Tag Archives: NAB

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

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.

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.

FilmLight offers additions to Baselight toolkit

FilmLight will be at NAB showing updates to its Baselight toolkit, including T-Cam v2. This is FilmLight’s new and improved color appearance model, which allows the user to render an image for all formats and device types with confidence of color.

It combines with the Truelight Scene Looks and ARRI Look Library, now implemented within the Baselight software. “T-CAM color handling with the updated Looks toolset produces a cleaner response compared to creative, camera-specific LUTs or film emulations,” says Andrea Chlebak, senior colorist at Deluxe’s Encore in Hollywood. “I know I can push the images for theatrical release in the creative grade and not worry about how that look will translate across the many deliverables.”

FilmLight had added what they call “a new approach to color grading” with the addition of Texture Blend tools, which allow the colorist to apply any color grading operation dependent on image detail. This gives the colorist fine control over the interaction of color and texture.

Other workflow improvements aimed at speeding the process include enhanced cache management; a new client view that displays a live web-based representation of a scene showing current frame and metadata; and multi-directory conform for a faster and more straightforward conform process.

The latest version of Baselight software also includes per-pixel alpha channels, eliminating the need for additional layer mattes when compositing VFX elements. Tight integration with VFX suppliers, including Foundry Nuke and Autodesk, means that new versions of sequences can be automatically detected, with the colorist able to switch quickly between versions within Baselight.

Arvato to launch VPMS MediaEditor NLE at NAB

First seen as a technology preview at IBC 2018, Arvato’s MediaEditor is a browser-based desktop editor aimed at journalistic editing and content preparation workflows. MediaEditor projects can be easily exported and published in various formats, including square and vertical video, or can be opened in Adobe Premiere with VPMS EditMate for craft editing.

MediaEditor, which features a familiar editing interface, offers simple drag-and-drop transitions and effects, as well as basic color correction. Users can also record voiceovers directly into a sequence, and the system enables automatic mixing of audio tracks for quicker turnaround. Arvato will add motion graphics for captioning and pre-generated graphics in an upcoming version of MediaEditor.

MediaEditor is a part of Arvato Systems’ Video Production Management Suite (VPMS) enterprise MAM solution. Like other products in the suite, it can be independently deployed and scaled, or combined with other products for workflows across the media enterprise. MediaEditor can also be used with Vidispine-based systems, and VPMS and Vidispine clients can access their material through MediaEditor whether on-premise or via the cloud. MediaEditor takes advantage of the advanced VPMS streaming technology allowing users to work anywhere with high-quality, responsive video playback, even on lower-speed connections.

Blackmagic offers next-gen Ursa Mini Pro camera, other product news

Blackmagic has introduced the Ursa Mini Pro 4.6K G2, a second-generation Ursa Mini Pro camera featuring fully redesigned electronics and a new Super 35mm 4.6K image sensor with 15 stops of dynamic range that combine to support high-frame-rate shooting at up to 300 frames per second.

In addition, the Ursa Mini Pro 4.6K G2 supports Blackmagic RAW and features a new USB-C expansion port for direct recording to external disks. Ursa Mini Pro 4.6K G2 is available now for $5,995 from Blackmagic resellers worldwide.

The new user interface

Key Features:
• Digital film camera with 15 stops of dynamic range
• Super 35mm 4.6K sensor with Blackmagic Design Generation 4 Color Science
• Supports project frame rates up to 60fps and off-speed slow motion recording up to 120fps in 4.6K, 150fps in 4K DCI and 300fps in HD Blackmagic RAW
• Interchangeable lens mount with EF mount included as standard. Optional PL, B4 and F lens mounts available separately
• High-quality 2-, 4- and 6-stop neutral density (ND) filters with IR compensation designed to specifically match the colorimetry and color science of Blackmagic URSA Mini Pro 4.6K G2
• Fully redundant controls including external controls that allow direct access to the most important camera settings such as external power switch, ND filter wheel, ISO, shutter, white balance, record button, audio gain controls, lens and transport control, high frame rate button and more
• Built-in dual C-Fast 2.0 recorders and dual SD/UHS-II card recorders allow unlimited duration recording in high quality
• High-speed USB-C expansion port for recording directly to an external SSD or flash disk
• Lightweight and durable magnesium alloy body
• LCD status display for quickly checking timecode, shutter and lens settings, battery, recording status and audio levels
• Support for Blackmagic RAW files in constant bitrate 3:1, 5:1, 8:1 and 12:1 or constant quality Q0 and Q5 as well as ProRes 4444 XQ, ProRes 4444, ProRes 422 HQ, ProRes 422, ProRes 422 LT, ProRes 422 Proxy recording at 4.6K, 4K, Ultra HD and HD resolutions
• Supports recording of up to 300fps in HD, 150fps in 4K DCI and 120fps at full-frame 4.6K.
• Features all standard connections, including dual XLR mic/line audio inputs with phantom power, 12G-SDI output for monitoring with camera status graphic overlay and separate XLR 4-pin power output for viewfinder power, headphone jack, LANC remote control and standard 4-pin 12V DC power connection
• Built-in high-quality stereo microphones for recording sound
• Offers a four-inch foldout touchscreen for on-set monitoring and menu settings
• Includes full copy of DaVinci Resolve color grading and editing software

Additional Blackmagic news:
– Blackmagic adds Blackmagic RAW to Blackmagic Pocket Cinema Camera 4K
– Blackmagic intros DeckLink Quad HDMI recorder
– Blackmagic updates DeckLink 8K Pro
– Blackmagic announces long-form recording on Blackmagic Duplicator 4K

Arvato previews EditMate SaaS for Adobe Premiere Pro

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

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

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

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

AlterMedia rolling out rebuild of its Studio Suite 12 at NAB

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

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

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

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

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

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

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

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

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

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

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

Quantum’s StorNext 6 Release Now Shipping

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Timecode and GoPro partner to make posting VR easier

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

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

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

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

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

Eizo intros DCI-4K reference monitor for HDR workflows

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

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

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

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

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

Film and sound editor Dody Dorn to headline NAB SuperMeet

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

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

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

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

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

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

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

NAB: The making of Jon Favreau’s ‘The Jungle Book’

By Bob Hoffman

While crowds lined up above the south hall at NAB to experience the unveiling of the new Lytro camera, across the hall a packed theatre conference room geeked-out as the curtain was slightly pulled back during a panel on the making of director Jon Favreau’s cinematic wonder, The Jungle Book.   Moderated by ICG Magazine editor David Geffner, Oscar-winning VFX supervisor Rob Legato, ASC, along with Jungle Book producer Brigham Taylor and Technicolor master colorist Mike Sowa enchanted the packed room with stories of the making and finishing of the hit film.

Legato first started developing his concepts for “virtual production” techniques on Martin Scorsese’s The Aviator, and shortly thereafter, with James Cameron and his hit Avatar. During the panel, Legato took the audience through a set of short demo clips of various scenes in the film while providing background on the production processes used by cinematographer Bill Pope, ASC, and Favreau to capture the live-action component of the film. Legato pointedly explained that his process is informed by a very traditional analog approach. The development of his thinking is based on a commitment to giving the filmmaking team tools and methodologies that allow them to work within their own particular comfort zones.

They may be working in a virtual environment, but Favreau’s wonderful touch is brilliantly demonstrated by the performance of 12-year-old Neel Sethi on his theatrical debut feature. Geffner noted more than once that “the emotional stakes are so well done you get involved emotionally” — without any notion of the technical complexity underlying the narrative.  One other area noted by Legato and Sowa was the myriad of theatrical-HDR deliverables for The Jungle Book, including up to 14-foot lamberts for the 3D presentation.  This film, and presentation, was just another clear indicator that HDR is a clear differentiator that audiences are clamoring for.

Bob Hoffman works at Technicolor in Hollywood.

Pixspan at NAB with 4K storage workflow solutions powered by Nvidia

During the NAB Show, Pixspan was demonstrating new storage workflows for full-quality 4K images powered by the Nvidia Quadro M6000. Addressing the challenges that higher resolutions and increasing amounts of data present for storage and network infrastructures, Pixspan is offering a solution that reduces storage requirements by 50-80 percent, in turn supporting 4K workflows on equipment designed for 2K while enabling data access times that are two to four times faster.

Pixspan software and the Nvidia Quadro M6000 GPU together deliver bit-accurate video decoding at up to 1.3GBs per second — enough to handle 4K digital intermediates or 4K/6K camera RAW files in realtime. Pixspan’s solution is based on its bit-exact compression technology, where each image is compressed into a smaller data file while retaining all the information from the original image, demonstrating how the processing power of the Quadro M6000 can be put to new uses in imaging storage and networking to save time and help users  meet tight deadlines.

Colorist Society International launches for color pros

Kevin Shaw

Kevin Shaw

At the opening of NAB, motion picture and television colorists Jim Wicks and Kevin Shaw announced Colorist Society International (CSI), the first the first professional association for colorists devoted exclusively to furthering and honoring the professional achievements of the colorist community. A non-profit organization, CSI represents professional colorists and promotes the creative art and science of color grading, restoration and finishing by advancing the craft, education, and public awareness of the art and science of color grading and color correction.

The Colorist Society International is a paid membership organization that will seek to increase the entertainment value of film and digital projects by attaining artistic pre-eminence and scientific achievement in the creative art of color; and to bring into close alliance those color artists who desire to advance the prestige and dignity of the color profession as educational and cultural resource rather than a labor union or guild.

“The colorist community has been growing for quite some time,” says Shaw. “We believe that a society by, for, and about colorists is long overdue. Current representation for colorists is fragmented and we feel that the industry would be better served with the coherent voice of the Colorist Society International”

Jim Wicks

Jim Wicks

Wicks added, “The notion of a colorist society is not farfetched. In much the same way, directors, cinematographers, and editors — the artists that we work closely with — have their own professional associations, each with similar mission statements and objectives.”

Membership is open to professional colorists, editor/colorists, DITs, telecine operators, color timers, finishers, and color scientists. Corporate sponsors and members from alliance organizations, such as cinematographers, directors, producers, are also welcome.

Tangent makes updates to Ripple panel, expects to ship end of April

At IBC this past September, Tangent showed working prototypes of its Ripple panel — a new entry level offering designed for the occasional colorist, editor and student — and came away with a few suggestions that they incorporated into the final product. Ripple features three tracker balls that speed up primary grading. It is lightweight and offers a footprint small enough to sit beside your keyboard and mouse without getting in the way.

Here are the recent changes that Tangent made to the product:
–          Increased the size of the dials.
–          Increased the the gap between the ball and the dial.
–          Made the “finger dimple” in the dial deeper.
–          Added some kind of “grip” to the edge of dial.

All of the above was implemented in order to make it easier to operate the dial. Our main image shows the final design of the Ripple panel that is now in production.

Tangent says incorporating the above changes has delayed the release date of Ripple, which is expected to cost around $350. “We had originally hoped to get the panel out some time in March, but it now looks most likely that it will start shipping at the end of April,” says sales director Andy Knox.

Tangent will have Ripple at their booth during NAB.

Quick Chat: Scale Logic’s Bob Herzan talks storage

Can you imagine for a second what it would be like without proper storage in our datacentric production and post world? Anarchy! To say it’s a big part of the puzzle would be an understatement.

At postPerspective, we cover storage news, technology and usage in a variety of ways, so recently we reached out to Scale Logic, which provides RAID, SAN and NAS, as well as other archiving solutions, to find out about their products and process.

Some of you might remember that Minneapolis-based Scale Logic Inc. grew out of what was once Rorke Data, which offered products to the post industry for almost 30 years. Scale Logic president/CEO Bob Herzan and about 20 former Rorke Data employees took that technology and experience and built on it, creating new products targeting the media and entertainment space.

Let’s find out more.

Genesis Unlimited is new-ish, but the Genesis platform has been around for how long?
Genesis’ predecessors were released in 2008 as a NUMA programing technology that uses multi-thread processing. The Genesis development team has been building software RAID solutions for the M&E market for eight years, so Genesis Unlimited is a third-generation product. The Genesis RX was introduced over three years ago, and the Genesis Unlimited was announced at NAB 2015.

Genesis Unlimited

Genesis Unlimited

What should pros know about your Unlimited and RX products?
HyperFS and the Genesis RAID software have been combined and sold as a licensed “SAN in a box” solution for five years now, but Unlimited licensing began in April 2015. The Genesis RX series features unlimited connectivity, which allows facilities to connect all their various systems to the central storage with the correct network speed.

Can you talk about how this helps post users specifically?
Imagine having your fixed SAN or NAS solution at your facility, then having the ability to invite freelance editors to come into your facility and simply be able to connect to your shared storage via Fibre or Ethernet and begin collaborating immediately — without the need to purchase additional hardware or software. The peace of mind this offers allows users to stop thinking about the technology and focus on the creative.

How does Unlimited differ from your other offerings?
Unlimited is tailored for reliability and cost, and it aims to solve connectivity, application compatibility, file system and data storage issues in the one box. While all of our products are meant to scale well, Genesis Unlimited’s scalability is designed for independent scale-out in performance and capacity.

You say you target M&E. How is this system optimized for the workflows of post and VFX pros?
Rather than adapted for M&E use, the system was built from the ground up with M&E in mind. Genesis has features like the HyperFS file system, which can optimize its stripe pattern for either GOPs or iframes. The Realtime Initiator offers guaranteed throughput.

Post pros using our tools don’t want to worry about bandwidth control when it comes to mission critical applications. For example, you might have an important customer reviewing your most recent edits while you review your full resolution 4K output in another bay. Our users don’t want to worry about what other workloads are happening on the SAN — if the bandwidth is overtaxed it could cause poor playback. The Unlimited solves the guesswork by allowing your playout server to take priority on the bandwidth available while other workstations on the SAN will share the leftover bandwidth.

Genesis products installed at 4 Max Post in Los Angeles.

Genesis products installed at 4 Max Post in Los Angeles.

Can you further explain the Realtime Initiator?
Genesis Unlimited can detect client machines connected through its connection ports via iQN or WWN, at which point it’s simple to input recognizable names, like “edit bay1” or “Mac1.” After naming the edit bays, you can toggle on or off realtime, which guarantees an amount of bandwidth for that machine and creates two pools of users: those that are realtime and those that are non-realtime. The non-realtime group can get suppressed with either a bandwidth ceiling they can’t collectively go over or a number of IOPs.

There are many practical uses for this, such as ensuring uninterrupted use for a client coming in for review of a project or setting power editors to realtime while the facility’s ancillary stations are non-realtime.

The Realtime Initiator feature will also give a block-level client priority access to the storage to ensure that no matter what the current workload on the SAN is, the most important suite in a facility will be able to playback without dropping frames.

How have you made this product secure in terms of data protection?
RAID-6 protection is standard on Genesis Unlimited, but it also offers RAID-7 protection — we have a hardened, safe Linux kernel and RAID-7.3 capability, which makes it very secure. The partial restore feature further exemplifies our focus on data security by only degrading a small portion of the disk when bad sectors are detected.

How does this relate in real-world workflows?
Well, for the most part, RAID systems themselves are very secure. When you have an issue with a RAID it typically is going to be due to aging hard drives, so as your system gets older your drives begin to fail. RAID-5 allows one drive to fail, RAID-6 allows two and RAID-7 allows up to three before your facility starts to be at risk of loosing data.

Scale Logic's lab techs testing out product.

Scale Logic’s lab techs testing out product.

The creative industry for the most part are not IT professionals and don’t necessarily take the same types of preventive maintenance measures that you see in IT. Finding ways to simplify the users’ experience and building in extra protection lets everyone sleep better at night.

This is a scalable system, but what’s the cost of entry? Can the smaller guys take advantage of Genesis Unlimited?
Yes, Genesis Unlimited is built with the collaborative work group in mind; this could be smaller boutique post houses, on-set production, broadcast and cable stations, houses of worship, as well as corporate facilities moving some of their marketing in-house.

These types of companies may not have the ability, or want, to purchase a dedicated Fibre Channel switch or metadata controller, but with Genesis Unlimited they can scale their solution as they grow. The 12-bay Genesis Unlimited starts at $24K using 2TB drives.

If you were a medium-sized VFX house working on commercials, what kind of system would you need and how does this benefit you?
We would recommend our 24- or 36-bay Genesis Unlimited, depending on their storage and bandwidth needs. We also offer a full line of traditional shared SAN solutions if the customer requires things like a dedicated metadata controller or high availability. These can either be used initially or migrated from a Genesis Unlimited, using existing hardware and licenses.

Do you have an advisory committee?
In relation to the HyperFS and our RX Series RAID storage (RX, RX2 and Unlimited) we are qualified for Adobe Anywhere, and certified with Blackmagic, NewTek, Telestream, FileCatalyst, Levels Beyond, Axle Video, Digital Vision, CatDV and others.

We also have developed an advisory board that will meet four times a year. This board is made up of eight industry veterans who currently hold executive positions at some of the industries leading storage manufacturing companies. We believe this committee and its dedication to the media and entertainment market will not only help drive HyperFS and our solutions sets, but will help us develop more focused features that continues to build efficiencies into our solution set.

 

NAB: Media archives drive storage innovation

By Tom Coughlin

Higher resolution, frame rate, pixel depth and the number of cameras for pro video projects is increasing the storage capacity requirements for professional media. The growing size of new projects, combined with the vast collection of media and entertainment content already in archives will drive the size of media archives.

In addition, the desire for ready access to this content to support reuse and other purposes increases the need for faster more active archives. The 2014 Digital Storage for Media and Entertainment Report from my own Coughlin Associates estimates that over 96% of all digital storage in the media and entertainment industry is used in archiving and preservation.

The 2015 NAB show was a showcase for many digital media archive solutions. Magnetic tape is a big player in the traditional media archive market. The most popular tape format in media and entertainment is the LTO tape. The LTO Consortium says that tape storage costs are now less than $0.008 per GB ($8/TB). The LTFS file system used in LTO and other tapes is now supported by SNIA standards. Magnetic tape is now being used in object storage environments and Swift now supports LTFS. The group says that they have seen roughly a 6% growth in magnetic tape in the media and entertainment market.

Fujifilm had a booth with Crossroads Systems where they were showing the Dternity tape-based cloud storage system with the Crossroads Strongbox product. Oracle and IBM were also showing their tape based storage systems that they are targeting for media and entertainment (IBM currently offers up to 10TB of capacity on a half-inch tape cartridge). Several companies were showing the USB interface tape drive made by IBM in their NAB booths. Several companies were showing the USB interface tape drive made by IBM in their NAB booths. mLogic was showing a Thunderbolt LTO tape drive.

ProMax acquired Cache-A in July of 2014, At the 2015 NAB show the company released a significant update to its archiving appliance lineup. The Pro-Cache and Power-Cache products have been redesigned from the ground up to improve the speed and reliability of archiving to LTO tape. The Pro-Cache’s expanded network connectivity includes 4 x 1GbE network controllers accompanied by a 10GbE network performance boost that makes it up to 2x faster than previous systems. The Power-Cache (our main photo) onboard RAID is now up to 16TB with room for an optional onboard LTO-6 or LTO-5 drive.

ProMAX Pro-Cache and Power-Cache copy

Spectra Logic announced updates and enhancements to their BlackPearl Deep Storage Gateway. The newly enhanced Spectra Logic BlackPearl Deep Storage Gateway sits in front of deep storage tape libraries and allows users to move data anywhere within their network using simple HTTP commands. An interesting feature of the BlackPearl hardware is that they use flash memory for caching write and read information to a magnetic tape library. Because of the very fast data rates for mounted tapes flash memory avoids dropping of data or needing to rerun tapes to complete data transfers. Spectra Logic also announced that they were providing an archive tier to private clouds running on the NetApp StorageGrid using the BlackPearl Deep Storage Gateway.

Sony has been driving cartridge archive system using 12 Blu-ray write-once optical media in their Optical Disc Archive (ODA). These cartridges are scheduled for a significant increase in capacity in 2015 with the planned introduction of 300GB 5.25-inch optical write-one archive discs. In addition to the Sony booth companies such as XenData and Qualstar were showing both disc and tape archive libraries in their booth. MassTech also announced support for Sony’s ODA by their asset management system. There is a significant segment of the media and entertainment market that prefers optical discs for cold archiving rather magnetic tape.

backup progress with proxies copy PRP Back Up Screen Shot

Imagine Products and Sony have created a new ODA archiving solution for Mac users. The company’s PreRoll Post LTFS archiving application (pictured above) creates thumbs, proxies and rich metadata while backing up files and folders to multiple locations at once. It also uses checksum technology to ensure that the files and folders are copied accurately. Users simply drag and drop files and folders into the queue for copying to the disc.

Software to support backup also has an important role in M&E. SGL was showing a full archive demonstration with Grass Valley. The company was also launching an Asset Migration Service (FlashNet Migration Service) to move assets between one tape platform or generation to another. They were also showing partial file restore via Avid Web Services.

For more active archives there were several HDD systems geared to active archiving on display at the NAB. HGST (a division of Western Digital) was showing their HDD-based Active Archive System. This was HGST’s first foray into large storage system design and it was leveraging its internal drive costs to offer a cost effective object based storage system cheaper than many white-box solutions. HGST’s Active Archive System is an object storage system that delivers 4.7 petabytes (PB) of raw data storage in a single rack. The company says this product will provide long term retention of media data with fast access when needed.

Dr. Tom Coughlin, president of Coughlin Associates, is a storage analyst and consultant with over 30 years in the data storage industry. He has six patents to his credit and is the author of Digital Storage in Consumer Electronics: The Essential Guide. He also helps put together the Storage Visions Conference. You can we reach him at tom@tomcoughlin.com.

.

NAB: We are a lucky bunch of nerds

By William Rogers

I bolted awake at 5am this morning, Las Vegas time.

I’m still ticking on New York City’s clock, and I don’t think that I’ll be changing that any time this week. I’ve also completely refrained from gambling, drinking (besides a sip of wine at a Monday night dinner with OWC) and any other activities that would cause me to think about keeping what happened here, here.

Between running laps around the South Lower hall of the convention center, I had to stop and take my brain away from my calendar app to reflect on a thought that kept popping up in my head; I really, really love the people here at NAB.

I’m not necessarily talking about the cornerstone vendors and the keynote speakers, but more about the passionate people that are standing behind something that they truly pour their heart and soul into. After the vendor representatives and I would get past the product demos and the required reading, we’d get into a more human conversation and still keep it relative to our body of work.

I like that. I can’t stand fluff and disingenuousness. I can’t stand purposeless self-promotion. What I love is when I ask the right question, and I see people stand a few inches taller because they’re not slumping into their required schpiel.

We filmmakers work in an incredible field. It doesn’t matter what role we’re in, whether it be the grip throwing up the Kinos for an interview, or the online editor who meticulously scrutinizes the footage for the conform.

We’re a lucky bunch of nerds.

My Tuesday

LaCieLaCie showed off a bunch of new stuff. They’re pushing out two new Rugged drives, one spinning disk capable of RAID 0/1, and another with SSD and Thunderbolt tailored for speedy field transfers. I also got an extensive look at the 8big Rack Thunderbolt 2, which is a multi-multi Terabyte storage solution equipped with Thunderbolt 2, enterprise class drives, and 1330 MB/s speed for 4K editing.

I stopped by Small Tree, who provides Ethernet-based server solutions for in-house editing as well as mobile server storage. Small Tree provided their Titanium Z-5 shared storage system for Digiboyz Inc., who used Small Tree’s capabilities on Netflix’s Trailer Park Boys.

SwitchTelestream had a multitude of post-production software solutions on display, but I was directed to check out Switch. Switch is a media player with an elegant UI, but is meant for QC inspection, transcoding and file modifications. For post houses that need to view and modify a vast array of file types including transport streams, Switch is DPP/AMWA-certified software that provides a reliable alternative to open source software.

Facilis was debuting their own venture into the SSD world with Terrablock 24D/HA. The Hybrid Array has 8 onboard SSD drives for ultra-high performance partitions, alongside traditional SATA drives. The combination allows for space scalability inherent to spinning disk drives, while taking advantage of the speed of SSD drives.izotope

I made my way over to Izotope, who specializes in audio finishing plug-ins based on advance audio analyzing. Their software RX4, which plugs into DAWs as well as NLEs, was demonstrating several nifty ways to rescue seemingly lost audio—my favorite was a preset that was able to detect and eliminate GSM cell phone interference on their visual audio spectrum analysis.

For those not in the know, on-site media storage will eventually be a thing of the past, even for large HD(+) media workflows. Aframe Aframewas going to give me a demo of the usability of their online UI, but we got sidetracked discussing their future integration with Adobe Anywhere. Keep an eye out, because within the next few years, public customers will be able to upload all of their video assets to the cloud and live edit with no media stored on local discs.

CTRL+Console showed off their iPad app, which is used to control NLEs and other post software, like Adobe Lightroom. Meant as a keyboard replacement, you can turn your tablet (currently limited to iPad) into a touchscreen console without learning keyboard hotkeys.

Cinegy was kind enough to escort me to a breakout room for snacks and chilly water over a conversation about the post industry. Cinegy provides software technology for digital video processing, asset management, compression and playback in broadcast environments. This year, they were rolling out Version 10 of their software featuring 4K IP-based broadcast solutions Cinegy Multiviewer and Cinegy Route, as well as Cinegy Air PRO, Cinegy Type and a variety of other solutions.

I met up with T2 Computing, who designs and implements IT solutions for post-production facilities and media companies. T2 recently teamed up with Tekserve to overhaul their invoicing and PO management system.

I’d say it was a successful Tuesday. I tried to get into my hotel pool later that evening, but my efforts to aquatically relax were thwarted by a Las Vegas sandstorm. Instead, I kicked my feet up to read a few more chapters from my Kindle, which was exactly what I needed.

Will is an editor, artist and all around creative professional working as a Post Production Coordinator for DB Productions in NYC.

NAB: Exploring collaborative workflows on the exhibit floor

By Adrian Winter

It was back to the showroom floor for me today as I checked in on a number of exhibitors with an eye toward collaborative workflows.

My first stop was the Adobe booth to take in a demonstration of Adobe Anywhere — Adobe’s collaborative platform for Premiere, Prelude and After Effects.

The workflow is built around a number of users, working either in house or remotely, that can access and work with the same footage all stored in one place called a Collaboration Hub. This Continue reading

Sound developments at the NAB Show

Spotlighting Pro Sound Effects library, Genelec 7.1.4 Array, Avid Master Joystick Module and Sennheiser AVX wireless mic

By Mel Lambert

With a core theme of ”Crave More,” which is intended to reflect the passion of our media and entertainment communities, and with products from 1,700 exhibitors this year – including over 200 first-time companies – there were plenty of new developments to see and hear at the NAB Show, which continues in Las Vegas until Thursday afternoon.

In addition to unveiling Master Library 2.0, which adds more that 30,000 new sound effects, online access, annual updates and new subscription pricing, Pro Sound Effects demonstrated a Continue reading

ftrack 3.2 intros Nuke Studio integration, expands Actions framework

This summer, ftrack will release version 3.2 of its cloud-based project management platform for the creative, visual effects and animation industries.

ftrack 3.2 will include integration with Nuke Studio, a move that puts The Foundry’s entire file-based workflow into an asset-based workflow for ftrack users, thus eliminating the need to use the file system. Instead artists will get off-the-shelf access to creative project management.

Also, with the crew tab and chat feature, coordinators, producers and other users will be able to communicate with their fellow team members via text and video chat. The chat feature is intended to break down communication barriers and reduce bottlenecks so that information can go directly to relevant crew members.

In addition to the Nuke Studio integration, ftrack 3.2 will see upgrades to the platform’s Actions system, which allows users to integrate processes, automate repetitive tasks or create file system structures. Designed to increase efficiency, the improved Actions functionality will give developers the freedom to implement their own tools, customize parts of the UI and request additional information from the user before the Actions run (e.g., email addresses for report recipients).

AMD FirePro supports Avid Media Composer 8.4 for HD, 4K workflows

AMD has certified Avid Media Composer 8.4 for HD and 4K broadcast and digital content creation workflows powered by AMD FirePro professional graphics on Microsoft Windows and Mac Pro workstations. The new support for Avid Media Composer enables AMD FirePro professional graphics customers to take advantage of 4K display, media management and editing capabilities throughout the video production process.

Avid Media Composer nonlinear video editing software is used extensively by professional editors in moviemaking, television, broadcast and streaming media. AMD FirePro professional graphics enable Avid Media Composer to support editing of high volumes of disparate file-based media for accelerated high-res and HD workflows, real-time collaboration and well-managed media management.

 

NAB: Reporting from the Tech Summit on Cinema

By Tim Spitzer

What did I hear about digital cinema at the Technology Summit of Cinema during NAB? That the future of digital cinema is bright (pun totally intended)!

Projection at the Summit was provided by Barco on a single head 4K Laser projection system on a new RealD Silver Screen technology. Indeed it was bright. Barco’s largest laser projectors are approaching 60,000 lumens, and new screen coating technologies are making screens more uniform and higher gain. Continue reading

Walking the floor of NAB: The day my brain melted

By Adrian Winter

The floor show of NAB opened today, and I as well as other members of the Nice Shoes team were there at the bright and early to see what the exhibitors had to offer.

The first stop on the show floor was at the FilmLight booth where I got a demo of the Baselight for Nuke plug-in. One of the strengths of having integrated color and post inhouse at Nice Shoes is the ability to go back into the color suite once a spot is conformed and comped for a final grading pass. Continue reading

Autodesk upgrades Flame, Maya and Max to 2016 versions

Autodesk has released updated versions of its Maya and 3ds Max 3D animation software tools. Maya 2016 includes improved animation performance with a parallel evaluation system that takes advantage of the CPU and GPU to increase the speed of both playback and character rig manipulation. The look and feel of the tool has been updated, and Maya 2016 includes new capabilities in the Bifrost procedural effects platform that enable realistic liquid simulations. Continue reading

Apple upgrades Final Cut Pro X, Motion and Compressor

Apple has just announced Motion version 5.2, Final Cut Pro X version 10.2 and Compressor version 4.2. 

Both Motion and Final Cut Pro X now include 3D title capabilities. Users can create animated, customizable 3D text via cinematic templates with built-in backgrounds and animations. There is a large collection of text styles, and it’s possible to customize titles with hundreds of combinations of materials, lighting and edges for advanced 3D looks. Both Motion 5.2 and Final Cut Pro X 10.2 have additional controls to adjust environment, shadows and more, and both instantly convert 2D titles to 3D.

Among Motion 5.2’s many other new 3D title capabilities are flexible surface shading with options for texture maps, diffuse and specular reflection and bump mapping; real-world attributes such as paints, finishes and distress; and more than 90 built-in materials including metals, woods and plastics. Users can combine layers of materials to create unique looks, customize any material and save it as a new preset, and save any 3D title and access it instantly in Final Cut Pro X. (Similarly, Final Cut Pro X version 10.2 users can open any 3D title in Motion to add multiple lights, cameras and tracking.)

Motion version 5.2 supports Panasonic AVC-Ultra, Sony XAVC S and JVC H.264 Long GOP camera formats, and has 12 new generators, including Manga Lines, Sunburst and Spiral Graphics. Apple has made many other enhancements to improve performance and increase control, and to address issues with the prior version. For example, choosing a smooth option on an already smooth point no longer changes the curve, and double-clicking to add a new keyframe in the curve editor no longer changes interpolation of subsequent keyframes.

Motion-Materials_Display27-PF-PRINTBesides its new 3D title capabilities, Final Cut Pro X version 10.2 is capable of many new advanced effects, such as the ability to display up to four video scopes simultaneously; to apply super ellipse shape mask to any clip; and to apply draw mask to any clip, with options for linear, Bézier or B-spline smoothing. There are new shape and color mask controls for every effect, and Version 10.2 instantly displays the alpha channel for any effect mask. Apple has merged the color board into a new “color correction” effect, and it is possible to rearrange the processing order of the color correction effect. Users can save custom effects as presets for quick access.

Final Cut Pro X version 10.2 supports Panasonic AVC-Ultra, Sony XAVC S, and JVC H.264 Long GOP camera formats, with the ability to import Sony XAVC and XDCAM formats without a separate plug-in. Version 10.2 also has GPU-accelerated RED RAW processing with support for dual GPUs and for RED RAW anamorphic formats.

Additional features include “smart collections” at the event and library level, an import window that consolidates all options into a single sidebar, and GPU rendering when using “send to Compressor” (with support for dual GPUs). Final Cut Pro version 10.2 also improves upon the prior version with faster drawing of audio waveforms, which betters performance especially when editing over a network. Among a long list of other improvements: transform controls work correctly with photos in a secondary storyline, freeze frames copy media across multiple libraries, slow-motion video clips from iPhone appear in the browser with a badge, and MXF-wrapped AVC-Intra and uncompressed files export faster.

Finally, Compressor version 4.2 introduces new features that let users create an iTunes Store package for iTunes Store submission; add movie, trailer, closed captions and subtitles to an iTunes Store package; preview closed captions and subtitles right in the viewer; zoom in within the viewer to watch content with true pixel accuracy; and display and assign channels to QuickTime audio tracks prior to processing. Like the new version of Final Cut Pro X, Compressor version 4.2 offers GPU rendering when using “send to Compressor,” with support for dual GPUs. It also offers hardware-accelerated, multipass H.264 encoding on compatible systems, automatic bit-rate calculation to MPEG-4 and H.264 QuickTime movies, optional matrix stereo downmix when processing surround sound for QuickTime output, and CABAC entropy mode for multipass encoding. To address prior issues, Apple improved stability when using Apple AES3 audio format with ProRes 422 HQ. Also jobs submitted via Droplet now appear in the “active” and “completed” tabs.

Looking at the big picture

By Adrian Winter

NAB is a great place to try something new, as it draws in vendors and experts from every aspect of production and post production. My approach in attending the conference this year has been take in a wide variety of sessions — extending beyond the standard VFX and animation techniques that speak to my own day-to-day experience — in order to gain a better understanding of the challenges faced by other sides of this business: directors, DPs, editors, colorists and other key artists in the creative process. Continue reading

NAB: A trip of firsts

By William Rogers

I touched down in Denver on Sunday at about 9pm Mountain time, while finishing up a chapter in Slaughterhouse 5 on my Kindle. It was an important distraction, as my flight encountered probably the worst turbulence I’ve ever experienced. I’m incredibly thankful that I’m easily distracted by a good book.

This will be a trip of firsts for me: My first time to Las Vegas, my first time going further west than Denver, and my first time staying in a hotel room by myself. I’m not as well traveled in the Continue reading

Tool Chat: Autodesk’s Heather McDiarmid

By Randi Altman

If you had five minutes in a room with the makers of your favorite post production tool, what would you ask? That is the basis of our new semi-regular offering here at postPerspective. We throw a variety of questions — some our own and others submitted by pros out there in the community — at product manufacturers. This time we checked in with Autodesk’s product marketing manager, creative finishing, Heather McDiarmid.

While Autodesk is a public company and therefore cannot share specific information about upcoming products, we had to keep our questions about trends and how they as a company go about delivering products users in the real world need and want.

4K was all over NAB this year, along with rumblings of HDR. How is Autodesk adapting Continue reading

Xytech bringing MediaPulse 2014 to NAB

Mission Hills, California — At NAB next month, Xytech  will debut a new version of the its facility management platform. MediaPulse is an end-to-end solution encompassing asset management, order management, resource management, and financial management in a configurable, platform-independent, browser-based application.

The 2014 release is the most significant to date, including hundreds of new features and dramatic performance improvements. The new features are centered on three core areas:
 user interface, system interoperability, and asset management. Here is a quick glimpse.

User Interface: SKY 2014, the platform-independent and browser-based interface for MediaPulse, now includes a complete graphical scheduling application, realtime dashboards for user-defined KPIs, and a form editor to modify all screens. Allowing customers to create custom web solutions with an easy to configure, out of the box solution, SKY 2014 drives down costs and speeds user acceptance. It supports all popular operating systems, including Apple Mac and iOS. 
 The Media Order and Transmission Order modules in MediaPulse 2014 also received significant upgrades, enabling users to create complex order profiles with a simple click. In addition, a new web-deployed arrivals board has been added to the Transmission Order module, allowing thousands of users to see the status of all feeds at a glance.

System Interoperability: New adapters for Miranda, Telestream, Avid AirSpeed, and Avid Capture have been added to MediaPulse 2014, expanding integration capabilities and facilitating automated workflows involving a huge range of third party systems via Xytech’s Digital Order technology. Clients can add any hardware platform to the MediaPulse ecosystem using our unique MediaPulse Adapter technology and new SNMP (Simple Network Management Protocol) tool.

Asset Management: The debut of MetaVault MAM (Media Asset Management system) provides a complete content backbone for the creation and storage of files, proxies, and metadata. This new functionality makes integrating multiple MAMs, including those from other vendors, into a comprehensive, federated solution a reality. As no digital strategy is complete without physical assets, MetaVault also supports easy labeling and RFID capabilities to make the management of even the most complex media libraries as efficient and effective as possible.

MediaPulse 2014 also features a new rules engine that manages notifications, labor contracts, status of orders, and trigger events.

“Our greatest asset is our relationship with our clients and their trust in us,” said Greg Dolan, chief operating officer of Xytech. “They know that we are keenly focused on their need for flexible, scalable solutions to the issues they face. MediaPulse 2014 increases the power of our platform and gives our customers the competitive edge they need in today’s world. Things are moving fast, and Xytech is innovating faster. We are relentlessly moving forward.”

Aframe names David Frasco as VP of sales, North America

New York — Aframe, makers of a cloud video production system with capabilities in collaboration, review and approval, archive and tagging, has named long-time media and entertainment industry vet David Frasco as its new VP of North American sales, based in New York City.

Formerly with Avid, David Frasco has over 30 years of experience in editing, post production and building out marketing and sales teams for solutions that have transformed content creation and production workflows. For the past 14 years Frasco served as Avid’s director of enterprise accounts, assisting clients to deploy file-based workflow and production systems. He was instrumental in the debut of game-changing solutions for the past four Olympic games.

In earlier positions Frasco also was a product manager with expertise in the company’s graphics and editorial solutions. Prior to joining Avid, he was director of marketing for Chyron, a post production product manager for Sony Broadcast, and a freelance video editor handling both online and offline finishing for broadcast TV, corporate video and advertising spots.

As more broadcasters are looking at cloud solutions, Aframe’s (www.aframe.com) appointment of Frasco will help the company tap into the innovative professional video communities in New York and Los Angeles that are eager to leverage new and smarter ways to create and distribute content.

Aframe will be at NAB next month with the next generation of its cloud video platform, Aframe 3.0, including a new desktop app offering automated media movement workflows, custom transcoding technology, an HTML5 player for precision control ahead of the edit and asset management features that save immense time and hassle in broadcast video production.   Aframe 3.0 makes news and sports as well as media & entertainment professionals more productive and helps them leverage existing on-premise assets more efficiently with the peace of mind that assets are fully under control and secure.

New features include:
– A desktop app with smart upload technology that enables Aframe users to save time and hassle in uploading and distributing files out. The app automatically detects the best connectivity settings before sending the clips to Aframe where it automatically transcodes them to a viewing copy. Users can then configure the app to automatically push the clips to other users’ desktops, for maximum convenience.

– Automatic transcoding features including automatic transcoding to a house format or custom transcoding per clip that mean less effort spent transcoding everything to be used, and less expense on transcoding tools.

–  Expanded access controls and refined permission features that provide a “mission control” administrator view, enabling easier management across cost centers and more fluid asset management. With more adaptable user settings and granular permission structure, Aframe provides added peace of mind against potentially damaging incidents.

–  New HTML5 Player – faster, frame accurate and universally compatible for faster footage review even on smartphones and tablets that expedites the organization of vast amounts of video.

Brady Betzel recently reviewed the Aframe system for postPerspective. Click here to see the piece:  https://postperspective.com/review-aframe-cloud-platform.

Be a part of Autodesk’s Best of the Best 2014 show reel

MONTREAL — Autodesk is now accepting submissions for its Best of the Best 2014 show reel, which will premiere at the NAB Convention from April 7-10, 2014 in Las Vegas.

Highlighting the year’s top talent and most innovative work created using Autodesk tools, the reel will be featured on AREA, the Autodesk website, the Autodesk YouTube Channel and at various industry events throughout the year.

Recent creative projects eligible for submission include animations, films, broadcast, cinematics, commercials, episodic work and/or music videos that were created with 3ds Max, Maya, MotionBuilder, Softimage, Smoke, Flame, Lustre or the Autodesk Entertainment Creation Suite.

For more information visit http://area.autodesk.com/submitcontent/2013/bestofthebest.