Tag Archives: Telestream

Telestream intros ScreenFlow V.8 for editing, screen recording

Telestream’s ScreenFlow video editing and screen recording software for the Mac is now in Version 8. ScreenFlow V.8 adds new features including new styles and templates to help streamline editing workflows. There is also a new integrated stock media library option available.

The new templates allow users to pre-create ScreenFlow projects with placeholder clips in the timeline for important recorded media, as well as external media. Once a template is saved, future ScreenFlow recordings are opened directly in the template project, reducing the amount of editing required to complete jobs. For users creating software tutorials, serialized videos or even videos with similar formats, the new Templates in V.8 allow for quicker video production and less tedious editing, resulting in more time spent on the creative aspects of video production.

The new styles feature offers customized media configurations that streamline individual asset editing, saving time in the editing process. With styles, ScreenFlow users can easily copy/paste video parameters (like scale, positioning, filters, axis rotation and more) and apply them to individual pieces of media. For example, should users want to create a style for their webcam recordings, they can now apply their “webcam-style,” positioning it within their project exactly where they want it, without additional editing.

The new stock media library offers users unlimited access to more than 500,000 pieces of media. It costs $60 a year.

ScreenFlow 8.0 is available for $129. Customers who have purchased previous versions of ScreenFlow on telestream.net can upgrade for $39 (pricing will vary according to the version previously purchased).

HPA Engineering Excellence winners: BMD, Canon, Cinnafilm, IBM Aspera & Telestream

The Hollywood Professional Association (HPA) Awards Committee has announced the winners of the 2018 HPA Engineering Excellence Award. Winners were determined at a blue ribbon judging session held at IMAX on June 16. The awards will be given out on November 15 at the 13th annual HPA Awards gala at the Skirball Cultural Center in Los Angeles.

The Engineering Excellence Award was created to spotlight and reward companies and individuals providing services to the professional media content industry for their outstanding technical and creative ingenuity in media, content production, finishing, distribution and archiving. The HPA Awards launched in 2005 to recognize creative artistry, innovation and engineering excellence in the professional media content industry.

Joachim Zell, chair of the HPA Awards Engineering Committee says, “Once again, the Engineering Excellence judging sessions brought us outstanding presentations from a variety of companies at work in different parts of the media and entertainment ecosystem. The presenters are representative of the amazing work that great companies and brilliant individuals are bringing to the marketplace. The judges had a strong field of excellent technologies to evaluate, and the results were extremely close. Based on the effort, talent and time from the presenters and the enthusiasm of the judges, it is clear that the HPA Engineering Excellence award is meaningful to our industry, and I want to personally thank our presenters and our intrepid judges. Congratulations to the winners and to the entrants for truly impressive work.”

The winners of the 2018 HPA Award for Engineering Excellence are:

Blackmagic Design – DaVinci Resolve 15
DaVinci Resolve 15, released at NAB this year, offers a major step forward for the post production workflow, a significant shift in technically and creatively matched toolsets as well as overall efficiency. The platform, designed to provide a full suite of post tools, from ingest to delivery, directly integrated in a single ecosystem, includes significant improvements in quality, functionality and time to delivery. Exchange formats, translation and conform can be eliminated, and last-minute change efficiently managed for feature film, episodic TV and short form productions.

“We’re honored to be selected by the Hollywood Professional Association for one of this year’s Engineering Excellence Awards,” says BMD US president Dan May. “Blackmagic Design’s focus has always been to help provide the most innovative tools to the entertainment industry, and being recognized by the HPA for our newest advancements in DaVinci Resolve 15 helps us feel that we are on the right path. We want to thank the judging committee as well as HPA as a whole for its dedication to all advancements in technical and creative ingenuity. Congratulations also go out to all the winners this year. We are in amazing company.”

Canon – Visual and Technical Monitoring of HDR Images
Canon has seen the need for not only visually seeing HDR images on set, in editorial and in finishing but also for engineering tools to know exact values of the HDR images and their pixels; compare SDR and HDR images; compare different HDR deliverable systems; out-of-gamut warnings; and connection to various manufacturers camera metadata.

This complete system from Canon ensures that HDR and SDR image creation is easily and accurately accomplished.

“Canon is thrilled to be among those recognized by the Hollywood Professional Association with an Engineering Excellence Award. The built-in HDR toolkit that now comes standard in our 4K reference displays is a leap forward in creating and monitoring HDR content,” says Kazuto Ogawa, president and chief operating officer, Canon USA.

Cinnafilm – PixelStrings
PixelStrings is a cloud-based video conversion service focusing on ultimate playback quality for media. Leveraging the award-winning framerate conversion, retiming, artifact/noise/telecine correction and transcode technologies from Cinnafilm, this PaaS enables the mass creation of best-possible video versions while leveraging infinite, GPU-enabled cloud compute power. The platform is a growing hub of other best-of-breed media technologies and is a simple pay-as-you-use toolset available 24/7 though a browser. PixelStings enables the freedom of a predictable OpEx process.

“Winning the HPA Engineering Award is such an amazing honor for us,” says CEO Lance Maurer. “The Cinnafilm team has created something truly special with PixelStrings — when respected peers recognize the impact an endeavor like this represents to our industry, it is really quite special.”

IBM Aspera & Telestream – Telestream Vantage With Lightspeed Live Capture Powered by Aspera
IBM Aspera and Telestream have developed a game-changing solution for high-speed capture and production of live, broadcast-quality video from remote locations for faster production turnaround. The API integration of Aspera’s FASPStream streaming technology with Telestream Vantage and Lightspeed Live enables open-file workflows so production teams can work on live video feeds from remote locations in real time, with dramatically lower costs compared to satellite delivery, fiber or on-location production and more flexible deployment options.

“Winning the HPA Engineering Excellence award is a fantastic recognition of the remarkable contributions from many individuals at both Telestream and Aspera,” says Telestream CEO Scott Puopolo. “The original concept was literally drawn on the back of a napkin at NAB 2017 by Telestream’s Dave Norman and Aspera’s Mike Flathers. One year later, it’s the backbone of Fox Sports’ FIFA World Cup post production workflow. It’s a tremendous achievement for both companies.”

Honorable Mention:
Samsung — Samsung Onyx
The Samsung Onyx Cinema LED technology with DCI certification has come to market for both cinema and post uses with two models: a 2K resolution five-meter screen and a 4K resolution 10.3-meter screen. LED technology delivers visual quality, technical performance and reliability beyond that of traditional projector-based operations. This system also features surround sound from Harman/JBL. While operating nominally with traditional 14 fT-L SDR imagery, the screen is adopting support for HDR systems such as EClairColor and PQ with operating points at least to 300 cd/m2 and black performance including “off” and 0.005 cd/m2.

In addition to the honors for excellence in engineering, the HPA Awards will recognize excellence in 12 craft categories including color grading, editing, sound and visual effects.

The recipients of the Judges Award for Creativity and Innovation and other special awards will be announced in the coming weeks.

Telestream’s Wirecast 7.5 now available, supports Periscope

Version 7.5 of Telestream’s Wirecast live streaming and production software is now available. In a move aimed at strengthening its position as the leading live stream feeder platform to social media networks, Telestream has announced Wirecast support for the Periscope/Twitter API. This means that any user, from tech-savvy consumers to online broadcasters, can employ Wirecast to stream live full-motion video to Periscope.tv, which will appear natively within their Twitter feeds.

Wirecast 7.5 provides the user with intuitive production capabilities, GPU-accelerated encoding and a streamlined user interface that allows users to easily create and stream high-quality live broadcasts from their computers to Twitter, Facebook Live and YouTube, as well as to custom streaming servers.

Telestream believes that the combination of Wirecast, Periscope and Twitter will appeal to a range of markets, especially online broadcasters that want to leverage Twitter feeds for live video.

Wirecast Studio is priced at $495, and Wirecast Pro is priced at $995, adds support for more advanced production features and additional input sources. Upgrades from previous versions of Wirecast will start at $179. Wirecast 7.5 with Periscope/Twitter native, live streaming support is available now. For a trial download or to buy Wirecast 7.5 visit here.
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Review: Telestream Episode Pro 6.5

By Brady Betzel

Over the last few years, transcoding has been a hot topic of discussion. With the line between offline and online editing becoming more blurred than ever, it’s crucial to implement a proper workflow that will erase any bottlenecks in production and post production from the very beginning.

Whether you are ingesting 1080p footage from a DSLR or 6K from a Red Dragon, it’s critical that all transcoding is fast, invisible (at least as invisible as possible) and able to run across multiple systems if you have them.

When I was an assistant editor I remember months of 24 hour-a-day transcoding. Typically, it was because of GoPro footage. Don’t get me wrong, I love GoPro from a size and usability standpoint, but when getting that footage prepped for offline and online editing it takes a huge chunk of time to transcode (not to mention checking for errors). Depending on the choice of the director of post or post supervisor, typically we would pick a “mezzanine” codec to transcode the footage to. A mezzanine codec is one that is high enough quality for your master outputs but also workable within your NLE to not cause hiccups. Apple’s ProRes, Avid’ DNxHD and DNxHR, as well as Cineform’s codecs are all considered mezzanine. Codecs such as H.264 or AVCHD are not easy on a processor and are typically converted to the mezzanine format of choice if you want to work efficiently.

Now that I’m an online editor and on the other side of the fence, so to speak, I see just how important it is for assistant editors to transcode to a proper codec while maintaining viability in the offline edit, as well as keeping image integrity for the online process.

So what I’m really getting to is, what program will allow the fastest transcode time while offering the highest image quality for “dailies” and even outputting masters and sometimes with multi-channel audio? That’s a very loaded question, but hopefully I can give some testing results that will give guidance in your decision.

Episode Pro 6.5
There are many different programs that are stand alone transcoding solutions — Adobe’s Media Encoder, Apple’s Compressor, Divergent Media’s EditReady, Sorenson’s Squeeze, MPEG Streamclip. It’s also offered via the NLEs themselves, and color correction apps like Blackmagic’s DaVinci Resolve 12. However, in this review I am just focusing on Telestream’s Episode Pro 6.5.

Some of the latest features in Episode 6.5 are Closed Caption support; updated codec support including HEVC, XAVC, VP9, and MXF AS-11; multi-bitrate streaming support, which includes MPEG-DASH; improved multitrack audio support and reassignment; and image sequence support. While I won’t be running through all the new features, be sure they are all very big additions.

Immediately when opening Episode Pro 6.5 I noticed how cleanly my options were presented. There are four main categories: Workflows, Sources, Encoders and Deployments. I then had to activate Episode Pro 6.5, which didn’t go as smoothly as I had hoped, but I will get to that later. You can use Episode’s preset workflows or create your own; it’s dead simple.

Up to the Test
To run a few test I used an older MacBook Pro laptop (2.4 Intel Core Duo, 4GB of DDR3, Nvidia GeForce 9400M 256MB and SSD boot drive). It’s slow compared to today’s barn-burner mobile workstations, but it is something that could be used in a production that wants to set a standalone transcode station up without purchasing new equipment. Plus, I can run comparisons with a few different transcoders.

I used two QuickTimes that I created to run a few speed tests. The first is a one-minute H.264 QuickTime from a GoPro Hero 3+ Black Edition and the other is a 20-second ProRes QuickTime from a Blackmagic Pocket Cinema Camera, both are 1920×1080 running at 23.976fps.

My first test was to transcode the one-minute long, 356.7MB, GoPro QuickTime into ProRes using a few different encoders to get a sense of speed and file size, here are the results:

Episode Pro 6.5: three minutes and 11 seconds: 878.3MB
Adobe Media Encoder CC 2015: two minutes, 13 seconds: 868.7 MB
EditReady 1.3.4 — 57 seconds: 901MB

The second test was to transcode the 20-second 131MB, Blackmagic camera ProRes QuickTime to ProRes:
Episode Pro 6.5: 33 seconds: 133.7MB
Adobe Media Encoder CC 2015: 1 second: 131.2MB
EditReady 1.3.4 — 10 seconds: 135.9MB

The third test was to transcode the same: the 20-second, 131MB, Cinema Camera ProRes QuickTime to DNxHD 175, 8-bit:
Episode Pro 6.5 — 52 seconds: 192.9 MB
Adobe Media Encoder CC 2015 — 30 seconds: 194.4MB
EditReady 1.3.4. — 29 seconds: 195.3MB

Remember that while I do mention products like EditReady for transcoding, EditReady is limited in features when compared to Episode Pro, which is a fully featured encoding and transcoding solution — literally one transcoding tool that will do everything you need, including prep and upload your file to YouTube.

So what do I really think about those speeds? When transcoding a single file it really isn’t the fastest app out there. However, when needing to run two or more jobs at once using a fast computer like an HP z840 with 128GB of RAM and an Nvidia Quadro m6000, you will probably make up that time. In addition if you enable a Cluster with all of your Epsiode installed systems you will probably cut your time down tremendously (keep in mind you need a fully paid Episode license on each cluster system for this to work).
A Cluster is basically a workgroup of computers that can be used to run jobs simultaneously via IP connection. Clusters are relatively easy to set up, although I would suggest running it by your IT department first if you work in a proper workplace.

If you happen to have a few spare computers lying around your house, you can set up a Cluster and let Episode do the rest. This will allow up to two simultaneous jobs to be performed in parallel with an Episode Pro license and unlimited parallel jobs with Episode Engine (costing a little under $6K).

Another perk to the Episode Engine version is Split and Stitch, which allows one file to literally be split among many “nodes” of your encoding/transcoding Cluster, rendered and then stitched back together at the end. If you have a severe time crunch or just like to be the fastest encoder on the block you could save yourself tons of time with this feature.

Episode Caption Insertion Screenshot

Closed Caption Insertion
What really got me pumped about testing Episode 6.5 was the closed caption insertion feature. If you’ve ever seen the bill for closed caption insertion you know that it might be worthwhile to check this feature out. When I first started out, I figured I would be able to encode a ProRes HQ QuicktTme with a caption file and be on my way, sweet! Unfortunately it’s not that easy, Episode 6.5 can handle captioning files (.scc or .mcc) but can only insert or pass through into MXF, MPEG-2 and H.264 wrappers. You will need to purchase one of Telestream’s other products — MacCaption (for Mac) or CaptionMaker (for Windows) — in order to insert your captions into any sort of mastering format or Avid AAF (a sweet feature I just learned about is MacCaption or CaptionMaker can create an Avid compatible AAF that will allow you to place closed captioning on a data track within Media Composer for output). Cool new feature if it fits your workflow.

Final Thoughts
I wanted to touch on the differences in the versions. There are technically three versions of Episode: Episode ($594), Episode Pro ($1,194) and Episode Engine ($5,994). To me, besides the price differences, the real differentiating factors are the amounts of parallel encoding and higher end format support. Episode Pro and Engine allow for formats such as MXF, MPEG DASH, as well as image sequences. Episode Pro allows for two parallel jobs while Engine allows for unlimited, the standard version allows for one job at a time.

If you are a person who has an encoding farm at the ready or a post house who needs to run two or more encodes/transcodes in parallel, Episode Pro or Engine is for you. While my tests showed Episode running a little slow in a single system, one file job — in the right cluster based environment with multiple threads and multiple cluster nodes you could easily cut the transcode time in half. Telestream has put a ton of work into Episode with its depth of technical tweaks you can make to your resulting encodes. On the other side it’s super easy to jump in and add a preset transcode setting to your workflow, there is little knowledge needed.

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

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.

Telestream taking Episode 6.5 to NAB

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

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

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

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

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

SMPTE 2014: bringing it all back home

By Tom Coughlin

The movement of digital content is requiring increasing sophistication both in compression technologies and delivery technology in order to meet the needs of higher-resolution, higher frame rate and ever more camera workflows as well as content consumers, while not overwhelming network bandwidth.

At the 2014 SMPTE Technical Conference these topics were the subject of interesting sessions as well as side conversations about technology developments.

Aspera talked about its experience, working with EVS and Elemental, in providing access to content on mobile devices at sporting events for second screen viewing of multiple live Continue reading

Telestream’s ScreenFlow 5.0 for screen recording/editing

Telestream is now offering ScreenFlow 5.0, the latest version of its screencasting and video editing software for the Mac. Knowing that not all users will be video editors by trade, Telestream has added several features that include direct recording from iOS devices, enhanced ease of use, improved media management and new publishing capabilities.

This screen recording and video editing app for the Mac allows educators, app developers and marketers to create computer-based tutorial and demo videos and encompasses recording, editing and sharing. Highlights include:

• Records content from anywhere, including webcams, external cameras, computer desktops and now iOS devices.
• Includes an editor for both recorded content and clips.  Users can edit their videos while adding captions, titles, transitions, zooms, picture-in-picture and chroma key effects.
• Equipped with many integrated publishing options to share content with just a few clicks.

ScreenFlow 5.0 allows users to record directly from an iOS device (iPhone or iPad) and adds new “Touch Callouts” that mimic finger gestures to help guide viewers. Action templates let users save popular actions for repeated use. Color labels on clips and clip-based markers help keep users organized, and iPhoto and iTunes libraries are accessible from ScreenFlow’s Media Library.

When you want to export the finished piece, the new App Preview export option ensures files adhere to Apple’s specifications for Preview on the Mac App Store.  Additionally, ScreenFlow 5.0 allows for batch export of multiple projects at the same time, as well as publish directly to the business video-hosting platform, Wistia.

ScreenFlow 5.0 will be available from the Telestream store in early November for $99. Customers who have previously purchased ScreenFlow can upgrade for $34. ScreenFlow is also available for purchase through a network of Telestream resellers and affiliates, as well as on the Mac App Store.

There is also a free trial are available at www.telestream.net/screenflow.

The ScreenFlow UI is pictured. 

Review: Telestream’s Wirecast Studio 5

By Trevor Carlee

Until recently, I had no need to broadcast anything online. I also had no idea how any of it was done. Then, near the end of last year, an annual charity event called Extra Life piqued my interest.

Extra Life is a 25-hour gaming marathon to raise money for childrens’ hospitals. Gamers around the world sit down and play video games (or any kind of game really) for 25 hours while others “sponsor” their group with donations. Many of the gamers wanted to broadcast Continue reading