Archive of the Video Editing Systems Category

New interface and expanded tape library support offer users more archiving options and comprehensive automation for EditShare tiered storage and tapeless workflows
 
Boston, MA — January 26, 2012 — EditShare®, the technology leader in shared media storage and end-to-end tapeless workflow solutions, today announced the availability of a new version of EditShare Ark, the company’s backup and archiving solution. “Back up and archiving is critical in every type of production – from news, sports, motion picture, and episodic TV – to corporate and advertising production. Protecting your assets is essential, but accessibility is equally as important,” comments Andy Liebman, founder and CEO, EditShare. “Because Ark is directly integrated into our tapeless workflow and collaborative storage products, archived content can be easily searched in the EditShare Flow Media Asset Management tools, retrieved, and quickly brought back onto the EditShare production storage.”
 
The new Ark release features numerous enhancements including a new user interface that displays extensive information about Ark system activity, support for additional tape loaders, and more options for configuring network interfaces to maximize performance across the EditShare tiered storage platform. Liebman adds, “The new EditShare Ark interface also provides real-time updates on archive performance and continuous system health monitoring, ensuring both the safety and accessibility of your valuable media.” The new release supports tape libraries from Quantum, Dell and Spectra Logic.
 
The EditShare Ark V2.1.3 update is free to existing EditShare Ark V2 customers with a valid maintenance contract.
 
About EditShare Ark
Developed on the same rock-solid architecture as the shared storage solutions, EditShare Ark supports both disk and tape as a backup and archiving medium, all managed from the same intuitive interface. Ark provides a tiered storage environment that is fully integrated with EditShare tapeless production and shared storage systems. When combined with Flow, the EditShare asset management solution, users can access all the metadata about their archived content directly in the Flow database and browse low-res proxies of their archived media.
 
About EditShare
EditShare is the technology leader in networked shared storage and tapeless, end-to-end workflow solutions for the TV and film industry. Our groundbreaking products improve efficiency and workflow collaboration every step of the way. They include video capture and playout servers, high-performance central shared storage, archiving and backup software, media asset management, and the world’s first 3-platform (Windows/OS X/Linux) professional non-linear video editing application.
 
©2012 EditShare LLC. All rights reserved. EditShare® is a registered trademark of EditShare LLC. All other trademarks mentioned herein belong to their respective owners.
 
Press Contact
Janice Dolan
Zazil Media Group
Email janice@zazilmediagroup.com
Tel: +1 (617) 817-6595
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Nattress Levels and Curves Filter Pack lets users take control of footage in film-log space for superb image results
 
Boston, MA – January 25, 2012 – Noise Industries’ latest partnership with Nattress Productions brings a finer degree of image control to the editor through Levels and Curves, a filter pack that allows users to color grade in film-log space. The new curve-based color adjustment plug-in, available now on FxFactory 3, is compatible with Final Cut Pro® 6, 7 and X; Motion 3, 4 and 5; and Adobe® After Effects® CS3, CS4, CS5 and CS5.5. Offered at 29 USD, users can visit Nattress Levels and Curves to download a free trial version.
 
Nattress Levels and Curves feature highlights include:
 
Film-Log Space – Editors have all the benefits of fine control over the tones in an image and film-like contrast handling.
 
On-Screen Curve Display – The on-screen curve display helps editors fine-tune curve and/or level adjustments. The curve display can easily be turned off when footage adjustment is completed.
 
Library of Presets – Users can quickly apply popular level corrections, or create and save custom presets to use again and again.
 
Levels – The Black and White level inputs and outputs can be easily set, plus gamma curve control allows for fast and functional levels control.
 
Curves RGB – Individual control over the RGB channels in an image is made simple. The control set is duplicated for each channel allowing for precise control over image tones and colors.
 
Curves Luma – Users can work on the luma component of an image only. When a user adjusts luma curves, it only alters how bright or dark the tones of the image appear; color and saturation are not affected.
 
Curves – Curves work in RGB space equally across all three channels. As contrast increases, so does the perception of image saturation.
 
More Information on Levels and Curves
 
Levels and Curves Tutorial
Users can learn more about Nattress Levels and Curves by watching the online tutorial
 
About Nattress Productions and Founder Graeme Nattress
Nattress Productions was founded by Graeme Nattress in 2004. Graeme, who is originally from England, makes his home in Ontario, Canada, where he uses his mathematical training and unique insights to program creative solutions for image processing. Graeme also applies his knowledge of color science, image manipulation, compression and digital video to the development of the RED Digital Cinema camera systems.
 
About Noise Industries, LLC
Established in 2004, Boston, Massachusetts-based Noise Industries is an innovative developer of visual effects tools for the post-production and broadcast community. Their products are integrated with popular non-linear editing and compositing products from Apple and Adobe. For more information, users can visit Noise Industries.
 
Press Contacts
Janice Dolan
Zazil Media Group
Janice[at]zazilmediagroup[dot]com
(p) 617.817.6595
(skype) janicedolan
 
Megan Linebarger
Zazil Media Group
megan[at]zazilmediagroup[dot]com
(p) 617.817.6595
(skype) megan.zazil

New release lets Final Cut Pro X editors better manage dual-system audio and multi-camera productions; sophisticated automation technology accurately syncs video and audio
 
Vancouver, British Columbia, January 25, 2012 — Singular Software™, a developer of workflow automation applications for video production, is pleased to announce the availability of PluralEyes® for Apple® Final Cut Pro® X (FCP X). The multi-award winning PluralEyes technology works alongside FCP X to quickly and accurately sync video and audio clips for dual-system audio and multi-camera productions, saving hours of tedious manual syncing during post-production.
 
“The auto sync function that is built into Final Cut Pro X is a start, but most professional editors will want more. They want to be able to sync many clips at once, see the results right away, and be confident that the sync will work across a broad range of real-world video projects,” says Bruce Sharpe, CEO, Singular Software. “PluralEyes for FCP X is built on the same technology that is used countless times every day to sync weddings, corporate videos, documentaries and a host of other video production types. With a time-tested, proven technology powering the automation, FCP X editors can confidently offload their entire sync task to PluralEyes and be hands off until the sync is complete, regardless of the type of project they are working on.”
 
PluralEyes for FCP X went through an extensive public beta before its release with thousands of editors putting the software through its paces. Photography Bay reviewed the PluralEyes for FCP X beta release, commenting on its ability to better handle real-world sync projects, “…syncing multiple takes to a single audio clip is a challenge in FCP X, but is something that the new PluralEyes beta shreds through easily.” The full Photography Bay review can be viewed at http://www.photographybay.com/2011/12/15/plural-eyes-now-available-for-fcp-x/
 
PluralEyes for FCP X Pricing and Upgrades
PluralEyes for FCP X is available today via http://www.singularsoftware.com/buy.html#fcp for 149.00 USD.
 
Existing PluralEyes for FCP customers can upgrade to PluralEyes for FCP X free of charge at http://www.singularsoftware.com/downloads.html#fcp.
 
FCP X editors can test-drive the new release by downloading a 30-day trial version from http://www.singularsoftware.com/downloads.html#fcp.
 
About PluralEyes
PluralEyes dramatically accelerates the workflow for multi-camera, multi-take and dual-system audio productions. By analyzing audio information, PluralEyes synchronizes audio and video clips automatically, without the need for timecode, clappers or other special preparation. The one-click ‘sync video clips’ and ‘replace audio’ capabilities provide simple and accurate synchronization of media regardless of project type or size.
 
About Singular Software
Established in 2008, Singular Software pioneers the development of workflow automation applications for audio and video professionals. Its breakthrough solution, PluralEyes, offers innovative technology to automate and simplify multi-camera, multi-take and dual-system audio workflows. Singular Software products support industry leading non-linear editing products. For more information about Singular Software, please visit: http://www.singularsoftware.com.
 
Singular Software PluralEyes is a trademark of Singular Software Inc. All other trademarks, registered trademarks and products mentioned herein belong to their respective owners.
 
Press Contact
To schedule a press briefing or request a product review, please contact Janice Dolan at:
Zazil Media Group
Janice Dolan
(p) +1 617 817 6595
(email) janice(at)zazilmediagroup(dot)com

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West Midlands UK based video and AV specialist Central Presentations Ltd (CPL) designed and supplied a widescreen projection system and media server control for an annual Awards event for Sally Beauty Holdings Inc. which was staged at Whittlebury Hall Hotel, Towcester, Northamptonshire.

CPL was working for the event’s technical co-ordinators Unity. The overall theme was ‘Sex In The City’, and the brief was that the stage should resemble a new York skyline. They settled on using an impressive digital backdrop, that could have a dynamic range of constantly morphing and changing images projected across it throughout the early part of the evening.

This set the scene for the Awards presentations – together with some jaunty scenic pieces like a pair of giant stilettoes. The room was then transformed into a glamorous eye-catching club space for the after show, with the projections bringing a totally different look and feel to the same space.

CPL’s Nick Diacre designed the 50ft wide by 10 ft high stage set, which was constructed from a series of skyscraper shaped ‘flats’. These had white screen material stretched across their fronts to make the surface completely smooth and seamless.

Diacre produced all the advance work, drawings and visualisations using a combination of AutoCAD for the 2D and Google Sketchup for the 3D elements, which included proportional modelling of how the projection images could be mapped to the set surface. This enabled him to establish the optimum projector positions and the lenses required to completely fill the surface area smoothly and efficiently.

The centre of the set featured a 14 by 7ft 10 inch aperture, into which a 16:9 ratio screen was fitted exactly.

The video content to cover the set was mapped to fit its contours and shape using a Pandora’s Box media server, which also stored the footage, which was played out via three of CPL’s Panasonic DZ110 10K projectors. These were fitted with .9 – 1.1 short throw zoom lenses, which allowed sufficient lens shift to gain maximum headroom for the projectors. They were mounted on a ground support system with a 5.6 metre throw distance to the stage.

The centre screen area was also masked using the Pandora’s Box, and images for this were fed into a separate DZ110, rear projecting from behind the set and stage. The screen displayed and ran all the VT play-ins, Awards stings and information and graphics packages for the presentation part of the evening, as well as live IMAG camera footage of the event action as it was happening.

All the video playback content – custom created for the show and supplied via the client – was stored on the single quad head Pandora’s Box server, programmed and operated by Nick Diacre.

CPL also provided a vision mixer to Unity for the live cameras and a presentation operator in addition to five other crew plus Diacre, who had also worked for CPL on the same show last year.

Once the Awards section of the evening was complete, the DJ started and the room was transformed from a slick presentational stage to a clubby intimate vibe, complete with special funky visuals and animations created and run by Diacre using the Pandora’s Box. These were projected across the mapped portion of the set and looked spectacular!

Says Diacre, “This year SBH decided to up the ante with a much more sophisticated projection set up, which was both challenging and fun. I really enjoyed working closely with Jon Preussner the project manager for Unity, who has the vision and confidence to use technology innovatively to create a flexible, practical and lively environment for the enjoyment of all guests”.

For more press info on CPL, please contact Louise Stickland on +44 7831 329888 or +44 1865 202679 or louise@loosplat.com. To Contact CPL direct, please call +44 1926 484609 or check www.cplav.com

XL Video are supplying video production – including a projection system, LED screen, cameras and PPU – to Coldplay’s acclaimed “Mylo Xyloto” (MX) world tour, continuing its long working relationship with the band that started in 2005.

Live video director is Andy Bramley and the content / media servers are designed and programmed by Ben Miles. Together they have evolved a unique, almost cinematic video aesthetic for the band’s live performances, working closely with the production and lighting designer Paul Normandale, who designed the screen layout, and Phil Harvey, Coldplay’s creative director. Misty Buckley styled the vibrant graffiti tagged set decoration which adds another layer to the visual tone.
Played to a 360 degree audience where possible, with audience seated behind the stage which is still in the end-on position, video is an intricate blend of raw and soft / colourful and monochrome elements in a lively, edgy interactive environment.
Both Bramley and Miles have worked with XL Video on many previous occasions and describe the service, equipment and attitude as “Excellent”.
Over the stage is a single five metre diameter circular Barco O-Lite (10 mm) screen –which is directly backed with a projection screen surface for the 360 degree shows. Out in the auditorium are four circular screens – two at 6 metres and two at 4 metres – flown in the roof above the audience.
This ensured that everyone in the arena has a good view of the video. The screens showed a mix of IMAG and playback throughout the performance, and video was again an essential part of the band’s communication with the audience.
Bringing the screens out to the audience also helps close the space down and make it intimate and theatrical when needed. Coldplay are one of a handful of bands to master the art of making large venues feel intimate and personal with a combination of performance, presence and production!
Each screen is fed by a pair of XL’s Barco FLM 22K projectors with overlaid images, all connected via a fibre network, specified as the best data solution to deal with the long distances which can be up to 200 metres between projector and control.
Miles is running two active Catalyst media servers, via a grandMA Lite console, with two hot backups. Each is fitted with a TripleHead2Go giving three outputs per device – one for each of the six screens, so all can receive independent feeds in any configuration.
This gives the full flexibility to send any source to any screen, together with a 16 x 16 Lightware DVI matrix supplied by XL Video, a new product geared to touring and also remotely controllable. XL built a custom rack to house all the Catalysts, the matrix, associated devices and a UPS.
Miles does all the screen management and effecting both playback and camera outputs – an organic Bramley / Miles process often with a flourish of improv– in the Catalyst.
The playback footage follows a graffiti inspired trajectory, including re-edited video of the bespoke ‘hypnoflow’ laser frame from the summer festival tour – and other funkiness, presented with futuristic twists of psychedelia.
Bramley has directed Coldplay’s live video since 2005’s Twisted Logic tour. He and Miles worked in tandem on 2008/09’s Viva La Vida tour, where their particular synergy and style of harmonising IMAG, playback and lighting in colour and movement was initiated.
XL are supplying four main cameras for this leg of the tour, one stationed at front of house with a long lens and three hand-helds in the pit – where they can move freely and follow the band. These and one robot cam onstage are cut by Bramley on his GV Kayak console and then sent into the Catalyst system along with the TX feed, and from there, output to screen.
This beautifully balances a fresh, different and off-beat mix with but the all important criteria of enabling the fans to see the band close up … and with a year of touring on the horizon, there’s no shortage of scope for future development on the visuals front.
XL is supplying six crew to work with Bramley, including Miles, engineer Ed Jarman, projectionist Kevin Parry, LED tech Pieter Laleman and Rob Wick and Sacha Moore on cameras. James Morden and Tracey Donnelly have been XL’s technical and project co-ordinators, with Phil Mercer from the LA office as the project manager.
This tour sees the continuation of a long and successful history between XL Video and Coldplay, and is currently scheduled to continue throughout 2012.

For more press info on XL Video UK, please contact Louise Stickland on +44 (0)1865 202679 or +44 (0)7831 329888 or Email ‘louise@loosplat.com’. To contact XL Video UK direct, call +44 (0)1442 849400 or check www.xlvideo.tv

ASSIMILATE’s SCRATCH DI Workflow Enables Award-Winning Films & Projects

ASSIMILATE (www.assimilateinc.com) congratulates DuboiColor (France) for the superior post-production of 2012 Golden Globe Award winner for Best Motion Picture Musical or Comedy, “The Artist”. Kudos also goes to Offhollywood NYC for its high-end DI of “Beginners”, starring Golden Globe 2012 Award winner, Christopher Plummer.

The Artist
DuboiColor, a DI post-production group in France, did the DI for Golden Globe Award winner “The Artist”, directed by Michel Hazanavicius. Eric Martin, head of digital post-production at DuboiColor, used the powerful conforming capabilities of ASSIMILATE’s SCRATCH DI tool suite to conform the huge number of files, and to create and export LUTs for the black and white look of the film. “SCRATCH offers a fantastic end-to-end DI tool suite that enables a highly intuitive workflow. The sophistication of its conform tool allowed us to rapidly conform the files and create several iterations within a highly organized structure. This is invaluable when you’re working within a tight budget and deadline,” says Martin. “And as always, the ASSIMILATE support team was there for us all the way.”

Beginners
Offhollywood (NYC) did the final online, color, and mastering in SCATCH for “Beginners”, starring Christopher Plummer, Golden Globe Award winner for Best Supporting Actor in a Motion Picture.

“One of the producers, who had previously worked with Offhollywood on Rabbit Hole, asked for a one-hour courtesy session for their RED RAW material in our DI Theater with our colorist Milan Boncich. His team was frustrated with the progress at a West Coast post facility that was using a traditional DPX workflow as opposed to a RAW workflow,” says John “Pliny” Eremic, partner and CTO at Offhollywood. “Director Mike Mills and lead actor Ewan MacGregor came to our studio, saw what Milan could do using ASSIMILATE’s SCRATCH DI workflow, and forty minutes later we had the job.” Pliny adds, “It was hugely gratifying to be able to achieve the look Mike envisioned, and work on one of the best films of 2011.”

Learn more about Offhollywood production, post-production and RED camera rental services at www.offhollywoodpictures.com. See and learn more about their film projects behind the scenes at www.offhollywoodbuzz.com

“We are always delighted by the accomplishments of our SCRATCH artists who continue to tell some of the greatest stories using SCRATCH. But we’re especially proud when the results of their talents earn outstanding achievement awards such as the Golden Globe Awards,” says Steve Bannerman, VP Marketing at ASSIMILATE. “We congratulate Eric Martin and his team at DuboiColor for The Artist, as well as Mark Pederson, ‘Pliny’, and everyone at Offhollywood for their masterful post-production of Beginners. We are honored to contribute to their craft.”

SCRATCH Digital Workflow

ASSIMILATE’s SCRATCH and SCRATCH Lab deliver the industry’s most comprehensive toolset for data-centric digital cinema and broadcast productions for 2D and 3D stereo projects at up to 5K resolution and beyond. New 6.1 versions of the software, running on Mac OS X and Windows 7, feature SDI output via AJA Kona 3G graphics cards, wicked-fast dailies rendering, improved metadata and timecode handling, and enhanced RED workflow support.

ASSIMILATE is the premier provider of digital workflow and post-production tools, that have proven essential to the successful creation of thousands of studio and independent features, television shows, music videos and corporate video productions. The company’s products, running on Windows and Mac OS® X, are the heartbeat of today’s most demanding digital post-production and dailies workflows for 2D and stereo 3D productions. They equip directors, DPs and artists with the state-of-the-art, intuitive, data-centric solutions they need to meet the continual challenges of increased creativity and productivity amid ever-shrinking budgets. ASSIMILATE’s SCRATCH data-centric DI system, is the most comprehensive, end-to-end cinema and broadcast imaging tool for playback, conform, editing, color grading, compositing and finishing of RED and other digital workflows. SCRATCH Lab delivers a comprehensive toolset for the review, versioning, color correction, conform and output of on-set or VFX dailies. ASSIMILATE a privately held company, with headquarters in Santa Clara, California, USA, offices in London, UK, Groningen, NL and Beijing City, CN and markets its products worldwide via a global reseller network. To learn more, and find your local reseller, please visit www.assimilateinc.com.

HALF MOON BAY, CA (January 18, 2012) – GoPro, the world’s leading activity image capture company, today announced the release of a new version of its professional family of 2D and 3D production software – GoPro CineForm Studio Premium and GoPro CineForm Studio Professional. The company recently released a new version of its free software, GoPro CineForm Studio, which adds powerful new features appealing to consumers and professionals alike.

“This announcement represents a significant milestone in GoPro’s efforts to provide a complete camera-to-software solution for 2D and 3D productions for its entire customer base,” said David Newman, GoPro’s Senior Director of Software Engineering. “The updated GoPro CineForm Studio software line has huge implications, not only for consumers and enthusiasts, but for professional cinematographers and filmmakers who are increasingly embracing new camera technologies to help them tell their stories in ever more exciting and unique ways. The new software maintains an intuitive user interface for basic tasks but also provides sophisticated Active Metadata-driven capabilities that slipstream into the most advanced production pipelines in the industry.”

What’s New in the GoPro CineForm Studio Product Line

GoPro CineForm Studio
Available for both Mac and Windows platforms, GoPro CineForm Studio enables users of every skill level to adjust aspect ratios and instantly correct distortions or ‘image stretching’ that typically occurs when resizing images. And for high impact, dramatic time lapse sequences, GoPro CineForm Studio now enables users to add keyframes anywhere in the video, and add effects such as pan and zoom to introduce movement and drama to time lapse sequences.

Other new features include:
- Automatic recognition for 3D videos for YouTube uploads
- Auto-update of HD HERO2® camera firmware
- Support for popular .mov and .mp4 video formats to bring in content from other camera systems

GoPro CineForm Premium and GoPro CineForm Professional
For professional cinematographers, filmmakers and videographers, GoPro has also strengthened its family of professional applications; GoPro CineForm Premium and GoPro CineForm Professional. GoPro CineForm Studio Premium captures the most popular features of both CineForm’s Neo HD and Neo 3D into a singular, new solution ideal for 2D and 3D broadcast and feature film production. GoPro CineForm Studio Professional extends even more powerful stereo 3D post-production capabilities to 3D broadcasters and 3D feature filmmakers, and is optimized for multi-camera stereo rigs, such as SI, PHANTOM, RED, and ARRI ALEXA. Additional features at-a-glance include:

GoPro CineForm Studio Premium:
- New and improved user interface
- Non-destructive Color correction
- Non-destructive Reframing/Image manipulation
- Non-destructive 3D correction
- Support for a wide range of consumer and professional 2D and 3D (single body) video cameras
- Support for HD and beyond

GoPro CineForm Studio Professional:
- New and improved user interface
- Non-destructive Color correction
- Non-destructive Reframing/Image manipulation
- Advanced Non-destructive 3D correction
- Support for a wide range of consumer and professional 2D and 3D (all types) video cameras
- Support for HD and beyond
- Independent eye control for professional 3D camera rigs

Pricing and Availability
GoPro CineForm Studio is available immediately as a free download here.

GoPro CineForm Studio Premium is priced at $299, and GoPro CineForm Studio Professional is priced at $999 and are available for download here: http://www.cineform.com.

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, Sport Chalet, Best Buy and at GoPro.com.

GoPro Media Contact:

Rick Loughery, GoPro Kevin Bourke, BourkePR
(415) 738-2480 x722 or pr(at)gopro(dot)com (508) 259-6018 or kbourke@bourkepr.com

GOPRO®, HERO®, and CineForm® are trademarks or registered trademarks of Woodman Labs, Inc. in the United States and other countries. All other company, product names are trademarks or registered trademarks of their rightful owners.

Cinedeck LLC (www.cinedeck.com), pioneering developer of mobile capture systems for motion picture and broadcast production, today announced changes and additions to its personnel, as the company enters a new growth and expansion phase, which includes the launch of the new Cinedeck RX rack-mountable, hard-disc recorder, monitor and playback system.

Cinedeck co-founder CTO Charles Dautremont has taken the role of acting CEO, with Robert Stacy, Cinedeck LLC’s longtime collaborator and supporter at Asia Media Products (AMP), promoted to Vice President. Jane Sung, is promoted within the company to Director of Operations. Alan Hoff, Cinedeck’s former CEO, will remain as a company board member.

Robert Stacy is the CEO and co-founder of AMP, a global sales and marketing organization catering to small and medium-sized manufacturers focused on digital media. He has 20 years of successful experience in sales, marketing and product development in the digital media marketplace. Prior to AMP, he was Director of Sales and Marketing at Intergraph Computer Systems, and Director of Product Management at Avid. He has an intimate knowledge of Cinedeck technologies, sales operations and customers, having served as Director of Sales for the company for two years, and will oversee Cinedeck sales and business development operations in his new role. He remains CEO of AMP.

Jane Sung has been with Cinedeck for over two years, overseeing finance and operational coordination. Her knowledge and experience in logistics, manufacturing and operations will be important as Cinedeck’s product lines continue to grow.

“We have an exciting and busy year ahead of us, starting with the official launch of Cinedeck RX, the latest addition to the Cinedeck product family, plus an array of other software and hardware enhancements in the pipeline,” said Dautremont. “Robert has a great track record in adding value, creating sales and marketing channels for post-production and broadcast manufacturers, and his expertise will prove invaluable to Cinedeck as we expand our product lines globally. Jane’s operational expertise will be necessary as we continue to grow and ship more products.”

Dautremont added, “Alan Hoff’s valuable contribution helped Cinedeck to grow, and to maintain its global reputation for innovation and excellence. Although he will be missed, Alan will remain as a board member for Cinedeck, and we look forward to his input as we move forwards.”

Adding to the Cinedeck family, Cinedeck today launched Cinedeck RX, a new, rack-mountable, hard-disc recorder, monitor and playback system, that delivers tapeless workflow to studios, post-production facilities and broadcasters covering the wide range of cinema production, sporting, music, theatrical and entertainment events in both 2D and 3D stereoscopic formats.

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.

New rack-mountable Cinedeck RX delivers multi-camera capture and post-production innovations for cinema and TV entertainment, sports, news and events

Cinedeck LLC (www.cinedeck.com), pioneering developer of mobile capture systems for motion picture and broadcast production, has shipped Cinedeck RX, the latest addition to the Cinedeck product family. Cinedeck RX is a new, rack-mountable, solid-state recording, monitoring and playback system, that delivers tapeless workflow to studios, post-production facilities and broadcasters covering the wide range of cinema production, sporting, music, theatrical and entertainment events in both 2D and 3D stereoscopic formats.

One of the first customers to install Cinedeck RX is outside broadcast service company All Mobile Video (www.allmobilevideo.com), New York, which is integrating multiple Cindeck RX systems into its fleet of OB vehicles and in-house post-production facility.

“We work with a diverse client base – across multi-camera televised sports, music, entertainment events, plus cinema and corporate production – and Cinedeck RX is the best-suited system to handle their different capture and post requirements in one box,” said Eric Duke, President of All Mobile Video. “Most importantly, because Cinedeck RX saves time and money on ingest into post, we can now offer our clients more competitive all-in pricing. Regarding future workflow, we see Cinedeck RX as a major step in removing tape-based acquisition completely from the workflow.”

Cinedeck RX is the next generation of the platform pioneered by Cinedeck EX, the company’s award-winning, portable, multi-format, HD-SDI recording system. In addition to cinema, studio and post-production applications, Cinedeck RX also meets the demands of broadcasters, whether they are in a facility or mobile. It offers unsurpassed native capture and codec choice, flexible connectivity and editorial workflow options, a small physical footprint, plus ground-breaking versatility on 2D/3D stereo and multi-camera shoots. Cinedeck RX uses the same intuitive touchscreen interface as the Cinedeck EX, reducing training time and speeding deployment in the field.

Record: Cinedeck RX captures from all leading production formats, recording on to cost-effective SSD storage media, and can be used for single input, dual-input two camera, or 3D stereo shoots. Cindeck is the first to offer simultaneous native support for Avid and Apple standards – supporting Avid DNxHD (wrapped as MXF OP-Atom or QuickTime), JFIF for proxies, and all Apple ProRes codec formats, including 4444, CineForm and uncompressed 444 (10-bit) or 422 (8- or 10-bit). Its unique “Double Dual-Stream” feature delivers the flexibility to capture two feeds at a time with the same codec, or to capture one feed with two different compression formats – such as Avid DNxHD and Apple ProRes together, or Hi-Res master and Low-Res proxy together – while simultaneously creating back-up copies of each.

Monitor: Cinedeck RX monitors video in realtime via a high-resolution, 7″ touchscreen display. It provides users with a comprehensive array of image analysis tools – including edge enhancement for focus assist, clipping, waveform, vectorscope and histogram. Users can also monitor audio via the headphone jack, and toggle between audio inputs – while simultaneously viewing the on-screen, pro-audio standard, recording level display.

Playback: Cinedeck RX enables users to review shots instantly in realtime, and in any order, via the built-in display, or external HD-SDI or HDMI monitors – allowing them to instantly QC and know they have captured the shots they want.

“Cinedeck RX builds on the magic of our hugely-popular Cinedeck EX, and delivers an array of new advantages to broadcast and post facility workflows, especially those transitioning to tapeless environments,” said Cinedeck CEO Charles Dautremont. “It’s a small, discrete unit, that’s easy to operate and is equally at home near-set, at a post house, or inside an OB truck. Cinedeck RX gives producers far greater choice in terms of production and post-production formats, while simplifying and accelerating production and post-production workflows. Features such as the unique Double Dual-Stream capability that simultaneously provides redundant finish and proxy files, deliver new gateways to post, plus huge time and cost savings for the entire project.”

Key advantages of Cinedeck RX for mobile OB and facility broadcast operations:

Compact Mobility: delivered as a 10lb, compact, 4RU half-rack package, Cinedeck RX is designed for the mobile production environment, where space is at a premium, and cooling, power-draw and weight are of utmost importance. Its rugged aluminum case is built for the rigors of the road, with the “Double Dual-Stream” mode doubling the productivity in the same half-rack footprint.

Massively Compatible and Fast: with Cinedeck RX, footage is immediately ready for editing in Apple Final Cut Pro, Avid Media Composer, Adobe Premiere Pro, Sony Vegas and GV Edius. Time-consuming and costly ingest and transcoding have been eliminated, as Cinedeck RX captures files in the native format chosen by the user.

Versatility for any format – SD, HD, Dual Link, 3G and 3D stereo: Cinedeck RX is network-accessible, and supports realtime up/down/cross conversion, enabling the painless transition to new production formats. For 3D stereo it captures via HDMI or HD-SDI, and offers the widest variety of codecs for stereoscopic recording in one device, with footage immediately available for editorial and VFX post production.

Connectivity: Cinedeck RX can be deployed in any production environment, offering a wide choice of video, audio, and IT connections – including dual HD-SDI inputs and outputs, HDMI input and output including stereo 3D support, and multiple Gigabit Ethernet ports.

Security: redundant file creation on separate local or remote discs and redundant hot swappable power supplies protect material during capture.

Pricing and Availability: Cinedeck RX is available now for purchase via resellers worldwide starting at $14,995 USD. To find a reseller, please visit www.cinedeck.com.

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.

FxFactory 3 brings seven brand new visual effects products plus free updates to existing plug-ins
 
Boston, MA – Noise Industries, developer of visual effects tools for the postproduction and broadcast markets, announced the release of FxFactory® 3. FxFactory is a visual effects platform for Apple® Final Cut Pro®, Motion and Adobe® After Effects®, powering hundreds of hardware accelerated, visual effects plug-ins developed by Noise Industries and partners. The new FxFactory 3 release supports Final Cut Pro 6, 7, and X; Motion 3, 4 and 5; Final Cut Express 4; and Adobe After Effects CS3, CS4, CS5 and CS5.5.
 
“FxFactory 3 is the largest software release in the company’s history,” comments Niclas Bahn, business development manager, Noise Industries. “Aside from offering this major upgrade free for our existing customers, we are rolling out seven brand new products, vastly expanding the visual effects options and capabilities for Final Cut Pro X editors. And this is just the beginning.”
 
A free download, FxFactory 3 is the ultimate toolbox for editors and compositors, and with hundreds of robust plug-in options, the possibilities are endless. The following new plug-in packages are available today through FxFactory 3:
 
Yanobox Moods is the first Color Correction plug-in to offer a heads up display interface. Users can intuitively color grade HD footage in full screen mode. Debuting at 49 USD, users can learn more about Yanobox Moods at http://www.yanobox.com/Moods_Features/
 
Idustrial Revolution XEffects Tech Transitions provides 28 dynamic high-tech transitions that take any project from ordinary to striking with just a few simple clicks. Tech Transitions is the first commercial product exclusively for Final Cut Pro X to feature temporal or retiming of video within the effect. Also debuting at 49 USD, users can learn more at http://idustrialrevolution.com/x1-tech-transitions
 
Nattress Levels and Curves offers the power of curve-based color adjustment applied in film-log space for fine-tuned image results. By placing the image into a specially constructed film-log space, editors have more control over the tones in the image and the benefit of film-like contrast handling. Priced at 29 USD, users can learn more at http://nattress.com/?q=LevelsCurves
 
Luca Visual FX Sprockets Slip creates the effect of a sudden slip of rolling film. Priced at 49 USD, users can learn more at http://lucavisualfx.com/Sprocket_Slip_Transition.htm
 
Luca Visual FX Film Leaders is a title generator for ragged and grungy looking text, allowing users to enhance projects with text that matches the look and feel of their images. Priced at 79 USD, users can learn more at http://lucavisualfx.com/Film_Leaders_Generator.htm
 
Luca Visual FX Grunge Effects provides a variety of animated textures designed to add a dynamic and intriguing feel. Priced at 79 USD, users can learn more at http://lucavisualfx.com/Grunge_FX_Generators.htm
 
Luca Visual FX Light Leaks allows users to overlay light effects over any media. Priced at 59 USD, users can learn more at http://lucavisualfx.com/Light_Leaks_Generator.htm
 
The following products can be upgraded free of charge by existing users and are available today for use with the new FxFactory 3 platform:
 
FxFactory Pro 3.0, Noise Industries’ award-winning flagship set of visual effects, includes the new ‘Playback Ready’ transition as well as improvements to all existing effects. FxFactory Pro 2.0 customers can upgrade to FxFactory Pro 3.0 free of charge. Priced at 399 USD, users can learn more at http://www.noiseindustries.com/support/fxfactory300/
 
EasyLooks 2.6 is a free upgrade to DVShade’s color grading plug-in that gives the user complete control; simply choose a preset or start from scratch – and easily save homemade grading settings as presets for future use. Priced at 49 USD, users can learn more at http://www.dvshade.com/
 
SUGARfx Light Pack 3.0 offers fun and useful filters including Marquee, Paparazzi and Lens Flare for impressive lighting effects and transitions. Editors can purchase the 100 light effects for 99 USD. To learn more, visit http://www.sugarfx.tv/info/lightpack_SUGARfx.html
 
About Noise Industries, LLC
Established in 2004, Boston, Massachusetts-based Noise Industries is an innovative developer of visual effects tools for the post-production and broadcast community. Their products are integrated with popular non-linear editing and compositing products from Apple and Adobe. For more information about Noise Industries, please visit: http://www.noiseindustries.com.
 
Press Contacts
Janice Dolan
Zazil Media Group
Janice@zazilmediagroup.com
(p) 617.817.6595
(skype) janicedolan
 
Megan Linebarger
Zazil Media Group
megan@zazilmediagroup.com
(p) 617.817.6595
(skype) megan.zazil
 
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