Saturday, February 17, 2018

Toolbox

  • Wednesday, Jul. 12, 2017
ABC's "The Warriors" shot by DP John Brawley using Blackmagic Design URSA Mini 4.6K
John Brawley lenses Aussie show "The Warriors"
FREMONT, Calif. -- 

Blackmagic Design announced that the ABC’s Indigenous comedy drama, The Warriors, has been filmed using Blackmagic Design’s URSA Mini 4.6K PL as the show’s A camera by DP John Brawley. Brawley also used Blackmagic Design Micro Cinema Cameras as secondary cameras on the show. Color correction for the film was completed by Melbourne-based Soundfirm.
 
The Warriors is an authentic, fresh, funny and poignant take on the often public drama and big business of professional sport – touching on universal themes of identity, belonging, success, failure and the lure of fame. It follows the once-great Warriors Football Club, which pins its hopes and dwindling reputation on three untested rookies and a jaded star. For the untested rookies, Maki, Zane and Scottie, sporting success means leaving home and finding a place in an unfamiliar world. The change is particularly pronounced for the season’s number one draft pick, Maki, who swaps the remote Aboriginal community where he grew up for the bright lights of Melbourne.
 
Working with vision, speed and an inherently collaborative nature, John Brawley has developed a reputation as one of Australia’s most talented and sought after DPs. Since graduating with an MA from the Australian Film Television and Radio School, he has built an impressive slate of feature films and television credits, including Queen Of The South, Beautiful Lie, Hunters, Offspring, Puberty Blues, Party Tricks, Underbelly and Hiding.
 
Filmed on location in Melbourne, as well as the remote Kimberley region, authenticity and naturalism were key elements of The Warriors’ production.
 
Brawley explained: “Heightened naturalism is what we were going for. We wanted to observe this story and also be IN the story. We wanted the cameras to be reactionary and engaged. To run alongside the play, not just watching from the sidelines. The Blackmagic 4.6K sensor has a great look and I especially love the way it handles skin tone. You don’t really have to do much to get it to sing. This is the first job I’ve done where I’ve used it as the A camera and haven’t been trying to match it to another camera. When you only have the URSA Mini 4.6K to grade you can take your image almost anywhere.”
 
To ensure authenticity shooting hard hitting game play, Brawley used a number of URSA Mini 4.6K PL cameras, as well as Micro Cinema Cameras, to capture every part of a match and the stars’ reactions during a game. This included views from the ball itself.
 
“The URSA Mini is a very flexible camera. It has a very high resolution sensor that has a really great look of it’s own once you set it up. The A and B cameras were built as hand held cameras, and the C and D cameras were built as production mode cameras with larger lenses, rails, extension viewfinders etc. This enabled us to very quickly change between hand held and production mode within the scene.
 
“We used Micro cameras when we couldn’t physically get a 4.6K camera in there. Like as a replacement for a handheld camera that an actor uses and we need to see the footage. Or for security camera footage. We also used a Micro Cinema Camera where it was built into a hollowed out football so we could give the ‘football cam’ to the actors/footballers and they could pass and kick the football giving us a view of the play we would otherwise never have,” continued Brawley.
 
As many of the cast were first time actors, Brawley tried to cross shoot as much as possible so as to not inhibit their acting and to make sure the priority was always placed on their performance.
 
“We wanted to make sure we always had a priority on performance. A small agile camera like the URSA Mini 4.6K is perfect because you have much longer endurance for operating hand held without really sacrificing your look. Normally smaller and cheaper cameras come with caveats about lower bit depth codecs, but I was able to shoot ProRes 444 which gives us GREAT flexibility in the grade. It means you can handle mixed lighting more, and those times you sometimes can’t fix things in lighting, you have the extra little safety net of fixing it in the grade,” he said.
 
The series was shot in some of Australia’s toughest weather, and Brawley relied on URSA Mini 4.6K’s ruggedness to handle any shot.
 
“We shot in some very difficult conditions for the seventh episode where we travelled to Warmun in the far north west of Australia. Daily temperatures there easily get to mid 40’s and the cameras weren’t at all troubled by the heat and dust. In fact over the 8 weeks of shooting we had no failures or glitches at all. The cameras didn’t skip a beat and we were shooting easily 5-6 hours of rushes every day,” said Brawley.

  • Monday, Jul. 10, 2017
Take me out to the screen: VR baseball a hit
In this Friday, July 7, 2017, photo, Dennis Milman reaches to catch a virtual ball at the All-Star FanFest in Miami Beach, Fla. (AP Photo/Alan Diaz)
MIAMI BEACH, Fla. (AP) -- 

Nicholas Montes put on goggles and a catcher's mitt and crouched.

The 13-year-old will never catch a 104 mph pitch from Aroldis Chapman. But at the All-Star FanFest, he felt what it's like to be Buster Posey snagging virtual strikes.

"It like I was actually in the game. When I was catching, I felt the ball move and everything," the 13-year-old from Miami said enthusiastically Sunday. "And then when I saw it go in my glove, I tried touching the ball, but I felt the remote control thing. So it was pretty cool."

Developed by GMR Marketing, the Esurance Behind The Plate With Buster Posey VR Experience allows fans to "catch" fastballs, curveballs and sliders from a generic pitcher at velocities ranging from 86-93 mph.

"I've always said that I thought it would be cool for the average fan to either step in the box or like this get behind the plate and get the same sense of what it's like to see a 90-plus, 95-mile an hour fastball coming your way," Posey explained last week.

Esurance Insurance Services Inc., a subsidiary of Allstate Corp., became a sponsor of Major League Baseball in 2015 and signed Posey as a brand ambassador. The company had a 180-degree photo experience at the 2015 FanFest in Cincinnati, then provided 360-degree videos of fans taking swings last year in San Diego.

In a dual setup at FanFest, which opened Friday and runs through Tuesday, people get to signal for three pitches over about 90 seconds as Posey's recorded voice offers tips. They can choose the pitch type by pointing their glove toward an icon on the screen, triggering a sensor. When a pitch is successfully caught, the person hears and feels the mitt snap.

"It is as real as it can be," Danny Devarona, a 48-year-old who coaches youth baseball in Miami Lakes, said after taking his turn.

Commercial and social media content was shot over two days during spring training in Scottsdale, Arizona, where Posey's San Francisco Giants train. Posey's voice-over was recorded after the season started.

"Are you ready? All right, let's see what you've got," Posey's voice tells fans. "This guy throws a nasty curve. The trick is to keep your glove below the ball and your eye on it. ... Keep your chin down and be ready to slide to your right, because this one might hit the dirt."

"Nice job! Right in the pocket," he tells fans when they succeed.

"Yeah, that was a tricky one," he says when they fail.

Based on PITCH f/x data, breaks of 38-to-52 inches are simulated.

"Fans will receive a social-sharable video for them that they can then distribute to their friends," said Kristen Gambetta, Esurance's brand partnerships manager. "With VR, there's something really entertaining about seeing people's facial reactions and kind of seeing their movements and how they react to having a ball flying at their face."

Several thousand fans were expected to put on the electronic "tools of ignorance" over the five days. And unlike real catchers, they won't have to stuff sponges in the glove to absorb the impact.

"Let's just say I'm pretty impressed. I don't think I can ever catch or hit for that matter a Major League Baseball curveball," said Pablo Souki, a 38-year-old from Venezuela who lives in Miami. "That was pretty eye-opening."
 

 

  • Friday, Jul. 7, 2017
Cooke Optics to bring lens innovations to IBC 
Cooke's S7/i 50mm lens
LEICESTER, UK -- 

Cooke Optics, manufacturer of precision lenses for film and television, will bring its latest lens developments to Stand 12.D10 at IBC2017 (9/15-19 in Amsterdam), including the S7/i and Panchro/i Classic ranges as well as two true front anamorphic zoom lenses for the Anamorphic/i series.
 
The S7/i Full Frame Plus prime lens range is designed to cover the emergent full frame cinema camera sensors, up to the full sensor area (46.31mm image circle) of the RED Weapon 8K. The new lenses--which, like all Cooke lenses, feature the beloved “Cooke Look”--are available in 18, 25, 32, 40, 50, 75, 100 and 135mm. All Cooke S7/i Primes have a true T2.0 aperture and cover 35/Super 35mm, Full Frame and beyond. They have a common fixed front diameter of 110mm, with a focus drive gear of 140T x 0.8 mod and an iris drive gear of 134T x 0.8. A nine-leaf linear module iris assembly is fitted into the Cooke S7/i lenses. The average weight of an S7/i lens is approximately 3.5kg. Test footage from the new lenses can be viewed here: https://vimeo.com/213668636
 
The Panchro/i Classic range is a modern redesign achieving the same look and feel as the beloved original Speed Panchros. With newly designed housing and PL mounts, the Panchro/i Classic lenses are lightweight, making them ideal for handheld, drone and Steadicam® work. 

Cooke will also present its front Anamorphic/i zoom lenses. The 45-450mm Anamorphic/i zoom lens has specifications featuring 10x zoom front anamorphic, T4.5-22, 5’10” MOD from image plane and 3’11” close focus from the front of the lens. The 35-140mm Anamorphic/i zoom offers a unique combination of attributes allowing shooting from very wide angle to telephoto with a 4x zoom ratio and 2x Anamorphic squeeze. It features T3.1-22 aperture and anamorphic oval bokeh. The colour and depth of field characteristics of both zooms are matched to the rest of the Anamorphic/i prime range.
 
Visitors to the Cooke booth will additionally see the Anamorphic/i SF lens range, featuring a coating that gives cinematographers even more options for anamorphic character with enhanced flares and other aberrations, and still retaining the oval bokeh.
 
Cooke will also present lenses from its leading Anamorphic/i, 5/i, S4/i and miniS4/i ranges, and the Sony E and micro 4/3 mounts for miniS4/i and Panchro/i Classic lenses that enable users of these cameras to benefit from the “Cooke Look.”

  • Thursday, Jul. 6, 2017
IABM announces board of directors' election results
GLOUCESTERSHIRE, UK -- 

IABM has announced the results of its biennial election of board directors. IABM was established over 40 years ago by its members and remains controlled by them, and the board is both made up of members and voted for by members. The IABM board is responsible for the overall strategy of IABM, setting, reviewing and changing as necessary the policies of the association, which are then implemented by the IABM team. The members’ board also exercises overall financial control.

The membership of the new IABM members’ board reflects the international make up of IABM’s membership; the newly elected members are:

  • Dr Jörg Pohlman – ARRI
  • Kevin Usher - Avid
  • Nicki Fisher – Clear-Com
  • Muriel De Lathouwer - EVS Broadcast Equipment
  • Andreas Hilmer - Lawo
  • Alison Pavitt – Pebble Beach
  • Tim Felstead – SAM
  • Esther Mesas – Tedial
  • Anna Lockwood - Telstra 
  • David MacGregor – TSL

The newly voted-in members join five remaining members (elected by the outgoing board for continuity): chair James Gilbert of Pixel Power, past-chair Jan Eveleens of Axon, Marco Lopez of Grass Valley Group, Glenn LeBrun of Imagine Communications and Peter Sykes of Sony. In addition, the chairs of the APAC and North America IABM regional councils – Dennis Breckenridge of Elevate Broadcast and Michael Accardi of CueScript respectively – also have seats on the board. Vice chair Graham Pitman, IABM CEO Peter White and finance director Lucinda Meek complete the lineup.

“The members’ board plays a vital role in the continuing success of IABM, and the new board is a powerhouse of industry knowledge that represents the widest interests of the membership,” said Peter White, IABM CEO. “I’m looking forward to leveraging every ounce of its experience to keep driving the association forward with new ideas and initiatives to deliver ever more value and support for all our members.”

“It was pleasing to have so many nominations, creating a truly international board with members from all over the globe representing so many sectors of the broadcast and media industry,” added Lucinda Meek, IABM finance director. “It is also wonderful to be joined by so many women – a clear reflection of the balance of the industry today.”

  • Thursday, Jul. 6, 2017
Telestream offers captioning solutions to meet FCC mandate
OTT captioning
NEVADA CITY, Calif. -- 

Telestream®, a provider of digital media tools and workflow solutions, announced that its entire suite of captioning, workflow automation and QC products are ready to meet the latest FCC captioning rules. As of July 1, 2017, clips of all live (e.g. concerts, sporting events and news) or near-live programming (e.g. late night talk shows) that are captioned on TV must now be also captioned when posted online. 

The new FCC rules now require broadcasters, programmers and content creators to caption video clips within 8 to 12 hours of programming shown live or near-live on television (such as news or sporting events) when these clips are delivered via Internet. 

“Due to the tight turnaround time and high volume of content, manual preparation of these files is impractical. The only way to effectively turn around volumes of news and sports programming captions to OTT platforms is to rely on tools that automate the process,” explained Giovanni Galvez, product manager for captioning & subtitling at Telestream.

Telestream’s media processing and captioning solutions, including Vantage Timed Text Flip, Lightspeed Live Capture and Vidchecker, allow for completely automated conversion and delivery of FCC-compliant captioned video files for the Internet. These tools allow broadcasters to capture and begin processing live programs as they’re being broadcast.

Media organizations can use the Vantage Media Processing Platform and Timed Text Flip to transcode captions and subtitles within a single workflow. Vantage can both transcode the file to the necessary formats for OTT delivery, and handle the proper conversion of the master video files such as MXF, MPEG-2, GXF or ProRes with captioning.

Telestream captioning solutions are able to get live captioned programming to OTT platforms, and have complete international delivery capabilities. All Telestream captioning solutions can handle TTML, IMSC 1.0, SMPTE 2052 Timed Text, and Web VTT files. Telestream software can also export embedded captioning into .mp4 files for OTT delivery.

QC tools such as Telestream Vidchecker ensure that proper captions are embedded in the incoming/source file, and those same tools offer proof that captions are present before delivery to OTT platforms.

For organizations who wish to create captions and subtitles in-house, Telestream’s MacCaption and CaptionMaker captioning software simplify video captioning and subtitling in any digital workflow. MacCaption (Mac) and CaptionMaker (PC) each have easy-to-use user interfaces and features that are designed to automate much of the cumbersome captioning creation process as possible. When used together with the Vantage family of video transcoding and workflow automation solutions, Telestream’s captioning products provide a solution to transcode, convert, troubleshoot, modify, and deploy caption data alongside video--regardless of the delivery platform.

  • Thursday, Jul. 6, 2017
Bexel to showcase Clarity Camera 800-HD at IBC
Bexel's Clarity Camera 800-HD
BURBANK, Calif. -- 

At IBC2017, Bexel will showcase its custom-built Clarity Camera 800-HD, the world’s first miniature high-frame-rate (HFR) point-of view camera for live production. Building on Bexel and Camera Corps’ experience using specialty cameras in live broadcast, the company developed the standard-setting Clarity 800 camera system to meet sports and event producers’ increasing demand for high-quality, real-time HFR video. 

The Clarity 800 offers HFR processing in HD up to 8x (480 fps) and 1080p for superior quality and can handle all video formats, including 1080i and 720p. The system delivers complete camera functionality in a form factor that is only 4.7 inches high, 2.56 inches wide, and 1 inch thick. The Clarity 800 easily integrates into a live event ecosystem, operating as a broadcast camera system with real-time processing via fiber optics and integration with industry-standard video servers. 

Key features include a full-function remote control panel for paint control of the camera and a positive-lock lens mount with lens control of focus, iris, and zoom motors.

  • Friday, Jun. 30, 2017
Feedback from 6,500-plus customers to influence Avid's future innovations
BURLINGTON, Mass. -- 

Avid® (Nasdaq: AVID) has announced the findings of the inaugural Avid Customer Association (ACA) Vote. The ACA Vote gave Avid’s preeminent customer community the unique and unprecedented opportunity to directly influence Avid’s future offerings. The findings on emerging technology and new business requirements also provide valuable insights into the media industry’s future plans and challenges in relation to cloud computing/virtualization, IP networking and content delivery, 4K/UHD in mainstream broadcast, multiplatform content delivery, and virtual/augmented reality.
 
The ACA Vote set a precedent for the media industry by giving ACA members the opportunity to weigh in on their most important requirements and ensure that Avid continues to deliver new or improved offerings that will positively benefit the community, demonstrating a deeper collaboration between Avid and its community. Over 6,500 unique voters from over 4,000 organizations in 109 countries participated in the vote. Spanning the areas of creative applications, workflow solutions and emerging technology, it uncovered what will most significantly impact the future performance and success of Avid’s customer community.
 
The ACA Vote revealed that the vast majority of media professionals (71.7%) are considering moving some part of their infrastructure or workflow to the cloud over the next two years—the most popular being remote access workflows (15.8%). Just 4.8% are considering moving their entire infrastructure and workflow to the cloud, highlighting the important role that hybrid cloud deployment models will play in the media industry’s journey to the cloud.
 
A hybrid approach will also be important to the industry’s transition to IP. Just over half of respondents (50.9%) are considering hybrid SDI/IP connectivity for new investments. 26.6% of media professionals are considering IP-only connectivity. Dynamic scalability is the most popular reason for considering IP video/audio (36.6%), followed by new high-bandwidth productions like UHD (28.8%) and format-agnostic workflows (16.3%).
 
High-resolution media formats are firmly taking hold, with the majority of media professionals (64.6%) expecting to implement 4K/UHD across their organization within the next two years. OTT or internet delivery is by far the most prevalent delivery mechanism for 4K/UHD (50.7%), followed by theatrical/venue viewing (21.6%) and satellite or cable delivery (13.6%). Just 9.9% said terrestrial broadcast is their most prevalent form of 4K/UHD delivery. The biggest challenge to adopting 4K is the burden on storage capacity (31.6%), followed by the cost of adding/upgrading 4K capabilities (30.5%), and the negative impact on the real-time performance of creative apps (24.7%).
 
While most media professionals (73.3%) are creating content for multiple platforms, less than a third (32.3%) use a single online video platform for social media content distribution. The majority (67.7) use the social media service’s online video platform, making content distribution cumbersome and inefficient. The top two most important drivers for investing in multi-platform content production are reaching new audiences (37.8%) and maximizing audience engagement (37.7%).
 
While more than half of media professionals (58.4%) said that virtual and augmented reality are important to their strategic growth plan, the vast majority (82.3%) aren’t yet sure which business models to consider, and most (63%) have no plans to implement VR/AR over the next two to three years. The most appealing applications of VR/AR are entertainment (23.1%), live events (21.25), gaming (20%) and film (19.4%). 15-30 minutes is seen as the ideal length for VR/AR programming (29.4%), followed by 5-10 minutes (25.5%), less than five minutes (18.7%), feature length (16%), and one hour (10.5%).
 
“The ACA Vote represents a new phase of customer participation in Avid’s future direction, building on the deep community partnership with our customers and users,” said Jeff Rosica, president of Avid. “I am proud of our community for reaching this exciting milestone and applaud the ACA Executive Board of Directors, who oversaw this process. The results of the ACA Vote will directly influence innovations for the MediaCentral® Platform, the industry’s most open, tightly integrated and efficient platform designed for media, and ensure that the ongoing development of our comprehensive tools and workflow solutions for media creation, distribution and optimization continue to support what is most important to our customers and their creative, technical and business requirements.”

  • Thursday, Jun. 29, 2017
Blackmagic Design ships remote Bluetooth Camera Control app for URSA Mini Pro
Blackmagic Camera Control app for URSA Mini Pro now available for iPad in the Apple app store
FREMONT, Calif. -- 

Blackmagic Design has released Blackmagic Camera Control, a free iPad app that lets customers remotely control their URSA Mini Pro cameras via Bluetooth, along with Camera 4.4 Update for URSA Mini Pro cameras. The new Blackmagic Camera Control app is based on the open protocol for URSA Mini Pro cameras that Blackmagic Design demonstrated at NAB earlier this year.
 
Camera 4.4 Update can be downloaded free of charge from the Blackmagic Design website. Once installed, customers can download the Blackmagic Camera Control iPad app from the Apple app store.
 
All URSA Mini Pro cameras feature built in bluetooth connectivity, which until now has not been enabled. The built in bluetooth will allow customers to to send and receive commands from up to 30 feet away. Once the camera is paired with the iPad, customers can remotely power URSA Mini Pro on or off, change all major settings, adjust and add metadata using a digital slate and trigger recording. The Blackmagic Camera Control app is perfect for customers that need to control cameras in hard to reach places such as on cranes, drones, in underwater housings and more.
 
To make URSA Mini Pro’s Bluetooth support even more flexible, Blackmagic Design has developed a new, open protocol and is publishing a developer API, along with sample code, for customers that wish to build their own camera control solutions. This free API and sample code will be available later this summer.
 
In addition to the Blackmagic Camera Control app, Blackmagic Design has also released Camera 4.4 Update which enables Bluetooth functionality and adds new preset timecode options on URSA Mini Pro cameras. The update also adds compatibility with Canon 18-80mm T4.4 for iris, focus and record trigger, along with improved EF, PL and B4 support, improved digital slate functionality and improved zebra stripe overlays on URSA Mini 4K cameras.
 
“URSA Mini Pro has become incredibly popular because of its amazing image quality combined with broadcast features and controls, built in ND filters and interchangeable lens mount,” said Grant Petty, Blackmagic Design CEO. “The new Blackmagic Camera Control app and open API means that the possibilities are truly endless. Customers are going to have the tools they need to build completely custom remote control solutions of their own design using the new Bluetooth support.”

  • Wednesday, Jun. 28, 2017
EditShare expands UK footprint with new office
EditShare's new Soho office
BASINGSTOKE, UK -- 

EditShare, a technology specialist in intelligent shared storage and media management solutions, will expand its UK operations with a brand new office opening in London’s Soho district in July 2017.

The central London location features full demonstration capabilities of Ultra HD workflows and beyond, plus EditShare’s professional and business development services, providing the local creative community a place to gain hands-on experience along with expert guidance for building next-generation editorial and VFX workflows.

Paul Saint, EMEA sales director at EditShare who will be spearheading the new Soho office, commented on the concierge service atmosphere they aim to create for London’s creative community: “We want to ensure London-based clients can visit and see EditShare Flow production asset management and XStream EFS scale-out storage solutions in a complete, working environment. With the addition of senior support and workflow staff, we are readily equipped to serve the Soho and greater London market with speed, efficiency and expert guidance.” The new EditShare Soho office is located at 48 Warwick Street in central London.

EditShare’s portfolio has expanded greatly over the years, from award-winning EFS scale-out shared storage, to media asset management, archiving, editorial and now QC, with its recent acquisition of QC specialist Quales.

“The new facility, located on Warwick Street in the Soho neighborhood of London, is a testament to our commitment to creative agencies and facilities where speed, reliability and efficiency are of the essence,” said Peter Lambert, worldwide sales director for EditShare. “We are always listening to our clients’ needs and requirements. One of these needs was a closer relationship with EditShare. This investment in the new Soho office puts EditShare right next door.”

  • Tuesday, Jun. 27, 2017
Vicon acquires IMeasureU
OXFORD, UK -- 

Vicon, the motion capture (mocap) technology specialist for the entertainment, engineering, virtual reality and life science industries, has announced the acquisition of IMeasureU. Fusing wearable technology sensors and proprietary software, IMeasureU has developed a high-fidelity motion measurement system that enables researchers, coaches and elite athletes to benefit from data-driven performance insights.
 
Vicon has been tracking Inertial Measurement Unit (IMU) technology closely for several years, and this acquisition enables Vicon to accelerate product release plans in this fast-growing and attractive sector.  A natural extension of the Vicon product suite, the data produced by IMeasureU’s IMU sensors can be integrated with, and analyzed through, Vicon’s existing end-user applications.
 
IMeasureU bolsters Vicon’s position as a strong and profitable market leader in movement and tracking technology, adds a new growth dimension, expands Vicon’s markets in existing verticals and offers clear cross-selling opportunities to existing customers.
 
IMeasureU products and markets
Founded in 2013 and based in Auckland, New Zealand, IMeasureU has developed a motion measurement system based on fusing IMUs with proprietary software to provide high-fidelity movement and workload data. These wearable sensors are lightweight and small, enabling researchers to monitor and manage a person’s recovery following an injury.
 
IMeasureU has two core business lines, IMU-Research and IMU-Step. Both business lines apply the same technology but target different markets. IMU-Research is well-established, selling systems to researchers in the life sciences, entertainment and engineering sectors where Vicon is already a market leader. IMeasureU and Vicon share several clients, including Harvard University, and there are clear and immediate applications for the technology right across Vicon’s client base.  
 
IMU-Step is focused on the elite sports market, and assists in the rehabilitation of injured players. By attaching IMU sensors to the injured player, sports scientists and coaches can track the strain an athlete is under throughout rehabilitation. This enables better management of the player’s training regime and ultimately minimises the time taken to return from injury.
 
The acquisition of IMeasureU gives customers added flexibility and opens up a greater variety of motion measurement applications - providing a relatively low-cost way to measure a person’s movements. As no additional camera equipment is required, data can be captured outdoors and researchers can monitor multiple subjects at the same time outside of a laboratory environment.
 
Commenting on the acquisition, Mark Finch, founder of IMeasureU, said: “It has always been at the core of IMeasureU’s philosophy to strive for excellence and precision. This is why the team is extremely excited about joining forces with Vicon, the market leader in motion capture technology. The two companies complement each other perfectly and we are excited about combining our expertise to drive global growth and innovation.” 
 
Imogen Moorhouse, CEO of Vicon Motion Systems, said: “The acquisition of IMeasureU is an exciting step forward for Vicon. The core IMeasureU technology broadens Vicon’s market appeal and also provides benefits to many of our existing customers. The ability to measure outside of the laboratory combined with the opportunity to add inertial measurements to optical tracking will enable new ways of working within the Vicon environment. As always, this will be backed up by our world-leading customer support.”
 
Moorhouse continued: “In addition, IMU-Step not only enables growth in the exciting area of elite sports but in other vertical applications where a lower-cost measurement system provides the most relevant data. The company culture at IMeasureU is a natural fit with Vicon’s and we’re really looking forward to working with Mark and the IMeasureU team.”