• 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.

  • Tuesday, Sep. 16, 2014
CatDV for Adobe Anywhere rolled out at IBC
CatDV Adobe Premiere
AMSTERDAM -- 

At IBC 2014, Square Box, a U.K. software company specializing in digital media asset management (DAM/MAM) systems and production workflow, is announcing CatDV for Adobe Anywhere for video, a new product supporting the Adobe Anywhere real-time collaborative editorial platform. This makes CatDV’s powerful media management features available to the Adobe Anywhere platform, enabling content to be shared seamlessly by Adobe Anywhere productions, and supporting a huge range of efficient production workflows. The new product builds on the long-term, robust technology integration between CatDV and Adobe that has already enabled Adobe Premiere Pro CC editors to maximize creative productivity for many years.

Simon Williams, director of strategic relations at Adobe said, “Adobe Anywhere, with its ground-breaking production capabilities that enable true collaboration, and CatDV, which solves the perennial problem of finding materials, make for a compelling combination.”

Adobe Anywhere provides a production environment with all content centrally managed and streamed over a standard network. Users do not need local content, or even to know where content is located. Harnessing the powerful search, preview, tracking and media management features of CatDV, content can be seamlessly shared and managed in Adobe Anywhere productions directly from CatDV, or via a CatDV control panel that is integrated within Adobe Premiere Pro CC. Adobe Premiere Pro CC is included in Adobe Creative Cloud along with the most up-to-date versions of other favorite Adobe desktop apps, such as Photoshop CC, After Effects CC, Illustrator CC, and more.

The rich feature in CatDV allows new Adobe Anywhere projects to be initiated, and CatDV assets can be added to an Adobe Anywhere production from CatDV desktop and Web clients, as well as Adobe Anywhere and Adobe Premiere Pro CC.

Alternatively, Adobe Premiere Pro CC users can access CatDV, via an integrated Premiere Pro CC panel, to undertake powerful searches and previews. CatDV assets can be added to an Adobe Anywhere production at the press of a button. CatDV also tracks when media has been sent making it easy for users to see which assets are being used and where.

  • Monday, Sep. 15, 2014
Canon unveils cameras, lenses
MELVILLE, NY -- 

Canon U.S.A., Inc., a leader in digital imaging solutions, has introduced the EOS 7D Mark II Digital SLR camera, incorporating professional features and quality in an affordable DSLR. Building upon the proven success of the EOS 7D camera, this new EOS model features a range of “EOS firsts” such as Dual DIGIC 6 Image Processors for superb image quality and rapid burst shooting up to 10 frames per second (fps), as well as Canon’s first 65-Point* All Cross Type autofocus (AF) system for compositional freedom and accurate, spot-on fast focus. Great for shooting indoor activities such as sporting events, concerts, or weddings, the camera’s impressive low-light shooting capabilities along with its up-to-10 fps high-speed shooting can capture a fast-break basketball dunk, a band’s encore performance, a bird in flight or wildlife in exceptional quality. In addition, the EOS 7D Mark II is the second EOS DSLR camera to incorporate Canon’s innovative Dual Pixel CMOS AF system for rapid and precise focusing of video as well as still images.

“With more processing power than any other EOS camera available today, the highly anticipated EOS 7D Mark II camera has everything serious photographers have come to expect from Canon’s DSLRs and more,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “And, recognizing that for some, creative expression may expand beyond still photography, we continue to support these creative passions by offering new and innovative Full HD video capabilities, such as second generation Dual Pixel CMOS AF technology in the EOS 7D Mark II camera as well.”

The EOS 7D Mark II camera’s advanced AE system can detect and compensate for flickering light sources such as sodium vapor lamps that are often used in gymnasiums and indoor swimming pools. When enabled, this system automatically adjusts shutter release timing to help reduce disparities in exposure and color especially during continuous shooting.

The EOS 7D Mark II camera offers users the ability to shoot in 1080p Full HD or 720p HD video up to 60p enabling slow-motion capture at full resolution in either ALL-I or IPB codecs with optional embedded time code, exceeding the specifications of other current EOS cameras. Users can also choose between .MOV and .MP4 recording formats for maximum flexibility. The EOS 7D Mark II camera’s mini HDMI port can be used to record uncompressed Full HD video to external recorders.

The EOS 7D Mark II Digital SLR camera is scheduled to be available through authorized Canon dealers in November 2014 for an estimated retail price of $1,799.00 for the body only and $2,149.00 bundled with an EF-S 18-135mm f/3.5-5.6 IS STM lens. It will utilize a new LP-E6N lithium ion battery pack with increased storage capacity.

PowerShot models
Canon U.S.A. Inc., also announced three new PowerShot models expanding upon its lineup of high-quality, compact digital cameras: the PowerShot G7 X, the PowerShot SX60 HS and the PowerShot N21.  The PowerShot G7 X is the company’s first compact point-and-shoot camera with a one-inch sensor, giving users an outstanding portable camera that allows them to take high-quality photographs and videos.  The PowerShot SX60 HS camera features a 65x Optical Zoom lens and amazingly broad focal length range equivalent to 21mm -1365mm, while the PowerShot N2 camera has a compact and unique, stylish design with a selfie-ready, flip-up touch panel LCD that makes it easy for social media fanatics to share their favorite photos and videos via the camera’s Wi-Fi® and Near Field Communications (NFCTM)2 features.

The PowerShot G7 X digital camera is scheduled to be available in October 2014 for an estimated retail price of $699.99.

The PowerShot SX60 HS digital camera is scheduled to be available in October 2014 for estimated retail price of $549.99.

The PowerShot N2 digital camera is scheduled to be available in December 2014 with a choice of black and white body colors for an estimated retail price of $299.99.

Trio of lenses
Following on the heels of its milestone of 100 million EF lenses produced worldwide, Canon U.S.A. Inc., announces three new lenses adding to it’s rich history of developing and delivering outstanding optics to all types of photographers, cinematographers, online content creators and image makers from budding amateurs to the most seasoned professionals. The three new lenses include two EF series lenses ─ the EF 400mm f/4 DO IS II USM super telephoto lens and the EF 24-105mm f/3.5-5.6 IS STM standard zoom lens, as well as one EF-S series lens ─ the EF-S 24mm f/2.8 STM wide-angle pancake lens. These new lenses will also be the latest addition to Canon’s GlassFirst.com online resource, helping image makers explore the Company’s vast EF lens portfolio.

Canon’s heritage of producing outstanding optics dates back over 75 years, and the company’s current EF line of lenses is over 100 lenses strong and counting.  To help educate consumers, Canon’s GlassFirst.com online resource was launched in June 2014 to inspire visitors to grow creatively and expand their photographic tools. The site aims to educate visitors on the power and differences between various lenses, including macro, zoom, telephoto, prime, wide-angle, STM, tilt-shift and fisheye, using informative videos and sample images showing the results that can be created by using each lens. To learn more about Canon’s rich optics heritage or for more information about Canon’s optics please visit either explore-lenses.usa.canon.com or glassfirst.usa.canon.com.

The EF 400mm f/4 DO IS II USM and EF-S 24mm f/2.8 STM are both scheduled to be available in November for estimated retail prices of $6,899.00 and $149.99 respectively. The EF 24-105mm f/3.5-5.6 IS STM is scheduled to be available in December for an estimated retail price of $599.99. For additional information please visit usa.canon.com/consumer

In addition to these new announcements, Canon U.S.A. is also rolling out reduced prices on a range of EF and EF-S lenses in honor of reaching the EF Lenses 100 Millionth Milestone. 

  • Saturday, Sep. 13, 2014
Blackmagic Design acquires eyeon Software
eyeon's Fusion.
AMSTERDAM -- 

Blackmagic Design has acquired eyeon Software, Inc., a developer of high end digital compositing, visual effects and motion graphics software for the feature film, commercial, television and broadcast industries. Headquartered in Toronto, eyeon is now a wholly owned subsidiary of Blackmagic Design.

eyeon’s Fusion 7 will be demonstrated on the Blackmagic Design IBC 2014 booth in Hall 7, Stand H20.

Fusion 7 is one of Hollywood’s leading visual effects compositing and motion graphics tools and has been used on thousands of feature film and television projects. Most recently, Fusion 7 has been used on feature films like Maleficent, Edge of Tomorrow, Sin City: A Dame to Kill For, The Amazing Spiderman 2, Captain America, and Gravity.

Fusion 7 combines the best in motion graphics and high end visual effects compositing into a single application. In addition to its advanced compositing tools, Fusion 7 also includes comprehensive paint, rotoscope, keying, layering and titling tools, along with an a particle generator system. It can import geometry from other applications as well as create its own elements, like text and particles, from scratch. Elements can be composited together and quickly outputted using Fusion’s GPU accelerated render engine. Multiple renders can be combined in one project to render different aspects of the same scene. Fusion 7 goes beyond just compositing layers and has a full set of creation tools for building objects and scene elements in a 3D system that can handle millions of polygons with complex shading.

“We’re really excited about the acquisition of eyeon,” said Grant Petty, Blackmagic Design CEO. “Fusion compositing, 3D and motion graphics software has been used on some of Hollywood’s biggest visual effects blockbusters. When used together with DaVinci Resolve for editing and grading, Fusion also gives customers the world’s most advanced tools for 3D compositing, visual effects, motion graphics design and more!”

“Blackmagic Design is the most progressive company in professional post production today,” said Steve Roberts, CEO and founder of eyeon. “With their focus on developing the best solutions and a global network of offices, Blackmagic gives customers the products and services they deserve. The acquisition of eyeon will provide greater development and support of Fusion and Generation, where customers will now have more dynamic, comprehensive, and faster solutions for their creative needs.”

“Fusion 7’s great 3D improvements have added to our toolkit, giving us options that greatly expand our ability to quickly put together shots and make final adjustments without the need to go back into a 3D app for changes,” said David Stinnett, VFX supervisor, Blur Studios, Thor: The Dark World and Amazing Spiderman 2. “Fusion 7 expands our ability to stay flexible for whatever the job demands.”

“The great thing about using Fusion for motion graphics is that you have an unlimited number of ways to create and design shots so you don’t have to leave the package to get the job done,” said Dunn Lewis, motion graphics and VFX artist. “Fusion can handle it all. With its full true 3D compositing environment, motion graphic tools, Spline editor for precise animation curves, Timeline for timing effects and Node based system for compositing, you can overcome any challenge.”

eyeon will continue to support its customers and expand its sales channels with the added strength of the Blackmagic Design organization. eyeon will also continue developing solutions for the VFX and postproduction industries, including its flagship application, Fusion.
 

  • Saturday, Sep. 13, 2014
IBC attendees to find Daylight at FilmLight
FilmLight's Daylight
LONDON -- 

FilmLight is exhibiting a broad range of new functionality for the first time at IBC 2014 in Amsterdam (September 12-16), designed to seamlessly integrate with today’s evolving workflows. Daylight, the new near-set color grading tool, will be featured on the FilmLight stand (7.F31) alongside the latest product in the Baselight Editions range, Baselight for NUKE, and the latest release of Baselight–4.4m1.

IBC 2014 sees the official launch of Daylight, the comprehensive solution for on-set and near-set production. Daylight is designed as a compact yet powerful grading decision tool to help DPs and directors establish looks and visualize what they have shot, on set or on location. FilmLight has shown early development versions before--a Baselight variant for dailies--and Daylight pushes the possibilities even further.

“We’ve gathered some great feedback from our existing customers during the Daylight beta program,” said Martin Tlaskal, lead developer, FilmLight. “The version we’re showing at IBC has more sophisticated functionality to help our customers handle their end-to-end dailies workflow quickly and effectively.”

Available to purchase in Q1 2015, Daylight encompasses a number of new features, including: AJA SDI output; shot filtering and sorting; HTML report generation; RED GPU decoding; media consolidation tools; multi-format deliverables; and, just like Baselight, support for the latest camera codecs.

Baselight Editions provide color within professional editing and VFX packages and FilmLight will be showing the latest product in the Baselight Editions range--Baselight for NUKE. Product specialists from FilmLight and The Foundry will be on hand to demonstrate how the visual effects software can be even more productive when it incorporates the ability to interpret and modify fully-featured Baselight grades.

Baselight 4.4, the latest release behind FilmLight’s high-end 4K grading and finishing system, includes a host of features that further enhance Baselight’s reputation as the one-stop finishing and output device.

Baselight now includes Apple-certified ProRes, including support for the new ProRes 4444 XQ codec. And managing media is even easier with Baselight’s project consolidation feature, which means you can consolidate all the material used in a list of scenes to one location—with optional handles. New systems are ready to take on UltraHD monitoring too--and existing Generation IV and V systems can be easily upgraded.

Baselight 4.4 also provides faster GPU decoding of RED camera files as part of the implementation of the RED SDK, as well as providing full support to work in high dynamic range color space using Dolby Vision.

Baselight 4.4m1, previewing at IBC, includes: rationalized format handling to support today’s ever-increasing range of digital camera resolutions and frame rates; fully keyframeable variable speed handling (including optical flow retime and round tripping with FCP XML and AAF projects); a group of sophisticated tools to help users manage projects better; and a new CDL grade that, when combined with Baselight’s powerful generalized color spaces, brings accurate interpretation of CDL values.

  • Saturday, Sep. 13, 2014
Colorfront Transkoder 2014 goes 8K
Colorfront Transkoder
BUDAPEST, Hungary -- 

Colorfront, the Academy and Emmy Award-winning developer of high-performance, dailies and transcoding systems for motion pictures, high-end episodic TV and commercials, has unveiled Colorfront Transkoder 2014, the automated standalone system for high-quality file conversion now featuring ground-breaking real-time 8K and 3D4K capabilities.

Colorfront is previewing performance-boosting innovations for Ultra High Definition Television (UHDTV) postproduction at IBC 2014, Amsterdam, from Sept. 12-15. Colorfront will also show the shipping 2014 versions of its On-Set Dailies and Express Dailies systems at IBC.

Colorfront Transkoder is already employed by leading studios, VFX and post facilities involved in digital cinema and high-end TV production. Colorfront Transkoder 2014 is available on Mac, PC and the cloud for many key tasks: editing RAW film data, converting material to various output formats, plus conforming, color grading and rendering 2K / 4K / 3D4K / 8K / UHDTV materials in various high-end delivery and mezzanine formats.

Colorfront has successfully collaborated with NHK Science & Technology Research Laboratories in Japan, using Colorfront Transkoder 2014 on 4K/60p broadcast programming, originated with Sony F55 and RED cameras, and also at 8K/60p on NHK’s Super Hi-Vision/ UHDTV project, with processing and real-time playback of 8K/60p footage from various RAW formats. Along with NHK, Colorfront has already sold multiple Colorfront Transkoder 2014 licenses to broadcasters and post facilities worldwide, including Deluxe, Technicolor, Fotokem, MGO and the BBC.

Along with real-time UHDTV 60fps/4320p/8K and S3D/2160p/4K capabilities, key features of Colorfront Transkoder 2014 are: a brand new, easy-to-use interface; a multi-track timeline; EDL conform editing tools; support for subtitling; automatic watch folder processing; plus extended support for the latest digital cinematography camera formats, including ARRI Alexa 3.2K ProRes and Amira 4K ProRes, AJA Cion, plus Panasonic’s 4K Varicam V-RAW. Deliverables have also been extended to include AS-11 DPP, Apple licensed ProRes XQ, HEVC (High Efficiency Video Coding) H.265 and 10-bit H.264 video compression formats.

Supporting the workflow is Colorfront Engine, a state-of-the-art, automatically managed, wide-gamut, high dynamic range, color pipeline, bringing true plug-and-play simplicity to today’s complex multi-source, multi-deliverable production needs.

“Digital cameras are heading towards ever-higher resolutions, framerates and dynamic range, and Colorfront continues to expand the boundaries of what is possible by delivering unique tools with extreme performance for UHDTV applications,” said Aron Jaszberenyi, managing director of Colorfront. “Colorfront remains at the forefront of the marketplace by maximizing the latest advances in CPU/GPU performance, supporting the latest high-end camera and deliverable formats, and delivering significant improvements to the user-experience.”

Transkoder is the ultimate tool for DCP and IMF mastering. It also includes the industry’s highest performance JPEG2000 encoding/decoding, 32-bit floating point processing on multiple GPUs, mxf wrapping, accelerated checksums, AES encryption and decryption, IMF/IMP and DCI/DCP package authoring, editing, transwrapping and verification, full subtitle authoring and support for multi-language packages.

Colorfront Transkoder 2014 is shipping on Windows now and on Mac OS X in Q4. Colorfront is showing Transkoder 2014 in private demos at IBC 2014.

  • Friday, Sep. 12, 2014
Flame/Shotgun integration introduced at IBC
Flame 2015 Extension 2
AMSTERDAM -- 

At IBC 2014, Autodesk has unveiled Flame 2015 visual effects software Extension 2, with includes support for Shotgun Software, a cloud-based production tracking, review and asset management platform. Just last month at SIGGRAPH in Vancouver, Shotgun, recently acquired  by Autodesk, announced an iPhone Review app, Shotgun Desktop and MARI integration. Since the acquisition earlier this summer, the expanded development team (triple the number of coding engineers) has been on hyper drive.

Shotgun already has a strong workflow with Maya, 3ds Max, MARI and other third party applications. The new Flame/Shotgun integration will enable Flame artists to quickly and efficiently share project work with producers, supervisors, clients, managers and other artists in the cloud and accelerate the flow of diverse project media across creative pipelines.

Key integration highlights:
• Publish Conformed Sequences from Flame and Flame Assist to Shotgun – using Shotgun, facilities can set up the distribution of project shots, which can be assigned to artists as needed;

• Automated Access to Media and Batch Setups in Flare – when launching Flare from Shotgun, Batch setup and shot media will automatically load, eliminating the need for artists to search the network for media;

• Shot Versioning – Once published, new Flare shots are immediately available in Flame, so artists can update a shot, series of shots or all shots within the Flame timeline to versions created by Flare artists throughout the facility;

• Shot Review and Approval – Artists can send Flame or Flare clips directly to Shotgun’s review and approval tools, allowing project stakeholders to annotate and approve shots within the software.

  • Thursday, Sep. 11, 2014
Dalet unveils integrated platform solutions at IBC 2014
AMSTERDAM -- 

Dalet Digital Media Systems, a provider of software-based solutions for media organizations, unveiled its new platform lineup: Dalet Brio (high-density ingest and playout), Dalet AmberFin (high-quality transcoding), and Dalet Galaxy (enterprise MAM). These three distinct, yet tightly integrated platforms enable Dalet to answer both the current and future requirements of the media industry with a range of complementary products and modules that address targeted applications as well as combine to offer best-in-class business solutions.

An expert in MAM-driven workflows, Dalet has been actively looking to add value to video processing, an essential component of all broadcast media. AmberFin, a sophisticated platform for video ingest, complex media manipulation, transcoding and quality control (QC) solutions within the Dalet family, extends and enhances the company’s integrated workflow capabilities. Unique among transcode vendors, AmberFin has developed its own video processing technology and set of patents.

“By integrating resources and innovative technologies into three unique and collaborative platforms, Dalet can address the changing needs of the industry driven by growing consumer demands for more content on more devices,” commented Ben Davenport, director of marketing, Dalet. “The combination of these three platforms allows us to offer the most complete and forward-thinking solutions for media organizations to optimize their human resources and media assets. Operators in news, sports and programming will reap tremendous efficiencies and productivity by applying Dalet’s latest technologies.”

Moreover, customers need not fear being locked down to any particular solution. Dalet’s non-proprietary, open-systems approach permits interoperability between its technology and third-party solutions.

Dalet Galaxy is the latest and most advanced version of the Dalet Media Asset Management platform. The landmark development initiative leverages more than 10 years of successful MAM development and customer input. Dalet Galaxy is the industry’s first business-centric, Media Asset Management platform for managing media workflows, systems and assets throughout the multimedia production and distribution chain.
IBC2014 sees Dalet highlight a number of new features and enhancements to the Dalet Galaxy including optimized, multi-version, multi-lingual program preparation workflows. Dalet will also preview the latest integration to Adobe Anywhere.

The Dalet Brio platform is designed to facilitate the ingest and playout of broadcast-quality video in SD and HD formats. New for IBC2014, the Brio3 video server packs up to 12 physical channels into a compact chassis with the embedded 3D graphics engine, Dalet Cube and a variety of storage combinations. Dalet Brio features a combination of cost-effective standard IT components with built-in redundancy.

Dalet Brio embeds critical applications that facilitate a wide range of production tasks including sports logging, highlight production, replay, gang ingest, gang playout and more. Applications include Multi-camera Recording, VTR Ingest and Print to Tape, Loop Record, Time Delay Player, Multichannel Player with Graphics, and Highlights Production, making Dalet Brio an ideal workflow solution for fast-paced, task-specific productions such as news, sports and studio.

Dalet AmberFin is a high-quality, scalable transcoding platform with fully integrated ingest, mastering, QC and review functionalities, enabling facilities to make great pictures in a scalable, reliable and interoperable way. AmberFin software runs on cost-effective, commodity IT hardware that can adapt and grow
as the needs of your business change.

At IBC, Dalet will launch its implementation of the GPU-accelerated, motion-compensated frame rate conversion technology, in partnership with Cinnafilm, delivering fast, high-quality standards conversion. As part of the Dalet AmberFin Advanced Adaptive Temporal Transform Toolbox (AT)3, Cinnafilm Tachyon joins the existing CPU-based frame rate converter and ACC advanced cadence correction and removal.

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