• Monday, Mar. 30, 2015
Canon U.S.A. sets NAB offerings
MELVILLE, NY -- 

At the 2015 NAB Show in Las Vegas, NV, Canon U.S.A., Inc., a leader in digital imaging solutions, will showcase its full line of professional, high definition imaging equipment for motion picture, television production, video content creation, and still photography at booth C432. During the 2015 NAB Show, Canon will feature a live 4K Workflow Demonstration where visitors will have the opportunity to interact with industry-leading colorists and editors in a 4K HDR (High Dynamic Range) and DI (Digital Intermediate) suite. Visitors will also have the opportunity to demo the full range of Canon Cinema, HD Video and DSLR cameras, Cinema Lenses, including the Cine-Servo 50-1000mm T5.0-8.9 lens and Broadcast HDTV lenses, such as the new HJ24ex7.5B HD ENG lens, through various simulated shooting situations in three different shooting galleries. Canon will also feature a 4K frame-grab demonstration where professional photographers will utilize the Canon Cinema EOS-1D C camera to deliver still images from 4K video.

Live educational sessions will demonstrate the benefits of Canon’s Dual Pixel autofocus technology for various shooting scenarios. In addition, images taken with the new EOS 5DS 50.6 megapixel high resolution Digital SLR camera will be printed on site on the imagePROGRAF iPF8400 printer, and displayed as wall wraps to highlight the detailed and high quality images that can be taken with the new DSLR.

Throughout the 2015 NAB Show, Canon will host a series of unique stage presentations with renowned cinematographers, broadcast specialists, and filmmakers on the Canon Live Stage.  These industry professionals will provide insight into the ever-changing field of optical and imaging technology and showcase their projects and works that were shot using Canon equipment, as well as share best practices and real-world applications for utilizing Canon technology.

Highlighting the Company’s strength and achievements in the realm of optical technologies, Canon will exhibit all 125 of its current EF, Cinema and BCTV lenses. This dedicated optics section of the booth will include technology displays to help educate visitors on the intricate systems that help make Canon lenses such powerful tools. 

Show attendees are also welcome to view stunning clips of recent award-winning content shot on Canon Cinema EOS equipment in the Company’s 90-seat Theater.

Canon 4K Reference Displays will be featured throughout the booth, including a non-linear editing system demonstrating the display’s compatibility with various digital cinema camera solutions as well as ACES color grading capabilities.

Professional cinematographers in need of a fast, easy way to print images for scene continuity or to preserve highlights of a recently completed project will appreciate learning about the convenience and versatility of Canon’s high-quality imagePROGRAF and PIXMA Pro inkjet printers.

Canon’s Education Team will be hosting in-booth guest speaker seminars and workshops throughout the 2015 NAB Show. 

  • Thursday, Mar. 26, 2015
Ikegami to exhibit 8K and 4K technology at 2015 NAB Show
The 2/3-inch CMOS 4K camera will be part of the Ikegami Technology Exhibit at the 2015 NAB Show.
NEUSS, Germany -- 

Ikegami, a leader in HD cameras and production equipment for TV broadcasters, networks, and other HD content creators, will display a wide range of advanced systems and technologies at the 2015 NAB Show. This year's NAB exhibition halls will be open April 13-16 at the Las Vegas Convention Center.

Ikegami will follow its 2014 presentation by once again hosting a leading-edge 8K Technology Exhibit, an 8K UHDTV camera, which will update attendees on the newest developments in the extremely high resolution Super Hi Vision format. 

A 4K Technology Exhibit including a new 2/3-inch CMOS 4K camera and a new 4K base station, compatible with existing Ikegami Unicam cameras will also be presented. As part of the 4K exhibit, Ikegami will display Hibino Corporation's cutting-edge real-dot full 4K 293-inch LED display. Ikegami's precise imaging technologies and Hibino's high resolution display technologies will be merged to expand the potential of the 4K solution. 

Throughout the Ikegami booth, visitors will experience products that provide exceptional HD picture quality, industry-leading CMOS technology, superior performance, and convenient features. Systems on display will include the following, with additional Ikegami technology on exhibit to be announced closer to the show.

Ikegami HC-HD300 1/3-inch 3-CMOS docking-style camera
The newest addition to Ikegami's Unicam HD product line, the HC-HD300 is a highly flexible docking-style camera that represents Ikegami's first affordable HD studio camera system. Ready for studio or field, it features a newly-developed 1/3-inch 3-CMOS optical block design, in keeping with the outstanding imagery and same rugged construction of the broadcast-ready Unicam HD line.

Ideal for broadcast TV stations, as well as, educational, corporate and house of worship applications, the versatile Ikegami HC-HD300 also works in conjunction with a newly developed camera control system consisting of the FA-300 fibre adapter and BSF-300 base station, utilizing OpticalCON DUO connectors for its fibre camera cable connection. This connector accepts either a mating OpticalCON Duo connector for SMPTE hybrid camera cable (maximum distance: 250m/820ft), or common optical LC connectors for duplex single-mode fibre cable (maximum distance: 10km/32,800ft). The system enables affordable and flexible integration for a variety of applications.

Ikegami HDK-65C 2/3-inch 3-CMOS portable camera
The new HDK-65C is the latest addition to Ikegami's Unicam HD line. Equipped with multi-format 2.5 million pixel 2/3 inch CMOS sensors, the HDK-65C is available as a single-format system and is software-upgradeable to additional HD formats. Providing end-to-end digital processing, it features a low-profile docking camera head for fiber, triax, or wireless applications.

CMOS sensors are now meeting and exceeding the performance of CCDs in sensitivity, signal-to-noise ratio, and resolution. They continue to offer low power consumption, no vertical smear, and a high degree of format flexibility. With extensive ongoing research and development in this technology, the adoption of CMOS for broadcast camera use is now the trend.

These Ikegami systems and more will be on display on Booth C7725 throughout the 2015 NAB Show April 13-16, at the Las Vegas Convention Center. 

  • Thursday, Mar. 26, 2015
SKYLAB designs an integrated ACES color workflow with FilmLight’s BLG and Baselight For "Chappie"
"Chappie"
LONDON -- 

Post house SKYLAB (formerly Digital Film Central) recently developed an innovative new workflow to tightly integrate creative grading with both editorial and VFX for Neill Blomkamp’s new movie, Chappie. Working with visual effects studio, Image Engine, the team created a seamless feature-finishing architecture which took advantage of FilmLight’s BLG file format, Baselight and Academy Color Encoding System (ACES) technology.

During SKYLAB’s work with Blomkamp on previous effects-heavy movie Elysium, the team began discussing ways to innovate even more on Chappie. They soon began designing an ACES color workflow to weave VFX, dailies, editorial and color grading together, giving everyone greater creative control across the production, along with more secure data management. SKYLAB calls its philosophy “meaningful color” because accurate creative color decisions can be made at any point during production, and the approach offers significant time- and money-saving efficiencies.

Chappie is set in the near future where crime is controlled by an oppressive mechanized police force. The title character--realized entirely in VFX, based on a motion capture performance by Sharlto Copley--is stolen and loaded with experimental software which allows it to think and feel for itself. But it’s not just the central character that relies on VFX: armies of robots, new cityscapes and some impressive battles also needed to be created in post, so the majority of the movie is comprised of VFX shots.

Principal photography took place in South Africa, with a Baselight grading system on set to create proxies for editorial and to prepare the full resolution content for transport. SKYLAB, working as a digital version of the traditional lab, managed the entirety of the media, as well as color metadata, on behalf of the studio. Background plates were delivered to Image Engine and other VFX houses as OpenEXR files, using ACES to ensure consistency between viewing environments and BLG files to manage technical grade information in a non-destructive way. SKYLAB was then able to leverage Image Engine’s own Baselight grading system to harmonize color throughout the VFX process. The same result can also be achieved using any of the BLG-enabled products from FilmLight, including Baselight Editions, FLIP and Daylight.

Using Baselight’s color grading and finishing tools, creative director and colorist Andrea Chlebak began to develop the look before and during the shoot. This created enormous efficiencies in the finishing process and provided a context for other departments to make their decisions. “Crafting the final look from the start of VFX–in a movie where practically every frame has some effects in it–was really valuable,” she said. “They were able to preview the full gamut of a shot on Baselight, and see where we were going to take it in grading on the fly.”

SKYLAB’s technical director Chris Davies also developed a range of custom LUTs to be applied automatically to particular scenes and VFX layers to ensure each element would work well together in the final grade.

“When a project involves as much VFX as Chappie, it is far better for editorial, effects and grading to take place in parallel to avoid the pressures that mount up at the end of a typical DI,” commented Davies. SKYLAB’s ACES workflow blends the portability of BLG metadata files into their own MULTIVERSE conform architecture.

This highly evolved workflow has profound implications for boosting productivity. “In the past, visual effects companies and DI laboratories all had their own internal color pipelines,” added Davies. “Now we are finally at the point where we can link technologies together and produce an overall workflow that allows everybody to work with one unified system. FilmLight’s BLG-supported systems, combined with ACES, are invaluable in helping us achieve that.”

SKYLAB CEO James Tocher explained, “We are not your usual ‘DI house’--we are more of a ‘finishing company’ with a holistic approach. It just makes sense that the company who has to finish the movie works backwards from the DI, through dallies, VFX and editorial, to deliver a system that actually makes color meaningful for everyone.”

“One of the best ways to improve post workflows, particularly in this era of high dynamic range cameras, is by starting with a good look, capturing it on set and refining it all the way to the final grade,” said Wolfgang Lempp, CEO of FilmLight. “We have built our BLG strategy to allow next generation postproduction company such as SKYLAB efficient and flexible control of the look at every stage of the color pipeline.”

Chappie premiered in the USA on March 6, 2015.

At NAB, the team at SKYLAB and FilmLight will be participating in the ACES panel discussion “Coming To You Live: ACES 1.0” on Tuesday, April 14, at 3pm, room S220, with other filmmaking experts.

  • Thursday, Mar. 26, 2015
Rohde & Schwarz to showcase enhanced R&S VENICE 4K at NAB
R&S VENICE 4K production server.
HANOVER -- 

At NAB from April 13-16, Rohde & Schwarz DVS will be demonstrating how TV studios can efficiently realize production workflows in 4K--from ingest to studio playout--with the help of the ingest and production server R&S VENICE 4K. NAB visitors will be able to experience a 4K studio production workflow with R&S VENICE at booth SL1105.

With the launch of the new R&S VENICE 4K server, which gets its preview at NAB 2015, Rohde & Schwarz DVS is meeting the increasing demand for production of 4K content. The ingest and production server enables TV studios to set up file-based studio production workflows in 4K which resemble HD workflows in their simplicity. R&S VENICE 4K allows direct recording in 4K without any time-consuming stitching processes. The material is synchronously converted to HD-SDI and saved as a file. This parallel generation of both HD and 4K content provides TV studios with a feasible transition option until content is broadcast entirely in 4K.

With its ingest and production server, Rohde & Schwarz DVS is laying a solid foundation for successful 4K production and helping broadcasters meet today’s challenges. On the one hand they want to meet their customers’ demands for 4K content while at the same time producing content fast and economically--without having to settle on any specific workflow requirements. Here, the multi-format capability of R&S VENICE 4K comes into its own: It offers production freedom as workflows can easily and flexibly be adjusted to meet changing needs. Since external storage solutions can be addressed directly without any gateway hardware, R&S VENICE 4K creates the ideal opportunity for workflows to be as fast as in HD production.

Timo Klages, product manager broadcast solutions at Rohde & Schwarz DVS, stated, “It is and will remain our primary goal to set new studio-production standards with our ingest and production server VENICE. Never before has 4K production been as easy as with VENICE 4K. The ingest and production server is a tremendous help to broadcasters, enabling them to migrate to 4K production without them having to completely reorganize their workflows.”

  • Thursday, Mar. 26, 2015
Littlefox selects Aframe's Cloud Video Platform for global collaboration
An image from the animated Macmillan Cancer Care campaign.
LONDON -- 

U.K.-based Littlefox Communications has chosen Aframe’s Cloud Video Platform as a collaborative space to manage and edit the video content it creates for its clients. As a digital communications company specializing in video to aid and develop business strategies for global organizations, Littlefox knew it needed a “one to many” solution that would allow easy access to content regardless of the team’s location.

Littlefox works with a wide variety of companies, editors, production teams and animators across the globe and was looking for a cloud-based platform that could easily accommodate the versatile way in which it collaborates.

Prior to Aframe, Littlefox relied on courier services and the costly use of hard disk drives. Joanna Lewis, CEO, Littlefox, commented, “Before using Aframe the process of sharing footage was a lot slower and more costly. It could sometimes take up to a week for footage to make it into the editing process previously, but now we can share, edit and finalize footage in a day if we need to. It has completely changed our workflow.”

Littlefox is now able to ensure content is shared efficiently with various contributors across the globe in real time without the burden of making copies. For Littlefox, this ease of collaboration is one of the main benefits of the cloud-based video platform.

This became even more apparent when Littlefox was commissioned to work on a campaign with Macmillan Cancer Care. “When working on the Macmillan campaign, we were lucky enough to work with a young and talented animator based in New York,” said Lewis. “She was able to brainstorm ideas and upload content to be reviewed and edited with ease and speed; without Aframe this just wouldn’t have been possible. For me, this is the best thing about Aframe and the ease of the cloud. It doesn’t matter where the team is or what time zone they work in, everything can be done in a timely and efficient manner; resulting in innovative and quality content.”

As Littlefox has evolved, so has Aframe. The Aframe team has been able to support the growing requirements and functionality necessary for Littlefox to produce quality content that can be shared and reviewed with ease. “Aframe as a platform has grown significantly over the time we have been working with them and as a result, the platform has become a very central part of the overall workflow at Littlefox,” added Lewis. They really have been able to grow with us as a team and take into account our needs and requirements. As a digital communications company, our requirements have been and always will be slightly different to some of the larger companies that Aframe works with, but this has never been an issue. They have always provided us with the support, resource and functionality that we needed.”

She concluded, “Overall the relationship with Aframe has been excellent. Not only do they supply us with the very best functionality and allow us to save huge amounts of time in the reviewing and editing process, but they also make it possible for us to have the best team behind us. We work with editors and clients across the UK and indeed all over the world. This just wouldn’t be possible without Aframe.”

  • Thursday, Mar. 26, 2015
Cinedeck to roll out File-Based Insert Editing at NAB
Cinedeck File-Based Insert Editing
NEW YORK -- 

Cinedeck, a developer of capture systems for digital cinema, broadcast and postproduction, announced File-Based Insert Editing, a capability enabling insert editing on digital deliverable files for the first time. Responding to popular demand to smash a universal productivity roadblock, Cinedeck is the first technology manufacturer to develop this breakthrough software solution, which completely eliminates traditional, time-consuming and costly workaround procedures of editing and re-rendering entire final program content, or editing and laying off to tape then re-encoding to a delivery file, resulting in dramatically improved productivity. Cinedeck File-Based Insert Editing will debut at NAB 2015, Las Vegas (booth #SL15714).

Until now, digital deliverable files have been closed and inaccessible to editors, creating a barrier in editorial workflow and handicapping efficient program delivery when last-minute changes are required. However, Cinedeck File-Based Insert Editing allows editors to quickly perform frame-accurate video/audio insert editing into a digital file.

This unique feature supports popular intermediate file formats used in mainstream NLE systems, including Avid Media Composer, Apple Final Cut and Adobe Premiere, plus and ProTools audio workstations. It also harnesses industry-standard deck controls, and allows editors to work in a similar manner to traditional insert-editing on tape.

“The matter of file-based insert editing has been a major productivity problem, that other manufacturers have not solved,” said Charles D’Autremont, founder and CEO of Cinedeck. “Now, Cinedeck has made file-based insert editing a reality. The process is familiar to editors, takes just a few minutes and, in many situations, delivers significant time and cost savings. Cinedeck File-Based Insert Editing also allows editors and producers to keep projects live for much longer in the delivery cycle, and to meet deadlines with more comfort than ever before.”

“Cinedeck File-Based Insert Editing is a major time saver when dealing with last minute deliverables,” said Michael French, at 16by9 post in LA. “By not having to re-render an entire program, when changing just a few frames of video or audio, will save hours of re-rendering time and free-up edit bays for other work.”

Cinedeck File-Based Insert Editing is available with the forthcoming v5 software upgrade for the Cinedeck RX, MX and ZX record, ingest and transcode platforms. As soon as the relevant material is accessible on the Cinedeck platform, editors can select the source content and destination file, and perform a frame-accurate insert edit via the Cinedeck interface into the closed file. The Cinedeck platform then rapidly delivers the complete file in the original digital deliverable format.

This capability eliminates process of reconforming and re-rendering final program content. As it was not previously possible to edit a digital file, an editor would traditionally have to return to the original master material on the timeline within their NLE editorial system, perform the required edits, and then re-output the entire program in realtime to the deliverable format.

Cinedeck File-Based Insert Editing also enables workflows to be file-based from start to finish, bypassing tape all together. Many post facilities continue to use tape decks to lay off a re-edited timeline to tape then re-encode back to a digital file delivery. With this new feature, deliverables can be re-edited on a single pass on one device, versus two or more passes with insert editing to tape.

Cinedeck File-Based Insert Editing takes place on fast Cinedeck platforms, so there is no need for extra processing power or export to a render farm. It also delivers major advantages to quality control, versioning and continuity, as well as providing flexibility for last minute changes required by producers or legal teams.

Cinedeck File-Based Insert Editing supports the world’s most popular NLEs, such as Final Cut, Avid Media Composer and Adobe Premiere, with a range of editorial codecs that include Apple ProRes, Avid DNxHD, AVC Intra, Uncompressed and DVCPro in typical configurations working with Op1AMXF, DPP AS-11 MXF, OpAtom MXF and MOV files. Cinedeck v5 software is scheduled for release on May 15.

  • Thursday, Mar. 26, 2015
Digital Anarchy releases Beauty Box Video 4.0
Beauty Box Video 4.0--before and after images.
SAN FRANCISCO -- 

Digital Anarchy has released Beauty Box Video 4.0. This upgrade adds real time rendering to the industry leading plug-in for removing blemishes and wrinkles from film, 4K, and HD. Beauty Box Video 4.0 adds in support for Nvidia’s CUDA, providing a big boost in rendering speeds on those GPUs. It also further refines OpenCL support and increases rendering speed on AMD GPUs.  This results in real time rendering when using newer GPUs, like the Nvidia GTX 980.

“Beauty Box has been very beneficial to our pipeline, and has helped further improve the quality of the work we can provide and the timeframes we can turn shots around in.” said Darwin Go, VFX supervisor, Park Road Post Production.

Since 2009, Beauty Box Video has been a critical tool for dealing with skin and makeup problems that HD and 4K video reveal. It’s become the industry standard for doing automatic skin retouching and digital makeup. With Beauty Box 4.0, it’s now the fastest way of doing this, without sacrificing any of the quality it’s famous for.

Beauty Box Video 4.0 solves these problems by giving subjects an incredible makeover in postproduction, using state-of-the-art face detection, masking, and smoothing algorithms that preserve important details and the natural skin texture. All this combines to create realistic digital makeup. The retouching is subtle and the resulting video looks natural creating a look that is indistinguishable from real makeup.

HD and 4K show so much detail that it’s essential video editors have tools to reduce the skin and makeup detail when necessary. Beauty Box Video is a proven way of dealing with these very common problems. It automatically analyzes the footage for skin tones, creates the mask, and smoothes out the skin while retaining the texture. The video editor only needs to dial in the amount of smoothing on the first frame and then render it. It saves a tremendous amount of time when compared to how this is traditionally done.

“The only complaint we’ve had with Beauty Box has been the speed,” said Jim Tierney, chief executive anarchist of Digital Anarchy. “By using Nvidia’s CUDA and OpenCL we’re excited to announce that users will be able to achieve real time rendering. Making Beauty Box not only the best digital makeup plugin, but the fastest.”

Beauty Box Video 4.0 currently works in Adobe After Effects, Premiere Pro and Apple’s Final Cut Pro X. Support for Avid, Davinci Resolve, Assimilate Scratch, and other host applications will be following in the next month.

Beauty Box Video 4.0 is regularly priced at $199, but will be on sale for $149 until April 30, 2015. Users can upgrade to one host application for $59.

Beauty Box Video 4.0 runs in Adobe After Effects, Adobe Premiere Pro, Apple Final Cut Pro 7 & X. Support for Avid Media Composer (and other Avid apps), Davinci Resolve, Assimilate Scratch, Sony Vegas, and Nuke will be announced soon. The product runs on Macintosh 10.6-10.8, Windows XP - 8 and 32- or 64-bit systems.

  • Tuesday, Mar. 24, 2015
Filmotechnic USA debuts Russian Camera Arm 6
Filmotechnic USA’s new Russian Arm 6 attached to a specially outfitted Ford Raptor camera car. (On location at the LA Convention Center in Los Angeles for Infiniti).
LOS ANGELES -- 

Filmotechnic USA has announced the arrival of the new Russian Camera Arm 6 to its stable of camera car system offerings. The announcement was made by Filmotechnic USA manager John Urso. The Arm will be officially unveiled in the U.S. at the upcoming April NAB (National Association of Broadcasters) Convention in Las Vegas.

“The Russian Arm 6 (aka AUTOROBOT Camera Crane 6) is the latest addition to our Academy Award winning fleet of stabilized camera crane systems, said Urso. “It’s a high end, versatile filmmaking technology that allows our clients unprecedented performance in speed, image stabilization, flexibility and control. This new technology is based on feedback on film sets worldwide from our customers, partners and camera technicians. The new Arm fits on all our camera cars, currently the Ford Raptor, Porsche Cayenne, Mercedes ML63 AMG, the Hummer H1 and the Ferrari 360.”

The “Six” is a gyro-stabilized camera crane system capable of mounting on a roof of a camera car or any other specialized vehicles. It enables 360 degrees of camera movement while tilting up and down. The Russian Arm 6 was engineered and developed to allow filmmakers to shoot from just about any angle with complete stability and accuracy. Remotely operated and fully controllable, the Arm is capable of amazing on-the-fly tracking shots, allowing filmmakers to capture sequences as dynamic as their imagination. The Arm features:

· Presets for various camera package payloads.
· Individual presets for camera arm operators
· Programmable limits
· A variety of arm length extensions
· Linear vibration isolator capable of absorbing vibration
· High torque and speed.
· Smooth and precise camera movement and response.
· Quiet arm movements

The Russian Arm 6 was five years in development. The result is important improvements in size, weight, speed and length. Camera technician Russell Prior was the first to give the New Arm a hands-on audition. “The arm is amazing, I have used every generation of Russian Arm, along with most every camera rig you can think of,” said Prior. “This Arm is one of the most useful tools I have ever used. You can swing  around 360 degrees in 4.5 seconds, that’s pretty amazing for an arm that’s 26.5 feet long. “It’s super strong, super long and super stable. Somehow the developers were able to accomplish all this and make it lighter too.”

Not more than 48 hours after clearing customs, the Russian Arm 6 was put into service on a multi-day, Tim Damon-directed shoot for Infiniti. Damon said one shot in particular needed a tool as versatile as the Russian Arm 6. “We wanted to do a shot that stretched a bird’s eye view of the hero Infiniti to include other cars, keeping away from everything while still looking straight down,” said Damon. “It worked out great; we wouldn’t have been able to pull off the desired shot without the Six.”

  • Monday, Mar. 23, 2015
SMPTE issues call for Student Paper Award entries, Louis F. Wolf Jr. Scholarship applications
WHITE PLAINS, NY -- 

The Society of Motion Picture and Television Engineers (SMPTE) has issued a call for papers for the SMPTE Student Paper Award. The Society is also accepting applications for the Louis F. Wolf Jr. Memorial Scholarship, which is designed to help students further their undergraduate studies in motion pictures and television, with an emphasis on technology.

“The perspective of our student members is of enormous value to the Society, as they hint at the shape our industry will take in coming decades,” said Pat Griffis, education vice president at SMPTE. “Through the SMPTE Student Paper Award and applications for the Louis F. Wolf Jr. Memorial Scholarship, we get an exciting glimpse at this future.”

SMPTE’s Student Paper Award honors a Student Member who prepares and submits an outstanding paper dealing with some technical phase of motion pictures, television, photographic instrumentation, or their closely allied arts and sciences. The paper will be published in the SMPTE Motion Imaging Journal, providing recognition both for the author and the institution at which the work was done. The application form and requirements are available here. The deadline is May 18.

The Louis F. Wolf Jr. Memorial Scholarship offers $5,000 toward the cost of tuition at the student’s educational institution. The scholarship is open to SMPTE student members who are full-time undergraduate students enrolled in an accredited two- or four-year college or university. Applicants must be majoring in a program emphasizing the engineering, science, advanced technologies, or fundamental theories associated with motion imaging, sound, metadata, and workflows consistent with SMPTE’s field of interest, and each must have completed a minimum of four courses toward said major in good academic standing.

The application form and requirements are here. The application deadline is May 18. The award winner and the scholarship recipient will receive a full conference registration for the SMPTE 2015 Annual Technical Conference & Exhibition, Oct. 26-29 in Hollywood, California, where they will be recognized during the SMPTE 2015 Honors and Awards Ceremony.

Students may join SMPTE as student members for just $35, or for free if this is their first year of membership and they apply via the Student Membership Challenge.

  • Monday, Mar. 23, 2015
Neil Maycock appointed VP marketing for Quantel and Snell
Neil Maycock
NEWBURY, UK -- 

Neil Maycock has been appointed VP, marketing, for Quantel and Snell. He is responsible for all Quantel and Snell marketing activities as well as product management for Quantel, on a worldwide basis.

Maycock brings many years of high level marketing experience within the industry to his new position, having been chief marketing officer at both Pro-Bel and Snell previously. Alongside his marketing background, he has also held CTO positions, is a chartered engineer, Fellow of the Institution of Engineering and Technology, and a Fellow of the Institute of Directors.

“This appointment is part of a dynamic overhaul we are undertaking to reposition our company at the forefront of the industry and drive sales and growth,” said Tim Thorsteinson, CEO. “Marketing will naturally play a central role in achieving this, and Neil is the right man to lead us forward.”

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