Stockholm, Sweden – 20th July, 2009 – Digital Vision, the premier supplier of picture enhancement systems for film and television post-production, is pleased to announce that multi-award winning film company and Wallace & Gromit creators, Aardman Animations, has purchased a Digital Vision Data Conform for work on its next feature release.‘The Pirates! – In An Adventure With Scientists’ is a stop-frame release based on the cult ‘Pirates’ books by Gideon Defoe and is slated for a 2012 release. Directed by Aardman co-founder, Peter Lord, it’s the first Aardman stop-frame feature film to be shot digitally rather than on film.

According to ‘Pirates!’ Technical Director, Tom Barnes, the Data Conform will initially be used to feed rushes into the company’s d-cinema projector for approval. “We plan to use it as a tool for assembling and viewing work for assessment,” he says. “We also find that the ability to project from Avid and conform rushes from an Avid EDL is a big advantage and it’s great that we can mix 3k TIFF, 2k DPX, jpeg, Quicktime and MXF on the same timeline and instantly review with realtime scaling and colourspace conversion.”

Simon Cuff, President and COO comments; “it is really gratifying that when Aardman made the transition from film cameras to digital cameras that they looked to Digital Vision products. Data Conform is a completely modular product that has options for conforming, compositing, video IO, grading and of course can run our Emmy winning DVO image enhancement tools. It can grow with your requirements and has been used on literally 1000’s of motion pictures since it’s first release in 2002.”

-ends-

About Digital Vision
Digital Vision provides innovative image restoration, enhancement, colour correction and data conforming systems that major movie studios, television networks and post-production facilities use to master and deliver feature films, TV programs and commercials. The company’s Nucoda product line provides a strong suite of products for tapeless and non linear grading for HD broadcast and 2k/4k digital intermediate productions. The company’s award-winning products are a standard of the media and entertainment industry and are deployed at top facilities and broadcasters around the world.

Digital Vision AB was founded in 1988 and is headquartered in Stockholm, Sweden, with three wholly owned subsidiaries, Digital Vision (US) in Los Angeles, California; Digital Vision UK in London, England; and Digital Vision in Hong Kong, China. The company maintains its global presence through a network of qualified distributors. Digital Vision is listed on the Stockholm stock exchange. For further information, go to www.digitalvision.se.

All trademarks used herein, whether recognized or not, are the properties of their respective companies.

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Media Contacts:
US – Chris Purse, Ignite, e: chris@ignite.bz, t: 818.508.0450, m: 323.806.9696

Europe & APAC – Sadie Groom, Bubble & Squeak, e: sadie@bubblesqueak.co.uk,
t: +44 (0)20 7287 4262, m: 44 (0)771 542 2414

Presenting Powerful RED Post Production Workflow at Community Day

July 13, 2009 (Stockholm, Sweden) Digital Vision, the premier supplier of picture enhancement systems for film and television post production, has announced its sponsorship of REDucation, the first ever RED approved training program debuting in Los Angeles later this month. Developed to deliver in-depth, high-value training, REDucation is presented in three parts: a 3 day RED Tech for production (July 20-23), a 3-day RED Post for post production (July 23-26), and Community Day on July 23rd. Digital Vision has been selected to present REDucation’s color grading training for RED Post, on Sunday July 26th. Digital Vision will also participate in Community Day on July 23, 2009, where the focus is on top technologies and the experts that play pivotal roles in the RED workflow. Community Day presentations and demonstration are open to the public.

Digital Vision’s Film Master has been a critical part of the RED post production pathway, empowering color grading and management of workflows for feature films, broadcast programs and commercials shot on the RED One camera. As a long time collaborator of RED that has worked with the camera manufacturer before and during the launch of the SDK, Digital Vision continues to develop powerful tools for RED projects.

Digital Vision President Simon Cuff commented, “We are excited to be part of RED’s first-ever fully sponsored training event. RED is changing the way the industry looks at new tools and technologies and REDucation will change and enliven the way these tools are employed. Working with RED well before the launch of the SDK, Digital Vision has been fortunate to be a part of the growing power and outstanding results in the post production workflow. We are looking forward to participating in our community, in the training, and in the launch of this exciting event.”

REDucation will be held in Los Angeles at the LA Center Studios from July 20th through July 26th, 2009. For further information about REDucation and Digital Vision’s presentations during Community Day, visit www.digitalvision.se or call 818.769.8111.

About Digital Vision
Digital Vision provides innovative image restoration, enhancement, color correction and data conforming systems that major movie studios, television networks and post production facilities use to master and deliver feature films, TV programs and commercials. The company’s Nucoda product line provides a strong suite of products for tapeless and non linear grading for HD broadcast and 2k/4k digital intermediate productions. The company’s award-winning products are a standard of the media and entertainment industry and are deployed at top facilities and broadcasters around the world.

Digital Vision AB was founded in 1988 and is headquartered in Stockholm, Sweden, with three wholly owned subsidiaries, Digital Vision (US) in Los Angeles, California; Digital Vision UK in London, England; and Digital Vision in Hong Kong, China. The company maintains its global presence through a network of qualified distributors. Digital Vision is listed on the Stockholm stock exchange. For further information, go to www.digitalvision.se.

All trademarks used herein, whether recognized or not, are the properties of their respective companies.

# # #

Media Contacts:
US – Chris Purse, Ignite, e: chris@ignite.bz, t: 818.508.0450, m: 323.806.9696
Europe & APAC – Sadie Groom, Bubble & Squeak,
e: sadie@bubblesqueak.co.uk,
t: +44 (0)20 7287 4262, m: 44 (0)771 542 2414

Cooke Optics
IBC 2009, Booth 11.D10

July 8, 2009 (Leicester, UK) At IBC 2009 Cooke Optics will unveil the first working prototype of the highly anticipated Panchro by Cooke lens. The PL mounted lens for 35mm film and digital production, which was announced at NAB 2009, is a modern redesign of the original Cooke Panchro lenses that were instrumental in establishing Hollywood as the center of 20th century film production.

The Panchro is a small, lightweight and affordable lens, bringing the benefits of Cooke expertise and technology to all filmmakers, including independent filmmakers, film students and documentary makers. It sacrifices one stop of light (T2.8 compared with T2.0 for Cooke S4) and is calibrated and color-matched to existing Cooke lenses, making it a cost-effective choice when a faster lens is not crucial or when shooting in difficult situations such as crash scenes or VFX shots. The reduced size, weight and true focal length markings also make the Panchro ideal for 3D stereoscopic productions.

The Panchro lens will be demonstrated at booth 11.D10, with first deliveries expected to be at the end of 2009.

In addition, Cooke will showcase a range of its high level camera lenses, including the industry favorite S4/i Prime lenses and the Cooke RED Set of S4 /i lenses. Cooke will also show the /i dataLink, a small box that mounts easily to any camera and records the focus, zoom, iris settings and other pertinent data of each take, allowing the metadata to be passed on to post. /i Technology enables VFX and DI artists to create more accurate, better-looking visual effects, and saves significant time in the post-production process. The growing number of companies that support /i Technology include Aaton, Arri, Avid, Cinematography Electronics, CMotion, Dalsa, Mark Roberts Motion Control, The Pixel Farm, Preston Cinema Systems, RED, Service Vision and Silicon Imaging.

Cooke lenses have recently been used to shoot Harry Potter and the Half Blood Prince, Angels and Demons, The Mummy: Tomb of the Dragon Emperor, Dragon Ball, Snowflake, Frost/Nixon, Milk and Before the Rains.

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About Cooke Optics, LTD.
Cooke is a storied name in both cinematographic and the ultra-high-end professional photography markets. Known worldwide for their precision, exacting tolerances and superior quality, Cooke lenses are specified by many of the world’s most respected cinematographers. Cooke is also the developer behind /i Technology, the protocol enabling vital lens and camera information to be captured and passed digitally to post-production teams. Features in production or recently shot with Cooke lenses include Harry Potter and the Half Blood Prince, Angels and Demons, Hamlet 2, Frost/Nixon, Milk, Zack and Miri Make A Porno, and The Mummy: Tomb of the Dragon Emperor, Television shows in production or recently shot with Cooke lenses include Trauma, Community, Back, Journeyman, State of Mind, Life, Bones, Grey’s Anatomy, Monk and Entourage.

Media contacts:
Europe & APAC – Wendy Mattock, Bubble & Squeak e: wendy@bubblesqueak.co.uk t: +44 (0)7912 300231
US – Chris Purse, Bubble & Squeak, e: chris@ignite.bz, t: +1 818.508.0450, m: +1 323.806.9696

Respected Technologist Tapped for Product Manager Role
July 8, 2009 (Stockholm, Sweden) Digital Vision, the premier supplier of mastering and finishing systems for film and television post-production, has announced that Bruno Munger will step into the role of Product Manager – Grading & Finishing, effective immediately. He will be based in the North Hollywood office, where he will be responsible for Digital Vision’s software products including Film Master, Nucoda HD and Data Conform.

Munger will play a key role in defining the award winning software company’s strategy including new and emerging products focusing on development for advanced colour grading technologies, stereoscopic, end-to-end file based workflows and look & color management. In addition, he will expand and further develop vital third party and collaborative relationships within the industry and will play an integral part in the management of key customers and sales efforts.

A well-known and respected figure in Hollywood post production circles for over 15 years, Munger has worked with a number of other category-defining companies including MTI, Snell and Wilcox, and Discreet Logic (now Autodesk M&E). An expert in software development, he is well known for his work as Senior Product Designer on Autodesk Lustre. As part of the sales team and then as product designer there, he was charged with increasing the company’s market share for motion picture products. In that role, and as a member of its R&D team, he played a critical role in the growth of the product-line’s acceptance.

Commenting on the move to Digital Vision, Munger said, “For over twenty years, Digital Vision has developed important products and defined standards that have changed the industry. Today, Digital Vision is a breath of fresh air, part of a very exclusive club of applications for the 21st century that are flexible, powerful, open, and dynamic. I am happy to join this outstanding development team and continue working with the customers and companies that I’ve known for many years. I’m focused on seizing our great opportunity to help design the future ways in which customers manage their imagery and content.”

In announcing the hire, Simon Cuff, President of Digital Vision, noted, “We are terrifically excited to have Bruno join the Digital Vision team. He possesses a rare combination of skills and traits; he has technological insight, an in-depth understanding of the industry, and an absolute dedication to surpassing customer’s expectations. We all look forward to working with Bruno to cement our leadership position and to grow our product line.”

About Digital Vision
Digital Vision provides innovative image restoration, enhancement, color correction and data conforming systems that major movie studios, television networks and post-production facilities use to master and deliver feature films, TV programs and commercials.  The company’s Nucoda product line provides a strong suite of products for tapeless and non linear grading for HD broadcast and 2k/4k digital intermediate productions.  The company’s award-winning products are a standard of the media and entertainment industry and are deployed at top facilities and broadcasters around the world.

Digital Vision AB was founded in 1988 and is headquartered in Stockholm, Sweden, with three wholly owned subsidiaries, Digital Vision (US) in Los Angeles, California; Digital Vision UK in London, England; and Digital Vision in Hong Kong, China.  The company maintains its global presence through a network of qualified distributors.  Digital Vision is listed on the Stockholm stock exchange.  For further information, go to www.digitalvision.se.

All trademarks used herein, whether recognized or not, are the properties of their respective companies.

# # #

Media Contacts:
US: Chris Purse, Ignite, e: chris@ignite.bz, t: 818.508.0450, m: 323.806.9696
Europe & APAC: Sadie Groom, Bubble & Squeak, e:sadie@bubblesqueak.co.uk,
t: +44 (0)20 7287 4262, m: 44 (0)771 542 2414

March 18, 2009 (Stockholm, Sweden) Digital Vision, the premier supplier of picture enhancement systems for film and television post-production, is pleased to announce the latest sale of its Nucoda HD tapeless grading and mastering system to the newly-established Azimuth Post Production in the heart of Soho.”We needed to be able to supply a HD grading solution to our clients,” comments Neil Hatton, Director of Post Production. “I was familiar with Nucoda from past organizations and like the way it renders in the background, utilizing every spare clock cycle you’re not actually using to manipulate the picture on screen. You finish the session and it’s as good as rendered, which is exactly what clients want as they don’t want to sit there waiting and watching a ‘lack of progress’ bar.”

Hatton was also very interested in the workflow advantages possible following Digital Vision’s qualification of its products on Avid systems last year, and the company makes the most of the interoperability between the Nucoda HD and its Avid Unity shared storage.

“The flexibility to reflect offline changes into the conform and grade is a great advantage,” Hatton says. “Decision making is being made later and later in the post process, and to be able to cope with that by simply importing a new AAF file into the Nucoda and to have all the grades link up with the new EDL immediately is superb.”

Azimuth is part of a well-established Middle Eastern-owned media group that includes London-based production company ORTV International. It has been set-up as a standalone facility with the high standards of customer service necessary to attract clients in the competitive Soho area. Part of a £275,000 ($384,490) investment in the facility, the Nucoda HD has already been used on Faisal for Al-Arabiya and is lined up for Classroom Killers for Discovery US.

“We are delighted to see Azimuth set-up with the Nucoda HD,” comments Simon Cuff, Digital Vision President and COO. “In UK broadcast we are fast becoming the de facto standard for grading. The interface with Avid is what differentiates our offering as we are the only supplier able to offer metadata, media, platform and storage compatibility and allow grading, editorial and finishing work to overlap. Deep-level interoperability and integration is crucial to provide the parallel workflows and quick turnarounds required by our customers.”

About Digital Vision
Digital Vision provides innovative image restoration, enhancement, colour correction and data conforming systems that major movie studios, television networks and post-production facilities use to master and deliver feature films, TV programs and commercials. The company’s Nucoda product line provides a strong suite of products for tapeless and non linear grading for HD broadcast and 2k/4k digital intermediate productions. The company’s award-winning products are a standard of the media and entertainment industry and are deployed at top facilities and broadcasters around the world.

Digital Vision AB was founded in 1988 and is headquartered in Stockholm, Sweden, with three wholly owned subsidiaries, Digital Vision (US) in Los Angeles, California; Digital Vision UK in London, England; and Digital Vision in Hong Kong, China. The company maintains its global presence through a network of qualified distributors. Digital Vision is listed on the Stockholm stock exchange. For further information, go to www.digitalvision.se.

All trademarks used herein, whether recognized or not, are the properties of their respective companies.

# # #

Media Contacts:
US – Chris Purse, Ignite, e: chris@ignite.bz, t: 818.508.0450, m: 323.806.9696

Europe & APAC – Sadie Groom, Bubble & Squeak, e: sadie@bubblesqueak.co.uk,
t: +44 (0)20 7287 4262, m: 44 (0)771 542 2414

NAB 2009
Booth SU 9924G (P+S Technik booth, Bavarian Pavilion)

March 10, 2009 (Leicester, UK) Cooke Optics Ltd., a premier manufacturer of precision lenses for the motion picture industry, will be showcasing its S4/i lenses which have recently been used on award-winning films and television shows including Milk, Frost/Nixon and 30 Rock. The lenses incorporate Cooke’s /i Intelligent Technology, which improves efficiency and quality across the entire workflow.

Cooke’s /i technology is now supported by many leading camera and content creation companies including ARRI, RED, Aaton, Avid and Pixel Farm, and another major manufacturer will announce its integration of /i Technology during the show.

Cooke’s S4/i Lenses will also be in the Canon, JVC, Sony and BandPro stands.

Spokespeople available at the show include Les Zellan, chairman & owner, Cooke Optics.

About Cooke Optics, LTD.
Cooke is a storied name in both cinematographic and the ultra-high-end professional photography markets. Known worldwide for their precision, exacting tolerances and superior quality, Cooke lenses are specified by many of the world’s most respected cinematographers. Cooke is also the developer behind /i Technology, the protocol enabling vital lens and camera information to be captured and passed digitally to post-production teams. Features in production or recently shot with Cooke lenses include Hamlet 2, Frost/Nixon, Milk, Zack and Miri Make A Porno, The Mummy: Tomb of the Dragon Emperor, Harry Potter and the Half Blood Prince and Angels and Demons.

# # #

Media contacts:
US – Chris Purse, Bubble & Squeak, e: chris@ignite.bz,

t: +1 818.508.0450, m: +1 323.806.9696
Europe & APAC – Wendy Mattock, Bubble & Squeak

e: wendy@bubblesqueak.co.uk t: +44 (0)7912 300231