Archive of the Workflow Category

Dalet Xtend module now provides seamless media and metadata exchanges between Dalet MAM platform and Avid NLEs, Adobe Premiere and Apple Final Cut Pro
 
Paris, France – April 9, 2012 – Dalet Digital Media Systems today announced more flexible and comprehensive integration support with several non-linear editing platforms. The Dalet Xtend module, originally created to facilitate a more fluid workflow between the Dalet Media Asset Management platform and Apple Final Cut Pro® systems, is being expanded to include similar media and metadata exchange capabilities with Avid Media Composer®, Avid NewsCutter®, Adobe® Premiere®, and other NLEs. This interoperability significantly increases productivity and collaboration for editing workgroups. Dalet Xtend for Avid will be demonstrated at NAB 2012 on the Dalet Stand (SL4615). Dalet Xtend for Adobe Premiere will be available later this year.
 
“Dalet Xtend makes the production workflow much more seamless in every scenario, whether it is for new production, program prep or sports. Designed originally for integrating with Final Cut Pro, Dalet Xtend has gotten excellent feedback from customers and we are pleased to make similar functionality available with other industry standard NLEs,” says Raoul Cospen, Director of Marketing, Dalet. “It relies on open development technology and allows editors working on NLEs to be tightly integrated into the overall production workflow rather than functioning in operational silos. Dalet Xtend also gives customers the flexibility to assemble their preferences for best-of-breed choices for production tools with the assurance that they can change their preferences in the future.”
 
With Dalet Xtend editors have access to media (videos, EDLS, shot selections, etc) and metadata that are stored in the Dalet content catalogue directly from their NLE workstations. From their Dalet workstations, prep-editors have access to incoming feeds while they are being recorded, and they have access to powerful search tools to find relevant material in the archive. They also have a rich set of prep-editing tools available from the same application that cover many pre-production tasks such as clip selection, storyboarding and even voice over recording. Clips, EDLs and videos are directly accessible from 3rd party NLEs, where more complex editing can be done. The finished work can then be exported back to Dalet as a new title, or saved against a placeholder – all with the appropriate metadata entries as the exchange process is not destructive to the metadata. Crucial information such as descriptive locators and usage rights flow back and forth and are tracked by the Dalet content catalogue thanks to intelligent genealogy.
 
The Dalet MAM engine expertly controls the metadata and media processes. Genealogy metadata linking the editor’s material to the original sources can be preserved and content is better referenced throughout, making searches of the content catalogue and archives more efficient; content is more readily accessible to everyone who needs it. Dalet Xtend can significantly reduce expensive in-suite production time, streamline the workflow and improve media management.
 
About Dalet
Dalet solutions enable broadcasters and media professionals to create, manage and distribute content to both traditional and new media channels, including interactive TV, the Web and mobile networks. Dalet combines into a single system a robust and proven Asset Management platform with advanced metadata capabilities; a configurable workflow engine, and a comprehensive set of purpose-built creative and production tools. This integrated and open environment enables end-to-end management of the entire News and Sport and Program content chain, and allows users to significantly improve efficiency, and to maximize the use and value of their assets. Dalet’s solutions are delivered through a dedicated Professional and Integration Services Department to ensure the highest possible standards.
 
Dalet systems are used around the world by many thousands of individual users at hundreds of TV and Radio content producers, including public broadcasters (ABS-CBN, BBC, CBC, DR, France TV, RTBF, RFI, Russia Today, RSR & TSR, RT Malaysia, VOA, WDR), commercial networks and operators (Antena 3, Canal+, FOX, eTV, Mediaset, Orange, Time Warner Cable, Warner Bros., Sirius XM Radio) and government organizations (Queensland JAG, Canadian House of Commons, The European Commission). Dalet is traded on the NYSE-EURONEXT stock exchange (Eurolist C): ISIN: FR0011026749, Bloomberg DLT:FP, Reuters: DALE.PA.
 
Dalet is a registered trademark of Dalet Digital Media Systems. All other trademarks and products mentioned herein belong to their respective owners.
 
For more information on Dalet, visit www.dalet.com.
 
Press contact:
Janice Dolan
Zazil Media Group
(p) +1 617-817-6595
(e) janice(at)zazilmediagroup(dot)com
 
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NAB Booth SL6310

Digital Vision has unveiled a unique, powerful, single restoration system at NAB 2012, answering the needs of content owners housing millions of hours of material stored in videotape archives. Solely targeted at the video restoration market, Phoenix Video provides broadcasters and archive owners with a highly cost-effective image restoration software solution that allows content stored on videotape to be fully restored ready for distribution across multiple platforms.

Phoenix Video is an end-to-end solution that includes Digital Vision’s leading image manipulation DVO software toolset for highly automated restoration and enhancement of video content stored on various tape formats, such as 1″, U-Matic and Betacam SP, or later transferred to digital tape formats. The system handles image defects such as drop-outs, severe noise, cross color artifacting, line sync problems (shifts/stretching) and more. Additional features include motion compensated frame rate conversion and high-quality upscaling as well as full support for common broadcast codecs.

These new video restoration tools have also been added to Digital Vision’s high-end restoration offering Phoenix Finish. The system can now restore material from analogue videotape archives up to 4K film restoration handling a combination of video and film related issues. With the new video restoration toolset included, Phoenix Finish now provides users with a unique system that fulfils all requirements regardless of acquisition format or quality of original material.

Torbjörn Dyrvold, Phoenix & DVO Product Manager says, “We are delighted to introduce this new integrated video restoration toolset at NAB. Phoenix is the only high-end restoration and mastering solution that provides both film and video restoration capabilities. The addition of the video tools enables our customers to expand their services and bring new life to valuable content stored on tape. For the first time this allows users to fully correct and deliver projects of mixed film and video media with related artifacts, within a single timeline using state-of-the-art tools.”

The first user of Phoenix video will be Deluxe 142 in Soho, London who will add the system to its full range of digital restoration services.

Phoenix Video is available as a standalone product or integrated with Phoenix Finish the company’s flagship restoration system, which combines the power of film and video restoration in one system. Phoenix combines the best in automated, semi-automated and manual restoration tools, with strong editorial and mastering features providing ingest, conform, editing, color grading and a comprehensive set of delivery formats.

About Digital Vision
Digital Vision was founded in 1998 in Stockholm, Sweden. With offices in Stockholm, London and Los Angeles, and Linkoping in Sweden, Digital Vision has developed Emmy award winning technology for the Broadcast and Post Production marketplace. In 2005, Digital Vision acquired Nucoda Ltd and integrated its technology into the Nucoda product line. This has resulted in the leading colour grading, finishing and mastering solutions that are used to create much of the world’s high profile television, film and commercials media broadcast today. The Phoenix restoration software solutions and Golden Eye range of scanners – in addition to the Nucoda range – provide innovative tools to create the industry recognized highest quality HD, 2K/4K and stereoscopic 3D images. In April 2011 Digital Vision acquired Image Systems and is now a division of the Image Systems group of companies.

All trademarks used herein, whether recognized or not, are the properties of their respective companies.

# # #

Image Systems Marketing Contact:
Alexa Maza | alexa.maza@digitalvision.se | Tel: +1 (818) 769-8111
Ulrika Liiv | ulrika.liiv@digitalvision.se | 46 (0) 8 546 18232

Image Systems USA PR Contact:
Ignite | Christine Purse | chris@ignite.bz | Tel: +1 818 303 8088 | Mobile: +1 323 806 9696

Image Systems EMEA & Asia PR Contact:
Jump PR | Kate Ford | kate@jumppr.tv | Tel: +44 (0) 1932 240001 | Mobile: +44 (0) 7740 948 065

NAB Booth SL6310

Digital Vision has announced significant enhancements to its Nucoda color grading platform, providing increased workflow capabilities and additional tools for grading, pre-grading and stereoscopic projects. At NAB the company will unveil the Nucoda Film Master ACES workflow, a new end-to-end solution developed by the Science and Technology Council (STC) of the Academy of Motion Picture Arts & Sciences (AMPAS).

Today’s post production environment has seen an explosion in the number of cameras, file formats and distribution channels required for many projects. These new formats also need to coexist and stay compatible with older formats and assets, which can result in much greater project complexity and data management headaches for the production. ACES solves this problem by delivering a single post production workflow that keeps all production assets at their maximum possible quality and providing the full benefit of High Dynamic Range (HDR) production pipelines. The upcoming version of Nucoda Film Master comes with ACES support and a full HDR grading capability, including a rich toolset for dealing with color critical workflows such as HDR capture from ARRI and RED cameras.

In addition to ACES, Digital Vision will also highlight its new DVO video restoration toolset, answering the needs of content owners housing millions of hours of material stored in video tape archives.

For stereoscopic projects Digital Vision will demonstrate its new automated Auto Color & Align tools, a key element of Nucoda’s respected stereoscopic workflow. Colorists can now automatically match 3D cameras using advanced geometry technology providing morphing and color matching capabilities.

The company will unveil its Deformable Shape Tracker for Nucoda providing a totally unique advanced shape tracking concept. Instead of tracking and then moving a shape the new tracker tool deforms the shape to perfectly match the changes occurring to the object underneath.

Nucoda also has a number of other key enhancements including: Support for the latest RED Epic HDRx, ARRI Alexa range of cameras and the Sony F65 CineAlta camera (SRMASTER(tm) format); 64 bit application providing increased performance and stability when using large format digital cameras and image manipulation at 4K; and updated features for the latest Avid and Apple FCP editorial workflows. The next-generation Precision grading panel launched last year is now available in curved and straight configuration and will be demonstrated on the booth.

NAB will provide a platform for Digital Vision to launch Nucoda Look, the latest addition to its grading and finishing platform. Nucoda Look is a pre-grade assist station and deliverables platform with LUT export; these LUTs are now importable into the 42-inch Grade 1 Dolby PRM-4200 Professional Reference Monitor.

The company will also announce enhanced grading features for Nucoda Fuse including full Base layer grading, a replace function to quickly change color tools and LUT creation and export.

Nigel Hadley, Digital Vision Product Manager says, “We’re committed to answering the needs of our customers by continuing to improve our core grading technology and adding new innovations to the grading arena. Already this season over 40 network and cable hits including: CSI (CBS), New Girl (Fox), Homeland (Showtime), Downton Abbey (ITV) and Great Expectations (BBC) were graded using Nucoda.”

Kelvin Bolah, President of Digital Vision, adds, “We’re delighted to make these announcements at NAB. Used to grade and finish some of the most popular episodic television, film, commercials, documentaries and music video releases, Nucoda continues to be the system of choice for top colorists worldwide. As well as the television projects Nucoda has contributed to a number of major feature films including: Film Factory’s Mirror Mirror, Aardman’s The Pirates! In An Adventure with Scientists and the upcoming Pixar Animation Studios’ Brave and Walden Media’s Of Men and Mavericks.”

About Digital Vision
Digital Vision was founded in 1998 in Stockholm, Sweden. With offices in Stockholm, London and Los Angeles, and Linkoping in Sweden, Digital Vision has developed Emmy award winning technology for the Broadcast and Post Production marketplace. In 2005, Digital Vision acquired Nucoda Ltd and integrated its technology into the Nucoda product line. This has resulted in the leading colour grading, finishing and mastering solutions that are used to create much of the world’s high profile television, film and commercials media broadcast today. The Phoenix restoration software solutions and Golden Eye range of scanners – in addition to the Nucoda range – provide innovative tools to create the industry recognized highest quality HD, 2K/4K and stereoscopic 3D images. In April 2011 Digital Vision acquired Image Systems and is now a division of the Image Systems group of companies.

All trademarks used herein, whether recognized or not, are the properties of their respective companies.

# # #

Image Systems Marketing Contact:
Alexa Maza | alexa.maza@digitalvision.se | Tel: +1 (818) 769-8111
Ulrika Liiv | ulrika.liiv@digitalvision.se | 46 (0) 8 546 18232

Image Systems USA PR Contact:
Ignite | Christine Purse | chris@ignite.bz | Tel: +1 818 303 8088 | Mobile: +1 323 806 9696

Image Systems EMEA & Asia PR Contact:
Jump PR | Kate Ford | kate@jumppr.tv | Tel: +44 (0) 1932 240001 | Mobile: +44 (0) 7740 948 065

‘Act of Valor’ editor Michael Tronick, A.C.E. takes NAB attendees behind-the-scenes into the year’s biggest action blockbuster for an ACE EditFest Mini Panel on Monday April 16 at 4:00pm on booth SL12805; Tech Talk and Happy Hour sponsored by AJA
 
New York, NY – April 5, 2012 – Manhattan Edit Workshop (MEWshop) is pleased to announce Hollywood editor, Michael Tronick, A.C.E., will be speaking at the MEWshop Edit House (NAB booth SL12805) on Monday April 16, at 4:00pm for a mini ACE EditFest panel. Bringing over 30 years of industry experience to the NAB show floor, the veteran editor will give attendees an insider’s view on editing major films and action-packed blockbusters, including his latest project, Act of Valor. Tronick’s impressive resume includes editing on popular films such as Midnight Run, Battle: Los Angeles, Iron Man, Hairspray, Remember the Titans, and much more. Tronick, who’s worked as a professional film and music editor since 1978, currently serves on the Board of Governors of the Academy of Motion Picture Arts and Scientists representing the Film Editors Branch. The ACE EditFest Mini Panel, based on the highly popular ACE EditFest series presented by American Cinema Editors and MEWshop, will be followed by a Q & A session with Tronick.
 
MEWshop will host a cocktail reception immediately after the presentation. Space is limited; to register, please visit: http://www.mewshop.com/contact/rsvp/.
 
About MEWshop Edit House at NAB 2012
An extension of its professional, certified training, the MEWshop Edit House at NAB 2012 is featuring free hands-on training workshops taught by industry professionals covering a wide range of workflows, including multi-camera productions, DSLR shoots, stereoscopic 3D, color grading and visual effects creation.
 
NAB 2012 attendees can register for the free hands-on training at http://www.mewshop.com/contact/rsvp/.
 
Event Sponsored By:
AJA Video Systems
 
About Manhattan Edit Workshop
Manhattan Edit Workshop was founded in 2002 with the goal of providing cutting-edge instruction on Apple®, Adobe® and Avid® platforms. In 2011 MEWshop added Avid Pro Tools®, DaVinci Resolve, Autodesk® Smoke® and ASSIMILATE SCRATCH training to its already impressive curriculum. MEWshop’s signature Six-Week Intensive is a jump-start for anyone looking for a career in post-production, while weekend and one-week courses introduce and solidify core-editing concepts. Corporate and group training offers a customized curriculum, either in-house or on-site, for professionals eager to learn a new skill or to build on existing ones. The facility’s focus on small workshops, highly skilled and certified faculty, and a results-oriented curriculum, have quickly won it the reputation as New York’s premier post-production teaching facility.
 
Follow @mewshop on Twitter or visit us on Facebook at www.facebook.com/mewshop.
 
For more information on Manhattan Edit Workshop, please visit: www.mewshop.com.
 
Press Contacts:
 
Janice Dolan
Zazil Media Group
janice(at)zazilmediagroup(dot)com
(p) 617.817.6595
(skype) janicedolan
 
Anya Oskolkova
Zazil Media Group
anya(at)zazilmediagroup(dot)com
(p) 617.817.6559
(skype) anya.oskolkova
 
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PowerWall leverages Orad’s new HDVG4 video rendering platform
to boost visual display
 
April 5, 2012 — Debuting at NAB 2012, the new version of Orad PowerWall offers the ability to generate 8 genlocked 1080P (3G) or 16 HD 1080i SDI signals tiled across the video wall according to the required shape and size. Multiple output options allow the HDVG4 to closely match the resolution and aspect ratio of the video wall. Resolutions range from 3840×1080 for the 2×1 video wall configurations, 7680×2160 for 4×2, and a staggering 15360×2160 in the 8×2 arrangement, all from a single HDVG4. Support for high resolutions enables broadcasters to zoom in on content without it becoming pixelated.
 
The HDVG4 platform can accept up to 8 HD or 8 SD live video insertions, as well as video clips wrapped in industry-standard formats. Videos can be mapped to different graphical elements on the video wall. All video elements become an integral part of the templates and do not need to be overlaid as ‘picture-in-picture’ objects.
 
Generated from a single box, all graphical elements including tickers, videos, and animated items remain synchronized across the whole video wall, with no tearing visible on any sections of the output.
 
The PowerWall configurator tool lets users easily adjust the properties of the video signal without having access to the engineering controls on the video wall. Users can adjust the size, position, edges and color balance of the whole wall or individual signals directly from the control PC.
 
For more about PowerWall, please visit Orad at NAB, booth SL4524.
 
About Orad Hi-Tec Systems
Orad Hi-Tec Systems is a world-leading provider of real-time 3D broadcast graphic, video server, and media asset management solutions, including those for news, channel branding, sports production and enhancement, elections and special events, virtual studios, and virtual advertisement. Orad’s compelling solutions streamline production workflow, enhance viewer experience, and improve production value. Founded in 1993, Orad is a public company listed on the Frankfurt Stock Exchange (OHT). More information is available at http://www.orad.tv/.
 
For further information, contact:
 
Ofir Benovici
Vice President of Marketing
ORAD Hi-Tec Systems Ltd.
ofirb(at)orad(dot)tv
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ASSIMILATE (www.assimilateinc.com) announced today that it has launched a worldwide professional training and certification program for SCRATCH Lab via selected ASSIMILATE Authorized Training Partners. The new certification program offers DITs, video engineers, assistant editors and other dailies professionals intensive hands-on training courses, covering the production dailies workflow at one of the following ASSIMILATE Authorized Training Partner facilities:

• Moviola, Hollywood, CA (www.moviola.com)
• Manhattan Edit Workshop, New York, NY (www.mewshop.com)
• Digital Film School, Mumbai, India (www.digitalfilmschool.in)
• Lapins Bleus, Paris, France (www.lapins-bleus.com)

The certification is awarded once the course is completed and a proctored examination is successfully passed. The program is designed to provide artists with a certified dailies skill-set that’s backed by extensive practical expertise in the best practices of SCRATCH Lab production dailies workflows – a significant advantage in today’s hyper-competitive marketplace.

“ASSIMILATE’s SCRATCH Lab has quickly become the go-to tool for creating color corrected dailies for both large and small-scale productions”, said Ben Cain, a DIT based in New York City. “I applaud ASSIMILATE for taking this step to offer advanced training and certification for their tools and workflows. Effective training is important for DIT’s to keep on top of an ever changing industry, and programs such as this one help us to become even more valuable in today’s extremely competitive environment”.

SCRATCH Lab Certification program
The Lab courses are designed to give dailies professionals a broad set of information and skills over time – take one or two courses now and add more over time. The initial courses include SCRATCH basics of building a fast and efficient dailies pipeline, and the use of audio syncing, Quick Times, applying LUTs, and more. And for advance dailies, future courses will include conforming, matrix use, green screens, compositing, and more.

“SCRATCH Lab has taken the production dailies market by storm with its power, versatility and affordability”, said Steve Bannerman, VP of Marketing at ASSIMILATE. “Whether you work in television, commercials, or feature films; and shoot with RED’s Epic, ARRI’s Alexa, the Sony F65, or work in other formats, this new training and certification program offers state-of-the-art techniques for meeting the challenges of the dailies workflow for any production.”

SCRATCH Lab
SCRATCH Lab is the most comprehensive, powerful, and intuitive real-time tool for the production dailies pipeline. Lab has been used for films such as Pirates of the Caribbean: On Stranger Tides (Company 3); TV shows such as Harry’s Law (Warner Brothers); and commercials for the likes of BMW, Audi (Brownian Motion).

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 SCRATCH products, running on Windows and Mac OSX, 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 please visit www.assimilateinc.com.

AbelCine (www.abelcine.com) today announced the launch of a new and unique financing program designed to make owning ASSIMILATE’s SCRATCH Lab production dailies system more affordable than ever for DITs, video engineers, and other dailies professionals. SCRATCH Lab delivers powerful, intuitive, real-time tools for the production dailies pipeline, and has been used for films such as Pirates of the Caribbean: On Stranger Tides (Company 3), TV shows such as Harry’s Law (Warner Brothers), and commercials for the likes of BMW, Audi (Brownian Motion). Available immediately, AbelCine’s new program will finance systems for up to three years, and is available in three starting configurations: SCRATCH Lab software only, a Laptop Package and a complete Workstation Package. Prices start as low as $265 per month.

“We’re thrilled to be able to offer this new financing program to DITs, video engineers and other dailies professionals,” said Jonathan Epner, Director of Digital Media Services at AbelCine. “This program is unique in that it offers a tremendous range of product and time-frame options, starting with software-only financing for up to three years. From major studios to independent filmmakers to freelancers, anyone can now afford the SCRATCH Lab system of their choice.”

AbelCine’s new lease-to-own program features three starting configurations; each is fully customizable and eligible for financing for up to three years:

Software Only
• SCRATCH Lab
• SCRATCH Lab support for 1, 2 or 3 years depending on the length of the lease
• Free NVIDIA Quadro 4000 for Mac card, if leased before April 30, 2012

Laptop Package
• SCRATCH Lab for OS X
• SCRATCH Lab support for 1, 2 or 3 years, depending on the length of the lease
• MacBook Pro 17″, 2.5Ghz Quad-core Intel i7, 16GB RAM, 480GB SSD, Anti-Glare Screen, AppleCare
• PROMISE Pegasus RAID 8TB
• Avid or Tangent Control Surface
• Blackmagic Design HDLink

Workstation Package
• SCRATCH Lab for OS X
• SCRATCH Lab support for 1, 2 or 3 years, depending on the length of the lease
• Mac Pro Two 2.93Ghz 6-Core Intel Xeon Westmere (12 Cores), 64GB Ram, 480 GB SSD, 1 Tb HD, ATI Radeon HD 5770 1GB
• JMR SilverStor 10 bay, 10TB RAID with PCIe expansion chassis
• Dell UltraSharp 24″ monitor
• Avid or Tangent control surface
• AJA KONA 3G HD/SD SDI 3D card
• Free NVIDIA Quadro 4000 for Mac card, if leased before April 30, 2012

For more information on these packages and AbelCine’s financing program, visit www.abelcine.com/r/scratch-lab-financing

“SCRATCH Lab has taken the production dailies world by storm, and AbelCine’s new financing program is just one more reason why. This unique program is a really exciting way for dailies professionals to own the power of SCRATCH Lab at prices that are on par with renting,” said Steve Bannerman, VP of Marketing at ASSIMILATE. “AbelCine now offers configurations that scale to any sized job and any sized budget. So, it’s ideally suited to freelance DITs and video engineers who are looking to build their own on-set cart to gain an advantage in today’s hyper-competitive labor market.”

Established as Abel Cine Tech in 1989, AbelCine is a leading supplier of professional film and digital equipment with facilities in New York City, Burbank, CA and Chicago, IL. Core services include equipment sales, rental, technical service, digital media services and training. The company is the North American agent for Phantom high-speed cameras, as well as a Sony Solutions Reseller, Panasonic Specialty Reseller, Arri digital camera reseller and the exclusive US agent for Aaton motion picture cameras. The company is also the first Carl Zeiss Authorized Service Partner in the Americas. In 2011, the company launched its rebranding as AbelCine, to reflect its expanded role in the marketplace. For more information on AbelCine, visit www.abelcine.com

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 SCRATCH products, running on Windows and Mac OSX, 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 please visit www.assimilateinc.com

LYNX Technik AG, provider of modular interfaces is launching four new passive CWDM multiplexers / demultiplexers at NAB 2012 booth N4433. The four new bricks expand the ever-growing yellobrik line of compact signal processor solutions.

The new CWDM multiplexers / demultiplexers are devices that can accept, combine, transmit and receive up to four fiber optic signals over a single link. Therefore, several signals can share a single fiber optic link. A single unit can perform multiplexer as well as demultiplexer functions.

The four models include the OCM 1841, OCM 1842, OCM 1843 and OCM 1844. These four multiplexers support various Coarse Wavelength Division Multiplexing (CWDM) wavelengths from 1270 nm to 1610 nm. Each model has four channels that are each assigned to a different wavelength.

These new yellobriks use passive optical technology to multiplex or demultiplex a number of optical carrier signals onto a single optical fiber by using different wavelengths of laser light. This technique also facilitates bidirectional communications over a single strand of fiber.

All four yellobriks feature an optical UPG port which facilitates cascading the four modules together for a total of up to 16 channels. The modules can be used standalone or integrated into a 19” rack using a rack tray option, which is ideal for system installations.

These new 4-channel CWDM multiplexers complement the two 9-channel multiplexers that are already available in the yellobrik range.

“We always aim to offer our customers practical choices and options when it comes to our technology,” comments Winfried Deckelmann CEO of LYNX Technik. “Our current 9-channel multiplexer / demultiplexer devices may be too large for small installations therefore we are now offering a range of smaller 4-channel building blocks.”

The new yellobrik CWDM Multiplexers / DeMultiplexers will be on display for the first time at NAB 2012 booth N4433. They are available for ordering now and will ship at the end of April 2012.

DFT Digital Film Technology, provider of high-end film and digital post production solutions that preserve, manage, and deliver your pictures, announces the eagerly awaited FLEXXITY for the Mac. In addition to supporting a Linux workflow, FLEXXITY (V1.5) for Mac provides the post software tools for dailies, playout, and archive applications for facilities with an existing Apple infrastructure.

DFT Digital Film Technology will showcase version 1.5 of FLEXXITY post production software suite at NAB 2012, stand C11145

Visitors to the DFT NAB booth can receive a demonstration of the new FLEXXITY V1.5 software, and receive a hands-on experience for how it can apply to their specific post production workflow. Whether working with film or digital, on-set dailies, post dailies, playout and mastering, or archive workflows, FLEXXITY offers a specialized software suite that aggregates a number of key functions in one software interface. FLEXXITY helps facilities maximize their value and delivery of their content by streamlining audio ingest, image ingest, audio / video synchronization, metadata logging, grading, and playout / file generation. It runs on Linux or Mac, making it an ultra-stable, high performance, and high-throughput post production software tool for a variety of workflow pipelines.

The scale-up flexibility of FLEXXITY allows users to implement a software system that is fine-tuned to their specific needs from single-user seats, to multi-user workgroups.

FLEXXITY Version 1.5 includes the following new features:
- Mac (Mac Pro, iMac) and / or Linux support
- Native ProRes handling and transcoding – ProRes files can be dropped directly onto the FLEXXITY timeline, synchronized, edited and color graded and delivered as a large variety of output formats, including QuickTime ProRes. In addition to ProRes, all FLEXXITY software applications can natively read and ingest ARRIRAW files, RED raw R3D files and many other formats.
- Advanced Dynamic Processing thread handling (ADP) – This feature allows for faster transcoding of multi-format timelines into multiple file formats therefore processing more file formats in less time.

FLEXXITY Dailies can be used as an on-set or post tool for both digital and film
dailies. It provides native support for ProRes, QuickTime, MXF and DPX files as well as most digital cinematography camera formats. FLEXXITY Dailies performs simultaneous image and audio synchronization, timeline editing, color correction, image scaling as well as layout and file generation of many different file formats. FLEXXITY Dailies also supports parallel workflows for higher throughput and efficiency. It also supports stereoscopic 3D workflows.

FLEXXITY Archive provides an intuitive software interface that provides quality control measures for archive material, image and audio synchronization, timeline editing, color correction, and image scaling. In addition, it has built-in scratch and dirt removal, and retouching capabilities for restoration requirements. FLEXXITY Archive is an ideal companion to the SCANITY Archive film scanner.

FLEXXITY Playout is a mastering application that converts DPX, Quicktime and raw
digital cinematography camera clips to generate a master for playout as video,
DPX, or encoded file formats.

Each application in the FLEXXITY software suite offers real-time playback, quality control, sound synchronization, optional color correction and scaling, and much more. The entire suite is resolution-independent, and handles all kinds of source formats on the same timeline, and outputs a large variety of file formats and video streams in parallel.

“FLEXXITY has its roots in our digital intermediate technology, which is based on many years of development and a collection of advanced ideas and features that we have gathered over the years,” says Morris Lindenkreuz, Product Manager for FLEXXITY at DFT Digital Film Technology. “FLEXXITY’s multi-format timeline, flow graph based architecture, scalability, and efficient use of all hardware resources such as CPUs and GPUs offer an unmatched flexibility of operation, making it a unique on-set and post production software tool.”

DFT Digital Film Technology, provider of high-end film and digital post production solutions that preserve, manage, and deliver your pictures, has officially certified the Rorke Data Galaxy Aurora RAID and SAN storage devices for a variety of digital film and archive workflows.

By certifying the Rorke storage solutions and creating this technology partnership, DFT Digital Film Technology is providing post production and archive facilities with another RAID or SAN option that seamlessly integrates with the SCANITY film scanner and FLEXXITY software tools.

The combined solution of the Rorke Galaxy Aurora storage solutions, SCANITY film scanner, and FLEXXITY post production software boosts the data transfer and access speeds. This increase of speed optimizes any post production workflow, regardless of the files types being ingested, manipulated, or played out.

A single Rorke Galaxy Aurora Storage system supports three streams of 2K or one stream of 4K, and connects 48TB to 8 SAN Clients without an expensive Fibre Switch. The Rorke solutions have been designed for Archive & Restoration, DI, color correction, 3D, RAW, & 4K workflows. In addition the units provide unique storage management features including: performance tuning, error tracking, and bandwidth allocation.

Ideal for 2K or 4K Dailies:
Facilities who are looking for an accelerated Dailies workflow that supports parallel processing will find an optimized solution with FLEXXITY Dailies software working alongside the Rorke Galaxy Aurora storage. FLEXXITY Dailies provides native support for DPX, R3D, ARRIRAW, QuickTime, MXF and many other file formats. The software performs image and audio synchronization of dailies material, timeline editing, color correction, image scaling, and supports parallel workflows for higher throughput and efficiency. Galaxy Aurora supports FLEXXITY by providing a high-speed RAID or SAN solution with sustained transfer rates of up to 1200 MB/s depending on drive utilization. Parallel processing is a key component to the rich feature set this combined solution offers. All workstations in a facility connected to the SAN have access to the digital files and a variety of tasks can be performed concurrently.

Ideal for Archive:
In addition to traditional post production environments, the technology combination of the DFT SCANITY film scanner with FLEXXITY Archive software and Galaxy Aurora storage is certified for archive applications. SCANITY handles fragile archive film gently due in part to its touch-free optical perforation detection, where no mechanical pins touch the film. SCANITY is a high-speed scanner; 25 fps for 2K and 15 fps for 4K, so when it’s coupled with the Galaxy Aurora storage solutions, archive facilities are assured of a speedy and efficient data management film scanning, data management and storage workflow.

Stefan Kramper, Managing Director of DFT commented;”We partner with leading industry manufacturers like Rorke to offer our customers certified, powerful and cost effective solutions instead of black boxes which don’t work together. This ensures that our products perfectly integrate with our customer’s production environment which ensures maximum efficiency and reliability.”

Bob Herzan, Vice President of Sales at Rorke Data commented; “The Galaxy Aurora and HyperFS combination is one of the few RAID/SAN solutions designed specifically for Rich Media applications. DFT’s SCANITY is a very demanding application and their support and continued commitment to Rorke Data and our storage solutions is a great tribute to Rorke and our product line. Rorke and DFT recently joined forces to supply 3 Aurora’s (over 100TB) in a HyperFS SAN configuration to Kava (The National Archive of Finland). This high powered SAN will be used to support their 4K file based workflow. ”