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Equipson Launches Integra Series: Advanced DSP Matrix for Pro Audio Installations
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Panasonic’s Media Processor Streamlines Multi-Projection for Immersive Experiences
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MOVE’N SEE Pix4Team 2: Revolutionizing Live Sports Filming without a Camera Operator
Hosts: Philip Grossman, host and co-producer at Visionaries; Mary Ann Seidler, owner of First Light Media and consultant for multiCAM Systems and Telos Alliance; and Maria Kholodova.
Production – TKT1957 LLC.
Maria: Equipson introduces the Integra Series, an advanced digital signal processing matrix from its WORK PRO brand, designed for professional audio installations. The series, suitable for various settings, features per-channel DSP architecture, multiple input/output configurations, and user-friendly software for enhanced audio control.
So Mary, can you talk to us about this one?
Mary: Ah, yes. This solves so many problems. Number one, it allows for individual control over every single channel. Now, for example, if you’ve got someone on mic one who really mumbles a lot, you can control that without affecting the other audio. If you listen to a lot of programs right now on our different streaming services, you’ll probably find that you’re adjusting the volume control all the time, and this type of device would help solve that problem. Also, I was quite impressed because it’s got gain and compression on each individual input and output. I’d be curious to try it out. I’d love it if they just sent us one to play around with. It also has compression on each output as well and, just to make everyone happy, it also has enabled Dante, which solves so many problems with AES67. It also has an app so that you could control things by a mobile device, which again makes things easier. So, I can see a tremendous number of installations for which this could be used. Well done, guys.
Philip: Yeah, I have a question about this because I’m not an audio person, but do you consistently adjust things like that throughout a broadcast, or is it something that’s typically set up at the beginning with your levels and whatever else you need, and then it’s good to go?
Mary: You would set up the levels, but then you’d be constantly monitoring them. And certainly, in post-production, you should be able to make some adjustments. Right now, I just finished watching some things where you almost couldn’t watch it because the audio levels were just so all over the place, and something like this solves that.
Maria: Panasonic Connect Europe introduces a groundbreaking Media Processor for 2024, streamlining multi-projection in immersive experiences. It offers efficient workflows, high-quality content projection, and local computing power. What are your thoughts on this new processor?
Philip: It’s interesting to see more and more of this type of technology emerging, especially as we start to see products like the Apple Vision Pro being released. Orders for it just started on February 2nd. And then, last week, we saw another headset being announced, building an environment to help create this kind of stuff. I think it’s a sort of natural extension in the “cyberspace” – though I’m not sure that’s the right word – into the real world, where you’re going to have these immersive experiences. The same technology that can be used for immersive experiences in a headset is now being extended to these large environments. I know there have been several exhibitions, like Van Gogh here in Atlanta and others. It’s interesting to see this becoming mainstream, where it’s not just individual companies writing their own software to control all these projectors, but something that enables more widespread implementation of this type of art, for lack of a better term.
Maria: And Mary, what are your thoughts on immersive technologies?
Mary: I’ve seen them suddenly start to gain a lot of steam. Two years ago, I was wondering about their potential uses. Now, there are so many applications, and the more players we have in the field, the better off we are. This technology, I think, really brings something significant that could be useful to a lot of people.
Maria: The MOVE’N SEE Pix4Team 2, a cutting-edge auto-follow camera, is revolutionizing live sports filming without needing a camera operator. It features a built-in CMOS sensor, compatibility with major sports software, and live streaming capabilities. So, Philip, can you talk to us about this?
Philip: Yeah. It’s funny, I used to refer to these as narcissistic cameras when they first came out, as they could follow you around. But the reality is, sports is one of those areas where we will continue to see growth in terms of content production because it’s become less expensive and easier to stream and distribute content, which was always the gatekeeper in the past. Technologies like this enable high schools and 2A and 3A schools to start producing high-quality content. I can also see it being used outside of sports, in lecture halls and similar settings. It’s interesting to see this type of tech emerging. Mary, I wanted to ask you, how does audio fit in? I mean, do you always see parabolic dishes? Do you think that’s the next thing that has to come in when you’re following players to capture the audio?
Mary: Yeah, that would be interesting. But I have to tell you, your description of who could use this really resonated with me. When I was reading about it, it struck me that this solves a huge problem for all these schools and smaller venues that are looking for something effective, yet everything out there was overkill. There’s definitely a niche for this, and boy, it’s exciting.
Maria: That’s all the time we have today. Many thanks to our experts – Philip and Mary! And don’t forget to comment on the news we’ve discussed. See you next Monday at the same time!
Production – TKT1957 LLC.
Broadcast on January 22, 2024.
Media Partner – Cine Gear Expo.
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