Director Rick Knief and Hooligan Editor Thomas Ostuni have teamed up to create a graphically compelling live-action music video for “Over the Sun,” Joseph Arthur’s latest single from the critically-acclaimed album, “The Graduation Ceremony” (Lonely Astronaut Records). The ground-breaking music video was shot on a multi-iPhone rig, captured within iPhone and iPad apps, and edited in Final Cut. The video is now available for purchase on iTunes.

Told on a stylized mosaic of nine interchanging and overlapping frames, the video features myriad shots of Arthur painting and playing every instrument heard in the song; the B story interprets the song’s muse who is seen leaving a NY gallery where Arthur performs, into the setting sun.

“It was exciting to work with an artist like Joseph, whom I’ve admired for many years,” remarks Knief. “He is such a unique artist. I really wanted to create a music video for him that would reflect that. And I think using an everyday tool like the iPhone in such an unorthodox way, really enabled us to pull that off.”

Knief says the video’s concept was heavily inspired by Arthur’s acclaimed performance art, which combines looping himself on various instruments with poetry and live painting.

 

“The way Joseph assembles his songs live on stage informed my filmmaking process,” explains Knief. “As a designer myself, I like to break things down to their core elements. Bringing those sensibilities to shooting and directing this video made sense because I could interpret the many layers of his art by essentially turning them into a collage, with each frame effectively serving as an individual film.”

 

“My favorite thing about Rick is he approaches filmmaking in terms of the graphic nature of the imagery,” adds Thomas Ostuni, senior editor, Hooligan. “He has a special knack for keeping things visually pleasing. Our goal was to keep the piece simplistic and graphic. It’s an art director’s dream video — every single second is art directed, it had to be.”

 

Knief’s idea to translate Arthur’s performance art in the form of a music video had long been in the making. The two first met at an Evan Dando concert and discussed the idea; subsequently, Arthur put Knief in touch with his management and the rest was history.

“Tossing the idea around with Arthur’s management, I had simultaneously been in conversations with Apple to develop a project using their tools and create a ‘making-of’ piece to share in-store. The iPhone’s video quality had vastly improved, so I decided to shoot with it.”

 

Knief developed a treatment with a concept to divide the 16:9 aspect ratio into nine separate screens. He then devised a method to achieve the multi-frame effect using six iPhones on a custom-built camera rig he designed and built. Production took place at the Aperture Gallery and on NYC’s High Line. Knief’s 6-man crew completed the shoot in just one day.

 

Knief downloaded numerous apps from iTunes to enhance production and postproduction, from concept aesthetic to workflow. The B story, for example, called for images of the sun flaring around the video’s love interest. Given that the iPhone camera is automatic, he achieved crucial lighting aesthetics with FilmicPro, an exposure locking app. Finally, to address the crucial phase of syncing footage from essentially nine iPhones, they used an iPad app called MovieSlate.

Ostuni says the consumer tools used to produce the video offered a unique editorial process, which called for creating nine unique sequences (utilizing every take) to assemble the master composite within the 16:9 aspect ratio.

“Dealing with multiple edits kept us on our toes as far as managing frames and organizing bins and dailies,” concludes Ostuni. “But working in uncharted territory allotted us freedom to experiment and write the rules as we went — convention went out the window and the possibilities were endless; but what ultimately made it interesting for me as an editor was I didn’t have to cut away from the performance to show the B story. With this vehicle, I could tell two stories at once.”

 

# # #

Together with Timberland’s in-house global creative services group, Apologue Experience Design Firm has developed an intelligent interactive experience within the retail fixtures that intrigues and engages the customer throughout the store, inspiring them to discover their great outdoors with Timberland gear, technologies and brand storytelling.

An interactive test module has been designed as part of Timberland’s new store concept launched in the Fall of 2011 in Stratford, UK. Located in juxtaposition to merchandise and environmental graphics, the digital experience creates an interaction between product and digital innovation, transforming the typical retail touch point into a more meaningful communication tool that delivers relevant information and emotional branding to Timberland’s global consumer.

Apologue, in collaboration with Automata Studios, Iron Claw and Audio, Video & Controls, designed a custom, open-source cloud-based HTML5 system that is able to dynamically retrieve remote data and create real- time, uniquely generated storytelling at every interface touch point, in every store, at any location around the world. The systems allows Timberland to add and tag assets for immediate integration into the storytelling all around the world in real-time, while being managed and monitored from a central location.

The interactive touch points transcend traditional retail models by transforming the shopping experience into a dialog between the brand and the customer. The system is uniquely designed to adapt, capture and learn from each store globally, providing unique, location-specific content to individual stores and inviting customers to provide meaningful feedback about Timberland products and initiatives that can then be converted into meaningful data for the brand.

This unique interactive system is being tested in key store locations in Singapore, the UK and the US.

Apologue, Inc. worked closely in developing this global test with the Timberland Global Creative Services teams led by Bevan Bloemendaal, Sr. Director – Global Creative Services and Susan Fraser, Director – Interactive Group, Global Creative Services.

Concept, Strategy, Creative Direction and Production: Apologue, Inc.
Executive Creative Director: Tali Krakowsky
Producer: Marissa Levin
Creative Director: Beth Elliott
Art Direction and Interface Design: Iron Claw
Software Development: Automata Studios
System Design & Technology Integration: Audio, Video & Controls, Inc.
PR: Priya PR

About Apologue
Tali Krakowsky is the founder of Apologue, Inc., dedicated to the creation of immersive environments that seamlessly integrate new media, storytelling and physical space. Committed to a highly multi-disciplinary and collaborative methodology, Tali has imagined and created interactive spaces for clients such as CHANEL, Victoria’s Secret, BMW, the Museum of Modern Art, IBM, Frank Gehry and Van Cleef & Arpels.

Born in Israel and raised in Hong Kong, Tali has a Bachelor of Fine Arts in Communication Design from the Parsons School of Design and a Master of Arts from UCLA’s School of Architecture, where her thesis was on interactive architecture. She is a frequent speaker and writer on the topics of design, technology, and architecture, and is also a curator and moderator of global, cross-disciplinary events that focus on facilitating conversations amongst professionals around the science and fiction of immersive design.

www.apologuestudio.com

# # #

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

AD AGENCY: mono/MN

 

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

 

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

New 3D BULLET RIG shown with Panasonic HPX250 and Canon XF305 cameras, is the most affordable, modular 3D beam-splitter available today. It features adustable IO (3.5?), convergence (0-2 deg), XYZ axis, camera elevation and mirror angle (44 to 46 deg) for perfect image alignment in every situation. Fits easily on Steadicam, in handheld mode (shoulder mount incl), with EasyRig, on a jib and any tripod. Weighs just 15 lbs. and is 15? wide. Accomodates Red Epic, Scarlet, Sony EX3, F3, Canon XF305, XF105, 5D, Si-2K, & many other professional cameras. For more information visit www.3DFilmFactory.com

New 3D BULLET RIG shown with Panasonic HPX250 and Canon XF305 cameras, is the most affordable, modular 3D beam-splitter available today. It features adustable IO (3.5″), convergence (0-2 deg), XYZ axis, camera elevation and mirror angle (44 to 46 deg) for perfect image alignment in every situation. Fits easily on Steadicam, in handheld mode (shoulder mount incl), with EasyRig, on a jib and any tripod. Weighs just 15 lbs. and is 15″ wide. Accomodates Red Epic, Scarlet, Sony EX3, F3, Canon XF305, XF105, 5D, Si-2K, & many other professional cameras. For more information visit www.3DFilmFactory.com

New high definition (HD, 2K, 4K) royalty-free stock footage timelapse shot in Milan, Italy have been added in different categories (Architecture, City and Clock) on HDtimelapse.net website.

Some of the locations from Milan, Italy are Milan Cathedral (Duomo di Milano), Duomo Square (Piazza del Duomo), Vittorio Emanuele II Gallery (Galleria), Christmas Tree, Sforzesco Castle, The Central tower, Torre del Filarete, Fontana del Castello, Piazza Castello, Shopping Area, Clock Tower, Milan Central Train Station (Stazione di Milano Centrale), Via Vittor Pisani, Il Naviglio Grande, Piazza Cavour, Roman Arches (Archi romani di via Manzoni), Old Trams, Piazza Cordusio, Via Mercanti, Sempione Park in Lombardy, Lombardia.

HDtimelapse.net library contains 7000+ time lapse video clips from 127 locations in 40 countries.

Many other clips are in post production from locations such Paris – France; London – England; Verona, Rimini, Genoa, Turin – Italy; Budapest – Hungary; Brussels – Belgium; Bukovina – Romania. If interested in details about one of these locations (short descriptions, snapshot pictures), customers should use the Contact section on HDtimelapse.net website.

Timelapse royalty-free stock footage here: http://www.hdtimelapse.net

FxFactory 3 brings seven brand new visual effects products plus free updates to existing plug-ins
 
Boston, MA – Noise Industries, developer of visual effects tools for the postproduction and broadcast markets, announced the release of FxFactory® 3. FxFactory is a visual effects platform for Apple® Final Cut Pro®, Motion and Adobe® After Effects®, powering hundreds of hardware accelerated, visual effects plug-ins developed by Noise Industries and partners. The new FxFactory 3 release supports Final Cut Pro 6, 7, and X; Motion 3, 4 and 5; Final Cut Express 4; and Adobe After Effects CS3, CS4, CS5 and CS5.5.
 
“FxFactory 3 is the largest software release in the company’s history,” comments Niclas Bahn, business development manager, Noise Industries. “Aside from offering this major upgrade free for our existing customers, we are rolling out seven brand new products, vastly expanding the visual effects options and capabilities for Final Cut Pro X editors. And this is just the beginning.”
 
A free download, FxFactory 3 is the ultimate toolbox for editors and compositors, and with hundreds of robust plug-in options, the possibilities are endless. The following new plug-in packages are available today through FxFactory 3:
 
Yanobox Moods is the first Color Correction plug-in to offer a heads up display interface. Users can intuitively color grade HD footage in full screen mode. Debuting at 49 USD, users can learn more about Yanobox Moods at http://www.yanobox.com/Moods_Features/
 
Idustrial Revolution XEffects Tech Transitions provides 28 dynamic high-tech transitions that take any project from ordinary to striking with just a few simple clicks. Tech Transitions is the first commercial product exclusively for Final Cut Pro X to feature temporal or retiming of video within the effect. Also debuting at 49 USD, users can learn more at http://idustrialrevolution.com/x1-tech-transitions
 
Nattress Levels and Curves offers the power of curve-based color adjustment applied in film-log space for fine-tuned image results. By placing the image into a specially constructed film-log space, editors have more control over the tones in the image and the benefit of film-like contrast handling. Priced at 29 USD, users can learn more at http://nattress.com/?q=LevelsCurves
 
Luca Visual FX Sprockets Slip creates the effect of a sudden slip of rolling film. Priced at 49 USD, users can learn more at http://lucavisualfx.com/Sprocket_Slip_Transition.htm
 
Luca Visual FX Film Leaders is a title generator for ragged and grungy looking text, allowing users to enhance projects with text that matches the look and feel of their images. Priced at 79 USD, users can learn more at http://lucavisualfx.com/Film_Leaders_Generator.htm
 
Luca Visual FX Grunge Effects provides a variety of animated textures designed to add a dynamic and intriguing feel. Priced at 79 USD, users can learn more at http://lucavisualfx.com/Grunge_FX_Generators.htm
 
Luca Visual FX Light Leaks allows users to overlay light effects over any media. Priced at 59 USD, users can learn more at http://lucavisualfx.com/Light_Leaks_Generator.htm
 
The following products can be upgraded free of charge by existing users and are available today for use with the new FxFactory 3 platform:
 
FxFactory Pro 3.0, Noise Industries’ award-winning flagship set of visual effects, includes the new ‘Playback Ready’ transition as well as improvements to all existing effects. FxFactory Pro 2.0 customers can upgrade to FxFactory Pro 3.0 free of charge. Priced at 399 USD, users can learn more at http://www.noiseindustries.com/support/fxfactory300/
 
EasyLooks 2.6 is a free upgrade to DVShade’s color grading plug-in that gives the user complete control; simply choose a preset or start from scratch – and easily save homemade grading settings as presets for future use. Priced at 49 USD, users can learn more at http://www.dvshade.com/
 
SUGARfx Light Pack 3.0 offers fun and useful filters including Marquee, Paparazzi and Lens Flare for impressive lighting effects and transitions. Editors can purchase the 100 light effects for 99 USD. To learn more, visit http://www.sugarfx.tv/info/lightpack_SUGARfx.html
 
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, please visit: http://www.noiseindustries.com.
 
Press Contacts
Janice Dolan
Zazil Media Group
Janice@zazilmediagroup.com
(p) 617.817.6595
(skype) janicedolan
 
Megan Linebarger
Zazil Media Group
megan@zazilmediagroup.com
(p) 617.817.6595
(skype) megan.zazil
 
####

GREENWICH, CT, JANUARY 5, 2012—For Matthew Cherry, owner and director of Matthew Cherry Studios, Anton/Bauer® and its DIONIC® 90 batteries have been a trusted part of his production crew for the last 10 years, whether he’s creating independent films or corporate videos. The DIONIC 90 from Anton/Bauer, a brand of The Vitec Group, and a leading global provider of premier batteries, chargers, lighting and other mobile power systems for the professional broadcast, video and film industries, allows Cherry to focus on his creative work without worrying about his power needs.

As a photographer and cinematographer, Cherry has worked in independent films and corporate video, as well as commercial photography—creating a mix of video and film and still photography—for more than 20 years. While much of his work is focused on fine arts, Cherry also produces commercial projects, including a recent promotional video for Anton/Bauer.

“Early on, I used batteries that were provided by camera manufacturers,” says Cherry. “However, a few good friends of mine who traveled the globe doing news production for major networks all said to me that you can have a lot of problems with many types of batteries—temperature, environmental issues and moisture. Making an investment with Anton/Bauer batteries, however, I haven’t had to deal with those issues.”
The DIONIC 90 was designed by Anton/Bauer to deliver consistently reliable performance even in the most challenging shooting environments on Earth. It offers a RealTime® display that continually updates the operator on how much run-time remains and on the state of the current charge. Weighing only 1.7 pounds, the DIONIC 90 can be transported without restriction under the IATA and DOT safety regulations (http://www.antonbauer.com/Support/TransportationInformation). The 91 WH battery can handle a maximum load of six amps, and offers runtimes ranging from six hours at 15 watts to 1.75 hours at 50 watts.

“The DIONIC 90 powers the camera all day,” says Cherry, who typically uses cameras such as the Canon L2 and Panasonic AG-HVX100 up through the VariCam. “I no longer have to think about batteries because I can look at the RealTime display to see the battery status and know exactly how much power is remaining.”

According to Cherry, working with Anton/Bauer for the last 10 years has helped eliminate the need for someone to manage recharging batteries during productions. “I typically bring three batteries per camera with me on a shoot, however I usually only need one,” he says. “I no longer have to plan a take around battery life. Whether you’re doing news or a narrative, how much is a lost shot worth if your battery dies?”

When it comes down to it, Cherry believes that if you have to think about your batteries, it’s a problem. “The very reason I rely on Anton/Bauer batteries is because I don’t have to think about them. If I do have a question, the global support team is readily available and able to help diagnose a problem.”

About Anton/Bauer
Anton/Bauer is recognized as the world’s innovator and a premier provider of batteries, chargers, lighting and other key mobile power systems for the professional broadcast, video and film industries. Based in the United States in Shelton, CT with offices in Europe and Asia, Anton/Bauer was established in 1970 and has expanded its product offerings to include many signature lines such as its leading Gold Mount® system, InterActive® chargers and Logic Series® batteries such as the HyTRON® 50, 100 and 140, and DIONIC® 90, 160, HC and HCX. Their products are compatible with virtually every camera brand on the market today. Other Anton/Bauer high performance products include the Ultralight®, ElipZ®, ElightZ®, CINE VCLX and CINE VCLX/2. Their superior-quality products have become an industry standard. For more information on Anton/Bauer, visit www.antonbauer.com.

A Snapshot of The Vitec Group
Vitec is an international Group principally serving customers in the broadcast, photographic and military, aerospace and government (MAG) markets. Listed on the London Stock Exchange with 2010 revenue of £309 million, Vitec is based on strong, well known, premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Imaging & Staging, Videocom and Services. Imaging & Staging designs, manufactures and distributes equipment and accessories for photography, video and events. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production teams and film crews. More information can be found at www.vitecgroup.com.