Small Tree, Mac networking and shared storage specialist, is featuring GraniteSTOR ST-RAID II at the National Religious Broadcasters Convention. ST-RAID II is an Ethernet-based shared storage system supporting 6Gb SAS/SATA protocol end-to-end.

Small Tree’s ST-RAID II includes direct attached shared storage technology designed specifically for post-production professionals looking for economical, functional and easy to manage storage solutions.

“Since its introduction, ST-RAID II has received high marks from a number of well-respected post-production professionals,” said Corky Seeber, president of Small Tree. “The system, which offers the flexibility of working on projects using Adobe Premiere, Avid Media Composer 6 or Final Cut 7, provides the performance of Fibre Channel at a fraction of the cost.”

Featuring transfer rates capable of supporting 44 streams of Pro Res 422 HQ with transfer rates up to 1 GB/s and 96TB, the ST-RAID II’s low latency ensures there are no dropped frames in SD or HD. Available in 8-, 12- or 16-drive (2 or 3TB drive) configurations, ST-RAID II produces higher video stream counts and storage capacity.

For more information on GraniteSTOR ST-RAID II, visit www.Small-Tree.com or @SmallTreeComm.

Los Angeles, CA, Feb. 6, 2012 — Creative agency Bemis Balkind’s Digital Team has added fresh expertise to its growing personnel roster by naming Elisabeth Lucas as Creative Director, Digital (photo at right) and Adele Martin as Senior Project Manager, Digital. Both Lucas and Martin will report to Curt Doty, Bemis Balkind’s GM Digital/Executive Creative Director. The announcement was made today by agency partners Peter Bemis and Aubrey Balkind.

In conjunction with its recently strengthened and expanded TV Group, Bemis Balkind continues to also broaden its creative services across all digital avenues. Doty and his expanded digital team will work in tandem with Kishan Muthucumaru, Bemis Balkind’s Head of TV Group, to provide these comprehensive digital services to its growing television clientele.

Elisabeth Lucas comes from agencies Lunchbox, Genex and Ignited Minds. Bringing over twelve years of experience in the interactive space to Bemis Balkind, she has provided creative leadership and strategic thinking for a diverse array of brands and studio clients. She received a Bachelor’s Degree in Architecture from the University of Southern California, and a Masters of Science Degree in Industrial Design from Art Center College of Design.

Curt Doty, a fellow Art Center of Design alumni, comments, “Elisabeth’s vast experience in digital marketing and UI will help our Digital Team bridge the gap between our core business of web, social and banner campaigns to the expansion of our mobile and TV app client offerings.”

Aubrey Balkind, Bemis Balkind Chairman, adds, “By building partnerships between the client and our creative teams, Elisabeth will help us develop best-in-class and cohesive solutions for our clients’ businesses. She is an architect through and through, classically trained, and totally leveraged within the rapidly evolving digital space.”

As Senior Project Manager, Adele Martin will manage the day to day operations of the Digital Team. She joins Bemis Balkind from Trailer Park Interactive, and earlier, Crew Creative. Martin has worked with numerous studios and cable networks, including producing rich media banner campaigns for HBO, Sony Pictures, CNN, Fox, Fox Home Entertainment, Fox Searchlight, Disney, AMC, TNT, Logo, and Discovery, to name a few.

Doty adds, “Adele Martin brings a wealth of project management and digital marketing expertise to our team. Her skills will help bolster our ability to best service the needs of our growing client base.”

About Elisabeth Lucas:

Prior to joining Bemis Balkind, Elisabeth Lucas was Creative Director at Lunchbox LLC, where she built and led its creative team, and oversaw development of interactive content, custom videos, and graphic and display solutions for clients such as Unilever, Sony, Johnson & Johnson, Disney, Marvel, Mattel, Sanrio, GSK, Wrigley and Walmart.

Prior to Lunchbox, Lucas was an Associate Creative Director at Genex, overseeing multiple, large-scale Internet platforms for Honda and Acura. As the Interactive Creative Director at Ignited Minds, she supervised and managed a team of art directors, designers, copywriters and information architects. While there, she also provided creative leadership by exhibiting strong conceptual abilities on all creative/marketing platforms, integrating strategic thinking and assessing the “big picture” for her clients’ businesses – clients such as Activision, Cadbury Schweppes, Sony, FOX, Kaiser Foundation, and Vivendi Universal.

In the dotcom realm, Lucas was Director of Product for Zero Degrees (IAC), where she supervised and directed a team of product managers, designers, and information architects in the development of a competitive online networking service. She got her start in the digital world developing UI and UX design for proprietary software, as well as 3D online content for online ads and product demos for Viewpoint Corporation/Computer Associates.

About Adele Martin:

Adele Martin’s background is as versatile as her interests. Her education at the University of Colorado focused on a Major in Journalism with an emphasis in Advertising and minoring in Digital Media. She went on receive her Masters in Education at the University of California, Santa Barbara. Martin began her career as an assistant at Sony Pictures in the Creative Advertising Department, working on trailers, TV spots, and posters.

Later moving into the digital realm, Martin produced rich media banner campaigns, teaser sites, full sites, and Facebook apps during her tenure with Crew Creative. There, she worked on titles such as “Revolutionary Road,” “Bolt,” “Nick and Norah’s Infinite Playlist” and “The Secret Life of Bees.”

While working at Trailer Park, Martin honed her expertise in the area of project management. She managed 15 developers and 15 designers, and worked on

digital campaigns promoting such high profile projects as “Sons of Anarchy,” “Alvin and the Chipmunks: The Squeakquel,” CNN’s “Heroes,” “Glee” and “Spartacus.” Her knowledge during her time with Trailer Park grew to include projects requiring iPad apps, mobile apps, and game design, as well as User Interaction protocol.

ABOUT BEMIS BALKIND:

From traditional to new media, Bemis Balkind’s core mission has never wavered:
“Use the power of creativity to redefine and enhance the audience’s experience.” In addition to successfully marketing feature films, a number of the agency’s other assignments have involved launching new products and services, whether physical venues such as The Getty Center, new industries, like premium cable TV (HBO), 24-hour news (CNN), televised sports (ESPN), and online financial services for clients including Goldman Sachs.

From its inception, Bemis Balkind garnered widespread notice for its game-changing campaign promoting the classic film “Rosemary’s Baby.” Since then, the company has become a multi-award winning, and highly regarded creative agency, renowned for designing and executing major motion picture campaigns, including those for “Forrest Gump,” “Alien, “Superman,” “Fatal Attraction,” Tim Burton’s “Alice in Wonderland 3D,” “Slumdog Millionaire,” “Black Swan,” “Bad Teacher,” “Shrek,” and many others.

Bemis Balkind is located at 6135 Wilshire Blvd, Los Angeles, CA 90048, and phone is: 323/965-4800. The agency’s New York info is: 134 Spring Street #302, New York, NY 10012, phone 212/965-0099. For more information, please see http://www.bemisbalkind.com

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AMSTERDAM, The Netherlands – At Integrated Systems Europe (ISE) 2012, XPAND is showcasing an array of solutions for 3D video display in professional AV environments, highlighted by XPAND’s YOUniversal 3D Electronic Eyewear. Providing unprecedented compatibility and world-class active 3D display technology, XPAND’s YOUniversal Electronic Eyewear is ideal for a variety of commercial applications including museums, theme parks and simulators.

“3D technology is becoming increasingly popular in professional audio/video environments where immersive and engaging displays can provide a more memorable experience for customers,” said Maria Costeira, CEO of XPAND. “While XPAND has always been the market leader in terms of 3D quality, our YOUniversal Electronic Eyewear also makes us the only manufacturer in the world to provide a truly universal 3D glasses solution, making them ideal for commercial applications.”

XPAND’s YOUniversal 3D Electronic Eyewear not only provides the highest-quality 3D experience on the market; it also allows users to view 3D content across different brands of televisions and different types of displays, and can be configured to communicate with infrared (IR), Bluetooth (BT) and radio frequency (RF) 3D systems. XPAND YOUniversal Electronic 3D Eyewear also provides remarkable comfort and style, with a lightweight and ergonomic design.

“Compatibility across multiple 3D platforms is crucial in many commercial spaces,” Costeira added. “An art museum, for example, might offer several exhibits in 3D, in different rooms with different types of displays—including theaters. This would be extremely expensive, time-consuming and a logistical nightmare with conventional 3D glasses. XPAND YOUniversal 3D Electronic Eyewear solves these problems and will help drive the continuing adoption of 3D systems in the professional AV market.”

For more information on XPAND, please visit www.xpand.me

About XPAND 3D:
The global leader in the 3D technologies for home, business, education, cinema, military and medical applications, XPAND is committed to advancing the state-of-the art in technology to provide consumers, businesses, educators and medical professionals with the comprehensive advantages of stereoscopic 3D. XPAND provides glasses on a linear scale from the most advanced and feature-packed for sophisticated surgical, training and home theater to more ruggedized and affordable for cinema and mass market use. X6D Limited is a global company whose products and services are marketed under the XPAND brand name. XPAND 3D technology is used by over 5,000 3D cinemas in more than 50 countries and is the 3D solution of choice for post-production houses, educational and professional 3D applications. XPAND designs, manufactures and OEMs a range of consumer electronics 3D solutions that are driving the 3D revolution.

San Francisco and Seattle-based digital agency Stimulant, alongside collaborator Sifteo, was honored with a pair of awards at the Interaction Design Association’s (IxDA) inaugural Interaction Design Awards at the Interaction 12 conference in Dublin on February 3rd. Their creation, LoopLoop, a groundbreaking music sequencer for tiny devices called Sifteo cubes, took top prize in ‘Best in Category, Expressing’ as well as ‘Best in Show’ among all category winners.

Sifteo cubes, the brainchild of MIT-educated President and co-founder David Merrill and CEO and co-founder Jeevan Kalanithi, are 1.5-inch-by-1.5-inch devices that can operate in tandem with up to five counterpart cubes. LoopLoop allows users to improvise their own musical tracks layered with various samples and beats by “bumping” loops onto a sequencer cube from an instrument cube. Users can manipulate the cubes – which are aware of their own orientation, tilt, direction and proximity to one another – by physically moving them or touching them to one another.

Stimulant designed LoopLoop after Sifteo invited the company to become the first third-party agency to build an application for the platform, and contribute to the launch of a portfolio of games that focus on kinesthetic learning, spatial reasoning, and collaboration.

“We wanted to give anybody the ability to make great music, whether they were talented or not,” explained Stimulant Founder and CEO Darren David. “As the first outside agency to build something for the Sifteo cubes, we wanted to change the perception that these were just child’s toys and show this could in fact serve as a development platform.”

“This was just a tremendous collaboration from start to finish,” continued David. “We’re proud to share this award with Sifteo, as our application and the interaction model of the cubes were essentially inseparable.”

“The team at Stimulant was totally in their element creating LoopLoop,” added Sifteo’s David Merrill. “We worked together to identify the type of application that would push the capabilities of our brand-new game platform to the limit, and the result is simply awesome. LoopLoop is a perfect example of the kind of virtuosic design and development success that Stimulant excels at, and we’re excited to collaborate with them again in the future.”

The dual Interaction Awards victories are especially notable when considered alongside the studio’s big-name competition, which included Microsoft, CP+B, HUGE, and R/GA among many others. “IxDA clearly featured a competitive field of companies,” noted Darren David. “We’re extremely fortunate and humbled to have been grouped with such a talented field. LoopLoop gave us the opportunity to do what we do best, which is make engaging content for brands we admire.”

Stimulant’s Sifteo cubes project follows a stream of high-profile work, including an innovative application for the Samsung SUR40 for Microsoft Surface platform and a 168-foot-wide interactive 3D virtual life simulation for Intel’s booth at CES 2012.

Visit Stimulant

About Stimulant
Stimulant is an interactive design and development agency that crafts delightful experiences for uncommon computing. We are entirely focused on bringing a sense of wonder back to digital experiences, using software to connect people to ideas, brands, and each other. Founded in 2007, our team has a varied background—including architecture, art, design, motion graphics, sound design, enterprise-class software development, and beyond—giving Stimulant a cross-disciplinary perspective on interactive work. We collaborate closely with our clients, hardware firms, AV integrators, industrial designers, and architects to bring our work to life on mobile devices, for special events, and in permanent installations.

More info: TRUST 646 452 3388 (NY) 310 451 5153 (LA) trustcollective.com

AMSTERDAM, The Netherlands – There’s nothing like 3D to add impact to presentations at trade shows, product launches and corporate and media events. 3D technology can provide the difference between displays that get lost in the crowd, or ones that make an unforgettable impact on attendees and potential customers. XPAND’s X103c Infinity system is designed to deliver the ultimate 3D viewing experience, and is the only 3D system that can be used on any type of surface, including standard rental screens, perforated screens, inflatable screens and even building walls.

“At live events, the atmosphere is busy and hectic, with tremendous competition for attention,” noted Maria Costeira, CEO, XPAND. “In such a fast-paced environment, exhibitors need displays that really stand out. Our XPAND Infinity system can help companies create visual displays that engage the viewer and leave a memorable impression that will stay with them long after the event is over.”

The XPAND Infinity X103c is a complete 3D system that provides ultimate-quality 3D images on virtually any screen size, shape or surface. The system employs the patented Infinity projector controller, which is optimized to work with digital projectors and XPAND Infinity Deluxe 3D Glasses or Infinity 3D Glasses to provide the brightest, most vivid and realistic 3D images available.

The Infinity Deluxe 3D Glasses and Infinity 3D Glasses have a stylish appearance and offer a high 96 to 144Hz refresh rate for flicker-free images. The Infinity Deluxe 3D glasses have up to 38% transparency and a 3000:1 contrast ratio, while the Infinity 3D Glasses offer up to 37% transparency and a 2000:1 contrast ratio. The glasses’ lightweight ergonomic designs and choice of three interchangeable nosepieces ensure long-wearing comfort, and their wide 3D viewing angle provides an optimal 3D image across a large area.

The XPAND Infinity projector controller can support screen sizes up to 300 feet wide, whether the screen is flat, curved, dome-shaped or even Cinerama format. The Infinity controller assures multi-directional synchronization for perfect 3D images over a wide viewing range, without ghosting or artifacts. Up to seven controllers can be linked together to operate as a large-scale system.

For more information on XPAND 3D, please visit www.xpand.me

About XPAND 3D:
The global leader in the 3D technologies for home, business, education, cinema, military and medical applications, XPAND is committed to advancing the state-of-the art in technology to provide consumers, businesses, educators and medical professionals with the comprehensive advantages of stereoscopic 3D. XPAND provides glasses on a linear scale from the most advanced and feature-packed for sophisticated surgical, training and home theater to more ruggedized and affordable for cinema and mass market use. X6D Limited is a global company whose products and services are marketed under the XPAND brand name. XPAND 3D technology is used by over 5,000 3D cinemas in more than 50 countries and is the 3D solution of choice for post-production houses, educational and professional 3D applications. XPAND designs, manufactures and OEMs a range of consumer electronics 3D solutions that are driving the 3D revolution.

When the biggest day in advertising arrived on Sunday with Super Bowl XLVI, millions saw a pair of Hyundai spots featuring VFX by MPC. Chief among the studio’s efforts is a fully photorealistic cheetah racing a Veloster sports car.

Cheetah, a collaborative effort between MPC, Innocean and Rattling Stick Director Daniel Kleinman, opens as a Veloster and a caged cheetah square off at the starting line of a desert airstrip. The race begins in a whirl of squealing tires and roaring as the big cat’s handler flings the cage door open. It takes only a second for the world’s fastest land animal to realize he’s in an unwinnable race and turn his aggression on his handler.

MPC created the photoreal cheetah by photographing a real specimen on set and capturing high-dynamic-range pictures of the lighting conditions, then combining both of those elements in Furtility, the studio’s in-house fur-and-hair tool. To test the efficacy of their project, the studio produced an image with three cheetahs and asked in-house artists and producers to identify the real one. On all but one case, they missed.

“Creature work is difficult at best, but creating an animal that really exists and is in the preceding shot is particularly demanding,” noted MPC LA Managing Director Andrew Bell. “Our in-house experts had to do just that in Cheetah. Between Furtility and fur gurus such as Dominic Edwards, producing this spot was not only possible, but pleasurable.”

MPC also handled clean-up work on the vehicle and environment in a spot promoting Hyundai’s Genesis Coupe R-Spec. When a distinguished business executive seems to pass on in the passenger seat just before revealing the one-word secret of success to his young driver, the quick-thinking man jolts the oldster back to life with a series of powerful braking maneuvers.

Visit MPC
View Media

Credits
Client: Hyundai Veloster Turbo
Spot Title: Cheetah, Think Fast
Air Date: Super Bowl 2012

Agency: Innocean
Head of Production: Will Woollett
CD: Robert Prins, Max Godsil
ACD: Kevin Samuels, Frauke Tiemann
Senior Agency Producer: Jennifer Weinberg

Production Company: Rattling Stick
Director: Daniel Kleinman
DOP: Giorgio Scali
Producer: Johnnie Frankel

Editorial: Cut and Run
Editor: Steve Gandolfi

VFX: MPC
Executive Producer: Asher Edwards
Producer: John Attard
Production Coordinator: Stefano Salvini
VFX Supervisor: Dan Sanders
VFX Creative Director: Jake Mengers
VFX Team: Dan Sanders, Steward Burris, Dominic Edwards, Michael Wynd, Mark Gethin, Brinton Jaecks, Fabio Zaveti, Andrew Roberts, Daniel Kmet, Krystal Chinn, Katerina Arroyo

Telecine: MPC LA
Colorist: Mark Gethin
About MPC
MPC is an award winning VFX and Digital studio servicing the advertising, motion picture and television industries. From its London, New York, Santa Monica, Vancouver, and Bangalore offices, MPC’s dynamic and diverse team delivers industry-defining VFX, animation, motion graphics, color grading, production, projection mapping, social and mobile application development, online advertising, data management, software R&D and pipeline development.

With a trio of integrated divisions, MPC utilizes a unified approach that drives the use of existing or newly created assets across the whole range of today’s media landscape. MPC Creative handles client projects directly with top-notch directing, CG animation and character design. MPC FX Studio is a dedicated corps of graphic and digital designers who bring clients’ visions to life. MPC Data Lab processes the content and makes it available for editing on demand. MPC is a Technicolor Company.

moving-picture.com

More info: TRUST 646 452 3388 (NY) 310 451 5153 (LA) trustcollective.com

MELBOURNE, FL/DENVER, February 6, 2012 — Harris Corporation (NYSE:HRS), an international communications and information technology company, will unveil its next-generation family of file-based analysis solutions at upcoming shows in South Asia, the Middle East and North America — bringing top-tier quality control without compromise to broadcasters, content producers, cable networks, post houses and other digital media operations.

The Harris® QuiC™ software family minimizes the workload for video server operators in TV stations, network facilities and new media operations. Customers using QuiC software tools to analyze files ingested into video servers can achieve results faster through automated processes. Featuring best-in-class quality control technology from content analysis specialist Digimetrics, the Harris® QuiC™ software family includes three easy-to-use, cost-effective tools:
• QuiC™ Pro for maximum flexibility, with scalability to enterprise-level operations
• QuiC™ Express for file analysis in less complex workflows
• QuiC™ View for visual presentation of digital content with ties to HTML reports

“The increasing emphasis on file-based workflows in today’s demanding broadcast, production and media operations creates a need for straightforward quality control processes,” said Harris Morris, president, Harris Broadcast Communications. “These new tools provide fast, effective and actionable results without false positives — allowing our customers to more effectively share, distribute and monetize media assets across many workflows and delivery platforms.”

QuiC Pro and QuiC Express integrate quickly into any operation or facility, with ready-to-go test templates and an intuitive web-based user interface. A web-service Application Programming Interface (API) enables communication with digital asset management systems and other workflow components. Harris customers can easily integrate QuiC software products into workflow solutions featuring Harris NEXIO AMP® servers and Invenio® digital asset management software.

QuiC Pro offers the most flexible QC feature set for the creative process. It is ideal for use after content editing, during automated ingest, and for on-the-fly video transcoding and archival transfers. QuiC View is a professional-grade viewer that offers added value for content owners seeking a fast and efficient way to closely inspect file-based assets. All QuiC software products support multiple media formats, a wide range of video and audio codecs, and many ancillary and metadata formats.

The QuiC software family will debut overseas at the BES EXPO 2012, taking place February 11-13 at the Pragati Maidan in New Delhi, India (Stand 101, Hall 12A); and CABSAT 2012, taking place February 28 to March 1 at the Dubai International Convention and Exhibition Centre (Stand S3-A21, Sheikh Saeed Hall). The products will debut in North America at the 2012 NAB Show, taking place April 14-18 at the Las Vegas Convention Center (Booth N2502).

In broadcast communications, Harris offers products, systems and services that provide interoperable workflow solutions for broadcast, cable, satellite and out-of-home networks. The Harris ONE™ solution brings together highly integrated and cost-effective products that enable advanced media workflows for emerging content delivery business models.

About Harris Corporation
Harris is an international communications and information technology company serving government and commercial markets in more than 150 countries. Headquartered in Melbourne, Florida, the company has approximately $6 billion of annual revenue and about 17,000 employees — including nearly 7,000 engineers and scientists. Harris is dedicated to developing best-in-class assured communications® products, systems, and services. Additional information about Harris Corporation is available at www.harris.com.
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‘Webisodes Continue To Score With Viewers – DVD To Follow

NEW YORK: One of Showtime Sports and CBS Sports’ most highly rated original feature length docu-dramas, A Game Of Honor provided an extraordinary perspective on preparations for the 2011 Army-Navy football game. Digital production teams chronicled U.S. Military Academy/West Point cadets and U.S. Naval Academy/Annapolis midshipmen throughout their intense military, educational and sports training as they readied themselves to serve their country and compete in this sports event.

With shooting beginning in May and the edit gearing up in September, the team had three months to edit and deliver the incredible events leading up to the widely anticipated 2011 Army / Navy game. With this tight schedule, including just 11 days between the Army/Navy game and the show’s airdate, Director/ Producer Peter Radovich, Jr. and Producer Steve Karasik enlisted frequent collaborator and Emmy-winning Sixteen19 creative editor Anthony Cortese for the cut.

“Last April, I had an epiphany about doing a documentary on training for the 2011 Army-Navy game,” Radovich says. “When Steve Karasik and I pitched it to CBS/Showtime execs, we got an immediate green light. When we kicked off production in May I was a little concerned about pulling it together in just six months. However, Anthony and I had collaborated on a number of short-form projects at Sixteen19, and I had great confidence in his skills. I knew we could make this happen.”

“A Game Of Honor, was one of the most complex and demanding assignments of my career,” Cortese says. “On most days, we had two cameras shooting on location morning thru night; on the field, in classrooms, dorms, gyms, all over both academies, but that ratcheted up to eight Canon 5D and Red Epic(r) kits for the main event, The 112th Army Navy Game. They accrued nearly 500 hours of footage, which I cut on a daily basis on Avid Version 5 as it arrived in our edit suite. This project was a full-scale marathon.” Associate editors Quenna Gregorio and Chris Mole worked alongside Cortese to manage multiple story lines.

To keep track of the voluminous material, the Sixteen19 technical team worked with the project’s field producers to develop a dailies workflow that was both fast and efficient. With over 100 shoot days, distinct tape names, scene and serial numbers were critical for each clip. This system helped to transcend the timecode limitations of the 5D at the time, issues with sync sound and the fact that crews were often simply moving too quickly to slate.

“A tapeless workflow project of this scope required an extraordinary support crew,” Cortese says. Sixteen19′s technical team collaborated closely with Cortese and a number of consulting experts to insure accurate conversion of multiple archival formats to 24p. After picture lock, Sixteen19 Senior Colorist Brian Boyd worked around the clock to make the footage come to life. Boyd remarked, “Balancing the multiple formats and shoot settings with such a tight deadline was challenging, but the timely and patriotic subject matter and the incredibly talented crew made for a rewarding experience.”

In addition to editing the two-hour CBS Sports docu-drama, which premiered Dec. 21st on Showtime, Cortese also edited a two-hour CBS TV cut. The network show hewed closely to the original, but excised the unexpurgated language of the cable version along with some particularly rough action scenes. He also edited seven of the ten ‘webisodes’ created to promote the show online. Ranging in length from three to eight minutes, they provided fans with additional details and insights not included in the full-length program.

“The ‘webisodes’ http://www.youtube.com/watch?v=vQ29wKMekoE were an entirely different mindset,” Cortese points out. “They began airing in mid-October, and they continue to maintain a strong presence online today. We received reports that indicate they not only helped to attract a terrific audience to the Showtime and CBS presentations, but they’ve also attracted a rapt audience in their own right. We’ve heard stories about ardent online viewers who watch them repeatedly,literally studying them over and over. It’s gratifying to learn that your work is getting that level of serious attention.”

“We were cutting new footage up to a couple of weeks before airtime, we’re talking late nights and weekends here,” Rodovich concludes. “New story lines kept us constantly revising to make GOH as exciting and timely as possible. We screened the show for West Point and Annapolis brass shortly before airtime. Their positive reactions confirmed our instinct about having created something very special. We hope to have the DVD out soon, which will stand as a lasting record of this amazing adventure.”

Photo 1: Editor Anthony Cortese (l) and Director/Producer Peter Radovich, Jr.
at work on “A Game Of Honor” in a Sixteen19 Edit suite.

#1, 3, 5: Scenes from Showtime Sports/CBS Sports docu-drama “A Game Of Honor”

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Sixteen19 is a post-production services company with offices at 1619 Broadway, NYC and divisions in New Orleans, Los Angeles. and London. The firm specializes in DI, color correction, editing, finishing and on & near set services. The NYC complex features 15 spacious Avid editing suites, color correct theater/ screening rooms, digital dailies, file transcode/encode and workflow management. Contact: 212-245-1402 http://www.sixteen19.com

Salt Lake City, Utah – Broadcast International, Inc. (OTCBB: BCST.OB - News), a leading provider of video management software and services for next-generation video IP networks, has engaged Liolios Group to lead its investor relations and financial communications initiatives.

“Strong demand for our leading IP video delivery technologies has resulted in three consecutive years of revenue growth and major partnerships with companies like Fujitsu, the third largest IT company in the world,” said Rod Tiede, president and CEO of Broadcast International. “Our disruptive and patented CodecSys technology, the only multi-codec compression technology in the market, is uniquely positioned to capitalize on the industry’s rapid transition to IP-based video delivery.

“Given our momentum and the industry dynamics, we believe now is the time to engage a team of experienced IR professionals like Liolios Group to help navigate the capital markets and effectively communicate our story. Liolios Group has expertise in the IP video and digital signage space making them a unique and valuable asset to our company. We will leverage their proven track record of assisting emerging growth companies in building long-term quality relationships with investors, analysts and institutions.”

Liolios Group has begun to collaborate with Broadcast International management to refine and deliver the company’s message to the investment community. Liolios Group plans to schedule a number of conference calls, road shows, and financial conferences for Broadcast International over the next 12 months, targeting key investors and influencers in the financial community.

For additional information about Broadcast International, contact Liolios Group at 949-574-3860 or email BCST@liolios.com.

About Liolios Group
Liolios Group, Inc. is a strategic financial communications firm focused on small-cap companies across a broad range of industry classifications. Liolios Group aims to deliver superior performance in corporate messaging and positioning, investor awareness, analyst and financial press coverage, and capital attraction. Founded in 1999, Liolios Group executives have extensive experience in finance and investments, and have represented more than 125 global companies in a wide range of industries. For more information about Liolios Group, go to http://www.liolios.com.

About Broadcast International
Broadcast International (BI) is a leading provider of video-powered broadcast solutions, including IP, digital satellite, Internet streaming and other types of wired/wireless network distribution. BI’s patented CodecSys software is a breakthrough, multi-codec video compression technology that cuts video bandwidth requirements over satellite, cable, IP and wireless networks. By slashing bandwidth needs, CodecSys enables a new generation of rich-media applications and offers unprecedented price/ performance benefits for existing applications. Broadcast International is a public company (OTCBB: BCST.OB – News) headquartered in Salt Lake City, UT.

For more information, visit: www.brin.com and www.codecsys.com

Forward-Looking Statements
All statements in this news release that are not based on historical fact are “forward-looking statements” within the meaning of the Private Securities Litigation Reform Act of 1995 and the provisions of Section 27A of the Securities Act of 1933, as amended, and Section 21E of the Securities Exchange Act of 1934, as amended (which Sections were adopted as part of the Private Securities Litigation Reform Act of 1995). While management has based any forward-looking statements contained herein on its current expectations, the information on which such expectations were based may change. These forward-looking statements rely on a number of assumptions concerning future events and are subject to a number of risks, uncertainties, and other factors, many of which are outside of our control, that could cause actual results to materially differ from such statements. Such risks, uncertainties, and other factors include, but are not necessarily limited to, those set forth under the caption “Additional Factors That May Affect Our Business” in the Company’s most recent Form 10-K and 10-Q filings, and amendments thereto. In addition, we operate in a highly competitive and rapidly changing environment, and new risks may arise. Accordingly, investors should not place any reliance on forward-looking statements as a prediction of actual results. We disclaim any intention to, and undertake no obligation to, update or revise any forward-looking statement.

Investor Relations Contacts:
Michael Koehler or Matt Glover
Liolios Group, Inc.
949-574-3860
BCST@liolios.com

As part of its national initiative to usher America’s drive-in theaters into the digital age, Christie is a sponsor of the 12th annual convention for the United Drive-In Theatre Owners Association (UDITOA), February 6 – 9, in Kissimmee, Florida, and has partnered with leading dealers across the United States to bring the benefits of digital cinema technology to a sector characterized by traditional 35mm projection.
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“No single institution in American cinema history offers the sense of nostalgia, romance and freedom that drive-in theaters convey,” said Craig Sholder, vice president of Christie’s Entertainment Solutions. “With more than 80 years serving the exhibition community, Christie understands first-hand the challenges of running drive-ins and we are eager to bring them into the modern age, preserving this important legacy of cinema history.”
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Christie offers the world’s best-selling and most powerful digital projection system, the Christie Solaria Series of 2D and 3D projectors, to light up the largest drive-in screens under the most challenging twilight conditions. In the southern and Midwest states specifically, Christie has joined forces with two of the country’s most renowned dealers – Sonic Equipment Company and Entertainment Supply and Technologies (ES&T) – to offer complete, single-source digital cinema solutions. Design, consultation, installation, and ongoing support are available from Christie and its partners. As well, Christie’s Network Operating Center (NOC) can provide 24/7 technical support and ongoing maintenance.
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A Storied Past and Confident Future
At the height of their popularity in the 1950s, more than 4,000 drive-in theaters covered the American landscape. Changing movie viewing habits saw their numbers dwindle, but there are now exciting signs that they’re making a comeback, according to UDITOA. The association notes that drive-in theaters not only remain a time honored American institution, but in a battered economy, they still offer one of the best values for family entertainment.
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With moviegoers seeking to recapture the magical memories of their youth, digital technology represents for drive-ins a distinctive competitive edge against the “hard tops” (indoor theaters) by offering alternative content such as major sporting events, musical and other cultural performances, in a unique outdoor environment, under the stars. The installation of powerful Christie DLP Cinema projectors allows audiences to experience the brightest and sharpest images on these big outdoor screens at the lowest cost of operation, eclipsing traditional 35mm film projection.
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Florida Exhibitor Seizes the Opportunity
For more than 60 years, the Silver Moon Drive-In Theatre has been a landmark in central Florida, where it was the first of its kind to open in Lakeland. Today, the Silver Moon continues to operate successfully, offering a double feature of first-run movies on two screens. “We are the last drive-in theater in Polk County, but we are here to stay,” said owner Harold T. Spears.
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Entertainment Supply and Technologies, LLC (ES&T), a full service cinema industry dealer and certified Christie partner from box office to projection booth “and everything in between,” recently completed the digitization of Silver Moon. ES&T chose the Solaria Series Christie CP2230 digital projectors as the most effective for lighting up the two massive screens of 55’ and 70’.
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“Audiences have remarked how much brighter and sharper the images on the screen are now,” said Bruce Schneiter, vice-president, Technical Services, at ES&T. “Christie was our first choice, because they have always provided top-level products and service, and they stand behind everything they offer. They are unparalleled for their technical expertise and industry experience.”
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Missouri Leads the Charge at B&B Moberly Five and Drive
Recognized by the National Association of Theater Owners (NATO) as one of the oldest family-owned circuits in the Midwest, B&B Theatres have seen the coming of sound, color, widescreen, digital, 3D and countless other advances in stereo sound and projection technologies. Currently, B&B Theatres operate in towns of all sizes, opening multiplex theaters in many of the same places that once housed their old-time, single-screen and twin theaters. When B&B Theatres decided to replace its two aging downtown movie houses in Moberly, Missouri with a new, multi-million-dollar multiplex, they built on their drive-in theater lot – vacant since 1985 – and put the drive-in screen back to work as well. The new theater complex, opened in 1997, is called the Moberly Five and Drive.
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Sonic Equipment Company, a Kansas-based digital cinema integrator and certified Christie partner, installed a Christie CP2230 DLP Cinema projector with a 4,500 watt bulb for the drive-in’s large, 64’-wide screen. According to Dan VanOrden, circuit general manager of B&B Theatres, “I was extremely impressed with the results. The audience, too, absolutely loved the bright new look. The drive-in is so bright now that Highway 63 is lit up in front of it!”
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VanOrden noted that the conversion to digital gave Moberly many more options for alternative content, as well. “We’ve been able to run DVD’s of classic movies, for example, and they actually look much better on that huge screen than their old 35mm prints did.”
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Sonic had previously installed Christie digital projectors in six drive-in screens in Texas, including the Stars and Stripes in Lubbock, as well as the Big Sky in Midland.
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“Speaking for The Big Sky, our Christie Solaria projector gives us a gorgeous picture and our customers love it!” said Sam Kirkland, owner of The Big Sky. “When a drive-in goes to digital movies, it’s a big difference from film, and people see that difference immediately. The quality at drive-in theaters using Christie projectors is as good as the indoor theaters now.”
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Steve Zimmerman, director of business development at Sonic, agreed. “Both Sonic and the theater owners at these locations in Texas were extremely impressed with the end result, allowing us to confidently recommend Christie to B&B Theatres.”
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“Christie is committed to ensuring that America’s drive-ins remain competitive for generations to come by providing them with the dazzling images of digital cinema and the expanded revenue streams of alternative content. As we have been for more than 80 years, we are here for the long term to support them with superior customer service,” said Sholder. “Along with exceptional partners such as Sonic and ES&T, we want movie goers everywhere to rediscover the pleasure of watching the big screen under ‘the big sky.’”