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  1. Hello all It's been a while since i've been on this forum. Right now, i'm working as a DOP for a local television in Switzerland. We've been rebuilding the whole lighting rig and i'm pretty happy with the gear i've chosen. It consists mainly of Fiilex and Elation fixtures. Anyway, i'm struggling a bit with the video walls on the set. No matter what i do, they always seem to be too bright. I tried turning down the brightness but, i still need to light the talents quite strongly to compensate with the video walls in the back. The phenomenon is the same with the different lighting scenarios i have. Either low key or high key. My question is: how do you deal with led/video screen walls on a TV set ? I spoke with some colleagues and they told me that they turn down their LED walls to the minimum and sometimes, they even lower the opacity of the media files. I also struggle with the white balance of the screens. Before i arrived, they have been calibrated way to high (around 7000K) and i have to light the whole set at 6500K (limit of my projectors) and turn the +green to the max to match the screens. The in the camera, in have to compensate this green/cyan tint. Do you think there's another way to do this rather that re-calibrating all the screens ? Wish you all the best in those strange times and i'm looking forward reading your answers.
  2. Popular Event Returns for its Second Year With a World-Class Lineup of Editors (Universal City, CA) 19 May 2014 - EditFest London makes its second appearance in the UK on 21 June 2014, when a lineup of top film and television editors will be on hand to share their insights and experiences in the art of editing. This year, American Cinema Editors (A.C.E.) will present the popular daylong event at London's BFI Southbank. A.C.E. launched EditFest in 2008 in Los Angeles, in response to a need to put the industry's top editors in conversation with other editors and post-production professionals. By popular demand, EditFest NY was added to its agenda in 2009. Designed for professional as well as aspiring editors, post production team members, students, content creators, production execs, and those who simply love the art and craft of editing, EditFest is a rare opportunity to hear the most compelling artists talk about their work and interact with them in an intimate theater setting. A.C.E. President, Alan Heim, A.C.E., said, "Last year, we had a terrific experience in London. The city, the panelists, the attendees were everything we could have hoped for and more. The most gratifying thing was to see just how much the attendees wanted to learn from and interact with the editors. There was a thirst for connection and knowledge, and the panelists were delighted to discuss the art of editing and meet those who wanted to explore it. All of us at A.C.E. are really looking forward to returning to London with an exciting new group of editors who will discuss the amazing projects they're working on." An impressive array of BAFTA, Oscar® and Emmy® winners and nominees are scheduled to be part of EditFest London. The agenda for the 21 June event features interactive, face-to-face dialogue, Q&A sessions and includes: Opening remarks by A.C.E. President, Alan Heim, A.C.E. (All That Jazz, Network, The Notebook) Small Screen, Big Picture - The Television Editors Moderated by John Wilson, A.C.E. * Mags Arnold - The Trip * Mark Everson - Alan Partridge * Tim Porter - Game of Thrones, Doctor Who From Dailies to Delivery - Editing Features Moderated by Mick Audsley * Mark Day - Harry Potter and The Order of the Phoenix, The Half-Blood Prince, The Deathly Hallows, Parts 1 & 2. * Alexandra Mackie A.C.E. - Indian Summer, Kill Command, Rogue, Downton Abby, A Poet in New York * Mark Sanger, A.C.E. - Gravity * Ken Schretzmann, A.C.E. - Toy Story 3, The Lorax * Lucia Zucchetti, A.C.E. - The Queen Closing Panel: A Conversation with Alan Heim Moderated by Adrian Pennington, American CinemaEditor Magazine A.C.E. is honored to present an in-depth conversation with the renowned Alan Heim, A.C.E. (All That Jazz, Network, The Notebook) hosted by the International Editor of A.C.E.'s CinemaEditor Magazine. EditFest London closes with a cocktail reception where attendees and panelists can mingle in an intimate and friendly environment. Tickets for EditFest are available online at www.editfest.com for £200/$299. For further information, email jenni@americancinemaeditors.com or call +1818.777.2900. *Denotes BAFTA, Oscar®, Emmy®, A.C.E. Eddie nomination or win. About A.C.E. American Cinema Editors (A.C.E.) is an honorary society of motion picture editors founded in 1950. Film editors are voted into membership on the basis of their professional achievements, their dedication to the education of others and their commitment to the craft of editing. The objectives and purposes of the American Cinema Editors are to advance the art and science of the editing profession; to increase the entertainment value of motion pictures by attaining artistic pre-eminence and scientific achievement in the creative art of editing; to bring into close alliance those editors who desire to advance the prestige and dignity of the editing profession. A.C.E. produces several annual events including EditFest (a weekend editing festival in the summer), Invisible Art/Visible Artists (annual panel of Oscar® nominated editors), and the A.C.E. Eddie Awards, now in its 64th year, recognizing outstanding editing in ten categories of film, television and documentaries. The organization publishes a quarterly magazine, CinemaEditor, highlighting the art, craft and business of editing and editors. About A.C.E. EditFest Launched in Los Angeles in 2008 to put the leading film editors in touch and in communication with editors and those who work with editors and editing enthusiasts, EditFest expanded to New York in 2009 and London in 2013. EditFest presents panels, conversations and social interaction with some of the most influential editors working in film and television. The highly anticipated annual event, which sells out each year, has plans to expand to additional cities in the future. # # # Media contacts: For A.C.E.: Lea Yardum Perception PR lea.yardum@gmail.com For EditFest Christine Purse ignite strategic communications c: +1.323.806.9696 | o: +1.818.980.3473 chris@ignite.bz skype@cpurse A.C.E. Social Media Libby Higgins libby@citypostmedia.com p: +1.818.840.8400
  3. Hilio D12 and T12 Redefine the Power of LED Illumination Litepanels NAB Booth #C6025 (CHATSWORTH, Calif.) Litepanels®, a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, will premiere its new Hilio D12 (daylight balanced) and Hilio T12 (tungsten balanced) high light output panels at NAB 2014. The innovative panels provide the light quality, versatility and intensity of an open source fixture, while offering all of the benefits of Litepanels' proprietary LED fixture design. The Hilio D12/T12 fixtures were designed by Litepanels to augment the lighting requirements of broadcast studios, as well as motion picture, episodic television, and commercial location shoots. The versatile panels emit a raw, narrow beam that provides high intensity for long throws. This intensity can also be harnessed and shaped with an array of available accessories to light an exterior, wash a set with soft light, or illuminate a cyc wall or green screen. Eliminating the need for external dimmers, the fixtures feature Litepanels' smooth dimming, from 100 percent to zero with no noticeable color shift, and are flicker-free at any frame rate or shutter angle. The panels also offer an integrated DMX module, with readily available and affordable RJ45 Ethernet connections for remote dimming control via any standard DMX512 protocol device. With no need for a heavy ballast or cabling, the incredibly energy efficient Hilio D12/T12 fixtures draw only 350 watts of electricity, comparable to a 2K Tungsten Par in terms of output. The consistently color accurate, long life LEDs provide years of service without the need for traditional lamp replacement, and they emit no UV or infrared wavelengths. Each panel contains a microprocessor operated, active cooling system, which increases manageability and lowers temperature control costs. The Hilio D12/T12 fixtures feature a removable, external power supply with convenient mounting bracket and optional accessories that include a stand mounted plate and an extension power cable. The Hilio D12/T12 panels come complete with integrated slots to hold color and diffusion gel filters and Litepanels' new NanopticTM lenses. The Nanoptic lenses spread and shape the light in circular, horizontal or vertical patterns and essentially convert the powerful open source into a soft light or broad directional fill. The rear of the unit features an LCD display and a multi-functional control with a menu-based button interface. An SD card slot is also built-in to easily facilitate future software upgrades. The user-friendly fixtures include a Standard Yoke with Junior Pin to enable easy mounting and positioning. "Our new Hilio 12 series is a great compliment to our Sola and Inca LED Fresnel lines," commented Chris Marchitelli, Vice President of global marketing for Litepanels. "The Hilio D12 and T12 provide a big, broad wash of light, and they are an ideal lighting source for interiors and protected exteriors. In combination with our new Nanoptic lenses, these fixtures are a real breakthrough in lumen output and flexibility. This pair of panels sets a new standard and continues to move our LED solution forward for our customers." The complete optional accessories set for the Hilio D12/T12 includes the 5-piece CTB or CTO Gel Set with Gel Bag, the 4-piece Nanoptic lens set, an eight foot power supply extension cable, and a power supply stand/mounting bracket. For more information, visit Litepanels on the Web, or follow us on Facebook. # About Litepanels Litepanels, a Vitec Group brand, was founded in 2001 by five professional gaffers and engineers who saw the future and pioneered LED (light emitting diode) lighting for motion pictures, television, and the audio-visual industry. Their Emmy® award-winning technology has now been used on thousands of productions worldwide and is trusted by the world's leading broadcast organizations. Litepanels continues to expand its suite of flicker-free, color accurate, fully-dimmable soft lights that talent and lighting directors admire. These environmentally friendly fixtures can pay for themselves with power savings and long life, setting a new standard in professional lighting. More information can be found at www.Litepanels.com About the Vitec Group Capture the moment For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com. # # # Media Contacts: ignite strategic communications 818.980.3473 Chris Purse: Chris@ignite.bz Sally Christgau: sally@ignite.bz
  4. (HOLLYWOOD, CA) Margarita Mix Hollywood, a FotoKem company that has been providing award-winning audio post services to the entertainment and advertising industries for 34 years, has developed a unique post production finishing workflow that includes the addition of two color suites and an upgraded hub for media management. The expansion and inventive new process enable content creators to complete audio and video work simultaneously at a single facility, adding speed and cost efficiencies to the workflow. The new color suites are completely integrated with the existing audio bays, utilizing Nucoda Film Master color grading systems to ensure unmatched Avid integration with direct connectivity to the ISIS and Avocent network. Through this network, the experts at Margarita Mix are able to access audio and video elements from multiple terminals at the facility. As part of the expansion, Margarita Mix has added colorists Troy Smith and Michael Mintz, and online editor Adam St. Clair, to their family of artists and engineers. Margarita Mix clients that utilize ISIS media servers from FotoKem's Nonlinear Services Division can now tap into the high-speed fiber connection between facilities, eliminating the need for transporting tapes and drives across town. Addressing the frequent need for shot replacement and other creative changes during the finishing process, this direct connection to the client's servers allows new media to be prepped and incorporated quickly. A variety of content creators have utilized Margarita Mixes' augmented capabilities in the last 18 months. Their projects include Ridiculousness, Top Gear U.S.A., Life Below Zero, Fantasy Factory, Breaking Pointe, The Glee Project, and Richard Hammond's Crash Course. Dustin Montez, Post Supervisor for Ridiculousness and Fantasy Factory, was one of the first clients to utilize the new color capabilities and expanded services offered by FotoKem and Margarita Mix. "With our space and equipment rented from FotoKem, the streamlining of our services made perfect sense. The fact that the buildings are connected via fiber saves us, literally, hours of time. When there are fixes, everything is instantly sent back and forth. In our business, it ultimately comes down to the people, and we love our team at Margarita Mix - our colorist, sound designer, the engineers, everyone we work with is top notch. The workflow is easy, saving me time and money, and I don't have to worry about anything. Any type of show would benefit from collaborating with Margarita Mix." Margarita Mix brings award-winning sound services to the pipeline, with four full mixing suites featuring 5.1 surround sound, as well as stations where sound design and pre-lay can take place. The facility's talented mixers frequently contribute to animated and reality shows, as well as gaming and long- and short-form projects. Rand Gladden, Senior Vice President of FotoKem, explains, "We knew that combining the power of our network with one-stop audio/video finishing would result in some major advantages in cost and time. This is especially a game changer for reality TV productions that may not have previously had access to high-end workflows at an affordable price point." Veneta Butler, General Manager of Margarita Mix, adds, "Our clients have been asking for centralized services for years, and now it's a reality. Shots on the editorial ISIS across town can be replaced in minutes during an audio or video finishing session at Margarita Mix, providing incredible efficiencies and the ability to work on every aspect of their projects simultaneously." Gladden adds, "The connection and design of these facilities will empower collaboration; when there are tight turnarounds, creative changes, and advancing deliveries, this will be a great value-add for the creative process." About Margarita Mix Hollywood Established in 1983, Margarita Mix is a premiere audio and video post-production facility located in the heart of the Hollywood media district. They provide a wide variety of services, including audio mixing, color grading, online editing, sound design, ADR, and voice over recording. Their projects include television shows, feature films, commercials, animation, video games, DVD commentaries, and web-based content. For more information, visit www.lastudios.com. About FotoKem FotoKem is an independently-owned, full-service post production facility serving the worldwide creative community. Since 1963, the company has been a trusted resource for every corner of the entertainment market, providing broad post production expertise, high-end solutions and innovative in-house technologies. The company assists filmmakers in successfully bridging production and post, helping navigate the expanding world of motion picture finishing technology. FotoKem offers a broad spectrum of services, including a full service film lab, file-based workflows, digital intermediates, digital cinema packaging, mobile dailies, global data delivery, film and video finishing, audio mixing and mastering, visual effects, restoration, and production rentals. FotoKem has expanded over the years with the acquisition of SPY Post, Keep Me Posted, L.A. Studios, and Margarita Mix. For more information visit www.fotokem.com, or follow FotoKem on Facebook and Twitter. # # # Media Contacts: Lisa Muldowney / Chris Purse ignite strategic communications 818.980.3473 lisa@ignite.bz / chris@ignite.bz
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