• Thursday, Jul. 23, 2015
Malone, Hutcherson set to star in short for Ron Howard, Canon’s Project Imagination: The Trailer
Ron Howard
Kat Candler to direct "The Rusted," a short inspired by contest winner/college student Mark Mukherje
MELVILLE, NY -- 

Canon U.S.A. Inc. announced that “The Hunger Games” actress Jena Malone has signed on to co-star with Josh Hutcherson in a short film for Canon’s Project Imagination: The Trailer, a consumer contest helmed by Ron Howard. Josh Hutcherson and Howard have selected the winning trailer, “Tainted Water” created by Mark Mukherje, a college student from South Florida, to act as the inspiration for the film, “The Rusted,” which will go into production this week.

“The Rusted” is a psychological thriller, a new genre for Josh Hutcherson, written and directed by Kat Candler (“Hellion”), and tells the story of a brother and sister who begin renovating their childhood home into a recording studio, when strange happenings force them to face memories of the past.

“Being part of Canon’s Project Imagination and working with Ron, Kat and now Jena have really allowed me to express my passion for storytelling,” said Hutcherson. “I’m excited to bring the vision to life as a producer on the project and acting opposite a dear friend.”

“When Josh presented me with the script, I thought it would be fun to do something different together like a psychological thriller and it’s hard to pass up a project with Ron Howard behind it,” said Malone. “I also love that the film is part of this very cool, creative experiment tapping into consumers to inspire and elevate our imaginations.”

Project Imagination: The Trailer is the third iteration of Project Imagination, Canon’s ongoing initiative to empower creativity in everyone. The program, which launched in February 2015, also marked Howard’s third time partnering with Canon, a brand that aligns with his conviction that people’s everyday lives are visually and cinematically worth recording, bringing high quality and ease to photo and video capture with Canon cameras and lenses.

  • Thursday, Jul. 23, 2015
Aframe partners with ROOT6 Technology to integrate workflow with ContentAgent
Aframe video platform
WESTFORD, Mass. -- 

Aframe, the cloud video platform, has partnered with broadcast supplier, ROOT6 Technology, to provide a seamless workflow for customers using its automated file-based management system, ContentAgent.

ContentAgent provides a centralized hub from which customers can manage and automate all aspects of their file-based workflow from ingest to delivery, while its resolution independent transcoding ensures that files are easily transformed into the file formats needed. Users can set up ContentAgent to create a workflow and then add Aframe via the desktop app. By using the combined solutions, customers can now benefit from automated uploading and the ability to use Aframe out of the edit without interrupting their workflow.

Outside broadcast and UK post facility, Timeline North, is just one customer who has been using both solutions together with great success. Eben Clancy, postproduction director, Timeline North, explained, “We use ContentAgent to transcode the rushes [dailies], and then we can move the files straight from there to a drop folder using the Aframe desktop app. Once it’s in the drop folder, Aframe uploads it immediately. It has completely taken away a lengthy manual process and made the workflow very easy and straightforward.”

As well as the ability to have an automated workflow, which improves efficiency and saves time, the partnership allows customers to be able to view a low res proxy, along with the time code and file name, from any location and use the Aframe interface to link it back to the high res file and the online edit.

“ContentAgent allows us to set up rules and workflows, for example ensuring that everything that we drop in to the Aframe folder gets uploaded immediately, so the whole process is extremely simple,” said Clancy. “After a day of filming, we usually get a batch of rushes at around 6pm and the team on the late shift would then look after things from there. Now, the whole process is automated which means it is less of a burden on our resource and everything can be done faster.”

Clancy concluded, “What’s also great is the cloud aspect of Aframe. It means the team can start the upload in the office and then check it from home to make sure all the rushes uploaded successfully which is a huge benefit for all of us. It really has improved our workflow and that of our clients.”

  • Thursday, Jul. 23, 2015
Avid-commissioned indie study finds growing confidence in media asset management technology
Survey of 125 global media leaders shows that 66% lowered multi-platform distribution costs, 50% improved collaboration, and 54% enabled new revenue streams via MAM
BURLINGTON, Mass. -- 

Avid (Nasdaq: AVID) today announced new research findings that reveal how the leaders of major global media enterprises are using MAM to improve collaboration and operational efficiency, reduce costs, drive revenue, and deliver a higher return on investment (ROI). The independent study was conducted by Ovum and commissioned by Avid, one of the largest suppliers of media asset management (MAM) solutions in the marketplace, and the company behind Avid Everywhere. The research demonstrates that industry leaders are driving substantial gains by using MAM to enhance collaboration, lower multi-platform distribution costs, and open new revenue streams.

“Many content production and broadcasting infrastructures are built on disconnected solutions that lack the agility, scalability, and efficiency needed to monetize assets across every stage of the content lifecycle,” stated Jeff Rosica, sr. VP, worldwide field operations at Avid. “Ovum’s latest research convincingly demonstrates how cutting-edge MAM solutions, such as Avid Interplay | MAM, enable global media enterprises to improve operational efficiency, reduce costs, and effectively manage the entire media content lifecycle.”

“The data we collected shows that media executives are evolving their perception of MAM from a standalone rich media storage repository to an enabler of end-to-end integrated media asset production and distribution workflows,” said Kedar Mohite, senior analyst, Media & Broadcast Technology, Ovum. “By deploying a unified MAM system, media enterprises can streamline multi-platform asset distribution and monetize premium time-based media assets on multiple non-linear channels.”

The Ovum research shows that integrated digital content platforms are essential for competing in today’s content everywhere world. MAM boosts collaboration and productivity by enabling production teams to access media assets from any location. MAM solutions help media enterprises to reduce lifecycle costs and deliver content to audiences via new multi-platform delivery services. By using MAM as a strategic tool to accelerate multi-platform asset monetization, organizations can gain significant ROI.

Top data points include:

    MAM implementations are delivering strong results for top media organizations
        66% of surveyed executives lowered the cost of multi-platform distribution
        50% improved real-time collaboration of creative media professionals
        52% improved delivery of personalized content on connected devices
        54% enabled new revenue streams across multiple channels

    MAM can deliver strong return on investment and revenue growth
        50% of media executives plan to increase MAM spending over the next five years
        82% see MAM delivering more than 10% of ROI
        The ability to quickly introduce new online video services has resulted into average revenue increase of 17% on these new platforms

    MAM can reduce costs
        On average, media organizations are reducing multi-platform distribution costs 19-20% with their MAM deployments

The Ovum study also found that unified MAM systems enable media organizations to maximize content monetization and generate tangible benefits for advertisers in the form of contextual advertising, by delivering rich content across multiple screens.

  • Tuesday, Jul. 21, 2015
Imagination Studios deploys OptiTrack MoCap technology to create immersive experience for DreamHack Summer 2015
Imagination Studios’ Samuel Tyskling
CORVALLIS, Ore. -- 

Visitors at DreamHack Summer 2015 held June 13-16 in Jönkoping, Sweden, had the opportunity to go head-to-head with potato chip-eating vampires in an interactive 3D game developed and designed by creative services company Imagination Studios, a part of the Goodbye Kansas Entertainment Group, and integrated marketing agency Onemotion. Powered by an OptiTrack Prime 13 mocap system, the game enabled players to take down their foes in real-time with a UV light rifle. It was created on behalf of Swedish chip company Estrella for the popular digital festival, which attracted over 23,000 visitors.

“We wanted to create a challenging and unexpected experience that would motivate attendees to give emerging technology a try in a simplified form. Beyond being technically feasible, the experience needed to be fun and also push the boundaries of our comfort zone,” said Imagination Studios motion capture supervisor and line producer Samuel Tyskling. “We hadn’t heard of anything similar being done before, so we decided to give it a go. We put our OptiTrack system to work and leveraged its flexibility and precision.”

From concept to completion, Imagination’s team drew upon established technical expertise in motion capture, 3D animation and previsualization to execute the project in under four weeks. To facilitate an interactive experience, the team developed the game in Unreal Engine 4 and then streamed live motion capture data from players on-site directly into the engine--a first for the studio. Outfitted in a mocap suit with reflective markers, each player in the volume was tracked by 12 OptiTrack cameras surrounding a 4m x 4m area. Using OptiTrack Motive software, real time skeletal data was streamed into Unreal using a third-party plugin from Ikinema. Each session was recorded with Blackmagic Design Media Express so that participants could share their experiences via Facebook and Instagram.

“We were pressed for time at DreamHack, especially because we wanted to give everyone a chance to try it, and our OptiTrack gear made everything run smoothly. Everything was quick and easy--from setting up the cameras, to calibrating the cameras and actors and creating actor skeletons. And there’s simply no way we could’ve captured that many players without Motive’s easy and fast workflow,” said Tyskling.

To effectively rotate participants through the game and account for a wide range of body types, the team pre-markered six motion capture suits and ten pairs of shoes in different sizes, as well as additional gloves and caps. By the end of the festival, the team captured data from more than 160 individuals ranging in age from 9 to 45 years and varying in height from 130 to 200+ cm, a feat that would not have been achievable without the OptiTrack cameras’ one-click subject calibration, considering full range of motion calibration can take up to 15 minutes per person.

Tyskling concluded, “This was our first time creating a live, interactive, immersive motion capture experience, and it went off without a hitch. We’re definitely looking forward to using OptiTrack technology in future projects.”

  • Tuesday, Jul. 21, 2015
CEO of Japan's Toshiba resigns over doctored books
Toshiba Corp. CEO Hisao Tanaka speaks during a press conference to announce his resignation at the company's headquarters in Tokyo, Tuesday, July 21, 2015. (AP Photo/Shizuo Kambayashi)
TOKYO (AP) -- 

Toshiba's CEO and eight other executives resigned Tuesday to take responsibility for doctored books that inflated profits at the Japanese technology manufacturer by 152 billion yen ($1.2 billion) over several years.

Toshiba Corp. acknowledged a systematic cover-up, which began in 2008. Various parts of the Japanese company's sprawling business including computer chips and personal computers were struggling financially, but top managers set unrealistic earnings targets under the banner of "challenge," and subordinates faked results.

On top of its struggles in electronics, Tokyo-based Toshiba's prospects in nuclear power, one of its core businesses, were shaken after the 2011 Fukushima disaster set off public fears about reactor safety, making new nuclear plants unlikely in Japan. All 48 of the nation's working reactors are now offline.

Bowing deeply before flashing cameras at a news conference, CEO Hisao Tanaka kept his head lowered for nearly half a minute in a gesture meant to convey deep shame and contrition. Tanaka's predecessors, Norio Sasaki, now a vice chairman, and Atsutoshi Nishida, an adviser, also gave up their posts along with six other executives.

"We have a serious responsibility," Tanaka told reporters. The company will need to "build a new structure" to reform itself, he said.

The company said that the fraud continued through the fiscal year that ended in March, and work on revising the accounts to show the complete and true financial picture is not yet finished. It promised an emergency stockholder meeting for September, where it plans to deliver a genuine financial report.

The scandal highlights how Japan is still struggling to improve corporate governance despite recent steps to increase independent oversight of companies.

In 2011, Olympus Corp., which makes medical equipment and cameras, was embroiled in a scandal after its president Michael Woodford, a Briton, blew the whistle on a long-running cover-up of losses at the company.

Loizos Heracleous, Professor of Strategy at Warwick Business School in Britain, said corporate Japan is still lacking in areas such as transparency and board independence compared with the global standard.

"The Toshiba scandal will be seen in the context of the Olympus event, with investors wondering whether there is a pattern of account manipulation in corporate behavior," he said in a commentary. "Japanese regulatory authorities will need to reassure the markets that they are casting a watchful eye over Japanese corporations."

Toshiba has repeatedly apologized to shareholders and customers. It has set up an outside investigation group to analyze why the scandal happened and propose what needs to be done to prevent a recurrence.

The inflation of profits to meet targets was carried out not only on one or two projects, but across the board, sometimes because the projects weren't even breaking even, according to the report of an investigation.

"There was intense pressure to produce results under the challenge initiative," the report said. "So employees felt cornered into resorting to inappropriate measures."

Tanaka will be replaced by Masashi Muromachi, chairman of the board.

In the Olympus case, the company eventually acknowledged it hid 117.7 billion yen ($1.5 billion) in investment losses dating back to the 1990s. Woodford, the CEO, won some praise in Japan for his courage in bringing dubious old-guard company practices to light.

Japanese society is conformist and prizes team work so much it tends to frown upon whistleblowers, and their legal protection lags compared to those in the West.

Long-established companies such as Toshiba tend to have a highly hierarchical structure, making it difficult for employees to challenge top-down decrees.

Other systematic cover-ups at big-name companies have surfaced in Japan over the years. Unlike some Western accounting scandals, those in Japan, including Toshiba's, did not result in any enrichment of individual employees.

Instead, workers collaborated to "save face" for the company, such as hiding defect reports at automaker Mitsubishi Motors Corp., which surfaced in 2000 but had been going on for decades. Another example of questionable accounting was at electronics maker Sanyo Electric Co., which surfaced in 2007.

Toshiba shares were up 6 percent, recovering recent losses, as investors took the resignations as a sign the company might right itself.

  • Tuesday, Jul. 14, 2015
Prime Focus wins media management honor from Frost & Sullivan
Ramki Sankaranarayanan, founder and CEO, Prime Focus Technologies
LOS ANGELES -- 

Prime Focus Technologies (PFT), the technology arm of media services company Prime Focus, has earned Frost & Sullivan’s 2015 Global Growth Excellence Leadership Award after an independent analysis of the Media Workflow and Resource Management market.

“It is an honor to be recognized by Frost & Sullivan for our commitment and advances in the media management landscape," said Ramki Sankaranarayanan, founder and CEO, Prime Focus Technologies. "It is heartening to see that our vision to offer cloud-based, vertically oriented Media ERP for M&E companies being recognized. CLEARTM Media ERP, as one software, brings content to the center of the business, virtualizes the content supply chain and transforms silos to connected enterprises – much needed to succeed in the digital era.”

Frost & Sullivan’s Growth Excellence Leadership Award looks for companies that creatively and profitably deliver value to customers and ultimately set up their businesses for long-term, rapid growth. The two benchmark criteria include growth performance and customer impact.

“Prime Focus Technologies is modeling best practices in the global market by acting as a partner to customers globally, and helping them to increase efficiencies and monetization avenues,” said Mukul Krishna, senior global director, Frost & Sullivan. “The company has proven a deep understanding of the global media management landscape, a commitment to optimizing customer experience with its media workflow and resource management solutions, and a forward-thinking view of a rapidly changing digital market.”          

PFT helps companies through creative empowerment, improving efficiencies and reducing overhead cost with their flagship product CLEAR, a hybrid cloud-enabled Media ERP Suite. The aim of CLEAR is to facilitate a connected enterprise with one interface that extends across the content value chain. Customer benefits of CLEAR include workflows that can be run on the cloud anytime, anywhere; single MAM to cover multiple global locations; automated publish to new media platforms; and seamless distribution – all with no upfront capital expenditures and top-line security.

This award comes shortly after the announcement that PFT has signed a deal with HOOQ, a joint venture between Singtel, Sony Pictures Television and Warner Bros. Entertainment. PFT’s Operations Cloud, part of the CLEAR Media ERP Suite, will help package and deliver content on HOOQ. CLEAR Operations Cloud helps M&E companies deal with volume and speed needs to service content demand from the growing number of digital outlets globally.

PFT’s clientele includes The Walt Disney Co., 21st Century Fox-owned STAR TV, Warner Bros. Television Studios, CBS Television Studios, 20th Century Fox Television Studios, Relativity Media, Legendary Pictures, Starz Media, Lionsgate, A&E TV Network, Crown Media Family Networks, FX Networks and more.

Prime Focus is listed on the NSE and BSE in India.

  • Monday, Jul. 13, 2015
French news agency AFP selects Quantel's sQ servers
Quantel Enterprise sQ server with monitors.
NEWBURY, UK -- 

International news agency, Agence France-Presse (AFP) has invested in Quantel's new sQ 1800 servers for its brand new global news production solution. AFP's Enterprise sQ system supports more than 50 simultaneous users at the Paris headquarters, a large operation in London, 10 further international bureaux and 100+ roving journalists.

The sQ 1800 servers are 100% compatible with AFP's existing Enterprise sQ system, providing a zero-risk system upgrade with more disk space for original footage and support for more editing workstations. When the new system goes live, scheduled for late 2015, AFP expect to produce more than 100 unique video stories a day, with localized versions for six different markets, all in TV and web formats, making a total output at least 1,200 media assets every day. In addition to daily news ingest, all system users will have access to the online archive, expected to accumulate up to 3,000 hours of media every year.

Philippe SENSI, deputy CIO at AFP, said, "The new servers are an investment for the future, allowing us to take maximum advantage of the latest generation of disk and processing technologies. We have developed a close relationship with Quantel and Snell over the past year, with our support team travelling to Quantel and Snell's Newbury, UK headquarters every two months to work with the development team to debrief and get an update on the project plan."

Tim Thorsteinson, CEO at Quantel and Snell, said, "We're working very closely with the AFP team to ensure their workflow has the ability to adapt and grow as future requirements in the industry change. The new servers give AFP unbeatable speed from ingest to editing to playout, maintaining its position as one of Europe's leading fast-turnaround news production facilities."

  • Wednesday, Jul. 8, 2015
Newest version of Avid Media Composer hits marketplace
Enhancements facilitate fast, efficient and collaborative workflows, enabling editors to deliver high-quality results
BURLINGTON, Mass. -- 

Avid (Nasdaq: AVID) announced that the latest version of Avid Media Composer editing software is now available. Part of the Avid Artist Suite, powered by the Avid MediaCentral Platform, Media Composer 8.4 delivers accelerated high-resolution workflows, facilitates real-time collaboration, and frees editors from time-consuming background tasks.

“Today’s video professionals need to be able to handle whatever media walks in the door, ingest that media, edit it, and deliver a master for distribution,” said Charlie Russell, senior segment marketing manager, Avid. “Increasingly, the media they need to work with is greater-than-HD: 2K, 4K and Ultra HD. With the latest version of Media Composer, editors and assistants will be able to handle this high-resolution media, while leveraging their existing HD infrastructure.”

New Media Composer 8.4 features include: Custom raster support bringing Avid Resolution Independence to life, whereby users can work with any raster up to 8K, in any format; AVC-I, ProRes, XAVC-I and XF-AVC native high-resolution playback with optimized performance for Apple ProRes, Canon XF-AVC, Panasonic AVC-I and Sony XAVC-I, giving users the flexibility to mix and match high-resolution media in the timeline, from DNxHR to other popular formats, and edit with smooth real-time playback; access to the same AAX presets as with Pro Tools; enhanced closed captioning; Alpha channel support for QuickTime-wrapped Avid DNxHR which means users can now enhance their graphics, effects and compositing workflows when working with QuickTime applications; and Media Composer | Cloud with dynamic media folders and background services.

The latter enables customers to use Media Composer software and Media Composer | Cloud workflows on a single system, including remote cloud-based editing while simultaneously performing background uploading, rendering, consolidating, or transcoding.

Media Composer 8.4 is now available for download online and through authorized Avid resellers.

  • Wednesday, Jul. 8, 2015
Pixel Underground wraps major expansion, adds 4K grading theatre
Pixel Underground's major expansion includes a 4K grading theatre.
TORONTO -- 

Pixel Underground, a SIM Group company, has completed a major facility expansion that includes the addition of a cinema-style 4K grading theatre. The new construction, which also includes a 4K online finishing suite, places the company at the leading edge in color grading and finishing services for motion pictures and television.

The new 4K theatre features a DaVinci Resolve color grading system; a Sony 4K, DCI-compliant digital projector; a 14-foot projection screen and a Flanders 55-inch evaluation-grade monitor in a cinema environment that can accommodate groups as large as 15.

“Many feature and television productions today shoot in 4K or higher,” said president Marc Bachli. “Pixel Underground is one of few facilities in Toronto where directors, cinematographers and producers can review their work in 4K during postproduction sessions. In our theatre, they can see their work at full resolution and get a true indication of focus, sharpness, grain structure and other attributes. That is a big benefit. We’re bringing 4K to the mainstream feature and television market.”

The 4K theatre will facilitate further collaboration between Pixel Underground and other SIM Group companies, including sound specialist Tattersall Sound & Picture and workflow specialist Bling Digital. “This move represents a significant step towards our goal of creating a comprehensive, world-class, postproduction offering,” said SIM Group CTO Chris Parker.

The 4K theatre includes 5.1 surround sound, with acoustical design and engineering support provided by Ed Segeren, technical director of Tattersall Sound & Picture. The theater is designed to function as a stand-alone facility with its own kitchen and other client services features.

The adjacent finishing suite features an Avid Symphony Nitris with Nuke and AfterEffects compositing also available. The suite shares a common network with the grading theatre to facilitate collaboration and the seamless sharing of projects and elements.

Construction of the new facilities spanned four months. Pixel Underground conducted extensive tests of the projection system to assess its ability to accurately display media from cameras made by Arri, Sony, Canon and other manufacturers.

Pixel Underground has recently completed projects for NBC, A&E, Scripps Network, Discovery (Canada and U.S.), National Geographic, BBC, Shaw and Chorus.

  • Tuesday, Jul. 7, 2015
Colorfront Transkoder certified for Dolby Atmos
Soundfirm's Dolby Atmos facility
BUDAPEST, Hungary -- 

Colorfront, the Academy and Emmy Award-winning developer of high-performance, on-set dailies and transcoding systems for motion pictures, high-end episodic TV and commercials, announced that Colorfront Transkoder, its automated, standalone system for high-quality digital file conversion, has been certified by Dolby Laboratories for the creation of Dolby Atmos Digital Cinema Packages (DCPs).

With the expansion of Transkoder’s toolset to include support for Dolby’s object-based audio format, postproduction studios can leverage Transkoder’s extreme performance to create Dolby Atmos DCPs at up to ten-times faster-than-realtime, making Transkoder a reliable, cost-effective and feature-rich alternative to other systems.

Using Dolby Atmos object-based audio, sound experts have the creative freedom to place sound anywhere in the movie theatre--not just where there happen to be speakers--to deliver an immersive listening experience. Sound mixers can tag each sound “object” with precise directions as to where it should appear or move in the room. Dolby Atmos takes into account the unique configuration of each venue, to ensure a consistent, high-quality audio experience regardless of the size and shape. Thanks to an intelligent decoder box, sound objects are rendered and distributed to the required number of speakers.

“Dolby Atmos is a remarkable technology that brings an exciting dynamic to the cinema-going experience,” said Aron Jaszberenyi, managing director of Colorfront. “The official certification of Colorfront Transkoder for Dolby Atmos further expands Transkoder’s comprehensive capabilities, gives DCP mastering facilities new levels of performance and productivity, and establishes Colorfront as the premier provider of mastering solutions for high-end digital cinema.”

Soundfirm, Australia’s largest independent picture and sound post production company, with facilities in Melbourne, on the Fox Studios’ lot in Sydney and in central Beijing, recently purchased Transkoder for digital cinema mastering at its newly constructed Melbourne headquarters. Soundfirm recently completed picture and sound post, including a Dolby Atmos mix, for the feature film The Dressmaker, starring Liam Hemsworth, Kate Winslet, Judy Davis and Hugo Weaving.

Soundfirm CEO Roger Savage said, “In Melbourne we offer Australia’s only Dolby Atmos Mixing and Mastering stage. Now with Colorfront’s Dolby-certified Transkoder in the workflow, we can power our way to final 2K and 4K DCPs, including a full Dolby Atmos sound mix and subtitles. This continues our tradition of working at the vanguard of cinema innovation.”

Transkoder runs on cost-effective Supermicro, HP Z840 and new Mac Pro platforms. It has unique, GPU-accelerated, faster-than-real-time capabilities, and a comprehensive toolset which combine make it the ultimate tool for HFR UHDTV and 4K-6K-8K digital cinema applications.

Along with object-based audio technology support, Transkoder’s features include 240FPS JPEG2000 encode-decode, DCP/DCI-compliant mastering, IMF/IMP authoring, packaging, verification and QC. Harnessing Colorfront Transkoder, Dolby Atmos mixes can be easily integrated into DCI and SMPTE DCP mastering processes, with the DCP created at up to ten times faster than realtime.

Colorfront will demonstrate Transkoder, along with its Express Dailies and On-Set Dailies systems, at SMPTE 2015 in Sydney, Australia from July 14-17.

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