Archive for March 19th, 2013

GRworks Celebrates Spring with CANLOVE’s “Bloom” 2013 Spring Collection

Unique Exhibit Will Feature the Duo’s Signature “Metaliflora” Sculptures & Beautiful “Canscapes” Made from Salvaged Spray Cans




GRworks is pleased to announce its next show, “Bloom,” showcasing a uniquely inspired collection of CANLOVE’s signature work: recycled spray paint cans. Opening Reception will be held on Friday, April 5th from 6 – 10 p.m. at GRspace (114 W. 4th St. Los Angeles, CA 90013). The show runs through April 20th.

Cycles are a central theme in the work of CANLOVE, founded by artists DJ Neff and Paul Ramirez. Their new series features 91 distinctive metalifora handcrafted to reflect every day of the spring cycle, the brightness of their colors influenced by the cycle of the moon. In addition, 12 colorful heart canscapes have been created, spreading love to every month of the year.

“For this show, we are focusing on some of love’s most enduring symbols,” explain Neff and Ramirez. “We believe anything can be beautiful when you look at it with love – an underlying theme throughout our work – and this spring, we pay homage to a new season and a new year of love and growth.”

CANLOVE’s process starts when empty spray cans are popped open. Expelling the gas and allowing the residual paint inside to dry creates complex patterns and textures revealed only when the cans are unfurled and sculpted.

Neff and Ramirez have become internationally renowned for their meticulously hand-cut and hand-painted floral spray can sculptures. The two met during turns as Art Director/Designer and Cognitive Anthropologist at ad agency Crispin Porter + Bogusky, respectively. They eventually left advertising and founded CANLOVE to collect and upcycle as many spray cans as possible (13,000 to date) into works of visual art. As one article put it, their mission is to “turn their culture’s detritus into something beautiful.”

“The spray can is the medium in which street artists founded their style,” concludes Gennie Rim, founder of GRworks. “CANLOVE’s flowers and sculptural pieces are unexpected, and an intriguing choice that I found innovative and beautiful at the same time.”

A portion of proceeds will be used to support GRworks’ free monthly art workshop for kids — Rim’s simultaneous effort to foster interest and support for youth arts in Los Angeles. The next workshop, taught by Neff and Ramirez, is scheduled for Saturday, April 13th from 1 – 3 p.m. at GRworks. For more information, please email info@GRworks.com.

To learn more about CANLOVE, please visit: www.canlove.org

Facebook event page: facebook.com/events/299365083526332/?ref=22

About GRworks
Founded by animation professional Gennie Rim, GRworks was conceived in 2012 to bridge the gap between the creativity in commercial art and fine art. Integral to the vision and philosophy of GRworks is the desire to create a space for highly talented production artists to pursue and exhibit personal works to the fine art and contemporary art communities.

http://www.grworks.com/

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WSDG Completes World Class Sound Reinforcement System Upgrade For KKL Luzern Concert Hall

LUZERN, SWITZERLAND: From its opening performance by the Berlin Philharmonic in August 1998, the KKL Luzern Concert Hall was recognized as one of the world’s great performance centers. An international landmark, both architecturally and culturally, the complex attracts music fans from around the world to its picturesque lakeside setting.

Designed by architect Jean Nouvel and opened in 2000 KKL Luzern is comprised of three distinctive sectors: The conference and meeting room wing, complemented by a number of lounges and restaurants; A black box-style multipurpose hall, which presents events ranging from rock concerts to general assemblies; And, a Concert Hall distinguished by world-class acoustics designed by Russell Johnson’s Artec. The Concert Hall features some remarkable acoustical properties, including an extremely low quietness level of below 20 dB and mechanically variable room acoustics employing huge echo chambers surrounding the hall. A dozen years of constant use – with an impressive yearly booking rate of more than 90% – coupled with significant technological advances prompted the KKL Luzern management group to upgrade its retractable electro acoustical system. WSDG, an international team of acoustics experts, was brought in to accomplish this essential project.

The Concert Hall

The Concert Hall’s retractable electro acoustical system is used as a high-quality sound reinforcement system during many of the events, typically jazz, world music or pop style concerts and also for speech announcements during performances. The Concert Hall has a gently rising main floor, plus four balcony levels – the lowest of which flows into the organ loft with additional seating, resulting in a total seat count of just under 2.000. The hall’s dimensions correspond to a classic 1:1:2 shoe box shape with a height of 22 meters (72ft), a width of 22 meters (72ft) and a length of 46 meters (150ft). The clear wood stage consists of 41 adjustable elements. Situated at the front end of the house, directly above the stage, the Goll organ boasts 4’387 pipes. The organ can be closed with large doors and a 12 x 8 m (40ft x 26ft) wide projection screen can then be dropped in front of it. A retractable two-part canopy is located directly above the stage. The ceiling holds 190 lights of various sizes to depict a starlit night sky.

The walls are white and many of them in fact are not walls, but touch panel-controlled hydraulic doors that can be used to modify the reverberation time for different applications. The Concert Hall itself has a volume of 17’823 cubic meters (about 630’000 cu. ft), the echo chambers (with doors in the open position) can increase the volume by an additional 6’189 m? (220’000 cu. ft) – about 1/3 of the hall’s volume! The echo chambers are treated by varying arrangements of absorbing curtains, providing a variable median reverberation time of between 2.0s and 2.8s. The walls (and/or doors,) are slightly convex and covered with a total of 24’000 custom designed gypsum relief elements. For reinforced events, the reliefs are covered by white curtains. Prior to an event, KKL Luzern’s technical team configures the room based on the parameters received from the conductor and, on their vast experience from past events. Further fine-tuning of the room’s variability is accomplished while rehearsing with a conductor. As Technical Director Tjark Kuhlmei explains, “We have conductors who know the room very well and want it set up exactly to their personal preferences. For example, Claudio Abbado knows precisely the slight change that can be achieved by varying the canopy height by 20cm to produce a subtle, yet more pronounced harp sound.”

The Requirements and The Solution

Dr. Dominik Isler, COO, reports: “The room acoustical quality of the KKL Luzern Concert Hall is on par with other world-class halls, so the main objective for the new sound reinforcement system was that we achieve the same high quality level in electroacoustical concerts as we do in classical events.”

In addition to extremely high quality acoustic requirements, further parameters had to be met. These include the ability to fully retract the loudspeaker system for non-reinforced events; eliminating the need for temporary placement of auxiliary loudspeakers for audience coverage; 360-degree coverage for spoken word events (also covering the area besides and behind the stage, including the balcony below the organ) and, a more accurate perception of directionality. Due to the complexity and logistics of the project, WSDG was mandated for a two-year project covering the consulting, planning, contractor selection, supervision of installation and calibration of the technical systems.

Dirk Noy, General Manager of WSDG’s Europe Office states: “A major issue of this hall is the wide distribution of seats on five vertical levels surrounding three of the four walls, and consequently, the coverage requirements of the electroacoustical sound system. The WSDG solution’s core idea was the realization that the KKL Luzern Concert Hall is mainly designed for acoustical sources that are placed directly on stage.” Consequently, the new main loudspeaker system is installed significantly lower and closer to the stage than the previously installed solution. The main system is supplemented by a distributed system whose elements are permanently installed but retractable by motors.

The project was divided into three phases: firstly the identification of the requirements, system planning and preparation of specifications, secondly the on-site evaluation of a total of three loudspeaker system candidates, and lastly the execution phase of installation planning, supervision and commissioning.

The preparation and specification in phase 1 and the on-site evaluation in phase 2 determined that d&b loudspeakers provided the optimum system both in the technical evaluation (acoustical measurements) as well as in the listening tests (consisting of questionnaires within a test audience of 20 persons with varying backgrounds). The procuring and installation assignment was awarded to auviso, one of Switzerland’s most significant system integrators, based in Lucerne.

The Sound System

The new sound reinforcement system consists of the Left Right main system with two line arrays of eight d&b V12 units each, suspended above the stage front edge, two additional line arrays for covering each of the balconies with five d&b V12 units, a stage edge in-fill system consisting of two d&b V-Sub and two d&b V12 units each on the right and left and a stage mounted front-fill provided by six d&b E6 units. For events requiring a 360-degree speech reproduction a retractable center cluster was provided with a front section (consisting of eleven d&b T10 units) and a rear section (consisting of three RCF VSA 2050 digitally controlled column loudspeakers).

The d&b V12 units have a nominal horizontal dispersion of 120-degrees; the vertical tilting is variable from 0 to 14 degrees. The passive 3-way units are equipped with two 10-inch low frequency drivers; a horn loaded 8-inch midrange driver and two 1.4-inch high frequency drivers mounted on a dedicated waveguide. The d&b V-Sub units hold a forward radiating 18-inch driver in a bass reflex enclosure and a rear-firing 12-inch driver in a two-chamber band pass enclosure. With this arrangement and the algorithms within the D12 amplifier a Cardioid dispersion characteristics with a significant attenuation of the energy radiation towards the stage can be achieved.

Amplification is provided by d&b D12 units that allow for precise tailoring to the installation parameters. “Beyond their sonic qualities we also really like the aesthetics of the new system, being an inconspicuous, slim line array,” Tjark Kuhlmei points out, “With the subs on stage, we can flexibly adjust the low frequency reproduction as required, or not use them at all, for example for pure speech events.” Signal transport from the Yamaha DME System DSP (digital signal processor) to the amplifiers is achieved via digital AES / EBU at a 96kHz sample rate.

All the line arrays are suspended and are equipped with their appropriate motor and cable winding mechanism. This allows the retraction of all loudspeaker arrays not required for a specific performance, to a parking position above the canopy.

Distinguished by its spectacular architecture and acoustics; its vast variable echo chambers and its unique Goll pipe organ, The KKL Luzern Concert Hall is an incomparable world-class venue. The new d&b V-Series sound reinforcement system, engineered, implemented and calibrated to the most demanding performance specifications, exceeds all quality requirements and significantly widens the hall’s usage profile. WSDG is exceptionally proud to have been associated with this important and artistically significant project.

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KKL Luzern Concert Hall photo captions

1. KKL Luzern Concert Hall Exterior photo by KKL Luzern
2. KKL Luzern Concert Hall Interior w. New System photo by KKL Luzern
3. KKL Luzern New Main System photo by KKL Luzern
4. KKL Luzern Simulation Screen Shot of SPL Sound Pressure Level Direct Sound. Image by WSDG

Walters-Storyk Design Group has designed over 3000 media production facilities in the U.S., Europe, the Far East and Latin America. WSDG credits range from the original Jimi Hendrix Electric Lady Studio in Greenwich Village to NYC’s Jazz At Lincoln Center performance complex, broadcast facilities for The Food Network, CBS and WNET, over twenty teaching studios for The Art Institutes around the US, and corporate clients such as Hoffman La Roche. Recent credits include Jungle City, NY’s major new destination studio; private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk, Beth Walters, and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG is a seven-time winner of the prestigious TEC Award for outstanding achievement in Acoustics/Facility Design, including 2012 for Jungle City. WSDG maintains offices in NY, SF, Miami, Argentina, Brazil, Beijing, , Mexico City, Spain and Switzerland.

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Qube Cinema Installs 4K 3D System at Moody Gardens

Single-Server Setup Enhances Viewing Experience on Giant Screen


Galveston, TX: Mar. 19, 2013… Qube Cinema installed its single-server 4K 3D system at Moody Gardens in advance of the GSCA Film Expo and Digital Symposium happening now in Galveston, Texas. The single Qube XP-I server delivers 4K stereoscopic imagery to two Barco 4K projectors each with its own embedded Qube Xi 4K Integrated Media Block (IMB). Moody Gardens now joins the ranks of giant screen theaters in North America with 4K 3D capabilities, offering visitors stunning stereo digital imagery.


The MG 3D Theater at Moody Gardens upgraded from film to digital two years ago with two 4K Barco projectors and a 2K server. Because they wanted to show high-resolution content, they immediately began the search for a server and integrated media block that could deliver the full 4K power of their two Barco 4K projectors. Their search led them to the Qube Cinema XP-I server, which offers up to 1 Gbps throughput of uncompressed data to paired Xi 4K IMBs, delivering 4K resolution at 30 fps or 2K 3D content up to 120 fps per eye.


“The only server and IMB technology we saw that could deliver 4K 3D content was the Qube XP-I server,” said Brandon Compton, theater director at Moody Gardens. “Its high frame rate and high bit rate capabilities offer a much improved viewing experience to our audiences.”


In addition to its HFR 3D capabilities, the XP-I server can synchronize dual DLP projectors, thus increasing screen brightness for 3D exhibition to 14 foot-lamberts, a level which is comparable to that of 2D screenings. This is especially pertinent for giant screens like the 80′ by 60′ screen at the MG 3D Theater where high brightness adds greatly to the power of the experience. But it’s the ease of operation that has really impressed the staff at Moody Gardens.


“The results of audience surveys are consistently great, with high marks for image clarity,” noted Compton. “The big difference from our perspective is in the equipment booth. The XP-I makes it so simple to ingest content and build show files. Qube has made life a lot easier for the guys in the booth.”


Moody Gardens Set to Host the GSCA Film Expo and Digital Symposium
Established in 1986, Moody Gardens is an educational center in Galveston that uses nature for recreation, rehabilitation and research. The giant screen theater, in operation for over twenty years, was one of the first attractions at the center. In 2012, the MG 3D Theater made history by demonstrating high bit-rate stereoscopic 4K projection for the first time from a single Qube XP-I server and two Qube Xi 4K IMBs at its digital cinema symposium.


“Qube Cinema remains the only manufacturer capable of delivering dual-projector 4K 3D,” said Eric Bergez, director of sales and marketing for Qube Cinema. “Along with our ability to playback from a single DCP, the Qube XP-I and Xi 4K IMB provide our GSCA clients with the power to playback large format DCPs at bitrates four times greater than the standard DCI spec. The system also supports extreme HFR at 120 fps per eye on all our dual-projector configurations.”


With installation of the Qube XP-I server and Xi 4K IMBs, Moody Gardens joins the giant screen theaters of the Houston Museum of Natural Science, the Peoria Riverfront Museum, the Milwaukee Public Museum and the National Museum of the United States Air Force using Qube Cinema technology to present true 4K 3D movies, such as The Last Reef and Flight of the Butterflies. The MG 3D Theater remains unique in being able to screen both 15:70 films as well as digital content.


After hosting its own digital cinema symposium for the past two years, Moody Gardens is pleased to host the GSCA Film Expo and Digital Symposium, Mar. 18-21, 2013 in Galveston. Attendees to the GSCA symposium can see demonstrations of the Qube Cinema setup. The Qube XP-I server and Qube Xi 4K IMB are available from Qube Cinema and its worldwide network of resellers and system integrators. For more information visit www.qubecinema.com.


About Qube Cinema, Inc.
Qube Cinema is an international manufacturer of Digital Cinema technology and mastering solutions. A subsidiary of India-based Real Image Media Technologies, Qube Cinema draws on decades of experience in media, cinema and entertainment. The company is committed to creating a seamless Digital Cinema environment for exhibitors, filmmakers and postproduction companies with technologies that are innovative, flexible and cost-effective. Qube Cinema’s product lines include the Qube XP series of digital cinema servers, Qube Xi 4K Integrated Media Block, QubeMaster software solutions, and Qube Keysmith KDM generation system. Qube Cinema, Inc. is based in Burbank, California. For more information, visit www.qubecinema.com.

MPC Helps Virgin Mobile Get Surreal with Mother NY and Traktor

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Raining phones, crazy mirror-ball worlds, a purring shark, and Wayne Coyne of The Flaming Lips – all this and more make up the insanely surreal “Retrain Your Brain” from Mother NY, Traktor and MPC for Virgin Mobile. The rapid-fire montage lends a hypnotic tone to the minute-long ad, making for a mind-blowing visual spectacle, aided by the CG and 3D experts at MPC.

To give the spot its affect and imagery, MPC’s team of VFX artists, headed up by CD Alex Lovejoy, worked with director Traktor and Mother NY to develop a slew of out-of-this-world concepts to imbue the spot with its hypnagogic feel.

“We had the most fun with our ‘Bunny Brain,’ which went through various incarnations and styles, ranging from plastic toy to striped amphibian,” explained Lead 3D Artist Liam Griffin. “We also found ourselves jumping around the studio, trying to decide how a bunny brain would move and where its legs would go!”

MPC’s Marcus Wood joined Traktor on-set, allowing them to collaborate in real-time to map and rig various scenes for seamless VFX integration. The MPC team was then tasked with creating all the screen composites for each scene, adding twirling, mesmerizing backgrounds utilizing Cinema 3D, and animated VFX entities using Maya and Mudbox.

“What an awesome project to be a part of; a visual feast of truly cool shots,” said Lovejoy. “And as always it’s great fun working with Traktor and Mother. Our team at MPC had a fantastic time.”

Credits:

Client: Virgin Mobile
Spot Title: Retrain Your Brain
Air Date: March 2013

Advertising Agency: Mother NY

Director: Traktor
DOP: Matty Libatique
EP: Richard Ulfvengren
Producer: Rani Melendez

Editorial: Arcade
Editor: Geoff Hounsell

VFX: MPC
Creative Director: Alex Lovejoy
Shoot Supervisor: Marcus Wood
3D Lead: Liam Griffin
VFX Team: Mikael Pettersson, Carl Fong, Bashir Hamid, Jonathan McKee, Andrew Montague, Jimmy San, Andres Weber, Corey Langelotti
EP: Justin Brukman
Producer: Mitch Stockwell

Color Grading: MPC
Colorist: Mark Gethin

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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Zylight Unveils Ultra-Thin F8 LED Fresnel at 2013 NAB Show, Offers Rebate Promotion

LOS ANGELES – Zylight, a leading manufacturer of innovative LED lighting solutions, will showcase its new F8 LED Fresnel at the 2013 NAB Show (Booth C5446), which runs April 8-11 in Las Vegas, Nev. Available in tungsten (3200K) or daylight (5600K) versions, the compact lighting instrument collapses to less than four inches thick for easy transport and storage.

“When we showed our F8 concept at NAB last year, we received an overwhelmingly positive response,” said Charlie Collias, senior vice president, worldwide sales. “We’ve taken the traditionally hot and bulky Fresnel technology and replaced it with compact LED technology. The F8 delivers all the performance of a traditional Fresnel lighting instrument in a much more portable and energy efficient design.”

As part of a special promotion, Zylight is offering a $200 rebate on all F8 orders for NAB attendees through May 15. Details will be available at the booth and at www.zylight.com.

Equipped with an eight-inch SCHOTT glass lens, the fully dimmable F8 maintains single shadow traditional Fresnel beam shaping, and offers a patented focusing system for spot and flood operations. Its beam spread is adjustable between 16-70 degrees for even coverage for widescreen HD productions.

The F8 draws only 90 watts but has close to the light output of a traditional 1000-watt Fresnel. While its silent operation makes it ideal for studio use, the F8 is also water resistant (IP54), so it can be used in challenging location conditions. The F8 can be powered by a worldwide AC adapter or standard 14.4V camera battery.

“The F8 is a really versatile, rugged light,” said Joseph Arnao, president. “It’s bright like an HMI but better suited for run-and-gun news ENG applications – you just snap on a battery and go. It’s also a great choice for studios that need to save space and reduce operating costs.”

Two speakers will share their shooting experiences with the F8 at Zylight’s NAB booth. Boston-based DP Tom Guilmette recently took the new Fresnel to the top of Mount Washington. On Monday, April 8, at noon, he will discuss how his Zylight performed in the mountain’s unforgiving weather conditions. On Tuesday, April 9, at 1 p.m., Matt Kearney, vice president of Fastec Imaging, will show how his company’s ultra-portable TS3Cine high-speed handheld camera works with Zylight’s flicker-free LED lights.

Like other Zylight models, the F8 is equipped with ZyLink wireless technology, which makes it easy to link multiple Zylights for simultaneous remote control. As a result, several F8s can be grouped together and linked for unique lighting scenarios. The F8 can also be controlled via DMX.

Barn doors and yoke mount ship with the F8. Additional options and accessories, including DMX motorized focus, pole yoke mounting, ZyLink controlled multi-head mount, hand grip, and kit box are available separately. The F8 has an MSRP of $2,400 and will ship in June.

ABOUT ZYLIGHT LLC

Zylight was founded in 2003 with one mission: Bring truly intelligent, time-saving lighting to the entertainment production industry. Our award-winning team has more than 80 years of combined industry experience, and we continue to develop innovative LED lighting solutions to help make your job easier. With more than 50 dealers worldwide, Zylight continues to grow its brand to a large international audience. More Than Bright – Zylight. Find out more at www.zylight.com.

Stephen Arnold Music Launches Little Kids Rock Benefit Drive On Facebook


Sonic Branding Company Will Donate $1 by for Each New “Like” Up to $5000 Goal




DALLAS – When programs like Little Kids Rock(tm) (www.littlekidsrock.org) – the national nonprofit that’s transforming children’s lives by restoring and revitalizing music education in disadvantaged public schools — work so well, people want to get involved. That’s why Stephen Arnold Music (www.stephenarnoldmusic.com), the leader in sonic branding, is spearheading a new effort to raise $5,000 for the organization.


Simply go to their special Facebook page at http://ulink.tv/ch-17, and Stephen Arnold Music will donate $1 for each new “Like” that the campaign receives, all the way to $5,000.


Simple as that. Everyone who “Likes” the Facebook page will be helping Little Kids Rock to partner with school districts. Little Kids Rock trains public school teachers in their innovative curriculum, and donates all of the instruments and resources necessary to run full-fledged music programs.


Stephen Arnold Music first found a meaningful way to give back to Little Kids Rock in 2012: They released The Six Strings of Christmas (http://littlekidsrock.org/stephenarnold.html), an album of virtuoso guitar performances where 100% of the proceeds support the New Jersey-based nonprofit organization.


Stephen Arnold Music’s sonic branding has been central to the identity of such clients as Nexstar Broadcasting, Fox Business Channel, CNN, The Weather Channel, and a full 35% of all US local TV markets.


“Kids are the next sonic branders, and we want to keep encouraging them to be creative with music,” Stephen Arnold, President of Stephen Arnold Music says. “The Facebook campaign is underway, and it’s been a fun and easy way to get people involved. No need to write a check — just click and we’ll cover it.”


About Stephen Arnold Music:
As a multiple Emmy, Addy and Promax Gold award-winning music production company, Stephen Arnold Music has over 20 years of success in delivering the sounds that make a difference to networks, television stations, advertising agencies, film studios and video game companies the world over. The company’s Commanding Sonic Branding approach to music production and commitment to industry-leading service is at the core of its promise. For more information, please visit http://www.stephenarnoldmusic.com.

Athena Studios Hires Jeanette Vera as Visual Effects Artist; Vera’s Work Includes Contributions to “The Avengers,” “Captain America” and “Harry Potter”

Emeryville, CA, March 19, 2013 – 3D Artist and Compositor Jeanette Vera has joined the crew of Athena Studios as Visual Effects Artist. Jon V. Peters, Founder, Athena Studios, made the announcement.
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Vera had worked with Athena previously on a freelance basis, before leaving to work at The Base Studio in Foster City for a year. While at Base, she made VFX contributions to such hit films as “Captain America,” “Harry Potter and the Deathly Hallows: Part 2,” “The Smurfs,” “The Avengers,” “Abraham Lincoln: Vampire Hunter,” and most recently, “Hansel and Gretel: Witch Hunters.” She left Base to return to Athena Studios on a full-time basis.
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“We’re thrilled to have Jeanette re-join our team, this time on a permanent basis,” said Mr. Peters. “Her expertise encompasses a wide breadth of modeling, compositing, match-moving and animation skills — critical talents for a smaller studio like ours to be able to offer to clients. While her primary expertise may be hard surface modeling, she also has a tremendous understanding of organics.”
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Adds Vera, “When I saw ‘Toy Story’ at the age of 5, I knew I wanted to be an artist and work in the film industry. I set my sights on a career that would make my dream a reality. I studied Animation and Visual Effects at Ex’pression College for Digital Arts, where I also acquired a passion for 3D modeling. My specialty is hard surface and environmental modeling. I’m having the time of my life working within this dynamic industry.”
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ABOUT ATHENA STUDIOS:
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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.
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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.
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For more information, please see: http://www.athenastudios.com/
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A Common Thread Signs Aussie Director Brendan Williams

LOS ANGELES—A Common Thread has signed Australian director/cinematographer Brendan Williams, ACS, for exclusive representation in the United States. Williams brings a resume that includes award-winning work for such brands as Subaru, Mitsubishi, Queensland Tourism, eBay and Hyundai. Fluent in a wide range of styles and genres, Williams is highly regarded both as a visual storyteller and for his technical brilliance. more

Sound Devices Welcomes Dr. Steve Popovich as Software Engineer

New Addition Furthers Company’s Commitment to Creating Cutting-Edge Products

REEDSBURG, WI, MARCH 19, 2013 — Sound Devices, experts in audio and video products for field production, is pleased to announce that industry veteran Dr. Steve Popovich has joined its engineering team as Staff Firmware/Algorithm Engineer. Popovich will work directly with the Sound Devices research and development team to further enhance the company’s range of firmware and software algorithms for its audio and video products. Popovich brings with him a strong background in audio, systems engineering and software algorithm creation—a unique skill set that will further bolster Sound Devices’ software development efforts.

“Steve is a very talented software coder whom we’ve had the privilege of working with in the past. He has made big contributions with MixAssist on the 788T and other important algorithm developments,” says Matt Anderson, President of Sound Devices. “With more than two decades of experience in the industry, he is a welcome addition to the Sound Devices family. We look forward to his future contributions.”

Popovich’s background in acoustical signal processing began at Digisonix LLC, where he was Director of Research, developing active sound and vibration control technologies applied to silencing HVAC, automotive, aerospace and industrial noise. Since then, he has served in a diverse set of technical and engineering roles in electronic circuit manufacturing, DSP algorithms and embedded software applied to sound, electric motors and vehicle system electronics. His past work has also included supporting audio-related algorithm and software development for videoconferencing products at VTEL.

Popovich most recently served as a faculty member in the Department of Electrical Engineering at the University of Wisconsin, Platteville (UWP), where he participated in the creation of a collaborative program between UWP and UW-Fox Valley in Menasha, Wisconsin. During this time, Popovich also provided DSP-related consulting services, including work for Sound Devices.
Popovich holds a Ph.D. in Electrical Engineering from the University of Wisconsin, Madison, and has been named as inventor on 11 patents.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The fourteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

NOLA Preps Shaq and Nick Cannon for the Cartoon Network Hall of Game Awards

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Forget the Golden Globes and the Oscar’s – this year’s awards season is all about who’s got Game. Nola Pictures’ Bruce Hurwit recently teamed up with longtime partner, Cartoon Network, to create “Training,” a clever spot starring Shaquille O’Neill and Nick Cannon for the Cartoon Network Hall of Game Awards. The fast-paced and off-the-cuff ad jumps from a delightfully left-field introduction to a slapstick training montage, allowing the two co-hosts show off their comedic chops with a madcap workout.

“I’m very lucky to have been involved with Cartoon Network since their beginning,” noted director Bruce Hurwit. Indeed, “Training” is just one of the spots produced by Nola for the Hall of Game Awards, following an earlier piece that introduced Nick Cannon as a surprise co-host. The Hall of Game Awards is a first-of-its-kind, sports award and entertainment event for kids where celebrities are honored with the coveted GAME trophy and this year’s campaign gleefully adopts that same self-referential and boffo tone.

Taking a direction more rooted in classic buddy comedy humor than the surreal and absurdist work of the 2012 campaign – which also featured Shaq – Hurwit worked closely with the actors to give “Training” an informal and easy feel. “We stuck pretty close to the script for the most part, but Shaq always brings new ideas to the table. He’s very aware of what goes into directing, which also makes him thoughtful of how things will cut together. There really isn’t much more you can ask for,” recalled Hurwit.

“The chemistry between Nick and Shaq is amazing,” continued Hurwit, “they’re longtime friends, so it added so much to the piece. They’re both so fun to work with that it barely feels like working, making for an enjoyable shoot.”

Credits:

Client: Cartoon Network
Spot Titles: “Hall of Game Awards”
Air Date: February 11, 2013 at 7:00 p.m. (ET, PT) on Cartoon Network
Agency: Cartoon Network/The Creative Group
SVP, The Creative Group: Michael Ouweleen
VP, Design, The Creative Group: Jacob Escobedo
Creative Directive: Craig “Sven” Gordon
Writer Producer: Matt Peccini
Director of Broadcast Production, The Creative Group: Heather Reilly
Broadcast Designer, The Creative Group: Brian J. Smith
Director, Marketing: Rachel Parent
Brand Manager, Marketing: Lindsey Shuman
Sr. Publicist PR (NY): Shana Ungerson
VP, Talent Development (Burbank): Sharon Lieblein
Sr. Director, Brand Development (Burbank): Lee Blevins
VP Show Production, Cartoon Network (Burbank): Mark Costa
Hall of Game Executive Producer: Michael Dempsey (Dempsey Productions)
Hall of Game Executive Producer: Steve Mayer (IMG)

Production Co.: Nola Pictures
Director: Bruce Hurwit
EP: Charlie Curran
Head of Production: Cheryl Ward
Producer: Coni Lancaster

Editorial: Cartoon Network

Shoot Location: Orlando, Florida

About Nola Pictures:

Founded in 2005, NYC-based Nola Pictures is a full-service, multi media production company with affiliates in New Orleans, Sidney, Paris, Toronto, Vancouver and Santiago. Nola features a diverse roster of multi-dimensional directors and producers who have created award-winning content for their clients.

Nola offers turnkey creative and production solutions from shoot through editorial and post; including animation, design and visual effects. Nola’s mandate is to provide a supportive creative environment with production flexibility and efficiency for our artists and clients. The Nola team has contributed to projects for brands such as AT&T, Dell, Nissan, Budweiser, Lowe’s, Verizon, Nike, Givenchy, Samsung, Motorola, Pfizer, Proctor & Gamble, Clinique, McDonald’s, GM, Ford, VW, Toyota, Chrysler, American Express, Carolina Herrera, Time Warner, Viacom, ESPN, Remax, Johnson & Johnson and CBS, among others.

 

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