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

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

Independent technology consultancy Visual Acuity is expanding once again, this time appointing Damian Andrews to the position of Lead Consultant, Project Development. Andrews brings a fresh perspective to the consultancy with a wealth of experience working in various project roles ranging from client user, owner,operator and integrator.

This key role has both internal and customer-facing dimensions, as Blair Parkin, Managing Director, Visual Acuity, explains:

“The technological scope of our work continues to develop, as does our geographical reach – we are currently working on projects as far afield as Asia, the Middle East, the US and Europe.

“Damian will lead and champion our customers’ interests and provide advice and support to architects, building engineers, vendors and other service providers on each project.”

In addition to project-management expertise, Andrews also brings specialist skills in stage lighting and production to the party – significantly broadening Visual Acuity’s range of technological competencies as the diversity of the company’s customer base continues to grow.

Andrews’ industry experience dates back to the mid-1990s when, while studying for a Diploma in Audio Visual Design, he worked in the technical department of the UK’s Middlesbrough Theatre. He subsequently studied Electrical Engineering for Theatre, before embarking on a large-scale musical as production electrician and working as Company Stage Manager for the Carl Rosa Opera Company. Several years travelling the world as a technical manager in the cruise-ship industry culminated in the appointment as Senior Production Manager on the Queen Mary 2 overseeing the operation of multiple and varied entertainment spaces.

“The QM2 featured the world’s first Planetarium at Sea, and it was while working there that I developed a passion for planetarium design, technology and content,” Andrews explains. “After returning to dry land to work as an event technician and convention-centre operations manager in New Zealand, I was delighted to be approached by Sky-Skan, Inc., to work on a planetarium installation for them there.”

Andrews subsequently worked on other planetarium projects for Sky-Skan all over the world, including the California Academy of Sciences in San Francisco – which is where he first came to the attention of Visual Acuity. He now joins Visual Acuity from Staging Connections, an event services company in Melbourne, Australia, where he was Operations Manager. Prior to that, he was Technical Director and Chief Lighting Technician at the Gaiety Theatre, Dublin, Ireland.

Andrews has returned to the UK where he will be based at Visual Acuity’s Brighton HQ. “This appointment gives me the perfect opportunity to use the skills I have gained from working in varied industries around the globe, to compliment what is already a well-respected and experienced team,” he concludes. “I am absolutely delighted to be joining Visual Acuity.”

www.visual-acuity.com

The latest step in projectiondesign®’s global growth strategy with a specific focus on partner support is the appointment of Jens Heymans to the position of Country Manager, Germany, Austria and Switzerland (DACH).

Heymans has already assumed his position working to develop and implement a strategic growth strategy encompassing all business development as well as increased partner relationships in Germany. During late 2011 and 2012 Heymans will be integral in setting up a projectiondesign German office as well as to implement increased business in Austria and Switzerland. This includes the investment in local business development, marketing and technical support functions and personnel.

“Jens Heymans is another key addition to our investment in global growth that more

San Diego, CA – Next week the 3D Film Factory, the leader in professional, affordable 3D camera rigs, will introduce two, new, handheld 3D rigs that are already making waves in the stereoscopic production community. Loaded with professional features, these ultra-light, cost-effective systems – the 3D BULLET RIG and 3D BULLET LITE RIG – are unshakable for handheld or steadicam 3D productions.

Designed to “load and shoot” these remarkable, compact beam-splitter rigs are the perfect solution for location, reality, or action 3D filmmaking. 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 more

NewTek, worldwide leader of video and 3D animation products, today announced that the NewTek Board of Directors has promoted Andrew Cross to Chief Technology Officer. In his new role, Cross will oversee the technology direction of the company’s hardware and software products, and report to NewTek CEO and President, Jim Plant.

“Andrew has managed the development and release of a long string of successful products during his 13-year tenure with NewTek,” said NewTek Founder, Tim Jenison. “As chief architect of the TriCaster line, Andrew and his team helped the company build its portable live production market leadership.”

As executive vice president of engineering, Cross has led product development from research, to release. He joined NewTek as senior software engineer in 1998, and has held positions as lead engineer, director of video engineering, vice president and senior vice president of video software engineering.

Prior to NewTek, Cross more

— Rugged Exterior Provides Peace of Mind That No Footage Will Be Lost;

Digital Format Speeds Editing Process From Hours To Minutes —

Woodland Park, NJ – March 3, 2011 – Janice and Mike Celeste of Celeste Studios have more than 25 years of professional wedding video experience, including a specialty shooting traditional Indian weddings. The husband and wife team opened Celeste Studios in 2006 and have since been featured in many leading wedding industry publications, including Inside Weddings Magazine, Manhattan Bride, Brides Magazine, as well as being named to Grace Ormonde Wedding Style Magazine’s “Platinum List,â€? three years in a row.

The well-respected team recently used Maxell Professional’s iVDR VC102 and iVDR Standard Adapter at a wedding, and were more than happy with the results.

The two were intrigued by the iVDR VC102 after seeing it at the 2010 WEVA Expo in Orlando, Fl. Celeste more

– Archive Appliances Provide Key Digital Workflow Component To Safeguard Digital Content, Provide Quick Turnaround, Ensure Compatibility, Fulfill Bonding Requirements –

Morgan Hill, Calif., January 6, 2011 – Cache-A Corporation, a leading supplier of network-attached archive appliances for the digital film, broadcast and professional video industries, has announced that Color Mill, in Salt Lake City, UT, utilized its Pro-Cache archive appliance to archive Danny Boyle’s latest feature film, 127 Hours. The new film from the Academy Award-winning director of Slumdog Millionaire, 127 Hours is the harrowing true story of Aron Ralston, who becomes trapped while canyoneering alone near Moab, UT, and must resort to desperate measures to survive.

According to Russell Lasson, Colorist/Digital Cinema Specialist at Color Mill, their two Cache-A Pro-Caches were key components of the digital workflow they created for the film. This workflow was specifically designed to handle and safeguard the various digital more

New York, NY – Mechanism Digital (MechanismDigital.com), Manhattan based VFX and animation studio, has created dynamic graphics for two additional nerve-wracking, yet informative, Why Planes Crash specials. Produced by Peacock Productions, they will air on MSNBC as “Why Planes Crash: Human Errorâ€? and “Why Planes Crash: Fire in the Sky.â€? more

New York, NY – Haiti’s local director Yvetot Gouin turned to Mechanism Digital to design local-flavor inspired graphic flourishes for two :30 spots plus a CG Blackberry 9000 Bold, for Voila, the Caribbean’s phone service provider and its agency Lions & Lions. Mechanism ensured the project was finished in a timeframe of just three days so it could air during Blackberry’s product launch. more