Archive for May 8th, 2012

The Hollywood Post Alliance Sales Career Resource Group Presents A Dramatic Face Off In High Noon: Shoot Out at the Editorial Corral

Popular Lunch Set for May 17th

(Los Angeles, CA) The Hollywood Post Alliance(r) Sales Career Resource Group (SCRG) will present High Noon: Shoot Out at the Editorial Corral, an in-depth look at the changing landscape of editorial tools. High Noon is set for May 17th at the Beverly Garland Holiday Inn in North Hollywood, CA, and will be moderated by Herb Dow, A.C.E. The panel discussion will take a studied look at today’s editing systems and how they stack up to the demands of creatives, including the limits and the benefits of the technology.

A respected group of editors, technology specialists and executives join Dow on the panel, including: Brandon Balin, Editor; Scott Carrey, Digital Media & Technology Specialist; Billy Fox, A.C.E.; and representatives from Adobe and Avid. Additional speakers to be announced.

The HPA(r) SCRG luncheons are engaging, expert-driven educational events that create community among sales, marketing and business development professionals, provide a forum of support and resources, and deepen the value of the HPA by exemplifying its ideals and commitment to the post production industry.

Registration for the event is $60 for HPA Members and $80 for Non-Members, and includes a buffet lunch. Early registration is encouraged as SCRG luncheon events sell out and higher fees will apply for onsite registrations. For event information and registration, please visit http://www.hpaonline.com or call 213.614.0860.

About the Hollywood Post Alliance(r)
Hollywood Post Alliance (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content.

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Media Contact:
Mimi Rossi, 818.303.8088
ignite strategic communications
mimi@ignite.bz

Codex Powers ARRIRAW Workflow for “Riddick”

Montreal’s Michel Trudel introduces Codex Onboard recorders and Transfer Station to Eastern Canada.

LONDON—Michel Trudel Inc., operators of Canada’s largest production studio, supplied Codex recording and workflow technologies to the long anticipated sequel to Pitch Black and The Chronicles of Riddick, tentatively titled Riddick. Codex Onboard recorders were used to capture ARRIRAW data from two ARRI Alexa cameras. A Codex Transfer Station was used for on-set dailies processing, back-up and deliverables production.

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QuietMan Dips into Full Arsenal for Baby Bottle Pops


QuietMan recently flexed its concept-to-completion bona fides with an animated/live-action hybrid spot promoting The Topps Company’s Baby Bottle Pops candy. The studio handled every visual element of the campaign, cranking out the live-action footage through their QuietContent division and handling the edit, postproduction and animation through their main studio.

The fast-paced spot features a trio of middle school-aged children who, in a cloud of glitter and smoke, transform into animated avatars after taking a dip from their Baby Bottle Pops. QuietMan’s engagement went so far as casting and wardrobing the actors, creating custom avatars for each actor in CG and directing their performances with the in-house motion capture system.

“Plenty of studios can handle multiple areas of production, but being able to shoot both live action and direct live animation is special,” stated Partner and Executive Producer Carey Gattyan. “Add that with our edit and post capabilities, and there really isn’t anything we can’t handle. This gives us a unique advantage with children’s products, especially, which often require some combination of reality and cartoon fantasy to appeal to kids’ rapidly changing sense of place in the world.”

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Credits
Client: The Topps Company
Spot Title: How Do You Dip?
Air Date: April 2012

Agency: UPROAR!
CD: Michael Anderson
ACD: Steven Block
Copywriter: Talia Rapp
AD: Javier Chacin
Producer: Nina Davenport

Production Co: QuietContent
Director: Johnnie Semerad
EP(s): Carey Gattyan, Bob Nelson
Producer: Brian Yeater

Post/Effects: QuietMan
About QuietMan
The brainchild of CD and Founder Johnnie Semerad and long-time collaborator EP Carey Gattyan, QuietMan is a high-end creative collective set in an innovative workshop atmosphere that fuels projects from concept to completion. A recently overhauled production department includes fully developed print, web and TV arms capable of producing multifaceted advertising campaigns with a specialty in high-quality, groundbreaking VFX.

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

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Headquarters Music Creates a Smooth Song For Google Play


Google Play has arrived, and more than five million people have already watched a retro oddball YouTube overview of the game/movie/book/app-sharing-and-shopping service. As cool as the capabilities of Google’s latest gadget may be, visitors seem equally impressed by the video’s pitch-perfect soundtrack – the work of Headquarters Music lead composers, The Gifted – demanding that the song “Touch Science” be converted into an extended downloadable track.

The eclectic, ambient song accompanies a narrator’s explanation of Google Play as a curious sequence of Rube Goldberg-esque hand cranks, levers, projectors and conveyor belts unfolds across a briefcase on the screen. Challenged by Director Jonathan Zames to create a song that sounded as though it emerged from the machine, Headquarters Music experimented with a range of textures and sounds to determine first what the objects in the box would sound like, then how to make them sound musical. “Our biggest obstacle was making what was happening onscreen – the cranks, hammers hitting out of time, telephone keys – sound both musical and sympathetic to the environment that Jon Zames created. I think in the end we did both,” said Lead Composer James Bairian. The studio experimented with various instruments and arrangements, finally bringing together a blend of synthesizers, tambourines, hand-claps, glockenspiel and found sounds that nailed the piece’s vibe.

“The track had to have an organic, mechanical sound to it, but at the same time, it had to be pretty and inviting, because they wanted people to feel comforted by the notion of this new service,” noted Headquarters Music EP Adam Levin. Lead Composer Louis Castle added, “It was important to select sounds from these disparate sources so that we could mirror the handcrafted quality of the machine. From there, it was easy to extend the piece into a full-length song at Google’s request.”

This Google Play spot is the latest in a long string of Google branding work for Headquarters Music. These pieces headline a portfolio that includes extensive branding work for Burger King and MTV’s spring break campaigns, multiple campaigns for McDonald’s, extensive work for Sony PlayStation, and recent spots from Maxwell House via mcgarrybowen.

This consistent success probably has as much to do with the incredible chemistry between the trio of company principals – EP Adam Levin and Lead Composers Louis Castle and James Bairian – as it does with their tremendous raw talent. “I often feel as though we’ve pulled off the crime of the century,” laughed Levin. “We get to come in here every day and make music with people we love working with, divorcing ourselves from the headaches of the music industry…and we get to take home a paycheck every month? I feel like we need to keep this a secret.”

Plenty of others have been getting paychecks through Headquarters Music as well, as the studio works with a sprawling corps of nearly 50 top freelance composers in specialties as diverse as string and horn arrangement, electronic music, songwriting, touring, production – an ensemble that ensures each client has access to their ideal musical accompaniment.

“We are laser focused on matching each client with their perfect musical counterpart. Maybe more than laser focused. Is there such a thing as a super-laser? We’re that.” noted Levin, whose massive web of connections was forged during his decade as an artist manager in the record industry. “As a business person who operates in the creative world, I’m very sensitive to artistic concerns – both from the agency creatives’ standpoint and the composers’. This ethos sets Headquarters Music apart in what can be a crowded and frantic industry and helps to explain why everyone who’s worked with us has returned.”

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Credits
Client: Google
Spot Title: “Introducing Google Play”
Air Date: March 2012

Agency: Studio G
Writer/Director: Jonathan Zames
Producer Yovel Schwartz
Line Producer: David Dranitzke
AD: Garrett Lowe
DP: Adam Santelli
Cameraman/ Motion Control Operator: Simon Wakley
Lighting: Joe Mendoza
Product Marketing Manager Paola Veglio

VFX/Editing: HOPR

Fabrication/Practical Effects: White Room Artifacts
Practical Effects Supervisor/Lead Fabricator: Don Bies

Music: Headquarters Music
Composer: The Gifted
Music Mastering: Mike Bozzi, Bernie Grundman Mastering

Sound Design/Mix: Sound Lounge
Sound Designers: Marshall Grupp/Tom Jucarone
About
Headquarters Music is a custom music house working in the media of commercials, television and video games. We focus on working with composers who have found success outside the work-for-hire world as recording artists, record producers and songwriters, and bringing their expertise to the world of composition for hire.

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

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Saccenti and Click 3X’s Szumski Co-Direct EL-P Trailer


Cancer 4 Cure, the latest album from alt hip-hop artist EL-P, may drop May 22, but fans of the Brooklyn rapper’s hard-charging lyrics and industrial production aren’t exactly known for their patience. To sate their hankering for the brand new tracks, fans are being treated to a series of teaser videos created for each song on the upcoming release, each directed by Timothy Saccenti from @radical.media. And when it came time to produce the eye-popping mix of CGI and live-action footage for series highlight, Drone, Saccenti turned to director Mark Szumski and his team at Click 3X for help.

Drone is a provocative dystopian trailer set against a deceptively bright world of blue skies, red roses, and a white picket fence. When what appears to be an insect buzzes on to the screen, the camera zooms close to reveal that the object is actually a tiny but technologically advanced robot drone. The next instant, a bird swoops from the sky and shreds the machine with its beak as the sky transforms into a nightmarish red-and-black storm.

“The drone had to look like it emerged from some black-op lab constructed by paranoid NSA scientists,” said Szumski. “It couldn’t look too futuristic or alien so that it wouldn’t look out of place among the rest of the teasers. It was imperative that the drone had a tremendous amount of detail because it was going to exist in a brightly lit world and be eaten by a real bird. It had to be absolutely believable once it was in the mouth of the hawk.”

Szumski and his team spent two weeks designing the drone while preproduction took place, giving them time to toggle between a variety of designs to arrive at something incredibly detailed that did not too closely resemble an insect. Simultaneously, the CGI team, led by Anthony Filipakis, constructed a photoreal hawk to sweep the drone from the flower garden. The team carefully calibrated the post work with live-action plates of a swooping hawk, reconstructing the lower beak and the nearby feathers in CGI for the drone-chewing scene and seamlessly integrating the various plates to make the disintegration of the robot look fluid and natural.

Szumski and Saccenti have joined forces for numerous projects over the years. Saccenti believes that strong collaborative spirit allowed them to make Drone “fitting with the haunting pace of the greater campaign while keeping the simplicity of the original idea intact.”

Szumski agrees wholeheartedly. “When I work with Tim, I get the opportunity to develop creative concepts, rather than just being a VFX artist. When he approached me with this one, I was extra excited, because it meant the chance to work for an artist that I respect so much in EL-P.”

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Credits
Artist: EL-P
Title: Drone Trailer

Production Co: Starworks Group
Co-director: Timothy Saccenti
Director of Photography: Kevin Hayden
Producer: Brody Baker
Production Designer: Andrea Huelse

VFX: Click 3X
Co-director/VFX Artist: Mark Szumski
Executive Producer: Robert Meyers
Head of CGI: Anthony Filipakis
VFX Artist: Liz Berndt
CGI TD: Sung Kim
CGI Texture and Lighting Artist: Grace Hwang
CGI Artist: Jongmoon Woo

Sound Design: Heard City
Sound Designer: Brian Scibinico
MD: Gloria Pitagorsky

Editorial: Final Cut USA, Inc.
Editor: Michael Dart Wadsworth
Assistant Editor: Spencer Campbell
President: Stephanie Apt
Executive Producer: Lauren Bleiweiss
Senior Producer: Viet-An Nguyen
About Click 3X
Click 3X, its interactive division ClickFire Media, and the recently launched C3X Live create engaging film, TV, web, and branded content. Positioned at the intersection of entertainment, advertising, and technology, the studios work in tandem or autonomously. Click 3X shoots, edits, designs, animates and creates VFX; ClickFire brings those disciplines into the interactive space; and C3X Live delivers branded content in-house from conception to full-service production to distribution. Click operates a full service, 11,000 square foot state of the art studio in Manhattan outfitted with 60 fulltime staffers.

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

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DUCK Throws a Knife Party with Latest Addition


DUCK has sliced two birds with one stone, considerably escalating its presence in both the live-action and animation realms with the addition of versatile director Knife Party. The Sydney, Australia-based talent – also known as Simon Robson – will focus on ad campaigns, full-length feature films, and cause-based special projects.

“We’ve entered an age when clients demand a production studio that can deliver any mix of animation and live action, in any length or format,” stated DUCK EP Mark Medernach. “In Knife Party, we have that rare talent that can do both, capturing the essence of a brand and delivering it in any imaginable format.”

Knife Party’s recent projects include award-winning animated work in a spot for MasterCard and a trailer for the SBS series Immigration Nation. In the live-action realm, he helmed an impressive spot for Australian telecom brand Telstra. A trio of NBC Universal spots promoting sustainable living brought his two specialties together, as 2D line-art animation flooded live-action footage. Other short-form work includes spots for Adidas, Nike and Save the Children. Knife Party’s long-form work includes the animated film Coalition of the Willing, animation for the Chris Atkins feature film Taking Liberties, and the 2003 film festival favorite What Barry Says.

Aside from films screened at major festivals across the world, Knife Party’s work has collected honors at ADFEST and Promax World. The Guardian website has featured his work, and he has been shortlisted for The British Design of The Year Award and nominated for a BAFTA.

“DUCK is the perfect fit for me,” noted Knife Party. “I like to stay busy with varied projects, and this is a studio that is always seeking new challenges, new clients, new ways of doing things. I can guarantee I’ll never be bored working around a group this driven and talented.”

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About DUCK
Los Angeles-based DUCK is a continually evolving creative studio producing commercials, music videos, short films and web content. DUCK offers a wide range of services, including live action and integration, character design, film title design, 2D and 3D animation, digital compositing, digital/traditional ink & paint. In recent years, the studio has expanded, adding an original content division that works with writers and animators on unique ideas for film and TV.

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

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Vision Globale Joins the KODAK Imagecare Program

(ROCHESTER, NY) Canada’s Vision Globale is the newest member of the KODAK IMAGECARE Program, a prestigious quality program for motion picture film processing laboratories. Vision Globale, located in downtown Montreal, is the first Canadian lab to gain accreditation into the KODAK IMAGECARE Program, a truly global initiative, with member labs in 23 countries worldwide.

The KODAK IMAGECARE Program includes rigorous quality standards that assure member labs adhere to established practices with full documentation of procedures and calibration. Kodak works very closely with laboratory personnel to assure these standards are met and maintained.

In 2001, Vision Globale opened a small, independent boutique film laboratory to expand their range of services to the entertainment industry. They have now received Phase I KODAK IMAGECARE Program accreditation for camera negative processing operations, indicating to filmmakers that critical film handling techniques and quality processing standards are being maintained by the facility.

“Over the years, Kodak has been a great partner in the ongoing task of achieving consistency,” says Paul Dion, Director of Operations at the lab. “The KODAK IMAGECARE Program accreditation gives us credibility and instant recognition of our continuous commitment to the highest quality standards and assurance that all assets entrusted to us will be handled with the utmost level of expertise. Throughout the process and right up to the final audit, we had the continuous support of Kodak. Our commitment to the highest-quality services has rewarded us with repeat business from enthusiastic filmmakers who count on us to bring their wildest projects to life. In a sense, the existence of a strong infrastructure is necessary to promote film as a superior medium.”

“We are delighted and proud to welcome Vision Globale as the first Canadian laboratory into the Program,” says Diane Carroll-Yacoby, worldwide manager of the KODAK IMAGECARE Program. “They are committed to excellence and delivering the best that film can offer a customer.”

For details on Vision Globale visit their website at http://www.visionglobale.com/

Visit www.kodak.com/go/imagecare for further information on the KODAK IMAGECARE Program.

Assessed as meeting Kodak Imagecare Program standards in Camera Negative Processing

Media Contact:
Kelly Mandarano
Eastman Kodak Company
(585) 724-0903
Kelly.mandarano@kodak.com

Film Chest Builds End-To-End Restoration Pipeline with Digital Vision Tools

Innovative Company with Extensive Classic Film Library Unearths and Restores Media Gems with Golden Eye III and Phoenix

(Los Angeles, CA) Digital Vision has announced that Film Chest has chosen the Golden Eye III film scanner and Phoenix, the industry’s premium film, video and digital restoration and mastering solution, to power their expanded pipeline for television and motion picture restoration and distribution. The Golden Eye III film scanner and Phoenix restoration software were installed earlier this year in Film Chest’s Bridgeport, Connecticut facility. Film Chest Media Group was founded by Philip E. Hopkins and Ralph E. Stevens, who helm the company.

Film Chest owns and distributes thousands of titles, boasting one of the largest libraries of classic movies and television series’ in the world. They provide high-quality content to pay cable, public and broadcast television, motion pictures, streaming, distribution, and a variety of other professional uses. Their collection is also notable for its archive of orphan films and family collections. Film Chest delivers to networks, studios and the growing array of outlets including Hulu, Netflix, Turner Classic Movies and American Movie Classics, Amazon, iTunes, Verizon FiOs, and Vudu as well as servicing other libraries.

Given the nature of the projects they work on, and the condition of the elements, it was crucial that they develop a high-quality solution to their restoration needs. Phil Hopkins, Founder and President of Film Chest, stated, “We were committed to building an in-house facility to create the highest quality elements possible, not just for our projects, but for the libraries that we manage on behalf of a number of content holders. In the midst of all of our extensive work, we realized that it was simply inefficient to send negatives away for scanning. After we investigated all of our options, we found that the Golden Eye III and Phoenix offered us an amazing solution, from scan to final with great Digital Vision support, and hardware and software integration.”

After quality, output became the top priority for the Film Chest team. Hopkins continued, “With 200 features to do each year, we had to have a high degree of accuracy and efficiency. Beginning the process with Golden Eye III and going thru the process of Phoenix is an extremely proficient model. In the near future, when the integration of metadata is complete, we will be incredibly efficient in our service.”

Hopkins and Stevens were familiar with the Digital Vision product line from references in the industry and their extensive research. Stevens stated, “Working with Digital Vision’s products, we considered them to be the high-bar of quality, and Phoenix had become our reference point into the world of restoration. We knew that Digital Vision had nailed the algorithms for dust-busting and grain reduction. Some of the other platforms could accomplish similar goals, but in weeks, not in hours. Phoenix was the only one that could do it on the time scale we needed. Hands down, Phoenix has been the best solution for our needs.”

Hopkins offers an example of how efficient the pipeline is for Film Chest. “‘The Strange Love of Martha Ivers’ is a perfect example of a problematic film. The print belongs to the Library of Congress, and we were working with them towards a Blu-ray release of the film. We asked The Library to make a transfer, but when we began to work on the restored master they sent, the film was shrunken and destabilized. I spoke with the head curator, and they agreed to send us the original film elements, which is an extremely rare occurrence. The Golden Eye III transfer was absolutely as good as it could be, and the restoration was much better than it would have been on its own.”

He concluded, “We must have a powerful ability to work with problem films, from S8, to 16, to old 35, we need to make the very best elements possible. We manage a complex and frequently problematic library. This pipeline has given us an arsenal of tools that help us create beautiful and lasting projects. We couldn’t be happier with the Golden Eye III and the Phoenix.”

Kelvin Bolah, President of Digital Vision, noted, “The Film Chest team have been very thorough in the evaluation of our technology and competitive solutions. They are a very impressive group of people, and based on their in-depth knowledge and due diligence they have chosen to work with what they consider to be the best tools in the market. Their stringent processes gives total validation to the efforts of our strong product management and R&D teams. We wish Film Chest undoubted success as they continue to grow and develop their business.”

About Digital Vision
Digital Vision was founded in 1988 in Stockholm, Sweden. With offices in Stockholm, London and Los Angeles, and Linkoping in Sweden, Digital Vision has developed Emmy award winning technology for the Broadcast and Post Production marketplace. In 2005, Digital Vision acquired Nucoda Ltd and integrated its technology into the Nucoda product line. This has resulted in the leading colour grading, finishing and mastering solutions that are used to create much of the world’s high profile television, film and commercials media broadcast today. The Phoenix restoration software solutions and Golden Eye range of scanners – in addition to the Nucoda range – provide innovative tools to create the industry recognized highest quality HD, 2K/4K and stereoscopic 3D images. In April 2011 Digital Vision acquired Image Systems and is now a division of the Image Systems group of companies.

All trademarks used herein, whether recognized or not, are the properties of their respective companies.

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Digital Vision Marketing Contact:
Alexa Maza | alexa.maza@digitalvision.se | Tel: +1 (818) 769-8111

Digital Vision USA PR Contact:
Ignite | Christine Purse | chris@ignite.bz | Tel: +1 818 303 8088 | Mobile: +1 323 806 9696

Digital Vision EMEA & Asia PR Contact:
Jump PR | Kate Ford | kate@jumppr.tv | Tel: +44 (0) 1932 240001 | Mobile: +44 (0) 7740 948 065

NEP Studios Selects Autoscript Teleprompting Gear to Help Automate Newsroom and Studio Productions in New York

SHELTON, CT, MAY 8, 2012—NEP Studios, a division of NEP Broadcasting, LLC, and one of the largest independent providers of studio production and post-production facilities in Manhattan, recently purchased a quantity of Autoscript equipment for use at its Studio 33, Studio 52, Studio 54, 5th Avenue Studio and Midtown Studio locations. By selecting teleprompters and prompting software from Autoscript, part of Vitec Videocom, a Vitec Group company, and the world’s leading teleprompting company, NEP Studios is able to streamline and help automate the variety of productions it works on.

Known for its premier talent and technical expertise, NEP Studios recently purchased a series of 17- and 19-inch teleprompter monitors (LED17TFT and LED19TFT, respectively), 15-inch talent monitors, +ClockPlus+ timecode displays and +WinPlus-News+ software from Autoscript for use in five of its nine state-of-the-art studio facilities in Manhattan. Autoscript’s LED17TFT and LED19TFT wide-angle, on-camera prompters incorporate the latest in Autoscript’s illumination technology, the TFT (thin-film transistor) LED system. Unlike CCFLs (Cold Cathode Fluorescent Tubes), which take many minutes to reach full efficiency and light output, the LED17TFT and LED19TFT offer instant warm-up to full brightness. In addition, these on-camera teleprompters come with a wide-angle hood, making them optimal for news- or studio-based productions.

“The equipment is being used in various ways, from a standard prompting system with talent monitor and clock showing running time, to a more sophisticated solution integrated with the Avid iNEWS or ENPS systems, depending on the installation,” says Frank Lanzer, senior engineer and project engineering manager for NEP Studios. Autoscript’s +WinPlus-News+ software is a powerful and versatile prompting package that features user-friendly drop-down menus and configurable display options. The +WinPlus News+ package comes complete with a configurable five-button Deskpad Optical Scroll Control and a PCI Promptcard, which provides two video outputs (PAL/NTSC) and Genlock option. Autoscript now also offers the WinPlus PCI card with an optional SDI card with five video outputs.

+WinPlus-News+ is compatible with all leading newsroom systems, including ENPS and iNEWS, which allows NEP Studios to integrate show rundowns and clip information. The incorporated use of both ENPS and iNEWS with the WinPlus software provides NEP Studios with an all-in-one solution for show rundowns, cues and prompting.

“The studio setup is fairly straightforward, so we are using the complete Autoscript solution,” says Frank Lanzer, senior engineer and project engineering manager for NEP Studios. “From mounting plates and weights to monitors and clocks, Autoscript has given us a simplified, scalable solution without the need to fabricate any mounting brackets—we can quickly reconfigure the prompters as needed for a particular application.” The +ClockPlus+ is an LED SMPTE/EBU timecode display that has the added feature of changing color from green to red when a suitable Tally input is applied.

The New York NEP Studios were built and configured for the specific needs of individual clients, so the equipment used varies between locations. Typically the studios’ equipment complement includes Vinten pedestals and Jimmy Jibs, with prompters, talent monitors and +ClockPlus+ displays, shooting with either Sony or Thomson HD cameras, using Canon and Fuji lenses. What’s more, the studio infrastructures includes Trinix and Concerto routing switchers, EVS and K2 disk recorders, Sony XD Cam Decks, Kalypso, Kayak and Sony 8000 switchers.

For more information and to find an authorized Autoscript dealer, please visit www.Autoscript.tv or contact ussales@autoscript.tv.

About Autoscript?
Established in the UK in 1984, with headquarters in the US and the UK, Autoscript is the world leader in the prompting industry. Autoscript provides a complete range of teleprompters for PC and the i-Series, the best designed and built hardware, PC cards and software, and—with its expanding line of intuitive accessories—is the new definition in prompting. Autoscript is a member of the Vitec Group. For more information visit www.autoscript.tv.

About Vitec Videocom
Vitec Videocom brings together some of the most respected, most innovative and most sought-after brands in the industry: Anton/Bauer, Autoscript, Litepanels, OConnor, Petrol Bags, Sachtler, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business.

Vitec Videocom is an operating division within the Vitec Group, an international business serving customers in the broadcast, photographic and military aerospace and government markets. Vitec is based on strong, well known, premium brands on which its customers rely on worldwide.

Vitec Videocom – innovative products around the camera.

Soundsonline.com Offers 30% Off Most Titles

A two-week, site-wide promotion to answer the needs of
serious composers in every style

Hollywood, CA (May 8, 2012) – Soundsonline.com, the industry leader in virtual instruments distribution, is offering 30% OFF THE LIST PRICES of most EASTWEST, BEST SERVICE, and ZERO-G purchases made from May 7 through May 21, 2012. The EASTWEST offer also includes upgrades and licenses.

EASTWEST, based in Hollywood California, offers the most critically acclaimed line of virtual instruments for composers. EASTWEST virtual instruments are considered to be the best available, and are endorsed by the who’s who of the music, film, TV, and games industries, including Danny Elfman (Spiderman, Nightmare Before Christmas, Terminator 4), James Newton Howard (The Dark Knight, King Kong), John Powell (Hancock, The Bourne Trilogy), Thomas Newman (Revolutionary Road, WALL-E, Lemony Snickets), Brian Tyler (Fast and the Furious, Dragonball), Chris Beck (Pink Panther 2, Under the Tuscan Sun), David Newman (The Spirit, Cat In The Hat, Ice Age), Steve Jablonsky (Desperate Housewives, Transformers), Paul ‘Wix’ Wickens (Keyboards/Musical Director, Paul McCartney), Herbie Hancock (12-time Grammy Winning Pianist and Composer), Teddy Riley (Producer Michael Jackson “Dangerous” and “Invincible”), David Kahne (Producer Paul McCartney), and countless others.

Best Service, based in Munich, Germany, and Zero-G based in Devon, United Kingdom are prolific developers and publishers of a large collection of fine virtual instruments and sample libraries. Both Best Service and Zero-G have been exclusively represented by EASTWEST in North America for more than two decades.

This promotion makes the finest composers tools available for a fraction of their normal cost.

No matter what your style, genre, or professional goals are, now is a great time to invest in your music. There’s something for everyone at Soundsonline.com.

For complete promotion details and ordering information, visit www.soundsonline.com or www.soundsonline-europe.com for European customers (Best Service and Zero-G products are not available from the European store). Promotional prices may not be combined.

About EASTWEST
EASTWEST (www.soundsonline.com) has been dedicated to perpetual innovation and uncompromising quality of Sample Libraries and Virtual Instruments for 24 years, setting the industry standard as the most critically acclaimed soundware developer.

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