32Ten Studios Launches on Former ILM Site


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Mon, 01/30/2012 - 19:00 -- Nick Dager

Kerner Optical has launched 32Ten Studios which will be based at the former site of Industrial Light and Magic in San Rafael California. The new venture will be employee owned and will be headed by industry veterans Tim Partridge who will serve as president and CEO and Greg Maloney who will serve as COO. The new company will rent its historic soundstage to outside projects and will also provide a new home base for many of the elite model makers and practical effects technicians of Marin County who were previously employed by ILM and later by Kerner Optical. Members of the 32Ten practical effects team have created movie magic for over 20 years on this historic soundstage starting with The Empire Strikes Back and continuing on with The Return of the Jedi the Back to the Future trilogy the Pirates of the Caribbean films War of the Worlds Indiana Jones 4 Harry Potter and the Goblet of Fire Transformers Terminator Salvation the 2009 Star Trek Iron Man II and dozens more. We are delighted that the facility at this famous site has been reopened and we will be able to continue creating amazing realistic effects for mainstream and independent filmmakers says Geoff Heron practical effects supervisor with ILM and Kerner Optical. Heron’s work included FX contributions to such films as Mission Impossible III Evan Almighty Terminator Salvation and The Last Airbender among many others. All the model makers in the area are excited about this new venture and can't wait to start building once again says Nick D'Abo model supervisor with ILM and Kerner Optical whose work was featured on movies such as Star Wars: The Phantom Menace Transformers Star Wars: Revenge of the Sith and most recently Priest and Cowboys and Aliens. 32Ten will also offer a digital VFX facility for finalizing shots and finishing projects and will offer its facility for rent to producers of projects from across all media. The approximately 6 000 square foot soundstage boasts a 20-foot high two wall covered green screen. Adjacent to the soundstage is the screening room which offers 138 seats in one of the most luxurious theaters in the area. Wardrobe make-up and production offices will also be available for rent within the site. This building has an amazing movie history and we are delighted to be able to offer it to all Bay Area producers says Partridge. We also wanted to provide a place where the many gifted artist who live in the area can once again create their unique form of film magic. 32Ten is a collaborative venture one that will hopefully attract other service providers and filmmakers in need of a vibrant location for their projects.” “We want to build a creative community around this once legendary site where many of 
us got our start in the industry” says Maloney.  “The experience in FX among the people 
here is incredible and we want to make that expertise and this facility available to 
content creators everywhere.” 32Ten Studios www.32ten.com ,3018
Arts Alliance Media Closes Deal with City Screen,2012-01-31,Leading independent UK cinema operator City Screen owner of Picturehouse Cinemas has become the latest exhibitor to sign a digital cinema deal with Arts Alliance Media. City Screen operates 58 screens all of them digital in 20 sites across the UK. The sites will be equipped with AAM’s Theatre Management System to manage all digital content scheduling and security keys and larger sites will also receive AAM’s Library Management Server. Under the agreement Virtual Print Fees will be payable across selected sites in the City Screen network. AAM CEO Howard Kiedaisch says “Hitting the 2000 screens milestone is a great result for AAM and all our partners and being the biggest integrator outside the US is a huge validation of our hard work over the past years. We’re thrilled to be able to announce a deal with City Screen in the UK at the same time. They’ve always been forward thinking when it comes to digital and we look forward to working with them to continue to provide the quality and variety digital offers to their loyal audience.” Lyn Goleby of City Screen says “Our cinemas are known for their innovation and for providing a fantastic service to our customers and with this deal in place with AAM we’ll now be able to guarantee the quality and reliability of our digital screens and the efficiencies of the TMS software means we can continue offering the widest most flexible programming in our cinemas.” Arts Alliance Media www.artsalliancemedia.com City Screen www.picturehouses.co.uk ,3019
Animal Logic Honored for its Work on The Owls of Ga'Hoole,2012-01-31, Australian visual effects and animation studio Animal Logic received the inaugural Australian Academy of Cinema and Television Arts Award for Best Visual Effects on Sunday for its work on Legend of the Guardians: The Owls of Ga'Hoole.

 Animal Logic art director Grant Freckelton says the AACTA award acknowledges the amazing work of the whole crew of the 2010 Warner Bros. animated fantasy feature directed by Zack Snyder. It's such an honor to get this award for Guardians celebrating one more time the efforts of those 500 or so local and international artists who created this wonderful film Freckelton says.

Every single shot in the film was a huge technical triumph from the creation of each owl character the creation of our proprietary feather system from the ground up to produce these deep dense feathers and then developing our fluid systems to simulate natural effects like fire and rain Freckelton says. We took all that technology and applied it creatively to an imaginative fantasy world in stereoscopic 3D with almost everything you see generated within the shot and then we put together some really good looking impressive sequences he says.
 Animal Logic www.animallogic.com ,3021
Avid Project Sharing Available on Archion EditStor ES
,2012-01-31, Archion Technologies is now offering Avid project sharing on its EditStor ES Shared Storage System which the company says enables complete collaboration between multiple Avid editors simultaneously working on the same open project.

 “EditStor ES now offers the native Avid project sharing that once only existed when using Avid shared storage solutions ” says James Tucci chief technology officer at Archion.  “We’ve now made it possible for Avid users to realize the benefits of this feature while also enjoying greater media management tools. This once again underscores our commitment to building innovative highly affordable products that combine compelling value like our EditStor ES with features that make them attractive to almost any facility.”
 Unlike very basic networked solutions according to Archion EditStor ES is a shared storage system that has been specifically designed with the level of features and scalability needed for media workflows including such functionality as project sharing and on the fly volume expansion.

“Having more than a decade of Avid workflow and shared storage experience our customers rely on us to introduce and enhance products that improve their workflows ” says Reuben Lima chief operating officer of Archion. “EditStor ES is a great example of our continuing development of products and toolsets that meet the needs of today’s digital media professionals.  At the same time EditStor ES is an unmatched investment – and the cost of scaling is even better.” Project sharing on EditStor ES is transparent to the Avid workflow.  When projects are placed on EditStor ES volumes several users can work on the same project at the same time.  Using the native locking mechanism Avid editors do not have to keep track of who is currently working in a bin; the lock shows them. This allows only one user to write to a bin but allows multiple users to read the files in that bin. This ensures that changes aren’t inadvertently overwritten to clips or sequences in the bin. The investment for a complete EditStor ES can be as low as $17 995 while a 64TB system can be configured at a total cost of less than $50 000. Systems are available for immediate delivery.


 Archion www.archion.com   ,3022
ArriLaser Pictorvision to Receive Academy Awards,2012-01-31,Arri and Pictorvision will both be awarded with Scientific and Engineering Academy Awards at the 84th Annual Academy Awards for Technical Achievement during a ceremony on February 11 in Beverly Hills. The Academy presents the awards to individuals behind these achievements which “demonstrate a proven record of contributing significant value to the process of making motion pictures ” the organization says. Franz Kraus Johannes Steurer and Wolfgang Riedel will accept the award for Arri for the design and development of the ArriLaser which “demonstrates a high level of engineering resulting in a compact user-friendly low-maintenance device while at the same time maintaining outstanding speed exposure ratings and image quality.” Michael Lewis Greg Marsden Raigo Alas and Michael Vellekoop will accept the award for Pictorvision for the concept design and implementation of the Pictorvision Eclipse an electronically stabilized aerial camera platform. The initial concept of the ArriLaser was inspired by the development of a large-scale laser printer at the Fraunhofer Institute IPM in Freiburg. Project manager Riedel suggested utilizing the experience and technology gained in this previous project for the film industry which led to a very successful partnership between the Fraunhofer Institute IPM in Freiburg and Arnold & Richter Cine Technik in Munich. This partnership allowed Kraus Steurer and Riedel to come up with product specifications for a laser-based high dynamic range high-resolution film recorder. After just two years of development the first prototypes were delivered to Digital Domain and Computer Film Company for beta testing in 1998. Today the ArriLaser is the industry standard with over 280 units in use around the globe. “The concept was to have technology which would satisfy Hollywood-quality demands but would be efficient and competitive to accommodate lower budget films ” says Franz Kraus Arri’s managing director. Steurer principal engineer at Arri’s R&D department says “The ArriLaser made it possible to record complete feature films at a moderate price with quick recording speed so the industry could turn from shot-based visual effects production to digital production for the complete features. This enabled the digital intermediate process on a big scale.“ “While the development of the ArriLaser posed several technological challenges our enthusiasm was inspirational for various scientists and engineers making significant contributions in their respective fields ” says Riedel of the Fraunhofer IPM. This early foray into digital technology later paved the way for more innovation. “We are very pleased that we receive the Oscar in particular for this product because it is the first digital system Arri ever built ” says Kraus. “The ArriLaser has been a success in itself but it was really the foundation to further digital projects: the ArriScan and the Arriflex D-20. Without those products there would not have been the in-house engineering competence and the customer confidence for the successful design and marketing of the Alexa camera.” Regarding Pictorvision the Academy says “The Pictorvision Eclipse system allows cinematographers to capture aerial footage at faster flying speeds with aggressive platform maneuvering.” Designed by the same team that pioneered aerial stabilization for cameras 35 years ago the Eclipse represents a revolutionary milestone in the advancement of aerial camera platforms. It incorporates proprietary patented XR Motion Management technology that enables the most advanced steering stability and pointing and tracking capabilities. Eclipse’s advanced control system open architecture and ability to handle long and cumbersome lenses allow top aerial cinematographers to capture creative shots never before attainable. The system was used on five of the 2011’s top 10 highest grossing live action films; Twilight: Breaking Dawn Pt. 1 Fast Five The Hangover Part II Rise of the Planet of the Apes and Thor. Arri www.arri.com Pictorvision www.pictorvision.com ,3023
Autodesk to use Dot Hill Storage Systems for 3D,2012-01-31,Dot Hill Systems has entered into a supply agreement with Autodesk. Under the terms of the agreement Autodesk will integrate Dot Hill's AssuredSAN 3000 Series 8Gb Fibre Channel storage system as part of Autodesk's turnkey solution for 3D visual effects and finishing. Dot Hill storage can be configured as either direct attach storage and as a Storage Area Network as needed. Featuring a compact 2U24 footprint and reliable 8Gb Fibre Channel connectivity Dot Hill 3000 storage systems deliver high performance for sequential workloads required in effects and finishing work. Autodesk's selection of Dot Hill storage to support high performance storage requirements is further validation of Dot Hill's momentum in the media and entertainment space with our AssuredSAN 3000 Series says Garrett Wein vice president worldwide OEM sales Dot Hill Systems. “The Dot Hill AssuredSAN 3000 Series continues to be the first choice of clients in search of a superior solution for visual effects grading and finishing in both 2D and 3D stereoscopic projects. Autodesk www.autodesk.com Dot Hill www.dothill.com