Archive for March, 2012

Black Toast Music Scores with High Profile Music Placements in Feature Films “American Reunion” & “The Oranges,” and TV Shows “Smash,” “New Girl,” “Parks & Recreation,” “Royal Pains,” “True Blood,” “Raising Hope,” “Modern Family,” “Dexter” & “Happy Endings”

Chatsworth, CA, April 2, 2011—Prominent independent music publisher and production music library Black Toast Music and its CEO/owner/founder Bob Mair have announced the company’s latest music placements within a number of high profile feature film and TV projects.

Black Toast has placed a piece of Pop/Hip Hop music, entitled “I Can Be The One,” within the upcoming Universal Studios’ feature film comedy “American Reunion.” The film premieres nationally on April 6th. Written by Atlanta based writer/producer Renald Francoeur, “I Can Be The One” is a sexy/sultry Pop/Hip Hop song that the supervisors and producers of the film quickly recognized as a perfect fit for their scene.

Additionally, Black Toast has also placed a Pop Jazz song, “Sunny Day Blues,” featuring LA based singer/songwriter Jill Freeman, in the upcoming 2012 release of the film “The Oranges,” a comedy/drama/romance staring Hugh Laurie and Leighton Meester.

Black Toast also continues its success in placing music tracks within a number of popular network and cable TV series. Some of these latest placements include:

“True Blood”: “You’re So Mean,” featuring Black Toast Records’ “Blues” artist Biff Scarborough

“Raising Hope”: Black Toast Music has created several “custom” songs for the show, including a ‘50s Western “Valentine’s” song, and a variety of Mariachi, as well as other styles which have also been created for the show on an as-needed basis.

“Modern Family”: Black Toast’s Hip Hop songs “Booty Shakin’” (featuring Black Toast Records artist G-$tack) and “Let’s Ride” (featuring Black Toast Records artist St. John) were both featured.

“Dexter”: Latin Reggaeton/Hip Hop songs “Callate” and “Do You Want It” featuring Black Toast Records artist Cash El Principe), “Gobierno,” featuring Costa Rican based Latin artist Paco, Euro/Electro/Dance song “All Night Long,” featuring British artist Geoff Pinckney, and many other songs by Fernando Lechuga and Francisco “Chico” Guerrero have been featured.

“Happy Endings”: Mariachi song “El Jarabe Tapatio” (“The Mexican Hat Dance”) (arranged by Ed Smith)

“Smash”: Jazz songs “Paolo’s Song” (Eric Von Essen), “Poor Me” and “Tip Toe” (Tommy Reeves), Euro/Electro/Dance songs “Always Be Together” and “Do It Again,” featuring British artist Geoff Pinckney, “Skin Flick,” and “What You Lookin’ At” (both featuring Black Toast Records artist G-$tack), and “Amnesia” (Brian “Hacksaw” Williams), as well as many other Black Toast Music tracks have been used so far this season.

Other placements include:

“New Girl”: “Gonna Fly Tonight” (featuring Black Toast Records artist St. John)

“Parks & Recreation”: “Clair de Lune” (arranged by Mark Gasbarro)

“Royal Pains”: Hybrid Orchestral Rock song “Come Get Some” (Chris Hodges)

In addition, Black Toast has also announced that the company has provided the theme song featured within the new Style TV Network series “Our Big Fat Weight Loss Story.” That series presents a variety of unfit families who work together to transform themselves into healthy, happy individuals. The Style Network is a unit of E! Entertainment Television.

ABOUT BLACK TOAST MUSIC:

Founded in l990 by noted musician/composer/producer Bob Mair, Black Toast Music is a leading independent music publisher/production music library and record label based in Chatsworth, CA. Since its launch, the company has placed music in many hundreds of television series, including such hits as “True Blood,” “Dexter,” “Treme” and “The Wire.”

Black Toast also supplies music to TV specials and TV movies; dozens of high profile motion pictures, including “American Reunion,” “The Oranges,” “Arthur,” “When In Rome,” “I Love You, Phillip Morris,” “Dead Silence,” “Jiminy Glick,” and others; videogames such as “Dance Dance Revolution” for Konami; Internet and National advertising campaigns such as Domino’s Pizza, and numerous, multi-media presentations. Black Toast Music contributed the main title theme (composed by Bob Mair and David Feldstein) for the hit Nickelodeon animated TV series “Glenn Martin, DDS” (created by Michael Eisner’s company Tornante). The series airs on Nick @ Nite.

“Black Toast Records” was launched as a new label within the company during Fall 2011. The formation of the label was in response to the overwhelming demand from fans that have heard Black Toast music in various films and TV shows. The label allows those fans the means by which to find, listen, and buy the latest releases from dozens of the great indie artists and singer/songwriters whose music Black Toast has placed in hit TV series and movies.

Among the artists whose music is represented by the Black Toast Records Label are Hermanos De Alma, Arias Troubadours, St. John, Sonny Ellis, Paul Otten, G-Stack and Kelly Pardekooper. Black Toast has previously placed music from these indie artists within “True Blood,” “Treme,” “Supernatural,” “Modern Family,” “Weeds,” “How I Met Your Mother,” “Sons of Anarchy,” “30 Rock,” “CSI Miami,” and countless other entertainment properties. For the first time, these tunes are now for sale via Black Toast Records.

For more information about Black Toast Music and Black Toast Records, please see www.blacktoastmusic.com

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Modus FX Brings the Winter to Mirror Mirror

Montreal Facility Delivers 194 Shots in Eight Weeks


Montreal: March 30, 2012… Modus FX completed 194 shots in a remarkable eight weeks for Mirror Mirror, Tarsem Singh’s whimsical adaptation of the popular Snow White folk story. Modern-day behavior and speech are set in a rich fairytale world, creating a light-hearted coming-of-age story for audiences of all ages. While larger-than-life characters, such as the wicked queen, played by Julia Roberts, drive the narrative, the sets and costumes are crucial for establishing the magic and the feel of the film.


Shot on a sound stage in Montreal, sets for the winter scenes used artificial snow and trees, and painted backdrops. However, once production had begun it became clear that additional work would be needed in order for these scenes to look authentic on the big screen. Modus FX was called in to deliver CG refinements, a daunting task given the tight production schedule.


In total, the team had eight weeks to complete 194 shots. “We needed to enhance and extend the backgrounds in every direction,” said Martin Pelletier, CG supervisor at Modus FX. “The challenge was to produce a large number of shots in a short time, and make sure the results were believable for the audience.”


“We knew that a shot-specific approach would be too time-consuming,” Pelletier explained, “so we broke down the 194 shots into 12 groups, divided according to depth-positioning of the cameras. Then we created new 2D background cards for each set of shots.”


The solution included photos of birch trees captured in the nearby Laurentian mountains. These were applied to the 2D polygons and seamlessly composited into the 3D environment, creating a “2.5D” effect. Modus then added rocks and other landscape elements, along with falling CG snowflakes to enhance the verisimilitude of the shots. The final results were a combination of live-action, 2D backgrounds and 3D elements blending flawlessly to create believable outdoor winter scenes.


“It was essential for the story that it looks like the actors were in a real forest,” Pelletier said. “Our team delivered that.”


“We received calls from the other facilities, who were also working on the film, asking for our set up for the falling snow,” said Wayne Brinton, VFX supervisor at Modus. “They had been asked to match our look.”


“The VFX community in Montreal works well together,” added Brinton, “and that allows us to manage large projects, handing off shots and CG elements between studios. The process is as seamless as the results on the screen.”


“It is rewarding to work on a number of shots, plus the limited time we had to do them, and have that turn into something we’re proud of,” Brinton said.


This is the second project for Modus with director Tarsem Singh, having previously created a surreal combat sequence for his film Immortals.


Produced by Relativity Media, Citizen Snow Film Productions and Rat Entertainment, Mirror Mirror stars Julia Roberts as the Queen and Lily Collins, as Snow White. The film was directed by Tarsem Singh and saw theatrical release on March 30, 2012.


About Modus FX
Since launching in 2007, Modus FX has become an industry leader in high-end feature film visual effects, boasting an international clientele and a talented team of hand-picked artists from around the globe. Led by co-founders Marc Bourbonnais and Yanick Wilisky, Modus has developed a unique approach to creating digital effects, combining a cutting-edge production pipeline with personalized ongoing project coordination. The studio collaborates with each director through the artistic process, from the editorial script and on-set supervision to final delivery. Based just outside Montreal, Modus offers a full scope of services in its modern 12,000-square-foot studio. For more information, visit www.modusfx.com.

BiG MACHiNE Reveals Top-Secret Antics with Main Titles for FOX Comedy Series “Breaking In”

LA-Based Visual Production Company Creates Captivating Frozen Moment to Introduce Season 2 Episodes

Adam F. Goldberg Productions, Happy Madison Productions and Sony Pictures Television tapped visual production company BiG MACHiNE to create the main titles for the FOX comedy series “Breaking In,” starring Christian Slater. The cinematic, VFX-driven opening sequence for Season 2 creatively presents the show’s principal characters around sidesplitting antics at the fictional Contra Security Firm. The new main titles for “Breaking In” debuted on March 27, 2012 with episode #205 entitled “Game of Jones.”

Moving through various wings of Contra headquarters in captivating frozen moment, the firm’s oddball geniuses are introduced one by one: Cameron (Bret Harrison) solders the wrong part of a circuit board, igniting a dramatic display of sparks; ever-cunning Contra head-honcho Veronica (Megan Mullally) laughs hysterically to the point of spilling her coffee; fanboy Cash (Alphonso McAuley) shoots up the office with a Nerf gun causing Molly (Erin Richards) to hurl a flurry of paperwork; and concluding the sequence, Oz (Christian Slater) burns a top-secret document while puffing on a cigar and blowing smoke rings toward the camera.

To view, please go to: http://bigmachine.net/works/breaking-in/

BiG MACHiNE Creative Director Ken Carlson, who recently directed the main titles for the ABC sitcom “Suburgatory,” and Creative Director Steve Petersen combined their graphics, VFX and live-action production talents to create the mixed-media show open. The duo collaborated closely with “Breaking In” creators Adam F. Goldberg and Seth Gordon (“Four Christmases,” “Horrible Bosses” and acclaimed documentary “King of Kong: A Fistful of Quarters”), as well as the show’s Co-Producer Sandi Hochman.

“Both Steve and I have known Seth for many years,” remarks Carlson. “We all worked together on a USA pilot before Steve and I formed Big Machine in 2003. Since Seth comes from a motion design background, he was very respectful of the process, our time and resources. It was a very collaborative process, from the pitch stage to post-production.”

With the second season of “Breaking In” focusing more on the workplace dynamics rather than the crew’s fieldwork adventures familiar in Season 1, the show’s creators wanted to better reflect the new direction with a completely new main title sequence. Retaining only the typeface used for Season 1, the overhaul included the introduction of several new regular Season 2 cast members.

All of the live-action footage was specifically shot for the opening sequence, with BiG MACHiNE using the same Arri Alexa cameras used in production in order to maintain continuity with the look and feel of the show. For the pivotal frozen moment effect, BiG MACHiNE tapped its closely guarded “Glidetime” technique, drawing on methods that Petersen developed utilizing a handheld camera for a recent National Geographic documentary about the St. Valentine’s Day Massacre.



“Due to the style of ‘Breaking In,’ we decided against using the handheld technique with this project,” explains Carlson. “The technical challenges were having to do full 3D tracks on multiple scenes, performing background repair to remove some of our rigging structures, and creating and rendering photo-real 3D objects.”

Carlson and Petersen transcoded the shots using Adobe After Effects and created all of the 3D effects in Cinema 4D. All compositing was then completed in After Effects.

“It’s always a creative challenge to fit so many images into just 20 seconds,” concludes Carlson. “By utilizing the frozen in time effect, we were able to pull it off and creatively introduce each character through their unique personality traits in a manner that complimented the comedic tone and overall context of the show.”

Client: Adam F. Goldberg Productions, Happy Madison Productions and Sony Pictures Television
Airdate: Spring 2012
Compositing, design & animation, editorial and live-action direction: BiG MACHiNE
Creative Director(s): Ken Carlson, Steve Petersen
Senior Producer: Matt LeBoeuf
Technical Lead: Benjamin Weinlich

About BiG MACHiNE:
BiG MACHiNE is an award-winning visual production company founded in 2003 by Steve Petersen and Ken Carlson. BMD has produced visuals for everything from: film titles, advertising, TV shows, games, multi-screen experiences and mobile devices. Recent clients include Ubisoft, Nike, NFL Network, Warner Bros. / ABC, and Chevy.

bigmachine.net

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COUNTRYMAN MICS ON THE SET OF MTV’S “PUNK’D”

*** Sean O'Malley preps a car with the B6 ***

Los Angeles, CA – March 2012… MTV’S “Punk’d”, airing March 29 at 10pm ET/PT, is a groundbreaking hidden camera series that features a different celebrity host each week playing complex, hilarious and fun punks on their famous friends. Whether it’s on the set or out and about, some truly outrageous responses get documented. It’s all in good fun, of course, and capturing these moments requires a variety of special equipment. That’s precisely why the B6 Omni .1-inch diameter lavaliere microphone from Menlo Park, CA-based Countryman Associates is on the scene. more

CodecSys Expands OTT Solution By Optimizing Content Services From Vivicast

Broadcast International and Vivicast unite to expand Media and Content to OTT & IPTV Providers

Santa Clara, CA – Broadcast International, Inc. (OTCBB: BCST.OB) and Vivicast Media jointly announced their alliance today from OTT Con 2012. The agreement calls for joint services to be offered to mutual customers and partners who deliver next-generation IPTV and OTT solution offerings.

The race to bring an expanded lineup of video broadcast programming to users over a variety of mobile devices and IP-based networks is heating up and the driving distinction for television, broadcast, and service providers is the diversity and breadth of their channel lineup and content offerings. IPTV providers and Content Services Providers must break out of their pre-programmed, structured lineups to enable custom menu choices made available to any deivce over any IP network.

Vivicast boasts the industry’s leading lineup of programming and content from sources around the globe. Its unique approach enables providers to build custom packages and complimentary programming to be delivered Over-The-Top to end users anywhere over any network. And now that invaluable video content will be treated by CodecSys™ from Broadcast International and delivered at dramatically lower bitrates with much higher quality.

Terms of the agreement were not disclosed but the solution is immediately available and under evaluation by several joint customers and prospects.

Stuart Smitherman, CEO of Vivicast noted, “We’ve built the most robust lineup of programming content for IPTV and OTT network providers in the industry. It is critical to protect the value of our offerings by ensuring the final user enjoys the highest quality viewing experience possible, regardless of how the access or view the content. CodecSys ensures that every program, every stream, on every device is delivered with Cinema-Quality Video at the lowest bandwidth possible. It delivers tremendous network efficiencies while improving the viewing experience of our content”.

Steve Jones, General Manager of the CodecSys Division added “Our customers are under constant battle to retain their subscribers and one of the most compelling means to do so is to deliver a broader and customizable lineup of programming choices. Vivicast can instantly rejuvenate a providers offerings which will secure customer loyalty, prevent attrition, and stave off competitive threats. Their turn-key approach, coupled with our platform provides a streamlined OTT solution that can be deployed in very short order”.

About Broadcast International, Inc.
Broadcast International is a leading provider of video-powered broadcast solutions, including IP, and digital satellite, Internet streaming and other types of wired/wireless network distribution. BI’s patented CodecSys software is a breakthrough, multi-codec video compression technology that cuts video bandwidth requirements over satellite, cable, IP and wireless networks. By slashing bandwidth needs, CodecSys enables a new generation of applications such as streaming video to cell phones, and offers unprecedented price/ performance benefits for existing applications such as HD video.
Broadcast International is a public company (OTC BB: BCST) headquartered in Salt Lake City, UT. On the Web www.brin.com and www.codecsys.com.

About Vivicast Media
Vivicast Media is the greatest source for Over-The-Top, mobile , CATV and IPTV programming. The company is leading the way for the changing world of entertainment programming with a vast mix of sports, music, 3D and entertainment programming aimed at satisfying today’s multi-screen requirements. As a multi-screen and multi-national content licensor, Vivicast Media also holds exclusive content licensing rights for certain networks that can be made available to qualified video operators in the US and internationally.

On the Web www.vivicast.com

Company Contact:
Cameron Francis
Vice President Products
Broadcast International
801-562-2252
pr@Brin.com

Investor Contact:
Michael Koehler or Matt Glover
Liolios Group Investor Relations
949-574-3860
bcst@liolios.com

Press Contact:
Harriet Diener
Desert Moon Communications
845-512-8283
harriet@desertmooncomm.com

Boxx Communications to Debut Meridian Lite and Meridian Tallis at NAB

(LOS ANGELES) Boxx Communications, the North America headquarters and official reseller for Emmy Award(r)-winning manufacturer Boxx TV, will unveil Boxx TV’s latest available technology, including the Meridian Lite and the Meridian Tallis, at its booth (C7219) at the NAB Show(r). The annual conference will be held in Las Vegas, Nevada, April 14-19. Boxx’s Meridian product line is used on a wide variety of projects from the upcoming James Bond film Skyfall, to the live Brit Awards, and Emmy Award-winning Modern Family, among others.

“Our demonstrations at NAB will illustrate the ongoing development and innovation in the product line,” notes Boxx Communications Owner Mark Walker. “The team at Boxx is constantly in the field, working events, in venues, and with broadcasters. Our understanding is derived from hands-on experience and drives us to continually evolve and improve our products. What Boxx offers is an incredible option for the industry in terms of functionality and affordability. In many, many tests, we have beaten head-to-head ratings with the more expensive, and in some cases more well-known, competitors.”

The Meridian Lite is an affordable, entry-level RF HD camera system with zero-delay transmission for live broadcast and videography. The less than $10,000 price puts the technology in reach of more budget-conscious users, and is upgradable to Boxx TV’s full-featured, high-end Meridian wireless RF HD camera system. With its lightweight, wireless transmitter, Meridian Lite supports full 4:2:2 video including all formats up to 1080/30p, and delivers uncompressed, artifact-free broadcast video and sound in synch.

Conference goers will also get their first look at the Meridian Tallis, an iris control and tally indicator accessory that provides tally and iris only control, and complements any brand of broadcast camera on a wireless rig or Steadicam. The product is small enough to mount on any camera and the control knob gives accurate high-resolution control to the iris. As Tallis only controls the lens, there is no black level or red/blue gain control, but at a price of around $3,500, it opens up a solution to productions where iris only control is sufficient.

“The Meridan Tallis solves the tricky problem of providing iris control for a variety of different manufacturers’ cameras by tapping directly into the lens to adjust the aperture,” explains Boxx TV co-founder Scott Walker. “There simply isn’t another solution as this price point to control the iris on wireless camera rigs. This enables you to match the brightness of the video from a wireless camera with other cameras.”

In addition to the Meridian Lite and the Meridian Tallis, Boxx will also be demonstrating the Meridian System which provides 4:2:2 uncompressed video with zero delay; the Cobalt system which offers an alternative to COFDM systems with a bi-directional packet acknowledgement protocol that offers extremely robust transmissions; the Cerulean which delivers the quality and reliability of full HD uncompressed fiber link in a cable-free, wireless environment; and a prototype of a lightweight h.264 HD system designed for UAV (unmanned aerial vehicles) including a quadcoptor.
For more information about Boxx Communications, visit www.boxxusa.com or call 310.287.1285.

About Boxx Communications
Boxx Communications is the Los Angeles-based headquarters and official North America reseller for Boxx TV, an Emmy Award(r)-winning manufacturer. Boxx Communications provides the broadcast industry with a wide range of innovative digital microwave systems for live broadcasts, as well as Steadicam, portable field, video assist and ENG applications. The Boxx product portfolio includes the Meridian System which provides 4:2:2 uncompressed video with zero delay; the Zenith Wireless system which is designed for HD live productions, big screens, helicopters, and reality shows where range and signal reliability are essential; and the Meridian Tallis, an iris control and tally indicator accessory that provides tally and iris only control, and complements any brand of broadcast camera on a wireless rig or Steadicam. Boxx is revolutionizing the industry with reliable, cost-effective, and groundbreaking technology. Continually innovating, constantly advancing, Boxx Communications offers impeccable solutions. For more information about Boxx Communications, visit www.boxxusa.com or call 310.287.1285.

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Media Contacts:
ignite strategic communications
Sally Christgau (sally@ignite.bz / 415.238.2254)
Chris Purse (chris@ignite.bz / 818.303.8088)

Students of the Academy of Music and Theatre Hamburg Learn Tricks of the Trade With a HARMAN Studer Vista 5 Digital Console

Professor Andreas Hübner, head of the AV Media Centre at the Academy of Music and Theatre Hamburg

HAMBURG, Germany – With approximately 750 students, the Academy of Music and Theatre Hamburg (HfMT) is one of the major music academies in Germany and offers an artistic and scientific education in all areas of music and theatre. One of the Academy’s hallmarks is its AV Media Center, at the heart of which lies a HARMAN Studer Vista 5 digital mixing console.

HfMT’s AV media center includes a recording studio and a video production studio, plus an audio control room for the recording of live events that take place in the Academy’s 450-seat theatre. The theatre hosts up to 10 opera productions per year, as well as productions by the Academy’s drama students. The AV Media Center’s equipment is used on a full-time basis by the Academy’s students, who are expected to familiarize themselves with the technology.

The Vista 5 console at HfMT is equipped with 32 faders. The central unit of the DSP system, the SCore Live engine, is equipped with four DSP cards and is housed in an equipment room along with other media and audio technology components. The exchange of audio and control data between the CPU and the D21m I/O system takes place via a fiber optic network.

A total of 216 and 208 outputs are available in different formats. The Studer I/O system can also be easily adapted to existing audio patchbays.

The Studer Vista 5 console was sold through Audio Pro, Studer’s Germany distributor.

For more information on Audio Pro, please visit www.audiopro.de

For more information on the Academy of Music and Theatre Hamburg, please visit www.hfmt-hamburg.de

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets — supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.2 billion for twelve months ending December 31, 2011.

Broadcast International Joins Industry Consortium, DASH Promoters Group

SALT LAKE CITY, UT and LONDON, ENGLAND – Broadcast International (BCST.OB), a leading provider of video management software and services for next-generation video IP networks, joined the DASH Promoters Group (DASG-PG), a new organization comprised of technology leaders dedicated to driving the broad adoption of MPEG’s DASH (Dynamic Adaptive Streaming over HTTP) specification (ISO/IEC 23009), which was ratified in November 2011.

DASH addresses the evolution of Internet video by defining a universal delivery format which provides the best possible video experience while dynamically adapting to changing network conditions as video streams to devices. Founded by Microsoft, Netflix and Qualcomm, DASH-PG is comprised of a cross section of industry leaders across the multimedia and video delivery ecosystem.

“Joining the DASH Promoters Group allows us to highlight the strength and flexibility of CodecSys as the industry is coalescing around MPEG DASH creating a singular standard for streaming protocols,” said Steve Jones, general manager at Broadcast International. “With a simple software module, we are able to showcase how we address the constantly changing IP video landscape to ensure our clients have the best and most relevant software technology to support evolving video formats and protocols.”

About The DASH Promoters Group
The DASH Promoters Group (DASH-PG) is a group of interested parties collaborating on promotion of MPEG’s DASH specification (ISO/IEC 23009) in the industry and other standards organizations and consortia. DASH-PG is not a standardization group and will not develop any specific technical output that can be referenced by industry. To learn more about the DASH Promoters Group, visit www.dashpromotersgroup.com.

About Broadcast International Inc.
Broadcast International Inc. is a leading provider of video-powered broadcast solutions, including OTT (over the top), video on demand, IPTV, digital satellite, and other types of wired/wireless network video distribution. BI’s patented CodecSys software is a breakthrough, multi-codec video compression technology that cuts video bandwidth requirements over satellite, cable, IP and wireless networks. By slashing bandwidth needs, CodecSys enables a new generation of applications such as streaming video to cell phones, and offers unprecedented price/ performance benefits for existing applications such as HD video.

Broadcast International is a public company (BCST.OB) headquartered in Salt Lake City, UT. For more information, visit: www.brin.com and www.codecsys.com

Forward-Looking Statements
All statements in this news release that are not based on historical fact are “forward-looking statements” within the meaning of the Private Securities Litigation Reform Act of 1995 and the provisions of Section 27A of the Securities Act of 1933, as amended, and Section 21E of the Securities Exchange Act of 1934, as amended (which Sections were adopted as part of the Private Securities Litigation Reform Act of 1995). While management has based any forward-looking statements contained herein on its current expectations, the information on which such expectations were based may change. These forward-looking statements rely on a number of assumptions concerning future events and are subject to a number of risks, uncertainties, and other factors, many of which are outside of our control, that could cause actual results to materially differ from such statements. Such risks, uncertainties, and other factors include, but are not necessarily limited to, those set forth under the caption “Additional Factors That May Affect Our Business” in the Company’s most recent Form 10-K and 10-Q filings, and amendments thereto. In addition, we operate in a highly competitive and rapidly changing environment, and new risks may arise. Accordingly, investors should not place any reliance on forward-looking statements as a prediction of actual results. We disclaim any intention to, and undertake no obligation to, update or revise any forward-looking statement.

Company Contact:
Cameron Francis
Vice President Products
Broadcast International
801-562-2252
pr@Brin.com

Investor Contact:
Michael Koehler or Matt Glover
Liolios Group Investor Relations
949-574-3860
bcst@liolios.com

Press Contact:
Harriet Diener
Desert Moon Communications
845-512-8283
harriet@desertmooncomm.com

Audio Post Production House, Mixopolis, Adds A Fairlight Xynergi To Increase Full Project Development

NEW YORK, New York- Nestled in the heart of New York City, premier audio post production house, Mixopolis, recently purchased a Fairlight Xynergi system in order to maximize potential and optimize workflow within their state-of-the-art mixing facility, providing television and radio advertising agencies high quality promotional material.

Mixopolis, who prides itself on being a full service audio post house, deploys Fairlight for post work including voiceover recording, lock to picture, sound effects and sound design. The ability to intake all audio and video formats through the Xynergi console allows them to stay on top of the game and offers the flexibility to handle any project.

Currently featuring work on Macy’s ‘Shop For A Cause’ campaign as well as other television spots and shows for NBC and HBO, Mixopolis continues to grow. With the addition of another Fairlight system, this time a Xynergi, Mixopolis looks to extend their reputation for delivering quality projects and top-notch client service from start to finish.

The addition of Fairlight’s Xynergi provides a secondary system that will allow the Mixopolis team to access projects and files while their other studio rooms are occupied. “It’s great to have the ability of prepping files or projects on the stand alone system,” said Mitch Raboy, owner, Mixopolis. “It fits perfectly in the area near our music library and is easy to access by everyone.”

For a system that wasn’t originally meant for full project development, Raboy and his team have been able to utilize it extensively due to ease of use and ability to edit material very quickly. “We all love the Constellation we have in our mixing room. This makes it easy for our team to take advantage of the second system. To our surprise it has been used regularly and we’ve even done a few complete projects on it.”

Speaking highly of Fairlight, Raboy continued,” We’ve maintained an upgrade path and still have and use the CC1/Constellation in house, which has been a work-horse throughout the years.”

“The addition of Fairlight to be able to drag and drop any file format to the timeline has been the deal maker,” Raboy added. “This was a huge step in the process to save time. We can now store video with the project and don’t need any other peripherals.”

Although Raboy and his team are not new to the workings of the Xynergi, some of the settings and processes of the console continue to make projects simpler. “The automation is great, being able to copy past projects to the current timeline saves time when working on multiple versions of a commercial. Having touch-sensitive faders and knobs under my hands is awesome. It’s great not having to use a mouse. Whatever knob or setting you’re looking for it’s right on the console.”

“Overall Fairlight has been there through it all and helped us to do our jobs at the highest level. The support has been outstanding and gives us confidence that we can tackle any job that comes our way,” Raboy summed up.

For additional information on Mixopolis, please visit: www.mixopolis.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.

TeleCable To Launch Over-The-Top (OTT) Services Built on CodecSys

Local Channels to be Broadcast to Any Screen

London, England – Broadcast International (BCST.OB), and TeleCable jointly announced today at IPTV World Forum 2012 that TeleCable, one of the largest cable and media network companies in Mexico, has selected CodecSys from Broadcast International as the core video management platform to launch its Over-the-Top video programming service.

TeleCable, will launch a package of both live and file-based programs and services to be streamed over the Internet in support of various screens and mobile devices. Initially, the offering will include local channels and content.

CodecSys will stream multiple profiles for multi-device consumption enabling TeleCable to create dynamic bundles for consumers based on content and devices. The decisive factor in selecting CodecSys was the high level of video quality that the service produces at bandwidth rates that create a cost advantage.

Although specific terms were not announced, the agreement is modeled upon the needs of the business. Building an OTT offering requires flexible configuration and dynamic deployment, and only CodecSys, a true software-based platform that delivers cinema quality content, can meet that requirement. The traditional means of purchasing hardware-based products does not adapt or support the new OTT economy.

“We are committed to delivering the highest value content to our customers. Many of them wish to access complimentary programming services over the Internet. We reviewed several alternatives and found that CodecSys was unique in both the design of its product architecture as a software platform and its performance ability. It truly does deliver the highest quality video we’ve experienced at these bitrates. CodecSys is flexible and open, which will allow us to future-proof our encoding and transcoding services. It will change with us as our needs change. We are confident that this is just the first step of a long-lasting relationship with Broadcast International”, said Luis Vielma Ordoñez, COO of TeleCable.

“TeleCable is on the cutting edge of the OTT programming revolution, and very advanced in their technological leadership. This new offering will be the standard-bearer for the rest of the market and we’re honored to be a part of it. The time is upon us where a flexible, software-based platform becomes the distinguishing factor in vendor selection. We will couple this advantage with world-class service and support and stand shoulder to shoulder with TeleCable” said Rod Tiede, CEO, Broadcast International.

About Broadcast International
Broadcast International is a leading provider of video-powered broadcast solutions, including OTT (over the top), video on demand, IPTV, digital satellite, and other types of wired/wireless network video distribution. BI’s patented CodecSys software is a breakthrough, multi-codec video compression technology that cuts video bandwidth requirements over satellite, cable, IP and wireless networks. By slashing bandwidth needs, CodecSys enables a new generation of applications such as streaming video to cell phones, and offers unprecedented price/ performance benefits for existing applications such as HD video.

Broadcast International is a public company (OTC Bulletin Board:BCST.ob – News) headquartered in Salt Lake City, UT. For more information, visit: www.brin.com and www.codecsys.com.

About TeleCable
Telecable is one of the five largest cable operators in México. With 36 years in the market, Grupo Hevi (Telecable´s Headquarters) has formed a first level business structure, offering cable TV and Internet broadband with their own production channels, advertising and telephony services. Telecable has presence in the states of Jalisco, Michoacán, Colima, Querétaro, Aguascalientes, Guanajuato, Nayarit, Chiapas and Tamaulipas.

For more information, visit www.telecable.net.mx

Forward-Looking Statements
All statements in this news release that are not based on historical fact are “forward-looking statements” within the meaning of the Private Securities Litigation Reform Act of 1995 and the provisions of Section 27A of the Securities Act of 1933, as amended, and Section 21E of the Securities Exchange Act of 1934, as amended (which Sections were adopted as part of the Private Securities Litigation Reform Act of 1995). While management has based any forward-looking statements contained herein on its current expectations, the information on which such expectations were based may change. These forward-looking statements rely on a number of assumptions concerning future events and are subject to a number of risks, uncertainties, and other factors, many of which are outside of our control that could cause actual results to materially differ from such statements. Such risks, uncertainties, and other factors include, but are not necessarily limited to, those set forth under the caption “Additional Factors That May Affect Our Business” in the Company’s most recent Form 10-K and 10-Q filings, and amendments thereto. In addition, we operate in a highly competitive and rapidly changing environment, and new risks may arise. Accordingly, investors should not place any reliance on forward-looking statements as a prediction of actual results. We disclaim any intention to, and undertake no obligation to, update or revise any forward-looking statement.
Contacts: Broadcast International

Company contact:
Steve Jones
1-801-562-2252
steve.jones@brin.com

Cameron Francis
Vice President Products
Broadcast International
801-562-2252
pr@Brin.com

Press contact:
Harriet Diener
Desert Moon Communications
845-512-8283
harriet@desertmooncomm.com

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