Los Angeles, CA (Aug 31, 2010) – The first video off of Slash’s #1 Rock Album SLASH, which hit retail in April and has received rave reviews worldwide, has been converted into full 3D, it was announced today in a joint statement by San Diego-based 3D Production & Conversion studio PassmoreLab & Slash.

The 5-minute rock music video, “By The Sword”, is the first single off the album and the first video ever from Slash to be released in 3D. It features the vocals of Andrew Stockdale of Wolfmother, and the ever-present blistering guitar work from Slash. The 3D video was released internationally today.

Slash, currently on tour promoting the album, has been on top of every aspect of the album and video process.

“Everything was cool, start to finish,” said Slash. “From Andrew’s vocals, to Vance directing me again, to PassmoreLab doing the 3D, it has been a killer experience and I am thrilled with it.”

Vance Burberry, Director of the video in 2D, said the video was a “wonderful, four month collaboration” between he and Slash. Burberry has a long history with Slash from his Guns ‘N Roses days, where he was Director of Photography on the band’s “Sweet Child o’Mine”, “Paradise City” and “Welcome to the Jungle” rock videos.

“On this one, we created a kind of post-apocalyptic future, where people are starved for music,” says Burberry. “We end up underground in this dark, deserted power plant bunker, where Slash and the band are mesmerizing an audience. When I found out that we were doing the conversion with PassmoreLab, I thought that environment was perfect for 3D.”

PassmoreLab began work on the project in May, and found the underground setting of the video was actually quite demanding. The conversion took about four weeks to complete, using PassmoreLab’s proprietary conversion technology.

“It’s edgy, dark and fast — everything you would expect from Slash,” said Steve Glum, PassmoreLab’s head of Branding & Distribution. “Everybody in the video is hypnotized by this murky hunger for rock n roll, and the quick camera cuts, sweeping movement, and low lighting gave us a real conversion challenge. But the final 3D product is very cool.”

SLASH hit the charts on April 6. Featuring an incredible lineup of rockers and vocalists like Kid Rock, Dave Grohl, Myles Kennedy, Fergie, Adam Levine, Chris Cornell, Ozzy Osbourne, Iggy Pop, and more, the album has been critically-acclaimed all over the world.

“We were very excited to do it,” continued Glum. “If you are going to produce an artist’s 3D rock video, Slash is definitely on the top of that list.”

SLASH is Slash’s first album as a solo artist, having previously recorded and toured most recently with Velvet Revolver from 2003-2008. One of the most recognizable rockers of all time, with his signature top hat, he is also critically recognized as one of the all-time best guitarists ever to play. In August 2009, Time Magazine ranked him #2 on its list of the 10 Best Electric Guitar Players of All-Time.

Always on the cutting-edge of music, art and technology, PassmoreLab has a solid background in rock and 3D music videos, working with New York garage-glam phenoms Semi Precious Weapons on the award-winning “Magnetic Baby”; with punk-rockers Osaka Popstar & the American Legends of Punk on “Wicked World”, with Rock ‘N Roll Hall of Famer Sammy Hagar on “Loud”, and LA art noir group Miss Derringer on “Black Tears”. PassmoreLab also delved into the rock-and-roll archives of famed photographer Bob Gruen to produce the first-ever 3D conversions of images from the Rock, Punk, and New Wave eras. Working together with Gruen, PassmoreLab developed an innovative new process to convert many of Gruen’s well-known images to a format that can be viewed on stereoscopic displays.

“By The Sword, in 3D!” will be seen in VOD on various network locations in Italy, Norway, Spain, Sweden, Australia, Japan & Canada; at the 3D Experience Entertainment & Technology Festival as the pre-roll to U23D in Times Square, New York City; and at Hard Rock Cafes in Barcelona & Madrid; additional locations to be announced.

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(repost in Vietnamese)

Khi quán Hard Rock Café đầu tiên được khai trương vào tháng Sáu năm 1971, thương hiệu này đã đem lại cho người tiêu dùng một kinh nghiệm ăn trưa hoàn toàn mới mẻ.

Nét mới mẻ này không đặt căn ban trên thức ăn hay dịch vụ mà với một chủ đề - rock ‘n’ roll. Chủ đề này đã đem lại cho thương hiệu này một tính cách thống nhất, một tính cách được chứng tỏ trong mọi phương diện của nhà hàng, từ nhạc và thực đơn mang tính cách Mỹ điển hình cho đến bộ sưu tập những kỷ vật về rock ‘n’ roll được trang trí khắp nơi trong quán. Môi một quán Hard Rock Café còn hoạt động như một viện bảo tàng “sống” về lịch sứ rock ‘n’ roll với hơn 60.000 hiện vật được trưng bày, như đàn ghi-ta, áp phích, đĩa vàng, tập bài hát…thuộc sở hữu của công ty này. Những kỷ vật trị giá hơn 30 triệu đô la này được lưu chuyển từ quán này sang quán khác và mọi quán đều luôn có những hiện vật mới để trưng bày.

Mô hình này đã phát triển nhanh và hiện nay có hơn 1 00 quán Hard Rock Café ở các thành phố lớn, từ New York cho đến Kuala Lumpur, trên 40 quốc gia. Những chuỗi quán mô phỏng theo hình thức “ăn uống-giải trí” này của Hard Rock Café, ví như Planet Hollywood hay Fashion Café, đều kém thành công hơn. Không một công ty nào khác có thể tìm ra được một chủ đề phố biến và thành công như chủ đề rock ‘n’ roll. Suy cho cùng thì thế loại rock ‘n’ roll chỉ phù hợp với những phòng ăn tại gia (điển hình là những quán ăn của thập niên 1950, nơi mọi người đến thưởng thức không chỉ món ăn mà cả giọng hát tuyệt vời của những ca sĩ lừng danh như Chuck Berry hay Elvis Presley), trong khi những ngôi sao sàn diễn thời trang và minh tinh màn bạc với ý thức vẻ đẹp hình thể không phải là những nhà quản lý nhà hàng nổi bật nhất.

Trang web: www.hardrock.com
Thành lập: Năm 1971
Xuất xứ: Mỹ
Thông tin thương hiệu:
- Có hơn 100 quán Harcl Rock Café ở 40 quốc gia trên khắp thế giới.
- Thương hiệu này sở hữu hơn 60.000 kỷ vật về rock ‘n’ roll, với những thứ nổi tiếng như cây đàn guitar của Jimi Hendrix và cặp kính của John Lennon.
Những Bí quyết Thành công:

Ý tưởng nguyên thủy: “Không có gì có thể giống như cái khởi đầu”, Giám đốc marketing của Hard Rock, ông Steve Glum, phát biểu với tạp chí Detroit Free Press vào tháng Mười Một năm 2003, “Họ có thể bắt chước chúng tôi, lấy nguyên mẫu và thay vào đó nội dụng khác. Nhưng chúng tôi có một thứ mà mọi người đều có thể dễ dàng liên hệ đến là âm nhạc và các kỷ vật về rock ‘n’ roll mà những chuỗi nhà hàng khác không có được”
Sức hấp dẫn du khách. Bằng cách là những bảo tàng “sống” và tọa lạc ở nhứng địa điểm du lịch, Hard Rock Café nhanh chóng trở thành môt thương hiệu danh tiếng, thu hút nhiều du khách. Những chiếc áo thun Hard Rock Cafe nối tiếng in tên thành phố nơi chúng được mua cũng là một hấp lực khác nữa đối với du khách.

http://www.vnbrand.net/Phong-su-thuong-hieu/hard-rock-cafe-thuong-hieu-cua-am-nhac-va-ky-vat-ve-rock-n-roll.html

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http://adage.com/article?article_id=120434

Believe it. Ripley Entertainment, owner of Ripley’s Believe It or Not, has been around for almost 90 years, and to celebrate it’s kicking off an advertising campaign, appropriately named “Freaking Out,” in the U.S., Denmark and Canada.

Weird is universal: Ads are running in five languages so far.

The campaign made its debut in New York City and is the company’s first integrated, multiplatform endeavor. The push includes online ads, webisodes, billboards and T-shirts and is handled by MacLaren McCann, Toronto.

The real deal
“Freaking Out” aims to create a consistent face for the company, which is viewed worldwide though its museums (called Odditoriums), daily comics, website and syndicated TV show. Now that Ripley’s is expanding, it wants to “ensure viewers all over the world that they are receiving the true Ripley’s and not some imitator,” according to Steve Glum, VP-marketing.

Most of the ads are uncomplicated, consisting of an image from the Ripley archives, such as a two-headed calf or a skull bowl, with a variation of the tagline and the company’s logo. The versions include: “Proudly Freaking Out Families for 90 Years,” “Actually, It’s Rude Not to Stare,” “Come See What Noah Left Behind” and “All the Things Mother Nature Swept Under the Rug.”

The spirit is in keeping with the brand. “Ripley’s is weird,” Mr. Glum said.” But we’re proud of it.”

The freakish ads are running in English, Spanish, French, Dutch, and Croatian and will expand into other languages as the company opens two Odditoriums, in China and India, in the coming years.

‘We’re all voyeurs’
“Freaking Out” is not merely a celebration of the oddities Ripley’s has provided during the past nine decades, but also a way to protect the brand in the future as Mr. Glum believes more imitators are entering the market. “My goal here was to really prepare Ripley’s for the future, make sure that we have a brand that is still viable when we are 100 and beyond.”

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http://www.facebook.com/video/video.php?v=1208570967896&ref=mf

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http://www.moviefone.ca/2010/06/18/nightly-news-bradley-cooper-baseball-film-michael-fassbender-magneto/

Remember during the good old days of VHS when all the movie studios thought it was a grand idea to colorize old black & white movies because audiences supposedly wouldn’t have anything to do with a film not presented in color? Now there’s a new wrinkle on transforming old films — 3D. According to Scifi Pulse, PassmoreLab, a San Diego-based 3D production and conversion studio, will convert the greatest worst movie of all time, ‘Plan 9 From Outer Space,’ into 3D. Ed Wood’s campy 1959 film follows bumbling aliens who want to turn dead humans into zombies to stop Earth from building a super bomb. ‘Plan 9′ was restored and colorized by Legend Films in 2006, and will now be converted at a cost that far exceeds the film’s original $60,000 budget. PasmoreLab has already converted one cult horror film into 3D: George Romero’s 1968 ‘Night of the Living Dead.’ “We are absolutely drawn to cool and unusual projects” said company president Greg Passmore. “… we are converting ‘Plan 9′ because we love cult films, and we take great care with them.” “All the great films we love in 2D can now be converted into 3D seamlessly to attract new audiences and find new revenue streams,” said Steve Glum, PassmoreLab’s head of branding and distribution.

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The film, also known as the “worst movie ever made” due to its numerous continuity and production gaffes, has become an iconic sci-fi cult classic due largely to its reputation for being so bad. It was christened “worst movie” back in 1980 by Harry and Michael Medved in their book “The Golden Turkey Awards”, when they claimed to have found the “holy Grail” of bad movies. Since then, the movie has become very popular.

“Being dubbed “worst ever” was the probably the best thing that ever happened to this film,” said Greg Passmore, president of PassmoreLab. “That label started a cult following, where it gained a massive fan base, with me included. It may be known as the “worst movie”, but it’s about to get best conversion treatment available. I am delighted to convert the original film into 3D using our proprietary technology.”

As campy as it is, “Plan 9” is now widely considered to be legendary B-movie director Ed Wood’s masterpiece, albeit a bad one. Both he and the film gained more notoriety after they became the subject of Tim Burton’s 1994 film “Ed Wood”, with Johnny Depp starring in an angora sweater in the title role.

“Our studio has a definite indie feel to it – a little alternative and off-center — and we are absolutely drawn to cool and unusual projects,” continued Passmore. “That was a big reason we converted Romero’s ‘Night of the Living Dead’ last year. And that’s exactly why we are converting ‘Plan 9’, because we love cult films, and we take great care with them.”

“Plan 9 from Outer Space”, was written, produced, directed and edited by Wood, and was originally shot in black and white over 50 years ago. It was restored and colorized by Legend Films in 2006, and will now be converted, frame by frame into full 3D, using Passmorelab’s proprietary conversion technology. It is Legend Film’s colorized version that is being used for the conversion, which will take over 6 weeks to complete at a cost far greater than the film’s original $60,000 production budget.

“Converting film demands great attention to detail, especially with a film this old. Rest assured, audiences will be able to enjoy the same film they have always known — complete with the 73 or so production flubs — except now they will see those wires, strings and wobbly flying saucers in spectacular 3D,” smiles Passmore.

3D conversion is emerging as an incredible opportunity for content owners worldwide, and by employing PassmoreLab’s proprietary technology, it can become a very cost-effective way of repurposing previously viewed material.

“3D continues to penetrate new distribution channels as an industry, and conversion is a big part of our business. All the great films we love in 2D can now be converted into 3D seamlessly to attract new audiences and find new revenue streams,” said Steve Glum, PassmoreLab’s head of Branding & Distribution. “Plan 9 from Outer Space, Now in 3D!” is the original film, the granddaddy of all bad movies, and we think audiences everywhere will have a great time seeing it in 3D.”

“Plan 9 from Outer Space, Now in 3D!” will be seen in select US theatres in limited release and on VOD on various network locations later this summer.

http://marketsaw.blogspot.com/2010/06/exclusive-plan-9-from-outer-space-being.html

www.passmorelab.com

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San Diego, CA — San Diego-based multi-media 3D production studio PassmoreLab announced today that it has signed an agreement with legendary production company Grizzly Adams® Productions has to convert 500 of its feature films, television series, and documentaries to 3D.

According to Charles E. Sellier, CEO of Grizzly Adams Productions, when completed, the estimated seven-year, $200 million project “will create the largest 3D library in the entertainment industry.”

In addition to converting its existing 2D library to 3D, PassmoreLab will convert Grizzly Adams’ new productions to be completed — 18 new feature films and 78 television series episodes — over the seven-year term of the agreement.

Named after its long-running NBC Network TV series The Life and Times of Grizzly Adams, Grizzly Adams Productions has been a leading producer of family friendly and faith-based independent movies, documentaries, television specials and series for the past three decades.

David Balsiger, vice-president at Grizzly Adams, notes, “To the best of our knowledge, we’re the first production company to initiate converting a major film library to 3D.”

PassmoreLab is a state of the art multi-media 3D production studio specializing in the conversion of 2D motion pictures into 3D entertainment experiences. The company’s proprietary technology for 2D to 3D video and film conversion is unmatched in the industry, in both turnaround times and conversion costs. Their existing library of 3D content is already considered to be the largest in the world, with hundreds of television shows, films, documentaries, videos and animation titles.

“At the end of the seven-year agreement with PassmoreLab, we project that we will have the largest 3D library available for retail, the most 3D TV programs available for licensing, and, we will have captured major shares of both the family and faith 3D markets,” explains Balsiger. Approximately 20 percent of the Grizzly Adams library is described as faith-based.

According to Greg Passmore, president of PassmoreLab, his company has arranged funding for the $200 million conversion project and has ramped up capacity to convert up to 100 Grizzly Adams titles per year.

Passmore observes, “Grizzly Adams has completely embraced 3D technology. There are other studios with large libraries, but they face many hurdles to convert even a few titles to 3D. For example, since the industry considers any resulting 3D title as a derivative product, there are contractual restrictions regarding director approvals, talent and music residuals, plus complex financing issues. All of this adds up to a disincentive to convert back list titles into 3D.”

“We own all of our films and television series outright,” explains Balsiger. “Our library is ideal for converting shows and filling the retail pipeline quickly while demand is high and supply is extremely low.”

Passmore adds, “Internationally, there’s every indication that 3D will be the standard from this point forward in movie theaters, on broadcast television, and across all video delivery systems. Our strategy is to be completely ready to take full advantage of that by having a large 3D-ready library available for licensing.”

If there ever was any doubt that 3D is the future of the home video market, those arguments were laid to rest recently when electronics giant, Panasonic, reported that its stock of 3D HDTVs selling at about $3,300 each had completely sold out within days of the products hitting retail outlets.

According to U.K.-based research firm Futuresource Consulting, the portion of U.S. households that will have a 3D television set in four years will rise to 45 percent from four percent this year.

Although box office blockbuster, Avatar, was shot in 3D, converting a 2D film to a 3D film appeals to leading filmmakers. For example, Tim Burton shot the recently released Disney remake of Alice in Wonderland with traditional 2D digital cameras and then converted the footage to 3D.

The masters are already available for the 3D Blu-Ray and VOD versions of The Fabric of Time, Grizzly Adams’ award winning television special about the Shroud of Turin, long believed to be the burial cloth of Christ. This is Grizzly Adams’ first 3D evergreen entry into the faith market which will crossover onto secular retail shelves for Easter sales.

Within the next six weeks, the highly acclaimed feature film, Friends for Life, will be released in 3D. This family friendly movie, complete with wolves and a bad grizzly bear, has received 30 awards for production excellence.

The first new 3D television series for the joint Grizzly Adams-PassmoreLab production pact will be a fifty-two episode series about George Washington, culminating with a feature length theatrical picture.

Among the new 3D feature film projects slated for production over the term of the alliance are two Grizzly Adams family-oriented feature films currently in pre-production: The Super Heroic Life of Edward Hinkleberry; and the newest franchise installment to the Grizzly Adams legend, Grizzly Adams Begins.

Grizzly Adams will oversee all worldwide television broadcast/DVD licensing for the 3D productions. PassmoreLab will take the lead role in theatrical distribution.

Contact Steve Glum at 1-858-200-5813, or email at steve@passmorelab.com.

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San Diego, CA (Mar 3, 2010) – San Diego-based 3D Production Studio PassmoreLab has returned from the islands of the Indian Ocean, officially completing photography on their latest 3D science film, “The Extreme Nature of Bats”.

The film, which explores the truths, myths and dark legends that have stalked the world’s only flying mammal, closely examines three bat species; the free-tailed bat, the megabat, and the infamous vampire bat.

PassmoreLab’s production team traveled the world to film these bats in their natural habitats in order to tell their remarkable story.

Production began last year in October in a Texas bat cave, where the team filmed a resident population of 12 million Mexican free-tailed bats. From there, the crew traveled to Romania to tackle the myths surrounding bats and Bran Castle (better known as Dracula’s Castle), then backpacked through the jungles of Mexico to film the elusive vampire bat. Finally, after arriving in Africa, the team boarded a boat to a primitive island in the Indian Ocean to film the megabat.

“I took the crew over 42,000 miles to get these bats,” says Passmore. “We were on location in some amazingly remote places. For instance, the Indian Ocean island was wild, with giant spiders, huge bats, and very difficult terrain. It looked like we had landed in a Jules Verne novel.”

Bats fulfill multiple roles in different parts of the world. For instance, in North America they keep ecosystems in check, yet are symbols of fright; in the Indian Ocean they are a part of the food supply; and in Mexico bats treat animals and humans as a part of their food supply.

Through interpreters and local guides, Passmore began to hear about the legends of his subject matter. “The locals in one remote village in Mexico told us that they can hear the vampire bats making a screaming noise during the nightly cattle hunts.”

To try to capture that on film, the crew had to ditch the jeeps and go in by foot, backpacking for hours to an area where they could film these swarms of vampire bats in the moonlight drinking blood from cattle.

“It was very still, very quiet, and then all at once…yes, there were screaming noises,” says Passmore. “It was eerie.”

“The Extreme Nature of Bats” is a new, educational 3D science film that chronicles the lives of these unique and interesting animals. Passmore’s objective was to find bat populations in locations where few crews have ever gone before, giving viewers a highly memorable, realistic journey and exposing them to a world they have never seen before.

“I wanted to go deep inside active bat caves and film from the inside out,” says Passmore. “I needed to understand the risks and rewards associated with large bat populations before I could put it onscreen.”

One sequence shows the megabats in the trees and sky, surrounded by the most incredible natural beauty on the edge of an ancient burial ground. And in the middle of all that activity, the local people are catching them in giant nets.

“Apparently, they go well with rice,” continues Passmore. “That just reinforced to me the need to better understand these creatures across cultural contexts,” continues Passmore. “A disease plaguing bats, White Nose Syndrome, is killing off entire bat colonies, and we are unsure why. Hopefully the film can help underscore the importance of these creatures and why we need to protect them.”

The film now goes into post-production to be ready for rollout to museums and theatres. “We traveled far and wide to tell this story,” says Steve Glum, PassmoreLab’s head of Branding & Distribution. “It’s been an incredible expedition and we think audiences worldwide will be thrilled to experience this journey with us.”

PassmoreLab’s “The Extreme Nature of Bats” (www.youtube.com/watch?v=RQ23ZMBcVMg) is scheduled for release to Science Centers and Museums in March, and will be translated into German and Spanish.

About PassmoreLab

PassmoreLab, the “World’s Largest 3D Content Provider”, is a San Diego-based multi-media production studio that specializes in 3D production. The studio custom-designs and builds its own RED camera 3D rigs for both conventional and rugged film productions, shooting everything from feature films, television and science documentaries, to underwater diving, extreme sports and cave exploration http://www.passmorelab.com/PL2minTRAILER.mov. State-of-the-art facilities include a full 3D production studio, video/film post-production, optical development lab, and a software development environment. Production includes 2D, 3D, high dynamic range time lapse, stereoscopic microscopy and cutting-edge simulation technologies for real time SFX. PassmoreLab has additional offices in Russia and the Philippines. For more information, visit www.passmorelab.com.

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* edit, color correction, sound design: http://www.todd-day.com

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