Press Releases For : April 17, 2014

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


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

VFX/Animation Company: Galaxy 61/NY (
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/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.”


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

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

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Powerful Christie Projectors Drive Idaho Power’s Unique Hybrid Control Room Wall that Blends Traditional Mapboard with Dynamic Digital Content

Christie® projection technology is an integral part of a groundbreaking hybrid display wall solution for Idaho Power’s new control room that is helping the electric utility serve its half-million customers with a more efficient, more informative, and more reliable monitoring system. The SA2™ patent-pending solution designed by Primate Technologies, Inc. overlays dynamic projected content from a series of Christie DS+6K-M SXGA 3-chip DLP® projectors onto a digital-based modular tile mapboard from Monitor Mapboard Systems. The unique combination allows abnormal conditions to be projected and lit upon the screen, making it easier to see situations such as an open breaker or multiple breakers flashing at different stations.
Idaho Power’s service area spans some of the most rugged and remote landscape across southern Idaho and eastern Oregon to serve a population of approximately 1,000,000 people. When the utility was moving to a new location, it sought to remodel its control room and started exploring potential alternatives to the traditional, static-type mapboards that would not be affected by the ambient light from the windows. In the past, the utility had used anything from a paper map to a tiled mapboard. Idaho Power was intrigued by the hybrid Scadaboard solution suggested by Monitor and Primate that still met all its criteria for a rugged, 24/7 wall that was also customizable, providing up-to-the-second information while maintaining a static component of the control monitoring display which is critical during outages or catastrophic events.

Primate Technologies Inc., which builds robust visualization software products for the energy industry, developed the unique concept of overlaying projected content from overhead Christie projectors in strategic areas of Monitor Mapboard Systems’ modular, digital output based mapboard with software driven dynamic content just in the areas needed. The result was a hybrid display wall that is much more visible to the entire room, allowing for increased situation awareness and the ability for operators to easily add collaborative information and tags to the projected dynamic content. Primate Technologies, Inc. software also allows users to add additional displays or change the appearance of the dynamic content projected on the board.
“Idaho Power’s hybrid solution is the first of its kind and represents a marriage of leading technologies in 24/7 control rooms,” said Rita Patterson, vice president of Sales, Marketing and Customer Relations at Primate Technologies, Inc. “With the primary goal of providing a highly efficient control room environment, we needed to make sure that the companies we chose fully understood that environment. For digital front projection, Christie was the clear choice as they came highly recommended by trusted customers.”
Monitor Mapboard Systems provides situational awareness tools for displaying the ‘big picture’ in the form of large, physical dynamic mapboards, which are graphic representations of the client’s grid or service territory. It also offers dynamic mapboards that are wired with LEDs to show abnormal status. When coupled with Primate Technologies’ dynamically projected software, this “live” Scadaboard™ provides the ultimate situational awareness mapboard solution.
“Electric utilities have a history of using mapboards to display their big picture system status, making them a critical tool for alerting the dispatcher when something has happened,” noted Vince Blaeser, principal, Monitor Mapboard Systems. “The hybrid Scadaboard solution brings additional layers of relevant and dynamic content to the system operators.”
“Analog display walls are common in the industry, and we considered everything from using materials that included metal or plastic tile boards, to massive silkscreen tile boards with switches or lights,” said Gary Felton Jr., Chief Dispatcher, Load Serving Operations, Idaho Power. “The hybrid display was the ideal solution. We are especially impressed with the images from the three Christie DS+6K-M projectors. They are exceptionally bright, crisp and vibrant, and really ‘pop’ when you see them on the board.”
“We are pleased to be selected for this unique solution for Idaho Power that represents a perfect marriage of three leading technologies for control rooms. This hybrid display has a truly high-tech feel,” said Dave Muscat, senior director, Control Room Solutions, at Christie. “It’s really inspiring to see how Primate Technologies, Inc. and Monitor Mapboard Systems helped Idaho Power brilliantly meet its needs.”
At Booth 9207 at the IEEE Conference and Exposition April 14-17 in Chicago, Monitor Mapboards will feature Scadaboard™, a real-time monitoring display wall technology that uses Primate Technologies, Inc.’s data visualization software and Christie DHD800 HD DLP® front projection to bring timely content to a Monitor mapboard, delivering enhanced situational and operational awareness.

Litepanels Celebrates the Revolutionary 1×1 Panel with a Worldwide Anniversary Sale

(Chatsworth, Calif.) – Litepanels®, a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, is celebrating the anniversary of the company’s signature 1×1 panels. In honor of the fixture that started it all and revolutionized LED lighting for the motion picture, television, and video industries, Litepanels is offering specially reduced pricing on both 1×1 fixtures and kits for a limited time only.

The 1x1 Mono Daylight Spot and Flood, the 1x1 Mono Tungsten Flood, the 1x1 Bi-Color, the 1x1 Bi-Focus, all of the 1x1 LS models, and the company's complete line of 1x1 LS Kits are included in the sale, which runs through June 7, 2014. List prices have been reduced by up to 45 percent on individual fixtures and kits.

"The Litepanels 1x1 has been used on thousands of sets and shoots worldwide since hitting the marketplace," notes Chris Marchitelli, vice president of global marketing for Litepanels. "Our unique design has been copied and imitated by many, but the 1x1's quality and performance have never been duplicated. This promotion is a great opportunity for people to add an innovative product to their collection at an incredibly affordable price."

"Litepanels now offers more than 30 different LED fixtures, including 9 LED Fresnel models, an extensive range that was almost unimaginable when we first launched our 1x1 fixtures into the studio and broadcast market," says Pat Grosswendt, Co-Founder of Litepanels. "Our original 1x1 line included a flood 50 degree panel and a spot 30 degree panel, with technical innovations that gave lighting directors an unmatched level of lighting control. Since their launch, the 1x1 fixtures have been dubbed the most versatile production lights ever built, providing pure, luminous and soft directional output. We're very proud of what we've accomplished and very excited about our plans for the future. This special promotion is our way of saying 'thank you' to the customers who have been with us along the way."

For more detailed information on the Litepanels 12th Anniversary Sale, please visit

Please note that promotional pricing applies to in-stock inventory only, and supplies are limited.

About Litepanels

Litepanels, a Vitec Group brand, was founded in 2001 by five professional gaffers and engineers who saw the future and pioneered LED (light emitting diode) lighting for motion pictures, television, and the audio-visual industry. Their Emmy(r) award-winning technology has now been used on thousands of productions worldwide and is trusted by the world's leading broadcast organizations. Litepanels continues to expand its suite of flicker free, color accurate, fully-dimmable soft lights that talent and lighting directors admire. These environmentally friendly fixtures can pay for themselves with power savings and long life, setting a new standard in professional lighting. More information can be found at

About the Vitec Group

Capture the moment™

For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at

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Visual Effects House Was Lead Vendor for Futuristic Action Adventure

LOS ANGELES—April 15, 2014—Visual effects house Method Studios, a Deluxe Entertainment Services Group company, was the lead vendor on Summit Entertainment’s “Divergent,” which has grossed over $175 million at the worldwide box office in its first four weeks of release. Summit Entertainment, a LIONSGATE® company, brought the film to theaters in North America on March 21, 2014.

Method’s crew was led by visual effects supervisor Matt Dessero. Overall, Method completed 381 shots, creating a variety of complex environments, set extensions, digital doubles and CG characters throughout the movie, which is set in Chicago of the future. Jim Berney was the production’s visual effects supervisor, with Greg Baxter producing.

“‘Divergent’ required exclusively invisible and seamless effects work, particularly the scene in the Mirror Room,” Berney said. “It was a huge technical and creative challenge that took an immense amount of planning and finesse. Matt Dessero and the team at Method really impressed me and I have to say, I love the final result. I wouldn’t change a pixel. They nailed it.”

“It definitely was our most complex sequence,” agreed Dessero. “As Tris wakes up, she steps towards a mirror wall but something is not quite right. She looks to the left and a wall that was solid is now floor to floor mirror. She turns back one more time only to reveal that the entire room is now floor to floor mirror; her reflections travelling to infinity, thus setting the tone for this scene.

“The photorealism of the Mirror Room was realized by capturing as many close reflections as possible on film,” Dessero added. “This was accomplished by setting up six Alexa cameras on a greenscreen stage. The resulting imagery was then tiled and placed on cards and reflected into the scene. Full CG rotomation of Tris was required for the distant Tris reflections which allowed us to give more complexity to the lighting design.

“As Tris exits the simulation, the sequence which was shot with a real dog culminates with a full CG dog. This sequence of several dozen shots was challenging both on set and in post, and ultimately very gratifying to see accomplished and one of which we are very proud.”

Several exterior scenes of the destroyed city were completed by using various techniques from projected matte paintings to full CG. Wind turbines and cabling are added throughout the city. Some shots contain over 500 turbines and hundreds of digital extras were created. A digital vegetation system was created to replace the flowing blue water in the river and Lake Michigan with trickles of brown water, dry grass and swampland.

For a menacing 130-foot fence that surrounds the city, a 30 foot cement fence was shot on location to which Method added 100 foot tall metal towers and guard shacks. Method also created numerous versions of Chicago’s famed elevated train, with CG tracks and futuristic train cars. For one particular action packed sequence where Tris and others arrive at the Dauntless Compound, a variety of brick buildings were created including the roofs and a huge glass atrium, with digital doubles jumping from train cars to rooftops which augmented the leaps of real stunt people.

An attacking flock of birds testing Tris during a fear simulation drill were entirely CG. The underwater tank sequence was shot on a stage in a water tank. Method added a spider web of cracks to the glass and augmented the large plates of exploding cracked glass in the wide shots.

Method built assets which were shared with other VFX vendors and included digital doubles, turbines, trees and lake beds.

“Divergent” is a Summit Entertainment presentation of a Red Wagon Entertainment production of a Neil Burger film, directed by Neil Burger with a screenplay by Evan Daugherty and Vanessa Taylor. The film is based on the book by Veronica Roth, and was produced by Douglas Wick, Lucy Fisher and Pouya Shabazian. John J. Kelly and Rachel Shane were executive producers.

About Method Studios
Method Studios ( is an award-winning international visual effects group with facilities in Los Angeles, Vancouver, New York, Chicago, Detroit, Atlanta, London, Sydney and Melbourne. As an artist-driven company known for its creativity, Method services high-end feature film, commercial and motion graphics clients in the global marketplace. Post production offerings include conceptual design, look development, 3D animation/CGI, motion graphics, matte painting, compositing and finishing. Credits include the commercials DirecTV “Troll” (AICP Award for Animation), Super Bowl hit Kia “Space Babies,” Chevy “2012 Silverado” (VES Award and HPA Award winner); and films “RoboCop,” “The Hunger Games: Catching Fire,” “Thor: The Dark World,” “White House Down,” “Iron Man 3,” “Cloud Atlas,” “Argo,” and “Abraham Lincoln: Vampire Hunter.”

About Deluxe
Deluxe Entertainment Services Group Inc. is a global leader in media and entertainment services for film, video and online content, from capture to consumption.

Since 1915, Deluxe has been the trusted partner for the world’s most successful Hollywood studios, independent film companies, TV networks, exhibitors, advertisers and others, offering best-in-class solutions in production, post production, distribution, asset and workflow management and new digital solution-based technologies.

With operations in Los Angeles, New York and around the globe, the company employs nearly 6,000 of the most talented, highly honored and recognized artists and industry veterans worldwide. Deluxe is a wholly owned subsidiary of MacAndrews & Forbes Holdings Inc.

For more information visit

Matrox at Streaming Media East 2014 — Product Preview

Video streaming and recording appliance and live production streaming systems to be featured

At Streaming Media East 2014 (New York City, May 13-14, Booth 317), Matrox® Video will showcase Matrox Monarch HD™ video streaming and recording appliances and Matrox VS4™-based live production streaming systems for use with Telestream® Wirecast® or StudioCoast vMix software. In addition, Matrox MicroQuad™ multiviewers will be demonstrated.

Matrox Monarch HD — Video Streaming and Recording Appliance
Matrox Monarch HD is a small, easy-to-use H.264 encoder designed for professional video producers who need to simultaneously stream a live event and record a mastering-quality version for post-event editing. Priced at just $995 US, it provides these two independent modes in an integrated unit. From any HDMI input source such as a camera or switcher, Matrox Monarch HD generates an H.264-encoded stream compliant with RTSP or RTMP protocol. While encoding the video at bitrates suitable for live streaming, Matrox Monarch HD simultaneously records a high-quality MP4 or MOV file to an SD card, a USB drive, or a network-mapped drive. Matrox Monarch HD is remotely controlled using any computer or mobile device with a web browser. The new Monarch SDK, an HTTP-based API, includes documentation and sample code that let AV and broadcast equipment developers write applications to configure and control Monarch HD streaming capabilities, giving them a very straightforward way to include a high quality webcasting service as part of their overall product offerings.

Matrox VS4 — Live Production Streaming System
Matrox VS4 is a quad HD capture card for use with Telestream Wirecast for Windows or StudioCoast vMix live production streaming software. In a single PCIe slot, Matrox VS4 provides up to four independent HD inputs with up to eight embedded audio channels per source. It not only sends video feeds for streaming, it also facilitates ISO recording to disk of all the original video and audio feeds for post event editing via a Matrox plug-in for Wirecast or Matrox Video for Windows (VfW) codecs for vMix MultiCoder software.

VS4Recorder — Multi-Camera Recording App
VS4Recorder™ is a standalone multi-camera recording app bundled with Matrox VS4 quad HD capture cards at no additional cost. VS4Recorder gives live event producers complete independent control over capture of the four inputs connected to the VS4 to create files for use with popular editing apps from Adobe, Apple and Avid and for archiving. AVI files can be created using the high-quality Matrox MPEG 2 I-Frame codec. MOV QuickTime files can be created using DV, DVCPRO, DVCPRO50 and DVCPRO HD. New features include gang recording of an unlimited number of video sources, an H.264 codec with MOV or MP4 file wrapping so that files can be immediately available for upload to the internet; DirectShow filters for developers to incorporate VS4 functionality in their own applications; event markers for Adobe Premiere CC so that while recording, users can highlight moments of interest for quicker post-event editing; and settings for capture duration and file switching without frame loss.

Matrox MicroQuad — Multiviewer
Matrox MicroQuad is a four-channel SDI-to-HDMI multiviewer for 3G/HD/SD at a breakthrough price. It lets broadcasters and A/V professionals use an affordable HDMI display to view up to four SDI video signals and show or hide labels and VU meters. Its powerful 10-bit scaling engine and advanced filtering algorithms ensure a crisp, artifact-free monitoring experience. MicroQuad can be controlled using buttons on the unit itself or from a distance using a Windows-based app.

About Matrox Video
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136th Audio Engineering Society Convention in Berlin To Feature Project Studio Expo

— Home recordists – from hobbyists to professionals – will benefit from the comprehensive program for the Project Studio Expo at the Berlin AES Convention, which covers topics ranging from microphones to final mixes and mastering —

New York, NY, April 11, 2014 — The 136th Audio Engineering Society Convention (Saturday, April 26, through Tuesday, April 29, 2014, at the Estrel Hotel and Convention center in Berlin, Germany) will feature the European premiere of Project Studio Expo (PSE), which will take place on Saturday, April 26, and Sunday, April 27. PSE, which has been a well-attended, acclaimed event at the last two AES Conventions in the United States, offers a venue for focusing on some of the most timely and relevant areas of interest facing today’s personal studio users. These comprehensive presentations cover topics of importance for all engineers and producers, and offer a level of detail as to be useful for anyone from beginner to pro. Topics include Basic Microphone Technology; Professional Mixes from Your Project Studio – Common Mistakes, Immediate Solutions; Electronic Dance Music: Live Performance Mixing Techniques; The Business of Being in the Music Business; How Did They Get that Sound?; Advanced Vocal Editing; Mastering Engineering – The Link to Your Audience and more. Hosted by notable industry engineers, educators, journalists and sponsors, the Project Studio Expo offers a unique chance to experience music production with top talent, tools and techniques. Learn best practices and insider tricks from the pros while interfacing with manufacturers and connecting with your peers. Admission is included with both free “Exhibits-Plus” and premium “All Access” registration options.

PSE Schedule:
Saturday, April 26

11:00-12:00 — Session PSE1: Listening Like a Producer
Presenter: Stephen Webber, Berklee College of Music – Valencia, Spain

12:00-13:00 — Session PSE2: Basic Microphone Technology
Presenter: Ron Streicher, Pacific Audio-Visual Enterprises – Pasadena, CA, USA

14:30-15:30 — Session PSE3: Tracking and Levels
Presenter: Carsten Kaiser, META4S Creative Studio – Hattingen, Germany

15:30-16:30 — Session PSE4: Professional Mixes from Your Project Studio – Common Mistakes, Immediate Solutions
Presenters: Alex Case, University of Massachusetts Lowell – Lowell, MA, USA
Carsten Kaiser, META4S Creative Studio – Hattingen, Germany
Stephen Webber, Berklee College of Music – Valencia, Spain

16:30-17:30 — Session PSE5: Mixing: “What Is a Plate Reverb and Why Does It Still Matter in Today’s Digital World?”
Presenter: Alex Case, University of Massachusetts Lowell – Lowell, MA, USA

17:30-18:30 — Session PSE6: How Did They Get that Sound?
Presenter: Carsten Kaiser, META4S Creative Studio – Hattingen, Germany

Sunday, April 27

10:00-11:00 — Session PSE7: Advanced Vocal Editing
Presenter: Carsten Kaiser, META4S Creative Studio – Hattingen, Germany

11:00-12:00 — Session PSE8: EDM: Live Performance Mixing Techniques
Presenter: Stephen Webber, Berklee College of Music – Valencia, Spain

12:30-13:30 — Session PSE9: Setting Up Your Own Chamber Reverb at Home
Presenter: Alex Case, University of Massachusetts Lowell – Lowell, MA, USA

13:30-14:30 — Session PSE10: Mastering Engineering—The Link to Your Audience
Presenters: Gavin Lurssen, Lurssen Mastering – Los Angeles, CA, USA
Andrew Mendelson, Georgetown Masters – Nashville, TN, USA
Michael Romanowski, Michael Romanowski Mastering – San Francisco, CA, USA; Owner Coast Recorders

15:00-16:00 — Session PSE11: How Did They Get that Sound?
Presenter: Alex Case, University of Massachusetts Lowell – Lowell, MA, USA

16:00-17:00 — Session PSE12: The Business of Being in the Music Business
Presenters: David Miles Huber, – Seattle/Berlin; Seattle/Berlin
Carsten Kaiser, META4S Creative Studio – Hattingen, Germany
Gavin Lurssen, Lurssen Mastering – Los Angeles, CA, USA
Andrew Mendelson, Georgetown Masters – Nashville, TN, USA
Stephen Webber, Berklee College of Music – Valencia, Spain

AES has a long history serving the recording community, from the early days of monophonic vinyl to today’s modern multichannel digital audio formats. With the rise of project studios and vast sea of equipment and platforms surrounding it, many home recordists may be at a loss on how to approach the technology. The Project Studio Expo brings together the top people, tools and techniques, in order that attendees can learn best practices and tricks from the pros and learn from and connect with their peers.

“The Project Studio Expo is AES’s response to a music production and recording business that has migrated from the traditional big commercial studios to the plethora of diverse environments that audio is being produced in today,” stated Bob Moses, AES Executive Director. “Audio professionals need focused and competent training on a huge range of skills to run their business today, and AES is here to provide a foundation for that training.”

For more information on AES136 technical program, presenters and FREE Exhibits-Plus registration, visit the AES136 Convention web page at

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