Archive of the Digital Content Creation Category

The latest update adds new host support, allowing FCP X and Motion 5 editors and visual effects artists to enrich their video footage
 
Los Angeles, CA – April 26, 2012 – Digital Film Tools, developer of visual effects software, today announced that their Film Stocks plug-in now supports Apple® Final Cut Pro® X and Motion® 5. Existing Film Stocks video/film plug-in customers will receive this upgrade at no charge.
 
Film Stocks offers a wide range of preset looks as well as the necessary controls to create analog film stock presets from scratch, including color correction, curves, colored filters, sharpness, diffusion, vignetting and film grain. Apply one of the many presets and customize the settings, or create your own interesting looks and simulations and save them as presets to use in the future or share with colleagues.
 
“Expanding the functionality of Film Stocks to now include support for Apple Final Cut Pro X was a clear decision for us,” comments Marco Paolini, founder and president, Digital Film Tools. “We want our plug-ins to contribute to the creative process for all types of visual effects artists – from filmmakers and video editors to photographers and graphic designers. The ability to enhance film or video footage in Apple Final Cut Pro X with Film Stocks’ unique film stock emulations will bring an added dimension to any project.”
 
Film Stocks Feature Highlights
• 288 analog photographic film presets
• Select from Agfa®, Fuji®, Ilford®, Kodak®, Polaroid® and Rollei® color and black and white film stocks
• Choose from a wide range of historical photographic processes
• Get the skewed color look of cross processing
• Apply Lo-Fi photographic looks from Lomo and Holga toy cameras
• Age your images with the look of faded films
• Create your own film stock presets
• Layering system for multiple film stock application *
• Sophisticated but easy to use masking tools *
• Add a vignette to any preset
• Modify images with presets or sliders
• Quickly search for presets
• 8/16 bit image processing
• Multi-processor acceleration
* Photo plug-in versions
 
Availability and Pricing
The Film Stocks photo plug-in is available now for 95.00 USD and is compatible with the following applications: Adobe Photoshop, Adobe Photoshop Elements, Adobe Photoshop Lightroom and Apple Aperture.
 
The Film Stocks video/film plug-in is available now for 195.00 USD and is compatible with the following applications: Adobe After Effects CS5 and up, Adobe Premiere Pro CS5 and up, Apple Final Cut Pro 6/7/X, Apple Motion 5, Avid Symphony™, Media Composer®, Newscutter® and Xpress Pro®.
 
For more information, examples and downloads please visit: http://www.digitalfilmtools.com/filmstocks/.
 
About Digital Film Tools
Digital Film Tools brings together the unbeatable combination of superior software designers, motion picture visual effects veterans, video editors and photographers. Add three Emmy Awards and experience in creating visual effects for hundreds of feature films, commercials and television shows and you have a recipe for success.
 
Press Contact
Anya Oskolkova
(m) 617.817.6559
(e) anya@zazilmediagroup.com
 
####

All Red Giant Product Suites to Support CS6 on Launch Day; Available as Free Updates 

 

 

 

 

 

Portland, OR (April 26, 2012) – Red Giant announced today that all of its visual effects and color design products for Adobe Creative Suite 5/5.5 will fully support the newly announced Adobe Creative Suite 6 (CS6) on the day of its launch. Adobe announced on Monday that it anticipates availability of CS6 within 30 days.

 

 

 

For current Red Giant customers who own Adobe CS5/5.5 compatible products, this will be a free update. Additionally, customers who purchase any Red Giant products for CS5/5.5 today will be eligible for the free update, as part of the Company’s Red Pledge guarantee.

 

 

 

“We want our customers to be able to move into CS6 with no hassles or confusion. That’s part of our Red Pledge – making these kinds of things easy and worry-free so that you can focus on being creative and getting the job done,” said Aharon Rabinowitz, director of Communities for Red Giant.

 

 

 

Red Giant’s family of visual effects and color design applications currently supporting Adobe CS 5/5.5 include Magic Bullet Suite, Trapcode Suite, Knoll Light Factory and Primatte Keyer. For a complete product/host compatibility listing, please visit http://www.redgiantsoftware.com/support/compatibility/host-applications/.

 

 

 

The Red Pledge

 

At Red Giant, we love working with artists, and we love giving you the tools and resources to help you do great work. We’re inspired by, and share in, your passion because Red Giant is made up of filmmakers, animators and designers just like you. It’s that level of passion which flows through everything we do as a company, and ensures that everything about our relationship with you just works. And that’s Red Pledge – our full-on commitment to your complete happiness. The Red Pledge is our guarantee that we will always be reasonable and fair. We believe in no hassles. Just happiness.

 

 

 

 

 

About Red Giant 

 

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

 

 

 

###

 

 

 

 

 

 

AP selects AmberFin iCR HD conversion and content normalization platform as it ramps up high definition broadcast services

AmberFin, a leading developer of file-based media ingest, transcoding and unified quality control solutions for content owners, broadcasters, sports organizations and post-production houses, and its UK channel partner, ATG Broadcast have announced the sale of AmberFin iCR high definition (HD) standards converter systems to the Associated Press (AP). The project is part of AP’s global transition to high definition (HD) operation with file-based workflows.
In parallel, ATG Broadcast has completed the construction of a new HD master control room (MCR) at AP’s international hub of global video operations in London. AmberFin’s iCR systems are being deployed in this facility as well as in the USA, and will assist the development of the news agency’s HD file-based workflow. AP selected AmberFin as a technology supplier after evaluation of appropriate vendors, stating that for HD frame rate conversion and down-converting from HD to SD AmberFin iCR offers an efficient solution.
Alongside HD conversion, AmberFin iCR will play an important role in what AP calls the ‘normalization’ of content that it receives. As one of the world’s leading international news agencies, AP receives news content from a broad range of sources ranging from video captured by a smartphone on the streets of Cairo to a broadcast quality file sent directly by its broadcast partners. iCR helps AP to ensure that all media files delivered across the AP network are fit for purpose for broadcasters to place within their editing and transmission workflows.

“We were attracted to AmberFin because of the quality of their file-based HD conversion and also by the company’s heritage in terms of its patent portfolio,” said David Hoad, AP Director of Global Video Technology. “Since that initial decision, we’ve found that AmberFin’s technical team is really good at resolving issues. They are incredibly responsive to our needs.”
Hoad reports that AP is more than half-way through its migration to file-based workflows. “We are pleased with AmberFin and look forward to continuing to enjoy our relationship in the future,” he said.
-Ends-
About Associated Press

The Associated Press is the essential global news network, delivering fast, unbiased news from every corner of the world to all media platforms and formats. Founded in 1846, the AP today is the largest and most trusted source of independent news and information. On any given day, more than half the world’s population sees news from the AP. www.ap.org
About AmberFin
AmberFin is a company at the heart of solving file-based workflow problems for content owners, broadcasters, sports organizations and post-production houses. The AmberFin Media Factory, based on the iCR family of modular software products, digitizes and transforms new and archived content, combining a service oriented design philosophy with intelligent use of cost-effective generic IT. This enables customers to save time, increase revenues and grow in-line with business demands.
Unique to the Media Factory system, AmberFin’s industry first approach to Quality Control, known as Unified Quality Control (UQC), introduces a QC mark that brings a new level of trust to media assets. UQC uniquely combines an automated process with a human touch, enabling more efficient and effective decision-making and new levels of confidence in the file creation and transformation processes.
AmberFin has experienced growth of 65% in the last year thanks to hundreds of iCR systems being deployed worldwide. Systems that are trusted where quality matters by some of the world’s leading media organizations including HBO, AP, Reuters, WWE, ITV, Sony Pictures, NBA, Turner Broadcasting, ZDF, NRK, National Geographic, BT, Discovery and Warner Brothers.

About ATG Broadcast

ATG Broadcast (www.atgbroadcast.com) is one of the world’s most successful providers of high–end reliable and easy-to-operate integrated systems for broadcasters and programme makers alike.

ATG Broadcast’s engineering skills extend from front-end studio systems to transmission-based systems for multiple deployment platforms. ATG Broadcast offers a comprehensive portfolio of services including workflow design, project planning, equipment installation, software configuration, commissioning, documentation and on-site training.

ATG Broadcast is part of Dan Technologies’ Systems Integration Division, one of Europe’s leading suppliers of audio, video, transmission products and digital media solutions.

The Dan Technologies Systems Integration Division covers a wide spectrum of operations ranging from designing, installing and commissioning studios, playout centres, news-rooms and satellite systems to providing the complete infrastructure of television and radio stations for major broadcasters and service providers worldwide.

The Dan Technologies Group operates from offices in the United Kingdom, Germany, Denmark, Norway, Sweden, Vietnam and Dubai.

-Ends-
Editor’s note – illustration captions:
1 – AP staff members are seen operating the newly built High Definition Master Control Room in the London bureau Tuesday, Oct. 18, 2011. This is a newly built Master Control Room designed for High Definition video. (AP/ Elizabeth Dalziel)
2 – MCR Supervisor Olga Palamartschuk-Rodden operates the intercom system at the HD MCR in London Tuesday, Oct. 18, 2011. A newly built Master Control Room for High Definition video. (AP/ Elizabeth Dalziel)
Contacts for more information

Amberfin North America Amberfin EMEA
Veronique Froment Bob Charlton
+1 603-537-9248 +44 1884 860100
Veronique.froment@amberfin.com bob.charlton@amberfin.com
ATG Broadcast ATG Broadcast press support
Graham Day (Managing Director) David Kirk
+44 1462 485 444 +44 1342 311 983
graham.day@atgbroadcast.co.uk stylusmedia@gmail.com

A.C. Entertainment Technologies (AC-ET) Ltd’s Video division has supplied leading UK based lighting and visual designer, Max Conwell of Naked Eye Lighting Ltd with a Green Hippo HippoCritter and a TV One down-convertor – to help service his busy schedule of TV shows, events and world tours including Paul Weller and Morrissey.

Max is renowned for his innovative approach to making spaces and environments look and feel great with the use of lighting and video.

The scope of Naked Eye’s work encompasses all genres of visual design – from high profile rock ‘n’ roll world tours, to major events and architectural concepts. Max also programs video and moving lights for a variety of high profile TV and game shows.

He has been using media servers for some time, and was an early adopter of the innovative technologies and mindsets fuelling the ‘convergence’ between video and lighting.

He chose Green Hippo for several reasons, with excellent customer support being at the top of the list. AC-ET, who are Green Hippo’s exclusive UK distributor, offer 24 hour technical support with sales, as well as help and guidance for software configuration and any other queries.

Max also likes the fact that Green Hippo products are constantly evolving and improving. Apart from that, he explains, “Quite simply, Green Hippo (and TV One) equipment has worked straight out of the box and has been very reliable ever since.”

The Hippotizer’s many features allow him to be fully flexible and inventive with his designs. He particularly likes the Frame Blending and the Hue / Saturation control, which is great for balancing screen colours for television.

He also does a lot of pixel-mapping on the HippoCritter and has started to get into timeline programming, which has “opened up a whole world of possibilities.”

“Hipponet is great” he enthuses, explaining that he’s constantly networking different machines for backup and media transfer.

On the most recent Morrissey tour, Max used the HippoCritter to playback video content for the pre-show movie, which ran for 25 minutes. The HippoCritter was also used for projecting a PETA (People for Ethical Treatment of Animals) video onto the stage’s backdrop during the famous The Smiths’ song, “Meat is Murder.”

Max explains how the A.C. Video division’s service and support has been “Invaluable in making the transition from being a freelancer, to owning and running a specialist visuals company. No matter how much or how little I am spending, I’m always made to feel like I’m their most important customer!”

A.C. Video’s Alistair Smyth comments, “Green Hippo are a forward thinking company, they continue to develop their products with designers like Max in mind – introducing new features and components that enable designers and programmers to be as creative as possible.”

After great experiences with both the Green Hippo and TV One gear, Naked Eye have already made plans to invest in a Green Hippo GrassHopper and another TV One down-converter in the near future.

For more press information on A.C. Entertainment Technologies, please contact Louise Stickland on +44 7831 329888 or +44 1865 202679 or EMail; louise@loosplat.com.

To arrange a demonstration with AC-ET’s Video division, please call 0113 255 7666 or email video@ac-et.com

For more information from AC-ET direct, please contact:
A.C. Entertainment Technologies Ltd.
+44 (0)1494 446000
sales@ac-et.com
www.ac-et.com

POTTERS BAR, United Kingdom -Studer is continuing its well-received Studer Broadcast Academy program with training sessions for its Vista and OnAir digital mixing consoles. The free, half-day seminars will be held on May 10, July 12 and September 27 at the Soundcraft Studer facility in Potters Bar, United Kingdom. The training will be particularly useful for freelance engineers and in-house engineers with little or no experience with Vista or OnAir consoles.

Ex-BBC sound engineer Micky Curling will be conducting the sessions in Studer’s dedicated studios. They will provide a unique opportunity for attendees to get practical instruction and hands-on experience with the various consoles that are installed at the facility. To ensure that everyone has plenty of time to learn the capabilities of the consoles, the sessions will be limited to no more than six people per session.

Lunch, as well as morning and afternoon refreshments, will be provided. Participants will also be given a tour of the advanced production facilities where Studer consoles are manufactured, and visit the company’s on-site museum that houses classic Studer tape machines and Soundcraft mixing consoles dating back to the 1950s.

The dates and times for the seminars are as follows:

May 10, 2012 – Introduction to Vista (morning session)
May 10, 2012 – Introduction to OnAir (afternoon session)
July 12, 2012 – Introduction to Vista (morning session)
July 12, 2012 – Introduction to OnAir (afternoon session)
September 27, 2012 – Introduction to Vista (morning session)
September 27, 2012 – Introduction to OnAir (afternoon session)

In the near future, Studer will also be offering in-depth, full-day training on the Vista series consoles. Two levels are currently planned:

Vista Foundation: includes a product overview, use of the Vistonics(tm) user interface and general operation, connection with third-party networks including OPTOCORE and Aviom(r), and integration with Riedel’s RockNet and MediaNet.

Vista Intermediate: will cover more advanced topics including detailed examination of the console’s DSP functions, I/O formats, Virtual Vista remote control and system redundancy.

To register for a session, please visit the following website: http://www.studer.ch/support/training_UK_registration.aspx

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 about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.2 billion for twelve months ending December 31, 2011.

Qube XP-D Servers with Barco Projectors Installed in 39 Screens


Los Angeles, CA: April 23, 2012… Digital cinema technology leader Qube Cinema will install 39 Qube XP-D servers for Kuwait’s main theatrical distributor – Kuwait National Cinema Company (KNCC) – completing the chain’s transition to digital cinema. Previously, Qube Cinema had partnered with KNCC to convert an additional 15 screens.


Real Image, the parent company of Qube Cinema, was the system integrator on the project, delivering a turnkey solution for KNCC, pairing Barco projectors with the Qube XP-D servers. Sixteen of the screens also include MasterImage 3D systems for playing stereoscopic content. With a number of recent installations in the Middle East, Egypt, Lebanon, East and South Africa, Qube Cinema’s presence is continuing to grow in the region.


“The choice was easy this time,” said Hisham Al Ghanim, general manager, KNCC. “We looked at several digital systems before adopting Qube, Barco and MasterImage for our first round of installs. We are very pleased with the technology and the support we received.”


The Qube XP-D server is fully DCI compliant and integrates seamlessly with all major Theater Management System software. KNCC will have around-the-clock access to Qube technicians who are able to remotely access a Qube XP-D server via its web interface, ensuring the systems stay up and running.


“We are proud to partner with Qube on this important roll-out for KNCC,” said Abel Garamhegyi, Barco vice president Growth Markets and managing director for India. “These converted theaters now have high-quality systems that allow them flexibility in a rapidly changing environment.”


The Qube digital cinema systems are easily upgradeable and can be outfitted for full 4K playback with the addition of Qube Xi 4K Integrated Media Blocks (IMBs).


“KNCC has always been a technology pioneer, and had moved to digital ahead of the market,” said Raja Enok, chief marketing officer at Qube Cinema. “They were one of our first customers in the region and we are delighted that they have now chosen Qube for their entire network.”


The Qube XP-D digital cinema server is available from Qube Cinema and its worldwide network of resellers. For more information visit www.qubecinema.com/products/XPD or see Qube during CinemaCon at booth #2013.


About Kuwait National Cinema Company (KNCC)
KNCC (Cinescape) has been the sole exhibitor in Kuwait since it was founded in 1954. Cinescape has pioneered the distribution and exhibition of Arabic, English and Indian movies in the Middle East. Cinescape’s investment in digital cinema continues to make it the leading entertainment provider in the region. In 2007, Cinescape theatres showed Taimour and Shafika, the first digital Arabic films to be released.


About Barco
Barco, a global technology company, designs and develops visualization products for a variety of selected professional markets. Barco has its own facilities for Sales & Marketing, Customer Support, R&D and Manufacturing in Europe, North America and Asia Pacific. Barco (NYSE Euronext Brussels: BAR) is active in more than 90 countries with more than 3,500 employees worldwide. Barco posted sales of 1.041 billion euro in 2011. For more information, please visit www.barco.com


About Qube Cinema, Inc.
Qube Cinema is an international manufacturer of Digital Cinema technology and mastering solutions. A subsidiary of India-based Real Image Media Technologies, Qube Cinema draws on decades of experience in media, cinema and entertainment. The company is committed to creating a seamless Digital Cinema environment for exhibitors, filmmakers and postproduction companies with technologies that are innovative, flexible and cost-effective. Qube Cinema’s product lines include the Qube XP series of digital cinema servers, Qube Xi 4K Integrated Media Block, QubeMaster software solutions, and Qube Keysmith KDM generation system. Qube Cinema, Inc. is based in Burbank, California. For more information, visit www.qubecinema.com.

London, UK based The Projection Studio, headed by visual artist Ross Ashton, designed and created the record-breaking video artwork featuring 32 animated mosaic portraits of HM The Queen that is being projected onto Buckingham Palace this week.

The ‘Face Britain’ project was instigated by The Prince’s Foundation for Children & the Arts and brought to life by PhotoBox. It has enabled over 200,000 children to make their faces famous on the front of one of London’s most iconic landmarks.
It is also the first time that video projections have ever been used on the front of the Palace.
Ashton has previously projected onto the building three times – famously for the first time during the Queen’s Golden Jubilee celebrations in 2002 – for which he used PIGI projectors. This time, leading UK video rental specialists Creative Technology (CT) have supplied the 24 Barco and Panasonic 18K and 20K video projectors.
The video montage of the 32 portraits is attempting to break the Guinness World Records Title for the Largest Collaborative Artwork, that is the most artists working on the same art installation. The previous record stands at 28,267 artists.
Ashton says, “I am hugely proud and absolutely delighted to be involved in this collaboration, and naturally it’s a great honour to work directly for the Prince’s Charities. There have been plenty of creative and technical challenges and it’s very satisfying to get the opportunity of pushing the boundaries and breaking new ground”.
Children aged 4 – 16 were invited to produce their own self-portraits by Face Britain encompassing all levels of skill and in any medium, including drawing, photography, textiles, painting and graphics. These were uploaded to PhotoBox .
Ashton came up with the idea of animated mosaics. He worked with Moscow-based Boris Glazer to create a bespoke version of his Mazaika software to encode all the photos and then compose the 32 images of The Queen from the 200,000 or so self-portraits that were submitted.
Ashton specifically wanted to see the individual photos making up each portrait montage flying together as they formed onto the fascia of the building.
When compositing the 32 portraits into the 32 minute long video file which runs as a loop, Ashton treated each individual portrait of the Queen as a separate colour way, containing 6,400 children’s portraits. This enabled him to get the desired movement effect.
The template portrait of The Queen was supplied by the Sun newspaper’s legendary royal photographer, Arthur Edwards. The Queen herself had to approve all stages of the creative process!
Ashton worked closely with CT’s Scott Burgess to design the projection system and CT supplied all the hardware including weatherised hides and crew for the installation. The projectors are ensconced as unobtrusively as possible behind the pillars of the Palace’s front wall.
The video is run via a Watchout control system programmed by Dave Boeck.
The overall image covering the Palace is 110 metres wide and 25 metres tall. Filling the spaces around the actual Queen’s head portraits are a series of animated backgrounds and other picture frames.
In addition to the Buckingham Palace projections, the 32 portraits are being simultaneously shown for 24 hours on BBC Big Screens in 18 public locations nationwide.
Face Britain celebrates the UK’s children and young people in the run up to HM The Queen’s Diamond Jubilee and the London Olympic and Paralympic Games.

For more press info on The Projection Studio, please contact Louise Stickland on +44 (0)1865 202679/+44 (0)7831 329888 or Email louise@loosplat.com. To contact The Projection Studio direct, please call +44 20 8293 4270.

FotoKem’s nextLAB, a powerful end-to-end software solution for film and television productions using file-based workflows, played a pivotal role in the production of demonstration footage to support the development announcement of the Canon Cinema EOS C500 and the Cinema EOS C500 PL for use with EF-mount and PL-mount lenses respectively. Both upcoming cameras will be capable of originating 4K (4096 x 2160-pixel) resolution digital motion imagery with uncompressed RAW output for external recording. The Cinema EOS C500/C500 PL are upcoming additions to Canon’s Cinema EOS System, a transformational line of digital cameras and lenses that applies advanced Canon digital imaging technology to cameras designed for professional cinematographers. FotoKem provided complete production support for the Cinema EOS C500 demo film, Man & Beast, which premiered Sunday, April 15, at the 2012 NAB Show.

From the early beta stages, FotoKem collaborated and consulted with Canon Inc. on the design of the first end-to-end, 4K production-to-post file system. FotoKem built nextLAB’s high-resolution pipeline on the Academy Color Encoding Specifications (ACES) architecture, making the EOS C500 the first Canon camera to take files from production all the way through post in ACES. more

Digital Vision returns in a supporting role to the Paris-based Film Factory, a global post-production company, in the finishing of Relativity Media’s Mirror Mirror. The beautifully stylized retelling of the Snow White tale, featuring Julia Roberts as the Evil Queen, is a visual feast, pushing post production and visual effects fully to express the filmmaker’s colorful vision. The project, which was directed by Tarsem Singh and shot by Brendan Galvin on the Sony F35, was completed at the Montreal-based facilities of Film Factory. Lionel Kopp, Founder of Film Factory and one of the world’s leading colorists, worked closely with the project’s creative visionaries, assisted by the expertise within Digital Vision to execute a dynamic color pipeline.

Mirror Mirror was directed, shot and produced by the same creative team that delivered The Immortals to audiences last year, and the design of the production-through-final color workflow had been developed for that earlier project. Like its predecessor, Mirror Mirror had a number of complex visual elements to manage and with the experience gained on The Immortals, this guaranteed a fast turnaround. The Film Factory’s process is centered on the Nucoda Film Master, which marries a powerful on-set solution to the final color pass. The Film Master system, which included a SAN and Nucoda Fuse assist station, was installed on set in Montreal. From the set, Kopp did a grading pass of the Sony F35 dailies, which were then sent to the editing room with the color settings. In some cases, a further grading took place prior to dailies screening in the DI suite with director and crew. Designing this system meant that the dailies – from the set through screening and ultimately delivery – were kept in a closely matched, carefully monitored environment. As he did for The Immortals, Kopp graded every take from the first day of dailies through completion of the DI. more

Las Vegas, NV – April 18, 2012 – Brevity, a venture-backed NYC start-up serving the Media & Entertainment industry announced today a strategic partnership with TRANZXL, a bi-coastal service company that is launching the first Brevity powered service bureaus, drop-off rentals and on-location packages designed to speed and simplify HD file conversion and delivery. Recognizing the growing need for time and cost savings associated with file-based HD production for TV, film, live and web, TRANZXL will allow producers, broadcasters and creators to use and rent units at TRANZXL’s New York and Los Angeles facilities for short periods of time on a per project basis.

“Brevity’s V3 technology was developed to transform the current state of the broadcast and production industry,” said Jake Bronstein, CEO, Brevity. “TRANZXL is working along the same ideal as us to further the opportunity for those in the video production and media industry who may only need a Brevity unit for a specific project.”

Debuting at NAB 2012, Brevity V3 is a breakthrough technology that delivers simultaneous transcoding and highly accelerated transport of high-resolution video as an integrated process on any network. V3 delivers this capability through a Web based enterprise video management solution that utilizes automated project-driven workflows, advanced algorithms, virtual storage, Web-based interfaces, and teraflops of computing power.

TRANZXL is utilizing the Brevity solution to meet a very specific audience of professional HD producers, delivering their content to TV, film and the web. Production companies, live event producers and commercial agencies all struggle with the format complexities and wasted time that it takes to service the growing amount of HD footage being created everyday. By collaborating with Brevity to customize and develop their technologies for the specific needs of these HD producers, TRANZXL can provide a faster, more automated and collaborative approach to many workflow steps that are currently executed manually on costly edit systems, dramatically improving production efficiencies while lowering costs.

“I’ve been a hands-on producer and editor for over 20 years. I’ve seen tape to tape, to digital, to cards and files…more shooting and HD cameras than imaginable,” said Paul G Goldberg, CEO, TRANZXL. “Working with Brevity to develop unique solutions for HD content production will have an immediate impact on our industry saving even small and independent producers and creative talent significant time, money and resources spent on the editing and post process.”

A Brevity demo will be available at the TRANZXL booth located in the Lower South Hall, SL12807. Brevity will be located at booth SL13316 at NAB from April 16, 2012 to April 19, 2012.

Brevity is based in New York City and has a sales office in Los Angeles and a development office in the Portland, Oregon area.

ABOUT BREVITY
Brevity provides breakthrough technology that offers for the first time the ability to simultaneous transcode while transporting video at incredibly fast speeds- over any network- Internet, fiber, or data satellite. Founded in 2010 by Jacob Bronstein and Abdul Sulieman, Brevity transforms media production and distribution workflows and redefines the time, cost, and efficiency required to support M&E operations. Brevity is working with leading networks, studios, content providers, sports teams, and production houses to redefine media production and distribution around the world. For more information please visit us at www.brevityv.com or follow us @BrevityV.

ABOUT TRANZXL
TRANZXL was developed by experienced production and post people to help producers eliminate wasted time, money and opportunity cost by automating and quickening the overwhelming process of conversion, transport and management of HD media from shoot to final delivery. We believe innovative technology and ideas that support media conversion, transport, management and collaboration, will change our industry in a substantial way and our goal is for TRANZXL to be a pioneer in this movement into the future of digital HD production. For more information please visit us at www.tranzxl.com or follow us @TRANZXL.