Archive of the Content Delivery Category

Leading UK lighting and sound rental company Entec supplied lighting production for three high profile shows at London Fashion Week – Paul Smith, Mulberry and Moschino. A projection system and media server was also provided for Paul Smith, and all three projects were once again managed for Entec by Adam Stevenson.

Paul Smith featured the largest lighting rig and was the biggest space, staged in the Lawrence Hall of the Royal Horticultural Halls in Victoria, central London. It also accommodated one of the largest audiences of the whole event. Entec has supplied lighting for Paul Smith’s LFW shows for at least the last eight years, working with several different lighting designers in the process.
Lec Croft was Paul Smith’s LD for this season (and also last), who has an illustrious LFW history dating back to the late 1980s! The creative brief this time continued on from the summer collection showcase in September staged in the same room – and this was to make it completely different and a total contrast.
So, this time around it all went darker and blacker for winter. The show’s creative director Kamran Khavari and producers Miller Khavari wanted to recreate the tone and feel of an intimate one-on-one small studio photo shoot – even though it was a massive space – and this required very precise lighting.
The set – comprising the entrance wall and ‘back’ wall of the square runway circuit – were identical and diametrically opposite – with video / photography platforms at the end of each long run.
A massive 21-leg, seven arch ground support system was installed into the venue to get lighting positions in the required places, which Entec commissioned Actus Events to provide. This was 24 metres wide and 50 long, with 6.4 metres of headroom. Made from shiny, strong mini-beam trussing, it provided a very stylish juxtaposition to the room with its domed ceiling and dramatic curved architecture.
Entec supplied over 200 ETC Source Four Profiles with various different lenses which were placed along the central spines of the trussing, with two banks of front light behind the two photography platforms.
A hundred and twenty of the Source Fours with 50 degree lenses were all tightly shuttered and focused down onto the catwalk, creating the perfect photographic lighting conditions all the way down the two 100 ft ‘long’ sides of the runway. These luminaires were all fitted with linear frost gel to stretch the light that bit extra.
The profiles on the end banks ranged from 10 to 50 degree and these also had ¼ frost to provide a slight softening of the hard edges while still remaining focusable.
The control console was an Avolites Sapphire 2004, which was programmed by Fraser Elisha and run by Lec Croft for the show.
Lec comments, “Entec are really a dream to work with! Nothing is too much trouble and both Adam and Noreen (O’Riordan) really go the extra mile every time to ensure that you have everything you need on site, that all the details are covered and that you’re taken care of perfectly”.
A key part of the brief was to project a series of unusual and off-beat colours onto the entrance and end walls – a pair of identical large flats with Scannachrome printed surfaces and selected splashes of white ‘light’ effects – Entec supplied four Barco R10+ projectors, which were run as two doubled up pairs. Together with content stored on a Hippotizer media server, these were set up and run by Entec’s Ryan Brown.
Brown created masks in the Hippotizer so the content could be fully concentrated on the white areas of the flats for the desired effect, and four bespoke colours were chosen to be projected to match the winter collection.
Entec’s crew were co-ordinated on site by regular LFW crew chief Simon Honnor and consisted of Sven Jolly, Tim Matthews, Andy Emmerson, Steve Clements and John Cope – in addition to Brown and Elisha and a 5 person Actus rigging team.
Also supplied were a quantity of 4-way Kino Flo fluorescent units and stands for the preparation area.
The Mulberry and Moschina shows were staged in Claridges’ Ballroom and 29 Portland Place respectively, and both lit by Simon Tutchener – another LFW maverick designer.
The Mulberry show utilised Entec’s brand new Robe ROBIN 600 LEDWash moving lights which were specified by Tutchener, together with ETC Source Fours, and was put together and managed on site by Entec’s Pete “Pepper” Schofield. Simon lit Moschino with a selection of MSR fresnel heads and ETC Source Fours, and this was run for Entec by Andy Mountain.

For more press info on Entec, please call Louise Stickland on +44 (0)1865 202679/+44 (0)7831 329888 or Email ‘louise@loosplat.com’. To contact Entec direct, call +44 (0)20 8842 4004 or check www.entec-soundandlight.com.

XL Video provided video production – including LED screens, projection system, PPU and cameras for the 2012 Brit Awards, staged for the second year running at London’s O2 Arena.

The event was the 11th year in a row that XL Video and (XL Project manager Paul Wood) has been a supplier to the event, working for technical production co-ordinator Papilo Productions and producers Brits TV.

Peter Bingemann’s stage set design was inspired by the work of British pop artist Peter Blake, and consisted of a series of different sized white box frames, which were filled with artefacts and props, and two LED screens, also ensconced in box frames. The stage left screen measured 8.1 metres high and 4.5 wide, while the stage right one was a 4.5 metre square surface, both made from Pixled F-11.

In front of these, on the downstage edge of the stage were three more F-11 screens, two 4 x 4 metre squares on the outside, sandwiching a rectangular 4 x 7.5 metre long frame in the middle. These were flown in to form a backdrop to the B-stage in the middle of the arena when it was in action, utilised to allow changeovers to take place on the main stage.

XL’s projection system consisted of two 26 x 15 ft side (of stage) screens used for IMAG, each fed by a doubled up pair of Barco FLM HD20 projectors.
In the house were another four IMAG projection screens all measuring 16 ft by 9 ft, fed by pairs of Barco SLM R12s.

The Camera package consisted of a GV Kayak HD PPU complete with two Grass Valley LDK 1000 camera channels – both positioned at FOH and with long x86 lenses. These plus 12 feeds from host broadcasters CTV were mixed by live video director Ruary MacPhie.
For Playback two Catalyst media servers, two GV Turbo hard drives and two Virtual VTRs, all fed and output to screen via XL’s Barco Encore screen management system, were operated by Jonathan Bond.
Screen content for all live performances and Awards graphics was produced by Hello Charlie and co-ordinated by Ogle Hog.

A sparkling line up of live performance action included Adele, Rihanna, Blur, Coldplay, Bruno Mars, Ed Sheeran and Olly Murs. For Florence and the Machine’s stonking rendition of “No Light No Light”, XL also supplied 44 x 2 metre VersaTubes in custom columns on stage.

Another 40 x 2 metre Versatubes fed by a Hippo Media Server were used for the entrance of the Phase 2 pre-show VIP area inside the O2.

Paul Wood comments, “The Brits is always a special show to work on. There is pressure due to its profile, but the same Brits production team has now been together for many years, with great teamwork making it a very smooth operation”.

For more press info on XL Video UK, please contact Louise Stickland on +44 (0)1865 202679 or +44 (0)7831 329888 or Email ‘louise@loosplat.com’. To contact XL Video UK direct, call +44 (0)1442 849400 or check www.xlvideo.tv

New DAM Coalition Unveiled to Keep Community Connected

(Burbank, CA) Createasphere’s Digital Asset Management (DAM) Conference – the leading industry event catering directly to the digital asset management community – has wrapped a highly successful two-day conference at The Beverly Hilton Hotel in Beverly Hills, California, covering the issues in which the entertainment, new media, retail, museums, non-profits, and government sectors are engaged. During the conference, Createasphere announced new initiatives to support and enliven the burgeoning asset management community, including a new DAM Coalition, commitment to events in New York and Europe, and the DAMMY Awards.

Createasphere’s DAM Conference, launched in 2010, has steadily grown into one of the most important events for key influencers and hands-on users of technology in digital and media asset management, as well as production, preservation, marketing, security, storage, and lifecycle organization and administration. This year’s Los Angeles event illustrated the evolution of the DAM/MAM communities – including professional creatives, marketers, digital librarians, IT specialists, and executives, among others – and their need for staying connected and educated.

Keynotes at this week’s Createasphere’s Digital Asset Management Conference included Managing Analog Assets in a Digital World from Theodore Gluck, Director of Library Restoration and Preservation at Walt Disney Studios, and Greg Satell of Moxie Interactive who addressed The Evolving Digital Ecosystem. Nearly 20 sessions, sponsored seminars and panels took place for DAM practitioners at every level, who gathered to hear experts from HBO, Turner, Hallmark, UFC, Wildbrain, J. Paul Getty Museum, Deluxe, Technicolor, Harris and more. The conference also presents a hand-picked gathering of the top companies and solutions in asset management on the trade show floor including Control Group, StorageDNA, ProMAX Systems, NTT America, Inc., Levels Beyond, JB&A, IO Integration, Hollywood Tools, GB Labs, Cinegy, BitSpeed, Amplidata, Technicolor, Marklogic, Key Code Media, Deluxe, MediaBeacon, Active Storage, Xinet, Quantum, Harris, 5th Kind, Canto, Autonomy, Avid, and Open Text. The Los Angeles DAM Conference also attracted a number of out of town attendees and from all over the globe, including Russia, Australia, Belgium, and Ireland, illustrating its value as a “destination” conference.

Mary Yurkovic, manager of the Createasphere DAM Events and Community, announced a new online platform – the DAM Coalition (www.damcoalition.com), which launches March 1. The DAM Coalition will feature editorial content overseen by Yurkovic from some of the globe’s foremost experts including Nigel Cliff, Luca Leonardini, David Riecks, Bob Harp, and Nick Sincaglia. The contributors will cover the most important topics driving the asset management including Content & Information Lifecycle, Market Resource Management, Digital Supply Chain, Metadata Taxonomy, DAM and MAM. It will also serve as an online forum for information exchange and a news site for related industry news.

Yurkovic comments, “The DAM Coalition will be a single source for the latest news in digital asset management, which we clearly see as a key issue facing the community. We know that there is a growing need for quality content that is driven by the evolution of the industry and a thirst for knowledge and expert led editorial. I am excited at the prospect of working closely with our audience and this amazing group of experts to create that much-desired information platform.”

Dates were also announced for the New York and European outings of Createasphere’s Digital Asset Management Conference. The DAM Conference will return to New York later this year on September 27-28 at the New Yorker Hotel, and to The Hague on November 13-14. The DAMMYs, the industry’s first and only award show honoring excellence in digital asset management, will take place during the New York event. For information and details, visit www.createasphere.com/dammys.

About Createasphere
Createasphere is a global community builder for the entertainment technology industry, advancing technologies and careers through Expos, Conferences, and online offerings.

Createasphere was founded in 2001 as HD EXPO, and over the past decade has grown into a global company that develops and presents influential events for the content creation community, on line and face to face. Founded by Kristin Petrovich Kennedy in Los Angeles, Createasphere became part of Diversified Business Communications in 2009, now driving their entertainment strategies and properties division. Currently, Createasphere is presenting the Entertainment Technology Expos in Los Angeles; the Digital Asset Management Conference in New York, Los Angeles, and Europe; The DAMMY Awards in New York; the online news and content portal CreativeProCoalition.com; 3D Road Shows; and Post Production Master Classes.

Connect with Createasphere on:
Facebook (http://www.facebook.com/pages/createasphere/120410987973181)
Twitter (https://twitter.com/createasphere)
LinkedIn (http://www.linkedin.com/company/createasphere)
Vimeo (http://vimeo.com/createasphere)

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Media Contact:
Chris Purse, 818.303.8088
ignite strategic communications
chris@ignite.bz or mimi@ignite.bz

East London, UK based Presentation Rentals (PR) supplied technical production equipment to two high profile events on the same day in London, both featuring keynote speeches by Microsoft billionaire philanthropist and global anti-poverty campaigner, Bill Gates.

The first was a live broadcast by the BBC from Deptford Green School in Lewisham, east London, complete with satellite link to a school in Uganda. Later in the day, Gates and Professor Hans Rosling spoke and took part in a live webcast from the London School of Economics (LSE) in central London addressing the 2012 Global Poverty Ambassadors and students. Gates also used this as part of the London launch of his Annual Letter.

PR was working for live event and communications agency Stretch who were event producers and for whom PR is a regular technical consultant and solutions supplier. PR’s project manager was Justin Hammond and Ed Higgins co-ordinated all the elements required for Deptford Green School.

Deptford Green School

The speech took place in the School’s theatre / concert / lecture hall venue. They had applied for an “inspiring” orator to visit and address pupils via the BBC’s ‘Speakers For Schools’ programme … Not quite expecting someone of Gates’ stature to pitch up!

The school appealed to the Bill & Melinda Gates Foundation because of its strong international connections and long standing global youth partnership exchange with Uganda.

PR installed a 10K Panasonic projector for the presentation and a 10 x 7.5 ft floor mounted screen behind Gates on the stage, and set up the live Skype video link to Uganda.

To ensure Gates was well lit for the broadcast, PR brought in some Source Four profiles for key lighting, which were rigged on to the house trussing.

PR sent the video link to the BBC engineering team who were set up about 120 metres away in a classroom in another part of the school, while they fed the audio link via ISDN line to one of their studios at their west London HQ in Bush House, from where it was bounced by satellite to Uganda.

In Deptford Green School hall itself PR installed a d&b T10 cluster PA system with a Yamaha LS9 console, a Shure radio lectern mic and a Sennheiser lapel mic for Gates to ensure the packed and enrapt audience could fully enjoy the occasion with high clarity sound reproduction.

The challenges included ensuring the audio link from Uganda had no delay, for which the six students appearing on camera at that end had to wear headphones to reduce the latency in the signal.

Bill Gates outlined his continuing fight against malaria, polio and poverty, followed by a Q&A from students, and was also attended by national and international TV and media.

LSE

Staged in one of the central London College’s regular lecture theatre, PR’s role was largely as technical consultants, where their expertise in working on these type of events helped ensure that all the correct elements were in place for a smooth webcast.

This event was organised by the Global Poverty Project who have partnered with the Co-Operative during the UN Year of Co-Operatives, launching a new campaign to raise awareness and inspire communities to take action for the 1.4 billion people still living in extreme poverty.

PR supplied a 10,000 lumen Panasonic HD projector and Analog Way Diventix2 mixer and used the in-house screen, working closely with LSE’s technical staff.
The speech and presentation graphics were run on a series of MacBook Pro laptops which were integrated into the playback system, and PR supplied a second projector to beam live Tweets related to the event onto the wall. PR refocused the existing room lighting fixtures and advised on how to optimise the house sound system for the live audience and the internet stream.

Says Justin Hammond, “It was a great honour to be working with such a prestigious guest speaker as Bill Gates and high profile organisations like the BBC, the LSE and the Global Poverty Project, all combined with the excitement, energy and pressure of live broadcasts. There is no room for errors and it’s definitely a ‘Right first time’ scenario. With good planning and technical knowledge applied in the relevant areas, everything went seamlessly”.
For more press info. on Presentation Rentals (PR), please contact Louise Stickland on +44 (0)1865 202679 or +44 (0)7831 329888, or Email ‘louise@loosplat.com’, Contact PR direct on +44 208 699 5000 or check www.presentationrentals.co.uk

The New York Facility Extends its Track Record of Oscar Caliber Work on “Hell and Back Again” and “If a Tree Falls: A Story of the Earth Liberation Front”

(Los Angeles, CA) The Nucoda Film Master was the system of choice for Final Frame in finishing Academy Award(r) documentary contenders Hell and Back Again and If a Tree Falls: A Story of the Earth Liberation Front. Located in Chelsea, New York, Final Frame is a full service post production facility with a history of helping filmmakers create Oscar winning projects, including Inside Job and The Cove as well as a number of high profile docs including Murder Ball, Joan Rivers: A Piece of Work, Sons of Perdition and more.

Director Marshall Curry returns to Final Frame with If a Tree Falls: A Story of the Earth Liberation Front, after working on Sundance competitor Racing Dreams at the facility. The Oscar nominated If a Tree Falls: A Story of the Earth Liberation Front tells the remarkable story of the rise and fall of an activist cell of the Earth Liberation Front, the environmental activists whose radical tactics are considered domestic terrorism by the US government. The film featured diverse elements including archival footage, digitally acquired shots, and graphical elements. “The DVO image restoration and enhancement tools along with the Nucoda Film Master were invaluable in helping us achieve the look and images that Marshall was hoping to get,” said Will Cox, senior colorist and founder of Final Frame. “It made a crucial contribution to the film and our ability to deliver a beautiful image, flawlessly.” Charlie Rokosny was the colorist on this project.

Hell and Back Again is the feature debut of filmmaker and photojournalist Danfung Dennis. The film is up for the documentary Oscar and is the winner of the Sundance Grand Jury prize among many other accolades. From his embed with the U.S. Marine’s Echo Company in Afghanistan, Dennis reveals the devastating impact a Taliban machine-gun bullet has on the life of 25 year-old Sergeant Nathan Harris. “It’s simply one of the most compelling visual stories I’ve ever had the pleasure of working on,” noted Cox. The colorist for this project was Stewart Griffin.

To tell the story in the midst of war-torn Afghanistan and back in the States with Harris, Dennis built his own rig for a Canon 5D. Production took place before the firmware update for the camera, which meant that post production was the place to manage the issues arising from the complex production. “The footage was challenging. There was very fast action, a rolling shutter in a war zone, missiles blasting around Danfung, rapid movement by the unit and more,” explained Cox. “That made frame rate conversion absolutely crucial. DVO’s Twister made it happen and the complete set of DVO tools proved once again to be the very best. Another powerful feature in Nucoda is the ability for the conforming of picture to stay live during the whole grade. That meant that if we needed to adjust the conversion, we could conform and grade at the same time. That’s not possible with other tools, and that functionality helped us get where we needed to go, in the time that we had to finish.” Cox considers Hell and Back Again a visual accomplishment. “There are shots out of the back of military helicopters that any DP, working at any budget would be extremely proud of. So much of this movie is stunning, especially when you consider what Danfung was working with, in the environment where he was shooting.”

Cox believes he is witnessing an evolution in storytelling, impacted by improved tools in production and post. “It is staggering to me how critically the tools of acquiring and finishing are impacting the creative process. The production value of the films and documentaries we are working on is getting better and better. That impacts us and it impacts everyone who works in the industry. More than just image quality, we are seeing a fundamental change in the way stories are told. When a filmmaker is free to stay on shots longer and longer, shooting uncompressed, high quality, raw imagery, it naturally affects the way he tells his story. When filmmakers have the ability to work with images in a system like Nucoda, they start to incorporate that into their thinking. In the documentary world, which is often very stretched by budget, they can shoot on a reduced budget but end up with world class visuals. We’re delighted to be part of the process and appreciate the work that Nucoda does to support the powerful imagery of documentary filmmakers. ”

Martin Bennett, Head of the Media Business Unit of Image Systems commented, “We are honored to support the work of Final Frame, Danfung Dennis, and Marshall Curry. They are telling important stories and we are dedicated to helping them to create images that will change the world. It is and has been for many years, our distinct pleasure to work with Will and the team at Final Frame as they continue to push the envelope for their clients.”

About Image Systems
Image Systems Media Unit, formerly Digital Vision, is a division of Image Systems AB, which specializes in high-resolution image processing, film scanning and motion analysis solutions. Headquartered in Linköping, Sweden, Image Systems has offices in Stockholm, London and Los Angeles. The company has three business units: Media, Defense and Motion, managed via a global network of qualified distributors. Its Nucoda and Phoenix image grading and restoration software solutions and Golden Eye range of scanners provide innovative tools to create and master media in HD, 2K/4K and stereoscopic 3D. The TEMA software platform provides a range of user friendly, high-speed motion analysis solutions for the automotive industry and other industrial test and design applications. The TrackEye system provides image analysis solutions for the military reconnaissance and testing markets. For additional information, visit www.imagesystems.tv.

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

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Image Systems Marketing Contact:
Alexa Maza | alexa.maza@imagesystems.se | Tel: +1 (818) 769-8111
Ulrika Liiv | ulrika.liiv@imagesystems.se | 46 (0) 8 546 18232

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

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

SANTA MONICA, CA. – On behalf of San Antonio-based H-E-B Grocery Co., executives from branding agency The Richards Group recently selected production company King and Country (K&C) to create six new spots featuring a fun mixture of kids, family pets, animated typography, and the red and white colors from H-E-B’s logo. The first of the charming :15 spots debuts today in targeted TV and cable outlets and on HEB’s social media channels, including www.YouTube.com/HEB.

With H-E-B’s red background as the canvas, each spot deftly conveys a word- and picture-driven story leveraging many areas of K&C’s expertise. Designed to engage parents and families – and communicating H-E-B’s emphasis on low prices – each spot warmly drives home the brand’s famous tagline: No Store Does More.(TM)

“We wanted to find a way to bring a little more fun and humanity to what was essentially a price-driven message,” said Chris Smith, The Richards Group’s brand creative group head. “Because it’s not about saving money; it’s about the people you’re saving money for.”

Continuing, Smith explained, “We chose King and Country for a couple reasons: Other creative teams in the agency had had great experiences working with them for other brands; they had a lot of experience combining dynamic typography with live-action imagery; and in our initial calls with them, they brought smart ideas and things we hadn’t thought of. Essentially, they made our job really, really easy.”

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Bergen, Norway, Vizrt Ltd. (Oslo Main List: VIZ)

At NAB 2012, Vizrt Ltd, will showcase its latest advances in live graphics, channel branding, video editing, interactive content, multi-platform distribution, live sports and graphics analysis. Vizrt will exhibit in Booth SL5605 during the NAB 2012 convention, being held from April 14-19th at the Las Vegas Convention Center.

What’s next for Vizrt

Get a glimpse of what the future of Vizrt has to offer at the What’s Next stand. Vizrt will show the latest innovations in newsroom content timing, IP streaming video output plus much more. Vizrt will also demonstrate the Viz Media Engine integration with Adobe Premiere allowing users to search and access video content directly in Premiere. Users will also be allowed to edit and overlay Vizrt graphics directly in the Premiere timeline.

The timing of video and graphics in the newsroom just got easier with innovations in Viz Content Pilot. Users can also transcode real-time content with graphics embedded and adjusted for any mobile device type using device adapted graphics.

Vizrt’s real-time 3D rendering platform, Viz Engine can be expanded now to give live video input, multiple channel playout, DVE effects, vision mixer, internal chroma keying, and real-time compositing of videos and graphics making the Viz Engine truly a TV in a box.

Live Graphics Production

The latest version of Viz Trio, the world’s number one character generator (CG) and template graphics system, now has enhanced video content management support with the integration to Viz Media Engine. Retrieve HD video content and add videos as part of your Viz Trio graphics workflow.

Viz Content Pilot, Vizrt’s core graphics and video content solution, is now fully integrated with the Viz Media Engine video production solution. Journalists in the newsroom can search videos assets and edit videos directly from their desktops and build a newsroom playlist containing both graphics and video elements.

The Viz Virtual Studio is always a major part of NAB for Vizrt. This year we will show you how to engage the audience at home by letting them be part of your live newscast, triggering real-time rendered graphics from iPads with a second screen app. The Vizrt public show will run every half hour and will include on-air talent using the latest multi-touch screens, iPads, immersive graphics and real-time rendered content to tell a story with the most compelling tools around.

From Acquisition to Device-Adapted Video

Serving as the core of Vizrt’s multiplatform video distribution architecture is the Viz Media Engine – the central point for complete control over all assets – metadata, playlists, archive and storage. The Viz Media Engine is a digital management solution that includes tools to manage the entire multi-platform distribution process – from ingestion, transcoding and publishing content that’s automatically adapted for playout on TV, web, phones or other handheld devices.

“By covering the entire workflow – from camera ingest to final play-out on TV, web, and mobile devices, our Viz Media Engine covers broadcast, mobile and web in one workflow,” explained Petter Ole Jakobsen, CTO of Vizrt. “A complete video platform approach delivers dramatic benefits in terms of speed, quality and volume of video production. It can also be used with other archive systems without any manual file management required.”

Also in the booth will be the latest version of Viz Reporter for the iPhone, enabling live news gathering from the field. Viz Reporter is a fully integrated solution, from video recording on the mobile phone, live streaming directly from the phone, and playback on the back-end server. Videos can be edited, embedded with metadata and geo-tagged.

3D Sports Analysis

LiberoVision, fully acquired by Vizrt, will demonstrate the latest innovations in 3D sports analysis at Vizrt’s stand at NAB. LiberoVision sports analysis tools are now integrated into Vizrt’s general graphics and video workflow.

The newest version of LiberoVision’s Libero Highlight 4.5, includes the ability to embed virtual advertisements onto the live programming, iPad-enabled control of the LiberoVision annotator, 3D arrows, detection of camera angles used in American football, faster video processing, and a simplified user interface.

Multichannel play-out and channel branding

With Viz Multichannel, broadcasters can insert commercials on multiple channels in a fully automated way. It combines pre-scheduled, timecode-based playlist operations with the possibility of adding real-time 2D and 3D graphic effects and powerful branding capabilities. It centralizes the entire workflow onto one desktop.

The newest version of Viz Multichannel will feature improved integration with Viz Trio, including new features such as multi-playlist support, faster playlist loading, integration with Viz Media Engine, support for timeline editors, and for setting up an external preview channel.

Over the top TV & and content distribution to all platforms

With Vimond Media Solutions’ integration with the Viz Media Engine and Escenic Content Engine, users now get a complete online video platform handling live streaming from mobiles, editors’ ingest, insertion of graphics and advertisements, automatic transcoding, and multiplatform content distribution, in addition to a full range of monetization VoD functionality, DRM adaption for multiple platforms, advanced geoblocking, reporting and business intelligence, and over-the-top (OTT) functionality.

Other highlights at this year’s Vizrt NAB booth:

Viz Weather 2.3

- Multiple radar and satellite sources used together in the same scenes

- Weather Alerts

- Faster playlist initialization

Viz World - New DigitalGlobe Online service allows access to global high-resolution imagery

- First Look option gives access to crisis event imagery from DigitalGlobe from inside Viz World

- Photoshop plugin that allows access to the Viz World server for the production of maps.

2D to 3D Conversion

SterGen, a strategic partner of Vizrt, will show its groundbreaking software for live 2D to stereoscopic 3D conversion. SterGen’s software can produce realtime 2D to 3D conversion on soccer with a result that surpasses regular 3D productions.

System Security

Viz Secure monitors both on-air and content preperation systems, provides continuous visual status updates, reports failures, suggests remedial and preventative actions to make sure your Vizrt envioronment is safe and functioning properly.

About Vizrt:

Vizrt provides real-time 3D graphics and asset management tools for the broadcast industry and media houses – from award-winning animations & maps to online publishing tools. Vizrt’s products are used by the world’s leading broadcasters and publishing houses, including: CNN, CBS, Fox, the BBC, BSkyB, ITN, ZDF, Star TV, Network 18, TV Today, CCTV, NHK, The Globe and Mail, Times Online, The Telegraph, and Welt Online. Vizrt is a public company traded on the Oslo Main List: VIZ, ISIN: IL0010838154.

Press contacts:

Martin Burkhalter Ofra Brown Håvard Myklebust
President & CEO CFO Executive VP Products and Marketing
+41 22 365 75 01 +47 5351 8040 +47 918 45 602
mbu@vizrt.com ofra@vizrt.com hmyklebust@vizrt.com

New high definition (HD, 2K, 4K) royalty-free stock footage time lapse shot in Paris, France have been added in different categories (City, Fun and People) on HDtimelapse.net website.

Some of the locations from Paris, France are Eiffel Tower, Champ de Mars, Jena Bridge (Pont D’Iena), Ecole Militaire, France, Trocadero Terrace, Grande Arche, La Defense, Avenue de la Grande Armee, Place Charles de Gaulle, Alexandre III Bridge, Seine River, Boat Tour, Arc de Triomphe, Place de l’Etoile, Square of the Star, Sacre Coeur Basilica of the Sacred Heart of Jesus in Montmartre, Place de la Concorde, Luxor Egyptian Obelisk, Ferris Wheel, Rue Royale, Tuileries Gardens, Champs-Elysees, Notre Dame Cathedral, Ile de la Cite, Skating Rink.

New high definition (HD, 2K, 4K) royalty-free stock footage time lapse video clips have been added in Flower category including time lapse of blooming apricot tree branch, wild apple tree branch, apple blossom flowers, cherry tree branch, japanese cherry flowers, cherry plum tree branch, wild red cherry tree branch, blooming pear tree branch, blooming forsythia, the family oleaceae (olive family), blossom flowers, spring season. All time lapse clips are done in the studio with blue chroma (blue screen).

HDtimelapse.net library contains 7300+ high quality time lapse video clips from 127 locations in 40 countries.

Many other clips are in post production from locations such London – England; Verona, Rimini, Genoa, Turin – Italy; Budapest – Hungary; Brussels – Belgium; Bukovina – Romania. If interested in details about one of these locations (short descriptions, snapshot pictures), customers should use the Contact section on HDtimelapse.net website.

Timelapse royalty-free stock footage here: http://www.hdtimelapse.net

Designed for the Professional Video Market, Product Makes its Debut DuringHands-on Intensive March 1st

(Burbank, CA) Createasphere’s Spring Entertainment Technology Expo – the top gathering of entertainment and media professionals, technical innovators, and content creators on the West Coast showcasing emerging media trends in production, post, animation, VFX, advertising, and streaming content – has announced its full schedule for the March 1st Spring Expo. The tightly packed, informative day will feature keynotes and sessions, including an intensive session featuring the Hollywood unveiling of HP’s Z1, the world’s first 27-inch all-in-one-workstation. Createasphere will take place at the LA Center Studios in Los Angeles.

The HP Workstations & Intel Intensive is a two-hour, in-depth exploration of the HP Z1 Workstation and its Hollywood debut. The revolutionary new HP Z1 Workstation snaps open so users can easily swap out parts and make upgrades without any tools required. The HP Z1 workstation combines a sleek industrial design with accelerated performance featuring Intel(r) Xeon(r) processors, NVIDIA Quadro graphics, support for more than 1 billion colors and HP’s world-class reliability. Built for computer-aided design, digital media and entertainment professionals, the HP Z1 provides blazing fast rendering and performance.

The Createasphere Entertainment Technology Expo offers an entire day of engagement, with additional intensives from Canon and AJA. Canon experts will be demonstrating innovations with the C300 and other new products; and AJA will look at how aerial photographers are taking file-based workflows into the air with Ki Pro and Io XT.

Createasphere’s Entertainment Technology Expo is presenting two not-to-be-missed keynotes from industry leaders. Visionary Ed Lantz, founder of Vortex Media, will present a Keynote & Immersive Showcase: Dive into Immersive Entertainment and the Transmedia Hub, in the Vortex Immersion Dome at the LA Center Studios. Oscar nominee Jeff Cronenweth, ASC will participate in a discussion called Visions of Oscar: Jeff Cronenweth, ASC – How Collaboration and Talent Gets the Story Told. Mr. Cronenweth’s Conversation will be moderated with well-known journalist Peter Caranicas, Managing Editor, Features at Variety. In addition to product premieres, intensive presentations, and immersive demonstrations in the Vortex Dome, Createasphere’s Entertainment Technology Expo features a full exhibition area, networking opportunities and education.

Early registration for both keynotes is required, as space is limited. This one-day event is designed as a technology summit with top-level presenters, offering a unique and engaging opportunity to explore the intersection of future technologies in service to creativity.

For further information and registration, visit www.createasphere.com/ete or call 818.842.6611.

About Createasphere
Createasphere is a global community builder for the entertainment technology industry, advancing technologies and careers through Expos, Conferences, and online offerings.

Createasphere was founded in 2001 as HD EXPO, and over the past decade has grown into a global company that develops and presents influential events for the content creation community, on line and face to face. Founded by Kristin Petrovich Kennedy in Los Angeles, Createasphere became part of Diversified Business Communications in 2009, now driving their entertainment strategies and properties division. Currently, Createasphere is presenting the Entertainment Technology Expos in Los Angeles; the Digital Asset Management Conference in New York, Los Angeles, and Europe; The DAMMY Awards in New York; the online news and content portal CreativeProCoalition.com; 3D Road Shows; and Post Production Master Classes.

Connect with Createasphere on:
Facebook (http://www.facebook.com/pages/createasphere/120410987973181)
Twitter (https://twitter.com/createasphere)
LinkedIn (http://www.linkedin.com/company/createasphere)
Vimeo (http://vimeo.com/createasphere)

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Media Contact:
Chris Purse,818.303.8088
ignite strategic communications
chris@ignite.bz or mimi@ignite.bz

Company demos reference implementation of ITU & ATSC loudness control for CALM Act

MINNETONKA, MN — Minnetonka Audio Software, Inc., a leader in production software for motion picture, broadcast surround sound and consumer electronics applications, will be exhibiting at the upcoming National Association of Broadcasters convention, demonstrating their loudness control solution. AudioTools Loudness Control Server (ALCS) represents the state of the art in loudness control technology that preserves artistic production intent. Because material is handled out of real time, the data essence can be processed to optimize both fidelity and CALM Act compliance.

“Streaming–mode loudness control is the sensible approach for playout to air as a last line of defense,” said John Schur, President of Minnetonka Audio. “However, the specifications dictate loudness control based on the entire program. Having access to the whole file means that ALCS can optimally process audio essence that requires it, while passing through material that already conforms to the recommended practice.”

Already in service providing automated, high fidelity measurement and correction at dozens of broadcaster sites across the European Union, AudioTools Loudness Control Server is solving loudness control problems stateside as well. Jayson Tomlin, Vice President of Sales and Marketing for Minnetonka Audio, observed that, “What was formerly a mandated issue only in the EU has now become critical path, here in the US with the FCC enforcement of the CALM Act, and real–time solutions, whether in a DAW or air chain, are not the best place to control loudness.”

“Dynamic range control is not loudness control,” Tomlin continued. “As the EBU R128 docs state, ‘Dynamic compression is…an artistic tool and not a loudness weapon.’ Since a real–time solution cannot capture the whole history of a program, fidelity usually suffers when you attempt CALM Act conformance with dynamics packages. In fact, dynamic range compression will cause your program to actually play quieter once it’s been adjusted.”

AudioTools Loudness Control Server’s programmatic, file–based approach avoids the pitfalls of manual and real–time measurement, so correction is always compliant without forcing the audio to conform to preset dynamics envelopes. AudioTools server also automates QC chores and seamlessly interoperates with Dolby E, MXF, QuickTime and other broadcast standards. Additionally, support for XML and SOAP protocols allows ATS to communicate with a facility’s existing asset management systems and workflow managers.

Minnetonka Audio will be demonstrating AudioTools Server configurations at the upcoming NAB convention in April. For in–depth information on Minnetonka Audio’s entry level to enterprise loudness control solutions for media production and post, visit booth SL7706 at the NAB show, head to minnetonkaaudio dot com on the web, or call Minnetonka Audio at 1-952-449-6481.


About Minnetonka Audio Software
An award winning solutions provider for motion picture, video, broadcast, game, and optical disc production, Minnetonka Audio Software creates essential technology for top media professionals around the world. Their SurCode, discWelder, AWE and revolutionary AudioTools Server product lines broadly support the CD, DVD, BD and DTV standards, and represent the definitive leader in OEM codec licensing, as well as file–based QC and loudness control. Spanning over two decades of operation and based in Minnetonka, Minnesota, Minnetonka Audio Software, Inc. has a subsidiary in Germany in addition to an international network of distributors and channel partners who share their commitment to quality and service.

AudioTools Loudness Control Server, AudioTools QC Server, AudioTools Server, ATS, SurCode, discWelder, AWE and the Minnetonka Audio Software logo are trademarks of Minnetonka Audio Software, Inc. All other company and product names are trademarks of their respective owners.

Minnetonka Audio Software, Inc.
17113 Minnetonka Blvd
Minnetonka MN 55345
www.minnetonkaaudio.com