Archive for June 7th, 2012

Huntsville, Alabama – PESA, a leading U.S.-based custom design and build manufacturing company for professional audio and video signal distribution, will introduce its new HDcctv 32×16 routing switcher at InfoComm 2012 (Booth N1327), which runs June 13-15 in Las Vegas, Nev.Designed specifically for the HD CCTV market, it is fully compliant with the HDcctv Alliance™ high definition video interface standard for security and surveillance systems.

Using a single RG-59 coax cable for each port, users can connect up to 32 HDcctv-compliant video cameras to the PESA HDcctv matrix switch and output up to 16 individual coax connections for HDcctv DVR or display devices. Unlike IP-based switches and hubs using a distributed 10 Gbps backbone, the HDcctv 32×16 allocates a dedicated 1.5 Gbps transport for each device connected to the router.

All inputs are auto-equalized and outputs reclocked to transmit 720p25/30, 720p50/60, or 1080p25/30 video resolutions up to 300 feet. Two independent reference inputs allow easy selection of genlock from black burst or a tri-level sync source.

“Today’s video security customers are looking to upgrade their legacy CCTV systems to high-quality video imaging components,” said Dan Holland, PESA vice president of product marketing. “HDcctv products, such as our new 32×16 matrix switch, allow system installers a quick and easy way of expanding security system performance without compromising on image quality, worrying about IP video latency, or spending hours learning how to setup a network management system. HDcctv works just like traditional analog CCTV systems, but offers high definition video performance at a cost effective price point.”

Housed in a compact 1 RU frame with a front load, hot-swappable matrix card, the HDcctv 32×16 offers an optional redundant power supply and control card. It provides control interfaces for PESA’s Ethernet control system or can be configured to support many third-party control systems. Plus, theHDcctv 32×16 supports an optional local pushbutton control panel, up to 80 remote control panels, or control via a unique PESA software-based soft-panel.

Founded in 2009, the nonprofit HDcctv Alliance develops and manages the technical interface specification for HDcctv, which was developed from broadcast industry standards and specialized for surveillance needs. The industry association promotes the adoption of HDcctv-compliant products and provides education for equipment manufacturers and their customers. The world’s first HDcctv-compliant routing switcher, the HDcctv 16×16, was introduced by PESA in late 2011.

About PESA

As a leading provider of audio/video connectivity, PESA offers a wide selection of routing switchers, matrix switchers, extenders, converters, media extenders, and signal processing gear to support government, military, industrial, commercial, broadcast and mobile truck applications. PESA offers one of the widest ranges of AV products – from large scale fiber optic routing to single-point CAT-5 DVI extenders – each with the integrity and innovative high performance technology expected from PESA. Our products are available around the world from a leading team of channel partners offering local support and installation; and all of our products are supported by 24/7 technical support. To learn more about our technologies and services visit www.pesa.com. PESA is located in Huntsville, Alabama with regional offices throughout the United States.

All products mentioned herein are trademarked property of their respective owners.

DENVER, CO, JUNE 7, 2012 – To strengthen its market position further in the Americas, DPA Microphones (InfoComm 2012 Booth C9850) has chosen Eric Mayer to serve as president of the company’s U.S. operations. A fixture in the pro audio industry for more than two decades, Mayer will utilize his expertise in the market to help the company continue its growth stateside.

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CHICAGO— Editor Bob Ackerman of The Colonie has teamed up with Leo Burnett Chicago to create two new spots for The Beef Checkoff. These are the first spots by The Beef Checkoff in quite a while and take a fresh approach to a well-known campaign.

Invitation and Island feature a reworking of The Beef Checkoff’s theme music, Aaron Copland’s Rodeo. The spots use a more intimate solo piano arrangement of the traditionally orchestral song and don’t reveal the iconic melody until midway through the commercial. more

ELKHART, Indiana – JPJ Audio today announced it has taken delivery of 26 HARMAN Crown Audio VRACKs, an amplifier management rack system solution. The VRACK features three built-in Crown I-Tech 12000HD amplifiers, providing an easy-to-configure, plug-and-play solution that eliminates the need to build amplifier racks.

Designed to work in conjunction with JBL VERTEC(r), VRX, and AE series loudspeakers, the system’s modular design is highly scalable and is designed to meet the needs of both small and large sound systems.

“We purchased the Crown VRACKs and replaced all our existing amplifiers that were driving our JBL VERTEC line arrays,” explained Jim Straw, CEO at JPJ Audio. “It gives us a new, lightweight packaged amplifier solution as well as access to the new JBL V5 VERTEC presets. It was the way other companies around the world were heading and so we decided to push VERTEC forward again and change the amplifiers. The decision to purchase was driven primarily by the presets.”

“The VRACK will help to set the standard for VERTEC systems everywhere in the world,” added Straw. “VRack ensures an optimum power match for all VERTEC models combined with uncompromised sound quality. Given its versatility, it can be used on VERTEC one day and then a monitor rack the next day.”

As soon as JPJ Audio’s VRACKs arrived they were put to work on the Lenny Kravitz Black & White tour mixed by Laurie Quigley. The PA system consisted of JBL VERTECs; 12 deep on the mains and nine deep on the sides with 12 subs a side and eight subs in the center. The JBL VERTEC was driven by 12 VRACKs, six a side situated behind the subs on side left and stage right.

Laurie stated that he was very happy with the JBL VERTEC on the new racks especially once the programs were written so that he could control different bands in groups.

“The VRACKs worked really well on the Australian tour and I was extremely happy with the sound quality,” he added. “The VRACKs are very versatile; you can do whatever you want with regards to turning certain amps up or down. We had a good sound system, good crew, good company. The gear is only as good as the company that preps it and only as good as the crew that puts it in the air.”

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(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). 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 $4.3 billion for the twelve months ended March 31, 2012.

Building the Bridge from Planning to Post


Montreal, QC: June 6, 2012 … Modus FX has opened a new previs division at its production facility north of Montreal. Since Modus first got involved with previs with its work on the 2011 sci-fi thriller Source Code, the company has been refining its tools and techniques to launch this new service offering. Now using concept artistry, stunt choreography, and other techniques in previs, Modus has accomplished one of its original goals: bridging preproduction to post.


“What we’ve added are excellent tools for planning, inspiration and communication,” said Yanick Wilisky, VP Production at Modus. “This now allows us to offer artistic solutions to filmmakers before shooting begins, saving them valuable time and resources once they’re on set.”


The process begins differently for each project, often with the writing itself. “Previs is great because it connects us with the creative aspect of the writing,” explained Wilisky. “We start from text and ideas, figuring out how we want to tell the story and in what order.”


The previs crew at Modus visualizes how the shots could be done, then communicates that to the production team. They suggest camera angles, as well as the distance of the camera from the actors, making it easier for the director to determine the sequence of shots and how to film them. The timing and number of shots is all worked out in previs, so the director can accurately schedule each day’s shooting.


“On films, we have preproduction meetings with the heads of all departments at the production office,” said Wilisky. “We show them the previs set-ups, which help clarify for everyone how to organize the filming. Even the actors are able to block out what they are going to need to do in each shot.”


Another innovation is that shots can be designed so that the camera is moving instead of the actors, using previs data to drive motion-control camera rigs. The process saves valuable production time because filming occurs in a studio instead of on location.


“We can have an actor sitting on a motorcycle on a static rig with a greenscreen behind him,” Wilisky explained. “The camera will move, mimicking what we set up in previs, making the motorcycle look like it’s going 100 mph. Or, for a shot of the devastating effects of an earthquake, we reversed the normal process, moving a camera around stationary actors. It meant we didn’t have to build an expensive on-set rig and shoot for days.”


On-set Concept Art Reduces Production Time


Modus is also extending and developing the role of concept art for visual effects work by bringing an illustrator on set for preproduction and production work. Working at tremendous speed, concept artist Nicolas Cloutier delivers sketches and visual ideas to help the director craft scenes, design CG and practical elements and set the ambience for different sequences. Cloutier’s images are then passed on to the VFX team for development, ensuring optimum efficiency in the realization of the director’s vision.


“At Modus we use sketching to help filmmakers clarify their ideas,” explained Cloutier. “On set the VFX supervisor takes a picture and then I sketch into the image to see what we can do with the shot, for example, to rough in a set extension or to visualize CG characters.”


Cloutier’s sketches provide a direct connection to postproduction, serving as a reference for the VFX team, as well as a starting point for their work. The illustrations serve other purposes as well, for example for bidding on jobs – both to present ideas to the client, and to help Modus cost out new projects.


“Nicolas is a very gifted artist, but the thing that most amazes people is how fast he can work,” said Wilisky. “This is great for directors and producers because it allows us to test ideas for shots during development, while we’re checking out locations and even camera positions.”


Choreographing Stunts in Previs


For an upcoming Hollywood production, Modus gave the previs to the stunt coordinator so he could choreograph all the stunts accordingly, shot by shot with the stunt actors, before production even began. When they got to the set, the stunts were not only choreographed, but everyone knew what angles to use.


“Doing this stunt choreography in previs brought our work to another level,” Wilisky added. “It accelerated shooting time, helped communication between different departments, and saved the filmmakers money.”


In addition to the ability to plan the angle and timing of each shot, Modus is finding the previs process works for directors and cinematographers who prefer to shoot on the fly and capture the moment. “We’re working with some directors who are inspired by the previs, not following it shot by shot,” Wilisky said. “Rather, they use it to give them an idea of angles before shooting.”


“What I love about previs is the way it bridges the preproduction world to postproduction, allowing VFX artists to be closer to the reality of the filmmaker,” Wilisky said. “It has always been our goal at Modus to integrate everything we do with production. With these previs solutions, we just moved a whole lot closer.”


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 handpicked 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.

BURBANK, CA, JUNE 7, 2012—From the All-Star Game to the Stanley Cup finals, Bexel, a unit of the Vitec Group’s Services Division, and a leading worldwide provider of broadcast services, has been building a successful partnership with the National Hockey League (NHL). Throughout the season, the league has increasingly involved Bexel in the planning of its broadcast productions, enabling the NHL to take full advantage of Bexel’s wide spectrum of offerings, including broadcast-infrastructure streamlining, frequency coordination, engineering expertise and state-of-the-art broadcast equipment rentals.

“NHL initially asked us for help with an issue they were having with their RF and fiber infrastructure, and this led to working on a series of projects for them,” says John Mills, business development manager, Bexel. “Throughout the past year, each of these projects has demonstrated the extent of our capabilities, further building the NHL’s trust in our solutions. With every new project, we get more involved from a planning and logistical perspective, ultimately accomplishing the task at hand with great success.”

The major project that helped cement the relationship between Bexel and the NHL was the 2012 NHL All-Star Game, which took place at Ottawa’s Scotiabank Place earlier this year. Bexel’s team of engineering experts coordinated the production’s complex wireless operations and helped to establish a fiber system that added great efficiency to the large, star-studded event for broadcasters, including the NHL Network, NBC, CBC and RDS. “At this year’s NHL All-Star Game, Bexel was charged with improving workflows,” says Justin Paulk, broadcast fiber solutions manager, Bexel. “To do so, we worked with the NHL to support all of the rights holders with cable assignments for the 46 camera locations throughout the facility. From managing the internal broadcast infrastructure, including fiber optic cables and audio/video cables, to getting each of the rights holders’ requirements, Bexel worked closely with the NHL and their clients ensuring that the appropriate signals were distributed throughout the arena. The key to our success was the pre-planning and on site project management that went into it.”

To help establish faster, more lightweight connectivity between the NHL Network truck outside and the set indoors, Bexel created its Fiber Booth Kit solution for the event. “Instead of having to run many copper cables, the fiber rack allowed us to run just two cables,” adds Paulk. “The distance between the set and the truck was exceptionally long, so by utilizing our fiber rack system, it allowed for easy configuration and resulted in a more streamlined setup and strike.”

Prior to the game, Bexel engineers performed on-site copper and fiber cable testing and certification at Scotiabank Place. Walk-throughs were also held with each rights holder prior to game day to ensure all wireless technologies—including player and referee microphones, goal cams, in-ear monitors and wireless radios—wouldn’t interfere with one another. “This year being our second NHL All-Star Game, we had a lot more in place in terms of process and how we handle the media and their RF spectrum needs,” says Jim Dugan, RF engineer, Bexel. “From the way we interact with the media to the pre-event coordination efforts that we’ve established, our custom frequency coordination package is designed to provide the overall media an interference-free experience. It’s a very big event, especially considering the media coverage, as well as the number of fans participating in interactive event experiences.”

As a full-service solutions provider, Bexel’s expertise derives from its ability to provide all facets of a client’s needs, including equipment rental, integration and frequency coordination. Above all else, however, is the company’s extensive engineering support. In anticipation of the playoffs, the NHL tasked Bexel with setting up new fiber racks in each of the playoff arenas. This would allow for the officials’ review of goals as well as being able to provide video to the officials from the broadcast feed league-wide. “Essentially the NHL needed a group to partner with to ensure all of the playoff teams would have the same new system installed in each arena,” concludes Paulk. Once the racks were shipped to each arena, Bexel supplied a team of engineers to go into each facility back-to-back, and install the new cabinets, reroute the cabling to the truck compound and catwalk, provide training at the local venue and then head to the next arena.

Looking to the playoffs and the Stanley Cup Finals, Bexel provided more video equipment, including camera accessories and interconnectivity equipment, for the NHL Network set and truck. In addition, Bexel’s audio team will come into play on a larger scale, as the league is working to implement a new, more secure encrypted referee mic system for the start of the 2012 season. Bexel is also in the midst of helping the league manage its facilities remotely from its offices in New York, as well as provide other solutions that allow for remote access to the mics, video feed, official reviews and truck feeds from across the country.

“After the success of working together this year, the NHL has truly experienced all that Bexel has to offer,” adds Mills. “This is just the start—we are working with our partners and bringing the very best technology to the NHL and future-proofing that technology as we install it. We like to think of our relationship growing to the point where we’re more than a service or equipment provider, but a partner, and we value being a part of the team.”

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

A Snapshot of The Vitec Group
Vitec is an international Group principally serving customers in the broadcast, photographic and military, aerospace and government (MAG) markets. Listed on the London Stock Exchange with 2011 revenue of £351 million, Vitec is based on strong, well known, premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Imaging & Staging, Videocom and Services. Imaging & Staging designs, manufactures and distributes equipment and accessories for photography, video and events. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production teams and film crews. More information can be found at http://www.vitecgroup.com.

Montreal, Canada, June 7, 2012 — Matrox Graphics Inc. today announced that its four-input/four-output Mura MPX board has been selected by Trenton Systems to power a small and easy-to-use video wall controller PC, which will be available through Synnex in the USA. The Systems Contractor News (SCN) Top 50 integrators will now have access to a system that can capture up to four High-bandwidth Digital Content Protection (HDCP) video streams in full 1080p HD without dropping any frames or decimating pixel quality and both manage and control operations such as scaling, picture-in-picture, overlay, and content switching from the controller itself or through network devices such as laptops, desktops, tablets, or Crestron® touch panels.

Availability
The new Trenton TVC4502 Bundled Video Wall Controller will be available as of Q3 2012. For more information regarding Mura MPX Series boards, please visit Matrox Graphics or contact us.

Anton/Bauer Batteries Helped Resolve Unique Filming Challenges

STUDIO CITY, CA, JUNE 7, 2012—To meet the needs of his wide-ranging career as one of the most in-demand cinematographers in film, James Mathers is always on the lookout for dependable, long-running batteries. That’s why he counts on Anton/Bauer®, part of Vitec Videocom, a Vitec Group company, and a premier global provider of batteries, chargers, lighting and other mobile power systems for the professional broadcast, video and film industries, for power solutions. For his most recent shoot, the indie thriller Brake, Mathers once again used Anton/Bauer batteries and accessories, with great success.

Brake, starring Stephen Dorff and directed by Gabe Torres, posed unique challenges for Mathers. Dorff stars as Jeremy Reins, a Secret Service agent who is held captive in the trunk of a car and endures mental and physical torture as terrorists attempt to extract information for their plot against the U.S. president. Since the film is shot almost entirely inside what appears to be the trunk of a moving car, Mathers chose the RED ONE digital cinema camera to capture the dramatic events of the film.

“The RED ONE has a good appetite for power, especially when you’re running accessories like the zoom motor and monitors,” says Mathers, who equipped his two RED ONE cameras with six Anton/Bauer HyTRON 140® batteries. “The Anton/Bauer HyTRON 140 dependably powers the camera for well over an hour. Another thing about the HyTRONs in particular is that there are no air travel restrictions.” The HyTRON 140 is a 140 Wh NiMH battery, designed for the power demands of today’s HD gear and on-camera lighting systems. Offering excellent counterbalance for lens weight, it is ideal for a high-current draw and can be used with portable HMI lights. On Brake, Mathers took advantage of the HyTRON 140 to also power his 1’x1’ Litepanels when working with water necessitated using only DC power for the safety of the actor.

Additionally, Mathers would not have been able to meet the special needs of the shoot without Anton/Bauer’s signature Gold Mount® system, which ensured that the RED ONE camera was always securely locked to a battery despite the constant rough movement the camera endured during filming. “In order to get Stephen to look like he’s bouncing around in the trunk, we had to hard-mount the camera onto the vehicle and then physically bounce the vehicle around,” he says. “The sturdiness of the three-point Gold Mount adapter made it certain that the battery stayed on the camera even if it was violently jostled in order to get the effect of the actor doing the same inside the trunk. Other batteries probably would have flown off the camera during the violent shaking. One of the things I like best about Anton/Bauer is the fact that I can use one power solution for the many different types of cameras I use, whether it’s ARRI, Panasonic, or Sony.”

Providing power requirements ranging from 7.2 to 28V, the Anton/Bauer Gold Mount system is the most widely used battery mounting system by professionals in the industry. Thanks to Anton/Bauer’s strong relationships with key camera manufacturers, the Gold Mount is available as factory standard equipment on many models.

“The ability to see the battery status on the camera itself was also a huge asset,” Mathers adds. Anton/Bauer is the only battery manufacturer authorized by RED for communication with the RED ONE using the QR-RED Gold Mount. The battery’s remaining run time is displayed directly on the camera’s LCD via Anton/Bauer’s proprietary InterActive® Viewfinder fuel gauge.

The Anton/Bauer QR-HOTSWAP-GM also helped Mathers meet other requirements of the Brake shoot. “The whole system gives you lots and lots of flexibility regarding how you can set up your camera and accessories to fit into the space as necessary,” he adds.

In his 30 years of using Anton/Bauer products, Mathers, who also serves as the president of the Digital Cinema Society, has found the batteries have never been more indispensible than on the Brake shoot. He also holds the Anton/Bauer customer support team in high regard, citing its high level of efficiency. “Filming an indie movie like Brake is a fast-paced, sometimes chaotic experience, so when a piece of equipment needs attention, either for repair or upgrading, I need the problem solved as quickly as possible so as not to hinder production. Anton/Bauer has come through again and again in this area and they have been my go-to battery throughout my career, and will remain so for upcoming projects.”

For more information, please visit www.antonbauer.com.

About Anton/Bauer
Anton/Bauer is recognized as the world’s innovator and a premier provider of batteries, chargers, lighting and other key mobile power systems for the professional broadcast, video and film industries. Based in the United States in Shelton, CT with offices in Europe and Asia, Anton/Bauer was established in 1970 and has expanded its product offerings to include many signature lines such as its leading Gold Mount® system, InterActive® chargers and Logic Series® batteries such as the HyTRON® 50, 100 and 140, and DIONIC® 90, 160, HC and HCX. Their products are compatible with every camera brand on the market today. Other Anton/Bauer high performance products include the Ultralight® 2, ElipZ®, CINE VCLX and the Tandem 150 Modular Charging System. Their superior-quality products have become an industry standard. For more information on Anton/Bauer, visit www.antonbauer.com.

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, 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.

The Queen’s Jubilee Concert was a major talking point of the UK’s weekend-long Diamond Jubilee celebrations in London, and XL Events is proud to have been a major part of this highly prestigious event.

Responding to a commission from the show’s Lighting Designer, Durham Marenghi, XL Events’ Project Manager, Steve Greetham, worked for several weeks to specify and supply equipment and crew, both for the stunning projection mapping onto Buckingham Palace, and the onstage wraparound LED screens and IMAG cameras for the concert stage. This was cleverly built around the Queen Victoria Monument in front of the Palace.

For the much-talked-about Buckingham Palace projections, XL Events supplied a total of 36 Barco FLM HD 20K projectors arranged in 6 stacks of 6, 12 Barco Image Pros and 2 Lightware DVI matrices, all under the watchful eye of Master Projectionist, Andy Joyes and his team.

XL Events also provided the monitoring which was utilized by D3 Technologies for the video mapping and playback of video on the Palace. The animation was commissioned by Sam Pattinson, creative director for the projections, using content from a number of different animators.

The projections were a major highlight of the show.

XL Events also provided approximately 600 tiles of Pixled FX-11 LED which formed the large wraparound screen on the main crown-shaped concert stage.

The onstage screens were fed with an IMAG mix of the array of superstars performing including Stevie Wonder, Sir Tom Jones, Kylie Minogue, and Sir Paul McCartney, using XL’s Sony Z-series HDV cameras, Panasonic camcorders, and monitoring.

The onstage provision was managed by Crew Chief, Graham Vinall, with the screens providing an essential part of the show for the public, both in the crowd and at home.

In addition to providing the public screens, XL Events supplied all the sound and video equipment for the backstage hospitality areas.

Steve Greetham comments : “XL Events is very proud to have played a part in this historic event. Working in Her Majesty’s front garden presents some very unique challenges, and our crew more than rose to the occasion. The extremely positive reaction to our work is fantastic!”

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

Photographs: Duncan McLean © 2012

Santa Monica, CA - Bi-coastal production company Stardust has brought Dexton Deboree on board as Partner and Managing Director. The new appointment coincides with a realignment of the Stardust brand marked by a new website.

“The timing was serendipitous. We decided to rework the Stardust brand and our internal infrastructure at the same time that Dex and I started talking about joining forces. Dex is a seasoned pro with great creative instincts. He is THE guy to steer Stardust into our next phase,” said Jake Banks, founder, Stardust.

The realignment of Stardust includes a heavier emphasis on projects that will leverage the company’s all-in-one model whereby all creative, from concept to editing, VFX and finishing, can be done in house. This sentiment comes through in the new streamlined website and reel, redesigned for optimized viewing on any Internet-connected device.

“I look forward to building on the existing company legacy and refining and tweaking the model to adapt to the current production climate. There is an incredible range of creative projects out there and a need for strong visual storytellers with equal talent and experience in strategy and client collaboration,” said Deboree.

Dexton has spent many years in film, television and commercial production, producing hundreds of projects with Academy Award winner Angus Wall, and Academy Award nominated and Emmy Award-winning editor Adam Pertofsky. Dexton has worked on a diverse range of projects including James Bond’s Quantum Of Solace, receiving a Grammy nomination for the music video based on the film’s theme song, a documentary short directed by Angus Wall permanently housed at the Museum of Modern Art in Los Angeles and a VW branded film directed by Jonathan Dayton and Valerie Farris, co-directors of Little Miss Sunshine. Dexton also executive produced the Emmy Award-winning CBS animated Christmas special Yes, Virginia in 2009. He most recently served as executive vice president and partner at Psyop and finished a brief stint as a partner in the west coast office of Free Agents.

About Stardust Studios
Stardust is a visually driven production company that specializes in design, motion graphics and live-action work out of its Santa Monica and New York based offices. Its collective of designers, illustrators, animators, VFX artists, directors and filmmakers continually redefine creativity for commercial, on-air, music video and experiential projects. Led by founder and Executive Creative Director Jake Banks, Stardust is characterized by an authentic voice and passion to push the creative envelope. The studio has worked with the world’s top ad agencies and brands on projects for HP, Nike, Sony, AT&T, Honda, Shell, Nissan, Ford, IBM, Nokia, Adidas, BMW, NYSE, LG and Microsoft, among many others. For more information, please visit www.stardust.tv.