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  • Tuesday, Apr. 19, 2016
Blackmagic Design releases public beta for DaVinci Resolve 12.5
DaVinci Resolve
LAS VEGAS -- 

Blackmagic Design announced the availability for immediate download of the public beta for DaVinci Resolve 12.5.

DaVinci Resolve 12.5 is a massive update with over 1,000 enhancements and 250 new features which includes major additions to the editing toolset, new and enhanced color features, including improved HDR support, and powerful new effects. DaVinci Resolve 12.5 beta is available now for download from the Blackmagic Design website.

DaVinci Resolve 12.5 is being demonstrated on the Blackmagic Design NAB 2016 booth at #SL217.

DaVinci Resolve 12.5 is designed to make it easier for professional editors and colorists to work faster and have more creative options than ever before. With millions of editors now using DaVinci Resolve, Blackmagic Design engineers have been gathering feedback from customers and adding the features they’ve asked for. DaVinci Resolve 12.5 adds dozens of new editing and trimming features such as new swap and shuffle edits, seven entirely new trim operations, paste inserts, an expanded edit overlay with ripple overwrites and append edits, and much more. In addition, timeline performance has been greatly improved so editing is faster and the new Cinema Viewer option plays video full screen, making it easier for customers to preview their cut on laptops or systems with a single display.

DaVinci Resolve 12.5 introduces an entirely new way to navigate clips using audio waveforms. The source viewer features a revolutionary audio waveform overlay that allows you to see the audio waveform and video clip at the same time. This is the fastest way to navigate to different parts of a clip based on spikes, silent areas or other visual cues in the audio waveform.

DaVinci Resolve 12.5 also adds dozens of new media management and metadata features that make it easier for both assistants and editors to organize and work with massive amounts of media. A new metadata keyword dictionary makes it easier to choose common or previously created keywords and quickly apply them to clips. Metadata can now also be imported or exported via CSV files. Media Pool metadata columns can also be customized and saved, colors can be assigned to specific clips, and markers can now be single frame or durational. Display names, which are used throughout the software, can be automatically created based on metadata tags such as scene, shot and take information, saving editors hours when importing and working with large amounts of footage. New Power Bins in the Media Pool allow sharing of content between projects, making them perfect for graphics, stock footage and sound effect or music libraries that are used across multiple projects.

DaVinci Resolve 12.5 introduces an entirely new way to create custom retime effects and speed ramps. There are now separate curves for both frame position and playback speed. This allows any frame to be moved to any point in time, while also allowing variable speed changes between any range of frames. These powerful new controls make it easier to create unique retiming effects that were never possible before.

The timeline curve editor has been improved so customers can now select, move, and edit groups of multiple keyframes at the same time. There are also new visual controls for adding or selecting keyframes, as well as a menu for selecting specific parameters and curves to edit.

For colorists, DaVinci Resolve 12.5 introduces major enhancements to the node editor so now it’s possible to quickly navigate between nodes, swap nodes, select multiple nodes with a lasso, copy node contents, extract nodes, use embedded alpha channels in mattes and more. When dragging a saved grade from the gallery, customers now have the option to drag the grade in as a single compound node, or as a fully expanded node tree. These changes allow professional colorists to work even faster, while also making it more intuitive for video editors that are learning how to use Resolve’s massive set of color correction tools. In addition, there is a new single point tracker, new temperature and tint sliders have been added to the primary grading controls, additional XRite Colorchecker charts are now supported in the Color Match palette and customers can now select and modify multiple control points at the same time when working with Power Curve Windows.

With cameras such as Blackmagic Design’s URSA Mini 4.6K that already shoot with the latitude needed for HDR work, DaVinci Resolve 12 has already been used to grade more HDR content than any other system. DaVinci Resolve 12.5 Studio now includes major advances in HDR grading controls. Specific nodes can now be set to HDR mode which enables the grading tools in Resolve to work in an extended dynamic range especially designed for HDR deliverables such as Dolby Vision and HDR10. In addition, caching formats such as ProRes 4444 XQ and DNxHR now support extended dynamic range to serve as an efficient storage alternative to uncompressed 16-bit float files. These enhancements mean Blackmagic Design is the only company that offers a complete end to end HDR workflow from on set production to post production.

DaVinci Resolve 12.5 also introduces ResolveFX, a powerful new framework for native GPU and CPU accelerated effects. This release includes ResolveFX plug-ins such as GPU accelerated color space and gamma transformations, along with more traditional effects such as lens blur, light rays, emboss, dent, vortex, mirrors, gaussian and other blurs, glows, ripples, and more. Advanced ResolveFX tools like film grain, lens blurs and flares are available with DaVinci Resolve 12.5 Studio.

For more advanced visual effects work, the new Fusion Connect feature lets customers send clips to Fusion for additional visual effects. Fusion is Blackmagic Design’s advanced node based 3D compositing, visual effects and motion graphics software. When scenes are rendered out of Fusion, they automatically replace the clips on Resolve’s timeline. As effect shots are completed, the Fusion Connect clips in the Resolve timeline can be refreshed to show the most current version of the shot.

The Deliver page has been completely redesigned so now it’s easier to find presets, customize render settings and organize jobs. The new icon browser lets customers see and select output presets which include a new Premiere Pro export, along with presets for ProTools, Avid, Final Cut Pro, Vimeo, YouTube and more. In addition, audio can now be output independently of video as single or multichannel, and clips can be exported with an alpha channel when using supported codecs such as ProRes 4444, ProRes 4444 XQ and uncompressed RGBA.

In addition to all of the above features, DaVinci Resolve 12.5 Studio customers will also get dramatically improved spatial noise reduction which uses a superior multi GPU accelerated algorithm to reduce noise while retaining incredible detail. When combined with DaVinci Resolve 12.5’s enhanced temporal noise reduction controls, customers get the ultimate noise reduction toolset. DaVinci Resolve 12.5 Studio customers also get a new automatic correction tool for fixing barrel, pin cushion or perspective lens distortion, along with high quality de-interlacing, support for Camera LUTs, the DaVinci Color Transform Language (.dctl), and the ability to create ProRes remote render jobs on Windows machines. Customers can even use a terminal command to run a headless version of DaVinci Resolve without the GUI for remote rendering.

“The overwhelming success of DaVinci Resolve 12 has been incredibly exciting. Originally we planned DaVinci Resolve 12.5 to be focused on all the little things that make colorists’ and editors’ lives more productive, however its turned out that DaVinci Resolve 12.5 has become a major upgrade with a huge number of innovative new features,” said Grant Petty, CEO, Blackmagic Design. “I’d like to thank everyone for their huge support and positive feedback. This year we really wanted to take the time to address all of the finer details and the little things that make a huge difference to the pros that use it everyday, as well as new users learning the software. DaVinci Resolve 12.5 now includes virtually every imaginable editing and trimming tool! We are really excited about how quickly editors are switching, and we are committed to continue making it the best editing and color correction software in the world!”

The public beta of DaVinci Resolve 12.5 and DaVinci Resolve 12.5 Studio are now available for download from the Blackmagic Design website free of charge for all current DaVinci Resolve customers.

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  • Monday, Apr. 18, 2016
Codex, OFFHOLLYWOOD deliver streamlined workflow for RED cameras with live HDR on-set grading
OFFHOLLYWOOD'S OMOD
LAS VEGAS -- 

Codex and OFFHOLLYWOOD (recently acquired by Vitec Group) have announced the seamless integration of Codex Live, the color management and look-creation system enabling set-to-post color confidence, with OFFHOLLYWOOD’s OMOD for RED Digital Cinema cameras. This technology collaboration delivers a fast and robust set-to-post solution for RED camera workflows, and also enables live High Dynamic Range (HDR) on-set grading for the first time, and launches during NAB 2016. Visit Codex booth #SL6828 and at RED booth #SL1517.

Codex Live features an easy-to-operate interface and enables users on-set to create and preview looks and color grades directly from multiple live HD-SDI camera feeds. These looks and grades can be previewed with Codex Review and automatically applied when generating deliverables via Codex Production Suite. With Codex Live, the looks created can be exported in various formats (ASC-CDL for example) for application downstream in the workflow. Codex Live has multiple color controls to adjust the range of color parameters including Offset/Power/Slope/Saturation, Printer Lights and Life/Gamma/Gain and is ASC-CDL and ACES-compliant. Crucially, the looks and grades delivered by Codex Live can be used to communicate the creative intent from the set, and form the starting point for color-consistent dailies and post-production deliverables.

Developed by OFFHOLLYWOOD, OMODs are the first third party modules for the RED WEAPON camera platform. OFFHOLLYWOOD’s long experience with RED cameras and workflows allowed it develop a product enhancing the functionality of RED cameras. Designed for the color management requirements of today’s workflows, three independent HD-SDI outputs can be routed in any configuration from RED’s SDI & HDMI monitor paths. Each output can have a CDL and/or 3D LUT applied, controlled and stored independently.

The smooth integration means that Codex Live can generate CDLs and 3D LUTs for the OFFHOLLYWOOD OMOD module. Codex Live users can grade wirelessly, in real-time, directly to the OMOD. Each monitor path can have a separate color pipeline, so that, for example, the DIT can grade and preview in isolation and then share the look when ready.

Significantly, the combination of the OFFHOLLYWOOD OMOD with CODEX Live enables the creation of live HDR – at same time as SDR – and, utilizing CODEX Live, users can color grade CDLs under HDR output. It is thought to be the first-ever live HDR and CDL workflow. 

“We developed Codex Live to meet a need for secure color pipelines that are integrated into the production to post workflow, so that the look created on-set is exactly what appears in the VFX, editorial deliverables and in the DI grading suite,” said Brian Gaffney, VP business development at Codex, “We are excited to work Mark and the team at OFFHOLLYWOOD to integrate Codex Live with the OMOD for use with the premier cameras and products in the market, and to innovate even further by bringing the ability to perform live HDR grading on-set.”

Mark Pederson, director of technology for OFFHOLLYWOOD, added, “Codex’s reputation for efficient, secure workflows is unsurpassed, and Codex Live just adds to their palette of tools. We are excited to work with them as we introduce OMOD, a product that we believe will be eagerly received by RED users everywhere.”

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  • Monday, Apr. 18, 2016
Autodesk acquires Solid Angle
Chris Bradshaw, sr. VP, Autodesk Media & Entertainment
SAN FRANCISCO -- 

Autodesk, Inc. (Nasdaq: ADSK) has acquired Solid Angle, developer of Arnold, an advanced, ray-tracing image renderer for high-quality 3D animation and visual effects creation used in film, television and advertising worldwide. Acquisition terms were not disclosed.

An efficient global illumination renderer used by more than 500 studios and thousands of independent artists, Arnold has been used on Academy Award-winning films such as “Ex Machina” and “The Martian” as well as Emmy Award-winning series “Game of Thrones,” among other popular features, TV shows and commercials.

“We’re constantly looking out for promising technologies that help artists boost creativity and productivity,” shared Chris Bradshaw, senior VP, Autodesk Media & Entertainment. “Efficient rendering is increasingly critical for 3D content creation and acquiring Solid Angle will allow us to help customers better tackle this computationally intensive part of the creative process. Together, we can improve rendering workflows within our products as well as accelerate the development of new rendering solutions that tap into the full potential of the cloud, helping all studios scale production.”

“Autodesk shares our passion for numerical methods and computational performance and our desire to simplify the rendering pipeline, so artists can create top quality visuals more easily,” said Solid Angle founder Marcos Fajardo. “With Autodesk, we’ll be able to accelerate development as well as scale our marketing, sales and support operations for Arnold to better meet the needs of our growing user base. Working side-by-side, we can solve production challenges in rendering and beyond.”

As part of Autodesk, Solid Angle’s development team will continue to drive the evolution of Arnold, working in close collaboration with its user community. Arnold will remain available as a standalone renderer for both Autodesk products and third-party applications including Houdini, Katana, and Cinema 4D on Linux, Mac OS X and Windows. Both Autodesk 3ds Max and Autodesk Maya will also continue to support other third-party renderers.

“As with other acquisitions, we are committed to supporting third-party applications with Arnold,” explained Bradshaw. “Our goal is to improve customers’ collaboration, creativity, productivity and efficiency across their entire pipeline, regardless of the tools they use.”

Arnold pricing and packaging is unchanged and Autodesk will continue to offer perpetual licenses of Arnold. Customers should continue to purchase Arnold through their usual Solid Angle channels.

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  • Sunday, Apr. 17, 2016
Grass Valley displays Future-Ready lineup at NAB 
Marco Lopez, president, Grass Valley
MONTREAL -- 

At NAB 2016, Grass Valley, a Belden Brand, is unveiling a host of new and enhanced products that will help customers manage change and stay Future-Ready.

“With so many changes happening in this industry, broadcasters have to stay flexible to ensure they are not left behind,” said Marco Lopez, president, Grass Valley. “Our focus at NAB 2016 is on helping our customers embrace the changes with solutions that give them options and help them stay competitive. IP solutions based on open standards; format-flexible production solutions that keep trucks and studios working; workflow tools that solve VOD content preparation challenges—these are just some of the things we’ll be showing in our booth.”

Customers look to Grass Valley for IP solutions that will keep their operations nimble and ready for change. Grass Valley’s Glass-to- Glass IP strategy delivers the business agility needed with IP connectivity across the entire product line.

Enhanced Glass-to- Glass products

 An enhancement to Grass Valley’s Broadcast Data Center, the Kaleido KMX-4911 integrated multiviewer for GV Node Real Time IP Processing and Edge Routing Platform now includes support for larger distributed systems with expandable modules for 18x2 or 18x4 with two cards; 27x2 or 27x4 with three cards; and 36x2 or 36x4 with four cards. The KMX-4911 accepts SMPTE 2022-6 and 3G/HD/SD sources, is 4K capable and operates with optimal efficiency requiring no wiring, less rack space and reduced power

 Densité IPG-3901 High-Density SDI/IP Gateway with the new TICO 4K 1-Wire option provides TICO mezzanine encoding and decoding, allowing customers to add 4K to their current workflows and move 4K across the production facility. TICO visually lossless 4:1 compression and low latency are ideal for live production.

 IPG-3911 Gateway in the new Densité 3+ FR4 Frame leads the industry with 66 gateways per rack unit. The compact IPG-3911 is also able to achieve a lower cost point, making it not only a space-efficient move to IP, but also an economical bridge

 UDC-3901 Densité compact 3G/HD/SD Up/Down/Crossconverter touts a lower cost all- inclusive design for video, audio and metadata processing. The UDC-3901 also offers customers an expanded range of I/O by using SFP input/output plug-in cartridges.

When leaders collaborate, the industry wins
 Grass Valley and Cisco are accelerating their IP collaboration with a new joint effort that provides an integrated offering to support the Broadcast Data Center architecture. The companies will demonstrate a traditional IP network using Cisco Nexus switches and GV Nodes at both Cisco’s booth SU8502CM and Grass Valley’s booth SL106.

Grass Valley takes AIM
 The key to success in IP for the broadcast industry is an approach based on open standards, which is why Grass Valley played a leading role in the formation of the Alliance for IP Media Solutions (AIMS), an independent trade association committed to IP interoperability. AIMS will be in booth SL9406 at NAB and more than 20 members will be showing interoperability demos at the show.

LinkedIn is one of many customers reaping the benefits Grass Valley’s Glass-to- Glass IP strategy. “GV Node will give us the ability to connect our facilities no matter where they are—in real-time—with low latency for worldwide distribution,” said Gary Schneider, global production systems lead for media production, LinkedIn.

Tell better stories with Any Format, Any Time
Format flexibility is critical in the changing broadcast environment. Grass Valley continues to set the bar high with new and enhanced products that deliver unmatched production flexibility, helping broadcasters tell better stories, improve viewership and maximize resource utilization. Whether 3G/HD 4K/HDR or IP, Grass Valley has the solution.

New and enhanced production solutions
 New LDX 86 N native 4K camera series, built using Grass Valley’s newest UHD 2/3” imagers, offers uncompromised native 3G/HD along with the crispness of native 4K from a single position in true 16:9 aspect ratio, using lenses intended for broadcast with no unwanted cropping or zooming effects.

 The LDX Series with new direct IP interface is the only family of cameras with a direct IP interface on the camera itself, enabling live IP remote productions for the first time. Now broadcasters can connect LDX Series cameras directly to commercial-off- the-shelf (COTS) switches on an IP network. This system enables control of all the cameras remotely through a centralized control room. The direct IP interface is available for the XF-Transmission on all LDX Series cameras, including the new LDX 86 N Series, via an e License software upgrade.

 New Focus 75 Live entry-level 720p/1080i switchable HD system camera, featuring three fully digital Xensium-FT CMOS imagers with global shutter operation and a high level of image performance for applications that require less flexibility, as well as a standard B4 2/3-inch lens mount to accommodate existing HD lenses.

 New GV Korona K-Frame S-series production switcher, perfect for mobile environments or anywhere space is limited. It is available in 1 and 2 M/E panels, and offers support for multiple HD formats, software upgradability to 3G/4K, IP connectivity, an innovative touchscreen in the transition area and the largest I/O matrix for a small switcher.

 Free software upgrade enabling up to 4M/Es for 4K production on any Kayenne K-Frame or Karrera K-Frame S-series Video Production Center switcher licensed for 1080P 3G/HD.

 K2 Dyno Replay System offers enhanced EVS file sharing and increased transfer speeds and support for XML data; folder restoration; and automated transfers of tagged clips to a targeted location. And, K2 Dyno is the only replay solution capable of 4- channel in / 2-channel out for 4K.

 EDIUS 8.2 Nonlinear Editing Software introduces new creative options for professional and newsroom editing with motion tracking, primary color correction, RAW decode, draft preview (Workgroup only) and GV browser updates.

Sneaky Big Studios recently purchased a suite of Grass Valley products including the Karrera K-Frame 4M/E production switcher to manage its multiformat needs. “Grass Valley equipment does everything we need and provides us with a platform we can easily build on as we grow and expand,” said Steve Brain, vice president and general manager, Sneaky Big Studios.

Improve business flexibility with digital media solutions

The way that viewers consume content is changing, making it necessary for broadcasters to find ways to easily and affordably repurpose digital media assets quickly for VOD or multiplatform delivery. Grass Valley is helping customers address these demands with affordable, automated digital media solutions.

New and enhanced digital media solutions for news and playout

 iTX On-Demand is a new video-on- demand (VOD)/over-the- top (OTT) product. As part of the iTX Integrated Playout Solution it automates the VOD process, reducing preparation time for live productions by enabling VOD processing of growing files. For pre-recorded productions, VOD can be started hours in advance by “pre-packaging” assets—no need to wait for the transmission time. iTX On-Demand can integrate with iTX Playout, but also works alongside third-party solutions.

 GV STRATUS Video Production and Content Management System removes the complexity associated with multiplatform publishing by using a workflow rules engine to automate production and dramatically reduce publishing time. The latest Newsroom Bundle Elite supports K2 Central TX with up to 20TB of usable storage, 20 GV STRATUS clients and 15 simultaneous editors and will be demonstrated at the booth.

 Ignite Automated Production System further enhances GV STRATUS’s digital media capabilities, allowing a downstream over-the- top (OTT) platform to substitute content on a live stream. Visitors to the booth interested in live production automation will get a sneak peek at the next version of Ignite that includes a new standardized user interface and a list of other features that further simplify production automation and digital media workflows.

 K2-Playlist is a cost-effective playout application for K2 Media Servers that facilitates master control and play-to- air operations. Ideal for small station commercial insertion where full station automation is not required, it also provides low-cost back-up for automation systems.

KFMB is using iTX to improve operations and prepare for the future. “iTX has a solid reputation and is the perfect solution for our operation,” said Leann Lanflisi, engineering operations manager, KFMB. “iTX works with a wide range of traffic and external production systems, which means we can continue to build out our workflow and add more features as our needs change.”

“Change doesn’t have to be intimidating. In fact, I believe that the changes we are facing right now as an industry are very exciting,” added Lopez. “Our customers’ business models are shifting to include higher quality content, more delivery platforms, and new ways of generating profit. At the same time, our solutions are transforming to meet those needs, and NAB visitors will be able to see how our heritage and expertise make us the perfect partner for these changing times.”

Grass Valley is participating with other AIMS members in a panel discussion during NAB. It is entitled “Open Standards that Drive Industry Innovation,” and takes place Tuesday, April 19, from 10:00-11:00am at Imagine Communications booth N2502. Participants include Steve Reynolds, CTO of Imagine Communications; Mike Cronk, VP, Core Technology of Grass Valley; Bryan Bedford, Global Business Development, Partner Organization, Sports, Media & Entertainment Ecosystems of Cisco; and Benoit Fevrier, SVP, CTO of EVS.

Grass Valley is in booth SL106 at NAB.

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  • Sunday, Apr. 17, 2016
Sony highlights 4K High Dynamic Range at NAB
Sony's HDR-capable F55 camera
LAS VEGAS -- 

Sony is announcing at NAB 2016 five key additions to its industry-leading line up of 4K High Dynamic Range (HDR) production equipment for content and live production. These new products join solutions already being used within 4K HDR workflows at high profile live music, theater and sports events, blockbuster movies and landmark TV shows around the world.

The expanded line includes a new system 4K 8x High Speed camera, the HDC-4800, three new switchers, the XVS-6000, XVS-7000, XVS-8000, and a new client monitor, the PVM-X550.  Further enhancements have also been made to the feature set of the HDC-4300 camera system, introduced at NAB last year as the world’s first camera to use three 2/3-inch 4K image sensors, which is also HDR-capable and fully compatible with a wide range of existing products and production workflows. Sony will demonstrate these new 4K HDR solutions as part of its exhibit setup at NAB 2016.

Sony has been at the forefront of 4K and HDR technology for many years:  HDR-capable Sony F55 and F65 cameras are being used to capture images with 16-bit RAW data capture, 14 stops of latitude range and superior color performance. Over the last year, Sony has introduced the BVM-X300 TRIMASTER EL ™OLED master monitor. Sony is also leading the adoption of 4K and HDR content in the field of consumer technology, bringing stunning viewing experiences into homes with the release of its BRAVIA consumer range, including the XBR-X930D, X940D and X850D series announced at CES 2016.

Sony’s involvement in a number of key HDR productions, both live and cinematic, has already captured the imagination of the broadcast industry. Successful high profile 4K HDR trials using HDC-4300 and PMW-F55 cameras have taken place at a number of live events,  numerous domestic and international soccer games. CineAlta F65 and F55 cameras have been used in cinematic productions shot in 4K HDR, including Netflix’s Original Series Marco Polo and the Amazon Original Series Mozart in the Jungle.

This past January the 2016 Sony Open in Hawaii, a PGA Tour event, was shot and broadcast in HD on the Golf Channel, using Sony’s HDR solutions. Sony’s HDC-4300 was used to capture all the action on the 17th hole in 4K resolution, while simultaneously recording 4K HDR images to separate servers as part of Sony’s ongoing research in HDR production. Sony’s F55 cameras were also used to shoot on-course segments for the 4K HDR production, then converted to HD for the main broadcast.

Sony evolves 4K HDR production workflows
Sony has today strengthened its 4K HDR solutions with the addition of following new products:

HDC-4800: a 4K 8x High Speed System Camera for live production.
BPU-4500, BPU-4000: base-band processor unit for HDC-4300. LIVE-HDR mode is planned to be available from summer, 2016.
PVM-X550: a 55-inch 4K OLED TRIMASTER EL client monitor ideal for verifying 4K footage during production.
XVS-6000, XVS-7000 and XVS-8000: multi-format switchers that support HDR signals.
This expanded line-up provides wide color space of BT.2020 and supports HDR covering applications for both cinematography and live broadcast.

The PVM-X550, also announced today at NAB, is one of the world’s first quad-view OLED monitors, which allows for customized individual display settings across four distinct views in HD.

Sony’s HDC-4800 is planned to be available in August 2016.  The PVM-X550 is planned to be available in summer 2016 and the XVS-6000 and XVS-7000 are expected in Fall 2016.  The XVS-8000 is planned to be available in May, 2016.

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  • Sunday, Apr. 17, 2016
Sony unveils 4K 8x Ultra High Frame Rate Camera System with Replay Server Function
Sony's HDC-4800
LAS VEGAS -- 

Sony’s newest camera system, unveiled at NAB, combines 4K resolution with enhanced high frame rate capabilities — 8x at 4K, and up to 16x in full HD. This power is combined with dynamic center cut-out and zoom capabilities for live sports and event production.

The new camera, model HDC-4800, is complemented by the BPU-4800 combination baseband processor unit/replay server, creating a fully networked, 4K live ultra-high speed production workflow.

The HDC-4800 uses a new Super 35mm 4K CMOS sensor and wide color space (BT.2020 and BT.709).  It also supports PL mount lenses that can capture high resolution, clear and crisp images for live sports shooting. HDR support is under development and will be available in the near future.

“This camera system can do a lot of everything — very high frame rate, very high resolution, and it works seamlessly within Sony’s current HDC family to give users a familiar yet powerful and new production tool,” said Rob Willox, marketing manager for content creation, Sony Electronics. “This is the future of live production, designed to satisfy the storytelling aspect of modern sports production.”

The HDC-4800/BPU-4800 camera system also creates a companion system for Sony’s HDC-4300 4K/HD camera with a 2/3-inch image sensor.  Like the HDC-4300, the new HDC-4800 networks with Sony’s industry-leading HDC series cameras. The two systems blend seamlessly with matching colorimetry and a deep toolset of camera adjustments. Both systems take advantage of existing build-up kits, remote control panels, master setup units and viewfinders.  As a result, directors and operators can maintain their approach to live events — including camera angles, zoom ranges and iris settings – while using familiar camera technology to advance into ultra-high frame rate production.

The BPU-4800 is a separate unit that connects to the HDC-4800 with a SMPTE optical fiber cable for 4K High Frame Rate (HFR) signal transmission.

With its large storage capability, the BPU-4800 enables up to four hours of continuous 4K capture at 8x super motion without transmitting image data from the camera to a live server.  In live sports, producers risk missing critical moments when the camera transmits image data to a live server, because built-in memory can quickly reach capacity when shooting and transmitting simultaneously.  The BPU-4800 eliminates that risk.

The BPU-4800 replay server function can also offer “Share Play” operation with the PWS-4500 multi-port 4K/HD live server connected with a dedicated IP network.  Image data recorded in BPU-4800 can be accessed by an operator of PWS-4500 through network.

The addition of other 4K products,  XVS series multi-format switchers capable of real-time 4K signal processing, and Sony’s new BVM-X300 4K OLED or PVM-X300 4K LCD monitors create an end-to-end 4K live production solution.

The HDC-4800 and BPU-4800 are planned to be available in August 2016.

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  • Saturday, Apr. 16, 2016
Virtual Reality Check: A look at the 10 best VR experiences
This image released by Oculus Rift shows a scene from "Adr1ft." The weightless saga casts players as an astronaut struggling to survive while exploring a destroyed space station. (505 Games/Oculus Rift via AP)
By Derrik J. Lang, Entertainment Writer
LOS ANGELES (AP) -- 

After spending time with the recently released consumer editions of the Oculus Rift and HTC Vive virtual reality systems, here are the 10 best VR titles out now:

— "Adr1ft": If the film "Gravity" was a video game, it would be "Adr1ft." The weightless saga for Oculus casts players as an astronaut struggling to survive while exploring a shattered space station.

— "Elite: Dangerous": While the open-world space simulator "Elite: Dangerous" has been out for two years, a VR edition adds another level of immersion by placing players in the cockpit of their spaceship.

— "EVE: Valkyrie": This sci-fi dogfighter — one of the first full-fledged games to be created for modern-day VR — convincingly pits online gamers against each other in out-of-this-world locales.

— "Fantastic Contraption": In this physics-based puzzler, there's a wacky frenzy as players are tasked with constructing virtual inventions to navigate a glowing pink blob across increasingly more complex levels.

— "Hover Junkers": Duck! The controllers for the Vive are transformed into a gun and a hovercraft's throttle, in this addictive multiplayer shooter that implores players to use their whole body.

— "Job Simulator": This could be the first-ever VR sitcom. "Futurama" meets "Portal" in Owlchemy Labs' quirky game where players take orders from robots in such roles as line cook and store clerk.

— "Space Pirate Trainer": For those gamers who've ever wanted to dodge bullets with their whole body like Keanu Reeves in "The Matrix," this arcade-like game will have them muttering, "Whoa."

— "The Lab": Valve didn't release a new "Half-Life" game alongside the Vive, but they did create a dynamic "Portal"-themed mini-game collection boasting high-fidelity archery and realistic VR vistas.

— "Tilt Brush": One of the most impressive VR experiences isn't a game at all. Google basically designed a 360-degree version of Photoshop where users can craft sculptures with everything from paint to rainbows.

— "Vanishing Realms": In this clunky but captivating fantasy game, players are cast adventurers who must wield swords, shields, bows and magical wands as they navigate dungeons and fight skeletons.

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  • Friday, Apr. 15, 2016
Prime Focus Technologies extends CLEAR Operations Cloud to Amazon Web Services
Ramki Sankaranarayanan, founder and CEO, Prime Focus Technologies
LOS ANGELES -- 

Prime Focus Technologies (PFT) announced the launch of Amazon Optimizer for its Operations Cloud module, part of PFT’s CLEAR Media ERP Suite. Amazon Optimizer promises to reduce the cost of transcoding for broadcasters and content owners, while increasing efficiencies--part of PFT’s ongoing mission as it virtualizes the content supply chain.

With Amazon Optimizer, content owners simply enter their content location, choose the output profiles, select the time window to process the content and leave the rest to Operations Cloud’s Amazon Optimizer.

“Bringing the power and functionality of Operations Cloud to Amazon Web Services is yet another step toward PFT’s goal to assist companies with digital transformation,” said Ramki Sankaranarayanan, founder and CEO, Prime Focus Technologies. “Through utilizing Amazon Optimizer, users will be able to slash costs and efficiently capitalize on emerging streams of revenue.”

The addition of Amazon Optimizer comes at a time when consumer video demands and the volume of programming continue to increase with an ever-growing array of mobile devices and content platforms.

With Operations Cloud’s Amazon Optimizer, content owners can quickly repurpose content for distribution to web, mobile, VOD and IPTV platforms in a cost-efficient way. Amazon Optimizer leverages the scalability and cost efficiencies of public cloud and can deliver file-based video transcoding, auto quality control and compute intensive media processing tasks at the lowest total cost on the market. PFT Operations Cloud uses a clever algorithm, batch.ly built by 47Line, to optimally use a mix of reserved, on-demand and spot instances on Amazon Web Services to meet the service level agreement at the lowest cost. 

CLEAR Operations Cloud provides one software to to manage content store, processing and delivery. PFT’s CLEAR Media ERP Suite is the transformation solution to bring companies into the digital next world, offering one software, rich in applications that enable workflow orchestration across all enterprise, supply chain and partner ecosystems. In enabling such transformations, PFT has helped content enterprises cut 30 percent of operational costs and gain 40 percent more efficiencies.

PFT also announced updates to its production workflow solutions at NAB 2016, further expanding the capabilities of the CLEAR Media ERP Suite and enabling content creators.

PFT’s clientele includes Disney, 21st Century Fox-owned STAR TV, Warner Bros. Television Studios, CBS Television Studios, 20th Century Fox Television Studios, Legendary Pictures, Starz Media, Lionsgate, A&E TV Network, Crown Media Family Networks, and FX Networks.

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  • Thursday, Apr. 14, 2016
Deep in the virtual world: A newbie's first brush with VR
In this Monday, Feb 22, 2016, file photo, a Samsung Gear VR oculus is demonstrated during a preview of Samsung's flagship store, Samsung 837, in New York's Meatpacking District. (AP Photo/Richard Drew, File)
By Mae Anderson, Technology Writer
NEW YORK (AP) -- 

My descent from the boat, gliding through schools of fish and clouds of phosphorescent jellyfish, seemed to be going pretty smoothly. At least until the shark emerged from the deeper gloom and tried to tear its way into my protective cage.

Of course, it wasn't really a shark. And I wasn't really in a cage - or underwater or even anywhere near the ocean. But it sure felt like I was.

At its best, this is exactly what you can expect from the much-hyped technology of virtual reality. All you have to do is put on a headset that blocks out the surrounding world and replaces it with one that's fake - but often utterly realistic. Suddenly it's like you've stepped out of your life and into someone else's.

With the debut of new VR headsets from Facebook's Oculus unit, Samsung and Sony over the past few months, virtual reality hype has been off the charts. To its proponents, it's the Next Great Thing, a whole new way of "immersing" (a word you'll be hearing a lot) yourself in games, movies, even live music or sports.

Until a few weeks ago, though, the prospect left me cold. The first wave of VR entertainment consists largely of video games, which have never much interested me. Reports that VR can make you nauseous also put me off. Eventually, though, I had to try it, and my first brush with the technology was intriguing enough to keep me exploring.

Just not enough to plunk down more than a thousand dollars for a full-fledged VR system anytime soon. Current VR offerings have a lot of room for improvement; many of them get old quickly once the initial "wow" factor wears off. It's also hard not to feel self-conscious wearing goofy-looking headgear, especially when surrounded by strangers you can't see.

The experience, though, had its moments. Zombies and sharks pushed me uncomfortably close to real terror; a few contemplative moments lost in a blind man's virtual diary, by contrast, proved unexpectedly affecting. And there was another big plus: no queasiness. (For me, at least. Your experience may differ.)

ROLLIN' ROLLIN' ROLLIN'
My first plunge into VR involved a virtual roller coaster. Which is funny only because the real things scare me to death. If I ride them at all, I get on somewhere near the back and keep my eyes shut tight.

This Samsung demo, featuring the company's Gear VR system, got extra points for realism. Its VR video, shot at a Six Flags park, was synced to mechanical chairs that jerked around in time with the coaster's virtual movements. And of course, the video put me right in the first car.

For all that, the virtual ride proved sort of tame, at least for a coasterphobe like me. For once, I could keep my eyes open and enjoy gawking at fellow passengers or the trees below me. It may not have matched the adrenaline rush of the real thing, but that was just fine.

GOING DEEP INTO ZOMBIELAND
A demo of Sony's PlayStation VR headset, due out in October, was mostly devoted to games ranging from space shoot-em-ups to family puzzle games. A lot of them were enjoyable, but few were as dramatic as "The Deep," which had me shaking alone in a dimly lit shark cage while what felt like the real thing circled outside.

I had a similar moment playing "Until Dawn: Rush of Blood," a horror game set in a zombie-infested amusement park. (Yes, it was a lot like the finale to "Zombieland," just like "The Deep" bore more than a passing resemblance to an up-close-and-personal version of "Jaws.") I knew the zombies weren't really rushing at me through the darkness, but I couldn't help ducking anyway.

A VIRTUAL FILM FESTIVAL
Film festivals are starting to showcase VR films as directors explore the new medium. At New York's Tribeca Film Festival, which opened Wednesday, I watched "Allumette," a dreamy short based on the fairy tale "The Little Match Girl."

For 20 minutes, the story took me around a dollhouse-like town built in the clouds. It was charming to crane my neck to look at houses from different angles; at one point, I even stuck my head into a flying boat to see what was going on.

"Notes on Blindness: Into Darkness," meanwhile, translates the audio diary of man who'd gone blind into a virtual representation of his world. I found myself in a minimalist landscape in which sounds from a park formed ephemeral images - laughing children, barking dogs - that dissipated as their echoes faded.

VIRTUAL CONCLUSION
Bottom line: My VR experiences to date have mostly been interesting, but still not entirely compelling. It's clearly a medium in its infancy, and creators are still devising new storytelling techniques that can exploit the technology's power. But it's impossible to deny the technology's underlying potential.

Maybe it'll even help me lose my fear of roller coasters one day.

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  • Wednesday, Apr. 13, 2016
Avid and Quantum create flexible archive storage options optimized for Avid environments
SAN JOSE, Calif. -- 

Quantum Corp. announced that Avid has developed a connector for the company’s Interplay | MAM system and Quantum’s StorNext Storage Manager that enables seamless integration of Quantum archive storage systems into Avid environments.

The Avid connector for StorNext Storage Manager gives users the ability to access and control StorNext archive and restore functions through Interplay | MAM, including automated movement of content across different archive storage tiers: Quantum’s Lattus object storage, tape libraries and Q-Cloud® services. Integrated into various business processes within Interplay | MAM, this solution provides more intelligent, long-term content management, faster access to a nearline archive tier via standard network protocols and better protection of Avid projects with an archive strategy.

Collaboration Provides Greater Value to Customers
In addition to developing a solution that enables tight integration of Avid Interplay | MAM with Quantum archive solutions, Avid also has joined the Quantum Advantage Program which provides a platform for partners to test and qualify their technology with Quantum offerings and provide integrated, best-in-class solutions that deliver enhanced value to customers’ workflows.

Quantum will be showcasing the new Avid archive solutions at Avid Connect 2016, April 16-17, in Las Vegas, and in the Quantum booth (SL8416) at the 2016 NAB Show, April 18-21, in Las Vegas.

Ed Caracappa, Avid’s sr. director of global alliances, said, “We are excited to be a part of the Quantum Advantage Program, which will help ensure mutual customers achieve the best possible solution when linking Quantum offerings to the Avid MediaCentral Platform.”

Geoff Stedman, Quantum’s sr. VP, marketing and scale-out storage solutions, added, “Through initiatives ranging from solution development to closer alignment of sales and support activities, Quantum is working closely with Avid to help Avid customers better manage their content over the long term. Together our technologies empower users to optimize their media storage and access to content on a broad range of archive platforms, providing significant time and cost savings that make it easier to achieve their creative and business goals.”

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