Archive for January, 2012

Visionary Ed Lantz Talks Immersion, Transmedia, Strategy in the Vortex Dome

(Burbank, CA) Createasphere’s Spring Entertainment Technology Expo – the top gathering of entertainment and media professionals, technical innovators, and content experts on the West Coast showcasing emerging media trends in production, post, animation, VFX, advertising, and streaming content – will take place on Thursday, March 1st, 2012, at LA Center Studios in Los Angeles. The industry summit will feature trend-setting keynotes, immersive demonstrations in the Vortex Dome, a full exhibition area, networking opportunities and education.

Ed Lantz, founder of Vortex Immersion Media, will share his vision during a keynote entitled, Dive Into Immersive Entertainment and the Transmedia Hub, which takes place in the Vortex Dome. Lantz’s keynote is unique in content and location. He will explore the role that immersive entertainment will play for attendees at work in studios, networks, venues, and content creation. Lantz will also introduce a number of immersive projects and conversations with content creators and experience-makers that combine live action, VFX, 3D, digital asset management and more.

Another keynote, which is slated to include Oscar-caliber creative team members and cinematographers, will be announced soon and will also take place in the Vortex Dome.

Early registration for both keynotes is required, as space is limited. This one-day event is designed as a technology summit with top-level presenters, offering a unique and engaging opportunity to explore the intersection of future technologies in service to creativity.

Kristin Petrovich, president of Createasphere, notes, “We are all looking forward to hearing what Ed Lantz has to say about the future of entertainment and content creation. His work is inspiring and thought provoking. Needless to say, we are very happy to be able to present these keynotes in the Vortex Dome, one of the most compelling venues in the city! The day is shaping up to be an incredibly valuable one for our attendees, and a rare opportunity to mingle with thought leaders.”

For further information and registration, visit www.createasphere.com/ete or call 818.842.6611.

About Createasphere
Createasphere is a global community builder for the entertainment technology industry, advancing technologies and careers through Expos, Conferences, and online offerings.

Createasphere was founded in 2001 as HD EXPO, and over the past decade has grown into a global company that develops and presents influential events for the content creation community, on line and face to face. Founded by Kristin Petrovich Kennedy in Los Angeles, Createasphere became part of Diversified Business Communications in 2009, now driving their entertainment strategies and properties division. Currently, Createasphere is presenting the Entertainment Technology Expos in Los Angeles; the Digital Asset Management Conference in New York, Los Angeles, and Europe; The DAMMY Awards in New York; the online news and content portal CreativeProCoalition.com; 3D Road Shows; and Post Production Master Classes.

Connect with Createasphere on:
Facebook (http://www.facebook.com/pages/createasphere/120410987973181)
Twitter (https://twitter.com/createasphere)
LinkedIn (http://www.linkedin.com/company/createasphere)
Vimeo (http://vimeo.com/createasphere)

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Media Contact:
Chris Purse, 818.303.8088
ignite strategic communications
chris@ignite.bz or mimi@ignite.bz

Broadcast Industry Veteran Brings Leadership and Experience to Bexel Team

BURBANK, CA, JANUARY 23, 2012—Bexel, a unit of the Vitec Group’s Services Division and a leading worldwide provider of broadcast services and solutions, is proud to announce the appointment of Matt Danilowicz to the position of president. In his new role, Danilowicz will be responsible for all operational aspects of Bexel. He will report to Jerry Gepner, chief executive officer for The Vitec Group Services Division.

With more than 20 years of experience in improving the workflows and financial operating models of television stations across the country, Danilowicz has led several companies in the development of such key technological innovations as newsroom computing, non-linear editing, video server implementation and on-air production automation.

“Matt’s background in business and broadcast makes him an ideal fit for the company, and I am very pleased to have an executive of his caliber bring his skills and energy to the Bexel team,” says Gepner. “I believe his leadership will have a powerful and positive influence and help Bexel further secure its position as the premier equipment rental and engineering solutions provider in the U.S. broadcast marketplace.”

Prior to joining Bexel, Danilowicz served as managing director for Clear-Com, where he formulated a new strategy framework emphasizing innovation that transformed Clear-Com into a profitable market-share leader for mission-critical intercom solutions. Building a strong management team and emphasizing cross-functional collaboration were critical to his success at Clear-Com, and remain central to his leadership practice.

Danilowicz holds a patent for the first computer disk-based video server to play commercials to air, developed during his tenure as general manager for a start-up company in the Dynatech/Utah Scientific broadcast portfolio. He was a leading pioneer of newsroom workflow automation, traveling to most of the leading networks and television stations in the country, where he analyzed operational improvements and formats and creating organizational change practices. Danilowicz’s push for innovation at Clear-Com helped the company earn an Emmy Award in 2010.

Prior to his position at Clear-Com, Danilowicz served as general manager for Pinnacle Systems’ broadcast division, vice president of business development for Thomson/Grass Valley, CEO of iNews and vice president of broadcast for Avid Technology. In 2001 he was recognized by Broadcasting & Cable magazine as television’s “News Technology Guru.”

About Bexel
Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers – including producers of the biggest and most important televised events in the world. For more information, visit http://www.bexel.com.

A Snapshot of The Vitec Group
Vitec is an international Group principally serving customers in the broadcast, photographic and military, aerospace and government (MAG) markets. Listed on the London Stock Exchange with 2010 revenue of £309 million, Vitec is based on strong, well known, premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Imaging & Staging, Videocom and Services. Imaging & Staging designs, manufactures and distributes equipment and accessories for photography, video and events. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production teams and film crews. More information can be found at http://www.vitecgroup.com.

BRANSON, MO, JANUARY 23, 2012 – The RapcoHorizon Company (2012 NAMM Show Booth 4558, Hall C), a leading manufacturer of audio/video interfacing and cable equipment, has been the clear choice for the Clay Cooper Theatre since January 2010. Located in Branson, MO, the Clay Cooper Theatre relies on RapcoHorizon custom splitter snakes as well as an array of instrument and microphone cables to ensure the venue’s 1,000 annual performances go off without a hitch.

Home to the Clay Cooper Country Music Express, a 22-member live show with musical and comedic acts, the Clay Cooper Theatre also hosts several national celebrity performers, with shows taking place up to seven days a week. With as many as three shows each day, the venue relies on the RapcoHorizon cables and custom snakes for reliability, durability and ease of setup — elements that are vital to perfect productions.

“With three daily shows and all of our visiting acts coming in, the theatre never stops,” says R.P. Harrell, Clay Cooper Theatre’s production manager. “There is always a complete change in the audio setup for each show and the turnaround time is very fast. Yet, with all of this going on, I’ve never had a piece of RapcoHorizon equipment fail on me. I just cannot remember a time that anything with the name RapcoHorizon on it let us down.”

The RapcoHorizon/Taylor Guitar V-cable Volume Control Cables, introduced at the 2011 NAMM Show, are used by the venue’s acoustic musicians for individual control over the volume of their instruments. RapcoHorizon’s SP Cables are used with the stage monitors to ensure clarity of tone, while microphone cables with Neutrik connectors run audio to the various microphones. These cables and connectors guarantee a clear, crisp tone while rejecting interference and electrical hum, which is important in any live application. DMX lighting cables supply the perfect amount of power for the theatre’s lighting needs during productions. With the abundance of RapcoHorizon cables in use, the Clay Cooper Theatre relies on custom 56-channel XLR splitter snakes, XLR and TRS sub snakes as well as direct boxes from the company to ensure a neat, organized stage. With such a wide variety of RapcoHorizon equipment being used, the Clay Cooper Theatre is ensured dependable performance and resilience during every show.

“We use RapcoHorizon equipment both in the theatre and when the Clay Cooper Country Music Express goes on tour and we could not be more elated with the products,” concludes Harrell. “I’m totally sold; we were looking for reliability and performance and that’s exactly what we got.”

The RapcoHorizon equipment has been some of the most heavily used equipment in the Clay Cooper Theatre. Based on a recommendation by country music icon Neal McCoy’s house audio engineer, Daryl Johnson, during a performance at the venue, Harrell chose RapcoHorizon for all his cabling needs.

The Clay Cooper Theatre is a 1,250 seat venue located on Highway 76 in Branson, MO. Boasting a 50’ x 27’ main stage with two side stages positioned at a 45 degree angle to the crowd, each with a projection screen, the theatre puts on shows that are both visually and aurally exciting. The show season runs March 10 through December 9 with five additional performances being held between Christmas and New Year’s. The off-season runs January through February while the Clay Cooper Country Music Express show is on tour. In 2012, the Clay Cooper Theatre looks to bring a new morning show, “Red, Hot…& Blue!” and a new afternoon show, “The Rankin Brothers,” to audiences. For more information, visit http://www.claycoopertheatre.com/.

The RapcoHorizon Company, located in Jackson, Missouri, is one of the world’s largest manufacturers and suppliers of audio, video, home theatre, 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.

Lester Cobrin joins the team at XL Video UK as Senior Project Manager.

He brings 20 years of experience, enthusiasm, passion and professionalism in the lighting and live production industry, in which time he has worked for some of the highest profile rental companies in the business including Samuelson’s Concert Productions, Theatre Projects, Light & Sound Design and Bandit Lites.

Starting on the shop floor, he has worked in purchasing, sales and client management and has been involved in numerous memorable live shows, special events and tours. His career has also offered the opportunity to get hands-on experience as a lighting technician and production manager, all of which has added to his wealth of overall knowledge, practical experience and excellent communication skills.

He is also known as a popular figure and personality in the industry which has always been his passion.

Says XL Video MD Lee Spencer, “We’re really excited to have Lester onboard! His lively and energetic style of management suits us and fits perfectly with our dynamic team and work ethos. In addition to being a dedicated and strong team player, he is well connected and respected throughout the industry … which is ultimately very much ‘all about the people’”.

Cobrin comments, “Obviously I’m looking forward to joining XL and to taking on new challenges plus a change in direction in the world of show visuals. With the ever increasing crossover between video and lighting, I can use my understanding and education from one medium in new, different and inventive ways. At this moment, the possibilities for ever more visual innovation and imagination being unleashed in these disciplines make it a fantastic time to take up this new post with XL”.

XL Video is Europe’s largest live music video rental operation. It enjoyed one of its busiest years to date in 2011, with 2012 looking set to repeat that trend.

For more press info on XL Video UK, please contact Louise Stickland on +44 (0)1865 202679 or +44 (0)7831 329888 or Email ‘louise@loosplat.com’. To contact XL Video UK direct, call +44 (0)1442 849400 or check www.xlvideo.tv

Hollywood, CA, Jan 23, 2012 – The hit CBS TV series “CSI: Crime Scene Investigation” will utilize the expertise of the Hollywood-based VFX company Dilated Pixels as its sole VFX vendor for Season 12. The announcement was made today by Dilated Pixels’ founding members, TJ Sakasegawa, Jeff Balis, Rhoades Rader and PJ Foley.

Concurrently, Dilated Pixels has named Emmy Award winner Rik Shorten as its new VFX Supervisor. Shorten, who has served as a VFX Supervisor on over 100 episodes of “CSI” since 2008, will continue in that capacity for Dilated Pixels, during the series 12th season.

“We’re thrilled to have Rik Shorten working with our team,” said Sakasegawa. “Rik has extensive experience as a VFX Supervisor working on major feature films and high profile TV shows, and has played an integral role on ‘CSI’ for many years. We’re looking forward to creating compelling visual effects for ‘CSI’ throughout Season 12, and beyond.”

Adds Louis Milito, Executive Producer, “CSI: Crime Scene Investigation,” “Dilated Pixels is doing amazing work for us this season. They are redefining the way digital effects are done on a television budget and schedule.”

Said Shorten, “With today’s tight production schedules and tighter budgets, VFX have really come to the forefront as an invaluable production tool. Working with the team at Dilated Pixels, my job will be to understand the visual needs of our client’s production at the script stage, then craft a master plan that gets us the results we’re after. There are so many options out there today, it’s crucial to have a visual blueprint in advance that gives production the flexibility it needs to properly execute our VFX plan. If I’ve done my job well, the director gets what he/she wants, the producers get it for the price that they want, and everyone makes the actors look great!”

In addition to its work on “CSI,” Dilated Pixels also provides visual effects to the FOX series “Fringe,” several shows on the popular SyFy Channel, and numerous other TV series and movies.

ABOUT RIK SHORTEN:

Rik Shorten has spent 18 years working in the television and film industries. With a BAA from Ryerson University, Shorten has worked in all the major production centers in Canada, the USA, and China. His live action production experience, and VFX specialties have given him a unique skill set in the industry. Rik’s ability for creative collaboration has made him a sought after partner for new projects, as producer, supervisor and director.

Shorten has just started working on Season 12 of “CSI: Crime Scene Investigation,” a series for which he has previously won both a VES Award and Emmy Award. His other credit highlights include VFX contributions to “Fringe,” “Californication,”
“I, Robot,” and “The X-Files”.

ABOUT THE FOUNDING MEMBERS OF DILATED PIXELS:

**Producer TJ Sakasegawa has a proven ability to develop, finance, produce and distribute a film from beginning to end. His skills have led him to produce over 25 films in his short career, including films for Universal Television Networks, Sony, and 20th Century Fox.

** Producer Jeff Balis produced the blues-infused film “Redemption Road,” directed by Mario Van Peebles, and starring Michael Clarke Duncan and Tom Skerritt. Before that, Balis directed “Still Waiting” for Lionsgate Films, a sequel to the cult-hit restaurant comedy “Waiting,” that he produced with a cast lead by Ryan Reynolds, Justin Long, and Anna Faris.

Balis helped develop the Emmy Award-nominated “Project Greenlight” HBO series, produced “The Battle of Shaker Heights” for Miramax, starring a young Shia LaBeouf, and co-produced the first “Project Greenlight” film “Stolen Summer.” He additionally produced the comic-apocalypse-thriller “Infestation” for Icon Productions, as well as the critical-sensation “Kabluey” starring Lisa Kudrow, and “The Last Time” with Michael Keaton and Brendan Fraser, both for Sony. Balis began his career with Chris Moore, Ben Affleck, Matt Damon, and Sean Bailey at the film/integrated-media company, LivePlanet.
** Producer Rhoades Rader, while working at Ben Stiller’s Red Hour Films, found, packaged, developed and/or produced such films as “Starsky and Hutch,” “Tenacious D in the Pick of Destiny,” “Tropic Thunder” and “Dodgeball.” In 2005, Rader left Red Hour Films to produce critically-acclaimed “Kabluey,” starring Lisa Kudrow, “Still Waiting” (the
sequel to the hit film “Waiting”) for Lion’s Gate, and the Mario Van Peebles-directed blues music flick “Redemption Road,” starring Michael Clarke Duncan, Taryn Manning, Tom Skerritt and Luke Perry. Rader also produced “Infestation” for Mel Gibson’s Icon Entertainment, a film heavy with CGI effects, and the inspiration for co-founding Dilated Pixels in 2007.
** VFX Producer PJ Foley began his Hollywood career with the words, “Let’s put him on Star Trek,” leading to his immediate work as a visual effects artist on the hit TV series “Star Trek Voyager.” Working in-house for a pioneering visual effects shop, Foley next found himself working on visual effects for the ground-breaking, CG-animated TV series, “Roughnecks: The Starship Trooper Chronicles.” Foley followed up the series work with what would become one of his all-time favorite projects: “Star Trek: The Motion Picture – Director’s Edition” — a restoration project that added many effects that remained unfinished from the 1979 premiere of that film.

Foley next moved into the videogame industry, bringing his Hollywood proven approach to the cinematics team at Westwood Studios in Las Vegas. He returned to Los Angeles in 2003, and has since lent his hand as a VFX Artist, VFX Supervisor, and VFX Producer on such film and television projects as “Hellboy,” “Star Trek Enterprise,” “Battlestar Galactica,” commercial work, “creature features,” and a variety of independent films.
ABOUT DILATED PIXELS:

Founded in 2007 by Rhoades Rader, Jeff Balis, TJ Sakasegawa and PJ Foley, Dilated Pixels is a full service visual effects, motion graphics, main title and live action production company based in Hollywood, CA. Since its founding, the company has blossomed not only as a noted visual effects house, but also as a one-stop production shop for commercials, music videos, and short-form web content from videogame companies, advertising agencies, brands, and notable directors.

The company’s staff is comprised of VFX artists and supervisors with a wide range of experience across all areas of computer generated visual effects. Dilated Pixels handles all aspects of any size CGI production, including concept design in pre-production, to on-set VFX supervision, and through to the creation of the final CGI elements for film, TV and web. Also featuring HD editing facilities, Dilated Pixels can deliver high-end visual effects through a highly efficient means of creation, maximizing the CGI- production-to-cost ratio for its diverse group of clients.

Clients of Dilated Pixels include FOX, Discovery, SyFy, Sony, Screen Gems, Lionsgate, Universal, Warner Bros., and CBS. The company is located at 6121 Sunset Blvd., Suite # 103, Hollywood, CA, 90028. The phone is 323/466-0930, and the web is www.dilatedpixels.net

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The Angus Bowmer Theatre at the Oregon Shakespeare Festival (OSF) in Ashland has taken delivery of three Robert Juliat Lucy 1200W HMI followspots from Musson Theatrical, Inc. of Santa Clara, California. The OSF’s recent emphasis on musical theater prompted the acquisition, which expands the company’s followspot inventory. OSF previously purchased a pair of Robert Juliat Super Korrigan 1200W HMI followspots for its Elizabethan outdoor theater. The outdoor theater seats 1200, and the Angus Bowmer Theatre seats 601.

“The superior brightness and optics of the Juliat spots made it easy to decide to go with the Lucy followspots for the Bowmer Theatre,” says master electrician Noah Beauregard.

Lighting and video department manager Michael Maag worked closely with Musson’s director of sales and marketing Dinna Myers to specify the best fixture for the job. “Every time I run into competitors’ spots, I find that they just don’t quite come up to the quality of the Robert Juliat equipment,” Maag reports. “We wanted to make an investment in fixtures that were going to hold onto their value and maintain their superiority. The Lucys offer a bright, even field; they overcut everything else and do their job.”

Robert Juliat’s Lucy followspot features a high-performance double condenser optical system in a compact and efficient design with a silent magnetic ballast. It offers a 100 percent closing iris in a removable cassette, 100 percent closing mechanical dimmer, “A” size gobo holder and six-way color changer system fitted with removable filter frames.

According to Maag, the fixtures, which have just arrived, will be positioned in front of house. Two will be housed in the projection booth, joining the projector and mounted at a high angle. The third will be in the control booth at a lower angle to cover the balance of the stage’s three-story sets.

“The compact size of the Lucys was a big selling point,” notes Maag. “The theater doesn’t typically accommodate followspots. We needed something that was compact enough to fit in the theater and had the lumens to punch through. The Lucys were perfect on all counts.”

The Lucy followspots will make their debut in February with the OSF’s production of the outrageous “Animal Crackers.” They will also be used on the company’s production of the musical “Medea/Macbeth/Cinderella.”

About Robert Juliat

Robert Juliat is a three-generation, independent family-run company dedicated to the manufacturing of professional stage lighting products. Robert Juliat lights are used by customers who include Cirque du Soleil, Celine Dion, New York’s Lincoln Center, LA’s Dorothy Chandler Pavilion, Bruce Springsteen, Disney Theme Parks, Carnegie Hall, The San Francisco Opera and Ballet, The Royal Shakespeare Company, The Comedie Francaise, The Sydney Opera House, plus theatres, schools and public venues around the world.

R&D, production and the company headquarters are based in the village of Fresnoy-en-Thelle, 50 km north of Paris. Robert Juliat USA is located in Wallingford, Connecticut. For more information visit www.robertjuliatamerica.com.

Los Angeles, CA, Jan. 23, 2012 – Julie Sweetwood joins Bemis Balkind’s expanding TV Group as VP, Business Development. In her new post, she will help drive the creative agency’s expanding, integrated services for its diverse TV partners. The announcement was made today by agency partners Peter Bemis and Aubrey Balkind.

Sweetwood said, “What I like about Bemis Balkind is its holistic approach – one that combines print and digital solutions to an industry that has been migrating from ‘Appointment TV’ to on-demand content across multiple devices. Bemis Balkind provides our television partners with that same cutting-edge, creative, iconic design and branding, an approach that creates fun, smart and innovative solutions.”

Bemis adds, “Julie Sweetwood offers a new perspective on how our television clients will be serviced, moving forward. She ties our agency’s print, digital and on-air creative expertise together.”

ABOUT JULIE SWEETWOOD:

Previously, Julie Sweetwood was VP, Global Business Development, for Hurrah!, a Rep Firm for Creative Companies. Sweetwood connected Hurrah!’s roster of design companies with executives working in creative services, marketing and promotions at broadcast and cable television networks, internationally. Earlier, she was a Sales and Marketing Team executive for the television trade association Promax/BDA, and played a part in the Singapore 3DX Film Festival.

ABOUT BEMIS BALKIND:

From traditional to new media, Bemis Balkind’s core mission has never wavered:
“Use the power of creativity to redefine and enhance the audience’s experience.” In addition to successfully marketing feature films, a number of the agency’s other assignments have involved launching new products and services, whether physical venues such as The Getty Center, new industries, like premium cable TV (HBO), 24-hour news (CNN), televised sports (ESPN), and online financial services for clients including Goldman Sachs.

From its inception, Bemis Balkind garnered widespread notice for its game-changing campaign promoting the classic film “Rosemary’s Baby.” Since then, the company has become a multi-award winning, and highly regarded creative agency, renowned for designing and executing major motion picture campaigns, including those for “Forrest Gump,” “Alien, “Superman,” “Fatal Attraction,” Tim Burton’s “Alice in Wonderland 3D,” “Slumdog Millionaire,” “Black Swan,” “Bad Teacher,” “Shrek,” and many others.

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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ANAHEIM, CA, JANUARY 20, 2012 — DPA Microphones, the manufacturer of high level reference and headset microphones, is pleased to introduce an enhanced, dual-ear headset for its popular DPA d:fine directional and omnidirectional headset microphones at The 2012 NAMM Show (Booth 6996). Designed to meet the needs of active live theatre, music video production, concert sound, etc., the d:fine series dual-ear headset mic is now ready to take on the most rigorous and energetic performance applications, while delivering the world-class sound quality expected of a DPA microphone. The new dual-ear headset is available in three sizes.

“When we first introduced the d:fine headset microphones series to the live sound market, it was embraced by the industry as a condenser headset that could provide exceptional sound quality in the most challenging acoustic environments with a wonderfully simple and secure single-ear mount,” says Jarrod Renaud, Sales & Marketing for DPA Microphones, Inc. “With our new dual-ear headset, which is available in three sizes to fit everyone from a 10-year old performer to an adult musician, users can rely on d:fine to stay in place, bringing uninterrupted performance excitement to the audience for live sound and video projects that might include extreme dance and hip hop segments, for example.”

In a world that is increasingly video-oriented, from live action reality TV and theatre presentations to sporting events and bands producing videos for YouTube (and everything in between) the dual-ear headset for the d:fine headset microphone provides worry-free performance in the most exacting situations. While the d:fine capsule delivers the sound, through a frequency range of 20 Hz to 20kHz ± 2dB and a maximum peak handling capacity of 144 dB before clipping, the dual-ear headset delivers confidence that the mics will stay in place. Additionally, as the microphone isn’t hard-wired into the headset, the cable can be replaced easily and inexpensively. All d:fine models come in beige, brown, black and a fancy lime color and are slim line for a low visibility profile.

“With the advent of the d:fine headset microphone, the serious band or performing group can now have an ultra-professional headworn microphone within reach to bring their performance to the next level,” continues Renaud. “With the new dual-ear headset option, the same performers can reliably add increased athletics and dance moves, assured the show or presentation will run smoothly.”

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.

Summary
Affordable “SuperMeet Workshops” return to San Francisco, as part of the Eleventh Annual San Francisco SuperMeet to be held on Friday, January 27, 2012 at the UCSF Mission Bay Conference Center beginning at 10:00AM. Each 90 minute workshop will feature fresh content from Adobe, Blackmagic Design, Canon and Light Iron. Workshop attendees have twelve sessions to choose from and can choose a maximum of three workshops each. Tickets for the “SuperMeet Workshops” can be purchased online for only $5.00 – $10.00 (plus ticket fee) per class. Workshops will cost $15.00 per class at the door.

Los Angeles, CA / Boston, MA – Final Cut , Adobe, Avid, Autodesk editors and digital filmmakers from around the world will once again gather together for the Eleventh Annual San Francisco SuperMeet, to be held on Friday, January 27, 2012 at the UCSF Mission Bay Conference Center in San Francisco, CA. As part of this years SuperMeet, the organizers have announced that the widely popular and affordable “SuperMeet Workshops” will also return. Tickets can be purchased online for only $5.00 – $10.00 (plus ticket fee) per class. Workshops will cost $15.00 per class at the door.

SuperMeet Workshops will be offered during the day prior to the SuperMeet beginning at 10:00AM. They will feature exciting and fresh content from Adobe, Blackmagic Design, Canon and Light Iron. Workshop attendees have twelve sessions to choose from and can choose a maximum of three workshops each. All workshops will be highly interactive, and are suitable for all levels of expertise.

Instructors Al Mooney and Kevin Monahan from Adobe will be hold three DIFFERENT 90 minute workshops focusing on Adobe Production Premium CS5, workflow and HDSLR filmmaking.

Canon USA Inc. will be conducting three 90 minute comprehensive seminars of their current professional product line, headlined by Canon’s new C300 cinema camera as part of Canon’s Cinema EOS series. Conducting these seminars will be Canon’s Senior Professional Market Specialist, Jung-Jin Ahn.

Master colorist Alexis Van Hurkman will conduct three entirely different 90 minute classes on Blackmagic Design’s DaVinci Resolve detailing features and capabilities such the advantages of real-time performance in color correction, as well as proper set up and integration with other tools. Beginners through advanced users will benefit from each of these classes.

CEO of Light Iron Post in Hollywood, Michael Cioni will speak on the implications of Digital Cinema in both production and post Production. Michael’s lecture will reveal ways to best identify and prepare creatives for significant and rapid changes in the media ecosystem. This will be a highly interactive 90 minutes and the same workshop will be offered three times during the day.

The producers have indicated that some of these workshops have already reached capacity, but seats do remain for others. It is highly recommended that students purchase tickets quickly. Seats may be available at the door.

The workshops will end at 4:00PM at which time the doors open to the “SuperMeet Digital Showcase” featuring over 25 vendors, cash bars, free hors d’oeuvres and the “Open Screen Theater,” where digital filmmakers get a chance to screen their own content in front of their peers. The SuperMeet stage show will begin at 7:00PM and will require a separate admission ticket.

To purchase tickets for the SuperMeet Workshops and for the SuperMeet, as well as the agenda for the SuperMeet, a list of raffle prizes, and directions to the MBCC, simply go to the SuperMeet web page.

About SuperMeets
SuperMeets are gatherings of Final Cut, Adobe, Avid, Autodesk, editors, gurus, digital creatives and filmmakers from throughout the world who use or want to learn to use Macintosh-based workflows. SuperMeets started as a grassroots movement to connect Apple FCP Editors at a local level. Now in its 11th year, the producers behind the SuperMeet have harnessed the energy of local chapters globally and turned SuperMeets into the industry’s most influential user-organized series of global events. SuperMeets are held annually in San Francisco, Las Vegas, London, Amsterdam and Boston. The SuperMeet agenda usually includes local and industry filmmaker show and tells, digital video tips and tricks and user-driven workflows and world premiere announcements of new hardware and software. Also featured is the SuperMeet Digital Showcase with vendors and small developers providing workflow solutions and an Open Screen Theater for digital filmmakers and content creators to network, screen content and collaborate.

Summary:
The agenda has been set for the Eleventh Annual San Francisco SuperMeet, to be held on Friday, January 27, 2012 at the Mission Bay Conference Center in San Francisco, CA. In addition, SuperMeet Workshops return and will begin at 10:00AM. Doors to the SuperMeet open at 3:30PM. Stage presentations will begin at 7:00PM. The San Francisco SuperMeet promises to be the single largest gathering of Final Cut, Adobe, Autodesk, Avid editors, gurus and and digital filmmakers in the Bay Area for all of 2012.
 
Los Angeles, CA / Boston, MA – The agenda has now been set for the Eleventh Annual San Francisco SuperMeet, to take place on Friday, January 27, 2012 at the UCSF Mission Bay Conference Center in San Francisco, CA. Affordable educational SuperMeet Workshops will take place during the day beginning at 10:00AM. Doors to the SuperMeet open at 3:30PM and presentations begin at 7:00PM and continue until 11:00PM. Tickets for the SuperMeet are on sale online for $15.00 each plus ticket fee and $10.00 for students and teachers.They will be $20.00 at the door. It is expected this SuperMeet will sell out as historically every SuperMeet sells out.

Scheduled to appear on stage (subject to change):

* Canon USA will feature ALEX BUONO, one of Canon’s Explorers of Light and 12-year veteran Director of Photography for NBC’s Saturday Night Live Film Unit. Alex will take the stage for an engaging show and tell utilizing Canon’s 5D Mark II and 7D cameras as well as the new Canon EOS C300. Alex will also screen his work, including the network debut of the Canon EOS C300 – an SNL parody commercial, Chantix.

* Director of Photography and Editor Curt Pair will share the pitfalls he avoided during the production of “Taken,” for the A&E network, by using the “one tool he could not live without,” the Matrox MXO2 LE.

* Knowing which tool is right for the job at hand is crucial. Adobe’s Al Mooney will give a brief presentation on how to “accelerate your workflow with Adobe Premiere Pro CS5.5.

* DigitalFilm Tree’s CEO Ramy Katrib will present the World Premiere of a powerful mobile application that provides visual storytellers a platform to view, comment, and creatively collaborate on an iPad, iPhone or iPod Touch.

* Filmmaker Jesse Rosten will screen his new video “Fotoshop,” which recently and after only one week, accumulated over three million plays on Vimeo.com

* Technologist, editor and industry pundit Philip Hodgetts will take a look into the future of post production and production and tell us what we need to do to prepare for these changes.

Rounding out the evening will be the always wild and crazy “World Famous Raffle” with close to $35,000 worth of filmmaker-related prizes to be handed out to dozens of lucky winners including an AJA Io XT Thunderbolt, 3 copies of Blackmagic Design Resolve, NLE software, an MXO LE MAX from Matrox, hard drives, plug-ins and much, much more.

Doors will open at 3:30PM with the SuperMeet Digital Showcase featuring over 25 software and hardware developers including Canon, Matrox, Blackmagic Design, Adobe, DigitalFilm Tree, Light Iron, AJA, Avid, Atomos, Keycode Media, Noise Industries, Artbeats, Drobo, Cutting Edge, FFV, Flolight, Focal Press, G-Tech, Genarts, HHH, Irudis, Marshall, Maxon, Peachpit, Pixelflow, Promise, Red Rock Micro, TiffenDfx and more. Here, attendees can enjoy a few cocktails, network and party with industry peers, talk one on one with leading manufacturers and learn about the latest trends in collaborative editing workflows for post production and broadcast markets.

A highlight of the Digital Showcase is “Open Screen Theater,” hosted by the SFCutters. Filmmakers and digital content creators wanting to “Get Seen” will have a 10 minute chance to do so in an informal, collaborative setting. The producers want those who are shooting with HDSLRS, camcorders, iPhones and anything that makes video to screen their content and interact. Just show up and sign up, get up and show off. Sign-ups begin when the doors open and are open only to SuperMeet ticket holders.

In addition, affordable educational SuperMeet Workshops will be offered during the day, beginning at 10:00AM. Each of the twelve 90 minute workshops, sponsored by Canon, Adobe, Blackmagic Design and Light Iron will repeat in three sessions during the day to cover all one needs to know about the respective companies’ hardware and software solutions, including DSLR and Digital Cinema cameras, HDSLR workflow, color grading, and the present state and future of Digital Cinema and it’s impact on all content creators. Blackmagic Design has promised to give away a copy of DaVinci Resolve (value $995) at each of its three sessions.

To purchase tickets and for complete details on the SuperMeet, SuperMeet workshops as well as driving and transit directions, a current list of raffle prizes and details on the Open Screen Theater visit the SuperMeet web site.

About SuperMeets
SuperMeets are gatherings of Final Cut, Adobe, Avid, Autodesk, editors, gurus, digital creatives and filmmakers from throughout the world who use or want to learn to use Macintosh-based workflows. SuperMeets started as a grassroots movement to connect Apple FCP Editors at a local level. Now in its 11th year, the producers behind the SuperMeet have harnessed the energy of local chapters globally and turned SuperMeets into the industry’s most influential user-organized series of global events. SuperMeets are held annually in San Francisco, Las Vegas, London, Amsterdam and Boston. The SuperMeet agenda usually includes local and industry filmmaker show and tells, digital video tips and tricks and user-driven workflows and world premiere announcements of new hardware and software. Also featured is the SuperMeet Digital Showcase with vendors and small developers providing workflow solutions and an Open Screen Theater for digital filmmakers and content creators to network, screen content and collaborate.