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17 2017 Oct

American Society of Cinematographers Honors Student Filmmakers at Annual Heritage Awards

Winners Hail from AFI, LMU and USC

ASC Student Heritage Award winners (L-R) Logan Fulton, Connor Ellmann, and Favienne Howsepian

ASC Student Heritage Award winners (L-R) Logan Fulton, Connor Ellmann, and Favienne Howsepian

LOS ANGELES (October 16, 2017) – The American Society of Cinematographers (ASC) announced their annual Student Heritage Award winners Saturday night during a presentation at the organization’s clubhouse in Hollywood. Three student filmmakers were singled out for demonstrating exceptional abilities in cinematography. The competition is designed to highlight the work of emerging talent, and inspire the next generation of filmmakers.

The 2017 winners are:

ASC Andrew Lesnie Student Heritage Award, Graduate Category

Favienne Howsepian from the American Film Institute (AFI) for “Snowplow”

ASC Andrew Lesnie Student Heritage Award, Undergraduate Category

Logan Fulton from Loyola Marymount University (LMU) for “Widow”

ASC Haskell Wexler Student Award, Documentary Category

Connor Ellmann from University of Southern California (USC) for “Forever Home”

A panel of ASC members judged the entries, and the winners were selected from 13 nominees.

“The level of cinematography we see coming from students these days seems to get more exciting and visually challenging each year,” says ASC President Kees van Oostrum. “It’s a testament to the quality and commitment of the younger generation of cinematographers, and promises an exciting future.”

The ASC student awards are named in honor of Lesnie and Wexler, revered members of the organization. Lesnie won an Oscar® for best cinematography for The Lord of the Rings: The Fellowship of the Ring. His work on Doing Time for Patsy Cline earned an ACS Award of Distinction, as well as won the Australian Film Institute and The Australian Film Critics’ awards for best cinematography. He also won the ACS Cinematographer of the Year Award twice, for You Seng and Babe.

Wexler earned Academy Awards® for Who’s Afraid of Virginia Woolf? and Bound for Glory, and received additional nominations for One Flew Over the Cuckoo’s Nest (shared with Bill Butler, ASC), Matewan and Blaze. Wexler wrote, directed and shot Medium Cool, which is studied by film students worldwide for its cinéma vérité style. In 1992, he was honored with the ASC Lifetime Achievement Award.

The ASC Student Awards were inaugurated in 1999, with the Documentary category added in 2012. Past winners include Lisa Wiegand, ASC; Lukas Ettlin; Masanobu Takayanagi, ASC; Nelson Cragg; and Benji Bakshi, among many others who have become directors of photography or carved out careers in the filmmaking industry.

 

About the ASC
The American Society of Cinematographers (ASC) is a nonprofit organization dedicated to advancing the art of filmmaking. Since its charter in 1919, the ASC has been committed to educating aspiring filmmakers and others about the art and craft of cinematography. For additional information about the ASC, visit www.theasc.com, or join American Cinematographer on Facebook, Twitter and Instagram (@the_asc).

(Oscar and Academy Award are registered trademarks of the Academy of Motion Picture Arts & Sciences. Emmy is a registered trademark of the Academy of Television Arts & Sciences.)

 

 

17 2017 Oct

Blue Collar Post Collective (BCPC) to Present Solutions for Diversity Programs at SMPTE Technical Conference

Blue Collar Logo

A paper on fixing diversity programs will be presented by BCPC leadership at SMPTE’s Annual Technical Conference in Hollywood on October 25. 

Members of The Blue Collar Post Collective (BCPC)’s leadership including president Kylee Peña, co-founder and board chairperson Katie Hinsen, and mentor coordinator Meaghan Wilbur, have co-authored a paper titled “Why Diversity Programs Fail – and How to Fix Them” for presentation at the Society of Motion Picture and Television Engineers Annual Technical Conference in Hollywood on October 25.

Over the last decade, many different programs have emerged to meet rising awareness over the diversity gap at the intersection of science, technology, engineering, mathematics, and entertainment. However, upon reflection of combined data across these fields, there has been no significant improvement for women and minorities over the last twenty years despite a continued increase in interest and college graduates. In their paper, Peña, Wilbur, and Hinsen build a case for why this has happened, why it’s important, and how organizations can work to make tangible change for the future of diversity programs.

“The diversity gap in entertainment engineering isn’t a simple problem to solve. We have to look carefully at things like implicit bias and privilege which can affect our ability to create programs that are realistic and useful for people with vastly different backgrounds. We’re making very practical recommendations that approach diversity differently — from the bottom up instead of the top down, making the bridge from entry level to mid-career more sturdy for everyone,” notes Peña.

The paper and presentation session will help to guide decision-makers and influencers toward actionable takeaways which make better use of an organization’s resources and time than current diversity solutions.

All full-time post production professionals – Peña as a Workflow Supervisor for Bling Digital, Wilbur as a film editor, and Hinsen as Head of Operations for Department of Post in New Zealand – the co-authors have constructed the paper from over a year of academic research, an independent study of recent graduates, and their own experiences in the industry.

“Why Diversity Programs Fail – and How to Fix Them” will be presented by Peña and Wilbur at the SMPTE Annual Technical Conference as part of the “Innovation People” session at 2:30PM on October 25th in Hollywood. The full manuscript will be made available following the conference.

About the Blue Collar Post Collective

The Blue Collar Post Collective is an accessible and focused grassroots 501(c)3 non-profit organization, supporting emerging talent in post production.

Their goal is to foster an all-inclusive community and to provide unique opportunities for their members to develop professionally. There are no prerequisites or membership fees to join the BCPC. It is a group of over 5000 post-production professionals worldwide who want to share their experiences and support each other. It appeals to those who have questions about getting started in post, people looking to advance in their careers, and professionals who want to connect with more of their peers.

The BCPC holds monthly meetups and organizes events focused on offering alternative educational and career development opportunities with no barriers to attend. Not only are they building networks for emerging talent, but they work to strengthen the ties between the group and the wider community, through collaborative partnerships, advocacy, social events and innovative programs.

 

17 2017 Oct

Blue Collar Post Collective (BCPC) Partners With NAB Show for Career Roundtables

Blue Collar Logo

The Blue Collar Post Collective (BCPC) will be participating as an education partner during this year’s National Association of Broadcasters (NAB) Show in New York, a trade event for people of all areas of the broadcasting and entertainment industry.

As the conference expands again from Las Vegas to New York this October, BCPC will be taking part on October 19th, moderating and producing a roundtable discussion titled “Get Ahead and Stay on Top: How to Fast Track Your Career”. The event, oriented around short break-out sessions with focused table hosts, will be providing media professionals with tips and tools for navigating the New York production scene.

BCPC NY’s Vice President Ryan Penny, will be hosting the event. “At its core, BCPC supports emerging talent by facilitating connections. No one is better at bringing industry pros together than NAB, so it’s a natural fit. We’re looking forward to a lively and fun event that will start a lot of conversations,” states Ryan.

Those who would like to attend NAB NY can register for a free pass using the discount code EP04.

Table topics include:

“Broadening vs. Specializing Your Skill Set”

Hosted by Ethan Anderson (Freelance Editor) and Brian Golding (Editor/Post Supervisor at Alucia Productions). 

“Staying Healthy and Motivated”

Hosted by Ana Cipolla (colorist) and Natasha Livia Mottola (Documentary Editor and BCPC NY Event Producer/Meetup Coordinator)

“Contract vs. Full-Time vs. Working for Free”

Hosted by Amy Leland Hemphill (Editor, CBS Sports Network) and Derek Haager (colorist, Sharp Entertainment)

“First Year in New York”

Hosted by Briana Kay Stodden (Post Production Assistant) and Jackie Basse (Assistant Editor, She’s Gotta Have It).

 

 

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27 2017 Sep

HPA Awards Announces 2017 Nominees

Editing, Sound, Visual Effects and Color Grading Categories Revealed

26 September 2017 (Los Angeles, CA) – The Hollywood Professional Association(HPA) has announced nominees in the creative categories for the 2017 HPA Awards. Considered the standard-bearer for excellence and innovation in an industry embracing an expanding array of groundbreaking technologies and creativity, the HPA Awards honor creative achievement and artistic excellence.  Receiving a record breaking number of entrants this year, the HPA Awards creative categories recognize the outstanding work done by individuals and teams who bring compelling content to a global audience.

Launched in 2006, the HPA Awards recognize outstanding achievement in editing, sound, visual effects and color grading for work in television, commercials, and feature films. The winners of the 12th Annual HPA Awards will be announced at a gala ceremony on 16 November 2017 at the Skirball Cultural Center in Los Angeles, CA.

The 2017 HPA Award nominees are:

 

Outstanding Color Grading – Feature Film

“The Birth of a Nation”
Steven J. Scott // Technicolor – Hollywood

“Ghost in the Shell”
Michael Hatzer // Technicolor – Hollywood

“Hidden Figures”
Natasha Leonnet // EFILM

“Doctor Strange”
Steven J. Scott // Technicolor – Hollywood

“Beauty and the Beast”
Stefan Sonnenfeld // Company 3

“Fences”
Michael Hatzer // Technicolor – Hollywood

 

Outstanding Color Grading – Television

“The Last Tycoon – Burying the Boy Genius”
Timothy Vincent // Technicolor – Hollywood

“Game of Thrones – Dragonstone”
Joe Finley // Chainsaw

“Genius – Einstein: Chapter 1”
Pankaj Bajpai // Encore Hollywood

“The Crown – Smoke and Mirrors”
Asa Shoul // Molinare

“The Man in the High Castle – Detonation”
Roy Vasich // Technicolor

 

Outstanding Color Grading – Commercial

Land O’ Lakes – “The Farmer”
Billy Gabor // Company 3

Pennzoil – “JOYRIDE Tundra”
Dave Hussey // Company 3

Jose Cuervo – “Last Days”
Tom Poole // Company 3

Nedbank – “The Tale of a Note”
Sofie Borup // Company 3

Squarespace – “John’s Journey”
Tom Poole // Company 3

 

Outstanding Editing – Feature Film

“Hidden Figures”
Peter Teschner

“Dunkirk”
Lee Smith, ACE

“The Ivory Game”
Verena Schönauer

“Get Out”
Gregory Plotkin

“Lion”
Alexandre de Franceschi

 

Outstanding Editing – Television

“Game of Thrones – Stormborn”
Tim Porter, ACE

“Stranger Things – Chapter 1: The Vanishing of Will Byers”
Dean Zimmerman

“Game of Thrones – The Queen’s Justice”
Jesse Parker

“Narcos – Al Fin Cayo!”
Matthew V. Colonna, Trevor Baker

“Westworld – The Original”
Stephen Semel, ACE, Marc Jozefowicz

“Game of Thrones – Dragonstone”
Crispin Green

 

Outstanding Editing – Commercial

Nespresso – “Comin’ Home”
Chris Franklin // Big Sky Edit

Bonafont – “Choices”
Doobie White // Therapy Studios

Optum – “Heroes”
Chris Franklin // Big Sky Edit

SEAT – “Moments”
Doobie White // Therapy Studios

 

Outstanding Sound – Feature Film

“Fate of the Furious”
Peter Brown, Mark Stoeckinger, Paul Aulicino, Steve Robinson, Bobbi Banks // Formosa Group

“Guardians of the Galaxy Vol. 2”
Addison Teague, Dave Acord, Chris Boyes, Lora Hirschberg // Skywalker Sound

“Sully”
Alan Murray, Bub Asman, John Reitz, Tom Ozanich // Warner Bros. Post Production Creative Services

“John Wick: Chapter 2”
Mark Stoeckinger, Alan Rankin, Andy Koyama, Martyn Zub, Gabe Serrano // Formosa Group

“Doctor Strange”
Shannon Mills, Tom Johnson, Juan Peralta, Dan Laurie // Skywalker Sound

 

Outstanding Sound – Television

“Underground – Soldier”
Larry Goeb, Mark Linden, Tara Paul // Sony Pictures Post

“Stranger Things – Chapter 8: The Upside Down”
Craig Henighan // FOX
Bradley North, Joe Barnett, Adam Jenkins, Jordan Wilby, Tiffany Griffith // Technicolor – Hollywood

“Game of Thrones – The Spoils of War”
Tim Kimmel, MPSE, Paula Fairfield, Mathew Waters, CAS, Onnalee Blank, CAS, Bradley C. Katona, Paul Bercovitch // Formosa Group

“The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble”
Pete Horner // Skywalker Sound
Dimitri Tisseyre // Envelope Music + Sound
Dennis Hamlin // Hamlin Sound

“American Gods – The Bone Orchard”
Bradley North, Joseph DeAngelis, Kenneth Kobett, David Werntz, Tiffany S. Griffith // Technicolor – Hollywood

 

Outstanding Sound – Commercial

Honda – “Up”
Anthony Moore, Neil Johnson, Jack Hallett // Factory
Sian Rogers // SIREN

Virgin Media – “This Is Fibre”
Anthony Moore // Factory

Kia – “Hero’s Journey”
Nathan Dubin // Margarita Mix Santa Monica

SEAT – “Moments”
Doobie White // Therapy Studios

Rio 2016 Paralympic Games – “We’re the Superhumans”
Anthony Moore // Factory

 

Outstanding Visual Effects – Feature Film

“Pirates of the Caribbean: Dead Men Tell No Tales”
Gary Brozenich, Sheldon Stopsack, Patrick Ledda, Richard Clegg, Richard Little // MPC

“War for the Planet of the Apes”
Dan Lemmon, Anders Langlands, Luke Millar, Erik Winquist, Daniel Barrett // Weta Digital

“Beauty and the Beast”
Kyle McCulloch, Glen  Pratt, Richard Hoover, Dale Newton, Neil Weatherley // Framestore

“Guardians of the Galaxy Vol. 2”
Guy Williams, Kevin Andrew Smith, Charles Tait, Daniel Macarin, David Clayton // Weta Digital

“Ghost in the Shell”
Guillaume Rocheron, Axel Bonami, Arundi Asregadoo, Pier Lefebvre, Ruslan Borysov // MPC

 

Outstanding Visual Effects – Television

“Black Sails – XXIX”
Erik Henry
Yafei Wu, Nicklas Andersson, David Wahlberg  // Important Looking Pirates
Martin Lippman // Rodeo

“The Crown – Windsor”
Ben Turner, Tom Debenham, Oliver Cubbage, Lionel Heath, Charlie Bennett // One of Us

“Taboo – Episode One”
Henry Badgett, Nic Birmingham, Simon Rowe, Alexander Kirichenko, Finlay Duncan // BlueBolt VFX

“Ripper Street – Occurrence Reports”
Ed Bruce, Nicholas Murphy, Denny Cahill, Piotr Swigut, Mark Pinheiro  // Screen Scene

“Westworld – The Bicameral Mind”
Jay Worth // Deep Water FX
Bobo  Skipper, Gustav  Ahren, Jens Tenland // Important Looking Pirates
Paul Ghezzo // COSA VFX

 

Outstanding Visual Effects – Commercial

Walmart – “Lost & Found”
Morgan MacCuish, Michael Ralla, Aron Hjartarson, Todd Herman // Framestore

Honda – “Keep the Peace”
Laurent Ledru, Georgia Tribuiani, Justin Booth-Clibborn, Ellen Turner // Psyop

Nespresso – “Comin’ Home”
Martin Lazaro, Murray Butler, Nick Fraser, Callum McKevney // Framestore

Kia – “Hero’s Journey”
Robert Sethi, Chris Knight, Tom Graham, Jason Bergman // The Mill

Walmart – “The Gift”
Mike Warner, Kurt Lawson, Charles Trippe, Robby Geis // ZERO VFX

 

Recipients of several special awards have been previously announced by the HPA. Larry Chernoff has been named recipient of the  Lifetime Achievement Award. Winners of the coveted Engineering Excellence Award include Colorfront Engine by Colorfront, Dolby Vision Post Production Tools by Dolby, Mistika VR by SGO, and the WEAPON 8K Vista Vision by RED Digital Cinema.  These special awards will be bestowed at the HPA Awards gala.

The HPA Awards gala ceremony is expected to be a sold-out affair and early ticket purchase is encouraged. Tickets for the HPA Awards are on sale now and can be purchased online at www.hpaawards.net. For all inquiries and sponsorship information, call the HPA at +1 (818) 273-7482 or email at info@hpaawards.net. More information about the HPA Awards and the Hollywood Professional Association can be found at www.hpaonline.com. Title Sponsor Blackmagic Design; Foundation Members AVID, Company 3, Deluxe, Dolby, EFilm, and Encore; Platinum Sponsors IMAX and Sohonet; Engineering Excellence Sponsor HGST; Bronze Sponsor Sony Post Production Facilities; and Supporting Sponsor Fuse FX are among the sponsors of the 2017 HPA Awards.

 

###

About the HPA® Awards
The HPA Awards were created to foster awareness and recognize the achievements of the individuals and companies that have contributed to groundbreaking technologies and creative excellence within the professional media content industry, and build involvement in the Hollywood Professional Assciation. The HPA is a partner of the Society of Motion Picture and Television Engineers® (SMPTE®). Information about the HPA Awards is available at www.hpaonline.com. The HPA Awards will be presented with generous support from Foundation Members and sponsors.

About the Hollywood Professional Association
Hollywood Professional Association (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content. Through its partnership with the Society of Motion Picture and Television Engineers® (SMPTE®), the leader in the advancement of the art, science and craft of the image, sound, and metadata ecosystem, the HPA continues to extend its support of the community it represents. Information about the HPA is available at www.hpaonline.com.

 

Media Contact:
ignite strategic communications
christine purse | kate eberle
+1 818 980 3473 | chris mobile: +1 323 806 9696
chris@ignite.bz| kate@ignite.bz

19 2017 Sep

SIM Lab LA and Panasonic Cinema Present Conjuring Color for Just Add Magic on September 27

SimLAb_Panasonic_03_1_

September 27, 2017 6:00 pm – 9:00 pm
at Sim Group
1017 N Las Palmas, Los Angeles CA 90038

Establishing and maintaining the look and feel of a show from pre-production through finishing is often a daunting feat for a director of photography on Hollywood schedules and budgets. The creatives and technicians behind Amazon’s Just Add Magic will discuss how the open collaboration and technical expertise offered by SimLab has created a system of color accuracy and advocacy that serves the creative intent through the entire workflow.

19 2017 Sep

New Content Protection Option for Sending Files with Media Shuttle

By Danielle Rita

With the latest high-profile cyberattack within Media & Entertainment, this one on HBO, occurring just months after the much-reported hack of Netflix’s Orange is the New Black, cybersecurity and the importance of safeguarding  valuable media content is once again on everyone’s mind. Recognizing these concerns Signiant has added an optional extra layer of security for Send operations though Media Shuttle, designed to further protect your content in those situations where it is desired – such as when sending sensitive files.

Security was built-in to the design of Media Shuttle – Signiant’s industry-leading, SaaS solution for fast, easy and reliable person-to-person file sending and sharing – from the very outset.  Adhering to the principles of multi-layered “defense in depth”, Media Shuttle has long been recognized as the most secure method for sending and sharing large files by many of the world’s most security-conscious media and entertainment companies.

The new Content Protection option, already automatically available for all Media Shuttle Send portals, complements and enhances the existing security by allowing customers to increase the confidentiality of file transfers by using a password to encrypt sent files on disk prior to their delivery.  For these “your eyes only” transfers, the password “locks” the files on the designated Send portal storage such that no one other than the intended recipient, by entering the password, is able to ‘unlock’ the files for downloading. This additional layer of protection applies not only to recipients attempting to download files sent to them, but also to anyone within the organization who has access to the storage, but not necessarily the right to view all (or some) of the files on it.

media shuttle image

There are many potential use cases for this new feature, but obvious ones include for sending: pre-release screeners to reviewers; high profile work-in-progress for review and approval; proprietary or sensitive imaging or video data from drones; corporate data such as financial or personnel files.

The content protection option can be enabled either by the end user for specific Send transfers, or by an IT administrator as a global setting for all transfers from specific Send portals. The option works for both local storage and cloud storage deployments of Media Shuttle, and the exportable Events view visually indicates all transfers where content protection was enabled, thus ensuring full visibility to managers and supervisors.

As Signiant continues to enhance and expand all of its file transfer products, maintaining and improving security will always be a cornerstone of Signiant’s design and development philosophy.

19 2017 Sep

Blue Collar Post Collective: Supporting Today’s Emerging Post Talent

By Debra Kaufman

Blue Collar LogoStarting out as a tape op in the machine room is a common first step for a career in post production. But the path to better jobs isn’t the same now as it was twenty years ago, and that fact is part of the rationale behind the grassroots organization Blue Collar Post Collective (BCPC), which offers community and support to today’s emerging post talent. “I like everyone to keep in mind that the people coming up today have very different experiences,” says BCPC president Kylee Peña. “There is no clear ladder to climb.”

Katie Hinsen and Janis Vogel were the first co-presidents of the officially launched BCPC, a group that originally organized as an informal get-together with other below-the-line post workers. They jokingly dubbed themselves the “blue collar workers,” and, over time, the get-togethers grew increasingly popular among other young people in post production. Hinsen and Vogel formalized the group, as the Blue Collar Post Collective, and achieved status as a 501(c)3 non-profit in April 2016.

Interested in opening another BCPC chapter in Los Angeles, Hinson and Vogel zeroed in on Peña, a workflow supervisor at Bling Digital, who they got to know through social media and her articles in Creative COW. “Katie and Janis wanted to expand into Los Angeles,” recalls Peña. “But they’d only do so if I would agree to start it and run it.” She formed a committee in April 2016, and the Los Angeles group officially launched in June.

Peña, who has done research and given presentations on gender and equality, and lifestyle issues in post production, notes that no other groups focus exclusively on emerging talent in post production. “We see that careers are made for people in the first five years,” she explains. “A lot of the groups that do exist have barriers to entry: they cost money or they meet at times of the day when people are working. A lot of our members in Los Angeles work the swing shift or graveyard shift when these events happen, and they can’t go and network.” In contrast, the Blue Collar Post Collective in Los Angeles holds its events on Saturdays.

The Blue Collar Post Collective has a healthy presence online; its Facebook page has almost 5,000 members, with membership in the hundreds in Los Angeles and New York. Noting that women and people of color face additional barriers to success in post production, Peña says the Los Angeles group is a very diverse group, with near gender parity. BCPC also just had its first meeting in London, with Peña and Vogel in attendance. “We’re currently investigating what it would take to have a full-on group there,” she says. “We definitely encourage people in BCPC to have their own unofficial meet-ups. We’re all volunteers and all work full-time in post.” BCPC is growing judiciously, notes Peña, careful that each chapter shares the values of the core organization.

Being a member of the Blue Collar Post Collective offers numerous benefits, including a very active Facebook page, where members are encouraged to be “respectful, inclusive and supportive.” “One of the biggest benefits is the community you have access to,” says Peña. Monthly meet-ups are very well attended, and Los Angeles also offers a Stitch-and-Bitch meet-up for conversation and crafts. Upcoming events found on the group’s Facebook page include a New York conversation with “O.J.: Made in America” sound mixer Keith Hodne and a Los Angeles talk on “Finding Success in Unscripted TV.” Peña says the Facebook groups’ administrators also post an online discussion topic each week. “We don’t have super-strict rules, but we ask everyone to conduct themselves as if they are in person,” she says. “So our Facebook group is a very pleasant place to be, and a lot is going on.”

Another benefit is a financial aid program providing accessibility for early-stage career members to attend professional events. “This was created when a young man Katie was working with was invited to present a paper at a conference, but couldn’t afford to travel there,” says Peña. “That was a huge, career-changing thing he couldn’t do.” Since then, the BCPC has sponsored several members to several conferences and professional events. Recently, BCPC enabled a member from Indiana to attend EditFest in Los Angeles, where she also sat in with editors and colorists during her time here.

Group members act as a network and support for each other in numerous ways. One member recently relied on the network to apply and get a job as an assistant editor on a feature film, and BCPC vice president of the Los Angeles group Chris Visser, who mentors students at his former Wisconsin university, asked if Salazar could provide a PA job for one of his newly graduated mentees. “She was able to come to Los Angeles with a job, a community of people her age, and mentors,” says Peña. “At every single meet-up, I meet people who just moved here, and coming to the BCPC meet-up is the first thing they do.”

The post production communities in New York and Los Angeles have already supported the Blue Collar Post Collective in several ways, by providing tickets to events and special deals on gear. Peña encourages more of these kinds of donations, as well as money to help the group keep supplying financial aid (80 percent of the revenue goes to the scholarship program). But she stresses that the most useful action that post production companies and facilities can offer is jobs, that helps BCPC in their mission of supporting emerging talent. “Young people coming up have a lot of expertise,” says Peña. “There’s a lot to learn from them, so grant them opportunities to show that and make the industry more inclusive.”

 

19 2017 Sep

Avid Unveils Host of Platform Innovations and New Products at IBC2017

In its largest-ever set of launches at an IBC Show, Avid continues to drive major innovations and introduces the MediaCentral production suite, next-generation 4K/IP video servers, expanded graphics line-up, and new solutions and services created for the cloud, and more

IBC (Hall 7, Booth #J20), AMSTERDAM, Sept. 15, 2017 – Avid® (Nasdaq: AVID), a leading global media technology provider for the creation, distribution and monetization of media assets for global media organizations, enterprise users and individual creative professionals today launched an unprecedented rollout of major new products at its largest-ever unveiling at an IBC Show.  Driven to solve the industry’s most pressing challenges through a globally connected platform and cloud infrastructure that throws open the doors to a new world of media performance and profitability, Avid has expanded its industry-leading portfolio with a new production suite and user experience for MediaCentral®, the new Avid FastServe™ next-generation 4K/IP video server family, and the extended Maestro™ graphics family, among other announcements including new cloud-based solutions, tools and services.

“At IBC2017, Avid is delivering on the promise of the cloud, laid out just five months ago at Avid Connect 2017, to help our customers and the industry at large better manage the disruptive forces that have been bearing down on them for far too long, and achieve new heights in creativity, efficiency and flexibility,” said Avid Chairman and CEO Louis Hernandez, Jr.  “Coming full circle with all of our introductions this week at IBC, this is precisely what we had envisioned after thousands of industry professionals crystallized their priorities through the inaugural Avid Customer Association vote to guide our strategic priorities.  Thanks to their collective voice, Avid is innovating faster than ever to help them solve their most pressing needs, and they should only expect to see us accelerate the pace.”

Empowered by Avid tools, services and the MediaCentral platform – the industry’s most open, tightly integrated and extensible platform designed for media – Avid customers move from closed to open environments, from linear to dynamic workflows, from point products to integrated solutions, and from siloed operations to connected creative teams.  Visitors will experience a host of Avid innovations during IBC2017 (Hall 7, Booth #J20) including:

  • Next-Generation Media Production Suite: MediaCentral - powering the simplest to the most complex workflows for news, sports, and post production to connect every user in a completely integrated workflow environment with a unified view into all their media.  Completely customizable and modular, the MediaCentral production suite features groundbreaking cloud-based user experience; workflow modules and apps for editorial, production, news, graphics, and asset management; and a wide array of media services and partner connectors.
  • MediaCentral | Cloud UX – an easy-to-use and task-oriented graphical user interface that runs on virtually any operating system or mobile device, and is available to everyone connected to the platform.
  • Certified cloud service offerings on Microsoft Azure for news, post, and asset management.
  • Integrated Microsoft Cognitive Services, which applies the latest machine-learning algorithms to content libraries, automatically indexing content to extract streams of time-based metadata.
  • Sibelius® | Cloud Sharing service (included with Sibelius 8.7) – enabling composers to share music scores to their own personal cloud space, embed scores in a webpage, and invite anyone to flip through pages and play compositions using any device.
  • Avid FastServe Video Server Family - building on the rich heritage of industry-leading AirSpeed® and PlayMaker™ video servers, the Avid FastServe family is tightly integrated into the Avid MediaCentral platform as part of the industry’s most comprehensive UHD/4K workflow.
  • Maestro Graphics Family – a more unified and powerful graphics product line-up that has deeper integration with Avid MediaCentral enabling content creators to work faster and more efficiently, and helps them to distinguish their brand to set themselves apart from the competition and build viewer loyalty.
  • MediaCentral Solutions for Post Production – enabling small and mid-sized creative teams to enhance collaboration and deliver their best work faster, as well as working more efficiently with 4K and other demanding formats.
  • MediaCentral Solutions for News – enabling broadcasters to deliver breaking news first on every consumer platform, and accelerate every aspect of their media production workflow.
  • MediaCentral Solutions for Sports – arming sports broadcasters and venues with tools to streamline delivery of content in UHD with 2D and 3D graphics on TV and the broad range of devices sports fans now use to follow their teams.
  • Avid Artist | DNxIV™ - peripheral offering a wide range of analog and digital I/O to plug into today’s diverse media productions, working with a broad spectrum of professional Avid and third-party video editing, audio, visual effects, and graphics software.
  • Avid NEXIS® | PRO – storage now scaling to 160 TB – twice its previous capacity – giving small post facilities the ease-of-use, security, and performance advantages enjoyed by larger Avid NEXIS customers.
  • Avid NEXIS | E2 – storage now supporting SSD drives to deliver the extreme performance required when working with multiple streams of ultra-high-resolution media in real-time.  Additionally, Avid NEXIS Enterprise systems now scale to 4.8 PB of raw storage, leveraging new 100 TB Media Packs.

For more information about Avid at IBC2017 and to set a demonstration appointment, please visit www.avidblogs.com/ibc.

About Avid

Through Avid Everywhere™, Avid delivers the most open and efficient media platform, connecting content creation with collaboration, asset protection, distribution, and consumption. Avid’s preeminent customer community uses Avid’s comprehensive tools and workflow solutions to create, distribute and monetize the most watched, loved and listened to media in the world—from prestigious and award-winning feature films to popular television shows, news programs and televised sporting events, and celebrated music recordings and live concerts. With the most flexible deployment and pricing options, Avid’s industry-leading solutions include Media Composer®, Pro Tools®, Avid NEXIS®, MediaCentral®, Interplay®, iNEWS®, AirSpeed®, Sibelius®, Avid VENUE™, Avid FastServe™, Maestro™, and PlayMaker™. For more information about Avid solutions and services, visit www.avid.com, connect with Avid on Facebook, Instagram, Twitter, YouTube, LinkedIn, or subscribe to Avid Blogs.

 

© 2017 Avid Technology, Inc. All rights reserved. Avid, the Avid logo, Avid Everywhere, Avid Artist | DNxIV, Avid NEXIS, Avid FastServe, AirSpeed, iNews, Maestro, MediaCentral, Media Composer, PlayMaker, Pro Tools, Avid VENUE, and Sibelius are trademarks or registered trademarks of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries. All other trademarks are the property of their respective owners. Product features, specifications, system requirements and availability are subject to change without notice.

 

19 2017 Sep

Avid Begins Deployment of First Cloud Enterprise Client Al Jazeera

International news broadcaster, Al Jazeera Media Network, extends MediaCentral Platform-based production workflows to the hybrid cloud to accelerate global collaboration and on-air story delivery

IBC (Hall 7, Booth #J20), AMSTERDAM, Sept. 19, 2017 Avid®(Nasdaq: AVID), a leading global media technology provider for the creation, distribution and monetization of media assets for global media organizations, enterprise users and individual creative professionals, announced today at IBC 2017 that it has begun deploying its first hybrid cloud workflows for Al Jazeera Media Network. Following its move last year to standardize on Avid’s MediaCentral® Platform, Al Jazeera is now bringing its international news operations into the media cloud era to optimize collaboration for faster story creation and time to market with its programs.

Al Jazeera is demonstrating the initial phase of this live MediaCentral hybrid cloud rollout at the Avid booth (Hall 7, Booth #J20). Visitors will see how news gathering field teams, individual journalists, affiliate bureaus and other contributors to Al Jazeera’s global virtual newsroom are gaining immediate access to a massive common repository of assets – content, metadata, news run-downs – to rapidly assemble, enhance and distribute productions across the network’s television and online properties.

“As an early adopter of cloud-based workflows, we’re establishing a highly responsive and fluid global newsroom environment that better serves and engages viewers across all distribution platforms including, television, digital and mobile,” said Mohamed Abuagla, Executive Director of Technology & Operations (CIO/CTO), Al Jazeera Media Network. “We’re proud to give the media industry a view into the core of our MediaCentral-based operation this week at IBC 2017. It proves that Al Jazeera is leading the way in developing the newsroom of the future in partnership with Avid, ensuring that it will continue to capitalize on an open platform of common technologies with immense advantages to our journalist and productions teams.”

“When media enterprises standardize on Avid tools and platforms, they become well positioned to enter the media cloud era and elevate their creativity, delivery and monetization,” said Jeff Rosica, President, Avid. “Avid is thrilled to feature Al Jazeera’s hybrid cloud breakthrough at IBC 2017. It’s a perfect example of how cloud deployment of MediaCentral can erase disparity and silos from even the most distributed media organizations and streamline workflows that span the globe.”

MediaCentral is the industry’s most open, tightly integrated and extensible platform purpose-built for media and ready for the cloud. MediaCentral scales from a team of two to an organization of thousands, and gives news, sports, post-production and live broadcast teams the power to create and deliver more content much more efficiently, and in shorter timeframes. To learn about the next-generation MediaCentral platform and the next-generation production suite introduced this week at IBC2017, please visit http://www.avid.com/products/mediacentral.

 

15 2017 Sep

The MPSE to Sponsor Mix Presents Sound for Film and TV

Annual sound event slated for September 16th at Sony Pictures Studios.

Studio City, California – September 7, 2017 – For the fourth straight year, the Motion Picture Sound Editors (MPSE) will serve as event sponsor for Mix Presents Sound for Film and TV, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback. The event is scheduled for September 16, 2017 at Sony Pictures Studios, the event host sponsor.

Sponsored by Mix Magazine, this year’s event will focus on how sound is being affected by the continued evolution of feature film, television, streaming and gaming media, and the emergence of virtual reality and other new forms of entertainment. A series of panel discussions, technology demonstrations and master classes will highlight the latest workflows and technologies that are helping sound artists keep pace with creative and technical demands.

A unique gathering of creative artists and technical experts from all avenues of entertainment sound, Mix Presents Sound for Film has attracted sell-out crowds and expanded its scope in each of its first three years. “The MPSE is very excited to be part of this year’s Mix event,” said MPSE President Tom McCarthy. “It’s a can’t-miss opportunity where sound professionals can learn about the latest trends and technologies, and reconnect with colleagues who are pushing the boundaries of entertainment sound.” The Cinema Audio Society (CAS) is also an event sponsor.

MPSE will sponsor a panel entitled “One Soundtrack, Multiple Formats: Preparing Immersive Audio for Any-Sized Screen.” The panel will discuss the challenges sound teams face in producing immersive and stereo sound in an expanding number of delivery formats for theatrical, broadcast, streaming and other markets. Academy Award-winning sound design and re-recording mixer Mark A. Mangini will moderate the discussion with panelists including supervising sound editor Andrew DeCristofaro, re-recording mixer/sound designer Tony Lamberti, sound designer Jay W. Jennings, sound designer Dave Rowe and sound designer/re-recording mixer Julian Slater. The session is scheduled for 11:00 a.m. in the Burt Lancaster Theatre.

Other highlights include a keynote address from film composer Tom Holkenborg, whose scoring credits include Mad Max Fury Road, Deadpool, Black Mass, Divergent, Brimstone, Justice League and Dark Tower. The event will include panel discussions on collaboration in scoring, RF coordination and 360 music. Yamaha, Westlake Pro, Focusrite and RSPE will be among technology manufacturers hosting master classes. The event will conclude with a cocktail reception and its popular Sound Reel Showcase.

What:                   Mix Presents Sound for Film and TV

Sponsors:            The Motion Picture Sound Editors (MPSE) and the Cinema Audio Society (CAS)

Where:                Sony Pictures Studios, Culver City, California

When:                  Sunday, September 16, 2017

Registraton:       http://www.mixsoundforfilm.com/register/

 

About MPSE

Founded in 1953, the Motion Picture Sound Editors is a non-profit organization of professional sound and music editors who work in the motion picture television and gaming industries. The organization’s mission is to provide a wealth of knowledge from award-winning professionals to a diverse group of individuals, youth and career professionals alike; mentoring and educating the community about the artistic merit and technical advancements in sound and music editing; providing scholarships for the continuing advancement of motion picture sound in education; and helping to enhance the personal and professional lives of the men and women who practice this unique craft.

mpse.org