Adlib Laughs Long and Loud with Mrs. Brown and Her Boys

Date: 16/08/2017
Adlib Laughs Long and Loud with  Mrs. Brown and amp; Her Boys

The hilariously funny, successful Brendan O'Carroll comedy creation Mrs. Browns Boys continues its popular live touring version, leaving a wake of smiles and laughs, with full technical production lighting, sound, video, rigging and crew supplied by Adlib.

Adlib has been involved with Mrs. Browns Boys live since its very first theatre tour in 2000, and since then its become a multi award winning TV show and a massive arena live show phenomenon!

The show has continued to invest in production values and technology to keep everything moving forward along with the humour. Adlibs director and account handler Dave Jones looked after the Audio elements alongside senior account manager Dave Eldridge who oversaw the Lighting & Video requirements. Jones comments, We are immensely proud to have worked with Brendan and the cast over the years and to see the concept grow and develop. Weve enjoyed a fantastic, very honest relationship for over a decade and it has been an amazing journey.

The opportunity of a long-term relationship has also given the chance for a fluid dialogue to develop, and for Adlib to be very much in tune with the clients requirements, the show itself and exactly whats needed in terms of cutting edge production technology.

For this latest run of arenas, Adlibs project manager Kevin Byatt returned to oversee the team.

Dave Jones, Dave Eldridge and the Adlib team worked closely with the shows producers Gareth Woods and Fiona Gibney, executive producer Martin Delany and SJM tour manager Neil Brighouse ¦ combining talents and experience to deliver another ground-breaking production package.

Lighting

Lighting was again designed by Mike Summerfield, who has been on the Mrs. Brown production team for some years, each tour creating something new and original.

This time he was also lighting for the video cameras as well as the live audience, so wanted to use powerful lights to get the full stage wash effect, and also be able to approach lighting the stage from several different physical angles.

For this reason, and for their excellent CTO, he chose Martin MAC Viper Wash and Viper Profiles for the primary moving lights. These gave him both the tungsten emulated warmth that suits elements of the show and all the features needed to create additional dynamics.

There were three main overstage trusses - front, back and mid.

The back truss was loaded with MAC Viper Washes and profiles plus Claypaky Sharpy Washes which were used to hit a 24 inch mirror-ball rigged on its own personal truss and flown in and out at strategic moments.

The mid truss contained a row of Viper Washes to fatten up and enrich the overall stage wash, and then on the front truss, 14 more Viper Washes were added, together with four Viper profiles for keylight and specials.

A tab-track truss was flown in line with the downstage edge of the set carpet with returns on each side, so the tabs could draw open and then be concealed from view. An offstage truss then mirrored the line of the tab-track along the front and around the sides, which provided positions for another 9 Viper Washes and two Viper profiles. These fixtures were invaluable to help with extreme side lighting.

So, it was a case of good all-round placement of fixtures for the maximum coverage.

Atmospherics for the final scenes were supplied via two DF50 hazers left and right of stage.

A Road Hog Full Boar was Mikes console of choice, fully networked with a second desk for backup, and Mike also controlled six set practicals (wall lights) powered from an Avo ART2000 dimmer, together with all the stage lighting.

Mike worked closely with Kev and lighting tech Jordan Willis.

Mike loves going on the road with Mrs. Browns Boys, commenting that they are unique in the way that all the cast and production are like family, a vibe thats generously extended to all the crew.

Video

The video factor of the tour expanded dramatically with the 2015 shows, a trend that has continued. Taking what is basically an intimate theatre presentation concept into arenas means that the IMAG screens are crucial to conveying all the facial expressions and punch lines that deliver the comedy so brilliantly.

With the screen direction they also aimed to bring some distinctly televisual touches, as they were effectively shooting a live sitcom.

Iain Christie headed up the camera team as systems tech and lead camera operator, while Eric OCarrol cut the camera mix, created from four Sony HXC-100 cameras fitted with Canon HJ40 lenses.

Two cameras were stationed at FOH with the other two house left and right, closer to the stage. The FOH cameras primarily picked out group shots, character movements and specials, while the left and right ones captured more of the close-up action, focussing on those essential facial expressions and ensuring that they remained key to delivering comedy successfully in a large venue.

Eric used a Blackmagic design Atem 2m/e switcher to process the camera channels and output them to screen. In addition to feeding the three IMAG screens left, right and delay - feeds were sent to the green room and dressing room areas and to a series of small monitors deployed around the back of the set to allow cast members to see whats happening and fine tune the timing of their entrances.

Behind the main set was the cinema, a seated area with sofas and a large plasma screen allowing cast members to gather and follow the action.

A new addition for this tour was the pre-show Fan-Cam, which worked well as an audience warmer and allowed the video team to capture some truly hilarious moments and great characters in the audience. They could key in graphic images designed by Conor Gibney over the live picture from the consoles on-board media library.

There was also a pre-show VT package comprising a soundtrack and a mash of behind-the-scenes footage from Mrs. Brown DMovie, TV show and previous tours, played out from a Mac running PlaybackPro.

The screens themselves were looked after by Adlibs Rob Bickerstaff and were made up from Adlibs Absen 3.9 mm A3 Pro HD product.

The biggest challenge for Kev and the crew has been the load ins. With a lot of infrastructure having to be in, up and running the same day whilst factoring in an elaborate set build all happening simultaneously, Adlib supplied additional techs for the ins and outs who assisted Rob with the screen builds and de-rig, while Ian and the touring video crew looked after the rest of the video set-up. It is a formula which has worked extremely efficiently.

Lighting & Video Manager Dave Eldridge commented, It has been an exciting challenge to devise a plan that ties all disciplines together and can be delivered efficiently. The speed of the process is a testament to Kev and the team.

Joining Iain, Rob and Eric on the video crew were Matt Dipple (camera tech / operator) and assistant tech / operators Darragh Smith and Evan Rogers. On load in / out duty were Mark Taylor, Dan Brown, Liam Murray and Ben Caunt.

Audio

Audio crew chief Alan Harrison led a 4-strong Adlib sound team of Hassane Es Siahi (FOH engineer), Shona Steadman (monitor and stage engineer) and systems engineers Steve Norman and George Puttock.

Getting the right sound for comedy shows is as vital as lighting them correctly ¦ its all about the vocal delivery, the tones, nuances, enunciations, etc., and thats why Alan specified Coda Audio. The products are astoundingly clear, detailed and with less distortion than I have ever heard he said, adding that coverage is extraordinarily predictable and will throw for miles.

All these combined to provide a beautifully smooth, homogenous, highly intelligible sound across the whole arena says Alan ¦ so what Hassane is hearing ¦ is exactly what the audience are hearing.

Alan also mentioned that its near-impossible to make the Coda feedback ¦ even with 14 DPA headsets onstage! Ill be honest he insists, There is literally no other speaker type we would want to use on this show!

Two 16-deep Coda AiRAY arrays made up the main hangs, with 8 x Coda LA12 / 4 ViRAY downs for the side hangs plus a centre cluster of four Coda ViRAY. They used TiRAY in / outfills and eight SCP-F subs, with two hangs of 8 ViRAY a side for delay, (three of 6 in Glasgow), completing the system.

As well as delivering the usual superlative quality audio, there are a few sonic brain-teasers with this show.

No speakers onstage, both for the overall show aesthetics and for sightlines ¦ hence the use of the centre cluster to fill the triangle between the main stage hangs and the front of the audience.

Being a spoken word show, creating a focus towards the stage is important for the audience. So, by using multiple overlapping sources as centre / main infill or main and delay and adjusting levels and delay times, it draws the audience towards the stage and naturally - in the same direction as their eyes.

The system was powered by 36 x Coda Linus 10 amps with inbuilt DSP. Alan describes the speaker presets on these as insane, explaining, they are phaselinear right down to the sub / low crossover area, so although there are multiple speaker types, achieving a seamless transition between all of them is super easy.

They are also low latency, another given for a spoken word show, especially where cameras will expose any lag in audio processing!

For zonal and EQ control they utilised 3 x Lake LM44s at FOH feeding a pair of LM26s and a Focusrite Rednet. These were networked with redundant Dante for audio over TAC-4 fibre. The stage rack streamed AES into the Linus amps which utilised AES over Cat5 up to 96kHz, and the whole system was clocked at 96 via an Apogee Big Ben to preserve the full clarity and detail from the DPA mics ¦ which the Coda speakers excel at delivering.

The FOH control, a DiGiCo SD10 with SD rack, was also clocked by the Big Ben at 96kHz, with a Lake LM44 for EQ inserts, a fully redundant dual QLab system for cues and stings and a MacBook at front of house using a DAW to perform virtual soundchecks.

The SD10 is Hassanes console of choice for a number of reasons. Its a familiar surface that makes it easy to create a powerful snapshot system (there are 120 snapshot cues in the show) and audio processing which he reckons is sonically perfect.

The monitor console was a DiGiCo S21, taking post mute stems from FOH of the Boys, the Girls and Mrs. Browns mics, blending these with various QLab stings, VTs, etc.

The monitors comprise two flown L-Acoustics ARCS per side ¦ a legacy going back to the start of the shows touring history, allowing the cast to receive precisely the fold-back they are used to.

Backstage are four Adlib AA61 speakers to relay the programme feed to the waiting cast.

The mics are DPA d:fine 66 headset directional mics for the cast, with Brendon using two DPA 4061 omnidirectionals (main and spare), which sound fantastic enthuses Alan. The RF system was Sennheiser EM2051 receivers with SK2000 bodypack transmitters.

Alan, Hassane and the team all enjoy various sonic brain-teasing challenges of the show and solving them, which can be really satisfying.

Theres a lot of improv in the show, so everyone is kept on their toes night-to-night, but the one constant is that through the years of working on the production team for interesting and hilarious production ¦ it is the overriding and hugely welcoming family atmosphere that makes it a real pleasure to work hard and do the gig!



Tags: Adlib | arena | tour | video | production | sound | lighting
Submitted by Louise Stickland
View author's directory page

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    Autocue at BVE 2013

  • Autocue at BVE North 2012

    Autocue at BVE North 2012

  • Miranda at NAB 2012

    Miranda at NAB 2012

  • Bexel at NAB 2012

    Bexel at NAB 2012

  • Autodesk at NAB 2012

    Autodesk at NAB 2012

  • SGO at IBC2011

    SGO at IBC2011

  • Virgil OB headphone amplifier from Glensound at NAB 2018

    Virgil OB headphone amplifier from Glensound at NAB 2018

  • PARADISO Lite commentary unit from Glensound at BVE 2018

    PARADISO Lite commentary unit from Glensound at BVE 2018

  • Glensound Dante Intercom System at IBC 2017

    Glensound Dante Intercom System at IBC 2017

  • Live Sports Broadcast Commentator from Glensound at NAB 2017

    Live Sports Broadcast Commentator from Glensound at NAB 2017

  • Glensound at IBC 2016

    Glensound at IBC 2016

  • Sound Devices 6-Series mixers at NAB 2016

    Sound Devices 6-Series mixers at NAB 2016

  • Glensound at NAB 2016

    Glensound at NAB 2016

  • Glensound at BVE 2016

    Glensound at BVE 2016

  • Glensound Expedition at IBC 2015

    Glensound Expedition at IBC 2015

  • Glensound at BVE 2015

    Glensound at BVE 2015

  • Glensound Dante at IBC 2014

    Glensound Dante at IBC 2014

  • Glensound Atomic Copper at NAB 2014

    Glensound Atomic Copper at NAB 2014

  • Glensound on BroadcastShow LIVE at IBC 2013

    Glensound on BroadcastShow LIVE at IBC 2013

  • Glensound with the USB Commentary Mixer at IBC 2013

    Glensound with the USB Commentary Mixer at IBC 2013

  • Glensound: RECCE HD at NAB 2013

    Glensound: RECCE HD at NAB 2013

  • Sound Devices at NAB 2013

    Sound Devices at NAB 2013

  • Shure Sound Devices at BVE 2013

    Shure Sound Devices at BVE 2013

  • Glensound at BVE 2013

    Glensound at BVE 2013

  • Glensound at BVE North 2012

    Glensound at BVE North 2012

  • Glensound at IBC 2012

    Glensound at IBC 2012

  • Sound Devices at NAB 2012

    Sound Devices at NAB 2012

  • Glensound at NAB 2012

    Glensound at NAB 2012

  • Glensound at BVE 2012

    Glensound at BVE 2012

  • Soundfield at BVE 2012

    Soundfield at BVE 2012

  • HHB and Soundfield at BVE North 2011

    HHB and Soundfield at BVE North 2011

  • Sound Devices at IBC2011

    Sound Devices at IBC2011

  • Studio Technologies at NAB 2014

    Studio Technologies at NAB 2014

  • TSL Products PAM1, SAM1 and PAM PiCo at IBC 2013

    TSL Products PAM1, SAM1 and PAM PiCo at IBC 2013

  • Calrec Callisto at IBC 2013

    Calrec Callisto at IBC 2013

  • TSL Products at BVE 2013

    TSL Products at BVE 2013

  • Editors Keys at BVE North 2012

    Editors Keys at BVE North 2012

  • Shure Distribution at BVE North 2012 Part 2

    Shure Distribution at BVE North 2012 Part 2

  • TSL Products at IBC 2012

    TSL Products at IBC 2012

  • Sonifex at NAB 2012

    Sonifex at NAB 2012

  • Qualis at NAB 2012

    Qualis at NAB 2012

  • Sennheiser at BVE North 2011

    Sennheiser at BVE North 2011

  • Source Distribution and Rode at BVE North 2011

    Source Distribution and Rode at BVE North 2011

  • BBS Lighting Force 7 at NAB 2018

    BBS Lighting Force 7 at NAB 2018

  • DOP Choice Lighting Bracket and Snapbox at IBC 2017

    DOP Choice Lighting Bracket and Snapbox at IBC 2017

  • Hive Lighting at IBC 2015

    Hive Lighting at IBC 2015

  • FilmGear LED lighting at IBC 2015

    FilmGear LED lighting at IBC 2015

  • LCA - Snapgrid lighting control - BVE 2015

    LCA - Snapgrid lighting control - BVE 2015

  • Hive Lighting Wasp Plasma Par at IBC 2014

    Hive Lighting Wasp Plasma Par at IBC 2014

  • Dedolight Felloni Turbo and Felloni 3 shown at BVE 2018

    Dedolight Felloni Turbo and Felloni 3 shown at BVE 2018

  • Rotolight Anova Pro 2 shown at BVE 2018

    Rotolight Anova Pro 2 shown at BVE 2018

  • KitPlus filming rig used at NAB 2017

    KitPlus filming rig used at NAB 2017

  • Cirrolite and Kino Flo at BVE 2017

    Cirrolite and Kino Flo at BVE 2017

  • Photon Beard at IBC 2016

    Photon Beard at IBC 2016

  • Cineo HS2 at IBC 2015

    Cineo HS2 at IBC 2015

  • LiteGear at IBC 2015

    LiteGear at IBC 2015

  • LiteGear LED LiteMat at IBC 2015

    LiteGear LED LiteMat at IBC 2015

  • Cineo Matchbox at IBC 2015

    Cineo Matchbox at IBC 2015

  • Litepanels at BVE 2015

    Litepanels at BVE 2015

  • LCA - LITEGEAR at BVE 2015

    LCA - LITEGEAR at BVE 2015

  • Rosco at BVE 2015

    Rosco at BVE 2015

  • Photon Beard Platinum Blonde at IBC 2014

    Photon Beard Platinum Blonde at IBC 2014

  • Photon Beard Photon Beam at IBC 2014

    Photon Beard Photon Beam at IBC 2014

  • Zylight Fresnel updates at IBC 2014

    Zylight Fresnel updates at IBC 2014

  • Projects Department on BroadcastShow LIVE at IBC

    Projects Department on BroadcastShow LIVE at IBC

  • Photon Beard on BroadcastShow LIVE at IBC 2013

    Photon Beard on BroadcastShow LIVE at IBC 2013

  • Zylight LED Fresnel at IBC 2013

    Zylight LED Fresnel at IBC 2013

  • Photon Beard: Cyc Hood at NAB 2013

    Photon Beard: Cyc Hood at NAB 2013

  • Photon Beard: Space Light at NAB 2013

    Photon Beard: Space Light at NAB 2013

  • Photon Beard: Square One Light at NAB 2013

    Photon Beard: Square One Light at NAB 2013

  • AC Entertainment Technologies at BVE 2013

    AC Entertainment Technologies at BVE 2013

  • Jonathan Harrison at BVE North 2012

    Jonathan Harrison at BVE North 2012

  • Rotolight at NAB 2012

    Rotolight at NAB 2012

  • Litepanels at NAB 2012

    Litepanels at NAB 2012

  • Rotolight and TNP at BVE 2012

    Rotolight and TNP at BVE 2012

  • Datavision at BVE 2012

    Datavision at BVE 2012

  • Litepanels at BVE 2012

    Litepanels at BVE 2012

  • Cirrolite at BVE North 2011

    Cirrolite at BVE North 2011

  • Litepanels at IBC2011

    Litepanels at IBC2011

  • PAG at IBC2011

    PAG at IBC2011

  • Gekko at IBC2011

    Gekko at IBC2011

  • Photon Beard at IBC2011

    Photon Beard at IBC2011

  • IDX at IBC2011

    IDX at IBC2011


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News
TAG V.S. Announces Plans to Showcase Groundbreaking MCM-9000U IP-Multiviewer and Monitoring System at IBC 2018 Posted: 15/08/2018
TAG V.S. Announces Plans to Showcase Groundbreaking MCM-9000U IP-Multiviewer and Monitoring System at IBC 2018

TAG V.S., the international specialist in advanced IP monitoring and high-quality UHD Multiviewers, has announced plans to showcase its groundbreaking software-only MCM-9000U IP-Multiviewer and monitoring system at IBC 2018. The first of its kind in the industry, the MCM-9000U supports SMPTE's recently published ST 2110 suite of standards for managed IP networks that address HD and UHD uncompressed video and audio streams at the Inputs and Outputs. Demonstrations will be held on TAG's Stand 1-F94 in Hall 1 of the RAI.

Tags: TAG V.S. | IBC 2018 | MCM-9000U | TAG Decryptor | IBC 2018 | IBC 2018
Submitted by Desert Moon Communications
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Barnfind Goes the Distance at IBC with Game-Changing Frame Posted: 15/08/2018
Barnfind Goes the Distance at IBC with Game-Changing Frame

Barnfind Technologies has revealed plans to show a game-changing frame at IBC that incorporates future-proof technology to support all emerging signal formats, including 4K and IP, and adds a long-distance component to its multi-functional, signal neutral fiber transport platform. The new BTF1-41 features an extensive network of functions and the capability to transport any signal format, making it the ideal solution for a vast variety of applications including sports, telemedicine and government projects. It will be demonstrated in Hall 8, Stand 8-A41 at IBC 2018

Tags: Barnfind Technologies | IBC 2018 | BTF1-41 | Fiber Transport Platform | IBC 2018 | IBC 2018
Submitted by Desert Moon Communications
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TSL Products Maintains Audio Contribution Feeds for Timeline RF Uplink Trucks Posted: 15/08/2018
TSL Products Maintains Audio Contribution Feeds for  Timeline and rsquo;s RF Uplink Trucks

Timeline Television, a major provider of outside broadcasts, post-production and studio-based services for major UK networks, continues to invest in TSL Products to supply its RF truck fleet with Precision Audio Monitoring (PAM2-MK2) units. Timeline’s RF1 truck has been used for major sporting and live events, including the IAAF Athletics, BBC’s Live Lesson series and the ITV’s Love Island reality television series, which recently contracted RF1 again for the current season. Timeline’s new RF truck, RF2, was deployed at the UEFA Champions League Final for BT Sport followed by the Royal Wedding in May for BBC, whilst the recently commissioned RF3 was used for BBC’s coverage of the RHS Chelsea Flower Show on its first outing.

Tags: TSLProducts | IBC 2018 | IBC 2018
Submitted by D. Pagan Communications
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Sigma 14-24mm F2.8 Art Lens Wins Prestigious 2018-19 EISA Award Posted: 15/08/2018
Sigma 14-24mm F2.8 Art Lens Wins Prestigious 2018-19 EISA Award
Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessories manufacturer, announced today that it has been honored with the esteemed 2018-19 EISA DSLR Zoom Lens Award for its large-aperture, ultra-wide-angle, full-frame 14-24mm F2.8 DG HSM Art lens. It is the fourth award this year for the lens that boasts imperceptible distortion, great sharpness and virtually no chromatic aberration, making it the ideal solution for landscape and architecture photography. With robust build quality and protective sealing against dust and splashes, this lens can be used with confidence in most weather conditions. Available in Canon, Nikon and Sigma mounts for just $1299 USD, the Sigma 14-24mm F2.8 Art radically outperforms its competitors and furthers Sigma’s mission to facilitate artistic expression with the best quality optics available on the market.
Tags: sigma | 14-24mm | eisa award | nab | videomaker | tipa | zoom lens | lens | zoom | wide angle zoom lens | IBC 2018 | IBC 2018
Submitted by Zazil Media Group
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Cogeco Connexion selects MediaKind end-to-end IPTV solution to drive next generation media experiences to viewers in Canada Posted: 15/08/2018
Cogeco Connexion selects MediaKind end-to-end IPTV solution to drive next generation media experiences to viewers in Canada

MediaKind, a global media technology leader, today announces it has been selected by Cogeco Connexion, the second largest cable operator in Ontario and Quebec, to deliver immersive consumer experiences through the deployment of its next generation end-to-end IPTV solution. The new rollout of the end-to-end MediaKind solution will include MediaFirst TV Platform with Android Google Mobile Services, Encoding On-Demand, Video Storage and Processing Platform (VSPP), Content Management System (CMS) and Professional Services.

Tags: IPTV | Cogeco | MediaKind | broadcast | IBC 2018 | IBC 2018
Submitted by Staff
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Post House DigitalFilm Tree Moves Facility to DaVinci Resolve 15 Studio Posted: 15/08/2018
Post House DigitalFilm Tree Moves Facility to and nbsp;DaVinci Resolve 15 and nbsp;Studio
Blackmagic Design announced today that post production facility DigitalFilm Tree (DFT) has moved its full pipeline, including editorial, color, visual effects (VFX) and delivery, into the newest release of DaVinci Resolve Studio, version 15, which was released this month.
Tags: Blackmagic Design | DaVinci Resolve | Resolve 15 | DigitalFilm Tree | Post Production | VFX | Editing | Color | Fusion | Fairlight
Submitted by Blackmagic design
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ChyronHego at IBC2018 Posted: 14/08/2018
ChyronHego at IBC2018
News and Weather
At IBC2018, ChyronHego will preview CAMIO 4.5, the next release of the company’s industry-leading graphic asset management solution, with key features designed to make producer-driven news workflows even more versatile, flexible, and cost-effective. CAMIO 4.5 enhancements include a powerful new render engine; the ability to publish content straight from the newsroom to social media; and the latest version of LUCI5, the HTML5 plugin for fulfillment interface.
Tags: ChyronHego | graphic servers | graphic asset management | weather graphics | news production | news workflows | IBC2018 | IBC 2018 | IBC 2018
Submitted by Dundee Hills Group
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Combination of Dejero GateWay and FileCatalyst gives broadcast field crews even faster on the go file transfer abilities Posted: 14/08/2018
Combination of Dejero GateWay and FileCatalyst gives broadcast field crews even faster on the go file transfer abilities
Dejero, an innovator in cloud-managed solutions that provide video transport and Internet connectivity while mobile or in remote locations, has partnered with FileCatalyst, a pioneer in managed file transfers with a world-leading accelerated file transfer solution, to enable broadcasters to move large data quickly, securely, and reliably back to base while in the field.
Tags: Dejero | GateWay | FileCatalyst | cloud-managed solutions | accelerated file transfer solution | fast transfers | video content | blending cellular connections | Kevin Fernandes | IBC2018 | MKM Marcomms | MKM Marketing Communications | IBC 2018 | IBC 2018
Submitted by MKM Marketing Communications
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MBO gives Argosy renewed focus Posted: 14/08/2018
MBO gives Argosy renewed focus
Argosy, a leading international supplier of broadcast and AV cables and infrastructure products, has completed a management buyout from its previous parent company. It is now under the direct control of the existing directors, Chris Smeeton and Josh Simons.
Tags: Argosy | service technology distribution | infrastructure products | Chris Smeeton | Josh Simons | management buyout | AV industry | cutting edge technologies | life-style management | termination services | bespoke solutions | IBC2018 | MBO | MKM Marketing Communications | IBC 2018 | IBC 2018
Submitted by MKM Marketing Communications
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Apantac Showcases New Modular Multiviewer with Router Outputs at IBC 2018 Posted: 14/08/2018
Apantac Showcases New Modular Multiviewer with Router Outputs at IBC 2018
Apantac, internationally recognized manufacturer and pioneer of cost-effective yet feature-rich multiviewers, video walls, extension and signal processing solutions will be demonstrating its new TX # (pronounced TX Sharp) Multiviewer with Router Outputs at IBC 2018, stand 8.E37.
Tags: TAHOMA | TX# | Apantac | Multiviewer with Router outputs | Multiviewers | IP Multiviewers | IBC 2018 | IBC 2018
Submitted by Apantac
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Apantac Showcases HDMI 2.0 Multiviewer for 4K UHD at IBC 2018 Posted: 14/08/2018
Apantac Showcases HDMI 2.0 Multiviewer for 4K UHD at IBC 2018
Apantac, internationally recognized manufacturer and pioneer of cost-effective and feature-rich multiviewers, video walls, extension and signal processing solutions is growing its already expansive range of Multiviewers with HDMI 2.0 supported products.
Tags: HDMI 2.0 Multiviewer | 4K Multiviewer | UHD Multiviewer | Apantac | UE Series | IBC 2018 | IBC 2018
Submitted by Apantac
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Apantac Launches KVM over IP Extenders Matrices at IBC 2018 Posted: 14/08/2018
Apantac Launches KVM over IP Extenders and amp; Matrices at IBC 2018
Apantac, an internationally recognized manufacturer and pioneer of cost-effective and feature-rich multiviewers, video walls, extension and signal processing solutions expands its line of KVM over IP extenders and matrices, which it will showcase at IBC 2018, stand 8.E37. These new solutions offer pristine picture quality and very low latency.
Tags: KVM over IP | Apantac | KVM over IP Extender | KVMP over IP Matrix | IBC 2018 | IBC 2018
Submitted by Apantac
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IBC 2018: Broadcast Pix Introduces BPswitch RX Mobile Integrated Production Switcher Posted: 14/08/2018
IBC 2018: Broadcast Pix Introduces BPswitch RX Mobile Integrated Production Switcher

Broadcast Pix will introduce BPswitch™ RX, a portable model in its popular line of integrated production switchers, at IBC2018 (Hall 7, Stand C06), which runs Sept. 14-18 at RAI Amsterdam. A self-contained unit complete with touchscreen display and integrated streaming to Facebook Live and other CDNs, BPswitch RX provides multi-camera production and high-end motion graphics for live production on location.

Tags: video production | mobile production | production switcher | IBC2018 | IBC 2018 | IBC 2018
Submitted by Pipeline Communications
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Euronews and Dalet Nominated for the IBC2018 Innovation Award Posted: 14/08/2018
Euronews and Dalet Nominated for the IBC2018 Innovation Award

Dalet, a leading provider of solutions and services for broadcasters and content professionals, announced today that they have been shortlisted alongside Euronews for the IBC2018 Innovation Awards content creation category. Lauded as one of the most coveted awards in the media industry, the competitive competition celebrates technical and creative excellence, acknowledging collaboration between organizations like Euronews and Dalet to achieve clever and innovative solutions for real business challenges.

Tags: dalet | dalet galaxy | ibc | ibc2018 | innovation award | euronews | IBC 2018 | IBC 2018
Submitted by Zazil Media Group
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Qligent Amplifies QoE Monitoring with Vision-VOD at IBC2018 Posted: 14/08/2018
Qligent Amplifies QoE Monitoring with Vision-VOD at IBC2018

Qligent, a specialist in cloud-based, enterprise-level content monitoring and analysis, will introduce Vision-VOD, a new automated, file-based solution for front-end QC and back-end quality of experience (QoE) verification ofvideo-on-demand (VOD) content. The fully virtualized application stands apart from competitive systems by taking the responsibility for last-mile content verification out of the broadcaster’s hands, and without limitation as to where and how widely it can be deployed.

Tags: Qligent | IBC 2018 | VOD | IBC 2018 | IBC 2018
Submitted by Dimension PR
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