Arraiy 4.11.19

Category Archives: NAB

Sony’s NAB updates — a cinematographer’s perspective

By Daniel Rodriguez

With its NAB offerings, Sony once again showed that they have a firm presence in nearly every stage of production, be it motion picture, broadcast media or short form. The company continues to keep up to date with the current demands while simultaneously preparing for the inevitable wave of change that seems to come faster and faster each year. While the introduction of new hardware was kept to a short list this year, many improvements to existing hardware and software were released to ensure Sony products — both new and existing — still have a firm presence in the future.

The ability to easily access, manipulate, share and stream media has always been a priority for Sony. This year at NAB, Sony continued to demonstrate its IP Live, SR Live, XDCAM Air and Media Backbone Hive platforms, which give users the opportunity to manage media all over the globe. IP Live allows users to access remote production, which contains core processing hardware while accessing it anywhere. This extends to 4K and HDR/SDR streaming as well, which is where SR Live comes into play. SR Live allows for a native 4K HDR signal to be processed into full HD and regular SDR signals, and a core improvement is the ability to adjust the curves during a live broadcast for any issues that may arise in converting HDR signals to SDR.

For other media, including XDCAM-based cameras, XDCAM Air allows for the wireless transfer and streaming of most media through QoS services, and turns almost any easily accessible camera with wireless capabilities into a streaming tool.

Media Backbone Hive allows users to access their media anywhere they want. Rather than just being an elaborate cloud service, Media Backbone Hive allows internal Adobe Cloud-based editing, accepts nearly every file type, allows a user to embed metadata and makes searching simple with keywords and phrases that are spoken in the media itself.

For the broadcast market, Sony introduced the Sony HDC-5500 4K HDR three-CMOS sensor camcorder which they are calling their “flagship” camera in this market. Offering 4K HDR and high frame rates, the camera also offers a global shutter — which is essential for dealing with strobing from lights — and can now capture fast action without the infamous rolling shutter blur. The camera allows for 4K output over 12G SDI, allowing for 4K monitoring and HDR, and as these outputs continue to be the norm, the introduction of the HDC-5500 will surely be a hit with users, especially with the addition of global shutter.

Sony is very much a company that likes to focus on the longevity of their previous releases… cameras especially. Sony’s FS7 is a camera that has excelled in its field since its introduction in 2014, and to this day is an extremely popular choice for short form, narrative and broadcast media. Like other Sony camera bodies, the FS7 allows for modular builds and add-ons, and this is where the new CBK-FS7BK ENG Build-Up Kit comes in. Sporting a shoulder mount and ENG viewfinder, the kit includes an extension in the back that allows for two wireless audio inputs, RAW output, streaming and file transfer via Wireless LAN or 4G/LTE connection, as well as QoS streaming (only through XDCAM Air) and timecode input. This CBK-FS7BK ENG Build-Up Kit turns the FS7 into an even more well-rounded workhorse.

The Sony Venice is Sony’s flagship Cinema camera, replacing the Sony F65, which is still brilliant and a popular camera. Having popped up as recently as last year’s Annihilation, the Venice takes a leap further in entering the full-frame, VistaVision market. Boasting top-of-the-line specs and a smaller, more modular build than the F65, the camera isn’t exactly a new release — it came out in November 2017 — but Sony has secured longevity in their flagship camera in a time when other camera manufacturers are just releasing their own VistaVision-sensored cameras and smaller alternatives.

Sony recently released a firmware update to the Venice that allows X-OCN XT — their highest form of compressed 16-bit RAW — two new imager modes, allowing the camera to sample 5.7K 16:9 in full frame and 6K 2.39:1 in full width, as well as 4K signal over 6G/12G SDI output and wireless remote control with the CBK-WA02. Since the Venice is smaller and able to be mounted on harder-to-reach mounts, wireless control is quickly becoming a feature that many camera assistants need. Newer anamorphic desqueeze modes for 1.25x, 1.3x, 1.5x and 1.8x have also been added, which is huge, since many older and newer lenses are constantly being created and revisited, such as the Technovision 1.5x — made famous by Vittorio Storaro on Apocalypse Now (1979) — and the Cooke Full Frame Anamorphics 1.8X. With VistaVision full frame now being an easily accessible way of filming, new forms of lensing are now becoming common, so systems like anamorphic are no longer limited to 1.3X and 2X. It’s reassuring to see Sony look out for storytellers who may want to employ less common anamorphic desqueeze sizes.

As larger resolutions and higher frame rates become the norm, Sony has introduced the new Sony SxS Pro X cards. A follow up to the hugely successful Sony SxS Pro+ cards, these new cards boost an incredible transfer speed of 10Gbps (1250Mbps) in 120GB and 240GB cards. This is a huge step up from the previous SxS Pro+ cards that offered a read speed of 3.5Gbps and a write speed of 2.8Gbps. Probably the most exciting part of these new cards being introduced is the corresponding SBAC-T40 card reader which guarantees a full 240GB card to be offloaded in 3.5 minutes.

Sony’s newest addition to the Venice camera is the Rialto extension system. Using the Venice’s modular build, the Rialto is a hardware extension that allows you to remove the main body’s sensor and install it into a smaller body unit which is then tethered either nine or 18 feet by cable back to the main body. Very reminiscent of the design of ARRI’s Alexa M unit, the Rialto goes further by being an extension of its main system rather than a singular system, which may bring its own issues. The Rialto allows users to reach spots where it may otherwise prove difficult using the actual Venice body. Its lightweight design allows users to mount it nearly anywhere. Where other camera bodies that are designed to be smaller end up heavy when outfitted with accessories such as batteries and wireless transmitters, the Rialto can easily be rigged to aerials, handhelds, and Steadicams. Though some may question why you wouldn’t just get a smaller body from another camera company, the big thing to consider is that the Rialto isn’t a solution to the size of the Venice body — which is already very small, especially compared to the previous F65 — but simply another tool to get the most out of the Venice system, especially considering you’re not sacrificing anything as far as features or frame rates. The Rialto is currently being used on James Cameron’s Avatar sequels, as its smaller body allows him to employ two simultaneously for true 3D recording whilst giving all the options of the Venice system.

With innovations in broadcast and motion picture production, there is a constant drive to push boundaries and make capture/distribution instant. Creating a huge network for distribution, streaming, capture, and storage has secured Sony not only as the powerhouse that it already is, but also ensures its presence in the ever-changing future.


Daniel Rodriguez is a New York based director and cinematographer. Having spent years working for such companies as Light Iron, Panavision and ARRI Rental, he currently works as a freelance cinematographer, filming narrative and commercial work throughout the five boroughs. 

 

NAB 2019: Maxon acquires Redshift Rendering Technologies

Maxon, makers of Cinema 4D, has purchased Redshift Rendering Technologies, developers of the Redshift rendering engine. Redshift is a flexible GPU-accelerated renderer targeting high-end production. Redshift offers an extensive suite of features that makes rendering complicated 3D projects faster. Redshift is available as a plugin for Maxon’s Cinema 4D and other industry-standard 3D applications.

“Rendering can be the most time-consuming and demanding aspect of 3D content creation,” said David McGavran, CEO of Maxon. “Redshift’s speed and efficiency combined with Cinema 4D’s responsive workflow make it a perfect match for our portfolio.”

“We’ve always admired Maxon and the Cinema 4D community, and are thrilled to be a part of it,” said Nicolas Burtnyk, co-founder/CEO, Redshift. “We are looking forward to working closely with Maxon, collaborating on seamless integration of Redshift into Cinema 4D and continuing to push the boundaries of what’s possible with production-ready GPU rendering.”

Redshift is used by post companies, including Technicolor, Digital Domain, Encore Hollywood and Blizzard. Redshift has been used for VFX and motion graphics on projects such as Black Panther, Aquaman, Captain Marvel, Rampage, American Gods, Gotham, The Expanse and more.

Arraiy 4.11.19

Facilis Launches Hub shared storage line

Facilis Technology rolled out its new Hub Shared Storage line for media production workflows during the NAB show. Facilis Hub includes new hardware and an integrated disk-caching system for cloud and LTO backup and archive designed to provide block-level virtualization and multi-connectivity performance.

“Hub Shared Storage is an all-new product based on our Hub Server that launched in 2017. It’s the answer to our customers’ requests for a more compact server chassis, lower-cost hybrid (SSD and HDD) options and integrated cloud and LTO archive features,” says Jim McKenna, VP of sales and marketing at Facilis. “We deliver all of this with new, more powerful hardware, new drive capacity options and a new look to both the system and software interface.”

The Facilis shared storage network allows both block-mode Fibre Channel and Ethernet connectivity simultaneously with the ability to connect through either method with the same permissions, user accounts and desktop appearance. This expands user access, connection resiliency and network permissions. The system can be configured as a direct-attached drive or segmented into various-sized volumes that carry individual permissions for read and write access.

Facilis Object Cloud
Object Cloud is an integrated disk-caching system for cloud and LTO backup and archive that includes up to 100TB of cloud storage for an annual fee. The Facilis Virtual Volume can display cloud, tape and spinning disk data in the same directory structure on the client desktop.

“A big problem for our customers is managing multiple interfaces for the various locations of their data. With Object Cloud, files in multiple locations reside in the same directory structure and are tracked by our FastTracker asset tracking in the same database as any active media asset,” says McKenna. “Object Cloud uses Object Storage technology to virtualize a Facilis volume with cloud and LTO locations. This gives access to files that exist entirely on disk, in the Cloud or on LTO, or even partially on disk and partially in the cloud.”

Every Facilis Hub Shared Storage server comes with unlimited seats in the Facilis FastTracker asset tracking application. The Object Cloud Software and Storage package is available for most Facilis servers running version 7.2 or higher.


Blackmagic’s Resolve 16: speedy cut page, Resolve Editor Keyboard, more

Blackmagic was at NAB with Resolve 16, which in addition to dozens of new features includes a new editing tab focused on speed. While Resolve still has its usual robust editing offerings, this particular cut page is designed for those working on short-form projects and on tight deadlines. Think of having a client behind you watching you cut something together, or maybe showing your director a rough cut. You get in, you edit and you go — it’s speedy, like editing triage.

For those who don’t want to edit this way, no worries, you don’t have to use this new tab. Just ignore it and move on. It’s an option, and only an option. That’s another theme with Resolve 16 — if you don’t want to see the Fairlight tab, turn it off. You want to see something in a different way, turn it on.

Blackmagic also introduced the DaVinci Resolve Editor Keyboard, a new premium keyboard for Resolve that helps improve the speed of editing. It allows the use of two hands while editing, so transport control and selecting clips can be done while performing edits. The Resolve Editor Keyboard will be available in August for $995.

The keyboard combined with the new cut page is designed to further speed up editing. This alternate edit page lets users import, edit, trim, add transitions, titles, automatically match color, mix audio and more. Whether you’re delivering for broadcast or for YouTube, the cut page allows editors to do all things in one place. Plus, the regular edit page is still available, so customers can switch between edit and cut pages to change editing styles right in the middle of a job.

“The new cut page in DaVinci Resolve 16 helps television commercial and other high-end editors meet super tight deadlines on fast turn-around projects,” says Grant Petty, Blackmagic CEO. “We’ve designed a whole new high-performance, nonlinear workflow. The cut page is all about power and speed. Plus, editors that need to work on more complex projects can still use the regular edit page. DaVinci Resolve 16 gives different editors the choice to work the way they want.”

The cut page is reminiscent of how editors used to work in the days of tape, where finding a clip was easy because customers could just spool up and down the tape to see their media and select shots. Today, finding the right clip in a bin with hundreds of files can be slow. With source tape, users no longer have to hunt through bins to find the clip they need. They can click on the source tape button and all of the clips in their bin appear in the viewer as a single long “tape.” This makes it easy to scrub through all of the shots, find the parts they want and quickly edit them to the timeline. Blackmagic calls it an “old-fashioned” concept that’s been modernized to help editors find the shots they need fast.

The new cut page features a dual timeline so editors don’t have to zoom in or out. The upper timeline shows users the entire program, while the lower timeline shows the current work area. Both timelines are fully functional, allowing editors to move and trim clips in whichever timeline is most convenient.

Also new is the DaVinci Neural Engine, which uses deep neural networks and learning, along with AI, to power new features such as speed warp motion estimation for retiming, super scale for up-scaling footage, auto color and color matching, facial recognition and more. The DaVinci Neural Engine is entirely cross-platform and uses the latest GPU innovations for AI and deep learning. The Neural Engine provides simple tools to solve complex, repetitive and time-consuming problems. For example, it enables facial recognition to automatically sort and organize clips into bins based on people in the shot.

DaVinci Resolve 16 also features new adjustment clips that let users apply effects and grades to clips on the timeline below; quick export that can be used to upload projects to YouTube, Vimeo and Frame.io from anywhere in the application; and new GPU-accelerated scopes providing more technical monitoring options than before. So now sharing your work on social channels, or for collaboration via Frame.io., is simple because it’s integrated into Resolve 16 Studio

DaVinci Resolve 16 Studio features improvements to existing ResolveFX, along with several new plugins that editors and colorists will like. There are new ResolveFX plugins for adding vignettes, drop shadows, removing objects, adding analog noise and damage, chromatic aberration, stylizing video and more. There are also improvements to the scanline, beauty, face refinement, blanking fill, warper, dead pixel fixer and colorspace transformation plugins. Plus, users can now view and edit ResolveFX keyframes from the timeline curve editor on the edit page or from the keyframe panel on the color page.

Here are all the updates within Resolve 16:

• DaVinci Neural Engine for AI and deep learning features
• Dual timeline to edit and trim without zooming and scrolling
• Source tape to review all clips as if they were a single tape
• Trim interface to view both sides of an edit and trim
• Intelligent edit modes to auto-sync clips and edit
• Timeline review playback speed based on clip length
• Built-in tools for retime, stabilization and transform
• Render and upload directly to YouTube and Vimeo
• Direct media import via buttons
• Scalable interface for working on laptop screens
• Create projects with different frame rates and resolutions
• Apply effects to multiple clips at the same time
• DaVinci Neural Engine detects faces and auto-creates bins
• Frame rate conversions and motion estimation
• Cut and edit page image stabilization
• Curve editor ease in and out controls
• Tape-style audio scrubbing with pitch correction
• Re-encode only changed files for faster rendering
• Collaborate remotely with Frame.io integration
• Improved GPU performance for Fusion 3D operations
• Cross platform GPU accelerated tools
• Accelerated mask operations including B-Spline and bitmap
• Improved planar and tracker performance
• Faster user and smart cache
• GPU-accelerated scopes with advanced technical monitoring
• Custom and HSL curves now feature histogram overlay
• DaVinci Neural Engine auto color and shot match
• Synchronize SDI output to viewer zoom
• Mix and master immersive 3D audio
• Elastic wave audio alignment and retiming
• Bus tracks with automation on timeline
• Foley sampler, frequency analyzer, dialog processor, FairlightFX
• 500 royalty-free Foley sounds effects
• Share markers and notes in collaboration workflows
• Individual user cache for collaborative projects
• Resolve FX plugins with timeline and keyframes


Avid offers rebuilt engine and embraces cloud, ACES, AI, more

By Daniel Restuccio

During its Avid Connect conference just prior to NAB, Avid announced a Media Composer upgrade, support for ACES color standard and additional upgrades to a number of its toolsets, apps and services, including Avid Nexis.

The chief news from Avid is that Media Composer, its flagship video editing system, has been significantly retooled: sporting a new user interface, rebuilt engine, and additional built-in audio, visual effects, color grading and delivery features.

In a pre-interview with postPerspective, Avid president/CEO Jeff Rosica said, “We’re really trying to leap frog and jump ahead to where the creative tools need to go.”

Avid asked themselves, what did they need to do “to help production and post production really innovate?” He pointed to TV shows and films, and how complex they’re getting. “That means they’re dealing with more media, more elements, and with so many more decisions just in the program itself. Let alone the fact that the (TV or film) project may have to have 20 different variants just to go out the door.”

Jeff Rosica

The new paneled user interface simplifies the workspace, has redesigned bins to find media faster, as well as task-based workspaces showing only what the user wants and needs to see.

Dave Colantuoni, VP of product management at Avid, said they spent the most amount of time studying the way that editors manage and organize bins and content within Media Composer. “Some of our editors use 20, 30, 40 bins at a time. We’ve really spent a lot of time so that we can provide an advantage to you in how you approach organizing your media. “

Avid is also offering more efficient workflow solutions. Users, without leaving Media Composer, can work in 8K, 16K or HDR thanks to the newly built-in 32-bit full float color pipeline. Additionally, Avid continues to work with OTT content providers to help establish future industry standards.

“We’re trying to give as much creative power to the creative people as we can, and bring them new ways to deal with things,” said Rosica. “We’re also trying to help the workflow side. We’re trying to help make sure production doesn’t have to do more with less, or sometimes more with the same budget. Cloud (computing) allows us to bring a lot of new capabilities to the products, and we’re going to be cloud powering a lot of our products… more than you’ve seen before.”

The new Media Composer engine is now native OP1A, can handle more video and audio streams, offers Live Timeline and background rendering, and a distributed processing add-on option to shorten turnaround times and speed up post production.

“This is something our competitors do pretty well,” explained Colantuoni. “And we have different instances of OP1A working among the different Avid workflows. Until now, we’ve never had it working natively inside of Media Composer. That’s super-important because a lot of capabilities started in OP1A, and we can now keep it pristine through the pipeline.”

Said Rosica, “We are also bringing the ability to do distributive rendering. An editor no longer has to render or transcode on their machine. They can perform those tasks in a distributed or centralized render farm environment. That allows this work to get done behind the scenes. This is actually an Avid Supply solution, so it will be very powerful and reliable. Users will be able to do background rendering, as well as distributive rendering and move things off the machine to other centralized machines. That’s going to be very helpful for a lot of post workflows.”

Avid had previously offered three main flavors of Media Composer: Media Composer First, the free version; Media Composer; and Media Composer Ultimate. Now they are also offering a new Enterprise version.

For the first time, large production teams can customize the interface for any role in the organization, whether the user is a craft editor, assistant, logger or journalist. It also offers unparalleled security to lock down content, reducing the chances of unauthorized leaks of sensitive media. Enterprise also integrates with Editorial Management 2019.

“The new fourth tier at the top is what we are calling the Enterprise Edition or Enterprise. That word doesn’t necessarily mean broadcast,” says Rosica. “It means for business deployment. This is for post houses and production companies, broadcast, and even studios. This lets the business, or the enterprise, or production, or post house to literally customize interfaces and customize work spaces to the job role or to the user.”

Nexis Cloudspaces
Avid also announced Avid Nexis|Cloudspaces. So Instead of resorting to NAS or external drives for media storage, Avid Nexis|Cloudspaces allows editorial to offload projects and assets not currently in production. Cloudspaces extends Avid Nexis storage directly to Microsoft Azure.

“Avid Nexis|Cloudspaces brings the power of the cloud to Avid Nexis, giving organizations a cost-effective and more efficient way to extend Avid Nexis storage to the cloud for reliable backup and media parking,” said Dana Ruzicka, chief product officer/senior VP at Avid. “Working with Microsoft, we are offering all Avid Nexis users a limited-time free offer of 2TB of Microsoft Azure storage that is auto-provisioned for easy setup and as much capacity as you need, when you need it.”

ACES
The Academy Color Encoding System (ACES) team also announced that Avid is now part of the ACES Logo Program, as the first Product Partner in the new Editorial Finishing product category. ACES is a free, open, device-independent color management and image interchange system and is the global standard for color management, digital image interchange and archiving. Avid will be working to implement ACES in conformance with logo program specifications for consistency and quality with a high quality ACES-color managed video creation workflow.

“We’re pleased to welcome Avid to the ACES logo program,” said Andy Maltz, managing director of the ACES Council. “Avid’s participation not only benefits editors that need their editing systems to accurately manage color, but also the broader ACES end-user community through expanded adoption of ACES standards and best practices.”

What’s Next?
“We’ve already talked about how you can deploy Media Composer or other tools in a virtualized environment, or how you can use these kind of cloud environments to extend or advance production,” said Rosica. “We also see that these things are going to allow us to impact workloads. You’ll see us continue to power our MediaCentral platform, editorial management of MediaCentral, and even things like Media Composer with AI to help them get to the job faster. We can help automate functions, automate environments and use cloud technologies to allow people to collaborate better, to share better, to just power their workloads. You’re going to see a lot from us over time.”


Dell updates Precision 7000 Series workstation line

Dell has updated its Precision 7920 and 7820 towers and Precision 7920 rack workstations to target the media and entertainment industry. Enhancements include processing of large data workloads, AI capabilities, hot-swappable drives, a tool-less external power supply and a flexible 2U rack form factor that boosts cooling, noise reduction and space savings.

Both the Dell Precision 7920 and 7820 towers will be available with the new 2nd Gen Intel Xeon Scalable processors and Nvidia Quadro RTX graphic options to deliver enhanced performance for applications with large datasets, including enhancements for artificial intelligence and machine learning workloads. All Precision workstations come equipped with the Dell Precision Optimizer. The Dell Precision Optimizer Premium is available at an additional cost. This feature uses AI-based technology to tune the workstation based on how it is being used.

In addition, the Precision workstations now feature a multichannel thermal design for advanced cooling and acoustics. An externally accessible tool-less power supply and FlexBays for lockable, hot-swappable drives are also included.

For users needing high-security, remotely accessible 1:1 workstation performance, the updated Dell Precision 7920 rack workstation delivers the same performance and scalability of the Dell Precision 7920 tower in a 2U rack form factor. This rack workstation is targeted to OEMs and users who need to locate their compute resources and valuable data in central environments. This option can save space and help reduce noise and heat, while providing secure remote access to external employees and contractors.

Configuration options will include the recently announced 2nd Gen Intel Xeon Scalable processors, built for advanced workstation professionals, with up to 28 cores, 56 threads and 3TB DDR4 RDIMM per socket. The workstations will also support Intel Deep Learning Boost, a new set of Intel AVX-512 instructions.

The Precision 7000 Series workstations will be available in May with high-performance storage capacity options, including up to 120TB/96TB of Enterprise SATA HDD and up to 16TB of PCIe NVMe SSDs.


Video: Machine learning with Digital Domain’s Doug Roble

Just prior to NAB, postPerspective’s Randi Altman caught up with Digital Domain’s senior director of software R&D, Doug Roble, to talk machine learning.

Roble is on a panel on the Monday of NAB 2019 called “Influencers in AI: Companies Accelerating the Future.” It’s being moderated by Google’s technical director for media, Jeff Kember, and features Roble along with
Autodesk’s Evan Atherton, Nvidia’s Rick Champagne, Warner Bros’ Greg Gewickey, Story Tech/Television Academy’s Lori Schwartz.

In our conversation with Roble, he talks about how Digital Domain has been using machine learning in visual effects for a couple of years. He points to the movie Avengers and the character Thanos, which they worked on.

A lot of that character’s facial motion was done with a variety of machine learning techniques. Since then, Digital Domain has pushed that technology further, taking the machine learning aspect and putting it on realtime digital humans — including Doug Roble.

Watch our conversation and find out more…


Atomos’ new Shogun 7: HDR monitor, recorder, switcher

The new Atomos Shogun 7 is a seven-inch HDR monitor, recorder and switcher that offers an all-new 1500-nit, daylight-viewable, 1920×1200 panel with a 1,000,000:1 contrast ratio and 15+ stops of dynamic range displayed. It also offers ProRes RAW recording and realtime Dolby Vision output. Shogun 7 will be available in June 2019, priced at $1,499.

The Atomos screen uses a combination of advanced LED and LCD technologies which together offer deeper, better blacks the company says rivals OLED screens, “but with the much higher brightness and vivid color performance of top-end LCDs.”

A new 360-zone backlight is combined with this new screen technology and controlled by the Dynamic AtomHDR engine to show millions of shades of brightness and color. It allows Shogun 7 to display 15+ stops of real dynamic range on-screen. The panel, says Atomos, is also incredibly accurate, with ultra-wide color and 105% of DCI-P3 covered, allowing for the same on-screen dynamic range, palette of colors and shades that your camera sensor sees.

Atomos and Dolby have teamed up to create Dolby Vision HDR “live” — a tool that allows you to see HDR live on-set and carry your creative intent from the camera through into HDR post. Dolby have optimized their target display HDR processing algorithm which Atomos has running inside the Shogun 7. It brings realtime automatic frame-by-frame analysis of the Log or RAW video and processes it for optimal HDR viewing on a Dolby Vision-capable TV or monitor over HDMI. Connect Shogun 7 to the Dolby Vision TV and AtomOS 10 automatically analyzes the image, queries the TV and applies the right color and brightness profiles for the maximum HDR experience on the display.

Shogun 7 records images up to 5.7kp30, 4kp120 or 2kp240 slow motion from compatible cameras, in RAW/Log or HLG/PQ over SDI/HDMI. Footage is stored directly to AtomX SSDmini or approved off-the-shelf SATA SSD drives. There are recording options for Apple ProRes RAW and ProRes, Avid DNx and Adobe CinemaDNG RAW codecs. Shogun 7 has four SDI inputs plus a HDMI 2.0 input, with both 12G-SDI and HDMI 2.0 outputs. It can record ProRes RAW in up to 5.7kp30, 4kp120 DCI/UHD and 2kp240 DCI/HD, depending on the camera’s capabilities. Also, 10-bit 4:2:2 ProRes or DNxHR recording is available up to 4Kp60 or 2Kp240. The four SDI inputs enable the connection of most quad-link, dual-link or single-link SDI cinema cameras. Pixels are preserved with data rates of up to 1.8Gb/s.

In terms of audio, Shogun 7 eliminates the need for a separate audio recorder. Users can add 48V stereo mics via an optional balanced XLR breakout cable, or select mic or line input levels, plus record up to 12 channels of 24/96 digital audio from HDMI or SDI. Monitoring selected stereo tracks is via the 3.5mm headphone jack. There are dedicated audio meters, gain controls and adjustments for frame delay.

Shogun 7 features the latest version of the AtomOS 10 touchscreen interface, first seen on the Ninja V.  The new body of Shogun 7 has a Ninja V-like exterior with ARRI anti-rotation mounting points on the top and bottom of the unit to ensure secure mounting.

AtomOS 10 on Shogun 7 has the full range of monitoring tools, including Waveform, Vectorscope, False Color, Zebras, RGB parade, Focus peaking, Pixel-to-pixel magnification, Audio level meters and Blue only for noise analysis.

Shogun 7 can also be used as a portable touchscreen-controlled multi-camera switcher with asynchronous quad-ISO recording. Users can switch up to four 1080p60 SDI streams, record each plus the program output as a separate ISO, then deliver ready-for-edit recordings with marked cut-points in XML metadata straight to your NLE. The current Sumo19 HDR production monitor-recorder will also gain the same functionality in a free firmware update.

There is asynchronous switching, plus use genlock in and out to connect to existing AV infrastructure. Once the recording is over, users can import the XML file into an NLE and the timeline populates with all the edits in place. XLR audio from a separate mixer or audio board is recorded within each ISO, alongside two embedded channels of digital audio from the original source. The program stream always records the analog audio feed as well as a second track that switches between the digital audio inputs to match the switched feed.


Adobe’s new Content-Aware fill in AE is magic, plus other CC updates

By Brady Betzel

NAB is just under a week away, and we are here to share some of Adobe’s latest Creative Cloud offerings. And there are a few updates worth mentioning, such as a freeform project panel in Premiere Pro, AI-driven Auto Ducking for Ambience for Audition and addition of a Twitch extension for Character Animator. But, in my opinion, the Adobe After Effects updates are what this year’s release will be remembered by.


Content Aware: Here is the before and after. Our main image is the mask.

There is a new expression editor in After Effects, so us old pseudo-website designers can now feel at home with highlighting, line numbers and more. There are also performance improvements, such as faster project loading times and new deBayering support for Metal on macOS. But the first prize ribbon goes to the Content-Aware fill for video powered by Adobe Sensei, the company’s AI technology. It’s one of those voodoo features that when you use it, you will be blown away. If you have ever used Mocha Pro by BorisFX then you have had a similar tool known as the “Object Removal” tool. Essentially, you draw around the object you want to remove, such as a camera shadow or boom mic, hit the magic button and your object will be removed with a new background in its place. This will save users hours of manual work.

Freeform Project panel in Premiere.

Here are some details on other new features:

● Freeform Project panel in Premiere Pro— Arrange assets visually and save layouts for shot selects, production tasks, brainstorming story ideas, and assembly edits.
● Rulers and Guides—Work with familiar Adobe design tools inside Premiere Pro, making it easier to align titling, animate effects, and ensure consistency across deliverables.
● Punch and Roll in Audition—The new feature provides efficient production workflows in both Waveform and Multitrack for longform recording, including voiceover and audiobook creators.
● Surprise viewers in Twitch Live-Streaming Triggers with Character Animator Extension—Livestream performances are enhanced where audiences engage with characters in real-time with on-the-fly costume changes, impromptu dance moves, and signature gestures and poses—a new way to interact and even monetize using Bits to trigger actions.
● Auto Ducking for ambient sound in Audition and Premiere Pro — Also powered by Adobe Sensei, Auto Ducking now allows for dynamic adjustments to ambient sounds against spoken dialog. Keyframed adjustments can be manually fine-tuned to retain creative control over a mix.
● Adobe Stock now offers 10 million professional-quality, curated, royalty-free HD and 4K video footage and Motion Graphics templates from leading agencies and independent editors to use for editorial content, establishing shots or filling gaps in a project.
● Premiere Rush, introduced late last year, offers a mobile-to-desktop workflow integrated with Premiere Pro for on-the-go editing and video assembly. Built-in camera functionality in Premiere Rush helps you take pro-quality video on your mobile devices.

The new features for Adobe Creative Cloud are now available with the latest version of Creative Cloud.

Atomos offering Shinobi SDI camera-top monitor

On the heels of its successful Shinobi launch in March, Atomos has introduced Atomos Shinobi SDI, a
super-lightweight, 5-inch HD-SDI and 4K HDMI camera-top monitor. Its color-accurate calibrated display makes makes it suitable compact HDR and SDR reference monitor. It targets the professional video creator who uses or owns a variety of cameras and camcorders and needs the flexibility of SDI or HDMI, accurate high bright and HDR, while not requiring external recording capability.

Shinobi SDI features a compact, durable body combined with an ultra-clear, ultra-bright, daylight viewable 1000-nit display. The anti-reflection, anti-fingerprint screen has a pixel density of 427PPI (pixels per inch) and is factory calibrated for color accuracy, with the option for in-field calibration providing ongoing accuracy. Thanks to the
HD-SDI input and output, plus a 4K HDMI input, it can be used in most productions.

This makes Shinobi SDI a useful companion for high-end cinema and production cameras, ENG cameras, handheld camcorders and any other
HD-SDI equipped source.

“Our most requested product in recent times has been a stand-alone SDI monitor. We are thrilled to be bringing the Atomos Shinobi SDI to market for professional video and film creators,” says Jeromy Young, CEO of Atomos.