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Archive for August, 2012

The 69th Venice International Film Festival Once Again Turns to XPAND 3D for 3D Screenings at Sala Grande, Sala Darsena and Sala Perla

VENICE, Italy – For the fifth consecutive year, XPAND 3D is providing its world-leading 3D cinema systems for the 69th Venice International Film Festival. One of the most prestigious film festivals in the world, the Venice International Film Festival is taking place August 29 through September 8, 2012.

The aim of the Venice International Film Festival is to raise awareness and promote all the various aspects of international cinema in all its forms: as art, entertainment and as an industry, in a spirit of freedom and tolerance. The Festival includes retrospectives and homages to major figures as a contribution towards raising awareness of the history of cinema.

XPAND will be providing 3,000 of its Infinity 3D glasses at Sala Grande and 1,000 Infinity glasses at Sala Darsena and Sala Perla.

The XPAND Infinity 3D glasses provide up to 38% transparency and a 3000:1 contrast ratio. The glasses’ lightweight ergonomic designs ensure long-wearing comfort, and their wide 3D viewing angle provides an optimal 3D image across the entire cinema. All new XPAND cinema systems and glasses fully support HFR (High Frame Rate) double and single flash at 96fps, 120fps, 144fps, 192fps, 240fps and even variable fps.

“With interest in 3D cinema at an all-time high, XPAND has embraced the increasing demand for higher-quality 3D technology with our Infinity glasses,” said Maria Costeira, CEO of XPAND 3D. “At the 69th Venice International Film Festival, some of the most astute viewers in the cinema industry will be attending the 3D screenings at Sala Grande, Sala Darsena and Sala Perla. Therefore it is crucial that the most sophisticated 3D technology be deployed for these screenings, which we are happy to provide.”

“The Venice International Film Festival is built upon excellence in the film industry and this demand for excellence extends to the technology,” said Angelo D’Alessio, head of digital cinema systems, Venice International Film Festival. “When it comes to 3D technology, there can be no compromise, which is why we continue to turn to XPAND for our 3D screenings. We are looking forward to yet another successful series of screenings for this year’s Festival!”

For more information on XPAND 3D, please visit www.xpand.me

About XPAND 3D:
XPAND 3D is the global leader in 3D technologies for cinema, with systems used by over 5,000 3D cinemas in more than 50 countries. XPAND 3D is also the 3D solution of choice for home, business, post-production, education, military, medical and professional 3D applications. XPAND 3D designs, manufactures and OEMs a range of consumer electronics 3D solutions that are driving the 3D revolution. XPAND is committed to advancing the state-of-the art in technology to provide consumers, businesses, educators and medical professionals with the comprehensive advantages of stereoscopic 3D. XPAND provides glasses on a linear scale from the most advanced and feature-packed for sophisticated surgical, training and home theater to more ruggedized and affordable for cinema and mass market use. X6D Limited is a global company whose products and services are marketed under the XPAND brand name.

Canon EOS 5D Mark II Digital SLR Cameras Streamline the Production of a Major New Animated Stop-Motion Horror Comedy

The efficiency and creative uses of a classic movie-animation technique have been greatly improved of late due in large part to the advanced features, compact size, and high-resolution still-photo capabilities of EOS 5D Mark II SLR cameras from Canon U.S.A., Inc., a leader in digital imaging solutions. The technique, known as stop-motion animation, is distinctive in appearance but traditionally labor-intensive, entailing frame-by-frame photography of a puppet “actor” to create the illusion of movement. LAIKA, the renowned animation studio near Portland Ore., has recently streamlined the photography and workflow of its latest stop-motion 3D feature film, ParaNorman, using 60 Canon EOS 5D Mark II cameras and other advanced digital technologies.

“It took us 86 weeks to shoot the principal photography,” noted John Ashlee Prat, one of five lighting cameramen on the film. “The Canon 5D Mark II has features that helped us to expedite this process.” A horror comedy about a small-town boy who can see and speak to spirits, ParaNorman’s eponymous hero must battle an assortment of ghosts, witches, zombies, and terrified humans to save his town from doom. In order to capture the more than 400,000 separate stop-frames needed to create ParaNorman, the film was divided among five camera teams and 50 separate units at LAIKA’s 151,000 square ft. studio. Each unit had its own shooting stage, sets, puppet “actors,” equipment (including Canon EOS 5D Mark II cameras), and a crew working on different portions of the film simultaneously. Director of Photography Tristan Oliver supervised the entire production. Of all the film-resolution digital still cameras on the market, Prat explained, the 5D Mark II had the best combination of features needed for the 3D stop-motion animation of ParaNorman.

“Stop-motion animators need a live-view reference to see and record their progress,” he said. “We tested every off-the-shelf digital SLR camera that can provide live view and the high-resolution RAW image files we needed, and we found that the Canon 5D Mark II live view is far superior to any of the others. The 5D Mark II also provides the RAW image output we needed, and a USB connector to feed files to our in-house network.”

Production Workflow
Compact, lightweight, and compatible with Canon’s wide selection of EF Series lenses, the 5D Mark II digital SLR camera is equipped with a 21.1 megapixel full-frame Canon CMOS sensor and DIGIC 4 image processor for exceptional still-image capture in a number of RAW or JPEG modes and sRAW options. (The 5D Mark II can also record exceptional full 1920 x 1080 HD motion imagery, which wasn’t needed for ParaNorman’s stop-motion still-photo technique.)

Although the Canon 5D Mark II is designed to record to CF media cards, LAIKA instead used the USB output of each camera to feed all image data directly to computers running Dragonframe stop-motion animation software. Dragonframe recorded each image in the resolutions needed to a server farm, and enabled animators to review their work at any time by shuttling footage back and forth on a special keypad.

“Dragonframe ingests a full .CR2 Canon RAW format file for each frame along with a JPEG, which can be played back for animator reference,” Prat explained. “The RAW files and JPEGs get exported out as a neat little package to editorial for smooth postproduction workflow. Later on we resized and worked in 2K, but still had the hi-res RAW files to fall back on when we needed to do special effects on specific shots.”

Creative Advantages
Photography of a stereoscopic 3D film requires the capture of not one, but two frames – a left and a right image – 24 times for every second of screen time (in stop-motion animation that number is doubled to 48). The compact size of the Canon 5D Mark II digital SLR camera (as opposed to traditional film cameras) greatly facilitated the capture of the corresponding left- and right images needed for 3D, especially given the miniature sets and puppets being photographed. Each 5D Mark II camera was mounted on a computer-controlled motorized horizontal slider, which moved the camera first right and then left for sequential capture of all the necessary 3D frame-pairs.

“The slider is necessary because we can’t put two cameras side-by-side to successfully photograph little 8- to 12-inch puppets in a miniature world,” Prat explained. “We have to use the inter-ocular distances appropriate to that world in order for it not to look miniature. Depending on the shot, those distances can vary from as little as half a millimeter to maybe 10 or 12 millimeters. That’s why the 5D Mark II on a slider works so well. In addition, the compact SLR form factor added stability to our motion-control rigs and allowed us to design smaller-profile rigs that allowed us to put cameras in interesting places – in tunnels and in low-angle situations – that increased our ability to create interesting shots. Another reason why the 5D Mark II is well-suited for stop-motion animation is because it captures images directly through its lens, without parallax. What the animator sees is exactly what he’s going to get, which is crucial for any kind of filmmaking.”

Time-Saver
Ruggedly built, the Canon 5D Mark II integrates many advanced technologies designed for convenient operation. Among these is a self-cleaning sensor unit, which employs a low-pass filter at the front of the sensor to automatically shake off dust with ultrasonic vibrations. The EOS 5D Mark II also has a coating on the front surface of the low-pass filter to increase its resistance to dust sticking to the sensor.

“The self-cleaning sensor feature of the Canon 5D Mark II saved us a lot of time because we didn’t need to take the lens off to clean the sensor,” Prat added. “Also, after principal photography we checked all the 5D Mark II cameras for their total number of shutter actuations, and some of them got up to 150,000. We are rolling our current fleet of Canon 5D Mark II cameras on to our next production, although not for principal photography. Instead they will be used to support all the other departments for their photographic needs. We expect they will make it through the next production with little problem. Principal photography will be done with
Canon 5D Mark III cameras, which feature a noise level that’s two stops better than the original Mark IIs, and that’s even better for us.”

Although the comical characters in ParaNorman experience many frightening adventures, LAIKA’s use of Canon 5D Mark II cameras provided no unpleasant surprises. “The Canon 5D Mark II performed beautifully,” Prat concluded. “We were able to shoot the whole movie without having any cameras fail on us, which was wonderful. This gives me confidence in our decision to use the 5D Mark III on the next production. Canon has made a commitment to the cinema world, and they listen to users to learn how they can improve their products. They stopped by LAIKA to see how we do things, which we really appreciate.”

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Benedum Center for the Performing Arts Upgrades to Digital with HARMAN Studer Vista 5 Console

PITTSBURGH, Pennsylvania — The Benedum Center, a project of the Pittsburgh Cultural Trust and a renowned performing arts venue in the heart of Pittsburgh, Pennsylvania’s cultural district, recently added a HARMAN Studer Vista 5 digital audio mixing console with 42 faders to support a variety of theatrical productions and live music performances. The console was purchased through New York-based Sound Associates (www.soundassociates.com).

Chris Evans, House Sound Engineer for the Benedum Center, first saw the Vista series of consoles at the AES Convention in San Francisco in 2010. Evans, who has been with the Center since its renovation and re-branding in 1987, ultimately chose the Vista 5 because he believed no other board felt closest to analog.

“The relationship I have with HARMAN also helped,” Evans said. “After a valuable discussion with Studer, who were very helpful in navigating the system, it felt like the right choice.”

During the summer, the Benedum Center hosts at least one performance per day—a very busy schedule with little time to adjust to a new console. “The Vista 5 was easy to install and is even easier to use. More importantly, it sounds great,” Evans noted. “The transition to the Vista 5 has been seamless and it’s given me greater flexibility with far less hassle than our previous analog board.”

With a variety of performances and acts hosted by the Center including Blue Man Group, Fiddler on the Roof, A Chorus Line and more (including a recent performance by The Beach Boys), the ability to move audio around the building is something that Evans relies on constantly. “I can patch something downstage right to FOH and go through the system without having to touch the console,” Evans stated. “It can operate as a mixing console and routing matrix. The Vistonics™ surface is so easy to navigate. I also use all the built-in features, from compressors to EQ to delay.”

Evans also noted the console’s Snapshot function as a key asset during live events. “I’ve done a number of shows where there are two or three different bands, so I am able to save a snapshot of each band’s settings and be ready to go with my input list,” he said. “It’s always set up as either I or the touring engineer left it.”

During the Center’s own theater and opera productions, the Vista 5’s cue list has been another great asset for Evans. “It’s easy to program and I use it extensively,” Evans noted. “We included two racks of 48 channels of DSP which I can put anywhere with additional fibers if needed. This is a real flexible solution for what we are doing.”

Since the purchase of the Vista 5, everyone at the Benedum Center has been pleased with the console. “Studer’s support is on a whole other level, it’s easy for me to do my work and count on the performance of their products,” Evans concluded. “The value of the Vista 5 was apparent immediately and the whole team here adapted to it right away.”

For more information on the Benedum Center for the Performing Arts, please visit www.trustarts.org

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

Scouting for Victory with HARMAN’s JBL VTX Line Arrays

Victory Tour Production deployed a massive JBL VTX line array system for Jamboree Denmark 2012.

NORTHRIDGE, California – Billed as the largest scout and guide event ever held in Denmark, more than 37,000 gathered in a field just outside the city of Holstebro in northwest Jutland recently for the first-ever Jamboree Denmark 2012. Premier rental company Victory Tour Production took the opportunity to evaluate HARMAN’S newly-released JBL VTX line array system over the 8-day festival, which was organized by the five internationally-recognized guide and scout associations in Denmark. Looking to upgrade its inventory, Victory Tour Production hired a large system from AED Rent.

The company had first worked with VTX several months earlier at a 1-day festival called Herning Rocker at Teglparken Stadion, Herning. Victory’s Jesper Sørensen confirmed that the company was eager to put it to the test again. “When it came to the Jamboree we wanted a system that could be used to cover the entire venue with the same boxes,” he said. “We wanted it to be easy to run over minimum distances of 100 meters with a single CAT5 cable to feed input and processing—and without needing to install subs at delay positions. That was the main challenge and the VTX was extremely good at that, providing nice low-end coverage across the entire coverage area.”

In total the company installed 84 V25 fullsize line array elements and 24 S28 arrayable subwoofers. The V25’s were configured in two hangs of 12 per side, with 12 S28 subs per side configured as a cardioid array for improved rear rejection. In addition, there were six delay towers with 12 V25’s per position for the first delay ring and a further three masts with eight V25 elements for the second delay ring.

According to Jakup Andrias Knudsen, LydRommet Denmark’s Pro Audio Sales & Technical Support Specialist who provided system engineering support for the event, all delay towers were run with the X preset and the main system had a crossover at 80 Hz. “We tried different sub configurations until we found the one that worked best,” he said. “Since the opening and closing ceremonies were broadcast live, there was a major concern as to how much onstage spillage would occur and we found that the S28 works extremely well in cardioid mode, offering very good front-to-rear rejection.”

To get the best performance possible out of the VTX line arrays, the entire system was powered and processed using Crown I-Tech HD amps—with 42 I-Tech 4x3500HD amplifiers powering the V25’s and 24 I-Tech 12000 HD amps running the subs. JBL HiQnet Performance Manager™ was used for system optimization and was highly effective in controlling the massive setup. “Thanks to Performance Manager I only needed to confirm the system response using Smaart V7,” Knudsen said. “After some sub alignment, delay time measurements and overall response testing, we were ready to run.”

Environmental impact on surrounding neighborhoods was also an important concern for the event, according to Knudsen. “We were not specifically asked to steer the sound away, since local residents had been warned of the event 18 months in advance. However, we made some last-minute changes to the outer delay hangs to minimize spillage and ended up with an 18dB drop in SPL at the perimeter, which kept everyone happy.”

The VTX system successfully demonstrated its versatility while handling many different types of program material over the eight days—with the opening and closing ceremony including speech, video feeds and live music, and daily performances from DJ’s and live bands. Outstanding performance of the new D2 compression driver, in particular, showed just how revolutionary VTX is and Jesper Sørensen stated that the D2 technology had made quite an impact. “The D2 dual drivers are extremely powerful and provide a new means of listening to high frequencies. Some of the visiting engineers came with mixer setups and immediately noticed a difference in the high frequencies, discovering that they needed to mix in a new way to get the best out of VTX. All of them confirmed that the experience with the new JBL system was an excellent one.”

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

SYMETRIX PROMOTES BROOKE MACOMBER TO DIRECTOR OF MARKETING

SEATTLE, WASHINGTON – AUGUST 2012: Symetrix announces that its former Director of Business Development, Brooke Macomber, is now Director of Marketing. In her new role, Macomber will manage the planning and execution of Symetrix’ worldwide promotional efforts so as to support the company’s continued growth. Macomber possesses nearly a decade of experience in the professional audio industry, familiarity with Symetrix’ operations, and both an MBA and a Global Business Certificate from the University of Washington, which together put her in an excellent position to increase Symetrix’ market share in the United States and abroad.

“Brooke came to Symetrix in 2006 to serve as our Sales and Marketing Manager,” said Paul Roberts, who recently vacated the Vice President of Sales and Marketing position to assume the responsibility of CEO for Symetrix. “After that, she rose to become Director of Business Development, and I’m very pleased that she will now serve as our Director of Marketing. Brooke’s personality and expertise will undoubtedly guide Symetrix to ever greater success.” Macomber will report directly to Roberts. Her expanded department is will be responsible for all areas of marketing, advertising, PR, communications, and business development.

“I am eager to take on the Director of Marketing role,” said Macomber. “Symetrix’ strength is founded on an unwavering commitment to empower customers with robust, affordable, forward-thinking professional audio DSP hardware and software. We listen to what audio professionals want, we deliver brilliant products that answer those calls, and we stand behind our work. The coming year will undoubtedly be one of our biggest. Our R&D calendar is packed with amazing new product releases, and with the recent introductions of SymNet Edge and SymNet Radius, there is a lot for me and my team to promote. I look forward to working with the extremely talented individuals in the Symetrix sales and marketing department, and I look forward to supporting our customers and end users in every way possible through honest and engaging marketing and communications.”

ABOUT SYMETRIX Sound professionals rely upon the performance, value and reliability of audio mixing, routing and processing products from Symetrix. For more information on Symetrix professional audio products, please visit www.symetrix.co or call +1 (425) 778-7728.

Minnetonka Audio Software Will Distribute NUGEN Audio Products

LEEDS, U.K. — Aug. 28, 2012 — NUGEN Audio, creator of intuitive tools for audio professionals, has appointed Minnetonka Audio Software Inc. as a non-exclusive global distributor, excluding Japan, Germany, Austria, Switzerland, Benelux, and the U.K. Minnesota-based Minnetonka Audio produces and distributes professional-quality digital audio editing products for sound engineers, including its own SurCode line of encoders and decoders, its AudioTools Server product line for enterprise-class audio automation, and products from Dolby(R) Laboratories. NUGEN Audio’s loudness control products will help round out Minnetonka Audio’s existing product lineup.

“In many cases, engineers need tools at the workstation level to spot check a file or manually craft a project,” said John Schur, president of Minnetonka Audio Software Inc. “For facilities that are already mixing to target, workstation plug-ins like NUGEN’s make more sense than the enterprise-wide automation found in production and post.”

Markus Hintz, Minnetonka Audio’s director of global sales and business development, emphasizes the advantages that the NUGEN/MASI collaboration affords their customers. “Another aspect of our cooperative efforts is in the workstation-centric environment, with SurCode providing encoding and NUGEN furnishing loudness measurement. Together, we offer a respected and complete encoder/decoder solution with loudness measurement and adjustment.”

In addition to the flagship real-time meter VisLM, NUGEN Audio also provides a number of offline tools. LM-Correct is an audio suite plug-in designed to offer automatic, faster-than-real-time loudness analysis and correction within Avid(R) edit systems, including Media Composer(R), Pro Tools(R), Symphony(R), and News Cutter(R). It is ideal for rapid, intuitive correction in situations in which time is limited, providing an automatic method of rapidly conforming audio to current loudness standards.

NUGEN Audio’s LMB system is an offline, file-based loudness analysis and correction program for a workstation environment. LMB is designed for rapid assessment and correction of files for loudness and true peak content to ITU-R BS.1770-1, ITU-R BS.1770-2, and EBU R128 specifications. With a drag-and-drop interface and/or specific watched folders, LMB saves operators time by automatically handling the process of checking and conforming files to multiple broadcast criteria.

“Minnetonka Audio Software is helping to drive industry discussion on loudness control and has a broad reach among our target customers,” said Jon Schorah, NUGEN Audio creative director. “This partnership will help reinforce our position as loudness experts and give us exposure to a new group of potential customers.”

Following the success of NUGEN Audio’s VisLM, the industry’s first loudness metering plug-in compliant with EBU and ATSC standards, the company’s development roadmap includes upcoming product launches of solutions for 5.1 mixing, upmixing, and surround sound to add to its current roster of tools for audio analysis, loudness metering, mixing/mastering, and tracking.

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About Minnetonka Audio Software
An award-winning solutions provider for motion picture, video, broadcast, game, and optical disc production, Minnetonka Audio Software creates essential technology for top media professionals around the world. Their SurCode, discWelder, and revolutionary AudioTools Server product lines broadly support the CD, DVD, BD, and DTV standards. The company is a leading provider of OEM audio codec licensing, as well as file-based QC and loudness control. Spanning over two decades of operation and based in Minnetonka, Minnesota, Minnetonka Audio Software Inc. has a subsidiary in Germany in addition to an international network of distributors and channel partners who share their commitment to quality and service.

About NUGEN Audio
NUGEN Audio creates innovative, intuitive professional audio tools for high-end music producers, post-production engineers, and broadcasters. Reflecting the real-world production experience of the design team, the company’s products make it easier to deliver better quality, save time, and reduce costs. NUGEN Audio’s tools for audio analysis, loudness metering, mixing/mastering, and tracking are used by the world’s top names in broadcast, music, and audio production. For more information, visit www.nugenaudio.com.

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Chyron’s New HyperXLP On-Air Graphics System Provides Big Performance in a Small Footprint

MELVILLE, N.Y. — Aug. 28, 2012 — Chyron today introduced the HyperXLP, a dual-channel-capable broadcast graphics platform that sets a new standard for performance in a compact 1-RU design. Ideal for live news, sports, and OB productions, HyperXLP occupies just a quarter of the space of a standard HyperX system and consumes half as much power. High-speed solid-state storage ensures the HyperXLP’s dependable performance and low profile makes it the perfect solution when rugged design and space conservation are a must.

“The HyperXLP is a triple threat: blazingly fast, environmentally friendly, and ready for the demands of mobile production,” said Bill Hendler, chief technology officer at Chyron. “With features including a high-speed multi-core processor, solid-state storage, and native stereoscopic 3D graphics capability, the system offers performance worthy of even the most advanced live news and sports broadcasts.”

HyperXLP leverages Chyron’s award-winning Lyric(TM) PRO graphics creation and playback software to deliver unmatched performance for its compact size. When deployed with an optional second channel, HyperXLP can meet virtually any broadcast graphic demand.

The system’s powerful graphics engine — built on the latest Intel(R) multi-core processor — simultaneously manipulates 3D graphics faster than ever before. The system also allows stereoscopic 3D graphics to be built easily from existing scenes without any modification. With these capabilities, operators can create, edit, and update eye-catching graphics with unmatched ease. In addition, HyperXLP offers quick manual updates, as well as a powerful set of update tools including ODBC connections, Adobe(R) XMP(R) metadata, and the industry-standard Chyron Intelligent Interface(R).

Compatible with a broad range of graphic content, HyperXLP integrates easily into existing workflows. The turnkey solution also serves as a key element in Chyron’s BlueNet(TM) workflow and Axis World Graphics order management system, which combines the world’s most advanced graphics creation, collaboration, management, and playout systems to minimize the cycle time from creation to air while ensuring the highest production value.

More information about the HyperXLP and other Chyron products is available at www.chyron.com.

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About Chyron
Chyron (NASDAQ: CHYR) is a leading provider of Graphics as a Service for on-air and digital video applications including newsrooms, studios, sports broadcasting facilities, and corporate video environments. An Emmy(R) Award-winning company whose products have defined the world of digital and broadcast graphics, Chyron’s graphics solutions include the Axis World Graphics online content creation software and order management system, on-air graphics systems, clip servers, channel branding, and graphics asset management solutions, all of which may be incorporated into the company’s BlueNet(TM) end-to-end graphics workflow. More information about Chyron products and services is available on the company websites: www.chyron.com and www.axisgraphics.tv. The company’s investor relations information is at www.chyron.com via the “Investors” link.

All trademarks and registered trademarks mentioned herein are the property of their respective owners.

Photo Link: www.wallstcom.com/Chyron/HyperXLPCombo.zip

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Gradient Interactive Tapped for Hollywood Post Alliance 2012 Creativity & Innovation Award

“Sandbox” Takes The Prize

(Los Angeles, CA) The HPA announced today that the organization’s distinguished HPA Judges Award for Creativity and Innovation in Post Production will be awarded to Gradient Interactive for their pre-visualization product, Sandbox.

The Creativity and Innovation Award recognizes companies and individuals who have demonstrated excellence in post production, whether in creative storytelling and/or technical innovation. Gradient was chosen from a large and varied field of entrants who provided presentations to a blue ribbon judging panel and will be on hand to accept the award during the HPA Awards gala on November 1, 2012 at the Skirball Cultural Center in Los Angeles, CA.

Leon Silverman, President of the HPA noted, “The Innovation and Creativity Award was created to honor those people or organizations that are pushing the envelope in post production forward. It was terrific to see the number of entrants and the response to this Award. I applaud the Blue Ribbon panel’s decision to recognize Gradient’s continued outstanding and innovative contributions.”

Gradient Interactive developed the software application Sandbox to offer near real time translation of on-set data into understandable ‘production’ data, ultimately creating a democratized workflow tool that allows users to Pre-visualize sequences. Gradient Interactive’s Sandbox is a mobile, real-time previs system, which enables users to scout virtual locations, record camera moves and render simple animations from an iPad or Android tablet. Offering a great advantage to most of the key departments in production, Sandbox supports the project from start to finish. A director can plan many of his shots without ever seeing location, while the Camera department can plan placement, lenses, lighting, and practice moves. The Production Design/Art Department can create story boards, place props and plan set extensions, while the Visual Effects team can start creating those set extensions. For the Special Effects department, Sandbox can help plan stunts and manage safety parameters.

Gradient Interactive’s Olcun Tan stated, “We are so proud to be recognized by our peers, the organization and by the Committee. The HPA, and in particular the C&I award is extremely meaningful to us, it represents what we strive for in all of our work and in particular the last three years of development of Sandbox. Thank you so much for this Honor.”

The HPA Awards will take place on November 1, 2012 at the Skirball Cultural Center in Los Angeles, CA. For further information, please visit www.hpaawards.net or call the HPA at 213.614.0860 or write info@hpaawards.net.

About the Hollywood Post Alliance(r)
Hollywood Post Alliance (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content.

About the HPA(r) Awards
The HPA Awards were created to foster awareness of post production, promote creative and technical excellence, recognize the achievements of post production talent, and build involvement in the Hollywood Post Alliance.

The HPA Awards will be presented with generous support from Premier Sponsor, NAB Show and Bronze Sponsor, RED Digital Cinema.

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Media Contact:
ignite strategic communications
p: 818.303.8088
Christine Purse, chris@ignite.bz or Mimi Rossi, mimi@ignite.bz

MediaSilo Appoints Joe Foxton as Vice President of Business Development

BOSTON — Aug. 28, 2012 — MediaSilo, a provider of cloud-based media workflow and collaboration solutions, today announced that Joe Foxton is named vice president of business development. In his new position, Foxton is responsible for developing MediaSilo’s market strategy as well as establishing and strengthening relationships with key industry partners and customers in an effort to grow MediaSilo on a global scale.

“I’m very pleased to join MediaSilo during such an exciting time when creative teams across multiple industries are adopting the cloud for collaboration,” said Foxton. “From small production houses to major networks and broadcast station groups, MediaSilo has become a standard for cloud-based management of media assets and creative workflows. The company does Software-as-a-Service (SaaS) right, which is hard to find in today’s media technology market.”

A software designer and production workflow expert, Foxton joins MediaSilo having recently led broadcast strategy at Chyron, a leading broadcast graphics provider. At Chyron, Joe was instrumental in helping the company develop new graphics software-based platforms to meet the changing production technology landscape. Previously, Foxton spent six years in various roles at NBCUniversal, including leading the Newsroom Systems department, which supports NBC News(TM), MSNBC(R), NBC Sports(TM), Telemundo(R), and News Channel. Foxton began his career at Proximity, a creator of broadcast media asset management and transcoding software that was ultimately acquired by Apple(R).

“Joe’s industry expertise and market insight give him a unique perspective on how the broadcast and media industry is evolving and, as a result, how MediaSilo can continue its momentum as an agent of this change,” said Kai Pradel, CEO, at MediaSilo. “Our primary goal is to ensure an excellent user experience for creative teams, and we do that by providing a cloud-based media workflow platform that makes the review, storage, sharing, editing, and conversion of content quick and easy.”

In April, MediaSilo released the third generation of its platform introducing new features and workflows. Foxton will be showcasing this latest MediaSilo platform upgrade at the upcoming IBC2012 show, held Sept. 7-11 in Amsterdam. He is based in Brooklyn, N.Y. and will report directly to Pradel.

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About MediaSilo
Based in Boston, MediaSilo Inc. provides cloud-based media workflow and collaboration solutions for creative teams. Built by media professionals for media professionals, the MediaSilo platform provides content creators and production teams with the ability to search, review, store, manage, share and convert media quickly and easily from anywhere in the world. More information can be found at www.mediasilo.com.

Photo Link: www.wallstcom.com/MediaSilo/JoeFoxton.zip

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BHV Broadcast Makes Broadcast Specification a Priority on Low Cost Version of Syntax Up/Cross/Down Converter

VISIT BHV BROADCAST AT IBC
MANUFACTURER TO DEMONSTRATE BUDGET-PLEASING UNIT AT IBC 2012

Owslebury, UK – BHV Broadcast, manufacturer of compact, cost-effective equipment for live production and post-production, will show a low-cost version of their award-winning Syntax up/cross/down converter at IBC 2012. Syntax Essence will offer the same highly-desirable broadcast specifications as its predecessor but with a 50% price tag, down from €6900 to €3450.

“Offering a low-cost version of our tried and trusted Syntax will help our customers maintain their quality standard while they remain within the confines of their recession-imposed budgets,” stated Julian Hiorns, BHV Broadcast’s managing director. “The price for this outstanding conversion process is much lower, but the quality remains simply the best.”

Syntax Essence is a broadcast specification SDI up/cross/down converter based on advanced Super-Resolution Bandlet Technology. The unit brings the performance advantages of motion-compensated processing without the associated disadvantages of high cost and occasionally severe artefacts. The full Syntax range offers options such as analogue video inputs and ARC, and these wll be available as extras on Syntax Essence.

See Syntax and all of BHV’s award-winning products at IBC 2012. Click on harriet@desertmooncomm.com to schedule a visit!

About the BHV Companies
BHV Broadcast is the sales and marketing arm of Brick House Video, designer and manufacturer of award-winning compact and cost-effective equipment for production and post-production including a full range of rack-mount and portable digital switchers to accommodate any application where space is at a premium. The Company also manufactures rate/standards and format conversion equipment. For further information: www.bhvbroadcast.com

# # #

BHV Broadcast contact: Martin Cook
+44 (0) 1962 777733 • sales@BHVBroadcast.com

Press contact: Harriet Diener / Desert Moon Communications
1-845-512-8283 • harriet@desertmooncomm.com

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