Archive of the Field Production Category

BAYSIDE, CALIFORNIA, November 16, 2011 – Monterey Jazz Festival organizers decided that 2011 was the year they would bring performances from the venerable festival to a global audience through the power of streaming media. The decision paid off as the festival and two media partners reported impressive online viewing statistics for performers including the Robert Glasper Experiment, Carmen Souza and the Benny Green Trio.

Streaming media and content delivery provider StreamGuys provided the Internet broadcast services for the 54th Monterey Jazz Festival. Evening performances from the Night Club/Bill Berry Stage were hosted live over the websites of the Monterey Jazz Festival and Santa Cruz-based NPR member station KUSP-FM. Popular NPR jazz music blog “A Blog Supreme” also hosted the performances.

StreamGuys delivered H.264 video and AAC+ audio at varying bit rates to support an array of user speeds and media players. The company used its highly scalable, virtualized streaming infrastructure to deliver live, synchronized video and audio streams to desktops, laptops and mobile devices. StreamGuys provided embedded media players to all three websites to give viewers direct, simple and free access to the live streams.

Timothy Orr, marketing associate for Monterey Jazz Festival, noted that streaming media offers a unique opportunity to introduce jazz to new audiences. The webcast recorded more than 3,000 visitors from 59 countries, and expects that to grow in the coming years with more advance promotion.

“It’s about reaching more people,” said Orr. “We want to increase our audiences and put something out there that inspires people to come to the festival. Jazz needs to grow as a genre, and using technology in a forward-thinking manner is an ideal way to engage a younger demographic while gaining more exposure for the festival and the artists.”

The Monterey Jazz Festival first experimented with streaming media in April 2011, delivering stationary, single-camera live feeds to the Internet for its Next Generation Jazz Festival, which highlights top student musicians from around the country. Orr and his team, together with representatives from KUSP, soon began conversations with StreamGuys to put streaming plans in place for the September 2011 Monterey Jazz Festival.

McCune Audio produced the live video and audio, handing off the synchronized signal to StreamGuys via a Wirecast encoder. StreamGuys re-wrapped the original H.264 video stream for delivery to Apple iOS systems, Android mobile devices and embedded Flash players for web streaming. Multiple audio bit rates (300, 800 and 1500kbps) supported adaptive bit rate streaming in iOS and web-based platforms, ensuring that mostly anyone with a 3G, Wi-Fi or broadband connection could stream the performances.

“Streaming has become more of a reality for many organizations as people have moved away from dial-up and toward DSL, cable and T1, and the Next Generation Jazz Festival gave us the opportunity to evaluate today’s streaming experience,” said Orr. “We wanted the Monterey Jazz Festival stream to resemble a TV special with a professional, multi-camera shoot. We had the venue, the performers, the production team and the media partners, but no one to deliver it to the world. It was important for us to partner with a company like StreamGuys that had the experience.”

Steve Laufer, director of new media at KUSP-FM, was already familiar with StreamGuys, which hosts the station’s “KUSP Music Show Player” (http://kusp.org/archive/102.html), offering weekly music shows around the clock. KUSP has been affiliated with the festival for more than 30 years, broadcasting afternoon and evening performances from its largest venue over the air. This year was also the first time the station streamed video performances from the festival.

“StreamGuys made it easy for us to embed the stream in our web page, and provided onsite personnel and technical support over the phone throughout,” said Laufer. “The stream quality looked great, especially when viewed at full screen.”

Orr added that StreamGuys provided real-time viewer statistics that allowed all three media partners to confirm the number of viewers at each site at any time.

“The success of this event is a result of the synergy between a media company, a production company, a content delivery company and an entertainment company,” he said. “We proved that it can be done; now it’s about how far we will take it,” concluding the festival will explore a potential mix of free streams and subscription models.

About StreamGuys, Inc.
In business since 2000, StreamGuys, Inc. offers a variety of streaming media solutions and tools enabling superior quality delivery and monetization of digital media. Through devout dedication to improving the customer experience, StreamGuys has enjoyed continued success across all sectors of Internet broadcasting. Headquartered in Northern California, they currently serve a base of more than 500 clients worldwide, including such companies as Cisco, CIA, NBC Universal, NASA, New Balance and broadcasters such as WNYC, KQED, WXPN and American Public Media. Visit www.streamguys.com for more information on its products and services.

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StreamGuys, Inc – info@streamguys.com – www.streamguys.com – 707.667.9479
P.O. Box 828 Arcata, California 95518 – fax 707.516.0009

Hollywood, CA – 3D Film Factory, the leader in professional, affordable 3D camera rigs, introduces the world’s lightest, most affordable, hand-held 3D rig – the 3D Bullet Rig. Ready to “Load & Shoot”, this versatile 3D system is literally unshakable for handheld, Steadicam, Easyrig, or tripod filming.

Priced at a fraction of other professional 3D rigs (under $5K), this compact beam-splitter rig is the perfect solution for location, reality, or action 3D filmmaking. It’s features actually surpass that of other more expensive rigs. For more information on the 3D Bullet Rig visit www(dot)3DFilmFactory(dot)com

“The 3D Bullet Rig is going to take 3D production to a whole new level. I love this rig. It’s incredibly light, rock steady and most of all – it’s really easy to shoot with from your shoulder, or tripod. This rig is a 3D filmmakers dream, very versatile“, said the company’s veteran stereographer Keith Driver. “Most 3D rigs are bulky, expensive and worst of all – tripod bound. They require a crew to operate. We’ve shot 3D projects in Africa, the Middle East, Hollywood soundstages, you name it we’ve done it in 3D. And we realized we needed a more mobile 3D rig. A 3D rig you could just pick up and shoot with. This is the 3D Bullet Rig.”

The 3D Bullet Rig makes handheld 3D filming effortless and smooth by transferring the weight to your waist and shoulder. Each 3D rig includes a spring-loaded suspension rod, comfortable weight displacement belt and adjustable, padded shoulder mount. The result is hours of mobile, handheld 3D filming capability. In addition, the rig features detachable rubber hand grips for easy manoeuvring and a standard tripod mounting plate (¼-20 and ?-16 holes).

Weighing approx. 13 lbs. (5.8 kgs.) the Bullet Rig accommodates the Red Epic, Canon DSLR 5D, 7D, XF105
XF305, XH-G1, Sony F3, EX3’s, HDCP1, X5U, Z1U, Panasonic AF100, HPX250 and many other professional HD cameras.

The rig also features custom camera mounts that easily lock and load cameras into place using a standard quick-release plate from Bogen/Manfrotto. The horizontal camera mount offers IO (inter-ocular) adjustability from 0” – 3.5” (0 – 89 mm) and simple convergence movement from 0°-3°. Both functions are easily controlled using smooth, accurate finger knobs, with calibration markings. The vertical camera mount adjusts for perfect stereoscopic picture alignment by elevating and performing full x-y-z rotation (yaw, roll, tilt).

The light-weight, mirror box housing is constructed using space-age foam core plastic that’s durable, corrosion-free and substantially cooler than a metal matte box. This ensures your beam-splitter glass with its expensive coatings will stay cool on hot days. The rig itself is hand-milled employing a nearly indestructible aluminium alloy frame.

Perfect for traveling light, the entire 3D Bullet Rig is ingenuously designed to set-up and break down in a matter of minutes, packing into a small, water-tight pelican case.

As a bonus, the horizontal rail easily detaches, along with the camera mounts, transforming into a side-by-side rig 3D for wide and landscape stereography.

Our opti-prime, 50/50 beam-splitter glass is optimized to meet the demands of 3D filmmaking. See specs. Within the matte box, a simple adjustment tool allows stereographers to fine tune the glass angle from between 43° to 47°.

The outcome is simply the world’s most affordable, professional handheld 3D rig.

It should be noted that using our simple Lanc system camera operators can now synch start/stop, focus, alignment, lens shift and many other vital functions thru both cameras or individually.

The 3D Film Factory offers a complete line of 3D beam-splitter rigs intended for HD camcorders, as well as larger ENG and broadcast style camera. In addition, we offer several inexpensive side-by-side rigs and real-time 3D viewing solutions. To learn more about 3D camera rigs, 3D viewing systems, 3D production services, or 3D training workshops visit – www.3DFilmFactory.com

About the 3D Film Factory
Established in 2008 by award-winning filmmakers and veteran stereographers, the 3D Film Factory has been the worldwide leader in professional, affordable 3D camera rigs and real-time 3D monitoring solutions. In addition we provide a host of 3D production services worldwide including, stereographers ‘for hire’, 3D camera rig rental, 3D viewing systems, and 3D post, as well as intensive 3D training workshops. Former clients include ESPN, NASA, Disney, HD Cinema, Pinewood Studios and Discovery. For more information visit www.3DFilmFactory.com

CHIBA-CITY, JAPAN, NOVEMBER 14, 2011 — Sound Devices (Tech Trust Japan Co., LTD. – Hall 4, Booth 4106), experts in production sound audio, highlights its newest product introductions at Inter BEE 2011 (International Broadcast Equipment Exhibition), including the PIX line of video recorders, MixPre-D portable audio mixer and Mix Assist™, a new feature for Sound Devices 788T digital audio recorder.

“We look forward to displaying our recently introduced products at this leading international broadcast and media exhibition,” says Ed Capp, sales manager, Sound Devices. “We are excited to be partnering with our new local distributor, Tech Trust Japan Co., LTD. for the first time and anticipate meeting with existing and potential new customers throughout the show.”

Sound Devices PIX 220 and PIX 240 video recorders bring the company’s expertise in recording technology to video. The new PIX 220 and PIX 240 can be connected to most cameras with HDMI and can record directly to QuickTime using Apple’s ProRes or Avid’s DNxHD codec. Since PIX recorders use ProRes and DNxHD, files recorded in the field can be used directly in post production, making the workflow simple and fast. The PIX 240 adds even more flexibility, with its HD-SDI input and simultaneous SDI and HDMI outputs.

Sound Devices MixPre-D is also on hand at the booth, as it is setting a new standard in the industry for compact, high-performance portable audio mixers. Ideal for documentary-style, sports, news magazine and corporate/industrial productions, MixPre-D is designed for any production application where capturing great sound is important, but size and weight are a concern. To accommodate the increasing variety of cameras and devices used in production today, the MixPre-D has incredible output adaptability and serves as a flexible, class-compliant USB audio interface.

Sound Devices 788T is a powerful, eight-input, 12-track digital audio recorder designed for sound engineers mixing on location for films, documentaries, episodic television and reality TV. As these applications are commonly dialogue-heavy and unscripted, the new Mix Assist turns down unused microphones while instantly activating only the microphones that are in use, making it easier to get clean dialogue recordings. Mix Assist activates only one microphone per sound source, attenuating unused microphones by 15 dB. This new feature is available as a no-charge firmware update to all new and existing 788T customers.

Sound Devices, LLC designs and manufactures portable audio mixers, digital recorders and related audio equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The twelve-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

3D Film Factory’s Successful 3D Workshops Now Offer 3D Certification.

Since 2008 the 3D Film Factory (3DFF) has successful taught more individuals how to prep, shoot and edit stereoscopic 3D than any other organization. Now for the first time, 3DFF is giving participants the opportunity to get Certified in Stereoscopic Filmmaking.

What does that mean to be certified in stereography? “For us it’s a lot more than just a piece of paper. It’s an assurance of superior training,” say Shawn Gilmore, the company’s manager of operations. “It means that program participants have undergone 2-days of intensive, quality instruction with a veteran stereographer. Certification means that participants not only have a comprehensive understanding of stereoscopic theory, but an actual working knowledge and skills to shoot and edit professional-quality 3D.”

A partial list of workshops topics include; the guiding principles and overlying theory of stereoscopic 3D, how to make effective use of 3D, prepping for 3D, transforming your 2D ideas into working 3D images, camera and 3D rig selection, genlock issues, rig calibration, re-light for 3D, filming ratios demystified, gauging depth and pop, applying effective convergence, perfect image alignment, easy 3D post workflows, and all the other details you need to know to create superior quality 3D entertainment, that ultimately serves the story.

All classes are taught by expert stereographers with years of 3D filming and production experience. The goal is to teach participants as much as feasibly possible within the2-days, and therefore keep the focus on the students and their implicit 3D educational needs.

3D Training Workshops are held on an ongoing bi-monthly basis at our facility in San Diego, California. 3DFF supplies everything, including cameras, 3D rigs, 3D monitors, lighting and even lunch – all for a very affordable price. For scheduling and registration information call 619.384.4014 or visit at www.3DFilmFactory.com

About the 3D Film Factory
The 3D Film Factory is the leader in professional, affordable 3D camera systems and real-time 3D viewing solutions. In addition we provide a host of 3D production services for hire, including 3D camera rigs, 3D viewing systems, stereographers, and 3D post, as well as, monthly comprehensive 3D training workshops. Former clients include ESPN, NASA, DISNEY, HD CINEMA, PINEWOOD STUDIOS, and DISCOVERY. For more information visit www.3DFilmFactory.com

Mobile production company rolls into Missouri to offer production services for special Veterans Day episode

NASHVILLE, November 10, 2011 – Emmy-award winning mobile production company TNDV is proud to announce its participation in a special one-hour episode of the popular ABC Series Extreme Makeover: Home Edition, airing Friday, November 11 at 8pm EST.

The Veterans Day fundraising special, featuring guest appearances from Jewel, Whoopi Goldberg and Robin Williams, will salute military families and focus on issues faced by veterans. Additional celebrity guests will request donations to groups that support military veterans.

The special episode, titled “Rise and Honor,” was shot in Waynesville, Missouri. The multi-camera shoot captures the various celebrity appearances and other on-location footage from a local school. The footage will intersperse with a storyline surrounding new home construction for families in Joplin, Missouri, the site of a devastating EF5 tornado in May that caused extensive and catastrophic damage throughout the city.

TNDV arrived onsite for the shoot in late October, opening its 40-foot expanding side mobile production truck, Aspiration, to the cast and crew of the show. Nic Dugger, president of TNDV, noted that his company’s involvement in the project was extremely special on a professional level.

“To get a call from a major broadcast network let alone a successful and popular show is a huge honor,” said Dugger. “This is further accentuated by the fact that we are not local to the site location, and were selected because the show felt we were up to the task. Professionally, it is an incredible feeling to have that trust bestowed upon us.”

TNDV arrived with the task of building a temporary TV production system on a site with no existing infrastructure. TNDV established a multi-camera system with multi-track audio recording, intercom systems, signal routing and distribution, and playback systems for multiple LED screen and plasma monitors in the auditorium. Dugger and his team also quickly converted Aspiration’s HD 16×9 system to accommodate the show’s SD 4×3 broadcast format on short notice.

The comprehensive solution allowed the Extreme Makeover: Home Edition crew to record all cameras individually and leave the site with a live-switched, real-time line cut and a full audio mix with multi-track recording — enabling the team to easily incorporate footage from the new home builds around Joplin.

Dugger added that his company’s participation was also an honor on a personal level, and that he enjoyed working with Ty Pennington, Jewel and the entire technical crew of Extreme Makeover: Home Edition.

“It was nice to not only do the work we love to do and collaborate with outstanding professionals while doing it, but also impact the community and leave residual soundwaves that will last for years to come,” he said.

ABOUT Extreme Makeover: Home Edition
The Emmy award winning reality program “Extreme Makeover: Home Edition,” now in its 9th season, is produced by Endemol USA, a division of Endemol Holding. It’s executive-produced by Brady Connell and George Verschoor. David Goldberg is Chairman, Endemol North America. Episodes air Friday nights from 8:00 – 9:00pm, ET on ABC.

ABOUT TNDV: Television
Formed in 2004, TNDV: Television represents the culmination of many years of broadcast and live production for Nic Dugger, owner and president; and his talented crew of freelancers throughout the country. TNDV is capable of producing events from small single-camera productions all the way up to multi-million dollar international TV events, and takes pride in building custom solutions for challenging productions of any size, in any situation. TNDV has recently provided production services for clients including BET, CMT, SPEED, and PBS. Look for upcoming projects such as “Celtic Women:Live”, PassTime on SPEED, and the American Music Awards. Call 615-585-6528 or visit www.tndv.com for more information.

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Our certified 2-day workshops are designed to demystify and simplify the entire 3D filmmaking & editing process, from development thru post production. In doing so, our veteran stereographers (3D experts) will teach you everything you need to know to create brilliant, eye-catching 3D images, that maintain viewer comfort — and ultimately serve the story.

TOPICS
– Determining the 3D needs of the participants & their upcoming 3D projects
– A tour-de-force “the principles of stereoscopic 3D filmmaking”
– Translating your 2D ideas into working 3D images
– Selecting the correct 3D Rig that integrates with your cameras – or visa-versa
– Solving gen-lock issues and how it works
– When to use a beam-splitter vs. side-by-side vs. 3D camcorders (dual fixed lens)
– You too can calibrate & prep a 3D rig (with a little practice)
– “Hands-On” — majority of the class is spent shooting with 3D Rigs – beam-splitter & side- by-side
– New 3D camcorders (dual fixed lens) – uses, limitations & what “they” don’t tell you
– Top 3D shooting secrets & ratios exposed !
– Depth vs. pop vs. parallax
– Achieving nirvana – perfect picture alignment
– Balancing convergence, parallax & io to achieve comfortable 3D images
– How to tell professional 3D vs. amateur 3D (hint: amateur 3D = headaches)
– Shooting beautiful, balanced 3D images that serve the story
– Re-lighting for 3D
– How to use and calibrate a real-time 3D monitor
– The 3D post-production workflow & you
– 3D editing = FCP vs Cineform vs Avid
– How to “Fix it in 3D Post” for Dummies
– 3D exhibition formats & how they affect your production (hint: start here & work backwards)
– AND– all the other nitty-gritty details you need to know to create superior looking, professional 3D — because at the end of the day (workshop) we understand that these training sessions are all about you and your upcoming 3D project. So really — our goal is to teach you everything we know about 3D, while addressing your individual needs and issues — and in the end, make you look good. Or at least – your 3D look good.

DETAILS
This is an INTENSIVE, FUN, “HANDS-ON” workshop where participants learn how to prep, align, light, shoot, edit and output professional style 3D, under the direction of a veteran stereographer. Unlike most other 3D training programs, teaching only 3D theory – our workshops allocate the majority of the day to filming on stereoscopic 3D systems – beam-splitter rigs, side-by-side rigs & real-time, stereoscopic 3D monitors.

Our courses are designed to accommodate both the complete novice, and the professionals with previous 3D filmmaking experience looking to learn more or fine tune their existing skills. The teaching stereographers understand that many participants may have pending 3D projects, therefore they welcome all questions, individual concerns and unique situations. Furthermore, attendees should keep in mind that 3D filmmaking is not an exact science, but rather an evolutionary process, with fluid rules and varying outcomes. The 3D camera rigs, cameras, real-time 3D monitors, editing equipment and lunch will be provided by 3DFF.

Our veteran 3D instructors (stereographers) are World-Class experts, with years of 3D filming and production experience on almost every contintent. Along the way they’ve shot for a wide variety of high-profile clients and fortune 500 companies to produce 3D documentaries, features, commercials and museum documentaries.

Our 3D workshops are held on an ongoing monthly basis at our studios in sunny, San Diego, California. See Program Dates / Locations for a current listing. Information or registration call 619.384.4014 or email info@3DFilmFactory.com

STEREOSCOPIC CERTIFICATION
Upon completion of the 2-day workshop participants will receive our official Stereoscopic Certification Diploma. The 3D Film Factory Certification serves as a means to verify to other industry professionals that recipients have received detailed, in-depth instruction in the art and science of stereography. Specifically, it signifies that recipients posses a comprehensive understanding of stereoscopic theory, as well as, a strong knowledge of practical, hands-on 3D filmmaking and editing.

Cinedeck EX v2.5 features extensive timecode and audio enhancements, plus new deck control application and improved playback engine

Cinedeck LLC (www.cinedeck.com), the pioneering developer of mobile capture systems for motion picture and broadcast production, today announced significant enhancements to its award-winning, portable, multi-format, recording, monitoring and playback system, with the release of Cinedeck EX v2.5.

Available for immediate download, the new Cinedeck v2.5 software delivers a range of customer-requested features that support an even better operational experience for Cinedeck users. These include a new and enhanced playback engine, expanded timecode operations, upgraded audio metering displays, and a new Windows-based, desktop remote controller for multiple Cinedeck EX systems.

Cinedeck EX is already the fastest gateway from production to post. It enables any camera with an HD-SDI or HDMI output to record to a choice of the most preferred finishing standards used in editorial and VFX post production today, including all flavors of Avid DNxHD, Apple ProRes, CineForm, plus uncompressed 444 and uncompressed 422 recording.

Chief among the enhancements of the Cinedeck v2.5 release is a new playback engine, which has been completely rewritten and provides a vastly improved user-experience compared to prior versions. Crucially, the new engine enables users to take advantage of Cinedeck Controller, a free Windows-based desktop application, which provides basic deck control of the Cinedeck EX. Cinedeck Controller, which comes bundled with the new software release, allows users to remotely control up to 24 Cinedeck units, browse a list of clips recorded in the current scene folder, and to control recording and playback on multiple units independently or simultaneously.

Among the many expanded timecode operations, Cinedeck v2.5 adds support for Adrienne Electronic’s LTC devices, including the use of Adrienne’s mini USB timecode reader. Cinedeck EX already supports Ambient Recording timecode systems.

Redesigned audio meters now show audio in dBFS (full scale) from -60dB to 0dB, with levels displayed in an array of colors making them easier to read in the field. Along with a range of general playback fixes, other enhancements include new edge detection displays, with edges in red, rather than black, to increase legibility.

“Users already enjoy the experience of using, and interacting with, Cinedeck EX, and their feedback has resulted in the new Cinedeck EX v2.5 software version containing a host of enhanced features,” said Cinedeck CEO Alan Hoff. “These new features focus on usability and performance improvements to optimize the fundamental operation of Cinedeck EX where it matters most – in production. With the new v2.5 version available now, current and new customers will enjoy the Cinedeck EX experience even more.”

Cinedeck EX v2.5 will be on display at the Createasphere Burbank show November 2-3, 2011 at Sony’s booth #101, and at Keycode Media’s booth #303.

Pricing and Availability:
Cinedeck EX v2.5 is available for immediate download, free-of-charge, to customers on maintenance. Cinedeck EX is available for purchase via resellers worldwide starting at $8495USD–MRSP. Visit www.cinedeck.com to find your nearest reseller.

Founded by cinematographers, and headquartered in the heart of New York City, USA, Cinedeck manufactures innovative, touchscreen recording systems for use with all popular digital cinematography cameras. Along with on-set monitoring, playback and quality control capabilities, these recorders also unify camera-to-post workflows by offering the industry’s most comprehensive range of edit-ready output formats. Cinedeck EX, the industry’s first camera-mountable device, has proven essential to the workflow on hundreds of TV and cinema productions, and has won TV Technology’s “2010 STAR Award”, the “2010 Vidy Award,” and DV Magazine’s “Award of Excellence”. Continuing this pioneering spirit, Cinedeck LLC is also addressing the challenges of the mobile and outdoor broadcaster with Cinedeck RX, its new, rack-mounted, multi-format recorder, monitor and playback system. Cinedeck RX was awarded the prestigious “2011 Pick Hit Award at IBC 2011” from Broadcast Engineering Magazine. For more information, visit www.cinedeck.com.

Avid-AJA; Matrox MXO2 Mini; and LTO-5 Media Back-up and Archive Solutions Complement Company’s Innovative Constellation™ Archive Management System

FOR RELEASE ON: WEDNESDAY, NOVEMBER 2, 2011

STUDIO CITY, CA – CET Universe, a leading provider of services, systems, and solutions for professional audio and video production, today announced a new series of product bundles for its production customers at Createasphere’s Entertainment Technology Expo at the Burbank Marriott. CET will demonstrate the product bundles today and tomorrow at the Expo, in Booth #207.

CET’s product bundles complement the company’s innovative Constellation™ VCM asset and storage management software suite, which is used by major facilities and corporations, including Universal Sports and Northwestern Mutual, among others. CET maintains a wide array of partnerships with leading vendors, including Adobe, AJA, Apple, Archion, ATTO, Avid, Blackmagic Design, Hewlett-Packard, Iridas, Panasonic, Promise, and QLogic, among many others.

The new product bundles will carry special prices at the Expo, including:

BUNDLE 1:

Option 1: AJA IO Express and AJA IO Express Portable HD/SD/I/O (Desktop or Laptop) with Avid MC 6.0 or Adobe Production Premium Suite for PC or Mac at $2,889.00

Option 2: AJA IO Express and AJA IO Express Portable HD/SD/I/O (Desktop or Laptop) with Avid Final Cut Cross Grade for $2,149.00

Option 3: AJA IO Express – AJA to Express Portable HD/SD I/O (Desktop or Laptop) for $1,609.99

Customers can upgrade Avid MC Pre 5.x and Xpress to version 5.5 with Kit and 3rd Party Apps.

BUNDLE 2:

Option 1: Matrox MXO2 Mini Max (Desktop or Laptop) with Avid MC 6.0 or Adobe Production Premium Suite (PC or Mac) for $2,815.00

Option 2: Matrox MXO2 Mini Max (Desktop or Laptop) with Avid Final Cut Cross Grade for $2,075.00

Option 3: Matrox MXO2 Mini Max (Desktop or Laptop) for $1,539.00

Customers can upgrade Avid MC Pre 5.x and Xpress to version 5.5 with Kit and 3rd Party Apps.

BUNDLE 3:

Constellation LTO-5 Media Backup/Archive Kit

Connects to Mac, Windows and Linux Workstations

Includes:

* external LTO-5 Drive
* Constellation Software License
* SAS Card for computer
* Cable
* 1-Year Software/Hardware Warranty
* 1-Year Free Phone and On-Line Support

The bundle, with the Expo discount, is priced at $4,441.00.

Customers can add a Boland monitor (HDMI, DVI, Composite, Component, VGA 1080P display) for only $1,889.00.

“Our team has always sought to deliver the ideal solution for customers – whether on-set or in-suite – and our new product bundles exemplify our commitment to true best-of-breed products for their production needs,” said Steve Klein, CEO of CET Universe. “We have created a stellar team of solutions engineers, and as our business becomes increasingly complex, we are creating effective product bundles that complement our proprietary solutions.”

About CET UNIVERSE

CET Universe is a leading developer of next-generation storage and asset management products for video professionals. The company develops, sells, and services an array of innovative file-based workflow systems for media & entertainment, corporate, and government and military accounts. Based in Studio City, California, the company’s web site is at www.CETuniverse.com.
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EDITOR’S NOTE: If you would like a color photograph of Steve Klein, CEO of CET Universe, or product shots of CET product bundles, the Constellation system, please contact Chris Pfaff at 201-218-0262 or chris@chrispfafftechmedia.com

SANTA MONICA, CA. –– The directors and producers from design-driven production company King and Country (K&C) are very proud to detail their latest iconic broadcast/web spots for Team Detroit and their clients at Ford Motor Company. As millions of American TV viewers can testify, three new spots customized to colorfully tout Ford’s F-150, Ranger and Super Duty Trucks began airing widely across the country last month. Each will continue running this week during high-profile broadcasts, in support of the ongoing Built Ford Tough Sales Event which ends on Oct. 31.

Building on the highly productive collaborations behind numerous breakthrough broadcast spots for Ford Trucks, K&C director Efrain Montañez and his colleagues once again maximized every facet of their company’s creative resources. “We really love it when our work speaks for us,” Montañez said. “This campaign showcases all our talents in association with exciting, world-leading products and some of the brightest creatives in the business. We are extremely proud of every frame of this campaign, and the relationships we have forged with everyone at Team Detroit.”

For its Ford “Rant” spots produced last year and those currently airing, K&C shot original live-action footage of both the F150 as well as a number of narrative setups with actors. Artfully combining that content with photoreal CG truck creations and their unique design sensibilities, K&C again delivered a distinct look for the iconic campaign. Managing the full scope of needs of their client, K&C handled full editorial and HD finishing in-house.

“King and Country are true partners,” said Mike Priebe, creative director for Team Detroit. “We come to them with our ideas and they come back to us with more ideas. Ford has come to have great confidence that when we show them a storyboard K&C will bring it to life in memorable fashion.”

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Editor David Leonard recently completed cutting Al Pacino’s Wilde Salome at Wild(child) Editorial in New York. The film, which recently premiered at The Venice Film Festival to a standing ovation, skillfully weaves together stunning cinematography with documentary-style footage to create a complex and illuminating examination of Wilde, the man, and Salome, his once-banned play about illicit love and brutal revenge.

Al Pacino in the role of King Herod in his tour de force film, 'Wilde Salome'

Directed by and starring Pacino, Wilde Salome could be described as a film about a movie about a documentary. The innovative exploration of the writer and his play, and an actor and a roll crosses the traditional boundaries of filmmaking, weaving together three distinct threads of content: A cinema verite-style documentary about the making of the film and recreations of pivotal touch-points in Wilde’s life, the film of the play itself, which is beautifully shot on 35mm film, and documentary footage shot with a SD video camera that followed Pacino to Ireland, England, and France as he researched the writer’s life and interviewed experts and about his subject.

A deep passion for the play and fascination with Wilde led Pacino to begin work on the project over five-years ago. A number of early rough-cut versions had taken it in different directions as his vision evolved. David Leonard was first signed on to finish shaping the film into its final form in October 2009. Working with existing material, it fell to Leonard to create a cohesive and compelling movie that achieved balance between the distinct threads.

“Al is very much about experimentation and the process of discovery,” says Leonard, who cut the movie on Wild(child)’s Avid System. “He had lived with the film for a long time, and it had gone through numerous incarnations before we began talking about what he wanted the editing to achieve. There were some elements from the last cuts that he wanted to continue shaping, and some fresh ideas and new things he wanted to try. He would tell me what he wanted to see and feel, discuss a scene, give me notes and then come back, respond to a scene and we’d continue the process of shaping and refining.”

Pacino has described his film as, “… not a documentary. It’s not a film. It’s a much more ambitious and complicated gesture of cinema. I wanted to make a kind of collage.”

Leonard, who learned his craft assisting in the cutting rooms of iconic directors

Al Pacino and actress Jessica Chastin in a scene from 'Wilde Salome'

Martin Scorsese, Robert Altman, Paul Schrader and Tim Burton, on films like Goodfellas and The Last Temptation of Christ, says, “As an editor, the challenge was not only to capture the visceral feel Pacino wanted to achieve, but to reach a balance and fluidity between the documentary-style footage and the dramatic film. It was a unique challenge and opportunity to “come into the editing process at a late date and get to be able to add a fresh perspective to the film.”

Pacino noted, “David’s commitment and individuality are a real gift. I always trusted his taste and judgment and felt I could rely on him to deliver what was needed. He always got it done and then some.”

Pacino has sought out a mix of outlets for his longtime passion for the famed writer. At the same time that he was directing the film and playing the role of King Herod opposite Jessica Chastain as Salome, he was performing the same part on stage in the 2006 production of Oscar Wilde’ Salome, also opposite Chastain.

Leonard first introduced Pacino to Wild(child) Editorial when the actor/director had asked him he if knew of a space in New York that would work for an interview with Katie Couric for the TV show, 60 MINUTES.

“He was blown away when he stepped out of the elevator into the huge, sun-filled

lounge,” recalls Leonard. “The space is loft height and the stark, all-white modern minimalism and open architecture does give it an unexpected ‘wow’ factor. When he commented on how much he loved it, I asked him if he wanted to edit the film there. He was still surprised that he was in an editorial house when he said yes.”

“But ambience isn’t the only thing Wild(child) has going for it,” says Leonard. “It also has premiere edit suites, talented people and a strong infrastructure, which is what makes it my favorite place to edit in New York.”

“I found Wild(child) Editorial to be wildly accommodating,” says Pacino. “Without a doubt it was the most pleasant atmosphere I’ve ever done post production work in.”

During the editing of the film Pacino made himself comfortable at the Flatiron-based boutique. “He would arrive at about 4:00, after he finished rehearsal; work with me and then hang out – relaxing in the lounge, playing ping pong, making calls – until around 7:00 when he left for other appointments,” recalls Leonard.

Editor Yvette Pineyro, owner of Wild(child), says, “Wilde Salome is the kind of tour de force that takes filmmaking to the next level and it gave us a privileged peak into the creative process of an iconic talent. It was also great to see Mr. Pacino settle in and make himself at home at Wild(child).

Pinyero adds, “Wild(child) is very proud of its association with David Leonard and the prestigious roster of films he has brought here. We always strive to stay diverse and David brings a fresh cinematic perspective that we strive to incorporate into our spot work.”

Among the films Leonard has cut at Wild(child) are director Raymond de Felitta’s City Island starring Andy Garcia, The Guitar, directed by Amy Redford with Saffron Burrows, and War Boys, directed by Ron Daniels with Peter Gallagher. The Leonard edited film, Two Family House, also directed by Felitta, took home Sundance Film Festival’s Audience Award For A Dramatic Film.

Currently David Leonard is in California working with Pacino on yet another related project, a film of a theatrical production of Salome.

Wild(child) Editorial is a NYC-based creative boutique with an award-winning roster of in-house editors complimented by a select roster of global talent. Its diverse talent offers advertising agencies and content creators in the general and multicultural arenas the ability to connect with a wide range of cultures and styles.

Wild(child) Editorial and its sister CGI company, Resident Creative Studio, have created an open-architecture collaborative environment driven by a passionate collective of accomplished editors, FX artists, animators, directors, creative directors, and producers. Their shared creative vision provides a seamless concept-through-completion approach to commercials, films, music videos, promos, graphic packages + broadcast programming, all under one roof.

Wild(child)’s recent work includes spots for Nike, Verizon, Givenchy, Candies, Time Warner, Frontier Airlines, P&G, Wendy’s, USA Network, as well feature films, such as Al Pacino’s Wilde Salome, which will be presented with the Glory Award at the 2011 Venice Film Festival, and City Island, starring Andy Garcia, which took home the Tribeca Audience Award.

Wild(child) is a 100% minority woman-owned company, launched by Yvette Pineyro in 1995. It is an active member of The National Minority Supplier Development Council , The Women’s Business Enterprise National Council and the Central Contract Registration.

For more information about Wild(child) Editorial contact executive producer Elissa Muddell, elissa@wildchildpost.com, 212.725.5333. Resident Creative Studio can be contacted through director of development Liz Ludden, liz@weareresident.com, 212.683.7377. NY General Market contact for Wild(child) Editorial and Resident: Roxanne and Co, roxanneandco@mac.com, 212.679.9797. Wild(child) Editorial + Resident Creative Studio: US Hispanic Market: Isabel Echeverry (isabel@kontaktoreps.com,) 786.275.6555.

CREDITS:
Title: Wilde Salome Length: 95 minutes
Premiere: Venice Film Festival
Cast: Al Pacino, Jessica Chastin, Estelle Parsons, Kevin Anderson
Production Company: Salome Productions
Director: Al Pacino
Screenwriter: Al Pacino (based on Oscar Wilde’s novel, Salome)
DP: Benoit Delhomme
Editor: David Leonard (at Wild(child) Editorial, on AVID)
Roberto Silva

Executive producers: George Ann Mason, Sakiko Yamada, Beni Atoori, Reza Rashidian, Andrea Grano, Amy Nederlander, Daryl Roth, Tony Schiena, Giulia Marletta, Enrica de Biasi, Pierluigi Navoni, Tod Blatt, Lamont Bennett?
Producers: Barry Navidi, Robert Fox?
Production designer: Nicole Ruby?
Music: Jeff Bea