Archive for October, 2011

MAXON Announces a New Exchange Plug-in for CINEMA 4D and Adobe After Effects

Friedrichsdorf, Germany, October 31, 2011 – MAXON, the leading developer of professional 3D modeling, painting, animation and rendering solutions, today announced immediate availability of a new plug-in for Adobe® After Effects® CS5 and CS5.5 that allows motion graphics artists to export projects directly into CINEMA 4D R13. This new capability broadens CINEMA 4D’s domination as the industry-leading 3D motion graphics toolkit, known for its seamless connectivity to popular 2D motion graphics and compositing tools. This new plug-in is the perfect companion to the CINEMA 4D composition import already widely used by broadcast designers worldwide. With the combination of these two plugins, motion graphics artists working on Windows and Mac OS X will enjoy easy data exchange to and from both applications.

The CINEMA 4D export appears directly in the After Effects export menu and generates a .c4d file containing 3D layers, cameras, lights, solids, nulls and footage. Even nested compositions are supported. All major layer attributes including animations (rotation, position, parameter, anchor points, POI, etc.), expressions, layer parenting, layer locking and layer visibility are retained. Render and document settings in CINEMA 4D are adapted accordingly to the After Effects’ project settings.

“The After Effects-CINEMA 4D workflow is the proven choice for top motion design studios worldwide seeking to easily integrate their 3D and 2D workflows,” commented Harald Schneider, managing partner and CTO at MAXON. “We are pleased to offer our customers this new After Effects export plugin so they can benefit by the increased speed, efficiency and tight integration between these two powerhouse software packages.”

“CINEMA 4D is a 3D package After Effects users have already come to know and love because of its seamless integration into After Effects,” said Steve Forde, product manager for Adobe After Effects. “The ability to bring assets the other direction as well will certainly enhance productivity and further solidify CINEMA 4D as an ideal 3D solution for motion graphics artists.”

Pricing and Availability
The new CINEMA 4D R13 exchange plug-in compatible with Adobe After Effects CS3, CS4, CS5 and CS5.5 is immediately available as a free download from the MAXON website,

MAXON CINEMA 4D is a professional 3D software package offering everything needed to create high-end 3D images and animations for film, broadcast, architecture, games, multimedia, design and engineering. Building upon more than two-decades of excellence, CINEMA 4D offers spectacular image quality and an intuitive, easy-to-use interface that puts professional results within reach of artists at all levels of CGI experience. CINEMA 4D delivers speed and productivity by taking advantage of the latest advances in processor technology, and offers configurations tailored to the distinct needs of specialized 3D markets.

About MAXON Computer
Headquartered in Friedrichsdorf, Germany, MAXON Computer is a developer of professional 3D modeling, painting, animation and rendering solutions. Its award-winning CINEMA 4D and BodyPaint 3D software products have been used extensively to help create everything from stunning visual effects in top feature films, TV shows and commercials, cutting-edge game cinematics for AAA games, as well for medical illustration, architectural and industrial design applications. MAXON has offices in Germany, USA, United Kingdom, France, Japan and Singapore. MAXON products are available directly from the web site and its worldwide distribution channel. Specially priced learning editions of the company’s software solutions are also made available to educational institutions. To commemorate its 25 years impacting professional motion graphics designers, visual effects artists, architects and others in the creative community, MAXON will be hosting celebrations around the world throughout 2011. For additional information on MAXON visit

HARMAN’s Lexicon Studio-Quality Reverb Is Now More Accessible Than Ever With the Introduction of the MPX Native Reverb Plug-In

SALT LAKE CITY, Utah – HARMAN’s Lexicon today announced the introduction of its MPX Native Reverb Plug-In, bringing industry-standard Lexicon digital reverb to a wider range of users than ever before at a MAP (Minimum Advertised Price) of $199.95. The MPX Native Reverb Plug-In offers seven different acclaimed Lexicon reverb types and more than 100 finely crafted studio presets, all accessible via an easy to use single-screen interface.

“For over 40 years Lexicon has been considered the ultimate in digital reverb, and the introduction of the MPX Native Reverb Plug-In brings home recording and project studio owners the distinctive, richly detailed sound quality that only Lexicon can provide. The new MPX plug-in will take any studio to the next level,” said Rob Urry, V.P HARMAN Professional Division & G.M. of Signal Processing and Amplifier Business Units.

The Lexicon MPX Native Reverb Plug-In offers seven classic Lexicon reverb types including Small Plate, Large Plate, Small Hall, Large Hall, Small Chamber, Large Chamber and Room. More than 100 studio presets are conveniently provided in useful categories including exclusive artist presets from world renowned studio engineer and music producer Ken “Duro” Ifil.

The PC- and Macintosh®-compatible MPX Native Reverb Plug-In is designed to work with popular DAWs like Pro Tools®, Logic® and Nuendo®, as well as with any other VST®, Audio Unit™ or RTAS®-compatible host.

Its streamlined user interface provides ready access to key parameters with an intuitive layout of virtual knobs, buttons and menus. A color display provides real-time visualization of the frequency spectrum and a wide range of parameter adjustments are available. The MPX Native Reverb Plug-In makes it easy to fine-tune and personalize presets, which can then be saved in a DAW-independent format and loaded into a different DAW. A Compare button allows instant comparison of presets and user-modified sounds.

Each reverb type can be run in mono, stereo or mono in/stereo out, and on-screen input and output meters are provided for precise level setting.

The Lexicon MPX Native Reverb Plug-In is Native only, and requires iLok2 authorization. It will be available in November 2011 at a MAP of $199.95.

Lexicon MPX Native Reverb Plug-In Computer System Requirements:

Macintosh Hardware
• Mac Power PC G5 1.8GHz or any Intel
• 500MB of available disc space
• Screen resolution of 1280×800 or greater
• Apple® combo drive or SuperDrive®

Macintosh Software
• OS X version 10.5 or newer for Intel
• Any platform supporting Audio Units
• Any platform supporting VST 2.4 or later
• Any Pro Tools version from 8 or later

Windows® Hardware
• A PC with a 1.6GHz Intel or AMD processor
• 200MB of available disk space
• Screen resolution of 1280×800 or greater
• CD-ROM or DVD drive

Windows Software
• Windows XP, Windows Vista® and 7
• Any platform supporting VST 2.4 or later
• Any Pro Tools version from 8 or later

HARMAN ( 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 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 12,500 people across the Americas, Europe and Asia, and reported net sales of $4.0 billion for twelve months ending September 30, 2011.


SSL Equipped Studio Complex Services Commercial Clients and Extensive Educational Program

NEUSAESS/AUGSBURG, GERMANY – Vision Seven Media (VSM), a studio complex owned and operated by Vision Seven Media Group International, has installed a Solid State Logic AWS Console/Controller in its Control One. The complex services commercial music and audio for video production and post as well as the Vision Seven Media School of the Arts. The AWS provides VSM’s commercial clients with SSL’s SuperAnalogue™ sound quality, routing capabilities and DAW control, while providing an excellent teaching platform for students.SSL AWS Vision Seven more

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Pixeldust Studios Visualizes the Mysteries of the Universe for PBS “NOVA” Series “The Fabric of the Cosmos;” New Series Marks Company’s “Most Ambitious Project Ever”

Bethesda, MD, Oct. 31, 2011 — Pixeldust Studios, an Emmy Award-winning digital animation and visual design studio that creates innovative animations and motion graphics for major broadcast and cable television clients, has produced over one thousand animations and visual effects that will be featured in the upcoming, four-part “NOVA” television series, The Fabric of the Cosmos. Based on the best-selling book by author Brian Greene (The Elegant Universe), The Fabric of the Cosmos will air on PBS for four consecutive Wednesdays, beginning November 2nd.

For Ricardo Andrade, Pixeldust Studios’ Founder/Executive Creative Director, The Fabric of the Cosmos presented a unique opportunity to imagine the mysteries of the universe in visually engaging and accessible ways. “Without question, the animation work that viewers will be treated to during the course of four episodes of ‘The Fabric of the Cosmos’ represents the most ambitious project we’ve undertaken during the seven-year history of our company,” he said. “Our artists and producers have spent more than a year crafting these motion graphic sequences to ensure that they are not only visually arresting, but also scientifically accurate.”

For the past 19 months, Pixeldust worked on this project in close collaboration with The Fabric of the Cosmos Executive Producer Joe McMaster, Senior Producer and Creative Director Jonathan Sahula, and producers from “NOVA.” Said Paula Apsell, “NOVA” Senior Executive Producer, “In working on The Fabric of the Cosmos, Pixeldust had the very difficult task of creating visual metaphors that would explain extremely difficult to grasp concepts of physics. The animators were extremely collaborative. The outcome and the work done by the Pixeldust team was not just clear and explanatory, it was also very beautiful.”

Adds Sahula, “The ‘Fabric’ series was a true ‘partnership’ between NOVA and Pixeldust, in every sense of the word. From the earliest stages of brainstorming design and scientific analogies, to the last tweaks that refined the look and feel of each animation, the Pixeldust Team was committed to perfection. I’d estimate
more that eighty percent of the shots in the series have some degree of animation, so Pixeldust had their hands in all aspects of NOVA’s workflow. I can’t say enough about Nick Jernigan’s willingness to collaborate, Ricardo Andrade’s ability to problem solve visual issues, and Pixeldust’s unrelenting focus on the end result, even when grappling with scientific concepts that make ‘rocket science’ seem like child’s play.”

Sahula continues, “Even during the many late nights and long weekends involved with this project, and the twenty plus animators and creative people Ricardo put to the task of working with us, it remained an absolute pleasure to work with Pixeldust. The ‘Fabric’ series is the outcome of a true collaboration between NOVA and Pixeldust, and we look forward to working with them again soon.”

In order for Pixeldust to visualize the complex physics concepts in The Fabric of the Cosmos script, every single shot was storyboarded first, then run by physicist/author Brian Greene for his feedback on accuracy. After this back and forth process, certain scenes were pre-visualized with animatics, and, in certain cases, such as the slicing of the “Space Time Loaf,” three or four different versions were created to find the best combination of beauty and accuracy. “Before our animators could even illustrate these concepts, they had to understand them, so that was our first challenge,” comments Andrade.
Other challenges included the visualization from the inner workings of subatomic particles to the outer reaches of space and the multiverse, as well as novel depictions of “empty space” that can bend, twist or ripple. “The most challenging sequence of all was visualizing the expansion of the universe,” says Andrade. “As everything is pulling apart in the universe and expanding further away, at the same time, it’s also coming towards us and growing larger. It’s a very difficult concept to convey, along with depicting six-dimensional space with three-dimensional software.”

For Nick Jernigan, Pixeldust’s Visual Effects Supervisor, one of the biggest achievements for this project was creating a seamless look, by blending live action green screen shoots, 2D and 3D animations, and visual effects. Based on creative discussions with the producers, Pixeldust would show them style frames to determine which visualizations were best. “Once the producers approved a style frame, we’d plan out the green screen shoots, using C-stands with fishing wire to direct Brian Greene’s actions,” Jernigan continues. “Then, using detailed, on-set camera notes, we were able to track the camera moves using match moving software to seamlessly integrate the CG elements with the actions of Greene from the green screen shoot.”

In addition, Pixeldust also created digital sets and environments for the series, such as the futuristic teleport, two futuristic spaceports and a futuristic art gallery. “This project really allowed us to be creative on so many different levels, and really pushed us to think way outside the box,” Andrade concludes. “We believe that this series presents the ‘best of the best’ of the unique type of work for which our company has become well known within the television industry.”

To view some of this work, please see:


Mac Pros
New Wacom Tablets

On Set Hardware:

Canon 5D Mark 2
50mm 1.4 Lens for textures/reference
15mm 2.8 for shooting 360 deg HDR Panoramas


After Effects for Compositing
Maya and C4D for any 3D work
Syntheyes for match moving and camera tracking
Photoshop and Illustrator Image creation and manipulation
PTgui for stitching 360 deg HDR Panoramas
Mocha for After Effect for rotoscoping

Instrumental Plugins:

Keylight for keying
Trapcode Particular and Form for particles and simulations
Optical Flares

About Pixeldust Studios:

Founded in 2004, Pixeldust Studios is an Emmy Award-winning digital animation and visual design firm with studios in Metro D.C. and New York City. Pixeldust Studios specializes in creating innovative motion graphics, animations and visual effects for television, film, new media and corporate clients. For more information, please visit or call 301-656-0050.

About The Fabric of the Cosmos series:

Airing as part of the PBS “NOVA” series on Nov. 2, 9, 16 and 23, The Fabric of the Cosmos, a four-hour series based on the book by renowned physicist and author Brian Greene, takes viewers to the frontiers of physics to see how scientists are piecing together the most complete picture yet of space, time, and the universe. With each step, audiences will discover that just beneath the surface of our everyday experience lies a world we’d hardly recognize—a startling world far stranger and more wondrous than anyone expected.

During the course of the series, Brian Greene will reveal that we’ve all been deceived. Our perceptions of time and space have led us astray. Much of what we thought we knew about our universe—that the past has already happened and the future is yet to be, that space is just an empty void, that our universe is the only universe that exists—just might be wrong.

Interweaving provocative theories, experiments, and stories with crystal-clear explanations and imaginative metaphors like those that defined the groundbreaking and highly acclaimed series The Elegant Universe, The Fabric of the Cosmos promises to be the most compelling, visual, fun, and comprehensive picture of modern physics ever seen on television.

The Four Programs of The Fabric of the Cosmos series are entitled: “What is Space?”, “The Illusion of Time,” “Quantum Leap” and “Universe or Multi-Verse?” For more information about the series, please see:


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AJA Hires Dave Sampson as OEM Sales Manager

15-Year Autodesk Veteran Joins AJA to Drive Product OEM Efforts

AJA Video Systems announced today that industry veteran Dave Sampson joins the company as OEM Sales Manager. Sampson brings over 20 years of sales experience in professional digital content creation software and hardware, domestically and internationally, catering to both corporate and enterprise level customers.

Sampson joins AJA from Autodesk’s Media & Entertainment Division where he spent over 15 years in various sales management positions. During his tenure with Autodesk, Sampson managed teams ranging from five to over 15, delivering the highest revenue per headcount in Autodesk’s entire business portfolio. Prior to overseeing sales for the top-20 worldwide accounts for Autodesk M&E, Sampson managed all of M&E Sales for the Americas and Latin America. He started with the company in 1998, in sales for Discreet Logic, which was later acquired by Autodesk. Throughout his sales career, Sampson continually surpassed quota milestones, and participated in multiple sales and negotiation workshops to extend his professional skillset.

“Dave Sampson is a consummate professional and brings a wealth of experience to AJA,” said Paul Weiser, Vice President of Sales & Marketing, AJA Video Systems. “I have worked with Dave in the past and he’s not only incredibly good at what he does, but he’s very well connected and knowledgeable about real world production needs in the studio and on the field. I’m looking forward to working with him again and know that his experience will benefit the entire AJA sales organization.”

“I had an amazing fifteen year run at Autodesk helping companies at the top of their fields in post production, visual effects and game development solve their workflow problems. I was first exposed to the quality of AJA’s equipment because their I/O technology is integrated into several Autodesk products,” said Sampson. “In my career I have had the benefit of representing best of breed technology products, and look forward to continuing that experience with AJA.”

About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of high-quality and cost-effective digital video interface, conversion, acquisition and Desktop solutions supporting the professional broadcast and post- production markets. With headquarters in Grass Valley, California, AJA maintains an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website


HARMAN’s Studer Appoints Michael Franklin as U.S. Senior Sales Manager

NORTHRIDGE, California— HARMAN’s Studer has appointed Michael Franklin to the position of Senior Sales Manager in the United States. Franklin’s primary responsibility will be to help drive sales of Studer digital consoles in the broadcast market throughout the country.

Franklin brings a strong background in business development and sales in the industry, having worked most recently with Solid State Logic, in addition to more than 13 years with Euphonix. His experience includes the development of sustainable relationships with prominent end clients, increasing sales revenue and successfully growing the presence of his companies into new markets.

“As Studer continues to expand its foothold in the United States, the addition of Michael Franklin to our sales team will help us achieve even greater success in the U.S. market,” said Rob Lewis, U.S. Sales Director for Studer.

“Studer’s digital consoles are known throughout the industry for their intuitive operation, reliability and, most importantly, world-class sound quality,” Franklin commented. “With this in mind, the opportunities for growth in the United States are massive and I am looking forward to helping Studer consoles find their way into the country’s most prestigious applications!”

HARMAN ( 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 12,000 people across the Americas, Europe and Asia, and reported sales of $3.8 billion for the twelve months ending June 30, 2011.

PandaPanther Soars with Activision’s Skylanders Spyro’s Adventure Promotion

PandaPanther husband and wife duo Jonathan Garin and Naomi Nishimura, in conjunction with 72andSunny, directed a 2:00 minute promo spot for Activision’s new entertainment property “Skylanders: Spyro’s Adventure,” which was released on Oct. 16th in North America. The promo, which was created to illustrate the Skylanders’ back story, can be seen as a :90 spot on TV and online. The full 2:00 piece will be shown in theaters as a stereoscopic 3D trailer before the upcoming Puss In Boots 3D motion picture.

72andSunny turned to PandaPanther and gave the directors a chance to showcase their creativity and skills. They quickly scaled up, assembling an all-star team of 40+ artists to work over a three-month period. Everything, from the overall flow to the choreography of the battle scenes to how the two characters were sitting in the opening scene, was the product of the close collaboration between Garin and Nishimura, 72andSunny, and Activision.

“We had to make sure this made sense to people – that they understood what was happening, who the bad guy was, and what the conflict was,” said Garin. “72andSunny has always been consistent in making sure that their animation pieces makes sense and flow right. Activision, for their part, does a lot of this sort of character animation, so they are looking at what we give them with far more scrutiny than most big companies would.”

In addition to the story, PandaPanther had to adapt the on screen (or another word for Broadcast) look and feel of the characters – which initially were more suitable for the game consoles on which they had lived – to the more personal world of cinema. “When we started the project, the characters were in a very videogame-like state,” noted Garin. “Our largest initial task was polishing the characters so that they fit into the more epic, cinematic world that we were creating, which was more realistic, with more details.”

The Skylander project follows work that PandaPanther had previously done with 72andSunny for Zune.

“We have a great relationship with 72andSunny and are excited to partner again with them on Skylanders Spyro’s Adventure,” noted Nishimura. “We had an awesome relationship with the agency throughout. Whenever they suggested a change or anything else, it really did make things better.

The project again validates the special dynamic shared by Garin and Nishimura. “Naomi and I can be looking at the same thing on the same screen, but we’ll be seeing totally different things,” stated Garin. “I notice more of the animation details – the motion, the pacing, the editing; while Naomi makes sure that the textures, balance, colors – all the little details of the overall look and finish, are in line. While we cross check each other a lot, at this point we know what the other is good at and trust the other to work unhindered.”

Given the success of this massive project, PandaPanther has ambitious plans for the future. “Now that we’ve expanded and adapted our pipeline, I’m hoping that we can do more long format projects,” noted Nishimura. “We could see expanding further for series work or even features. This was an awesome experience and we’d love to repeat it.”

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Client: Activision, Skylanders: Spyro’s Adventure
Spots Title: Menace
Air Date: October 2011

Agency: 72andSunny
Creative Director(s): Jason Norcross, Bryan Rowles
Group Brand Director: Alex Schneider
Designer: Jake Kahana
Copywriter(s): Tim Wolfe, Mike Van Linda
Brand Manager(s): Ellie Schmidt, Mandy Hein
Agency Producer: Danielle Tarris
Assistant Producer: Becca Purice

Production Co.: Caviar
Director: Jorma Taccone
EP: Michael Sagol

Animation Studio: PandaPanther
Director(s): Jonathan Garin, Naomi Nishimura
Technical Direction: Adam Burke
Stereo Supervise: Navid Bagherzadeh
Design: Diana Park, Ivy Tai
Storyboard: Fred Fassberger, Paul Boanno, David Reuss
Editing: Maria Diakova, Alan Ortiz
Set Building & Art Department: Junko Shimizu, Janet Kim, Shinya Nakamura, Kazushige Yoshitake
Matte Painting: Tim Matney, Andrew Leung, Nick Giassullo
Modeling/Photogrammetry: Sam Dewitt, Eric Xu, Jeeah Huh, Ari Hwang, Herculano Fernandes, Cristina Aponte
Rigging: Jason Bikofsky, Amy Hay, Zhenting Zhou
Previs: Richard Cayton, Adam Burke
Character Animation, Han Hu (lead), Guy Bar’ely (lead), Henning Koczy, Sam Crees, Jordan Blit, Doug Litos, Danny Speck, Jeff Kim, Jared Eng
Junior Animator(s): Doug Rappin, Chris Devito, Darren Chang, Chang Pei Wu
3D Effects Animator(s): Reggie Fourmyle, Rich Magan
Lighting & Texturing: Dave White (lead), Ari Hwang, Herculano Fernandes, Laura Sayan Gabai, Lucy Choi, Christina Ku, Jeeah Huh, Carl Fong, Cristina Aponte (intern)
Compositing: Matt St. Leger (lead), Gerald Mark Soto, Chris Gereg, Adam Yost, Navid Bagherzadeh, Gabriel Regentin, Bryan Cobonpue, Sohee Sohn, Yingshu Lai (intern)
Producer(s): Amy Fahl, Angela Foster (director’s cut)
Production Coordinator(s): Lauren Simpson, Jazeel Gayle
Production Office Manager: Erica Armstrong
Systems Rendering TD: Craig Zimmerman

EP: Asher Edwards
Lead Colorist: Mark Gethin
Lead Artist: Ben Davidson
About PandaPanther
PandaPanther is a New York-based animation studio headed up by directors Jonathan Garin and Naomi Nishimura. PandaPanther possesses a uniquely tuned talent for combining high-end 3D animation with illustration, design, stop motion and live action. From concept to execution the broad use of various techniques and mediums helps to motivate and evolve every new inspiration into something fun and magical. PandaPanther began as a brand that Naomi and Jon used when they worked together on art projects starting in 2006. In 2007, PandaPanther was officially launched as a fully functioning studio. Since then it has grown quickly to include a few new additions to the team. They now reside in their new office on the lower east side, collaborating with various artists, creating new stories and adventures.

More info: TRUST 646 452 3388 (NY) 310 451 5153 (LA)

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Nola Builds Man Cave for Lowe’s

Nola Director Nick Lewin documents the plight and glory of the suburban dad in a recent spot for Lowe’s, making the best of the compromises that push his life’s memorabilia into the basements, attics and spare rooms across the land.

Man Cave takes us on a tour of one man’s dream lair, then travels to Lowe’s to show us how he brought the space to life. Embarking from our hero’s leopard-print couch, Lewin flashes through the man’s trophies, his collection of music and instruments, his mini-bar and fish tank. Tucked into the back of his desk, behind his chessboard, is a picture of his beloved wife, whom we soon see is responsible for steering the renovations via shopping trips to Lowe’s. In the wide, clean aisles of the superstore, a panoply of paint, window shades, lamps and various building and decorating supplies multiply on the screen. The happy couple finds all they need with the help of a friendly and knowledgeable Lowe’s employee.

Lewin delivers the punch line when the camera returns to the signature man-cave and we witness our hero making way for his cartoon-watching daughter on the couch. “It’s a man and… daughter cave,” he concedes.

“This spot showcases many of Nick’s talents – creating characters, delivering editorial coverage, great comedic timing,” noted Nola EP Charlie Curran. “We can always count on him to come up with exactly what the story calls for, and this spot is no exception.”

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Client: Lowe’s
Spots Title: Man Cave
Air Date: June 2011

Agency: Footsteps Group
CEO: Alvin Gay
CD/Art Director: Dianne Campbell
Copywriter: Howard Jordan
Producer: Susan Smitman

Prod Company: Nola Pictures
Director: Nick Lewin
EP(s): Charlie Curran
Producer: Carla Tate

Editorial: Hooligan, Inc.
Editor: Barney Miller
Producer: Sue Wlader

Telecine: Nice Shoes
Colorist: Chris Ryan

Post/Effects: Tanq
Flame Artist: Alex Catchpoole
After Effects: Jay Sienkwicz
EP: Mary-Joy Lu

Music: Last Minute Entertainment, NY.
Music Supervisor: Bernie Drayton
Composer: Jonathan Fields

Shoot Location: Los Angeles, CA
About Nola Pictures
Founded in 2005, NYC-based Nola Pictures is a full-service, multi-disciplined media services company with affiliate offices in France, Canada and Chile. Nola features a diverse roster of multi-dimensional directors, designers and producers who have created award-winning content for ad agencies, film and TV studios, and corporate clients.

Nola offers turnkey production solutions from shoot through editorial and post; including animation, design and VFX. Nola’s mandate is to provide a supportive creative environment with production flexibility and efficiency for our artists and clients. The Nola team has contributed to projects for brands such as Dell, Pfizer, Nissan, Budweiser, Givenchy, Puma, Kraft, Proctor & Gamble, Wyeth, Weis, McDonald’s, Sundance, Cadillac, Ford, VW, Toyota, American Express, Carolina Herrera, Samsung, Time Warner, Viacom, Nike, ESPN, Johnson & Johnson, Lowe’s, Bank of America, UPS, and Jet Blue among others.

More info: TRUST 646 452 3388 (NY) 310 451 5153 (LA)

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MPC Digital’s Voss Speaks at AICP

MPC Digital Creative Technologist Neil Voss contributed to The AICP Conference‘s The Rise of the Creative Technologist panel, a highlight of this week’s two-day event at The TimesCenter. Voss joined Husani S. Oakley, Technology Director at Wieden + Kennedy, NY, for a dynamic discussion on the evolution of the classic art director-copywriter pairing in the creative process, to the increased presence of technologists. Exploring the necessary yet gradual emergence of the creative technologist, Voss and Oakley spoke to the role’s distinctions in agency and production settings. Tool of North America’s Dustin Callif moderated the panel, which was featured as part of the AICP’s Digital Conference on Thursday, October 27.

The AICP Conference is one of the most widely attended events in marketing, bringing together all facets of the industry to discuss the ever-changing intersection of creativity, advertising, and business. For more on the AICP and the Conference, visit

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About MPC
MPC is an award winning VFX and Digital studio servicing the advertising, motion picture and television industries. From its London, New York, Santa Monica, Vancouver, and Bangalore offices, MPC’s dynamic and diverse team delivers industry-defining VFX, animation, motion graphics, color grading, production, projection mapping, social and mobile application development, online advertising, data management, software R&D and pipeline development.

With a trio of integrated divisions, MPC utilizes a unified approach that drives the use of existing or newly created assets across the whole range of today’s media landscape. MPC Creative handles client projects directly with top-notch directing, CG animation and character design. MPC FX Studio is a dedicated corps of graphic and digital designers who bring clients’ visions to life. MPC Data Lab processes the content and makes it available for editing on demand. MPC is a Technicolor Company.

More info: TRUST 646 452 3388 (NY) 310 451 5153 (LA)

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Slate Media Group, LLC, Changing the Game for Telecorps Holding, Inc. on Both Coasts.

New production/post production powerhouse represents an alternative resource with national reach for film and television content creators.

BURBANK, CA – Slate Media Group, LLC is excited to announce that it has acquired, through a private sale, a substantial portion of the assets of Telecorps Holdings, Inc. securing its place as a leading provider of technology and services to the entertainment industry. Slate Media Group will operate under the following brands: Technicolor – PostWorks New York, PostWorks New York, Hula Post Production, and Wexler Video. The company’s core management team consists of industry professionals who between them have experience in successfully building service oriented boutique companies as well operating full service production and post production businesses.

“Slate’s mission is to provide a broad range of high quality solutions and services to help our clients achieve their creative visions, “ said David Rosen the company’s Chairman and CEO. “The combination of these businesses and the talent they represent make that more possible than ever.”
As part of the company’s strategic growth plan, Slate has acquired the assets of Technicolor Creative Services in New York. Now combined with PostWorks NY, Technicolor – PostWorks NY will have access to the proprietary color science, post-production workflow and resources of Technicolor’s global business. “Through this combination and in partnership with Technicolor we can provide a unique set of talent and resources for all our customers in the New York production community for services including film laboratory, dailies processing, near-set dailies, editorial, color grading, finishing and sound – all through one source. This acquisition allows these companies to service their clients more completely and at a higher level.“ Rosen states.

In California, Slate is aligning its brand strength. Wexler Video is renowned in the industry for its expertise in the production and post-production solutions it provides to the reality television space. Hula Post excels in client service for the film and television market segment. By consolidating efforts through the strength and experience of these two brands, and in combination with Technicolor – PostWorks New York, Slate Media will look to maximize its service offering to meet the technology and service needs of film and television producers in the scripted and un-scripted markets.

About Slate Media Group, LLC.
Slate Media Group is an entertainment technology services company driven to redefine the intersection of technology and creativity. The company provides film and television studios, production companies, independent producers and other content creators with technologies, services and expertise that are crucial to bringing their creative visions to life. At a time when tools and techniques of media production are undergoing revolutionary change, Slate Media Group collaborates with its clients to develop unique solutions to the challenges they face to help them achieve even higher levels of creative excellence and production efficiency.


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October 2011
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