Vme Selects Denver-Based CMC’s Content Solutions Unit for VOD Distribution

Colorado Film News by Shoot Colorado.

 Vme Media Inc. announced today 
that it has selected Denver-based Comcast Media Center’s(CMC) Content Solutions unit to manage and deliver video on demand (VOD) programming for its Spanish-language television network. Vme’s on demand programming delivered via the CMC’s VOD distribution platform includes Peep, Dibo, Bruno and the Banana Bunch,Wild Animal Baby Explorers, and Rosie’s World. CMC’s VOD footprint encompasses cable systems across multiple MSOs serving more than 56 million VOD –enabled households in the U.S. and Canada.

Vme’s smart, engaging and empowering entertainment uniquely serves the Latino community with extraordinary programming that encourages learning, imagination and originality. Its 24-hour digital broadcast service is already carried on basic digital cable in major markets across the country and nationally via satellite.

“Distribution of Vme’s one-of-a-kind entertainment and educational programming through CMC’s platform will complement both carriage of our linear channel in markets serving more than 10 million U.S. Latino households and introduce us to new markets as free VOD content for digital video customers,” said Alvaro Garnica, Vme’s General Manager.

”We are very pleased to count Vme among the growing number of video service providers that rely upon us to meet their goal of reaching Spanish-language households throughout North  America,” said Richard Buchanan, Vice President and General Manager of Content Solutions at Comcast Media Center. “CMC’s VOD distribution platform is ideally suited to meet the needs of Vme and other television programming networks looking for a fast, reliable, cost effective, widely adopted and quality-driven solution for their content distribution requirements.”

CMC, which distributes more than 12,000 hours of on demand video programming per month, provides its wide range of VOD services from one central location including content acquisition, transcoding, editing and distribution. The platform operates under automated workflows and remote management capabilities to accelerate the delivery of VOD content. In addition to its role in uploading and managing television programming and related metadata, the CMC’s web-based portal lets clients track each VOD asset from CMC receipt to distribution across the VOD platform’s footprint.

About VmeVme delivers drama, music, sports, news, current affairs, food, lifestyle, nature and educational preschool content to our viewers. The 24-hour Spanish network, partnered with public television stations, is currently available in more than 10 million Hispanic homes reaching nearly 80 percent of the market. Vme is the first venture of the media production and distribution company, Vme Media, Inc.  To find out more please visit www.VmeTV.com.

About Comcast Media Center

Launched in 2003, the CMC’s national VOD platform provides a highly secure content distribution environment for films and other licensed video programming.  Denver-based Comcast Media Center (CMC), a subsidiary of Comcast Cable, provides centralized content management and distribution solutions for cable systems, video content providers and advertisers. More information about the CMC is available at www.comcastmediacenter.com.

Comcast and Comcast Media Center are trademarks or registered trademarks of Comcast. All other product or service names are the property of their respective owners. ###

Media Contacts:  Vme: Natalie Judd, njudd@dex-p.com, 203-605-9515  Comcast Media Center: Andy Holdgate, holdgatepr@comcast.net, 720.270.1325

Open Arms: Three Basic Tips to Welcome Production Crews

Breckenridge is one of Colorado’s most production friendly locations, and here’s some tips from Rachel Zerowin of GoBreck on how to welcome and work with incoming film and photo shoots. See why they’ve been so successful in bringing film to Colorado.

by Rachel Zerowin, GoBreck.

We all know that film, video and photos tell stories. When a crew wants to help tell your community’s story, it can be valuable to welcome them with open arms. Of course, permitting processes vary, but no matter the community’s structure or size, considering a few basics can help open the door to productions.

Recognize (and reward) public relations value

Some productions seek nondescript backgrounds that can’t be placed in a specific town. When productions want to identify and show off your signature shots – the locations you use to sell your community – the result is often public relations (PR) value. Say thanks by waiving permitting fees.

Travel programs can show major and obvious PR value but with the wealth of resources in the state, Colorado communities can (and should) think beyond that. A field test of cycling gear can show off mountain bike trails or a commuter cycling network; and a reality TV show on home purchasing may reveal perks of visiting the community. Whatever the focus of the program, be open to how it can share your community’s story, and be willing to give accordingly.

Be a resource

From permitting and parking to knowing the best overlook and which coffee shops open before 6:00 a.m., it’s the little details that can be difficult to wrangle. Even if you don’t have all the answers to every question – and you won’t – assign someone to wrangle. That person should work closely with those who issue permits, and have a connection with, or be willing to contact, local businesses. Additionally, this person can serve as the on-site contact for any on-the-spot questions or requests.

In Breckenridge, crews typically work through town permitting, ski area permitting and permission for private property. Many handle these steps on their own, but some seek our assistance here at the GoBreck office. Beyond sending crews to the appropriate permitting offices, we make ourselves available to be involved as much or as little as requested.

This varies from providing an on-site host, to setting up activities for cast members (often at no charge based on PR value), connecting producers with private property owners, or simply suggesting shoot/b-roll locations.

Be flexible

As crews communicate needs through the permitting process, be flexible and communicate any changes in normal procedures. For example, police/parking would probably be made aware if you issued a longer-term parking permit, but you may also want to notify impacted businesses or the public works department. Consider internal fact sheets so that crews with special permissions aren’t bothered. For those that want a crowd, use your in-town resource to inform businesses, rally crowds and contact media as appropriate.

In addition to fulfilling basic operational requests, be willing to make (or consider) changes for outdoor lighting, schedule demands, street closures, and close-in permitting requests. (Remember the first tip?) We’ve secured lifts, moved event locations/times and worked with activity outfitters to offer special trips. Yes, there will be limitations. But be flexible and be prepared with second and third choices

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Rachel Zerowin is the public relations manager for GoBreck, the destination marketing organization for the Town of Breckenridge. GoBreck works closely with the town and the ski resort to assist productions interested in shooting in Breckenridge. The community has hosted everything from movies and catalogue shoots to ski films and reality television programs. For more information on film and video permitting in Breckenridge, visit the Town of Breckenridge website or the Shoot Colorado location guide to Breckenridge. To get a taste of the town’s character, check out the BreckConnection blog.

Photos from the production of “After the Catch” – a followup to “The Deadliest Catch,” shot this summer in Breckenridge.

Credit Daniel Dunn
After the Catch, the Deadliest Catch recap show that relives the last crab fishing season, was shot in Breckenridge in summer 2012. In addition to fulfilling basic operational needs, the town and the ski area hosted a sampling of town’s signature activities and events, including the annual Outhouse Races.

Credit Ian Leirfallom. Captains from the Deadliest Catch participate in Breckenridge activities as part of shooting for After the Catch.

Credit Daniel Dunn
When After the Catch shot in Breckenridge in summer 2012, GoBreck assisted with rallying crowds for the Main Street shoot.

Perfecting the Tapeless Workflow

Guest Blog by Tom Miller, Big Pictures Media

There often comes a point in a shoot day, or week, when the value of the footage we’ve shot exceeds that of the equipment we’re using to shoot it!

You look at the tapes and start to think of the work that was done to capture the footage,
the lighting, the heartfelt storytelling by the subjects, the efforts of the actors and production team.

Or what about the one-time events – the release of the weather balloon, the breeching whale, the explosion, the expensive aerials?

The tapes become – “The Money.”

They’re the only thing I know that can start out the day with a value of twenty bucks, and end the day worth thousands!

So what happens when we’re asked to shoot onto CF Cards, hard drives, P2, SxS, or flash media? I can tell you for those of us who have been shooting twenty years or more, it’s a little unnerving. The footage seems so vulnerable there – bits and bytes of it floating around on little cards and drives. Now granted, tapes have problems too. But at least at the end of the day, you have something physical to look at!

The challenge then is to get over our neuroses and fully embrace the tapeless workflow, and make it as safe (or even safer) than shooting onto tape or film.

Here’s how we do that here at Big Pictures:

First we always have at least two portable drives on the set. One of them can be ours, and one can be the client’s. We carry Lacie 500GB Rugged Firewire drives (or similar). With us, it’s just part of the package when we’re shooting with our nanoFlash, 5D, P2 camera, F3, or any number of our other tapeless configurations. We have created a “Media Management Kit” that includes all the adaptors, drives, and cables we need – along with a Macbook Pro loaded with Shotput Pro.

Then we simply download the cards to one of the drives via a laptop, and then copy it over to another. Or download to both drives concurrently (there’s some great software that helps with this – like Shotput Pro.) One drive goes with (or gets shipped to) the client, and the other stays with us. Once the first drive makes it to the edit suite and is backed up, we can release the second drive.

Now this of course begs the question of who does all this downloading and backing up in the middle of the busy shoot day. If it’s a big enough shoot, and there is a lot of footage, it’s great to have a Media Manager on the set who can handle this. This can be anyone from a well-trained PA to a Media Manager. Sometimes the producer takes on this role. Otherwise, it’s up to the camera crew. We just build it into the day.

Our HDX900-nanoFlash combination gives you the best of all worlds – as we can concurrently roll on tape, and the nanoFlash’s CF cards. This gives you the tapeless workflow with the extra protection of tape backups and archiving.

If done properly, tapeless production can be an amazingly efficient way to work. But for those of us who have worked with film and tape for so many years, it takes a little getting used to. Instead of handing the client a box of 30-minute cassettes at the end of the day, you hand them a drive. And if something happens to that drive, you always have a backup – which is more than you can say for that box of tapes!

Big Pictures is a Denver, Colorado-based media production company specializing in providing high-end production services to the film and television industry – including fully-equipped camera crews. Written by Tom Miller. Copyright 2010, Big Pictures Media, Inc. All Rights Reserved. Reprinted with permission

Melissa Yonkey - Hairstylist

Melissa Yonkey is one of the most trusted hairstylists in the business and has been living in Colorado for nearly 20 years. Anyone who says they don’t have talented crew isn’t doing their homework.

Her new website (http://melissayonkey.com) helps display her 30 year career spanning from high profile salons, to film ,TV & celebrity clientele. Her clients have included Jennifer Lopez, Christina Applegate, Lyndsey Lohan, Rose Byrne, Woody Harrelson & Seth Rogen. Her specialties involves styling wigs, hair extensions, as well as creating numerous fashion looks & characters for her various jobs.

Not only is she “Department Head Hair” right now on “Dallas,” her clients include Jennifer Lopez, Christina Applegate, Lyndsey Lohan, Rose Byrne, Woody Harrelson and Seth Rogen. Credits include Monster in Law, Shallow Hal, Zombieland, Superbad and Charlie’s Angels – Full Throttle.

Though she travels extensively for work, Melissa calls the mountains west of  Colorado Springs her home. Get in touch for your next film, tv, commercial or advertising production.

To see her credits, click here.

Santa Fe Film Festival - Special Event!

Don't miss out!

The Santa Fe Film Festival presents Without Borders. A Special Screening & Reception with the filmmakers and cast at the New Mexico History Museum 

Tickets are ready for sale. Only $30.00 and going fast!

You can purchase them through Paypal on line or by coming into the Santa Fe Film Festival office located down town Santa Fe.

Get more news about this event and buy your tickets on our web site at...
http://www.santafefilmfestival.com/2012/08/17/santa-fe-film-festival-presents-without-borders/
Or come to the Santa Fe Film Festival Office (M-F 11am-2pm)
60 W. San Francisco St. Suite 307 (In the Arcade building Next to Rooftop Pizza)

(click for U-tube trailer) 

Please contact me with any questions or for more options on how to purchase your tickets to Without Borders.

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Thank you,
Nani Rivera
Office Manager
SANTA FE FILM FESTIVAL
505.988.7414 x102
nani@santafefilmfestival.com
officemanager@santafefilmfestival.com