Thursday, September 20, 2018

Toolbox

  • Thursday, May. 3, 2018
Editor Alan Edward Bell deploys Fusion 9 Studio on "Red Sparrow"
Alan Edward Bell
FREMONT, Calif. -- 

Blackmagic Design announced that editor Alan Edward Bell used its visual effects and motion graphics software, Fusion 9 Studio, while editing the film “Red Sparrow.”

”Red Sparrow” is the spy thriller from 20th Century Fox about ballerina Dominika Egorova (Jennifer Lawrence) who is recruited into Sparrow School, a secret Russian intelligence service. On the search for a mole within the Russian government, Dominika’s first target is an American CIA agent (Joel Edgerton). Also starring Jeremy Irons, Matthias Schoenaerts, Mary-Louise Parker and more, “Red Sparrow” was directed by Francis Lawrence.

Bell used Fusion Studio as one of his editing tools while cutting the film, using it to create performance enhancing VFX during the editing process. He explained, “With performance enhancing VFX, you merge together editing and compositing to get the best cut, whether you’re heightening actors’ performances, helping with cohesion, or adding impact. By using Fusion Studio within my editing workflow, I can easily merge together different takes or make subtle changes to help amplify a scene.”

For example, Bell used Fusion Studio while editing “Red Sparrow” to merge together actors’ performances from different takes when it was needed to preserve the performance or further the story.

“There is a scene after Dominika finishes her Sparrow training and is reunited with her mother. In one take, Jennifer’s performance was very powerful as it showed a sense of dread, however, in another take they added a line that underscored her character’s determination and furthered her motivation. Instead of compromising on the performance or just slipping in the audio but not the visual, which is what editors have done in the past, I used Fusion Studio to combine the two takes together, layering Jennifer’s performances on top of each other,” Bell said. “I used Fusion Studio’s new planar tracker to track and stabilize the image. I then composited Jennifer’s mouth out of the first shot, and morphed the mouths together. Dominika’s motivation for the rest of the film is colored by that line, so it was important that we got it in, and because of Fusion Studio I was able to do it seamlessly.”

Bell continued, “Throughout the film, Dominika goes through varying stages of facial bruising and some hemorrhaging in her eyes. Using Fusion Studio, I was able to enhance and smooth out the way Jennifer’s bruising looked while editing, so when we previewed the film it was seamless.”

Bell concluded, “We used a lot of wide shots for this film, which meant that when I needed to rely on performance enhancing VFX, the backgrounds often needed tweaking to get things to line up. I frequently used Fusion Studio’s grid warper to make sure the background would match and that things were cohesive between cuts.”

  • Tuesday, May. 1, 2018
Rafael Castillo joins TVU Networks as GM of Latin America
Rafael Castillo
MOUNTAIN VIEW, Calif. -- 

Industry veteran Rafael Castillo has joined live IP video solutions company TVU Networks as its general manager of Latin America. Castillo is leading TVU’s efforts to strengthen its presence across the Latin American region.

Castillo brings decades of management experience across Latin America to TVU. Most recently, he served in the roles of VP of Latin America and Caribbean for Snell Advanced Media, as well as VP of Latin America for SeaChange International. Previously, Castillo worked for Grass Valley for 18 years, including seven years in the role of SVP, Latin America.

Paul Shen, CEO of TVU Networks, said of Castillo, “He has a proven track record of driving growth and strengthening relationships across the Latin American region--an area that TVU is dedicated to expanding its presence. As we roll out the new TVU MediaMind platform, which consists of innovative new solutions that use AI technologies to automate the broadcast workflow, we’re confident that these new solutions will simplify operations for Latin American broadcasters and content creators.”

Castillo, who is based in Miami, said, “From the company’s flagship TVU One mobile uplink transmitters, to its new cloud-based video production solution TVU Producer Pro, TVU is focused on creating next-generation technologies that stay ahead of the curve.”

TVU Networks has over 2,500 customers in more than 85 countries. The TVU Networks family of IP transmission and live production solutions gives broadcasters and organizations a powerful and reliable workflow to distribute live video content to broadcast, online and mobile platforms. TVU has become a critical part of the operations of many major media companies. The TVU Networks suite of solutions has been used to acquire, transmit, produce, manage and distribute professional-quality live IP HD footage as an integral part of news, sports and major global events.

  • Friday, Apr. 27, 2018
ARRI introduces certified program for sale of pre-owned and refurbished cameras
MUNICH, Germany -- 

ARRI has introduced its Certified Pre-Owned Program. The motion picture equipment manufacturer is now offering selected pre-owned and refurbished camera systems of the ALEXA series for sale. Stephan Schenk, managing director of ARRI Cine Technik and general manager of the Business Unit Camera Systems, said of the program, “It’s a global initiative which adds a new tier to our products, allowing more filmmakers access to our technology. It also gives educational institutions a cost-effective way of providing high-quality equipment for their students.”

ARRI’s attention to detail and intimate knowledge of conditions on set for over 100 years have resulted in generations of cameras that are robust, reliable, and simple to operate. Under the ARRI Approved Certified Pre-Owned Program selected ALEXA Plus and ALEXA Classic EVs undergo thorough assessments, are given thorough overhauls, and are recalibrated. 

All components—starting with the sensor—are checked to confirm they are fully functioning, and that all systems work as they should. Any parts that require replacement are exchanged. 

Christian Richter, manager of Certified Pre-Owned Camera Systems at ARRI, said the program delivers reliability, affordability, and dependability. “It will give more filmmakers access to tools that will enable them to capture stunning images,” he said. “They can be sure that they are not sacrificing performance for price, because the selected ALEXA cameras come directly from the manufacturer and are backed by ARRI’s warranty.”

Before the ARRI Certificate of Approval is issued, the equipment goes through the same final function test as new cameras, ensuring it meets the high standards expected of it. The ARRI approved and certified cameras are also covered by a one-year warranty. 

  • Wednesday, Apr. 25, 2018
TAG Video Systems makes mark--marks 10th anniversary--at NAB
TAG CEO Abe Zerbib
TEL AVIV, Israel -- 

TAG Video Systems LTD, a leader of innovative IP monitoring and high-quality multiviewer solutions for the broadcast, production and post markets, is celebrating its 10th year anniversary and marked the milestone with a reception at the NAB Show in Las Vegas earlier this month.

Established by Tomer Schechter and Gal Waldman in Tel Aviv, TAG turned out its first product--a real-time live audio transcoding solution that converted Internet radio into a DVB MPEG-TS--which reflected its founders’ extensive experience in real-time embedded systems and IP networking.

Expanding TAG’s reach into broadcast, Schechter and Waldman soon recognized the need for monitoring DVB MPEG transport streams at a facility’s input and output. The two tapped into their collective pioneering spirit and set out to develop one comprehensive solution that incorporated excellent DVB MPEG TS probes and analysis data, a native multiviewer with IP inputs, and real time error detection and alarms in the IP MPEG TS domain. The result was the company’s flagship MCM-9000, one solution that did it all: DVB ETR-290 real-time monitoring and alarming, as well as baseband analysis and HD mosaic Multiview creation, all in the IP domain using off-the-shelf IT server hardware. The innovative MCM-9000 was the first-of-its-kind, shattering traditional monitoring technology and paving the way for a whole new “IP Monitoring Multiviewer” paradigm.

Abe Zerbib, TAG CEO, said, “The MCM-9000 was groundbreaking, but then we enhanced it with OTT support. Most recently we’ve included support for the SMPTE 2022-6/7 and 2110 IP uncompressed standards, a development that has disrupted the way media is viewed on Multiviewers.”

The company that began with two founders and one product in 2008 has grown to an international organization with a solid infrastructure today. “We still maintain a very lean and efficient operation, which enables us to react quickly to customer requests,” said Zerbib. “Our customer list is a testament to our quality and service, and includes many tier-one, high-profile organizations, including: Deutsche Telekom, Eutelsat, MX1, NBC Sports, Fox Sports, DirecTV, MLB, Sky UK, TATA communications, and numerous others who recognize the innovation and technical advance of the products, and have become loyal, long-term customers.”

At NAB 2018, TAG once again broke barriers with the introduction of an upgraded version of its flagship MCM-9000 software-only IP-multiviewer — the MCM-9000U. The first-of-its-kind in the industry, the new MCM-9000U incorporates all the functionality of its predecessor but now supports SMPTE’s newly published ST 2110 suite of standards for managed IP networks that address HD and UHD uncompressed video and audio streams at the inputs and outputs of the multiviewer. The MCM-9000U was shortlisted for a prestigious IABM BaM Awards™ in the Support category at NAB.

Other significant products featured at this year’s show included the TAG Descriptor, which allows for real-time monitoring of encrypted content in the “secure zone” while keeping the content secure. TAG has also responded to customers looking for a dedicated NMS solution to receive long-term logging and reporting features, by introducing the TAG-NMS product.

  • Thursday, Apr. 19, 2018
Rob Di Figlia named VP of software services at GPL Technologies
Rob Di Figlia
BURBANK, Calif. -- 

GPL Technologies, a technologies solutions provider to the media and entertainment industry, has appointed Rob Di Figlia to the newly created post of VP of software services. A former executive with Autodesk, Di Figlia will work with enterprise-level clients in integrating software solutions in areas including high-performance computing, cloud migration and virtual production.

GPL Technologies CEO Brian Terrell said that, with cloud computing rapidly changing the way the media and entertainment industry conducts business, Di Figlia will lead a group that will help companies make the transition and harness the power of emerging technologies. “Rob will work with our customers at a very high level and help them become more efficient and more competitive,” Terrell said. 

Cloud software has become a crucial component to the IT services that GPL Technologies provides to its customers, which include visual effects houses, animation companies, postproduction facilities, design studios and others. “Our infrastructure, hardware and software services are merging,” said CTO Jason Blum. “It’s a trend we’ve focused on for some time and we’re very excited to have someone on board devoted to an aspect of our business that is going to be a core service moving forward.”

Di Figlia brings nearly 20 years of senior level experience across visual effects, animation, project management and pipeline engineering. For the past three years, he served as business development executive for the M&E division of Autodesk. He was tasked with growing the company’s Shotgun Production Pipeline Services teams and building strategic partnerships with clients including Warner Bros., Sony, Netflix, Amazon Studios and Activision/Blizzard. His background also includes five years as managing director and head of production at Oktobor Animation, a company he co-founded. The New Zealand-based studio produced original content as well as contract work for Nickelodeon, DreamWorks and others.

In discussing his new role, Di Figlia said that he plans to use his expertise to help clients be more productive and work more efficiently while adding services that complement GPL’s core business. “Our goal is to build studio-agnostic tools and workflows that allow our clients to extend their infrastructure, whether it is on-premises, in the cloud, or a hybrid system,” he observed. “As traditional production processes continue to evolve, and workforces become more distributed, companies need better solutions to connect their teams to their data. Our focus is on building flexible pipelines which are designed to run anywhere at any time by anybody.”

  • Wednesday, Apr. 18, 2018
Call for entries opens for HPA Engineering Excellence Award
Joachim Zell, VP of technology for EFILM and chair of the HPA Engineering Excellence Award Committee
BURBANK, Calif. -- 

The Hollywood Professional Association (HPA®) has opened its call for entries for the Engineering Excellence Award. Now in its 13th year, the HPA Engineering Excellence Award is considered one of the most important technology honors in the industry, spotlighting companies and individuals who draw upon technical and creative ingenuity to develop breakthrough technologies. Submissions will close on May 25, 2018. 

Joachim Zell, VP of technology for EFILM and chair of the HPA Engineering Excellence Award Committee, said, “Artistic vision is what drives the technical and engineering processes that bring that vision to life. Ultimately, our work is fundamentally about helping filmmakers realize their vision.  The companies and individuals supporting creative storytellers face constant pressure to evolve to expand the creative palette. Their contribution to the entertainment industry cannot be overstated. The Engineering Excellence Award is a highly competitive honor, and the past winners have changed the course of entertainment technology. We encourage the submission of your significant technological achievements.” 

Entrants for this peer-judged award may include products or processes, and must represent a significant step forward for its industry beneficiaries. Past winners have included Aspera, Canon, Colorfront, Dolby, The Foundry/Sony Pictures Imageworks, MACOM, NVIDIA, Panasonic, Quantel, and RED Digital Cinema.  Rules and procedures can be found here.

Applicants present to a blue-ribbon industry panel.  Presentations  will take place on a Saturday in June in Los Angeles. More information about the presentation dates and location will be announced soon.

Entries for the Engineering Excellence Award will be accepted until May 25. Winners will be announced in advance, and honors presented during the HPA Awards gala on the evening of November 15, 2018 at the Skirball Cultural Center in Los Angeles. 

In addition, the HPA Awards will again honor important craft categories including Outstanding Color Grading, Editing, Sound and Visual Effects for feature film, television and commercials. The call for entries in these creative categories will be announced in May.

For more information about the HPA Awards, including complete rules, guidelines and entry information, click here

  • Wednesday, Apr. 18, 2018
Mike Provancha appointed managing director of PlayBox Technology UK 
Mike Provancha
HATFIELD, HERTFORDSHIRE, UK -- 

Global channel-in-a-box manufacturer PlayBox Technology UK Limited has named Mike Provancha to serve as its managing director.

Provancha has over 40 years of video experience in engineering, sales, and management. In addition to his engineering degree, he holds a bachelors degree in marketing. Starting his sales career with Ampex and subsequently Grass Valley Group, Provancha has held management positions at Abekas, Pluto, NVP and Masstech--where he was managing director of EMEA. He most recently was co-founder and managing director of LS Global Partners, an international business development firm.

With full responsibility for the growth and management of PlayBox Technology, Provancha will play a key role in meeting the company’s goals, as well as building on its reputation for service and providing superior products. PlayBox Technology has provided over 17,500 TV and branding channels worldwide.

Provancha will be based at the company headquarters located in Brookmans Park Teleport, just north of London.

  • Wednesday, Apr. 11, 2018
Colorfront unveils new color workflows at NAB
Colorfront's QC Player
LAS VEGAS -- 

Colorfront, the Academy, Emmy and HPA Award-winning developer of high-performance, on-set dailies and transcoding systems for motion pictures, broadcast, OTT and commercials, is trailblazing new UHD/HDR color workflows--from the set through post into cinemas and the home--at NAB 2018. Offering a variety of new features, Colorfront products enable productions, post and studio facilities, OTTs and TV-set manufacturers, to execute critical quality control (QC), mastering, delivery and display tasks across an enormous range of Ultra High Definition (UHD), High Dynamic Range (HDR), Wide Color Gamut (WCG) content.

For almost a decade, Colorfront On-Set Dailies and Express Dailies have been prevalent in motion picture and high-end episodic TV production, due to their powerhouse dailies turnaround capabilities. 

New at NAB 2018, On-Set Dailies and Express Dailies now feature support for the latest large format, full-frame cameras, including Sony Venice, ARRI Alexa LF, Panavision DXL2, RED Gemini 5K and Monstro 8K. To further facilitate UHD/HDR production on-set, both also feature second-head HDR analyzers.

Recent productions deploying Colorfront Dailies systems include: Atomic Blonde (Universal Pictures), Blade Runner 2049 (Warner Bros.), Red Sparrow (20th Century Fox), The Spy Who Dumped Me (Lionsgate), Robin Hood: Origins (Lionsgate) and Terror (AMC).

New Colorfront partnership with AJA
Following Colorfront’s fruitful collaboration with AJA Video Systems in 2017, which saw the integration of Colorfront Engine™ into AJA’s FS-HDR, Colorfront is licensing its Colorfront HDR Image Analyzer software to AJA for AJA’s HDR Image Analyzer. Shown as a technology preview at NAB 2018, the new solution comprises critical waveform, histogram, vectorscope and Nit-level HDR monitoring, and simplifies analysis of 4K/UltraHD/2K/HD, HDR and WCG content in production, post, QC and mastering processes. The product will be sold worldwide via AJA’s established marketing channels.

Colorfront ships QC Player at NAB 2018
Shipping at NAB 2018, Colorfront QC Player delivers highly-affordable UHD quality control. Priced at $10,000 USD, it supports realtime playback of JPEG 2000 content, including DCPs (2K/4K, 2D/3D, encrypted, with dynamic subtitles) and IMF packages. These include lossless/high-bit-rate (1,600 Mbps) UHD Dolby Vision mezzanine masters, such as Netflix Main Level 7, Sub-level 4 IMFs of 4096x2160, at up to 59.94fps, with integrated Dolby Vision remapping, plus simultaneous SDR (Soft CMU) and HDR output. Colorfront QC Player also provides real-time support for the latest RAW UHD HDR formats from the latest digital cinematography cameras.

QC Player includes waveform, vectorscope, histogram, split-screen, second head analyzer, color gamut and Nit light-level metering tools. Other key features encompass framing guide overlays for title/text/logos/graphics safe areas, plus image reframing and burn-in/watermarking tools. QC Player comes with audio tools supporting embedded audio, WAV files and up to 24-channel audio output.

Colorfront announces Transkoder 2018
Colorfront Transkoder has become the ultimate post workflow tool for handling the vast range of UHD, HDR camera, color, editorial and deliverables formats – with customers including Sony, HBO, Warner Bros., Disney, Fox, Dolby, Samsung, Netflix, Amazon, Vubiquity, Deluxe, Pixelogic, Technicolor, Light Iron, Éclair, BBC and NHK.

Previewed at NAB 2018, Transkoder 2018 is powered by a re-engineered version of Colorfront Engine™, at the heart of which are new parametric tools enabling infinitely variable light level output control. Additionally, a new perceptual engine delivers improved color rendition in dynamic extremities, plus better matching between HDR/SDR levels. Colorfront has enhanced Transkoder’s WCG mapping and added new user-selectable color constrain/legalizing tools.

Along with second-head analysis, newly expanded toolsets perform an even larger range of UHD/HDR/WCG processing tasks. These include industry-leading JPEG2000 encode-decode, support for the latest Cinema Mezzanine and ProRes IMF Apps, IMF/IMP authoring/naming, transwrapping, packaging, verification and QC, multi-channel audio (MCA) labeling, metadata sidecar files, and EIDR, the universal unique identifier system for movie and television assets. 

Transkoder is already certified by Dolby Laboratories for the creation of Dolby Atmos Digital Cinema Packages (DCPs), and Dolby Vision Mastering/Mezzanine packaging. Transkoder 2018 additionally offers Dolby Vision metadata tunneling via HDMI and integrated GPU-based light-level remapping or external Dolby CMU control. 

Colorfront and the HDR10+ home viewing experience
Colorfront has collaborated with Amazon, Fox, Samsung and Panasonic to ensure the readiness of Dynamic Tone Mapping – with dynamic metadata – for the latest HDR10+ standard in Trankoder 2018. This enables Amazon to deliver content in HDR10+, assuring unsurpassed HDR home viewing experiences across the latest ranges of Samsung and Panasonic UHD TV sets.

Improved Colorfront Dailies on AWS
Colorfront is also showing enhanced processing for UHD/HDR dailies in the cloud. These include automatic sound-sync, rendering and delivery, for dailies, editorial and VFX, with streamlined upload to services such as PIX.

At NAB, Colorfront products can been seen at: AJA Video Systems (#SL2505); Dolby (#SU1702), and Panasonic (#C3607).

  • Tuesday, Apr. 10, 2018
Deluxe launches platform to unify global content creation & distribution
LOS ANGELES -- 

Deluxe Entertainment Services Group Inc. (Deluxe) announced the launch of Deluxe One, a platform that unifies every stage of the content ecosystem — from creation to viewer experience — in one cloud-based interface. An open platform, Deluxe One is designed to integrate with any vendor or customer system, allowing users to succeed in an age where the lines between creator and distributor are becoming increasingly blurred.

“More and more, customers are working to shorten the time between camera lens and screen,” said John Wallace, chief executive officer for Deluxe. “As the only industry provider that can deliver the full range of services from content creation through distribution, Deluxe is uniquely positioned to bridge this divide and power this new age of storytelling. Deluxe One offers a seamless way for companies of all sizes to access our services — from pre-production to playout — and reaffirms our commitment to persistent innovation.”

Deluxe One unifies a network of micro-services accessed through an intuitive interface that helps customers streamline their workflow, whether they are using Deluxe’s end-to-end solution or just a piece of it. Designed to reduce hand-offs between vendors and speed up turnaround times through automation, Deluxe One allows customers to get their content to audiences around the world quickly and reliably.

“Deluxe One completely reimagines how content gets made and delivered,” explained Andy Shenkler, chief product officer for Deluxe. “The modular architecture enables integration with vendor and customer APIs, unifying what was once a very fragmented ecosystem of services and offering it to customers through a single interface that gives them control and visibility throughout the entire media lifecycle.”

In contrast to traditional siloed solutions, Deluxe One acts as an open hub, allowing not only customers but other vendors to connect their business with Deluxe and benefit from the power and breadth of the platform while co-creating value. Vendor partners that are currently integrated in the platform include:

  • DLVR: Multi-CDN switching and optimization for peak streaming performance
  • Globant: OTT platform solutions for publishers and content creators
  • Hybrik: Highest-quality cloud-based transcoding at scale
  • Mediamorph: Rights information and management to automate operational content flows

Deluxe One draws on the expertise Deluxe has built as the trusted partner of the largest studios, programmers and distributors for over 100 years. With its best-in-class proprietary products, applications and services, Deluxe has created and delivered more premium content than anyone in the world, and Deluxe One makes it easier for customers to access this unparalleled expertise for their postproduction and distribution needs.

  • Sunday, Apr. 8, 2018
BB&S rolls out new lighting products at NAB
BB&S' Force 7
LAS VEGAS -- 

BB&S Lighting will return to NAB in Las Vegas with a bevy of new products as well as its tried and true LED lighting lineup.

The new Force 7 LED LEKO delivers 750 Watt-equivalent output while drawing just 185W at maximum—with a color friendly 97 CRI. It provides smooth, even, edge-to-edge lighting with no hotspots; no double shadows when using a gobo. The 48V system provides smooth dimming down to zero. Plus, its silent fan puts out half the decibels of other LEKOs.

Along with the Force 7 LEKO, attendees will see a demonstration of the illuminating CRLS (Cine Reflect Lighting System). CRLS maker, The Light Bridge has selected the Force 7 as the optimum source for their system, which employs proprietary high efficiency reflectors to make diffused light easier to control and modulate, offering creative ways to paint with light and shadow.

BB&S adds 3’ and 4’ Pipeline Free remote phosphor LED lighting fixtures, increasing the versatility of this cylindrical pipe-style lighting that is popular for broadcast studios, motion pictures, and video of all types. The new 3’ and 4’ (914mm, 1219mm) sizes join the existing 4”, 8”, 1’, and 2’ (101mm, 203mm, 305mm, 610mm) Pipes. Pipeline Free Remote phosphor fixtures feature inline driver/dimmers to operate stand-alone. Each length is available in 3200°K, 4300°K or 5600°K color temperatures.

Also being introduced is the Pipeline 1’ 1-Bank Wedge, which comes in either a black or white colored fixture. With a color-true 98 TLCI, it is available in 1’ and 2’ lengths. At 3200K, 4300K and 5600K, these handy banks are ideal for broadcast desks and special installs requiring high output in small spaces. Control is via the Pipeline 4-Way Controller with built in DMX. Optional honeycomb grids are available.

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