Press Releases For : April 24, 2014

32TEN Studios Produces Numerous Practical Effects for Hit Motion Picture “Noah”

San Rafael, CA, April 24, 2014 — 32TEN Studios, a San Rafael (Marin, CA)-based company that provides production facilities and services, as well as practical effects services, to entertainment, advertising, community and corporate clientele, has produced numerous practical effects for Paramount Pictures and Regency Enterprises’ hit motion picture “Noah.”
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For “Noah,” 32TEN Studios shot a number of practical elements that were used by Industrial Light and Magic in constructing a variety of scenes. These elements included simulated rain, crashing waves, and smoke effects, among others.
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“The practical effects shot by 32TEN, when combined with our CG work, helped us create realistic images for this story,” said ILM VFX Supervisor Phillippe Rebours, who supervised the work done on “Noah” at 32TEN Studios.
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ABOUT NOAH:
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“NOAH” stars Academy Award®-winner Russell Crowe in the title role in the film inspired by the epic story of courage, sacrifice and hope. Directed by visionary filmmaker Darren Aronofsky. Jennifer Connelly, Ray Winstone, Emma Watson, Anthony Hopkins and Logan Lerman also star. The film was written by Darren Aronofsky & Ari Handel and produced by Scott Franklin, Darren Aronofsky, Mary Parent and Arnon Milchan.
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ABOUT 32TEN STUDIOS:
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Launched in early 2012 by longtime entertainment industry leaders Tim Partridge and Greg Maloney, 32TEN Studios is a production facility and VFX services provider located in San Rafael. The company provides its services to producers of major motion pictures, independent films, TV programs, commercials,
industrials, web content and multi-media projects. 32TEN Studios is located at 3210 Kerner Blvd., San Rafael, CA, 94901. The phone is 800 717 3210, and the website is: www.32ten.com
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Hannes Arch, Co-Developer of HARMAN’s AKG AV100 Aviation Headphones, Wins Red Bull Air Race World Series

ROVINJ, Croatia – Hannes Arch, who co-developed the brand-new AV100 aviation headphones from HARMAN’s AKG, recently won the Red Bull Air Race in Rovinj, Croatia. Leading with 21 points, Arch claimed the rank 1 championship title within the Master Class of the race for the second time on April 13, 2014, adding to his previous victory in 2008.

As the sole Austrian within his class this year, Arch demonstrated superb aerial capabilities, outmaneuvering 11 other contestants in a series of four elimination rounds over the course of two days.

Introduced on April 1, 2014, the AV100 headset features the class leading Hybrid Active Noise Cancelling technology to cut out cockpit noise on every flight. Coupled with a superior ergonomic design, it provides comfort to the pilot’s ears on all levels. While the added functionality of next-gen Bluetooth connectivity is an advantage, AKG’s well-known commitment to reliability and durability makes it an indispensible device.

“When flying, I noticed the headset was extremely comfortable and manageable in every way,” said Arch. “We have now created the quietest, most comfortable and reliable aviation headset on the market today. Flying is my passion, and now it just got a whole lot better.”

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

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Lowel Expands Its Family of Professional LED Lighting with Two Outstanding Additions

New Lowel Prime Location LED and PRO Lowel Power LED Debut at NAB 2014

Hauppauge, NY – April 24, 2014 – The Tiffen Company, a leading manufacturer of award-winning digital imaging accessories, today announced two new additions to the Lowel family of LED lights: Lowel Prime Location LED and Lowel PRO Power LED systems, unveiled at NAB 2014 in booth C8818. “The new Lowel solutions represent our commitment to transitioning to newer technologies in lighting, taking full advantage of these advancements,” states Steve Tiffen, President and CEO, The Tiffen Company. “What sets Lowel apart is the 50+ years of experience in lighting engineering. This expertise is prevalent in all aspects of the new LED solutions, offering customers a versatile, mobile and dependable light source with unparalleled color quality and beam output for capturing the world’s greatest images.”

About Lowel Prime Location
The new Lowel Prime Location LED is designed for lighting in the real world. With high output spread over a wide 50-degree beam angle, this 1×1 LED panel features a very rugged housing and a high IP-65 rating. An IP (Ingress Protection) rating of 65 means Prime Location LEDs can be used in rain, sand or dust storms.

Where most production LED 1×1 panels are manufactured using inexpensive materials with flimsy bodies, the rugged all-metal housing of Prime Location LED makes it perfect for the real world of rental houses and grip trucks.

Its AC connections use Powercon AC bridging between fixtures to reduce the need for multiple AC outlets. Prime Location LEDs also come with your choice of V-lock or Anton Bauer Gold Mount battery plates for DC operation. The lights are available in hi-CRI Daylight, Tungsten or Bi-Color models, and are dimmable without color shift. Their lite diffusion front-piece greatly helps reduce LED multi-shadow.

Light control accessories and kit combinations are available. The Lowel Prime Location LED is perfect for ENG / EFP and the small location studio setups of the real world.

About Lowel PRO Power LED
Lowel PRO Power LED is a compact, focusing light available in hi-CRI Tungsten or Daylight color with impressive output and a wide fresnel 8:1 focus range. Where other LEDs are lower power and therefore need to be used closer to the subject, the PRO Power LED can light from a greater distance, allowing the shooter to get more of the location into the wide shot.

The light is dimmable without color shift, works with either AC power or its proprietary DC accessory battery system, which clamp-mounts to the light stand to improve balance and stability, but can also be used with a shoulder strap for handheld lighting; and has a selection of accessory light control and mounting options. It’s available alone or in kit combinations. The Lowel PRO light is perfect for run & gun ENG or even small location studio setups.

Lowel has always gone the extra mile in quality of design and product manufacturing. Most companies simply make single fixtures, but not lighting kits. Lowel pioneered the concept of location lighting kits, making them as versatile and dependable as possible while keeping the kits compact and easy to travel with.

For more information about Lowel Prime Location and PRO LEDs, please visit www.lowel.com.

About Lowel-Light
For over 50 years, Lowel’s award-winning lighting innovations have made it easier to transport, set up, control and maintain lighting equipment for professional imaging production. Lowel is considered the world leader in location lighting for its full range of lights, controls, mounts and kits.

About Tiffen
Tiffen has been a leading manufacturer of photographic filters, lens accessories, software, and camera accessories for the consumer/professional imaging and the motion picture and broadcast television industries for 75 years. The company has a rich history of innovative product design, superior optical consistency, and unparalleled quality. Tiffen has been recognized for its product and engineering excellence, earning a Technical Achievement Award and a Scientific and Engineering Award from the Academy of Motion Picture Arts & Sciences, as well as multiple Emmy® Awards. Today, the company offers a wide range of products, which include: Tiffen® filters, Steadicam® camera stabilizing systems, Lowel® light, Listec® teleprompters, Tiffen Dfx® digital imaging software, Domke® bags, Davis & Sanford® tripods, Zing® camera covers, Stroboframe® flash brackets, Saunders® professional trimmers, and Kodak Wratten® filters. Tiffen continues to enhance its reputation as a leading imaging accessory manufacturer through aggressive growth in the image-making accessory industry.

For more information on Tiffen, please visit http://www.tiffen.com.

Tiffen is a registered trademark of The Tiffen Company. All other trademarks and products mentioned herein belong to their respective owners.

Press Contacts
Anya Oskolkova
Zazil Media Group
(e) anya@zazilmediagroup.com
(p) 617.817.6559
(skype) anya.oskolkova

Lauren Leger
Zazil Media Group
(e) lauren@zazilmediagroup.com
(p) 508.498.8433
(skype) lauren.zazil

####

Lowel Prime Location LED

Lowel PRO Power LED


Brazil’s TV TEM Boosts ENG Broadcast Coverage with Large Equipment Purchase from Integrated Microwave Technologies, LLC (IMT)

New Gear Allows Broadcaster to Expand its Regional ENG Capabilities

SÃO PAULO, BRAZIL, APRIL 24, 2014 – In an effort to increase its ENG coverage in Brazil’s competitive broadcast market, TV TEM, a regional affiliate of TV Globo, has made a substantial purchase of equipment from Integrated Microwave Technologies, LLC (IMT), a Business Unit within the Vitec Group’s Videocom Division, and a leader in advanced digital microwave systems for the Broadcast and Sports & Entertainment markets. The new equipment, facilitated through Videodata, a leading Brazilian systems integrator and equipment supplier, will be used to outfit OB vans and motorcycle vehicles for both the TV TEM Sorocaba and TV TEM São José do Rio Preto stations. The newly outfitted vehicles enable TV TEM to have both OB Vans and broadcast-capable motorcycle units in each region.

Pictured from left to right at the recent 2014 NAB show are Todd Hansen, IMT; Ewerson Maciel, TV TEM; Cicero Assis, Videodata; Helio Kimelblat, TV TEM and Adilson Dolci, TV TEM

“We chose IMT’s digital microwave equipment because we have confidence in its Nucomm and RF Central brands, in addition to the local support provided by IMT and Videodata,” says TV TEM networking engineering manager Ewerton Maciel. “We also have had a great track record with Nucomm over the past 20 years. We plan on ‘debuting’ our brand new IMT-equipped vehicles in our coverage of several 2014 FIFA World Cup™ teams, including Japan, Russia, Honduras and Algeria.”

IMT’s Nucomm Compact Portable Tx-II (CPTx-II) RF video transmitters and microLite HD transmitters will be used to create fully-functional motorcycle news vehicles. Two Nucomm Newscaster VT7.4 HD/SD ENG/SNG/OB Van Transmitters will be used to expand on its traditional ENG operations along with two RF Central RMR-X6-II digital diversity receivers. As a previous IMT customer, TV TEM has already deployed IMT’s ChannelMaster into its Rio Preto station.

“TV TEM’s large purchase of IMT gear is a clear sign of the network’s commitment to providing its viewers with the broadest and very best in regional coverage,” says IMT Divisional Chief Executive Stephen Shpock. “We are excited about TV TEM’s purchase and look forward to working with Videodata in the deployment of our gear into the field.”

IMT’s CPTx-II is a lightweight RF video transmitter that delivers HD/SD output at up to eight Watts in 2k DVB-T COFDM mode. The CPTx-II is ideal for covering motorcycle and bicycle races, marathons, triathlons and other fast-paced, high-speed ENG/OB events using such smaller on-course vehicles as cars, motorcycles and even bicycles.

The CPTx-II was designed to offer exceptional RF performance and ease of operation. Instead of ‘run and shoot,’ motorcycles and other smaller ENG/OB and production vehicles now are ‘run and transmit.’ The CPTx-II supports video/audio/data/telemetry with selectable modulation bandwidths of 6, 7, and 8MHz. In addition to the small size, the unit has very low latency and a low power consumption. It weighs about 3 kg and comes with a variety of mounts, including special mounts for motorcycles. The maneuverability of a motorcycle fitted with video transmission capability offers significant advantages in congested, high-traffic locations as the camera can get onto roads and into locations that might be too narrow for a traditional vehicle to navigate safely.

The RF Central VClip microLite HD Transmitter (VMLT) is a new addition to IMT’s award-winning RF Central family of microLite HD products. The VMLT is a compact wireless camera video transmitter that mounts on the end of the cameras between a plate and any V-mount battery, a widely used mounting option for the industry’s leading professional cameras. The V-mount option is integrated on both sides of the VMLT transmitter, allowing the transmitter to be mounted to the camera, then the battery to be mounted to the transmitter. As a result, the battery can be used to power up the transmitter and pass power through to the camera. With its compact, clamshell design, the VMLT is ideal for a variety of mobile applications, including live sports events, reality TV productions, ENG/OB broadcast and video assist.

The Nucomm Newscaster VT7.4 is comprised of a HD/SD encoder with adjustable long GOP encoding featuring I, P and B frames as well as a low delay mode. The COFDM modulator has full control over the modulation formats, bandwidth, data rate and guard interval. For increased flexibility a wide array of inputs are provided including video/audio, SDI (HD) with embedded audio, ASI and 70 MHz. The VT7.4 features software generated modulation formats that are stored in onboard, circuit board PROMs including FM (NTSC/ PAL), COFDM, VSB, single carrier QAM and DVB-S. For increased flexibility, the software can be easily updated as additional digital software formats become available.

The RF Central RMR-X6-II software-defined, six-input digital diversity receiver provides maximum ratio combining, DVB-T receive capabilities, ASI output for forwarding the stream, UDP streaming over IP (Ethernet) and an internal MPEG-2 SD/HD decoder. The RMR-X6-ll has six antenna UHF RF inputs that interface with external Block Down Converters (BDCs) to provide superb maximum ratio combining capabilities. The maximum ratio combining function automatically chooses the best signals from the six antennas and then combines them to improve the signal-to-noise ratio (SNR).

TV TEM is a regional network of the Brazilian TV Globo affiliate that covers 318 municipalities in the state of São Paulo, with four television stations (Sorocaba, Bauru, São José do Rio Preto and Itapetininga). There are also sub-offices in Araçatuba, Avare, Botucatu, Ourimbah, Itapeva, Jundiaí, Marilia and Votuporanga.

About Videodata
Videodata is a leading Brazilian systems integrator and equipment supplier for the TV Broadcast, Pay TV, Telecommunications, Internet and Government markets, with 20 years of experience. Carrying a roster of respected and industry-leading broadcast manufacturer partners, Videodata has a complete portfolio of products and services including playout servers and automation with hundreds of playlists in operation, video compress & satellite HD microwave links, production equipment, 3D on air graphics, media asset management, archiving solutions. Videodata has pioneered and launched several key technologies and innovations in Brazil, including media asset management and archiving, MPEG-4 video transmission, broadcast video servers, virtual sets, TV automation with servers, and most recently mobile HD transmitters for helicopters and OB vans. More information is available at http://www.videodata.com.br.

About Integrated Microwave Technologies, LLC
Integrated Microwave Technologies, LLC (IMT) is a Business Unit within the Vitec Group’s Videocom Division. The company comprises the leading microwave brands Nucomm, RF Central and Microwave Service Company (MSC), offering broadcasters worldwide complete broadcast solutions. Nucomm is a premium brand of digital microwave video systems (including COFDM and VSB) for portable and fixed link applications. RF Central is an innovative brand of compact microwave video equipment for licensed and license free broadcast applications. MSC is a premier provider of engineering, integration, technical support, installation and commissioning services. IMT is an ISO 9001:2008 certified QMS organization and recipient of multiple industry awards for design and innovations.

More information can be found at www.imt-broadcast.com.

A Snapshot of The Vitec Group
Vitec is an international Group principally serving customers in the Broadcast & Video, Photographic and Military, Aerospace and Government (MAG) markets. Listed on the London Stock Exchange with 2012 revenue of £345.3 million, Vitec is based on strong, well known, premium brands on which its customers worldwide rely. Vitec is organised in three Divisions: Videocom, Imaging and Services.

Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG.

Imaging designs, manufactures and distributes equipment and accessories for photography and video.

Services provides equipment rental, workflow design and technical support to TV production teams and film crews.

More information can be found at: www.vitecgroup.com

Carbon VFX Welcomes Marlo Baird Kinsey as West Coast Executive Producer

Carbon VFX announces the addition of Marlo Baird Kinsey as Executive Producer in Los Angeles. Marlo’s unique blend of VFX post-production and editorial experience make her well positioned to lead the production department of the creative studio’s Los Angeles office. Marlo joins Carbon’s talented team of artists, graphic designers and producers from her most recent production role at The Mission.




“It’s a pleasure to welcome Marlo on board to run production ops in L.A. Her experience, versatility and great personality make her the perfect person to build upon the success this office has experienced in the short time we’ve been in this market,” Frank Devlin, Executive Producer and Partner at Carbon VFX, said.


The culture of Carbon VFX is rooted in its ability to deliver big results for complex projects, all the while remaining nimble and collaborative and providing personalized attention on every project. “I am incredibly excited to be working alongside Frank and the Carbon team. It’s an incredible opportunity to tap into Carbon’s talent pool and couple it with the experiences I’ve garnered throughout my career to create a seamless, perfectly tailored experience for our clients,” Marlo said.


With 10 years of experience in post-production, Marlo will oversee all aspects of production in Carbon’s L.A. office, including bidding for visual effects, CG, motion graphics, color correction and finishing. Previous to Carbon she has worked as a freelance producer, independently spearheading projects for a number of visual effects studios, notable production companies, television networks and editorial collectives. She has collaborated with award-winning directors and has worked on international campaigns, including VW, Nike, and Samsung.


Marlo joins the team with a well-rounded leadership background. Dedicated to fostering positive transformations in her community both locally and nationally, Marlo has worked extensively in the worlds of non-profit and political activism including time as a community organizer for the Barack Obama Campaign. Marlo is also an avid supporter of the arts in Los Angeles and serves on the board of the L.A. Contemporary Dance Company.


About Carbon VFX:

Carbon VFX is a full-service creative studio specializing in visual effects, motion graphics, and design. We are big enough to handle complex projects, yet small enough to provide personalized attention. We have the experience to collaborate at every level, from supervision and workflow to design and finish. Most importantly, we are driven by a desire to create, and to get our name on really great work.



BigStar Opens Showtime’s “Years of Living Dangerously” With Dramatic Title Sequence



The producers of Showtime’s “Years of Living Dangerously” recently tapped creative strategy and production company BigStar to create the show open for the nine-part documentary series about the impact of climate change. Featuring celebrity correspondents, including Matt Damon, Jessica Alba, Olivia Munn and Harrison Ford, as well as seasoned journalists, the series tells the story of climate change on three major fronts: the impacts on people, here and now; the dramatic politics surrounding the issue; and the solutions being created to mitigate the problem. “Years of Living Dangerously” premiered April 13th, and is executive produced by James Cameron, Jerry Weintraub, Arnold Schwarzenegger, Dan Abbasi, Joel Bach and David Gelber.

Working directly with The Years Project, the series’ production company, BigStar was tasked with creating a main title sequence that conveyed the crippling effects of climate change and its broad reach. The challenge was to capture the element of human drama and introduce the 14 correspondents of “Years of Living Dangerously.” Moreover, it had to represent the scientific backbone and political backdrop through which the series navigates – all under two minutes.



Harrison Ford



“We gave BigStar a very difficult task: create a main title sequence for a multi-part series on global warming that would showcase the enormous size and scope of the project (and subject) but also have an intimate, human feel,” says Joel Bach, Executive Producer and Creator of The Years Project. “We also wanted to distinguish ourselves from climate change ‘specials’ that the networks have rolled out periodically over the last several years; ‘Years [of Living Dangerously]’ had to feel like something altogether new. And we needed to somehow feature our full cast of celebrity correspondents in action, seeing the places and meeting the people affected by climate change. BigStar delivered — and in a big way — creating a powerful series of double exposure and layered images that together told a story and built to an exciting, dramatic finish. I couldn’t be happier with the end result — and am delighted we decided to work with BigStar on the series. They also did a phenomenal job with the graphic animations inside the show.”

BigStar created tension in the titles by showing infographic-laden footage of the correspondents traversing the globe, from California to the North Pole, and from the Andes to Africa. Excerpts from their interviews provide a sobering sonic backdrop that sets the stage for the journalistic journey. The sequence embarks with a cool palette of earthy greens and crisp blues, highlighting open landscapes and natural resources, before slowly warming to dark reds and dusty oranges. The shots then shift to more crowded imagery and frenetic editorial pacing. Each moment and sound byte builds on the next until the sequence crescendos into an explosive, dramatic title reveal.

“At BigStar, we have a strong desire to use our talents for the greater good, which is why we love getting involved in projects such as this one,” says BigStar founder and executive creative director Josh Norton. “From the outset, we understood the gravity of this story and how imperative it is to the future of humanity. With a project of this importance and social purpose, you really have to dig into the heart first.”

To view the main titles, please visit: http://www.bgstr.com/#years-of-living-dangerously

When BigStar first met with the series creators Joel Bach and David Gelber about the project, Norton says he knew his team could do a great creative opening, especially given the opportunity to reunite with longtime collaborators Adam Bolt and Jennifer Latham, who are senior producer and supervising producer of the series, respectively.

“It really helps to have a strong rapport with the people who you’ll be creating with for several months, as was the case with this ambitious project,” says Norton. “Adam and Jennifer are both amazing, and it was a great opportunity for us to work together again.”

“This is the third project I’ve done with BigStar,” adds Bolt. “Lots of graphics companies can blow you away with special effects. But not all of them understand how to use graphics to tell a story or how to take complex information and turn it into something that’s both exciting and easy to digest. Josh [Norton] and Regina [Sobel] — and the entire Big Star team — did a phenomenal job.”

The title sequence was a lesson in the creative process between the graphics-minded team at BigStar and the storytellers at The Years Project who come from an editorial background. Ultimately, Norton says, the collaboration yielded the strongest story possible.

“We were dealing with hundreds of hours of footage from around the world, so it was great to have their editorial input selecting the best shots,” says Norton. “We didn’t want to get too precious with any one scene. There’s a visceral rawness to the title sequence, and it works.”

For each episode, BigStar also created in-show graphics and complex maps to express some of the more technical scientific details behind climate change. “It’s important that the series sticks to the science and doesn’t sensationalize anything,” concludes Norton. “There’s just so much data about what’s happening to our planet, and a big part of our role was to make that information clear and simple to understand.”

BigStar used a range of different techniques and plugins, including Maya for modeling, Plexus for mesh-like effects, After Effects for animating and compositing, and Syntheyes for tracking.

Music was scored by Thomas Newman.

Design Agency: BigStar
Executive Creative Director: Josh Norton
Executive Producer: Katie Tricot
Producer: Regina Sobel
Designer: Mo Ghayour
Animators: Mo Ghayour, Jake Zucker, Justin Herrmann, Jin Ah Kim
Editor: Erik van der Wilden

Composer: Thomas Newman

About BigStar:
BigStar employs creative strategy with design, live-action, animation, and visual effects to tell compelling stories and deliver branded content that informs, engages, and inspires. With a team of designers, directors, and producers dedicated to forming and refining the culture of communication, BigStar creates content for the advertising, film, and broadcast industries. Recent clients include: HBO, NBC Sports, ABC, KBS+P, Saatchi & Saatchi and Droga5, Walter Isaacson, TBWA Chiat Day.

http://bgstr.com/

Spanish Magazine Revista Don Uses Aquafadas’ Award-Winning Digital Publishing System to Create a Visually Stunning Interactive World

Selected as one of Apple’s “Best of 2013” apps, Revista Don’s digitally charged design continues to gain recognition in the publishing industry

Montpellier, France – April 24, 2014 – Aquafadas, developer of digital publishing solutions, applauds eZine Revista Don on its prodigious success in the Apple App Store and Google Play. After only two months on the market, the sleek Spanish publication, developed with the Aquafadas Digital Publishing System, was selected as one of the App Store’s “Best of 2013.” It has since developed into a globally enjoyed digital magazine with thousands of downloads each month.

Revista Don is a lifestyle magazine predominantly targeted toward the male market, featuring interactive infographics, links to online stores, videos and more. It was first envisioned by The Tab Gang, an assemblage of former editors from Spanish publication powerhouses such as Esquire, FHM and GQ. Javier Moya, previously digital editor for Esquire in Spain, says their aim was to create “the first Spanish magazine available on the two main digital tablet newsstands: App Store and Google Play.”

“Revista Don is a native tablet magazine,” Moya continues. “It isn’t a static PDF of an analog magazine. It’s a magazine only for tablets – an interactive and multimedia magazine that is fresh and dynamic with plenty of videos with a lot of interactive surprises.”

Such interactive surprises begin from the first click, where a video connected with the magazine’s cover image immediately transports readers into the visually stunning world of Revista Don. From there, readers are provided with a multi-faceted reading experience through audiovisual articles and images stocked with humor, music and, often times, further interaction.

Aquafadas’ Digital Publishing System was recommended to the team at Revista Don by a colleague in the Spanish editorial industry. They quickly discovered that the system provided the tools they needed to create their desired user experience. “Our designers used the tool before deciding on it and said it was one of the best on the market,” Moya says. “The good price is one of the main features. Overall, Aquafadas’ Digital Publishing System lets us do many things. It’s very complete.”

Revista Don will soon be enhanced further with Aquafadas’ MotionComposer and Analytics Connect. The team is looking forward to reaching new milestones with each edition, and Aquafadas commends Revista Don on its continued success in the digital publishing industry.

To experience the visually stimulating world of Revista Don, please download your free subscription at Apple’s App Store or Google Play.

About the Aquafadas Digital Publishing System
Aquafadas’ Digital Publishing System provides an end-to-end workflow for digital publishing, facilitating content design, App creation and distribution. It combines the most advanced tools with a versatile library of ready-to-use Apps, ePUB 3 export and the new WebReader. Without writing a single line of code, publishers can create custom iOS and Android apps and export in optimized ePUB formats for Kobo Arc and Glo, the Amazon Kindle Fire, and the Apple iBooks Store. Now, with the latest version of the Aquafadas Digital Publishing Solution, publishers can manage all digital publishing tools with the brand new Aquafadas Connect module. More new features in version 3.2 include:

• Three new games: Dot-to-Dot, Hide and Seek, and Spot the Difference (premium enrichments at $139)
• Link it up: Connect HTML (online) and AVE content (static); actions launched in the web version are automatically reflected in the app version
• Need a boost? Enhanced rendering for AVE-PDF on iOS and Android; display content faster and smoother
• All for Android: New enrichments and improvements, account creation interface and much more.
• Change Your Mind: All the features of the Aquafadas InDesign plugin can now be controlled with Undo/Redo buttons.
• Re-engineered Smart Reading: Aquafadas’ Digital Publishing System 3.2 features a completely new interface to create Guided Reading; publishers can easily link text frames, ensuring a proper flow of text when creating ePUB reflow.

The Aquafadas Digital Publishing System also provides powerful marketing tools, including the ability to integrate advertising campaigns and offer one-click in-App purchases. Sales and reader behavior analysis, now a crucial part of digital publishing, can be done using analytical tools such as Google Analytics, which integrates directly with the Aquafadas Digital Publishing System.

About Aquafadas
Aquafadas, a pioneer in digital publishing technology, enables the creation and mass distribution of graphics rich, interactive digital content such as books, comics, corporate documents, magazines, and newspapers, across all major platforms including smartphones, tablets and the web. Businesses all over the world rely on Aquafadas’ purpose-built content creation and distribution solutions to achieve their digital publishing strategies, significantly expanding content reach while lowering overhead costs. Some of Aquafadas prestigious customers include Egmont International, Kelby Media Group, Lagardère, Mondadori, Reader’s Digest, Sanoma, Standard & Poors, and Metronews.

Aquafadas is a member of the International Digital Publishing Forum and IDEAlliance, which help to improve both ePUB and OpenEFT formats.

A Rakuten group business, Aquafadas also provides its technological expertise to Kobo, the world’s fastest growing e-reader provider. For more information about Aquafadas, please visit www.aquafadas.com.

Press Contacts
Anya Oskolkova
Zazil Media Group
anya@zazilmediagroup.com
(p) 617.817.6559
(skype) anya.oskolkova

Lauren Leger
Zazil Media Group
lauren@zazilmediagroup.com
(p) 508.498.8433
(skype) lauren.zazil

Allison Reber
Aquafadas
allison.reber@aquafadas.com
(p) +33.615.643.983
(skype) allison.reber

####

Revista Don - Free eZine Available on Apple App Store and Google Play


Press Releases For : April 23, 2014

Third Person, First Rate Projection: TDC delivers tech and crew to ground-breaking Australian movie production for TEDx Sydney

John Was A Good Man’, Mark & Kara Photography.

Delegates at the forthcoming TEDx Sydney conference on Saturday 26 April are set to be wowed by a breakthrough film by Kate Kazokas and Lucy Adelaide – thanks in no small part to projection technology and technical support services supplied by the TDC – Technical Direction Company.

Titled ‘John Was A Good Man’, the short film features prominent talent from across Australia including Jane Caro, Dr Karl, Paul McDermott, Matt Moran, Andrew O’Keefe, Turia Pitt, Jessica Tovey, Urthboy and Fred Nile. Each of the participants tells a short eulogy of their lives to date, using the third person and with video images of themselves being projected onto their own faces to heighten the sense of self-analysis.

“For ‘John Was A Good Man’ we’ve opened a conversation with renowned creative and industry professionals, challenging them to be honest, lie brutally and get creative,” explained Kazokas, who is the film’s co-creator, director and producer.

In order to create what Kazokas and Adelaide called “a combination of ‘light, shadow and abstraction that defined the German Expressionist movement,” each individual story came to life by blasting full-frame colour images onto subjects faces to create the abstraction that they wanted. The film was recorded over three days at Luxe Studios, Darlinghurst, Sydney.

“Using high-brightness video projection also allowed our participants to be confronted with ‘the self’ as they stepped into the light and were confronted with their own mortality,” added Kazokas. “Their responses were varied – many were humorous, some were absurd. All provided a strong insight into self-reflection.”

Michael Hassett, founder and Managing Director of TDC, commented: “From a technical point of view this was a project that sounded simple but was really quite challenging. There aren’t many video shoots where you are required to mount a projector behind the camera and fire the image directly onto the subject that’s being recorded – yet that is exactly what Kate and Lucy wanted us to do.

“The result is a truly stunning piece of film-making which we were delighted to facilitate with our technical expertise, high-quality AV technology and attention to detail.”

Between presentations at TEDx Sydney, Kazokas and Adelaide will speak live about the project as part of the TEDx The Studio series. The film’s debut will be especially poignant to TDC, given that the conference is being held at the Sydney Opera House – a venue the company is very familiar with, having supplied architectural projection to fire images onto both sides of the iconic structure as part of last autumn’s Royal Australian Fleet Review Spectacular celebrating 100 years since Australia welcomed their Naval Fleet into Sydney Harbour.

For those not attending TEDx on Saturday, 26 April, the event will be live streamed at TEDxSydney.com/LIVE. Viewers will be able to tune in to watch ‘John Was A Good Man’ at around 11:15 with a Q&A at around 13:00 (Sydney, Australia local time).

TDC staff working on this project
Isaac MacKenzie – Projectionist
Kain Jones – Special Project Manager

TDC equipment supplied
Barco projectors
Dataton WATCHOUT™ multi-image display and presentation software from Interactive Controls.

About Technical Direction Company – TDC
Established in 1981, TDC’s expertise is in providing video technology solutions for major TV shows, theatre, corporate events, concert touring, exhibitions and outdoor events. Holding one of the largest stocks of high-end video equipment including LED, projection, displays and HD camera systems, TDC is the preferred provider of technical solutions for the top designers, producers, and production companies across the Asia Pacific region.
www.tdc.com.au

Facilis TerraBlock Helps CODA Keep Pace with Television Editorial Demands

Australia-based CODA provides an eclectic range of services spanning production, post, multi-system edit solutions for hire and audio finishing for high-profile clients like Network 7, Shine, Freehand, Eyeworks and Southern Star Entertainment. CODA’s team of talented creatives and rental kit have played an integral role in the creation of popular shows like “Dancing with the Stars Australia” and “Amazing Race Australia.” Powering CODA’s operations are two newly purchased Facilis TerraBlock 24D shared storage systems that the company leverages to accelerate editorial in-house as well as for its rental customers.

At the end of 2013, CODA Managing Director Rob Peile set out to find a versatile shared storage system to meet rising client demands. In search of a solution that could push 26 streams of DNXHD120 in multicam mode to multiple systems concurrently, he found the speed and capacity required for the job in Facilis’ TerraBlock. “Our former system served us well for day-to-day applications, but our producers wanted more; they wanted Avid-compatible storage that could keep up with the fast paced world of editorial,” he said. “With capacity, speed and price all major factors and endorsements from our tech specialist Cactus Resolutions and reseller Blonde Robot, we went with TerraBlock and haven’t looked back.”

CODA just completed an installation of 19 workstations connected to TerraBlock via 10GB Optical and 1GB Copper that run an array of creative applications – allowing editors to seamlessly share project files created in Avid® Media Composer®, Apple® Final Cut Pro® and Blackmagic DaVinci Resolve. Using the system, CODA’s team members and clients can digitize and compress footage simultaneously, and work at online resolutions to deliver straight to TV.

“TerraBlock is client agnostic, which means we can use the best tools for each job, and remain flexible when it comes to the kinds of projects we can take on,” noted Peile. “It also provides immediate access to project files across different applications – enabling teams to work more efficiently across edit suites. On top of all that, the system is very reliable; it’s solid.”

Having recently wrapped post production on “Under the Hammer,” a home auction lifestyle show on Network 7 using a 72TB TerraBlock, CODA is using the same system to complete post for the upcoming season of “Amazing Race Australia.” The second 48TB TerraBlock, will be leveraged to facilitate post-production for the latest season of “Hamish & Andy’s Gap Year,” an award-winning Nine Network comedy produced by Radio Karate.

“We have several exciting projects in the queue, which we’re incredibly proud of. We’re always excited to continue our relationship with Network 7, especially on such a high profile series such as ‘The Amazing Race Australia.’ With fast access to media through TerraBlock and a large storage array, we’ll be in good shape to quickly deliver the quality work our clients expect,” Peile concluded.

About TerraBlock
Facilis TerraBlock is a high-capacity, multiplatform, shared storage system for post-production and content creation. It fosters collaboration, supporting Fiber channel and Ethernet, volume and file-level control.

About Facilis Technology
Founded in 2003, Massachusetts-based Facilis Technology, Inc. designs and builds affordable, high-capacity, turnkey shared storage and archiving solutions for post production and content creation professionals working in the film, television, education and audiovisual markets. Its production-proven solutions are fast and intuitive – making it easier for creative professionals to collaborate and work more efficiently. Flexible, scalable and compatible with industry-standard creative solutions, Facilis’ products blend seamlessly into any studio environment – boutique, mid-size or large – and have been installed in more than 2000 facilities worldwide to date. http://facilis.com/

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136th Audio Engineering Society Convention to Feature Keynote from Leading Audio Researcher Wieslaw Woszczyk

— Opening ceremony to feature remarks from Woszczyk and AES personnel —

New York, NY, April 23, 2014 — The 136th Audio Engineering Society Convention (Saturday, April 26, through Tuesday, April 29, 2014, at the Estrel Hotel and Convention Center in Berlin, Germany) is set to feature a keynote address from Wieslaw Woszczyk, an internationally recognized audio researcher and educator with leading expertise in emerging technology trends in audio. The address will be part of the convention’s opening ceremonies, taking place Saturday, April 26, 13:15-14:15 (Estrel Hall A). The ceremonies will also feature remarks from AES President Sean Olive; AES Executive Director Bob Moses; Convention Co-chairs Sascha Spors and Umberto Zanghieri; and Awards Chair Jan Abildgaard Pedersen.

Woszczyk holds the James McGill Professor Research Chair position and a full professorship at McGill University, and is the founding director of the Graduate Program in Sound Recording (1978), and founding director of the CIRMMT Centre for Interdisciplinary Research in Music Media and Technology, an inter-university, inter-faculty, interdisciplinary research center established at McGill University in 2001. An AES member since 1976, Woszczyk is a Fellow of the Audio Engineering Society (1996) and the former Chair of its Technical Council (1996-2005), Governor (twice, in 1991-1993 and 2008-2010) and President (2006-2007). He also served on the Review Board of the AES Journal. Woszczyk received the Board of Governors Award in 1991 and a group Citation Award in 2001 for “pioneering the technology enabling collaborative multichannel performance over the broadband Internet.”

Woszczyk notes, “The world of audio is entering a period of renaissance. We are experiencing an unprecedented range of technologies serving artists, producers, and listeners of music and sound. Little remains the same for long in the face of our relentless drive for new discoveries. I would like to present my perspective on the value of human interaction, collaboration and continuing education as a way forward in the quickly transforming world. We should be wary of trying to predict the future but make our best effort to live fully in the present, observing, exploring, and building relationships. Together, we can refine the course and purpose of our industry, we can venerate the gems of the past yet remain imaginative, open and ready for a fascinating future.”

For more information on AES136 technical program, presenters and registration, visit the AES136 Convention web page at http://www.aes.org/events/136/.

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