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September 20, 2011

Table of Contents

Event Video Industry Remembers Industry Legend and Beloved Friend, Teacher, and Colleague Bonnie Durkin
Coming Soon: Masters in Motion
Continuing Education: Vortex Media's Mastering the NEX-FS100 Camcorder Training DVD
G-Tech Unveils First 8TB G-RAID
Avid Extends Crossgrade Promotion for Final Cut Users
Sony Pictures Stock Footage "5.1 Collection" Features Car Chases, Explosions, and More in 5.1 Surround

Event Video Industry Remembers Industry Legend and Beloved Friend, Teacher, and Colleague Bonnie Durkin

From the New Jersey Videographers Association: We are greatly saddened to announce the passing this week of long-time NJVA member Bonnie Durkin. Bonnie joined the NJVA in its earliest days and continued to be an active participant through 2010. During that time, Bonnie served for many terms on the Board of Directors and could always be counted on for her common-sense suggestions and her candor. "In our Board discussions, we benefited from Bonnie's keen intelligence and her ability to get right to the heart of a matter", said fellow board member Dan Strickler.

Bonnie was also an excellent presenter. Through the years, she conducted many workshops for NJVA on a wide range of topics, bringing the presentations skills she had honed as a high school history teacher. She was also a great extemporaneous speaker, and was always happy to step in at the last minute to lead a discussion or moderate a panel. She was known nationally, presenting consistently excellent workshops, year after year at WEVA and later for the 4-Ever Group.

Bonnie wasn't only good at talking about video, her company's work was often at a very high level. She won several Creative Excellence Awards, including "Gold" from WEVA for her Bar/Bat Mitzvah videos, Wedding videos and Concept Videos.

Robert Allen, the former president of the NJVA and a long-time friend of Bonnie, recalls her as being a lot of fun. "Besides being one of the smartest people I ever knew, she was one of the funniest ... she could always make me laugh. I can remember while attending a WEVA convention in Vegas ... we went to a hypnotist show and Bonnie was picked out of the audience and hypnotized. She was an absolute riot."

Roy Chapman, founder and chairman of WEVA International said of Bonnie, "Event video has lost a true pioneer and national industry innovator. Bonnie was not only a Creative Excellence Award-winning filmmaker, she was an engaging and inspiring teacher who shared her insights on new and challenging markets, especially the school markets, as a Featured Speaker at WEVA EXPO over many years. She charted new pathways for so many others to follow, always with a passion for our industry and an abundant sense of humor."

Like many in our field, Bonnie's involvement in video came about gradually. She got her start doing videos related to the school where she taught and the schools where her twin boys attended. She specialized in sports and graduation videos, branching out to bar and bat mitzvahs and eventually encompassing corporate clients as well. As D-Vision grew, Bonnie's husband Mike came on board, handling much of their sports coverage. Bonnie eventually went full-time with the business, expanded her staff and crew, focusing her attention on sales, scriptwriting and editing.

Bonnie prided herself on diversifying her business. D-Vision was equally strong in both the events and corporate arena where she served many companies over the years including an ongoing relationship with M&M Mars.

Bonnie graduated from Livingston High School and then went on to receive a BA degree from Rider University, an MA degree from Montclair State University as well as accruing post-graduate credits from Rutgers University. She is survived by her husband Mike and her two sons, Eric, who is a film and video major at the Art Institute of Philadelphia and Kevin who is a graphic artist. Both are involved in the family business.

For many of the older members of the NJVA both past and current, the death of Bonnie Durkin comes as a blow. She had a lasting effect on the event video industry in its early years and on our association and she will be sorely missed.

A service will be held on Tuesday, September 20th at the Ross Shalom Chapel, 49 Whippany Rd. in Whippany. The service begins at 1pm, but guests may arrive to speak to Bonnie's family as early as 12 noon. Immediately after the service, the burial will be held at the Beth Israel Cemetery in Cedar Knolls. Following the burial, people are invited to the Durkin home to sit shiva (1 Norman Lane, Succasunna) For those unable to attend on Tuesday, shiva continues Wednesday at the Durkin residence from 2-5pm, and also 6:30-9pm.

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Coming Soon: Masters in Motion

Masters in MotionOn June 1, Society Hill Studios' Jon Connor blogged about the denouement of the website CanonFilmmakers.com, posting a photo of a tombstone with the lighthearted epitaph, "CANONFILMMAKERS. September 2009-June 2011. Oh Well. We Tried." Not ones to give up on their vision to "pay it forward" by providing a free educational website for fellow filmmakers, Connor and partner Cristina Valdivieso soon came up with an alternate website name and in August unveiled the newly minted ShootEditLearn.com to more accurately reflect their focus on filmmaking as a whole, rather than just the Canon brand. Along with the reborn website, the pair announced a new workshop they are putting on in collaboration with Kessler Crane this fall in Austin, Texas, called Masters in Motion (MastersInMotionLive.com). The event takes place November 14-16 at Austin's Alamo Drafthouse—"the coolest movie theater in the world," according to Wired.com. The expected 75–100 attendees will attend eight workshops in addition to shooting electives on Wednesday afternoon.

If you're thinking, "Autumn in Austin sounds quite inviting, maybe I'll register," but wonder how Masters in Motion will differ from, say, IN[FOCUS], Valdivieso and Connor have a well-thought-out answer.

"Most of the workshops we've attended have been entirely focused on wedding and event filmmaking, and while that's beneficial," they argue, "we wanted to create an event that was open to filmmakers from a wide variety of genres." By doing so, they hope encourage people to branch out and to help wedding filmmakers learn from non-wedding professionals.

"If you're a wedding filmmaker, there's no need to only look at other wedding professionals for knowledge," they go on. You can learn from someone like Khalid Mohtaseb, for example, whom they describe "an amazing DP" who is "extremely talented with lighting." On the flip side, someone whose main focus is commercial work can learn from an event filmmaker like Adam Forgione, "who is super-knowledgeable with sound design."

Connor and Valdivieso designed Masters in Motion with the help of feedback from a DSLR-focused, 12-city tour they took across the U.S. earlier this year with close mate and fellow filmmaker Philip Bloom. "The feedback we got from almost 1,000 attendees over such a diverse geographical area was extremely beneficial when planning this event. The attendees' ages ranged from 12 to over 70 and their backgrounds spanned from enthusiasts to professionals." One thing was clear: They didn't want to limit themselves to a specific camera but rather focus on the art of storytelling, lighting theory, audio, and the craft of filmmaking as a whole. "Understanding your camera is one thing," they point out, "but understanding how to affect your audience through lighting, color, a simple camera movement, and sound design is huge and can really make or break your story." They continue, "For us, these things are such a huge part of any production, and it was so surprising to us that these things weren't being addressed. We wanted to change that, so we did."

Austin was tapped early on as the location for Masters in Motion for several reasons, not the least of which is its lively nightlife or the fact that it's home to one of the hottest indie filmmaking scenes in the country. Knowing they did not want to host the event at a hotel-that they wanted a venue that was unique and fun as the event itself-they selected the Alamo Drafthouse.

As for the name, they wanted it to represent "taking the next step in your filmmaking career, which is what the motion part is about," they clarify. "The Masters part of the name is not only referring to the fact that the speakers are some of the top in their fields but also that everyone who is attending should be striving to master their craft."

One unique thing about Masters In Motion, they say, is the diversity of the speaker lineup. It includes some of the top wedding and event filmmakers in the world, such as Joe Simon and Adam Forgione. It also boasts top commercial DPs such as Vincent Laforet and Philip Bloom. In addition, they've brought together "some of the most talented guys we've met," including Khalid Mohtaseb, Jonathan Bregel, and Tyler Ginter, who have DP'd everything from Final Witness on ABC to Taylor Swift's latest music video. "Another one of our presenters, Tom Guilmette, not only works as a professional cameraman for the Boston Red Sox but he also lives and breathes filmmaking and he is constantly pushing the bar with his inventive techniques."

It's all part of a bigger plan to "tear down the barrier between wedding filmmakers and commercial filmmakers," Valdivieso and Connor say. "Each group of individuals has a different set of skills and there's so much to learn from each other."

Supporting the Masters in Motion workshops, connecting them to many of the speakers, and keeping the event affordable for participants, is Eric Kessler of Kessler Crane. "Kessler Crane is already such a huge supporter of the filmmaking community so it was just a natural fit."

As is their role as conference organizers, it seems, although the idea didn't hit them until May of 2010, when they started planning their first event, a one-day workshop in July in Philadelphia called Canon Filmmakers Live. It didn't take them long to realize that they "absolutely love organizing these kinds of events. For us, it's a win-win because we get to bring together an amazing lineup and enjoy the event ourselves."

For more details or to register, visit Masters in Motion.

Masters in Motion Live Schedule

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Continuing Education: Vortex Media's Mastering the NEX-FS100 Camcorder Training DVD

Mastering the Sony NEX-FS100I used to read the instruction manuals for all my new gear cover to cover-usually at least twice. My wife used to poke fun at me for this, especially when the manuals became bedtime reading, but that never bothered me. Mastery of my field is not something I take casually. In manuals, I find there is always additional functionality I am able to unlock, while at the same time, I gained an understanding of the equipment's or software's limitations. This all changed in 2008, when I was learning to master my new-at-the-time Sony HVR-Z7U. I was introduced to the work of Vortex Media's Doug Jensen, who produced the Z7U training DVD (Mastering the Sony HVR-Z7U) that I reviewed in September 2008. What I realized after viewing Jensen's Z7U training DVD was that even after multiple readings of the instruction manual and actively using the Z7 for 6 months, I really wasn't operating the Z7 at its true potential. Jensen's DVD showed me how to do so. So when I purchased my Sony FS100, I decided that I would try something a bit different—I wouldn't start by reading the manual. Instead, I would watch Jensen's new FS100 training DVD and participate in online FS100 forums such as DV Info and DVXuser. Even as I write this review, I'm finding that the online forums with FS100 threads are, for the most part, still nascent in breadth and scope. As with every new product, I don't find that the learning and sharing really gets moving until there are sufficient product reviews, user experience stories, and training DVDs to serve as benchmarks to ground the forum conversations.

First Impressions
When my two-disc DVD set arrived, I couldn't wait to hear what Jensen had to say and see the images he was able to produce. Part of the reason we buy training DVDs is to help us avoid the buyer's remorse that often comes with large purchases, especially with breakthrough products that are ahead of their time and expensive and that have a whole slew of features that we might not use or know how to use.

I appreciate that Jensen opens his training DVD with points that reinforce my belief that I made a great decision in purchasing the FS100. He explains some of the great features that the FS100 boasts, along with the benefits for the end user. His DVD is filled with great visuals of the camera, its menu system, video shot on the FS100, and graphics to demonstrate key concepts such as a scale comparison of the Super 35 sensor to 4/3", 2/3", 1/2", and 1/3" sensors. Jensen's visuals also illustrate how the 1:1 pixel mapping on the FS100 sensor is superior for video use, as there is no scaling or sampling, and it doesn't introduce artifacts like moiré and aliasing that afflict DSLR video.

Mastering the Sony NEX-FS100

One of the things that Jensen does so effectively is address the needs of the professional user with advanced topics while also serving less-experienced users. He discusses topics such as the camera's stock lens and auto features, in case you wanted to use them, and then factually explains why you don't want to use them anyway. A great example is his discussion of the Sony E-mount 18–200 f3.5–6.3 kit lens. Jensen says it's too slow, and he explains that a slow lens is not able to achieve a shallow depth of field and is bad in low light, both of which are key reasons why you'd want to buy an FS100. This is the same reasoning I used when I decided to purchase my FS100 body-only.

Jensen then directs you to the chapter where he deals with lenses for more advanced discussion on lenses and adapters. His entire training DVD is replete with cross-references, which facilitates a more interactive and nonlinear viewing experience, which is great for subsequent viewings.

Manual Operation and Settings
My favorite quote in the video appears when Jensen, in his warm-toned and Boston-accented voice, discusses the use of auto features: "Obviously, to an experienced professional or anyone who really cares about the quality of their work," Jensen says, "full auto is not a good idea, and I sincerely hope that, after watching this training video, you never want to use it [full auto]."

Jensen's opinions might be strong and subjective, but he qualifies them all and is consistent in his approach. He wants his viewers to master their cameras so that they can be operated at their potential, which is not how they operate with Sony's out-of-the-box factory settings.

With each chapter, the viewer becomes more and more comfortable with the FS100. Jensen is thorough in his coverage of the labyrinth of external button controls and menu settings. Part of the reason I enjoy Jensen's training DVDs so much is that he shares his opinions on optimal settings. Sony does a great job of allowing the user to control dozens of settings but doesn't always do the best job of explaining when and why you want to use certain settings.

Choosing Format Options
I agree with Jensen that the 11 combinations of resolution, frame rate, and scan options Sony offers for HD video on the FS100 are confusing and unintuitive. In fact, the first time I used my FS100 on a shoot, I accidentally used the 17Mbps FH mode instead of the 24Mbps FX mode. The problem, as Jensen points out, is that Sony uses unintuitive two-letter codes instead of just showing the bitrate. Jensen then goes on to eliminate nine of the 11 resolution options so that the user is left with FX 30p and FX 24p modes for most shooting situations. I was a bit surprised that Jensen eliminated the highest frame rate and bitrate mode (28Mbps/60p PS) for most shooting situations, but his explanation made sense to me (although you'll have to watch the training DVD to find out why). I still want to do some of my own testing to see how I feel about this; part of me doesn't want to let go of the claim that 24Mbps at 30p is better than 28Mbps at 60p.

Jensen's coverage is very balanced. In some places, he praises Sony for the FS100's design and features (headphones monitor switch, expanded focus that works while recording, and peaking as an effective focus tool), but he is not afraid to dig in a little when something is not user-friendly. His explanation of the user impact is effective, especially concerning the file naming system that always starts at 00000.mts (meaning duplicate file names on every shoot) and the inability of the optional FMU-128 hard drive to record S+Q (Sony's name for over- and undercrank), meaning that the file names on the FMU and SD or Memory Stick may not always match.

Lenses and Picture Profiles
The sections I was the most eager to learn from were the lens chapter and the picture profile chapter. The picture profile chapter was important for me because Sony removed the preset names that I was familiar with on my Z7: the ability to name the individual profiles and-most importantly-the ability to copy and share profiles on removable memory. Jensen gives examples of each of the presets profile and included formulas for two that he designed and uses on the two customizable presets.

Mastering the Sony NEX-FS100

I have mixed feelings on Jensen's lens chapter. He has a great collection of really expensive primes that he demonstrates on the DVD, but these have limited use for my applications/budget. He did demonstrate how he uses his collection of Nikon SLR lenses with a Nikon-to-E-mount adapter, but I feel he didn't spend enough time discussing the limitations and advantages of the various combinations of the big three SLR lens options for the FS100: Canon, Nikon, and Minolta AF/Sony Alpha (hereafter referred to as Sony Alpha or A-mount).

One of the big limitations with using anything other than an E-mount lens is the loss of iris control, auto focus, and image stabilization. Most Nikon lenses (except for the G series) have click-stop aperture rings and the NOVOFLEX adapter that Jensen demonstrates add iris control functionality to the G series lenses through an aperture ring on the adapter. Unfortunately, Jensen doesn't discuss or demonstrate the pros and cons of using the two different aperture ring options, nor does he answer the obvious question, "Is the aperture ring smooth enough that it can be used while recording?"

There is not much to discuss yet on the Canon front, since companies such as Birger Engineering, Inc., which are promising smart adapters that control Canon lenses, have not started shipping products. The story is a bit different on the Sony A-mount front: Sony has already released the LA-EA1, an Alpha-to-E-mount adapter that allows iris control of the entire arsenal of Alpha lenses through the on-camera iris wheel. I would have appreciated knowing that the iris control clicks in full-stop increments but cannot be used while recording, due to the nature of the Alpha lens design, where the iris opens or closes beyond the hard stop momentarily with every click. I wish I would have known this before buying an EA1 adapter of my own, but I have an inexpensive Fotodiox, Inc. A-mount-to-E-mount adapter on the way that features a smooth aperture ring. There are also rumors that Sony will be announcing the LA-EA2 adapter for Alpha lenses that's designed to allow autofocus, but I don't believe it will improve on the current EA1's unusable-when-live autofocus problem.

Overall, I feel that Jensen's FS100 Training DVD and a little bit of my own lens research have prepared me to incorporate the FS100 into productions. This is a good thing, since my Z7U sold in only 5 hours, which is days faster than I thought it would, leaving me with an immediate need for a camera I can use. Throughout the DVD, Jensen delves into what might seem at first to be unimportant small details, but time and again he demonstrates why the details are so important to mastering the FS100. This training DVD has saved me a lot of time and the pain of learning from trial and error-so much time that now I might even get around to reading the manual.

Shawn Lam (video at shawnlam.ca) runs Shawn Lam Video, a Vancouver video production studio. He specializes in stage event and corporate video production and has presented seminars at WEVA Expo 2005–2009 and the 4EVER Group’s Video 07. He won a Silver Creative Excellence Award at WEVA Expo 2008, a Bronze CEA at WEVA Expo 2010, and an Emerald Artistic Achievement Award at Video 08.

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G-Tech Unveils First 8TB G-RAID

Post production pros know that you can never have enough fast, cool and reliable storage. Dedicated to serving the Apple® Mac® and creative professional audio/video (A/V) markets, G-Technology by Hitachi demoed its first 4TB hard drives at IBC 2011 (Stand #7.D12a) in its two-drive, RAID 0, G-RAID solution.

Continuing to develop innovative and creative storage solutions for those looking to push creativity beyond the limits, the 8TB G-RAID demo shows how G-Technology is making digital production faster, super-sized and affordable, giving users a competitive edge in the demanding entertainment and film industry.

G-RAID with Thunderbolt - More than Just High-Speed RAID
Not only does the G-RAID Thunderbolt demo showcase the fastest interface you can find with data transfer rates up to 10 Gbps, it shows amazing sustained throughput for handling multi-stream compressed HD workflows including REDCODE, DVCPro HD, XDCAM HD and ProRes 422 . At 8TB it is also the highest capacity, two-drive, RAID 0 external storage device in the world for storing hours of clips, composites, digital intermediate (DIs), proofs, effects and more! And that’s not all. Connected to an Apple MacBook® Pro, the G-RAID solution enables a portable editing workstation to take on the road, in the studio or even use from the comfort of your own home to complete projects after hours. With blazing speed and huge capacity, you can easily transfer, capture, process or edit SD or HD video virtually anywhere!

All G-RAID drives come pre-configured in a RAID-0 for maximum throughput and are specifically designed for video editing with excellent cooling and air flow. Its sleek, all-aluminum enclosure acts as a heat sink, keeping the drives nice and cool, while a super-quiet smart fan makes it a perfect fit in any audio or video post production environment. For easy set up, the G-RAID solution is ready right out of the box for use with Mac OS X systems and appears to the system as a single, big and fast disk drive. The G-RAID solution also supports Windows® systems with a simple reformat.¹

Hitachi GST’s 4TB Hard Drives
Leveraging the high-quality and time-to-market strength of Hitachi GST, G-Technology by Hitachi will be incorporating Hitachi’s 4TB 7,200 RPM drives into its G-RAID and G-DRIVE solutions.

With ever increasing capacity needs with the use of high-quality HD video formats, G-Technology’s 4TB-based solutions enable greater return on investment. By using the highest capacity drives, G-Technology customers save by lowering the cost per GB of storage as compared to having the same total capacity using multiple lower capacity external drives. In addition, customers benefit from needing fewer external drives, which take up space and power, and create cable clutter.

Just how much storage do you need? Since there are substantial differences in storage requirements for the different types of high quality HD video files, G-Technology provides this guide to show how much storage space² you may need:

Every 1TB holds up to:

  • 84 hours of HDV 1080i
  • 17 hours of DVCPRO HD 1080/60i
  • 30 hours of 2K RED
  • 10 hours of ProRes 422 HQ
  • 10 hours of 10 bit SD
  • 2.5 hours of HD 1080/60i

“We understand the process of creation, and today, digital video editing is no longer facility-driven – It’s driven by the places and lifestyles of the people doing the work,” said Steve Pereira, vice president, Hitachi GST, Europe Middle East and Africa. “Our G-RAID Thunderbolt demo connected to a MacBook Pro shows how our customers can get lightning speed and huge capacity in a single RAID 0 storage solution to easily edit anywhere. Built like a tank, our G-RAID solution has been the cornerstone of our business, and we look forward to bringing our Thunderbolt-based family and 4TB-based solutions to the market. With G-Technology’s high quality, high performance commitment, our customers can continue to focus on their work and not on their equipment.”

G-Technology will begin shipping its 4TB-based G-RAID and single-drive G-DRIVE solutions with eSATA, FireWire 800 (FireWire 400 via cable) and USB 2.0 ports in October. First in a family of solutions, the company’s Thunderbolt 4TB-based G-RAID and G-DRIVE solutions will ship in Q4.

For more information, please visit http://www.G-Technology.eu

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Avid Extends Crossgrade Promotion for Final Cut Users

Due to the tremendous response from the professional editing community for its current Final Cut Pro Crossgrade promotion, Avid® (NASDAQ: AVID) today announced that beginning October 1, 2011, it will offer a Final Cut Pro crossgrade price for qualified customers on an ongoing basis.

The new crossgrade will allow Final Cut Pro users to purchase the industry’s leading professional editing solution, Media Composer®, for $1499 USD—making the benefits of fast, open, collaborative workflows more accessible than ever before to Mac OS native customers. Avid’s current limited-time crossgrade promotion, at $995 USD, ends September 30, 2011.

“We’ve heard from many Final Cut Pro users as they are evaluating professional-level editing systems, and they’re concluding that the best choice is Media Composer. By introducing this ongoing crossgrade offer, Mac OS users have access to the most established, powerful and versatile editing solution in the market today,” said Chris Gahagan, senior vice president of products and solutions for Avid. “We strive to be the most responsive to our customers’ needs and will continue to deliver the solutions that offer them the choice, flexibility and capabilities to support their demanding production requirements.”

Media Composer software—which is designed and built for Mac OS and Windows operating systems—is the most trusted professional video editing system in the media and entertainment industry. Recent enhancements to Media Composer software that provide editors with the speed, ease, and access they need to tell great stories include: support for third-party video interfaces from AJA and Matrox, expanded native format support with AMA, and Avid PhraseFind powered by Nexidia and ScriptSync® products—unique, time-saving features that dramatically accelerate the editing of scripted and unscripted material. Moreover, Media Composer software offers real-time mix and match, integration into industrial-strength professional workflows, and interoperability with Pro Tools® software, Symphony®, and Avid DS, as well as popular finishing systems. For more information about Media Composer, please visit http://www.avid.com/mc
Offer Pricing and Availability

The new Avid Crossgrade offer for Final Cut Pro will be available October 1, 2011. Final Cut Pro (excluding Final Cut Pro X) users will be able to purchase Media Composer with the Production suite and free online training to help them move from Final Cut Pro to Media Composer, for $1499 USD.

Avid is currently offering a limited-time Final Cut Pro Crossgrade offer, which will expire September 30, 2011. Final Cut Pro (excluding Final Cut Pro X) users can purchase Media Composer 5.5, with the Production suite and free online training to help them move from Final Cut Pro to Media Composer, for $995 USD. This limited-time offer expires September 30, 2011. For eligibility requirements and more information, please visit http://www.avid.com/US/specialoffers/fcp-mc-promotion

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Sony Pictures Stock Footage "5.1 Collection" Features Car Chases, Explosions, and More in 5.1 Surround

Sony Pictures Entertainment today announced that Sony Pictures Stock Footage has introduced a first-of-its-kind stock footage collection featuring motion picture quality clips with custom-designed, studio-produced 5.1 soundtracks.

Sony Pictures Stock Footage’s unique new “5.1 Collection” includes car chases, explosions, helicopter shots and other types of stunts and pyrotechnics, all drawn from recent studio film and television productions. The soundtracks were designed, edited and mixed in 5.1 surround sound by industry award-winning artists from the Sony Pictures Sound facility.

The collection is designed for filmmakers seeking high quality clips that are finished and ready for immediate use. “We developed this collection in response to the many requests we have received from advertising agencies, corporate media producers and others who want motion picture quality clips combined with spectacular 5.1 sound at a reasonable price,” said Rick Sievers, sales manager for Sony Pictures Stock Footage. “These clips were already amazing, but the addition of sound effects, mixed at a world-class facility, really brings them to life. There is nothing else like it.”

“Adding sound to picture completes the storytelling process; they go hand in hand,” commented Tom McCarthy, Executive Vice President, Sony Pictures Post Production Facilities. “We believe filmmakers will be excited by the added value of this collection.”

The new stock footage collection also includes a variety of extended playback sequences edited to resemble specific types of television programming. The mock television scenes are studio-quality, require no additional licensing fees, and are available with or without 5.1 sound. Subject areas include sports, news, documentaries and dramas. They are designed for monitor burn-ins and similar applications.

All of the clips in the collection are available in a variety of formats and can be previewed on the Sony Pictures Stock Footage website: http://www.sonypicturesstockfootage.com.

Sievers notes that new clips will be added on an ongoing basis: “The 5.1 Collection is a great showcase of our abilities to leverage all of the great resources available here at Sony Pictures,” he said. “We have the unique opportunity to collaborate with Sony Pictures Sound group as well as other Sony Pictures’ departments to develop new and innovative products for users of stock footage.

Sony Pictures Stock Footage is a premier industry resource for feature-quality HD and 35mm stock footage offering a wide range of traditional stock footage as well as a premium collection of stunts, pyrotechnics and other high production value footage. With more than 150,000 clips, the collection, available online at http://www.sonypicturesstockfootage.com is continually expanding to include recent outtakes from Columbia Pictures, TriStar Pictures and Screen Gems feature films, as well as Sony Pictures Television productions.

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