Tag Archives: Pablo Rio

Quick Chat: Paul London from K Street Post in DC

Washington DC-based post boutique K Street Post, which opened its doors in April 2004, provides editing, audio post and finishing for spots, PSAs, station promos, corporate presentations and docs. Oh, and as their location might suggest, when the political season heats up, so do their post suites.

Recently we reached out to owner Paul London to find out more about K Street and how they work.

What was your goal when you opened K Street?
At the time we opened there were many small, nonlinear edit shops in Washington mainly using Avid Media Composer and Final Cut Pro. From the beginning, I wanted to set myself apart by taking advantage of my graphic design skills. I wanted to focus on high-end, graphically-intensive video and TV commercial projects. That’s one of the reasons I chose Quantel gear early on; their built-in editor, effects, text and paint tools were perfect for this type of work.

You are in the center of DC. How much of your work is political-based advertising?
K Street Post has always concentrated on television spot work. This includes local/regional commercials (Next Day Blinds, Silver Diner, Washington Times, Jiffy Lube), and some national TV ads for associations like the American Petroleum Institute and national PSAs for the USO (pictured below).

US use this one

We also do a large amount of political advertising for governors, congressmen, senators and some presidential races and issue advertising for political action committees (PACs and Super PACs).

Can you name a recent political job?
We have been working on a number of political campaigns recently, including a four-minute video for Carson America played at the Chicago rally during Ben Carson’s presidential announcement this Tuesday. We were making adjustments and shot changes right up to the last minute.

You are a boutique. What are the benefits of staying small?
K Street Post is small and that is by design. Right now we have a Quantel Pablo Rio edit room, a Final Cut Pro 7/Adobe Premiere edit room and an Avid Pro Tools audio room. During the very busy months of the political season — August and September of every even numbered year — we typically add an additional edit room, but the way things are shaping up for the 2016 race, we might end up adding more.

I love being small. I get to focus on what I like best, which is being creative and working with clients on TV projects. I have thought about growing the company and adding additional rooms, but then I would become more of a manager and have less time to be creative. Another great thing about being small is clients have direct access to us. The schedule book is easy to manage and clients can discuss projects and adjust booking directly with me.

K Street Post’s new Quantel Pablo Rio suite.

Can you talk about your workflow?
We handle all aspects of the post process, so offline editing with FCP or Premiere and online editing and color correction with the Pablo Rio. But to be honest, we have not done an offline for some time. The political spots we work on simply don’t have time for that type of workflow. You usually have 8 to 12 hours to create a finished ad, so you load, edit, grade and get a very polished version off to the client within the day. This is where the Pablo Rio comes in for us. We have found no other system that can do this with the quality level required for a statewide or national TV commercial.

Also, most of our commercial work is graphic heavy. It’s not uncommon to have 30 to 40 layers being used to create the finished ad. The Pablo Rio is fast enough for this type of client-attended work. It’s also great at accommodating changes, and there are lots of changes! It’s quite normal for a political ad to have several script changes even during editing.

Marching Murphys use 2
K Street Post’s Pablo Rio compositing with up to 50 layers.

If you could share one tip with clients about getting the most out of the post experience, what would it be?
Good question. I ask my clients to get me involved as early as possible. The more I know about the project the more I become immersed in it and the better the final result. Clients should never ambush their editors with their projects.

Nashville’s Forward adds more finishing tools

Nashville — Post production facility Forward has purchased two Quantel Pablo Rio color and finishing systems, adding to its services.

Started by director Shaun Silva, Forward opened its doors in 2012, equipped with Quantel iQ and Pablo finishing suites. Forward has since worked on music videos for leading country music artists, including Luke Bryan, Kenny Chesney and Kacey Musgrove, as well as the Emmy nominated ESPN 30 for 30 documentary film The Irrelevant Giant.

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Pablo Rio is Quantel’s color and finishing system that provides a streamlined workflow for 2D and stereo 3D projects. It runs on high-performance PC hardware and exploits Nvidia Maximus multi-GPU technology.

Chief engineer of Forward (@Forwardllc)  Jim Harvath CSTE, says, “The flexibility of configuring the Pablo Rio hardware allows us to ‘right size’ our hardware to what our current workflow demands are. Plus, knowing that we can expand instantly with off the shelf parts allows us to stay competitive and grow as necessary, when we’re ready.”

Quantel news from NAB 2014

Las Vegas — During NAB 2014, Quantel showed the latest software release for its Pablo Rio color and finishing system. This is the fifth new feature release since IBC 2013.

The update helps Pablo Rio support more file formats, including 4K XAVC export and DCP import as well as the latest Red SDK.

The new software also supports conform of Avid effects. This speeds up the transition from Avid offline to Pablo Rio 4K finishing and color correction. For example if the Avid editor has used a DVE to resize a clip, the metadata for the DVE move comes across to Pablo Rio with the media, so the clip is automatically resized when it is conformed in Pablo Rio using the 4K media.

The Pablo Rio toolset also gets a major boost with Optical Flow slow motion. Optical Flow uses advanced motion estimation techniques to produce smoother, higher quality slow or fast motion.

The new software also features many additional improvements that increase flexibility and performance. These include audio in MLT, AVCHD softmount, tracker homography, better text handling, faster shape creation, wireframe updates and better subtitling tools.

Quantel has also licensed Apple ProRes encoding for its full range of software and turnkey Pablo Rio. ProRes encoding will be part of the forthcoming V2.0 rev8 software update for Pablo Rio and Pablo PA, due to be released at the end of April. The new license covers encoding to ProRes 4444, ProRes 422 (HQ), ProRes 422, ProRes 422 (LT) and ProRes 422 (Proxy).

NAB 2014 was the world debut of Genetic Engineering 2 (GE2), Quantel’s new shared storage solution for post that delivers levels of flexibility, performance and productivity for Quantel Pablo Rio color and finishing system users. GE2 uses COTS hardware and is already transforming the efficiency of post houses in today’s multi-resolution post world.

GE2 optimizes post workflow. It brings total scheduling flexibility to the post process, allowing high-resolution jobs to be instantly switched or shared between suites so post houses can meet tight deadlines or take on short-notice work. Up to four Pablo Rio systems can share the same GenePool storage, with guaranteed realtime performance on every connected system no matter what each is doing — even when working at 4K. GE2 also goes beyond 4K — offering 6K 16-bit operation on multiple clients to cater for the new generation of ultra-high resolution cameras.

New for NAB, the Pablo PA workflow assist station can now be directly connected to the GenePool. This enables conform, prep and workflow tasks to be undertaken on lower cost equipment so that the Pablo Rios can deliver maximum value for client-attended creative sessions.

There is a huge range of potential GE2 configurations, so GE2 systems can be tailored to meet every individual facility’s workflow requirements. For example, GenePool shared storage can range from 18TB to support a two-suite HD production environment to almost 400TB — more than enough for even multiple simultaneous 4K or 6K Red Dragon jobs. Quantel has published a configurator on its website so that customers can dial in different requirements.

Also at the show, Quantel also announced support for the AJA Io XT on its Marco field editor, and Kona 3G video card on its Pablo Rio color and finishing systems.

AJA Io XT will be supported for input and output on Marco in addition to AJA’s T-Tap Thunderbolt adapter, enabling journalists and editors  to easily exchange media with a professional SDI infrastructure — for example satellite or outside broadcast/remote trucks, or for direct recording from HD cameras.

Pablo Rio already supports the AJA Corvid Ultra, which delivers realtime 4K 60p. The addition of support for the AJA Kona 3G gives customers a wider choice of I/O infrastructure and will be particularly attractive to customers who currently require realtime 2K capability. The Kona 3G card is supported on software-only Pablo Rio 2K and 4K systems and 2KO turnkey systems.

 Photo: The Pablo Rio

IBC: Day Two

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By Simon Ray
Head of Operations and Engineering
Goldcrest Post, London
www.goldcrestfilms.com

Today is picture day, and I definitely earned my expenses. A day full of meetings and demos that were all interesting and enlightening in their own ways. Quantel was first. They were showing us the new features in the Pablo Rio, which is their top of the range picture finishing system which now runs on readily available hardware. This differs from their previous systems which ran on their own proprietary hardware. Pablo Rio has some great features (and a lousy name) and performs well at 4k and beyond.  Continue reading

Quantel releases 64-bit software for eQ, iQ and Pablo

AMSTERDAM — At IBC 2013 Quantel (www.quantel.com) announced a new 64-bit software release for its eQ, iQ and Pablo systems. The new software takes advantage of the modern PC within the eQ, iQ or Pablo to enable the system to take advantage of all the latest tools already delivered on Pablo Rio this year.

Major highlights of the package include: Support for all the new formats announced for Pablo Rio; Mocha tracker enhancements; Larger than 2GB WAV file support; Sony F65 soft-mount; Support for Sony F55 and F5; Video stretch render format choices; Audio loudness monitoring via NuGen VisLM plug-in; Support for P2 and AVCi encoding for MXF; Color ranges – highlights active modes

Aperture – separate RGB channel defocus and sharpen.

Quantel has also reached an agreement with Fraunhofer IIS to integrate its DCP creation and importing software into the Pablo Rio, Pablo, iQ and eQ toolsets. The software offers the most requested functionality of Fraunhofer IIS’s standalone easyDCP toolset as a fully integrated resource in the Quantel GUI.

In other news, Quantel announced integration of Adobe Premiere Pro into the Enterprise sQ workflow. The new Quantel Panel in Adobe Premiere Pro allows Premiere users to search and select content on the Quantel system. Selected content is then automatically transferred to the current project bin in the Premiere system ready for use. The development is underpinned by Quantel’s QTube technology, which delivers the necessary connectivity.

When the job is completed on Premiere, it is delivered back to the Enterprise sQ system via a second new Panel for playout. This Panel allows the Premiere user to select the destination system and to add appropriate metadata to integrate into the sQ workflow.

Adobe Premiere Pro integration will be available at the end of October 2013 and will be free to all Enterprise sQ customers.