LOS ANGELES – Zylight, a leading manufacturer of innovative LED lighting solutions, will demonstrate its new F8 LED Fresnel at 2013 Cine Gear Expo Los Angeles (Booth 325), which runs May 31 – June 2 in Hollywood, Calif. Available in tungsten (3200K) or daylight (5600K) versions, the compact lighting instrument collapses to less than four inches thick for easy transport and storage.

Equipped with an eight-inch SCHOTT glass lens, the fully dimmable F8 maintains single shadow traditional Fresnel beam shaping, and offers a patented focusing system for spot and flood operations. Its beam spread is adjustable between 16-70 degrees for even coverage for widescreen productions. Like other Zylight models, the F8 is equipped with ZyLink wireless technology, which makes it easy to link multiple Zylights for simultaneous remote control.

While the F8 draws only 100 watts, it has close to the light output of a traditional 1000-watt Fresnel. It is also water resistant (IP54) for use in challenging location conditions, and can be powered by a worldwide AC adapter or standard 14.4V camera battery. The F8 ships with barn doors and yoke mount, but additional accessories are available separately.

“Cine Gear Expo is an ideal venue to showcase the innovative F8 LED Fresnel for the motion picture industry,” said Charlie Collias, senior vice president, worldwide sales. “We’ve replaced the traditionally hot and bulky Fresnel with compact LED technology. The F8 delivers all the performance of a traditional Fresnel but in a much more compact and energy efficient design.”

Zylight will also showcase its IS3c LED light, an updated version of Zylight’s acclaimed IS3 large panel cyclorama and beauty light, at Cine Gear Expo. Now shipping with a custom soft box produced exclusively by Chimera for Zylight, the fully dimmable IS3c is a wide, high-output soft light with built-in controls for adjusting color temperature, color correction, and Zylight’s Color Mode, which produces millions of colors without gels or filters.

ABOUT ZYLIGHT LLC

Zylight was founded in 2003 with one mission: Bring truly intelligent, time-saving lighting to the entertainment production industry. Our award-winning team has more than 80 years of combined industry experience, and we continue to develop innovative LED lighting solutions to help make your job easier. With more than 50 dealers worldwide, Zylight continues to grow its brand to a large international audience. More Than Bright – Zylight. Find out more at www.zylight.com.

East Pleasant has added directing team CRUSH+LAB to its roster, bringing Director David Solomini, Producer Alexander Kafi and Creative Director/Stylist Paula Tabalipa to the studio in one comprehensive package. The do-it-all collective brings a reel stuffed with fashion films, TV, branded content, commercials, along with an extensive client list that includes major broadcast and cable networks, fashion brands, auto companies, telecommunications, magazines and more.

The team specializes in developing contemporary multi-platform content and strategy, providing bespoke digital and on-air solutions, and seamlessly bridging the gap between production, marketing, branding, advertising and distribution. “CRUSH+LAB is a huge addition to East Pleasant,” remarked East Pleasant EP Michelle Cuccuini Hicks. “This is a multi-talented team capable of taking on projects in several distinct genres for any sort of client you could name. Signing one new talent is always a big deal – signing three of this caliber is enormous. We couldn’t be happier to have them here.”

David Solomini is a go-to industry resource and multi-discipline pro who can write and develop content and show format, direct single and multiple cameras, write and conduct all talent interviews, and guide projects through postproduction and final delivery. Alex and Paula have both been with the CRUSH+LAB since 2010.

“We’re all creatives at heart and eager to push the envelope artistically,” stated Solomini. “We understand how to get the most out of a budget, and we understand how to collaborate. After rolling through an endless stream of work for clients we really respect and admire, we wanted to join forces with an entity that could help us sustain what we’d built and make it bigger.”

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MILAN, Italy – Italian state broadcaster, RAI, has taken delivery of its first four Studer Vista 9 digital mixing consoles from Italian distributors Leading Technologies (LT) — including a production console for the control room at the famous La Scala Theatre in Milan (Teatro alla Scala). All formed part of a single tender resulting from a unilateral decision to move up to Studer’s Vista 9 platform.

The new console has been installed in the RAI control room at the theatre, replacing the previous Vista 8, and will be used for live broadcasting for radio and TV, as well as recording of operas and classical concerts. This will meet the venue’s wish for upgraded facilities within the Vista architecture, with the emphasis on 5.1 production.

According to LT’s Studer product manager, Mauro Bucchia, the RAI sound engineers were keen to maintain working with the Vistonics interface. “The TFT based metering in the Vista 9 has provided additional facilities but a further advantage for them was the SCore Live engine, which doubles the DSP capacity, and which the existing Vista 8 doesn’t have.”

The desk is configured with 64 Mic inputs from the stage plus Line and AES I/O for local effects and machines and two MADI interfaces for multitrack recorders.

This is one of four Vista 9s supplied by the Studer distributors, who over the years have provided Studer solutions for all four RAI production centres — in Milan, Rome, Turin and Naples.

A further Vista 9 has been installed in the RAI auditorium in Turin, supplied along with a Vista Compact Remote Bay to work in parallel. Replacing the venue’s previous digital console, this will be used for live broadcasting or the recording of classical music, since Turin is the base of the RAI National Symphony Orchestra.

The state broadcaster took the decision based on the success they had enjoyed with earlier Vistas, and their familiarity with the desk ergonomics.

The other stand-out features which defined this decision were the TFT metering and the HISTORY mode, which records events such as overloads in the audio path of each channel, and highlights them in red on the channel waveform. This enables the operator to review which channel had such an event, up to 30 seconds after the event has occurred.

The Vista 9 is configured with 88 Mic inputs plus Line and AES I/O for local effects and machines and two MADI interface for multitrack recorders.

At their Rome broadcast facilities, RAI has similarly upgraded its former digital desk to a Vista 9 in the radio production centre of a general purpose studio, which is predominantly used for live music, talk shows and drama. Once again, the HISTORY mode and TFT metering features will future proof the studio’s needs.

This Summer, another studio, identical to the first one, will be upgraded with the second Vista 9 assigned to Rome. Both Vista 9 consoles have the same configuration, with 48 Mic inputs plus Line and AES I/O for local effects, and MADI link to the studio’s monitor mixer.

This is the latest in a long list of Studer desks supplied by LT to Italy’s state broadcaster. Aside from the four Vista 9s, this includes two Vista 7 and a Vista 5 (for radio), as well as two Vista 8s and three Vista 5s for television broadcast.

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of audio, lighting and infotainment solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson®, and leading-edge connectivity, safety and audio technologies. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with Harman audio and infotainment systems. Harman has a workforce of about 14,300 people across the Americas, Europe, and Asia and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

AMC Networks tapped strategic design agency Trollbäck + Company (T+Co) to create the branding for YEAH! TV, the new interactive streaming movie service. YEAH! lets die-hard fans watch their favorite cult classics in unrivaled detail: behind-the-scenes factoids, exclusive interviews, real-time quizzes and polls and more. YEAH! launched at SXSW Interactive 2013 in March.

Led by Executive Creative Director Jakob Trollbäck and Art Director Kelli Miller, T+Co created 15 unique promo trailers introducing the first wave of rentals now available in “YEAH! DEFINITION” as the interactive experience is branded. T+Co also redesigned the website and produced a design style guide for the overall brand.

Each promo revolves around featured titles Blade Runner, Child’s Play, Clerks, Pulp Fiction, Scream, Terminator, The Exorcist and more. T+Co culled iconic film scenes spliced to dynamic motion graphics across a prismatic palette. The final package is a thrilling visual run-down of the interactive movie platform.

To view a selection of trailers & images, please visit: http://www.trollback.com/yeah/

“Trollback + Company was the first and only choice of agency to design YEAH!’s brand identity and user interface,” said Lisa Judson, YEAH!’s General Manager. “Their work is consistently intelligent, sophisticated and cutting edge – the perfect combination needed to create YEAH’s next generation video experience.”

For the trailers, T+Co created several animated 2D treatments of the YEAH! logo: a modern geometric comment box encompassing the network’s name. The design elements for the package as a whole needed to feel contemporary and bold, and dialed in to pop culture.

The website’s interactive components inform the overall brand blueprint for YEAH! The clean and simple user-friendly web interface emphasizes the same emboldened typography and graphics seen in the trailers. The intuitive interface T+Co designed is essential to the seamless movie-watching experience envisioned by YEAH!.

According to T+Co, the design and branding of both the website and the trailers needed to be unified and function in a manner that ultimately let the content shine.

“The films and the interactive features are engaging in and of themselves, so we created designs and animations with a cross-platform brand fluency in mind to subtly highlight the network’s edgy brand language and features, from catchy slogans, to polls and trivia,” explains Trollbäck.

“This was an exciting challenge that allowed us to really re-think the way content is delivered online and how that relates to an overarching brand strategy,” concludes Miller. “AMC Networks’ had a great concept and vision for YEAH!; all we had to do was bring it to life.”

Project: YEAH! TV Launch Campaign

Client: YEAH! TV
General Manager: Lisa Judson

Strategic Design Agency: Trollbäck + Company
Executive Creative Director: Jakob Trollback
Art Director/Lead Designer: Kelli Miller
Digital Creative Director: Steve Baker
Head of Production: Erica Hirshfeld
Producer: Dina Chang
Designer: Rachel Digerness
Animation: Ben Nichols, Mo Ghayour, Rachel Digerness
Editorial: Nate Buchik, Caroline Kallback

About Trollbäck + Company:
Trollbäck + Company is an award-winning creative studio communicating engaging ideas in the simplest, smartest and most visionary ways. Led by executive creative director Jakob Trollbäck, the collaborative group directs television commercials, designs opening titles, brands networks and creates experience-based content for global brands. Trollbäck + Company is the recipient of numerous awards including a primetime Emmy, and is regularly featured in publications and exhibits around the world.

http://www.trollback.com

Video company Short & Spikey specializes in the video engineering production of live stage shows for high profile musical acts. Over the last twelve years, Short & Spikey Founder Jason Harvey has worked with Lady Gaga, Cher, Madonna, Bon Jovi, Paul McCartney, Christina Aguilera and Van Halen to name just a few, both as a freelancer and as a contractor for PRG Nocturne, a major producer of live stage shows. For his latest gig, Harvey was contracted to be the video recording engineer for a South American tour by legendary British band The Cure. Highlights filmed during live performances in eight cities are being pieced together to create a documentary style home entertainment release.

When assembling his setup for the tour, Harvey wanted to go with a powerful, proven solution that would stand up to the pressures of operating in less technically advanced locales such as Brazil, Argentina, Chile, Paraguay, Columbia and Mexico City. Anticipating over 300 hours of footage that needed to be turned around quickly, tape was not an option. The editors also encouraged him to deploy a pipeline that would support the Avid® DNxHD 220 codec for editorial. AJA’s Ki Pro Rack fit the bill perfectly.

Harvey noted, “I’ve toured with AJA gear for years and it has always performed great, even when it’s banged around in planes and trucks. Obviously there is a great appeal in staying with a manufacturer you know and trust, and a digital workflow was a no-brainer here. We were going to be dealing with a tremendous amount of footage so we needed a recorder that could capably handle the data as well as withstand the physical demands of the road, so the Ki Pro Rack was a natural choice. It was also crucial to have the DNxHD codec for dailies ingest.”

Though Harvey was quite familiar with Ki Pro technology, the tour marked the first time that he used Ki Pro Rack units for multi-camera recording. He relied on up to 14 Ki Pro Racks and one Ki Pro to record each performance, which were captured with anywhere from seven to fifteen cameras. A typical show would have ten cameras feeding into ten Ki Pro Racks with a line cut out of a switcher and a backup, for a total of 12 outputs. Due to varied availability depending on the region, Harvey often had to mix and match different HD cameras, as the gear and crews were all locally hired.

“In Chile, we ended up renting a broadcasting truck that was actually the back end of an old transit van welded to the front of a U-Haul tow unit with a flat screen inside,” Harvey said. “It was nice to have such solid recorders considering the cameras ranged from top-line HD to prehistoric Stone Age HD, but that is the kind of challenge you have to put up with when keeping up with the pace of a concert tour on the road across South America
when taking your own Video truck is not an option.”

During the show, Harvey monitored each feed and camera to ensure the Ki Pro Racks and Ki Pro were operating properly. When shooting was complete, the data from the recorders’ KiStor drives was transferred via the new AJA KiStor Docks with their Thunderbolt(TM) and USB 3.0 connections to five G-Tech 8 TB drives connected to five Mac laptops. Each show averaged 350 GB of data per camera- adding up to over seven and half TB of data after eight shows. After the masters were created, data was transferred to backup then the recorders were wiped and prepped for the next show.

“Working digitally saved us a ton of time, especially considering the massive amount of footage we were capturing. Also, we were able to offer an H264 live encode of the whole show – in HD 1920 x 1080 30p compressed to MPEG-4 – on a USB drive right after the show, so that Robert Smith and the director could review for feedback and input, informing future shows. The flexibility of Ki Pro Rack is great,” explained Harvey.

Additionally, Harvey was able to record his multiscreen setup view of his system with all running cameras in a 4 X 4 picture in picture box. The images came in directly from the Ki Pro Racks (BITC output), so the director, Tim Pope, could watch the multi-view as if he were viewing a monitor gallery display in a truck and take notes. Recorded at 720p, Pope could review files that were a nice quality and but not overly large, making edit selects easier when doing the offline / online post production back in London.

Harvey concluded, “AJA technical support was impressive. Anytime we ran into an issue, AJA was very quick and helpful in their response. The whole experience reinforced that AJA technology will do what it’s supposed to do.”

About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of high-quality and cost-effective digital video interface, conversion, acquisition and desktop solutions supporting the professional broadcast and post- production markets. With headquarters in Grass Valley, California, AJA maintains an extensive sales channel of dealers and systems integrators around the world. For further information visit www.aja.com.

All trademarks, trade names, service marks, and logos referenced herein belong to their respective companies.

Christie Lites has purchased an additional 200-plus MA onPC command wings from A.C.T Lighting, the exclusive distributor of the MA Ligthing in North America. The company’s new investment brings its inventory of onPC command wings to over 250.

Earlier this year Christie Lites took delivery of 50 onPC command wings to extend usage of the flexible and powerful grandMA2 control system to customers working on location or those who find it physically difficult to fit a full grandMA2 console at their venue. With 12 locations in the U.S. and Canada, Christie Lites supplies equipment and services to lighting designers and chief electricians across an extensive client base.

MA’s onPC command wing is a portable solution offering realtime control for 2,048 parameters in combination with grandMA2 onPC. Designed as the perfect hardware expansion to the grandMA2 onPC software, onPC command wing enables the look and feel of the software to be as close as possible to a real grandMA2 console.

Its command section is similar to the grandMA2 layout and features 2 A/B faders, one level-wheel, individually backlit and dimmable silent (clickless) keys and an integrated universal power supply. The unit has an ergonomic design and is lightweight (tipping the scales at just 6 kg) and rock solid.

onPC command wing comes with free grandMA2 onPC software. It offers two built-in DMX ports as well as the possibility to send two additional DMX universes via Ethernet. A simple USB connection between the MA onPC command wing and the computer running the grandMA2 onPC software permits all inputs and outputs of a grandM2 console to be available to the user. DMX, MIDI, timecode and analogue remote are all on hand directly at onPC command wing.

The portability and mobility of onPC command wing also make it an ideal backup solution within the grandMA2 system; a powerful control solution on the road or in smaller theaters, shows and clubs; or a handy choice for preprogramming.

“The popularity of the onPC command wings with our customers prompted us to invest in a substantial inventory of units,” says Christie Lites CEO Huntly Christie at the company’s Orlando headquarters. “The onPC command wings can be used anywhere and for an affordable price. They’re a win-win solution.”

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.

On Wednesday, May 22^nd, join Click 3X’s beauty and fashion content division Raison D’Être for the most stimulating panel series and cocktail reception of Internet Week 2013. “Bringing Art Back to Fashion, Digitally,” is an exploration of art, authenticity and creativity in the digital age.

The event will bring digital, fashion and marketing experts from top tier brands and publications to the NYC Garment District’s Stollway Space for three wide-ranging and informative panel discussions. The day’s activities will kick off at 2PM with the title panel, hosted by Raison D’Être Director of Creative Strategy Christan Summers and featuring digital and fashion luminaries including Elisa Goodkind of StyleLikeU, Matt Edelman, founder of Glossi.com and Cinemagraphs™ creators, Jamie Beck and Kevin Burg.

At 3PM, join Kendra Bracken-Ferguson, Managing Partner of DBA as she moderates industry thought-leaders from Estée Lauder, HL Group, and Curalate for “Evolving Strategies in Digital PR & Communication,” a discussion of the ongoing transformations in digital marketing. “Storytelling through Personality in The Digital Age” will follow at 4PM, featuring Karen Robinovitz, CCO of DBA, Kelly Framel from Glamourai, Michael Williams of Imagista, Kristin Fernholz of Fashmark and more. Discussions will conclude with a cocktail reception from 5-7 PM.

Click here to RSVP.

Raison D’Être creates content, advertising, mobile and digital social engagements for fashion & beauty clients from concept through design, filming & execution – all under one roof at our 70-person state-of-the-art studios.

About Click 3X:

Click 3X, and its interactive division ClickFire Media, create engaging film, TV, web, and branded content. Positioned at the intersection of entertainment, advertising, and technology, the studios work in tandem or autonomously. Click 3X shoots, edits, designs, animates and creates VFX; ClickFire Media brings those disciplines into the interactive space. Click operates a full service, 23,000 square foot state of the art studio in Manhattan outfitted with 70 fulltime staffers.

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New Final Cut Pro X Masking Plug-In Integrates mocha Planar Tracking Technology for Fast,

Accurate Masking with Fewer Keyframes

GUILDFORD, UK (May 14, 2013) — Imagineer Systems (www.imagineersystems.com), creators of the Academy Award winning mocha Planar Tracking technology, and CoreMelt (www.coremelt.com) today announced the immediate availability of a new Final Cut Pro X masking plug-in, SliceX powered by mocha. This new version of SliceX, previewed at NAB 2013 last month, comes as a result of a strategic partnership between Imagineer Systems and CoreMelt, resulting in the integration of Imagineer’s award winning Planar Tracker into CoreMelt’s shape masking tool.

SliceX powered by mocha lets you create instant shape masks to cut out layers or isolate effects directly in Final Cut Pro X without having to go into Motion or create the masks with an external program. With this new version, mocha planar tracking allows artists to quickly and easily track roto shapes for accurate masking with significantly less manual keyframing. SliceX also includes nine motion templates for common tasks and you can also use the shape masks with built in effects, the built in color corrector or with third party plugins.

Ben Balser of FCProXUnivserity.com has been testing SliceX powered by mocha and had this to say about its impact on his day-to-day work: “Incorporating mocha planar tracking into SliceX is like adding farm made whipped cream to Louisiana strawberries; it takes something already amazing, and makes it heavenly. Having worked with SliceX powered by mocha first hand now, I am speechless and my heart won’t stop racing. It is not only immensely impressive, but will shave hours, if not days, or even weeks off of many Final Cut Pro X editors’ projects.”

Knut Hake is an accomplished independent editor and has edited dozens of TV shows, movies, commercials, and shorts. In 2004, an episode that he edited of the TV show Berlin won an International Emmy Award. More recently, Knut has been editing the German weekly TV series Danni Lowinski which has captured stellar ratings and won industry awards for best series and best comedy. Knut has also been testing SliceX powered by mocha and made this observation, “If you want to buy just one plugin for FCPX, this is the one!”

Apple Certified Trainer, Iain Anderson hosts an in depth tutorial on SliceX powered by mocha, which can be see here: http://www.imagineersystems.com/videos/masking-tutorial-for-final-cut-pro-x-slicex-powered-by-mocha/view

Imagineer’s relationship with CoreMelt is the most recent in a string of partnerships in which industry leading post production technology developers have recognized the value of Imagineer’s Planar Tracking and software developer’s kit (Planar Tracker SDK). In recent months, Imagineer has entered into strategic partnerships and licensing agreements with companies such as Adobe Systems, Silhouette, Quantel and FXhome.

Pricing and Availability

SliceX powered by mocha is available immediately and is priced at $149.00 USD.

For more information or to purchase SliceX powered by mocha, please visit :

http://www.imagineersystems.com/products/slicex

About mocha: Academy Award Winning Technology

In February 2013, Imagineer Systems was honored by the Academy of Motion Pictures Arts and Sciences with a Scientific and Technical Award for mocha and its Planar Tracking technology. Imagineer Systems’ Philip McLauchlan, Allan Jaenicke, John-Paul Smith and Ross Shain were selected as a winner for mocha and its underlying Planar Tracking technology. The Company was recognized for their proven record of contributing significant value to the post-production process of making motion pictures.

Over the years, Imagineer’s mocha software has gained acclaimed notoriety within Hollywood’s visual effects community for its ability to “motion track” problematic footage such as out of focus and marker-less areas helping enable a technique called ‘digital makeup’ or ‘seamless effects.’ Visual effects artists use planar tracking to magically transform actors and locations without requiring timely makeup sessions and expensive sets, allowing directors to make important creative decisions long after the performance has been captured. Capturing accurate movement is essential and mocha has been involved in some famous digital makeup examples such as the snake-like noseless Lord Voldemort in the Harry Potter films, replacing Mystique’s eyes in X-Men and helping Natalie Portman undergo an amazing transformation in Black Swan.

About Imagineer Systems 

Imagineer Systems Ltd is the Academy Award winning developer of visual effects solutions for film, video and broadcast post production markets.  Imagineer Systems has made its mark on such marquee Hollywood blockbuster productions as The Hobbit, Black Swan, The Amazing Spiderman, Invictus, and the Harry Potter series. Imagineer’s desktop product line consists of mocha Pro™ – roto, planar tracking, compositing, and removal utility;  mocha AE™ – a planar tracking and roto utility designed for After Effects and Final Cut Pro users.  Imagineer Systems was founded in 2000 and its headquarters is located in Guildford, United Kingdom. For more information visit www.mocha-Pro.com

Next-generation shared storage platform integrates media asset management in a portable form factor for on-the-move tapeless productions

Boston, MA — May 14, 2013 — EditShare®, the technology leader in shared media storage and end-to-end tapeless workflow solutions, announced today the availability of Field 2, its next-generation portable shared storage solution with integrated asset management. The turnkey platform includes file ingest, advanced project sharing/bin locking, and archiving capabilities in an all-in-one, high-performance and rugged chassis. Ideal for on-location shoots, ENG trucks and remote offices, the new Field 2 is durable, light and compact, meeting the most stringent airline carry-on regulations.

With an optional integrated Flow SDI ingest card, users can record up to two channels of HD in industry-standard codecs such as XDCAM-EX35, Avid® DNxHD and DVCProHD. Flow’s edit-while-capture capability lets users start editing the moment they begin recording — ideal for ENG scenarios where time is of the essence for fast turnaround on late-breaking news stories. With an optional lightweight expansion unit, a single Field 2 configuration can scale to 32 terabytes. And using the integrated EditShare Sync Tool™, users can send data from a remote location back to home base over a simple Internet VPN connection.

Field 2 Feature Highlights

Flexible Storage Options
Field 2 is available with several different 3.5-inch or 2.5-inch hard drive options – including 10K SAS and SSD – allowing users to choose a configuration that best matches their needs, such as greatest amount of storage, highest performance, or best economy.

Impressive Performance and Stream Counts
Each four-drive set of 3.5-inch drives can support a “baseline performance” of eight streams of ProRes HQ or Avid DNxHD 220, or 24 streams of 25-Mbit video such as DV25 or XDCAM-EX 25. An eight-drive Field with 2.5-inch 10K SAS drives provides about a two-fold increase in performance over the baseline. An eight-drive Field with 2.5-inch SSD drives provides about a six-fold increase over the baseline.

Outstanding Reliability
Field 2 storage is built with the industry’s most reliable enterprise hard disks and SSD drives and uses hardware RAID-5 or RAID-6 protection. The rugged chassis is built for easy upgrades and maintenance, with removable drive cages and a slide-out CPU tray design that allows convenient access to all components.

Cost-effective Yet Powerful Ethernet Connectivity
In 2004, EditShare pioneered the idea of “in-place editing” over standard gigabit Ethernet connections. Today, thousands of EditShare customers can testify to the reliability and performance of gigabit Ethernet – even when playing back multi-stream effects. With Field 2, users can make direct connections between workstations and the four on-board gigabit Ethernet ports, or use a unique Linux bonding configuration to combine the bandwidth of all four Ethernet ports and connect them to a low-cost switch.

Optional 10-Gigabit Ethernet Port
With an optional 10-gigabit Ethernet card, users can connect a Field 2 system to a 10-gigabit switch for expanded client connectivity, connection to client workstations for finishing work and other high data rate editing, or to use Field 2 with other EditShare servers (XStream, Energy, Flow or Ark) on the same network.

Integrated Flow Asset Management and Ark Backup and Archiving
Every Field 2 system includes Flow for file-based ingest, cataloging, searching, simple cuts-only editing, and drag-and-drop into industry-standard NLE applications. Field 2 provides two concurrent Flow Browse licenses for Windows or Mac clients as well as one file-based ingest license. In addition, Field includes Ark software for backup or archive to qualified LTO tape libraries, available for purchase separately.

Extreme Scalability
EditShare’s Extreme Scalable Architecture (ESA) allows connecting multiple Field units on a single network, or connecting a Field unit to other rack-mounted EditShare servers, where they all just appear as a single storage pool.

File Level Sharing
EditShare’s elegant NAS technology controls locking at the file level, allowing multiple editors to write to the same volume simultaneously – crucial for efficient workflows. In comparison, many SANs use volume-level locking, allowing only one user at a time to write to a volume.

Project Sharing and Bin Locking
EditShare developed and patented the first non-Avid “bin locking” solution to allow Avid editors to work collaboratively and safely using the same bins simultaneously. EditShare later extended the technology to support Apple® Final Cut Pro®, Adobe® Premiere® Pro and the company’s own NLE, Lightworks.

Intuitive Administration Tools
Although the technology behind every EditShare system is highly complex and sophisticated, the front-end administration tools make it very easy to create user accounts and spaces for media and projects, and to then assign different user rights to the various spaces.

Dynamically Resizable Spaces
To make media management easier, content creation organizations usually want to create different “spaces” for different projects so that media files can be easily archived or deleted when they are no longer being used. Because EditShare “spaces” are just virtual volumes, enlarging or shrinking them after they have been created is as simple as a couple of clicks.

No Per-Seat License Fees
With EditShare shared storage, there are no per-seat license fees, removing barriers to productivity and providing faster return on investment.

Deletion Security Controls
EditShare Administrators can set privileges such as who can delete files and when. Deleted material can first be moved to “Trash” so that it is possible to “Undo” a deletion if a file is deleted by accident.

EditShare Field 2 Specifications
• Light and compact – The main Field 2 chassis is 8.25” tall x 12.75” deep x 12” wide and weighs less than 25 pounds. The Field 2 expansion unit is the same width and depth, and 4.25” tall.
• Quiet – Field 2 is quiet enough to use on location, right beside you.
• Expandable and flexible storage options – Both the main Field 2 unit and the Expansion unit can be factory-configured with 4” x 3.5” or 8” x 2.5” drives. Drive options include SATA, 10K SAS and SSD, and capacities range from 4TB to 32TB in a single Field 2 configuration.
• Flexible slot configuration – Optional items include additional gigabit Ethernet ports, 10-gigabit Ethernet, Flow HD/SD-SDI ingest, and a SAS or fibre channel card for connection to an LTO tape library.
• Ergonomic carry bag – An optional Porta-Brace™ carry bag facilitates comfortable transportation of a Field 2 unit.

EditShare Field Builds on Tradition
EditShare introduced its first Field model in 2007. Since then, Field systems have been deployed to cover high-profile sports events such as the Tour de France, America’s Cup sailing, World Cup soccer in South Africa, Wimbledon tennis and the Summer Olympic Games in Beijing. In addition, Field units have been installed in small OB trucks and used to cover major news events such as the Chilean mine collapse of 2009 and the 2010 and 2011 European Union sessions.

For more information on EditShare Field 2, please visit the EditShare website at http://www.editshare.com/products/storage-options/field2.

About EditShare
EditShare is the technology leader in networked shared storage and tapeless, end-to-end workflow solutions for the TV and film industry. Our groundbreaking products improve efficiency and workflow collaboration every step of the way. They include video capture and playout servers, high-performance central shared storage, archiving and backup software, media asset management, and the world’s first 3-platform (Windows/OS X/Linux) professional non-linear video editing application.

©2013 EditShare LLC. All rights reserved. EditShare™ is a registered trademark of EditShare LLC. All other trademarks mentioned herein belong to their respective owners.

Press Contact
Anya Oskolkova
Zazil Media Group
Email anya@zazilmeidagroup.com
Tel: +1 (617) 817-6559

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Eaton’s new campus in Cleveland, Ohio, includes cutting-edge AV technology in the building’s atrium that’s guaranteed to attract attention. Electrosonic was charged with designing the AV systems, media control and power management for the Eaton Experience Center, which combines art and information in a distinctive, memorable way.

The installation was conceived and designed by Ralph Appelbaum Associates (RAA). Electrosonic served as a consultant to RAA to do the pre-engineering during design phases, and were ultimately contracted by Eaton to build the installation.

The Eaton Experience Center is a unique environment created to help communicate Eaton’s values and its leading position in power management end markets to employees, customers, suppliers, business partners and government, political and civic leaders. The Experience Center consists of:
o Twelve 3D animated illustrations
o Four 65-inch interactive multi-touch tables
o An 80 by 14 foot LED curtain featuring abstract or natural landscapes and data visualizations
o A brilliant 53-foot LED chandelier that complements the animations on the LED curtain.

The centerpiece of the Eaton atrium is a five-story chandelier comprised of Traxon Imagic Weave LED mesh wrapped into a cylinder 53 feet tall by 12 feet in diameter. The LED mesh combines a woven stainless steel mesh grid with individually-addressable LEDs to form a canvas for vivid, large-scale media. The chandelier can display specific media on a pre-determined timeline or media for a particular show via a Medialon show controller.

“The chandelier was a pretty unique project,” says Electrosonic project manager Bryan Vogel. “It was two years in the making with the metal fabric built section by section, piece by piece on a rotisserie with jig. Every measurement had to be laser-perfect. If it was off by a quarter-inch on one end it would be off by five inches at the other.”

Electrosonic kicked off its involvement in the project in September 2011. “We were responsible for the technology connectivity – making the elements of the Experience Center work together,” explains Vogel. “We needed to use the technology to its full potential.”

Displaying content created by Ralph Appelbaum & Associates, the chandelier serves as a giant art installation as well as a source of illumination. “It’s beautiful. You have a feeling that you’re watching a sunset or are underwater; you get absorbed by the light,” Vogel says.

“Traxon Imagic Weave mesh is a very unique product. We tested the racks for weeks because of the complexity and delicacy of the system,” he recalls. “We had to make sure it would be hardy in a commercial environment.”

The 80-foot curtain wall in the atrium is also comprised of Traxon Imagic Weave with transparent LED nodes in a 62.5mm pitch. The nodes display a video signal sourced from the head-end AV equipment room.

The four interactive tables feature 65-inch LCD displays in a custom kiosk table. “They’re the ultimate cutting-edge technology for touch tables,” says Vogel. “They’re very high quality and have Mitsubishi LCDs modified for this purpose by Cyber Touch.”

Electrosonic designed and fabricated custom power panels for the LED curtain wall and the chandelier to power the mesh with voltage sensors. “The power panels give employees real-time analysis so they know exactly what’s happening power-wise with each system,” Vogel explains. “The power control monitoring is first class: It has airport/government specifications, so employees are alerted to any fluctuations to power and amperage, and if there are any problems it pinpoints the area.”

Vogel says it was a challenge getting all the systems “to talk together, but Medialon was the right choice for the control system. Its open architecture enables the client to do unlimited things. So the AV elements in Eaton’s atrium can change and grow with the client’s expectations.”

Tim Ventimiglia, RAA Director Berlin Operations, concluded “From my view, this installation shows in a dramatic way what you can achieve when an av systems integrator like Electrosonic is brought on board early during the design process and then executes the work. The level of detail and refinement represented in the Chandelier and Curtain structures would not have been possible without this early coordination.”

About Eaton
Eaton is a diversified power management company providing energy-efficient solutions that help our customers effectively manage electrical, hydraulic and mechanical power. A global technology leader, Eaton acquired Cooper Industries plc in November 2012. The 2012 revenue of the combined companies was $21.8 billion on a pro forma basis. Eaton has approximately 103,000 employees and sells products to customers in more than 175 countries. For more information, visit www.eaton.com.

About Electrosonic
Electrosonic is an international audio-visual company that creates tailored, state-of-the-art solutions for a wide range of markets including theme parks, museums, control rooms, and corporate meeting rooms. Since its founding in 1964, Electrosonic has built a strong reputation for working on complex projects, both large and small, and has developed lasting partnerships with customers and suppliers. Beyond complete integrated systems, Electrosonic provides a comprehensive scope of services including technical design, projector lamp sales, maintenance and operational support.

Learn more about Electrosonic. Visit http://www.electrosonic.com