Archive of the HD/HDV Category

Cinedeck EX supports challenging production, using Sony’s F3 camcorder, streamlines editorial & VFX pipeline, and heralds IIF-ACES color workflow development

Cinedeck LLC (www.cinedeck.com) today revealed details of how its Cinedeck EX, multi-format, HD-SDI recording, monitoring and playback system, was combined with high-performance Sony F3 cameras, and played a pivotal role in the camera-to-post workflow, of VFX-laden horror feature film The Ghost Of Goodnight Lane, directed by Alin Bijan (www.GhostofGoodnightlane.com).

The combination of Cinedeck EX with Sony F3 cameras enabled the production to solve budget, performance and space constraints during the shoot, with Cinedeck EX also delivering a fast uncompressed, file-based camera-to-post workflow for the editorial and VFX teams.

The experience of working the Sony F3’s with uncompressed S-Log footage, and desire to optimize theatrical picture quality, has led the filmmakers to work on the Academy Of Motion Pictures Arts And Sciences’ IIF-ACES color-encoding specification, and the development of a new Input Device Transform for the F3.

The Ghost Of Goodnight Lane was written and directed by Alin Bijan, and produced by award-winning Dallas, Texas, production company Media World Studios, in association with FTG Media (www.MakingFilms.com). The production, featuring an angry ghost with evil intentions, is a comedy horror about a movie being made in a haunted film studio, and was inspired by paranormal events that occurred at Media World Studios. It stars Billy Zane (Titanic), Lacey Chabert (Mean Girls), Danielle Harris (Halloween), Matt Dallas (Kyle XY) and Richard Tyson (Black Hawk Down).

Principal photography took place over 22 days, with two Cinedeck EX systems capturing from A and B Sony F3 cameras. All footage was recorded from the F3s as 10-bit, uncompressed, RGB 4:4:4, S-Log gamma-encoded imagery. Live action was output from Cinedeck EX in Apple ProRes 4444 for Final Cut editorial, and green-screen elements output as uncompressed 4:4:4 for VFX work and compositing. Over a quarter of the movie, 25 scenes, was shot for VFX treatment. Multiple SSD cards were used to transfer the uncompressed footage to the editorial and VFX teams.

In addition to rigorous schedule and the tight budget, typical of an independent production, the production crew also faced restricted shooting environments, as many of the sequences were to shot in cramped spaces.

In preparation for the shoot, Bijan and his crew carefully investigated how innovations in camera, recorder and monitor technologies could solve these issues, while delivering the highest possible quality file-based workflow to streamline the camera-to-post workflow.

Considering all of these elements, the crew decided to shoot the entire movie using new Sony F3 cameras, with dual Cinedeck EXs at the heart of the camera-to-post pipeline.

“We knew we’d be facing a mountain of challenges in production, so we decided to let leading-edge technology lead us to the best pipeline,” said Bijan. “In the Sony F3 I found a camera that I could move around quickly and shoot sequences fast, but with extremely high quality. I also needed a recorder that did much more than just record. Assessing all the different kinds of recorders, we discovered Cinedeck EX offered more in one little device than anything else out there. It matched our physical space requirements, and more importantly, it enabled us to record S-Log uncompressed RGB 4:4:4 from the Sony F3 and deliver those files directly, and quickly, to post for editing and compositing.”

Jonny Revolt, editor The Ghost Of Goodnight Lane, commented, “When you’re shooting a film with so many VFX scenes, Cinedeck EX’s ability deliver ready-to-composite, uncompressed content, without the need to convert file formats, is a huge time and money saver. The post crew could begin working in the full S-Log color space immediately, and this gave us the comfort of being able to test VFX keys live on set.”

Summing up his experience shooting with the Sony F3 and Cinedeck EX, Bijan said, “I need the right tools to help me tell my story, and Cinedeck EX makes filmmaking so much easier. We took full advantage of its advanced capabilities to shorten the distance between production and post – that’s the wonder of file-based workflows. Cinedeck EX helped me to tell a better story and make a better film, because I didn’t have to worry about my workflow, and that’s half the battle in indie film-making.”

Peter Crithary, production marketing manager for Sony Electronics, said, “Given the F3′s extremely quiet signal and exceptional picture quality, using S-Log Gamma encoding, with 10-bit uncompressed RGB output, Cinedeck EX is the perfect companion to record and preserve the superb image quality of the camcorder.”

The desire of the filmmakers to maintain the cinema-grade quality of the Sony F3 footage for theatrical release, afforded by Cinedeck EX, has led to a collaboration with the American Society Of Cinematographer’s Curtis Clark ASC, chair of the ASC’s Technology Committee, to develop an Input Device Transform for the Sony F3. This will conform to the Academy Of Motion Pictures Arts And Sciences’ Image Interchange Framework (IIF) ACES color-encoding specification, and streamline an ACES workflow – from camera to grading to finished output.

The Cinedeck EX & Sony F3 Advantage
The Sony F3 with S-Log has rapidly emerged as a sought-after, high-end digital camera for productions seeking file-based workflows across a wide range of production environments. These include 10-bit uncompressed, RGB 4:4:4 baseband output, with S-Log Gamma encoding for external recording, an important feature for customers requiring an HDCAM-SR™ workflow.

Along with a powerful, but simple, file-based workflow, Cinedeck EX delivers a number of unique benefits to filmmakers and cinematographers using the Sony F3 with S-Log, including:

· Cinema-grade S-Log recording

· Simple RGB 4:4:4

· 3G single link BNC

· Dual-link HDSDI BNC

· Live output of Cinedeck EXTREME feeds EVF

· Support for the widest variety of codecs

· Flexible arm mounting

· Provides perfect alternative to RAW TIFF files

Cinedeck EX starts at $8495 and features unparalleled flexibility with the widest range of edit-ready formats available on a single device. The following formats come standard and are supported natively on Cinedeck EX:

· Avid DNxHD (MXF wrapped or .mov)

· Apple ProRes (including 4444)

· CineForm Digital Intermediate

· Uncompressed 4:2:2 (.mov)

· Uncompressed 4:4:4 (.mov)

For more information on Cinedeck EX v2.1, please visit www.cinedeck.com.

For more information on the Sony F3 please visit www.sony.com/F3

Founded by cinematographers, and headquartered in the heart of New York City, USA, Cinedeck manufactures innovative, touchscreen recording systems for use with all popular digital cinematography cameras. Along with on-set monitoring, playback and quality control capabilities, these recorders also unify camera-to-post workflows by offering the industry’s most comprehensive range of edit-ready output formats. Cinedeck EX, the industry’s first camera-mountable device, has proven essential to the workflow on hundreds of TV and cinema productions, and has won TV Technology’s “2010 STAR Award”, the “2010 Vidy Award,” and DV Magazine’s “Award of Excellence”. Continuing this pioneering spirit, Cinedeck LLC is also addressing the challenges of the mobile and outdoor broadcaster with Cinedeck RX, its new, rack-mounted, multi-format recorder, monitor and playback system. Cinedeck RX was awarded the prestigious “2011 Pick Hit Award at IBC 2011” from Broadcast Engineering Magazine. For more information, visit www.cinedeck.com.

November 9, 2011 — Markham, Ontario: Digital Rapids announced today that Turner Broadcasting System, Inc. is using a large-scale deployment of Digital Rapids’ StreamZHD multi-format encoding systems and the Digital Rapids Transcode Manager automated transcoding software to transform live feeds and on-demand content for delivery to multiple viewing platforms in support of Turner’s multi-screen video offerings and the pay television industry’s “TV Everywhere” initiatives.

An array of StreamZHD encoders are used by Turner’s Network Operations group for ingest and encoding of live sources, while a distributed, multi-node Digital Rapids Transcode Manager deployment transcodes high volumes of mezzanine source files into a wide range of output formats for VOD and viewing on devices from PCs to mobile phones and tablets.

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Our certified 2-day workshops are designed to demystify and simplify the entire 3D filmmaking & editing process, from development thru post production. In doing so, our veteran stereographers (3D experts) will teach you everything you need to know to create brilliant, eye-catching 3D images, that maintain viewer comfort — and ultimately serve the story.

TOPICS
– Determining the 3D needs of the participants & their upcoming 3D projects
– A tour-de-force “the principles of stereoscopic 3D filmmaking”
– Translating your 2D ideas into working 3D images
– Selecting the correct 3D Rig that integrates with your cameras – or visa-versa
– Solving gen-lock issues and how it works
– When to use a beam-splitter vs. side-by-side vs. 3D camcorders (dual fixed lens)
– You too can calibrate & prep a 3D rig (with a little practice)
– “Hands-On” — majority of the class is spent shooting with 3D Rigs – beam-splitter & side- by-side
– New 3D camcorders (dual fixed lens) – uses, limitations & what “they” don’t tell you
– Top 3D shooting secrets & ratios exposed !
– Depth vs. pop vs. parallax
– Achieving nirvana – perfect picture alignment
– Balancing convergence, parallax & io to achieve comfortable 3D images
– How to tell professional 3D vs. amateur 3D (hint: amateur 3D = headaches)
– Shooting beautiful, balanced 3D images that serve the story
– Re-lighting for 3D
– How to use and calibrate a real-time 3D monitor
– The 3D post-production workflow & you
– 3D editing = FCP vs Cineform vs Avid
– How to “Fix it in 3D Post” for Dummies
– 3D exhibition formats & how they affect your production (hint: start here & work backwards)
– AND– all the other nitty-gritty details you need to know to create superior looking, professional 3D — because at the end of the day (workshop) we understand that these training sessions are all about you and your upcoming 3D project. So really — our goal is to teach you everything we know about 3D, while addressing your individual needs and issues — and in the end, make you look good. Or at least – your 3D look good.

DETAILS
This is an INTENSIVE, FUN, “HANDS-ON” workshop where participants learn how to prep, align, light, shoot, edit and output professional style 3D, under the direction of a veteran stereographer. Unlike most other 3D training programs, teaching only 3D theory – our workshops allocate the majority of the day to filming on stereoscopic 3D systems – beam-splitter rigs, side-by-side rigs & real-time, stereoscopic 3D monitors.

Our courses are designed to accommodate both the complete novice, and the professionals with previous 3D filmmaking experience looking to learn more or fine tune their existing skills. The teaching stereographers understand that many participants may have pending 3D projects, therefore they welcome all questions, individual concerns and unique situations. Furthermore, attendees should keep in mind that 3D filmmaking is not an exact science, but rather an evolutionary process, with fluid rules and varying outcomes. The 3D camera rigs, cameras, real-time 3D monitors, editing equipment and lunch will be provided by 3DFF.

Our veteran 3D instructors (stereographers) are World-Class experts, with years of 3D filming and production experience on almost every contintent. Along the way they’ve shot for a wide variety of high-profile clients and fortune 500 companies to produce 3D documentaries, features, commercials and museum documentaries.

Our 3D workshops are held on an ongoing monthly basis at our studios in sunny, San Diego, California. See Program Dates / Locations for a current listing. Information or registration call 619.384.4014 or email info@3DFilmFactory.com

STEREOSCOPIC CERTIFICATION
Upon completion of the 2-day workshop participants will receive our official Stereoscopic Certification Diploma. The 3D Film Factory Certification serves as a means to verify to other industry professionals that recipients have received detailed, in-depth instruction in the art and science of stereography. Specifically, it signifies that recipients posses a comprehensive understanding of stereoscopic theory, as well as, a strong knowledge of practical, hands-on 3D filmmaking and editing.

Cinedeck EX v2.5 features extensive timecode and audio enhancements, plus new deck control application and improved playback engine

Cinedeck LLC (www.cinedeck.com), the pioneering developer of mobile capture systems for motion picture and broadcast production, today announced significant enhancements to its award-winning, portable, multi-format, recording, monitoring and playback system, with the release of Cinedeck EX v2.5.

Available for immediate download, the new Cinedeck v2.5 software delivers a range of customer-requested features that support an even better operational experience for Cinedeck users. These include a new and enhanced playback engine, expanded timecode operations, upgraded audio metering displays, and a new Windows-based, desktop remote controller for multiple Cinedeck EX systems.

Cinedeck EX is already the fastest gateway from production to post. It enables any camera with an HD-SDI or HDMI output to record to a choice of the most preferred finishing standards used in editorial and VFX post production today, including all flavors of Avid DNxHD, Apple ProRes, CineForm, plus uncompressed 444 and uncompressed 422 recording.

Chief among the enhancements of the Cinedeck v2.5 release is a new playback engine, which has been completely rewritten and provides a vastly improved user-experience compared to prior versions. Crucially, the new engine enables users to take advantage of Cinedeck Controller, a free Windows-based desktop application, which provides basic deck control of the Cinedeck EX. Cinedeck Controller, which comes bundled with the new software release, allows users to remotely control up to 24 Cinedeck units, browse a list of clips recorded in the current scene folder, and to control recording and playback on multiple units independently or simultaneously.

Among the many expanded timecode operations, Cinedeck v2.5 adds support for Adrienne Electronic’s LTC devices, including the use of Adrienne’s mini USB timecode reader. Cinedeck EX already supports Ambient Recording timecode systems.

Redesigned audio meters now show audio in dBFS (full scale) from -60dB to 0dB, with levels displayed in an array of colors making them easier to read in the field. Along with a range of general playback fixes, other enhancements include new edge detection displays, with edges in red, rather than black, to increase legibility.

“Users already enjoy the experience of using, and interacting with, Cinedeck EX, and their feedback has resulted in the new Cinedeck EX v2.5 software version containing a host of enhanced features,” said Cinedeck CEO Alan Hoff. “These new features focus on usability and performance improvements to optimize the fundamental operation of Cinedeck EX where it matters most – in production. With the new v2.5 version available now, current and new customers will enjoy the Cinedeck EX experience even more.”

Cinedeck EX v2.5 will be on display at the Createasphere Burbank show November 2-3, 2011 at Sony’s booth #101, and at Keycode Media’s booth #303.

Pricing and Availability:
Cinedeck EX v2.5 is available for immediate download, free-of-charge, to customers on maintenance. Cinedeck EX is available for purchase via resellers worldwide starting at $8495USD–MRSP. Visit www.cinedeck.com to find your nearest reseller.

Founded by cinematographers, and headquartered in the heart of New York City, USA, Cinedeck manufactures innovative, touchscreen recording systems for use with all popular digital cinematography cameras. Along with on-set monitoring, playback and quality control capabilities, these recorders also unify camera-to-post workflows by offering the industry’s most comprehensive range of edit-ready output formats. Cinedeck EX, the industry’s first camera-mountable device, has proven essential to the workflow on hundreds of TV and cinema productions, and has won TV Technology’s “2010 STAR Award”, the “2010 Vidy Award,” and DV Magazine’s “Award of Excellence”. Continuing this pioneering spirit, Cinedeck LLC is also addressing the challenges of the mobile and outdoor broadcaster with Cinedeck RX, its new, rack-mounted, multi-format recorder, monitor and playback system. Cinedeck RX was awarded the prestigious “2011 Pick Hit Award at IBC 2011” from Broadcast Engineering Magazine. For more information, visit www.cinedeck.com.

Avid-AJA; Matrox MXO2 Mini; and LTO-5 Media Back-up and Archive Solutions Complement Company’s Innovative Constellation™ Archive Management System

FOR RELEASE ON: WEDNESDAY, NOVEMBER 2, 2011

STUDIO CITY, CA – CET Universe, a leading provider of services, systems, and solutions for professional audio and video production, today announced a new series of product bundles for its production customers at Createasphere’s Entertainment Technology Expo at the Burbank Marriott. CET will demonstrate the product bundles today and tomorrow at the Expo, in Booth #207.

CET’s product bundles complement the company’s innovative Constellation™ VCM asset and storage management software suite, which is used by major facilities and corporations, including Universal Sports and Northwestern Mutual, among others. CET maintains a wide array of partnerships with leading vendors, including Adobe, AJA, Apple, Archion, ATTO, Avid, Blackmagic Design, Hewlett-Packard, Iridas, Panasonic, Promise, and QLogic, among many others.

The new product bundles will carry special prices at the Expo, including:

BUNDLE 1:

Option 1: AJA IO Express and AJA IO Express Portable HD/SD/I/O (Desktop or Laptop) with Avid MC 6.0 or Adobe Production Premium Suite for PC or Mac at $2,889.00

Option 2: AJA IO Express and AJA IO Express Portable HD/SD/I/O (Desktop or Laptop) with Avid Final Cut Cross Grade for $2,149.00

Option 3: AJA IO Express – AJA to Express Portable HD/SD I/O (Desktop or Laptop) for $1,609.99

Customers can upgrade Avid MC Pre 5.x and Xpress to version 5.5 with Kit and 3rd Party Apps.

BUNDLE 2:

Option 1: Matrox MXO2 Mini Max (Desktop or Laptop) with Avid MC 6.0 or Adobe Production Premium Suite (PC or Mac) for $2,815.00

Option 2: Matrox MXO2 Mini Max (Desktop or Laptop) with Avid Final Cut Cross Grade for $2,075.00

Option 3: Matrox MXO2 Mini Max (Desktop or Laptop) for $1,539.00

Customers can upgrade Avid MC Pre 5.x and Xpress to version 5.5 with Kit and 3rd Party Apps.

BUNDLE 3:

Constellation LTO-5 Media Backup/Archive Kit

Connects to Mac, Windows and Linux Workstations

Includes:

* external LTO-5 Drive
* Constellation Software License
* SAS Card for computer
* Cable
* 1-Year Software/Hardware Warranty
* 1-Year Free Phone and On-Line Support

The bundle, with the Expo discount, is priced at $4,441.00.

Customers can add a Boland monitor (HDMI, DVI, Composite, Component, VGA 1080P display) for only $1,889.00.

“Our team has always sought to deliver the ideal solution for customers – whether on-set or in-suite – and our new product bundles exemplify our commitment to true best-of-breed products for their production needs,” said Steve Klein, CEO of CET Universe. “We have created a stellar team of solutions engineers, and as our business becomes increasingly complex, we are creating effective product bundles that complement our proprietary solutions.”

About CET UNIVERSE

CET Universe is a leading developer of next-generation storage and asset management products for video professionals. The company develops, sells, and services an array of innovative file-based workflow systems for media & entertainment, corporate, and government and military accounts. Based in Studio City, California, the company’s web site is at www.CETuniverse.com.
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EDITOR’S NOTE: If you would like a color photograph of Steve Klein, CEO of CET Universe, or product shots of CET product bundles, the Constellation system, please contact Chris Pfaff at 201-218-0262 or chris@chrispfafftechmedia.com

15-Year Autodesk Veteran Joins AJA to Drive Product OEM Efforts

AJA Video Systems announced today that industry veteran Dave Sampson joins the company as OEM Sales Manager. Sampson brings over 20 years of sales experience in professional digital content creation software and hardware, domestically and internationally, catering to both corporate and enterprise level customers.

Sampson joins AJA from Autodesk’s Media & Entertainment Division where he spent over 15 years in various sales management positions. During his tenure with Autodesk, Sampson managed teams ranging from five to over 15, delivering the highest revenue per headcount in Autodesk’s entire business portfolio. Prior to overseeing sales for the top-20 worldwide accounts for Autodesk M&E, Sampson managed all of M&E Sales for the Americas and Latin America. He started with the company in 1998, in sales for Discreet Logic, which was later acquired by Autodesk. Throughout his sales career, Sampson continually surpassed quota milestones, and participated in multiple sales and negotiation workshops to extend his professional skillset.

“Dave Sampson is a consummate professional and brings a wealth of experience to AJA,” said Paul Weiser, Vice President of Sales & Marketing, AJA Video Systems. “I have worked with Dave in the past and he’s not only incredibly good at what he does, but he’s very well connected and knowledgeable about real world production needs in the studio and on the field. I’m looking forward to working with him again and know that his experience will benefit the entire AJA sales organization.”

“I had an amazing fifteen year run at Autodesk helping companies at the top of their fields in post production, visual effects and game development solve their workflow problems. I was first exposed to the quality of AJA’s equipment because their I/O technology is integrated into several Autodesk products,” said Sampson. “In my career I have had the benefit of representing best of breed technology products, and look forward to continuing that experience with AJA.”

About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of high-quality and cost-effective digital video interface, conversion, acquisition and Desktop solutions supporting the professional broadcast and post- production markets. With headquarters in Grass Valley, California, AJA maintains an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website www.aja.com.

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WAYNE, NJ – JVC Professional Products Company, a division of JVC Americas Corp., will showcase its new line of VR-X network video recorders at ISC Solutions (Booth 1706), which runs Nov. 2-3, 2011, at the Javits Center in New York City. Building on the heritage of previous JVC all-in-one CCTV recording and playback products, the VR-X1600U and VR-X3200U offer 16 and 32-channel recording, respectively, as well as support for 720p and 1080p full HD resolutions with multi-codec support.

“The new VR-X NVRs are the perfect complement to JVC’s new line of CMOS-based Super LoLux HD security cameras, which were introduced earlier this year,” explained Ian Scott, vice president, JVC Security Group. “Our new cameras and NVRs support H.264 High Profile compression, which delivers storage and bandwidth efficiencies you can’t get from equipment that only supports H.264 Baseline or Main Profile.”

Equipped with built-in camera licenses with no recurring fees, as well as the latest versions of Milestone XProtect Enterprise and Windows Embedded OS, the VR-X NVRs offer enterprise-level, full HD recording and viewing for an unlimited number of NVRs, cameras, sites, and users. More than 1,000 different camera/encoder models can be supported by installing the latest Milestone device driver pack. A broad selection of software add-ons and third-party integrations, plus a fully documented SDK, are also available.

Both 3 RU VR-X NVRs ship with a pre-installed 1 TB drive. Three additional drives can be easily installed from the front panel for up to 4 TB of on-board storage. The NVRs also support RAID 1, 5, and 10, with optional support for RAID 6 technology. There is no front panel operation; instead, all controls are administrated locally through a mouse and keyboard using an external monitor or by a remote administrator on the network. A rear panel I/O offers alarm interface support.

The VR-X1600U and VR-X3200U will ship in early 2012.

ABOUT JVC PROFESSIONAL PRODUCTS
Headquartered in Wayne, New Jersey, JVC Professional Products Company is a division of JVC Americas Corp., a wholly-owned subsidiary of JVC Kenwood Corporation. It is a leading supplier of IP network and analog security cameras, network video recorders, monitors, and management systems to the video security industry. Its V.Networks product line of has earned a solid reputation for quality and reliability, and provides superior picture quality for thousands of installations worldwide. For more information about this, or any other JVC professional product, contact JVC at (800)582-5825 or visit JVC’s Web site at http://pro.jvc.com.

Crystal Vision has been chosen as the exclusive modular interface supplier for a multi-million pound development by the University of York. This major investment by one of the UK’s top ten universities includes 104 Crystal Vision boards for distributing, down converting, synchronizing, switching, embedding and de-embedding the signals for two HD television studios in a brand new building designed for the Theatre, Film and Television department, with the boards selected and installed by Leeds-based systems integrator AVC.

The department was previously limited to single camera shooting and some post production. The brand new facility allows an increase in student numbers and is equipped to full HD broadcast standards to provide a teaching environment that is representative of broadcast industry practice, as well as a facility capable of being hired out to external clients. Alongside the impressively-equipped 176m2 and 89m2 studios with associated galleries, there in an apparatus room, more

– The Only Proven Expansion System, Synergy XTR Now Available at Roughly 25% Cost Per Protected (Usable) Terabyte of Avid Storage –

Burbank, CA (October 27, 2011) – With more than five years of experience providing Avid Unity™ MediaNetwork™ expansion storage to thousands of clients worldwide, including such media enterprises as CBS, Fox Sports, Sony, 20th Century Fox and Turner Broadcast, Archion Technologies announced today an end user rebate on its Synergy XTR storage chassis. The instant $3,000 rebate off of the manufacturer’s suggested retail price is valid on all 16 terabyte (TB) and 32TB Synergy XTRs purchased between November 1, 2011, and December 16, 2011. Customers must register for the instant rebate code on the home page of the Archion website.

The only true option for Avid Unity MediaNetwork users that need to expand their storage capacity now or in the future, Archion’s Synergy XTR — with its patent pending Vdisk™ technology — offers seamless, plug-and-play integration into MediaNetworks storage systems and is certified for versions 4.1x – 5.x.

“We recognize that with tightening budgets, it can be difficult for facilities to acquire the necessary storage capacity to meet the requirements of their growing projects,” said Mark Bianchi, Archion’s Chief Executive Officer. “Incredibly, with this offer, Avid Unity MediaNetwork owners can now save more than 75% per protected TB when adding Synergy storage without any changes to their workflow. Synergy is the only proven option for expanding Unity MediaNetworks, providing strong investment protection.”

“Many Avid customers invested in their Media Engine between 2009 and 2011, often as recently as this past summer,” said Reuben Lima, Chief Operating Officer of Archion. “They deserve the option of expanding their capacity without requiring an expensive, time-consuming forklift upgrade and the risk of media loss.

“Synergy offers simple, quick and seamless integration into Unity, preserving all of its great features, like project sharing and dynamic work spaces,” he continued. “There is nothing new to learn so facilities can keep the proven and widely accepted Avid workflow that promises to be used for years to come by large and small facilities alike.”

Synergy XTR offers simple scalability up to 128TB of usable (RAID 5) protected storage. By eliminating the need to mirror storage or compromise media, Synergy can provide 60% more usable storage than mirroring. If more storage is needed, adding an Archion chassis is quick, easy and cost effective.   

White Paper on Hardware RAID Protection in Avid Unity Environment Available
To summarize the benefits of Synergy, Archion has published a whitepaper – Uncovering the Full Potential of Avid Unity MediaNetworks: Realizing Greater Rewards without the Traditional Risks – that is available here on the Archion website. In addition, a comparison of the two add-on storage chassis — Archion Synergy vs. Avid XT — is available here.

About Archion
Archion Technologies, based in Burbank, CA, is a leading provider of intelligent networked storage solutions specifically designed for post production and graphic professionals. Founded by a team of post production, technology and entertainment industry professionals in 1999, Archion set out to create a new standard of data protection and performance for those creating video, audio, and graphical content. Since then, Archion’s high-performance storage technology has been critical to the success of hundreds of TV and feature film projects and is prominently used in Avid, Apple, Adobe, Autodesk and Pro Tools environments. www.archion.com

NOTE TO EDITORS: For additional resources on today’s news, please visit: www.archion.com

Contact:
Randy Savicky
Strategy+Communications
W : (203) 226-6156
M : (203) 571-8151
randy@strategypluscommunications.com

2x More Powerful in Every Way, The HD HERO2 Democratizes Professional Image Capture and Broadcast with Support for Remote Control and Live Video Streaming from Virtually Anywhere to the Web

HALF MOON BAY, CA (October 24, 2011) – GoPro today announced the release of its new HD HERO2® camera. Twice as powerful as GoPro’s original HD HERO camera, the HD HERO2 enables consumers and professionals to capture and broadcast their lives most exciting moments in professional quality 1080p HD video and 11 megapixel photos. The new HD HERO2 is now available at GoPro.com, specialty retailers around the world, and at Best Buy for MSRP $299.99.

Arguably the most versatile camera in the world thanks to its innovative mounting system, renowned durability and small form factor, the HD HERO2 surpasses its predecessor with several technology upgrades. The HD HERO2′s new processor delivers twice the processing power, taking full advantage of a new high performance 11 megapixel sensor that delivers more than twice the image detail along with professional low light performance. A totally redesigned wide-angle lens was required to take full advantage of the HD HERO2′s increased image-processing, resulting in a lens that’s twice as sharp as the previous model. And with the arrival of GoPro’s new Wi-Fi BacPac™ and Wi-Fi Remote products slated for release this winter, the HD HERO2 will enable video remote control via the Wi-Fi Remote, smartphones and devices, tablets and computers as well as enabling live GoPro video broadcast from anywhere there is Wi-Fi or a mobile hotspot.

Famous for its globally best-selling HD HERO line of wearable and gear mountable cameras, GoPro spared no expense developing the HD HERO2.

“GoPro created a new category of camera with the HD HERO back in 2009, and it’s gone on to become one of the best selling video cameras in the world,” says Nicholas Woodman, GoPro’s founder and CEO. “With these big shoes to fill, we invested massively in engineering the HD HERO2 to be one of the greatest, most versatile cameras of all time. We think we’ve achieved our goal and we’re very excited to see the content our customers around the world capture and share with their powerful new GoPros.”

2x as Powerful in Every Way:
The HD HERO2 benefits from a complete redesign that results in dramatically enhanced image quality and ease-of-use:

List of HD HERO2 Feature Enhancements:

• Professional 11MP Sensor
• 2x Faster Image Processor
• 2X Sharper Glass Lens
• Professional Low Light Performance
• Full 170º, Medium 127º, Narrow 90º FOV in 1080p and 720p Video
• 120 fps WVGA, 60 fps 720p, 48 fps 960p, 30 fps 1080p Video
• Full 170º and Medium 127º FOV Photos
• 10 11MP Photos Per Second Burst
• 1 11MP Photo Every 0.5 Sec Timelapse Mode
• 3.5mm External Stereo Microphone Input
• Simple Language-based User Interface
• Compatible with Wi-Fi BacPac™ and Wi-Fi Remote™
- Long Range Remote Control of up to 50 GoPro Cameras per Wifi Remote
- Wi-Fi Video/Photo Preview, Playback and Control via GoPro App
- Live Streaming Video and Photos to the Web

Visit http://gopro.com/hd-hero2-cameras/ for more information on the HD HERO2, Wi-Fi BacPac and Wi-Fi Remote products.

Upgraded Professional Photo Quality and Features
The HD HERO2’s photo capture performance has also been significantly upgraded. In addition to much improved low light performance, the HD HERO2 can capture up to ten 11 megapixel photos in a one second burst mode as well as automatic time-lapse photos with quick .5 second timing between photos. This dramatically increases the success-rate when attempting to capture magazine cover quality photos during fast action sports and activities.

Simplified User Interface
GoPro also placed a priority on redesigning the HD HERO2’s user interface for dead simple ease-of-use. The HD HERO2 features a totally new, straightforward language-based user interface that eliminates the need for instructions.

“The HD HERO2 is much, much easier to use than the original HD HERO. If you know how to use a traditional camera, you can use the HD HERO2 straight out of the box without instructions. This makes the HD HERO2 very powerful as an every day, easy to use consumer camera while retaining all of the features, modes and performance that has made GoPro the best selling small form factor HD camera to Hollywood,” said GoPro’s Director of Product Definition, Rudy Samuels.

Specialized Right Down to the Packaging
The HD HERO2 sells in three bundled-accessory configurations, each containing the necessary mounts for particular genres of use or activity. The HD HERO2 is backwards compatible with all existing GoPro mounts and accessories.
Click each product name for a complete list of included mounts and accessories:
HD HERO2: Outdoor Edition – $299.99
HD HERO2: Motorsports Edition – $299.99
HD HERO2: Surf Edition – $299.99

The original 1080p HD HERO camera is now available for MSRP $199.99 – $239.99 (USD) (previously $259.99 – $299.99) through GoPro.com and GoPro’s worldwide authorized dealer network. The Wi-Fi BacPac and Wi-Fi Remote are also compatible with the original HD HERO camera, but functionality is limited to remote control only. Video and photo streaming is not supported.

About GoPro

Based in Half Moon Bay, California, GoPro makes the world’s most versatile cameras, enabling people to capture and share their lives’ most exciting moments in professional quality HD video and photos. GoPro’s HD HERO line of wearable and gear mountable cameras are used collectively by more consumers, professional athletes, and video production professionals than any other camera in the world. GoPro’s products are sold in over 60 countries via specialty sports retailers, Best Buy, and at gopro.com.