Wednesday, October 17, 2018

Toolbox

  • Wednesday, Aug. 15, 2018
DigitalFilm Tree embraces DaVinci Resolve 15 Studio
Ramy Katrib
FREMONT, Calif. -- 

Blackmagic Design announced that postproduction facility DigitalFilm Tree (DFT) has moved its full pipeline, including editorial, color, visual effects (VFX) and delivery, into the newest release of DaVinci Resolve Studio, version 15, which was released this month.

DFT is no stranger to being a first adopter of the newest technology, establishing itself as a top finishing house for high-end broadcast, OTT and feature film projects. Notably, DFT was one of the first companies to use Blackmagic Design’s DaVinci Resolve Studio, in 2009 on “NCIS: Los Angeles,” shortly after Blackmagic Design purchased DaVinci Systems.

The move to DaVinci Resolve 15 Studio was carefully planned and was the culmination of a series of tests on the public beta since its release at NAB in April 2018. “We always focus on providing customers and artists with the best tools available,” said Ramy Katrib, founder and CEO of DigitalFilm Tree. “We knew the final release of 15 would come soon, so we used the public beta to methodically test and integrate DaVinci Resolve 15 Studio into all our post departments.”

One of the biggest advancements in the new software was the addition of Fusion VFX, and DFT’s incorporation of the tools into its VFX department was both welcome and complex. “We wanted to utilize the unique workflow that DaVinci Resolve 15 Studio offers, allowing all our artists from editorial, conform, color, and VFX to work in the same project at the same time,” said Katrib. “Rather quickly, our VFX and color departments started using Fusion because it’s right there in DaVinci Resolve Studio, with little to no round tripping to other apps! Even in the early stages, we are experiencing the power of Fusion and the efficiency of real time collaboration.”

With DaVinci Resolve 15 Studio, postproduction collaboration is fully realized, and it was these tools that motivated the entire company to make the transition quickly. “I was already comfortable with the speed and power of the Color page in DaVinci Resolve Studio,” said Patrick Woodard, sr. colorist at DigitalFilm Tree. “However, now with DaVinci Resolve 15 Studio, I can work interactively with other artists while I grade, making our team far more efficient and creative than ever before.”

Unlike other tool sets, DaVinci Resolve 15 combines the power of a full NLE, award winning color, Fusion VFX, Fairlight audio and delivery tools together in one application. Artists at every level can work on the same timeline at the same time, increasing both efficiency and speed of delivery. “With today’s quick turnaround demands and fast technical and creative revisions, it makes sense to have editorial and conform, color and VFX all making forward progress, at the same time,” said Katrib. “Whether at DigitalFilm Tree or remotely, DaVinci Resolve 15 Studio allows our clients to iterate across the entire post process in one timeline. Now when they sign off, our delivery times are far shorter because we output the final master right from DaVinci Resolve Studio. Throughout the mastering process, we present our clients with a persistent camera RAW finishing environment. Post production is exciting again, with amazing collaboration across technical and creative departments, on every project.”

More than four years ago, DFT leveraged DaVinci Resolve Studio and its IT logistics capabilities to offer remote post services. At first, they offered remote DaVinci Resolve Studio color systems for clients across the world, allowing them to see and sign off on their projects as if they were sitting in a brick and mortar color bay in Los Angeles.

“As we are evolving to IP-based post processes and services, DaVinci Resolve Studio brings the entire post process to our clients, wherever they are, far or near,” said Katrib. “Current clients utilizing our remote post services, which we call GeoPost, include TBS’ ‘Wrecked’ for which we provide remote dailies from Fiji, ABC’s ‘American Housewife’ for which we provide remote color and VFX review, and the CW’s ‘The 100’ for which we provide remote titling, conform, color and VFX review.”

With DaVinci Resolve 15 Studio’s expanded collaboration and remote features, Katrib is excited to grow DFT’s services on a global basis. “DaVinci Resolve Studio continues to be a game changer, and it’s everywhere. Now, with a complete shared workflow in one package, the post production paradigm will change dramatically for everyone and for the better.”

  • Sunday, Aug. 12, 2018
Conductor elevates Mac Moore to president
Mac Moore
OAKLAND, Calif. -- 

Conductor Technologies announced that sr. VP of sales and marketing Mac Moore has been named president. With more than 20 years experience guiding enterprise software partnerships globally, Moore has been a vital asset to the Conductor team since joining ahead of the cloud rendering platform’s SIGGRAPH 2017 launch. He assumes the president role from co-founder Kevin Baillie, who remains at the helm of Conductor’s board of directors but is shifting his primary focus to creative leadership at VFX studio Atomic Fiction, which recently signed an agreement to be acquired into Deluxe’s global VFX brand, Method Studios.

“From his first day on the job, Mac has been my right-hand man. He constantly blows me away with his depth and breadth of knowledge, and how personally committed he is to our mission of bringing efficient, enterprise-scale cloud rendering to the market,” said Baillie. “He knows cloud rendering and the M&E space like the back of his hand and has tangible love for our customers, which makes him the ideal person to shepherd Conductor along its remarkable growth path.”

Moore noted, “Throughout my career, I’ve gravitated towards transformative technology, and cloud has completely altered how we think about and execute in the content creation ecosystem. Conductor’s position in leading the cloud charge brought me here, and I’m thrilled at the opportunity to guide it forward.”

Prior to Conductor, Moore led a worldwide sales team for Autodesk’s Media & Entertainment division, helping navigate the company’s transition to SaaS and cloud-based models. Moore began his career in creative technology as an Software Applications Engineer at Mentor Graphics before eventually expanding into project management and broader business development roles. He holds a bachelor’s degree in Mechanical Engineering from North Carolina State University, and is based in Raleigh-Durham, NC.   

Conductor’s cloud rendering platform launched into commercial availability mid-summer 2017, after a two-year customer beta, and to date has achieved dynamic scale of over 100,000 simultaneous cores. Conductor will be showcased at SIGGRAPH 2018.

  • Thursday, Aug. 9, 2018
Cooke to bring lens Innovations to IBC
Cooke Optics S7/i Full Frame Plus lens
LEICESTER, UK -- 

Cooke Optics will present its latest lens ranges and focal lengths on Stand 12.D10 at IBC 2018 running from Sept. 13-18. The 65mm Macro and 21mm lenses for the Panchro/i Classic range are now in production and will be available for demonstration for the first time on the stand, along with lenses from the S7/i, miniS4/i, Anamorphic/i, Anamorphic/i SF and families.

“It is 20 years since we built our flagship S4/i prime lenses, which are still in demand and back-ordered to this day,” said Les Zellan, chairman, Cooke Optics. “I’m very proud of what we have achieved since then, launching a further seven lens sets--all designed and built from the ground up for industry use--that give cinematographers incredible choice while retaining our famed ‘Cooke Look’ across the range. While it’s nice to look back for a minute, the Cooke team and I are fully focused on the future, with a new range to launch at IBC and more innovations to come.”

The S7/i Full Frame Plus lens range was the first large format lens set on the market, and has been purpose-built to cover the new full frame cinema camera sensors up to the full sensor area (46.31mm image circle), including the RED Weapon 8K, ARRI ALEXA LF and Sony Venice.

Panchro/i Classic prime lenses offer the vintage look of the beloved Speed Panchros but with the benefit of modern housing, mounts and glass.

The Anamorphic/i 45-450mm T4.5-22 zoom lens features 10x zoom front anamorphic, 5’10” MOD from image plane and 3’11” close focus from the front of the lens.

Anamorphic/i SF (“Special Flair”) lenses features a coating that provides even more of the flare, bokeh and other aberrations synonymous with the anamorphic look. The miniS4/i range delivers smaller, lighter lenses that offer the same resolution, optical quality and reliability as the S4/i, but at a lower price. The 5/i family offers T1.4 speed and a focus ring that illuminates when you need it, as well as superb optical and mechanical performance, control of flare, distortion, veiling glare and spherical aberrations at full aperture.

  • Thursday, Aug. 9, 2018
Blackmagic Design, Apple Team On Blackmagic eGPU
The Blackmagic eGPU
FREMONT, Calif. -- 

Blackmagic Design introduces the Blackmagic eGPU, a high performance graphics processor for pro creative software such as DaVinci Resolve, 3D games and VR. Designed in collaboration with Apple, the Blackmagic eGPU features a built-in Radeon Pro 580, two Thunderbolt 3 ports, HDMI 2.0, 85W of charging power and four USB 3.1 connections. It comes in an integrated design that brings high-end desktop class graphics processing to MacBook Pro for professional video workflows, 3D games and immersive VR. And, the Blackmagic eGPU is the first to support Thunderbolt 3 displays.

Created to address the needs of professional video editors, Hollywood colorists and visual effects artists who need to remain mobile, but want the power of a desktop class GPU added to their MacBook Pro, the Blackmagic eGPU is flexible and simply plugs in via Thunderbolt 3, so users can benefit from improved graphics performance and acceleration of computational tasks. It’s perfect for speeding up professional creative application workflows including editing, color correction and visual effects with DaVinci Resolve.

The Blackmagic eGPU adds the performance customers need to make the latest 3D games and VR look increasingly realistic. That means customers will get higher resolution images, higher frame rate gameplay, better lighting and more detailed textures for truly immersive experiences, even on a laptop computer. Customers running DaVinci Resolve 15 can expect increased performance for editing with more real time effects, color corrections with more nodes and spectacular ResolveFX such as film grain, light rays, blurs and more.

  • Tuesday, Aug. 7, 2018
eFootage scans thousands of hours of film with Cintel Scanners
efootage deploys the Cintel scanner for thousands of hours of contemporary and historical stock footage
FREMONT, Calif. -- 

Blackmagic Design has announced that eFootage, a provider of contemporary and historical stock footage, is using two Cintel Scanners, six Teranex 2D Processor standards converters and DaVinci Resolve Studio as part of its scanning, archiving and film preservation workflow.

Spanning more than 100 years of motion image history, eFootage holds a vast quantity of news material, especially from 1960 through the present, as well as deep, eclectic collections of silent film white and color industrials, newsreels, lifestyle footage, world travel elements, and 35mm design and blue screen holdings. Clips are available for licensing and download via the company’s website, www.eFootage.com/.

“Over the years, we have purchased a variety of existing libraries and have licensed others,” explained partner Paul Lisy. “We welcome discussions with content holders on how we can help monetize their holdings, and we also provide footage research and related services for specific projects, as well as some production work.”

Lisy added, “We have sought to procure and present unique, often rare film and video clips of the highest possible quality. Currently, we are in the midst of a multi-year push to digitize and present online, often at HD and 4K resolutions, the bulk of our vast repository, much of which we will be offering for the very first time. We have scanned a couple thousand hours of content at this point, with much more to go.”

Prior to purchasing the Cintel Scanners, scanning most of eFootage’s 35mm material wasn’t economically feasible. “The Cintel Scanners give us the ability to control scanning quality while minimizing cost and turnaround time,” said partner Greg McLemore. “Previous solutions we looked at were prohibitively expensive, and Cintel has been the first cost-effective, high-quality solution we discovered.”

eFootage relies on two Cintel Scanners, along with 16mm and 35mm Gates and Cintel Audio and KeyKode Reader to scan its extensive holdings. “Previously, we had equipment in-house to digitize our 16mm content, but we replaced it as Cintel helps us present the content in higher resolution formats. Our experience with our first Cintel Scanner has been so great and problem-free that adding a second scanner was a no-brainer, and it has helped increase how quickly we can make our collection accessible. Also, we were really excited to hear of the release of the Cintel Audio and KeyKode Reader, which allows us to work with mag track audio in-house,” said Lisy.

eFootage has an enormous amount of film and videotape in a variety of formats. In the case of film, eFootage scans both 16mm and 35mm (positive and negative) with the Cintel Scanners, transferring it via Thunderbolt to Mac computers, which ingest the material using DaVinci Resolve Studio. The Teranex 2D Processors are used as part of the archiving process for the videotape library. Time base correctors pass the footage through the Teranex 2D Processors to the computers via Thunderbolt, which record high-quality files using Blackmagic Design’s Media Express software. The recorded files are then transferred to external multi-terabyte drive arrays for further web server processing and display.
 
“We save the original film material for all our holdings and occasionally go back to it upon client request,” noted McLemore. “Additionally, some of our film content, which had been previously scanned in years past, can now be rescanned at higher resolution and quality using the Cintel Scanners. Currently, we offer upgrade services on material that is not yet featured on the site in higher formats, which can involve rescans on the Cintel or uprezing from SD to HD via the Teranex 2D Processors.”

“The Cintel Scanner’s real-time scanning functionality, reliability and economics, coupled with the Teranex 2D Processor’s high-quality output, are a combination that can’t be beat,” concluded Lisy. “The Teranex 2D Processor is the least time-intensive solution we have found to-date for converting older SD material to HD, and overall, both products are durable and easy to use.”

  • Monday, Aug. 6, 2018
Kathy Bienz named director of North America for IABM
Kathy Bienz
GLOUCESTERSHIRE, UK -- 

IABM, the international trade association for suppliers of broadcast and media technology, has appointed Kathy Bienz to serve as its director, Norh America. She takes over from Caryn Cohen who held the role the past four years.
 
An Electrical Engineering Technology graduate, Bienz has more than 20 years’ experience in the broadcast and media industry with major players such as Grass Valley, ChyronHego, Leitch Technology, Harris, Imagine Communications and Snell Advanced Media (SAM). She has worked in a wide range of roles including product management and marketing, channels management, field marketing management, marketing communications and was most recently director of marketing, Americas at SAM.

“I have watched IABM blossom into a major force on the vendor side of the industry over recent years, and I particularly applaud its recent moves to bring the end-user side of the industry into the conversation to provide the platform for collaboration our industry now needs to move forward,” said Bienz.

“I am thrilled to have the opportunity to carry forward all of IABM’s initiatives in North America and to further grow the family of members here,” she continued. “The enormous range of IABM member benefits that help companies do better business – all for a fraction of the cost of most other association memberships - should make IABM membership an automatic choice for the vast majority of broadcast and media technology companies. I will be carrying that message out strongly into the industry.”

IABM CEO Peter White, stated, “Our previous director, North America, Caryn Cohen, was a real force for change and has done a tremendous job in helping IABM increase its footprint internationally--particularly in North America. Kathy Bienz is the right person to pick up that mantle and carry it forward to the next level. We are delighted she has joined IABM and I look forward to even deeper engagement in the North American market as Kathy brings her very considerable industry experience and technical understanding to bear in her new role.”

  • Wednesday, Aug. 1, 2018
Kobe Design University installs Cintel Scanner for film archiving
An archival image from Kobe Design University
FREMONT, Calif. -- 

Blackmagic Design announced that Kobe Design University has installed Cintel Scanner to archive hundreds of 16mm and 35mm films, some dating back to the 1920s. The project is taking place with the university’s Kobe Planet Film Archive, which collects, preserves and exhibits not only films but also books, posters and equipment related to cinema.

Kobe Design University is an art college founded in 1989 and includes Japan’s largest private film archive. The school has seven departments in total: environmental design, product and interior design, visual design, manga media, fashion and textile design arts and crafts and image arts, which includes courses on films and film production.

Owning more than 16,000 16mm and 35mm films in the Kobe Planet Film Archive, the university focuses on film archive projects, in collaboration with the university’s information library. As a way to contribute to Japanese culture and society, the university digitizes old films archived in the university and in Kobe Planet Film Archive, and also holds screenings using two 35mm projectors and a16mm projector. More than two hundred 16mm films archived in Kobe Design University are currently planned to be digitized, with more than 30 films already digitized with Cintel Scanner.

“Our information library has a collection of about two hundred 16mm films, but after 30 years, the films’ colors are fading and they are entering into the state of decay known as ‘vinegar syndrome.’ The 16mm projector is also too old to be repaired and maintained in a good condition, making it nearly impossible for us to foresee continued screenings in the future. Kobe Planet Film Archive holds many old, deteriorated 35mm films and it was difficult to put them on a projector or even to check the content. That is why digital film archiving became a priority in Kobe, a birthplace of cinema in Japan. And we chose to install Cintel Scanner,” said Prof. Eiji Hashimoto of Kobe Design University.

He explained: “You would need a 35mm projector to watch a 35mm film. However it takes time and effort, and you can’t even rewind or stop a film at will. In addition to that, there are many films whose perforations are lost or which are too curled to be put on a projector. Cintel Scanner is better than projectors in that regard, because it continually and smoothly runs films, without pulling films with strong, intermittent strength. Damaged films can be run slowly, at 4-8 frames per second, so you can digitize old films that you had given up on.”

“We are also using DaVinci Resolve with Cintel Scanner. Using this powerful combination you can digitize silent films from the 1920s, shot with 16 frames per second. After being scanned the digitized data is imported into DaVinci Resolve Studio and rendered into clips of 16 frames per second. That way you can see films at the speed originally intended a hundred years ago. I also like the audio extraction feature, because it supports two types of modulations, density and area. Cintel Scanner is helpful in capturing and preserving not only video but also audio from old films,” he concluded.

  • Tuesday, Jul. 31, 2018
Ikegami to focus on HDR at IBC 2018
Ikegami's HDK-73 camera
NEUSS, Germany -- 

Ikegami, known for advanced cameras and production equipment for television content producers and broadcasters, will introduce its latest HDR-compatible range of camera systems and an expanded range of monitors at the September 14-18 IBC 2018 exhibition in Amsterdam. Exhibiting on stand 12.A31, Ikegami will be represented by senior managers from the company’s global network of sales and support offices.

“The 2018 summer of sport encouraged many production companies to invest in High Dynamic Range which enables them to capture images with a much wider dynamic range than previously possible,” said Michael Lätzsch, Broadcast & Professional Video division manager at Ikegami Electronics (Europe) GmbH. 

“Lighting in television studios is carefully controlled to prevent over-exposure of highlights or corresponding under-exposure of shaded areas. Broadcasters televising large public events from locations such as open-air stadiums or theatre auditoriums face the much greater challenge of real-world lighting; from very bright sunlight on white stadium canopies to the darker detail of shaded viewing stands. 

“Our HDK-99 and HDK-73 cameras allow the full dynamic range to be captured within a single exposure setting, eliminating the need to adjust the optical aperture or imaging sensitivity in mid shot. The difference in picture quality is nothing short of stunning when viewed on HDR-compatible displays such as our new HQLM-3125X broadcast production monitor.

“4K UHD is also attracting an increasing level of attention from content producers as a way to maximise the long-term value of their programmes. The HDK-99 delivers a processed output from its control unit, allowing the camera to be used in a mixed-format production environment.

“The SD to HD transition is still in progress after nearly 20 years and it is quite possible that the transition to UHD will take a similar timescale given the practicalities of delivering high bandwidth content to the viewing public. The Ikegami strategy is to support and encourage the highest possible production standards without forcing the pace of technical development faster than broadcasters choose to adopt.”

HDK-99 Full Digital 3-CMOS Full-HD 1080p HDR Camera
Debuted at the April 2018 NAB Show in Las Vegas, the HDK-99 succeeds Ikegami’s very popular HDK-95C as the elite offering in the Unicam HD series. A docking-style camera for portable and studio applications, it employs three 2.6 megapixel high-performance CMOS image sensors delivering high picture quality in HDR at Full-HD 1920 x 1080 resolution with progressive-scan. Processed 4K can be sourced from the camera control unit. 

HLG mode maintains the high contrast required for HDR and conforms to the ITU-R BT.2100 international standard. Noise is less than -62 dB and sensitivity is a high F12. The sensors natively support 1080i /59.94, 1080i/50, 720p/59.94, 720p/50, 1080p/29.97, 1080p/25 and 1080p/23.98.

Also supported are 1080p/59.94, 1080p/50, 1080i/119.88, and 1080i/100 3G HDTV formats. Integral to the HDK-99 is the Ikegami AXII processor which allows fast and precise color matching for live multi-camera applications. A Lens Aberration Correction function minimises resolution loss and colored edging caused mainly by opticallens deviation. 

Quick EZ Focus Assist provides distinct enhancement to the viewfinder signal, enabling the camera operator to make critical focus adjustments. Area size, area color, edge color and display time on the viewfinder are all adjustable from the camera menu.

HDK-73 3-CMOS 1080i HDR Camera 
The Ikegami HDK-73 is a dockable multi-role 1080i high-definition camera designed for SDR and HDR broadcast production. It is available as complete system including CCU, connecting fibre, viewfinder and remote control. Image capture is to 2/3-inch 2.6 megapixel CMOS sensors, each capable of capturing Full-HD 1920 x 1080 resolution images with a dynamic range of 600% in normal mode and an extremely wide 1200% in HLG mode, high sensitivity (F13 at 50 Hz) and high signal-to-noise ratio. The sensors natively support 1080i/59.94 and 1080i/50, as well as 720p/59.94 and 720p/50 scan formats. 

Major features of the HDK-73 include full digital signal processing, advanced digital detail correction with independent horizontal and vertical correction of red, green and blue signals, and optional anti-moiré filtering. Hybrid log gamma processing is operator-selectable for HDR picture origination, enabling high-contrast scenes to be televised with full picture detail across the entire brightness range from highlights, mid-range to shaded areas. 

The HDK-73’s dockable structure allows studio configuration with fibre base stations as well as self-contained operation with a camera adapter for wireless or onsite recording applications. A fibre adapter can be attached directly to the camera head without need for external cables. External devices such as wireless transmission or a solid-state recorder can be attached for standalone operation, making the camera suitable for live sports, news gathering or field production.

HQLM Series and HEM Series Monitors
Ikegami is expanding its range of monitors with six new models:

The HQLM-3125X HDR broadcast master monitor employs a 4,096×2,160 pixel 10-bit resolution LED-backlit double-LCD panel with a 1,000,000:1 contrast ratio and a panel brightness of 1,000 candela per square metre. Fully compliant with BT.2020 wide color gamut, the HQLM-3125X incorporates single-channel 12G-SDI x 2, 3G-SDI × 5, 3G/HD-SDI and HDMI inputs as standard features. Square-division and two-sample interleave sources can be connected to the monitor via 3G-SDI × 4.  Viewing angle for critical image evaluation is a wide 178 degrees (horizontal/vertical). In addition to its picture monitoring role, the HQLM-3125X can operate as a waveform monitor and vectorscope. It can also display vertical-interval timecode, eight channel SDI-embedded audio level and closed-caption subtitles.

The HQLM-3120W is a 31 inch 4K/HD production monitor equipped with two 12G-SDI input channels as standard for efficient configuration with 4K equipment such as cameras and switchers. 3G-SDI, HD-SDI and HDMI inputs are also provided as standard. It employs a 4096 x 2160 pixel UHD LCD panel using LED backlight and can reproduce high resolution 4K and 2K images.

Model HQLM-1720WR is a compact UHD HDR monitor equipped with two 12G-SDI input channels as standard for efficient configuration with 4K equipment such as cameras and switchers. 3G-SDI, HD-SDI and HDMI inputs are also provided as standard. It employs a 16.5 inch 3840×2160 pixel UHD LCD panel using LED backlight and can reproduce high resolution 4K and 2K images. Weight is just 9.5 kg.

The HLM-2460W is a 24-inch Full-HD monitor with a 1920×1200 pixel 400 candela per square metre 10-bit resolution LCD panel. It offers very narrow front-to-back dimensions, light weight and low power consumption.  Multi-format SDI. 3G-SDI, HDMI, Ethernet and VBS inputs are provided as standard. The HLM-2460W achieves real pixel allocation without resizing. Its gradation characteristics also make it ideal for a wide range of broadcast applications, including use in monitor walls. A smaller version with similar features, the HLM-1760WR has a 17-inch  display (with a Full-HD 1920×1080 pixel 450 candela per square metre 10-bit resolution LCD panel).

The Ikegami HLM-960WR is a highly compact multi-format LCD monitor with a 9-inch Full HD 1920×1080 pixel 400 candela per square metre 8-bit resolution LCD panel. This models offer very narrow front-to-back dimensions, light weight and low power consumption. The HLM-960WR is economical in power consumption (AC or DC). An optional battery bracket is available. The monitor has a USB connector on the front panel, allowing setup file storage and recall, as well as control-menu navigation via a plug-in pointing device.

  • Thursday, Jul. 26, 2018
Avid makes MediaCentral | Editorial Management available for post workflows
BURLINGTON, Mass. -- 

Avid® (Nasdaq: AVID) has announced the immediate availability of MediaCentral® | Editorial Management, an all-inclusive collaboration platform that empowers entire teams to take part in media creation workflows. MediaCentral | Editorial Management delivers intuitive media management in a streamlined user interface. With greater integration, speed, and collaboration, everyone from small editorial teams to larger post facilities can benefit from the platform.

Part of Avid’s latest video postproduction workflow innovations, MediaCentral | Editorial Management is a simple-to-deploy asset management tool that enables small-to-mid-size post and broadcast teams to collaborate through secure, reliable and easily configured media workflows from both an integrated panel inside Media Composer®, as well as from a web browser and mobile clients. Enabled by Editorial Management’s new HyperBin architecture, for the first time ever, assistants and producers can create and modify HyperBins, add locators and metadata, create subclips, and perform other asset management tasks—all from MediaCentral | Cloud UX, an easy to use web browser interface, freeing the editor to spend more time creating and less time finding and managing media.  

“Being a mid-sized production studio in an atypical market we need to be as nimble and cost effective as possible, expanding project and media management tasks outside of Media Composer allows our team to collaborate with the speed and efficiency we need to take on demanding jobs under tight deadlines,” said Scott Roy, SVP of post at Trailblazer Studios, which has been beta testing MediaCentral | Editorial Management. “MediaCentral | Editorial Management allows our teams to stay in sync by giving our show runners, story producers and assistant editors the ability to work within the same environment as our editorial team, giving them the tools they need to contribute to the story without ever having to leave their creative applications.”

“Video postproduction teams face greater pressure than ever before to work faster in higher resolutions like 4K and 8K,” said Alan Hoff, VP, market solutions at Avid. “MediaCentral | Editorial Management is designed specifically to meet the needs of smaller postproduction and broadcast teams working with Avid NEXIS®, giving them enhanced collaborative capabilities, greater control over their media assets, and the ability to stay in complete sync so that they can turn around their projects on time and at the highest quality.”

  • Thursday, Jul. 26, 2018
Broadcasters turn to FOR-A for live world football event coverage
FOR-A FRC-9000 frame rate converter
TOKYO -- 

With almost half the world’s population tuning in to the 2018 world football event, high-resolution and reliable, live video of the games was critical to broadcasters throughout the globe. Some of the worlds’ premier public broadcasters trusted FOR-A to deliver the most pristine imagery in a multitude of formats to fervent fans watching the quadrennial event.

Broadcasters in Japan, Korea and the European continent deployed FOR-A technology to ensure audiences all over the globe received glitch-free views of the entire contest.

Four FOR-A FRC-9000 4K/HD frame rate converters or HD and SD signal conversion one FOR-A MFR-8000 4K/8K routing switcher were used by European broadcasters to supply properly formatted, live coverage.

A premier Japanese broadcaster went with six FRC-9000 frame rate converters for error-free live broadcasts of the month-long contest from Russian to its viewership in Japan.

A broadcaster in Korea selected a total of 18 FRC-9000 frame rate converters for its coverage, with two of the converters being used within a 4K production system, and the remaining providing conversions within an HD system.

“This is the ultimate test for our frame rate conversion technology,” said Takaaki Imoto, sr. general manager of FOR-A Overseas Sales & Marketing Division. “The world football event is one of the most prestigious sporting events covered by broadcasters all over the world. There are many conversions that must be done live to get the properly formatted signals to their destination. It’s a complex task that FOR-A makes look easy for our customers. We congratulate these broadcasters for their spectacular world football event coverage.”

The FRC-9000 4K/HD frame rate converter supports 3G, HD and SD. It provides SD to 3G/HD up conversion; interlace to progressive conversion; conversion with motion compensated processing; optional 4K (UHD, SQD/2SI) support; and simultaneous conversion of two-channel video inputs.

MFR-8000 4K/8K routing switcher features an expanded matrix of up to 256 inputs/256 outputs in a 16U frame. It has a 12G-SDI I/O and gearbox support. It supports 3G-SDI(Level A/B), HD-SDI, SD-SDI and ASI signal input/output with automatic signal type detection.

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