Archive for March 11th, 2013

NAB2013: Vizrt brings an IP workflow, 4k rendering, and an integrated workflow for video and graphics production and distribution

See us in Las Vegas, April 8th – 11th 2013. Booth SL3305

NAB is the world’s largest event covering the development, management and delivery of content across all mediums. At this year’s show, representatives from Vizrt’s worldwide offices will be on hand to demonstrate the company’s completely integrated graphics and video workflow. Vizrt technology enables operators to distribute and monetize content to mobile devices, web portals and any screen. Highlights within the Vizrt booth will be its recent advancements for media asset management (MAM), broadcast graphics, as well as online and mobile video delivery.

Two public shows, scheduled each the hour, will provide live, interactive demonstrations of the latest Vizrt products in action. One show will focus on new technology for weather reports, while the other will provide a broader overview of using live virtual set and immersive graphics technology.

Developing for the future

The powerful Viz Engine, Vizrt’s real-time 3D compositing system, now has IP-streaming capability. This allows broadcasters to stream multiple formats and resolutions simultaneously for efficiently creating online and mobile graphic and video content.

Broadcasters are beginning to look beyond HD to 4k. At NAB, Vizrt will preview the breakthrough 4k rendering capability of the Viz Engine.

Live encoding and high-speed video branding

Encode live video from high-resolution to any format at speeds faster than real-time for online and mobile devices with the Viz Media Engine. The multi-platform production workflow allows broadcasters to have high-quality video and custom graphics and branding 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 (VOD) services. Graphics and branding are added to the video content during the transcoding process ensuring an efficient, high-quality presentation for the end user.

Newsroom workflow

Vizrt gives journalists the edge for getting a story on-air and online quickly and efficiently with a newsroom workflow that integrates easy-to-use templates with the journalists’ native newsroom computer system (NRCS). With Viz Content Pilot, journalists access these templates for creating graphics, editing maps with Viz World and selecting videos from Viz Media Engine to add to a playlist for on-air use and online multi-platform delivery.

Video integration and clip store

Adobe and Vizrt combine to create a package that gives the editor complete control of graphic and video content from within Adobe Premiere Pro CS6 for live and post-production requirements.

Video content can be reached from the Viz Media Engine through Adobe Premiere Pro CS6 giving editors access to content across the complete asset management solution from Vizrt or using the Viz Media Engine as a bridge to other asset management systems.

The latest version of the Viz Media Engine offers a comprehensive media management platform from ingest to playout for local clip and still stores up to full enterprise media asset management and archive systems. At NAB, Vizrt will show the Viz Media Engine as an integral component of the unique unified workflow solution offering the tools to present efficient multi-platform delivery with consistent branding across all media channels.

Complete online workflow

This year at NAB, Vizrt will present a highly integrated workflow for online. Journalists and publishers can produce video and text other content from the same solution and use video efficiently in the storytelling.

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

Social TV

With the Social TV solution, your audience becomes part of the story. Using interactivity and visualization tools, broadcasters tell the story quickly and compellingly with viewer interaction. Content is captured from Twitter, Facebook, Flickr, YouTube, Instagram as well as third party partners like never.no, TrendrrTV and Mass Relevance.

Weather and news maps

Viz Weather has become a sophisticated weather forecasting and reporting system with the ability to use any data set and a large range of data visualization tools. See the system in action during our Viz Virtual Studio public show.

Viz World is Vizrt’s premiere mapping solution. With integrations with DigitalGlobe, OpenStreetMaps and Waze, broadcasters now have access to the world with imagery, streets and traffic data.

Sports analysis

Vizrt’s award winning sports analysis system, Viz Libero is now fully integrated into the Vizrt graphics and video environment. At NAB 2013 we will show the new virtual SLoMo and Virtual Presenter.

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

Tomer Wald / CFO / +47 5351 8040 / TWald@vizrt.com

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

AES Incubating New Audio Standards for Sound Systems in Rooms

AES Standards Committee Forms SC-04-08 Working Group

NEW YORK: Bruce Olson, chair of the AES Standards Committee has announced the creation of a new standards working group, SC-04-08, on Measurement and Equalization of Sound Systems in Rooms. Olson has also named Ben Kok – an experienced acoustic consultant from the Netherlands – the working group chairman. The group will draw from expertise already contributing to AES Standards and invites participation from other interested experts.

Two newly initiated projects have been assigned to this group, developed from an initial proposal presented by the AES Technical Committee on Sound for Digital Cinema and Television, chaired by Brian McCarty. They are:

AES-X218: Measurement and Calibration of Sound Systems in Rooms
Intended to document parameters affecting the audience experience of a sound system in a generalized room, and identify appropriate objective methods of measurements to quantify them. The intent is to identify tools and procedures to measure the performance of a loudspeaker system in a room, and support accurate, reliable calibration of this system to a specified performance. The findings of the working group will be published in an AES Standards Information Document.

The rationale for this project considers that the measurement of sound systems in rooms, including but not limited to cinema B-chains, currently relies on empirical measurement techniques developed in the 1970s. Modern methods and equipment should offer simpler and more accurate ways to calibrate rooms with greater precision. This project will review the parameters that affect the audience experience in these rooms, and the objective methods of measurement necessary to quantify them. This will provide a basis for more detailed standardization for measurements and calibration protocols for controllable parameters.

AES-X219: Method of measurement for frequency and impulse response of sound systems in auditoria
This project is to specify a method of measurement for frequency and impulse response of sound systems in auditoria. The project is intended to produce a Standard, and the development discussions are expected to draw on modern measurement techniques.

The audience experience of sound reproduced through loudspeakers in an auditorium can vary greatly. In many applications where sound is reproduced in auditoria, a predictable performance is valued. While a number of different electro-acoustic and acoustic parameters contribute to this experience, a standard method of measuring the frequency and impulse response of the sound as presented to the audience by a loudspeaker system will be a necessary part of any more general solution.

The first face-to-face meeting of working group SC-04-08 will be held at the 134th AES Convention in Rome May 4-7, 2013.

Photo: Bruce Olson, chair of the AES Standards Committee

More information on the projects:

http://www.aes.org/standards/meetings/new-projects.cfm

More information on AES Standards

http://www.aes.org/standards/

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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Vaddio Launches Major Software Update to AV Bridge and ClearVIEW HD-USB PTZ Camera

Vaddio, the global leader in robotic PTZ cameras and camera control systems, announces a major software update to the AV Bridge and ClearVIEW HD-USB PTZ camera. This update adds support for 4.2.0-encoded video applications including WebEx, Microsoft Lync and GoToMeeting.

“When recording lectures with detailed classroom and presentation content, HD video is essential and the higher video resolutions work great,” explained COO of Vaddio, Mark Steen. “But when you’re network only provides limited bandwidth, sometimes lower resolutions are the only way to go. Streaming an HD video call, only to have it scaled down on the soft client end, doesn’t make much sense and eats up a lot of bandwidth.”

Supporting lower resolution software applications now allows Vaddio’s EasyUSB products to be compatible with even more industry-leading videoconferencing and lecture capture programs.

For more information on the ClearVIEW HD-USB Camera and AV Bridge software upgrade please visit the Vaddio website at www.vaddio.com in the Tech Center.

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About Vaddio:
Vaddio is the leading manufacturer of specialty PTZ cameras and camera control systems used in the audiovisual, videoconference and broadcast industries. Your customers demand cutting-edge technology that’s simple to use. You want equipment that’s easy to install and reliable to operate. Vaddio serves integrators and operators alike – with broadcast-quality PTZ cameras and control systems that deliver the performance you need with the convenience you demand. More information can be found on the Vaddio website, www.vaddio.com or at (800) 572.2011.

NOLA Gets Chic with CoverGirl

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Expanding on the look of the latest print campaign from CoverGirl, Nola Pictures and Director Marcus K. Jones teamed up with Grey to create a pair of spirited and fun new spots starring Australian songwriting/DJ duo and recent Cover Girl recruits, Nervo.

While the campaign delivers heavy doses of flash and panache with a strong focus on vibrant colors, production wasn’t quite as easy-breezy as the shimmering final results. “We had to move quickly since we were sharing the talent with a stills shoot that was taking place on the same day and working to get enough footage for some behind-the-scenes materials,” noted Jones. However, the experienced fashion and beauty director and production team easily rose to the challenge, boldly stating, “that’s the sort of situation where you prove your mettle and just get the job done.” The end product puts all the classic CoverGirl brand hallmarks on full display – from the effervescent talent to the sharp, snappy editing – creating a pair of instantly classic entries in the long history of iconic CoverGirl advertising.

Credits:

Client: Procter & Gamble
Spot Titles: “Easy Breezy Better/Nails” :15, “New COVERGIRLS NERVO: Why They Rock” :45
Air Date: On Air

Agency: Grey Advertising
Creative(s): Alice Ericsson, Mark Fina, Beth Avellini, Michael Bengtsson
Account: Seema Patel, Ernesto James, Lisa Montana, Lindsey Kantarian
Executive Producer: Stacy Towle
Assistant Producer: Alex DeSantis
Business Manager: Debbie Haas

Production Co.: Nola Pictures
Director: Marcus K. Jones
Executive Producer: Charlie Curran
Head of Production: Cheryl Ward
Producer: Cindy Blount

Editorial: Boxmotion Editorial
Editors: Taryn Waldman (“Easy Breezy Better/Nails”), Laura Milstein (“New COVERGIRLS NERVO: Why They Rock”)
Producer: Sara Mills

Post Production: Box Studios
Producer: Nadia Sadigianis

Shoot Location: New York City

About Nola Pictures:

Founded in 2005, NYC-based Nola Pictures is a full-service, multi media production company with affiliates in New Orleans, Sidney, Paris, Toronto, Vancouver and Santiago. Nola features a diverse roster of multi-dimensional directors and producers who have created award-winning content for their clients.

Nola offers turnkey creative and production solutions from shoot through editorial and post; including animation, design and visual effects. Nola’s mandate is to provide a supportive creative environment with production flexibility and efficiency for our artists and clients. The Nola team has contributed to projects for brands such as AT&T, Dell, Nissan, Budweiser, Lowe’s, Verizon, Nike, Givenchy, Samsung, Motorola, Pfizer, Proctor & Gamble, Clinique, McDonald’s, GM, Ford, VW, Toyota, Chrysler, American Express, Carolina Herrera, Time Warner, Viacom, ESPN, Johnson & Johnson and CBS, among others.

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A Common Thread’s Kenny Stoff Documents the Lives of Injured Soldiers for the Bob Woodruff Foundation

LOS ANGELES— The work of the nonprofit Bob Woodruff Foundation in helping injured soldiers reintegrate into American society is the subject of a powerful new documentary short and public service ad, produced by A Common Thread and directed by Kenny Stoff. more

“Lawrence of Arabia,” “Richard III,” Digitally Restored with Innovations from MTI Film, Among the Finalists for Focal International Award

HOLLYWOOD—March 11, 2013— Two classic films that underwent digital film restoration processing at MTI Film are among the finalists in the 2013 Focal International Awards. Lawrence of Arabia and Richard III, both restored under the direction of Sony Pictures Entertainment EVP of Asset Management, Film Restoration and Digital Mastering Grover Crisp, are nominated for Best Archive Restoration.
David Lean’s 1962 masterpiece, Lawrence of Arabia is widely considered one of the greatest films of all time. Prior to its 50th anniversary release by Sony Pictures last year, the film went through a meticulous restoration and re-mastering in 4K. more

Thinkbox Software Releases Stand-Alone High-Volume Particle Renderer, Krakatoa SR

Los Angeles, CA - Thinkbox Software announces the release of Krakatoa SR, a stand-alone version of Thinkbox Software’s high-volume particle renderer for Microsoft Windows and Linux operating systems that can be integrated with any 3D content creation application.

Previously available for Autodesk 3ds Max and Autodesk Maya 3D software, Krakatoa is CPU-based, highly optimized, heavily multi-threaded, and can be used successfully on most hardware running Windows or Linux operating systems, including laptops and render nodes, without dedicated high-end graphics accelerators. Krakatoa SR exposes both a Python-based interface and a C++ API to connect to various professional 3D applications such as The Foundry’s Nuke or Side Effects Software’s Houdini.

Key features of Krakatoa SR include:
- Point or voxel representation of particle data, with various filter modes, motion blur and depth of field camera effects, and HDRI render passes output to OpenEXR files
- Support for both additive and volumetric shading models at the same time, with per-particle control over color, emission, absorption, density and more
- Support for various light scattering algorithms, high-quality self-shadowing and occlusions from both geometry and DTEX maps
- Particle loading of Krakatoa .PRT file sequences, RealFlow .BIN file sequences and .CSV file sequences, with the ability to offset, retime, combine and modify already cached particles
- Procedural particle creation from polygon mesh volumes and mathematical algorithms
- Particle repopulation for render-time conversion of low-count simulations into high-count particle clouds

“We want artists to be able to deploy our tools in any way they can possibly imagine,” said Chris Bond, founder, Thinkbox Software. “Krakatoa SR enables even more applications to leverage our software’s powerful volumetric particle rendering capabilities and we’re eager to see what our clients produce once they start adopting it.”

“Integrating Krakatoa SR with our existing toolset was easy and we were able to get it rolling without much effort,” said Arun Ramasamy, Software Engineer, Anatomical Travelogue, an award-winning creator of incredible high-end 3D visualizations based on actual human data.
“We received constant support from the Thinkbox development team and it worked so well that we are developing Krakatoa into a functional particle rendering pipeline inside eyeon Software’s Fusion.”

“Krakatoa SR allows us to exploit the power of the Krakatoa particle renderer through a ridiculously simple API,” added Sven Thomas, Software Engineer, Anatomical Travelogue. “We can just choose the channels we need, stream the particles to the renderer and see the results at an amazing speed.”

Haggi Krey, Visual Effects Supervisor at Ambient Entertainment, has been using Krakatoa SR for work on the upcoming animated film Tarzan, which is scheduled for release in 3D later in 2013.

“When we switched our fluid pipeline to Naiad for Tarzan, we had been searching for a way to do high quality particle rendering and were extremely excited to get our hands on Krakatoa SR,” Haggi explained. “We were able to implement Krakatoa SR based on the open source OpenMaya framework and Partio library, and now we can read any particle system from almost any software and render in Krakatoa. Without Krakatoa, it would be impossible to get the required quality on some of our shots.”

Krakatoa SR is compatible with the network rendering licenses used by the other Krakatoa implementations (Krakatoa MX and Krakatoa MY).

Please visit www.thinkboxsoftware.com/sales or call 1-866-419-0283 to request a 15-day evaluation license, or for more information about Krakatoa SR, including pricing.

About Thinkbox Software
Thinkbox Software provides creative solutions for visual artists in entertainment, engineering and design. Developer of high-volume particle renderer Krakatoa and render farm management software Deadline, the team of Thinkbox Software solves difficult production problems with intuitive, well-designed solutions and remarkable support. As an artist-driven company, we create tools that help artists manage their jobs and empower them to create worlds and imagine new realities. Thinkbox was founded in 2010 by Chris Bond, founder of Frantic Films. http://www.thinkboxsoftware.com/

Image courtesy of Adam Guzowski/ Evermotion

JVC Sets New Standard for Affordable HD Production with GY-HM70 Camcorder

WAYNE, NJ – JVC Professional Products Company, a division of JVC Americas Corp., today announced the GY-HM70 ProHD shoulder-supported camcorder, which delivers 60p full HD images and innovative features at a cost effective price point. With a 12 megapixel CMOS imager, it records 1920×1080 footage in the AVCHD Progressive format at 28 Mbps to dual solid-state memory cards.

The GY-HM70 is equipped with a high quality 29.5mm wide-angle GT lens that offers smooth 16x dynamic zoom performance. Veteran shooters will appreciate the camera’s manual focus, iris, and shutter controls, as well as manual and automatic white balance. The camera also provides an optical image stabilizer, auto focus, and focus assist.

At the core of the GY-HM70 is its 1/2.3-inch 12 megapixel CMOS imager. When combined with JVC’s advanced FALCONBRID high-speed processor, it captures, processes, and records 1080/60p, 1080/60i, and 480/60i (SD) footage at various bit rates to SDHC/SDXC memory cards. It also allows high-speed video recording for slow motion footage at 300 fps (720×480 resolution), and captures 12 megapixel still images.

JVC’s unique, hot swappable dual battery system allows hours of continuous, uninterrupted shooting. For shoulder shooting, the GY-HM70 has a .24-inch LCOS color viewfinder, but it also includes a three-inch LCD flip-out touch screen display for tripod shots and playback. Audio features include a built-in zoom microphone, 3.5mm microphone input, and 3.5mm headphone jack.

“With the introduction of the GY-HM70, JVC immediately focuses on the entry-level professional video market with a very cost effective shoulder-mount camera,” said Craig Yanagi, JVC national marketing and brand manager. “At this price, and packed with innovative features, the GY-HM70 will appeal to various market segments where budget is limited but a full-sized camcorder is the preferred choice, such as schools and universities, as well as event and wedding videographers.”

The GY-HM70 has an MSRP of $1,995 and will be available in May 2013.

ABOUT JVC PROFESSIONAL PRODUCTS COMPANY

Headquartered in Wayne, New Jersey, JVC Professional Products Company is a division of JVC Americas Corp., a wholly-owned subsidiary of JVC KENWOOD Corporation. JVC is a leading manufacturer and distributor of broadcast and professional video and audio equipment. For further product information, visit JVC’s Web site at http://pro.jvc.com or call (800) 582-5825.

Sesame Street’s Latest YouTube Videos Shot With Blackmagic Cinema Camera

Blackmagic Design announced today that directors Josh and Jason Diamond of the Diamond Brothers shot Sesame Workshop’s, the nonprofit organization behind Sesame Street, “Can You Tell-y Me How to Get to a Billion?” and “Counting the ‘You’s in YouTube” videos with Blackmagic Cinema Camera. Josh and Jason Diamond worked with DP Timur Civan on the four day shoot, and NYC based freelance colorist, Juan Salvo, used Blackmagic Design’s DaVinci Resolve to color the project.

 

“Shooting ProRes was a plus in that we were trying to find the best ISO to f-stop ratio. All the characters have fur and fringe, and there’s much more fine detail,” said Josh. “Being able to try a couple shots in various settings then pop the SSD out and quickly pull some keys in After Effects directly from the SSD was a huge time saver. We were able to compare and contrast while setting up so we weren’t fighting with it in post. There was no secondary processing or transcoding to go through.”

 

Spending sometimes as little as 40 minutes at a location, the team had little time to set up before they were shooting, breaking down, loading out and moving to the next location.

 

“We weren’t able to scout any locations ahead of time, so we showed up with a small lighting package and the Blackmagic Cinema Camera. The camera is small, light and doesn’t need a lot of accessories, and we were able to leave it rigged so it could be powered up and shooting in seconds,” said Josh. “Having 13 stops of dynamic range gave us the flexibility to say ‘there’s a lot of nice natural light, so let’s throw up one Kino for fill and shoot.’ Also shooting in Log allowed us to protect our highlights much easier.”

 

With a Rec 709 image on the camera’s built in display, the team viewed a Log image on a secondary SDI monitor and benefitted from being able to use both images to determine if the shot looked good or needed adjustment without having to waste time setting up a large producer’s monitor in tight spaces.

 

“We were able to roll in, take five seconds to look around, figure out who and where we were going to shoot and go. We even filmed at a school with three and four year olds who weren’t going to sit patiently for long,” said Josh. “The Blackmagic Cinema Camera’s versatility, ergonomics and efficiency were key to our workflow for this shoot.”

 

“I was able to hand hold the Blackmagic Cinema Camera for almost six hours without a break, which enabled us to stay on schedule, get extra takes and move between the numerous locations with minimal crew. The camera was critical to the speed we required,” said Timur Civan, DP. “The Blackmagic Cinema Camera gave us the most image quality per pound of any camera out there, and we were able to deliver image quality on par with cameras costing three times as much, but at half the size weight and complexity. It has a great run and gun form factor with a big cinematic look.”

 

Shot in ProResHQ, the footage was edited by Sesame Workshop and then sent to Juan for color grading. Since the footage was shot in Log, Juan ensured the contrast, exposure and saturation were appropriate for each distinct setting, and Resolve’s Log grading tools allowed him to dial in exposure and contrast as desired.

 

“The latitude and tonality of the footage were excellent, and Resolve’s robust Log grading and agile secondaries made it a breeze to work with,” said Juan. “In almost every shot, I used secondaries, qualifiers, Power Windows and custom curves to get the footage looking just right. And having all those functions available at the push of a button from my control surface made it a cinch in a time sensitive environment. Resolve allowed me to render out review versions and final deliverables in real time.”

 

Press Photography
Product photos of 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 DaVinci Emmy™ award winning 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, UK, Japan, Singapore, and Australia. For more information, please check www.blackmagicdesign.com.

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