• Thursday, Jun. 27, 2019
Avid introduces updated MediaCentral platform

Avid® (Nasdaq: AVID) has released MediaCentral® 2019, the next generation of its media workflow platform for TV news, sports and postproduction operations.

“We’ve taken the core business capabilities of MediaCentral, the richest media platform available, and redesigned it so our customers--whether they are a team of two or an organization of thousand--have easy access to information, assets and apps so they can turn around their content faster than ever before,” said Raymond Thompson, director of broadcast and media solutions marketing at Avid.

MediaCentral 2019 scales to meet the needs of today’s and tomorrow’s journalists who collaborate in increasingly dispersed teams as they strive to create engaging shows and stories faster and be first to break news on air and on social media. MediaCentral’s unified platform has a customizable suite of creative tools and media management, which enable teams to work simply from within the modern user interface, create and collaborate from anywhere using any device, and deploy the platform with seamless cloud integration for a full cloud solution or an on-prem/cloud hybrid approach.

With MediaCentral 2019, teams--across multiple geographic locations--can quickly ingest, log, search, edit, distribute, and publish video content to any number of outlets, giving them the agility to create better content faster and maximize its value. All-new MediaCentral functionality includes:

  • Collaboration across multiple sites: Up to six production sites can connect, enabling sharing and powerful searching of content in different locations for greater accessibility and collaboration. Content creators can search, browse, and play back media remotely with the same performance as if stored locally.
  • Faster and more intuitive search: Find media faster by using the new query builder, and expanded filtering (metadata, dates, and favorites). Users get the right results faster and are better able to leverage and monetize their media assets. The Phonetic Index option allows users to find all clips that contain the words that they’re looking for in a matter of seconds.
  • New logging capabilities: Users can log assets with meaningful details quickly. Ideal for sports, news, reality TV, and post production, the new Log app allows loggers to tag information as it happens, and mark in/out points quickly, enabling other team members to easily search large amounts of media and find the right clips faster.
  • Automated file ingest: Ingest high volumes of media through a web browser or volume ingest with full Avid Media Access (AMA) support in the Ingest desktop app.
  • Flexible deployment: Users can set up the platform however they want and transition it as business needs evolve. MediaCentral can be deployed on premises in a facility, in a private data center, or with a hybrid model.

These new functions enhance and extend the industry-standard platform’s modular, scalable design and full suite of apps, services, and connectors that accelerate every part of the media creation and publishing workflow.

  • Tuesday, Jun. 25, 2019
Testronic Labs adds Archion EditStor Omni systems to facilities in Burbank, Warsaw
EditStor Omni storage system

Testronic Labs, which specializes in quality assurance (QA), localization services, and compliance for the film, television and games industries, has invested in Archion Technologies’ EditStor Omni storage systems. These Archion solutions are in use at two of Testronic’s locations: Burbank, Calif., and Warsaw, Poland.

Testronic is a global provider of QA across film, TV, games, and platforms, with facilities in London, Warsaw, Burbank, and Santiago. Established over 20 years ago, Testronic has teams of quality assurance experts who test content at all levels, from masters to deliverables, and test the consumer experience on a range of international devices, ensuring OTT content and services deliver the best possible experience to end users.

Testronic Labs because was in need of a very high performance and cost-effective network storage solution for its Burbank facility.  During a meeting and live demonstration at NAB, Jason Gish, Testronic’s president of film and TV, was able to see the EditStor Omni perform first-hand.  Subsequently, Archion deployed an EditStor Omni at Testronic Labs’ Burbank facility for testing and proof of concept. After a successful evaluation, Gish approved the purchase of an Omni.   
Archion was then informed that Testronic Labs required a new media storage solution for its expanding Poland location. Gish approved the purchase of a new EditStor Omni for Testronic’s operation in Warsaw, while also expanding the Omni at his rapidly growing Burbank facility.

Testronic currently has a mix of over 20 Macs, PCs, and Linux workstations connected to the EditStor Omni in its Burbank facility, with a similar number of workstations connected to the Omni in its Warsaw location.

Gish said, “We chose Archion’s EditStor Omni for our Burbank and Warsaw locations because speed is such a critical part of our storage need. We needed screaming fast storage to play files that contain a lot of data, like UHD/4K, HDR 10, DolbyVision, and Dolby Atmos. The Archions are installed in both our Warsaw and Burbank locations as our main system of file storage and play out. The benefits these solutions offer our clients include high performance playback for high level content. Clean and smooth playback is a necessity for QC. Other systems we’ve tried have introduced playback issues. We chose Archion to avoid those issues, and to provide us the best possible view of the files to be QC’d. The Archion Omni lives up to our expectations, and our experience with the systems in both locations has been positive and beneficial. We’ve had no issues with uptime, and the speed and throughput are everything they are claimed to be. The Archion team has been very helpful and responsive whenever we have questions or need to add storage. We continue to grow with Archion, as our offices add more and more clients, and our workflows also continue to grow.” 

EditStor Omni, delivering speeds of over 15,000 MB/second, provides production, postproduction, creative agencies and other creative facilities a single media storage system for all their high-performance collaboration needs. From 8K video to 4K playback of raw media files, the Omni NAS storage server has the performance, scalability and functionality to handle the most challenging media workflows.

EditStor Omni is an intelligent 24 drive storage system with single server capacities of up 336TB per chassis, hot pluggable expansion nodes, and total expansion into multiple Petabytes.  It is a complete turnkey collaborative storage solution that requires no third-party software or drivers to ensure compatibility with the prominent editing, finishing and visual effects applications, including those from Adobe®, Apple®, Avid®, Autodesk® and Blackmagic Resolve®.

The EditStor Omni was recommended to Testronic by the consultancy firm File Based Workflows, while Cutting Edge, a media systems integrator and now a division of ALT Systems, was instrumental in the successful deployment and system integration at Testronic.

  • Monday, Jun. 24, 2019
WarnerMedia Innovation Lab plans NY facility, enters into partnerships to advance future tech
A look at what's envisioned for Warner Media Innovation Lab in NYC

The WarnerMedia Innovation Lab made several key announcements, deepening its commitment to cutting edge technology and the incubation of new consumer facing products, services and experiences. These announcements include the location of its physical space in New York City which will be powered by AT&T’s 5G network, making it one of AT&T’s first permanent 5G experience centers. The Lab also announced further details on its partnerships with WarnerMedia Ad Sales and with Xandr, AT&T’s advanced advertising and analytics company. Finally, the Lab announced the appointment of an architecture firm to lead design of the physical space.

The WarnerMedia Innovation Lab will be a newly constructed 20,000 square foot facility located in the Chelsea neighborhood of Manhattan, featuring an immersive zone for showcasing consumer-ready experiences visible to the public, flexible indoor and outdoor event spaces, dedicated R&D environments and an open and collaborative modern work space.

“The Lab is more than a technology incubator, but also a dream factory for us to create the wonderment that fans have come to love and expect from WarnerMedia,” said Jesse Redniss, GM, WarnerMedia Innovation Lab. “Here we’ll flex the best of WarnerMedia’s creative storytelling capabilities combined with cutting edge technology from AT&T and our partners to deliver experiences that will be talked about for a lifetime.”

The Lab, which is slated to open its doors to strategic partners and WarnerMedia cross-business unit teams in early 2020, will bring 5G experiences to life through exploration and development initiatives, enabling a real-time virtualized collaboration ecosystem across WarnerMedia and the AT&T offerings. This builds on AT&T’s commitment to offer 5G across WarnerMedia properties. From the Innovation Lab in New York City to Warner Bros. in Los Angeles, to The Lounge by AT&T in Seattle and WarnerMedia’s Atlanta studios, 5G has the power to transform how WarnerMedia’s content is created and consumed.

“By working across AT&T, we’re able to combine the latest in 5G technology with immersive content experiences and cutting-edge advertising capabilities,” said David Christopher, president of AT&T Mobility and Entertainment. “The WarnerMedia Innovation Lab will be a space where developers, creators and visitors will be inspired to push the boundaries of entertainment, all powered by the company that first introduced the U.S. to the power of mobile 5G.”

WarnerMedia’s commitment to the Lab’s ability to revolutionize the overall fan experience includes advertising as well. Dan Riess, head of advanced advertising and branded content, WarnerMedia Ad Sales, commented, “Storytelling is in our company’s DNA and part of that experience is how the content is enjoyed, including advertising. The Lab is a critical part of our testing and learning on the new experiences in advertising that we will be rolling out to market.”

The WarnerMedia Innovation Lab will be also be backed by consumer insights and technology from Xandr, AT&T’s advanced advertising and analytics company, as it continues to test and develop new advertising capabilities that make brand messages more relevant and engaging to consumers. This powerful combination will deliver innovative consumer experiences and foster an entrepreneurial spirit across the full WarnerMedia portfolio of brands.

Kirk McDonald, CMO, Xandr. said, “Working with our colleagues at AT&T Communications and WarnerMedia, we are uniquely positioned to develop new advertising innovations that engage consumers and provide integral feedback for marketers and brands. The WarnerMedia Innovation Lab will accelerate the adoption of new advertising formats and provide an environment to showcase our collaborative work.”

The new advertising advancements also allow marketers to learn how their messages resonate with viewers, as the Lab unveils a new balance in the relationship between advertising, technology and content. The innovations will include MR/VR applications, 5G uses that enhance new advertising capabilities, and better UI/UX experiences to “Make Advertising Matter.”

Architectural design firm Design Republic was awarded the services project for the Lab’s physical space in NYC, with work beginning this summer. Design Republic is an award-winning architectural design firm specializing in corporate workplace, retail, and media technology design, and was chosen based on their culture fit with WarnerMedia and innovative approach and design concepts, as evidenced by recent work with clients including Nasdaq, Bvlgari and WarnerMedia’s own Bleacher Report.

WarnerMedia is part of AT&T Inc.

  • Thursday, Jun. 20, 2019
Elton John biopic "Rocketman" graded with DaVinci Resolve Studio
A scene from "Rocketman"
FREMONT, Calif. -- 

Blackmagic Design has announced that its DaVinci Resolve Studio was used throughout the color pipeline on Paramount’s new musical biopic about Elton John’s breakthrough years produced by Marv Films & Rocket Pictures and directed by Dexter Fletcher.

Lensed by DP George Richmond, BSC, Rocketman had an on set DIT workflow developed and managed by Onset Tech’s Joshua Callis-Smith with Goldcrest Post handling the final DI and online. Senior colorist Rob Pizzey handled the final grade delivering in Dolby Vision Domestic and Theatrical HDR, as well as SDR Rec 709 with Russ White and Daniel Tomlinson completing the online.

Pizzey and Richmond began pre-production by defining the main show LUT in early testing where different lenses, exposure ranges and lighting setups were tested against elements from the film’s production design. “Three variations of the LUT were then created at multiple exposures as the films base look throughout the on set DIT, where I helped create a subtle color arc for the film’s dailies to inform the shifting narrative,” said Callis-Smith who added, “Our dailies lab relied on a Blackmagic eGPU setup for the first time, allowing them to achieve faster processing speeds using the 5K iMac via Thunderbolt 3, even when it came to H.264 encoding.” 

Once production was complete, Richmond and Pizzey selected 350 still frames from the film to create a color bible for the final grade. They then spent two days picking different looks for each scene before a two week unattended grading process, where Pizzey matched up the different looks to the aesthetics in the color bible while handling subtle recuts and dropping in visual effects sequences where necessary.

“We wanted to reflect the narrative with a slightly muted, desaturated world for young Reggie,” said Pizzey. “Then, as the film progresses and Elton’s world goes out of control, the color pops more and vintage lenses were used to obtain a vibrant feel with exaggerated flares.”

“I aimed to maintain the soft look achieved with the vintage lenses, making sure not to go too hard on the bottom end of the curve,” added Pizzey. “For one scene, we wanted to create a look where everything was muted except for Elton and Reggie. There was a lot of color in the scene’s rushes. The houses were red brick, there was lots of green in the gardens, and the dancers wore colorful outfits. To achieve the required look, we asked VFX to create mattes to help us to make sure the grade didn’t bleed into the other characters throughout the dance routine.”

  • Tuesday, Jun. 18, 2019
A look at Libra, Facebook's new digital currency
In this Jan. 9, 2019, file photo, media and guests tour Facebook's new 130,000-square-foot offices, which occupy the top three floors of a 10-story Cambridge, Mass., building. Facebook unveiled a broad plan Tuesday, June 18, to create a new digital currency. (AP Photo/Elise Amendola, File)

Facebook is unveiling a digital currency called Libra as the company seeks to make its ads more valuable by enabling smoother transactions and payments online, particularly among those without credit cards or bank accounts.

Libra will use the same security and record-keeping principles as Bitcoin, the most popular digital currency system today. But unlike Bitcoin, Libra is backed by several traditional financial companies, including PayPal, Visa and Mastercard, and will base its value on multiple real-world currencies such as the U.S. dollar and the euro. Libra also faces additional scrutiny over privacy, given Facebook's poor record on the matter.

Here's a look at Libra and other cryptocurrencies.

It's a form of digital cash that uses encryption technology to make it secure. Cryptocurrencies exist not as physical bills or coins but rather as lines of digitally signed computer code. Records are typically kept on ledgers known as blockchain.

People can store their cryptocurrency stashes in virtual wallets that resemble online bank accounts. Facebook is developing a wallet app for Libra; others will be able to as well.

As with other cryptocurrencies, people will be able to buy and sell libras on exchanges for traditional currencies. It's not clear what fees, if any, consumers will have to pay for such transfers, although Facebook says they should be low.

Although Bitcoin has gotten a lot of attention, it isn't widely used. For one thing, its value fluctuates wildly, meaning that $100 in bitcoins today might be worth $300 a month from now — or $2.50. Only a handful of merchants accept bitcoins as payments.

Facebook is hoping to keep the libra's value stable by tying it closely to established currencies. Unlike most other cryptocurrencies, the Libra will be backed by real-world bank deposits and government securities in a number of leading currencies.

Facebook is also recruiting partners ahead of time. Lyft, Uber and Spotify already have joined the Libra group. They will likely accept libras when the system launches. They'll also help fund, build and govern the system. That'll make Libra less of a free-for-all than Bitcoin. Facebook says Libra will embrace regulation, but it isn't providing many details on how.

With most cryptocurrencies, including Bitcoin, anyone can lend computing power to verify transactions and to prevent anyone spending the same digital coin twice. With Libra, the verifications will initially be managed by its founding companies, such as Facebook and PayPal. Facebook believes the closed approach will mean better security.

Although it's possible to trace bitcoins and some other cryptocurrencies as they are spent, owners of accounts behind the transactions aren't necessarily known. That makes such currencies a favorite among certain cybercriminals. But it is sometimes possible to tie cryptocurrency transactions to a real person who has cashed out digital coinage into a traditional currency.

And if someone spends libras while logged onto Facebook, it's theoretically possible Facebook could tie it back to a real person.

Facebook says it won't use Libra data to target ads, but may share data "to keep people safe, comply with the law, and provide basic functionality." Facebook is creating a subsidiary, Calibra, to try to keep the operations separate.

Libra is scheduled to launch publicly in the first half of next year. Whether consumers will embrace it is another matter. Discounts potentially offered by Uber and other partners might be enough to get people to at least try the system. But many people find it easy enough to pay for goods and services online with credit and debit cards.

There could be greater appeal among people who don't have bank accounts. Libra could open up e-commerce to them.

Though Libra could be a way for Facebook to drive spending when people interact with Facebook ads, the company says the currency will be independent and won't require a Facebook account to use.

  • Thursday, Jun. 13, 2019
Simian boosts analytics capabilities with features tracking reel viewership, emotional responses
Simian MoodReactions measurement
LAGUNA NIGEL, Calif. -- 

Simian, the video sharing and collaboration service used by advertisers, agencies, media companies, production houses, post studios and music providers, has introduced two features that provide a boost to its analytics capabilities.

The company has just launched Engagement Graphs and debuted a new tool called Simian MoodReactions. The former provides a visual, at-a-glance representation on how reels and presentations have been viewed by their recipients, while the latter lets viewers tag spots or scenes with a range of emoticons that convey how they feel about the content they’ve just viewed.

According to the company, this form of analytic metric has never before been available in any video sharing or collaboration service. “When used together, Engagement Graphs and MoodReactions can provide users with a deep level of insight as to how their work is being received in the marketplace,” said Brian Atton, Simian’s chief operating officer, “while providing members of ad agency creative and production groups with a means of sharing attitudes and opinions about work they’re reviewing without having to screen the work in a group setting.”

Simian’s Engagement Graphs, which were rolled out in late May, offer a visual representation that reports on what portions of a spot or reel have been watched, re-watched or skipped over. Replacing Simian’s Heatmaps feature, they’re part of an analytics redesign that includes a refreshed dashboard that more clearly displays important reel performance data, such as when the reel was opened, total number of views, what percentage of the video was viewed, total downloads and more.

The net result is a broader picture on how the video’s been received, which helps senders such as sales reps and EPs make more strategic decisions when following up with clients or building their next reel.

“Analyzing reel performance and identifying standout spots, or scenes within spots, helps you make smarter choices,” said Atton. “That was our thinking behind the creation of Engagement Graphs – they equip creative companies with actionable reel viewing insight, empowering them to send better-targeted follow-ups and win more jobs.”

MoodReactions lets users show how they feel
If tracking how prospects interact with your work gives Simian users a better understanding of what they’re looking for on each project, what hasn’t been measurable before is how prospects feel about what they’re watching. Simian MoodReactions addresses that by measuring emotional response to what they’re seeing on screen.

“Now people watching can register their response to video content by tagging the video at any point during its running time with a set of corresponding emojis,” explained Jay Brooks, Simian’s chief technology officer. “They run the gamut of how someone might respond to work they’re seeing, with icons that convey feelings like love, like, sad, wtf, boring, even angry.”

Simian MoodReactions allow creative groups or production teams to bookmark scenes and share those reactions with the rest of the group when selecting a director, editor, DP, artist or other creative to bid on a project. “This is especially useful when location or schedules makes it impossible to assemble the team and screen reels together,” added Atton.

“We spent a lot of time developing these features, and like everything else we do here, it’s in response to the needs of our users,” he continued. “On the production and post side, they’re looking for meaningful ways they can use data to help inform and guide their sales efforts. And on the agency side, they’re looking for ways they can share and collaborate efficiently. Engagement Graphs and MoodReactions satisfies both needs.”

  • Tuesday, Jun. 11, 2019
Showtime's "The Chi" deploys Blackmagic Design cameras
A scene from "The Chi" (Showtime)
HOLLYWOOD, Calif. -- 

Showtime Networks’ “The Chi” incorporated a wide array of Blackmagic Design cameras, including URSA Mini Pros and Micro Studio Camera 4K, for DP Abraham Martinez’ naturalistic portrayal of Chicago’s south side.

“The Chi” portrays an average day for Chicago kids, prepping for school as their parents head off to work, young adults trying to make a living and the elders keeping an eye on things from their front porches. But in this tough neighborhood, real dangers threaten daily to squelch dreams, and the simplest decisions can have life or death consequences.

Martinez wanted this coming-of-age drama to feel grounded and realistic. “I wanted the camera to walk alongside our lead characters. I wanted to feel that we were in the middle of the ever evolving conditions of the city that pressed into our characters,” said Martinez. “So this meant, our cameras had to be flexible for the journey.”

Martinez used three Blackmagic URSA Mini Pros, one URSA Mini 4K and two Micro Studio Camera 4Ks recording into Blackmagic Video Assists 4K. Martinez feels his Blackmagic cameras have become an important part of his kit.

“I find that using my URSA Mini Pros has become somewhat of a paint brush stroke technique of my personal work flow. I’m able to have a half a dozen Blackmagic Design cameras around for my palette to fit the ever flexible work and city conditions that require me to adapt quickly.”

Shooting on location in Chicago was a must for this urban drama, and the visuals represent a naturalism that contrasted home life and the street. “The Chi” team used the colors of the environment to drive the style as well. “We celebrated color in many ways, from wardrobe to the set design,” said Martinez. “Our drama has many facets of story; the intersection of home/neighborhood/street life which is in contrast to the institutional aspects of the city, namely the prison and police corrections stories. I was able to build these two worlds in look and feel as we bounced between the delicate and interwoven story lines.“

While “The Chi” focused on a gritty realism, the shoot itself was rigorous at times, forcing the cinematography crew to move quickly. The Blackmagic cameras helped Martinez capture high quality imagery even if on the go. “My Blackmagic Design arsenal is always what I call ready at hand. If I needed a lock off camera ready for an additional angle, we shot with one of them. If I needed an establishing shot popped off during a company move, my URSA Mini Pro was ready for the task, helping us knock out the day’s work. As for the Micro Studio Cameras, we used them extensively throughout our shoot to power artistic angles, helping drive story and save time. We even had an URSA Mini Pro built into a full time gimbal system always ready to go. We were always ready for gimbal mode.”

With such a wide array of cameras, and a focus on color, Martinez had no fear about matching images. Working with Light Iron’s Steven Bodner, they had no problems matching looks between cameras or manufacturers. “The Blackmagic Design camera’s color space complemented the look and the feel of other cameras wonderfully.”

But beyond color, Martinez valued the combination of high end quality and ease of use. “The camera systems held up in the rigorous location moves and demands of the city,” said Martinez. “Speed was essential and it required very little to get the Blackmagic camera systems up and running. Often just a lens, card and battery and we were good to go.”

  • Thursday, Jun. 6, 2019
Google's challenge to game consoles to kick off in November
This undated image provided by Google shows the controller for a video-game streaming platform called Stadia. Google will offer its Stadia streaming video game service as part of a $130 package in November. The subscription itself costs $10 a month, but you won’t be able to subscribe without the package deal until 2020. (Google via AP, File)

Google will kick off its Stadia streaming service to challenge the video game industry in November — but initially only as part of a $130 bundle that includes hardware and a pass for a friend.

Google announced the game service in March with few details. On Thursday, Google said it will start advance sales for the limited "Founder's Edition" bundles right away, though it isn't saying how many are available. Google won't offer stand-alone subscriptions, for $10 a month, until next year.

Stadia is Google's attempt to make traditional video game consoles such as the Xbox and PlayStation obsolete.

Games are stored online, and players can pick up where they left off on traditional computers with Google's Chrome browsers and Chromebooks running Chrome OS. Players can also use Google's Pixel phones, but not other phones with the company's Android operating system. Unlike traditional games, the streaming service requires a constant internet connection to play.

Much like movies and music, the traditional video game industry has been shifting from physical hardware and games to digital downloads and streaming. The makers of leading consoles have their own subscription services as well, while Apple plans one this fall. The U.S. video game industry raked in revenue of $43.4 billion in 2018, up 18 percent from 2017, according to research firm NPD Group.

Video game streaming typically requires a strong connection and more computing power than simply streaming video, since there is real-time interaction between player and game. Google says it is tapping its massive data centers to power the system.

The service will mainly let players play games they buy separately, though some free games will be offered. Stadia will launch with about 30 games to buy, including "Doom Eternal," ''Assassin's Creed Odyssey" and "Wolfenstein: Youngblood."

R.W. Baird analyst Colin Sebastian said Google's streaming technology is impressive, but there's no "killer app" or game that would make the service indispensable.

"We do not expect Stadia over the near-term to be particularly disruptive to the traditional console or PC game ecosystem," Sebastian said.

Randy Nelson, head of mobile insights at analytic firm Sensor Tower, said that while Stadia appears positioned to go after hard-core gamers, most of them already have a console to play games Google is offering. Casual gamers, meanwhile, might be confused by a monthly subscription package that still requires players to buy games individually.

"They might have been better served to let this bake a little longer and introduce it closer to the next generation of consoles," expected around 2021, Nelson said.

Stadia's "Founder's Edition" package includes three months of service and a three-month buddy pass that someone else can use. It'll come with a limited edition controller and a Chromecast Ultra streaming video device. Google says the whole package is worth about $300 but costs $130. It will be available in 14 countries at launch, including the U.S., Canada, U.K., France and Germany.

Next year, Google will offer Stadia Pro for $10 a month and a free version, Stadia Base. With the free version, resolution will be lower, and players won't get discount on games offered through Pro and the bundle. An optional Stadia controller will sell for $69.

The Wi-Fi-enabled controller has a button that lets players tap Google Assistant to ask questions about the games being played. Another button lets users share gameplay directly to Google's video streaming service, YouTube.

Google said playing video games will be as simple as pressing a "Play Now" button. Players won't have to download or install anything.

Sony offers a PlayStation Now streaming service that's $20 for a one-month subscription or $45 for three months. It offers unlimited access to 750 games for streaming or downloads, which allow for offline play. Microsoft's $10-a-month Xbox Game Pass offers about 100 games for free download. Microsoft is also working on a streaming service called Project xCloud.

The upcoming Apple Arcade subscription will feature more than 100 games for download, curated by Apple and exclusive to the service. Apple hasn't announced a price yet. The games can be played on Apple devices only.

  • Wednesday, Jun. 5, 2019
RED releases new DSMC2 Gemini Kit
RED Digital Cinema's DSMC@ GEMINI Kit
IRVINE, Calif. -- 

RED Digital Cinema®  has introduced a new DSMC2® GEMINI® Kit offering a comprehensive solution for cinematographers who shoot in a variety of environments.

At the heart of the new system is the DSMC2 camera BRAIN with the GEMINI 5K S35 sensor, which leverages dual sensitivity modes to provide greater flexibility in a variety of lighting conditions. Filmmakers can shoot in standard mode for well-lit conditions or low-light mode for darker settings, and operators can easily switch between modes through the camera’s on-screen menu with no down time. RED’s GEMINI delivers incredible dynamic range and produces cinematic quality images.

The new DSMC2 GEMINI Kit features:

  • DSMC2 RED® Touch 7.0” LCD
  • DSMC2 Outrigger Handle
  • DSMC2 V-lock with I/O Expander for a variety of input/output selections
  • S35 AI CANON Mount
  • IDX Duo C98 Battery and IDX VL-2X Battery Charger
  • RED Mini-Mag (960 GB) with G-Technology EV Series Reader
  • Heavy-Duty Camera Case

The kit provides a premium bundle that is “ready to shoot” when paired with the user’s chosen lens. The newly packaged system is available for purchase priced at $27,500/£21,700/€24,950.

  • Tuesday, May. 28, 2019
Vislink to showcase advanced connectivity at BroadcastAsia
Vislink HCAM wireless system

Vislink Technologies will showcase a wide selection of its state-of-the-art products at BroadcastAsia 2019 (Stand 6J2-01, Level 6). The company’s presence at the show represents its continued commitment to bringing the next generation of broadcast solutions to markets around the world. Vislink’s lineup includes the award-winning HCAM+ULRX-LD HEVC 4K UHD wireless system, DVE6100 encoder and IRD6200 receiver/decoder, IMTDragonFly Transmitter and its MSAT (man-portable satellite) antenna system. In addition, Vislink’s new INCAM-HS integrated wireless camera transmitter for Sony’s new HDC-5500 4K will be on display at the Sony stand.

Vislink product manager David Edwards will share his expertise on 4K during a presentation on Wednesday, June 19, at 11:30am in the Innovation Hub, level 4. His presentation, entitled “4K Wireless Delivery with HDR--and why it’s not for Pandas,” will discuss the latest trends and considerations in deploying 4K and HDR wireless productions.

Vislink will be showcasing its low-latency HCAM transmitter and UltraReceiver-LD (ULRX-LD), an NAB 2019 Best of Show awarded solution. With single-frame end-to-end capabilities, this latest wireless camera system is the perfect complement to broadcast sports and ENG news coverage applications. As the first company to bring single-frame, end-to-end latency in 4K, the HCAM is the most widely deployed HEVC 4K UHD wireless transmitter on the market today. It features user-interchangeable RF modules and a range of software options – including HDR-ready capability – and supports quad 3/6/12G SDI, HDMI, fiber-optic, SMPTE 2022-6 and HD/SDI-over-IP interfaces. With highly flexible and configurable mounting options and intuitive video interfaces, the unit can be mounted to broadcast, ENG and other professional-grade cameras. In addition, the unit features integrated camera control with Vislink FocalPoint compatibility and direct-docking battery plates with integral power feed through. The associated ULRX is a 1RU half-width, rackmount chassis receiver that fills the need for reliable HEVC transmission and allows for better compression without sacrificing quality. The versatile receiver features four UHF inputs with maximum-ratio combining, DVB-T and proprietary LMS-T demodulation, as well as ASI and IP capabilities.

Updates to Vislink’s satellite communications line will also be on display with the new DVE6100 encoder and IRD6200 receiver/decoder for applications where size and weight is at a premium. The company’s DVE6100 is a compact, multi-format, multi-channel 4K HEVC exciter that is ideally suited for flyaway and vehicle-mounted uses. The IRD6200 is a compact, multi-format, multi-channel 4K integrated receiver/decoder (IRD) ideally suited to news and events applications. Both solutions offer ultimate satellite bandwidth efficiency by utilizing the latest HEVC video compression and DVB-S2X satellite modulation technology, allowing a 50-percent reduction in leased satellite bandwidth compared to MPEG-4, DVB-S2 technology--dramatically reducing satellite OPEX. The DVE6100 and IRD6200 are the smallest and lightest 4K UHD DVB-S2X exciter and 4K UHD HEVC DVB-S2X IRD on the market, respectively. 

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