Archive for January 17th, 2013

Myers To Exhibit At National Broadcasters Convention

Latest Versions of ProTrack TV & Radio to be shown in Booth #912

Northampton, MA – Myers – the highly respected developer of broadcast traffic, business, and content management software – today confirmed the company’s plans to participate in the National Religious Broadcasters (NRB) Convention and Expo — March 2nd to March 5th at the Gaylord Opryland Resort & Convention Center in Nashville, Tennessee. The Myers team, returning for their ninth NRB appearance, will be at Booth #912.

The annual NRB event is the largest marketplace dedicated exclusively to Christian media professionals. More than 200 vendors will showcase their products and services to thousands of attendees, among them radio & television station owners and key staff, program producers, Web developers, pastors, denominational leaders, advertising agencies and more.

“Religious broadcasters and content developers are a very important segment of our industry,” said Crist Myers, company CEO and president. “Expo attendees are involved in every aspect of the management and creative process, from concept to underwriting to distribution. The business and content workflow tools within ProTrack have been carefully crafted to optimize the management and efficiency of any creative enterprise.”

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.

ABOUT MYERS
Formerly known as Myers Information Systems, Inc., the company has been developing broadcast management software since 1989. Myers 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: www.myersinfosys.com

Myers contact: Crist Myers
+1-413-585-9820 / sales@myersinfosys.com

Press contact: Desert Moon Communications / Harriet Diener
+1-845-512-8283 / harriet@desertmooncomm.com

Snell Products at BVE 2013

Broadcast Video Expo (BVE) 2013
Snell Preview
Stand J28

Snell Products at BVE 2013:

SIGNAL PROCESSING
KudosPro MC500 — Low-Cost Signal-Processing Platform
On display at the BVE 2013 will be KudosPro MC500, the newest addition to the KudosPro family of cost-effective, broadcast-quality format and standards conversion systems. The KudosPro range is available at an exceptionally low price point, making it ideal for the many broadcasters, news agencies, and content providers that must consider cost and space issues while also ensuring high-quality delivery of large numbers of channels to domestic and international audiences. With the MC500, Snell places the superior picture quality of motion compensation within reach of even the tightest budgets. Like the other KudosPro converters, the MC500 provides up-, down-, and crossconversion for all broadcast standards including SD, HD, and 3Gbps (1080p) and includes a range of tools for picture enhancement, audio gain/delay/shuffle, closed caption and timecode passing, AFDs, and much more.

Photo Link: www.wallstcom.com/snell/mc500.zip
Photo Caption: KudosPro MC500

ROUTING
Vega Router — For Flexible Port, Fiber, and Coax Configuration
Snell’s award-winning Vega is a new routing platform that allows users to configure any signal port independently for fiber or coax (copper), easing a mixed connectivity environment and helping broadcasters to migrate simply and cost-effectively. Available in 2RU with 96 ports or 4RU with 192 ports, its unique design enables any port to be configured as either an input or output, providing the industry’s most flexible asymmetric routing solution. Vega uses proprietary algorithms to monitor every subassembly continuously and offers a full range of options for maximum redundancy: dual crosspoints, dual controllers, dual power supplies, and dual fans — all “hot”-pluggable or replaceable.

Photo Link: www.wallstcom.com/snell/vegaimage.zip
Photo Caption: Vega Routing Platform

PRODUCTION SWITCHING
Kahuna Flare — Multi-format Production Switcher With 1080p Standard Functionality
Kahuna Flare is the first mid-level switcher to offer standard single-link 1080p support alongside SD and HD formats, making it ideal for over-the-air broadcasts, IP, or Internet delivery platforms, and even large progressive screen presentations. With versions ranging from 2 M/E to 4 M/E, Kahuna Flare offers four keyers per M/E and two channels of 3D DVE, all in a single 6U rack frame. The system comes standard with 48 inputs and 24 outputs, with the option to upgrade to 60 inputs and 32 outputs. Snell’s unique FormatFusion3 gives Kahuna Flare users unmatched versatility in working with multiple signal formats, enabling them to mix SD, HD, and 1080p inputs and outputs simultaneously as required to meet any distribution need.

Photo Link: www.wallstcom.com/snell/kahunaflarefront.zip
Photo Caption: Kahuna Flare

Company Quote:

“As the U.K.’s largest broadcast, audio, and video show, BVE is the ideal forum for us to highlight Snell’s award-winning family of digital broadcast infrastructure and signal processing solutions,” said Mark Gardner, sales director, Northern Europe and Africa, Snell. “We’re looking forward to demonstrating how Snell’s uniquely flexible products, such as the new KudosPro MC500, can transform broadcast operations of any size, and it will be an excellent platform for us in the run up to our London technology seminar in March.”

Company Overview:

Snell is a leading innovator in digital media technology, providing broadcasters and global media companies with a comprehensive range of solutions to create, manage, and streamline the distribution of content for today’s multi-screen world. Specializing in TV Everywhere, Broadcast Infrastructure, and Live Production applications, Snell provides the necessary tools to transition seamlessly and cost-effectively to HDTV, stereoscopic 3D, and 3Gbps operations while enabling broadcasters to monetize and deliver their media assets across multiple distribution platforms. Headquartered in the U.K., Snell serves more than 2,000 broadcasters, government agencies, and global media companies in more than 100 countries through its worldwide team of sales and support personnel. More information is available at www.snellgroup.com.

All trademarks appearing herein are the property of their respective owners.

Clear-Com’s HME DX210 Hits the Road with the John Lennon Tour Bus

Wireless Intercom Enhances Crew and Student Production Experience

ALAMEDA, CA, JANUARY 17, 2013 – Clear-Com®, a global leader in critical voice communication systems, is sponsoring the John Lennon Educational Tour Bus by supplying the crew with Clear-Com intercoms for its productions and workshops. Clear-Com’s HME DX210 Digital Wireless Intercom enables clear communication and quick collaboration between the staff on diverse productions while on the road. The system is also easy to operate, allowing even students to master the system and gain familiarity with real-life productions.

The John Lennon Educational Tour Bus is a non-profit, state-of-the-art mobile audio and HD video production facility that travels across the U.S. and Canada, offering songwriting and multimedia production workshops to young people. At each destination, the production setup of the bus changes to accommodate the varying needs, levels of skill and interests of the school and community.

Whether it’s handling communications for an intimate acoustic performance, an onboard video production or a large-scale event where the crew members are separated by considerable distances, the HME DX210 allows the staff to work cohesively and speak to one another as if they were next to each other. It delivers exceptional audio clarity regardless of ambient noise levels and also provides the staff with wireless mobility so that they can freely move throughout the different production spaces to carry out their responsibilities. The audio clarity, full-duplex capability, and wireless flexibility of the HME DX210 have streamlined production workflow for the John Lennon Educational Tour Bus.

“Lennon Bus productions and livestreams are fast-paced. We can get only one shot or take, so it is critical that we can speak to each other quietly, yet still be heard and understood on the other end,” says Ryan L’Esperance, Producer and Engineer for the John Lennon Educational Tour Bus. “The audio quality of the DX210 is phenomenal. We’re able to hear each other clearly on the system in any environment, whether in the most intimate of settings or in a loud place.”

The DX210 base station is installed in the front studio of the bus. The director, video switcher, and possibly the camera operator (if the broadcast is taking place onboard) are all located in this same space, while the audio technician is situated in the middle studio of the bus. For external live broadcasts, the DX210 base station is placed at the front-of-house position. Regardless of setup, the majority of the crew members utilize the BP210 beltpacks in conjunction with the video switcher on the Clear-Com WH210 all-in-one wireless headset. The DX210’s external audio input permits crew members to take the program output of their broadcast and feed it into the intercom so that they can hear the program as well as their cues.

In addition to recording musical performances, the bus’ onboard engineers teach students how to write, perform, record and produce original songs. Students also learn to produce and shoot music videos and documentaries as well as complete a broadcast-quality music video. In addition, they are trained to operate and manage the production equipment, including using the DX210 intercom to communicate with one another, the professional assistant, and producers instructing them.

“Education is a key factor in what we do, and being able to use the intercom to communicate with multiple students at the same time is what makes this whole thing such a success,” L’Esperance continues. “What is really great is including students in the whole process, from setting up the Clear-Com system to maintaining it, such as making sure batteries are charged. Since the DX210 is quite easy to operate, we can simply show the students how it works it and they’re able to quickly dive right in and learn to use it. Clear-Com really has improved communication for our staff and has been an excellent tool for our students to use.”

“Clear-Com is committed to giving back to our community and educating the next generation on live production,” says Judy Cheng, Marketing Director, Clear-Com. “We’re proud to sponsor the John Lennon Educational Tour Bus and to partner with its staff to inspire, train and positively impact students throughout the United States.”

The John Lennon Educational Tour Bus began as an offshoot of the John Lennon Songwriting Contest, which is dedicated to providing opportunities for both professional and amateur songwriters around the world. The bus provides hands-on audio and HD video production experience for students of all ages. Currently in its 16th year of touring, the vehicle’s studios boast the latest audio and video technology, gear and products. The bus conducts free tours and workshops at schools, retailers and festivals, and also tours with headlining artists. It also visits major industry conferences.

About the John Lennon Educational Tour Bus (www.lennonbus.org)
The John Lennon Educational Tour Bus is a non-profit state-of-the-art mobile Pro Audio and HD video recording facility that provides hands-on experiences for students of all ages. In its 16th year of touring, the Lennon Bus features the latest audio and video technology, gear and products. The concept began as an offshoot of the John Lennon Songwriting Contest, which is dedicated to providing opportunities for both professional and amateur songwriters around the world. The Bus travels across the U.S. and Canada year-round, providing free tours and workshops at schools, retailers, festivals, on tours with headlining artists, and at major industry conferences.

The Lennon Bus, a 501(c)(3) venture, is made possible through the generosity of sponsors including Avid, Apple, Montblanc, Sony, True Religion, Neutrik, Musician’s Friend, Gibson Guitars, Epiphone, NAMM, NewTek, TodoCast, Mobile Roadie, Audio-Technica, Roland, Boss, JamHub, SSL, Sonicbids, Disc Makers, Mackie, Ampeg, Digital Media Academy, Genelec, Litepanels, Manfrotto, Clear-Com, Anton/Bauer, New Bay Media, Copperpeace, Apogee, Glyph, Applied Acoustics Systems, McDSP, Native Instruments, IK Multimedia, Noise Industries, iZotope, Slingerland Drums, and Mad Mimi.

About Clear-Com®
Clear-Com, an HME company, is a global provider in professional voice communications systems since 1968. We develop and market proven intercom technologies such as Analog & Digital Partyline, Digital Matrix, Wireless and Intercom-over-IP systems for critical communication applications in broadcast, performance venues, military, government and enterprise markets. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communications solutions. For more information, please visit www.clearcom.com.

Agenda Set for the San Francisco SuperMeet Featuring Jay Cassidy, A.C.E.

The agenda has been announced for the Twelfth Annual San Francisco SuperMeet, to take place Wednesday, January 30, 2013 at the Mission Bay Conference Center in San Francisco, CA. Jay Cassidy A.C.E. (Silver Linings Playbook, Inconvienient Truth, Into The Wild) will be the featured guest. This SuperMeet promises to be the single largest gathering of Final Cut, Adobe, Avid, Autodesk editors, and Digital Filmmakers, Gurus and users in the Bay Area for all of 2013.

Los Angeles CA / Boston MA – Bay Area filmmaker event kicks off Twelfth Anniversary of SuperMeets in 2013 with a focus on future of filmmaking. The agenda is now set for the CPUG San Francisco SuperMeet, to take place Wednesday, January 30, 2013 at the Mission Bay Conference Center in San Francisco, CA.

This SuperMeet promises to be the single largest gathering of Final Cut, Adobe, Avid, Autodesk editors, and Digital Filmmakers, Gurus and users in the Bay Area for all of 2013. Tickets to the SuperMeet can be purchased at the SuperMeet website. Doors open at 4:30PM.

Scheduled to appear on stage will be film editor Jay Cassidy A.C.E, (SILVER LININGS PLAYBOOK, INCONVIENIENT TRUTH, INTO THE WILD) Jay will discuss his career editing films, the craft of editing as well as speak on his latest film SILVER LININGS PLAYBOOK, for which he was just nominated for an Academy Award and a A.C.E. Eddy award for Best Film Editing. There will be ample time for questions.

“It’s my honor to be the featured guest at the San Francisco SuperMeet this year,” states Cassidy. “SuperMeets are an intense gathering of talented and creative people who come together to learn from each other. I’m delighted to be there and share my experiences from the films I’ve edited in any way that might inspire.”

In addition film editor Dan Lebental A.C.E (IRON MAN 1 AND 2, ELF, COWBOYS AND ALIENS) will show off TouchEdit, the soon to be released NLE for the iPad. TouchEdit is a revolutionary new app that captures the spirit of classical filmmaking while offering cutting-edge digital editing capabilities. TouchEdit is frame accurate and carries timecode and can export a list -fcpxml with others to follow. It carries 8 tracks of stereo sound and so much more.

Freelance film & video tech “geek” Adam Wilt will debut Cine Meter, a professional film/video/photo application for your iPhone, iPad, or iPod touch. Using the built-in camera on any iDevice with a camera running iOS 5.0 or higher, Cine Meter provides filmmakers a shutter-priority reflected light meter, an RGB waveform monitor, and a false-color picture mode.

Adobe Evangelist Jason Levine returns to the SuperMeet stage, this time to share the latest on the new Adobe Creative Cloud membership service, specifically on features geared towards today’s video professionals.

Marco Solorio, multi-award winning filmmaker and owner of OneRiver Media, will walk us through the process of shooting RAW on the now shipping Blackmagic Cinema Camera and how it differs from shooting traditional video. With a new independent short film currently in production from OneRiver Media, the SuperMeet audience will get a sneak peak of some of the principle footage and how it was exposed for RAW. Colorist Alexis Van Hurkman will then grade the Raw footage live using the DaVinci Resolve color correction system.

Rounding out the evening will be the always wild “World Famous Raffle,” where currently over $35,000.00 worth of valuable filmmaker related prizes will be handed out to dozens of lucky winners.

Doors will open at 4:30PM for the “SuperMeet Digital Showcase,” featuring software and hardware developers including Adobe, Avid, Blackmagic Design, Atomos, KeyCode Media, ASMP, HDDisk. Maxon, mLogic. Neyrinck, Peachpit, Pixelflow, RE:Vision FX and more. Here, attendees can enjoy a few cocktails, mingle and party with industry peers, network one on one with leading manufacturers and learn about the latest trends in collaborative editing workflows for post production and broadcast markets.

Tickets are only $15.00 each (includes 2 raffle tickets) for General Admission and 10.00 for students and Teachers and are on sale online only. It will be $20.00 each at the door assuming any tickets are left as historically every SuperMeet sells out. Food (snacks) and cash bars will be available throughout the evening.

To purchase tickets and for complete details on the SuperMeet including updated agenda, a current list of raffle prizes and directions to the Mission Bay Conference Center, go to the SuperMeet web site.

ABOUT SUPERMEETS:
Creative Pro User Group (CPUG) Network SuperMeets are gatherings of Final Cut, Adobe, Avid, Autodesk editors, gurus and visual storytellers from throughout the world who use or want to learn to use Macintosh-based workflows. SuperMeets started as a grassroots movement to connect Apple FCP Editors at a local level. Now in its eleventh year, the producers behind the SuperMeets have harnessed the energy of local chapters globally and turned SuperMeets into the industry’s most influential user-organized series of global events. SuperMeets are held annually in San Francisco, Las Vegas, London, Amsterdam and Boston. The SuperMeet agenda usually includes local and industry filmmaker show and tells, digital video tips and tricks and user-driven workflows and world premiere announcements of new hardware and software. Also featured is the SuperMeet Digital Showcase with vendors and small developers providing workflow solutions, often paired with an Open Screen Theater for digital filmmakers and content creators to network, screen content and collaborate.

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Fisher Communications Deploys Monitor IQ from Digital Nirvana for Loudness and Compliance Monitoring

Stations Monitor Compliance Issues Independently, but Group Management can also Perform Remote Checks

Newark, CA – Fisher Communications, Inc. [NASDAQ:FSCI], a Seattle-based broadcast communications and media company, announced that Digital Nirvana’s Monitor IQ Essentials 3.0 is the station group’s chosen platform for regulatory compliance and loudness monitoring.

Monitor IQ provides Web-based, HD/SD channel monitoring, logging, compliance, and diagnostics/QC, as well as archiving of content recordings for up to 90 days. Monitor IQ Essentials is one of four versions designed to tailor Monitor IQ to the varying requirements of broadcasters.

“So far, we’ve installed Monitor IQ at three of our stations, including KOMO-TV4 in Seattle and KATU in Portland, OR in 2011, and KBAK-TV in Bakersfield, CA this year. Our plan is to eventually deploy it across the entire station group,” said Lee Wood, regional director of engineering for Fisher Communications, in Seattle, WA, which operates 13 full power and seven low power television stations across the U.S.

To verify regulatory compliance or diagnose technical issues on the recorded air-checks, Monitor IQ lets station engineers and operators watch HD video and listen to individual audio channels to check the quality their viewers experienced during the live broadcast.

They can also double-check the presence of vital metadata, such as closed captions, the Nielsen NAVE II Watermark, and picture identifier data (PID) embedded in the transport stream, as well as loudness levels now regulated by the U.S. CALM Act.

“All of our stations will use Monitor IQ primarily for regulatory compliance and loudness monitoring of our off-air HD and SD DTV channels,” Wood added. “Also, should a question ever arise as to whether a commercial spot ran as scheduled, Monitor IQ lets us to create a Windows Media video clip of the ad in the context of the programming to prove it ran as planned. Having this capability protects and preserves strong customer relations, revenues, and our credibility.”

While each Fisher station will manage and maintain its own compliance air-checks independently, station group management can check anything in any of their stations’ Monitor IQ databases remotely.

With its Web-based access and intuitive search tools, Monitor IQ ensures that any desired video segment will be readily accessible, easy to find, and viewable from any browser. Searching is based upon keywords, titles, subtitles, descriptions, textual metadata, closed-caption text and imported logs, with filtering by time, date and channel. Recordings can be easily edited, clipped, stored and sent via email or FTP.

“With mandates related to loudness levels, closed captioning, and other regulations, broadcasters need capable, scalable solutions designed to monitor their off-air signals for compliance,” said Ned Chini, vice president of sales and marketing for Digital Nirvana. “Monitor IQ also serves as a quality control solution that automatically logs technical issues, such as dropped audio or missing closed captions, and provides links to the video for easier access and review. We’re extremely pleased that Fisher Communications has entrusted their regulatory compliance and loudness monitoring to Monitor IQ.”

About Digital Nirvana

Since 1996, Digital Nirvana has been empowering customers with innovative knowledge management technologies. By combining media and digital technology expertise, Digital Nirvana makes it possible for organizations to streamline operations and gain competitive advantage with advanced product and service offerings. The industry-leading Monitor IQ Broadcast Monitoring System from Digital Nirvana is a full-featured monitoring platform incorporating the most advanced capabilities available in an affordable, networked appliance. Digital Nirvana is headquartered in Newark, California and has operations in multiple locations globally.

Further information is available at www.digital-nirvana.com.

New Napoleon Group Studio Reimagines Production


Acclaimed Company Blurs The Lines Between Pre-viz And Post With A Smarter Studio In-Tune With Contemporary Agency Needs


NEW YORK, NY – Seizing on the opportunity for growth and expansion within their industry, The Napoleon Group (http://www.napny.com) — the leading pre-viz and post production studio led by Founder Marty Napoleon and President Douglas Miller – has created a one-of-a-kind contemporary office design and technology infrastructure. The Napoleon Group opened its new doors at 48 West 25th St in New York’s Flatiron district in early January 2013.


The new space will occupy over 14,000 square feet across two floors in the former corporate offices of fashion designer Kate Spade. Featuring 8 Avid Symphony Workstations, a Vicon Motion Capture system, and a large green screen stage, the space will be seamlessly tied together with a state of the art fiber cabling.


For Napoleon Group Creative Director Ken Kresge, the real innovation is the open and collaborative space that the new office presents. Creatives can work with over 40 artists in a space that is perfectly suited to the changing nature of the advertising business.


“Over the years we’ve adapted to the needs of our clients and streamlined every part of our process,” Kresge says. “Everything about the way we approach workflow has been tailored and customized –the only thing left was our space. It’s the final piece in a puzzle we’ve been working on for a long time, and we can’t wait the fruits of our labor with our clients.”


Perry Morton, Napoleon Group’s Head of Production, adds that while the company will always offer a traditional edit or animation suite for clients that prefer to work one-on-one with their favorite editor or designer, the new space takes into account the growing collaborative team based workflows now trending in pre-viz.


“Our clients are collaborating more, and we’re shifting our business model to accommodate that changing dynamic,” Morton says. “That means a workspace where we can put together a specific team of editors, animators and producers that perfectly suits the needs of a particular assignment.”


Napoleon’s new project-centric space includes:


* An acoustically designed for low noise, open seating arrangement that is dotted with numerous, “brainstorming booths” – small conference rooms perfect for idea sharing or a private conversation;


* A full-service green screen production stage, complete with a Vicon motion capture system, allowing for sophisticated animation and complex camera setups;


* An In-house software development team that will build seamless pipelines with workflow shortcuts through Autodesk Maya, Avid, Final Cut, and Adobe’s Creative Suite.


For Maciej Maciak, The Napoleon Group’s Director of Technology and Engineering, the new space is all about being faster and more flexible with technology resources.


“Pre-viz is unlike any other post production discipline because things change quickly and our creatives need to respond fast, and that means giving them access to all of our technology resources any time, any where,” Maciak says. “It’s no longer about this room being an edit suite or that one a Flame suite –the technology follows the project, the project doesn’t follow the technology.”


About The Napoleon Group:
The Napoleon Group (http://www.napny.com) is the established leader of post production services in art, test, audio and broadcast. We provide creative direction and strong story telling skills to a wide spectrum of media. We bring care and craftsmanship to every project and take pride in achieving the highest quality product.


As experts in test advertising we work with you to select the right style to realize your creative concept and meet the practical needs of the brand. Whether the style is 3D, illustrative or live action, our team of seasoned professionals will ensure that your ideas earn the highest possible test scores.


In a volatile industry, trust the experience and vision of The Napoleon Group.

Fox Spots Studio in Century City Adds Two Vista Systems’ Spyders to Feed Content to Seven Monitor Walls

A pair of Vista Systems’ Spyders are at the core of a Fox Sports Media Group studio in Century City, California where the NFL on Fox, UFC on Fox, College Football Saturday, and soccer coverage are produced.

Two Spyder X20-1608 systems, with 16 channels in and 8 channels out, run in parallel over 200 thin-bezel Sharp and NEC LCD displays plus three rotated 103-inch plasma screens. The Spyders feed seven different monitor walls and are used to route images to the appropriate wall. They’re in a matrix configuration, with the largest a 12×5 matrix.

Fox is using the key framing feature of the Spyders and is prebuilding sequences to display. The network needs to easily create different presets and scaling and the Spyders facilitate changing presets in the middle of a live show, which no other product can do. They satisfy Fox’s graphic and operational needs.”

Fox Sports Media Group had looked at various products before opting for the Spyders. They liked that they are 8-channel boxes and have a total of 16 channels each going. They also liked their ease of operation and flexibility.

About Vista Systems
Vista Systems’ switchers have become the industry standard for live multiple-destination video and data mixed signal switching with real-time windowing and composition. Vista Systems is a part of Christie, a global leader in visual solutions for business, entertainment and industry, to create a comprehensive source for image processing and projection solutions. For more information on Vista Systems, visit their website at www.vistasystems.net.

ASSIMILATE Congratulates Chilefilms, Animal VFX, Offhollywood, Metropolis Post, and Stuck On On for Sundance 2013 Nominations

At the Sundance Film Festival 2013 in Park City, Utah (January 17 – 27), several films are on the roster for filmmakers whose post-production companies used ASSIMILATE’s SCRATCH DI tools in their digital workflows. ASSIMILATE is extremely pleased to congratulate its customers for their creative DI in the following films, which are in the following Sundance categories.

World Cinema Dramatic
Post-production facility: Chilefilms (http://www.grupochilefilms.cl)
Film: Director Alicia Scherson’s “The Future” (Il Futuro) (2013); when her parents die in a car accident, adolescent Bianca’s universe is upended. Staying alone in the family’s Rome apartment and entrusted with the care of her younger brother, Tomas, she struggles to hold things together as her place in her surreal new world becomes blurry.
Cinematographer and colorist for Chilefilms: Ricardo de Angelis

World Premiere
Post-production and VFX facility: Stuck On On (www.stuckonon.com)
Film premiere: director Richard Linklater’s “Before Midnight” (2012); we meet Celine and Jesse nine years after their last rendezvous. Almost two decades have passed since their first encounter on a train bound for Vienna, and we now find them in their early forties in Greece. Before the clock strikes midnight, we again become part of their story.
http://filmguide.sundance.org/film/13120/before_midnight

U.S. Documentary Competition
Post-production and VFX facility: Animal* (www.animalvfx.com)
Film premiere: Director Steve Hoover’s “Blood Brother” (2013); the unmistakable power of love is celebrated in this story of one man’s decision to move from America to India and restart his life among the dispossessed – those who are infected with HIV.

http://filmguide.sundance.org/film/13095/blood_brother

* Animal was the production company behind the film as well as the post-production house.
Post-production facility: Metropolis Post (www.metpostny.com

Film premiere: Directors Aaron Aites, Audrey Ewell, Nina Krstic, and Lucian Reed’s “99% – The Occupy Wall Street Collaborative Film” (2013); in 2011, seemingly overnight, the Occupy Wall Street movement captured the imagination of our nation—and the world. From personal stories to analysis of the big-picture issues, supporters, participants and critics shed light on why and how this movement took off with such explosive force, and what it means.

U.S. Dramatic Competition
Post-production facility: Offhollywood (www.offhollywoodny.com)
DIT: Curtis Abbott (curtabbott@gmail.com)
Film premiere: Director Liz W. Grace’s “The Lifeguard” (2012); Leigh, a whip-smart former valedictorian on the verge of 30, is living a seemingly perfect life in New York. When her work aspirations and love life suddenly come crashing down, she hightails it back to the cocoon of the Connecticut hometown.

Park City at Midnight (world premieres)
Post-production facility: Offhollywood (www.offhollywoodny.com)
Film: Director Jim Mickle’s “We Are What We Are” (2013); a seemingly wholesome and benevolent family, the Parkers have always kept to themselves, and for good reason. Behind closed doors, patriarch Frank rules the roost with a rigorous fervor, determined to keep his ancestral customs intact at any cost. As a torrential rainstorm moves into the area, tragedy strikes.

http://filmguide.sundance.org/film/13041/we_are_what_we_are

Post-production facility: Offhollywood (www.offhollywoodny.com)
Film: Director Chris Nelson’s Ass Backwards (2013) director Chris Nelson; Kate and Chloe have been best friends since childhood when they both tied for dead last in their hometown beauty pageant. Now they are all grown up and living in New York City, where Chloe works as a “girl in a box” at a nightclub and Kate is a CEO of her own one-woman egg-donor “corporation.”

http://filmguide.sundance.org/film/13069/ass_backward

NEXT
Post-production facility: Offhollywood (www.offhollywoodny.com)
Film: Director Hannah Fidell’s A Teacher (2012); Diana, a young, attractive teacher at a suburban Texas high school, is well liked by her students and colleagues. Her life seems to be following the status quo, but in reality she’s having a secret affair with her student Eric. She confides in no one but him, reveling in the teenage terrain of sexting and backseat quickies.

http://filmguide.sundance.org/film/13115/a_teacher

“ASSIMILATE congratulates the entire family of SCRATCH artists whose films are competing at Sundance 2013″, said Steve Bannerman, VP of marketing at ASSIMILATE. “We are proud to have empowered so many of the independent film and documentary makers, as well as post houses, who are using the latest SCRATCH DI tools to create high quality entertainment. Audiences around the world are continually amazed and delighted by their work, and ASSIMILATE is honored to have played a role in their craft.”

SCRATCH Digital Workflow Tools
ASSIMILATE’s SCRATCH end-to-end data workflow — from dailies, to conform, color-grading, compositing, and through to finishing — and SCRATCH Lab, a robust dailies or VFX review digital pipeline, deliver the industry’s most comprehensive toolset for data-centric digital cinema and episodic television productions for 2D and 3D stereo projects. Both products support multiple formats, including ARRI RAW, Sony F65 and F55, Phantom, and Canon 5D, as well as enhanced support for RED ONE, RED ONE MX, SCARLET, and EPIC at all resolutions. All versions of SCRATCH and Lab software, running on Mac OS X and Windows 7, feature SDI and 3G output via AJA Kona 3G graphics cards, fast dailies rendering, and improved metadata and time-code handling. For the latest feature film and TV credits, pricing and sales, visit www.assimilateinc.com

ASSIMILATE is the premier provider of digital workflow and post-production tools that have proven essential to the successful creation of thousands of studio and independent features, television shows, music videos and corporate video productions. The company’s SCRATCH products, running on Windows and Mac OS X, are the heartbeat of today’s most demanding digital post-production and dailies workflows for 2D and stereo 3D productions. They equip directors, DPs, on-set professionals and artists with the state-of-the-art, intuitive, data-centric solutions they need to meet the continual challenges of increased creativity and productivity amid ever-shrinking budgets. ASSIMILATE’s SCRATCH data-centric DI system, is the most comprehensive, end-to-end cinema and broadcast imaging tool for playback, conform, editing, color grading, compositing and finishing for nearly all popular digital workflows, including, RED, ARRI, Sony F65 and F55, Canon 5D, Phantom, Go Pro and many more. SCRATCH Lab delivers a comprehensive toolset for the review, versioning, color correction, conform and output of on-set or VFX dailies. ASSIMILATE is a privately held company, with headquarters in Santa Clara, California, USA, with offices in London, UK, Groningen, NL and Beijing City, CN and markets its products worldwide via a global reseller network. To learn more, visit www.assimilateinc.com.

ASSIMILATE Expands Sales and Support for SCRATCH in the US and Canada with CineSys-Oceana

ASSIMILATE Expands Sales and Support for SCRATCH in the US and Canada with CineSys-Oceana

ASSIMILATE (www.assimilateinc.com), a leading global provider of post-production tools for digital cinema and broadcast workflows, today announced further expansion of its sales presence in the U.S. and Canada with the appointment of reseller CineSys-Oceana (cinesysinc.com), one of the largest media and entertainment industry resellers in North America.

“CineSys-Oceana specializes in workflow solutions, and we’re very pleased to add ASSIMILATE’s SCRATCH product line to our solution offerings,” said Michael Flanigan, Co-CEO at CineSys-Oceana. “We have a broad base of experience representing the latest products and technologies, and SCRATCH offers a unique, robust, and real-time end-to-end workflow with a strong price/performance value that is the right fit for many of our clients. It’s a pleasure to be associated with ASSIMILATE and to represent its high-quality product line.”

“SCRATCH and SCRATCH Lab have gained rapid momentum in North America and throughout the world because they deliver a first-class experience to all levels of film and broadcast — studios, indies, post-production facilities, and DITs,” said Steve Bannerman, vice-president of marketing at ASSIMILATE. “We’re excited about working with Cinesys-Oceana because they understand the needs of the market and have the expertise to create ideal workflow solutions for our customers.”

SCRATCH Digital Workflow Tools

ASSIMILATE’s SCRATCH end-to-end data workflow — from dailies, to conform, color-grading, compositing, and through to finishing — and SCRATCH Lab, a robust dailies or VFX review digital pipeline, deliver the industry’s most comprehensive toolset for data-centric digital cinema and episodic television productions for 2D and 3D stereo projects. Both products support multiple formats, including ARRI RAW, Sony F65 and F55, Phantom, and Canon 5D, as well as enhanced support for RED ONE, RED ONE MX, SCARLET, and EPIC at all resolutions. All versions of SCRATCH and Lab software, running on Mac OS X and Windows 7, feature SDI and 3G output via AJA Kona 3G graphics cards, fast dailies rendering, and improved metadata and time-code handling. For the latest feature film and TV credits, pricing and sales, visit www.assimilateinc.com

With offices in New York, Miami, Atlanta, Dallas, Houston, Toronto, and Vancouver, CineSys-Oceana provides exceptional sales and support services to the Media and Entertainment industry in most major production centers across North America. For more information about CineSys-Oceana and SCRATCH products, visit their website at cinesys-oceana.com.

ASSIMILATE is the premier provider of digital workflow and post-production tools that have proven essential to the successful creation of thousands of studio and independent features, television shows, music videos and corporate video productions. The company’s SCRATCH products, running on Windows and Mac OS X, are the heartbeat of today’s most demanding digital post-production and dailies workflows for 2D and stereo 3D productions. They equip directors, DPs, on-set professionals and artists with the state-of-the-art, intuitive, data-centric solutions they need to meet the continual challenges of increased creativity and productivity amid ever-shrinking budgets. ASSIMILATE’s SCRATCH data-centric DI system, is the most comprehensive, end-to-end cinema and broadcast imaging tool for playback, conform, editing, color grading, compositing and finishing for nearly all popular digital workflows, including, RED, ARRI, Sony F65 and F55, Canon 5D, Phantom, Go Pro and many more. SCRATCH Lab delivers a comprehensive toolset for the review, versioning, color correction, conform and output of on-set or VFX dailies. ASSIMILATE is a privately held company, with headquarters in Santa Clara, California, USA, with offices in London, UK, Groningen, NL and Beijing City, CN and markets its products worldwide via a global reseller network. To learn more, visit www.assimilateinc.com

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