Cinnafilm 6.6.19

Category Archives: NAB

AI and deep learning at NAB 2019

By Tim Nagle

If you’ve been there, you know. Attending NAB can be both exciting and a chore. The vast show floor spreads across three massive halls and several hotels, and it will challenge even the most comfortable shoes. With an engineering background and my daily position as a Flame artist, I am definitely a gear-head, but I feel I can hardly claim that title at these events.

Here are some of my takeaways from the show this year…

Tim Nagle

8K
Having listened to the rumor mill, this year’s event promised to be exciting. And for me, it did not disappoint. First impressions: 8K infrastructure is clearly the goal of the manufacturers. Massive data rates and more Ks are becoming the norm. Everybody seemed to have an 8K workflow announcement. As a Flame artist, I’m not exactly looking forward to working on 8K plates. Sure, it is a glorious number of pixels, but the challenges are very real. While this may be the hot topic of the show, the fact that it is on the horizon further solidifies the need for the industry at large to have a solid 4K infrastructure. Hey, maybe we can even stop delivering SD content soon? All kidding aside, the systems and infrastructure elements being designed are quite impressive. Seeing storage solutions that can read and write at these astronomical speeds is just jaw dropping.

Young Attendees
Attendance remained relatively stable this year, but what I did notice was a lot of young faces making their way around the halls. It seemed like high school and university students were able to take advantage of interfacing with manufacturers, as well as some great educational sessions. This is exciting, as I really enjoy watching young creatives get the opportunity to express themselves in their work and make the rest of us think a little differently.

Blackmagic Resolve 16

AI/Deep Learning
Speaking of the future, AI and deep learning algorithms are being implemented into many parts of our industry, and this is definitely something to watch for. The possibilities to increase productivity are real, but these technologies are still relatively new and need time to mature. Some of the post apps taking advantage of these algorithms come from Blackmagic, Autodesk and Adobe.

At the show, Blackmagic announced their Neural Engine AI processing, which is integrated into DaVinci Resolve 16 for facial recognition, speed warp estimation and object removal, to name just a few. These features will add to the productivity of this software, further claiming its place among the usual suspects for more than just color correction.

Flame 2020

The Autodesk Flame team has implemented deep learning in to their app as well. It portends really impressive uses for retouching and relighting, as well as creating depth maps of scenes. Autodesk demoed a shot of a woman on the beach, with no real key light possibility and very flat, diffused lighting in general. With a few nodes, they were able to relight her face to create a sense of depth and lighting direction. This same technique can be used for skin retouch as well, which is very useful in my everyday work.

Adobe has also been working on their implementation of AI with the integration of Sensei. In After Effects, the content-aware algorithms will help to re-texture surfaces, remove objects and edge blend when there isn’t a lot of texture to pull from. Watching a demo artist move through a few shots, removing cars and people from plates with relative ease and decent results, was impressive.

These demos have all made their way online, and I encourage everyone to watch. Seeing where we are headed is quite exciting. We are on our way to these tools being very accurate and useful in everyday situations, but they are all very much a work in progress. Good news, we still have jobs. The robots haven’t replaced us yet.


Tim Nagle is a Flame artist at Dallas-based Lucky Post.

NAB 2019: First impressions

By Mike McCarthy

There are always a slew of new product announcements during the week of NAB, and this year was no different. As a Premiere editor, the developments from Adobe are usually the ones most relevant to my work and life. Similar to last year, Adobe was able to get their software updates released a week before NAB, instead of for eventual release months later.

The biggest new feature in the Adobe Creative Cloud apps is After Effects’ new “Content Aware Fill” for video. This will use AI to generate image data to automatically replace a masked area of video, based on surrounding pixels and surrounding frames. This functionality has been available in Photoshop for a while, but the challenge of bringing that to video is not just processing lots of frames but keeping the replaced area looking consistent across the changing frames so it doesn’t stand out over time.

The other key part to this process is mask tracking, since masking the desired area is the first step in that process. Certain advances have been made here, but based on tech demos I saw at Adobe Max, more is still to come, and that is what will truly unlock the power of AI that they are trying to tap here. To be honest, I have been a bit skeptical of how much AI will impact film production workflows, since AI-powered editing has been terrible, but AI-powered VFX work seems much more promising.

Adobe’s other apps got new features as well, with Premiere Pro adding Free-Form bins for visually sorting through assets in the project panel. This affects me less, as I do more polishing than initial assembly when I’m using Premiere. They also improved playback performance for Red files, acceleration with multiple GPUs and certain 10-bit codecs. Character Animator got a better puppet rigging system, and Audition got AI-powered auto-ducking tools for automated track mixing.

Blackmagic
Elsewhere, Blackmagic announced a new version of Resolve, as expected. Blackmagic RAW is supported on a number of new products, but I am not holding my breath to use it in Adobe apps anytime soon, similar to ProRes RAW. (I am just happy to have regular ProRes output available on my PC now.) They also announced a new 8K Hyperdeck product that records quad 12G SDI to HEVC files. While I don’t think that 8K will replace 4K television or cinema delivery anytime soon, there are legitimate markets that need 8K resolution assets. Surround video and VR would be one, as would live background screening instead of greenscreening for composite shots. No image replacement in post, as it is capturing in-camera, and your foreground objects are accurately “lit” by the screens. I expect my next major feature will be produced with that method, but the resolution wasn’t there for the director to use that technology for the one I am working on now (enter 8K…).

AJA
AJA was showing off the new Ki Pro Go, which records up to four separate HD inputs to H.264 on USB drives. I assume this is intended for dedicated ISO recording of every channel of a live-switched event or any other multicam shoot. Each channel can record up to 1080p60 at 10-bit color to H264 files in MP4 or MOV and up to 25Mb.

HP
HP had one of their existing Z8 workstations on display, demonstrating the possibilities that will be available once Intel releases their upcoming DIMM-based Optane persistent memory technology to the market. I have loosely followed the Optane story for quite a while, but had not envisioned this impacting my workflow at all in the near future due to software limitations. But HP claims that there will be options to treat Optane just like system memory (increasing capacity at the expense of speed) or as SSD drive space (with DIMM slots having much lower latency to the CPU than any other option). So I will be looking forward to testing it out once it becomes available.

Dell
Dell was showing off their relatively new 49-inch double-wide curved display. The 4919DW has a resolution of 5120×1440, making it equivalent to two 27-inch QHD displays side by side. I find that 32:9 aspect ratio to be a bit much for my tastes, with 21:9 being my preference, but I am sure there are many users who will want the extra width.

Digital Anarchy
I also had a chat with the people at Digital Anarchy about their Premiere Pro-integrated Transcriptive audio transcription engine. Having spent the last three months editing a movie that is split between English and Mandarin dialogue, needing to be fully subtitled in both directions, I can see the value in their tool-set. It harnesses the power of AI-powered transcription engines online and integrates the results back into your Premiere sequence, creating an accurate script as you edit the processed clips. In my case, I would still have to handle the translations separately once I had the Mandarin text, but this would allow our non-Mandarin speaking team members to edit the Mandarin assets in the movie. And it will be even more useful when it comes to creating explicit closed captioning and subtitles, which we have been doing manually on our current project. I may post further info on that product once I have had a chance to test it out myself.

Summing Up
There were three halls of other products to look through and check out, but overall, I was a bit underwhelmed at the lack of true innovation I found at the show this year.

Full disclosure, I was only able to attend for the first two days of the exhibition, so I may have overlooked something significant. But based on what I did see, there isn’t much else that I am excited to try out or that I expect to have much of a serious impact on how I do my various jobs.

It feels like most of the new things we are seeing are merely commoditized versions of products that may originally have been truly innovative when they were initially released, but now are just slightly more fleshed out versions over time.

There seems to be much less pioneering of truly new technology and more repackaging of existing technologies into other products. I used to come to NAB to see all the flashy new technologies and products, but now it feels like the main thing I am doing there is a series of annual face-to-face meetings, and that’s not necessarily a bad thing.

Until next year…


Mike McCarthy is an online editor/workflow consultant with over 10 years of experience on feature films and commercials. He has been involved in pioneering new solutions for tapeless workflows, DSLR filmmaking and multi-screen and surround video experiences. Check out his site.

Cinnafilm 6.6.19

AJA intros Ki Pro Go, Corvid 44 12G and more at NAB

AJA was at NAB this year showing the new Ki Pro Go H.264 multichannel HD/SD recorder/player, as well as 14 openGear converter cards featuring DashBoard software support, two new IP video transmitters that bridge HDMI and 3G-SDI signals to SMPTE ST 2110 and the Corvid 44 12G I/O card for AJA Developers. AJA also introduced updates featuring improvements for its FS-HDR HDR/WCG converter, desktop and mobile I/O products, AJA Control Room software, HDR Image Analyzer and the Helo recorder/streamer.

Ki Pro Go is a genlock-free, multichannel H.264 HD and SD recorder/player with a flexible architecture. This portable device allows users to record up to four channels of pristine HD and SD content from SDI and HDMI sources to off-the-shelf USB media via 4x USB 3.0 ports, with a fifth port for redundant recording. The Ki Pro Go will be available in June for $3,995.

A FS-HDR v3.0 firmware update features enhanced coloring tools and support for multichannel Dynamic LUTs, plus other improvements. The release includes a new integrated Colorfront Engine Film Mode offering a rich grading and look creation toolset with optional ACES colorspace, ASC color decision list controls and built-in look selection. It’s available in June as a free update.

Developed with Colorfront, the HDR Image Analyzer v1.1 firmware update features several new enhancements, including a new web UI that simplifies remote configuration and control from multiple machines, with updates over Ethernet offering the ability to download logs and screenshots. New remote desktop support provides facility-friendly control from desktops, laptops and tablets on any operating system. The update also adds new HDR monitoring and analysis tools. It’s available soon as a free update.

The Desktop Software v15.2 update offers new features and performance enhancements for AJA Kona and Io products. It offers psupport for Apple ProRes capture and playback across Windows, Linux and macOS in AJA Control Room, at up to 8K resolutions, while also adding new IP SMPTE ST 2110 workflows using AJA Io IP and updates for Kona IP, including ST 2110-40 ANC support. The free Desktop Software update will be available in May.

The Helo v4.0 firmware update introduces new features that allow users to customize their streaming service and improve monitoring and control. AV Mute makes it easy to personalize the viewing experience with custom service branding when muting audio and video streams, while Event Logging enables encoder activity monitoring for simpler troubleshooting. It’s available in May as a free update.

The new openGear converter cards combine the capabilities of AJA’s mini converters with openGear’s high-density architecture and support for DashBoard, enabling industry-standard configuration, monitoring and control in broadcast and live event environments over a PC or local network on Windows, macOS or Linux. New models include re-clocking SDI distribution amplifiers, single-mode 3G-SDI fiber converters plus Multi-Mode variants and an SDI audio embedder/ disembedder. The openGear cards are available now, with pricing dependent upon the model.

AJA’s new IPT-10G2-HDMI and IPT-10G2-SDI mini converters are single-channel IP video transmitters for bridging traditional HDMI and 3G-SDI signals to SMPTE ST 2110 for IP-based workflows. Both models feature dual 10 GigE SFP+ ports for facilities using SMPTE ST 2022-7 for redundancy in critical distribution and monitoring. They will be available soon for $1,295.

The Corvid 44 12G is an 8-lane PCIe 3.0 video and audio I/O card featuring support for 12G-SDI I/O in a low-profile design for workstations and servers and 8K/UltraHD2/4K/UltraHD high frame rate, deep color and HDR workflows. Corvid 44 12G also facilitates multichannel 12G-SDI I/O, enabling either 8K or multiple 4K streams of input or output. It is compatible across macOS, Windows and Linux and used in high-performance applications for imaging, post, broadcast and virtual production. Corvid 44 12G cards will be available soon.


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.


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…