Tag Archives: NAB 2015

First Impressions: Blackmagic’s DaVinci Resolve 12

By Brady Betzel

While I wasn’t able to get to Las Vegas for NAB this year, I was definitely there in spirit thanks to constant Twitter updates and blog posts around the web. The company that stood out to me the most was Blackmagic Design. They introduced tons of awesome equipment and products, including the latest update to DaVinci Resolve. I was really interested in what I was seeing: multicam workflow, AAF exporting, 3D tracking… it was overwhelming.

You might have noticed that in addition to my day job as an editor at Margarita Mix, I do a lot of product reviews. I love the process. Why wouldn’t I? I get to play with the latest and greatest offerings in production and post.

While I don’t have the DaVinci Resolve 12 update yet, the senior director of marketing and all around guru for Blackmagic, Paul Saccone, gave me an in-depth tour of what is going to be released in the latest version. Before I review the software I wanted to share a couple of key updates that are seemingly turning DaVinci Resolve into what many had hoped Avid Symphony would maybe turn into.

Multicamera Workflow
Working with multiple cameras can often be tricky. Syncing and grouping them together isn’t always as straightforward as one would hope. When I was an assistant editor I remember spending hours and days grouping footage. Sometimes I would be able to sync by timecode and sometimes not. I would be lucky to get a clap or some sort of sync reference from the people recording in the field. When none of that was available and my clips seemingly had very little in common I would resort to using PluralEyes by Red Giant, which is still a great and useful tool. The only problem is that it’s an external app and if I can avoid it I would much rather work inside my NLE or online suite.

Blackmagic has added what seems to be an awesome integration of multicam workflow into Resolve 12. You can even sync by audio, just like PluralEyes does! That should be a great feature.

The best part about Resolve 12’s multicam workflow is the ability to modify and add to existing groups by simply editing the group like a sequence. If your group is out of sync, open up the group sequence, put it in sync and your group will be immediately updated. For us Avid users out there this means no more re-grouping yuck. You can even add cameras or audio tracks to your group later!

Nested Timelines
You can now nest a sequence inside of your current sequence. If you are assembling a final edit you may want to lay out your acts in linear order for timing reasons and then once all the acts are “final” (we know nothing is ever final), you can now “decompose in place,” meaning break out all of your clip-based edits in the same timeline you are working in without having to overcut. Really a great feature.

3D Keyer and Tracker
If you’ve seen how Imagineer System’s/BorisFx Mocha Pro planar tracker works or Adobe After Effects’ 3D tracker works, you know there are some amazing options to track. Unfortunately these are usually not the tools you work in to conform and online your work. In Resolve 12, there is a new 3D tracker and 3D keyer that from first glance will be all you need for basic to semi-advanced work. It doesn’t seem like these will be full replacements of Keylight in After Effects or planar tracking in Mocha Pro, but if Blackmagic can keep me in one NLE/coloring platform/compositor without having to farm out tasks to After Effects or another program, I am definitely listening.

The features I listed here are only a couple that I think are amazing. In addition, there are features like shot color matching, AAF to Pro Tools export, improved media management features, improved trimming functions, overall layout improvement, smart bins and many more.

I hope to review DaVinci Resolve 12 in a few months, and am really excited to run it through its paces. I’ve been venturing deeper into different compositing apps, coloring correcting packages and NLEs and am really impressed by the way Blackmagic is digging in and starting to outpace other software and hardware makers. Maybe they really can make the ultimate NLE/compositor/color corrector — we’ll have to wait and see.

If you want to get a quick video run through of the new features being released, check out Blackmagic Design’s website and click on “What’s New.” You can also follow them on Twitter @Blackmagic_News.

Brady Betzel is an online editor at Margarita Mix in Hollywood. Previously, he was editing The Real World at Bunim Murray Productions. You can email Brady at bradybetzel@gmail.com, and follow him on Twitter, @allbetzroff.

At NAB, TVLogic launched 12 new displays

In response to the increasing demands of broadcast, production, postproduction, digital signage and multi-viewer applications, TVLogic launched 12 new displays at NAB 2015. Included in the lineup was a 31.1-inch 4K monitor, a 17-inch broadcast model, a new studio wall monitor series comprised of six sizes, and a rack monitor range with four possible configurations.

TVLogic LUM-310A

TVLogic LUM-310A

The 31.1-inch LUM-310A monitor features 4096×2160 resolution with a high-contrast ratio of 1450:1, and supports four SDI and four HDMI inputs as well as an HDMI one-channel input. The model provides wide color gamut up to DCI, true 10-bit color depth, 3D LUT support for precise color reproduction, two-sample interleave division, and an HD 1:1 or full-screen upscaling function.

The LVM-170A 17.3-inch monitor (our main image) is a full-HD model with 1920×1080 resolution. The display features three analog SDI inputs and outputs, two SDI inputs, and one SDI output (SD, HD, 3G-SDI), plus an HDMI and DVI input. The LVM-170A offers a wide viewing angle and standard Rec. 709 color gamut.

Monitors in the new studio wall monitor series come in six sizes ranging from 17.3 inches to 55 inches. All models feature Rec 709 color gamut; wide viewing angles; support for two SDI inputs and outputs, plus one HDMI and one DVI input and output; OSD buttons on the side; and an optional SFP optical module, and they are fully compatible with free “Observer” software for remote control and management.

Finally, the rack monitor series offers four configuration options: two 7-inch or 9-inch units, three 5.6-inch units, or four 3.4-inch units. All feature 16.7 M color depth and the appropriate resolution levels and contrast ratio to maximize quality for each size.

All of the new models come with TVLogic’s color-calibration utility support.

Rohde & Schwarz upgrades Clipster for IMF, adds Venice 4K

Rohde & Schwarz DVS has added key functions to its R&S Clipster IMF mastering workflow, including IMF-compliant closed captions and subtitles, composition playlist markers and forensic watermarking. The additional functions are aimed to make R&S Clipster’s IMF workflow a complete solution for UHD, 3D and Rec. 2020 mastering.

In the new version, the timeline can be used as usual to arrange all the content, including captions and subtitles. An integrated IMF delivery tool guides users through all the necessary steps to ensure the package they have created is IMF-compliant. Users can also play back UHD IMF content in real time for visual quality control. R&S Clipster now also supports NexGuard forensic watermarking, which lets content owners and their vendors protect prerelease content up to UHD and 4K.

Meanwhile, Rohde & Schwarz has expanded its R&S Venice ingest and production server product line with the new R&S Venice 4K server. With the new server, TV studios can set up file-based studio production workflows in 4K that, according to the company, can be as fast as similar HD workflows. R&S Venice 4K allows direct recording in 4K without any time-consuming stitching processes. At the same time, the material is converted to HD-SDI and saved as a file. This parallel generation of both HD and 4K content provides TV studios with a feasible transition option until content is broadcast entirely in 4K.

JVC offers new 4KCAM line of camcorders

During NAB 2015, JVC Professional introduced the new 4KCAM line of professional camcorders. The new product line contains three models — the GY-LS300 Super 35 mm camcorder, GY-HM200 streaming camcorder and GY-HM170 compact camcorder — all employing the newest advancements in 4K imaging and efficient encoding to accommodate a variety of workflows.

The JVC GY-LS300 (our main image) is designed for cinematographers, documentarians and broadcast production departments. It features JVC’s 4K Super 35 CMOS sensor and an industry-standard Micro Four Thirds (MFT) lens mount. JVC’s Variable Scan Mapping technology electronically adapts the active area of the Super 35 sensor to provide native support of PL- and EF-mount lenses, among many others. As a result, the GY-LS300 camera provides many lens options when used with third-party lens adapters.

Both the GY-LS300 and GY-HM200 include a built-in HD streaming engine with Wi-Fi and 4G LTE connectivity that allows live HD transmission directly to hardware decoders, the Wowza Streaming Engine and the ProHD Broadcaster server powered by Zixi. The camcorders support various streaming protocols in order to stream directly to websites and content delivery networks.

JVC's GY-HM200

JVC’s GY-HM200

The GY-HM200 and the GY-LS300 also include dual XLR audio inputs that are mic/line switchable, with built-in phantom power, an integrated handle with hot shoe and dedicated microphone mount, and SDI and HDMI video outputs.

JVC’s most affordable streaming camcorder, the GY-HM200, is built for corporate video and ENG apps. It features a 1/2.3-inch BSI CMOS chip and built-in 12x zoom lens (24x dynamic zoom in HD mode) with optical image stabilizer. It delivers 4K Ultra HD, 4:2:2 full HD (50 Mbps) and SD imagery.

The GY-HM170 features a heavy-duty body with comprehensive video profile settings and controls for professional use. It records 4K Ultra HD as H.264 files and can record HD and SD footage in a variety of resolutions and frame rates. Other features include an integrated 12x optical zoom lens with two ND filters, built-in stereo microphone and 3.5 mm audio input and live 4K UHD output through a built-in HDMI connector.

4KCAM cameras feature dual SDHC/SDXC card slots for dual, back-up, and continuous recording. The camcorders also include a 3.5-inch LCD display and 1.56 megapixel color viewfinder (both with smart focus assist functions) and offer two-channel audio recording.

All three camcorders are now shipping.

NAB 2015: Love and hate, plus blogs and videos

By Randi Altman

I have been to more NABs than I would like to admit, and I loved them all… I’ve also hated them all, but that is my love/hate relationship with the show. I love seeing the new technology, trends and friends I’ve made from my many years in the business.

I hate the way my feet feel at the end of the day. I hate the way that there is not enough lotion on the planet to keep my skin from falling off.  I extra-hate the cab lines, but mostly I hate not being able to see everything that needs to be seen.

Continue reading

New firmware and Atomos Shogun support for AJA’s CION camera

AJA has released version 1.2 firmware for its CION 4K/UltraHD and 2K/HD professional production cameras.

CION v.1.2 updates offer improved white balance performance for overexposed image portions; improved video levels with higher IRE values available for various EI, gamma and color correction combinations; additional gamma and color correction options for higher EI 800 and EI 1000 values; and new internal video gamma LUT for external monitoring of the “expanded 1” or “disabled” gamma selections when an external LUT device is not in use.

In addition, an automatic white-balance alarm notifies users if an image does not contain a sufficient value of white or grey to perform an appropriate white balance, which in turn triggers the software to revert to the unity setting. AJA has also added an interval record (timelapse) indicator for the superimposed monitoring overlay, and SMPTE or full RGB range values can now be selected for the main SDI outputs.

CION v.1.2 firmware is field-upgradeable and can be uploaded to the camera via a built-in Web interface with a standard Web browser. The free update is available for download from https://www.aja.com/en/products/cion#support.

In other CION camera news, the Atomos Shogun portable recorder now supports external recording of AJA Raw files captured by the CION camera. Atomos Shogun users can record CION’s AJA Raw files at 4K and UltraHD resolutions at up to 60fps.

LaCie doubles capacity of Rugged Thunderbolt SSD

LaCie has increased the storage in its Rugged Thunderbolt storage solution to 1TB SSD capacity. With double the storage, the new LaCie Rugged is just as portable with no size or weight increase compared to the 500GB offering. 

Based on LaCie’s test set-up, which used an AJA System Test connected to a Mac computer via the Thunderbolt interface, the LaCie Rugged delivers speeds of up to 387MB/s — three times faster than a standard mobile hard drive. With these speeds, creative professionals can transfer 100GB in less than five minutes.

The LaCie Rugged provides enough bandwidth to review and edit photos or video in the field, so by pairing it with a laptop, a photographer or videographer can back up footage or complete a project on location. 

The LaCie Rugged is MIL-compliant, which means that data is protected even during accidental drops of up to two meters (6.6 feet).

With its cap in place, the LaCie Rugged is also IP54-rated for superior protection against dust and water splashing, even during operation. The unit is resistant to vibration and shock and is tough enough to be shipped for reliable delivery to clients or partners. 

The LaCie Rugged is fully bus-powered through the Thunderbolt and USB 3.0 cables.

NAB 2015: Adobe, Foundry and revisiting the ‘big picture’

By Adrian Winter

Admittedly, it’s taken me a while to put this entry together, as the days between when NAB wrapped up until now have been very busy. How busy? So busy that I have yet to catch up with Daredevil. THAT’S how busy. I am not starting Episode 10, despite the fact that Episode 9 ended on a really crazy note and I can’t stop thinking about it. Instead, I am taking this time to run through my last day at NAB.

While the exhibit floor on toward the end of the show was significantly less crowded than earlier in the week, there were still some gems to be found that are worth reporting on.

Adobe
Wednesday morning found me at the Adobe booth, taking in demos of the new releases of CC Continue reading

NAB 2015: A veteran’s perspective

Where have all the buttons gone? They’ve gone to servers.

By Jonathan Moser

For me, NAB used to be about “the buttons.” The latest and the greatest. Which black box could do what to a picture… and sound. K-Scopes, ADO, A53, DDRs…switchers with a LOT of buttons and colors. Consoles, decks, 1-inch, all the Ds (D1,D2…D5). Cool hardware. But post hardware (with the exception of some, like NewTek’s TriCaster and a handful of others) has gotten decidedly boring. Let’s face it — hard drives and ASCII keyboards just aren’t sexy.

Now, NAB post production seems to be about everything else — servers, distribution, Ultra HD Continue reading

NAB 2015 Wrap-Up: The final days

By Will Rogers

That was quite a week. Wednesday and Thursday at the NAB Show were much less hectic than Monday and Tuesday — no long lines for freshly squeezed product releases or swaths of spectators with tunnel vision. But don’t be fooled… every day of NAB is jam-packed and fast-paced, but the latter part of the week brought more of a wander-and-observe atmosphere.

I forgot to set my alarm for the same time every day, so I got into Wednesday’s FCC keynote a
little late. I caught the tail end of Tom Wheeler’s talk, but after the crowd was released, I Continue reading