Archive for February 9th, 2012

Bernadette Rivero, president of LA-based global production company The Cortez Brothers, will speak at Digital LA’s Latino Content Panel on Wednesday, February 15, 2012.

Rivero will join Lalo Alcaraz, the Mexican-American cartoonist behind the highly syndicated comic La Cucaracha (and currently the Editor-in-Chief of POCHO.com), as well as Jai Bugarin of Tutele/Maker Studios, among many others, for a panel discussion on digital creation and distribution of content for Latino audiences. The panel will also explore successful content, themes for mainstream audiences, Latino actors and language, as well as marketing and social media.

With the continued emergence of scripted content beyond traditional film and television platforms, Rivero sees unprecedented opportunity for directors of Latino content on the horizon. Keen on the new media trends currently shifting the Latino commercial production landscape, she brings relevant insight to the discourse. The Cortez Brothers’ Storytelling Department had a hand in LOVE 15, an upcoming English-language web series from WarnerBrothers 2.0, and represents directors Fede Alvarez and Ricardo de Montreuil, who both had blockbuster viral hits that led to feature film deals. She’s the head writer of “Pati’s Mexican Table,” a popular blog-integrated TV cooking show currently available in 100 million television viewing households in the U.S.

Digital LA is the largest networking organization of professionals and friends who do digital entertainment for movies, TV, web series, music, video games, VFX, marketing, and social media. For more information on Digital LA’s Latino Content Panel, its agenda and speakers, please visit: http://digitalla.net/

About The Cortez Brothers:
A Los Angeles-based global production company specializing in offshore shooting, The Cortez Brothers has become a lightning rod for the worlds of entertainment and advertising, melding Hispanic/Latino culture and mainstream American sensibilities.
Founded in 2006, it brings bilingual, international talent under one roof, combining the forces of directors, writers and producers who are equally at home speaking English or Spanish. The Cortez Brothers produces a wide range of projects from feature films and television series to webisodes and commercials.

Recent clients include AT&T, Chevy, Coca-Cola, Dodge, Ford, Home Depot, McDonald’s, Pontiac, Procter & Gamble, Toyota, Verizon and Allstate. The Cortez Brothers is one of the only woman- and minority-owned production companies in the entire US.
www.cortezbrothers.com

# # #

Top Directors Expound On Digital Cinema’s Creative Impact

NEW YORK: From the earliest days of the ‘talkies,’ feature film directors have both embraced and disparaged new technology. Side By Side, a new, documentary directed by Chris Kenneally and produced by Keanu Reeves, will profile contemporary auteurs’ insights on digital production at its Feb. 15 Berlin Film Festival premiere.

Featuring candid interviews with such icons as Martin Scorsese, James Cameron Christopher Nolan, George Lucas and Steven Soderbergh, the insightful 98 minute film explores the full range of technical and creative opportunities presented by a new generation of digital production and post-production tools. Kenneally explained, “I was post-production supervisor on a Keanu Reeves feature in 2010, and Keanu was fascinated by the interaction of the photochemical and digital components of the film. Side By Side evolved from those talks, and his enthusiasm was instrumental in setting the interviews.”

In the midst of their hectic shooting schedule, Kenneally set up offices in NYC’s Sixteen19 post-production services complex to prep the documentary for the Berlin Festival. “I’d worked on a number of projects with company principals Pete Conlin and Jonathan Hoffman,” he said. “I knew Sixteen19 was the right place for Side By Side.” Sixteen19′s Managing Director Claire Shanley added, “When Chris came to us to discuss workflow and finishing for a documentary about film technology, it felt like a perfect fit. for us. In addition to caring deeply about the subject, our team was ready for the project’s technical challenges.”

Kenneally added, “We had the benefit of advice from many Sixteen19 team members. They were invaluable in recommending interview candidates and helping us connect with some very busy people.” In November, 2010, Side by Side began a whirlwind schedule that took the crew from England to Poland to Morocco and Denmark and back to the U.S. Shooting in low light with little setup or prep time, Reeves, Kenneally, DP Chris Cassidy, and a lean crew shot interviews with a Panasonic HPX 170 and location beauty shots with a Canon 5D.

“Colorist Brian Boyd was a major asset in getting our disparate digital interview, location footage and archival clips, to match,” Kenneally explained, “All of our color correct needs were expertly addressed, and we were impressed with the results.” Brian Boyd reports the hours he spent conforming QuickTime files to Avid Media Composer and tweaking the footage were an almost ‘surreal education.’ “In addition to top directors, Kenneally and Reeves interviewed a number of leading cinematographers, editors and colorists,” he says. “Hearing their comments on the pros and cons of digital technology was fascinating. It was also terrific to see this documentary work on an entertainment level as well as an educational one.”

“We began this project at a particularly advantageous time,” Kenneally concludes. “We’re right at the tipping point of the film/digital revolution/evolution. It was the ideal moment to get candid and extremely perceptive comments from the very filmmakers who are leading the transition into the next generation of movie production.”

The “Side By Side” trailer may be viewed at: www.sidebysidethemovie.com

Photo Caps:

1. Director Chris Kenneally in the Sixteen19 color suite with colorist Brian Boyd

2. Left to Right: DP Chris Cassidy, director Chris Kenneally, Yoda, Justin Szlasa,Keanu Reeves Photographed by Amy Miller Big Rock Ranch, Marin, CA

3. Keanu Reeves (l) with Martin Scorsese

###

Sixteen19 is a post-production services company with offices at 1619 Broadway, NYC and divisions in New Orleans; L.A. and London. The firm specializes in DI, color correction, editing and finishing and on & near set services. The NYC complex features 15 spacious Avid editing suites, color correct theater/ screening rooms, digital dailies, file transcode/encode and workflow management. Contact: 212-245-1402

http://www.sixteen19.com

Billerica, Massachusetts – With galleries dedicated to animals and habitats throughout the Pacific Ocean, the Aquarium of the Pacific in Long Beach, Calif., is the fourth largest aquarium in the United States. Last year, the nonprofit organization launched a marine biology videoconferencing pilot program anchored by a new Broadcast Pix™ Slate™ integrated video production system. So far, the aquarium has delivered more than 50 live presentations to classrooms across the country.

The aquarium already had an active education department, with a staff of more than 40, plus three classrooms and a 160-seat presentation theater. But for many students, the facility is too far away to visit – and with California’s current budget issues, field trips are not feasible even for many in-state schools. Sarah Swain, Aquarium of the Pacific education technology and media coordinator, said the aquarium wanted to broaden its outreach, but also wanted to maintain the creativity and interactivity of its classroom lessons in its videoconference offerings.

“We didn’t want to be a talking head sitting in front of the camera,” said Swain. “Our goal was to bring our programming to students who can’t come to us.” The vast majority of the aquarium’s distance learning programs are designed for K-12 students, though Swain is investigating potential programs for additional audiences.

A storage closet at the aquarium was converted into a small videoconferencing studio and outfitted with the Broadcast Pix system, which was purchased from VMI, Inc., and installed by RBL Engineering in September 2011. The studio and pilot program were funded through a grant from The Roddenberry Foundation.

There is no separate control room; one instructor operates the Slate and monitors the production through the built-in Fluent-View multi-viewer, while a second instructor conducts the class. The setup allows the instructors to switch between a webcam, document camera, video clips, and still images to produce compelling HD videoconferences. The distance learning programs rely heavily on chromakey to create unique live visuals, while prerecorded footage is accessed from the Fluent™ Clip Store during lessons. Swain has also incorporated live feeds from cameras installed in exhibits throughout the aquarium.

In the aquarium’s classrooms, instructors rely on customized DVDs for clips, but Swain said there is no convenient way to replay clips during a lesson if a student has a question. She prefers the Slate, which makes it easy to access and replay clips or still images instantly.

For the instructors, the move to videoconferencing required some adjustments from traditional classroom teaching, none bigger than learning to use the Broadcast Pix itself, as they had no previous video production experience. Swain admitted there was a learning curve at first, but the instructors are now comfortable with their “directing” duties.

“It’s been a really neat team building experience,” Swain added. “We’ve all really enjoyed learning how to use this piece of equipment. I love the flexibility. It’s a really unique tool.”

About Aquarium of the Pacific The Aquarium of the Pacific is a nonprofit institution that is dedicated to instilling a sense of wonder, respect, and stewardship for the Pacific Ocean, its inhabitants, and ecosystems. For more information on the Aquarium visit www.aquariumofpacific.org .

About Broadcast Pix Broadcast Pix is the leader in live video production systems. Its Video Control Centers™ empower operators with patented techniques that combine cameras, clips and graphics to create compelling live video. The integration of a multi-format switcher, clip store, graphics system with a Harris or Chyron CG, and device controls provides the lowest cost of ownership at a fraction of the cost of a conventional control room to buy, staff and operate. Systems range from compact systems controlled by a touch-screen or voice-automation to sophisticated 2 M/E control panels. Customers include leading broadcast, corporate, education, religious, government, webcast, entertainment and mobile studios in more than 110 countries. Learn more at www.broadcastpix.com.

Broadcast Pix, Slate, Fluent, and Video Control Centers are trademarks of Broadcast Pix, Inc. Patented.

Sonic branding for spousal trades, tirades, rock stars and preachers.

Sonixphere, a global resource for everything connected to music and audio branding, in association with the award-winning composing team at iSpy Music, kicked off 2012 with the debut of ABC’s highly-anticipated reality series Celebrity Wife Swap. Famous spouses who signed up to swap households, children, and rules of domestic play include Dee Snider of Twisted Sister, songstress Carnie Wilson, Flavor Flav from Public Enemy, and actor Gary Busey, among others.
Greg Allan, CEO and Creative Director of Sonixphere, and Doug Bossi, CEO and lead composer of iSpy Music, combined their extensive music and branding experience to parlay the diverse personalities of the cast into distinct sonic alter egos for each spousal team. Cues throughout each episode play up both the humorous and confrontational aspects of the show, driving the action while adding to the emotional response from viewers. more

LONDON—Fotokem Budapest recently used FilmLight’s Baselight colour grading system to perform near-set colour grading for In the Land of Blood and Honey, Angelina Jolie’s new film on the Bosnian War.

Fotokem Budapest processed dailies for the film, which was largely shot in Hungary. It also hosted screening sessions for Jolie and the film’s crew. Those screenings were held in the facility’s DI grading theatre, with a Baselight EIGHT used to make real-time grading adjustments. Working under the guidance of Academy Award-winning cinematographer Dean Semler, Senior DI Colorist Benedek Kaban refined the look of the dailies and applied special colour treatments.
“The subject matter of the movie is very hard,” recalls Kaban. “Dean wanted a stark look. He shot still photographs every day during production and sent them to me as a grading reference.”

more

‘Coke bursting from a bottle, launching through the air in elegant, dynamic, sculptured cg splashes — super slow-motion and close-up!’

When Fin Design + Effects, Sydney Australia, heard that sort of directive from their client, Ogilvy, they reached out to Fusion to make it so. Working collaboratively, Fin’s team outlined the overall shapes they wanted to see in the splashes, then Fusion set off creating virtual coke “throws,” working up a palette of shapes.



View Share A Coke end tag

If you know & love cg fluids, you’ll know right away why these images are special. Elegant, thin, realistic-looking, close-to-camera splashes are virtually impossible to create in cg without the characteristic, unsightly webbing or marbley look you can get using off-the-shelf software – and delicate tendrils and droplets are unheard of. However, Fusion has vast experience with macro-photography style cg fluids and has developed an extensive library of technologies and methods to not only create, but to sculpt and control cg fluids while maintaining a beautiful, realistic behavior. Even so, the Share-A-Coke project forced Fusion to push its technology to entirely new limits.

Led by vfx supervisor, Mark Stasiuk, Fusion’s team spent hard core r&d time developing its tool-set to achieve greater control on the fine details and pushing the parameters of fluid resolution, surface tension, ambient noise, number, size and break-up of the tendrils, and the thickness of the lip on the margin of the flow. Once the right parameter space achieved the correct level of detail and the right proportions of tendril size to flow-edge lip to flow width, Fusion started throwing fluid around. The results, as you see, are amazing.




With creative feedback & direction from the Fin Design team, Fusion created a library of about 15 elements for Fin to render, comp & finish. Together the two studios “shared-a-coke” and kicked cg fluids up a notch!

View the Share A Coke CG Fluids Casestudy

About Fusion CI Studios: Co-founded by Lauren Millar & Mark Stasiuk, Fusion CI Studios specializes exclusively in cg fluid & dynamic fx – fire, smoke, liquids & all kinds of particles. Unique in that Fusion often plugs into their clients’ pipelines as an instant, highly-skilled effects team, Fusion uses advanced proprietary tools & technologies that exponentially improve the performance of off-the-shelf software, at a cost that’s comparable to hiring an experienced freelancer. The result? Outstanding, cost-efficient dynamic effects for their clients.

Contact: Lauren Millar
Fusion CI Studios
…innovative, leading-edge dynamic effects
Phone: 310-928-1483
www.fusioncis.com/reel


About Fin Design+Effects: Fin is a boutique design and VFX house based in Surry Hills, Sydney. Established in 2001, Fin is home to an award winning close-knit team of VFX Artists and designers.

Contact: Anya Kruzmetra
Senior Producer
Fin Design + Effects
+61 (2) 9331 8733
www.findesign.com.au

WAYNE, NJ – JVC Professional Products Company, a division of JVC Americas Corp., today introduced the TK-T8101WPRU, an outdoor analog bullet camera with 10-bit digital signal processing and integrated IR LED technology. Part of JVC’s innovative LoLux™ line of security cameras, it provides True Day/Night performance in challenging lighting environments, including complete darkness.

The TK-T8101WPRU features a 1/3-inch high resolution IT CCD paired with a 3.3-12mm variable focal lens to deliver 600 TV lines of resolution with 52 dB signal-to-noise ratio. In low light, sensitivity is 0.05 lux for color, 0.015 for black-and-white, and 0 lux with active IR LED. The camera also features automatic high light compensation (HLC) for extreme white light, as well as Easy Wide-D for backlight compensation.

Housed in a die-cast aluminum case with tempered glass and sun shield, the TK-T8101WPRU is dustproof and waterproof (IP66 rated), and can operate in extreme temperatures (14-122 degrees Fahrenheit). Other features include motion detection (up to four areas), privacy masking (up to eight zones), digital noise reduction, and on-screen menus for easy installation and setup.

“When paired with an infrared camera, LED technology can produce security video in total darkness. Our new TK-T8101WPRU features 28 built-in LEDs, which allow for an IR distance of 115 feet, so there is no costly additional lighting needed,” said Ian Scott, vice president, JVC Security Group. “That means less expensive installations, lower total cost of ownership, and exceptional low-light performance that’s backed with a three-year limited warranty.”

The TK-T8101WPRU has a suggested list price of $350 and will be available for delivery in March.

ABOUT JVC PROFESSIONAL PRODUCTS

JVC Professional Products Company, a division of JVC Americas Corp., located in Wayne, New Jersey, is a leading supplier of IP network and analog security cameras, network video recorders, monitors, and management systems to the video security industry. Its V.Networks product line of has earned a solid reputation for quality and reliability, and provides superior picture quality for thousands of installations worldwide. For more information about this, or any other JVC professional product, contact JVC at (800)582-5825 or visit JVC’s Web site at pro.jvc.com.

They are beautiful, surreal worlds that tell compelling brand stories in engaging, imaginative ways. A love story using strings; a bubbly animated family personify a new smartphone application; an insurance company comes to life in a thrilling adventure odyssey. This is the power of design – the power of HUSH.

HUSH is equally renowned as a world-class design agency that can strategize, conceive, and produce engaging content, an expertise demonstrated by the trio of recent projects.

“We are a true design agency; we don’t believe in fluff,” noted HUSH Partner David Schwarz. “We believe in creative projects born out of solid thinking, and our recent work boldly expresses that philosophy.”

Companies of all kinds approach HUSH with the challenge of creating compelling content for yawn-prone audiences. When technology company gopogo wanted to promote its new social networking software, for example, it asked HUSH to conceive of a quirky, attention-grabbing visual concept.

Strings is an inventive spot that tells a gopogo-powered love story using mostly strings. Oscar (represented by a moustache hanging from a string) is trapped in his mundane life (represented by simple paper-crafted sets of a bed, breakfast plate, bus stop, and office sliding rapidly across the screen) when he meets his dream love (represented by a red wig dangling from a string) and pursues her all night across their city as their tangled strings lead them to each other.

The quirky video emerged from extensive brand research and meetings with company representatives. “We locked on to the idea that gopogo refers to their software as creating “strings” that connect a person to all of life’s activities,” noted HUSH Partner Erik Karasyk. “This was a clear visual metaphor that led us to the use of real strings, yarn, and constructed props and sets.”

To execute the project, HUSH gathered an army of talented paper crafters in their studio, then rigged all the props and lighting so that they could move from scene to scene with quick gags: a lighting change, props pushing in or pulling out, or other visual cues. The setup worked like a photo shoot, but with bursts of movement to bring the story to life. Additionally, HUSH developed a roll out of related digital and physical experiences that extend and broaden gopogo’s string metaphor.

When Chobani yogurt launched a new children’s product, they reached out to HUSH via digital agency Big Spaceship, to complete a difficult character-design and animation project.

They pulled the feat off with the Champlify video, which stars a family of bubbly animated characters in a constantly morphing world.

“In most of the character design projects we’ve been a part of, the marching orders are clear: design an iconic, unique character to lead the brand’s visual identity,” noted Schwarz. “Chobani Champions was actually much more difficult in that they did not want a brand mascot. Rather, they needed to create a piece led by childlike characters who could jump, point, play and interact, but didn’t assert themselves as a new brand identity.”

Another impressive recent animated effort came for MARSH, who commissioned HUSH to create a project that would inspire their global workforce and create internal and external buzz.

The IGNITE film for MARSH uses a Saul Bass-inspired aesthetic to follow a hero on an Odyssean journey. A woman hands a man a road map which catapults him through dark woods, into hot air balloons, and onto the stormy seas in an epic quest. Explosive, overstated graphics embolden the tale as the hero swings, dives and climbs his way through danger to protect his ultimate treasure.

HUSH is continuing at full speed, with interactive experience projects for Nike and Gillette in the pipeline. “All of our work is smart, meaning that it’s a result of a creative strategy and a close working relationship with our clients,” said Schwarz. “The output of that initial creative strategy is varied; it could be a complex, multi-part interactive experience or a targeted design project generating a single piece of content. It’s this mentality that keeps us going.”

Visit HUSH

About HUSH
HUSH is a design agency. We craft visual concepts and design for digital experiences and creative content. We are Thinkers and Makers.

Brand Collaborations:
Nike, Sony Ericsson, Nokia, Microsoft, Zune, HP, Coca-Cola, Honda, Hyundai, Acura, Kiehl’s, E*TRADE, MARSH, Random House, Dove, Stylecaster, Showtime, Esquire, MTV, Syfy, Discovery, HBO, PBS, Cartoon Network, Nickelodeon, Starz, among others.

Agency Collaborations:
McGarryBowen, McCann Worldgroup, Jack Morton Worldwide, Momentum Worldwide, Mindshare Entertainment, George P. Johnson, Grey, BBH, Sapient, space150, Central Planning, among others.

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

Following a two-year hiatus to travel the world and freelance, top sound designer and mixer Eric Hoffman is returning to audioEngine, where he spent four years from 2006 to 2010. Known throughout the production industry as a trusted and dependable engineer able to record, sound design and mix in collaboration with editors, producers and directors in fast-paced work environments, Hoffman has been welcomed back to audioEngine with great enthusiasm.

“Having Eric come back on board here at audioEngine is exciting news for everyone in our business,” exclaimed audioEngine partner Rex Recker. “He left us as a senior assistant and it’s just fantastic that he’ll be rejoining us as our newest full-up mixer. His amazing talent and upbeat personality will reinforce that audioEngine is the place to mix your audio in NYC.”

“Starting off at audioEngine was the most valuable experience in my development as a mixer, and I’m excited to rejoin the team,” stated Hoffman. “It’s an honor to be asked back.”

In the last year, Hoffman has collaborated with Young & Rubicam, MTV, Fall On Your Sword and Mackenzie Cutler, among many others. He has contributed to spots for Wal-Mart, Victoria’s Secret, Nintendo, Quiznos, KGB, 2K Games, Castrol and History Channel.

Outside of the advertising space, Hoffman has been Beyoncé’s go-to sound designer for the past two years, providing sound design and mix for video content and live performances in conjunction with Parkwood Pictures, her production company. His work for Parkwood includes two long-form concert DVDs, one of which was nominated for a 2011 Grammy in the Best Long Form Music Video category.

In the feature film world, Hoffman’s work included sound design and mixing on three feature films in 2011 alone: Run To The East, Papirosen, and Not Waving But Drowning, as well as several short films, including Tokyo Rising for Vice and Snowballs, directed by Harmony Korine.

Visit audioEngine

About audioEngine
Since opening its flagship facility in New York City in 2002, followed by audioEngine West in Phoenix in 2004, audioEngine has earned its reputation as a leader in the audio postproduction market. The magic formula for this success – the ability to deliver a full range of superlative creative services to the advertising, broadcast, and film industries. Featuring eight show place mixing rooms, and an all-star roster of award-winning mixers, sound designers, and composers, audioEngine prides itself on delivering topnotch creative audio in a relaxed and efficient client-centric atmosphere. The flagship facility at 817 Broadway in New York City spans two floors totaling a generous 12,000 square feet of studio space and six studios. Capabilities include mixing for all Dolby formats, complete radio production, custom music, and sound design. audioEngine is led by partners Bob Giammarco, Tom Goldblatt, Rex Recker, and Brian Wick. The roster of mixer/sound designers features Kelly Harnett, Carl Mandelbaum, Brian Beatrice, Eric Hoffman and composer Jason Camiolo.

audioEngine contact: Sharon DiTullio-Tepper – sharond@audioengine.net

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

Elias Arts, the bicoastal music composition, strategy, and production company, claimed its stake at this year’s Super Bowl, creating and producing original music for four spots, including VW’s The Dog Strikes Back via Deutsch LA, the second most-viewed Super Bowl spot on the web, according to Ad Age. Elias also provided music for Hyundai’s All for One, Old Navy’s Corporado, and NBC Sports’ The Next One.

Visit Elias Arts

Credits
Client: Volkswagen
Spot Title: The Dog Strikes Back
Air Date: Super Bowl 2012

Music Co: Elias Arts
Composer: Jonathan Elias
EP: Ann Haugen

Agency: Deutsch Los Angeles
GCD: Michael Kadin
GCD: Matt Ian
ACD copywriter: Brian Freidrich
ACD/AD: Mark Peters
Senior Producer: Jim Haight

Prod Co: Park Pictures
Director: Lance Acord

Editorial Co: Union Editorial
Editor: James Haygood

Audio Post Co: Lime Studios
Mixer: Mark Meyuhas

—

Client: Hyundai
Spot Title: All For One
Air Date: Super Bowl 2012

Music Co: Elias Arts
Arranger(s): Christopher Kemp, Jonathan Elias
EP: Ann Haugen

Agency: Innocean USA
CD: Rober Prins, Max Godsil & Eric Spinger
Copy: Mark Erwin
Producer: Shelley Eisner

Prod Co: Ratting Stick
Director: Daniel Kleinman

Editorial Co: Cut + Run
Editor: Steve Gandolfi
EP: Michelle Burke

Audio Post: Eleven Sound
Mixer: Jeff Payne

—

Client: Old Navy
Spot Title: Corporado
Air Date: Super Bowl 2012

Music Co: Elias Arts
Composer(s): James Haun, Christopher Kemp
EP: Ann Haugen

Agency: Camp + King
CCO: Roger Camp
Producer: David Verhoef

Prod Co: Epoch Films
Director: Greg Bell

Editorial Co: Barbary Post
Editor: Doug Cox

—

Client: NBC Network
Spot Title: The Next Ones
Air Date: Super Bowl 2012

Music Co: Elias Arts
Composer: Jonathan Elias
EP: Ann Haugen

Agency: Anomaly
CD/Copywriter: Andy Carrigan
CD/AD: John Zast
Producer: Andrew Loevenguth

Prod Co: Supply + Demand
Director/DP: Tony Kaye

Editorial Co: Spot Welders
Editor: Ting Poo
About Elias Arts
Elias Arts is devoted to music composition, strategy and production. The company has employed the emotional strength of music and sound to launch, grow and reposition the most recognized brands and companies worldwide. Elias Arts has worked with well over half of the Fortune 1000 companies, and has also helped turn numerous startups into everyday brand names. Among the clients Elias Arts has worked with are AOL, Mastercard, Sony, Columbia Pictures, Nike, Apple, Coca-Cola, AT&T, Ebay, Honda, Intel, Visa, Yahoo, Universal Studios, Microsoft, McDonalds, ESPN and General Motors, to name just a few.

With offices in Santa Monica and New York City, global resources and a renowned roster of gifted composers, producers, and marketers, the mission of Elias Arts is to constantly strive for creative excellence and distinction through the art of music and sound design. The company is the recipient of over 700 major industry awards from around the world.

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