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September 28, 2009

Table of Contents

LIVE from Orlando: WEVA Expo 2009
Studio Time | Casting Kings: Mili Ghosh's Memories in Motion
Opuzz.com Releases 110 New Royalty Free Music CDs--Special Sale - 30% Off
Miraizon Announces Snow Leopard Compatibility of Cinematize Products
WEVA EXPO 2009 New Virtual Trade Show Set for Tuesday, November 10th
Panasonic's New Handheld AVCCAM HD Recorder and Pocket-sized Remote Camera Head to Ship this October
Zacuto USA Releases New Version of DSLR Optical Viewfinder with the Z-Finder V2
Digital Heaven Releases AutoMotion 1.6 for Final Cut Studio

LIVE from Orlando: WEVA Expo 2009

As a trade journalist, particularly in trades where technology plays a key role, you're trained to approach trade shows with a sort of thousand-yard stare, paying more attention to what appears to be coming down the pike than what's happening now. At WEVA Expo 2009, held September 14-17 at the just-opened Hilton Orlando, there were a lot of great current trends in evidence: Foremost among them was the fusion of videography and photography incited by video-capable DSLRs such as the Canon 5D and 7D. I'd almost go so far as calling this a maturing trend now since it seems increasingly apparent that the current fusion wave is much more about converging tools and imaging principles than the same people doing two jobs simultaneously with the same camera.

The just-over-the-horizon trend that WEVA Expo 2009 brought to bear is the streaming of live events over the web and the role that videographers struggling to shake the "shoot now, edit later, deliver much later" habit can play in broadband live delivery of the events they work. You could see this trend in multiple conference events, such as Monday night's WEVA Creative Excellence Awards (CEA) presentation and the 25th-anniversary renewal of vows ceremony (more on those later), as well as Ryan Bodie's presentation on the Rick Braun jazz concert he helped stream in April. You could also sense this emerging trend as you watched the trade show floor, with the preponderance of live event streaming vendors such as WedcastingTv and PathFinder TV and a leading online video platform, Sorenson 360. In an industry where we have more promising educational event promoters than ever vying for real estate on the cutting edge, it's nice to see a stalwart such as WEVA doing its utmost to grab the zeitgeist with its own spin on where to find it.

This is not to say Expo 2009 was all about the trends around the bend. The 2009 conference program, masterminded by John Zale, was a best-ever mix of the old and the new. He combined the fine and familiar (celebrity videographer Brett Culp waxing inspiringly off the cuff about inspiration; EventDV 25 commissioner John Goolsby offering timely words of wisdom on how to fight the recession by casting a bigger marketing net; newly minted hall of famer and primetime PBS-TV producer Danny Sayson presenting his evergreen and energizing-as-ever, you'd-swear-it-was-a-Steadicam, dimestore-monopod moving-camera techniques; oldie but goodie David Robin talking concept video) with the edgy and new (Bollywood wunderkind Kevin Shahinian going tête-à-tête with Robin on concept filmmaking; Miami PD sharpshooter Ray Roman explaining how to get killer shots; StillMotion Fusionistas Konrad Czystowski and Michael Wong hashing out the 5D/7D dilemma; and CEAs breakout act Adam "88 Keys" Forgione holding forth on how to make wedding video soundtracks explode). This year's program also included the most numerous and best-attended set of Spanish-language sessions our industry has seen to date.

It also delivered highlights from beyond the comfy confines of wedding filmmaking, welcoming the likes of director of photography extraordinaire Philip Bloom (who got his first exposure in the wedding filmmaking world in April at Re:Frame and can't seem to get enough of his new fan base--for those of you tracking his movements, you can catch him again at Re:Frame San Francisco in October); "HD consultant" Dennis Lennie on the many virtues of tapeless workflow; and University of Southern California (USC) film school editing track chair Norman Hollyn on the idea behind The Lean Forward Moment, his book on editing theory, and the principles of building drama through strategic editing decisions that make all filmmaking genres very much the same.

And this is not to say WEVA Expo 2009 was all about the seminars and the trade show either; first and foremost for many, expos are networking events and chances to reconnect with colleagues and old friends, whether it's in the back lot between sessions or at the WEVA After Dark Party (a lively open bar event sponsored by Panasonic this year) or at the Greater Philadelphia Videographers Association party that racked up a healthy share of noise complaints this year. But the heart of the event was the sessions. I can only report on the ones I attended; one of the challenges of a four-track conference such as WEVA Expo is that any one attendee is only, at best, going to catch a quarter of the program. The other limitation of the smorgasbord approach is that the sessions are so short--generally restricted to an hour in length. The problem here is not so much that presenters only have time to scratch the surface; more often, they dig deep for 60 minutes and then run out of time. The other issue that cropped up were occasional A/V problems in the sessions; then there were the ominous, disembodied talking-heads and the aspect ratio issues on the projection screens at the (otherwise well-executed and fun) awards banquet.

Some of these issues can probably be ascribed to the fact that WEVA Expo was the first major event hosted in the show hotel, the 2-weeks-young Hilton Orlando, which proved--at least in every other respect--a wonderful venue. The site was a huge improvement over the various Las Vegas destinations of WEVAs past, simply for the fact that the WEVA crowd essentially took over the hotel. Rather than being lost in the crowd and absorbed into the smoky indifference of a casino, WEVA friends and colleagues seemed to be everywhere.

But let's get back to those sessions. One of my favorites was Whit Wales of Whit Wales Wedding Films in the leadoff spot on Tuesday with "Thinking Inside the Letterbox." In sharp contrast to the theme of the next seminar I'd attend (Ray Roman's "Getting Killer Shots"), Wales proclaimed, "There are no killer shots-only killer moments." (By the way, mixing mildly or often sharply contrasting views is often what makes a conference-not to mention a magazine-most compelling.) Wales's point was that it's not so much about what spiffy things we do with our cameras as the moments we're able to capture with them "in covering life stories through the authentic words and unique gestures and expressions of the central characters." Wales spoke quite a bit about interviewing (he does his interviews on the day of the rehearsal) as a means for getting to the heart of the characters in the story. Offering up his dictum "Lift and Separate," Wales said, "In the world of fusion, what sets us apart is words, so let's let them stand out. Thread a narrative so the bride and groom are essentially one voice. ... Don't use any music underneath. Let the words stand alone." And then, he did just that, playing wonderfully moving new footage of (an uncharacteristically candid) Steve and Laura Moses of Vantage Point Custom Films recounting the arc and meaning of their marriage.

Ray Roman of Ray Roman Films, another first-time WEVA speaker, probably could have brought down the house just by showing his work on the big screen, but he did much more-even though A/V issues ate his homework and he had to improvise his seminar. This former Miami Police Department detective, who will appear again soon at In[Focus] in January, made some great points about what you need to get great shots, and also what you don't need. He began by dispelling the misconception that you must have any of the latest, hottest gear-slider, 5D, Steadicam-to capture dazzling shots. What matters most are the things the gearheads tend to "skip past-lighting, composition, audio quality." Next to these essentials, "the tools are just enhancements to the basics." Roman made another great point about the importance of mastering the gear you do acquire before you take it out to shoot on a gig: "You can't practice on the wedding day."

I also managed to catch a glimpse of "WEVA's Angels" Laura Moses (fresh off her induction, along with her husband Steve, into the WEVA Hall of Fame on Monday night), Brooke Rudnick of Marc Smiler Video Artist, and Maureen Taylor of VHVIDEO.COM. The Angels' key topic was bringing a female perspective to wedding filmmaking, which remains a male-dominated business on the video side, although it is, and has always been, female-dominated on the client side. Too often, the male side of the business gravitates to the gear and the technology at the expense of the real driving forces in the events and stories that videographers capture. "We're not selling video," Moses said. "We're selling the emotion of the day." Rudnick explained, "Women see things differently from a male editor. Be the angel on your team and share their perception of the female mind."

One of the most fascinating sessions I attended was Hollyn's "The Lean Forward Moment" (also the name of his popular book). Hollyn is a USC film school associate professor and a veteran editor of such major Hollywood productions as Heathers, The Cotton Club, and Sophie's Choice. I'll admit to entering Hollyn's session with a bit of trepidation; I'm all for WEVA bringing in high-profile speakers from outside the wedding and event world to shake attendees out of their comfort zones and to widen the scope of the conversation. But too often these presenters have misfired in their attempts to connect with the WEVA audience. Not so with Hollyn, who stuck to his major themes and underscored their universality for anyone editing to support the arc of a storyline and build dramatic tension (particularly those videographers doing corporate work and commercials, he noted). "This is 16 weeks of my editing course squeezed into an hour," he quipped. "We're in the business of manipulating the audience," he said, "but in a good way." That is, the purpose of editing, he explained, is to shape a film's storyline to elicit certain audience reactions at the moments when you want them. His idea of the "lean forward moment," he said, is "the moment when you want the audience to pay a little more attention. Identify the moment when you're going to deliver the message. That's the essence of what we do. We look for the moment when we want the audience to buy into our message, then we change something in our filmmaking" to amplify it.

Another great seminar came from Long Island, N.Y.-based wedding filmmaker Adam Forgione of Pennylane Productions. Forgione struck early and often at WEVA Expo 2009 with his five CEAs on Monday night and his late-night piano serenades; he also, I'm told, set the show a bit on its ear in a Tuesday night session (that I missed) by breaking out beach balls. I caught Forgione's Thursday morning seminar, "Getting Creative With Audio." Anyone else who attended this seminar would probably agree with me that Forgione could really make an impact as a speaker in this industry if he could just manage to muster a little more enthusiasm for his subject. Kidding aside, Forgione's way of delivering his audio message was wildly over the top, right from the outset-although the points he made were uniformly sound. Forgione broke down the popular songs wedding videographers generally use into their basic structure-intro, verse, pre-chorus, chorus, verse, instrumental break, etc.-and explained how to use the ebb and flow and build-up of a song to create peaks and explosions and great releases of dramatic tension, "to match the climax of the video to the climax of the song." At some point, one had to wonder if he was still just talking about moving video clips around in a timeline.

But enough from the creative side; one of the signature strengths of the WEVA Expo program over the years has been the emphasis on business and marketing strategies, even if (this year included) those strategies have been limited a bit too much to the wedding (as opposed to event) side of the aisle. And one of the cool ways in which WEVA Expo 2009 delivered on the sales and marketing promise was through the efforts of new speakers with fresh approaches and messages. One very convincing session I attended was "You Know How to Shoot a Wedding Video, Now Learn How to Sell One" presented by Matt and Melissa Davis of Life Stage Videography. It included perhaps my favorite line of any seminar I saw all week: "Learn to love the ‘No.'" Naturally, Matt and Melissa were speaking of the potentially heart-wrenching highs and lows of wedding video sales at the time. But there was a great point in there: Namely, if you do your sales job right, find out who they are and show them who you are, the "no" will result most often from a genuine mismatch (style, price, personality) that wouldn't have lent itself to a good experience anyway rather than the frustrating, "I showed them my best, and they still didn't book me." The Davises led attendees through a great list of "power questions" that will get the sales encounter started right, followed by a discussion of their own sales process and the energy they bring to it. "Match their excitement," Melissa said. "Mirror their personality. Bring it up a notch if necessary, but don't overwhelm them." Matt also addressed the age-old closing question: "Ask for the sale. They want you to ask for it-they want resolution. Be firm and confident; say, ‘Which package will work for you?' Then say you'll follow up with email and you'll call them tomorrow. And do everything you say you will."

Two other memorable sessions I caught were signature WEVA events. First was the "WEVA LIVE 25th Anniversary Live Streamed Ceremony," in which two legendary WEVA couples--Mark and Trisha Von Lanken of Von Wedding Films and Steve and Laura Moses of Vantage Point Custom Films--each married a quarter century, renewed their vows before a live seminar audience and whoever else was watching out in webcast land. Brett Culp, the celebrant from central casting, ably handled the ministerial duties. What we saw was an event that was carefully staged but very much real, at times; but what was most interesting about it to me and my thousand-yard stare was the streaming side. Technical director and switcher Ryan Bodie-who would, in his own Wednesday night seminar, discuss how he produced a live stream of a Rick Braun jazz concert in April-managed the stream to http://www.wevalive.tv/ viewers using NewTek VT[5], while Ray Roman and Fred Klein shot the ceremony. "If you're doing a live event on a pro level," Bodie said, "you need to give yourself time to set it up." Telling words since the WEVA LIVE stream wasn't without its technical shortcomings-particularly, an 8-second delay, audio sync and levels issues, and some jarring aspect ratio changes-but the point here, after all, was not so much to deliver the world's most perfect stream as to suggest possibilities, and that it did.

The second memorable session was the Battle of the Editors, in which David Perry of David Perry Films made stunning use of submitted footage shot outside at the Salt Lake City LDS temple wedding to fashion a seamless and moving clip that richly deserved the award. But it wasn't as easy as he made it look: "I film for certain emotional shots, shooting for the story. It was super-challenging to work with someone else's footage and try to figure out the story they were telling."

And then there were those other awards-the annual WEVA CEAs (again, streamed live from Orlando), in which wedding, event, and corporate filmmakers from all over the world had their work honored in the industry's most prestigious awards competition. Joining relative newcomers Pennylane Productions (five awards including Instant-Edit Bronze), Ray Roman Films (three CEAs including Trailer Bronze, Theatrical Production Silver, and the coveted Short Form Gold), and Lehi, Utah-based Pointe Digital (Post Ceremony Gold) were established stars Jason Magbanua Wedding Videography (five awards including Love Story Silver and Pre-Ceremony Gold), VHVIDEO.COM (five CEAs including two Golds, for Reception Coverage and Social Event Coverage), and Imacron (two Golds, Trailer and Demo). The Philippines swept the most-medals sweepstakes once again with 20. You can see the complete list of awards at www.wevaexpo.com/2009ceawinners.htm.

The real question that remains after this year's 19th annual WEVA Expo is "Where will they do the next one?" One sort of answer appeared online shortly after the event, when WEVA chairman Roy Chapman announced to his Facebook followers a "virtual expo" set for Nov. 10--a nice concept that will be interesting to see take shape. Naturally, the real buzz was about WEVA Expo 2010 and something a little more tangible. Though there seems to be an incipient "Back to Bally's" movement among the Vegas fans in the industry, here's hoping that what they've wisely moved to Orlando stays in Orlando.

To see a 3-part live video wrap-up of WEVA Expo 2009, check out The WEVA Show with Shawn Lam on EventDV-TV.

Stephen Nathans-Kelly (stephen.nathans at infotoday.com) is editor-in-chief of EventDV.

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Studio Time | Casting Kings: Mili Ghosh's Memories in Motion

In the 4 years since Mili Ghosh began Memories in Motion in Chicago with the goal of offering high-end Bollywood-style videos to a niche South Asian wedding market, her hands-on approach—consulting in details right down to makeup—has taken her all over the globe. From opulent weddings with hundreds of guests in her hometown of Chicago to royal weddings in India, Ghosh combines her own personal artistic vision with a devotion to her couples to create cinematic wedding videos with a flair not found anywhere else.

A Tanzania native, Ghosh studied communications and journalism in Canada. In her senior year, she began working as a production coordinator with a nonprofit documentary filmmaking organization on campus. She promptly fell in love with the process of video editing and the artistry and expression involved in combining image, motion, and sound. "Editing started out as a way for me to express myself creatively," Ghosh recalls. "It is like a puzzle to me with no right way of putting scenes together. I always felt the need to understand the music and sound in order for me to create something meaningful. I enjoyed putting clips together and felt the need to express my vision with a certain style of editing."

In 2003, Ghosh came to the U.S. from Canada and launched her career working with another South Asian wedding photography and videography studio. It was during this time she recognized the need for a high-end studio capable of producing more than the average "cheesy wedding video" within this market. Recognizing that these largely part-time outfits left a lot to be desired-"the goal is to get the job done; there's no motivation to be creative"-she started out by offering couples free shoots beyond the day of their wedding to give them the opportunity to have a video that was unique and different. The first clients came through word-of-mouth from other vendors in the South Asian wedding industry. Soon, Memories in Motion (the name, true to Ghosh's inspirations, coming from an old Bollywood film) had been established as the premier studio in this niche market, winning an AEGIS Award in 2006.

Ghosh's vision and creative style is heavily influenced by various elements that create new blends of culture and media. "Two musicians have heavily inspired me-Niraj Chag and Karsh Kale. Their fusion style of music with ethnic blend has always fascinated me, and I try to incorporate their music into my wedding films. I have always been inspired and fascinated by Bollywood. I adopt a lot of my style from the elaborate Bollywood productions." Wanting to offer more than the bland wedding videos she'd seen, Ghosh strove to create movies and clips with a style as lush and detailed as her inspirations.

Mili Ghosh of Memories in Motion

Weddings on a Bollywood Scale
By 2007, Ghosh made the decision to remain a low-volume vendor in order to allow her company to retain its intense focus on the couples and the art involved in the productions. Typically producing 10 films per year, with 3 or more days of shooting for each event, Memories in Motion devotes a startling amount of time to each couple to develop a connection unusual in the industry that in turn allows the movies to more deeply express the personality of the clients and Ghosh's vision.

To ensure her style of expression is clear and consistent, Ghosh herself edits every movie as well as films the detail shots. She works in conjunction with her husband, Sid, the Steadicam operator, who holds a Ph.D. in electrical engineering and has, as his day job, a tenured faculty position at the University of Illinois. Truly a labor of love, Ghosh notes, "So this is his unpaid third job!"

Fully understanding the amount of talent required to produce true art, Ghosh does not cut corners in hiring additional cinematographers. "We also work with film union Jib operators, who have worked on blockbusters such as The Dark Knight and Public Enemies. Another wedding we filmed at Chicago's Navy Pier also involved over 700 guests and we had some amazing results mainly with our jib operator who was able to stretch out the 42-foot arm across the large dance space and over the stage."

Also recognizing that cinema-quality video requires cinema-quality sound, Memories in Motion has been continually enhancing its sound production capabilities. "Our fourth cinematographer is in charge of sound. I feel good sound can significantly enhance the quality of a wedding film. We film in HD, author in Blu-ray, and, since 2008, we have introduced 5.1 Dolby surround in our wedding movies. Sid edits the sound and does a 6-channel mixing to create true 5.1 surround sound."

Ghosh works in conjunction with her husband, Steadicam operator Sid

Palace of Illusions
Expanding on her involvement with opulent South Asian weddings throughout the U.S., Ghosh recently completed work on a royal wedding held in Udaipur, India, at Jag Mandir Palace. Memories in Motion was contracted after the bride saw a sample of Ghosh's work and became deeply inspired by its inimitable style. An incredibly involved and lavish series of events, filming took place over 5 days and many locations, using Jimmy Jib and Kino Flo lights to create a striking cinematic feel. Ghosh, working with a production coordinator based in India, consulted on details from music to makeup and costuming, props, and even rehearsals.

The end product was a movie with a distinct style that offered a striking montage not only of the ceremonies and the bride and groom but also on the city of Udaipur, its beautiful architecture, and the feel and culture of both the city and the wedding. Ghosh remarks, "It was all quite Bollywood in a more royal way!" This amazing, elaborate wedding was featured in grace ormonde Wedding Style magazine, with Memories in Motion listed as a platinum vendor. Building on this success, Ghosh now finds herself working on even more royal weddings, always striving to combine her vision with the expression of each couple's own story.

One of Ghosh's recent opulent south Asian royal weddings was featured in grace ormonde Wedding Style magazine

Developing a concept that really expresses the soul of each couple is not an easy task, but Memories in Motion has developed strategies that address these challenges. "We conceptualize with music, we rehearse with our clients, direct and shoot at the same time with multiple camera supports-glidetracks, Steadicams-and then after the end of each shoot we look over the scenes with our clients. We try to change things around, adding details or working with expressions. At first, it all seems very challenging, but it's something I've seen my clients enjoy doing."

Ghosh also notes that it's challenging for many people to relax in front of a camera. But she knows how to get the best of out of her brides and grooms. "Naturally the key is to keep scenes simple and to keep it realistic. Acting is not easy and dialogues or lipsynching to music is not suited to everyone. You don't want to create a ‘staged' feeling." Ghosh firmly believes that growing her business does not mean getting bigger or taking on more clients but developing in her own artistry and style while expanding technical capabilities and learning more about the filming and editing process.

More Art Than Video
Her focus continues to be on offering the most intimate and comprehensive services to couples, expanding from the already exhaustive coverage of the 3-day ceremonies into video engagement mementos, save-the-dates and thank you DVDs, and the development of short concept videos with a couple and their family and friends to capture the couples' personality and story beyond the scope of their nuptials. "The concept or short music videos are quite a hit with the South Asian clients. We conceptualize with music, write screenplays or at times make a shot list that flows from one segment to another; we location scout; we even come up with wardrobe and makeup."

In the end, Ghosh knows it's all about focusing on creating a product that is more art than video. "Wedding cinematography is fairly new and the majority of people still have prejudices or preconceived notions about the ‘cheesy' wedding movies. I feel that there is very little understanding of how much manpower and effort it takes to produce a good wedding movie. Film has images, sound, and camera movement, and the seamless mix of these three elements is what creates a memorable movie for the bride and the groom. There has to be a lot of effort put in by us wedding cinematographers to educate brides and grooms about what it takes, both creatively and technically, to produce a high-end wedding movie."

Elizabeth Avery Merfeld (www.lizwelsh.com) is a freelance writer based in Madison, WI.

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Opuzz.com Releases 110 New Royalty Free Music CDs--Special Sale - 30% Off

Opuzz Royalty Free Music Library one of the largest independant royalty free music provider has included 110 new royalty free music CDs to their library. The online royalty free music provider now boasts of 321 CDs that can be purchased as physical music CDs with free shipping worldwide, downloadable music CDs - great when you need the music fast, individual music downloads starting from $2.99 per track and Opuzz Hard Drive that holds the complete library on a portable hard drive. 

In conjunction with this major release, Opuzz is having a sale of 30% off any music download, CD or hard drive sold.

Opuzz music is composed in-house so they are able to meet the demand and requirements of their customers. Customers can rest assured that Opuzz's music is 100% royalty free. "Buying music from Opuzz is a direct license with Opuzz as you would be licensing directly from the owners of the music as Opuzz owns all their music and is not just a submission site selling submitted music", says Vivian MacPartland, Opuzz Business Development Manager.

This new release sees a good variety of musical styles. Many of the releases were in response to their customer requests. Everything from pure accoustic guitar tracks to mood inspired CD themes like 'Light Happy Joyful', 'Minimal Ambience', 'Strange and Weird', 'Meditation & Relaxation' as well as 6 CDs of Nursery Rhymes & Well Known Tunes. Other major set releases include 6 CDs of Essential Rock Styles, 3 CDs of Country Music Styles, 3 CDs of Contemporary Country as well as 3 CDs of Alternative Country Rock and 4 Intense Drama CDs. Other popular sets include 2 CDs of Light Pianos, 2 CDs of Ethnic Atmospheres and a 6 CD series of Moods & Emotions. Opuzz Royalty Free Music Library's very popular World Music selection grew by 6 CDs with focus this time on European Themes.

Other notables CDs include solo instrument focused CDs like Flutes, Harp Moods, Percussive Drama, Solo & Group Vocals and add a touch of nostalgia with Opuzz's 3 CD Silent Movie Pianos Series. Another major focus is on electronic music or electronic sounds that are covered under 2 CDs of Just Drones, 4 CDs of Essential Club & Dance Music. Hi-Tech and Space & Sci-Fi Atmospheres. Great cool and chilled vibes can be found in CDs like Easy Chilled Grooves, Smooth Cool Grooves, Lifestyle and Leisure and more.

For more information about Opuzz Royalty Free Music, go to www.opuzz.com.

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Miraizon Announces Snow Leopard Compatibility of Cinematize Products

Miraizon® announced today that its current versions of Cinematize® products, Cinematize 2 Pro for Macintosh Version 2.03 and Cinematize 2 for Macintosh Version 2.07, have been tested and certified to be fully compatible with Mac OS X 10.6 Snow Leopard. Free updaters to the latest versions are available for download at: http://www.miraizon.com/support/downloads.html.

Cinematize 2 and Cinematize 2 Pro are award-winning DVD movie clip extractors that allow you to extract audio, video, and subtitle clips off of DVDs and convert them into formats compatible with popular applications including QuickTime, FinalCut, iMovie, iDVD, PowerPoint, iTunes, Apple TV, and even an iPod. The extracted clips can be used to create best-of movie clip collections, multimedia presentations, movie clips for viewing on an iPod or Apple TV unit, or movie clips for posting on web sites including YouTube.

Cinematize 2 includes everything you need to start extracting from DVDs, while Cinematize 2 Pro includes many additional advanced and convenient features such as extraction from the DVD menu, subtitles, and batch extraction to name a few.

Pricing and Availability
Priced at $129.95, the latest version of Cinematize 2 Pro for Macintosh (download) is immediately available for purchase from the company's online store at: http://www.miraizon.com/store/store.html. Cinematize 2 Pro for Macintosh (box) is priced at $149.95 and also available for purchase at the company's online store as well as at select retail stores.

The latest version of Cinematize 2 for Macintosh (download) is priced at $59.95 and is immediately available for purchase from the company's online store at: http://www.miraizon.com/store/store.html. Priced at $69.95, Cinematize 2 for Macintosh (box) is also available for purchase at the company's online store as well as at select retail stores.

Free updaters for existing Cinematize 2 Pro and Cinematize 2 users and free demo versions are also available for download at: http://www.miraizon.com/support/downloads.html.

About Miraizon
Headquartered in the heart of Silicon Valley - San Jose, California, Miraizon was formed to deliver innovative, fun, and easy-to-use digital media software products. The company now offers two lines of products: Cinematize 2 and Cinematize 2 Pro. Cinematize 2 is an easy-to-use DVD Movie Clip Extractor that offers everything you need to start extracting audio and video clips off of DVDs. Cinematize 2 Pro offers everything in Cinematize 2 plus many more advanced and time-saving features. It is the Ultimate DVD Re-Editing Tool, making virtually any piece of an existing DVD available as source material for new DVD projects. Both Cinematize 2 and Cinematize 2 Pro have received top ratings from major technology magazines and have an impressive list of customers, including pros and amateurs alike from over 70 countries. Miraizon plans to introduce many more such useful products in the future.

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WEVA EXPO 2009 New Virtual Trade Show Set for Tuesday, November 10th

Following-up on the success of the WEVA 19th Annual Wedding & Event Video Expo presented by Wedding & Event Videographers Association International (WEVA) last week, the Association has announced that WEVA EXPO 2009 Virtual Trade Show a live on-line presentation will be held Tuesday, November 10, 2009 for participation by attendees worldwide.

Exhibit booths on the show floor will feature the latest digital video and HD DSLR technology, plus free system-training, and the WEVA EXPO 2009 Virtual Trade Show will also include cutting-edge sessions for wedding & event video professionals, WEVA 2009 Creative Excellence Award Winners, new wedding film techniques, industry networking via LIVE CHAT, and more during the day and evening.

"New Internet technology and video industry developments mean the WEVA EXPO 2009 Virtual Trade Show will make it possible for wedding and event video producers nationwide and around the globe to discover new industry trends, techniques, and technology for wedding and event work and network with peers as well," said WEVA International Chairman Roy Chapman.

"At the show, attendees will have the ability to see HOW brand new technology and techniques are being applied creatively, and successful methods for MARKETING wedding and event productions in today's competitive new media marketplace, all from their own computer or mobile device. And that's exciting for anyone producing video today!"

More information about the WEVA EXPO 2009 Virtual Trade Show Tuesday, November 10th will be posted soon on WEVA.com. Exhibitors may contact the WEVA office now for Exhibitor information at admin@weva.com or 941-923-5334. Mark your calendar now to save the date!

About Wedding & Event Videographers Association International (WEVA)
Founded over a decade ago, WEVA International is the largest trade association for professional wedding and event videographers and leads the field with education that's on the cutting-edge of industry developments. To see the full list of WEVA membership benefits visit www.JoinWEVA.com where you can also join WEVA International today.

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Panasonic's New Handheld AVCCAM HD Recorder and Pocket-sized Remote Camera Head to Ship this October

Panasonic Broadcast has announced pricing and delivery of its new AG-HMR10 AVCCAM compact field recorder/player and the ultra-slim AG-HCK10 remotely controlled 3-MOS HD camera head. Both of these products are versatile additions to the company's growing AVCCAM line of professional solid-state high definition products.

The AG-HMR10 handheld recorder and the AG-HCK10 compact camera head, which can be connected via optional cables (in 3-meter and 20-meter lengths), will be available next month at suggested list prices of $2,600 and $1,800, respectively. Shipments of the HMR10 recorder will come initially (through March 2010) bundled with free Neo 2 video editing software (Retail Value: $199).

The HMR10 professional AVCCAM recorder provides the flexibility of low cost, SD memory card based recording and full 1080 and 720 resolution capture in a small, portable unit. The new AVCCAM recorder utilizes AVCHD (MPEG-4/AVC High-Profile) compression and is ideal for applications in video production, sports coaching, healthcare, public safety, remote imaging and much more. Equipped with an HD-SDI input and output, the HMR10 AVCCAM recorder is also suitable for back-up recording from any HD-SDI-enabled camera or for use in studio or event production. The 1.2-pound unit features a lightweight, ergonomic design suited for handheld use (3.78" W x 2.07" H x 5.24" D) and has four 3mm threaded holes for flexible mounting.

The HMR10 records stunning full HD 1920x1080 resolution images in three recording modes - the highest quality PH mode* (average 21 Mbps/max. 24 Mbps), HA mode (approx.17 Mbps) and HG mode (approx.13 Mbps). The fourth recording mode, HE (approx. 6 Mbps), records at 1440x1080. The HMR10 records in HD formats including 1080/60i, 1080/50i, 720/60p and 720/50p. With input from the AG-HCK10 camera head, the HMR10 will also record 1080/30p, 1080/25p and 1080/24p. It also supports downconversion from HD to SD output.

With the HMR10, users can capitalize on the compact size, cost advantages, solid-state reliability and the widespread availability and low cost of SD and SDHC memory cards. Using just one 32GB SDHC memory card, a user can record three hours of full resolution 1920x1080 video and audio in PH mode, four hours at HA mode and 5.3 hours at HG mode. In the HE mode, the camera can record up to 12 hours of 1440x1080 HD content - all on a single 32GB SDHC card. SDHC cards containing AVCCAM recordings can be played directly in a growing number of affordable Panasonic Blu-ray players, plasma displays, Sony PlayStation 3® ** game machines, PCs and other devices.

In addition to HD-SDI input/output and an external mic input (stereo), the HMR10 comes standard with interface connections including the HDMI out and USB 2.0, and is compatible with TC/UB recording. It also has a built-in speaker and headphone stereo mini jack. The lightweight handheld's 3.5-inch color LCD monitor displays content in thumbnail images for quick viewing. (The HCK10 camera head can be remotely controlled while images are checked on the LCD monitor.) Additional features include waveform monitor, simplified vectorscope display, zoom, start/stop, color bar and tone, key lock, convenient playback and recording functions such as shot mark, record check, pre-record, last clip delete, auto record, metadata recording, and 11 one-touch operation buttons. The HMR10 is compatible with camera remote controllers for the AG-DVX100, the AG-HVX200 P2 HD, and the AG-HMC150 and AG-HMC40 AVCCAM camcorders. It operates on battery or 7.3V DC power (AC power supply included).

For editing or playback, professionals can instantly transfer content from the SD card to Mac or PC computers with an SD/SDHC card reader or by connecting the HMR10 recorder directly via its USB 2.0 interface.

The ultra-compact HCK10 camera head, nicknamed POVCAM, is equipped with three newly-developed 1/4.1-inch 3.05-megapixel HD resolution 3-MOS imagers to deliver high-quality image quality. Weighing a little over a half pound, the HCK10 camera head is ultra-slim (2.1" W x 2.2" H x 4.8" D) and features a 12x optical zoom lens with Optical Image Stabilizer (OIS) and Dynamic Range Stretch (DRS), a dynamic range expansion tool that simultaneously compresses highlight information and boosts shadow detail in real time. DRS, mic settings, iris, focus, zoom control and power are supplied from the HMR10 recorder.

Other features include a built-in microphone, ¼-inch 20 socket for mounting and 43mm lens filter size. Cables connecting the camera to the recorder will be available in lengths of 3 meters (9.85 ft.) for a suggested list price of $300, and 20 meters (65 ft.) for a suggested list price of $600. The cables are detachable at each end for added flexibility.

Panasonic's AVCCAM series brings the benefits of solid-state recording to budget-conscious professionals with a range of products. In addition to the HMR10 and HCK10, the AVCCAM line includes the new compact AG-HMC40, the very popular AG-HMC150 handheld, and the shoulder-mount AG-HMC70. AVCCAM products record stunning professional AVCHD video onto inexpensive, reusable SD/SDHC cards, like digital still photography, providing a fast and simple, file-based workflow with ultra-reliable performance. AVCHD digital files can be transferred and stored on affordable, high-capacity hard disk drives (HDD) or optical storage media and transferred to future storage media as technology advances.

AVCHD, an MPEG-4 /AVC Hi Profile-based format, provides a near doubling of bandwidth efficiency with improved video performance over the older MPEG-2 compression used in HDV formats. It is supported by a wide range of editing options including Apple Final Cut Pro 6.0.5, Adobe Premier Pro CS4, Grass Valley EDIUS Pro 5 and EDIUS Neo 2. In addition, a free transcoder, available for download from the Panasonic Broadcast web site, will convert AVCHD files to DVCPRO HD P2 and downconverted DV files for use with most existing professional editing packages. For more information visit, www.panasonic.com/avccam.

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Zacuto USA Releases New Version of DSLR Optical Viewfinder with the Z-Finder V2

Embracing the wave of the growing popularity of DSLR cameras, Zacuto introduces the Z-Finder V2, an optical viewfinder that allows DSLR cameras to have the correct form factor for video. Additional features of the Z-Finder includes: 3x focusable magnification, Schneider optics, a 40mm diameter lens, an adjustable (left or right) eye-cup preventing extraneous light leakage, and most importantly, a field of view perfectly matched to LCD screen sizes of many DSLR cameras such as: Canon 5DMKII, Canon 7D, Panasonic GH1, Nikon D300, Nikon D5000, and Pentex 7D. "This Z-finder is awesome. I am using it in Lima, Peru right now and am so glad I purchased it. I had a Hoodman but the quality of this is amazing and the eye cup is truly spectacular," says W. Ashley Maddox, DP/Director of Wam Pictures LTD.

Since the DSLR viewfinder is critical for precision focus on shallow depth-of-field cameras, Zacuto's product designers and engineers created an extremely fine focus wheel to achieve exact focus. Robert Primes, ASC agrees, "The Z-finder V2 is a magnificent upgrade and sharp as a tack across the whole image. The focus gearing was accurate, frictionless and backlash free." The Z-Finder can adjust to varying levels of vision correction with its diopter. It's essential for critical focus and some people will need to dial the Z-Finder focus wheel all the way in for Nearsightedness (Myopia) and fully out for Farsightedness (Hypermyopia). "My focus is 100% more precise with the Z-finder than without it," says Alain Pilon, Photographer & Videographer, "But it could have been even better if the camera LCD had more pixels. This is great because it means the Z-finder is future proof: its performance is going to improve as LCDs get better." The 6 oz. optical viewfinder is a DSLR filmmaker's best tool for creating precision focus and stability. "At the moment there is nothing that comes close to this," says Philip Bloom, Independent DP and Director, "It is absolutely essential for video on the 5DMkII. I couldn't shoot hand-held without it that's for sure. It has a 3x magnification making the image huge in your eye. Yes it is magnifying the pixels, but it still improves focusing a hell of a lot." To read additional user reviews and comments on Zacuto's Z-Finder visit, http://zacuto.blogspot.com/2009/09/z-finder-user-reviews-and-comments.html

The Z-Finder V2 is unique in the way that it attaches to your camera. The Z-finder attaches to the LCD screen with a mounting frame. This is a snap fit frame that sticks to your LCD screen with a double sided adhesive. Once the frame sets for a couple of hours, the Z-finder can then be snapped on or off for quick viewing of the LCD screen or to get your eye in the actual viewfinder of the camera. "What I'm most impressed with is the ability to critically focus my still shots," says Jason Smith, Chicago Based Event Photographer. "I use a lot of wide-aperture Canon lenses that are hard to get tack-on focus. So I turn on live view, move the focusing spot right on the subject's eye and with the Z-finder's help, I'm able to confirm that the eyeball is super sharp."

Zacuto offers two additional add-on features for protection and safety. First, a lanyard gives you the option to attach a strap to the Z-Finder and thus, after a quick release of your viewfinder, you will be able to keep the finder around your neck for ease of re-attachment. Another protection is the Z-bands, which holds the Z-finder tight against the LCD screen and helps prevent it from getting knocked off. For more information on Zacuto's Z-Finder V2, additional benefits, and a very detailed step-by-step tutorial product video visit http://store.zacuto.com/Z-Finder.html The Z-Finder V2 is developed by Zacuto USA, the leading independent camera accessories maker in the professional market. Z-Finder is available at a Zacuto worldwide dealer: http://www.zacuto.com/category/zacuto-dealers or at http://zacuto.com.  

Zacuto USA
Located in Chicago's River North neighborhood, Zacuto, originally a production equipment rental house formed in 2000 by a former Director Steve Weiss and DP Jens Bogehegn, whose combined film/video experience of over 50 years, quickly expanded into a producer of high-end production equipment. Designed for independent filmmakers, Zacuto made in the USA, brand of products, offer customized camera packages & products which come with a Life Time Guarantee and are shipped anywhere in the world. For more information, visit http://zacuto.com.  

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Digital Heaven Releases AutoMotion 1.6 for Final Cut Studio

Digital Heaven (www.digital-heaven.co.uk), one of the leading creators of software for Apple's Pro Apps, today announced the release of AutoMotion 1.6 - an update for the graphics automation application for Final Cut Studio. This free update brings compatibility with Motion 4 and Mac OS X Snow Leopard as well as bug fixes and stability improvements.

AutoMotion is a complete solution to the previously manual and time consuming process of creating multiple graphics. Not only does AutoMotion, create multiple graphics in seconds by merging Motion templates with text data but it also manages the revision of those graphics in ways never possible before. As changes are made to each version, AutoMotion shows a live preview of the result complete with title safe areas.

Hundreds of broadcasters, production companies, editors and graphic designers around the world depend on AutoMotion to automate the production of graphics. One of the earliest customers was Channel Five Broadcasting:

"As one of the UK's major broadcasters, AutoMotion has been a crucial component of our Final Cut Pro promo workflow since 2006. Using pre-built templates to very quickly generate multiple versions of graphics allows us to work far more efficiently. We couldn't do what we do, without it."
- Stuart Hay, Broadcast Technology Manager, Channel Five Broadcasting.

Pricing and availability
AutoMotion for Mac OS X is available for immediate purchase from the Digital Heaven online store for US$495. A trial version is available for download from the Digital Heaven site at www.digital-heaven.co.uk which allows creation and export of up to 5 graphic versions.

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