Archive for May, 2013

Filmmakers Jeffrey Williams and Dan Greenberger Present Epic Generational Battle in New Dark Comedy Short Film “Man Up, Little Boy,” starring Bradley Whitford

Hollywood, CA, May 31, 2013 – Emmy Award-winning “West Wing” cast member Bradley Whitford, whose new ABC comedy series “Trophy Wife” debuts this Fall, stars in a new, independent, dark comedy short film entitled “Man Up, Little Boy.” The 8-minute film will make its debut during the “Dances with Films” Festival held at Hollywood’s Chinese Theatres, and will be presented there on Wednesday, June 5, at 5PM.
To view the Trailer for this film, please see
And “Like” the film on Facebook at:
“Man Up, Little Boy” story synopsis: Blood, sweat and tears flow when a domineering father and his underachieving son square off in an epic, and over the top, battle of wills. Meet Walter (Whitford) a man who refuses to step blithely into old age, but rather fights it with everything he’s got. The object of his rage? His son Ryan (Palmer), a young man with a long history of facing his father’s wrath. Ryan is a disappointment to his father — stuck forever, it would seem, on the cusp of manhood, yet unable to enter the promised land of adulthood.
The war between these two men is eternal: youth versus age, strength versus guile, old versus new. And to make matters worse, in Walter’s house, there’s only one way to solve a disagreement – through arm-wrestling! The two men remain locked in an epic battle of wills — and wrists – until beautiful blonde Sarah (McCook) comes between them, finally shattering this lifelong stalemate, once and for all.
Co-starring with Whitford in “Man Up, Little Boy” are Zachariah Palmer and Molly McCook. Interesting Side Notes: Dan Greenberger, Writer/Producer of this short film, was the college roommate of Bradley Whitford, when the two men attended Wesleyan University together (1977-81.) Both parents of Zachariah Palmer also attended Wesleyan University. And Molly McCook’s father, John McCook, is famous for his roles on the TV soap operas “The Young & the Restless” and “The Bold and the Beautiful.”
Jeffrey Williams, Director & Producer: Jeffrey Williams has a great deal of experience with dysfunctional families. To his great shame, he edited the TV pilot that put the raven-haired harpies of the Kardashian clan on the map. “America, I’m really sorry about that, I had no idea,” he says today.
A seventeen year veteran of the film and television industry, Williams’ first job was dubbing tapes for Miramax in 1994. Using copies of “Pulp Fiction” and “Clerks,” two equally influential films on his directorial style, he bribed his way into an assistant editor position on Michael Moore’s “TV Nation.” After learning his craft in the trenches and going legit, his editorial work now ranges from editing an Oscar-nominated short film (2001′s “By Courier” for Peter Reigert), to the infamous “60 Minutes” interview with Michael Jackson.
As a director, Williams’ award winning short films have played at over thirty film festivals around the globe during the past two years. In 2012, his short film, “A Day In The Life Of Your Cats,” won the “Audience Award for Short Film In Competition” at the 15th Annual Dances With Films festival in Hollywood. “Man Up, LIttle Boy” marks his third short film in three years to premiere at that festival, something he is very proud of. Williams is currently developing his first feature film, which will be shaped by his extensive short filmmaking experiences.
“The last thing I want to do is make a film that feels like someone else could have told the same story. Short filmmaking is the last, pure bastion of cinema’s artistic potential. I want to make short films that leave an impression, even if that impression is ‘that guy really needs a better therapist!’”
Dan Greenberger, Writer & Producer: A Writers Guild Award-winning writer and producer of film and television, Greenberger was born and raised in Chicago, and holds degrees in English and Playwriting, respectively, from Wesleyan University and Columbia University’s School of the Arts. (At Wesleyan, he was a roommate and frequent collaborator with actor Bradley Whitford.) Relocating to New York, Greenberger became a Senior Producer for Showtime Networks, where he wrote and produced a variety of short-form programming, including the Cable Ace-nominated comedy series “Let’s Do Lunch.”
In Los Angeles, he has written for the television shows “Public Morals” on CBS and “Total Security” on Fox, both produced by Steven Bochco. He also wrote for E’s “Talk Soup” as well as “Beyond Chance” on Lifetime, “The Cramp Twins” on Fox, and created the pilots “Captain Alpha Male” and “Swallow.” He wrote and co-produced (along with Jeffrey Williams) the award-winning short film “A Day in the Life of Your Cats” which premiered at the 2012 Dances With Films Festival in Hollywood.
Greenberger is currently a Writer/Producer of on-air promos for CBS Television, where his credits include promoting “How I Met Your Mother,” “The Big Bang Theory,” “Everybody Loves Raymond,” “Two Broke Girls,” and many others.
Regarding the premise behind his original script for “Man Up, Little Boy,” Greenberger says, “As we get older, each of us faces an inevitable deterioration of strength. Physically and mentally, we slowly begins to fade over time. Some of us endure this decline with grace and good will: others, not so much. Our character, Walter, is a good example of a man who simply can not accept the reality that he’s not as young as he used to be. My friend Brad Whitford was the perfect choice for Walter—he is obviously a gifted dramatic actor, but he’s also one of the funniest people I’ve ever known. Nothing gives me more pleasure than seeing him do comedy: he just plain makes me laugh.”
Michael Helenek, Lighting: To read about Helenek’s production process on “Man Up, Little Boy,” please visit:
Robert ToTeras, Composer: In addition to his contributions to “Man Up, Little Boy,” Robert ToTeras is also the composer for the upcoming TV series “Cold Justice,” premiering September 3rd on TNT. He is also the composer for “Around the World in 80 Plates” for Bravo and “Gigantic” for TeenNick. His music has been featured in the TV show “The Real L Word” on Showtime, and in the feature film “Kabluey,” starring Lisa Kudrow. ToTeras’ music has also been featured in over 50 commercials, promos and advertisements, most recently “The 70th Annual Golden Globe Awards” on NBC, “The Mindy Project” on Fox, and “Girls” on HBO.
Bradley Whitford will co-star with Marcia Gay Harden this Fall on the new ABC series “Trophy Wife.” He is perhaps best known for his role as White House Deputy Chief of Staff Josh Lyman on the long-running, hit NBC television drama “The West Wing.” He has also starred as Danny Tripp on “Studio 60 on the Sunset Strip,” as Dan Stark in the Fox police buddy-comedy “The Good Guys,” as Timothy Carter, a character who was believed to be Red John, in the CBS series “The Mentalist,” and as antagonist Eric Gordon in the film “Billy Madison.”
Whitford was nominated for three consecutive Emmy Awards from 2001–2003 for “Outstanding Supporting Actor in a Drama Series” for his role on “The West Wing,” winning the award in 2001. This role also garnered him three con-secutive Golden Globe Award nominations for “Best Performance by an Actor in a Supporting Role”.
Zach Palmer has appeared in a number of short films and TV movies. These include “Flying Lessons,” “Forgotten Pills,” “Swallow,” “Fly Away,” the Williams/Greenberger 2012 short film “A Day in the Life of Your Cats,” and “Dean Slater: Resident Advisor.”
Born into a show business family, Molly McCook always knew she wanted to follow in her parents’ footsteps. McCook began her career starring in musicals at the prestigious Stagedoor Manor in upstate New York, later relocating to Los Angeles. She originated the title role of Octo in “Octomom: the Musical” and played Ilse in the Ovation nominated production of the Broadway smash hit “Spring Awakening” in Hollywood. She later began landing roles on TV shows including “Monk,” “10 Things I Hate About You,” and “Free Agents,” held a recurring part on TBS’ “Glory Daze,” and performed a duet with Neil Patrick Harris on “Glee.” In addition to her role in “Man Up, Little Boy,” she can be seen in another recent indie film, “Excision,” which premiered at the Sundance Film Festival in 2012.
Now in its 16th year, the Dances With Films festival champions the unflinching spirit at the very core of the independent film scene. While more film festivals rely heavily on celebrity, this event relies on the innovation, talent, creativity and sweat equity that helped revolutionize the entertainment industry. This year’s event will be held from May 30-June 9th at Hollywood’s Chinese Theatres. For more information, please see:

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Modus Makes Magic for Now You See Me

Montreal Facility Delivers 227 VFX Shots for Magician Heist Film

Montreal, QC: May 31, 2013… Modus FX completed many of the key visual effects shots on Now You See Me, which was released today in theaters. Featuring a high-voltage ensemble cast, including Jesse Eisenberg, Mark Ruffalo, Morgan Freeman, Woody Harrelson and rising star Isla Fisher, Now You See Me charts the progress of a team of illusionists who appear to rob banks during their performances, distributing the spoils to their audiences, all the while staying a step ahead of the FBI and Interpol. Modus was charged with many of the film’s CG sequences, creating compelling illusions that support the story and drive the narrative forward.

Modus delivered 227 VFX shots for the film, including a long camera movement sequence that culminates with a huge stack of money catching fire and vanishing entirely. The effects include a fight sequence in which a magician uses flash paper and playing cards as projectile weapons, before sliding down a CG garbage chute to escape. There is a spectacular CG “mirror box” magic trick, in which a sledge hammer is thrown in slow motion, shattering a huge pane of glass.

Now You See Me includes several layers of illusion,” said Yanick Wilisky, VP and co-founder of Modus FX. “The storyline plays with time while our effects shots play with visual reality. Together this makes for a great story that keeps the audience guessing. We had a lot of fun working with director Louis Leterrier and VFX supervisor Nick Brooks on this project.”

Money to Burn
One of the most complex shots of the movie involves the disappearance of a stack of money in a sealed stainless steel vault. The digital camera shot starts with a macro close-up of an origami rabbit catching fire, orbits around the stack of burning money as it disappears, leaving not a trace of smoke or ash, before pulling back to show a playing card and the entire vault, now completely empty. The shot required a lot of compositing to give it a photoreal look.

“This was the most challenging shot for us,” said Wayne Brinton, VFX supervisor on the project. “We had to decide how to make all the money vanish so it would be believable.”

Initially, the effect was conceived as a conflagration of magician’s flash paper, ignited by a series of wires and fuses.

“In previs the illusion was conceived as needing a digital timer,” Brinton said. “This created the problem of what to do with the timer and wires. We brainstormed and came up with an ingenious way of igniting the money involving potassium and water. The magicians could place some potassium above a pool of water so it would light the money on fire when they mixed.”

Modus suggested using an origami rabbit holding potassium and placed in a puddle of water so the fire would start when the water seeped into the paper rabbit. Leterrier loved the idea of having a rabbit in the scene. In the end the potassium-water mixture was cut as too complicated to explain in the story, but the director insisted that the origami rabbit remain.

“You get to know the director over the course of a shoot, and learn what they like and don’t like,” Brinton said. “Keeping the rabbit was great and it’s part of a visually neat effect.”

The final 500-frame shot involved simulation, camera animation, modeling and lighting and all of the elements had to be refined iteratively, until everything worked flawlessly.

“The CG lighting had to match that of the practical camera and, since the action takes place inside a stainless steel vault, the reflections on the walls had to match too”, explained Brinton. “Making fire look real in a stainless steel vault was especially challenging.”

Massive Gathering at 5Pointz
The film culminates in an impromptu congregation of thousands of people from all over downtown New York at the 5Pointz building in Queens, all with the hope of collecting free money.

“This is an exciting scene and has the spontaneous feel of The Beatles’ rooftop concert in Let It Be, with people coming out of their offices to watch from the streets,” commented Brinton. “The difference with the 5Pointz scene was that nobody was actually there. We had to create the whole wild get-together – crowd, traffic jam and helicopters – in CG.”

After the empty building and surrounding streets were filmed from the air, Modus removed all of the production footprint from these plates, including lights, film crew and cranes. Modus populated the roof, courtyard, streets and sidewalks with the digital partygoers using Massive Crowd Simulation software. They used their in-house mocap studio to create animation cycles for the crowd. Streets were lined with cars to create traffic jams, four CG helicopters circle the sky around the party and CG lighting enhances the festive atmosphere.

Mirror Moves
The mirror box is a classic magician’s trick that is used to hide objects and Now You See Me uses it on a grand scale. The thieves create a room-sized mirror box, with a 40-foot by 28-foot mirror that can be lowered at an angle to reflect the ground below, thus hiding the entire room behind it that houses the vault containing millions of dollars. Then, when one of the thieves throws a sledge hammer at the wall, it shatters the mirror into billions of pieces, revealing the vault behind it.

“Large parts of this shot are CG, including the thrown sledge hammer,” said Brinton. “We created a digital environment and made it fit with the surrounding practical set.

The actor threw the hammer from a distance so the mirror wouldn’t shatter on top of him. Modus started its work at this point, removing the shattered glass and structure on the ground from the shot. Then, they added dust and the reflection from the ground. The result is a stunning sequence in which slow motion both reveals the remarkable computer-generated detail and contributes to the dramatic tension in the scene.

Throwing Fire
An extended fight scene between FBI agent Rhodes (Ruffalo) and sleight-of-hand specialist Jack (Dave Franco) has the magician using his tricks to escape. He throws burning Euros and playing cards at Rhodes before miraculously escaping eighty feet down a garbage chute.

“This entire scene relied heavily on CG effects,” explained Brinton. “The look is more about style than practicality. The director wanted balls of fire coming at the FBI agent and the camera. We replaced the fire poker that Rhodes is swinging and the playing cards that Jack flings with virtual ones. This was all done in 2D in compositing and hand-animated inside Nuke.”

The garbage chute was a short, three-sided prop on the set. Modus extracted the actors and what was close to them from the plates, then extended the chute to make it look much longer. The prop was replaced with a digital chute that shows the actors sliding from the eighth floor to the ground.

Pushing the Boundaries of the Visible
Modus also created a car chase through the streets of New York, with cars flipping end over end in a sequence filmed entirely using greenscreens.

“With a movie like this one, in which illusions are at the center of the story, what we did was make the effects look like magic,” said Brinton. “We were able to break free and push the boundaries of the visible. I loved it.”

Directed by Louis Leterrier, Now You See Me is a Summit Entertainment picture and stars Morgan Freeman, Mark Ruffalo and Jesse Eisenberg. Modus FX completed 227 shots for the movie. The film was released on May 31, 2013.

About Modus FX
Since launching in 2007, Modus FX has become an industry leader in high-end feature film visual effects, boasting an international clientele and a talented team of handpicked artists from around the globe. Led by co-founders Marc Bourbonnais and Yanick Wilisky, Modus has developed a unique approach to creating digital effects, combining a cutting-edge production pipeline with personalized ongoing project coordination. The studio collaborates with each director through the artistic process, from the editorial script and on-set supervision to final delivery. Based just outside Montreal, Modus offers a full scope of services in its modern 12,000-square-foot studio. For more information, visit

Blackmagic Design Announces Autodesk Smoke Support

Blackmagic Design announced today that DeckLink, UltraStudio Thunderbolt and Intensity products will be compatible with Smoke 2013, with the release of Extension 1 by Autodesk. Smoke 2013, Extension 1, is available now to Smoke subscription users.


Blackmagic Design’s DeckLink, UltraStudio and Intensity lines include the world’s highest performance capture and playback cards for Mac, Windows and Linux. Including both PCIe and Thunderbolt based technology, these products come in both internal and external models and are used by professionals globally in every aspect of film and video production.


“In the post world, customers want the ability to mix and match the applications and hardware that work best for them. Now with the compatibility between our desktop video products and Smoke, we are creating a seamless, fluid workflow, enabling our customers to work with the leading compositing and finishing software tools available today,” said Grant Petty, CEO, Blackmagic Design.


The ongoing collaboration between Blackmagic Design and Autodesk will include the testing and development of integrated workflows between Autodesk technology and Blackmagic Design’s PCIe and Thunderbolt based desktop video capture and playback products, including DeckLink, UltraStudio and Intensity product lines.


Press Photography
Product photos of all Blackmagic Design products are available at


About Blackmagic Design
Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and film restoration software for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including stereoscopic 3D and 4K workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, United Kingdom, Japan, Singapore, and Australia. For more information, please check


About Autodesk
Autodesk helps people imagine, design and create a better world. Everyone—from design professionals, engineers and architects to digital artists, students and hobbyists—uses Autodesk software to unlock their creativity and solve important challenges. For more information visit or follow @autodesk.


Autodesk and Smoke are registered trademarks or trademarks of Autodesk, Inc., and/or its subsidiaries and/or affiliates in the USA and/or other countries.

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RedNet Runs The Killers’ FOH System

Systems Engineer Philip Reynolds chooses RedNet for FOH audio

Los Angeles, CA, May 31, 2013 – Thanks to its flexibility, Focusrite’s RedNet audio I/O technology is being implemented in a diverse range of applications. From single-unit laptop recording setups to multi-room studio environments, RedNet is proving to be a popular audio interface system. One of the highest-profile implementation of RedNet to date is the front-of-house rig for The Killers’ world tour, where a RedNet 1 eight channel A-D/D-A, and RedNet 4 eight-channel Mic preamp perform a number of duties for Systems Engineer Philip Reynolds. He made the decision to use RedNet in order to maintain the audio within the digital domain — A-D conversion takes place side-stage as soon as the mics plug into the stagebox — for as long as possible before conversion to analog. It’s this, says Philip, that keeps the audio quality world-class.

His key responsibility is to set up the tour’s state-of-the-art sound system to perform as well as possible, and, because the venue changes on an almost daily basis, this is no mean feat. In order to do this, he uses audio analysis software coupled with a reference mic, to match the sound system response as closely as possible to the output of the front-of-house desk. RedNet handles all his inputs and outputs to facilitate that process. RedNet 1 plays a crucial role, routing audio to and from his test system, but also to the FOH desk for house music playout and the drones that are used during the show’s encore. This material comes from a pair of Mac Minis, one primary and one backup, which all connect to the RedNet network using the Dante Virtual Soundcard (DVS) driver. RedNet also handles the press and video feeds, as well as any venue needs, such as the hearing assist system for the hard of hearing.

For his test rig, Philip was amazed by the RedNet 4′s preamp performance, having previously used the on-board preamps in a conventional Firewire audio interface. “I was blown away. The RedNet 4’s preamp is flat, and the phase coherence is perfect.” Having this accuracy is of utmost importance for Philip, as his ability to make fine tweaks to the loudspeakers relies on the analysis software’s precision.

Because Philip uses his own gear on tour — rather than rental equipment — the RedNet system represents a significant personal investment. But the fact that he chose to use RedNet over other Dante-enabled gear reinforces RedNet’s sound quality prowess “Because it’s mine, I know it works and that I’m going to have it where I go. RedNet does everything I want it to do, and the expandability is endless with this setup. I rely on my system 100%, and it just works.” Over time, Philip intends to expand his RedNet system with an additional RedNet 1 and a RedNet 3 digital I/O, the latter of which will enable him to drive the front-of-house PA from the RedNet network. “RedNet units have allowed me to design a system to bring a fully digital system on the front end. With the RedNet 3 providing primary digital connection and RedNet 1 acting as my analogue backup, we can bring the latency down and keep the quality of audio the same, which has been a goal of mine for the last year.”

To learn more about RedNet and other new installations, head to


For further information, head to or contact:
USA: Hannah Bliss +1 (310) 322 5500 //
Robert Clyne +1 (615) 662-1616 //

About Focusrite
The Focusrite brand was established in 1985 and the founding principles of the company were to develop products that sounded more musical, in addition to just measuring well – today, we still carry these founding principles forward in our class-leading and award-winning designs. We measure our success by the success of you, our clients, and you will find Focusrite product prominent in professional and project studios throughout the world. Based just outside of London, we work with the best design talent throughout the world to bring you the tools to enhance the way you work. Our product is made with pride and principle in a highly automated ISO 9002 factory with significant level of test by engineers who themselves are musicians and understand the part our product plays in your process.

Pro Tools is a registered trademark of Avid Corporation

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Colorfront unleashes Express Dailies 2013 at CineGear Expo

Cutting-edge On-Set Live! grading plus Copy Central toolsets streamline end-to-end production workflows

Academy and Emmy Award-winning developer Colorfront ( is now shipping Express Dailies 2013, its high-performance on-set dailies system for commercials, motion picture and high-end episodic HD television production. This latest release delivers a new set of trailblazing productivity features that meet the demand for streamlined end-to-end dailies workflow, including On-Set Live! grading, plus verified copying, faster-than-realtime encoding of multiple deliverables, plus checksum verified ingest, copying and archival via the Copy Central™ capability.

Colorfront is showing the newly-released software at CineGear Expo, Paramount Studios, LA, May 31 to June 2, c/o ALT Systems, Booth #S317, Stage 31.

Express Dailies 2013 is built on the leading image-science technology, color grading and management tools that feature in Colorfront’s renowned On-Set Dailies system, now widely adopted on Hollywood features and episodic TV shows. It meets the need for a compact, easy-to-use, high-performance on-set, look-creation and data wrangling tool, and combines production-proven tools for file-based dailies work – including playback and sync, QC, color grading, audio and metadata management – with state-of-the-art color and image science.

With the release of Express Dailies 2013, Colorfront is unleashing industry-leading features that significantly boost productivity dailies operations. These include…

On-Set Live! – look-creation and grading:
On-Set Live! provides a full end-to-end production workflow with live grading that is fully compatible with dailies, and streamlines color pipelines. It can work with live SDI feeds from multiple cameras, and enables the DIT or on-set color grader to create and manage looks, preview footage and grade on a live RAW camera signal. It supports various color pipelines including the latest IIF/ACES workflow, and can be used with external 3DLUT boxes, such as Pandora Pluto, Blackmagic Design HDLink Pro and T-Cube Fig, for color space conversion, calibration and grading. Camera and lens metadata, including color temperature, ISO, focus and zoom parameters, can be captured and logged or burnt-in.

Copy Central™ – checksum-verified ingest, copying and LTO archival:
The new Copy Central capability in Express Dailies 2013 accelerates dailies and deliverables production by offering simultaneous checksum-verified copying to multiple destinations, including LTO archiving, and produces PDF manifest reports. Users can also easily manage media and metadata with a new Bin tool, which includes creation of bins and timelines, advanced sort and search based on all metadata, and file export for easy project management. Integration into color grading and finishing workflows is made simpler than ever with Colorfront’s EMD metadata support, allowing the seamless transfer of project, color and media data through the production chain.

Additional highlights of Express Dailies 2013:

Ease-of-use: Express Dailies 2013 has a simple, elegant, drag-and-drop user interface that anyone can use, with integrated waveform monitor and histogram analysis tools for QC, and PDF QC reporting. Control options include support for Tangent’s popular Element grading panels.
64-bit performance: the new 64-bit software runs on Mac Pro tower and retina MacBook Pro workstations. Support for AJA Kona3 and Io XT cards deliver realtime HD video playback and high-quality RAW image de-Bayering, including ARRIRAW and F55RAW.

Extensive camera format support: realtime support for all major cameras and formats including the latest digital cinematography cameras from Sony, ARRI, Canon, RED, Phantom, Go Pro, as well as DSLRs.

Faster-than-realtime deliverables: sound-sync’d, color graded dailies are delivered faster-than-realtime in all common file formats required for dailies review, post production and archive. These include DNxHD 444 for Avid and all ProRes formats for Final Cut, uncompressed DPX, TIFF, OpenEXR, QT, and H.264 for web-based dailies and iPad.
Express Dailies has been used on many popular shows such as Dracula (NBC), Raising Hope (ABC Studios), Body Of Proof (20th Century Fox Television), Falling Skies (TNT), The Selection (Warner Brothers), and Strike Back season 4 (Sky/HBO). Technicolor, Deluxe and Bling Digital are among the first Hollywood production suppliers to make multi-license purchases of Express Dailies 2013.

About Colorfront: Colorfront, based in Budapest, Hungary, is one of Europe’s leading DI and post production facilities. The company was founded by brothers Mark and Aron Jaszberenyi, who together played a pivotal role in the emergence of non-linear DI. The company’s R&D team earned an Academy Award for the development of Lustre, Autodesk’s DI grading system, and a Primetime Engineering Emmy for the Colofront On-Set Dailies. Combining this in-depth expertise with a pedigree in the development of additional cutting-edge software, Colorfront offers today’s most advanced technologies for scanning and recording, DI grading, conforming, digital dailies, VFX, online and offline editing, cinema sound mixing, mastering and deliverables. For further information please visit or

Proper Television, One of Canada’s Premier Production Houses, Expands Its EditShare System to Handle Booming Business

EditShare XStream, Flow, Ark Disk and Ark Tape are the backbone of the Toronto-based company’s reality and documentary programming successes

Boston, MA – May 31, 2013 – EditShare®, the technology leader in shared media storage and end-to-end tapeless workflow solutions, announced today that Proper Television, one of Canada’s most in-demand creators of reality and documentary programming, has expanded its EditShare system with the purchase of additional EditShare storage and products. The new additions deliver tiered storage for online, backup and archive, and provide production asset management for the busy Toronto facility. One hundred terabytes of additional EditShare XStream storage expands Proper Television’s production capacity to 164TB. In addition, Proper Television is now implementing a tiered storage environment, deploying 164TB of EditShare Ark Disk as nearline storage and Ark Tape for long-term LTO archiving. EditShare Flow asset management works in conjunction with Ark Disk and Ark Tape, facilitating fast search, proxy viewing and restoration.

As a freelance production company with 31 Avid edit stations, Proper Television produces a constant stream of reality and factually-based series for the likes of Discovery Channel, History Channel, and others. “Canada’s Worst Driver,” “Last Car Standing,” and “Come Dine with Me Canada” are just a few of their popular titles.

“We’ve been long-time EditShare customers and it’s been easy to scale up our EditShare storage as our business has grown,” says Rusty Miller, technical supervisor for Proper Television. “Of course, reliability is paramount because we’re doing so many quick-turnaround series that involve multiple cameras per episode. We can’t afford any downtime and EditShare has proven rock-solid in handling an incredibly heavy volume of media and intense editing. Beyond performance, you get tremendous value for what you pay because you get excellent service. The EditShare technical people really know what they’re doing.”

“It’s very gratifying to see so many customers like Proper Television add more storage as well as other EditShare products to their workflows. It confirms their confidence in us as we continue to improve and evolve our products to meet the most demanding live and post-production scenarios,” says Andy Liebman, founder and CEO, EditShare.

The EditShare system is the backbone of Proper Television’s post operations. Rusty Miller looks forward to using the new EditShare Flow for asset management. He expects it to be especially helpful for finding and bringing in content from EditShare Ark when they are moving from season to season and they need to cull material from earlier episodes. The EditShare Ark Disk system provides nearline backup of valuable content during the production cycle. “It provides a secure safety net that doesn’t interfere with our editors,” Miller explains. “And then we can do long-term archiving with Ark Tape and keep it on the shelf forever.”

About EditShare XStream, Flow, Ark Disk and Ark Tape
EditShare XStream, the company’s flagship centralized storage product, delivers high performance, scalability and reliability. It offers industry-leading stream counts, infinite scalability, and advanced Project Sharing with patented bin and project-locking capabilities. Lightworks, Avid, Final Cut Pro (v7/v6), and Adobe Premiere Pro editors can see, copy, and revise the work of colleagues with the assurance that no bins, sequences, or projects will be accidentally deleted or overwritten. EditShare XStream includes EditShare’s powerful Flow asset management and Ark backup and archiving software – turning your storage system into a complete end-to-end tapeless workflow solution.

EditShare Flow provides production asset management. Flow users can browse the database and view proxy file content on their desktops as well as ingest media from file-based sources such as P2 and XDCAM. Simple editing tools and metadata templates let users add details to clips, make rough cuts, and drag and drop clips and sequences into their NLEs – without requiring access to full-resolution media.

EditShare Ark Disk is built on top of hard disks that are spinning all the time – offering the advantage of high-speed performance for backup, archiving and restoration tasks. With Ark Disk, nearline media is always just seconds away.

Whenever media files are sent to Ark Disk, a proxy file is automatically created so that users can view Ark Disk content in Flow Browse. When you restore from Ark Disk, you can either select the exact files – or parts of files – you want to restore using the Flow Browse interface, or you can restore entire EditShare Spaces.

EditShare Ark Tape provides an integrated solution for easy, energy-efficient backup and archiving of media and projects from EditShare shared storage systems. Designed for EditShare’s own 24-, 48-, 72- and 96-slot tape libraries, and also compatible with LTO tape libraries from manufacturers such as HP, Quantum, and SpectraLogic, Ark Tape facilitates creation of any number of “Tape Pools” (groups of tapes); for example, one for your entire organization, one for each customer or project, or separate pools for on-site and off-site. Easily copy or migrate media and related files from “online” to “offline” storage, verify backed up data, and receive notifications when transfers are completed.

Ark Tape jobs are always “incremental”; this means you can start copying files today, run the same job in the future, and only files that have been changed or added are copied. Search for archived material, view automatically generated proxy files, and restore files or entire EditShare Spaces using Flow Browse.

About Proper Television
Proper Television is one of Canada’s strongest and most sought-after creators of factual programming. Recognized as a leading provider of factual entertainment, docu-drama, reality, documentary, and specialist factual programming, Proper has earned a reputation for creating world-class original television. Proper Television is headed by former BBC director Guy O’Sullivan. Since opening Proper in 2004, Guy has steadily grown the company, adding top-notch production staff that turn out Proper Television’s growing slate of award-winning productions.

About EditShare
EditShare is the technology pioneer in networked shared storage and tapeless, end-to-end workflow solutions for the post-production, TV, and film industries. EditShare’s ground-breaking products improve efficiency and workflow collaboration every step of the way. They include video capture and playout servers, high-performance central shared storage, archiving and backup software, media asset management, and Lightworks – the world’s first three-platform (Windows/OS X/Linux) professional non-linear video editing application.

©2013 EditShare LLC. All rights reserved. EditShare® is a registered trademark of EditShare LLC. All other trademarks mentioned herein belong to their respective owners.

Press Contacts
Janice Dolan
Zazil Media Group
Tel: +1 (617) 817-6595

Anya Oskolkova
Zazil Media Group
Tel: +1 (617) 817-6559


A.C.T Lighting Announces Leadership Changes

A.C.T Lighting, a leading importer and distributor of lighting products, has announced title changes and a promotion among its top tier leadership. Effective June 1 President and CEO Bob Gordon assumes Chairman and CEO duties. At the same time Ben Saltzman will be named President and COO.

The changes come at a time of unprecedented growth for A.C.T Lighting and ensure the company’s continuing success. The company, which is the exclusive North American distributor of Clay Paky lighting and MA Lighting among others, recently added Chromlech’s innovative LED matrixes to its product inventory. Earlier this year, A.C.T Lighting posted the highest sales volume in Clay Paky history for the second consecutive year marking a tripling in North American sales for Clay Paky in less than three years.

Bob Gordon founded A.C.T Lighting in 1993 with the mission to identify leading high-technology products, gain exclusivity, and stock, support and service those products as if they were their own. The company has offices in New York, Los Angeles and Toronto. “I’m extremely proud of all our accomplishments as we celebrate our 20th anniversary year,” Gordon says.

Ben Saltzman joined A.C.T Lighting in 2007 after successfully launching and running Scharff Weisberg Lighting. A graduate of SUNY Purchase with a BFA in Lighting Design, he spent time touring and working on Broadway before joining the highly renowned systems group at Production Arts Lighting. While at Production Arts he was involved with a wide range of projects, from the construction of the Bellagio hotel in Las Vegas to the 1998 renovation of Radio City Music Hall in New York City.

“In the seven years that Ben has been with A.C.T Lighting he has put his indelible imprint on the company,” says Bob Gordon. “Ben has more than earned this new position and title.”

Saltzman says, “I’m excited to take on this new role, and it’s a privilege to be surrounded by the exceptional team and extraordinary partners at A.C.T Lighting. Bob continues to inspire all of us as the company sets new records and pursues new strategies with the brands we represent.”

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.


SAM1-3GM Audio Monitoring Unit

MEXICO CITY – TSL Products, manufacturer of surround sound microphones and processing, audio monitoring, broadcast control systems and power management solutions, will showcase its extended range of innovative audio solutions at Telemundo Expo Cine Video Television Show 2013 (on AMTEC Stand A1). Featured at the show will be the SoundField DSF-B Digital Broadcast Microphone System, new PAM PiCo Five hand-held audio monitoring and loudness meter, the new SAM1-3GM Studio Audio Monitoring Unit and the PAM2 MK2 Audio Monitoring unit supporting new Dolby CAT 1100 card features. more

WorldStage Provides Video Support for Multi-Tony Award Nominee “Lucky Guy” Starring Tom Hanks

Joining the long list of Broadway credits for WorldStage is “Lucky Guy,” Nora Ephron’s play about tabloid journalist and Pulitzer Prize-winner Mike McAlary, which stars Tom Hanks in his Broadway debut. WorldStage provides video support for the drama, which has garnered six Tony Award nominations for best play, lead actor, featured actor, director, scenic design and lighting design.

Video projection plays a key role in the play helping to establish a sense of time – it spans a 12-year period – and location, including newsrooms, bars and the streets of New York during the 1980′s and ’90s. Projection designer Robin Silvestri, creative director/partner in Batwin + Robin, worked with director George C. Wolfe to develop images composed of film noir-style fragments, shadows and elements rather than literal video clips.

The video system was comprised of a multitude of display devices and screen surfaces encompassing the stage, each of which were fed from a centralized Dataton WATCHOUT media server system. Each of the projection surfaces was atypically sized and oriented, which presented a number of difficulties. One such challenge was designing the projector array for the header banner that flies in and out landing at various predetermined trim heights each time. Measuring approximately 24 feet wide x 3 feet high and running across the top of the back wall, the header banner displays various newspaper headlines during the show.

“The difficulty was in trying to project imagery onto the banner in two different positions,” says Lars Pedersen, Director of Emerging Technology with WorldStage. “We used an edge-blend solution to fill the width of the banner and overshot the banner screen top and bottom so we had enough raster to provide coverage for the different trim heights. The accuracy of the automation system allowed us to pre-program the position of the content within the raster so it fell in the exact location of the physical screen.” Double-stacked Panasonic HD 6.5K projectors supplied the required resolution, brightness, and redundancy.

In a serendipitous moment Silvestri discovered that the black scenic slider panels that move across the front of the LED wall, allowing the wall function as a full piece or be sectioned off, could also be used as a projection surface. By using the header banner projectors and manipulating the media in WATCHOUT – including elevated train track elements and a subway animation -the design team was able to accomplish projections on another surface with using the same toolset.

An additional technical challenge was posed by the forced perspective ceiling panel above the set, which offers additional display surfaces: It starts as a slightly raked flat ceiling, then drops down to become an angled display for the NY Post newsroom and finally is lowered to serve as an almost vertical backdrop for the end of Act One.

“In its default position the panel, which is on an articulated arm, is laid almost parallel to the stage floor. Then it moves to a 45º angle to the audience and finally lowers to be perpendicular to the projectors,” Pedersen explains. He positioned two Christie DS+10K-M projectors side by side at the middle of the balcony to hit the panel and deliver maximum brightness and redundancy. He partnered with WATCHOUT programmer Bill Lyons to determine how to warp and map the imagery onto the panel as it travels to and assumes the various positions.

As a way to deal with the endless understudy possibilities WorldStage provided a separate control system comprised of a Coolux Widget Designer Pro package. The user interface, designed and programmed by WorldStage Technology Specialist Raul Herrera, afforded the operators a quick and efficient method of accessing and launching the appropriate Watchout show file. Comprehensive projector and playback control and status monitoring were included in the user interface as an added bonus.

Silvestri, who first worked with Pedersen 25 years ago, reports that, “he never lets us down. WorldStage was fantastic. It’s important to have confidence in a supplier, which I do in WorldStage.”

WorldStage Inc., the company created by the merger of Scharff Weisberg Inc and Video Applications Inc, continues a thirty-year legacy of providing clients the widest variety of entertainment technology coupled with conscientious and imaginative engineering services. WorldStage provides audio, video and lighting equipment and services to the event, theatrical, broadcast and brand experience markets nationally and internationally.

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Kodak Goes Behind-the-Scenes With Acclaimed Cinematographers at Cine Gear Expo

Eric Alan Edwards, Giles Nuttgens and Rachel Morrison Headline Panels

LOS ANGELES, CA - Kodak will host two discussions with acclaimed cinematographers at this year's Cine Gear Expo on the Paramount Lot in Los Angeles. On Friday, May 31, at 5:15 p.m., Kodak will sit down with award-winning cinematographer Giles Nuttgens, BSC for a conversation in the Paramount Theater. On Saturday, June 1, at 11:45 a.m., the "Sundance in Summer" panel will feature Eric Alan Edwards (Lovelace) and Rachel Morrison (Fruitvale Station) in The Sherry Lansing Theater.

In a candid conversation, Nuttgens will reveal the thinking behind his extensive body of work -- including the imagery, technology, career choices, and his collaborations. The seminar will offer a glimpse into the mind of one of today's more innovative artists.

Nuttgens shot the recently released What Maisie Knew with the directing team Scott McGehee and David Siegel, and Midnight's Children, based on the best-selling Salman Rushdie novel. Nuttgens' extensive feature resume also includes Mehta's elemental trilogy Fire, Earth and Water, which received a 2007 Oscar(r) nomination for Best Foreign Language Film and earned Nuttgens the 2006 GENIE Award for Best Cinematography. Nuttgens first worked with McGehee and Siegel on The Deep End, a film which earned him the 2001 Sundance Film Festival Award for Best Cinematography, and a nomination in the same category at the 2002 Independent Spirit Awards. His next films include the upcoming features Young Ones and God Help the Girl.

Both Edwards and Morrison recently had movies that were stand outs at the Sundance Film Festival. This panel conversation will delve into their creative and budgetary considerations made prior to and during production. The cinematographers will also give the audience behind-the-scenes insight on the collaborations with their directors - Ryan Coogler who took his first turn at the helm on Fruitvale Station; and the dual visionary team on Lovelace comprised of Oscar(r)-winning director Rob Epstein and Emmy(r)-nominated Jeffrey Friedman, both with documentary backgrounds.

Edwards' film Lovelace is the story of adult film legend Linda Lovelace, who starred in the 1972 film Deep Throat. The film will hit cinema screens in August. Edwards received an Indie Spirit Award nomination for My Own Private Idaho, and has an eclectic list of credits including Gus Van Sant's Even Cowgirls Get the Blues, Judd Apatow's Knocked Up, David Dobkin's The Change-Up, and the upcoming Delivery Man from director Ken Scott.

Morrison lensed Fruitvale Station, which was the winner of both the Audience Award and Grand Jury Prize at the 2013 Sundance Film Festival. Based on real events, the film follows Oscar Grant on the final day of 2008, and his untimely death New Year's Day at the hands of a transit police officer in Oakland, Calif. The film will be released by The Weinstein Co. on July 26. Morrison's credits include Palo Alto, CA; and the upcoming thriller The Harvest, among others. Morrison will receive the Kodak Vision Award at the 2013 Women in Film Crystal + Lucy Awards(r) on June 12.

The panel is free with admission to Cine Gear Expo. Advanced registration for the Expo can be done at The website also includes directions and additional information.

To learn more about Kodak, visit, or follow Kodak on Facebook at and Twitter (@Kodak_ShootFilm).

(Participants subject to availability.)


About Kodak's Entertainment Imaging Business
Kodak's Entertainment Imaging business is the world leader in providing motion picture film and imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit Follow us on Facebook (, Twitter (@Kodak_ShootFilm), and YouTube (

Media Contacts:
Sally Christgau / Lisa Muldowney
ignite strategic communications
415.238.2254 / 760.212.4130 /


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