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MAXON Cinema 4D Powers Territory Studio Workflow on Blade Runner 2049

2017-12-14 11:50:03 ccwire-staff

Award-winning Creative Studio Leverages 3D Toolset to Craft Futuristic Screen Graphics and Concepts in Dystopian Sci-Fi Sequel

FRIEDRICHSDORF, Germany – MAXON, the leading developer of professional 3D modeling, painting, animation and rendering solutions, today announced London-based Territory Studio made extensive use of its acclaimed 3D software solution, Cinema 4D, as a cornerstone digital content creation tool on Blade Runner 2049 to produce story specific screen graphics and concepts for on-set and post that appear extensively throughout the Warner Bros./Alcon Entertainment iconic sci-fi sequel.

Blade Runner 2049directed by Oscar-nominated director, Denis Villaneuve (Sicario, Arrival) takes place three decades after the events of the first Blade Runner film in the aftermath of the ‘Blackout’, an apocalyptic type of episode that has deeply altered day-to-day life and technology in Los Angeles. The film features a new blade runner, LAPD Officer K (Ryan Gosling) who unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. K’s discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former LAPD blade runner who has been missing for 30 years. (Source: Warner Bros.)

Under the creative direction of Andrew Popplestone, and Creative Lead Peter Eszenyi, the Territory team initially met with Villeneuve and Supervising Art Director Paul Inglis during pre-production in Budapest to discuss the theme of the Blade Runner 2049 universe in terms of progression and how technology should look and feel in the context of the broader themes and how the actors would relate them.

“Villeneuve did not want the design direction of the technology in Blade Runner 2049 to directly reference the original 1982 Blade Runner, rather his directive was to ‘reinvent’ computer technology and give it distinct organic, abstract, optical and physical qualities that felt like the same world 30 years later but could aptly represent the scale and impact of the ‘Blackout’ that destroyed digital capability and data files and basically made digital technology unusable – all key story elements in the film.”

Cinema 4D has been in use since Territory Studio’s inception in 2010 and has played a key role on high profile VFX projects such as Ghost in the Shell, The Martian, The Avengers: Age of UltronGuardians of the Galaxy, Jupiter Ascending and Prometheus. During the six month production cycle on Blade Runner 2049, Territory tapped the software, to meet intensive modeling, rendering, lighting, shading and particle simulations challenges essential in delivering over 100 very original screens across 15 sets on key narrative sequences. Screen graphics elements included the creation of footage, optical effects and projections and included concepts to production, many of which were shot with actors on set and others that were distributed to other VFX vendors working on the film. Final rendering was done with the native Cinema 4D render engine along with Vray and Arnold. The Insydium X-Particles plug-in for Cinema 4D was also a key tool for particle simulation creation.

With an open creative brief, the Territory creative team started to think about how computer graphics display technology would function and look in this new world without relying on liquid crystal displays, analog and cathode-ray tube technologies.

“We forgot about established design workflows and spent the initial phase researching and experimenting with alternative methods to replace LED screen bioluminescence and actually avoided CG,” Eszenyi outlined. “This was a joyful part of the screen content creation process where we instead began by combining physical (optical lenses/old school projectors ) macrophotography and photogrammetry (fruit/meat ) and graphic techniques along with concepts from the art department to play around with texture and structure that led to the development of some interesting low-rez organic meshes and unique visual references.

“Our 3D workflow with Cinema 4D allowed us to flex our design capabilities and quickly import these elements to further explore lights, texture, materials, objects, noise and model creation while meeting tight deadlines,” he added. “Because of the intent of not using green screen elements on set, we used the Cinema 4D tools to design, create and deliver screens that matched story beats, and which were used on set to help the actors get informed about what’s happening or perform against a live sequence of images more naturally.”

In the pivotal Morgue scene when K is scanning bones, Territory created a 3D model of a female pelvic bone and used the wide range of shading, reflectance, materials and flexible layering options in Cinema 4D to texture imagery and built a lens system with various optical qualities that was animated to show bone tissue in increasing magnification and abstraction in order to reveal a slightly futuristic electron microscope element.

The studio also used textural references in Cinema 4D in the notable Baseline Test scenes where Officer K is subjected to a routine LAPD Blade Runner “Voight-Kampff” protocol. “Rather than showing an iris, as in the original film, this new test is intended to be more precise and shows the view through the optic nerve, suggesting neural activity in the replicant,” explains Eszenyi. “We achieved organic abstraction by modelling grapefruit flesh.”

Officer K’s dilapidated Spinner vehicle features a set of displays for navigation that blend geographic, communication, scanning and surveillance monitor details. “Cinema 4D and X-Particles were used to successfully produce screen burn, ghosting, glitching and color degradation that brought an organic, chaotic nature to the aesthetic of the textural effects to let us show the audience that due to his low status, K is managing with outdated technology,” said Eszenyi. “We also crafted fly-through animations of the minimalist particle landscape that were roughly based on the shots or scene requirements that were put onto the screen, rendered out and processed through After Effects.”

The Territory Studio brief also included creating technology interfaces for LAPD environments including Sergeant Joshi’s office, Wallace Corp environments including luxury spinners, Deckard’s Las Vegas apartment and the complex neon Market animations for actual LCD displays.

Blade Runner 2049 was released in the United States on October 6, 2017.


About MAXON

Headquartered in Friedrichsdorf, Germany, MAXON Computer is a developer of professional 3D modeling, painting, animation and rendering solutions. Its award-winning Cinema 4D and BodyPaint 3D software products have been used extensively to help create everything from stunning visual effects in top feature films, TV shows and commercials, cutting-edge game cinematics for AAA games, as well for medical illustration, architectural and industrial design applications. MAXON has offices in Germany, USA, United Kingdom, Canada, France, Japan and Singapore. MAXON products are available directly from the web site and its worldwide distribution channel. MAXON is part of the Nemetschek Group.

Additional information on MAXON can be obtained as follows:
Website: http://www.maxon.net/
Cineversity: http://www.cineversity.com/
Facebook: https://www.facebook.com/maxon3d
Twitter: https://twitter.com/maxon3D
YouTube: https://www.youtube.com/user/MaxonC4D
LinkedIn: https://www.linkedin.com/company/791366
Google+: https://plus.google.com/+maxoncinema4d/posts
Instagram: https://www.instagram.com/maxonc4d/

All trademarks contained herein are the property of their respective owners.

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Cattleya Selects WCPMedia Services to Turbo-charge Media Management for “Gomorrah”

2017-12-14 11:20:38 artisanspr

Rome —  The international crime drama Gomorrah is the latest television production to choose WCPMedia Services for media management. A co-production of SKY, Cattleya and Fandango, the show is using WCPMedia’s cloud-based platform to manage delivery of show assets from its editorial team to showrunners, and to visual effects, sound and post-production service providers.

Now in its third season, Gomorrah is based on the novel by renowned journalist Roberto Saviano and focuses on mob violence in Naples. With a cast of gangsters, drug dealers and ordinary people, the show paints a gritty portrait of street-level crime and its hierarchical organization as players struggle for recognition, money and power.

Sky Italia released two episodes from season three to cinemas, before their television debut, and they promptly shot to No. 1 at the Italian box office. Season three is written by Leonardo Fasoli, Maddalena Ravagli and Ludovica Rampoldi, and directed by Francesca Comencini and Claudio Cupellini.

Led by Patrizio Marone, the show’s editorial department is using WCPMedia’s platform to deliver rough cuts and finished scenes to third-party, post-production vendors. Finished cuts are moved from the cutting stage to dubbing studios, visual effects houses and finishing facilities as low-res proxies and uncompressed video along with other assets. Additionally, series creators, showrunners and producers are able to review work-in-progress via Screening Rooms integrated into the WCPMedia platform.

Cattleya previously used WCPMedia Services to manage media assets for Suburra, the first original Italian television serie produced for Netflix. “We are pleased to reunite with Cattleya and its post-production team on another high-profile project, Gomorrah,” says WCPMedia VP of Operations Giovanni Contri. “Suburra used our platform during more than 12 months of shooting and post. The fact that they selected us again is an honor and demonstrates the value WCP provides to complex, high-quality productions.”

About Cattleya

One of Italy’s leading production companies, Cattleya was launched in Rome in 1997 by founder Riccardo Tozzi alongside President and Co-CEO Giovanni Stabilini and Co-CEO Marco Chimenz. ITV Studios recently acquired a majority stake in the company with Cattleya retaining full creative and production autonomy. ITV Studios Global Entertainment manages international distribution.

About WCPMedia Services

Founded in 2011 in Switzerland, World Content Pole SA (aka WCPMedia Services) is an entertainment software and services company based in Switzerland, USA and Canada that manages, markets and distributes content to business partners and clients quickly, easily and securely. WCPMedia Services offers a platform of smart process applications that combines proprietary software with top-tier solutions developed by proven and trusted technology companies.

For more information, visit www.wcpmediaservices.com

USA Office:  7083 Hollywood Blvd, Hollywood CA 90028

Canada Office: 390 Bay Street, Suite 1706, Toronto M5H 2Y2

Europe Office: Via Peri 17, 6900 Lugano, Switzerland

Email: Sales@wcpmediaservices.com

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WCPMedia Services Provides Cloud Management for FICTS Festivals

2017-12-11 11:42:01 artisanspr

LOS ANGELES —  For the fourth consecutive year, WCPMedia Services acted as official technical sponsor for Federation Internationale Cinema Television Sportifs (FICTS) Festivals. WCPMedia’s cloud-based media management was used to ingest, store and share content submitted by sports broadcasters worldwide to 16 regional festivals and the four-day culminating event held this month in Milan.

Recognized by the International Olympic Committee and regarded as the premier festival dedicated to sports media, the FICTS Festivals showcase work from sports broadcasters, producers, advertising agencies, national Olympics committees, sports federations and others involved in sports media. Competitive categories include Documentaries, Cinema, Television & New Technologies, Sports Advertising, Sport & Society, Football in Cinema and Television, and Olympic Spirit or Values. This year’s festival focused on the achievements of women in sports. A worldwide audience of more than 3 million people attended this year’s festivals.

Giovanni Contri

WCPMedia’s has become an integral part of the festival’s infrastructure, providing a fast and reliable way to manage the hundreds of submissions the festival receives each year. “This year’s festival in Milan encompassed six days of cinema, sport, television and culture,” said FICTS President Franco Ascani. “Our program included 140 sports films from 63 countries, as well as meetings, press conferences and an awards ceremony. WCPMedia Services provided essential support to help make this event possible and enrich the work with the value of sports culture.”

Additionally, WCPMedia Services VP of Operations Giovanni Contri took part in a roundtable discussion on Russian sports broadcasting sponsored by MatchTV. The panel was chaired by Dr. Francesco Ricci Bitti, President of the Association of Summer Olympic International Federations and Vice Director of the Olympic Channel. Other panelists included MatchTV producer Tina Kandelaki, gymnast and Olympic Gold Medalist Alina Kabaeva, International Olympic Journalists Association Honorary President Alan Lunzenfichter, NHK’s Takako Kigaku and Fatstone TV COO Ann-Mari Albertsen.

WCPMedia Services Operations Manager Luca de Sensi served as a presenter at the Festivals’ concluding event, the TV Sports Emotion Awards, held at Milan’s Palazzo Lombardia.

About WCPMedia Services

Founded in 2011 in Switzerland, World Content Pole SA (aka WCPMedia Services) is an entertainment software and services company based in Switzerland, USA and Canada that manages, markets and distributes content to business partners and clients quickly, easily and securely. WCPMedia Services offers a platform of smart process applications that combines proprietary software with top-tier solutions developed by proven and trusted technology companies.

For more information, visit www.wcpmediaservices.com

USA Office:  7083 Hollywood Blvd, Hollywood CA 90028

Canada Office: 390 Bay Street, Suite 1706, Toronto M5H 2Y2

Europe Office: Via Peri 17, 6900 Lugano, Switzerland

Email: Sales@wcpmediaservices.com

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Intertrust and LINE 2nd Security Summit Gathers Global Experts to Examine the State of Trust in the Digital Age

2017-11-28 19:36:40 ccwire-staff

Tokyo and Sunnyvale CA – Intertrust and LINE Corporation co-hosted the 2nd Security Summit on enabling digital trust at San Francisco’s Fort Mason Center on November 14th. Experts from academia, public policy, and industry presented the latest research on emerging technologies, and discussed current market trends in security and policies around the subject of privacy vs. access to data.

Each panel and speech emphasized the trends driving change in information security. But above all others, the significance of the upcoming European Union’s GDPR (General Data Protection Regulation) received much attention. Due to be implemented on May 25, 2018, many speakers pointed to the expected impact of GDPR and warned that most companies and governments are largely unprepared. Any missteps could prove to be very costly and extremely damaging to an organization’s reputation and bottom line.

Distinguished speakers at the Summit included award-winning computer scientists with expertise in secure systems, and privacy protection. Among them were:

  • Dr. Herbert Lin, Hoover Institution, Stanford University
  • Dr. Eli Noam, Columbia University
  • Ms. Megan Stifel, Cyber Statecraft Initiative at the Brent Scowcroft Center on International Security
  • Ms. Kirsten Rulf, Berkman Klein Center at Harvard University
  • Mr. Steve Hunt, Director, North Carolina Cybersecurity, Design & Innovation Centers
  • Mr. Kuo-Wei Wu, Board Member, Chunghwa Telecom and former Board Member, ICANN
  • Dr. Zulfikar Ramzan, RSA Security

Megan Stifel, from the Brent Scrowcroft Center on International Security said, “The LINE and Intertrust Security Summit brought together a diverse set of experts in cybersecurity and privacy in a well-curated, intimate, day-long discussion that offered content to enable participants to think more thoughtfully about the future of the digital economy.”

Steve Hunt, Director of the North Carolina Cybersecurity, Design & Innovation Center added, “The Security Summit produced one provocative idea after the next. I was surprised how the audience, speakers, and panels kept the dialogue flowing.”

Intertrust and LINE both recognize the need to maintain this momentum and to keep these topics top of mind. They agreed to host a third Security Summit in Tokyo during the spring of 2018. The companies are also planning to expand the 4th Summit soon in a yet-to-be-announced geography.

Intertrust is a leader and pioneer in the field of trusted distributed computing technologies. Intertrust’s Secure Systems division provides a host of world-class solutions for application protection, distributed key management, and personalization. These products protect data and devices around the world in areas ranging from consumer electronics to banking, healthcare, and automotive.

“Design-in-Privacy should be a basic practice in the future Internet business,” said Kuo-Wei Wu, a board member of Chungwa Telecom, “and industry and technical communities should be involved in government policy design.”

LINE, Japan’s leading messenger platform is a technology leader and supports hundreds of millions of users via their mobile apps. To protect user privacy and data, LINE employs top of class secure systems experts and partners with best of breed technology companies like Intertrust.

“With security and privacy growing ever more important to consumers and businesses alike, we thought it was imperative to talk about trust in the digital age,” said Takeshi Nakayama, CPO/CISO of LINE Corporation. “By working with Intertrust on this Summit series, LINE is working hard to ensure our services remain safe and secure for all.”

“This conference series provides a unique platform to bring together leaders from academia and industry to look at the future of application security. We’re excited to partner with LINE,” said Dave Maher, CTO of Intertrust. “Between Line’s formidable market presence in Asia and overall growth trajectory world-wide, and Intertrust’s 27-year history in developing technologies for secure, distributed computing, we hope to continue to bring value to the market and draw attention to the most pressing matters surrounding information security.”

The 2nd Security Summit was held in San Francisco’s Fort Mason on November 14th, 2017. More information about the event is available here:

https://www.intertrust.com/company/events/line-summit


About Intertrust Technologies Corporation

Intertrust provides trusted computing products and services to leading global corporations – from mobile and CE manufacturers and service providers to enterprise software platform companies. These products include the world’s leading digital rights management, software tamper resistance and privacy-driven data platforms for AdTech, DNA storage, and IoT.

Founded in 1990, Intertrust is based in Silicon Valley, with regional offices in London, Tokyo, Seoul and Beijing. The Company has a legacy of invention, and its fundamental contributions in the areas of computer security and digital trust are globally recognized. Intertrust holds hundreds of patents that are key to Internet security, trust, and privacy management components of operating systems, trusted mobile code and networked operating environments, web services, and cloud computing.

Additional information is available at intertrust.com, or follow us on Twitter or LinkedIn.

About LINE Corporation

Based in Japan, LINE Corporation (NYSE:LN/TSE:3938) is dedicated to the mission of “Closing the Distance,” bringing together information, services and people. The LINE messaging app launched in June 2011 and since then has grown into a diverse, global ecosystem that includes camera apps, AI technology, and more.

Corporate website: https://linecorp.com

LINE messaging app: https://line.me

 

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Toolfarm Introduces RenderGarden Plug-in for Dramatically Faster Rendering in Adobe After Effects

2017-11-28 19:30:06 ccwire-staff

San Francisco, CA  – Toolfarm, a leading global distributor and reseller of video, VFX, 3D, and motion graphics software applications and plug-ins, announced today the release and immediate availability of the new RenderGarden plug-in for Adobe® After Effects® CC (Mac and Windows), developed by Mekajiki. Accelerating render speeds by as much as 3X, RenderGarden leverages existing system hardware processing power to improve the speed of motion graphics and visual effects workflows.

WATCH NOW: RenderGarden for After Effects 

RenderGarden can increase render speeds by up to 300% on a single computer by taking advantage of multi-processing in After Effects. In addition to single system optimization, RenderGarden features unlimited render nodes for leveraging the processing power of multiple systems across a single network. This is ideal to render large QuickTime movies, AVI movies, and image sequences at warp speed. RenderGarden works in the background, allowing After Effects users to continue working without interruptions. RenderGarden also provides automated post-render transcoding to MP4 and QuickTime movies.

RenderGarden was born from a recent multi-user After Effects project at Swordfish, our sister company that does design and production. The team was working off-site in 6K and did not have access to our internal render farm. With the large file sizes, we quickly hit a bottleneck,” said Matt Silverman, CEO at Mekajiki. “Setting up a render farm was not quick or in the budget. Our team repurposed some custom code we wrote for our render set up. The result was a simplified distributed rendering tool for After Effects. After putting it through the paces, we have fine-tuned RenderGarden into a formidable workhorse and we’re excited to share it with the rest of the After Effects community via Toolfarm!”

“We are thrilled to announce the launch and distribution of RenderGarden,” said Jason Sharp, president, Toolfarm, Inc. “At Toolfarm, we’re always looking for tools that help increase the productivity of motion graphics artists. RenderGarden will become an essential tool for After Effects artists on every project.”  

RenderGarden is available immediately from Toolfarm at an MSRP of $99 USD. To purchase, or for more information, please visit https://www.toolfarm.com/buy/rendergarden.

About Toolfarm
Founded in 1999, San Francisco based Toolfarm is the world’s largest reseller of motion graphics, visual effects and 3D plug-ins for the global creative community.  Recognized for reliable distribution, high-quality customer service, community and training, Toolfarm is THE place for creative professionals to learn about and shop for all video related plug-ins.

About Mekajiki
Our team of filmmakers, designers, animators, and technologists live to design memorable pictures in motion. While working on commercial productions at our sister company Swordfish, we found missing pieces in our pipeline and have been creating a suite of in-house tools to solve these problems. Now we’re bringing these tools to market through Mekajiki.

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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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Panavision Brings the Millennium DXL Camera and Large Format Lenses to Camerimage 2017

2017-11-07 20:56:03 ignite

WOODLAND HILLS, CA – Continuing 25 years of support, Panavision once again celebrates the art and craft of moving pictures with filmmakers at the Camerimage International Film Festival of Cinematography, which runs November 11 – 18 in Bydgoszcz, Poland. This year, Panavision hosts a masterclass with Oscar®-winner John Toll, ASC, and a workshop on large-format filmmaking.

Company to Present a Masterclass with John Toll, ASC, and an 8K Workshop

On Nov. 14 in the MCK, Panavision Day begins with the workshop, “The Beauty of 8K Large-Format” from 11:00 – 13:00. Peter Deming, ASC recently wrapped production on The New Mutants, utilizing the Panavision Millennium DXL 8K camera and lenses to create stunning visuals for the next X-Men installment. A screening of The New Mutants trailer be will explored by Panavision’s VP of Optical Engineering Dan Sasaki, Senior VP of Innovation Michael Cioni, and Light Iron supervising colorist Ian Vertovec. They will discuss the unique advantages of 8K capture, high-resolution creative control, and how ultra-high resolution is one of the best-kept secrets for producing even better imagery.

Toll, who is this year’s Camerimage Lifetime Achievement Award recipient, will participate in a moderated conversation from 14:00 – 16:30. The two-time Oscar®-winner (Legends of the Fall, Braveheart) will discuss excerpts from his films, share anecdotes from the set, and answer questions from the audience.

At the Camerimage exhibition area in the Opera Nova, Panavision will have Millennium DXLs on display for festival attendees to get hands-on with the camera. The new HDR OLED Primo Viewfinder, the advanced PX-Pro color spectrum filter, and a selection of innovative large-format and anamorphic Panavision lenses also will be showcased alongside the Panavision System 65mm film camera used to shoot Murder on the Orient Express. The iconic tale of mystery aboard the legendary train, directed by Kenneth Branagh and shot by Haris Zambarloukos, ASC, GSC, will screen on the opening night of Camerimage.

Adjacent to the Panavision exhibit, the Light Iron Theater will screen DXL footage in HDR format; Panalux will demonstrate their new underwater light, the AmphiTube product range, which features a bi-color LED solution designed for both wet and dry environments; and LEE Filters, celebrating 50 years in business, will showcase their next-generation neutral density PanaND filters.


About Panavision

Panavision Inc. is a leading designer and manufacturer of high-precision camera systems, including both film and digital cameras, and lenses and accessories for the motion picture and television industries. Renowned for its worldwide service and support, Panavision systems are rented through its domestic and internationally owned and operated facilities and distributor network. Panavision also supplies lighting, grip and crane equipment for use by motion picture and television productions. For more information, visit www.Panavision.com, or join the company on Instagram (panavisionofficial), Twitter (@Panavision), Facebook, LinkedIn, Vimeo, and YouTube.

About Light Iron

Light Iron, a Panavision company, specializes in dailies, digital intermediate, and archival services for projects originated on file-based motion cameras. With facilities in six cities across the U.S., Light Iron serves projects at both the independent and studio level. The company distinguishes itself by providing post production workflows that minimize time, maximize image fidelity, and increase creative control. Recent credits include features such as Last Flag Flying, Allied and Oscar-nominated Hell or High Water, commercial campaigns for Gap and Jaguar, and the television series GLOW, Veep and Transparent. Follow the company on Facebook, Instagram, Twitter, LinkedIn, or Vimeo, or visit www.lightiron.com

About LEE Filters

LEE Filters, a Panavision company, is the world’s leading manufacturer of lighting, architectural and camera filters. For more information, go to www.leefilters.com, or follow them on Facebook, Twitter, YouTube, Instagram, and their Tumblr blog. 

About Panalux

Panalux offers the world of film, television and media production the very best in lighting rental equipment and associated facilities. Created specifically to cater to the exacting needs of the global entertainment industry, the Panalux service is unrivalled in its ability to provide creative solutions to the full spectrum of production types, regardless of size or genre. Experience and innovation plus an extensive inventory of modern equipment fully supported by a team of highly skilled professionals sets Panalux apart from the competition. For more information, go to www.panalux.biz, and follow them on Facebook and Twitter.

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RED DIGITAL CINEMA to Feature the New Monstro 8k VV Sensor at 2017 Camerimage

2017-11-07 08:09:54 ignite

Irvine, CA – RED Digital Cinemaâ will be showcasing its new cinematic Full Frame sensor for WEAPON cameras, MONSTRO™ 8K VV,  at the 25th Camerimage International Film Festival in Bydgoszcz, Poland, from November 11-18.

The MONSTRO 8K VV sensor is an evolutionary step beyond the DRAGON 8K VV sensor with improvements in image quality including dynamic range and shadow detail. A WEAPON with MONSTRO 8K VV sensor offers Full Frame lens coverage, captures 8K full format motion at up to 60 fps, produces ultra-detailed 35.4 megapixel stills, and delivers incredibly fast data speeds — up to 300 MB/s.

Festival attendees visiting RED’s stand in the Opera Nova Main Foyer will have the opportunity to handle the company’s latest DSMC2® cameras, including WEAPON 8K VV, WEAPON 8K S35 and EPIC-W 8K S35. RED cameras will also be on display at Leica, Cooke, Zeiss, Angeniuex, Hawk and Panavision stands.

An official sponsor of Camerimage, RED will also host two seminars at the festival.  On Nov. 13, cinematographers Christopher Probst, ASC and Markus Förderer, BVK will discuss “The Future of Digital Formats.”  From music videos to feature films and original TV series, Christopher and Markus will share their process for evaluating tools, and approach to choosing a camera and lenses. Attendees will also learn how their progressive filmmaking, combined with the high resolution, large format and flexibility of RED cameras, helped to produce the desired results for their latest endeavors. The seminar will take place at 16:30 in the Miejskie Centrum Kultury (MCK).

On Nov. 15,  Light Iron Colorist Ian Vertovec and RED’s Dan Duran will discuss RED’s “High Resolution Image Processing Pipeline.” Attendees will learn about the color science behind RED’s Image Processing Pipeline (IPP2), which offers a completely overhauled workflow experience featuring enhancements such as better management of challenging colors, an improved demosaicing algorithm, smoother highlight roll-off, and more.  Light Iron will also be featuring modern high resolution workflow, HDR, and its unique color grade used in the Netflix original series, GLOW. The seminar will take place at 16:45 in the Miejskie Centrum Kultury (MCK).

About RED Digital Cinema

RED Digital Cinema is a leading manufacturer of professional digital cameras and accessories. In 2006, RED began a revolution with the 4K RED ONE digital cinema camera. By 2008, RED announced the DSMC (Digital Stills and Motion Camera) system that allowed the same camera to be used on features like the “The Hobbit” trilogy and “The Martian”, Emmy-winning shows like “House of Cards”, and magazine covers such as “Vogue” and “Harper’s Bazaar”. RED’s DSMC2 camera line — RED RAVEN, SCARLET-W, RED EPIC-W, and WEAPON — combine compact and lightweight design, superior image quality, incredible dynamic range, modularity, and cutting edge performance.  The WEAPON camera offers interchangeability across RED’s entire line of sensors including the cinematic full frame MONSTRO 8K. For more information, visit www.red.com.

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WCPMedia Services Provides Media Management Support to Rome’s MIA Audiovisual Market

2017-10-25 09:33:39 artisanspr

LUGANO, Switzerland — For the third straight year, Italy’s Mercato Internazionale Audiovisivo (MIA) selected WCPMedia Services’ cloud-based media management platform to manage film, television, documentary and gaming content. Relied on by festivals, studios and broadcasters worldwide, WCPMedia Services provided a fast and simple way for producers and distributors to submit projects to MIA and share them, securely, with potential buyers both at the market and around the globe.

Rome’s MIA has quickly become the largest and most anticipated audiovisual market event in Italy. This year’s event drew more than 1800 accredited participants from 58 countries and featured some 120 films and 45 projects. It was the market’s most successful outing yet with organizers estimating that more than 60,000 meetings occurred between buyers and sellers over the event’s four days.

MIA Director Lucia Milazzotto

“MIA is a very structured and innovative market for the international and domestic industry, situated in the wonderful Rome corniche of Palazzo Barberini and Mercati Traianei,” said MIA Director Lucia Milazzotto. “The number of meetings and deals was well beyond expectations, and the quality of the participants was outstanding. MIA has become an essential market not only for Europe, but also for the U.S.”

WCPMedia Services is changing the way film markets and sellers do business. It’s no longer necessary to hunt for slots to host market screenings or to send DVDs to distributors and buyers around the world.  Instead, sellers upload content to a cloud database, and then configure flexible, private and password-protected screening rooms accessible to invited buyers, journalists and others. Buyers can watch content at their convenience via a laptop, tablet or mobile device and register their interest. Sellers, meanwhile, can monitor interest through the platforms’ detailed reports. The service also marks a leap forward in security as copying is protected and watermarked during upload.

“Participants who lack time to attend screenings can view content at their convenience and prioritize meetings,” said Milazzotto. “WCPMedia’s virtual screening room allows participants to screen content both before and after the market. It’s a great tool to finalize deals and avoid missing opportunities.”

WCPMedia Services provided MIA with improved means for organizing and controlling content. Interactions between buyers and sellers are more efficient. Additionally, the platform collects data that can help spur sales. “Sales agents know who has seen the film and when they watched it,” Milazzotto said. “You can immediately gauge the interest level and take action.”

About WCPMedia Services

Founded in 2011 in Switzerland, World Content Pole SA (aka WCPMedia Services) is an entertainment software and services company based in Switzerland, USA and Canada that manages, markets and distributes content to business partners and clients quickly, easily and securely. WCPMedia Services offers a platform of smart process applications that combines proprietary software with top-tier solutions developed by proven and trusted technology companies.

For more information, visit www.wcpmediaservices.com

USA Office:  7083 Hollywood Blvd, Hollywood CA 90028

Canada Office: 390 Bay Street, Suite 1706, Toronto M5H 2Y2

Europe Office: Via Peri 17, 6900 Lugano, Switzerland

Email: Sales@wcpmediaservices.com

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NIM Labs launches NIM 2.7

2017-10-12 21:07:38 ccwire-staff

LOS ANGELES, CA – NIM Labs has officially announced the launch of NIM 2.7 – a feature-rich update that enables increased time management flexibility alongside numerous performance and infrastructure improvements.

NIM is a creative management tool designed to visualise production studio workflows. NIM was incubated in a real production setting and is designed from the ground up for effective communication – from bidding/budgeting through production management and final delivery.

Version 2.7 equips teams with greater control over time card functionality, enabling producers to better manage staff’s time and deliver projects to pressing deadlines with total efficiency.

Andrew Singara, NIM Labs co-founder, comments: “Time is a producer’s most vital resource. 2.7’s updates are designed to support the management of that time, ensuring it is spent in the most effective way possible across any project.”

NIM 2.7 key features

  • Flame Connector – NIM’s Autodesk Flame integration is now available in the full NIM suite of connectors. The Flame connector provides integration with NIM from within Flame or Flare to create published shots in NIM, add exported elements to NIM shots, export clips to NIM dailies and edits, and roundtrip NIM elements back to the Flame timeline and batchFX.

  • Time Card Day View – Access a bird’s-eye view over producer and artist hours, with an at-a-glance perspective on users’ regular time (RT) and also users who may be going into overtime (OT) or double time (DT). The Time Card Day View enables users to monitor the sum total of hours in two distinct views: a heat-map style grid view and the list view, which displays cumulative time per user in a filterable and exportable list. The Time Card Day View also flags days on which a time card was entered on two jobs, enabling producers to determine where OT/DT should be negotiated between jobs.

  • Modify RT/OT/DT per time card – Time cards automatically calculate RT/OT/DT based on per-crew member rules, ensuring everyone works to appropriate schedules. Any time cards outside of job rules can be manually overridden with RT/OT/DT hours, if needed.

  • Enhanced time card design – The time card design has been updated, providing a clear, unambiguous entry to form with information at a glance.

  • Estimated task time – NIM 2.7 enables users to set estimated time on tasks, giving greater organizational control over their day. The task estimated time is actualized against time cards entered for that tas, and visualized on the Task Gantt chart as a color coded representation of time utilized per task. Users can immediately see which tasks are under or over planned time.

  • Task throughput & burn rates – The Task Gantt chart now visualizes task throughput and burn rates based on estimated task time, providing producers and studio owners with daily insight into efficiency around tasks being completed.

  • Actualize Jobs by Time – NIM 2.7 includes a permission option that hides sensitive financial information in job actuals, meaning users only view actualization against time.

NIM 2.7 performance and infrastructure updates

  • Updated NIM Virtual Machine infrastructure for PHP 7.1 and MySQL 5.6, providing a significant speed increase across the board

  • Improved performance when loading large sequences with many custom keys per shot

 

NIM 2.7 is available now. Current NIM customers can upgrade to NIM 2.7 for free. New users can access a free 30-day trial at nim-labs.com


About NIM Labs
NIM Labs was founded in 2014 by Ntropic founder Nate Robinson and creative director Andrew Sinagra. Robinson and Sinagra first developed NIM ten years ago at Ntropic in an ever-growing production environment. Having an internal management tool helped their creatively-driven minds manage the post-production process across multiple offices from start to finish. Realizing they had developed a one-of-a-kind tool, Robinson and Sinagra stripped down the internal build and rebuilt NIM from the ground up as a flexible tool for other studios to utilize.

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AMIA Webinars Address Important Topics on the Latest Media Preservation Practices

2017-10-11 20:59:33 ignite

LOS ANGELES  – The Association of Moving Image Archivists (AMIA) will present a series of online webinars in partnership with the Northeast Document Conservation Center (NEDCC). The webinars, designed to educate professionals in the archive and preservation communities on the latest processes impacting their work, begin October 12 and run through November 2, and are priced individually. To register, visit www.amiaonline.org.

“Our members are cultural caretakers, responsible for preserving collections for future generations,” said Andrea Kalas, AMIA President. “AMIA Online educational webinars serve to present expert perspective and experience for an array of users, from entry level to working professional. These webinars provide a practical way for us to help those tasked with managing collections to stay abreast of the latest methods. We are grateful to NEDCC for partnering with us to present this series.”

AMIA webinars are led by respected experts in the industry. Each online session will take place at 1 p.m. Eastern. Topics and dates for the upcoming series include:

  • The Environmental Impact of Archives (October 12) – Led by Linda Tadic, CEO of Digital Bedrock and former AMIA president, this webinar will explore how institutions that house audiovisual collections can mitigate their environmental impact while also preserving their collections according to professional best practice.
  • Processing of Oral Histories (October 17) – This webinar will offer guidance to archivists charged with maintaining these important recordings and will present a workflow—from beginning to end—for how best to process, preserve, and make accessible oral history materials. The session will be taught by Mary Larson, Associate Dean for Special Collections at Oklahoma State University Library and former President of the Oral History Association, and Sarah Milligan, Associate Professor and Head of the Oklahoma Oral History Research Program at Oklahoma State University.
  • Fundamentals of Copyright Part I (October 24) – Guided by Hope O’Keeffe, Associate General Counsel at the Library of Congress, this webinar is an introductory session–offering a basic discussion of copyright law, the public domain, and the implications for collections.
  • Fundamentals of Copyright Part II (October 26) – The second webinar on copyright will be a “deep dive” into some of the broad concepts presented in Session 1, and expand upon issues such as creator and transfer rights and open access. Greg Cram, Associate Director of Copyright and Information Policy at the New York Public Library, will lead the presentation.
  • Storage of Audiovisual Collections (November 2) – Providing an introduction and overview of best storage practices for magnetic tape, motion picture film, and photographs, this webinar will identify appropriate packing and storage containers and include a detailed discussion of proper environmental standards. This session is taught by Jean-Louis Bigourdan, Senior Research Scientist at the Image Permanence Institute.

The deadline to register is one day prior to each webinar. For more information, visit http://www.amiaonline.org.


About AMIA

AMIA is a nonprofit, international association dedicated to the preservation and use of moving image media. As the world’s largest association of professional media archivists, AMIA brings together a broad range of experts and institutions in a single forum to address the best ways to preserve our media heritage. For more information, visit www.amianet.org, or follow them on Facebook and Twitter.

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MAXON Adds New Dimension to Design with Cineware for Illustrator

2017-10-10 13:55:05 ccwire-staff

Friedrichsdorf, Germany – MAXON, the leading developer of the professional 3D modeling, animation, painting and rendering solution Cinema 4D, today announced the release of Cineware for Illustrator. This new plugin allows artists and designers to add and edit 3D objects directly within Adobe Illustrator CC, the industry-standard vector graphics application included in the Adobe Creative Cloud.

Cineware for Illustrator uses the same powerful 3D engine as Cinema 4D, MAXON’s industry-leading, intuitive, professional 3D application. Users can import any Cinema 4D file, and tweak the view, lighting and textures in order to integrate 3D elements with 2D designs or use 3D elements as templates when creating vector artwork in Adobe Illustrator. MAXON has partnered with Turbosquid, the leading online source for 3D models, to provide Cineware for Illustrator users a “jump start” into the third dimension with a collection of ready-to-use 3D models including common product packaging and other 3D objects. And, of course, users of Cinema 4D can create and share their own custom 3D content for use in Adobe Illustrator.

Motion designers have enjoyed similar integration of Cinema 4D technology within Adobe After Effects CC since the introduction of the Cineware bridge in 2013. Cineware for Illustrator offers even more power, allowing designers to adjust object visibility, textures and lighting from within Adobe Illustrator. This introduces a powerful workflow for designers to visualize product labels, incorporate rich 3D content into Illustrator composites, or even arrange 3D elements as guides for form and perspective when creating vector artwork.

“Cinema 4D has long offered a fantastic, easy-to-learn toolset for product visualization and graphic design,” says Harald Egel, managing partner at MAXON Computer GmbH. “With Cineware for Illustrator we’re making both the Cinema 4D toolset and 3D in general more accessible to designers, and plan to develop this workflow even further in the future.”

Cineware for Adobe Illustrator Feature Highlights

  • 3D Objects: Rotate, position and show/hide individual 3D objects from any Cinema 4D scene, all within Adobe Illustrator.
  • Materials: Adjust the color, reflection, luminance, transparency, and bump directly within Adobe Illustrator. Users can even apply vector artwork to the surface of 3D models.
  • Cameras: Switch between pre-set cameras or use simple navigation tools to choose preferred viewing angle.
  • Lights: Enable or disable lights, and change their color to set a mood and emphasize shapes.
  • Integrate: Workflow allows easy removal of the background by choosing the automatically created alpha map so 3D elements can be integrated into existing vector artwork.

Availability
Cineware for Illustrator is available at no cost for MacOS and Windows 10 on the MAXON web site.

Cineware for Adobe Illustrator at Adobe MAX and NAB Show New York
MAXON Cineware for Illustrator will debut in the MAXON booth in the Community Pavilion at Adobe MAX (October 18-20, 2017 in Las Vegas) and NAB Show New York, Booth N264 (October 18-19, 2017 in New York City).

Cineware for Adobe Illustrator Image
An image link to Cineware for Adobe Illustrator is available here.

Cinema 4D Upgrade Path
For Adobe Illustrator CC users that desire a rich, full-features 3D content creation experience, MAXON offers an attractive upgrade path to Cinema 4D.

About MAXON
Headquartered in Friedrichsdorf, Germany, MAXON Computer is a developer of professional 3D modeling, painting, animation and rendering solutions. Its award-winning Cinema 4D and BodyPaint 3D software products have been used extensively to help create everything from stunning visual effects in top feature films, TV shows and commercials, cutting-edge game cinematics for AAA games, as well for medical illustration, architectural and industrial design applications. MAXON has offices in Germany, USA, United Kingdom, Canada, France, Japan and Singapore. MAXON products are available directly from the web site and its worldwide distribution channel. MAXON is part of the Nemetschek Group.

Additional information on MAXON can be obtained as follows:
Website: http://www.maxon.net/
Cineversity: http://www.cineversity.com/
Facebook: https://www.facebook.com/maxon3d
Twitter: https://twitter.com/maxon3D
YouTube: https://www.youtube.com/user/MaxonC4D
LinkedIn: https://www.linkedin.com/company/791366
Google+: https://plus.google.com/+maxoncinema4d/posts
Instagram: https://www.instagram.com/maxonc4d/

All trademarks contained herein are the property of their respective owners.

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RED Digital Cinema® Introduces New Cinematic Full Frame Sensor for WEAPON® cameras, MONSTRO™ 8K VV

2017-10-05 19:19:52 ignite

Irvine, CA —  MONSTRO is an evolutionary step beyond the DRAGON 8K VV sensor with improvements in image quality including dynamic range and shadow detail.

This newest camera and sensor combination, WEAPON 8K VV, offers full frame lens coverage, captures 8K full format motion at up to 60 fps, produces ultra-detailed 35.4 megapixel stills, and delivers incredibly fast data speeds — up to 300 MB/s. And like all of RED’s DSMC2 cameras, WEAPON shoots simultaneous REDCODE® RAW and Apple ProRes or Avid DNxHD/HR recording and adheres to the company’s dedication to OBSOLESCENCE OBSOLETE® — a core operating principle that allows current RED owners to upgrade their technology as innovations are unveiled and move between camera systems without having to purchase all new gear.

“RED’s internal sensor program continues to push the boundaries of pixel design and MONSTRO is the materialization of our relentless pursuit to make the absolute best image sensors on the planet,” says Jarred Land, president of RED Digital Cinema. “The Full Frame 8K VV MONSTRO provides unprecedented dynamic range and breathtaking color accuracy with full support for our IPP2 pipeline.”

The new WEAPON will be priced at $79,500 (for the camera BRAIN) with upgrades for carbon fiber WEAPON customers available for $29,500. MONSTRO 8K VV will replace the DRAGON 8K VV in RED’s line-up, and customers that had previously placed an order for a DRAGON 8K VV sensor will be offered this new sensor beginning today. New orders will start being fulfilled in early 2018.

RED has announced a comprehensive service offering for all carbon fiber WEAPON owners called RED ARMOR-W. RED ARMOR-W offers enhanced and extended protection beyond RED ARMOR, and also includes one sensor swap each year.

“‘Good’ has never been ‘good enough’ for RED,” says Land. “We put ourselves in the shoes of our customers and see how we can improve how we can support them. RED ARMOR-W builds upon the foundation of our original extended warranty program and includes giving customers the ability to move between sensors based upon their shooting needs.”

Additionally, RED has made its enhanced image processing pipeline (IPP2) available in-camera with the company’s latest firmware release (v7.0) for all cameras with HELIUM and MONSTRO sensors. IPP2 offers a completely overhauled workflow experience, featuring enhancements such as smoother highlight roll-off, better management of challenging colors, an improved demosaicing algorithm, and more.

Visit red.com for details or find an authorized dealer or rental house in your area.


About RED Digital Cinema
RED Digital Cinema is a leading manufacturer of professional digital cameras and accessories. In 2006, RED began a revolution with the 4K RED ONE digital cinema camera. By 2008, RED released the DSMC (Digital Stills and Motion Camera) system that allowed the same camera to be used on features like the “The Hobbit” trilogy and “The Martian”, Emmy-winning shows like “House of Cards”, and magazine covers such as “Vogue” and “Harper’s Bazaar”. The cameras of RED’s DSMC2 line — RED RAVEN, SCARLET-W, RED EPIC-W, and WEAPON — combine compact and lightweight design, superior image quality, incredible dynamic range, modularity, and cutting edge performance — including up to 8K resolution. In 2017, RED’s HELIUM sensor, set the new image quality standard with the highest DxOMark score ever.

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L-com Launches New USB 3.0 High-Flex Cable Assemblies

2017-10-05 09:21:52 ccwire-staff

NORTH ANDOVER, Mass. – L-com Global Connectivity, a preferred manufacturer of wired and wireless connectivity products, announced today that it has introduced a new series of high-flex USB 3.0 cable assemblies for use with PC peripheral interconnects, data acquisition, test and measurement and portable data storage applications.

These new USB 3.0 high-flex cables are rated for 10,000 flex cycles, making them ideal for applications where standard USB 3.0 cables fail. They are available with three connector options: Type-A male to Type-A male, Type-A male to Type-B male and Type-A male to Micro-B male. These high-flex cables feature a TPE cable jackets and 30 AWG high strand count conductors. Additionally, a foil plus braid shield provides maximum protection against EMI/RFI.

The Type-A to Type-A and Type-A to Type-B cables are available in 0.3, 0.5, 0.75, 1 and 1.5-meter lengths and the Type-A to Micro-B cables are available in 0.3, 0.5, 0.75-meter lengths.

“These exclusive, ultra-flexible USB 3.0 cables were specifically designed to address applications where ordinary cables fail due to excessive flexure. They can withstand 10 times as many bend cycles as a standard cable while retaining their durability and performance,” said Brian Gates, Product Manager.

L-com’s USB 3.0 high-flex cable assemblies 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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Sigma Reveals its PDN PhotoPlus Expo 2017 Line Up and a Brand New Lens

2017-10-04 20:14:29 ccwire-staff

Ronkonkoma, NY – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, will showcase its full line up of Sigma Global Vision lenses, including a brand-new addition to the line, at the upcoming PDN PhotoPlus Expo 2017 Expo held at the Jacob Javits Convention Center in New York City from October 26-28, 2017 (booth 837). The company will also have on hand its breakthrough optics for the cinema market – the Sigma Cine high-speed Primes and Zooms – as well as the Foveon sensor-based sd Quattro and Quattro H cameras. “Sigma has had a landmark year with the introduction of seven new lenses across our Global Vision and Cine product lines,” states Mark Amir-Hamzeh, president of Sigma Corporation of America. “Our research and development team is dedicated to creating superior optics that meet the ever-growing requirements of today’s high resolution cameras, taking advantage of every possible design and element to capture the greatest picture detail for both still and moving images. We look forward to showcasing the culmination of what has been a remarkable year in optical advancements for Sigma at this year’s PPE event.” Sigma 2017 introductions include the award-winning 14mm F1.4 DG HSM Art, 24-70mm F2.8 DG OS HSM Art, 135mm F1.8 DG HSM Art, 100-400mm F5-6.3 DG OS HSM ContemporarySigma Global Vision lenses and the new Sigma Cine FF High Speed 14mm T2 and 135mm T2 prime lenses.

Sigma Special PPE Presentation – Sigma Pro Phenom Jen Rozenbaum
Sigma Pro Jen Rozenbaum will take the PPE stage on Wednesday, October 25, 11:00 AM – 12:30 PM to deliver a PPE Master Class on “How to make every woman look amazing.”Jen will share with attendees her vast experience in boudoir photography, providing top tips and secret tricks – from wardrobe to posing – that flatter all women. Jen’s presentation will help attendees understand how to best dress and pose any woman of any size and shape as well as gain confidence behind the camera whether they are shooting boudoir, wedding or seniors!

Master Photographers Take the Sigma Stage
Showcasing the very best in photography craft, the expanded Sigma Pro family will headline the Sigma stage and offer attendees a behind the lens look at the techniques and technology that captured some of the year’s most outstanding photographs in the areas of aviation, editorial, glamour, landscapes, travel and weddings.

This year’s prestigious Sigma Pro PPE stage line-up includes outdoor sports and adventure travel photographer Liam Doran, aviation photo expert Jim Koepnick, renowned bird and travel photographer Roman Kurywczak, fearless woman photographer Jen Rozenbaum, and glamour and wedding photographer Jim Schmelzer.

The exciting topics include (listed by Sigma Pro) and showcase lenses from Sigma Global Vision Art, Contemporary and Sport lines:

The Sigma 100-400mm F5-6.3 Contemporary telephoto zoom lens

For the Sigma Pro presentation schedule days and times, please visit: https://blog.sigmaphoto.com/event/photoplus-2017/

Sigma’s ultra-wide-angle 14mm F1.4 Art lens

Sigma Super Giveaways at PPE 2017 
PPE 2017 attendees who visit Sigma at booth 837 will have a chance to enter and win a Sigma grand giveaway – a 24-70mm F2.8 Art – an MSRP value of $1299.00 USD!

Re-engineered and introduced in 2017, the newly updated 24-70mm F2.8 Art lens is Sigma’s workhorse zoom lens. It touts a brand new Optical Stabilizer (OS), Hypersonic Motor (HSM) for highly efficient and fast autofocus, as well as a dust- and splash-proof mount with rubber sealing.

The 24-70mm F2.8 Art lens embodies all the technical qualities and finesse that define the high-performance Sigma Global Vision Art series. A popular industry focal range covering a wide array of shooting scenarios, the 24-70mm’s optical design also includes three SLD (Special Low Dispersion) glass elements and four aspherical elements to ensure image accuracy and sharpness. The 24-70mm F2.8 Art aspherical elements use Sigma’s thicker center glass design and highly precise polishing process, delivering stunning images and bokeh effects. The lens’ purpose-built structure boasts a new metal barrel for optimal durability with TSC composite internal moving components designed to resist thermal contraction and expansion. Available for Canon, Nikon and Sigma camera mounts.

The Sigma 24-70mm F2.8 workhorse zoom Art lens

About Sigma Corporation
Craftsmanship. Precision. Dedication. Since 1961, Sigma has been devoted the pursuit of advancing photographic technology. Unique to the industry, the family-owned business produces its high-quality, award-winning still photo and cinema camera lenses, DSLR and mirrorless cameras, flashes, filters and accessories from its state-of-the-art manufacturing facility located in Aizu, Japan.

In 2012, the company introduced the Sigma Global Vision with three distinct lens lines: Art, Contemporary and Sport. Designed for industry camera mount systems including Canon, Nikon, Olympus, Pentax, Sony and Sigma, each lens is handcrafted and tested in Japan to ensure a high-performance, premium product that is purpose-built to last. In 2016, Sigma entered into the world of cinematography lens production. Embodying the core optical DNA that has defined the Sigma benchmark of excellence, the cine lenses meet the needs of advanced 6k and 8k cinema production.

Sigma’s portrait-perfect 135mm F1.8 Art lens

Sigma continues its tradition of imaging excellence with the mirrorless sd Quattro, sd Quattro H and the compact dp Quattro camera line. Leveraging the ultra-high resolution Foveon sensor, the Sigma Quattro cameras are designed to produce the highest quality image with every shot.

For information about Sigma, please visit www.sigmaphoto.com or follow us on Twitter, Instagram, Facebook or Blog.

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Swiss Broadcaster RSI Relies on WCPMedia Services to Market Content to World Market

2017-10-04 19:53:52 artisanspr

LOS ANGELES —  Swiss public broadcaster RSI Radiotelevisione svizzera has adopted WCPMedia Services’ cloud-based media management platform to market television content to broadcast partners worldwide. RSI’s sales department is using WCPMedia’s proprietary Screening Room feature to allow potential buyers to preview hundreds of productions from its library ranging from documentaries and sports coverage to children’s programming. Buyers can instantly view broadcast-quality content from virtually any device with access controlled by RSI through a secure web portal.

“RSI is at the forefront in spreading Swiss culture by commercializing original content and archival media,” said RSI Sales Manager Eleonora Maraffi. “WCPMedia Services is helping us to optimize sales and the monetization of our catalogue by streamlining the process of sharing content with buyers in a secure environment.” RSI original content marketed through the platform includes the web series Arthur, the children’s series PEO Gallery and the science series Albert’s Garden

RSI makes content available for previewing simply by uploading it to the WCPMedia platform and organizing it into Screening Rooms. “Last year, we set up approximately 100 individual screening rooms, each containing from one to 100 titles,” Maraffi recalled. “If a customer wished to preview 100 titles, it would be unthinkable to handle the request via online links, temporary passwords, ftp or other non-professional tool.”

Maraffi added that RSI selected WCPMedia both for its ease of use and for its security features. Assets are stored in a Tier IV Swiss Data Center with ISO 9001, ISO 27001 and PCI-DSS certification and designed in accordance with the Swiss Regulation for Banking Outsourcing (FINMA). RSI controls access to content by file and user through a simple interface.

RSI’s customers find the process simple and convenient. “Buyers who need to browse and stream many titles find it extremely useful to have them all in one place,” Maraffi noted. “Our returning clients, who have a semester or yearly buying cycle, enjoy the added benefit of retaining, in their dedicated screening room, the full history of their acquired and rejected titles along with new offerings to be reviewed.”

Data collected by the WCPMedia platform is very valuable to RSI’s sales team. “It allows for a more discrete approach in our follow up,” Maraffi said. “Sales processes can be quite long and last several months. Since we can see who has accessed our content, we know exactly when it’s the right moment to solicit an answer and when to sit still and let our client take his time.”

About WCPMedia Services

Founded in 2011 in Switzerland, World Content Pole SA (aka WCPMedia Services) is an entertainment software and services company based in Switzerland, USA and Canada that manages, markets and distributes content to business partners and clients quickly, easily and securely. WCPMedia Services offers a platform of smart process applications that combines proprietary software with top-tier solutions developed by proven and trusted technology companies.

For more information, visit www.wcpmediaservices.com

USA Office:  7083 Hollywood Blvd, Hollywood CA 90028

Canada Office: 390 Bay Street, Suite 1706, Toronto M5H 2Y2

Europe Office: Via Peri 17, 6900 Lugano, Switzerland

Email: Sales@wcpmediaservices.com

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