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Audio Mixing Continues to Get Rave Reviews.

Independent short film, "American Debate" , where students in a high school debate class must search deep within themselves to answer one life changing question: how far would you go to protect your freedom?, premiered at the Phoenix Film Festival March 23-30. Producer Dominic Catrambone of Eye40Productions.com just came back from the festival with great feedback. Audiences were very enthusiastic about the film and commented on the high quality of the sound. The audio mix was done here at Video Box Studios.

BBC - A Book At Bedtime.

"The Night Watch" is receiving rave reviews in London. Radio Times, the UK's best selling magazine for audio, named "Nightwatch" their pick of the week for April 19th. Written by famous British Author Sarah Waters, it was recorded here at Video Box Studios as an audio book; Narrated by Rosalind Ayres and Directed by Martin Jarvis, Sarah Waters comes to Los Angeles this week to promote her new book. Read a synopsis of "The Night Watch" here. Also you can purchase the audio online at Amazon.com.

A Commercial By Any Other Name...

Infomercial media giant Guthy-Renker just completed their first image spot to brand their corporation with Video Box Studios. Editorial services, Audio Mixing, Logo Animation, and Final Color Correction were some of the features the Los Angeles post production studio offered. Further plans to push the brand nationally and Internationally beyond what is already a dominating conglomerate are on the horizon.

Established in 1988, Guthy-Renker is today one of the world's largest direct response television companies with sales of more than $1.3 Billion per year and an average annual growth rate of 25% over the last 10 years.

Originally launched as a television direct marketer by Co-CEOs Bill Guthy and Greg Renker, the independently-owned, vertically-integrated company has since broadened its focus into every area of electronic retailing, making quality products available to U.S. and international consumers through broadcast television, cable and satellite, as well as telemarketing, direct mail and retail channels.

Ask Jeeves for V.O.

Ask.com found a great place to record their V.O. for their upcoming commercials - The comfy, cozy, and always caring post production facility of Video Box Studios.

We waited to see if Jeeves himself would show up. But when a guy named Steve showed up instead we inquired to Jeeves where abouts. This is what he had to say, "After ten years of dutifully serving a growing population of internet users, Jeeves decided to step down as the face of AskJeeves.com, and retire in style. Jeeves symbolized a traditional, at-your-service butler which made people feel comfortable and at home with asking any type of question. As the web became more of a real-time utility for people, Jeeves' job dramatically changed. Users came to Ask Jeeves for more sophisticated searches. Searches that were informational, navigational, and ultimately, transactional. Ask.com users wanted a search engine to help them search, get and do whatever they needed -- at a moment's notice. This drove us to focus on improving our robust search engine technology and give users the Web's most useful set of tools, and gave Jeeves the opportunity to relax. Today, as Ask.com we are singularly focused on helping users find what they need through the complicated, exciting, ever-changing web. No matter what the search, Ask.com is committed to meeting the search challenge. "

Also Sadly, we were informed that cartoons do not actually live in conjuntion with you or me. Further, we were surpised to find out that cartoons are actually drawn! Well there go my fantasies of getting Jessica Rabbit's autograph.

Cineclash Starts with Video Box Studios Post Production

Video Box Studios recently provided Apocalypse Oz the necessaries for finishing their innovative film. Video Box provided the editorial, special effects, and audio mixing.

Original Article

Ewan Telford, Director "Apocalypse Oz":
What was the spark for such an ambitious film?

Many films share the same archetypal structures, but it occurred to me one day that Apocalypse Now and The Wizard of Oz are unusually similar - not just in their architecture, but in many details as well. I thought it a worthwhile experiment to hybridize their screenplays and create a third story for a bright, vulgar, modern film.

How did you tackle the structure of the film when you started drafting the script?
The overall structure was latent in the original scripts, so first of all I drew parallels between characters, which were fairly straightforward - Dorothy is Willard, The Wizard is Kurtz and so forth. Some roles and motivations didn't necessarily co-relate easily so I reshaped them, principally through the manipulation of existing dialogue. There were practical issues too - we didn't want the burden of a dog on the shoot and no-one likes Toto, so we had Dorothy do him in early.

What is cineclash? The term is inspired by the reggae'soundclashes' in which DJs would square off against each other. Cineclash is essentially the practice of fusing two disparate but complimentary film texts to form a third that stands on its own as something quite different, then shooting it. There are two rules - a/ that plot and characters are strict hybrids and b/ that all dialogue comes from one film or the other, many lines drawing on both. I find most dialogue can be interpreted in all sorts of different ways, according to context.

Do you have any qualms about intellectual property issues or tinkering with other peoples'
work - particularly two of the most cherished and classic films?

Not in the least. Firstly, these two 'classics' are themselves based on existing classic texts and, arguably, compromise and insult their sources. Coppola and Milius don't even bother to credit Conrad which is indicative of their attitude to the idea of originality and the collective free-flow of ideas. Credit your sources at least! Secondly, does Apocalypse Oz offer any new perspective on those films? Yes, it does. I think we should feel free to be cheeky and irreverent with our 'classics', question them. My film is not a remake, it is something quite new and screenplays are not inviolate - after all, they are not the film, they are a road map at most. F*ck it, paint a moustache on Judy Garland. The people that get upset about this sort of thing are rarely the artists and, for the most part, I don't believe that notions of intellectual property and especially copyright law exist in the service of creatives or creativity. They have a different function altogether.

How creative did you get in post production?
No more than in the average film I'd say, but that's still a lot! We didn't want or need anything very flashy or ostentatious. There are three or four digital effects shots in there, the most grand and labour intensive being the tornado. We did put a lot of time and thought into the edit, though and into the colour correction. They were very important for us. Then there was music and sound design, which were again very important, especially since both Apocalypse Now and The Wizard of Oz have such distinctive and evocative scores.

What's next for you Ewan?
Apocalypse Oz the feature! Investors please form an orderly queue!

"Apocalypse OZ" can be seen next at the Mendocino Film Festival. More information on this new genre is available at the website at www.apocalypseoz.com

God or the Girl airs April 16, Easter Sunday.

Be sure to catch God or the Girl airing April 16th on A&E. And also make sure to visit A&E to follow up on program times and other scheduled shows.

The London Times on our Product

Original Article

Christina Hardyment on an epic Wodehouse biography

Bill Wallis's judiciously varied narration of the unabridged audiobook of Robert McCrum's Wodehouse: A Life makes a Rolls-Royce ride out of a long-haul read. This is a recording that will be greeted with joy by fans of the Drones Club, the Empress of Blandings and the rest of the Master's huge cast of chinless wonders and canny butlers. Bald and benign, Wodehouse beams from its cover, his physiognomy confirming what every reader of his books knows: here is a reliable old bean who can be trusted to have you laughing aloud by page two, if not page one, of any one of his 90 or so published books.

McCrum does almost as well, although he is a little heavy on the psychological effects of not seeing much of one's parents, something so normal in Wodehouse's day that a boy was more likely to be mixed up by too much attention than too little. But he admits that Wodehouse's long marriage was deeply affectionate, and that he faced the world with sunny optimism. Thickly larded with quotations from Wodehouse's books and letters, this is an enthralling and entertaining biography that also deals sympathetically with the "Berlin troubles", not blindly exonerating Wodehouse but explaining how easy it was for a man who always preferred the personal to the political, and remote from reality after many months of internment, not to realise the implications of broadcasting what he saw as a light-hearted account of prison camp life. McCrum's biography is the perfect accompaniment to the large number of Wodehouse novels available on tape or CD, as it works nicely as a chronological and explanatory reading list if you feel tempted, after hearing it, to work your way through them.

One of his earliest novels, Piccadilly Jim, is a good starting point, set in two worlds that the young Wodehouse loved: the leisurely transatlantic cruise and glittering Manhattan society where he wrote lyrics for Jerome Kern and Gershwin. Martin Jarvis reads with a spiffing panache of which Wodehouse would heartily have approved.

Record your Podcasts with Professionals

Podcasts are the huge rage now. They are used for everything from old radio shows to advertising. And Podcasts are easy enough to record in your own home. All you need is a 3"x3" piece of rubber, a matchstick, and a scotch on the rocks. But what happens when you just can't seem to get the type of quality that you want? Everytime you go to record your voice and you think it went perfect, you notice you recorded that same damn truck passing in the background again. Well you could pump your fist in the air and sling curse words, or have it recorded in a sound booth that will smite any 747 cruising two inches past your nose.

At the Los Angelels Post Production Studio, Video Box Studios, we have all the equiptment needed to record ANYTHING! We record special features for DVDs, Radio commercials and plays, etc. So why wouldn't we record Podcasts. All a Podcast is is an MP3 file (accompanied with an XML file for the RSS feed.)

This is how it works:
1. We record you (or your talent) in our mega booth.
2. We then mix everything you want in it. (music, sound effects, room noise).
3. We then spit out the AIFF files.
4. Then convert the AIFF into an MP3 at what ever kbps setting is requested.
5. And last burn the MP3 onto a disc for you to take to your "web guys" to stream.

Could it be any easier?

Post Production Magazine et al

Original Article Here

WEST HOLLYWOOD - Video Box Studios (www.videoboxstudios.com) recently contributed their CG and animation flair to three new graphics packages for A&E, Bravo and ABC shows. The work follows the recent opening of a CG and animation division.

Back in December, Video Box hired creative director/partner Jason Hearne to set up the new department, which features Autodesk/Alias Maya and Maxon Cinema 4D for animation, along with Adobe After Effects for compositing. With the graphics department in place, the team took on a show open for Tabloid Wars, a new Bravo original program about the Daily News vs. the New York Post. The studio worked with producer Bradley Warden to shoot the necessary props, such as newspapers, on an insert stage.

The studio also created interstitials for ABC's Sons and Daughters. A raw, hand-held approach was employed to capture the overall feeling for the package, creating a gritty look. The idea was to create a look that resembled the inside of a worn and somewhat tattered photo album. The producers wanted the show graphics - the IDs for each character - to have a similar feeling to the hand-held camera motion that's present from start to end.

Lastly, the studio created the main titles for the A&E realty program, God or the Girl. The show follows four young men on their way to the priesthood and the temptations they face along the way.

A few other sites the article ran in are Studio Daily, Post, Post Industry, and Design in Motion.

Time Warner Audio Books

Post Production Studio, Video Box Studios, records tons of audio books for many studio/publishers around Los Angeles, New York, Chicago, San Francisco, Seattle, Miami, and beyond. Most of this can be done directly from the city the books talent resides with multiple ISDN lines. Recently Time Warner just recorded the new book by Douglas Preston and Lincoln Child, "The Book of the Dead".

In the book the New York Museum of Natural History receives their pilfered gem collection back...ground down to dust. Diogenes, the psychotic killer who stole them in Dance of Death, is throwing down the gauntlet to both the city and to his brother, FBI Agent Pendergast, who is currently incarcerated in a maximum security prison. To quell the PR nightmare of the gem fiasco, the museum decides to reopen the Tomb of Senef. An astounding Egyptian temple, it was a popular museum exhibit until the 1930s, when it was quietly closed. But when the tomb is unsealed in preparation for its gala reopening, the killings--and whispers of an ancient curse--begin again. And the catastrophic opening itself sets the stage for the final battle between the two brothers: an epic clash from which only one will emerge alive. ([I]Original Source - Amazon.com[/I] )