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Copyright © 2004 -
Information Today, Inc.

August 31, 2009

Table of Contents

Adventures in Extreme Concept Filmmaking
CoreMelt Releases: Lock & Load - The Worlds Fastest Stabilizer for FCP!
Hercules Unveils New Era of Mini Webcams Featuring Ultra-Mobility and High Definition
Eye Scream Factory Releases DVD Art Professional Volume III
Addonics Unveils Portable Blu-ray and DVD/RRW Drives With Built-in eSATA and USB Interface
Panasonic Introduces New AJ-HPM200 Solid-State P2 HD Mobile Recorder/Player
Pixound Jam Studio Gets New Features and Better Functionality in Lates Release
Class On Demand Rolls Out Comprehensive Video-Based Training Program for GenArts Sapphire

Adventures in Extreme Concept Filmmaking

One of the most common refrains we hear in the wedding film world when we see, say, a model-like Vantage Point bride luxuriating on a white-sand beach, Jeff Wright shooting from a helicopter, David Robin unveiling a mind-bending 3D photomontage, or Kevin Shahinian premiering a Bollywood mini-epic, is "You couldn't do that in my market," "You could only do that in California," or, in the case of a jaw-dropping same-day edit shot at a wedding venue that's lit like a Hollywood set, "Only in the Philippines."

After this article hits, I suspect we'll have to add "Only in Cincinnati" to that list. Say what? Cincinnati?

If you don't think extreme, high-end, genre-bending wedding concepts will sell in mid-level, middle-America markets, consider what Steve Zugelter of Studio+Z Films (formerly Glass Eye Video) has been up to lately. A year or so ago he did a combined same-day edit/trash the dress that conveyed the illusion that the bride and groom were trashing their wedding finery en route to the reception before pulling back the curtain and revealing them (in their first post-ceremony appearance) in all their wedding-day splendor.

This summer, he's been involved in an extreme wedding concept that ratcheted up the "X" factor several more notches. Allow me to set the scene:

The bride and groom imagine a surprise wedding. They explain to their invitees that they're really getting married in a private, family-only ceremony at a destination locale, and what the guests are really being invited to is a prewedding celebration. But said reception will, in fact, become the real wedding.

These surprise weddings seem to be an emerging fad these days, so no big, uh, surprise there. Where they veered off course was their next step: Having no clue how to pull off the surprise wedding or how to embellish the idea in any way, to whom did they turn? Their wedding planner? The venue staff? No, they asked their videographer. They found him on Google, called him up, told him what they were doing, and asked him for input. Zugelter took a deep breath and said, "If we're gonna surprise them, let's go beyond turning on the lights and yelling surprise. Let's create something that will change your night from a surprise wedding to something bigger," with a full-fledged concept video that would tell a story that would culminate in the surprise.

Then his wheels started turning and the idea started coming together. "I never thought she'd go for it. But then she came in with check in hand."

photo by Kortnee Kate

Surprise, Surprise
When Zugelter started Glass Eye Video in 2004, he never expected to shoot weddings. He had his sights set on corporate and commercial work. His wife, Reagan, who was shooting with him, said, "You're going to have to do weddings," with the inference that weddings would be a necessary building block for the business he wanted to develop. "But I don't want to be that guy," Zugelter said.

Photo by Kortnee Kate

He took her advice nonetheless and quickly became exactly what he didn't want to be. "I shot weddings for a year and a half, looked at my work, and it was the same as everyone else: slo-mo, black and white. Then I Googled ‘award-winning wedding videography' and Josh Smith [of CINEMATICBRIDE] came up. I showed his work to my wife and said, ‘I'm going to do this as well.'"

Shortly thereafter, Zugelter saw what Patrick Moreau and StillMotion were doing, and he concluded that there were opportunities to do original, imaginative things in wedding production that he hadn't before imagined-the type of opportunities that he hadn't found enough of in his corporate and commercial work. "Corporate and commercial pay well, but you have no creative freedom, especially if you're dealing with an ad agency," Zugelter says. "With weddings you've got all the creative freedom."

As Zugelter began to develop his own style, his wedding video business began to take off, and he went full time in 2007. "Since I got to where I could create the kind of films I want for great people who are excited to have me there and love my style, I've never looked back."

Becoming ‘That Guy'
Five years after Zugelter confessed his fears of becoming "that guy"-that is, not so much the old wedding videographer stereotype with the bulky equipment and awkward presence as the newer videographer stereotype, whose formulaic, romantic, cinematic work is indistinguishable from everyone else's-he found himself becoming "that guy" for brides looking for something different and out-of-box.

Little did he know, however, that he would find a bride willing to entrust all the drama and theatricality of her surprise wedding to him. But entrust it to him she did, and he determined to make the most of it.

Water Tower Cinematography
First, he came up with the concept: The film (Daphne + Jason: The Concept & Secret Wedding, which you can see on the Studio+Z blog, www.studiozfilms.com/blog) would construct a simple proposal storyline incorporating some key props-the groom's mint '69 little red Corvette and his jet ski-and some daring locations: a silolike building in downtown Cincinnati with a water tower on top called Longworth Hall, and a quarry owned by the groom's family.

In building the concept, Zugelter followed the first rule in the guerilla filmmaker's handbook: "Let's utilize all our resources." Because the groom's family "owned this aggregate company where they mine and crush rocks," the Studio+Z crew could make dramatic use of the quarry and the heavy machinery there. Because the groom wanted to see his car and jet ski in the film, there was no reason not to use them to great effect. Because the bride's family owned an airport, they had access to helicopters, and they could do some aerial shooting around the water tower. Zugelter says he did the helicopter shots with a rented handheld gyro.

Photo by Kortnee Kate

But things didn't go all as planned with the "rogue-style" shoots, particularly with the key downtown building location. "I showed up there the Sunday before Memorial Day to scout it," Zugelter recalls. "The place is condemned. We're one stairwell from the top, and we met a guy who told us, ‘We're tearing this building down in a week. Get out or we're calling the cops." Fortunately, Cincinnati seems to have more than one building with a water tower on top-on the same block no less. The Studio+Z crew signed a waiver, and they were in. Now all they had to do was convince the bride to climb up the water tower (which, again, is on top of a five-story building) with no harness.

The Film
The film begins with shots of the groom romantically arranging rose petals a bed and leaving a note. The bride finds the note, which says, "Meet me at the Hall"; she also finds a wedding gown hanging in front of her closet. After some fairly familiar bridal prep shots (earrings, dress, shoes, etc.), we see the bride and groom in separate cars (the groom in his mint red '69 Corvette) driving (presumably) to "the Hall." The groom then enters the building. In the next shot, we see him climbing up a rusty, white ladder in his tux. There, at the top of a water tower on top of the building he meets the bride, in her wedding dress, and aerial shots follow.

Studio+Z Films Daphne + Jason

Then, we're back out on the road, in the red Corvette. Next, we see the couple staging a romantic dinner at the quarry. The bride uncovers her dinner dish and sees another note: "Will you marry me ... tonight?" They climb up the rocks together, and after a few more great gyro shots and a little celebratory wave-runner jaunt in the lake in the quarry, they're off to the church for an intimate ceremony with immediate family only.
The film ends as the couple steps to the altar in front of the officiant and faces each other. But naturally, that's just when the "magic" begins. "Just when you think you've seen it all," Zugelter says, you see the bride and groom in silhouette behind the screen. Then, the curtain rises to reveal the bride and groom-live and in person-in wedding gown and tuxedo, with a real officiant, ready to perform their real wedding. And this is when the excitement happens for Zugelter too: "For me, it's not so much about the production itself as the guests' reaction."

The Premiere
"The whole event was designed by Joe Rigotti, an event design rock star here in Cincinnati," Zugelter says. "He made the place look like a South Beach lounge; it was beautiful. For the first hour of the event, Daphne and Jason were greeting their guests and playing into the story of their wedding being the following weekend. She was wearing the first dress you see in the film during this time. The guests were excited, but [they] also had no clue what was about to happen. About 45 minutes into the event, Daphne and Jason left the room separately to avoid suspicion, and headed to their room in the hotel to change. At this point, Daphne's brother took the stage, welcomed the guests, and continued with the story of the wedding being the following weekend. Her dad then took the microphone and also welcomed the guests, and introduced the film. At this point, Daphne and Jason had already taken their places behind the screen and the film started to play. You could feel the energy in the room escalate as the story in the film was building. At the moment the film faded to black, a backlight came on, silhouetting Jason, Daphne, and the priest on the screen. Simultaneously, the screen began to rise. At that point the guests went nuts as she was there in her wedding dress, he in a tuxedo, along with a priest," Zugelter recalls.

photo by Cindy Wagner

"The funny thing," he adds, "is that I don't think they understood what was happening until the priest introduced himself and said that he had the honor of marrying Daphne and Jason that night. It was at that point the energy went through the roof and the guests erupted into thunderous applause. They went forward with the ceremony, and at the end, her brother said a couple more words and then there were a couple more toasts given by people that were totally oblivious to this whole production. At the end of the toasts, Daphne and Jason took the microphone and gave me the greatest ‘thank you' I've ever received. She mentioned how she had a simple idea and I created this elaborate production and how they couldn't be happier with it all!"

What's Next?
"I would love to do more of these," Zugelter says, as he looks ahead to a future with a new studio name, better branding, and some solid concept film credits to help him move forward. "One thing I really miss about my commercial background is the directing aspect, the chance to bring my vision to life. Weddings are so structured, we all try to do this, but we can't. Calling the shots, getting them set up-I really love it."
That said, part of Zugelter's message is that it can be done, by booking concept-type productions that occur outside the business of the day-or, better yet, integrate with it, and extend the magic and theatricality of it. After all, apart from its spiritual elements, what is a wedding but an event designed to dramatize a couple's commitment and staged for the people who matter to them most? And who better to capture and enhance that drama than "that guy" with the camera, the filmmaker with a knack for visual storytelling?

Maybe you aren't plying your trade in the high-end wedding haven of The O.C., and you don't get to work seven-figure events on white-sand beaches. But if your market is better-known for its derelict downtown buildings with rusty water towers on top, who knows--you just might become that guy.

Click here to watch Daphne + Jason on Exposure Room.

Stephen Nathans-Kelly (stephen.nathans at infotoday.com) is editor-in-chief of EventDV and program director of EventDV-TV.

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CoreMelt Releases: Lock & Load - The Worlds Fastest Stabilizer for FCP!

CoreMelt today announced the release of Lock & Load, the worlds fastest video stabilizer for Final Cut Pro. Lock and Load takes shaky footage and makes it usable. Just select the clip, analyze it 6 times faster than Smoothcam, and playback the smoothed clip. That's it, instant gratification, even on clips with complex rotation motion or camera zooms. Lock and load is capable of intelligently ignoring foreground motion even on busy scenes or with dark backgrounds.

Lock & Load's advanced features:

* No need to choose tracking points, Lock & Load intelligently analyzes the entire clip for you, just select the clip and go.

* With intelligent adaptive zoom, Lock & Load will automatically compensate for differing levels of movement and zoom in to remove edges.

* Removes or smooths rotation and zoom changes as well as X and Y movement.

* Analyses only the portion of the clip you select, no need to export and re-import long clips.

* Works with all kinds of footage, no "too much movement" errors.

* Gives smoother and more fluid results on all types of footage from landscapes to city scenes.

* Intelligently ignores foreground motion.

* Multithreaded motion analysis uses all processors on your system.

* Realtime preview of the smoothed clip without rendering.

* No learning curve, instant intuitive user interface, works directly on the FCP timeline.

Product Comparisons:

Speed compared to Smoothcam:
Lock & Load: 6x
Apple Smoothcam: 1x
Magic Bullet Steady: 1x
Boris Optical Stabilize: 3x

Smoothes Rotation and Zoom:
Lock & Load: Yes
Apple Smoothcam: Yes
Magic Bullet Steady: No
Boris Optical Stabilize: Yes

Fast Preview/Render:
Lock & Load: Yes
Apple Smoothcam: No
Magic Bullet Steady: Yes
Boris Optical Stabilize: No

Analyses in/out only:
Lock & Load: Yes
Apple Smoothcam: No
Magic Bullet Steady: Yes
Boris Optical Stabilize: No

Smart Adaptive Zoom:
Lock & Load: Yes
Apple Smoothcam: No
Magic Bullet Steady: No
Boris Optical Stabilize: No

Fully Keyframable:
Lock & Load: Yes
Apple Smoothcam: No
Magic Bullet Steady: No
Boris Optical Stabilize: No

Lock & Load: Normally $149
Apple Smoothcam: NA
Magic Bullet Steady: $199
Boris Optical Stabilize: $99

Minimum Requirements:
* Mac OS X Version 10.5.4 Leopard or higher
* Final Cut Pro 6 or later.
* Universal Binary for PowerPC and Intel
* G5 Processor, 1GHz or faster
* Dedicated 128MB or higher Graphics memory required (256MB required for HD rendering)
* 100 MB Hard Drive space for CoreMelt Complete

Pricing and Availability:
Lock & Load normally retails for $149 (USD). Until 8 September the Special Introductory price is $129. If you already own CoreMelt Complete V2, you can buy Lock & Load for only $99!


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Hercules Unveils New Era of Mini Webcams Featuring Ultra-Mobility and High Definition

Hercules, a specialist in IT devices including multimedia speaker sets, webcams, DJing solutions and consumer-friendly WiFi products, debuts a new era of mini webcams for notebooks with the Hercules Dualpix HD720p. This ultra-mobile high definition webcam solution brings 720p of high definition resolution to the mobile user generation. Whether serving in the military, a student studying abroad or a parent away from home, this new breed of webcam will help you stay connected starting in early September 2009 for the SRP $59.99 at Buy.com, NewEgg.com, Dell.com, Amazon.com and Walmart.com.

The Hercules Dualpix HD720p has the capability of rotating on two axes for the best angle, capturing pictures and angles unachievable by earlier models of webcams. No matter how far away from home you are, with the wide-angle auto focus lens, exceptional image quality even in low-light conditions and a built-in microphone, you will feel like you are home with your loved one. At the start of each chat session the Dualpix HD720p will automatically rotate the picture angle and detect your position, further angle adjustment during the chat session can be achieved by using the software.

Specifically designed for laptop PC's, the Dualpix HD720p features a new, highly secure attachment system that allows you to travel safely and move your computer around as needed without the webcam coming loose. The two rotational axes allow vertical or horizontal placement on the top or the sides of the screen and the wide-angle lens shows the room behind for the perfect video capture. It also features the Hercules Xtra Controller Pro software suite which enables users to share photos, videos and live music tracks during the conversation, thus eliminating the need to send these files prior to the virtual meeting.

Product Specifications Include:
• 1 megapixel CMOS sensor (1280 x800 pixels) for perfect image quality, even in low-light conditions
• 5 Megapixels photo resolution (interpolated mode)
• HD720p (1280x720pixels) video resolution with up to 30 frames per second for perfect flowing 16/9 HD videos, ensuring the most realistic images ever
• Wide angle autofocus lens with 3x zoom
• High-quality built-in microphone
• USB 2.0 Video Class (UVC) interface for high-speed transfers and ultra-simple driver free installation
• Compatible with videoconferencing applications including Windows LiveTM Messenger and MSN® Messenger Skype®, Aol Instant Messanger® and Yahoo!® Messenger
• Compatible with Windows® XP, Vista 32/64 bit and Windows® 7
• Dimensions: 28 x 55.4 x 62mm

Discover the complete Hercules webcam range at www.hercules.com.

About Guillemot Corporation:
Guillemot Corporation is a designer and manufacturer of interactive entertainment hardware and accessories. The Group offers a diverse range of products under its Hercules and Thrustmaster brand names. Active in this market since 1984, the Guillemot Corporation Group is currently represented in 11 countries, including France, Germany, the United Kingdom, the United States, Canada, Belgium, Holland, Hong-Kong, Romania and Italy, and distributes its products in over 30 countries worldwide. The group's mission is to design high-performance and user-friendly products to improve the satisfaction of users of interactive digital entertainment solutions.


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Eye Scream Factory Releases DVD Art Professional Volume III

Eye Scream Factory, the Boston-based creative team providing time-saving design templates and royalty-free content for media hobbyists and professionals, today announced the availability of Eye Scream Factory DVD Art Professional Volume III. These stunning, all-purpose DVD menu and packaging design templates can easily be modified using Adobe Photoshop and imported into leading DVD creation software. The menu templates may also be modified in Adobe Encore and Adobe After Effects; this streamlined process offers tremendous time savings for any videographer.

"DVD Art Professional Volume III is the perfect tool for high-volume DVD menu and packaging production," comments Jordan Stabile, Product Manager, Eye Scream Factory. "Many of the design elements are separate Photoshop layers allowing for virtually unlimited customization. Additional customization is facilitated through photo and video drop zones as well as color adjustment layers for creation of strikingly different looks."

About DVD Art Professional Volume III
DVD Art Professional Volume III includes 20 themes and 240 templates for DVD menus, disc labels, and case inserts. Videographers can create new looks and styles by adjusting colors, changing text, or moving layers. DVD Art Professional Volume III features a variety of all-purpose templates suitable for a wide range of DVD projects. Many design elements are separate Photoshop layers providing limitless possibilities for new, unique DVD menus, disc labels, and case inserts. Each template set additionally includes photo and video drop zones.

Eye Scream Factory products support a range of media resolutions and formats including HD, NTSC, and PAL. The templates are compatible with any Windows or Macintosh DVD authoring application that imports .PSD files. Tutorials and sample templates are available on the Eye Scream Factory web site at http://www.eyescreamfactory.com/.

Pricing and Availability
DVD Art Professional Volume III is available immediately for $99.95 USD. Eye Scream Factory products can be purchased via download through the Eye Scream Factory web site at http://www.eyescreamfactory.com/.

About Eye Scream Factory, Inc.
Based in Boston, Massachusetts, Eye Scream Factory is a provider of royalty-free animations and time-saving design templates for DVD menus, disc labels, and case inserts. By using Eye Scream Factory's professional, high-quality DVD art, videographers are able to create eye-catching, polished DVD menus and packaging in minutes. The company's products are ideal for wedding, event, and corporate videographers as well as hobbyists.

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Addonics Unveils Portable Blu-ray and DVD/RRW Drives With Built-in eSATA and USB Interface

Addonics Technologies (www.addonics.com) today announced the Pocket Blu-ray/DVDRW and the Pocket DVD-RRW drive. They are believed to be the first portable optical drives with built-in eSATA and USB interface.

The Pocket Blu-ray/DVDRW is a portable Blu-ray player, DVD player and burner that comes with the extremely fast eSATA and the ubiquitous USB 2.0 interface.

With the Blu-ray player, you can turn a notebook or desktop computer into a high definition cinema and enjoy the high definition video quality and the dynamic sound effects of Blu-ray.

The Pocket Blu-ray/DVDRW supports practically all types of DVD or CD content from Blu-ray discs to regular DVDs and CDs in various file formats. It is also a high speed DVD+/-RRW and CDRW burner.

When connecting to eSATA port, users experience throughput up to 3Gbits/sec for the DVD recording and the smooth playback of Blu-ray and DVD movies. The USB 2.0 interface lets the Pocket Blu-ray to attach to practically any computer.

Designed to work in the latest Windows, Mac and Linux OS, this Pocket Blu-ray/DVDRW can also be powered from most of the USB ports for true portability in mobile applications.

The Pocket DVD-RRW drive comes with both high speed eSATA and the ubiquitous USB 2.0 interface. When connected to an eSATA port, you are assured of the fastest DVD writing and smooth movie play back. The USB interface lets you attach to practically any computer.

The new pocket drive also comes with a choice of light weight plastic enclosure or a rugged anodized aluminum casing for use in harsh conditions. The pocket drive is ideal for pairing with a notebook since it can be powered directly from most USB ports. The Pocket DVD-RRW supports practically all types of DVD or CD contents in various file formats. The bundled software also supports mastering and copying of DVD and CD material under Windows OS.

Pricing starts at $235 for the Blu-ray and $99 for the Pocket eSATA/USB DVD-RRW.


Addonics products are available through the company online store www.shopaddonics.com, major catalog companies, resellers, VARs and distributors, including Amazon.com, PC Connection, CDW, Buy.com, Provantage.com, Insight, and Ingram Micro.

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Panasonic Introduces New AJ-HPM200 Solid-State P2 HD Mobile Recorder/Player

Panasonic introduced its new solid-state AJ-HPM200, a P2 HD mobile recorder/player featuring an exciting range of new editing, recording and AV/IT connection functions, and multi-format compatibility including optional AVCHD support. 

The HPM200 offers all of the popular features found in its predecessor, the AJ-HPM110, and adds new functionality including: enhanced cuts editing with separate source and record windows, full-frame rate playback from external disk drives, AVCHD compatibility (with the AJ-YCX250G option card), up-conversion of live video inputs in real time, FTP and Giga-bit Ethernet interfaces for expanded network connectivity and 24p Time Code input for production applications, including use as a source for a traditional dailies process.

With DVCPRO HD and AVC-Intra standard as well as optional AVCHD compatibility and expanded input/output connections, the HPM200 P2 Mobile is the most comprehensive and versatile master-quality HD field recorder and can be used with virtually any camera. The field recorder offers 10-bit independent frame 4:2:2 quality recording in a variety of high definition formats and frame rates, including 1080p (native), 1080i and 720p, and also records in standard definition DVCPRO50/25 and DV.

The HPM200's AVCHD compatibility gives users more options for content management, backup recording and distribution. Professionals can play back AVCHD content on an SD card using the unit's SD card slot, convert P2 content to AVCHD for low bit rate distribution over the network, convert AVCHD to P2 to edit in a P2 project, or record P2 and AVCHD simultaneously for backup or distribution, especially useful for producing on-set dailies. SD cards with AVCHD content can be inserted into and played back on a growing number of consumer playback devices with SD card slots, including Blu-ray players, select plasma displays, game consoles and more.

With enhanced editing functions and network capabilities, the HPM200 has increased appeal for use in production facilities, news, sports, and live event staging applications. The HPM200's split screen function displays both the source and recorded images simultaneously for easier editing. The new P2 Mobile adds new features such as clip exchange, multiple clip selection, undo/redo last action, auto record, and text memo. The HPM200 also offers two-channel voice over recording and real-time audio memory during playback (adjust and save audio levels during playback).

The HPM200 is equipped with the range of audio/video and IT connections offered in the HPM110, including HD-SDI input/output, analog component/composite and audio, IEEE 1394 and USB2.0. The new field recorder adds compatible AES Digital audio inputs/outs as well as high-speed eSATA and Giga-bit Ethernet (GigE), which provide users with even more choices to enhance workflow. The HPM200 can ensure the highest recording quality with 10 bit 4:2:2 AVC-Intra or compatibility with existing DVCPRO editors when connected to any HD-SDI equipped camera, camcorder, deck or device. Professionals can then randomly access and view content selected via thumbnail clips on the unit's built-in 9-inch LCD monitor.

The HPM200 is ideal for transitioning ENG users shooting SD on Panasonic P2 HD camcorders to HD field editing. It's the perfect workflow tool when a project or news story is shot using P2 HD and AVCCAM camcorders. The HPM200 can convert edited clips to AVCHD for more convenient handling; the clips can then be transferred to an FTP server via GigE or saved on an SD card for storage or distribution. Users also have the option of connecting a hard disk drive directly to the unit via eSATA for faster transfers and access to content. Additional valuable features, similar to the HPM110, include RS-422A for remote control operation, a range of recording functions including loop record, eight 16-bit digital audio channels, built-in waveform monitor and vectorscope, broadcast-level editing controls with a jog/shuttle dial (100x forward/reverse speed) and audio faders, an SD card slot and assignable user files.

The HPM200 has the durable, compact P2 Mobile laptop-style design, with a magnesium die-cast frame for easy transport. It operates on either AC or DC power and is backed by a five-year limited warranty program (Panasonic Broadcast's normal 1-year basic warranty plus an extended warranty for years two through five upon product registration).

The HPM200 will be available this October at a suggested list price of $16,000. The AJ-YCX250G AVCHD option card will be available at a suggested list price of $3,000.

P2 HD all solid-state products offer high definition recording without the mechanical wear and environmental limitations of tape, hard disk, and optical disc based systems. P2 HD ensures the highest

reliability, especially in challenging conditions of extreme temperature range, shock, and vibration. P2 HD products provide a significant reduction in maintenance costs, longer useful product life, and immediate access to recorded video (no need to digitize, ingest or create proxy video files) and metadata. P2 HD provides the reliability of solid-state production; the immediate connectivity to existing IT infrastructures; the speed, ease of use and portability of P2 cards; and the interoperability with leading NLE systems.

About Panasonic Broadcast
Panasonic Broadcast & Television Systems Co. is a leading supplier of broadcast and professional video products and systems. Panasonic Broadcast is a Unit of Panasonic Corporation of North America. The company is the principal North American subsidiary of Panasonic Corporation (NYSE: PC) and the hub of Panasonic's U.S. branding, marketing, sales, service and R&D operations. For more information on Panasonic Broadcast products, visit www.panasonic.com/broadcast.

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Pixound Jam Studio Gets New Features and Better Functionality in Lates Release

Techné Media has released version 2.04 of Pixound Jam Studio software for Mac. The software allows users of all levels, to translate colors and images into music and allows the user to "play" pictures with a mouse or graphic tablet.

The Pixound Jam Studio has an endless number of uses from education, toys and games, professional musical and dance performances, and aids for the visually impaired. Inventor, Peter McClard says of his creation, "The most important use for Pixound is to have fun. Fortunately, that's a given if you like music, like pictures and enjoy new experiences because Pixound immediately delivers on all of these."

For more information about Pixound or to download a free demo of Pixound Jam Studio, please visit: www.pixound.com.

This version has several new features to make the jamming experience more expressive and exciting. These features include six new drum patterns and three new bass patterns, which accompany the user while playing their pictures. The engineers at Techné Media also added new capabilities to control how the red, green and blue components of the images are turned into music. This allows the tempo, volume and octave of red, green and blue voices to be set independently. The engineers also added new features for MIDI synthesizer users to get more out of the program. Furthermore, a number of bugs were fixed, making the overall user experience less frustrating and more fun.

Pixound 2.04 includes an improved Groovology DesktopTM function, creating new musical mixes as the user navigates to different windows on their Mac. All performances can be recorded and imported into iTunes.

A free, demo of Pixound Jam Studio can be downloaded at http://store.gluon.com/TechneMedia/PixoundJamStudio.dmg.

Pixound Jam Studio can be ordered online for $99. For more information and to purchase, please visit www.pixound.com.

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Class On Demand Rolls Out Comprehensive Video-Based Training Program for GenArts Sapphire

Class on Demand®, a provider of professional educational products for creative markets, announced the availability of the highly anticipated "Complete Training for GenArts SapphireTM". Recognized by top studios and post-production houses for its image quality, organic look, speed and intuitive controls, Sapphire provides more than 200 state-of-the-art image processing and synthesis effects plug-ins. The video-based curriculum follows the award-winning Class on Demand training methodology; offering expert instruction on Sapphire effects workflows for Adobe® After Effects® and Apple® Final Cut Pro® applications in a highly engaging, modern on-demand delivery format. GenArts' first authorized training program, "Complete Training for GenArts Sapphire" is hosted by GenArts' own Todd Prives, a well-known international conference speaker and Sapphire expert.

"GenArts Sapphire has established itself as the must-have tool in the arsenal of the world's best visual effects artists and editors", says Steve Bannerman, CMO of GenArts. "Tight production deadlines often make it difficult for users to explore the depth and breadth of what Sapphire can do. We're excited about Complete Training for GenArts Sapphire because it offers users of all experience levels an excellent way to significantly enhance both their creativity and productivity without sacrificing their schedules."

"With many of our existing clients working in Final Cut and After Effects, 'Complete Training for GenArts Sapphire' is a tremendous value add for our audience and training catalog," says Paul Holtz, CEO and founder, Class on Demand. "With almost a decade of industry experience, Todd's hands-on training resonates with any artist or editor looking to examine and master Sapphire's full potential. Complete Training for GenArts Sapphire is a perfect match for the avant-garde GenArts artist."

"Complete Training for GenArts Sapphire" helps new users quickly acclimate to the sophisticated workspace whilst providing skilled users with more advanced instruction leading to application mastery. The training is broken down into 7 logical segments. The non-linear approach enables novice and experienced users to focus on chapters best suited for their individual learning needs. Complete project files for both After Effects and Final Cut Pro are included in the comprehensive training; providing an ideal experience for maximum information retention.

For a comprehensive sampling of Class on Demand's "Complete Training for GenArts Sapphire," including Product Overview, FilmEffect Plug-in and WarpVortex Plug-in, please visit: http://www.classondemand.net/ClassOnDemand/GenArts-training/sapphire.aspx.

Pricing and Availability
The new Class on Demand training for GenArts Sapphire is priced at $129.00 USD and is available to purchase as a DVD or digital download from Class on Demand (http://www.classondemand.com) or ToolFarm (http://toolfarm.stores.yahoo.net/clondecotrfo15.html).

About Todd Prives
Todd Prives is the Sr. Business Development and Marketing Manager at GenArts. With over 7 years of industry experience in both production/post-production and visual effects software, he is a frequent speaker at user groups and tradeshows. At GenArts he is responsible for training, product demonstrations and technical support to customer sites worldwide.

GenArts Sapphire Visual Effects Software
GenArts Sapphire is a mission-critical visual effects tool that blends unmatched image quality with unique organic looks and productivity-driving ease of use. The effects seamlessly integrate as software plug-ins into leading editing and compositing systems from Adobe, Apple, Avid, Autodesk, Assimilate, Eyeon, FilmLight, The Foundry, Quantel and SGO. Sapphire has the distinction of having been a key component of an Academy Award nominated film for the past 12 consecutive years, including 2009 nominee Iron Man and Oscar winner The Curious Case of Benjamin Button.

About GenArts
GenArts, Inc. is the premier provider of specialized digital visual effects software tools for the film, broadcast and video industries. The GenArts Sapphire, Monsters and Raptors portfolio equip digital artists with a collection of state-of-the-art image processing and synthesis effects such as glows, light rays, lens flares, lightning, film damage, fire and fluid effects. GenArts software has been used in blockbuster movies such as the Star Wars prequels, Titanic, Indiana Jones and the Kingdom of the Crystal Skull, the Pirates of the Caribbean and Lord of the Rings trilogies, Spiderman, X-Men, The Matrix, Lost and CSI. The company was founded in 1996 in Cambridge, Mass. Please visit http://www.genarts.com for more information.

About Class on Demand
Class on Demand is a leading producer of education and training programs. Its products and services address the needs of individuals, professionals and corporate training. Current programs cover a broad spectrum of content including video capture and editing, computer animation, federally mandated training, customized corporate training and vocational education. Please visit http://www.classondemand.com for additional information regarding their products and services.

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