Archive for November, 2011

Scharff Weisberg Supports IBM Centennial Gala at Jazz at Lincoln Center

IBM Centennial

IBM Centennial

It’s not often that a giant of American industry marks its centennial but when IBM celebrated with a gala at Rose Hall, the home of Jazz at Lincoln Center, Scharff Weisberg (SWI) provided AV support, including the LED wall that served as the entire scenic element for designers Batwin + Robin.

“IBM wanted this event to be theatrical, so they hired 101 Productions, a long time client of Scharff Weisberg, to produce an event that ended up being pretty spectacular,” says SWI event manager Sarah Ibrahim. “There were aerial performers bouncing on a giant vertical canvas projection surface, Jessye Norman singing ‘Great Day,’ Steve Martin playing the ukulele, violinist Joshua Bell, Patti LaBelle, a children’s choir and a dance troupe. Morgan Freeman was the emcee.”

As the exclusive AV vendor for Jazz at Lincoln Center, SWI supplied all of the video equipment and engineers for the gala evening. Upstage was the main scenic element: a 36×18-foot LED wall composed of VER Everbrighten BR7 7mm high-resolution LED display modules. Downstage was a 20×4-foot LED supertitle-style screen comprised of VER Everbrighten BR7s. For the aerial performers, quadruple-converged Christie Roadster S+10K-M DLP projectors displayed, via DVI over fiber, 1400×1050 images on a canvas backdrop measuring approximately 34×26 feet. The projectors were driven by a Dataton WATCHOUT 5 playback system with content designed by Batwin + Robin.

“Scharff Weisberg was great as always. When it got down to the time frame – we had all of three weeks for the whole project – they are the only ones who could have pulled it off,” says Batwin + Robin’s Robin Silvestri.

“The show was a jam-packed 90 minutes,” she continues. “The set consisted of 100 points of light plus the LED wall. We designed the projected backgrounds, which ranged from animated titles to a three-minute documentary to a piece celebrating IBM’s involvement in Apollo 11. We also projected the surface of the moon onto the canvas for the aerialists to dance across. It was a great show.”

Ibrahim agrees that the biggest challenge was the time factor. “The client came to us with specifications for this event only a month beforehand, and sourcing the LED was really tough. “We were lucky that VER came through for us with their 7mm Everbrighten product. It beautifully displayed a wide variety of content, including abstract graphics, photographs, and a documentary video, with the minimum viewing distance at about 20 meters. It looked beautiful.”

The aerialists’ performance against the vertical canvas also posed potential challenges. “The canvas wall behaved like a giant video trampoline, with quadruple-converged projectors displaying images of the surface of the moon,” she explains. “We anticipated that we might have issues with maintaining a coherent image given the movement of the canvas, but we got lucky and the quality was pretty wonderful. The way the dancers were lit by manned spots from the side made them really look as though they were dancing with the moon surface was moving beneath their feet.”

The IBM Centennial Gala was produced by David Binder and directed by Moises Kaufman and Jerry Mitchell. The production managers were Colleen Houlehen and Mary Duffe.

Scharff Weisberg and Video Applications are collaborating partners to clients requiring unique and imaginative solutions for their event, spectacle and large-meeting lighting, sound and video needs whether local, national or worldwide. For more information visit www.scharffweisberg.com or www.videoapps.com.

Blackmagic Design Announces Avid Media Composer 6 Support

Blackmagic Design Announces Avid Media Composer 6 Support
Major new Desktop Video 9.0 software update adds Avid Media Composer 6 support

- Blackmagic Design today announced Desktop Video 9.0, a major new software update with advanced capture and playback for the Avid® Media Composer® 6 family of software including Avid Symphony® and Avid NewsCutter™, for both Windows 7™ and Mac OS X™.

Desktop Video 9.0 is available for download now and free of charge for all Blackmagic Design customers. This update includes support for all current DeckLink, Multibridge, Intensity and UltraStudio models.

Avid Media Composer has long been respected by the broadcast and film industry. For the first time, Avid customers can use Blackmagic Design’s latest Thunderbolt, USB 3.0 and PCI Express video capture and playback devices.

Professionals demand frame accuracy and flexible workflows. The combination of Blackmagic Design hardware and the flexibility of Avid Media Composer lets you work with virtually any media format including Uncompressed 10 bit YUV and RGB, Avid DNxHD®, Panasonic DVCPRO HD, Sony XDCAM and more.

Blackmagic Design’s UltraStudio 3D and DeckLink HD Extreme 3D take full advantage of new advanced 3D editing support in Media Composer 6, saving time and creating a much more fluid editing experience for 3D projects.

“We have been waiting to do this for years!” said Grant Petty, CEO of Blackmagic Design. “To have full integration with Avid Media Composer 6 with our capture and playback devices, plus AAF round trip with DaVinci Resolve, are truly defining moments for all our creative customers and for the film and television industry, this changes everything.”

“With support for Blackmagic hardware or Avid accelerated and natively integrated DX systems, customers now have more choice than ever when working with Media Composer, Symphony and NewsCutter,” said Angus Mackay, segment marketing manager at Avid. “Blackmagic’s support of DNxHD and AAF makes for easy project transfer and pipeline design, smoothing workflows and boosting productivity for our mutual customers, who can leverage existing hardware investments and easily add Avid editing systems into current workflow configurations. We’re thrilled to satisfy users with these advancements in openness, productivity and collaboration.”

Desktop Video 9.0 Key Features
• Certified by Avid for Avid Media Composer 6, Avid Symphony, Avid NewsCutter.
• Uncompressed and DNxHD capture and playback in Avid Media Composer 6.
• RealTime effects in Avid Media Composer 6.
• Advanced dual stream 3D workflow capturing left and right eye to separate files in Avid Media Composer 6.

Availability and Price
Desktop Video 9.0 is available now free of charge from the Blackmagic Design web site.

Press Photography
Product photos of Blackmagic Design products are available at www.blackmagic-design.com/press/images.

About Avid
Avid creates the digital audio and video technology used to make the most listened to, most watched and most loved media in the world – from the most prestigious and award-winning feature films, music recordings, television shows, live concert tours and news broadcasts, to music and movies made at home. Some of Avid’s most influential and pioneering solutions include Media Composer, Pro Tools®, Interplay®, ISIS®, VENUE, Sibelius®, System 5, and Avid Studio. For more information about Avid solutions and services, visit www.avid.com, del.icio.us, Flickr, Twitter and YouTube; connect with Avid on Facebook; or subscribe to Avid Industry Buzz.
Avid, Avid DNxHD, Avid Studio, Interplay, ISIS, Media Composer, NewsCutter, Pro Tools, Symphony, and Sibelius are trademarks or registered trademarks of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries. The Interplay name is used with the permission of the Interplay Entertainment Corp. which bears no responsibility for Avid products. All other trademarks are the property of their respective owners.

About Blackmagic Design
Blackmagic Design creates the world’s highest quality video editing products, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and film restoration software for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability, while the company’s DaVinci Emmy™ award winning color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including stereoscopic 3D and 4K workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore, and Australia. For more information, please check www.blackmagic-design.com.

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Cinedeck EX v2.5 Upgrade Delivers Even Better User Experience And Performance

Cinedeck EX v2.5 features extensive timecode and audio enhancements, plus new deck control application and improved playback engine

Cinedeck LLC (www.cinedeck.com), the pioneering developer of mobile capture systems for motion picture and broadcast production, today announced significant enhancements to its award-winning, portable, multi-format, recording, monitoring and playback system, with the release of Cinedeck EX v2.5.

Available for immediate download, the new Cinedeck v2.5 software delivers a range of customer-requested features that support an even better operational experience for Cinedeck users. These include a new and enhanced playback engine, expanded timecode operations, upgraded audio metering displays, and a new Windows-based, desktop remote controller for multiple Cinedeck EX systems.

Cinedeck EX is already the fastest gateway from production to post. It enables any camera with an HD-SDI or HDMI output to record to a choice of the most preferred finishing standards used in editorial and VFX post production today, including all flavors of Avid DNxHD, Apple ProRes, CineForm, plus uncompressed 444 and uncompressed 422 recording.

Chief among the enhancements of the Cinedeck v2.5 release is a new playback engine, which has been completely rewritten and provides a vastly improved user-experience compared to prior versions. Crucially, the new engine enables users to take advantage of Cinedeck Controller, a free Windows-based desktop application, which provides basic deck control of the Cinedeck EX. Cinedeck Controller, which comes bundled with the new software release, allows users to remotely control up to 24 Cinedeck units, browse a list of clips recorded in the current scene folder, and to control recording and playback on multiple units independently or simultaneously.

Among the many expanded timecode operations, Cinedeck v2.5 adds support for Adrienne Electronic’s LTC devices, including the use of Adrienne’s mini USB timecode reader. Cinedeck EX already supports Ambient Recording timecode systems.

Redesigned audio meters now show audio in dBFS (full scale) from -60dB to 0dB, with levels displayed in an array of colors making them easier to read in the field. Along with a range of general playback fixes, other enhancements include new edge detection displays, with edges in red, rather than black, to increase legibility.

“Users already enjoy the experience of using, and interacting with, Cinedeck EX, and their feedback has resulted in the new Cinedeck EX v2.5 software version containing a host of enhanced features,” said Cinedeck CEO Alan Hoff. “These new features focus on usability and performance improvements to optimize the fundamental operation of Cinedeck EX where it matters most – in production. With the new v2.5 version available now, current and new customers will enjoy the Cinedeck EX experience even more.”

Cinedeck EX v2.5 will be on display at the Createasphere Burbank show November 2-3, 2011 at Sony’s booth #101, and at Keycode Media’s booth #303.

Pricing and Availability:
Cinedeck EX v2.5 is available for immediate download, free-of-charge, to customers on maintenance. Cinedeck EX is available for purchase via resellers worldwide starting at $8495USD–MRSP. Visit www.cinedeck.com to find your nearest reseller.

Founded by cinematographers, and headquartered in the heart of New York City, USA, Cinedeck manufactures innovative, touchscreen recording systems for use with all popular digital cinematography cameras. Along with on-set monitoring, playback and quality control capabilities, these recorders also unify camera-to-post workflows by offering the industry’s most comprehensive range of edit-ready output formats. Cinedeck EX, the industry’s first camera-mountable device, has proven essential to the workflow on hundreds of TV and cinema productions, and has won TV Technology’s “2010 STAR Award”, the “2010 Vidy Award,” and DV Magazine’s “Award of Excellence”. Continuing this pioneering spirit, Cinedeck LLC is also addressing the challenges of the mobile and outdoor broadcaster with Cinedeck RX, its new, rack-mounted, multi-format recorder, monitor and playback system. Cinedeck RX was awarded the prestigious “2011 Pick Hit Award at IBC 2011” from Broadcast Engineering Magazine. For more information, visit www.cinedeck.com.

Big Vision Empty Wallet Teams with Canon for National Film Pitch Competition In Search of the Next Great Feature Film with Grand Prize Valued Over $100,000

Judging Panel Includes Academy Award-Winning Cinematographer Russell Carpenter (Titanic), Producer Maureen Ryan (Academy Award-Winning Documentary, Man on Wire) and Actress Heather Matarazzo (Welcome to the Dollhouse)
Judging Panel Includes Academy Award-Winning Cinematographer Russell Carpenter (Titanic), Producer Maureen Ryan (Academy Award-Winning Documentary, Man on Wire) and Actress Heather Matarazzo (Welcome to the Dollhouse)

NEW YORK, NEW YORK, November 3, 2011 – Big Vision Empty Wallet (BVEW), the networking organization dedicated to bringing both emerging and established artists and innovators together and helping them collaborate, create and showcase their work, has teamed up with Canon to launch its first National Film Pitch Competition. The purpose of Big Vision Empty Wallet’s National Film Pitch Competition is to find the next great feature film and get it made. Canon will be awarding the Grand Prize Winner with a 30-consecutive-day HDSLR Camera and Canon EOS EF “L” Series Lens Package Rental, plus a 1-week re-shoot. The winner will also receive other free rental packages and services to help them get their film made from additional sponsors, including a Producer’s Package from Media Services/Show Biz Software, Quick Film Budget, Konsonant, Rotting Television and Daryl Eisenberg Casting. The Grand Prize is valued at over $100,000. An additional prize furnished by Media Services will be awarded to the Viewer’s Choice Winner for Best Pitch Video, selected through online voting.

When contestants submit to the competition they receive a free one-year membership to Big Vision Empty Wallet. Contestants must be residents of the United States. To submit, visit: http://www.bigvisionemptywallet.com/national-film-pitch

Participants must submit the following by January 30, 2012:

• A treatment for their dream feature film that they would make using the valuable prizes provided by the competition sponsors.
• A promotional video, trailer or scene that pitches their film.
• Bios of the creative team.

The Top 10 Finalists will be announced on BigVisionEmptyWallet.com on February 10, 2012, at which time, online voting will open to decide the online winner. The esteemed judges will give each finalist a score based on originality, style, professionalism, marketability, quality of work and so on. The Top 3 Finalists will be announced on March 1, 2012.

The Top 3 Finalists will have from March 1, 2012 – April 1, 2012 to complete the first draft of their screenplay and submit it for judging in the final round. Online voting for the best pitch video will continue throughout this time.

The judging panel will select the Grand Prize Winner, which will be announced on BigVisionEmptyWallet.com and RottingTelevision.com on May 1, 2012.

The judging panel includes:

• Russell Carpenter – Academy Award-Winning Cinematographer, Titanic
• Maureen Ryan – Producer, Academy Award-Winning Documentary Man on Wire, Project Nim
• Heather Matarazzo – Actress, Welcome to the Dollhouse (Independent Spirit Award)
• Rik Cordero – Award Winning Commercial, Film and Music Video Director
• Alex Buono – Academy Award Nominated Cinematographer, 10-year veteran Saturday Night Live
• June Diane Raphael – Writer and star of upcoming feature Ass Backwards, Writer of Bride Wars

“It isn’t our goal to simply find the next great feature film, we will also enable the winner to get their dream film made,” said BVEW co-founder Dani Faith Leonard. “The grand prize package is huge. I wish I could win it!”

“We are extremely grateful and excited to be teaming with all of our sponsors, especially Canon during the exciting launch of their brand new cameras,” said BVEW co-founder Alex Cirillo.

ABOUT BVEW:

Big Vision Empty Wallet is an international networking organization dedicated to bringing together artists and innovators and helping them create, collaborate, and showcase their work. We inspire the creative class to create great change by creating great work.

Members Can:

FIND ARTISTS TO COLLABORATE WITH:
- Attend our ongoing events in cities around the world.
- Post casting and crewing notices on our projects board and in our member bulletin.
- Create a profile on our site where you can share your work and information about yourself as an artist and the art you create.
- Interact with other members who you want to work with by sending them a private message on the site.

CREATE WITH EASE:
- Take advantage of our exclusive member deals and discounts.
- Use our resource guide, including over 125 production forms, NY and LA vendor directories, as well as our listings of film commissions and unions.

SHOWCASE YOUR WORK:
- Screen your films or exhibit your work at our events.
- Gain free online entry to all of our online competitions.
- Upload your work onto your member profile.

AFFECT CHANGE:
Give back to your community at our local Chapter events in NY, LA, Philly and DC. We host events in other cities around the world too and will be expanding our events to Chicago, Boston, Toronto, London and Madrid! Each Chapter is associated with local charities and non-profits. Our members? work is always showcased through screenings, exhibits and performances as members network and give back.

ABOUT BVEW’S NATIONAL FILM COMPETITION JUDGES:

RUSSELL CARPENTER won the 1997 Oscar for Best Cinematography on James Cameron’s Titanic. His work with Cameron began on the 1994 Arnold Schwarzenegger comedy/action hybrid, True Lies. He is a member of the American Society of Cinematographers (ASC). In the 1980s, Carpenter shot many memorable horror films including Critters, Critters 2 and A Nightmare on Elm Street 5: The Dream Child. In the 1990s, he DP’d the Jean-Claude Van Damme hits Death Warrant and Hard Target. His next project, This Means War, is due out in theaters sometime next year.

MAUREEN A. RYAN is a producer based in New York concentrating on feature films and documentaries. She is co-producer of James Marsh’s 2009 Academy Award-winning Best Documentary, Man on Wire, as well as on Marsh’s latest feature documentary, Project Nim. She produced the independent film Bomber, which had its world premiere at the SXSW Film Festival in 2009, as well as 2008 Peabody Award-winner, The Gates, co-directed by Albert Maysles. Ryan also wrote the book, Producer to Producer: The Step-by-Step Guide to Low Budget Independent Film Producing.

HEATHER MATARAZZO, a successful actor since her feature film debut in Welcome to the Dollhouse at the age of 11, has been captivating movie-going audiences for over a decade. Her unique talent and on-screen charm have earned her critical acclaim, including an Independent Spirit Award. Heather quickly followed up Dollhouse with a breakout performance in Taylor Hackford’s thriller, The Devil’s Advocate. In the following years, she worked non-stop on such films as 54, Getting to Know You, Scream 3, Sorority Boys, and Freshman Orientation. In 1997, Heather joined the cast of the smash hit series Roseanne for the final season. In 2001, Heather starred in Disney’s box office hit, The Princess Diaries, directed by Garry Marshall. That same year, Heather starred in Service Men off Broadway and made her Broadway debut in the Roundabout Theatres production of The Women. Following up her Broadway debut, Heather went into production for the sleeper hit Saved. Heather’s focus continues in film and theatre as she chooses to diversify her body of work securing a lead role in the sequel to HOSTEL. In 2010 Heather produced and starred in MANGUS!, and independent feature film directed by Ash Christian.

RIK CORDERO was born and raised in Queens, New York and is known for applying unusual, non-traditional shooting methods in his work. He was nominated for Video Director Of The Year at the 2009 BET Awards and was the recipient of the Best Film Award for his feature film, Inside A Change, which made its world premiere at the 2009 HBO New York International Latino Film Festival. In 2010, Cordero was seen in Sprite’s print and television ads for their “Spark” campaign. The ads featured him as a Hollywood director discovering inspiration in very unlikely ways. He recently wrapped his latest feature Starla, a thriller executive produced by Chris Robinson and The World Is Watching, a documentary about the culture of New York City high school basketball produced by Nike and narrated by Spike Lee. Cordero was also a featured director for SHOOT Magazine’s 9th Annual New Director’s Showcase held at the DGA Theater on May 10, 2011. He is currently in production with a documentary about the closing of Peninsula Hospital Center in Queens, New York.

ALEXANDER BUONO wrote and produced the theatrical documentary, Bigger Stronger Faster, which he developed and guided through every stage from financing and production to final delivery and distribution. The film premiered in competition at the 2008 Sundance Film Festival and was distributed by Magnolia Pictures. Alex was the co-producer and director of photography of Green Street Hooligans, about London’s football subculture starring Elijah Wood, which won both the Jury Prize and Audience Award at the 2005 SXSW Film Festival. In 2003, Alex received an Oscar nomination for the short film, Johnny Flynton, which he produced and photographed. He recently completed the Chinese co-production, Shanghai Kiss, starring Hayden Panettiere, and has been the director of photography for the Saturday Night Live Film Unit for the past 9 seasons. Other credits include the Emmy-nominated ESPN series Mayne Street. Alex is a graduate of the USC School of Cinema Arts and spent his early post-collegiate years on the camera crews of studio ?lms including Twister, Conspiracy Theory and Armageddon. ?

JUNE DIANE RAPHAEL has appeared in such films as Forgetting Sarah Marshall, Zodiac, Going the Distance, Year One, The Dry Land and Bride Wars, which she co-wrote with Casey Wilson. She currently plays Piper on the Adult Swim series NTSF:SD:SUV, and has been seen on Flight of the Conchords, Party Down, Funny Or Die Presents, Happy Endings and Players. She currently is developing a pilot for ABC with Will Gluck called, “Walk of Shame” in addition to numerous features currently in development.

ABOUT BVEW’S FOUNDERS:

ALEX CIRILLO is a filmmaker born and raised in New York. In May 2010, she and Dani Faith Leonard launched Big Vision Empty Wallet after having produced film screenings and competitions through their sister company, Industry Power Play. Cirillo is also a Producer at Washington Square Films where she works on feature films, documentaries and commercials, and specializes in TV & New Media development. She recently worked on Margin Call, a feature film starring Kevin Spacey, Jeremy Irons and Stanley Tucci, which premiered at Sundance 2011 & opened in theatres this October, and Francine, an independent experimental drama starring Melissa Leo slated for release in 2012. Cirillo also serves as Grant Manager for Emmy-winning Director Robert Levi’s and Bowery Arts & Science’s National Endowment for the Humanities Grant for a documentary about legendary jazz musician Hank Jones. Additionally, Cirillo is the chairwoman of New York Women in Film & Television’s Gift Bag Committee. This summer she had the honor of serving as a judge for the Boston Comedy Festival’s New York Showcase and she is currently in pre-production on a documentary about children in inner city Baltimore gaining confidence and life skills with the help of The Tender Bridge.

DANI FAITH LEONARD is a writer and actress based in New York City. She has acted in independent films and theatre in the US and overseas. She can be seen writing and performing with the sketch comedy troupe Really Sketchy. In June 2008, she founded Preen Productions under which she and business partner Alex Cirillo ran Industry Power Play, a series of monthly film screenings and events for the independent film and performing arts community of NYC. In May 2010, they launched BigVisionEmptyWallet.com, a networking organization dedicated to bringing artists together from all over the world. She currently has two films in pre-production and is looking forward to what this exciting year will hold personally, and for Big Vision Empty Wallet.

For more information and to become a member of Big Vision Empty Wallet, visit http://www.bigvisionemptywallet.com/join.

NEW YORK, NEW YORK, November 3, 2011 – Big Vision Empty Wallet (BVEW), the networking organization dedicated to bringing both emerging and established artists and innovators together and helping them collaborate, create and showcase their work, has teamed up with Canon to launch its first National Film Pitch Competition. The purpose of Big Vision Empty Wallet’s National Film Pitch Competition is to find the next great feature film and get it made. Canon will be awarding the Grand Prize Winner with a 30-consecutive-day HDSLR Camera and Canon EOS EF “L” Series Lens Package Rental, plus a 1-week re-shoot. The winner will also receive other free rental packages and services to help them get their film made from additional sponsors, including a Producer’s Package from Media Services/Show Biz Software, Quick Film Budget, Konsonant, Rotting Television and Daryl Eisenberg Casting. The Grand Prize is valued at over $100,000. An additional prize furnished by Media Services will be awarded to the Viewer’s Choice Winner for Best Pitch Video, selected through online voting.

When contestants submit to the competition they receive a free one-year membership to Big Vision Empty Wallet. Contestants must be residents of the United States. To submit, visit: http://www.bigvisionemptywallet.com/national-film-pitch

Participants must submit the following by January 30, 2012:

• A treatment for their dream feature film that they would make using the valuable prizes provided by the competition sponsors.
• A promotional video, trailer or scene that pitches their film.
• Bios of the creative team.

The Top 10 Finalists will be announced on BigVisionEmptyWallet.com on February 10, 2012, at which time, online voting will open to decide the online winner. The esteemed judges will give each finalist a score based on originality, style, professionalism, marketability, quality of work and so on. The Top 3 Finalists will be announced on March 1, 2012.

The Top 3 Finalists will have from March 1, 2012 – April 1, 2012 to complete the first draft of their screenplay and submit it for judging in the final round. Online voting for the best pitch video will continue throughout this time.

The judging panel will select the Grand Prize Winner, which will be announced on BigVisionEmptyWallet.com and RottingTelevision.com on May 1, 2012.

The judging panel includes:

• Russell Carpenter – Academy Award-Winning Cinematographer, Titanic
• Maureen Ryan – Producer, Academy Award-Winning Documentary Man on Wire, Project Nim
• Heather Matarazzo – Actress, Welcome to the Dollhouse (Independent Spirit Award)
• Rik Cordero – Award Winning Commercial, Film and Music Video Director
• Alex Buono – Academy Award Nominated Cinematographer, 10-year veteran Saturday Night Live
• June Diane Raphael – Writer and star of upcoming feature Ass Backwards, Writer of Bride Wars

“It isn’t our goal to simply find the next great feature film, we will also enable the winner to get their dream film made,” said BVEW co-founder Dani Faith Leonard. “The grand prize package is huge. I wish I could win it!”

“We are extremely grateful and excited to be teaming with all of our sponsors, especially Canon during the exciting launch of their brand new cameras,” said BVEW co-founder Alex Cirillo.

ABOUT BVEW:

Big Vision Empty Wallet is an international networking organization dedicated to bringing together artists and innovators and helping them create, collaborate, and showcase their work. We inspire the creative class to create great change by creating great work.

Members Can:

FIND ARTISTS TO COLLABORATE WITH:
- Attend our ongoing events in cities around the world.
- Post casting and crewing notices on our projects board and in our member bulletin.
- Create a profile on our site where you can share your work and information about yourself as an artist and the art you create.
- Interact with other members who you want to work with by sending them a private message on the site.

CREATE WITH EASE:
- Take advantage of our exclusive member deals and discounts.
- Use our resource guide, including over 125 production forms, NY and LA vendor directories, as well as our listings of film commissions and unions.

SHOWCASE YOUR WORK:
- Screen your films or exhibit your work at our events.
- Gain free online entry to all of our online competitions.
- Upload your work onto your member profile.

AFFECT CHANGE:
Give back to your community at our local Chapter events in NY, LA, Philly and DC. We host events in other cities around the world too and will be expanding our events to Chicago, Boston, Toronto, London and Madrid! Each Chapter is associated with local charities and non-profits. Our members? work is always showcased through screenings, exhibits and performances as members network and give back.

ABOUT BVEW’S NATIONAL FILM COMPETITION JUDGES:

RUSSELL CARPENTER won the 2007 Oscar for Best Cinematography on James Cameron’s Titanic. His work with Cameron began on the 1994 Arnold Schwarzenegger comedy/action hybrid, True Lies. He is a member of the American Society of Cinematographers (ASC). In the 1980s, Carpenter shot many memorable horror films including Critters, Critters 2 and A Nightmare on Elm Street 5: The Dream Child. In the 1990s, he DP’d the Jean-Claude Van Damme hits Death Warrant and Hard Target. His next project, This Means War, is due out in theaters sometime next year.

MAUREEN A. RYAN is a producer based in New York concentrating on feature films and documentaries. She is co-producer of James Marsh’s 2009 Academy Award-winning Best Documentary, Man on Wire, as well as on Marsh’s latest feature documentary, Project Nim. She produced the independent film Bomber, which had its world premiere at the SXSW Film Festival in 2009, as well as 2008 Peabody Award-winner, The Gates, co-directed by Albert Maysles. Ryan also wrote the book, Producer to Producer: The Step-by-Step Guide to Low Budget Independent Film Producing.

HEATHER MATARAZZO, a successful actor since her feature film debut in Welcome to the Dollhouse at the age of 11, has been captivating movie-going audiences for over a decade. Her unique talent and on-screen charm have earned her critical acclaim, including an Independent Spirit Award. Heather quickly followed up Dollhouse with a breakout performance in Taylor Hackford’s thriller, The Devil’s Advocate. In the following years, she worked non-stop on such films as 54, Getting to Know You, Scream 3, Sorority Boys, and Freshman Orientation. In 1997, Heather joined the cast of the smash hit series Roseanne for the final season. In 2001, Heather starred in Disney’s box office hit, The Princess Diaries, directed by Garry Marshall. That same year, Heather starred in Service Men off Broadway and made her Broadway debut in the Roundabout Theatres production of The Women. Following up her Broadway debut, Heather went into production for the sleeper hit Saved. Heather’s focus continues in film and theatre as she chooses to diversify her body of work securing a lead role in the sequel to HOSTEL. In 2010 Heather produced and starred in MANGUS!, and independent feature film directed by Ash Christian.

RIK CORDERO was born and raised in Queens, New York and is known for applying unusual, non-traditional shooting methods in his work. He was nominated for Video Director Of The Year at the 2009 BET Awards and was the recipient of the Best Film Award for his feature film, Inside A Change, which made its world premiere at the 2009 HBO New York International Latino Film Festival. In 2010, Cordero was seen in Sprite’s print and television ads for their “Spark” campaign. The ads featured him as a Hollywood director discovering inspiration in very unlikely ways. He recently wrapped his latest feature Starla, a thriller executive produced by Chris Robinson and The World Is Watching, a documentary about the culture of New York City high school basketball produced by Nike and narrated by Spike Lee. Cordero was also a featured director for SHOOT Magazine’s 9th Annual New Director’s Showcase held at the DGA Theater on May 10, 2011. He is currently in production with a documentary about the closing of Peninsula Hospital Center in Queens, New York.

ALEXANDER BUONO wrote and produced the theatrical documentary, Bigger Stronger Faster, which he developed and guided through every stage from financing and production to final delivery and distribution. The film premiered in competition at the 2008 Sundance Film Festival and was distributed by Magnolia Pictures. Alex was the co-producer and director of photography of Green Street Hooligans, about London’s football subculture starring Elijah Wood, which won both the Jury Prize and Audience Award at the 2005 SXSW Film Festival. In 2003, Alex received an Oscar nomination for the short film, Johnny Flynton, which he produced and photographed. He recently completed the Chinese co-production, Shanghai Kiss, starring Hayden Panettiere, and has been the director of photography for the Saturday Night Live Film Unit for the past 9 seasons. Other credits include the Emmy-nominated ESPN series Mayne Street. Alex is a graduate of the USC School of Cinema Arts and spent his early post-collegiate years on the camera crews of studio ?lms including Twister, Conspiracy Theory and Armageddon. ?

JUNE DIANE RAPHAEL has appeared in such films as Forgetting Sarah Marshall, Zodiac, Going the Distance, Year One, The Dry Land and Bride Wars, which she co-wrote with Casey Wilson. She currently plays Piper on the Adult Swim series NTSF:SD:SUV, and has been seen on Flight of the Conchords, Party Down, Funny Or Die Presents, Happy Endings and Players. She currently is developing a pilot for ABC with Will Gluck called, “Walk of Shame” in addition to numerous features currently in development.

ABOUT BVEW’S FOUNDERS:

ALEX CIRILLO is a filmmaker born and raised in New York. In May 2010, she and Dani Faith Leonard launched Big Vision Empty Wallet after having produced film screenings and competitions through their sister company, Industry Power Play. Cirillo is also a Producer at Washington Square Films where she works on feature films, documentaries and commercials, and specializes in TV & New Media development. She recently worked on Margin Call, a feature film starring Kevin Spacey, Jeremy Irons and Stanley Tucci, which premiered at Sundance 2011 & opened in theatres this October, and Francine, an independent experimental drama starring Melissa Leo slated for release in 2012. Cirillo also serves as Grant Manager for Emmy-winning Director Robert Levi’s and Bowery Arts & Science’s National Endowment for the Humanities Grant for a documentary about legendary jazz musician Hank Jones. Additionally, Cirillo is the chairwoman of New York Women in Film & Television’s Gift Bag Committee. This summer she had the honor of serving as a judge for the Boston Comedy Festival’s New York Showcase and she is currently in pre-production on a documentary about children in inner city Baltimore gaining confidence and life skills with the help of The Tender Bridge.

DANI FAITH LEONARD is a writer and actress based in New York City. She has acted in independent films and theatre in the US and overseas. She can be seen writing and performing with the sketch comedy troupe Really Sketchy. In June 2008, she founded Preen Productions under which she and business partner Alex Cirillo ran Industry Power Play, a series of monthly film screenings and events for the independent film and performing arts community of NYC. In May 2010, they launched BigVisionEmptyWallet.com, a networking organization dedicated to bringing artists together from all over the world. She currently has two films in pre-production and is looking forward to what this exciting year will hold personally, and for Big Vision Empty Wallet.

For more information and to become a member of Big Vision Empty Wallet, visit http://www.bigvisionemptywallet.com/join.

2012 Oscar Nomination Hopeful A Simple Life Graded by PPO On Nucoda Film Master


(London, UK) Venice Film Festival favourite A Simple Life was recently graded by Hong Kong’s Post Production Office Ltd. (PPO) using Nucoda Film Master. The feature film is currently receiving rave reviews on the film festival circuit with Director Ann Hui picking up three awards at the Venice Film Festival and lead actress Deanie Ip winning the festival’s Volpi Cup Best Actress Award. PPO, based in Causeway Bay, is a leading facility in Hong Kong serving the international feature film and TV commercials markets.

A Simple Life is a truestory based on the life of Producer Roger Lee. It documents the strong emotional bond between him and his amah, Ah Tao (Deanie Ip). From the age of 13 Tao served the Lee family for over 50 years and was an important part of Lee’s life throughout that time. The film was shot in Beijing and Hong Kong earlier this year on RED One and was converted using PPO’s RED Rocket decoder from 4K R3D to DPX format. RED Rocket, supported by Nucoda Film Master, significantly speeds up RED based workflows providing real-time high quality decode of native RED files.

PPO Colourist Sun Wong explains, “The DOP Nelson Yu Lik-wai wanted a light grade to stay true to the emotion between the characters in the story. I used a lot of layers to maintain the light in various scenes that were shot at different times of day and also softened some of the scenes that took place in Tao’s house. The DOP was already familiar with Nucoda Film Master as we have worked together in the past on a commercial so he was confident of what could be achieved in the grade after filming.”

Following its Venice Film Festival success and a soft launch in Hong Kong earlier this month, A Simple Life is now in the race for the 2012 Oscar nominations in the Best Foreign Language Film category. The film will go on general release in March 2012.

About PO, Post Production Office Limited
PO, Post Production Office Limited, a full gear post production house specially built for TV Commercials, Feature Films and Corporate Documentary. PO is the only local post production house that has full gear post production facilities both in its Hong Kong headquarter and Shanghai Branch. With the most advance I.T. infrastructure, we fully linked our H.K. & S.H. studios together, projects from either locations are interchangeable anytime for modification that eliminate the locations’ constraint. The most modern high-end facilities enable us to handle both SD/HD/2k productions smoothly and bring our workmanship to be one of the best choices in Asia area. For Feature Film D.I. & Color Grading, PO provides 4K Scanity Datacine grading with Film-Master 2010 in S.H. studio and 2K Spirit Datacine in H.K. studio. For details information, please visit our website: www.postproductionoffice.com

About Image Systems
Image Systems Media Unit, formerly Digital Vision, is a division of Image Systems AB, which specializes in high-resolution image processing, film scanning and motion analysis solutions. Headquartered in Linköping, Sweden, Image Systems has offices in Stockholm, London and Los Angeles. The company has three business units: Media, Defense and Motion, managed via a global network of qualified distributors. Its Nucoda and Phoenix image grading and restoration software solutions and Golden Eye range of scanners provide innovative tools to create and master media in HD, 2K/4K and stereoscopic 3D. The TEMA software platform provides a range of user friendly, high-speed motion analysis solutions for the automotive industry and other industrial test and design applications. The TrackEye system provide image analysis solutions for the military reconnaissance and testing markets. For additional information, visit www.imagesystems.tv.

All trademarks used herein, whether recognized or not, are the properties of their respective companies.

# # #

Image Systems Marketing Contact:
Alexa Maza | alexa.maza@imagesystems.se | Tel: +1 (818) 769-8111
Ulrika Liiv | ulrika.liiv@imagesystems.se | 46 (0) 8 546 18232

Image Systems EMEA & Asia PR Contact:
Jump PR | Kate Ford | kate@jumppr.tv | Tel: +44 (0) 1932 240001 | Mobile: +44 (0) 7740 948 065

Image Systems USA PR Contact:
Ignite | Christine Purse | chris@ignite.bz | Tel: +1 818 303 8088 | Mobile: +1 323 806 9696

Nice Shoes Opens Portals for Phillip Glass


When violinist Tim Fain took the stage for the world premiere of Phillip Glass’ new work “Partita for Solo Violin” at New York’s Symphony Space last month, he performed not to the flurry of live dancers onstage, but to dancers and musicians on five films directed by Black Swan choreographer Benjamin Millepied. The films were edited, color graded and conformed by Nice Shoes, marking the launch of their brand new creative editorial division.

As the renowned Fain performs live, his cast – including dancers Craig Black, Julia Eichten and Haylee Nichele – animate the backdrop in the various films, which are compelling blends of Glass’ seven-movement suite and droll narrative sequences choreographed and directed by Millepied. The films are brilliantly choreographed to Glass’ haunting score, an exploration of human longing for connection in the digital age.

The films are carrying strong crowd reaction – including a standing ovation at the debut and a positive write-up in The New York Times – into encore performances in Los Angeles and Omaha, with future shows under consideration.

“Our bread and butter is still advertising, but Nice Shoes is really looking to expand their horizons beyond the thirty second spot. This multimedia event was a great foray out of our comfort zone,” noted editor Oren Sarch, who joined Nice Shoes’ creative roster in August and helped bring this show to the studio. “I think that’s one of the reasons my relationship with Nice Shoes works, since I primarily consider myself a commercial editor with some horizon-expanding long-form work along the way.” Sarch’s work with director Darren Aronofsky and magician David Blaine are two of the more notable examples of that longer format work.

“Millepied was referred to me by Aronofsky,” Sarch noted, “He had two of the five films basically roughed out and wanted some help taking them all to the next level. It didn’t surprise me that Millepied was a good editor – choreographers generally know what they want to see against the music. What did surprise me was his understanding of and eagerness to utilize the vernacular of the medium – including split screens, repeated shots, speed changes, etc. – within his choreography to make the films better. Collaborating with him on this was a really creative and inspiring experience.”

While editing with Millepied, Sarch convinced him to do a color test with Chris Ryan, which led to Nice Shoes color grading the entire series of films. “Benjamin originally envisioned the pieces in black and white,” said Ryan, “but once he saw what we could do, he was floored.”

The full force of Nice Shoes’ world class creative team really came into play on one of the films where Sarch and Millepied repeated sections of scenes in the rough cut. The visual effects team was tasked with combining the multiple scenes to create a natural transition of a person walking from room to room – no easy feat, since the idea for the effect came into play in the edit room months after the footage had been shot. “We’ve always prided ourselves on our ability to seamlessly hand all aspects of our client’s project from one division to another, and our new creative editorial division only strengthens our ability to do that,” added Ryan, “Our clients have asked for this sort of soup-to-nuts capabilities and we’ve responded.”

Visit Nice Shoes
View Media

Credits
Director: Benjamin Millepied
Composer: Phillip Glass

Post Production Co.: Nice Shoes
Editor: Oren Sarch
Colorist(s): Chris Ryan, Gene Curley, Ron Sudul
Visual Effects: Nice Shoes
About Nice Shoes
NYC-based Nice Shoes is a full service, artist-driven design, animation, visual effects and color grading studio specializing in high-end commercials, web content, film, TV and music videos. Since its inception in 1996, the studio has prided itself on consistently reinvesting in its talent, technical backbone, and client experience to set the standard of excellence both creatively and technically. Key company principals include: CEO/Partner Dominic Pandolfino, Colorists/Partners Chris Ryan and Lez Rudge, VFX Artist/Partner Rich Schreck, CDs Brian Bowman and Aron Baxter, Senior Producer Pat Portela, and CIO Bob Keske.

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

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Jet Stream Sound Booming: Moves to New Studios

Independent sound company’s new facilities include a theatrical dub stage.

UNIVERSAL CITY, Calif.—Buoyed by a string of successes in film, television, commercials and video games, Jet Stream Sound has moved into a new studio complex in Universal City. More than twice the size of its previous site, the company’s new digs features a theatrical dub stage, two re-recording studios, ADR and voice recording facilities, Foley and an extensive sound effects library. more

“Hello, SkaterGirl’s” Julian Bleecker Mesmerizes with Digieffects Camera Mapper

Recently, we were introduced to Digieffects customer, Julian Bleecker; photographer, digital media artist and founder of Hello, Skater Girl. We were so mesmerized by the imagery he created, capturing women skaters competing in the gritty backdrop of skate parks all over the US; we wanted to meet him and learn more about him and how he creates his art.

Digieffects (DE): Can you tell us a little about HelloSkaterGirl, and about yourself?

Julian Bleecker (JB): I moved to Venice Beach California awhile ago and wanted to get to know the history and culture of where I was living. I’m an over-enthusiastic amateur photographer. A camera and a lens provides a decent way for me to ask questions about where I am and who I’m around in an indirect way, which is comfortable for me. I stared shooting in the Venice Beach Skatepark because I knew that place was a dog-eared page of the story that is this beach town — the history of this place passes straight through surf-skate life and culture. It was an amazing visual-anthropology to shoot there and get to know all the wonderful and curious people and their stories about skating and the Westside — Dogtown, Santa Monica, Venice, Mar Vista, Marina del Rey. I became a bit obsessed with capturing as many facets of the life as possible. Almost by accident, I found myself traveling to shoot with skaters and at competitions all around the country.

I got to shoot at X-Games 16, which was amazing and daunting to be up close to incredible skaters. Towards the end of a long, hot, sweaty day of shooting and lugging around gear and being humbled by the other professional photographers, I went into the air conditioned Nokia Theater to cool down. The Women’s Vert Ramp Competition was on. I hadn’t even thought once about shooting any of the women’s events. Why not? It’s not an excuse, but I can only surmise that the bias of a year of shooting men unconsciously led me to ignore women skaters. Not shooting with women wasn’t a choice so much as a result of the familiar systemic issue that skateboarding is for guys.

That day was an eye opener. The women were bringing heat. This was real competition. Plenty of thrills. Lots of air. They were 110% sporty. Competitive while also encouraging and supporting one another.

That event was the start of this project. Through the Hello, Skater Girl project I hoped to distinguish what these sportswomen are doing without fetishizing the fact that they are women in a sportsman’s game. Rather that they are women skating like women. I hope that these images in the book show a bit of that and their spirit and personalities.

But, I don’t do this full-time, although sometimes it seems so. I’m normally a designer and technology guy. I work in the Advanced Design studio for Nokia here in Los Angeles and I run a design and innovation studio called The Near Future Laboratory where we figure out what could be, even if it’s really weird.

DE: What camera equipment and software was used?

JB: I’m a Nikon boy by birth. I have a bunch of bodies from a D3S to an N90S. The lenses run the gamut, but mostly I shoot with the wider ones — 14mm/2.8, 16mm/2.8, 20mm/2.8, 24mm/1.4, but I usually keep my old trusty 85mm/1.8 handy. My go-to lens for the skateboard work has been the 24mm/1.4. I’ve been trying to perfect shooting it nearly wide open with an nearly black-out neutral density filter to let me keep it open in bright sun. The bokeh you can get with these conditions and a bit of luck makes the photography more portrait-like, which is an aesthetic I’ve been going for. The hyperfocal on wider lenses or slower lenses makes the images lack depth and look quite flat, in my opinion.

On the software side, I use ImageIngester and Photo Mechanic for the ingestion and pre-processing and then Adobe Lightroom and a big RAID array for cataloging and managing photos. The workflow feels medieval. Someone is really going to put sort this digital asset management thing and make it all work nicely. Right now it’s harder than it needs to be. All the VFX work is done in AfterEffects and Final Cut.

DE: How much time is spent in post and VFX?

JB: I tend not to fuss too much with the images, although the spontaneity of the subject and the fact that its not studio photography means that the light isn’t always spot-on. You’re basically trying to take photos of very excited squirrels running all over the place and so you never really know what the light is going to do to you — clouds move, the sun moves, sometimes you shoot into it, sometimes its oblique to you. So it helps to capture images with lots of latitude for some corrections between very dark darks and very bright brights.

I use Nik Software’s tools to help with that sort of thing, especially their Viveza tool. When I find an image I want to use, I tend to spend a bit of time with it. And, if I’m using it for one of still life with motion animations, I’ll spend anywhere from an hour to a couple of days working with it. Mechanically the DigiEffects Camera Mapper effect makes it easy to setup the animation. Actually getting an animation and camera move that’s satisfying can take as long as you want.

DE: There are some really nice color and VFX treatments to your work. Which Digieffects products do you use and how did they assist the process?

JB: I used Camera Mapper for all the animations. That was the core tool for the animations. The Buena Depth Cue suite is great to work with. Although most of the depth effects I created in camera, things like the Depth tool allowed me to enhance the aesthetic I was looking in a couple of the animations with very few hassles.

DE: What features of the products did you most take advantage of?

JB: Camera Mapper makes it relatively easy to get a great alternative to the tired Ken Burns pan-and-zoom for still images. I mean — I’m trying to use still images in a very time-based media world. It was a challenge to figure out what to do and once I saw that sort of effect in films like The Kid Stays in the Picture and Riding Giants. Camera Mapper and animating camera moves that reveal parallax is a really exciting alternative to 3D that is more authentic to photography in a video format.

DE: Can you talk about any particular challenge or frustration that Digieffects helped with?

JB: It took me several tries to figure out how to make Camera Mapper work. I think I wasn’t thinking visually and just following the steps as I understood them in the tutorials. I think I’ll do my own tutorial. The moves I’m doing are quite simple visually so I think a tutorial would explain the basic principles simply. Camera Mapper set me up to focus on what and how I wanted to animate stills. After doing it many, many times I can imagine how I could do it without the plug-in — but it greatly simplifies the workflow.

You can see more of Julian’s work on his web site here: http://helloskatergirl.com Or check out his Vimeo page here to see more stunning videos created with Digieffects: http://vimeo.com/helloskatergirl

Julian is also working on a new book; a limited edition collection of photography and the stories behind the Hello, Skatergirl photos. He’s using Kickstarter as a way to get the book into people’s hands. To support this effort, please visit http://www.kickstarter.com/projects/221647184/hello-skater-girl.

Singular Software Presto Extends Integration to Premiere Pro: Launches Public Beta Program

Calling all Premiere Pro editors; add Singular Software Presto to your workflow and create engaging presentation videos in just minutes

 

Vancouver, British Columbia – Singular Software™, a developer of workflow automation applications for digital media, is pleased to announce the public beta of Singular Software Presto™ for OS X (v2.0) with support for Adobe® Premiere Pro®. Singular Software Presto dramatically simplifies the creation of high-quality presentation videos. The application’s sophisticated computer tracking and automation technology works alongside Premiere Pro to automatically synchronize footage of the presenter, presentation slides, and a video taken of the screen – creating a polished video of the presentation in just minutes. “Singular Software Presto has saved Sony Vegas Pro and Final Cut Pro users hours in the edit bay. We’ve received many inquiries from Adobe customers, and our team has been hard at work adding support for Premiere Pro,” says Bruce Sharpe, CEO, Singular Software. “Singular Software Presto turns what can be a tedious and time-consuming edit into one that is quick and creative. Its automation and layout tools quickly transform raw footage into a professional, polished presentation video.”

 

The public beta of Singular Software Presto for OS X (v2.0) offers key new features, including support for importing projects from Premiere Pro, the ability to render video directly, and full control over audio mixing. For more information or to download the beta, please visit: http://www.singularsoftware.com/presto.html.

 

About Singular Software Presto
The Singular Software Presto application utilizes advanced head tracking and image-matching technology to simplify the entire editing process for creating presentation videos. Users start by importing video of the presenter and presentation screen into Premiere Pro (CS4 or newer; PluralEyes is also required for CS4 users, and recommended for CS5 or CS5.5). This project is then imported into Singular Software Presto to apply its automation magic and presentation layout tools.

 

Singular Software Presto creates a precisely timed slide track with bright slide images in place of the screen video by automatically synchronizing the original slide images with the video of the screen. The application’s advanced tracking technology automatically keeps the presenter in view, alongside the slides, in appealing two-up layouts, and the resulting video can be used as is or customized with the provided templates.

 

Availability of Singular Software Presto for Premiere Pro
Singular Software Presto is currently available in public beta for Premiere Pro. To download the beta, please visit: http://www.singularsoftware.com/downloads.html.

 

About Singular Software
Established in 2008, Singular Software pioneers the development of workflow automation applications for audio and video professionals. Its breakthrough solution, PluralEyes, offers innovative technology to automate and simplify multi-camera, multi-take and dual-system audio workflows. Singular Software products support industry leading non-linear editing products. For more information about Singular Software, please visit: http://www.singularsoftware.com.

 

Singular Software Presto is a trademark of Singular Software Inc. All other trademarks, registered trademarks and products mentioned herein belong to their respective owners.

 

Press Contact
To schedule a press briefing or request a product review; please contact Janice Dolan at:

Zazil Media Group
Janice Dolan
(p) +1 617 817 6595
(email) janice@zazilmediagroup.com

Grass Valley Bridges The Gap Between Broadcast and IP Delivery at Streaming Media West

Grass Valley MediaFUSE system

Grass Valley demonstrates its MediaFUSE Content Repurposing and Multidistribution System

At the 2011 Streaming Media West Show, Grass Valley™ will highlight a number of new IT-centric tools and systems that provide a tight link between traditional television production and streaming media delivery. The show, which is held November 8-9, 2011 at the Hyatt Regency Century Plaza hotel, in Los Angeles, Calif., will provide attendees with a hands-on look at Grass Valley’s vision for an integrated workflow that distributes content to multiple platforms in the fastest and most cost-effective way possible.

At exhibit Booth #73, Grass Valley will demonstrate its MediaFUSE® Content Re-purposing and Multi-distribution System, which allows users that are familiar with common business applications to be immediately comfortable completing sophisticated production tasks.

“As customers continue to migrate to file-based workflows, the ability to manage material and enhance it for re-use is increasingly important,” said Jeff Rosica, Executive Vice President of Grass Valley. “MediaFUSE is an outstanding example of new technologies that help producers deliver the right content to the right platform with the least amount of time and effort. As the worlds of broadcast and IT continue to migrate and consolidate their workflows, our products help make that transition smooth and painless.”

At the show, Grass Valley will present the tight integration between Grass Valley production switchers and the MediaFUSE Live system, used for web streaming as well as online file management and distribution. The latest version of MediaFUSE Live offers dynamic live streaming in Flash, HLS-5, and Windows Media formats. This allows all types of multi-platform content providers to automatically convert linear content and stream it live, to address 95% of today’s multimedia consumption devices (e.g., iPad, iPhone, and Android-based devices).

Another new feature for MediaFUSE Live is called “Show Builder,” which allows a non-technical user to gather independent clips and combine them into a show.

For more information about Streaming Media West, visit http://www.streamingmedia.com/Conferences/West2011/

###

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