ASSIMILATE (www.assimilateinc.com) today announced that SCRATCH and SCRATCH Lab version 6.1 have achieved never-before-seen performance levels in the playback of RED EPIC Stereo content. SCRATCH Lab now provides DITs, DPs and Directors with dailies playback and review of RAW Stereo EPIC streams, direct from the camera at a full 48 FPS. SCRATCH 6.1 finishing systems can achieve the same 48 FPS playback rate of EPIC Stereo content even after sophisticated color grades and VFX have been applied.

Now, Directors and DPs that are planning the next generation of stereo feature films can have the confidence of knowing that they can maintain the integrity of their shot from on-set QC and review, all the way through post-production. And best of all, they can eliminate the costly and time-consuming step of transcoding.

“48 FPS Stereo EPIC feature films are the next holy grail on the moviemaking horizon”, said Ted Schilowitz of RED. “Directors are constantly pushing the envelope to deliver the highest quality cinematic experience possible, and EPIC is the camera of choice for the majority of the top stereo productions in 2012. We’re delighted that these productions now have the benefit of 48 FPS playback, review and QC of stereo EPIC shots, on-set and in realtime, with an industry-leading tool like SCRATCH Lab. The ability to achieve 48 FPS Stereo EPIC support in a world-class dailies workflow system for less than $5,000 is astonishing”.

Jeff Edson, CEO of ASSIMILATE, said, “SCRATCH and SCRATCH Lab have been at the leading edge of digital moviemaking since the original RED One camera. Today’s announcement is just another example of how SCRATCH and Lab and RED continue to set the pace for the industry. ASSIMILATE is dedicated to delivering the highest quality, most consistent artist experience for file-based content – from image acquisition, all the way through DI and post. We’re committed to continue working in lock-step with RED as we consistently deliver the technology that changes the way the world watches movies”.

SCRATCH Digital Workflow Tools

ASSIMILATE’s SCRATCH and SCRATCH Lab deliver the industry’s most comprehensive toolset for data-centric digital cinema and broadcast productions for 2D and 3D stereo projects at up to 5K resolution and beyond. New 6.1 versions of the software, running on Mac OS X and Windows 7, feature SDI output via AJA Kona 3G graphics cards, wicked-fast dailies rendering, improved metadata and timecode handling, and enhanced RED workflow support.

ASSIMILATE is the premier provider of digital workflow and post-production tools, that have proven essential to the successful creation of thousands of studio and independent features, television shows, music videos and corporate video productions. The company’s SCRATCH products, running on Windows and Mac OSX, are the heartbeat of today’s most demanding digital post-production and dailies workflows for 2D and stereo 3D productions. They equip Directors, DPs and Artists with the state-of-the-art, intuitive, data-centric solutions they need to meet the continual challenges of increased creativity and productivity amid ever-shrinking budgets. ASSIMILATE’s SCRATCH data-centric DI system, is the most comprehensive, end-to-end cinema and broadcast imaging tool for playback, conform, editing, color grading, compositing and finishing of RED and other digital workflows. SCRATCH Lab delivers a comprehensive toolset for the review, versioning, color correction, conform and output of on-set or VFX dailies. ASSIMILATE a privately held company, with headquarters in Santa Clara, California, USA, offices in London, UK, Groningen, NL and Beijing City, CN and markets its products worldwide via a global reseller network. www.assimilateinc.com.

CRASH+SUES, the hybrid VFX, animation, color correction and creative editing company, has signed executive producer Sven Shelgren. With over 20-years of experience, the industry veteran has executive produced spots for such iconic directors as Jim Johnston, John Pytka, Peter Kagan, and Paul Dektor, and worked for a prestigious list of production companies, including Dektor Film, Jon Francis Films, and Stiefel & Co. Shelgren, whose work has garnered numerous Clios, as well as awards at Cannes and MOMA, is skilled at helming productions with budgets that run the gamut from modest to millions of dollars. He brings this broad range of experience to his new position heading the Minneapolis-based company’s multi-disciplined collective of talent, and working with C+S president/owner, Heidi Habben to provide advertising, film, broadcast and emerging media clients with expanded creative resources.

 

Shelgren’s career has traversed the commercial, film and television arenas. He began working in the industry in 1978 as a repair technician and teamster dispatcher for a grip and lighting company in NYC, and then made the leap to high volume commercial producing for Jim Johnston, John Pytka, Ed Barnett and Andrzej Karpinski. In 1985, he helped launch Stiefel & Company in NYC, and as executive producer for Richard McCarthy, Steve Tobin, Peter Kagan, and Jon
Francis, he expanded Stiefel to LA and produced a long roster of memorable spots, including the multi-million dollar

 

Merrill Lynch “Bull Across America” campaign. In 1988 Sven began a six-year stint working exclusively with director
Jon Francis as executive and line producer. Their prolific partnership generated numerous award-winning spots, including multiple Little Caesar’s campaigns for Cliff Freeman Partners, SF Examiner spots for Goodby Berlin, and many others.

 

Shelgren opened his own production house, RCR Inc. in 1994, which debuted with the highly acclaimed Saturn campaign, “Mt Rushmore” and “Yellowstone” for Hal Riney/SF. That same year Sven was offered an executive and line producer position with Paul Dektor at Dektor Film, which continued for the next 13 years, where he supervised dozens of major national accounts including Michelob, Nike, AT&T, Wachovia, Huggies, and Dove. Throughout this period, Sven also produced RCR Inc. projects, working with public service agencies such as Amnesty International, as well as corporate clients like Epson, Clarion Hospitals, and the Indiana and Illinois Lotteries.

 

“I first met Sven when CRASH + SUES hired Dektor Films to produce an innovative spot for WE Energies and Laughlin Constable/Milwaukee. That was over a decade ago, and we’ve been friends ever since,” notes Habben. “I think it’s Sven’s love of the industry and passion for his craft that consistently propels his work to the next level. He brings the full breadth of his experience to every job and knows how to elevate a collaboration into a creative partnership that pushes a project farther than expected or imagined. I’ve always said he could spin more plates than anyone I know. He’s an extraordinarily talented executive producer, and I’m honored that he’s joined the CRASH+SUES team.”

 

“Sven is also a tenacious creative problem-solver who knows how to amp up the production value of a projects – whether the budget is $5K or $5M,” adds Habben. “Working in a mix of major markets – from Los Angeles and New York to Vancouver and the Mid-West – has given him a national and global perspective of the industry, which is invaluable to CRASH+SUES as we expand and diversify,” continues Habben.

Habben also recognizes the value of Shelgren’s keen eye for talent and has tasked the executive producer with recruiting talent and expanding C+S’ diverse team of animators, designs, VFX artists, creative editors, color correctors, digital strategists, illustrators and mixers.

 

Sven Shelgren’s ability to conceptualize and produce inspired media content continues to draw him into long-form work. His recent feature documentary film, A Single Woman, premiered in a session of the US Congress, as well as being recognized with screenings at both the Smithsonian Institution and at the United Nations. It tells the true story of the first US Congresswoman and lifelong pacifist, Jeannette Rankin, and earned Shelgren an Exceptional Merit in Media Award, the highest honor presented by the National Women’s Political Caucus. His short film, My Husband’s Son, was honored as a festival selection in Edinburgh, London, Los Angeles, South by Southwest, and others, also garnering Best Actress for Kathleen Wilhoite at the Festival du Cinema de Paris.

 

“Once I had the delightful experience of working with CRASH+SUES as executive producer for Dektor Films back in 2001, Heidi and I became fast friends,” says Shelgren. “She’s built a high-end multi-disciplined creative resource for providing a blend of all formats of media content – from spots and broadcast to films and emerging media – in a collaborative environment driven by a team of talent that brings a fresh aesthetic and cutting-edge creative solutions to their work. It’s a business model that has no boundaries, and I’m thrilled to have the opportunity to work together with such a talented team to make clients and collaborators all proud of the work we do together.”

 

About CRASH+SUES:
CRASH+SUES (is a seamlessly integrated creative editorial, animation, FX, motion design, color correction, finishing and multi-media company. Its collaborative team of talent is dedicated to providing advertising agencies, brands and filmmakers with fresh, innovate and cost-effective creative content. For additional information about CRASH+SUES, contact executive producer Sven Shelgren at 612.338.7947 or (sven@crash-sues.com) or visit www.crashandsues.com.

Credits also to Local Hero Post, Cinecolor Digital, Studio L’Equipe for their 2012 Sundance Film Festival Entries

At the Sundance Film Festival 2012 in Park City, Utah (January 19 – 29), several films were on the roster for filmmakers whose post-production companies used ASSIMILATE’s SCRATCH DI tool in their digital workflows. ASSIMILATE is extremely pleased to congratulate Chilefims for its post-production of Violeta Went To Heaven (Violeta Se Fue a Los Cielos) (2011), winner of the Sundance 2012 World Cinema Grand Jury Prize, Dramatic. ASSIMILATE also congratulates Local Hero Post (Santa Monica, CA) Cinecolor Digital (Buenos Aires, Argentina), and Studio l’Equipe (Paris, France) for their high-quality post-production of the following films accepted by the Sundance Film Festival 2012, the premier showcase for independent American and international filmmakers.

World Dramatic Competition

Winner – Violeta Se Fue a Los Cielos (Violeta Went To Heaven) (2011) directed by Andres Wood: Like a Chilean Edith Piaf or Bob Dylan, Violeta Parra was a folksinger and pop culture icon whose songs expressed the soul of her nation and protested social injustice. Violeta Went to Heaven tells Parra’s extraordinary story, tracing her evolution from impoverished child to international sensation, to Chile’s national hero. The full DI, from conform to color grading and finishing for this film, was done in ASSIMILATE’s SCRATCH.

Post-production facility: Chilefilms, Santiago, Chile; www.chilefilms.com.cl

“We of course are thrilled and honored that Violeta Went to Heaven is the winner of the World Cinema Grand Jury Prize, Dramatic at Sundance 2012. As with every film we undertake at Chilefims, we put our heart and soul into it,” says Cristian Aguilar, Chilefilms’ business development director. “We’ve been using SCRATCH since 2004 when we were a beta for version 1. Since then, SCRATCH has become an integral tool in our daily workflow for countless films and projects. The sophistication of SCRATCH continues to ‘ripen’ over the years so that we’re able to do post-production at the speed of thought to achieve the highest quality of DI, many of which are award-winning films and documentaries.”

Wrong (2012) directed by Quentin Dupieux: Dolph Springer wakes up one morning to realize he has lost the love of his life, his dog, Paul. During his quest to get Paul (and his life) back, Dolph radically changes the lives of others. In his journey to find Paul, Dolph may lose something even more vital – his mind. This film was conformed and color graded in ASSIMILATE’s SCRATCH.

Post-production facility: Studio L’Equipe, Paris, France; www.studio-equipe.com

The Last Elvis (2011) directed by Armando Bo: In the unique world of the Buenos Aires celebrity-impersonator scene, “Elvis” Gutiérrez is a star. By day, though, he must contend with a dead-end factory job and an ex-wife who worries about how his obsessive behavior affects their young daughter. ASSIMILATE’s SCRATCH was the tool of choice for the full digital intermediate – conform, color grading, and finishing —- for this film.

Post-production facility: Cinecolor Digital, Buenos Aires, Argentina; www.cinecolor.com.ar

“This film was captured in RED and required intense color work because the film had to have a style or look of Las Vegas, with its dramatic different climates throughout the film,” said Lucas Guidalevich operations manager at Cinecolor Digital. “This is not a VFX film, so the importance of post-production lies almost entirely in the color correction. Thanks to the features that SCRATCH offers in working with infinite layers, we could do a lot of tweaking to squeeze the most out of the captured images. The results were excellent, both in the DCP and in the film copy negative, which was printed on an Arrilaser.”

US Dramatic Competition

Filly Brown (2011) directed by Youssef Delara and Michael D. Olmos: Majo Tonorio, a.k.a. Filly Brown, is a raw, young Los Angeles hip-hop artist who spits from the heart. When a sleazy record producer offers her a crack at rap stardom, Majo faces some daunting choices. Gina Rodriguez’s performance as Majo is considered by many to be the breakout performance of the festival. Filly Brown was conformed, color graded, and finished using ASSIMILATE’s SCRATCH.

Post-production facility: Local Hero Post, Santa Monica, CA; www.localheropost.com

Leandro Marini, founder and DI producer at Local Hero Post said, “For us, working in SCRATCH is almost a magical experience – we have all the needed DI tools at our fingertips to bring out the best in imagery, no matter the format or size of the project. It’s extremely satisfying to exceed the expectations of our clients, actually bringing their vision to life.”

“ASSIMILATE congratulates Chilefilms and the entire family of SCRATCH artists whose films competed at Sundance 2012″, said Steve Bannerman, VP of marketing at ASSIMILATE. “We have been the heartbeat of digital filmmaking since the original RED ONE camera, and we are proud to have empowered so many of the independent film and documentary makers who have fueled this revolution. Audiences around the world are continually amazed and delighted by their work, and ASSIMILATE is honored to have played a role in their craft.”

SCRATCH Digital Workflow

ASSIMILATE’s SCRATCH and SCRATCH Lab deliver the industry’s most comprehensive toolset for data-centric digital cinema and broadcast productions for 2D and 3D stereo projects at up to 5K resolution and beyond. New 6.1 versions of the software, running on Mac OS X and Windows 7, feature SDI output via AJA Kona 3G graphics cards, wicked-fast dailies rendering, improved metadata and timecode handling, and enhanced RED workflow support.

ASSIMILATE is the premier provider of digital workflow and post-production tools, that have proven essential to the successful creation of thousands of studio and independent features, television shows, music videos and corporate video productions. The company’s products, running on Windows and Mac OSX, are the heartbeat of today’s most demanding digital post-production and dailies workflows for 2D and stereo 3D productions. They equip directors, DPs and artists with the state-of-the-art, intuitive, data-centric solutions they need to meet the continual challenges of increased creativity and productivity amid ever-shrinking budgets. ASSIMILATE’s SCRATCH data-centric DI system, is the most comprehensive, end-to-end cinema and broadcast imaging tool for playback, conform, editing, color grading, compositing and finishing of RED and other digital workflows. SCRATCH Lab delivers a comprehensive toolset for the review, versioning, color correcion, conform and output of on-set or VFX dailies. ASSIMILATE a privately held company, with headquarters in Santa Clara, California, USA, offices in London, UK, Groningen, NL and Beijing City, CN and markets its products worldwide via a global reseller network. To learn more, and find your local reseller, please visit www.assimilateinc.com

New 3D BULLET RIG shown with Panasonic HPX250 cameras. The most affordable, modular 3D beam-splitter made. Adustable IO (3.5″), convergence (0-2 deg), XYZ axis, camera elevation and mirror angle (44 to 46 deg) for perfect image alignment. Fits easily on Steadicam, handheld mode (shoulder mount incl), EasyRig, jib and any tripod. Weighs just 15 lbs. Accomodates Red Epic, Scarlet, Sony EX3, F3, Canon XF305, XF105, 5D, Si-2K, & many other cameras. Visit www.3DFilmFactory.com

Crystal Vision’s Safe Switch 3G provides clean and intelligent 2 x 2 switching between two 3Gb/s, HD or SD sources containing up to four groups of embedded audio and is the only way to guarantee a clean switch. The full framestore synchronizer on each input allows it to correct for any timing difference between the two inputs resulting in no disruption to the output picture when a switch takes place, while it can even lose the reference and not affect the output. It can be used for planned maintenance switches to manually re-route a good signal around broken equipment, or as an intelligent emergency transmission switch with the option of selecting from 16 different fault conditions to automatically trigger the switch. Available in two versions – as Safe Switch 3G and Safe Switch-L 3G – it provides a robust, one-board solution that replaces a switch and two synchronizers, simplifying system designs and saving broadcast engineers both money and rack space.

Safe Switch 3G can be switched either automatically or manually. To help broadcasters ensure continuity of service, Safe Switch 3G is ideal for use on the final output stage of a transmission system, before the signal gets to the MPEG encoder. Typically the backup signal going into the switch will have gone a simplified route compared to the main programme, resulting in a time difference between the two feeds which can upset the MPEG encoder on a switch to backup. Safe Switch 3G is a one-board solution which prevents this corrupted video by balancing the delays between the main and backup feeds. It can alternatively be used to manually switch to backup in non-emergency situations when equipment in the chain needs fixing or updating.

Safe Switch 3G’s clean switching comes from the full framestore synchronizer in each input stream which will ensure that both inputs to the switch are correctly timed to the external analogue reference resulting in no disruption. The synchronizers act as a self-adjusting delay, allowing a clean transition between the two channels even if their relative timing has slipped. Safe Switch 3G can even lose the reference signal and not affect the output. Loss of reference protection – where Safe Switch 3G will change its timing smoothly between the reference and the inputs, keeping the output valid at all times – is an unusual and technically-advanced feature which further extends the board’s primary purpose of protecting the output from any disruption.
Safe Switch 3G is also an intelligent switch. It constantly checks both of the inputs so that the output of the switch always remains proper and valid, and can be set to automatically switch away from the user-selected input if it does not meet the set requirements. It extracts information about various parts of the video signal to decide which of the two inputs is better, based on the engineer’s selection of which faults are significant. The 16 video and audio parameters which can be selected to perform a switch, and which are listed in order of priority, are input missing, input video standard incorrect, EDH missing, EDH full field error, EDH active picture error, line CRC error, audio group 1 missing, audio group 2 missing, audio group 3 missing, audio group 4 missing, active video black, active video frozen and audio silence in a selected group. With some processes – such as video compression or converting to analogue and back – introducing small changes frame-to-frame even if the input picture is frozen, the customer-requested processed frozen picture detection feature allows Safe Switch 3G to intelligently distinguish between this noise and real changes in the picture content – and so correctly flag up an error condition and auto switch. Safe Switch 3G will switch away from an error on the user-selected input only if the other input is free of that fault. If both inputs have different alarms, it will use the most significant alarm to decide which feed to select. Following a switch it can either reselect the main feed automatically or by user intervention.

In addition to the automatic switching, two fault indications – with their own list of chosen parameters – can also be set and assigned to GPIs if desired, allowing very flexible monitoring. Each fault indication can be assigned to a specific input, to either input, or to only become active if both inputs show a selected fault.

Explained Crystal Vision’s Managing Director, Philip Scofield: “The Safe Switch 3G was developed after specific requests from two large broadcasters in different parts of the world. Both broadcasters now use the Safe Switch 3G to give them confidence that they can manage failures in video, audio or reference signals and still meet their service level requirements that only allow a few minutes of downtime per year.”

Safe Switch 3G and Safe Switch-L 3G are both space-saving 100mm x 266mm modules which can be housed alongside any other products in the standard Crystal Vision frames – available in 4U, 2U, 1U and desk top box sizes. Up to 12 Safe Switch 3G modules or six of the ‘double decker’ Safe Switch-L 3G can fit in a 2U frame, with the Safe Switch-L 3G additionally providing a second feed of output B, input and reference loop-throughs, and extra GPI connections. Both boards include relay bypass protection on power failure or board removal, giving the system an extra layer of security and preventing signal loss. The Safe Switch 3G version can also include integrated fiber output connectivity by fitting the FOP fiber output option – ideal for when it is being used as the last point on the output of a studio with the signal needing to be sent over a long distance to the central router or station transmission output.

There is a choice of control options to suit all preferences. The Statesman PC control software can be used to either ignore or create an alarm on any of the fault conditions that Safe Switch 3G can measure. Also available are very flexible GPIs – ideal for GPI-focused broadcasters who want to have direct control of the board. The six GPIs on the Safe Switch 3G and 12 GPIs on the Safe Switch-L 3G are all bi-directional, allowing them to be configured as either GPI inputs or GPI outputs which gives flexibility when setting up buttons and lights for GPI control and monitoring of alarm conditions. Other control options include board edge switches, an active front panel on the frame, a remote control panel and SNMP.

Safe Switch 3G and Safe Switch-L 3G are both shipping now.

Based at Whittlesford near Cambridge in the UK and with an office in the USA, Crystal Vision provides digital keyers, picture storage modules and a full range of interface equipment including converters, synchronizers, distribution amplifiers and audio embedders to the professional broadcasting industry worldwide.

www.crystalvision.tv

Wayne, N.J.– If there’s one thing a broadcast-quality rental and staging firm quickly learns, it’s that the critical choice of equipment can make or break their reputation. This factor was top of mind for Winnipeg, Manitoba’s award-winning MidCanada Production Services when they purchased the first FUJINON XA50x9.5BESM HD Telephoto Lens delivered in Canada.

MidCan Director of Operations Chris McIvor explained that it’s all about finding the sweet spot of versatility and affordability, while providing the quality and durability that his rental operation demands. “We thought it was a great idea for FUJIFILM to offer a multi-purpose studio/ENG box lens with a built-in camera mount,” he said. “As a rental house, that was really important to us because we have a wide variety of cameras, more than thirty in stock. Since we don’t need separate mounts, the lens will work with any of our cameras. Mounting the lens is simpler, and the cameras are lighter and easier to use.”

McIvor noted that the other big deciding factor in MidCan’s choice was the fast lens speed: “The 1.7 aperture gives us the opportunity to shoot in very low light conditions. We don’t do stage lighting, but in rental and staging you never know for sure the lighting conditions in the particular environment you’ll be facing. It could be a concert one day, a sporting event the next.

FUJIFILM Optical Devices Division designed the XA50x9.5BESM with this kind of flexibility in mind for any type of large venue requiring tight shots at long distances. The lens features the Digi Power servo control system and Digital Quick Zoom to control the lens function quickly and accurately for all production environments. While McIvor is excited about the possibility of using the lens to shoot professional hockey games for Winnipeg’s new Jets franchise, he also sees many applications across Canada for live conferences and tradeshows.

“This lens is in a price range that is very affordable in the staging market for such a long telephoto lens with a great aperture,” he explained. The new lens is actually just one of a wide variety of Fujinon lenses in MidCan’s rental inventory. McIvor noted, “We get a lot of requests especially for the HA16x6.3BERD ENG/EFP lens. It’s a great mid-range choice with a combination of wide angle and high zoom range that everyone seems to enjoy. And, like all our FUJINON lenses, it’s delivered terrific quality and durability.”

McIvor added that in the demanding rental and staging business, it’s essential to work with manufacturers who support their products with great customer service. “We’ve enjoyed a great partnership with FUJIFILM. Our rep, Stosh Durbacz, is terrific. He’s one of those guys who will bend over backwards to make something happen, as he did in working with us to get the new lens here in Winnipeg and ready for the Canadian market. Thanks to his efforts, it’s boxed up and ready to be on a plane today. We couldn’t be happier.”

About Fujifilm
FUJIFILM North America Corporation, a marketing subsidiary of FUJIFILM Holdings America Corporation consists of five operating divisions and one subsidiary company. The Imaging Division sells consumer and commercial photographic products and services including film, one-time-use cameras, online photo services and fulfillment, digital printing equipment and service. The Electronic Imaging Division markets consumer digital cameras. The Motion Picture Division provides motion picture film, and the Graphic Systems Division supplies products and services to the printing industry. The Optical Devices Division provides binoculars, and optical lenses for closed circuit television, videography, cinematography, broadcast and industrial markets. FUJIFILM Canada Inc. markets a range of Fujifilm products and services. For more information, please visit www.fujifilm.com/northamerica, or go to www.twitter.com/fujifilmus to follow Fujifilm on Twitter. To receive news and information direct from Fujifilm via RSS, subscribe at www.fujifilmusa.com/rss.

FUJIFILM Holdings Corporation, Tokyo, Japan, brings continuous innovation and leading-edge products to a broad spectrum of industries, including electronic imaging, digital printing equipment, medical systems, life sciences, graphic arts, flat panel display materials and office products, based on a vast portfolio of digital, optical, fine chemical and thin film coating technologies. The company was among the top 16 companies around the world granted U.S. patents in 2010, and in the year ended March 31, 2011, had global revenues of $25.8 billion*. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit www.fujifilmholdings.com.

* At an exchange rate of 86 yen to the dollar.

About Mid-Canada Productions

With its 16,000 square foot facility in Winnipeg, Manitoba, MidCanada Production Services Inc. specializes in broadcast-quality equipment and crews for film, television and video production and post-production; audio recording; ADR recording and post production; SD/HD video camera rentals, sales and supply; and website design and development. Visit http://www.midcan.com.

All product and company names herein may be trademarks of their registered owners.

FUJIFILM Optical Devices Division, 10 High Point Drive, Wayne, New Jersey 07470. Phone: 973-633-5600. Fax: 973-633-5216. Web site: http://www.fujifilmusa.com/products/optical_devices/index.html

Hollywood, CA – 3D Film Factory, the leader in professional, affordable 3D camera rigs, introduces the world’s lightest, most affordable, hand-held 3D rig – the 3D Bullet Rig. Ready to “Load & Shoot”, this versatile 3D system is literally unshakable for handheld, Steadicam, Easyrig, or tripod filming.Priced at a fraction of other professional 3D rigs (under $5K), this compact beam-splitter rig is the perfect solution for location, reality, or action 3D filmmaking. It’s features actually surpass that of other more expensive rigs. For more information on the 3D Bullet Rig visit www(dot)3DFilmFactory(dot)com

“The 3D Bullet Rig is going to take 3D production to a whole new level. I love this rig. It’s incredibly light, rock steady and most of all – it’s really easy to shoot with from your shoulder, or tripod. This rig is a 3D filmmakers dream, very versatile“, said the company’s veteran stereographer Keith Driver. “Most 3D rigs are bulky, expensive and worst of all – tripod bound. They require a crew to operate. We’ve shot 3D projects in Africa, the Middle East, Hollywood soundstages, you name it we’ve done it in 3D. And we realized we needed a more mobile 3D rig. A 3D rig you could just pick up and shoot with. This is the 3D Bullet Rig.”

The 3D Bullet Rig makes handheld 3D filming effortless and smooth by transferring the weight to your waist and shoulder. Each 3D rig includes a spring-loaded suspension rod, comfortable weight displacement belt and adjustable, padded shoulder mount. The result is hours of mobile, handheld 3D filming capability. In addition, the rig features detachable rubber hand grips for easy manoeuvring and a standard tripod mounting plate (¼-20 and ?-16 holes).

Weighing approx. 15 lbs. (5.8 kgs.) the Bullet Rig accommodates the Red Epic, Canon DSLR 5D, 7D, XF105, XF305, XH-G1, Sony F3, EX3’s, HDCP1, X5U, Z1U, Panasonic AF100, HPX250 and many other professional HD cameras.

The rig also features custom camera mounts that easily lock and load cameras into place using a standard quick-release plate from Bogen/Manfrotto. The horizontal camera mount offers IO (inter-ocular) adjustability from 0” – 3.5” (0 – 89 mm) and simple convergence movement from 0°-3°. Both functions are easily controlled using smooth, accurate finger knobs, with calibration markings. The vertical camera mount adjusts for perfect stereoscopic picture alignment by elevating and performing full x-y-z rotation (yaw, roll, tilt).

The light-weight, mirror box housing is constructed using space-age foam core plastic that’s durable, corrosion-free and substantially cooler than a metal matte box. This ensures your beam-splitter glass with its expensive coatings will stay cool on hot days. The rig itself is hand-milled employing a nearly indestructible aluminium alloy frame.

Perfect for traveling light, the entire 3D Bullet Rig is ingenuously designed to set-up and break down in a matter of minutes, packing into a small, water-tight pelican case.

As a bonus, the horizontal rail easily detaches, along with the camera mounts, transforming into a side-by-side rig 3D for wide and landscape stereography.

Our opti-prime, 50/50 beam-splitter glass is optimized to meet the demands of 3D filmmaking. See specs. Within the matte box, a simple adjustment tool allows stereographers to fine tune the glass angle from between 43° to 47°.

The outcome is simply the world’s most affordable, professional handheld 3D rig.

It should be noted that using our simple Lanc system camera operators can now synch start/stop, focus, alignment, lens shift and many other vital functions thru both cameras or individually.

The 3D Film Factory offers a complete line of 3D beam-splitter rigs intended for HD camcorders, as well as larger ENG and broadcast style camera. In addition, we offer several inexpensive side-by-side rigs and real-time 3D viewing solutions. To learn more about 3D camera rigs, 3D viewing systems, 3D production services, or 3D training workshops visit – www.3DFilmFactory.com

About the 3D Film Factory
Established in 2008 by award-winning filmmakers and veteran stereographers, the 3D Film Factory has been the worldwide leader in professional, affordable 3D camera rigs and real-time 3D monitoring solutions. In addition we provide a host of 3D production services worldwide including, stereographers ‘for hire’, 3D camera rig rental, 3D viewing systems, and 3D post, as well as intensive 3D training workshops. Former clients include ESPN, NASA, Disney, HD Cinema, Pinewood Studios and Discovery. For more information visit www.3DFilmFactory.com

3D Film Factory Introduces the All-New, Handheld 3D Rig Designed to Capture Incredible, Accurate Stereoscopic Images on the Move

Hollywood, CA – 3D Film Factory, the leader in professional, affordable 3D camera rigs, introduces the world’s lightest, most affordable, hand-held 3D rig – the 3D Bullet Rig. Ready to “Load & Shoot”, this versatile 3D system is literally unshakable for handheld, Steadicam, Easyrig, or tripod filming.

Priced at a fraction of other professional 3D rigs (under $5K), this compact beam-splitter rig is the perfect solution for location, reality, or action 3D filmmaking. It’s features actually surpass that of other more expensive rigs. For more information on the 3D Bullet Rig visit www(dot)3DFilmFactory(dot)com

“The 3D Bullet Rig is going to take 3D production to a whole new level. I love this rig. It’s incredibly light, rock steady and most of all – it’s really easy to shoot with from your shoulder, or tripod. This rig is a 3D filmmakers dream, very versatile“, said the company’s veteran stereographer Keith Driver. “Most 3D rigs are bulky, expensive and worst of all – tripod bound. They require a crew to operate. We’ve shot 3D projects in Africa, the Middle East, Hollywood soundstages, you name it we’ve done it in 3D. And we realized we needed a more mobile 3D rig. A 3D rig you could just pick up and shoot with. This is the 3D Bullet Rig.”

The 3D Bullet Rig makes handheld 3D filming effortless and smooth by transferring the weight to your waist and shoulder. Each 3D rig includes a spring-loaded suspension rod, comfortable weight displacement belt and adjustable, padded shoulder mount. The result is hours of mobile, handheld 3D filming capability. In addition, the rig features detachable rubber hand grips for easy manoeuvring and a standard tripod mounting plate (¼-20 and ?-16 holes).

Weighing approx. 13 lbs. (5.8 kgs.) the Bullet Rig accommodates the Red Epic, Canon DSLR 5D, 7D, XF105
XF305, XH-G1, Sony F3, EX3’s, HDCP1, X5U, Z1U, Panasonic AF100, HPX250 and many other professional HD cameras.

The rig also features custom camera mounts that easily lock and load cameras into place using a standard quick-release plate from Bogen/Manfrotto. The horizontal camera mount offers IO (inter-ocular) adjustability from 0” – 3.5” (0 – 89 mm) and simple convergence movement from 0°-3°. Both functions are easily controlled using smooth, accurate finger knobs, with calibration markings. The vertical camera mount adjusts for perfect stereoscopic picture alignment by elevating and performing full x-y-z rotation (yaw, roll, tilt).

The light-weight, mirror box housing is constructed using space-age foam core plastic that’s durable, corrosion-free and substantially cooler than a metal matte box. This ensures your beam-splitter glass with its expensive coatings will stay cool on hot days. The rig itself is hand-milled employing a nearly indestructible aluminium alloy frame.

Perfect for traveling light, the entire 3D Bullet Rig is ingenuously designed to set-up and break down in a matter of minutes, packing into a small, water-tight pelican case.

As a bonus, the horizontal rail easily detaches, along with the camera mounts, transforming into a side-by-side rig 3D for wide and landscape stereography.

Our opti-prime, 50/50 beam-splitter glass is optimized to meet the demands of 3D filmmaking. See specs. Within the matte box, a simple adjustment tool allows stereographers to fine tune the glass angle from between 43° to 47°.

The outcome is simply the world’s most affordable, professional handheld 3D rig.

It should be noted that using our simple Lanc system camera operators can now synch start/stop, focus, alignment, lens shift and many other vital functions thru both cameras or individually.

The 3D Film Factory offers a complete line of 3D beam-splitter rigs intended for HD camcorders, as well as larger ENG and broadcast style camera. In addition, we offer several inexpensive side-by-side rigs and real-time 3D viewing solutions. To learn more about 3D camera rigs, 3D viewing systems, 3D production services, or 3D training workshops visit – www.3DFilmFactory.com

About the 3D Film Factory
Established in 2008 by award-winning filmmakers and veteran stereographers, the 3D Film Factory has been the worldwide leader in professional, affordable 3D camera rigs and real-time 3D monitoring solutions. In addition we provide a host of 3D production services worldwide including, stereographers ‘for hire’, 3D camera rig rental, 3D viewing systems, and 3D post, as well as intensive 3D training workshops. Former clients include ESPN, NASA, Disney, HD Cinema, Pinewood Studios and Discovery. For more information visit www.3DFilmFactory.com

 

Parsons’ Interactive Installation, Online Website + Video Initiative  Raises Awareness Of Design’s Impact On Our Lives

 

Minneapolis, MN: CRASH+SUES was called upon by mono to bring its fresh aesthetic to the editing, color correction and graphics for SoundAffects, Parsons The New School for Design’s multi-platform exploration of the relationship between music, design and technology. Conceived by mono, a Minneapolis-based advertising agency known for its forward-thinking creative solutions, the physical installation, online experiment and media content are driven by Parsons’ mission to raise people’s awareness of design’s relevance and impact on their lives.

 

The first phase of the experiment began with the installation of an interactive wall on New York’s Fifth Avenue. The structure housed a series of monitors and a complex network of sensors, each assigned a specific sound and color, enabling it to cull data about elements in its environment – from traffic and people to weather and movement – and then musically visualize them to show their correlation to sound and color. Pedestrians could plug earphones into jacks in the wall and listen to how their surroundings were influencing the music. CRASH+SUES collaborated with mono on the crafting of visually captivating and thought-provoking media content designed to break down the complex premise behind the experiment and present Parson’s unique perspective on how they interpret design’s role in the world. (“http://soundaffectsnyc.com/#making). Featured on the SoundAffects website, the creative communications tool delivers an elegantly simple message in a way that engages and intrigues everyday people.

 

CRASH+SUES’ editor Carrie Shanahan cut the piece on Final Cut Pro, marrying footage of the installation wall with images of cityscapes, traffic and people moving to the pulse of lights and the rhythm of the music they generate – along with by-passers who stop to put on headphones and plug into the wall and share their thoughts about it. The video opens with the voiceover posing a simple question: What if, instead of just looking at the world, we also listened?

 

It goes on to explain the premise behind the project: We listened to the light,the temperature, the connective, the movement, the noise and the colors of a city block in New York. We built a wall on Fifth Avenue that housed sensors, which allowed us to gather inputs that created a musical composition that responded directly to the environment around them. In addition to the music, we created a ‘visualizer’ that interpreted the sensor data and let us see our environment from a new point of view. Then we watched and we listened.

 

Shanahan began the editorial process by roughing out the visuals to fit with the story as it unfolded, incorporating text as needed and drawing from multiple sources to create sound design tailored to the imagery. Working with over two-dozen tracks of video concurrently, as well as intricately layered video, the potentially overwhelming story was woven into a tapestry of dynamic visuals driven by the script’s clear message.

 

“Editorial decisions had to be well thought out in order to ensure that we captured the essence of the journey, and used interviews, text and audio most effectively,” says Shanahan. “I cut a number of different versions and we experimented with many incarnations until we found just the right balance. What’s amazing is mono’s ability to communicate the essence of this complex experiment about a seemingly abstract hypothesis with a simply engaging story – without getting technical or heady,” says Shanahan.

 

“They’re artists at CRASH+SUES, and we always love working with them,” said Tracy Tabery-Weller, mono producer. “Carrie is a smart editor who dives in and can digest parts into a cohesive story. She helped us take a heady technological experiment and tell it so simply that even my grandmother could understand it.”
“I love getting the opportunity to dig into heavy sound design, and this was a project that was begging for it,” said Shanahan. “The SoundAffects website had a timeline spanning days of audio data from which to draw; I layered that with ambient city sounds collected in the doc footage. I wanted the experience of viewing the video’s content to echo the experience of being on a city street, at times cluttered and cacophonous, then cresting into stillness and calm.”

 

SUE, CRASH+SUES’ senior colorist utilized the Digital Vision Nucoda Film Master’s features to create an urban color pallet and a consistent feel for footage from multiple sources.

 

“We weren’t trying to create a “look” on this project – just something natural while also reflecting what was happening with the audio and sound effects,” said SUE. “ I was able to help out some of the darker scenes by opening them up and applying noise reduction.”

 

“This project was a welcome opportunity to collaborate with the pioneering creatives over at mono,” added Shanahan. “It’s the type of work that I love – extending beyond just a spot to a cutting-edge experiential ‘happening. In a sense, the experiment itself was like an edit session – writ large – an invitation to the public to take a moment for reflection on how what they’re seeing relates to what they’re hearing,” adds Carrie Shanahan. “The relationship between moving pictures and sound, which is what drew me into editing in the first place.”
mono creative co-chair Travis Olson noted, “CRASH+SUES was great at combining a really diverse set of assets including audio, digital and film into a great story. It was a complex project with lots of components and C+S helped craft a simple story about Parsons that they can now use to help define who they are and how they approach design’s role in this world.”

 

Parsons, a pioneer in art and design education, initially approached mono after seeing the internationally acclaimed ‘Real Good Experiment,’ which its team conceived and orchestrated for the furniture designer and manufacturer, Blu Dot (http://www.bludot.com/bonus-tracks-dir/rge.) Both projects showcase the agency’s signature talent for translating complex concepts into straightforward yet unconventional messages.

 

SoundAffects was conceived by mono and engineered by Tellart in collaboration with Parsons and The New School’s communications and external affairs team.

 

About CRASH+SUES:
CRASH+SUES is a seamlessly integrated creative editorial, animation, FX, motion design, color correction, finishing and multi-media company. Its collaborative team of talent is dedicated to providing advertising agencies, brands and filmmakers with fresh, innovate and cost-effective creative content. For additional information about CRASH+SUES, contact executive producer Sven Shelgren at 612.338.7947 or visit www.crashandsues.com.

 

About mono: mono is a creative branding agency that believes in the power of simplicity. Founded in 2004 by Michael Hart, Chris Lange and Jim Scott, today mono creates inventive, idea-centric communications that earned them Agency of the Year in 2010 from both Advertising Age and the 4A’s. mono works with some of the nation’s leading brands including Apple, MSNBC, Harvard Business School, Prairie Organic Vodka, Revel Stoke Whiskey, Blu Dot, Angie’s Kettle Corn, and Blue Cross and Blue Shield of Minnesota. Check out more of their work at www.mono-1.com.

 

CREDITS:
CLIENT: Parsons The New School for Design
TITLE: SoundAffects
2 ½ minute concept video

 

AD AGENCY: mono/MN

 

EDITORIAL COMPANY: CRASH+SUES/MN
Executive Producer: Sven Shelgren
Editor: Carrie Shanahan (Final Cut Pro)
Assistant Editor: Matthew Kroese

 

POST | FX | ANIMATION: CRASH+SUES
Executive Producer: Sven Shelgren
Colorist: SUE (Digital Vision Nucoda Film Master)
Online Editor: Ryan Wheeler (Autodesk Smoke Mac Autodesk Maya)
Flame Artist: Adam Celt (Autodesk Flame)

Vaddio announces new enhancements to the ProductionVIEW HD MV all-in-one camera control console with multiviewer capabilities, digital inputs/outputs, HD, RGBHV and SD video mixing, transitions, lower screen graphics and automated control functionality.

New Multi-View Input Screens allow the user to select between screen layouts that display four, five or six inputs. When set up with four or five preview windows, the preset video thumbnails become larger on the bottom of the screen. In addition, the Preview and Program windows can be swapped on the multiviewer output. With Vaddio’s TeleTouch touch screen monitors, all live video feeds can be selected and up to 12 video thumbnail presets can be created, recalled and stored by simply touching the monitor. The thumbnails are a snapshot of what the camera preset shot looks like, to make storing and recalling presets even easier. Simply touch a thumbnail and the camera will pan, tilt and zoom to that position. The Cut, Wipe and Fade buttons illuminate on the multiviewer display, giving a visual indication of which effect is active.
An additional capability of the system is Dual Bus Multiview output. “A big request from our integrators was to add greater flexibility in allowing them to configure the system output options,” explained President of Vaddio, Rob Sheeley. “As a result of this feedback we now allow the system to be configured in several different ways including a Preview/Program mode, a Split Bus mode, where the system can be configured as two independent 1 x 6 switchers, and a third discreet multiviewer output for control and display.”

All inputs are autosensing for video resolution, control and camera type. Video inputs include five analog HD YPbPr video, RGBHV, SD (Y/C and CVBS) and a single DVI-I input on channel six that allows for multiple formats (DVI-D, YPbPr, RGBHV and HDMI) with 36 additional input resolutions. The Program and Preview outputs have both analog (YPbPr, RGBHV, Y/C and CVBS) and digital (DVI-D or HDMI) outputs. HD resolutions up to 1080/60p are supported.   

An additional capability of the system is Dual Bus Multiview output. This allows the user to switch the Preview and Program buses as discrete outputs – with one output going to an IMAG Projector and the other going to a recording device. The control surface includes a broadcast-style 3-axis Hall Effect Joystick with twist-handle zoom control and separate Pan, Tilt and Speed control knobs. Get an all-in-one camera control console with video mixing, built-in multiviewer and broadcast-quality effects.

This firmware upgrade is available at no charge for any customer who currently owns a ProductionVIEW HD MV. Contact Vaddio Tech Support at +1 (763) 971-4400 for assistance in loading the new firmware.