Date posted: April 1, 2015

ZEPLAY 3.1 also amplifies feature set for improved functionality, price-to-performance ratio

Tightrope Media Systems is announcing a significant price drop to its popular ZEPLAY slo-mo instant replay system in advance of the 2015 NAB Show, ensuring an affordable and professional solution for any broadcaster, venue operator, university or mobile production company. In addition to more customer-friendly pricing, an enhanced feature set that includes wider codec support further increases the value proposition for ZEPLAY in live sports production.

At $45K, the new ZEPLAY list price eliminates the burden for budget-conscious customers, yet assures a professional, reliable and feature-rich slo-mo instant replay server that is easy to use, with a quick learning curve. ZEPLAY’s built-in RAID protection and native codec playback ensures the best possible signal integrity during live production. By integrating Avid DNXHD and AVC-Intra codec support – along with improved countdown windows, improved sequence navigation, go to timecode, and more visible content tagging – Tightrope’s strategy ensures the best possible price-to-performance ratio for instant replay.

“ZEPLAY is providing instant replays in stadiums and arenas throughout the country for NBA, NHL and NCAA football and basketball events – not to mention its popularity in outside broadcast trucks,” said Steve Israelsky, vice president of broadcast solutions, Tightrope Media Systems. “By lowering the cost of ZEPLAY, our core customers in the cable TV market, not to mention smaller sports venues, receive the same reliability and features that broadcasters and professional sports leagues enjoy today.”

Tightrope’s ZEPLAY price-drop makes the versatile, feature-rich instant replay server affordable for most budgets in sports production

The ZEPLAY 3.1 release, to be demonstrated at NAB (April 13-16, Las Vegas Convention Center, Booth C2613), adds the import and export of Avid DNxHD files, as well as import of AVCIntra files, in addition to ZEPLAY’s already robust codec support (ProRes, DVCProHD, MPEG2 I-frame). The incorporation of AVCIntra is especially valuable for production teams shooting scenics in the field. With no transcoding requirements, production staff can quickly plug the camera into ZEPLAY and achieve immediate, native playback.

ZEPLAY 3.1 also simplifies operation through the following value-added features:

  • Tags are prominently displayed on ZEPLAY’s built-in multiviewer to instantly identify live content.
  • Visual countdowns to the end of on-air content, both plays and sequence items.
  • It is now possible to jump to any moment of the action using ZEPLAY’s new Go To Timecode feature.
  • The T-bar can now be enabled automatically when starting ZEPLAY.
  • More visually appealing user interface, with increased speed and functionality while managing the 4×4 (4 ins, 4 outs) replay architecture.

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Date posted: February 3, 2015

Multiple camera feeds, real-time social media integration and three live streams among the key production initiatives for the live music series

Mobile production specialist TNDV lent its video and audio expertise to the debut of Skyville Live, a new monthly music series streamed exclusively online to audiences worldwide from Skyville Live studios located the heart of Nashville. The series provides music lovers with an unprecedented live music series, bringing together today’s hottest stars in a unique and interactive way in front of an intimate audience—usually around 100 attendees.

TNDV provided full turnkey mobile production services, including multicam production, multitrack audio and streaming support from its Elevation truck

Beyond bringing its Elevation truck to the event, TNDV provided crewing and streaming services for the premiere event, which featured performances from Gladys Knight, Martina McBride and R&B artist Estelle. TNDV’s turnkey services incorporated a significant, interactive social media element to the program, using Renewed Vision’s Pro Presenter 5 software to generate a real-time administered Twitter feed in full-screen and lower-third formats.

“The debut of Skyville Live required a turnkey mobile production service to support several live, broadcast-quality web streams, along with a full crew to capture multiple camera angles for future use in post-production,” said Nic Dugger, owner and president, TNDV. “This shoot required a great deal of creative skill to capture the intimacy of the performances, and utilized our technology, expertise and crewing to achieve the desired production results.”

The eight-camera shoot captured the event from three perspectives for the live webcast, which was supported using TNDV’s signal encoding infrastructure on board Elevation; and multiplatform streaming delivery from Blue Scout Media, a CDN based in Texas. Viewers could switch between the live performances, captured using six Hitachi HD1000 cameras; a robotic camera following the production team working on Elevation; and a separate robotic camera to capture the performances from the backstage vantage point. All HD streams delivered a live multichannel audio mix produced on board Elevation.

TNDV additionally employed its Aja KiPro video recorders and ProTools audio recording system to capture the feeds for post-production. All multi-camera, multi-tracked content was delivered to Skyville Live producers following the event, with the goal of distributing a program to media outlets in the near future.

TNDV’s mobile production experience with programs such as Bluegrass Underground, a live performance series seen on PBS, and CMT Backstage were among the key reasons the Skyville Live team selected TNDV to deliver a full range of services beyond a standard mobile production shoot.

“We needed a full-service company like TNDV to capture the true essence of what Skyville Live is about:  bringing a mix of iconic acts, popular artists and emerging stars performing in an intimate setting to a worldwide audience using digital media platforms,” said Wally Wilson, Executive Producer, Skyville Live. “With music being at the forefront of the Skyville Live online experience, high-quality audio is one of the most important elements we looked for when considering production partners.”

 

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Date posted: January 12, 2015

Mobile production specialist brings the unusual and unexpected to “19 Kids And Counting”, “The Real Housewives of Atlanta”

 

NASHVILLE, January 12, 2015 — The secretive nature of reality television is a big part of the allure for viewers of programs such as 19 Kids And Counting, punctuated by the record-setting 4.4 million viewers that tuned into Episode 9 this season.  Though viewers were aware they were tuning in for the wedding of Jill Duggar, one of the popular show’s principal stars, they were treated to unexpected guilty pleasures associated with the story that Reality TV fans enjoy.

The TNDV crew worked aside production company Figure 8 Films to delivery the unexpected in mobile production for 19 Kids And Counting: Jill’s Wedding

As Reality TV’s ongoing success is tied to the unusual and unexpected, the nontraditional approach of mobile production specialist TNDV has proven an ideal match for programs like 19 Kids And Counting and The Real Housewives of Atlanta — two shows that have recently relied on TNDV’s multi-camera expertise for special episodes.  TNDV also recently wrapped a multi-camera shoot for a second 19 Kids And Counting wedding — this one featuring Jessa Duggar — to air later in 2015.

“Most of the footage we shoot for these shows aren’t seen for weeks or even months,” said Nic Dugger, president and owner, TNDV, of his experience shooting the similarly surnamed 19 Kids and Counting family.  “While it’s fun to keep the plot twists under our hats, the real challenge is bringing our multi-camera experience to programs that are typically accustomed to single-camera, film-style shooting teams.”

TNDV’s flexible strategy for multi-camera shoots — Reality TV and otherwise — is fueled through its a la carte approach to mobile production, which carefully customizes the technology and workflow for each project.  The TNDV staff worked aside single-camera production teams from Figure 8 Films to strategize and enhance diversity in coverage, employing long lenses, jibs, Steadicams and robotic systems — all recorded independently along with multi-track audio.

With load-in and rehearsal time limited, Nic Dugger and his production crew at TNDV had limited time to prepare for the unexpected of reality TV - a situation where they excel

“In the world of Reality TV, thinking on your feet and quickly changing course are valuable assets,” said Scott Enlow, producer and director, Figure 8 Films.  “Although we usually operate with an extremely mobile crew of 8-12 members for 19 Kids And Counting, bringing TNDV on didn’t hamper or slow production one bit.  Nic and his crew brought a problem-solving approach to challenges with a great attitude, and were willing to adapt to last minute changes with professionalism and ease.  TNDV was a great asset and contributed greatly to our highest rated episode in the show’s history, as well as the highest ratings for TLC in nearly five years.  I won’t hesitate to bring them on again, whenever or wherever the need arises.”

TNDV has used two different trucks, Elevation and Inspiration, for the two Duggar wedding episodes.  For the recently aired 19 Kids And Counting: Jill’s Wedding episode, TNDV brought Elevation, its newest sixth and newest truck, to the production site along with 11 cameras.  According to Dugger, each camera was timecode-locked with a shared timecode feed delivered to truck sources on Elevation on Inspiration, as well as the loose ENG teams following the various characters seen in the episode.

TNDV also added microphone drops across the production space to ensure the highest audio quality.  The provision of wireless microphones for every character on the show augmented the audio experience for the viewer, producing an intimacy akin to being in the room for the weddings.  Additionally, TNDV supplied intercom feeds to every member of the production team, including the single-camera production teams working alongside TNDV staff to ensure everyone involved was on a communications channel.  TNDV also adapted two-way radios to the intercom system to enable a truly remote intercom architecture.

“By avoiding the traditional expectation of a multi-camera facilities provider, our clients depend on us to address the challenges they are facing with a level of professionalism that surpasses expectations,” said Dugger.  “For example, the live switch was used, but the ISO recording was far more valuable as you rarely know what to expect in a live environment.  Things happen very quickly and the team needs to be prepared, especially considering there is not much time for load-in, testing and rehearsal.  It is our job to capture genuine moments, and we cannot let technical problems get in the way.  This is why having a high-density, multi-point intercom matrix with remote capability is absolutely pertinent in reality TV shoots.”

TNDV used its Inspiration truck for The Real Housewives of Atlanta shoot, exemplifying how the company has an ideal mobile production solution for every project.  For this special episode, the TNDV team followed documented the opening of A Mother’s Love, a new play written by Kandi Burress, one of the show’s principal stars.  Using a similar multi-camera production model, Dugger and his team captured the nervous energy — and ultimate success — of Burress and the rest of the cast as the play came to life.

“There is no production environment we are afraid to face,” said Dugger.  “We excel at solving problems for the unusual and unexpected in production, and enjoy the challenge of employing the right technology for every environment.”

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Date posted: January 5, 2015

Velocity Productions integrates interactive video wall, custom iOS app with ProVideoPlayer2 software to maximize playback quality and flexibility

The John C. Maxwell Leadership Center at 12Stone Church in Atlanta honors the life and impact of John’s global and generational leadership as an internationally recognized leadership speaker, author and pastor.  In celebration of his continuing legacy, visitors today enjoy interactive audio-visual presentations of John’s life and achievements across an immersive video wall controllable from several user stations.  The engaging video and graphical content is driven exclusively by Renewed Vision’s ProVideoPlayer 2 (PVP2) software, bringing exceptional reliability and quality to a cost-efficient playback infrastructure.

Velocity Productions, an Atlanta-based production and systems integration company, was tasked with building out the video wall on a curved wall, using a custom mounting system to cleanly integrate multiple 46-inch Barco monitors in a four-wide, three-tall configuration.  The challenging integration project influenced the Velocity Productions team to evaluate technologies on the playback side that would not only deliver reliability and quality, but also bring balance to equipment and labor costs; and maintain operational simplicity moving forward.

Renewed Vision PVP2 software expertly plays out high-quality, user-selected videos from several iPads stationed near the video wall

“We primarily selected PVP2 for its low cost and ease of use, ensuring long-term value and a quick return on investment,” said Brian Morrison, director of AV integration, Velocity Productions.  “It’s affordable, and straightforward operationally.  The layouts are appealing, and the playlists are easy to create and manage.  Simply put, we wanted something that works well on a daily basis and provides the quality of other high-end playback systems on the market — without the expense.  That said, PVP2 is enabling the center to achieve some very interesting applications.”

The PVP2 software resides on a Mac Pro at the core of the operation, delivering two display port signals to a DVI adapter to transport signals to the video wall.  With the video wall arranged in a 4×3 configuration, Velocity Productions programmed the PVP2 software to split the wall into two, 2×3 sections, sending each a 1920×1080 image.  The video monitors then break up the video signal across all monitors in each 2×3 section.  Next to the video wall, visitors can trigger content using a Savant Systems six-button controller to drive the first level of interactivity.

Velocity Productions also developed a custom Savant Systems iOS app to control the video wall content.  PVP2 integrates with a Savant Systems controller via the DMX over Artnet protocol to add a second interactive element to the experience for the staff.  This allows staff to scroll through and recall any of eight educational videos produced exclusively for the John C. Maxwell Center from an iPad, iPhone or Apple laptop.  The eight videos otherwise rotate across the video wall on a continuous basis, all built around John’s leadership reputation with each video dedicated to a specific time in his life.

“PVP2 really gave us the flexibility to align the layouts and content to the screens, which was not easy given the unusual video wall format,” said Morrison.  “The software provides a level of adjustability without complexity.  While there is a feature that allows us to add layers for a richer output, we’re outputting a simple setup of layers where we’re matching outputs to signals coming and out.  But, we could make every single screen unique, and that ability to adjust moving forward is pertinent to its long-term value.

“Beyond that, the interoperability between PVP2 and Savant Systems was key in really taking the experience to a higher level,” added Morrison.  “From an integration perspective, it was easy as bridging the two systems together over the network.  Visitors to the center benefit the most, using our custom iOS app to watch and listen to presentations across several personal stations.  In the future, we anticipate adding 4K content to the video wall, which PVP2 natively supports.  We see many interesting opportunities with this installation moving forward.”

Date posted: December 16, 2014

NHL franchise finds operational value in ZEPLAY instant replay system’s speed, reliability, affordability and ergonomic design

ST. PAUL, MINNESOTA, December 16, 2014 — The Tampa Bay Lightning is giving its fans at Amalie Arena more to follow beyond the high-intensity NHL action on the ice.  As part of a recent $65 million renovation that includes a new production control room and the largest indoor video board in a North American arena, Tightrope Media Systems’ ZEPLAY slo-mo instant replay solution is delivering impactful, in-game highlights with the same lightning-fast speed as the front line.

The Tampa Bay Lightning chose ZEPLAY based on its speed, cost, reliability and streamlined operation, replacing an existing EVS replay system.  ZEPLAY’s multichannel capability (four in, four out) makes multiple streams available for playout just seven frames after camera feed selection.  The team’s production staff displays replays and highlights on a giant, four-sided Daktronics LED video display positioned high above the ice at Amalie Arena, the 20,000-seat facility—formerly known as Tampa Bay Times Forum—where home games are played.  The immense display measures 28 x 50 feet on its larger sides and 28 x 20 feet on the smaller sides facing the goals.

The ZEPLAY slo-mo instant replay server is helping the Tampa Bay Lightning video production staff accelerate instant replays for fans watching the games at Amalie Arena

“As the game unfolds, Lightning fans want to see a replay of that save or that goal, or any exciting play moments after it happens.  ZEPLAY keeps our fans happy by giving them all the replays they want without delay,” said Jorge Rosell, director of broadcast production systems for the Tampa Bay Lightning.

“The issue of speed goes beyond how quickly the crowd gets to see a replay,” he continued. “Before it becomes part of our live show, our director has to see it first.  The faster we obtain his approval, the faster we can get it out to the video board.  ZEPLAY simplifies the whole process because the operator only has to look at one screen to see the video choices, and all of the key features and functions are easily accessible from the controller’s T-Bar.”

Speed also comes into play when ZEPLAY is used to furnish official replays to the referees.  This occurs often during video production for The Tampa Bay Storm, the Arena Football League (AFL) team that also calls Amalie Arena home.  Since there are usually no broadcast trucks or rights holders associated with AFL games, Rosell said they often provide official replays and live-stream their big board show, including ZEPLAY replays and highlight packages, via the team’s website.

During the recent renovation, the production control room—which has a floor to ceiling window overlooking center-ice—went 1080i HD with ZEPLAY, a new Ross Carbonite 24 2-M/E production switcher and a Chyron Lex 3 live graphics system.  After discovering that the existing EVS system was too cost-prohibitive to upgrade, Rosell began looking at more affordable options that wouldn’t compromise operational features or reliability.  He approached the Ottawa Senators NHL team in Canada to inquire how they liked their two ZEPLAY systems.

“The Senators were the first NHL team to choose ZEPLAY, and they were very happy with it, noting its ease of use in addition to its affordability,” Rosell said.  “We jumped at the opportunity to be the second NHL arena to get a ZEPLAY.”

Tampa Bay Lightning games are covered by up to 12 cameras, including studio/field, robotic, goal-cams and wireless units.  With four HD-SDI inputs/outputs, ZEPLAY accesses camera signals from a Pesa Cheetah house router.  Besides creating instant replays, the system also plays out B-Roll, including highlight packages, directly to the video boards during show opens and intermissions.  When lower-third supers, keys, mortices or other video effects are needed, ZEPLAY’s output goes through the Carbonite switcher/Chyron Lex production chain before display on the large board inside the bowl.

In the near future, ZEPLAY will also send replays to a custom app that lets fans view them on their smartphones and mobile devices inside the arena.

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Date posted: September 9, 2014

SureView Systems announces they have successfully integrated the mobiDEOS UCNE range of cloud- and network-enabled surveillance systems into Immix, the company’s video based automation software.  Immix® delivers a single platform to manage video surveillance/CCTV, intrusion and fire alarms, access control, and VoIP audio.

The mobiDEOS UCNE system enables legacy CCTV systems to be quickly and simply connected through the device and onto Immix for remote monitoring across many locations to a central monitoring interface. Central stations now have the ability to offer a consistent service to their dealers or end-customers regardless of the equipment onsite.

Immix® meets this challenge by integrating more than 450 different types of DVR, VMS and IP cameras into the single platform. By developing a partnership with SureView Immix®, mobiDEOS can deliver almost any legacy video system through their UCNE to an Immix central station for remote monitoring. This cutting-edge integration takes full advantage of the transitional feature set in the UCNE solution and has the technical backing and support of both organizations.

“With Immix and mobiDEOS UCNE integration, central station customers can obtain the benefits of cloud and IP without having to forklift their current installations, which also can extend the life of their equipment,” said Sri L. Palasamudram, CEO of mobiDEOS.  “New customer acquisition becomes easier for the central station’s dealers and integrators as UCNE is compatible with analog cameras at fraction of the cost of alternative route, thus increasing the addressable market. UCNE also frees customers from the proprietary traps of closed systems, carving a pathway to an open system architecture that will accelerate a clean and affordable transition to IP systems.”

“mobiDEOS UCNE offers central stations a new way to easily connect Immix to legacy analogue equipment. By using the mobiDEOS UCNE solution and Immix, the central station can now offer customers a cost effective and easy way to provide sites with analogue camera equipment and the latest range of next-generation video monitoring services,” said Craig Evans, Managing Director of SureView Systems Ltd.

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Date posted: March 20, 2014

White-label uVOD solution improves on leading video-on-demand streaming services with support for live TV channel delivery

Unified Video Technologies (UNIV), a provider of complete media ecosystems and software services for broadcasters, enterprises and the entertainment industry, will debut a new front-end interface for its white-label uVOD video-on-demand (VOD) solution at the 2014 NAB Show. In an innovative, value-added twist on the Netflix-like user experience it offers, the portal enables subscribers to view real-time linear TV as well as on-demand programming.

The uVOD Web Portal combines intuitive user navigation and account management with well-organized content libraries for live and on-demand streaming of over-the-top (OTT) content.   Unlike competing services, the uVOD Web Portal also enables consumers to search and stream linear TV programming.  Easy-to-use navigation tools allow consumers to smoothly browse through selections, clicking or highlighting dynamic thumbnails to retrieve trailers, program description and other information.  Easy-to-understand account management steps also allow consumers to choose subscription or transactional models from the service provider for both linear and on-demand programming – an industry first.

UNIV has integrated adaptive bit streaming into the uVOD platform, with automatic recognition of bandwidth conditions to deliver streams at the most appropriate speed.  This ensures the best possible consumer experience on any user device, including smartphones, tablets and OTT media players.

“We’re convinced that no other vendor offers a similar service of uVOD’s depth,” said Pablo Goldstein, CEO, UNIV.  “Only a few companies offer OTT models in software-as-a-service structures at an operator grade to give both the consumer and the service provider a unique experience.  We are advancing it several steps further through the uVOD portal.”

The service provider benefits beyond being able to offer a dynamic and user-friendly VOD service to its customers.  Everything about uVOD ties to the CMS (content management system), which is essential to uVOD’s design as a white-label service.  uVOD automatically loads the look and feel of the operator, from logos to color schemes, along with the programs and movies that the operator has the rights to deliver.  This is essential as it accelerates time to market while increasing profitability.

Additionally, a flexible back office structure integrates the service provider’s billing systems with uVOD’s managed services platform to automate billing and subscriptions.  That integration can be easily disabled if the service provider wishes to handle these business processes in house.

At its NAB booth (N8023), UNIV will demonstrate the multiplatform capability of its white-label uVOD video-on-demand (VOD) solution, playing out content to iOS and Android tablets.  The demonstration will explore the new uVOD Web Portal, including its personalized front-end interface and navigation of content libraries.  The demonstration will also show the back-office capabilities that automate billing, subscriptions and other transactions.

Interested parties can contact sales@univtec.com to schedule in advance of the show, which takes place April 7-10 at the Las Vegas Convention Center, to schedule an appointment.

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Date posted: July 22, 2013

First gig for TNDV’s new audio truck Vibration is to mix and record country music festival for High Five Entertainment

TNDV, a Nashville-based mobile television production company, provided broadcast audio mixing and recording, as well as video gear and expertise, to High Five Entertainment for its HD production of country music Superstar Toby Keith’s Oklahoma Twister Relief Concert.

The all-day festival—held July 6 at the University of Oklahoma’s Gaylord Family-Oklahoma Memorial Stadium in Norman, OK—featured non-stop performances by a stellar lineup that included Toby Keith, Garth Brooks, Trisha Yearwood, Willie Nelson, Carrie Underwood, Sammy Hager, Ronnie Dunn and Mel Tillis.

The TNDV crew produced and multitracked audio onboard Vibration using its Studer Vista 9 digital audio console

At the request of long-time client High Five Entertainment, an Emmy Award-winning video production company in Nashville, TNDV provided its new audio truck Vibration for audio multi-tracking and music mixing, along with technical management expertise.  TNDV donated its talent, time, and equipment to the cause of helping victims of the May 2013 tornadoes that struck the Moore, Oklahoma area.

“It was an honor and pleasure to be associated with this momentous benefit concert,” said Nic Dugger, TNDV’s owner.  “This was also the first project of significance for Vibration and it performed exceptionally well under very demanding circumstances.  Since the eight-hour concert came together in a relatively short time, our crew had to make swift creative and technical decisions and respond on-the-fly as the fast-paced production unfolded.”

The TNDV crew included Nic Dugger, who served as on-site technical manager; Adam Ellis, TNDV engineer-in-charge of Vibration; and Mills Logan, a freelance audio mixer and recording engineer who has worked closely with Toby Keith on all his records and two movie soundtracks since 2005.  The crew devoted four days, including set-up and show days, to support their High Five Entertainment clients.  Representing High Five on-site were Executive Producers Edie Lynn Hoback and Martin Fischer; and Production Coordinators Ashlee Locke and Catherine Melvin.

High Five Entertainment captured the performances and excitement of the day—culminating in a spectacular fireworks display—in HD video and surround sound for post-production. Considered one of the largest music concerts in Oklahoma history, High Five documented the event in anticipation of a network TV special and/or DVD distribution deal, to be determined.

Good Vibrations

Designed for audio mixing and recording of broadcast television and digital film productions, Vibration is a 53-foot semi-trailer that houses a Studer Vista 9 digital audio suite, machine room, and comfortable client lounge with custom furnishings and hardwood floors.

While the truck can handle over 256 inputs simultaneously, the concert required mixing 128 inputs delivered via single fiber cable that ran over 1000 feet from stage to truck.  Using the video production’s video and timecode reference, audio signals were recorded onto Vibration’s ProTools recorders, with back-up recordings on four Joeco MADI recorders.  TNDV’s Ellis and Logan also positioned 10 Audio Technica mics around the stadium—including six shotguns directed towards the upper decks and four condenser mics at the front of the stage—to pick up ambient/crowd sounds to add greater dimension to the audio mix.

While mixing all the sound sources on the Vista 9 console, Mills Logan watched the 1080i HD video program mix—produced by the University of Oklahoma’s in-house production center using 13 manned HD cameras—as well as ProTools Mix Window displays on the truck’s four large Samsung multiviewers.  “The Studer Vista 9 console with ProTools recorders was a flawless combination,” said Logan, whose first hands-on experience with the console and truck was on set-up day.

“There was no time to do sound checks and there were only 20 minute breaks between performances. But the audio mixing and recording went very smoothly because the console was very intuitive, with lots of ergonomic, timesaving features, like the ability to pre-configure the board and instantly reset or recall memorized settings,” said Logan. Despite the enormity of the task, Logan said the console was a joy to work on and sounded fantastic.

According to Adam Ellis, who played a significant role in building the truck, “Vibration was designed to put freelancers at ease, even if they’ve never worked on a Studer Vista 9 before,” Ellis said.  “Having a simple, streamlined workflow is everything, especially during a live event.  The faster audio mixers get acclimated to the workflow, the sooner they can focus on being creative.  And that’s what really matters.”

Date posted: March 26, 2013

StreamGuys integrates Ensemble Video’s content management capability into its cloud-based streaming architecture to enhance end user flexibility with media assets

StreamGuys and Ensemble Video have joined forces to bring broadcasters, businesses, universities, and other organizations the best in multi-platform video content delivery and management.  The relationship incorporates the Ensemble Video Platform into StreamGuys’ cloud-based streaming architecture, giving end users a robust and user-friendly streaming platform that fully integrates the professional video content management and publishing experience.

StreamGuys is known for its resilient, reliable streaming architecture, enabling high-quality, bandwidth-efficient video and audio delivery to multiple devices (web, mobile, OTT) — and in multiple formats.  The Ensemble Video integration gives customers a video content management system to more effectively manage, coordinate, and syndicate their video content within the StreamGuys platform, along with toolsets to publish and distribute content across many platforms.

Content producers and distributors, for example, can easily access multiple libraries to search and manage content, from editing and copying video content to adding metadata.  Similarly, large organizations (universities, corporations) can easily share content among multiple departments, and manage various web publishing options to maximize enterprise-wise impact.  Elsewhere, broadcasters and media companies can more easily customize, or “skin” media players to better represent their brands.

“This strengthens the connection between content distribution and management in the StreamGuys architecture,” said Jonathan Speaker, COO, StreamGuys.  “Digital asset management is a significant piece of any media-based workflow today, and the integration of this functionality into our content delivery platform empowers our customers to work with greater flexibility and efficiency across their media libraries.”

Like StreamGuys, Ensemble Video utilizes the Wowza Media Platform to support multiple devices, formats, and bitrates — providing a common connection between the two systems to simplify integration.  Ultimately, the combined solution ensures that customers no longer have to marry separate content delivery and content management platforms to build their own integrated solutions.

“Ensemble Video is a leading online video platform that simplifies management and publishing of video for any organization,” said Andy Covell, CEO, Ensemble Video. “We are very impressed with the StreamGuys streaming capabilities and infrastructure, and this integration is a great option for any organization that needs top-notch streaming services together with the flexible management capabilities of Ensemble Video.”

The integrated solution is available and “shipping” today, with early customers including video production companies in the broadcast and corporate communications verticals.

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Date posted: March 25, 2013

Mobile Production specialist to produce live concert audio and video for partial broadcast

TNDV heads to Atlanta early next month with its 40-foot expanding side mobile production truck, Aspiration, to produce audio and video for multiple live concerts during the NCAA Final Four tournament.  The free, three-day Big Dance Concert Series event, taking place at Centennial Olympic Park near the Georgia Dome, will provide entertainment for Final Four attendees, with portions airing on CBS and streaming live to the web.

The Big Dance Concert Series brings several local and national acts to the same stage each night.  Each concert is treated as a unique event, with different daily sponsors and special needs for each band.  TNDV will work alongside production specialist GoVision, which hired TNDV and will provide all large format video displays for the concerts; and Unlimited Visibility, which will oversee lighting and staging among other production tasks.

Aspiration is built to support large, multi-faceted productions such as the Big Dance Concert Series, with multiple cameras, high-capacity routing and switching, and a comprehensive audio suite on board.

Aspiration is built to support large, multi-faceted productions such as the Big Dance Concert Series, with multiple cameras, high-capacity routing and switching, and a comprehensive audio suite on board.  However, the production challenges of injecting additional excitement across multiple events and re-creating that excitement for home viewers — requires intense focus and dedication.

“This is a tough balance to achieve,” said Nic Dugger, president, TNDV.  “The on-premises crowd wants to see the show better.  They want tight shots of Zac Brown, and want to see the details of the instruments that the Dave Matthews Band is playing.  Home viewers want a more complete story, with wide crowd views and establishing shots that make them feel as if they in the venue.  Our talented crew will work alongside GoVision and Unlimited Visibility to accommodate both needs.”

Dugger anticipates special audio needs given the multiple band rotations, with TNDV producing special re-mixes for live broadcasts.  TNDV will use festival style patching with a digital stage box and MADI fiber to feed Aspiration, and add crowd microphones to ensure that the live sound is authentic with local crowd flavor.  The complete Aspiration audio production workflow will include ProTools multi-track recording and JoeCo MADI recorders.

On the video side, Dugger expects on-demand Deko graphics and Harris Broadcast HView SX Hybrid multiviewers to play big roles, with multiviewers used inside and outside the truck to monitor live signals.  TNDV will also use multiple Aja Ki-Pro Recorders to provide quick recorded media turnaround to participating bands, and employ various up, down and cross-conversion tools to accommodate the GoVision displays and live broadcast feeds.

“The nightly change in sponsors creates significant operational challenges, including the ability to quickly reconfigure the technical infrastructure for different web streams,” said Brady Haass, director of sales, GoVision.  “Aspiration clearly has the capacity to accommodate three major sponsors and all of their interactive needs from a mobile production standpoint.”

The complete lineup of bands can be found at:http://www.ncaa.com/final-four#!big_dance

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