as well as pair it with Litepanels camera-mounted lighting solutions. For both the Anton/Bauer and V-Clip battery docking options, the mount is positioned on both sides of the clamshell transmitter, allowing it to be connected to the camera. The battery can then be mounted to the transmitter. As a result, users can employ the battery to power up the transmitter and to pass power through to the camera. The RF Central microLite HD camera-back Anton/Bauer Transmitter conveniently mounts between the Gold Mount® and Anton/Bauer Logic Series® battery. The newest addition to the award-winning RF Central family of microLite HD products, the RF Central V-Clip microLite HD Transmitter mounts on the end of the cameras between a plate and any V-mount battery.

“We are thrilled to bring our award-winning lineup of microLite HD Transmitters to CCW 2013,” says IMT Divisional Chief Executive Stephen Shpock. “By showcasing all three mounting options, we are able to demonstrate the unprecedented flexibility of the state-of-the-art microLite transmitter, which can work with any of your existing cameras.”

Developed for the new generation of HD (SDI) capable compact cameras, microLite has been specially designed to address the current domestic and international broadcasting band requirements within a single unit. All microLite HD transmitters are available in licensed 2-GHz and license-free 5.8-GHz frequency versions. The 2-GHz model covers from 1.9 to 2.5GHz and delivers up to 200mW, while the 5.8 GHz-frequency band unit has a robust 100mW RF output. Depending on the mode and frequency, the transmitter has a range of up to 1 mile. The range and power can be increased from 200mW to 1 Watt with the optional Nucomm Range Booster Amplifier (RBA), which is also on display at the show.

microLite features superb H.264 SD and HD encoding capabilities and operates in the standard 2k DVB-T COFDM mode. The H.264 video encoder supports the main profile of the H.264 standard, providing a 30-percent bit rate reduction or video quality improvement compared to encoders that only support the H.264 baseline profile.

Each model features user-friendly control panels and is the perfect companion with IMT’s RF Central Direct VU handheld monitor/receiver. When used together, the RF Central microLite and the RF Central Direct VU combine to form a complete transmitter and receiver link in the field. With its compact design, both the microLite and Direct VU are ideal for a variety of mobile applications, including live sports events, reality TV productions, ENG/OB broadcast and video assist.

About Integrated Microwave Technologies, LLC
Integrated Microwave Technologies, LLC (IMT) is a Business Unit within the Vitec Group’s Videocom Division. The company comprises the leading microwave brands Nucomm, RF Central and Microwave Service Company (MSC), offering broadcasters worldwide complete broadcast solutions. Nucomm is a premium brand of digital microwave video systems (including COFDM and VSB) for portable and fixed link applications. RF Central is an innovative brand of compact microwave video equipment for licensed and license free broadcast applications. MSC is a premier provider of engineering, integration, technical support, installation and commissioning services. IMT is an ISO 9001:2008 certified QMS organization and recipient of multiple industry awards for design and innovations.

More information can be found at www.imt-broadcast.com.

A Snapshot of The Vitec Group
Vitec is an international Group principally serving customers in the Broadcast & Video, Photographic and Military, Aerospace and Government (MAG) markets. Listed on the London Stock Exchange with 2012 revenue of £345.3 million, Vitec is based on strong, well known, premium brands on which its customers worldwide rely. Vitec is organised in three Divisions: Videocom, Imaging and Services.

Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG.

Imaging designs, manufactures and distributes equipment and accessories for photography and video.

Services provides equipment rental, workflow design and technical support to TV production teams and film crews.

More information can be found at: www.vitecgroup.com.

GUITAR CENTER OPENS NEW STORE AND LESSONS STUDIO IN ALPHARETTA, GEORGIA

Alpharetta location features on-site lessons, new repair services, and vast inventory selection

ANNOUNCEMENT HIGHLIGHTS:

Guitar Center has opened its 254th store location in the U.S.
GC Garage service will provide a much-needed range of musical instrument repair services
GC Studios, first-ever GC lessons facility in Alpharetta to support local music scene, is at the store, located at 970 North Point Dr. Suite A120, Alpharetta, GA 30022

(Los Angeles, CA) – Guitar Center, the world’s largest retailer of guitars, amplifiers, drums, keyboards, recording, live sound, DJ and lighting equipment, opened its 254th location, in Alpharetta, Georgia, on October 17, 2013. The store, located at 970 North Point Dr. Suite A120, Alpharetta, GA 30022, is also part of a new wave of Guitar Center retail stores that feature lesson spaces, which allows GC to offer additional music lessons, special programs and expanded opportunities for local musicians.

A virtual tour of the store is available online at http://goo.gl/maps/3YQIl and on the Alpharetta store page at http://stores.guitarcenter.com/alpharetta.

ALPHARETTA STORE LOCATION BACKGROUNDER:

Vast Product Selection and Low Prices – Guitar Center Alpharetta brings an unprecedented selection of products to Alpharetta, all backed by Guitar Center’s guarantee and available at attractive prices. The store features the latest in guitars, amplifiers, percussion instruments and keyboards, as well as live sound, DJ, lighting and recording equipment.
Guitar Center Studios – Deeply vested in expanding and enhancing the local music scene, Guitar Center Alpharetta also brings Guitar Center Studios to the new location. The fully-equipped, in-house lesson space is giving area residents of all ages and skill levels access to affordable music lessons. Sourcing locally trained store employees as certified instructors, courses will be offered on guitar, bass, keys and drums, as well as vocals and recording techniques using Pro Tools, Logic Pro and GarageBand.
Guitar Center Garage – Guitar Center Alpharetta includes GC Garage, the store’s on-site guitar repair service, offering a host of services, including electronics repair, hardware customization, fretwork, structural repairs, cosmetic enhancements, setup and maintenances.

Guitar Center Alpharetta: Additional In-Store Programs and Opportunities Include:

Guitar Center’s “Endless Aisle” – Alpharetta customers can now shop from Guitar Center’s new multi-channel “endless aisle,” which extends the in-store inventory to over $400 million in new and used products from across the nation. Shoppers will be able to purchase in-store, online and via phone, with the option to have products shipped to their home or to the store for convenient pick up.
At: Guitar Center Programs – Throughout the calendar year, Guitar Center Alpharetta will host an array of free events, such as artist workshops, lessons, product launches and performances, as a part of the company’s ongoing commitment to educating and assisting unsigned artists. These programs aim to provide musicians with the opportunities and exposure essential to achieving their music goals.
Recording Made Easy – Available at all Guitar Center locations, the Recording Made Easy program is a four-week, user-friendly series of weekly classes occurring Saturdays from 10:00 to 11:00 a.m.

In addition to special programs at the new Alpharetta store, Guitar Center offers year-round programs designed to spearhead creativity and highlight promising undiscovered talent. Alpharetta residents will now be able to participate in these ongoing events from their hometown. Programs have included Your Next Record, Guitar Center On-Stage, Guitar Center Singer-Songwriter, Guitar Center’s Battle of the Blues and Guitar Center’s Drum-Off.

Guitar Center Alpharetta Store and Studio Hours
Mon-Fri: 10:00 AM – 9:00 PM
Sat: 10:00 AM – 8:00 PM
Sun: 12:00 PM – 6:00 PM

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Director Alberto Belli Joins Accomplice Media

Director’s viral videos “For Your Consideration” and “It’s Not Porn. It’s HBO” have drawn millions of views on the web.

Los Angeles— Director Alberto Belli, whose viral videos “For Your Consideration” and “It’s Not Porn. It’s HBO.” have garnered international acclaim and millions of web views, has signed with Accomplice Media for exclusive representation in advertising. It’s the first commercial affiliation for the young director, who also won two Emmy Awards for short comedies he directed while a student at USC.

Accomplice Media Executive Producer Mel Gragido says that he became interested in working with Belli after watching It’s Not Porn. It’s HBO. on Facebook. In the video, several actors talk to family and friends about salacious movie roles they have participated in. The listeners are horrified until they learn the parts were in productions for the sophisticated cable network.

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Syndrome Rejoins Eminem, This Time for Live Video Shoot at Inaugural YouTube Awards Creative Directed by Spike Jonze

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When YouTube selected Spike Jonze to organize its first annual music awards, the renegade director threw out all the clichés. Jonze selected a cavernous warehouse to displace the usual theater space as the event venue, and dispensed with the red carpet roll ups. The evening’s hosts were tasked to improvise in lieu working off a script; and, rather than staging a series of typical musical performances, the show featured the filming of live music videos by enormous names such as Lady Gaga and Arcade Fire. At the end of the evening, directing collective Syndrome delivered an earth-shattering grand finale: the video of a debut single by Eminem, created live in one take before the show’s audience.


In a riveting pop-cultural moment, the iconoclastic rapper, who has worked on many projects with Syndrome in the past, delivered an intense, first-time performance of the six-minute epic Rap God. The song comprises six wildly different historic rap styles that at once encapsulates the pantheon of hip-hop and forcefully asserts Eminem’s status as a leader in the music game.


“This was easily one of the most intense performances Eminem has ever given,” states Syndrome Director James Larese. “The live filming of music videos on this scale has never been done before. We had no way of knowing what was going to happen, but it was absolutely awesome.”


Syndrome spent weeks preparing to live-direct the shoot. Using just four cameras aimed at the performer, the team blocked various angles and shots to identify the optimal positions for capturing the interplay of the strobe effects with the dramatic half-black, half-white stage. During the show, a live crew in an edit truck cut to pre-determined angles throughout the performance, delivering the live edited music video to the audience as it was filmed.


“The idea is to create all these little moments that would normally take hours to capture, and synch them up in one take, live,” continued Larese. “It was an enormously ambitious undertaking and there was no one we would have rather had behind the wheel than Spike Jonze. It was so amazing to watch him do the blocking for Arcade Fire and Lady Gaga. He is so approachable, so supportive, so eager to try new ideas, so forgiving of mistakes. He also fiercely resisted budget constraints from show organizers, delivering a rare thing in production: an open, budget-less frontier where we can simply create.”


Syndrome most recently partnered with Eminem on a music video and spot for Call of Duty: Ghosts. Prior collaborations include music videos for Berzerk, Crack A Bottle, and 3AM, and an additional spot for Beats by Dre. “Shady Records realized that this is more than just pointing the camera and recording – it’s feeling the artist out and catching who he is and what he does, which is very specific,” explained Syndrome EP Monica Blackburn. “There is a level of trust that we’ve developed by nurturing this relationship over a long period of time.”


The 90-minute YouTube awards aired Sunday, November 3 from Pier 36 in New York City.


Credits:

Client: YouTube
Artist: Eminem
Segment: Rap God

Creative Directors: Spike Jonze & Chris Milk
Director: Syndrome
Art Director: KK Barrett
DP: Chris Blauvelt
Producer: Cisco Newman

About Syndrome:

Syndrome is an award-winning design and live-action directing studio. From concept to completion, we bring original ideas to life. Utilizing skillful and inventive in-house talent, we integrate our individual creative expertise to find imaginative solutions to complex projects, pushing boundaries wherever possible. Our diverse experience working in multiple forms of media allows us to serve creative agencies, production companies, major networks and studios.


Clients of Syndrome have a wide-range of content requests, from elegant to explosive, and with a strong team built of varied experiences, we bring a broad spectrum of capabilities to the creative table. Our focus is strategizing, conceptualizing and delivering striking aesthetics in order to communicate the most effective messages possible.


Syndrome was launched as an art and installation-driven collective in 2002, in the heart of Los Angeles, by artists Micah Hancock, James Larese, and Mars Sandoval. Along with executive producer Monica Blackburn they evolved into an innovative and bold collaboration of creative synergy. A decade later, Syndrome continues to expand and reinvent its visual and technological repertoire in the ever-evolving world of entertainment.


More info: TRUST 646 452 3388 (NY) 310 451 5153 (LA) trustcollective.com

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SPOT WELDERS TO REP SPEADE IN THE US

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Spot Welders is pleased to announce that it will now rep top UK editorial shop Speade in the US. With company founder Sam Sneade at the helm of the company and talent such as James Rosen, Ellie Johnson and Sacha Szwarc headlining their team, Speade will prove to be a valued partner to Spot Welders.


“The opportunity to partner with a legend in the business such as Sam Sneade is a once in a lifetime chance that we could not pass up,” says Spot Welders co-founder and partner David Glean. “We have a very clear view of where Speade’s work will fit into the enormously important US market, and we are looking forward to getting started.”


The partnership announcement comes at an exciting time for Speade, which just added James Rosen to its roster. Rosen joins Speade following many successful years at Final Cut, where he worked with some of the world’s top talent to build a diverse body of commercials, drama and music videos. His reel includes award-winning work for Virgin Media, British Airways, Audi, E4 and McDonald’s.


Sneade, who founded Speade in 2002, has more than 20 years experience as a commercial editor. He is widely recognized as one of the top editors in the UK, having worked with noted directors Jonathan Glazer, Martin Granger, Traktor, Johnny Green and Frank Budgen. He has cut some of the best-known spots in advertising, including spots for Guinness, Stella Artois and Levi’s, as well as several feature films, including Jonathan Glazer’s Sexy Beast and Birth, Stephen Woolley’s Stoned and Dominic Murphy’s White Lightnin’. This enormous portfolio has earned honors from Clio, Creative Circle, D&AD and British Arrows.


“We are all very excited to team up with Spot Welders,” says Sneade. “We share a very similar outlook, which is a craft-first approach focused on quality and the end result. We have always wanted to expand into the American market, and we are thrilled to finally do this with such an established and skilled company.”


Speade joins the Spot Welders line-up during a momentous year for the company, which has earned numerous awards including a Silver Lion at the 2013 International Festival of Creativity, a Gold CLIO Award, and a Silver at the International ANDY Awards.

About Spot Welders:

Spot Welders is an award winning film and television editorial house with offices in Los Angeles, New York and London. The company was established in Venice, California in 1993 by editor Robert Duffy and executive producer David Glean.



More info: TRUST 646 452 3388 (NY) 310 451 5153 (LA) trustcollective.com

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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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