Seattle, Washington – December 10, 2013 — Freefly Systems, the innovative designer and manufacturer of handheld and aerial camera stabilization systems, has substantially increased the manufacturing volume of their groundbreaking MōVI gyro-stabilized 3-axis gimbal system due to overwhelming demand. The company now has MōVI M10 units available in stock and ready for immediate shipping.
Top cinematographers to action shooters are burning up blogs worldwide over the new range of moves that MōVI enables. DP Alex Buono, who uses MōVI for the Saturday Night Live film unit, explains that when you pick up the MōVI rig, “you suddenly get a rush of ideas for shots that are otherwise so hard to pull off…what you do with it will only be restrained by your creativity.”
Photographer/director/DP Vincent Laforet adds, “When you get MōVI in your hands and run, drive or fly, you see your clumsiness and bumps turned into a near perfect trajectory – thanks to Freefly’s insanely fascinating camera stabilization technology.”
The MōVI features Freefly’s proprietary and highly advanced control software/hardware and 3-dimensional navigation avionics providing smooth stabilization and acceleration correction. Designed to handhold camera packages up to 12 pounds/5.4kg, MōVI M10 supports cameras including the RED Epic, Canon 5D/1DC, and Blackmagic Cinema.
MōVI operates both in single operator mode, where the cameraperson self-steers the camera panning and tilting, as well as dual operator mode by using the included remote controller, wherein a remote operator has the same camera-steering control over a wireless connection. In addition, MōVI can automatically adjust the roll axis to maintain a level horizon line, and can also be preset to a Dutch camera angle. A Bluetooth connection further allows the camera operator to tune and personalize any of MōVI’s gimbal response parameters.
The MōVI M10 package includes the M10 Gyro Stabilizer, wireless transmitter system, docking stand, batteries and battery charger. Visit www.freeflysystems.com to see behind-the-scenes videos and to get ordering information including the expanding MōVI network of top professional dealers worldwide.
San Jose, CA — December 10, 2013 – NanoTech Entertainment announced it has helped fund over 50 percent of costs for World 1-1, the first in an epic series of documentaries on the history of video games and gaming. Additionally, NanoTech Entertainment is providing the 4K camera equipment for the project.
As part of the World 1-1 support agreement, UltraFlix, NanoTech’s streaming 4K Ultra HD service, has been granted exclusive 4K rights to distribute the documentary at four times the resolution of high definition. The expected release date for the documentary is October 2014.
A pioneer in bringing the 4K Ultra HD experience to consumers, NanoTech Entertainment will offer its UltraFlix streaming video distribution service with a comprehensive library of 4K titles beginning January 2014. The exclusive 4K distribution rights agreement with World 1-1’s producers is part of NanoTech’s commitment to continue expanding the UltraFlix channel’s offerings.
UltraFlix will deliver its pristine 4K Ultra HD content on a variety of devices including NanoTech’s Nuvola™ 4K Media Player, the world’s first streaming 4K set top box. Powered by NVIDIA Tegra 4, the Nuvola NP-1 moves easily from decoding 4K Ultra HD videos to playing state-of-the-art 3D video games to provide amazing gaming experiences.
The documentaries focus on the history of gaming and are being produced by Jeanette Garcia and Daryl Rodriguez. This highly-rated professional video production team is based in Miami, FL and produce commercial video projects and videos of private events.
Using a combination of interviews, archival footage and reflection, the documentaries will focus on the business deals, the personalities of the pioneers and the creations of the engineers. With a roster of interviews that reads like a “Who’s Who” in the history of gaming, the documentaries will appeal to early video game players who will enjoy reliving the creation of the burgeoning gaming industry, as well as the new generation of gamers that may not know how the evolution of their favorite hobby had an impact on today’s games.
The first documentary, World 1-1, will be on Atari, the device which helped launch the modern video game industry with the 1972 release of Pong. The interview list for Atari includes Nolan Bushnell, co-founder of Atari and Garry Kitchen, programmer for the Atari 2600 version of “Donkey Kong.”
Future documentaries will feature interviews with David Crane, co-founder of Activision; Warren Robinett, creator of Adventure, one of the world’s first RPGs; and Dona Bailey, co-creator of Centipede, one of the first games to attract a large female audience.
“Thanks to NanoTech Entertainment’s support, we’ll be able to see our project become a reality. We have already started interviewing and filming for the documentaries,” said Rodriguez. “Having our work distributed in 4K on the NanoTech UltraFlix channel is the icing on the cake for a piece about the history of the gaming industry.”
Garcia agreed and added, “One of the interesting facts that came out of our Atari interviews was that Nolan Bushnell turned down an offer from Steve Jobs, his former employee, to invest $50,000 in Apple during its early years. If he had made the investment, Bushnell would have owned one-third of Apple, which is now worth about $425 billion.”
“World 1-1 will provide many fascinating stories that need to be told,” said Jeff Foley, CEO of NanoTech Entertainment. “We are proud to be participating in the preservation of the history of the gaming industry and delivering it with the very latest in viewing technology.”
NanoTech Entertainment’s commercial grade Nuvola NP-H1™ 4K Ultra HD media streaming player is available now for $699 and is compatible with any brand of television and a variety of content delivery services. Upgradeable and expandable, the player features a variety of industry standard ports including eSATA and USB 3.0 connections that allow for the installation of an assortment of accessories, options and storage attachments.
NanoTech has also announced the Nuvola NP-1 4K Ultra HD Media player for consumers of 4K TVs. Purchasers of the NP-1 will receive 10 free video rentals in true 4K resolution, plus bundles of games and multimedia applications for $299.
About NanoTech Entertainment
Headquartered in San Jose, CA, NanoTech Entertainment is a technology company that focuses on all aspects of the entertainment industry. With five technology business units, focusing on 3D, Gaming, Media & IPTV, Mobile Apps, and Manufacturing, the company has a unique business model. The company has a diverse portfolio of products and technology. NanoTech Gaming Labs operates as a virtual manufacturer, developing its technology and games, and licensing them to third parties for manufacturing and distribution in order to keep its overhead extremely low and operations efficient in the new global manufacturing economy. NanoTech Media develops proprietary technology which it licenses to publishers for use in their products as well as creating and publishing unique content. NanoTech Communications develops and sells proprietary apps and technology in the Mobile and Consumer space. Clear Memories is the global leader in 3D ice carving and manufacturing technology. NanoTech is rede!
fining the role of developers and manufacturers in the global market. More information about NanoTech Entertainment and its products can be found on the web at www.NanoTechEnt.com.
White Plains, NY — Dec. 10, 2013 — The Society of Motion Picture and Television Engineers (SMPTE), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries, today revealed the individuals who will lead program organization and execution for the 2014 NAB Show’s Technology Summit on Cinema (TSC), SMPTE 2014 Annual Technical Conference & Exhibition, and Entertainment Technology in the Internet Age (ETIA) conference.
TSC takes place April 5-6, the first two days of the 2014 NAB Show in Las Vegas. Dave Schnuelle, senior director in the office of the CTO at Dolby and former chair of SMPTE Technical Committee 21 Digital Cinema, will serve as the chairman for the summit. The program committee includes several program committee members from the highly successful 2013 event, plus other industry notables.
The 2014 ETIA Conference, which will be held once again on the Stanford University campus, is scheduled for June. SMPTE Education Vice President Patrick Griffis will join Joyce Farrell, executive director of the Stanford Center for Image Systems Engineering (SCIEN), to head up the conference program committee.
For the society’s flagship event, the SMPTE 2014 Annual Technical Conference & Exhibition, Paul Chapman, senior vice president of technology at FotoKem, will serve as chairman and Jim DeFilippis, CGO at Technology Made Simple consulting, will serve as vice chairman. The conference will run from Oct. 21-23 following a pre-conference symposium on Oct. 20.
Additional program committee members include Patrick Griffis, executive director, technology strategy, in the office of the CTO at Dolby Laboratories; Corey Carbonara, IC2 senior research fellow and director of the Digital Communication Technologies Project at Baylor University and also a professor in the university’s Film and Digital Media Division; Pete Putnam, president of ROAM Consulting; Harvey Arnold, corporate director of engineering for Sinclair Broadcast Group; Al Kovalick, principal member and founder of Media Systems Consulting; and Kevin Stec, vice president of image technology research at Dynamic Digital Depth.
“In 2013 the Annual Technical Conference & Exhibition, TSC, and the inaugural ETIA conference drew remarkable attendance from a diverse group including leading media companies, educational institutions, service providers, content creators, technology innovators, and suppliers from the entertainment industry and Silicon Valley,” said SMPTE Executive Director Barbara Lange. “SMPTE set the bar high last year with a successful series of dynamic events, and I am confident that the leadership announced today will meet and exceed our lofty expectations for 2014.”
Further information about SMPTE is available at www.smpte.org.
About the Society of Motion Picture and Television Engineers
The Oscar® and Emmy® Award-winning Society of Motion Picture and Television Engineers (SMPTE), a professional membership association, is the worldwide leader in developing and providing motion-imaging standards and education for the communications, technology, media, and entertainment industries. An internationally recognized and accredited organization, SMPTE advances moving-imagery education and engineering across the broadband, broadcast, cinema, and IT disciplines. Since its founding in 1916, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 650 standards, recommended practices, and engineering guidelines. More than 6,000 members — motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students — who meet in Sections throughout the world, sustain the Society. Information on joining SMPTE is available at www.smpte.org/join.
Glendale, CA — Dec. 10, 2013 — Riedel Communications, a leading provider of real-time video, audio, data, and communications networks, today announced that RockWave Fiber Systems has used a Riedel RockNet real-time, low-latency audio distribution network to support the Red Bull AMA Amateur National MX Championship and the Traxxas TORC (The Off-Road Championship) Series. Enabling bidirectional fiber-based audio transport, the Riedel RockNet frames provided a copper cable alternative that allowed RockWave to cover the extensive race courses with much greater simplicity and ease.
“Managing the distance of various audio locations from the main audio mix is our primary challenge during race events, but Riedel’s RockNet solves this problem by providing flawless analog-to-digital conversion of audio, which then can be transported and distributed via fiber,” said Justin Maita, chief engineer at RockWave Fiber Systems. “The difference between using a couple of pieces of tactical fiber, rather than the many heavy DT-12 cables normally required, is impossible to convey. Ultimately, this approach saves us days on the install and a lot of time on the strike, thus allowing techs to spend valuable time working on other important technical details.”
Designed for heavy-duty road use, RockNet is a real-time, low-latency audio distribution network that conveys up to 160 24 bit/48 kHz audio channels on a single fiber core at distances of up to 12.4 miles. (Alternatively, the system can be used with RJ-45 CAT-5 cabling.) All devices feature locking IEC connectors for redundant power supplies, all other audio connectors are entirely gold-plated, and the circuit design is streamlined to assure ultra-low noise and minimum distortion for excellent audio quality.
RockWave used Riedel RockNet systems for the Red Bull AMA Amateur National MX Championship from July 28 to Aug. 3 at the Loretta Lynn Ranch in Hurricane Mills, Tenn., and at the Traxxas TORC series held in September at Nevada’s Primm Off Road Raceway. For production at both events, RockWave connected all locations with Riedel 351 and 352 fiber TX/RX devices and single-mode TAC fiber, to RockNet frames connected locally to one another via Riedel CAT-5 jumpers. In the field where audio required voltage for communications and IFBs, the company connected wetting devices to the frames.
Thanks to this Riedel solution, RockWave did not use a single piece of heavy DT-12 audio cable during the Red Bull AMA Amateur National MX Championship. Instead, the company used 16 RockNet frames, deploying half in the field and the other half in the main TV compound, where the network passed all the field audio, with signals going in both directions, to the main audio hub/mix over fiber.
With the numerous audio drops used during high-profile motocross and off-road races, production typically would require as many as 20 separate DT-12 cables, some going as far as 1,000 feet, to accommodate all the show audio. Installation of this cabling is easily a day’s work or more, but using the RockNet system and fiber, the engineer on site for the TORC event was able accomplish in one day the audio network configuration work that previously took two or three days.
At TORC, RockWave used 11 Riedel RockNet frames along with a Riedel MADI interface, which was installed in the broadcast compound to enable interfacing with primary audio. With this solution, the company was able to pass all audio for the show down two short pieces of coax cable, and then down TAC fiber to the field.
Further information about Riedel and the company’s products is available at www.riedel.net.
About RockWave Fiber Systems
RockWave Fiber Systems was founded in 2013 by a team of professionals with over 30 years of combined experience working in all areas of production, including broadcast, live music, corporate events, and resort A/V. Our commitment is to provide every client with a high level of technical support and customer service while implementing state-of-the-art fiber-optic technology capable of delivering all types of media (audio, video, data, etc.) in the most cohesive, practical, and cost-effective ways possible. www.rockwavefiber.com
About Riedel Communications
Riedel Communications designs, manufactures, and distributes pioneering real-time video, audio, data, and communications networks for broadcast, pro audio, event, sports, theater, and security applications. The company also provides rental services for radio and intercom systems, event IT solutions, fiber backbones, and wireless signal transmission systems that scale easily for events of any size, anywhere in the world. Founded in 1987, the company now employs more than 400 people at 11 locations in Europe, Asia, Australia, and the Americas.
Vancouver, BC — December 10, 2013 – As 2013 comes to a close many people will find themselves taking stock of what the year held for them, and perhaps making resolutions to accomplish more of their goals. It’s safe to say, in looking back at the last several months, Grammy award winning producer/mixing engineer Andrew Scheps might be looking forward to taking it a little easy, but probably not. His time is in high demand.
Scheps is a favorite of many artists, who range from all kinds of musical genres, not only for the results he brings but for his calm demeanor and thoughtful work processes. His latest accomplishments read as diverse as the legend on the boxes of holiday chocolates floating around offices this month – from gypsy-punk to country to heavy metal.
This past June saw the release of Black Sabbath’s nineteenth studio album “13″ which Scheps mixed. In July Gogol Bordello’s album “Pura Vida Conspiracy” debuted which he produced, recorded and mixed. October featured the release of his mixing prowess on AFI’s “Burials” album. This coming January will see the release of “That Girl”, his work with Jennifer Nettles, better known as lead vocalist of the duo Sugarland. According to Scheps: ”I used to try to only work 5 days a week, but that hasn’t been possible lately, there’s just been too much to do, which is a great problem to have. That said, I still try to keep the days to a reasonable length. I definitely feel there are diminishing returns with really long hours.”
Scheps did manage to take some time away from his mixing schedule to conduct a week-long seminar at Studio La Fabrique in Saint-Rémy-de-Provence, Southern France. ‘Mix with the Masters’ is a roster of workshops that bring together recording and mixing engineers to work with A-List record producers, engineers and mixers to improve their skills in music production.
When mixing for a new client Scheps follows a consistent strategy: “I listen through the rough mixes, and the questions I usually get the most useful information out of are finding out what the artists don’t like about the rough mixes or previous albums.” He is also very pragmatic about inevitable artist’s differences: “I always try everything and usually the differences resolve themselves. If you try to argue against an idea, it doesn’t work and usually takes longer than just trying it.” It’s easy to see why so many artists would be eager to bring Scheps into their projects.
In support of his philosophy of trying anything, Scheps has an impressive arsenal of analogue gear at hand. His studio, Punkerpad West, in Van Nuys, California is outfitted to accommodate most everything he could need. “The studio has just evolved over time. I love being able to do whatever I want without borrowing or renting gear.”
Part of his collection includes 500 series gear: ”I’ve had a 500 rack and some original API EQs and compressors for at least 10 years, maybe more. I like the gear itself and also not having to put in a power supply or any connectors , other than the edge connector, seems to keep the manufacturing cost down so the 500 series pieces are generally affordable compared to their standalone counterparts.” Scheps recently found himself in need of more rack room and turned to Radial to add to his gear. “I finally got sick of swapping modules in and out of the 500 series rack that I already owned and wanted a second rack. The Radial gear is so well built and reliable that the Powerhouse seemed an obvious choice.” He currently employs a couple of Radial modules. “I use the EXTCs (Guitar Effects Interface) all the time to interface to my modular synth and guitar pedals. Re-amping and using pedals while mixing has always been part of my work flow and with the EXTC it’s finally easy and bullet proof.” The Radial Tank Driver (Spring Reverb Interface) also gets a lot of action: “I love spring reverb, so it’s an awesome tool to be able to use the springs in my Hammond organ and guitar amps during the mixing process. Because you KNOW that reverb will sound good on everything, not just guitar. ”
For more information on the Powerhouse, EXTC, Tank Driver
About Radial Engineering Ltd.
Radial Engineering Ltd. is a leading manufacturer of fine products used by audio professionals and musicians around the world.
Delray Beach, FL — Dec. 10, 2013 — Archimedia Technology, a new company whose technology and applications bridge the gap between content producers and their archives without loss of quality, today announced the Archimedia Master Player v1.5. An upgrade to the company’s software player, v1.5 now supports the remainder of all common master formats in use around the world today — including the long-awaited, studio-driven SMPTE IMF — and contains new features that make the player a true 4K-era replacement for videotape machines for master-grade quality control (QC) and archiving functions.
“Videotape players are becoming less common in general, and are almost useless in workflows that include any 4K, DCP, DPX, or IMF. At the same time, modern file formats are becoming more useful, but that means they are also becoming more structurally complex,” said Mark Gray, Archimedia president and CEO. “For those and so many other reasons, we’ve upgraded our player to give media professionals in the file-based world all the advantages they had with videotape, and extend those advantages into the most modern and demanding professional formats. Now they can QC master files in HD and 4K and view what’s going into and out of their archives in HD and 4K. Plus, they can do it more affordably than with videotape players or mastering tools, which can be prohibitively expensive and might not offer an upgrade path to 4K.”
In preparation for the rapidly approaching onslaught of 4K-capable consumer devices, Archimedia has added support for Avid’s DNxHD format, Industrial Light & Magic’s OpenEXR format, Panasonic’s AVC-Intra format, Sony’s IMX and XDCAM formats, and the newest SMPTE format, IMF. Now users will be able to play even more mastering formats with precision from one vendor-neutral player, knowing all formats have been vetted and validated by professional users to ensure performance and accuracy based on their actual work samples.
Besides support for even more mastering formats, the Archimedia Master Player v1.5 also includes new features that eliminate the need for a videotape player. Key among them is the ability to control audio and video remotely using RS-422 jog/shuttle wheels.
“What we miss the most about videotape players is the jog/shuttle wheel, so we’re bringing it into these workflows by supporting popular PC-compatible ones such as those from BUF, DNF Controls, and JLCooper,” Gray said.
Also, in a first for the industry, users hear smooth scrub sounds for all supported formats in slow-motion, forward, and reverse while in jog/shuttle mode. The action sounds like an analog videotape in slow motion and fast motion, with no annoying clicks or digital noise as found in other players.
Other new features include the ability to browse and automatically check Digital Cinema and IMF packages — that is, their XML metadata files — for completeness and checksum integrity, and additional support for increased 4K frame-rate speeds up to 60 frames per second with Quad 3G-SDI.
The new version of the Archimedia Master Player will ship with all Archimedia Workstations starting in mid-December. The upgrade will be announced and available to existing customers in their Archimedia Master Player when connected to the Internet, and by download from www.archimediatech.com
Information about the Archimedia Master Player, including an online demo, a free trial, and online purchasing, is available at www.archimediatech.com.
Archimedia Technology specializes in the processing, conversion, and playback of mastering formats, including JPEG 2000, for the professional broadcast, digital cinema, and video archival industries. Its technology and applications bridge the gap between content producers and their archives without loss of quality. Archimedia’s products fulfill a critical piece of the production and archival workflows, encapsulating complex file interchange and quality control processes for mastering and archive formats into practical solutions that give end users a new level of access to their assets. More information is available at www.archimediatech.com.
Fleet, UK — December 10, 2013 -- L2Tek, a manufacturers’ representative and distributor of components and sub-assemblies for professional video and high-speed communications systems, today announced the availability of new adaptive cable-equalizer and cable-driver chips that provide the longest full-speed transmission distance for ultra high-definition video systems. Ultra HD is also known as 4K TV and has four times as many pixels as the standard 1920 x 1080 Full-HD.
Developed by Semtech Corporation, a leading supplier of analogue and mixed-signal semiconductors, the new GS6042 and GS6080 are mixed-signal BiCMOS adaptive cable equalizer and cable driver chips, respectively, which are designed to work over 75-Ohm coaxial cables.
The GS6042 delivers the industry’s longest cable reach at 6Gb/s UHD-SDI data rates, and also features best-in-class cable reach at 3G, HD and SD data-rates. To facilitate a simple transition from existing 3Gb/s board designs, the GS6042 is also footprint compatible with Semtech’s existing GS3440 long-reach equalizer.
The GS6080 is the industry’s first 6Gbit/s UHD-SDI cable driver. It forms the industry’s best-performing solution for 6G UHD-SDI connectivity, when used in conjunction with the GS6042 equalizer. As an alternative to the GS6080, the GS6081 also features dual 6G-UHD-SDI outputs.
Both the GS6042 and GS6080 support 6G UHD-SDI, SMPTE* ST 424, SMPTE ST 292 and SMPTE ST 259, and are optimized for performance at 270Mb/s, 1.485Gb/s, 2.97Gb/s and 5.94Gb/s.
Other characteristics of the devices include low power operation – 135mW typical for the GS6080 and GS6081 and 180mW typical for the GS6042 – and an operating temperature range of –40°C to +85°C
The GS6042 and GS6080 are available now from L2Tek in sampling and production quantities.
* SMPTE – Society of Motion Picture and Television Engineers
L2Tek is a manufacturers’ representative and distributor specialising in electronics hardware, software and semiconductor IP for the broadcast, professional video, IPTV, surveillance and industrial imaging markets. In addition, the company offers design services based on extensive experience in these sectors. From a portfolio of complementary components and systems, L2Tek works closely with its customers to provide expert technical support, enabling rapid, cost-effective product innovation.
L2Tek markets high performance semiconductors for image processing and related applications, FPGA IP, optical modules for video and telecom systems, power supplies, displays, single-board computers, and high speed connectors and interconnect assemblies.
The company’s engineering services ensure that technical solutions are precisely tailored to individual requirements. More information can be found at http://www.l2tek.co.uk.