Visual Effects Society to use Sohonet Solution for 2018 VES Awards Submission Process
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Madeline Di Nonno, CEO of Geena Davis Institute on Gender in Media, will be featured in a keynote conversation at the annual women in technology luncheon, presented by SMPTE and HPA Women in Post on October 23rd. Kari Grubin, co-chair of HPA Women in Post will lead the conversation.
The research performed by the Geena Davis Institute analyzes and tracks how women and girls are portrayed in media, and how negative gender stereotypes can influence cultural and social behaviors and beliefs. Di Nonno will share the latest findings from the Institute’s new machine learning research tool, GD-IQ, the Geena Davis Inclusion Quotient, with a data driven approach to changing unconscious
“What we see onscreen greatly influences our views on society. The gender disparity in media reinforces unconscious gender bias off screen, behind-the-scenes and in the real world. According to our research, positive portrayals in media can inspire women and girls to pursue certain careers like STEM as well as furthering their education and leaving abusive relationships,” said Di Nonno. “Our mission is to change the media landscape to reflect our growing intersectionality in society. Our motto is ‘if you can see it, you can be it.’ Clearly, there is work to do, but I look forward to speaking with a group of women who are doing it.”
Di Nonno brings thirty years of international leadership experience to her responsibilities at the Geena Davis Institute, where she leads strategic direction, research, education, advocacy, and financial and operational activities. Her past roles have included President and CEO of On the Scene Productions; executive positions for Anchor Bay Entertainment/Starz Media and Executive Vice President and GM for Nielsen EDI; Senior Vice President, Marketing Alliances and Digital Media at the Hallmark Channel; and Vice President, Universal Studios Home Video. Di Nonno began her career at ABC Television Network in corporate publicity. In many of the organizations she has been part of, Di Nonno has led groundbreaking global initiatives in digital technology.
Grubin said, “We are honored to have Madeline with us to share insights from her impressive career and the groundbreaking work of the Geena Davis Institute. She is a compelling voice moving our culture and the media forward, and the Geena Davis Institute on Gender in Media helps define solutions for change. I look forward to this conversation, which is sure to advance the role that HPA and Women in Post play in our industry’s evolution and our support of young women.”
Di Nonno is a frequent speaker at global conferences and organizations such as the Cannes Lion, U.S. Department of State, and the United Nations and has been featured in media outlets including The New York Times, Variety, The Hollywood Reporter, Forbes, Huffington Post, Kidscreen, Fast Company, and Wired Magazine. Di Nonno holds a bachelor’s degree from Boston University. She serves as the Chair of the Board of Directors for the Television Academy Foundation and is on the Board of Directors for the Population Media Center and Promundo U.S., and on the Advisory Board for PBS Kid’s Ready Jet Go and GameChanger Films; and is a Strategic Advisor to YouTube Red. Di Nonno previously served as President of the Glass Lions Jury for the Cannes Lions 2016.
The Women in Technology luncheon is an annual event held in conjunction with the SMPTE Annual Technical Conference & Exhibition. Last year, executive vice president of Physical Production for Marvel Studios Victoria Alonso was the featured Women in Technology luncheon speaker. Previous speakers also include Cheryl Boone Isaacs, Michelle Munson, and Wendy Aylsworth. Seating is very limited and the event consistently sells out. Advance registration is required and early registration is encouraged.
Tickets for the Women in Technology luncheon are required and may still be available, visit http://www.smpte2017.org/women-in-tech.html. Those that purchase tickets may use promo code WIT2017 to receive a complimentary exhibits-only pass for SMPTE 2017.
Motion picture and television sound executive Paul Rodriguez passed away September 26th in Los Angeles of cardiac arrest after a brief hospitalization. He was 65.
Rodriguez was president of South Lake Audio Services and Vice President of Audio Services and Development at Roundabout Entertainment in Burbank where he oversaw post-production sound for projects including HBO’s Westworld. He was also a long-time board member of the Motion Picture Sound Editors (MPSE) and served as its treasurer for eight years. He produced the organizations’ annual MPSE Golden Reel Awards ceremony.
An active member of the professional sound community for more than 30 years, Rodriguez served in executive, sales and creative capacities at Todd-AO/Soundelux, Wilshire Stages, 4MC and EFX Systems. He was also co-owner of the Eagle Eye Film Company, a supplier of picture editing systems. He joined Roundabout Entertainment in 2015. Known for his infectious humor and gregarious personality, Rodriguez was a tireless ambassador for the art of entertainment sound and enjoyed universal respect and affection among his industry colleagues and friends.
“Paul will be remembered for the energy, wisdom and true dedication he gave to the sound industry,” said MPSE President Tom McCarthy. “His passing leaves a great void on our board and in the hearts of our members.”
Rodriguez is survived by his son Hunter, daughter-in-law Abbie and granddaughter Charlie; daughter Rachael and son-in-law Manny Wong; daughter Alexa and her partner James Gill; his former wife, Catheryn Rodriguez; and several sisters.
A memorial service will was held 11 a.m. on Tuesday, Oct. 3 at Montrose Church, 2409 Florencita Drive in Montrose, Calif. Donations in Rodriguez’s name may be made to Montrose Church, Best Friends Animal Society or Alzheimer’s Association.
By Debra Kaufman
At the 69th Creative Emmy awards, editors Bret Granato, Maya Mumma and Ben Sozanski won the award for Outstanding Picture Editing Nonfiction for ESPN Films’ “OJ: Made in America.” HPA Newsline had a chance to speak with Granato about the experience of cutting the seven hour-and-47 minute documentary series, which also won the Oscar for Best Documentary Feature at the 89th Academy Awards.
If you thought that nothing new could be wrung out of the 1994 OJ Simpson saga, the ESPN documentary proved you – and everyone else – wrong. But that was Granato’s mindset when director Ezra Edelman first contacted him. “The topic had been covered so thoroughly,” explains Granato, who had worked with Edelman on an ESPN’s “Requiem for the Big East.” “ I couldn’t imagine what he wanted to do with it.” Edelman then explained his plan: a dual narrative that would follow the history of Los Angeles and the LAPD and the history of the African-American community in Los Angeles and OJ’s own history, two threads that would weave in and out, and crash together after the murders.
From the beginning, says Granato, he knew the challenge would be to keep the audience engaged in this atypical method of storytelling. “We didn’t know if people would see the correlation of feel lost,” he says. “We didn’t know if people would go for the ride. It was a tricky proposition.”
When Granato and Mumma (initially the only two editors on the project) started working, Edelman and his team had already completed 50 to 60 percent of the interviews. Edelman’s process is also to write a lengthy document – up to 60 pages – that tells a conversational, almost novelistic story, populated with quotes and the people he hopes to interview. “It’s an aspirational document,” says Granato, who says the editors use the document as a guide.
The deadline was another challenge. The series, initially slated at six hours, had to meet the deadline for the Sundance Film Festival (where it debuted) in less than a year, a brutal pace for so much material. That’s when Sozanski came aboard, and the episodes were divvied up: Mumma would handle episodes 1 and 2, the so-called “pre-murder” sections, Granato would focus on the trial, in episodes 3 and 4, and Sozanski would edit the post-verdict episode 5. They stayed within those parameters, says Granato, although Sozanski cut the opening of episode 1 and he cut the Buffalo Bill section in the same episode. “We all touched that first episode,” says Granato, who adds the Sozanski also worked on the part of the murders.
Granato was perfectly suited to cut the OJ trial for a rather coincidental reason. He was in college during the original trial and was obsessed with it. “I listened to all of it while I was jogging,” he says. “I was gripped, like the country was, and was fascinated by the twists and turns.” Years later, he wrote off that obsession as a wasted year – which it might have been had he not found himself editing it for an award-winning documentary. “I was very familiar with the trial,” he notes wryly.
While the editors were cutting at the Post Factory in New York (all of them on Avids), producers Caroline Waterlow, Tamara Rosenberg and Nina Krstic worked out of an office in Brooklyn; Krstic handled archival footage, which was so crucial to the series. Associate producer Ryan Dilts and assistant editor John Fisher handled the immense task of inputting and key-wording about 800 hours of footage, including over 70 interviews, so the editors could easily find what they were looking for.
Another major challenge was when Edelman and the three editors got together to see the “big picture” of all the episodes together. “Ezra wanted to see the arc of the whole thing,” says Granato. “So we’d spend ten hours going through the entire film together. It would take an entire day to see what was working and what wasn’t, and it was physically punishing to do that.” Each editor left the beginnings and endings of their episodes loose, to allow more flexibility for connecting with the material on either side. “It never ends up being structured per the original idea,” says Granato. “The dynamic changes depending on the interviews, and you go back and tighten and make it more focused.”
The team did finish the series in time for its Sundance Film Festival debut. Granato looks back and says that none of them knew just how long the series would be – or how big it would hit. “We just started building and kept moving the needle forward,” he says, noting that the ESPN executives were happy with the show at its longer length. “ESPN was so supportive and interested in what we were doing, and they gave us the freedom to tell the story the way we thought it should be told.”
Sohonet, the global experts in connectivity, media services and network security for the Media and Entertainment industry, today announced their exciting partnership with Stitch Editing for their talent-nurturing film competition, Homespun Yarns.
Homespun Yarns, which is returning for its fourth successive year, supports up-and-coming filmmakers and editors by providing them with both the funding and platform to work and develop their talent through a unique film competition. This year, Homespun have set the brief to ‘Fragments’. Supported throughout, the the four finalists will need to produce and edit a short-film which will then be judged by a Homespun panel and audience at the awards night this October.
For 2017, the finalists will be utilising Sohonet’s media optimized file-transfer tool, FileRunner to both share and collaborate on content with their post and edit teams. Damien Carroll, COO of Sohonet said, “It has been fantastic to see the Homespun finalists leveraging FileRunner to collaborate securely and effectively with their teams throughout this competition”.
Carroll added “We’re delighted to support such amazing emerging creative talents I hope this experience has shown how the right technologies, when used in an effective manner can enhance the creative process and secure and simplify workflows”.
Alice Clarke, EP of Homespun said ‘”It’s been exciting to partner with Sohonet for Homespun Yarns 2017, and using your FileRunner transfer tool has given our filmmakers the chance to experience a smooth and secure post-production process”
About Stitch Editing (Homespun)
Stitch was founded in 2010 by award winning editors Tim Hardy and Leo King. Housed in a high spec Soho building, Stitch provide a creative and relaxed working environment with a strong emphasis on collaboration. The quality of their craft is unparalleled and they pride themselves on guiding clients seamlessly through the post production process.
Their five fully HD suites enable them to easily manage the workflow of each project, regardless of format. With over 35 years experience, they have made tea, collected dry cleaning, loaded rushes and edited high profile ads for many of the industries brightest and best directors and producers.
Sohonet are the global experts in connectivity, media services and network security for the media and entertainment industry. We allow creatives to work on content wherever they are in the world by providing an extensive range of solutions which enable them to transfer and store valuable and critical content quickly or to collaborate securely in real-time. And all of this is backed up by our unrivaled 24/7 technical support. The Sohonet Media Network is the largest and most-established private, high-performance network for the media industry and connects over 450 of the leading studios, production and post-production facilities around the world.
Sohonet enjoys strong partnerships within the broadcast and film industry, supporting organizations such as the BFC, SIGGRAPH, HPA, SMPTE, The Digital Production Partnership, AMWA, UK Screen Association, The Production Guild, MESA and MESA Europe, and The Visual Effects Society.
Curriculum Focuses on Mechanics and Operation of Film Projection Equipment and Proper Handling and Presentation of 35mm Film Prints
The Association of Moving Image Archivists (AMIA) and Boston Light & Sound, in partnership with Martin Scorsese’s non-profit organization The Film Foundation, will host a three-day, intermediate-level film projection workshop offering expert-led training in the proper handling and presentation of 35mm film in theaters. The hands-on, educational event takes place October 30 – November 1 at Boston Light & Sound in Boston.
Areas of instruction, intended for professional projectionists and other specialists responsible for film prints, include the handling of 35mm reels, working with lending institutions, and the technical skills needed for projection and maintenance. Instructors include experts in archival projection, as well as specialists from Boston Light & Sound and AMIA. Also contributing to the program are WB Distribution, the Coolidge Corner Foundation, and filmmaker Peter Flynn.
Over the past decade more than 90% of cinemas have migrated exhibition to solely digital projection, raising concerns that professional expertise in projecting 35mm is rapidly declining. Prints are difficult to obtain and expensive to replace, and require special knowledge and skills to project. Keeping movie projection at a high level of exhibition is important for preserving both access to, and the physical safety of, archival and rare films, which ultimately benefits audiences. AMIA’s projection workshops are designed to address these challenges, and encourage best practices for film projection through instruction, education, and support, as well as building a collaborative community of film handlers.
“The need for projectionists with the knowledge and experience to appropriately project 35mm prints has only deepened as the commercial market has moved toward digital,” said AMIA President Andrea Kalas. “The education we provide with our outstanding partners will ensure that audiences can continue to enjoy films, whether blockbusters or rarities, in their original format and that film prints will be returned to their archives undamaged.”
Margaret Bodde, executive director of The Film Foundation, added, “There is nothing quite like seeing a film projected on the big screen in its original format. The Film Foundation is committed to ensuring the continued availability of film prints, so it is extremely important that individuals are trained in the proper handling of 35mm archival and restored prints so that film projection does not become a dying art. In the past, projectionists learned from experienced mentors. This workshop provides training and support for this vital community.”
Participants of the Projection Workshop will receive certificates of completion from AMIA. Last year’s event sold out and drew accolades from attendees. In the coming year, AMIA plans to offer additional workshops with related content for both beginner and expert audiences.
“As time goes by, our precious film heritage is becoming more and more fragile, and new prints of older features are becoming more expensive and less available,” said Chapin Cutler, co-founder of Boston Light & Sound. “But archival prints that date back to original release dates continue to be viable and shown to audiences around the world. Proper film projector maintenance, alignment and hygiene is important to protect these precious materials. So, too, is presentation quality. Both go hand in hand. Passing on our understanding of how to maintain the best practices in film projection in is an important mission for Boston Light & Sound. We are proud to support AMIA along with our partners at Alamo Drafthouse by helping to develop and provide these workshops.”
The fee for workshop participants is $350, and attendance is limited to 12 participants. For more information, and to register, visit http://www.projectionworkshop.com/.
ABOUT THE PROJECTION WORKSHOPS
The AMIA Projection Workshop program was developed in partnership with the Alamo Drafthouse to provide resources and training to support those involved in the projection of 35mm film. Areas of instruction include: the handling of 35mm prints, working with lending institutions, and the technical skills needed for projection and maintenance. In addition to hands-on workshops, our goals also include the support of the broader community of 35mm exhibition – from encouraging peer-to-peer training to increasing the availability of online resources.
As the world’s largest international association of professional media archivists, the Association of Moving Image Archivists (AMIA) is uniquely poised to bring together a broad range of experts. Members represent film studios, corporate and national archives, historical societies, labs, post production, universities, footage libraries and more. Because of this diverse membership, AMIA provides an opportunity to interact with every facet of the field and a single forum to address the best ways to preserve and provide access to our media heritage in digital and analog formats. For further information, visit www.AMIAnet.org and follow AMIA on Facebook, Twitter (@AMIAnet) and Instagram (@AMIArchivists).
ABOUT BOSTON LIGHT & SOUND
Boston Light & Sound are known as the specialty presentation gurus. From early success presenting Napoleon, complete with a live orchestra at the Colosseum in Rome, to engineering and installing digital cinema and film projection systems at the Doha Tribeca Film Festival in Doha, Qatar, BL&S has a reputation for technical expertise and craftsmanship. One of the nation’s leading entertainment technology companies, BL&S maintains the personal touch of a small specialty operation. Services include technical expertise and equipment for the arts and entertainment industry, and world-renown pro-AV. For more information, visit www.blsi.com.
ABOUT THE FILM FOUNDATION
The Film Foundation is a nonprofit organization established by Martin Scorsese in 1990 to protect and preserve motion picture history. By working in partnership with archives and studios, the foundation has helped to restore over 750 films, which are made accessible to the public through programming at festivals, museums, archives and educational institutions around the world. The Film Foundation’s World Cinema Project has restored over 30 films from 20 different countries. The foundation’s free educational curriculum, The Story of Movies, teaches young people about film language and history. For more information, visit: www.film-foundation.org.
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Blackmagic Design recently announced that its Cintel Scanner and DaVinci Resolve Studio are being used by Paul Gerrish, of Cypress Gardens Treasure, to scan close to 6,000 reels of 16mm and 35mm film from the 1930s through to the 1980s. Cypress Gardens Treasure has acquired the film and photo archive from Cypress Gardens, a botanical garden and theme park that was one of the biggest attractions in Florida and known as the “Water Ski Capital of the World” for its water ski shows before it closed in 2009.
With a mission of preserving and providing access to the history of Cypress Gardens, Gerrish sought a solution that was both economical and safe for the film. “I wasn’t sure what the value of the collection would be, so economy was a big concern. Sending film out to be scanned was never an option as the cost would have far exceeded the price of a Cintel Scanner,” he said. “So far, I have scanned close to 300 reels without any problems, including shrinkage issues, which were my biggest concern. One 35mm nitrate film was even found and scanned on the Cintel; the film was from the 1940s but is clear enough to seem like it was filmed yesterday.”
“I generally scan most films at 24fps unless the film looks to be less than prime, in which case I will run it at about 12fps,” he noted. “Sometimes the reels are loaded with the ‘tail’ first, but rather than rewinding old reels, the Cintel can scan them as is. DaVinci Resolve Studio has a nice feature that allows me to change the speed to ‘reverse’ after the scan, and the film is automatically adjusted. The same goes for film that is flipped. One simple button in the color section will automatically adjust it so that the film is correct even if the initial scan was done backwards or reversed.”
Once the scan has been completed, Gerrish moves it to the timeline and proceeds to color. “There I can correct the film orientation, and most importantly, I can size the film to eliminate any gaps that would be seen on a widescreen. I adjust color using DaVinci Resolve Studio and then move to deliver,” he explained. “I don’t worry about making too many edits because I want to preserve the footage as is. This means I can also keep the Cintel running more often and can clean the rollers while it is rendering.”
Once the project is complete, Gerrish should have around 4,000 unique films. “The majority of these films have not been viewed for more than 50 years and are one-of-a-kind,” he said. “There was an episode of ‘The Ed Sullivan Show’ that featured the Cypress Gardens water skiers, and there are 50 or more reels of raw footage that were shot for it. There are also 12 reels of Johnny Carson’s visit to the park in 1968, film from three of King Hussein of Jordan’s visits, and I even have footage of Edward VIII and Wallis Simpson from their visit back in 1957. These are all amazing artifacts and would otherwise be lost without the Cintel Scanner.”
For Gerrish, however, it’s not just about high profile visitors. “I’ve already had people contact me about seeing family members in the footage. One person had been asking the park for the past forty years to find a film of her husband. I was able to find that specific reel, scan, convert and deliver it to her the next day,” he said.
According to Gerrish, with discussions taking place around a possible documentary about the park, having the digital film files will be invaluable, making it easy to preview and organize such a project. In the meantime, Gerrish makes DVDs of the footage and uploads many of the films to YouTube.
Fremont, CA – Blackmagic Design recently announced that DaVinci Resolve Studio has been used throughout production and post production on 20th Century Fox’s “Kingsman: The Golden Circle,” including SDR and HDR delivery. Joshua Callis-Smith was responsible for the onset dailies while the online edit and final DI were completed by Goldcrest Post.
The second installment of the Kingsman comic book adaption saw cinematographer George Richmond reunite with DIT Callis-Smith and Goldcrest senior colorist, Rob Pizzey following their work together on“Kingsman: The Secret Service” in 2014.
“Our goal with ‘The Golden Circle’ was to maintain the same slick, rich overall aesthetic as the first film,’ while also ensuring we gave the sequel its own unique look,” begins Callis Smith.
“Building on our use of Resolve on the first Kingsman film, I ran all of the images into 25 inch OLED monitors which were calibrated to match the DI suite at Goldcrest, and used a Smart Videohub to route pictures to the video operator, who would in turn distribute those images to everyone else.”
The onset DIT cart also incorporated a Blackmagic UltraStudio 4K capture and playback device along with multiple SmartScope Duo 4K preview monitors. The first grading pass was subsequently completed in DaVinci Resolve with the help of look up tables (LUT) created ahead of time by the colorist, Rob Pizzey.
“‘Kingsman: The Golden Circle’ was a much bigger proposition than ‘Kingsman: The Secret Service,’ with more ambitious VFX shots as well as an HDR deliverable to consider,“ Pizzey explains. “Along with the fact that we were delivering multiple HDR versions including Dolby Vision for theatrical and HDR10 for domestic viewing, we also had a larger number of VFX set pieces, all of which Resolve handled smoothly.”
The conform and online edit was also completed in Resolve Studio by Goldcrest’s Daniel Tomlinson, which allowed the in house team to turn around any edit changes and visual effects updates that took place quickly and efficiently.
“Working from the RAW rushes gave us maximum flexibility. As for all our deliveries, the HDR grade would originate from the live DI timeline, so we could access any part of the original grade and finesse to achieve the best results in HDR,” adds Pizzey. “Grading the HDR is not just about reproducing the REC 709 version on a HDR monitor. It all boils down to how the original material was shot in the first place. On The Golden Circle we could justify sensitively opening up the contrast ratio as we had the dynamic range to work with. Used in a controlled approach, the results can be stunning.”
He concludes: “Our color pipeline has certainly evolved since the first ‘Kingsman,’ we all worked on together, but one piece of the puzzle has remained the same: DaVinci Resolve. Resolve was central to the successful delivery of post production on ‘Kingsman: The Golden Circle.’ Using it ensured color management remained consistent throughout the entire editorial pipeline, from DIT through to the final results.”
Avid MediaCentral gives Dome Productions a fast, efficient workflow to meet tight turnaround times for inspiring international sporting event
Avid recently announced that production mobile facilities company, Dome Productions, relied on Avid solutions to deliver the Invictus Games Toronto 2017. Avid’s comprehensive tools and workflow solutions gave Dome Productions the speed and efficiency needed to create and deliver content for global broadcasters each day of the inspirational tournament.
Established in 2014 by Prince Harry, the Invictus Games is an international sporting event for wounded, ill and injured armed services personnel and veterans. This year’s multi-sport games in Toronto, Canada saw more than 550 competitors from 17 nations take part in a dozen adapted sports—including wheelchair basketball, sitting volleyball and indoor rowing. As host broadcaster for this year’s games, Dome Productions needed a fast-turnaround workflow to produce and deliver a 48-minute highlight show for broadcasters all over the world just an hour after the events ended each day.
With almost 10 years’ experience using Avid solutions for high-profile sporting events, Dome turned to Avid and equipment rental company SIM Digital to implement a fast, efficient workflow powered by Avid MediaCentral®, the industry’s most open, tightly integrated and efficient platform designed for media. To streamline the collaboration of 9 editing systems on one shared storage system, Dome deployed Avid NEXIS®, the world’s first and only software-defined storage platform for media.
“The Avid workflow solutions helped us in meeting the tight turnaround challenges the Invictus Games Toronto 2017 presented, by enabling us to work on the content while we were ingesting it,” said Seann Harding, Technical Manager, Engineering at Dome Productions. “Avid NEXIS’ web interface is extremely streamlined, making it much more intuitive to configure. Avid solutions worked very well and integrated into our production workflow effortlessly.”
Avid and SIM Video worked closely with Dome to implement the workflow, which included MediaCentral | Production Management for asset management and the industry’s preeminent nonlinear editing system Avid Media Composer® in addition to Avid NEXIS.
“In the fast-paced world of global sporting events, production teams need to start working on content as soon as the footage arrives,” said Avid President Jeff Rosica. “With Avid sports solutions powered by the MediaCentral Platform, Dome Productions had the fast, efficient and tightly integrated tools and workflow solutions needed to produce and deliver content to multiple broadcasters across the globe under extremely tight deadlines for this truly inspiring sporting event.”
As an Official Supporter of the inaugural 2018 European Championships, Avid’s state-of-the-art broadcast graphics solutions will be used to engage viewers with powerful visual storytelling
Avid recently announced that it has been appointed as the broadcast graphics platform supplier for the Glasgow 2018 European Championships. As an Official Supporter of the major new multi-sport event, Avid will provide its comprehensive tools and workflow solutions for graphics creation to captivate audiences across Europe and help bring the multi-sport event to life for a potential TV audience of up to 1.03 billion.
The Glasgow 2018 European Championships is set to join the sporting calendar as one of the world’s top events where Europe’s best athletes compete in events including aquatics, cycling, golf, gymnastics, rowing and triathlon, with athletics staged in Berlin. Taking place between August 2 and August 12, 2018, the inaugural event will see 4,500 world-class athletes compete before crowds at venues throughout Scotland and Berlin.
European Championships Management (ECM) and Fanview selected Avid – whom Glasgow 2018 have now contracted – to provide powerful broadcast graphics solutions based on the company’s extensive track record in supporting its preeminent customer community at high-profile sporting events, including NBC’s broadcast of the Olympic Games, Fox Sports’ Super Bowl and the Chinese National Games. Avid will work closely with the Championships’ timing, scoring and results providers to ensure a high-quality viewing experience for a potential TV audience of over one billion—as well as many more viewers across multiple digital platforms.
Aileen Campbell, Minister for Public Health and Sport, said: “With less than one year to go until the first ever European Championships, we are gearing up to deliver a must-attend, must-watch experience for visitors and audiences from across Europe. By engaging a world-class organization with unrivalled experience in delivering the very best sporting events, we will ensure Glasgow shines on the world stage in 2018.”
Leader of Glasgow City Council, Councillor Susan Aitken said: “We are delighted to team up with one of the world’s leading media technology providers. Avid’s experience in providing broadcast graphics solutions to major sports broadcasters worldwide will help guarantee a fantastic viewing experience for European Championships fans.”
Powered by MediaCentral®, the industry’s most open, tightly integrated and efficient platform designed for media, Avid’s powerful broadcast graphics solutions will deliver hundreds of on-air 3D graphics. Avid Maestro™ | Designer and Avid’s underlying HDVG rendering platform will give the tournament’s production teams unprecedented creative power and speed to design and deliver stunning graphics.
“Powerful visual storytelling and stunning imagery are critical to building a compelling brand and attracting viewers in the competitive sports media landscape,” said Avid President Jeff Rosica. “With Avid’s powerful graphics platform and our successful track record in supporting sports events on the global stage, Glasgow 2018 European Championships can establish itself as one of the world’s top sporting events and boost viewership through eye-catching 3D graphics, timely news updates, and other captivating visual content.”
In a session titled Bringing the European Championship to Life at Leaders Week London 2017, on Wednesday, October 4 European Championships Management’s Director Paul Bristow and Head of Commercial Andrew Wilding will discuss the journey to create a major new sporting event and the key technology they will bring to viewers in partnership with Avid.