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Transcript: Digital Production Buzz – April 28, 2016

Digital Production Buzz
April 28, 2016

Hosts:
Larry Jordan
Michael Horton

Guests:
Philip Hodgetts, President, Lumberjack System
Carey Dissmore, Principal, Carey Dissmore Productions
Heath McKnight, Editor-in-Chief, DoddleMe.com
Ned Soltz, Contributing Editor, Creative Planet, Ned Soltz Inc.
Michael Kammes, Director of Technology, Key Code Media

Larry Jordan: Tonight on The Buzz, we look back at last week’s NAB show. We start with Phillip Hodgetts, as he describes the latest new technology revealed at the show. Next, Carey Dissmore and Mike Horton discuss the Media Motion Ball, the Supermeet and the current status of user groups and communities. Next, Heath McKnight is the Editor in Chief of Doddle News. He and his team interviewed exhibitors across the show floor and tonight he shares the highlights. Next, Ned Soltz loves cameras and cameras were all over NAB. Tonight, Ned explains what’s new in camera technology. Finally, Michael Kammes looks at workflow and the companies creating new ways for us to manage media and projects. The Buzz starts now.

Announcer: Since the dawn of digital filmmaking – authoritative – one show serves a worldwide network of media professionals – current – uniting industry experts: production, filmmakers, post production and content creators around the planet – distribution. From the media capital of the world in Los Angeles, California, The Digital Production Buzz goes live now.

Larry Jordan: And welcome to The Digital Production Buzz, the world’s longest running podcast for the creative content industry covering media production, post production and marketing around the world. Mike, we’re going to talk about NAB, Supermeet and the Media Motion Ball and every single new announcement that was made at the show.

Mike Horton: And I know them all, Larry.

Larry Jordan: I know you do, but before we start…

Mike Horton: Every single one of them.

Larry Jordan: What I was curious about is what did you find most memorable about NAB?

Mike Horton: You know what? I didn’t get to the show floor much. I was holed up at the Rio Hotel, but I did get to the show floor on Monday morning for the Blackmagic press conference and what I found really memorable was leaving the press conference and going over into the Central Hall and seeing all the bzzzzzzz drones. There was lots of bzzzzzz and so that was memorable. I really wanted to get out of the Central Hall because there was all the bzzzzzz and it drove people nuts.

Larry Jordan: Did you manage to make it to North Hall and look at all the VR?

Mike Horton: I did and I saw a little bit of the VR. In fact, we had a lot of VR at the Supermeet, which we’ll talk about a little later.

Larry Jordan: We will about it a little bit later. It was interesting about the Blackmagic announcements. There was nothing world shattering.

Mike Horton: There were no camera announcements.

Larry Jordan: Yes, which caused everybody else to take a deep breath and say, “Good, we can survive the show.”

Mike Horton: No, but their duplicator looked really, really cool.

Larry Jordan: Oh yes, I’m very interested about that.

Mike Horton: But you want to have Philip talk about the duplicator because H.265 is, I think, a little ahead of its time.

Larry Jordan: Yes. I was talking to Blackmagic about that. They think so too, but they’re positioning it for the future, which makes sense.

Mike Horton: And it’s shipping.

Larry Jordan: Also, before we introduce our first guest, Philip Hodgetts, I want to remind you to subscribe to our free weekly show newsletter at digitalproductionbuzz.com. Every issue every week gives you an inside look at The Buzz, with quick links to all the different segments on the show and curated articles of special interest to filmmaker. Best of all, every issue is free.

Larry Jordan: Thinking that we want to spend our time looking at NAB in tonight’s show, I can’t think of a better person to start our conversation than Philip Hodgetts. Philip is the CEO of Intelligent Assistance and Lumberjack System. He’s also involved with technology in virtually every area of digital production and post and, even better, he’s a regular contributor to The Buzz. Hello, Philip, welcome back.

Phillip Hodgetts: Hi, Larry. At least we escaped Las Vegas successfully.

Larry Jordan: Yes we have. Well, it’s not a question of escaping so much as surviving, I think.

Mike Horton: You sit a lot, you don’t walk a lot because of what you were doing, you were doing the interviews and stuff, but my feet are actually in pretty good shape. It’s the shoes and the socks.

Larry Jordan: Thank you.

Mike Horton: If you choose good socks, you’re ok.

Larry Jordan: This foot report comes to you from Mike. Philip, we’re taking an extended look at NAB in tonight’s show. Before we talk specifics, what bigger trends caught your attention? Anything earth shattering?

Phillip Hodgetts: I think there are a couple of mega trends that we’re seeing play out over NAB. Like you and Mike were saying a few minutes ago, I’m very pleased that this was taking a deep breath and not have anything revolutionary this year, let’s have a chance where all the products that we’ve been promised can actually ship so we can test them out and we can have workflows that can be battle tested and that we know work.

Phillip Hodgetts: That said, there are a couple of things that are going… over the next couple of years, particularly the high dynamic range Ultra HD wide color gamut move in image quality, which is certainly going to have an effect on people on post; and, of course, VR, virtual reality, was extremely hot, as again you mentioned with Mike earlier.

Phillip Hodgetts: These are important trends; and the drones, I couldn’t help feel like I needed some mosquito repellant going through that Central Hall because, like Michael said, the drone noise is fairly annoying.

Mike Horton: It is.

Phillip Hodgetts: But the potential of what these aerial camera platforms give us, particularly as the software gets smarter and smarter and smarter – one man players can have a drone follow them, orbit around them and it’s all done in software just because you’ve got the controller with you. There’s a lot there.

Phillip Hodgetts: These are probably the mega trends. I’m sure Michael Kammes is probably going to mention setting the video over IP standards, which is going to replace SDI. I feel that Michael is going to be able to talk through … alliance in a little bit more detail than I could.

Larry Jordan: I was waiting to see if that was a comma or a period.

Mike Horton: It was more of an exclamation point.

Phillip Hodgetts: That was a not very solid period.

Larry Jordan: One of the things that I spent a lot of time between shows looking at at NAB was HDR. It’s surprisingly complex. That high dynamic range video, every time I turn around there’s something new that makes it really impossible to bring it to market and the biggest issue is a lack of standards. I met with the UHD Alliance, which is trying to come up with a way to sell television sets with both 4K and HDR, and was amazed that it’s still not nailed down. Are you getting the same feeling or am I misreading this?

Phillip Hodgetts: No, there’s certainly a problem. There are three different ways of achieving high dynamic range – Dolby Vision, of course, Sony have their own approach and the BBC want to do a hybrid approach, as they always do. What the Alliance is trying to achieve is to have a super set that everyone can meet, but the other issue with high dynamic range is that, even if you’re working with one of these, there are not a lot of sets. Dolby has a lovely high dynamic range 4,000 nit unit – you can’t buy it. It would be 30,000 if you could, but you can’t buy that. There’s a $6,000 video you can get from Costco, but now you’ve got an option with Atomos.

Phillip Hodgetts: There were a few announcements at NAB about high dynamic screens for use out in the field. Those high def values in the sunlight are going to be very, very nice.

Larry Jordan: Yes, but I think there are two issues. What the UHD Alliance is focusing on is the end user, the consumer’s experience with 4K and HDR. Even more gnarly is trying to be able to display HDR for color grading at a high end suite, and this one there are actually six different standards in terms of how we can look at video.

Phillip Hodgetts: Six? Oh. I didn’t realize there were six. I thought three was bad enough.

Mike Horton: Terri Kern was saying something about five or six different kinds of standards for HDR and I did see three monitors – Sony, Canon, I didn’t get to Dolby – but they’re all very expensive. But, my gosh, the picture’s just gorgeous. It’s extraordinary.

Larry Jordan: And Flanders Scientific came up with something new for their monitor. It isn’t HDR, it’s called Near HDR.

Mike Horton: Oh, really?

Larry Jordan: Yes. Standard HD is 100 nits bright – think of them as 100 gremlins. It’s 100 gremlins bright for HD, 1,000 nits for the UDH spec and Flanders Scientific are showing 300. Even at 300 it just looks wonderful. Philip, on a different subject, what’s your take on virtual reality?

Phillip Hodgetts: I think virtual reality is a thing. In games, it’s going to be absolutely brilliant. It’s going to be for remote presence, for all sorts of experiences. You can put yourself in all sorts of interesting places. One of the most interesting experiments that I heard of while at NAB was using a VR rig while on a rollercoaster. That was my initial response too, strangely enough, but it makes sense because what you’re seeing inside the virtual reality rig is a flying experience where you’re traveling through space or through a city and so the stressors aren’t from… All of the body stresses that you’re feeling on the rollercoaster are matching what you’re seeing, even though what you’re seeing is not that actual rollercoaster.

Mike Horton: Whoa.

Larry Jordan: One of the things that I’ve learned over at NAB is that VR is going to be really strong in games, but I think a bigger market is going to be augmented reality because that’s where we use our cell phones to show a scene and then graphics lay on top of that. What’s your take?

Phillip Hodgetts: Could not agree more. I agree completely, yes. I’m actually excited in the short term for augmented reality, this ability to have games where you can only see the prize through the camera or even translating signs automatically – we have software already that does that – so, yes… reality, something that I think is going to be very, very interesting.

Larry Jordan: I was struck by how storage is expanding in multiple directions. We’ve got greater capacity, up to a petabyte now, greater speed with Thunderbolt 3 and greater flexibility. StoreNext is now migrating into media. Are you seeing storage starting to become cool again?

Phillip Hodgetts: To be honest, I didn’t have much a focus on storage this year. I even let the Thunderbolt 3 go by, by and large, until I got back, so I’m probably not the best of your guests to come up with the current picture on storage. Storage is always one of those topics that is there, it’s not terribly sexy but it’s very, very important.

Mike Horton: Simply is a new company that just launched.

Larry Jordan: Alex Grossman.

Mike Horton: You know, the old guys from Quantum. It scales from individual up to a gazillion people. I haven’t seen it.

Larry Jordan: I have, I’ve seen it. It ships in July and it uses Thunderbolt sharing, so you can have up to eight people plugged into the same storage file sharing via StoreNext. The company’s called Simply. By the way, you were at the Final Cut X Pavilion. What was going on there?

Phillip Hodgetts: The FCP works there. The FCP… got together to sponsor an FCP exchange, a Final Cut Pro X centric area where they focused on workflow presentations rather than product demos. Last year, we focused a lot on product demos and this year we looked at case studies and workflows and a few new products. Wes Plate announced his XSend Motion to be able to send from Final Cut Pro X to Motion, so a feature from the old ecosystem that makes its way back into the new ecosystem.

Phillip Hodgetts: There were announcements from Color Finale, where they announced what they’re calling the, the Academy Color Space – again, Final Cut Pro X – which for some people is going to be incredibly important; and my own Lumberjack, we added onto our previous announcements last year of incorporating transcripts into Final Cut Pro X by doing magic keywords extracted from the transcripts.

Larry Jordan: Philip, where can people go to learn more about the products you and your team are working on?

Phillip Hodgetts: Intelligentassistance.com for the product, or lumberjacksystem.com, and my own personal blog is at philiphodgetts.com.

Larry Jordan: And the Philip Hodgetts himself, the CEO of Intelligent Assistance and Lumberjack System, as well as the owner of his own blog, is who we’ve been listening to. Philip, as always, a delight. Thanks for joining us today.

Mike Horton: Thanks, Philip.

Phillip Hodgetts: My pleasure. Thank you. Bye.

Larry Jordan: Bye bye.

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Larry Jordan: Carey Dissmore is the co-Chair of IMUG, the International Media User Group, and the founder of the Media Motion Ball every year at NAB. Mike Horton, in addition to co-hosting this show, is also the co-producer, along with Dan Berubi of the Supermeet, also at NAB and held at other fine cities around the world. Tonight, I wanted to have a conversation about user groups and communities and the special events that cater them. Hello, Carey, welcome.

Carey Dissmore: Thanks for having me, Larry.

Larry Jordan: It’s been a while since you were on the show. I’m looking forward to our conversation, so thanks for joining us.

Carey Dissmore: Glad to be here. Thanks for the invite.

Larry Jordan: And, Mike, you get to wear a different hat for a few minutes. Take off your co-host hat and put on your guest hat.

Mike Horton: Yes, sure. Go ahead and ask me any question. Carey, do you have any questions for me?

Larry Jordan: Don’t start.

Carey Dissmore: What color is your hat?

Mike Horton: Black.

Larry Jordan: Carey, how would you describe the Media Motion Ball?

Carey Dissmore: Delicious.

Mike Horton: Yes. Really good food.

Carey Dissmore: The Media Motion Ball, for those who have not ever heard of it, is a networking event. It’s a user group event that was born out of this IMUG list community, which I joined back in the mid-‘90s, and it was a way to connect faces with names. Of course, it’s grown well beyond just that community to be pretty much for everyone who’s in production, but it’s a networking and sit down gourmet meal event always on the Monday night of NAB.

Larry Jordan: So then let me change over to Mike. How would you describe the Supermeet?

Mike Horton: I always like to describe it as a networking event. It is more of a stand up, where the Media Motion Ball is a sit down at the table and eat and talk. It’s a much more, I think, intimate and conversational kind of thing where the Supermeet has presentations on stage. However, if you don’t like the presentations on stage, you can go back out into the vendor room and talk to people, it kind of works that way. Both of them are very similar but very different and I’ve been to the Media Motion Ball a number of times, but then I always have to race back to the room because you’re doing so much prep for the next day. I missed it this year because I just had too much prep for the Supermeet.

Larry Jordan: Carey, how would you describe the differences between Supermeet and Media Motion Ball?

Carey Dissmore: I see them as highly complementary. I always go to the Supermeet every year on the Tuesday of NAB. I enjoy the Supermeet very much; I enjoy the stage presentations, I enjoy the environment. It’s a larger scale event, there are more attendees at the Supermeet than the Media Motion Ball, no doubt about it. It’s a different sort of event. It’s more accessible. There’s just more, I don’t know, more presence and the whole stage show thing is not something we’ve gone for at the Media Motion Ball.

Carey Dissmore: We’ve focused on having a keynote speaker and presentations from our sponsors and basically that whole sit down meal thing. I think a lot of people really enjoy the sit down meal at that event. It runs the cost up quite a bit, but we’ve decided that’s who we are and that’s what we stand for. Bringing people together, the whole idea was to connect faces with names and users, but that really in my opinion needs to extend not to just power users to power users or accessibility to even newbies or whatever, but to the vendors who make our tools. I’ve been in this business a long time, as you guys know, and what really matters is the human to human relationship between you as a user of tools and the vendor who makes your tools, and I see that as a really, really important connection to have.

Mike Horton: That’s a great line. I’m going to use that. I’m going to steal that. I’m writing it down right now. I like that.

Larry Jordan: Kerry, that’s what a whole trade show’s about, is the face to face communication between the end user and the vendor. Why did you decide to start the Media Motion Ball?

Carey Dissmore: It was just about a just us kind of thing. It was essentially a chance to get off of the noise and the craziness of the trade show floor; as much as you like that, your feet start to hurt and you get hungry and I don’t want to say disparaging remarks about convention center food, but I think I just did. There’s something about a nice high quality sit down experience after the first big day at NAB, walking the show floor, all the big announcements have happened, everybody’s buzzing and you want to get together with people who do what you do and a lot of our people in our audiences are either corporate in-house, education or small production company people and they want to talk about how all the day’s announcements and all the new tech relate to them in their own businesses and sort of bring it home.

Larry Jordan: Michael, same question. At a trade show, there are stage presentations at virtually every booth. Why start the Supermeet?

Mike Horton: It started out as part of that whole digital revolution that was going on back in the early 2000s, where people founded Final Cut Pro and it democratized everybody, turned everybody into a filmmaker and now everybody could tell their story in an affordable way and they all felt like they were something special, and so we had this special event as part of NAB and it just grew from there. Again, it was all this networking thing, it was all people getting together, solving each other’s problems or meeting people that they could collaborate with and it’s been essentially that ever since day one. It really hasn’t changed. The whole spirit has matured, but there’s still a sense of I want to shake your hand, I want to tell you my story and I want you to maybe work with me. So that’s kind of what these Supermeets are all about, and the same thing with the Media Motion Ball.

Mike Horton: The nice thing about the Media Motion Ball, as Carey says, is that you can actually sit down and talk face to face in a more intimate atmosphere, where you can’t do that on the show floor. It’s just too noisy. Half the time at the really popular booths, you can’t even get close to the people that you really want to talk to, but you can at the Media Motion Ball or the Supermeet.

Larry Jordan: So you don’t see yourselves competing?

Mike Horton: Oh God, no. No. First of all, we have this unwritten rule that the Supermeet will never be on a Monday or the Media Motion Ball will never be on a Tuesday. We share a lot of the same people and so we would never do that to each other. Right, Carey?

Carey Dissmore: That’s right. No, that’s absolutely right, and the reason is it’s all about bringing people together.

Mike Horton: Right.

Carey Dissmore: Now, as great as the show floor is, it’s awfully salesy and it’s oriented towards product information and sales and that’s great, but every single year I hear people saying, “You know, I was thinking about skipping NAB this year, but I really wanted to see you all at the Media Motion Ball, so I’m coming to NAB.” I hear that every year from dozens and dozens, perhaps hundreds of people, that the thing that tips the scale is the opportunities to connect in a very human way with their colleagues and friends in the business and then also, oh, there’s this really great trade show going on. It all kind of fits together.

Larry Jordan: Carey, you help run one of the largest online user groups in the world, which is IMUG. In this age of constant connectivity and ever present Facebook, why is IMUG even necessary?

Carey Dissmore: I hate to sound like I’m just beating the same drum, but it’s all about community and relationships. I can’t begin to put into words in a short appearance on The Buzz how profoundly our community was affected after we started meeting each other face to face. Now, not everybody’s able to come, but enough of us did connect face to face where it profoundly affected the depth and understanding of our online conversations with each other and really made for what I would absolutely say are lifelong, career long relationships.

Carey Dissmore: Companies come and go, businesses start and fail and new businesses start and people move around in this industry, sometimes they’re on the vendor side, sometimes they’re on the user side, but those relationships are forever and I’ve just seen that. In 19 years of doing this, I have seen so much movement but I’ve seen these relationships grow and mature and we really need each other in this business, so that’s why we do it and that’s why we keep doing it.

Mike Horton: That’s true. That’s for sure and each year we put an enormous amount of work into these things and it never gets any easier, but I think the rewards are that people still come back and also you get to meet all these new people, so each year I’m exhausted before I even start but after it’s over I’m really glad I did it.

Larry Jordan: Mike, you keep stressing in your user group meetings to get out and meet people.

Mike Horton: Yes.

Larry Jordan: Why?

Mike Horton: Well, it’s a lot different than meeting people online and you can meet people online, you do meet people online, but the moment you see each other face to face and shake the hand of the person, hear the tone of their voice, have a 15 minute conversation, you could become a lifelong friend because of just that little intimate meeting. I don’t think you can do that online so much. It’s just a different experience. It’s a human condition.

Larry Jordan: But user groups have had a hard time recently. There are very few clubs that are still operating. Is that because we don’t need the face to face?

Mike Horton: I think a lot of people think you don’t need it, but once they do it and experience it and have fun with it – because most creative people are much more at home in front of the computer than they are in situations where you have to talk.

Carey Dissmore: Can’t talk without a keyboard, right?

Mike Horton: Yes. It is. Creative people are usually somewhat socially awkward and it’s very hard for them.

Carey Dissmore: So the idea is to pack a bunch of them into a room together and force it.

Mike Horton: Well, you do. You have to practice and you have to get out of the house in order to practice, so you have to convince these people that it’s really important. Put a face to the text on the internet.

Larry Jordan: The fact that Carey locks the doors for about two hours doesn’t make a difference. Carey, where can people go on the web to learn more about IMUG and the Media Motion Ball and, in fact, to join IMUG itself?

Carey Dissmore: I’m going to point you to a couple of things – mediamotionball.com is our home base on the web, or to our Facebook page which is actually more current than the website right now with pictures from the event, which is facebook.com/mediamotionball.

Larry Jordan: Perfect; and Mike, where can people go to learn more about LAFCPUG?

Mike Horton: Lafcpug.org.

Larry Jordan: And Carey Dissmore is the founder of Media Motion Ball and the co-Chair of IMUG and Mike is the co-producer of Supermeet. Gentlemen, thanks for joining us today. Carey, best wishes, we’ll talk to you soon.

Carey Dissmore: Thanks, Larry. Thanks, Michael.

Larry Jordan: Take care, bye bye.

Mike Horton: Bye, Carey.

Larry Jordan: The Buzz at NAB is powered by Doddle. Doddle gives you a portal into the broadcast, video and film industries. It’s a leading online resource presenting news, reviews and tutorials for the film and video industry. Doddle also offers a resource guide and crew management platforms specifically designed for production. Doddle’s digital call sheets, along with their app, directory and premium listings, provide in depth production organizational tools for business professionals.

Larry Jordan: Doddle is a part of the thalo.com artist community, a family of websites designed for filmmakers to network and collaborate with other creative individuals around the world. Whether you want the latest industry news, need to network with other creative professionals or require state of the art online tools to manage your next project, there’s only one place to go – doddleme.com.

Larry Jordan: Heath McKnight is the Editor in Chief of Doddle News. Heath has a long history as an independent filmmaker, a producer, editor and teacher and has produced and/or directed over 100 feature and short films. He’s also the President of the Palm Beach Film Society. Hello, Heath, welcome.

Heath McKnight: Hi, Larry.

Larry Jordan: Heath, before we start talking about the news at NAB, you’ve just heard Carey and Mike talking about the relevance of user groups and the need to create a sense of community for filmmakers. As President of the Palm Beach Film Society, would you agree?

Heath McKnight: I would definitely agree. I’m based in South Florida and the Palm Beach Film Society really reaches out not just to Palm Beach County but much of southeast Florida, and also an area just north called the Treasure Coast, and we work with other non-profits and we try to put on meet-ups, educational series like somebody coming in to show off some cameras. But the important thing is for people to network.

Heath McKnight: We’re at a time when people are one person bands, they’re doing a lot of the work themselves on their video and movie projects, but there’s something to be said about networking. Maybe somebody has a camera, maybe somebody has a piece of equipment that you can use, and that’s just the very basics. When I went to film school, there were no film groups but that was a great way for me to meet people. Somebody who I to this day still work with, 21 years later, is a co-writer of mine and I think if nothing else it’s a great way just to get inspired and meet other people that are in your industry.

Heath McKnight: If you’re doing it from a keyboard – and I’m just as guilty, I love getting on Facebook groups and message boards – but when you do the face to face and you can see these people who may have differences but you have this shared passion of video production or film production, it just always inspires me personally and a lot of others as well.

Larry Jordan: I think that, Mike, you would agree with that.

Mike Horton: That actually was really well put, Heath, and Carey and I forgot to use the word inspire, which is crazy because that’s what community does and that’s what getting out of the house does, you can be inspired by going to all these events. Certainly you can get inspired on the internet, but it’s like going to the theater – when you see it in person, it’s a whole different thing.

Larry Jordan: Yes.

Heath McKnight: It is.

Larry Jordan: Heath, let’s switch gears and talk about NAB. How big a team did Doddle News have covering NAB?

Heath McKnight: We had you and your team doing the NAB Show Buzz live podcasts and I thank you guys and your team for doing such a great job. We had two writers this year, senior writer James DeRuvo, who also co-hosted a few episodes with you, and Danny F Santos and both of them pretty much walked around and probably did almost 30 miles of walking over a three and a half day period. They met a lot of great people and talked to a lot of companies and the President of Doddle and Thalo, Stephen Roth, and I had a chance to go and talk to the companies as well, but we were talking more about what the things are that our readers want to know. The same thing as James and Danny were doing, but they were doing straight reporting. We wanted to talk about what can this do to benefit our readers and I think that’s a very key thing.

Heath McKnight: You mentioned I was a teacher; about a decade ago I taught film production and education is very important. Larryjordan.com and all the other training sites out there that I’ve gone to, the free resources, going to these user groups, and to be able to sit and talk and say, “Ok, this is awesome, we love this new product,” Blackmagic announced some awesome updates to their software, DaVinci Resolve, and it’s, “How is this going to benefit?” and you see the benefits. That was really exciting for us as well.

Larry Jordan: What were your goals in the coverage that Doddle News was doing? What were you trying to accomplish?

Heath McKnight: We wanted to make sure that we could meet as many big, medium and small companies as we could. We can’t meet everybody and, frankly, some of the companies are small and we try to do the coverage but it might be something that is so behind the scenes, like a network or something like that – and by network I mean a big shared storage that maybe would appeal to a very large company – and I’m not saying we didn’t cover that, we did, but we were trying to cover key companies like Blackmagic Design and AutoDesk and Adobe and Supermeet, key companies that are coming out with hardware and software or, in a lot of cases, updating and making them better, that can really benefit our readers.

Larry Jordan: What highlights from the show stick out to you now that it’s a week past?

Heath McKnight: It was interesting. On day one, James DeRuvo wrote a story which he called NAB 2016 Day One – The Dot Upgrade. He likened it a little bit to how Apple will put out an iPhone 6S, 5S where it’s the tick-tock upgrade cycle, tick meaning huge new hardware and/or software upgrade, tock being more there’s a lot under the hood or maybe not so much but a lot of it is also refinements to maybe the user interface of software or, hey, we’re going to be coming out with a new beta. We’re not going to give you a million bells and whistles, but we’re going to give you a lot of great stuff.

Heath McKnight: It made sense to really strengthen product lines and software lines across editing and cameras and stuff. RED showed off their WEAPON. No huge new camera announcements and we didn’t really expect them. Panasonic and Sony came out with some new 4K cameras that really probably appeal to the indie or maybe even event videographer. Blackmagic, we were hoping for a 4K pocket cinema camera – I think almost anybody would have – but they came out with a new camera OS upgrade for the URSA Mini and they announced a huge update for DaVinci Resolve, but it was more 12.5.

Heath McKnight: GoPro talked about omni and virtual reality, Drones were kind of dominant, and they’re still dominant, don’t get me wrong, but virtual reality was the hot, sexy thing this year.

Mike Horton: Yes, it definitely was the buzz.

Heath McKnight: Yes.

Mike Horton: No pun intended for drones.

Heath McKnight: I visited the North Pavilion, I believe is where they had it, and I took a look around and you know what? Virtual reality is pretty cool. For me, and I’m echoing James and several others, will it be something that we can really use? 3D was the hot thing in 2009 and 2010 until all of a sudden everybody realized you can convert 2D into 3D pretty well and it costs a lot of money to shoot 3D because you need about 30,000 lights. I’m over exaggerating here, but you need a lot of lights, you need a lot of money.

Heath McKnight: I believe that right now the only movie that is shot native 3D, if I’m not mistaken, is the new X-Men Apocalypse movie. Other than that, 3D became a gimmick again and most of these movies were just post converted.

Heath McKnight: Getting back to virtual reality, is that what is going to happen? I don’t know. We talked to some companies and they said that one of the greatest things is training. You can use virtual reality for training, you can use virtual reality for training for flying a plane, so on and so forth. Video games, but then again they said video games, the big thing would be 3D and it never really took off and 3D TVs came and went and 4K TVs are here. I bought a 4K TV about two and a half years ago and I don’t even think if I upgraded to Netflix 4K it would port on our old TV third generation, or even if I got another one.

Larry Jordan: Heath, there’s plenty of stuff for us to talk about, not just tonight but in general. Where can people go on the web to learn more about Doddle News and keep track of your coverage?

Heath McKnight: They can visit doddleme.com and specifically news.doddleme.com, and when you’re on the doddleme.com page, you can see what kind of tools we offer and then in the news section you’ll see we’re expanding it more and we do a little bit of training, mostly text articles, we cover all the news and we even do some movies.

Larry Jordan: Heath, take a breath. That’s doddleme.com. Heath McKnight is the Editor in Chief at Doddle News. Heath, thanks for joining us today.

Heath McKnight: Thank you very much.

Larry Jordan: Take care.

Mike Horton: Thanks Heath.

Larry Jordan: Bye bye.

Larry Jordan: You know, Michael, it’s interesting, I feel like blind man describing an elephant. There are so many different things to talk about with NAB and so many different aspects because the show is just so enormous.

Mike Horton: It’s so huge. And you’ve been to CES in January, right? Which is even bigger?

Larry Jordan: Yes.

Mike Horton: I’ve never been to CES.

Larry Jordan: CES is just ridiculous. Well, NAB is not small by any stretch of the imagination.

Mike Horton: See, I don’t even know how CES could be bigger. Where do they put more stuff?

Larry Jordan: With CES you’ve got toys in a way that you don’t, really with NAB. I want to introduce our next guest. Ned Soltz is an author, an editor, an educator and consultant on all things related to digital video. He’s also a contributing editor for Creative Planet, a moderator on 2-Pop and Creative Cow forums and, best of all, a regular correspondent here on The Buzz; and to show you, Mike, what kind of a trooper he is, Ned is recovering from a cold but he is still with us. Hello, Ned, welcome back.

Ned Soltz: Hello Michael and Larry and everybody else and, as you can hear with this wonderfully sultry voice right now, I could probably play a number of very good dramatic roles, but I still feel rather rotten, to say the least.

Mike Horton: You sound somewhat like Othello.

Ned Soltz: Oh yes, I’m kind of sounding a little masculine. I should only feel it.

Larry Jordan: Pushing toward the Barry White spectrum of voice work here. Ned, what happened with cameras? What’s new?

Ned Soltz: The great thing about NAB this year was what wasn’t new. The fact that we didn’t have lots of massive announcements with long range promises. We’re seeing refinements of existing cameras and we’re seeing some new cameras. For example, Panasonic has introduced two new $3,000 and $4,000 respectively little 4K cameras, the UX180 and the UX90. These are one inch cameras. They introduced them; they’re still under glass, so who knows when they’re going to come along.

Ned Soltz: I tell you what’s impressive, although it was introduced before NAB, I’m putting a lot of hopes in that midrange camera in the Varicam LT. I think that’s got a lot going for it and I’m very anxious to get one in here and put it through its paces.

Larry Jordan: What are your thoughts on resolutions greater than 4K? 4K clearly is owning acquisition, whether distribution or something different, but everybody and their cousin’s shooting 4K just to protect themselves; and then RED is showing 5 and 6 and 8K.

Ned Soltz: With RED, with the Kinotehnik shooting 5K and 6K, I think we’re going to see people shooting those higher resolutions but these are strictly at this point for down res purposes. Now, 8K will come along in TV because it’s the Japanese that are pushing that through MHK. Even several years ago, Hitachi was showing 8K solutions. Canon showed the C500 8K rig, which was a C500 with eight auto C7Q+ attached to it to give 8K and they had an 8K theater.

Mike Horton: Did you see the image in the theater? Did you get to the Canon theater?

Ned Soltz: Oh, I did, yes. It was a magnificent image.

Mike Horton: Because they’re already using it at the Olympics, right?

Ned Soltz: Yes, that’s the plan. The plan is to use that at the Olympics. I dare say in Japan, through MHK, there may be some 8K broadcasting. There’ll unquestionably be 4K, mostly likely over IP, of the Olympics and that 8K camera, if anything else, is going to window 8HD windows for purposes of framing, so I think that’s got tremendous value. Where we’re starting to see value of interest is what the little guys are doing. The trainees come to me from Kinotek Now, the question is there are 6K cameras that are going to run between $8,000 and $12,000 plus all accessories.

Mike Horton: Jeez.

Ned Soltz: Are you going to put that kind of money into a start-up by some talented and well meaning engineers, but is that the kind of investment you want to put into it?

Larry Jordan: First, Craig on our live chat’s saying ‘Strange that you guys never seem to talk about ARRI,’ and I don’t want Craig to feel unloved. Has ARRI done anything that we need to talk about?

Ned Soltz: ARRI’s had some software updates. To me, there’s no reason to talk about ARRI because there’s nothing like it. I have an inherent prejudice to ARRI. I think it’s the best image but I think at the same time, because they don’t have that 4K sensor, ARRI’s losing out on the Netflix world and production and I think it’s really bean counters looking at numbers rather than at the quality of the camera. Sooner or later, ARRI’s going to have to come up with that true 4K sensor so that it can snagging the Netflix productions. And as I say, we have seen some firmware updates for ARRI but you look at Alexis, you look at the…, what a wonderful image. You can’t begin to question that and I think you come to the point where the numbers, the statistics, the pixel cap are really so irrelevant because of the games that we’re playing electronically with these pixels anyway.

Larry Jordan: Another issue that I’m wondering about is are the traditional camera companies in danger of being overwhelmed by all this new competition? I saw JVC is now JVC Kenwood and those two guys have come together. They’ve always been together but now they’re marketing under a joint name.

Ned Soltz: Right, this is just how the corporate restructure and branding is, because Kenwood and JVC were always the same company and somebody decided to call it JVC Kenwood and I have no idea what the marketing and so forth rationale is behind that. I don’t know, consumer and professional meets consumer, maybe that’s what that means, because Kenwood is certainly to a high end consumer of audio brand and GPSes and things, but JVC is a small manufacturer and what I admire about JVC is they know their niche. It sounds terrible to say, but they know their place and they stay in it, which is very good because they’re not aspiring to deliver 8K camera, 12K cameras and make all kinds of promises.

Ned Soltz: They’re in the educational market. They’re in a lot of VENG market and they make their niche with particularly their connectivity, like this new 660 camera. That has an intercom channel that’s built in that will stream to the truck, that will stream over a modem back to the station. They’re geared for ENG work and they do it very well and they work seamlessly, so you’ve got to admire somebody that knows their market, that does it well and that produces a very, very good quality camera, but you’re not going to use that 660 to make the next 4K or 8K epic cinema because that’s not what that camera’s designed to do.

Larry Jordan: I saw a lot of stuff where we weren’t just talking micro cameras, but there seemed to be a big raging debate on gimbals and stabilization. Did you notice that?

Ned Soltz: Yes I did and I’ve played with some of the cheaper gimbals and stabilization and I’ve got to say, a lot of the cheaper things that I’ve played with, I’m not horribly impressed. There’s one particular gimbal that I played with I had for a loan to evaluate a product which I did not like and couldn’t get the review published because my article was so scathing about it. I never say bad things, so this was really totally out of character.

Ned Soltz: I used a gimbal from a US repackager of Chinese stuff and the thing gets out of balance and then it starts shaking and so you ask the manufacturer, “What do I do?” and they say, “Oh, reboot.” I looked at the same one at NAB with supposedly a later firmware revision and it does the same thing. So if you want to start getting into a higher quality sort of thing, like some of the DJIs and the like, even their low end, you’re in a better quality product. I would be really careful about that. They can be good with small cameras but in this case I was trying it with a Sony mirrorless camera and it was really right at the weight limit for the camera and it was too much.

Ned Soltz: The other thing of interest is VR and then the VR cameras and accessories that we were seeing.

Larry Jordan: Ned, I could talk to you for probably the next three hours on cameras, but I’m feeling badly about your voice. For people who want to keep track of what you’re writing and where on the web they can go to learn more, where can they go?

Ned Soltz: They can go to two places – creativeplanetnetwork.com and I also write extensively now for redsharknews.com, so you can find my articles in both places, as well as contact information and, when I have a voice, I am very glad to talk to people; and when I don’t have a voice, I’m very glad to email people.

Larry Jordan: Well, go grab some hot tea, put some honey in and get yourself well because we want to talk to you soon. Ned Soltz, thank you so very much for joining us. We’ll join you shortly.

Ned Soltz: Thanks Larry and Michael. Bye.

Mike Horton: See you, Ned.

Larry Jordan: Bye bye.

Larry Jordan: I feel badly about Ned and his voice, Michael, because there’s so much more I wanted to ask him and every time I asked him a question my conscience hurt because the poor guy was…

Mike Horton: Are you kidding? It sounds really sexy and when you play it back to him, he’ll love it.

Larry Jordan: In his current role as Director of Technology and Marketing, our next guests works for a company called Keycode Media. His name’s Michael Kammes and he consults on the latest in technology and best practices in the digital media communications space. He also, Mike, has a strange love of workflow, codecs and process.

Mike Horton: Oh yes, codecs, codecs and codecs.

Larry Jordan: Hello, Michael, good to have you with us.

Michael Kammes: Good to be with you as well and it’s fantastic to hear the deep sultry tones of Not Ned.

Larry Jordan: I was just thinking, we’ve got a nationwide call. We’ve had Philip, who’s in LA, you’re in Chicago, Carey is, whoever know where Carey is but he was there, and Heath is in Florida, Ned is in New York. We’ve covered the entire continent.

Mike Horton: Yes.

Michael Kammes: We’re conquering the world, starting with North America.

Larry Jordan: What was big at NAB this year from a workflow point of view?

Michael Kammes: I think, as several people have pointed out, it wasn’t a – and I hate using this phrase – it wasn’t a game changer year. It was a lot of under the hood and refinements and I saw a lot of widgets. I’ve always been a fan of workflows over widgets, but this year there were a lot of widgets.

Michael Kammes: The first one I saw was something that two companies were doing that were very similar. One you’ve probably heard of, Axle, they have Asset Management. They have something called Axle Pulse, which is very similar to a company called burst.com. This is crowdsourcing for news. If there were, let’s say, a fire outside your studio right now and you took your phone out there and you started recording it, you then could upload it to a website like burst.com and it could be curated by CNN, NBC, ABC, all the larger companies, and they could decide they want to buy it or they want to go live to you and they could then contact you and then it’s going live. You could shoot live. It’s crowdsourcing for news and the cool part is that there’s a monetization back end with the Axle portion, which allows you to then pay the person who’s doing it.

Larry Jordan: That is very cool.

Michael Kammes: It’s a very interesting paradigm. I don’t want to take away from what professional videographers and reporters are doing, but they can’t be everywhere all the time and when stuff happens you now have almost instantaneous access to this media for Johnny on the spot, and I think that’s just a fantastic paradigm.

Larry Jordan: One of the things that Philip mentioned that he said you were going to talk about that I thought I’d just remind you about is the new trend on video over IP. What’s happening there?

Michael Kammes: What’s really interesting, for those who haven’t looked into it, is video has always been traditionally a one way street, you use an SDI cable, you shoot via an SDI cable and if you want to ship video back, you either have to route it back on the same cable when you’re done sending or run a new cable. It’s always been a one to one or… paradigm. When we look at video over IP, we’re now converting that video to run over an ethernet cable, which can then be run on a traditional network topology… IP infrastructure they have. In terms of space, in terms of power it’s much more efficient and it allows for bidirectional video signals, which is just fantastic.

Michael Kammes: The problem we’re running into is, just like HDR, there are a lot of different standards out there and just because you adopt one doesn’t mean that the receiver understands that protocol, so that ends up being a massive headache. What we saw at NAB was a lot of manufacturers saying they’re curating these consortiums that are consulting on what the protocol should be and they’re adapting this one and maybe not the other, or they’re working towards one. A lot of manufacturers now have cards that can then take video over IP or at least convert base band video from SDI or HDMI over ethernet cat 5, cat 6 and then send it out as an IP stream.

Larry Jordan: The problem I’ve got with video over IP is I’ve got to rewire my entire facility, which is not trivial, and I’ve got to replace all the gear in it, which from a manufacturer’s point of view I can appreciate, but from my point of view that’s a huge expense. Is there an option?

Michael Kammes: I’m in complete agreement. I think it’s great for… working with NewTek, with the Tricaster. It’s portable, it’s… handful of cameras, it’s full self contained broadcast. When you look at the larger infrastructures, I almost am saying, “You know what? Don’t worry about it until, Mr Engineers, you have to reengineer the whole facility,” that the five or ten year cycle has come up and you have to upgrade your whole facility, now we’ll look into it because it’s changing so quickly I’m not sure there’s a need for it. There really isn’t, and I feel like an old man saying this, you really don’t need to burden yourself with worrying about that portion because if your infrastructure isn’t going to move to IP any time soon, base band’s going to be just fine.

Larry Jordan: Thinking of another big announcement, DVDs are dying – even though all of us who are in the industry would like them to stay, DVDs are dead – but Blackmagic Design announced a brand new thing, which is an SD card duplicator. Did you see it and what did you think?

Michael Kammes: I saw it and I guess there’s a market for it. Actually, I was at Supermeet, Mike, and I was talking to Bruce from CHIFCPUG, Bruce Himmelblau, and we were talking about it and I said, “Bruce, I can’t see why this would really catch on,” and he said, “Weddings. Quite often we’ll do rough test at a wedding and spring out at maybe the ceremony or maybe just some shots of the bride and groom and we give those out to people, or… rock concerts where at the end they’re going to put the line cuts from where their live switch was and hand that out.” Ok, I guess memory sticks were fine, but I guess people want SD cards too.

Mike Horton: First of all, those standard SD cards are so cheap, and if you have enough of those duplicators, which are cheap, every single recital is going to have those things, school deals are going to have those, any kind of live event. Oh my God, it’s just going to be huge. The H.265 thing is an issue, though.

Michael Kammes: Yes, I completely agree on, dare I say, the more pedestrian usage. I’m not sure how much play it’s going to get beyond on the… arena but, as you pointed out, I’m sure that the recitals and whatnot… to the event videographers.

Mike Horton: Can you play H.265? You need, what, download the VCR player or something?

Larry Jordan: You need to download a player and you need to download the drivers. It’s not supported natively on the Mac yet, you have to install software to play it back.

Michael Kammes: And you need a BC system too.

Larry Jordan: Yes. If you think H.264 was complex, H.265 makes H.264 look simple. I totally agree there.

Mike Horton: Well, if you can play it on a TV set by just putting it into a slot, then you’ll have a massive huge seller.

Larry Jordan: But we can’t yet.

Mike Horton: But you can’t yet.

Larry Jordan: How about anything happening from Avid Nexis or Forscene or CineX inserts?

Michael Kammes: Yes, a lot of good stuff, and I’ll try to make it quick. CineX inserts. Those of us who are old enough to remember working with tapes and…to tape, if there was a mistake in whatever your program was, you could punch in and you could fix that one shot. With… files traditionally you haven’t been able to do that, you have to re-render and re-export the entire file. What CineX insert does from CineDeck, it allows you to actually insert an in to out point into that digital file. Let’s say you have fat fingers like me and you mistype a lower third, now you can fix that lower third, re-export that ten second clip and drop that portion into the… hour long exported file, so it makes fixes a heck of a lot quicker and it’s relatively inexpensive – 1500 bucks – which is a lot less expensive than the hours that add up over a year of you waiting to re-render a complete hour show and then export.

Larry Jordan: How about Avid Nexis?

Michael Kammes: Avid Nexis. Well, folks have been criticizing Avid for years because of their Isis naming convention for their… the Infinitely Scalable Intelligent Storage. That name came along first but the critics in the blogosphere, as they were, have been hammering Avid for years so they’ve changed their name to Nexis, which is next generation Isis. Aside from just a cosmetic name change, they’ve now gone to the more modular storage platform. They’ve got the… 2 and the… 4 which allow you to buy packs of storage, packs of ten and then scale your storage appropriately. They ultimately have a larger sized drive and they’ve dropped the price, so now you can get Avid… storage with even more throughput than you could with the older Isis system at a cheaper price and it’s more configurable, more scalable so your storage system is going to support your editorial ecosystem.

Larry Jordan: Michael, again, just like Ned, we could talk about all this stuff for hours and we will invite you back. For people who want to know what else is shaking, where can they go on the web to learn more?

Michael Kammes: A couple of different places. They can check out keycodemedia.com. They can also check out michaelkammes.com and lastly they can check out my web series on all things technical, fivethingsseries.com.

Larry Jordan: And the easiest place to go is the source himself, Michael Kammes, michaelkammes.com. Michael, thanks for joining us today. We’ll talk to you soon.

Michael Kammes: Oh, it was a pleasure. Thanks, gentlemen.

Larry Jordan: Take care.

Mike Horton: Thanks, Michael.

Larry Jordan: Michael, we’ve covered a lot of news tonight. What are you looking forward to…

Mike Horton: Actually, I enjoyed this because I didn’t get to half those places everybody was talking about, so it was nice to have that conversation.

Larry Jordan: What are you looking forward to in the next couple of months? Besides sleeping and recovering from Supermeet.

Mike Horton: Yes. Well, we’re having our local LAFCPUG meeting at the end of May and I think we’re going to cover more VR and hopefully the Blackmagic 12.5, we’re going to have those guys come down and do that, hopefully. Isn’t announced yet – I’m giving you a preview announcement right now, Larry. That’s what I’m looking forward to.

Larry Jordan: I will be there. By the way, Mike, next week The Buzz hosts the final episode of Doddle’s preeminent podcast Doddle Talks Technology. During 38 episodes, our Buzz co-host James DeRuvo has interviewed filmmakers about the technology and techniques they use to make their films. In this final episode, James talks to Stu Maschwitz, the co-founder of the visual effects firm The Foundry and author of the DV Rebels Guide: An All Digital Approach to Making Killer Action Movies on the Cheap.

Larry Jordan: Out of this series, we’re creating a new companion podcast called Buzz In Depth, which will premiere later in May and I encourage you not to miss it.

Larry Jordan: I want to thank our guests this week – Philip Hodgetts, Carey Dissmore, Heath McKnight, Ned Soltz, Michael Kammes and a special thank you to our co-host and guest, Mike Horton.

Larry Jordan: There’s a lot of history in our industry and it’s all posted to our website, at digitalproductionbuzz.com. Here you’ll find thousands of interviews all online and all available to you today; and remember to sign up for our free weekly show newsletter.

Larry Jordan: Talk with us on Twitter, @DPBuZZ, and Facebook at digitalproductionbuzz.com. Our theme music is composed by Nathan Doogie Turner with additional music provided by smartsound.com. Text transcripts are provided by Take 1 Transcription – visit take1.tv to learn how they can help you.

Larry Jordan: Our engineering team tonight is Brianna Murphy and Ed Golya. On behalf of Mike Horton, my name’s Larry Jordan and thanks for joining us for The Digital Production Buzz.

Mike Horton: Goodbye everybody.

Larry Jordan: Digital Production Buzz is copyright 2016 by Thalo LLC.

Digital Production Buzz – April 28, 2016

On this week’s Digital Production BuZZ, Larry Jordan and Mike Horton talk with guests Philip Hodgetts, Carey Dissmore, Heath McKnight, Ned Soltz and Michael Kammes as we all take a look back at the 2016 NAB Show.

  • An Overview of All The New Technology at NAB
  • Building Community: MediaMotion Ball and SuperMeet
  • Covering the Breaking News for DoddleNEWS
  • New Cameras and Camera Gear
  • Workflow and Team-Editing

Listen to the Full Show – Click link below.

Transcript: Digital Production Buzz – April 21, 2016

Digital Production Buzz

April 21, 2016

[Transcripts provided by Take 1 Transcription]

(Click here to listen to this show.)

HOST
Larry Jordan

GUESTS

Bill Roberts, Senior Director of Product Management, Adobe
Dan May, President, Blackmagic Design
Bryce Button, Product Marketing Manager, AJA Video Systems, Inc.
Barbara de Hart, Vice President of Desktop Business and Corporate Marketing, Telestream
Ric Viers, CEO, Blastwave FX
Sean Mullen, Lead Designer, Rampant Design Tools

Larry Jordan: The Digital Production Buzz at NAB is sponsored by Maxon, Thalo and Doddle.

Larry Jordan: Tonight on The Buzz, we have highlights from our 2016 NAB show coverage, where every single interview announces new products and interesting news, starting with Bill Roberts, the Senior Director of Product Management at Adobe Systems; Dan May, the President of Blackmagic Design; Bryce Button, Product Marketing Manager for AJA Video Systems; Barbara de Hart, VP of Desktop Business and Corporate Marketing for Telestream; Ric Viers, the CEO of Blastwave FX; and Sean Mullen, the lead designer of Rampant Design Tools.

Larry Jordan: The Buzz at NAB starts now.

Announcer: Live, from the 2016 NAB show in Las Vegas. Media, technology, news, insight, connecting media professionals around the globe. The NAB Show Buzz, powered by Doddle, starts now.

Larry Jordan: Welcome to The Digital Production Buzz, the world’s longest running podcast for content creators covering media production, post production and marketing around the world. Hi, my name is Larry Jordan and I’m recording this live on the trade show floor at the 2016 NAB show in Las Vegas, Nevada. What we have today are highlights from more than 50 interviews that we’ve done at NAB and every single one of these interviews has new products, new technology and new announcements. For all the interviews that we did at NAB, visit nabshowbuzz.com; and we’re going to get started with Bill Roberts from Adobe, right after this.

Larry Jordan: And we’re back live at NAB. It’s still day one, the end of Monday, and joining us is Bill Roberts, the Senior Director of Product Management for Adobe. Bill, it’s always good to see you. Welcome back.

Bill Roberts: Good to see you, Larry. Thank you.

Larry Jordan: One of these days, I will figure out to turn a knob before I say hello. It’s this technology, it kind of escapes me. You guys have been making a ton of noise and some incredible new announcements and I want to get in all the new stuff, so what have you got?

Bill Roberts: Well, we have a little bit of new right across the board. I’ll start with Premiere as that’s obviously a big part of our story. Hitting on a lot of key trends at the show, the cameras now are just producing these incredibly large, complex images at high frame rate with high bit depth, so the images are just massive and people want to work on lighter and lighter devices, so that’s a bit of a challenge. What we’ve introduced now is a brand new proxy workflow to augment our native workflow, so when you ingest you can make proxies, you can actually do all this in the background so you can start working immediately.

Bill Roberts: One of the beautiful things about this is it allows you to work with even 8K RED footage very simply, if you don’t want to use the fractional decode that you can have there; and also, you can combine it with the creative cloud piece so that the proxies can use your creative cloud file synch and be available wherever you are. That’s a very nice step forward for the large images that are there.

Larry Jordan: Also, as we start to move into HDR, you guys supported HDR in the realm before this when we start to get into extremely high bit depth video, where file sizes are huge. But what are you using for a codec for your proxy files?

Bill Roberts: Whatever you want, you can set that up. We have recommendations and really, when you’re setting up your proxy, we want to focus on keeping the same aspect ratio as the original media, but aside from that it’s really up to you. You decide what the most important thing is to you – quality? Maybe you want to go into a Cineform, which is a more compressed version of a raw file, or maybe you need something a lot smaller because you know you’re going to be accessing the content on a much weaker network.

Bill Roberts: So it’s up to you, although we have some guidelines and best practices that we can apply, but it’s really a very open…

Larry Jordan: So you didn’t invent your own proxy format?

Bill Roberts: No, we did not, and we can also work with existing proxies. We know a lot of people have a programmatic MAM workflow where they’re generating proxies externally. Now you can just marry that up. In the editing experience, you can immediately bounce back and forth between native full resolution and proxies, so it’s very open, very flexible.

Larry Jordan: When you say recommendations, clearly there are some files which are easier to edit than others, so you’re looking for proxies which both generate small file size and yet relative simplicity for editing it so you’re not overtaxing your system.

Bill Roberts: Exactly, and one of the things we always fall back on, Cineform’s a nice cross platform, high performance… for these high quality workflows. But there’s a lot more than that. You mentioned HDR. You nailed it when you said we put in the framework, and we’re continuing to push and work on that. In this cycle, we’ve made sure our scopes can work in Rec. 2020. We started with the Adobe Vision workflow in a previous release and we’re going to keep adding more and more tools for those high dynamic range workflows.

Larry Jordan: One of the things I’m learning about HDR is that there are little pieces of it, the whole workflow is not put together, and monitoring to be able to see stuff at a high enough quality to do color grading is still a big issue. How is Adobe working with other vendors to try to come up with a unified workflow to make working with HDR straightforward?

Bill Roberts: Really, what we do is make sure our pipeline’s completely open and the transmit API that our third party monitoring systems can attach into, so if you have an HDR compliant monitor that works today. But you did say it is a big issue, because most people who are delivering HDR aren’t just delivering HDR, they need to deliver a standard dynamic range view as well, so we provide some basic tools for tone mapping inside the software but we also provide the tools that you need to grade for either deliverable.

Larry Jordan: Ok, we’ve got proxy workflow and work continues to expand scopes to support HDR. What else is new?

Bill Roberts: VR. If you hadn’t noticed, it seems to be a bit of a buzz word around the show.

Larry Jordan: Gee, we’re in the South Hall and VR is all in the North Hall and I haven’t made it up to that hall yet, so what’s happening with VR?

Bill Roberts: Aside from the fact that the internet has created a drinking game that anytime somebody says ‘equirectangular’ at NAB, you’re supposed to take a shot.

Larry Jordan: You practiced that, didn’t you?

Bill Roberts: No, actually, it’s just a funny thing that actually happened. Everybody’s just realizing this is kind of an overcooked term at the show, but it is actually the format that we’re supporting for viewing inside of the software, so we’ve added a VR viewer. One of the big challenges, particularly with equirectangular, you look at it and you have no idea what the end user experience would be. You don’t want to edit the whole time using a headset, even though you could be popping back and forth if you have a lot of partners like Metal, that use our transmit API to make sure the Oculus Rift can be a viewing environment, but inside the editing environment now you can turn on VR and it gives you a field of view that you can arrange and you can pan around, so you have a straight up editing environment and you have a much better idea of what the end user experience would be like.

Larry Jordan: That’s very cool.

Bill Roberts: Yes, it’s getting a great response. The panning model we use – you can have sliders if you want but most people just gravitate towards panning in the YouTube style – is where you just click and drag. Speaking of YouTube and Facebook, who support publishing of that video, we’ve also added the metadata flag so that when it’s published to either of those platforms using our Destination Publish, the player will automatically kick into VR mode on the destination site.

Bill Roberts: We’re really trying to think of end to end workflow with VR and this is a solid step out of the gate for us.

Larry Jordan: So far, everything’s been in Premiere. Do you have anything else happening elsewhere?

Bill Roberts: Everywhere. Larry, I know that you love Audition.

Larry Jordan: I do. Not only do I love Audition, we record these shows on Audition, I do my weekly podcast in Audition. I am a big fan of Audition and is it getting any love at all?

Bill Roberts: It’s getting lots of love. You’re an audio expert, so you can dive into Audition and use all the power that’s there, but one of the challenges we see in the industry, as more and more TV content becomes reality, news or documentary, those are programming types that have tight turnarounds, they don’t have enough time to do proper post audio.

Larry Jordan: And low budget.

Bill Roberts: Low budget and it’s also scary. You take a guy who’s cutting documentary and ask him to go in and really clean up a dirty audio track with a lot of background noise, chances are it may not come out well. We have a lot of expertise in there, so we’ve introduced what’s now called the Essential Sound Panel and what that does is it takes particular mix types, including voice – there are other ones for music and background – but if you take the voice one, you’re presented with a really simple UI and with one slider the person can boost the vocals and under the hood what’s happening is noise suppression, EQ, compression. It basically creates a whole stack of effects and applies them with knowledge of what the intention’s going to be.

Bill Roberts: The other thing we’ve added is if you’re doing that in, say, a documentary workflow, you can now go directly to AME from Audition, so the whole pipeline is, “I want to just try and make that better. Oh gee, I just boosted the vocal, that’s fantastic, great.” Pump it straight out to AME, away you go, and the video offloads right through the whole system as well. So nice things happening in Audition and more to come.

Larry Jordan: Oh, I hope so because the thing I like about what you’re doing with Audition is you’re making it much more accessible for video editors who don’t know a lot about audio. Why the love for Audition? Because you could just as easily have gone off to pro tools and music creation, but the tools that you’re dialing in are really designed for video people.

Bill Roberts: Yes. Video’s exploding, it’s one of the fastest growing media types on the internet, but if you look at the type of content that’s being produced, you often don’t have the time or the budget to be awesome. We had to actually address that issue and help people make better content, so that’s why we’re doing that. When you look at it, there was always the desire to have better audio, just not the skills or the time to do it, so we’ve tried to address that.

Larry Jordan: The thing is, people will watch really bad video – not that Premiere has ever created bad video – they will watch bad video but they won’t listen to bad audio.

Bill Roberts: That’s true.

Larry Jordan: And anything you do to make the sound better is going to benefit all of us, and I’m a huge fan of Audition so thank you for working on that. We’ve talked about Premiere with VR support and HDR support and cool stuff, we’ve talked about Audition. Are you working on anything else or are those the only two apps?

Bill Roberts: No, we updated everything. We’ve done a lot of work on After Effects. We really focused on performance. Some of the things you’re going to see if you’re working with audio, we now have a much improved real time playback environment, so picture and sound working together, which is a key part of motion graphics overall, so that’s a big improvement that users see and feel right away. Another big one is GPU.

Larry Jordan: I was going to ask.

Bill Roberts: Yes, so we’ve had a lot history of doing GPU in Premiere and as we go forward we’re bringing a lot of that expertise across to the After Effects platform now, so we’re seeing GPU accelerated effects. One of the ones that shows extremely well on the show floor is the illumatory color tools, they’re now there, GPU accelerated, so we’re getting to a very common platform there.

Bill Roberts: A lot of improvements in 3D, so…

Larry Jordan: Are we using the same rendering engine in Premiere and After Effects, or are they two different renderers?

Bill Roberts: There’s always technology that’s shared, but if you look at what happens in Premiere, that’s designed for a real time playback of a reasonable number of video tracks. If you look at what people do in After Effects, you can’t structure…

Larry Jordan: It’s…

Bill Roberts: Yes, so it’s as much shared technology as possible but there are very different use cases so you can’t be exactly the same otherwise you couldn’t provide the right experience.

Larry Jordan: Ok, so After Effects we’ve got improved performance. I think the GPU acceleration’s huge, that’s really cool.

Bill Roberts: Yes. 3D. The workflow with C4D is really smooth now, so you can do an export and still then maintain a live link back in. Those workflows where you’re iterating both on the comp and you’re iterating on the 3D content, that’s tight and fast. Really exciting things like loading of file sequences over a network. It sounds dumb, but we have some cases where certain file formats have gone from minutes to seconds, and if you’re a user your life just gets a lot better.

Bill Roberts: Actually, the other thing that’s included in After Effects but is one of our cloud services is the addition of stock.

Larry Jordan: Now, tell me what stock is because I keep getting all these emails from Adobe saying, ‘You really have to pay attention’, and I don’t understand it, so what is it?

Bill Roberts: If you think about a motion graphics artist, you’re often trying to express imagery that reflects something – somebody’s said I need to talk about a storm in Florida, you don’t have a shot so we have integrated the stock panel directly into the user interface. You can type in ‘storm Florida’, you see an image you like, you literally drag it into your comp. You like it, you can license it from inside of the software, so it’s a round trip workflow. A lot of people rely on stock in this industry, but generally they were having to leave the software and they wouldn’t have access to it, so we now have that deeply integrated.

Bill Roberts: One of the big things is we actually now have a lot of 4K content as well, so if you’re faced with building out 4K workflows, we have a lot of the imagery that you can use to do that.

Larry Jordan: You, however, have been associating with the enemy. We had Avid on this morning, and Avid has said they were working with you, and you now have round trips back and forth between Adobe and Avid. What is going on here? Has the end of the world arrived?

Bill Roberts: No, I think it’s a reflection. If you think back a few years ago, everybody on the show floor was talking about… There were… architectures, loosely coupled connections. That’s really what this is. We’re both companies that migrated towards open APIs and our API for data management and our panel API is something that Avid’s taking advantage of this cycle, building on our support of DNX, their support of our products on their storage. So now, if you’re an Interplay user, Premiere can be part of the workflow. We’re delighted they dedicated the energy to that and they’ve been fantastic about telling the world about it. I don’t think we were enemies; well, we’re frenemies. We get along. We’re going to slug it out over the editor but in terms of serving our customers’ needs, we had so many customers that had Interplay infrastructure and we’re using Premiere and After Effects as part of the pipeline, so we wanted to get that moving and they’ve been fantastic about that.

Larry Jordan: It’s interesting, thinking of the two companies, as opposed to going through a third party, which happens all the time – think Automatic Duck – now able to talk. It’s nice that there’s friendliness in the industry. I think this is a very good thing.

Bill Roberts: Well, if you build open APIs and you support them, you don’t have to exchange state secrets to get along well; and if they’re rich APIs, and that’s one of the things that I’m very proud of, the development team has really, really strong tools so people can make meaningful connections, not just ones that demo well. These are real workflow tested connections.

Larry Jordan: You’ve got time for one more new feature and one more piece of software. What have you got?

Bill Roberts: Character Animator. I think it’s still the most fun piece of software on this show floor. The team has done an incredible job. We announced it last year and we’ve gone through three preview cycles and we’re showing preview four here today. It’s really addressing a lot of the workflow pieces. We now have the heads that move in all directions. When you’re tagging, before we were completely unnaming but now we have a visual tagging panel so you can click on an ‘I’ down here and it maps across.

Bill Roberts: From a workflow perspective, now it’s connected into AME as well, so when you’re finished you can just spit out the rendered file on AME. It’s super exciting. We’ve got so many people using that now and it’s so much fun to see what they’re doing.

Larry Jordan: When does this all release? When can we get our hands on it?

Bill Roberts: Every year you ask the same question, Larry, and every year I say later in the year. It should be summertime, mid-year. That’s when our customers will be able to get their hands on this. We’ve got to finish off the pre-release to make sure it’s all solid.

Larry Jordan: So what do we have to do to get the upgrade?

Bill Roberts: It’s included with your creative cloud subscription, so anybody who’s a current creative cloud member will be able to download it on the day we make it available to everyone.

Larry Jordan: But it’s not today?

Bill Roberts: It is not today. Today, the only place you can see it is on the show floor in the booth.

Larry Jordan: Darn.

Bill Roberts: Or we have a bunch of videos online too.

Larry Jordan: Of all the things that you’ve added, what’s the thing that tickles your fancy the most?

Bill Roberts: Probably the proxy workflow. I saw Sony announced a camera that does 4K at 480 frames a second, so the size of the pictures, the amount of data they’re generating is outstripping Moore’s law. I just think sometimes you get features at the right time in the right place and I think this is one of those ones that will really make a lot of people’s lives better.

Larry Jordan: That’s very cool. Bill, where can people go on the web to learn more about these products?

Bill Roberts: Adobe.com/video and we have a ton of examples of all this stuff I’ve talked about.

Larry Jordan: That’s adobe.com/video and Bill Roberts is the Senior Director of Product Management for Adobe. Bill, as always, fun visiting. Thanks for stopping by.

Bill Roberts: Thank you.

Larry Jordan: Take care.

Larry Jordan: Every year at the NAB show, you’ll find more than a few attendees camping out at the Maxon Cinema 4D booth all day. Why? Because Maxon’s booth hosts presentations by the most respected 3D artists in visual effects, motion graphics and design. Even if you can’t attend NAB, you can watch all of the Cinema 4D presentations streaming live at C4Dlive.com. If you register on the site, you’re also entered into a raffle with over $20,000 in prizes to be given away. Can’t watch live? No worries. All presentations are made available on demand at cineversity.com a few weeks after the show. So tune into the Maxon Cinema 4D live stream at C4Dlive.com, April 18th through to 21st, or visit cineversity.com anytime and enjoy its vast library of tutorials, resources and archived presentations, all from Maxon.

Larry Jordan: We’re back, live, day one of NAB 2016 and I’m with Dan May. He’s the President of Blackmagic Design. Their booth is 255 square miles here inside South Lower Hall. They can fire off cannons and not hit from one side of the booth to the other. Dan, welcome.

Dan May: It’s good to be here with you, Larry.

Larry Jordan: What’s new? I’m almost afraid to ask. What’s new?

Dan May: Well, it wouldn’t be NAB without, like you say, a million press releases and having a lot of new and exciting products to talk about. I would say the one really key factor for us this year is that it’s not a year where we have the ‘take all the air out of the room’ product like we’ve had for numerous years. It’s been done by us several times, I don’t want to say it’s old hat, but there is no time travel this year, there is no ‘we invented a light saber’.

Larry Jordan: No holodeck?

Dan May: No holodeck, but what we have done is we’ve put out a number of new products and a number of new free software updates that really help make good products great, help implemented workflows that people have asked for for a long time.

Larry Jordan: So get specific, what are the toys? Sorry, what are these incredible new work products that we can work with?

Dan May: Simple things, as an example, are there’s a free update for ATEM users, being able to tie Hyperdecks into ATEM so that you can have four Hyperdecks that you can use playback for video, that you can do slo-mo and replay.

Larry Jordan: We don’t have to do scripts any more.

Dan May: Right.

Larry Jordan: Very nice.

Dan May: These are things that, as a free update, it’s not something that’s going to make a big splash, but for any user out there, suddenly it just becomes incredibly useful. We have a set of updates like that, DaVinci Resolve 12.5, things that add a lot of value, OS updates for the cameras that we’re working on and showing, but they’re not going to blow everyone away because they’re unseen. But we do have hardware products.

Larry Jordan: Hold that thought for one second, I want to come back to DaVinci Resolve, because that has continued to explode into a full blown editor as opposed to just simply color grading, which almost puts you in direct competition with all the people that you use to cooperate with in terms of Avid and Adobe and Apple.

Dan May: And we still do cooperate with. What we’ve learned over time is that we want to be helpful and friendly and we understand that these are all tools in the toolbox and that there are people who are very committed to the solutions that they’ve been using, there are people who are open to new solutions and there are people who want to have fewer brands in their facility sometimes. But we also know that people want flexibility so, as we’ve seen over the years, we find ourselves saying, “Look, we can add these features and you can choose to use them or you can choose to ignore them,” as long as we don’t take away from what the product does and we continue to advance it and make it better.

Dan May: There are some really nice features about being able to say, “I’ve shot on a Blackmagic camera, I bring it into DaVinci, I’ve done my editing, I’ve done my color grading, I’ve done my finishing and I haven’t sent it another application.” There is something nice to say about that, but there are other people who will say, “I love to use my other Avid software, I love to use my Adobe software, there are so many things that fit into my workflow,” so we have to be cognizant of the fact that, again, these are just tools and people will use them and most people will gravitate towards things that make their life easier.

Dan May: Our goal is to try to make products that make people’s lives easier and if we do a good job of doing that, then we will be a part of people’s workflow, even if we’re not a part of every bit of the workflow. We don’t have to be and we’re very blessed as a company to be able to say you have choices with us that you want to use some of this hardware and someone else’s software, you want to use someone else’s camera and use our other bits of hardware, and that we have the portfolio to be able to say, “I don’t need to lock you in. I don’t have to have you be completely Blackmagic.” It’s very flattering as more people come and say, “We’re a whole Blackmagic house now,” but you don’t have to be and that’s a real ease of entry for us.

Larry Jordan: Let’s talk about the new hardware. What are the toys?

Dan May: I would say the most unique thing we’ve done is we’ve created what we call our Blackmagic Duplicator 4K and this is a one rack unit that takes 25 SD cards and encodes to H.265. The problem we’re trying to solve here is back when we used to do…

Larry Jordan: Wait, H.264 or H.265?

Dan May: H.265, because we want to be able to do 4K, Ultra HD, on these SD cards and our own H.265 encoding is very small. The Ultra HD files are just slightly larger than our H.264 in HD. Think back to ‘I want to go to my kid’s high school graduation’ and they’re trying to sell me, back in the day of VHS tape, or “I’m going to get you this Blu-Ray for 50 bucks in six months.” Well, that’s archaic, it’s not Ultra HD, it’s not necessarily easy and it’s not available at the end of the event.

Dan May: The idea here is, whether I’m a one camera or a multi-camera setup, I want to be able to hit encode, I want it to record across these 25 cards, or I can stack them if I need more, and be right out front at the merch table at the rock concert saying, “Hey, for 20 bucks, you can pick up this SD card and it’s H.265, drop it in My TV, hit play, ready to go.”

Larry Jordan: Except H.265 is not fully supported yet.

Dan May: It’s not. It is the format that is going to be out there for a lot of Ultra HD, many of the TVs out there already can do it, Samsung TVs and the like. A lot of PCs can. It’s a little questionable on the Apple side, where they are with it yet, but it is definitely something that’s coming along right now. Also, not everyone has Ultra HD, so you have to make this thing also be able to do HD, but we do feel that we have so much to offer in this space and there aren’t a lot of great solutions, that this is something that people are going to be looking at in these type of market spaces, whether they’re monetizing or not, quite honestly, and be able to have media. We did our press conference this morning and handed everyone an SD card that had the video of the press conference, so we think it’s a powerful tool, it’s a unique tool.

Larry Jordan: I think it’s a great idea because it takes over from the old Blu-Ray discs and the CDs and DVDs, so I’m excited. But the key caveat is the H.265, so be sure that you’ve got drivers installed to play the stuff.

Dan May: Yes, absolutely, and of course there are play things we may be able to do in the future, but the good news is we have this and it’s shipping now so people can get it, play with it and see what they like to do with it.

Larry Jordan: And anything else that you want to talk about?

Dan May: We do have a lot, but I would say the other two big announcements that are worth coming to check out or see on our website are a new Video Assist 4K – not necessarily surprising, our Video Assist has been really good. This is our SD recorder for monitoring and recording. We did have to make a 4K version, it’s seven inches, set up nice features. We’re not reinventing the wheel here, it’s just a really nice product for 895, also shipping now.

Dan May: What’s caught a lot of people’s eyes in the booth is we’ve made an actual studio viewfinder for our URSA and URSA Mini, so we actually have this nice hand, you can grip it, you can move. For several years people have said, “Blackmagic never makes a camera that looks like the camera it’s supposed to be,” so it was very flattering when we made an URSA Mini and people said, “Oh, Blackmagic finally made a camera that looks like a camera.” We’ve learned that sometimes you need that familiarity, people identify with that familiarity and to be able to put a studio viewfinder, a true proper studio viewfinder, on the back of an URSA Mini, people identify and they say…

Larry Jordan: Can we use the URSA Mini with an ATEM?

Dan May: Yes you can, and that’s a new software update that we’ve released today. This adds all the CCU control, the talkback and the tally, so while I don’t have the studio viewfinder shipping – it’s one of the few products I don’t actually have shipping today – we did want to show people that in addition with that Hyperdeck ATEM update, that CCU control with the URSA Mini and then showing the studio viewfinder to show that we are really committed to continuing to flush out this live production marketplace.

Larry Jordan: That is very cool. Where can people go on the web to learn more about all these new announcements?

Dan May: They can always come to our website at www.blackmagicdesign.com.

Larry Jordan: Do you have a spot that people can see the latest stuff from NAB on the site?

Dan May: Yes, they’re going to have a video that’s right on the front page. Click that, it’s about 50 minutes of seeing new products.

Larry Jordan: And Dan May is the President of Blackmagic Design. Dan, as always, thanks for coming by and thanks for joining us today.

Dan May: Great to be here.

Larry Jordan: Take care.

Larry Jordan: We are back live at NAB with Bryce Button. Bryce is the Product Marketing Manager for AJA Video System and AJA is legendary for the quality of gear they provide and I swear, Bryce, there’s been 8,000 press releases this morning alone with the new stuff that AJA has announced. What have you guys done today?

Bryce Button: Yes, it certainly is a pretty big load for this year and it crosses a lot of spectrums and categories. We announced about 23 items between new products and…

Larry Jordan: 23?

Bryce Button: Yes, between new products and updates and that type of thing. But the key items and the big news for this year’s show is definitely around IP.

Larry Jordan: Which means?

Bryce Button: IP in terms of internet protocol for transmission of signal and KONA IP, and so the transition is upon us. It’s been building to this point for quite some time.

Larry Jordan: Yes, yes, yes, yes.

Bryce Button: You don’t believe that, huh?

Larry Jordan: Well, here’s my problem. I’ve got my studio, my suite is wired. I’ve got wonderful SDI connections that go everywhere, I’m already digital. Why should I care about rewiring for IP? Because it’s going to cost me money and it’s going to be painful and I don’t like it.

Bryce Button: Well, that’s is the point, is we did not want to make it painful and the whole reason we’ve launched here with a KONA IP is that the KONA cards have been around the industry ever since the Final Cut Pro revolution and, in fact, in terms of announcing the support, Avid and Adobe and everybody else has provided, quotes, backing it all because the whole point is to make it seamless.

Larry Jordan: So tell me what it is, because I’m confused then.

Bryce Button: Ok, KONA IP is a desktop card, much like your KONA 4s or your KONA 3Gs that people have used for years. The only difference is it has two SFP Plus cages on it for 10GBE cabling. In terms of the way you’ll work with it, you’re going to work with the same AJA software that supports our KONA cards and it’ll be completely transparent to your editing software, so you will go into Media Composer, for instance, edit away as you always have. The only difference, of course, is that now you’re transmitting your signal across a network, so you could literally be editing across the world.

Bryce Button: In terms of the differences, of course it’s going to be distance, but the really big one over time is going to be metadata, and that’s key.

Larry Jordan: How so?

Bryce Button: Because once you’re into internet packets, you can add a lot of ancillary information and that data is something that is desired by many. Of course, the big catch is we’ve always had over the top, that’s been around for years, but you have latency problems there so it hasn’t worked well for live broadcast. The whole challenge has been how to use internet protocols to bring things that are much more of the live experience, where it has to arrive on time.

Bryce Button: AJA, like many companies, has joined a bunch of alliances. We’re in all the major alliances from AIMS to Sony Live IP to NDI, which is a NewTek initiative, to ASPEN, which is something that was really started by Evertz. The whole point of this card is we’ve built it in extensible fashion, so you’ll be able to put this card into your system and there’s plenty of space there for us to provide you the various codec packages that’ll come along, as well as deal with the IP protocol transition points that will occur.

Bryce Button: Today, if you go into KONA IP now, the great news is it’s not going to be any different because you’re working with a 70 20 22 protocol and that basically is uncompressed video and audio, there’s no difference to dealing with a BNC cable hookup in terms of the experience, and that’s what really matters.

Bryce Button: Then as we transition, the next phase – which is called TR4 – introduces effectively audio disembedding. It’s an AES standard that’s brought in and once we get to 3, which will be later in the year going into 2017, then you enter essence streams and that’s when it gets really exciting. Metadata can be added, can be taken out etcetera.

Larry Jordan: Before we run out of time, while the IP, I think, is really exciting because it gives us something to look forward to in the future, what are the new products that you announced that we need to mention today?

Bryce Button: Oh, a number. We’ll start with HELO. HELO is a standalone streaming recording box to H.264 with simultaneous recording and streaming. It can be done at different bit rates for the two different needs. You can go to USB drives, it’s got both SDI in and out as well as HDMI in and out, which is unique. Completely standalone device that can be powered off P-TAP, so if you happen to be working with a camera, plug into that.

Bryce Button: We also have U-TAP, which are miniature capture devices that use USB3 and you can come in SDI or HDMI. We’ve introduced the FS4, which is our next evolution of the frame synchronizers and convertors, and that’s a big one because you can do full 4K Ultra HD up down cross conversion all the way from SD etcetera. If you’re choosing to store, say, in HD now for the moment, or 2K, you’ve got four separate processors in a single one RU unit, so it’s a heck of a lot of power sitting there.

Bryce Button: New software for RovoCam. This was a little camera that we introduced with Sony optics a little earlier this year. It’s being utilized in some very big stadiums right now for sports and that’s free software that we’re making available. And then also for our traditional KONA cards IO, which are Thunderbolt driven devices, fresh software there supporting all the new non-linear packages that are coming out now from Adobe and Avid.

Larry Jordan: You’re a product marketing manager so, wearing your marketing hat, what’s got you the most excited of all the new announcements?

Bryce Button: KONA IP’s a big one for me. This transition has been hanging over the industry for quite some time. This is going to happen pretty damn fast because it’s come together and it’s been done around standards, at last.

Larry Jordan: Yes, but let me just digress for a second. I understand that the user experience is the same, and I think that’s critical, but for those of us who own physical facilities, we’ve got to rewire everything to support IP. Why should we go to the expense?

Bryce Button: It’s not going to be much of an expense because basically you’re asking for some conversions from standard SDI signaling into IP. That’s the easy bit. The difficult bit is actually providing you the tools so that you’ve got standards to work with. There really isn’t much cost and that’s why the networks have been looking at it.

Larry Jordan: Would we need to replace all of our routers and replace all of our conversions? All that hardware that lives in the workflow has to be changed, doesn’t it?

Bryce Button: Certainly you’re going to have convertors that provide that transition, but those are small, generally not that expensive bits. You’ll simply do that interrouting etcetera. We do have a technology preview here at the show, for instance, where you have ethernet connectivity and a JPEG 2000 signal coming down it and you just plug it into an HDMI monitor. That’s part of the key thing here, Larry, that as you put these things together, you’re going to cut out a lot of steps. You won’t need as much conversion. You simply come from the IP signal to your final destination.

Larry Jordan: And for people who want more information, where can they go on the web?

Bryce Button: You’re going to want to go to aja.com/nab. We’ve made your life simple – all of the new products are on a single place.

Larry Jordan: And Bryce Button is the Product Marketing Manager for AJA Video. Bryce, thanks for joining us today.

Bryce Button: Thank you again, Larry.

Larry Jordan: Take care, bye bye.

Bryce Button: Bye bye.

Larry Jordan: I want to introduce you to a new website – thalo.com. Thalo.com is an artist community and networking site for creative people to connect, be inspired and showcase their creativity. Thalo features content from around the world with a global perspective on all things creative. Thalo is the place for creative folks to learn and collaborate. Thalo offers access to all of the arts, from photography to filmmaking, performing arts to fine arts and everything in between

Larry Jordan: Thalo is filled with resources that all of us can benefit from. In fact, the Thalo artist community is now a family of websites including doddleme.com, digitalproductionbuzz.com and larryjordan.com. Visit thalo.com and discover how their community can help you learn and succeed.

Larry Jordan: And welcome to day one of NAB, we are in the South Lower Hall and I am welcoming a new co-host for this show, James DeRuvo. James, hello, welcome back.

James DeRuvo: Hi, Larry, thanks for having me.

Larry Jordan: You have been busy talking to people at doddleme.com and interviewing people and hobnobbing with the great and near great. I’m glad you took some time to visit with us.

James DeRuvo: Yes, wandering around. I’ve already put four miles on my feet today and I’m probably going to double that by the time the sun goes down. I’m looking at 30 miles by the end of the week.

Larry Jordan: Well, what we’re going to be doing now is we’re going to be talking with some really high quality people as opposed to just you and me. I’m delighted to introduce Barbara de Hart. She is the Vice President of Desktop Business and Corporate Marketing for Telestream. Hi, Barbara, good to have you back.

Barbara de Hart: Thank you, I’m so glad to be here, Larry. I’m a little disappointed; I thought I was your new co-host, though.

Larry Jordan: James, move over.

James DeRuvo: Ok, I’m out of here.

Larry Jordan: I missed you last year, you stood us up, but I am so glad that you are back because you always have cool things. What’s Telestream up to these days?

Barbara de Hart: We have been so busy, lots of exciting things going on. One of the things that we’re debuting here at NAB this year is our new Telestream cloud offering. Late last year, we acquired a company called PandaStream, which is a cloud based encoding solution and we have been busy over the last six months taking that product offering and adding a lot of Telestream’s expertise and technology into that cloud offering and so cloud encoding is the name of the game for us these days.

Larry Jordan: Well, I know that your title says Desktop Business and Corporate Marketing, but on your thingy here it says Desktop and Cloud Business.

Barbara de Hart: Right.

Larry Jordan: Why is Telestream in the cloud? Now, from a marketing point of view everybody and their cousin needs to be in the cloud because otherwise you can’t compete in today’s society, but how am I supposed to transfer a 17 terabyte file up to the cloud for compression when I can have Vantage or Episode on my local system? Give me the reason for this.

Barbara de Hart: If you start from the point of looking at the devices that we are viewing our content on and work backwards, when you’re distributing content over the internet you have to get the content up there anyway and so you might as well create the distribution versions that you need and send them out there. A lot of our customers already use cloud storage for different aspects of their workflows and so having encoding capabilities in the cloud is an important part of the whole story.

Larry Jordan: Is there an advantage to encoding in the cloud as opposed to encoding locally?

Barbara de Hart: I think the variables are many whenever you’re looking at an encoding task. It depends on what you’re coming from, what you’re going to, what you need to do with it in the middle, and when you look at the location of that, whether it’s on premise – I would say we don’t care if it’s in the closet or in the cloud, we just want you to use a Telestream solution. Our job is to make the best encoding products available and make them available wherever you’re doing your other work so that we can help solve the problem.

Larry Jordan: If we’re working with Episode, that’d be like a small shop or an individual; working with Vantage, that would be more like an enterprise. Who’s the target market for cloud?

Barbara de Hart: It goes really across the board. When you look at Telestream’s products, we serve markets all the way from education to houses of worship to corporate enterprise to the large media and entertainment companies and when you look at cloud encoding, we cross all of those. There’s as much viability for education, larger or smaller houses of worship, corporate enterprise and media and entertainment as well. There’s also a type of company that Telestream solutions didn’t address before and that is what we would call the cloud resident company, so companies whose operations are all already in the cloud. If they have a need for media processing to occur, they would never consider an on premise solution, so it’s opened up a whole new door for us as far as serving an even broader customer base.

Larry Jordan: That’s very interesting. I still remain somewhat skeptical of the cloud, but I can understand now why you guys would be going after it. Is there anything else new or is that the only thing that you guys have been working on for the last year?

Barbara de Hart: Gosh, no. There are lots of things. One of the exciting things we just announced last week is with our Wirecast Live Streaming product. We announced integration with Facebook Live. Facebook Live is a new and exciting destination for live streaming. It had previously been available to some of the partner levels who produce content or distribute content over Facebook and so now that’s available for everyone, super exciting there, and that’s just really exploded. It’s taken on a whole life of its own, which is really fun.

James DeRuvo: Is Telestream handling the back-end on that?

Barbara de Hart: We’re creating the content on the ground and then we are distributing it directly into the Facebook Live APIs and then, of course, Facebook is handling the distribution from there. It’s really great to be able to take your camera and all of a sudden have a live stream going out to all of your friends in your news feed. It’s a whole new world, really.

James DeRuvo: You know how GoPro announced that periscope integration on Twitter? Is ultimately the goal to have something similar, to where you would have an app that integrates with your camera or that type of thing, or use your mobile phone and then you’d be able to go in from there?

Barbara de Hart: That’s a great question. Telestream has a product called Wirecast Go, which is for the IOS. It’s not just live streaming from your camera, but it adds production capabilities and that’s not yet available or we don’t have the Facebook APIs integrated in with the IOS app, but really our goal and our entry point for this was to be able to give people the tools available in Wirecast for production. We all know the difference in value in just taking a camera shot and shooting that versus being able to add some production to it. You might have multiple cameras, you might want to add in overlay or a lower third, introducing things that are a little bit more production oriented with the content, and so that’s really our focus with Wirecast having that capability.

Larry Jordan: We like Wirecast a lot. We’ve been working with that on the video side of The Buzz for a long time.

Barbara de Hart: Thank you.

Larry Jordan: Anything else?

Barbara de Hart: The big, big, big news for us at the show is on the enterprise media and entertainment side of things. Our Vantage media processing platform has supported VOD workflows only. Just before the show, we announced Lightspeed Live server which allows you to do live streaming and/or live capture on the higher end of the product family, live streaming, enterprise class production, so we’re super excited about that. Anybody who comes by the Telestream booth at NAB can see a huge Live island in the middle.

Larry Jordan: Position this between this and Tricaster.

Barbara de Hart: Our Lightspeed Live? Well, Lightspeed Live doesn’t do any production, it’s basically usually base band in or IP video in and then a live stream out, so it’s often used for repurposing broadcast content for OTT distribution and it’s really targeted at its initial launch at that OTT distribution of…

Larry Jordan: So I’ve got the program created and now I need to be able to distribute it, and that’s where your product would come in. Called what, again?

Barbara de Hart: Yes, it’s called Lightspeed Live.

Larry Jordan: Is it shipping?

Barbara de Hart: It will be shipping – oh, can I say this out loud? – It’ll be shipping early summer.

Larry Jordan: This year?

Barbara de Hart: Yes. Oh yes.

Larry Jordan: But it’s not shipping now.

Barbara de Hart: No, not at the moment.

Larry Jordan: But it’s shipping real soon.

Barbara de Hart: Real soon and it’s in our booth at NAB. Like I say, it takes up the whole center of our booth.

Larry Jordan: So it actually exists.

Barbara de Hart: Oh, it’s real. It’s real and it makes pretty pictures.

Larry Jordan: Of all the things that you’ve announced recently, what’s the thing that’s got your attention the most?

Barbara de Hart: I think certainly the cloud is a new and evolving part of our industry and I think that, when you spend a lot of time focusing on on premise solutions and then you have the opportunity to start moving things up into the cloud, it does open a lot of doors that otherwise wouldn’t have been there. That’s really got a lot of our heads spinning at this point.

Larry Jordan: And where can we go on the web to learn more?

Barbara de Hart: You can go to telestream.net.

Larry Jordan: And Barbara de Hart is the VP of Desktop Business and Cloud Business for Telestream. Barbara, as always, a delight. Thanks for joining us today.

Barbara de Hart: Thanks for having me.

Larry Jordan: Take care.

Larry Jordan: Welcome back to NAB. Day two in the South Lower Hall. We have got a ton of great products and companies to talk about and I just can’t wait to get started. Ric Viers is the CEO of blastwave.com, which specializes in some of the most incredible sound effects you have ever heard. Ric, good to have you with us.

Ric Viers: Ah, good to be back.

Larry Jordan: Well, it is always fun to see you, so I’m glad that you’re here. First, give us a sense of what Blastwave is, and then we’re going to talk about all the new stuff.

Ric Viers: Blastwave FX, I hate to say this, we just realized this yesterday, but this is our tenth year.

Larry Jordan: No way!

Ric Viers: See? We should have been planning a little bit better, but yes, this is our tenth year, so we’ll probably have something up our sleeve toward the end of the year to celebrate.

Larry Jordan: Are you bringing a cake to NAB?

Ric Viers: Next year. It’ll be a cupcake but, yes, we’ll bring you something. But, yes, ten years of producing sound effect libraries and that’s where we’re at with…

Larry Jordan: What was it that first got you hooked on sound effects? Because you’ve been doing this for a long time.

Ric Viers: I hate to say it, but I think it’s either next year or the year after this, it’ll be 20 years.

Larry Jordan: 20 years?

Ric Viers: 20 years, yes.

Larry Jordan: Well, you started when you were three.

Ric Viers: I was three years old when I started, a little Fisher Price recorder. But, yes, I actually went to school for film and television production. I was a filmmaker at heart and I still am, but it didn’t take me too long in the industry before I realized the importance of sound and so I was doing location sound as my start and then started recording sound effects somewhat as a hobby. I wasn’t really satisfied with the sound effect collections that were available to the consumer and some of the professional as well, so I just grabbed a microphone and said, “I’ll just do this myself,” which turned into a career.

Larry Jordan: Career and at least one company and maybe more. So what have you got that’s new for us?

Ric Viers: A few things. A follow-up from last year – last year I told you that I was about to create my 666th sound effects library and we did. On Halloween last year, we released library number 666 called Haunted FX.

Larry Jordan: I would hope so, with that number.

Ric Viers: It was 666 sound effects to wake the dead. We documented it on my online reality show YouTube channel, the Detroit Chop Shop Video Diaries. I won’t go into too much detail but we had some absolutely legitimate happenings, some supernatural events that took place during the show. But right now I’m getting ready to go into the sixth season of the show and we’ve got some big stuff planned for the interns this year.

Ric Viers: To date, we’ve given over $150,000 worth of gear and software to the interns from all the sponsors and partners that I have.

Larry Jordan: Are you serious?

Ric Viers: To help them get started. I remember how hard it is to get started. This is a true story – I had to get my dad to co-sign for a loan so I could buy my first couple of microphones, my package, and now I have a mic cabinet that’s got – I hate to even say this – over 175 microphones and I feel so bad for saying this but there are microphones I have that I have never used – yet.

Larry Jordan: Yes, but there are also some who say, “Yes, but I can only use that outside. I can only use that one underwater.” Not to be snobbish or anything, but I’m sure that there’s not one mic that meets all of your needs.

Ric Viers: I’m a little fru-fru when it comes to microphones. There are certain microphones after Labor Day that I won’t touch. People ask me, “Why don’t you just use one microphone?” and that’s kind of like going to a photographer and saying, “Well, obviously you only need one lens, you only have one camera.” It’s the same kind of concept. They capture things differently, they hear things differently, they reproduce the sound differently. It’s a lot of fun to play with and say, “This one sounds better for this.”

Larry Jordan: So obviously you’ve got nothing new to talk about this year.

Ric Viers: Oh, of course, I just sit around at home all day listening to your show, I don’t actually work for a living. Actually, in January we launched something I’m very proud of and that is soundeffects.com.

Larry Jordan: Why? You’ve already got Blastwave. Why another one?

Ric Viers: Well, Blastwave FX is a publisher of professional sound effect libraries. Soundeffects.com…

Larry Jordan: Is a bunch of amateur sound effects.

Ric Viers: No, actually, we have professional sound effects there but the goal of soundeffects.com is to not sell sound effects, although we offer them, but to educate and teach people the world of sound effects, the black art that is making noise. That’s the goal there, to get a community of kids that are interested in getting into this industry or making sounds for their own productions and show them, “Hey, look, here are some articles, some tutorials.” We run contests and all sorts of fun stuff, but that’s the goal behind soundeffects.com.

Larry Jordan: So it’s a teaching site.

Ric Viers: That is a part of it, yes.

Larry Jordan: And Blastwave is a selling site.

Ric Viers: Blastwave FX, yes, we’re a publisher of professional sound effect libraries.

Larry Jordan: Does Blastwave publish more than just your effects?

Ric Viers: Currently no, but that is something that we’re looking into for the future. I probably shouldn’t be saying this out loud, but that’s the truth.

Larry Jordan: I was just wondering because there are sites which specialize in reselling and there are sites that sell their own stuff and I never realized whether Blastwave had a point of view.

Ric Viers: What made us different from the beginning was there were only two major publishers when we started, but they had a whole host of products from various producers and things like that, and that’s good and that’s cool and that’s great, but I think what made us a niche was that we have a certain flavor, a certain style to our sound effects and we wanted to stay true to that vision. It’s easy to go out and just buy a bunch of sound effects from some guys and then make a massive library of sound. That wasn’t really our goal. We wanted to establish a sound to our sound effects from the get-go.

Larry Jordan: A style.

Ric Viers: Yes, yes.

Larry Jordan: And is it just you or do you have a team of people working with you?

Ric Viers: We have a team of people, yes.

Larry Jordan: More than just you?

Ric Viers: Believe it or not, more than just me.

Larry Jordan: When you are the face to the organization, it’s sometimes hard to believe there are people behind you.

Ric Viers: Every sound effect ends up in my ears at some point. Nothing gets released until I personally have mastered it, so the buck does stop here. The decibels stop here. But we do have some people that help us out, absolutely. We’ve got a team of people that handle things like the website, marketing, sales, distribution, things like that because – God help me – I am so horrible when it comes to math and accounting so we have people that take care of that.

Larry Jordan: I was just thinking, what I’d like to do is I’d like to hold you for another segment and talk about the whole process of recording sound effects, if you can give us a couple of extra minutes, but before we do that, talk to me about your latest release. What are the latest sound effects that you’ve got?

Ric Viers: I guess it would be last month, we came out with a new library called Beeps and there are over 3,000 beeps. It is exactly as advertised. We’ve got telemetries and short beeps and one of the things that I found that was a hole in the industry is there are no real world beeps. There are synthesized beeps but it didn’t sound like you were pushing a button on a console of a spacecraft or something like that.

Larry Jordan: 1972 Volkswagen Beetle, beep, beep.

Ric Viers: No, a bit more multimedia slash science fiction types of beeps, so something that actually sounds like it’s coming out of a console or something coming off of a dashboard of a spacecraft or something like that.

Larry Jordan: That must have been terrible to work on. I can’t imagine how hard.

Ric Viers: Oh my gosh, yes, because nothing will freak you out more and make you more stressed than listening to high frequencies for weeks and months on end, let me tell you. Needless to say, I’ve been spending a lot of days at the spa to just bring me down from that.

Larry Jordan: I can’t imagine you spending days at the spa.

Ric Viers: Actually, I’m a spa nut.

Larry Jordan: And for people who want to make a difference with their sound effects, what are two websites you can think of that would be useful for people to know that want the best sound effects?

Ric Viers: In terms of learning information, I would say go to soundeffects.com. We’re getting up there, just now starting to release articles and videos, as well as my website, ricviers.com.

Larry Jordan: And the Ric Viers himself is the voice that we’re listening to. Ric, thanks for joining us today.

Ric Viers: My pleasure.

Larry Jordan: Take care.

Larry Jordan: The Buzz at NAB is powered by Doddle. Doddle gives you a portal into the broadcast, video and film industries. It’s a leading online resource presenting news, reviews and tutorials for the film and video industry. Doddle also offers a resource guide and crew management platforms specifically designed for production. Doddle’s digital call sheets, along with their app, directory and premium listings, provide in depth production organizational tools for business professionals.

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Larry Jordan: And welcome back to the second day of NAB. My name is Larry Jordan and I am joined by my peripatetic co-host, Mr. James DeRuvo. Good to see you. Where have you been and why have you come back?

James DeRuvo: I’ve been wandering through the Central Hall. I just saw the largest drone I have ever seen in my life, it’s about seven feet wide and it can carry five RED camera packages on a gimbal.

Larry Jordan: How many?

James DeRuvo: Five.

Larry Jordan: Wow.

James DeRuvo: You could bomb a country with this drone, it’s so huge.

Larry Jordan: It’s good to have you back.

James DeRuvo: It’s good to be back.

Larry Jordan: Joining us today is Sean Mullen. He’s the lead designer of Rampant Design Tools and a frequent guest on The Buzz and we’re always glad to have you here, Sean. Welcome back.

Sean Mullen: Thanks, Larry. Thanks, James. It’s great to be here.

Larry Jordan: For people who have not realized the quality of material that Rampant Design Tools creates, how would you describe the company?

Sean Mullen: We create drag and drop style effects that are QuickTime based. They work in everything that can read QuickTime, so we’re pretty much platform and OS agnostic. The best way to describe it is we’re the digital saucer for your chips. You can instantly stylize any edit or any motion graphic with our content just by dragging and dropping.

James DeRuvo: Ok, now I’m hungry.

Larry Jordan: I was just thinking, Apple just announced that it was deprecating QuickTime on Windows. Does that suddenly destroy your entire market?

Sean Mullen: It does not. On the Apple side, it doesn’t affect us at all. On the PC side, in the short term you can run a personal firewall that you can block any malicious attacks if you’re still using ProRes. This is bigger than just our company, this is huge, so people aren’t going to abandon ProRes quite yet.

Larry Jordan: ProRes?

Sean Mullen: Yes.

Larry Jordan: Ok.

Sean Mullen: We work with ProRes.

James DeRuvo: Is ProRes heavily dependent on QuickTime to actually operate?

Sean Mullen: Yes and no. On the PC side, I believe so. On the Mac side, this is irrelevant. But, yes, from what I understand, we’re getting mixed information because everyone’s scrambling and everyone’s at NAB, but I think things will pan out a little bit more clearly in the next week or two so we can get a firm answer from both Apple and Adobe and other manufacturers. Right now, people are just scrambling and releasing half sentences that people are deciphering and spreading misinformation, so I think right now the best thing, if you’re a PC user and you’re dependent upon QuickTime, is that you should be using some kind of a personal firewall that blocks malicious stuff; and you probably shouldn’t be going to those kinds of websites on your workstation anyway.

Larry Jordan: That’s a whole separate story, trying to figure out what’s happening with QuickTime. It’s just that a lot of your stuff is QuickTime dependent and I’m sure that when that announcement came out, it was not the happiest day of your life.

Sean Mullen: It wasn’t the happiest day. We issue everything on RED so we can certainly go back to everything and transcode it to something else, whatever that thing happens to be. However, I can’t get two or three PC users to tell me one workflow that’s not ProRes. We could do DNxHR maybe, it just depends. We could do DPX files, it all depends on what the PC community wants and right no-one’s speaking up.

James DeRuvo: Could you port it over to Silverlight?

Sean Mullen: Sure. We could do it to anything that anybody wants.

James DeRuvo: Or HTML5 would probably be…

Sean Mullen: Yes, we could H.265 if the processing speed wasn’t so heavy. Right now, H.265 decoding is a little rough, so compositing with that would probably not be the best right this second.

Larry Jordan: Well, the nice thing is that stuff that you’ve got will work short term and long term will have a codec that we’re going to be able to convert to, so it’s not as though people need to panic; and on the Mac side, everything is just the way it always has been so there’s no change there.

Sean Mullen: Right, no change.

Larry Jordan: So tell us what the new stuff is.

Sean Mullen: Well, we have four new style effects, which are our QuickTime based effects. We have muzzle flashes which are real muzzle flashes and smoke, so if you’re compositing action scenes these are 100 percent real muzzle flashes and gun smoke.

James DeRuvo: Are they Freddie Wong approved?

Sean Mullen: I would like to make that happen. If you can make that happen, let’s do this. I would love to get them in the hands of Freddie Wong and see what he has to say. I know Seth Worley and Ryan Connolly have them, but I don’t know if they’re using them yet. The other style effects we’re using that we’ve created are natural flares. Last year we released anamorphic flares and they were widely popular. The only thing that people asked for was whether they could have more natural flares to pair with those.

Larry Jordan: What’s the difference between the anamorphic and the natural?

Sean Mullen: The anamorphics are very sci-fi looking, very JJ Abrams, big, loud flares. I made this other product as a complementary product, something you’d see in a grocery store commercial or a bank commercial, very soft, beautiful, non-attention grabbing but more color and overlay flares. We also have some flare transitions and some reflections, but the really big news here is that we’ve decided to start making product specific effects as well.

Sean Mullen: We have eight brand new Final Cut products, brand new Final Cut plug-ins that Stephanie Mullen, the other half of Rampant, has created; and we also have After Effects and Premiere Pro presets, so we’ve started branching out.

James DeRuvo: Would she be the better half?

Sean Mullen: She’s more like the better 85 percent.

Larry Jordan: Now, wait, wait, you said these are application specific. What does that mean?

Sean Mullen: We are branching out. We will always do style effects, we’ll always do media based or QuickTime based effects, but we’re always doing product specific things like Final Cut plug-ins, After Effects presets and plug-ins, Premiere presets and plug-ins. We’re going to start creating content for specific things that you can’t necessarily do just with QuickTime.

Larry Jordan: For instance?

Sean Mullen: The eight Final Cut plug-ins are still drag and drop and they’re still based on our QuickTime effects, but they give you things that you can’t do natively with just the QuickTime. For example, my favorite product is the glitch transitions that she made. You can distort your video, but it also displaces your video, so it’s not just an overlay. You’ve got our great glitch overlays but then it also displaces the video on both sides. We also have style mats where you can drag and drop into drop zones, so we’re utilizing the power of Final Cut exclusive effects mixed with Rampant and it’s a good marriage.

Larry Jordan: Now, are these all released or are these just being talked about or what’s the plan?

Sean Mullen: Everything is released. We don’t mess around. We made sure everything was done and out in the market before NAB.

Larry Jordan: I see, so no sleep at all during the month of March.

Sean Mullen: No, no. We’re vampires.

Larry Jordan: What’s your goal? Is your goal to continue the style stuff or is your goal to shift more toward application specific?

Sean Mullen: My goal is to help all video editors and motion designers everywhere do what they need to do, to help them make their video look better. If that’s QuickTime based, I will do that from now until the end of time. If it’s something in After Effects, like a preset, for example we’ve just released real camera shake presents. I shot and tracked everything on the RED and so you can drag real camera shakes from subtle nice drifts to really crazy action and it’s all real. It’s not scripted, it’s not animated, it’s cracked from real camera footage. Everything we do starts in camera, no matter what we do. You can’t do that in QuickTime but it’s still valuable to artists and video editors, so we’re going to continue to make tools that we find useful and helpful to editors and artists everywhere.

James DeRuvo: Back to the discontinuance of QuickTime just for a moment, all your existing clients that already have these style effects that are build in QuickTime, are they going to have to turn around and port those effects over into whatever the new thing is, or will they just go and download it from you? What’s your strategy towards servicing that transition from one to the other? Do you have one yet?

Sean Mullen: We will always have our effects available online. If you’ve bought from us in the past, you can always go back and download, so if you’ve bought flares, for example, you can go back and download a different codec or a different format of those flares when they’re available.

Larry Jordan: Sean, I want to follow up on this idea of creating camera lens flares. How do you record them without recording that which is in front of the lens to begin with?

Sean Mullen: Aha! Yes, that’s the trick. First I had to find really old glass, because today’s glass doesn’t flare that much or that well – it’s not supposed to. Machine made glass doesn’t necessarily flare, so I went and found 30 to 50 year old lenses and did a lot…

Larry Jordan: Where did you find them?

Sean Mullen: You’d be surprised what you can find on eBay that people think have no value. I grabbed as many lenses as I possibly could, so right now our studio’s full of random lenses and adapters.

Larry Jordan: In other words, you’re buying junk.

Sean Mullen: Absolutely. One man’s junk…

Larry Jordan: And storing it in your studio. You’re going to run out of room.

Sean Mullen: Yes.

Larry Jordan: People are going to look at your studio and wonder just what kind of work is being done here.

Sean Mullen: Yes, if I died and someone went through my studio, there would be some questions.

James DeRuvo: Well, look at it this way, he could also get into the lens rental business afterwards.

Sean Mullen: For sure, for sure.

James DeRuvo: If that QuickTime thing doesn’t work out.

Larry Jordan: All right, so we’ve got lenses piled up in corners of your garage. Now what?

Sean Mullen: Then you do some research and find what kind of light creates the flare, then you also find out what kind of angles create the best flare, but you’re right, all lens flares that you see in production have a source and the source is in camera. You’re not going to necessarily get a flare. If you’re pointing at the sun, you’ll get a flare. If you’re not pointing at the sun or if the sun’s off camera, no flare. The real trick is shooting a lot wider than your delivery spec and then cropping.

James DeRuvo: And then do you shoot it against a black background?

Sean Mullen: Yes, 99 percent of everything we do is over a black background.

Larry Jordan: Hmm. Now, when you say doing some research to figure out what the best angle is to get a flare or the best type of light, where do you put the light? Want angle and how bright?

Sean Mullen: I use everything from every single light you can buy online to every flashlight you can buy online. There are literally probably somewhere in the neighborhood of 400 light sources in our studio.

James DeRuvo: So he has a lens storage unit and then he has a flashlight storage unit.

Sean Mullen: Right, but Florida’s full of hurricanes so we’re definitely prepared when the power goes out. We each have eight flashlights.

Larry Jordan: And Ric Viers was talking earlier about doing sound effects for frogs, he’s got a frog studio that he works with, so we’ve got frog studios and light studios and lens studios.

James DeRuvo: There’s a Dr. Seuss book in here somewhere.

Larry Jordan: I think so. Ok, so we’re shooting against black and now what happens? When you say you’re shooting larger, what kind of camera are you using?

Sean Mullen: Right now I’m using the RED Epic.

Larry Jordan: So you’re shooting at 5K?

Sean Mullen: Right, 5K wide.

Larry Jordan: And then cropping to?

Sean Mullen: I’m still cropping back to 5K, but I’m shooting 5K wide, so I’m giving you 5K 16 by 9 but I’m shooting 5K wide.

Larry Jordan: Now, what does 5K wide mean? For those of us who don’t shoot 5K on a regular basis.

Sean Mullen: I should know the actual dimensions and I don’t right now, I’m embarrassed, I should know it, but I believe it’s almost two to one. It’s huge. It’s ridiculously wide.

James DeRuvo: You have a lot of real estate.

Larry Jordan: It’s messing with the aspect ratio.

Sean Mullen: Yes.

Larry Jordan: So we’ve got more horizontal pixels.

Sean Mullen: Correct.

Larry Jordan: So why shoot wide?

Sean Mullen: That way I can crop out the source. You don’t want to see your source in your composite.

Larry Jordan: Oh, oh, oh! Because the light would actually be in the shot.

Sean Mullen: Correct, correct.

Larry Jordan: So you’ve got to crop the light out.

Sean Mullen: By cropping it out, I now have a flare minus the source and now it’s a compositing element. I really shouldn’t be telling secrets on your show, Larry.

James DeRuvo: Does that throw off the light when you light meter? Does having the direct source throw it off just a little bit and you have to compensate?

Sean Mullen: The great thing about the RED waveform is that it’s very stylized so that you can get a lot of information out of it. I know when I’m clipping, I know when any channel is clipping and I’m usually trying to keep everything dead center. If something’s crazy and I know it’s crazy, I’ll record it and I’ll throw it into REDCINE just to double check, but nine times out of ten I’m not clipping.

James DeRuvo: Can you upscale? How far up can you upscale with 5K?

Sean Mullen: I will never upscale anything. I’m dead set against it.

James DeRuvo: I guess it doesn’t really matter if you’re just doing light flares. You don’t really have to worry about using a 5K light flare in an 8K file.

Sean Mullen: When it comes time for 8K to really be a workflow, I’ll have 8K flares. I’m looking at all the 8K cameras right now.

Larry Jordan: That’s going in the 8K section of the studio as opposed to the flashlights, right next to the frog swamp. That’s where it’s going to go. You know, shooting against black makes sense. Are you giving us alpha composites on any of this stuff?

Sean Mullen: On things like distortion and grunge and film, I’ll give you an alpha channel. On light I will never, ever, ever give you an alpha channel.

Larry Jordan: How come?

Sean Mullen: Because I don’t believe you can put a hard matte on light, I think it looks terrible. I see people do it all the time and it makes me cringe, so I wholeheartedly recommend that you use blend modes If you want to create your own alpha channel after you take our effects, that’s fine but that’s on you. I truly hate lunar mattes and alpha mattes with light. I think it’s wrong.

Larry Jordan: So how do you really feel?

James DeRuvo: Yes, don’t sugar coat it.

Larry Jordan: What blend modes should we use for lens flares? What looks good?

Sean Mullen: Screen is the safe way to go. I know if I say Add, you’ll remind me that you could violate broadcast standards, so you have to be careful where you’re going. But Screen is always the safe way to go. If you’re not going to broadcast, if you’re going to the web or another medium where clipping doesn’t matter, Add is beautiful. But you’re absolutely going to clip when you’re using Add in a light source, especially over a bright background or whatever.

Larry Jordan: I do like Screen, and what Screen does is it combines the lighter pixels of the foreground with the background, which is exactly what you want with lens flares, to just take the lighter pixels.

Sean Mullen: Right, and you can’t do that with an alpha channel.

James DeRuvo: Are they really popular? Are filmmakers using lenses? JJ catches a lot of crap when he uses his lens flares now, so how is…

Sean Mullen: Yes, our flares are our number one selling products but, like anything, use things in moderation.

James DeRuvo: Don’t be JJ.

Sean Mullen: Well, every once in a while we’ll get submitting something and it’s just flare, flare, flare, flare and I’m not sure what the message of the video was, but it’s a great demo reel for Rampant so I guess thank you. But the reality is you should use it sparingly and when it’s purposeful, that’s all.

Larry Jordan: Tasteful.

Sean Mullen: Yes.

Larry Jordan: I’m not exactly sure that word applies to a lot of the products that have been created now.

James DeRuvo: A little goes a long way.

Larry Jordan: Yes. Flares are your most popular product?

Sean Mullen: Yes, flares are our number one selling product right now.

Larry Jordan: What’s number two?

Sean Mullen: Our style mattes, our animated mattes are insanely popular.

Larry Jordan: What’s an animated matte?

Sean Mullen: I spent a few weeks animating every possible shape configuration I should think of, so you could drop video into them. It’s basically stylizing your edit. I guess the best example would be every time you see a reality show where they cut from one scene and it scales down and there’s a box and then right next to it’s another box with the next scene in it and it scales back up. We’re calling those style mattes. They’re basically animated mattes. So we’re basically punching video through all kinds of different shapes, from modern shapes to simple shapes to all kinds of different animations.

Larry Jordan: Hmm. What projects are you working on next?

Sean Mullen: We’re developing so many new products for After Effects and Premiere, as well as Final Cut. We’re really pushing the Final Cut stuff, but I’m also working with a lot of action directors and I’m shooting blood effects next, which won’t be popular for some people but will be popular for others.

Larry Jordan: Blood effects.

Sean Mullen: Blood effects, yes.

James DeRuvo: Are you having a hard time getting volunteers?

Larry Jordan: No, but he’s got a stack of corpses in the studio.

James DeRuvo: Sean Mullen, serial killer.

Sean Mullen: We’d have to answer a lot of questions if someone casually walked by and saw them.

Larry Jordan: Sean, what website can people go to learn both of the old and the new effects that you’re creating?

Sean Mullen: That’s rampantdesigntools.com.

Larry Jordan: That’s rampantdesigntools.com. Sean Mullen is the lead designer of Rampant Design Tools. Sean, thanks for joining us today, it’s always fun.

Sean Mullen: Thanks, Larry. Thanks, James.

Larry Jordan: Take care.

Larry Jordan: Our NAB 2016 coverage is a massive effort and these are only some of the more than 50 interviews that we’ve done here at the show. For all the interviews, be sure to visit nabshowbuzz.com; and I want to thank our guests on tonight’s show, starting with Bill Roberts, the Senior Director of Product Management for Adobe Systems; Dan May, the President of Blackmagic Design; Bryce Button, the Product Marketing Manager for AJA Video Systems; Barbara de Hart, VP of Desktop Business and Corporate Marketing for Telestream; Ric Viers, CEO for Blastwave FX and soundeffects.com; Sean Mullen, the lead designer for Rampant Design Tools, as well as the rest of The Buzz team.

Larry Jordan: In fact, it takes a great group of people to create our NAB show coverage and I want to call them to your specific attention, starting with our Executive Producer, Steven W. Roth; our series producer is Debbie Price; our producer, Paige Braven; production and web, Brianna Murphy; social media, Patrick Saxon; production assistant, Steve Neven. I also want to thank the team at doddleme.com – Heath McKnight, James DeRuvo and Danny Samptos.

Larry Jordan: My name is Larry Jordan and thanks for listening to The Digital Production Buzz at NAB.

Announcer: The NAB Show Buzz is powered by Doddle, at doddleme.com and sponsored by Maxon and Thalo. Copyright 2016 by Thalo LLC.

Transcript: Digital Production Buzz – April 7, 2016

Digital Production Buzz

April 7, 2016

[Transcripts provided by Take 1 Transcription]

(Click here to listen to this show.)

HOSTS
Larry Jordan
Mike Horton

GUESTS
Steven W. Roth, Founder/CEO, Thalo.com
Heath McKnight, Editor-in-Chief, DoddleMe.com
Debbie Price, Series Producer, Digital Production Buzz

Larry Jordan: This week on The Buzz marks a new beginning. We’re now a part of the Thalo family of creative websites. Steven W. Roth is the founder and CEO of Thalo, including thalo.com, a website that fosters excellence in the arts and emphasizes its importance to our culture and society. Tonight, he shares his vision for Thalo, their websites and The Buzz.

Larry Jordan: Next, Doddle is a leading online resource for filmmakers covering news, reviews and tutorials for the video and film industry along with movie and TV news. Doddle also offers tools for filmmakers, including their digital call sheets. Heath McKnight is the Editor in Chief of Doddle News and joins us to talk about what Doddle is doing.

Larry Jordan: Next, The Buzz returns to the NAB show with more live webcasts direct from the trade show floor. Debbie Price is producing all of our Buzz NAB shows and she joins us tonight with a preview of what we can expect at the show.

Larry Jordan: All this plus a brand new co-host, along with the ever affable Mr. Mike Horton. The Buzz starts now.

Announcer: Since the dawn of digital filmmaking – authoritative – one show serves a worldwide network of media professionals – current – uniting industry experts: production, filmmakers, post production and content creators around the planet – distribution. From the media capital of the world in Los Angeles, California, The Digital Production Buzz goes live now.

Larry Jordan: And welcome to the Digital Production Buzz, the world’s longest running podcast for the creative content industry covering media production, post production and marketing around the world. Mike, it’s been a very interesting week around here. As I announced at the end of last week’s Buzz, we’re now part of a bigger organization called Thalo, so tonight we’re going to meet some of the key folks that are part of the Thalo family of websites and one of those new faces is joining us as a second key host. Not necessarily as handsome as yourself.

Mike Horton: A second key host?

Larry Jordan: A second co-host.

Mike Horton: You said a key host.

Larry Jordan: Key host and co-host, they’re two words that mean…

Mike Horton: It something you put into a door, it’s a key host and you twist it.

Larry Jordan: No, no, no, the key goes in the door, the host goes through the door.

Mike Horton: Key host.

James DeRuvo: Are you the key master?

Mike Horton: I’m the key master.

Larry Jordan: He’s the key master.

Mike Horton: That’s right, I’ll be key master, you be the key host. But I like the word.

Larry Jordan: James DeRuvo is our new voice. James has a multifaceted career that spans radio, film and publishing. A writer about the technology and the video industry for nearly 20 years, James is also an award winning film director. He’s also produced many talk radio programs in Los Angeles with topics ranging from entertainment to travel to technology. Hello, James, welcome to the other side of the mic.

James DeRuvo: Well, thank you. It’s nice to be here, Larry.

Larry Jordan: What first got you interested in technology?

James DeRuvo: Well, I got my start writing for Camcorder Magazine.

Larry Jordan: Oh yes.

Mike Horton: I remember that. Do you remember Camcorder Magazine?

Larry Jordan: I do indeed, yes.

James DeRuvo: And then it was Computer Camcorder Magazine.

Mike Horton: Oh, really?

James DeRuvo: And then I was selling cameras at the time at a camera store in Ventura and I got that gig and that led me to Videomaker Magazine, where I wrote on and off for probably four or five years, and then I became a tour guide at Universal Studios.

Larry Jordan: Everybody has been a tour guide at Universal Studios.

Mike Horton: When it doesn’t work out for Videomaker, you go to Universal.

James DeRuvo: You go to Universal.

Larry Jordan: What subjects do you like writing about?

James DeRuvo: I like writing about cameras and video technology in general. I love the GoPro. Just mobile filmmaking and action photography’s really intriguing to me, but my newest obsession is 3D printing.

Larry Jordan: That clearly ties in with cameras. I can see the connection without hesitation.

James DeRuvo: Well, I got into it because all of my filmmaker buddies were making props and everything and the current obsession is making their props through 3D printers, and I understand why. It’s really easy to get obsessed with. It’s fun.

Mike Horton: If you go into practically any film set, there’s a 3D printer there and they’re whipping up what they need very, very quickly.

Larry Jordan: Wow.

Mike Horton: There’s a little CAD artist doing something and even costume people are doing little buttons and that kind of stuff on 3D printers.

James DeRuvo: I just talked to a 3D printing manufacturer today and he says that 3D printers are the thing for cosplayers to have now, because they can literally make Hans Solo’s blaster right there, and I just made Hans Solo’s bastard just this morning.

Mike Horton: Well, you can probably Google the 3D drawings and put it in your little 3D player and bingo.

James DeRuvo: Yes, it’s a lot of fun. You know how the iPhone has changed the way the world is?

Larry Jordan: We do know.

James DeRuvo: We can do everything with it from video to computers, oh, and making phone calls. Well, I honestly believe that 3D printers are going to be one of those things where you don’t remember your life before it happened.

Larry Jordan: Mike, I know that you’re not at all worried about the Supermeet, because you never worry about Supermeets beforehand, but at the end of the show I want to find out how Supermeets are going.

Mike Horton: Yes, there’s a lot to talk about, Larry.

Larry Jordan: And in the meantime, I want to remind everybody listening to subscribe to our free weekly show newsletter at digitalproductionbuzz.com. Every issue every week gives you an inside look at The Buzz, a quick link to all the different segments on the show and curated articles of special interest to filmmaker. Best of all, every issue is free. Mike, James and I will be back with the founder of Thalo, Steven Roth, right after this.

Larry Jordan: Steven W. Roth is the creator and President of Thalo LLC and its website, thalo.com. Thalo is an artist community that features content, articles and videos from around the world with a global perspective on all things creative. Last week, Thalo acquired The Digital Production Buzz, so this week we want to talk with Steven to learn more about Thalo and his plans for the future. Hello, Steven, welcome.

Steven W. Roth: Hi, Larry, thank you for having me. It’s a pleasure to be here.

Larry Jordan: My pleasure, I’m looking forward to this conversation. You describe Thalo as an artist community. What does that mean?

Steven W. Roth: Thalo was put together to be able to connect all creatives around the world, and the reason why we decided to come up with this concept and implement it is because we have found that there was a common denominator in every discipline of art, the same questions came up. Ok, I have my skill set or I have my passion, but where can I begin to network? Where can I meet people? I know I have people in my own community, but how do I expand my community? How do I continue to develop my skills? Where do I go for that? Lots of other questions, how do I keep up on the art world? How do I develop my online presence?

Steven W. Roth: So it became apparent to me that there was a need out there that Thalo can play a role in that could actually solve some of these problems.

Larry Jordan: What were you doing before you started Thalo? To me, there is an interesting transition between what you were doing and this new focus on the creative arts.

Steven W. Roth: I have a financial and operating background. I came up through the ranks of turning around businesses financially and operationally, and I also had the opportunity and fortune enough to be able to join my father’s firm, which specialized in financial operating restructuring for companies that were in trouble. We wound up getting involved in a company that was manufacturing manual tools and accessories for architects, engineers and draftsmen.

Steven W. Roth: Now, as you know, Larry, industry has changed quite a lot. The only thing that’s constant is change and we knew that when we were looking at these businesses that we were going to have to make a change, so I took it over as President and I converted the company into a creative products company where we became a supplier for the creative community in the art field. We have fine art products consisting of oil and acrylic and watercolor paint under the brand Grumbacher, drawing and sketching supplies under the brand Koh-I-Noor, and we also have calligraphy ink under the brand Higgins, amongst other brands that we distribute for our European partners.

Steven W. Roth: Now, when I got involved with this business and I was turning it around and repositioning it, I met a lot of creative people along the way. I met enthusiasts, I met students, I met professors, I met workshop instructors and it was very clear to me that what they really needed was a place to come to be inspired and that was really what I consider to be organic. It just felt right to me that I could get involved in creating this community. I want to build it and I want to bring it to the creative community.

Steven W. Roth: I’ve been in the creative community over 15 years, but I’ve been really involved as a supplier, providing high quality artist products. But what I learned, Larry, when we put Thalo together and we started to go out and interview people, it was very interesting because we interviewed, for example, Tico Torres from Bon Jovi, he’s the drummer. A fascinating man, multitalented, multifaceted. Not only is he a drummer but he also paints and he considers himself to be a painter.

Steven W. Roth: I had the pleasure of interviewing Burt Young, the actor, and it turns out he started out drawing and painting. All of these professionals in one part of their life were either in the music end or the drawing and sketching end and it was very clear to me that these people were multifaceted, so I thought that it would be a good idea if we built an artist community that represented all the disciplines in art. We cover probably 14 different disciplines, from advertising productions, comics and animation, art education, culinary design, film and TV, photographic and digital arts, music, urban arts, fine arts etcetera, and the common denominator is that all of these creative people, Larry, not only are they multifaceted, but when you look at what they’re doing for a living, they have their commercial arts and then they have their passion.

Steven W. Roth: Somebody that may have started out drawing and painting has become a motion capture editor, but in his spare time he’s still drawing and painting and trying to sell his work, so we thought why don’t we create a community that will be able to connect all of these people.

Larry Jordan: Steven, I was just reflecting, you got started in your dad’s firm turning around financially troubled organizations and now you’ve made the switch into creativity, at least running it from a business point of view. Is it a different set of skills? Does business require one set and creative activity requires another? How do you see that balance?

Steven W. Roth: I think the first thing is everybody has their discipline or expertise or profession and if you’re going to succeed in any discipline or profession, you have to be creative. No matter what situation you go in in life, you can’t just look at it in black and white. You have to go in and you have to look at the situation and you have to be creative.

Steven W. Roth: Any business person coming into a business obviously has to look at the financial side to make sure that they stay viable, but at the same time to be relevant in the marketplace and to be able to expand and grow your business or, in my case, expand and grow thale.com and this artist community. You have to be creative and the way you become creative is you speak to the people in the community and when you’re communicating with people and you have an open mind, the ideas start flowing; and so to me, I think if you’re an entrepreneur it’s a natural progression, it’s very organic that you analyze your business, you make sure it’s viable, but then you get out into the marketplace and you understand exactly what’s going on and that’s where all the creativity flows.

Steven W. Roth: To answer your question, I really do think that many people have this ability.

Larry Jordan: Thalo describes itself as a family of websites. Which websites are included?

Steven W. Roth: Thalo started out with thalo.com and then we had the pleasure and opportunity to acquire doddleme.com. Now, Doddle’s content focused in on the film and television industry or the topics that we cover and the reason why we acquired it was we felt that it would enrich our content, and in addition there were certain tools that Doddle offers the film and television industry, such as electronic call sheets, which help independent filmmakers manage their staff around an event. They don’t have to use paper, they can use their iPhone and put all of the checklists and the instructions that are needed to run the even in it.

Larry Jordan: We’re going to be talking more with Heath McKnight, who’s the Editor in Chief of doddleme.com in the next segment so, although I’d like to spend more time talking about Doddle with you, I’m going to skip over it to give Heath something to say, because there are two more sites that were just added to the Thalo family. One is digitalproductionbuzz.com and the other is larryjordan.com. What attracted you to those two sites?

Steven W. Roth: It was very interesting because digitalproductionbuzz.com focused heavily on filmmaking and Doddle, although it covered filmmaking and product reviews, was really more focused, in my opinion anyway, on film viewing. Plus we have a tremendous amount of respect for you and we just feel that The Buzz would have so much more potential if it teamed up with Doddle, so that’s the opportunity that we see and we’re going to keep the brand digitalproductionbuzz.com and it’s going to be incorporated into doddleme.com as its own section, focusing on filmmaking.

Larry Jordan: I purchased the Digital Production Buzz about nine years ago and if on the day that I purchased The Buzz somebody asked me this next question, I couldn’t answer it. But that doesn’t stop me from asking you, so I’m going to ask you the same question – what’s your goal with all these sites? What do you see as the future of Doddle and The Buzz and Larry Jordan?

Steven W. Roth: The future, the way we see it, is that we have to be a provider of information, we have to be a provider of education, and we want to be able to take all this information, all this content and we want to be able to connect all the users. If you look at digitalproductionbuzz.com and you look at larryjordan.com, and even doddleme.com, there isn’t a way for people to interconnect and communicate with each other and share ideas within different disciplines within the arts and our team right now is in the process of being able to install that feature.

Larry Jordan: Staying up to date in any technical industry is both extremely important and yet resource intensive and it always requires a balance, it seems to me, between providing free information and information that people pay for. How do you find that balance? What should be free and what should we charge for?

Steven W. Roth: I think that’s a really good question, Larry. Our intention is to build a community where people can come and have a voice, and if they have a voice they’re going to be able to share a network and learn from other people. Being the management of thalo.com, we want to take the charge of bringing content that is relevant to the community and there is a balance, because we have to stay viable, but at the same time we want to be able to have this community thrive by people networking with each other.

Steven W. Roth: So what we’re going to do is we’re going to be providing all different types of content and we’re also going to be providing certain features and benefits, and if the community thinks that certain of these features and benefits have value, then they’ll pay for it. If not, they won’t. We’re not going to force them to come in and have to buy these features and benefits, but what we’re trying to do is to give them a platform where they have a place to go to put all their stuff. They can come in, they can put their bios in, they can upload their artwork into a gallery and they can possibly sell their works in the gallery. It is a fine line, Larry, and it’s something that we challenge ourselves every day on, but we want to make sure that the users and the community have a voice.

Larry Jordan: I am really looking forward to working with you and figuring out that balance. It’s something I’ve been wrestling with for many years and I suspect that we’re going to be wrestling with it for many more years to come. Steven, where can we go on the web to learn more about Thalo and your family of websites?

Steven W. Roth: I would go to thalo.com and I would peruse the website and you can go to the ‘About Us’ section and you can certainly scroll down to the bottom of the site and you’ll be able to learn more about us.

Larry Jordan: And the site again is thalo.com and Steven W. Roth is the creator and President of Thalo LLC. Steven, thanks so much for joining us today.

Steven W. Roth: Thank you, Larry. It was a pleasure and I look forward to working with you.

Larry Jordan: The Digital Production Buzz returns to NAB starting at noon, Monday April 18th. Live programs every day directly from the trade show floor, all the industry leaders, all the news, all in one place. Visit nabshowbuzz.com to see a complete list of shows, show times and guests. Hear a new show every day at 10, 12, 2 and 4. No-one covers NAB like The Buzz.

Larry Jordan: Heath McKnight is the Editor in Chief of Doddle News. Heath has a long history as an independent filmmaker, a producer, an editor and a teacher. He’s produced and/or directed over 100 feature and short films and is also the President of the Palm Beach Film Society. Hello, Heath, welcome.

Heath McKnight: Hi, Larry, how are you?

Larry Jordan: I was just realizing that Doddle is a strange word. Where does it come from?

Heath McKnight: The original founders of the site named it Doddle because it’s British slang for ‘it’s simple’. Jim Robertson, who was one of the original founders, was a corporate video producer, and he was always juggling different production guides between cities and counties anywhere in America and really around the world. He wanted to make it easier by developing an app with his team and basically they put together a production guide app and they also included this awesome feature of creating digital call sheets.

Heath McKnight: I’ll give you an example. If I were to be flown out to, say, Denver, Colorado to produce a video, I can use the Doddle app and directory to find crew that are listed on there, cameras to rent, other equipment, crew members, obviously, and maybe a studio space that I might need and then I can create a digital call sheet and it makes it simple, or a doddle. It’s a doddle, it’s a simple thing.

Heath McKnight: So that’s how they came up with it and it’s a pretty cool concept.

Larry Jordan: I remember when Doddle got started and their digital call sheets were unique at the time, but then where did Doddle News come from?

Heath McKnight: I was brought in after it had been developed and I believe it was around the end of 2010 into 2011, the original co-founders decided that they needed something to push traffic in on the one hand. On the other hand, they wanted to give the users of the Doddle app and directory something else in addition to when you pull up your app. Now they wanted to have news, so they started doing news. They used news wires, and then they also started hiring a variety of writers and they kind of had two different types of news.

Heath McKnight: On the one hand, they would have filmmaking news, like Canon’s putting out a new camera, Apple just released an awesome new version of Final Cut Pro X, so on and so forth, but they were also doing movie news, because a lot of filmmakers, a lot videographers, crew members, they’re just like anybody else who loves movies. They’re geeks, they want to know what’s going on, so they would cover the fun stuff like Superman and Batman, Iron Man, movies like that, so they had this concept which was split with two different things.

Heath McKnight: But because they also had news wires, it broadened it a little too much because they were doing a lot of tech news like iPhone stuff and stuff that really wasn’t of as much interest to people in the industry. When I was brought in, really it was about four years ago, April 2012, I came in and I had a lot of experience not just with filmmaking and being a film school teacher too, running the Palm Beach Film Society here in South Florida, but also I had spent a lot of years writing for different publications like Videomaker, Moviemaker, Digital Media Online Inc. I’ve worked with Douglas Spotted Eagle and helped contribute to a couple of his HDV and HD production books about a decade ago, really when this whole HD revolution was getting more affordable and pushing us into this next generation of filmmaking and video production.

Heath McKnight: So I could take all of that and my experience also as a writer of this film technology and I could start honing in our vision at Doddle News. I said, “Let’s get rid of the wires, let’s really focus on the movie and TV news,” because people love the geek stuff. Everyone from industry filmmaking crew all the way down to people who really are doing corporate video, wedding video, they love the movie news.

Heath McKnight: But we also are now giving them a little bit more than just, “Hey, Canon has a new camera out. Red is introducing this hot new camera.” We’re also now reviewing some of these products, we’re reviewing software. We even started doing a little bit of education, or maybe I’ll say training, but not at the level that you do, Larry Jordan, but more little bite size written articles about video editing, cinematography.

Heath McKnight: One thing that’s really popped up in the last decade is having to be a one person band, where instead of having a full crew it’s really just one or two people, so we started even doing some stuff like, “Ok, you may have only been doing this and now you’re going to start maybe doing a little more audio. We’re going to try to help you out,” so we really honed in on our voice on the filmmaking side while still strengthening the movie and TV news side.

Heath McKnight: It’s been maybe 60/40 one month maybe a little more movie news, but another month maybe we’re doing a little bit more filmmaking news, especially with NAB or maybe IBC is happening or any kind of big trade show related to the film and video industry.

Larry Jordan: Heath, I know that you started off as a standalone website. When did you get acquired by Thalo?

Heath McKnight: We were acquired by Thalo in the fall of 2013 and it really was a great fit for us because many in the film and video production industry have other artistic sensibilities such as music, painting, video games, art appreciation, even sculpture, so really it opened up a huge new world for our readers that have other passions besides just film and video production.

Larry Jordan: With Thalo acquiring both the Digital Production Buzz and larryjordan.com, what do you see the future as with Doddle and these other websites?

Heath McKnight: I feel that the training that we’re doing at doddleme.com is pretty good, but what larryjordan.com has will really bring all of us, I believe, to the next level. As they used to say Spinal Tap, it’s going to turn us up to 11; and the Digital Production Buzz, I think what this can do is we can team up and we can start sharing our resources with podcasts and really take that to the next level as well. I really truly feel that what we’ve been doing at Doddle and what you’ve been doing at larryjordan.com really combining is going to make things even bigger and better. I really truly feel that. I just feel like it’s very exciting. It’s just very exciting.

Larry Jordan: Well, you’ve mentioned the fact that you’ve got multiple writers that are now working for Doddle News. Who are some of the writers that you’ve got?

Heath McKnight: On the film and video side, we have James DeRuvo, who is a long time – as he likes to call himself – tech geek, and he does a lot of our writing and hardware product reviews. James is based in Los Angeles and he has been in the film and television industry for well over 20 years. In Toronto, Canada we have Danny F. Santos, who in addition to having a pretty successful career in indie music, indie filmmaking and even he’ll work on major movies in Toronto, he’s also a big geek. He and I met in person once, he came to Florida, and he was like a long lost brother and he’s such a great writer. He has a distinct voice as well and he’ll do some of the filmmaking tutorials or maybe I’ll say, “Hey, this new software plug-in for Final Cut just came out, can you write something?” But he really focuses a lot on the movie and TV news. He just reviewed ‘Daredevil’ season two. He texted me one night and he said, “Well, I just binge watched the entire season. It just came out yesterday,” and I said, “What the heck, give me a review. That’s awesome.”

Heath McKnight: What’s really cool is we have writers all over the world. In the UK, we have Mark Hodge, who is strictly a movie writer, and he’s been with us for a few years. He can bring not only mainstream movies like the Iron Mans and Captain Americas and Supermans, but he also can bring a really nice arthouse perspective and, in fact, he and I have been talking for a while about it’s the 20th anniversary of the arthouse revolution of 1996, maybe he could write a retrospective on all those great films like ‘Fargo,’ ‘Lone Star,’ ‘The English Patient,’ and he does a lot of that stuff.

Heath McKnight: We also have a dedicated movie critic named Kimberly Gadette, and she is a long time movie critic and just a spectacular writer. Getting back to the film training side, we have Kevin P. McCulloch, who’s very well known in the video editing world. He does a lot of work with some major clients and he is also big in the world of training. He’s been doing what I like to call bite size one on one introductions. He’s done stuff on Avid, Premiere, and these all are text based, very short articles that make it easy for somebody who’s never done it before to just get in and get their toes wet. We started doing Media 100, which just came back. That’s a blast from the past right there. He does Apple Motion 5.

Heath McKnight: We have a great team of writers. We have some people that just do a little bit of writing for us and I’m always looking for somebody else who maybe has a specific voice that they can bring to our readers. Our readers really are – and I love to have conversations with them on our Facebook page – people in the industry, maybe they’re just casual, maybe it’s a hobby for them, but we also have people who are doing local corporate videos. One time we had somebody contact us and say, “I love your stuff,” and I was like, “Holy cow, this is a guy who is kind of high up there in the industry,” and that’s fun. I love getting the new Canon camera announcement along with the new trailer for maybe ‘Captain America: Civil War’ and that’s kind of cool and that makes us a little unique.

Heath McKnight: I know there are some other sites that balance out a little bit of movie geek news with the filmmaking and video production news, but overall I feel like we’re unique in that sense and we’re really hand in hand with the people who are also using the Doddle app and directory and call sheets.

Larry Jordan: You’ve mentioned the fact that you’ve got all these wonderful writers, but do you also have any audio or video elements on the site?

Heath McKnight: Absolutely. James DeRuvo does a podcast where he does a one on one interview with somebody in the industry. He’s interviewed the great Phil Tippett. Whenever I hear his name, I automatically think of his stop motion and go motion work on ‘Star Wars,’ ‘Robocop’ – I was a huge fan of ‘Robocop’ when I was a kid. He did the Ed 209. He got into CGI but he still does a lot of the stuff. He was one of the earliest interviews. James also has interviewed several times with Shane Hurlbut, who is not only a major cinematographer but a major proponent of digital cinematography and really just this whole push towards using DSLRs or lower cost but high quality digital cinema cameras that are dedicated.

Heath McKnight: He’s talked to a bunch of people on the manufacturing side. He’s talked to people at Adobe, he’s talked to people from Blackmagic, just all the stuff that we love. He’s got a couple coming up that are going to be pretty exciting but they’re a little more niche, they’re plug-ins, and it’s somebody who’s just really exciting who does a lot of these plug-ins and does his own films and we’re going to have that podcast coming out soon.

Heath McKnight: I think that’s also a major component of what we’ve been doing and in addition Kevin P. McCulloch has done five introductory videos that we posted on our YouTube and on our site, doddleme.com, which talks about getting into After Effects, so we’re dabbling into the video side of things with training but we’re hoping to really push it more into the stratosphere, if you will.

Larry Jordan: Well, I’m looking forward to having our two sites work together, The Digital Production Buzz and Doddle, and for people who want more information about Doddle itself, where can they go on the web?

Heath McKnight: Doddleme.com.

Larry Jordan: That’s doddleme.com and Heath McKnight is the Editor in Chief of Doddle News. Heath, thanks for joining us today.

Heath McKnight: Thank you.

Larry Jordan: Debbie Price is the Producer of Digital Production Buzz’s coverage of NAB 2016. She’s been producing these live events for The Buzz since… oh, a long time. This year, The Buzz is powered by doddleme.com, which allows us to add an exciting mix of both regular guests with companies that you may not have heard of. Hello, Debbie, welcome.

Debbie Price: Thank you. Good to be here.

Larry Jordan: It is good to have you on that side of the mic, because you’ve been behind the scenes since forever.

Mike Horton: Oh, this is the first time ever, right?

Debbie Price: Ever.

Mike Horton: Ever.

Debbie Price: Ever.

Mike Horton: I don’t know why we have not had you on before. I’ll blame Larry on that one.

Debbie Price: Blame Larry for everything.

Mike Horton: Especially with that British voice. How could you not put that on the air?

James DeRuvo: Beautiful.

Larry Jordan: She has been running everything behind the scenes. I had to have some territory that was mine.

James DeRuvo: Ah, there it is, the US versus Britain territorial battle all over again.

Mike Horton: Don’t bring in a Frenchman.

Larry Jordan: Debbie, what are your plans for The Buzz at NAB?

Debbie Price: Well, this year we are doing live shows, which is very exciting. Audio only live shows. We’re going to be doing 13 shows across the…

Larry Jordan: How many?

Debbie Price: 13. One three. I know, tell me about it.

Mike Horton: Wait a minute, is that 13 a day or 13?

Debbie Price: No, no, over the course of the week.

Larry Jordan: How many are we doing a day?

Debbie Price: We’re doing three or four, depending on when the show opens. Some days we’re doing four and some we’re doing three. On Thursday we’re only doing two.

Larry Jordan: Did I know this?

Debbie Price: No, I’m keeping you in the dark…

Mike Horton: You do now.

Debbie Price: …until the very end. That is my MO with you, Larry.

James DeRuvo: Actually, you don’t even know now.

Debbie Price: Shhh! Don’t tell Larry.

Larry Jordan: So we’re doing 13 shows. How many people in each show?

Debbie Price: Four guests per show and we’ve got some amazing people lined up. We’re already totally booked up, which I’m pleased to say is a very exciting position to be in, but we have people like Blackmagic…

Larry Jordan: Now, wait, wait, wait. Michael has not yet announced his agenda.

Debbie Price: Oh, sorry Michael.

Larry Jordan: Do we want to tell people what our agenda is and just humiliate Mike in public?

Debbie Price: Yes, let’s do that.

Mike Horton: Wait a minute, am I on that list?

Debbie Price: Do you want to be?

Mike Horton: Yes, why not? You’re already booked up.

Debbie Price: See the producer.

Mike Horton: You can slip me in somewhere around there.

Larry Jordan: So who have we got?

Debbie Price: Yes, Blackmagic, AJA, Adobe, huge names at the beginning part of the week. Some great shows.

Larry Jordan: Do we have Avid?

Debbie Price: Avid, yes. HP, all sorts of really big names, but this year we’re also looking at smaller companies, start-up companies and people who are on a smaller budget, perhaps, new people who are starting. They’re always the really exciting ones, the people who have their booths round the outside edge of the show floor. They’re the exciting people to talk to. Several years back, we talked to GoPro when they were tiny, and now look at them.

Larry Jordan: It’s all The Buzz’s doing, by the way. I want to add that GoPro had nothing to do with its success.

Debbie Price: Of course it’s all to do with us. Don’t tell their PR company.

Mike Horton: Yes, somebody saw Larry with a GoPro and their stock just went through the roof.

Larry Jordan: Where are we going to be doing these interviews?

Debbie Price: We are at Booth SL11505, on the show floor.

Larry Jordan: So South Lower.

Debbie Price: South Lower. We’re very easy to find, we’re about two-thirds of the way down the hall on the left hand side as you’re walking down. Same place as we have been for the last three years.

Larry Jordan: The cool thing I like about this is all the shows are live, so you get a chance to really hear the news as it’s being made. Some of the people are coming from the press conferences right to the booth to be able to give you their news.

Debbie Price: Absolutely, and they’re bubbling with excitement to tell somebody what’s just happened, so we’re in a good position.

Larry Jordan: Help us understand what the show format is and where can people go to learn more about it?

Debbie Price: Ok, well, you can find us either at nabshowbuzz.com or digitalproductionbuzz.com and the format will be live shows. You don’t have to listen to it live you can download it afterwards and they’ll all be available for probably around two years afterwards. Every single interview we do will be up there – go and take a look. If you can’t be at the show, it’s a really good way to experience being at NAB, because we’re in a position to be able to talk to quite a lot of the exhibitors there.

Larry Jordan: Let’s take a step back and put your producer hat on for just a minute. What kind of guest do you look for for the show and what makes a good guest? Who tends to work out best for these situations? Because we’re really talking about products.

Debbie Price: Yes we are, and that’s the difference between the NAB show and the regular Buzz – we concentrate much more on industries and we can go more into depth with them at Nab than we can on our regular Buzz shows. It’s quite interesting because our listeners have a particular need and we’re not looking at high end people. Oftentimes that’s just not interesting to the people who want to tune in to hear us, so we’re looking for industries that would be of interest to our people, so smaller studios, independent people, independent editors, that kind of thing.

Larry Jordan: One of the things I’ve found is the larger the company, the farther away we want to get from the President. For instance, with Adobe, we’re talking with Bill Roberts and Bill is the Senior Director of Product Management. He directly deals with the engineers to figure out what the specs of Premiere and Media Encoder and After Effects are going to be, and that’s exactly the right person we want, it’s the guys that are driving the products.

Debbie Price: Absolutely.

Larry Jordan: But in a smaller company, it’s the President because they’re the one that has the passion, so we’re looking for the person who really understands the product and has a passion for it, and those tend to be the best guests.

Debbie Price: Yes, that’s right.

Larry Jordan: You know, Telestream announced a new cloud based encoding product today, James.

Mike Horton: Really?

Larry Jordan: Yes, cloud based encoding.

Mike Horton: Well, I did get the PR but I didn’t read it.

Larry Jordan: I’m still struggling to figure out why I want to send files up to the cloud for encoding.

Mike Horton: Have you got a little privacy problem there, Larry?

James DeRuvo: Steve Wozniak says it’s going to be the apocalypse in the cloud. He’s not a very big fan of it.

Mike Horton: Neither is Larry.

Larry Jordan: No, that’s true. I’m not the world’s biggest fan of the cloud, but the cool thing is that Barbara DeHart is now in charge of desktop and cloud products for Telestream and she’s been on The Buzz multiple years and she’s on The Buzz this year, so I want to ask her why we want to be on the cloud and do compression.

Mike Horton: Speed. Look at Jaunt, for instance. You take 24 cameras in that one big round ball, all that data, you’ve got terabytes and terabytes. You send it right to the cloud, let them do it on their giant servers and it comes right back within a couple of hours. If you do it at your place, it’s a couple of weeks or months.

Larry Jordan: Michael, Michael, Michael.

Mike Horton: Yes, Larry, go ahead. I’m passionate about what I’m talking about.

Larry Jordan: I have in the back end, as it were, a 60 terabyte server which holds all of our media files that we have here in the studio for part of The Buzz, and I decided it was time to make a backup of these, because I have no backups and I felt I should really back this stuff up.

Debbie Price: It’s time.

James DeRuvo: Yes, that would be a good thing. That’s a really good idea.

Larry Jordan: So I decided I was going to back this up, so I’ve got a 30 terabyte RAID.

Mike Horton: That’s 30.

Larry Jordan: 30 terabyte RAID and I’m backing up files via the ethernet, so it’s a hardwire from the server. It takes three hours at 100 megabytes a second to back up one terabyte and that’s at speeds faster than I will ever get going to the cloud. If I’ve got a one terabyte file or even a 200 gigabyte file, The Buzz in master form is 200 gigabytes, it’s going to take me…

Mike Horton: …ever get.

Larry Jordan: It will take me a month to get that up to the cloud. Two months.

James DeRuvo: I like Amazon’s solution. They’ll actually send you this big hard drive that’s several terabytes and you literally just plug it in, throw it over and then ship it to them.

Debbie Price: That’s not cloud, though.

James DeRuvo: It’s kind of cloud.

Larry Jordan: It’s FedEx cloud.

James DeRuvo: It’s FedEx cloud. You FedEx it and then they turn around and they plug it into their network and pop it up and that way you’re not…

Mike Horton: Actually, you’ve got a really good point there, Larry. Maybe there’s a giant pipeline that Telestream… it’s a secret one.

Larry Jordan: A secret pipeline?

Debbie Price: A secret pipeline.

Mike Horton: A secret pipeline that you can log into.

James DeRuvo: In the internet of tubes.

Debbie Price: I’ll have to ask Barbara.

Larry Jordan: James, what’s Doddle doing at NAB?

James DeRuvo: I’m going to be interviewing Dan May of Blackmagic. I get the very first interview after their press conference, which is usually very fun because they’ve just burned up NAB with a brand new product or 20 of them, and so I’ll be interviewing him, and then we’ll be going over to GoPro, and we’re just going to be hitting all the typical names and doing some audio and video interviews.

Larry Jordan: I want to compare. Debbie, what’s your goal in an interview? What do you want to get done?

Debbie Price: At NAB, I want to find out what’s new for them. If they’re a brand new company, who they are and what they’re doing. The more established companies, people will know who they are and everyone is excited to hear their new news, so that’s for NAB. It’s very different than a regular Buzz.

Larry Jordan: So what’s your goal, James?

James DeRuvo: I’m a technology geek at heart, so I’m always looking at what the new thing is that they’re coming out with, and how I can use it as a filmmaker or as a broadcaster to make a better product, and so I’m more about the product and having the conversation and the practical applications of what we can use that product for. That’s why I tend to look at drones for filmmaking and 3D printing for filmmaking and the cameras for filmmaking. I’m a camera guy.

Larry Jordan: You’re looking really to answer the question “how.”

James DeRuvo: Yes, how can I make a better product and will this tool do it for me?

Larry Jordan: And, Debbie, you’re more interested in the question of “what.”

Debbie Price: What, yes, absolutely.

Larry Jordan: Cool. So people can actually listen to both and learn in both cases.

Debbie Price: Yes, we complement each other.

Larry Jordan: How wonderful.

James DeRuvo: Kindred spirits.

Debbie Price: Ahhh!

Mike Horton: Go and exchange notes.

Larry Jordan: NAB occurs when the normal Buzz is on, which is Thursday nights.

Debbie Price: Thursday.

Larry Jordan: And we’re doing all these shows at NAB.

Debbie Price: Yes, Larry.

Larry Jordan: So what are we doing for The Buzz on Thursday night?

Debbie Price: Ah, I’m glad you asked me, actually. We have a very special show on Thursday night. We’re going to combine all of our best bits and I’ve got a lot of best bits. Highlights from the NAB show, basically, so anyone who wants a roundup of what happened at NAB, the Thursday night show will be the place to listen to it.

Larry Jordan: That is so cool. Where can people go on the web to learn more?

Debbie Price: It’ll be nabshowbuzz.com or digitalproductionbuzz.com.

Larry Jordan: Nabshowbuzz.com is going to have a list of the shows, the guests on the show and the times for all the shows, as well as a button that you can click on to listen to the live stream itself.

Debbie Price: Correct, yes it will.

James DeRuvo: And we’ll probably put something up on doddleme.com, just for people who are used to going to that site. They can just go right to nabshowbuzz.com.

Larry Jordan: That’s very cool.

Debbie Price: That’s nice, thank you.

Larry Jordan: Very cool. Debbie, thanks so much for joining us. I wish you great success at NAB, because if you have great success it’s going to benefit all of us.

Debbie Price: Thank you, Larry. Nice to be here.

Mike Horton: Bye, Debbie, see you next week.

Debbie Price: Bye, Michael.

Larry Jordan: James, it’s been an interesting show. We’ve talked to some good people and I’m really glad that you’ve joined us. It’s fun having you with us.

James DeRuvo: It’s been a gas. I’m really confident and excited about the future between our big family now. It’s going to be a lot of fun, I think.

Mike Horton: It is, it’s a big family.

Larry Jordan: It is a big family and thinking, Michael, of your family, we’ve got Supermeet coming up and we haven’t had a chance to talk about that yet.

Mike Horton: That is going to be, as you know, at NAB on Tuesday night at the Rio Hotel on April 19th. There are still tickets available. You want to go to supermeet.com, but you want to do it now. You want to do it right now. Don’t wait. Grab a ticket right now.

Larry Jordan: Do you have any raffle prizes?

Mike Horton: We have $93,000 as of today and we already know a bunch of them are coming in in the next week, so it’s going to be over $100,000 worth of raffle prizes once we reach the Supermeet day.

Larry Jordan: Yes, but are you going to feed us?

Mike Horton: And we will feed you. We will feed you hotel food. You are responsible for your own alcohol, but we will feed you hotel food. In fact, we’re going to have big pieces of meat that you can carve yourself.

Larry Jordan: And I know you haven’t announced an agenda yet because you just like driving us nuts.

Mike Horton: We finally announced the agenda.

Larry Jordan: No way!

Mike Horton: Yes, we have the agenda. If you go to supermeet.com – I can’t read the whole thing – it has the entire agenda and if you’re into VR and 360 video, actually we’ll do more on the cinematic 360 video, you’re going to want to go to the Supermeet because it’s going to be huge.

Larry Jordan: The thing I like is the exhibitors you’ve got around the little shelf that you’ve got, they’re so…

Mike Horton: We have over 26 vendors this year, everybody from Avid to Blackmagic to Adobe to Atomos – we’ve got a lot of As. We’ve got a few Bs.

James DeRuvo: It’s A Supermeet is what it is.

Mike Horton: There are a lot of As and a lot of software, digital… Oh my gosh, it’s on and on and on, plus every one of them’s going to be doing something special at their table, not only making deals but you can learn all about the new software that’s out there and the new hardware solutions, and you can do that in an intimate setting where you can’t do that on the show floor.

Larry Jordan: What does it cost to get in?

Mike Horton: $15. That’s it. Just $15.

James DeRuvo: That’s a deal at twice the price.

Mike Horton: In fact, you know what? It’s going to cost you $10 because as soon as I hang up here in just a few minutes, I’m going to create a discount code just for Digital Production Buzz listeners. The discount code’s going to be DPB, so if you go to register for the Supermeet, use that discount code…

Larry Jordan: That’s like Digital Production Buzz. DPB.

Mike Horton: Yes, exactly. DPB. That’ll be the discount code. That’ll save you $5 so that’s ten bucks, so you can save that $5 and buy three extra raffle tickets. Seriously, this is the best deal in town.

James DeRuvo: And you’re buying food.

Mike Horton: Well, no, you’re getting food free. You’re buying beer and wine and things, but that’s it, and you’re buying raffle tickets.

Larry Jordan: And what website again?

Mike Horton: Supermeet.com. Use DPB, save five bucks. Tell your friends.

Larry Jordan: And James, what website can people go to learn more about Doddle?

James DeRuvo: You can learn more about Doddle at doddleme.com. If you want to find out more about Doddle News, it’ll be news.doddleme.com.

Larry Jordan: I want to thank this week’s guests, Steven W. Roth, the founder and CEO of Thalo LLC, Heath McKnight, the Editor in Chief of Doddle News, Debbie Price, the Series Producer for The Buzz at NAB, and our new co-host, James DeRuvo.

Larry Jordan: Phew. There’s a lot of history in our industry and it’s all posted to our website, at digitalproductionbuzz.com. Here you’ll find thousands of interviews all online and all available to you today; and remember to sign up for our free weekly show newsletter that comes out every Friday.

Larry Jordan: Talk with us on Twitter, @DPBuZZ, and Facebook at digitalproductionbuzz.com. Our theme music is composed by Nathan Doogie Turner with additional music provided by smartsound.com. Text transcripts are provided by Take 1 Transcription – visit take1.tv to learn how they can help you.

Larry Jordan: Our engineering team is led by Brianna Murphy and on behalf of Mike Horton and James DeRuvo, my name’s Larry Jordan and thanks for listening to The Digital Production Buzz.

Larry Jordan: The Digital Production Buzz is copyright 2016 by Thalo LLC.

Digital Production Buzz – April 21, 2016 – Highlights

Join Larry Jordan, live from our booth on the show floor, as he talks with Bill Roberts, Dan May, Bryce Button, Barbara de Hart, Ric Viers, and Sean Mullen!

  • The Digital Production BuZZ is LIVE at NAB 2016!

Listen to the Full Episode


Buzz on iTunesTranscript

Guests this Week

This week the Digital Production BuZZ takes on NAB 2016 in Las Vegas with Adobe, Blackmagic Design, AJA Video Systems, Inc., Telestream, Blastwave FX, and Rampant Design Tools!

  • SEGMENT 1: Adobe
Bill Roberts
Bill Roberts, Senior Director of Product Management, Adobe
Bill Roberts is the Senior Director of Product Management for Adobe. Adobe Systems continues to improve all their audio and video applications. Bill Roberts showcases new features in Premiere Pro, After Effects, Audition, Stock and Character Animator.

 

  • SEGMENT 2: Blackmagic Design
Dan May
Dan May, President, Blackmagic Design
Dan May is the President of Blackmagic Design. Blackmagic Design showcased a new version of DaVinci Resolve, studio adapters for Ursa Mini cameras, and upgrades for ATEM switchers; along with a variety of other products.

 

  • SEGMENT 3: AJA Video Systems, Inc.
Bryce Button
Bryce Button, Product Marketing Manager, AJA Video Systems, Inc.
Bryce Button is the Product Marketing Manager of AJA Video Systems, Inc. AJA introduced Kona-IP, an IP-based audio and video infrastructure that provides the quality of HDSDI with the flexibility of Ethernet. Bryce also discussed a wide variety of other new products.

 

  • SEGMENT 4: Telestream
Barbara de Hart
Barbara de Hart, Vice President of Desktop Business and Corporate Marketing, Telestream
Barbara de Hart is the Vice President of Desktop Business and Corporate Marketing for Telestream. Telestream made a major move into the Cloud by providing Cloud-based video encoding and compression. They also enhanced their Vantage enterprise-grade compression software. Barbara also explains why Telestream is interested in the Cloud.

 

  • SEGMENT 5: Blastwave FX
Ric Viers
Ric Viers, CEO, Blastwave FX
Ric Viers is the CEO of Blastwave FX. Ric Viers loves sound effects. But, even better, he loves teaching others how to create sound effects. Today, he launches SoundEffects.com and, in a second segment, explains the process and techniques to recording high-quality sound effects.

 

  • SEGMENT 6: Rampant Design Tools
Sean Mullen
Sean Mullen, Lead Designer, Rampant Design Tools
Sean Mullen is the Lead Designer for Rampant Design Tools. Rampant Design Tools creates fascinating visual overlays and effects for all major NLEs on both Macs and Windows. Sean describes their latest effects package and their brand-new plugins for Final Cut, Premiere, and Avid. Plus, he also describes the process they use to create lens flare special effects.

Digital Production Buzz – April 21, 2016 – Show 13

Join Larry Jordan, live from our booth on the show floor, as he talks with Su Syan Huang, Rony Sebok, and Angus Mackay!

  • The Digital Production BuZZ is LIVE at NAB 2016!

Listen to the Full Episode


Buzz on iTunesTranscript

Guests this Week

This week the Digital Production BuZZ takes on NAB 2016 in Las Vegas with Accusys, 1Beyond, Inc., and Tiger Technology!

  • SEGMENT 1: Accusys
Su Syan Huang
Su Syan Huang, Vice President of Sales, Accusys
Su Syan Huang is the Vice President of Sales for Accusys. Accusys Storage used to make the Xserve RAID for Apple. Now, they are making RAIDs for the rest of us. Su Syan introduces their brand new Thunderbolt 3 sharable RAID with up to a petabyte of storage!

 

  • SEGMENT 2: 1Beyond, Inc.
Rony Sebok
Rony Sebok, Vice President, 1Beyond, Inc.
Rony Sebok is the Vice President of 1Beyond, Inc. 1Beyond makes a variety of products for both Mac and Windows systems. Rony tells us about their new PetaSAN storage, auto-tracking PTZ camera and LTO 7 tape archiving system.

 

  • SEGMENT 3: Tiger Technology
Angus Mackay
Angus Mackay, Director of Marketing, Tiger Technology
Angus Mackay is the Director of Marketing for Tiger Technology. Tiger Technology makes software that enables your network storage to handle video editing workflows, including emulating an Avid ISIS system. Angus describes the new updates to their system on today’s show.

Digital Production Buzz – April 21, 2016 – Show 12

Join Larry Jordan, live from our booth on the show floor, as he talks with Paul Babb, Rob Jamieson, Bruno Munger, and Jose Flores.

  • The Digital Production BuZZ is LIVE at NAB 2016!

Listen to the Full Episode


Buzz on iTunesTranscript

Guests this Week

This week the Digital Production BuZZ takes on NAB 2016 in Las Vegas with Maxon, AMD, Colorfront, and Switronix!

  • SEGMENT 1: Maxon
Paul Babb
Paul Babb, President and CEO, Maxon
Paul Babb is the President and CEO of Maxon. Maxon makes Cinema 4D, a 3D application that is seeing extensive use in both broadcast graphics, while quickly emerging as an essential tool in VR and AR. In this session, Paul talks about the role artists play in creating 3D work, along with the new 3D training available from Maxon at Cineversity.com.

 

  • SEGMENT 2: AMD
Rob Jamieson
Rob Jamieson, Industry Alliance Manager/Workstation Graphics, AMD
Rob Jamieson is the Industry Alliance Manager/Workstation Graphics for AMD. Graphics processors (GPUs) play a vital role in video and VR. AMD just released an update to their W9100 GPU as Rob tells us about it’s latest features, and GPUs in general.

 

  • SEGMENT 3: Colorfront
Bruno Munger
Bruno Munger, Director of Business Development, Colorfront
Bruno Munger is the Director of Business Development for Colorfront. ColorFront makes Cloud-based tools for dailies, capture and ingest. Bruno describes their products, and their latest releases here at NAB.

 

  • SEGMENT 4: Switronix
Jose Flores
Jose Flores, Sales Manager, Switronix
Jose Flores is the Sales Manager for Switronix. Switronix makes batteries for cameras and, now, drones. And, unlike cameras, drones have very specific technical requirements regarding size, weight and power capacity as Jose describes.

Digital Production Buzz – April 20, 2016 – Show 11

Join Larry Jordan, live from our booth on the show floor, as he talks with Wes Plate, Niclas Bahn, Niki Mustain, and Brenda Klemme.

  • The Digital Production BuZZ is LIVE at NAB 2016!

Listen to the Full Episode


Buzz on iTunesTranscript

Guests this Week

This week the Digital Production BuZZ takes on NAB 2016 in Las Vegas with Automatic Duck, FxFactory, Schneider Optics, Inc., and K-Tek!

  • SEGMENT 1: Automatic Duck
Wes Plate
Wes Plate, President, Automatic Duck
Wes Plate is the President of Automatic Duck. Automatic Duck got their start providing conversion software allowing us to move files between different applications. After a 2-year hiatus, they are back with two new products, which Wes describes on today’s show.

 

  • SEGMENT 2: FxFactory
Niclas Bahn
Niclas Bahn, Co-Founder, FxFactory
Niclas Bahn is the Co-Founder of FxFactory. FxFactory is an app store for effects. Effects that work on After Effects, Premiere, Motion and Final Cut, among others. Niclas tells us about their newest effects and a big change they’ve made to the FxFactory platform.

 

  • SEGMENT 3: Schneider Optics, Inc.
Niki Mustain
Niki Mustain, Product Manager and Sales, Schneider Optics, Inc.
Niki Mustain is the Product Manager and Sales for Schneider Optics, Inc. Schneider Optics makes lenses and lens filters. Niki stops by our booth at NAB to share the latest on new lenses and lens filters.

 

  • SEGMENT 4: K-Tek
Brenda Klemme
Brenda Klemme, Owner, K-Tek
Brenda Klemme is the Owner of K-Tek. Between a microphone and the mixer exists a whole lot of “stuff:” boom poles, suspension mounts, mic stands, mixer bags… K-Tek is legendary in the audio industry for providing high-quality gear for all things audio, include new products which Brenda introduces on today’s show.

Digital Production Buzz – April 20, 2016 – Show 10

Join Larry Jordan, live from our booth on the show floor, as he talks with Joseph White, Les Zellan, Jim Ball, and Jeff Stansfield.

  • The Digital Production BuZZ is LIVE at NAB 2016!

Listen to the Full Episode


Buzz on iTunesTranscript

Guests this Week

This week the Digital Production BuZZ takes on NAB 2016 in Las Vegas with Miller Camera Support, LLC, Cooke Optics, Signiant, and Advantage Video Systems!

  • SEGMENT 1: Miller Camera Support, LLC
Joseph White
Joseph White, Regional Sales Manager, Asia and Africa, Miller Camera Support, LLC
Joseph White is the Regional Sales Manager, Asia and Africa for Miller Camera Support, LLC. Miller Camera Support makes tripods, heads, pedestals and other hardware all designed to support your camera. As Joe explains, there’s a lot more to support than simply keeping your camera from tipping over. Plus, they just announced some new support options.

 

  • SEGMENT 2: Cooke Optics
Les Zellan
Les Zellan, Chairman and Owner, Cooke Optics
Les Zellan is the Chairman and Owner of Cooke Optics. Cooke Optics makes some of the finest lenses in the world. Les takes us on a 75 year tour of the company and, along the way, shares news of their latest zoom lens.

 

  • SEGMENT 3: Signiant
Jim Ball
Jim Ball, Chief Marketing Officer, Signiant
Jim Ball is the Chief Marketing Officer for Signiant. Signiant has found a way to move files faster, by by-passing FTP and super-charging your Internet connection. Jim explains what this technology is, how it works and what they’ve done to make it more affordable.

 

  • SEGMENT 4: Advantage Video Systems
Jeff Stansfield
Jeff Stansfield, CEO and Founder, Advantage Video Systems
Jeff Stansfield is the CEO and Founder of Advantage Video Systems. Advantage Video Systems doesn’t design gear. They take existing gear and hook it together so it all works. Jeff describes some of his latest projects, as well as highlighting current trends in hardware design and application.

Digital Production Buzz – April 20, 2016 – Show 9

Join Larry Jordan, live from our booth on the show floor, as he talks with Andy Donahue, Peter Plesner, Kai Pradel, and Stefan Karle.

  • The Digital Production BuZZ is LIVE at NAB 2016!

Listen to the Full Episode


Buzz on iTunesTranscript

Guests this Week

This week the Digital Production BuZZ takes on NAB 2016 in Las Vegas with Killer Tracks, BBS Lighting, MediaSilo, and DoP Choice!

  • SEGMENT 1: Killer Tracks
Andy Donahue
Andy Donahue, Director of Marketing, Killer Tracks
Andy Donahue is the Director of Marketing for Killer Tracks. Killer Tracks creates and licenses music for media production. With more than 100,000 musical clips in their library, they’ve definitely got what you are interested in. Andy drops in to announce several new library additions, along with explaining the difference between “royalty-free” and “needle-drop” music.

 

  • SEGMENT 2: BBS Lighting
Peter Plesner
Peter Plesner, Owner and Co-Founder, BBS Lighting
Peter Plesner is the Owner and Co-Founder of BBS Lighting. BBS Lighting makes high-quality LED lighting in non-traditional shapes. Peter describes their newest products, which is a tube of light in lengths from 1-foot to 4-feet.

 

  • SEGMENT 3: MediaSilo
Kai Pradel
Kai Pradel, Founder and CEO, MediaSilo
Kai Pradel is the Founder and CEO for MediaSilo. MediaSilo offers a Cloud-based comprehensive video sharing and management platform that is designed for collaboration and focused on media. Kai explains their new security features to keep your media safe.

 

  • SEGMENT 4: DoP Choice
Stefan Karle
Stefan Karle, Managing Director and Owner, DoP Choice
Stefan Karle is the Managing Director and Owner for DoP Choice. DoP Choice makes light-shaping gear, such as egg crates, reflectors, and other tools to put light where you want it and keep it off places you don’t. Stefan shares their newest products in this segment.