Archive of the Visual Effects Category

Industry Honors Focus on Innovation, Creativity, Excellence in Post Production

(Hollywood, CA) The Hollywood Post Alliance(r) has announced the opening of its Call for Entries for the 2012 HPA(r) Awards. The standard bearer for excellence and innovation in Post Production, the Awards honor the individuals and companies who are engaged in noteworthy and groundbreaking work in post production. The gala award ceremony will take place on the evening of November 1, 2012 at the Skirball Cultural Center in Los Angeles, CA. This year’s competition marks the seventh year of the HPA Awards.

The Hollywood Post Alliance created the HPA Awards to bring to the forefront the individual talent as well as the creative and technical achievements that go into the post production process.

The HPA Awards invite entries in the following competitive categories:

Outstanding Color Grading using a DI process-Feature Film

Outstanding Color Grading-Television

Outstanding Color Grading-Commercial

Outstanding Editing-Feature Film

Outstanding Editing-Television

Outstanding Editing-Commercial

Outstanding Sound-Feature Film

Outstanding Sound-Television

Outstanding Sound-Commercial

Outstanding Compositing-Feature Film

Outstanding Compositing-Television

Outstanding Compositing-Commercial

Engineering Excellence

HPA Judges Award for Creativity and Innovation in Post Production

The period of eligibility for the HPA Awards is September 7, 2011 through September 10, 2012 and eligible work must have debuted domestically and or internationally during this period. Entrants need not be members of the Hollywood Post Alliance or working in the U.S. to submit work for consideration. A list of last year’s winners can be found by visiting www.hpaawards.net.

Complete rules, guidelines and entry information are available at: www.hpaawards.net. Submissions for the creative categories will be accepted May 10, 2012 through July 10, 2012 and Early Bird Entry (reduced fee for the creative categories) applies until June 8, 2012. Submissions for the Engineering Excellence Award and the Creativity and Innovation Award will be accepted May 10, 2012 through June 15, 2012. Entrants for the Engineering Excellence Award will be invited to present at a special HPA judging event.

For information about sponsorship opportunities for the 2012 HPA Awards show, please contact Eileen Kramer at 213-614-0860 or write to ekramer@hpaonline.com. For more information about the HPA Awards, visit www.hpaawards.net or call 213.614.0860.

About the Hollywood Post Alliance(r)
Hollywood Post Alliance (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content.

About the HPA(r) Awards
The HPA Awards were created to foster awareness of post production, promote creative and technical excellence, recognize the achievements of post production talent, and build involvement in the Hollywood Post Alliance.

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Media Contact:
Ignite strategic communications
p: 818.303.8088
Christine Purse, chris@ignite.bz or
Mimi Rossi, mimi@ignite.bz

May 9, 2012 – Orad announced today that KCET-TV, the largest publicly supported independent television station in the U.S., has purchased the Orad ProSet Virtual Studio system for one of its two new studios currently under construction in Burbank, California. The new state-of-the-art broadcast facility equipped with Orad virtual studio technology will enable KCET to transform itself into Southern California’s premier public media and production center.
 
With a strong focus on high-quality local programming, the station plans to collaborate with its world-class creative community and utilize the new facility to produce unique programming with a national and international appeal. KCET Vice President of Engineering and Operations Gordon Bell said, “We wanted one studio to have as much versatility as possible and Virtual seemed to meet all of our requirements, including a favorable ROI, quick changes for sets, no set storage, augmented reality elements – and, of course, the ability to create amazing looking sets. Virtual affords us many creative and economic opportunities not available to us previously.”
 
Bell added, “During the design and installation process, I’ve had to make many gut-wrenching decisions, but the decision to use Orad was not one I had to dwell on. Orad is the market leader; they’ve been doing virtual studios longer than anyone and they offer a turnkey solution in terms of hardware, software, and camera tracking.”
 
About KCET
On-air, online, and in the community, KCET plays a vital role in the cultural and educational enrichment of Southern and Central California. In addition to broadcasting the finest programs from around the world, KCET produces and distributes award-winning local programs that explore the people, places, and topics that are relevant to the region.
 
About Orad Hi-Tec Systems
Orad Hi-Tec Systems is a world-leading provider of real-time 3D broadcast graphic, video server, and media asset management solutions including news, channel branding, sports production and enhancement, elections and special events, virtual studios, and virtual advertisement. Orad’s compelling solutions streamline production workflow, enhance viewer experience, and improve production value. Founded in 1993, Orad is a public company listed on the Frankfurt Stock Exchange (OHT). More information is available at http://www.orad.tv/.
 
For further information contact:
Orad Hi-Tec Systems Ltd
Ofir Benovici
Vice President Marketing
ofirb(at)orad(dot)tv
 
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Simulate and customize the EAN-13 barcode used worldwide for FREE with Yanobox Barcode, available through FxFactory
 
Boston, MA – May 9, 2012 – Noise Industries, developer of visual effects tools for the post-production and broadcast markets, introduces Barcode 2.0 by Yanobox, available now for free through FxFactory. Barcode is a generator that simulates the European Article Number, also known as the EAN-13 barcode, used on products around the world every day. With the free generator, editors can customize and animate barcodes, adding a unique look to footage. With custom color modes and random digits, users can transform the classic barcode into an eye-catching motion graphic element. Barcode is supported in Final Cut Pro 6, 7 and X, Final Cut Express 4, Motion 3, 4 and 5 and Adobe After Effects CS4, CS5, CS5.5 and CS6.
 
Yanobox Barcode can be downloaded now for FREE
 
With Yanobox Barcode, editors can:
 
Customize – Play with the color module, change the font, or resize the bars to create a unique style
 
Animate – Use random digits and draw the elements progressively with the adjustable completion parameters to bring your barcode to life
 
Share – Create your own presets to use in the future and share with others among all supported host applications
 
More Information on Barcode
 
Barcode Promo Video
 
Yanobox Press Kit
Members of the press can download the Yanobox press kit
 
About Yanobox and Founder Jean Marc Noel
France native Jean Marc Noel established Yanobox after two decades of experience as an editor and compositor in professional post-production. He has created videos for high-profile European companies, including France Telecom, Oxbow and EADs, as well as interactive designs for Universal and Sony. Noel is also an instructor of compositing and motion graphics at ECV, the French school of visual communications. A consummate technologist, Noel has ventured deep into the world of digital signage and graphical programming.
 
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) 617.480.3674
(skype) megan.zazil
 
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Innovative Company with Extensive Classic Film Library Unearths and Restores Media Gems with Golden Eye III and Phoenix

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

New Authorized Education Partner Program and EDU Discounts Offers mocha Pro v3 to 

 

Schools and Students for Low-Cost Annual Renewal Fee

 

 

 

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

 

 

 

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

 

 

 

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

 

 

 

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

 

 

 

 

 

 

 

Who Qualifies for Academic Discounts

 

 

 

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

 

 

 

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

 

 

 

What’s New for Schools and Students in Version 3

 

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

 

 

 

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

 

 

 

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

 

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

 

 

 

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

 

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

 

 

 

 

 

The 2012 mocha Product Family

 

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

 

 

 

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

 

 

 

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

 

 

 

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

 

 

 

About Imagineer Systems 

 

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

 

 

 

 

 

How much would you bid on an authentic Elvis Presley gold and diamond bracelet? For the new season of “Auction Kings,” the popular reality TV series on Discovery Channel, creative agency Oishii Creative developed a dramatic show open and graphics package that captures the intrepid crew of Gallery 63 and the thrill of the buy and sale.

“Auction Kings” showcases one of the country’s most storied auction houses, Atlanta-based Gallery 63, which delves into the world of unique items – from cadaver caskets to meteorites to dinosaur fossils — and the emotional process of acquisition and loss.

The opening sequence focuses on the feisty, but lovable personalities within the show. Each character is introduced through heroic poses, as various symbolic objects fall around them in slow motion. Owner Paul Brown tosses weapons in the air while Manager Cindy Shook is surrounded with flying papers and office supplies. Picker Jon Hammond unearths his next big discovery; Handyman Delfino Ramos unleashes his fix-it skills on a vintage arcade game, and Auctioneers Guerry Wise and Jason Brooks holler animatedly as item tags and a microphone soar past them. The sequence ends with the new show logo of brushed metal.

To view the work, please visit: http://www.oishiicreative.com/projects/Auction_Kings_041912/

“The task in front of Oishii wasn’t small — they needed to craft a new look and feel to an established show,” says Jeffrey Weaver, Executive Producer at Authentic Entertainment. “Like on many TV series, there are a lot of cooks in our kitchen, so a collaboration of this nature has many opportunities to go awry. Almost magically, Oishii navigated a creative, productive path to success and came through for us on time and on budget. Together with composer Joey Newman, the Oishii team helped give the show a major facelift. Kudos!”

Oishii Creative employed a number of filmmaking and graphical techniques to create a show open that was gritty and real, elevating the look and feel of the series. Shooting on the Weisscam high-speed camera allowed Oishii to enhance the larger-than-life stature of the characters through speed adjustments and low-angle shots. Depth of field was also used to highlight and center the cast. A cooler, more contemporary look was established through high-contrast textures, colors and shadows. For the CG elements, Oishii created a digital, stylized crate-filled warehouse, as well as the floating objects, which provided organic transitions by guiding the viewer’s eye from one direction to another across the screen.

“Our idea revolves around the personalities of the show,” explains Ismael Obregon, President/Creative Director of Oishii Creative. “Many reality TV show opens are editorial cut-downs of show footage with a graphic title overlay. We wanted to approach and brand this genre differently — in a cinematic way with high production value while staying true to the characters. It was important to represent them through the right framing devices and to use the objects as personal visual anecdotes. They are subtle nods to the established fans of the show without alienating new viewers tuning in for the first time in the third season.”

Prior to shooting, Obregon and his team collaborated closely with Discovery Channel to determine which specific traits and actions to emphasize for the characters. Each member of the “Auction Kings” team was shot against green screen during the one-day shoot at Gallery 63.

“What’s great about collaborations like this is the continued relationships with the people involved long after the work is done,” concludes Obregon.

The comprehensive package for “Auction Kings” includes the main titles, logo and in-show graphics.

Project: “Auction Kings” show open & graphics package
Airdate: April 25, 2012

Client: Discovery Channel
Executive Producer: Craig Coffman

Production Company: Authentic Entertainment
Senior Director: Mark LeFleur
Executive Producers: Jeffrey Weaver, Lauren Lexton and Tom Rogan
Co-Executive Producer: Peter Field
Post Supervisor: Dan Wirsig
Where shot: Gallery 63 in Atlanta, GA

Creative Agency: Oishii Creative
Creative Director: Ismael Obregon
Producer: Daniel Walkup
Coordinator: Scott Rothstein
Designers: Federico Reinfeld & Josel Cruz
Editor: Jeff Hayford
Compositor: Thomas Horne
Animator: David Ando
Roto Artist: Tiffany Germann
Technology used: Weisscam high-speed camera, Cinema 4D (CG and compositing), Magic Bullet (color correction and treatment), and Boujou (tracking).

About Oishii Creative:
Oishii Creative is a full-service agency specializing in building and evolving brands for leading entertainment and consumer companies. We combine keen strategic insights with compelling creative and the latest technology to forge unique visual solutions. Recent clients include the NFL Network, Ovation, EA Sports, Nicktoons and Disney.

www.oishiicreative.com

XL Video is supplying curved LED screens and special customised touring frames, video playback control, cameras/PPU, an IMAG projection system and crew for Brit Award winning Il Divo’s current, highly successful “Wicked Game” world tour which is on its first UK /European leg.

The elegant production design encompassing the three curved over-stage screens was the concept of Il Divo’s artistic director, Brian Burke.
This follows on from an initial curved screen idea showcased at the group’s high profile one-off shows at London’s Coliseum Theatre last year – with XL also supplying video production. Central to the concept is that the screens should appear to be ‘floating’ in the air – with minimal or no rigging visible – a task with which XL Video was then challenged to recreate in a tourable format by tour director and production manager, Andy Proudfoot.
XL’s project manager Paul “Macca” McCauley explains, “The main objective was to replicate the curved aesthetic making it as quick to rig and as easily portable as possible – and we are extremely pleased with the results”.
The three screens – upstage left / right and downstage – are made up from a total of 280 modules of Pixled F11 LED surface, mounted in 55 of XL’s 2×2 touring frames which have been specially modified to create the curvature.
Two of the screens – upstage left and downstage – each comprise two staggered surface sections one below the other, which required a further customisation to the standard touring frames.
The screens also move up and down on a Kinesys automation system supplied by lighting contractors HSL. XL had rolled metal pipes fabricated to the same radius as HSL’s Kinesys trusses – which also happened to match the radius of the stage design and layout. These are attached along the tops of the touring frames.
The upstage right screen that is the largest surface area of the three, made up from 160 Pixled F-11 tiles, is stepped out every two tiles by two tiles to make its unique shape, and these stepped sections are also supported by steels running through the touring frames above.
As a finishing touch, XL had lightweight black masking drapes manufactured which Velcro neatly and precisely to the back of the touring frames, cutting out any transparency or ambient light leaking through from the rear.
The screen content was commissioned by Brian Burke and has been formatted exactly to fit the screens. It consists primarily of scenic and ambient footage that adds a dramatic visual texturing to the show.
The screen moves are smooth and seamless – many happening in the blackouts which compliments the pace and vibe of the performance, that is focused on the rich vocal harmonies.
XL is also supplying four Sony DF50 cameras – positioned two at FOH and two on track-and-dolly in the pit – and a Kayak mixer / switcher and PPU for the European tour for video director Stuart Merser who is cutting the IMAG mix.
XL’s crew of five are chiefed by Roger Nelson. The semi-legendary Myway is engineering, Tim Bolland and Steve Clarisse are LED techs and they are joined by Saria Ofogba. Andy ‘Paris’ Hilton is operating the Kinesys system.

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

On November 7-8, 2012 Createasphere Opens the Doors to Emerging Technology and Unbridled Creativity

(Burbank, CA) Createasphere’s Entertainment Technology Expo – the top gathering of entertainment and media professionals, technical innovators, and content experts – returns to Burbank, CA on November 7-8, 2012 for the 11th year of this highly anticipated flagship event. The Entertainment Technology Expo is the largest event of its kind in Los Angeles, bringing together the entire spectrum of content creators for a comprehensive collection of exhibits, tools, interactive panels, and intensive presentations. In addition, the Post Production Master Class will return to the Entertainment Technology Expo with presentations by industry leaders in the dynamically unfolding and evolving post production arena.

Details of the event will continue to unfold over the next few months, but scheduled highlights include:

The Rockstar Conversation:
Createasphere will present a rare opportunity to spend a moment with a trendsetter who is helping to redefine the industry. Stay tuned to see one of the most sought after artists working today, in an up close and personal presentation and Q&A. Past participants have included Wally Pfister, ASC, Roger Deakins, ASC, Vilmos Zsigmond, ASC, Steve Rivkin, ACE, Mark Cuban, and Vince Pace, among other luminaries.

Transmedia Case Study: Why You Need to Understand
One of the most buzzed about developments impacting content creators today – transmedia – will increasingly impacts storytellers, content holders, studios, networks, and gamers. Spend time with industry leaders, learn how to engage your audience, execute your vision, and be ready for what’s on the horizon. Follow a well-known project from idea through execution.

HOW’D YOU GET THAT SHOT@?!?
Go behind the scenes and see how shots that defy description and bend reality are made. Sponsored by the Society of Camera Operators.

Head to Gear Alley and Find out REALLY, HOW’D YOU GET THAT SHOT???
Moving from the “How’d You Get that Shot?!@?!” panel directly to Gear Alley, the audience moves outside where they will get an up-close look at the gear that helped these SOC members get those shots.

The Post Production Master Class, which premiered in Burbank in 2010, returns to Createasphere on November 8th. The Post Production Master Class has been reformatted to put its invaluable presentations and interaction with experts into a compressed time frame. This one-of-a-kind event focuses on the trends, technologies, and the business of post production. Separate registration is required for the PPMC.

Registration opens June 1st. For further information visit www.createasphere.com/ete or call 818.842.6611.

About Createasphere
Createasphere is the premier business development partner for technology enabled entertainment, marketing, and communications organizations. We advance careers and technologies by connecting world-class professionals globally online and in person.

Createasphere was founded in 2001, and over the past decade has grown into a global company that in 2011 produced seventeen events over three continents as well as five websites. Createasphere became part of Diversified Business Communications in 2008 and now drives their entertainment, media, technology strategies and properties division. Currently, Createasphere produces 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 Executive Marketplaces for Houses of Worship in Los Angeles and Chicago; Post Production Master Classes in New York and Los Angeles, and the online news and content portals ProVideoCoalition.com and DamCoalition.com.

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

Christie®, a leader in simulation projection display and visualization solutions, is offering a free educational forum dedicated to the world of visual display requirements for simulation on May 9 at the Institute for Simulation and Training at the University of Central Florida.
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Whether you’re a visual systems software or product development engineer, a program manager or technical specialist in the simulation industry, you will benefit from this one-day, chock-full session that includes technical presentations designed to increase one’s knowledge of various visual display requirements: image metrics and quality, system considerations, synchronization, maintenance, specifications, and system integration.*
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Learn from special presentations provided by:
• NASA’s Dr. Barbara Sweet, aerospace engineer /Human Machine Systems: image quality requirements and impact of system update rates
• Dr. Charles J. Lloyd, President, Visual Performance LLC, on stereoscopic/collimated display integration
• Christie’s own simulation and product experts: Static and dynamic image quality metrics, including 3D cues; system and multi-channel considerations, including warping and blending; product specifications and what they mean; system synchronization and latency; system maintenance
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Specialists in simulation and training interested in attending are requested to register online by May 4, at Christie SIM University. Limited seating. Questions can be directed to the SIM University team.
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*Agenda and program subject to change without notice.

Vintage Effects reproduces the look of early color film techniques
 
Boston, MA – May 1, 2012 – Noise Industries, developer of visual effects tools for the post-production and broadcast markets, introduces Sheffield Softworks Vintage Effects, available now for Final Cut Pro, Motion and After Effects through FxFactory. The Vintage plug-in allows editors to give a vintage, 20th century film look to their footage by mathematically recreating the conditions of the original physical process through three different techniques: Technicolor 2 Strip, Technicolor 3 Strip and Multicolor. For each of the three processes, Vintage provides a normal and quick mode, which renders faster but doesn’t allow editors to fully customize the settings. Sheffield Vintage Effects can be purchased now through FxFactory for 19 USD.
 
Sheffield Softworks Vintage Effects provides settings for:
 
Technicolor 2 Strip – Records the red and green images
 
Technicolor 3 Strip – Records the full color palette in a way that differs from modern color film
 
Multicolor – Records the red and blue images
 
More Information on Sheffield Softworks Vintage
 
Sheffield Softworks Vintage Tutorial Video
 
About Sheffield Softworks and Patrick Sheffield
Patrick Sheffield is an award-winning editor with over twenty years of industry experience. He has edited music videos, commercials, documentaries, feature films, and more. In addition to editing, Sheffield also does work on effects, color correction, finishing, and more.
 
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) 617.480.3674
(skype) megan.zazil
 
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