Archive of the Visual Effects Category

The MEWShop Edit House based in South Lower Level Hall offers attendees FREE hands-on training in the latest video and film solutions from Adobe, Apple, Avid and more; Pre-registration now open
 
New York, NY – Manhattan Edit Workshop (MEWshop) is pleased to announce their participation in the NAB 2012 exhibition held in Las Vegas, NV from April 16 – 19 (booth SL12805). Bringing their cutting-edge video and film training to the world’s largest broadcast event, everyone from professional editors to aspiring filmmakers and editing enthusiasts can learn from industry experts the inner workings of the latest post-production technology, including Adobe® Creative Suite®, Apple® Final Cut Pro® X, Avid® Media Composer, and Blackmagic Design DaVinci Resolve applications for free. “The MEWshop Edit House at NAB is an extension of our training center which offers professional, certified training nationally on leading post-production technology,” said Josh Apter, founder and president, Manhattan Edit Workshop. “However, we are offering more than just training at NAB 2012. We are offering editors, videographers and filmmakers a destination to come together, hear from their peers…unwind and network right in the midst of the action on the show floor. The MEWshop Edit House will feature special presentations from creative notables, offer tons of cool prize giveaways, and host a pretty awesome happy hour.”
 
The MEWshop NAB Edit House presentation lineup includes guest speakers like Radical Media’s Evan Schechtman, who will discuss the company’s wildly successful Sting ‘appumentary’ project.
 
Tell Us Your Preference and Get First Dibs
The MEWshop Edit House hands-on workshops cover a wide range of workflows including multi-camera productions, DSLR shoots, Stereoscopic 3D, color grading and visual effects creation. The workshops are taught using the latest versions of the following creative applications and technologies:
 
• Adobe Premiere Pro® and After Effects®
• Apple Final Cut Pro
• Avid Media Composer
• Blackmagic DaVinci Resolve
 
Interested attendees who pre-register workflow and application preference at http://www.mewshop.com/contact/rsvp/ will have the opportunity to advance register for MEWshop Edit House workshop classes when they are posted. “Offering attendees a chance to pre-register will help us strike the right balance of workshop offerings and better meet the needs of the attendees. It will also get them a special discount price on Manhattan Edit Workshop in-house or on-site training,” said Apter.
 
Attendees can also use the MEWShop NAB Edit House VIP pass code to register for show floor passes. A savings of $150.00, attendees can register through March 30, 2012 at http://registration3.experient-inc.com/showNAB121/Default.aspx?App=EO; VIP code LV3539.
 
About Manhattan Edit Workshop
Manhattan Edit Workshop was founded in 2002 with the goal of providing cutting-edge instruction on Apple®, Adobe® and Avid® platforms. In 2011 Mewshop added Avid Pro Tools®, DaVinci Resolve, Autodesk® Smoke® and ASSIMILATE SCRATCH training to its already impressive curriculum. Mewshop’s signature Six-Week Intensive is a jump-start for anyone looking for a career in post-production, while weekend and one-week courses introduce and solidify core-editing concepts. Corporate and group training offers a customized curriculum, either in-house or on-site, for professionals eager to learn a new skill or to build on existing ones. The facility’s focus on small workshops, highly skilled and certified faculty, and a results-oriented curriculum, have quickly won it the reputation as New York’s premier post-production teaching facility.
 
Follow @mewshop on Twitter or visit us on Facebook at www.facebook.com/mewshop.
 
For more information on Manhattan Edit Workshop please visit: www.mewshop.com.
 
Press Contacts
 
Janice Dolan
Zazil Media Group
janice(at)zazilmediagroup(dot)com
(p) 617.817.6595
(skype) janicedolan
 
Anya Oskolkova
Zazil Media Group
anya(at)zazilmediagroup(dot)com
(p) 617.817.6559
(skype) anya.oskolkova
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XL Video is again supplying all video technical production including LED screen, cameras, media servers and control, to Snow Patrol’s “Fallen Empires” world tour, the first leg of which kicked off in the UK.

Video director is Blue Leach, and the show’s amazing visual design is a tight collaboration of imagination and style created collectively by Leach, lighting designer Davey Sherwin and Catalyst programmer and operator Robin Haddow. The three are dubbed ‘The Art Department’ on the tour!
XL Video’s project managers are Jo Beirne and Phil Mercer .“With Blue, Robin and Davey working together on a project you are guaranteed some spectacular results and a beautiful, thought-provoking, different and intricately constructed show.”
Six trussing pods are the architecture centrepiece of the stage visuals. They are all flown on a Kinesys automation system operated by Dave Jolly and move into different positions throughout the show, culminating in a giant snowflake – the band’s logo – at the end of the set.
The undersides of the Pods are all clad with Barco FLX-24 ‘transformable’ LED pixels, for which XL built bespoke PCB mounts that produce a 30 mm pitch surface. This relatively new product provides an extremely dynamic series of off-beat video surfaces that can work in multiple configurations giving a deconstructed jagged look, and also providing the total contrast of coming together in perfect geometric symmetry.
The Pods involved much co-operation between XL’s team and the tour’s lighting contractors HSL. Both their technical requirements had to be incorporated into the design, which also had to be tourable and practical for fitting into a variety of different sized venues.
The Pods are constructed to split apart, stack, and fit into custom designed dollies for transit and quick and easy deployment / de-rigging in the venue. They are looked after by the two set carpenters Ash Groom and Martin Barraclough. A fibre system is used to connect the Barco DX700 processors running each pod back to the racks side stage.
Upstage is a 60 ft wide by 30 ft deep hang of Element Labs Stealth transparent screen, which has a gauze hung in front and a grey cyc at the back, so with lighting applied to the different surfaces, it can be completely ‘disappeared’ for the numbers where no content is playing on it.
The screen surfaces are all fed with a mix of IMAG and playback footage, all of which is output, mapped and managed for the screens via the Catalyst media server operated by Robin Haddow via a Hog PC console.
The content was commissioned by the band and their management from two different production sources – Knife Edge and Atticus Finch– some of it follows song narratives and other footage is more abstract and dreamy.
It was left to Leach, Haddow and Sherwin to decide on the live treatment for each of the clips and how they actually appear onscreen .. and there is never a dull or repeated moment. By the end of the show you feel that they could double the length of the set and still have more than enough headroom to come up with an original video look and feel for each song.
Leach mixes from the FOH position using a pair of Ableton Novation Launchpad MIDI controllers. It’s the complete antithesis of a standard vision mixing set up backstage, and really suits his hands-on, organic mixing style, where video is run ‘live’, often in chases and scenes, and bumped in and out, or coloured and effected to match / contrast with lighting cues.
Apart from that, working in the same FOH space as Sherwin and Haddow also helps the fluid three-way combination, intuition and teamwork of the evolving ‘visual experience’.
He has a total of 15 cameras at his disposal.
Three are manned – a Sony D50 at FOH with a long lens and another hand-held that moves between the pit and the stage, plus a Toshiba TU48 Polecam.
Then there is a four way Sony Robo-cam system onstage – all in non-conventional positions. The first is under the drum riser which has a section cut out that’s covered in scratch-proof Perspex to give idiosyncratic shots of the knees, elbows and the internal workings of the drum kit – areas normally hidden from view. The second is in the roof onstage, another is on the bass rig and the last one is on stage left in front of guitarist Nathan Connolly’s rig.
In addition to these are a number of bullet cameras dotted all around, one of which is on lead singer Gary Lightbody’s mic, so he appears to be ‘wearing’ it each time he touches the mic, and there is another on the goose neck clamp of his mic stand to capture its vibrations and movement.
Leach attached a GoPro Sports Cam to Connolly’s and bassist Paul Wilson’s guitars during one sound-check, and the output is played back ‘as live’ during the show.
He also uses his iPad running the Fluid Monkey App to activate certain effects including one where Haddow has keyed out all the whites in a piece of footage, which are replaced with camera footage from the left hand Launchpad. Some Catalyst effects are also activated via a Wii controller adding even more to the touchy-feely analogue modus operandi.
Current ‘work in progress’ for the show includes footage taken from a remote controlled car along with a never ending stream of other ideas that will be unfolded over coming months as part of the visual Big Picture.
All the camera inputs go straight into the Catalyst via HD SDI and are mapped to screens from there. The media server is running a special version of software written for the tour allowing them to run up to 20 inputs.
XL Video’s crew chief is Roger Nelson, the chief LED technician is Icarus Wilson-Wright, Rob Wick is looking after cameras and operating the Polecam during the show, Al Bollard is also on LED duty and the semi-legendary Myway …… is engineering.
Snow Patrol is expected to tour for much of 2012.

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

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

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.”

more

CHICAGO — The principals of design-focused production studio Leviathan are very proud to announce the expansion of the company’s visual effects (VFX) department, as well as the addition of senior FX designer Nathan Davies to their full-time staff. Effective immediately, under the leadership of Leviathan chief scientist Matt Daly, the studio is promoting former design director Tim Sepulveda into the position of VFX director, and recently added producer Lauren Shawe and senior FX designer Nathan Davies provide even greater depth, experience and capabilities. Since leaving his post as a designer, animator and 3D lead for Shilo in 2009, Davies has been freelancing for top shops including Shilo, Digital Kitchen, Radar, Sol, Leviathan and others. Over the course of his two years as a full-time member of Shilo’s staff, Nathan contributed to numerous high-profile projects, including many award-winning spots for Scion, EA, and Syfy, to name but a few. He landed with Shilo in 2007 after several years of freelance work, which followed two years as a designer/animator for Outsider, a year with Sock Puppet Studios as lead animator, and two years with FLUX Group as a junior designer and animator. more

Call it love in the time of e-coli. Calabash Animation, the studio led by Creative Director Wayne Brejcha and Executive Producer Sean Henry, teamed with Lightspeed Group, Villanova, PA, to create “More Than A Freezer” – a hilarious, three-minute animated romantic comedy/viral short starring two e-coli lovebirds separated by cryo vials set to the rock classic “More Than A Feeling” by Boston for new Thermo Scientific ultra-low temperature freezers.

With more than 13,000 views since its launch, “More Than A Freezer” can be seen here on YouTube here: http://youtu.be/UVvIzARYQ-Q

While it may seem strange for company like Thermo Fisher Scientific to do something as irreverent as “More Than A Freezer,” Andrew Dunn, the company’s Cold Storage Marketing Manager notes they were looking to do something out of the ordinary with the marketing of its new line of ultra low temperature freezers.

“Many in the science industry are very web savvy and visit video websites like YouTube a lot,” Dunn says. “We wanted to create something that would cut through the clutter, but also stayed on message about what the product does and why it’s a breakthrough for our industry. Calabash helped breathe a lot of life into this project, and are a big reason why we’ve gotten so many hits on YouTube.”

Dunn initially came to Michele Casale, President/Executive Producer at Lightspeed Group, Villanova, PA, with just the licensed track of “More Than A Feeling” and a goal to create something that would make an impact. Casale’s team came up with the concept of a music video approach, and turned to Calabash Animation, a company she had worked with previously, to explore the concept of a shattered romance between a guitar-strumming e-coli and his beautiful bacteria girlfriend.

“Calabash understood what we were trying to do,” Casale says. “Wayne always seemed to be two steps ahead of us. No matter what we asked or suggested he seemed to know where we were going, and had a great idea on how to get there. From a production standpoint, it was a fun project and wonderful experience.”

Henry notes that Calabash had been looking for something web-based they could sink their teeth into when Casale called with this intriguing concept.

“We tried to avoid any style queue or be overly ‘retro,’” Henry says. “Rather it’s a contemporary, approachable look very much in-line with what you see in pop culture today. It was quirky story, which was a lot of fun for us as storytellers. Michele gave us basic outline of the story and let us have some fun with it — adding details and comedic flourishes that made the piece more entertaining.”

Henry adds they also paid close attention to the e-coli characters and making them memorable. So much so that Thermo Scientific has incorporated the main characters – affectionately known as Bacteria Boy and Marianne – into their website and marketing materials.

“We focused on giving the e-coli their own personalities and brand these characters in a way that they could have a life beyond the short, whether on merchandise or marketing, etc. We’ve worked with so many established brand icons over the years, but we’ve always wanted to create a brand icon from scratch, and this project gave us the chance to do that.”


About Calabash Animation:
Led by Creative Director Wayne Brejcha and Executive Producer Sean Henry, Calabash Animation, Inc. (www.calabashanimation.com) is the Chicago, IL-based animation production studio, known for its award-winning cel, 3D and stop-motion animation for the advertising and entertainment industries. Calabash Animation is perhaps best known for their creative development of some of America’s most beloved brand icons. In addition to working on some of today’s top advertising the company has also produced several acclaimed short films. It’s 2002 short ‘’Stubble Trouble’’ was nominated for an Academy Award in 2002. Its most recent “Botnik” hit the festival circuit in Fall 2008.


Creative Credits:
Client: Thermo Scientific
Project: “More Than A Freezer” viral short

Production: Lightspeed Group, Villanova, PA
President/Executive Producer: Michele Casale

Animation: Calabash Animation, Chicago, IL
Creative Director: Wayne Brejcha
Executive Producer: Sean Henry

Music: “More Than A Feeling” by Boston (licensed track)

Web Resources:
Click here for more info about Calabash Animation:
http://www.calabashanimation.com/

Watch “More Than A Freezer” here:
http://www.thermoscientific.com/ecomm/servlet/multimediadetail_11152_53869_-1?ca=morethanafreezer
http://youtu.be/UVvIzARYQ-Q

Click here for more info about Lightspeed Group:
www.lightspeedgroup.com

Add depth and dimension to footage with PHYX Defocus chroma aberration, fast defocus, pan / tilt, and vignette vision
 
Boston, MA – February 22, 2012 – Noise Industries, developer of visual effects tools for the post-production and broadcast markets, introduces PHYX Defocus to its line of plug-ins available on FxFactory 3. PHYX Defocus effects accurately simulate depth of field, bokeh, tilt-shift, rack-focus and more. The GPU-accelerated suite is compatible with Final Cut Pro® X and 7, Motion 5 and After Effects®. Offered at 49 USD, users can learn more about PHYX Defocus here.
 
PHYX Defocus feature highlights include:
 
Chroma Aberration – Editors can simulate chroma aberration – the imbalance of RGB color channels that can occur with camera lenses.
 
Fast Defocus – This effect can be used to simulate ‘bokeh,’ or out-of-focus lens effects. Editors can create depth of field with the use of a depth mask, rack-focus effects, and more.
 
Pan / Tilt – A popular effect used in many motion pictures and music videos, users can create a tilt-shift setup for still and motion picture cameras, with smooth, defocused gradients.
 
Vignette Vision – With two effects options, editors can defocus either the outer edge or the center of the image. Defocusing the outer edge simulates POV shots, vintage lenses and more. Defocusing the center of the image allows editors to censor images, create hallucinations, etc.
 
More Information on PHYX Defocus
 
PHYX Defocus Tutorial
 
About PHYX Inc.
PHYX Incorporated is a privately held U.S. corporation. Its principals have been developing custom tools for Visual Effects since 2002. In 2007, PHYX Inc. brought its first collection of tools to the public. For more information, please visit the PHYX Inc. website.
 
About Noise Industries, LLC
Established in 2004, Boston, Massachusetts-based Noise Industries is an innovative developer of visual effects tools for the post-production and broadcast community. Their products are integrated with popular non-linear editing and compositing products from Apple and Adobe. For more information, please visit the Noise Industries website.
 
Press Contacts
Janice Dolan
Zazil Media Group
Janice@zazilmediagroup.com
(p) 617.817.6595
(skype) janicedolan
 
Megan Linebarger
Zazil Media Group
megan@zazilmediagroup.com
(p) 617.817.6595
(skype) megan.zazil
 
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Boris FX, the leading developer of integrated effects technology for video and film, today announced Final Effects Complete 6 AVX (FEC 6 AVX). FEC 6 AVX brings 110+ designer effects and transitions to Avid Media Composer 6, Symphony 6, and NewsCutter 10. The release features new transitions, audio-driven effects creation, and a new Compare Mode feature that enables editors to compare the filtered result with the unfiltered source via either a side-by-side view or a live split-screen view. Each Final Effects Complete AVX filter has been re-engineered for 64-bit operating systems.

 

“FEC 6 AVX brings the legendary Final Effects Complete visual effects suite to 64-bit Avid editing and finishing systems,” commented Boris Yamnitsky, president and founder, Boris FX. “Loaded with particle effects such as Mr. Mercury, Hair, and Bubbles and text and edge treatments including Wiggle Edges, Burn Edges, and Sparkle Edges, FEC AVX gives Avid editors access to filters used day in and day out by Adobe After Effects artists.”

 

Final Effects Complete 6 AVX New Feature Highlights

 

• Support for 64-bit Avid editing and finishing systems. Final Effects Complete 6 AVX supports Avid Media Composer 6, Symphony 6, and NewsCutter 10.
 

• Compare Mode. Added to many FEC 6 AVX filters, Compare Mode enables editors to compare the filtered result with the unfiltered source via either a side-by-side view or a live split-screen view. In the side-by-side view, users can view the unfiltered and filtered image result as changes are made to the image. In the split-screen view, users can drag the wipe bar anywhere across the image to compare the filtered result with the unfiltered source at any zoom level. Additionally, Compare Mode offers the unique ability to view the filtered result with a live filtered layer in the timeline.

 

• Beat Reactor Technology. Beat Reactor lets editors sample specific bands of audio from a clip and use the sampled audio levels to drive FEC effect parameters. This new technology makes it easier to generate audio-driven effects such as a pulsing light or an image wipe that follows along with the beat of an audio track.

 

• On-Screen Overlay Widgets. New on-screen overlay widgets allow editors to make precise parameter adjustments while keeping their eyes focused on the source image.

 

• New Transitions include Super Dissolve, RGB Dissolve, and Rectangular Scale Wipe.

 

• Significant Performance Gains. Every FEC 6 AVX filter has been optimized for improved rendering speed on modern computing platforms.

 

Pricing and Availability

FEC 6 AVX is available immediately through the Boris FX worldwide reseller channel and direct from the Boris FX website at www.borisfx.com for an MSRP of $895 USD. For a limited time, owners of Boris Continuum Complete 8 AVX can add FEC 6 AVX for an MSRP of $100 USD.

 

A free 14-day FEC 6 AVX trial version is available from www.borisfx.com

 

About Boris FX

Founded in 1995, Boris FX is a leading developer of VFX, compositing, titling, and workflow tools for broadcast, post-production, and film professionals. Boris FX products have grown to serve over a million artists worldwide, with a customer base encompassing network and broadcast television clients such as BBC, CBS, Discovery, ESPN, and Turner, post-production facilities such as The Ant Farm, Digital Kitchen, and Troika Design Group, and educational and government institutions such as Columbia College, the U.S. Army, and the U.S. Air Force. The company’s success lies in its ability to tightly integrate and leverage technologies through strong partnerships with industry-leading developers of video editing software and hardware including Adobe, Apple, Avid, Autodesk, Corel, Grass Valley, Nexidia, and Sony.

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)

# # #

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

ASSIMILATE’s Software Enjoys Broad Adoption Across Feature Film, Episodic Television and Commercials Productions

Since its announcement at NAB 2011, ASSIMILATE’s SCRATCH Lab has taken the production dailies market by storm with its power, versatility and affordability. The recent announcements of native support for the new Sony F65 CineAlta™ digital motion picture camera, and the breakthrough performance of 48 FPS playback of stereo RED EPIC streams, are just two examples of why Lab has gained favor so quickly on-set. SCRATCH Lab now delivers the most extensive support for production dailies. From RED EPIC, ARRI ALEXA, Sony F65, Phantom and Panasonic P2, to the Canon EOS C300, 5D/7D, and even the GoPro, SCRATCH Lab continues to set the pace for the industry with support for virtually any combination of popular native formats in a single timeline.

Priced at only $4,995, SCRATCH Lab has established itself as the dailies workflow tool of choice for directors, DPs, DITs and video engineers because it offers the most compelling end-to-end dailies system in the industry. Lab combines the fastest and most creative review process, with effortless shot, metadata, LUT and look management, sophisticated audio sync, and wicked-fast background rendering- all into one intuitive, incredibly cost-effective tool.

Key advantages of Lab include:

• Support for more native camera formats than any other tool on the market

• Unrivalled shot, timecode and metadata management

• Powerful QC, LUT and look management

• One-of-a-kind creative review tools ?

• Wickedly-fast, template-driven background rendering

“Our clients demand robust, efficient and cost effective ways to create deliverables from every type of native camera media you can imagine,” said Ryan Sheridan, CTO of Otto Nemenz, Hollywood, CA. “SCRATCH Lab is the most versatile workflow tool we’ve seen. We’ve made a significant investment in Lab because it delivers fast color-corrected dailies deliverables for our customers, regardless of the cameras they’re shooting. And the price allows us to deliver a cost-effective package for any type of production.”

“From Sony’s new F65 CineAlta to the ARRI ALEXA, AbelCine’s clients come to us for the latest camera technologies on the market,” said Jonathan Epner, Director of Digital Media Services at AbelCine in New York. “But the camera is only half the story. DPs and DITs also look to us to provide the best workflow tools available to process the images they shoot. SCRATCH Lab is our preferred offering because it delivers the power and versatility to handle the biggest productions, while the price makes it accessible to even the most budget-conscious projects. It’s no surprise that Lab has gained popularity so rapidly.”

Jody Neckles, DIT from London, UK comments, “My team and I have used SCRATCH Lab on loads of features, television dramas, and commercials over the last year. From rock-solid rendering to incredibly powerful review capability and look management, Lab delivers for me day in and day out. No matter what type of production, I know I can depend on Lab to deliver dailies on time and on budget. As it delivers such value for money, I’ve been able to buy multiple licenses for the price other vendors charge for just one. This gives me a huge advantage whenever I bid a project.”

SCRATCH Digital Workflow Tools

ASSIMILATE’s SCRATCH and SCRATCH Lab deliver the industry’s most comprehensive toolset for data-centric digital cinema and broadcast productions for 2D and 3D stereo projects at up to 5K resolution and beyond. New 6.1 versions of SCRATCH software, running on Mac OSX and Windows 7, feature SDI output via AJA Kona 3G graphics cards, wicked-fast dailies rendering, improved metadata and timecode handling, and enhanced RED workflow support.

ASSIMILATE is the premier provider of digital workflow and post-production tools, that have proven essential to the successful creation of thousands of studio and independent features, television shows, music videos and corporate video productions. The company’s SCRATCH products, running on Windows and Mac OSX, are the heartbeat of today’s most demanding digital post-production and dailies workflows for 2D and stereo 3D productions. They equip directors, DPs and artists with the state-of-the-art, intuitive, data-centric solutions they need to meet the continual challenges of increased creativity and productivity amid ever-shrinking budgets. ASSIMILATE’s SCRATCH data-centric DI system, is the most comprehensive, end-to-end cinema and broadcast imaging tool for dailies, playback, conform, editing, color grading, compositing and finishing of RED and other digital workflows. SCRATCH Lab delivers a comprehensive toolset for dailies, review, versioning, color correction, conform and output of on-set or VFX dailies. ASSIMILATE a privately held company, with headquarters in Santa Clara, California, USA, offices in London, UK, Groningen, NL and Beijing City, CN markets its products worldwide via a global reseller network. To learn more please visit www.assimilateinc.com