— GC Pro is instrumental in outfitting three locations of the Monterrey Institute of Technology’s recently introduced audio production program —

WESTLAKE VILLAGE, CA, May 22, 2013 — Mexico’s Monterrey Institute of Technology has been one of the leading institutions of higher education in Latin America since it was founded 70 years ago. Monterrey Tech (Tecnológico de Monterrey), as it’s also known, has over 90,000 students across 31 campuses in 25 cities in Mexico. In the last three years, the school instituted and expanded a highly successful audio production education curriculum that is now in place at three of its campuses: the school’s Monterrey headquarters, as well as the Santa Fe and new Mexico City campuses (both in the Mexico City metro area). Key equipment at all of the facilities supporting these audio production programs was sourced by Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users. Working with the New York City-based Malvicino Design Group – a leading design and consulting firm specializing in innovative architectural, acoustical and technical systems design and also a member of GC Pro’s Affiliate Program – GC Pro assured Monterrey Tech that they would have every piece of gear the school needed to make their audio production program as cutting-edge as possible.

The Mexico City Campus (CCM) has Ocean Way HR-3 Studio Monitors and an SSL AWS 948 Console. The main campus in Monterrey has a Neve Genesys 32-Input console, as well as Ocean Way HR-2 Studio Monitors. The equipment lists for each campus are comprehensive and outfit all of the studios in ways that offer students a real-world environment for learning, and one with enough variation that will ready them for an increasingly complex audio technology landscape.

“That was one of the things that I really emphasized in my designs for the school,” explains Horacio Malvicino, President of the Malvicino Design Group. “You want all the studios to have the latest equipment, but I also wanted each room to have some outboard gear and other items that were unique to each room, so that students would encounter something new in each studio.”

Horacio Malvicino adds, “GC Pro and I have worked together on many projects in the past, and whether I work with them as a member of their Affiliate Program or I bring them to one of my projects as the supplier, as we did here, GC Pro proves time and time again that they are the best resource you can have.”

For more information, please visit www.gcpro.com.

— Industry veteran Marsh Gooch adds power to company’s marketing efforts —

BURBANK, CA, May 21, 2013 — Aphex®, a leader in professional audio technology for more than 35 years, today announced they have named a new Marketing Manager to oversee all of the company’s marketing efforts. Marsh Gooch, a veteran of the pro audio and musical instrument industry, joins the company after successful positions with LOUD Technologies, TASCAM, ESP Guitars and more.

“Marsh brings a wide range of marketing skills and expertise to the Aphex team,” said Aphex CEO David Wiener. “With his knowledge of audio product marketing, brand marketing, artist relations and social media, he’ll help us achieve the goals we’ve set as we continue to grow Aphex.”

Aphex General Manager Jim Bailey adds, “Marsh has the enthusiasm, drive and attitude that we demand at Aphex, as we continually push to reach the wide variety of demographics Aphex’s products are made for.”

Marsh Gooch himself is glad to join the Aphex team. “I’ve heard a lot about how the stars are all lining up for Aphex to become the leader in pro audio that it has always been destined to be, and I’m honored to jump on board for the ride.”

Aphex marketing and promotion will continue to evolve in order to support rep, reseller and international distribution partners. From web to video to sales and marketing collateral, Aphex is putting the same creativity and performance demands on its reseller support initiatives as it puts into product performance and design.

For more information please visit http://www.aphex.com.

Metro Nashville Public Schools’ music education initiative, “Music Makes Us,” provides students at Nashville’s Pearl-Cohn Entertainment Magnet High School with a student-run record label mentored by Warner Music Nashville and a complete world-class recording studio designed, equipped and guided by the efforts of P&E Wing members

SANTA MONICA, Calif. (May 21, 2013) — On May 8, 2013, leading members of The Recording Academy® Producers & Engineers Wing®, along with Nashville public officials, representatives from key sponsors, members of the media and more attended a red-carpet event celebrating the grand opening of the new recording program and facility at Nashville’s Pearl-Cohn Entertainment Magnet School. On hand to help commemorate the occasion were Nashville Mayor Karl Dean; Scott Hendricks, Senior Vice President of A&R for Warner Music Nashville; Nancy Shapiro, The Recording Academy Senior Vice President, Member Services; Pearl-Cohn Principal Sonia Stewart; Metropolitan Nashville Public Schools (MNPS) Director Dr. Jesse Register; and more. The studio, part of the first-ever student-run record label in a high school (announced earlier this year by Mayor Dean, Dr. Register, and John Esposito, president/CEO of Warner Music Nashville), was designed and assembled by members of the P&E Wing, who contributed their time and talents over the course of the last year. Pearl-Cohn is the only entertainment magnet high school in the country. The studio will serve the school’s Academy of Entertainment Management and Academy of Entertainment Communication divisions.

Addressing the crowd of more than 100 Nashville luminaries assembled in the school’s lobby, Nancy Shapiro commented, “When you ask the P&E Wing to work on something, you better be dreaming big.” Members of the Pearl-Cohn Subcommittee of the P&E Wing, including Subcommittee Chair Jeff Balding, Nashville P&E Wing Committee Chairman Chuck Ainlay, Steve Durr, Ben Fowler, Julian King, Sam Lorber, Nick Palladino, Terry Palmer, Matt Schlachter and Nashville Chapter President Jon Randall Stewart, all contributed their collective knowledge, wisdom and passion to the project, which features a 32-channel API 1608 console and JBL® Professional M2 Master Reference Monitors in the main control room and two 5.1 surround sound post/editing suites equipped with SSL Nucleus DAW controllers. Additionally, the facility is equipped with products from Audio-Technica, Fredenstein Professional Audio, the HARMAN® Professional brands (AKG® Acoustics, JBL Professional and Lexicon®) and Shure. Representatives from these supporters were in attendance at the red-carpet event to help celebrate the studio’s opening.

Subcommittee member Steve Durr of Nashville-based Steven Durr Designs also served as the designer for the studio, laying out the acoustical and ergometric concepts. His portfolio includes studios for Austin City Limits, The Black Keys, Mark Ronson, Lenny Kravitz and Zac Brown. He stated, “I tried to achieve a design that would allow students to experience recording music with both machines and people,” Durr explains, citing the large control room that will allow several students and teachers to work comfortably using drum machines, digital samplers and synthesizers as well as the recording equipment, and the sizable tracking room where they will be able to capture great recordings of live musicians playing in ensemble. “What I hope this ultimately accomplishes is that kids will now be able to learn about making music in an environment that was designed around great sound. Kids who have been brought up on MP3s can experience what music can really sound like. That can change their lives.”

The studio, which cost $1.2 million to build and outfit (not including thousands of hours of donated labor), is a multi-room facility with a spacious control room whose sleek design belies the challenges it posed to make it conform to classroom and other design requirements, such as adapting access to the API 1608 console for ADA compliance. “There was so much that went into this that goes way beyond the typical recording studio,” said Nashville P&E Wing Co-Chair Chuck Ainlay, a GRAMMY® Award-winning producer/engineer who has worked with artists including Mark Knopfler, Miranda Lambert, George Strait and Peter Frampton. The studio also features several isolation booths and two 5.1 surround sound editing suites with acoustical treatments donated by Acoustics In A Box and Perdue Acoustics. In addition, the facility houses a multi-station teaching area with individual Apple iMac-equipped workstations for 30 students connected to the teacher’s station and to the studio.

Multiple GRAMMY Award nominee Jeff Balding says the project was about giving back to the community, but it was also a technical challenge in which P&E Wing members were eagerly engaged. “It’s great to see the whole community come together over this — teachers, artists, engineers, producers, and more. I believe in pouring our experience into the generation coming after us. If we can take our ceiling and make that their floor, it will allow them to take our industry to a much higher level, and that’s exciting to me.”

“My vision for Music City is to have the best music education program in the world,” Mayor Dean said. “The music industry and philanthropic community have embraced this vision and are working tirelessly with the city and Metro Schools to make it a reality. The opening of this label and studio are wonderful milestones in the development of Music Makes Us and moves us closer to that ultimate goal.”

Balding continued, “We wanted to get the feel of a real recording studio here, but we also knew it needed to function as an actual classroom.” He added that even through the Pearl-Cohn studio is an amalgam of state-of-the-art technology and the exceptional technical experience of the P&E Wing members, it’s far more than the sum of its parts. “This is something that will always be here,” he says. “It’s for future generations of music creators.”

About Music Makes Us
Music Makes Us is a joint effort of Metro Nashville Public Schools, Mayor Karl Dean and music industry and community leaders. The Music Makes Us initiative will lead the nation in music education. With a focus on music literacy and student participation, Music Makes Us is strengthening traditional school music while adding a contemporary curriculum that embraces new technologies and reflects a diverse musical landscape.

Photo File: PearlCohn_Group.JPG
Photo Caption: Pictured L-R: Sonia Stewart, Principal, Pearl-Cohn; Don Wershba, Sr. Vice President, SSL; Piers Plaskitt, CEO, SSL; Roxanne Ricks, Artist Relations, Audio-Technica; Sam Lorber, Instructional Designer, Pearl-Cohn; Ben Fowler, P&E Wing Sub-Committee member and producer/engineer; Nick Palladino, P&E Wing Sub-Committee member and Owner, NPALL Audio; Mayor Karl Dean; Julian King, P&E Wing Sub-Committee member and producer/engineer; Joseph Wagoner, Product Manager, AKG; Nancy Shapiro, Sr. Vice President, The Recording Academy; Steve Durr, Owner, Steven Durr Designs; Chuck Ainlay, P&E Wing Committee Chairman and producer/engineer; Scott Hendricks, Sr. Vice President of A&R, Warner Music Nashville; Jon Randall Stewart, The Recording Academy Nashville Chapter President and singer/songwriter/musician; Jeff Balding, P&E Wing Sub-Committee Chair and producer/engineer; Peter Chaikin, Senior Manager Recording and Broadcast Marketing, JBL Professional; Dr. Jesse Register, Director of Schools, MNPS; Larry Droppa, President and Owner, API; Terry Palmer, Owner, Terry Palmer Services; Ryan Smith, Regional Manager of Artist Relations, Shure Incorporated. Photo by Frederick Breedon. Photo courtesy of The Recording Academy®/WireImage.com. © 2013.

Award-winning and fully integrated motion design and production studio Royale is pleased to welcome Executive Producer Chris Volckmann, Head of Digital Production Beck Henderer-Peña, and Senior Art Director Loren Judah. The three, formerly of Superfad, will head Royale’s new Seattle, Washington location, and work closely with the Los Angeles office to create cohesive branding strategies for clients across broadcast, digital, print, and other media.

“Chris, Beck and Loren are extremely well-versed in the digital and traditional broadcast spaces, with a proven track record for developing innovative content for the world’s largest brands,” says Brien Holman, Royale Partner/Executive Creative Director. “Their experience shores up our existing capabilities, and also extends our reach into new territories.”

“This was a really easy decision for us,” adds Volckmann. “From our very first conversations, it was clear that we’re all very aligned about where we want to go and how we’re going to get there. Embracing digital and expanding capabilities is a natural evolution of what Royale has done so well for many years – which is create exciting and effective design-driven experiences.”

As Executive Producer, Volckmann will oversee production and sales strategy for both offices across all digital and traditional initiatives. Most recently, he was Executive Producer of Superfad’s Seattle office, where he played an instrumental role in numerous projects, including the Sony “Make.Believe” film series, the “Supermodeled” iOS app for Lexus & Team One, the FWA Award-winning “Sandwich Cannon” iOS app for Jimmy Johns & Evolution Bureau, a digital Super Bowl extension for Cars.com, as well as award-winning campaigns for Sprint and Nike.

Henderer-Peña will spearhead digital production at Royale, as well as internal and external strategies related to growing the company’s capabilities. He most recently held the same position at Superfad in Seattle. Notable work includes the just-launched Coke “Ahh” mobile web campaign via Wieden + Kennedy, the “Call of Duty: Black Ops 2” web takeover through 72andSunny, and web films and TV campaigns for Toyota with Saatchi & Saatchi.

Senior Art Director Loren Judah brings his traditional filmmaking background to bridge the gap between cinematic storytelling and the interactive experience. As a freelancer, he worked with companies such as Razorfish and Paranoid US, before joining Superfad Seattle as an Art Director in 2009. There, he was the driving creative force on projects such as the Lexus “Supermodeled” iOS app, and campaigns for Sony, Nike, NFL on FOX, and Netflix. Earlier in his career, Judah was a compositor at Bent Image Lab, where he worked on stop-motion, live-action, and CG commercial projects.

About Royale:
We are a design company helping brands connect with consumers. We believe that design transcends medium and technology to invent creative solutions using both. Our collective of directors, designers, animators, developers, editors, and producers are all led by the single vision of creating engaging experiences that influence the behavior of our audience, and make them smile in the process.

For more info about Royale, please go to: www.weareroyale.com.

Leading photo and electronics retailer converts Manhattan’s 18th Street into a family festival of food, fun and technology

New York, NY – May 23, 2013 – Adorama, one of the world’s largest photography, video and electronics retailers, is again holding one of New York City’s most popular, free summer family events, its Third Annual Street Fair, on Sunday, June 23, 2013.

Last year’s festival attracted more than 20,000 attendees. With more rides, games, food and technology vendors confirmed, this year’s festival is expected to be even bigger. Major camera and electronics brands who will be at this year’s event include Apple, Nikon, Canon, Dell, Samsung, Verizon, Bogen, Pentax, Adobe, Sony, Panasonic, LG, Intel, Sandisk, Lexar and Western Digital. Adorama has lots to offer, too – Adorama PIX, Rentals, Used and the Learning Center will all have booths to visit at the fair.

The Street Fair is a great way for families to enjoy a fun-filled day together, kick off the summer season and participate in a variety of interactive games and activities, including free photography clinics in Adorama’s outdoor Learning Center tent. Festival highlights include:

• Carnival Games and Petting Zoo – A host of carnival games and a live petting zoo will be great fun for kids, and kids-at-heart, throughout the day.
• Food! – An amazing variety of food choices – it just wouldn’t be a Street Fair without it.
• Prizes and Raffles – Dozens of raffle items and prizes will be given away all day long.
• Vendor Exhibits – Test-drive the latest digital imaging technology from some of the biggest brands in photography.
• Celebrity Appearances
• Adorama Technology Learning Center – Learn how to make better photos and videos from some of the best photographers in the world at Adorama’s outdoor Technology Learning Center. Learn to shoot like a pro!
• Get a Technology Makeover With Special Product Pricing From Adorama – Bring your old camera gear and upgrade to the latest digital technology. Adorama is offering special pricing and trade-ins for one day only.

Adorama’s Third Annual Street Fair will be held on Sunday, June 23, 2013, from 10:00 a.m. – 4:00 p.m., on West 18th Street, between Fifth and Sixth Avenues. Adorama’s retail superstore is located at 42 West 18th Street, making the street an ideal place for families to take advantage of the technology-related activities happening during the fair.

ABOUT ADORAMA
ADORAMA: More Than a Camera Store
Adorama is more than a camera store – it’s one of the world’s largest photography, imaging and electronics retailers. Serving customers for more than 30 years, Adorama has grown from its flagship NYC store to include the leading online destination for photography, imaging and consumer electronics. Adorama’s vast product offerings encompass home entertainment, mobile computing, and professional video and audio, while its services include an in-house photo lab, AdoramaPix, pro equipment rental at Adorama Rental Company and the award-winning Adorama Learning Center, which offers free education for photographers in video channels such as the popular AdoramaTV.

Adorama is listed as Forbes.com’s “Best of the Web” and in the Internet Retailers Top 100, and is the official Photo and Electronics Retailer of the NY Giants.

Visit ADORAMA at http://www.adorama.com.

Press Contact:
Anya Oskolkova
Zazil Media Group
(e) anya@zazilmediagroup.com
(p) 617.817.6559
(skype) anya.oskolkova

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WorldStage recently upgraded the infrastructure & systems at Jazz at Lincoln Center, where it is the exclusive vendor for AV, to reduce set up time for shows and increase system flexibility. The Nickelodeon upfront and the gala honoring Time’s 100 Most Influential People in the World were the first large-scale events to utilize the venue’s improved technical capabilities.

At Jazz, WorldStage installed a centralized control facility with an extensive equipment roster, which can handle multiple shows efficiently and cost-effectively without bringing in full equipment packages for each event. A built-in Vista Spyder X20 screen-switching system is at the core of the control room along with a multi-viewer monitoring system.

“It’s a very comprehensive approach,” says WorldStage president Joshua Weisberg. “Having screen management capabilities built into Jazz allows us to manage images displayed on multiple screens as part of productions. The built-in Spyder offers flexibility and power combined with superior image quality.”

Productions also save time and money by utilizing fiber-optic cabling run by WorldStage to maximize production efficiency and provide the best signal transmission.

While the upgraded centralized control facility features a very complete equipment roster, WorldStage continues to customize productions as required with gear from its large rental inventory. “It’s rare that we don’t need to supplement the built-in equipment with gear specific to a job,” Weisberg says.

The engineering department at WorldStage, where Barry Grossman is the company’s head of engineering and Michael Cruz director of QC, designed and implemented the new centralized control facility, which is housed, along with comprehensive QC monitoring, in a tech room adjacent to the Rose Theater.

Doug Hosney, Vice President, Frederick P. Rose Hall, concluded, “Eliminating the repetitive equipment loading in and out of the facility streamlines the process and allows the engineers to focus on the client’s needs much earlier. Time that was being spent on load in and set-up is now focused on taking care of the client and helping them reach their production goals.”

WorldStage Inc., the company created by the merger of Scharff Weisberg Inc and Video Applications Inc, continues a thirty-year legacy of providing clients the widest variety of entertainment technology coupled with conscientious and imaginative engineering services. WorldStage provides audio, video and lighting equipment and services to the event, theatrical, broadcast and brand experience markets nationally and internationally.

Vizrt Inc. announced today that a world-wide agreement has been entered with Mosart to provide an optimized newsroom automation system for the broadcast industry.

Mosart is the number one newsroom automation system used by broadcasters in Europe. The software-based automation system offers an extremely efficient workflow for controlling complex, content-rich productions with only a single operator. Using off the shelf client/server hardware, Mosart requires little infrastructure for creating a fully automated news environment.

Combined with the Vizrt end-to-end graphics and video workflow, the Mosart automation system now is a complete package for the entire newsroom workflow from the news editorial process to live on-air production. With just a single Viz Engine added to the Mosart production, broadcasters can create a full show with advanced graphics and video playback in a light-weight and cost-effective solution.

“Vizrt is the global market leader in broadcast graphics. We are therefore grateful that Vizrt have chosen a close cooperation with Mosart for the future,” Mosart’s CEO John Kjellevold states in a comment. “Our aim has been that automation systems like Mosart shall be a natural part of gallery upgrades in the future. Soon, we will be able to make solutions taking care of an even greater part of the workflow starting with newsroom system tools. Broadcasters need to enhance quality, reduce costs and simplify news desk work. The Vizrt – Mosart partnership offers such solutions.”

“This agreement represents a major shift in how broadcasters will look at controlling their news broadcasts”, said Petter Ole Jakobsen, Chief Technology Officer, Vizrt. “When adding the Viz Engine real-time compositing capabilities to the Mosart automation system, any operator can drive the most complex transitions and studio effects from a single interface.”

Together Vizrt and Mosart lead the way bringing this powerful automation system to broadcasters as the most advanced news production platform on the market.

Petter Ole Jakobsen will present the Vizrt TV in a box solution at the Mosart Broadcast Summit in London May 23rd and 24th. At Broadcast Asia in Singapore, Mosart and Vizrt will display their automated integration, June 18th – 21st booth 5H3-01.

About Mosart

Mosart Medialab is a subsidiary of TV 2 Norway and one of the cluster of technology spin-offs originating from TV 2, including Vizrt, StormGeo, Vimond, and Wolftech. Mosart Medialab (www.mosart.no) develops and markets the Mosart® automation system for news, sports, weather, and live broadcasting applications. Conceived in 2002 at TV 2 by professional news directors, producers, and editors, Mosart meets the demands of live production by simplifying workflow and control, eliminating operational errors, and providing a highly flexible environment for ad hoc operation. High-level gallery control is combined with a sophisticated user interface, making it easy to override the schedule and improvise when breaking news demands instant response. Open-systems architecture ensures industry-leading compatibility with the widest range of third-party systems. Mosart is used for prime-time shows and 24/7 operations by major broadcasters. Mosart is Europe’s market leader in studio automation. ARD, BBC, SKY, N24, TV2 Denmark, SVT, YLE, Global TV, and NRK are a few of its customers.

About Vizrt:

Vizrt provides real-time 3D graphics and asset management tools for the broadcast industry – from award-winning animations & maps to online publishing tools. Vizrt’s products are used by the world’s leading broadcasters and publishing houses, including: CNN, CBS, Fox, the BBC, BSkyB, ITN, ZDF, Star TV, Network 18, TV Today, CCTV, NHK, The Globe and Mail, Times Online, The Telegraph, and Welt Online. Furthermore, many world-class production houses and corporate institutions such as the Stock Exchanges in New York and London use Vizrt systems.

Vizrt is a public company traded on the Oslo Main List: VIZ, ISIN: IL0010838154. For further information please refer to www.vizrt.com

SEATAC, WA— Professional video and audio system solutions firm Advanced Broadcast Solutions (ABS) today announced Bill Floyd joined the company in April as an inside sales manager, assisting customers with sales quotes and additional responsibilities. Floyd spent more than 20 years in sales at Professional Video and Tape near Portland, Ore. Prior to joining ABS, he also worked as an account manager in the Pacific Northwest for VMI, Inc.

“Bill knows the area, knows the market, and knows the products and services that we can provide,” said Arco Groenenberg, executive vice president and general manager of ABS. “I am extremely pleased to have him as part of the ABS team, and I know he’ll be a big asset for our sales efforts.”

Floyd is based in Portland. Contact him at (503) 550-0171 or via e-mail at bill@advancedbroadcastsolutions.com.

About ABS:

Based in SeaTac, WA, ABS (Advanced Broadcast Solutions) delivers customized, technologically superior solutions for broadcast, corporate, house of worship, entertainment, government, and educational facilities – from design and integration to installation and support services. Since 1982, its experienced technical staff has installed more than 700 systems for clients including Fisher Communications, Cowles California Media, Real Networks, Cisco Systems, and Microsoft Studios. For more information, call 206-870-0244 or visit www.advancedbroadcastsolutions.com.

New York, New York, May 23, 2013 – International visual effects, design and content company Gravity announced today that the three key creative and production executives from Superfad NY have re-assembled as SCOUT, a new divison of Gravity. Gravity CEO/CCO Zviah Eldar made the announcement.
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The newly launched SCOUT is led by Creative Directors Chace Hartman and Brian Drucker, along with Head of Production Whitney Green.
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“Integrating the talents of Chace, Brian and Whitney as SCOUT, in conjunction with the Gravity brand, now gives us a wider and more complimentary array of design, VFX and live action solutions to service for all types of media,” said Gravity CMO/Executive Producer Bob Samuel. “We were huge fans of Fad & Superfad over the years, and having SCOUT with us now truly deepens our creative arsenal for all types of projects.”
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“Gravity has provided a wonderful set-up for us,” said Hartman. “They are allowing us to use our new moniker of SCOUT to continue the great work we’ve for which we’ve been been known, yet we are also now able to collaborate with Gravity’s talent in innovative ways. Zviah has created a great energy and has built Gravity NY into a real creative force. We share a common goal: to find the best talent for each project, and approach each project from a unique creative perspective.
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ABOUT CHACE HARTMAN:
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Chace Hartman has been illustrating, designing and animating for over 15 years. He began his career in technical illustration, with opportunities to use illustration and design in motion within a diverse range of projects.
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Hartman has worked with numerous design companies on both the East and West Coasts, including Digital Kitchen, Brand New School, Buck, Hush, Superfad, and many others. During his tenure with these creative shops, he contributed to commercials, brand identities, ad and promo campaigns, and show packages for such major clients as MTV, Chevrolet, ESPN, Ritz, New York Lottery, American Express, AT&T, Pepsi, Charles Schwab, NBC, and others.
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ABOUT BRIAN DRUCKER:
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Brian Drucker is a multi-disciplinary designer/director with extensive experience in Architecture, Set Design, 3D Computer Graphics, Visual Effects, Production Design, Projection Design, Exhibit Design, Illustration, and Broadcast Design.
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Drucker studied Architecture and Civil Engineering, and his educational background has clearly influenced his work. He began his architectural career at the Los Angeles office of Frank Gehry and Coop Himmelblau, and then transitioned to set design, working on various film and music video projects. From there, Drucker segued to work at companies such as Sony Imageworks, Cinesite, DreamWorks, Nickelodeon and Digital Domain, working on a variety of 3D films and visual effects.
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Merging his talents to design spaces and exhibits, as well as media pre-sentations seen within them, Drucker worked on behalf of various museums and stage theaters. He worked on projects at the CDC and the Smithsonian Museum, while also contributing to the stage productions “Frank Sinatra: His Voice, His World, His Way” and “Legally Blonde.”
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Drucker served as in-house Creative Director with many production companies based in New York, both designing and technical directing commercials. In addition to his role with Superfad, he has also worked at Trollback, Loyal Kaspar, Brand New School, Psyop, Mass Market, The Ebeling Group, Curious Pictures, Freestyle Collective and others. During those years, Drucker directed a number of short films and commercials, and promoted such major brands as Lean Cuisine, Hyundai, Target, Hertz, Nickelodeon and HBO, to name just a few.
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ABOUT WHITNEY GREEN:
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SCOUT’s Head of Production Whitney Green has produced design, motion graphics and visual effects projects for the last nine years. As part of the production teams at Charlex, Headlight, Trollbäck + Company, and Superfad, Green has diverse experience collaborating with ad agencies, broadcast networks, and museums, as well as direct to client projects. Green has produced brand promotional projects for NBC, Covergirl, Gillete, Verizon, TNT, and Lean Cuisine, ranging from commercials and 3D stereoscopic projects to network re-designs, show packages, experiential design and conference packages.
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ABOUT GRAVITY:
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Gravity is an international visual effects, design and content company with proven expertise in Features & Television, Commercials, and Digital Content. With 250 talented professionals across offices in New York, Los Angeles, and Tel Aviv, the company is a widely renowned generator of high-end visual effects, creative content, motion graphics design, animation, branding, and digital strategy.
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The company’s clients include Universal Pictures, Warner Bros., DreamWorks, Sony Pictures Entertainment, HBO, Paramount Pictures, Virgin Produced, The Weinstein Company, Dimension Films, Coca-Cola, General Motors, Mercedes Benz, Verizon, Pantene, MGA Entertainment, BMW, Kmart, and Microsoft. Gravity’s feature film credits include “Tower Heist,” “Crazy, Stupid, Love,” “The Adjustment Bureau,” “Arthur,” “The Other Guys,” “Salt,” “The Reader,” and “Ghost Town.” The company’s television credits include HBO’s “Bored to Death,” “The Sopranos,” and “Sex and The City.”
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Gravity’s New York office is located at 315 Madison Avenue, 3rd Floor, New York, NY, 10017. The phone is 212/986-1584. The company’s West Coast office is located in the Lantana Building, 3000 West Olympic Blvd., Santa Monica, CA, 90404. The phone is 310/264-3909. For more information, please visit www.gravityworld.com
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To visit SCOUT’s website, please see: scoutnyc.tv

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Los Angeles-based Production Company uses media management platform to build reels and drive sales.

Laguna Niguel, Calif.–Ed Rivero, managing director of Los Angeles production company Cortez Brothers, has worked in advertising for more than 20 years has witnessed many changes in the industry, including the way companies like his market their services. When Rivero was getting started in his career, production companies recorded show reels for their directors onto ¾-inch videotapes. They were time-consuming to prepare, awkward to manage and expensive to ship. “We would edit them once a quarter,” he recalls. “They were our calling cards.” more…