• Wednesday, Oct. 1, 2014
Artel Video Systems to showcase DigiLink Media Transport capabilities at SMPTE
WESTFORD, Mass. -- 

At SMPTE 2014, booth 105, Artel Video Systems, a global provider of broadcast-quality media transport solutions, will showcase JPEG 2000 compression functionality, broadcast video-over-IP, and integrated signal routing capability on its flagship DigiLink media transport platform. Recently honored with a Technology and Engineering Emmy Award by the National Academy of Television Arts & Sciences (NATAS) for its work on the Standardization and Productization of JPEG2000 (J2K) Interoperability, the company’s JPEG 2000 solution is designed to simplify and lower the costs associated with transporting broadcast-quality media across terrestrial networks.

“With the advent of new transport and interoperability standards for transporting JPEG 2000 streams, more and more broadcasters are migrating toward using IP-based media networks for video transport,” said Richard Dellacanonica, president at Artel Video Systems. “At SMPTE 2014, we will demonstrate why DigiLink is a perfect fit for these broadcast applications. Attendees can stop by our booth for a live demo, which will showcase the DigiLink platform’s unmatched flexibility, reliability, ease of use and configuration, and cost-effectiveness.”

DigiLink is currently deployed by major telcos and broadcasters around the world.

  • Wednesday, Oct. 1, 2014
Motion Picture Academy adds 4 members to Tech Council
Cinematographer John Bailey (photo by Robert Primes)
BEVERLY HILLS, Calif. -- 

John Bailey, Gale Anne Hurd, John Knoll and Michael Tronick have accepted invitations to join the Science and Technology Council of the Academy of Motion Picture Arts and Sciences, bringing the Council’s 2014–2015 membership roster to 25.

Bailey is a cinematographer with more than four-and-a-half decades of experience behind the camera. His career breakthrough came in 1980, when he served as director of photography on both “American Gigolo” and the Best Picture Oscar winner “Ordinary People.” His other credits include “The Accidental Tourist,” “Groundhog Day,” “As Good as It Gets,” “Country Strong” and “The Way, Way Back.” Bailey joined the Academy in 1981 and is currently a governor representing the Cinematographers Branch. He was elected to a vice president post this year.

Hurd is a producer and CEO of her own production company, Valhalla Motion Pictures. Her credits include such films as “Aliens,” “The Terminator” trilogy, “The Abyss,” “Armageddon” and “The Incredible Hulk,” as well as the record-breaking television series “The Walking Dead.” A former Academy governor, Hurd has chaired the Academy’s Nicholl Fellowships in Screenwriting Committee, Investment Committee, Producers Branch Executive Committee and Festival Grants Committee. She has been a member of the Producers Branch since 1987.

Knoll is the chief creative officer at Industrial Light & Magic, where he started out as a technical assistant in 1986. In 1988, he joined forces with his brother Thomas to create the groundbreaking Photoshop image-editing software. Knoll went on to supervise the visual effects on more than 20 feature films, earning Academy Award nominations for his work on “Star Wars Episode I: The Phantom Menace,” “Star Wars Episode II Attack of the Clones” and the first three “Pirates of the Caribbean” films; he took home an Oscar® for “Pirates of the Caribbean: Dead Man’s Chest.” An Academy member since 1997, Knoll is currently a governor representing the Visual Effects Branch.

Tronick is a film editor who began his career as a music editor in the late 1970s. He served both roles for the 1984 feature “Streets of Fire,” and by the end of the decade, he had turned his attention to film editing full-time. His feature credits include “Midnight Run,” “Days of Thunder,” “Scent of a Woman” “True Romance,” “Remember the Titans,” “Mr. and Mrs. Smith,” “Hairspray” and “2 Guns.” Tronick currently serves as an Academy governor representing the Film Editors Branch. He has been an Academy member since 1979.

The 2014–2015 Council co-chairs are two members of the Academy’s Visual Effects Branch: Craig Barron, an Oscar-winning visual effects supervisor and former Academy governor; and Paul Debevec, chief visual officer at the USC Institute for Creative Technologies and a lead developer of Light Stage, an image capture and rendering technology for which he received an Academy Scientific and Engineering Award in 2009.

The Council’s 19 other members are Wendy Aylsworth, Rob Bredow, Lisa Churgin, Elizabeth Cohen, Academy governor Richard Edlund, Doug Greenfield, Don Hall, John Hora, Jim Houston, Rob Hummel, Randal Kleiser, Bev Pasterczyk, Josh Pines, Rick Sayre, Milt Shefter, Dave Stump, Steve Sullivan, Academy governor Bill Taylor and Beverly Wood.

Established in 2003 by the Academy’s Board of Governors, the Science and Technology Council provides a forum for the exchange of information, promotes cooperation among diverse technological interests within the industry, sponsors publications, fosters educational activities and preserves the history of science and technology of motion pictures. 

  • Wednesday, Oct. 1, 2014
Digital Nirvana secures pair of manufacturer reps
Digital Nirvana's Media Management Platform
FREMONT, Calif. -- 

Digital Nirvana, developers of a media management platform for content creation, capture and delivery, has secured two new manufacturers’ representatives: Torrance, Calif.-based Piper Digital; and A and D Avenues out of Roanoke, VA. Digital Nirvana’s Media Management Platform enables broadcasters, media and entertainment professionals to create audio/video content, capture it from multiple sources, and publish it to multiple digital platforms, while monitoring for quality and compliance.

Piper Digital will spearhead sales in Southern California (with a focus on the Los Angeles market), Arizona, and Nevada; while A and D Avenues will represent the Washington, D.C. area; North and South Carolina; Atlanta, Georgia; and Florida.

Arco Groenenberg is director of sales and marketing for broadcast products at Digital Nirvana.

A and D Avenues brings over 15 years of experience as a manufacturer’s representative for broadcast and AV products and services to the government, broadcast and A/V markets.

Piper Digital is a manufacturer’s representative for broadcast, A/V, production, digital signage, and IPTV equipment. The company specializes in acquisition, signal management, signal transport, fiber, storage, station automation, archiving and management systems. 

  • Friday, Sep. 26, 2014
Deluxe Toronto launches Canada’s 1st Dolby Atmos mixing stage
TORONTO -- 

Deluxe Toronto Ltd.—a division of Deluxe Entertainment Services Group Inc., global supplier of a broad range of services and technologies to the entertainment industry—has completed a major upgrade of its mixing rooms.

Improvements include the introduction of Dolby Atmos® technology to Mix 1—Canada’s largest film mixing stage. Among other upgrades to its mixing rooms, Deluxe has added JBL M2 Master Reference monitors.

“The introduction of Dolby Atmos, complemented with speaker and amp upgrades from Harman’s  JBL Professional and Crown Audio brands, makes our new mix theaters the most technically complete in Canada for film and TV sound re-recording,” said Nick Iannelli, VP of postproduction operations at Deluxe Toronto.

The new additions “allow us to state unequivocally that you will hear a difference in fidelity and sound clarity when mixing at Deluxe,” Iannelli added.

“Dolby recognizes the importance and value of having a strong presence in Canada’s vital postproduction community,” said Curt Behlmer, senior VP of content solutions and industry relations at Dolby Laboratories.   “We couldn’t be more pleased and know that this respected Dolby Atmos mixing stage—our first in Canada—will help filmmakers realize their creative visions going forward.”

Said Peter Chaikin, director of recording and broadcast at JBL Professional: “Incorporating new patented JBL technologies, the innovative JBL M2 monitor was designed to deliver a level of sound clarity unmatched in the postproduction industry....We are delighted Deluxe Toronto has become a flagship location for the M2 in Canada.”

Deluxe is a key supplier to the Canadian post-production and media services industry. Its tech upgrades coincide with Deluxe’s recent relocation to a new, state-of-the-art facility in downtown Toronto. Recent projects at the facility include feature work on Atom Egoyan’s “The Captive” and David Cronenberg’s “Maps to the Stars,” and Deluxe soon will start postproduction on Guillermo del Toro’s “Crimson Peak.” Recent TV projects include work on “Vikings,” “Beauty and the Beast” and “Penny Dreadful.”

  • Thursday, Sep. 25, 2014
Dragon arrives at space station with 3-D printer
In this photo provided by NASA, the SpaceX Dragon private space freighter approaches the International Space Station, Tuesday, Sept. 23, 2014. Two days after blasting off from Cape Canaveral, Fla., Dragon arrived at the space station containing the first 3-D printer ever launched into orbit. (AP Photo/NASA)
CAPE CANAVERAL, Fla. (AP) -- 

The International Space Station accepted another SpaceX shipment Tuesday, this one containing the first 3-D printer ever launched into orbit.

Two days after blasting off from Cape Canaveral, Florida, the SpaceX cargo ship, Dragon, arrived at the space station. German astronaut Alexander Gerst used the robot arm to grab the capsule.

"Well done capturing that Dragon," Mission Control radioed. Two hours later, the capsule was bolted into place.

The Dragon is delivering more than 5,000 pounds of supplies. The 3-D printer — an experimental model — is the headliner payload. Also on board: mice and flies for biological research, fresh spacesuit batteries so NASA can resume routine spacewalks, and a $30 million instrument to measure ocean wind, along with the usual assortment of food and clothes.

NASA is paying SpaceX to stock the space station. Last week, the California-based company won the right to transport astronauts, too. That's still a few years off.

The Dragon will remain at the orbiting outpost for about a month. It will be filled with science experiments for return to Earth. The Dragon is the only unmanned cargo capsule capable of returning items.

This was the fifth Dragon to visit the space station.

"We're happy to have a new vehicle on board," Gerst said.

Another spacecraft is due to arrive in a couple days. Russia is poised to launch a Soyuz spacecraft from Kazakhstan on Thursday with a three-person crew. That will bring the number of astronauts at the space station to the usual six.

  • Tuesday, Sep. 23, 2014
Canon Cinema EOS to capture space in 4K for Imax 3D film
Canon has liftoff
MELVILLE, NY -- 

Canon Cinema EOS digital cameras and lenses have been selected by IMAX Corporation for a mission to capture 4K footage in space.  The cameras and lenses left Earth Saturday on a SpaceX Dragon spacecraft launched from the Cape Canaveral Air Force Station in Florida.  The equipment will arrive at the International Space Station, where astronauts will capture stunning 4K content for the upcoming new 3D film, tentatively titled A Perfect Planet, a presentation of Walt Disney Studios Motion Pictures and IMAX Entertainment.

Directed by acclaimed filmmaker Toni Myers, the IMAX 3D space project will offer breathtaking, illuminating views of Earth from space, exploring mankind’s future on and off the planet.  Renowned large format cinematographer James Neihouse serves as the film’s director of photography and trained the astronauts who will man the cameras while in orbit.

The IMAX production team selected Canon EOS C500 EF digital cinema cameras, Canon EOS 1D-C digital SLR cameras, and a selection of Canon Cinema Zoom and Prime lenses for the project.  The EOS C500s will be paired with Codex recorders to capture 4K images.

“Of the digital cameras we tested for spaceflight, the Canon EOS C500’s image quality was more film-like than the other systems,” said Neihouse. “The sharpness is superior to some of the larger sensors. And it is more user-friendly for the astronauts. We have a good track record with Canon cameras in space.”

“I am thrilled that the Canon Cinema EOS cameras we have selected launched to the International Space Station and our astronaut crews can now begin filming spectacular scenes for our new project,” said Myers, who will produce, direct, write and edit the documentary film. “The lightweight, flexible Canon cameras produce remarkable imagery and are ideal for capturing scenes of our beautiful Planet Earth.

“When we launched the Cinema EOS product line, Canon hoped to inspire filmmakers to take their craft to new heights.  We are honored that IMAX, Toni Myers, James Neihouse, and the astronauts took our challenge so literally.  To have our cameras and lenses travel to space is an incredible cause for celebration.  We look forward to this awe-inspiring film and pledge to continue to engineer products worthy of the next frontier—whether here on Earth or among the stars,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc.

IMAX’s 3D film will be shot over the course of the next year with multiple crews of astronauts conducting principal photography.  The film is tentatively set for release in early 2016.

  • Monday, Sep. 22, 2014
Messaging app seeks to bring voices back to phones
In this Sept. 19, 2014 file photo, an Apple store employee arranges a stack of pre-ordered iPhone 6 Plus models, in New York. (AP Photo/Julie Jacobson, File)
SAN FRANCISCO (AP) -- 

Longtime technology guru Ray Ozzie wants to bring back the emotions of the human voice to phones.

His mission began more than two years ago as Ozzie noticed people were increasingly communicating through texts, emails and social media posts instead of calling each other.

"When you see nothing but words and numbers, it becomes very mechanical and very transactional," Ozzie said in an interview. "But when you hear the sound of someone's voice, it really brings it much closer to home."

Ozzie, 58, Microsoft's former chief software architect, hopes to orchestrate voice's comeback through Talko, a mobile application being released Tuesday for the iPhone. A version for Android phones is expected in a few months.

Talko sends the equivalent of text messages in the form of a spoken word. Talko users can record a voice message and send it over the Internet to anyone else with the app. Recipients listen to the recording when it's convenient, rather than being interrupted by a traditional phone call.

All messages will be stored for 10 days, though users can buy a subscription — expected to be $5 to $9 per month — to permanently store messages. For the first few months, Talko will store all voice recordings for free.

Users can choose to make their recordings available to more than one person, a feature that Ozzie believes will make Talko ideal for employees working in the same department of a company.

The five DigitalGlobe workers who installed the app in July as part of Talko's testing didn't use it much initially, partly because they were so accustomed to texting and emailing each other or trying to schedule a conference call when they needed to talk, said Ed Locher, DigitalGlobe's senior vice president of corporate marketing.

But Talko turned out to be valuable in the five days leading up to the launch of a DigitalGlobe satellite last month, Locher said. "It reminded me of a walkie talkie," he said. "It was much faster than texting or trying to set up a conference call."

Ozzie isn't under the delusion that voice messages are going to supplant popular communications apps such as WhatsApp, Snapchat and Tango, which combine texts and photo sharing. Talko also accommodates texts and photos to supplement the voice recordings.

Another technology industry veteran, Alan Braverman, also is trying to give voices a new outlet on phones. Last week, his San Francisco startup incubator, Giant Pixel, released an iPhone and iPad app called Sobo that offers a vocal twist to Twitter, the popular short-messaging network. Sobo users can record six-second sound bites that are then broadcast to their followers. Braverman is best known as a co-founder of Yammer, a social networking tool for businesses that Microsoft Corp. bought for $1.2 billion in 2012.

Meanwhile, the Messages app in Apple's new iOS 8 software for mobile devices also lets users record and send short audio messages. Recipients raise their iPhones to their ears to automatically play the message. Under default settings, messages expire two minutes after listening.

Ozzie was well known before Microsoft bought one of his previous startups, Groove Networks, for an undisclosed amount in 2005. In the 1980s, he played a key role in creating a suite of document-sharing tools at Lotus Development Corp., now owned by IBM Corp. Shortly after joining Microsoft, Ozzie succeeded company co-founder Bill Gates as chief software architect, a role he held until he left Microsoft in 2010.

The 11-employee startup behind Talko is funded by Ozzie's personal fortune and investments from venture capital firms Andreessen Horowitz and Greylock Partners. Lotus funder Mitch Kapor also is backing Talko.

Although Talko is focusing on the business market, Ozzie said he hopes employees will have such a positive experience that they will encourage their family members and friends to install the app, too.

"I really do believe it will spread by word of mouth," Ozzie said.

  • Sunday, Sep. 21, 2014
Codex develops recording & workflow for ARRI's new ALEXA 65
Codex's Vault XL for the ALEXA 65.
LONDON -- 

Codex has collaborated with ARRI to develop the recording and workflow system for ARRI’s new, groundbreaking ALEXA 65 large format camera. Codex has worked closely with ARRI to create a high-performance, in-built camera recorder plus an on-set and near-set data management system, which combine to deliver streamlined camera-to-post workflow for the ALEXA 65 camera--The Vault Lab 65.

The ALEXA 65 camera incorporates a Codex recording engine, similar to the system that is built into ARRI’s popular ALEXA XT camera, also developed by Codex. Existing ALEXA XR Capture Drives support recording from ALEXA 65 at up to 24fps, and a 512GB media card will record around 10 minutes in full open gate mode. Next-generation Capture Drives developed by Codex will offer 2TB of recording capacity, and be capable of 20Gb/s data rates, enabling recording times of over 45 minutes.

A typical production scenario for the ALEXA 65 camera system, includes the Vault Lab 65, which encompasses an enhanced Codex Vault S, GPU processing and with 8TB solid-state Transfer Drives, and will support around three hours of open gate ALEXA 65 footage. Housed on a Codex on-set cart, Codex Vault S creates safety copies, allows for playback, image review and color correction. The Codex Vault XL, including 24 processing cores, is used near-set for dailies, editorial deliverables, camera original archive to LTO, look creation, syncing sound, and other postproduction work. Codex 8TB Transfer Drives are used to transport data between on-set and near-set, or production and post. Vault XL also supports high-speed networking and file-transfer to allow for integration with other production workflows.

“Like ARRI, Codex believes in delivering excellent image quality and reliable products to the cinematographic community,” said Franz Kraus, managing director of ARRI. “Having already successfully implemented the in-camera capture technology for the ARRI ALEXA XT, and a solid workflow with Vault, Codex was a natural choice as the workflow developer for ALEXA 65.”

“DPs want something different--to raise the bar for theatrical release and expand the options they have for the look of their project. 65mm is a wonderful format, and with the new ALEXA 65 system it becomes affordable for the very first time,” said Marc Dando, managing director of Codex. “Anyone familiar with ARRI ALEXA and Codex Vault will be comfortable with the Vault Lab 65 workflow. We are delighted to have worked so closely with ARRI again, to set new performance capabilities in digital imaging, and play a part in expanding the creative possibilities for the cinematographic community.”

“I cannot express how enthusiastic I am about the forthcoming ALEXA 65,” said Academy Award winning cinematographer Robert Richardson, ASC. “I am currently working with 65mm film and if the quality is anywhere near that of film, we will all benefit from the increased information and quality of image.”

  • Saturday, Sep. 20, 2014
Oculus unveils new prototype VR headset
In this Wed., Sept. 3, 2014 file photo, British television presenter Rachel Riley shows a virtual-reality headset called Gear VR. (AP Photo/Markus Schreiber, file)
LOS ANGELES (AP) -- 

Oculus has unveiled a new prototype of its virtual reality headset. However, the VR company still isn't ready to release a consumer edition.

The hew headset intended for creators of VR experiences is nicknamed Crescent Bay and features a higher resolution and refresh rate, integrated headphones and 360-degree head tracking.

"That was not easy," Oculus CEO Brendan Iribe told the audience Saturday at the company's first-ever developers conference. "It's still not perfect. None of this is perfect yet, but it's much, much better."

Oculus' headset covers a user's eyes and can create immersive worlds that react to head movement.

The original prototype of the Oculus Rift headset was unveiled in 2012 and has received considerable attention from film and video game makers. Oculus released a second prototype headset to developers earlier this year. Iribe said 100,000 development kits have been shipped to 130 countries.

"I never expected it go this quickly," Iribe said. "None of us did."

The Irvine, California-based Oculus VR Inc. was acquired by Facebook earlier this year for $2 billion. Iribe said Oculus' staff has doubled in the six months since the acquisition.

"We're really spiriting toward the consumer version," he said.

Oculus recently teamed up with Samsung to introduce Gear VR, a $200 headset with a slot for using the Galaxy Note 4 smartphone as a VR display.

Over the past two years, Oculus' technology has been demonstrated at events like San Diego Comic-Con and the Electronic Entertainment Expo with interactive experiences that recreate scenes from the "X-Men" and "Pacific Rim" films and thrust users into an intergalactic dogfight in the game "EVE: Valkyrie."

Iribe reiterated several times during his talk at the Oculus Connect conference that creating a sense of presence would be integral for the widespread adoption of VR technology, which continues to leave some users feeling queasy despite Oculus' strides in creating lower latency and more realistic imagery inside the goggles.

"You should believe you're there and feel great, even if you're super-sensitive like me," Iribe said.

  • Wednesday, Sep. 17, 2014
Quantel demonstrates latest software for Pablo Rio
Quantel's Pablo Rio.
AMSTERDAM -- 

At IBC 2014, Quantel demonstrated the latest software update for its Pablo Rio color and finishing systems, bringing users a raft of new features and facilities that further reinforce Pablo Rio’s development as the post engine and finishing system for 4K and beyond. This is the sixth new software release for Pablo Rio this calendar year, ensuring users get access to new formats and facilities as quickly as possible. The new software includes:

o Flow Motion motion-estimated speed changing - using advanced optical flow image motion analysis to produce brilliant slow and fast-motion results.

o Long GOP XAVC import and soft-mount support up to 4K resolution - enabling Pablo Rio and Pablo PA to work with media from the latest generation of XAVC acquisition devices.

o Apple ProRes 4444 XQ support - import and soft-mount support for this new ProRes format, which provides an extra level of quality during extreme color grading, especially with High Dynamic Range material like Log C.

o Support for the latest Sony digital capture SDK - enabling Pablo Rio to work with S-log3 and S-Gamut3 colorspaces and profiles.

o Support for new ARRI SDK - including support for Open Gate formats, new colorspaces, 1.3x and 2.0x anamorphic lenses, Alexa monochrome, and various upscale formats including Quad HD and 4K.

o Export of fast-start QuickTime files - streamable files that enable viewing to commence before the export is completed.

o Re-softmount of localised media - provides maximum flexibility by enabling operators to go right back to the source even on material that has been localised into Pablo Rio’s workspace.

o AS-11/DPP Support - enabling Pablo Rio and Pablo PA to export AS-11 files for delivery in accordance with the UK DPP standardized delivery format for broadcast; AS-11 is also gaining favour with other broadcasters around the world, so this development will be of benefit to many Pablo Rio users.

o And support for UHD/4K on software Pablo Rio systems using the AJA Kona 3G card.

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