Orad’s lineup will include state of the art on-air graphics, studio, sports, MAM, and video server solutions for the broadcast industry
 
February 8, 2012 – Orad, world leader of award winning, real time, 3D graphics, video servers, and media asset management solutions will be presenting its newest product lineup at the upcoming 2012 NAB Show (booth SL4524). Orad’s professionals will be on-site to provide attendees with informative demonstrations and presentations of its on-air, studio, MAM, sports and video server solutions.
 
“The 2012 NAB Show is the perfect forum to demonstrate our wide variety of unique broadcasting solutions. Visitors to our booth will enjoy exciting interactive demos, giving them a feel for the endless possibilities Orad’s solutions can offer,” comments Avi Sharir, President and CEO of Orad. “This NAB Show, Orad will also be presenting some new solutions that will greatly facilitate the production workflow.”
 
NAB Show 2012 Lineup – What to See at the Orad Booth
 
Press and attendees are invited to stop by the Orad booth (SL4524) to see Orad’s award-winning solutions.
 
• TD Control: Orad’s TD Control allows Technical Directors (switcher operator) to select different video box compositions and assign different video sources to each of the video boxes, enabling tasks that could not have been achieved before, like switching on air from six video sources to completely different video sources with one click of a button.
 
• PowerPlay: PowerPlay is a turnkey solution that manages fast turnaround sports productions from ingest, through instant highlight editing, to dedicated sports media asset management in a post-production environment. PowerPlay is designed to provide a complete solution for large-scale sporting events, focusing on fast turnaround and advanced data management tools.
 
• PlayMaker: PlayMaker, Orad’s SD/HD, slow-motion video server, is designed to meet the growing challenges of live sports productions. PlayMaker provides up to 8 I/O channels of high quality ingest in multiple video formats, including DVCpro, DNxHD and JPEG200, with synchronized slow motion replay and powerful yet simple editing tools. With its “PlayNet” module, PlayMaker provides Gigabit network file sharing between servers for preview, copy, or instant playout of clips from remote servers. For an extremely fast turnaround workflow, PlayMaker introduces instant import and export capabilities to almost any storage or NLE environment. PlayMaker supports tapeless workflow with the export and import of video footage to and from NLE systems.
 
• iFind: iFind is a sophisticated media management solution, which provides the user with the ability to manage the essential elements of a complete broadcast server, graphics and archive system from a web browser. Powerful search, workflow and management functionality is available, which can be tailored to a station’s individual requirements to maintain a smooth day-to-day operation. Simple to use, the combination of the iFind user interface and rules engine produces a powerful workflow management system, the benefits of which can be quickly identified to bring a fast return on investment. The system’s iFind Asset Core is the powerful database that underpins the media asset management system, providing flexible, user configurable metadata schemas. In addition, advanced business rules based and process driven workflows enable essential functions such as archiving, restore from archive, clip movement and deletion.
 
• RadioTV: RadioTV enables the automatic broadcast of radio shows, including live videos, real-time 3D graphics and promos, over digital media without human intervention. RadioTV is completely automated and relies on unique audio detection software to identify the talent’s voice and determine which camera should be on air. Camera switching does not require human intervention and the existing workflow is maintained without any additional costs. RadioTV offers a complete set of 3D graphic templates including supers, titles, logos, promos and other elements, and supports the playback of full-frame videos, opening new revenue streams for advertising and sponsorships.
 
• Interact: Orad’s Interact enables television presenters to control and direct the content on their touch screens, video walls and other input devices, helping them engage more with their viewers. Orad now offers its dedicated OradTouch application, which enables presenters to interact with the graphics using their iPad and control the content and flow of production while moving around the production space freely. Interact supports single, dual and multi-touch displays from a variety of manufacturers, allowing broadcasters to choose the device that best suits their production’s style and budget.
 
• MVP: Emmy Award-winning MVP provides fast preparation of captivating sports highlight clips to better visualize critical plays, the flow of the game, and post-game analysis. MVP can be deployed for any sports event and can be used for live productions or highlight shows, from either the OB VAN or the studio, and supports up to 32 different cameras without camera or lens modifications. New enhancement features include: virtual camera flights between two real cameras; viewing a play as it is drawn on the coach’s drawing board comparing the position and technique of individual athletes; drawing a specific player in color on top of a black and white background, and breaking down a play into a sequence of frames to better analyze the player’s movements, and more.
 
• Maestro: Maestro addresses all broadcasters’ graphic needs for real time, pre- and post-production environments. The latest version of Maestro introduces many interesting features that improve usability in a studio environment, and the connection to external systems and data sources. The new OradControl iPad application enables television anchors to control Maestro graphics by using an iPad. Also new are integrations with Avid’s Command and an NLE plugin for Adobe’s Premiere, further expanding Maestro’s extensive list of supported NLE systems.
 
• 3DPlay: 3DPlay, Orad’s advanced channel branding solution, offers stunning 3D graphics for promo over credits, multiple tickers, video clips playback, etc. 3DPlay covers the entire workflow from integration with traffic, scheduling and automation, to frame accurate graphic playout. 3DPlay offers user management, customized metadata, and logic-based, scripting free graphics.
 
• Morpho: Morpho is a real time, 3D character generator that offers uncompromised creation and playout capabilities from a single user interface. Powerful 3D real time graphics rendering, smart graphic design tools and flexible playout capabilities are packed together, offering an efficient and easy workflow. Creation and playout are performed from a single interface, increasing reactivity in production. Morpho is the perfect solution for branding, OB VAN, news and other studio productions.
 
• ProSet: ProSet, Orad’s high-end virtual studio solution, provides a powerful dimension to any virtual studio production. ProSet can utilize any of Orad’s many tracking solutions, including its high-end Xync infrared tracking system with 360 degrees of free camera movement. By combining state of the art tracking with sophisticated graphics, ProSet enables the broadcaster to display a big studio look from a small location.
 
Book A Private Press Briefing
To set up a press briefing with a member of Orad’s management team or a private product viewing, please contact Janice Dolan at janice(at)zazilmediagroup(dot)com.
 
About Orad
Orad Hi-Tec Systems is a world-leading provider of real time 3D broadcast graphic and video server solutions including news, channel branding, sports production and enhancement, elections and special events, virtual studios, and virtual advertisement. Orad’s compelling solutions streamline production workflow, enhance viewer experience, and improve production value. Founded in 1993, Orad is a public company listed on the Frankfurt Stock Exchange (OHT). More information is available at www.orad.tv
 
Press Contacts
Ofir Benovici
VP Marketing
Orad Hi Tec Systems
ofirb(at)orad(dot)tv
 
Anya Oskolkova
Zazil Media Group
anya(at)zazilmediagroup(dot)com
(p) 617.817.6559

The Grunge Collection, available now on FxFactory 3, features four new visual effects products to add a grungy feel through gritty textures and transitions, lighting, film burns, and more
 
Boston, MA – February 8, 2012 – Noise Industries, developer of visual effects tools for the post-production and broadcast markets, is pleased to welcome the latest collection of Luca Visual FX plug-ins to FxFactory 3. The Grunge Collection features four brand new visual effects tools: Grunge Effects, Film Leaders, Sprocket Slip, and Light Leaks – offering users the first complete plug-in solution for a wide range of grungy effects. The family of tools is available as individual downloads, and is compatible with Final Cut Pro®, Motion, and After Effects®. Watch a promo video of the Grunge Collection plug-in package here.
 
The Grunge Collection includes the following four products:
 
Grunge Effects
Grunge Effects consists of Grunge Overlays and Grunge Transitions. Grunge Overlays offers a variety of animated textures that add a dynamic and intriguing feel to a project. Grunge Transitions includes an array of never released animated and often complex, grungy textures designed to be used mainly, but not exclusively, as transitions.
 
Offered at 99 USD, users can learn more about Grunge Effects here
Watch the Grunge Effects demo
 
Film Leaders
Film Leaders lets users create leaders that complement and enhance their projects. Editors have extensive control over the look and feel of their leaders and can adjust font type, size, kerning, spacing, texture, animation and more. Film Leaders also offers over 50 presets to choose from.
 
Offered at 99 USD, users can learn more about Film Leaders here
Watch the Film Leaders demo
Watch the Film Leaders tutorial
 
Sprockets Slip
Sprockets Slip lets editors recreate the effect of a sudden slip of a rolling film, revealing the loose perforations. The plug-in comes with an assortment of presets to start with plus a number of controls and light leaks to play with, giving the project a rough, gritty look.
 
Offered at 49 USD, users can learn more about Sprockets Slip here
Watch the Sprockets Slip demo
 
Light Leaks
Light Leaks is the first plug-in that allows editors to add this unique look to their video without using stock footage. An effect that originated as a camera flaw now gives a vintage feel to any project when applied. Users can adjust the geometry and stylization of the effect or apply extra filters for customization to the finest degree.
 
Offered at 59 USD, users can learn more about Light Leaks here
Watch the Light Leaks tutorial
 
More Information on Luca Visual FX Grunge Collection
 
The Grunge Collection Promo Video
 
Luca Visual FX Press Kit
Members of the press can download the XEffects press kit here
 
About Luca Visual FX
Luca Visual FX ltd. is a visual effects company based in the UK. Luca is an award-winning video-maker and editor with broadcast credits who has worked on a great variety of productions and for major clients such as Channel 4, BBC, Davis Films (Samuel Adida), Mika, Imogen Heap, Megaphone ltd. and many others. Luca started creating plug-ins using FCP native FXscript code before moving to FxFactory. For more information about Luca Visual FX, click here.
 
About Noise Industries, LLC
Established in 2004, Boston, Massachusetts-based Noise Industries is an innovative developer of visual effects tools for the post-production and broadcast community. Their products are integrated with popular non-linear editing and compositing products from Apple and Adobe. For more information about Noise Industries, click here.
 
Press Contacts
 Janice Dolan
 Zazil Media Group
 Janice[at]zazilmediagroup[dot]com
 (p) 617.817.6595
 (skype) janicedolan
 
Megan Linebarger
 Zazil Media Group
 Megan[at]zazilmediagroup[dot]com
 (p) 617.817.6595
 (skype) megan.zazil
 
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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.

Emmy Award-winning Artist Scott Rader Joins Team
(SANTA MONICA, CA) SPY, a FotoKem company offering creative finishing services for commercials and feature films, has opened a new studio in Santa Monica, Calif. SPY: LA extends the capabilities of its main facility in San Francisco, and will specialize in VFX based commercial productions. SPY: LA began work in December on a number of visually compelling spots for such clients as UPS, Asics, THQ/UFC, Hillshire Farm and Canon. The new West Coast locale is within FotoKem’s award-winning sound studio Margarita Mix.

Visual effects artist Scott Rader also joins SPY: LA as creative director and lead Flame artist. He previously worked at top VFX studios such as Radium, Hydraulx and Digital Domain. Rader’s work on numerous television series, feature films, commercials and music videos as an Inferno artist/VFX supervisor has earned him nine Emmys, three Clio Awards, three PromaxBDA Awards and a VES Award.

“Anchored by Emmy Award-winning talent and industry leading technology, SPY: LA provides the same level of quality services that is offered in our San Francisco facility,” says Co-Founder Eric Hanson. “The two studios are securely connected by a high speed network offering real-time interface capabilities between San Francisco and Santa Monica, and this west side location greatly enhances our ability to interface effectively with our clients.”

FotoKem Senior VP Rand Gladden notes, “There is synergy and scalability for our clients in the aggregation of solutions provided by SPY and Margarita Mix. The flexibility of SPY’s interconnected locations and FotoKem’s Burbank headquarters offers a wide range of artistic and technical support from set to delivery. Our goal is to continue to support the creative community through investments in talent and technology.”
Hanson adds, “The connection and design of the facilities will empower collaboration; when there are tight turnarounds, creative changes, and advancing deliveries, this will be a great value-add for the creative process.”

About SPY
SPY was founded in San Francisco in 1998 by Darren Orr and Hanson, and acquired by FotoKem in 2009. A highly regarded creative studio, SPY has contributed to many projects for some of the industry’s leading advertising agencies, including Goodby Silverstein & Partners, TBWA\Chiat\Day, Leo Burnett, DDB, and more. Over the past several years, SPY: SF has also provided visual effects for a number of features including Fox’s Avatar and Sony Screen Gem’s Priest, as well as effects and color grading for director Francis Ford Coppola on his visually complex self-released feature, Twixt.

For more information, go to www.spypost.com, or follow SPY on Facebook (www.facebook.com/spypost).

# # #

Media Contacts:
Chris Purse / Lisa Muldowney
ignite strategic communications
818.303.8088
chris@ignite.bz / lisa@ignite.bz

New to FxFactory 3, XEffects Tech Transitions let users easily add impact to any project
 
Boston, MA – February 2, 2012 – Noise Industries, developer of visual effects tools for the post-production and broadcast markets, adds Idustrial Revolution’s XEffects Tech Transitions to its repertoire of products for FxFactory 3. The new visual effects package, made exclusively for Final Cut Pro® X, lets editors add vibrant, high-tech transitions to projects for a fresh feel without layers, key framing, or complex mattes. Offered at 49 USD, users can also download a free trial version of XEffects Tech Transitions.
 
Idustrial Revolution XEffects Tech Transitions feature highlights include:
 
A Wide Selection of Effects – Tech Transitions offers 28 transition effects to choose from, all with adjustable settings. Effects can be slipped, lengthened, shortened and cut and pasted like any other transition.
 
Freeze Frames – Almost all transitions include freeze versions, which holds the last frame of the outgoing media and the first frame of the incoming media, performing the transition between the two stills. No more razor blading or making freeze frames from scratch.
 
GPU Processing – Effects harness the power of GPU processing within FCP X for fast previews and renderings, cutting down wait time while editing.
 
Temporal or Retiming of Video – Tech Transitions is the first commercial product for FCP X to feature temporal or retiming of video within the effect. Editors can use the automatic repeaters to step or duplicate action on the cut.
 
Tech Transitions Promo Video

 
More Information on Tech Transitions
 
Tech Transitions Tutorial
 
XEffects Press Kit
 
About Idustrial Revolution
Founded in 2006, Idustrial Revolution is a small team of designers producing plug-ins and templates for Final Cut Pro® 7 & X, Motion and After Effects®. They create content for broadcasters, corporate users and videographers, and were the first people in the world to have a graphic created in Motion aired on broadcast television. With the launch of Final Cut Pro X and the tight integration with Motion, Idustrial Revolution focuses on creating effects for these platforms. More information about Idustrial Revolution.
 
About Noise Industries, LLC
Established in 2004, Boston, Massachusetts-based Noise Industries is an innovative developer of visual effects tools for the post-production and broadcast community. Their products are integrated with popular non-linear editing and compositing products from Apple and Adobe. More information about Noise Industries.
 
Press Contacts
 Janice Dolan
 Zazil Media Group
 Janice[at]zazilmediagroup[dot]com
 (p) 617.817.6595
 (skype) janicedolan
 
 Megan Linebarger
 Zazil Media Group
 Megan[at]zazilmediagroup[dot]com
 (p) 617.817.6595
 (skype) megan.zazil
 
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Inspiring Demonstrations, Collegial Atmosphere and Unparalleled Sessions Bring Experts from Entertainment, Government and Research Together in Vibrant Exchange

(Los Angeles, CA) The Hollywood Post Alliance(r) – the trade association for the post production community – has announced the lineup for the HPA Tech Retreat(r), set to take place February 13 -17 at the Hyatt Grand Champions in Indian Wells, CA. The HPA Tech Retreat is the annual conference that brings together thought leaders from digital and content creation, media and entertainment, forensics, medicine, digital imaging, to academic research.

The event consists of three days of sessions, and two days of additional conference programming including an all day super session, seminars presented by ATSC and by imaging-guru Charles Poynton, a demo room with groundbreaking technologies, cocktail receptions, a welcome dinner, and three days of breakfast roundtables, fireside chats and opportunities for networking throughout each day. The Tech Retreat is designed to foster ideas and information sharing among industry experts.

Leon Silverman, President of HPA, notes, “Our industry’s incredibly accelerated pace of change makes it extremely difficult to know to whom or where one can turn to make sure you’re plugged into the knowledge and people you need to know to survive and navigate in this environment. The Tech Retreat is a yearly way to literally get into the heads and private conversations of the people who are driving and leading our industry through this transformative change. There really is nothing like it anywhere. A ticket to the Tech Retreat is a front-row, up close & personal seat on the cutting edge.”

Mark Schubin, who has led the programming for the Tech Retreat for 15 years, sums up the event, “There will be someone there who knows the answer, whatever the question is!” And, that fact, he contends, is why the Tech Retreat remains a mandatory event for many in the industry. “It doesn’t matter what you are dealing with – movies, television, media for the physically impaired, forensics, optical issues for 3D – there are experts here who want to discuss their latest findings, show you what they’ve been working on, and share. It’s the place where questions are explored in depth.”

The Tech Retreat is also an event where technologies, chosen by a committee of experts, are presented in a carefully curated demo room. “This year I am particularly excited about the Demo Room. There are a number of truly interesting technologies and companies debuting here. We are presenting a technology that makes any camera a stereoscopic 3D camera, a 360-degree camera from which HD images can be extracted, demos of how depth perception varies with viewing distance, high frame rate tests, Ethernet AVB, and more. It’s inspiring to say the least.” Schubin concluded.

Registration for the HPA Tech Retreat is limited. Information and registration is available at http://www.hpaonline.com/mc/page.do?sitePageId=130712. The Tech Retreat is sponsored by the Hollywood Post Alliance(r), serving the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content.

A complete schedule of the event is available online by clicking here: (http://www.hpaonline.com/mc/page.do?sitePageId=130539). A summary of speakers, panels, and participating companies follow.

Expert speakers confirmed include:

o Andrea Kalas
o Andy Maltz
o Annie Chang
o Arjun Ramamurthy
o Bob Liodice
o Brian Zents
o Bruce Devlin
o Chris Lennon
o Clyde Smith
o Craig Merkin
o Craig Todd
o Curtis Clark
o Dan Germain
o Debra Kaufman
o Edgar Shane
o Geoffrey Tulley
o Henry Gu
o Jenny Read
o Jerry Pierce
o Jim Berger
o Jim DeFillipis
o Jim Taylor
o John Hurst
o Larry Thorpe
o Leon Silverman
o Mark Aitken
o Mark Lemmons
o Mark Schubin
o Masayuki Sugawara
o Michael Koetter
o Mike Krause
o Paul Chapman
o Peter Putman
o Peter Symes
o Phil Squyres
o Rob Hummel
o Sean Cooney
o Skip Pizzi
o Steve Kochak
o Steven Poster
o Tim Claman
o Tom Burn
o Wendy Aylsworth

Also joining the line-up are the filmmakers from the Girl with the Dragon Tattoo, and an announcement of additional speakers is expected shortly.

Panelists representing studios, companies, and organizations include:

ABC
Adobe
ATSC
ARRI
Barco
Belden
Canon
CBS
CNN
DECE
Deluxe
Digital Domain
Digital Projection
Disney
Dolby
DVS
Fox
Harris
ICG
JVC
Laser-Illuminated Projector Association (LIPA)
Light Iron
NAB
NBC
Newcastle University
NHK
Oracle
Panasonic
PBS
RE: Vision Effects
RED
Rods & Cones
Sinclair
SMPTE
Sony
Sony Electronics
Technicolor
The Association of National Advertisers (ANA)
Vision Research
Warner Brothers
Walt Disney Company

More programming, panelists and organizations are to be announced shortly.

The HPA Tech Retreat is known for presenting topical, latest-knowledge panels and presentations. Among others, this year’s presentation topics include:

o Forecast for SuperSession 2012: Snowflakes with an Increasing Chance of Clouds
o 4K Cameras and their Workflows
o The Image Interchange Framework Demystified: What It Is and Why It Matters
o High-Dynamic-Range Acquisition
o Optical Temporal Filtering
o Broadcasters Panel
o The Current State of Connected TV
o The Home Ecosystem: What Will Make It Work?
o CES Review
o HPA Monitor Symposium Recap
o Next Generation Projection Systems
o Getting Creative Intent to the Viewer
o Digital Commercial Slates: a New Era in Commercial Workflow – a bicoastal live presentation
o Washington Update
o CALM Down? Stereo vs. Surround Loudness
o VFX Panel
o IMF Moving Forward
o What Happened to Dailies?
o Digital Preservation: An Ecosystem
o Perceiving 3D
o Increasing Resolution by Covering the Image Sensor, and much more.

Sponsors of HPA Tech Retreat in 2012 include: AJA, Dolby, DataDirect Networks, and Testronic Labs and Media Sponsors Createasphere, Post Magazine and LA 411.

About the Hollywood Post Alliance(r)
Hollywood Post Alliance (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content.

# # #

Media Contact:
Chris Purse, 818.303.8088
ignite strategic communications
chris@ignite.bz or mimi@ignite.bz

Duncan Jones Thriller Nominated for Outstanding Supporting Visual Effects in a Feature Film

Montreal: Jan. 27, 2012… When visual effects supervisor Louis Morin and VFX producer Annie Godin were nominated for a VES Award for their work on Duncan Jones’ Source Code, the Montreal-based facilities involved in the film had reason to celebrate as well. Under the guidance of Morin, the VFX facilities each took on different parts of the project, sharing assets and coordinating deliveries on the film. The result was both a visually stunning film and proof that the Montreal film industry can compete with the best on the world stage.


“Louis Morin is a very effective and creative VFX supervisor,” said director Duncan Jones. “He found really excellent boutique facilities that were able to craft individual, and very different kinds of effects that we needed in the movie.”


The four Montreal-area studios included Modus FX, who handled complex digital crowd shots, CG trains, environments and dramatic pyrotechnics; Rodeo FX, who crafted the crucial greenscreen windows for the train interiors; FLY Studio, who created the futuristic CG pod sequences and key transitions; and Oblique FX, who created the CG bomb, a virtual stuntman and a poetic slow-motion explosion sequence. Toronto-based Mr. X contributed to the greenscreen train window backgrounds and MPC Vancouver handled the exterior shots of explosions and a train crash sequence.


“In the grand scheme of things, this was not a big-budget film,” said Jones. “That meant we had to be fairly specific about the FX we wanted. We couldn’t play around with too many ideas. We really couldn’t afford to make mistakes.”


“We had 850 shots to manage and a budget of $3.5 million dollars,” said Morin, “and for most of the film you would have no idea that visual effects were even used. The train, the cabin interiors and the station all look like real. The goal was seamless visual effects where the audience is simply immersed in the story.”


The Source Code Story
Released in theaters on April 1, 2011, Source Code is a psychological sci-fi thriller that tells the story of a U.S. soldier, played by Jake Gyllenhaal, who wakes up in the body of another man on a Chicago commuter train. Shortly after that, the train blows up. As part of an experimental military mission, Gyllenhaal’s character is forced to repeat those final eight minutes on the train, working out how it was blown up, and, ultimately, how to prevent the tragedy. In the process, he forms a bond with a fellow passenger [Michelle Monaghan], and begins to solve the larger mystery of how he got there in the first place. While the film makes extensive use of visual effects, the digital achievements never overwhelm the essentially human story of Source Code.


All of the interiors were shot on a set in Montreal. Equipped with greenscreen windows, the whole set was placed on a gimbal that replicated the rocking movements of a train in motion. Exteriors used second-unit photography shot in Chicago. Commuter trains were digitally resurfaced, and a fictional train station was created using extensive digital set extensions.


“Some of the most subtle VFX work they had to do, like the insets for the greenscreen windows in the train, could make or break a movie like this,” explained Jones. “Even a small mistake with the simplest detail, like defining where the line of the landscape is, would have made a scene immediately and noticeably unrealistic. The guys did a beautiful job matching the moving patterns of Don Burgess’s ingenious lighting schemes, so it doesn’t pull the audience out of the movie.”


Rodeo FX – Light and Windows
Along with delivering a variety of explosions, Rodeo FX took the lead on greenscreen windows, cleverly compositing in the moving backgrounds outside the train. In total the facility contributed over 360 shots to Source Code.


Sébastien Moreau, president and VFX supervisor at Rodeo FX, put particular focus on the use of interactive light. “Greenscreen windows are usually detectable,” Moreau said, “but we were able to create a seamless look using interactive light.”


According to Moreau, the most interesting part of the project was dealing with continuity between shots, both in terms of the quality of the VFX work, and with the illusion of the train’s speed. “Even though we had all the necessary footage from a real train, shot with a three-camera rig to cover a very wide view of the background, we worked hard to maintain the illusion of constant speed and the position of the horizon line from shot to shot.”


“Imagine yourself in the train next to the window and you go past trees and buildings and there’s light occlusion,” added Morin. “There are highlights, lowlights, and, with the movement, there is constant variation. The ‘imperfection’ of reality is really subtle, but it’s critical to capture that imperfection for the CG to be invisible. Rodeo achieved this by applying the difference in positive and negative highlights to blend the plates of the exterior shots with the interior lighting. This was painstaking postproduction work.”


Oblique FX – Explosion and Stunt Double
Oblique FX contributed 46 shots to the film including a complex CG bomb, a dramatic interior explosion shot in slow motion, and a digital stunt double of Jake Gyllenhaal’s character as he jumps off a moving train and rolls to a stop on the platform.


For the explosion sequences, the studio created two replicas of the train interior. A full-scale model with dummies matching the actors’ positions was used for interior train explosions. A second version was positioned vertically so that Morin and his team could capture explosions at 1000 fps moving upwards through the interior towards the camera. Oblique FX then artfully combined the live-action plates with CG to create a realistic look with a poetic feel.


“The digital double was an artistic challenge because we had to animate Jake rolling along the platform and bring everything together so it’s believable,” said Alexandre Lafortune, visual effects supervisor, Oblique FX. “The movement is violent and jarring. We’ve done crowds before and wider shots of CG people, but a single figure that needed to blend seamlessly with live-action shots of the actor at the beginning and end of the shot was a new challenge.”


The studio used Natural Motion’s Endorphin software. “It’s a mix of simulation and keyframe animations,” Lafortune explained. “Duncan wanted us to try simulating it and Endorphin lets you rig the character and throw him against a surface to see what happens. We started with that to get the physics for the motion and the speed of the train worked out.”


“Source Code was a special project for us and we really enjoyed the teamwork with our partners,” said Pierre-Simon Lebrun-Chaput, visual effects supervisor, Oblique FX. “It was a great example of how facilities can collaborate on a film, each bringing their individual strengths to the project.”


Fly Studio – Pod and Transitions
Fly Studio specializes in creative motion graphics as well as visual effects. For Source Code, the company was called on to create the transitional shots between the pod and the train, as well as more than 100 monitor replacements. The pod is the surreal space from which Gyllenhaal’s character interacts with his military controller, played by Vera Farmiga. Fly Studio created the transitions for those shots.


“The transitional shots from the pod to the train and back were pretty much open to our ideas,” explained FLY Studio’s VFX supervisor on the project Jean-Pierre Boies. “We tested lots of different ways of transitioning – different layering of graphics, 3D meshes and a lot of effects added on top of it to create the final result.”


FLY Studio also added condensation to the actor’s breath inside the pod – an example of a subtle effect that greatly enhances the verisimilitude of some scenes. “Lots of movies are doing it by creating particles and compositing them in, but we decided to shoot our own live elements for this,” explained Boies. “We brought a Canon 5D camera to shoot some tests inside in a meat freezer at -15 or -20 Celsius. The test shots worked out so well, we ended up using them.”


“We’ve worked with Louis a few times now and we really liked the dynamic of working with him and the other companies,” he added. “Louis knows we have a strong motion graphics team and he knew we would be able to contribute creatively on a project like Source Code.”


Modus FX – Train and Station
“Source Code is the most ambitious and the most challenging project that we’ve tackled so far,” said Yanick Wilisky, VP of production and VFX supervisor at Modus FX. The company was brought on board in pre-production. “We started doing the pre-vis for the main action scenes – how the train would explode, and where this would take place,” said Wilisky.


In total, Modus handled 150 shots for the film including creating the train in CG, involving thousands of individual elements. The train was often used in close-up shots, requiring extensive camera tracking work, especially for scenes where the train has pulled into the station and crowds of commuters enter and exit the train. “The train was seamless,” said Louis Morin. “It doesn’t look CG. It looks just like a real commuter train in Chicago.”


Artists at Modus FX also created the fictional “Glenbrook Station” in Chicago and its surroundings. The CG set extension included everything from the station itself, to digital trees, large crowds of people, and commuter traffic on a busy Chicago street.

Crowd shots were created using Massive Software’s 3D crowd behavioral simulation system. Massive was also used for aerial shots of cars. “We needed to craft some pretty big highway traffic scenes with about 6,000 cars. That’s a lot to render, when you count the number of polygons per car,” Wilisky explained.

Montreal Delivering Excellence in Visual Effects
“All the vendors pushed really hard to make it the best show possible,” said Annie Godin, VFX producer on Source Code. “Duncan and the producers had a lot of trust in us and that was very motivating for everyone. Louis guided the work so well that the vendors got shots approved quickly and could move along to the next tasks very efficiently.”


“I was delighted by how effective those facilities were at dividing up the work like that. They were very professional, and I think they really enjoyed the process themselves,” said Jones.


Source Code was produced by the Mark Gordon Company and Vendome Pictures, and is a Summit Entertainment release. The film stars Jake Gyllenhaal, Michelle Monaghan and Vera Farmiga, and was directed by Duncan Jones.


The film has been nominated for a VES Award for Outstanding Supporting Visual Effects in a Feature Motion Picture. This is Louis Morin’s second VES Award nomination. His first nomination was for the visual effects on Eternal Sunshine of the Spotless Mind. The VES Awards will be announced Feb. 7 at the Beverly Hilton Hotel in Los Angeles and will air on ReelzChannel.


About The Facilities


FLY Studio
Known for its resourcefulness and creativity, Fly Studio attracts clients in film, TV, and advertising who value creative input. Since 1996, it has made a name for itself as a creative and versatile postproduction facility. It specializes in show projections (e.g., many Cirque du Soleil shows), concerts (e.g., Justin Timberlake, Lenny Kravitz, Katy Perry, Pink, and Shakira), music videos (e.g., Beck) and advertising. Working mostly in advertising, its clients include Air Canada, Motorola, Pepsi, Budweiser, Molson, Chrysler, Ford, Walmart and General Electric. The four partners of Fly Studio, with backgrounds in fine arts, traditional animation, and design, complement each other and bring creativity to their many different projects. The partners remain “hands on” in productions, working alongside the 30 employees with diverse talents, to mix many different looks, styles, and genres. VFX projects for major motion pictures include Mr. Nobody, Source Code, Dark Horse and Towelhead. VFX for local films, including les 7 jours du talion (Seven Days), Un capitalisme sentimental, La Peur de l’eau and 1981. For more information, visit www.flystudio.com.


Modus FX
Since launching in 2007, Modus FX has become an industry leader in high-end feature film visual effects and animation, boasting an international clientele and a talented team of hand-picked artists from around the globe. Led by co-founders Marc Bourbonnais and Yanick Wilisky, Modus has developed a unique approach to creating digital content, combining a cutting-edge production pipeline with personalized on-going project coordination. The studio collaborates with each director through the artistic process, from editorial script and on-set supervision to final delivery. Based just outside Montreal, Modus offers a full scope of services in its modern 12,000-square-foot studio. For more information, visit www.modusfx.com.


Oblique FX
Oblique FX was founded in February 2008 when Benoît Brière, former 3D Director of Buzz Image Group, and partners purchased the Film Division of Buzz. Oblique offers high-end digital visual effects services for the film, television and commercial industries. It specializes in photoreal visual effects that integrate seamlessly into live-action plates and environments, including character and crowd animation, matte paintings and virtual environments, special effects and natural phenomena, CG integration and compositing. Projects completed by the team at Oblique FX include 300, Brokeback Mountain, Eternal Sunshine of the Spotless Mind, The Aviator and The Fountain. For more information, visit www.obliquefx.com.


Rodeo FX
Sébastien Moreau founded Rodeo FX in 2006. Since then the company has had a meteoric rise, responsible for seamless visual effects in some of the highest grossing blockbusters in the industry. Using all of the latest technology, while discovering new ones, this Montreal-based team of international artists, numbering 65 and growing, share a passion for and deliver only a high level of quality work that the major film studios expect, as seen in Source Code, Mission Impossible: Ghost Protocol, Red Tails, Underworld Awakening, Immortals, Gulliver’s Travels, Twilight Eclipse, Resident Evil 4, The Three Musketeers, Terminator Salvation, Repo Men, Amelia, The Day the Earth Stood Still and Indiana Jones and the Kingdom of the Crystal Skull. For more information, visit: www.rodeofx.com

Newbury Park, CA – January 23, 2012 – MAXON, a leading developer of professional 3D modeling, painting, animation and rendering solutions, congratulates digital artist and motion designer Barton Damer on winning first honors place in the Veer Creative Catalyst: Design for Change Competition, an international contest inviting artists to design a compelling socially-themed piece for a charity or cause of their choice. Damer, best known for connecting large brands to core markets under his moniker Already Been Chewed.tv, relied on MAXON CINEMA 4D to create a sophisticated digital illustration entitled Malaria Kills to raise awareness and funds for the Malaria No More Foundation.

The contest was run by Veer.com, the creative source for exclusive fonts and images, in association with other highly regarded international design industry resources, including Slanted, a web portal and quarterly print magazine dedicated to typography and design; onedotzero, a London-based organization that commissions, showcases and promotes innovation across all aspects of moving image, digital and interactive arts; and Depthcore, an international collective focused on modern digital art, incorporating illustration, photography, animation and audio.

Damer’s winning design entry netted Malaria No More a donation of € 2000 from Veer, was recently projected at public spaces in Berlin and London and will appear as a feature story in the February issue (#197) of Computer Arts Magazine.

“It’s really cool to be part of Veer’s competition and I’m honored to receive recognition from several design industry leaders and know that my work will benefit Malaria No More, an exceptionally worthy organization,” says Damer. “Having access to a tool like CINEMA 4D gave me a competitive edge and overall has allowed me to add a whole new dimension to my work – depth! My ideas are no longer bound by what I can draw or what I find in photographs.”

According to Billy Tennent, Creative Director at Veer and one of the competition judges, more than 175 entries were received – all of fantastic quality. “Barton’s design shone out as being exceptionally well crafted and set an unprecedentedly high bar for all other entries,” outlined Tennent. “We’re pleased to be able to make the prize donation to Malaria No More, Barton’s selected charity, that will help save lives and to also show the top winning designs in public spaces around Europe to bring attention to this and other worthy causes.”

“MAXON congratulates Barton on receiving this exemplary award win from the Catalyst for Change Competition judges,” said Paul Babb, president/CEO, MAXON US. “We continue to marvel at the imaginative way Barton pushes the artistic boundaries of CINEMA 4D and appreciate the small role it played in raising awareness for this important cause.”

In Damer’s Malaria Kills piece, shiny, abstract 3D elements generated in CINEMA 4D were composited with photographs of tree limbs, mosquitoes and rocks to make the continent of Africa appear like a large hair piece of a young African queen, artfully using the silhouette of the eastern coast of the continent as the facial profile. The hair tools in CINEMA 4D was also used to create the “shoulder pads” of the African woman. Damer’s workflow also included Adobe Illustrator, Photoshop and After Effects, with which CINEMA 4D integrates effortlessly.

For Damer, the devastating impact of Malaria in Africa is represented by blurring images of beauty and decay. “At first I want viewers to notice the continent of Africa and a beautiful woman,” said Damer. “Then, on closer introspection, I want people to notice the troubling things about this portrait of “Africa” – Malaria being a big one. The abstract 3D renders were incorporated because they make people question whether they are really seeing a stunning image within the hair or perhaps the shiny backside of a beetle?”

Based in Dallas, Damer has been using CINEMA 4D for the past four years on numerous artistic and corporate projects for clients such as Scion, CBS Sports and AT&T. His previous award wins include the 2009 Digital Artist of the Year, sponsored by Computer Arts Magazine, 3D World Magazine and Intel. Damer will be a guest presenter with MAXON at the Portland User Group, 3DPDX, monthly event on January 26, 2012, where he will explain his creative process and how he relies on CINEMA 4D for both print and broadcast projects.

About MAXON Computer

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 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. For additional information on MAXON visit, www.maxon.net.

Web Resources

“Malaria Kills” Images:

http://www.maxon3d.com/veer/bdamer1

http://www.maxon3d.com/veer/bdamer2

http://www.maxon3d.com/veer/bdamer3

“Malaria Kills” background video:

http://alreadybeenchewed.tv/blog/2011/12/veer-creative-catalyst/

Already Been Chewed website:

http://www.alreadybeenchewed.tv/

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All trademarks contained herein are the property of their respective owners.

Media Contact

Vicky Gray-Clark/Ambient PR
408-318-1980/vicky@ambientpr.com

Visionary Ed Lantz Talks Immersion, Transmedia, Strategy in the Vortex Dome

(Burbank, CA) Createasphere’s Spring Entertainment Technology Expo – the top gathering of entertainment and media professionals, technical innovators, and content experts on the West Coast showcasing emerging media trends in production, post, animation, VFX, advertising, and streaming content – will take place on Thursday, March 1st, 2012, at LA Center Studios in Los Angeles. The industry summit will feature trend-setting keynotes, immersive demonstrations in the Vortex Dome, a full exhibition area, networking opportunities and education.

Ed Lantz, founder of Vortex Immersion Media, will share his vision during a keynote entitled, Dive Into Immersive Entertainment and the Transmedia Hub, which takes place in the Vortex Dome. Lantz’s keynote is unique in content and location. He will explore the role that immersive entertainment will play for attendees at work in studios, networks, venues, and content creation. Lantz will also introduce a number of immersive projects and conversations with content creators and experience-makers that combine live action, VFX, 3D, digital asset management and more.

Another keynote, which is slated to include Oscar-caliber creative team members and cinematographers, will be announced soon and will also take place in the Vortex Dome.

Early registration for both keynotes is required, as space is limited. This one-day event is designed as a technology summit with top-level presenters, offering a unique and engaging opportunity to explore the intersection of future technologies in service to creativity.

Kristin Petrovich, president of Createasphere, notes, “We are all looking forward to hearing what Ed Lantz has to say about the future of entertainment and content creation. His work is inspiring and thought provoking. Needless to say, we are very happy to be able to present these keynotes in the Vortex Dome, one of the most compelling venues in the city! The day is shaping up to be an incredibly valuable one for our attendees, and a rare opportunity to mingle with thought leaders.”

For further information and registration, visit www.createasphere.com/ete or call 818.842.6611.

About Createasphere
Createasphere is a global community builder for the entertainment technology industry, advancing technologies and careers through Expos, Conferences, and online offerings.

Createasphere was founded in 2001 as HD EXPO, and over the past decade has grown into a global company that develops and presents influential events for the content creation community, on line and face to face. Founded by Kristin Petrovich Kennedy in Los Angeles, Createasphere became part of Diversified Business Communications in 2009, now driving their entertainment strategies and properties division. Currently, Createasphere is presenting the Entertainment Technology Expos in Los Angeles; the Digital Asset Management Conference in New York, Los Angeles, and Europe; The DAMMY Awards in New York; the online news and content portal CreativeProCoalition.com; 3D Road Shows; and Post Production Master Classes.

Connect with Createasphere on:
Facebook (http://www.facebook.com/pages/createasphere/120410987973181)
Twitter (https://twitter.com/createasphere)
LinkedIn (http://www.linkedin.com/company/createasphere)
Vimeo (http://vimeo.com/createasphere)

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Media Contact:
Chris Purse, 818.303.8088
ignite strategic communications
chris@ignite.bz or mimi@ignite.bz

London, UK, January 11, 2012 – Cinesite, one of the world’s leading film visual effects houses, today announced that it’s now accepting applications for its highly successful annual internship program, Inspire. Now in its third year, a new technical effects strand has been added to Inspire, which specifically targets graduates with an interest in computer programming or technical effects. Antony Hunt, managing director, added the new placement to encourage a new-generation of skilled programmers to consider the VFX industry as a viable option for their skills, and to help budding effects artists demonstrate their technical ability.

Cinesite’s visual effects internship will run in conjunction with the technical effects internship. Both placements are six-week paid positions which will commence this summer. The technical effects strand is aimed at graduates who may have a background in computer programming or have studied computer graphics but have an interest in technical effects and programming. The visual effects internship is suited to artists with a background in computer animation or computer graphics who are interested in modeling, animation, compositing, digital matte painting and other visual effects positions.

“I’m always bowled over by the amount of submissions we receive for Inspire, and every year the quality of entries keeps getting better and better,” said Hunt. “I’m looking forward to seeing how creative the applicants will be, and unearthing a few genius programmers at the same time. Best of luck to everyone who applies.”

Previous Inspire winners have worked on Pirates of the Caribbean: On Stranger Tides, and are currently working on John Carter and World War Z. Since finishing their placements, all six winners have since secured positions at Cinesite.

Applications can be made at www.cinesite.com/internships, where application packs and further information can also be found. The deadline to submit entries is 13 April. @Cinesite on Twitter will carry updates on all Inspire developments.

About Cinesite
Cinesite is one of the largest and most creative visual effects companies in Europe. Established in 1991 and headquartered in London with facilities in Los Angeles, their visual effects team has the capacity and creativity to produce all manner of digital effects for feature films and TV shows of all scales. Their award-winning team of highly talented visual effects artists take filmmakers’ ideas and turn them into spectacular cinematic reality.

Cinesite is currently working on John Carter (Disney/Pixar) and World War Z (Paramount Pictures). They’ve recently completed work on Pirates of the Caribbean: On Stranger Tides (Disney/Bruckheimer), X-Men: First Class (Twentieth Century Fox) and Harry Potter and the Deathly Hallows Part 2 (Warner Bros).

For more information please visit www.cinesite.com.

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