Setla Film Productions Improves Location Shoots with Zylight F8

LOS ANGELES – A trained paramedic, Thaddeus Setla stumbled into a career in video production about 13 years ago, when he started producing short training videos with a consumer camcorder. These days, his San Francisco-based company, Setla Film Productions, is focused on high-end productions for the Web.

“I saw a need,” he recalled. “I realized I could impact more lives through video production than one patient at a time in the back of an ambulance. As technology and editing software improved, it allowed me to create more professional products.”

Setla travels the world visiting healthcare providers to produce Code STEMI, an online documentary series on http://CodeSTEMI.tv. “That’s where our audience is,” he explained. “They don’t have the money to travel and visit other EMS systems, so it is my goal to share that knowledge and experience with our audience.”

With his industry knowledge, Setla can ask pertinent questions to help EMS professionals share stories and procedures in an effort to improve patient care. It is his dream job, but Setla does face challenges on location, particularly with equipment. He shoots with two Sony F5 CineAlta 4K cameras, but has limited crew (when he’s not working as a one-man-band) and does not have the manpower to transport excessive gear and accessories.

Late last year, he completed shoots in Raleigh, N.C., and Phoenix using his new Zylight F8 LED Fresnels. The lightweight F8 means he can leave heavier C-stands at the office, and the light collapses to less than four inches thick for easy airline transport. “The whole goal is to have compact, dependable equipment,” Setla said.

While less bulk in the travel kit is a plus, performance and flexibility are Setla’s most important factors in the field. With little or no location scouting, Setla has to be prepared to light a huge firehouse or a small office. Interview setups on location tend to be quick, about 10 minutes or so, and very little of that time is devoted to setup for the F8. He says the light has worked better for him than 1×1 LED lights he’s used in the past, and appreciates the F8’s integrated battery connection and AC power options.

The 5600K lights have been particularly effective while shooting scenes in the ER, where the installed fluorescent lighting adds a green tint to skin tones. Setla is able to bounce light from the F8 and get “beautiful” skin tones. He has been using his F8s since October, and the results from his recent shoots prompted him to purchase Zylight’s IS3c, a large panel cyclorama and beauty light that can serve as a background color wash light or as a wide soft light.

“The output of the F8 is invaluable,” he added. “It handles better than anything else I’ve ever had. My Zylights are now an essential part of my production kit.”

Available in daylight (5600K) or tungsten (3200K), the F8 has a high CRI (color rendering index) and maintains single shadow traditional Fresnel beam shaping through an eight-inch SCHOTT glass lens. The fully dimmable F8 offers an adjustable beam spread (16-70 degrees), with a patented focusing system for spot and flood operations. Its LED engine with quantum dot technology draws only 100 watts, but has close to the light output of a traditional 1000-watt Fresnel.

ABOUT ZYLIGHT LLC

Founded in 2003, Zylight LLC is the leading manufacturer of intelligent LED lighting instruments for the film and video production industry. Every model in its easy-to-use lighting system produces fully calibrated bright white light, while some also provide a spectrum of adjustable colors without gels. Full wireless control and DMX integration are included, and AC or DC power options are available. The Zylight state-of-the-art LED system is truly the most unique and flexible lighting system on the market today. With more than 50 dealers worldwide, Zylight continues to develop innovative LED lighting solutions to help make your job easier. More Than Bright – Zylight. Find out more at www.zylight.com.

Sun Valley Community Church Relies on FOR-A Video Switchers

Cypress, CA – When Arizona-based Sun Valley Community Church made the jump from SD to HD production in its Gilbert campus three years ago, the house of worship began using FOR-A’s HVS-300HS video switcher. Last fall, the church was faced with the decision of purchasing a new switcher for its nearby location in Tempe. Pleased with the ease of use and performance delivered by its FOR-A switcher, Sun Valley chose another FOR-A switcher to get the job done – the HVS-XT100. The house of worship has been successfully using its HVS-XT100 portable video switcher since September 2013.

“Because we’ve been very happy with our HVS-300HS switcher, it was a simple choice to stay within the FOR-A family for our next switcher purchase,” said Greg Gardner, Sun Valley’s Video Technical Director. “We decided on the HVS-XT100 because of the new features that it offers, such as having the flexibility to assign one of the keys to any of the AUX channels, and the ability to reposition and resize the key as desired.”

The HVS-XT series is the newest addition to FOR-A’s switcher line. Building on the diverse functions and features of the popular HVS-300HS, the HVS-XT switchers include mixed HD/SD input, frame synchronizing, re-sizing engine, 2.5D wipe effects, DVE, Chroma keyer, DSK, and clip memory to support playback of video and the enhancement of productions through the use of CG wipes.

Both Sun Valley’s Gilbert and Tempe campuses have full video production suites, with each of its FOR-A switchers running three live cameras, and multiple computers driving content to three projectors in the front of the auditorium, which are used for image magnification and visual content. Since the HVS-300HS and HVS-XT100 are laid out almost identically, the church’s volunteers can help with video production at either campus without any confusion as to where buttons are located.

Sun Valley uses its new HVS-XT100 during services every weekend at its 1,300-seat location in Tempe. The church has been taking advantage of the ability to log in to the switcher via a Web browser on a laptop, smart phone, or iPad to control all aspects of the unit remotely.

“FOR-A’s switchers provide great ease of use,” explained Gardner. “The bottom line for me is that the reliability of the products and customer support from FOR-A has been phenomenal.”

About FOR-A

FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, postproduction and professional video markets. For more information about FOR-A’s product line, call 714-894-3311 or visit our web site at www.for-a.com.

Photo: FOR-A Switcher Certification Program at SVC in Buenos Aires

 

FOR-A Corporation of America’s CTO Ken Truong held a certification program for the company’s HVS-390HS switcher on May 6-7 at Sistemas de Video Comunicacion (SVC) S.A. Training Facility in Buenos Aires, Argentina. Attendees, including professionals from Plasma, Rey de Reyes, Torneos, DirecTV, Canal 7 Santiago del Estero, Canal 26, Prosaco SA, Hapsa, and Non-Stop Digital, received hands-on training for the HVS-390HS switcher.

The HVS-390HS switcher debuted in 2012 and is widely in use by broadcasters, production companies, houses of worship, and in educational settings globally.

Miami’s 1300 Studios Keeps Hot Shoots Cool with Zylight

LOS ANGELES – Denis Lauzon has built a 30-year career in advertising, still photography and video production. As the co-owner of 1300 Studios, a full service studio in Miami, he has built a production and rental facility designed to accommodate the needs of professionals and their crews.

Zylight IS3c LED large panel lights create green and blue chromakey backgrounds on 1300 Studio’s cyc without gels or filters.

The facility includes a 12-person conference room equipped with a 90-inch studio monitor, lounge that doubles as a green room with a 60-inch monitor, three-station hair and makeup room with daylight-balanced lighting, kitchen for food-based projects, and reception area. Plus, there are a number of industrial spaces for various types of location shooting surrounding the studio, as well as five acres of open space for exterior shoots.

In the 30×40-foot studio, Lauzon has taken the necessary steps to limit his time on a ladder. He keeps four Zylight IS3c LED large panel lights mounted on the lighting grid, two of which are used to color the cyc. Lauzon uses the Zylight Remote to wirelessly adjust the color and intensity of the IS3c lights on the grid. (The lights can also be controlled via DMX through XLR connectors.)

All Zylight lighting instruments feature Zylink wireless technology, which allows remote control of all functions, including color hue and saturation, color temperature, and brightness. Plus, Zylights that are linked together adjust simultaneously for uniform results.

Recently, Lauzon was approached by a client who wanted to match the background to precise logo colors, which Lauzon was able to accomplish quickly without gels or filters. During a music video shoot, Lauzon used the Zylight

1300 Studios uses Zylight F8 LED Fresnels and IS3c LED large panel lights for studio and location projects.

Remote to dynamically change the background color of the cyc during the recording artist’s performance. “The whole wall was lit and changing color,” Lauzon explained. “It looked great.”

 

Despite pre-planning, performers can cause problems with chromakey by the choice of color. Lauzon has programmed two memory presets on the IS3c lights – blue and greenscreen – so it is easy to accommodate last minute changes. “Wardrobe and hair color dictate chromakey,” Lauzon explained. “To fix the issue, we press the button. There’s no repainting backdrops.”

Now, the only time Lauzon has to get on the ladder is to adjust his IS3cs is to flip the instruments for lens flare effects in music videos. The IS3c’s advanced color mixing system provides rich, accurate color rendition, while its 90-degree spread makes it an ideal soft light for widescreen shots.

1300 Studios owns seven IS3c lights with soft boxes, available for rental, plus two F8 LED Fresnels (one daylight balanced and one tungsten) and one Z90 compact LED light. Lauzon said the IS3c is great on location, and he has been impressed with the F8 LED Fresnel, which collapses to less than for inches thick for easy transport. “There’s no other Fresnel like that,” Lauzon said. “The industry is definitely changing toward LEDs. There are other brands out there, but Zylight has the best features we were looking for in one package.”

ABOUT 1300 STUDIOS

Located in Miami, 1300 Studios is one of the finest full-service digital photography and video studio rental facilities in South Florida. Our seasoned professional staff ensures a flawless production in a comfortable atmosphere you will appreciate. Contact us at (305) 628-0000 or visit www.1300studios.com.

ABOUT ZYLIGHT LLC

Founded in 2003, Zylight LLC is the leading manufacturer of intelligent LED lighting instruments for the film and video production industry. Every model in its easy-to-use lighting system produces fully calibrated bright white light, while some also provide a spectrum of adjustable colors without gels. Full wireless control and DMX integration are included, and AC or DC power options are available. The Zylight state-of-the-art LED system is truly the most unique and flexible lighting system on the market today. With more than 50 dealers worldwide, Zylight continues to develop innovative LED lighting solutions to help make your job easier. More Than Bright – Zylight. Find out more at www.zylight.com.

 

Broadcast Pix Anchors New HD Production System for Tampa Bay Rowdies TV Broadcasts

Billerica, Massachusetts – Before the start of the 2014 season, the Tampa Bay Rowdies negotiated broadcast rights for all 13 of its Saturday night home soccer matches. As a result, it was time for the team to upgrade its SD production facilities at Al Lang Stadium in St. Petersburg, Fla. The new HD production includes a four-camera setup, custom animated graphics and a Broadcast Pix™ Granite™ 1000 integrated production switcher.

Hi-Tech Enterprises in Clearwater, Fla., was the integrator for the project. According to Ed Griswold, Hi-Tech engineer, the new control room was built in about three weeks, and the system was operational in time for the first Rowdies home game on April 12.

Since the Rowdies began calling Al Lang Stadium home in 2010, VideoArt Productions of Palm Harbor, Fla., has been providing live coverage of their matches. Established in 1982, VideoArt has produced thousands of hours of live programming, and worked with a number of Florida-based professional sports teams and content providers.

The first three seasons were produced exclusively for a Web audience, but this season’s Rowdies contests are also broadcast on WTTA, the MyNetworkTV affiliate in the Tampa/St. Petersburg market (DMA #14). All matches are also streamed to the North American Soccer League’s live streaming site, NASLlive.com, and some are streamed to ESPN3’s Web site.

Art Dryce, president of VideoArt, handled directing, TD, graphics, and commercial and replay roll-ins for the first three seasons. With the move to HD production and the added complexities for broadcast television, however, he did not want the new setup to be another one-man control room. Instead, he wanted a system that could support separate positions for a TD and graphics operator.

The upgraded control room is located in a dedicated area of the stadium’s press box. The typical Rowdies production features two high midfield cameras – one is the main game camera and the second handles tight action follow shots – as well as a sideline camera and end zone camera. The cameras are connected via fiber, which allows for an extremely high quality video signal to the Broadcast Pix system, Dryce said. Productions also include animated graphics, which are stored in the Granite’s built-in clip server, and instant replay. Video Art provides all crew members during production.

The new Granite system replaced a Stream Breeze Pro, which is now tasked with encoding the broadcast (and changing some ad content) for the Web. Griswold said the Broadcast Pix created a “more traditional workflow” for the on-air broadcasts.

Dryce still produces and directs, but Tom Sipos, vice president of VideoArt, handles TD duties for Rowdies broadcasts. A graphics operator shares the system with Sipos, but each work station has its own monitor, populated by Granite’s built-in Fluent-View customizable multi-view. Griswold is also on site to monitor the broadcast signal and provide engineering support.

The graphics operator uses Fluent Rapid CG is used to update the on-screen clock and scoreboard during matches. Ideal for sports coverage, the Fluent Rapid CG™ option for Broadcast Pix systems streamlines the creation of data-intensive CG graphics. By automatically integrating databases, RSS feeds, cloud-based content and custom actions like scorekeeping into templates, Fluent Rapid CG produces customized graphics with significantly less manual effort.

“The system was easy to learn to use, and is easy to operate during our show,” Dryce said. “It has met the expectations we had for our production flow, capability and quality, and with every game we continue to learn new things. It is a powerful production tool. We’re very impressed.”

About Broadcast Pix Founded in 2002, Broadcast Pix is the leader in integrated production switchers, with customers in more than 110 countries. Available in several configurations, from compact systems with end-to-end integration to large-scale systems for high-end live productions, Broadcast Pix switchers include CG, dual clip stores, file-based macros, external control software, and customizable multi-view and virtual sets with patented control options. Broadcast Pix also offers ReVue next generation slow motion systems, fX3D real-time 3D graphics, Rapid CG dynamic graphic playout software, and VOX voice-automated live video production, each designed to enhance our highly integrated live production switchers. Customers include leading broadcast, corporate, education, government, religious, sports, streaming, and visual radio studios. Learn more at www.broadcastpix.com.

Broadcast Pix, Fluent Rapid CG and Granite are trademarks of Broadcast Pix, Inc. Patented. Made in USA.

Broadcast Pix Introduces VOX Lite Voice-Automated Control for Smaller Productions

Billerica, Massachusetts  – Broadcast Pix™ today announced VOX™ Lite, a small-scale version of its popular VOX voice-automated production option that works with any Flint™, Granite™ or Mica™ integrated production switcher. It will be demonstrated at InfoComm 2014 (C5737), which runs June 18-20 in Las Vegas, Nev.

Since it was introduced in 2011, VOX has become a popular automated solution for visual radio, as well as government and corporate meetings for television, Internet, and in-house projection. VOX and VOX Lite eliminate the need for an operator for live productions, as sophisticated software detects which microphone is in use and switches cameras for automatic video-follow-audio productions.

Using the power of Broadcast Pix’s built-in Fluent™ Macros, VOX Lite can also add or remove graphics, roll clips and animations, execute complex PiP compositions, and incorporate information from external data sources like Twitter to create an appealing visual experience. Multiple macros can be assigned to each microphone – and selection criteria can be established – to create varied shot selection and graphics. Conditions can be set to prevent coughs or one-word comments from triggering camera changes. Other features include manual override and the ability to prioritize microphones.

Both VOX models feature a 1RU breakout box hardware interface. VOX features eight microphone inputs, and multiple VOX boxes can be cascaded to support up to 104 microphones. VOX Lite supports four microphones. Both versions include camera control software for Panasonic and Sony robotic cameras.

“For productions with limited resources, VOX Lite offers automated audio-follow-video functionality at an incredible price point,” said Steve Ellis, general manager, Broadcast Pix. “It’s a great way for local radio stations to stream video to the Web or small towns that want to improve meeting coverage without increasing staff requirements.”

VOX Lite has an MSRP of $3,500, which includes the breakout box and software. For a limited time, VOX Lite is available as part of a bundled package with the entry-level Flint LE, which supports three HDMI or analog inputs, for $9,995. VOX Lite can also be bundled with Flint LX (four SDI or HDMI inputs) for $12,495 or Flint LS (six inputs in multiple configurations) for $15,495 through June 30. All three Flint models include two additional network inputs, which are ideal for presentations and Web-based content from remote computers, as well as an internal audio mixer.

About Broadcast Pix Founded in 2002, Broadcast Pix is the leader in integrated production switchers, with customers in more than 110 countries. Available in several configurations, from compact systems with end-to-end integration to large-scale systems for high-end live productions, Broadcast Pix switchers include CG, dual clip stores, file-based macros, external control software, and customizable multi-view and virtual sets with patented control options. Broadcast Pix also offers ReVue next generation slow motion systems, fX3D real-time 3D graphics, Rapid CG dynamic graphic playout software, and VOX voice-automated live video production, each designed to enhance our highly integrated live production switchers. Customers include leading broadcast, corporate, education, government, religious, sports, streaming, and visual radio studios. Learn more at www.broadcastpix.com.

Broadcast Pix, Flint, Fluent, Granite, Mica and VOX are trademarks of Broadcast Pix, Inc. Patented. Made in USA.

FOR-A to Highlight New Version of FT-ONE 4K Super Slow Mo Camera and File Converter at Cine Gear Expo 2014

Cypress, CA – FOR-A Corporation of America plans to showcase the newest version of its FT-ONE full 4K super slow motion camera at the upcoming Cine Gear Expo, taking place June 5-8 at The Studios at Paramount in Hollywood. FOR-A will be in Booth #317, where they will also display the FT-1READ – a RAW data to DPX converter available with the FT-ONE camera.

The new version of the FT-ONE offers fiber I/O connections built directly into the unit for ease of use when shooting from the field. The FT-1READ is an option available with the FT-ONE for easy file conversion. The FT-1READ takes the RAW data from the SSD drives, imports all recorded info, and converts it to a DPX file, which is a common file format for editing and color grading.

The FT-ONE has been used in a variety of sports broadcast and digital cinematography applications, including professional football, boxing, automobile racing, ice cross downhill, and wakeboarding events, as well as a NASA rocket launch. The camera has been the recipient of multiple industry awards, including a 2012 IBC Show STAR Award from TV Technology Europe, TVB Europe’s Best of IBC 2012 Award, and most recently, a 2013 Government Video Salute at GV Expo.

The FT-ONE employs FOR-A’s high-sensitivity CMOS color sensor, “FT1-CMOS,” and plays back full 4K (4096 x 2160 pixels). One output channel can provide QFHD (four 1080p 3G-SDI) outputs, while the other output channel provides down-converted HD-SDI for live viewing and play back. The FT-ONE captures images as uncompressed raw data on the system’s internal memory, which has a recording capacity of 9.4 seconds. This data is then stored on one of two hot-swappable SSD cartridges, each of which is capable of storing 84 seconds of full 4K resolution images at 900 fps.

“We’re very excited to showcase this new version of the FT-ONE camera at Cine Gear – the event where we chose to launch this groundbreaking camera two years ago,” said Hiro Tanoue, President, FOR-A Corporation of America. “Cine Gear Expo continually attracts major players in high-end entertainment production. We’re offering the FT-ONE with fiber connections built into the unit, making it easier when the production calls for the camera to be used a far distance away from the base station.”

Cine Gear Expo is the premier film, video, and digital media expo for the entertainment industry, and is the largest event of its kind. 2014 marks the conference’s 18th year.

About FOR-A

FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, postproduction and professional video markets. For more information about FOR-A’s product line, call 714-894-3311 or visit our web site at www.for-a.com.

‘Anchorman’ DP Thomas Ackerman, ASC, Impressed with Zylight F8 LED Fresnel

LOS ANGELES – When he’s not the director of photography for commercials or major motion pictures like Beetlejuice or Anchorman: The Legend of Ron Burgundy, Thomas Ackerman, ASC, teaches cinematography at the School of Filmmaking at the University of North Carolina School of the Arts in Winston-Salem, N.C. When his lectures inevitably turn to lighting, he has a surprising setup of choice.

“Ideally, my ideal lighting scheme is nothing,” he admitted. “When the existing light is sweet, why re-invent the wheel? Many of my colleagues would probably say the same thing. Of course, we would also agree that this almost never happens. Over the years, I’ve shot some huge sets with a power draw to match. But we can always dream.”

Because the lion’s share of his work is not done in natural light, Ackerman continues to explore new lighting options to create images that support the story or script. “When I’m working, I’m sort of an illustrator telling a story. There’s always a target in mind,” he said. “Clearly lighting technology and the choices of lighting systems have grown exponentially since I started doing this. It’s crazy. Now we can choose equipment with almost surgical precision.”

According to Ackerman, cinematographers render images based on contrast as well as the color and volume of light, but some shoots are more artistically challenging than others. New DPs, for example, sometimes have difficulty with night scenes. “They get hung up on naturalism, where is the light supposed to be coming from?” he explained. “Light should be motivated, but you don’t have to be a slave to reality. At night, you have the ability to create a world of your own choosing.”

Students at the School of Filmmaking at the University of North Carolina School of the Arts used the Zylight F8 during the Spring 2014 semester.

With today’s advanced camera technologies, Ackerman is not concerned with whether or not he can capture a nighttime image; instead, the challenge is in balancing the lighting. He suggested that high quality LED instruments like the Zylight F8 LED Fresnel, which is portable but delivers close to the output of a traditional 1000-watt Fresnel, can be valuable on night sets. “LEDs as high output, low-power tools can splash light virtually at the last minute on a night exposure that could be tremendously helpful,” he offered.

While his toolkit continues to grow and now includes LED lights, Ackerman is not ready to abandon his more traditional lighting options. “There’s a lot of mediocre LED equipment,” he said, “and claims are often ill-founded with significant limitations.”

One LED that has not disappointed, however, is the Zylight F8, which Ackerman and his students used during the Spring 2014 semester. He said it has an extremely fine build quality and a thoughtful design, which includes the ability to collapse the entire instrument, including its eight-inch SCHOTT glass lens, for easy transport. He also said the option to power the F8 using a standard 14.4V camera battery is a significant asset for location and documentary-style shoots.

As far as the quality of the output, the F8 delivered “an amazing amount of punch with miniscule power draw,” he said. “It has a very nice, creamy smooth spread of light, but when you want to spot it in, it concentrates and accordingly picks up. This lamp is officially added to my list. It’s a lot of quality in a very small package.”

Available in daylight (5600K) or tungsten (3200K) versions, the F8 has a high CRI (color rendering index) and Its LED engine features quantum dot technology to provide a more refined and balanced natural light output, which is tuned to work with today’s digital camera systems. The fully dimmable F8 maintains single shadow traditional Fresnel beam shaping and offers an adjustable beam spread (16-70 degrees), with a patented focusing system for spot and flood operations.

ABOUT ZYLIGHT LLC

Founded in 2003, Zylight LLC is the leading manufacturer of intelligent LED lighting instruments for the film and video production industry. Every model in its easy-to-use lighting system produces fully calibrated bright white light, while some also provide a spectrum of adjustable colors without gels. Full wireless control and DMX integration are included, and AC or DC power options are available. The Zylight state-of-the-art LED system is truly the most unique and flexible lighting system on the market today. With more than 50 dealers worldwide, Zylight continues to develop innovative LED lighting solutions to help make your job easier. More Than Bright – Zylight. Find out more at www.zylight.com.

 

Custom Media Solutions Relies on New FOR-A Switcher for High-Profile Live Event Production

Cypress, CA – Specializing in high-quality live and post production services, Custom Media Solutions has been depending on FOR-A video switchers to meet its production needs in recent years. The Georgia-based firm first purchased a FOR-A HVS-300HS switcher in 2011, bought an HVS-350HS switcher when they transitioned to full HD, and later became a user of FOR-A’s HVS-XT110 portable switcher. The company recently selected a FOR-A HVS-390HS switcher for use with its wide-ranging video production applications, including live entertainment, conferences and corporate events.

“Some features of the HVS-300HS switcher that I really appreciate include the ability to scale on every input, a frame sync option on every input, and the DVE capabilities in every keyer,” said Marc Shroyer, owner and founder of Custom Media Solutions. “When we upgraded to HD, the obvious choice for us was to buy FOR-A’s HVS-350HS switcher. The unit was still offered in a small package, yet it came with some amazing features and flexibility. Some features that have helped us to deliver impressive results to low-budget events include its keying over AUX buses, transitioning events memory and use of a second remote control panel.”

Custom Media Solutions began using FOR-A’s HVS-390HS switcher at the end of 2013, and has been extremely pleased with their new unit’s flexibility and new features.

“What has been a big hit for us so far is the Web interface, larger control panel, additional half M/E when we use it with the HVS-300HS control panel, and the use of macros,” explained Shroyer.

One of the more challenging events produced by Custom Media Solutions with
FOR-A’s HVS-350HS switcher was for Hillsong UNITED, an Australian worship music group. Conferences highlighting their U.S. tour stops were held in New York City’s Radio City Music Hall and the Nokia Theater in Los Angeles last fall.

“The FOR-A switcher performed beautifully,” said Shroyer. “The client needed five different outputs with five different keys, all with the ability to transition, and they also needed to have all five screens change sources simultaneously by pushing one key. They wanted to turn multiple outputs with different sources to black and white with the push of a button. We could do this thanks to the mono color option built into the switcher’s keyers. The event was a complete success, and we saved our clients a lot of money by not having to use five different switchers to perform the tasks at hand. We just needed the one FOR-A switcher to get the job done right.”

Other productions that Custom Media Solutions has used FOR-A’s switchers for include: the Delta Chairman’s Club Banquet at the Fox Theater in Atlanta, Christian music artist Chris Tomlin’s tour, a conference at the University of Tennessee, Passion City Church events, DVD shoots for artists Montel Jordan and Hillsong UNITED, events at the Verizon Wireless Amphitheater, productions for the Atlanta Symphony Orchestra and North Point Community Church’s student camps.

“We’ve been continuously pleased with our FOR-A equipment and the quality it brings to our productions,” Shroyer explained. “Our switchers have helped us to provide our customers with top notch, cutting edge video productions at very competitive prices.”

About FOR-A

FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, postproduction and professional video markets. For more information about FOR-A’s product line, call 714-894-3311 or visit our web site at www.for-a.com.

 

Advanced Systems Group Designs Digital Arts Facility for San Lorenzo Unified School District

EMERYVILLE, CALIF. – Advanced Systems Group (ASG), a leading video, data, audio and film integration firm, today announced work is complete on a $6 million production space designed by ASG that serves as the new home of the Bay Area Digital Arts (BADA) Academy for California’s San Lorenzo Unified School District. Located at San Lorenzo High School, the facility includes a 3,100-square-foot NC25 sound stage, production control room, audio control room, voiceover/ADR recording studio, editing classroom, production offices, and private edit suites.

Lance McVay, director of the BADA Academy, said ASG was involved in the project from the beginning. “They assisted with the original grant application to the state and have been involved ever since,” he explained. “Their work and assistance have been vital to the success of the project.”

The BADA program provides media production training, access to professional work sites, and potential internships for its students. It moved to San Lorenzo High School in 2003, where McVay had been teaching television production classes in a converted auto shop since the mid-1990s. The new facility was funded through a state Career Technical Education Facilities grant, for which ASG provided the technical, acoustical and equipment specifications, and matching funds from a 2008 bond measure. After BADA was awarded the grant, ASG was awarded the contract to design the facility with San Francisco-based RLS as part of its team. Thresher Communication & Productivity of Sunnyvale, Calif., handled equipment installation and integration.

The new studio includes three Panasonic AJ-HPX3100 studio cameras connected over SMPTE fiber with Autoscript prompters, an 18-foot lighting grid, cyc wall, curtain track with green screen, video production control, audio production control, machine room, ADR/VO booth and talent green room. A loading bay with wide doors allows space to bring vehicles into the studio for commercial shoots.

McVay said the school never had an actual control room before – all “live-to-tape” productions were actually constructed in an edit suite. The new facility’s control room is built around a Snell Kahuna Flare 2 M/E production switcher, Miranda routing and Compix two-channel CG, with audio control based around a Yamaha DM2000 digital audio console with Genelec 5.1 monitoring.

There are four individual edit suites, plus an editing lab with 36 NLE stations with Adobe CS6 and Final Cut Pro connected to Harmonic Media Grid shared storage. The facility also includes a conference room, teacher office, prop and wardrobe storage, equipment room, and production offices for students to emulate a working studio environment. “My vision was to do it right,” McVay said. “It’s not a studio built for a high school, it’s a studio built for professional production that students run.”

Construction began on the facility in late 2012, and the building had its official ribbon-cutting ceremony last month. McVay said the program will transition into the new facility before the end of the school year, and the studio will be available for rental by regional businesses.

With the center complete, ASG is now working in the local production community to connect Bay Area artists and businesses. “Our goal is to help Lance attract guest speakers and internship opportunities for BADA students,” said Dave Van Hoy, president, ASG. “In the 35 years I have been helping build facilities at K-12 schools, this is the most sophisticated and realistic environment we have ever been able to provide for students. The goal for BADA is for the space to be used to produce professional media projects, which will provide invaluable experience to students looking to pursue a career in the digital arts or entertainment fields.”

“From the beginning, I knew ASG was totally looking out for the integrity of the project. They made my concerns paramount at every step of the process,” McVay added. “They worked hard to be sure the facility met the needs of my students and curriculum, while paying close attention to maintaining a high industry standard so the students could learn in a professional environment.”

About ASG:

Based in Northern California with offices in the Northwest, Southern California and New York City, Advanced Systems Group LLC of Emeryville, Calif., has provided engineering, systems, integration, support and training to the broadcast, film, creative and corporate video markets since 1997. With unmatched experience in high-speed shared storage, media asset management, archiving, editing, color and VFX systems, ASG has become one of largest installers of post-production and shared storage systems on the West Coast. The ASG team is highly focused on customer success, and has installed and supported more than 300 SANs, production and post-production systems. For more information, visit www.asgllc.com or call 510-654-8300.