Archive for December, 2011

Enables Designers to Quickly Add DigitalGlobe’s Most Up-to-Date Satellite and Aerial Content Into Interactive Broadcast Graphics and Maps

LONGMONT, CO, Dec 12, 2011 – DigitalGlobe (NYSE: DGI), a leading global provider of high-resolution earth imagery solutions, today announced that Vizrt (VIZ: NO) has launched a new online service enabling designers to quickly find, preview, and add DigitalGlobe imagery into their broadcast graphics packages using Vizrt’s Viz World production software. The subscription-based service, titled “DigitalGlobe Online,” is available now.

“We are approaching a point where having access to high-quality satellite and aerial imagery in newscasting isn’t a nice-to-have, it’s a must-have,” said Havard Myklebust, executive vice president of marketing. “Using Viz World, design teams can now integrate the highest quality, most up-to-date DigitalGlobe images for use in their interactive, touch-screen graphics packages. Unlike other solutions, this can include fresh imagery from high-risk regions where it is either too difficult or too dangerous for journalists to access on the ground.”

Using the familiar and intuitive Viz World interface, subscribers can quickly search the DigitalGlobe archive to find and preview the imagery that best suits their needs. They can then immediately begin using the imagery to create high-accuracy maps of a region, adding dynamic touchscreen-based drawing tools and controls that give on-air talent the freedom to move, resize, highlight, and animate areas of the map.

In addition to using archived imagery, subscribers will also be able to use newly captured imagery of crisis events taking place worldwide. This allows production teams to consistently monitor high-risk events as they unfold, then quickly begin using images from before, during and after the crisis to maximize newscast impact and accuracy.

“Providing on-demand access to our imagery through Viz World gives broadcasters one more critical tool for transforming good shows into must-see events,” said Andrea Bersan, international vice president at DigitalGlobe. “With direct access to the largest, most consistently updated repository of high-resolution imagery available today, production teams can be confident they are using the latest imagery available, with worldwide coverage and maximum accuracy.”

About DigitalGlobe DigitalGlobe is a leading global provider of commercial high-resolution earth imagery products and services. Sourced from our own advanced satellite constellation, our imagery solutions support a wide variety of uses within defense and intelligence, civil agencies, mapping and analysis, environmental monitoring, oil and gas exploration, infrastructure management, Internet portals and navigation technology. With our collection sources and comprehensive ImageLibrary (containing more than one billion square kilometers of earth imagery and imagery products) we offer a range of on- and off-line products and services designed to enable customers to easily access and integrate our imagery into their business operations and applications. For more information, visit www.digitalglobe.com.

About Vizrt Vizrt creates leading-edge content production tools for the digital media industry — from award-winning 3D graphics & maps through integrated video workflow solutions and online publishing tools. Vizrt’s product suite is used by the world’s leading broadcasters, publishing houses and telecom operators, including: CNN, CBS, Fox, BBC, Sky, ITN, ZDF, SVT, Star TV, Network 18, TV Today, CCTV, NHK, The Globe and Mail, The Telegraph, Welt Online, Etisalat and Telia Sonera.

DigitalGlobe is a registered trademark of DigitalGlobe.

Safe Harbor Statement Our reports, filings, presentations and public announcements may contain or incorporate forward-looking statements within the meaning of the Private Securities Litigation Reform Act of 1995, as amended. Forward-looking statements relate to future events or our future financial performance. We generally identify forward-looking statements by terminology such as “may,” “will,” “should,” “expects,” “plans,” “anticipates,” “could,” “intends,” “target,” “projects,” “contemplates,” “believes,” “estimates,” “predicts,” “potential” or “continue” or the negative of these terms or other similar words, although not all forward-looking statements contain these words.

Any forward-looking statements are based upon our historical performance and on our current plans, estimates and expectations. The inclusion of this forward-looking information should not be regarded as a representation by us that the future plans, estimates or expectations will be achieved. Such forward-looking statements are subject to various risks and uncertainties and assumptions. A number of important factors could cause our actual results or performance to differ materially from those indicated by such forward-looking statements, including: the loss, reduction or change in terms of any of our primary contracts; the loss or impairment of our satellites; delays in the construction and launch of WorldView-3; delays in implementation of planned ground system and infrastructure enhancements; loss or damage to the content contained in our ImageLibrary; interruption or failure of our ground system and other infrastructure, decrease in demand for our imagery products and services; increased competition that may reduce our market share or cause us to lower our prices; our failure to obtain or maintain required regulatory approvals and licenses; changes in U.S. foreign law or regulation that may limit our ability to distribute our imagery products and services; the costs associated with being a public company; and other important factors, all as described more fully in our filings with the Securities and Exchange Commission, including our Annual Report on Form 10-K.

We undertake no obligation to update any forward-looking statement to reflect events or circumstances after the date on which the statement is made or to reflect the occurrence of unanticipated events. Readers are cautioned not to place undue reliance on any of these forward-looking statements.

SOURCE: DigitalGlobe

LAKE SUCCESS, N.Y., December 13, 2011 – Whether it’s on the gridiron, the baseball diamond, the basketball court, or other competitive arenas, the University of Oklahoma (OU) is going into the 2011 season with high expectations for its successful athletic programs. OU also has high standards for its
in-house video coverage of these events, as evidenced by its recent addition of a half-dozen HD zoom lenses from Canon U.S.A., Inc., a leader in digital imaging. As part of its upgrade to full HD location and studio productions, OU chose Canon XJ86x13.5B extended telephoto and XJ86x9.3B long-zoom HD field lenses, two HJ14ex4.3B wide-angle portable HD zoom lenses, an HJ22ex7.6B long-zoom portable HD lens, and a KJ20x8.5B cost-effective portable HD zoom lens.

“Our video production philosophy is to bridge technology and tradition so that we can entertain, inform and inspire,” said Brandon Meier, executive director of video production for the OU Athletics Department. “We want to entertain our fans – watching on the big stadium screen and on TV at home – with HD video that educates them about our great traditions and inspires them to cheer on their team.”

OU’s new Canon lenses will be utilized in their new SoonerVision studios inside the football stadium. The studios are used to produce upwards of 100 broadcasts a year, as well as in-stadium entertainment and TV broadcasts. “We made an HD equipment investment that will have to last us 10 to 15 years,” Meier noted. “We have gone as high-end as our budget will allow on all of our newest equipment so we can produce broadcast quality HD productions for years to come.”

Leading the charge in providing coverage of dramatic up-close-and-personal OU sports coverage will be the university’s Canon XJ86x13.5B extended telephoto and XJ86x9.3B long-zoom HD field lenses. Both part of Canon’s DIGISUPER line of high-performance field (and studio) lenses, each XJ86 has built-in Shift-IS Image Stabilization technology, for obtaining steady images even at the furthest zoomed-in distances. The XJ86 model series is Canon’s most popular long-field HD zoom lens in the emerging fleets of HD mobile production facilities, and is used by producers for many leading U.S. sports telecasts. As with all Canon DIGISUPER lenses, the XJ86 features an advanced, computer-aided lightweight design, specialized multilayer coatings on each optical element, and Canon’s second-generation digital servo systems for improved ease of operation. This exclusive technology also provides: superb tactile control of zoom, iris, and focus; precision repeatability of settings; and microcomputer compensation of lens-focus breathing (the inadvertent alteration of field-of-view when camera operators adjust the focus control).

OU sports coverage will also have the benefit of two Canon HJ14ex4.3B wide-angle portable HD zoom lenses, which combine an extended 14x zoom range with a minimum focal length of 4.3mm and an angular field of view of 96.3 degrees at the wide end of the 16:9 HD aspect ratio. These performance specs make the HJ14 the widest-angle portable HD lens in the industry. The 14x zoom range of this lens reaches to 60mm (120mm with extender), which greatly expands creative options for the acquisition of crystal-clear, and virtually distortion-free HD video images. Canon’s mastery of computer-based optical design techniques and specialized multilayer optical coating technologies ensures excellent imaging performance without distortion for the HJ14, which Meier’s team will mount on portable EFP-style HD cameras deployed by OU’s mobile production vehicle.

Further extending OU’s creative production capabilities is its new HJ22ex7.6B portable HD zoom lens, the longest-focal-length portable HD production lens offered by Canon (without an image-stabilization system). A flexible, multipurpose lens exhibiting high optical performance and ease of operation, the HJ22 is designed for long-distance shooting combined with wide-angle capture (7.6mm field of view) in a lightweight (4 lbs.) form factor. An added advantage of the HJ22 is its Digital Drive unit that enables camera operators to precisely pre-set zoom position/speed, focus and iris settings, if desired. This feature is built into many Canon portable HD zoom lenses, including the HJ14ex4.3B described above.

The sixth Canon lens purchased as part of OU’s HD equipment upgrade, the KJ20x8.5B portable HD zoom lens, is part of Canon’s cost-effective HDgc lens series, which combines high picture quality, ease of use, and sophisticated operation for use with the new generation of affordable HD ENG/EFP-style camcorders. Compact and lightweight (2.8 lbs.), the KJ20 offers excellent optical performance and also features Canon’s exclusive Shuttle Shot function, an advanced servo system that enables camera operators to zoom back and forth between any two pre-set focal-length positions for added versatility in various production situations.

“When Sooner fans tune in to watch our games they expect to see the same level of quality that they see on network TV,” concluded Brandon Meier. “On the big screen live at the games, they also expect the best. They want to see the same quality they see on the big screens in pro football stadiums. That’s why we chose to invest in broadcast-quality equipment in all phases of our upgrade to HD.”

About Canon U.S.A., Inc.
Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With more than $45 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks fourth overall in patent holdings in the U.S. in 2010† and is one of Fortune Magazine’s World’s Most Admired Companies in 2011. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

# # #

†Based on weekly patent counts issued by United States Patent and Trademark Office.

All referenced product names, and other marks, are trademarks of their respective owners.

New York – The Cinema Eye Honors for Nonfiction Filmmaking today announced that voting for the 2012 Audience Choice Prize has begun. Voting is open to nonfiction film fans from around the globe and voters are invited to choose from among ten audience favorites – films that have formed powerful connections with viewers in movie theaters and at film festivals.

You can cast your vote at http://www.cinemaeyehonors.com/archives/press/audience-choice-2012. (Shortened link: http://bit.ly/rAmGSk). The award will be presented at the 2012 Cinema Eye Honors for Nonfiction Filmmaking on January 11, 2012 at the Museum of the Moving Image in Astoria, Queens, New York.

This year’s ten Audience Choice nominees are:

* Bill Cunningham New York (directed by Richard Press)
* The Black Power Mixtape 1967-1975 (directed by Göran Olsson)
* Buck (directed by Cindy Meehl)
* Cave of Forgotten Dreams (directed by Werner Herzog)
* Give Up Tomorrow (directed by Michael Collins)
* The Interrupters (directed by Steve James)
* Justin Bieber: Never Say Never (directed by Jon M. Chu)
* Project Nim (directed by James March)
* Senna (directed by Asif Kapadia)
* Tabloid (directed by Errol Morris)

Previous winners of the Audience Choice Prize include King of Kong: A Fistful of Quarters (2008), Up the Yangtze (2009), The September Issue(2010) and Joan Rivers: Piece of Work (2011).

About the Cinema Eye Honors and the 2012 Awards
The Cinema Eye Honors were founded in 2007 to recognize excellence in artistry and craft in nonfiction filmmaking. It remains the only international nonfiction award to recognize the whole creative team, presenting annual craft awards in directing, producing, cinematography, editing, composing and graphic design/animation. The 5th edition of the Cinema Eye Honors for Nonfiction Filmmaking will be held January 11, 2012 at New York City’s Museum of the Moving Image in Astoria, Queens. Nominees for the 2012 awards were announced on October 26, 2011. A full list of nominees can be found at www.cinemaeyehonors.com.

Cinema Eye is headed by a core team that includes Co-Chairs Esther Robinson (director, A Walk Into the Sea: Danny Williams and the Warhol Factory; Cinema Eye nominee for Outstanding Debut, 2008) and AJ Schnack (director, Kurt Cobain About A Son and founder of Cinema Eye), Producer Nathan Truesdell (producer, Convention), Nominations Committee Chair Sean Farnel (Former Head of Programming, Hot Docs Film Festival), Advisory Board Chair Andrea Meditch (executive producer, Buck and Man on Wire) and Filmmaker Advisory Board Chair Laura Poitras (director, The Oath; Cinema Eye winner for Outstanding Direction, 2011).

For more information about Cinema Eye, visit the website at http://www.cinemaeyehonors.com and follow Cinema Eye on Twitter at http://www.twitter.com/cinemaeyehonors.

St. Augustine’s Oldest Store Museum Experience

The former C.F. Hamblen Hardware store, a St. Augustine fixture since 1875, became a museum in 1963 and was acquired by Historic Tours of America, which operates tours in six cities, in 2002. At that time it was moved into a new location and its space enlarged to about 4,000 square feet. In preparation for the museum’s relaunch and grand opening last July interactive elements were added to the experience. Ryan McCurdy, who handles show control for Historic Tours of America, opted for Alcorn McBride equipment, which he had previously used on Savannah’s popular Ghosts & Gravestones tour.

Gear includes Alcorn McBride’s V4 Pro control system, AM4 digital audio machines, DVM HD digital video machine and DMX machine for lighting control. Alcorn McBride’s V4 Pro is a versatile, frame-accurate show controller for serial and network devices; it’s capable of running every day for years without reboots, software updates or maintenance of any kind. The studio-quality AM4 digital audio machines play MP3 and WAVs from Compact Flash cards; they feature many options plus built-in GPs. The Digital Video Machine HD (DVMHD) is a compact HD video player that’s rugged enough for the most demanding applications. The DMX Machine is an economical and powerful lighting-control solution that can store hundreds of sophisticated lighting sequences.

The first room visitors see is the traditional general store with a clerk standing behind a counter. A fast-talking presenter in the guise of a snake oil salesman attempts to sell the visitors the latest in c. 1900 goods and technology, from patent medicine to an Edison Cylinder Music Player, cream separator and milkshake maker.

Motion sensors pick up the visitors as they migrate to the next room where the store owner is caught dozing – subtle sounds of buzzing flies and snores can be heard courtesy of Alcorn McBride’s AM4 digital audio machines.

Next stop is the butcher shop where an audio animatronic butcher, controlled by an Alcorn McBride V4 Pro, cuts into a slab of bacon and recites the meat prices of the day. Again, flies are heard and chickens rattle their cages.

The warehouse follows, packed with exhibits. Video kiosks are spread throughout the environment, all the screens housed inside produce boxes. The warehouse manager takes over the tour, making his presentation from a stage where he steps on concealed buttons and the V4 Pro supports his sales pitches and stories, including a history of bicycles as one is lowered from the ceiling.

Visitors next explore a hallway lined with washing machines through the ages. Motion sensors trigger the V4 Pro, which cause the machines to shake, rattle and even spit out a cloud of bubbles.

The final stop finds visitors looking at portraits on the wall when the painting of C.F. Hamblen comes to life and relates the story of his shop. “The V4 Pro controls the DVM HD in the control room,” says McCurdy. “The portrait video and audio comes from the DVM; we chose the DVMHD because it enabled us to use HDMI and only one cable. We’ve masked the monitor so it looks like a painting – after the motion sensor is triggered the portrait is still frozen for a minute to allow surprise to build. Then Hamblen does some subtle things and begins to talk.”

As visitors leave they exit through a room with three synchronized screens showing photos of the store. The V4 Pro turns the screens on in the morning and allows them to stay frame accurate all day, McCurdy reports.

“The Alcorn McBride equipment used throughout the Oldest Store Museum Experience has been working great,” he adds.

About Alcorn McBride:
Founded in 1986, Alcorn McBride is the leading manufacturer of show control, audio and video equipment for the themed entertainment industry, and a rapidly growing provider of audio and video systems for retail environments and transportation applications. Staffed by some of the industry’s best engineers and backed by outstanding customer support, the company has demonstrated great agility in bringing new designs to market. A hallmark of Alcorn McBride products is their durable, zero maintenance design. The company’s products provide consistent, reliable operation for audio and video playback applications worldwide. For more information, visit www.alcorn.com.

ANAHEIM, Calif. – December 12, 2011- Audio specialist Sennheiser announced that the Sennheiser Live Production Sound Academy (LPSA) will once again be held this year in Anaheim and will take place prior to the NAMM show. Due to the overwhelming success of last year’s event, the live sound workshop has been extended to two days and will take place at the Anaheim Marriott.

The workshop will cover the skills needed to successfully engineer both large and small live productions — including required elements for planning, configuring and operating a large-scale P.A. system. The course content is designed for a wide range of attendees including venue engineers, musicians, promoters, production managers, employees of audio manufacturers,, service providers, students interested in sound and acoustics, or anyone else interested in live production.

Learn from a “Who’s Who” in Live Sound
Once again, Sennheiser will feature special guest instructor Robert Scovill — an industry veteran who has mixed over 3,000 events during his 30-year live sound and recording career. Sennheiser is also pleased to add Kevin Madigan (Crosby, Stills & Nash, The Smashing Pumpkins, Lucinda Williams), Marty Garcia (U2, Kelly Clarkson, Shakira, Zac Brown) and Raphael Alkins aka Raffie (Ricky Martin, Lionel Richie, Kenny G) to its esteemed list of guest presenters. Sennheiser’s own cast of audio veterans, including Chris Spahr, Kent Margraves, Eric Reese and Joe Ciaudelli, will also be on hand.

Event details:

When: Tuesday, January 17 and Wednesday, January 18, 9:00 a.m. to 5:00 p.m.

Where: Anaheim Marriott, 700 W. Convention Way, Anaheim, Calif.

Cost: $299 per day or $498 for both days. Registration rate includes a continental breakfast, lunch and workshop materials and a special group dinner on Tuesday, January 17. Register by December 30 for $50 discount; call 860-434-9190, ext. 141 for student and group discounts or for more information on the workshop.

Poland’s ALVERNIA Studios SP is the newest member of KODAK’s Imagecare Program, verifying that the laboratory meets the highest standards for camera negative processing, a Phase I accreditation. This is the first lab in Poland to be certified.

The KODAK Imagecare Program consists of 50 laboratory members in 30 countries. The worldwide processing standards set by Kodak provide assurances to filmmakers when they choose an Imagecare Program accredited laboratory, they know their work will be processed to the highest quality. The rigorous program substantiates that member labs adhere to standard practices, and full documentation of procedures and calibration. Kodak works very closely with laboratory personnel to assure that specified principles are met and maintained.

The ALVERNIA Studios laboratory has been in operation since 2010. It was established and created by Rados?aw Piotrowicz, an outstanding expert in the field of film processing. Ignacy Kalenkiewicz, operations manager for ALVERNIA, states, “We are very happy that our laboratory meets the high criteria of the KODAK Imagecare Program. Becoming a member confirms the world-class level and quality of our facility. Using the Program logo as certification for our services is very important to us, as the patronage of a market leader guarantees customers’ trust.”

“It’s clearly a win-win for both ALVERNIA and Kodak,” says Diane Carroll-Yacoby, worldwide manager of the KODAK Imagecare Program. “The Program helps in staff training and offers tools for lab personnel to become habitually quality conscious.”

Kodak assessor Odile Maugard comments, “The working conditions in the laboratory are excellent, and the procedures are well-scripted and strictly observed, according to the rules of the Program.”

The KODAK Imagecare Program is based on the fundamental principle of self-assessment, because each lab is in the best position to constantly monitor its own standards and to find, and to quickly correct, any deviations from the norm. Admittance is recognition that a laboratory has implemented the many structured procedures and checks required to meet the Program’s tough requirements.

“We’re delighted to welcome ALVERNIA Studios into the Kodak program,” adds Carroll-Yacoby. “Their film processing operations are really first-class, and we’re proud to accredit it as the first KODAK Imagecare Program Camera Negative Processing Laboratory in Poland.”

For details on ALVERNIA Studios, visit their website http://www.alvernia.com. Visit www.kodak.com/go/imagecare for further information on the KODAK Imagecare Program.

Apantac LLC, designer and developer of high quality, cost effective multiviewers and signal processing equipment has appointed Hiroo Sasaki as its Chief Representative for the Japanese marketplace.

Hiroo Sasaki’s appointment is an important step for Apantac as it positions itself to address the growing professional audio visual and broadcast markets in Japan. Sasaki will drive sales and business development activities for the entire Apantac range of TAHOMA Multiviewers and MT HOOD, MAZAMA, and CRESCENT families of signal processing solutions throughout Japan.

Sasaki has 40 years of experience serving a variety of technology markets in a number of technical marketing, engineering, and management positions. Most recently, Sasaki held the position of CEO and business development manager at Innovatec Associates, a specialized real-time visualization and simulation development and integration company for display solutions, an organization he co-founded. Prior to that, Sasaki was director of solutions for the R&D division of SGI Japan, where he led various scientific visualization projects related to computer simulation technology.

“I have worked with Sasaki for more than 20 years and we welcome him to the Apantac team,” comments Thomas Tang, Apantac President. “Sasaki’s wealth of knowledge in the system integration, broadcast and visual solutions will not only strengthen Apantac’s market penetration in Japan, he is also a fundamental and integral part to our overall Asia Pacific market strategy.”

Hiroo Sasaki can be reached at: +81 90 1843 7628 and hiroo.sasaki@apantac.com

Cut&Paste, the global digital design competition known for its lively onstage battles and reputation-making performances, returns to 12 cities this year, this time with Adobe as the event’s Platinum Sponsor, Pond5 as their Gold Sponsor and Shapeways as their Silver Sponsor. This year’s competition, which has already made its way through riotous nights in NYC, Mexico City, and Seoul, is open immediately to potential competitors in the remaining tour cities.

All who consider themselves worthy are invited to apply for the city tournament of their choice at How to Compete, with work samples and a short statement. Check Cut&Paste’s website for all deadlines. Before each tournament, potential competitors can prove their mettle in one of several Qualifier events, at which designers can try the Cut&Paste format and meet the local team.

Each city will crown one champion in each of the three categories – 2D, 3D, and motion/ animation design – who will win a trip to New York in the fall for the third annual Cut&Paste Global Championship. Be sure to check out the winning entries from this year’s competitions in NYC and Mexico City to see what you’re up against. The three ultimate winners will team up with top global brands on one-time design projects. Past champs have worked with Converse, Shapeways, Nooka, and 55DSL, among other top brands.

Be forewarned – this is not a passive, submission-based contest. Competitors perform live, onstage, before big-name brands and a raucous audience fueled by bartenders, with a deejay cranking out music and an emcee narrating events. Cut&Paste expects competitors to put on a show not only onscreen, but onstage, bringing props, friends, social media tie-ins – anything they can to draw in the judges and audience and stamp their personal style on their work.

To prepare potential competitors for the intensity of the high-speed competition, Cut&Paste’s Platinum Sponsor, Adobe, has prepared a Training Room – a collection of little secrets they share alongside Adobe CS5 training videos that will help them haul ass onstage.

Judges – who will evaluate each design based upon, in order, adherence to the competition brief, strength of concept, originality, aesthetic and technique – will include Barbarian Group Co-Founder, Benjamin Palmer, Frog Design CD Michael DiTullo, Staple Design Founder/CD Jeff Staple, HUSH Partner David Schwarz, and many more.

Take a look at the NYC and Mexico City event recaps and screencasts to get an inside look at what Cut&Paste will be like when it hits your city. Competition is set for design hotspots around the globe, including London, Berlin, Helsinki, Tel Aviv, San Francisco, Los Angeles, Tokyo, and Sao Paulo.

ABOUT CUT&PASTE

Cut&Paste is a social arena for the recognition, promotion and elevation of design. Through events and online programs, Cut&Paste supports artists, firms and media working to strengthen creative networks. Born in New York City in November 2005, Cut&Paste’s signature event is the Digital Design Tournament, held live throughout the world each year. The 2011 tour takes place in 12 cities around the globe. Cut&Paste additionally powers design-driven contests and events with industry partners worldwide. Learn more about Cut&Paste at www.cutandpaste.com.

About Adobe Systems Incorporated:

Adobe is changing the world through digital experiences. Adobe helps its customers create, deliver, and optimize compelling content and applications — improving the impact of their communications, enhancing their brands and productivity, and ultimately bringing them greater business success. Adobe’s latest release, Creative Suite 5.5, is helping to make an impact across virtually any screen, using the ultimate creative toolset to reach out to new audiences. For more information, visit www.adobe.com.

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

WAYNE, NJ – JVC Professional Products Company, a division of JVC Americas Corp., today announced a new lower price on its GY-HM710 ProHD camcorder. Introduced earlier this year, the compact, shoulder-mount camcorder is ideal for ENG news, documentaries, event coverage, and educational applications. The company also announced the JVC Power Promotion, a limited time offer that includes a free Anton/Bauer power system package with the purchase of a new GY-HM710.

Introduced earlier this year, the GY-HM710 includes extensive image customization modes, JVC’s patented Focus Assist, and a 20-second Pre Rec (retro cache) feature, which continuously records and stores footage in cache memory and helps prevent missed shots of breaking events. Its new $5,995 list price includes the camera head with bayonet lens mount, viewfinder, microphone, Anton/Bauer battery plate, and Canon 14:1 ENG lens.

Customers who purchase a new GY-HM710 from an authorized JVC Professional reseller between now and the end of 2011 are eligible to receive an Anton/Bauer AB-DIONIC-PKG battery and power system package directly from JVC. Valued at $1,185, the package includes an Anton/Bauer DIONIC 90 Li-Ion battery, Tandem 70 InterActive charger, and AC power supply.

“The GY-HM710 delivers the same amazing image quality and efficient workflow of our ProHD product line, but eliminates the modular functionality that many customers don’t need,” said Craig Yanagi, national marketing and brand manager. “The result is a perfect balance between features and affordability, and the new pricing along with JVC’s Power Promotion makes it an even more attractive option for video professionals.”

With the same 3-CCD imaging system found in other ProHD models, the GY-HM710 records 1920×1080 HD footage in 1080p and 1080i at 25 Mbps or 35 Mbps. JVC’s native file recording technology allows recording in ready-to-edit file formats for Apple Final Cut Pro or Adobe Premiere (.MOV), as well as other major NLE systems (.MP4), to non-proprietary SDHC cards. For legacy applications, the camcorder can also record SD footage (480i) as standard DV files (.AVI or .MOV). Other features include a high resolution (1.22 million pixel) LCOS viewfinder and 4.3-inch flip-out LCD monitor, plus two XLR audio inputs with phantom power and manual audio level controls with audio meter.

The JVC Power Promotion ends Dec. 31.

ABOUT JVC PROFESSIONAL PRODUCTS COMPANY
Headquartered in Wayne, New Jersey, JVC Professional Products Company is a division of JVC Americas Corp., a wholly-owned subsidiary of JVC Kenwood Corporation. JVC is a leading manufacturer and distributor of broadcast and professional video and audio equipment, security products including IP network cameras and recorders, premium front projection systems for home theatre use, and projection displays and optics used in aviation simulators. The JVC Technology Center provides advanced technology in support of major JVC business alliances. For further product information, visit JVC Professional’s Web site at http://pro.jvc.com or call (800)582-5825.

Digital Film Tools Helps Photographers and Videographers ‘reFine’ Images
New photo and video/film plug-in delivers professional edge-aware sharpening and smoothing effects

Los Angeles, CA – December 12, 2011 - Digital Film Tools, developer of visual effects software, today announced the release of reFine with plug-in support for Adobe Photoshop®, Adobe Photoshop® Elements, Adobe Photoshop® Lightroom, Apple® Aperture®, Adobe® After Effects® CS5 and up, Adobe Premiere Pro® CS5 and up, Apple Final Cut Pro® 6, 7 and X, Apple Motion® 5 and Avid® editing systems. reFine offers artists a new tool and technique for performing selective sharpening, detail enhancement, edge-aware smoothing as well as creating cartoon, pencil and pastel effects. Delivering high-quality, edge-preserving filtering of still and moving images, reFine uses less memory and offers faster processing than existing methods. “Our new reFine plug-in re-invents the way you sharpen and smooth still and moving images,” comments Marco Paolini, founder and president, Digital Film Tools. “Images take on a hyper-realistic, almost 3D look when adjusted to the extreme. More subtle adjustments will sharpen soft photos or, at the other end of the spectrum, smooth fine details like skin blemishes. We are confident that photographers, editors and visual effects artists will enjoy enhancing their images with reFine as much as we have.”

reFine decomposes the image into three detail layers: course, medium and fine. Each detail layer can be manipulated separately in various ways, for example, sharpening or smoothing. Add to that sophisticated but easy-to-use masking, and you have quick isolation of image features for selective filtering.

DFT reFine Feature Highlights
•Sharpening and detail enhancement
•Edge-aware smoothing — useful for removing skin blemishes
•Hyper-realistic sharpening and smoothing effects
•Course, Medium and Fine detail adjustments
•Cartoon, pencil and pastel effects
•Layering system for multiple filter application*
•Sophisticated but easy-to-use masking tools
•8-/16-/32-bit image processing
•Multi-processor acceleration

* Photo plug-in versions

Availability and Pricing
The reFine photo plug-in is available now for $50.00 and is compatible with the following applications: Adobe Photoshop®, Adobe Photoshop® Elements, Adobe Photoshop® Lightroom and Apple® Aperture®. Users can download the reFine photo plug-in from http://www.digitalfilmtools.com/refine/download.htm

The reFine video-film plug-in is available now for $99.00 and compatible with the following applications: Adobe® After Effects® CS5 and up, Adobe Premiere Pro® CS5 and up, Apple Final Cut Pro® 6, 7 and X, Motion® 5, and Avid® Symphony, Media Composer®, Newscutter and Xpress Pro®. Users can download the reFine video/film plug-in from http://www.digitalfilmtools.com/refine/download.htm

For more information, examples and downloads please visit: http://www.digitalfilmtools.com/refine/

An iOS version of reFine for the iPhone, iPad and iPod Touch is also available through the iTunes store. Please visit: http://itunes.apple.com/us/app/re-fine/id476603267?mt=8

About Digital Film Tools
Digital Film Tools brings together the unbeatable combination of superior software
designers, motion picture visual effects veterans, video editors and photographers. Add three Emmy Awards and experience in creating visual effects for hundreds of feature films, commercials and television shows and you have a recipe for success.

Press Contacts
Zazil Media Group
Janice Dolan
(m) 617.817.6595
(e) Janice@zazilmediagroup.com