Tag Archives: NAB

Arvato previews EditMate SaaS for Adobe Premiere Pro

At NAB 2018, Arvato Systems previewed an on-demand, SaaS edition of VPMS EditMate, the company’s production asset management system for Adobe Premiere Pro CC.

According to Arvato, the new SaaS version of EditMate addresses the complexity of today’s editing projects by bringing all projects and media into a single, searchable library and eliminating complex folder structures. EditMate also manages project templates, automatically importing regularly used media assets (IDs, graphics, bugs, etc.) into projects and setting up sequence parameters.

The high bit rates of large file sizes can make remote editing tedious and in some cases impractical. EditMate addresses this with an adaptive streaming engine that uses available bandwidth to deliver a high-quality, full-HD “proxy.” This gives users the full Premiere Pro CC experience and toolset without requiring them to wait for or copy large media files. Once users complete an edit, they can check in sequences or subclips “to air” or for review. All of the rendering and high-res creation happens back in the facility or wherever the original material is stored.

A trial version of the EditMate on-demand offering will be available through a web portal alongside entry-level packages for small-to-medium-sized workgroups and advanced packages that include the remote editing features. Additional seats can be added as needed on a monthly basis while enterprise-wide and “private cloud” deployments will also be available on request.

AlterMedia rolling out rebuild of its Studio Suite 12 at NAB

At this year’s NAB, AlterMedia is showing Studio Suite 12, a ground-up rebuild of its studio, production and post management application. The rebuilt codebase and streamlined interface have made the application lighter, faster and more intuitive; it functions as a web application and yet still has the ability to be customized easily to adapt to varying workflows.

“We literally started over with a blank slate with this version,” says AlterMedia founder Joel Stoner. “The goal was really to reconsider everything. We took the opportunity to shed tons of old code and tired interface paradigms. That said, we maintained the basic structure and flow so existing users would feel comfortable jumping right in. Although there are countless new features, the biggest is that every user can now access Studio Suite 12 through a browser from anywhere.”

Studio Suite 12 now provides better integration within the Internet ecosystem by connecting with Slack and Twillio (for messaging), as well as Google Calendar, Exchange Calendar, Apple Calendar, IMDB, Google Maps, Ebay, QuickBooks and Xero accounting software and more.

Frame.io to preview its next-gen collaboration tool at NAB

Frame.io will be at NAB this year previewing its re-engineered workflow management tool, which will have a full release early this summer. This next generation of the company’s media review and collaboration software, the new Frame.io was redesigned with speed in mind.

“When we first launched Frame.io, it was greenfield territory,” explains CEO Emery Wells. “We were able to launch a ton of features very quickly. Last year we assessed that our core infrastructure needed to be rebuilt if we wanted to execute on our very aggressive roadmap. Over the past year, we have been feverishly rebuilding almost the entire application from the ground up. I’d say it’s analogous to replacing railroad tracks right from underneath a speeding train without any the passengers feeling a thing. That work has been going on for about a year, and now Frame.io is sitting on a brand new, very solid and very secure infrastructure. Now with the right foundation, we’ve been able to work much more quickly and get back to the fast and furious shipping cadence of the first two years. The all new Frame.io is just a sneak peek of much much more to come.”

The new offering will be up 100x faster with a new media browser that enables users to search through thousands of assets quickly. New sorting and search options make it easier for users to find exactly what they need in less time. The new uploader can support speeds above 1GB and retains full nested folder structures during upload.

There will also be a revamped core video playback and media experiences for video, audio, images, multi-page PDFs and animated GIFs. The rebuilt core video playback engine means faster/smoother playback with less buffering, at up to 4K resolution.

Range-based comments will unlock a whole new level of communication. Users can drag the comment handle over the timeline to create a range and better reference the underlying content. Users can also see who’s currently watching (live) and who’s already watched with clip history. Clip statistics show you play count, historical views, and even let you set up a notification when a specific person or group of people start viewing.

All in all, Frame.io is adding over 150 additional features and improvements:
• All new apps and integrations for enhanced workflows
• Improved playback performance with HLS and DASH streaming
• Visual watermarking
• Media lifecycle management
• Dozens of security features in support of a commitment to offer the most secure platform available for video review

Last month, Frame.io shipped a completely redesigned player experience that laid the foundation for the new Frame.io and many more features to come. The new player page supports 360-degree VR content with spatial annotations so users can highlight a specific target within the frame. With a design and improved performance on mobile browsers, the player page allows users to an easily add descriptions to files, clearly see what date and version they are working on and collaborate even more quickly with their teams and clients.

Quantum’s StorNext 6 Release Now Shipping

The industry’s ongoing shift to higher-resolution formats, its use of more cameras to capture footage and its embrace of additional distribution formats and platforms is putting pressure on storage infrastructure. For content creators and owners to take full advantage of their content, storage must not only deliver scalable performance and capacity but also ensure that media assets remain readily available to users and workflow applications. Quantum’s new StorNext 6 is engineered to address these requirements.

StorNext 6 is now shipping with all newly purchased Xcellis offerings and is also available at no additional cost to current Xcellis users running StorNext 5 under existing support contracts.

Leveraging its extensive real-world 4K testing and a series of 4K reference architectures developed from test data, Quantum’s StorNext platform provides scalable storage that delivers high performance using less hardware than competing systems. StorNext 6 offers a new quality of service (QoS) feature that empowers facilities to further tune and optimize performance across all client workstations, and on a machine-by-machine basis, in a shared storage environment.

Using QoS to specify bandwidth allocation to individual workstations, a facility can guarantee that more demanding tasks, such as 4K playback or color correction, get the bandwidth they need to maintain the highest video quality. At the same time, QoS allows the facility to set parameters ensuring that less timely or demanding tasks do not consume an unnecessary amount of bandwidth. As a result, StorNext 6 users can take on work with higher-resolution content and easily optimize their storage resources to accommodate the high-performance demands of such projects.

StorNext 6 includes a new feature called FlexSpace, which allows multiple instances of StorNext — and geographically distributed teams — located anywhere in the world to share a single archive repository, allowing collaboration with the same content. Users at different sites can store files in the shared archive, as well as browse and pull data from the repository. Because the movement of content can be fully automated according to policies, all users have access to the content they need without having it expressly shipped to them.

Shared archive options include both public cloud storage on Amazon Web Services (AWS), Microsoft Azure or Google Cloud via StorNext’s existing FlexTier capability and private cloud storage based on Quantum’s Lattus object storage or, through FlexTier third-party object storage, such as NetApp StorageGrid, IBM Cleversafe and Scality Ring. In addition to simplifying collaborative work, FlexSpace also makes it easy for multinational companies to establish protected off-site content storage.

FlexSync, which is new to StorNext 6, provides a fast and simple way to synchronize content between multiple StorNext systems that is highly manageable and automated. FlexSync supports one-to-one, one-to-many and many-to-one file replication scenarios and can be configured to operate at almost any level: specific files, specific folders or entire file systems. By leveraging enhancements in file system metadata monitoring, FlexSync recognizes changes instantly and can immediately begin reflecting those changes on another system. This approach avoids the need to lock the file systems to identify changes, reducing synchronization time from hours or days to minutes, or even seconds. As a result, users can also set policies that automatically trigger copies of files so that they are available at multiple sites, enabling different teams to access content quickly and easily whenever it’s needed. In addition, by providing automatic replication across sites, FlexSync offers increased data protection.

StorNext 6 also gives users greater control and selectivity in maximizing their use of storage on an ROI basis. When archive policies call for storage across disk, tape and the cloud, StorNext makes a copy for each. A new copy expiration feature enables users to set additional rules determining when individual copies are removed from a particular storage tier. This approach makes it simpler to maintain data on the storage medium most appropriate and economical and, in turn, to free up space on more expensive storage. When one of several copies of a file is removed from storage, a complementary selectable retrieve function in StorNext 6 enables users to dictate which of the remaining copies is the first priority for retrieval. As a result, users can ensure that the file is retrieved from the most appropriate storage tier.

StorNext 6 offers valuable new capabilities for those facilities that subscribe to Motion Picture Association of America (MPAA) rules for content auditing and tracking. The platform can now track changes in files and provide reports on who changed a file, when the changes were made, what was changed and whether and to where a file was moved. With this knowledge, a facility can see exactly how its team handled specific files and also provide its clients with details about how files were managed during production.

As facilities begin to move to 4K production, they need a storage system that can be expanded for both performance and capacity in a non-disruptive manner. StorNext 6 provides for online stripe group management, allowing systems to have additional storage capacity added to existing stripe groups without having to go offline and disrupt critical workflows.

Another enhancement in StorNext 6 allows StorNext Storage Manager to automate archives in an environment with Mac clients, effectively eliminating the lengthy retrieve process previously required to access an archived directory that contains offline files  which can number in the hundreds of thousands, or even millions.

JVC GY-LS300CH camera offering 4K 4:2:2 recording, 60p output

JVC has announced version 4.0 of the firmware for its GY-LS300CH 4KCAM Super 35 handheld camcorder. The new firmware increases color resolution to 4:2:2 (8-bit) for 4K recording at 24/25/30p onboard to SDXC media cards. In addition, the IP remote function now allows remote control and image viewing in 4K. When using 4K 4:2:2 recording mode, the video output from the HDMI/SDI terminals is HD.

The GY-LS300CH also now has the ability to output Ultra HD (3840 x 2160) video at 60/50p via its HDMI 2.0b port. Through JVC’s partnership with Atomos, the GY-LS300CH integrates with the new Ninja Inferno and Shogun Inferno monitor recorders, triggering recording from the camera’s start/stop operation. Plus, when the camera is set to J-Log1 gamma recording mode, the Atomos units will record the HDR footage and display it on their integrated, 7-inch monitors.

“The upgrades included in our Version 4.0 firmware provide performance enhancements for high raster recording and IP remote capability in 4K, adding even more content creation flexibility to the GY-LS300CH,” says Craig Yanagi, product marketing manager at JVC. “Seamless integration with the new Ninja Inferno will help deliver 60p to our customers and allow them to produce outstanding footage for a variety of 4K and UHD productions.”

Designed for cinematographers, documentarians and broadcast production departments, the GY-LS300CH features JVC’s 4K Super 35 CMOS sensor and a Micro Four Thirds (MFT) lens mount. With its “Variable Scan Mapping” technology, the GY-LS300CH adjusts the sensor to provide native support for MFT, PL, EF and other lenses, which connect to the camera via third-party adapters. Other features include Prime Zoom, which allows shooters using fixed-focal (prime) lenses to zoom in and out without loss of resolution or depth, and a built-in HD streaming engine with Wi-Fi and 4G LTE connectivity for live HD transmission directly to hardware decoders as well as JVCVideocloud, Facebook Live and other CDNs.

The Version 4.0 firmware upgrade is free of charge for all current GY-LS300CH owners and will be available in late May.

Bluefish444 releases IngeSTore 1.1, adds edit-while-record capability

Bluefish444 was at NAB with Version 1.1 of its IngeSTore multichannel capture software, which is now available free from the Bluefish444 website. Compatible with all Bluefish444 video cards, IngeSTore captures multiple simultaneous channels of 3G/HD/SD-SDI to popular media files for archive, edit, encoding or analysis. IngeSTore improves efficiency in the digitization workflow by enabling multiple simultaneous recordings from VTRs, cameras and any other SDI source.

The new version of IngeSTore software also adds “Edit-While-Record” functionality and additional support for shared storage including Avid. Bluefish444 has partnered with Drastic Technologies to bring additional CODEC options to IngeSTore v1.1 including XDCAM, DNxHD, JPEG 2000, AVCi and more. Uncompressed, DV, DVCPro and DVCPro HD codecs will be made available free to Bluefish444 customers in the IngeSTore update.

The Edit-While-Record functionality allows editors access captured files while they are still being recorded to disk. Content creation tools such as Avid Media Composer, Adobe Premiere Pro CC, and Assimilate Scratch can output SDI and HDMI with Bluefish444 video cards while IngeSTore is recording and the files are growing in size and length.

MTI Film updates Cortex for V.4, includes Dolby Vision HDR metadata editing

MTI Film is updating its family of Cortex applications and tools, highlighted by Cortex V.4. In addition to legacy features such as a dailies toolset, IMF and AS-02 packaging and up-res algorithms, Cortex V.4 adds DCP packaging (with integrated ACES color support), an extended edit tool and officially certified Dolby Vision metadata editing capabilities.

“We allow users to manipulate Dolby Vision HDR metadata in the same way that they edit segments of video,” says Randy Reck, MTI Film’s director of development. “In the edit tool, they can graphically trim, cut and paste, add metadata to video, analyze new segments that need metadata and adjust parameters within the Dolby Vision metadata on a shot-by-shot basis.”

With the integration of the Dolby Vision ecosystem, Cortex V.4 provides a method for simultaneously QC-ing HDR and SDR versions of a shot with Dolby Vision metadata. For delivery, the inclusion of the Dolby Vision “IMF-like” output format allows for the rendering and delivery of edited Dolby Vision metadata alongside HDR media in one convenient package.

Cortex V.4’s Edit Tool has been updated to include industry-standard trimming and repositioning of edited segments within the timeline through a drag-and-drop function. The entire look of the Edit Tool (available in the Dailies and Enterprise editions of Cortex) has also been updated to accommodate a new dual-monitor layout, making it easier for users to scrub through media in the source monitor while keeping the composition in context in the record monitor.

MTI Film is also offering a new subscription-based DIT+ edition of Cortex. “It doesn’t make sense for productions to purchase a full software package if their schedule includes a hiatus when it won’t be used,” explains Reck.

DIT+ contains all aspects of the free DIT version of Cortex with the added ability to render HD ProRes, DNx and H.264 files for delivery. A DIT+ subscription starts at $95 per month, and MTI Film is offering a special NAB price of $595 for the first year.

Timecode and GoPro partner to make posting VR easier

Timecode Systems and GoPro’s Kolor team recently worked together to create a new timecode sync feature for Kolor’s Autopano Video Pro stitching software. By combining their technologies, the two companies have developed a VR workflow solution that offers the efficiency benefits of professional standard timecode synchronization to VR and 360 filming.

Time-aligning files from the multiple cameras in a 360° VR rig can be a manual and time-consuming process if there is no easy synchronization point, especially when synchronizing with separate audio. Visually timecode-slating cameras is a disruptive manual process, and using the clap of a slate (or another visual or audio cue) as a sync marker can be unreliable when it comes to the edit process.

The new sync feature, included in the Version 3.0 update to Autopano Video Pro, incorporates full support for MP4 timecode generated by Timecode’s products. The solution is compatible with a range of custom, multi-camera VR rigs, including rigs using GoPro’s Hero 4 cameras with SyncBac Pro for timecode and also other camera models using alternative Timecode Systems products. This allows VR filmmakers to focus on the creative and not worry about whether every camera in the rig is shooting in frame-level synchronization. Whether filming using a two-camera GoPro Hero 4 rig or 24 cameras in a 360° array creating resolutions as high as 32K, the solution syncs with the same efficiency. The end results are media files that can be automatically timecode-aligned in Autopano Video Pro with the push of a button.

“We’re giving VR camera operators the confidence that they can start and stop recording all day long without the hassle of having to disturb filming to manually slate cameras; that’s the understated benefit of timecode,” says Paul Bannister, chief science officer of Timecode Systems.

“To create high-quality VR output using multiple cameras to capture high-quality spherical video isn’t enough; the footage that is captured needs to be stitched together as simply as possible — with ease, speed and accuracy, whatever the camera rig,” explains Alexandre Jenny, senior director of Immersive Media Solutions at GoPro. “Anyone who has produced 360 video will understand the difficulties involved in relying on a clap or visual cue to mark when all the cameras start recording to match up video for stitching. To solve that issue, either you use an integrated solution like GoPro Omni with a pixel-level synchronization, or now you have the alternative to use accurate timecode metadata from SyncBac Pro in a custom, scalable multicamera rig. It makes the workflow much easier for professional VR content producers.”

Eizo intros DCI-4K reference monitor for HDR workflows

Eizo will be at NAB next week demonstrating its ColorEdge Prominence CG3145 31.1-inch reference monitor, which offers DCI-4K resolution (4096×2160) for pro HDR post workflows.

Eizo says the ColorEdge Prominence CG3145 can display both very bright and very dark areas on the screen without sacrificing the integrity of either. The monitor achieves the 1000cd/m (typical) high brightness level needed for an HDR content display. It can achieve a typical contrast ratio of 1,000,000:1 for displaying true blacks.

The ColorEdge Prominence CG3145 supports both the HLG (Hybrid Log-Gamma) and PQ (Perceptual Quantization) curves so post pros can rely on a monitor compliant with industry standards for HDR video.

The ColorEdge Prominence CG3145 supports various video formats, including HDMI input compatible with 10-bit 4:2:2 at 50/60p. The DisplayPort input supports up to 10-bit 4:4:4 at 50/60p. Additional features include 98 percent of the DCI-P3 color space smooth gradations with 10-bit display from a 24-bit LUT (look-up-table) and an optional light-shielding hood.
The ColorEdge Prominence CG3145 will begin shipping in early 2018.

In addition to the new ColorEdge Prominence CG3145 HDR reference monitor, Eizo currently offers optional HLG and PQ curves for many of its current CG Series monitors. The optimized gamma curves render images to appear more true to how the human eye perceives the real world compared to SDR. This HDR gamma support is available as an option for ColorEdge CG318-4K, CG248-4K, CG277 and CG247X. Both gamma curves were standardized by the ITU as ITU-R BT.2100. In addition, the PQ curve was standardized by SMPTE as ST-2084.

Film and sound editor Dody Dorn to headline NAB SuperMeet

The 16th Annual Las Vegas SuperMeet is taking place on April 25 at the Rio Hotel in Las Vegas during the NAB Show. Oscar-nominated film and sound editor Dody Dorn will be the featured presenter.

SuperMeets are networking gatherings of Final Cut Pro, Adobe, Avid and Resolve editors, gurus and digital filmmakers. Tickets are on sale now on the SuperMeet website. Doors open at 4:30pm with the SuperMeet Digital Showcase featuring 20 software and hardware developers. SuperMeet presentations will begin at 7:00pm and continue until 11:00pm.

Dorn received an Oscar nomination for Christopher Nolan’s debut feature, Memento (along with nominations for an AFI Film Award and the ACE Eddie Award for her editing). That same year, Dorn earned Emmy and Eddie Award noms for her work on the ABC miniseries, Life With Judy Garland: Me and My Shadows.

Throughout the 1980s, she worked mostly in the sound arena, with additional supervising and sound editing credits that include Silverado, The Big Chill, Mrs. Soffel, Racing With the Moon, The Big Easy and Children of a Lesser God.

Dorn started the sound company Sonic Kitchen in 1989 with sound designer/composer Blake Leyh, and, in 1990, won a Golden Reel Award for Best Sound from the Motion Picture Sound Editors Society for James Cameron’s The Abyss.

Following her work on Memento, Dorn reunited with filmmaker Nolan on his next feature project, Insomnia. She then began a collaboration with Ridley Scott, editing his next three films — Matchstick Men, Kingdom of Heaven and A Good Year.

Dorn most recently completed work on 2017’s Power Rangers.