Archive of the Company Announcements Category

International award-winning feature film and commercial director has signed with Bully Pictures for exclusive commercial representation in the United States

LOS ANGELES— Morten Tyldum, director of Headhunters, the most successful Norwegian film of all time, has joined Bully Pictures for exclusive representation for advertising work in the United States. Tyldum, who recently signed with Vendome Pictures to direct his first American feature (What Happened to Monday?) is sought after internationally for his work in commercials. His spot work has garnered two Cannes Lions as well as numerous other creative awards.

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May 9, 2012 – Orad announced today that KCET-TV, the largest publicly supported independent television station in the U.S., has purchased the Orad ProSet Virtual Studio system for one of its two new studios currently under construction in Burbank, California. The new state-of-the-art broadcast facility equipped with Orad virtual studio technology will enable KCET to transform itself into Southern California’s premier public media and production center.
 
With a strong focus on high-quality local programming, the station plans to collaborate with its world-class creative community and utilize the new facility to produce unique programming with a national and international appeal. KCET Vice President of Engineering and Operations Gordon Bell said, “We wanted one studio to have as much versatility as possible and Virtual seemed to meet all of our requirements, including a favorable ROI, quick changes for sets, no set storage, augmented reality elements – and, of course, the ability to create amazing looking sets. Virtual affords us many creative and economic opportunities not available to us previously.”
 
Bell added, “During the design and installation process, I’ve had to make many gut-wrenching decisions, but the decision to use Orad was not one I had to dwell on. Orad is the market leader; they’ve been doing virtual studios longer than anyone and they offer a turnkey solution in terms of hardware, software, and camera tracking.”
 
About KCET
On-air, online, and in the community, KCET plays a vital role in the cultural and educational enrichment of Southern and Central California. In addition to broadcasting the finest programs from around the world, KCET produces and distributes award-winning local programs that explore the people, places, and topics that are relevant to the region.
 
About Orad Hi-Tec Systems
Orad Hi-Tec Systems is a world-leading provider of real-time 3D broadcast graphic, video server, and media asset management solutions including news, channel branding, sports production and enhancement, elections and special events, virtual studios, and virtual advertisement. Orad’s compelling solutions streamline production workflow, enhance viewer experience, and improve production value. Founded in 1993, Orad is a public company listed on the Frankfurt Stock Exchange (OHT). More information is available at http://www.orad.tv/.
 
For further information contact:
Orad Hi-Tec Systems Ltd
Ofir Benovici
Vice President Marketing
ofirb(at)orad(dot)tv
 
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(ROCHESTER, NY) Canada’s Vision Globale is the newest member of the KODAK IMAGECARE Program, a prestigious quality program for motion picture film processing laboratories. Vision Globale, located in downtown Montreal, is the first Canadian lab to gain accreditation into the KODAK IMAGECARE Program, a truly global initiative, with member labs in 23 countries worldwide.

The KODAK IMAGECARE Program includes rigorous quality standards that assure member labs adhere to established practices with full documentation of procedures and calibration. Kodak works very closely with laboratory personnel to assure these standards are met and maintained.

In 2001, Vision Globale opened a small, independent boutique film laboratory to expand their range of services to the entertainment industry. They have now received Phase I KODAK IMAGECARE Program accreditation for camera negative processing operations, indicating to filmmakers that critical film handling techniques and quality processing standards are being maintained by the facility.

“Over the years, Kodak has been a great partner in the ongoing task of achieving consistency,” says Paul Dion, Director of Operations at the lab. “The KODAK IMAGECARE Program accreditation gives us credibility and instant recognition of our continuous commitment to the highest quality standards and assurance that all assets entrusted to us will be handled with the utmost level of expertise. Throughout the process and right up to the final audit, we had the continuous support of Kodak. Our commitment to the highest-quality services has rewarded us with repeat business from enthusiastic filmmakers who count on us to bring their wildest projects to life. In a sense, the existence of a strong infrastructure is necessary to promote film as a superior medium.”

“We are delighted and proud to welcome Vision Globale as the first Canadian laboratory into the Program,” says Diane Carroll-Yacoby, worldwide manager of the KODAK IMAGECARE Program. “They are committed to excellence and delivering the best that film can offer a customer.”

For details on Vision Globale visit their website at http://www.visionglobale.com/

Visit www.kodak.com/go/imagecare for further information on the KODAK IMAGECARE Program.

Assessed as meeting Kodak Imagecare Program standards in Camera Negative Processing

Media Contact:
Kelly Mandarano
Eastman Kodak Company
(585) 724-0903
Kelly.mandarano@kodak.com

Innovative Company with Extensive Classic Film Library Unearths and Restores Media Gems with Golden Eye III and Phoenix

(Los Angeles, CA) Digital Vision has announced that Film Chest has chosen the Golden Eye III film scanner and Phoenix, the industry’s premium film, video and digital restoration and mastering solution, to power their expanded pipeline for television and motion picture restoration and distribution. The Golden Eye III film scanner and Phoenix restoration software were installed earlier this year in Film Chest’s Bridgeport, Connecticut facility. Film Chest Media Group was founded by Philip E. Hopkins and Ralph E. Stevens, who helm the company.

Film Chest owns and distributes thousands of titles, boasting one of the largest libraries of classic movies and television series’ in the world. They provide high-quality content to pay cable, public and broadcast television, motion pictures, streaming, distribution, and a variety of other professional uses. Their collection is also notable for its archive of orphan films and family collections. Film Chest delivers to networks, studios and the growing array of outlets including Hulu, Netflix, Turner Classic Movies and American Movie Classics, Amazon, iTunes, Verizon FiOs, and Vudu as well as servicing other libraries.

Given the nature of the projects they work on, and the condition of the elements, it was crucial that they develop a high-quality solution to their restoration needs. Phil Hopkins, Founder and President of Film Chest, stated, “We were committed to building an in-house facility to create the highest quality elements possible, not just for our projects, but for the libraries that we manage on behalf of a number of content holders. In the midst of all of our extensive work, we realized that it was simply inefficient to send negatives away for scanning. After we investigated all of our options, we found that the Golden Eye III and Phoenix offered us an amazing solution, from scan to final with great Digital Vision support, and hardware and software integration.”

After quality, output became the top priority for the Film Chest team. Hopkins continued, “With 200 features to do each year, we had to have a high degree of accuracy and efficiency. Beginning the process with Golden Eye III and going thru the process of Phoenix is an extremely proficient model. In the near future, when the integration of metadata is complete, we will be incredibly efficient in our service.”

Hopkins and Stevens were familiar with the Digital Vision product line from references in the industry and their extensive research. Stevens stated, “Working with Digital Vision’s products, we considered them to be the high-bar of quality, and Phoenix had become our reference point into the world of restoration. We knew that Digital Vision had nailed the algorithms for dust-busting and grain reduction. Some of the other platforms could accomplish similar goals, but in weeks, not in hours. Phoenix was the only one that could do it on the time scale we needed. Hands down, Phoenix has been the best solution for our needs.”

Hopkins offers an example of how efficient the pipeline is for Film Chest. “‘The Strange Love of Martha Ivers’ is a perfect example of a problematic film. The print belongs to the Library of Congress, and we were working with them towards a Blu-ray release of the film. We asked The Library to make a transfer, but when we began to work on the restored master they sent, the film was shrunken and destabilized. I spoke with the head curator, and they agreed to send us the original film elements, which is an extremely rare occurrence. The Golden Eye III transfer was absolutely as good as it could be, and the restoration was much better than it would have been on its own.”

He concluded, “We must have a powerful ability to work with problem films, from S8, to 16, to old 35, we need to make the very best elements possible. We manage a complex and frequently problematic library. This pipeline has given us an arsenal of tools that help us create beautiful and lasting projects. We couldn’t be happier with the Golden Eye III and the Phoenix.”

Kelvin Bolah, President of Digital Vision, noted, “The Film Chest team have been very thorough in the evaluation of our technology and competitive solutions. They are a very impressive group of people, and based on their in-depth knowledge and due diligence they have chosen to work with what they consider to be the best tools in the market. Their stringent processes gives total validation to the efforts of our strong product management and R&D teams. We wish Film Chest undoubted success as they continue to grow and develop their business.”

About Digital Vision
Digital Vision was founded in 1988 in Stockholm, Sweden. With offices in Stockholm, London and Los Angeles, and Linkoping in Sweden, Digital Vision has developed Emmy award winning technology for the Broadcast and Post Production marketplace. In 2005, Digital Vision acquired Nucoda Ltd and integrated its technology into the Nucoda product line. This has resulted in the leading colour grading, finishing and mastering solutions that are used to create much of the world’s high profile television, film and commercials media broadcast today. The Phoenix restoration software solutions and Golden Eye range of scanners – in addition to the Nucoda range – provide innovative tools to create the industry recognized highest quality HD, 2K/4K and stereoscopic 3D images. In April 2011 Digital Vision acquired Image Systems and is now a division of the Image Systems group of companies.

All trademarks used herein, whether recognized or not, are the properties of their respective companies.

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Digital Vision Marketing Contact:
Alexa Maza | alexa.maza@digitalvision.se | Tel: +1 (818) 769-8111

Digital Vision USA PR Contact:
Ignite | Christine Purse | chris@ignite.bz | Tel: +1 818 303 8088 | Mobile: +1 323 806 9696

Digital Vision EMEA & Asia PR Contact:
Jump PR | Kate Ford | kate@jumppr.tv | Tel: +44 (0) 1932 240001 | Mobile: +44 (0) 7740 948 065

SHELTON, CT, MAY 8, 2012—NEP Studios, a division of NEP Broadcasting, LLC, and one of the largest independent providers of studio production and post-production facilities in Manhattan, recently purchased a quantity of Autoscript equipment for use at its Studio 33, Studio 52, Studio 54, 5th Avenue Studio and Midtown Studio locations. By selecting teleprompters and prompting software from Autoscript, part of Vitec Videocom, a Vitec Group company, and the world’s leading teleprompting company, NEP Studios is able to streamline and help automate the variety of productions it works on.

Known for its premier talent and technical expertise, NEP Studios recently purchased a series of 17- and 19-inch teleprompter monitors (LED17TFT and LED19TFT, respectively), 15-inch talent monitors, +ClockPlus+ timecode displays and +WinPlus-News+ software from Autoscript for use in five of its nine state-of-the-art studio facilities in Manhattan. Autoscript’s LED17TFT and LED19TFT wide-angle, on-camera prompters incorporate the latest in Autoscript’s illumination technology, the TFT (thin-film transistor) LED system. Unlike CCFLs (Cold Cathode Fluorescent Tubes), which take many minutes to reach full efficiency and light output, the LED17TFT and LED19TFT offer instant warm-up to full brightness. In addition, these on-camera teleprompters come with a wide-angle hood, making them optimal for news- or studio-based productions.

“The equipment is being used in various ways, from a standard prompting system with talent monitor and clock showing running time, to a more sophisticated solution integrated with the Avid iNEWS or ENPS systems, depending on the installation,” says Frank Lanzer, senior engineer and project engineering manager for NEP Studios. Autoscript’s +WinPlus-News+ software is a powerful and versatile prompting package that features user-friendly drop-down menus and configurable display options. The +WinPlus News+ package comes complete with a configurable five-button Deskpad Optical Scroll Control and a PCI Promptcard, which provides two video outputs (PAL/NTSC) and Genlock option. Autoscript now also offers the WinPlus PCI card with an optional SDI card with five video outputs.

+WinPlus-News+ is compatible with all leading newsroom systems, including ENPS and iNEWS, which allows NEP Studios to integrate show rundowns and clip information. The incorporated use of both ENPS and iNEWS with the WinPlus software provides NEP Studios with an all-in-one solution for show rundowns, cues and prompting.

“The studio setup is fairly straightforward, so we are using the complete Autoscript solution,” says Frank Lanzer, senior engineer and project engineering manager for NEP Studios. “From mounting plates and weights to monitors and clocks, Autoscript has given us a simplified, scalable solution without the need to fabricate any mounting brackets—we can quickly reconfigure the prompters as needed for a particular application.” The +ClockPlus+ is an LED SMPTE/EBU timecode display that has the added feature of changing color from green to red when a suitable Tally input is applied.

The New York NEP Studios were built and configured for the specific needs of individual clients, so the equipment used varies between locations. Typically the studios’ equipment complement includes Vinten pedestals and Jimmy Jibs, with prompters, talent monitors and +ClockPlus+ displays, shooting with either Sony or Thomson HD cameras, using Canon and Fuji lenses. What’s more, the studio infrastructures includes Trinix and Concerto routing switchers, EVS and K2 disk recorders, Sony XD Cam Decks, Kalypso, Kayak and Sony 8000 switchers.

For more information and to find an authorized Autoscript dealer, please visit www.Autoscript.tv or contact ussales@autoscript.tv.

About Autoscript?
Established in the UK in 1984, with headquarters in the US and the UK, Autoscript is the world leader in the prompting industry. Autoscript provides a complete range of teleprompters for PC and the i-Series, the best designed and built hardware, PC cards and software, and—with its expanding line of intuitive accessories—is the new definition in prompting. Autoscript is a member of the Vitec Group. For more information visit www.autoscript.tv.

About Vitec Videocom
Vitec Videocom brings together some of the most respected, most innovative and most sought-after brands in the industry: Anton/Bauer, Autoscript, Litepanels, OConnor, Petrol Bags, Sachtler, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business.

Vitec Videocom is an operating division within the Vitec Group, an international business serving customers in the broadcast, photographic and military aerospace and government markets. Vitec is based on strong, well known, premium brands on which its customers rely on worldwide.

Vitec Videocom – innovative products around the camera.

Partnership produces end-to-end, integrated media monitoring, clipping and analysis workflow
 
Tel-Aviv, Israel – May 08, 2012 – Actus Digital, a developer of web-based media monitoring, content repurposing and verification solutions for broadcasters, cable and satellite providers, IPTV, media and monitoring agencies, governments, regulators and content producers, today announced a technology partnership with German-based NEWBASE, a developer of specialized media monitoring technology. The combined solution features NEWBASE Press Production technology, which finds clipping and evaluating news and ads from print, e-paper and Internet-media, and Actus’ web-based media monitoring and management platform. The integration offers broadcasters an end-to-end media monitoring solution with advanced integration.
 
“Actus brings broadcasters valuable data that enable them to make decisions whether it is to fix a technical glitch, change poor performing programming or confirm that advertisements were broadcasted as planned quickly and in many cases, proactively,” comments Sima Levy, CEO, Actus Digital. “NEWBASE brings additional clipping type information that we are not necessarily monitoring, giving broadcasters an even deeper view into the collective coverage. Working together, Actus and NEWBASE are able to deliver to broadcasters a mountain of information and data in the same digestible manner for fast and forward-thinking decision making.”
 
Actus solutions for managing broadcast monitoring and NEWBASE software for evaluation/clipping of articles from print, epaper, online and social media cover efficient production workflows for all media streams relevant for media observers. Broadcast clips created with Actus ClipFactory easily integrate into NEWBASE MediaPortal, where clips from print, online, social media and broadcast can be searched and viewed by the clients.
 
For customers using the NEWBASE MediaPortal, clips from print, epaper, online news, blogs, and social media cut using NEWBASE PressProduction and broadcast clips cut using Actus ClipFactory can be seamlessly presented in the NEWBASE MediaPortal. For customers using their own portal, clips from print, epaper, online news, blogs, and social media cut using NEWBASE PressProduction and broadcast clips cut using Actus ClipFactory can be seamlessly uploaded to existing portals.
 
“Being able to create and manage clips from paper, epaper, online news, blogs, social media on the one side and broadcast on the other side is attractive for every media observer,” says Christian Heinisch, Managing Director of NEWBASE. “Bringing both technologies under one cooperation makes it easy to step into a true multi-platform monitoring workflow.”
 
Partnership on Display at the “Future of Broadcast Monitoring and Measurement” Workshop
FIBEP’s international workshop “Future of Broadcast Monitoring and Measurement” will take place on the 10th of May 2012 in Brussels, bringing together experts in broadcast monitoring and influential media professionals to share their views on the future of broadcast monitoring. NEWBASE is sponsoring the event and has plans to introduce its cooperation with Actus.
 
About NEWBASE
NEWBASE GmbH is a Germany-based software company providing sophisticated monitoring solutions. With 20 years of experience in processing media and its related components, NEWBASE supplies media observation companies from North and Middle America, over Europe and Africa to Asia with the market-leading technology for generating and distributing relevant clippings of printed and digital media to their clients. Daily, we make a significant global contribution to managing the flood of information for our customers through accurate, flexible, reliable, cost and time effective automated monitoring systems. For more information, please visit: http://www.newbase.de/index_en.php.
 
About Actus Digital
Actus Digital, a subsidiary of Taya Media Group, Israel’s premier video media and visual communication content and technologies company, is a developer of web-based media monitoring, content repurposing and verification for broadcasters, cable and satellite providers, IPTV, media and monitoring agencies, governments and content producers. Leveraging emerging web technologies and IT standard hardware, Actus solutions are highly scalable systems ideal for cross-organizational content analysis and content repurposing. Actus next-generation solutions compliment any broadcast workflow, empowering operators with purpose-built tools for acquiring, viewing, analyzing and re-purposing transmissions from channels around the world. Their impressive customer list includes global media conglomerates among the likes of AirTel, FOX, SKY and Zee Networks. For more information, please visit: http://www.actusdigital.com.
 
Press Contact
Janice Dolan
Zazil Media Group
janice(at)zazilmediagroup(dot)com
(cell) 617.817.6595
(fax) 617.812.7683
(skype) janicedolan
www.zazilmediagroup.com
 
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New Authorized Education Partner Program and EDU Discounts Offers mocha Pro v3 to 

Schools and Students for Low-Cost Annual Renewal Fee

GUILDFORD, UK (May 8, 2012) — Imagineer Systems (www.imagineersystems.com), developers of the popular motion tracking and visual effects software, mocha Pro, today announced it is launching a new discount pricing program created specifically for universities, film schools and high schools. The new Imagineer Systems Authorized Education Partner Program is designed to make it easy for educators to incorporate valuable skill sets derived from mocha Pro v3 and its powerful Planar Tracker technology into a school’s curriculum.

Imagineer’s new academic and EDU discount programs offer two options, now available on an annual renewal fee basis:

• mocha Pro v3 EDU Single Seat option offers one fixed price per seat (node or float) for $199.00 USD per year;

• mocha Pro v3 Authorized Education Partner Program offers up to 50 floating seats of mocha Pro v3 for only $5,000.00 USD per year. As members of the Authorized Education Partner Program, sites also receive a free listing and banner on Imagineer’s web site, access to Imagineer Product Specialists via Skype, and the ability to run the mocha license server remote and allow VPN log-in.

Who Qualifies for Academic Discounts

• University, college students, film school students, faculty members and departments
• High school students, faculty members and departments
• Approved non-profit organizations

To qualify for the new Academic Discount Programs, schools or students are required to provide written proof of eligibility, via academic ID or non-profit certification. Use of the program is expressly restricted to use in teaching, research and noncommercial projects.

What’s New for Schools and Students in Version 3

Imagineer Systems has worked closely with its customers to improve its family of intelligent Planar Tracking utilities.  All mocha v3 products have been updated to add new features and improve core areas for customers: from large facilities that require advanced layer management tools for film effects and roto pipelines, to creative boutiques and artists who’ve been asking for true 3D camera support for years. Among the new developments in v3 are:

• New Rotoscoping Tools: Transform Tool and Join Layers designed to create and edit roto masks more efficiently;
• New Layer Management: View, organize, color code and group mocha layers. Increase artists productivity;
• Project Management: Easily merge and share projects between artists for large scale roto and vfx pipelines;
• 3D Camera Solver: The advanced Planar Tracker now includes 3D Camera Solver for After Effects and FBX formats (Nuke, Maya, Cinema 4D and more);
• Dopesheet: New keyframe layout for adjusting timing and animation;
• Even More Improvements: Keyboard shortcuts and interface improvements enhance the entire Planar Tracking-based workflow for tracking, roto, removal and more.

To see a video highlighting new mocha Pro v3 features, check out:

http://www.imagineersystems.com/videos/mocha-v3-new-features-overview/view

To see a video overview of the new 3D Camera Solve Module, check out:

http://www.imagineersystems.com/videos/mocha-v3-camera-solve-overview/view

The 2012 mocha Product Family

mocha AE is Imagineer’s stand-alone Planar Tracking and roto utility optimized for After Effects, Apple Final Cut Pro and Motion users. The advanced mask creation tools, simple user interface and copy/paste exchange with After Effects helps take the complications out of motion tracking and reduces keyframing tedium.

mocha AE is available in two version: mocha AE CS6, which comes as a free bundle with every copy of the newly launched Adobe After Effects CS6 and is specifically optimized for After Effects; and the mocha AE v3 standalone application, which adds new Camera Solve features and additional support for Apple Final Cut Pro, Motion and Boris FX and is available for purchase directly from Imagineer Systems. mocha AE v3 also is backward compatible with older version of Adobe’s Creative Suite.

mocha Pro v3 is Imagineer’s intelligent Planar Tracking utility for post production and visual effects professionals that combines advanced roto, motion tracking, lens analysis, object removal, insert compositing, stabilization and 3D camera solve features into a single desktop application. mocha Pro integrates seamlessly with industry-popular editing, compositing, and animation applications and is the ideal post production companion software for managing challenging shots and projects.

mocha Pro has gained notoriety as a result of the significant impact the Planar Tracker has made in the production of the Hollywood visual effects laden films such as The Black Swan, X-Men: First Class, and Captain America: The First Avenger.  Additionally, mocha Pro has proven invaluable to customers at major post production and stereo conversion facilities around the world, and has greatly streamlined the stereo conversion pipelines on such 3D blockbuster sensations as Harry Potter and the Deathly Hallows Parts 1 and 2, Transformers: Dark of the Moon, and Journey 2: The Mysterious Island.

About Imagineer Systems 

Imagineer Systems Ltd innovates and markets next-generation visual effects solutions for film, video and broadcast post production markets.  Imagineer Systems has made its mark on such marquee Hollywood blockbuster productions as Black Swan, Alice in Wonderland, Iron Man 2, Shutter Island, Invictus, and the Harry Potter series. Imagineer’s desktop product line consists of mocha Pro™ – roto, planar tracking, compositing, and removal utility; mocha AE™ – a planar tracking and roto utility designed for After Effects and Final Cut Pro users.  Imagineer Systems was founded in 2000 and its headquarters is located in Guildford, United Kingdom. For more information visit www.mocha-Pro.com

Montreal, Canada, May 7, 2012 — Matrox Graphics announced today that its MuraControl for iPad app will manage video inputs on an impressive 2×2 video wall in PSCo Technical Distribution’s booth #D21 at Screenmedia Expo 2012. MuraControl for iPad provides users with complete control over any Mura MPX Series-powered installation. MuraControl, the first Matrox iPad app, provides users with a touch-screen interface with which to remotely switch, scale, and manipulate inputs on their video walls. Mura, meanwhile, is the first PCI Express Gen2 board class to uniquely offer both HD-resolution inputs and outputs.
Matrox representatives will be able to answer questions pertaining to Mura video wall controller boards, MuraControl, and any of their other high-performance multi-display solutions. For more information, visit booth #D21 at Screenmedia Expo 2012, or contact Matrox Graphics to book an appointment in advance.

STORY recently produced the opening title sequence and a promotional campaign for Mob Wives Chicago, a new realty series debuting on VH-1 in June. Directed by Robert Rugen, the package employ’s Chicago’s legendary winds as a metaphor for the turbulence and drama that engulfs the lives of the show’s cast, five women who are the wives or daughters of men associated with organized crime.

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MediaMine, a media management company that consults with content and brand owners to realize the full potential of their assets, has collaborated with the Carson Entertainment Group (CEG) to release two new gaming experiences based on The Tonight Show Starring Johnny Carson. The “Here’s Johnny Trivia Game” on Facebook and the “Carnac the Magnificent” app for mobile devices lets players enjoy his side-splitting skits and unforgettable celebrity interviews, while engaged by trivia questions, and rewarded with clips and images from the show, most unseen since their original airdate.

“The potential for digital asset management solutions and content monetization in today’s new transmedia environments is practically limitless,” says Barry Snyder, co-founder of MediaMine. “What’s old is new again, and content owners, brands, corporations, museums, universities, retail product companies, sports teams or almost any institution with valuable collections have opportunities to reach new audiences and engage in exciting, inventive ways.”

The “Here’s Johnny Trivia Game,” launched on Facebook today, includes over 1,000 questions, broken down by topics and decades, to test players’ pop culture know-how and late-night TV proficiencies. There are also over 400 memorable clips and 1,500 images from the show, which ran from 1962-1992. Gamers can earn collectible memorabilia and compete with others in a social media environment, as they answer questions for the opportunity to become the reigning champion of entertainment trivia. A shared leader board keeps track of scores for bragging rights.

The “Carnac the Magnificent” app is available for download from the iTunes App Store or Android Market for $1.99. The app features Carson in character as the “all knowing, all seeing … and former owner of a gasoline station” soothsayer who answers questions before seeing them. Carnac places each “hermetically” sealed envelope against his forehead and predicts the answer while users play along and guess the question in the envelope. The app features over 50 timeless Carnac predictions. more