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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  • Cobham: Mini RF Transmitters at NAB 2013

    Cobham: Mini RF Transmitters at NAB 2013

  • Cobham: RF Transmitter at NAB 2013

    Cobham: RF Transmitter at NAB 2013

  • Pixel Power at NAB 2013

    Pixel Power at NAB 2013

  • Autocue at BVE 2013

    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

  • Broadcasters mobile phone rack with HD voice from Glensound at IBC 2018

    Broadcasters mobile phone rack with HD voice from Glensound at IBC 2018

  • Glensound show Beatrice the AES67 Network audio intercom beltpack at IBC 2018

    Glensound show Beatrice the AES67 Network audio intercom beltpack at IBC 2018

  • 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

  • Area 48 Color and more from BBS Lighting at IBC 2018

    Area 48 Color and more from BBS Lighting at IBC 2018

  • 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
Live Streaming of Dick Whittington The Purrrrrfect Rock Roll Panto is just the tonic for Deeside Hospital patients Posted: 11/01/2019
Live Streaming of Dick Whittington and ndash; The Purrrrrfect Rock and lsquo;N and rsquo; Roll Panto is just the tonic for Deeside Hospital patients

As part of its innovative project with the Anglo-Danish technology company Streamer, Theatr Clwyd has made the rock ‘n’ roll panto the latest show to be streamed live to a local audience.

Tags: Streaming | #BeAStreamer | live
Submitted by Streamer Ltd
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Integrations With Leading MacOS and IOS Applications Expand UltraSync BLUE Ecosystem Posted: 10/01/2019
Integrations With Leading MacOS and IOS Applications Expand UltraSync BLUE Ecosystem
Working with market-leading macOS software expert Softron and established iOS app developer PureBlend Software, Timecode Systems has extended the footprint of its UltraSync BLUE solution by adding the power of its timecode-over-Bluetooth® technology to multicamera logging, reporting, and collaborative editing processes. The MovieSlate iOS app from PureBlend Software and the MovieRecorder and Multicam Logger solutions for Mac® from Softron are the latest applications to adopt Timecode Systems' patented Bluetooth timing protocol.
Tags: MacOS | IOS | UltraSync BLUE Ecosystem | Softron | PureBlend | Software | Timecode-Over-Bluetooth Solution | Timecode Systems
Submitted by Wall Street Communications
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First-Time Exhibitor Wisycom USA Presents High-End In-Ear Monitoring Solutions at NAMM 2019 Posted: 10/01/2019
First-Time Exhibitor Wisycom USA Presents High-End  In-Ear Monitoring Solutions at NAMM 2019

Wisycom USA, which was established this year to grow the Italy-based Wisycom brand throughout the Americas, is exhibiting for the first time at NAMM 2019 (Booth 15222). The company will present its line of high-end in-ear monitoring solutions and wireless RF systems, which are steadily growing in popularity in the live touring industry.

Tags: Wisycom USA
Submitted by D. Pagan Communications
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EditShare Appoints Sundeep Menon to Sales Director South Asia Posted: 10/01/2019
EditShare Appoints Sundeep Menon to Sales Director South Asia

EditShare® a technology leader in intelligent scale-out storage, AQC and media management solutions, announced today that business development expert Sundeep Menon has joined EditShare as the Sales Director for South East Asia. A skilled media enterprise strategist, Menon will be responsible for defining the business development strategy across all sectors of Media and Entertainment, supporting EditShare market expansion which saw more than 30% growth in 2018.

Tags: EditShare | workflow | director | sales | editing | collaboration
Submitted by Zazil Media Group
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FilmLight activates v5 for Baselight STUDENT Posted: 10/01/2019
FilmLight activates v5 for Baselight STUDENT

Baselight STUDENT, FilmLight’s free macOS application, has been enhanced with the innovative and creative advances from the core Baselight v5 software. Baselight STUDENT v5 will allow those developing their skills as a colourist to have the full range of creative features, based on the same platform as every Baselight system.

Tags: FilmLight | Baselight Student | Baselight v5 | colourist | colorist | free macOS applications | innovative | creative advances | creative features | Base Grade | colour manipulation | Boost operators | Justin Tran | Steve Chapman | MKM Marcomms | MKM Marketing Communications
Submitted by MKM Marketing Communications
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New digital clips service generates 46 million online views, while 32 live broadcast feeds are delivered worldwide Posted: 10/01/2019
New digital clips service generates 46 million online views, while 32 live broadcast feeds are delivered worldwide

London-based sports production specialists Input Media captured and delivered complete coverage of The Emirates FA Cup third round for the first time, with all 32 matches made available as world feeds for The FA’s international rights-holders and a new digital clips service racking up 46 million views on social media.

Tags: Input Media | Gravity Media | Group | FA Cup
Submitted by Red
More from this author
Barry Revels appointed Business Development Director at Gravity Media Group Posted: 10/01/2019
Barry Revels appointed Business Development Director at Gravity Media Group

Gravity Media Group (GMG), the owner of worldwide production and broadcast services specialists Gearhouse Broadcast, Hyperactive Broadcast and Input Media, has appointed Barry Revels as its Business Development Director. Based at its Watford, UK, headquarters, Barry will spend much of his time on the road, meeting with customers and assessing new markets that could benefit from Gravity Media’s wide range of innovative production services.

Tags: Gravity Media Group | Gearhouse | Appointment | Barry Revels | LAWO
Submitted by Red
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TVU MediaMind and TVU Producer Win 2018 Production Innovation Awards from Future Publishing Posted: 10/01/2019
TVU MediaMind and TVU Producer Win 2018 Production Innovation Awards from Future Publishing

TVU Networks, the global technology and innovation leader in live IP solutions, today announced the company was awarded two 2018 Product Innovation Awards from Future Publishing. Publishers of TV Technology, Government Video, Radio World and Creative Planet/DV and VE magazines, the annual Future Publishing awards honor the year’s top product introductions in TV, professional video and broadcast/online radio technology.

Tags: TVU Networks | Production Innovation Award | Future Publishing
Submitted by Platform Comms
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Simplestream enhances VOD in a Box platform with offline downloads and chromecast for iOS and Android Posted: 10/01/2019
Simplestream enhances VOD in a Box platform with offline downloads and chromecast for iOS and Android

Simplestream, the leader in live, live-2-VOD and on-demand OTT services, has strengthened its VOD in a Box technology with download for offline viewing and Chromecast integration across its mobile services.

Tags: Simplestream | VOD in a Box | OTT | on-demand | Live-2-VOD
Submitted by platformcomms
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Australias Stage Mums Shot with URSA Mini 4.6K and Edited with DaVinci Resolve Studio Posted: 10/01/2019
Australias Stage Mums Shot with URSA Mini 4.6K and Edited with DaVinci Resolve Studio
Blackmagic Design today announced that season one of the popular Australian television comedy “Stage Mums” was shot using its URSA Mini 4.6K and Pocket Cinema Camera digital film cameras. The show’s editing, audio editing and color correction were also completed using DaVinci Resolve Studio.
Tags: Blackmagic Design | Blackmagic | TV Series | Comedy | URSA Mini | Pocket Camera | Filmmaking | Editing | DaVinci Resolve | Resolve
Submitted by Blackmagic design
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DPA Microphones Appoints A New Distributor in the Philippines Posted: 10/01/2019
DPA Microphones Appoints A New Distributor in the Philippines
DPA Microphones is pleased to announce the appointment of Music & Audio Solutions & Services as its new distributor in the Philippines, with immediate effect and across all markets including live sound, House of Worship, broadcast, pro audio, film and theatre.
Tags: DPA Microphones | New Distributors | Music & Audio | Philippines | APAC
Submitted by White Noise Public Relations Ltd
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Globecast launches the first CIS HD channel on Eutelsat HotBird - Belarus 24 HD Posted: 10/01/2019
Globecast launches the first CIS HD channel on Eutelsat HotBird - Belarus 24 HD
The biggest media company in the Republic of Belarus - The National State TV and Radio Company of the Republic of Belarus - has selected Globecast, the global solutions provider for media, to launch the HD variant of its international satellite channel Belarus 24.
Tags: Distribution | channel distribution | satellite | public internet | HD
Submitted by Jump PR
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Riedel Products at ISE 2019 Posted: 09/01/2019
Riedel Products at ISE 2019
At this year's ISE show, Riedel Communications will showcase its latest innovations in real-time signal distribution and networking solutions for broadcast and live performance. Riedel's product line reflects the company's continued support of standards and interoperability, ongoing development and expansion of software app-based solutions, and groundbreaking concept of decentralized signal routing.
Tags: Riedel | ISE 2019 | Bolero Standalone Wireless Intercom System | SmartPanel 1200 Series | MediorNet MicroN IP App
Submitted by Wall Street Communications
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Viaccess-Orca Joins Forces With Technicolor, Bringing New Security Features to the Android TV Environment Posted: 09/01/2019
Viaccess-Orca Joins Forces With Technicolor, Bringing New Security Features to the Android TV Environment
Viaccess-Orca (VO), a global leader providing OTT and TV platforms, content protection, and advanced data solutions, announced today that it has teamed up with Technicolor to simplify the delivery of Android TV experiences. VO's DRM solution and its secure VO Player have been integrated on Android TV set-top boxes (STBs) from Technicolor in full compliance with the TV Input Framework (TIF). By making the plug-in for its DRM available in the media DRM format, VO ensures seamless integration into Android TV platforms and minimizes complexity for STB device manufacturers.
Tags: Viaccess-Orca | VO | Technicolor | Security Features | Android | TV Environment | DRM | Secure VO Player | Android TV Input Framework | STB Integration
Submitted by 202 Communications
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Magewell to Highlight Practical Solutions for Transition to Video over IP at ISE 2019 Posted: 09/01/2019
Magewell to Highlight Practical Solutions for Transition to Video over IP at ISE 2019

Magewell -- the award-winning developer of innovative video interface, streaming and conversion devices -- is kicking off its extensive 2019 trade show schedule by bringing its rapidly-expanding product range to Integrated Systems Europe (ISE) 2019 in Amsterdam. The company will showcase new and established offerings in stand 8-G430 at the event from February 5-8, with an emphasis on solutions that simplify streaming production and make the transition from baseband signal transport to video-over-IP more affordable and practical.

Tags: NDI | converter | conversion | IP | network | capture | video capture | live | streaming | encoder | hardware | recorder | recording | encoding | broadcast | professional AV | HDMI | Magewell | IBC | production | SDI | USB | OEM | M.2 | 4K | Ultra HD | UHD | UltraHD | SDK | playout
Submitted by Write Turn Communications
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