DOCSLIB.ORG

Prime Focus World and Double Negative with a Strong Pipeline – Delivering Creative Services for Some of of Upcoming Work Hollywood’S Highest Grossing films

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Ever since our inception years ago, Prime Focus has been an innovator. Never willing to accept the status quo; never content to stand still; never willing to rest on its laurels. In our early years we offered India’s first high-end post production finishing system; India’s first film scanning and recording system; India’s first Digital Intermediate service. We were the first visual effects company in India to operate a motion control rig. We brought new technologies and processes to the Indian film, advertising and broadcast industries. Then we expanded internationally. Our technology division deployed the World’s first Hybrid Cloud 'leading from the front' platform in , and we became the first company in the world to convert an entire Hollywood film from D to D. phrase In we launched the World’s largest digital media services cloud, ‘True North’, and became the . To show the way by going in advance first company to deliver a full package of visual effects and D conversion services as the exclusive partner on a major Hollywood release… from India. To play a principal or guiding role in A year later, we put together a series of ground-breaking mergers and acquisitions, aligning with . To be the first Academy Award® winning, world-renowned VFX company Double Negative; media services heavyweight Reliance MediaWorks; stereo conversion leader Gener; DAX ®, the creators of the Primetime Emmy® Award winning Digital Dailies ®; and Academy Award® winning Lowry Digital. We continue to prove our creative and technical leadership position in the global M&E industry with award wins in all areas of our business, including two consecutive Academy Awards for Double Negative. And nineteen years on from our humble beginnings we continue to break new ground, announcing a new joint venture to bring Virtual Reality to India in conjunction with VR industry leaders Digital Domain Holdings Limited. We don’t follow; we lead by example. LEADING FROM THE FRONT Ever since our inception years ago, Prime Focus has been an innovator. Never willing to accept the status quo; never content to stand still; never willing to rest on its laurels. In our early years we offered India’s first high-end post production finishing system; India’s first film scanning and recording system; India’s first Digital Intermediate service. We were the first visual effects company in India to operate a motion control rig. We brought new technologies and processes to the Indian film, advertising and broadcast industries. Then we expanded internationally. Our technology division deployed the World’s first Hybrid Cloud 'leading from the front' platform in , and we became the first company in the world to convert an entire Hollywood film from D to D. phrase In we launched the World’s largest digital media services cloud, ‘True North’, and became the . To show the way by going in advance first company to deliver a full package of visual effects and D conversion services as the exclusive partner on a major Hollywood release… from India. To play a principal or guiding role in A year later, we put together a series of ground-breaking mergers and acquisitions, aligning with . To be the first Academy Award® winning, world-renowned VFX company Double Negative; media services heavyweight Reliance MediaWorks; stereo conversion leader Gener; DAX ®, the creators of the Primetime Emmy® Award winning Digital Dailies ®; and Academy Award® winning Lowry Digital. We continue to prove our creative and technical leadership position in the global M&E industry with award wins in all areas of our business, including two consecutive Academy Awards for Double Negative. And nineteen years on from our humble beginnings we continue to break new ground, announcing a new joint venture to bring Virtual Reality to India in conjunction with VR industry leaders Digital Domain Holdings Limited. We don’t follow; we lead by example. LEADING FROM THE FRONT CONTENTS The Year At A Glance 05 Executive Chairman’s Message 07 Highlights Of The Year 09 Financial Highlights 13 Group Structure 17 Global Presence 19 Business Overview 21 International Creative Services 23 International Technology Services 31 India Film & Media Services 35 Evolving Technologies 39 Major Milestones 41 The Board 43 Managing Director’s Message 45 Corporate Information 47 Director’s Report 49 Management Discussion & Analysis 76 Report on Corporate Governance 88 Auditors’ Report on Standalone Financial Statement 100 Standalone Financial Statement 104 Auditors’ Report on Consolidated Financial Statement 138 Consolidated Financial Statement 142 Subsidiary Companies: Financial Highlights 2015-16 176 THE YEAR AT A GLANCE This year Prime Focus has delivered more films, more animation, more ads, more TV programmes and more technology services to more clients than ever before. Here’s our year in numbers. is the number of is the number of is the number of Facilities we operate Hollywood feature Bollywood feature films around the World, in films that we have that we currently have in cities delivered production is the number of . mn is the number of CG Hollywood films for is the number of hours Animated movies which we’ve delivered of content managed by that we currently bundled services (VFX & CLEARTM Stereo Conversion) have in production mn is the number of is the number of is the number of is the number of files Bollywood feature films minutes of Animated delivered this year for Hollywood feature films that we have delivered that we currently have in Content we’ve Syndication and VoD (across our VFX, DI and created this year fulfillment production EQR divisions) , is the number of Staff we is the number of have working for Prime Awards we’ve won Focus around the World 05 This year Prime Focus has delivered more films, more animation, more ads, more TV programmes and more technology services to more clients than ever before. Here’s our year in numbers. is the number of is the number of is the number of Facilities we operate Hollywood feature Bollywood feature films around the World, in films that we have that we currently have in cities delivered production is the number of . mn is the number of CG Hollywood films for is the number of hours Animated movies which we’ve delivered of content managed by that we currently bundled services (VFX & CLEARTM Stereo Conversion) have in production mn is the number of is the number of is the number of is the number of files Bollywood feature films minutes of Animated delivered this year for Hollywood feature films that we have delivered that we currently have in Content we’ve Syndication and VoD (across our VFX, DI and created this year fulfillment production EQR divisions) , is the number of Staff we is the number of have working for Prime Awards we’ve won Focus around the World EXECUTIVE CHAIRMAN’S MESSAGE From the very earliest days of Prime Focus, our mission has been clear: • to build a globally competitive business • to provide a growth platform for our people • to deliver to our customers the highest levels of service • to earn profit respectably • to be leaders in our business by harnessing creativity and challenging convention • to deliver to our shareholders a commitment to work with integrity and intelligence at all times The company has evolved beyond all recognition since those early days - from humble garage start-up in Mumbai to an international powerhouse working with the world’s leading content creators and technology companies - but our mission remains the same. And we remain determined to deliver on what we set out to do all those years ago. Every day, across our organisation, we strive to deliver work that is better than the work we delivered the day before. Every day we re-invent ourselves to better respond to the needs of our clients and the challenges of our industry. Every day we come to work re-invigorated, ready to innovate and push the boundaries of what is possible. We have established our leadership position in the media and entertainment services industry through relentless hard work and focused determination, and cemented it by winning its top awards, by working with its most esteemed and successful players, and by bringing aboard some of its most creative and sought-after talent. We have created new opportunities, opened new markets and rationalised our business, and we are beginning to capitalize on the financial advantages that we have created. Every year we see progress. Every year we become more successful. Every year we grow stronger. And as we look to the future we are confident that we have best positioned ourselves for the challenges to come. From the beginning we have never followed others – we have always forged our own path. And we continue to lead from the front. It’s in our DNA. Namit Malhotra Founder, Executive Chairman and Global CEO 07 From the very earliest days of Prime Focus, our mission has been clear: • to build a globally competitive business • to provide a growth platform for our people • to deliver to our customers the highest levels of service • to earn profit respectably • to be leaders in our business by harnessing creativity and challenging convention • to deliver to our shareholders a commitment to work with integrity and intelligence at all times The company has evolved beyond all recognition since those early days - from humble garage start-up in Mumbai to an international powerhouse working with the world’s leading content creators and technology companies - but our mission remains the same. And we remain determined to deliver on what we set out to do all those years ago. Every day, across our organisation, we strive to deliver work that is better than the work we delivered the day before.
Recommended publications
  • Indian Entertainment and Media Outlook 2010 2 Indian Entertainment and Media Outlook 2010 Message

    Indian Entertainment and Media Outlook 2010 2 Indian Entertainment and Media Outlook 2010 Message

    Indian entertainment and media outlook 2010 2 Indian entertainment and media outlook 2010 Message To our clients and friends both in and beyond the entertainment and media industry : Welcome to the 2010 edition of PricewaterhouseCoopers’ Indian Entertainment and Media (E&M) Outlook, covering the forecast period of 2010–2014. Our forecasts and analysis for this edition focus on eight major E&M industry segments and one emerging segment. Each segment details out the key trends observed and challenges faced apart from providing the prospects for the segment. In the industry overview section, we have highlighted the key theme observed during 2009 and what we perceive as future trends in the coming years. We have a chapter on the tax and regulatory impact on the various E&M segments and for the very first time we have included a chapter on how technology can be leveraged in the E&M industry. In 2009, the economy severely impacted the world, translating into steep declines in advertisement as well as consumer spending. India though impacted, did manage to show growth with increased consumer spending as well as innovative action on the part of the industry. Against this backdrop, across the world, except certain markets, speed of digital spending increased due to changing consumer behavior as well as technology available to deliver the same. In India, while the spend on digital media is likely to grow, it is unlikely that it will dominate in the forecast period. This is largely due to the relative unavailability as well as unaffordability of the broadband and mobile infrastructure.
  • ENTERTAINMENT November 2010 ENTERTAINMENT November 2010

    ENTERTAINMENT November 2010 ENTERTAINMENT November 2010

    ENTERTAINMENT November 2010 ENTERTAINMENT November 2010 Contents Advantage India Market overview Industry Infrastructure Investments Policy and regulatory framework Opportunities Industry associations 2 ADVANTAGE INDIA Entertainment November 2010 Advantage India - capital Increasing investments by the private sector and foreign media and entertainment (M&E) majors have enhanced India‘s entertainment infrastructure such as new multiplexes and digitization of TV distribution and theatre infrastructure. • Digitisation and technological advancements Improving across the value chain are improving the quality • Producing more than 1,000 films entertainment of content and reach, and also leading to new annually, India is the largest infrastructure business models. For example rural DTH producer of films in the world. penetration is three times higher than in urban Digital High • There are more than 500 TV areas, with digital TV penetration rate of 34% in revolution production channels in the country, requiring rural areas as compared to 12% in urban areas volumes 30 hours of fresh programming per week. • A liberalised foreign investment regime Advantage and other regulatory initiatives are resulting in a conducive business India environment for Indian M&E. Large and under • FDI upto 100 per cent is allowed in film Liberal penetrated • In 2008, there were as many as 3.3 billion and advertising, TV broadcasting (except government consumer theatre admissions in India. news) and 26 per cent in newspaper policies base • With the TV segment reaching as many as publishing. Favourable 134 million households in the country, • Migration from fixed to revenue sharing demographics India is one of the largest TV markets in license fee regime in radio segment and the world.
  • Great Expectations on Screen

    Great Expectations on Screen

    UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE HISTORIA Y TEORÍA DEL ARTE TESIS DOCTORAL GREAT EXPECTATIONS ON SCREEN A Critical Study of Film Adaptation Violeta Martínez-Alcañiz Directoras de la Tesis Doctoral: Prof. Dra. Valeria Camporesi y Prof. Dra. Julia Salmerón Madrid, 2018 UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE HISTORIA Y TEORÍA DEL ARTE TESIS DOCTORAL GREAT EXPECTATIONS ON SCREEN A Critical Study of Film Adaptation Tesis presentada por Violeta Martínez-Alcañiz Licenciada en Periodismo y en Comunicación Audiovisual para la obtención del grado de Doctor Directoras de la Tesis Doctoral: Prof. Dra. Valeria Camporesi y Prof. Dra. Julia Salmerón Madrid, 2018 “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of darkness, it was the spring of hope, it was the winter of despair” (Charles Dickens, A Tale of Two Cities) “Now why should the cinema follow the forms of theater and painting rather than the methodology of language, which allows wholly new concepts of ideas to arise from the combination of two concrete denotations of two concrete objects?” (Sergei Eisenstein, “A dialectic approach to film form”) “An honest adaptation is a betrayal” (Carlo Rim) Table of contents ACKNOWLEDGMENTS 13 CHAPTER 1. INTRODUCTION 15 CHAPTER 2. LITERATURE REVIEW 21 Early expressions: between hostility and passion 22 Towards a theory on film adaptation 24 Story and discourse: semiotics and structuralism 25 New perspectives 30 CHAPTER 3.
  • Top Questions About Character Animation

    Top Questions About Character Animation

    Top Questions About Character Animation What are some of the exciting aspects of character animation, and how is it different than other computer animation forms? The phrase computer animation is often used as a catch-all for many computer generated effects including spinning logos, Flash programming on the Web or special effects in movies. These are not character animation. Character animation is the process of giving life to a character, whether it is a dog that can talk, a drawn person or an animated object. Character animation creates personality. How long does it take one person to create one minute of animation? This is difficult to pinpoint, but it can take one animator about 16 – 20 weeks of full-time work to produce 60 seconds of animation.1 At Pixar Animation Studios, due to their high level of quality control, animators have been known to work on two minutes of film for a year or more. How many animators typically work on an animated feature film? It depends on the studio and its needs, so anywhere from 20 – 80 animators could be working on an animated feature film. What is the biggest myth about character animation? A lot of people believe that the computer does all of the work for the animator, but the reality is that the animator is only using the computer as a tool to create detailed animation frame by frame. What are some of the most challenging aspects of character animation? Character animators work in fun, collaborative, exciting and detailed environments. They need to have a high level of patience while working with the tiny movements of a character frame by frame.
  • How Pcoip® Technology Can Save Broadcasters Time & Money While

    How Pcoip® Technology Can Save Broadcasters Time & Money While

    TVTechnology How PCoIP® Technology Can Save Broadcasters Time & Money While Boosting Cybersecurity COVID-19 and the need to work from home is transforming the way broadcasters produce, play- out, and distribute content. This post-KVM model prevents hostile players from hacking into broadcasters via home/remote user computers. Meanwhile, the reduced bandwidth allows many more home/remote users to connect to a broadcaster’s office or studio without overloading the corporate IT system, because so much less data is going back and forth. Industrial Light & THE SOLUTION: TERADICI’s PCoIP Magic Overcomes TECHNOLOGY ‘Dailies’ Issues with All of the post-KVM features outlined above are provided by Teradici’s PC-over-IP PCoIP Technology nfortunately, the current KVM (Keyboard- (PCoIP) communications protocol. PCoIP Video-Mouse) model of remote access is not uses advanced display compression to n the motion picture industry, adequate for this task. The reason: home- provide end users with on-premises or ‘dailies’ are raw, unedited sets of based/remote users lack secure connectivity cloud-based ‘virtual machines’. Teradici’s Ifootage shot during the production to their corporate workstations and servers. virtual workspace architecture compresses, day that are shared for review U This is because their KVM infrastructure is encrypts and transmits only pixels to a among key players. For a company designed to support local connections to broad range of software clients, mobile like Industrial Light & Magic (ILM) – nearby LAN resources, rather than delivering clients, thin clients and stateless PCoIP renowned for its visual effects in the high-performance user experiences over Zero Clients1, resulting in a highly secure, Star Wars films and other blockbusters long distance WANs.
  • Chellomedia Overviewvf.Pdf

    Chellomedia Overviewvf.Pdf

    Chellomedia Overview June 2013 Company Overview • Chellomedia produces and distributes channels in over 125 countries and 27 languages – Reaches over 375M TV households in EMEA and Latin America • Owns 48 channels and has 20 channel JVs with third parties including CBS, Pulsat and Zon Multimedia1 – Includes brands across lifestyle, entertainment, movies, sports and dramas • Serves as the international content division of Liberty Global (“Liberty”), an approximately $45BN in enterprise value, public company – Considers Chellomedia non-core and is starting an auction sales process CY 2013E TV Revenue by Geography CY 2013E TV Revenue by Genre Other Lifestyle 13% 12% Sports Netherlands Czech 23% 21% 3% Entertainment 8% Poland 7% Portugal Hungary 8% 13% Childrens 15% LatAm Movies 12% Spain 32% Factual UK 13% 9% 10% Source: Preliminary financials based on estimated or proprietary information provided by investment banks 1 Channel count and data as of 31-Dec-2012 2 Business Units 3 Operator of global Largest Leading Pay-TV Provider of Provider of play- Provider of Pay- thematic channels independent channels provider premium channels out services, TV TV channels in channel operator across the CEE in the Netherlands distribution and Latin America in Spain & region content delivery Channels Portugal and JVs1 17 Channels 22 Channels 13 Channels 4 Channels 12 Channels (of which 8 (of which 7 (of which 1 (of which 4 through JVs) through JVs) through JV) through JVs) JV Partners Miami/Buenos Headquarters London Madrid Budapest Amsterdam Amsterdam Aires
  • Free-Digital-Preview.Pdf

    Free-Digital-Preview.Pdf

    THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop.
  • 2016 FEATURE FILM STUDY Photo: Diego Grandi / Shutterstock.Com TABLE of CONTENTS

    2016 FEATURE FILM STUDY Photo: Diego Grandi / Shutterstock.Com TABLE of CONTENTS

    2016 FEATURE FILM STUDY Photo: Diego Grandi / Shutterstock.com TABLE OF CONTENTS ABOUT THIS REPORT 2 FILMING LOCATIONS 3 GEORGIA IN FOCUS 5 CALIFORNIA IN FOCUS 5 FILM PRODUCTION: ECONOMIC IMPACTS 8 6255 W. Sunset Blvd. FILM PRODUCTION: BUDGETS AND SPENDING 10 12th Floor FILM PRODUCTION: JOBS 12 Hollywood, CA 90028 FILM PRODUCTION: VISUAL EFFECTS 14 FILM PRODUCTION: MUSIC SCORING 15 filmla.com FILM INCENTIVE PROGRAMS 16 CONCLUSION 18 @FilmLA STUDY METHODOLOGY 19 FilmLA SOURCES 20 FilmLAinc MOVIES OF 2016: APPENDIX A (TABLE) 21 MOVIES OF 2016: APPENDIX B (MAP) 24 CREDITS: QUESTIONS? CONTACT US! Research Analyst: Adrian McDonald Adrian McDonald Research Analyst (213) 977-8636 Graphic Design: [email protected] Shane Hirschman Photography: Shutterstock Lionsgate© Disney / Marvel© EPK.TV Cover Photograph: Dale Robinette ABOUT THIS REPORT For the last four years, FilmL.A. Research has tracked the movies released theatrically in the U.S. to determine where they were filmed, why they filmed in the locations they did and how much was spent to produce them. We do this to help businesspeople and policymakers, particularly those with investments in California, better understand the state’s place in the competitive business environment that is feature film production. For reasons described later in this report’s methodology section, FilmL.A. adopted a different film project sampling method for 2016. This year, our sample is based on the top 100 feature films at the domestic box office released theatrically within the U.S. during the 2016 calendar
  • UPDATED LIST of PAY CHANNELS.Xlsx

    UPDATED LIST of PAY CHANNELS.Xlsx

    COMPLETE LIST OF A-La-Carte CHANNELS AS PER NTO AGREEMENTS. S.No. CHANNEL NAME AGGREGATOR NEW MRP 19X M 9X MEDIA PVT. LTD 3.00 2 ABP ANANDA ABP NEWS NETWORK PVT. LTD 5.00 3 ABP MAJHA ABP NEWS NETWORK PVT. LTD 5.00 4 BBC WORLD BBC GLOBAL NEWS INDIA PVT. LTD 1.00 5 BTVI BUSINESS BROADCAST NEWS PVT. LTD 3.00 6 TRAVEL XP TAMIL CELEBRITIES MANAGEMENT PVT. LTD. 3.75 7 TRAVEL XP CELEBRITIES MANAGEMENT PVT. LTD. 6.00 8 HD TRAVEL XP CELEBRITIES MANAGEMENT PVT. LTD. 18.00 9 DISCOVERY JEET DISCOVERY COMM INDIA PVT. LTD 1.00 10 DISCOVERY SCIENCE DISCOVERY COMM INDIA PVT. LTD 1.00 11 DISCOVERY TURBO DISCOVERY COMM INDIA PVT. LTD 1.00 12 ANIMAL PLANET DISCOVERY COMM INDIA PVT. LTD 2.00 13 HD DISCOVERY JEET DISCOVERY COMM INDIA PVT. LTD 2.00 14 TLC DISCOVERY COMM INDIA PVT. LTD 2.00 15 HD ANIMAL PLANET WORLD DISCOVERY COMM INDIA PVT. LTD 3.00 16 HD TLC WORLD DISCOVERY COMM INDIA PVT. LTD 3.00 17 DISCOVERY KIDS DISCOVERY COMM INDIA PVT. LTD 3.00 18 D SPORT DISCOVERY COMM INDIA PVT. LTD 4.00 19 DISCOVERY CHANNEL DISCOVERY COMM INDIA PVT. LTD 4.00 20 DISCOVERY CHANNEL TAMIL DISCOVERY COMM INDIA PVT. LTD 4.00 21 HD DISCOVERY WORLD DISCOVERY COMM INDIA PVT. LTD 6.00 22 BINDASS DISNEY BROADCASTING INDIA LTD. 1.00 23 UTV ACTION DISNEY BROADCASTING INDIA LTD. 2.00 24 UTV MOVIES DISNEY BROADCASTING INDIA LTD. 2.00 25 DISNEY JUNIOR DISNEY BROADCASTING INDIA LTD.
  • Film Tourism in India – a Beginning Towards Unlocking Its Potential

    Film Tourism in India – a Beginning Towards Unlocking Its Potential

    Film tourism in India – a beginning towards unlocking its potential FICCI Shoot at Site 2019 13 March 2019 Film tourism is a growing phenomenon worldwide, fueled by both the growth of the entertainment industry and the increase in international travel. Film tourism sector has seen tremendous growth in the past few years. It represents a gateway to new and more intense ways of experiencing destinations. At the same time, it creates the potential for new communities by way of an exchange of insights, knowledge and experience among the tourists themselves. Films play a significant role in the promotion of tourism in various countries and different states of India. A film tourist is attracted by the first-hand experience of the location captured on the silver screen. Not only is film tourism an excellent vehicle for destination marketing, it also presents new product development opportunities, such as location tours, film museums, exhibitions and the theme of existing tourist attractions with a film connection. This report focusses on the concept of film tourism and the various initiatives taken by both the state and central government of India for boosting film induced tourism through their respective film production policies. Dilip Chenoy Secretary General - Federation of Indian Chamber of Commerce and Industry Foreword The significance of cinema in today’s times has gone beyond its intended purpose of mass entertainment. Cinema is a portal for people to escape from reality and into their world of fantasy. Cinema is a source of inspiration for some, a source of entertainment for some and a source of education for some.
  • M Asterclass

    M Asterclass

    The Sixth Annual CG, Animation & Gaming Forum John Anthony Theatre June 9, 2007 Collin College 9:00 a.m. – 5:30 p.m. 2800 E. Spring Creek Pkwy, Plano, TX Masterclass 10 a.m. – 3:30 p.m. June 8, 2007 Room C-104, Collin College www.industrygiants.org From the drawing board to the movie theater - and all points in-between – the sixth annual Industry Giants 2007 computer graphics, animation and gaming forum investigates what it takes to cultivate and keep an animation and gaming industry in Texas. Bryan Engram – Reel FX Creative Studios 9:00 a.m. Rita Street – Radar Cartoons 1:30 p.m. Animation Supervisor Managing Director, Producer, and Author Currently, Bryan is finishing commercial spots for Rita is managing director of Radar Cartoons, Dreamworks’ Shrek the Third. His credits include coproducer of The Nicktoons Film Festival, and feature films The Wild, Everyone’s Hero, and Teenage vp of development for Mike Young Productions, Mutant Ninja Turtles; shorts such as Blue Sky’s Aunt Her current animated series, Ruby Gloom, has been Fanny’s Tour of Booty; and game cinematics for Halo 2 nominated in the Annecy (France) and Cartoons on and Transformers :The Game. the Bay (Italy) Festivals. Elizabeth Hitt – Digital Domain 10:00 a.m. Steve Gaconnier – Janimation 2:30 p.m. Visual Effects CEO and Chief Creative Director Elizabeth works for Academy Award winning visual Janimation is nationally recognized as a talented effects house Digital Domain and has credits on and industrious company through their work for Stealth, Zoom, Texas Chainsaw Massacre: The Beginning, such clients as Fox Sports, Nokia, Pennzoil, Miller The Hitcher, and the upcoming Transformers.
  • Stxsurreal Partners with Academy Award-Winning Visual Effects Company Dneg to Co-Finance Slate of Original Short Form Vr Series

    Stxsurreal Partners with Academy Award-Winning Visual Effects Company Dneg to Co-Finance Slate of Original Short Form Vr Series

    STXSURREAL PARTNERS WITH ACADEMY AWARD-WINNING VISUAL EFFECTS COMPANY DNEG TO CO-FINANCE SLATE OF ORIGINAL SHORT FORM VR SERIES First Series in the Slate, THE LIMIT, from Director Robert Rodriguez is set to premiere on STX’s Surreal VR App Launching in Summer 2018 BURBANK, CA – April 9, 2018 – STXsurreal, the VR and immersive content division of Robert Simonds’ STX Entertainment, today announced that DNEG, fresh off of its fourth Academy Award win for visual effects, will partner to co-finance STX’s upcoming slate of premium, original, short-form VR series. As part of the deal, DNEG will exclusively provide STXsurreal post-production VFX and 3D conversion services on a minimum of six projects. The slate will premiere on STX’s previously announced pay-per-experience VR channel “SURREAL,” launching as an app on VR headsets in Summer 2018. “With the SURREAL channel, STX is revolutionizing what it means to create premium, original, narrative VR content,” said Rick Rey and Andy Vick, Co- Presidents of STXsurreal. “By partnering with DNEG, and utilizing their Oscar-winning visual effects expertise, we’re doubling down on our promise to bring audiences a truly cinematic and high-quality immersive experience featuring the most sought-after writers, directors and stars in the world today.” STXsurreal’s slate of original VR programming is being produced in a completely new format that bridges the gap between traditional widescreen and 360-degree video. The channel will kick off with THE LIMIT, a live-action, short-form virtual reality series from award-winning filmmaker Robert Rodriguez and starring actress Michelle Rodriguez.