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Category Archives: NAB Show 2020: News

New ZBooks and Envy offerings from HP

A couple of weeks ago, HP introduced the HP ZBook Studio and HP ZBook Create mobile workstations as well as the HP Envy 15. All are the latest additions to the HP Create ecosystem, an initiative introduced during last year’s Adobe Max.

ZBook Studio

These Z by HP solutions are small-form-factor devices for resource-intensive tasks and target professional content creators working in design and modeling. The HP Envy portfolio, including the newest Envy 15, is built for editing video, stills, graphics and web design.

The systems are accelerated by Nvidia Quadro and GeForce RTX GPUs and backed by Nvidia Studio drivers. HP’s ZBook Studio, ZBook Create and Envy 15 laptops with RTX GPUs are members of Nvidia’s RTX Studio program, featuring acceleration for demanding raytraced rendering and AI creative workloads and Studio drivers for reliability.

HP says that the latest additions to the Z by HP portfolio are different from other thin and light mobile workstations and 15-inch notebooks in that they are built specifically for use in the most demanding creative workflows, which call for pro applications, graphics and color accuracy.

The ZBook Studio and ZBook Create, which target visual effects artists, animators and colorists, have all-day battery life. And HP’s DreamColor display accurately represents their content on screen thanks to the built-in colorimeter for automatic self-calibration, 100% sRGB and Adobe RGB for accuracy.

The Z Power Slider gives users control over the type of performance and acoustics for specific workflows. At the same time, the Z Predictive Fan Algorithm intelligently manages fan behavior based on the kind of work and applications used by creatives.

HP Envy 15

The systems feature vapor cooling chamber and liquid crystal polymer, gaming-class thermals. The custom advanced cooling system pushes air away from the CPU and GPU in two-dimensional paths, unlocking power density that the company says is 2.8 times higher gen-to-gen in a laptop design that is up to 22% smaller.

HP says the highly recyclable and lightweight aluminum exterior provides five times the abrasion resistance of painted carbon fiber and still complies with MIL-STD 810G testing.

The HP Envy offers a minimalist design with a sophisticated aluminum chassis and diamond-cut design and is the first Envy with a layer of glass on top of the touchpad for a smooth-touch experience. The HP Envy 15 features an all-aluminum chassis with 82.6% screen-to-body ratio, up to a 4K OLED Vesa DisplayHDR True Black display with touch interface, 10th Gen Intel Core processors, Nvidia GeForce RTX 2060 with Max-Q, and gaming-class thermals for the ultimate experience in creator performance.

Frame.io offers beta version of Transfer, updates app to v3.6

Frame.io has launched Frame.io v3.6 along with a beta version of a new application called Frame.io Transfer. Frame.io v3.6’s new features are designed for the evolving needs remote workflows, with a particular focus on speed and security. The expanded toolset addresses the need for fast project downloads with the Frame.io Transfer app, boosts security with features like Watermark ID for enterprise accounts and improves collaboration with new features like iOS Offline Mode and Folder Sharing.

Frame.io Transfer works on both Mac and Windows OS. Transfer lets users download large files and sophisticated folder structures — even entire projects — with one click. It supports EDL and XML formats so users can identify specific files, accelerating the process of relinking to original camera files for final conforms, color grading or sharing assets for VFX. Transfer allows users to monitor active downloads and to drag and drop to reprioritize their order. Finally, Transfer facilitates fast and secure downloads, regardless of unstable internet connections; if there’s a disruption mid-download, Transfer pauses and automatically resumes once reconnected.

“Transfer was originally slated for release later this year, but as a response to the profound shift in the way we’re working and the tools our customers need immediately, we’re releasing it in beta today,” says Emery Wells, cofounder/CEO of Frame.io. (Check out our video interview with him below.)

For secure sharing, enterprise users can now secure Presentation and Review links using login-only access, which means that only specified recipients can view Share Links. Recipients will see a list of everything that’s been shared with them in Frame.io’s new Inbox, which offers a clean and focused view.

Frame.io v3.6 also has Watermark ID, which gives customers the ultimate layer of visible security. When any viewer presses “Play,” Frame.io completes a realtime, on-demand transcode of the video with that viewer’s personal identifying information burned into every frame. A two-hour video starts playing back in less than two seconds.

Offline Mode

Users can now add folders to Review Links, allowing them to easily organize and share assets across teams or projects. Any changes made to folders after they are shared are dynamically updated in the Review Link. This is especially useful for teams that produce episodic content or programming that relies on a library of media. Frame.io also made it faster, easier and more intuitive to organize assets with an improved “Move-to” and “Copy-to” flow.

With this update, Frame.io users will now be able to see all the Presentations they’ve shared and access their settings from one organized list. The display shows folder sizes so users can see at a glance which are the heaviest projects, making it easier to optimize projects and storage.

Frame.io v3.6 consolidates notifications made on the same video within short periods of time, grouping them together into one notification. Users can filter by read or unread, see comment previews and scrub asset thumbnails to easily spot what needs to be reviewed or addressed.

Offline Mode for Frame.io’s iOS apps allows users work from anywhere. They can tap a file to make it available offline, then review and leave comments. As soon as the app comes back online, comments are automatically synced to the project.

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Sony’s Venice and FX9 cameras get firmware updates

Sony is expanding the capabilities of its Venice digital motion picture camera and its FX9 full-frame camera to offer greater expression and usability for cinematographers and their collaborators in production and post. These firmware upgrades build on the two cameras’ image capture and color science. Venice offers more monitoring options and high frame rate, and FX9 expands shooting as well as recording capabilities for content creators.

Version 6.0 of Venice firmware will allow the import of Advanced Rendering Transform (.art) files that improve monitoring picture quality and viewing options on set. These .art files can be generated by Sony’s Raw Viewer software from users’ own 3D LUT files. Additionally, Sony is collaborating with Technicolor color scientists to create a new “look library” for the Venice camera, which will be available online as a resource for creatives wishing to quickly access some of Technicolor’s established looks.

Venice

Another enhancement in Venice v6.0 firmware is the ability to shoot with a second user frame line. This enables DPs to more easily take advantage of Venice’s large sensor size to shoot for both horizontal and vertical distribution within the same composition.

Venice v6.0 features also include:
• Expansion of HFR capabilities – up to 72fps at 5.7K 16:9 and 110fps 3.8K 16:9, which simplifies post of slow-motion, especially for TV drama workflows that have quick turnarounds. In addition, up to 72fps at 4K 6:5 imager mode for Anamorphic lens operation.
• Improved 3D LUT monitoring – 3D LUT look can be fed to camera viewfinder
• Gyro information in metadata – camera’s Tilt & Roll data can be referenced by VFX teams

FX9 was launched in 2019 to bring full-frame imaging to run-and-gun, documentary and independent productions. Employing the form factor, ergonomics and workflow of Sony’s FS7 and FS7II camera, FX9 brings color science from Venice and auto focus (AF) technology from Sony’s interchangeable lens camera, Alpha, to creatives desiring a small camera footprint.

FX9

Version 2.0 of FX9 firmware supports 4K 60p/50p recording through oversampling from a 5K cropped area of 6K full-frame sensor. Version 2.0 also enables output of a 4K 16-bit raw signal to an external recorder with the optional XDCA-FX9 accessory. This additional bit depth beyond the camera’s internal 10-bit recording is ideal for projects requiring more intensive post production.

Additionally, FX9 v2.0 firmware will expand the camera’s operability with Eye AF technology and touch-screen operation for focus control and menu setting on the viewfinder.

FX9 v2.0 also includes:
• 180 fps full-frame HD recording
• 4K (4096×2160) DCI recording
• Ability to load user 3D LUTs
• HDR shooting function recorded in Hybrid Log Gamma

Version 6.0 of Venice firmware is planned for release in November 2020, and Version 2.0 of FX9 firmware is planned for an October 2020 release.


Vegas Post upgrades for VFX, compositing and stills

Vegas Creative Software, in partnership with FXhome, has added new versions of Vegas Effects and Vegas Image to the Vegas Post suite of editing, VFX, compositing and imaging tools for video professionals, editors and VFX artists.

The Vegas Post workflow centers on Vegas Pro for editing and adds Vegas Effects and Vegas Image for VFX, compositing and still-image editing.

Vegas Effects is a full-featured visual effects and compositing tool that provides a variety of high-quality effects, presets and correction tools. With over 800 effects and filters to tweak, combine, pull apart and put back together, Vegas Effects provides users with a powerful library of effects including:
• Particle generators
• Text and titling
• Behavior effects
• 3D model rendering
• A unified 3D space
• Fire and lightning generators
• Greenscreen removal
• Muzzle flash generators
• Picture in picture
• Vertical video integration

Vegas Image is a non-destructive raw image compositor that enables video editors to work with still-image and graphical content and incorporate it directly into their final productions — all directly integrated with Vegas Post. This new version of Vegas Image contains feature updates including:
• Brush masks: A new mask type that allows the user to brush in/out effects or layers and includes basic brush settings like radius, opacity, softness, spacing and smoothing
• Multiple layer transform: Gives the ability to move, rotate and scale a selection of layers
• Multi-point gradient effect: An effect that enables users to create colored gradients using an unlimited amount of colored points
• Light rays effect: An effect that uses bright spots to cast light rays in scenes, e.g., light rays streaming through trees
• Raw denoise: Bespoke denoise step for raw images, which can remove defective pixels and large noise patterns
• Lens distortion effect: Can be used to perform lens-based adjustments, such as barrel/pincushion distortion or chromatic aberration
• Halftone effect: Produces a halftone look, like a newspaper print or pop art
• Configurable mask overlay color: Users can now pick what color is overlaid when the mask overlay render option is enabled

Vegas Post is available now for $999 or as a subscription starting at $21 per month.


Eizo intros HDR reference monitor with built-in calibration

Eizo is now shipping the ColorEdge Prominence CG3146, a 31.1-inch, DCI-4K (4096×2160) HDR reference monitor for post and color grading workflows. It is the successor model to Eizo’s flagship HDR reference monitor, the ColorEdge Prominence CG3145, and is the first to incorporate a built-in calibration sensor. Hardware calibration ensures the screen stays color-accurate over time and streamlines color management.

Like its predecessor, the ColorEdge Prominence CG3146 correctly shows both very bright and very dark areas on the screen without sacrificing the integrity of either. The monitor achieves 1000 cd/m2 (typical) high brightness and 1,000,000:1 contrast ratio for true HDR display.

The ColorEdge Prominence CG3146 supports HLG (hybrid log-gamma) and the PQ (perceptual quantization) curve for displaying and editing broadcast, film and other video content in HDR. The optimized gamma curves render images to appear truer to how the human eye perceives the real world compared to SDR.

The color and brightness of an LCD monitor can shift due to changes in ambient temperature and the temperature of the monitor itself. The ColorEdge Prominence CG3146 is equipped with a temperature sensor for accurately measuring the temperature inside the monitor and for estimating the temperature of the surrounding environment. With this temperature-sensing and estimation technology, the monitor adjusts in real time, so gradations, color, brightness and other characteristics continue to be displayed accurately.

Eizo uses artificial intelligence in the monitor’s estimation algorithm so it can distinguish between various temperature-changing patterns to calculate even more accurate correction. Eizo’s patented digital uniformity equalizer technology also counterbalances the influence that a fluctuating temperature might have on color temperature and brightness for stable image display across the screen.

Details
• Single-Link 12G/6G/3G/HD-SDI and Dual- or Quad-Link 3G/HD-SDI
• VPID support for SDI connections
• HDMI and DisplayPort inputs
• 99% reproduction of DCI-P3
• 3D LUT for individual color adjustment on an RGB cubic table
• 10-bit simultaneous display from a 24-bit LUT for smooth color gradations
• Quick adjustment of monitor settings via front bezel dial
• Light-shielding hood included
• Five-year manufacturer’s warranty

 


Atomos Ninja V to record 5.9K raw from Panasonic S1H

Atomos and Panasonic are making updates to the Ninja V HDR monitor-recorder and Panasonic Lumix S1H mirrorless digital camera that will make it possible to record 5.9K Apple ProRes raw files directly from the camera’s sensor. The free updates will be available May 25.

The Ninja V captures highly detailed 12-bit raw files from the S1H over HDMI at up to 5.9K/29.97p in full frame or 4K/59.94p in Super35. These clean, unprocessed files preserve the maximum dynamic range, color accuracy and detail from the S1H. The resulting ProRes raw files offer perfect skin tones and easily matched colors ideal for both HDR and SDR (Rec. 709) workflows.

With the new 3.5K Super35 Anamorphic 4:3 raw mode, the Ninja V and S1H combination caters to cinematographers who shoot with anamorphic lenses. The Ninja V and S1H can now be used as an A camera or a smaller B camera on an anamorphic raw production.

Each frame recorded in ProRes raw has metadata supplied by the S1H. Apple’s Final Cut Pro X and other NLEs will automatically recognize ProRes raw files as coming from the S1H and set them up for editing and display in either SDR or HDR projects automatically. Additional information will also allow other software to perform extensive parameter adjustments.


EditShare’s new EFSv for virtual editing and storage

EditShare has a new virtualized video editing and storage platform called EFSv. Initially running on AWS infrastructure, the open EFSv platform supports industry-standard third-party creative tools for editing, audio mixing and grading with security capabilities such as file auditing to propel secure, end-to-end editorial workflows in the cloud.

According to EditShare, EFSv native drivers eliminate traditional IT bottlenecks and offer higher performance in virtual environments. And, by using the EditShare RESTful API, users and technology partners can easily automate advanced storage management workflows. Everything within EFSv is virtualized, including project sharing, editing and bin locking.

“Only the cloud can bring the depth of flexibility that’s essential for today’s unusual and disruptive circumstances. Overnight, the advantages offered by the cloud have changed from being ‘nice to have’ to necessary,” says Sunil Mudholkar, VP of product management, EditShare.

EFSv packages include the workstation and GPU resources required to support teams of all sizes. The EFSv packages also include EditShare’s Flow media management and remote production workflow tools. Flow adds a control layer to virtualized storage pools, with tools to scan, log, search and organize media; assemble story packages; and move content between object and block tiers of storage and between cloud and on-premises tiers. Flow’s automation capabilities help users to set redundant tasks and complex workflows.

The EditShare pricing structure offers options to purchase the EFSv subscription alone or with cloud services. EditShare’s customer service team is consulting with users to help them move client workflows to the cloud. This includes cloud configuration, data migration, workflow design and system automation.


Digital Nirvana updated Trance 3.0 for captions, transcriptions

Digital Nirvana has released version 3.0 of its Trance cloud-based application for closed captioning and transcription, which combines STT technology and other AI-driven processes with cloud-based architecture. Implementing cloud-based metadata generation and closed captioning as part of their existing operations, media companies can reduce the time and cost of delivering accurate, compliant content worldwide. Users can can enrich and classify content, which enables more effective repurposing of media libraries and facilitating more intelligent targeting of advertising spots.

“Trance 3.0 includes a new transcript correction window, a text translation engine that simplifies and speeds captioning in additional languages, and automated caption conformance to accelerate delivery of content to new platforms and geographic regions,” says Russell Wise, SVP at Digital Nirvana. “Even now, with the widespread need to work from home, Trance 3.0 users can maintain their productivity in prepping content for distribution on platforms such as Quibi, Netflix, Hulu, HBO Max, and others.”

A new transcript correction window simplifies the process of reviewing and correcting the transcript used to generate closed captions. The user interface shows time-synced video and captions side by side in a window along with tools for editing text and adding visual cues, music tags and speaker tags. Dictionaries, scripts, rosters and other text resources ingested into Trance help to boost the accuracy of a transcript and, ultimately, the closed captions applied to video. Source text can be automatically translated into one or more additional languages, with the resulting text displayed in a dual-pane window for review and correction.

New caption conformance and quality assurance capabilities within Trance 3.0 allow users to configure captions according to style guidelines of each distribution platform, ensuring streaming services do not reject content just because captioning doesn’t match up with their internal caption style guide. Users configure and apply presets for target platforms, and Trance 3.0 automates caption formatting — number of characters, number of lines and caption placement — in accordance with policies defined in the appropriate preset. The resulting captions are displayed in a captioner window for final comparison to video. Once captions have been reviewed and approved, the file is used to generate the multiple output formats required for distribution.

Trance 3.0 completes the closed-captioning processes from end to end, generating a project management layer that centralizes tasks and minimizes the need for manual  intervention. The project manager can configure roles and priorities for different users and then set up individual projects by identifying necessary tasks, outputs and deadlines. Trance automatically handles the movement and processing of content, transcription, translation and captioning and tracks the productivity, workload and availability of different staff members. It also identifies the most appropriate person to task with a particular job and delivers notifications and alerts as needed to drive each project through to completion.


Maxon releases first subscription-only Cinema 4D

Maxon is now offering Cinema 4D Subscription Release 22 (S22), the next generation of its 3D app and its first subscription-only release. Cinema 4D S22  offers a number of performance and interactivity improvements, including UV unwrapping and editing tools, improved selection and modeling tool functionality, organizational licensing for volume customers and updated viewport technology with support for Metal on macOS.

In addition, Maxon has boosted Cinema 4D’s pipeline compatibility with GLTF export, improved GoZ integration with Z-Brush, and support for node-based materials in FBX and Cineware. Cinema 4D S22 is immediately available for subscription customers. For perpetual license holders of Cinema 4D, a release is scheduled later this year that will incorporate the features of S22 and additional enhancements.

“In September last year, we introduced subscription-based options so we could offer professional 3D software at a significantly lower price. This also allows us to deliver more frequent improvements and enhancements to our subscription customers,” says Maxon CEO Dave McGavran. “S22 offers subscription users early access to solutions like the much-requested UV tools improvements and organizational license management for our volume customers. And yes, we will roll all these features and more into an upgrade later this year for our perpetual customers.”

S22 feature highlights
• New UV workflow enhancements, improved packing and automatic UVs
Improved selection tools, visualization tools and a progressive unwrapping workflow make it much simpler to define a UV map, while new packing algorithms optimize texture resolution. A new automatic UV unwrapping option based on the Ministry of Flat licensed technology developed by Eskil Steenberg of Quel Solaar makes it easy to create a basic unwrap with minimal distortion and overlaps for baking and texture painting.
• Enhanced viewport
Cinema 4D’s new viewport core provides a framework to make the best use of graphics technology in the coming years, with full support for Apple Metal. Users enjoy a more accurate view of the 3D scene, improved filtering and multi-instance performance.
• Pipeline – GTLF export, GoZ integration and more
GLTF export offers users a flexible and efficient format for sharing 3D animations on the web and within AR applications, while GoZ integration offers a smooth workflow with Pixologic Z-Brush for advanced sculpting. Support for Nodal materials within FBX and Cineware expands the pipeline for advanced materials.
• Modeling tools improvements
In addition to many small usability enhancements, modeling tools are faster and more robust and better preserve mesh attributes like UV and vertex maps, thanks to a new core architecture.
• Organizational licensing options
Volume License customers can leverage organizational accounts within the MyMaxon ecosystem to assign licenses to individual users or groups, coupling the flexibility of floating licenses with the accessibility and reliability of Maxon’s servers.

Cinema 4D S22 can be downloaded immediately and is available for both macOS and Windows.

Ncam’s upgraded Mk2 product suite offers smaller footprint

Ncam Technologies, a developer of real-time augmented reality technology for M&E, has introduced its new Mk2 Camera Bar, Mk2 Server and Ncam Reality 2020 software. First shown as a prototype at IBC2019, the Mk2 Camera Bar uses the Intel RealSense hardware and has been modified to suit more demanding broadcast and film environments. It is smaller, lighter and able to mount more flexibly to a greater variety of camera rigs. It can be used with a jib, Steadicam, wire cam and drones.

Previous generation hardware required an ethernet tether to return tracking data to a server running Ncam Reality software. The next generation software now runs on the Mk2 Server and can be mounted on the camera or rig itself, meaning all camera tracking and lens data is computed locally. This means Ncam can now offer fully wireless tracking on a standard RF camera link, opening up many possibilities for the remote production of AR graphics and freeing up rack space for outside broadcast applications.

The Ncam Reality 2020 software suite has also been redesigned, with key enhancements in several areas. This includes simplified operation, hybrid feature extraction (including natural features, markers and fiducials, and wireless-ready functionality with Mk2 hardware) and global performance and stability enhancements. Additionally, the AR Suite software, which in its Lite form, comes bundled as standard. It provides seamless and future-proofed integration into the latest Unreal Engine 4 tool set, providing an out-of-the-box solution for high-fidelity realtime VFX.

Other improvements introduced with the Mk2 include faster and more accurate setup and calibration, which has been further enhanced by the release of a wizard-driven, role-based UI, reducing the requirement for specialist operators; further enhancements to its accuracy, with the ability to track non-natural features with no requirement to “learn” any marker patterns; more rugged setup, with witness lenses now mounted internally; and a simplified product offering and pricing model, including options to purchase outright or license via annual subscription.

According to Nic Hatch, Ncam’s CEO, “This new platform will be the foundation of our technology moving forward and is just the beginning in allowing us to help customers realize their vision without having to worry about technology. The close partnerships we have with the likes of Intel, Epic and others will allow us to leverage further enhancements in both tracking and rendering technologies, as well as our own developments around spatial environment data capture and its reuse in non-live environments.”

Autodesk’s Flame 2021 adds Dolby Vision, expands AI and ML offerings

Autodesk has released Flame 2021 with new features aimed at innovating and accelerating creative workflows for VFX, color grading, look development and editorial finishing. Flame 2021 increases workflow flexibility for artists, expands AI capabilities with new machine learning-powered human face segmentation and simplifies finishing for streaming services with new functionality for Dolby Vision HDR authoring and display. In response to user requests, the release also adds a new GPU-accelerated Physical Defocus effect and finishing enhancements that make it easier to adjust looks across many shots, share updates with clients and work faster.

Useful for compositing, color grading and cosmetic beauty work, the AI-based face segmentation tool automates all tracking and identifies and isolates facial features — including nose, eyes, mouth, laugh lines and cheekbones — for further manipulation. Face matching algorithms are also capable of specialized tasks, including specific mole or scar isolation, through custom layout workflows. Built-in machine learning analysis algorithms isolate and modify common objects in moving footage, dramatically accelerating VFX and compositing workflows.

To meet increasing demand for HDR content mastering driven by OTT streaming services, Flame 2021 introduces a new Dolby Vision HDR authoring and display workflow. This enables Flame to import, author, display and export Dolby Vision HDR shot-by-shot animatable metadata, streamlining creation and delivery of high dynamic range imagery required by leading OTT streaming services. The update also expands collaboration with Autodesk Lustre and other Dolby-certified color grading tools through enabling XML metadata import/export.

Other new features in the Flame 2021 family include:
● Save and recall color grading and VFX: Quickly save and recall color grading and VFX work in the new Explorer, a dedicated “grade bin” and reference comparison area to support artist workflows.
● Viewing area: A new video preview mode shares artist viewports — including storyboard, manager and schematic — to SDI or HDMI preview monitors. In broadcast mode, Gmasks can now be observed in the view area during editing along with any other tools that get directly manipulated.
● Gmask premade shapes: New Gmask premade shapes with softness are available for colorists, compositors, and finishing VFX artists in the image and action nodes.

Flame, Flare and Flame Assist 2021 are available at no additional cost to Flame Family 2020 subscribers.

Adobe’s Productions for Premiere is now available

If you remember, back at Sundance, Adobe announced a new tool for Premiere called Productions. Productions provides a flexible and scalable framework for organizing projects, sharing assets between them and keeping everything streamlined. It is now available within the latest version of Premiere.

Productions for Premiere Pro was designed from the ground up with input from top filmmakers and Hollywood editorial teams. Early versions of the underlying technology were tested on recent films such as Terminator: Dark Fate and Dolemite Is My Name. Special builds of Premiere with Productions are being used now in editorial on films like David Fincher’s Mank.

Productions makes it possible to divide large or complex workflows into smaller pieces based on the existing Premiere project format. Productions connects the projects, making them into components of the larger workflow and enabling a variety of use cases. For example, an editorial team working on a film can use Productions to organize its workflow around reels and scenes.

Episodic shows can be grouped by season, so it’s easy to access other shows to retrieve things like title sequences or audio elements. Agencies can allocate a Production to each client, so they can quickly reference and retrieve assets from existing projects.

Media referencing across projects means editors can reuse assets within a production without creating duplicates. And the new Production panel in Premiere Pro is a command center for managing multi-project workflows. Any projects that get added to the Productions folder become part of the production. Productions keeps everything in sync, meaning that any changes made on a Mac or Windows disk are reflected in Premiere Pro and vice versa.

Using shared local storage, multiple editors can work on different projects in the same production. Project Locking ensures that no one overwrites another’s work; colleagues can still access each other’s project and copy content from it, but they can’t make changes until a given edit is complete.

All projects in a Production share the same settings, including scratch disks. This means that preview files rendered by one editor can be available for all editors who use that project, ensuring smooth playback and time savings for the whole team.

The Production panel allows users to see all the projects and shows who is working on what so the team can track the progress.

How is Productions different than Team Projects?
Productions is designed for collaborators working on shared local storage. Team Projects is built for remote collaboration — assets can be stored locally with individual users; project files are securely stored in Creative Cloud.

The two tool sets are distinct and currently cannot be combined. Productions is part of Premiere Pro and is included with all licenses. Team Projects is part of Team and Enterprise licenses for Premiere Pro and After Effects.

In order to support users working from home due to COVID-19, Adobe is making Team Projects available to all users through August 17.

Telestream Vantage option automates IMF packages from Adobe Premiere

Telestream has introduced Vantage IMF Producer, a Vantage option that automates the creation of IMF (Interoperable Master Format) packages from Adobe Premiere. Using a Vantage panel within Premiere, editors can access Vantage’s IMF processing and packaging.

IMF packages are the preferred method to deliver show masters to companies like Netflix, Fox, Disney and many others. “While IMF has become the delivery format of choice for many media-services providers and production companies, Adobe Premiere Pro users need to primarily focus on the storytelling process,” says Sue Skidmore, head of partner relations for video at Adobe. “Having a plugin panel to Adobe Premiere Pro for Vantage’s automated IMF packaging workflows gives editors confidence they can deliver compliant IMF masters right from their timeline.”

IMF is a SMPTE standard for providing a single, interchangeable master file format and structure for the distribution of content between businesses around the world. IMF provides a framework for creating a true file-based final master. Part of the Vantage Media Processing Platform, IMF Producer automates the creation of all files required in an IMF package from a single output render of a Premiere timeline. In addition to generating the primary package, editors can create additional sequences, which become supplemental IMF packages that contain different versions of audio, subtitles, edit points, Dolby Vision HDR metadata and more.

IMF Producer can process up to four jobs simultaneously from Premiere. Using Vantage Timed Text Flip, IMF Producer also provides full support for IMSC1 subtitles. The subtitle feature is required for IMF packages and is frequently missing from other solutions.

Blackmagic intros ATEM Mini Pro, updates camera and Hyperdeck software

Blackmagic has added to its ATEM Mini family as well as updated the software for Pocket Cinema Camera 4K and 6K and the HyperDeck Studio Mini.

ATEM Mini Pro

The new ATEM Mini Pro is a low-cost switcher ($595) that makes it easy to create multi-camera productions (up to four cameras) for live streaming. The new version has extra features for recording, streaming and monitoring, including:
– A new hardware streaming engine that allows direct streaming via Ethernet connection to YouTube Live, Facebook and Twitch
– A multi-view option that allows all inputs to be monitored on a single monitor along with live status of recording, streaming and the audio mixer

– Support for recording streams directly to USB flash disks in H.264 and recording to multiple disks for continuous recording

The ATEM Mini Pro is now shipping.

There’s also a new Camera 6.9 software update for Blackmagic Pocket Cinema Camera 4K and 6K models. The update allows Pocket Cinema Camera 4K and 6K to work as a digital film camera and a studio camera and adds studio camera features such as remote control, tally and the DaVinci Resolve color corrector.

Camera 6.9 software

Version 6.9 also makes it possible to connect to any ATEM Mini switcher and get control of the camera parameters, lens and tally light. ATEM Mini can control up to four Pocket Cinema Camera 4K or 6K cameras via the HDMI video connection and ensure all cameras are perfectly matched for a professional live studio workflow. The Camera 6.9 update is now available to download for free.

Finally, the new HyperDeck v7.1 software update adds multiple new features to HyperDeck Studio Mini broadcast recorders:
– New H.264 codec that supports true interlaced HD formats
– Support for AAC audio codec, making it possible to upload files directly to YouTube
– Much faster Ethernet transfers of 110 MB/s and support for longer duration in a single file of at least three hours

HyperDeck v7.1 is now available to download for free.