When the Museum of Tolerance in Los Angeles acquired an early letter written by Adolf Hitler, it turned to Electrosonic to create an interactive exhibit for one of the most important archival documents in the history of the Second World War.

The letter was written in September 1919 and is the only document personally signed by Hitler, linking him to the elimination of the Jewish people. In the letter, Hitler calls for “an anti-Semitism based on reason…[whose]…final aim, however must be the uncompromising removal of the Jews altogether.” The letter was found by an American GI in Nuremberg in 1945.

The four-page typewritten letter was purchased last spring by Rabbi Marvin Hier, founder and dean of the Simon Wiesenthal Center, who called the letter “the most significant ever acquired” by the Center. The letter was written six years before Mein Kampf was published.

The letter’s acquisition was widely covered by the New York Times, the International Herald Tribune, and the media around the world.

Electrosonic has been responsible for many exhibits and permanent installations since the Museum of Tolerance opened in 1993 as an educational arm of the Simon Wiesenthal Center.

Electrosonic sales consultant Les Hill and VP of Entertainment Chris Conte collaborated with Sue Burden, Chief Financial Officer and Chief Administrative Officer of the museum, to determine the best way to showcase the letter. In order to allow the guests to explore the letter in depth, Electrosonic recommended that a multi-touch surface be installed along with digital content generated from the letter itself. To insure that the best digital content was created, Electrosonic turned to long-time creative content partner Cortina Productions to develop the content and interactive software.

The artifact itself is housed in a wall-mounted glass display case along with a 65-inch Mitsubishi LED touchscreen. The touchscreen is powered by CyberTouch. Museum visitors stand in front of the touchscreen to view content crafted by Cortina Productions, which allows them to virtually interact with the letter, reading it in the original German language or translated into English. A graphic image of a magnifying glass enlarges portions of the letter for easier inspection.

“The GUI can be operated by two users at the same time,” says Electrosonic project manager Guy Fronte. “In addition to the user mode for one or two visitors, there’s also a docent mode for museum docents making presentations to groups.”

Visitors can also access major milestones in the history of the Third Reich, as well as, news articles, maps and still photos, plus video clips about the acquisition of the letter in 2011.

Electrosonic provided a Dell Vostro 460 Mini Tower with an ATI Radion HD 5570 graphics card as the interactive video source for the touchscreen display. A ceiling-mounted Dakota speaker array supplies audio for the film clips and sound design elements for the interactivity.

“The Hitler letter exhibit has been a very successful attraction with visitors,” says Sue Burden. “Electrosonic was very professional to work with, as always; it’s a pleasure to do projects with them, and we keep asking them to do more and more things for us.”

At Electrosonic, Win Roach was the exhibit’s lead installer and Julie Adgurson the engineer. All of the vendors worked with the architect, Hansol Park, a Senior Associate with Yazdani Studio of Cannon Design.

Orad’s lineup will include state of the art on-air graphics, studio, sports, MAM, and video server solutions for the broadcast industry
 
February 8, 2012 – Orad, world leader of award winning, real time, 3D graphics, video servers, and media asset management solutions will be presenting its newest product lineup at the upcoming 2012 NAB Show (booth SL4524). Orad’s professionals will be on-site to provide attendees with informative demonstrations and presentations of its on-air, studio, MAM, sports and video server solutions.
 
“The 2012 NAB Show is the perfect forum to demonstrate our wide variety of unique broadcasting solutions. Visitors to our booth will enjoy exciting interactive demos, giving them a feel for the endless possibilities Orad’s solutions can offer,” comments Avi Sharir, President and CEO of Orad. “This NAB Show, Orad will also be presenting some new solutions that will greatly facilitate the production workflow.”
 
NAB Show 2012 Lineup – What to See at the Orad Booth
 
Press and attendees are invited to stop by the Orad booth (SL4524) to see Orad’s award-winning solutions.
 
• TD Control: Orad’s TD Control allows Technical Directors (switcher operator) to select different video box compositions and assign different video sources to each of the video boxes, enabling tasks that could not have been achieved before, like switching on air from six video sources to completely different video sources with one click of a button.
 
• PowerPlay: PowerPlay is a turnkey solution that manages fast turnaround sports productions from ingest, through instant highlight editing, to dedicated sports media asset management in a post-production environment. PowerPlay is designed to provide a complete solution for large-scale sporting events, focusing on fast turnaround and advanced data management tools.
 
• PlayMaker: PlayMaker, Orad’s SD/HD, slow-motion video server, is designed to meet the growing challenges of live sports productions. PlayMaker provides up to 8 I/O channels of high quality ingest in multiple video formats, including DVCpro, DNxHD and JPEG200, with synchronized slow motion replay and powerful yet simple editing tools. With its “PlayNet” module, PlayMaker provides Gigabit network file sharing between servers for preview, copy, or instant playout of clips from remote servers. For an extremely fast turnaround workflow, PlayMaker introduces instant import and export capabilities to almost any storage or NLE environment. PlayMaker supports tapeless workflow with the export and import of video footage to and from NLE systems.
 
• iFind: iFind is a sophisticated media management solution, which provides the user with the ability to manage the essential elements of a complete broadcast server, graphics and archive system from a web browser. Powerful search, workflow and management functionality is available, which can be tailored to a station’s individual requirements to maintain a smooth day-to-day operation. Simple to use, the combination of the iFind user interface and rules engine produces a powerful workflow management system, the benefits of which can be quickly identified to bring a fast return on investment. The system’s iFind Asset Core is the powerful database that underpins the media asset management system, providing flexible, user configurable metadata schemas. In addition, advanced business rules based and process driven workflows enable essential functions such as archiving, restore from archive, clip movement and deletion.
 
• RadioTV: RadioTV enables the automatic broadcast of radio shows, including live videos, real-time 3D graphics and promos, over digital media without human intervention. RadioTV is completely automated and relies on unique audio detection software to identify the talent’s voice and determine which camera should be on air. Camera switching does not require human intervention and the existing workflow is maintained without any additional costs. RadioTV offers a complete set of 3D graphic templates including supers, titles, logos, promos and other elements, and supports the playback of full-frame videos, opening new revenue streams for advertising and sponsorships.
 
• Interact: Orad’s Interact enables television presenters to control and direct the content on their touch screens, video walls and other input devices, helping them engage more with their viewers. Orad now offers its dedicated OradTouch application, which enables presenters to interact with the graphics using their iPad and control the content and flow of production while moving around the production space freely. Interact supports single, dual and multi-touch displays from a variety of manufacturers, allowing broadcasters to choose the device that best suits their production’s style and budget.
 
• MVP: Emmy Award-winning MVP provides fast preparation of captivating sports highlight clips to better visualize critical plays, the flow of the game, and post-game analysis. MVP can be deployed for any sports event and can be used for live productions or highlight shows, from either the OB VAN or the studio, and supports up to 32 different cameras without camera or lens modifications. New enhancement features include: virtual camera flights between two real cameras; viewing a play as it is drawn on the coach’s drawing board comparing the position and technique of individual athletes; drawing a specific player in color on top of a black and white background, and breaking down a play into a sequence of frames to better analyze the player’s movements, and more.
 
• Maestro: Maestro addresses all broadcasters’ graphic needs for real time, pre- and post-production environments. The latest version of Maestro introduces many interesting features that improve usability in a studio environment, and the connection to external systems and data sources. The new OradControl iPad application enables television anchors to control Maestro graphics by using an iPad. Also new are integrations with Avid’s Command and an NLE plugin for Adobe’s Premiere, further expanding Maestro’s extensive list of supported NLE systems.
 
• 3DPlay: 3DPlay, Orad’s advanced channel branding solution, offers stunning 3D graphics for promo over credits, multiple tickers, video clips playback, etc. 3DPlay covers the entire workflow from integration with traffic, scheduling and automation, to frame accurate graphic playout. 3DPlay offers user management, customized metadata, and logic-based, scripting free graphics.
 
• Morpho: Morpho is a real time, 3D character generator that offers uncompromised creation and playout capabilities from a single user interface. Powerful 3D real time graphics rendering, smart graphic design tools and flexible playout capabilities are packed together, offering an efficient and easy workflow. Creation and playout are performed from a single interface, increasing reactivity in production. Morpho is the perfect solution for branding, OB VAN, news and other studio productions.
 
• ProSet: ProSet, Orad’s high-end virtual studio solution, provides a powerful dimension to any virtual studio production. ProSet can utilize any of Orad’s many tracking solutions, including its high-end Xync infrared tracking system with 360 degrees of free camera movement. By combining state of the art tracking with sophisticated graphics, ProSet enables the broadcaster to display a big studio look from a small location.
 
Book A Private Press Briefing
To set up a press briefing with a member of Orad’s management team or a private product viewing, please contact Janice Dolan at janice(at)zazilmediagroup(dot)com.
 
About Orad
Orad Hi-Tec Systems is a world-leading provider of real time 3D broadcast graphic and video server solutions including news, channel branding, sports production and enhancement, elections and special events, virtual studios, and virtual advertisement. Orad’s compelling solutions streamline production workflow, enhance viewer experience, and improve production value. Founded in 1993, Orad is a public company listed on the Frankfurt Stock Exchange (OHT). More information is available at www.orad.tv
 
Press Contacts
Ofir Benovici
VP Marketing
Orad Hi Tec Systems
ofirb(at)orad(dot)tv
 
Anya Oskolkova
Zazil Media Group
anya(at)zazilmediagroup(dot)com
(p) 617.817.6559

grandMA’s in the house at the Adrienne Arsht Center for the Performing Arts of Miami-Dade County where a pair of grandMA2 lighting consoles, installed by Miami Stagecraft in the John S. and James L. Knight Concert Hall, are in demand by an array of artists. Miami Stagecraft also upgraded the hall’s entire network to 1gb to promote fast, high-speed response time. A.C.T Lighting is the exclusive distributor of grandMA in North America.

“The space is designed to host everything from symphony orchestras to Willie Nelson, Cindy Lauper and BB King,” says Tony Tur, head electrician at the Knight Concert Hall. “We were running another console, and a lot of people were asking for the grandMA. I attended a grandMA2 training course and really liked the console’s features and versatility. It was the kind of technology we needed, capable of accommodating a rock show, a symphony or a musical comedy, and meeting the needs of their designers.”

Steve Welsh, vice president of Miami Stagecraft, echoes Tur’s observations that many touring groups appearing at the Knight Concert Hall were accustomed to using grandMA. In addition, “because of the way the hall is configured there are very few conventional lights,” Welsh points out. “The space is highly-dependent on moving lights mounted to the ceiling and that also helped tip the scales in grandMA’s favor.”

Welsh notes that in order to give the grandMA2 fast, high-speed response time, the hall’s entire network required an upgrade. “grandMA runs flawlessly on a gigabit network,” he says, “so we upgraded the whole system to be 1gb capable. The movable ceilings feed data down to fiber-optic cables even when they’re moving – we had to upgrade all that to 1gb with industrial-grade components.”

Will Murphy, A.C.T Lighting technical support, says that the hall originally had “a big fiber network and all these little gangbox two-universe nodes around the space. When Tony (Tur) fell in love with the grandMA2 they needed to decide what to do with the existing network. So we started to talk about what would make their life easier.”

He explained to Tur that “MAnet is the only protocol in the industry with frame-synchronous DMX. If you have a properly-designed gigabit network, no matter how close or far apart ports are, everything is going to be frame synchronous: the frame comes out of every port at the same time regardless of length. No protocol but MAnet can do that and deliver two-way communication.”

Tur specified a grandMA2 console with NPU and a second unit with 18 2-port nodes. “Tony chose to go all-MA to get 100 percent support,” Murphy says.

The upgraded network “eliminated a lot of equipment on the racks and a lot of connection points with the possibility of faults,” says Tur. “The network was very simple to put together and worked from the get-go: It was all done in two days. Now I have a system where I can communicate right to the nodes from the console; I don’t need another computer to do that. A.C.T’s customer support was another reason I decided to go with the nodes – it’s just amazing. They are there to help me out.”

Welsh concurs that the installation “came out very nicely. There are very reliable communications throughout the system, especially the fiber-optic cable reels.”

Tur reports that the grandMA2s and network are “working great. We just ran BB King and a couple of symphonies, and it’s been very smooth. The grandMA gives us the versatility to do everything. That’s just what people were requesting.”

Welsh believes that the hall’s installation represents “a new phase in the lighting of the theater. They now have a control system that will carry them into the future with LEDs and new lighting fixtures.”

About A.C.T Lighting

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

For more information call 818-707-0884.

About the Adrienne Arsht Center for the Performing Arts of Miami-Dade County
The Adrienne Arsht Center for the Performing Arts of Miami-Dade County is one of the world’s leading performing arts organizations and venues. Made possible by Miami-Dade County’s largest ever public/private-sector partnership, the Center is home to the Florida Grand Opera, Miami City Ballet and New World Symphony, America’s Orchestral Academy. In addition, numerous South Florida arts organizations perform in its theaters regularly. Since opening in 2006, the Center has emerged as a leader in offering and presenting innovative programming that mirrors South Florida’s diversity, as a catalyst for development in Miami, and as a host of impactful community outreach and education programs.

Designed by world-renowned architect Cesar Pelli of Pelli Clarke Pelli Architects, the venue is comprised of the 2,400-seat Sanford and Dolores Ziff Ballet Opera House, the 2,200-seat John S. and James L. Knight Concert Hall, the black box Carnival Studio Theater, a restored Carnival Tower, the Peacock Foundation, Inc. Studio, the Peacock Foundation, Inc. Education Center and the outdoor Parker and Vann Thomson Plaza for the Arts. The Carnival Tower, an architectural icon and one of Miami’s oldest Art Deco buildings, houses the street-level BOMBAY SAPPHIRE(r) Lounge. Events impresario and restaurateur Barton G. Weiss brought his signature style to the Center in 2009 with PRELUDE BY BARTON G, a full-service upscale restaurant.

Buena Park, CA – February 2012… Hosa Technology, the leading innovator of analog and digital connectivity solutions for the modern musician and audio/video professional, is pleased to announce that the Mogan Elite Omni Earset Microphone, the newest addition to the Mogan Microphones brand of subminiature microphones, is now shipping. Designed to deliver full-frequency vocal reproduction for the most discerning presenter, the new Mogan Elite earset microphone is a terrific choice for broadcasters, theatrical performers, church worship leaders, and other professionals seeking exceptional audio performance—both spoken word and vocals— for mission-critical applications. more

Top Hollywood Facility Relies on Nucoda for Versatile Workflow

(Los Angeles, CA/London, UK) Image Systems – the leading manufacturer of image enhancement and mastering systems for post production – has announced that MTI Film in Hollywood, California, has installed its third Nucoda Film Master into its state-of-the-art facility. Opened in 2010, MTI Film is a full service post production facility providing high quality dailies, editorial, visual effects, color correction and assembly for film, television and commercial projects. MTI is currently at work on a number of projects, including AMC’s Hell on Wheels, CW’s Ringer, Good Christian Belles on ABC, and for TNT The Closer, Dallas, and Rizzoli & Isles, as well as a number of feature and restoration projects.

MTI installed its first Nucoda Film Master in 2010, as the facility prepared to open their Hollywood facility. Barbara Marshall, Executive Producer at MTI, noted, “The Nucoda is central to the way we work with our customers, whether they come to us with a feature, or a network or cable program. Its interoperability with Avid and the versatility of the toolset is crucial to our work and underpins our entire pipeline. We have found it to be an incredibly powerful creative tool.”

Steve Porter, Senior Colorist, noted, “Nucoda’s color grading toolset enables us to be gutsy when necessary and subtle when needed. It is ergonomic and intuitive. The fact that we can do a show like Hell On Wheels, which is extremely vivid, and turn right to Ringer, an elegant, female-driven show, says a lot about its capabilities. Our focus is to support the story and the filmmaker, and Nucoda is an essential part of that.”

The built-in effects in Nucoda Film Master have been extremely useful. Jeremy Sawyer, Colorist at MTI, noted that, “In addition to the great color grading tools, all of the other plug-ins and effects that come straight out of the box are outstanding. They are great for beauty work, the grain tools are top of the list, and the visual effects tools are truly powerful. In television, we ‘re often up against a tight deadline, and the tools in the Nucoda are extremely beneficial to us in hitting our schedule.”

MTI is busy with television projects but has a history of quality restoration services. The Nucoda Film Masters have been involved in a number of recent remastering projects, including classics; In Like Flint, Our Man Flint, and The Flight of the Phoenix for Twentieth Century Fox, among others. All of these iconic titles were remastered at 4K in MTI’s DI theatre.

Larry Chernoff, President of MTI concluded, “A year ago, we started with Nucoda Film Master at the center of our color operations. Since then, we’ve found our decision was more than validated by the consistent development, support and innovative ideas coming out of Image Systems, and we are delighted to continue our work with them.

About Image Systems
Image Systems Media Unit, formerly Digital Vision, is a division of Image Systems AB, which specializes in high-resolution image processing, film scanning and motion analysis solutions. Headquartered in Linköping, Sweden, Image Systems has offices in Stockholm, London and Los Angeles. The company has three business units: Media, Defense and Motion, managed via a global network of qualified distributors. Its Nucoda and Phoenix image grading and restoration software solutions and Golden Eye range of scanners provide innovative tools to create and master media in HD, 2K/4K and stereoscopic 3D. The TEMA software platform provides a range of user friendly, high-speed motion analysis solutions for the automotive industry and other industrial test and design applications. The TrackEye system provides image analysis solutions for the military reconnaissance and testing markets. For additional information, visit www.imagesystems.tv.

All trademarks used herein, whether recognized or not, are the properties of their respective companies.

About MTI
MTI Film is a full service Post Production facility providing high quality dailies, editorial, visual effects, color correction and assembly for film, television and commercial projects. MTI Film’s talented staff of seasoned industry veterans have served a number of high-profile projects including Rizzoli & Isles, Ringer, The Defenders, Through the Wormhole, Hell on Wheels and Dallas. As a leader in post-production technology, MTI Film’s facility is state-of-the art. With MTI Film’s award-winning Control Dailies at the head of the workflow, MTI Film offers unparalleled flexibility in the production’s choice of cameras, preferred editorial platform and deliverables formatting. MTI also boasts a brand new DI theater that is fully calibrated and capable of 4k playback. For more information visit www.mtifilm.com.

# # #

Image Systems Marketing Contact:
Alexa Maza | alexa.maza@imagesystems.se | Tel: +1 (818) 769-8111
Ulrika Liiv | ulrika.liiv@imagesystems.se | 46 (0) 8 546 18232

Image Systems USA PR Contact:
Ignite | Christine Purse | chris@ignite.bz | Tel: +1 818 303 8088 | Mobile: +1 323 806 9696

Image Systems EMEA & Asia PR Contact:
Jump PR | Kate Ford | kate@jumppr.tv | Tel: +44 (0) 1932 240001 | Mobile: +44 (0) 7740 948 065

ASHLAND, MASSACHUSETTS – FEBRUARY 2012: RFvenue, maker of innovative remote antenna products for production wireless, announced today that it has released its high-gain, foldable, circularly polarized CP Beam(tm) Antenna for sale to audio/visual integrators, location sound mixers, broadcast engineers, and touring companies.

“The patent-pending CP Beam is a convenient, easy-to-use, full-size beam antenna for long-range applications that can be very quickly utilized when needed,” remarked RFvenue CEO, Chris Regan. “Customers wanted a compact and durable high-gain antenna without the size, weight, and additional cost of hard plastic or metal designs. It’s great that it folds up for storage, yet is quickly deployable. There’s no need for a dedicated flight case to store the CP Beam – it fits in a two RU rack drawer when folded.”

Robert J Crowley, inventor of Crowley and Tripp microphone technology, and chief of the company, Soundwave more

Company will announce plans for “breakthrough” technology to be introduced this year
 
Paris, France – February 7, 2012 – Dalet Digital Media Systems will showcase enhancements in Dalet Enterprise Edition, their advanced Media Asset Management (MAM) platform, along with their technology solutions packaged for different production workflows at NAB 2012 in Las Vegas, NV from April 16 – 19 (stand SL4615).
 
On the NAB floor, Dalet will demonstrate several enhancements in Dalet Enterprise Edition, the MAM platform which unifies disparate systems to improve workflow productivity and to facilitate content distribution to multiple platforms, including broadcast, web, VOD and mobile. Dalet Enterprise Edition will be shown in combination with Dalet’s tailored production suites for news (Dalet News Suite), sports (Dalet Sports Factory) and radio (Dalet Radio Suite). In particular Dalet will be demonstrating several new, integrated modules for Dalet MediaLife which is focused on workflows for Program Preparation, MAM for Production and Archives. These new modules are focused on the many steps involving media transformation and content enrichment in the production chain.
 
“Our MAM offering transforms multisystem linear workflows into a fully integrated, federated and centralized workflow. And our specially packaged toolsets simplify the workflow for different types of production,” says Kevin Savina, Director of Product Management, Dalet “We’ve integrated tools in Dalet Media Life that include ingest, QC, clip creation, storyboarding, subtitling and closed captions. Tailored work-facilitating tools are also available for our news and sports solutions. Everyone works more efficiently which is especially important at a time when we all need to produce more with less.”
 
Dalet will also reveal the development roadmap for the year-end release of the next version of Dalet Enterprise Edition that will include new, breakthrough technology and major enhancements to the product.
 
“The market has been incredibly receptive to the benefits of our technology and MAM-centric approach. Our customers have been able to leverage our systems and know-how to realize genuine productivity gains,” says Stephane Schlayen, COO of Dalet. “Now we’re prepared to make yet another technology leap. At NAB 2012 we will announce the next major version of our Enterprise platform that will include many new features and advanced technology to improve workflow performance and agility. The new version, which will be released later this year, will further accelerate the productivity curve and provide additional value to our customers.”
 
Several new features in the current Dalet product line will also be shown shown on the booth. These include: enhanced multimedia editing capabilities, highly configurable usage restriction rules and rights management, streamlined metadata forms, expanded glossary and genealogy support, more powerful search capabilities and the ability to expose Dalet applications in 3rd party portals. Visitors to the booth can also see integrations with EVS, Avid and Adobe products.
 
Full demonstrations of Dalet Enterprise Edition and the Dalet MAM-driven workflows for News, Sports, Program Preparation, Archives and Radio will be available on the booth.
 
Dalet Enterprise Edition
 
Business-driven, Cross-System Metadata, Media and Workflow Management
 
Dalet Enterprise Edition is a full-featured, end-to-end media, metadata and workflow management system with multiple integration paths that unify different systems to deliver maximum flexibility for managing content production and distribution with business systems. Built-in production modules manage ingest, logging, production, distribution and archiving across systems and workgroups. The multimedia content catalog, customizable metadata forms and enterprise search engine makes content readily available to everyone who needs it – whether for editorial review or repurposing for new media distribution. Built as an open platform, Dalet Enterprise Edition can integrate easily with a wide range of non-linear editors, including Avid, Final Cut Pro and Adobe Premier. Graphics, archive, automation and other systems can also be integrated using a variety of methods, including using SOA compliant tools such as Web Services APIs. The highly scalable architecture and modern, flexible design of Dalet Enterprise Edition delivers a strong ROI and the assurance that new technologies can be added in the future.
 
Dalet News Suite
 
Collaborative News Production and Playout
 
Dalet News Suite, the only integrated, end-to-end, MAM-based newsroom production system on the market, improves efficiency, productivity and collaboration with its advanced design and smart tools. With fully integrated desktop scripting, video, graphic and multimedia tools, journalists are engaged in a smooth and intuitive workflow that allows them to concentrate on producing high quality content for broadcast and new media outlets. Content and metadata are enriched at every step — from ingest through automated playout, archives and multiplatform delivery. Dalet News Suite facilitates story-centric production and fosters collaboration between different departments — from the news desk, planning and production, to the control room and new media units. The Dalet MAM platform tracks it all and the workflow engine automates many background tasks. With full media and metadata tracking, the MAM platform provides a robust framework for managing assets and leveraging content to take advantage of new business opportunities.
 
Dalet Sports Factory
 
Fast Logging, Highlights Creation and Replay
 
Dalet Sports Factory offers fast sports production tools, fully integrated within an enterprise MAM platform. Sports Factory’s highlights and replay components cover logging, play-by-play highlights and playback, and instant replay with multiple camera angles and slow motion. Media is logged once and immediately available for use in programs and packages. Unlike typical sports production products, Dalet Sports Factory integrates both production archives and media management, ensuring all enriched media assets are at your fingertips both during and after the game. Designed on the open Dalet MAM platform, Sports Factory integrates with industry standard NLEs and other broadcast and sports production systems to provide a cohesive, fluid workflow.
 
Dalet Sports Logger features one-button logging and “intelligent” team rosters for fast highlight creation. One click denotes the type of play (goals, penalties, etc.) and the start of the highlight. Add player info with a single click on the roster display. Plays and metadata are accurately entered into your pre-configured MAM fields, adding value and consistency to game logs. Highlight starts can be set a few seconds before mark-ins, so that you’ll never miss a key play; all clips are immediately available in Dalet Hilites Espresso for fast assembly of multiple playlists.
 
Dalet Media Life
 
MAM and workflow automation for program prep and promos
 
Dalet Media Life leverages IT standards and infrastructure to meet the complex production and asset management needs of multiplatform content providers such as networks, thematic channels and promo departments who deal with high volumes of video and audio programming — from movies, documentaries and TV series to cartoons, promos and jingles. It has a flexible, comprehensive data model, a workflow engine to manage human and automated tasks, and a complete set of functional tools that are all accessible from the same user interface. Media Life is designed to integrate with third-party systems such as NLEs, automation devices, archives and business systems. It is an open platform with a variety of data exchange and integration paths, including using SOA compliant tools such as Web Services APIs.
 
Dalet Radio Suite
 
Radio …and more
 
Dalet Radio Suite is the only radio production and automation software that incorporates music workflows, news workflows, media asset management and multimedia distribution within the same system. Designed for the era of media convergence, Radio Suite is built on the powerful Media Asset Management (MAM) platform of Dalet Enterprise Edition and streamlines every aspect of the digital production chain for news and music channels. Stations can optimize their programming efforts for traditional over-the-air broadcasts as well as streaming, VOD, Podcasts and other platforms.
 
Combined with modular, task-specific tools, Dalet Radio Suite meets the comprehensive demands of large-scale newsrooms as well as the needs of multichannel music networks. Journalists have all the desktop tools they need to ingest audio, create scripts, record and edit audio, and build and manage rundowns. DJs can exercise their creativity with easy-to-use playlists, multitrack editing, and Carts for jingles and liners. Remote voice tracking tools facilitate contributions by off-site talent. Dalet OnAir is a proven and highly reliable automated solution used in some of the world’s largest multi-channel operations. Dalet Radio Suite is designed for outstanding scalability with hundreds of simultaneous users.
 
About Dalet Digital Media Systems
 
Dalet solutions enable broadcasters and media professionals to create, manage and distribute content to both traditional and new media channels, including interactive TV, the Web and mobile networks. Dalet combines into a single system a robust and proven Asset Management platform with advanced metadata capabilities; a configurable workflow engine, and a comprehensive set of purpose-built creative and production tools. This integrated and open environment enables end-to-end management of the entire News and Sport and Program content chain, and allows users to significantly improve efficiency, and to maximize the use and value of their assets. Dalet’s solutions are delivered through a dedicated Professional and Integration Services Department to ensure the highest possible standards. Dalet systems are used around the world by many thousands of individual users at hundreds of TV and Radio content producers, including public broadcasters (ABS-CBN, BBC, CBC, DR, France TV, RTBF, RFI, Russia Today, RSR & TSR, RT Malaysia, VOA, WDR), commercial networks and operators (Antena 3, Canal+, FOX, eTV, Mediaset, Orange, Time Warner Cable, Warner Bros., Sirius XM Radio) and government organizations (Queensland JAG, Canadian House of Commons, The European Commission). Dalet is traded on the NYSE-EURONEXT stock exchange (Eurolist C): ISIN: FR0011026749, Bloomberg DLT:FP, Reuters: DALE.PA.
 
For more information on Dalet, visit www.dalet.com
 
Press contact:
Janice Dolan
Zazil Media Group
(p) +1 617-817-6595
(e) janice(at)zazilmediagroup(dot)com
####

They say everything is bigger in Texas, and with the installation of award-winning Christie® digital cinema projectors at two of the Lone Star State’s most popular drive-in theaters, they are now also the brightest. The Big Sky Drive-In in Midland and the Stars and Stripes in Lubbock, both featuring outdoor screens up to 90 ft wide, now offer a superior movie viewing experience thanks to Christie’s DLP Cinema® projectors, which are recognized as the brightest and most powerful in the industry.
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“Drive-in theaters have always been a romantic business venture that faced many technical challenges,” noted Craig Sholder, vice president, Entertainment Solutions at Christie. “The limited amount of light that can be projected on the screen from even the most powerful film projectors is not always sufficient to compete with the ambient light of the outdoors. This has often seriously affected the quality of the projected image and undermined the movie-viewing experience for many patrons. Christie projectors are ideally suited for the outdoor environment where ease of operation – especially to focus and scale images – and high brightness levels are critical.”
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Thinking Big
As a major sponsor of the 12th annual convention for the United Drive-In Theatre Owners Association (UDITOA), February 6 – 9, in Kissimmee, Florida, Christie is partnering with dealers such as Sonic Equipment Company to help lead America’s drive-in theaters into the digital age. Backed by more than 80 years in the exhibition industry, Christie is offering complete, turn-key solutions that include design, consultation, installation and support services. As well, Christie can provide interested customers with 24/7 support and maintenance through its Network Operations Center (NOC), located in Cypress, California.
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Among the first drive-ins in the country to “see the light” of digital technology were the
Stars & Stripes and the Big Sky drive-ins – the first multi-screen drive-ins in the country. Christie projectors, rated at 30,000 ANSI lumens of brightness, covered their entire screen surfaces with the sharpest digital images ever seen in a drive-in theater.
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A Big Improvement at The Big Sky
Big Sky owner Sam Kirkland opened in October 2005 with two screens, both using 35mm projectors. He added a third screen in 2007. Two of Big Sky’s three screens are 45 ft by 90ft, with parking spaces for 436 cars and 382 cars; the third screen, at 35 ft by 70 ft, can handle 198 cars. The conversion to Christie digital projectors was done by Sonic Equipment Company, of Iola, Kansas.
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“When a drive-in goes to digital movies, it’s a big difference from film, and audiences see the difference immediately,” said Sam Kirkland, owner of The Big Sky. “Our Christie projector gives us a gorgeous picture and our customers love it!”
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Lamont Furlow, the 60-year old general manager of Big Sky, whose parents managed a local drive-in theater, recalled that he was virtually born into the movie theater business.
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“Directly or indirectly, I’ve been in the exhibition business all my life, and have a special passion for the drive-in,” he said. “I’m not real computer literate, but when we had some initial challenges the first week, we called our Christie representative and he talked us through the situation right over the phone. The show started on time and the entire system has worked beautifully every since!”
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Most importantly, Furlow noted, “Now that we’re digital, lighting the screen is no longer an issue. Our patrons enjoy even the darkest scenes in a movie.”
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In the past, Big Sky also had serious problems getting the picture focused when running 35mm projectors. “With Christie digital projectors, it’s now in perfect focus,” he said. “My immediate reaction when we showed our first movie in digital was, ‘That can’t be my screen!”
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He added: “We couldn’t be more pleased with our new Christie projectors.”
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A Bright Idea at the Stars & Stripes
Ryan Smith had fond childhood memories of working in his grandparents’ indoor theater, as well as nights spent at the local drive-in. In 2003, at the age of 24, he opened the Stars & Stripes Drive-In Theatre with two screens and two used 35mm projectors, assisted by his parents.
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Today, with two screens that measured 35 ft by 70 ft, and one measuring 45 ft by 90ft, the earliest lesson he learned about drive-in theaters, said Smith, was that, “you just can’t get enough light on those big screens.”
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Smith selected Christie projectors, financing the cost of the digital conversion himself. Sonic Equipment Company of Iola, Kansas, supervised the installation and helped to train Smith and his staff.
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The impact was instantaneous. According to Smith, in the first week they opened, “People noticed that something was different. They realized the picture was brighter. And I was thrilled to provide my customers with ‘indoor-movie’ picture quality.”
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Smith is now eager to explore the expansion of his business with new kinds of content, such as sporting events, concerts, and cultural performances. “We were always constrained by film,” he said. “With digital, there are no limitations. We are very pleased with our Christie projectors.”
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“Our customers have all praised the outstanding image quality of Christie digital projectors and we love their ease of use, and their low cost of operation,” said Steve Zimmerman, director of business development at Sonic. “As a Christie certified partner, we look forward to helping America’s drive-ins enter the digital age and bring a new level of entertainment to the next generation of moviegoers and beyond.”

Studer Broadcast Academy is continuing in San Diego next week, February 14-16, at the TV Magic facilities. The Broadcast Academy sessions include hands-on training for Studer’s Vista consoles as part of certification modules that will provide engineers with proof of efficiency with the Vista line. In addition, the Open House sessions offer product demonstrations, with no requirement to pursue certification.


When: February 14-16, 2012
Where: TV Magic
8112 Engineer Road
San Diego, CA 92111
www.tvmagic.tv


*The sessions will be held in the Harman SBA truck located on the premises.


Schedule:
February 14: Open House (10 AM-6 PM)
February 15: SBE Chapter 36 Meeting: “Relink and Remote Access”
February 16: Studer Broadcast Academy: Morning Session (9 AM-12 PM); Afternoon Session (2 PM-5 PM)


Further details are available at usa.studer.ch and more SBA and Open House dates will be added in the near future.

CES 2012 in Las Vegas celebrated the ability of three companies, all siblings, to come together and provide unique solutions for the Microsoft, Intel, Qualcomm and Ericsson keynote presentations. High Resolution Engineering provided the screen switcher processing technology for the keynotes, Lightware USA supplied hardware for Digital Multimedia Matrix Routing, and High Resolution Systems furnished the UDC control software and hardware options.

“Every year the CES keynotes are more challenging due to the growing number of mobile devices – tablets, cell phones and other handheld systems – that participants want to use as sources on screen for their presentations,” says High Resolution’s Drew Taylor. “CES is such a big show that you really need to have some experience under your belt to master the logistics. I’ve been doing the keynotes for the last four years and [High Resolution Partner] Mike Taylor has over a decade’s worth of CES credits. We spend about 10 days on site working with each group to ensure the maximum amount of rehearsal and set up time – we’re going nonstop!”

This year the Microsoft, Intel, Qualcomm and Ericsson keynotes in the Venetian Ballroom all featured multiple big screens that spanned the width of the space.

High Resolution Engineering provided the screen switching technology with Vista Spyders, Lightware routers, DVI cables and control systems. The Lightware UMX and HDMI and DVI routers were supplied by Lightware U.S.A., the US distributor of professional AV products manufactured by Lightware Visual Engineering in Budapest, Hungary. They were utilized for onstage demos of tablets and other HDMI handheld devices.

High Resolution Systems supplied UDC Software and UDC 400, Lightware Touch controllers front of house and Spyder Touch controllers backstage to switch the screens. High Resolution Systems’ own Universal Device Controller (UDC) software ran on a Microsoft Windows 7 tablet backstage for router control.

UDC software was also employed in Panasonic’s booth on the convention floor. UDC was used in conjunction with a PESA HD router to switch and route signals to a huge wall of monitors and to play back clip information on Grass Valley T2 iDDRs (Intelligent Digital Disk Recorders) and KG 4K and 8K video servers. UDC allowed the manufacturer to access the clip names of all the files in its playback servers and configure the buttons to recall certain clips. UDC also read timecode from the 4K server and executed presets based on timecode of the current playing clip. Todd Hewitt was the UDC consultant at the booth.

Also on the convention floor, High Resolution Engineering helped fulfill the equipment needs of the Canon booth, providing a Spyder X20 for image processing.

“Only our trio of companies can offer such a comprehensive technology-equipment-control solution for the high-profile keynotes and meet the needs of major manufacturers like Panasonic and Canon on the show floor,” says Drew Taylor.

About High Resolution Systems
High Resolution Systems, a member of the Society of Broadcast Engineers is a company with a strong systems engineering and applications background. Its founders have decades of experience in the audio visual rental and staging industry, broadcast applications, A/V installations and system design. This combined experience allows them to provide the highest possible quality solutions to its customers in the most efficient manner. For more information, visit www.hrscontrol.com.