Library of Congress Discovers Lost British TV Treasures 

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Wed, 09/29/2010 - 20:00 -- Nick Dager

The British gave Americans the Beatles James Bond and Shakespeare. The Library of Congress is returning the favor by repatriating a treasure trove of TV programs that represent Britain’s golden age of television. Considered lost for more than 40 years the programs include footage of some of the biggest names in entertainment including Sean Connery Maggie Smith John Gielgud Robert Shaw David Hemmings and Susannah York. In an unprecedented collaboration between the Library of Congress and British Film Institute the two largest archives of film and television in the world more than 68 rare recordings from 1957 to 1969 will be returned to the United Kingdom. This marks the Library’s first-ever repatriation of television programs to another country and the largest such repatriation in history.   These programs represent a key period in British television. 

The vintage television programs were discovered in the Library’s National Educational Television Collection. NET was the forerunner of the Public Broadcasting Service which donated its film and video holdings to the Library via flagship station WNET/Thirteen in New York. For many years NET imported a host of British teleplays and comedies which were included in more than 20 000 reels donated to the Library.

In the archival world television repatriations are exceedingly rare ” says Mike Mashon head of the Library’s Moving Image Section. “We’re delighted to make high-quality preservation copies of these programs at the Library of Congress Packard Campus for Audio Visual Conservation and share them with the BFI and the British public. In the meantime we’ll keep looking for more lost shows.”

 “The BFI’s Missing Believed Wiped campaign to recover the lost treasures of British television history has been going for 17 years now but this is by far the largest and most significant collection of programs we have found both in terms of the quality and the vintage of the titles concerned ” says BFI senior curator Steve Bryant. “We are very grateful to WNET-TV for having the foresight to donate them to the Library of Congress to the Library for preserving them and now making them available.”

 Many of the programs reflect adaptations of literary classics including works by Shakespeare Ibsen and Chekhov.  Highlights include Sean Connery and Dorothy Tutin in a rare BBC production of Colombe (1960) by Jean Anouilh; Maggie Smith and Robert Stephens in Much Ado About Nothing stage-directed by Franco Zeffirelli (1967); Leonard Rossiter and John Le Mesurier in Dr. Knock (1966); and Rudolph Cartier’s drama about Rembrandt (1969).   The earliest production among the programs was Ibsen’s The Wild Duck in 1957.  The roster of recovered dramas also includes episodes of The Wednesday Play Thursday Theatre and Play of the Month. ,1985
MPC Buys Three TrueLight 3D Systems,2010-09-30,MPC has purchased three FilmLight Truelight 3D systems: two systems have already been installed in its Wardour Street headquarters (London) for use on a current stereo 3D project. “We needed a 2K stereo player with a comprehensive toolset that integrated into our Linux stereo pipeline ” says David Spilsbury head of engineering at MPC. “We worked with FilmLight’s R&D team to upgrade our existing Truelight Player and having tested the workflows we’ve now purchased a further two systems. The player includes tools such as stereo fix which will allow our operators to make adjustments and get important feedback during client VFX shot review sessions.” “As more 3D projects go into production there’s a growing need for a cost-effective review and approve station for 3D digital rushes ” says Mark Burton head of marketing at FilmLight. “Our new Truelight 3D Player fulfills that need. We’re delighted that MPC such a well-respected player in the post-production industry has seen the tangible benefits the system can offer its clients.”   MPC ,1986
The Refinery Upgrades ,2010-09-30,Responding to a surge in client demand for the highest-quality digital film grading full-service South African post-production facility The Refinery has invested in a Baselight HD color grading system from FilmLight. The system will be installed in a brand-new digital theatre complete with a 3D-enabled 2K Barco projector. The theatre will also feature FilmLight’s Truelight color management system. Charl van der Merwe managing director at The Refinery says “We had absolutely no hesitation about the decision to purchase Baselight. With a powerful shift to digital cinema and the ongoing developments in the film industry we need to make sure we back our exceptional creative talent with the very best technology.” “The future is about workflows and making critical decisions at the right time ” says Gerhard Roets The Refinery’s operations director. “Baselight allows us flexibility as it fits perfectly into both film and digital workflows. The FilmLight team have been incredibly proactive in developing a system that works seamlessly in the streamlined collaborative workflows required to meet today’s demanding customer expectations.” The Refinery’s director of post-production Tracey Williams says “Color grading is all about providing our skilled colorists with the right creative tools to interpret and craft the vision of the director and DoP accurately. It’s also about helping them to navigate along the project pipeline to final delivery. FilmLight truly understands color management and its tools are second-to-none.” The system was sold by FilmLight’s reseller for South Africa Blue Tornado. The Refinery ,1987
Russian Film Industry Rebounds,2010-09-30, The fast-growing Russian film industry looked like it had hit a bump in first half 2009 as the financial crisis bit and piracy undermined key growth areas. But full-year figures for 2009 and data for first half 2010 show the industry getting back on track. These are the findings of The Film Industry in the Russian Federation the latest report commissioned by the European Audiovisual Observatory from research company Nevafilm with contributions from RFilms and Groteck Business Media. The report outlines developments in the following areas: Feature production investment showed signs of revival in 2010 with consolidation among major players and restructured state investment though the TV production sector remained sluggish.
 Russian cinema admissions continue to grow by on average 14 percent per year. The continued growth is largely down to the increasing number of 3D films in circulation – 15 in 2009 and around 40 in 2010 - and the growth in the number of digital screens. For the same reasons local currency box office revenues grew by 13 percent in 2009 though in dollar terms revenues fell due to ruble devaluation during the crisis.
 National market share fell back slightly from 26 to 24 percent in 2009 but nevertheless remained strong. Popular national titles tended to fare poorly outside Russia with European audiences preferring arthouse films which went on limited release or even straight to video on the Russian market. Screen growth slowed significantly in 2009 as the financial crisis hit the property sector. 3D was the main motor for growth in digital projection facilities with 100 new screens added in late 2009 for the launch of Avatar and a further 80 for Shrek Forever After bringing overall digital penetration of modern screens in Russia to 23 percent in July 2010.
 Plagued by piracy the Russian home video sector has traditionally been weak. However a resurgence in sales volume for licensed DVDs in early 2010 would appear to indicate that the slump which had touched the sector in 2009 may now be over.
 VoD services have also promised new revenue streams for Russian content providers. After a first wave of services on cable and IPTV networks in 2007-2008 mid-2009 saw the arrival of the first Internet-based services with numerous new entrants on the market during the second and third quarters 2010. Hampered by a limited content offer the market remains embryonic while increasing penetration of broadband internet across Russia’s regions has tended to exacerbate the principle challenge: unauthorised file-sharing across peer-to-peer networks.
Sachtler Unveils the Cine DSLR Fluid Head,2010-09-30,Sachtler has introduced a new fluid head specially designed for DSLR filmmakers. The Cine DSLR has a payload range of 2 to 11 pounds and is thus ideal for state-of-the-art digital single-lens reflex cameras with HD video function. A counterbalance in ten steps as well as three vertical and horizontal grades of drag allow for professional operation. In addition the Cine DSLR comes with a special camera plate with an anti-twist retainer for HD DSLR cameras. If a video-enabled DSLR is being used for filming precise panning and tilting are only possible with fluid heads equipped with a corresponding tilt range. And it also requires well-engineered damping says Barbara Jaumann product manager at Sachtler. For smooth horizontal and vertical pans the new Cine DSLR fluid head works with the fully developed technology of the big Sachtler heads: The 3-step damping is based on the patented Sachtler damping system. In comparison to other manufacturers our fluid heads in this payload range offer extremely soft and finely graded damping she says. The new Cine DSLR fluid head works with Sachtler Speedbalance technology that enables a fast and target-oriented counterbalance of the camera set-up. The long sliding range of the camera plate as well as the self-illuminating Touch Bubble are practical features of the new head. The Cine DSLR has a tilt range of +90° to -75°. Sachtler ,1989
SmartJog Launches Free Mobile App,2010-09-30,SmartJog has launched a mobile application called SmartJog2Go! which is designed to give clients quick access to information on content being sent received and stored using SmartJog’s digital delivery system.   SmartJog2Go! features the ability to view tracking information of incoming and outgoing files as well as files being transferred to cloud storage.  Clients can also use the application to find a directory of SmartJog’s networked locations for a quick response if files need to get to a certain territory quickly. The SmartJog2Go! application is free and is now available on the iPhone and Android devices. “We’re excited to give clients the ability to retrieve information about their files when they are away from a computer ” says Abby Lestition director of global communication at SmartJog. “SmartJog2Go! will give clients peace of mind to relax knowing that the file is stored in their catalog in their inbox or delivered to the end recipients as many of our clients are dealing with very time-sensitive material. SmartJog facilitates making digital workflows stress-free and SmartJog2Go! is a natural extension of this approach.” SmartJog ,1991
XDC Sells Arqiva’s Digital Cinema Platform to 58 Cinemas across Europe

,2010-09-30, XDC has sold Arqiva’s digital cinema satellite distribution system to five cinema chains operating in Austria Portugal and Malta. Each site will be fitted with Arqiva’s digital satellite receiver to receive Digital Cinema Packages (feature films trailers and advertising) as well as live events distributed via Arqiva’s IS905 platform. 

 Barrie Woolston commercial director at Arqiva Satellite & Media says “Following a re-seller agreement signed last May XDC has secured deals which significantly reinforce Arqiva’s digital cinema satellite distribution system as Europe’s electronic delivery platform of choice. Our combination of tried and trusted professional equipment with established satellite infrastructure and expertise makes it an extremely strong proposition which XDC has fully exploited in securing these deals. They once again highlight the growing confidence of distributors and exhibitors in satellite based electronic distribution of cinema content and further underline the technical excellence and commercial viability of Arqiva’s solution.”
Air Racers 3D in Production,2010-10-08,3D Entertainment Films will Air Racers 3D: Forces of Flight with the film’s original partners Pretend Entertainment and Stereoscope. Under this new joint venture Jean-Jacques Mantello (OceanWorld 3D 2009; Jean-Michel Cousteau’s 3D film trilogy 2003-2008) will direct. This follows last year’s announcement that 3D Entertainment Films’ distribution arm had acquired the all-media distribution rights to the project which is now scheduled for release at IMAX theatres in both 3D and 2D in the summer of 2011. According to the filmmakers Air Racers 3D: Forces of Flight will put moviegoers and fans in the middle of the highly competitive action and have them soaring through the air at more than twice the speed of a NASCAR race. The film will chronicle the preparation for and competition in the world’s fastest motor sport celebrate the history of flight and explore the science of today's air racing technology human physiology neurology and the underlying physics that pilots depend on. “This new alliance with Pretend Entertainment Stereoscope and the Reno Air Racing Association has allowed our company to assume the leadership on the production component of Air Racers 3D: Forces of Flight ” says Francois Mantello chairman and CEO of 3D Entertainment Films. “We are highly confident that we will have the film on track for release at IMAX theatres in the US and internationally beginning next summer.” Principal photography on the film resumed last week at the 47th edition of the Reno National Championship Air Races and will continue in November when the production team will recreate certain segments of the race and capture aerial footage from the cockpit. “Thanks to a unique technical set-up involving no fewer than three 3D camera rigs and an expert team of aerial photographers to maneuver them we were able to capture the drama sound emotion dangers thrills and excitement of the race ” says 3D Entertainment Films’ Jean-Jacques Mantello who has taken over the reins as director. “Audiences worldwide will discover what are unquestionably the fastest-moving machines in motor sport and see on the world’s largest IMAX theatre screens what it’s like to race at 500 mph a mere 50 feet off the ground. The script is finished and we plan to begin the 3D post-production process before Christmas both in Los Angeles and in Europe.” Pretend Entertainment is extremely excited about this new partnership with 3D Entertainment Films. Our passion and experience producing aviation stories coupled with the Mantello Brothers’ 3D filmmaking expertise ensures that this film will wow giant screen audiences around the world says Christian Fry co-founder of Pretend Entertainment. The tradition of air racing began nearly 100 years ago with World War I-era barnstormers and eventually evolved into grand racing events organized to celebrate the aviation heroics of World War II. The last of their kind the Reno Air Races began in 1964 as a revival of these high-speed competitions celebrating horsepower ingenuity and the piloting skills of the men who operated these planes under much more dangerous and dire circumstances. Pilots fight for position running a tight 8-mile course marked off by ten giant pylons where flying a perfect line is critical for victory. “Fly low go fast and turn left” is their motto. The official film website is 3D Entertainment Films ,2002
Ajay Theatres Standardizes on Barco Digital Cinema Projectors ,2010-10-08, Ajay Theatres has purchased 56 digital cinema projectors from Barco’s C-Series product line. The exhibitor will be placing a projector in every theatre in the chain from its smallest 100-seat venue to its largest which features a 40+-foot wide screen with seating for 350 moviegoers. All theatres will be equipped to show both 3D and 2D movies. 

In an effort to standardize Ajay's theatre platform and simplify operations the exhibitor elected to purchase 56 projectors including 53 DP2K-15C units and three Series 1 DP-1500 models acquired from Barco last year. “We knew that Barco had the brightest projector but what was even more important to us was their outstanding service and training program in addition to really great ongoing technical support. Four of us have completed Barco's Installation Service Level I training I have completed Barco's Advanced Service Level II training and we are ready to install projectors as soon as they arrive. Another key reason we decided to go with all Barco was the projector's modularity which makes the projectors so easy to maintain ” says Deepak Keshani owner of Ajay Theatres. “By offering a full range of digital cinema projectors supported by top-notch training and service we can provide a solution to suit every exhibitor's budget venue size and technical ability. Ajay Theatres will now be able to showcase first-run movies in 3D or 2D bringing high-quality entertainment to the area while keeping operating costs low an especially critical factor for an independent exhibitor ” says Todd Hoddick vice president digital cinema for Barco North America. Ajay Theatres Barco ,2003
Digital Cinema Open System Alliance Announces Launch of Interoperability Effort,2010-10-08,Dolby Laboratories XDC and other companies have announced an alliance to promote greater interoperability within the digital cinema market. The companies joining in this collaborative effort referred to as the Digital Cinema Open System Alliance are working to establish open interface standards for core system components. Initial goals of the DCOSA are to develop common interface specifications between digital cinema servers and integrated media block products and to promote these specifications for use across the cinema market. By introducing these open standards the DCOSA hopes to drive down the cost of development to increase flexibility and to provide a platform for innovation. “The cinema industry is interested in moving away from having a tightly coupled server and media block available only from a single vendor and moving toward an IMB built using open interface specifications ” says Robin Selden senior vice president marketing Dolby Laboratories. “An open platform will increase competition within the industry and encourage cutting-edge development.” “With the rapid pace of advancement in hardware technology the DCOSA hopes to decrease time to market by enabling flexibility in the choice of core system components. These systems have not been designed for interoperability in the past because of the lack of interface specifications ” says Holger Krahn chief executive officer MikroM. “Effectively this initiative will provide exhibitors with more options in the selection of system components.” “As the digital cinema industry continues to evolve there is an increasing need for well-defined interfaces ” says Larry Hildenbrand director engineering USL Inc. “The DCOSA will help to deliver open standards allowing for greater flexibility in system design and enabling exhibitors to create custom installations.” “As more and more playback technology moves into the projector it is critical that the industry adopt common interface standards ” says Jérôme Delvaux vice president technology XDC. “We are excited to be a part of the DCOSA since establishing interoperability will be instrumental in the ultimate success of this market.” The DCOSA plans to make its server and IMB interface specifications available as an open standard for use by the digital cinema industry. The specifications are expected to be completed and available in the first half of 2011. Information regarding specific product availability can be obtained directly from the member companies. DCOSA   ,2005
Arts Alliance Media Opens German Office,2010-10-09,Arts Alliance Media is opening of an office in Berlin  to provide digital cinema services directly to the German market. The announcement follows July’s opening of an AAM outpost in Barcelona to serve the Spanish and Portuguese territories.  The digital cinema rollout in Germany has been advancing with increasing speed in recent months and Arts Alliance Media is in talks with various players in the market. The new AAM base in Berlin will enable the company to have resources in the region to work locally with partners. The office will be headed up by AAM’s international sales manager Caspar Nadaud who has been with the company in London for the past three years. Nadaud says “The German market is full of potential and I’m excited to be leading AAM’s expansion into this important territory. AAM will be offering a flexible range of financing solutions for digital cinema conversion as well as our various software and content services solutions.” 

AAM CEO Howard Kiedaisch says “We have been closely following the developments in the German market for several years and have decided that the time is now right for us to open an office in Berlin as the next logical addition to our European portfolio. We see Germany as a key market going forward and will be applying significant resources locally.” 

AAM has already secured deals to roll out digital cinema with top exhibitors in the UK France Spain Italy Denmark and the Netherlands. Approximately 15 percent of screens in Germany are currently digital with this number predicted to rise rapidly over the next few years. Arts Alliance Media ,2006
ASC Calls for Entries for Student Filmmaking Award,2010-10-09,The American Society of Cinematographers has announced a call for entries in the 2011 William A. Fraker Heritage Award competition for outstanding artistic achievement in student filmmaking. The award is dedicated annually to the memory of a cinematographer who made extraordinary contributions to advancing the art form. The award will be presented during the 25th Annual ASC Outstanding Achievement Awards celebration which will be held here at the Hyatt Regency Century Plaza Hotel on February 13. The ASC established the annual Heritage Award to recognize talented undergraduate and graduate or recently graduated (within one year) cinematography students. Educational institutions may submit up to two qualified students for each category (undergraduate and graduate/recent graduate). Films will be evaluated by a jury of ASC members who will judge the students' execution of artful cinematography and effective creation of images that augment the visions of the directors and performances by the actors. The deadline for submitting entries is November 1 by noon PST. Billy Fraker was a wonderful human being in addition to being an amazingly talented cinematographer says Richard Crudo ASC chairman of the Outstanding Achievement Awards Committee. His films made an indelible impression on the art of filmmaking. He also inspired and supported countless numbers of aspiring filmmakers to follow their dreams. Fraker earned Oscar nominations for Looking for Mr. Goodbar (1977) Heaven Can Wait (1978) 1941 (1979) WarGames (1983) and Murphy's Romance (1985) and for creating in-camera visual effects for 1941. A short list of his other memorable cinematography credits includes Rosemary's Baby Bullitt Paint Your Wagon Tombstone and Rules of Engagement When his colleagues honored him with an ASC Lifetime Achievement Award in 2000 Fraker said I can't think of a greater honor than being recognized by your peers. ASC president Michael Goi says Calling William Fraker a legend in his own time is an understatement. He was a modern day Shakespeare who told stories with moving images instead of words. Billy also played a vital role in guiding the ASC into the 21st century. Fraker's history is like the script of a feel-good Hollywood movie. His grandmother was a teacher in Mexico prior to the revolution that brought Pancho Villa to power in 1910. She bravely hiked hundreds of miles with her two young daughters riding on a mule until the three of them crossed the border and found safety in the United States. His grandmother became a portrait photographer in Los Angeles. Her studio was in the Hollywood bungalow where the family lived. That was Fraker's introduction to photography. He had boyhood memories of watching his grandmother take portraits recorded on glass plates. His father and uncle were still photographers for Columbia Pictures during the 1930s. His grandmother raised him after both of his parents both died when he was only 11 years old. Fraker joined the U.S. Navy during World War II. He served in the Pacific Ocean on a transport ship which carried U. S. Marines to invasion sites. When the war ended the G.I. Bill of Rights enabled Fraker to enroll in the cinema studies program at the University of Southern California. After graduation he spent around seven years working as a freelance still photographer and shooting 16 mm industrial films and pick-up shots for movies for $25 apiece. Fraker was a camera loader on The Lone Ranger television series in 1962. He earned the first of   his some 50 cinematography credits in 1966 on the television series The Adventures of Ozzie and Harriett and shot his first mainstream feature The President's Analyst in 1967. Fraker eventually served three terms as president of the ASC and was invited to be a member of the British Society of Cinematographers (BSC). For more information and to download an application visit ,2007
Cobb Theatres to Add 170 Digital Screens,2010-10-09,Cobb Theatres a member of NATO’s Cinema Buying Group will add 170 screens at 14 sites to Cinedigm's Phase 2 digital cinema deployment program in a Cinedigm exhibitor self-financed agreement. The deal includes five of Cobb Theatres' unique CineBistro locations. We are thrilled to have Cinedigm help us complete this transition to digital says Jeremy Welman chief operating officer Cobb Theatres. Innovative entertainment is a family tradition at Cobb. Our guests will benefit immediately. And we will benefit as well; the digital transition will allow us to operate our screens with far more efficiency and programming choices. With their long-time commitment to their guests and their creativity in always finding new ways to provide the best entertainment experience in their theatres Cobb is another ideal exhibitor partner for Cinedigm says Chuck Goldwater president Cinedigm's Media Services Group. We are eager to begin working with the Cobb team to help them take full advantage of the operational and the programming applications of the Cinedigm digital cinema platform. Cinedigm Cobb Theatres ,2010
Comcast Offering more Independent Films on Demand,2010-10-09, Comcast will bring more independent film content to its customers through the creation of the Indie Film Club via its On Demand service further enhancing its programming around indie films. The new On Demand offering which builds on a similar online initiative Comcast launched earlier this year is available to Comcast digital video customers and brings viewers additional access to the independent film industry. The dedicated On Demand folder will include indie films exclusive material movie trailers guest editors’ picks extras interviews and other special content.   “Comcast is thrilled to extend the reach of independent movies into living rooms across the country providing more exposure for these films which have a passionate following ” says Diana Kerekes vice president of entertainment services for Comcast.  “It’s all part of giving our customers more choice value and a sense of excitement and closeness to indie filmmakers. With the popularity of indie films we’re proud to be working with leaders in this field like Edward Burns Tribeca Film SnagFilms and others to make that happen.” Through the Indie Film Club on October 26th Comcast will debut Edward Burns’ latest film and romantic comedy Nice Guy Johnny On Demand the same day it is released nationally across numerous digital platforms including iTunes and DVD. Comcast’s Nice Guy Johnny offering will include an exclusive interview with Burns behind-the-scenes content along with a live online chat with Burns.  Comcast will also feature Burns as a guest editor On Demand with Edward’s Picks and Flicks which will include his beloved first two features The Brothers McMullen and She’s The One as well as his top recommendations for independent films. 
  “I’m excited to be working with Comcast on this new venture as they continue to help broaden the reach and audience of independent films ” says Burns. “I believe this On Demand release model truly complements the current independent film distribution model by offering these films to tens of millions of people around the country. This approach will have a long-term impact on the way specialized films are distributed. Now when someone asks 'where can I see your movie if I don't live near an art house theater?' I tell them 'anywhere you want.'”

 In addition to the existing broad independent film line-up On Demand earlier this year Comcast expanded its independent film offering through partnerships with Tribeca Film in which the company offered seven films from the Tribeca Film Festival On Demand prior to their festival release; and with SnagFilms which will feature select documentaries On Demand.   Comcast Corporation ,2011
Himalaya Film Festival comes to the States,2010-10-09,Being held for the first time in the United States the Himalaya Film Festival will run in New York City from October 22-28. The Himalaya Film Festival which will screen movies at the Quad Cinema in Greenwich Village offers a fascinating selection of 31 films featuring breathtaking images from Bhutan India Nepal and Tibet. The films highlight dramatic landscapes heartwarming scenes of everyday life cultural gems and colorful religious festivals. The Himalaya Film Festival is an established yearly cultural event throughout Europe. The founder and organizer of the annual festival is managing director Glenn Krishna Mitrasing. Audience numbers continue to rise every year. It's no small achievement that since the festival's inception in Amsterdam in 2003 the event has traveled to Tokyo and now to the United States says Mitrasing. The program will be divided into sessions of two or three films each of which focus on a common theme. The films will be screened at the Quad Cinema in Greenwich Village at the cultural heart of Manhattan. The Quad is the perfect venue for the first American screenings as its audience is made up of passionate moviegoers eager to see the best in independent foreign and documentary films. Festival schedule information and descriptions of the films at: ,2016
HPA to Honor Four Companies with Judges Award,2010-10-09,During the HPA Awards ceremony on November 11 four companies will be recognized for their inventive thinking and execution of concept with a special honor the HPA Judges Award for Creativity and Innovation in Post Production.  The companies – FotoKem Gradient Effects Light Iron Digital and Reliance MediaWorks – were chosen after a recent judging session by a blue-ribbon panel of judges. The Creativity and Innovation Award was conceived in recognition of the creative technology-fueled and challenging environment that content creators post-production facilities experts and manufacturers operate in.  The Award offers an opportunity to reward innovative thinking in the areas of new tools workflows and ideas that enhance the post-production process from a technical creative or efficiency perspective.  The Creativity and Innovation Award was created to shine a spotlight on companies and individuals that demonstrate excellence in one or more of these areas. Carolyn Giardina chairman of the HPA Awards Committee says “The Judges Award for Innovation and Creativity was created in direct response to the innovation occurring in the post-production community.  It was apparent that our vibrant and ingenious community was consistently creating new ways to work and improve methodology and the Awards Committee and Board wanted to recognize such expansive thinking.   The HPA Creativity and Innovation judges found that these four companies and the individuals at work there have developed products and processes that will support the industry’s work today and lay critical groundwork for the future growth of post-production. Winners of the 2010 HPA Judges Award for Creativity and Innovation: FotoKem – nextLAB Mobile nextLAB Mobile supports productions in remote locations.  Developed with proprietary software combined with commodity hardware nextLAB presents an advanced toolset for file-based post-production from safe ingest of camera original media audio sync archive color and lut application through transcode.   Reliance MediaWorks – Custom Image Processing Reliance MediaWorks has created advanced software applications for higher quality image results.  With custom image processing for film video and digital sources Reliance can enhance both classic films and new productions.  Recent titles include Avatar The Social Network and Fantasia. Gradient Effects – GLoW Co-founders Olcun Tan and Thomas Tannenberger created GLoW (Gradient Location-Optimized Workflow) as a 2D or stereoscopic 3D previsualization and nonlinear production system. GLoW consists of a proprietary software plug-in and related workflow that features many applications for filmmakers including cinematographers directors production designers and producers. Light Iron Digital – Outpost and Lightstream The Light Iron Outpost and Lightstream systems empower productions to maximize the potential of file-based acquisition tools. Outpost is designed to bring the lab on set. Consisting of hardware software and storage Outpost equips operators to verify footage create back-ups render one-light dailies and transcode footage for editorial. Lightstream is Light Irons proprietary tool for distributing dailies which utilizes mobile viewing devices including iPad iPhone and Droid. Tom Vice vice president and general manager nextLab says FotoKem is proud to have won the HPA Innovation Award for nextLab Mobile.  Our team has been hard at work creating tools for our customers in the field and internally at FotoKem.  We look forward to continuing our development of nextLab Mobile and supporting our clients in unique ways.   Light Iron CEO Michael Cioni says We are very pleased and proud that the HPA recognized Light Iron Outpost with a 2010 Creativity and Innovation Award.  Outpost is a new breed of post-production talent and technology-serving creatives by delivering near-instant dailies from file-based acquisition systems.  HPA's recognition of Outpost as a post production on-set solution is a testament to the forward-thinking leadership of the organization. “We are honored to be recognized as leaders in image processing.  It is exciting to be able to share with filmmakers these powerful tools for such a wide variety of applications including 3D image repair noise and grain management large format and restoration ” says Evan Edelist managing vice president business development. Gradient Effects co-founder Thomas Tannenberger summed it up by saying “The concept of creativity is inherent in innovation and a core deliverable to our community and customers. To win a Creativity and Innovation nod is incredibly meaningful to us. GLoW is one of the most exciting projects that Olcun and I have had the opportunity to work on and we are extremely proud to have been honored with this award.” Also at the November event Ted Gagliano president of 20th Century Fox feature post production will receive the HPA’s Lifetime Achievement Award.