Car designer Max Sims visualizes design changes into reality with Autodesk® Maya® using Imagination Technologies’ Visualizer
Sebastopol, CA: Nov. 7, 2013 – When Switch Vehicles needed to develop the frame and instrumentation for its latest fleet of electric vehicles, they turned to consultant Max Sims. As a designer who specializes in automotive design, Sims was the perfect fit for the project, and knew that the Visualizer for Maya plugin from Imagination Technologies would help him realize a vision on a faster timeline than ever before.
Although it has only just shipped its eighth assembled vehicle (the products are also available in kit form for enthusiasts to build themselves), Switch aims to step up to manufacturing 50 cars a month – but for that, it needs a roof. Currently, the cars are supplied as exoskeletons, with an exposed roll cage: in keeping with the company’s green design ethos, but off-putting to some buyers.
“A cloth covering is easy to prepare and assemble,” Sims points out. “And if you think about it, it’s not that unusual: all convertibles have cloth tops, right?”
Maya’s built-in tools enable Sims to simulate the physical properties of a range of real-world materials, from canvas to spandex. But to display his results accurately in the viewport, he relies on Visualizer: an interactive ray-tracing renderer capable of generating soft shadows, depth of field and physically accurate reflections.
Being able to preview reflections accurately is particularly important in automotive design, as Sims explains. “Reflections express the brand identity of the car,” he says. “The way they accelerate and decelerate across surfaces is critical. If you’re designing a sports car, you want a rapid change, to give a dynamic quality; if you’re designing a luxury car, you want slower, more elegant changes.”
But when it comes to designing dashboard instrumentation, there is another, more pressing reason calculating reflections accurately: vehicle safety. Sims needs to ensure that the reflections of the instruments in the windshield never distract the driver from the road ahead.
“Normally, you would have to take the model, adjust something, send it off to ray trace, then wait two minutes before discovering that you have to make another adjustment,” he says. “With the Visualizer, I can change the angles of the instrument panel and windshield in real time.”
For Switch Vehicles, the result is a series of innovative framework and instrument designs, the first of which should be in production in a matter of months. For the consumer, the result is a practical, affordable – and for the first time, weatherproof – electric car.
For Sims, a designer with over 25 years’ experience in the automotive and 3D industries, including stints at Opel, Renault and Alias Research, the result of using Visualizer is a revolutionary change in workflow.
“I can think so much faster,” he says. “Being able to model and render at the same time is an amazing thing to me. I’ve been waiting for this for a quarter of a century.”
Pricing and Availability
Visualizer for Maya is priced at US $295 and can be purchased from here: https://store.caustic.com. Rhino 5.0 customers can download “Neon”, a similar plug-in that uses the Visualizer technology here: http://v5.rhino3d.com/group/neon.
Visualizer is a plug-in that enables artists to replace their rasterized viewport in Autodesk Maya 2012-2014 with a fully ray traced viewport. Visualizer viewports provide a much higher degree of visual fidelity over raster graphics including accurate global illumination, reflections, refractions and shadows. Higher fidelity enables artists to identify and resolve potential problems from the earliest stages of modeling, minimizing the need for time-consuming preview renders and radically streamlining the look development process. Visualizer supports both interactive viewport and final frame rendering. Thus artists can render frame sequences with Visualizer with the confidence that what they see in the viewport is what they’ll get in their final frame.
About Imagination Technologies
Imagination Technologies – a global leader in multimedia, processor, communication and cloud technologies – creates and licenses market-leading processor solutions including graphics, video, vision, CPU and embedded processing, multi-standard communications, cross-platform V.VoIP and VoLTE, and cloud connectivity. These silicon and software intellectual property (IP) solutions for systems-on-chip (SoC) are complemented by an extensive portfolio of software, tools and ecosystems. Target markets include mobile phone, connected home consumer, mobile and tablet computing, in-car electronics, networking, telecoms, health, smart energy and connected sensors. Imagination’s licensees include many of the world’s leading semiconductor manufacturers, network operators and OEM/ODMs. Corporate headquarters are located in the United Kingdom, with sales and R&D offices worldwide. See: www.imgtec.com.
Archive for November 7th, 2013
Car designer Max Sims visualizes design changes into reality with Autodesk® Maya® using Imagination Technologies’ Visualizer
Wayne, N.J. – FUJIFILM North America Corporation, Optical Devices Division will use the upcoming Content & Communications World (Booth 815) as the venue to show off two of its high-performing ENG-Style lenses – the PL 14-35mm Cabrio wide-angle lens [ZK2.5x14] and the HA19x7.4BERM/BERD 2/3-inch Premier Series lens. CCW will be held at the Javits Convention Center in New York City on November 13-14.
“CCW has become an increasingly relevant show for the east coast broadcast and video production industries,” said Thom Calabro, director of marketing and product development for the Optical Devices Division of FUJIFILM North America Corporation. “It attracts the precise community who would benefit from these breakthrough lenses.”
Introduced at IBC in mid-September, the Premier PL 14-35mm Cabrio wide-angle lens [ZK2.5x14] is lightweight, easy to use with today’s 4K cameras, and has an expanded focal length range of 14-35mm at T2.9 with 200-degree focus rotation. It’s ideal for shooters looking for a lightweight zoom that can be used as a handheld. It has a detachable digital servo drive and can be used as a self-contained ENG-style lens or as a cine style lens.
The PL 14-35 mm lens offers exceptional optical performance in the center of the image and in the corners of the frame. The digital servo’s 16-bit encoding assures operators that all lens data output—including the position of the zoom, iris, and focus—is extremely accurate. The PL 14-35mm lens supports Lens Data System (LDS) and /i metadata formats, and can be controlled using cinema industry standard wireless controllers as well as existing FUJINON wired and wireless units.
Fujifilm’s FUJINON PL 14-35mm lens is the latest development in the company’s popular Cabrio series, which includes the recently introduced Premier PL 19-90mm, and the PL 85-300mm lenses.
The PL 14-35mm wide-angle zoom is now available.
The compact HA19x7.4BERM/BERD 2/3-inch Premier Series high-performance HD ENG/EFP production lens features three floating zoom groups and Aspherics, as well as the latest EBC coating, resulting in richer colors and improved blue response and transmittance.
“The advanced features are extremely important in the HDTV/big screen era as television viewers can see much more picture detail—including information in the corners of the screen—than ever before,” explained Calabro. “For this reason, it’s vital to have consistent resolution from edge to edge. With 16-bit encoders and 2.2X extenders as standard, this 19X lens ensures precision performance even in the most demanding HD production applications.”
Weighing only 3.3kg, the lightweight HA19x7.4BERM/BERD 2/3-inch lens is ideally suited to high-end ENG/EFP HDTV production, including entertainment, news, sports, and documentaries. A new ergonomic grip reduces operator fatigue, and the lens can be ordered with manual or servo focus and zoom.
The HA19x7.4BERM/BERD has advanced diagnostics and a short “MOD” or minimum object distance of 0.55mm, which allows shooting at closer distances.
FUJIFILM North America Corporation, a marketing subsidiary of FUJIFILM Holdings America Corporation consists of four operating divisions and one subsidiary company. The Imaging Division provides consumer and commercial photographic products and services, including: photographic paper; digital printing equipment, along with service and support; personalized photo products; film; and one-time-use cameras; and also markets motion picture archival film and on-set color management solutions to the motion picture, broadcast and production industries. The Electronic Imaging Division markets consumer digital cameras, and the Graphic Systems Division supplies products and services to the graphic printing industry. The Optical Devices Division provides optical lenses for the broadcast, cinematography, closed circuit television, videography and industrial markets, and also markets binoculars. FUJIFILM Canada Inc. sells and markets a range of Fujifilm products and services in Canada. For more information, please visit www.fujifilmusa.com/northamerica, go to www.twitter.com/fujifilmus to follow Fujifilm on Twitter, or go to www.facebook.com/FujifilmNorthAmerica to Like Fujifilm on Facebook. To receive news and information direct from Fujifilm via RSS, subscribe at www.fujifilmusa.com/rss.
FUJIFILM Holdings Corporation, Tokyo, Japan, brings continuous innovation and leading-edge products to a broad spectrum of industries, including electronic imaging, digital printing equipment, medical systems, life sciences, graphic arts, flat panel display materials, and office products, based on a vast portfolio of digital, optical, fine chemical and thin film coating technologies. The company was among the top 10 companies around the world granted U.S. patents in 2012, and in the year ended March 31, 2013, had global revenues of $26.7 billion*. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit www.fujifilmholdings.com.
* At an exchange rate of 83 yen to the dollar.
All product and company names herein may be trademarks of their registered owners.
FUJIFILM Optical Devices Division, 10 High Point Drive, Wayne, New Jersey 07470. Phone: 973-633-5600. Fax: 973-633-5216. Web site: www.FUJINON.com
TSL Products Immerses Sports Fans, Documentary Watchers and Music Lovers with its SoundField Surround Solutions at CCW 2013
TSL Products, manufacturer of surround sound microphones and processing, audio monitoring, tally/studio-control systems and power management solutions for the broadcast industry, will display an array of its SoundField products at CCW 2013 (Booth 1342). Surround sound microphones and processors form its SoundField range, including the DSF-B Digital Broadcast System, the ST450 Portable Microphone System, the DSF-1 Digital Performance Microphone System, and the UPM-1 Upmix Processor.
The DSF-B Digital Broadcast System, consisting of a DSF-2 surround microphone, DSF-2 controller and DSF-3 processor, can generate multi-channel audio from a single point source. The microphone parameters can be controlled remotely using the DSF-2 controller, including orientation, angle, pickup pattern and rotation. This is critical for sound engineers covering a large-scale broadcast event, be it a world cup soccer game or an audience-based talent show. Any adjustments can be made in the studio or OB truck without physically resetting the microphone position.
The ST450 Portable Microphone System is conveniently battery-powered and is perfect for on-location use. The rugged, yet lightweight, microphone is fitted with a unique heating element that drives out moisture, and its Studio Grade condenser capsules offer enhanced sound quality and dynamic range. It also produces a simultaneous stereo B-Format for post production. All inputs and outputs are located on the same side of the control unit for easy access and connectivity when in the field.
The DSF-1 Digital Performance Microphone System is ideal for capturing classical performances in both stereo and high-quality surround sound. Aimed at concert venue broadcasts and performance recording applications on stage or in the studio, the sophisticated microphone is able to change the Pickup Pattern and record all instruments simultaneously. The control unit allows the user to rotate, end fire or invert the microphone without physical handling. Parameters can be tweaked after recording with the Surround Zone plug-in.
The UPM-1 Upmix Processor has a unique algorithm to perform detailed real-time analysis of stereo source material, identifying and separating the ambience from the direct sound. With only five physical rotary controls to manage all upmix parameters, the UPM-1′s simplicity has proved to be a must for any OB application or broadcast studio working in 5.1 surround.
About TSL Products
TSL Products designs, manufactures and markets a range of hardware and software solutions that serve to simplify operations within the television broadcast, cable, satellite, IPTV and IT industries. Specializing in audio monitoring, surround microphones and processors, broadcast control systems and power management tools, TSL Products’ solutions satisfy and exceed the commercial, technical and operational requirements that exist in IT-based and traditional workflows, helping its customers to lower costs, generate revenue and streamline operations. For more information, please visit www.tslproducts.com.
CCW Booth 1136
Urbana, IL – Cobalt Digital (www.CobaltDigital.com), manufacturer of award-winning 3G/HD/SD-SDI conversion gear, is returning to Content and Communications World (CCW) with a line-up of card-based and modular solutions that further extends the company’s position as a leader in signal processing. Cobalt will highlight its new OBSIDIAN3G™ range of cards that represents the latest in converter technology, and new fiber units from the popular Blue Box Group™ family of throw-down modules. The Company will also demonstrate the extended capabilities of its widely embraced SPOTCHECK® compliance monitoring and recorded data logging system. CCW runs from November 13-14 at the Javits Convention Center in New York City.
“CCW provides us with the ability to showcase our latest innovations to the very vital northeastern market, but we also benefit from the opportunity to learn what’s important to some of the best and brightest engineering minds in the industry,” says Chris Shaw, EVP Sales and Marketing, Cobalt Digital. “Cobalt’s successful range of solutions has been a direct result of listening to customer requests, and responding with practical, affordable, reliable solutions.”
• OBSIDIAN3G – a new series of terminal gear cards offers the highest quality performance and improved frame density with pricing sensibility to accommodate all types and sizes of broadcast facilities. The continuously expanding feature-rich OBSIDIAN3G downconverter series, developed using the latest chip technology, combines low power with a high-density design and the potential to pack up to 20 cards per frame. Features include 3G/HD/SD-SDI input, frame sync, SDI reclocking, SD-SDI and analog video/audio outputs. The 9501-DCDA auto-detects and down converts SMPTE 425/292/259M formats, performs aspect ratio conversion and can pan & zoom. Other models include: OBSIDIAN3G 9501-DCDA-3G, OBSIDIAN3G 9501-DCDA-HD, and OBSIDIAN3G 9502-DCDA-3G.
• Blue Box Group – a range of throw-down modular bricks designed to answer the demand for first class quality, price competitive, signal conversion equipment, continues to grow with its new range of fiber units, including Transceiver, Regenerator, Transmitters and Receivers. The units, pathologically compatible with OG fiber cards, allow for analog audio embed and de-embed and provide 3G (1080p59.94/50) support for HDMI models. The compact, rugged, and portable converter boxes are super-easy to use and support SMPTE 425, 292M, and 259M as well as DVB, ASI, and MADI audio on two independent coax-to-fiber paths. Up to six modules can be installed in a single 1RU rack.
• SPOTCHECK – Cobalt’s audio loudness measurement and recorded data logging system, now offers enhanced compliance monitoring and logging capabilities. With up to 16 video channels containing up to 32 audio channels, the newest version monitors, meters and logs loudness compliance over extended time-periods and now supports codecs H.264, MPEG2, MP1L2, DD, AAC. Enhancements include Live Audio Meters, Thumbnails, Transport Stream Manager and ASI Gateway. SPOTCHECK also features newly added video monitoring capabilities in the form of notification of Frozen Frame/Audio Dropout, SNMP Alarm Trap and Unit Status and Local Ad Insertion (SCTE35 and DTMB Tones).
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ABOUT COBALT DIGITAL INC.
Cobalt Digital Inc. designs and manufactures award-winning 3G/HD/SD-SDI conversion gear for the broadcast television environment. Distributed through a worldwide network of dealers, system integrators, and other partnerships, Cobalt products are backed with a 5-year warranty. For more information, visit http://www.cobaltdigital.com.
Company Contact: Chris Shaw, EVP of Sales and Marketing
+1-217-344-1243 / email@example.com
Press Contact: Desert Moon Communications / Harriet Diener
+1-845-512-8283 / firstname.lastname@example.org
CLARET, France — Nov. 7, 2013 — NETIA today announced a partnership with Vecsys, a leader in the speech-to-text market, through which the latter company’s MediaSpeech(R) “speech2text” engine will be integrated into the NETIA MAM (media asset management) solution to make full-text transcription and search capabilities available alongside video in the MAM interface. This new capability enables the automated transcription of audio tracks accompanying any ingested video as well as greater control over indexing, enriching, storing, retrieving, and monetizing A/V content.
“By converting audio tracks into searchable transcriptions, the MediaSpeech engine not only supports faster and more effective content searches, but also enables more comprehensive extraction of metadata and more extensive automated indexing,” said Paul Henri Oltra, vice president and CTO at NETIA. “These benefits are significant individually, and together they yield a tremendous boost in the efficiency with which users can find and use the content they want or need.”
“Vecsys is very excited about this partnership with NETIA,” said Béatrice Bacconnet, Vecsys CEO. “Video and audio productions are extremely precious assets, but they are often underutilized because traditional searches are blind to their true content. The combination of the NETIA MAM with our Vecsys MediaSpeech speech-to-text solution is cracking the code to deep audio and video content management; it’s opening a range of new possibilities for producers, broadcasters, journalists, and analysts, as well as the public at large.”
The incorporation of proven MediaSpeech technology into the NETIA MAM makes it even easier for media companies to deliver content according to their customers’ demands. From ingest to distribution in applications ranging from media logging to production, postproduction, and archiving, NETIA MAM users can very simply access, search, browse, and retrieve content through a single interface tailored to their work.
More information about NETIA and its product portfolio is available at www.netia.com.
Photo Link: www.wallstcom.com/NETIA/Vecsys.zip
Photo Caption: NETIA Transcription With Vecsys
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Vecsys is a leader in the speech technology industry, providing speech-to-text software and services that unlock value from audio and video sources. The company’s acclaimed MediaSpeech(R) engine is used by media-monitoring companies, online press groups, contact centers, and other institutions across France, the U.K., Spain, the U.S., and Gulf countries.
Vecsys is also present in the automotive, aerospace, health, and entertainment sectors with embedded mobile solutions. Started in 1979, Vecsys is now a Bertin Technologies subsidiary and part of the CNIM Group. It is traded on the Euronext market and operates worldwide with their HQ in France and offices in 15 countries.
NETIA, a Globecast company, is a leading provider of software solutions that enable efficient management and delivery of content to today’s full array of media platforms. Relied on by more than 10,000 users in 200 installations in more than 40 countries, NETIA solutions allow content producers and owners to manage content from ingest to delivery, targeting multiplatform outlets including the Internet, VOD, IPTV services, and mobile devices. NETIA provides content management solutions to major radio and television brands and to multimedia groups around the world. Clients include SBS and ABC in Australia, RAI Italy, RTBF in Belgium, MediaCorp Singapore, RTL France, Radio Globo in Brazil, RTM Malaysia, Radio France, the Associated Press, France Télévisions, and Canal+. NETIA has its headquarters in France, with offices in the United States, Paris, Rome, and Singapore, in addition to a global network of professional distribution partners.
ROSWELL, GA, NOVEMBER 7, 2013 — Veteran rock climber Chris Watford and his rigging team at ClimbSouth help Q-Ball robotic camera systems from Camera Corps, a Vitec Group Company, and a leading innovator of specialty remote cameras, tracking systems and camera support systems, reach new heights by installing the systems into difficult and hard to reach locations only trained climbers can reach. The company has installed camera systems around the world in everything from mountain passes and trees in the jungle to major cities and sporting event stadiums’ building roofs for major host broadcast video and commercial productions. The unique, rugged and reliable design of Q-Ball makes these nearly impossible installations possible for ClimbSouth and its expert riggers.
“I have been fortunate enough to work on specialized video installations for over 14 years,” says Chris Watford, CEO of ClimbSouth. “I watched the development of Q-Ball from the beginning, knowing that this would become a significant, sought after production tool for the broadcast industry. Since the Q-Ball’s introduction, the ClimbSouth team has encountered installations that include flying Q-Ball cameras over public squares, neatly from historic buildings and stadium flying for sports events. This work is not for the shy and you certainly do not want to revisit a location because something is not functioning properly, so quality is a key factor. The Q-Ball has a proven track record for spot-on performance.”
ClimbSouth has put together a team of up to eight professionals capable of travelling around the globe at a moment’s notice. One common thread running through each installation is the amount of time it takes to successfully mount and test each camera. With the advent of Q-Ball, the installation time has dropped considerably, which helps to streamline the process.
“Q-Ball has definitely cut the time for high-angle applications in half over flying more traditional POV cameras,” adds Watford. “The systems are light so they can easily be carried up to the highest perch without causing stress on the climber. Further, Q-Ball is a sleek system that doesn’t require external interface boxes and ancillary equipment, meaning that it does not come with a tangle of wires. This is another time saving factor when climbing up a mountain cliff or a stadium support for that perfect shot.”
According to Watford, placing a camera system in a high location, such as on a high beam or hanging on a harness in mid air, presents a number of challenges for the team because they need a place to set cables, power and interface boxes. This has always been an issue with larger camera systems in terms of how to mount the supplementary equipment, so that it stays up safely and doesn’t fall on the crowd below.
Camera Corps’ Q-Ball offers a robust, exceptionally high-level mini-cam system with excellent performance in the most demanding remote camera applications. An ultra-compact, weather-resistant HD/SD remotely controlled camera, it features an integral 10-times-zoom optical lens and smooth-accelerating pan/tilt motors. Housed in a robust 115-mm diameter aluminium sphere, the Q-Ball camera has a two-megapixel CMOS sensor and is capable of operating in daylight or with infrared illumination. It delivers 1080i/720p high definition or 625/525 standard definition imagery at 50- or 59.94-Hz refresh rates. In addition, its ease of use makes for prompt on-location installation.
“Q-Ball cleans up the installation and we can get the job done quickly, which saves on production time,” concludes Watford. “The Q-Ball also provides a great, clean picture and has become the go-to camera for special and spectacular shots.”
The Q-Ball system is available globally for both sale and rental. For more information regarding rentals in the Americas, please contact sister Vitec company Bexel at 1 (800) 225-6185 / www.bexel.com or Camera Corps direct at www.cameracorps.co.uk.
About Camera Corps Ltd.
Camera Corps Ltd. is a leading innovator of specialty remote cameras, mini cameras tracking systems and camera support systems. A Vitec Group Company, Camera Corps is recognized for the development and manufacture of bespoke camera systems, such as the Q-Ball. Camera Corps got its start developing customized camera solutions for its rental clients, and evolved into a full-time developer of innovative specialty camera systems. Today, the company’s solutions are employed worldwide by leading broadcasters and production companies looking to capture sports, entertainment and reality TV performances from unique and often previously unattainable angles. For more information, visit http://www.cameracorps.co.uk.
Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers – including producers of the biggest and most important televised events in the world. For more information, visit www.bexel.com, and follow Bexel on Facebook (https://www.facebook.com/BexelBroadcast) and Twitter (@Bexel).
About Vitec Videocom
Vitec Videocom brings together some of the most respected, most innovative and most sought-after brands in the industry: Anton/Bauer, Autoscript, Camera Corps, Litepanels, OConnor, Petrol Bags, Sachtler, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business.
Vitec Videocom is an operating division within the Vitec Group, an international business serving customers in the broadcast, photographic and military aerospace and government markets. Vitec is based on strong, well known, premium brands on which its customers rely on worldwide.
Vitec Videocom – advancing the quality and science of media production.
Fremont, CA – November 7, 2013 - Blackmagic Design today announced the release of DaVinci Resolve 10, available now for download free of charge for all existing DaVinci Resolve customers. DaVinci Resolve 10 is a major upgrade that includes innovative on set tools, new editing features, support for OpenFX plug-ins and more.
Also available for download is the free DaVinci Resolve Lite edition for both Mac OS X and Windows. DaVinci Resolve Lite now includes the addition of Ultra HD resolutions and additional GPU support.
DaVinci Resolve 10 has been developed to simplify the integration of different software tools used in the film and television industry, allowing timelines to be moved into and out of DaVinci Resolve and other edit software such as Final Cut Pro, Avid and Premiere Pro.
As workflows have changed, more post production is now started on set during the shoot. Lighting and other aspects of the shoot are also often verified based on color correction checks and DaVinci Resolve 10 has new powerful tools to manage this process. The new Resolve Live feature allows color grading direct from the video input live with full creative power such as primaries, secondaries, power windows, custom curves and more. Grades can be stored and then relinked when the camera files are loaded.
DaVinci Resolve 10 includes enhanced editing features and allows online finishing of edits performed in other popular editing software. This means multiple users can submit scenes in large complex jobs from the applications they prefer to use, and DaVinci Resolve 10 can finish online from the original camera RAW files for dramatically better quality than would be available when finishing in a standard NLE software package. If any scene needs additional editing, it can be moved back to the NLE software letting editors use the tools they love.
New editing features include full multi track editing with 16 channels of audio per clip and unlimited video and audio tracks in the timeline. Audio can be synced or trimmed and dragged independently to the timeline. Other new editing features include extensive ripple, roll, slide and slip clip trimming support which display dynamically on the timeline and viewer. The viewer also allows split screen display to show in and out points of adjacent clips.
A good example of the online editing process is when an edit has been completed in Final Cut Pro X that includes mixed frame rates, mixed media types, multiple audio tracks and even color corrections. DaVinci Resolve 10 will support import of that project via XML and will online it including full translation of all these elements while rendering the master from the original RAW camera files. This means that Final Cut Pro X editors can use DaVinci Resolve 10 as the tool to online their work for cinema release and generate the Digital Cinema Package file directly from the camera RAW files.
Editing in DaVinci Resolve 10 also includes a powerful title tool with static, lower third, scroll and crawl titles with multiple fonts, size, drop shadow and XY positioning. Timelines in DaVinci Resolve 10 also include the support of compound clips with multiple elements including multiple video and audio tracks. Also, DaVinci Resolve 10 can be used for stereoscopic 3D projects with full support for left and right eye clips in the media pool and the edit timeline. Using timecode and reel name, DaVinci Resolve 10 will automatically associate the left and right eye of the stereoscopic clips.
Color correction features have been upgraded in DaVinci Resolve 10, including support for industry standard OpenFX plug ins with an unlimited number of plug ins per clip. There are now unlimited power windows per corrector node and the new Gradient PowerWindow™ lets colorists quickly add a gradient across the image. Other new color correction features include copy and paste of tracking data, motion effects including spatial and temporal noise reduction and motion blur effects.
For project delivery, DaVinci Resolve 10 includes full audio track visibility in the deliver window timeline as well as EasyDCP integration so users can render directly from their project timeline into a Digital Cinema Package for release to theaters. Because DaVinci Resolve 10 allows rendering from the camera RAW file directly to the Digital Cinema Package files in the highest quality 32 bit float, there is simply no better quality possible for a cinema release master. Customers simply need to purchase a license from EasyDCP to enable this feature.
DaVinci Resolve 10 also supports additional media types and continues to be the industry leader in file based workflows because it operates with virtually all video file types available. New formats include JPEG 2000 decoding and encoding, AVI clip decoding, playback and more.
“We’re extremely excited to be releasing DaVinci Resolve 10 today, which has been a massive update with the addition of new editing, temporal processing, OpenFX plug-ins and powerful onset tools,” said Grant Petty, CEO, Blackmagic Design. “We have received incredibly positive feedback on this new release and some of the worlds leading post production facilities are now editing major work on DaVinci Resolve 10. With over 50 new features in DaVinci Resolve 10, this is the most exciting update in the entire 30 year history of DaVinci.”
About DaVinci Resolve
Blackmagic Design’s DaVinci Resolve is the world’s highest performance on set, editing and 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 upgraded by adding extra GPUs for supercomputer power to handle 4K resolutions, stereoscopic 3D and real time grading direct from raw camera files such as ARRI RAW, RED RAW and Sony RAW files which can be handled with ease.
Availability and Price
DaVinci Resolve 10 is available now for download from the Blackmagic Design web site free of charge for all DaVinci Resolve customers.
Product photos of the DaVinci Resolve 10, and all other 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.
At NATEXPO 2013, Harmonic will highlight next-generation solutions for producing and delivering content that yields amazing viewing experiences. The company will demonstrate how its versatile and robust channel-in-a-box system facilitates fast, cost-effective channel deployment while supporting powerful graphics, independent branding of simulcast channels, dynamic subtitle insertion, and other valuable capabilities. Harmonic also will showcase its acclaimed encoding system, engineered for broadcast contribution applications, and its ProMedia(R) suite of solutions that enable versatile and cost-effective multiplatform content delivery. The booth will include a live demonstration of an end-to-end solution for true HD (1080p60) playout and distribution of the highest possible video quality.
Spectrum(TM) ChannelPort(TM) Integrated Channel Playout System
Harmonic will showcase recent enhancements to its market-leading Spectrum(TM) media server product line. The Spectrum ChannelPort(TM) integrated channel playout system features powerful new channel-in-a-box capabilities such as dual DVE functionality, dual live inputs, independent branding of simulcast channels, and support for external key/fill to enable more powerful graphics. The addition of AVC-Intra and ProRes enables exceptional codec flexibility, and new dynamic subtitle insertion allows for just-in-time playout of multilingual content.
The Spectrum ChannelPort platform speeds the cost-effective deployment of new SD and HD television channels by integrating branding and master control switching with clip playback on the industry’s most trusted media server platform. Fully compatible with Spectrum MediaCenter(TM) and MediaDeck(TM) 7000 servers, ChannelPort fits seamlessly into existing production and playout infrastructures, reducing complexity and cutting the time it takes to launch new services.
Photo Link: www.wallstcom.com/Harmonic/ChannelPort.zip
Photo Caption: Spectrum(TM) ChannelPort(TM) Integrated Channel Playout System
ProMedia(R) Multiscreen Preparation Solution
ProMedia(R) is the industry’s most complete multiscreen preparation solution and the market-share leader in multiscreen software transcoding. New features include support for HEVC encoding and the 4K/Ultra HD video format; increased synergy with the Harmonic(R) MediaGrid shared storage system for the delivery of time-shifted TV services; and support for closed captioning, regional blackouts, and local ad insertion. The latest enhancements to the product family arrive at a time when more broadcasters and service providers are looking to expand their portfolios with scalable, high-quality multiscreen services that deliver amazing video. With the ProMedia suite, Harmonic customers now have the flexibility, scalability, and efficiency needed to accomplish this goal, drive new revenue streams, and improve the video experience.
Photo Link: www.wallstcom.com/Harmonic/ProMediaScreenshot.zip
Photo Caption: Harmonic ProMedia(R) Carbon Screenshot
MediaGrid Shared Storage System Integration With Adobe(R) Anywhere
Harmonic will showcase the recent integration of its MediaGrid shared storage system with Adobe(R) Anywhere for the video collaborative workflow platform. Integration of the two products enables media organizations to centralize and manage media delivery services from a primary location while giving users of Adobe professional video tools the benefit of collaborating remotely with fast response times and the best available quality that can be delivered over the available network connection.
Providing a compelling alternative to remote editing solutions that rely on low-resolution proxy material, non-real-time file transfers, or even the exchange of hard drives, the integration of the MediaGrid system with Adobe Anywhere offers significant time savings while eliminating compromises in resolution, image, and sound quality.
Photo Link: www.wallstcom.com/Harmonic/MediaGridAdobeAnywhere.zip
Photo Caption: Harmonic(R) MediaGrid
Harmonic’s Leonid Kudryashov to Present at the NATEXPO Technological Seminar
Harmonic’s Regional Service Manager Leonid Kudryashov will participate at the NATEXPO technological seminar devoted to the upcoming Olympic Games in Sochi, Russia. His presentation will discuss Harmonic’s involvement with NBC and multisite Olympic production. The event will take place on Nov. 20 from 4 to 4:30 p.m. on stand A-72.
“NATEXPO 2013 is an opportunity for us to meet our customers in the region and showcase the many Harmonic solutions that are leading the way toward more economical and efficient delivery of high-quality content to any screen. As media companies worldwide face unprecedented challenges to do more with less, we are looking forward to showcasing products that are equipped with forward-looking functionality and built on flexible, scalable designs.”
– Reiner Frenken, Director of Sales, Broadcast, Strategic Markets, Harmonic
Harmonic Company Overview:
Harmonic (NASDAQ: HLIT) is the worldwide leader in video delivery infrastructure for emerging television and video services. The company’s production-ready innovation enables content and service providers to efficiently create, prepare, and deliver differentiated services for television and new media video platforms. More information is available at www.harmonicinc.com.
Station Employs Eclipse-Median and Concert to Help Employees Collaborate between Main Facility and Reporting Bureau
ALLENTOWN, PA, NOVEMBER 7, 2013 — Clear-Com® today is pleased to announce that WFMZ-TV, an independently owned TV station in Allentown, Pennsylvania has successfully implemented a full-scale Eclipse® digital matrix intercom system and the Concert™ Software Solution over an IP connection. Production team members at this station can now collaborate efficiently and seamlessly with crew members at the station’s remote reporting bureau several miles away.
WFMZ has deployed Clear-Com’s Eclipse-Median digital matrix intercom and the Concert Intercom-over-IP software solution to create an integrated communications infrastructure. The Eclipse-Median frame was installed in their main studio. V-Series key panels at the station’s bureau are connected via IP to the V-Series key panels in the main TV studio at various positions: a control room, an editing suite, the audio room, the studio, or other areas of the building. Whenever the crew needs to expand the system at any location, they can simply add V-Series key panel over IP for more users.
Moreover, police scanners at the bureau are linked to a PC running the Concert software. This PC is tied to another PC at the main studio that is also running the Concert software over IP. This setup allows the Allentown staff to monitor the scanner and stay on top of potential news story at the news bureau during off hours.
“When it comes to IP connectivity, Clear-Com is far ahead of the competition,” says Brian Dewalt, Director of Engineering for WFMZ-TV. “I felt as though the equipment we were installing was more advanced compared to other solutions out there. Quite honestly, I was blown away by its many capabilities. Since all our staff members are now using the Clear-Com Eclipse-Median and Concert, the news bureau can immediately talk to anyone in the main station as if they were in the same facility.”
Dewalt also notes that the Eclipse-Median’s Eclipse Configuration Software (ECS) has improved the station’s workflow, particularly during such special event broadcasts such as election coverage. “The Eclipse Configuration Software gives us an easy and fast method of configuring our communication setup. With the old intercom system, another engineer and I would have to dedicate many hours before a special broadcast to program the intercom system. Now, our engineer can make the changes in a few minutes.”
Dewalt adds, “I have gone through one election now with our news director using the new system. He was impressed because for the very first time, we were able to talk and listen reliably with intercom. The intuitive user interface and character labels on the V-Series panels also made our jobs so much simpler.”
“With television stations, time is always of the essence. WFMZ-TV needed to purchase the system and have it installed and ready for use within a three-day time period,” says James Schaller, Clear-Com’s Regional Sales Manager for the Northeastern United States. “We were able to deliver and have the station up-and-running in a short time frame. This was not only because of the intercoms’ ease of setup and configuration, but also because the systems and user key panels are very intuitively designed.”
Clear-Com®, an HME company, is the global leader in mission-critical voice communication systems for professional productions. Since 1968, Clear-Com developed and marketed a comprehensive range of analog, digital and IP-based wired and wireless intercom technologies for party-line and point-to-point communications. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communication solutions. More information about Clear-Com can be found at www.clearcom.com.
POTTERS BAR, United Kingdom – HARMAN’s Soundcraft is announcing Version 2.0 of its tremendously successful ViSi Remote iPad app, which allows remote control of Soundcraft Vi, Si Compact, Si Performer and Si Expression mixing consoles wirelessly from an iPad device. ViSi Remote 2.0 requires no additional hardware other than a wireless access router connected to the HARMAN HiQnet® Ethernet port of the console. With ViSi Remote 2.0, engineers are free to roam the venue and adjust mixes and other audio parameters directly from an iPad.
With 2.0 comes the ability for Si Compact, Performer and Expression users to adjust channel strip settings per channel including settings such as Gate, Compressor and EQ along with Pan, LR/Mono routing and phase invert switches. This functionality will be added to Vi consoles in a future update.
Soundcraft ViSi Remote 2.0 provides a variety of benefits for engineers including: optimize the front of house mix from anywhere in the room; adjust monitor levels while standing next to the artist; adjust channel strip settings remote from the console; extend the fader count of an existing control surface; use in standalone mode for familiarization with console functions; control a network of consoles (e.g. FOH and Monitor); provide a separate surface for DMX functionality (Si Performer only); and allow multiple users on the same console to control their own mixes.
App Store, Apple, iPad and iTunes are trademarks of Apple, Inc., registered in the U.K. and other countries.
HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 14,600 people across the Americas, Europe, and Asia and reported sales of $4.5 billion for the last twelve months ended September 30, 2013.