Archive for December 13th, 2012

BigStar Welcomes Katie Tricot As Executive Producer

Creative strategy and production company BigStar is pleased to welcome Executive Producer Katie Tricot. With Tricot’s in-depth experience producing in the commercial and broadcast arena, BigStar looks forward to growing and diversifying its agency and network client-base. Overseeing BigStar’s award-winning roster of visual storytellers, Tricot will optimize the studio’s strategic solutions and workflow for creating branded content for advertising, film, television and music video clients.

“We’ve been looking for an EP for sometime and it can be difficult to find the right one,” says Josh Norton, BigStar President/Executive Creative Director. “It’s such a key position with so many intangibles. With Katie, her desire to represent and work intimately within a company she truly believes in was what spoke to me first. She’s not interested in fly-by-night success; she’s in it to create something new, profound and lasting. We got along right away, and after getting a chance to know more about her character, her experience in the industry, and her willingness to redefine what works in an ever-changing environment, I was convinced she would be an excellent EP. Lucky for us she came on board with the shared goal of doing more great work and communicating our brand to a larger audience.”

“I’ve admired BigStar’s work for a number of years,” remarks Tricot. “They consistently churn out brilliant ideas and beautiful, high-end work. It’s a great studio to work with, and I felt my own personality and industry experiences meshed well with the creative ethos here. Josh approaches every piece of work in a very thoughtful and sincere way. He is always striving to do the best work possible for each project that comes through the doors and that leadership is evident in BigStar’s work and the entire company culture.”

Tricot was most recently Head of Production at Joyride, where she produced broadcast promos and packages, including the NY Ink Open and 2012 ESPN College Basketball, as well as signature rebrands for LMN and H2.

She began her career in the Bay Area as Editor/Associate Producer for Emmy-winning and Oscar-nominated filmmaker Dorothy Fadiman and worked on her feature-length documentary, “Stealing America.”

Tricot shifted to the world of design, motion graphics and animation with a two-year stint at Superfad, where she produced commercial content for brands such as Xfinity/Comcast, Amex, Hawaiian Tropic, Allianz, and NFL, while collaborating with agencies including Digitas, Ogilvy, and Grey Advertising, among many others. She also oversaw graphics for the premiere promo campaign for the HBO series “Boardwalk Empire,” and all related behind-the-scenes documentaries for the show.

About BigStar:
BigStar employs creative strategy with design, live-action, animation, and visual effects to tell compelling stories and deliver branded content that informs, engages, and inspires. With a team of designers, directors, and producers dedicated to forming and refining the culture of communication, BigStar creates content for the advertising, film, and broadcast industries. Recent clients include: HBO, NBC Sports, ABC, KBS+P, Saatchi & Saatchi, Droga5, Walter Isaacson, and TBWA Chiat Day.

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Oishii Creative Designs Dream Show Open & Graphics Package for “A-List Listings” on E!

Creative agency Oishii Creative recently designed the new show open for “A-list Listings,” which premiered on October 24th and tours America’s most desired dream homes, offering an up-close look at the extravagant designs and over-the-top amenities behind properties ranging from the “Home of the Future” to the “Over $40 Million” “Great Escapes” fantasy. Oishii Creative also designed the graphics package, which included logo designs and animations, bumpers, transitions and lower thirds.

The fresh, clean, simple package elegantly evokes the architectural vocabulary of mid-century modern homes and design. The 3D-animated show open rolls out in a minimal graphic environment before evolving into a sleek, contemporary interior space with pops of color.

“Oishii’s creative vision, organized process and great communication have all been top notch,” says Carey Zeiser, “A-List Listing’s” Supervising Producer. “They came up with a fresh, contemporary look that evokes a modern-day approach and reflects E!’s new brand image. They are the total package.”

For the graphics package, E! turned to Oishii Creative with a two-fold agenda: convey a clear show identity that would stand on its own and set “A-list Listings” apart from traditional real estate TV programs; and secondly, set a visual tone that would stay true to the clean sophistication of the E! brand guidelines.

“Graphically, it was important that the package reflect the extravagance of the show’s featured homes and provide a cohesive unity to the footage across each ½ hour episode,” expounds Ismael Obregon, Oishii Creative President/Creative Director.

The challenge was figuring out how to best represent the idea of “real estate” using only graphics and no footage. Incidentally, Obregon says this challenge presented the most fun part of the job, as his team devised a design solution based on simple geometric shapes in order to best unite the package with the E! brand style; moreover, their design approach provided the foundation for the package look as a whole.

“Details of long flat walls and windows anchor the piece, while furniture and architectural elements provide creative accents,” Obregon further explains. “The open is very rhythmic, visually — animating these elements gives the piece a certain musicality. The long geometric shapes are the foundation, or the melody, while the furniture accents function like solos emerging out of the main melody.”

Oishii Creative designed the “A-list Listing” logo in Illustrator. Cinema 4D was used to create the open elements and then animated in After Effects.

“Working with E! is always a great experience,” concludes Obregon who previously collaborated with E! on “Tim Tebow’s Wild Rise.” “We really like the direction the network has taken and continue to enjoy collaborating with them. There’s a mutual professionalism that’s reflected in the trust and comfort we share. Because of our close, ongoing relationship, we understand the creative direction that appeals to them. The lines of communication are always open in both directions, which ensures everything is seamless for everyone.”

Client: E! Entertainment
Airdate: October 24, 2012

Production Company: E! Entertainment

Executive Producer: Suzanne Ross
Supervising Producer: Carey Zeiser
Host: David Burtka
Producer: Michael Lynn
Segment Producer: Matthew Basora
Post Producer: Terri Davis
Associate Producers: Jessica Fultz, Matthew Manders Production Assistant: Kristina Bakrevski

Where shot: Various locations around the world

Creative Agency: Oishii Creative
Creative Director: Ismael Obregon
Executive Producer: Daniel Walkup
Senior Producer: Greg Heffron
Designer: Arisu Kashigawa
Coordinator: Scott Rothstein

VFX Company: Oishii Creative
Animator: Taekyu Kim

Technology: Adobe Creative Suite CS5 / After Effects / Cinema 4D

About Oishii Creative:
Oishii Creative is a full-service creative agency specializing in building and evolving brands for leading entertainment and consumer companies. We combine keen strategic insights with compelling creative and the latest technology to forge unique visual solutions. Recent clients include the NFL Network, Ovation, EA Sports, Nicktoons and Disney.

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My Active Driveway Creates Reactive Animations for Keep a Child Alive’s Black Ball Hosted by Alicia Keys and Whoopi Goldberg

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Last week, the team at My Active Driveway (MAD) joined Alicia Keys, Whoopi Goldberg, Jennifer Hudson, Bonnie Raitt, Oprah Winfrey and other celebrity philanthropists for the Black Ball, a charity fundraiser organized by HIV/AIDS non-profit Keep a Child Alive (KCA). MAD contributed to a fully integrated show-wide experience for the event, delivering a series of luminescent visualizations, an animated title sequence and a unique interactive design solution allowing event organizers to track the evening’s donations in real time.

“Working with KCA year after year is a tremendous opportunity to give a voice to the plight of those affected by HIV/AIDS throughout the world,” noted MAD EP Jonny Fego. “It really means a lot to everyone at MAD to be able to give back to an organization that creates real change in communities. This annual ball is a celebration of life, a positive and uplifting experience that we are proud to be a part of.”

To communicate this year’s themes of connectivity and the empowerment of women, the MAD team created reactive visualizations that evolved as donations poured in during the show. At the start of the evening, these projections consisted of tiny motes of energy cast in a simple black and white color palette, each point of light representing an individual or community. As show organizers input the event’s proceeds into MAD’s custom interface, those lights grew into a vast kinetic kaleidoscope connected by countless geometric lines, eventually arranging themselves into a vibrant globe displaying the record-breaking $2.9 million raised to help Keep a Child Alive.

“We wanted to visualize the concept of connectivity and to show how something large is built from each small donation,” explained MAD CD Andrea Scaglione. “The images are designed to make people feel integrated into the experience, so they can feel that their presence and energy is affecting the greater cause. We hope to draw them back to future Black Balls by creating a dynamic and engaging experience that reinforces the power of giving.”

Last week’s event marked the fifth consecutive year in which MAD has contributed their services to the Black Ball. During that time, the design-based production company has grown into a strategic and creative partner to KCA – collaborating with KCA CD Earle Sebastian to ensure a cohesive overall experience and working closely with the evening’s lighting and sound designers.

“Each year, we try to push the envelope more,” Scaglione continued. “We’re at a very exciting point in the history of motion graphics. As things grow more reactive and interactive and come off the screen and into the real world, there’s a whole new breadth to what we can do.”


Client: Keep A Child Alive
Creative Director: Earle Sebastian
Creative Producer: Natalie Galzaka

Digital/VFX Co.: My Active Driveway
Executive Creative Director: Steve Choo
Associate Creative Director: Andrea Scaglione
Executive Producer: John Fego
Producer: Lauren Gordon

Designer: Yilin Bai
Animators: Kevin Kim, Taylor Cook, Han Gyeol Lyu, Dongwook Kwon

Lead Developer: Will Adams

Music and Sound Design Co.: Q Department

About My Active Driveway:

My Active Driveway is a design-based production company in NYC.

MAD partners with agencies & brands to create award winning content and campaigns. MAD is a team of directors, designers, animators and vfx artists who tell compelling visual stories. They’re invigorated by technical challenges and nimble to the ever-changing schedules of the industry while maintaining creative integrity.

Servicing commercial, broadcast, feature film, games and interactive clients, as well as collaborations with musicians and fine artists. MAD resides in a client-friendly facility, a 6,000 square foot loft in SoHo NYC offering design, animation, editorial, and finishing suites.

Specialties: Design, Animation, Film, Motion Graphics, VFX, Creative Direction, CGI, Production, Special Effects, Compositing \\\

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Chapman Leaves Agency World for MPC NY

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Just weeks after signing Creative Director of Digital, David Estis, integrated creative studio MPC NY is further bolstering its roster with the addition of Director of Interactive Technology, Adam Chapman. A veteran of Saatchi & Saatchi and Deutsch, Chapman’s deep agency experience and artistic bent inform his creative approach to production.

“At MPC, we have gone well beyond the parameters of a traditional VFX studio and become what can only be described as an integrated creative studio with diverse talent working together every day,” stated MPC New York MD Justin Lane. “Adam, with his legendary agency work and his highly creative, highly technical mind, is the perfect addition to our already deep and capable talent pool. Our goal has been to explore what happens when you bring skilled people together from a diverse set of creative disciplines,” Lane added. “Agencies and clients alike are looking for studios like ours to expand the possibilities on projects, whether in the broadcast or the interactive space. Someone like Adam brings a unique perspective to the table.”

Chapman’s reel includes work on the award-winning Camry Effect and PNC 12 Days of Christmas campaign, several projects for Microsoft, and a multi-platform game designed to teach anyone how to play any song. Additionally, Chapman has completed multiple interactive projects for gallery shows. His recent work has been shown at the Miro Museum in Barcelona and at the Massachusetts Museum of Contemporary Art.

“It is often the case that digital projects are kernels that need a little creative development to realize their full potential,” noted Chapman. “To do that, it helps to be surrounded by truly creative people who are capable of bringing amazing things to life, things that no one else would ever even think of.”

About MPC:

MPC is an award winning VFX and Digital studio servicing the advertising, motion picture and television industries. From its London, New York, Santa Monica, Vancouver, and Bangalore offices, MPC’s dynamic and diverse team delivers industry-defining VFX, animation, motion graphics, color grading, production, projection mapping, social and mobile application development, online advertising, data management, software R&D and pipeline development.

With a trio of integrated divisions, MPC utilizes a unified approach that drives the use of existing or newly created assets across the whole range of today’s media landscape. MPC Creative handles client projects directly with top-notch directing, CG animation and character design. MPC FX Studio is a dedicated corps of graphic and digital designers who bring clients’ visions to life. MPC Data Lab processes the content and makes it available for editing on demand. MPC is a Technicolor Company.

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Myers Welcomes Back WMHT

New York State PBS Affiliate Rejoins the ProTrack TV Family

Northampton, MA – Myers Information Systems – a respected developer of broadcast traffic, business, and content management software – today confirmed the successful reintegration and commissioning of the company’s flagship ProTrack TV at WMHT. The upstate New York broadcaster serves PBS content to more than a dozen counties surrounding Albany, the state capital.

WMHT returns to Myers as one of nine PBS participants in the Syracuse-based Centralcast, LLC. “ProTrack enables us to work more closely with the other New York State stations, as well as take advantage of all the efficiencies and cost savings inherent in a centralcast model,” said Anthony Tassarotti, chief technology officer for WMHT. “I’m very happy about coming back to ProTrack’s more robust, secure and easy to manage Linux/Unix-based system architecture; plus, Myers’ hardware and OS support are outstanding.” Echoing that, TV traffic operations manager Jayne Robinson, a veteran of numerous commercial broadcast systems, is “eager to get up to speed with ProTrack, everyone I’ve spoken with says it’s the ‘Cadillac’ of broadcast management software!”

“After all these years in business, I’m not sure what’s more exciting… taking on an entirely new client, or having an old one come back. Either way, we are absolutely thrilled to be able to support WMHT’s broadcast operations again,” said Crist Myers, company CEO and president. “On-site installation and commissioning was completed on-time and on-schedule; as a member of the Centralcast, LLC project, WMHT is at the forefront of efficient, next-generation broadcast technology.”

ProTrack, Myers’ proven flagship suite, is available in both radio and television editions. It offers comprehensive scheduling and business management for individual, multichannel and multi-station facilities. Actively used by more than 226 media outlets, supporting more than 1,300 channels, ProTrack provides a high-level of structure, scalability, and systems integration for today’s rapidly evolving media environments.

Myers Information Systems, Inc. has been developing broadcast management software since 1989. The Company provides technology and services for television, radio and other digital media providers designed to improve every aspect of their operations, from contracting to invoicing, media management to scheduling, and from trafficking to reconciliation. For more information, please visit:

A trusted community resource for over half a century, WMHT Educational Telecommunications uses the power of non-commercial public television, radio, the web and other media to enrich the lives of more than a half million households throughout eastern New York state and portions of western Vermont, Massachusetts and Connecticut. Television broadcast channels include WMHT-DT (17.1), WMHT-Create (17.2) and WMHT-World (17.3). Radio stations operated by WMHT include WMHT-FM 89.1 & WRHV-FM 88.7 (classical public radio) and WEXT 97.7 (AAA public radio). WMHT also operates RISE, a radio reading service for the visually and print disabled. In addition, WMHT offers numerous community outreach and family learning initiatives that inspire, educate and entertain for a lifetime. For more information, please visit:


Myers Information Systems contact: Crist Myers
+1-413-585-9820 /

Press contact: Desert Moon Communications / Harriet Diener
+1-845-512-8283 /

The Artery VFX Creates X-Rated Flora Flick for Redd’s

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Fresh off their recently formed alliance with Harbor Picture Company, The Artery VFX has created a stunning – and very sexual – spot for Russian brand Redd’s alcoholic drink in collaboration with Copperwind Productions Director Zach Gold. The Artery, led by recent AICP winner and VFX Supervisor Vico Sharabani and Partner/EP Yfat Neev, offered tremendous creative input throughout the development and production process, as well as handled the full range of the visual effects and also the edit.

The spot is a triumph of live-action shooting and a powerful explosion of geometry and color; a stark and temperamental portrait of flowers and fruit gushing, dripping, and clashing through violent mating rituals. The Artery deftly stitches these scenes into a compelling brand story and puts an exclamation point on the presentation with a pitch perfect Flame color-correct effort that accentuates the brilliant color palette.

The creative concept emerged from a Russian restriction on featuring people in advertisements for alcohol. “The creative brief called for something sexual – something that would make the Russian audience blush,” stated Artery CD/VFX Supervisor Vico Sharabani.

The Artery team jumped into the process well before production began, sitting in on pre-pro meetings with the client, suggesting shot designs and offering other creative input. They took to the set during the shoot and engaged all parties throughout the edit, then passed all the footage through Flame.

“When we work with any director or client, we don’t only support their vision, we also help with a full-package creative process,” noted Sharabani, who had teamed up with Gold on a recent Nike project. “We have a very natural creative collaboration with Zach, so we were not hamstrung by any misunderstanding about the relationship between the VFX supervisor and the director. Zach is tremendously talented and brings an extraordinary team with him.”

“I enjoy working with The Artery because they are so intimately involved at every step of production,” stated Gold. “Their expertise in concept-to-completion VFX work is really unmatched, streamlining the process and assuring a phenomenal end product. They’re willing to help wherever needed, whether that’s in pre-production, color grading, edit, client interface, or in any of a number of different areas.”


Client: Redd’s
Spot Title: “Angel or Demon?”
Air Date: December 2012

Agency: Sabmiller Rus
Brand Director: Olga Kirienko
Senior Brand Manager: Anastasia Popova
Brand Manager: Ksenia Mednikova

Agency: Bazine-Sass+
Creative Director, Co-owner: Natalia Bazina
Strategic Planning Director, Co Owner: Ulrich Sass
Client Director: Irina Talanova

Production Co: Action Film
Executive Producer: Oksana Gill

Production Co.: Copperwind Productions
Director: Zach Gold
Director of Photography: Brandon Finney
Producer: Elsbeth Loughrey

Editorial: The Artery VFX
Editor: Ilan Benatar

Visual Effects: The Artery VFX
Visual Effects Supervisor: Vico Sharabani
Creative Director: Vico Sharabani
Executive Producer: Yfat Neev
Production Coordinator: Lynzi Grant
Lead Flame Artist: Theo Maniatis
Flame Artist: Itay Niv

Color Grading: The Artery VFX
Colorists: Vico Sharabani, Theo Maniatis

Music Production/Sound Design: Casa Nova Studios
Sound Designer: Tommy Mokas

About The Artery:

The Artery is a global network of VFX artists collaborating in the creation of high-end visual content: feature films, commercials, digital experiences, art installations and music videos.

Led by Vico Sharabani and Yfat Neev in our NY studio, we offer custom-tailored A-teams and unique production pipelines to efficiently deliver the highest level of work based on the project needs.

We take a global perspective, collaborating with the best talent and the latest technologies from around the world to achieve outstanding results.

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Antelope Audio Brings Good Cheer to the Audio Community with Holiday Sales on High-End Converters and Clocks, Including Zodiac+, Trinity and Eclipse 384

Antelope Audio announced that it is once again offering significant year-end, holiday discounts on its most popular and accessible products designed for audiophiles and audio professionals. Between now and December 31st 2012, select Antelope dealers will be offering the company’s Zodiac+, Trinity and Eclipse 384 at a discount of 15 percent off street price.

“Good clocking and conversion are fundamental building blocks towards achieving the best possible audio quality,” commented Marcel James, Director of Sales for Antelope Audio USA. “By taking advantage of our holiday discounts and acquiring Antelope’s best-in-class technology, audiophiles and music professionals can measurably improve the performance of their systems, whether they are listening to music or creating it.”

Antelope Audio’s clocking and conversion technology is used by the most discriminating engineers and mastering professionals in the music, film and television industries, and is a staple in many famous recording studios around the world. The company’s popular line of Zodiac D/A converters represent an elegant solution for nearly any home A/V system, and can dramatically improve overall audio performance.

Following is product and pricing information for items included in the sale:
Zodiac+ HD Mastering 192kHz DAC: Was $2,696, now $2,299
Trinity Universal HD Master Clock: Was $2,995, now $2,549
Eclipse 384 Mastering AD/DA Converter: Was $6,995, now $5,946

To take advantage of Antelope Audio’s holiday discounts, customers in the U.S. may contact, Vintage King, Alto Music and JSS. For complete product information, please visit the Antelope Audio website.

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NEP Names EVS as Preferred Supplier of Tapeless Workflow Technology

Strengthened Partnership Enables NEP Clients to Reap the Savings and Efficiencies of Digital Recording Workflows in Live Production

PITTSBURGH — Dec. 12, 2012 — NEP today announced that it has signed a multiyear agreement with EVS, naming the company a preferred supplier of tapeless workflow solutions and components for mobile units across all NEP global brands, as well as all NEP studios and control rooms. The new partnership will help facilitate NEP clients’ continued migration to file-based, tapeless operations and digital recording workflows through the use of cutting-edge equipment such as EVS XT[3] media servers.

“With this announcement, we are gaining further distance from our competition in terms of our depth of resources and technology innovation,” said Scott Rothenberg, vice president of technology and asset management, NEP. “By providing tapeless workflows, NEP is enabling its clients to shave significant time and costs from many production and postproduction processes for sports and entertainment events. In addition to helping our clients establish the most efficient and cost-effective production workflows, a formal partnership with EVS will enable us to provide enhanced levels of support through direct access to EVS’ technical and product expertise.”

In a typical tapeless workflow onboard an NEP vehicle, the multiple EVS servers store digital video files together with their metadata. This enables the video to be easily accessed for playout as well as downstream processing, such as postproduction editing, and the metadata allows for easy storage in searchable archiving systems for later repurposing. The tapeless workflow offers greater flexibility than tape-based processes for requirements such as streaming content to a website, and content can be stored in a format-agnostic manner for use in the customer’s nonlinear editing system of choice.

“With more than 250 EVS systems deployed globally on its vehicles, NEP is our largest mobile customer,” said Gregory Macchia, general manager of operations, EVS Americas. “NEP continues to be the leading mobile production company, pioneering the advancement of tapeless workflows in live production environments. EVS XT[3] and XS servers built their foundation in live sports coverage, and many mobile broadcasters now use them in nonsports entertainment events, such as music festivals and award shows. EVS servers deliver accelerated collaborative production, allowing content to be ingested, tagged, edited, and enriched in one closely integrated environment. This process not only cuts production costs but provides huge time savings.”

“This agreement continues our long standing relationship with NEP,” said Frederic Garroy, general manager, EVS Americas, “This renewed commitment to us from an industry leader like NEP helps to solidify our leading position. We value NEP’s trust in the fact we will meet the expectations of the broadcast industry, not only today but into the future as we continue to face new technology and production challenges.”

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About EVS
EVS designs leading broadcast and media production systems for sports, news, and TV entertainment. Its innovative Live Slow Motion system revolutionized live broadcasting, and its reliable and integrative tapeless solutions are now widely used for nonlinear editing and 3D HD productions across the globe. The world’s leading broadcasters and many others use EVS’ solutions. The company is headquartered in Belgium and has offices in Europe, the Middle East, Asia, and North America. Approximately 400 EVS professionals from 20 offices are selling its branded products in more than 100 countries, and provide customer support globally. For more information, visit

About NEP
With the world’s most advanced equipment, largest fleet of mobile units and global production studios to suit every genre, NEP enables its clients to execute, deliver, and display exceptional productions on any platform around the world. For more than 30 years, NEP has ensured its clients’ success by delivering superior service and building lasting relationships with a passion for continuous innovation. NEP’s talented staff is committed to acting with integrity and working as a team to deliver comprehensive solutions for remote production, studio production, video display, webcasting, and power generation that set the global industry standard. For more information, visit

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FSR’s New CORE Product Line Addresses Floor Space Challenge


Woodland Park, NJ – FSR, manufacturer of audio and video switching, control products, and connectivity boxes, is debuting its new CORE family of products to help solve the challenges of today’s classrooms, boardrooms and meeting rooms where floor space has reached an all-time premium.

With FSR’s Cool Overhead Rack Enclosures (CORE), which consists of the Ceiling Box family of above ceiling rack enclosures, and the brand new Top Shelf wall mounted rack enclosure, the company can offer viable options to facilities which can no longer afford to devote floor space to equipment racks or credenzas.

“Let’s face it, many facilities today just don’t have the same amount of floor space any longer to devote to large equipment racks,” says Jan Sandri, president, FSR. “With our new CORE family of products, FSR has the solution. We are thrilled to be able to introduce these powerful options to the industry, which includes the Ceiling Box family and Top Shelf wall-mounted rack enclosure, that target today’s challenges of space constraints.”

The Ceiling Box family is installed in a standard 2’ x 2’ or 2’ x 4’ drop ceilings and provides from 2 ½ rack to 4 full rack spaces for equipment mounting. Optionally, the Ceiling Box family can be equipped with a projector pole mount adapter so that the projector can mount directly to the ceiling box and cables can disappear through the pole.

The newest member of the CORE family is the Top Shelf wall mounted rack. Top Shelf mounts to a wall just below the ceiling in installations without a drop ceiling or where space above the drop ceiling is limited. The Top Shelf provides four rack units of mounting space and the plastic cover allows RF and WiFi signals to pass unobstructed between the equipment and the room.

About FSR
FSR, established in 1981, manufactures a wide variety of products for the audio / video, education, hospitality, government, and religious markets, including AV floor, wall, table, and ceiling connectivity boxes, as well as a full line of interfaces, distribution amplifiers, matrix switchers, seamless switchers and CAT-5 solutions.

FSR complies with the American Recovery and Reinvestment Act of 2009 and is a woman owned business. FSR offers live 24/7 technical and sales support throughout the country from expertly trained technicians and sales representatives. For more information visit

FSR Contact: Jan Sandri
973-785-4347 •

Press Contact: Desert Moon Communications
Harriet Diener
845-512-8283 •

PESA Welcomes Dewaine McClellan as International Sales Manager

Huntsville, Alabama – PESA, a leading U.S.-based custom design and build manufacturing company for professional audio and video signal distribution, today announced that Dewaine McClellan joined the company on Nov. 5 as international sales manager. He is responsible for sales of all PESA product lines to territories outside the United States and Canada.

McClellan has built his sales career through positions with several communication and video technology companies. Most recently, he served as director of telecom sales for Kavveri Telecom. Previously, he was the Eastern U.S. director of telecom sales for Rymsa and a sales liaison for Telecast Fiber Systems. McClellan also spent more than a decade at PESA in various positions, including sales manager for the Asia/Pacific region and customer service manager.

“We are happy to welcome Dewaine back to the PESA family. Previously, he developed an understanding of our products from both an engineering and a sales and support standpoint, and in his new role he will help the company better serve the global markets,” said Chuck Tillett, president and COO of PESA. “As we move to strengthen PESA’s worldwide sales, Dewaine’s experience in working with a variety of clients and broadcast applications will be a great asset in introducing our products to a broader user base.”

McClellan is based out of the company’s main office in Huntsville. He can be reached at (256) 479-4052 or via e-mail at

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 PESA is located in Huntsville, Alabama with regional offices throughout the United States.

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

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