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Production & Post

Editing "War for the Planet of the Apes"

2017-07-27 23:02:16 ccwire-staff
On July 14th, 20th Century Fox released War for the Planet of the Apes, the follow up to 2014’s Dawn of the Planet of the Apes, which was once again directed by Matt Reeves. The film marks the third in the rebooted franchise (2011’s Rise of the Planet of the Apes was directed by Rupert Wyatt), and centers around the now mature Caesar, who continues to serve as the apes’ leader. While their colony struggles to coexist with humans, they appear to be gaining an upper hand, as the humans face extinction due to a rapidly spreading, deadly virus.

Editor William Hoy also returned to work on the new release, continuing his collaboration with Reeves. Hoy’s vast credits include Dances With Wolves, both Fantastic Four films, 300, Watchmen, Sucker Punch and Abraham Lincoln: Vampire Hunter. He is a member of both the Academy of Motion Picture Arts and Sciences and American Cinema Editors.

“In this particular picture, almost the entire production called for visual effects,” Hoy explains. “It was dedicated to the performance and characters, which was a real plus for me. That’s what we wanted most out of it. The character and emotional character of the apes and the humans.”

Hoy, who has cut a number of Fox features, was acquainted with a number of people surrounding the project, and has developed a trust with the director. “On the first film, you have to learn to trust each other, and on this film it was a real pleasure to work with him,” says the editor. “We’ve become really good friends and that’s something that’s valuable that I take away from the picture, too.”

Read the full story at Post Magazine.

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Paul Machliss, ACE, and Jonathan Amos, ACE bring a special brand of magic to "Baby Driver"

2017-07-17 10:42:39 ccwire-staff

Writer/director Edgar Wright’s latest outing is a major departure from his normal offering of dark comedies. Unlike his Three Flavours Cornetto film trilogy — Shaun of the Dead, Hot Fuzz and The World’s End — and Scott Pilgrim vs. the World, TriStar Pictures’ Baby Driver has been best described as a romantic musical disguised as a car-chase thriller.

Wright’s regular pair of London-based picture editors, Paul Machliss, ACE, and Jonathan Amos, ACE, also brought a special brand of magic to the production. Machliss, who had worked with Wright on Scott Pilgrim, The World’s End and his TV series Spaced for Channel 4, recalls that, “very early on, Edgar decided that I should come along on the shoot in Atlanta to ensure that we had the material he’d already storyboarded in a series of complex animatics for the film [using animator Steve Markowski and editor Evan Schiff]. Jon Amos joined us when we returned to London for sound and picture post production, primarily handling the action sequences, at which he excels.”

Developed by Wright over the past two decades, Baby Driver tells the story of an eponymous getaway driver (Ansel Elgort), who uses earphones to drown out the “hum-in-the-drum” of tinnitus — the result of a childhood car accident — and to orchestrate his life to carefully chosen music. But now indebted to a sinister kingpin named Doc (Kevin Spacey), Baby becomes part of a seriously focused gang of bank robbers, including Buddy and Darling (Jon Hamm and Eiza González), Bats (Jamie Foxx) and Griff (Jon Bernthal). Debora, Baby’s love interest (Lily James), dreams of heading west “in a car I can’t afford, with a plan I don’t have.” Imagine, in a sense, Jim McBride’s Breathless rubbing metaphorical shoulders with Tony Scott’s True Romance.

Read the full story at postPerspective

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“Mr. Robot” Editor Franklin Peterson Enjoyed Season Two’s Creative Freedom

2017-06-07 17:14:33 mgalas

Franklin Peterson was a relative newbie to television editing in 2014.  He’d surpassed the assistant-to- editor hurdle on indie films including “Safety Not Guaranteed” when he had the good fortune to cut director Sam Esmail’s feature debut, “Comet.”  It was Peterson’s work on this film that inspired Esmail to reach out to the editor when he needed an editor to fill in during season one of his hacker-takes-over-the-world drama “Mr. Robot.”

After reading the pilot and seeing a cut, Peterson was hooked.  He joined the team with the season already well in progress.  Working in LA, he was given guidance and updates about the story threads being shot in NY.  While the schedule was far more accelerated than a feature. Peterson found he still had ample time to apply creative editing styles to highlight Elliot Alderson’s (Rami Malek) unusual and often confused world-view.

“I loved getting time to experiment and play,” said Peterson.  “Sam is open to outside-the-box ideas.”

Peterson and the “Mr. Robot” editing team had a heightened sense of creativity in season two, sparked largely in part by Esmail’s direction of each episode.  Able to closely monitor the slightest detail, down to the makes of each characters phone, every scene was richly displaying the world Esmail envisioned.   Despite his oversight on set, Peterson and the editing team were encouraged to continue to find the most creative way to tell the story in the edit suite, including the use of jump cuts, long to short takes, and other out-of-the-box means that would lend to exploring the personality of each character.

Unique to the experience of editing “Mr. Robot” was the ability to shuffle scenes around in an episode, sometimes even between episodes.  The entire editing team would gather to sit and discuss set ups they were working on that offered mutual feedback for the unique experimentation Esmail encouraged.  They also ensured, throughout their unique edits, that the characters retained a humanity, specifically Elliott, who’s unique way of seeing the world often verts against his humanity.

The unique eye tracking that comes with the extreme angles in “Mr. Robot” Peterson recalled using in “Comet”, however he was apprehensive about the extremely dark visuals in season two.    Peterson credits DP Tod Campbell for carving out actors features with a handful of light, or finding the proper balance in the backlit shots.

“The art of it all fits, but there were always massive wide shots and plenty of extra coverage to work with,” recalled Peterson.

Sound design enhanced a major storyline reveal in the opener’s double episode.  Peterson worked with sound team to underscore Elliott’s movements with rolling door and clinking of metal sounds, creating an off-balance sensation for the viewer while avoiding obvious reveals.

Most important in the unusual editing process was ensuring they responded to the needs and emotions of their characters. In a scene highlighting FBI agent Dominique DiPierro’s (Grace Gummer) loneliness and heartbreak, Peterson felt it was best to let her expressions linger without cutting into the scene.

Source: Variety411

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Editing "Kong: Skull Island"

2017-03-23 20:31:55 ccwire-staff

Who doesn’t love a good King Kong movie? And who says a good King Kong movie has to have the hairy giant climbing the Empire State Building, lady in hand?

The Jordan Vogt-Roberts-directed Kong: Skull Island, which had an incredible opening weekend at the box office — and is still going strong — tells the story of a 1973 military expedition to map out an island where in 1944 two downed pilots happened upon a huge monster. What could possibly go wrong?

Rick Pearson

Editor Rick Pearson, who was originally set to come on board for 10 weeks during the Director’s Cut process to help with digital effects turnovers, ended up seeing the project through to the end. Pearson came on during the last third of production, as the crew was heading off to Vietnam.

The process was already in place where rough cuts were shared on the PIX system for the director’s review. That seemed to be work well, he says.

To find out more about the process, I recently touched base with Pearson, who at the time of our interview was in Budapest editing a film about the origin of Robin Hood. He kindly took time out of his busy schedule to talk about his work and workflow on Kong: Skull Island, which in addition to Vietnam shot in Hawaii and Australia.

Read the interview at postPerspective.

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Lillian Benson, ACE to Receive Motion Picture Editors Guild Honors

2017-03-09 16:55:32 ccwire-staff

The Motion Picture Editors Guild (MPEG), Local 700 IATSE, will honor member Lillian E. Benson, ACE with its prestigious Fellowship and Service Award.  Benson will be presented this distinguished honor by director and frequent collaborator Zeinabu Davis at a ceremony taking place Saturday, April 8, 2017 at the Sheraton Universal Hotel.

The Fellowship and Service Award was established 10 years ago by the Guild’s Board of Directors to recognize an individual who embodies the values the Guild holds most dear: Professionalism, Collaboration, Mentorship, Generosity of Spirit and a Commitment to the Labor Movement. Previous recipients of this distinguished honor include Joseph A. Aredas; Donald O. Mitchell; Don Hall; Carol Littleton, ACE; IATSE International President Emeritus Thomas C. Short; Dede Allen, ACE; and Donn Cambern, ACE.

“Lillian E. Benson has a had a long career editing influential and socially conscious films, and has been long active in working to increase minority participation in the filmmaking process,” commented Alan Heim, ACE, President of the Editors Guild. “In addition, she has been an active member of the Board of Directors for the American Cinema Editors [ACE] as Secretary and Co-Chair of the Diversity Committee. I am honored to have even a small part in presenting her with this richly deserved award.”

Benson is the first African-American woman to become a member of MPEG and had an Emmy nomination for her work on “Eyes on the Prize” in 1991.  Additional credits include “The American Experience”, “Maya Angelou and Still I Rise” and “Passengers.”  She is currently editing “Chicago Med.”

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Motion Picture Sound Editors to Honor John Paul Fasal with Career Achievement Award

2017-11-13 20:17:14 artisanspr

Studio City, California –  The Motion Picture Sound Editors (MPSE) today announces that it will present Sound Designer and Sound Recordist John Paul Fasal with its 2018 MP

SE Career Achievement Award. A 30-year veteran of the sound industry, Fasal has contributed to more than 150 motion pictures and is best known for his groundbreaking work in field recording. Among his many credits are Top Gun, Master and Commander: The Far Side of the World, Interstellar, The Dark Knight, American Sniper and this year’s box office hit Dunkirk. Fasal will receive his award at the MPSE Golden Reel Awards ceremony, February 18th, 2018 in Los Angeles.

“John is a master of his craft, an innovator who has pioneered many new recording techniques, and a restless, creative spirit who will stop at nothing to capture the next great sound,” said MPSE President Tom McCarthy. “He is also an exceptional professional who enjoys the esteem of his colleagues in the sound world and filmmakers worldwide. We take pride in presenting him with this unique honor.”

The MPSE Career Achievement Award recognizes sound artists who have distinguished themselves by meritorious works as both an individual and fellow contributor to the art of sound for feature film, television and gaming and for setting an example of excellence for others to follow. Fasal joins a distinguished list of sound innovators, including 2017 Career Achievement Recipient Harry Cohen, Richard King, John Roesch, Skip Lievsay, Randy Thom, Larry Singer, Walter Murch and George Watters II.

“Sound artists typically work behind the scenes, out of the limelight, and so to be recognized in this way by my peers is humbling,” said Fasal. “It is an honor to join the past recipients of this award, many of whom are both colleagues and friends. I am grateful to the MPSE for this wonderful distinction.”

Fasal began his career as a musician and songwriter, but gravitated toward post production sound in the 1980s. Among his first big successes was Top Gun for which he recorded and designed many of the memorable jet aircraft sound effects. He has been a member of the sound teams on several films that have won Academy Awards in sound categories, including Inception, The Dark Knight, Letters from Iwo Jima, Master and Commander: The Far Side of the World, The Hunt for Red October and Pearl Harbor.

Fasal has worked as a sound designer and recordist throughout his career, but in recent years has increasingly focused on field recording. He enjoys especially high regard for his ability to capture the sounds of planes, ships, automobiles, and military weaponry. “The equipment has changed dramatically over the course of my career, but the philosophy behind the craft remains the same,” he says. “It still involves the layering of sounds to create a sonic picture and help tell the story.”

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

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Amrita Sen Music Adds Tony Joy

2017-11-07 20:37:46 rpg246

Los Angeles, Amrita Sen Music has added feature film sound engineer Tony Joy to her team. The announcement was made by composer/artist Amrita Sen. Sen is probably best known for her performance at the 2009 Academy Awards with music legend AR Rahman, singing “Jai Ho” from the Oscar-winning movie, Slumdog Millionaire. Her music reel includes collaborations with artists Justin Timberlake, Weezer and Timbaland.

According to Sen, she first met Tony Joy through composer/singer/songwriter A.R. Rahman, composer of the soundtrack for the aforementioned ‘Slumdog Millionaire’. Joy is no stranger to mixing commercials for both TV and radio, having overseen hundreds of spot projects during his tenure as a radio producer in Dubai. Joy has been based in Los Angeles since 2010. Joy’s mastering and sound engineering credits include work on the feature films ‘Million Dollar Arm,’ ‘The Hundred-Foot Journey,’ ‘Om Shanti Om,’ and ‘Jab tak Hai Jaan among others.

“Tony is one of the best mixing and mastering engineers in the music industry,” says Sen. “He is also an expert in mixing for Virtual Reality (VR), which is a genre we’re going to get further involved with.

Joy was born in India and educated in the UK. He holds a Masters in Post Production – Sound Design from Bournemouth University and also holds a degree in Audio Engineering from the School of Audio Engineering (SAE) in Chennai, India. “I love navigating through the both the creative and logistical chaos in music,” says Joy. “As an engineer, I love cutting through the ambiguity to deliver stellar work.”

About Amrita Sen Music:

 The goal at Amrita Sen Music is to build a catalogue that celebrates the music of the world. Sen is a songwriter/composer backed by being a full service instrument ready musician and professional singer. For more information, please visit www.amritasenmusic.com.

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Composer Bear McCreary On His Score For “Rebel In The Rye”

2017-10-18 14:44:16 mgalas

On paper, Bear McCreary was an odd choice for first time feature director Danny Strong to pick as the composer for his film, “Rebel in the Rye.”  Emmy-winning McCreary’s resume includes acclaimed scores for TV series such as “DaVinci’s Demons”, “Outlander”, “Black Sails” and “The Walking Dead.”  At that time, McCreary only had one film score under his belt; the dance feature “Step Up 3D.”  Strong was dubious that a composer whose roster featured zombies , the 1962 classic “To Kill a Mockingbird.”

It just so happened that Elmer Benrstein, an Oscar-winning composer who received an Oscar nom for “To Kill a Mockingbird”, was an early mentor to McCreary.  Having the chance to share the emotionally complex scoring style he studied under the acclaimed composer was a dream come true.   After his initial meeting with Strong, McCreary wrote a piece of music on spec and created a video of himself conducting an orchestra as it was performed to sway the leery director.  McCreary followed up that effort by scoring a handful of scenes as a test run before he secured the job.  Ultimately, the score that accompanied these scenes was used as temp tracks by the editors as they compiled the film, and the spec piece he first sent in is featured in the closing credits of the film.

“You don’t hear his influence in “Battlestar Galatica” or “The Walking Dead”, but I learned everything about creating an intimate score from him,” said McCreary.  “I was put in an unique place.  I was honored to work with Danny and able to write a score exploring character and drama that I learned from Bernstein.”

Written by Strong, “Rebel in the Rye” explores the nature of reclusive author, J.D. Salinger, a U.S. Staff Sergeant who served in five campaigns during WWII.  After the success of his 1951 novel “Catcher in the Rye,” Salinger virtually disappeared from public view and died in 2010. McCreary worked closely with Strong for two months, discussing and exploring the emotional impact of an artist who went from a driving need to create to a struggle to create and the score’s role in exploring Salinger’s psyche.

“The film creates a version that peels back the layers,” said McCreary. “The score does the heavy lifting emotionally and lyrically.”

One method McCreary developed to represent Salinger’s creative state was by utilizing two pianos, placed on each side of the orchestra.  Like flying fingers across a typewriter, each pianist performed unique arpeggiation that did’t overlap. This resulted in craft a harmonic performance that would be physically impossible to obtain by a single musician.  As Salinger’s inner demons arise, the dual pianists played in a fractured style, with their playing first creating a result akin to broken glass then ultimately disappearing from the score.

McCreary also used minimal percussion throughout the score, however he did incorporate a light percussive element: the clicking of typewriter keys.  McCreary made a recording of each key being punched and weaved these beats through the score.  McCreary’s main use of percussion represented Salinger’s mentor, Will Burnett.  Influenced by the training sequences of sports films, McCreary turned to percussive instruments from India for their intense and unusual sounds.

“The ethnic percussion was so outside the language off the score, it provided a jolt of electricity,” said McCreary.

Jazz also played a role in the score, representing Salinger’s time in New York and relationship with Oona O’Neill.  A big band-inspired theme was worked into the film as the song performed in a club. In addition to arranging some other period-specific jazz that is heard drifting through bars during scenes featuring Salinger walking the streets of New York, McCreary also recorded a rendition of “Coming Through the Rock”, an old Scottish folk song.   Referenced in “Catcher in the Rye”, McCreary’s version of the folk song is featured in an early montage scene in the film.

Source: Variety411

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Stephen Arnold Music Debuts “Ready” – Multi-Themed/Multi-Platform Image Campaign For Local TV Stations

2017-10-17 10:57:56 rayecke
DALLAS, TX – Stephen Arnold Music, the World Leader in Sonic Branding, has announced the launch of “Ready.” Featuring multiple themes of “Morning Ready,” “Weather Ready” and “Always Ready,” the campaign is the latest in a series of comprehensive audio and video offerings from Stephen Arnold Music, providing local TV stations with a cost-effective marketing toolkit.
“Ready” provides stations with full 360-degree coverage of a station’s strongest brand silos – morning, weather and news. It engages viewers across multiple platforms, empowering them to be prepared throughout their day. Optimized for broadcast, mobile, online, and social media, “Ready” pairs three versions each (Always, Morning, Weather) of two memorable original songs combined with relevant video, reflecting the confidence viewers feel by being 100% ready for whatever comes their way.
“Audiences today interact with their favorite local station in so many ways – via their phone, online, and across multiple social media channels,” Chad Cook, Vice President, Creative for Stephen Arnold Music, says. “The diverse messaging of ‘Ready’ creates a comprehensive connection between stations and their audiences, anytime and anywhere.”
Featuring different verse/chorus/bridge lyrics within addictive pop songs, the multiple themes of “Ready” allow stations to evolve their campaign, with staged rollouts of “Morning,” “Weather” and “Always” over months or years. All versions of the song packages include Full Song/60s/30s/15s/10s/IDs, along with full sing, donut, tag and instrumental mixes, plus an instrumental “Severe Weather” theme. Stations can also collaborate with Stephen Arnold Music on custom lyrics for their market.
Following the success of previous integrated campaigns such as “Everywhere I Go” and “Waking Up My Day” from Stephen Arnold Music, “Ready” is oriented from the viewer perspective. The lyrics and imagery focus on feeling fully prepared by their local station for the fast-changing developments of each day. From “Always Ready:” Whatever’s making headlines/Whatever’s going on in the world outside/Yeah ya keep it coming on time/Ya keep me in the know anywhere I gotta go/And as long as you’re within my reach/Yeah ya give me everything I need…/I’m always ready/Anytime anywhere/I’m always ready.”
As the World Leader in Sonic Branding, Stephen Arnold Music has helped define the brand identity for such clients as CNN, Fox, ESPN, AXS TV, CCTV, and local stations in 75% of all US TV markets.
About Stephen Arnold Music:
Often referred to as the most-heard, least-known composers in America, Stephen Arnold Music’s creativity is experienced every day in more than 100 million homes throughout the U.S. Based in Dallas with offices in San Diego and New York, with additional recording studios in Santa Fe, “The World Leader In Sonic Branding™ has more than 20 years of success delivering impactful, brand-defining music that makes a difference for today’s top broadcast networks, cable channels, television stations, film production studios and advertising agencies. With multiple Emmys, Addys and Promax Golds to their credit, Stephen Arnold Music’s specialized approach and commitment to the power of sonic branding, state-of-the-art production and unparalleled customer service is at the core of its promise. Stephen Arnold Music continues to set the creative bar in a highly competitive content landscape.
Web Resources:
Click here for more info about Stephen Arnold Music’s new “Ready campaign:
“Always”:
“Weather”:
“Morning”:
Click here for more info about Stephen Arnold Music:
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The MPSE to Sponsor Mix Presents Sound for Film and TV

2017-09-07 19:36:21 artisanspr

Studio City, California –  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

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L-com Launches New USB 2.0 ECF-Style Panel Mount USB Adapter Cables

2017-11-15 12:33:50 ccwire-staff

NORTH ANDOVER, Mass. – L-com Global Connectivity, a preferred manufacturer of wired and wireless connectivity products, announced today that it has launched a new series of USB 2.0 ECF-style, panel mount, adapter cables for use with data acquisition, test and measurement, entertainment and PC peripheral interconnect applications.

These new adapter cables allow USB 2.0 connections to be passed through panels or enclosures by utilizing L-com’s unique ECF flange design. The cables are fully shielded and feature USB 2.0 compliant cable. They feature a bulkhead, Type-A jack to a molded, Type-A, 90-degree plug and can be used with almost any panel thickness.

These USB 2.0 panel mount adapter cables are available in two connector options: the U2A00007-series features down-angle USB Type-A male connectors and the U2A00008-seriesfeatures up-angle USB Type-A male connectors.

These cables also feature 30 micro-inch gold-plated contacts for reliable connections even with repeated mating cycles. Screw mount hardware can be purchased separately. The cables are available in off-the-shelf lengths of 12, 24, 36, 72 and 120 inches.

“Our new USB 2.0 ECF-style, panel mount USB adapter cables provide installation flexibility by featuring a right-angle connector and allowing the cable to be passed through panels or enclosures. Many of our OEM customers will find these new cables very useful in their enclosure designs,” said Brian Gates, Product Manager.

L-com’s new USB 2.0, ECF-style, panel mount, USB adapter cables are in stock and available for immediate shipment.


About L-com Global Connectivity
L-com Global Connectivity, a leading manufacturer of wired and wireless connectivity products, offers a wide range of solutions and unrivaled customer service for the electronics and data communications industries. The company’s product portfolio includes cable assemblies, connectors, adapters, antennas, enclosures, surge protectors and more. L-com is headquartered in North Andover, Mass., is ISO 9001: 2008 certified and many of its products are UL® recognized. L-com is an Infinite Electronics company.

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David Hewlett Joins the Red Giant Universe in New Short Film

2017-11-13 20:37:54 ccwire-staff

Portland, OR  – Red Giant today released “Hewlogram,” the newest Red Giant film starring David Hewlett, best known for his role as Dr. Rodney McKay in “Stargate: Atlantis.” The new film comes out alongside the release of Red Giant Universe 2.2 , the latest update to Red Giant’s ever-expanding collection of GPU-accelerated plugins for editors and motion graphics artists.

Watch “Hewlogram” now.

“Hewlogram”: A Completely Believable Plot Line for a 1980s Sci-Fi Buddy Cop TV Show
Known for fun and clever short films that manage to entertain while showing off Red Giant visual effects and motion graphics tools, Red Giant’s newest film is no different from classics like “Old/New” and “Plot Device.” Written and directed by Aharon Rabinowitz, in his directorial debut, “Hewlogram” was born out of both Aharon’s love for holograms and David Hewlett’s love of visual effects tutorials. Hewlett, who is part of the all-star cast of Guillermo Del Toro’s forthcoming film, “The Shape of Water,” discovered Red Giant software through a bit of internet sleuthing.

Watch the Making of Hewlogram .

I was blown away by a number of really cool HUD and particle effects that I’d seen online and on television and the movies that I was watching with my son,” says Hewlett. “As a bit of a nerd (okay a huge nerd), I traced them back to Red Giant and was stunned by their products and the brilliance of their short films. I couldn’t believe that what were essentially product showcases had stuck with me as works of art unto themselves, unlike most of the VFX-driven shorts I’d seen. I geeked out and tweeted about loving everything they were doing. Aharon immediately responded and, after geeking out together, we decided to collaborate on a short.”

“Hewlogram” also includes an appearance by Chuck Wagner, who played the title character in Automan, the 80s sci-fi TV series that inspired Aharon’s obsession with holograms.

“Hewlogram,” which was created to showcase tools from Red Giant Universe, tells the story of a current day animator who accidentally brings to life a 1980s holographic TV superhero. The idea behind the film was to create a film that felt truly authentic to the Saturday night sci-fi action dramas of the 80s Aharon watched as a kid.

Using Universe stylization effects, such as VHS and Retrograde, as well as Magic Bullet Colorista IV, Aharon created a process for emulating an authentic 80s look. He relied heavily on the robust Universe toolset. In all, the Red Giant Films team used Magic Bullet Suite in Adobe® Premiere® Pro CC for color correction, PluralEyes for AV sync, Red Giant Keying Suite in Adobe® After Effects® CC for keying and compositing – crucial to create David’s holographic suit – and Trapcode Suite for the visual effects.

As the centerpiece for the film, the hologram effect needed to look like it came out of the 80s; but they were using completely different tools back then, and it’s hard to recreate those analog effects with digital tools,” comments Aharon Rabinowitz. “Thankfully, Industrial Light and Magic veteran and Red Giant Creative Director Stu Maschwitz did some 80s special effects research and sent me a video of a holographic boot that felt 80s legit. Once I saw it, I knew we could apply the same principles he used to a bodysuit and make this work. Among many other techniques, I applied Universe’s Holomatrix to create the old-school holographic look – such as the scan lines and flickering distortions – and to top it off, I added the most 80s blue glow ever.”

What the Media is Saying About “Hewlogram
[Red Giant] could have created a standard commercial to promote the release of its Red Giant Universe 2.2 tools for filmmakers and visual effects producers. Instead, it gave us a wacky short for a 1980s television show you’ve never seen but recognize in your geeky fiber, a buddy cop show spliced together with Tron and folded into 21st century reality—a self-aware Automan.” – Carol Pinchefsky, Syfy Wire

OMG, for five minutes and 14 seconds you transported me back to my childhood and the awesome cheesiness of 80s Saturday night superhero TV! I love ‘Hewlogram’!!” – Steve Eramo, SciFiAndTvTalk

Red Giant Universe 2.2 Delivers Fast, Easy Transitions that Look Awesome
Along with “Hewlogram,” Red Giant has released a bevy of new transitions in Universe 2.2 , making it possible for filmmakers, editors and motion graphics artists to apply unique looks to their own works of art. The update includes 11 new transitions – including classic 80s aberrations and transitions like RGB channel blurs and clock wipe – bringing Universe to a total of 76 tools. Universe 2.2 also features updates to two existing effects, VHS and Retrograde, which were both used heavily in “Hewlogram,” and support for Avid Media Composer.

As Seen on TV
Red Giant Universe has been used on “Saturday Night Live,” “Portlandia,” “Documentary Now,” “Kung Fury,” and much more.

How to Purchase Universe 2.2
Universe is available as an annual subscription ($99/year) or as a monthly subscription ($20/month). New Red Giant Universe customers can purchase a subscription or download a free trial at http://redgiant.com/universe.

To learn more about Red Giant products, please visit http://www.redgiant.com/products/.

Available in the Red Giant Volume Program
Red Giant Universe is available in Red Giant’s Volume Program, the flexible and affordable solution for customers who need 5 or more floating licenses. Learn more at redgiant.com/volume/.

The Red Pledge
Red Pledge is Red Giant’s commitment to customer happiness, with no purchasing hassles. Learn about the Red Pledge guarantee at www.redgiant.com/redpledge/.

Request a Product Review Kit or Press Interview
Members of the media are invited to speak with Aharon Rabinowitz or any member of the Red Giant Film team, or review any products or suites from Red Giant. For more information or to request an interview or product review kit, please contact Alexis Isaacs at alexis@zazilmediagroup.com.

About Red Giant
Red Giant is a software company made up of talented artists and technologists who collaborate to create unique tools for filmmakers, editors, VFX artists, and motion designers. Our company culture is focused on finding balance between work and life – we call it “the double bottom line” – this philosophy helps us ignore complexity in favor of building simple tools that yield giant results. Over the last decade, our products (like Magic Bullet, Trapcode, Universe and PluralEyes) have become the standard in film and broadcast post-production. With over 200,000 users, it’s nearly impossible to watch 20 minutes of TV without seeing our software in use. From our experiences as artists and filmmakers, we aspire to not only provide tools for artists, but inspiration as well. Watch our films, learn from over 200 free tutorials, or try our software at www.redgiant.com.

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New Xsens engine will change motion capture forever

2017-11-11 09:48:34 ccwire-staff

Enschede, Netherlands  – Xsens, the leading innovator in 3D motion tracking technology, has announced the official launch of MVN Animate 2018 – a disruptive software solution that heralds a new dawn for motion capture.

Fundamentally different to past releases, MVN Animate 2018 is Xsens’ first motion capture software release to solve the “unsolvable” – it remedies several issues that have plagued inertial motion capture in the past; primarily magnetic distortion. This means users can capture anywhere, anytime, without concern for their environment, and receive Hollywood-grade data.

MVN Animate 2018 is now the only inertial-based motion capture solution that can go head to head with optical systems on accuracy of data.

Watch MVN Animate 2018 in action – Xsens has made the data captured in this video free for all to use, proving the power of the data.

MVN Animate is Xsens’ proprietary motion capture software. It is used in conjunction with Xsens MVN hardware to record, monitor and analyze movement. While optical solutions require markers, volumes and cameras, Xsens inertial technology can be used anywhere with no need for such paraphernalia. Users can capture anywhere, in any environment, with total reliability – and without the need for extensive post-capture clean-up or editing.

The ease, reliability and robustness of capturing motion in this way is comparable to GoPro in the world of action cameras.

Revolutionizing motion capture

Xsens MVN solutions are based on inertial technology – it uses gyroscopes, accelerometers, and magnetometers rather than digital cameras, volumes and markers to capture movement.

In the past, data captured using inertial techniques suffered from environmental magnetic distortion, caused by the presence of metals in furniture, buildings, vehicles and other objects. MVN Animate 2018 solves this issue – it is immune to magnetic distortion, thanks to a new mo-cap engine that extracts more information from the same data.
This brings the benefits of all types of motion capture into one streamlined package – MVN Animate 2018 offers flexibility, precision, and production-level data all in one solution.

Hollywood-grade data

MVN Animate 2018 eliminates drawbacks to previous iterations of inertial motion capture technology, such as drift, foot slide, contact handling, and distorted height tracking and 3D position. Using MVN Animate 2018 means that there is a much-reduced need for expensive clean-up – the post-capture data is astoundingly good. MVN Animate 2018 is ready to be used out of the box: it’s plug-and-play and works seamlessly with major 3D packages like Unity, Unreal and Autodesk tools.

Setting a new standard for inertial

Due to these groundbreaking advances in inertial technology, MVN Animate 2018 is positioned to democratize motion capture. While other inertial motion capture solutions promise a world of “mocap for everyone”, Xsens delivers on the promise with superior data under all circumstances, meaning more people can use it in entirely new markets, from indie devs, to live-entertainment, biomedical students, and big studio projects.

Hein Beute, Product Manager at Xsens, comments: “Xsens is now the obvious choice for studios that are on the lookout for a solid, dependable mocap solution. Now they can not only capture outside of the volume, but do so with total confidence that the data will be reliable. MVN Animate is set to turn the world of motion capture on its head.”

Matt Stoneham, Principal Technical Artist at Ninja Theory, comments: “There’s a certain level of understanding and knowledge required to extract the best from an optical stage – that’s not the case for Xsens. The barrier of entry is much lower: and not just the costs. It’s actually a joy to use Xsens, from putting it on to getting everything calibrated. Xsens just powers up, you can easily get the suit on – everything just works. Xsens is absolutely rock solid, and really reinforces the turnkey nature of the MVN suit.”

Xsens MVN Animate is available now and will be shipped with every new Xsens purchase. All current customers with a valid support contract can upgrade for free!

Xsens delivers state-of-the-art mocap solutions to the triple-A game developers and leading VFX studios across the globe. Xsens mocap systems have powered numerous high-end productions, including FIFA, X-Men, LawBreakers, Iron Man, Hellblade and Dunkirk.

Xsens is also set to release MVN Analyze 2018 – a new version of the software tailored to the sports science, biomechanics and ergonomics markets. Here, Xsens is enabling efficiencies in the speed and accuracy of results, resulting in more robust data with which to improve research.


About Xsens
Xsens is the leading innovator in 3D motion tracking technology and products. Its sensor fusion technologies enable a seamless interaction between the physical and the digital world in applications such as industrial control and stabilization, health, sports and 3D character animation. Clients and partners include Electronic Arts, NBC Universal, Daimler, Autodesk, ABB, Siemens and various other leading institutes and companies throughout the world.

Xsens has offices in Enschede, the Netherlands and Los Angeles, California.

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Red Giant Announces Universe 2.2: Fast, Easy and Awesome Transitions

2017-11-10 10:39:01 ccwire-staff

Portland, OR  – Red Giant has just announced the arrival of Universe 2.2, putting 11 new transition tools – 76 transitions and effects in total – into the hands of editors and motion graphics artists. In addition to brand new transitions, Red Giant has made updates to two existing plugins and added support for Avid Media Composer. The Universe toolset, and more, can be seen in action in the brand new short film “Hewlogram,” written and directed by Red Giant’s Aharon Rabinowitz, and starring David Hewlett, of “Stargate: Atlantis” fame.

See what’s new in Universe 2.2.

The latest update to Red Giant’s collection of GPU-accelerated plugins for editors and motion graphics artists, Universe 2.2 is all about fast and easy transitions that make projects look awesome. From a Retrograde transition that creates an authentic film strip transition using real scans from 16mm and 8mm film, to a Channel Surf transition that creates the effect of changing channels on an old CRT TV, these 11 new transitions make for 76 tools in total in the Universe collection that enable visual effects and motion graphics artists to give footage an authentic and unique look, be that vintage, retro or modern day.

The Red Giant Universe tools make it easy to quickly turn stories into something that is visually amazing,” says Red Giant CEO Chad Bechert. “We’ve heard non-stop from editors that they need faster and more interesting transitions, and we wanted to deliver to them in a big way. Drawing inspiration from Universe’s most popular tools, like VHS, Retrograde and Carousel, we’ve delivered several companion and unique transitions. We can’t wait to see what our customers do with these new tools.”

A Universal Toolset for Editors
This release brings the complete set of Universe tools to Avid Media Composer, which means that all 76 Red Giant Universe effects and transitions now run in eight host applications, including: Adobe® Premiere® Pro CC, After Effects® CC, Apple Final Cut Pro® X, Blackmagic DaVinci Resolve and more.

Transitioning to Red Giant Universe 2.2
Red Giant Universe 2.2 is all about the transition, with 11 brand new transition effects to help creatives tell their stories from scene to scene and frame to frame. Also included in this release are updates to VHS and Retrograde, which were used heavily used in “Hewlogram” to give the film a bona fide 80s look (watch the making of “Hewlogram).

Brand-new transition effects in Red Giant Universe 2.2 include:

  • VHS Transition: A transition that mimics the effect that occurs when a VCR has been used to record over pre-existing footage.
  • Retrograde Transition: A transition that that uses real scans of 16mm and 8mm film to create an authentic film strip transition.
  • Carousel Transition: A transition that mimics advancing to the next slide in an old slide projector.
  • Flicker Cut: A transition that rapidly cuts between two clips or a solid color, and which can invert the clips or add fades.
  • Camera Shake Transition: A transition that mimics camera shake while it transitions between clips.
  • Channel Surf: A transition that mimics the distortion you’d get by changing the channel on a cathode ray tube TV.
  • Channel Blur: A transition that blurs each of the RGB channels separately for a unique chromatic effect.
  • Linear Wipe: A classic linear wipe with the addition of wipe mirroring, as well as an inner/outer stroke with glow on the wipe border.
  • Shape Wipe: A transition that uses an ellipse, rectangle or star shape to move between 2 pieces of footage. Includes control over points, size, stroke and fill.
  • Color Mosaic: A Transition that overlays a variety of colors in a mosaic pattern as it transitions between 2 clips.
  • Clock Wipe: A classic radial wipe transition with feathering and the option for a dual clock wipe.

Updates to existing effects in Universe 2.2 include:

  • VHS: This update includes new VHS noise samples, VHS style text, timecode and function icons (like play, fast-forward, rewind), updated presets, and updated defaults for better results upon application.
  • Retrograde: This update includes a small but valuable addition that allows Retrograde to use the original aspect ratio of your footage for the effect.

Red Giant Universe tools run in Adobe® Premiere® Pro CC, Adobe® After Effects® CC, Apple Final Cut Pro X, Apple Motion, Blackmagic DaVinci Resolve, HitFilm, Magix Vegas Pro and now Avid Media Composer – making it available to virtually every creative on the planet.

As Seen on TV
Red Giant Universe has been used on “Saturday Night Live,” “Portlandia,” “Documentary Now,” “Kung Fury,” and much more.

Update to Red Giant Universe 2.2
Existing Universe customers can download the new tools directly by launching Red Giant Link.

How to Purchase
Universe is available as an annual subscription ($99/year) or as a monthly subscription ($20/month). New Red Giant Universe customers can purchase a subscription or download a free trial at http://redgiant.com/universe.

To learn more about Red Giant products, please visit http://www.redgiant.com/products/.

Available in the Red Giant Volume Program
Red Giant Universe is available in Red Giant’s Volume Program, the flexible and affordable solution for customers who need 5 or more floating licenses. Learn more at redgiant.com/volume/.

The Red Pledge
Red Pledge is Red Giant’s commitment to customer happiness, with no purchasing hassles. Learn about the Red Pledge guarantee at www.redgiant.com/redpledge/.

Request a Review Kit
Members of the media are invited to review any plug-ins from Red Giant Universe. For more information or to request a product review kit, please contact Alexis Isaacs at alexis@zazilmediagroup.com.

About Red Giant
Red Giant is a software company made up of talented artists and technologists who collaborate to create unique tools for filmmakers, editors, VFX artists, and motion designers. Our company culture is focused on finding balance between work and life – we call it “the double bottom line” – this philosophy helps us ignore complexity in favor of building simple tools that yield giant results. Over the last decade, our products (like Magic Bullet, Trapcode, Universe and PluralEyes) have become the standard in film and broadcast post-production. With over 200,000 users, it’s nearly impossible to watch 20 minutes of TV without seeing our software in use. From our experiences as artists and filmmakers, we aspire to not only provide tools for artists, but inspiration as well. Watch our films, learn from over 200 free tutorials, or try our software at www.redgiant.com.

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Anti-Piracy Tools Help Hollywood Sustain Its Love Affair with DVD Screeners

2017-11-09 16:44:24 artisanspr

Los Angeles—For most of the country, the arrival of fall means cooler temperatures and leaves turning colors, but in Hollywood, it marks the official start of awards season and with it the annual deluge of Academy screeners.

An Oscar nomination, or better yet, a win, can have a big impact on a film’s box office performance and so studios are keen to ensure their films are seen by the right people, including Academy and guild members, movie critics and awards show journalists. Exposure is especially important for films that haven’t been widely released but are expected to be prime contenders at the Academy Awards, BAFTA, Golden Globes and other major awards competitions. To generate support for those titles, studios may host special screenings or make films available for viewing online through private streaming outlets. But the most popular way to get pre-released films into the hands of award competition voters is via screeners, individual DVD copies of films sent directly to their homes.

Despite their pervasive use, DVD screeners are controversial. While they come with stern warnings against sharing or tampering with the discs, screeners have in the past been blamed as sources of piracy. When in 2016, pirated copies of best picture nominees turned up on file-sharing sites it led to renewed calls for digital screeners.

But this past year, piracy wasn’t as big a problem. Fortium CEO Mathew Gilliat-Smith, whose company makes a variety of security tools used to safeguard pre-released entertainment content, says that studios have taken larger steps to stifle illegal copying. He notes that his company’s DVD content protection software Patronus was used in the production of screeners for seventy Oscar-hopeful films last season and, according to newswire accounts, not one English-language movie screener copy appeared online during the festive period. “That included Oscar winners Hacksaw Ridge, Fences, Sing, La La Land, Fantastic Beasts, and Manchester By Sea” he says.

Fortium employs a team of programmers who are constantly updating the Patronus software to keep pirates at bay. “It’s a cat and mouse game between our team and the ripping programs,” he observes. “We’ll make an algorithm that frustrates them, then they will make their own routine to overcome it. We generally have a three to four-month lead time on them. By the time the discs begin to circulate in the public domain, we’re already onto our next update.” Gilliat-Smith adds that the lead time is especially important regarding screeners. By the time pirates can subvert a disc’s copy protection, the title has already been in theaters.

DVD screeners are likely to remain part of studios’ Oscar push for the simple reason that they are very popular. Many Academy members prefer them to private theater screenings or streaming services. “It would seem that some members are not easily persuaded to switch to online screening,” Gilliat-Smith says. “They treasure their screeners and must find it easier and more convenient to pop a disc into a player and watch on their TV rather than to figure out how to get a link to a file to playback via a device.”

DVD manufacturers are currently busy filling studio orders for DVD screeners for their 2018 Oscar hopefuls, and many are using Patronus to ensure that the content doesn’t fall into the wrong hands. “DVD screeners remain a valid option,” says Gilliat-Smith. “There’s a misconception that all screeners leak but, in fact, they don’t. There are obviously no guarantees with any protection, but the security Fortium aims to provide is strong. If we have another year with no leaks in the festive period then Patronus will have contributed to a successful season for the studios.”

About Fortium

Fortium is a leading provider of digital content security for media and entertainment supplying innovative technologies that give businesses greater control over their pre-release content especially in sound and picture editing, international sound dubbing, digital cinema distribution and marketing. MediaSeal file encryption protects all file types in Windows and Mac and can be used for all b2b workflows. Fortium’s products also protect the Academy and BAFTA award screeners with Patronus and Blu-Lock anti-rip.

www.fortiumtech.com

 

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