Looking to the future of 3D festivals, XPAND 3D is proud to say that they will still be around for Cannes next year!

XPAND 3D is proud to announce that it is once again the exclusive 3D technical partner for the 65th Cannes Film Festival. XPAND 3D is equipping four screening theaters at the Festival, including the 2,400-seat Lumiére auditorium, and eight screening rooms for the film market.

This marks the fourth year that XPAND 3D has served as the 3D technical partner for the Cannes Film Festival and XPAND 3D has renewed its partnership with the Festival through 2015.

“In addition to being the most prestigious film festival in the world, the Cannes Film Festival has championed 3D innovation, as exemplified by its decision to begin its Opening Ceremony in 2009 with the 3D screening of UP, and last year’s 3D screening of Pirates of the Caribbean: On Stranger Tides,” said Maria Costeira, CEO of XPAND 3D. “Our continued partnership with the Cannes Film Festival also demonstrates the Festival’s commitment to providing the most realistic and immersive 3D experience possible and we are proud to once again bring this experience to audiences at Cannes!”

The 65th Cannes Film Festival marks the continued growing popularity of 3D cinema, with feature films Madagascar 3 and Dracula in official selection. There will also be a tremendous increase of 3D screenings at the film market, with more than 100 3D screenings in total.

For the 65th Cannes Film Festival, XPAND will deploy its high-end Infinity active 3D glasses, which provide the brightest, most vivid and realistic 3D images available. XPAND Infinity glasses are also optimized to work with laser projectors, making it the optimal future-proof 3D system.

The Infinity 3D glasses provide up to 38% transparency and a 3000:1 contrast ratio. The glasses’ lightweight ergonomic designs ensure long-wearing comfort, and their wide 3D viewing angle provides an optimal 3D image across the entire cinema.

In addition, the Infinity glasses are now available in both adult and children sizes.

All new XPAND cinema systems and glasses fully support HFR (High Frame Rate) double and single flash at 96fps, 120fps, 144fps, 192fps, 240fps and even variable fps.

Source: Press Release

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Since ancient times, stories of epic battles and mystical legends have been passed through the generations across the rugged and mysterious Highlands of Scotland. In “Brave,” a new tale joins the lore when the courageous Merida (voice of Kelly Macdonald) confronts tradition, destiny and the fiercest of beasts.
Merida is a skilled archer and impetuous daughter of King Fergus (voice of Billy Connolly) and Queen Elinor (voice of Emma Thompson). Determined to carve her own path in life, Merida defies an age-old custom sacred to the uproarious lords of the land: massive Lord MacGuffin (voice of Kevin McKidd), surly Lord Macintosh (voice of Craig Ferguson) and cantankerous Lord Dingwall (voice of Robbie Coltrane). Merida’s actions inadvertently unleash chaos and fury in the kingdom, and when she turns to an eccentric old Witch (voice of Julie Walters) for help, she is granted an ill-fated wish. The ensuing peril forces Merida to discover the meaning of true bravery in order to undo a beastly curse before it’s too late.

Directed by Mark Andrews and Brenda Chapman, and produced by Katherine Sarafian, “Brave” is a grand adventure full of heart, memorable characters and the signature Pixar humor enjoyed by audiences of all ages. The film takes aim at theaters on June 22, 2012, and will be presented in Disney Digital 3D™ in select theaters.

A grand adventure full of heart, memorable characters and signature Pixar humor, “Brave” uncovers a new tale in the mysterious Highlands of Scotland where the impetuous Merida (voice of Kelly Macdonald) defies an age-old custom and inadvertently unleashes chaos, forcing her to discover the meaning of true bravery before it’s too late.”

Enjoy this great preview of what is to come only next month!

Source: www.youtube.com

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Ridley Scott, director of ‘Alien’ and ‘Blade Runner,’ returns to the genre he helped define. With PROMETHEUS, he creates a groundbreaking mythology, in which a team of explorers discover a clue to the origins of mankind on Earth, leading them on a thrilling journey to the darkest corners of the universe. There, they must fight a terrifying battle
to save the future of the human race.

This intense 3D action thriller looks like it will keep us all on the edges of our seats so until then enjoy this for a little teaser!

Sources: www.fox.com, www.youtube.com

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3D continues to grow in new directions and ASD Global is pushing 3D even further.

ASD Global has release an interface with Intergraph SmartPlant 3D (SP3D) for converting ASD OptiPlant and Pipe Router models to intelligent SP3D objects. This interface adds to the interoperability ASD already provides for Intergraph PDS, AVEVA PDMS and Bentley AutoPLANT, further strengthening its position as the only truly platform independent vendor of knowledge based automation engineering and design solutions for front end engineering and design (FEED).

The development is in direct response to requests from our global Oil & Gas clients who use ASD OptiPlant and Pipe Router for FEL and FEED design and would then like the option to move their data forward into any Detail Design system of choice. Interoperability brings several benefits starting with the ability to re-use the baseline FEED models as a jumpstart to detail engineering and leveraging data to compress schedules and reduce costs.

ASD’s interface generates an XML file that is imported into your SmartPlant 3D project resulting in data conversion that is complete, accurate and specification driven. The file, which is read by the PDS Translator Module, contains 3D geometry, attributes and process data for piping, equipment and structures. The XML output also follows the ISO 15926 data model and structure and is one of the first implementations of 3D geometry exchange.
•OptiPlant Configurator: A standalone product that combines conceptual 3D Equipment and Structures Modeling with Automated Pipe Routing to deliver rapid Plot-Plan Development & Optimization and Accurate MTO Generation. All the data created in OptiPlant can be transported to Bentley AutoPLANT, Intergraph PDS and SmartPlant 3D and AVEVA PDMS or any other detail design system you may prefer.
•ASD Pipe Router: An add-on application for PDMS or MicroStation that allows you to Automate/Batch interference free 3D Pipe Routing around existing PDMS or PDS Equipment, Pipe Racks and Structures. Pipe Router is available for Bentley MicroStation versions 8 and J; and AVEVA PDMS version 11.x and 12.

About ASD

Advanced Software Design Inc. (ASD) is an established leader providing Knowledge based engineering software and industry focused business solutions. By applying in-house software developments combined with extensive domain knowledge we help clients in the Energy and Government sectors, to optimize their critical work process and significantly improve their efficiency and profitability. ASD has dedicated the past 25 years to transforming advanced state-of-the art technology into powerful application solutions for the global Process, Power, and Offshore Industry, and for the STATE and FEDERAL Government including many Fortune 500 commercial enterprises.

Source: Press Release

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Finding new ways to bring 3D pics to your iProduct has seemed to be on everyone’s lips lately and now one app might be able to do just that!

Autodesk recently demonstrated sending a microcopter around their offices and building a model out of the video it sent back. Now that software has come to your iPad, it’s free, and it doesn’t require any additional hardware besides the camera already built in.

All you do is take a bunch of pictures at a variety of angles around the object you’re trying to model, and the app will assemble them into a working 3D mesh suitable for inclusion in your next computer game or raytraced video masterpiece, or for 3D printing in plastic or chocolate on your RepRap or MakerBot. Autodesk is also launching a “‘MyCorner’ cloud locker” where users can store and share the models they create.

With model creation and distribution becoming increasingly democratized, it’s pretty clear that full-stack desktop fabs a la Doctorow and Stross are finally here.

Source: www.pcworld.com

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Turning another corner in 3D technology, Intel makes a recent announcement.

Intel on Monday announced faster and more power-efficient Xeon server processors, including the low-power E3 chip that has 3D transistors and is the first server processor based on Ivy Bridge microarchitecture.
The new processors include the eight Xeon E5-4600 chips for midrange servers and 11 low-power Xeon E3 chips for microservers, which are low-power servers designed mainly for Web serving and cloud applications. A number of server makers including Dell, IBM, Hewlett-Packard, Lenovo, Quanta and Cisco Systems are expected to announce servers based on the new chips.

The chips are being announced as companies look to boost performance while lowering power costs of operating servers that handle Web searches and social media databases, for instance. The new chips will allow for faster throughput through technologies like PCI-Express 3.0, and also enable robust virtualization by deploying more virtual machines at faster speeds.

There is an insatiable demand for data thanks to the growing number of mobile devices and PCs, so more powerful servers are needed in data centers to crunch that data, said Dylan Larson, Xeon platform marketing director at Intel.

“While the servers guys aren’t building client devices, we are delivering the infrastructure they connect to,” Larson said.

Intel is high on the low-power E3 chips to jump-start the microserver category, which is still in its infancy but expected to grow along with Web and cloud activity in data centers. The chips are targeted at single-socket microservers, which share multiple components such as memory and power supply. Large Web companies typically buy microservers in volumes to scale performance, and E3 chips are targeted at dense, single-socket servers.

“It’s a very exciting segment of the server market,” said Paul Otellini, during a speech at the shareholder’s meeting last week. It’s a single-digit market in terms of the overall server market, but growing in significance, Otellini said.

Intel announced 11 quad-core processors as part of its new E3-1200 V2 family, which is based on the chip maker’s new Ivy Bridge architecture. The new chips deliver more performance-per-watt and support more memory and storage density to servers. The E3 chips are made using the latest 22-nm manufacturing process, which brings 3D transistors and compact circuitry to the chips, which results in more power savings and performance.

Dell is already using the new E3-1200 V2 series processors in its PowerEdge C5220 microserver, which was announced last week. A server with E3-1200 V2 processors drawing 17 watts of power in a 3U rack space could provide 53% more performance than a 20-watt Sandy Bridge Xeon CPU. Under some installations, Intel has measured up to a 3.6 times performance for the new microserver chips on a rack basis compared to predecessors.

Intel later this year also plans to announce a server chip based on its Atom processor code-named Centerton for microservers. Atom chips are mostly found in smartphones and tablets, and the new server chip variant will draw just 6 watts of power. Companies are already experimenting with servers with a congregation of low-power chips to deliver better performance-per-watt on lightweight and volume workloads such as Web transactions. Intel may compete in the space with ARM-based chips, which are already being used in some servers from companies like HP.

The new E5-4600 chips are targeted four-socket servers handling intensive tasks such as database processing, private cloud transactions or high-performance computing, Larson said. The chip is based on the Sandy Bridge microarchitecture.

Intel is looking to maximize the density of servers with the E5-4600 chips, Larson said. A four-socket server with E5 can accommodate up to 48 memory slots, and the chip provides the throughput capabilities and memory channels for faster virtual machine deployment or in-memory transactions, Larson said. The E5 chips can also handle high-performance computing loads.

The E5-4600 chips have up to eight cores and run at clock speeds of up to 2.7GHz, and a processor can handle 16 threads simultaneously. A four-socket server could have 32 processing cores running 64 threads simultaneously.

An E5-4600 processor in a four-socket server is close to 88% faster than a comparable two-socket server with Xeon processor E5-2600 chips, which is also based on Sandy Bridge and announced in March this year. On virtualization, a four-socket server with E5-4600 chips are more than twice as fast as a two-socket server with E5-2600 chips, according to Intel benchmarks.

The E3-1200 V2 product family ranges draws between 17 watts to 45 watts of power and is priced from $189 to $884 in quantities of 1,000. The E5-4600 with four, six and eight cores are priced from $551 to $3,616.

Intel also introduced new E5-2400 based on the Sandy Bridge microarchitecture, which are targeted at two-socket servers. The product family ranges from $188 to $1,440.

Source: www.computerworld.com

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Bollywood movie-buffs now have ample reasons to rejoice. Karishma Kapoor, one of the finest (and popular!) heroines of the late ‘90s and the early 2000s, has finally made a comeback to the silver screen, after a prolonged hiatus. Kapoor, who regaled one and all with blockbuster flicks like ‘Raja Hindustani’ (1996) and ‘Hero No. 1’ (1997), had stayed away from films since her appearance in the dull ‘Mere Jeevan Saathi’ (2006). Fans were, quite understandably, looking forward with great anticipation for the release of ‘Dangerous Ishhq’ – Karishma Kapoor’s comeback vehicle. Directed by Vikram Bhatt (fresh from the success of ‘Haunted’), this rather uniquely titled (!) film promised to be a captivating tale of love, mystery, revenge and drama, that superseded the barrier of several births. Given Bhatt’s successful track record at directing supernatural flicks and, of course, Kapoor’s ability to captivate the audience with her performance, big things were expected out of ‘Dangerous Ishhq’. Unfortunately, while Karishma manages to prove that she has lost none of her histrionic skills, the film is nothing to write home about!

‘Dangerous Ishhq’ relates the story of the happy couple – ‘Sanjana’ (Karishma Kapoor) and ‘Rohan’ (Rajniesh Duggall). She is a top (and extremely in-demand!) supermodel, whose charms bowl over everyone coming in contact with her. He, on the other hand, is the son of an extremely famous and wealthy Indian businessman. The two share a truly strong bond of affection for each other (but of course!). Given their rather lofty positions in the society, their affair is also a highly-publicized one (not something that is essentially good!). ‘Sanjana’, in fact, can’t even think of being away from the man of her dreams for a prolonged period, and even lets go of a coveted modelling project in Paris, simply to stay with ‘Rohan’. The two, in true-blue Bollywood style, were blissfully unaware of the misfortunes that were waiting for them round the corner!

All on a sudden, ‘Rohan’ gets kidnapped by a group of unidentified assailants and a hefty ransom is also demanded for his release. The police, headed by the determined ‘ACP Singh’ (Jimmy Shergill), start their investigations on the case, but fail to discover practically any useful clue that can be helpful in leading them to the kidnappers. Just when everything seems lost (at least as far as the crestfallen ‘Sanjana’s love life is concerned), strange things start to happen. ‘Sanjana’ starts having visions of herself and ‘Rohan’ being together, but in a previous life and at unknown places. These visions puzzle ‘Sanjana’ no end and she is further distressed by the fact that the police (who are making no headway whatsoever!) are strongly against the idea of the ransom amount being paid to ‘Rohan’s captors. It dawns on ‘Sanjana’ that, if she wants to save ‘Rohan’ and solve the mystery of her visions, she has to take the initiative herself.

‘Sanjana’ makes up her mind to visit each of her previous three births (in which she had seen herself with ‘Rohan’ in her visions). As she goes hurtling backwards through time, many unexpected truths, well-kept secrets and carefully designed conspiracies start coming to light. Who had actually kidnapped ‘Rohan’? Why was ‘Sanjana’ having those repeated (and disturbing!) visions? You know where to find the answers!

‘Dangerous Ishhq’ takes up one of the oldest gags of Bollywood potboilers (the protagonist being haunted by incidents that happened in previous births!) and attempts to add some novelty to it by way of new incidents and story twists. However, director Vikram Bhatt fails to give any air of believability to the main plot of the movie (which is way too outlandish too start with!). The screenplay is weak and jerky, with the journey of ‘Sanjana’ through her earlier lives often coming across as too confusing and unreal. To be fair, there are interesting moments in the movie, but just as you might think that the narrative of ‘Dangerous Ishhq’ would finally gain some momentum, its meandering pace comes back to haunt the audience.

The movie is also held back by rather patchy performances from the members of its cast. Rajniesh Duggal, who was last seen in the disastrous ‘Phhir’, pitches in with a performance that can only be termed just about okay in ‘Dangerous Ishhq’. While Duggal does have a decent screen presence, his emoting skills and expressiveness do not show any improvement from his ‘1920’-days whatsoever. Yes, the movie has a primarily heroine-centric premise, but it would have surely helped if the main leading man of the movie delivered a better performance. Unless Duggal manages to take up his acting capabilities by several notches (and quickly at that!), he runs the risk of being reduced to the league of Bollywood also-rans soon.

If there is one thing that holds together the muddled script and narrative of ‘Dangerous Ishhq’, that has to be the excellent performance of the comeback lady, Karishma Kapoor. The lady gets enough scope to display a whole gamut of emotions in the film and her turn as the determined (and increasingly desperate!) woman trying to get to the bottom of her life’s mysteries, is sincere and deserves rich praise. Cast in the challenging (albeit author-backed) role of ‘Sanjana’, Karishma excels in several sequences and brings a rare maturity to her act in the film. The actress can still give any of the present crop of (much younger!) Bollywood heroines a proper run for their money, as far as sheer acting excellence and glamour are concerned. It is, in fact, rather sad to see the performance of Karishma Kapoor (on her much-awaited comeback too!) being marred by the mundane nature of the script of the movie.

Jimmy Shergill, as ‘ACP Singh’, is steady (if somewhat unremarkable!) in ‘Dangerous Ishhq’. Thanks to a continuous wrong choice of films, Shergill has definitely lost his ‘Mohabbatein’-freshness and while his act in this movie does not leave much cause for complaint, it does nothing to add to attractions of ‘Dangerous Ishhq’ either. Divya Dutta is charming in a small role. Gracy Singh (yes, that long-lost ‘Lagaan’ girl!) is pretty good too. Arya Babbar and Samir Kochhar (the latter in particular) do a fair job in the film. Ruslaan Mumtaz (who had starred in the forgettable ‘Mera Pehla Pehla Pyar’) is not up to the mark. The others do not have any role of significance in the movie.

‘Dangerous Ishhq’ is a classic case of the makers trying to bank more on the star power of an actor (Karishma Kapoor, in this case) than on a solid script, to score at the box-office. While the movie has Kapoor in practically each of its frames (which is not necessarily a bad thing though!), director Vikram Bhatt could easily have been more careful to ensure that the movie, in its entirety, remained captivating. The movie starts off well but goes rapidly downhill after the first 40-45 minutes (rather surprisingly, for the portion showcasing ‘Sanjana’s journey across her previous births had the potential of being really exciting!). ‘Dangerous Ishhq’ moves along at a slow, tedious pace and the screenplay has considerable scopes for improvement too. Kuldip K. Mehan’s editing is also not at all as crisp as it should have been for a film of this genre.

Apart from Karishma Kapoor, the only other thing that stands out in ‘Dangerous Ishhq’ is Praveen Bhatt’s cinematography. The sets and the locales are shot in an imaginative manner in the film, lending a somewhat authentic feel to the movie. Dialogues, penned by Girish Dhamija, are rather trite. The action sequences, conceived by Abbas Ali Mogul, are pretty slick and stylish. The climax of ‘Dangerous Ishhq’ is gripping, but the generally boring nature of the second half of the film tends to wane the curiosity levels of the viewers. Catch this flick only if you wish to witness the return of Karishma Kapoor on the silver screen in all her former glory (that, probably, is the only factor that makes ‘Dangerous Ishhq’ worth a watch!).

The wretched run of music director Himesh Reshammiya continues with ‘Dangerous Ishhq’. Reshammiya, who, at one time, used to belt out hit numbers with amazing regularity, does not manage to come up with a single hummable song in ‘Dangerous Ishhq’ (with the probable exception ‘Tu Hi Rab Tu Hi Dua’). The pedestrian lyrics make the songs all the more dreary. Background score, by Raju Singh, is, thankfully, in keeping with the overall mood of the film.

Vikram Bhatt wins brownie points for bringing back the acting powerhouse called Karishma Kapoor on the big screen, via ‘Dangerous Ishhq’. However, the director also stands guilty of assuming that the actress would be able to rise above the glitch-filled storyline of the movie. No star can be bigger than the movie that (s)he features in (remember Hrithik Roshan in ‘Fiza’?) and ‘Dangerous Ishhq’ stands out as a prime (and unfortunate!) example of that fact. With slack performances from the other actors, a sketchy narrative, poor editing and a series of weird (not in a good way!) onscreen happenings, ‘Dangerous Ishhq’ certainly does not do proper justice to Karishma Kapoor’s acting talents.

In 2007, the immensely hyped comeback film of Madhuri Dixit, ‘Aaja Nachle’, turned out to be a damp squib. With all its shortcomings, ‘Dangerous Ishhq’ is not likely to fare much better at the theatres either!

Source: Press Release

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We’ve been looking forward to a new 3D game that could excite the whole family but for now we’ve found a great action 3D game for the more adult side of gaming.

The first-person shooter (FPS) genre has come a long way over the last two decades. There’s an entire generation of gamers out there who think it all started with Doom, but the game that kick-started the contemporary run-and-gun movement came several years earlier in the shape of id Software’s Wolfenstein 3D.

In late 1991, designers John Carmack, Tom Hall and John Romero began working on a project that would shape an entire genre for years to come. The trio had previously collaborated on a game called Catacomb 3-D, and its pseudo 3D engine was used as the basis for their next venture.

Wolfenstein 3D was a staggeringly ambitious project. While the three lead developers were no strangers to the third dimension, their previous projects, such as Hovertank 3D and the aforementioned Catacomb 3-D were rendered in 16-color EGA. Their new game was a mould-breaker, making the jump to the 256-color VGA palette and incorporating digital sound.

The end result turned out to be the blueprint that all great FPS titles would be based on for generations. It was run-and-gun gameplay at its finest, set against a blistering soundtrack. Taking control of an American agent behind enemy lines named William ‘B.J.’ Blazkowicz, players gunned down Nazi soldiers, sought out secret passages, plundered treasure, and fought some memorable bosses.

Wolfenstein 3D was an episodic affair, with nine levels in each. The object was to navigate each stage’s maze-like corridors in search of the elevator to the next area. Along the way, the player encountered Nazi soldiers of various rank, guard dogs and other foes.

Despite the historic setting, there were fantasy elements to the game. Hitler’s diabolical plans involved rearing an army of mutant soldiers, packing serious firepower. The Fuhrer himself made an appearance as the final boss of the original trilogy, albeit decked in a robotic suit packing four mini-guns. There was nothing more satisfying that gunning down the most evil man in history and watching him crumble into a pile of blood and guts.

id’s masterpiece didn’t just popularise the FPS genre, it also pioneered the shareware business model as a viable means of distributing software. Publisher Apogee gave away the first episode free to whet customers’ appetites and convince them to purchase the full trilogy. The strategy was later used for other FPS classics such as Doom, Rise of the Triad and Duke Nukem 3D.

Wolfenstein 3D should also be credited for starting the level editing craze that gained serious traction when the likes of Doom arrived on the market. Level editors began to circulate shortly after the game’s launch, and id released its source code in 1995. Users have created countless DIY stages over the years, a practice that has continued to this day.

Although Wolfenstein 3D’s seamless blend of arcade action and adventure-esque maze negotiation was a big hit with fans and critics alike, the game was met with some opposition. It was immediately banned in Germany for its depiction of Nazi symbolism and Adolf Hitler, and was censored heavily when it made its way to the SNES.

Nintendo of America demanded that all Nazi references were removed from the game, blood replaced with sweat, and the guard dog replaced with giant mutant rats due to animal cruelty concerns. id later pointed out the irony in condoning the killing of computerised humans and rats, while looking out for the welfare of digital dogs.

The SNES edition wasn’t the only port of the game. Wolfenstein 3D was converted for various platforms, including the Atari Jaguar, 3DO and Amiga. The core game was also expanded on with the release of a prequel trilogy dubbed ‘The Nocturnal Missions’, a novel way of getting more mileage from a title before the days of DLC.

Although subsequent FPS releases from id made Wolfenstein 3D look primitive, its legacy remained strong, and it continued to find its way to new platforms. In recent years, it has arrived on Xbox Live Arcade, the PlayStation Network, and iOS devices.

To mark the game’s 20th anniversary this month, it was reissued as a free-to-play browser title on the Bethesda website. It may look rough around the edges two decades on, but this piece of video gaming history is a must-play for any self-respecting FPS fan.

Source: www.digitalspy.com

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Click image to watch video.

High action sports and GoPro have been synonymous for quite some time.
The GoPro Hero 2 cements this relationship.

What better than to shoot Muay Thai in Bangkok Thailand to show just what the new Hero 2 can do. This new 3-D video demonstrates the capabilities and the beauty of a Hero 2 from GoPro. Shot at 720/60 P you’re able to shoot smooth clean fast paced sports footage and crystal-clear slow-motion.

There is no doubt in my mind that the GoPro hero in either, 2-D or 3-D, will soon be in every professional videographers kit.

Stay tuned. We’re waiting to get our hands on the new Hero 2 with the Protune Upgrade announced at NAB and will be shooting some exciting 3-D video with that very soon!

Source: 3DGuy.tv

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“This is the show! If you don’t like it, go to the one in Staten Island!” – Rocky Horror Announcer, Fame, MGM (1980)

Today, we’re overwhelmed with news, information and entertainment options.

Whether you’re at home or away, broadcasters are all vying for your attention, your time, your money.

That’s the evolutionary shift the NAB (National Association of Broadcasters) show participants and attendees struggle with these days.
It isn’t easy to move into new, uncharted areas. It used to be it was big studios, big iron, and big cigars. Now, it’s less about being vertically integrated than knowing how to loosely, flexibly integrate and leverage resources.

Companies like Dalet, Harmonics and Accenture showed off some great production solutions; but we were more intrigued with their emphasis on how they could help content owners/deliverers protect, repurpose, recycle and monetize the assets.

Produce, Monetize – The most active booths at NAB were those that offered complete solutions built around their core technologies. Solutions that could economically slash production time/costs and enable content providers to provide you with what you want, on the device you prefer … first. Source – Harmonic

Growing Cast
That’s the focus for the majors – CNN, ABC, NBC, BBC, TBS, Warner, Disney and bollywood – all of which continually produce Petabytes of rich content assets they want to leverage to the Nth degree.

We were surprised at first to see a big presence of non-traditional broadcasters – Lowe’s, Safeway, Target, Home Depot, McDonald’s, Starbucks and Pizza Hut – just as intent on finding ways to improve their connection with consumers.

Think about it (which we didn’t before NAB), they have the same problems, networks, stations the indies have. They have to not only produce attention-holding content, they have to also slice, dice and deliver professional-looking content to the store, on the Web, direct to your device.

The new Media Asset Management (MAM) software and systems – along with the big data details on your web/personal device history – enable content producers and deliverers to elegantly provide just the right news/entertainment. It’s spellbinding to see.

Read more here.

Source: Marken Communications

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