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Christie RGB pure laser projector powers first Oma Cinema

24/04/2024

Christie cinema projectors power new Chilean multiplex Muvix Talca

16/04/2024

ST Engineering Antycip helps level up academic research with Europe’s first Infinadeck

29/02/2024

Powersoft Mover integrated into VI-grade’s automotive simulator

29/02/2024

German flooring retailer enhances showroom experience with Nsign.tv digital signage

27/02/2024

AJA supports Czech Philharmonic concert productions

22/02/2024

Mediaset España revamps news sets of Telecinco and Cuatro with Alfalite

20/02/2024

Brompton supports B&T Awards show in Sydney

15/02/2024

Swiss university modernizes AV workflows with AJA gear

14/02/2024

Hippotizer drives “Unikko” projections at Lux Helsinki festival

13/02/2024

WSDG and Blaze Audio design new Hudson Valley screening room

13/02/2024

ACE Sports deploys JVC system for UHD stadium video board

12/02/2024

WatchHouse turns to Tateside for AV and IT solutions

12/02/2024

Mihai Malaimare uses AJA converter to integrate classic cameras into digital workflows

01/02/2024

Broadcast Solutions baut zweiten IP-Übertragungswagen für SuperSport

30/01/2024

Lux Machina turns to Stage Precision for “League of Legends” championship

23/01/2024

Christie projectors light up Waddesdon Manor

15/01/2024

Brompton Technology powers largest LED Volume in Southeast Asia from L&E Beyond

10/01/2024

Qvest realisiert neue Broadcasting-Zentrale für Thai News Network in Bangkok

04/01/2024

The Famous Group uses Stage Precision software for calibration at Bank of America Stadium in Charlotte

02/01/2024

Leicester College rolls out digital signage network powered by Nsign.tv

20/12/2023

Vema eröffnet neues Konferenzzentrum mit eigenem Corporate-TV-Studio

29/11/2023

Digital Projection und Artabesk unterstützen Bulgaris Jubiläums-Ausstellung

23/11/2023

AV Stumpfl präsentiert neue Pixera-Features und Projektionsoberfläche Blackpeak auf der LDI

21/11/2023

Qvest realisiert Upgrade der Fahrzeugflotte von RT1.TV

09/11/2023

Christie RGB pure laser projector powers first Oma Cinema

Christie RGB pure laser projector powers first Oma Cinema

A Christie CP4435-RGB pure laser projector is being used at a new cinema experience at Oma Cinema in Mougins, France. Inspired by traditional Italian-style opera house balconies - and resembling a futuristic sci-fi layout - Oma Cinema features innovative architecture, utilising circular seating pods as part of an auditorium concept to improve viewing. Christie partner Cinewest chose the CP4435-RGB projector to deliver advanced DCI compliant cinema projection, paired with a custom 7.1 sound system.

 

“We wanted to bring something different and offer viewers something special as part of an in-person visit, which couldn’t be replicated at home”, says Nicolas Chican, co-founder at Oma Cinemas. “We saw a lack of evolution in cinema design in recent decades and felt that architecture could be a powerful tool to deliver something unique.”

 

Oma Cinemas in Mougins is the first ever Oma install, and features 160 seats, with five individual pods, as well as orchestra seating. Designed by architect Pierre Chican, the patented concept’s “vertical” seating structure is designed to concentrate seating pods in the optimal viewing area, moving the traditional “first row” seats further back in the theatre, and the “back row” seats closer to the screen. Due to this design, the projector is also able to be installed mid-centre to the screen, eliminating image distortion.

 

Christie CP4435-RGB features CineLife+ electronics and Real Laser illumination as a compact, all-in-one projector. “We’re delighted that Cinewest chose the Christie CP4435-RGB for this exciting project at Oma Cinemas in Mougins”, says Adil Zerouali, senior director of sales, EMEA Cinema, at Christie. “We believe that cinema delivers a shared experience like no other, and we want to inspire and engage moviegoers together with our partners. It’s great to see innovation in the industry.”

 

The Oma concept is fully customisable, and is available to be rolled out to other screens across the globe, to either renovate existing theatres, or be built from scratch. Each pod features its own unique access point, and is customisable with different seating configurations and comforts. It is also possible to incorporate a stage beside the screen to allow an Oma room to be used for live events and conferences.

 

Rear access ensures no visual distractions - such as signage or other exits - intrude on the viewer’s perspective. Due to the more vertical seating structure, space is saved at the rear of the screen, providing room to locate dedicated food and beverage areas and lounge bars. The first public screening at Mougins will take place on April 24, 2024.

 

(Photo: Cinewest)

 

www.christiedigital.com

 

Christie cinema projectors power new Chilean multiplex Muvix Talca

Christie cinema projectors power new Chilean multiplex Muvix Talca
Christie cinema projectors power new Chilean multiplex Muvix Talca

Chilean cinema chain Muvix has equipped all seven theatres of its new multiplex in Talca, Chile, with CineLife+ cinema projectors from Christie. The new complex has a capacity of 1,313 seats across seven theatres with screens that range in size from ten metres (33 feet) to sixteen metres (52 feet) wide. Auditoriums are equipped with Christie projectors that deliver brightness of 9,000 to 22,000 lumens.

 

Theatre 7, called Aera, includes Dolby Atmos sound and a sixteen-metre (52-foot) large-format screen powered by a Christie 4K projector. Muvix and its sister chain, Cine Star, belong to Grupo Syem, the only Chilean-owned exhibition company in the country. In addition to Muvix Talca, the company also has twenty Christie projectors distributed in its various cinemas throughout the country.

 

(Photos: Christie/Muvix)

 

www.christiedigital.com

 

Christie cinema projectors power new Chilean multiplex Muvix TalcaChristie cinema projectors power new Chilean multiplex Muvix Talca

ST Engineering Antycip helps level up academic research with Europe’s first Infinadeck

ST Engineering Antycip helps level up academic research with Europe’s first Infinadeck
ST Engineering Antycip helps level up academic research with Europe’s first Infinadeck

ST Engineering Antycip provided and installed the first Infinadeck treadmill in the United Kingdom at Liverpool University in its Daresbury facility. The Virtual Engineering Centre (VEC), from the University of Liverpool, has been funded by the Arts and Humanities Research Council (AHRC) to establish the UK’s first National Centre for Digital Heritage (CDH).

 

The project seeks to develop a solution that enables users to move freely and naturally within expansive virtual spaces, without being confined by the boundaries of their real-world environment. ST Engineering Antycip recommended an omnidirectional XR treadmill, Infinadeck, as the ideal system. Inspired by the film “Ready Player One”, the Infinadeck treadmill has evolved from its Hollywood origins to become a real-life product that now integrates into commercial spaces. This technology aligned with the VEC’s needs, offering a dynamic platform, enabling users to explore virtual environments.

 

“By enabling users to walk naturally in any direction, Infinadeck creates a genuine sense of being inside the digital world”, says Phil Martin, chief revenue officer at Infinadeck. “This ‘Dynamic Presence’, as we call it, elevates the engagement, evocativeness and emotional connection experienced by users within the immersive environment. Compatible with VR headsets, projection domes, immersive LED displays, or standalone use, Infinadeck provides the optimum solution for incorporating physical movement into training simulations or gamified environments.”

 

“VEC has always been an early adopter of technology, having embraced solutions like the 360 Hz multi-view stereo projection system that we installed more than a year ago at their Digital Innovation Facility (DIF)”, says John Mould, commercial development manager at ST Engineering Antycip. “Having seen an online demonstration by Infinadeck and ST Engineering Antycip, VEC took the leap of faith to invest in this device to enhance their capabilities for future projects.”

 

VEC uses the Infinadeck as a doorway to research and virtual adventures, currently focusing on uncovering how buildings and architectural styles have changed over time. Konstantin Vikhorev, chief technology officer at VEC, highlights the importance of the research: “It’s very fascinating to virtually recreate a medieval building and witness its evolution and how it’s been built. In those times, education was primarily overseen by masters without many universities and schools. This adds an interesting layer to the study, analysing the diverse architectural styles originating from different locations and time periods, providing us with unique historical insights.”

 

Another way VEC uses Infinadeck is by creating virtual museum experiences that allow participants to virtually explore paintings and “touch” statues. “We’ve been experimenting with the treadmill speed, prioritising the health and safety of users who are unfamiliar with this kind of equipment. By reducing speed, we’ve ensured that even those new to the technology can feel comfortable and safe enough to walk on it”, says Vikhorev.

 

(Photos: ST Engineering Antycip)

 

www.steantycip.com

 

Powersoft Mover integrated into VI-grade’s automotive simulator

Powersoft Mover integrated into VI-grade’s automotive simulator

Italian pro-audio technologist Powersoft has joined forces with VI-grade, a provider of real-time simulation and professional driving simulator solutions. This collaboration introduces the integration of Powersoft’s haptic transducer, Mover, into VI-grade’s Compact FSS simulator.

 

VI-grade is a provider of software products and services, professional driving simulators and hardware-in-the-loop solutions designed to accelerate product development across the transportation industry. The company needed to upgrade the existing technology in its Compact FSS simulator with one that would be both more effective, powerful and realistic.

 

The Compact FSS simulator, tailored for automotive OEMs, replicates a real-life car behaviour and provides full-spectrum simulator from 0.5 Hz to 20 kHz. “The haptic feedback element provided by Mover is fundamental to completing the simulation experience, blending its vibrational contributions with those of the other shakers to cover the full range of frequencies, in all depths of field, at which the vehicle is moving”, explains Gabriele Ferrarotti, marketing director for VI-grade.

 

VI-grade’s internal technical team, responsible for designing, testing and certifying the simulators, first tested Powersoft’s Mover on a static version of the simulator. Their positive experience during this phase solidified their decision to integrate Mover into the new simulator model.

 

The partnership between Powersoft and VI-grade involved dedicated support from Powersoft’s team, who addressed challenges including space constraints in integrating Mover into Compact FSS. Along with the integration of Mover, the simulator now also uses two new Powersoft Mezzo amplifiers, replacing an old eight channel amplifier.

 

(Photos: Powersoft/VI-grade)

 

www.powersoft.com

 

German flooring retailer enhances showroom experience with Nsign.tv digital signage

MeinBodenbelag, a 160-year-old floor covering retailer in Neresheim, Germany, has elevated its showroom experience by implementing a digital signage network powered by the Nsign.tv software platform. The system includes twenty displays strategically placed throughout the store.

 

“We were looking for a program for our many displays in the stationary exhibition so that we could play new videos quickly and easily every day”, explains Toni Grimmeisen, managing director of MeinBodenbelag. “It was also important to us that the contents could run automatically and be controlled from one PC.”

 

MeinBodenbelag contacted their IT integrator, Kutzschbach, who recommended the Nsign.tv cloud-based software platform. Nsign.tv is managing around twenty 4K UHD screens ranging from 55’’ to 98’’ placed throughout MeinBodenbelag’s showroom, as well as a 4K UHD projector. The retailer, in collaboration with a local partner, developed customised mounts for the screens in a vertical position. “The Nsign.tv players were connected to the displays, then set up on the PC using the software program”, says Grimmeisen.

 

Contents displayed on the different screens include daily price promotions, advertising of MeinBodenbelag’s social media channels, introductions to the company’s staff, signposts so that clients can find their way around the showroom, videos for relaxing in the showroom’s customer lounge and cartoons in a designated corner for children.

 

(Photos: Nsign.tv/Kutzschbach)

 

www.nsign.tv

 

AJA supports Czech Philharmonic concert productions

Prague’s Czech Philharmonic Symphony Orchestra has broadened its global footprint in recent years by transforming the Rudolfinum concert hall, where it performs, into an international stage via live video broadcast and streaming technology. Rudolfinum Technical Supervisor Dusan Bajtos is responsible for the venue’s production workflow, which supports concert broadcasts and streams to European Television channels Czech TV, Mezzo TV, Arte, and European Classical TV; social streaming platforms like YouTube, Vimeo, and Meta; and many other distribution points.

 

He opted to produce concerts in UltraHD HDR end-to-end and has come to rely on a host of AJA equipment for execution. “When approached for this job, it was one of the first UltraHD HDR projects in the region”, says Bajtos. “Anyone who has watched UltraHD HDR content can see the difference in quality, not to mention that most consumers already have UltraHD HDR-capable displays at home, so this path made sense. With tools like AJA FS-HDR, we can raise the caliber of our signal output.”

 

To provide global viewers with different perspectives during each concert stream, the team leverages four manned cameras and six robotic cameras controlled from the director’s room on-site. Ahead of each concert, they comprise a shot list that describes the angle, timing, and length of shots per camera, as well as the object or artist to be put into focus.

 

From the director’s room, Bajtos and his team execute the production, leaning on a collection of displays to monitor the feeds and make color and exposure adjustment calls. For signal conversion - between camera log formats, HDR and SDR, and UltraHD and HD - Bajtos uses AJA FS-HDR. The HDR/WCG converter/frame synchronizer lets the team convert the output to match each delivery partner’s requirements, be it 4K HDR, HD HDR, or HD SDR.

 

In addition to FS-HDR, across productions, Bajtos also leverages an AJA Kumo 1616 12G-SDI router, which is integrated into the robotic camera head system to support automatic camera switching. The pipeline further uses an AJA Helo H.264 video streamer and recorder for recording to USB drives that can be handed off to the crew and director after the production wraps. An AJA Ki Pro Ultra 12G 4K/UltraHD/HD recorder and player/multi-channel HD recorder is used for Apple ProRes backup recording.

 

(Photos: AJA Video Systems/Czech Philharmonic)

 

www.aja.com

 

Mediaset España revamps news sets of Telecinco and Cuatro with Alfalite

The media group Mediaset España has revamped the news studios of its free-to-air TV channels Telecinco and Cuatro with Alfalite LED screens. The integrator Datos Media has been in charge of the sale and commissioning of the 844 LED panels supplied with Alfalite’s Orim technology.

 

For Telecinco, the most watched free-to-air TV channel in Spain, the news set was completely transformed, with 210 square metres of Alfalite LED screens, artificial intelligence and mobile camera solutions. The centrepiece of the Telecinco news set is a 31 x 2.5 metre Alfalite Modularpix Pro 1.9 Orim curved U-shaped wrap-around screen.

 

This display has the capacity to process up to three 8K video signals or twelve 4K video signals of up to twelve bits and more than fifty million pixels, compatible with the recreation of augmented reality environments, extended reality and virtual reality, and allows the projection in high definition of both images and graphics and infographics. A 32 x 1 metre Alfalite Modularpix Pro P3 U-shaped lintel has been integrated above this screen.

 

In addition, Datos Media has installed three 1.5 x 2.5 metre Alfalite Modularpix Pro 1.5 Orim mechanised mobile totems. These vertical hanging screens incorporate a motorised lifting mechanism to raise and lower them from the ceiling to the floor according to the needs of the news. As they are in vertical format, the three displays also allow the distortion-free projection of images recorded with mobile phones, published on social networks, etc.

 

For the Cuatro TV channel, the biggest novelty is the “L” shaped screen that starts on the floor and rises vertically towards the ceiling, in which the images can flow upwards like an endless loop and continue the movement through the side screens. This 11 x 1.5 metre display with a walkable floor is made up of Alfalite Modularpix Pro 1.9 Orim panels.

 

The Cuatro set also includes two 6 x 2.5 metre Alfalite Modularpix Pro 1.9 Orim screens. In addition, the set of “El desmarque”, the Cuatro news sports programme, has also been renovated by Datos Media with a 9 x 2.5 metre Alfalite Modularpix Pro 1.9 Orim screen. Orim technology gives these modules a horizontal and vertical viewing angle of 175 degrees, as well as anti-reflection, anti-static and enhanced dissipation properties.

 

(Photos: Alfalite/Datos Media/Mediaset España)

 

www.alfalite.com

 

Brompton supports B&T Awards show in Sydney

Brompton supports B&T Awards show in Sydney

The B&T Awards stand as one of the most entered and respected industry accolades in Australia. Last year’s B&T Awards, hosted at the Hordern Pavilion in the heart of Sydney, revolved around the theme “Embrace the Extra-Ordinary”, with forty categories presented during the night. Collaborating with their client, The Misfits Media Co., for whom Audio Visual Events (AVE) has been the preferred production partner for five years, an LED structure powered by Brompton Technology’s Tessera LED processors was orchestrated.

 

“Before the B&T Awards, we assisted the Misfits team with their internal B&T & Travel Weekly programmes and agency event work”, explains Paul Keating, Director at AVE. “The brief for this year’s event, encompassing the client’s mood board, event styling, and content, featured dark backgrounds and vibrant colours. This was a perfect fit for utilising LED, allowing for deep, dark colours and contrasting vibrant ones to pop.”

 

The AVE team, including Eric Spencer (Senior Account Manager), Dan Quinn (Technical Project Manager), Dylan Hovey (Technical Director), and Brenton Dine (Vision Specialist), closely collaborated with The Misfits Media Co.’s Senior Producer Lachlan Russel and Project Manager Romy Bradbridge to bring the project to life.

 

“We built a central LED screen, 12 m wide by 4 m high, flanked by two vertical pillars, each measuring 1.5 m wide by 3 m high. This gave us a total of 15 m in width to play back the custom content B&T created for the show”, says Keating. The main LED wall comprised 192 Unilumin UpadIII 2.6 panels and was powered by a 4K Tessera SX40 LED processor with four Tessera XD data distribution units. Simultaneously, the two vertical pillars, which required an additional 36 tiles, were driven by a Tessera M2 LED processor.

 

The Misfits Media Co. developed custom content for the event in-house, including opening videos, looping backgrounds, awards presentations, and a range of alphas. All of these utilised the entire LED canvas, and the AVE team time-coded the LX. Pre-event, AVE hosted the Misfits team for content checks, aiding in establishing muscle memory for the show’s flow and ensuring the content was perfect during the show.

 

The LED wall also provided a backdrop for the after-party, with the AVE team using it to play custom VJ loops, with a a custom-made DJ surround rolled in and featuring new lighting fixtures. “This ensured the event evolved whilst still using the Brompton-driven LED wall backdrop as the main feature”, says Keating.

 

(Photos: Audio Visual Events/B&T Awards/Brompton Technology)

 

www.bromptontech.com

 

Brompton supports B&T Awards show in SydneyBrompton supports B&T Awards show in Sydney

Swiss university modernizes AV workflows with AJA gear

Swiss university modernizes AV workflows with AJA gear

Technology plays a key role in the educational process at the University of Applied Sciences and Arts Northwestern Switzerland (FHNW). Comprising nine schools, with each containing various institutes focused on a specific study, the university’s AV needs are diverse and complex. To help modernize its setup, the institution has invested in AJA’s OG-Dante-12GAM opengear audio embedder/disembedder and Bridge Live IP video workflow bridge.

 

“We are extending AJA’s OG-Dante-12GAM audio embedder/disembedder for every purpose possible because it enables us to extract all the audio to the in-house broadcast, the audio networks plus to mix in the video mixer or the audio system”, says Suresh Surenthiran, Head of Media and Broadcast Infrastructure at FHNW. “We just inject it into the frame in the server room and connect it to ethernet, and we can manage the frame from any location virtually.”

 

The broadcast needs of the art and design university run the gamut, from student-created content akin to a television show or a TED-style talk with colored lights, DMX systems, and polished visuals, to graduation ceremonies or other presentations. FHNW event locations are connected by fiber networks, which allow for multi-source ingest to bring together data from desktops, laptops, camera signals, video mixers, etc. for editing. Each year the fashion institute within FHNW hosts fashion shows, one of which prompted Surenthiran to evaluate Dante 12G networks.

 

Due to space challenges, the event was hosted across three locations spanning nearly 500 meters. The three-part event was filmed using a mix of twenty-two broadcast and PTZ cameras, which were primarily mounted to minimize any audience disturbance. Each location had one dedicated camera person and the rest of the cameras were operated through remote control systems. Mixed feeds from each location were simultaneously broadcast in-venue via various displays, giving attendees insight into what was happening across the event, and to the central editing system for external distribution using AJA Bridge Live.

 

Operators managed the audio across buildings remotely with OG-Dante-12GAM audio embedder/disembedders, which allowed them to bring in the audio microphone, any video conference feeds, and a local microphone system into the Dante audio setup and into the main mixer. From there, they extracted the audio using OG-Dante-12GAM, then sent it into a Powersoft Amplifier, which enabled them to manage and distribute the audio across the building.

 

“We’ve adopted this setup as our standard for auditorium event productions. We installed eleven fixed cameras that are remotely controlled, and now capture each of our weekly events with them”, says Surenthiran. “We have an 8K video mixer, and 4K, full HD, and PTZ cameras; we route the video sources through MediaNet to AJA Bridge Live using its four SDI inputs. This allows us to do parallel streaming in different formats, either for multiple events or to stream multiple feeds of the same event; if we wanted to stream an event in German, English, French, and Italian, we can do this with Bridge Live. It’s fast at transporting all the protocols like SRT, UDP, SLS, and RTP.”

 

While many universities dictate media workflows like classic IT infrastructure, Surenthiran prefers a more native approach. His background in the broadcast industry informs his priorities, which include automating complicated workflow aspects to broaden access to high quality implementations. “At both the broadcast and university levels, we produce content the same way, even if the context is different”, he explains. “I really advocated to have our own fiber channel networks and having that connected network is a great advantage.”

 

“We’re facing a shortage of media engineering expertise in Switzerland, and colleagues in Germany, France, and Italy have expressed similar challenges”, he concludes. “Solutions like OG-Dante-12GAM help us solve for this challenge, as does cloud-based technology like Bridge Live. We can simplify the technology management process.”

 

(Photos: Foto Nuccio/AJA Video Systems/FHNW)

 

www.aja.com

 

Swiss university modernizes AV workflows with AJA gearSwiss university modernizes AV workflows with AJA gear

Hippotizer drives “Unikko” projections at Lux Helsinki festival

The Lux Helsinki light festival took place at venues across the Finnish capital during January 2024, with a highlight being the specially created projection mapped visual display onto the intricate facade of the National Gallery Ateneum. The looping, five-hour graphic animations formed a 8000 px-wide canvas and were projected by six Barco UDX 4K32 projectors and driven by Green Hippo Hippotizer Montane+ RTX and Karst+ Media Servers.

 

The festival was staged by Events Helsinki, which brought in Capital AV to deliver technical production and visual consultancy for the Ateneum projections. In temperatures plummeting to minus 20 Celsius, the Capital AV team set up a warm trailer next to FOH position and the three projector towers. The animation work was designed by Katri Tikkanen and commissioned to celebrate the 60th anniversary of Finnish clothing brand Marimekko’s design pattern “Unikko”. Marimekko and Ateneum joined forces as major sponsors of the festival, making the projection project a reality.

 

A music score was composed by Matti Ahopelto, with the piece coming together as projected visuals that danced on the front of the building. “We deployed two Montane+ RTX and three Karst+ Media Servers to drive the projected visuals as we needed a reliable solution in the cold weather and with enough power for the large canvas, amount of graphics and the five-hour loop”, says Capital AV’s Max Lapinsuo-Sylwén. “The Hippotizers ran the show for the entire five-day festival without any issues.”

 

The show was projected using the six projectors, with three double-stacked each side in the projection tower and connected to the Hippotizer Media Servers using Luminex fiber cables. The Hippotizers were supplied by Capital AV, with subsidiary Capital Creative delivering the project with Max Lapinsuo-Sylwén and Timo Kesonen at the helm. It’s estimated that more than half a million people braved the cold to enjoy the Lux Helsinki festival this year.

 

(Photos: Petri Anttila/Green Hippo/Capital AV)

 

www.green-hippo.com

 

WSDG and Blaze Audio design new Hudson Valley screening room

WSDG and Blaze Audio design new Hudson Valley screening room
WSDG and Blaze Audio design new Hudson Valley screening room

Upstate Films will celebrate the opening of The Mark, its new screening room, beginning on March 15, 2024. Located upstairs at the Orpheum Theatre in Saugerties, New York, The Mark is an intimate 99-seat space housing cinema audio and live sound systems. The theater was designed by the acoustic consulting and architectural design firm WSDG, based in Highland, New York.

 

The Mark features a Dolby Atmos sound system, engineered with WSDG and cinema specialist Dave Berti. The live sound system has been designed by WSDG in partnership with Blaze Audio. The Mark’s Grand Opening celebration runs March 15 through March 20, with a special program exploring the room’s acoustics on April 10. The festivities include three open house events featuring Atmos short films, a silent film with live accompaniment, comedy, the launch of “All Singing, All Dancing” (a new series of classic musicals), and new and classic Atmos films.

 

On April 10, The Mark hosts a special event specifically highlighting the theater’s acoustics and Atmos sound system. “The Magic of the Mark: An Evening with John Storyk and Elliot Scheiner” features the eight-time Grammy-winning producer and engineer Scheiner and WSDG founding partner and award-winning architect and acoustician Storyk hosting discussion on immersive sound mixing for Atmos. The program will include examples from Scheiner’s work on the “History of the Eagles” documentary.

 

The theater is named in honor of the late Mark Braunstein, the founder of Markertek, member of the mid-Hudson Valley arts community and generous philanthropist. “We are immensely proud to be part of this project”, says John Storyk. “Communities need theaters more than ever, and this theater will rival professional executive screening rooms anywhere in the nation. This is a project my dear friend Mark Braunstein would have loved to have supported - he understood the importance of gathering together to celebrate the arts and culture. It is an honor to dedicate our work to Mark.”

 

(Photos: WSDG/Blaze Audio/Upstate Films/Orpheum Theatre)

 

www.wsdg.com

www.blaze-audio.com

www.upstatefilms.org

 

ACE Sports deploys JVC system for UHD stadium video board

ACE Sports deploys JVC system for UHD stadium video board
ACE Sports deploys JVC system for UHD stadium video board

ACE Sports offers video/scoreboards, audio and production equipment for sports across North America, including at the high school, collegiate and professional levels. For the company’s recent installation at Nashville High School in Arkansas, JVC Professional Video provided a complete, glass-to-glass production solution, featuring two of its GY-HC500UN Connected Cam Handheld Production Cameras and a full complement of the brand’s workflow tools.

 

In addition to the cameras, ACE Sports also provided the school with JVC’s KM-IP8S4Pro Connected Cam vMix Studio Switcher, which can manage up to four SDI inputs and eight NDI inputs using vMix 4K licensed software, along with the brand’s RM-LP450G Replay Control Surface and RM-LP350G Desktop Connected Cam vMix Control Surface, which works with the KM-IP8S4 to enable traditional-style switching.

 

Using JVC’s solution, Nashville High School can livestream and present instant replays with image quality in 4K UHD to its video board, which is one of the largest installed in America at this level. “Since the new video display has a resolution of around 200 million pixels, the school needs to use cameras that provide the same video quality, otherwise the content being presented on the video board could appear blurry or out of focus for the live crowds in attendance”, says Mark Bridges, Director of Business Development, ACE Sports.

 

With ACE Sports’ incorporation of the JVC system at Nashville High School, sports spectators have been provided with enhanced footage of the game, which they may not have been able to view otherwise. “We have the cameras livestreaming to the board and we’re also recording”, explains Bridges. “We usually have people watching the video board when their team is on the opposite end of the field, other times they turn their backs and look up at the board just to get a close-up view. The JVC cameras provide that feed.”

 

(Photos: JVC Professional Video)

 

www.jvc.com

 

WatchHouse turns to Tateside for AV and IT solutions

WatchHouse turns to Tateside for AV and IT solutions
WatchHouse turns to Tateside for AV and IT solutions

Tateside, a London-based integrator of audiovisual and IT solutions, has announced its collaboration with the design-conscious coffee chain WatchHouse. Tateside has integrated AV and IT solutions across several WatchHouse locations in London, including background music and digital signage, and will support the brand’s expansion moving forward, including the opening of new Houses in the USA.

 

“WatchHouse sought a partner to handle both IT and AV aspects during the scaling of their operations”, says Jack Cornish, Technical Director at Tateside. “We’re providing them with a complete solution, from initial design through to implementation and ongoing support.”

 

For background audio, Tateside specified loudspeakers in various formats, from discreet slim-line boxes to invisible speakers bonded behind wooden panels to lighting track-based speakers. Some of the latest House fitouts have included the integration of digital projection for menu displays, requiring careful placement of projectors within joinery or walls.

 

“One example of the work we’re doing with WatchHouse is the Fenchurch Street branch, where we utilised Origin Acoustics discreet opening speakers and subwoofers to provide audio with minimal visual impact”, explains Cornish. Tateside also installed compact DSP amps from Powersoft, with user control provided by on-wall control panels.

 

“An Epson 4K super-ultra-short-throw laser projector is used to display the digital menu onto a solid marble wall”, continues Cornish. “It was important that the projector was out of sight so we designed this into the joinery detail above with a slot for the projected light ensuring that the projector could not be seen from underneath. We used a 4K BrightSign player and Embed Signage for our cloud-managed CMS for all remote content management and scheduling.”

 

Tateside also provides a solution covering passive and active IT infrastructure and ongoing support. “Whilst the backend stays the same, each House requires something different, so we’re drawing up the plans for each branch, organising and fitting the Wi-Fi, the switches, the routers, dealing with the ISP and the AV system”, says Cornish. “After the installation is complete, we’re then available to provide support in case of any issues and keep the system up to date through our Managed Services team.”

 

As part of WatchHouse’s expansion plan, Tateside is currently working on active projects in Canary Wharf, Hampstead Heath, Marble Arch, Fitzrovia and across the pond in New York, with additional Houses in the pipeline.

 

(Photos: Tateside/WatchHouse)

 

www.tateside.com

 

Mihai Malaimare uses AJA converter to integrate classic cameras into digital workflows

Mihai Malaimare uses AJA converter to integrate classic cameras into digital workflows

As the industry continues to innovate with the highest quality video capture technologies, the nostalgic look and charming imperfections produced with classic analog cameras cannot be overlooked or easily replicated. While the image capabilities of modern digital cinema cameras are ideal for capturing 4K/Ultra HD HDR video, some directors of photography (DPs) opt for classic VHS-C camcorders to create a highly stylized look, establish a time period or tone, or enhance visual storytelling.

 

DP Mihai Malaimare (ASC) first devised a process for integrating classic cameras into a fully digital workflow for the 2017 crime drama “November Criminals”. Capturing the film’s opening sequence with a VHS-C camera presented a range of challenges; although the sequence was filmed analog, the footage needed to be recorded digitally for dailies and seamlessly integrated into the production workflow. Furthermore, a video signal of the analog footage had to be routed to monitors on set for live review by the director and crew members.

 

Using a single cable hidden on the back of the camcorder, Malaimare routed the VHS-C signal to an AJA V2Digital analog to HD/SD-SDI digital video converter. Once the camera output was converted from analog to digital, the signal was recorded in 1080p24 and routed to a transmitter and the director’s monitor for live on set viewing. The voltage capabilities of the V2Digital allowed the crew to power the converter using a battery with enough power for half of the day.

 

“I ran a test of the workflow, and everything was perfectly in sync, plus the post-production team was amazed”, says Malaimare. “There’s no way you can replicate the look of a VHS-C without a workflow like this. Manipulation in post with filters won’t create the same artifacts, light streaks, or look of the lens, so nailing this workflow to capture it in camera was critical.”

 

For the 2022 sports drama “Winning Time: The Rise of the Lakers Dynasty”, Malaimare and cinematographer Todd Banhazl (ASC) leveraged a similar production workflow to transport audiences to the 1980s. A V2Digital converter remained central to the workflow, they shot on analog Ikegami cameras using old lenses, and Panavision provided cages that worked with modern accessories, like remote focus. For sequences shot with analog cameras, Malaimare and Banhazl recorded interlaced video to double the perceived frame rate without using additional bandwidth.

 

(Photo: AJA Video Systems/Mihai Malaimare)

 

www.aja.com

www.malaimarejr.com

 

Broadcast Solutions baut zweiten IP-Übertragungswagen für SuperSport

Broadcast Solutions baut zweiten IP-Übertragungswagen für SuperSport

Broadcast Solutions hat einen zweiten All-IP-Übertragungswagen für den südafrikanischen Broadcaster SuperSport gebaut. Das neue Fahrzeug, der IP2, ist ein etwas kleineres Schwestermodell des IP1, der Mitte 2023 ausgeliefert wurde.

 

Die Spezifikationen des neuen Ü-Wagens sind weitgehend identisch mit denen des ersten. Dazu gehören Produktionstools wie der Sony-XVS-9000-4-M/E-Mischer, ein Calrec-Artemis-Audiomixer mit 64 Fadern und EVS-Replay-Server. Zu den Kameras von Sony gehören die 3500-Ultra-HD-, 5500-Super-Motion- und 4800-Ultra-Motion-Modelle. Der SMPTE-ST-2110-Standard sorgt für Konnektivität, mit Imagine Communications SNPs für SDI/IP-Konvertierung sowie Videoverarbeitung und Multiviewing.

 

„IP1 - wir nennen ihn ‘The Queen’ - wurde für die hochkarätigsten Veranstaltungen in unserem Sportkalender entwickelt“, erklärt Prishen Govender, Senior Manager Technical Broadcasting - Outside Broadcast Services bei SuperSport. „Wir haben schnell gemerkt, dass wir eine leicht verkleinerte Version brauchen. IP2 - ‘The Princess‘ - funktioniert auf die gleiche Weise, ist nur etwas kleiner.“

 

IP1, der ebenfalls von Broadcast Solutions gebaut wurde, lag mit einem 16 m langen, 4,3 m hohen und 2,6 m breiten Trailer (im Fahrzustand) an der absoluten Größengrenze für südafrikanische Straßen. IP2 ist 4,5 m kürzer und kann daher an Orten eingesetzt werden, an denen die Nutzung von IP1 physisch nicht möglich wäre. So ist der IP2 beispielsweise für die Sunshine Golf Tour, bei der ein größerer LKW zu groß wäre, um in die Golfanlagen zu gelangen, vorgesehen.

 

SuperSport setzt standardmäßig auf das von Broadcast Solutions entwickelte Hi-Human-Interface-System, eine Steuerungsebene, die eine automatische Erkennung und Konfiguration aller Systeme bietet. Es ermöglicht auch eine nahtlose Verbindung zwischen IP1 und IP2, sodass bei großen Produktionen beide Systeme wie ein einziges funktionieren können. SuperSports IP2 wurde in der Hauptniederlassung von Broadcast Solutions in Bingen am Rhein gebaut.

 

(Fotos: Broadcast Solutions)

 

www.broadcast-solutions.de

 

Broadcast Solutions baut zweiten IP-Übertragungswagen für SuperSportBroadcast Solutions baut zweiten IP-Übertragungswagen für SuperSport

Lux Machina turns to Stage Precision for “League of Legends” championship

Lux Machina turns to Stage Precision for “League of Legends” championship
Lux Machina turns to Stage Precision for “League of Legends” championship

Lux Machina Consulting, specialists in virtual production and official authorised service-based partners of Stage Precision, recently wrapped up work on the production of Riot Games’ “League of Legends World Championship“ e-sports competition. Through the implementation of Stage Precision’s SP software into their workflow, the team were able to manage the multi-layered AR production.

 

“Within our work at Lux Machina Consulting, we’ve used every tracking tool out there”, says Wyatt Bartel, VP of Production at the company. “Most of the workflows available are proprietary, meaning you’re locked into a particular manufacturer’s ecosystem. We came to know Stage Precision when we were searching for a platform to stabilise our camera tracking practices across film, television, and live events markets and upon learning about their lens calibration features and Shield plug-in we realised it was exactly what we’d been looking for - a tool that would unify data from several sources.”

 

For the “League of Legends” project, the Lux Machina Consulting team opted for several different tracking solutions, including an inside-out optical tracking data system via Mo-Sys, a tracked cable camera, and a SuperTechno crane, but needed a tool to provide a common link between data sources with offsets and profiles. SP proved to be the ideal solution. “SP provides us with a workspace in which we could view the data coming in and out”, explains Jeptha Valcich, Camera Tracking Specialist at Lux Machina Consulting. “Having this data overview means the camera tracking team can work in a separate environment from the technical team, leading to a greater sense of organisation on projects.”

 

The production team likened SP to a “catch-all filter” when it came to data control and distribution. “We used SP as a big tracking mixer, ingesting all the data we had available to us and allowing us to manipulate it before delivering it back out”, explains Xander De Jong, Camera Tracking Specialist at the NEP Group Netherlands, a sibling company that collaborated with the Lux Machina Consulting team on the “League of Legends” project. “From within SP, we could see all the 3D data from several sources, sync or delay the data and deliver it up to Unreal Engine.”

 

“We used lens profiles in SP for all five of our cameras, three Mo-Sys systems we were operating, the crane, and the cable camera”, continues De Jong. “Additionally, we had mechanically tracked camera heads without tripods that we needed to track and control the height of. SP gave us a platform from which to pull in the data, manipulate it and in turn control the height of the cameras. Without it, we had no way of combining these data packets.”

 

Looking ahead, Lux Machina Consulting envisions a future where Stage Precision continues to evolve its software. “Equipped with SP we can do more; have more cameras, have different types of cameras and bring different technologies to productions we previously wouldn’t have due to the time it would have taken to set them up”, concludes Bartel. “On‘League of Legends’, we had around 25 cameras overall and with SP in our workflow we can turn more and more of those into AR or XR cameras in the future.”

 

(Photos: Lux Machina Consulting/Riot Games/Stage Precision)

 

www.luxmc.com

www.stageprecision.com

 

Christie projectors light up Waddesdon Manor

Christie projectors light up Waddesdon Manor

Christie HS Series projectors powered a seasonal projection mapping at Waddesdon Manor, a 19th century Grade 1 listed National Trust site in Aylesbury, Buckinghamshire. Yes Events deployed eleven Christie DWU23-HS 1DLP laser projectors - supplied by Christie partner A.C. Entertainment Technologies - to map the 10-minute content designed by Jamie Shiels.

 

The content, inspired by the festive season and popular children’s books, was projected onto the façade of the French Renaissance-style Loire chateau for festive revellers to enjoy as part of a “Christmas at Waddesdon” experience. “Yes Events has been working with the National Trust at Waddesdon Manor for several years, and they previously explored the idea of projecting onto the building, but everything came together this year to bring it to life”, says Stuart Burdett, Video Sales Manager, AC Entertainment Technologies. “It really helped to create a Christmas storytelling event, and elevated the entire experience and atmosphere.”

 

Waddesdon Manor was open to the public over the Christmas period, allowing visitors to see the site’s grand interior rooms, enjoy some of the range of festive food that’s on offer, take in the outdoor light trail, and view the outdoor mapping experience. The “Once Upon a Time” theme for the latest season took inspiration from children’s books such as “Alice in Wonderland”, “The Snow Queen”, and “Peter Pan”.

 

The Manor’s façade includes many uneven surfaces, creating an installation and content challenge. An existing laser scan of the building was incorporated into media software, allowing the team to visualize where to locate the projector towers before going on-site. The team also had to consider the issue of fog potentially blocking the projection, so they ensured the projectors were not positioned too far from the building. The team spent a week on site for setup and aligned the projectors - used in portrait mode - within a few evenings.

 

(Photo: Christie/Yes Events)

 

www.christiedigital.com

 

Brompton Technology powers largest LED Volume in Southeast Asia from L&E Beyond

Brompton Technology powers largest LED Volume in Southeast Asia from L&E Beyond
Brompton Technology powers largest LED Volume in Southeast Asia from L&E Beyond

L&E Beyond, a division of the Bangkok-based Lighting and Equipment Co. Ltd. (L&E), established by industry professionals over three decades ago, has unveiled the largest LED Volume in Southeast Asia, featuring Tessera LED video processing solutions from Brompton Technology.

 

Measuring 18 m wide by 7 m high, with a curvature adjustment of up to five degrees, the LED Volume is powered by four 4K Tessera SX40 LED processors in conjunction with eight Tessera XD 10G data distribution units, plus two Tessera S8 LED processors. sThe LED panels comprise Aoto RM 2.3 for the LED wall and Aoto MH 3.7 for the ceiling and movable panels, totalling 30 sqm. All LED panels have been calibrated with Brompton’s Hydra measurement tool.

 

Arocha Kittivittayakul, Manager of the Entertainment Lighting Department at Lighting and Equipment Co., Ltd., emphasises that given virtual production’s popularity as a filmmaking format in regions like America, Europe, China, Japan, and South Korea, the demand for high-quality content displayed on LED Volumes is exceedingly high. “L&E Beyond offers content creation services for LED screens, collaborating with Infinite Reality Studio, a visual effects (VFX) company”, she says. “Having established offices in Singapore and Vietnam, they have expanded into Thailand and will utilise our LED Volume.”

 

The new LED Volume will be part of the Virtual Studio in Bangkok, offering end-to-end services in Extended Reality (XR) production. “This is particularly beneficial for projects that do not require a large space”, explains Kittivittayakul. “The latest adaptation is tailored to the new era of the Metaverse or Virtual Reality, where users can interact, engage in activities, and make transactions without a physical presence, utilising VR, AR, MR, and XR technologies.”

 

The studio has already been used for the creation of high-level Thai productions and several Netflix shows, with the LED Volume introducing new possibilities to the team.

 

(Photos: Brompton Technology/L&E Beyond)

 

www.bromptontech.com

 

Qvest realisiert neue Broadcasting-Zentrale für Thai News Network in Bangkok

Qvest hat für Thai News Network (TNN) - eine thailändische, via Satellit, Kabel und digital terrestrisch empfangbare 24-Stunden-Nachrichtenagentur - eine neue Produktionsumgebung im Herzen von Bangkok entwickelt. Das internationale Qvest-Team war für das Gesamtprojektmanagement und die Technologieberatung verantwortlich, womit die Inbetriebnahme des neuen Studiokomplexes ermöglicht wurde.

 

Als Hauptvertragspartner orchestrierte Qvest das gesamtheitliche Projektmanagement für den Umzug und die Modernisierung der Broadcasting-Zentrale. Dazu gehörten neben Beratungs- und Managementaufgaben während der Innenarchitekturplanung auch der Beschaffungsprozess neuer technischer Ausstattung sowie weitere Schritte bis hin zum endgültigen Umzug und der Inbetriebnahme des Senders TNN16.

 

Bei der Gestaltung des neuen Newsrooms mit Bürobereichen und den drei Studios stand eine visuelle Gestaltung im Fokus, die sich eng am Corporate Design von TNN orientierte. Die neuen Einrichtungen des Senders befinden sich im True Digital Park 101. In Südostasiens größtem Tech- und Start-up-Hub arbeiten rund 250 TNN-Mitarbeitende in den beiden Bereichen Events Hall (1.200 Quadratmeter) und Glass House (240 Quadratmeter).

 

Das Qvest-Team koordinierte spezialisierte Unternehmen als weitere Vertragspartner für die Durchführung des Projekts, darunter Clickspring Design aus den USA. Das Designbüro war für die ganzheitliche architektonische Gesamtplanung des Gebäudes sowie für die Gestaltung aller Innenräume, einschließlich der drei Studios, verantwortlich. Für das Lichtdesign und die architektonischen Umsetzungen arbeitete Qvest mit dem deutschen Unternehmen Mo2 Design zusammen.

 

Die Hauptziele für den Umzug von TNN waren die Etablierung einer Broadcast-Umgebung auf weltweitem Standardniveau sowie die Schaffung einer Arbeitsumgebung mit Fokus auf Produktivität und Zusammenarbeit. Um diesen Anforderungen gerecht zu werden und eine angemessen repräsentative Wirkung des Senders zu erzielen, wurden die neuen Einrichtungen im urbanen Tech-Hotspot von Bangkok in Betrieb genommen.

 

Qvest hat das Projekt gemeinsam mit seinen Partnern in zwei Phasen durchgeführt. Die erste Phase umfasste die Masterplanung und das Konzeptdesign, um die Grundlage für die anschließende Designentwicklung und Spezifikationsphase zu schaffen. In der zweiten Phase wurden insbesondere geschwungene Formen und fließende Linien in der Inneneinrichtung umgesetzt und mit Feng-Shui-Prinzipien in Einklang gebracht.

 

Ein Schwerpunkt des Projekts war die Integration der Übertragungstechnik. Qvest führte dafür eine Technologieprüfung durch, identifizierte optimale Lösungen und gab konkrete Empfehlungen zur Verbesserung der Broadcasting-Performance von TNN16.

 

(Fotos: Qvest)

 

www.qvest.com

 

The Famous Group uses Stage Precision software for calibration at Bank of America Stadium in Charlotte

The Famous Group uses Stage Precision software for calibration at Bank of America Stadium in Charlotte

Virtual event production company The Famous Group recently deployed Stage Precision’s SP camera calibration tools on projects at the Bank of America Stadium in Charlotte, North Carolina. “We’ve been working with the Carolina Panthers and Charlotte FC at the Bank of America stadium since 2022”, says Erik Beaumont, Head of Mixed Reality at The Famous Group.

 

“Unlike other projects, our work with these teams is ongoing, with mixed reality being used permanently”, he continues. “The mixed reality Panther has become an important part of games for the Carolina Panthers, and the need to recalibrate the system before every match was becoming a challenge in terms of resources and peoplepower.”

 

Before switching to SP, The Famous Group were using Stype camera tracking, fed directly into Pixotope calibration software to manage the mixed reality elements of the productions for both teams. “This was very hands-on, and a task that needed to be repeated every game”, says Beaumont. “We had trained the stadium’s in-house team to do this, but our team still needed to return for frequent readjustments as things happen and cameras get moved. This was not ideal - we needed a long-term solution.”

 

Using SP’s calibration tools, The Famous Group were able to set up an alignment system that the average user can calibrate. “We have used the calibration tools in SP to create a system that is calibrated against the in-stadium calibration board”, explains Beaumont. “Simply put, the camera team put a video board graphic on the screen that can recalibrate the cameras through a simple scan of the video boards. This successfully recalibrates the system to a high-precision level.”

 

Although the initial set-up required the expertise of The Famous Group, on-site visits have been greatly reduced and the in-house team now has control over their virtual production system. The workflow takes in Stype camera data and sends it directly to SP. The calibrated data then goes into Pixotope, which outputs the mixed reality content. In the case of the Carolina Panthers, the content is a giant Panther, which appears to scale the stadium and stalk opposing team players during the football game.

 

“This is a huge milestone for us that makes a lot of other permanent install projects viable”, concludes Beaumont. “Our on-site support requirements are minimised, and in-house teams benefit from more control of their own productions. This workflow can be transferred to any stadium and for all kinds of events, as long as there are video boards and cameras, it’s just a case of figuring out the content.”

 

(Photos: Stage Precision/The Famous Group/Carolina Panthers/Charlotte FC)

 

www.stageprecision.com

 

The Famous Group uses Stage Precision software for calibration at Bank of America Stadium in CharlotteThe Famous Group uses Stage Precision software for calibration at Bank of America Stadium in Charlotte

Leicester College rolls out digital signage network powered by Nsign.tv

Leicester College rolls out digital signage network powered by Nsign.tv

Leicester College, one of the largest colleges in the UK with more than 26,000 students and 1,600 staff, has deployed the Nsign.tv software platform for its new digital signage network. The initiative is part of the College’s commitment to reducing its carbon footprint by minimizing paper usage and ensuring real-time, relevant information dissemination across its three main campuses.

 

The digital signage network at Leicester College, featuring Iiyama 52 and 54 series screens strategically placed in receptions and refectory areas, is used to deliver the College community with latest information and updates. The displays are also part of the College’s lockdown procedure to ensure the safety and well-being of its students and staff in case of emergencies.

 

“Given that many of our Iiyama screens came with Nsign.tv embedded, it made sense to leverage this existing integration as our preferred medium”, explains Harshad Taylor, Director of IT at Leicester College. “The web-based portal made it easy to use, requiring no internal setup. With Iiyama screens equipped with the embedded version of Nsign.tv, no installation was needed. For other screens, the instructions facilitated a 10-minute setup, seamlessly connecting all screens to our Wi-Fi network.”

 

During open events, the all-in-one solution enables Leicester College the deployment of mobile screens on trolleys, eliminating the need for external players and facilitating easy relocation to different locations on any campus. Looking ahead, Taylor outlines plans for the project’s expansion: “We have successfully completed Phase 1 of the project, and our aim is to extend the digital signage network to other areas of the College in the future.”

 

(Photos: Nsign.tv/Leicester College)

 

www.nsign.tv

 

Vema eröffnet neues Konferenzzentrum mit eigenem Corporate-TV-Studio

Vema eröffnet neues Konferenzzentrum mit eigenem Corporate-TV-Studio
Vema eröffnet neues Konferenzzentrum mit eigenem Corporate-TV-Studio

Am 9. November 2023 enthüllten der Vorstand der Vema eG mit seinen Versicherungspartnern das neue Konferenzzentrum inklusive eines modernen TV-Studios, das den Namen „Studio 16“ trägt. MCI verantwortete den Neubau des TV-Studios, einschließlich der technischen Ausstattung, das Set-Design, den Kulissen- und Möbelbau sowie die operativen Schulungen für das Betriebspersonal.

 

Der Studiobereich besteht aus einem TV-Studio mit zwei Spielflächen (reale Deko und virtuelles Set), einem zentralen Geräteraum, einer Regie und einem Referentenraum. Die interne Studio-Hamburg-Kooperation von MCI mit der Schwester Designworks ermöglichte die Fertigung des Deckengrids, der Greenscreen-Voute, des Realsets sowie der Studio- und Regiemöbel. Für die Lichtsteuerung wählte MCI ein MA-Lighting-Steuersystem sowie Prolights-LED-Scheinwerfer.

 

Für die Kommunikation in der Regie wurde die Clear-Com-Arcadia-Plattform mit FreeSpeak-Beltpacks ausgewählt. Diese Lösung integriert sich nahtlos in die bestehende Dante-Infrastruktur, die Shure-Mikrofonie und ein Allen-&-Heath-Mischpult umfasst. Die neuen Sony-FR7-PTZ-Kameras, gesteuert durch ein Cyanview-RCP, komplettieren das Setup und ermöglichen eine präzise Aussteuerung. Die Regie wurde mit maßgefertigten Möbeln von Studio Hamburg Designworks ausgestattet, die wichtige Komponenten beherbergen. Der Ross Ultrix Carbonite mit einem 2ME-Touchdrive-Panel agiert als zentrales Routing- und Mischersystem.

 

„Die Hyperconverged-Plattform von Ross (Ultrix Carbonite) in Verbindung mit den neuen Sony-FR7-PTZs und der Dante-Integration zur Ultrix und zur Clear-Com Arcadia bietet Vema Media die gewünschte Flexibilität durch ein smartes System mit zahlreichen Skalierungsmöglichkeiten für die Zukunft“, fasst Fabian Röttcher, TeamLead TechDesign bei MCI, zusammen. Das Konferenzzentrum und das Studio können auch extern gemietet werden.

 

(Fotos: Studio Hamburg MCI GmbH/Vema Media)

 

www.mci.de

www.vema.media

 

Digital Projection und Artabesk unterstützen Bulgaris Jubiläums-Ausstellung

Digital Projection und Artabesk unterstützen Bulgaris Jubiläums-Ausstellung

Das italienische Luxusmodehaus Bulgari hat im Rahmen einer Ausstellungs-Tournee anlässlich des 75-jährigen Jubiläums seiner „Serpenti“-Kollektion Projektoren der Titan- und M-Vision-Serie von Digital Projection eingesetzt. Diese wurden für eine Projection-Mapping-Show am Gate Building in Dubai genutzt.

 

Die Ausstellung „Serpenti: 75 Years of Infinite Tales“ war vom 15. bis 24. September 2023 in Dubai zu sehen. Im Mittelpunkt der Jubiläumsveranstaltung am Gate Building, dem Tor zum Dubai International Financial Centre (DIFC), stand eine immersive Projection-Mapping-Show, die von der ortsansässigen, auf Projektionsmapping spezialisierten Firma Artabesk LLC kreativ inszeniert und mit den Laserprojektoren von Digital Projection praktisch umgesetzt wurde.

 

Das 72 m hohe und 66 m breite Gate Building wurde für dieses Ereignis in eine Leinwand verwandelt. Bulgari betraute Artabesk mit der Aufgabe der Projektion auf das Gebäude, um die Darstellung des „Serpenti“-Schlangenmotivs auszuführen. Artabesk-Geschäftsführer Mounir Harbaoui spezifizierte zehn 3-Chip-DLP-Laserprojektoren aus der Titan-Serie von Digital Projection mit einer Lichtleistung von 37.000 Lumen und WUXGA-Auflösung, ergänzt durch acht 1-Chip-DLP-Projektoren mit 23.000 Lumen und WUXGA-Auflösung aus der M-Vision-Serie.

 

Bei der Show stellte Artabesk eine Bühnenplattform bereit, an der die Projektoren montiert waren und auf das Gate Building ausgerichtet wurden. Außerdem wurden die M-Vision-Laserprojektoren doppelgestapelt, um ähnliche Helligkeitsniveaus zu erreichen wie ein Projektor des Typs Titan. „Wir hatten nicht genug Titan-Projektoren mit 37.000 Lumen, daher beschlossen wir, die M-Vision-Projektoren mit 23.000 Lumen zu stapeln; so benötigten wir keine weiteren Flugrahmen“, erklärt Harbaoui. „Nachdem wir die Projektoren gestapelt hatten, richteten wir sie aus und regelten die Helligkeit mithilfe unseres Medienservers.“

 

Die Projektoren wurden über eine Woche lang jeden Abend bis spät in der Nacht bei einer Luftfeuchtigkeit von achtzig Prozent eingesetzt. Hinzu kam ein hohes Niveau an Umgebungslicht. „Wir baten die Betreiber der umliegenden Gebäude, das Licht rund um das Gate Building nach Möglichkeit zu reduzieren“, sagt Harbaoui.

 

Neben den Projektoren von Digital Projection nutzte Artabesk auch den Watchout-Medienserver von Dataton, um Videoinhalte für die Ausstellung bereitzustellen. Die Contents wurden von Artabesks Kreativteam gestaltet; in Zusammenarbeit mit Bulgari wurde ein Storyboard entwickelt, um das Konzept der Metamorphose von „Serpenti“ im Laufe der Jahre zu interpretieren.

 

(Foto: Artabesk LLC/Digital Projection International)

 

www.digitalprojection.com

 

AV Stumpfl präsentiert neue Pixera-Features und Projektionsoberfläche Blackpeak auf der LDI

AV Stumpfl präsentiert neue Pixera-Features und Projektionsoberfläche Blackpeak auf der LDI

Der österreichische AV-Technologiehersteller AV Stumpfl wird vom 3. bis 5. Dezember 2023 im Rahmen der LDI-Messe im Las Vegas Convention Center (Stand #783) seine neuen Pixera-2.0-Medienserver-Features und die Projektionsoberfläche Blackpeak vorstellen.

 

Zu den Neuerungen der Version 2.0 gehören Multi-User-Workflowfeatures, welche es Operatoren erlauben, flexibler und effizienter bei ihrer Arbeit an komplexen Installationen oder Showproduktionen vorgehen zu können. Dies bedeutet konkret, dass komplette Projekte in Echtzeit geteilt werden können, oder alternativ nur einzelne Teile, wie zum Beispiel Warpings oder Timelines. Bei Bedarf kann auch jede einzelne Editieraktion von den verbundenen Systemen geteilt werden.

 

Ein weiteres, bald verfügbares Feature ist „Content Remapping“, welches das Definieren mehrerer Bereiche innerhalb eines Contentframes und ihre separate Positionierung innerhalb des Compositingraums ermöglicht. Die pixelgenaue Platzierung und Rotation von Contentteilen wird durch den Einsatz von Rechtecken und die Verwendung von frei editierbaren Polygonen ermöglicht. Mapping-Herausforderungen, welche am besten auf Contentebene gelöst werden, sollen mit diesem neuen Feature erleichtert werden.

 

AV Stumpfl wird zudem die vor kurzem umbenannte Projektionsoberfläche Blackpeak (ehemals Flex Black Pro) präsentieren, welche die Projektion von Bilderwelten auch in hellen Umgebungen erlaubt. Die Bildqualität ist laut Hersteller mit LED-Displays und anderen lichtemittierenden Displaytechnologien vergleichbar. „Im Gegensatz zu weißen Oberflächen kann Blackpeak auch bewusst unscheinbar wirken, wenn gerade kein Content projiziert wird“, sagt Todd Liedahl, Präsident von AV Stumpfl Inc.

 

Pixera ist in diesem Jahr außerdem exklusiver Medienserver-Sponsor für das „Battle of the Busk“-Trainingsevent der LDI.

 

(Foto: AV Stumpfl)

 

www.avstumpfl.com

 

Qvest realisiert Upgrade der Fahrzeugflotte von RT1.TV

Qvest realisiert Upgrade der Fahrzeugflotte von RT1.TV

Der TV-Produktionsdienstleister RT1.TV verfügt seit kurzem über zwei durch Qvest modernisierte Übertragungswagen für Live-Produktionen. Die Fahrzeuge auf Basis des Mercedes-Benz Sprinter wurden mit neuer Hardware ausgestattet und besitzen ein maßgeschneidertes Raumkonzept mit sechs Arbeitsplätzen. Die SNG-Einheiten kommen bei RT1.TV deutschlandweit bei den Übertragungen aller Fußballspiele der 3. Liga zum Einsatz.

 

Das Qvest-Team zeichnete für die gesamte Planung, Installation und Inbetriebnahme der Medientechnik verantwortlich. In enger Zusammenarbeit mit dem niederländischen Karosseriebau-Spezialisten Carrosserie Akkermans hat Qvest die beiden Sprinter samt Kofferaufbau mit Broadcastingtechnik ausgestattet.

 

Zur Ausstattung gehören neben sechs Grass-Valley-LDX92-Kameras auch Audiomixing-Systeme von Stagetec sowie glasfaserbasierte Stage-Boxen und das Artist-Intercom-System von Riedel. Darüber hinaus wurden ein neues EVS-System inklusive X-File sowie moderne VIA-Controller integriert. Die zentrale Steuerung erfolgt mit einem EVS-Cerebrum-Broadcastcontroller. Ein vollredundanter Uplink soll die Ausfallsicherheit gewährleisten.

 

Mit dem von Qvest komplett neu entwickelten Raumkonzept der Übertragungseinheiten stehen dem Produktionsteam von RT1.TV nun sechs Arbeitsplätze in einer kompakten Einheit zur Verfügung. Eine separate Tonregie im Heckbereich des Fahrzeugs komplettiert die mobile Produktionsstätte.

 

RT1.TV realisiert im Auftrag der Forty10 GmbH in den kommenden vier Jahren die Außenübertragung von den Spielen der 3. Fußballbundesliga für den Rechtehalter Magenta Sport in HD-Qualität und stellt sie live zur Verfügung. An jedem Spieltag kommen sechs Übertragungswagen mit eigenem Satelliten-Uplink aus der firmeneigenen Flotte und 140 Mitarbeiter an den Spielorten zum Einsatz.

 

(Fotos: Qvest/RT1.TV/Ulrich Schepp Fotografie/WMP Wizard-Media)

 

www.qvest.com

 

Qvest realisiert Upgrade der Fahrzeugflotte von RT1.TVQvest realisiert Upgrade der Fahrzeugflotte von RT1.TV