Latest news with #Avid
New York Post
18-06-2025
- New York Post
Young mother thrown from boat leaves behind grieving husband, 4 children after tragedy in Alabama bayou
A young family in Alabama is grieving after a devastating boat accident led to the death of 27-year-old Brittney Sherman. Sherman, of Wilmer, Alabama, was boating in Bayou Sara near Saraland in Mobile County on June 15 along with her husband, 30-year-old Cody Sherman, and the couple's four children. Advertisement The Alabama Law Enforcement Agency (ALEA) confirmed to Fox News Digital that two boats were involved in a collision at approximately 5:50 p.m. Sunday. Authorities said the incident involved a 20-foot Avid Center Console vessel occupied by the Sherman family and a 26-foot Regulator Center Console. According to officials, the impact of the collision caused Brittney to be thrown overboard. Despite the swift arrival of emergency crews, search efforts were hampered by the bayou's murky waters, making it difficult to locate Sherman in the aftermath of the crash. Advertisement 4 Brittney Sherman died after a devastating boat accident. Facebook/Brittney Harville Sherman 4 Sherman was boating in Bayou Sara near Saraland in Mobile County on June 15 along with her husband, 30-year-old Cody Sherman, and the couple's four children. Facebook/Brittney Harville Sherman On Monday morning, search and rescue personnel resumed the search for the missing mom. At approximately 10:50 a.m., personnel recovered Sherman's body about 100 yards from the spot where she had entered the water. Two other passengers aboard the Avid vessel sustained injuries in the crash. Cody was transported to USA Health University Hospital in Mobile for medical care. One of the Shermans' children, 4, was taken to a local hospital for treatment. Advertisement The operator of the Avid boat was not injured in the collision. Likewise, the operator of the Regulator vessel was unharmed. 4 On Monday morning, search and rescue personnel resumed the search for the missing mom. Facebook/Brittney Harville Sherman 4 The operator of the Avid boat was not injured in the collision. Facebook/Brittney Harville Sherman The ALEA Marine Patrol Division is continuing to investigate the cause of the crash. No charges have been filed. Fox News Digital has reached out to the Mobile County Medical Examiner's Office for comment. Advertisement Cody and Brittney shared four children together. In the wake of her passing, Cody expressed the weight of raising the children alone. 'Brittney I love you more than anything in this world,' Cody wrote on Facebook. 'I promise to take care of these babies for you, sweetheart! I know that you are up there watching over us.' 'Please show me how to do this,' added Cody. 'I'm not sure how I'm gonna make it and I'm gonna do my best to make you proud. I love you until we meet again!!'
Broadcast Pro
17-06-2025
- Business
- Broadcast Pro
Amazon MGM Studios and Avid extend cloud production deal
Amazon MGM Studios and Avid began a strategic collaboration three years ago that will continue as the companies explore ways to integrate other Avid tools via the cloud. Avid has announced an expanded agreement with Amazon MGM Studios to integrate its leading creative tools—Media Composer and Avid NEXIS—into Amazon Web Services (AWS), allowing the studio's productions to leverage cloud-based editing and storage solutions tailored to their specific needs. The partnership marks a significant step in Amazon MGM Studios' long-term strategy to transform global production and post-production workflows using scalable, cloud-native technologies. The extended collaboration builds on a relationship that began three years ago, as both companies continue exploring opportunities to bring more Avid tools to the cloud. The integration follows the recent unveiling of the Avid on AWS production framework at NAB Show 2025, reinforcing Avid's role in powering modern, agile post-production environments Raf Soltanovich, VP of Technology, Prime Video & Amazon MGM Studios, said: 'Amazon MGM Studios' continued relationship with Avid underscores our confidence in the role Avid NEXIS and Avid Media Composer play in the cloud-powered post-production future. Today, through the Studio's own offering with AWS, we can deploy Avid NEXIS to our productions around the world in minutes, which helps us ensure we have best-in-class tools to support our productions.' The integration allows Amazon MGM Studios to enhance global collaboration, enabling distributed teams to work faster and more efficiently using flexible, software-defined workflows. A recent feature film project illustrated this capability, with dailies processed in Mumbai and editorial completed between London and Spain—showcasing seamless, cross-border collaboration and the ability to make editorial adjustments in real-time during production. The cloud automation enabled by AWS significantly reduces turnaround time, streamlining post-production operations while maintaining creative control. By deploying Avid's tools across international locations, the studio meets increasing industry demand for accessible, high-performance editing environments that function beyond traditional studio confines. Wellford Dillard, CEO at Avid, added: 'We are meeting the pent-up demand of enterprise-class customers for a secure, scalable, and high-performance post-production solution on AWS,' said . 'Amazon MGM Studios' integration of Avid Media Composer and Avid NEXIS not only shows the critical role our technology continues to play in media production workflows, it also proves that cloud-native post-production is empowering successful creators everywhere, today.' The successful deployment of Avid Media Composer and NEXIS for Amazon MGM Studios via AWS demonstrates the impact of Avid's open and integrated cloud workflows, providing a blueprint for future studios seeking to modernize content creation while meeting the creative demands of global production teams.
Yahoo
12-06-2025
- Entertainment
- Yahoo
How ‘Worlds Beyond Number' Broke Battlefields, Hearts, and Also Pro Tools
For anyone who has made the sane decision to not have a podcast, Pro Tools is Avid's audio editing suite and is the most common DAW (digital audio workstation) in use once you reach a certain level of production. It has all sorts of plugins to enhance or alter audio files and can mix in Dolby Atmos, if that's your bag. It also has a limit of 1,024 discrete tracks to hold audio files in a single project. For one recent episode of the'Worlds Beyond Number' podcast, producer Taylor Moore hit the Pro Tools track limit. Twice. 'Worlds Beyond Number' is an audio actual play series currently concluding its first arc of fantasy tale 'The Wizard, The Witch, and the Wild One,' before it transitions to a new setting for an as-yet-unnamed science-fiction story. But every two weeks for the past two years, players Aabria Iyengar, Erika Ishii, and Lou Wilson have adventured as Suvi, Ame, and Eursulon, growing into the titular wizard, witch, and wild one; gamemaster Brennan Lee Mulligan, meanwhile, has spoken for every other character in the animistic, magic-filled world of Umora. More from IndieWire How a Thank-You Note Transformed Mara Brock Akil's Career | 'What No One Tells You' Inside the Textured World of 'Daredevil: Born Again' The fourth season (or, to use the show's nomenclature, the fourth chapter) of 'The Wizard, The Witch, and the Wild One' has seen Umora suffer great harm as a war erupts between two powerful empires. The characters' quest to save a group of children stolen from their parents by one of those empires for exploitative purposes has stretched these True Friends' grasp on both the truth and their friendship — and that was before they ended up between the front lines of a major battle. Mulligan sets the stakes early in 'The Battle of Twelve Brooks Part 1' by telling the players they cannot experience what's about to happen via the normal rules of D&D combat (the show uses the fifth edition of Dungeons & Dragons for its game mechanics). But it was Moore's job to craft a soundscape that pays off Mulligan's descriptions of a horrifying perspective shift — one in which the characters go from being at the center of their own story to being as small as 'bugs that have crawled out of some rubble at the edge of one of the continent's largest events in its history.' IndieWire reached out to Moore about stretching Pro Tools to its limit to sound design 'The Battle of Twelve Brooks,' all the ways podcasts can sound as epic as the biggest film blockbusters, and the value of silence in audio. This interview has been edited for length and clarity. IndieWire: What are audio's strengths as a medium when it comes to doing this kind of storytelling, with the Battle of Twelve Brooks? Moore: It's cheap. Yeah, fair enough. Because we have chosen audio, we are able to go toe-to-toe with the most powerful entertainment production houses in the world, regarding the emotions of our audience. I can get tears, I can get laughter, I can get disgust in the same way that Marvel or Disney can, and for a millionth of a percent of the cost. How are you constructing the show? What's the normal workflow? The normal workflow is very simple, God bless podcasting. Brennan and I will have a few story meetings, writers meetings, then he'll talk with the cast, usually one-on-one. Then I got to LA and we build a recording studio in the bedroom of an Airbnb; we record a bunch of episodes in there; then we take the episodes back and Jared Olson, my assistant editor, and I will cut it. Jared will do a first pass on the dialogue edit and the design edit. Then, when it comes to me, I'll scooch things around and take a couple of swings before last looks. Nothing's locked until I hit publish. I have truly gone back at the 11th hour to add some extra sauce to some early cue or fix a mix problem I didn't discover until the very end. We will usually make these episodes in less than two weeks. It's one of the benefits of working in a small team: We can be flexible without all these levels of production hierarchy. There's no one else to answer to, aside from us and the cast. We can follow our bliss until the very end. It's a beautifully simple process — until you decide to have a 'Return of the King' sized episode, a 1 hour and 40 minute episode with 1000 cues in it. And to have each effect stand out and be identifiable — and to combine it with everything else going on at the time to maintain immersion when so many things are going on all at once and each faction has a different style and sound of magic and music — that's when it becomes really complicated. That's when you max out Pro Tools. How do you go about fitting a 'Return of the King' into a DAW? Combine and compress. Lock 'em in. Listen, when I first started Fortunate Horse, my production company, we made really big, beautiful, sophisticated audio shows on Audacity. This is back before Audacity's recent updates, which gave it non-destructive audio editing and plugins. So we were dealing with audio with no plugins, no real-time audio processing, everything was destructive editing. Thinking about that now, it seems like the most irresponsible thing, and I can't tell you how many times I lost a whole show or a whole episode or something because of some software problem that, with software like Pro Tools, is not an issue. The issue is — when you have this many cues, this much music, this many sound effects, eventually you discover that it turns out there's a track limit and then you have to commit and then you have to decide, 'I'm not gonna fiddle with the mix on that one magic spell anymore. I've got to combine tracks and get it way down.' Wow, like 2015 Audacity? That's wild. I agree! But I didn't know any better. I run my company very much on the Wile E. Coyote principle, you know? You can walk off the cliff, just don't look down. Don't acknowledge that you might be doing it the wrong way. Don't look down and you won't fall. Podcast with confidence, yeah. It gets at something, too, that there's no right way to do audio storytelling. You just have to teach your audience and commit to what you're doing. As a person, I am in love with spectacle. I like spectacle. I like the feeling that someone has suffered to curate an experience for me, which makes me sound like Louis XIV, you know? It's real 'treasure bath' time. That's not what I mean. I listen to politics shows, and chat shows, and round tables in front of a microphone. I love them. But I want to make opera. In the very earliest stages of developing this particular show, 'The Wizard, the Witch, and the Wild One,' our first large format campaign in 'Worlds Beyond Number,' we were very much influenced by Studio Ghibli and Joe Hisaishi's scores and absolutely in love with the middle and late 20th century adventure film, the Alan Silvestri and John Williams of it all. The problem is I did not know how to write music. I only learned how to write music and produce music on a computer in the last couple of years, so I could score podcasts without stealing music or licensing music. I was like, 'Oh, I want to make some John Williams-style music,' and that's one of the most complicated — a John Williams action score has more notes in it than stars in the sky, and it's the most musically sophisticated popular entertainment you can have. It was like saying, 'Oh, this afternoon I'm gonna go develop powered flight and build an airplane real quick.' I was so stupid, I didn't know that it was a dumb idea, and so I got myself stuck in it. Have we even come close to that standard? No, not for a nanosecond. But you know, it's nice to have something to shoot for. Listen, there are some bang-on cues in 'The Battle of Twelve Brooks Part 1.' Those mournful horns when we see that Gaoth soldier who's a giant and also 17? C'mon. So, early on, we decided that these different orchestral families would be the standard bearers for different factions in the world. So for The Citadel, it's always brass. It's these snare drums, these martial effects. Spirits are very much about strings and breath and the choir, while witches are always these scratchy, screeching violins and, you know, the catgut instruments. As much as it was an aesthetic vision for the show, it was always a great way to get over the creative hurdle of the blank page. And now that we're so far along with the show, all these factions and parts of the world are mixing, so now we're dealing with the entire orchestra. It's a blast. I mean, the cue for when Ame is talking to Suvi at the bottom of the rope before they part ways — I thought that moment was handled so incredibly well by Aabria, Erika, and Brennan — the music there is a reorchestrated version of the cue where Suvi is freeing the ink demons. It's the same, and it literally matched up. I didn't have to change any of the timing. I was going to write a new cue that references that moment, and then I dropped [the original] in, and it was the perfect fit, like down to the half-second. And this shit happens all the time. Our natural organic rhythms of these things just constantly repeat and line up the way spirals on the fancy broccoli does. It's all these shapes just repeating themselves. Wow. Sometimes it's not just dice. The story tells the story. Is there anything on the editing side that you feel like you've kind of leveled up or learned over the course of making 'The Wizard, The Witch, and the Wild One?' I think I've gained an almost religious reverence for the natural rhythms and texture of organic human speech. There is so much magic in a pause, in a slight hesitation before a word. The urge with all the hyper-intelligent machine learning, polishing mix algorithms out there and the ease with which modern technology allows you to pull all the silences out and all the breaks — I mean, I could hit one button on Pro Tools and it'll strip all the silences and shorten the dialogue so there's no gaps. But that destroys it. In the same way that when we meet someone in person, there's all these subconscious things that are communicated between people with body language and smells and stuff. There's so much of that in the way people speak. And I think maybe in my early days, I was too quick to remove some of that, whereas now I understand that even if its meaning isn't clear, the nakedness and honesty of it has a value that can't really be quantified. It seems especially important when part of the show is us hearing the players' experience of telling the story together at the table. Absolutely. I mean, I cannot use a gate to clean up my dialogue because I will lose these tiny little gasps that reveal how the other people are feeling at the table. Without getting into spoiler territory, of course, I'm curious if you anticipate anything else in this chapter of the show potentially hitting the Pro Tools track limit again? It will be a tall order. This is definitely our 'Battle of the Bastards.' This is our big technical accomplishment for this season. I mean, maybe the finale? The finale has so much different stuff in it, and listeners will very much understand when they hear it. I think the finale has more locations and more characters in it than anything we've ever done. 'Worlds Beyond Number' is available on all podcast platforms and the show's Patreon. Best of IndieWire Quentin Tarantino's Favorite Movies: 65 Films the Director Wants You to See The 19 Best Thrillers Streaming on Netflix in May, from 'Fair Play' to 'Emily the Criminal' Martin Scorsese's Favorite Movies: 86 Films the Director Wants You to See
Pink Villa
22-05-2025
- Entertainment
- Pink Villa
I'm The Evil Lord Of An Intergalactic Empire! Episode 8: Liam Creates A Harem—Recap, Release Date And More
In 'Princess Knight,' a flashback sees Goaz mutilate Christiana by replacing her eyes with implants in her hands. In the present, Liam captures Treasure Island and follows the dog to a torture chamber. A pirate doctor shows off his victims. However, Liam soon executes him and commands the victims' full recovery using Goaz's stolen wealth. Nias then tricks Liam into buying 5,000 ships. During Yasushi's final test, Liam invents an energy shield and wins. Alarmed, Yasushi retires, declaring Liam a master. Liam thanks the Guide, who grows disgusted by his optimism. I'm The Evil Lord Of An Intergalactic Empire! Episode 8 will focus on Liam's next ambition. Having gained "wealth" through Treasure Island and "power" through mastering the Way of the Flash and acquiring Avid, Liam now believes the next step as an "evil lord" is to claim "women." Encouraged by Amagi and Brian to establish a harem, Liam will become overwhelmed, realizing the scale far exceeds anything from his previous life. As he considers selecting candidates from his domain, he will become conflicted by a personal value that prevents him from accepting certain criteria. His ideals may challenge the harem concept itself despite his original intentions. I'm The Evil Lord Of An Intergalactic Empire! Episode 8, titled 'Harem Plan,' is set to air in Japan on Sunday, May 25, 2025, at 2:00 am JST. Due to time zone differences, some international viewers may be able to stream it on Saturday, May 24. In Japan, I'm The Evil Lord Of An Intergalactic Empire! Episode 8 will be broadcast on networks such as ABC and TV Asahi and available on streaming services like d Anime Store and ABEMA. Internationally, viewers in select regions—including North America, Southeast Asia, and the Middle East—can watch it on Crunchyroll. Keep an eye on Pinkvilla for more updates from the I'm The Evil Lord Of An Intergalactic Empire! anime.
Yahoo
07-05-2025
- Business
- Yahoo
Corpay Inc (CPAY) Q1 2025 Earnings Call Highlights: Strong Revenue Growth and Strategic ...
Revenue: Q1 2025 revenue of $1.6 billion, up 8% year-over-year. Cash EPS: $4.51, up 10% year-over-year; would be up 18% on constant macro basis. Organic Revenue Growth: 9% overall; Vehicle Payments 8%, Corporate Payments 19%. Same-Store Sales: Positive 1% growth. Retention Rate: Steady at 92%. Sales/New Bookings: Up 35% versus Q1 last year. Full Year 2025 Revenue Guidance: $4.420 billion at the midpoint. Full Year 2025 Cash EPS Guidance: $21 at the midpoint. Corporate Payments Revenue: Up 19% organically. Cross-Border Revenue: Increased 18% organically. Vehicle Payments Revenue: Grew 8% organically. Operating Expenses: $579 million, increased 8% year-over-year. Adjusted EBITDA Margin: 55.2%, consistent with prior year. Leverage Ratio: 2.69x, down 6 bps from year-end. Cash and Revolver Availability: Over $2.5 billion at the end of the quarter. Q2 2025 Revenue Growth Expectation: 12% to 14%. Q2 2025 Cash EPS Growth Expectation: 11% to 13%. Release Date: May 06, 2025 For the complete transcript of the earnings call, please refer to the full earnings call transcript. Positive Points Corpay Inc (NYSE:CPAY) reported Q1 2025 revenue of $1.6 billion, an 8% increase, with cash EPS up 10% to $4.51. Organic revenue growth was strong at 9%, with Vehicle Payments and Corporate Payments segments showing 8% and 19% growth, respectively. The company announced a strategic partnership with Mastercard, which is expected to add 2% to 3% incremental revenue growth to the cross-border business starting next year. Corpay Inc (NYSE:CPAY) is maintaining its full-year 2025 guidance with expected organic revenue growth of 11% and cash EPS of $21. The company is actively pursuing M&A opportunities, including a $500 million investment in Avid, which is expected to be accretive to earnings in 2026. Negative Points The company faced a $6 million unfavorable fuel spread revenue shortfall in Q1 due to low price volatility. Cross-border revenue was impacted by U.S. tariff policies, with an expected unfavorable impact of $10 million to $15 million for the remainder of 2025. U.S. Vehicle Payments revenue declined by 3% organically, although improvements in retention and sales are anticipated. Lodging organic revenue growth was down 1% for the quarter, although it showed improvement from the previous year's decline. The macroeconomic environment remains uncertain, with potential indirect impacts from tariffs on client volumes and overall business performance. Q & A Highlights Q: Can you provide more details on the partnership with Mastercard and the expected revenue growth? A: Ronald Clarke, CEO, explained that the partnership with Mastercard is expected to add 2-3% incremental revenue growth to Corpay's cross-border business. He emphasized the significant opportunity due to the large volume of cross-border payments currently handled by banks, and expressed confidence that Mastercard's involvement will drive growth.
