Monday, December 10, 2018

Toolbox

  • Tuesday, Oct. 2, 2018
Blackmagic Design joins Netflix Post Technology Alliance
URSA Mini
FREMONT, Calif. -- 

Blackmagic Design has joined the new Netflix Post Technology Alliance. Additionally, Blackmagic’s professional editing, visual effects, motion graphics, color correction and audio post production DaVinci Resolve software was chosen for three of the alliance’s four technology categories: “Color Grading,” “Editorial” and “IMF & Media Encoding.” Furthermore Blackmagic Design’s URSA Mini 4.6K and URSA Mini Pro were also chosen in the alliance’s “Camera” category.

The Post Technology Alliance is a program for manufacturers of products that generate or manage any kind of sound data, image data, or metadata from production through post. The alliance is aimed at bringing together industry leaders committed to work closely with Netflix to innovate production workflows and support creatives globally.

To earn the ability to use the Post Technology Alliance certified logo, products must comply with current Netflix delivery specifications, and commit to future technical innovation and timely problem resolution. By being chosen by Netflix for alliance categories, filmmakers are assured the products meet a very high mark of quality, service and support.

DaVinci Resolve is used by post professionals all over the world, and has already been used for a huge number of films and TV programs shown on Netflix, including a number of hit Netflix originals such as “Daredevil,” “She’s Gotta Have It” and ”The Ranch.”

“Professionals creating films and episodic shows for Netflix have to focus on creativity, quality and being able to launch globally in multiple formats. So having a post process that is efficient, easy to use and always improving is essential. We are honored Netflix sees that DaVinci Resolve brings that in each of the software categories of the Post Technology Alliance,” said Grant Petty, CEO, Blackmagic Design.

“At Netflix, empowering our creative partners is incredibly important, and the Post Technology Alliance will build a more seamless experience from production through post-production,” said Chris Fetner, director of post partnerships & integrations at Netflix. “Products that bear the logo are committed to better interoperability and faster innovation cycles, which will allow artists to focus their energy on what matters most—the storytelling.”

  • Monday, Oct. 1, 2018
Fujinon Cabrio 20-120mm zoom now available sans servo
A camera outfitted with the Fujinon XK6x20 zoom
VALHALLA, NY -- 

The Optical Devices Division of FUJIFILM will introduce a new version of its popular FUJINON XK6x20 zoom (better known as the Cabrio 20-120mm) without the servo drive motor. The Cabrio 20-120mm without drive can be operated as a fully manual, parfocal, cinema zoom lens.

The Cabrio 20-120mm is available with or without an attached servo unit. The servo drive on other Cabrio Series lenses is interchangeable on the 20-120mm, if the 20-120 is purchased without a drive unit.

“Based on the success of our Cabrio series, many of our customers already have Cabrio drive units on other lenses,” said Thomas Fletcher, director of marketing, FUJIFILM Optical Devices Division. “The 20-120mm Cabrio has an optimal focal range for a variety of shooting styles and is the entry point lens in the series. If purchased without the drive unit, customers still get the incredible optical and mechanical quality of a Cabrio - at an exceptional price.”

Designed to be convertible between the video production and cinema markets, the Cabrio 20-120 features a flat T3.5 from end-to-end, with no ramping. It covers a S35-sized sensor (Super 35 format). Without the servo drive, it can easily accept industry-standard cine motors and matte boxes.

Just as third party manufacturers developed accessories for the FUJINON MK lenses, camera and lens support providers are offering solutions to benefit users of the Cabrio 20-120mm without a servo. Among them, Chrosziel and Heden have designed lighter weight servo zoom motor solutions for the 20-120mm. “In reality TV, camera operators often need to hold the camera for 8-10 hours a day. Saving a 20% of the weight of the lens is a big deal to an operator,” explained Fletcher. “These lightweight third-party drives integrate seamlessly with Sony’s FS series zoom controllable hand grip.”

On the mount side, Duclos Lenses and IBE (Germany) offer EF mount and multi-mount kits for the 20-120mm.

The Cabrio 20-120mm is fit with a nine-blade iris to capture the most natural looking imagery and most beautiful bokeh possible. The zoom’s barrel markings are luminous for visibility in dark shooting situations, and distances are listed in feet or meters.

The 20-120mm zoom without an attached servo unit is available for a suggested list price of $12,000.

  • Friday, Sep. 28, 2018
Motion Picture Academy's Science and Tech Council adds 6 members
LOS ANGELES -- 

David Ayer, Rod Bogart, Theo Gluck, Leslie Iwerks, Colette Mullenhoff and Jeff Taylor have accepted invitations to join the Science and Technology Council of the Academy of Motion Picture Arts and Sciences, bringing the Council’s 2018–2019 membership roster to 25.

Ayer is a director, producer and screenwriter whose credits include “Bright,” “Suicide Squad,” “Fury,” “Sabotage,” “End of Watch,” “Street Kings” and “Harsh Times.” He also wrote screenplays for several acclaimed features, including “S.W.A.T.,” “Dark Blue,” “Training Day,” “The Fast and the Furious” and “U-571.” Ayer is the co-founder of the independent studio Cedar Park Entertainment. He became a member of the Academy’s Directors Branch in 2017.

Bogart is an imaging science technologist who has worked for such companies as Industrial Light & Magic, Pixar and HBO. At ILM, he was instrumental in the design, implementation and deployment of the industry standard OpenEXR image format, which is at the core of ACES (Academy Color Encoding System). As the lead color scientist at Pixar, he pioneered file-based workflows with Pixar’s image mastering team and contributed to the design of the system that became the Society of Motion Picture and Television Engineers Interoperable Master Format (SMPTE IMF). Bogart is a member of the Academy’s Visual Effects Branch, SMPTE and the Visual Effects Society (VES).

A 28-year veteran with Walt Disney Studios, Gluck is the director of library restoration and preservation. Since 2004, he has guided the studio’s restoration program and coordinated the digitization and preservation of a significant portion of the nitrate negatives on the studio’s classic animated features and shorts. During his tenure at Disney, he was part of the post-production team for Disney Character Voices International, and prior to that was the manager of film operations for Buena Vista Pictures Distribution. Gluck is an Academy Member-at-Large and serves on Science and Technology Council’s committees for technology history and education and public programs.

Director-producer Iwerks earned an Oscar® nomination for the documentary short “Recycled Life” and an Emmy® nomination for “The Pixar Story.” For more than a decade, she has produced, directed and edited feature and short documentaries, television specials, tributes, corporate films and digital content. Other credits include “Citizen Hearst,” “Industrial Light & Magic: Creating the Impossible,” “The Hand behind the Mouse – The Ub Iwerks Story,” and such environmental and social issue documentaries as “Pipe Dreams” and “Downstream.” She is a member of the Academy’s Documentary Branch, the Producers Guild of America and the International Documentary Association.

Mullenhoff is a research and development engineer at Industrial Light & Magic. In 2014, she was recognized with an Academy Technical Achievement Award for her contributions to the ILM Shape Sculpting System. Her software has been used in the production of numerous films, including “Ready Player One,” “Transformers: Dark of the Moon” and “Pirates of the Caribbean: At World’s End.” She became a member of the Academy’s Visual Effects Branch in 2017.

Taylor is chief engineer of post production at Universal Studios, where he invented MediaSeal, serving as the product director and receiving three additional patents. He has designed numerous multi-audio-format re-recording stages (Atmos, DTS-X, IMAX), ADR and Foley rooms, screening theaters and Universal’s BluWave Audio facility. In his 38-year career, he also worked for The Droid Works, a division of Lucasfilm Ltd., where he wrote software for and trained editors on the EditDroid picture editing system; consulted on the digital technology transformation of the animation department at Walt Disney Pictures Animation Group; and was an early pioneer of the SDDS system at Sony Pictures. Taylor is a member of the Academy’s Sound Branch, Audio Engineering Society (AES), SMPTE and the Academy of Television Arts & Sciences.

The Council co-chairs for 2018–2019 are Wendy Aylsworth and Visual Effects Branch governor Craig Barron.

The Council’s 17 other returning members are Academy president John Bailey, Nafees Bin Zafar, Maryann Brandon, Rob Bredow, Annie Chang, Bill Corso, Douglas Greenfield, Rob Hummel, Andrea Kalas, Academy governor John Knoll, Ai-Ling Lee, Beverly Pasterczyk, Cary Phillips, Douglas Roble, Leon Silverman, Academy governor Michael Tronick and Steve Yedlin.

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

  • Thursday, Sep. 27, 2018
Asim Saeed joins Ikegami Electronics as business development manager
Asim Saeed
NEUSS, Germany -- 

Ikegami, a supplier of advanced cameras and production equipment for television content producers and broadcasters, has added Asim Saeed to its sales and support team as business development manager. Reporting to Ikegami Europe president Kenzo Ishizuka, Saeed will promote the full Ikegami range of broadcast and medical products to existing and potential customers.

“With over 70 years of experience in high-end image capture, processing and display, Ikegami is a highly respected brand with proven capabilities in terms of production quality, robustness and technical innovation,” Saeed commented. “It is a great opportunity to be joining the team at a time when the television industry is advancing into new technologies such as high dynamic range image capture and display, higher resolution standards such as 4K and 8K, and the many new production methods made possible by IP-based equipment control and signal distribution.”

Graduating with an MBA degree, Saeed joined a UAE-based system integrator in 2000 as a sales executive, responsible for Canon’s broadcast lens throughout the Middle East. He was promoted in 2006 to sales manager and from 2014 onwards to general manager. During that time, he successfully extended the company’s operations into new products and solutions.

  • Thursday, Sep. 27, 2018
ARRI and Angelbird introduce CFast 2.0 memory card
ARRI's CFast 2.0 card by Angelbird
MUNICH, Germany -- 

ARRI is introducing the ARRI Edition AV PRO AR 256 CFast 2.0 card by Angelbird. The card has been designed and certified for use in the ARRI ALEXA Mini and AMIRA camera systems and can be used for ProRes and MXF/ARRIRAW recording.

ARRI has worked closely with Angelbird Technologies GmbH, a high-tech company based in Vorarlberg, Austria. Angelbird is no stranger to film production, and some of their gear can be found at ARRI Rental European locations. 

“Many of the CFast cards we tested delivered good results, but it usually takes the manufacturers a few attempts to stabilize their performance for high data-rate write patterns,” said Oliver Temmler, product manager for storage media at the ARRI headquarters in Munich, Germany. “Angelbird really stood out—they listened to us closely and quickly determined which parameters they had to tweak.”

The Angelbird team developed an ARRI-specific card that uses a combination of thermally conductive material and so-called underfill, to provide superior heat dissipation from the chips, and to secure the electronic components against mechanical damage.

The result is a rock-solid 256 GB CFast 2.0 card, with super-stable recording performance all the way across the storage space, making it the perfect addition to an ALEXA Mini or AMIRA camera setup.

The ARRI Edition AV PRO AR 256 memory card is available from ARRI and other sales channels offering ARRI products.

  • Monday, Sep. 24, 2018
Eclair, Samsung team to bring Onyx Cinema LED technology to European filmmakers, distributors
PARIS & SEOUL -- 

Eclair, which provides content services for the motion picture and TV industries, has announced an agreement with Samsung Electronics Co. Ltd. for the installation of the Onyx Cinema LED solution in its facilities located in Paris-Vanves. Eclair will be among the first to provide professional services specifically tailored for the Onyx Cinema LED--contrast ratio of 1 000 000:1, color grading with true zero nit black, and EclairColor DCP mastering–-to European filmmakers, producers and distributors beginning in November.

“After announcing earlier this year the successful integration of our EclairColor HDR solution with the Onyx Cinema LED, we are delighted to expand our collaboration with Samsung to offer moviegoers the best ever cinematic experience,” said Pascal Mogavero, Eclair’s sr. VP. “Eclair is proud to be the first lab in Europe and the second in the world to be equipped with this new emissive technology, delivering the highest levels of visual quality and technical performance. The permanent quest for innovation, including HDR, has been part of our DNA since our founding, and we are renowned for our expertise and creative value brought to any projects from feature-length films to TV series. The successful implementation of Samsung’s promising cinema LED technology marks a new milestone for us.”

“Contributing to the future of technology through content creation and mastering services with this type of disruptive emissive technology strengthens our services offer vis-à-vis the European creative community,” commented Anne Feret, Eclair’s VP, postproduction and restoration divisions. “We are now able to produce ultra-sharp 4K resolution content--in scope and flat formats--with peak brightness levels nearly 10 times greater than the normal cinema standard. Taking full advantage of the Onyx’s capabilities--EclairColor HDR DCP, deep blacks, unparalleled image uniformity and absence of distortion--makes content come alive with unparalleled realism.”

“We are elated to be partnering with Eclair`s Paris-Vanves facility to bring the Onyx Cinema Screen to Europe,” said Seog-gi Kim, executive VP, visual display business at Samsung Electronics. “Samsung expects the demand for Onyx to increase in the European market, with its ultra-sharp 4K resolution and peak brightness level delivering a one-of-a-kind viewing experience. Samsung also anticipates the Onyx will change the filmmaking industry with higher quality, true-to-life visual content presented on this innovative screen.”

CinemaNext, Eclair’s sister company dedicated to cinema exhibition services in North America, Europe, the Middle East and Africa, will equip the Paris-Vanves facility with Onyx Cinema LED technology thanks to a seamless installation and high-precision calibration. The auditorium features a 5.2-meter screen with a 3D-capable multiple-LED display, 18 luxury seats, 7.1 audio technology from Harman’s JBL, and a full DaVinci Resolve 15 color-grading suite. The LED screen structure is
manufactured by CinemaNext’s Valencia (Spain) office.

  • Tuesday, Sep. 18, 2018
Foundry powers up Mari with mirror projection features
Mari 4.2
LONDON -- 

Creative software developer Foundry has launched Mari 4.2, introducing the latest installment of the flagship 3D painting and texturing tool. The update introduces highly-requested mirror projection features that dramatically enhance artist efficiency, accuracy and creative control.

Mirror projection brings simultaneous, symmetrical painting workflows to Mari, without the need for specialized UV layouts. Previously, painting the same designs on both sides of a symmetrically formed model required a considerable amount of asset preparation with a lot of repetitive actions. Now, artists can paint on one side of a mirror plane while Mari projects the same paint to the other side of the mirror plane, dramatically increasing efficiency.

The feature comes with mirror masking, which prevents secondary projected paint overlapping across the mirror plane, ensuring the paint meets at the mirror plane with a perfectly reflected edge. The masked side of the mirror plane can change automatically based on the artist’s view, or be locked to one side.

Additionally, the mirror plane can now be locked onto an object or locator, so that the reflected edge of the mirror projection can be manipulated to the best symmetrical position and orientation. This gives artists full freedom on where the symmetrical paint will fall, without any prep in other applications beforehand, increasing their efficiency and creative control.

This is the second major Mari update in 2018. The next feature release, which Foundry announced at SIGGRAPH 2018 in Vancouver, will feature the debut of the Mari Material System. The update, which will ensure Mari can utilize any texture driven material data in a material painting workflow, will be rolled out in phases to ensure users have access to the latest components as soon as they are developed.

Rory Woodford, product manager at Foundry, commented: “We are constantly listening to our users and innovating rapidly to meet their needs. Mirrored projection is a feature that our users have been requesting for a long time. Delivering it within its own powerful workflow will give artists complete creative control and make the process far more efficient. The mirror projection in this update is live and simultaneous, and users will see what a dramatic impact this has in enabling them to deliver high-quality work at speed.”

Jens Kafitz, creator of the Mari Extension Pack, Grid VFX, commented: “Foundry definitely went all out on the new symmetry painting. Even the ability to freely place the symmetry plane is included, making this a really versatile feature.”

Adam Goldstein, lead texture artist on Blade Runner 2049 at Framestore, said: “I used Mari on everything. It really is our main workhorse in the texturing department. It’s the only package that lets you paint on such enormous heaps of geometry without lag. If you’re in the Montreal Framestore texture team, 99% of the time you’re using Mari.”

Mari 4.2 has gone live and will be available for purchase--alongside full release details--on Foundry’s website and via accredited resellers. 

  • Monday, Sep. 17, 2018
IABM unveils BaM Awards winners at IBC
IABM's John Ive
AMSTERDAM -- 

The winners of IABM’s Broadcast and Media awards (BaMs™) were announced at IABM’s BaM™ Awards party on Saturday (9/15) at the IBC Show in Amsterdam. The winners, across nine categories described by the BaM™ Content Chain: Creator to Consumer, as well as a 10th category recognizing an outstanding project, collaboration or event, were selected from an initial 149 high quality submissions.

The judging was carried out by a panel of more than 40 non-affiliated, expert judges, each with specialist expertise in one or more of the awards categories. Final selections were made after visits by the judges to view the shortlisted entries on the applicants’ stands at IBC2018.

John Ive, IABM director strategic insight, who chaired the judging panel, said: “This year’s awards really reflect the changes in our industry and showcase the amazing innovation on display at IBC2018. We were looking for applications that are game-changers from a wide cross-section of enterprises, large and small. Our independent panel of judges was challenged to select the best of the best and has done a great job.”

The winners are listed below by category, with the judges’ comments appended.

Create
SHOTOVER Camera Systems – M1 Camera System
“This product’s highly versatile, future proof design makes it the ideal system to be used in a large number of challenging shooting environments. It provides unprecedented benefits that enhance the user’s creative process.”

Produce
Aperi - V-Stack virtualized production platform
“Excellent example of a different approach to live production that leverages software and IP-based platforms. An innovative product for live production as we move to IP broadcast systems. No Capex and a great offering.”

Manage
Microsoft – Video Inedexer
“A great product making powerful machine learning modules available to the masses with multiple use cases to drive operational efficiency and revenue. It enables media organizations to make sense of their content in a period in which this is exploding.”
 
Publish
Limelight Networks - Realtime Streaming
“As OTT becomes more important for live and real-time content such as sports events, Limelight is bringing an innovative new solution to market to help ensure high-quality content experiences are delivered to viewers - without making them wait.”

Monetize
Promethean.TV – Promethean Broadcast Centre
“An innovative system that’s highly relevant for today’s multi-platform delivery. It’s an excellent solution for increasing revenues from OTT content. Promethean has engaged with the market and industry very positively. A great example for other start-ups to follow.” 

Consume
Hexaglobe – X-TREME Player
“Hexaglobe’s X-TREME Player recognises the importance of ensuring a high-quality experience all the way to the consumer’s device. Hexaglobe has worked hard to understand consumers, delivering a player that offers great new features - including letting viewers switch seamlessly between different camera feeds of an event.”

Connect
BT Media & Broadcast – Media Workflow Connect
“Connectivity is one of the biggest challenges in adopting cloud and remote working. BT’s solution goes a long way to addressing some of that, and providing connectivity “on demand” to suit the project-based nature of productions. The real innovation here is in the packaging and the business model - and that’s an area that many vendors would be wise to focus on more.”

Store
Editshare – XStream EFS
“A new approach to everyone’s nightmare. Much more than an upgrade and helping manage crucial aspects of content security in a user-friendly way.”

Support
Portrait Displays/SpectraCal - CalMAN Auto Calibration for LG OLED and Super UHD Displays
“A really neat solution for the home and the control room. Increasingly domestic grade monitors are used in control and edit rooms. This tool allows the users to calibrate these screens consistently and easily. Potentially a big hit.” 

Project, collaboration or event
Telestream - Enabling New and Revolutionary Workflows for Real Time Remote Production of Live Events
“The dream of remote production has been bedevilled by latency issues around file handling. This cooperative effort by Telestream removes this roadblock by enabling near-realtime editing on growing files remotely - a real breakthrough.”

The IBC 2018 BaM™ Award winners are automatically shortlisted for IABM’s prestigious Peter Wayne Golden BaM™ Award, with the winner announced at the IABM Annual International Business Conference and Awards in December 2018.

  • Friday, Sep. 14, 2018
ARRI Operator Control Unit OCU-1 debuts at IBC
ALEXA MINI with the OCU-1
AMSTERDAM -- 

A tool to help camera operators take control of lens functions is being launched by ARRI at IBC 2018. The Operator Control Unit OCU-1 is an addition to the WCU-4 lens control system on ALEXA Mini, and enables operators to over-ride and return focus, zoom, and iris controls at the touch of a button. 

“This is a simple device that does exactly what the name implies,” said Christine Ajayi, product manager, PCA Electronic Control System at ARRI. “It gives camera operators full control of their lenses when they want it.”

The OCU-1 will help save precious time while framing shots, as the camera operator will always have the ability to control the lens, even when motors are attached. It allows control of focus, iris, and zoom whenever required for practical or creative reasons. The device enables control of EF lenses mounted on ALEXA Mini and AMIRA cameras without any additional external motors. 

The OCU-1 will improve on-set efficiency and control. Small, lightweight, and easy to use, it has the same control wheel, display and LBUS integration as the ARRI Master Grips, and can be easily mounted onto common 15mm or 19mm rods, ARRI Rosette, or 3/8” mounts. The wheel can also be used to control the roll axis of the ARRI Stabilized Remote Head SRH-3. ARRI plans to start shipping the OCU-1 later this year.

  • Friday, Sep. 14, 2018
Avid intros next generation Maestro | Engine at IBC
AMSTERDAM -- 

Avid (Nasdaq: AVID) has announced the next generation Maestro™ | Engine real-time graphics and video hardware rendering platform for its Maestro Graphics product line. Maestro | Engine scales from HD and 1080P to UHD supporting both SDI and Video Over IP interfaces. With Maestro | Engine, broadcasters can produce graphics, virtual studios, augmented reality and video wall content in the industry’s highest achievable quality.

As the successor to Avid HDVG, Maestro | Engine enables broadcasters to introduce new production capabilities—including 3G, UHD, HDR, and IP workflows—alongside their current HD/SD SDI workflows, with minimal disruption. Available in two configurations—Maestro | Engine and Maestro | Engine 4K—the platform works with all Maestro graphics suite solutions, providing performance, scalability, and format support to surpass customers’ current and future broadcast requirements.

“As broadcast production evolves, broadcasters increasingly need flexible, future-proof graphics rendering hardware to enable them to tell more compelling stories,” said Ray Thompson, director of Broadcast and Media Solutions Marketing at Avid. “The new Maestro | Engine enables customers to differentiate and elevate their content with compelling data-driven augmented reality graphics and virtual sets delivered in real time. Maestro | Engine hardware supports IP I/O and delivers the performance and reliability required for any news, sports, or other broadcast content engaging audiences in new ways.”   

Maestro | Engine enables customers to: 

Scale I/O according to their needs
Maestro | Engine is available in two hardware configurations that can be scaled for any production need. The Maestro | Engine base system offers up to eight video insertions and up to four outputs, including fill and key, to handle most standard CG needs and dual channel production. To tackle more demanding UHD, video wall, and virtual studio productions, Maestro | Engine 4K offers up to 16 video insertions and up to eight outputs—or up to four fill and four key outputs for UHD production.

Manage multiple systems to support complex broadcast workflows
With enhanced performance and rendering power, Maestro | Engine works across all Maestro graphics suite authoring and control solutions both new and old, providing backwards compatibility so existing content and production will continue to work without any issues.   

Switch from an SDI workflow to IP with ease
Maestro | Engine not only works with any SDI infrastructure, it makes it easy to transition to Video Over IP using a broadcaster’s existing 10Gb fiber network and field-changeable interface boards, so they can make the upgrade gradually at their own pace to experience better cost savings and greater bandwidth for high-resolution media.

Produce SD, HD and UHD content
Maestro | Engine works in concert with Maestro | RenderEngine software, providing advanced graphics rendering in the highest quality possible—whether displayed onscreen or in the studio. It also can drive content to multiple canvases, scale content up or down, and crop it. This makes it easy to preview large-scale video walls with a single HD feed, reducing system complexity and cost.

Achieve realism
To elevate virtual studio productions to cinematic quality, Maestro | Engine 4K works with both Maestro | RenderEngine and Epic’s Unreal Engine. Users get the power and flexibility to present stunning virtual environments full of realism, depth, and detail. Because only Avid engines can run simultaneously on a single Maestro | Engine 4K, users can render all virtual studio elements using Unreal Engine while overlaying data-driven augmented reality graphics with Maestro | RenderEngine.

Get versatile performance
Featuring a proprietary I/O card that delivers ultra-low-latency video transfer, Maestro | Engine maintains a constant two frames of delay from input to output for seamless object mapping and audio handling. The Maestro | Engine is also capable of real-time graphics, video compositing and rendering, with scalable inputs, fill and key outputs. Its open API enables users to create their own control applications.

Have flexibility for the future
To ensure a high return on investment, customers need a system that can grow with them as their workflow and technologies evolve. The Maestro | Engine platform is built for today’s and tomorrow’s broadcast needs, supporting SD, HD, UHD, and (coming soon) HDR workflows. It offers field-changeable interface boards, so users can transition from SDI to IP whenever they’re ready. Support for new technologies and features will be made available through software updates.

Integrate video playback
Maestro | Engine handles live video sources and plays back video stored on its local drive, Avid NEXIS®, or other network storage device. It has two 1GbE connections and a 10GbE option for more demanding video transfers. Users can create compelling visuals using video clips as background elements or as textures mapped onto scene objects. Maestro | Engine supports a wide range of codecs—including Avid DNxHD/DNxHR, XDCAM 50, AVC-I, XAVC-I, and QT RLE.

Manage systems from anywhere
Users don’t need to install additional client software or have a systems administrator tethered to the machine room to manage and configure settings. Maestro | Engine uses a web-based interface for all systems management. Users can set up and make changes to access rights, video formats, genlock sources, input and output mapping, and other settings from any computer or device on their network—from anywhere.

Protect their production
Maestro | Engine is built to withstand the demands of 24/7 operation. It features dual power supplies, dual network interfaces, and software and hardware watchdog preventing production interruptions. And, because all Maestro graphics suite applications can control multiple Maestro | Engines, users can deploy additional engines as live backups to on-air systems.

Availability
Maestro | Engine and Maestro | Engine 4K will ship in the fourth quarter of 2018.

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