Archive for December 7th, 2011

Santa Monica, Calif., December 7, 2011 — Antelope Audio announces the launch of ?Eclipse 384 – the first of its kind multifunctional audio device that provides 384 kHz A/D and D/A conversion clocked by Antelope’s renowned 64-bit technology and a powerful and flexible monitoring control.

Eclipse 384 was unveiled during the Audio Engineering Society (AES) convention in New York last October, where it received the accolade “Best of Show” and subsequently “Gear of the Year” from two highly regarded industry publications.

“The philosophy behind Eclipse 384 is Aristotle’s dictum: ‘The whole is greater than the sum of its parts‘,” commented Igor Levin, CEO and founder of Antelope Audio. “The device is a technological fusion of our best and most prominent innovations, such as the 64-bit Acoustically Focused Clocking (AFC) and the Oven-controlled oscillator, high resolution USB streaming, and next generation conversion and power supply circuits.”

Inside the Eclipse 384
The Eclipse comprises 384 kHz A/D & D/A converters clocked by two independent 64-bit DSP Trinity-level clocks. The fully integrated monitor controller employs 0.05 dB accurate gold-plated relay attenuators and provides speaker switching, bass management and cue mix functions with integrated talkback. The Eclipse also includes two dedicated headphone amplifiers and a custom USB interface, as well as two large peak meters on the front panel. The advanced software control panel compatible with both Mac & PC, allows five nameable presets for easy recall of favorite setups.

The unique dual-domain clocking system enables analog-based, more natural sounding sample rate conversion. The integrated patching/routing capabilities make monitoring of either analog or digital sources extremely simple, avoiding jitter, distortion and cabling noise. By eliminating the many input and output stages and the various power supplies, that would be present in separate devices, the noise floor can be substantially reduced and the audio quality significantly improved.

“The 2U-box easily substitutes and outperforms an equivalent combination of five separate high-end products. It is targeted towards audio engineers who crave superb sound quality and maximum efficiency,” Levin added. “ By simply pushing a preset button, a user is able to completely reconfigure dozens of settings. This beats running around the studio and turning a gazillion knobs on multiple devices.”

The Eclipse is also well-suited to live environments. Master clocks are becoming more and more popular for use with digital consoles and recording equipment at concerts and live events. By using the Eclipse 384, a live sound engineer is able to provide sync reference for up to four different devices, while using the main D/A for backing material, the A/D with multiple digital outs feeding redundant recording systems, and monitor DAC to check the recording post A/D conversion.

Currently Antelope Audio is accepting pre-orders for Eclipse 384, which is expected to ship during the first quarter of 2012; however the first pre-ordered units will arrive in studios before the end of 2011.

Eclipse 384 features
Clocking

– 64-bit DSP Trinity-level clocking
– Oven-controlled oscillator
– Factory calibrated to better than +/- 0.001 ppm stability
– Two independent sample rates
– Varispeed capability of +/- 200 cents
– 10M atomic clock input

Conversion

– 384 kHz A/D & D/A converters
– A/D with Dynamic Range of 124dB
– D/A with Dynamic Range of 129dB
– Burr-Brown D/A conversion chip
– Two bypassable A/D inserts
– Custom USB 2.0 chip streaming up to 480 Mbits

Monitoring

– Three sets of switchable monitor outs
– Second dedicated monitor D/A
– Bass management with LFE output
– Precise input and output peak meters
– Talkback and cue mix functions
– Relay volume attenuator matched to 0.05 dB

Autodesk Entertainment Creation Suite Software and Autodesk Scaleform Middleware Help Insomniac Immerse Gamers in a Human Survival Experience

Insomniac Games used software and Gameware technology from Autodesk, Inc. (NASDAQ: ADSK) to develop Sony Computer Entertainment America LLC (SCEA)’s first-person shooter videogame title, “Resistance® 3,” developed exclusively for the PlayStation®3 computer entertainment system. Autodesk technology was also used to create the game’s downloadable content packs (DLCs), including the recently released Brutality Pack.

“Resistance 3” is a sci-fi thriller that draws players into a bleak world by combining a compelling narrative focusing on human survival and intense gameplay. The new Brutality Pack adds an intense survival mode where players and their friends cooperate to face off against an army of ravenous Grims — tenacious creatures that are known to rush humans in large packs and engage in melee combat.

To design the game’s detailed environments and complex characters, Insomniac artists used software found in the Autodesk Maya Entertainment Creation Suite: Autodesk Maya 3D animation software, Autodesk MotionBuilder character animation software and Autodesk Mudbox digital sculpting software. Autodesk Scaleform middleware was integrated into Insomniac’s proprietary game engine to provide a more dynamic user interface (UI) and extend the interactivity of the game.

The “Resistance 3” narrative shifts focus from battling the alien horde known as The Chimera, to pure human survival in a Chimera-ruled world. Insomniac focused on the creation of precise and detailed environmental storytelling to set the appropriate mood and convey both desperation and hope throughout the game. The Insomniac team was tasked with creating multiple unique environments to evoke more visceral emotion, helping gamers feel as if they are traveling alongside new hero Joseph Capelli as he quests toward what remains of New York City. Insomniac used the Autodesk software to design and execute these complex environments and to help bring characters to life within them.

“Autodesk software is at the core of our creative pipeline and enabled us to tackle the elaborate visuals that are so integral to the game’s narrative,” said Jacinda Chew, art director, Insomniac Games. “The interoperability between the programs enabled us to work faster and more efficiently than we have on past installments of the game. We could more quickly create and move assets between the programs to shape these different environments and characters.”

MotionBuilder software played an important role in the development of cinematics for the game. “We enjoyed how easy it was to assemble and edit character data, audio and cameras in MotionBuilder software’s Story Mode,” explained Kevin Grow, cinematics director. “With MotionBuilder in our pipeline we were also able to previsualize our cinematics for the first time, enabling us to be better prepared when we went to shoot our final motion capture. When the cinematics were finalized, the Autodesk FBX data interchange format made it very easy to move our assembled clips from MotionBuilder into Maya for export to our game engine.”

Insomniac’s internal engine team integrated Scaleform with the company’s custom in-house gaming engine to deliver dynamic UI that complemented the story and gameplay. “‘Resistance 3’ is all about putting the experience first, and Scaleform enabled us to do that,” said Ryan Kamins, senior graphics artist, Insomniac Games. “The middleware helped us deliver more fluid UI that feels like an extension of the narrative and gameplay, without having to get a gameplay programmer involved every time we wanted to build a new iteration.”

“Resistance 3” has been lauded with rave reviews by Gamespot (8.5/10), IGN (9/10), Joystiq (4.5/5 stars) and continues to garner industry and gamer accolades. “Resistance 3” retails for $59.99 and the Brutality Pack is available now for $3.99 via download from the PlayStation®Store.

About Autodesk
Autodesk, Inc., is a leader in 3D design, engineering and entertainment software. Customers across the manufacturing, architecture, building, construction, and media and entertainment industries — including the last 16 Academy Award winners for Best Visual Effects — use Autodesk software to design, visualize and simulate their ideas. Since its introduction of AutoCAD software in 1982, Autodesk continues to develop the broadest portfolio of state-of-the-art software for global markets. For additional information about Autodesk, visit www.autodesk.com.

A.C. Lighting Inc. has been appointed as the North American distributor for LedGo’s range of modular video solutions, recently unveiling the partnership and innovative product range on the company’s stand at LDI 2011 and WFX 2011.
Netherlands based LedGo BV have been providing the theater and television production industry with a variety of LED video screens and innovative solutions for a number of years.
Winnie Meijer, Managing Director of PiVOT / LedGo comments on A.C. Lighting Inc.’s recent appointment as North American distributor, “LedGo is very proud of the partnership with A.C. Lighting Inc. as our North American distributor, serving Canada, Mexico and the USA.”
LedGo video panels are brilliantly engineered and incorporate high-quality hardware and components to deliver incredible video performance at an economical price. The combination of high brightness and lightweight design makes LedGo the perfect choice for multi-purpose entertainment applications, including on and off stage, car shows, trade show booths, concerts, shows, nightclubs, fairs and indoor venues.
The LedGo EQ Stripline range is the ideal solution for medium-resolution video at an economical price. The 15mm and 20mm panels feature a rugged yet lightweight aluminium, ergonomical design that allows the system to be used for a wide range of indoor and outdoor rental applications.
The LedGo EQ HR range is the ideal solution for high-resolution video at an economical price. The EQ HR line is available in 5mm and 10mm panels and features an asymmetric design suitable for seamless horizontal and vertical applications with no visible wires or frames. The flagship product is the EQ HR Blackface Line, LedGo’s ideal solution for creating high contrast and visual depth.
Fred Mikeska, V.P. of U.S. Sales & Marketing for A.C. Lighting Inc comments, “LedGo is a natural fit for A.C. Lighting Inc. and its clients. LedGo’s design, engineering and attention to detail makes its products shine in the fast growing video market. The innovative ‘Rig and Click’ hardware allows for quick assembly and the panels feature very high refresh rates by using the latest LED Drivers to avoid flickering on cameras. LedGo is the perfect solution for our clients who require high performance video systems at competitive prices.”
Winnie adds that “A.C. Lighting Inc. has been in the North American market for years and has built up a solid reputation founded through trust, loyalty and quality. We share the same values and business philosophy. This partnership is the cornerstone to allow LedGo to introduce new LED products, as well as design and develop new LED innovations for the North American market.”
LedGo products are produced according the UL60950-1 electrical standard, which ensures a safe and reliable product. For more information visit www.ledgo.tv .

Press Contact
Louise Stickland on +44 7831 329888 or +44 1865 202679 or Email ; louise@loosplat.com.

For more information on A.C. Lighting Inc. direct, please call (416) 255 9494, email northamerica@aclighting.com or visit www.aclighting.com.

Vrrrrrooooom! The Chrysler SRT launch video shot and directed by Michele Vittorio Ghersi highlights the energy, excitement and beauty of the 2012 SRT Line-Up, and Cinelicious was proud to provide color services to help the already striking work pop & sizzle, as well as seamlessly integrate the CG and Live-Action elements.

 

To view: http://vimeo.com/32471889

 

Chrysler Corporation:
Ralph Gilles, CEO & Sr. Designer SRT / Dodge Motorsports
Beth Paretta, Director Of MArketing & Operations SRT Brand & Motorsports

 

Production & VFX: Big Block
Michele Vittorio Ghersi, Director/Cinematographer/co Creative Director
Mark Glaser, co CD / CG Director
Kay Rough, Senior VFX Producer
Tom Connors, CG Supervisor
Mike EK, Flame
Rob Glaser, DAT DRIVER and CG Artist
Saeed Faridzadeh, Nuke Compositor
Hung-Ning Liao, AE Compositor
Sean Mattini, Coordinator
Scott Jurgens, Post Supervisor / Editor
Jeff Tober, Lead Live action Editor

 

Color: Cinelicious
Steve Rodriguez, Color Grading
Paul Korver, EP
Reggie Diaz, Telecine Producer

 

Matt Thorne, Music and Sound Design

Los Angeles, CA, Dec. 7, 2011 – Reflecting its increased commitment to the changing TV industry, legendary creative agency Bemis Balkind has significantly strengthened its TV Group. Based on its recent work promoting high profile television series (including “Falling Skies,” “Top Chef,” “Raising Hope” and “Rizzoli and Isles”), the agency continues to expand its outreach to major broadcast, studio and cable TV industry clients. To best handle this increased activity, Bemis Balkind has promoted Kishan Muthucumaru to spearhead the agency’s TV Group. The announcement was made today by Peter Bemis, CEO, and Aubrey Balkind, Chairman, Bemis Balkind.

Said Mr. Bemis and Mr. Balkind, “For quite some time, we’ve been fortunate enough to have enjoyed a strong reputation for ‘smart print’ in the theatrical arena. However, as we evolve the legacy of our agency, we are now actively increasing our visibility in the TV industry. We provide each of our clients with a holistic approach, as our creative disciplines across print, packaging and digital are seamless. We craft fully integrated, highly creative and strategy-oriented campaigns for all of our client projects, whether they are major studio releases, independent films, TV series, brands, or new products and services.”

Effective immediately, Kishan Muthucumaru, one of Bemis Balkind’s three Executive Creative Directors, has been promoted, and now will spearhead the agency’s TV Group. Kishan and his team will provide creative services for TV clients in the disciplines of print and packaging.

Working in tandem with Curt Doty, Bemis Balkind’s recently named GM Digital/Executive Creative Director, the agency’s TV Group will now also take advantage of the many new opportunities the digital world has to offer.

Joining Bemis Balkind as an Executive Creative Director in 2009, Kishan has since managed the agency’s growing home entertainment group. Formerly a Creative Director with 30 Sixty Advertising, his work as a designer has run the gamut from sophisticated corporate communications projects to novel entertainment packaging and advertising. Kishan’s work has been recognized in the Print and Graphis Annuals, and has won several Key Art Awards.

ABOUT BEMIS BALKIND:

Bemis Balkind’s DNA is firmly rooted in the disciplines of strategic business consulting, design and advertising. The agency first gained widespread recognition for its game-changing advertising campaign promoting the classic film “Rosemary’s Baby.” Since then, the company has become a multi-award winning, renowned and highly regarded creative agency which designed and implemented campaigns for many major motion pictures, including “Forrest
Gump,” “Alien, “Superman,” “Fatal Attraction,” Tim Burton’s “Alice in Wonderland 3D,” “Slumdog Millionaire,” “Black Swan,” “Bad Teacher,” “Shrek,” and many others.

From traditional to new media, Bemis Balkind’s core mission has never wavered: “Use the power of creativity to involve audiences in a newly created cultural meme.” In addition to their expertise in launching feature films, a number of their assignments have involved launching new products and services, whether physical venues such as The Getty Center, new industries, like premium cable (HBO), 24-hour news (CNN) and sports (ESPN), or even Internet delivered financial services for client Goldman Sachs.

Bemis Balkind is located at 6135 Wilshire Blvd, Los Angeles, CA 90048, and phone is: 323/965-4800. The agency’s New York info is: 134 Spring Street #302, New York, NY 10012, phone 212/965-0099. For more information, please see http://www.bemisbalkind.com

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?Hollywood, December 6th, 2011 — The 3D Film Factory, in association with Big Vision Productions, captured rock and roll’ loudest metal band “KORN” in 3D. The band was doing a live concert December 6th at the Hollywood Palladium during the filming. At times it was reported that the bands audio levels surpassed the 120db mark. Utilizing sound cancelling production relied on the 3DFF’s new Bullet beam-splitter Rig for close-up shots and the new Panasonic P1 (prototype) and A1 3D cameras for the side balcony, jib and crowd shots.

For more information about our stereoscopic 3D production services, or to find a 3D rig for your needs visit www.3DFilmFactory.com

Reno, USA– Bright Technologies, Inc., developer of advanced technology for shared media, has answered the industry’s need for economical, compact, eco-friendly media file servers by launching a new generation of BrightDrive servers. Designed and developed to address the rigorous demands of the media and entertainment industry, BrightDrive Procyon and BrightDrive Triton offer a unique set of features and functionalities that dramatically increase productivity and maximize profitability via real-time collaboration between all clients.

The servers will incorporate Bright’s best-of-class software, including the astonishing new patent-pending BrightClip 2.0 advanced recording technology. The latest BrightClip release is faster and smarter than ever. More than just file allocation, it permanently overcomes the industry-wide problem of degradation by eliminating fragmentation, randomization and inter-leaved frames and is still the only solution that works 100% at all times.

BrightDrive Procyon, the next generation of Bright’s G2 Pro, packs a powerful punch from a compact 3U footprint. The high-availability server utilizes integrated connectivity, eliminating the need for extraneous components, to offer an outstanding out-of-the-box experience. Procyon features a groundbreaking hardware platform plus a current and stable software foundation – including support of StorNext 4.2.

The new BrightDrive Triton elevates BrightDrive G2, its predecessor, to a higher level. The new server answers the need for an attractively priced, green solution that only occupies a single rack unit. Triton also supports StorNext 4.2.

In addition to their fresh look, BrightDrive’s Procyon and Triton eco-friendly designs lower cooling requirements and significantly reduce power costs. The servers’ agnostic architecture allow facilities to seamlessly interface with their preferred applications, protocol, resolution, and formats, eliminating the need for investment in new storage. They offer the highest level of operational stability, consistent and predictable performance, and high-speed access for all users at all times. Both BrightDrives are equipped with incomparable GUI’s (graphical user interfaces) for monitoring and administration.

“The most ingenious thing about the BrightDrive Procyon high-availability Media File Server, is that it’s consolidated into a mere three rack units and utilizes integrated connectivity between the components!” exclaimed Roger Beck, Bright’s CTO. “With more uptime, less maintenance effort, and BrightDrive’s internal “Virtual SCSI Device” customers save money on meta-data devices, hardware, and maintenance. Also our new single server, BrightDrive Triton, occupies only 1U which, I’m sure, our customers will love.”

Added Shawn Clark, Bright’s director of sales, “We’re thrilled about the new product releases specifically because our development team designed the BrightDrives to be a lot smaller and greener than their predecessors. This will ensure that our customers’ infrastructure will consume less power and require less cooling. But even more exciting is our ability to offer both new BrightDrives for 20% less!”

BrightDrive Procyon is shipping now, and BrightDrive Triton will be available as of January 1, 2012 directly from Bright Technologies and through Bright’s worldwide network of business partners.

About Bright
Bright Technologies develops highly specialized technology for shared media environments. In the mid-1990s, Bright’s core team began the development of the first file system for shared media and by 1999, Bright was the first company to address the core issues and challenges of file handling in media. Over the past 12 years, Bright has earned a reputation as an innovative, collaborative, problem solving media software and technology developer. Based on this level of experience and vision for what’s possible, Bright has developed its current product line. Today, Bright Technologies provides the most advanced media file servers in the industry, featuring low-latency, high performance, and best possible predictability and reliability, specifically designed to meet the needs of media file-based workflows. Bright Technologies, Inc., head office: 10405 Double R Blvd, Reno, Nevada, USA. t: +1 775 823 9002 www.4bright.com

Contacts:
Bright Technologies Inc.
Catrin Beck, Marketing Director
P +1 775.823.9002

Desert Moon Communications
Harriet Diener (PR)
harriet@desertmooncomm.com
P: +1 845 512 8283

Watch our new BrightDrive Movie!!
Learn how File Fragmentation steals System Performance in our “Transparent Drive Demo”!!

LITITZ, PENNSYLVANIA – DECEMBER 2011: Clair Global is introducing the CF 1090 Fractal Antenna for live entertainment applications worldwide. The creation of the CF 1090 is a study in guided serendipity.

In the summer of 2010, Clair Global acquired Wireless First. Both the company’s founder, Kevin Sanford and his chief engineer Josh Flower had been working on a new wireless antenna in their shop for several years. Now, as part of the Clair team, they moved quickly to take advantage of Clair’s innovative spirit and talented staff. The final stroke of genius was the inclusion of Dr. Nathan Cohen, whose decades of experience as founder of Fractal Antenna Systems Inc. make him one of the world’s foremost experts on the technology at the CF 1090′s heart. Using fractal technologies, whereby self-similar scaling of antenna elements both reduces housing size and increases frequency range, more

SALT LAKE CITY, Utah – HARMAN Professional today announced the appointment of Nick Owen as Senior Director, Worldwide Sales for the HARMAN Professional Signal Processing Business Unit. Owen will be responsible for global brand strategies throughout the company’s regional sales offices and driving sales globally for the dbx, Lexicon, BSS and DigiTech brands. Owen is based in HARMAN’s Sandy, Utah facility and reports to Rob Urry, HARMAN Professional Vice President and GM, of Signal Processing and Amplifier Business Units.

“HARMAN’s aggressive growth strategy worldwide, especially in emerging markets, is built on a qualified sales network who can meet the unique needs and challenges of our clients in their respective countries,” stated Urry. “Nick’s deep understanding of the markets we serve and strong established relationships with dealers and customers makes him the perfect fit for this role.”

Owen joined HARMAN in 2002 as Director of Sales for Europe, Africa and the Middle East for Crown Amplifiers and most recently held the position of Vice President, Sales For HARMAN Professional in North America for AKG, Soundcraft and Studer. Prior to joining HARMAN Owen was Commercial Managing Director for Soundscape Digital Technology, a company he co-founded which manufacturers hard disc recording and editing systems and related I/O products.

Commenting on his appointment, Owen stated, “I’m exited to lead the worldwide sales team during a period of strong growth for HARMAN. We will continue to provide our customers with the most innovative products combined with the highest level of support and service to meet the specific challenges they face in their specific markets.”

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets — supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 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.

The Second Edition of Book 1 in the Hal Leonard Recording Method by Bill Gibson
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