Chaos Group Releases V-Ray 2.0 for Rhino
Popular Renderer for Rhino Gets Major Overhaul Across the Board; Speed, Workflow, Lighting, and Material Improvements; Free for V-Ray 1.5 for Rhino Customers
Sofia, Bulgaria – 9 December 2013 – Today marks the launch of V-Ray 2.0 for Rhino, the newest update to Chaos Group’s high-performance rendering engine for designers. With up to 30x faster V-Ray RT performance, V-Ray Express tools and HDR Light Studio live connection with Light Paint, this release aims to promote creativity and artist-friendly workflows for Rhino users.
Behind every new V-Ray release, you’ll find in-depth feedback from artists and designers. V-Ray 2.0 for Rhino is no different. By partnering with the people that use the software the most, Chaos Group’s development team has been able to ensure that the intuitive and simplified rendering process they envisioned lines up with the creative control their users want.
“V-Ray for Rhino has been our renderer of choice at Minimal since the day the company was formed,” says Dustin Brown, Lead Designer at MNML. “The material system is extremely powerful, lighting is quick and customizable, and network rendering works transparently within our design process, even for still images. It helps us spend more time designing and less time visualizing – and that is exactly what we want.”
Big new and improved features in V-Ray 2.0 for Rhino include:
• V-Ray RT – Interactive responses and a streamlined scene composition with GPU ray tracing up to 30 times faster from directly inside the Rhino viewport.
• V-Ray Material – A brand new compact and optimized material for V-Ray that includes parameters to adjust diffuse, reflection, and refraction.
• V-Ray Express – Users can easily access more than 200 materials and interchangeable lighting setups to create realistic studio scenes and illuminate models faster than ever.
• HDR Light Studio Support – Live connection HDR Light Studio with Light Paint feature accessed directly within Rhino, providing the most intuitive and creative way to light a design.
For the full list of product features, click here.
“We are very excited that, for the very first time, HDR Light Studio can be accessed from within an actual 3D design environment through the new V-Ray for Rhino live connection,” said Mark Segasby, co-founder and CEO of Lightmap Ltd. “Everything you need to bring your vision to life is all in one Rhino scene file now – from your 3D forms to material/finishes to the lighting. It just makes sense.”
“Our focus on full integration makes sure our customers never lose precious work hours to inefficiency,” says Corey Rubadue, Product Manager at Chaos Group. “Our commitment to the design community is unwavering, and we believe the faster speeds, easy controls and access to content will only accelerate their projects and products.”
Chaos Group has also prepared a long list of dedicated resources that will help new V-Ray 2.0 for Rhino users. Those materials include: help documentation, introductory videos, a dedicated forum, and a dedicated product page.
Pricing and Availability:
V-Ray 2.0 for Rhino is now available for Rhino versions 4 and 5. To provide optimum security, reliability, and portability Chaos Group requires a hardware key to license its software. V-Ray 2.0 for Rhino customers will have the option to purchase a new hardware key or install the license on an existing one. Registered users have access to a free demo through the V-Ray 2.0 for Rhino product page.
The upgrade to 2.0 is free for current license holders of V-Ray 1.5 for Rhino. Single license pricing for V-Ray 2.0 for Rhino is 690 EUR / 960 USD / 590 GBP. V-Ray 2.0 for Rhino can be purchased through Chaos Group’s local resellers.
About Chaos Group:
Chaos Group is a leading provider of innovative rendering solutions for the media, entertainment, and design industries. For over a decade our flagship rendering software, V-Ray®, has set the standard for speed, quality, reliability and ease of use, and it has become the rendering engine of choice for renowned international studios. We work closely with our customers from around the world to ensure we’re creating the best tools for their workflow. Inspired by their imaginative creations, we passionately pursue advances in rendering technology and continue to improve the software needed to communicate their vision.
We proudly support the 3D community with our advanced software solutions: V-Ray® for Autodesk® 3ds Max®, V-Ray® for Autodesk® Maya®, V-Ray® for Autodesk® Softimage®, V-Ray® for Rhino®, V-Ray® for SketchUp®, Phoenix FD and Pdplayer.
Press Releases For : December 9, 2013
Chaos Group Releases V-Ray 2.0 for Rhino
Shelton, Connecticut, December 9, 2013 – Today it is the Triple Crown of Surfing in Hawaii, next month it’s the King of Hammers off-road competition in California – next year, who knows, probably a skiing feature. Wherever Dan Campbell-Lloyd goes, it’s to capture extreme sports with his creative eye – and with him goes his trusty Sachtler support.
“I’ve been using Sachtler for over ten years and simply couldn’t do a project without them,” Campbell-Lloyd says. “Each of my tripods (Sachtler Ace L and Video 18P with CF100L tripod) have out-lasted and out-performed any other similar equipment that I or my friends have had. The equipment just works in every condition; from the freezing cold mountains in Alaska to being jammed in the back of a kayak on the Congo River. Sachtler is simply smooth, tough and reliable every time.
“Right now I’m shooting the Triple Crown of Surfing,” he explains. “I’m using my Canon 7D, Red Epic and my Ace L and Video 18p. Sachtler helped capture images of the first big swell of the winter. The surf was big and so was the crowd at Waimea Bay.”
A piece of cake for Campbell-Lloyd compared to some of his other challenges. “In the winter of 2012, I was shooting for MSP Films in the Tordrillo mountains of Alaska,” he recalls. “Normally, on these trips, we would have two or three shooters and a photographer. This trip was just three athletes, two guides and me up in the helicopter. The cool thing was that we could just fly around and ski anything we wanted. The hard thing was I could only bring so much gear. Without my very light and stable Sachtler tripod, none of the shots would have been possible.
“Having my Sachtler on the Congo for ‘The Grand Inga Project’ was super important,” he explains. “The rapids are sometimes a few miles across so a super stable smooth tripod was a must have. We were filming the first decent of the Inga rapids, where there where no retakes. This was a one-time deal and I had to nail the shot first time every time.” (http://ingaproject.com)
Australian borne cameraman/photographer and former professional kayaker, Dan Campbell-Lloyd, offers a unique eye into the world of action. His visuals can be seen in the Rush HD series, FOCUSED.
For more information visit www.sachtler.com or contact: Sachtler, 16 Progress Drive, Shelton CT 06484, Phone: 1 203-929-1100, Fax: 203-925-2684, Email: email@example.com
ArsenalFX Expands Post Production Team: David Carlson of Digital Domain Joins as Senior CG Generalist; Cortney Haile Promoted to Head of Operations, and Casey Conroy is Named VFX Director
Santa Monica, CA, December 9, 2013 – ArsenalFX, a leading Visual Effects Post Production studio specializing in high end commercial finishing, has significantly expanded and bolstered its in-house team. David Carlson has joined ArsenalFX as Senior CG Generalist, after having served as a Senior CG Generalist for many years at Digital Domain. Cortney Haile has been promoted to Head of Operations for ArsenalFX, while Casey Conroy has joined the company as VFX Director. The announcements were made today by ArsenalFX Executive Producer Ashley Hydrick.
(Note: Photo ID Above, left to right: David Carlson, Cortney Haile, Casey Conroy)
“Our business has been booming, and as a result, it was simply time to bolster our personnel to keep up with client demand,” Hydrick said. “We are truly excited to be adding David and Casey to our team, while Cortney’s promotion is also certainly well deserved.”
ABOUT DAVID CARLSON:
Prior to joining ArsenalFX, David Carlson had been a Senior CG Generalist at Digital Domain (DD,) a leading VFX company he first worked for from 2003 until 2005, and then rejoined the company in 2010. During his time at DD, Carlson worked on David Fincher’s TV spot, Nike’s “Gamebreaker,” the winner of a Clio Award.
Carlson’s other high profile projects during his tenure with DD included work on Nike’s “Biomorph” spot (Clio Award nominated, and a VES Award winner;) a Toyota GT86 spot (VES Award nominated;) the Nine Inch Nails “Only” music video, directed by David Fincher; the Halo 4 “Neuron” game trailer (directed by Joe Kosinski;) and the feature films “Tron Legacy” and “Oblivion” (both directed by Kosinski,) and “X-Men: First Class, directed by Matthew Vaughn.
Carlson’s background in visual effects stems from a lifelong practice of traditional art, illustration, sculpting and painting. For over 20 years, his quest to always improve his CG generalist skills has earned him numerous awards in the industry. While working in-house with Area 51 VFX, the company won an Emmy Award for HBO’s “From the Earth to the Moon,” which Tom Hanks executive produced.
Carlson has also held in-house positions with such other leading VFX studios as Riot Pictures, Method Studios, Netter Digital, Cantina Pictures, Powderkeg Pictures, Hidden Fortress, and Rogue State. He has collaborated with various industry leaders, including Zoic, Blur, Make Inc., and others, as well.
One particularly noteworthy project Carlson worked on was for the Jet Propulsion Laboratory (JPL) during its Mars Science Laboratory Rover mission. For that mission, Carlson helped digitally recreate and look-dev the descent stage “Sky Crane” for JPL’s pre-enactment animations. Today, his name is literally on the planet Mars, after JPL invited him to sign a guest book that was sent up along with the rover!
ABOUT CORTNEY HAILE:
Cortney Haile now serves ArsensalFX as its new Head of Operations, having been promoted from her previous position as an Account Executive. She first joined the company in 2011.
A native of the East Coast, Haile began her career in broadcast journalism as a news producer in both radio and television. Upon relocating to Los Angeles, she focused her attention on feature film production. Combining her knowledge of fast-paced television production with her experience in sales and marketing, she worked as a feature film producer, before establishing her own production company, M E Films.
Accepting a position at Lionsgate Films, Haile next segued into the world of post production. From there, she made the jump to the vendor side of the business, becoming an Account Executive with 2G Digital Post. She joined ArsenalFX following that her tenure in that position.
ABOUT CASEY CONROY:
Prior to joining ArsenalFX, Casey Conroy most recently served as a visual effects producer and on-set visual effects supervisor for Warner Bros. Digital Distribution?s videogame “Mortal Kombat Legacy: Season 2.” Conroy has worked in post production for nearly 20 years, primarily serving as a visual effects producer and/or visual effects supervisor. In those roles, he has led teams in the creation of visual effects, CGI, and motion graphics for commercials, episodic television, feature films, and special venue projects.
Conroy has worked with many commercial clients, including: Mercedes, Jaguar, Chevy, Dodge, Ford, Nissan, Cadillac, Honda, Nike, Adidas, Coke, Intel, Gatorade, Budweiser, Bud Light, Miller, McDonalds, DirecTV, AT&T, Verizon, FedEx, Activision, and Ubisoft. In addition, he has worked on several
Super Bowl commercials, including spots for Intel, Budweiser, Bud Light, AMP Energy Drink and Cars.com.
Among the feature films on which Conroy worked are “SpiderMan II,” “The Day After Tomorrow,” “The Bucket List,” and “Drive.” His episodic television credits include “Six Feet Under,” “It?s Always Sunny in Philadelphia,” “George Lopez,” “The Drew Carey Show,” and “Lois and Clark: The New Adventures of Superman,” to name just some.
Conroy has contributed visual effects to numerous projects which have been recognized with prestigious industry honors, including Clio, Cannes Lion, AICP, Effie and Mobius Awards.
Founded in Santa Monica, CA, in 2008 by Mark Leiss, with Terry Silberman serving as Partner, and Ashley Hydrick as Executive Producer, Arsenal FX is an artist-driven, Visual Effects Post Production studio set within a boutique environment. The company specializes in commercial finishing. ArsenalFX enjoys a stellar reputation and a diverse global client base, spanning the industries of advertising, motion pictures, and television.
ArsenalFX’s sister company is ArsenalFX Color, founded in 2012 by Mark Leiss and Larry Field. In just a short time, that company has earned a strong reputation in Hollywood for providing the horsepower and top gear that major TV studios expect, within a personalized, comfortable, boutique-style environment. ArsenalFX Color specializes in television finishing. The sister companies often collaborate on various projects, as each has the ability to utilize the services of the other.
ArsenalFX considers its greatest strength the talent of its award-winning artists and technicians, whose collective years of experience, along with a shared hunger for new challenges, has resulted in an uncompromising standard of excellence. Under Ashley Hydrick’s supervision, the ArsenalFX team has the expertise and technology to provide state-of-the-art visual effects for any commercial, TV show, or feature film, regardless of its size or location, anywhere in the world.
Since its founding, ArsenalFX has contributed visual effects to many hundreds of commercial spots on behalf of such major clients as Sony, Coca-Cola, Dr. Pepper, Nike, Redbull, BMW, Bud Light, Hyundai, Audi, Lexus, Chevrolet, Mazda, McDonalds, State Farm, U.S. Cellular, and dozens more.
ArsenalFX and ArsenalFX Color are located in Santa Monica, CA. ArsenalFX phone: 310/453-5400. ArsenalFX Color phone: 310/453-5444. The company website is: www.arsenalfx.tv
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PESA JITC-Compliant Video Distribution System Supports Mission Control Center for International Space Station
Huntsville, Alabama – PESA, a leading U.S.-based custom design and manufacturing company for professional audio and video signal distribution, today announced the completion of a video routing system upgrade to NASA’s Mission Control Center (MCC) at the agency’s Johnson Space Center (JSC) in Houston. Lockheed Martin, a prime contractor for NASA, commissioned PESA to provide hardware and system training for its Cheetah Video Distribution System (VDS).
Mission Control supports 24/7 operations for the International Space Station (ISS) and its partners, which include NASA, the Russian Federal Space Agency (Roscosmos), Japan Aerospace Exploration Agency (JAXA), European Space Agency (ESA), Canadian Space Agency (CSA), and payload oversight from the Payload Operations Integration Center at NASA’s Marshall Space Flight Center in Huntsville. Operators at these remote locations frequently require the ability to individually manage the specific video resources allocated to them. With an IP-based PERC2000 system controller paired with Cattrax Web, PESA’s browser-based router control software, NASA’s technical team can securely configure input and output sources specific to user or mission requirements, limiting access to only those video sources and destinations for which the user has authorization when required.
Also key to the success of the project was PESA’s hybrid video hardware system, which supports both fiber optics and coaxial sources from a variety of broadcast and computer signal formats. Using PESA’s Vidblox extender/scaler units, every SDI, VGA, and DVI video source is fed through the router and securely distributed to the desired display or recording system.
The VDS hardware is based on a Cheetah 288XR frame that allows NASA to route 288 input sources to 432 workstations and display screens. PESA’s Cheetah routing switchers have been certified under the Department of Defense (DoD) Joint Interoperability Test Command (JITC), and comply with the new JITC VDS specifications.
“We were very pleased to hear all the positive responses on how well the MCC came out both functionally and aesthetically,” said Howard Sutton, executive chairman of PESA. “We knew we had to deliver a system for the 24/7 control room that would provide instant access to real-time data and video feeds coming from satellite and ISS sources.”
“Leveraging our long time experience building mission critical routing systems, PESA is confident that our system will provide the secure and trustworthy performance that NASA demands for 24/7 operations,” added Chuck Tillett, president and COO of PESA. “We are very proud to have been selected for this important project and to have Lockheed Martin as one of our JITC-compliant VDS solution customers.”
As a leading provider of audio/video connectivity, PESA offers a wide selection of routing switchers, matrix switchers, extenders, converters, media extenders, and signal processing gear to support government, military, industrial, commercial, broadcast and mobile truck applications. PESA offers one of the widest ranges of AV products – from large scale fiber optic routing to single-point CAT-5 DVI extenders – each with the integrity and innovative high performance technology expected from PESA. Our products are available around the world from a leading team of channel partners offering local support and installation; and all of our products are supported by 24/7 technical support. To learn more about our technologies and services visit www.pesa.com. PESA is located in Huntsville, Alabama with regional offices throughout the United States.
All products mentioned herein are trademarked property of their respective owners. Follow us on Twitter @PESA_ONLINE.
Fremont, CA – December 9, 2013 - Blackmagic Design today announced that Jaguar’s “F-Type, Your Type” short film series was graded using DaVinci Resolve by Aaron Cao, colorist and owner of Shanghai based MZ Postproduction. The three episode series tells the story of three characters’ pursuits of their dreams and has been shown in theaters and on websites across China.
Directed by Chris Reed and starring Taiwanese artist Jimmy Lin, China’s “Princess of Ballet” Hou Honglan, Chinese actress Ni Ni, known for her debut in Zhang Yi Mou’s “The Flowers in War” and the stunning Jaguar F-Type convertible sports car, the short films were produced by Gwantsi, one of the leading production companies in China. Despite the tight color grading schedule, the team’s goal was to produce three films that reflected the elegance of the Jaguar F-Type.
“The three films required us to grade more than five hundred shots in three days, but as the director and cinematographer, Chris didn’t want to compromise quality because of the tight schedule and was strict as always with the way the footage was graded to ensure a filmic look,” said Aaron. “Thanks to DaVinci Resolve’s tools and efficient color grading, we achieved the goal on time.”
Developing the look of the Jaguar F-Type was paramount for Chris, and as the footage from the shoots was not consistent, extensive color correction was required to achieve the perfect look to show off the Jaguar F-Type.
“The F-Type Jimmy Lin drives in the films is orange, but the original footage looked flat and the color of the car changed between scenes due to varying lighting,” explained Aaron. “Chris insisted on working hard in primaries first to bring back the color, instead of directly pulling a chroma key, to ensure the image looked real.
“That sort of increased the complexity, but there was always a tool in DaVinci Resolve that could increase my flexibility and help me meet Chris’ requirements,” he continued. “In this case, the custom curves enabled me to fix the color of the car in primaries and make sure the image looked more natural and realistic.”
Aaron also noted how DaVinci Resolve’s node based grading was key to an efficient workflow. “Every time Chris requested a tweak to the grade, I could easily make the adjustment by adding or removing nodes until he gave it a green light,” said Aaron. “Sometimes Chris might hesitate when he needed to make a choice between different grades for a shot, and DaVinci Resolve allowed me to quickly show him the grade he wanted to review by turning on and off any of the nodes, which made his decision making process easier and faster.
“Flagging is another great efficient feature for projects like the F-Type films because it let me locate a shot or quickly find a grade among hundreds of shots,” he continued. “Before grading, when Chris was establishing the key shots and identifying problems, I tagged the key shots with red flags and the problematic ones with blue flags. And even during grading, I also tagged different grades with flags. Whenever Chris wanted to see a shot or grade, I was always able to find it in no time because the flags guided me.
“DaVinci Resolve’s object tracking was also used constantly. I just needed to specify the object to track, and DaVinci Resolve would automatically do the rest. That saved me a lot of time,” concluded Aaron.
“Overall, I am very happy with the final looks for the three films. DaVinci Resolve can make good shots look great and great shots look amazing,” said Chris.
Product photos of DaVinci Resolve are available at www.blackmagicdesign.com/press/images.
About Blackmagic Design
Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and film restoration software for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including stereoscopic 3D and 4K workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, United Kingdom, Japan, Singapore, and Australia. For more information, please check www.blackmagicdesign.com.
Matrox® Video today announced the immediate availability of Grass Valley EDIUS® 7.21 nonlinear video editing application support for Matrox MXO2™ LE and Matrox MXO2 Mini I/O devices. EDIUS is a proven solution for editors working on fast-turn-around production in broadcast news, newsmagazine, and studio program content, as well as professional video editors working on organizational, documentary, and theatrical productions.
Matrox MXO2 editing devices are the only I/O products that go everywhere – laptop and desktop; in the studio, in an OB van, and on set. For maximum versatility, they connect to the editing computer via PCIe® or ExpressCard/34® adapters. Thunderbolt™ support for Windows® is coming soon.
“Opening our editing software up to support more hardware platforms like those from Matrox is a strategic goal for Grass Valley, strengthening third-party relationships, extending our reach and above all giving customers greater choice,” said Alex Kataoka, EDIUS Product Manager for Grass Valley.
“Since the launch of our popular MXO2 product line, EDIUS customers have been asking for support of their editing application of choice,” said Wayne Andrews, Product Manager for Matrox Video. “Now with support for Matrox hardware from Grass Valley, EDIUS users have the perfect cost-effective ingest, monitoring and delivery devices for their SD and HD workflows.
Price and availability
Matrox products are available through a worldwide network of authorized dealers. Matrox MXO2 Mini is priced starting at $449 US (£338, €382) not including local taxes and delivery. Matrox MXO2 LE is priced starting at $995 US (£749, €799). Matrox MXO2 Mini MAX and Matrox MXO2 LE MAX are also supported with EDIUS 7.21 software and offer Adobe Media Encoder users the added benefit of H.264 video encoding up to 5 times faster than software alone without sacrificing quality.
About Matrox Video
Matrox Video is a technology and market leader in the field of HD and SD digital video hardware and software for accelerated H.264 encoding, realtime editing, audio/video input/output, streaming, A/V signal conversion, capture/playout servers, channel-in-a box systems and CGs. Matrox’s Emmy award-winning technology powers a full range of multi-screen content creation and delivery platforms used by broadcasters, telcos, cable operators, post-production facilities, videographers and A/V professionals worldwide. Founded in 1976, Matrox is a privately held company headquartered in Montreal, Canada. For more information, visit www.matrox.com/video.
Electrosonic Supports Integrated Environmental Media System in New Tom Bradley International Terminal at LAX
Electrosonic was also responsible for the integration and installation of the complex digital playback system that supports the multi-channel synchronization necessary for display on the media features. Electrosonic was involved with the mammoth project for close to two years, providing the client with specialized management expertise throughout.
“This is one of the largest international terminals in the U.S., and its first priority is as an airport, a hub to the rest of the world,” says Electrosonic account executive Bryan Hinckley. “Our experience coordinating with different trades and vendors, and our expertise in integrating complex systems and new playback technology, helped make the IEMS system a success.”
Electrosonic project manager Janne Hammel notes, “Because of the type and scale of work Electrosonic does for multiple industries around the world, we were uniquely qualified to act as conduit between LAWA and the design and content producers, serving as a translator and helping to facilitate communications and manage expectations on all sides. It was extremely challenging and incredibly rewarding.”
The IEMS media features are located in the 150,000-square-foot Antonio Villaraigosa Pavilion (Great Hall) beyond TSA screening and consist of the Welcome Wall, the Bon Voyage Wall, the four-sided Time Tower, the Destination Board and Story Board and two portals that usher travelers to their departure gates. Integrated into the terminal’s architecture, they are more than digital signage or multimedia eye candy. Each media feature serves a specific purpose for the passengers, offers sponsorship opportunities for marketers, and dazzles with its ability to merge the latest technology with soaring architectural elements.
“All of the media features were custom designed to support individual creative visions,” says Hammel. “The ability to roll out large-scale custom projects is all about attention to detail and time management. It takes a certain amount of imagination to go from design to fabrication to hardware integration, where the smallest thing can have a big impact as the project evolves. That’s our business.”
What set the job apart from other large projects was that it was essentially “a series of big multimedia features included in a large public works venue,” she explains. “We had to balance how to integrate the systems into airport operations and security. We spent a lot of time working with the airport IT representative to deliver a system that maintains absolute security.”
The Welcome Wall, which displays joyful scenes of greeting for arriving international passengers, is a high-resolution 6mm LED Daktronics wall measuring approximately 26 by 84 feet, divided into two screens and surrounded by a decorative glass frame. The adjacent Bon Voyage Wall, with content inspired by photographer Philippe Halsman’s Jumpology photographs, is a similar configuration with dimensions of 13 by 23 feet.
The Destination Board is a different take on flight departure information. The 80-foot wide screen displays flight details from LAX’s Flight Information Display System database. The high-resolution 6mm LED screen is partitioned into a central flight info display flanked by informational side panels and framed by a low-resolution crown of LEDs. Content on the side panels is linked in real time to destination flights displayed on the board to provide travelers with fun facts, weather briefs and images of destination cities, while a graceful arched crest features international flag graphics or subtle arrays of colors.
The four-sided Time Tower is built around the Villaraigosa Pavilion’s elevator tower and is designed to not only tell time, but also explore time as part of the travel experience. It is 72 feet high with a base of diffused glass panels and an interior layer of 10mm LEDs. Sensors sensitive to passenger gestures create constantly changing patterns in the content generated through customized programming and the capabilities of the system. The upper surface features high-resolution 6mm LEDs and integrates a functional clock face with entertaining content incorporating a time theme.
“The display is very large and has a number of video content sources which have to synchronize seamlessly on the four sides of the tower,” Hinckley says. “Electrosonic and Smart Monkeys spent a lot of time with the content creators and Daktronics on pixel-for-pixel consistency from media creation through playback, processing and display. There’s no video scaling involved.”
Electrosonic also coordinated with the LAX audio system, which uses very complex zoning, and delivers safety and emergency messages to ensure proper audio playback for the Time Tower clock strike at the top of every hour.
Along the west side of the Villaraigosa Pavilion, poised above retail shops, is the 120-foot-long Story Board feature. Its high-resolution 6mm LED tiles form five display walls of varying size and shape across a structural frame. Once again, Electrosonic worked closely with all the vendors to achieve pixel-for-pixel consistency in a huge palette of pixels comprising custom content that tells ambient narratives about travel.
As passengers move from the Villaraigosa Pavilion toward either the north or south concourse, a series of ten 28-foot-tall columns form a visual portal to their destination. Each column, consisting of six vertically stacked 55-inch Planar LCD monitors, displays content themed around the art traditions of various destination cities. Speakers and motion sensors are embedded in the base units of each portal to enhance the experience.
“It was an integration challenge to make sure the sensor and playback gear could co-exist in the limited space within the portals,” Hinckley points out.
Electrosonic also designed the layout and installed the Main Equipment Room (MER), which is comprised of a control and rack room. Miles of optical fiber from all over the terminal feed into the MER, where over a 1,000 individual connections provide the capability to display and control the content displayed on each feature. Cameras in the terminal that show the content-display status of each feature allows a single operator to monitor all features simultaneously. Additionally, a 65-inch display was installed in the control room where new media content from prospective partners can be reviewed prior to public display.
“We have people on site for 24/7 operation and maintenance of the system,” Hinckley notes. “Since this is a working international airport, the only time we have access to the field equipment is between 2 and 6 am, so we not only need a quick response team on site to remedy any potential problems, but we also need to staff the graveyard shift to make any necessary repairs.”
Janne Hammel believes that once travelers experience the new terminal and its standout media features, they’ll have a greater appreciation for the work of all the vendors involved. “You can talk about physical dimensions and number of pixels, but until you’re standing in that space experiencing the media and how it integrates with the terminal’s passenger activity and flow, you don’t realize how it exceeds your expectations.
“L.A. is a world destination and that’s reflected in the content of the media features and their integration into the physical structure of the new international terminal,” she says.
Electrosonic is proud to be a part of the LAX Integrated Environmental Media Systems (IEMS) Team, which includes: MRA International, IEMS Project Director; Marcela Sardi of Sardi Design, designer of the media features and Creative Director; Smart Monkeys Inc., Technical Consultant and system programmer for the content delivery system; Daktronics, display supplier; Moment Factory, Executive Content Producer; and Digital Kitchen, Supportive Content Producer.
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
Press Releases For : December 6, 2013
Highly Regarded Supplier and Systems Integrator Will Resell Complete Snell Product Line
READING, U.K. — Dec. 6, 2013 — Snell today announced that AVIT-Systems A/S is serving as the company’s new dealer in Denmark. As a supplier of professional broadcast and AV equipment and solutions, AVIT offers Snell products independently and as part of a range of solutions engineered for the broadcast and AV industry.
“We’re proud to work with partners that are well-respected and well-established within the industry, and Snell stands out among these leading companies,” said Claus Bech Espensen, CEO at AVIT. “With the Snell portfolio, we’re equipped to provide a complete turnkey solution to any broadcaster. Our market knowledge and relationships, together with Snell’s innovative and thoughtfully developed products, can only bring better services and solutions to our customers.”
With 20 years of experience as a system integrator and supplier to the broadcast industry in Scandinavia, AVIT-Systems delivers solutions, products and services to businesses in need of AV infrastructure, video, and audio solutions. The team at AVIT offers design, specification, installation, and full implementation services, delivering effective and reliable solutions representing the industry’s best brands and products.
“AVIT has been serving the Danish broadcast and AV industry for many years, and we’re pleased to be working with the company as it provides market-leading solutions to the Danish market,” said Mark Gardner, Snell sales director for Northern Europe and Africa. “Given the strengths our companies bring to the table, we feel confident that the natural synergies of this partnership will benefit both our companies and our shared clients.”
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AVIT-Systems is a part of Nordjyske Kommunikation Group, which is 100% owned by Nordjyske Holding. AVIT-Systems are one of Scandinavia’s leading suppliers of products, solutions and concepts for broadcasters and AV companies. The company deals with all technical aspects of design, consultancy, development and implementation of advanced audio and video installations.
AVIT-Systems has among others delivered solutions for DR, SVT, NRK, TV2 Norway, TV 2 regions in Denmark, the state-owned Greenland television and radio station KNR and the Faroese television and radio station Kringvarp.
More information is available at www.avit-systems.com.
Snell is a leading innovator in digital media technology, providing broadcasters and global media companies with a comprehensive range of solutions for creating, managing, and streamlining the distribution of content for today’s multi-screen world. Specializing in TV Everywhere and Live TV applications, Snell provides the necessary tools to transition seamlessly and cost-effectively to 4K UHDTV, file-based, and 3Gbps operations, while enabling broadcasters to monetize and deliver their media assets across multiple distribution platforms. Headquartered in the U.K., Snell serves more than 2,000 broadcasters, post facilities, and global media companies in more than 100 countries through its worldwide team of sales and support personnel. More information is available at www.snellgroup.com.
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ESPN Utilizing Super Slow-Motion Camera for Game Day Action
(BURBANK, CA) Bexel, a unit of the Vitec Group's Services Division and a leading worldwide provider of broadcast services and solutions, is the first to take delivery of the latest HDC-3300R Super Motion Camera. Bexel currently has two cameras deployed for ESPN, Inc., The Worldwide Leader in Sports, for NCAA football games.
"Bexel has always taken a leadership position in slow-motion cameras and the new version of the HDC-3300R Super Motion Camera fosters our service capabilities in that space," says Tom Dickinson, chief technology officer of Bexel. "We are very excited to have the new 3300R version in our rental fleet. The 1080p capability and improved sensitivity allows this camera to perform at a higher standard for indoor and outdoor applications."
The Sony HDC-3300R's new feature enhancements include advanced CCD imagers with 16-bit A/D conversion; additional capturing frame rates of 1080/179.82P, 150P, 59.94P and 50P; 3G HD-SDI support; and Level A and B switchability.
"Sony has been at the forefront when it comes to developing cameras that provide high-quality, slow-motion image capture, which has been a staple feature for sports coverage," says Sony Senior Marketing Manager Wayne Zuchowski. "And now the widely accepted HDC-3300R continues that legacy."
"Super slow-motion cameras are a vital part of every sports broadcast today," says Joe Wire, Bexel vice president of Business Development. "Having the ability to offer our clients the latest creative tools further enhances their storytelling capabilities. Utilizing these cameras on college football's national championship games for the next two years demonstrates the commitment broadcasters have to using the latest technology on the most important games."
Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers - including producers of the biggest and most important televised events in the world. For more information, visit www.bexel.com, and follow them on Facebook and Twitter.
About the Vitec Group
Capture the moment(tm)
For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized 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, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com.
Quality Assurance Leader Continues Long Standing Relationship with Organization as it Expands to Member-Driven Testing
(Burbank, CA) Testronic - the global leader in quality assurance services for film and television, games, software, and digital television - works closely with the Digital Entertainment Content Ecosystem (DECE) to provide testing services for UltraViolet implementations. DECE is the cross-industry consortium responsible for creating and operating UltraViolet (www.uvvu.com), a home entertainment industry standard delivering a new and compelling way to collect and enjoy movies and TV shows. Stringent testing of content and device interoperability is a core component of the success of DECE's industry effort. Testronic has extensive experience in UltraViolet testing, working closely with DECE to support testing of UltraViolet functionality as part of DECE's interoperability testing and compliance verification programs. Testronic has been testing UltraViolet content, players, and web portals for more than a year, and will offer expanded services to its member companies directly.
UltraViolet is based on open, licensable specifications and is designed by DECE to create a viable, global digital marketplace. DECE's digital media specifications, logo program, and interoperable digital rights library enable consumers to purchase digital video rights for movies and TV shows from a choice of online, in-app and physical retailers, and play it on a variety of branded devices and platforms from different manufacturers. Content that is destined for UltraViolet must undergo rigorous testing before it reaches the consumer marketplace.
"As both a service provider and a valued DECE Member, Testronic is playing an important role in the deployment of UltraViolet solutions," said Mark Teitell, General Manager and Executive Director of DECE/UltraViolet, "ranging from tests for UltraViolet-compatible web services that are in-market today to interoperability testing for the components of the 'Common File Format' ecosystem that will launch soon."
Jason Gish, General Manager and Senior Vice President of Testronic, commented, "The industry turns to DECE for thought leadership and guidance as digital content distribution and the consumer's interaction with it continue to evolve. We value our relationship with DECE and its member companies, and we look forward to continuing to serve them. Testronic has a unique depth of experience and focus in this segment of the market, and we are dedicated to working together to provide the highest level of support possible."
Testronic Labs' high standards have been protecting clients and safeguarding the consumer experience since 1998. As the leading global provider of quality assurance, compliance, and localization services for a notable array of industries; including media, entertainment, games, education, e-commerce and consumer electronics, Testronic Labs ensures efficient and secure delivery of the highest quality consumer deliverables. Based in Burbank, CA; London, UK; Diepenbeek, Belgium; Warsaw, Poland; and Tokyo, Japan, Testronic Labs offers an unparalleled history of next-generation innovation and service excellence across the entire digital media industry. For further information, visit www.TestronicLabs.com.
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Chris Purse, 818.980.3473
ignite strategic communications
firstname.lastname@example.org or email@example.com