Archive for October, 2011

Broadcast Industry Leader, Bruce Devlin Hits on Hot Topics & Draws International Audience with Bruce’s Shorts Video and Webinar series

Basingstoke, England, 18 October 2011 – AmberFin, a leading developer of file-based media ingest and transcoding solutions for content owners, broadcasters, sports organizations and post-production houses, reports that its free, non-vendor specific, educational program that is delivered to your email in-box, has exceeded all forecasts in terms of the number of subscribers it has drawn in the first month since its launch at IBC 2011.
AmberFin has received many hundreds of registrations for Bruce’s Shorts, including large numbers from North America, Japan and Australia as well as from across Europe. There is increasing evidence that the initiative is going viral with multiple subscriptions being received from the same organizations. The range of organizations represented is diverse, including major broadcasters and studios, as well as consultants and systems integrators worldwide.
Bruce’s Shorts is approaching a key point in the release of the program’s first in-depth webinar, which will provide a more detailed insight of an issue that Bruce Devlin believes is important to the broadcast industry. The first webinar will be available for viewing on 25 October and will provide a beginner’s guide to file-based workflows.
“We are very pleased with the initial response to the launch of Bruce’s Shorts – it appears to strike a chord with many people in our industry,” commented Bruce Devlin, Chief Technology Officer at AmberFin. “Although we have kicked off the series, there is no deadline for signing up to Bruce’s Shorts. This is not some dry old academic theory – what we provide is real industry insider knowledge, which is so much more valuable. The fact that it’s available free of charge makes it even more of a no-brainer.”
People can sign up to Bruce’s Shorts by visiting AmberFin’s website – www.amberfin.com/shorts
What is Bruce’s Shorts?
Bruce’s Shorts consists of series of weekly video shorts and monthly in-depth webinars covering a broad range of industry topics including: “what can Toyota teach us about media quality control?” to “what is the best way to ingest 40,000 hours of tape?” and “what is SOA and why do I need it?”
The program has been developed and is led by Bruce Devlin, AmberFin’s Chief Technology Officer and co-author of the MXF specification. Devlin brings 25 years of experience working at the leading edge of the broadcast industry, working on standards committees, designing products and developing software algorithms that help organizations create content effectively and efficiently.
Unlike many other vendors and publishers that request payment for access to training and information services, AmberFin is providing this expert tutorial series free of charge to all industry executives that register with the company.
To subscribe to Bruce’s Shorts, visit www.amberfin.com/shorts. Once registered, subscribers will receive regular emails alerting them to the availability of new video shorts, as well as the release of new webinars at regular intervals.
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About AmberFin
AmberFin is a company at the heart of solving file-based workflow problems for content owners, broadcasters, sports organizations and post-production houses. The AmberFin Media Factory, based on the iCR family of modular software products, digitizes and transforms new and archived content, combining a service oriented design philosophy with intelligent use of cost-effective generic IT. This enables customers to save time, increase revenues and grow in-line with business demands.
Unique to the Media Factory system, AmberFin’s industry first approach to Quality Control, known as Unified Quality Control (UQC), introduces a QC mark that brings a new level of trust to media assets. UQC uniquely combines an automated process with a human touch, enabling more efficient and effective decision-making and new levels of confidence in the file creation and transformation processes.
AmberFin has experienced growth of 90% in the last year thanks to hundreds of iCR systems being deployed worldwide. Systems that are trusted where quality matters by some of the world’s leading media organizations including Sony Pictures, NBA, Turner Broadcasting, ZDF, NRK, National Geographic, BT, Discovery and Warner Brothers.
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HELIOS makes 3D production faster, more versatile and cost-effective than ever

Paradise VFX (www.paradisefx.com), the world’s most experienced provider of 3D stereo camera systems and production services, has launched HELIOS, a wireless, self-contained, 3D stereo rig, whose advanced design and operational features support faster on-set deployment, streamlined post production, and more cost-effective 3D stereo production.

HELIOS harnesses Paradise FX’s 20 years of expertise in 3D camera system design, and delivers a leading-edge, 3D capture system suitable for all types of untethered camera work, including handheld, Steadicam and studio applications, with optimized metadata handling, crucial to VFX-oriented 3D production. When provided as part of a production service package from Paradise FX, HELIOS reduces the technological and crewing footprints of 3D stereo cinematography, bringing them into line with 2D production practices.

HELIOS is manufactured from rigid, lightweight magnesium and aluminium alloy. It is currently designed for use with RED EPIC cameras, with future support for ARRI Alexa M and Sony F3 cameras. It is offered with a range of matched lens pairs, including ARRI Ultra Primes and Angenieux Compact Zooms.

Using Preston G4 wireless controls, HELIOS’ interaxial range can be adjusted from 0 to 2-inches, and convergence from 10-inches to Infinity. It measures 18.5”(H) x 18.5”(L) x 8.5”(W), with a mirror box width of 15-inches. The rig’s naked weight is 18lb; 42lbs in Steadicam mode; 47lbs in handheld mode; and 53lb in full studio mode.

Paradise FX has designed HELIOS to meet the requirements of all key departments on a 3D stereo production – the camera team, producers and directors, and editorial/VFX. HELIOS builds on, and is complementary to, Paradise FX’s existing range of 3D stereo rigs, including the Atlas and Maxi studio rigs, and the Tridelta and Triton Underwater rigs.

As HELIOS is lightweight, self-contained and untethered, Steadicam operators can move as freely as they do on a 2D shoot. Its self-balancing design means that interaxial convergence controls move out from the center of the rig, preventing a weight shift from affecting the Steadicam operator’s performance.

For cinematographers, a unique design advantage of HELIOS is its ability to quickly adapt from one camera configuration to another, between tripod, dolly or crane, to handheld or inverted shooting modes, saving time and money.

When HELIOS is provided as a package from Paradise FX, the labor footprint emulates 2D camera positions, resulting in faster set-ups for the director, and significantly reducing the financial burden for producers.

To boost post production workflow, HELIOS can be deployed with Paradise FX’s Mercury metadata capture system. Files, timecodes, associated lens and 3D stereo information, such as interaxial and convergence metadata, can be offloaded for post or VFX. In addition, camera moves can be played back on-set in the same way as a motion control system. To support even more efficient post-production workflow, Paradise FX also provides an on-location Digital Lab facility for fast dailies review, archiving and post adjustment of 3D footage.

Outfitted with RED Epic cameras, HELIOS provides the smallest package for a 35mm chip, and unsurpassed quality and firepower allowing up to 96fps at 5K and 300fps at 2K.

“HELIOS meets head-on the demand for more versatile, cost-effective 3D stereo capture,” said Paradise FX co-founder/CTO Max Penner. “It can be quickly deployed for different shooting modes, and supports highly-efficient capture-to-post workflows. By bringing the crewing requirement into line with traditional 2D, HELIOS provides a dramatic impact on the producer’s budget too.”

Cinematographer Sam McCurdy BSC commented: “With HELIOS, Paradise FX has developed a system that gives me the ability to easily jump from Steadicam to crane to dolly with one rig. Its rigid, stable build has given me more freedom than ever when shooting 3D stereo. I don’t know of any other rig that performs as well as HELIOS in the constantly demanding environment we shoot in today.”

Steadicam operator Chris McGuire said: “Paradise FX’s new HELIOS 3D rig is a welcome relief for Steadicam. Its handling is great because of its dynamically self-balancing design and its ergonomics – everything is easily accessible and positioned properly for the operator. Weighing just 42lbs, it’s a complete 3D shooting rig that is physically tuneable to the endurance of the operator.”

Producer Charlotte Huggins commented: “I had the pleasure of working with the Paradise FX crew and their new HELIOS Steadicam rig on a recent project. I was amazed at how easily it moved, wirelessly, and covered the scenes in very dynamic ways. It worked perfectly, seamlessly. We got all the shots my DP and team were hoping to get, and more. It really was as if I were shooting a 2D show with the HELIOS.”

Paradise FX supplies a broad range of 3D camera systems and production services to motion picture and commercials producers, from its headquarters in Van Nuys, CA. The company’s technical and creative teams have decades of combined, hands-on experience in 3D production and technology design, and this expertise is reflected in the company’s approach to 3D capture: to offer the industry’s most versatile and cost-effective 3D equipment and services. Recent productions supported by Paradise FX include: Pirates Of The Caribbean: On Stranger Tides (Disney/Jerry Bruckheimer Films), Dolphin Tale (Alcon/Warner Brothers), Fright Night (Dreamworks), Jackass 3D (Paramount), Streetdance 3D (Vertigo Films), Dredd (DNA/Vertigo Films), My Bloody Valentine (Lionsgate), Piranha 3DD (Dimension Films), Drive Angry 3D (Millenium) and TT3D: Closer To The Edge (CinemaNX). For more information visit www.paradisefx.com.

Atomic Lighting of Lititz, Pennsylvania scored two high-profile TV gigs for its Clay Paky lighting fixtures and grandMA2 lighting consoles when it supplied gear for season three of NBC’s a cappella singing competition, “The Sing Off” and FOX’s live telecast of the “63rd Primetime Emmy Awards” from LA’s Nokia Theatre. A.C.T Lighting is the distributor in North America for both Clay Paky and grandMA.

Felix Peralta, who shares lighting director duties with Kevin Lawson on “The Sing Off,” used 27 Clay Paky Alpha Profile 700 and 30 Sharpy fixtures for the show. “A.C.T demo’d Sharpy for me, and I instantly fell in love with all the possibilities of their effects,” he recalls. “I liked the throw, the speed of movement, the tightness of the beam and the little prism you can slide in to create a break up.”

Season three of “The Sing Off” will air 12 shows with multiple performances, so designer Allen Branton assembled an array of fixtures to lend variety week to week. “We’ve taped the first ten episodes, and the Sharpys have given us a look we really hadn’t seen before,” he notes. “They were so tight and bright that we didn’t need a lot of haze to have an impact: We were able to create some nice signature looks. We also featured an upstage wall of 18 Sharpys, as tight as they could go, shooting straight out at the camera to create and augment the tension and suspense surrounding the announcement of the winners for that evening. The producers have been thrilled with them and their zero failure rate.”

The producers are not the only ones who are pleased with the Sharpys’ performance. Lighting Designer Allen Branton is also “a big fan,” says Peralta. “He’s seen every light there is, and he’s really impressed by how tight the Sharpy’s beam is and how fast the lights move. Ever since he started using them he talks about them all the time – they’re a hot ticket item for his stable of shows.”

A pair of grandMA2 light consoles are on hand for “The Sing Off.” “We made the jump to grandMA2 with the Miss America pageant this year,” Peralta reports. “I haven’t gone back since. I’m a big fan of the grandMA2 and all their new software features.” We used 48 universes of DMX to accommodate the gear-heavy music series. “The show file gets bigger and bigger with each episode; we’ve compiled hundreds of effects. We can’t rave enough about how solid the NPUs are – they’re able to process 10 shows with different performances on each show and they never slow down.”

For the Emmy Awards Peralta, Kevin Lawson and Tom Beck served as lighting directors with Allen Branton lighting designer. “The top of the set had a flown half-circle truss 120 feet long, like a crown over the stage,” says Peralta. “We wanted to give the show a fresh, edgy look for Mark Burnett Productions, which was new to the awards this year. So we peppered some Sharpys in the crown with a bunch of wash lights. The Sharpys were great at cutting through and giving a nice iconic look on wide bumpers and the winner announcements. They were a nice accent piece to go to.”

Two grandMA2 lights acted as the main consoles for the production with a grandMA2 full size on hand for back up. The primary desks ran 24 universes of DMX. “Although there was not a lot of cueing involved, the Emmys are very high profile and had to be executed perfectly. We wouldn’t have gone with anything other than the very stable grandMA2 network. We would never compromise a show such as the Emmys!”

Peralta also gives kudos to the support he and his colleagues received from Atomic Lighting for both shows. “They are very hands on, and their systems are rock solid out of the box. With Atomic, we’re up and running on the first day-and-a-half on a show, so we can start the creative process in plenty of time.”

On “The Sing Off,” Darren Langer is head gaffer, Brian Freidin best boy, Jason Uchita lead tech and Davey George the Atomic lead tech. For the Emmy Awards Darran Webb was head gaffer and Brad Hafer, Darren Langer and J.P. Gabriel the gaffers.

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.

The Omneon MediaGrid System Will Enable an Efficient File-Based Workflow for Fast-Turnaround Sports Coverage
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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.

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.

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.

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.

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

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