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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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The 67th Annual ACE Eddie Award Winners Announced

2017-01-28 10:12:48 mimirossi

The American Cinema Editors held their 67th Annual ACE Eddie Awards January 27, 2017. The gala affair took place in the International Ballroom of the Beverly Hilton Hotel. The ceremonies were presided over by ACE President, Stephen Rivkin.

Additional honors bestowed at the awards show went to J.J. Abrams for ACE Filmmaker of the Year; Thelma Schoonmaker, ACE and Janet Ashikaga, ACE, for the Career Achievement Award; Lori Colman, ACE, Diana Friedberg, ACE and William Gordean, were honored with the Heritage Award.

The ACE Eddie Awards went to:

Joe Walker, ACE

La La Land
Tom Cross, ACE

Fabienne Rawley & Jeremy Milton

O.J.: Made in America
Bret Granato, Maya Mumma & Ben Sozanski

Everything is Copy – Nora Ephron: Scripted & Unscripted
Bob Eisenhardt, ACE
Veep: “Morning After”
Steven Rasch, ACE

This is Us: “Pilot”
David L. Bertman, ACE

Game of Thrones: “Battle of the Bastards”
Tim Porter, ACE

All the Way
Carol Littleton, ACE

Anthony Bourdain: Parts Unknown: “Senegal”
Mustafa Bhagat

For more information about the American Cinema Editors, visit here.

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Filmworkers, Nashville, Edits and Posts “Garth Brooks: Yankee Stadium Live” in 4K

2017-01-24 15:40:03 artisanspr

Nashville— Filmworkers, Nashville, provided editorial and post-production finishing services for Garth Brooks: Yankee Stadium Live, a 2-hour concert special that recently debuted on AT&T’s Audience Network. Produced and directed by Jon Small, the special was captured, finished and broadcast in 4K and documents the superstar musician’s two sold out shows from last summer, the first ever concerts for a country artist at Yankee Stadium, and Brooks’ first appearance in New York City in 19 years. Filmworkers’ Adam Little edited the show; Colorist Jimmy Cadenas applied the final color grade.

Both live shows were recorded by some two dozen camera operators positioned around the stadium and working with Sony 4K camera systems. Additionally, a helicopter crew captured spectacular images of the stadium and the crowds from overhead. A special stage was constructed for the performers measuring 400 feet wide, 80 feet deep and 70 feet high, and backed by a mammoth projection screen.


Director Jon Small notes that crew spent eight days setting up for the event and that particular care was taken in positioning cameras to minimize obstructing the view of the live audience. “No one is closer to his fans than Garth,” Small says, “and he wants to be sure that everyone can see the show and can have a good time.”

Editorial and post production were similarly huge undertakings. The more than 100 hours of raw 4K camera media occupied nearly 80TB of central storage at Filmworkers’ Nashville facility. Engineers set up a pipeline that gave editorial and post operations equal access to source media, and allowed editorial conforming and final color grading to be conducted in 4K in real-time.

Little has edited numerous music-oriented projects for Small dating back nearly 20 years, including the 2007 Garth Brooks concert special, Garth Brooks: One Artist, One City, One Time. Over that time, they have developed a close rapport. “Adam knows what I’m looking for and so there’s a comfort factor between us; we can read each other’s minds,” Small says. “I give him a lot of latitude to cut each song the way he feels is right.”

Little began the editorial process by reviewing the full 100 hours of source media and pulling selects. “I look at every camera individually rather than watching a bank of cameras simultaneously to make sure I have every magic moment,” he explains. “I pay special attention to Garth’s close-ups and facial expressions, though with Garth performing and Jon directing, so many angles are great.”

“I strive to capture the energy of the show,” Little adds. “I treat the edit as another instrument to complement the music. I want you, the viewer, to feel each moment as if you are there.”

Capturing the essence of the live performance was aided by the structure of the show. It includes Brooks’ full 2-hour show (with two encores) and was designed to air commercial free, without interruption.  “We used the whole show,” says Little. “Because it was airing on the AT&T Network and we didn’t need to insert breaks, the television audience was able to experience the show in its entirety.  That was wonderful.”

Cadenas applied the final polish to the show in Filmworkers’ DI grading theater, using a Baselight 2 system. Working under Small’s direction, he focused on established rock solid consistency between the many camera sources and drawing out the mood and intensity of the live event.

“I wanted it to look the way that I saw it live—the colors, rich; the blacks, really black,” says Small. “No show looks quite like this. It is as colorful as it can be from the stage to the projection screen to the lighting. It’s just amazing.”

Cadenas focused a lot of attention the crowd. “We wanted to bring out as much detail as we could from crowd shots while preserving some of the darkness, which is important to the ambience of the show,” he explains. We also wanted to be sure that Yankee Stadium looked good. Matching levels between the various cameras and getting the crowds right was intricate work.”

Although the project marked Filmworkers, Nashville’s first long-form 4K project, the finishing process proceeded without a hitch. “We were able to do the cut, final color correction and deliverables as easily as if it were a standard project,” Cadenas said. “There is a big demand for quality 4K material and we are ready to meet it. We’re far ahead of the curve.”

Filmworkers Nashville is located at 1006 17th Avenue South, Nashville, Tennessee 37212. For more information, call 615.322.9337 or visit

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Westlake Pro Builds World-class Sound Stages

2017-06-14 08:23:42 ccwire-staff

Thunderbolt(TM) certified rackmount system adds enhanced durability, integrated RAID capacity, and I-O flexibility to their post-production workflows

Chatsworth, CA – JMR Electronics, Inc. a leading design center and manufacturer of scalable storage solutions now provides Westlake Pro with tightly integrated LightningTM Thunderbolt rackmount workstations that combines the Apple Mac Pro®, three Avid Pro Tools® | HDX cards, RAID storage, and a fiber channel HBA that networks the workstations into the studio’s high-speed SAN implementations. These Thunderbolt certified rackmount workstations are utilized in Westlake Pro’s sound stage solution for re-recording, mixing, scoring, automated dialogue replacement (ADR), and Foley for film and TV.

Westlake Pro works with post production facilities that can support over 200 Pro Tools systems running on Mac Pros. The new Mac Pros’ cylindrical design and Thunderbolt only interface create an operational challenge at many studios. Hamid “Gadget” Hopkins, Westlake Pro executive vice president said, “Our clients’ workstations are designed as semi-permanent installs so they can readily be reconfigured when the need arises. When the new Mac Pro came out, while it provided the performance and capability we needed, its design required expansion boxes, unique racking, and many exposed cables making it a challenging system to maintain and reconfigure. That led us to investigate JMR and their ability to encapsulate all our needs into one system just like the older Mac Pro towers.”

The JMR Lightning Thunderbolt (LTNG-XQ) product family is designed for Apple Mac Pro users needing to connect to PCIe peripherals. The LTNG-XQ products are the only storage systems on the market featuring four full-bandwidth PCIe slots, using two independent Thunderbolt-2 20Gb/s bridge circuits: One Thunderbolt-2 bridge drives two slots, and a second internal Thunderbolt-2 bridge drives the other two slots. Connections to a host like the Mac Pro include using two of the three available Thunderbolt 2 bus connections to the Mac.

Continued Hopkins, “Sessions and movies continue to become more complex and that requires more tracks to handle the intricacies of sound. That complexity requires a system that can handle the speed, connectivity, and reliability requirements we have to drive 3 HDX’s and local RAID along with an extra slot for fiber access. JMR’s system uniquely offers a 4th PCIe slot that allows us to do that all in one high-performance, self-contained, integrated system. Because of the rack system design, even swapping cards in the Mac Pro is easier now.”

“JMR impressed us with their absolute willingness to come out to the studio, listen to what we wanted, and helped us to custom design and configure a system that met our needs and would work well for our clients,” concluded Hopkins. “It took 12 rack spaces to store and stack all the equipment we needed for a single system prior to implementing the JMR Lightning product. Now we have one JMR workstation that fits in a 4U rack space with everything neatly inside. The system is well thought out, rock solid, and tightly integrated. Bottom line is that we are very impressed.”

More details on the JMR Thunderbolt product family can be found at

About Westlake Pro
Westlake Pro provides solution-driven sales and technical services for the finest post-production facilities, music studios, and content creators in the world. They offer a unique understanding of client’s needs, a highly knowledgeable sales staff, and industry leading customer service, including full design and integration services. For further information, please visit, contact, or call 323-845-1145.

About JMR Electronics
JMR is a leading value provider and systems integrator of scalable storage systems for high performance and capacity driven applications for multiple markets including; video and post-production, military and government, education, VOD, DCC, gaming, security, medical imaging, HPC and Web 2.0. Since 1982, JMR’s reliable and innovative RAID systems are proudly made in the U.S.A., manufactured entirely from their Chatsworth, California facilities. JMR’s complete line of affordable Lightning™ storage products; SilverStor™ SMB focused products, and BlueStor™ Cloud-ready rackmount and desktop solutions are built to handle the most demanding project needs for A/V centric markets. Reliability. Innovation. Performance. This is JMR. For further information, please visit or contact, or call 818-993-4801.

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Netflix’s The Last Kingdom puts Foley to good use

2017-06-08 15:25:30 ccwire-staff

What is it about long-haired dudes strapped with leather, wielding swords and riding horses alongside equally fierce female warriors charging into bloody battles? There is a magic to this bygone era that has transfixed TV audiences, as evident by the success of HBO’s Game of Thrones, History Channel’s Viking series and one of my favorites, The Last Kingdom, now on Netflix.

The Last Kingdom, based on a series of historical fiction novels by Bernard Cornwell, is set in late 9th century England. It tells the tale of Saxon-born Uhtred of Bebbanburg who is captured as a child by Danish invaders and raised as one of their own. Uhtred gets tangled up in King Alfred of Wessex’s vision to unite the three separate kingdoms (Wessex, Northumbria and East Anglia) into one country called England. He helps King Alfred battle the invading Danish, but Uhtred’s real desire is to reclaim his rightful home of Bebbanburg from his duplicitous uncle.

Mahoney Audio Post – The sound of the series is gritty and rich with leather, iron and wood elements. The soundtrack’s tactile quality is the result of extensive Foley work by Mahoney Audio Post, who has been with the series since the first season. “That’s great for us because we were able to establish all the sound for each character, village, environment and more, right from the first episode,” says Foley recordist/editor/sound designer Arran Mahoney.

Read the fully story at posPerspective.

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Nathan Barr’s Score Highlights Family Evolution In “The Son”

2017-05-25 16:15:01 mgalas

Set in Texas in the 19th and 20th centuries, “The Son” follows the McCollough family through 150 years of history, highlighting Eli McCollough’s (Pierse Brosnan) climb from boyhood to reigning oil tycoon.  Noting the importance the score would have ushering the story through multiple decades and several culture clashes, showrunner Kevin Murphy wanted a unique sound that veered from typical the Western motifs.  Composer Nathan Barr’s work fit that bill.

Barr, recommended by “The Son” writer/producer Brian McGreevy who worked with the composer on “Hemlock Grove”, has showcased his unique style on series ranging from “Tru Blood” to “The Americans.”  During his early conversations with Murphy and “The Son” producers, Barr proposed a unique blend of instrumentation that would highlight the characters’ emotional journey as well as outline the raw quality of DP George Steel’s cinematography.  An avid instrument collector since childhood, Barr incorporated pieces he’s collected throughout his global travels, including a guitariphone (a fretless zither played with buttons) and a nyckelharpa (a traditional Swedish instrument dating back to the Vikings).

“It is as if a hurdy-gurdy and a violin had a child,” said Barr.  “It creates a beautiful, open sound.”

Barr also played traditional instruments in unique ways to modify the sound.  For example, he played prepared piano, where objects are attached to the piano strings to modify and sound, and he played the higher strings on an upright base, sourcing a range more akin to a cello than the lower notes the instrument is known for.   These elements were blended with music played on standard string instruments and music modified with plug- ins to achieve specific qualities.

Themes do play an important role in the score of “The Son”, namingly the series’ high octane main title track.  Barr used this selection as a musical definition of Eli, a piece of music that resurfaces throughout the episodes that defines the main character’s growth and developmental arc.  Male vocals also play an important role in defining character growth.  Although Barr performed the bulk of the instrumentation himself, he hired male vocalists for specific selections of the score, including ZZ Top’s Billy Gibbons who’s featured in a song in the final episode, and vocalist Frank Fairfield.  The song is so crucial to the scene, Fairfield actually appears on camera singing.

“Music is such a key to this process,” said Barr.   “Kevin really likes to lean on the score and sound effects.”

During the spotting process in the edit suite, Barr would join members of the sound department to access music’s role with the sound design and effects.  The nature of gun play, the pattering of horse hooves and other environmental elements required a leveled balance ensuring the sound design and the score complimented each other.  Silence also plays an important role in the series, where the actors’ dialogue and emotional performances take center stage.  Always focused on highlighting character arcs and storylines, Barr’s score ushers between twenty to thirty minutes of action per episode, from subtle cues to bombastic melodies.

Source: Variety411

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Stephen Arnold Music Sonically Brands Relaunch of CCTV International As CGTN

2017-05-02 08:23:27 rayecke
DALLAS, TX — The rebranding of a channel group that reaches over one billion people requires more than just a name change — China Central Television International (CCTV) is now China Global Television Network (CGTN), emphasizing an even more expansive worldview and mobile-first strategy. To make the updated focus crystal clear, Stephen Arnold Music continued its collaboration with the network to evolve its memorable musical theme.
    The new themes for the rebrand followed Stephen Arnold Music’s work with Flint Skallen on a sonic brand and comprehensive music package launched in 2015 and shared between CCTV’s five International Channels. Their engaging four-note mnemonic remains at the heart of a campaign that announces the channel group’s new name while demonstrating the network is even more easily accessible as CGTN.
    Stephen Arnold Music’s composers post-scored the music to Flint Skallen’s bold graphics, building on the sonic signature and creating fresh arrangements to accompany the design team’s visceral new images. For the latest package, Stephen Arnold Music combined traditional orchestration with modern soundscape elements that drive home the mnemonic. As the sonic logo crescendos in announcing the network’s new name, the visuals highlight the multi-platform shift at CGTN.
    “As CGTN, the DNA of the international news channels remains the same: to cover the whole globe, reporting news with a balanced view from a Chinese perspective,” says Chad Cook, Vice President, Creative for Stephen Arnold Music. “Flint Skallen’s graphics were the driving force in their evolved messaging. Stephen Arnold Music’s updated themes reinforce the network’s leadership in global newsgathering, while highlighting the brand’s newly enhanced digital media and mobile aspects.”
    Experience the CGTN Sonic Branding package here.

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.
    For more information, please visit
Creative Credits:
Client: CGTN
Project: Rebrand
Music: Stephen Arnold Music, Dallas, TX
President: Stephen Arnold
VP, Creative Services: Chad Cook
Design: Flint Skallen, Munich, Germany
Web Resources:
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Composer Jeff Russo Describes Scoring “What Remains Of Edith Finch”

2017-04-25 15:25:50 mgalas

One could say Jeff Russo is a bit of a maestro when it comes to scoring films and TV series. In the last twelve months alone, his work was been heard supporting “The Night Of”, “American Gothic”, “Channel Zero”, “Power”, “Lucifer”, “Bull” and “Legion.”   He also has two Emmy noms for “Best Score” to his name – one for each season of “Fargo” – and he’s scored the third season that will begin airing April 19th.  In fact, it was his work on “Fargo” that opened uncharted territory for him:  scoring games.

“What Remains of Edith Finch”, from developer Giant Sparrow, was initially set to be published by Sony.   While looking for someone to score the game, members of the Sony music department were enamored with the sense of place Russo captured in his score for the first season of “Fargo” and reached out to him.   Although he’d never scored a game before, Russo was attracted to the narrative of “What Remains of Edith Finch” and became attached. He remained on board for two and a half years, as the project was sold from Sony to Annapurna Interactive.  While a bulk of that extensive time delay was due to the property’s sale, there were many natural periods of down time that were the result of the project’s development.  This proved to be one of the key differences between scoring games and film or television that Russo had to adapt to.

“It was an easier schedule, but that time also made it harder,” said Russo. “Sometimes you’d have three months between (sections). It was important to go back, to listen, to tie the score together.”

The game follows Edith Finch, a twenty-something college graduate who returns to the Washington state based Finch residence after over ten years. Alone in the house as an adult, she begins to explore the rooms she was banned from as a child, insistent on unlocking the mysterious deaths of Finch family members.  The first thing Russo did was develop a theme for Edith, which he could then build upon through the course of the game.

“As she goes from room to room, she is immersed in memory,” said Russo. “I experimented with the aspects of life (each room presented): swings, a camping trip, a wedding, and pulled from the vignettes of story.”

Russo used a full orchestra to compose the score, something generally reserved for bigger budget games but something he, and the developers, was confident would best serve the story. He incorporated a wealth of woodwind sounds to build upon the melancholy tone along with horns and strings.  Synthetic sounds are also fully utilized throughout the game to help define unique aspects of the story.  Russo also created a sense of maturity in the music, helping bridge the experience of the player as they travel through the generations and see Edith’s personal development through the course of the game.

While Russo found building a score around the narration and emotional journey similar to techniques used in film and television, he did have to accommodate for user interaction. As a player enters a room, they are free to look around.  To keep the score flowing during these areas of player involvement, Russo had to build in musical loops.

“The greatest challenge with this was to figure out where (to loop the score) in the chord passage that would make it feel like a continuation, not a repeat,” said Russo.

Throughout the development process, Russo had a great amount of creative freedom to hone the score, meeting with the producers periodically to discuss sections, expectations and progress. When the entire process was nearly completed, Russo first reviewed the score with a Quicktime version of the game before testing it with and implementation of the game.  The final version of “What Remains of Edith Finch” will be available on the PS4 and PC platforms April 25, 2017.

To learn more about “What Remains of Edith Finch”, click here.

Source: Variety411

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Shemaroo Moves Its 3,400 Bollywood Show Titles to EditShare Storage Infrastructure

2017-06-22 08:05:43 ccwire-staff

Basingstoke, UK — EditShare, a technology leader in intelligent shared storage and media management solutions, announced today that Mumbai-based Shemaroo, the largest owner of Bollywood feature film and television program content, has implemented the half-petabyte EditShare XStream EFS solution to store its 3,400-plus titles. Content at Shemaroo is digitalized and repurposed for deliveries on major platforms such as broadcast, digital and direct-to-home (DTH) over modern networks. The installation of EditShare XStream EFS includes Flow media asset management as part of the configuration, bringing desktop search and retrieval of the vast asset pool as well as offering pre-production tools to accelerate Shemaroo’s media production workflow.

“More than reselling movie and TV program content rights, Shemaroo has a significant business in reselling rights to specific songs, fight scenes, love scenes and more,” states Hemant Karani, Sr. Vice President & Head of Studio and Technology, Shemaroo. “Centralizing our massive content catalog onto one storage platform was necessary from an efficiency standpoint. With so many titles and so many resale scenario’s in which we need to pull content, having a searchable online archive of titles and related sequences and clips was critical.”

“The high-performance XStream EFS platform with Flow MAM embeds smart media tools that allow us to deliver our content in the multiple formats required by our business partners, with the scalability and reliability to support our significant business demands,” states Aneri Savla, Asst. Vice President, Studio, Shemaroo.

Shemaroo is the latest and largest facility in India to install the EditShare XStream EFS solution. The installation of the enterprise platform was led by EditShare business partner Cineom Broadcast India Pvt Ltd, also based in Mumbai. “EditShare workflow solutions are proving pivotal for clients like Shemaroo who look to cost-effectively retool their infrastructure without sacrificing the investment in the latest technology,” states Peter Lambert, worldwide sales director, EditShare. “With an expansive film heritage and production community, India is one of the fastest growing markets in terms of new technology adoption. To meet the demand, we are expanding our resources and expertise with additions like technology expert Sreejith Sasidharan, who will support the needs of Shemaroo as they evolve their workflow.”

Stepping into the local sales and support position, Sreejith Sasidharan brings more than 12 years of IT and digital film infrastructure knowledge to EditShare, with a previous engineering position held at the prestigious Filmlab.

For more information on EditShare solutions, visit

About Shemaroo
Celebrating the golden jubilee, Shemaroo Entertainment Ltd is among few entertainment companies that has hallmarked several pioneering efforts with its innovative and out- of-the- box thinking. Founded in 1962, Shemaroo Entertainment Ltd is an established media content house in the country, active in Content Acquisition, Value Addition to Content and Content Distribution with a large content library of over 3400 titles.

Shemaroo is engaged in the distribution of content for satellite channels, physical formats and emerging digital technologies like the Mobile, Internet, Broadband, IPTV and DTH among others. With its partnership with the major telecom operators and other digital media platforms, Shemaroo is at the forefront of the digital age. The company has also tied up with many content providers across the country. The “Shemaroo” brand today is synonymous with quality.

About EditShare
EditShare is the technology pioneer in networked shared storage and tapeless, end-to-end workflow solutions for the post-production, TV, and film industries. EditShare’s ground-breaking products improve efficiency and workflow collaboration every step of the way. They include video capture and playout servers, high-performance central shared storage, archiving and backup software, media asset management, and Lightworks – the world’s first three-platform (Windows/OS X/Linux) professional non-linear video editing application.

©2017 EditShare LLC. All rights reserved. EditShare® is a registered trademark of EditShare LLC. All other trademarks mentioned herein belong to their respective owners.

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Dalet Extends Deal with Perform Group to Deliver DAZN, Its Live and On-demand Sports Service in Japan

2017-06-15 18:23:05 ccwire-staff

Paris, France – Dalet, a leading provider of solutions and services for broadcasters and content professionals, announced today that Perform, the leading digital sports content and media group, has selected Dalet Galaxy as the Media Asset Management and Orchestration platform for the launch and daily operations of its ground-breaking live and on-demand sports platform DAZN in Japan. DAZN, which launched in Japan in August last year, is a rapidly growing subscription-based OTT provider of multimedia sports content. Its offer in Japan is based around Perform’s 10-year rights agreement to broadcast the domestic premier J.League games live streams, highlights and magazine programs. To facilitate the production and distribution of highlights and magazine content, as well as share the high value assets with its UK site, Perform extended its existing relationship with Dalet and implemented an end-to-end production workflow powered by the Dalet Galaxy platform in its Tokyo facility. The agile Dalet Galaxy platform serves to connect and orchestrate the ecosystem of technologies used at DAZN, including Evertz Dream Catcher, Xendata, Qualstar, Adobe® Premiere Pro® CC and Avid ProTools, creating a seamless production and distribution workflow.

“Dalet has shown its worth in managing the large volumes of data generated daily for the J.League. Through its advanced features we have been able to craft ingest workflows that automatically fill out metadata forms based on the file extensions, move media to its allocated location, and enable retention policies based on the media type,” explains Robin Williams, Perform Group post engineering manager, Tokyo. “These workflows have allowed the DAZN team to maximize output efficiency while increasing the value of all content thanks to rich metadata collection within Dalet Galaxy.”

Dalet Galaxy manages content ingest from satellite sources via the Dalet Brio I/O environment, orchestrating all asset transactions for the DAZN VOD workflow. Web-based tools such as Dalet WebSpace let staff quickly assemble and deliver highlight packages and magazine show content to the DAZN platform and archives, while modules such as Dalet Xtend for Adobe® Premiere Pro® CC bring post-production into the main workflow with bidirectional metadata tracking. Dalet AmberFin takes care of all media processing with integrated ingest, mastering, QC and review functionality. Flexible Dalet API-based integrations with third-party systems allow Perform to design workflows tailored for its Japanese operation.

“The functionality of the Dalet Galaxy MAM and its integration with other systems and workflows meant that it was the obvious choice for the creation of highlights and promotional content for J.League post-production teams,” explains Mike Edwards, head of post engineering, Perform Group. “The expansion of the Tokyo platform and the creation of new workflows further cements Perform’s relationship with Dalet as a key partner, as Perform continues to expand and develop post-production facilities around the world.”

Deployed within three weeks, the Tokyo site is linked with Perform’s UK production hub for efficient and sophisticated content collaboration, with Aspera handling fast file transfers between bureaus.

Chris Wright, general manager, Dalet UK, Africa and Middle East comments, “By building its workflows in Dalet Galaxy, Perform automated the most time-consuming processes, allowing staff to concentrate on improving program and service quality instead of managing complicated media transactions. The automation combined with advanced applications such as Dalet WebSpace enable staff to manage content ingest, add metadata, edit clips and export them to publishing, or share them with other global branches from a laptop anywhere on the network. The friction-free workflow is necessary for Perform Group’s fast-turnaround projects.”

About DAZN
DAZN is a live and on-demand sports service that allows fans to watch their sport, their way, live or on-demand. With access to the world’s best sports, fans can watch their favorite teams, leagues and players anytime, anywhere, for an affordable monthly price. DAZN has over 8,000 live events a year and features the widest array of live sports ever offered on one TV platform. DAZN has the ability to play, pause and rewind anytime with no commercial interruptions and no long-term commitments.

DAZN is available in Germany, Austria, Switzerland and Japan on most connected devices including Smart TVs, smartphones, tablets and games consoles. DAZN is a part of Perform, a leading global sports media group.

Visit for more information.

About Dalet Digital Media Systems
Dalet solutions and services enable media organizations to create, manage and distribute content faster and more efficiently, fully maximizing the value of assets. Dalet products are built on three distinct platforms that, when combined, form versatile business solutions that power end-to-end workflows for news, sports, program preparation, production, archive and radio. Individually, Dalet platforms and products offer targeted applications with key capabilities to address critical media workflow functions such as ingest, QC, edit, transcode and multiplatform distribution.

The foundation for Dalet productivity-enhancing workflow solutions, Dalet Galaxy is the enterprise NRCS and MAM that unifies the content chain by managing assets, metadata, workflows and processes across multiple and diverse production and distribution systems. Specially tailored for news and media workflows, this unique technology platform helps broadcasters and media professionals increase productivity while providing operational and business visibility.

Dalet AmberFin is the high-quality, scalable transcoding platform with fully integrated ingest, mastering, QC and review functionalities, enabling facilities to make great pictures in a scalable, reliable and interoperable way. Addressing the demanding needs of studio production, multi-camera ingest, sports logging and highlights production, the innovative Dalet Brio video server platform combines density and cost-effectiveness with high reliability.

Dalet supports customers from the initial planning stages to well beyond project execution. Our global presence includes 17 offices strategically located throughout Europe, the Middle East, Asia Pacific, North America and South America, and a network of more than 60 professional partners serving 87 countries worldwide. This collective experience and knowledge enables our customers to realize potential increases in productivity, efficiency and value of their assets.

The comprehensive Dalet Care program ensures deployments remain up and running with 24/7 support 365 days a year.

Dalet systems are used around the world by many thousands of individual users at hundreds of TV and Radio content producers, including public broadcasters (ABS-CBN, BBC, CBC, DR, FMM, France TV, RAI, RFI, Russia Today, RT Malaysia, VOA), commercial networks and operators (Canal+, FOX, eTV, MBC Dubai, MediaCorp, Mediaset, Orange, Time Warner Cable, Warner Bros, Sirius XM Radio), and government organizations (Canadian House of Commons, Australian Parliament and UK Parliament).

Dalet is traded on the NYSE-EURONEXT stock exchange (Eurolist C): ISIN: FR0011026749, Bloomberg DLT:FP, Reuters: DALE.PA.

Dalet® is a registered trademark of Dalet Digital Media Systems. All other products and trademarks mentioned herein belong to their respective owners.

For more information on Dalet, visit

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EditShare Parks Content at Object Matrix

2017-06-14 18:23:16 ccwire-staff

Basingstoke, UK – EditShare, a technology leader in intelligent shared storage and media management solutions, announced today that EditShare Flow, the company’s production asset management solution (PAM), now integrates with Object Matrix “MatrixStore” digital governance solutions, expanding the Flow managed storage environment to include parking storage workflows. A control layer for managing assets across systems and workflows, Flow’s new integration allows users to easily move content, including relevant metadata, between MatrixStore Vaults and EditShare XStream shared storage platforms. Further, users can utilize the Flow Automation module to fully automate movement of content between platforms, creating unmanned workflows for redundant and repetitive media migrations.

“Flexibility with regards to tools and connected workflows is key for our customers and thus expanding Flow third-party integrations and workflow scenarios is a main focus for EditShare,” comments Howard Twine, director of software strategy at EditShare. “Integrations like the one with Object Matrix optimize productions and cut costs by eliminating the need for resources to manually move valuable content between EditShare shared storage and Object Matrix parking storage systems. We will continue to work closely with leading vendors to expand the Flow eco-system and offer our customers options that improve production efficiency as well as the ability to tailor productions to their exacting needs.”

Nick Pearce, sales director at Object Matrix, adds, “The media and entertainment industry is moving away from manual processes and silos of storage and is heading towards automated workflows using best-of-breed integrated solutions. Integrating EditShare Flow with a digital content governance platform like MatrixStore ensures the market can benefit from adding security, audit and scale to production workflows.”

For more information, readers can download a workflow white paper detailing the integration between Object Matrix’s MatrixStore and EditShare’s Flow PAM solution from

About Object Matrix
Object Matrix provides digital content governance & object storage platforms. The company was built on the philosophy that archive systems should be scalable and interoperable, as well as ensuring instant access to data and metadata. Its flagship product, MatrixStore, is an integrated object storage software solution providing protection and governance for the lifetime of any digital content. It’s used by global organisations that create, curate, and distribute video content, including NBC Universal, TV Globo, the BBC & BT.

For further information, please visit
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About EditShare
EditShare is the technology pioneer in networked shared storage and tapeless, end-to-end workflow solutions for the post-production, TV, and film industries. EditShare’s ground-breaking products improve efficiency and workflow collaboration every step of the way. They include video capture and playout servers, high-performance central shared storage, archiving and backup software, media asset management, and Lightworks – the world’s first three-platform (Windows/OS X/Linux) professional non-linear video editing application.

©2017 EditShare LLC. All rights reserved. EditShare® is a registered trademark of EditShare LLC. All other trademarks mentioned herein belong to their respective owners.

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Manios Digital & Film to Show New Cartoni Products at Cine Gear and Matthews’ Garage Sale

2017-06-03 12:09:53 artisanspr

NORTH HOLLYWOOD, Calif.— Cartoni USA and Manios Digital & Film will demonstrate the latest additions to Cartoni’s award-winning line of camera accessories at two events this weekend in Hollywood.

Lambda 25 3rd Axis is an innovative, new accessory for Cartoni’s Lambda 25, the industry standard nodal fluid head for specialty pan and tilt shots. The new attachment allows operators to perform complete 360° rotation on a third axis, making it ideal for shooting underslung off a jib arm, dolly, crane or slider.

Total Dutch similarly builds on Cartoni’s popular Dutch head, expanding the canted angle to full 360° rotation. It can be mounted to any heavy-duty pan-and-tilt head and provides nodal settings to camera packages up to 25 kg.


“Lambda 25 3rd Axis and Total Dutch provide operators with new freedom to be creative,” says Manios Digital & Film President Steve Manios Jr. “It’s now possible to achieve 360-degreee rotation with perfect control. And both products provide the Italian craftsmanship and reliability that are Cartoni hallmarks.”

At Cine Gear Expo, Total Dutch will be on display in the Cartoni/Manios Digital & Film booth. At the Matthews Studio Equipment booth, Lambda 25 3rd Axis will be on display, mounted on a Dutti dolly.

Cartoni USA and Manios Digital & Film will also take part in Matthews Studio Equipment’s annual Garage Sale Party, Sunday, June 4, in Burbank. There, a Cartoni Lambda 25 head will be part of a special demonstration put on by Grip Support owner and founder Greg Flores. The head will be mounted to a classic 1964 Ford Thunderbird and used to execute a variety of creative camera moves.

Cartoni has been the industry leader in nodal camera heads for more than 25 years. The company was awarded a 2016 Technical Achievement Award from the Society of Camera Operators (SOC) for the development of Lambda 25. “Cartoni Lambda has become the go-to head for all types of special effects shots,” explains Manios. “Compete rotation and panning of the head is possible at the same time with zero gravity weight. This is achieved by balancing the camera’s weight on both the horizontal and vertical axis of the Lambda.”

Cine Gear Expo

Exhibits: June 2 – 4

The Studios at Paramount, Hollywood

Manios Digital & Film, Booth 57


Mathews Studio Equipment Garage Sale Party

Sunday, June 4th, 2 – 6 p.m.

4520 W. Valerio St.

Burbank, CA 91505

Free Registration:

 About Manios Digital & Film

A division of Ste-Man, Inc. and led by President Steven Manios, Jr.,  Manios Digital & Film has been bringing the world’s highest quality products to professional filmmakers, videographers and ENG crews in the United States since 1992. The company has longstanding relationships with leading manufacturers around the globe and an extensive dealer network spanning the United States. It is an authorized distributor for Cartoni, Vocas and Kinotehnik. By working closely with its customers, and by listening to and understanding their needs, Manios Digital & Film has become a trusted partner to film and video professionals worldwide.

Manios Digital & Film 10663 Burbank Blvd., North Hollywood, CA 91601; 818.760.8290.

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Filmotechic USA Accelerates Into 2017 at Cine Gear Expo

2017-06-01 12:19:28 rpg246

Los Angeles — An expanding fleet and other exciting options highlight Filmotechnic USA’s ride into 2017. Upgraded flight heads, additional Russian Arms, new cars and new L.A. headquarters with expanded fabrication facilities mark brisk advancement for the company, along with rounding out our locations in Atlanta, Detroit and Orlando; Filmotechnic is known worldwide for its Academy-award winning fleet of stabilized camera car systems.

Heads Up
New for 2017 are advanced electronics on the new Flight Head 6, the successor to the well-proven Flight Head 5, allowing for better control and maneuverability. The Flight Head 6 also features programmable moves and custom image stability. The introduction of the Apex Head, the sister head of the lightweight Compact Head, offers multiple mounting options, fast and smooth response for more dynamic action sequences. “It’s been a very popular option,” says Filmotechnic USA Manager, John Urso. “All of our new Flight Heads have specially designed joysticks and hand wheels to provide backlash free operation.”

More Russian Arms
Because of popular demand, Filmotechnic USA is adding more Russian Arms to its stable, bringing the total to ten in the US. Three of which are our popular Russian Arm 6’s capable of drone-like shots at 25 feet and racing through the canyons at lengths of 15, 18, or 22 feet. The lightweight, ever versatile, Russian Arm Mini gives new perspective when mounted to the picture car. “We can box it up and ship it anywhere,” says Urso.

New Cars/Cross-trained Crew
Filmotechnic USA just built out its fifth Porsche Turbo Cayenne S and is currently fabricating its second Ford Raptor, both complete with HD monitors and picture recorders. “Our in-house fabricating crew works in concert with our cross-trained teams, resulting in the newest, best handling car platforms pairing perfectly with our arms and heads. Here at Filmo, we understand and strive to bring new energy to work with our veterans. Our cross-training program demonstrates our continuing commitment to the entertainment industry,” says Operations Manager Jeanine Wojtanowski.

New HQ/Fabrication Facility
Filmotechnic USA recently moved into an expanded 11,000 square foot Los Angeles based headquarters to support our locations in Atlanta, Detroit and Orlando. “It was time, we needed a bigger facility to work on our many custom fabrication projects,” comments Urso. “At twice the space, our new facility allows us complete flexibility.”

More Options
“We’re all about options,” adds Wojtanowksi. “We understand all the variables in play; from the camera package, how heavy or light, how fast or slow do you want to go? What’s the lens height you’re looking for? You going off-road or racetrack? East Coast or West Coast? We have eight different camera cars, eight different heads and five different cranes to give you the right combination for your shoot.”

About Filmotechnic
Filmotechnic is the original in the industry and established the innovative standards with which other companies are now measured by. Over the past 25 years, Oscar Award Winner Anotoliy Kokush, along with Denis Kokush have built a legacy of advancing camera car systems. Our Academy Award winning developments coupled with other respected achievements in enabling camera movements and image stabilization, deliver a diverse range of professional camera systems, camera cranes and gyro stabilized heads for film, motion picture, and advertising industries.
For more information and or bookings at any of our locations in Atlanta, Detroit, Los Angeles or Orlando please contact manager John Urso at 310-418-3311 or Jeanine Wojtanowski 310-710-9454 or go direct to

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