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Rhode Island International Film Forum

brendab — Tue, 19 Aug 2008 17:17:00 GMT

The 7 day, Rhode Island International Film Festival wrapped up on Sunday. They had record attendance and a lot of fun was had by all. There were 300 filmakers there representing their submitted films. The Key to City of Providence was presented to actor, John Ratzenberger (aka Cliff Clavin). On Thursday there was a film forum at Brown University and Avid's Michael Phillips presented on the panel titled "Changing Technologies in Film". Michael, having just finished his own film was a great source of information. He touched on some important key components of filmmaking. His introduction made some of the basic points such as "have a good story", "maybe you don't want to be both Editor and Director", and then there is always the options of good, fast and cheap. It can't always be all three so there are choices to be made. Michael then spoke on the new file based camera technologies. He gave an overview of the Sony, Panasonic and Red Cameras and the pros and cons of each. Michael also discussed the various deliver methods and also some helpful advise on how to get your film seen.

Also presenting on the panel was Mark Almark Altekruse, Director of Sales and Marketing for Abaltat. He demonstrated their music composing software Muse. This neat software will analyze the colors on your video and create the music for you. It provides a wide choice of musical genre and has seamless integration with Apple, Avid, Adobe and Media 100 editing applications. Mike Bell of Embee Studio also presented on Blue-Ray Auhoring.

Finishing up the Film festival on Sunday, August 10th, was the awards Brunch where the winning entries to the festival received their awards. Awards were presented in a variety of categories. Avid Technology also presented a copy of Media Composer Software to the winner of the "AVID's Student Filmmaking Achievement Award". This years award went to Zia Anger, Director, Producer; Billy Feldman, Writer, Producer; and Ashley Connor, Cinematographer/DP for the film "Lover Boy".

Synopsis:

For his ninth birthday Myles asks for nothing but wood. With his once vivacious grandmother slowly dying, and his burdened mother struggling for relevance he is constructing the everlasting life he desires. Within this wintry upstate New York world, there are indeed mighty forces at play.

Link:
http://riiff2008.withoutabox.com/festivals/event_item.php?id=17825#

It’s all about the solutions - Avid New Thinking – Portland

E.Selby — Mon, 18 Aug 2008 18:57:03 GMT

The Oregon Public Broadcast studio was the site for Avid’s latest New Thinking event stop. Local editors and engineers from both broadcast facilities and post production houses and Avid enthusiasts had the opportunity to hear from Patrick McLean, Director of Product Marketing for Avid Technology. Patrick discussed Avid’s “thinking” behind “New Thinking” and the commitment to providing customers with a complete solution – a response to a customer problem. Questions from the audience provided great discussion and talking points.

Corey Tedrow and Tony Dragon, both Avid Product Specialists demoed various Avid broadcast and post production workflows and showed some of the newest features found in the latest product releases.

For a complete list of what Avid gear was shown at OPB or for further questions please contact Ken Sargent by emailing ken_sargent@avid.com.

Check out the photos below from the event!

Next stop Baton Rouge, LA on September 3^rd. Register now to attend!

Avid Introduces DX Editing Line to the "Aloha" State

jennrosen — Sat, 16 Aug 2008 22:57:00 GMT

This summer, Avid Technology and local reseller Productions brought the New Thinking tour to the sunny shores of Honolulu, Hawaii.

Avid Senior Applications Editor, Michael Krulik introduced the crowd to Avid's DX editing family including Media Composer Nitris DX, Symphony DX and Mojo DX, as well the latest editing software Media Composer v3.0 running on the Mac. Afterwards, attendees had the opportunity to take a close up look at the systems and talk with Michael and a few of the Avid account managers. "Mahalo" to all of our friends, customers and prospects for the warm and enthusiastic welcome to their Island.

Content Creation is Key Theme as Digital Day Returns to the DGA

jennrosen — Sat, 16 Aug 2008 01:41:00 GMT

Avid recently participated at the 2008 DGA Digital Day in Los Angeles. It is an annual one-day event hosted by the Directors Guild of America as an educational and networking opportunity for their membership and invited guests. The agenda features presentations and vendor exhibits on the latest digital technologies. This year’s theme was content creation for new media distribution and included seminars on new internet platforms, performance capture and the 3D pipeline and workflow. 3D technology continues to be the hot industry topic and this year's audience got to experience a "3D Home Viewing Experience" which was filled with people all day.

The vendor exhibits were extremely diverse this year with demonstrations of digital cameras, 3D scanning and animation software, 3D visualization technologies, color correction software, and, of course, the latest editing systems. We presented the latest version of Avid Media Composer software running on the Mac, as well as the new Media Composer Nitris DX, to a capacity crowd of over 450 attendees.

VIDEO: Getting to know Avid Deko On-Air Graphics

Teicia — Fri, 08 Aug 2008 14:30:00 GMT

Hey folks, for anyone out there interested in learning more about the Deko graphics system -- here's a great way. Avid just launched a Deko Webinar Series. The first, What's New in Deko 5.0, is now live on the web. Here's a short segment on PowerCips.

You can watch the entire 27-minute presentation on-demand by registering online today.

Some background: Avid Deko is a real time graphics system, delivering high quality graphics and effects for a variety of needs including live news and sports broadcasts, post-production and even plugin graphics for news and editing.

The next webinar, Deko Motion Effects Tips and Tricks, will launch on Aug 26. If you're interested in the next session, stay tuned for registration information.

Thanks,

Teicia Joffe

PS: Here's that link again to register to view the entire presentation on-demand.

Avid to Present at Rhode Island International Film Festival

brendab — Mon, 28 Jul 2008 21:46:00 GMT

Now in its twelfth year, the Rhode Island International Film Festival™, (RIIFF) will take place August 5-10, 2008. This is the largest public film festival in New England and is also an Academy of Motion Pictures Arts & Sciences qualifying event. RIIFF is designed to foster contact among film directors, producers, distributors, backers and audiences. Filmmakers will have an opportunity to share new film product, test-market films in development, and share the film-making process with industry peers, students, and the general public.

The Festival's goal is to recognize achievement and innovation in a variety of filmmaking and storytelling disciplines while providing an opportunity to secure wider distribution. The Festival also actively supports and encourages film preservation and its restoration, thus ensuring future generations of this unique artistic medium.

On August 7^th at 10:00 AM, Avid’s Michael Phillips will be presenting at the Film forum on the “Changing Technologies in Film”, where you can learn about new technologies available and how you can make it work for your independent films. This will take place at the Brown University's Hunter Auditorium on 89 Waterman Stree in Providence.

Avid will also be hosting a Rhode Island User Group Reception on Saturday, August 9^th, at 5:00PM also at Brown University's MacMillan auditorium on 167 Thayer Street, across the path from the Sciences Library. Avid’s Bob Russo will be on hand to present the tools and techniques for the filmmaker.

Avid will also be presenting an award at the Sunday Awards Brunch to the winner of the AVID's Student Filmmaking Achievement Award!

During the Festival there will be a screening of 297 films selected from a submission of over 3,000. One of films being screened at the Festival was directed by Avid customer Alex Houston. The film, Swim Lessons: The Nick Irons Story, will be screening Wed, August 6, at 5PM at the Columbus Theater in Providence.

For more information on the Film Festival and to purchase tickets go to: RIIFF

Hope to see you there!

BAVUG Summer BBQ

brendab — Mon, 14 Jul 2008 08:34:00 GMT

The Dog Days of summer… a perfect time to take a break from the serious User Group demos and presentations. A perfect time to spend a hot evening with a cold beer and mingle with the friends and colleagues you’ve met throughout the year.

That’s exactly what the Boston Avid User Group did last week. With a small threat of isolated thunder storms, a crowd of about 50 made their way to the Avid Tewksbury headquarters for a BBQ. Yes there was a brief rain shower as we took cover under the tent for about 15 minutes. The rain did make the 90+ degrees a bit cooler. The Boston User Group members were joined by 15 or so Avid employees from various departments… SQA, support, engineering, product marketing, tech pubs, online marketing, field marketing, sales, engineering, operations and manufacturing.

We all enjoyed burgers, hotdogs, caesar salad, pasta salad, corn on the cob etc. while we mingled and discussed future user group meetings, what others were up to, and had the opportunity to discuss the future of products and any issues or concerns with Avid Product Designers and managers.

Several attendees had the opportunity to tour the manufacturing facility. Ed Weingartner, Director of Manufacturing operation, gave the tour.

Ed showed the factory commissioning room – This room was built so we could offer a customer the service of having the opportunity to see their system up and running executing their workflow.

Next were the environmental test chambers where Avid products are put through some very stressful temperature, shock, and vibration testing to be sure we have a solid enterprise product.

Then the on going reliability test area where the Quality group sets up a number of different Avid products and runs them 7 by 24 hours for 30 days.

Sundance Directors Lab - Third Week Recap

moonmole — Wed, 09 Jul 2008 07:57:00 GMT

MONDAY, JUNE 9, 2008 - DAY 15

I began cutting Scene 2 today with my editor Gena Bleier. She was the editor on Andrew Wagner's STARTING OUT IN THE EVENING and is a joy to work with - a wonderful collaborator. The problem is that the scene is actually made up of two separate scenes intercut as a "parallel action," and one of the scenes isn't complete. The reason: I didn't finish shooting it. The reason I didn't finish shooting it: 1) one of my actors (who shall remain nameless) showed up to set 40 minutes late for the afternoon call time, and 2) some actors didn't know their lines.

There was a reading of Dee Rees's feature screenplay PARIAH tonight in the Wasatch Room. It went really well, as it is a well written, funny and poignant Black *** coming-of-age tale set in Brooklyn.

TUESDAY, JUNE 10, 2008 - DAY 16

It snowed today at breakfast. It was amazing because it wasn’t even that cold. According to the Sundance people who were here on The Mountain earlier than everyone else, winter ended the third week of May (i.e. the week before us directors got here).

If you look closely, you can see the snow falling in Utah's summer sky.

I spent the day editing Scene 2 again. Because one of the two scenes being intercut into the "parallel action" of Scene 2 is unfinished, there is definitely an imbalance in the overall scene. I also tried to use black "slugs" between the intercut scenes in a Jarmusch-esque editing experiment. I guess it will be determined whether or not this experiment worked tomorrow after Scene 2 is screened for the Creative Advisors.

WEDNESDAY, JUNE 11, 2008 - DAY 17

I screened Scene 2 for the Creative Advisors early in the afternoon. Afterwards we all assembled in the Wasatch Room to discuss the work. Apparently the Jim Jarmusch inspired black "slugs" between the intercut scenes didn't go over too well. Curtis Hanson (dir. L.A. CONFIDENTIAL, EIGHT MILE) thought that the “black outs hurt the scene,” and that the energy between the characters is most important in the scene. His advice was to “zero in on the moments your are getting and not getting” and then do pick ups for the moments you didn’t get. I agree: although the black outs initially helped solve a location issue (we were shooting in an empty stage for a tenement building courtyard and need the black outs to bridge a “spatial gap”), they eventually became a detriment to the scene.

In addition, one of the Creative Advisors, Gyula Gazdag (dir. HUNGARIAN FAIRYTALE), made me realize that not finishing the second scene of the two scenes comprising the "parallel action" was actually my fault - and not just in the classic sense that everything that happens on set is ultimately the director's fault. Gyula was one of the advisors that actually visited my set. While on it, he realized that instead of focusing on the meat of the second "scene" - the dramatic essence of the "scene" - I focused too much on getting the pretty dolly shots leading up to the meat. The lateness of one of the actors to set didn't actually hold me back because I used that time to practice one of the dolly shots with a stand-in.

The rest of the day I spent rehearsing Scene 3 in Rehearsal Hall 1. Fernando Leon (dir. MONDAYS IN THE SUN) showed up to the rehearsal and quietly watched me work on the car interior scene with my actors sitting on some dining room chairs in front of a makeshift wooden steering wheel (since the actual car we are going to shoot in wasn't on set by then). Afterward we went over my shooting plan together and he offered some great suggestions for shot coverage in the car tomorrow.

Charles "Rock" Dutton (dir. THE CORNER) showed up for the Blocking Rehearsal and watched as I went over the shot coverage with my DP and crew. Afterward he spoke to the actors for quite a long time, telling them stories about Tupac in Hollywood, giving them suggestion about craft and advice on how to move forward in their careers. They were obviously psyched to be in his presence.

THURSDAY, JUNE 12, 2008 - DAY 18

I shot Scene 3 in Rehearsal Hall 1 today. Fernando Leon visited the set and seemed to have a good time watching us. I think we all - cast and crew - hit our stride today; we got everything we needed "in the can," and had time to experiment a little with the lighting of the closing shot of the scene.

The set: an empty studio with a car in it.

T.J., Lara and Carmen begin setting up the lights.

T.J., Andy and Jared build the "street light" rig. Jared eventually had to spin this thing in a wide arc over the top of the stationary car in order to make it look like the car was passing under street lights while driving. It actually worked really well.

The actors (from left to right) Anthony Gaskins (blocked by the camera), E.J. Bonilla, Shawn T. Andrew and Julian Joseph prepare for the scene.

Julian Jospeh prepares for an "over the shoulder" shot.

A view through the monitor.

"Hurry up and wait!" E.J. Bonilla (as Third) and Shawn T. Andrew (as Adrian).

And "Gumby," my Sound Mixer...is just plain crazy.

I met with Charles "Rock" Dutton at lunch. The guy is an inspiration, and he apparently really likes MEADOWLANDZ. He suggested I take the script to HBO. He thinks they would be interested in producing it. I would love for him to be involved in some capacity - maybe as a producer.

Bob Elswitt (d.p. PUNCH DRUNK LOVE) screened THERE WILL BE BLOOD tonight. During the Q&A he told crazy stories about shooting the film with P.T. Anderson. They definitely have an interesting work method and philosophy. Apparently all the crewmembers have to be "filmmakers" and no one yells "action" or "cut" - everyone just kind of exists on the set in a perpetual state of readiness. Elswitt says the process allows for some really great work (i.e. performances), but can be seriously exhausting.

FRIDAY, JUNE 13, 2008 - DAY 19

I edited Scene 3 with Gena pretty much all day. It was one of those strange editing days in which, at first, the scene seemed fairly easy to cut, then, as the day progressed, the scene seemed subtly problematic. More specifically, I based the coverage of the scene around a master shot in the backseat of the car that just didn't want to cut with the other footage. At first we decided that the shot just wasn't going to work because it was an interior of the car and was too jarring when cut into the scene from the shots taken from through the windows from the exterior. We experimented with cutting around it and after this proved futile I insisted on using the backseat master. Eventually the shot ended up cutting pretty well with the rest of the footage and we realized that the problem wasn't so much the angle as it was the "cut points." Once we stopped experimenting with other angles to make the scene work, and more with the cut points of the mastershot, we found a solution. Again, Gena was nothing short of amazing, as lot of Creative Advisors were milling in and out of the editing room, looking over her shoulder, and firing suggestions at the back of her head. She handled the combination of limited time and a packed editing room brilliantly.

SATURDAY, JUNE 14 - DAY 20

I screened Scene 3 for the Creative Advisors today and they all seemed to really like it. There were still some “notes,” of course, but I dare say it was an unequivocal success.

Gyula Gazdag (dir. HUNGARIAN FAIRYTALE) reinforced the fact that the issue with the backseat master shot initially “not cutting” had less to do with “angle” and more to do with “cut points.” Michael Almereyda (dir. HAMLET, NADJA) thought there was an “eerie oddness” in my light and sound draining experiment at the end of the scene. Charles “Rock” Dutton (dir. THE CORNER) thought the weariness of the characters was captured, partially due to the lack of music used in the scene. I had to admit that this had more to due with the lack of time given to us in the editing room. If I had another hour, I probably would have tried out some music – at least some hip-hop coming from the radio. I think he and Michael are right, though. There’s something about the eerie quietness of the scene that works.

Whatever happens in the final week, I will always have Scene 3.

Avid New Thinking ROCKS the Hard Rock!

JFeliceNY — Wed, 02 Jul 2008 15:12:00 GMT

The Seminole Hard Rock and Casino in Hollywood, Florida was the last stop of Avid's New Thinking tour for the summer.

On the evening of June 26th, 2008, digital media enthusiasts from all over the Greater Miami and Ft Lauderdale areas came out to witness, first-hand, Avid's hot, new editing line-up.

Greg Estes, Avid's Chief Marketing Officer, kicked off the meeting by explaining Avid's "thinking" behind "New Thinking: our commitment to quality, performance and value."

Avid Application Editors Bob Russo and Kevin Camoosa were on hand to demonstrate the new Avid Media Composer Nitris DX and Avid Symphony Nitris DX.

Avid Gold Premier Reseller, Virtual Media, was also present to answer any questions from the crowd.

We would like to thank all who participated in making this event a success. We would like to wish everyone a healthy and happy SUMMER, and we will see you all in the Fall in such cities as San Juan, PR; Baton Rouge, LA; and Dallas, TX!

Codex Digital and Avid Present Production 2.0 in Los Angeles

jennrosen — Thu, 26 Jun 2008 04:16:00 GMT

Codex Digital presented Production 2.0, co-hosted by Avid Technology, FilmLight and Clairmont Camera, to a packed theatre at the Directors Guild of America on June 11. This event highlighted how digital workflows allow people to acquire, view, test, edit, conform and finish material all the way to projection, at cinema quality with a small amount of equipment. The stage presentation was a live demonstration of all these concepts showing the perspective of an entire production from acquisition to delivery. The goal of this presentation was to show the audience how the flow of information is fast, simple and interactive, how time and money can be saved and a great result is produced.

Avid New Thinking Atlanta: A Perfect TWELVE!

JFeliceNY — Wed, 25 Jun 2008 16:41:00 GMT

Like a well-oiled machine, the Avid New Thinking tour rolled into Atlanta's trendy Atlantic Station and took over the Ballroom at TWELVE for the night of June 18th, 2008. Temperatures soared, but the die-hard Avid aficionados came out to see the new Avid editing line-up.

Comprehensive Technical Group (CTG), Avid's Gold Premier reseller in Atlanta, greeted the crowd and set the stage for Avid's Chief Marketing Officer, Greg Estes. Greg took the stage and explained the "thinking" behind New Thinking: Avid's commitment to Q.P.V...

Q.P.V.?

Quality
Performance
Value

Q.P.V. was the focal point of Corey Tedrow's mainstage Media Composer Nitris DX demo... as was Bob Russo's demo of Symphony Nitris DX.

But don't take MY word for it... see for yourself at the next stop of our Tour: Hollywood, Florida, on June 26th.

Or, visit: www.avid.com/newthinking

Sundance Directors Lab - Second Week Recap

moonmole — Wed, 18 Jun 2008 04:50:00 GMT

MONDAY, JUNE 2, 2008 - DAY 8

I rehearsed my first scene today. I was assigned to do it in the Screening Room Lobby, but because it was a nice day, I ended up bringing my two actors outside to rehearse at some picnic tables. Not long into my rehearsal session, my advisor Thomas Carter appeared and sat with us at the picnic tables. He watched as I lead my actors through repeated readings of my scene and offered useful suggestions on how to build performances. Before lunch, actress-director Christine Lahti also joined us at the picnic tables and offered some insightful comments and advice on guiding the rehearsal process and crafting performances. You would think that it would be annoying to have two people looking over your shoulder while you are rehearsing, but Thomas Carter and Christine Lahti were a joy to have "hanging around." By the time lunch was over, my crew had built my set in the Screening Room Lobby and I was able to get my actors in there, work out my blocking, find my camera set-ups, and create my shot list. The guidance of my advisor Thomas Carter at this stage of the game was invaluable; he walked me through every single shot and helped me construct and organize my list, discussing everything from the necessity of the shots to their meaning and aesthetic composition. All I know is: I never got this in film school.

TUESDAY, JUNE 3, 2008 - DAY 9

I shot my first scene today. It was great to get behind the camera again. We shot from about 9AM to 5:30PM, and even though we got to a little bit of a slow start, I pretty much got all of the shots I needed - all except for one or two of what I call "gravy shots." The actors were real troopers, as I expected, and the Blue Crew was incredible. My advisors Thomas Carter and Ira Sachs visited my set throughout the day and offered invaluable advice on everything from tweaking my shots and guiding performances, to communicating with my crew and managing my time on set. As far as learning experiences go, there is nothing like shooting a scene while two experienced directors observe and help you. At 6:15PM I met my editor in our edit bay trailer and we quickly went through our dailies until dinner at 7:00PM. At 8:30PM I went to the Wasatch Room to attended a cozy reading of John Magary's script BLOOD ABUNDANCE: OR THE HALF-LIFE OF ANTOINETTE. The audience seemed to really enjoy it. What I've come to realize, though, is that my mind inevitably tends to wander during script readings and I end up not being able to follow the story. Fillipe Barbosa suggested I read along next time like he did tonight. I think I will follow his advice.

Jarin Blaschke (D.P.) lines up a shot.

The Blue Crew in action.

WEDNESDAY, JUNE 4, 2008 - DAY 10

Robert Redford screened his film LIONS FOR LAMBS for us tonight. Afterwards he did a Q&A. It was actually pretty interesting seeing Redford's film because the scene I shot yesterday is was a job interview -- two people sitting across from each other at a desk talking. Redford's film was constituted largely of two-person conversations in offices so it was really instructive to see how he handled these scenes.

THURSDAY, JUNE 5, 2008 - DAY 11

I screened my first scene for the Creative Advisors today. Afterwards there was a critique session at which the advisors gave me notes on the scene. I came away from the crit session reminded that the characters in a scene have to "vary there tactic" in there attempt to get what they want (the Scene Need, as it is sometimes called) and that these attempts - these actions - must escalate. I knew this before I arrived at the Sundance Directors Lab, but for some reason it seems I had forgotten this when I wrote the scene. It's funny because before the crit session, I wondered why Michelle Satter asked me to do this, my weakest (and what I thought to be my most boring) scene. I realized that that was exactly why she asked me to do it -- because not only would it be challenging to make a two-person conversation at a desk dramatic, but shooting the scene would help me see the weaknesses in its structure.

FRIDAY, JUNE 6 - SATURDAY, JUNE 7, 2008 - DAY 12 & 13

I shot my second scene today. By the time I screened dailies on Saturday evening, I was pretty pissed off. Both shoot days started off really well only to fall apart due to the actors not knowing their lines. I have to admit that they weren't entirely at fault; I incorporated quite a bit of dialogue into the script from the improvisations we ran with Christine Lahti on Thursday and gave them the "new script" the morning of the shoot. But I couldn't help but be pissed the scenes started out so great, only to devolve into mediocrity by the afternoon. I also didn't know what to do with the anger. I tried to keep the set light and not have my bad feelings taint the work to further bad effect, so I ended up bottling everything up and just stewing. Since I wear my heart on my sleeve, I ended up getting quite a few "sit downs" from the advisors about my obviously souring attitude. I guess you can't have a bad day at the Sundance Labs without the Dissatisfaction Red Alert Siren going off in the Creative Advisor camp. But maybe that's a good thing...I'm not sure yet.

Lara (the one-woman gaffer-grip super-being) and Carmen (Boom Operator) set up a Christmas Light rig.

Andy (A.C.) secures the camera to the top of a ladder for a high angle wide shot as Jarin Blaschke (D.P.) and Heather Askew (Script Supervisor) watch the monitor.

Creative Advisor and D.P. extraordinaire Vilmos Zsigmond (Academy Award Winner for Cinematography for CLOSE ENCOUNTERS OF THE THIRD KIND) watches over our humble set. He was a pleasure to have around.

Actor Shawn T. Andrew prepares for the scene.

Actors E.J. Bonilla and Shawn T. Andrew prepare for the scene.

Actors Julian Joseph (left) and Anthony Gaskins (right) discuss the scene while the Blue Crew sets up lights.

Shooting the scene.

"Gumby" (Sound Mixer) helps build the set. Departmental distinctions don't stop the Blue Crew from helping each other in all aspects of production.

New Product Review for Motion Picture Editors Guild

jennrosen — Mon, 16 Jun 2008 23:15:49 GMT

Avid and Digidesign returned to the Motion Picture Editors Guild (MPEG) in Los Angeles on June 10 to present a New Product Review for the membership.

Michael Krulik, Avid Senior Applications Editor, walked the attendees through the new Avid editor product line and highlighted some features of the Media Composer v3.0 software. Scott Wood, Digidesign Systems Integration Consultant, discussed audio/video workflows from the new DX systems into Pro Tools/ICON with the new Video Satellite HD Option.

As usual,the room was was filled with an extremely enthusiastic and knowledgeable group of editors, assistant editors and music/sound editors. Thank you to all who joined us for the seminar and we are looking forward to returning to MPEG soon.

Summer heat in Charlotte brings a crowd to Avid’s New Thinking Event

E.Selby — Sat, 14 Jun 2008 07:30:00 GMT

A mix of Avid enthusiasts and novices joined Chairman and CEO of Avid Technology, Inc., Gary Greenfield and Avid staff this past Thursday night at Avid’s New Thinking event, held at the Marriott City Center in downtown Charlotte. Traffic on the roadways was unusually light according to guests, which got them to the event well before the doors opened at 7:00pm.

Once the wait was over and the doors opened, guests were greeted by National Accounts Manager, Bill Barton, who gave a warm welcome and introduced Gary Greenfield to the stage. Gary shared with the audience the insight behind Avid’s New Thinking and what it means for our existing and soon-to-be customers. Next on stage was Bob Russo who is one of Avid’s Application Editors. Bob gave an exciting demonstration highlighting some of the newest features found in the new editing product lineup which was announced earlier this year and began shipping on June 9th.

Following the presentation guests had the opportunity to get up close and demo of the new editors. Avid Application Editors and Avid Systems Engineers were available onsite for product and workflow questions.

We appreciate the support from our current customers who attended this event and look forward to developing stronger relationships with those who want to learn more about Avid.

Next stop on the Avid road show….Atlanta, GA!

Avid Joins Television Academy Editors Peer Group for Summer Mixer

jennrosen — Tue, 10 Jun 2008 21:36:53 GMT

Avid had the pleasure of sponsoring the annual membership mixer which is hosted by the Television Academy Editors Peer Group Executive Committee. This year’s event was held poolside at the fabulous Angeleno Hotel in Los Angeles. The evening was a terrific success with over 100 editors and asst. editors in attendance.

This event provided an opportunity for the peer group members to mingle with colleagues and introduce potential new members to the group. We were able to demo the new DX editor product line and Michael Krulik, Senior Applications Editor, discussed the new features of Avid® Media Composer® v3.0 with many interested and enthusiastic attendees. It was a great chance for us to speak directly with a number of our clients and we appreciate the opportunity to be included in the event.