Glamour Magazine held its 16th annual Women of the Year Awards ceremony last month on Nov. 2, 2005 at Lincoln Center's Avery Fisher Hall, issuing ten
awards and two lifetime achievement awards to outstanding women. Winners
have included Americas most prominent and powerful social, business,
fashion, entertainment, political, literary, journalism, science, legal, and
sports figures. This year's honorees included actress Catherine Zeta Jones,
tennis star Venus Williams, journalist Christiana Amanpour, fashion designer
Diane Von Furstenberg, Pakistani abuse victim Mukhtar Mai, ABC TV's Ann
Sweeney, tsunami survivor Petra Nemcova, musician/activist Melissa
Etheridge, the Studio Museum of Harlem's Thelma Golden and a group of female
rescuers from Hurricane Katrina. The two lifetime achievement awards went
to activist/former President of Ireland Mary Robinson and actress Goldie
Hawn. Past winners have included Katie Couric, Congresswoman Nancy Pelosi, designers Kate Spade and Carolina Herrara, Senators Hillary Clinton and
Elizabeth Dole, Supreme Court Justice Ruth Bader Ginsburg, actresses Sigourney Weaver, Kate Winslet and Susan Sarandon, singers Alanis Morrisette and Alicia Keys, Olympic Gold Medalist Bonnie Blair, author Judy Blume, Nobel Peace Prize Winner Jody Williams, etc.
Digital Arts handled all elements of the show's post post production and
sound design, working closely with veteran producer/director Chuck London of
CLV, Inc., who just completed his 14th year producing and directing all of
the video segments for the Awards show, which is performed and taped in
front of a live audience.
"We had to really tap into our extensive backgound producing and managing
world-class live events this year," explains Digital Arts' Founder and
Creative Director, Axel Ericson. In the course of producing "The Women of
the Year Awards" for Glamour, Digital Arts and CLV have interviewed
literally hundreds of movers and shakers from all walks of American and
International life.
"Because of the extremely tight and up-to-the-minute late-breaking
production schedules, we needed to take advangate of our Avid Symphony, two
uncompressed final cut pro stations, and 4 top-notch editors working at our
facility 24/7," explains London. "We mixed each of the 12 videos we
produced this year in our ProTools Audio suites." In fact the entire post
production process, from first rough cut to final full stereo audio mix and
digibeta on-line masters, occurred under the Digital Arts roof, including all video, audio and electronic graphics. "It was critical to have everything under one roof, especially as the deadlines got closer, so that we could mix in one room and finish edits in the other," says London. "Digital Arts expertise and their 'can do' attitude is invaluable to me, which is why I work with them year after year."
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