Award-winning Indie Filmmaker Single-handedly Deploys End-to-End MAXON 3D Workflow to Create Entire CG Film Featuring 1420 Shots of Haunting Images and Landscapes
Newbury Park, CA – March 3, 2014 – MAXON, the leading developer of professional 3D modeling, painting, animation and rendering solutions, announced that its industry-leading 3D software solutions, CINEMA 4D and BodyPaint 3D, helped to streamline the entire filmmaking workflow for award-winning indie filmmaker M dot Strange in his new animated feature film, I am Nightmare. Under the Mysterious Doll Studios banner, Strange single-handedly created the film – his third solo feature-length CG animated fantasy film effort in six years – and the third that has deployed MAXON software tools to address the complexities of 3D filmmaking and improve operational efficiencies on nearly every aspect of the content creation process, including storyboarding, character animation, set building, lighting, rendering, and more. The film follows his two previous independent animated films, Heart Strings Marionette (2012) and We Are the Strange (2007), which premiered at the 2007 Sundance Film Festival and was honored with the Golden Prize for most groundbreaking film at the Fantasia Film Festival in Montreal the same year.
Watch trailer here
“We applaud M dot Strange for his relentless pursuit of artistic integrity and for pushing the boundaries of our software to the limits in I am Nightmare to yield such compelling and unique images in this highly anticipated film project,” says Paul Babb, president/CEO MAXON US. “MAXON 3D solutions continue to provide artists with the tools and efficiencies needed to fuel limitless creativity and Strange’s latest animated effort demonstrates what the tools in the hands of a visionary and proficient artist are capable of.”
Using CINEMA 4D, Strange spent a little over one year making I am Nightmare, a 127-minute film that features 1420 shots to evoke dream-like characters and a mysteriously haunting atmosphere. Inspired by the works of filmmaker David Lynch and Japanese animator Osama Tezuka, countless books, movies and his imagination, the film focuses on a mother who moves her five foster children to a place called The Town That Never Changes when shortly after arriving they discover a secret they weren’t supposed to uncover. Each night, the children are forced to patrol the woods to keep the monsters that lurk there and devour everyone in sight at bay while the adults do nothing to help them. [Note: Watch the I am Nightmare trailer here.]
Strange, who refers to the San Jose, Calif.-based Mysterious Doll Studios as being the “world’s smallest CG feature animation studio” also coined the term “Uberector” to describe the role of an artist who makes 3D animated feature films alone and does more than direct during the filmmaking process. He underscored the critical role a 3D software package plays in streamlining the creative process that involves various elements from acting/voices, animation, editing and camera work.
“CINEMA 4D is a CG movie studio-in-a-box that gives the one-person animation studio the perfect combination of ease of use and a powerful feature-rich toolset that delivers unmatched performance for creating entire CG feature films alone,” Strange says. “There are other, more complex packages available but I am an artist, not a technician, so I use tools like CINEMA 4D that allow me to accelerate the overall workflow and realize my cinematic dreams intuitively within budget.”
A wide spectrum of the animation tools in CINEMA 4D was leveraged by Strange throughout the filmmaking process. MoGraph was used to build sets and was deemed especially helpful for building structures that have repeating elements. The film’s stylized doll-like characters were created using a combination of keyframe and procedural animation techniques, while BodyPaint 3D was used to paint all the models and texture all the props and sets to create a rough, hand-painted look instead of simply adding a pre-made texture to the assets.
Among the numerous and complex technical challenges Strange faced in creating I am Nightmare was the ability to animate and manage the assets of the more than 1400 shots in the film. Strange used the Content Browser in CINEMA 4D as a ‘living storyboard’ to organize all the elements in his ‘digital backlot.’ “After animating a shot, I would save it to a folder displayed in the Content Browser so that I could refer to all the shots, easily re-use camera setups and animations and have an idea of the visual flow of the film to make editorial decisions,” explains Strange. He also relied on CINEMA 4D’s Character Animation and Motion Clip system to create common animations for all the characters in the film and convert walk and run cycles into motion clip loops that were then used to create a collection of pre-made animations that could later be dragged and dropped into different characters and new scenes, as needed. “Using CINEMA 4D’s motion system I could dip into my library of saved walks and runs to really speed things up to more easily re-time the motion clips to better fit the shots.”
The powerful rendering functionality in CINEMA 4D was also cited as a key benefit to the solo filmmaking process. “The speed in CINEMA 4D’s standard renderer is unmatched when it comes to producing animation on a limited budget as it performs really well on off-the-shelf machines and via the network render allows you to use multiple machines if you have them,” outlines Strange. “The Multi-Pass option coupled with the tight integration in After Effects also helped me get the look I wanted in post.”
To achieve the stylized and foggy mood that obscured “the creepy things lurking in the dark”, Strange relied on the powerful lighting system in CINEMA 4D including a mix of the Volumetric and Visible Lights functions. The Vibrate Tags and Displacement Deformers in the software also enabled the filmmaker to add weird random movements to the monster characters ranging from undulating tentacles or pulsating skin that could be dragged and dropped into scenes using the XPresso visual node-based expressions feature.
For more information on Mysterious Doll Studios and I am Nightmare visit http://iamnightmare.vhx.tv/. The independently produced film is being distributed by Strange and is available for purchase online here.
For additional information on the CINEMA 4D workflow on I am Nightmare, please visit the CGS feature.
Headquartered in Friedrichsdorf, Germany, MAXON Computer is a developer of professional 3D modeling, painting, animation and rendering solutions. Its award-winning CINEMA 4D and BodyPaint 3D software products have been used extensively to help create everything from stunning visual effects in top feature films, TV shows and commercials, cutting-edge game cinematics for AAA games, as well as for medical illustration, architectural and industrial design applications. MAXON has offices in Germany, USA, United Kingdom, France, Japan and Singapore. MAXON products are available directly from the web site and its worldwide distribution channel. Specially priced learning editions of the company’s software solutions are also made available to educational institutions. For additional information on MAXON visit www.maxon.net.
Press Releases For : March 3, 2014
Award-winning Indie Filmmaker Single-handedly Deploys End-to-End MAXON 3D Workflow to Create Entire CG Film Featuring 1420 Shots of Haunting Images and Landscapes
Electrosonic announces that March 2014 marks the 50th anniversary of the company’s founding. In 1964 the company started with two rooms in London’s Greenwich vegetable market. Five decades later, Electrosonic is an international, multi-million dollar business with headquarters in Burbank, California, and offices worldwide.
Electrosonic’s story is complex but in many ways it parallels the history of audio-visual technology, and provides a window into how the industry and its services and products have changed.
Founded by Denis Naisbitt, Michael Ray and Robert Simpson, the company opened with the strapline “Electronic Control and Audio Systems”. From the start, Electrosonic combined the manufacturing and selling of products with the building of complete engineered systems. Key product categories included electronic lighting control, multi-image slide projection and videowalls. The product and systems portions of the business continued together through 2010 when the products side of the business, which by then represented a small portion of overall revenue, was sold.
“The 50 year anniversary marks an important milestone for the company as we look back on our incredible heritage of talent and accomplishments. Electrosonic is continually investing in new generations of talented staff through mentoring and education as we continue to push the limits of what AV technology can do,” says Jim Bowie, President of Electrosonic Group. “A key element of Electrosonic’s success, and one that we are very proud of, is our long and enduring relationship with designers, suppliers and customers.”
Electrosonic carried out many impressive and memorable projects over the last 50 years all around the world, from multi-image spectaculars in 1970s Iran and the world’s biggest videowall in Seville in 1992 to massive projection displays at EXPO 2010 in Shanghai. Electrosonic was often leading the way in applying new technology, whether it was pushing 70mm film to the limit, implementing multi-channel dynamic sound systems, or achieving huge 3D images with the latest electronic projectors.
Electrosonic’s historical project portfolio can be best summarized as embracing world EXPOs, lighting control, theater sound systems, experience shows, museums and visitor centers, theme parks, videowalls, control rooms and corporate AV.
World EXPO, or international exposition, work was a key business driver for Electrosonic from the start. Exposition work, starting with EXPO 67 Montreal, instilled in Electrosonic the desire to work internationally. More importantly, many influential people from around the world saw the shows, which in turn led to demands to emulate the work at home and globally. Electrosonic would go on to carry out installations in 15 different EXPOs.
In its present role as designer and integrator of complex systems, Electrosonic continues to exploit advances in technology. The business today serves three market sectors, each of which is treated on a global basis. The largest is “Entertainment”, followed by “Corporate” and “Control Rooms”. Beyond system engineering, Electrosonic has always offered ancillary services to further assist its clients. Today these include support services, managed services and technical design consulting.
Electrosonic will release a book about its history in late March 2014, with the title “Electrosonic – 50 Years on the Audio-Visual Frontline”. Written by co-founder Robert Simpson, the book presents a short history of the company, and chapters on its products, notable projects completed, its people and on the company’s contributions to the AV industry.
Electrosonic, celebrating its 50th anniversary, is an international audio-visual company that creates tailored, state-of-the-art solutions for a wide range of markets including theme parks, museums, control rooms, and corporate meeting rooms. Since its founding in 1964, Electrosonic has built a strong reputation for working on complex projects, both large and small, and has developed lasting partnerships with customers and suppliers. Beyond complete integrated systems, Electrosonic provides a comprehensive scope of services including technical design, projector lamp sales, maintenance and operational support.
Learn more about Electrosonic. Visit http://www.electrosonic.com
Press Releases For : February 28, 2014
Christie®, a world leader in digital cinema projection, is pleased to announce that it has been chosen by Hoyts Chile, the leading screening chain belonging to Grupo Chilefilms, to digitize its 127 35mm theaters distributed across 23 complexes throughout the country. The agreement includes the installation of digital cinema projectors from the Christie Solaria™ Series, the Christie Avias-TMS™ Theatre Management System and select Christie Vive Audio™ cinema sound systems.
To carry out the digital theater conversion process, Hoyts Chile released a private technology tender in which it invited the most distinguished suppliers in the industry to bid. “In the end we chose Christie because their business proposal was the most complete, attractive and aggressive,” stated Juan Carlos Arriagada Mons, General Manager of Cinecolor Chile, Grupo Chilefilms division that provides technology services for all business units of the group.
“Christie knew how to interpret our planning, appreciated our apprehension with technological changes and financing needs and they pledged their commitment to a close, long-term relationship. Their offer was not limited to supplying projection equipment only, but they also guaranteed immediate access to spare parts, lamps, new technologies and financing in a long-term contract,” added Juan Carlos Arriagada Mons, Cinecolor Chile.
Hoyts Chile has a long business relationship with Christie. In fact, in mid-June of 2012, the color correction/projection theaters of Cinecolor –the post-production division for images, sound and cinematographic laboratory of Grupo Chilefilms with presence in Mexico, Colombia, Brazil, Argentina and Chile – was equipped with Christie CP2220 projectors.
Craig Sholder, VP, Entertainment Solutions at Christie, said “We are delighted that Hoyts Chile has once again put their trust in our projectors for their digital theater roll out, which is proof of the confidence and respect that theater professionals have for Christie. Today the digital cinema projectors that Christie manufactures have the largest worldwide market share because exhibitors recognize that our projectors, in addition to having exceptional image quality, offer the best light efficiency and the lowest operating costs”.
Christie will supply Hoyts Chile with a variety of DLP Cinema® projectors, such as Christie CP2215, Christie CP2220 and Christie CP2230, as well as the Christie Avias-TMS™ Theatre Management System (TMS), which allows the screen operators to centrally control and organize all projection operations from a multi-screen theater.
Furthermore, Hoyts Chile will equip three of their theaters with the innovative Christie Vive Audio™ cinema sound solution, which they will use along with a leading immersive audio platform, Dolby® Atmos™.
“Christie invited us to several demonstrations of the Vive Audio technology, where we were able to witness and systematically measure the extraordinary distribution of the sound pressure throughout the audience, which substantially improves the intelligibility of the dialogue (with respect to cone-based speaker systems) and the uniform distribution of sound in the theater, greatly decreasing the rebounding that causes interference,” said Juan Carlos Arriagada Mons.
Hoyts Chile’s roll out, which will take place through a Virtual Print Fee (VPF) agreement with GDC Technology, began in January of 2014 and it is expected to be completed by November of this year, including the digitalization by Christie of the new theaters that Hoyts Chile plans on opening in 2015 and 2016, which could number as many as 30 screens.
PURKERSDORF, Austria – Lukas Zilka, a freelancer who mixes audio for live concerts, press conferences, corporate events and national balls, recently elevated his company Live Productions –Event Services with the purchase of a HARMAN Soundcraft Si Expression 3 mixing console. This upgrade will assist him not only with his own productions, but also with the services he routinely offers to bigger companies.
Zilka is a highly skilled sound engineer who manages audio for some of the nation’s top balls, including the “Bonobonball” (Candy Ball) in Vienna. His previous experience with the Soundcraft GB8 analog console installed at that venue is what led him to grow his business with the Si Expression 3. It is the perfect console to lead analog users into the digital realm, as the controls on the Si Expression feel very much like any analog desk.
“Simply put, the value of the Si Expression 3 is unmatched, as other brands cost an arm and a leg for the same feature set that Soundcraft offers. I mix children’s plays for one of my regular clients, which is a local community church, and as the performance group expanded over the years and became increasingly professional, the small racks on the old Yamaha console couldn’t cut it anymore. I needed more outputs and more faders, so when I saw the Si Expression 3, I knew my search had come to an end,” Zilka said.
The Soundcraft Si Expression 3 features a mighty number of 30+2 faders along with flexible onboard and expansion I/O options to ensure that every one of the 66 input processing channels can be used. To help the operator power through concerts and events of any size, this console not only boasts the award winning EMMA™ DSP processor, it also comes with built-in FX engines that do not impact the mix regardless of load. To top it off, the fader groups are illuminated with Soundcraft FaderGlowTM, which color-codes the motorized faders for an intuitive mixing experience.
“So far, I’m loving the digital experience,” said Zilka. “I really like the easy handle on all channel parameters, as there is no need to jump into menus to get the effects I want. When I did a charity concert, I noticed the advantage of storable pre-amps, which was not present on my old mixer. I also enjoy using the ViSi app on my iPad for corporate events and press conferences.”
“Overall, Soundcraft delivered on every aspect of its name, providing me with an experience that cannot be found elsewhere for this price,” Zilka concluded. “The Si Expression does a perfect job and helps me create the exact sound that I want. Its ease-of-use features such as FaderGlow are revolutionary for this industry, which contains too many cluttered mechanics from other brands.”
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.
Engineer/Producer Ben Findlay Continues Success With Peter Gabriel Using HARMAN’s AKG K812 Reference Headphones
LONDON, United Kingdom – Ben Findlay, a GRAMMY®-nominated recording engineer and producer, recently added HARMAN’s AKG K812 reference headphones to his setup to achieve world-class sound when mixing the variety of projects that pass through his studio in the United Kingdom.
Findlay’s list of credits includes work with artists such as Paul McCartney, Robert Plant, Jeff Beck, Sting, Lionel Richie and more, but he is probably best known for his work with Peter Gabriel. Over more than 25 years, Findlay has supported Gabriel in the recording, mixing and mastering of multiple projects—a collaboration that continues to this day. “I am using the K812 headphones as we speak on the Peter Gabriel Back To Front Live Blue Ray; I am mixing and I will be using them on the road next year to master the audio for the CDs which we produce of every show from the tour, which I often have to do on the road, in a hotel room. The K812’s are superb headphones that will allow me to effectively do my job in any setting.”
Introduced in late 2013, the K812 offers an oversized 53mm driver for the highest dynamic range ever in an AKG headphone. Its copper-covered aluminum voice coil extends sounds beyond the limits of human hearing, hitting a full spectrum of frequencies. Each K812 is built for comfort with a fast, adjustable headband and extremely soft ear pads to ensure comfort in any application, for extended periods of time. It also features a new open-back design optimized for pristine and natural sound.
“The headphones are stunning, they’re unlike any other pair I have ever used,” Findlay said. “Although you have the physical sensation of wearing headphones, there is no sense of enclosure in the listening experience. This makes the imaging very open and defined by the musical content alone. The response is very flat with no cosmetic lumps or scoops. “
For more information on Ben Findlay, please visit www.benfindlay.co.uk
HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. 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 14,600 people across the Americas, Europe, and Asia and reported sales of $4.5 billion for the last twelve months ended September 30, 2013.
Chicago-based Sound Investment A/V has purchased a Vista Systems Spyder x20 image processor for its production inventory. By stepping up to the Spyder, Sound Investment A/V is now equipped with the next level of professional tools that can attract new clients with multi-image needs or offer greater creativity and production efficiencies to existing customers.
Parent company Sound Investment, a consulting firm, founded Sound Investment A/V with Peter Vanek in 2000 as a rental and staging company offering sound, video, lighting, scenic and staging solutions. It has become a top-tier provider for the industry both nationally and internationally.
“The Spyder is our first Vista Systems product,” says Vanek. “We plan to use it for large-format corporate events, such as general sessions featuring multi-screen, multi-projector situations.”
Vanek says the Spyder was chosen for its “ease of use and flexibility as a system. It can accomplish anything producers might throw at us on the fly. Or we can prebuild a show and be ready to go when we arrive on site. With other systems you have to do all the work once you get to the venue.”
He also notes that the Spyder was an affordable choice. “The price point is great considering the number of inputs and outputs you get,” he reports.
Sound Investment A/V already expects the Spyder to experience heavy usage right off the bat. “We have some big projects coming up,” Vanek says. “One is a 13-screen show with projection mapping, various projector blends and multiple outputs. That’s typical of how we’re going to deploy Spyder. We’re really excited about adding it to our inventory.”
About Vista Systems
Vista Systems’ switchers have become the industry standard for live multiple-destination video and data mixed signal switching with real-time windowing and composition. For more information on Vista Systems, visit their website at www.vistasystems.net.
Press Releases For : February 27, 2014
Sennheiser’s K-Array Anakonda Loudspeaker Brings Extraordinary Sound and Flexibility to Musical Instrument Museum (MIM) Music Theater
Anakonda is the Perfect Front-Fill Solution for 300-Seat Music Theater That Features Diverse Artistic Performances and Exquisite Acoustics
Phoenix, AZ, February 26, 2014: Phoenix’ Musical Instrument Museum (MIM) is home to nearly 15,000 instruments and objects from all over the world, providing a unique museum experience for guests of all ages. The museum features an exquisite, 300-seat music theater that features performances from a diverse range of artists — including well known, nationally touring musical acts as well as traditional and eclectic acts from every corner of the globe. Designed and constructed as an intimate, world-class concert hall offering comfortable seating and state of the art acoustics, the theater hosted 193 concerts last year and recently was the first venue in Arizona to install the new K-array Anakonda speaker solution from Sennheiser.
The K-array Anakonda speaker system was installed directly across the edge of the stage as a front fill solution, providing greater definition and sonic clarity to the first several rows. The new installation helps the theater deliver an unparalleled listening experience for all its patrons no matter where they are seated, ensuring even sound dispersion and intelligibility.
“Our former front fills were point source, mounted just below the stage,” comments Ted Greenbaum, music theater manager. “There wasn’t even coverage and these were in the more expensive seats. So when Jerry Delgado of Sennheiser brought the Anakonda in for us to test, it was phenomenal.” “Our main PA system is built into the shell and each side is pretty far away from the center of the audience and in the first couple of rows intelligibility and imaging is an issue,” explains Jim Zick, technical manager for the Theater. “When Sennheiser brought in the Anakonda, which sounded great and was aesthetically attractive, I thought it would be a perfect solution to set this up right across the front of the stage.”
Six Anakonda loudspeakers were daisy chained at the edge of the stage and powered by a single K-array KA40 amplifier complete with DSP control. The system made its debut one evening as renowned country singer/songwriter Suzy Bogguss sang for 300 enthralled fans. “It was phenomenal,” Greenbaum recalls. “After that night, we got several emails from audience members saying it was the best sound they ever heard. Before, the front fill was lacking and the Anakonda really came through as a great solution — it was the final piece to the puzzle.”
Anakonda: Astounding intelligibility, flexibility:
In addition to theaters, the Anakonda is a perfect solution for a range of indoor or outdoors installations. Since each speaker element is bendable, the Anakonda can be wrapped around poles, columns, or mounted to curved or otherwise uneven surfaces. Speakers are available in 6′ lengths, and up to 16 combined elements can be linked and powered from a KA40 amplifier using the Anakonda’s integrated NL4 connectors. The speaker’s dedicated presets support a variety of configurations, including both standalone and combination use with K-array KMT Series subwoofers.
The Anakonda, which is priced at $859.95, is available exclusively in the U.S. through authorized Sennheiser dealers.
Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Conn. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.
You can find all the latest information on Sennheiser by visiting our website at http://www.sennheiserusa.com.
1) The K-array Anakonda solution was installed at the Musical Instrument Museum theater as a solution to provide increased intelligibility.
2) Six K-array Anakondas were daisy chained at the front edge of the stage, providing a great sounding and aesthetically attractive solution.
3) From the rear of the theater, the Anakonda is barely visible on the front part of the stage.
HOBO Brings Cinema Sound To Top Shows For Discovery, Travel Channel, OWN, Food Network, National Geographic And More
“It’s all about the viewer experience, so for all of our episodic TV work we aim for a cinematic quality to the mix,” Howard Bowler, President of HOBO says. “When you hear a well-mixed show, it just grabs you and sucks you in. That kind of attention to detail is why so many networks trust us with the sound of their shows.”
That HOBO sound can be heard on an array of entertainment ranging from the rowdy fun of “Mud Lovin’ Rednecks” (Animal Planet) and “Jersey Couture” (TLC); to the more cerebral “Your Bleeped Up Brain” (HISTORY) and “Monsters Inside Me” (Animal Planet); to the visceral thrills of “Lee Harvey Oswald: 48 Hours To Live” (HISTORY) and “When Sharks Attack” (National Geographic). HOBO is also currently working on audio post and sound design for “Gunslingers,” a new series set to premiere this summer on the American Heroes Channel, the rebranded Military Channel bowing March 3rd.
While every show presents its own set of challenges based on the content, schedule and budget, for HOBO’s Senior Engineer Chris Stangroom, the company’s most challenging assignment was perhaps its most important — the six-part documentary series “Rising: Rebuilding Ground Zero,” executive produced by Steven Spielberg and DreamWorks Television, which aired on Discovery in 2011 to mark the 10th anniversary of 9/11.
“It was a special project and everyone knew how important it was to get this right – both professionally and as New Yorkers,” Stangroom says. “The schedule was very tight and we ended up working around the clock in three separate audio teams with one suite working on the sound design, another on the music cues and another on the final mix. It was an intense schedule, but everyone was blown away by what the team accomplished.”
For Bowler, who notes that HOBO’s first client ever seven years ago was the Food Network, success in long-form television comes down to focusing on a Hollywood-esque sound experience for viewers.
“There are so many viewing options today that for a show to really stand out, you have to immediately grab the audience’s attention. The right mix can help do that in a very powerful way,” Bowler adds. “Viewers appreciate quality work. They know instinctively when the voice sits right and the effects and music are properly balanced. It’s a joy to listen to. At the end of the day, we mix for the consumer, and I think that is why so many networks rely on our ears.”
HOBO is an audio post production company dedicated to creating an exceptional listening experience. The company has earned the trust of some of the most iconic brands and companies in the world. Make yourself at HOBO.
Rising: Rebuilding Ground Zero/Science Channel
Lee Harvey Oswald: 48 Hours To Live HISTORY:
New Appointees Bring Depth of Experience and Knowledge to SMPTE’s ‘Three Pillars’: Standards, Membership, and Education
WHITE PLAINS, N.Y. — Feb. 27, 2014 — The Society of Motion Picture and Television Engineers(R) (SMPTE(R)), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries, today announced the 2014 SMPTE directors. Alan Lambshead, SMPTE standards vice president, appointed Bob Edge, Oliver Morgan, and Howard Lukk to serve as standards directors; Paul Stechly, SMPTE membership vice president, appointed Bruce Devlin, Karl Kuhn, and William C. Miller to serve as membership directors; and Patrick Griffis, SMPTE education vice president, appointed Michael DeValue, V. Michael Bove, Peter Putman, and Al Kovalick to serve as education directors.
“Individually and as a group, the SMPTE members who have been appointed as 2014 directors bring exceptional experience and expertise to the leadership, guidance, and growth of the Society,” said Wendy Aylsworth, SMPTE president and senior vice president of technology at Warner Bros. Technical Operations. “Every one of the incoming directors already has made significant contributions not only to the advancement of the motion-imaging field, but also to the overall success of SMPTE. Over the coming year, each will be a valuable asset in our ongoing work in standards, membership, and education — the three pillars on which the Society is built.”
Edge, who is president of Bob Edge TV Consulting, has been active in television standards work for more than 18 years, participating in projects with the European Broadcasting Union (EBU), Video Services Forum (VSF), Advanced Media Workflow Association (AMWA), SMPTE, and other organizations. He has served as a SMPTE engineering director and as a technology committee chair; is a Life Fellow in the Society; and has contributed to the development of more than a dozen SMPTE standards and registered disclosure documents (RDD). Edge also is the author of numerous technical papers describing the application of information technology (IT) and data networking for television production.
Morgan is founder and president of Metaglue Corporation. Spanning more than 30 years, his career in the television industry includes roles as director of engineering and senior consulting engineer at Convergence Corporation, Sony Corporation, and Avid Technology. He is a SMPTE Fellow and, as chair of the SMPTE W25 Committee on Metadata and Wrapper Technology from 2000 through 2004, has guided the development of the SMPTE Metadata Dictionary and the Material Exchange Format (MXF). He holds 10 patents and was a founding member of the AMWA.
Lukk is vice president of production technology at The Walt Disney Studios, where he is responsible for helping to incorporate new technologies into the workflow of the studio. He is a SMPTE Fellow and an associate member of the American Society of Cinematographers (ASC).
Devlin has worked for more than 25 years in all aspects of media, and today, as AmberFin chief technical officer (CTO), he leads the company’s technology strategy. He is a member of the Internal Association of Broadcast Manufacturers (IABM), a SMPTE Fellow, and a recipient of SMPTE’s David Sarnoff Medal and the British Kinematograph, Sound and Television Society’s (BKSTS)’ Achievement Award. Devlin has authored patents, specifications, and books that drive the professional media industry forward.
Kuhn is senior video systems applications engineer at Tektronix, a role in which he supports digital audio and video, compression, Internet protocol (IP), file-based, and radio frequency (RF) test and measurement. He holds three U.S. patents and one Japanese patent that cover in-service testing of digital broadcast video. Kuhn has served on the National Academy of Television Arts & Sciences (NATAS) Technical and Engineering Emmy(R) Committee from 2007 to 2010; he is the past chair of the Washington, D.C., SMPTE section; and he now serves as the SMPTE Eastern region governor.
Miller is president of Miltag Media Technology LLC, a consultancy specializing in technical standards for television and related industries. He has been a broadcaster for nearly 40 years, earning an Emmy Award for his contributions to ABC’s coverage of the XV Olympic Winter Games, and has been actively involved in the development of television standards for more than 25 years. Miller is a SMPTE Fellow and a SMPTE New York region governor, and was awarded the Society’s Progress Medal in 2002 and its Presidential Proclamation in 2013. He has held numerous leadership roles not only within SMPTE, but also within the Institute of Electrical and Electronic Engineers (IEEE) Broadcast Technology Society (BTS) and the Advanced Television Systems Committee (ATSC).
DeValue is the director of advanced technology at The Walt Disney Studios, where he is responsible for standards, as well as researching new technologies related to content distribution such as 3D, 4K, and high dynamic range (HDR). He has co-chaired several groups related to 3D in the home for SMPTE and presented a session on captions in stereoscopic 3D at the SMPTE 2010 Annual Technical Conference & Exhibition. In addition to SMPTE, he is an active participant in the Blu-ray Disc Association (BDA) and Digital Cinema Initiatives, (DCI) and is also the current chairman of the International 3D & Advanced Imaging Society.
Bove holds an S.B.E.E., an S.M. in visual studies, and a doctorate in media technology, all from the Massachusetts Institute of Technology (MIT), where he is the head of the Object-Based Media Group at the Media Laboratory. He is the author or co-author of more than 90 journal and conference papers; holds patents on inventions relating to video recording, hard copy, interactive television, and medical imaging; and is co-author of the book, “Holographic Imaging.” He is on the Board of Editors of the SMPTE Motion Imaging Journal; has served as associate editor of the journal Optical Engineering (OE); and is a fellow of the SPIE and the Institute for Innovation, Creativity, and Capital.
Putman, president of ROAM Consulting LLC, develops training and marketing programs for manufacturers, dealers, and end users of displays, display interfaces, and wireless connectivity products. He is a contributing editor for Sound and Communications magazine, editor and publisher of HDTVexpert.com, and an InfoComm Senior Academy Instructor for the International Communications Industries Association (ICIA), where he was the 2008 ICIA Educator of the Year. He is a member of SMPTE and the Society for Information Display (SID), and he holds certifications from ICIA and the Imaging Science Foundation (ISF).
Kovalick, founder of Media Systems Consulting, has worked in the field of hybrid audiovisual and IT systems for the past 20 years, and he currently focuses on media systems, file-based workflows, and cloud migration for media facilities. He has presented more than 50 papers at industry conferences worldwide, and he holds 18 U.S. and foreign patents. In 2009 Kovalick was awarded the David Sarnoff Medal from SMPTE for engineering achievement. He is a life member of Tau Beta Pi, an IEEE member, and a SMPTE Life Fellow. He is the “Cloudspotter’s Journal” columnist for TV Technology magazine.
Further information about SMPTE is available online at www.smpte.org.
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About the Society of Motion Picture and Television Engineers(R) (SMPTE(R))
The Oscar(R) and Emmy(R) Award-winning Society of Motion Picture and Television Engineers(R) (SMPTE(R)), a professional membership association, is the worldwide leader in developing and providing motion-imaging standards and education for the communications, technology, media, and entertainment industries. An internationally recognized and accredited organization, SMPTE advances moving-imagery education and engineering across the broadband, broadcast, cinema, and IT disciplines. Since its founding in 1916, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 650 standards, recommended practices, and engineering guidelines. More than 6,000 members — motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students — who meet in Sections throughout the world, sustain the Society. Information on joining SMPTE is available at www.smpte.org/join.
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Highlights Include a Groundbreaking Technology Demonstration With Potential to Redefine the Broadcast Video Delivery Ecosystem
SAN JOSE, Calif. — Feb. 27, 2014 — At booth SU1210 at the 2014 NAB Show, Harmonic (NASDAQ: HLIT), the worldwide leader in video delivery infrastructure, will demonstrate a series of solutions that optimize the production and delivery of high-value video services in the broadcast, pay-TV, and new media environments. Building on its position as the No. 1 provider of pay-TV encoders, broadcast playout servers, IPTV headends, and multiscreen transcoding solutions, Harmonic will unveil innovative new solutions and feature sets that enable further efficiencies in the preparation and delivery of high-quality video content to any viewing device.
“During the 2014 NAB Show, the products and solutions demonstrated at our booth will highlight the operational efficiencies, cost savings, and amazing video quality that operators can achieve by leveraging an integrated solution from Harmonic,” said Peter Alexander, chief marketing officer at Harmonic. “In addition to the acclaimed products that have made Harmonic a leading solutions provider to video service providers, we will feature an innovative new solution with the power to change the nature of video delivery as we know it.”
Highlights at the Harmonic booth will include:
Encoding and Stream Processing
Harmonic will unveil and demonstrate a groundbreaking software technology that has the potential to redefine the broadcast video delivery ecosystem. The company also will feature a unique, live 4K Ultra HD 2160p60 demonstration.
The market-leading ATSC 3.0-ready Electra(TM) universal multifunction, multiformat encoding platform, which features the industry’s highest density audio encoding capabilities, will be on display, as will a powerful primary distribution solution built on the Harmonic DMS(TM) video distribution management system and a new ProView(TM) IRD (integrated receiver-decoder).
Harmonic also will show its advanced multiscreen ad insertion solution, which leverages the ProMedia(R) family and ProStream(R) with ACE(R) broadcast and multiscreen transcoder and integrates with advertising ecosystem partners to enable the monetization of multiscreen services. By facilitating commercial insertion, along with program substitution and blackout on the client side, the Harmonic solution gives operators a straightforward and cost-effective way to generate a return on their multiscreen investment.
Storage and Playout
Harmonic will feature enhancements to the market-leading Spectrum(TM) media server product line, including the Spectrum ChannelPort(TM) integrated channel playout system, which augment ingest, storage, and playout broadcast workflows. ChannelPort’s impressive performance includes high-density playout of four SD/HD channels per RU, dual DVE capabilities, and compatibility with the industry’s leading automation systems. In a demonstration of its high-performance storage solutions, Harmonic also will showcase collaborative editing and 4K editing on the Harmonic MediaGrid shared storage system.
In addition to the demonstrations and Ultra HD theater presentations at the Harmonic booth, Thierry Fautier, vice president of solutions marketing at Harmonic, will present his paper, “Ultra HD in 2014: A Real World Analysis,” at the NAB Broadcast Engineering Conference on April 9 from 10:30 to 11 a.m. in room S228 at the Las Vegas Convention Center.
Further information about Harmonic and the company’s products is available at www.harmonicinc.com.
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Harmonic (NASDAQ: HLIT) is the worldwide leader in video delivery infrastructure for emerging television and video services. The company’s production-ready innovation enables content and service providers to efficiently create, prepare, and deliver differentiated services for television and new media video platforms. More information is available at www.harmonicinc.com.
This press release contains forward-looking statements within the meaning of Section 27A of the Securities Act of 1933 and Section 21E of the Securities Exchange Act of 1934, including statements related to the anticipated capabilities and benefits of Harmonic’s Electra(TM), ProView(TM), ProMedia(R), ProStream(R) with ACE(R), Spectrum(TM), ChannelPort(TM) and Harmonic MediaGrid products. Our expectations and beliefs regarding these matters may not materialize and are subject to risks and uncertainties, including the possibility that the products do not meet some or all of their anticipated capabilities or provide some or all of their anticipated benefits, such as operational efficiencies, cost savings, and amazing video quality.
The forward-looking statements contained in this press release are also subject to other risks and uncertainties, such as those more fully described in Harmonic’s filings with the Securities and Exchange Commission, including its Annual Report on Form 10-K for the year ended Dec.31, 2012, its Quarterly Reports on Form 10-Q and its Current Reports on Form 8-K. The forward-looking statements in this press release are based on information available to Harmonic as of the date hereof, and Harmonic disclaims any obligation to update any forward-looking statements.
EDITOR’S NOTE – Product and company names used herein are trademarks or registered trademarks of their respective owners.