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Calrec: Phil Adler, A1 Mixer, A craft interview Posted: 22/04/2020
Calrec: Phil Adler, A1 Mixer, A craft interview

“I haven't changed the way I produce a broadcast because of the internet. The quality of what I stream at home is as good, if not better, than what the local stations are transmitting. I make sure the mix sounds good at low volume and in stereo or mono, which is an old music mix technique. If it sounds good like that, it'll sound good anywhere.”

Tags: Calrec | audio | broadcast | IP | mix | music | digital | consoles | broadcast | TV | NAB 2020 | NAB 2020
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Pixotope powers stunning visuals and engaging information in WePlay Esports championship streaming Posted: 09/04/2020
Pixotope powers stunning visuals and engaging information in WePlay  Esports championship streaming

The Future Group, developer of live photo-realistic virtual production system Pixotope™, today announced that it provided the mixed reality platform for WePlay! Esports’ ‘Dota 2 Tug of War: Mad Moon’ tournament, which took place in Kiev, Ukraine, from 19-23 February. WePlay! Esports, which organises tournaments as well as providing online coverage, has the vision to blend competitive esports with entertainment in all-embracing coverage – “esportainment” is the word coined by Oleg Krot, CEO at WePlay! Esports.

To bring the audience into the esports action, WePlay! Esports decided to use augmented reality. “For us, augmented reality is a powerful tool to enhance the tournament theme, and add creativity and consistency to the broadcast,” said Aleksii Gutiantov, Head of AR Dept at WePlay! Esports. He turned to the proven Pixotope solution from The Future Group: “the best product on the market in my experience,” Gutiantov added.

Pixotope takes the remarkable rendering power of the Unreal Engine from Epic Games, and builds it into a complete virtual production hub. While offering a user interface simple enough for the pressures of live production, it provides along with the ability to make last minute changes while in live mode, all the power of an augmented reality system including camera tracking, motion capture and data-driven graphics.

 

Tags: The Future Group | Pixotope | WePlay! | Esports | championship | photo-realistic | virtual production | mixed reality | esportainment | Oleg Krot | Aleksii Gutiantov | Unreal Engine | Epic Games | Maksym Bilonogov | The Mad Moon | Marcus Blom Brodersen | MKM Marcomms
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NUGENs Surround Mix is Essential to Audio Post-Production for Todays Evolving Media Posted: 25/03/2020
NUGENs Surround Mix is Essential to Audio Post-Production for Todays Evolving Media

NUGEN Audio’s Surround Suite offers a complete set of tools forupmixing, downmixing and multi-channel sound reshaping for the production market. Featuring the company’s Halo Downmix, Halo Upmix, ISL True Peak limiter and SEQ-S match and morph EQ software, NUGEN’s Surround Suite is perfect for both movie and television productions.

“We take pride in tailoring our products to the specific needs of audio professionals working in TV and film, enabling them to accomplish their full creative vision in a time- and results-oriented manner,” says Paul Tapper, CEO, NUGEN Audio. “Surround Suite delivers all the control necessary to define, enhance and fine-tune a surround mix. As a result, it gives users access to precise and tweakable downmixing (Halo Downmix) and coherent and natural upmixing, from stereo to 5.1 and 7.1 (Halo Upmix). They can also take advantage of the suite’s True Peak limiting (ISL) and linear phase EQ (SEQ-S).”

NUGEN’s Surround Suite offers full access to surround balances, clear visual feedback and individual surround channel access. The toolkit also allows users to regulate low frequency content and fine-tune surround mixes, without the possibility of phase warping.

Included among the NUGEN Surround Suite is Halo Downmix, which complements any post-production workflow. Using precise surround control, mix monitoring and versatile downmix balancing, Downmix helps to accelerate productivity on surround mixes. Typically considered the final piece of a production workflow, Halo Downmix allows users to easily deliver projects in both stereo and surround formats without compromise.

Somewhat of a ‘parent’ software to Downmix, NUGEN’s Halo Upmix is also included in the Surround Suite. With unique center-channel management and switchable dialog extraction, Upmix is perfect for everything from archive restoration and TV, through 7.1 feature films. With surround delivery requirement becoming increasingly common, Halo Upmix offers an indispensable tool for Dolby Atmos, Aura 3D and Ambisonic productions. A 3D immersive audio option is also available.

 

 

Tags: NUGEN Audio | Upmixing | Downmixing
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Bryan Sol Aponte Takes DPA Microphones Back to the 80s on the Set of Mixed-ish Posted: 25/03/2020
Bryan and lsquo;Sol and rsquo; Aponte Takes DPA Microphones Back to the 80s on the Set of Mixed-ish

Veteran Sound Mixer Bryan “Sol” Aponte relies on DPA Microphones4061 Miniature Omnidirectional Mic to capture the hilarious and witty dialogue of one of the network’s top sitcoms, mixed-ish. Aponte’s 20-year history in the industry features an impressive resume that includes two Emmy nominations and credits on MADtv, Workaholics, American Gangster, The Young and the Restless and Splitting up Together. He recently swapped out his previous lavaliers for the 4061s because of the impressive, natural sound quality these DPA mics provide.

“I’ve been using the DPA lavs for a year now and I absolutely love them,” says Aponte. “My audio utility, the legendary Nick Carbone, first introduced me to them—he spoke so highly of DPA microphones in comparison to other manufacturers’ solutions. When I first tested the 4061s, I fell in love with them and immediately replaced my inventory of lavaliers with DPAs. The presence boost on the 4061s not only sounds natural, but you can place them almost anywhere on talent and capture great sound.”

The decision to switch to DPA was an easy one for Aponte. “Prior to using DPA mics, I really didn’t know what I was missing, but after using them for a year, I feel like they are far superior,” he adds. “Once I heard the mics and did side-by-side comparisons with other manufacturers, I knew I couldn’t afford not to use DPA. The 4061s don’t create microphonic noise—a challenge that I’ve faced with other brands—and they take my mixing game to the next level.”

With a capsule designed with a double vent protection system and moisture resistant materials, the 4061 miniature lavalier features a condenser element with a frequency and sensitivity response that will accurately reproduce audio signals from the human voice. Additionally, Aponte appreciates the added benefits he receives from DPA’s concealer clip, designed specifically for the 4061. “The concealer clip has helped me to solve an issue with which I have long struggled—clothing rustle, which is every mixer’s worst nightmare and a challenge we are constantly trying to overcome,” he explains. “Since incorporating DPA into the mix, that problem is nearly non-existent; they are a game changer.”

Tags: DPA Microphones | Sound Mixer | Lavaliers
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DHD Announces New Addition to Management Team Posted: 20/03/2020
DHD Announces New Addition to Management Team

DHD Audio GmbH, a leading manufacturer of professional mixers and audio devices, announces a new addition to its management team. Anne Philipp is promoted to General Manager, reporting to Managing Directors Joerg M. Deubner and Sven Hoffmann.

Graduating in 2006 with a Business Administration degree from the University of Leipzig, Anne Philipp joined DHD in January 2007 as an executive assistant responsible for materials procurement and accounting. She later also took on production planning. In 2010 she left to work on public tender preparation for a municipal organisation, returning to DHD in 2016. Since then she has resumed her former roles within the company as well as supervising DHD's human resources.

"Anne Phillip is a highly efficient and effective administrator who has proved her management skills within DHD over many years," Joerg Deubner comments. "Sven and I are still deeply involved in hardware and software development so fully appreciate having a colleague of her competence in charge of general company operations."

 

 

 

Tags: digital audio studio equipment | digital audio systems | digital audio mixers | broadcast control room systems | DJ-operated radio studio systems | OB truck audio systems | audio routing and talkback matrices | audio-over-IP interfaces
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Pixotope supercharges the Super Bowl with ambitious live mixed reality production Posted: 06/03/2020
Pixotope supercharges the Super Bowl with ambitious live mixed reality production

The Future Group, provider of live photo-realistic virtual production system, Pixotope™, has revealed its key involvement in the stunning production and delivery of the NFL’s ground-breaking Super Bowl LIV, mixed reality pre-game presentation. The complex, seven-minute production combined live action from multiple moving cameras with augmented virtual stages and graphics. The 2020 Super Bowl was watched by an estimated domestic audience of 100 million people, plus international viewers.

The Future Group provided six installations of its virtual production platform, Pixotope, along with essential technical expertise to liaise with all other aspects of the multi-faceted production.

As an opener to the Super Bowl LIV, NFL planned to reveal its “100 All Time Team”. They approached fan experience company– coincidently named, The Famous Group – to design and choreograph the pre-show content. The brief was to celebrate the history of the sport and the contribution of those 100 players and 10 coaches, using graphics, historical film and live shots of attendees. The Famous Group looked to achieve this through extensive use of mixed reality virtual elements, and selected Pixotope, with expertise from The Future Group, as their technological solution.

The complexities of such a project cannot be overstated. Multiple virtual assets such as stages and screens needed to be designed to exactly match the stadium environment to which they would be augmented. Cameras needed to be tracked in real time and have their lenses aligned so that the virtual elements would be generated at precisely the right angle to accurately match real-world positions. Lighting needed to be measured so that it could be simulated in the virtual world to ensure correct shadows and highlights.

In-stadium screens, which would show the augmented content to the crowd, had to be accurately marked out in the virtual scene so that they could be blocked out to avoid visual “feedback”. All this had to take place under precise time control to synchronise with the voice-over and contributing performers in the stadium.

Pixotope product specialist, David Stroud, was part of a team of experienced mixed reality technicians, helping to specify and install the required technology, and bring together all the constituent departments. The Future Group team were involved from the outset, initially collaborating using a shared virtual project to provide technical assistance for The Famous Group creatives. Then later, the team positioned themselves at the Hard Rock Stadium, Miami FL, where the main event would take place 11 days later.

David Stroud recalled, “Although the virtual scene had been set up “offline” from scans and measurements from the stadium, there are inevitably adjustments that can only be done on site. We used our Pixotope virtual production platform to receive images and tracking data from each of the cameras, one of which was a Skycam “wire-camera”, and augment onto those the virtual elements designed by The Famous Group. This allowed everyone to see the results in real time, making adjustments and improvements as we rehearsed the show in the days leading up to the Super Bowl.”

Stroud continued, “We helped the camera operators visualise how the preshow would come together, as understandably, they were more used to following the unscripted action of a football game than reacting to very specific time cues. Pixotope has the capability to continuously output the final result, even while editing the graphics – a great tool for directors following rapid changes and updates because it’s always live.

“We also worked closely with camera tracking specialists SMT, and in fact, we were able to improve our data exchanges to further perfect the virtual camera motion. And we worked with both the broadcaster (Fox) and the companies providing in-stadium displays to ensure the very highest visual quality possible.”

Andrew Isaacson, Executive VP Business Development for creative agency The Famous Group affirms, “Needless to say, the best creative ideas rely on solid technological platforms and expertise to deliver them. This could not be truer for a live event on the scale of The Super Bowl. We needed to know, without any shadow of a doubt, that what we planned would be delivered faultlessly, accurately and to the highest quality. This is why we chose Pixotope as our platform for delivering cutting edge mixed reality for the Super Bowl.

“Having used Pixotope on previous productions, we know that the system, and expertise from The Future Group, allow our creative ideas to be unleashed to the great benefit of our clients like the NFL. We look forward to working on many more productions with Pixotope.”

All hardware was provided by Quince Imaging and camera tracking was completed by SMT. The final mixed reality sequence can be viewed online, here: https://www.youtube.com/watch?v=FqXBKweKQ9U

Tags: The Future Group | Pixotope | Super Bowl | mixed reality | live production | Super Bowl LIV | photo-realistic | virtual production | NFL | The Famous Group | David Stroud | real time | SMT | Fox | Andrew Isaacson | cutting edge | MKM Marcomms | MKM Marketing Communications
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Calrec Launches Type R for TV IP-Based Virtual Mixing Posted: 05/03/2020
Calrec Launches Type R for TV IP-Based Virtual Mixing

Building on the success of its Type R for Radio Calrec has launched Type R for TV — a virtual mixing console that lets customers take advantage of virtual workflows. Its flexible and integrated native IP core integrates with station automation systems, rewarding customers with the benefits of virtual working practices.

Type R for TV fulfills the rising demand for automated audio consoles in smaller news operations, which is becoming more prevalent according to Calrec’s Director of Product Management, Henry Goodman. “More often we’re seeing the console surface not used at all, which is driving the demand for broadcast-level virtual consoles,” he said.

Type R for TV is compatible with popular station automation systems including Ross Overdrive, Sony ELC and Grass Valley Ignite. Furthermore, it provides fully automated programming with real-time adjustment of unpredictable external factors via a standard web browser.

Type R’s small, adaptable and highly portable hardware elements can be easily added if desired.Powered by standard POE switches, Type R has three different panel options. If broadcasters prefer a physical surface then banks of 6 x faders can be added, or adaptable soft panels like Calrec’s Large Soft Panel (LSP) and Small Soft Panel (SSP) can be used.

Calrec’s Assist web UI makes it easy to access the virtual desk on almost any device, wherever in the world a user is. Assist works over TCP/IP and has minimal control lag, which makes minor adjustments easy and quick to do.

Goodman continued, “The move towards virtual mixing is gaining momentum, particularly in the US market. Calrec’s Serial Control Protocol (CSCP) has already provided a very successful transition to this model. It allows the audio console to be configured and driven entirely from the production control room’s vision switcher and remote fader panel, and Type R for TV builds on that legacy while maintaining our reputation for resilience and redundancy.”

Type R for TV will be on show at NAB 2020 at Central Hall t stand C8008.

Tags: Calrec | audio | consoles | digital consoles | IP | networking | virtual mixing | NAB | NAB2020 | NAB 2020 | NAB 2020
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Calrec NAB 2020 Preview: Central Hall Stand C8008 Posted: 13/02/2020
Calrec NAB 2020 Preview: Central Hall Stand C8008

Calrec’s Type R for TV is a new virtual mixing console with its design allowing customers to take advantage of these new workflows. It’s flexible and integrated native IP core gives customers a way to benefit from virtual working practices by integrating with station automation systems. Type R for TV is driven by station automation and is compatible with popular station automation systems including Ross Overdrive, Sony ELC and Grass Valley Ignite. Type R is the best of both worlds – it provides fully automated programming with real-time adjustment of unpredictable external factors via a standard web browser. Type R’s small, adaptable and highly portable hardware elements can be easily added if desired.Powered by standard POE switches, Type R has three different panel options. If broadcasters prefer a physical surface then banks of 6 x faders can be added, or adaptable soft panels like Calrec’s Large Soft Panel (LSP) and Small Soft Panel (SSP) can be used.

VP2 virtualized mixing system

Calrec’s VP2 virtualized mixing system has no physical control surface and utilisesCalrec’s Assist software for setup and control. VP2’s 4U core comes in three DSP sizes; 128, 180 and 240 input channels, and incorporates Calrec’s powerful Hydra2 networking solution. As with all Hydra2 products this can be controlled by a station automation system.

VP2 enables a station to reap many of the benefits of using a Calrec console, but without a physical control surface. Calrec’s Assist UI can be accessed from multiple locations via a web-browser. Control can be limited to basic functions or full control can be awarded to delve deeper to fine tune the setup or recall different shows as needed.

Tags: Calrec | Calrec Audio | audio | digital consoles | consoles | broadcast | mixing | NAB | production | IP AoIP | NAB 2020 | NAB 2020
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Composer Steve Kilpatrick Makes AMS Neve The Centrepiece Of His Manchester Studio Posted: 11/02/2020
Composer Steve Kilpatrick Makes AMS Neve The Centrepiece Of His Manchester Studio

Composer and producer Steve Kilpatrick has made an AMS Neve 8816 16-channel summing mixer a central part of his new studio in Manchester, where he provides bespoke music for film, TV and radio projects.

Best known for his compositions for the Resident Evil 6 and Racoon City trailers, as well as the award-winning BBC Radio 4 dramas Amazing Grace and Cottonopolis, Kilpatrick’s music has been broadcast around the globe, including on the BBC, Channel 4, ITV, MTV and VH-1. His opera Flight Paths was commissioned as part of the 2012 London Olympics celebrations and he also composed the music for the feature film A Coven of Evil.

Kilpatrick, who owns Soundfrackery Productions, says incorporating a hand-built and hand-wired Neve 8816 into his new studio was a ‘no brainer’ from the moment he started planning it.

“I wanted a bit of kit with mojo, which is what attracted me to the unit in the first place,” he explains. “But what made the 8816 stand out amongst the other summing mixers was that it had monitor control and headphone monitoring covered, without my having to purchase further separate units.”

Once he had the Neve 8816 in his set up, all Kilpatrick had to do was add a Neve 8804 fader pack that allows channel and main audio levels to be controlled by faders. Everything he records now passes through the units, which he says have become an essential part of his workflow.

 

Tags: AMS Neve | Steve Kilpatrick | Neve 8816 Summing Mixer | Film Composer | Resident Evil 6
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Devin Barnhart, A1 Mixer - A Calrec craft interview Posted: 05/02/2020
Devin Barnhart, A1 Mixer - A Calrec craft interview

Devin Barnhart, A1 Mixer, discusses his audio life and working with Calrec tech. 

Tags: audio | consoles | audio mixing | Calrec
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Blackmagic URSA Mini Pro on Tour with Little Mix Posted: 15/01/2020
Blackmagic URSA Mini Pro on Tour with Little Mix

Blackmagic Design today announced that live video for the European dates of Little Mix’s LM5 Tour was delivered by the LED Shed, who relied on acquisition and control hardware from Blackmagic Design. The solution featured URSA Mini Pro fiber chains and ATEM 4 M/E Broadcast Studio 4K.

LM5: The Tour is the sixth concert tour by British pop girl group, Little Mix. Opening at the WiZink Center in Madrid in September, the European tour has spanned 40 shows in total, concluding at London’s O2 Arena.

A multicamera fiber workflow was deployed for acquisition and IMAG relay, with two URSA Mini Pro cameras in the pit on a track and dolly system, two more front of house, and one in an elevated position at the back of the arena with a Canon 96x 4K long lens, to capture the band’s triangular platform that flew out across the venue.

The LED Shed’s Luke Levitt says: “We would usually have one camera in the pit, but with so much fast action on stage, having two meant that we could catch all of the choreography. It’s our job as video directors to make sure everyone in the room can see what’s going on, and it’s imperative to have as much movement in the cameras as possible to reflect that action.”

Tags: Blackmagic Design | Blackmagic | URSA Mini Pro | URSA | Live Production | ATEM | Little Mix | Concert | IMAG
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Lance Gordon, co-owner Soundcheck Technologies, Emmy winner, talks modern mixing Posted: 15/01/2020
Lance Gordon, co-owner Soundcheck Technologies, Emmy winner, talks modern mixing

A Calrec craft interview: Lance Gordon, co-owner Soundcheck Technologies, Emmy winner, talks modern mixing

Tags: audio | audio mixing | consoles | audio routing | sports | music mixing
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NUGEN Delivers Deeper Workflow Control for Producer Mixer Alvin Wee Posted: 20/11/2019
NUGEN Delivers Deeper Workflow Control for Producer Mixer Alvin Wee

For as long as he could remember, Producer/mixer Alvin Wee loved music and film; and he was fortunate enough to cut his teeth working with composers and record producers in Los Angeles on film projects such as Kung Fu PandaKingsman and Eddie the Eagle. Having such a strong background in the industry, Wee takes pride in knowing that when someone hands a project off to him, it will be done correctly, and well. In order to achieve those results, Wee relies on NUGEN Audio’s Producer bundle and Halo Upmix solutions.

 

Wee’s introduction to NUGEN began as it often does, by word of mouth. “I was talking with industry friends and colleagues. I mentioned that I was looking for a specific product for a project I was working on, and one of them recommended NUGEN,” he says. “Then, I was at a GRAMMY® party and an engineer who is a monster in the business told me that NUGEN’s meters are incredible, so I decided to check them out. I started using the NUGEN plug-ins and, right off the bat, they did exactly what I needed. So, I just kept using them.”

 

Ideally suited for both mixing and mastering situations, NUGEN’s Producer software provides Wee with a collection of highly flexible award-winning cross-platform plug-ins designed to increase the quality and efficiency of his productions. “The Producer software has been incredibly useful for me,” he adds. “I love the Stereoizer; it’s my go to plug-in that I use on all my mixes and checks. It allows me to control all the low-end and make sure that a recording doesn’t get too wobbly or crazy. I can even make the high-end feel wider and more exciting. It works really well and is very intuitive.The Visualizer tool included in the bundle is also excellent as its meters are tremendous in helping me see what I’m doing.”

 

 

Tags: NUGEN Audio | audio-plug-ins | software | film | music | post-production | Alvin Wee | Producer Bundle | Halo UpMix
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R3 Estudio Movel in Brazil equips OB van with Calrec Artemis for live music Posted: 23/10/2019
R3 Estudio Movel in Brazil equips OB van with Calrec Artemis for live music Såo Paulo-based R3 Estudio Movel has chosen a Calrec Artemis Ray audio console for its OB truck, called PowerTruck, focussing on the recording and mixing of audio for live broadcasts as well as music DVDs and streaming outlets.
 
Isaías Rosa, R3’s recording/mixing engineer and multi-Latin Grammy nominee, says that when assessing the audio console market, “the Artemis met all the requirements of our truck,” highlighting its versatility as a key quality that drew him to the console. “The truck is set up for mixing and recording music. The Artemis Ray has excellent sound quality; we use it in a 72-fader configuration, which is great for live music mixing as we have the faders set up on one layer,” he continued.
 
R3 Estudio Movel uses two WAVES cards, one Dante card and six MADI cards in the truck. The on-stage setup includes 128 mic pre-amps and two MADI cards. The company creates about 40 music DVDs a year – including one recently for Sony Music’s Brazilian funk artist Nego do Borel - plus its work on live broadcasts and streaming.
 
“This project is a great example of how the Artemis console can really spread its wings with different types of broadcasts, including live music. It’s a testament to its power, versatility and superior sound quality. We’re delighted that R3 Estudio Movel is reaping the benefits of all that the Artemis has to offer,” commented Mike Reddick, International Sales Manager, Calrec.
Tags: Audio | Calrec | audio mixing | Calrec Artemis Ray console | OB | streaming | DVD
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Intinor showcases Direkt link at Broadcast India 2019 Posted: 11/10/2019
Intinor showcases Direkt link at Broadcast India 2019

Intinor, Sweden’s leading developer of products and solutions for high-quality video over internet will, with its partner Rahul Commerce, feature Direkt link at Broadcast India on Stand F610.

Intinor CEO Roland Axelsson said, “Direkt link has enormous potential, not only in terms of power and flexibility, but also because it is extremely easy to use and very robust, thanks to an ingenious construction that includes a minimum of moving parts.

Tags: Intinor | Broadcast India | Direkt Link | video over internet | Rahul Commerce | streaming | receivers | cable tv | Master control rooms | VLC | Router panel | Video mixer | IP | IP Workflows | switching | API
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