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OWC Announces U2 ShuttleOne Build Your Own Affordable High-Performance U.2 SSD

OWC®, the premier zero-emissions Mac and PC technology company, and a respected provider of MemoryExternal DrivesSSDsMac & PC docking solutions, and performance upgrade kits, announces the OWC U2 ShuttleOne. This innovative “build your own” heat dissipating full metal adapter brings U.2 SSD performance and capacity to the mainstream in a flexible, easy-to-use design. Performance enthusiasts, IT admins, M&E pros, gamers, and more can now use a readily available and affordable NVMe M.2 “blade” style SSD in a 2.5-inch U.2 bay. Whether you have a U.2 bay equipped server, workstation, gaming rig, or external drive, the OWC U2 ShuttleOne gives you access to a new world of storage possibilities.

The OWC U2 ShuttleOne is available now for $44.99 at

Free Training in Blackmagic Design DaVinci Resolve, Fairlight, Fusion and More!

5 Day Workshops

Fairlight Audio Post with DaVinci Resolve 17 Certification class
5 Day Workshop: July 12,13,14,15,16, 2021
12pm – 4 pm PDT / 3pm – 7pm EDT
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Fusion Effects with DaVinci Resolve 17 Certification class
5 Day Workshop: July 26,27,28,29,30, 2021
1pm – 5pm PDT / 4pm – 8pm EDT
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Introduction to DaVInci Resolve 17 Certification class
5 Day Workshop: August 9,10,11,12,13, 2021
8am – 12pm PDT / 11am – 3pm EDT
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1 Day Sessions

Fairlight Studio Consoles and the Fairlight Audio Editor
July 21, 2021
8am – 12pm PDT / 11am – 3pm EDT
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Fairlight Desktop Consoles workshop
July 22, 2021
8am – 10am PDT / 11am – 1pm EDT
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Color Management in DaVInci Resolve 17
August 5, 2021
10am – 12pm PDT / 1pm – 3pm EDT
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Exploring HDR & Dolby Vision with DaVinci Resolve 17
August 19, 2021
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Cut page and Speed Editor
August 31, 2021
10am – 2pm PDT / 1pm – 5pm EDT
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Collaboration with DaVinci Resolve 17
September 9, 2021
10am – 12pm PDT / 1pm – 3pm EDT
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DAM Cart/Dailies Workflow with DaVinci Resolve 17
September 23, 2021
10am – 12pm PDT / 1pm – 3pm EDT
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The 42nd Annual Telly Awards Honors Winners Netflix, Jennifer Garner, HBO Latin America, Microsoft, RadicalMedia, Condé Nast, Adobe, Nickelodeon, and Partizan

Continued surge in remote and virtual productions embodies ingenuity of creative leaders while Al Jazeera Media Network takes home esteemed ‘Telly Company of the Year’ award

The Telly Awards, the world’s largest honor for video and television content across all screens, has announced this year’s winners, including Jennifer Garner’s “Pretend Cooking Show” series, RadicalMedia’s “Crime Scene: The Vanishing at the Cecil Hotel” documentary series, Partizan’s “Fantastic Voyage” campaign, and much more. Under this year’s “Your Stories Defy The Limits” theme, standouts encompass the artistic and technical innovations that have surfaced in direct response to the challenges presented by 2020 and 2021. Additional winners range from Netflix, Microsoft, Condé Nast, HBO Latin America, and Nickelodeon to BET Digital, Adobe, Playstation, BBC Global News, and PAPER.

Founded in 1979, the Telly Awards honors excellence in video and television across all screens and is judged by the Telly Award Judging Council, a group of leading video and television experts from some of the most prestigious companies in entertainment, publishing, advertising, and emerging technology, such as WarnerMedia, NBC News, Framestore NY, and Vimeo to name a few.

View all of the winners of The 42nd Telly Awards at

The 42nd annual Telly Awards received a 15% increase in entries from the previous year. The growth was driven by a significant rise in remote and virtual productions, with many brands taking to animation for the first time. The Telly Awards is also proud to name Al Jazeera Media Network as this year’s ‘Telly Company of the Year’. A trailblazer in bringing to life limit-defying content, Al Jazeera’s breadth of work, particularly its “A Day in Wuhan” and “Stricken Beirut” along with “About Cinema” series, perfectly embodies the creativity and storytelling efforts the Telly Awards have long shined a spotlight on.

“In the face of a year like no other, the visual storytelling community has continued to defy the limitations of our new world. Achievements have been both societal, such as embracing social media platforms to raise awareness about injustices and promote solidarity for movements, as well as geographical, like developing fully remote pipelines for dispersed teams”, says Telly Awards Executive Director Sabrina Dridje. “This year’s submissions doubled down on what we already know about the industry. Creativity cannot be stopped. Collaboration will always prevail. New ideas and stories will always find a way to break through to an audience.”

In recognition of the industry’s evolving cultural change, The Telly Awards continued its commitment toward supporting the talent, voices, and narratives of underrepresented artists around the globe. At the start of the season, The Telly Awards welcomed Ghetto Film School and UK-based We Are Parable as media partners. This mission was also reflected within the international and multidisciplinary judging lineup, which was bolstered by the joinings of Shalini Sharma of NBC News, Ryan Honey of Buck, Andrew Wareham of Taxi Group Australia, Karyn Spencer of Whalar, Amy Tunick of WarnerMedia, Jamie Elden of Shutterstock, Kavita Lokchander of Thrive Global, Meghan Oretsky of Vimeo, and Andrew Rowan-Robinson of Framestore NY.

On the heels of a hugely successful virtual screening series, The Telly Awards has also rolled out its first-ever original and monthly interview series to further celebrate creators who have pushed the boundaries of possibility. Entitled “Hot Takes”, it features unfiltered discussions presented by a chosen industry expert. The latest installments include “Will Change The Future of Content and Media?” from Josh Ness of Verizon 5G Labs and “Brand Strategy In a Post-Pandemic World” from Dushane Ramsay of Square, with many more to come.

Finally, it was a standout year for the ‘People’s Telly Awards’, which are given to the most-loved pieces chosen by the Telly Awards audience and, this year, received the most public votes in the history of the category. Winners include Square’s “Black Owned”, a stirring film series chronicling the lives of Black business owners across three of the nation’s most populous cities, the Walt Disney Company’s “Cooking with Pixar”, and WeTransfer’s “Doubt. Create. Repeat.” global brand campaign. The latter boldly calls on the creative community to harness feelings of doubt in pursuit of their ideas.

42nd Annual Telly highlights from this year’s winners include:

Use of Stock Footage
● The Walt Disney Company won for “Star Wars: The Animals Strike Back” in Branded Content
● Adobe won for “Adobe Care Help Channel” in Non-Broadcast
● Les Beaux Films won for “Bob Dylan Retrospectrum – On The Road” in Non-Broadcast
● Viewstream won for “Meet Zazu” in Online Commercials

Virtual Events & Experiences
● PBS NewsHour Student Reporting Labs won for “Face the Facts: Election 2020 Youth Town Hall” in Online
● Christie’s won for “ONE: A Global Sale of the 20th Century | Livestream” in Online
● CK Productions won for “Tomorrowland – Around The World – First Digital Festival” in Immersive & Mixed Reality
● Jump! Creative won for “YouTube: Dear Class of 2020” in Social Video

Influencer & Celebrity
● Viacom Velocity won for “Bad Boys For Life – Couples Therapy” in Social Video
● CBS Interactive won for “The Late Late Show: Best of Gordon Ramsay & James Corden” in Social Video
● The-Artery won for “The Small Things (ft. Snoop Dogg) | SodaStream” in Branded Content
● FORTUNE won for “Collin Morikawa – The Sky’s the Limit” in Branded Content

Remote Production
● The Walt Disney Company won for “Our Star Wars Stories” in Branded Content
● ViacomCBS won for “U.S. Cellular – Fathers On the Frontline” in Non-Broadcast
● Nickelodeon won for “Staff Meeting Quote Tape” in Non-Broadcast
● Partizan won for “Pictures” in Branded Content

Museums & Galleries
● Smithsonian National Museum of African American History and Culture won for “gOD-Talk 2.0: Digital #BlackFaith” in Social Video
● J. Paul Getty Museum won for “The Getty Villa” in Non-Broadcast
● Christie’s won for “Jonathan Yeo Studio Visit” in Branded Content
● Litton Entertainment won for “The Henry Ford’s Innovation Nation” in Television


Technology Leaders Establish the Volumetric Format Association

Los Angeles, CA, May 12, 2021 – Today seven founding member companies are launching the Volumetric Format Association (VFA), the first industry association dedicated to ensuring interoperability across the volumetric video ecosystem. These seven companies include founding charter member Verizon as well as ZEISS, RED Digital Cinema, Unity, Intel, NVIDIA, and Canon.

The VFA brings together companies from key industry verticals in the volumetric ecosystem to work together to establish a collection of specifications driving adoption of volumetric capture, processing, encoding, delivery, and playback.

VFA LogoVolumetric video is an innovative way of experiencing content in holographic 3D, allowing the viewer a more immersive and interactive experience. It is characterized by the process of simultaneously capturing content from multiple cameras which can then be viewed from any angle at any point in time. The association seeks to facilitate collaboration, innovation, and technology sharing of the new bandwidth-intensive industry format, in order to drive faster development, adoption and ecosystem growth.

“Verizon is proud to be the driving force behind creating this group which we believe will be crucial to laying the foundation for future innovation using volumetric video,” said Denny Breitenfeld, president of the VFA and director of volumetric technology at Verizon. “With 5G’s massive bandwidth, super-fast speeds and ultra-low latency, things like volumetric video capture will be taken to the next level, enabling innovators to turn real people into lifelike, moving 3D holograms in just minutes. We look forward to working with leaders in this industry to develop specifications that will propel volumetric video forward.”

VFA membership allows companies to share intellectual property within the confines of the organization while protecting the value of that IP. The VFA Technical Steering Committee has defined four initial working groups to begin the work of building end to end specifications:

Capture Acquisition
Interchange of Data
Decode & Render
Persistent Metadata

3D content experiences across sports, entertainment, productivity, enterprise services, and more are fast becoming a reality. The VFA is working to make that reality accessible and practical by developing specifications that will be a catalyst for industry growth. To that end the VFA is opening membership to innovative companies in the volumetric ecosystem. VFA welcomes input, creativity, and collaboration as together they pioneer a new medium.

“Canon is a strong believer in volumetric video technology as evidenced by the new kind of sporting experience we delivered at the 2019 Rugby World Cup in Japan. In addition, we opened a volumetric video studio in Kawasaki, Japan that is used by the most advanced creators,” said Mr. Atsushi Date, senior general manager, Canon SV Business Development Center. “Canon is confident that volumetric video technology will enable the world to enjoy sports and entertainment more in many ways that have never been experienced before, and we have high expectations for the results of VFA standardization. This is a big first step of many to come in the rollout of the Canon Volumetric Business.”

“As media content evolves from 2D to 3D, volumetric video will impact industries from entertainment to a wide range of enterprise services. In addition to the breadth of our XPU portfolio that spans network, FPGA, CPU and GPU technologies, Intel is working with the VFA and our ecosystem partners to bring advanced and cost-effective volumetric streaming to a variety of customers,” said Lynn Comp, vice president, Data Platforms Group, general manager, Visual Infrastructure Division & NPG Strategy at Intel. “The VFA is an important step in democratizing end-end volumetric video solutions, enabling global supply chains and supporting interoperable solutions and innovation.”

“Volumetric video is changing how customers experience virtual interactions by providing complete immersion with full interactivity that is powered by NVIDIA GPUs,” said Bob Pette, general manager of professional visualization at NVIDIA. “Accelerated computing technology is pushing the boundaries of virtual experiences and bringing together partners to evolve the ecosystem as a whole will be critical to achieving the next generation of AI-driven 3D content.”

“As a brand that was founded on innovation, disruption, and pushing the bleeding-edge of image capture technology, RED is proud and excited to be part of the Volumetric Format Association,” said Brian Henderson vice president, business development at RED. “We will continue to evolve alongside this emerging industry. As a member of the VFA, we will continue to re-define previously held standards of overall image quality, resolution and camera performance in order to provide the best possible images for creators and innovators to work with.”

“The Volumetric Format Association is leading the way in how content, especially in sports and M&E, is being presented, and we are seeing the biggest shift since B+W went to color” said Tian Pei, head of business affairs for sports at Unity. “Volumetric technologies encompass the process of capturing, viewing, and interacting with the real world and here at Unity we are pushing the limits of what’s possible and transforming the interactive experience forever.”

“As board members of the Volumetric Format Association, ZEISS strives to abridge the current adoption barriers within the motion picture industry and beyond”, says Snehal Patel, head of cinema sales at ZEISS. Patel continues, “with over 100 years of experience in optical design and innovation, ZEISS is primed to provide key insights into lens technology and its relation to Volumetric workflow. Furthermore, through the VFA specifications, ZEISS hopes to contribute to the accuracy of lens metadata which will play a vital role in the volumetric user experience.”

As the VFA members move rapidly towards the establishment of their specifications, companies interested in joining the organization should reach out by email to or see

Greater Creative Freedom with ZEISS Supreme Prime Radiance

Introducing Four New Focal Lengths

ZEISS has added four new lenses to the ZEISS Supreme Prime Radiance family launched in 2019. The 18mm and 135mm focal lengths add telephoto and wide-angle specialties to the seven focal lengths available to date. The new 40mm and 65mm lenses enhance the standard range, meaning that the ZEISS Supreme Prime Radiance family, as a self-contained series, now covers all possible applications for high-end film production. With a maximum aperture of T1.5, all eleven focal lengths stand out for their high speed and allow the finest nuances of light to be perceived, even in low-light conditions.

ZEISS Panel 1 500

Among the first to use ZEISS Supreme Prime Radiance lenses was Emmy® award-winning Director of Photography Dana Gonzales, ASC. For the fourth season of the iconic series Fargo, it wasn’t just the costume design, production design, and color palette that had to convey the look of the 1950s, but above all, the visual imagery. To portray this Kodachrome look, the ZEISS Radiance lenses worked perfectly for him.

Thanks to their versatile visual look, which is characterized by an extremely smooth transition between in-focus and out-of-focus areas and elegant bokeh, the lenses can be used in a flexible manner and for every artistic need. According to Gonzales, it is the pleasant softness that particularly sets ZEISS Supreme Prime Radiance lenses apart: “I use quite a bit of diffusion, but they are still very sharp with a soft fall-off, reminiscent of vintage lenses. I always embrace them and love the organic way the Radiance captures them. The flares always feel right and not forced.” Now, cinematographers can experience even greater creative freedom provided by telephoto and wide-angle focal lengths that are now part of the ZEISS Supreme Prime Radiance family.

ZEISS Supreme Prime Radiance lenses offer a distinctive look with consistent flares that can be controlled at all times and used without compromise. The ZEISS T* blue coating was developed especially for this series to allow users to create this look across all focal lengths – without having to sacrifice contrast or light transmission.

“The ZEISS Supreme Prime Radiance lenses began as a variant and complement to our existing ZEISS Supreme Prime lenses and have now evolved into a high-end cine set in their own right,” explains Christophe Casenave, responsible for the cine portfolio at ZEISS, adding, “their sophisticated, artistic design has been so well received by the cine community that we are proud to expand the line with four new lenses, offering a comprehensive set of focal lengths for all kinds of artistic demands in cine productions.” These include everything from blockbusters to auteur films to the new era of cinematic episodic television produced by streaming providers.


The new ZEISS Supreme Prime Radiance focal lengths are now available for purchase as a set of four lenses from ZEISS cine lens dealers. On the occasion of the presentation of the new focal lengths, it is once again possible to order the previous set of seven lenses or to exclusively purchase a complete set consisting of all eleven lenses.

Deliveries will start in Q3, 2021.

Sustainability Matters: An Earth Day Message From OWC

At its core, OWC was founded on sustainability – extending the life of technology and expanding its usefulness. OWC empowers users to repair and upgrade their machines to get the most life out of their devices. That means fewer devices in landfills. OWC’s efforts extend well beyond the products they sell. They’re casting a vision for sustainability for companies that is implementable today. Earth Day was founded to bring people together from all corners of society to care for our shared planet. OWC believes that if we can invest in our shared future, our children will be able to enjoy the dividends.

Larry O’Connor, founder/CEO of OWC, recounts that he “grew up in the country, where there’s nature everywhere. My dad was in the paper business, he dealt in recycled paper.” That upbringing instilled in O’Connor a set of values for respecting nature. “It’s just common sense to minimize impact,” O’Connor notes, when talking about OWC’s method of doing business. Larry says, “growing up in rural Illinois, amidst trees and farmlands, gave me a natural affinity for land and preservation.”

With thirty years in the business, OWC is a mature tech company. But Larry is determined to keep going for the next thirty years. In order to do that, he says, “we can’t use things up; we got to make sure things last.” Quite an appropriate remark for a company that specializes in breathing new life into existing machines. 

In 2010 the U.S. Green Building Council awarded OWC with LEED Platinum certification. In fact, “out of more than 14,000 LEED projects engaged worldwide since the program’s 1998 inception, OWC is one of less than three hundred to achieve the Platinum standard. With this recognition, OWC also became the first privately owned light manufacturing/assembly firm in Illinois to obtain LEED Platinum status.”

OWC’s efforts at sustainability in their headquarters are extensive. Geothermal, wind turbine, a bio aquifer storm system, Solar panels, and 94% solid waste recycling combine together to create an amazing facility. Rick Fedrizzi, President, CEO & Founding Chair, U.S. Green Building Council noted “The Other World Computing project efficiently uses our natural resources and makes an immediate, positive impact on our planet, which will tremendously benefit future generations to come.” OWC believes that “environmental stewardship is not only the right thing to do for future generations, it also makes good economic sense”

Larry O’Connor desires the company he founded to make a long-term positive impact. It’s from that heart that OWC seeks out positive, creative initiatives to get involved with. “Kiss the Ground” is a hope-filled documentary film highlighting a path toward renewing our natural resources. OWC stepped in and provided cutting-edge storage and networking tools to the post-production workflow. Director, Josh Tickell, declared, “without OWC, I have no idea how we would have delivered this film to Netflix with the budget we had.” The Kiss the Ground crew succeeded and shipped their beautiful film to Netflix in pristine 4K resolution.

The Last Place on Earth is a great project devoted to highlighting those few remaining untouched landscapes—that are being touched. O’Connor makes the point that “these are places that once they are gone…they are gone.” 

African Waters and European Waters delve into the subject of the importance of water, and the impact of not having this precious natural resource. Larry mentions “all these different projects can have a huge impact.” But OWC’s commitment goes even beyond technological solutions. Larry himself, also been a contributor to Charity Water, and as the father of four, he’s very much concerned with how the state of this planet will be left for his kids. 

“There’s a constant drive in the company all the time” mentions Jen Soulé, President of OWC,  “what are even small changes we can make that on the sustainability side that will have a big impact?” Soulé gives the simple example of asking, “do we need to have this cable in a bag? There’s always the question, ‘do we have to continue to do things the way we’ve done, or can we do them better?’”

Questions like these go into the design, manufacture, and distribution of the plethora of products that OWC produces. OWC gained a reputation for producing RAM and storage products to upgrade Apple computers. Those upgrades came with renowned quality and affordable prices. The real-world result is that many computers continued to be used long after their counterparts who didn’t receive those upgrades.

Any time that you can extend the life of a computer, repair a gadget, or fix a phone – instead of throwing it away – you really are making a difference. OWC’s products have grown far beyond those upgrades that made them into Mac fan favorites, but the heart behind their products hasn’t changed. 

Larry O’Connor, CEO, proclaims, “we’ve all got this beautiful planet, we’ve all got this great abundance, but you’ve got to take care of it.” But OWC’s thinking goes well beyond platitudes. O’Connor notes, “there’s got to be some management, some responsibility taken to make sure this land is here for our kids.” It’s within this cross-section of action and vision that OWC’s efforts lie. By believing that businesses can be responsible to today’s customers and tomorrow’s kids, they’ve set an example for genuine success.

This Earth Day we can all come together and see what we can do. OWC’s efforts dispel the myths that environmental and fiscal responsibility can’t co-exist. Whether its buildings, products or creative initiatives OWC has set the example for other tech companies to follow., Their efforts show that technology and creativity can be employed in making products for today, so that we can all say with Larry O’Connor, “let’s have a better tomorrow”.

Motion Picture & Television Fund combats isolation among seniors with a lineup of live broadcasts

Excerpted from the Adobe Blog by Jeff Pedersen

Image Source: MPTF

How many times have you heard the expression, “Age is just a number?” As a society, we often affirm that an arbitrary number shouldn’t control our lives. Age shouldn’t define a person or their destiny — what really counts is their attitude.

Members of the Motion Picture & Television Fund put this mantra into practice every day. Founded back in 1921 as the Motion Picture Relief Fund by the pioneers of early cinema, like Mary Pickford and Charlie Chaplin, MPTF has provided a critical safety net to the Southern California entertainment community for 100 years. The fund, established years ago, still holds true today. MPTF continues to provide comprehensive services for those that have worked in entertainment.

Thanks to the volunteerism and philanthropy of fellow entertainment industry members (along with kind donations from their supporters), MPTF helps more than 150,000 entertainment industry members with healthcare as well as retirement living at its elder care facility in Los Angeles. A huge part of successful eldercare is keeping seniors active and having them learn new skills as they age. This has been highly challenging, amid the global pandemic, but thanks to a big dose of creativity and the help of Adobe Creative Cloud tools, MPTF has managed to keep residents learning and keep them connected in the face of a virus that is particularly dangerous to older people.

MPTF’s internal TV station gets interactive with its show, Organized Chaos. At 12:30 on a Friday, members can call in or use Zoom to ask questions of industry influencers. This episode features Academy Award® winner Spike Lee & Best Actor nominee Delroy Lindo talking about the movie DA 5 Bloods.


The TV station’s programming is created entirely by the facility’s residents. It’s also partially managed by them (the scheduling director is in her 90s). When COVID-19 struck, MPTF’s station staff had to quickly make adjustments to how they ran their operations to put safety first.

“When the pandemic hit, we realized all of the residents who normally would blow through the post-production suites, the studio, the makeup room, and the scheduling could not come to the station anymore,” said Jennifer Clymer, MPTF Studios director and executive producer. “We had to figure out, rapidly, how do we shift to still use the platform and give people a chance to produce, perform, and edit, without having them literally physically interact?”

An even greater need, and challenge, was in using the station’s efforts to combat loneliness and isolation. Because of the ensuing lockdowns, many of the activities at the facility enjoyed by the residents stopped. “When the campus shut down, no family visitation was allowed, communal dining stopped, and there were no recreational activities. People were feeling like they were in the worst kind of isolation, where they were afraid to go outside and walk around,” Jennifer continued.

Although social distancing was recommended almost immediately from the start of the pandemic, it tends to have a particularly negative effect on the elderly, something that MPTF realized early on. “My own little pet peeve is calling it ‘social distancing’ — it’s terrible for society overall, but absolutely for a senior population. It’s physical distancing, and we need to figure out how to keep people socially connected.”


According to Kerstin Emerson, a gerontologist at the University of Georgia, social distancing exacerbates social isolation, which, for seniors, can lead to depression, additional health problems, disability, and, in the worst cases, even death. Because of these severe implications of social distancing, the team at MPTF knew they had to take drastic action to not only continue its TV station, but to double down on programming in an interactive way.

“We took over the movie theater that exists on the campus and made it into a sound stage. We are using a live switcher, and we’re broadcasting seven hours a day, three days a week, using Zoom right now so people watching from their rooms can participate with the live content they’re watching. We have interview shows and game shows. We do a 10 o’clock workout class. There’s a happy hour at the end of the day with a live musician taking people’s requests,” Jennifer said. “We also feature an interactive update and Q&A session with our CEO and President, Bob Beitcher, without whose leadership none of this could be possible.”

“We shifted hard. Before, we were working more like a film studio where people would come in with ideas and we could develop it and bring in a number of different people to see production through. Here, we needed to make a lot of content fast and make it interactive, all while dealing with distancing measures, to keep everyone engaged and connected.”

To accommodate this major shift in how they produced shows, MPTF relied on the right tools to make it all come together.


The facility’s station — and now repurposed movie theater — is run by staff, volunteers, and outside freelancers. These folks don’t get any creative say in the productions put on (that’s for the residents) — however, they are vital to making the creative visions of the facility’s residents come alive, whether a TV show or an interview or game show.

Many of these volunteers who don’t live at the facility have had to learn new skills, such as video editing, to serve the residents’ creative needs. Tools like Adobe Premiere Pro — the industry-leading video-editing app — and EditShare— server management for video — have made it possible for them to easily learn the new skills. In the wake of the pandemic, volunteers often had to learn tools on the fly.

Examples abound of people working at the facility, who rose to the occasion and challenged themselves to learn and use Premiere Pro to fill the urgent need for programming. “I had to turn to this external freelancer. She’s a really good producer-writer with paper edits, but she also started to love Photoshop, Jennifer stated. “I was watching some of the things that she was playing around with and tinkering with using still photography.

“And I said to her, ‘Jump into Premiere — you are going to love it. You know Adobe tools already. Just accept the challenge and do it.’ And it has transformed her storytelling and has made her emboldened and empowered. And she’s like, ‘give me more, give me more content to create — I can do it.’”

In other situations, retired industry members wanted a new challenge and specifically approached MPTF to learn how to edit.

“There was this woman who was in the art department on Criminal Minds for a very long time. She retired last year, and she came to me and said, ‘I want to learn how to edit.’ That was last summer. So we slowly got into Premiere and she’s like, ‘Oh yeah, I’ve done some stuff in After Effects.’ She got more and more comfortable,” said Jennifer.

“And, when quarantine hit, she was editing shows in Premiere and After Effects on EditShare. For someone just getting started from a different part of that, it was really inspiring to see her just get a book and get tutorial videos,” Jennifer said.

According to Paige Thompson, MPTF post-production Manager, this happens quite a bit.

“We have residents like that, too, who would move on to the campus and come in and they’d say, ‘I worked with CBS’ or ‘I want to learn how to edit on a PC.’ It’s just super exciting to get them inspired to participate in a different world of post-production,” she said.

HPA’s The Found Lederhosen Uses Blackmagic Design DaVinci Resolve Studio and URSA Mini Pro 12K

Blackmagic Design announced that the multi-film project, “The Found Lederhosen,” created for the 2021 HPA Tech Retreat Supersession, used DaVinci Resolve Studio and URSA Mini Pro 12K for several of its five segments. This included the use of DaVinci Resolve Studio running on Amazon Elastic Compute Cloud (Amazon EC2) and Amazon Simple Storage Service (Amazon S3) for editing of the short film “La Inquilina.”

“The Found Lederhosen” plays a key role on day one of the Supersession, a two-day interactive exploration of the workflows and technology of multiple productions taking place around the globe. The “Found Lederhosen” filmmakers, led by Joachim “JZ” Zell, will highlight real world examples of the tools, tech, workflows and more than 200 artists who worked remotely to complete the short films during the worldwide COVID 19 quarantines.

Filmmakers from London, Dubai, Mongolia, Mexico City, Brisbane and Hollywood all volunteered to create the films specifically for the event and in illustration of remote collaboration and the rapid forward movement of technology. During the Supersession, JZ will highlight how these filmmakers worked to keep themselves safe while redefining creative, connected, remote, collaborative and cloud-based workflows.

“’The Found Lederhosen’ brought together seven movies, six cities, five audio mixes, four color spaces, three uses of cloud storage services and two transmitters. It was a huge effort, and it shows exactly what can be accomplished in new remote workflows,” JZ said. “The virtual post workflows of these films were even more global in scope than the productions, bringing together post artists from all over the globe who collaborated like they were in the room next door. A huge part of what made this possible was DaVinci Resolve.”

“La Inquilina” DP and Producer Sandra De Silva De La Torre and her team used DaVinci Resolve Studio for numerous parts of the post production workflow, including dailies, editing, audio editing, color correction and delivery. They used DaVinci Resolve Studio, running on Amazon’s EC2 G4 instances in conjunction with Amazon FSx for shared file storage, to edit the film, allowing for seamless collaboration between Editor and Colorist Diego Yhamá, who was based in Colombia, and Sandra, who was based in Mexico City.

“Connecting virtually using DaVinci Resolve Studio’s collaboration tools running on AWS was an extremely powerful workflow for post production on ‘La Inquilina,’” said De Silva De La Torre. “Due to the current circumstances with the pandemic, the opportunity to be part of the HPA’s project and collaborate remotely with filmmakers around the globe was very appealing to me. It is amazing to know that there were many crews in different parts of the world creating a story for the same purpose: to test and understand new workflows that not only further support our actual situation, but that also provide access to a new level of connectivity for filmmakers around the world.”

DaVinci Resolve Studio was also used on “KINTSUGI,” the London and Mongolian based film done for “The Found Lederhosen.” Produced by award winning filmmaker and actress Bayartsetseg Altangerel (Bayra Bela) and edited by Lithuanian based Aleksandras Brokas, the film follows three foreign art students during level 4 lock down in London. DaVinci Resolve Studio was used for editing, color correction and audio mixing by using DaVinci Resolve’s collaboration features to connect the director and producer in London with Brokas in Lithuania.

“Resolve’s collaboration features let us easily work edits back and forth, and the headache I was expecting with this post production process never happened. We had initially started editing with another NLE, but Aleks convinced us to do everything in Resolve, which made getting the film done efficiently and meeting our creative visions,” said Bayartsetseg. “We used Resolve in London to edit dailies and sent the files directly to Aleks, and were able to skip conforming. Grading and prep for Dolby Vision was done in London and sound mixing was done in Taiwan using Resolve. A true global team.”

For the Dubai film “Neo-Bedouin,” cinematographer Marc Paskui and Director Abeer Abdullah shot the pandemic inspired Sci Fi/Fantasy thriller using the URSA Mini Pro 12K. “The camera resolution gave us much needed confidence on set in making creative choices, especially when the shot would involve visual effects,” said Abdullah. “I also knew with Blackmagic’s color science I could achieve the look I wanted, even when forced to shoot in low light or difficult conditions, as we faced shooting in the Dubai desert.”

“The mission of The Found Lederhosen is to show that any project can be done anywhere and to show the leading-edge workflows that make this possible,” JZ said. “With the global need, it was natural that so many of the filmmakers used Resolve because it is the most widely used post tool out there.”
The ability to use DaVinci Resolve Studio as a common platform to create and use the best people anywhere was a key part of making “The Found Lederhosen.” DaVinci Resolve Studio’s ability to work in a wide array of formats and specs was also important, since the filmmakers were shooting with different camera systems but all had to finish in ACES and Dolby Vision.

“With the films, we had to have the ability for the filmmakers and post artists to exchange information and create together anywhere at any time. Resolve is everywhere, used by the biggest group of artists,” JZ continued. “So it was a great platform for us to rely on.”

“The workflow used by ‘La Inquilina’ using Resolve running on AWS in particular was a great example of what a powerful new remote workflow could do. The filmmakers and post artists, which were spread between LA, Mexico and Colombia, had the flexibility, adaptability and scalability to create in high quality. The freedom of interaction that combining AWS and Resolve brought was amazing,” JZ said.

Adobe Video Community | March 2021 Meet-up

Everything’s coming up mogrts!

For their March meet-up, Adobe Video Community is all about Motion Graphics templates which enable creators to step-up and stand-out with dynamic visual treatments. Learn about the latest enhancements with a product demo on Media Replacement in Motion Graphics templates. Then meet the team as Jason Levine is joined by Senior After Effects Product Manager, Victoria Nece and Motion Graphics Quality Engineer, Dacia Saenz for a discussion on the development of this unique feature set. Catch a customer spotlight from Motion Designer, Jake Bartlett sharing his creative workflow for making mogrts.. And stick around for Q&A with everyone.

Date and Time: March 31st at 12pmPT (UTC -8)

Links to join: (YouTube event), (Facebook page)

This virtual event is part of a monthly series — Adobe Video Community Meet-ups — and will go live on Wednesday, March 31st at 12pm PT (UTC-8). AVC Meet-ups feature product demos, conversations and Q&A with Adobe product teams, and spotlights on exciting customer projects and creative workflows. Each event is streamed to Adobe Video YouTube and Facebook channels on the last Wednesday of each month.•

The Telly Awards’ New Reel Available and Deadline extended

Next Thursday, March 18th, The Telly Awards‘ new reel will be available, which features a curation of work by Telly winners, judges and partners including Square, PBS Digital Studios, and more.

Please RSVP to receive access to the password-protected reel to view at your own leisure. Plus, mark your calendars to join them on Wednesday, March 24th at 1pm ET for a virtual conversation with selected producers behind the work.

Panelists include:
• Dushane Ramsay, Sr. Brand Strategist, Square
• Shruti Rya Ganguly, Founder, Honto 88
• Daphna Awadish, Animation Director & Illustrator

Many of the projects featured in this reel have been honored at The Telly Awards, as one benefit of entering the competition is the chance to have your work curated in their annual screening program.

Also, they have extended the entry deadline to enter The Telly Awards. The new deadline, and last chance to participate in this year’s competition, is on Friday, April 2nd at


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