Archive for February 14th, 2013

Rodeo FX Chooses Arnold for All of the Company’s Rendering Needs

Montreal, Canada, Feb. 15, 2013 – Rodeo FX, one of the world’s premiere visual effects companies, regularly contributing unique visual imagery to Hollywood’s blockbuster motion pictures, has expanded its integration of Arnold within the company’s software arsenal. Now used for all of the company’s rendering needs, Arnold Core and Arnold for Softimage play a significant role within Rodeo FX’s pipeline for feature films, TV shows, and commercial projects. The an-nouncement was made by Jordan Soles, Rodeo FX’s Chief Technology Officer.
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“Arnold allows our artists to better spend their time focused on the creative aspects of lighting a scene, rather than on having to act as a data manager organizing multiple versions of multiple passes of data,” Mr. Soles said. “The interactive nature that Arnold provides allows our artists to move lights freely within a shot, with results that can be seen almost instantaneously. My incredibly positive experience working with Arnold on numerous films at Sony Pictures Imageworks made our decision to adopt it here at Rodeo FX very easy.”
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Soles explains that having integrated Arnold, the sheer number of versions it takes for Rodeo FX digital artists to hit a final has decreased enormously, with the company’s work having gotten better looking because of this new approach. The render times and memory needs are far more consistent and dependable, allowing the company’s productions to build better schedules and deliver shots more efficiently.
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Rodeo FX’s Head of CG Matthew Rouleau adds, “Arnold has dramatically improved our look development since we first began incorporating it into our rendering pipeline a few years ago. Its ease of use and incredible interactivity have made our lives a lot easier – we can now spend far less time on the technical aspects of rendering, and more time creating beautiful assets and images. Arnold’s incredible memory management, rock solid stability, and full ray-tracing have allowed us to redefine what we thought was possible to accomplish in rendering.”
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Sébastien Moreau, President, Founder & VFX Supervisor, Rodeo FX, adds, “After having done due diligence, we determined that Arnold was the right fit for us, and we’ve adopted it into all of our tool sets. We trust this tool, and we are confident that we can throw extremely complex assets through the pipeline now. Arnold will consistently deal with all of this critical data in a highly dependable way.”
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Mr. Marcos Fajardo, the Chief Architect of Arnold and founder of Solid Angle, said, “It has been very exciting for us to watch Rodeo FX steadily grow their Arnold license count, project after project, each time blowing our minds in the process with increasingly beautiful photoreal work. Jordan, Matthew, and their colleagues are active members in our vibrant community of professional Arnold users, and their patient feedback has greatly helped improve our software. We are delighted that Rodeo FX has chosen Arnold for all its rendering needs and look forward to working with them for years to come.”
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ABOUT SOLID ANGLE:
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Solid Angle is the technology company behind the Arnold rendering software, with offices in Madrid and London and customers throughout the world including Framestore, Industrial Light and Magic, Sony Pictures Imageworks, Rodeo FX, Luma Pictures, Image Engine, The Moving Picture Company, Digic Pictures, The Mill and Psyop.
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Arnold was designed from the ground up to efficiently process the complex geometric datasets required for feature-length CGI animation and big-budget visual effects, while at the same time simplifying the pipeline, reducing the number of passes, minimizing storage requirements and greatly enhancing interactivity for lighting artists. It achieves this by incorporating modern, CPU-based ray tracing and physically-based shading techniques.
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Arnold has been used to create unique images in many feature films including Marvel’s “The Avengers,” “Captain America: The First Avenger,” “Thor,” “X-Men: First Class,” “Red Tails,” “Alice in Wonderland,” “Hotel Transylvania,” “The Smurfs,” “Cloudy with a Chance of Meatballs” and “Monster House.”
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Marcos Fajardo is the founder of Solid Angle and lead architect of Arnold. The software was developed prior to and during his three-year sabbatical at Sony Pictures Imageworks, and is now available as a standalone renderer, as a C++ API and as a set of plug-ins for leading 3D applications such as Maya, Softimage and Katana on Linux, Mac OS X and Windows.
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ABOUT RODEO FX:
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Since its inception in 2006, Rodeo FX has provided unique visual effects to well over 100 motion pictures, and to numerous, high profile advertising campaigns. Rodeo FX has recently contributed VFX to such high profile projects as “The Twilight Saga: Breaking Dawn, Part 2,” “Red Tails,” “Immortals,” “Abraham Lincoln—Vampire Killer,” “Source Code,” “Resident Evil: Afterlife,” “Terminator Salvation,” “Indiana Jones and the Kingdom of the Crystal Skull,” “Smurfs 2,” “The Three Musketeers,” “Golden Compass,” and many more.
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In addition to its feature film work, the company’s advertising clients have included The Walt Disney Studios and Disney Cruise Lines, NBC, General Motors, Budweiser, British Airways, Napa Auto Parts, Michelin, Mini-Cooper, and others. Rodeo FX has also worked in conjunction with such top ad agencies and production companies as DDB/New York, DDB/London, Psyop, Shilo, and others. In addition, Rodeo FX produced compelling visual effects sequences featured during superstar Madonna’s live, 2012 “MDNA” World Tour. The company also provided visual effects seen within the work of legendary photographer Annie Leibovitz.
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Under the leadership of founder Sébastien Moreau, the Rodeo FX team has grown to comprise 100 accomplished visual effects professionals – artists who are creative and passionate people devoted to their love of the art of Visual Effects. This team of artists constantly raises the bar for themselves and the visual effects industry, and are always in search of new and innovative ways by which to deliver world class VFX to a broad spectrum of interesting projects and clients. Rodeo FX is located at 90 Queen Street, 2nd Floor, Montréal, QC, Canada. The phone is 514/397-9999. For more information, please see:
www.rodeofx.com
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Front Porch Digital Featured Products at BVE EXPO 2013

LYNX(SM) — New for BVE EXPO 2013: LYNXdr and LYNXlocal
LYNX(SM) from Front Porch Digital is the industry’s first enterprise-scale cloud implementation of content storage management (CSM). LYNX delivers adaptable on-demand scalability, reduces capital and operational costs, and revolutionizes the way media organizations manage assets. LYNX leverages the latest cloud and Web technologies to provide a range of networked and distributed solutions.

LYNXdr is a hosted disaster recovery (DR) service that allows global media enterprises to centralize critical assets and consolidate operations, and LYNXlocal is a simple extension to LYNX that operates locally as an appliance, caching cloud content and providing integration to specialist systems if needed. LYNXlocal is billed as a service element at a low monthly rate.

Photo link: www.wallstcom.com/FrontPorch/LYNX.zip
Photo Caption: LYNX(SM) Cloud Content Management System

DIVAdirector(R) V5.0 — Inexpensive and Easy-to-Deploy Media Asset Management System
Front Porch Digital DIVAdirector(R) is an easy-to-use and cost-effective media asset management (MAM) system that enables operators to search, locate, and retrieve stored media assets directly from their desktops using their Web browsers. At BVE EXPO 2013, Front Porch Digital will introduce DIVAdirector V5.0, with a host of new features enabling easier and more versatile media asset management. V5.0 boasts HTTP-based adaptive streaming support, whereby client Internet browsers can switch between different video and audio bit rates seamlessly and dynamically — depending on available network conditions and CPU power. The resulting user experience is one of reliable, consistent playback without stutter, buffering, or “last-mile” congestion. In addition, DIVAdirector V5.0 offers portability across operating systems (Windows(R) 7, Mac OS(R)), browsers (Internet Explorer(R), Safari(R), Chrome(TM), Firefox(R)), and proxy formats (WMV and H.264), and supports a greater number of concurrent users.

Photo Link: www.wallstcom.com/FrontPorch/DIVAdirector5.zip
Photo Caption: DIVAdirector(R) V5.0 — Media Asset Management System

DIVArchive(R) V7.0 — Now for a Broader Array of Applications
At BVE EXPO 2013, Front Porch Digital will showcase its DIVArchive(R) V7.0 content storage management (CSM) system. New features and capabilities make DIVArchive ideal for a wide range of applications. With its support for complex DPX packages, DIVArchive V7.0 enables video-like operations on film-carried content, making it desirable for film production and post-production applications.

DIVArchive V7.0 is the first system of its kind to implement the new open Archive eXchange Format (AXF) technology developed by Front Porch Digital to protect, preserve, and facilitate the exchange of content among storage systems, today and for the future. This new open AXF implementation represents a step toward replacing outmoded legacy formats such as TAR with a truly open and storage-agnostic approach, ensuring long-term accessibility to the world’s most valuable content.

The enhancements to DIVArchive extend its applicability to media operations of every kind — broadcasters, educational and heritage institutions, the film industry, and government entities. With its unique ability to interconnect every element of operations from archive to production to transmission, DIVArchive V7.0 becomes the highly effective foundation on which to base cost-effective, seamless file-based workflows.

Photo Link: www.wallstcom.com/FrontPorch/DIVArchiveScreen.zip
Photo Caption: DIVArchive(R) Content Storage Management System

SAMMAsolo HD Video Migration Solution
Based on the patented, Emmy(R) Award-winning SAMMA(R) technology, the SAMMAsolo HD migration solution is the first of its kind to perform real-time, quality-controlled migration of content from HD videotape into a secure and managed digital environment that supports preservation while facilitating access. With a fully internationalized user interface, SAMMAsolo can be customized for local languages, including Mandarin Chinese.

The SAMMAsolo HD migration solution meets a pressing need by enabling broadcasters, heritage institutions, and other enterprises to preserve and make use of their legacy assets. SAMMAsolo migration solutions combine hardware and software to move archive-quality content from videotape to multiple file formats in a single pass. Because SAMMAsolo automates repetitive steps and uses advanced signal analysis to evaluate the quality of the videotape and to monitor and document the migration itself, the work can be accomplished with minimal staff training and time. The process preserves source time-code and also associates indexing and technical metadata.

Photo Link: www.wallstcom.com/FrontPorch/SAMMAsoloHD.zip
Photo Caption: SAMMAsoloHD Migration Solution

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Company Quote:
“Our introduction of two new LYNX products at BVE EXPO 2013 marks a very significant development for Front Porch Digital. Not only are we delivering our cloud services platform more effectively, but we also are simultaneously simplifying content storage management for multisite video workflow in both private and public clouds.”
– Rino Petricola, Senior Vice President and General Manager of Front Porch Digital

Company Overview:

Front Porch Digital is the global leader in solutions for migrating, managing, and monetizing media content. Operating on site and in the cloud, the company’s purpose-built software employs the latest technologies to deliver truly flexible and scalable media workflows. Solutions delivered by Front Porch Digital appropriately manage large and complex media files and workflows while ensuring optimal performance and utmost security. More information is available at fpdigital.com.

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NEP Supershooters Preparing for 13th Season as Mobile Broadcast Service Provider for NASCAR Productions

NEP Supershooters Provides Extensive Fiber Optic Infrastructure as Well as Comprehensive Mobile Production Facilities for Highly Complex Broadcasts

PITTSBURGH — Feb. 12, 2013 — With the approach of the Daytona 500 on Feb. 24, which serves as the official opening of the NASCAR racing season, NEP Supershooters is gearing up for its 13th year as mobile broadcasting provider for NASCAR Productions. In addition to providing the industry’s most innovative HD mobile production capabilities, NEP Supershooters has applied its expertise in fiber optics to design and build the fiber infrastructure for each NASCAR venue, including huge racetracks that require more than 150,000 feet of fiber.

“We value our ongoing relationship with NASCAR, and we’re honored to be able to provide technical management, engineering, and facilities for one of the most complex sports broadcasts in the U.S.,” said NEP CEO Kevin Rabbitt. “NASCAR Productions trusts us to work with its rights holders and other vendors to deliver a flawless show every week, and our 12-year track record is a testament to the engineering excellence, innovation, and expertise that we bring to every race.”

Over the years, NEP’s technical expertise and depth of resources have uniquely positioned the company to handle NASCAR events of enormous complexity. The Daytona 500, for instance, is the biggest race of the year, comparable to the Super Bowl in production complexity. Since the Daytona 500 comes at the beginning of the season, NEP Supershooters is required to have a large-scale, highly reliable and well-tested system in place at the outset.

During the 2012 season, NASCAR Productions deployed NEP Supershooters’ SS29 mobile HD A and B units to produce all 38 events in NASCAR’s premier Sprint Cup Series. These units produced the full range of NASCAR Productions’ tier 2 programming, including a two-hour pre-race show featuring in-depth coverage of drivers and cars and four roving announcers located throughout the race track produced in partnership with SPEED. In addition, NEP Supershooters’ NCP11 and ST1 units produced all 22 races for the NASCAR Camping World Truck Series in 2012 for live broadcast on SPEED. NEP Supershooters has also provided several other large sports broadcasters with customized mobile production vehicles for their own coverage of the NASCAR Sprint Cup Series and NASCAR Nationwide Series, with NASCAR Productions providing logistics and infrastructure support.

In addition, NEP Supershooters provided its SRT mobile unit at all NASCAR premier series venues, acting as a shared resources truck that provided camera feeds and signal distribution for all rights holders. Via the fiber network designed and built by NEP, SRT distributed feeds from nearly 100 robotic, in-car, roof, stage, and studio cameras for the Daytona 500, with data and audio feeds from up to 70 cameras for other NASCAR Sprint Cup Series races. By integrating multiple production facilities for all networks, SRT served as the hub for the entire NASCAR Sprint Cup Series broadcasting compound. The custom designed “condo” unit ST37 provided production space for several other smaller productions and video services. From ST37, NASCAR Productions also produced international NASCAR ancillary programs distributed to 125 countries outside the U.S., in addition to Sprint Vision and FanVision content.

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About NEP
With the world’s most advanced equipment, largest fleet of mobile units and global production studios to suit every genre, NEP enables its clients to execute, deliver, and display exceptional productions on any platform around the world. For more than 30 years, NEP has ensured its clients’ success by delivering superior service and building lasting relationships with a passion for continuous innovation. NEP’s talented staff is committed to acting with integrity and working as a team to deliver comprehensive solutions for remote production, studio production, video display, webcasting, and power generation that set the global industry standard. For more information, visit www.nepinc.com.

Photo Link: www.wallstcom.com/NEP/NASCAR.zip

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SMPTE Webcast to Examine How BXF Can Automate and Increase Accuracy of Ad Traffic Workflows

Feb. 28 Webcast Highlights How Inclusion of Spot Data in BXF Reduces Errors and Improves Efficiency

WHITE PLAINS, N.Y. — Feb. 12, 2013 — The Society of Motion Picture and Television Engineers (SMPTE), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries, today announced that its next “PDA Now” educational webcast is scheduled for Feb. 28 at 1 p.m. EST. The webcast will focus on SMPTE’s Broadcast eXchange Format (BXF) and how it streamlines and reduces errors in advertising traffic workflows.

During the live event, guest speakers Christopher Lennon, SMPTE engineering director and president, MediAnswers, and Harold Geller, chief growth officer of Ad-ID LLC, will explore developments in BXF, Ad-ID, and AS-12, and the end-to-end efficiency gains they enable. With its clear and specific mapping instructions for sharing and exchanging business data and on-air content across digital media workflows, the SMPTE BXF suite provides standardized, single-timeline-based support for ensuring accuracy amidst dynamically changing content — right up to the time viewers see it.

“Advances in BXF and other standards are important to both ad agencies and broadcasters because they make it possible to automate the flow of data throughout the advertising chain — from creation to traffic to airing ad spots,” Lennon said.

“Thanks to an ever-expanding array of delivery platforms, coupled with targeted advertising, maximum efficiency for advertising interoperability has gone from a nice idea to a must-have,” Geller added. “The good news is that we now have the toolkit to make it work.”

SMPTE’s monthly interactive educational webcasts cover hot-topic technologies, issues, and developments, offering an excellent opportunity to learn more about highly relevant technology-related topics. Each of these convenient, noncommercial webcasts is designed to address specific technology and technical challenges.

PDA Now webcasts are free for SMPTE members and $49 for nonmembers. Nonmembers are encouraged to join SMPTE prior to registering for the webcast. Further information and online registration are available at www.smpte.org/education/pda_now. On-demand access to recorded presentations is available for registered participants who cannot attend the live session.

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About the Society of Motion Picture and Television Engineers
The Oscar(R) and Emmy(R) Award-winning Society of Motion Picture and Television Engineers (SMPTE), a professional membership association, is the worldwide leader in developing and providing motion-imaging standards and education for the communications, technology, media, and entertainment industries. An internationally recognized and accredited organization, SMPTE advances moving-imagery education and engineering across the broadband, broadcast, cinema, and IT disciplines. Since its founding in 1916, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 600 standards, recommended practices, and engineering guidelines. SMPTE members include motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students from around the world. Information on joining SMPTE is available at https://www.smpte.org/join.

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Calrec Products at BVE 2013

New Capabilities for Apollo and Artemis Audio Consoles
At BVE, Calrec Audio Ltd will showcase its latest software releases on the Apollo and Artemis console lines. The new releases bring more power to the user’s fingertips and even more flexibility to the current metering system. Any signal can be metered whether it be an external source or an internal desk resource. Users can also decide where in the signal chain they want to place the meter and where they want to PFL.

BVE is also the U.K. launch of Calrec’s Automixer. Up to eight automatic mic mixers can be deployed to reduce coloration and ensure a consistent output level in scenarios with unpredictable audio content.

Also being showcased is the Hydra2 audio routing system interacting with third-party control and production-automation equipment. Visitors to BVE will get a sense of Hydra2′s potential as Calrec will exhibit the equipment in a scenario akin to how it would be used in an actual production environment.

Company Quote:
“We’re adding several new features to our Apollo and Artemis audio consoles in response to customer demand. We look forward to showing BVE visitors our revved up signal-processing engine, comprehensive loudness metering, and powerful new tools for managing control rooms and studio resources.” — Jim Green, U.K. Sales Manager, Calrec Audio

Photo Link: www.wallstcom.com/Calrec/Artemis2.zip
Photo Caption: Calrec’s Artemis Console Now With Automixing

Company Overview

Calrec Audio, part of D&M Holdings Inc., is exclusively dedicated to excellence in audio mixing for on-air and live production. A broadcast specialist for more than 40 years, Calrec has developed a range of digital consoles relied on by the world’s most successful broadcasters. For putting sound in the picture, broadcasters put their trust in Calrec. More information is available at www.calrec.com and www.community.calrec.com.

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Pilat Media’s IBMS Multiplatform Enhancements

At the 2013 NAB Show, Pilat Media will be demonstrating the latest enhancements to its flagship Integrated Broadcast Management System (IBMS), the industry’s most comprehensive, functionally rich, robust, and scalable software system for enterprise-wide management of broadcasting and airtime sales operations.

IBMS Omnicast — Stand-Alone Nonlinear Service Management for Multiplatform Operations
Pilat Media will unveil powerful new enhancements to IBMS Omnicast, its business management solution for nonlinear next-generation services such as VOD, over-the-top (OTT) TV, and catch-up TV across all delivery platforms. IBMS Omnicast combines the latest IBMS nonlinear services management features in a sophisticated, stand-alone back office system addressing everything from acquisition and multiplatform service scheduling to workflow orchestration and business dashboards. Meeting the challenges of increasing asset volumes and refresh rates, as well as multiplicity of services, the latest version of IBMS Omnicast includes a service matrix for multiplatform delivery, linking together all service offerings in a hierarchy. With this tool, broadcasters can schedule content once at the top level, and the system will automatically create offers on each linked delivery outlet, applying appropriate rights checks based on the requirements of each platform. This feature is also available as IBMS:OnDemand, an add-on non-linear content management module for IBMS-managed environments.

Photo Link: www.wallstcom.com/PilatMedia/Omnicast.zip
Photo Caption 1: IBMS Omnicast Navigation Tree
Photo Caption 2: IBMS Omnicast OnDemand Planner
Photo Caption 3: IBMS Omnicast Requests Gauges

IBMS Rights — Advanced Rights Management for Linear and On-Demand Multiplatform Content
Available as either a stand-alone solution or as an addition to IBMS-managed environments, IBMS Rights delivers centralized rights management across all broadcasting operations, covering contract management, program finance, and distribution licensing. At the 2013 NAB Show, Pilat will showcase additional IBMS Rights functionality for distribution licenses, which includes the identification of revenue shares and management of the associated payments back to the original content providers. Pilat will also highlight enhancements to cost-allocation functionality with IBMS Rights now supporting manual allocation of costs across any number of business units at the individual license window level. This extends existing functionality that allocates costs based on a predefined expense-allocation template.

OTTilus — Business-Integrated OTT Solution
Making its U.S. debut at the 2013 NAB Show is the OTTilus OVP (Online Video Platform), an enterprise-class over-the-top (OTT) TV solution designed to expand broadcasters’ and TV operators’ multiplatform product offerings while leveraging their broadcast operations’ existing workflows and systems. OTTilus, a Pilat Media company, enables end-to-end OTT deployments that encompass all major solution components from content acquisition to player applications. The OTTilus OVP is easy to deploy and highly compatible with all security, streaming, device, and monetization options, and it can be deployed as a cloud service or to drive a local OTT headend. An optional BMS middleware layer ensures the seamless integration of OTT applications with broadcasters’ business processes. OTTilus provides a highly compelling and consistent viewer experience with player applications that support major end-user devices from smartphones to tablets to smart TVs. OTTilus solutions can be deployed quickly out of the box or tailored to meet specific client needs.

Photo Link: www.wallstcom.com/PilatMedia/OTTilus.zip
Photo Caption: OTTilus

Company Quote:
“Now more than ever, media enterprises need highly integrated and powerful business management tools as they grapple with integrating traditional and new media services. At this year’s NAB Show, attendees will learn firsthand why IBMS is hands down the most complete and feature-rich business management system for the advanced multiplatform operations that are defining today’s broadcast enterprises.” — Ron Bar-Lev, Executive Vice President of Product Strategy, Pilat Media

Company Overview:

Pilat Media Global plc (AIM: PGB) develops, markets, and supports business management software solutions for content and service providers in the media industry. Designed with the direct involvement of top-tier broadcasters, Pilat Media’s systems improve business performance; accelerate time to market; and enable diversification and growth of content programming, advertising sales, traffic, and media operations for multiplatform linear and on-demand services. More than 60 blue-chip media companies around the world use Pilat Media solutions, including CBS, Corus, Discovery, SABC, Chello DMC, the BBC World Service, Media General, Sky Italia, ESPN Star Sports, and FOXTEL. These and other deployments represent the management of billions of dollars in advertising revenue and programming that reaches hundreds of millions of viewers. In addition, Pilat Media offers an end-to-end enterprise-class OTT solution that seamlessly integrates with broadcast operations through the company’s subsidiary, OTTilus. More information is available at www.pilatmedia.com.

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Blackmagic Design Congratulates Winning Sundance Films Graded with DaVinci Resolve

Fremont, CA – February 14, 2013 – Blackmagic Design would like to congratulate the winning Sundance films that were graded using DaVinci Resolve. These films were joined by more than a dozen other Sundance entries that used DaVinci Resolve. The award winning films using Resolve included:

 

• “Ain’t Them Bodies Saints,” Cinematography Award: U. S. Dramatic, graded by Joe Gawler of Harbor Picture Company;
• “Mother of George,” Cinematography Award: U. S. Dramatic, and “This Is Martin Bonner,” Audience Award: Best of NEXT, both graded by Alex Bickel of Color Collective;
• “Metro Manila,” Audience Award: World Cinema Dramatic, graded by Adam Glasman of Company 3;
• “Spectacular Now,“ U.S. Dramatic Special Jury Award for Acting, and “Until the Quiet Comes,” Short Film Special Jury Award, both graded by Sean Coleman of Company 3; and
• “Upstream Color,” U. S. Dramatic Special Jury Award for Sound Design, graded by Toby Halbrooks, a freelance colorist.

 

As the world’s most advanced color correction tool, DaVinci Resolve is the standard for high end post production workflows and continues to be the most popular and powerful color correction tool for the world’s biggest films, television programs and global commercial campaigns. From Hollywood blockbusters, such as “Frankenweenie,” “Avatar” and “Prometheus,” to hit television shows, such as “Cougar Town” and “NCIS: Los Angeles,” DaVinci Resolve is used by thousands of colorists across the globe.

 

About DaVinci Resolve
Blackmagic Design’s DaVinci Resolve is the world’s highest performance color correction solution for Mac OS X, Windows and Linux computers. DaVinci Resolve supports more real time color correction than any other system because it’s not limited by the performance of the computer it’s running on. DaVinci Resolve eliminates this performance barrier because it’s based on a cluster of high performance GPU cards, so all processing is always real time. DaVinci Resolve has the power of a true real time performance solution so handles complex color grades even when using dozens of primaries, secondaries, Power Windows™, multi point tracking, blurs, and more. DaVinci Resolve provides incredible performance in a low cost solution which can be easily upgrade by adding extra GPU’s for supercomputer power to handle 4K resolutions, stereoscopic 3D and real time grading direct from raw camera files such as Blackmagic Cinema Camera, ARRI raw, RED r3d and Sony F65, F55 and F5 files which can be handled with ease. DaVinci Resolve 9 for Mac, Windows and Linux is now available for download from the Blackmagic Design website free of charge for all existing full feature DaVinci Resolve customers. DaVinci Resolve Lite is available for both Mac OS X and Windows and is free to all users.

 

Press Photography
Product photos of all Blackmagic Design products are available at www.blackmagicdesign.com/press/images.

 

About Blackmagic Design
Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and film restoration software for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including stereoscopic 3D and 4K workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, United Kingdom, Japan, Singapore, and Australia. For more information, please check www.blackmagicdesign.com.

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Vizrt brings a complete workflow for online video and graphics production to Mobile World Congress 2013

See us in Barcelona, February 25th-28th 2013. Booth 7H40 Hall 7

For the 2013 Mobile World Congress, Vizrt will demonstrate a workflow to distribute and monetize content to mobile devices, web portals and any screen. Vizrt offers the full solution for high-resolution video and imagery ingest, transcoding and publishing; we also provide tools for streaming live content from mobile devices, Skype integration for news gathering and real-time graphics insertion for custom branding of online videos.

Live mobile streaming

Vizrt’s app for streaming live video from mobile devices, Viz Reporter, has been a powerful tool for broadcasters around the world including Al Jazeera, TVN Chile, TV 2 Norway and Solar TV. The app, which is available on the iOS and Android platforms, first gained fame during the Arabic revolutions in 2010 as a tool journalists could easily conceal yet still do live HD reports from the field.

Vizrt also allows streaming from Skype directly into Vizrt on-air production systems such as Viz Trio, Viz Content Pilot and Viz Engine.

Live encoding and transcoding

Encode live video from high-resolution to any format for online and mobile devices with the Viz Media Engine. The online and mobile production workflow allows broadcasters to have high-quality video and custom graphics and logos for every device, all happening in a single step.

Automated transcoding of video content is also processed through the Viz Media Engine for Video on Demand services. Graphics and logos are added to the video content during the transcoding process ensuring a high-quality presentation for the end user.

Complete online workflow

This year at Mobile World Congress Vizrt presents a highly integrated workflow for online publishing that equally supports video along with the other web content. Journalists and publishers can produce video and other content from the same solution and use video very efficiently in the storytelling.

Monetize your video content online with a premium workflow with DRM through a cross platform implementation with the Viz Media Engine and Vizrt partner Vimond.

Vizrt will also present our new integrated offering consisting of Viz Media Engine and the Viz Engine to enhance your online video content with device adapted graphics and logo insertion, courtesy or watermark to make the content more visually attractive. All this can be achieved in a real-time workflow.

Set an appointment today to learn more about how Vizrt can build an online and mobile production workflow for all your video and graphics needs. Booth 7H40 Hall 7

About Vizrt:

Vizrt provides real-time 3D graphics and asset management tools for the broadcast industry – from award-winning animations & maps to online publishing tools. Vizrt’s products are used by the world’s leading broadcasters and publishing houses, including: CNN, CBS, Fox, the BBC, BSkyB, ITN, ZDF, Star TV, Network 18, TV Today, CCTV, NHK, The Globe and Mail, Times Online, The Telegraph, and Welt Online. Furthermore, many world-class production houses and corporate institutions such as the Stock Exchanges in New York and London use Vizrt systems.

Vizrt is a public company traded on the Oslo Main List: VIZ, ISIN: IL0010838154. For further information please refer to www.vizrt.com

Martin Burkhalter / CEO / +41 22 365 75 01 / MBurkhalter@vizrt.com

Ofra Brown / CFO / +47 5351 8040 / OBrown@vizrt.com

Håvard Myklebust / EVP Products & Marketing / +4791845602 / HMyklebust@vizrt.com

A Business Plan In Motion: Canon Imaging Products Help a Creative Entrepreneur Grow His Company

Every entrepreneur seeks to grow their business, and in the vast and competitive world of professional photography, many smaller wedding and portrait specialists are finding new opportunities for growth through the advanced technology found in EOS digital SLR cameras, EF lenses, and imagePROGRAF large-format printers from Canon U.S.A., Inc., a leader in digital imaging solutions. Taking as an example the experience of one such entrepreneur, Aaron Watson, based in Charlottesville, Virginia, one sees a revealing “snapshot” of how grass-roots businesses can grow, empowered by new creative imaging options.

A full-service wedding and portrait photography business, Aaron Watson Photography specializes in serving the unique needs of clients in West Central Virginia, many of whom seek to have the beauty and heritage of the area depicted in the cherished images the company creates. “While we do travel worldwide for a few ‘destination’ weddings each year, we have built our reputation on photographing weddings and families amid beautiful local settings,” explained company president Aaron Watson. With the majestic Blue Ridge Mountains all around, and acres of local vineyards for wedding receptions and events, there is no shortage of scenic settings in the Virginian landscape that Watson captures regularly.

Although regional in outlook, Watson explained that he was able to grow his business by diversifying its services with cinematic HD videos and photo merchandising options such as large-format canvas prints. He cites Canon products as being crucial to this strategy, which first took shape after the 2008 introduction of the EOS 5D Mark II. “That camera,” he noted, “marked a turning point for my business because of its integration of full 1920 x 1080 HD video-capture capabilities. We hadn’t been shooting video at weddings, but the HD features of the 5D Mark II enabled us to begin offering it. The compact form factor and low-light performance of the camera made shooting video at weddings unobtrusive and convenient to do, and our EF lens choices gave us creative options.”

Wedding videography was a well-established business when the 5D Mark II digital SLR was introduced, but the cinematic motion-imaging capabilities of the camera allowed for a new visual esthetic with a more appealing look than traditional video. Watson’s customers instantly liked what they saw.

“Most photographers that shoot both stills and HD for weddings refer to it as ‘fusion’ style work,” Watson said. “Our clients really loved the look of 5D Mark II HD so much so that we began making non-wedding-related videos for families, and spun off a separate production company, Exist N Motion Films.” That company works in parallel with Aaron Watson Photography to shoot HD at weddings, while also capitalizing on additional video opportunities to shoot family video portraits, music videos, and promotional business videos and commercials. “The two companies work well together, and it’s because of Canon digital SLR cameras that we are able to do this,” remarked Watson.

A Smart Camera
An enthusiastic user of the Canon 5D Mark II, Watson confided that he and his assistants are currently transitioning to the 5D Mark III both for still photography and HD videography. “The 5D Mark III is very intuitive, easy to use, and has more options than ever,” Watson added. “It is a smart, amazing camera in how it reads light. It enables me to concentrate on creatively capturing special moments that clients will love, as opposed to paying more attention to the settings on the camera.”

The Canon 5D Mark III camera is also equipped with a 61-point High Density Reticular Auto Focus system with cross-type sensors located throughout the large autofocus coverage area to provide accurate focusing for creative subject-placement. Watson noted that this is essential for shooting weddings, given their often spur-of-the moment photo ops.

“The super-fast focusing of the 5D Mark III is awesome,” Watson confided. “There are defining moments in wedding photography – such as when the bride walks down the aisle – and you have just one chance to capture images of that. The 5D Mark III focusing system is so accurate and fast it allows me to get better pictures and to capture emotions as they happen. Fast focusing is also crucial when photographing families with babies. Children move around so fast that you’ve got to have a great focus system or you are going to miss the shot.”

Bringing Visions to Life
Equally important to growing his business, Watson noted, are the creative tools that can make the difference between good still and HD images and the truly great ones that result in repeat business, word-of-mouth referrals, and additional reprints and custom DVDs. Included in those tools are the Canon EF series lenses that Aaron Watson and his team employ. With more than 60 zoom and prime lenses in Canon’s EF lens line, including wide-angle, telephoto, macro, tilt-shift, and fisheye models Watson explained that he has his own particular favorites that empower his creative capabilities.

“For portraits there are always four Canon lenses in my bag,” he said. “These are the
EF 16-35mm f/2.8L II USM ultra-wide zoom, the EF 100mm f/2.8L Macro IS USM with built-in Image Stabilization, and the EF 135mm f/2L USM and EF 50mm f/1.2L USM prime lenses. I have found that this combination of lenses covers a wide range of what I need to do, no matter what the portrait session. I own a bunch of Canon lenses, but I really like the primes because they are crisp and fast, and give me great flexibility in all lighting conditions. They also give me great bokeh with the creative option of shallow depth-of-field when I want to make the subjects stand out from the background. I also love my prime lenses because they challenge me. They make me think more about what I am doing, and make me move around to get the best composition.”

Employing advanced microelectronic sensors to detect movement and a highly sophisticated algorithm to calculate the amount of compensation needed for camera shake, the Canon Hybrid Image Stabilization technology in the EF 100mm f/2.8L IS macro lens receives special praise from Watson for its use in specific situations. “The EF 100mm f/2.8L IS macro lens with built-in Image Stabilization is great with little kids and babies,” he noted. “It enables you to get great close-ups even if you’re at a distance for great, clean, crisp pictures of little hands and feet and bright little eyes, which clients love and find so endearing. I have gotten some of my best pictures with that lens.”

The Big Picture
In addition to the growth opportunities Aaron Watson Photography has explored through HD video, Watson also sought new revenue streams through tradition methods as well. In the last few years, Watson purchased a Canon imagePROGRAF iPF6100 large-format printer to generate brilliant color prints and posters up to 24 inches wide for clients. Since purchasing the printer Watson estimates that his company produces approximately 100 canvases per year, business and revenue that was previously outsourced or missed. At a cost of only dollars per print, Watson’s business has enjoyed retaining this additional revenue and creative control in-house.

“Our clients appreciate seeing themselves in great landscape-oriented pictures that they can hang on their living-room walls,” Watson observed. “Today’s families want to remember the young lives of their children, and it’s very meaningful for them to be in their own work of art.”

Taking full advantage of the 5D Mark III’s focus system and its ability to read light, Watson has devised his own recipe for photographic success. Utilizing the scenic landscapes afforded to him in Virginia, Watson likes to show his clients images they may have never thought possible. “I like to set the 5D Mark III on aperture priority, put it on AI Servo Auto Focus, and follow a two-year-old running through an orchard. The camera allows me to freeze a moment and childhood expression that parents love as a large 20×30 canvas wall portrait that they can display in their home for family and friends.” The additional business that comes from in-house printing has more than justified the printer’s cost and has kept clients coming back for more, Watson added.

“Canon cameras, lenses, and printers are the tools that enable us to bring our visions to life,” Watson reflected. “Using the right tools allows us to maximize our creativity, stretch the limits of what can be achieved, and ultimately grow our business. The fusion of offering both still-photography and HD video services has really set us apart, and has given my business a huge amount of attention because we are offering something different that people enjoy. I love that Canon enables us to be innovative, which brings us into the spotlight and helps my business. It wouldn’t be where it is today without Canon.”

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WorldStage Supports Vibrant Design on New CBS Series “The Job”

When the new reality competition series “The Job” debuts on CBS early in 2013 studio segments will showcase lighting design by Christopher Landy of Vibrant Design LLC with support from WorldStage, the new brand for Scharff Weisberg and Video Applications Inc.

“The Job,” from veteran producers Michael Davies and Mark Burnett, pits five talented candidates from across the country who face off in a chance to win their dream job at one of America’s most prestigious companies.

“We basically turned the Grand Ballroom of Manhattan Center into a TV studio, building out walls adding an entire grid, all while working on a very tight schedule which was further compromised by Superstorm Sandy,” says Christopher Landy. “It was a very intense production schedule for ten shows during two of the worst weeks to try to do production in New York City.”

Landy was tasked with delivering “a daytime look” for the show. He specified a wide array of lighting fixtures from WorldStage, mainly LED’s for the scenic elements. These numbered over 200 Color Kinetics iColor Cove MX Powercore, 72 Color Kinetics iWhite TRs and 250 Color Kinetics Color Blast TRXs.

The automated lighting package consisted of 20 VL-3000 spots, 20 VL-3500 spots 6 VARI*LITE VL-2500 spots, and 60 MAC Auras. The complement of conventional lights featured more than 150 ECT Source 4 Leko’s and 18 Source 4 WFLs. Two Aramis and three Ivanhoe followspots from Robert Juliat were also on hand. Control was via a GrandMA 2 with back-up.

For WorldStage, Ben Rollins was the Account Executive for the project.

“It was great working with WorldStage – but on this one they really stepped up to the plate, overcoming enormous obstacles due to the storm,” says Landy. “While half of new York Sat in darkness the lighting and rigging loads ins were seamless, thanks to an amazing crew and the support of Ben and the folks at World Stages.”

WorldStage Inc., the company created by the merger of Scharff Weisberg Inc and Video Applications Inc, continues a thirty-year legacy of providing clients the widest variety of entertainment technology coupled with conscientious and imaginative engineering services. WorldStage provides audio, video and lighting equipment and services to the event, theatrical, broadcast and brand experience markets nationally and internationally.

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