Archive for November 6th, 2013
Ability to Double License Capacity of its Render Farm For Free Lets Largest US Art School Process 70 Student Shorts in Just Six Weeks
Los Angeles, CA (November 06, 2013) – When a Hollywood animation studio gears up for a deadline, it does so with a render farm already consisting of hundreds or thousands of active machines. But when New York’s School of Visual Arts (SVA) gears up to render its students’ graduation shorts, its farm goes from almost complete inactivity to processing 800,000 frames in a period of six weeks.
That transition used to be a major headache for the SVA’s Computer Art, Computer Animation and Visual Effects department. Now, thanks to Qube!, PipelineFX’s scalable render farm management system, staff can face deadlines with the confidence that all of their students’ needs are covered.
And best of all, thanks to PipelineFX’s innovative Education Burst License program, developed in response to the SVA’s feedback, colleges around the world can share that confidence, doubling their Qube! license capacity for a month (twice a year) to meet deadlines, at no extra cost.
Training Hollywood’s Rising Stars
Founded in 1947, the SVA is the largest arts school in the US. Over 5,000 students pass through its Midtown Manhattan campus each year, 280 of them as undergraduates in the computer art program. The school has a strong relationship with local visual effects facilities – notably Framestore, which it supplies with many of its junior staff – but alumni also include artists at Pixar and Blue Sky Studios, and Industrial Light & Magic’s Johnny Han, CG Supervisor on “Pacific Rim.”
Students are taught on a range of industry-standard software packages, including Maya and Nuke, and have access to a dedicated render farm consisting of 300 dual-processor machines.
To manage render traffic, the SVA relies exclusively on Qube!, with students submitting jobs directly within Maya, and using the Qube! ArtistView to monitor them. The school praises the software’s dynamic allocation system and shallow learning curve, as well as its ability to handle all of the render engines it requires – including mental ray, V-Ray and Arnold – straight out of the box.
Equally importantly, Qube! is a production-proven solution. “Everything we do is focused on giving our students familiarity with the commercial environment,” says SVA Chair John McIntosh. “We’re big advocates of guerilla film-making, but our students are ultimately going to work in production, so we felt obliged to go with a commercial solution – and one that was as widely used as possible.”
Developed for studios, driven by students
While a commercial production house can rely on the fact that jobs submitted to its farm will be optimized and time-managed professionally, the need to cater to student work places a much greater strain on SVA’s resources.
“They’re all new users, so all the jobs are unique, and they’re very rarely optimum,” says McIntosh. “The students are going for broke trying to achieve Hollywood quality, so they’re often doing overly lit, overly complex scenes. They can hit render times of four hours per frame.”
And with 70 senior projects, averaging between two and three minutes of finished animation – not to mention countless freshman, sophomore and junior assignments – that’s an awful lot of traffic to put through the render farm. Worse still, its users generate much of that traffic on the same day.
“They’re students: we assume that everything is going to be rendered the night before,” says McIntosh. “When you’re involved in it, it’s frightening. There are periods where we actually shut down our facility just for rendering, and throw everybody out for days at a time.”
Burst Licensing to the Rescue
As well as these logistical problems, the sudden spike in render traffic creates problems with software licensing. “We go from an environment where we make little use of the render farm to one where we have maximum use,” says McIntosh. “When that happens, all of a sudden we don’t have licenses to fit the production, because we’re only going to be scaled up for six weeks.”
Enter PipelineFX’s Education Burst License program. Born of a chance conversation between the SVA and PipelineFX staff, the program lets any education user on subscription contract double their existing license capacity twice a year, either for a calendar month, or for 30 consecutive days.
“We were stunned when we heard the news,” says McIntosh. “It was just an off-the-cuff remark, and within a month, it was done. The new policy on extending licenses is brilliant.”
Building the Render Farm of the Future
Thanks to burst licensing, SVA has the confidence that its farm will cope with everything that its students can throw at it, without having to place creative or technical restrictions on their work.
“It lets us get through deadlines without trying to impose any aesthetic restrictions,” says McIntosh. “Any student can do a project of any length, and we put very little limitation on them when it comes rendering.”
The SVA currently has 100 seats of Qube! and hopes to purchase 50 more this year, aiming to use the extra capacity to meet new technical standards within the industry. The school is currently switching from mental ray to V-Ray and Arnold for rendering, and is in the process of adding other computationally intensive tools to its syllabus.
“We’re committed to having high-end solutions here, and PipelineFX’s new licensing policy gives us the freedom to embed them into our curriculum at a much earlier stage,” says McIntosh. “We’ve just brought Houdini and Nuke into our freshman and sophomore years, and that’s unheard of in the US. Most people in education have to restrict those tools because they don’t have the infrastructure.”
Helping Artists, Inside and Outside Schools
Empowered by Qube!‘s powerful, scalable render-management tools, and PipelineFX’s flexible new licensing policy, the SVA feels confident that it can meet the needs of the next generation of Hollywood effects professionals.
“We couldn’t do half of what we can do now if it wasn’t for PipelineFX,” says McIntosh. “One of the most positive things is that they understood the need for scalable productions so fast. We were overwhelmingly impressed that they were able to respond so quickly, for so many schools.”
About Qube!™ and Smart Farming™
Qube! is an intelligent, mature and highly scalable render management solution that can be quickly integrated into any production workflow, and is backed by world-class technical support. Smart Farming delivers intelligence to production pipelines by providing business-critical insight into render pipelines, maximizing investment in rendering infrastructure and automating manual processes. Qube! works out of the box with all leading content creation applications and is truly cross-platform with all software components available on Windows®, Linux®, and Mac OS®X operating systems.
As the leading provider of intelligent render farm management solutions for digital content creation, PipelineFX provides software, support, consulting and training services worldwide. Over 25,000 render nodes at more than 600 customers across film and visual effects, post production, broadcast, design, games and education include Arc Productions, BaseFX, BBC, Cinesite, Deluxe, Digital Domain, Dyson, Efilm, Electronic Arts, Google, HBO, Hasbro, L.M.U., Laika Studios, Lockheed Martin, Method Studios, NBC Sports, Nvidia, NHK, Original Force, Prana Studios, Pratt University, Procter & Gamble, ReelFX, South Park Studios, Target, Technicolor, and Telemundo. PipelineFX is headquartered in Los Angeles, CA, and has offices in London, Honolulu, Portland, Las Vegas, and Vancouver.
Leading Visualization Services House PROOF Inc. Bolsters International Presence in Australia and Europe
Los Angeles, CA, November 7, 2013 – Proof Inc., one of the film industry’s leading visualization services houses, is actively bolstering its international presence. The announcement was made by Ron Frankel, Proof ‘s founder and Creative Director.
Proof Australia is the new name for the company’s production facility in Sydney, Australia. The facility is currently working on “Gods of Egypt,” directed by Alex Proyas. Prior to the formal opening of an Australia office, Proof had worked in that country on earlier films which included “I Frankenstein,” “The Ruins,” and “Charlotte’s Web.”
Proof’s activities in Europe have also increased. Proof London, now in its second year of operation, recently completed Postvis on “Captain Phillips,” and an extensive Previs project for Marvel’s Guardians of the Galaxy.” Proof London is currently involved with the upcoming adaptation of “Frankenstein” and Guy Ritchie’s “The Man from U.N.C.L.E.” films.
Last year, Proof London, spearheaded by company Creative Director Pawl Fulker, made contributions to “World War Z,” “Skyfall,” and “Fast & Furious 6.” Proof London is a full service visualization house, providing the highest levels of Previs and Postvis to the UK feature film and entertainment markets.
Fulker has been a driving force in the UK pre-visualisation market since its inception. He first used Previs in his role as a computer animator and VFX supervisor in high end commercials, then made the move into feature film Previs with the first of the “Harry Potter” movies, supervising for VFX luminary Robert Legato. Since then, he has supervised Previs for some of the biggest directors working in the UK film industry, including Alfonso Cuaron, Sam Mendes, Guy Ritchie, Marc Forster and Joe Wright.
In Canada, Proof has additional facilities in Montreal and in Vancouver.
“By expanding our international presence, we’ve created a global infrastructure that allows us to move with our clients, no matter where they go,” said Mr. Frankel. “Our goal has always been to provide the highest quality visualization services to the feature film industry. Our expansion into Europe, and now Australia, allows us to operate globally and work locally.”
ABOUT PROOF INC.:
Founded in 2002 in Los Angeles by Ron Frankel, Proof Inc. is one Hollywood’s leading providers of high-quality visualization services for the feature film and live entertainment industries. The company, which has additional offices in London, Sydney, Australia, Montreal and Vancouver, is currently providing visualization services for “Fast & Furious 7” and “Captain America: The Winter Soldier.”
Proof’s recent projects have included “Fast & Furious 6,” “The Hangover, Part 3,” “42,” “Hansel & Gretel: Witch Hunters,” “The Amazing Spider-Man,” “The Hunger Games,” “Underworld: Awakening 3D,” “Fast Five,” “R.I.P.D.,” “Riddick,” and “The Green Hornet.” Upcoming projects include “Guardians of the Galaxy” and “The Hunger Games: Catching Fire.”
From the start of development through to delivery, the talented digital artists of Proof help filmmakers tell their stories and realize their visions. Whether a major studio feature film, a large-scale architectural installation, a TV commercial, or a live concert, Proof’s unique blend of visual artistry and technical expertise ensures that the company’s work on any project is as accurate as it is evocative.
Proof specializes in four areas of creative services:
Previs: A collaborative process using 3D animation software and real-time computer graphics to generate preliminary versions of shots or sequences;
Virtual Production: Proof provides on-set visualization, the synchronization and compositing of live photography with 2D or 3D virtual elements, for immediate visual feedback;
Postvis: This is a creative process whereby filmmakers can direct the parts of their film that weren’t captured during photography because they were either impractical or impossible to get in camera;
Event Visualization: Proof’s artists have the ability to create accurate visualizations to test designs for any kind of event, ranging from a theme park ride to a fashion show, and from a concert to an urban scale multi-media projection.
Proof’s Headquarters Office is located at 5150 Wilshire Blvd., Suite # 300, LA, CA, 90036. The phone is 323/465-6930 and the website is: www.proof-inc.com
EMERYVILLE, CALIF. – Advanced Systems Group (ASG), a leading West Coast video and film integration firm, will navigate through the growing 4K landscape at its annual workshop, 4K Workflow 2013, on Wednesday, Nov. 20, at the New People Cinema at the New People building in San Francisco. The free workshop begins at 10 a.m. and includes lunch.
“4K and other large raster acquisition formats are becoming the new norm for motion picture, episodic television, and high-end commercial production,” said Dave Van Hoy, ASG president. “While these formats are being embraced by content creators, there are multiple ‘flavors’ of 4K from multiple manufacturers, which is creating challenges throughout the production process. 4K Workflow 2013 will help attendees explore their options and manage their 4K file-based workflows.”
The workshop will begin with an overview of 4K cameras, led by veteran director of photography and industry consultant Suny Behar. “The landscape has changed dramatically and so has the approach,” he said. “Every vendor has approached 4K from a different perspective. The big controversy right now is the whole idea of 4K compressed versus 4K uncompressed, and at what point are you actually acquiring less information in 4K than you were back in 2K.”
Jordan Livingston, an independent filmmaker and digital imaging technician serving the Hollywood and Bay Area markets through his company, DIGILOID, will present “DIT: Data Management and On-Set Color Workflows.” His presentation will define the differences between DIT and “media manager” roles, and describe popular on-set color, dailies, and transcoding workflows. He will also examine the subtleties of different file-based workflows for leading camera systems from RED, ARRI, Sony, and Canon.
There are high expectations for 4K to be the next big thing in broadcast, but what will be required for 4K to migrate into a true broadcast HD replacement? Can Ultra HD services refresh the appeal of broadcast against the onslaught expected from on-demand services? Ian Trow, Harmonic senior director of emerging technology and strategy, will address High Efficiency Video Coding (HEVC) and how it will impact the broadcast market. The workshop will also include sessions focused on color correction and post-production workflows.
Registration is free for 4K Workflow 2013, but space is limited. Please visit www.asgllc.com/events/4k2013 for registration and more information.
Advanced Systems Group LLC of Emeryville, Calif., with offices in the Bay Area and Southern California, has provided engineering, systems, integration, support and training to the broadcast, film, creative, and corporate video markets since 1997. With unmatched experience in Apple-based newsroom systems, shared storage, archiving, editing, finishing, and VFX systems, ASG has become one of largest installers of post production and shared storage systems on the West Coast. The ASG team is highly focused on customer success, and has installed and supported more than 185 SANs, production, and post production systems over the last six years. For more information, visit www.asgllc.com or call 510-654-8300.
Cypress, CA– At the upcoming Content and Communications World Expo (CCW), FOR-A will display a number of its popular solutions in booth #909. Among the booth highlights will be the company’s 4K super slow motion camera, video production switcher and video stabilizer technology. CCW is an annual convention focused on media and entertainment technology that includes HDWorld, SATCON, and the Production + Post conferences, and will take place November 13-14th at the Jacob Javits Center in New York City.
FOR-A’s FT-ONE 4K camera will be shown on a Shotoku tripod. Employing the “FT1-CMOS” color sensor, the camera records and plays back full 4K and can record up to 900 frames per second (fps). The FT-ONE is ideal for both broadcast and digital cinematography applications. Another camera that FOR-A will display in its booth is the Flovel FZ-B1 ultra high sensitivity HD camera. Ideal for demanding high-resolution applications, the compact camera is equipped with a 2/3-inch CMOS 1.3 megapixel color image sensor and offers an unprecedented low-light sensitivity of only 0.01 lux.
The IVS-710HS HD/SD video stabilizer will also be on hand. The compact solution provides high-performance correction on unwanted camera movement and vibrations while maintaining camera pan and tilt movement.
FOR-A will also show off its video production switchers, including the compact, cost-effective HVS-390HS. The unit offers unique functionality that is an extension of the aux bus system that allows operators to deploy any aux bus transition with cuts, mixes, or wipes, and display a keyer complete with DVE functions. This feature offers powerful tools to create a richer experience in any application with multi-language or multi-screen requirements. Another switcher that will be shown is the new HVS-XT110 portable unit, which comes standard with 12 HD/SD-SDI inputs and eight outputs. It also enables nine outputs, including one HDMI output, to be freely assigned.
Another solution that will be exhibited in FOR-A’s booth is the MV-1620HS multi-viewer, a cost-efficient unit that accepts up to 16 channels of mixed HD/SD-SDI or analog composite signals for monitoring on up to two screens.
FOR-A will also show Fujitsu’s IP-920E HD/SD compact video encoder. The solution uses advanced MPEG-4 AVC technology encoding, known as H.264, to perform real-time transmission of HDTV at low bit rates over DVB and broadband IP networks. The IP-920E features robust error correction, a low latency mode, real-time transmission, and high-fidelity HDTV/SDTV video.
Other FOR-A equipment to be displayed at CCW includes the new FA-1010 and FA-9520 signal processors, MBP-100SX MXF video clip server and the VTW-330HS HD/SD character generator.
FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, postproduction and professional video markets. For more information about FOR-A’s product line, call 714-894-3311 or visit our web site at www.for-a.com.
Woojer – Feel the Sound – Launches Kickstarter Campaign
The Only Silent, Wearable “Woofer” the Size of a Matchbox
New York, NY, USA – (6th November 2013) – Today, Woojer Ltd. announced the launch of a Kickstarter campaign to fund production of its augmented reality haptic device, which transforms any audio signal into silent, harmonic tactile sensation that can be felt throughout the body. Based on patent-pending technology,Woojer will literally allows gamers, music lovers and entertainment enthusiasts to “Feel the Sound”.
“We spent the past two years optimizing Woojer’s technology to ensure a fully immersive experience, and are now launching on Kickstarter to fund production, which means backers will be the first to experience and own a Woojer. Unlike other crowdsourcing campaigns, you will not have to wait a year or two for delivery, you will get to experience Woojer this spring,” said Dr. Neal Naimer, who is responsible for product development at Woojer.
Woojer is unlike anything currently on the market. In contrast to competitive haptic devices that are cumbersome or stationary, the matchbox-sized Woojer is capable of delivering an audio experience that is substantially immersive and completely silent. It is compatible with any audio source and any headset, and it does not require downloads, software or updates – it’s just plug ‘n’ play. The device is not only ideal for music lovers, game players and consumer electronic enthusiasts; it’s capable of bringing any multimedia to life for the hearing impaired.
“At present, personal audio experiences are based solely on hearing. As a consequence, virtually all the rich low frequency sensation is lost. Woojer captures all the lost low frequency sensation and literally allows you to feel the sound. It’s like having your own portable movie theater, or being at a rock concert. Imagine the implications for video gaming and other multimedia experiences. The experience is so engaging, and so totally immersive, users tend to lower the audio levels, thus making it safer for your hearing,” said Mor Efrati, the inventor of Woojer.
HOW IT WORKS
Clipped onto the clothing in one or more places along strategic meridian bodylines, Woojer convinces the brain that the entire body is experiencing high acoustic sound via perceptual inference. Woojer’s technology transforms any audio signal into harmonic tactile sensation that traverses through the skeleton and nervous system to the brain, thereby allowing users to literally feel the sound.
For more information about Woojer, please visit the Kickstarter page:
About Woojer Ltd.
Woojer Ltd. is a start up focused on the development and manufacturing of augmented reality haptic devices that enhance multimedia experiences by delivering tactile sensation in an ultra compact form factor.
The Recording Academy® Producers & Engineers Wing® Hosted Annual Manufacturer’s Council Breakfast at AES 135
SANTA MONICA, Calif. (November 5, 2013) — The Recording Academy® Producers & Engineers Wing® Manufacturer Council Breakfast was held on Saturday, Oct. 19, 2013, during the 135th AES Convention. At their biannual meeting, the group of industry leaders — who are dedicated to the advancement of sound quality and to the overall growth of the professional audio industry — shared ideas and discussed issues with the goal of raising awareness about the importance of high-quality audio, legislative wireless white space and broadband issues, music streaming bit rates and other topics of mutual interest to pro audio manufacturers, retailers and the producers and engineers who use their products.
Representatives from the following manufacturers, organizations and publications were in attendance: AKG®, API, Apple, Audio Engineering Society (AES), Audio-Technica, Avid, Electronic Musician, Euphonix, Fraunhofer, Focusrite Novation, Genelec, GC Pro, iZotope, JBL®, Lexicon®, Manley, M-Audio, Melodyne, Mix Magazine/New Bay Media, Music Producers Guild (MPG), PMC, Prism Audio, Pro Sound News, Radial Engineering, Royer, SADiE, Shure, Sonnox Ltd. and Waves Audio.
Also in attendance were members of the P&E Wing Steering Committee and Advisory Council: Chuck Ainlay (Co-Chair Steering Committee), Chris Bell, Mike Clink (Co-Chair Steering Committee), Vincent Di Pasquale, Dave Hampton, Stephen Hart, Scott Jacoby, Leslie Ann Jones, Glenn Lorbecki, Bob Ludwig, Gavin Lurssen, Brian Malouf, James McKinney, Michael Romanowski and Dan Workman.
Photo Caption: Pictured are representatives from leading manufacturers, organizations and publications, along with members of the P&E Wing Advisory Council, at the P&E Wing Manufacturer Council Breakfast during the 135th AES Convention in New York. Photo Courtesy of The Recording Academy®/Clyne Media Inc. © 2013 Photographed by: Corey Walthall, Clyne Media, Inc.
LYNX(SM) — Cloud Content Storage Management System
LYNX(SM) from Front Porch Digital is the industry’s first enterprise-scale cloud implementation of content storage management (CSM). LYNX delivers adaptable, on-demand scalability; reduces capital and operational costs; and revolutionizes the way media organizations manage assets. LYNX leverages the latest cloud and Web technologies to provide a range of networked and distributed solutions.
OKNO-TV will promote Front Porch Digital’s LYNXdr and LYNXlocal at NATEXPO 2013. LYNXdr is a hosted disaster recovery service that allows global media enterprises to centralize critical assets and consolidate operations. LYNXlocal is a simple extension to LYNX that operates locally as an appliance, caching cloud content and providing integration to specialized systems if needed. LYNXlocal is billed as a service element at a low monthly rate.
Photo link: www.wallstcom.com/FrontPorch/LYNXCubicCloud.zip
Photo Caption: LYNX(SM) Cloud-Based Content Storage Management
DIVAdirector(R) V5.2 — Easy and Efficient Media Asset Management System
DIVAdirector(R) V5.2 is the latest version of Front Porch Digital’s DIVAdirector media asset management (MAM) system, a permission-based Web application that enables complete access to file-based content stored by DIVArchive(R) content storage management (CSM) systems. DIVAdirector’s latest enhancements make the MAM system more stable and versatile than ever before. With support for multiple audio channels for different language tracks, users can provide multiple language options for a given video file. Behind the scenes, the change from a Linter to PostgreSQL database offers increased stability.
DIVAdirector V5.2 also gives users more quality control options in the form of graphical metadata charts from Front Porch Digital’s SAMMA(R) ingest system. The charts show graphical representations of metadata for video files in order to illustrate visual information such as color, brightness, and luminance. The charts are a good way to uncover imbalances and undesirable effects in video files to ensure quality. In addition, a new QC import and analysis feature allows users to import and analyze third-party quality-control metadata.
Photo Link: www.wallstcom.com/FrontPorch/DIVAdirectorV5.2.zip
Photo Caption 1: DIVAdirector(R) V5.2 Organization and Clipboard
Photo Caption 2: DIVAdirector(R) V5.2 Organization and Shot Lists
DIVArchive(R) V7.1 — Now for a Broader Array of Applications
At NATEXPO 2013, OKNO-TV will showcase Front Porch Digital’s DIVArchive(R) V7.1 content storage management (CSM) system. New features and capabilities make the system ideal for a broader array of applications. The new AXF Explorer offers an intuitive interface for parsing Archive eXchange Format (AXF) objects, with straightforward operations that are performed using drag-and-drop procedures, just like in the Windows(R) operating system. DIVArchive V7.1 also enables a complete range of world-class video transcoding and workflows and is directly integrated with Telestream’s Vantage(R) Transcode and Vantage Transcode(R) Pro. The enhancements to DIVArchive extend its applicability to media operations of every kind — broadcasters, educational and heritage institutions, the film industry, and government entities. With its unique ability to interconnect every element of operations, from archive to production to transmission, DIVArchive V7.1 becomes the highly effective foundation on which to base cost-effective, seamless file-based workflows.
Photo Link: www.wallstcom.com/FrontPorch/DIVArchiveScreen.zip
Photo Caption: DIVArchive(R) Content Storage Management System
DIVASolutions SAMMA(R) Migration Systems
OKNO-TV will also promote Front Porch Digital’s SAMMA(R) product lines at NATEXPO 2013. These solutions are the first of their kind to automate the digitization of videotape, moving content into secure, accessible, and searchable digital storage. SAMMArobot and SAMMAsolo take content from videotape on the shelf into the digital environment, using an automated workflow that’s tried and tested in high-profile installations. The SAMMAsolo product line offers a range of migration solutions built to meet specific archive migration needs. From a single SAMMAsolo to a multiple-stream SAMMArobot, these DIVASolutions systems maximize efficiency by encoding to multiple formats simultaneously, while also analyzing content to ensure the quality of the migration.
“OKNO-TV is a long-standing partner of ours and we’re grateful to have their support at NATEXPO. This is an important event for reaching Russia’s fast-growing media markets and we look forward to their feedback about our new solutions that help automate and integrate digital workflows in the most efficient, effective, and secure way.”
– Rino Petricola, Senior Vice President and General Manager of Front Porch Digital
Front Porch Digital is the global leader in solutions for migrating, managing, and monetizing media content. Operating on-site and in the cloud, the company’s purpose-built software employs the latest technologies to deliver truly flexible and scalable media workflows. Solutions delivered by Front Porch Digital appropriately manage large and complex media files and workflows while ensuring optimal performance and utmost security. More information is available at fpdigital.com.
New LMS-16 Multi-Channel Loudness Metering System and MADI-Dante Bridge Demonstrated on Truck
NEW YORK – Solid State Logic, the world’s leading manufacturer of advanced tools for audio professionals, is pleased to announce that its Broadcast Equipment Demonstration Vehicle will be a featured attraction at Content & Communications World 2013 (CCW Booth 900). The custom designed mobile production vehicle features SSL’s C10 HD Compact Broadcast Console and associated routing and I/O solutions in conjunction with the key audio and video monitoring and communications systems required for a modern broadcast production facility. In addition, two new product releases will be showcased in the vehicle: The ‘LMS-16’ Multi-Channel Loudness and True Peak Metering System and the MADI-Dante Bridge.
“We are very excited to have our Broadcast Equipment Demonstration Vehicle at CCW this year,” says Steve Zaretsky, Vice President of Broadcast Sales, SSL Inc. “The vehicle was designed from the ground up to showcase the C10 HD Compact Broadcast Console in a real life environment, allowing interested parties from around North America to have access at their place of business, be it a major production facility, an educational facility or anything in between. We believe CCW attendees will embrace the demonstration vehicle as a ‘must see’ exhibit at the show. We are also confident that the new loudness metering and Dante audio networking products will be of considerable interest at the show”
About the Truck:
The SSL Broadcast Equipment Demonstration Vehicle was designed by SSL’s Project Engineering team and crafted by leading mobile vehicle specialist Shook Mobile Technology. Russ Berger Design Group (RBDG) provided the acoustic design for the space. The vehicle is presented in association with SSL’s technology partners: Genelec, Miranda and RTS. The truck demonstrates the capabilities of all of these systems and the integration that is possible between them. The SSL Broadcast Equipment Demonstration Vehicle visits local U.S. broadcasters, houses of worship, systems integrators and key sports and entertainment events, as well as being showcased at trade exhibitions like CCW.
The new ‘LMS-16’ Multi-Channel Loudness and True Peak Metering System, which can be used with SSL’s Digital Broadcast Consoles or as a stand-alone product, will be showcased on the truck. Created through a strategic partnership with NUGEN Audio, the LMS-16 offers NUGEN’s new ‘MultiMonitor’ software as part of a turnkey system that is applicable in any situation where loudness compliance for broadcast playout and production is required. The software is pre-installed and configured on a dedicated industrial strength 1RU PC, fitted with SSL’s ‘MadiXtreme 128’ 2×64 channel optical MADI audio interface, a GPIO interface card and with metering information displayed on virtually any connected video monitor. An optional monitor arm is available to facilitate convenient side mounting of a screen on C100 HDS or C10 HD consoles.
LMS-16 offers the most powerful multi-channel Loudness and True Peak metering available today. It offers 16 individual meters, each capable of mono, stereo or 5.1 formats (providing metering of up to 96 audio channels simultaneously), with each meter showing a LUFS momentary display alongside a True Peak display. Each meter also has a dedicated numeric Short Term and Integrated LUFS data display, with the option to color-code meters to aid grouping. Each meter also features a minimum and maximum short term alerts function. LMS-16 is fully compliant with CALM Act legislation, ITU-R BS1770/1, ATSC A/85, EBU R128 and other specific worldwide localizations. Each meter can be set to utilize a different standard to facilitate international streaming.
About the MADI-Dante Bridge:
The SSL MADI-Dante Bridge is the world’s first broadcast specification MADI-Dante interface, allowing expandable audio routing between SSL consoles or any MADI device and Dante IP Audio networks. With 64 channels per Bridge (@ 48kHz) and up to 512 channels per 1GB network link, Dante is fully scalable and capable of providing routing channel counts from tens to thousands and beyond using standard IT infrastructure. Redundant PSU, MADI ports and Dante ports mean the Bridge is built for uninterrupted operation, keeping critical devices and audio paths functioning throughout the broadcast facility. In addition to the inbuilt clock redundancy options in Dante controller, the MADI-Dante Bridge also includes a pair of redundant sync inputs for use as a self-redundant Dante Grand master clock. Intended for use with Dante controller and third-party Dante products, the MADI-Dante Bridge shows commitment to interoperability while understanding broadcasters’ critical needs.
The Bridge features a front panel headphone socket (with rotary level control) and inbuilt headphone monitor routing, to truly replace traditional patch bay confidence routing and fault finding functionality with equivalents in the IP audio domain. Simple front panel controls facilitate routing mono or stereo paths from MADI In, MADI Out, Dante In or Dante Out directly to the headphones. A front panel LCD screen provides signal present metering selectable to show four points in the signal chain: MADI In, MADI Out, Dante In and Dante Out. GPIO connections allow for transfer of tally info and switching functions across the network with the audio.
Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.
LOS ANGELES— Australian commercials director Gemma Lee is entering the U.S. advertising market for the first time via Los Angeles-based Madheart. Although she has been directing ads for only four years, Lee has accumulated an impressive body of work that includes campaigns for Hyundai, Colgate Palmolive, Weight Watchers and Australian automaker Holden. She has drawn high marks for her skills as a visual storyteller and for a style of commercial making that is dynamic, contemporary, emotionally-driven and, often, provocative.
“Gemma is an exciting, multi-talented director, whom we believe is an emerging star,” says Madheart executive producer Lisa Phillips. “We were very impressed with the craftsmanship of her work and the passion inherent in her storytelling. We are very happy to have the opportunity to introduce her to U.S. agencies.”
Lee was born in Scotland, raised in Australia and earned a master’s degree in filmmaking from Victorian College of the Arts in Melbourne. After early success in music videos and short films, she began her advertising career through Taxi Films, Brisbane, quickly attracting work from Australia’s top agencies and brands.
Among her head-turning work is a spot for Colgate Palmolive’s Fragrance Temptations (George Patterson Y&R, Sydney) that, while promoting a laundry detergent, was done in the style of an haute couture fashion ad. Spotlessly art-directed black & white footage shows a sophisticated woman in an upscale apartment preparing for a night on the town, something that surprisingly includes laundering her clothes.
“I loved exploring the film noir feel,” Lee recalls. “I worked very closely with my art director to create a world that felt authentic and rich in detail. We shot on 35mm using some beautiful old lenses. I also contacted a friend who is a cabaret singer in Berlin and asked her to work on the track with us. I loved bringing all those elements together while still allowing my voice to come through.”
A contrast is offered by Lee’s work for sportswear maker Muther of All Things, a Kodachrome portrait of several free-spirited young women indulging in surfing, cocktails and other joys of summer. “I don’t like to repeat myself, which is why my reel feels quite diverse,” Lee says. “I want to make work that is emotive, has visual beauty and connects with an audience.”
Several of Lee’s short films have also enjoyed notable success. Her 2009 short The Wake, which starred Angus Sampson (Insidious), screened at the Tribeca Film Festival and won the SBS Award for Best Film at Australia’s St. Kilda Film Festival. She is currently developing the feature film Blackwood in partnership with Wolf Creek Pictures.
Madheart is based in Los Angeles. For further information, call 310-421-4441or visit http://www.madheart.com/. The company is represented on the West Coast by Lisa Gimenez (firstname.lastname@example.org), in the Midwest by Hot Betty (email@example.com), on the East Coast by Dana Dubay (firstname.lastname@example.org) and in the Southeast by Sarah Lange (sarahLange@cox.net).