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FilmLight teams up with ARRI in Paris creative community Posted: 24/01/2020
FilmLight teams up with ARRI in Paris creative community

Following the appointment of Matthieu Straub as the company’s technical and operational consultant to France and the Benelux countries in the summer of 2019, FilmLight is delighted to announce that it has now established a permanent presence in Paris. By sharing premises with ARRI France, FilmLight is developing a strong hub for creative and technical knowledge and events.

The hub will host the first of FilmLight’s Colour Day workshops in 2020, on 28 January. One of the advantages of sharing the centre with ARRI is that it underlines the seamless workflows from camera to finish, using the BLG format for render-free viewing and creativity. The BLG grading metadata is stored in the ARRIRAW and QuickTime headers, ensuring the content and its look are permanently linked.

The Paris Colour Day on 28 January, aimed at creatives and technicians in production and post production, will see FilmLight’s workflow specialists, Straub and Thomas Eberschveiler unveil new FilmLight tools. Attendees will also hear from guest colourist Stéphane Azouze about his collaboration with directors Anastasia Mikova and Yann Arthus-Bertrand on the recent award-winning documentary ‘Woman’. Finally, colour scientist Florine Bel will share her image expertise and discuss her work developing film aesthetics, colour spaces and conversions.

The shared space has already hosted successful events, including a workshop day for DITs. Led by Straub, with guest speakers from Netflix and from post house Mikros, the group discussed the latest developments in colour space management and workflows. ARRI’s presence allowed the discussion to include ARRI Looks and how they can be incorporated into FilmLight BLG post production. In the demonstration area, they featured an ARRI ALEXA camera feeding Prelight and Daylight software, allowing the delegates to experiment with look development and make comparisons between standard and high dynamic range colour spaces.

Explaining the importance of bringing together creative artists and technicians, FilmLight’s Matthieu Straub said “My background is as a digital image technician, and I know how directors and cinematographers are increasingly relying on DITs to find technical solutions to their demanding creative requirements. “Our intention is to use our demonstration and meeting space here on the Rue René Boulanger to be a place where we can encourage the sharing of knowledge and experiences, to help the French cinema industry achieve ever greater things.”

Tags: FilmLight | ARRI | Paris | Colour Day | Matthieu Straub | workshop | Thomas Eberschveiler | Stéphane Azouze | colourist | colour science | BLG format | Baselight | Prelight | Daylight | MKM Marcomms | MKM Marketing Communications
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Dejero Wins Second Prestigious Technology and Engineering Emmy Award Posted: 21/01/2020
Dejero Wins Second Prestigious Technology and Engineering Emmy Award

Globally recognized award underlines how Dejero exponentially improves flexibility in location coverage for newsgathering and live events crews

Dejero, an innovator in cloud-managed solutions that provide award-winning video transport and Internet connectivity while mobile or in remote locations, has been awarded a second prestigious Technology and Engineering Emmy® Award. The award, in the category of Video over Bonded Cellular Internet (VoCIP) technology, recognizes Dejero’s innovation in the industry, thanks to its Smart Blending Technology and unique hybrid encoding approach.

Headquartered in Waterloo, Ontario, Canada, Dejero has perfected its patented and patent-pending Smart Blending and hybrid encoding technologies over the course of the last decade. The technologies work in concert to form a tightly integrated system which responds in real time to changes in network quality and video content. This has helped transform how broadcasters contribute live content from the field using cellular networks, providing newsgathering crews with greater flexibility in terms of the location from where they can transmit a live shot, at a fraction of the cost of conventional uplink technology.

“We are thrilled to win not just one Emmy® – the most recognized broadcast award in the world – but two,” said Bogdan Frusina, founder of Dejero. "Last year the committee rewarded our decade of innovation for pioneering reliable transmission methods that enable live contribution and distribution of TV signals over the public Internet. This year they have gone on to further recognize our industry-leading technologies, showing that our continuous development is raising the quality and reliability standards of mobile video and data transmission.”

 

Tags: Dejero | Emmy Awards | Technology and Engineering Emmy Award | globally recognised | location coverage | newsgathering | live events | cloud-managed solutions | Video over Bonded Cellular Internet | MKM Marketing Communications | Bogdan Frusina | winners
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Baselight helps to polish Uncut Gems Posted: 14/01/2020
Baselight helps to polish Uncut Gems

Uncut Gems is the latest movie from directing duo, the Safdie Brothers. The movie tells the story of a charismatic New York City jeweller and gambler (Adam Sandler), and is set in the diamond industry of New York. So it is appropriate that the colour palette was created at The Mill NY by colourist and director of DI, Damien Van Der Cruyssen.

Van Der Cruyssen collaborated closely with cinematographer Darius Khondji, as well as the Safdie Brothers, all of whom he had worked with previously on the Jay-Z video for Mercy Me. “At that point I got a good understanding of their relationships and how I could fit into the equation.”

Visually, Uncut Gems has a classic New York City look, but with a modern twist. “The Diamond District hasn’t changed much over the last forty years, so it automatically had that 70’s ‘noir’ feel,” commented Van Der Cruyssen. “But we wanted to break away from the steely, gritty New York to a more real-life aesthetic – less forced and contrived.”

Around half of the movie was shot on 35mm film to give it a more natural look, which meant Van Der Cruyssen had to treat the digital footage to match. “Marrying the film footage with the digital scenes was quite challenging,” he explained. “So I asked the crew to shoot some grain elements that could be overlaid in Baselight and adjusted per scene.”

 

Tags: FilmLight | Baselight | Uncut Gems | Safdie Brothers | Adam Sandler | The Mill NY | colourist | Damien van der Cruyssen | Darius Khondji | Diamond District | New York City | BLG metadata workflow | colour grading | Netflix | MKM Marcomms | MKM Marketing Communications
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Argosy Extends Reach of Touchscreen Interfaces between Operational and Local Apparatus Rooms at UK National Broadcaster HQ in London Posted: 09/01/2020
Argosy Extends Reach of Touchscreen Interfaces between Operational and Local Apparatus Rooms at UK National Broadcaster HQ in London

Argosy, a leading international supplier of broadcast cables and infrastructure products, has announced it has supplied the UK’s public broadcaster with a number of ultra-reliable IP-based KVM extenders and data cabling as part of a building-wide hardware upgrade performed by systems integrator, VSC Design.

VSC Design was responsible for the overall systems integration, asset management, design, installation, change control, machine cloning and safety testing during the upgrade; and brought Argosy onboard to support the data cabling and KVM aspects.

The systems integrator rolled out a number of kvm-tec Smartline SVX ultra-reliable KVM extenders over IP, supplied by Argosy, at the broadcaster’s HQ in London. This technology extends the reach of touchscreen interfaces relating to the building-wide BNCS control system between operational areas and local apparatus rooms (LAR). The project also involved an upgrade to Windows 10 and a replacement of the server hardware associated with the BNCS control system.

 

www.argosycable.com

 

Tags: Argosy | touchscreen interfaces | VSC Design | KVM | London | infrastructure | data cables | kvm-tec | Smartline SVX | John Hartz | Chris Smeeton | MKM Marcomms | MKM Marketing Communications
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Gravity Media Gears Up for a Summer of Sport with New Flyaways Posted: 07/01/2020
Gravity Media Gears Up for a Summer of Sport with New Flyaways

Gravity Media, a leading provider of outside broadcast trucks and flyaway production kits, is building further systems in preparation for premier sporting events in 2020, including a major football competition in Europe. Central to the new flyaway kits is the Platinum™ IP3 router from Imagine Communications.

The key to success in building flyaways is to create a system which provides all the resilience and reliability needed for live broadcasting, but in a compact footprint. As the name suggests, these often have to travel by air freight to meet deadlines, where additional space and weight can be prohibitively expensive.

“We picked the Platinum IP3 because we know it is reliable — we know what it does,” said Peter Newton, technical and operations director at Gravity Media. “Because of the established partnership with Imagine, we knew that we would get good support if we need it, and we will get ample utilization of the equipment. It is a good solid product that does what it says it will.”

Gravity Media has used equipment from Imagine Communications for over 15 years, which has established Imagine as a trusted partner. When it came to choosing routers for the new flyaways, Gravity Media compared all the popular models on the market, but was confident in selecting the field-proven Platinum IP3. The new flyaways will use both the 15RU and 28RU routers.

The key project for which these flyaways are designed requires support in 12 locations over a four-week period in June 2020. The kits will provide live production functionality. The Platinum IP3 routers incorporate integral multiviewer technology, reducing space in the racks and simplifying setup. The order also includes a number of modules from Imagine’s Selenio 6800+™ processing range, along with Magellan™ router control panels.

“While the headlines are about the transition to IP, it is important to remember that a lot of broadcasters and production companies need to extend and enhance existing, SDI-based systems,” said Mathias Eckert, SVP & GM EMEA/APAC, Playout & Networking, at Imagine Communications. “Because of our close partnerships with major operators like Gravity Media, we clearly understand the need for high-functionality, high-reliability SDI solutions, as well as IP technology, and we are committed to supporting our customers for as long as they need SDI, as part of our ‘your path, your pace’ approach to the IP transition.”

For more information about Imagine Communications’ products and solutions, please visit https://www.imaginecommunications.com.

 

 

 

 

 

 

 

Tags: flyaway production kits | Gravity Media | Imagine Communications | live broadcasting | Mathias Eckert | Peter Newton | Platinum IP3 | portable kit | MKM Marcomms | MKM Marketing Communications
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Technicolor uses Baselight to create light and shade in His Dark Materials Posted: 18/12/2019
Technicolor uses Baselight to create light and shade in His Dark Materials

One of the most awaited drama series of 2019, His Dark Materials, produced by Bad Wolf for BBC and HBO, was finished at Technicolor in London. With a story set in a parallel universe that seems like the Britain of a century ago, and with fantastic elements such as giant armoured polar bears and ever-present “daemons” – animal representations of the human soul – the production is a tour de force of visual effects, and therefore somewhat demanding of the colourist, Jean-Clément Soret.

“Over the eight episodes of series one there were four directors and DoPs,” Soret explained. “Justin Brown was DoP for the first two episodes, and I had worked with him a lot in the past on commercials so we had a strong understanding of where we wanted to go. I was really happy to be able to collaborate with him again.

“Justin shot some tests – with the real locations, actors and costumes – in both 35mm and digital,” he continued. “It always surprises me how different film looks! What the tests did was allow us to create a core feel. The decision was also made to add a bit of subtle film grain throughout the episodes. The Technicolor colour science team in LA then created a LUT for Baselight, which gave us that same film feel with the digital footage.”

One of the challenges of the story – based on a trilogy of novels from Philip Pullman – is that each human character has a daemon, and humans are rarely seen on screen without their daemons around them. That meant a large number of VFX shots to insert the CGI daemons. “I found that when it came to the integration of the VFX, contrast and colour was key. The film LUT, together with the control of sharpness and softness from Baselight, was a great help.”

The first series – based on Northern Lights, the opening novel of the trilogy – moves from an Oxford college bathed in warm sunshine to “The North”, Pullman’s name for the Arctic, where the first battles take place. “We may have set the feel in the first episode, but the story develops through different worlds and different eras, so the grade naturally develops,” Soret said.

“With different directors and DoPs across the series, the colourist has to provide the backbone of the look, to create consistency while respecting each cinematographer,” he added. “Baselight allowed me to set the key looks then develop them naturally, freeing me from a constrained palette and allowing us to create a convincing visualisation of this rich and complex story.”

As well as remarkable creative control, the Baselight grading facilities at Technicolor also provided critical support in the workflow, by giving free access to all the raw footage from the series as well as the VFX shots as they developed. The practicalities of creating eight hours of premium drama in a television timescale meant that grading on specific episodes took place when directors and DoPs were available for supervision. That meant that Jean-Clément Soret could be working on three or four episodes at any one time.

The result is an engaging, enthralling drama that looks ravishing and chilling in turn. This first series is broadcast on BBC1 and HBO in November and December, while the second series is already in production.

Tags: FilmLight. Technicolor | Baselight | His Dark Materials | colour grading | Jean-Clément Soret | Justin Brown | Philip Pullman | colour science | creative control | colour consistency | convincing visualisation | MKM Marcomms | MKM Marketing Communications
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Channel 5 Simplifies Workflows with Single-Point Infrastructure Posted: 25/11/2019
Channel 5 Simplifies Workflows with Single-Point Infrastructure

Channel 5, based in St. Petersburg, Russia, has dramatically rationalised its core technology by updating to a Platinum™IP3 router from Imagine Communications for its MCR and playout. The remarkable design of the Platinum IP3 incorporates much of the video and audio infrastructure, eliminating a large number of outboard devices from multiple vendors, simplifying cabling and reducing power consumption, as well as making workflows more coherent and transparent.

Channel 5 was already using an Imagine Platinum router, but continually increasing operational demands called for more inputs and outputs. Channel 5 took the opportunity to rationalise its infrastructure by bringing much more functionality into the new, expanded router, eliminating the need for external third-party devices.

“We knew that the newest models of Platinum router, like the IP3, can host a huge amount of functionality within the frame, making system architecture much more logical,” said Sergei Volhin, technical director of Channel 5. “It meant we could do away with a lot of other equipment, making the installation neater and easier to understand. The new Platinum IP3 reduces the cost and complexity, maximises on-air security, and gives us the capability to quickly set up workflows and expand the I/O as our needs develop.”

The new 28RU Platinum IP3 router was specified, configured and installed by Imagine’s channel partner, MediaProject. The IP3 is highly scalable, and in its initial implementation, it provides for 576 x 1024 video I/O in SD and HD, with fully redundant routing and both copper and fibre interfaces. The router also supports 64 TDM audio slots, each carrying up to 128 audio channels.

As well as the highly resilient switching, the Platinum IP3 also offers video and audio processing which in other systems would require large numbers of third-party devices — each consuming power, cooling and rack space. At Channel 5, all the multiviewer displays in the playout and master control area are driven by router-integrated Platinum SX Pro multiviewer cards — enabling a real saving in outboard processors and ensuring faster and more secure operation. The router also integrates audio embedding and de-embedding with full level control and channel shuffling and extensive video processing.

“Every broadcaster wants a core infrastructure that is going to be absolutely secure and resilient, but is also compact, convenient and clear,” said Mathias Eckert, SVP & GM EMEA/APAC, Playout & Networking, at Imagine Communications. “The fundamental design of the Platinum IP3 router allows us to configure very complex signal management, processing and monitoring in the same device, so a single command can fire multiple actions without the need to set each parameter. That makes for very secure operations, even in complex workflows.

“The result is that — as Channel 5 identified — the Platinum IP3 is a complete solution, and one which reduces cost while enhancing resilience,” Eckert added. “And, when the time comes, it can be expanded to encompass IP switching alongside SDI and digital audio, providing long-term security.”

The router project was installed and commissioned by MediaProject during summer 2019.

For more information about Imagine Communications’ products and solutions, please visit https://www.imaginecommunications.com.

 

 

 

Tags: Imagine Communications | Channel 5 Russia | Platinum IP3 router | MCR | Playout | Sergei Volhin | reduce costs | maximise on-air security | MediaProject | highly scalable | Mathias Eckert | enhance resilience | MKM Marcomms | MKM Marketing Communications
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Royal Opera House Prepares for 4K Live Broadcasts with Megahertz Posted: 13/11/2019
Royal Opera House Prepares for 4K Live Broadcasts with Megahertz

Megahertz Ltd., the trusted partner for systems integration with years of experience in delivering cost effective, imaginative designs and solutions for fixed and mobile applications, has completed a UHD/HDR production facility upgrade at one of the most prestigious performance and arts venues in the world; The Royal Opera House (ROH) in London’s Covent Garden.

The ROH has been streaming live ballet and opera performances to cinema audiences around the world since 2008. By making a move to ultra-high definition (UHD), initially for recordings and ultimately for live relays, ROH remains at the forefront of high quality 'live to cinema' performance.

Equipped to meet current high-end production standards and emerging new broadcast standards, the newly fitted £800k Media Suite consists of a full UHD/HDR production gallery and engineering room, which now boasts a tapeless workflow, intelligent network control system, improved recording and playout facilities, 4K monitor wall, state-of-the-art vision mixer, bespoke production desks and enhanced camera talkback system.

Following a rigorous tender process, ROH selected Megahertz to supply the turn-key solution not only to future-proof the facility, but also simplify operations for the varying production crews that use it. Megahertz worked collaboratively with ROH, providing a range of services from consultancy to design, construction/interior design liaison, sourcing of equipment, integration, and installation. Steve Zissler, ROH Sound & Broadcast manager and Peter Byram, Broadcast Consultant canvassed opinions from the freelance broadcast staff, ensuring the design met the users’ requirements.

Tags: Megahertz | Royal Opera House | media suite | UHD/ HDR | 4K | systems integration | production facility | Covent Garden | turn-key solution | Steve Zissler | Jon Flay | MKM Marcomms | MKM Marketing Communications
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Imagine Communications Updates Core Truck Technology for NEP Belgium Posted: 06/11/2019
Imagine Communications Updates Core Truck Technology for NEP Belgium

Imagine Communications has delivered core technology for a major refresh of an outside broadcast truck for NEP Belgium. As well as providing state-of-the-art and future-proofed solutions, a key part of the challenge was the very tight timescale allocated to complete the refurbishment. Imagine Communications was able to deliver on the tough timetable with the support of its Belgian dealer and partner, VP Media Solutions.

“Our Unit 14 still had many kilometres in it, but with a technology platform that was life-expired,” said Geert Thoelen, transitions manager at NEP Belgium. “We wanted a solution that would fit into the existing space, would give us all the functionality we need today, and be ready for the future, including increasing use of IP connectivity. And we could really only take the truck off the road for little more than a month earlier this year, so our partner had to be capable of moving swiftly to install and commission.”

Imagine Communications was able to comfortably meet the requirements. The new infrastructure is built around the Platinum™ IP3 router. In a single 15RU chassis, this router provides very high-density switching of today’s SDI-HD signals. It is also capable of seamlessly integrating uncompressed video over IP, so is ready to form the basis of a migration to IP connectivity — for example, to introduce Ultra HD signals. In Unit 14, the Platinum IP3 router is also fitted with the Platinum SX Pro multiviewer cards, adding functionality while reducing rack occupancy and power consumption.

Imagine’s Magellan™ SDN Orchestrator provides overall system control in the truck. It is specifically designed to provide unified operational interfaces in a hybrid environment, easing the transition between traditional, SDI-connected technology and software-defined, IP-connected architectures.

Tags: Imagine Communications | NEP Belgium | OB truck | outside broadcast | truck refurbishment | core technology | state-of-the-art | future-proof | VP Media Solutions | Unit 14 | Geert Thoelen | IP connectivity | Mathias Eckert | MKM Marcomms | MKM Marketing Communications
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Directors Cut upgrades to Baselight for HDR and 4K Posted: 31/10/2019
Directors Cut upgrades to Baselight for HDR and 4K

Independent London post house Directors Cut Films – owned and operated by its creative staff – has invested in a Baselight TWO colour grading workstation with a Blackboard 2 control panel. Directors Cut works primarily in premium long-form television, as well as drama series, documentaries and feature films, with increasing interest in 4K and HDR.

“Being owned and run by ex-editors, we know what is required to meet and exceed expectations in post,” said Senior Colourist Andy Elliott. “We felt it was the right time to invest and embrace HDR and 4K workflows. HDR in particular produces much more of a positive visual impact, with real benefits in the immersive experience for the viewer.”

Leading broadcasters and production companies in the UK routinely turn to Directors Cut to finish major projects. While the work includes major dramas and some feature films, the company has a reputation for long form TV, especially documentaries. Recent projects graded by Elliott include biographies of Cher and Elton John, an investigation of the Bauhaus for BBC4, and Sir David Attenborough’s call to action Climate Change: The Facts.

Elliott pointed out that such programmes frequently bring together footage shot on multiple different cameras and formats, often in less than ideal circumstances. The task for the colourist is to integrate all of the footage as well as create a coherent look that reflects the story the director wishes to tell. That makes the speed and power of the upgraded Baselight suite an important asset.

Tags: FilmLight | Directors Cut Films | independent post house | Baselight TWO | colour grading | Blackboard control panel | Andy Elliott | HDR | 4K | grading suite | powerful system | asset | colourist | MKM Marcomms | MKM Marketing Communications
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Power of Baselight X on display at the heart of Inter BEE Posted: 31/10/2019
Power of Baselight X on display at the heart of Inter BEE

At Inter BEE, the FilmLight presence will be led by Koichi Matsui, General Manager of FilmLight KK, along with Yoko Kimura, newly appointed sales and product specialist. “FilmLight is one of the world’s leading companies for production and post production technology,” said Koichi Matsui “Yoko’s recent appointment underlines this region’s importance to us, and is a clear indication of the support we are giving to our existing and future customers in Japan.”

Top end post-production is placing ever-more stringent technical demands on technology, in support of the creative ambitions of directors, cinematographers and colourists. 4K and HDR are now commonplace, and 8K is being broadcast today in Japan. Recently, Baselight workstations were chosen for grading and finishing Ang Lee’s new movie, Gemini Man, shot and delivered in 120 frames per second, 4K, high dynamic range 3D.

Only the power of the Baselight X system can handle such a data-intensive project, while still giving the colourist free rein with next-generation creative tools and realtime response. FilmLight will demonstrate these tools as part of its latest software version at Inter BEE 2019, on an 8K display powered by a Baselight X grading system. This includes new productivity features such as the enhanced timeline with collapsing stacks and multiple tracks.

Tags: FilmLight | Yoko Kimura | Inter BEE | Koichi Matsui | Japan | Asia Pacific | post-production | colourist | Baselight | grading | Ang Lee | Gemini Man | Baselight X | Baselight Editions | Daylight | Blackboard Classic | control panel | MKM Marketing Communications
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BUBBLE AGENCY APPOINTS KELLI NEVE-READ AS BUSINESS DEVELOPMENT MANAGER Posted: 24/10/2019
BUBBLE AGENCY APPOINTS KELLI NEVE-READ AS  BUSINESS DEVELOPMENT MANAGER

Bubble Agency, the global PR, marketing and events specialist for the media and entertainment technology and services sectors, today announced the appointment of Kelli Neve-Read. Kelli joins as Business Development Manager having spent 10 years at IBC, the world’s most influential media show.

Kelli will be based at Bubble headquarters in London and joins Managing Director Sadie Groom, across new business efforts and client services.

At IBC Kelli was Head of Exhibitions for three years, and Head of Events for the past three years. Propr to that she held various senior events positions at organisations including Informa Telecoms and Media. Kelli has worked with many clients throughout her career giving her extensive experience proving strong leadership and the ability to successfully manage relationships, as well as produce high customer satisfaction rates.

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Fifty Fifty adds second Baselight grading suite Posted: 21/10/2019
Fifty Fifty adds second Baselight grading suite

Leading London boutique post house Fifty Fifty has added a second Baselight grading suite as part of its expansion programme. With the growing interest in top end content for broadcast and streaming, both suites are equipped for 4K and HDR Ultra HD, and certified for Dolby Vision grading and delivery.

 
Originally a short-form house, Fifty Fifty is now best known for its broadcast work. As well as an ambitious expansion into a fourth building next to its original Soho base, to drive future creative and commercial growth, Fifty Fifty has recruited experienced long-form colourist Joe Stabb to run both the department and the new suite.
 
“Our boutique size enables us to offer agile, bespoke solutions,” said Cara Kotschy, managing director of Fifty Fifty. “The addition of beautifully styled and Dolby Vision accredited Baselight suites is a strategic move to put us at the forefront of technology and deliver our strategy within the high-end programming market. Baselight is a name that almost every single client will recognise and trust.”
 
Today, the majority of Fifty Fifty’s OTT deliverables are in HDR, so it is incredibly important that they have the confidence to deliver this new technology. The new suite matches the existing room technically, based on a Baselight TWO workstation with a Blackboard control surface. Fifty Fifty also use Baselight plug-ins in their editorial rooms and Flame VFX.
Tags: FilmLight | Fifty Fifty | Baselight | grading suite | colourist | Joe Stabb | 4K | HDR Ultra HD | Cara Kotschy | Dolby Vision | Blackboard control | Flame VFX | colour science | colour artist | interoperability | MKM Marcomms | MKM Marketing Communications
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CLEAR-COM STRENGTHENS U.S. SALES WITH NEW APPOINTMENTS AND INCREASED PARTNER SUPPORT Posted: 14/10/2019
CLEAR-COM STRENGTHENS U.S. SALES WITH NEW APPOINTMENTS AND INCREASED PARTNER SUPPORT

Clear-Com® has appointed two new Regional Sales Managers (RSM) in North America. William Elliott takes over responsibility for the Southeast Region and Caribbean, while Vic Lombardi will handle the newly established North Central Region covering Iowa, Illinois, Indiana, Michigan, Minnesota, North Dakota, Nebraska, Ohio, South Dakota, and Wisconsin. Pat Hamp, formerly RSM for the Southeast Region, has been promoted to a Sales Training Role focused on training Partners.

Tags: Clear-com | Regional Sales Manager | William Elliott | Vic Lombardi | North America | South East Caribbean | Knowledge | Market | Solutions
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Artjail raises the bar with Baselight colour grading Posted: 03/10/2019
Artjail raises the bar with Baselight colour grading
Independent VFX boutique Artjail has added a Baselight grading suite in each of its locations: one in its New York studio, and one in Toronto their newest studio that opened in January. Bringing grading and VFX together will strengthen the studio’s workflow for complex VFX projects. It will also further their reputation for short form advertising projects and long form work.
Tags: FilmLight | Clinton Homuth | colourist | Artjail | VFX boutique | Baselight | grading suite | Steve Mottershead | New York | Toronto | BLG | Flame | NUKE | Avid | VFX | feature set | MKM Marcomms | MKM Marketing Communications
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