Wednesday, January 23, 2019

Toolbox

  • Wednesday, Sep. 12, 2018
Fujinon to feature two new zooms at IBC
Fujinon's UA46x9.5B lens
VALHALLA, NY -- 

During IBC 2018, the Optical Devices Division of FUJIFILM will officially introduce the latest in its Premier UA Series of UHD 2/3” lenses - the UA46x9.5B and UA46x13.5B. The worldwide introduction signals the continued expansion of the company’s 4K HDR lens range. FUJIFILM Optical Devices Europe will exhibit in Hall 12, Stand B20 during the show, which runs this week, from September 14-18 at the RAI Amsterdam.

The Premier UA Series is designed specifically for UHD broadcast applications. The UA46x9.5B sports a class-leading 46x zoom ratio and a wide angle from 9.5~437mm (19~874mm w/2x) with an F2.0 aperture. The “Tele” version UA46x13.5B lens also features a class-leading 46x zoom ratio and a telephoto reach from 13.5~621mm (27~1242mm w/2x) with an F2.8 aperture. Both lenses have a total weight of 5.7kg/12.56lbs and length of approximately 345.8mm.

“We remain firmly committed to the development of our 4K HDR lens range,” said Yuji Igarashi, general manager of the Electronic Imaging Division & Optical Devices Division at FUJIFILM North America Corporation. “We’re excited about the possibilities this lens series and HDR production overall creates for our customers. Extremely high precision optics and mobility are required for this level of enhanced, high quality filming. We’re well suited to address such requirements. Our high-contrast, high-quality lenses are ideal for HDR. Given the color science expertise of Fujifilm with its motion picture and photographic film history, the FUJINON lenses are not only 4K but also produce brilliant, bright, eye-popping HDR images.”

Like the others in the series, the UA46x zooms employ the latest High Transmittance Electron Beam Coating (HT-EBC), resulting in richer colors and greatly improved blue response and transmittance. They feature 4K Ultra HD and HDR optical performance from center to corner throughout the zoom range while suppressing image distortion, due to a multi-group zoom system.

A newly designed OS-TECH image stabilizer provides the most advanced image stabilization for a lens in this class and makes the new UA46x zooms ideal for sports, wildlife, and documentary production. Versions of the lens will be available for studio, wildlife, remote-control and gyro-stabilized productions.

Also enhanced with a fresh design is the Digital Full Servo Drive Unit, which now features 16-bit encoding for highly accurate local or remote operation of the zoom, focus or iris. The drive unit offers a “Virtual Connector,” which outputs the lens’ positional data.

Availability for the UA46x9.5B and UA46x13.5 is planned for late 2018.

The new zooms are two of the latest additions to the family of FUJINON 4K UA 2/3” lenses. In addition to these two lenses, the new 4K UA70x8.7BESM field lens will also be debuted at IBC 2018. Other handheld zooms in this lineup include: the UA14x4.5, UA18x5.5, UA13x4.5 and UA22x8, UA24x7.8 lenses. The UA27x6.5 studio lens and field lenses, the UA80x9 and UA107x8.4, round out the series.

IBC 2018 marks the official introduction of the FUJINON UA46x9.5B and UA46x13.5B zooms. A prototype version of the UA46x9.5B was shown at NAB 2018 in April.

  • Tuesday, Sep. 11, 2018
Cooke Optics launches Anamorphic/i Full Frame Plus range at IBC
Les Zellan, chairman of Cooke Optics
LEICESTER, UK -- 

Cooke Optics will add further depth to its Cooke Anamorphic/i lens family at IBC 2018, when it presents the 50mm focal length of the new Anamorphic/i Full Frame Plus range. This addition to the Anamorphic/i range has been designed to meet the growing appetite for large format production, while applying the popular anamorphic characteristics including flare and oval bokeh. 

The range, featuring a T2.3 stop, will offer 32mm, 40mm, 50mm, 75mm, 100mm, 135mm and 180mm lenses; the 50mm will be the first in production, with the rest following over the next 12 months.

The image circle will cover a full 24x36 still size sensor, with a 1.8 squeeze. Like all Cooke lenses, the Anamorphic/i Full Frame Plus range will include /i Technology that collects detailed lens data for VFX and postproduction teams. Additional specifications will be confirmed on Stand 12.D10 at IBC 2018.

Les Zellan, chairman, Cooke Optics, said, “As soon as we saw the enthusiastic reception for the S7/i Full Frame Plus lenses, we knew the next logical step was to give full frame an anamorphic option. After a great deal of research and discussion, we believe the 1.8 squeeze of the Anamorphic/i Full Frame Plus range gives the best results for full frame anamorphic. At 2x you would lose too many pixels, and at 1.6x (the correct ratio to use every pixel) you will not get enough of the anamorphic character. Our solution at 1.8x gives the image a greater anamorphic feel at the aspect ratio of 2.40:1 whilst capturing 90% of the pixels, therefore keeping this format well within industry resolution standards. However, because these are Full Frame Plus lenses designed to cover the full still frame of 24x36, you can elect to use 100% of the pixels which will result in an aspect ratio of 2.70:1.”

At IBC 2018 Cooke will also present the Panchro/i Classic 65mm Macro and 21mm lenses for the first time, as well as various lenses from the S7/i, miniS4/i, Anamorphic/i and Anamorphic/i SF families.

In addition, visitors to the Cooke stand will see demonstrations of /i3 (/i Cubed), the latest version of its /i Technology metadata system that now provides distortion mapping - not just a theoretical measurement of all lenses of a particular focal length, but of the specific lens in use. New deliveries of S4/i, 5/i, and S7/i lenses from October 2018 will include /i3 functions.

  • Thursday, Sep. 6, 2018
Multicom Entertainment Group deploys Cintel Scanner for film restoration
Multicom Entertainment Group lead editor Meni Philip
FREMONT, Calif. -- 

Blackmagic Design announced that Los Angeles-based distribution company Multicom Entertainment Group is using a Cintel Scanner, DaVinci Resolve Studio, UltraStudio 4K and DaVinci Resolve Mini Panel as part of its film restoration workflow.

As an independent distribution company, Multicom Entertainment Group owns more than 1,500 titles, with more than 200 of them on film. According to executive director Andrew Baritz, “When looking at our entire workflow it became obvious that building our own post workflow would be more time and cost effective than partnering with an outside post house to do it for us. The costs and wait times of using outside labs for HD and UHD film scans were too high, especially with a library of our size.”

Since purchasing the Cintel Scanner in mid 2017, Multicom Entertainment Group has completed more than 20 film restorations, including Academy Award winning documentary “The Long Way Home,” horror film “Slaughterhouse Rock,” the classic tale “The Adventures of Pinocchio” and romantic biopic “The Whole Wide World,” which is slated for BluRay release in September 2018.

“We’ve already restored around two dozen films using the Cintel Scanner and currently have another five in progress. With most films using five reels, and occasionally capturing release prints along with original negatives (ON) for color reference, somewhere between 100 to 200 reels have already been captured, creating close to 100TB of RAW scanned data,” said Baritz.

Multicom Entertainment Group scans 35mm and 16mm film using a Cintel Scanner with a Cintel Audio and KeyKode Reader, and then does its restoration work using DaVinci Resolve Studio and a DaVinci Resolve Mini Panel. Additionally, the team uses an UltraStudio 4K, Teranex 2D Processor and multiple DeckLink capture cards as part of its workflow.

“Once assets are scanned and move to our edit bay, we use DaVinci Resolve Studio for all color correction, grain removal, audio extraction and stabilization,” said Baritz.

Lead editor Meni Philip described working with DaVinci Resolve Studio as exercising muscle memory, since he first worked with it more than 10 years ago in Berlin. Philip cited using multiple facets of both DaVinci Resolve Studio and the DaVinci Resolve Mini Panel, including how the knobs on the control panel, specifically RGB, keyboard and color wheels, have helped improve his workflow. “I rarely use the mouse as the panel makes post faster and more precise,” he said.

According to Philip, the system gives him the opportunity to go beyond correcting color and grain, since DaVinci Resolve Studio divides colors into RGB and Luminance separately with full individual control of each, which provides much more control in the overall restoration of a film’s color. Philip employed this exact technique to overcome grading issues in his recent restoration of the 1982 film, “The Retrievers.”

“Even if you have a very faded film, you can still achieve very high quality results with DaVinci Resolve Studio, tackling challenging footage with ease,” he noted. “We also work with the Cintel Scanner to create the stabilization and master files from the scans. The quality is great, especially with the cost of the machine, and the ability to scan in real time allows for fast replacements of scanned assets, creating fast and efficient scans.” 

Baritz concluded, “We have scanned film stock ranging all the way from 35mm ON, interpositives (IP), internegatives (IN) and release prints to 16mm ON, IP, IN and even A, B prints. Our films live in all formats from all years of production. Having the flexibility to capture most professional film in house has allowed us to bring back films from the past that could not afford to shoot on 35mm.”

  • Monday, Sep. 3, 2018
Shortlist unveiled for IABM BaM awards at IBC
GLOUCESTERSHIRE, UK -- 

IABM, the international trade association for suppliers of broadcast and media technology, has announced the shortlisted entries for the IBC 2018 edition of its Broadcast and Media awards (BaMs™). From a record number of submissions, the judges have shortlisted four entrants in each of nine BaM™ Content Chain categories that accurately model the structure of the industry today, together with a tenth award recognizing an outstanding project, event or collaboration.

The panel of 40+ non-affiliated, expert judges are now scrutinizing the shortlisted entries. Visits to the stands of shortlisted companies will take place once IBC 2018 opens to complete the judging process. The eventual winners will be announced at the IABM BaM™ Awards Party on Saturday, Sept. 15, 6-8 pm in the Forum. 

“I’m again impressed with the quality--as well as the quantity--of the IABM BaM™ Awards entries for this IBC; it’s was a challenge for our judges to initially shortlist the top four in each category,” said John Ive, IABM director, strategic insight, chair of the judging panel. “The new BaM™ Content Chain model has ensured we include all the new developments across the broad spectrum of media and broadcast--and it is clear that innovation is driving profound changes, which these awards reflect. The task facing the judges in selecting the eventual winners will be tough indeed.”

The shortlisted companies (and product/service names where they are not embargoed until the show opens) are:

Create

  • BR Remote Ltd – CamBall4 PTZ Camera
  • Datavideo Technologies Europe BV – NH-100 Nighthawk Camera
  • Rotolight – Anova PRO 2 professional LED lighting
  • SHOTOVER Camera Systems – M1 Camera System

Produce

  • Aperi - V-Stack
  • IBM – IBM Watson Captioning
  • Lawo - embargoed
  • Suitcase TV Ltd – Iphrame Remote Commentary

Manage

  • AWS Elemental – AWS Media Services
  • Ooyala - Ooyala Flex Media Platform
  • Microsoft - embargoed
  • Piksel – Fuse Metadata Manager

Publish

  • Broadpeak – nanoCDN™
  • Edgeware - embargoed
  • Harmonic - VOS360 media processing SaaS
  • Limelight Networks - Limelight Realtime Streaming

Monetize

  • Brightcove - SSAI
  • Crystal – Crystal Connect
  • Promethean.TV – Promethean Broadcast Centre
  • Verimatrix – Verspective Intelligence

Consume

  • Broadpeak – CDN Diversity™ Technology with Priority Feature
  • Hexaglobe – Xtreme Player
  • NPAW (Nice People At Work) – YOUBORA 2018
  • Screen Subtitling Systems - Sasquatch

Connect

  • Aspera – IBM Aspera On Cloud
  • BT Media & Broadcast – Media Workflow Connect
  • LiveU – LiveU Matrix
  • V-Nova – P.Link Contribution Encoder with Machine Learning

Store

  • Dell EMC - embargoed
  • Editshare – Xstream EFS
  • Quantum Corporation – Xcellis Scale-out NAS
  • Rohde & Schwarz - embargoed

Support

  • Exponential-e – Cloud Management Platform (CMP)
  • Portrait Displays/SpectraCal - CalMAN Auto Calibration for LG OLED and Super UHD Displays
  • TAG V.S. - MCM-9000
  • Telos Alliance TV Solutions Group - Telos Infinity IP Intercom

Project, collaboration or event

  • CBC & Bitmovin – Multi-platform distribution of broadcast content
  • NEP - NEP Remote Commentary
  • Telestream - Enabling New and Revolutionary Workflows for Real Time Remote Production of Live Events
  • Verimatrix – Econet Media Brings Compelling TV Everywhere Service to Africa

The winning entries will automatically be submitted 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.

 

  • Monday, Sep. 3, 2018
London show explores hidden world of facial recognition
The U.S. installation "Face Values," by designers Zachary Lieberman, sat demonstrating in the chair, and R. Luke DuBois, not pictured, which explores the role of facial detection technology in society is displayed during a media preview for the London Design Biennale at Somerset House in London, Monday, Sept. 3, 2018. The event runs from September 4 to 23. (AP Photo/Matt Dunham)
LONDON (AP) -- 

A new exhibition in London explores how computers' ability to read faces is changing the world, in ways that aren't fully understood.

British police use facial-recognition technology to scan crowds for suspects. Owners of the latest iPhones can unlock their phones with face ID. Supermarkets are testing the use of facial recognition to eliminate check-out tills.

Curated by New York's Cooper Hewitt Smithsonian Design Museum , "Face Values" is the U.S. entry at the multinational London Design Biennale .

R. Luke DuBois, one of the show's designers, said Monday many of us have little idea what information is being gathered on us — and we should.

The Biennale opens Tuesday and runs to Sept. 23 at London's Somerset House

  • Thursday, Aug. 30, 2018
Deluxe One to make international debut at IBC
Andy Shenkler, chief product officer for Deluxe
LOS ANGELES -- 

Deluxe Entertainment Services Group Inc. (Deluxe) has announced that its presence at IBC2018, which runs from September 13-18 in Amsterdam, will mark the international debut of Deluxe One, its groundbreaking solution that addresses today’s complex content creation and delivery challenges.

Trusted by the largest studios, programmers and distributors for their most important and complex projects, Deluxe’s end-to-end post-production and distribution services take content from lens to living room, anywhere in the world. Deluxe One, virtualizes these services in the cloud, giving customers the opportunity to leverage these powerful solutions, regardless of workflow, to maximize the value of their content.

“The response to the Deluxe One launch in the spring was incredibly positive and we’re excited to introduce it to a broader audience,” said Andy Shenkler, chief product officer for Deluxe. “The global nature of content today has our customers grappling with more titles, formats, and languages than ever before, making the content supply chain the most complex it has ever been. Deluxe One simplifies this process, making it easier and faster to get quality content to audiences all over the world.”

Deluxe One provides a unified platform for customers to manage their content--from creation to delivery--all in one place. Built on a micro-services architecture with open APIs, customers choose the services they need –– from content acquisition and title and asset management, to localization, distribution, and OTT playout – unifying a traditionally fragmented media supply chain and giving customers control and visibility into their workflows.

In contrast to traditional closed-silo solutions, Deluxe One is designed to be open, allowing for integration with third-party solutions for improved collaboration.

With customers’ assets and data connected in the cloud, Deluxe One accelerates today’s complex workflows by automating tasks to reduce hand-offs or errors, and speeding up turnaround times. The streamlined process means content can get to more screens, more markets, and more viewers, without added time and expense.

Demonstrations of Deluxe One will take place at the Deluxe Stand, Hall 7 C29, at IBC2018.

  • Tuesday, Aug. 28, 2018
TELEFE deploys ARRI LED lighting in new studios
ARRI LED lighting illuminates a TELEFE studio
BUENOS AIRES, Argentina -- 

TELEFE, Argentina’s broadcast television network--which was acquired by international media group Viacom--launched its latest studios for news production and other live programming. Upon completion of this exclusive project, the studios are now fully operational with all ARRI LED lighting. The venture was carried out with BVS, a technology integrator and the ARRI representative in Argentina.

As part of the integration process with Viacom, TELEFE is developing further into 11 studios with comprehensive expansion at its new location in Martínez, Buenos Aires province. The recently completed news and broadcasting facility contains a 600-square-meter studio which was built and equipped following firm ecological sustainability guidelines.

Everything was designed to conserve energy not only by utilizing LED lighting, but also by minimizing heat dissipation. This resulted in the lowest possible electrical consumption by air conditioning equipment.

Thanks to support and guidance from BVS, the channel chose ARRI to accomplish their goals. Hernán Winnik, commercial director at BVS, explained, ”When TELEFE was considering the need for a state-of-the-art studio, with the main priority being the implementation of high quality light, we immediately thought of ARRI LED fixtures.”

“The set supports four daily newscasts and we’ve been able to ensure that each one gets its own distinct lighting set up. By utilizing control of only RGB, we establish a different lighting mood for different artistic treatments, without spending too much time or having to relocate the equipment,” said Gustavo Capua, SVP finance, technology and operations, Viacom/TELEFE.

ARRI’s line of L7-C and L10-C RGB+W LED Fresnels were used. To replace soft lights, new S60-C LED SkyPanels were used. All the fixtures work with DMX 512 and RDM protocols, which provide communication between lighting control equipment and the light fixtures themselves.

ARRI and BVS ensured that TELEFE was given all the tools and know-how necessary. “We held a three-day workshop on lighting controls and communication protocols for this system. Approximately 30 technicians from TELEFE participated,” said Wilson Zeferino, ARRI director of sales, Latin America. “TELEFE’s new facilities are state-of-the-art on an international level and we are very proud that the TV network acknowledges the value of our LED lights. These studios will serve as a model for the entire region.”

  • Tuesday, Aug. 28, 2018
Marshall Electronics to introduce CV506-H12 miniature high-speed camera at IBC
Marshall's ultra-high-speed CV506-H12 camera
TORRANCE, Calif. -- 

Marshall Electronics is expanding on its assortment of miniature HD cameras with the new ultra-high-speed Marshall CV506-H12, which will be on display at IBC 2018 (Booth #12.D20), Sept. 14-18 in Amsterdam. The CV506-H12 is built for capturing high-speed action for detailed, high-definition, slow-motion video.
 
“Releasing a miniature 120fps camera to 1080p and other resolutions was a natural add-on to our camera line,” said Tod Musgrave, director of cameras at Marshall. “Many of our customers are using our mini HD cameras for slow-motion replay and analysis.”
 
The CV506-H12 offers the following resolution and frame rates settings:

  • Progressive HD (1080p and 720p) at 120 fps
  • Interlaced HD (1080i) at 50, 59.94, and 60 fps

The CV506-H12 is among the first additions to Marshall’s latest generation of compact and miniature cameras utilizing a fully redesigned body style and form factor. Special attention was given to enhance durability in the field with the addition of new structural “wings,” designed to give greater protection to rear connectors during use.

The CV506-H12 can be controlled through RS485 (Visca) and has a range of adjustable image settings including Paint (Red/Blue), White Balance, Gain, Pedestal (black), Gamma, Shutter and more. It has a 2-Megapixel  1/2.8-inch sensor with single HDMI 2.0 output.  

The M12 lens mount can be used with fixed prime or varifocal lens options, and the lightweight, small footprint build enables it to be placed easily into tight, hard-to-reach locations for unique angles and viewpoints. The CV506-H12 is designed for use in broadcast, live sports, machine vision, process analysis and any other slow-motion application.  

  • Thursday, Aug. 23, 2018
Golden Horse film “Alifu, the Prince/ss” produced with URSA Mini 4.6K and DaVinci Resolve Studio
Colorist Zoe Chang
FREMONT, Calif. -- 

Blackmagic Design announced that the Golden Horse Award-winning film “Alifu, the Prince/ss” was shot with its URSA Mini 4.6K digital film camera and graded by colorist Zoe Chang with DaVinci Resolve Studio and the DaVinci Resolve Advanced Panel.

Directed by Yu-lin Wang, lensed by DP Pan-yun Wang and starring Utjung Tjakivalid, Yi-lan Chao, Pong Fong Wu and Chu-seng Chen, “Alifu, the Prince/ss” is a drama that tells the story of 25-year-old hair stylist Alifu and his friends as he is torn between realizing his dream of becoming a woman and inheriting the chief position handed down by his father, since he is the only son of an aboriginal tribal chief. The film won Best Supporting Actor and was nominated for Best Original Screenplay at the Golden Horse Film Festival 2017 and was also selected for the “Asian Future” section of the 30th Tokyo International Film Festival.

On a tight budget of $250,000 for the whole project, director Yu-lin Wang needed a digital film camera that was affordable but still capable of providing high-end footage. As a longtime user of the Blackmagic Production Camera 4K and Blackmagic Cinema Camera, Wang was confident in the image quality produced by Blackmagic Design’s cameras and decided to use the URSA Mini 4.6K camera for the film.

“In addition to the powerful features at a low cost, the URSA Mini 4.6K’s size fits me perfectly, and it doesn’t feel heavy when shoulder-mounted. Plus, most of our interior scenes were actually shot at locations such as old buildings and bars in Taipei where the space was tight, but it was very easy for me to carry the camera around, following actors or setting it up in a bar’s small restroom or bar counter section,” said Pan-yun Wang.

To save costs, the crew decided not to use lights whenever possible and to make the most of natural light sources instead. Artificial lights were used only when natural light was too dim. For night scenes, only specific areas were lit up, so most of the footage looked very dark.

The lack of lights created challenges for colorist Zoe Chang, who is known for her excellent DI work on popular Chinese films “Monkey King 3: Kingdom of Women,” “Devil and Angel,” “Our Shining Days,” “Black & White 2: The Dawn of Justice,” “Cook Up a Storm” and “End of Summer.”

“Director Wang still wanted us to produce a high quality film at a low cost.  I have been in the DI field for many years, but I still couldn’t relax when faced with such a challenge,” said Chang.

Chang didn’t understand the director’s vision until she saw the RAW footage shot with the URSA Mini 4.6K in DaVinci Resolve Studio for the very first time. “With its 15 stop of latitude, I saw the details hidden in the highlights and blacks, which could be retrieved. What amazed me the most were a couple of backlit interior scenes shot at a window. I had never before handled a high-end digital film camera that could retain the scenery out of a window in backlit footage,” she recalled.

She explained how she handled the looks of the film, “I didn’t want to go with a greenish look for the blacks as it would make the character’s face look very dirty, especially since Alifu is a Taiwanese aborigine whose skin tone tends to be dark, and since most of the scenes were not well-lit. Plus Alifu is a transgendered person and he is a stylist, a profession that produces beauty, so I wanted to help build the character, who is sensitive and sentimental, with carefully handled skin tone and rich colors.

“When setting the look for the film, I produced three tones for the director to choose from. For the first one, the blacks inclined towards reddish brown and the areas in the midtone that had neutral colors were tinted with water blue, so the characters could stand out from the background. For the second tone, the said colors were enhanced a little bit more. For the third tone, there was not too much grading for a natural, neutral tone.”

The director chose the second color scheme as the tone for all daylight interior and exterior scenes. However, the film consists of three major stories: Alifu and his tomboy roommate; the civil servant who becomes a drag queen at night; and the transgender pub owner and the plumber she loves. As such, Chang continued to make further refinements depending on scenes and stories.

She explained with a couple of examples, “For the scenes full of lust, I added more purple. For pub scenes, with the help of DaVinci Resolve Studio’s Power Windows, I was able to increase the saturation for the colors of the lights in specific regions, so the image matched the intoxicating music. A dark grayish blue look was produced for hospital scenes. For night interior scenes, I would tint the windows and areas near the windows with dark blue while enhancing the warm tone near light sources to increase the depth of space. In the seaside and railway station scenes, as well as the scenes that the son of Alifu and the tomboy are in, the warm tone of the highlights was enhanced.

“When Alifu gets back to his tribe for the hereditary succession ceremony after changing his sex, I gave up the reddish brown tone in the blacks and gave it a little bit of blue instead to set off the traditional red clothing. To avoid affecting the lip color while enhancing the red on the clothes, different colors on the clothes and headdresses were isolated and enhanced, and DaVinci Resolve Studio’s Power Windows and tracking were very useful and accurate, saving a lot of time.”

Pan-yun Wang commented on the DI work for the film, “Zoe crafted each frame with her experience and skills, so the details and colors were perfectly shown to the audience. Especially for the clothes and headdresses worn by Alifu and the hereditary succession ceremony scene, vivid colors and well-matched brightness and darkness were precisely presented. She is not only a master at grading blockbusters, but also a blessing for extremely low cost productions!”

  • Monday, Aug. 20, 2018
Shotgun Software unveils Pipeline Award winners
The 2018 Pipeline Awards ceremony
VANCOUVER, B.C. -- 

During last week’s SIGGRAPH convention in Vancouver, Shotgun Software, an Autodesk company, announced the winners of its annual Pipeline Awards, honoring outstanding achievement in pipeline tool development. This year’s winners highlight the best pipeline innovation around the world, with teams from the UK, Australia, South Korea, and the Netherlands all showing their workflow ingenuity.

This year’s Pipeline Award winners are:

  • UTS Animal Logic Academy for Turret (Sydney, Australia): Turret connects Shotgun and Pixar’s Universal Scene Descriptions (USD) to create a lightweight file resolver architecture that works across a range of content creation applications. Turret has been the cornerstone of the studio’s USD-based system plugin and has transformed overall workflow by pushing the latest data out automatically rather than requiring artists pull data manually. By assembling their scenes using Pixar USD with Shotgun to handle file abstraction and versioning, this educational facility has combined learning about cutting edge pipeline technology with building a system that allows them to rapidly author content and track it in Shotgun.
  • 4th Creative Party for LAEL (Busan, South Korea): LAEL is a dashboard where artists, production teams, TDs, and support staff can manage data associated with the projects they are working on. It provides artists an in-context view into the work that’s assigned to them, as well as easy access to associated files and metadata they need to do their job well. Production and support teams have access to a rich set of functionalities that provides a simple, robust way to manage file ingestion and client deliveries, and TDs have everything they need to manage the structure of a project on disk at their fingertips.
  • Zoho Studio for Shotgun Slate (Rotterdam, Netherlands): Acting as a digital slate, this tool records on-set data during shoots and pulls shot data from Shotgun to efficiently fill out the slate with key information like camera type, lens, and focal length. The slate itself runs on an iPad and is captured for each plate shot, and then stored within Shotgun. Shotgun Slate offers an effective way to manage many plates, significantly speeding up the process on set.
  • Territory Studio for Territory Toolkit (London, UK): Territory Toolkit is a set of plugins for Adobe Creative Suite and Cinema 4D, giving Territory’s motion graphics artists a Shotgun-based structure and level of control directly within their chosen application. While VFX applications like Maya and Nuke are already supported by Shotgun, this proprietary tool bridges the gap between Territory’s VFX and motion graphics teams, allowing for smooth transition between all of the DCC apps the studio uses, and eliminating problematic and time-consuming manual data-entry.

“Now more than ever, amazing pipelines are game changers for our clients.  These toolsets not only automate repetitive tasks to maximize artist’s creative time, they actually help artists reach beyond what they could do on their own before - literally giving them the ability to contribute more and better creative to a project,” said Don Parker, VP/GM for the Shotgun family, Autodesk.  “It has always been Shotgun’s mission to help pipeline creators design and build pipelines as efficiently as possible, and it’s amazing to see another year of inspiring tool development.  We’re honored to celebrate the tools and their builders again this year.”

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