Archive for March 6th, 2013


Party-Line Interface Module Streamlines Setup and Workflow

CHARLOTTE, NC, MARCH 6, 2013 – RF Linkup, Inc., a company providing satellite uplink services for the past 20 years for clients ranging from ABC, NBC and CBS to Fox Sports and ESPN, calls on Studio Technologies’ Model 5130 Party-Line Interface Module as the go-to comms interface for its uplink trucks. The company uses the 5130 to interface comms through a fiber link between its uplink truck and other OB production trucks on location, yielding an easy-to-set-up, straightforward-to-use system that quickly and reliably solves comms problems in the field.

“RF Linkup is a satellite communications company that handles all kinds of sporting and news events,” says Emerson Lawson, CEO, RF Linkup, Inc. “We take a production feed from an OB truck and uplink it to a satellite. From there it will be downlinked to the network, for example, or sometimes we take a feed from a reporter/cameraman setup and uplink it to a network or station. We had been using the Studio Technologies IFB system with excellent results. So when we needed a solution for our comms interface we purchased the Model 5130 and it was the perfect choice.”

The Model 5130 Party-Line Interface Module is a compact, self-contained unit for use in custom broadcast, live-performance and general party-line intercom applications including sports broadcasting booth packages, remote news gathering “fly packs,” stadium audio/video interface locations and OB, ENG and satellite uplink applications. The module provides a high-quality, 2-channel party-line-to-analog-line-level (“4-wire”) audio signal interface in an easy-to-use yet technically sophisticated package. The module’s basic functions include 2 channels of 2-wire-to-4-wire conversion with auto-null capability, input and output level metering, a +28-volt DC party-line power source with 2 channels of 200 ohm intercom audio termination and DC output control and status monitoring.

Users can connect party-line belt-pack module directly to the 5130. Two analog inputs and two analog outputs interface the Model 5130 with a variety of external audio transport, matrix intercom and infrastructure equipment. Module operation requires only an externally provided source of 12 volts DC. Advanced features include remote control and monitoring capability when installed with the Model 5190 Remote Access Module available from Studio Technologies.

“When we are hired to provide uplink services for a live broadcast, we need our systems to work the first time and every time,” continues Lawson. “The Model 5130 makes our comms connection straightforward, reliable and easy to use. With the Studio Technologies IFB and 5130 modules, we know everything will work flawlessly.”

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Athena Studios Founder Jon V. Peters Named to Board of Directors for the Visual Effects Society’s Northern California Chapter

Emeryville, CA, March 6, 2013 – Jon V. Peters, CEO/Founder of Athena Studios, has been named to the Board of Directors for the Visual Effects Society’s Northern California chapter. The announcement was made by David Tanaka, VES Section Chairman, Bay Area/Northern California.
“We’re sincerely delighted to have Jon Peters become a newly elected VES Bay Area board member,” said Tanaka. “Over the years, Jon has helped the VES Bay Area Section many times as a dedicated local VES member, offering video-graphy, post-production and archiving services on numerous occasions, including a 2012 Ralph McQuarrie Tribute, the Mill Valley Film Festival ‘Raiders of the Lost Ark’ 30th Anniversary and ‘Star Wars’ 35th Anniversary retro-spectives, to name a few. We appreciate all that Jon and Athena Studios have done for the VES Bay Area Section in the past, and we look forward to future collaborations with Jon and his company through his new capacity as a board member.”
“I am thrilled to play a more integral role in the Northern California Visual Effects Society,” adds Peters. “I am looking forward to helping our members by creating a greater understanding of Visual Effects and their role in film-making, as well as having the opportunity to educate our members on other aspects of effects through panel discussions and other events.”
Jon V. Peters, CEO and Founder of Athena Studios, began his career as an industrial designer in San Jose, California. He went on to become a professional model maker, and helped design and build a special full-scale interactive spaceship, special venue project with the Optical Photography Coordinator from George Lucas’ Miniature and Optical Effects Unit on the original “Star Wars” and effects professionals from Universal Studios Hollywood. Shortly thereafter, Peters left model making to start his own advertising and design firm, which specialized in high technology clients.
Peters continued to pursue his passion for special effects and animation, however, writing articles and reviews for national publications on the convergence of 3D animation, multimedia and personal computers. While his advertising agency won awards and critical acclaim for its work, he concurrently served as a judge for a variety of multimedia competitions.
Peters founded AthenaOnline, the award-winning educational company, in 1994.
The Visual Effects Society (VES) is the entertainment industry’s only organization representing the full breadth of visual effects practitioners including artists, technologists, model makers, educators, studio leaders, supervisors, PR/marketing specialists and productions in all areas of entertainment from film, television and commercials to music videos and games. VES strives to enrich and educate its own members and members of the entertainment community at large through a variety of domestic and international events, screenings and programs.
The Bay Area Chapter of the VES is comprised of nearly 400 members, including those working at LucasFilm, Pixar, Tippett Studios, Atomic Fiction, Dreamworks, 32TEN Studios, Athena Studios, and many other Bay Area FX studios.
Athena Studios was launched in Summer 2012 as a full service production facility designed to help companies seeking to produce their own videos or shoot a feature film. Athena has a fully lit green screen stage available for daily or long-term rental, and can help outfit its clients with lighting and camera equipment through its alliances with local area vendors DTC Grip and Chater Camera.
Athena Studios is conveniently located off Highway 80 in Emeryville, CA., in the heart of Northern California’s “New Hollywood” — near Pixar, Tippett Studios and Ex’pression College for Digital Arts.
For more information, please see:
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Jollyfy Announces SXSW Mobile Video Theme-a-Thon Contest for Creative Designers

‘Jollyfy@SXSW Theme-A-Thon’ Contest to Award 32GB iPad Mini to Designer With Most Popular SXSW Video Theme for Jollyfy, the First iPhone and iPad App Enabling Users to Add Their Own Themes in Camera Viewfinder


NEW YORK – Jollyfy ( today announced a creative designer contest, the ‘Jollyfy@SXSW Theme-a-Thon’ which challenges iPhone and iPad developers and designers to create the most popular video themes around the SXSW interactive/film/music festival, which takes place in Austin, Texas March 8-17. The Jollyfy@SXSW Theme-a-Thon provides interactive designers with a chance to gain global recognition during SXSW, and win a 32 GB iPad Mini. The Jollyfy theme which gets the most downloads and has the most videos created with it between the date of submission and March 20th will be declared the winner. Jollyfy will announce the winner on Monday, March 25, 2013. More information on the contest is available at

Designers can use their graphic tools of choice – from Adobe Photoshop to AfterEffects to Maya and Blender 3D – to create themes for Jollyfy. Jollyfy app users can then download these themes onto their iPhone, iPad or iPod Touch and use them to record and share SXSW-themed videos and group video albums.

The most popular Jollyfy@SXSW theme will be scored based on the most number of users downloading and using the theme (3 points per user), plus the most number of videos made with the theme (1 point per video). At least 3 different users must make and share videos with a theme for that theme to qualify for prizes. Up to 4 runner-ups will receive $50 [iTunes] gift cards.

Designers must submit their themes to Jollyfy by 11:59:59 pm EST on Friday, March 15 to be considered for the contest. Information on how to create and submit Jollyfy themes and other contest information, resources and terms are available at

“Jollyfy themes offer designers a unique opportunity to shape the discussions surrounding SXSW. Whether you make themes about music, tech, film or the SXSW social scene, your creativity and ideas can spawn video conversations that are serious, funny, thought-provoking or even launch an internet meme that goes well beyond the festival,” said Maciej Wisniewski, Founder and Chief Scientist of netomat, Inc., which created Jollyfy.

Jollyfy is an innovative video personalization platform for consumers and brands to record and share personalized and branded videos through social media, e-mail, and Jollyfy’s community. The Jollyfy app for iPhone, iPad and iPod Touch enables users to add video themes that appear as overlays in the camera viewfinder. When a user records video, the theme becomes part of the user’s video. Users can select from hundreds of existing themes (popular themes include Happy Birthday, Breaking News, the Kiss Cam, Wish You Were Here, Vintage Film and Mr. President), make their own themes, or use themes made and shared by other users. The Jollyfy mobile app can be downloaded from

“The creative community that surrounds SXSW is the ideal audience for generating a mobile social video design contest, and that is what the Jollyfy@SXSW Theme-a-Thon is all about: creative competition in a friendly, interactive mobile environment,” said Kris Ramanathan, netomat’s CEO and Co-Founder. “We believe that the SXSW festival will offer many mobile video ‘moments’ that can be augmented through the Jollyfy SXSW themes that designers will create. Jollyfy was created for richer mobile video storytelling; users can easily connect videos together to truly capture shared social experiences from different points of view and tell a richer, more complete story. We wish the mobile design community good luck in gaining an audience with their Jollyfy SXSW themes.”

Video Themes for Any Occasion
Users can make Jollyfy themes with many popular graphics and motion graphics software programs, including Adobe Photoshop, Aftereffects, Premiere; Apple Motion, Final Cut Pro; Autodesk’s Maya; Smith Micro’s Anime Studio; Maxon’s CINEMA 4D and the open source programs, GIMP and Blender 3D. Themes can include text, images, video elements, animation, special effects, 3D images, filters, and more. A simple in-app “theme wizard” enabling users without any knowledge of these tools to make rich themes will also be launched soon. More information and instructional videos are available on the Jollyfy website at

Create Group Video Albums and Conversations with Jollyfy
Users can share any theme they make with friends, family, colleagues or the entire Jollyfy community. When they do so, all videos made and shared with that theme are automatically grouped together into a video album. For instance, a college student creates a Jollyfy theme for his roommate’s surprise party and invites friends to use it. Everyone downloads the Jollyfy app and records videos with that theme before, during and after the party to create a video album that these friends can enjoy forever. Another user creates a theme for an important cause and shares that theme with others to also express through video why that cause is important. Thousands of evocative, themed videos made by ordinary people are recorded and shared via email and social media in just days. Lastly, a parent creates a theme for his daughter’s 10-and-under soccer team and shares it with other parents to capture videos of games, practices, team members and goofing around throughout the kids’ soccer season.

Jollyfy is currently supported on the iPhone 5, iPhone 4S, iPhone 4, iPad 2 and 3, and iPod Touch (4th generation). Jollyfy requires iOS 5.0+

About netomat
netomat, a leader in mobile web apps and video services, is a “one-stop shop” for mobilizing web content and community, offering strategy, execution, monetization and content delivery across thousands of devices. netomat’s flagship product, Mobility Server, is an enterprise-strength publishing platform for mobile websites that is also resold by Oracle Corporation globally as part of its web content management product suite. netomat is based in New York City. For more information, please visit

About Jollyfy
Jollyfy is the first ecosystem that enables personalized creation and sharing of mobile video. Developed for the iPhone and iPad, Jollyfy provides a broad range of creative themes for users to share with friends and family, and offers a platform for brands and professional designers to sell premium content to fans. Jollyfy is a wholly-owned subsidiary of netomat. For more information, please visit
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EDITOR’S NOTE: If you would like a color photograph of Kris Ramanathan, CEO of netomat; Maciej Wisniewski, founder and chief scientist of netomat; screenshots of Jollyfy videos, or a Jollyfy logo file, please contact Chris Pfaff on or 201-218-0262

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Strategy+Communications Publishes ‘Get Yourself Heard at NAB’ To Help Exhibitors Gain Media Attention, Increase Booth Traffic & Sales

WESTON, CT (March 6, 2013) — To help exhibitors gain media attention, drive customer traffic and increase sales at the upcoming National Association of Broadcasters (NAB) Convention, Strategy+Communications has published a revised version of its special ebook on NAB public relations, “Get Yourself Heard at NAB.”

“Unfortunately, it’s very easy for both new and established companies to be overlooked by the media and show attendees among all of the other exhibitors at NAB,” said Randy Savicky, founder and chief executive officer of Strategy+Communications. “With the large financial commitment that companies make to exhibit at NAB, it’s a shame to miss the golden opportunity to attract media and customer attention. Our program is specifically designed to add the needed boost to maximize their return on investment. They can check off PR from their long ‘to do’ lists.”

A highly focused public relations program, “Get Yourself Heard at NAB” is specifically designed to raise exhibitors’ visibility throughout the show cycle — before, at and after NAB. The program targets key media across traditional, digital and social media to generate media coverage that is designed to increase booth traffic. For more information on this program, please click here.

A senior public relations executive, Mr. Savicky has covered the NAB for more than two decades as a journalist and public relations consultant. He was Editor-in-Chief of Pro Sound News, contributed to Post, Mix, Television Broadcast and Videography magazines and was leader of the consumer and technology practices at Edelman and Ruder-Finn before starting his own agency in 2002. He has provided public relations, marketing and trade show support for such digital media industry leaders as Apple, IBM, Quantum, Fujifilm and Sony as well for startups like Cache-A, Timeline and Intelligent Resources Integrated Systems, among others.

About Strategy+Communications
Strategy+Communications is a Connecticut public relations agency agency that helps innovative companies get found, get funded and drive traffic, leads and sales. We connect communications programs to business goals by creating great stories about how a company’s products and services make people live and work better every day. We then deliver these stories to their customers and other key audiences by leveraging the power of the new PR and marketing — traditional, digital and social media. Learn more at

Chicago Public Access Station CAN TV Upgrades to Utah Scientific for Multiformat Routing

SALT LAKE CITY — March 5, 2013 — Utah Scientific, a worldwide leader in routing and master control switchers, today announced that public access TV station Chicago Access Network Television (CAN TV) has installed a UTAH-300 multiformat routing switcher as the core audio/video routing system in its cablecasting head-end.

“Prior to this upgrade, CAN TV was an analog shop, where we operated using composite video with stereo audio,” said Jason Bryant, CAN TV’s chief engineer. “We couldn’t interface newer systems that support SDI, which was limiting our ability to remain technologically viable. Installing this platform — which can handle digital signals and embedded audio — is a major step forward in CAN TV’s continued evolution.”

CAN TV installed a UTAH-300 routing switcher in a 64 x 64 frame running with embedded audio. The router’s SD-SDI electronics are controlled by an SC-400 controller card in an MX-Lator chassis, with a secondary controller card running for failover. For now, two hardware panels and four custom-built touchscreen soft panels control the router, with more to be added later.

The UTAH-300 routing switcher fulfills CAN TV’s crucial requirements for digital format support, embedded audio, and flexible control options. CAN TV now supports SD-SDI as it moves toward an HD infrastructure. By moving to embedded audio, CAN TV has cut its wire population by two-thirds. In terms of control, Utah Scientific’s touchscreen control panels give CAN TV’s cablecast operators the ability to customize control surfaces for different tasks, which helps them reroute signals more quickly and effectively.

“The UTAH-300 routing system gives us many advantages over our old system,” Bryant said. “It creates an upgrade path to high-definition output and a higher source/destination density. It also increases our signal quality and control opportunities. The architecture is scalable and expandable to support future growth. The fact that chassis can be linked under the control of one SC-400 card through the MX bus is a very attractive design feature. And it’s built like a tank — it could withstand anything.”

The UTAH-300 is a cost-effective routing solution for medium and large applications that use both analog and digital video signals. Built using I/O blocks of 32 x 32, it handles multiple formats, including serial digital video, analog video, analog audio, and AES/EBU digital audio.

“The UTAH-300 multiformat routing switcher has just the right combination of features and expandability to meet CAN TV’s requirements and its budget,” said Tom Harmon, president and CEO of Utah Scientific. “It’s the perfect choice for midsize operations that need a reliable, flexible routing system.”

More information on the UTAH-300 routing switcher, the SC-400 control system, and other Utah Scientific products can be found at

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About CAN TV
Chicago Access Network Television (CAN TV) gives every Chicagoan a voice on cable television by providing video training, equipment, facilities, and channel time for Chicago residents and nonprofit groups. CAN TV’s five local, noncommercial channels reach one million viewers in the city of Chicago.

About Utah Scientific Inc.
Throughout more than 35 years in business, Utah Scientific has earned its position as worldwide leader in routing and master control switchers by working with customers to meet their needs for advanced signal distribution and control technology. The company’s confidence in its industry-leading products is exemplified by its renowned no-fee, 10-year warranty and validated by multiple Frost & Sullivan Customer Service Leadership Awards. Additional information about Utah Scientific and its products can be found at

Photo Link:
Photo Caption: Ken Nelson – CAN TV Cablecast Operator interacting with SP2 Touchscreen router control panel.

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Oblique FX Brings The Art of Being Human to Television

Canadian Screen Award Nominee Delivers VFX for Being Human

Montreal, QC: Mar. 6, 2013… Oblique FX continues to produce visual effects for the television series Being Human, now in its third season. The Montreal facility was recently nominated for a 2013 Canadian Screen Award from the Academy of Canadian Cinema & Television for best visual effects in television for its work on the second season of the program. The Canadian Screen Awards celebrate the best in Canadian film and television and this nomination recognizes the work Oblique FX produces for Being Human.

Oblique FX delivered 382 shots for the second season of Being Human, including set extensions, greenscreen work, digital morphs and enhancements, as well as being in charge of on-set VFX supervision. The facility was nominated last year in the same category for season one of Being Human and won a Gemini Award (the precursor to the Canadian Screen Awards) in 2010 for VFX on the television mini-series Ben Hur. This year’s Canadian Screen Award nomination honors the facility’s VFX work for an episode of Being Human called “The Ties That Blind.”

Vampires, Werewolves and Ghosts

Starting from scratch, Oblique FX built the elements that became the supernatural and magical characters in Being Human, which include a ghost, a werewolf and a vampire living together in a house in Boston. “The Ties That Blind” is replete with paranormal phenomena that required extensive VFX work. A poltergeist splits a staircase in half as Sally, the ghost, runs frantically backwards to escape the unseen force. Later, the ghost of her ex-boyfriend is shredded and sent into limbo by the Reaper, a swirling amorphous character. Possibly the most remarkable scenes involve werewolves and culminate in a night fight in the woods between a pair of vampires and four werewolves, who have just transformed from their human shape.

Rendering Realistic Transformations

“The werewolves have always been our most interesting challenge on this project,” said Pierre-Simon Lebrun-Chaput, VFX supervisor for Oblique FX. “Each one is a complex character with emotions and individual traits that we need to convey convincingly. They get a lot of screen time and it’s crucial that we integrate them believably into their environments.”

The terrifying fight in the woods is the most VFX-heavy sequence of Being Human to date. There are 15 werewolf shots during the night hunt, accounting for over one full minute of CG. Every element was hand-built in Softimage, lit and rendered with Arnold and composited in Nuke. Extensive rotoscopy was used to place the werewolves seamlessly among the leaves and trees of the forest.

CG assets of the werewolves were built from designs that were sketched early in the first season of Being Human. Oblique FX then used these elements to depict the human transformation into the very different anatomy of the werewolves. In the case of a facial morph of werewolf twins, the camera was close up, with a large part of the transformation happening on screen. This sequence involved a painstaking 3D recreation of the actors’ faces and bodies. The 3D recreations were match-moved and then distorted to depict gradually sharpening teeth and extending bones, and subsequently, used to add growing CG hair and to animate changes in the color and texture of the skin. Oblique started with shots of the actors wearing prosthetic teeth, then animated the plates. Hair was added to the face next. A prosthetic chest mimicked the expansion of the torso. Once the werewolf transformations were complete the creatures were animated to continue the action sequence.

“It was easy to fall into in-between shapes that looked weird, like a raccoon or a rat,” Lebrun-Chaput explained. “We overcame this by redrawing the details of the face to make it more wolf-like and realistic. Because we were playing with the details of a human face, even a small error would have been immediately obvious to the audience.”

“We love doing TV work,” said Benoît Brière, president of Oblique FX. “With Being Human, we’re involved in the creative process from the beginning, creating concepts and storyboards. We have latitude to present ideas and design assets to the director. With Being Human all our artists get to pitch in.”

Produced by Muse Entertainment Enterprises and shown on Space (Bell Media) in Canada and SyFy in the U.S., Being Human stars Sam Witwer, Meaghan Rath and Sam Huntington as a trio of supernatural beings who live together in Boston. Oblique FX continues to deliver VFX for the series, now in its third season.

About Oblique FX

Founded in 2008 by Benoît Brière and powered by an open, collaborative culture, Oblique FX creates high-end digital visual effects for international clients in feature film, television and advertising. Services include on-set supervision, high-end 3D animation and compositing, resulting in photoreal visual effects that integrate seamlessly with live action plates and environments. Recent film projects include Louis Cyr (in production), Ésimésac and the IMAX documentaries Rocky Mountain Express, Rescue (3D) and The Ultimate Wave (3D). Their work in TV includes Bomb Girls (Seasons 1 and 2), Ben Hur and Being Human (Seasons 1-3). Oblique FX won the 2010 Gemini Award for best visual effects for Ben Hur and has been nominated for two Canadian Screen Awards for Being Human (seasons 1 and 2). Oblique FX is located in downtown Montreal. For more information, visit

Calrec Joins AVnu Alliance

HEBDEN BRIDGE, U.K. — March 5, 2013 — In an effort to drive the movement toward a common protocol for audio networking, Calrec has joined the AVnu Alliance, an industry consortium dedicated to the development and promotion of a professional-quality streaming standard for networked audio and video content based on the IEEE 802.1 Audio Video Bridging (AVB) standards.

“The AVB standard addresses Ethernet’s most serious shortcomings as a transport for streaming audio,” said Calrec Technical Director Patrick Warrington. “We know a lot about audio networking and have already brought two solutions to the table because we want to ensure that our customers’ needs are well-represented in the new protocol.”

“We are very pleased to welcome a broadcast audio leader like Calrec to AVnu Alliance,” said Lee Minich, AVnu Alliance Marketing Work Group chair and president of Lab X Technologies. “This underscores the desire for robust, standards-based networked AV transport guaranteed by AVnu-certified AVB devices for the broadcast industry.”

The first industry forum to lead the adoption of an Ethernet-based open networking standard, the AVnu Alliance certifies AVB devices for interoperability and provides member companies with certification tools to pre-test AVB-based devices before entering the formal testing procedures. The AVnu Alliance is joined by more than 50 manufacturers that include some of the largest AV, automotive, and semiconductor companies.

“Reliable interoperation is crucial for AVB’s success,” Warrington said. “We hope that AVnu accreditation will come to be recognized as a stamp of quality. Customers who buy products with the AVnu seal of approval will have confidence that they will connect together without any problems.”

Information about Calrec and its products is available at and

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About AVnu Alliance
AVnu Alliance is an industry forum dedicated to the advancement of professional-quality audio and video by promoting the adoption of the IEEE 802.1 Audio Video Bridging (AVB) standards. The organization creates compliance test procedures and processes that ensure interoperability of networked AV devices, helping to provide the highest quality streaming AV experience. The Alliance is focused on applications of these technologies in the automotive, consumer electronics, and professional AV markets. More information can be found on the AVnu Alliance website at

About Calrec Audio Ltd.
Calrec Audio, part of D&M Holdings Inc., is exclusively dedicated to excellence in audio mixing for on-air and live production. A broadcast specialist for more than 40 years, Calrec has developed a range of digital consoles relied on by the world’s most successful broadcasters. For putting sound in the picture, broadcasters put their trust in Calrec. More information is available at and

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Danixa Diaz of iartists and Tali Krakowsky & Marissa Levin of Apologue Featured at Merge Conference

Recent Conference Presented Women Leaders, Cultural Creatives & Social Artists Sharing Their Insights on Passion, Careers, Best Practices and the Future of Creativity

This past weekend, the Merge Conference brought together creative women of various disciplines in a series of conversations, workshops and talks. Designed to inspire action and build community, the two-day event, held in Culver City, California, was geared toward those who want to merge their true passion with their professions.

On Sunday, March 3rd, Tatjana Luethi, Lead Coach at The Skool; Danixa Diaz, Executive Producer/Co-Founder of iartists; and Marissa Levin, Executive Producer of Apologue, Inc. spoke on “The Future of Creativity.” The panelists shared their personal evolutions and examples of creativity and self-expression, and how they’ve pushed the boundaries of creativity. What is the future? How do you bring about social change? How has the integration of technology, media, storytelling, and environment impacted, educated and transformed consumer behavior?

For the “Why the Future Belongs to Women” panel, Tali Krakowsky, Founder of experience design studio Apologue, Inc. joined Luethi and Jose Caballer, Chief Education Office of The Skool, to explore why it is critical for women to embrace and harness their own unique skills, gifts, passion, power and leadership as a profound contribution to the reshaping and redefining of our social sectors. In this engaging conversation of co-creation and partnership between men and women, Luethi and Caballer also shared their vision of what such a model of collaboration might look like.

For more info on Merge:

About Danixa Diaz:
Danixa Diaz is the Co-Founder/Executive Producer of iartists, which handles business development for a roster of international hybrid creative production and mixed-media companies, working in various disciplines, including advertising, film, broadcast, interactive and video games. Her main roster currently includes: Prologue, Superfad, Iron Claw, Apologue, Modus Operandi, while her international roster boasts the talents of The Cortez Brothers, Totuma, Aparato, La Huella and Black Sheep. Diaz has notably served on the PromaxBDA board, and the Title Design, Executive Committee for the Academy of Television and Sciences, EMMY

About Tali Krakowsky:
Tali Krakowsky is the founder of Apologue, dedicated to the creation of immersive environments integrating new media, storytelling and physical space. She has imagined and created interactive spaces for Chanel, Victoria’s Secret, Van Cleef & Arpels, Qualcomm and Timberland. Born in Israel and raised in Hong Kong, Krakowsky has a B.F.A. in communication from Parsons, and an M.A. from UCLA’s School of Architecture. She is a frequent speaker and writer on the topics of design, technology and architecture.

About Marissa Levin:
As the Executive Producer at Apologue, Levin focuses on executing and delivering experience design projects that integrate technology, storytelling and architecture. With a Masters of Architecture from UCLA, she has created interactive experiences for Victoria’s Secret, HBO, IBM, Timberland, Chanel, and Wynn Hotels and Resorts.

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Matrox Expands Support for Telestream Wirecast Live Streaming Production Software Across Entire Line of Matrox MXO2 Capture Devices

New features include multi-channel capture support and ISO recording to H.264, DV, DVCPRO, DVCPRO50 and DVCPRO HD

Matrox Video today announced support for Telestream Wirecast 4.2.4 for Windows software and new features across the entire line of Matrox® MXO2™ capture devices and the Mojito MAX™ I/O card. Multiple Matrox I/O products can now be used to provide multi-channel capture for streaming and ISO recording of live events. In addition, Matrox ISO recording now supports direct capture to H.264 on Matrox I/O products with MAX and direct capture to DV, DVCPRO, DVCPRO50 and DVCPRO HD on all products enabling post-event editing using popular apps from Adobe, Apple and Avid.

Matrox MXO2 Family and Mojito MAX

“We’ve opened up Matrox ISO recording to include additional codecs so that all of our customers can use their NLE of choice for post-event editing of live productions,” said Wayne Andrews, product manager at Matrox. “Wirecast users are sure to find the exact digital and analog video and audio connectivity they need in the versatile Matrox product line and they can add additional channels as their budgets allow.”

Matrox streaming production solutions for Wirecast will be demonstrated at the 2013 NAB Show in booth SL4616.

Price and availability
Matrox MXO2 devices are priced starting at $449 US (£338, €382) not including local taxes and delivery. Matrox Mojito MAX is priced at $995 US (£749, €799). Matrox products are available through a worldwide network of authorized dealers. Support for Wirecast 4.2.4 for Windows is part of Matrox driver release 7.3 which is available to registered users as a free download from the Matrox website.

About Matrox
Matrox Video is a technology and market leader in the field of HD and SD digital video hardware and software for accelerated H.264 encoding, realtime editing, audio/video input/output, streaming, A/V signal conversion, capture/playout servers, channel-in-a box systems and CGs. Matrox’s Emmy award-winning technology powers a full range of multi-screen content creation and delivery platforms used by broadcasters, telcos, cable operators, post-production facilities, videographers and A/V professionals worldwide. Founded in 1976, Matrox is a privately held company headquartered in Montreal, Canada. For more information, visit

Roger Welcomes Executive Producer Josh Libitsky

Josh Libitsky

2013 is the year of expansion for mixed-media production studio Roger, which is pleased to welcome Josh Libitsky as Executive Producer. The production industry veteran will combine forces with Owner/Creative Director Terence Lee and Head of Production Drew Neujahr to help grow the company’s live-action projects and advertising clientele.

“I’m super excited to have Josh on board the Roger bandwagon,” says Lee. “He brings a wealth of experience and even more, fits perfectly into our culture. He bridges the line between running a studio and nurturing our creative fires. In a short time, he has already contributed immensely, and I look forward to a bright future with him here.”

“We’re really happy to have Josh as part of the team,” adds Neujahr. “His personality is a great fit for the studio, and he’ll be a huge asset as we push into new markets. I think it was Lincoln who said, ‘We’re moving on up.’ No wait, that was the Jeffersons; regardless, it applies here. Roger 2013.”

“I really liked Terry’s vision and the way he runs Roger,” remarks Libitsky. “There’s a great energy and vibe here; it is an artistic environment where they focus on the creative as much as the business side of things. I am humbled by the talented group of artists. I see a lot of room for growth at Roger, and look forward to working with the team to make that happen.”

Most recently, Libitsky was Executive Producer at bi-coastal production company Stardust, where he worked on projects for T-Mobile, Coke Zero, Ford and Mercedes, among others, following three years as Head of Production. With more than a decade of experience, a strong background in live-action and motion graphics, and a relentless work ethic, Libitsky collaborated with a large number of clientele while at Stardust.

Prior to that, Libitsky launched the Inner Circle Collective, partnering with a number of talented directors (and Brand New School alums) in New York and serving as Executive Producer. The team was repped by Curious Pictures, creating spots for Citibank, retailer A.J. Wright and Ronzoni pasta, as well as a branding campaign for Turner Classic Movies and CMT, among others.

Libitsky started his career in production at Brand New School where he spent five years as a Senior Producer. Clients included Ogilvy, TBWA\Chiat\Day, Deutsch, Saatchi & Saatchi, BBDO, The Martin Agency, Grey, Arnold, MTV, FOX and Discovery Channel.

About Roger:
Roger is a mixed-media production studio specializing in motion design & animation. Our visual storytelling is sincere, and our concepts are informed by the fundamental goal of creating clear communication that propels our clients’ brand-messaging in memorable ways. Our sensibilities are fun & quirky at heart, but our solutions are bold & intelligent. Collectively, our capabilities and experience run deep on the creative, production and technical sides of the business. Every last detail of our work reflects our passion and enthusiasm for what we do.

We’re Roger. Loud and clear (from Los Angeles).


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