Archive for May 13th, 2013

TSD Video to Represent Hybrid’s Virtual Studio and Robotic Camera Solutions in Canada

TSD and Hybrid Sign Dealer Agreement to Expand Virtual Studio Business Across Canada

Montrouge, France – Hybrid, a leading provider of real-time graphics and robotic camera systems, has entered into a dealer agreement with TSD Video—a leading systems integrator/reseller with offices in Montreal, Toronto, and Nova Scotia—to market Hybrid virtual studios and robotic camera products throughout Canada. The two companies signed the deal during the 2013 NAB Show last month in Las Vegas.

“This is a great opportunity for both companies,” said Maurice Pauzé, principal and co-founder of TSD Video. “We’re both looking to expand the market for the virtual studio business in Canada. We’re always looking to represent exciting, innovative products that can enhance our customers’ studio broadcast and production workflows cost-effectively.”

TSD Video will represent Hybrid virtual studio solutions including Krypton, Hybrid’s flagship 3D virtual studio solution with camera tracking, and the Hybrid Neon trackless 3D virtual studio solution.

Krypton is a high-end HD/SD virtual set system with a powerful realtime 3D engine. It interfaces with XYZ motion tracking devices, including opto-mechanical and pattern recognition, with no video or audio delays.

The Hybrid Neon trackless virtual studio is an affordable, user-friendly system consisting of software running on a PC. Rather than camera tracking and calibration, Neon enables virtual camera movements in realtime from fixed cameras on set. Despite its simplicity, Neon produces 3D virtual scenes that are photorealistic and anti-aliased. Both virtual studios give users the flexibility to import 3D models from popular, third party 3D animation programs.

TSD Video will also represent Hybrid’s broadcast-grade robotic camera technology, including Chrome, Silver, and Titanium robotic jibs and PTZF camera heads. These systems enable precise, repeatable camera moves and tracking—for virtual studio and special effects applications—without introducing video/audio delays or noise during use.

“We’re extremely pleased to join forces with Maurice Pauzé, Jacques Besner, and everyone at TSD Video to expand the virtual studio market throughout the country,” said Olivier Cohen, CEO, Hybrid. “We rely upon our partners to help sell, install, and service our robotic camera and virtual studio solutions. With their extensive experience and knowledge of the pro-video market in Canada, this partnership will be mutually beneficial for both organizations, as well as for customers looking for affordable, high-performance virtual studio and robotic camera tracking solutions.”

About TSD Video

TSD Video was founded in 2004 through the partnership of Tele-Syn Video Inc. and Digitec Inc. Between them, TSD Video Co-Founders Jacques Besner and Maurice Pauzé have over 50 years of experience as systems designers and integrators. As video equipment resellers, they also represent and service high-end broadcast solutions by top vendors, including Boland, Hitachi, Snell, Harmonic, Penta, Chyron, Cobalt Digital, Utah Scientific—and now Hybrid’s virtual studio and robotic camera technology. Visit the company website for more information.

About Hybrid

Hybrid is a leading manufacturer of broadcast production technologies. The company’s mission is to develop solutions and products that allow the digital media market to produce value-added content within an integrated workflow. Our product range includes virtual studio and augmented reality solutions and broadcast robotic camera supports. Hybrid consistently develops new products and solutions that push the limits of content creation while providing a clear rationalization of costs. Further information is available at

Dave McNair Plugs Sonnox Pro-Codec Into David Bowie’s Instant Classic “The Next Day” CD

OXFORD, UK: A mastering/mixing engineer with credits ranging from Iggy Pop and Rod Stewart to Los Lobos and Tina Turner, New Jersey-based Dave McNair most recently lent his technical and aesthetic expertise to David Bowie’s instant classic The Next Day. Warmly embraced by critics and fans alike, Bowie’s first album in ten years has accrued universally positive reviews, strong sales and, extensive YouTube viewing thanks to its avante garde look and sound.

McNair, who has worked with producer Tony Visconti, a long-time Bowie collaborator, on several previous projects, took particular advantage of his Sonnox Fraunhofer Pro-Codec on The Next Day. I’ve been using the Pro-Codec to preview encoded files in real time since it was introduced,” McNair says. “It’s become invaluable in previewing various codecs on the mastered higher resolution files for clients who will be making MP3′s or lower resolution files for digital distribution. I’ve found that the higher the bitrate, the less overs are created when making an MP3 or AAC.”

McNair uses the Pro-Codec via his Sequoia mastering rig. It enables him to hear (and visualize) exactly how an encoded file will sound. “A miniscule amount of red in the NMR (Noise-to-Mask Ratio) display in the FFT window (or, no red at all if I back the Bitstream level down) means there’s less or no audible distortion created in the encode stage,” he explains

The Pro-Codec was particularly useful on Bowie’s The Next Day album. “This recording was captured at 96kHz and also encoded for the Mastered for iTunes format.” McNair reveals. “The CD target level for Bowie was -0.6dB for the 96K session. After sample rate conversion to 44.1 kHz, it probably ended up closer to -0.1dB. Based on what I was seeing with the Pro-Codec and a later check using the Apple Mastered For iTunes software, the 96K files sent to iTunes were delivered at – 0.8dB. Overall, the Pro-Codec is a great tool. It really helps with my workflow. It was an honor and a great personal pleasure to be associated with this incredible project,” McNair concludes.

Photo: Mastering/mixing engineer Dave McNair recently worked on David Bowie’s The Next Day album.


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Actus Monitoring and Media Management Solution Selected by TV Channel “Ukraine”

Actus solution to be implemented with IT business partner Olvitech SVN Group

Tel-Aviv, Israel — May 13, 2013 — Actus Digital, a developer of web-based media monitoring, compliance recording, content repurposing and verification solutions for broadcasters, announced today in conjunction with business partner Olvitech SVN Group, an international high-technology group specializing in security, video and networks, that TV Channel “Ukraine” has selected Actus to record and monitor channels across Ukraine. “With Actus system, the monitoring process is reliable, intuitive and accessible from any browser. All operations we need, such as creating a clip in any format and exporting it, are done by a few mouse clicks. With Actus monitoring system, we can define different profiles for the clips, thus making the clip creation process even faster,” says Roman Khorolskyi, head of master control room, TV Channel “Ukraine.”

TV Channel “Ukraine,” a leading national television channel in Ukraine, awarded Olvitech SVN Group the contract to deploy the Actus View solution for Broadcast Recording and Media Monitoring. The Actus team worked closely with Olvitech SVN Group to design a winning workflow. “We were selected as a team together with Actus Digital because of the advanced capabilities, effectiveness, and reliability our systems have,” said Elya Presman, president, Olvitech SVN Group. “Together, we deliver a great deal of added value to television channel ‘Ukraine,’ as they expand next-generation services through the new network in the Ukrainian regions.”

About TV Channel “Ukraine”
TV Channel “Ukraine” is one of the leading national television channels. According to results of 2012 TV channel “Ukraine” is the second in the national rating, with the share of 11.91% and the rating of 1.88% (for audience 18+, among 50,000+ people, data by GfK Ukraine) thus consolidating the status with most dynamic development. The strategic goal of TV channel “Ukraine” is to become the “television number one button” of the country. Overall coverage of the channel is approximately 96.4% of all households of Ukraine. The signal is transmitted via cable network and via satellite. The number of potential viewers of all age groups is 41,000,000 people. TV channel “Ukraine” broadcasts a wide variety of content, such as infotainment, popular science, dramatic, and sports programs. Furthermore, in-house projects are in constant and active development.

About Olvitech SVN Group
Olvitech SVN Group is a leading international high-technology company with three core businesses: Security, Video and Networks. Based on extensive experience and expertise in video IP-based solutions, Olvitech SVN Group identifies and integrates the ideal technologies and solutions, acting as a sole local representative and regional business unit of its portfolio vendors in Russia and CIS, guiding projects from initial vision to successful implementation. Olvitech SVN Group markets broad range of innovative products and services that enable efficient, high quality video delivery and monitoring.

About Actus Digital
Actus Digital (subsidiary of Taya Media Group, an international premier media content technologies company) provides solutions for video content logging, monitoring, repurposing, ads detection and video/audio quality check. Actus’ impressive customer list includes 100+ global media players such as BSkyB, Sky, Fox channels, Star, Chello Media, McCann, Sony, RTL, StarHub, Levira, MTG, Encopmass, AirTel, and Zee Networks.

In a nutshell, Actus provides high-end solutions at the most affordable prices. Actus solutions support the latest industry requirements including Teletext, Multiple Audio tracks and subtitles, EPG, Transport Stream, and more. Actus’ customer-driven products are web-based, user friendly and support an unlimited number of channel inputs, thereby facilitating greater functionality and cost savings.

For more information, please visit:

Press Contact:
For more information about Actus, please contact
Anya Oskolkova
Zazil Media Group
(cell) 617.817.6559


Actus Clip Factory

Actus Clip Factory

TV Channel "Ukraine"

TV Channel "Ukraine"

Tiffen Photo fx Ultra Wins a Highly Coveted TIPA Award

The Technical Image Press Association names the Tiffen Company’s photo editing app for the iPad the Best Mobile Photo App of 2013

Hauppauge, NY – May 13, 2012 – The Tiffen Company, a leading manufacturer and distributor of award-winning accessories for the still imaging, video, motion picture and broadcast markets, announced its iPad app, Tiffen Photo fx Ultra v5, has been named “Best Mobile Photo App of 2013” by the prestigious Technical Image Press Association (TIPA). According to the TIPA website, editors of the member-magazines (full list can be found here) evaluate products introduced to the market in the past 12 months and base judgments on “innovation, the use of leading-edge technology, design and ergonomics, ease-of-use, as well as price/performance ratio.”

“We are extremely proud to be honored by TIPA for Photo fx Ultra,” comments Steve Tiffen, President and CEO, The Tiffen Company. “Unlike other awards that require a submission process, eligibility is based purely on a product’s value in the marketplace, making the TIPA Awards one of the most coveted in the industry.”

Available for iPads operating with iOS 4.3 or later, Tiffen Photo fx Ultra v5 allows users to simulate many popular award-winning Tiffen glass filters, specialized lenses, optical lab processes, film grain, exacting color correction, natural light, and photographic effects directly from their iPads and share via Facebook, Flickr, Instagram, Twitter, Tumblr, email and more. The app offers a total of 77 filters, with 934 presets organized into eight different filter groups, plus a clever paint system with a variety of brushes.

Photo fx Ultra Pricing and Availability
The award-winning Tiffen Photo fx Ultra v5 is available today for $4.99 USD through the Apple App Store and priced in local currency outside the United States.

About the TIPA General Assembly and Technical Committee
The General Assembly is the highest representative body of the association. The GA meets at least once a year and all active members must attend in order to vote for the best photo and imaging products of the year. The GA has the final word on the TIPA Awards results. The GA also elects the Board of Directors and discusses and votes on all of the association’s issues, such as the approval of the annual report and budget. It approves or rejects proposals coming from the board and from single members. In addition, the GA has the power to decide on TIPA membership issues and make all other decisions on extraordinary matters. The GA voting process follows the majority system.

Giving an award to a product is a matter of experience, technical honesty, independence, and responsibility. The General Assembly, the highest body of the association, has appointed a team of technical editors to extensively assist the GA in the award giving process. The mission of the Technical Committee, a four-member body with specific technical knowledge, is to select award candidates following an elaborate guideline. The TC works year-round checking which products have the prerequisites necessary to be considered for an award nomination.
For more information, please visit:

About Tiffen

Tiffen has been a leading manufacturer of photographic filters, lens accessories, software, and camera accessories for the consumer/professional imaging and the motion picture and broadcast television industries for 75 years. The company has a rich history of innovative product design, superior optical consistency, and unparalleled quality. Tiffen has been recognized for its product and engineering excellence, earning two Technical Achievement Awards and a Scientific and Engineering Award from the Academy of Motion Picture Arts & Sciences, as well as multiple Emmy® Awards from the Academy of Television Arts and Sciences. Today, the company offers a wide range of products, which include: Tiffen® filters, Steadicam® camera stabilizing systems, Lowel® light, Listec® teleprompters, Tiffen Dfx® digital imaging software, Domke® bags, Davis & Sanford® tripods, Genustech® camera accessories, Zing® camera covers, Stroboframe® flash brackets, Saunders® professional trimmers, and Kodak Wratten® filters. Tiffen continues to enhance its reputation as a leading imaging accessory manufacturer through aggressive growth in the image-making accessory industry.

For more information on Tiffen, please visit:

Tiffen is a registered trademark of The Tiffen Company. All other trademarks and products mentioned herein belong to their respective owners.

Press Contact
Anya Oskolkova
Zazil Media Group
(p) 617.817.6559
(skype) anya.oskolkova


Tiffen Photo fx Ultra

Tiffen Photo fx Ultra

Technicolor – PostWorks’ Tim Stipan Applies the Finishing Touch to Indie Drama “Disconnect”

Technicolor – PostWorks’ Tim Stipan Applies the Finishing Touch to Indie Drama “Disconnect”

NEW YORK—Disconnect, the new drama from LD Entertainment and director Henry Alex Rubin, weaves three loosely related narrative lines, each of which relates to the internet and the way it is affecting human relationships. The protagonists of its three plot lines include a TV news reporter investigating porn chat sites, a lawyer whose 15-year-old son is victimized by his skater buddies, and an interracial couple who turn to on-line grief consoling to cope with the death of their baby.
Post-production was completed at Technicolor – PostWorks in New York, where the work ran the gamut from dailies processing through DI Colorist Tim Stipan (Moonrise Kingdom, Black Swan) applied the final grade, working alongside Rubin and cinematographer Ken Seng. more


On-Site Technical Expertise and Support Ensures
Interference-Free Coverage for Jam-Packed Five-Day Celebration

NAPA, CA, MAY 13, 2013—When the inaugural BottleRock Napa Valley festival, a celebration of music, comedy, food and drink in California’s legendary Napa Valley, kicked off on May 9, Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, was on-hand providing frequency coordination for the more than 80 bands and performers at the event, as well as media in attendance.

In its debut year, BottleRock Napa Valley featured a lineup of more than 80 artists, bands and performers from a variety of genres, including rock, soul/R&B, country, hip?hop, comedy and more. In addition, more than 30 iconic restaurateurs shared the culinary stage with 40 superstar vintners. Close to 200,000 people attended the extravaganza.

“With five stages and more than 800 frequencies for the week, pre-planning is key in helping to avoid any interference issues, allowing us to react to any potential frequency problems ahead of time,” says Jim Van Winkle, general manager, PWS. “As this was the first year for the event, we tried to get as much information as possible ahead of time from the vendor, artists, engineers and media so that when our team arrived on-site, we were ahead of the game. This way, we kept any potential challenges or issues to a minimum. In addition, as with any event this size, we worked closely with the audio vendor, Delicate Productions.”

PWS was brought on to support the festival by Delicate Productions and Production Manager Chris Sorlie. One of the initial concerns in planning for the event was the close proximity to one of Pacific Gas and Electric Company’s (PG&E) power stations from the festival’s stages. “We worked closely with George Edwards and Sergey Bailleul at Delicate Productions and we all did our due diligence to ensure that there would be no frequency interference or signal issues associated with the plant.”

Four PWS staff members were on-site throughout the five-day celebration. “We stationed a dedicated frequency coordination expert at each of the three stages to mitigate any issues that may have presented themselves. In addition we regularly checked in on the other two stages,” adds Van Winkle. “We also used spectrum analyzers during the festival to determine occupied bandwidth and track interference sources, putting them on a safe frequency once we located them. An event of this size is always challenging, but once again, the PWS team did a fantastic job and the show went off as expected.”

An added benefit of PWS’ frequency coordination services is its hand-on approach. Although the company was only charged with providing frequency coordination services at the festival, PWS always brings backup equipment and gear to handle any issues that may arise.

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Nathan Love Draws on 80s Nostalgia for New National Geographic Look

Nathan Love Director Jim McKenzie brings a wildly nontraditional look to the National Geographic Channel in a promo for the network’s new The 80s: The Decade That Made Us miniseries. A rousing contrast to National Geographic’s traditionally grounded advertising, the animated spot infiltrates the airwaves with a trio of grinning, buff cheese ball characters working out in synch to an electronic frenzy of a song reminiscent of the 1980s.

“This is a completely different look for the network, and that’s exactly what National Geographic wanted,” notes Nathan Love ECD Joe Burrascano. “Because the series itself – which details the many unsung cultural revolutions ignited during that time – was such a departure from their traditional programming, the goal was to catch people by surprise, piquing their interest while connecting them to the light-hearted spirit of the 80s.”

Working with a wide-open creative brief, Nathan Love decided to pursue a hand-drawn animated look evocative of that decade’s wacky, in-your-face graphics and crudely drawn cartoons. The studio pitched a trio of 80s-themed spots based on the illustrations of longtime friend-of-the-studio Ana Benaroya and settled on the workout theme, a sequence drawn with the loud colors, tacky outfits and unintentional humor of that decade’s incipient fitness videos. McKenzie and Benaroya worked together to create the fun, off-the-wall moments that followed.

The result is a highly saturated, bubblegum-pop crowd-pleaser in the spirit of Nathan Love’s more intensely produced CG work. “Prior to teaming up with National Geographic on this spot, we had just finished work on really great spots for Polly Pocket and Froot Loops, and this workout video fits right into the vibrant, entertaining world of characters that we’ve established here at Nathan Love,” explains McKenzie. “All of our work shares themes of color and playful storytelling. By maintaining an expertise in animation as well as more modern production methods, we avoid limiting ourselves and are able to devise the best solution to executing our client’s vision.”

Nathan Love designed the initial key frames in Photoshop, and then hand drew each frame in Flash. Once the client signed off on the final images – selecting from a range of over-the-top butt shots and more conservative frames – Nathan Love compiled the final cut in After Effects.


Client: National Geographic Channels
Spot Title: “The 80s Promo”
Airdate: April 14, 2013 8PM (Three-day miniseries event)

Agency: National Geographic
Creative Director | Design: Brian Everett
SVP Creative: Andy Baker
Creative Director of Design: Brian Everett
Creative Director: Tyler Korba
Design Director: Carla Daeninck

Production Company: Nathan Love
Executive Producer: James Braddock
Head of Production: Derrick Huang
Creative Director: Joe Burrascano
Director: Jim McKenzie
Designer: Ana Benaroya
Animation: Stieg Retlin
Composer: Drew Skinner

About Nathan Love

NATHAN LOVE is an innovative animation, design, and development studio located in NYC. Driven by a passion to tell great stories and connect with audiences around the globe, Nathan Love develops memorable characters, imaginative worlds, and engaging narratives for television, film, Web, books and video games. Clients and collaborators include Kellogg’s® Froot Loops®, McGraw-Hill Education, Chips Ahoy, NBC-Universal, and Nickelodeon Studios.

Visit Nathan Love
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Simian Releases “Simian Real Time Video Encoder™”

New encoding/uploading app makes uploading video to the web quick, simple and error-free.

Laguna Niguel — Simian, the global leader in creative workflow and media management solutions has announced the release of the Simian Real Time Video Encoder™, a groundbreaking app that makes it simple to simultaneously encode and upload any size video file to the cloud. Available free to Simian users, the new app reduces the complexities involved with encoding and uploading video files to a single drag-and-drop operation. Even large files can be quickly uploaded to Simian. The app also ensures optimal playback. more

Dataton ships new WATCHPAX solid-state media server

WATCHOUT Premium Partner, Show Sage, will be exhibiting at Booth 209, Wyndham Orlando Resort, Florida, 15-16 May 2013.

Dataton ships new WATCHPAX solid-state media server

The big new product for Dataton in 2013 is WATCHPAX™. Combining all the show-timeline, control and image-manipulation of the company’s successful Dataton WATCHOUT™ software with a compact embedded computer, WATCHPAX is now shipping and has already started to earn rave reviews.

Dataton WIRETAG™, which plugs directly into the WATCHPAX media-player module allows direct integration of a WATCHOUT show with Dataton’s PICKUP™ audio guide system. Simply point and click at the WIRETAG with a PICKUP audio guide, and you jump straight into the show soundtrack at the correct point in the show.

Jim Testa, President, Show Sage, adds: “The North American market for Dataton’s products is in very robust health and we are very excited by the attention WATCHPAX is getting from customers, current and new. WATCHPAX has opened the doors to opportunities where WATCHOUT previously may not have been a practical choice.

“Add the new synchronization with PICKUP made possible by WIRETAG and you really do have a winning combination.”

Shotgun Releases Complete UI Overhaul with Artist-Friendly Shotgun 5.0

Simplified Access to Essential Tasks and Updates on Top of Powerful Project Management, Review and Asset Tracking Toolset

Venice, CA – Shotgun Software, developer of Shotgun, the leading production management system designed for the visual effects, animation and game industries, today released a complete product overhaul with Shotgun Version 5.0. Shotgun encompasses production tracking, scheduling, review and approval, helping modern production pipelines run as efficiently as possible–but now includes a new UI and toolset designed specifically for artists and supervisors. Shotgun 5.0 also adds new tools for task tracking, review and approval, collaboration and search, and is still priced at $49.00 USD per seat, per month.

The version 5.0 build of Shotgun was designed together with artists who wanted simple and visual views of their essential tasks and key updates with tools to collaborate about their work with supervisors and peers. Shotgun 5.0 delivers that and more, including:

My Tasks — A simple view of an artist’s tasks with key project information and updates presented in an easily digestible news feed format. My Tasks also displays who else is actively working with the artist at any given time, breaking down the walls that divide artists who often work in isolation whether co-located or at remote locations.

Inbox — A visual collection of notes and important updates related to the artist’s work. Artists can customize their inbox by choosing to ‘follow’ progress of specific project shots or assets that are important to them filtering out updates that aren’t relevant to their tasks.

Global Search — Search for anything in any project and receive an immediate, curated list of results with an easy-to-read news feed style layout.

“For the 5.0 release, we turned our focus to artists and supervisors, designing simple and visual tools that connect them to important project details and to each other,” said Don Parker, Co-Founder and CEO, Shotgun Software. “This is an important step towards providing an off-the-shelf toolset that equally meets the needs of creative artists and data-centric facility managers around the single goal of doing great work while running a solid business.”

Shotgun 5.0 comes on the heels of a new integrated Shotgun package, making three previously independent products (Shotgun, Revolver and Tank) available now as a single, unified, comprehensive package at a cost of $49 per user/per month. Pricing for enterprise customers, advanced support options and education institutions is available upon request by emailing

About Shotgun Software
Shotgun Software was founded in 2006 by a group of visual effects professionals to build production tracking, review and asset management solutions for modern studio pipelines. The founding members worked together on a major studio animated feature and develop tools to fill the mounting industry need for a commercially viable system for managing complex projects spread across multiple locations. Shotgun is actively developing the system with more than 400 industry studios including EA, Blue Sky, Double Negative, Framestore, Method, Pixomondo, Playstation, Blizzard and Zoic Studios. For more information and an online demonstration visit


Big Buck Bunny – footage courtesy of (CC) Blender Foundation,


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