Tag Archives: NAB 2015

First Impressions: Blackmagic’s DaVinci Resolve 12

By Brady Betzel

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

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

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

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

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

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

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

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

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

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

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

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

At NAB, TVLogic launched 12 new displays

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

TVLogic LUM-310A

TVLogic LUM-310A

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

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

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

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

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

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

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

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

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

JVC offers new 4KCAM line of camcorders

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

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

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

JVC's GY-HM200

JVC’s GY-HM200

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

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

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

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

All three camcorders are now shipping.

NAB 2015: Love and hate, plus blogs and videos

By Randi Altman

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

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

Continue reading

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

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

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

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

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

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

LaCie doubles capacity of Rugged Thunderbolt SSD

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

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

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

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

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

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

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

By Adrian Winter

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

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

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

NAB 2015: A veteran’s perspective

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

By Jonathan Moser

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

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

NAB 2015 Wrap-Up: The final days

By Will Rogers

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

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

NAB: sweet, sweet pictures

By Tim Spitzer

I had the very enjoyable experience of seeing footage captured on two of the newest large sensor camera’s being introduced to the marketplace: Panasonic’s Varicam 35 and Arri’s Arri 65.

Starting with the latter, a “for rental only” camera that captures 6.5K images only in ArriRaw — these are the most beautiful images I have seen captured on a digital sensor. In a brilliantly inspired demo, close-up images of the faces of Arri employees, shot without make-up as Continue reading

D-Cinema Summit: standardization of immersive sound formats

By Mel Lambert

“Our goal is to develop an interoperative audio-creation workflow and a single DCP that can be used to render to whatever playback format – Dolby Atmos, Barco/Auro 3D, DTS:X/MDA – has been installed in the exhibition space,” stated Brian Vessa, chairman of SMPTE Technology Committee 25CSS, which is considering a common standardized method for delivering immersive audio to cinemas. Vessa, who also serves as executive director of Digital Audio Mastering at Sony Pictures Entertainment, was speaking at this past weekend’s joint SMPTE/NAB Technology Summit on Cinema during a session focused on immersive sound formats, Continue reading

NAB Day 1: badges, bearings and lighting

By Adrian Winter

I landed in Vegas just past noon, and arrived without incident at the Flamingo, America’s premier bird-themed Hotel and Casino. After a smooth check-in, I made my way over to the Las Vegas Convention Center for a look around before my first session of the week.

Not many people have arrived for the show yet, or if they have, they are not hanging around the convention center. This actually made it somewhat difficult to get my bearings, as there Continue reading

The Foundry updates Nuke Studio, tackles VR/AR content at NAB

The Foundry has updated Nuke Studio, its node-based VFX, editorial and finishing studio for creative individuals and teams. New features include multiple overlay tracks and blending modes in the timeline; enhanced audio editorial tools that let users view an audio track’s waveform within the timeline and apply cross-fades and fade in/out to audio tracks using handles; and XML and AAF support for grades, nonlinear retimes, transforms and cropping, which enables automatic creation of external editorial effects within the application.

The Foundry has also added a burn-in soft effect to the application’s realtime in-timeline effects, allowing users to add review information directly in the timeline for use during review. Finally, Nuke Studio and the Nuke and NukeX Flipbook now have native support for stereo playback — both in the application and through SDI-out.

At the same time, the company is developing technologies to address specific challenges in virtual and augmented reality (VR/AR) content creation. These technologies are based on internal R&D, technology partnerships, and collaboration with more than 30 media and entertainment companies.

Specifically, The Foundry has worked with its VFX clients on experimental new tools and workflows to manipulate and composite live-action VR using Nuke. Developments include calibration and stitching of live-action 360-degree footage from multicamera rigs; live connection to Oculus Rift to review stitching, grading, and depth; support for compositing with ray-trace rendering for CG placement and projections; and spherical-aware operations and viewing with equirectangular images.

The Foundry will preview these experimental new VR/AR content creation technologies at the 2015 NAB Show as part of a live stream on Tuesday, April 14, from 10 a.m. to 2 p.m. PDT. The company will also demonstrate Nuke Studio’s new features during that streaming session.

Quantum at NAB with Artico intelligent NAS archive appliance

Quantum will be at NAB demonstrating its new Artico intelligent NAS archive appliance. Artico offers broadcast and post facilities using scale-out NAS systems an entry point for establishing media archives — outside of StorNext environments — that can scale to hold petabytes of content across Quantum’s Lattus extended online, Scalar tape and Q-Cloud Archive storage.

Powered by Quantum‘s StorNext 5 software and providing a simple NAS presentation, Artico incorporates StorNext Storage Manager policies to maximize storage efficiency. When used in combination with any StorNext-qualified media asset management (MAM) system, Artico can move files from online storage to longer-term archive with no user intervention, while maintaining full access to the files.

The system offers NAS connectivity and intelligent, policy-driven file movement across LTO tape, LTFS, object storage and cloud archive systems. Artico was designed to enable long-term protection of content through the ability to create multiple archive copies and with support for multiple archive systems.

Assimilate’s Scratch 8.3 and Scratch Lab now in one toolset

Scratch 8.3 from Assimilate is a cloud-based ecosystem of digital cinema tools for DITs, DPs, directors, editors, colorists, post artists, and other creative pros. Scratch 8.3 integrates the full Scratch DI workflow and Scratch Lab for on-set and VFX dailies into one toolset for $650 per year. Filmmakers and artists now have an uninterrupted Scratch workflow with a single user interface for consistent color throughout the filmmaking process.

The Scratch 8.3 ecosystem also includes Scratch Web and Scratch Play 8.3 for realtime publishing and sharing of native RAW camera or other media with the entire creative team — in any format and any resolution at any time, anywhere in the world. Unicode is now included to support the high-growth, budget-limited Asian markets.

All current Scratch and Scratch Lab customers on subscription or active support receive an upgrade to Scratch 8.3 at no charge, as well as a Scratch Web channel to publish RAW and other media data for collaboration and review.

AlterMedia beefs up Studio Suite Xi, adds Aspera, FileCatalyst Integration

At NAB 2015, AlterMedia will highlight new features for its Studio Suite Xi studio management software, as well as workflow enhancements achieved through new integration partnerships with Aspera and FileCatalyst.

New additions to AlterMedia‘s Studio Suite Xi include charting for productions and projects; new task timers; a call sheet optimized for smaller productions; a refreshed Web Glancer with UI improvements and a QuickLog feature for mobile users; new calendar features; improved QuickBooks integration; as well as the ability to upload video to online media platforms or self-hosted sites and automate monitoring, logging and graphic of video play counts.

The integration partnership with Aspera will enable Studio Suite Xi users to send and receive large data and media asset files using their Aspera Connect accounts. The integration of FileCatalyst with Studio Suite Xi will enable pros to perform fast, reliable and secure file transfers using their existing FileCatalyst Direct accounts.

Studio Suite Xi is designed to simplify management of contacts, resources, schedules, budgets/actuals, and other details of day-to-day studio operations. AlterMedia offers three versions of Studio Suite Xi —Solo, Pro, and Network — with Web and iOS access available on all Network solutions.

Studio Suite Xi runs on Mac, PC, iOS, and desktop browsers. It integrates with Final Cut, Avid, Pro Tools, QuickBooks, QuickBooks Online, MYOB & AccountEdge, Address Book, iCal, and Google Calendar and syncs and runs cooperatively with many other widely adopted systems.

Blog: My three goals for NAB 2015

This VFX supervisor shares his NAB game plan.

By Adrian Winter

It has been about four or five years since I was at an NAB Show, so I am very much looking forward to this year’s trip. In the past, my plan has been to fly out for just a day or two, walk the floor and then take a redeye home. This year I will be there for almost the entire week, and have plans to take in as many demos and seminars as I manage to squeeze in.

I have three areas of focus for the convention:

The Big players
Adobe, Autodesk, The Foundry and FilmLight always have a big presence at NAB, and I’ll be checking in with them to see what they have in the pipeline. I also plan to swing by a few of my other favorite exhibitor booths to see if I come across any gems. Continue reading

Telestream taking Episode 6.5 to NAB

At the 2015 NAB Show, Telestream will demo support for new formats, closed captions, multibit-rate encoding, and multitrack audio in Episode 6.5, the latest version of its multiformat video encoding software.

Episode 6.5 enables caption insertion with encoding and pass-through options, and supports CEA-608 and CEA-708 closed captioning standards as well as MCC and SCC caption formats. The aim is to enable postproduction workflows to handle embedded captions easily in the face of federal regulations. The new version also accommodates additional video and audio formats, including HEVC, XAVC, VP9, and MXF AS-11.

In terms of multi-bit-rate streaming, Episode 6.5 makes it possible to encode and create packages for Apple HLS (HTTP Live Streaming), Microsoft Smooth Streaming, and MPEG-DASH with one click in order to deliver videos in the resolution and bit rate that best match viewers’ connection speeds.

Telestream has added presets and filters to Episode 6.5 so that users can map multitrack audio channels — i.e., rearrange audio tracks, change speaker assignments, and change audio formats and sample rates.

Finally, image sequences are now available directly from the Episode UI, which the company says provides an easy way to manage thousands of frames for 3D animation and compositing for visual effects.

Rohde & Schwarz showing updates to Clipster at NAB

Rohde & Schwarz will be showing new features on the R&S Clipster at NAB 2015, which, according to the company, will offer a complete solution for UHD, 3D and Rec. 2020 mastering — including IMF-compliant closed captions & subtitles, composition playlist markers, and forensic watermarking.

Among other functions, Rohde & Schwarz DVS has added key features to offer a complete IMF workflow from a single solution: timeline marker authoring, captions, subtitles and forensic watermarking. The timeline can be used as usual to arrange all the content, including captions and subtitles. The integrated IMF delivery tool guides users through all the necessary steps so they are safe in the knowledge they have created a compliant IMF package.

Clipster also offers realtime playback of UHD IMF content, thus facilitating the visual quality control process. Support for UHD, captions, and subtitles also help smooth the transition to file-based workflows. 

R&S Clipster supports NexGuard forensic watermarking, so content owners and their vendors can protect pre-release content up to UHD & 4K with forensic watermarking.

BCPC blogging for postPerspective from NAB, sets date for post-show event

The growing grassroots group made up of New York-based young post professionals, the Blue Collar Post Collective (BCPC), will be having its post-NAB meet-up on April 23 in Manhattan.

BCPC member William Rogers (pictured above) will be at NAB in Las Vegas, blogging for both the BCPC and postPerspective. In addition to reporting what he sees at the show, Rogers will be live tweeting while in Vegas and he’s encouraging you to tweet to @BCPCollective and suggest companies and product demos to visit. Rogers will then provide feedback via social media.

This is Rogers’ first NAB, and he’s pretty excited to experience the show first hand while also sharing his findings with others. For our part, postPerspective is excited as well.

“I feel privileged to be able to bring my voice to NAB on behalf of postPerspective, while also representing the young professionals of the grassroots initiative that is the Blue Collar Post Collective. I’m entrenched in the post production world, so my entire week in Vegas will be spent geeking out at all of the latest editing and finishing tech. Toys aside, I’m eager to see the keynote by FCC Chairman Tom Wheeler, who was the champion of enacting the latest national legislation for preserving an open and collaborative internet in America.”

At the event in New York on April 23, a handful of companies who were exhibiting at the NAB Show will be at BCPC’s Las Vegas-themed party showing off their products. Each participating vendor is also donating products, equipment and subscriptions to a fundraising raffle.

Check out the BCPC on Facebook.

NAB 2015: Sony aims to make 4K mainstream

By Fred Ruckel

The NAB Show is just under a month away. “Viva Las Vegas,” as they say. This week I had the pleasure of attending Sony’s Pre-NAB press conference to discuss what Sony will bring to the show floor. This year their theme is “Beyond Definition” and, as usual, Sony will have its large booth featuring 11 sections and a central area for meetings.

Sony’s main focus for NAB 2015 is on making 4K mainstream. Sony introduced numerous technologies and methodologies to help people ease the transition into mainstream 4K. From cameras to editing and storage to archiving, Sony has Continue reading

Vidcheck heading to NAB with ‘Vidapps’ for After Effects, Premiere

Video processed with Adobe After Effects or Premiere Pro will soon be able to take advantage of Vidcheck’s intelligent “Vidapps-Video” plug-in to correct RGB gamut and YUV levels within the NLE.

Uk-based Vidcheck, which makes automated quality control software with patented intelligent video and audio correction, will be at NAB this year showing the latest version of its Vidchecker and Vidfixer product suites. These have been extended to include a range of video applications (Vidapps) for Adobe After Effects and Premiere Pro, enabling users to check and automatically correct video and audio errors without leaving the Adobe environment.

This means that users of Adobe After Effects and Premiere Pro can correct illegal video levels to broadcast safe parameters using Vidcheck’s patented algorithms which correct the video without clamping it. (Clamping being an antiquated means of achieving broadcast safe content that can cause undesirable degradations of the resulting picture).

Vidcheck’s Vidapps-Video provides checking and correction as part of the edit process and is designed to be used as the last stage of post production, immediately before the media is rendered. This approach means the user can be confident that the rendered media will fully comply with the specified requirements before it leaves the Adobe environment.

As part of using Vidapps, an XML report can be generated and saved as a record that QC corrections were done and, if required, be forwarded to the client for the media file. The report can also be ‘skinned’ with the logo and colors of the post house/video editor to make it highly specific and identifiable to them.

Additional Vidapps plug-ins are currently available for audio and photosensitive epilepsy (PSE) checking, and others are in development for introduction later in 2015.

Vidcheck’s core Vidchecker and Vidfixer AQC products are scalable from low-cost versions for post production to sophisticated Vidchecker/Vidfixer Grid systems suitable for larger enterprises. In addition to watch folder automation, Vidcheck’s API has been integrated into many MAM and workflow engine solutions across the industry for seamless addition of complex AQC into any workflow.

Editor Sandra Adair, with Oscar-nom for ‘Boyhood,’ to speak at NAB 2015

Editor Sandra Adair, ACE, who is a current Oscar nominee for her work on Richard Linklater’s Boyhood, will be a featured session speaker within the Creative Master Series at the NAB Show in April.

Her collaborations with Linklater also include Dazed and Confused and School of Rock. The session “From Dazed to Boyhood: Collaboration over 22 Years,” will be moderated by veteran film editor Norman Hollyn and produced in partnership with American Cinema Editors (ACE).

Adair (@sadair20) was nominated for an Eddie Award for Best Editing of a Musical or Comedy by the American Cinema Editors in 2003 for School of Rock, and won the Best Edited Documentary award at the Woodstock Film Festival in 2012 for the feature doc Shepard and Dark, directed by Treva Wurmfeld. Some credits with other directors include Everything Must Go, starring Will Ferrell, and the award-winning documentary Sushi: The Global Catch.

She is a member of the Academy of Motion Picture Arts and Sciences and American Cinema Editors and enjoys supporting and mentoring new filmmakers in the Austin area, where she resides.

“From Dazed to Boyhood: Collaboration over 22 Years” will take place on Wednesday, April 15 from 10:30-11:30 a.m. PT in the South Hall Room S220 of the Las Vegas Convention Center.

Aerial Robotics, Drone Pavilion new for NAB 2015

This year’s NAB show in Las Vegas, April 11-16, will feature a new a new Aerial Robotics and Drone Pavilion, presented by Drone Media Group in partnership with NAB Show.

The new exhibit area, located in the South Upper Hall of the Las Vegas Convention Center, will feature dozens of aerial robotics companies, a flying cage, demonstration area with seating and daily sessions.

“Unmanned aerial systems are increasingly being used to cover live events and breaking news,” reports Mannie Frances, Drone Media Group. “Drones were one of the hottest technologies at the 2014 NAB Show.”

Exhibitors currently participating in the Pavilion include DJI, Canon, Amimon, DSLR Pros, XFly Systems, TeraLogics, Go Professional Cases, ArrowData, Sky High Media, ZM Interactive and Unmanned Vehicle University.

The Pavilion will also feature sponsored presentations daily from 9:15am–6:00pm. Topics include laws and regulations surrounding drones, the use of drones for news gathering, drones in space (NASA Project Case Study), capturing aerial video and employing range extenders.