Archive for January 18th, 2012

PARK CITY, UTAH, January 18, 2012 — Kodak will once again give its full support to the independent filmmaking community at the Sundance and Slamdance Film Festivals, which will run concurrently in Park City, Utah, beginning January 19.

Kodak will present an all-star panel of filmmakers discussing the advantages of shooting Super 16 on January 21 at Sundance’s New Frontier from 2:30- 4 p.m. Colorist Alex Bickel (NOBODY WALKS), producer Lucas Joachin (KEEP THE LIGHTS ON), cinematographer William Klayer (THAT’S WHAT SHE SAID), cinematographer Ben Richardson (BEASTS OF THE SOUTHERN WILD) and director Ira Sachs (KEEP THE LIGHTS ON) will share their hands-on experiences.

Over at Slamdance, Kodak will host a discussion with Indie Filmmakers on January 23 from 10 –11:30 a.m. at the Treasure Mountain Inn. FAITH, LOVE & WHISKEY director Kristina Nikolova and cinematographer Alexander Stanishev, KUDZU VINE director-cinematographer Josh Gibson, NOBODY WALKS cinematographer Christopher Blauvelt, SUNDOWNING director Frank Rinaldi and cinematographer Kiran Chitanvis, and SMASHED cinematographer Tobias Datum will join Kodak for a conversation about the beauty, versatility, and affordability of shooting film.

“Film is still a very affordable medium for a wide range of productions, and these panelists can speak to that first-hand,” says Graeme Parcher of Kodak’s Entertainment Imaging Division. “Nothing compares to film’s latitude, flexibility and resolution, and we want independent filmmakers to understand that they don’t have to make compromises to realize their vision. Our newest film stocks offer great options and pristine results for projects at all budget levels.”

Kodak will also present a product grant to the winner of the Slamdance Cinematography Award. The winner, chosen by a Slamdance jury and announced January 26, will receive 5,000 feet of Kodak motion picture film.

On Main Street at the Sundance Film Festival, Women in Film will present a Kodak product grant as part of their Women in Film/The Incentives Office Grant on January 24. This award — chosen by a jury of educators, filmmakers and artists from WIF — is presented to a female director in the Sundance Film Festival Shorts Program.

Kodak’s Entertainment Imaging Division is the world-class leader in providing film, digital and hybrid motion imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion.

Follow Kodak on Facebook (www.facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm) and YouTube (www.youtube.com/KodakShootFilm).

Note: Panelists are subject to availability.
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STAMFORD, Connecticut- In order to deliver the full effect of bone crushing body slams and death-defying stunts that continue to leave fans in awe, the World Wrestling Entertainment (WWE) recently invested in Fairlight’s Constellation and six Xynergi consoles to meet its post-production needs. The WWE headquarters, located in Stamford, Connecticut, is the home to one of the largest entertainment companies in the world, reaching 13 million viewers in the United States while also broadcasting its shows in 30 languages to more than 145 countries.

The WWE, which produces six hours of domestic broadcast programming every week, two DVD home video titles a month, anywhere between 10-30 promos weekly, along with 15 pay per view shows per year, needs to handle the vast amount of work that is often presented in a short amount of time. “Due to the reliability and speed as well as the ability to maintain a constant workflow, the WWE has become a huge advocate for Fairlight,” says Chris Argento, VP of post-production at WWE.

“The editing capability of the Xynergi is so far beyond anything else,” says Argento. “If we ever had to switch from Fairlight it would slow us down a great deal. The ability to pull MXF files from our server to the timeline is so easy. For us to have full HD video and MPEG-2 access is huge. When projects are done we can pull any video source that has been worked on and access video files instantaneously.”

Argento went on to discuss the vast library of sound effects and the ease of selecting and using each feature of the Constellation. “The AudioBase feature allows us to grab any spot effect from the server without having to sort through many pages of data. It is a huge time saver when there are hundreds of thousands of effects.”

Argento has become fond of a feature that he calls the voice to picture trick. “In the Constellation room, we are able to finish a domestic show in English and print it to delivery format. From there we print the full mix with English commentary on the first two inputs and use the mix-minus outputs to bounce over and re-record a different language version at the same time in 130 countries. When the voice-over session is finished the international mix is already complete except for a couple of small tweaks. This saves us at least 15 hours of work.”

Another feature that benefits Argento is the ability to import from different timelines with HD. “It also allows for the ability to edit on the timeline even though it isn’t a specific video editor. This lets me do reversions on the fly, another way that the console keeps workflow constant and saves time. I have used many systems and have never seen anything that can process video and keep productivity consistent as Fairlight.”

For Argento and the rest of the WWE production staff, the training of new employees has been seamless. “There is the perception that if you aren’t using a specific program or computer you are out of luck, however, with Fairlight it is extremely easy to bring in new people and get them adjusted to the consoles very quickly.”

The support that Fairlight has offered is excellent, according to Argento. “Fairlight has helped us sync our entire system with the different rooms we have, allowing us to access all projects in every room and have access to all 96 channels and HD Video everywhere. The support, including future requests for improvements, has been top of the line. With the help of Fairlight we continue to meet our goals and expand on the work that we are able to do.”

For more information on the WWE, please visit: http://www.wwe.com/

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About FairlightUS:
FairlightUS is headquartered in New Jersey USA and is the exclusive distributor for Fairlight products in the North American market. Fairlight has been at the forefront of digital audio development since its inception in 1975. Fairlight designs and manufactures media creation tools including digital audio recording, editing and mixing systems for standard and high definition audio post, broadcast and music production applications. www.fairlightus.com

About Fairlight:
Headquartered in Sydney, Australia Fairlight designs and manufactures media production systems powered by the company’s groundbreaking CC-1 FPGA digital processing engine. The Fairlight product range includes EVO, Xynergi and the new PyxisG2, all of which feature in the world’s leading broadcasters, commercial post facilities, music studios and film production studios. Fairlight has a rich tradition of innovation and development and is at the forefront of green computing technology.

Galveston, TX: Jan. 18, 2012… Technology leader Qube Cinema made history at the Moody Gardens Digital Cinema Symposium last week delivering a high bit-rate 4K stereoscopic DCP through two Barco projectors. Presented to a live audience at the Moody Gardens 80’ by 60’ Giant Screen in Galveston, TX, the demonstration used a standard Qube XP-I server paired with Qube Xi 4K Integrated Media Blocks (IMBs) installed in two Barco DP4K-32B projectors. With this advance in digital cinema technology, high bit-rate, stereoscopic 4K projection from a single DCP through a single server is now a reality for exhibitors.


At the Digital Cinema Symposium, the Qube Cinema system played back an 800 Mbps DCP, more than three times the maximum DCI bit rate specification of 250. The data speeds of the Qube XP-I server make it possible, for the first time, for a single server with one DCP to drive two projectors, each with their own IMB.


“Seeing the film in 4K 3D was a startling experience,” said director Melissa Butts, speaking about her latest movie, Space Junk 3D, narrated by Academy Award® Nominee, Tom Wilkinson, which was shown at the Symposium on the Moody Garden’s Giant Screen. “All the hard work we put into shading, lighting and textures was that much more brilliant and remarkable. What Qube is offering is very exciting for filmmakers and audiences. With all the detail, everything just looks and feels more real.”


“With 4K 3D, and the high frame rate capabilities of the Qube XP-I server, the promise of digital cinema is now being realized,” said Rajesh Ramachandran, president and CTO of Qube Cinema. “Exhibitors can now offer a truly stunning theater experience for their patrons.”





Delivering High Frame Rate Content


At Moody Gardens, Qube Cinema also demonstrated the high frame rate (HFR) capabilities of the Qube XP-I server with 2K stereoscopic content on the Giant Screen. This demonstration compared 3D material at 24, 48 and 60 fps. At 60 fps, motion blur disappears and rich detail is clearly visible in the moving images. Accustomed to 24 fps playback, many people are not aware of the image compromises associated with this standard, especially for stereo 3D. The difference was immediately apparent during the Qube presentation, including side-by-side split-screen comparisons at the Digital Cinema Symposium.


“I was most impressed with the Qube XP-I’s ability to play back all our high bit rate 4K and high frame rate 2K content from a single server,” said Andy Wood, senior vice president, Business Development at D3D Cinema and Giant Screen Films. “Before Qube’s innovation, at standard DCI specs, we could only achieve dual projector 4K 3D playback with a complicated double server configuration which included ancillary sync generators and a very restrictive setup. Qube Cinema has made 4K 3D and high frame rate 2K a reality.”


“The ability to power multiple projectors through a single interface is both elegant and easy to operate for projectionists,” added Ramachandran.


As currently configured, the Qube XP-I server with the Qube Xi 4K IMB is capable of data rates of up to 1,000 Mbps – or 500 Mbps per projector, allowing for pristine 4K stereo 3D. The system can support frame rates of 30 fps for 4K projection, and frame rates of up to 120 fps for 2K content.


The Qube XP-I digital cinema server and the Qube Xi 4K IMB are available from Qube Cinema and its worldwide reseller network. For more information, visit www.qubecinema.com.


About Qube Cinema, Inc.


Qube Cinema, based in North Hollywood, CA, is an international manufacturer of digital cinema technology and mastering solutions. A subsidiary of Real Image Media Technologies, Qube Cinema draws on decades of experience in cinema and holds a leadership position in the transition from analog to digital technology. The company is committed to creating a seamless digital cinema environment for exhibitors, filmmakers and postproduction companies with DCI-compliant products that are flexible, reliable and highly cost-effective. Qube Cinema’s product lines include the Qube XP-D and Qube XP-E servers, QubeMaster software solutions, Qube Keysmith KDM generation, the Qube Xi Integrated Media Block, and the new QubeShare centralized cinema storage. For more information, visit Qube Cinema at www.qubecinema.com.

LOS ANGELES—Brandon Heaslip has joined Codex Digital as Application Specialist, North America. Heaslip, who brings a deep background as a post production engineer, will provide support to film and television productions and post production service providers using Codex technology.

Heaslip joins Codex from Oasis Imagery, a Hollywood post production facility, where he served as Director of Engineering. He also served for five years as an On Location Services Supervisor for Technicolor Creative Services.

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Photo Credit: Todd Kaplan

LOS ANGELES, JANUARY 18, 2012 — Katy Perry’s engineering team relies on DPA Microphones’ 4088 Cardioid Headset microphones for all of the pop superstar’s live performances, including her current “California Dreams” tour. With the fast-paced, high-action set mechanics of the tour, Perry’s front-of-house engineer, Peter Keppler, needed a microphone that could adapt to any situation. The smooth design of the DPA 4088 microphone, which makes the mic almost invisible, combined with its ability to eliminate feedback and background noise, make it the ideal choice for a high-octane tour like Perry’s.

“When selecting a microphone, I wanted something that would provide a well-balanced, open and airy sound for Katy,” says Keppler. “She’s a strong singer with a great voice and I thought finding a good headset mic would be a challenge. From the moment we tried the DPA 4088, I knew the sound was no longer going to be a problem.”

For her rendition of “Thinking of You,” Perry stands atop a pink cloud that allows her to “fly” out over the audience playing an acoustic guitar. During this performance, Perry is in front of the main PA, which can be a potentially disastrous sonic scenario regarding feedback.

“The off axis rejection performance of the DPA was a lot better than anything else I’d ever heard,” Keppler explains. “All the headset mics I’d previously used sounded very unnatural — either muffled or very thin and boxy, and feedback problems were terrible. The DPA 4088 solved all of these issues. Her audience shows her a lot of appreciation, and they get especially loud when she flies over the crowd during “Thinking of You,” which also happens to be the quietest song in the show. The DPA 4088 has come through time and time again when I really needed to get Katy’s voice above the level of the audience. The gain before feedback is excellent.”

Perry uses the DPA 4088 exclusively as her headset vocal microphone. It’s especially useful during her performance of the song “Hot N Cold,” where she changes her outfit seven times during the song. Since these actions would be impossible with a handheld, Keppler needed a robust headset system and selected the DPA 4088 because it could withstand the abuse, while allowing Perry the freedom to move about the stage.

The DPA 4088 is a miniature cardioid headset microphone that provides the best sound possible for live performance environments, even in noisy situations. Sound quality, visual elegance and versatility go hand in hand to transform every show into the performance of a lifetime.

The smooth and elegant design of the 4088 makes it one of the most invisible head-worn directional microphones today. The mechanical structure is based on the proven build quality of DPA’s 4066 omni headset microphone. The headset mount is exactly the same as the 4066 model; the difference is that the boom is over one inch longer for the 4088 version. This feature allows the microphone portion of the 4088 model to be placed directly at the corner of the mouth.

“For Katy, the requirements were that the mic sounded great and was as small, lightweight and inconspicuous as possible,” says Keppler. “We selected the beige-colored version so it’s even less noticeable when she wears it.”

Having worked as FOH engineer for Nine Inch Nails and David Bowie, Keppler knows what it takes to keep the audio running for a live concert tour. Night after night the 4088, has not let him down. It has held up to the rigors of being on the road and performed flawlessly.

“The 4088 has held up amazingly well,” concludes Keppler. “Sonically, it always delivers. The hardware and wiring are both surprisingly robust, especially considering the abuse they take on a nightly basis.”

For Perry’s tours, Keppler’s setup also includes an Avid Profile console and stage package, with an active XTA splitter, along with full- and multi-band compression plug-ins for Perry’s voice.

About DPA:
DPA Microphones A/S is a leading manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

ANAHEIM, CA, JANUARY 19, 2012 ? The RapcoHorizon Company, a leading manufacturer of audio/video interfacing and cable equipment, is exhibiting the i-JAM 3-n-1 Smart Phone Interface at the 2012 NAMM Show (Booth 4558, Hall C). The i-JAM 3-n-1 is a three-in-one smart phone solution, ideal for every electric instrument player. In addition to its ability to interface with iPhone apps, such as recording and instructional play software, the i-JAM 3-n-1 also features a built-in amplifier and MP3 play along practice device.

Similar to the company’s i-BLOX, the i-JAM 3-n-1 serves as an audio interface that connects an instrument to iPhone applications. What’s different is that the built-in amplifier affords electronic musicians the ability to render the amplification of their instruments without additional equipment. The MP3 play along feature is also the perfect application for early learners to get their footing.

“Our customers were really excited about the i-JAM 3-n-1’s features when we first exhibited it at last year’s NAMM Show,” says Lucas McCulley, marketing specialist for The RapcoHorizon Company. “For musicians on the go, the i-JAM 3-n-1 has proven to be must-have piece of gear as it combines three interfacing solutions into a singular, portable device.”

To use the built-in amplifier, musicians can simply plug their instrument into the input and connect their basic speakers or headphones to the output jack, turn the interface on and jam away. The integrated circuitry and design of the box provides low noise operations and ensures a rich, clean, smooth sound. The practice amplifier does not require an amplification application but players are welcome to use one of their choosing.

Musicians can also use the built-in amplifier simultaneously with any MP3 player, for practice or small impromptu performances. By connecting their instrument, small speakers or headphones and an MP3 output device, users can play along with their favorite tracked music – whether it is their original work or a song by their favorite artist.

“For on-the-spot auditions, the i-JAM 3-n-1 is a great tool for local artists,” continues McCulley. “Ideal for players novice to expert, it’s an excellent tool to teach or be taught.”

As the most recent addition to The RapcoHorizon Company’s iPhone interfaces, the i-JAM 3-n-1 boasts a sleek aluminum design ready for any wear and tear. An added belt clip allows musicians to safely secure the box to their side, providing maximum portability. The interface operates off a 9Volt easily replaceable battery, which allows for extended play time.

The RapcoHorizon Company, located in Jackson, Missouri, is one of the world’s largest manufacturers and suppliers of audio, video, home theater, data and telecommunications cable in both bulk wire and assemblies. Used worldwide by concert touring sound companies, video and sound contractors, recording studios, system integrators, audiophiles and musicians, The RapcoHorizon Company’s products provide optimal flexibility and premium performance. The company’s state-of-the-art Custom Shop can modify existing products or build new devices to meet any need. For more information, please visit The RapcoHorizon Company’s Web site at www.rapcohorizon.com.

On The Heels of His Highly Acclaimed Spots For Volkswagen and Norte Beer, Diego Panich Makes The Move To New York And Joins Wild(child)’s Roster Of Commercial Editors

New York: The recent wave of lauds from US ad media and Facebook viewers for Volkswagen’s ‘Duel,’ and Norte Beer’s ‘Photoblocker’– two spots with original points of view and clever, unconventional approaches to storytelling – attest to the universal appeal of the fresh artistic sensibility that Diego Panich brings to the commercial arena. Cut by Diego Panich, one of Argentina’s premiere editors, the spots showcase a breathe of talent long recognized by Wild(child) Editorial, the New York company that forged a relationship with Panich and has been representing him in the US since 2009. Yvette Pineyro, who founded her company as a creative resource for global editorial talent, has announced that Panich will make the move to New York in January to join her award-winning Flatiron-based editorial boutique.

“I’m always looking for creative talent to complement Wild(child)’s global roster of editors,” says Pineyro. “Diego is an extraordinary multi-dimensional talent who brings a level of emotion and power to his editing that makes him a perfect fit with the US commercial market. Diego brings an incredible rhythm to his work that draws from his background as a musician, and his quirky sense of humor translates to a range of comedic storytelling – from subtle, dry wit to over-the-top funny.”

“This has been a banner year for Diego – his work has been showcased in a steady stream of high-profile spots, including ‘Rock Star City,’ featuring Lenny Kravitz and ‘Rabbit’ starring Kate Moss for Basement, and ‘Join The Dance’ and ‘Green Tea,‘ two commercials featuring actor Hugh Jackman in Lipton Ice Tea’s new campaign,” notes Pineyro.

“And now the recent accolades the Volkswagen and Norte Beer spots have received, and recognition in Creativity’s ‘Top 20 Spots’ (‘Photobuster’) and Adweek’s ‘Spot Of The Day’ (‘Duel’,)” adds Pineyro.

‘Duel,’ a :30 out of DDB Argentina for Tiguan Park Assist, creates an unexpected mood and feel to showcase the dry humor of an unexpected storyline about a driver’s experience with the auto-assist parking feature during a standoff over a parking spot.

Luciano Podcaminsky, the internationally acclaimed director of the new Volkswagen spot, (represented in the US by Landia and Radical Media,) has a long collaborative relationship with Diego, and once again tapped into his talents for this commercial. Panich found the pulse of the story, and brought his wry sense of humor and dead-on timing to the shaping of the scenario into a captivating story that can almost stand alone as humorous short-form entertainment – while still delivering the product’s message in a memorable way.

‘Photoblocker’ for Norte Beer, out of Del Campo Saatchi Saatchi/Buenos Aires, introduces another piece of technological wizardry – a ‘smart’ beer cooler wit sensors that can detect a camera flash and generates a flash of its own that ruins the photo – ensuring that an undesirable photo of the beer drinker won’t find its way to the social network. The spot takes place in a club where just such an attempt to infringe on the privacy of a patron enjoying a Norte Beer is thwarted by the devise – and once again Panich’s gift for crafting stories with wit and humor comes through.

“I’m looking forward to moving to New York and partnering with agency creatives in the US,” says Panich. “I’m also very excited about working at Wild(child) Editorial. Yvette and I have forged a great relationships, and I couldn’t imagine working at a company more vested in bringing a global perspective to the US commercial arena.”

Diego Panich’s is an acclaimed editor working in the national and global commercial arena. His roster of work includes award-winning spots for Peugeot and Gatorade, ‘Rabbit,’ starring supermodel Kate Moss and ‘Rock Star City,’ featuring music icon Lenny Kravitz – both for Basement. Panich’s high-profile commercial ‘Nike Surgery’ garnered a Bronze Clio in 2008, and his spot for MTV, entitled ‘Father + Daughter,’ was awarded the Cannes Silver Lion. Most recently the editor lent his talents to Lipton Ice Tea’s newest global spot, ‘Join The Dance,’ featuring actor Hugh Jackman and directed by Luciano Podcaminsky out of @Radical/Stink, NY.

About Wild(child) Editorial:
Wild(child) Editorial is a NYC-based creative boutique with an award-winning roster of in-house editors complimented by a select roster of global talent. Its diverse talent offers advertising agencies and content creators in the general and multicultural arenas the ability to connect with a wide range of cultures and styles.

Wild(child) Editorial and its sister design company, Resident Creative Studio, have created an open-architecture collaborative environment driven by a passionate collective of accomplished editors, FX artists, animators, directors, creative directors, and producers. Their shared creative vision provides a seamless concept-through-completion approach to commercials, films, music videos, promos, graphic packages and broadcast programming – all under one roof.

Wild(child)’s recent work includes spots for Nike, Verizon, Givenchy, Candies, Time Warner, Frontier Airlines, P&G, Wendy’s, USA Network, as well feature films, such as Al Pacino’s Wilde Salome, which will be presented with the Glory Award at the 2011 Venice Film Festival, and City Island, starring Andy Garcia, which took home the Tribeca Audience Award.

Wild(child) Editorial, a 100% minority woman-owned company, was launched by editor Yvette Pineyro in 1995. It is an active member of The National Minority Supplier Development Council (NMSDC.org/nmsdc/), The Women’s Business Enterprise National Council (WBENC.org) and The Central Contract Registration (CCR.gov).

To view Diego Panich’s reel or for more information about Wild(child) Editorial (www.wildchildpost.com) contact executive producer Elissa Muddell (elissa@wildchildpost.com, 212.725.5333).

For information about Resident Creative Studio, (www.weareresident.com) contact director of development Liz Ludden at liz@weareresident.com, or 212.683.7377.

NY General Market contact for Wild(child) Editorial and Resident: Roxanne and Co., (roxanneandco@mac.com, 212.679.9797; Wild(child) Editorial + Resident Creative Studio’s US Hispanic Market: Bettina Abascal. Momentum Reps (Bettina@momentum-reps.com) 646.723.4599, (c) 305.776.6295.

HOLLYWOOD – Veteran Re-Recording Mixer Andy Koyama has joined independent sound company Todd-AO. Koyama will mix theatrical projects at Todd-AO’s Santa Monica facility. He arrives with more than 60 films to his credit, including the comedy Meet the Parents, the vampire tale New Moon and the summer blockbuster The Incredible Hulk. Most recently, he mixed The Grey, Director Joe Carnahan’s thriller set for release this month.

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(Istanbul, Turkey) SterGen Hi Tech Ltd. and Saran Media—a premiere sports broadcast and entertainment rights distributor in Istanbul, Turkey—have signed an agreement to use SterGen’s patented real-time stereo 3D conversion platform to make 3D sports programming available to Turkish broadcasters and mobile carriers.

SterGen’s innovative technology enables real-time conversion of camera feeds and footage into true stereoscopic 3D. Its real-time 3D image processing gives producers a high quality, yet cost-effective alternative to expensive and logistically complex native 3D productions. SterGen’s software will be used for both live sports events as well as to add 3D visualization to previously recorded sports programming.

“Stereo 3DTV greatly enhances the viewing experience, especially for live sports telecasts. For this reason, we’re extremely pleased to be able to leverage SterGen’s powerful technology to provide high-profile 3DTV sports to broadcasters and other carriers in Turkey,” said Selim Usta, Saran Media’s Head of Sports. “We’re thrilled to partner with SterGen and bring this pioneering technology to our country in a way that will dramatically enhance our sports programming.”

SterGen’s real-time stereo 3D technology platform will also enable Saran Media to produce stereo 3D content with a dedicated 3D depth effect for optimized display on glasses-free 3D mobile phones and tablets—a rapidly expanding new market segment.

Ofer Wolf, CEO of SterGen said, “SterGen is proud to work with a market leader like Saran Media that has a wealth of experience in the broadcast production and sports marketing arenas. Saran Media is well positioned to use our advanced technology in the Turkish market and to bring an exciting new dimension to televised sports. Our algorithms provide an excellent 3D viewing experience that is based on true geometrical analysis of the sports field and its ingredients. The technology allows SterGen to provide a solution that is similar to – and at times better than native 3D, namely in the high camera shots, which are at the heart of any sports broadcast.”

SterGen LIVE! offers both a complete 2D to 3D conversion as well as a Hybrid Production, which is ideal for those who desire to maximize the high cameras’ advantage of the conversion technology and use native 3D cameras for the lower cameras where the 3D camera is at its fullest potential, and thus provide superior quality for all camera feeds. Overall, SterGen enables producers to create stereo 3DTV sports for a fraction of the cost of conventional and complex 3D productions – helping to solve the 3D industry’s lack of content problem, considered to be one of the main obstacles preventing the faster spread of 3D broadcasting.

About Saran Media:

Founded in 1990, Saran Media is a premier provider of broadcast programs, sports entertainment and rights distribution, and events management in Turkey. Based in Istanbul, Saran Media partners with major entertainment and technology companies worldwide to provide high-profile sports and entertainment to the Turkish broadcast market.

About SterGen:

SterGen Hi Tech Ltd develops 2D to 3D video conversion technologies for the sports broadcasting market. SterGen’s mission is to provide high quality 3D sports content in real time in a cost effective way. SterGen’s patented technology is an easy-to-use software module that resides in a commercial hardware and converts in real time a regular 2D sports feed to stereo 3D. It can be placed anywhere on the video path – in the stadium, studio, cable’s head end or in the cloud.
For more information: www.stergen.tv ; info@stergen.tv

Radio City Christmas Spectacular

The most recent company of the Christmas Spectacular transitioned from being arena-based productions to traditional theatrical presentations. Boston’s Radio City Christmas Spectacular was staged at the Citi Performing Arts Center – Wang Theater and the Durham show at the Durham Performing Arts Center (DPAC).

“Since we were no longer in arenas we were starting from scratch with a new hang and a new lighting console,” says Turner. So he joined Prelite’s Rodd McLaughlin in a rehearsal space in Myrtle Beach, South Carolina about ten days prior to the load-in at DPAC to previsualize the two versions of the show based on their new staging requirements.

McLaughlin, who served as Turner’s lighting programmer for the Christmas Spectaculars, notes that lighting for the shows was designed with two venues in mind. “Fixture placement and trim heights were kept as consistent as possible, and we programmed using X, Y, Z coordinates (i.e., 3D space) to ease the transition between locations: If we needed to make changes onsite we just updated where the lights were in the console and the presets would automatically update themselves,” he explains.

Turner’s moving lighting complement, which was based on the original theater design of Radio City’s lighting designer of record David Agress, featured Martin MAC III Performances front of house and MAC 2000 Profiles and MAC 700 washes overstage. A traditional theater front of house hang of conventional fixtures rounded out the design. Two grandMA consoles were networked together for lighting control.

Working with Prelite enabled Turner to turn off the scenic elements as needed, making them invisible at times to better see what the lights were doing. “We used Autodesk 3ds Max to model the scenery and set up the previs. We then used our own custom scripts to quickly export that data to grandMA 3D,” McLaughlin explains. “We continued to use previs throughout the process even when we had the real lights as we were able to ‘see’ behind curtains that were brought in or when the carpenters were working on another scene. Resolving the flips that occur when using X,Y,Z was considerably easier when we could see the rig from above without the legs and borders in the way.”

Jeff Capitola was the producer of the Radio City Christmas Spectaculars with Gary Memi serving as the onsite producer. Brenda Gray was associate lighting designer and Devon Allen assistant lighting designer.

The time between the Christmas Spectacular shows in Durham and Boston found Turner again teaming with Prelite. “We had a Prelite mobile system for two days to preprogram Mary J. Blige’s show at Club Nokia in LA as part of the American Express Unstaged live-streamed concert series in partnership with VEVO and YouTube,” he says. Mike Baldassari was the TV lighting designer for the show with Turner acting as lighting director/programmer.

A proponent of Prelite for the last decade, Turner has seen the technology evolve as his lighting needs have grown and changed. “There have been great improvements in Prelite’s hardware and software,” he reports. “We no longer wait for processing – we can have the whole rig turned on and it will look the same onstage as it does in the Vision software. I can preprogram complex musical numbers outside the theater without the cast and scenery – that’s a serious time saver.”

About Prelite

Prelite was founded in San Francisco February 2000 by Tom Thompson and Norm Schwab as a place for lighting designers and programmers to use technologies to previsualize lighting projects. Its success led to the launch of Prelite NY in June 2001 by Kim Grethen and Rodd McLaughlin. The bicoastal company provides studios where previsualization and creativity take center stage away from the distractions and interruptions of a chaotic work environment and where clients save time and money and minimize stress. Prelite also offers on-site previsualization services for those who prefer the convenience of working at the venue. For more information, visit www.prelite.com or contact Thomas Thompson at 415-883-7727.