Archive for May 15th, 2013

The Hollywood Post Alliance(r) Opens 2013 HPA Awards Call For Entries

Honors Celebrate Excellence in Post and Feature Expanded VFX Categories

(Hollywood, CA) The Hollywood Post Alliance(r) announces the opening of the Call for Entries for the 8th Annual HPA(r) Awards, which will take place on the evening of November 7th, 2013 at the Skirball Cultural Center in Los Angeles, CA. Considered the standard bearer for excellence and innovation, the HPA(r) Awards recognize the achievements of the individuals and companies that have contributed to groundbreaking technologies and creative excellence within the post production industry.

The HPA Awards invite entries in the following competitive categories:

* Outstanding Color Grading-Feature Film
* Outstanding Color Grading-Television
* Outstanding Color Grading-Commercial
* Outstanding Editing-Feature Film
* Outstanding Editing-Television
* Outstanding Editing-Commercial
* Outstanding Sound-Feature Film
* Outstanding Sound-Television
* Outstanding Sound-Commercial
* Outstanding Visual Effects-Feature Film
* Outstanding Visual Effects-Television
* Outstanding Visual Effects-Commercial
* Engineering Excellence Award
* HPA Judges Award for Creativity and Innovation in Post Production

The period of eligibility for the HPA Awards is September 11, 2012 through September 3, 2013. To be considered eligible, work must have debuted domestically and or internationally during this period. Entrants need not be members of the Hollywood Post Alliance or working in the U.S. to submit work for consideration. Lists of previous years' winners can be found by visiting

A notable difference in the 2013 competition is expansion in the visual effects categories, which have become more encompassing, focused on a broader section of the visual effects pipeline.

Complete rules, guidelines and entry information are available at: Submissions for the creative categories will be accepted May 15, 2013 through July 12, 2013 and Early Bird Entries (reduced fee for the creative categories) will be accepted through June 14, 2013. Submissions for the Engineering Excellence Award and the Creativity and Innovation Award will be accepted May 15, 2013 through June 21, 2013. Entrants for the Engineering Excellence Award will be invited to present at a special HPA judging event in early August.

Contact Eileen Kramer at 213-614-0860 or write to for information about sponsorship opportunities for the 2013 HPA Awards show. For more information about the HPA Awards, visit or call 213.614.0860.

About the Hollywood Post Alliance(r)
Hollywood Post Alliance (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content.

About the HPA(r) Awards
The HPA Awards were created to foster awareness of post production, promote creative and technical excellence, recognize the achievements of post production talent, and build involvement in the Hollywood Post Alliance.

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Media Contact:
ignite strategic communications
p: 818.980.3473
Christine Purse, or
Mimi Rossi,

CPL Supplies Projection and Lighting for new ARC Festival in Bristol

Central Presentations Ltd (CPL) supplied projection and lighting equipment plus design and programming services for the brand new ARC Festival, an innovative one day event celebrating electronic music and digital arts, staged in three domed and two tented structures in Eastville Park, Bristol, UK.

CPL’s client was festival organisers ARC AP. The Festival’s directors are Ben Thompson from the ARC Festival and Will Young from interactive experimentalists Luma, who asked CPL’s Nick Diacre to specify and supply a video system for the main stage and co-ordinate the supply of AV and lighting equipment to various VJs and visual collectives working in other areas of the site.

The idea for the Main Stage tent was to make the projections as immersive as possible given the staging set up. Each artist performing onstage was accompanied by a VJ and / or active visuals.

Will Young designed a 20 metre wide, 3 metre high curved screen – custom made for the event – and Diacre spec’d a video system that would work in the space and environment and could be utilised by all the various artists.

“The key was to keep it simple, flexible, and most importantly, quick and easy to set up,” explains Diacre, who brought his vast experience of live visual playback to the party.

This proved a wise move, as in some cases they received visuals only a few minutes before the ten artists over the course of 12 hours took to the stage – which needed to be formatted and integrated into the system!

Diacre used a Coolux Pandora’s Box media server as the hub of the operation into which all the VJs playing live and any playback content were fed. From here it was mapped to the screen and the multiple live feeds were processed using a combination of a PLS200 and a Barco DVI matrix as well as EDID management hardware.

Says Diacre, “Coolux’s Pandora’s Box was the obvious choice. Through careful management of sources and capture interfaces, CPL’s quad head media server processed over 16 different sources in various formats with little effort. In addition to sources and layouts, Pandora’s Box managed moving backgrounds during artist changeovers at 4k resolution, as well as warping and soft-edge blending.

The screen was fed by four Panasonic PT-DZ21K 20K HD projectors, fitted with the shortest throw lenses and rigged on the front truss at extreme angles. They were keystone corrected using the Pandora’s Box warping engine.

Lighting in the main tent was designed by Will Howie, using a combination of CPL’s Martin MAC Aura LED washes, MAC 700 Spots, Atomic strobes and Molefeys, controlled via an Avolites Pearl desk. The lighting was operated on-the-fly to complement and contrast with the assorted visuals appearing onscreen and the general vibe of the live sets as they developed.

The L’Acoustics Kara sound system was supplied by Bristol based AF Live Audio Funktion and the stage was built by Flat Earth.

CPL also supplied assorted AV and lighting kit to various other areas including the Polygon Stage, which was designed and curated by Skulpt. This included Panasonic 10K projectors, PixelLine LED battens and a Slick trussing ground support system.

A Barco FLM HD 20K projector was utilised for exterior projections on to the Tangent Dome, which took on a new life after dark, complete with live content
generated by visual artists Lumen.

Just metres away, the Axis dome was illuminated by 12x MAC 350 moving lights all synchronised by a motion tracking system.

“Being a new festival it was very exciting to work on this project,” enthuses Diacre. “The challenge was that there were obviously a few ‘unknowns’ that were not apparent until we were actually there on site,” – all of which he took in his stride.

Being a one day event, the timeframe was also limited and involved a couple of long nights programming … however, the turnout and the level of interest and the quality and nature of the art and performances all contributed to making the first ARC festival a real success.

FUJIFILM Optical Devices Division to Show 4K Cine Zooms and Compact Cabrio Lenses at Cine Gear Expo 2013

Wayne, N.J. – FUJIFILM North America Corporation, Optical Devices Division will demo several of its latest products ideal for the film and video production community at the Cine Gear Expo, to be held at The Studios at Paramount in Hollywood from May 31-June 1. The company will be in booth #43 and will showcase its Premier PL 4K+ cine lenses and Cabrio cine/ENG-Style lens series.

The Premier PL 4K+ Series features the fastest T speeds available in a family of zooms, with unprecedented color matched 4K and beyond optical performance. The Premier PL lenses are available in 14.5-45mm T2.0, 18-85mm T2.0, 24-180mm T2.6, and 75-400 mm T2.8-T3.8. All four PL Mount zooms are similar in size and weight, and uniform gear placement and front barrel diameters (136mm). Focus, zoom, and iris gears are all in the same position—which speeds up lens changes, since follow focus accessories and lens motors can stay in the same position on the rods. Focus barrel rotation is a uniform 280 degrees on all four zooms.

Premier PL 4K lenses have been used by several acclaimed DPs for feature films including Oblivion and Iron Man 3.

In its Cabrio series, the PL 19-90 (model ZK4.7×19) and PL 85-300 (model ZK3.5×85) will be on hand at Cine Gear. These Cabrio lenses feature an exclusive detachable servo drive unit, making them ideal for use as standard PL lenses or as ENG-style lenses. The PL 19-90 and PL 85-300 FUJINON lenses offer exceptional optical performance with a 200-degree focus rotation, are equipped with flange focal distance adjustment, self-aligning servo drive, a macro function for extreme close-up focus, and coverage of a 31.5mm diagonal sensor. The digital servo on both lenses has 16-bit encoding, so operators can be assured that all lens data output is extremely accurate. Each lens can be controlled using cinema industry standard wireless controllers or with existing FUJINON wired and wireless units.

With a 19-90mm focal range and weight of only 2.7kg including servo motors, the compact PL-19-90 boasts the longest focal range available in a light weight zoom. The PL 85-300 Cabrio offers a longer lens that makes it ideal for shooting in demanding production environments, such as documentaries, wildlife and car commercials.

Cabrio lenses are being used in TV series and feature film production, including several 3D features currently in production.

“Cine Gear always provides a great opportunity to connect with our current and with potential customers,” said Thom Calabro, director, marketing and product development, FUJIFILM North America Corporation, Optical Devices Division. “The expo continually draws an audience of key decision makers in entertainment production, and we look forward to showing off our popular products and latest technologies at this year’s show.”

Fujifilm on Cine Gear Panel

The Digital Cinema Society will hold a panel during Cine Gear on Friday, May 31st at 2:15pm in the Sherry Lansing Theater. Among the topics to be addressed will be the challenges inherent in lens design with the need for increased coverage areas and resolution while camera pricing is decreasing. Chuck Lee, Technology Manager, will participate on behalf of the Optical Devices Division of FUJIFILM. Representatives from Angenieux, Canon, Cooke, Leica, Schneider Optics, Service Vision, and Zeiss will also participate in this event.

To learn more about Fujifilm’s lenses, please go to:

About Fujifilm
FUJIFILM North America Corporation, a marketing subsidiary of FUJIFILM Holdings America Corporation consists of four operating divisions and one subsidiary company. The Imaging Division provides consumer and commercial photographic products and services, including: photographic paper; digital printing equipment, along with service and support; personalized photo products; film; and one-time-use cameras; and also markets motion picture archival film and on-set color management solutions to the motion picture, broadcast and production industries. The Electronic Imaging Division markets consumer digital cameras, and the Graphic Systems Division supplies products and services to the graphic printing industry. The Optical Devices Division provides optical lenses for the broadcast, cinematography, closed circuit television, videography and industrial markets, and also markets binoculars. FUJIFILM Canada Inc. sells and markets a range of Fujifilm products and services in Canada. For more information, please visit, go to to follow Fujifilm on Twitter, or go to to Like Fujifilm on Facebook. To receive news and information direct from Fujifilm via RSS, subscribe at

FUJIFILM Holdings Corporation, Tokyo, Japan, brings continuous innovation and leading-edge products to a broad spectrum of industries, including electronic imaging, digital printing equipment, medical systems, life sciences, graphic arts, flat panel display materials, and office products, based on a vast portfolio of digital, optical, fine chemical and thin film coating technologies. The company was among the top 10 companies around the world granted U.S. patents in 2012, and in the year ended March 31, 2013, had global revenues of $26.7 billion*. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit

* At an exchange rate of 83 yen to the dollar

NUGEN Audio at BroadcastAsia2013

BroadcastAsia2013 Show Preview
Exhibiting With Minnetonka Audio
Stand 5F2 – 04

NUGEN Audio at BroadcastAsia2013

At BroadcastAsia2013, NUGEN Audio will be displaying a range of industry-leading innovations for loudness correction that offer a smarter approach to meeting new loudness regulations and raising the quality of broadcast audio.

Portugal’s TVI Launches Two New Channels on Snell’s ICE Channel-in-a-Box System

Installation Builds on Existing Infrastructure to Enable Fast, Cost-Effective Launch

READING, U.K. — May 14, 2013 — Snell today announced that Portugal’s most-watched broadcaster, TVI, has deployed the Snell ICE channel-in-a-box solution to support two new channels: TVI Fiction and +TVI. By installing ICE systems, TVI is quickly and cost-effectively bringing new channels to air. While the ICE systems enable fast expansion without significant changes to existing infrastructure, they also integrate seamlessly with TVI’s installed Snell Morpheus automation system enabling it to scale from a single channel to many complex channels, controlled from just one user interface.

“Snell’s ICE gave us a straightforward, easy-to-deploy solution for adding two new channels to our existing lineup,” said Carlos Gomes, head of technical department at TVI. “While our investment in ICE systems alone enables us to reduce the time and cost of our channel launches, we will realize a further benefit in the added power and flexibility that our Morpheus automation system brings to these channel-playout boxes.”

ICE is a best-of-breed IT-based playout system that combines what once were multiple racks of hardware into a single system. Each ICE has multiple inputs and outputs and includes two DVEs and eight keyers per channel mixer, routing and mixing functions, SD and HD format conversion, audio processing capabilities, and closed-caption/subtitle support.

TVI currently relies on Morpheus to drive playout for its main TVI channel, its 24-hour news channel (TVI24) and TVI International. The installation of the ICE units provides all the functionality that TVI needs to expand their flexible and highly scalable multi-channel system. In this environment, Snell’s unique FlexiCore architecture allows ICE to emulate the master control environment by facilitating reconfiguration of internal routing and supporting dynamic allocation of resources across all channels to meet operational requirements. Following rapid delivery and commissioning of its ICE systems, TVI successfully launched TVI Fiction in October 2012 and +TVI in February 2013.

More information about ICE, Morpheus, and other systems within the Snell product family is available online at

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About Snell:
Snell is a leading innovator in digital media technology, providing broadcasters and global media companies with a comprehensive range of solutions for creating, managing, and streamlining the distribution of content for today’s multi-screen world. Specializing in TV Everywhere and Live TV applications, Snell provides the necessary tools to transition seamlessly and cost-effectively to 4K UHDTV, file-based, and 3Gbps operations, while enabling broadcasters to monetize and deliver their media assets across multiple distribution platforms. Headquartered in the U.K., Snell serves more than 2,000 broadcasters, post facilities, and global media companies in more than 100 countries through its worldwide team of sales and support personnel. More information is available at

All trademarks mentioned herein are acknowledged as property of their respective owners.

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Sound Devices Offers Enhanced Recording and File Transfer Options for PIX 260i Users

Latest Firmware Update, Version 1.02, Now Available for Free Download

LOS ANGELES, MAY 15, 2013 — In an effort to continue to streamline workflows for production and post-production environments with its rack-mounted PIX 260i Production Video Recorder, Sound Devices, experts in portable audio and video products for field production, now offers expanded audio and video recording and file transfer capabilities with its newest firmware update, Version 1.02. Available as a free download to all PIX 260i users, this latest version will be highlighted at Cine Gear 2013 (Booth 94).

With Version 1.02, all drives are now formatted as exFAT instead of UDF. While this new drive formatting is available, it is still possible for PIX 260i users to record and play back from UDF drives for compatibility with the PIX 220i and PIX 240i. Users have the ability to set each PIX 260i drive independently to Ethernet File Transfer (Network) mode. This offers the convenience of transferring files over a network while the PIX 260i records new data. Drives will also automatically switch to the Ethernet File Transfer mode when full. In addition, the end user can now read and write data to PIX 260i drives over Ethernet. The update also enables the PIX 260i to provide users with both simultaneous recording to multiple drives or sequential mode, recording to the next successive drive as drives become full. A 10-second (maximum) pre-record buffer for the audio-only mode has also been added.

“The PIX 260i offers an innovative new approach to file-based audio and video recording,” says Paul Isaacs, Technical Development Manager for Sound Devices. “Every new version of PIX 260i firmware, including version 1.02, is the result of feedback from customers who have incorporated it into their everyday workflows.”

Based on Sound Devices’ PIX 240i portable audio/video recorder, PIX 260i is a rack-mounted, file-based audio/video recorder that seamlessly replaces tape-based video decks in production and post-production environments. PIX 260i offers 32 tracks of audio record and playback as well as control functionality from browser-capable computers and tablets. PIX 260i offers the features and tools that production companies and broadcasters require to migrate to file-based recording and playback capabilities. It records QuickTime files in either Apple ProRes or Avid DNxHD video formats. Files recorded in these intra-frame codecs are ready for editing directly from the recorder in common editing environments, such as Avid, Final Cut Pro, and Adobe Premiere, eliminating time-consuming transferring and transcoding. For color-critical applications, the PIX 260i supports Apple ProRes 4444 through its 12-bit, 4:4:4 3G-SDI I/O. Users can also play out files from the PIX 260i for real-time applications.

PIX 260i users can download Version 1.02 by visiting

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,

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Logan & Sons Pay Tribute to Wild Nights with Moosehead

Logan & Sons Director Paul Minor recently set out into mountains of Northern California to shoot “Wild Nights,” a wistful 60 seconds of sun-soaked beauty for Canadian brewers Moosehead.

“Wild Nights” follows five friends on the perfect hike, an ambling journey that ends just as night falls and the group settles in above an expansive vista with a cooler full of ice-cold Moosehead beer.

The spot is a perfect counterpoint to Minor’s previous project, a film for “Treats! Magazine” entitled, “Sexsomnia.”


Client: Moosehead
Title: “Wild Nights”
Date: May 2013

Agency: Sid Lee
Creative Director: Ryan Spelliscy, Dave Roberts
Writer: Laurent Abesdris
Art Director: Lorne Covant
Agency Producer: Clare Cashman

Production Company: Logan & Sons / Steam Films
Director: Paul Minor
DP: Ulrik Boetzen
EP: Matthew Marquis
Producer: Rick Brown

Editorial: Panic & Bob
Editor: Matthew Kett

Color Grading: Alterego
Colorist: Wade Odlum

Audio: Eggplant
Track: Lord Huron “Ends of the Earth”

About LOGAN:

LOGAN ( is an award-winning New York and Los Angeles-based creative studio and production company specializing in groundbreaking content creation. Their team of producers, directors, creative directors, VFX artists, and animators excel at problem solving and helping clients bring their vision to life. Concepting, ideation, design, live-action production, 2D and 3D animation, VFX, editorial, and ?nishing take place under one roof, making work?ow a truly seamless experience.

Logan & Sons ( acts as the live-action division of LOGAN and represents a broad spectrum of directorial talent.

Known for its iconic work for top brands, LOGAN helped create many memorable cultural moments, including commercial campaigns like the Apple’s iPod Silhouettes, viral hits like the Gymkana ?lms (over 165 million views), opening titles and sequences for ?lms like Zombieland, The Avengers, Premium Rush, and Gangster Squad, content and marketing campaigns for hit video games like Elder Scrolls: Skyrim, Call of Duty, Borderlands, Resistance, Metal Gear Solid, and many others.

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SSL Appoints Jason Kelly as Product Manager for New ‘Live’ Product Division

Industry Veteran Joins Company to Develop the Brand’s Entry in the Live Market

OXFORD, UK – Solid State Logic is pleased to announce that Jason Kelly has been appointed Product Manager for its new Live console. With a 25-year career that spans live sound production, live event systems design and implementation and technical support management, Kelly has developed a solid understanding of the key aspects of the pro audio industry. In his new role, he will spearhead the recent introduction of SSL’s ‘Live’ console, which brings to the stage the industry standard, sonic legacy of the SSL brand.

Kelly’s understanding of the live sound market makes him the ideal candidate for the position. He will build on his knowledge, as well as his sales and technical support experience, to help dealers and key customers understand all of the benefits of this innovative live-sound product. Working closely with SSL’s product design and development team, Kelly will also help to define product requirements and marketing strategies into the future.

“Everyone at SSL is very excited to enter this arena of audio production, and we are glad to have Jason with us to help support our success in the live sound industry,” says Antony David, Managing Director of Solid State Logic. “The SSL Live console has been years in the making and we’re happy to now be able to share it with the world. We know Jason’s keen understanding of the market and product sectors is the perfect combination for this position. We’re confident that he will help build our presence in the live market.”

Prior to joining SSL, Kelly was Technical Support Manager at Midas Klark Teknik (MKT), where he provided front line technical support and marketing strategies for all MKT products worldwide. In this position, he developed and implemented courses and training materials for MKT products, in addition to providing system design and integration support for customer installations.

His other recent roles include UK Sales and Support Manager for MKT, Technical Director for CTI Live Technical Engineering, a company involved with designing and implementing all aspects of live event production; and Technical Manager for Staras Technical Productions, which produces high-level live presentations.

“I am truly delighted to be working for a world-renowned company such as SSL,” says Kelly. “My years of experience in the live sound industry offer me the great opportunity to recognise the needs of the customers in that market. I foresee a strong future for SSL in this arena and look forward to helping the company grow its customer base.”
Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit:

Chaos Group’s V-Ray 1.6 for SketchUp Now in Open Beta

Significant Enhancements to Rendering Speed, Workflow, Visualization and Lighting Features; Ready for Use in Professional Design and Engineering Projects

Sofia, Bulgaria – 15 May 2013 – Artists, architects and designers always want their software to do more. More detail, more speed, more quality. Today, with the announcement of Chaos Group’s V-Ray 1.6 for SketchUp open beta, these users now have the biggest expansion to SketchUp’s rendering capabilities right at their finger tips. More is here.

This massive upgrade to V-Ray for SketchUp includes a series of new feature introductions that enhance visualization workflow and render quality (V-Ray RT®, V-Ray Dome Light) and streamline scene complexity (V-Ray Proxy).

“With 16 new features designed and accounted for, V-Ray 1.6 for SketchUp has become the most robust, and artist-friendly render application SketchUp users have ever seen,” said Corey Rubadue, Chaos Group product manager, V-Ray for SketchUp. “And it’s only going to get better in the future.”

As part of this update, V-Ray 1.6 for SketchUp will offer architects and designers access to proven V-Ray technologies that accelerate the creative process. For example, with V-Ray Proxies users can now achieve exceptionally high levels of detail and modeling complexity while efficiently rendering massive amounts of geometry in the blink of an eye. Proxies can also be shared between V-Ray versions giving architects the ability to share models between 3ds Max, Maya, Softimage and Rhino.

“V-Ray 1.6 for SketchUp should be part of every designer’s digital toolset; it’s fast, simple, and seamlessly integrated, which allows you to explore ideas without leaving the application,” said Jorge Barrero, senior associate at Gensler. “The recent addition of V-Ray RT gives me instant feedback on my lighting, while V-Ray Dome Lights lets me push the quality of my renders to a whole new level. As a long time user, it’s pretty exciting.”

Key Features for V-Ray 1.6 for SketchUp

Rendering Engine Upgrades:

V-Ray RT – This CPU-supported rendering engine streamlines scene setup and provides instant visual feedback directly in SketchUp for quicker design, material, and lighting decisions.


Dome Light – Creates simple, artifact-free image-based lighting using importance sampling of HDR images. This technique greatly optimizes light tracing and GI precision.

Lights as Components – V-Ray lights can now be part of a SketchUp component, making the process of changing the design and settings of multiple lights at once much easier.

Sphere Light – Creates spherically shaped area lights.


V-Ray Proxy – Manages scene memory and efficiently renders large amounts of geometry to increase detail and complexity in scenes. V-Ray Proxy objects are dynamically loaded and unloaded at render time, which saves vital RAM resources.

For the full list of features, click here.

Chaos Group is also releasing a set of materials that will help their users experience the benefits of V-Ray 1.6 for SketchUp even faster. Those materials include: help documentation, a dedicated beta forum, tutorials, and videos explaining the new features.

“V-Ray for SketchUp is phenomenal, and the ability to control lights by layers is genius!” said Ramy Hanna, partner and 3D artist at Tiltpixel. “Now I can produce different lighting scenarios based on scene tabs. It’s like Chaos Group looked at SketchUp’s strengths and decided to build my favorite V-Ray features on top of them.”

Pricing and Availability

The free open beta of V-Ray 1.6 for SketchUp is available for SketchUp 8 on both the Windows and OS X platforms – 32bit only. It can be downloaded right now by applying for the public beta program on Chaos Group’s website.

Pricing for V-Ray 1.6 for SketchUp will remain unchanged ($800). The upgrade price from V-Ray 1.49 for SketchUp or lower is $320. Users who purchased V-Ray for SketchUp between April 15, 2013 and the official release date will be eligible for a free upgrade.

About Chaos Group

Chaos Group is a leading provider of innovative rendering solutions for the media, entertainment, and design industries. For over a decade our flagship rendering software, V-Ray®, has set the standard for speed, quality, reliability and ease of use, and it has become the rendering engine of choice for renowned international studios. We work closely with our customers from around the world to ensure we’re creating the best tools for their workflow. Inspired by their imaginative creations, we passionately pursue advances in rendering technology and continue to improve the software needed to communicate their vision.

We proudly support the 3D community with our advanced software solutions: V-Ray® for Autodesk® 3ds Max®, V-Ray® for Autodesk® Maya®, V-Ray® for Autodesk® Softimage®, V-Ray® for Rhino®, V-Ray® for SketchUp®, Phoenix FD and Pdplayer.

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Friendly’s “Build Your Own Burger” Campaign Shot with Blackmagic Cinema Camera

Blackmagic Design today announced that award winning design and digital production company Thornberg & Forester (T&F) used Blackmagic Cinema Camera to shoot the new Friendly’s “Build Your Own Burger” campaign, which is now airing on and the brand’s social media channels. The four spots were also colored using Blackmagic Design’s DaVinci Resolve, the world’s most advanced color correction tool.




Each of the spots features a talking head explaining what goes into building their favorite Friendly’s burger. As a founding partner of T&F and director on the shoot, Justin Meredith was tasked with realizing independent ad agency’s (a&g) vision for the campaign within a tight deadline and on budget.


“While the storylines were pretty simple, we only had two days to get through 87 shots, which is where the Blackmagic Cinema Camera proved extremely useful,” said Justin. “The intuitiveness, functionality and no nonsense approach to acquiring the image was huge for me. The Blackmagic Cinema Camera focuses on what’s really important, the image.


“It was my job to get the best images possible, and I couldn’t believe what the camera delivered in such an affordable and easy workflow,” he continued. “We turned it on, popped in an SSD and were recording. The camera was connected to a laptop running Blackmagic’s UltraScope software so we could monitor the image to ensure nothing was clipping. Then using Resolve’s delivery tools, I took the RAW files, exported out to ProRes for the edit, brought back the EDL and was color grading in no time. It was such a seamless workflow.”


Using DaVinci Resolve 9, Justin was also responsible for color correcting the project and cited Resolve’s motion tracker as an essential tool. Because the spots mainly feature talking heads, Justin needed to make the actors’ eyes pop to create a connection with the viewers. Resolve’s 3D tracker locks Power Windows to objects and reduces the need for key generation, allowing users to track any object in a frame, creating the exact grades needed. According to Justin, Resolve’s tracker simplified what could have been a complex and time consuming process while delivering exactly what the client wanted.


“The client was blown away with the quality of both the Blackmagic Cinema Camera and Resolve,” said Justin. “In today’s industry, T&F has to be a Swiss Army Knife, owning and providing all the necessary tools for a project. Because of the ease of use and affordability, Blackmagic Design allows us to tackle all the moving parts of each project while being completely self contained, which saves time and money.”


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


About Thornberg & Forester
Thornberg & Forester (T&F) is an award-winning design and digital production company that exists to bring quality, integrity and innovation to the media landscape. Our team does this by crafting stories and conveying brand messages through the most relevant mediums possible. We challenge ourselves to leverage both creativity and technology, and above all we genuinely listen to the needs of our client partners and respond with the best solutions for you. With conceptual design as our backbone, our headquarters in Manhattan and a posh Culver City studio, we offer a complete turnkey solution for brilliant end-to-end production through delivery. Many of our clients worldwide refer to us as their secret weapon and it’s time we let you in on the secret:


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


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