Archive for June 5th, 2013

Royale Creates Mighty VFX in “Pulse” IDs for MTV France

Parlez-vous rock & roll? Award-winning and fully integrated motion design and production studio Royale recently completed a series of station IDs for “Pulse,” MTV France’s block of rock video programming. Working closely with network creatives, Royale drummed up their VFX-savvy to create a cinematic package combining blockbuster CG and live-action.

Cinematic vignettes of young love, music jams and extreme sports comprise the package of five unique IDs. The passion and vigor of a deep kiss, the strum of a guitar, the crash of a cymbal and more ignite each moment into an awesome spectacle of explosions.

To see the IDs and behind-the-scenes video, please visit:


“A big part of the MTV legacy has always been its artful station IDs, so it’s exciting to contribute to its lineage of iconic visual art,” says Jayson Whitmore, Royale Partner/Executive Creative Director. “While the network has evolved from its music video roots of the ‘80s, music still plays an integral role in defining the network’s culture and identity. With these IDs, we set out to create something that captured the invigorating spirit of rock & roll in a groundbreaking, compelling way.”

The client cited the Oscar-winning VFX film “Inception” as the inspiration behind the “Pulse” IDs’ visual concept. Royale directed the live-action sequences on greenscreen, precisely choreographing each shot with photographic reference of the backplates the talent would be placed in.

“Our CG environments were built using these photographic references, so it was important for the talent to feel like they were being lit by the same source,” explains Brien Holman, Royale Partner/Executive Creative Director.

Royale’s award-winning team of 3D animators and designers created detailed photo-real CG environments of a warehouse, skate park, bedroom, bathroom and garage. Each element within the environments had to be modeled and textured to explode into thousands of colorfully designed pieces. The end result is a fantastic pulse of rock energy that shatters the world around the talent.

“We wanted these films to exhibit an artistic, edgy design quality, so for the explosions, the debris shifts between looking photo-real and stylized,” explains Holman. “The challenge was creating cohesion between the two aesthetics. This project offered us a great opportunity to combine our VFX, live-action and design skills. We worked really well with MTV France to realize their creative vision and communicate the MTV brand and programming in a clear, conceptual way that embodies the diverse elements of rock & roll culture.”

Agency: MTV Italy

Production Company: Royale
Director: Brien Holman

VFX & Postproduction Company: Royale
Designer: Jonathan Kim
Compositors: Geronimo Morales, Michael Dobbs, Jon Lorenz
CG Lead/Technical Director: Jon Lorenz
3D: Tom Kenney, Erick Schiele
3D Animation: Tom Kenney, Blake Beynon
Storyboard Artist: Brian Koons
Executive Producer: Jen Lucero
Head of Production: Danielle Hazan
Producers: Sean Sullivan, Amber Ventris
Associate Producer: Karla Fay

Editor: Yuhei OgawaB

Audio: Music Dealers

About Royale:

We are a design company helping brands connect with consumers. We believe that design transcends medium and technology to invent creative solutions using both. Our collective of directors, designers, animators, developers, editors, and producers are all led by the single vision of creating engaging experiences that influence the behavior of our audience, and make them smile in the process.

For more info about Royale, please go

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HPA Awards Creative Category Early Bird Entry Fees Ends June 14

Engineering Excellence, Creativity and Innovation Deadlines Also Approaching

(Hollywood, CA) The Hollywood Post Alliance has announced that several important deadlines are approaching for the 8th Annual HPA Awards Call for Entries. Early Bird pricing, which will end June 14, 2013, provides reduced entry fees for the Creative Categories. The Creative Categories cover feature film, television and commercials and include Outstanding Color Grading, Editing and Sound, as well as an expanded Visual Effects category, which replaces the Compositing categories. Regular, non-discounted entry fees will apply for these categories from June 15 through the final Creative Category entry deadline of July 12, 2013. The final entry deadlines for the HPA Engineering Excellence Award and the HPA Judges Award for Creativity and Innovation are also nearing.

In addition to the Creative Categories, there are two awards that draw attention to other areas of post production with upcoming deadlines - The Engineering Excellence Award, which spotlights the companies and individuals bringing technical and creative ingenuity to the real world of post production while raising the profile of breakthrough technologies within the industry; and The HPA Judges Award for Creativity and Innovation in Post Production, which was conceived to recognize companies and individuals who have made significant achievements and pushed the envelope forward in post production, whether in creative storytelling and/or technical innovation. Valid entries should demonstrate new approaches in tools, workflows or ideas from a technical, creative or efficiency perspective. Both Engineering Excellence and the Creativity and Innovation Award are accepting submissions through June 21, 2013.

The period of eligibility for the HPA Awards Creative Categories 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. The HPA Awards will take place November 7, 2013 at the Skirball Cultural Center in Los Angeles.

Attracting attention for the companies and individuals who work creatively and technically to bring vision to reality, the awards are the standard by which creative and technical excellence in the art, science and craft of post production is measured.

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, write to 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,

Facilis TerraBlock Used on Two ABC Studios Series by DigitalFilm Tree

On-Site Shared Storage Solution Facilitates Efficient Workflow Solution

Hudson, MAFacilis TerraBlock has provided a shared storage solution for two ABC Studios series in Burbank, CA as part of a new workflow process that provides an integrated remote post set up that includes editorial, online, titling, color, dailies and VFX.

Designed by post production, consulting and software development company DigitalFilm Tree (DFT), the pipeline was originally outfitted with TerraBlock because of the system’s small form factor, high-capacity and performance. First implemented in September 2012, TerraBlock has already proven successful in facilitating the workflow for DFT on the ABC series “Mistresses” and “Perception.”

“TerraBlock packs all of the capacity and bandwidth needed to manage high-end color correction and DI workflows into a small form factor; it’s ideal for the self-post workflow,” said Guillaume Aubuchon, CTO, DFT. “The system also allows you to choose the best tool for each job, because it’s compatible with so many industry standard applications, and you have the added flexibility to connect users via Fibre Channel or Ethernet.”

With support for 4TB drives, TerraBlock fits 96 terabytes into a single 5RU, 24-drive chassis – providing all of the bandwidth and storage necessary for a full show season, while also reducing the power consumption and heat emission from that of a traditional SAN. This robust and compact design allows post production teams to easily complete on-set dailies. Once filming is wrapped, hard drives with RAW Apple ProRes 444 footage are loaded into the TerraBlock for the dailies to be processed.

Concurrently, an editing team is able to cut multiple streams of Avid DNxHD Mbit/s36 offline from the SAN. There is always a link to the RAW material housed on the TerraBlock, so the post production team can easily lock a cut by reconnecting to the online ProRes 444 material rather than having to take the material off of a LTO or the post production facility’s SAN.

“DigitalFilm Tree and ABC are breaking new ground in post production, and it’s exciting to see TerraBlock at the center of it,” said James McKenna, Facilis Vice President of Marketing. “Facilis is committed to continually advancing the TerraBlock’s performance so that companies like DigitalFilm Tree and ABC can continue to produce high-end content for viewers faster and more efficiently.”

About Facilis Technology
Facilis Technology, Inc. was founded in 2003 to bring advanced shared storage to television and film post production at a reasonable price. The company designs and builds high-capacity, turnkey solutions that are open, flexible and scalable; enabling content creators to collaborate and work more efficiently.

UC Irvine’s Celebrated Sound Design Program Adds DiGiCo SD9 To Curriculum

The University of California, Irvine is home to a celebrated Sound Design program created in 2006. Under the umbrella of the Drama department at the university’s Claire Trevor School of the Arts, the program is spearheaded by Mike Hooker along with Vincent Olivieri, who is the head of the undergraduate sound design program. Late in 2012, the department added a DiGiCo SD9, DRack and UB MADI into its inventory, which made its debut on a series of student-designed programs this spring. One of those shows was the Festival of New Musicals, a unique partnership between the university and the Academy for New Musical Theater, a three-decade-old creative incubator. The alliance paired the talents of professional writers and composers affiliated with the ANMT with UCI students to create the fourth annual festival, staged at UCI’s xMPL – Experimental Media Performance Lab (featuring a flexible seating capacity of 25-150) this spring. One of the festival pieces, ‘Digital Natives’, featured sound design by second year MFA student, Matt Glenn. [Pictured L to R: UCI MFA student, Matt Glenn; Karli Blalock, Assistant Sound Designer; Vincent Olivieri, head of UCI's undergraduate sound design program.]

“One of the interesting things about the way we run our sound design program here is that, with little exception, all of the equipment we own is independent of venue,” explains Olivieri. “Most of the equipment is kept in storage, in workshop rooms, and when a show is being developed, the sound designers are able to choose the tools that they need for their particular project, and can spec what they need and just plug in and play.”

The SD9 was the first DiGiCo purchased by the school and was chosen by Mike Hooker, UCI’s Head of Sound Design, in conjunction with RSPE Audio Solutions. “We knew that we were looking for a digital console of a certain size,” Olivieri recalls, “something that was beefy and designed for live playback and mid-range in size. The SD9 fitted that bill perfectly as it’s great for a mid-size show like this.”

The ‘Digital Natives’ piece comprised a juxtaposition of technology and digital feeds against a backdrop of singers and piano accompaniment for a total of 27 inputs (mics, iPod feeds, playback audio off of multiple computers) and a dozen outputs. Glenn configured a deceptively complex playback system, complete with different sounds and setups configured on different templates within the console. Having the ability to recall these different scenes at the push of a button was huge. Additionally, the SD9 was the perfect console not only for its expandability and versatility, but also for its diminutive size for the small theatre space. And, for a first-time user, Glenn was able to get up to speed quickly by watching the online product videos prior to getting hands-on with the console.

“I wanted to keep the console size down, but I also couldn’t sacrifice the number of channels,” adds Glenn. “Back in the planning stages of this show, before I really knew what it was going to be, I didn’t necessarily know how many mics I would have or how big the pit would be but I wanted to keep open my options with the stage box. With the DiGiCo console, I could have up to 32 inputs from stage from just one D-Rack with the expandability for the future of adding another and you wouldn’t necessarily get that with other consoles. I also wanted an interface that I could intuitively navigate around. The SD9 has a structure similar to Pro Tools and other digital audio workstations (DAWs) and when I started playing with the SD9—my first time using a DiGiCo in a real setting—the way it’s laid out just made sense to me. I didn’t want to be fighting my own brain in the middle of tech, especially with this show, where it’s a really fast turnaround of only three-days. That, the expandability and the ability to write snapshots so quickly and easily, it just all came together with the SD9.”

Onstage, I have six Meyer loud speakers that make up the main system and a subwoofer, plus an additional six loudspeakers placed around the stage for various effects. I’m also using two different internal stereo reverbs that are feeding some of the main speakers. I’m also sending my playback channels to various places around the space to kind of give a surround sound for some of the cues, and they also add a bit of warmth for some of the voices onstage. During pre-production, every time I want to change an EQ or I how much reverb is on a person, I was able to program a macro to update the current snapshot I was working in, and quickly get to it without having to think twice about it. Having eight macro buttons is one of the things I love about this board. Beyond that, there’s so much more to explore with this console but honestly, this show is so fast-paced, I don’t get much of a chance to!”

Moving forward, Oliveiri says the console will serve them in myriad ways, for different productions in varying venues. “We do a lot of shows in a lot of different spaces, and the SD9 is going to be an excellent tool for us for mid-sized musicals and musical events. It’s also going to be useful for us on workshop productions, where the technical needs aren’t always completely known in the early planning stages. For those kinds of productions, the flexibility of a console like the SD9 is essential in order to allow the sound team to quickly respond to unexpected needs.”

Digital Nirvana Launches New Services and Technologies at AMEC 2013

New offerings include Broadcast Content Acquisition,
Multi-Language Media Analysis, and Live Stream Monitoring in the Cloud

Newark, CA – Digital Nirvana is introducing new services and technologies for media monitoring companies at the International Association for Measurement and Evaluation of Communication (AMEC) show, June 5 to 7 in Madrid, Spain. Digital Nirvana is a Silver Sponsor at the event.

With the launch of the new Broadcast Content Acquisition service, Digital Nirvana becomes an end-to-end service provider, handling everything from TV and radio content acquisition to media analysis and custom reporting.

“Our end-to-end approach is what makes Digital Nirvana stand out,” said Vishnu Beri, COO at Digital Nirvana. “Thanks to our advanced technologies, we can now acquire, analyze and customize broadcast content delivery for our media monitoring customers. We also deliver cost benefits that help reduce operating expense and improve margins for our clients.”

Digital Nirvana is also launching a Multiple Language Media Analysis service. Previously, this service was available in English only. Now it is available in French, German, Spanish, Portuguese, Arabic and all Indian languages.

Also making its European debut is AnyStream IQ – the industry’s first live stream media monitoring solution. This cloud-based software-as-a-service helps broadcasters record, log and monitor live streamed media, validate ad runs, prove web captioning compliance, and cut clips for easy sharing. This new solution made its North American debut at the National Association of Broadcasters (NAB) show in Las Vegas, Nevada USA.

Other Digital Nirvana services highlighted at AMEC 2013 include media content management, news report generation, broadcast news summarization, and transcription.

The company is also featuring its flagship Monitor IQ broadcast monitoring system used by leading broadcasters worldwide, as well as the MediaProTM content repurposing system, and the Repeat Audio Detection (RAD) system for song and ad tracking.

Learn more at

About Digital Nirvana

Since 1996, Digital Nirvana has been empowering customers with innovative knowledge management technologies. By combining media and digital technology expertise, Digital Nirvana makes it possible for organizations to streamline operations and gain competitive advantage with advanced product and service offerings. The company’s portfolio includes the industry-leading Monitor IQ broadcast monitoring system, AnyStream IQ live stream monitoring solution, MediaPro content repurposing system, and repeat audio detection systems (RADS) for song tracking and ad tracking. A comprehensive service portfolio includes media monitoring and analysis, market intelligence and analytics, learning management services, and professional services. Digital Nirvana is headquartered in Newark, California with offices in Hyderabad and Coimbatore, India. For more information visit

American Society of Cinematographers Elects New Officers

Richard Crudo Named President

(LOS ANGELES, CA) - The Board of Governors of the American Society of Cinematographers (ASC) has held its annual election to appoint its new slate of officers. Richard Crudo will serve as president, along with Vice Presidents Owen Roizman, Kees Van Oostrum and Lowell Peterson; Treasurer Victor J. Kemper; Secretary Fred Goodich; and Sergeant-at-Arms Isidore Mankofsky.

The members of the Board, elected in May by the organization's active membership, include: Curtis Clark, Dean Cundey, George Spiro Dibie, Richard Edlund, Fred Elmes, Francis Kenny, Matthew Leonetti, Stephen Lighthill, Michael O'Shea, Rodney Taylor and Haskell Wexler. Alternate Board members consist of Kenneth Zunder, Steven Fierberg, Karl Walter Lindenlaub, and Sol Negrin.

"I am honored to have another opportunity to serve this great organization," says Crudo, who previously served three terms as ASC president from 2003 through 2005. "Our 94-year history makes us the longest standing group in the motion picture industry. As always, we will be aggressively promoting our art and craft, as well as the related interests of cinematographers everywhere."

The ASC carries out its mission of inspiring the next generation of filmmakers through many industry events and initiatives, such as its Student Heritage Awards, Breakfast Club seminars, panel discussions by their Education and Outreach committee, the burgeoning Friends of the ASC membership level, and the org's ongoing collaborations with other industry associations vital to the image-making process.

"I want to thank Stephen Lighthill for his hard work and dedication during the past term," Crudo adds. "We operate in an astonishingly fast-moving world, and I look forward to working with him and the other Board members as we expand our efforts on all fronts, from pre-visualization through post-production and image delivery."

Crudo is also a member of the Academy of Motion Picture Arts and Sciences, serving as an Academy Governor and Chairman of the Cinematographers Branch. In addition, he has chaired and co-chaired the ASC Awards for several years throughout the past decade.

Born and raised in Brooklyn, New York, Crudo began his film career as an assistant cameraman. As a director of photography, he has shot a wide range of feature, television and commercial productions. Among his feature credits are Federal Hill, American Buffalo, American Pie, Music From Another Room, Outside Providence, Down To Earth, Out Cold, Grind, Brooklyn Rules, and My Sexiest Year. He has also directed several independent films, and currently shares cinematography duties with Francis Kenny, ASC on the popular FX Channel series Justified.

ASC was founded in 1919. There are 330-plus active members today who have national roots in some 20 countries. There are also 150 associate members from ancillary segments of the industry.

For additional information about the ASC, visit, or join ASC on Facebook at and American Cinematographer magazine fan page at

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(Photos available on request)

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


In anticipation of the mass adoption of 4K/Ultra High Definition (UHD) technology worldwide, New York’s Digital Arts ( is blazing a trail in the feature and TV communities with the first true-4K post production facility on the East Coast. This ground-breaking advance fuses the latest 4K color grading and finishing capabilities with state-of-the-art audio technologies, in a landmark, ultra-modern, environment – unleashing new and exciting possibilities for feature and broadcast producers to create and deliver compelling 4K and UHD content.

Digital Arts delivers first 4K DI suite to NYC

“We’re passionate about creative excellence, and with this next-generation facility, we’re opening a new chapter in New York’s long tradition for innovation,” said Digital Arts’ founder Axel Ericson. “We have built an inspiring environment where experienced digital artists have the latest technology at their disposal in order to collaborate creatively with filmmakers in this new paradigm. It’s a home for storytellers to develop the emotional qualities of their projects through beautifully-crafted sound and images.

“In designing these facilities I knew we had the opportunity to start from the ground up in our approach to image, sound and the creative working environment itself. Through a careful set of choices and a no-compromise approach to detail, Digital Arts sets a new milestone in New York. We are establishing new standards of excellence to fulfill the potential of today’s digital production technology through our new post production infrastructure.”

Digital Arts’ cutting-edge services have already attracted a number of high-profile projects. The company provided the audio facilities for legendary sound mixer Lee Dichter to complete Woody Allen’s upcoming feature Blue Jasmine. Digital Arts was home to HBO’s music documentary Beyoncé: Life Is But A Dream, and completed the audio design and mixing on the critically-acclaimed feature Hide Your Smiling Faces, directed by Daniel Patrick Carbone. The company also conducted the DI color grade on the feature Plus One, attended by director by Dennis Iliadis and cinematographer Mihai Malaimare Jr.

Superior 4K DI grading theater:

Digital Art’s realtime 4K, 2K and HD color correction and finishing facility maximizes the image quality of digital cinematography. It delivers new levels of productivity through advanced and efficient, file-based workflows for the very latest digital cameras. The infrastructure features extensive color science, including ACES, across ASSIMILATE Scratch and DaVinci Resolve grading platforms. The 27-seat DI theater combines a Christie 4220 4K digital projector with a 17ft 4K mesh screen, from Image Screens in Germany, resulting in peerless image quality. Digital Arts also provides complete workflows, including digital dailies grading, editorial, DCP mastering and LTO-6 archival.

Speaking about the capabilities of Digital Arts’ new DI theater Ted Schilowitz, of RED Digital Cinema, said, “RED is paying close attention to those post production companies and DI grading and finishing houses that really understand the importance and value of true, high-fidelity post, finishing and delivery. One of those DI facilities is Digital Arts, right in the heart of NYC. It’s great that Axel and his team are driving the technology with a full-on 4K DI grading bay, that can also serve the needs of those shooting RED today and deliver both HD and 4K versions with the same toolset.”

Premier 7.1 sound mixing:

Ericson has carried the same meticulous attention to detail into designing a landmark audio mixing environment. Sharing the same theater setting, the company’s state-of-the-art, Dolby-approved, re-recording dubstage includes 7.1 and 5.1 surround/stereo audio mixing using the latest Meyer Sound EXP cinema series speakers. Quad ProTools HDX2, with four satellites, and double 32-channel D-control ES Icon consoles, enable sound mixing teams to work collaboratively together. Services also include editorial, sound design, ADR and voiceover recording.

“Digital Arts’ new dubstage is a world-class facility,” said Lee Dichter, Woody Allen’s long-time sound mixer. “During my career I have worked in environments where every detail has been tuned to perfection. To my delight, I discovered that Axel understands the art of sound mixing, and has designed a truly inspirational room. There’s an impressive clarity, power and transparency to the audio it delivers. I found it a great experience while sculpting the dialogue tracks, and bringing out the subtle intimacies of the performances, in Blue Jasmine, Woody Allen’s new feature.”

News of Digital Art’s advance is made as incentives offered by the New York State Post Production Tax Credit were recently boosted to a 30% tax credit on post production expenditure. The company has become a member of the New York Post Alliance.

“Our vision is to deliver New York’s most creative post-production experience while achieving significant advances in quality,” said Ericson. “I want to energize the feature and broadcast communities, and give them something really special, that reflects the vibrancy of the city.”

Digital Art’s creative talent pool includes acclaimed feature and commercials colorist Milan Boncich (Beginners, Fair Game, Bobby Fischer Against The World), award-winning editor/director David Jakubovic (TWA Flight 800, The Forest Is Red, When Nietzsche Wept) and leading sound designer/re-recording mixer Chris Foster (30 Rock, Damages, Hide Your Smiling Faces).

About Digital Arts: Located in the heart of New York City, Digital Arts provides ultra-modern picture and audio finishing services for feature and high-end TV productions within a 12,000sq/ft facility. The company was established by Axel Ericson, a technology pioneer who has over 25 years of experience in composing, sound design and mixing, producing, color grading and finishing. During his career Ericson has received numerous accolades – MTV, Emmy, Promomax/BDA and Monitor awards, and a Grammy nomination. Under his auspices, Digital Arts created one of NYC’s first HD infrastructures and became the finishing house for major TV brands including National Geographic, A&E, ABC, Disney, History Channel and many more. Digital Arts has continued its pioneering endeavors launching the first true 4K infrastructure on the US East Coast for full 4K finishing. For more information visit

Location Sound Corp. Presents Seminar “Dante Digital Networking On Set”

Save the date: June 22, 2013!
This free seminar is a demonstration of Audinate’s Dante Network as it interfaces with Dante-enabled devices from pro audio and video manufacturers such as Sound Devices, Lectrosonics, Shure, Yamaha, and Focusrite. There will be a Q&A session where representatives from each manufacturer, including Audinate, will be on hand to answer your questions.

Landon Gentry, Manager of Global Support Services, Audinate
Michael Paul, Technical Director, Location Sound

June 22, 2013
Doors open at 9:30 AM for continental breakfast. Presentation is from 10:30 AM to 12:00 PM with lunch served thereafter.
We inform AND feed our guests well!

Pickwick Gardens – Garden Room 1001 W Riverside Dr. Burbank, CA 91506

Register or RSVP now at:

Please RSVP no later than Wednesday, June 19.

About Location Sound Corporation
Location Sound Corp. opened its doors in January of 1977 with a mission to be the one-stop facility for production sound mixers for all their sales, rental, and equipment service needs. More than 36 years later, the client roster now also includes production companies, broadcast companies, law enforcement and private security firms, universities, houses of worship, government agencies, and more. Location Sound is known for its excellent customer service and unparalleled depth of inventory: No matter the industry, Location Sound will get anyone the sound equipment for their critical sound recording needs, while providing unmatched support services before and after the sale. For more information, please visit

Media Contact:
Music Marcom
Martina McConnon
phone: 610-577-4982

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Solid State Logic C100 Digital Broadcast Console Scores with NFL Films

“SSL consoles are designed from the end user point of view making our transition from analogue to digital easy”

MOUNT LAUREL, NJ – A Solid State Logic C100 HDS Digital Broadcast Console is running the audio plays for NFL Films, the organization that, since its formation in 1967, has set production style standards for contemporary sports presentations, receiving 112 Emmy Awards over the years for cinematography, writing, editing, sound, sports series and specials. Continuing its winning production style, NFL Films recently upgraded its shooting stage for HD production of its programs Inside the NFL, on Showtime; NFL Matchup, on ESPN; and Playbook and First on the Field, on NFL Network. The C100 was chosen to make the change from analogue to digital audio workflow.

Pictured from left to right behind the console are Fran Camardella, Ernie Fortunato and Dave Casuscelli. Seated at the console is Ron Schreier.

“Our large format consoles have always been analogue SSL, so we were very happy to continue our long and positive relationship into the digital realm,” says Rich Markowitz, director of audio engineering for NFL Films. “We did an extensive evaluation of the major players in the digital console market and, while it’s easy to write features on a cut sheet, it’s something else altogether to make them usable on a console surface. SSL takes all of those features and makes them very functional, and that’s really important. For example, channel information concerning EQ, dynamics and routing are always up front, so the engineer can see what is going on without paging through layers of information. SSL consoles are designed from the end user point of view making our transition from analogue to digital easy.”

NFL Films relies on the intuitive ergonomic layout of console features to help the engineering staff migrate into an all-digital workflow. The fully featured mix minus system on the C100 allows NFL Films to handle multiple remote interviews with ease. As each channel has its own settable delay, different video format source material is always in sync. With weekly changes in promos and sponsors for each show, the studio engineers rely on the C-Play audio playout option to drag and drop an audio file directly into the console. This allows them to have a file ready for playback at a moment’s notice, saving a considerable amount of time.

“The intuitive design of the C100 made it easy for us to jump from our analog SSL legacy console to the new digital format because both consoles share several functional similarities,” says Ron Schreier, senior mix engineer for NFL Films. “As a mixer, one of the things I’ve noticed with digital consoles is how they feel under your fingers. Mixing is a creative art and the tactile feedback of a console helps that process, especially in a live television environment. The console’s EQs and dynamics have a great sound and its algorithms give the mixes a noticeable depth and clarity on air. The amount of flexibility, bussing and output options that are available address our most complicated shows from a technical standpoint. It’s really a powerful production tool and it’s obvious that a lot of thought went into building this console.”

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:

Hawthorne Direct Promotes Jessica Hawthorne-Castro to Chief Operating Officer

Los Angeles, CA, June 5, 2013 –Hawthorne Direct, a full service brand response advertising agency, has promoted Jessica Hawthorne-Castro to Chief Operating Officer. Hawthorne-Castro had been the company’s Vice President of Operations & Client Services. The announcement was made today by Tim Hawthorne, Chairman/CEO and Founder of Hawthorne Direct.
Representing the “next generation” of brand marketing experts, Hawthorne-Castro, Tim Hawthorne’s daughter, will remain based in the company’s Western Regional offices in Los Angeles. In her new position, she will focus her efforts on the company’s internal affairs, helping to shape the future direction of the agency by empowering department heads with additional duties and ensuring the efficiency and productivity of all inter-departmental efforts, both in Los Angeles and the Midwest office locations.
Regarding her promotion, Hawthorne said, “Six years ago, Jessica proved herself to be a rising star as one of the youngest female Hollywood agents at the William Morris Endeavor Talent Agency. Since coming to our agency in 2007, she has proven herself once again, showing impressive strength in operations and strategy and fundamentally changing our company’s mission statement for the next generation. As CEO, I couldn’t be more appreciative; as a father, I couldn’t be more proud.”
Adds Hawthorne-Castro, “I have always been extremely optimistic about the direct response industry, as I believe accountable advertising is where the future of marketing for brands has long been headed. It is more important than ever for CMOs and CFOs of large corporations to have accountability for their expenditures—they want to ensure that their money is working for them, and we can ensure an ROI for every marketing dollar spent. We specialize not only in developing the creative messaging of our clients’ ad campaigns and in targeted media placements, but we are also renowned for providing the detailed and breakthrough analytics behind every aspect of a campaign. Hawthorne Direct provides fully integrated marketing efforts and truly accountable advertising. We are positioning ourselves as the marketing agency of the future, with the goal of helping our clients significantly elevate their brands.”
Jessica Hawthorne-Castro first joined Hawthorne Direct in 2007 as an Account Executive. During the course of the past six years, she worked her way up the company’s corporate ladder, later becoming a Senior Account Executive, Director of Client Services, Director of Client Services & Operations, and culminating with the title of Vice President of Operations & Client Services.
Throughout her tenure with Hawthorne Direct, she has fostered service-oriented relationships with the company’s high profile clients, helping them to envision, create and execute their advertising plans. Her strategy is renowned for its hands-on and highly responsive approach. To date, her clients have included 3M (Command, Post-it, Scotch-Brite), Armor All, Black & Decker, Remington, Transamerica, PETA, Carbonite, Audible, Hoover, and more.
Prior to joining Hawthorne Direct, Hawthorne-Castro had been a successful television literary agent with William Morris Endeavor (formerly Endeavor), one of Hollywood’s top, full service talent agencies representing performers, writers, directors and producers for television and feature films. As the agent for an impressive list of WME’s top TV talent, she identified and negotiated opportunities for shows airing on all major broadcast and cable television networks. She also packaged key elements necessary to develop TV shows, working regularly with executives from CBS, Fox, NBC, HBO, USA, Bravo, and others. In this capacity, Hawthorne-Castro assisted the creators of a number of top rated television programs, including “Entourage,” “The Office,” “Heroes,” “24” and “Law and Order,” to name a few.
Hawthorne-Castro holds a Magna Cum Laude MBA degree from Loyola Marymount University, with a double emphasis in Management and Marketing. She also holds a Cum Laude Bachelors degree from UCLA’s School of Arts and Architecture. She and her husband, James Castro, an investment banker with Grief & Company, live in West Hollywood, CA, with their new son, Braden.
Hawthorne Direct is a full service brand response advertising agency, specializing in strategic planning, creative development, production, media planning, buying and analytics, and campaign management for integrated marketing campaigns. With nearly 30 years of proven excellence in brand response, the agency combines persuasive brand messaging with best-in-class analytic systems to create accountable, high performance advertising campaigns.
Hawthorne Direct has developed successful award-winning campaigns for brands such as 3M, Armor All, Bose, Black & Decker, Hamilton Beach, Pella, SanDisk, Transamerica, United Healthcare, and more.
The agency is headquartered in Los Angeles, with the founding office located in the Midwest. Hawthorne Direct was founded in 1986 by Timothy R. Hawthorne, who serves as Chairman/CEO. Hawthorney’s daughter, Jessica Hawthorne-Castro, today holds the post of COO. For more information, please visit
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