Press Releases For : April 17, 2014

Winter X Games Chooses HARMAN’s Soundcraft Vi1 As Part Of A New Integrated Fiber Optics Network

LAS VEGAS, Nevada – Ed Johnson Audio, designer and contractor of audio systems, is a private company specializing in large events such as the NAB Conventions, Red Bull Events, and the Summer and Winter X Games. Having provided reliable technical expertise for these events for 14 years, owner Ed Johnson always relies on the most suitable gear for each event, opting this year for HARMAN’s Soundcraft Vi1 digital console to mix the sound at the 2014 Winter X Games.

Held in Aspen, Colorado, the Winter X Games presented a different challenge for the audio engineers, as they were required to mix the live aspect of the show and share feeds with television broadcast on ESPN. To achieve this, for the first time as one big system at the Winter X Games, fiber optics were used to create an integrated connection between the TV network and the control tower, essentially allowing them to share all feeds and signals.

“The X Games is unique, because from an audio standpoint, there are two shows streaming simultaneously,” said Johnson. “We needed detachment and integration on the fly, and so we chose the Soundcraft Vi1 console to make the marriage between the two shows possible. We have used Soundcraft for the past couple of years, but by adding a single-mode fiber card, we were able to integrate and share all the signals on the MADI stream.”

The Soundcraft Vi1 allows for splitting of the feeds, which in the case of this show was not only appreciated but also necessary. The Winter X games are split between: venue A, the area for Super Pipe, Big Air and Slope Style, and Venue B, which catered to Motorsports (three events), Snowboarder X and Slope Style. Both the program feeds and music feeds are assigned to 28 loudspeaker zones.

“With the Soundcraft Vi1 and a fiber optic cable that routes everything to both venues, I was able to interchange feeds without interruption,” said Johnson. “The console is self-explanatory and intuitively designed, as everything I did, from sharing content on the MADI stream to interfacing with the TV segment, was easy and smooth. Thanks to Soundcraft I was able to cover this huge area within my budget.”

“With the Vi1, I’m always able to not only keep operations within a small footprint, but also control two different areas on the Vistonics™ touchscreen,” said Johnson. “This console is superior in a lot of ways, as it only took me 20 to 30 minutes to familiarize myself with everything. Due to the successes of integrated HARMAN products, I’ve also requested Soundcraft consoles and JBL loudspeakers for upcoming large events such as the Summer X Games.”

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

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Legends of Storytelling Gather Once Again in Manhattan for the Filmmaking Event of the Year: Sight, Sound & Story

Three-time Academy Award-winner Michael Kahn joins this year’s lineup of celebrated artists, editors and filmmakers

New York, New York – April 17, 2014 – Manhattan Edit Workshop (MEWShop), the cutting-edge authorized digital training destination for post-production and content creators, today announced the all-star list of guest speakers and panelists for its special one-day event, Sight, Sound & Story, held on June 14, 2014 at the French Institute in mid-town Manhattan. “Sight, Sound & Story is one of the few events that brings together the community to celebrate the art of post-production. This year, we’re pulling out all the stops. We’ll see film scenes evolve and discuss that process live with the editors who shaped them. We’ll also screen key scenes from The Wolf of Wall Street – from simple production sound to the final surround mix – with the team who crafted it. And to close this year’s extraordinary show, Michael Kahn, A.C.E. will look at iconic scenes and share stories from his more than 30-year collaboration with Steven Spielberg,” says Josh Apter, founder and president of Manhattan Edit Workshop. “From box office blockbusters and sports docudramas to the golden age of television, Sight Sound & Story is a celebration of creativity – not to mention a huge networking party – that will appeal to movie lovers, seasoned professionals, fledgling editors and students alike.”

Dedicated to the art of filmmaking, this special one-day symposium features the following Oscar winners and industry thought leaders:

• Michael Berenbaum, A.C.E. – “Before Night Falls,” “Sex and the City,” “The Americans”
• Brad Buckwalter, editor – HBO’s “24/7” series
• Colin Beattie, post-production – 2014 Winter Olympics
• Eugene Gearty, MPSE – “Hugo,” “Life of Pi,” “Wolf of Wall Street,” “Eternal Sunshine of the Spotless Mind”
• Michael Kahn, A.C.E. – “Schindler’s List,” “Saving Private Ryan,” “Raiders of the Lost Ark”
• Gary Levy, editor – “Nurse Jackie,” Royal Pains”
• Sam Miille, sound editor – “Hugo,” “Life of Pi,” “Wolf of Wall Street”
• Cindy Mollo, A.C.E. – “House of Cards,” “The Book of Eli”
• Jonathan Oppenheim, editor – “Paris is Burning,” “Children Underground”
• Bobbie O’Steen, film historian and author of “Cut to the Chase”
• Phil Parrish, producer, director, editor – ESPN, CBS and NBC
• Meg Reticker, editor – “30 Rock,” “True Detective, “Bored to Death,” “The Wire”
• Garret Savage, editor & producer – “My Perestroika,” “The Fall”
• Maddy Shirazi, MPEG & MSPE – “Running on Empty,” “Bonfire of the Vanities,” “Valmont,” “No Nukes”
• Phil Stockton, MPSE – “Hugo,” “Shutter Island,” “Wolf of Wall Street,” “Life of Pi”
• David Teague, editor – “Mondays at Racine,” “Sun Come Up”
• Christian Winters, producer/editor – 2014 Winter Olympics and HBO’s “24/7” series

Sight, Sound & Story Panel Topics
Apter comments on the diverse range of topics offered at this year’s event, “The breadth and depth of talent participating in Sight, Sound & Story allows us to cover a number of filmmaking topics in depth.” Planned Sight, Sound & Story panel sessions include “Anatomy of a Scene: Deconstructing the Documentary,” “TV is the New Black – Television’s Cinematic Revolution,” “Fast and Furious – Cutting Sports Television,” “The Wolf of Wall Street Soundscape from Production Audio to Final Mix,” and “Inside the Cutting Room with Bobbie O’Steen featuring Michael Kahn, A.C.E.”

For more information about panel topics, speakers and moderators, please click HERE.

Register for Sight, Sound & Story
The Sight, Sound & Story will take place on June 14, 2014 at the French Institute located at 55 East 59th Street. Admission is $89.00, with discounts and free passes to select partner organizations. A networking party with open bar, hors d’oeuvres and sponsored giveaways is included in the price.

To register, please click HERE.

Members of the media can register for a press pass by contacting Anya Oskolkova, anya@zazilmediagroup.com.

About Manhattan Edit Workshop – Certified Training in New York City and Your City
Headquartered in the Flatiron District of New York City, Manhattan Edit Workshop was founded in 2002 with the goal of providing cutting-edge instruction on Apple®, Adobe® and Avid® platforms. Since then, MEWShop has added Digital Cinema Production classes, DaVinci Resolve, Autodesk® Smoke®, Assimilate Scratch training and a two-week documentary film production course 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 offer 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 has quickly won it the reputation as New York’s premier post-production teaching facility.

Follow @mewshop on Twitter and Facebook. For more information on Manhattan Edit Workshop, please visit: www.mewshop.com.

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

Lauren Leger
Zazil Media Group
lauren@zazilmediagroup.com
(p) 508.498.8433
(skype) lauren.zazil

####


Madheart Signs Emerging Commercial Director Joshua Traywick

LOS ANGELES—Madheart has signed director Joshua Traywick for exclusive national representation. The agreement marks Traywick’s first formal affiliation with a commercial production company. The director’s latest work, a Mother’s Day ad for Hallmark, breaks nationally this month.

Madheart executive producer Lisa Phillips praised Traywick as a natural storyteller whose skills show a maturity and polish rare in a young director. “Joshua’s talent is obvious,” Phillips says. “His work is genuine and shows a deep empathy for his characters that is very powerful.”

“I am also impressed with his ability to work with major brands and develop content that is strategically on point without feeling contrived,” Phillips adds. “He has great potential.”

Joshua Traywick

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Vietnam Television Enhances Program Preparation with Dalet Media Life

Dalet drives smart QC and compliance workflows; highly scalable MAM supports future production demands

Paris, France – April 17, 2014 – Dalet Digital Media Systems, a leading provider of Media Asset Management (MAM) solutions, software and services for content producers, announced today that Vietnam Television (VTV) is deploying Dalet Media Life, which is powered by the Dalet Galaxy enterprise MAM, to enhance end-to-end management of program preparation.

Vietnam’s national broadcaster selected Dalet Media Life as the outstanding solution on the market to optimize its Quality Control (QC) workflows and to modernize its compliance editing process. Tightly integrated with VTV’s existing technical infrastructure, the broadcaster has advanced plans to expand Dalet Media Life in support of wider operational and production workflows.

“What we wanted was a comprehensive approach to tracking data and orchestrating the movement of media from one system to another in order to maximize the benefits of file-based workflows and eradicate costly and wasteful errors, which inevitably occur through manual data entry,” explains Mr. Tue Nguyen Duc, deputy director, technical center, Vietnam Television. “We issued a tender that specifically called for a MAM solution to modernize key areas of our existing workflow, and Dalet has proved to be absolutely the right choice of partner.”

Headquartered in Hanoi, VTV is the national public broadcaster of Vietnam. It operates five channels and six regional broadcasting centers serving a mix of news, sports, educational and entertainment programming. When Dalet Media Life goes live this summer, the installation will allow VTV to rationalize its workflow and greatly improve its compliance and QC procedures.

“In today’s competitive times, content quality emerges as one of the critical factors for success, and this key criteria has been prioritized by Vietnam Television. Until now, Quality Control was a tedious task during which an operator had to often view all of the content to detect errors. This is a costly and time-consuming procedure in which metadata could not even be checked,” comments Tomer Azenkot, general manager, Dalet Asia Pacific. “With complete metadata oversight, Dalet Media Life is able to analyze data, detect potential defects and alert QC resources to spot check specific content. We are delighted to take this approach to VTV to help them better utilize existing assets and focus their resources solely on correcting quality issues, saving them considerable amounts of time and money while enabling them to create higher-quality packages for distribution.”

Central to VTV’s new content preparation platform is Dalet Media Life, a versatile, scalable MAM-based solution built on the Dalet Galaxy enterprise MAM platform. The combination manages all media files and associate metadata with deep integration into VTV’s existing best-of-breed systems including Tektronix Cerify, Avid edit stations, Harmonic MediaGrid and NetApp storage, as well as Etere automation and VTV’s in-house traffic system.

“From our successful experience working with Dalet on this project and with our confidence in Dalet Media Life powered by Galaxy as a high-performance, easily scalable MAM system, we are currently exploring ways we can capitalize on its full range of capabilities to further enhance our operational and production workflows,” says Mr. Tue.

In the enterprise deployment, which was led by the local systems integrator Tekcast, tape- and file-based media is ingested into VTV’s NetApp proxy storage facility under Dalet’s control. Web-based access to content lets users quickly search the content catalogue and archives, retrieve media, add metadata, and make shot selections. The installation features purpose-built production tools such as Dalet WebSpace and Dalet Onecut interfaced with Avid Media Composer craft stations through Dalet Xtend to supplement program preparation. Packages finished in Avid Media Composer can be saved for manual (eyeball) or automated QC in Tektronix Cerify before playout or distribution to VTV’s regional broadcast centers. Metadata is tracked at every step across the workflow.

“Because Dalet Media Life manages assets from ingest to archive, across systems and subsystems, it maintains detailed metadata information throughout the entire workflow,” explains Azenkot. “The core workflow engine can be configured to analyze metadata that has passed through QC processes and flag problem areas, automatically issuing alerts to operators and generating locaters that can be accessed by non-linear editing systems should content need to be ‘fixed’ in post.”

Alongside automated QC, the Dalet MAM workflow engine drives many back office processes at VTV such as automated transcoding, accelerated file transfers and content delivery. Dalet Media Life also facilitates the fluid exchange of content stored for longer-term archive on VTV’s Harmonic MediaGrid.

About Dalet Digital Media Systems
Dalet solutions enable broadcasters and media professionals to create, manage and distribute content to both traditional and new media channels, including interactive TV, the Web and mobile networks. Dalet combines into a single system a robust and proven Asset Management platform with advanced metadata capabilities; a configurable workflow engine, and a comprehensive set of purpose-built creative and production tools. This integrated and open environment enables end-to-end management of the entire News and Sports and Program content chain, and allows users to significantly improve efficiency, and to maximize the use and value of their assets. Dalet’s solutions are delivered through a dedicated Professional and Integration Services Department to ensure the highest possible standards.

Dalet systems are used around the world by many thousands of individual users at hundreds of TV and Radio content producers, including public broadcasters (ABS-CBN, BBC, CBC, DR, France TV, RTBF, RFI, Russia Today, RSR & TSR, RT Malaysia, VOA, WDR), commercial networks and operators (Antena 3, Canal+, FOX, eTV, Mediaset, Orange, Time Warner Cable, Warner Bros., Sirius XM Radio), and government organizations (Canadian House of Commons, The European Commission, Parliament of South Australia). Dalet is traded on the NYSE-EURONEXT stock exchange (Eurolist C): ISIN: FR0011026749, Bloomberg DLT:FP, Reuters: DALE.PA.

For more information on Dalet, visit www.dalet.com.

Press Contacts:
Anya Oskolkova
Zazil Media Group
(e) anya@zazilmediagroup.com
(p) +1 (617) 817-6559

Lauren Leger
Zazil Media Group
(e) lauren@zazilmediagroup.com
(p) +1 (508) 498-8433

####

Dalet Galaxy QC


Carlos Elizalde Blends Singing and Dancing Seamlessly With HARMAN’s AKG WMS4500 Wireless Microphone System

SAN RAMON, California – As an integral member and founder of Ruckatán, a Latin, Reggae and World music group, percussionist/singer/songwriter Carlos Elizalde relies on high-quality audio equipment to accompany his dynamic and animated performing style. For optimal sound quality and hands-free performance, Elizalde is currently using HARMAN’s AKG WMS4500 Wireless Microphone System with D7 microphone, plus the AKG IVM 4500 In-Ear Monitor Set.

“Having booked 75 shows already for 2014, I’ll be using the AKG WMS4500 system for all of them,” said Elizalde. “There is a lot of movement in my shows, where I jump off risers, dance and perform hand percussion at the same time. We require a solid wireless system, and AKG delivers on that need.”

Not only does Elizalde create an artistic fusion between English and Spanish in each Ruckatán act, but he also provides vocals and percussion for Caravanserai, a Santana tribute band. For both acts, the WMS4500 has been key to his ability to produce lively and creative shows.

“I’ve also been using the wireless system in the studio and it sounds killer,” continued Elizalde. “When you transition from wired microphones, the wireless ones tend to sound a little thinner. However, these AKG microphones have such warmth to them. The WMS4500 is a really nice system, as it has the D7 capsule in it, so I know it shares that technology.”

The AKG D7 reference dynamic vocal microphone is a powerful tool for vocalists, as it provides an extraordinarily crisp and clean sound via the dual-layer Varimotion diaphragm. It is extremely durable, and as the very first AKG product that Elizalde became familiar with, provides an unhindered degree of reliability as well.

“I first saw and sampled the D7 wired microphone two years ago at The Secret Studio in Alamedia, California. The next week, I bought one for myself,” said Elizalde. “I fell in love with this product and started touring with it to every location. It is so reliable and easy to operate, since I can just plug it in and start the show.”

The AKG IVM 4500 In-Ear Monitoring System maintains stable signals with a new reference radio electronic design, resulting in uncompromised audio monitoring quality, which Elizalde describes as “very cool. It represents accurately what the monitor mixer is giving you.”

“As I’m a part of the Latin community, I’m excited to help raise AKG’s exposure in the Latin market,” Elizalde concluded. “Since these products are both affordable and also high in quality, I believe they deserve more presence in this space.”

For more information on Ruckatán, please visit www.ruckatan.com

For more information on Caravanserai The Santana Tribute Band, please visit www.santanatributeband.com

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

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XL Video Sees Tomorrow With Bombay Bicycle Club

XL Video supplied projection and Catalyst control for the recent UK tour by quirky and interesting indie rock band Bombay Bicycle Club, which kicked off their “So Long See You Tomorrow” album campaign and world tour.

The equipment was specified by Lighting and Set Designer, Squib, who is enjoying his second album tour with the band, which is also the first time they have embraced video visuals in their live work.
The band were heavily involved in the overall visual concept explains Squib. They wanted to bring the clean and unadulterated aesthetics of the album artwork created by London based design studio La Boca to the stage and into a completely different dimension, so Squib asked Video Designer Adam Young to assist in this process, joining Animator Anna Ginsburg who was another integral part of the team.
Some of the eye-catching material created for the show which brought elements of fun and idiosyncrasy to the stage took visual influences from the work of photographer Eadweard Muybridge and utilized early stop-motion animation techniques and stylization.
The inventive set design features seven fabric circles stretched over metal frames of varying sizes between 7 and 4 feet in diameter, free standing on floor bases, plus a scrim back cloth covering the whole upstage area. All pieces have been made by Hangman.
With projection being central to the show, it was vital that the set was designed from the outset to be fully scalable and fit many different stage sizes looking equally good in any configuration. On this UK run of shows, the set ups ranged between three and all seven circles.
Two Panasonic PT-DZ21K 20K projectors were utilized, overlaid to optimize the brightness, with the set circles treated as one large surface, and all the content programed in to one of XLs Catalyst media servers.
The circles and the full backdrop were mapped in the Catalyst with images sometimes flowing simultaneously across and through all the circles and sometimes just playing out in specific ones, creating a very unique look and feel to the performance. Much of the material was hand crafted and the show started spectacularly with over 4000 animated hand-drawn images.
The playback footage for each song was triggered by timecode into the Catalyst from the band’s backline.
Video sources were also run through a set of Showtec Sunstrip LED battens upstage, which were mapped via a second Catalyst controlled via Squib’s Hog 4 lighting console.
The projectors were “Ideal for the job” reports Squib, and came recommended by Adam Young who had used them on a number of different theatre projects. Their compact size and high output also made them very flexible, which was a must on this one … as they were rigged in every conceivable position and method – from a riser at FOH, a front truss, on side-stage stands with mega-wide angle lenses and a number of other imaginative variations – throughout the tour!
The Catalyst also changed positioning between side-stage and FOH according to venues which included town halls, some larger theatres and academies.
A projection set up of this complexity and precision was relatively ambitious for the itinerary – and that was one of the challenges!

The video tech on the tour was Phil Mead, also suggested by Squib and working via XL.
The plan is to expand the projection concept as the tour grows and gathers momentum throughout the year. Its innate adaptability means it can also be used as a ‘specials’ package for festival scenarios.
XL’s Project Manager Jo Beirne comments, “We are delighted to be working with Bombay Bicycle Club. Squib’s production design is fresh and completely different and we are all really looking forward to seeing it develop further”.

Photos: Scott Davies

An Array of Clay Paky Lighting Fixtures Helps “The Tonight Show Starring Jimmy Fallon” Shine

“The Tonight Show Starring Jimmy Fallon” debuted to rave reviews and top ratings, and Clay Paky fixtures are part of the mix giving a new look to late-night television.

The iconic “Tonight Show” now originates from NBC’s upgraded Studio 6B at 30 Rockefeller Center where lighting designer Fred Bock, of Ferri Lighting Design & Associates (FLDA) has used 17 Clay Paky A.leda B-EYE K20 innovative, LED-based moving lights, 16 new Clay Paky Alpha Profile 800STs and 17 Clay Paky Sharpy Washes for band lighting. The lighting package, which features some of the newest technology in the industry, is supplied by WorldStage.

Although Bock’s overall goal for the show was to keep the lights as unobtrusive as possible to both the design of the studio space and the camera, he took a different approach for the band lighting. “The Clay Paky B-EYEs are meant to be seen and provide a look for music that is fresh and new,” he says. “The flexibility of the B-EYE makes it a perfect light for effects in the haze, but they can also be used as wash lights in the music set as well.”

Drew DeCorleto, director of lighting production at WorldStage, says the B-EYEs have “turned out to be a ‘must-have’ light for the show. With only 32 channels and all macros available, there is nothing out there like it. It’s an impressive light that possesses many skills and is already the subject of a lot of chatter.”

The Alpha Profiles serve a similar purpose to the B-EYEs. “They’re a great light that can be used for effects and beams in the haze, but they can also be used to light talent and scenery thanks to their shutters,” Bock reports. He selected them for “their flat field, size, brightness, shutters and versatility” and positioned some in the grid for back lights and eye candy shooting into the camera for music. Six have been placed downstage of the music set where they are used as keys for music and to light scenery for comedy skits.

DeCorleto calls the new Alpha Profiles “probably Clay Paky’s best-kept secret. We demo’d this unit last year for NBC and they’re on the ‘Tonight Show’, ‘Today Show,’ ‘Saturday Night Live’ and ‘Late Night with Seth Meyers.’ It’s a terrific arc light with shutters and they’re quiet enough for even NBC’s smaller studios.”

The Alpha Profiles are “working very well,” according to Bock. “They transformed the music space for Lady Gaga’s performance giving a high-energy feel that enhanced the number tremendously. They also have been used to light the talent in the performance space and cue cards for sketches.”

The popular Sharpy Washes also play an important role in the late-night show’s rig. “Once I show a designer the Sharpy Wash they never look back,” DeCorleto says.

He credits A.C.T Lighting with being “there every step of the way during ‘The Tonight Show’ process and delivering fixtures ahead of schedule. The B-EYE was actually on ‘The Tonight Show’ before they were in any vendor shops; that wouldn’t have been possible without the tremendous support from Brian Dowd and his colleagues at A.C.T Lighting.”

WorldStage furnished a similar complement of Clay Paky fixtures for “Late Night with Seth Meyers” delivering the same innovative technology to another new show that’s cementing NBC’s dominance in late-night programming.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “We’re so proud to have our lights chosen for these high profile television shows. WorldStage is a great collaborator and Fred Bock is an excellent designer. Its’ great to be working with them on this.”

A.C.T Lighting is the exclusive North American distributor for Clay Paky.

Press Releases For : April 16, 2014

Galaxy 61 Delivers A Show Open For The New Season of VH1′s ‘The Fabulous Life’ That’s Pure Gold!

VHI recently called upon Galaxy 61 to create a show intro for the new 2014 season of ‘The Fabulous Life,’ the hit series that reveals the extravagant places, possessions and pastimes of pop-culture’s most famous celebrities. The Brooklyn-based animation and visual effect boutique created a lavish intro that personifies the opulent lifestyle with a series of iconic objects formed out of cascading simulated liquid gold.

 

HI created the concept and storyboard, and then tasked Galaxy 61’s owner, designer/animator/VFX artist, Doug Johnson, VFX artist, Fola Akinola and modeler/VFX artist, Jasper Johnson with the complex execution of the FX-driven intro.

 

Doug Johnson and his team did extensive R&D at the outset of the job to ensure that the content would have the specific look and feel that the client wanted. They then began the time-intensive process of sourcing all the models and putting together a full 3D animatic that choreographed the reveal of each object.

 

Doug and Galaxy 61 VFX artist, Fola Akinola, worked in tandem to create the multiple simulations and renderings of the objects, as well as the big splashes. Jasper Johnson brought a honed eye for detail to the process of reshaping the generic models of the object, simplifying some of them so they didn’t overwhelm the simulations, but still maintained their integrity, and adding fine points to others to create more detail after the liquid “solidified.” Additional transitions were created at the compositing stage and 3D elements were specifically designed to smoothly transform the initial molten liquid versions into the sharply defined finished objects.

 

“VH1’s has a very skilled and innovative in-house team,” says Doug Johnson. “Their creative director, Lucien Yang, and producer, Shelli Sweeney, are always a pleasure to work with. Their of-the-moment design for the intro, and their patience while the R&D process played out, allowed us to create a final product that we’re extremely proud of.”

 

Doug credits his company being awarded this job to its previous work for VH1’s in-house graphics department on a package for their show, ‘Best Year Ever.’ It included a tie-in to Sonic Cherry lime, which combined the soda and crushed ice spilling out of a cup to create one seamless, fluid simulation – and showed that Galaxy 61 has the level of technical skill and scope of capabilities needed to create this kind of complex content.

 

The client’s directive also included making the gold liquid flow with the consistency of honey, which was achieved by finessing the parameters in Realflow to get the right combination of viscosity and friction. Each string-like drip had to be individually simulated and then merged with the objects as they took shape. Rather than keeping the camera on the same plane, Doug Johnson devised a spiraling camera motion to emphasize the depth of the accumulating drips, and to add an element of discovery to the cascading product reveals. Galaxy 61’s level of technical capability uniquely qualifies the animation/VFX boutique to create the kind of extensive liquid simulations required for the VH1 show open.

 

“This was the first project that really maxed out our newly updated render farm and 4X gigabit network, and we really enjoyed pulling out all the stops and pushing the technology to its limits,” says Johnson. “The Rolex watch was the ultimate test of our capabilities, because it’s comprised of so many separate pieces and details that needed to be simplified, without losing the essence of the object. This simulation consistently took the longest, and the resultant mesh contains millions of polygons.”

 

Part of the creative challenge of creating high-quality liquid simulations is the long computation time required for each individual transformation. The intro for ‘The Fabulous Life’ included seven individual liquid transformations – plus the two large splashes that revealed the logo at the end. Even with the technical capabilities of Galaxy 61’s extensive network of workstations’ efficiently running multiple simulations, a full revision of the open still required a two to three-day turnaround. VH1 in-house creative team did the final compositing, added background elements, the logo end tag and provided the music.

 

“Another consideration was that there’s no such thing as presets for this kind of dynamic simulation, so the R&D was critical to achieving the desired look,” adds Johnson. “Any project featuring multiple fluid simulations is a challenge, but at the end of the day we were trying to direct and choreograph a liquid being poured out of a bucket – so a two and a half week schedule is really pushing the envelope.”

 

“This open is just the kind of project that Galaxy 61 thrives on,” adds Johnson. “VH1 brought us an inspirational concept and storyboard and our talent and technology transformed it into a fresh, innovative visual story with a kind of hip-hop sensibility that ties into the program’s content.”

 

About Galaxy 61:
Galaxy 61 is a design-driven animation/VFX boutique that’s built a reputation for crafting captivating creative content that goes way beyond just expanding brand awareness to consistently deliver inventive, evocative, and even spellbinding visual stories. Compact and streamlined by design, Galaxy 61 offers a seamless creative resource that can take the reins of a project from concept, design, animation, character development, motion graphics, FX print, and sound design – right through editorial and compositing. The ultimate creative partner, Galaxy 61 is a mash-up of experience, raw talent, wit, ingenuity, originality – merging art and technology to create unforgettable brand experiences for both digital and traditional platforms.

 

Over the past two-decades Doug has created imagery for an eclectic mix of high-profile work for clients such as IBM, Combe, Nabisco, Nickelodeon, Voom, Casio, and Izod, Nick at Nite, to name a few. Doug Johnson was lead animator on numerous award-winning spots for national brands, such as Disney XD, Mattel, AT&T, Sci-Fi Channel, Orkin, Primeco, Dodge, Bellsouth, Shell, and others. For additional information contact Doug Johnson at 718-965-0965 or doug@galaxy61.com

 

CREDITS:
Type: Show Open
Product/Title: “The Fabulous Life of 2014” Show Open
Length: :20
Premiere Date: March 5th, 2015 (currently on air)

CLIENT: VH1 (Viacom) NYC
Producer: Shelli Sweeney
Creative Directors: Lucien Yang and Amanda Havey

VISUAL FX/ANIMATION/DESIGN:
VFX/Animation Company: Galaxy 61/NY (http://www.galaxy61.com)
Designer: Doug Johnson
VFX Artists: Doug Johnson, Fola Akinola
Animator/Designer: Doug Johnson
Modeling: Jasper Johnson

Equipment Used: Apple Mac Pro (Bootcamp) running Windows 7 64-bit, Autodesk Maya 2011, Next Limit RealFlow,Adobe After Effects CS6, Adobe Illustrator CS6

MUSIC + AUDIO POST: VH1
Music/Sound Design: Scott Pittinsky

2G Digital, Burbank, and DuArt, New York, Form Strategic Partnership

Post facilities to work cooperatively to deliver digital supply chain and traditional post services to clients nationwide.

BURBANK—2G Digital, a Burbank post production facility specializing in digital supply chain services, and DuArt, a New York facility offering comprehensive post production services for video, digital media and film, have entered into a strategic partnership that will allow both companies to expand their geographic reach and add new services. more…

Press Releases For : April 15, 2014

Allegorithmic’s Substance Engine Now Available for All Unreal Engine 4 Developers

Full Integration of Game Industry’s Leading Next-Gen Texture Development Tool on Epic Games’ GitHub

MARINA DEL REY, CA – April 15, 2014 – Today, Allegorithmic’s Substance Engine is coming to one of the gaming world’s favorite development platforms. With a full integration into Unreal Engine 4 (UE4), Substance Engine makes the creation of next-gen textures a seamless experience for even the most ambitious of game developers. No purchase required, just a free plugin available for all Unreal Engine 4 developers.

Allegorithmic’s past successful integration efforts include the full source Unreal Engine 3 and its free version, the Unreal Development Kit (UDK), as well as platforms in the mobile space, and consoles like the Xbox One and PlayStation 4.

“Unreal Engine 4 is going to help the game industry transition to a Physically Based Rendering world,” said Dr. Sébastien Deguy, Founder and CEO of Allegorithmic. “Game developer tools and pipelines have to adapt to this new paradigm which has become a requirement to upscale visual quality. Our physically based workflow in UE4 will finally give the modern game artist the realism next-gen games demand.”

With every year, game artists are under the gun to put new levels of accuracy into their environments and characters. Combining Substance Engine’s runtime customization features with UE4’s famous rendering quality allows for textures to be more realistic than ever. This unique technology helps artists rapidly iterate on textures directly inside UE4, massively reduces download sizes and even modify textures at runtime.

“We’re thrilled to see Allegorithmic leading the way by making Substance Engine available to the entire UE4 community,” said Tim Sweeney, Epic Games founder. “Epic’s release of the complete UE4 source code creates an unprecedented opportunity for integration of great middleware products like this. The community can use these features and help shape the future direction of the engine.”

Soon, pre-made substances like filters, textures, and mini-tools will be available in the UE4 Marketplace, making it even easier for artists to incorporate high-quality dynamic content into their game. These tools are available on the Allegorithmic website today for those that can’t wait.

“When the best in the business want to push their game’s graphics and game production pipelines, they use our texturing technology,” added Deguy. “This deep integration is just another way to make that process more convenient for indies and AAA game devs.”

Availability

Substance Engine can be found on Epic Games’ GitHub account. For more information, please visit www.allegorithmic.com.

About Allegorithmic

Founded in 2003 and based in Clermont-Ferrand, France, Allegorithmic is the leader in 3D texturing technologies with more than 50,000 users and clients including Microsoft, Sony, Activision, Electronic Arts, Ubisoft, NCSoft, Tencent, Autodesk, NVIDIA and Intel. The company specializes in creating advanced authoring software and middleware that is designed to simplify the process of creating and distributing high-quality textures for next-generation content developers. The company’s flagship product range is Substance. For more information on Allegorithmic and its products, please visit www.allegorithmic.com.

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