Technicolor – PostWorks’ Tim Stipan Applies the Finishing Touch to Indie Drama “Disconnect”

NEW YORK—Disconnect, the new drama from LD Entertainment and director Henry Alex Rubin, weaves three loosely related narrative lines, each of which relates to the internet and the way it is affecting human relationships. The protagonists of its three plot lines include a TV news reporter investigating porn chat sites, a lawyer whose 15-year-old son is victimized by his skater buddies, and an interracial couple who turn to on-line grief consoling to cope with the death of their baby.
Post-production was completed at Technicolor – PostWorks in New York, where the work ran the gamut from dailies processing through DI Colorist Tim Stipan (Moonrise Kingdom, Black Swan) applied the final grade, working alongside Rubin and cinematographer Ken Seng. more…

On-Site Technical Expertise and Support Ensures
Interference-Free Coverage for Jam-Packed Five-Day Celebration

NAPA, CA, MAY 13, 2013—When the inaugural BottleRock Napa Valley festival, a celebration of music, comedy, food and drink in California’s legendary Napa Valley, kicked off on May 9, Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, was on-hand providing frequency coordination for the more than 80 bands and performers at the event, as well as media in attendance.

In its debut year, BottleRock Napa Valley featured a lineup of more than 80 artists, bands and performers from a variety of genres, including rock, soul/R&B, country, hip?hop, comedy and more. In addition, more than 30 iconic restaurateurs shared the culinary stage with 40 superstar vintners. Close to 200,000 people attended the extravaganza.

“With five stages and more than 800 frequencies for the week, pre-planning is key in helping to avoid any interference issues, allowing us to react to any potential frequency problems ahead of time,” says Jim Van Winkle, general manager, PWS. “As this was the first year for the event, we tried to get as much information as possible ahead of time from the vendor, artists, engineers and media so that when our team arrived on-site, we were ahead of the game. This way, we kept any potential challenges or issues to a minimum. In addition, as with any event this size, we worked closely with the audio vendor, Delicate Productions.”

PWS was brought on to support the festival by Delicate Productions and Production Manager Chris Sorlie. One of the initial concerns in planning for the event was the close proximity to one of Pacific Gas and Electric Company’s (PG&E) power stations from the festival’s stages. “We worked closely with George Edwards and Sergey Bailleul at Delicate Productions and we all did our due diligence to ensure that there would be no frequency interference or signal issues associated with the plant.”

Four PWS staff members were on-site throughout the five-day celebration. “We stationed a dedicated frequency coordination expert at each of the three stages to mitigate any issues that may have presented themselves. In addition we regularly checked in on the other two stages,” adds Van Winkle. “We also used spectrum analyzers during the festival to determine occupied bandwidth and track interference sources, putting them on a safe frequency once we located them. An event of this size is always challenging, but once again, the PWS team did a fantastic job and the show went off as expected.”

An added benefit of PWS’ frequency coordination services is its hand-on approach. Although the company was only charged with providing frequency coordination services at the festival, PWS always brings backup equipment and gear to handle any issues that may arise.

For more information, visit www.professionalwireless.com.

Nathan Love Director Jim McKenzie brings a wildly nontraditional look to the National Geographic Channel in a promo for the network’s new The 80s: The Decade That Made Us miniseries. A rousing contrast to National Geographic’s traditionally grounded advertising, the animated spot infiltrates the airwaves with a trio of grinning, buff cheese ball characters working out in synch to an electronic frenzy of a song reminiscent of the 1980s.

“This is a completely different look for the network, and that’s exactly what National Geographic wanted,” notes Nathan Love ECD Joe Burrascano. “Because the series itself – which details the many unsung cultural revolutions ignited during that time – was such a departure from their traditional programming, the goal was to catch people by surprise, piquing their interest while connecting them to the light-hearted spirit of the 80s.”

Working with a wide-open creative brief, Nathan Love decided to pursue a hand-drawn animated look evocative of that decade’s wacky, in-your-face graphics and crudely drawn cartoons. The studio pitched a trio of 80s-themed spots based on the illustrations of longtime friend-of-the-studio Ana Benaroya and settled on the workout theme, a sequence drawn with the loud colors, tacky outfits and unintentional humor of that decade’s incipient fitness videos. McKenzie and Benaroya worked together to create the fun, off-the-wall moments that followed.

The result is a highly saturated, bubblegum-pop crowd-pleaser in the spirit of Nathan Love’s more intensely produced CG work. “Prior to teaming up with National Geographic on this spot, we had just finished work on really great spots for Polly Pocket and Froot Loops, and this workout video fits right into the vibrant, entertaining world of characters that we’ve established here at Nathan Love,” explains McKenzie. “All of our work shares themes of color and playful storytelling. By maintaining an expertise in animation as well as more modern production methods, we avoid limiting ourselves and are able to devise the best solution to executing our client’s vision.”

Nathan Love designed the initial key frames in Photoshop, and then hand drew each frame in Flash. Once the client signed off on the final images – selecting from a range of over-the-top butt shots and more conservative frames – Nathan Love compiled the final cut in After Effects.

Credits:

Client: National Geographic Channels
Spot Title: “The 80s Promo”
Airdate: April 14, 2013 8PM (Three-day miniseries event)

Agency: National Geographic
Creative Director | Design: Brian Everett
SVP Creative: Andy Baker
Creative Director of Design: Brian Everett
Creative Director: Tyler Korba
Design Director: Carla Daeninck

Production Company: Nathan Love
Executive Producer: James Braddock
Head of Production: Derrick Huang
Creative Director: Joe Burrascano
Director: Jim McKenzie
Designer: Ana Benaroya
Animation: Stieg Retlin
Composer: Drew Skinner

About Nathan Love

NATHAN LOVE is an innovative animation, design, and development studio located in NYC. Driven by a passion to tell great stories and connect with audiences around the globe, Nathan Love develops memorable characters, imaginative worlds, and engaging narratives for television, film, Web, books and video games. Clients and collaborators include Kellogg’s® Froot Loops®, McGraw-Hill Education, Chips Ahoy, NBC-Universal, and Nickelodeon Studios.

Visit Nathan Love
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New encoding/uploading app makes uploading video to the web quick, simple and error-free.

Laguna Niguel — Simian, the global leader in creative workflow and media management solutions has announced the release of the Simian Real Time Video Encoder™, a groundbreaking app that makes it simple to simultaneously encode and upload any size video file to the cloud. Available free to Simian users, the new app reduces the complexities involved with encoding and uploading video files to a single drag-and-drop operation. Even large files can be quickly uploaded to Simian. The app also ensures optimal playback. more…

WATCHOUT Premium Partner, Show Sage, will be exhibiting at Booth 209, Wyndham Orlando Resort, Florida, 15-16 May 2013.

Dataton ships new WATCHPAX solid-state media server

The big new product for Dataton in 2013 is WATCHPAX™. Combining all the show-timeline, control and image-manipulation of the company’s successful Dataton WATCHOUT™ software with a compact embedded computer, WATCHPAX is now shipping and has already started to earn rave reviews.

Dataton WIRETAG™, which plugs directly into the WATCHPAX media-player module allows direct integration of a WATCHOUT show with Dataton’s PICKUP™ audio guide system. Simply point and click at the WIRETAG with a PICKUP audio guide, and you jump straight into the show soundtrack at the correct point in the show.

Jim Testa, President, Show Sage, adds: “The North American market for Dataton’s products is in very robust health and we are very excited by the attention WATCHPAX is getting from customers, current and new. WATCHPAX has opened the doors to opportunities where WATCHOUT previously may not have been a practical choice.

“Add the new synchronization with PICKUP made possible by WIRETAG and you really do have a winning combination.”

www.ShowSage.com
www.dataton.com

Simplified Access to Essential Tasks and Updates on Top of Powerful Project Management, Review and Asset Tracking Toolset

Venice, CA – Shotgun Software, developer of Shotgun, the leading production management system designed for the visual effects, animation and game industries, today released a complete product overhaul with Shotgun Version 5.0. Shotgun encompasses production tracking, scheduling, review and approval, helping modern production pipelines run as efficiently as possible–but now includes a new UI and toolset designed specifically for artists and supervisors. Shotgun 5.0 also adds new tools for task tracking, review and approval, collaboration and search, and is still priced at $49.00 USD per seat, per month.

The version 5.0 build of Shotgun was designed together with artists who wanted simple and visual views of their essential tasks and key updates with tools to collaborate about their work with supervisors and peers. Shotgun 5.0 delivers that and more, including:

My Tasks — A simple view of an artist’s tasks with key project information and updates presented in an easily digestible news feed format. My Tasks also displays who else is actively working with the artist at any given time, breaking down the walls that divide artists who often work in isolation whether co-located or at remote locations.

Inbox — A visual collection of notes and important updates related to the artist’s work. Artists can customize their inbox by choosing to ‘follow’ progress of specific project shots or assets that are important to them filtering out updates that aren’t relevant to their tasks.

Global Search — Search for anything in any project and receive an immediate, curated list of results with an easy-to-read news feed style layout.

“For the 5.0 release, we turned our focus to artists and supervisors, designing simple and visual tools that connect them to important project details and to each other,” said Don Parker, Co-Founder and CEO, Shotgun Software. “This is an important step towards providing an off-the-shelf toolset that equally meets the needs of creative artists and data-centric facility managers around the single goal of doing great work while running a solid business.”

Shotgun 5.0 comes on the heels of a new integrated Shotgun package, making three previously independent products (Shotgun, Revolver and Tank) available now as a single, unified, comprehensive package at a cost of $49 per user/per month. Pricing for enterprise customers, advanced support options and education institutions is available upon request by emailing sales@shotgunsoftware.com.

About Shotgun Software
Shotgun Software was founded in 2006 by a group of visual effects professionals to build production tracking, review and asset management solutions for modern studio pipelines. The founding members worked together on a major studio animated feature and develop tools to fill the mounting industry need for a commercially viable system for managing complex projects spread across multiple locations. Shotgun is actively developing the system with more than 400 industry studios including EA, Blue Sky, Double Negative, Framestore, Method, Pixomondo, Playstation, Blizzard and Zoic Studios. For more information and an online demonstration visit http://www.shotgunsoftware.com

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Big Buck Bunny – footage courtesy of (CC) Blender Foundation, www.blender.org

Nashville, TN (May 8, 2013) — The 4th Annual Nashville Recording Workshop +Expo, set to take place on May 14th and 15th at the Rocketown Event Center in downtown Nashville. Presented by the Audio Engineering Society, Nashville Section, this two-day event features presentations from top producers, engineers, and other industry professionals, as well as a keynote speech and on-stage production demonstration by Sugarland’s Kristian Bush. Additionally, Nashville Mayor Karl Dean will be join the AES Nashville Section in recognizing “Nashville Audio Engineer Week”, May 12th through 18th, to coincide with the Nashville Recording Workshop +Expo and AudioMasters Benefit Golf Tournament, and Mayor Dean will be on-hand for a special opening ceremonies event the first day of the show.

This year’s lineup of presenters covers a wide scope of topics ranging from acoustics and home studio issues, to business and songwriting, and common production techniques for getting the most out of a selective studio budget. One highlight of the event, “Progression of a Project”, will feature keynote speaker, artist, songwriter, and personal studio owner, Kristian Bush, and his engineering and production partner, Tom Tapley, walking through the production of a complete song from start to finish. The duo will highlight the role of technology in the creative process, revealing the depths of what’s possible within and without a personal recording space. Day two’s “Progression of a Project” presentation will further feature engineer/producer Steve Marcantonio, who, having worked early in his engineering career with John Lennon in New York City, assembled a coalition of Nashville artists, studio musicians and facilities for a tribute album to benefit the Nashville Engineer Relief Fund. Steve follows the progression of tunes from “We All Shine On”, from start to finish, with comments about the collaborators’ contributions, and comparisons to the original foundation.

Another integral part of the Nashville Recording Workshop +Expo, the showcase exhibit area, will feature over 30 pro audio manufacturers and related services showing their latest offerings. Attendees will have ample opportunity for hands-on product showcases and demos, along with networking opportunities with audio professionals from around the country. Additionally, two state-of-the-art mobile facilities will be on-hand for tours and demonstration by attendees. The first, TNDV’s “Vibration” mobile production studio (featuring a Studer Vista 9 console, 7.1 surround sound, and interface for up to 256 inputs), specializes in mobile, multi-cam, and hi-def productions for any size or type of venue. Alongside will be the Yamaha Rolling Showroom – a spacious, hands-on exhibit of the latest NUAGE product line, developed in conjunction with Steinberg, utilizing the powerful Dante audio network protocol. Both impressive facilities will be open, along with other exhibitor booths and showcases, throughout the two day event.

Presented by the AES Nashville Section in conjunction with the Audio Engineering Society, and designed to share the expertise of audio pros with home studio owners, musicians, songwriters, producers and engineers, NRW+E 2013 will feature presentations by industry pros, exhibits by audio gear manufacturers and an opening night reception. Panelists slated to appear include Jonell Polansky, Chris Mara, Chris Estes, Bil VornDick, Richard Adler, Lynn Fuston, Glenn Meadows, Mike Metlay, Randy Wachtler, Tom Tapely, and Steve Marcantonio, among others.

Sponsors and exhibitors for this year’s Nashville Recording Workshop +Expo include: ADAM, AEA, API, Asterope, Cartec Audio, Daking, Drawmer, Earthworks, Electronic Musician, Empirical Labs, Flourish Acoustics, Focusrite Novation, GluBoost, Gordon Instruments, ITI Audio, Latch Lake, Magix, Mix Magazine, MusicStartsHere.org, Nashville Muse, New Bay Media, New Life Digital Media, NTS ProMedia, PhasX Acoustics, PixAural, Prism Sound, Pro Audio Review, Pro Sound News, Recording, Sabra-Som, Samplitude, Sonodyne, Sontec, Sony Electronics, Sweetwater, TELEFUNKEN Elektroakustik, TransAudio Group, Unity Audio, Waves Distro, Waves Audio, and Yamaha Commercial Audio Systems.

Reduced rates are available for students and members of professional industry organizations (AES, AFM, NSAI, Recording Academy, SPARS, RMA, BMI, ASCAP, SESAC, SMPTE).

For more complete schedule and registration information visit www.nashvillerecordingworkshop.com.

— Visionary, producer, engineer, composer and audio technologist was remembered by his peers, his family, and artists in whom he helped bring out the best —

NEW YORK, NY, May 13, 2013 – With those in attendance underscoring the breadth and depth of a remarkable career in music, family and friends of multiple GRAMMY® Award-winning music producer Phil Ramone came together on May 11, 2013, to celebrate and honor his singularly amazing life. Ramone, who passed away on March 30, 2013, was most noted as an inspired record producer, crafting recordings that have sold into the hundreds of millions of copies for artists including Billy Joel, Barbra Streisand, Frank Sinatra, Tony Bennett, Natalie Cole, Paul McCartney, Paul Simon, James Taylor and many others. But Ramone, a classical violin prodigy who studied at the Juilliard School, was as deeply interested and gifted in the technology of music production, and it’s telling that in addition to his 14 GRAMMY Awards (out of 33 nominations) Ramone was the recipient of a Technical GRAMMY, for his many contributions to the science and art of recording. Such contributions include the establishment of A&R Recording, the Manhattan studio Ramone co-founded in 1958 that set the bar for the industry nationally; his production of Billy Joel’s 1982 52nd Street LP, the first CD album ever commercially released; the Frank Sinatra Duets series of recordings, with which Ramone pioneered recording techniques in which vocalists – in some cases thousands of miles apart – were paired in the studio via fiber-optic technology; and countless more. An early advocate of digital music technology, Ramone also founded one of the first record labels focused on digital music, N2K Encoded Music.

The event, titled Phil Ramone, Music Memorial Celebration, was held at the Centennial Memorial Temple, a landmark Art Deco auditorium inside the Salvation Army’s Greater New York Division Headquarters. The choice of venue held a particularly special meaning, since in November 2011 Ramone founded The Salvation Army Phil Ramone Orchestra for Children — the result of Phil’s lifelong dream to touch the lives of less fortunate children in challenged communities by giving them access to music education. The program currently serves children ages 7 to 12, and teaches these students how to play instruments through group and full orchestra lessons.

The event read like a Who’s-Who in the music industry. It drew a stream of luminaries who recalled Ramone’s gifts as a person and music professional, including Tony Bennett, engineer Ed Cherney (Bonnie Raitt, the Rolling Stones), Josh Groban, Dave Grusin, Billy Joel, Quincy Jones, Shelby Lynne, Matthew Morrison, Paul Simon, Kevin Spacey, Noel Paul Stookey, Nikki Yanofsky and Peter Yarrow. In attendance were family members Karen, BJ, Matt and Simon Ramone, who shared the stage and the love everyone felt for Ramone.

An all-star backup band accompanied many of the artists who performed and included such renowned musicians as Rob Mounsey (musical director/piano), Steve Gadd (drums), Bashiri Johnson (percussion), Ben Butler (guitar), Henry Hey (keyboards), Zev Katz (bass), Vaneese Thomas (background vocals) and Jill Dell’Abate (background vocals and music coordinator).

After a performance of “When the Saints Come Marching In” by The Salvation Army Phil Ramone Orchestra for Children, some of the attending artists performed songs paying tribute to Ramone. Billy Joel performed “Where’s the Orchestra”; Tony Bennett sang “Fly Me To The Moon”; keyboardist/composer Dave Grusin performed “Sun Song”; Peter Yarrow and Noel Paul Stookey (Peter, Paul and Mary) performed “Day Is Done”; Shelby Lynne performed “You Don’t Have to Say You Love Me”; actor Kevin Spacey evoked memories of Ramone’s work with Sinatra and performed a medley of “By Myself,” ”When Your Lover Has Gone” and “The Curtain Falls”; Nikki Yanofsky performed “You’ll Have to Swing It (Mr. Paganini)”; and Matthew Morrison performed a medley that included “Come Rain Or Come Shine” and ”Basin Street Blues.” Finally, renditions of “Slip Slidin’ Away” and “Fifty Ways to Leave Your Lover” by Paul Simon, and “Smile” by Josh Groban, brought the event to a gentle and wistful conclusion.

“Phil Ramone was a lovely person and a very gifted musician and producer,” said Tony Bennett. “It was a joy to have him work with me in the recording studio on so many projects, as he had a wonderful sense of humor and a deep love of music.”

Billy Joel added, “I always thought of Phil Ramone as the most talented guy in my band. He was the band member no one ever saw onstage. So much of my music was shaped by him and brought to fruition by him. I have lost a dear friend – and my greatest mentor.”

The 3-hour event was produced by longtime friend and former manager Nancy Munoz (Anami Music, Inc.), who also worked with Phil producing The Songwriters Hall of Fame Awards.

Photo File: PhilRamoneMemorial.JPG
Photo Caption: Pictured L-R, seated: Paul Simon, Quincy Jones, Karen Ramone, BJ Ramone, Simon Ramone; L-R, standing: Steve Gadd, Josh Groban, Dave Grusin, Ed Cherney, Nikki Yanofsky, Kevin Spacey, Noel Paul Stookey, Shelby Lynne, Peter Yarrow, Matthew Morrison. Photo by Johnny Richie Photography. (This photo is the property of Johnny Richie Photography and may be used by the press only for the purpose of one-time reproduction. Unauthorized use, alteration or reproduction of this photograph is strictly prohibited.)

This year, MPC Digital teamed up with The One Club via JWT New York to create Fracture.io, a stunning installation experience for The One Show’s lavish after party at NYC’s Bowery Hotel. Fracture.io allowed guests – a selection of the advertising and design industries’ biggest players – to literally enter the digital space, taking 3D scans of pose-striking partygoers to generate beautifully abstracted, full body 3D renderings.

Exercising their trademarked ingenuity, the team at MPC Digital aimed to create a real-time 3D scanning and visualization system using little more than off-the-shelf hardware, the Microsoft Kinect. The result was a refreshingly uncomplicated installation that functioned on clarity of artistic vision as much as technical wizardry, and which served as a testament to the creativity celebrated at the evening’s One Show awards ceremony.

Fracture.io took the form of a 12x16ft room (built with fabrication and AV partner SenovvA) with four Microsoft Kinects aimed at the center, where guests were invited to pose for the cameras. Using their OpenFrameworks application, MPC Digital was able to instantly capture full image and depth data. A custom modified version of PCL then stitched this data into a smooth mesh and calculated the normal – a scanning solution that allowed the team to dial exposure time up or down, more effectively balancing accuracy and speed.

Once the mesh was created, it could be used as the basis for generative 3D visualizations of guests’ forms. The mesh could then be imported into Unity, which wrapped the form in splines bearing custom 3D objects. All of this occurred near instantaneously, displayed on massive screens both within and outside of the booth. On these screens the camera panned over the guest’s form and surrounding environment, utilizing a custom dynamic rack focus system driven by the same sort of 3×3 matrix found in high-end autofocus cameras. The end result is an animated generative artwork of both striking precision and abstract beauty.

Animations and meshes were then exported and automatically assigned unique URLs on the Fracture.io website gallery, allowing guests to view and share their portraits.

Fracture.io
MPC Digital

Credits:

Client: The One Club
Title: Fracture.io
Date: May 2013

Agency: JWT NY

Created by MPC Digital NY
Creative Director: David Estis
Technical Director: Adam Chapman
Executive Producer: Tim Dillon
Managing Director: Justin Lane
Development (Unity, OpenFrameworks): Aaron Meyers
Development (OpenFrameworks, Python, Network, Web Server): Jeff Crouse
Development (javaScript): Will Adams
Design: Will Adams, Colin Hess, Tim Regan
Modeling: Stu Schwartz, Colin Hess
AV and Fabrication Partner: SenovvA
Production Support: Claudia Guevara, Alliah Morad, Ariella Amrami, Lindsey Neyman
Editing: Adam Epstein
Camera: Sean Mattison, Reginald Emvula

About MPC Digital:

MPC Digital New York is focused on exploring emerging technologies to create experiences that reach beyond the broadcast screen into the physical world. From interactive installations and events to context aware apps and objects, we invent, design, and develop for agencies and brands. We collaborate closely with both our Design and CG departments to bring the stunning experiences that MPC is known for to the interactive space.

About The One Club:

The One Club, a nonprofit organization, exists to champion and promote excellence in advertising and design in all its forms. Founded in 1975, as part of its mission to promote high standards of creative excellence, The One Club produces the One Show, One Show Design, One Show Interactive and One Show Entertainment. The coveted One Show Gold Pencils are regarded as the zenith of achievement in the advertising world. Its OneScreen Short Film & Video Festival returned from a four-year hiatus in 2012.

In 1995, The One Club established an education department, dedicated to fostering the creative talents of advertising students nationwide. The department administers scholarships to outstanding students in advertising programs at a variety of schools across the country and produces an annual College Competition. As a part of this department, the award-winning One Club Diversity Program conducts workshops, portfolio reviews and outreach to multicultural students around the country.

Art & Copy, a documentary film produced by The One Club, won an Emmy Award after appearing on PBS’s Independent Lens.

You can follow The One Club online at http://www.oneclub.org, and on Facebook and Twitter.

About JWT:

JWT is the world’s best-known marketing communications brand. Headquartered in New York, JWT is a true global network with more than 200 offices in over 90 countries, employing nearly 10,000 marketing professionals. JWT consistently ranks among the top agency networks in the world and continues a dominant presence in the industry by staying on the leading edge—from producing the first-ever TV commercial in 1939 to developing award-winning branded content today. JWT embraces a WORLDMADE philosophy, making things inspired by the world through blending technological innovation with international imagination. JWT has forged deep relationships with clients including Bayer, Diageo, Ford, HSBC, Johnson & Johnson, Kellogg’s, Kimberly-Clark, Macy’s, Mondelez, Nestlé, Nokia, Rolex, Royal Caribbean, Schick, Shell, Unilever, Vodafone, Vonage and many others. JWT’s parent company is WPP (NASDAQ: WPPGY). For more information, please visit http://www.jwt.com and follow us @JWT_Worldwide.

About SenovvA:

SenovvA is a design and management group offering services to the entertainment, special event, architectural/construction and media services industries.

We focus on live production design & management, staging services, specialty media systems design and installation, media facility management, and specialty media content design and management.

Built on the vast experience, and personal relationships of the most experienced producers, technical directors, designers and technical specialists; SenovvA focuses on solution driven services throughout the world.

Visit MPC
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Cypress, CA – FOR-A Corporation of America plans to showcase its FT-ONE full 4K super slow motion camera at the upcoming Cine Gear Expo, taking place May 31-June 1 at The Studios at Paramount in Hollywood. FOR-A will be in Booth #S323, where they will also display the FT-1READ -a RAW data to DPX converter available with the FT-ONE camera.

First introduced at last year’s Cine Gear Expo, the award-winning FT-ONE is ideal for digital cinematography applications. The camera is the first of its kind to complete the 4K workflow by introducing the ability to simultaneously record and play back super slow motion images at full 4K resolution. The FT-ONE’s high-sensitivity CMOS color sensor, FT1-CMOS, enables high-speed recording at up to 900 frames per second (fps). The camera captures images as uncompressed raw data on the system’s internal memory, which has a recording capacity of 9.4 seconds. This data is then stored on one of two hot-swappable SSD cartridges, each of which is capable of storing 84 seconds of full 4K resolution images.

FOR-A will also be showing the FT-1READ, an option available with the FT-ONE for easy file conversion. The FT-1READ takes the RAW data from the SSD drives, imports all recorded info, and converts it to a DPX file.

“The FT-ONE has received many accolades for its innovative technology since the camera’s introduction,” said Hiro Tanoue, President for FOR-A Corporation of America. “Cine Gear Expo continually attracts many major players in high-end entertainment production, and FOR-A is looking forward to showcasing the camera and its stunning 4K capabilities again at this year’s show.”

The FT-ONE camera uses a PL mount lens and a global shutter system, which allows the camera to capture fast-moving subjects in crisp detail at 4K resolution. The FT-ONE is designed as a self-contained unit that is dependable and easy to use.

Cine Gear Expo is the premier film, video, and digital media expo for the entertainment industry, and is the largest event of its kind. 2013 marks the conference’s 17th year.

About FOR-A

FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, postproduction and professional video markets. For more information about FOR-A’s product line, call 714-894-3311 or visit our web site at www.for-a.com.