Install Matrox Codec Vfw National Headquarters
South Melbourne, Australia — Bluefish444, makers of uncompressed 4K/2K/HD/SD SDI video cards, is now offering Fluid Ingestore and Fluid DNxHD Ingestore for multi-channel HD/SD SDI ingest for use with Epoch and Create video cards running on Windows.Fluid Ingestore for uncompressed workflows is available free from the Bluefish444 homepage(www.bluefish444.com). Fluid DNxHD Ingestore has a license value of $100 per channel and can be upgraded via Bluefish444 worldwide channel partners or via applying for a license at www.bluefish444.com. Both are available now.Using only an SDI video cable Ingestore enables workstation computers to capture uncompressed and Avid compatible DNxHD media with minimum operator intervention. Using the embedded timecode data in SDI, Fluid Ingestore can automatically trigger the start and stop of captures at pre-defined segments, or by using auto-record mode generate new media files for each new take based on timecode interruptions.Fluid Ingestore harnesses the power of all Bluefish444 video cards.
- Install Matrox Codec Vfw National Headquarters Phone Number
- Install Matrox Codec Vfw National Headquarters Number
Using the Bluefish’s Epoch 4K Supernova and its 4 HD/SD SDI connections will enable Ingestore systems to simultaneously capture: Four channels of independent format and frequency HD/SD SDI video; Uncompressed 4:2:2 video formats; and Avid-compliant OP-ATOM DNxHD media files.Fluid Ingestore users can capture multiple simultaneous streams of HD/SD SDI into uncompressed 4:2:2 8/10-bit files. Hollywood — Bi-coastal post house Light Iron has hired Marc Vanocur for a newly created position of Chief Operating Officer.“Bringing Marc to Light Iron is an investment in our executive leadership,” says CEO Michael Cioni. “Marc’s experience leading post companies through growth and technological change is going to be critical as the industry continues to move in new directions.” The company expanded its staff by 50 percent in 2013.Vanocur previously held executive roles at Technicolor, Todd-Soundelux, and Weddington Productions, overseeing business operations and navigating technological change. “Light Iron has been at the forefront of the file-based evolution in picture,” remarks Vanocur.
“Having led sound companies through the same transition, I look forward to advising the company on leveraging its tech acuity for continued growth.”Light Iron (www.lightiron.com) first opened its doors in 2009 with just four employees. After developing a successful business in mobile dailies systems known as Outpost and producing the digital intermediates for landmark features such as David Fincher’s The Girl with the Dragon Tattoo, Light Iron expanded from its Hollywood headquarters with a Manhattan facility in 2013.“At a time when other post houses were contracting,” notes Vanocur, “Light Iron had significant expansion. The post industry is going to experience continued consolidation that will close more companies, but Light Iron is poised to take on new markets, opportunities, and challenges.”Among Vanocur’s top priorities in 2014 is creating new strategic and financial partnerships for expanded service offerings. New York — NuContext Creative, led by company founder/executive producer Angela Guice, has launched in New York and named Desiree Tobin VP Production, East Coast.Tobin, who joins NuContext from USA Network where she was director of production for On-Air Marketing for the past four years, will be heading up the New York office.All in all, Tobin was at USA Network for almost a decade. While there she was instrumental in introducing and implementing new technologies in order to increase workflow efficiencies within a demanding promo delivery environment, including the conversation to an all-digital workflow at USA. Prior to her promotion to director of production at USA, Tobin served as senior project manager there for five years.
Prior to her USA Network stint, Tobin was production manager at Strand Communications, a boutique production house.Says Guice, “Having collaborated with Desiree on so many projects over the years, it was clear that she was the perfect fit for our agency and our clients. Desiree has a winning combination of the right relationships, the talent and expertise to build and lead our team here in New York.”NuContext has already had a busy year. In January, the they hit the snowy streets of Park City, Utah, for the Sundance Film Festival and Sundance TV.
The NuContext team collaborated closely with the network’s on-air promotion and branded entertainment team on 11 branded content campaigns for this year’s festival sponsors, which included 30 integrated and branded spots in all. All were conceived, shot, edited, and posted by the NuContext team in Park City and Los Angeles; and aired nationwide on the SundanceTV and AMC through February.To view a selection from the new campaigns, click here. New York — Cinedeck, Sony and Dulce Systems are hosting a 4K workflow seminar this Thursday, February 27 at All Mobile Video in New York City.Cinedeck’s latest software for 4K capture, enables one MX deck to record a master and create all deliverables in realtime, with shared metadata for easy match back and fluid transition from production to post production.At the event you can see the Cinedeck MX4K working with with a Sony F55 and Dulce Systems storage array. Details are below.Date: Thursday, February 27th, 2014Time: 12pm to 3pmPlace: All Mobile Video, 515 W. 57th Street (between 10th & 11th Ave).
Stockholm, Sweden — Stopp Family, an interactive production company based in Los Angeles, New York, London and Sweden, has hired Robert Sundberg as head of their post production unit. His appointment forms a key part of the Stopp Family’s re-brand and future expansion into new markets. He will be responsible for managing the post team, overseeing projects and developing the post unit’s business.Sundberg previously ran his own consultancy Straithill, which focused on business development and product management in a multi national environment for telecommunication clients such as Ericsson and Sony Ericsson. He specified requirements and introduced new products to an organization by gathering information from internal R&D, market analysis and customers. Alongside his consultancy he has run his own media production company focusing on “highlight” films at sports events.Sundberg says, “I see Stopp Family as a leader in its field and I’m looking forward to ensuring it stays in that position by bringing a fresh eye from a different business area.
On a personal level head of post production enables me to bring all my strengths together in a unique role of manager, project manager and business developer in an industry that I’ve loved since childhood.”Pasi Helin, Stopp’s owner/CEO comments, says, “We are delighted that Robert will be joining Stopp Family. I specifically looked for someone outside of the industry to bring a fresh perspective to the role. The industry is evolving rapidly and it requires Robert’s skills and experience to predict where the market is going and to introduce new products into the organization in a positive way.”. By Jennifer WaldenNew York — Just because he is the owner of New York- and Phoenix-based post house audioEngine, doesn’t mean that Bob Giammarco no longer occupies the mix chair.In fact, he recently worked with ad agency Anomaly in New York on the Budweiser spot A Hero’s Welcome, which aired during Super Bowl XLVIII. In case you missed it, the 60-second spot followed the homecoming of Army Lt.
Chuck Nadd — from his trip through the airport back to his home town in Florida, where a parade was held in honor of his return. By Luke HarperWhat happens on the set of an educational show once the cameras stop rolling? Trust us, it’s not pretty. But it is pretty hilarious. And here’s a life lesson for you: When someone calls you to check whether or not you want to work on a puppet show with adult themes, there’s only one answer: let’s ride!Fitz’s Funporium is the creation of E.B. Grzesiak, a veteran team writer for countless crime procedurals and, of all things, children’s television and theater.
She is also an astrophysicist, which is, well, sorta neat. New York — The Sports Video Group, along with HBO, is hosting the second-annual SportsPost NY event on Wednesday, February 26, at the Michael Fuchs Theater at HBO in New York. Leading post production execs, producers, editors, graphics professionals, and technology manufacturers will come together to discuss the industry’s latest tools, projects, and design philosophies.An event highlight is a behind-the-scenes look at HBO Sports’ award-winning reality series 24/7. The team behind the show will share favorite moments and discuss how their production and post workflows help them pull together each episode on time and on budget, delivered with the series’ signature style. The show, which follows two contenders in the lead-up to a major sporting event, took home a Sports Emmy for Outstanding Editing for the fifth year in a row last May.postPerspective’s own Randi Altman will be moderating a panel on post in the cloud, called “Breaking Down Collaborative Walls: Postproduction in the Cloud.” Collaborating in the cloud has been a boon to broadcasters with workflows distributed across in-house and geographically separated facilities.
What can and can’t be done in the cloud, and when is it most useful? What are the economic and creative advantages in shifting workflows to distributed shared networks? How are security and redundancy handled? New York — Hollywood-based Light Iron, a post studio specializing in file-based workflows, has hired executive producer Jean Lane to lead its expanding New York facility.The timing of the addition is no coincidence.
Lane, who was most recently at New York’s Goldcrest, joins just as Light Iron has doubled the square footage at its Soho location. The studio will be focusing on features, television and spot work.CEO Michael Cioni, who is typically based in LA, started spending much of his time in New York leading up to and opening Light Iron in Soho.
He says that Lane’s experience was the right fit for the company. “I directly oversaw our Manhattan launch a year ago, but then looked for a New Yorker to take over the reins as we moved into year two. Jean brings strong managerial, technical, and client relations experience to the team.”Lane, most recently at NYC’s Goldcrest, has led teams there and a Lost Planet Editorial, overseeing post production services for docs and commercials. Her long career also includes creative editorial, production management, and casting.“My role is to build on Michael’s groundwork from last year,” she reports. “I’ll see to it the construction of the expansion is completed as well as continue to build the feature work, round out the team with new hires and make sure operations are running smoothly.”Doubling square footage at the 580 Broadway location, Light Iron’s expansion creates additional edit suites for the company to package with its on-set dailies services and digital intermediate services.“We’ve customized these boutique suites to the New York film community’s tastes,” remarks Lane. “They’re high-end, spacious, and comfortable. And clients love the collaborative integration with picture finishing.”Each edit room is fully customizable to the clients’ needs, with Avid, FCP (7 or X), Adobe Premiere as options.
The studio is running OpenStack private clouds for TNT’s Perception and ABC’s Mistresses.By Randi AltmanLos Angeles — Ramy Katrib and the team over at DigitalFilm Tree have always set their own path. I first met Ramy at NAB in 2001.
He was there looking at tools that would allow him to embrace a data-based workflow, something he thought was the future of post. He thought right.He has spent over 14 years successfully creating data-based workflows for TV series like Scrubs, Cougar Town, NCIS: Los Angeles and feature films like Her. NEW YORK — Nugen Audio has named Simon Kerr as chief marketing officer. Kerr will oversee the company’s global marketing strategy and will manage Nugen’s newly opened North American office in New York City. Their worldwide headquarters is in Leeds, UK.Before joining Nugen Audio , Kerr was director of marketing communications for professional imaging products at Canon USA, leading marketing strategy for the company’s professional SLR cameras, camcorders, and pro A/V products. There he spearheaded the launch and marketing of the Cinema EOS line of cameras.With a background in documentary filmmaking for TV, Kerr lectured in video production at Leeds Metropolitan University in the UK before migrating to New York 15 years ago.“Simon brings a wealth of experience and a deep understanding of the US industry to his new role as CMO, and he’s the ideal professional to lead the effort to expand our presence in North America,” says Jon Schorah, founder and creative director, Nugen Audio. “Establishing a base in New York will help us more directly reach and support the North American broadcast and post-production marketplace, and will enable us to provide enhanced service for our rapidly growing user base in the U.S.”Nugen’s new North American office is located at 59-26 Norman St., New York, NY.
Install Matrox Codec Vfw National Headquarters Phone Number
Install Matrox Codec Vfw National Headquarters Number
New York — Thanks to an annual deal with Audio Network, a provider of production and stock music for television, film and video, Vice, the global youth media brand, Website, online magazine, and more, will have unlimited access to Audio Network’s music library for worldwide use across Vice’s network of platforms.According to Juliette Squair, managing director of Audio Network , “We’re incredibly excited to work with Vice (which has evolved from a print publication into a global powerhouse in culture and media. Audio Network’s continued investment in its fast-growing music catalogue will ensure that Vice’s production teams will be able to complement their video content with perfect high quality tracks.”Audio Network, which has offices in London, Sydney, Toronto, Munich, New York, LA and Amsterdam, currently offers over 69,000 original tracks, covering every musical genre from full orchestral pieces to hip-hop, and has a composer base of over 450 artists. Dallas — The three key players at Red Car’s Dallas division have purchased the company’s regional office and rebranded it as Republic Editorial.Republic Editorial’s new ownership team consists of senior editor Chris Gipson, senior editor Keith James and long-time managing director Carrie Callaway. West Hollywood – Academy Award-winning supervising sound editor and sound designer Lon Bender has joined Formosa Group , a sound post company working with film and interactive clients.“I am delighted to join my friends and some of the motion picture sound industry’s most respected veterans at Formosa Group,” said Bender, one of the founders of Soundelux, where he worked for more than 30 years. “It was a difficult decision to leave the company I founded and built over three decades, and the friends working there, but the community which is Formosa is a great support to my creative endeavors.”Bender won an Oscar, BAFTA and two MPSE Golden Reel Awards for the Sound Effects Editing for Braveheart (shared with Formosa Group’s Per Hallberg). He won Golden Reel Awards for T he Hunchback of Notre Dame and Pochahontas. Bender was also nominated for an Oscar for Drive and Blood Diamond, and a BAFTA for Shrek and The Last of the Mohicans.He won a scientific and technical award from the Academy of Motion Picture Arts and Sciences for the Advanced Data Encoding System.
He has received a total of 26 Golden Reel Award nominations spanning 23 films over the past three decades.His credits include more than 125 movies. He was supervising sound editor and/or sound designer on films including August: Osage County, The Hunger Games, Drive, Shrek, Prince of Egypt, Mulan, Pochahontas, Braveheart, Legends of the Fall, Glory, Bull Durham, The Princess Bride, Stand By Me, and Ferris Bueller’s Day Off. Sofia, Bulgaria — Chaos Group’s new V-Ray 3.0 for Autodesk’s 3ds Max is now shipping. And thanks to optimizations to the raytracing core, Brute Force GI, Progressive Path Tracing, Reflections, Refractions and more are running up to five times faster; while the new Progressive Production Renderer brings fast set-ups and quick iterations.“When your customers come from a variety of industries like architecture, product design, games, and VFX, the feature requests can be fairly diverse,” said Vlado Koylazov, lead developer and Chaos Group co-founder. “But speed and simplicity benefit all artists, so they are at the core of 3.0’s development.”V-Ray 3.0’s new interface is designed with experienced users in mind. Three UI modes (Basic, Advanced, and Expert) can be selected to match an artist’s preference.
The new V-Ray toolbar includes Quick Settings with dropdowns for production-ready presets for common uses like Archviz Exterior, Archviz Interior, and VFX. Settings for Quality and Shading Rate can be fine-tuned with easy-to-use sliders, making the entire process highly intuitive.VFX artists will find that V-Ray 3.0 offers improved Subsurface Scattering (SSS) including options for object-based and ray traced illumination, faster hair rendering speeds (up to 15x), view-dependent tessellation that automatically smoothes hair curves, and a dedicated Skin Shader with layered reflections. Now with UDIM and UVTILE support, it’s even easier to move Mari and Autodesk Mudbox assets into V-Ray.“Our game cinematics are usually packed with epic action scenes, huge environments, multiple characters with hair and SSS, fire, explosions, debris, all with 3D motion blur and render passes. That’s a lot to work with, but V-Ray makes it easy to get the job done,” said Kevin Margo, VFX supervisor at Blur Studios, one of the software’s beta testers.As an industry standard for large environments and complex scenes, V-Ray’s recent use on ILM’s Star Trek Into Darkness, Pacific Rim and The Lone Ranger has proven why it’s become such a dependable part of the pipeline for the digital environments and matte painting team.“When we started The Lone Ranger, we changed some of the toolsets under the hood: we went strictly over to 3ds Max, using V-Ray as our renderer. That was the final piece of the puzzle. Culver City — Jenny Fulle, visual effects producer and founder of The Creative-Cartel, and Rory McGregor, CEO of Cospective, are now offering integration between Cospective’s cineSync review and approval technology and The Creative-Cartel’s Joust digital workflow management system.This integration with cineSync will allow live, streaming, interactive reviews that can be carried out from within the Joust interface. With the addition of the cineSync technology, Joust Review (a component of the overall Joust system) will be an even more powerful tool for filmmakers, allowing them to easily collaborate on shot reviews.Users will be able to comment on shots as soon as they become available and give precise, frame accurate feedback to a team of artists that may be spread across different facilities, cities, or even countries.
As a Web-based tool, Joust Review does not require any software installation, or downloading of files.For guests invited to review material, joining the review is a simple and intuitive process. All notes, annotations and thumbnails can be saved out for import into other production/VFX tools and will be stored within Joust for future reference and easy sharing among the team.Joust will also be integrated with Cospective’s Academy-Award-winning cineSync Pro, Cospective’s application-based review and approval system for high res and stereoscopic material. This will allow users to easily transfer media from Joust to cineSync Pro when they require the most robust review tools.“This addition truly cements Joust as the all-in-one tool for managing and reviewing digital media,” says The Creative-Cartel’s Jenny Fulle. “We are thrilled to be working with Cospective and are excited about the accessibility this integration will give our filmmakers.”Joust is a Web-based application created by The Creative-Cartel to streamline the digital workflow of a project, from production through post. It puts control of digital assets and metadata in the hands of production where they can be accessed and used quickly and efficiently. Joust acts as a repository for all reference material and metadata during principal photography, including data wrangling information, camera notes as well as color information for each shot.
It is also includes a dailies and vendor review system and the ability to create bid packages, watermark images, and automate vendor submissions.“We are very excited to be integrating our technology with Joust,” says Cospective CEO Rory McGregor. “The Creative-Cartel have built a platform we believe will help revolutionize the digital production pipeline and really streamline the filmmaking process”.Photo: Courtesy of The Creative-Cartel. London — Codex has hired Jens Rumberg as its new director of product strategy. Rumberg brings over a decade of experience in motion picture image-science, digital camera and workflow development to Codex, and will focus on developing the company’s current and next-gen product ranges for motion picture and high-end TV production and post.He comes to Codex following a 10-year stint in senior technology — roles at Arri, Germany.
He was most recently the technical supervisor of Arri’s popular Alexa XT digital cinema camera, whose pioneering in-camera recording and workflow capabilities were developed in collaboration with Codex.Rumberg studied solid-state physics at The Technical University, Berlin, and completed a PhD in experimental physics at Victoria University Wellington, New Zealand. He then worked in high-precision, optical measurement systems, and executive produced the sci-fi short Invasion Of The Planet Earth, before joining Arri in 2004 as senior software architect on the ArriScan film scanner team.In 2009, Rumberg headed Arri’s software development team for the Alexa digital cinema camera system, and became overall project leader after the product started shipping in 2010. In this role he was responsible for the on-going development of the Alexa Studio and Alexa Plus camera platforms, which included the introduction of high-quality recording at high frame-rates (HFR), and the implementation of DNxHD and ProRes codecs.Rumberg went on to become Alexa’s primary contact for strategic technical partnerships, with companies such as Apple and Intel.
In 2012 he was technical supervisor for the Alexa XT project. Working closely with Codex to develop and bring the Alexa XT successfully to market, this latest addition to the Alexa family ushered in uncompressed ArriRaw recording at up to 120fps.“The digital media landscape is constantly evolving, and Codex is constantly looking at new technologies and technology partnerships that further streamline and enhance production and post production processes for feature and TV production,” said Marc Dando, managing director of Codex. “Jens’ addition to the Codex team, who he already knows through successful collaboration, is a perfect fit and gives added momentum to our product strategy as the company moves forwards with these goals in sight.”Codex recording and workflow technology has been used on hundreds of motion picture productions worldwide. Recent and upcoming releases to rely on Codex products include: Prisoners, The Wolf Of Wall Street, All Is Lost, Captain America: The Winter Soldier, X-Men: Days Of Future Past, A Winter’s Tale, Gravity, Need For Speed and The Book Thief.