Aphex 230 Master Voice Channel Demo Video is a post from: Get It In Writing

Peter Bentley

Managing Director Peter Bentley of ICU Grow, Pty., ToolsOnAir’s United States distributor, will oversee the day-to-day operations of the US offices, including sales, marketing and support.

“We’re very proud to be representing such a fantastic suite of powerful applications,” remarked Bentley. “I’ve worked in Mac-based technologies for more than 20 years, and the ToolsOnAir just: Broadcast Suite of products stands out as one of the most impressive and innovative I’ve had the pleasure to work with.”

As their first priority, Bentley and staff are working to set up a reseller network to service the US market. “The broadcast arena is expanding into some exciting areas and ToolsOnAir offers a cost-effective, accessible solution that works for everyone from niche webcasters to broadcast professionals.”

Alister Robbie

ToolsOnAir’s Alister Robbie is in the process of training regional support specialists to meet the needs of ToolsOnAir’s growing base of users in the US. Robbie will also be based out of the Los Angeles offices.

“As an editor, I’m excited about any product that can save me time and streamline my workflow,” said Robbie. “ToolsOnAir’s applications really have made a tremendous difference not just to my own projects, but in the workflow of a growing number of high-profile applications on several continents. The demand we’re seeing in the US market has been phenomenal, and I’m truly enjoying seeing the looks on people’s faces when I show them the power behind these products.”

ToolsOnAir’s US offices are located at 11833 Mississippi Ave, Suite 100, Los Angeles, CA 90025. They can be reached at +1 424 901 1272.

ToolsOnAir Opens US Offices is a post from: Get It In Writing

V Festival

London, UK, June 2010….
One of the most well-worn business clichés states that the key to success is to “find a need and fill it.” For London-based Blink TV, that philosophy has been anything but a cliché.

As Blink TV’s Head of Production Tom Colbourne explains, the company has always made it a priority to go the extra mile and exceed clients’ expectations. “We noted early on that while our clients knew they wanted to incorporate large-scale video into their

productions, in many cases there was an opportunity to help them refine their vision by providing content,” Colbourne says. “It made perfect sense for us to offer that content, by way of helping to design and create graphics and visuals for the show.”

Ham Football (click for hi-res version)

Another logical avenue for expansion for Blink TV was to offer multi-camera video shoots of live events. From concert footage to sporting events, Colbourne points out that bringing live video into the mix was a no-brainer. “We have our people and our technology in place at more than 500 shows a year, and there are so many opportunities for our clients to exploit that.” Blink TV provides live satellite hookups for cinema and web streaming, as well as editing and producing live concert footage for DVD release.

One of the biggest challenges, Colbourne explains, has been finding the right tools that can keep up with Blink TV’s fast-paced, high pressure environment. With a Mac based workflow from concept through delivery, Blink has made extensive use of ToolsOnAir’s just: Broadcast Suite of applications to streamline the process, using just:in for multi-stream video capture and on-the-fly editing, just:live for instant playback manipulation, and just:play for timeline-based scheduling of content playout.

Tom Colbourne, Blink TV Head of Production (click for high-res version)

“While we do use traditional broadcast OB trucks and hardware for larger productions, they’re expensive, require a big crew, and tie you to a proprietary system,” says Colbourne. “Recently we’ve seen

the introduction of a few software based solutions, but most of them are running on PC servers, which we found to be clunky and less than stable, and which necessitated our constantly converting media.

“What excited us about ToolsOnAir is the way it interfaces with all facets of our live work. Whether it’s working with multiple live camera feeds, editing and playing out of instant replays to screen, or placing graphics on screen, ToolsOnAir’s Broadcast Suite is ideally suited for the work we do.”

One of Blink TV’s fortes is in creating visual content to enhance live performances and sporting

events, from atmospheric graphics and video to targeted pre- and post-show advertising. Live playout of program material is facilitated using just:play to drop files on a timeline, and overlay multiple graphics layers. “Program content is custom created for each show, tailored specifically to the requirements of the artist and audience,” says Colbourne. “Blink was one of the first companies to adapt big screen content specifically for live music performance. We understand the creative objectives and production dynamics because it’s where we operate every day.”

Colbourne continues, “When we started out more than ten years ago, large screens were mainly being used

just for live camera relay – people weren’t making full use of them. Now, whether it’s a sporting event or a concert, these screens are literally running non-stop from the moment the doors open until the venue is cleared. Using just:play enables us to automate that content playback with a degree of control we’d otherwise not have.”

Capital STB (click for hi-res version)

In fact, says Colbourne, Blink recently completed a major show at Wembley Stadium that featured multiple artist performances. “The show ran from 4:00 PM to 10:00 PM with four minute changeovers between sets. We provided video content during set changes, as well as visuals behind the artists. It was literally seven hours of non-stop video content. just:play was essential to our ability to meet that demand.”

For live sporting events, Blink TV crew provide multi-camera coverage using just:in to capture multiple live HD feeds, editing highlights and instant replay footage while files are still being captured. “We can edit on-site using Final Cut, and just upload the content as QuickTime files,” says Colbourne. Clips are then inserted into just:live for instant playout on the large screens. Real-time RSS feed or other information is overlaid as tickers or lower third graphics.

“We also edit a highlights package during the first half,” he adds. “We pick out the action clips as it’s recording, trim them and upload them for playback during halftime. Meanwhile, we can create clips for their websites, which can be uploaded during or right after the game.”

For Blink TV, what began as a good idea has grown to become a powerful and impactful means of communicating with their audience, from focused content and advertising to live capture and dissemination. In the time-intensive world of live event production, Blink TV depends on ToolsOnAir’s just: Broadcast Suite to help maintain an edge over the competition.

For more information visit www.toolsonair.com

The Big Screen is Part of the Big Picture is a post from: Get It In Writing

Sun Valley, CA, June 2010….Late last year, music industry veteran Rick McClendon shook things up with the introduction of a whole new business model. McClendon’s Pro Sales Management was the first company in professional A/V to offer outsourced sales management consulting, bringing the sales strategies and expertise of major corporations to small and mid-sized music technology manufacturers. The company’s rapid growth within the professional audio and MI markets has gained McClendon recognition and spawned imitators.

Now, McClendon’s success with one client has led to even greater opportunity. Shortly after signing on with Pro Sales Management, reknowned pro audio manufacturers Aphex Systems was acquired by DWV Entertainment, the newly created company run by industry veterans David Wiener and Robin Sibucao. The new owners took notice, and as one of their first acts, Weiner and Sibucao have appointed McClendon to the position of General Manager of Aphex Systems.

“Rick’s resume and reputation speak for themselves,” said DWV Co-Founder and COO Robin Sibucao. “In a very short time, his work has had a major impact on the Aphex brand. Rick was the obvious choice to lead Aphex into a new era, and we’re pleased to welcome him on board.”

“Aphex is one of the audio industry’s legendary success stories,” added McClendon. “It was also one of Pro Sales Management’s first clients, and as such holds a special place for me. I was both surprised and honored to be offered the position, and I’m truly excited for the opportunity to help build a new direction and a new future for this great company.”

McClendon’s appointment was officially announced at the recent InfoComm Convention in Las Vegas, where he joined David Wiener and Robin Sibucao in meeting with colleagues and customers.

McClendon is New GM at Aphex is a post from: Get It In Writing

But NAB has gone beyond merely offering a Virtual Press Office as an option. This year, the organization has declared that the distribution of any and all press kits and other info, in any form, will not be permitted in the press room. Instead, manufacturers wishing to distribute their info to media attendees must do so online, via a third party company, for a fee starting at $375.

Here’s an excerpt from a letter received by one editor:

You may possibly not be aware that NAB is indeed eliminating paper press kits, CDs and USBs in the press room for NAB 2010 and replacing them with an online press office.

Yes, that means if you are heading to NAB right now with your company/client press kits or USBs you will NOT be permitted to distribute them in the press room. You will be turned away.

Seems NAB has unilaterally decided to cede control of this press room function to a third party – and all exhibitors are now required to pay that third party to post releases for NAB online.

This is nuts. As I said last time, journalists don’t want to surf and search through the online press kits of 1,000+ NAB exhibitors – on any web site. We don’t have the time and we just don’t work like that. Absolutely nuts.

This has nothing whatever to do with ‘going green’. But it does make the job of both journalists and PRs attending NAB a lot more difficult. It’s an insult to NAB exhibitors and to the world’s working press.

If NAB had asked us we would have told them. They don’t listen to journalists – but they may listen to exhibitors.

If you think it’s wrong that the distribution of your press kits, CDs and USBs to journalists is removed from the NAB show, then please email Dennis Wharton (dwharton@nab.org) or Kris Jones (kjones@nab.org) and let them know what you think.

Feedback to my last mail on this subject was 100% supportive: you do not want press materials to be removed from the NAB press room. But this time you’ve got to let NAB know – not me.

Personally, I’m a fan of online resources, and an ardent supporter of going green. But the only green involved here is profit margins. I have to wonder, though, what kind of effect this will have going forward. To pose a question that I, and many of my industry colleagues have been asking for a long time now….if we can do this all online, why do we need trade shows…?

NAB Makes “Virtual” Press Office the Only Option for Media is a post from: Get It In Writing

VISTA, CA….RJM Music Technology has introduced the Y-NOT, a compact, full-featured A/B/Y unit that allows guitarists to easily switch between, or combine, two outputs. Using the Y-NOT, guitarists can choose between two distinctly different amplifiers, enabling a player to alternate between or combine different sounds in a live or studio environment.

The Y-NOT is designed as a powerful solution for switching a single audio signal between two outputs. Guitarists can use the Y-NOT to switch between amps with clean and distorted signals, or between the individual inputs of a dual-channel amp. Unlike traditional A/B switchers, the Y-NOT’s high-quality audio buffer and isolation circuitry adds no undesirable coloration or noise to the signal, resulting in a pure, unadulterated sound and smooth, transparent switching.

The Y-NOT also offers advanced features including switching via MIDI program or continuous controller commands or via a standard two-button footswitch. Other features include a switchable buffer, isolation transformer and phase inversion.

RJM Music is well known among dedicated guitar aficionados for their high-quality electronic devices created specifically for guitarists and electronic musicians, including the Amp Gizmo, Effect Gizmo, RG-16 and MasterMind. RJM users include well-known guitarists from a wide range of musical genres, including Allan Holdsworth, Dweezil Zappa, ZZ Top’s Billy Gibbons and Green Day’s Billy Joe Armstrong.

The Y-NOT is available at music retailers across the United States, including Sweetwater Sound, as well as dealers in Europe, Asia and Australia. For more information on the Y-NOT and other RJM Music Technology products, visit the company’s website at www.rjmmusic.com, or view a video of the Y-NOT on YouTube.

RJM Music Answers the Age-Old Question, Y-NOT is a post from: Get It In Writing

Aimee Mullins has built a career as a model, actor and activist for women, sports and the next generation of prosthetics. The records she broke at the 1996 Paralympic Games made people notice, but it’s what she’s done since that’s truly admirable. Plenty of people pay lip service to the idea of not giving up, of not acknowledging “can’t” and choosing not to wallow in self-pity, but Aimee is a person who, despite being born without shinbones, truly walks the walk.

Just a bit of inspiration…. is a post from: Get It In Writing

Part of ToolsOnAir’s Broadcast Suite of real-time, Mac OS-based video solutions, just:live will support native control of Euphonix’s popular Artist Series control surfaces via Euphonix’s EuCon Ethernet protocol.

“Many of our users have been asking about controlling our timeline-based applications via external control surfaces, and the Euphonix Artist Series has been the most popular request,” says Gilbert Leb, ToolsOnAir’s VP of Sales and Marketing. “When we spoke with Euphonix about EuCon support, we were pleased to find they were very receptive, and we were able to quickly implement the EuCon protocol into our software.”

“ToolsOnAir’s just:live software is an attractive option for many of our video-based users,” added Derk Hagedorn, Director of Worldwide Channel Marketing for Euphonix. “Many just:live users are also running applications like Final Cut Pro and Pro Tools, and they’re excited about the  Artist Series’ ability to support on-the-fly switching between these programs.”

Both ToolsOnAir and Euphonix will be featuring Artist Series support for just:live at the upcoming Broadcast Video Expo in London, and the National Association of Broadcasters (NAB) convention in Las Vegas.

###

About ToolsOnAir:

Based in Vienna, Austria, ToolsOnAir designs intuitive global workflow solutions to meet the time-intensive demands of today’s fast-paced video broadcast professionals. The company’s acclaimed just: Broadcast Suite of powerful QuickTime-based applications delivers seamless integration of multi-format video, graphics, automation and asset management. For more information visit www.toolsonair.com

About Euphonix:

Euphonix, a leading manufacturer of professional digital audio consoles and recording equipment has provided customers worldwide with trusted media production solutions for over 20 years. In January 2008 Euphonix released its revolutionary line of Artist Series media controllers. Comprised of MC Transport, MC Control, MC Mix and MC Color, the Artist Series brings the unparalleled resolution, speed and software integration of Euphonix’ high-end consoles and controllers into the hands of the individual. For more information call +1 (650) 855-0400 or visit www.euphonix.com

ToolsOnAir Announces Support for Euphonix Artist Series Controllers is a post from: Get It In Writing

Now, TV broadcast looks set to follow down that path. TV is no longer the province of deep-pocketed global networks. A new generation of upstart broadcasters is emerging, using the power and penetration of the web to reach their audience.

TV Broadcast Europe reports on the new model for TV broadcasting.

The New Face of Video Broadcasting is a post from: Get It In Writing

Perth, Australia…This city’s Northbridge district has long been known for its diversity and its nightlife. Now the area is evolving to become a family-friendly community and cultural nexus, thanks in no small part to the recently completed Northbridge Piazza, home to the city’s first Urban Screen.

Broadcasting a mix of video and interactive programming, the Piazza’s Urban Screen is part of a growing global network of outdoor big screens focused on providing multimedia and interactive content within public spaces. As media director Damien Blythe explains, the screen’s programming is designed to not just entertain, but to encourage participation and foster a sense of community.

“Much of what we bring to the screen is created by various local artists and cultural groups, and includes a fair amount of interactive multimedia content,” he says. “We also share content and ideas with other urban screens worldwide. Our goal is to keep it interesting and unique, and to make it more than just a passive viewing experience you can get at home.”

Blythe, a veteran of Australia’s first urban screen at Melbourne’s Federation Square, says one of the biggest challenges is simply maintaining the intensive schedule of programming. With a small staff and a limited budget, broadcasting from 7:00AM to 11:00PM seven days per week would be next to impossible without the aid of ToolsOnAir’s just:play and Apple’s Quartz Composer software.

“When I worked at Fed Square we tried a number of proprietary systems, none of which really did what they were supposed to,” says Blythe. “I was looking for an integrated, Mac-based solution, and ToolsOnAir fit the bill.” A single Mac Pro oversees the video playback scheduling via a simple Apple script applet utilzing just:play, seamlessly automating sources ranging from DVD, satellite and free-to-air TV to web-based video and in-house productions.

Much of the screen’s most innovative graphics and interactive content is created by acclaimed video designer Nick “Pogo” Bertke. Bertke, whose Pogomix.net website is a top Internet draw, uses ToolsOnAir’s CompositionBuilder software within Apple’s Quartz Composer.

“My background is in Photoshop and After Effects, and it was a simple transition to working in CompositionBuilder and Quartz Composer,” Bertke observes. “It’s a very powerful and flexible application, and streamlines the workflow significantly. Before we’d always have to render files out of After Effects, which was tedious and time consuming. Using CompositionBuilder and Quartz Composer we can use motion-based images directly by dragging them into just:play.”

In addition to creating studio-sanctioned “video mash-ups” of well-known movies, Bertke uses CompositionBuilder and Quartz Composer to design interactive graphics that encourage audience participation. Recent creations have included a photo wall where viewers can upload pictures via their Bluetooth-enabled phones and interface with whimsical “thought bubbles,” as well as a piano keyboard graphic triggered by people walking across the keys.

“We’re always experimenting with new ways to engage people,” says Blythe. “Most interactive technology has been designed for individuals or small groups of people. When you get a group of 200 or so people involved in a large outdoor space, the interaction is amplified. It opens up the medium for people and facilitates expression.”

Employing such a wide range of data-intensive sources could easily become a recipe for high maintenance, but Blythe says ToolsOnAir’s technology goes a long way toward streamlining the workflow. “There is nothing better than watching a fully interactive program come through the scheduler without having to switch to another computer or requiring another A/V operator. ToolsOnAir is unique in that it goes beyond being a simple scheduler, giving us a single user interface to control the entire multimedia system. We’ve been able to shave off 20 to 30 hours per week of time we’d otherwise spend rendering and processing media, and that’s time we can spend exploring creativity in Quartz Composer,” he says.

“The promise of technology has always been about making things simpler so we can focus on the creative,” Blythe concludes. “There’s only x amount of time and budget available in any endeavor, and if we can limit the time spent on the process, we can spend more time on the creative. Ultimately that means a better experience for our viewers.”

www.toolsonair.com

Northbridge Piazza Big Screen Revitalizes Perth Neighborhood is a post from: Get It In Writing