UNIT 65

Lighting

• unit 65 - pass - the kit list below is for the 4 of april's b-tech music reggae night. this kit list is for the lighting groupe. below is what they have decided to take down to Rye Studio School to set up for the night, lighting wise.

• •ADJ galaxian x1• •Micro buster x2• •LEDJ stratos wash x2• •Cuavet intimidator spot 350 x4• •Colour Ralls x6• •Sunlight laptop x1• •Doughty winch up 5.22m x2• •Truss 4 bars x1• •DMX cable - as much as we can bring• •Power cable - IEC cable 3 meters and extension leads 10 meters (as much as we can bring).• •Safety chains and half cupbler x17 or more

• this image give you an example of a truss. this is what the lighting groupe will be rigging certain lights too for example they will be rigging moving head lights or led battens pictures of theses lights will be below:

these images above show a moving head (on the left) and a LED batten (on the right) these types of lights are used in theatres such as drama performances and dance shows, they are also commonly used in live music performance for lighting up the stage and catching attention. below is a video of the moving head and LED batten in show: moving head and LED batten

Lighting of the Church• On the 7th of December I took part in a production arts work shop. This consisted of rigging

and setting up lights in the church of rye, we did this by planning out the layout before we went to the church and then organised which lights we would use (we used many wash lights and 2 moving heads) in the group I was in we set up a wash light In front of the baptising area. The effect of the fading light from colour to colour was very impressive to us and the audience. The pictures below show all of the areas and pillows that we had lighten up in the church. The wash light we used was going to have 3 to 7 channels and the moving heads 1-14 and 15-28 we did not got round to doing this as we did not have a enough time to do so.

• We where going to use the sunlite program to organise a light show for the public there will be a picture of this below.

• We used 13 amp cable leads - kettle lead• We would have DMX the lights however we did not have enough power supply to do so. We

chose to position the lights in the right areas so that the public could see the lit up church as they walked in and still had them out of the way of public so that no in jury's occurred.

• The pictures below show all of the areas and pillars that we had lighten up in the church.

Lighting rig • Rigged up lighting set at E.W workshop for college. It was a demo show for buyers. Set up using the sunlight

equipment.

• Lights-• Wash• Ledj• Stratos wash• Chauvet intimidator• Spot led 350

The Nova-Flower• Nova-Flower

• Bellow is a list and general information of the nova light.

• The Italian Made Novalight Nova-Flower is a flower beam searchlight for permanent installation or touring.

• Power: 220V/60Hz

• Power Consumption: 1450W COS n > 0,9

• Lamp: OSRAM HMI 1200W/S

• Manufacturer’s Rated Lamp Life: 750 Hours

• Lamp Luminous Flux: 110000 Lumens

• Lamp On/Off: By DMX

• Colors: 6 + white, CMY Color Mixing

• Head Movement: 8- or 16-but Pan/Tilt Resolution

• Maximum Pan Angle: 540°

• Maximum Tilt Angle: 260°

• Pan Speed: 540° in 3.2 sec.

• Tilt Speed: 260° in 2.9 sec.

• Beams Aperture: 40°

• Features:• IP43 (Weatherproof)• Trolley Fast Mounting• Shutter and Strobe effect from 1-5 F.P.S.• Bi-directional rotating reflectors with adjustable speed via DMX• Control: DMX-512 (14 Channels) Stand alone• (Programmable by the display buttons on the base)

• Code: NOVA-FLOWER

• Unit Dimensions: 30.1″ x 26.3″ x 45″

• Unit Weight: 194 lbs

• These lights have been used on the Paul o Grady show they are also used in the smaller productions in the 02 arena. Costs roughly around 10,000

City Light - Wash• City light- wash• The most famous and world-wide

appreciated CityColor, is completely produced in Italy. CityColor 2500 is a very powerful wash light fixture with an IP54 rate.

• Thanks to an extremely efficient optic system a powerful light beam can create numberless color shades, through the three filters which can make the best of any lightened object.

• Its performances, in terms of luminosity and lighted surfaces, can reach incredible levels. The CityColor can work in automatic mode or in synchro mode, otherwise may be controlled by 8 bit DMX controllers.

• Ideal to light up outdoor and indoor big surfaces: theatres, discos, parks, town centres, castles, sport facilities and so on.

• Great help is given from the special option in the menu that shows the lamp life, by enabling the replacement of the bulb at the right time (after about 2500 hrs), and also by the counter, very useful especially to the services, to check the hours that the fixture has been working for.

• This light is used for lighting up buildings or something on display for example car dealerships use them to light up a car on show to make it look better, it has also been used for Egyptian pyramids.

• This light has been rated at a £4000 cost/price mark.

Moving Head - Light• What are they- Moving head lights belong to a group of equipment

known as 'intelligent lights'. These are distinguished from ordinary, non-intelligent lights (named 'generics') by the fact that they can be remotely controlled through a separate signal cable. In general terms, a light needing two cables (one power, one control information) is intelligent. Although this guide is for moving head lights, almost all characteristics are shared with scanners. For more information on the difference between moving heads and scanners, see our lighting guide.

LED Wash Light

• Definition: a wash is a general fill of light and colour across the stage through the use of lighting fixtures and coloured using coloured lighting gels also known as fill.

• Example: the lighting designer decided to use a yellow gel to reinforce the feeling of summer in the scene.

Differences

• moving head - nova flower

• The moving heads output of light it produced by led lights producing a very low and un powerful beam of light where as the nova flowers light is produced by a 1200watt lamp creating a very strong and clear bright light. The nova light does not have a gobo wheel meaning t can not change the light beam pattern where as the moving head does it also has a prism effect and the nova does not and there are more fixtures on the moving head and less on the nova flower.

Differences

• Wash Light LED - City Light Wash

The wash light LED is not water proof where as the city light wash is this helps in events being held out side in any condition.

The LED was light is not a powerful light where as the city wash light is a great powerful and bright light which will light up object about triple the size of the LED light. The city light has 2,500 watt power and a heat sink to keep it from over heating but the LED stratus wash light has ruffle 100 watts.

The Moving Head – In Depth Description

• MOVING HEAD:

• What are they- Moving head lights belong to a group of equipment known as 'intelligent lights'. These are distinguished from ordinary, non-intelligent lights (named 'generics') by the fact that they can be remotely controlled through a separate signal cable. In general terms, a light needing two cables (one power, one control information) is intelligent. Although this guide is for moving head lights, almost all characteristics are shared with scanners. For more information on the difference between moving heads and scanners, see our lighting guide.

• What are the advantages of using moving heads- They're pretty much the most versatile and powerful pieces of lighting equipment available. The ability to point your lights at any point on your stage, from the comfort of your lighting desk, is extremely useful and when combined with colour changing, multiple gobos, prism effects and beam shaping, you're pretty much limited by your imagination. They may be dynamic lights but once set up, they can be left to 'do their thing' for a while whilst you take a well earned rest.

• What's the disadvantages- Cost: Although the cost has plummeted in the past few years, a single Mac will still cost £2k-3k.• Speed: Moving a heavy light through 360° is technically difficult and requires good design and large motors. Consequently, the speed of

movement is not very fast; for lightning quick pans and tilts, a scanner is the only real option.• Set-up: Although they are fairly easy to set up, it does take longer than a conventional light (rigging heavy light, setting DMX address,

patching on desk). But then again, how many conventional lights can be replaced by a single moving head.

• There are different types of moving heads-Yes, just like conventional lights, moving heads are available in Profile and Fresnel types. They share similar characteristics with their generic counterparts but are usually much more expensive and versatile.

• How would you use this in your church plan?• I would like to use this light at the back of the church to light up the Jesus window as it will shine up the beautiful colours and make the

church and surroundings look really good.

• Links of my information- http://en.wikipedia.org/wiki/Intelligent_lighting• http://www.pssl.com/!iey7MLmGX!HR3ghb0NEteQ!/LED-Moving-Head-Lights

The Moving Head – In Depth Description

• Automated fixtures:

• Moving head-used by moving the enter fixture body moving head fixtures may be spot fixtures which are tightly controlled or wash fixtures which are designed to cover a large area

• Moving mirror- the fixtures body is stationary and a mirror which redirects the light by panning and tilting, reflects light

• Pan- the movement of the field from side to side. Many fixtures have two pan channels: one for a course movement and one for a finer, more precise, settings.

• Tilt-the movement of the field up and down. Again, many fixture have two tilt Chanel's

• Colour- automated fixtures can can change colours in either of two ways: with dichroic filters mounted on a colour wheel. The user can pick only one of these colour se at a time.

• With dichroic filters in the secondary colours: cyan, yellow, and magenta. These can be subtractive mixed incrementally to create an infinite palette.

• Iris and/or zoom- used to vary the diameter of the beam

• Gobo- mounted on a wheel. Some fixtures have more than one gobo wheel, allowing the user to overlap two gobos. Some of these gobos may be continuously rotatable.

• Intensity- May be controlled electronically, in the case of fixtures using incandescent lamps, or mechanically, in the case of fixture using gas-discharge lamps

• Shutter- used to strobe the beam• Other features, which are found on many moving lights, includes prisms, distorted glass, and motor speeds.

UNIT 65

Sound

Chanel List – Yamaha Ls9• Channel list – plus mics used

• Yamaha LS9 – 16 track/32 track desk

• Instruments and equipment needed needed:

• Acoustic guitar X 2 - DI

• Electric guitar X 2

• Drum kit X 8 mics – sure dm4 k7/AKG D112/supperlux - phantom power required

• Mics X 5 – Sm58 – DI

• Bass X 1

• Multi core X 1

• Sm57 x 2/3/4

• Ch 1 – kick drum – sure pg kick

• Ch 2 – snare – sm57

• Ch 3 – hi hats – beta 57

• Ch 4 –tom 1 – akg clip

• Ch 5 – tom 2 – akg clip

• Ch 6 – tom 3 – akg clip

• Ch 7 – overhead – left – akg se 300

• Ch 8 – overhead – right – akg se 300

• Ch 9 – bass – DI – phantom power

• Ch 10 – acc 1 –sm57/58 - Di

• Ch 11 – acc 2 – sm57/58 - Di

• Ch 12 –elec guitar - Sm57

• Ch 13 – elec guitar – Sm57

• Ch 14 – elec guitar – Sm57

• Ch 15 – keys left – DI

• Ch 16 – keys right – DI

• Ch 17 – vox 1 – vocals – sm58

• Ch 18 – vox 2 – vocals – sm58

• Ch 19 – vox 3 – vocals – sm58

• Ch 20 – vox 4 – vocals – sm58

• Ch 21 – reverb

Yamaha LS9• The LS9 series consoles follow in the distinguished footsteps of the Yamaha PM1D,

PM5D, and M7CL, expanding Yamaha's digital mixing console lineup for live sound and installations. The LS9 series consists of the 32-mic/line input 64-channel LS9-32, and the 16-mic/line input 32 channel LS9-16. While being compact and light enough for one person to move and set up easily, both models include features that have been field-proven in previous Yamaha digital consoles as well as outstanding sonic quality. In addition to an extensive range of gating, compression, and equalization capabilities, there's also a built-in USB memory recorder/player for recording or BGM playback, and other functionality that give you everything you need for small to medium scale live sound or installed applications in remarkably compact, all-in-one consoles.

• Information taken from web link bellow:• http://www.yamahaproaudio.com/global/en/products/mixers/ls9/features.jsp

Yamaha lS9General specifications

Information taken from web link bellow: http://www.yamahaproaudio.com/global/en/products/mixers/ls9/specifications.jsp

Sound Engineering – Yamaha LS9

• The LS9 is a series consoles follow in the distinguished footsteps of the Yamaha PM1D, PM5D, and M7CL, expanding Yamaha's digital mixing console line-up for live sound and installations. The LS9 series consists of the 32-mic/line input 64-channel LS9-32, and the 16-mic/line input 32 channel LS9-16. While being compact and light enough for one person to move and set up easily, both models include features that have been field-proven in previous Yamaha digital consoles as well as outstanding sonic quality. In addition to an extensive range of gating, compression, and equalization capabilities, there's also a built-in USB memory recorder/player for recording or BGM playback, and other functionality that give you everything you need for small to medium scale live sound or installed applications in remarkably compact, all-in-one consoles.

• Website of information below:• http://www.yamahaproaudio.com/global/en/products/mixers/ls9/</

• LS9 Yamaha

Setting Up An Passive Speaker • The pictures below show me setting up a passive speaker set!

Setting Up An Active Speaker • The picture links below show us setting up an active speaker.

Different Microphones • LIQUD MICROPHONES• Liquid microphones, invented by Alexander Graham Bell and Thomas Watson, were among the first working microphones to be developed, and they were

a precursor to what would later become the condenser microphone. Early liquid microphones used a metal cup filled with water and sulphuric acid. A diaphragm was placed over the cup with a needle on the receiving side of the diaphragm. Sound waves would cause the needle to move in the water. A small electrical current ran to the needle, which was modulated by sound vibrations. The liquid microphone was never a particularly functional device, but it makes a great science experiment

• CARBON MICROPHONES• The oldest and simplest microphone uses carbon dust. This is the technology used in the first telephones and is still used in some telephones today. The

carbon dust has a thin metal or plastic diaphragm on one side. As sound waves hit the diaphragm, they compress the carbon dust, which changes its resistance. By running a current through the carbon, the changing resistance changes the amount of current that flows.

• FIBBER OPTIC MICROPHONES• Fibre-optic systems, which use super-thin strands of glass to transmit information instead of traditional metal wires, have been revolutionizing the field of

telecommunications in recent years, including microphone technology. So what's the big deal? Unlike conventional mics, which are often big and send an electrical signal, fibre optic microphones can be extremely small, and they can be used in electrically sensitive environments. They can also be produced with no metal, which makes them very useful in magnetic resonance imaging (MRI) applications and other situations where radio frequency interference is an issue [source: Fibresound Audio].

• DYNAMIC MICROPHONES• A dynamic microphone takes advantage of electromagnet effects. When a magnet moves past a wire (or coil of wire), the magnet induces current to flow

in the wire. In a dynamic microphone, the diaphragm moves either a magnet or a coil when sound waves hit the diaphragm, and the movement creates a small current.

• ELECTRET MICROPHONES• Electret microphones are among the most widely used microphones on Earth. Because they're cheap and relatively simple, electret mics are used in cell

phones, computers and hands-free headsets. An electret microphone is a type of condenser microphone in which the external charge is replaced with an electret material, which by definition is in a permanent state of electric polarisation source: BeStar Acoustic Components.

• RIBBON MICROPHONES• In a ribbon microphone, a thin ribbon -- usually aluminium, duraluminum or nano-film -- is suspended in a magnetic field. Sound waves move the ribbon,

which changes the current flowing through it. Ribbon microphones are bidirectional meaning they pick up sounds from both sides of the mic.• The RCA PB-31 was one of the first ribbon microphones. It was produced in 1931, and changed the audio and broadcasting industries because it set a new

standard when it came to clarity. Several other microphone makers made comparable models, including the BBC-Marconi Type A and ST&C Coles 4038

Sound equipment and uses

• Sm58 used- for vocals because it has a circular Patten Around the microphone

• Sm57 used- for instruments because it has a high SPL (sound pressure level)

• Akgse300b - this microphone is a condenser which means it has a large condenser pattern. It is used to pic up sound from far away. This also needs phantom power to work.

• Di box (direct input)- controlling the sound of amplified instrument it also takes an unbalanced signal and turns it into a balanced signal

• Active speaker- has an amplifier built in

• Passive speaker- needs and external amplifier to work

• DESKS: GOOD AND BAD• Analog desk- zed-436 has no screen and allot of Manuel nobs, you cannot save scenes that you have already made,

and also has no effects built into it, easy to see what your doing, quick changes.

• Digital- has a digital screen and not so many nobs, you can save scenes you have already made, also has effect built into it, can be very confusing with the scream and computer, not so quick changes.

Behringer - XENYX1204FX

• The 8-input XENYX 1204FX is an analog mixer which brings together simple and easy interface, on-board digital effects and the endless possibilities of digital recording. The included USB interface will have you laying down your special effects-laden best peace in very little time.

• Where it's used - the mixer is used by performers mostly when they are performing live and at a home set up it has all the feature for being perfect for those environments.

• Why it's used - Perfect for a small live-performance mixer, as well as home-based recording setup, the 1204USB provides four mono channels with premium XENYX mic preamps, neo-classic 3-band British-style EQ and two stereo input channels. Far from being a “bare-bones” mixer, all mono channels feature our “one knob” studio-grade compressor and two Aux Sends (one each pre- and post-fader).

• How its used - http://www.behringer.com/assets/1204_1204FX_M_EN.pdf • When it's used - The on-board FX processor is great for recording since most

vocalists prefer to have a touch of delay or reverb on their vocals during takes. It's a big time-saver in live applications because there's no additional cable patching.

• The link below is a diagram of what and how you can use it.

•

•

• Main features -• Premium ultra-low noise,• high headroom analog mixer• 4 state-of-the-art XENYX,• phantom-powered Mic Preamps comparable to stand-alone boutique

preamps• 4 studio-grade compressors with super-easy "one-knob" functionality

and control LED for professional vocal and instrumental sound• Neo-classic "British" 3-band EQs for warm and musical sound• Built-in stereo USB/Audio Interface to connect directly to your

computer.• Free audio recording, editing and podcasting software plus 150

instrument/effect plug-ins and ultra-low latency driver downloadable at www.behringer.com

• 2 aux sends per channel: 1 pre fader for monitoring applications, 1 post fader for external FX devices

• Clip LEDs and mute/alt 3-4 function on all channels• 2 subgroups with separate outputs for added routing flexibility• 2 multi-functional stereo aux returns with flexible routing• Balanced main mix outputs with gold-plated XLR connectors plus

separate control room, headphones and stereo tape outputs

• This product is averagely priced at around £120 - £125

• Links below is sites of where I got my information

• http://www.behringer.com/EN/Products/1204USB.aspx

My Sound Department Roles For Roller Disco Project

I have chosen too be in the sound department of this project, the aim for the sound production for this course is to set up and make sure that the sound of the disco is at it's very best, running smoothly with no faults. The equipment that we will be needing are the following below:

Amps P.A Mics (sm58) Drum mics Drum kit Guitars Basses Sound desk (digital) Talk boxes DI boxes Kettle, jacks and XLR leads Wireless headset Qasck12 SM57

Sound Engineer - Sound engineers are professionals who manage and operate recording equipment and amplification machines. They usually work at recording studios, film studios, radio and television broadcasting networks, concert venues, theatres, and similar venues. They are most frequently employed by production companies. Sound engineers can work either in production or post-production. Those working in production will record sound on location, while engineers working in post-production will be responsible for mixing and editing pre-recorded audio.

Sound Technician- Sound technicians are required to assemble, operate and maintain the technical equipment used to record, amplify, enhance, mix or reproduce sound. They identify the sound requirements for a given task or situation and perform the appropriate actions to produce this sound. Sound technicians of different types are required in a range of industries including film, broadcasting (radio or television), live performance (theatre, music, dance), advertising and audio recordings.

Sound Designer - Essentially, the theatre sound designer is responsible for everything the audience hears. Exactly what that entails can vary considerably, depending on the type of show, the performers in the show and the performance venue. In practice there is no single job description that encompasses everything that the sound designer does, as they will adapt what they do to the demands of a specific production. The Sound Designer has to be a master of many different disciplines and technologies, and to have exceptional teamwork and people skills.

I have given descriptions of the sound job roles in theatre because that is what my groupe is doing, however if you would like to see all major job rolls in theatre then go to my blog named "theatre job roles".

• Sound Engineer - Sound engineers are professionals who manage and operate recording equipment and amplification machines. They usually work at recording studios, film studios, radio and television broadcasting networks, concert venues, theatres, and similar venues. They are most frequently employed by production companies.

• Sound engineers can work either in production or post-production. Those working in production will record sound on location, while engineers working in post-production will be responsible for mixing and editing pre-recorded audio.

• Sound Technician- Sound technicians are required to assemble, operate and maintain the technical equipment used to record, amplify, enhance, mix or reproduce sound.

• They identify the sound requirements for a given task or situation and perform the appropriate actions to produce this sound. Sound technicians of different types are required in a range of industries including film, broadcasting (radio or television), live performance (theatre, music, dance), advertising and audio recordings.

• Sound Designer - Essentially, the theatre sound designer is responsible for everything the audience hears. Exactly what that entails can vary considerably, depending on the type of show, the performers in the show and the performance venue. In practice there is no single job description that encompasses everything that the sound designer does, as they will adapt what they do to the demands of a specific production. The Sound Designer has to be a master of many different disciplines and technologies, and to have exceptional teamwork and people skills.

• I have given descriptions of the sound job roles in theatre because that is what my groupe is doing, however if you would like to see all major job rolls in theatre then go to my blog named "theatre job roles".

UNIT 65

Video

The Sony HVR Z1e – specifications

• Generic Specifications

• Lens• Carl Zeiss Vario-Sonnar T* zoom lens, 12x (optical)• f = 4. 5 to 54 mm• f = 32.5 to 390 mm (*2) at 16:9 mode• f = 40 to 480 mm (*2) at 4:3 mode• F = 1.6 to 2.8, filter diameter: 72 mm

• Built-in filter• 1/6 ND, 1/32 ND

• Focus• Auto, manual (focus ring/infinity position), one push auto

• Imaging device• 3-chip 1/3-inch type CCDs with a 16:9 aspect ratio

• Picture elements• Approx. 1,070,000 pixels (effective), approx. 1,120,000 pixels (total)

• White balance• Auto, one-push auto, indoor (3200 K), outdoor (5800 K ±7 steps)

• Shutter speed

• 60i/NTSC mode• 1/4, 1/8, 1/15, 1/30, 1/60, 1/90, 1/100, 1/125, 1/180, 1/250, 1/350, 1/500,

1/725, 1/1000, 1/1500, 1/2000, 1/3000, 1/4000, 1/6000, 1/10000 s

• 50i/PAL mode• 1/3, 1/6, 1/12, 1/25, 1/50, 1/60, 1/100, 1/120, 1/150, 1/215, 1/300, 1/425,

1/600, 1/1000, 1/1250, 1/1750, 1/2500, 1/3500, 1/6000, 1/10000 s

• Exposure• Auto, manual

• Gain• 0, 3, 6, 9, 12, 15, 18 dB (adjustable for H, M and L gain positions)

• Minimum illumination• 3 lx with F1.6 at 18 dB

• Recording format• 1080/60i, 1080/50i, 480/60i (NTSC), 576/50i (PAL)

• Play out/Down conversion format• 1080/60i, 1080/50i, 480/60i (NTSC), 576/50i (PAL), 480/60p, 576/50p,

• Tape speed

• HDV/DV SP• Max. 18.812 mm/s with PHDVM-63DM cassette

• DVCAM• Max. 28.218 mm/s with PHDVM-63DM cassette

The Sony HVR Z1e – specifications • Playback/Recording time

• Component video output• COMPONENT OUTPUT jack

• i.LINK• 4-pin

• XLR audio input• XLR 3-pin female x 2, 327 mV, -60 dBu: 3 kΩ, +40 dBu: 10.8 kΩ, power supply: approx. 40 V

• Headphone• Stereo minijack (3.5 mm)

• LANC• Stereo mini-minijack (3.5 mm)

• Color LCD viewfinder• 0.44-inch type, approx. 252,000 pixels (1120 x 225), hybrid type

• Color LCD monitor• 3.5-inch type, approx. 250,000 pixels (1120 x 224), hybrid type

• Microphone• Stereo type, noise reduction on/off

• Mass• Approx. 2.1 kg (4 lb 10 oz) (camcorder only)

• Power requirements• DC 7.2 V (battery pack)

• HDV/DV SP• Max. 63 min with PHDVM-63DM cassette

• DVCAM• Max. 41 min with PHDVM-63DM cassette

• Fast forward/Rewind time• Approx. 2 min 40 s with PHDVM-63DM cassette

• Audio/Video input/output• AUDIO/VIDEO jack x1

• S-video input/output• Mini-DIN 4-pin x 1

• Power consumption

• HDV• Approx. 8.0 W (recording mode with LCD viewfinder on)

• DVCAM/DV• Approx. 7.6 W (recording mode with LCD viewfinder on)

• Operating temperature• 0 to 40 °C (32 to 104 °K)

• Storage temperature• (*2) These values are calculated to be equivalent to the 35 mm film.

• Supplied Accessories

• A/V connecting cable•

• AC-VQ850 AC adaptor/charger

• Cleaning cassette• • Compoent video cable• • Connecting cord• • Large eyecap• • Lens hood• • NP-F570 InfoLITIUM rechargeable battery pack• • Operating instructions• • Power cord • RMT-841 wireless Remode Commander• • Shoe adaptor • Shoulder trap

• Size AA (R6) battery

the Canon EOS-1D C• Superb 4k movies, stunning stills – one camera

• A ground-breaking multimedia camera that excels at both stills and movie shooting, EOS-1D C brings 4k movies and advanced video functions like Canon Log Gamma to a high performance DSLR body.

•

• •4k movies• •1080p at 50/60fps; Canon Log Gamma• •Uncompressed HDMI output at Full HD 8bit 4.2.2• •18.1 MP Full Frame CMOS• •Up to 12fps and 14fps stills• •61 point AF system• •ISO range 100-25600• •Dual DIGIC 5+ processors• •Clear View II 8.1cm (3.2”) LCD• •EF and EF Cine lens compatible

• information of both camera's taking form the website links below:

• 1) http://www.sony.co.uk/pro/product/broadcast-products-camcorders-hdv-dvcam/hvr-z1e/specifications/

• 2)http://www.canon.co.uk/For_Home/Product_Finder/Digital_Cinema/Cinema_EOS_Cameras/EOS-1D_C/

HDX-W12 Projector • With the HDX series, Barco brings its expertise in 3D projection to events. The HDX-W12 combines active 3D with wireless control

options in one unit. Barco's expertise in the events market with the FLM series has added considerably to the design of this projector, while it also shares image processing and AthenaTM scaling technology with Barco's benchmark image processing technology. Its sturdy, compact design allows the HDX-W12 to be ready for the road in no time, while its 12,000 lumens light output and 3-chip DLP color quality ensure crisp, vivid imagery on any screen.

• Quick preview and wireless control

• The HDX's built-in color LCD screen provides you with all the information you need on your projector's status and also allows you to preview your connected sources. The projector has a native 3G HDSDI/SDI input, which makes it compatible with progressive sources over a single BNC cable. Featuring wireless control, you can operate your HDX from your smart phone or tablet computer.

• Simple setup and maintenance

• Featuring just five building blocks, the HDX-W12 was designed with efficiency and quick setup in mind. In addition, it can easily be boxed, shipped and fits into standard flight cases. The HDX-W12 comes with a Xenon lamp that offers a 2,500 hours lifetime, making it an interesting option for both fixed installations and events.

• Fast signal distribution

• Our proprietary BarcoLink technology guarantees swift signal distribution between Barco’s projectors and image processors. With BarcoLink, signals are distributed over a BNC coax cable, which is not only more durable but also enables you to lower your costs.

• Barco's HDX series won an InAVation Award for Most InAVative Commercial projector.

• Information taken form link bellow:• http://

www.barco.com/en/Products-Solutions/Projectors/Large-venue-projectors/12000-lumens-WUXGA-3-chip-DLP-projector.aspx

HDX-W12 Projector • Projector type• WUXGA 3-chip DLP digital projector

• Technology• 0.96" DMD x3

• Resolution• 1,920 x 1,200 (WUXGA)

• Light output• 12,000 center lumens / 11,000 ANSI lumens

• Contrast• 1,850:1 (standard) / 2,400:1 (high contrast mode)

• Brightness uniformity• 90% (standard)

• Aspect Ratio• 16:10

• ScenergiX• Horizontal and vertical edge blending

• Lens type• TLD+

• Lens range• 0.73:1 ; 1.2:1 ; 1.25-1.6:1; 1.5-2.0:1 ; 2.0-2.8:1 ; 2.8-4.5:1 ;

4.5-7.5:1 ; 7.5-11.5:1

• Optical lens shift• Vertical: -30% to +120% / Horizontal: -40% to +40% on zoom lenses (memorized)

• Colour correction• P7

• Lamp• 2.5kW xenon

• Lamp lifetime (typical)• 2,500 hours

• Transport with lamp• Yes

• Lamp house, quick replace• Yes

• Customer bulb replace• Yes

• Lamp warranty (field replace/ factory replace)• 90 days, 500 hours / pro rata 750 hours

• Sealed DLP™ core• Standard

• Optical dowser• Standard

• Picture-in-picture• Up to two sources on-screen simultaneously

• Orientation• table - ceiling - side (portrait)* - vertical• * lamp door down/bottom

• DMX 512• Standard

• Information taken form link bellow:• http://

www.barco.com/en/Products-Solutions/Projectors/Large-venue-projectors/12000-lumens-WUXGA-3-chip-DLP-projector.aspx

Display Screen - TH-65LFE7 Standard LED display

• TH-65LFE7 - Standard LED Display Standard LED Display with a stylish design and basic functions for professional use. A stylish design for both signage and conference room use The narrow bezel cabinet, from which all unnecessary decorations have been eliminated, draws the viewer's attention directly to the image, for an eye-catching appearance in commercial facilities. Installation in a company conference room or reception desk also enhances the surrounding interior design to create a highly attractive space. Equipped with terminals and speakers for commercial use Various input terminals meet the needs for signage use. And versatile input signal compatibility enables use as a conference monitor. Speakers complete with an equalizer are built in for clear sound when used for videoconferences. Flexible installation - Vertical and Multi-Screen configurations The thin, lightweight LFE7 Series can be installed vertically to meet a wide range of installation needs. And a 5x5 multi-screen configuration is also possible, making it easy to create a video wall.

• Information taken from link below:• http://

business.panasonic.co.uk/visual-system/products-and-accessories/professional-displays/indoor-displays/indoor-standard-lfe-series/TH-65LFE7

Display Screen - TH-65LFE7 Standard LED display

• To the right are main features of the display screen.

• Information taken from web link bellow:

http://business.panasonic.co.uk/visual-system/products-and-accessories/professional-displays/indoor-displays/indoor-standard-lfe-series/TH-65LFE7

Van Damme/Neutrik Smart Control DMX Cable 3 Pin XLR Male to Female 10m

• Van Damme Smart Control is specifically designed for DMX512 lighting control• 22AWG conductors and precision impedance cable for accurate data transfer• Robust PVC jacketed cable for tour and on stage use• Terminated with Neutrik 3 pin XLR connectors• Ideal for use with Maplin's range of DMX lighting products

• Van Damme Smart Control DMX leads offer a stable and reliable connection between DMX controllers and lighting equipment. Proven in the professional market place, this cable is the DMX lead of choice for multiple lighting companies, theatres and performance spaces.

Information taken from web link bellow:• http://

www.maplin.co.uk/p/van-dammeneutrik-smart-control-dmx-cable-3-pin-xlr-male-to-female-10m-black-n00nn

Newtek – tricaster 8000• In the broadcasting world, second and third screen experiences are

no longer considered extras; for audiences today, they’re expected. Media networks that create masterful multi-channel and multi-branded content for viewing on TVs or computers, sharing on mobile devices, or both—open up huge opportunities to monetize more streams of programming. Those opportunities were made for TriCaster 8000.

• TriCaster 8000 is the first content publishing hub for all media coming into a live program, all creativity and branding that happens on screen, all variations of the branded program output, multi-channel delivery with simultaneous streaming and social media publishing—and all the integration points in between, for broadcasters, brands, content owners and media publishers to flow smoothly with their infrastructure and create, publish and repurpose that media.

• Information taken from web link bellow:• http://www.newtek.com/products/tricaster-8000/tech-specs.html

Newtek – tricaster 8000• Sepcifications

• Information taken from web link bellow• http://

www.newtek.com/products/tricaster-8000/tech-specs.html

Newtek – tricaster 8000• Specifications

Information taken form web link bellow:

http://www.newtek.com/products/tricaster-8000/tech-specs.html