Category Archives: creation

Dailies and Weeklies, a project of Raul Marroquin for “Inside the City” Weserburg Museum für moderne Kunst, Bremen July 18 – October 12 2015.

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Kogeto’s Lucy

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Lucy is a professional-level panoramic capture solution, designed to be tripod-mounted or simply set on a table. Providing almost twice the resolution of Dot (fullinsight.com/2011/05/dot-360º-video-capture-for-iphone-4), Lucy is a great solution for video & web production professionals.

The Lucy S production kit includes the Lucy camera and an imaged PC laptop with LucyCapture software, so you can start shooting videos right away.

http://www.kogeto.com/meet-lucy

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Gesprek Rob Zwetsloot VVD John Goring NL Verkiezingen 2012

VVD John Goring Rob Zwetsloot Amsterdam. Campaign Watch NL Verkiezingen 2012.

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by | 2012/10/01 · 21:13

Commentaar, Brian Benjamin NL Verkiezingen 2012

Campaing Watch: Commentaar Brian Benjamin, ge´meenteraad Amsterdam VVD, NL Verkiezingen 2012.

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by | 2012/10/01 · 21:08

Exhibiting at IBC September 6 – 11 2012 Rai Amsterdam

IBC provides an unprecedented chance to communicate your company’s vision and showcase innovations to a global audience. Interact with 50,000+ attendees from 160 countries attracted by the wealth of technological advances and strategic thinking that IBC uniquely offers. Join 1,300+ exhibitors in one of fourteen carefully themed and easy to navigate halls and take advantage of IBC’s host of activities to generate leads, raise your profile, develop distribution channels, move into new markets or network with peers. Achieve your business goals at IBC2012. ibc.org

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Filed under Amsterdam, Android, Apps, Asset Management, Augmented Reallity, Blackberry, Blogroll, business, Cloud, community, conference, content, convention, creation, crossmedia, Digital Signage, digitalTV, dish, Economics, entertainment, Ericsson, Europe, exhibition, experimental, facebook, finance, games, Google, interactive, interactiveTV, ip, iPad, iPhone, Journalism, livestreams, Media, Messanger, Microsoft, mobile, Nokia, Public Access, Qik, Salto, Samsung, satellite, sim, Skype, social media, streaming media, streams, Tablets, talkshow, television, TV, usergenerated, virtual, Windows

US analyst sees IFA as the world’s leading electronics trade show

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Berlin (dapd). According to US blogger and analyst Michael Gartenberg, when IFA opens on Friday the big-name manufacturers and retailers from the US and Asia will also be in Berlin. “IFA gives the US market a good indication of what will soon be on the market here”, said Gartenberg in an interview with dapd. IFA already sets the pace worldwide and lays down the topics for other shows such as CES in January in Las Vegas.

“Nowadays a press release from Berlin is picked up and discussed immediately in the US”, said Gartenberg, commenting on the growing attention that IFA commands. Gartenberg is an IT industry observer for market analysts Gartner. IFA’s importance will continue to grow: “We have not yet reached the point where trade shows such as IFA are becoming less important or irrelevant”, said Gartenberg.

CES, its competitor, is still more important in North America. However, globally speaking “IFA’s influence is big, in the US as well as in South America and Asia”. According to Gartenberg IFA’s success has less to do with its timing, shortly before Christmas trading begins, but more to do with Berlin: the show benefits from the city and its location at the heart of Europe. What is more the exhibition grounds are bigger than in Las Vegas, allowing IFA to display an even wider range of products.

Gartenberg sees no signs of the industry’s major players shunning electronics trade shows. The decision whether to exhibit or not depends on each individual company’s situation. Apple is a special case anyway: “They know that everybody will be talking about them even if they are not exhibiting at IFA “, said Gartenberg.

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Cinegy Workflow – Complete Production and Archive Media Asset Management Solution

Cinegy Workflow is an integrated, end-to-end, HD/SD, digital media production and management system designed to meet the challenges of 21st century television and media production. Based on standard PC hardware and IT infrastructure, Cinegy Workflow is a modular, open platform consisting of a suite of tools, applications and open APIs that allow television production to shift into the next gear without being taken hostage by a particular vendor’s proprietary solution. It also integrates fully with traditional production and post production processes, including non-linear editing systems, and can be implemented without requiring investment in a completely new infrastructure.

“We have been able to use Cinegy not just as a richly featured production tool, but as a crucial element in our post workflows. As well as moving media into Avid, Cinegy’s handling of different file types for capture and export have helped to fulfill many other integration requirements. In addition, the use of the system for catch-up TV editing has allowed us to benefit even further from our investment.”  Paul Drewett (Technology Consultant (Production) – Innovation & Business Change – ITV)

KEY FEATURES
Cost efficient,   Easy to deploy,  Simple to use,  Digital asset management based Workflow driven production, Standard IT hardware, Non-proprietary storage, SD & HD ingest, Logging,  Storyboarding, Team collaboration,  Non-linear workflows,  News integration,  Broadcast automation,  Real-time playout,  Third-party integration

Flexible and scalable 
Cinegy Workflow encompasses every aspect of media production, including real-time media ingest in multiple quality levels, automatic shot detection, speech recognition, advanced logging, production notes, voice annotation, rights management, digital asset management, search and retrieval, sequencing, storyboarding, non-linear editing, workgroup collaboration, remote screening, review and approval, conform and playout. It also manages multi-media output for web and to DVD or Blu-Ray. Cinegy has a proven track record, having provided media technology to more than two million users worldwide either directly or through its many OEM customers. Cinegy deployments range from a single seat to hundreds of concurrent users.

“It is impossible to compare what we had before to what we have now. Cinegy Workflow is completely integrated, the workflow is much better and operationally it is very easy to use. The cost benefits are tremendous.”Hasan Kiragi, Director of Broadcast Operations Dogan TV

Cinegy Workflow is an open platform consisting of a suite of software tools, applications & open APIs covering every stage of the digital production process.

“PBS has operated a limited DDMS in the past but is modernizing to a more comprehensive service restoration approach,” “Because Cinegy’s architecture is hierarchical and flexible, allowing channels to be added or reconfigured with minimal costs and high operational efficiencies, a full DDMS is now possible.”Jim Cutright, Sr. Project Manager at PBS.

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Crystal vision’s new fibre optic transmitters saves rack space with 24 channels in 2U

New from Crystal Vision is the FTX-L 3G – a fibre optic transmitter designed to transmit 3Gb/s, HD or SD signals over large distances in a robust, reliable and space-saving way and including two input loop-throughs ideal for system checking or distributing input video.

The FTX-L 3G is a dual channel device, which brings both financial and rack space savings by allowing up to 24 channels in a 2U frame. It has two independent 3Gb/s, HD or SD inputs, each with one optical output, and can transmit a serial digital signal down a fibre optic cable – making it the perfect companion product to Crystal Vision’s FRX 3G fibre optic receiver. The FTX-L 3G meets the SMPTE 297-2006 short-haul specification, allowing operation with single-mode and multi-mode fibre and making it suitable for a wide range of applications, including moving signals in large installations.

The FTX-L 3G includes two customer-requested input loop-throughs, available on a Crystal Vision fibre product for the first time. These loop-throughs can be used to distribute the input video to equipment such as a picture monitor, or alternatively for system checking: if a signal path has a good input and a faulty output, the engineer can use the spare output to check each stage of the system without breaking any of the connections, and so work out which cable or piece of equipment is broken.

Explained Crystal Vision’s Managing Director, Philip Scofield: “Fibre connectivity continues to get easier and cheaper to build into a system. Most Crystal Vision products have both fibre and electrical inputs and outputs. Where there isn’t a fibre output on a device, the FTX-L 3G is a convenient way of connecting the two systems. The added electrical loop-through has allowed a large saving of distribution amplifiers for one of Europe’s national broadcasters and is a sign of Crystal Vision products developing to suit the needs of the high-volume users.”

Safety features on the FTX-L 3G include a Class I laser that will automatically switch off if there is no video input or if the laser’s working parameters fall out of specification. A warning is also given when the laser is approaching the end of its life. Specially modified laser modules allow the FTX-L 3G to cope successfully with pathological test pattern signals.

The standard FTX-L 3G uses a wideband 1310nm laser, but Crystal Vision can alternatively provide narrowband CWDM lasers on request – allowing the broadcaster to get multiple signals through one fibre by using a different wavelength of light for each signal and saving them money and rack space. Most popular for long-haul applications, CWDM (coarse wave division multiplexing) allows many signals to be transmitted down a single fibre link by using a different wavelength of light for each signal. Therefore by fitting the appropriate CWDM lasers the engineer can take the output signals from multiple FTX-L 3G and combine them with signals from other sources down one fibre.

The FTX-L 3G is a space-saving 100mm x 266mm module. It is housed in the standard Crystal Vision frames (available in 4U, 2U, 1U and desk top box sizes) which makes it very easy to transmit signals from any of the company’s interface, keying or picture storage modules, by making system wiring easier. Inputs and outputs are accessed using the RM55 frame rear module – conveniently the same rear module used for the FRX 3G receiver.

There is the usual choice of control, with options including board edge switches, an active front panel on the frame, a remote control panel, SNMP or the Statesman PC software.

Shipping now, the FTX-L 3G replaces the company’s previous fibre optic transmitter, the FTX 3G – bringing extra features at the same competitive price. Crystal Vision’s fibre products have become increasingly popular, with the company selling its highest level of fibre to date in 2011.

Based at Whittlesford near Cambridge in the UK, Crystal Vision provides digital keyers, picture storage modules and a full range of interface equipment including converters, synchronisers, distribution amplifiers and audio embedders to the professional broadcasting industry worldwide.

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Apple says 4G labeling is legit

Apple is defending its decision to market the latest iPad as a 4G-compatible device, answering a complaint from the Australian government’s consumer watchdog.

The company said Thursday in an Australian federal court that its decision to tout the tablet as 4G was not deceptive, the Australian reported. The tablet, which is compatible with 4G networks in the United States, does not work on Australian 4G networks. Apple has offered refunds to Australian consumers who felt they were misled by Apple’s marketing.

Apple has said that it was clear from before the launch of the iPad that its tablet would not work with the 4G networks in Australia.

Apple’s Australian Web site says that its iPad works on the country’s “HSPA, HSPA+ and DC-HSPA” networks, without mentioning the “Ultrafast 4G LTE” that it promotes on its Web pages in America and Canada — the only countries where the iPad is 4G LTE-compatible.

The dispute over the iPad touches on another point of contention on the labeling of the world’s mobile networks — namely what exactly is 4G. Apple is running into problems because the LTE frequencies of U.S. and Australian networks aren’t compatible.

The International Telecommunications Union, a standards-setting body for telecommunications services, identifies just two technologies as “true” 4G networks: LTE Advanced and WiMax Release 2, which aren’t as widely deployed.

But, technically, carriers can (and do) apply the 4G branding to LTE networks, WiMax networks and HSPA+ networks with the blessing of the ITU because they provide a “substantial level of improvement in performance…with respect to the initial third-generation systems now deployed.”

That’s why U.S. carriers all advertise 4G networks, though each is running a slightly different flavor: Verizon’s 4G network is an LTE network; AT&T’s is a mix of LTE and HSPA+; T-Mobile runs an HSPA+ network. Sprint is the odd man out on the WiMax standard but is building LTE infrastructure.

Via Washington Post

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Call for submissions adressed from Arte Postal Express to participants of all editions of Muga Caula

Dear attendants,

In this 8th edition our motto is FLUXCHAMP!, Honoring the 50th anniversary of the creation of the group Fluxus (reference to every artist in action as well as every international festival), and the centennial of the first exhibition of Marcel Duchamp in Barcelona, where he showed his “Desnudo bajando una escalera” for the first time.

FLUXCHAMP! mixes Fluxus, the father of all action festivals, with Duchamp, the father of Fluxus, and the Muga Caula, born under the arm of Duchamp. We invite you to participate in this event (only to the participants of the various editions of The Muga Caula).
Conditions:
A catalog will explain every performance. Along with the reproduction of the work will appear
 the title, the author’s name and a contact address (postal, electronic or web).
The works will become part of the collection of the Muga Caula. There will be several public appearances at the Museum of Ampurdan de Figueras, in Arts Santa Monica in Barcelona and in the Off Limits Madrid. There is also a posibility to appear in the Fluxus Museum in Potsdam (Germany) and the Museum Vostell de Malpartida (Cáceres).
A copy of the catalog will be given to all participants as well as the libraries of all the centers where Muga Caula is present.

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