Archive for October 18th, 2011

Omneon MediaGrid(TM) Active Storage System to Sit at Heart of Live Production for 2012 Summer Games

The Omneon MediaGrid System Will Enable an Efficient File-Based Workflow for Fast-Turnaround Sports Coverage
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Mountain Lake PBS Upgrades Control Room to HD with Broadcast Pix Granite 5000 Live Video Production System

Billerica, Massachusetts – Broadcast Pix™ today announced that Plattsburgh, N.Y.-based Mountain Lake PBS (WCFE) has installed a Granite™ 5000 live video production system as part of its transition to full HD production and distribution. Completed in March, the updated control room and studio produces a variety of local programs, including the weekly Mountain Lake Journal newsmagazine.

The PBS member station serves the Burlington-Plattsburgh market (DMA #95), which includes areas of Vermont, New York, and Quebec. Director of engineering Charlie Zarbo said the studio and control room upgrades were the final stage of the station’s HD migration, which began with master control in 2007. The Granite 5000, purchased through HB Communications, replaced an aging Grass Valley 200 switcher. The HD upgrade also included new Hitachi Z-HD5000 studio cameras, Clear-Com intercom system, and Yamaha DM2000VCM digital audio mixer.

Zarbo has been very pleased with the Granite 5000 and is a fan of its PixButtons, which dynamically display sources and file names. “The control surface is nice, pretty intuitive. Whatever changes you make are reflected in the PixButtons, which is nice,” he said. “It’s got very good bang for the buck. Broadcast Pix does it all in one box at a very attractive price. We like it a lot.”

Beyond its 2 M/E switcher, Granite 5000 provides Mountain Lake PBS with a number of integrated Fluent™ workflow tools, including a clip store that is used regularly for productions. Although Granite includes a built-in Inscriber GS CG, Zarbo said the station produces its graphics with Adobe Photoshop, then easily transfers them to Granite via Fluent Watch-Folders.

Mountain Lake PBS replaced its CRT monitor wall with two 50-inch LCDs, which are fed by Granite’s built-in Fluent-View, providing a complete display for the technical director and producer. The control room also has smaller monitors for dedicated CG and audio use that are also fed by Fluent-View.

Zarbo said Fluent-View is very easy to arrange, so every TD tends to create their own on-screen look. “It’s very flexible,” he explained. “You can create a layout, save it, and recall it for a specific shoot.”

About Broadcast Pix Broadcast Pix is the leader in integrated live video production systems. Its systems provide the best control surface for combining cameras, clips and graphics to create compelling live video. These surfaces enable total control of the built-in multi-format switcher, clip store, graphics system with a Harris or Chyron CG, and device controls. Its Fluent™ workflow enables files and data to be easily incorporated from other parts of the studio. Broadcast Pix systems are a fraction of the cost of a conventional control room to buy, staff and operate. System range from small systems controlled by a touch-screen to sophisticated 2 M/E control panels. Customers include leading broadcast, corporate, education, religious, government, webcast, entertainment and mobile studios in more than 80 countries. Learn more at www.broadcastpix.com.

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Boogie Studio Announces Key New Hires

Top Technicolor Creatives Join Growing Boutique House Team


Montreal: Oct. 18, 2011… Montreal-based audio and VFX house, Boogie Studio, announced a spate of new hires and appointments, including new producer/business development manager Patrice Cormier, online assistant/color artist Cristel Bergeron and online editor and visual effects artist Cadie Desmeules-Desbiens, all formerly with Technicolor Montreal’s commercial/VFX division, as well as internationally renowned colorist Gary Chuntz.


“Technicolor decided to cut the commercial/VFX division and go back to its roots in DI,” explained Cormier. “So we spoke with Boogie Studio and discovered we had a perfect fit. Everything was aligned – even the timing was perfect for all parties. They have an exceptional team at Boogie and we’re delighted to be able to join them.”


Patrice Cormier, Producer
Cormier comes to the new position with over 25 years of experience in the visual effects industry. Prior to joining Technicolor, where he served as operations manager and senior producer for the company’s commercial/VFX division, he worked both freelance and for numerous facilities, including MétéoMédia, RDS, Buzz, Autodesk and Technicolor. He was also an instructor at Autodesk and participated in the development of Smoke, the comprehensive postproduction system widely used in commercials work.


Cormier has played a key role in the world of film and advertising postproduction. He is recognized for his organizational skills, business acumen, artistic expertise and encyclopaedic knowledge of postproduction and visual effects.


Cormier explained that some former Technicolor advertising clients will be making the move to Boogie Studio as well. “We’re looking forward to filling the niche that Technicolor left for us. When the announcement was made, I’d already booked sessions for a national campaign for Nissan and we had several clients we’d been working with for years,” said Cormier.


Cadie Desmeules-Desbiens, Online Editor and Visual Effects Artist



A native of the Saguenay, Desmeules-Desbiens studied media arts and technology in Jonquière. After spending the next three years as a journalist for the Grand Journal TQS, she began co-producing live segments and editing reports while diving into postproduction technologies and online editing. She spent four years at Technicolor where she mastered compositing and visual effects on Smoke, Flame, After Effects and Modul8 and worked on the visual effects for films such as Incendie, Les amours imaginaires, Filière 13, Le journal d’Aurélie Laflamme and Gerry pour l’amour de Dieu, as well as TV commercials for Nissan, Rogers, Danone, and many other brands. An artist in her own right, Desmeules-Desbiens is also known for her remarkable VJ performances!


Gary Chuntz, Senior Colorist


Gary Chuntz is one of the world’s top commercials colorists and has worked with many of the best facilities, directors and cinematographers in the business.


Chuntz began working in a film lab before starting his digital career in South Africa at Video Lab in 1982. He was senior colorist at The Moving Picture Company in London and at Command Post/Toybox in Toronto. He was a co-founder of Notch, one of Canada’s premiere boutique post houses.


Most recently, Chuntz served as a senior colorist at Technicolor Montreal where he became part of the core commercials team now making the transition to Boogie Studio. Chuntz’ client list is a virtual who’s who of international brands, including Ford, VW, Budweiser, Molson, Canon, Hyundai, Pepsi and countless others.


“Gary and Patrice and their group are a strong addition to our facility,” said Boogie Studios’ co-founder Benoit Martel. “We are delighted to have them join our team.”


About Boogie Studio
Founded by Benoit Martel, Andres Norambuena and Denis-Éric Pedneault in 2006 as an audio production facility, Boogie Studio expanded in 2010 to offer state-of-the-art visual effects. Boogie Studio’s mission is to provide comprehensive postproduction services for clients in the advertising, interactive and film industries. Along with three fully equipped audio mixing studios and video transfer services, Boogie Studio offers a high-end 2D compositing, 3D production, online editing, color grading and finishing. Boogie Studios has served hundreds of clients including LG2, Sidlee, Ubisoft, Y&R, Rethink Vancouver, KBS+P, DDB Anderson Toronto, Cirque du Soleil, Télé-Québec, TVA Accès and Nurun. Boogie Studio is a privately-held company based in Montreal, Canada. For more information, please visit http://www.boogiestudio.com.

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TF1 uses Grass Valley K2 Dyno Replay System for Rugby World Cup 2011 Coverage

Grass Valley K2 Dyno Replay Systems enable Rugby fans to watch live HD replays

French broadcaster TF1 is using two Grass Valley™ K2 Dyno™ Replay Systems to enable rugby fans to watch live HD replays of the key kicks, conversions, tackles, and tries from the 2011 Rugby World Cup, the largest event in France’s 2011 sporting calendar, with more than 10 million viewers expected to tune in.

The powerful, yet cost-effective, K2 Dyno Replay System consists of a K2 Dyno Replay Controller combined with either a K2 Summit™ production client or K2 Solo™ media server. The TF1 systems use both a K2 Summit and K2 Solo connected with an external HDD for replay, slow-motion, loop record, play-list, and storage.

“The Grass Valley solution is cutting edge technology that offers a number of advantages over other systems,” says Jean-Pascal Lefort, TF1’s Head of Studio Department. “The K2 Dyno Replay System is so intuitive to use, with playlists, thumbnails, and the ease of switching from two programs to program/preview, meaning our operators need little training. It is performing very well and standing up to the rigours of the World Cup, having to create live replays for up to three games back-to-back. We also plan to use it for some of our Formula 1 coverage.”

The K2 Dyno Replay System is ideal for the Rugby World Cup as it enables sports producers and other professionals to capture live events in crystal-clear HD and instantly play them out at variable speeds for critical analysis during fast-paced events. The K2 Dyno Replay System utilizes Gigabit Ethernet networking, common file wrappers, continuous FTP bandwidth, and standard IT storage connectivity, removing the need for costly software and hardware add-ons to manage and move content throughout production environments. The K2 Dyno Replay Controller enables live editing, including the ability to specify playback speed changes for any clip.

“We have created the K2 Dyno to be fast, reliable, and easy to use so that broadcasters can capture the perfect live replay,” says Jeff Rosica, Executive Vice President at Grass Valley. “TF1 is benefiting from version 2.0 of the K2 software and Grass Valley will continue to respond to feedback from customers to ensure that K2 Dyno remains the premier replay system.”

The 2011 Rugby World Cup began on September 9, 2011 and runs through October 23, 2011.

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Disclaimer: Grass Valley is not an official sponsor of the 2011 Rugby World Cup, nor is it affiliated in any way with the Rugby World Cup, RWC, their subsidiaries, affiliates and/or related companies. Information supplied in this media alert does not imply endorsement from the Rugby World Cup organizers or its official sponsors. All tradenames used are registered trademarks of their respective owners.

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Telestream Releases Episode 6.2 Video Encoding Software

New API features simplify integration with third-party systems; new ProRes 4:4:4:4, AVC-Intra, DPX image sequence and adaptive streaming format support increase value for professional and new media workflows

Telestream®, the leading provider of digital media tools and workflow solutions, today announced the release of Episode® 6.2 multiformat video encoding software. New and improved API features expand Episode integration and control capabilities with third-party systems. The free version 6.2 update adds high-end ProRes 4:4:4:4 and AVC-Intra format support for professional workflows. New Microsoft Smooth Streaming and Apple HLS streaming formats improve the viewing experience for end users through a new Developer API Kit. In addition, Mac-based Episode video encoding products are now OS X Lion compatible.

“Telestream is committed to adding ongoing features and formats to meet our customers’ multiformat encoding needs,” said Barbara DeHart, vice president of marketing at Telestream. “Powerful new API features make it even easier for third-party developers to integrate Episode’s extensive format support into their workflows.”

System integration and control expansion plus new Developer API Kit
A new XML-RPC interface for Episode Engine and a faster, more robust Command Line Interface for all Episode products expand third-party integration and control capabilities. The Command Line Interface includes new functions and significant speed improvements when submitting jobs and requesting job status. These improvements enhance Episode system integration and increase responsiveness and stability, which is especially important in high-volume video transcoding environments. The new XML-RPC interface for Episode Engine provides a standards-based network interface for easy integration with third-party systems.

The Episode Developer API Kit is a new service offering that gives Episode Engine users access to technical engineering support for their API integrations. The Developer API Kit also provides early access to the latest Episode features.

“New API features in Episode Engine, including the ability to execute custom scripts, make just about any encoding workflow possible,” said Nicholas Stokes, founder of XPlatform Consulting. “I’ve used the new Uploader, Mail and YouTube API tasks to automate encoding and distribution, and everything worked perfectly. The ability to submit EDL sources eliminates the need to use legacy tools and middleware to accomplish tasks like the removal of slates and counter from master sources, which can now be completed with Episode Engine. I also appreciate all the new Command Line Interface documentation which has proved extremely helpful – demystifying just about everything that can be done programmatically.”

New support for adaptive streaming formats
Support for Microsoft Smooth Streaming and Apple HLS streaming formats, including encoding, packaging and automated delivery of each, are now available to Episode Engine users through the Developer API Kit. These HTTP-based adaptive streaming formats provide end users with a high-quality viewing experience. By dynamically monitoring local bandwidth and video rendering performance, Microsoft Smooth Streaming optimizes the playback experience by switching video quality in real-time. Developed to support Apple QuickTime and iOS devices, Apple HLS allows the streaming session to adapt to users’ available bandwidth.

New format support for professional workflows
The addition of Apple ProRes 4:4:4:4 is an important professional format for digital film and visual effects workflows due to its high-quality, color precision and embedded alpha channel. Version 6.2 offers native ProRes 4:4:4:4 input support for all Episode products, plus output support for Episode Mac OS products.

AVC-Intra 50 and 100 are important emerging formats for camera acquisition, post-production, media archival and distribution workflows. AVC-Intra 50/100 input and MOV output are available for all Episode encoding products. Additionally, AVC-Intra MXF output format support is available for Episode Pro and Episode Engine.

New image sequence input capability now enables submission of DPX, TIFF or TGA image sequences for transcoding to the wide range of output formats supported by Episode encoders. DPX sequences are widely-used production and interchange formats used in film and high-end post-production environments. Image sequence input support is available to Episode Engine users through the new Developer API Kit.

Additional new features include MPEG-2 VOD encoding parameters in the MPEG-2 transport stream option which is available in Episode Pro and Episode Engine. Plus, 24-channel audio support is now available for all Episode products.

Additional new features
New EDL conforming capability allows Episode Engine to be used in more advanced ‘packaging’ workflows. Tasks such as playlist conforming as well as ad insertion and removal are easily accomplished with this new standard feature in Episode Engine.

A new Timecode Conversion filter allows Episode to carry timecode through to encoded outputs, even when complex conversions have changed the encoded output frame rate. Several options – such as scale, round off, and keep count – allow users to select different methods of timecode calculation. This new filter is available in all Episode products.

The Episode suite of cross-platform software encoders offers extensive video and audio file format support and scalability from a single desktop application to a distributed encoding cluster for post-production, new media, web and mobile encoding environments. Combined best-in-class video processing, full 10-bit support and hands-on control with frame-by-frame video preview allow users to generate excellent picture quality. Episode is an all-in-one encoder that includes extensive presets and filters plus the ability to add bumpers, trailers and watermarks to enhance and protect video content.

Episode 6.2 is available as a free update for existing users and is now available for online purchase at www.telestream.net/episode as well as from Telestream’s worldwide network of resellers and distributors. The Episode product line includes: Episode, priced at $495; Episode Pro, priced at $995; Episode Engine, priced at $3,995. For more information or a free trial, visit http://www.telestream.net.

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XenData Launches SX-10 LTO Video Archive Appliance

XenData’s new archive appliance provides up to 75 TB of near-line LTO and unlimited offline storage for video production and post-production applications

Walnut Creek, Calif. – Oct. 18, 2011 – XenData, the leading provider of digital video archive solutions to the media and entertainment industry, today announces the SX-10 LTO archive appliance. The SX-10 connects to 1 GigE networks and manages either one or two external LTO tape drives or an LTO tape library attached via SAS connections. This creates a cost effective digital video archive that is optimized for the requirements of the media and entertainment industry and is ideal for video production and post production applications. Offering broad compatibility, the SX-10 archive can be used simultaneously by multiple standard applications and works with most MAMs and NLEs.

Adobe Premiere and Apple Final Cut Pro 7 users can archive directly to the SX-10 without any additional software. Users of Avid Media Composer may easily archive projects and sequences by adding Parking software from Marquis Broadcast. The SX-10 supports both Windows and Mac clients and it may also be accessed from any client type using FTP. In addition to file transfers from MAMs, NLEs and other applications, files and folders may be manually archived to and restored from LTO using Explorer on a Windows client, Finder on a Mac or by using an FTP utility. The SX-10 will also be available with a XenData integration module for Harmonic’s Media Application Server.

The SX-10 is available in six models that can support from a single external LTO-5 tape drive to a 75 TB robotic tape library with up to two internal LTO-5 drives. Pricing ranges from $8,750 – $15,750, depending on the model. The SX-10 supports tape libraries from a wide range of manufacturers including Dell, HP, IBM, Overland Storage, Qualstar, Quantum, Spectra Logic and Tandberg.

In addition to providing up to 75 TB of near-line LTO capacity, the SX-10 manages an unlimited number of offline LTO cartridges, effectively providing an infinite archive capacity. If any attempt is made to restore a file from an offline LTO tape, the system identifies the barcode or name of the offline tape and provides an on-screen notification or email alert.

The SX-10 runs XenData6 Server software on a Windows 7 operating system which provides rich functionality, including automatic LTO cartridge replication, spanning of files across LTO cartridges, partial file restore and LTO cartridge repack to recover space from deleted files. The SX-10 includes a 2.8 TB disk cache, a 3.2 GHz Intel Xeon processor and 16 GB of RAM, making it suitable for archiving and restoring several terabytes of video assets per day. Further, the SX-10 is suitable for rack mounting, having a 1U form factor; or alternatively, it may be used on a desktop. As the SX-10 is low noise, it is highly suitable for use in an office environment.

The SX-10 will be demonstrated for the first time on Oct. 25 – 27 at the SMPTE 2011 Annual Convention and Exhibition in Hollywood, Calif. on the XenData booth #310. Availability for the SX-10 will begin in December 2011.

About XenData

XenData is a leading provider of digital video archiving solutions tailored specifically to serve the media and entertainment industry. XenData’s solutions range from cost-effective workstation archives to multiple petabyte server systems. They are built on industry standards and provide the high-performance and functionality required to meet today and tomorrow’s demanding digital video applications.

TV stations, global broadcasters, media service providers, video production companies and post-production organizations using XenData’s standards-based approach are able to benefit from significant cost-savings, ease of integration with other standards-based systems, as well as long-term assured access to their video files. With digital video archive servers installed in over 50 countries worldwide, XenData is trusted by some of the largest broadcasters and media companies. For more information visit: www.xendata.com.

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For more information:
Jaime Tero/Angie Fife
onechocolate communications for XenData
T: 1.415.989.9803
E: xendata@onechocolatecomms.com

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3D Film Factory’s Successful 3D Workshops Now Offer 3D Certification

Since 2008 the 3D Film Factory (3DFF) has successful taught more individuals how to prep, shoot and edit stereoscopic 3D than any other organization. Why‘ve we been so successful? Because we don’t just teach 3D – we shoot it too. And now for the first time – 3DFF is going to give participants the opportunity to get Certified in Stereoscopic Filmmaking.

What does that mean to be certified in stereography? For us it’s a lot more than just a piece of paper. It’s an assurance of superior training. It signifies that program participants have undergone 2-days of intensive, high-level instruction with an experienced, veteran stereographer. Certification means that participants not only have a comprehensive understanding and working knowledge of stereoscopic theory, but that they have the actual skills to shoot and edit professional-quality 3D.

A partial list of workshops topics include; the guiding principles and overlying theory of stereoscopic 3D, how to make effective use of 3D, prepping for 3D, transforming your 2D ideas into working 3D images, camera and 3D rig selection, genlock issues, rig calibration, re-light for 3D, filming ratios demystified, gauging depth and pop, applying effective convergence, perfect image alignment, easy 3D post workflows, and all the other details you need to know to create superior quality 3D entertainment, that ultimately serves the story.

All classes are taught by veteran stereographers (3D experts) with years of 3D filming and production experience. The goal is to teach participants as much as feasibly possible within the2-days, and therefore keep the focus on the students and their implicit educational needs.

3D Training Workshops are held on an ongoing monthly basis at our facility in San Diego, California. We supply everything, including the cameras, 3D rigs, 3D monitors, lighting and lunch – all for a very affordable price. For scheduling and registration information call 619.384.4014 or visit at www.3DFilmFactory.com

About the 3D Film FactoryThe 3D Film Factory is the leader in professional, affordable 3D camera systems and real-time 3D viewing solutions. In addition we provide a host of 3D production services for hire, including 3D camera rigs, 3D viewing systems, stereographers, and 3D post, as well as, monthly comprehensive 3D training workshops. Former clients include ESPN, NASA, DISNEY, HD CINEMA, PINEWOOD STUDIOS, and DISCOVERY. For more information visit www.3DFilmFactory.com

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Get Certified to Shoot Stereoscopic 3D !

3D Film Factory’s Successful 3D Workshops Now Offer 3D Certification

Since 2008 the 3D Film Factory (3DFF) has successful taught more individuals how to prep, shoot and edit stereoscopic 3D than any other organization. Why‘ve we been so successful? Because we don’t just teach 3D – we shoot it too. And now for the first time – 3DFF is going to give participants the opportunity to get Certified in Stereoscopic Filmmaking.

What does that mean to be certified in stereography? For us it’s a lot more than just a piece of paper. It’s an assurance of superior training. It signifies that program participants have undergone 2-days of intensive, high-level instruction with an experienced, veteran stereographer. Certification means that participants not only have a comprehensive understanding and working knowledge of stereoscopic theory, but that they have the actual skills to shoot and edit professional-quality 3D.

A partial list of workshops topics include; the guiding principles and overlying theory of stereoscopic 3D, how to make effective use of 3D, prepping for 3D, transforming your 2D ideas into working 3D images, camera and 3D rig selection, genlock issues, rig calibration, re-light for 3D, filming ratios demystified, gauging depth and pop, applying effective convergence, perfect image alignment, easy 3D post workflows, and all the other details you need to know to create superior quality 3D entertainment, that ultimately serves the story.

All classes are taught by veteran stereographers (3D experts) with years of 3D filming and production experience. The goal is to teach participants as much as feasibly possible within the2-days, and therefore keep the focus on the students and their implicit educational needs.

3D Training Workshops are held on an ongoing monthly basis at our facility in San Diego, California. We supply everything, including the cameras, 3D rigs, 3D monitors, lighting and lunch – all for a very affordable price. For scheduling and registration information call 619.384.4014 or visit at www.3DFilmFactory.com

About the 3D Film Factory
The 3D Film Factory is the leader in professional, affordable 3D camera systems and real-time 3D viewing solutions. In addition we provide a host of 3D production services for hire, including 3D camera rigs, 3D viewing systems, stereographers, and 3D post, as well as, monthly comprehensive 3D training workshops. Former clients include ESPN, NASA, DISNEY, HD CINEMA, PINEWOOD STUDIOS, and DISCOVERY. For more information visit http://www.3DFilmFactory.com

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Red Giant Enhances Color Production Pipeline for Stargate Studios

Red Giant Colorista and LUT Buddy Integrate Seamlessly with Studio-Wide Color Pipeline; Enhance Color Production of ABC’s Pan Am, Revenge and AMC’s Walking Dead

Portland, OR (October 18, 2011) – Red Giant (http://www.redgiant.com) today announced that two of its popular color design applications are at the heart of one of Hollywood’s leading production studio’s color production pipeline. Stargate Studios (www.stargatestudios.net), an internationally renowned production company that provides advanced production and post production services for film and television, has embraced Red Giant Colorista and LUT Buddy applications as central components of their advanced color production pipeline, and are relying on these applications to enhance some of Hollywood’s most talked about television series, including ABC’s Pan Am, Revenge, and AMC’s The Walking Dead.

Chris Martin is one of the visual effects supervisors at Stargate Studios. Along with Jason Sperling, the head of post production, and Adam Ealovega, pipeline supervisor, the team is charged with overseeing the technology pipeline to ensure it best suits each project and enables the team of VFX artists to produce the highest quality results, and in an efficient, cost-effective way.

“There’s an interesting trend in Hollywood today; television production is rapidly shifting into more of a feature film workflow, wherein images are captured and delivered in a logarithmic color space. What this means for Stargate Studios is, we need to have powerful tools able to handle a wide variety of color workflows. Red Giant fits that bill for us perfectly,” added Chris.

Red Giant Cost Effective Color Pipeline Yields High-End Results
For the pilot episode of ABC’s Pan Am, Stargate Studios had to be sure their VFX and color pipeline could quickly and efficiently handle the sequences sent to them from the studio. Pan Am is a prime example of the Hollywood trend; leading edge feature film production technology to create a television series.

Shot with the ARRI ALEXA, which captures Log-C for the most dynamic color space for flexible color grading, color decisions are made in a color bay with high end grading tools, such as DaVinci. The challenge for Stargate Studios then becomes the ability to match the ‘look’ set by the high end system from within an After Effects pipeline. Typically, this information is sent as a 3D LUT or as a CDL, both of which are fully supported in Red Giant LUT Buddy and Colorista.

Chris continued, “The sequences we receive from the set come to us with very precise color specifications pre-approved by the directors. In the case of Pan Am, we had to recreate the rich, saturated Kodachrome look that captures the essence of the show, and we have to do it quickly and within budget. As much of our VFX and post work is done in After Effects, we needed a solution that filled an important gap – something that could read the sophisticated color data while integrating with our After Effects workflow. Red Giant Colorista and LUT Buddy filled that gap. They are so powerful, in fact, our artists have become accustomed to working in an uncompressed log color space with very high end results.”

Deployed across the entire studio, the Stargate post team is now empowered with Colorista and LUT Buddy on every desktop, enabling artists to quickly and easily see LUTs generated by the client, and recreate each look with precision and quality using Colorista.

“The color pipeline we created for the Pan Am pilot was so successful, we’ve implemented it studio wide and it is now a critical component for all the projects we’re working on today, including ABC’s Revenge and AMC’s The Walking Dead. Color is such an important part of the post production workflow, and Red Giant’s support has been invaluable. They understand our needs and have delivered a tool set that provides our artists a plethora of color utensils and options, so much so that we’re now using it on every show in our line-up!”

In addition to Pan Am, Revenge, and The Walking Dead, Stargate Studios is also working on upcoming episodes of Missing, and are also completing work on a feature-length film in Germany – all of which are leveraging the studios new color production pipeline built around After Effects, Colorista and LUT Buddy.

For more information about Stargate Studios and their capabilities, please visit www.stargatestudios.net. And to learn more about Red Giant’s color production pipeline tools, please visit www.redgiant.com or to view more in-depth tutorials about Colorista, please visit http://www.redgiantsoftware.com/videos/getting-started/item/259/.

About Red Giant
Founded in 2002, Red Giant (www.redgiant.com) creates an ever-expanding universe of effects tools ranging from plug-in suites, applications and mobile apps to Guru Presets, free products and sharing communities. We provide software for motion design, photography and color correction that is used for everything from major motion pictures to worldwide television programming to web production. Red Giant offers the industry-leading Trapcode tools for broadcast design; Magic Bullet Suite for color correction; and over 60 products that run in After Effects, Final Cut Pro, Motion, Premiere Pro, Photoshop, Lightroom, Aperture, Avid, Vegas, Nuke, and Avid Studio. Our effects have enhanced dozens of feature films such as Angels & Demons and The Social Network, and added sparkle to networks like NBC Universal, ESPN, Disney, CNN, Comedy Central, MTV, and TNT. Join us on Facebook (RedGiantSoftware), follow us on Twitter (@RedGiantNews) and get free content at Redgiantpeople.com.

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Archion & Elite Avid Resellers Partner To Address Limited Availability of Unity MediaNetwork Expansion Storage

– Archion Synergy Provides Only Mature, Proven Solution with Thousands of Satisfied MediaNetworks Clients –

Burbank, CA (October 18, 2011) – With the limited availability of Avid Unity™ MediaNetwork™ storage products, Archion Technologies remains prepared to deliver what will become the only true option for Avid Unity users that need to expand their storage capacity now or in the future. Archion’s Synergy with its patent pending Vdisk™ technology offers seamless, plug-and-play integration into Unity MediaNetwork storage systems.

Today, thousands of extremely satisfied clients around the world are utilizing Synergy storage on Unity MediaNetworks 3.5 – 5.x. These include major broadcasters like CBS, Fox Networks and Turner Broadcast, large studios like Sony and 20th Century Fox Films as well as smaller independent facilities. Synergy solutions are sold primarily through elite Avid resellers that appreciate their simplicity and compelling value.

“Our focus is to keep our clients ahead of technology and effectively manage the life cycle of their investments,” said Mike Cavanagh, President of Key Code Media in Burbank, CA, one of Avid’s largest resellers.  “With that mindset of providing value to our clients, we see Archion’s Synergy as the only proven option for expanding Avid Unity MediaNetworks, and RAID protection is an important benefit. It offers seamless integration into the Avid workflow with a strong investment protection.”

“With thousands of customers worldwide, Avid’s Unity MediaNetwork remains the most widely used storage for Avid workflows, and we remain firmly committed to offering the best solutions for preserving those customer investments,” said Reuben Lima, Chief Operating Officer of Archion. “Large numbers of Avid customers invested in their Media Engine between 2009 and 2011, many as recently as this summer. They deserve the option of expanding the capacity without requiring an expensive, time-consuming forklift upgrade and the risk of media loss.

“We have more than five years of experience delivering expansion storage to Unity MediaNetwork clients,” he added, “and we remain firmly committed to continuing our support of the Avid Unity platform.” 

Decade of Experience Taking MediaNetworks to Another Level

Archion’s Synergy shared storage product line is the result of a decade of experience in providing Avid Unity MediaNetwork-based solutions. Archion’s Synergy offers the highest performance RAID protected add-on storage for Avid Unity MediaNetworks, while offering seamless integration and complete compatibility without changing the popular Unity workflow.  Synergy establishes a new standard in scalability for MediaNetworks, making it the only solution that can deliver the maximum capacity of 128 Terabytes (TB) of usable protected storage on Media Engines 5.1x and 40TB of fully protected storage on version 4.2x.

MediaNetwork customers benefit significantly by expanding with Synergy. Upon upgrading to 5.1x, CBS, for example, added a Synergy system to expand its Avid Unity MediaNetwork for two of its shows, the highly rated “Judge Joe Brown” and the new “Swift Justice with Nancy Grace.” Increasing its storage by a factor of 10, Synergy provides CBS with a total of 128TBs of storage, including 96TBs of usable storage (RAID 5 protected). With Avid storage, they would have been limited to 64TBs of protected storage.

Another facility, Wild Eyes Productions in Hermosa Beach, CA, recently added 96TBs of Synergy storage to its Avid Unity MediaNetwork. Wild Eyes’ significant track record in television, documentary and docu-reality filmmaking balances military documentaries like “Inside Al-Qaeda” and “Inside the Taliban” for National Geographic with reality TV series like “The Squad: Prison Police” for the A&E Network.

“Simply put, Archion’s Synergy has proven to be a lifesaver for us,” said Conor Morris, Post Production Supervisor at Wild Eyes, which has 96TBs of Synergy storage and requires it all to be protected. “Synergy was much more cost-effective than Avid or the other solutions we looked at, it runs off of the same Unity interface and it worked flawless right out of the box.”


White Paper on Hardware RAID Protection in Avid Unity Environment Available

To summarize the benefits of Synergy, Archion has published a whitepaper – Uncovering the Full Potential of Avid Unity MediaNetworks: Realizing Greater Rewards without the Traditional Risks – that is available here on the Archion website. In addition, a comparison of the two add-on storage chassis — Archion Synergy vs. Avid XT — is available here.


Vdisk with Advanced Storage Technologies

Archion engineers created the award winning and patent pending Vdisk with advanced storage technologies that enable plug-and-play integration of hardware parity RAID into Unity storage systems without changing the workflow. The RAID controller manages the disk drives, RAID sets and Vdisks in a more efficient manner, requiring far fewer drives than Avid storage subsystems to deliver higher capacities and resolutions.

Synergy provides better protection with less storage overhead than Unity RAID. Because Synergy is configured in RAID 5, the need to mirror storage or compromise media is eliminated, which can provide 60% more usable storage than mirroring. Incredibly, Unity MediaNetwork owners can save more than 70% per protected TB when adding Synergy storage.

With its highly intelligent built-in hardware 4 or 8 GB RAID controller to manage storage more efficiently, Synergy automatically rebuilds a faulty drive to eliminate downtime and keep the rest of the network unaffected by a drive failure. Archion’s system consistently checks, identifies and repairs drive errors while ensuring constant data flow. If one of the drives should fail, the hot spare drive kicks in to automatically and seamlessly rebuild the data. Clients continue to work and log on and off as normal without affecting the Unity operation. Synergy also comes with a two-year hardware warranty, twice Avid’s one-year warranty.

“As part of our strong commitment to technical support and investment protection, we have more than a decade of experience supporting Unity clients with a dedicated team of Unity MediaNetwork experts,” said James Tucci, Chief Technology Officer of Archion. “Support is available 24/7, and parts can be advance replaced for next day delivery. In addition, several regions have local spares for same day delivery. In fact, we find our engineers spending more time supporting Unity than Archion storage.”


About Archion

Archion Technologies, based in Burbank, CA, is a leading provider of intelligent networked storage solutions specifically designed for post production and graphic professionals. Founded by a team of post production, technology and entertainment industry professionals in 1999, Archion set out to create a new standard of data protection and performance for those creating video, audio, and graphical content. Since then, Archion’s high-performance storage technology has been critical to the success of hundreds of TV and feature film projects and is prominently used in Avid, Apple, Adobe, Autodesk and Pro Tools environments. www.archion.com

NOTE TO EDITORS: For additional resources on today’s news, please visit: www.archion.com

Contact:
Randy Savicky
Strategy+Communications
W : (203) 226-6156
M : (203) 571-8151
randy@strategypluscommunications.com

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