• New Cameras From Panasonic
• Report from London’s Broadcast Video Expo
• Making the Cut to Sundance
• New Filters from GenArts
• Report from the Berlinale

GUESTS: Steve Cooperman, Michael Olmos, Steve Kilisky, and Cirina Catania

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Great New Interviews! Join Larry Jordan and Michael Horton as they talk with:

Steve Cooperman, Product Manager, P2 HD Video Systems, Panasonic Broadcast & Television Systems

Steve Cooperman is responsible for implementing product marketing and development strategies for Panasonic’s advanced P2 HD video systems. With the recent launch of Panasonic’s new 3DP1 camera, we have lots of questions and Steve is the perfect person to ask. Be sure to join us on the Live Chat — and ask your own questions!

Larry Jordan, Host, Digital Production Buzz

Last week, Larry Jordan attended the Broadcast Video Expo in London. The show was packed with both exhibitors and attendees. This week, he brings us a report on some of the people he talked with, including an update from the folks at Edit Share.

Michael Olmos, Director, Olmos Productions

Imagine you’re a young, new director and your film was just selected for the competition at Sundance. What’s it like to go to Sundance with your first film? How do you cope when everyone wants a piece of your time? That’s the situation Michael Olmos found himself in with his acclaimed film “Filly Brown.” This week, we talk with him about his experience; what he learned, what he did, and what he will keep in mind for “the next time.”

Steve Kilisky Driector, Product Management, GenArts

GenArts has released a bevy of new effects from Sapphire to Sapphire Edge to Monsters Gt. Steve Kilisky, Director of Product Management for GenArts, joins us this week to showcase their new releases and explain how they work.

Cirina Catania, Producer, Digital Production Buzz

Cirina Catania, producer of the Digital Production Buzz, was in Berlin attending the recent Berlinale Film Festival. She joins us this week with a report on the films, the stars, the directors, and all the excitement!

You can’t find people or interviews like this anywhere else — on another fascinating show!

The Buzz is all the information you need now to know what’s coming next!

The Digital Production BuZZ airs LIVE Thursday from 6-7 PM Pacific Daylight Time. Ask questions during the show on our Live Chat, listen live, download an episode from the archives, or subscribe to the podcast either through iTunes or our website. Whatever you do, DON’T miss this week’s show!

Singular Software’s PluralEyes is the fastest and most reliable automatic sync available for Final Cut Pro X. Multicam support is a free update for all current owners of PluralEyes for Final Cut Pro.

Click to try the free, fully-functional Trial Version of PluralEyes.

Click to watch the “How To Use PluralEyes With FCP X” Video Tutorial.

HyperDeck 2.5 public beta for Mac OS X and Windows is available for download and is free of charge for all Blackmagic Design customers. This update includes support for both HyperDeck Shuttle 2 and HyperDeck Studio models of Blackmagic Design SSD recorders.

HyperDeck 2.5 software includes timecode support for both HyperDeck Shuttle and HyperDeck Studio. Timecode information embedded within the ancillary data space of HD-SDI video signals can now be written to HyperDeck’s uncompressed or Avid DNxHD compressed video files. Customers can preserve the timecode from their incoming video stream based on the standard RP-188 HD protocol and playback recorded files with this original timecode information.

HyperDeck Shuttle and HyperDeck Studio models feature Avid DNxHD record and playback that is fully certified by Avid. HyperDeck 2.5 software adds the option to record and playback DNxHD QuickTime as well as DNxHD MXF format files. The choice to wrap DNxHD files in a QuickTime format extends the opportunity to use Avid’s industry standard file encoding with a wide range of software and to suit specific workflows.

Recording to HyperDeck Shuttle can now be automatically triggered by cameras and other HD-SDI video equipment. Many professional cameras embed start/stop flags within their SDI video output and HyperDeck Shuttle now recognizes these commands to start and stop recording in sync with the camera. The advantage is that customers can now record to HyperDeck Shuttle without the need to separately activate recording on their camera and disk recorder.

As some cameras don’t output the start/stop flag in the standard way, this new update also includes a new rolling timecode record trigger feature. This means now virtually any camera or device that outputs RP-188 timecode can be used to start and stop HyperDeck Shuttle recording! HyperDeck will now watch RP-188 HD timecode and when the timecode starts counting, the HyperDeck will instantly start recording! This means even professional equipment and cameras like the ARRI ALEXA can now automatically trigger HyperDeck Shuttle to record uncompressed or DNxHD timecode synchronized files.

Availability and Price

HyperDeck 2.5 public beta for Mac OS X and Windows is currently available for download and is free of charge for all Blackmagic Design customers.

Click for more information about Blackmagic Design’s HyperDeck 2.5 Software Update.

Faster Renders. Real-Time Playback.

GPU Plugins are designed to utlize the latest technology built into todays computers resulting in a faster, more efficient editing experience.

Click for more information about NewBlueFX’s GPU plugins.

One Plugin, Two Uses. Work Within Titler Pro.

GPU Plugins are designed to utilize the GPU within your NLE, but did you know you can use the plugins as GPU within Titler Pro too? It’s a two-for-one deal with NewBlue.

Click to testdrive NewBlueFX’s GPU.

Got NewBlueFX? Get The Upgrade Price.

If you already own NewBlueFX collections and you’d like to take advantage of the GPU versions, sign in to get a special customer-only upgrade price.

Click to sign in for the NewBlueFX GPU customer-only upgrade.

The EditShare shared storage V6.1.3 update is free to existing EditShare V6.x customers with a valid maintenance contract.

About Editshare Tapeless Workflow Solutions And High-Performance Collaborative Storage Systems:

EditShare XStream and Energy Series – Shared Production Storage

EditShare’s best-in-class storage infrastructure combines blazingly high performance and workflow-engineered features, such as Avid and Final Cut Pro (FCP) project sharing, to optimize collaboration for post-production, Digital Intermediate and broadcast production workflows. Fully integrated with EditShare Flow, Lightworks, Geevs and Ark, EditShare shared storage solutions scale to petabytes, outperforming comparable solutions at an unbeatable price point.

EditShare Flow – Production Asset Management

Flow offers comprehensive media management capabilities for ingesting and logging clips and tracking assets across the production chain. Advanced features such as Multichannel Ingest, Edit-While-Capture and Bandwidth-Controlled File-Based Ingest add a level of control over productions that set Flow apart from its peers. Rapid production tools like Flow Logger and Flow Projects and Bins enable users to begin the pre-editing process during ingest. EditShare Universal File Technology gives users the space efficiency and convenience of single-format editing without sacrificing metadata tracking across the workflow.

EditShare Ark – Archiving and Backup

Developed on the same rock-solid architecture as the shared storage solutions, EditShare Ark disk and tape offer advanced backup and archiving capabilities managed from the same intuitive interface. Because Ark is directly integrated with EditShare tapeless workflow and collaborative storage products, archived content can be easily searched using EditShare Flow Media Asset Management tools, retrieved and quickly brought back onto the EditShare shared storage systems – XStream, Energy and Metro.

Geevs – Broadcast Ingest and Playout

Geevs Broadcast Servers have been crafted to offer a wide range of capabilities, including simple ingest, complex newsroom integration, live sports with instant replay, multi-camera studio ingest and 24/7 scheduled playout. With more than 1,000 channels on air, Geevs meets the needs of every broadcast production workflow with its unmatched codec support including, DVCPRO HD, Apple ProRes, Avid DNxHD, XDCAM HD and AVC-Intra 100.

About EditShare

EditShare is the technology leader in networked shared storage and tapeless, end-to-end workflow solutions for the TV and film industry. Our groundbreaking products improve efficiency and workflow collaboration every step of the way. They include video capture and playout servers, high-performance central shared storage, archiving and backup software, media asset management and the world’s first three-platform (Windows/OS X/Linux) professional non-linear video editing application.

Click for more information about EditShare’s shared storage V6.1.3 update.

Videohub 4.9 for Mac OS X and Windows is available for download now and is free of charge for all Blackmagic Design customers.

Blackmagic Design’s Videohub family of products make it truly affordable to route SD, HD and 3 Gb/s SDI video and eliminate the need for manual video patching. Videohubs range from 16 x 16 SDI up to the 288 x 288 Universal Videohub that lets customers mix SDI and optical fiber interfaces in a modular rack based design. Videohub and Universal Videohub routers can be fully controlled using networkable Videohub Control Panel software and Videohub Smart Control, a 1 rack unit hardware control panel consisting of 40 programmable buttons with full RGB illumination.

Videohub 4.9 adds new functionality for new and existing Videohub customers. The addition of macros to Videohub Smart Control means that users can now activate multiple simultaneous switching commands with a single button press. New Smart Control configuration software lets users define up to 10 macros each with their own source and destination routing commands that can then be activated by one button.

Also included is the new Smart Control software utility which provides advanced ethernet configuration options all from a single central software utility for Windows and Mac OS X. This new control utility includes a new identify function which lets users visibly select the Smart Control panel they want to configure. Pressing the identify key causes all 40 Smart Control buttons to flash. This feature is particularly useful when multiple Smart Control units are used to control a Videohub and users need to identify the correct control panel they want to configure, so setting up Videohub routing systems is simpler and configuration mistakes are eliminated. Network configuration of control panels makes it easy to assign specific inputs, outputs and now macros to particular buttons, even when a facility has hundreds of control panels. Users can also create a unique name for each panel to further aid identification.

This new software update also adds support for allowing destinations to be locked from a Smart Control panel as well as Videohub software. The ability to lock specific routes is imperative in mission critical environments to avoid accidental breaking of these connections. Pressing and holding down a chosen destination will turn the button blue and this connection cannot be broken by another attached Smart Control.

Availability and Price

Videohub 4.9 for Mac OS X and Windows is available for download now and is free of charge for all Blackmagic Design customers.

Click for more information about Blackmagic Design’s Videohub 4.9.

Viewfinder HUD feature highlights include:

• Binoculars – Guides and numeric settings simulate interesting and unusual binocular viewfinders with the ability to adjust all aspects of viewing an image through binoculars, including zoom, focus, and more.
• Target – The Target filter simulates the look of a radar screen or target viewfinder with the ability to move around the screen following the focal point, emphasizing the main focus of the shot.
• Viewfinder OSD [On Screen Display] – Editors can use this filter to add the effect of looking at footage through a familiar video or still camera viewfinder with on-screen display of data and information.
• Unique Customization – All of the Viewfinder filters come loaded with plenty of customizing options and combinations for editors to make their own heads up display or Viewfinder.

Click for more information on Viewfinder HUD.

Click for the Viewfinder HUD Tutorial.

This 19-inch rack width, 1+ ME live switcher comes with nine inputs (eight HD/SD-SDI and one scalable DVI‑D) and six outputs (five HD/SD‑SDI, and one DVI‑D scalable to 1920×1200) as standard. Expandable to a maximum of 13 inputs or 10 outputs are possible.

The built-in, 7-inch, high-resolution color LCD panel can display selected video inputs or outputs (including MultiViewer out), menus and settings in an easy-to-read format, as well as the built-in waveform monitor and vectorscope. MultiViewer configurations include assignable screen divisions into 4, 5, 6, 9, 10 or 16 sections and support the display of time, audio level meters and 4:3 markers. Innovative features include a dual-channel video clip recorder/player, effects preview, time-line editing and high-quality 3D and 2D transition effects for both background and key.

The HS410 supports multiple video formats, including 1080/24psf. Linear, luminance and chroma keying are available, with chroma keying employing the Primatte algorithm. The switcher’s simple panel layout features dedicated buttons for many common functions (such as PinP and MultiViewer), as well as PGM/PST rows with 12 crosspoint buttons (22 using the shift function), allowing easy access to a variety of internal and external sources.

To expand its capabilities, a Software Development Kit (SDK) is available so that software developers, systems integrators, and other qualified parties can freely develop (and sell) plug-in applications to add new functions to the HS410.

Click for more information about the new AV-HS410 9-input HD/SD Smart Switcher.

It’s not Minority Report, but it is a step closer. Jason Rose is editing with FCPX on a large touchscreen. Cool? Fast? Slow? We will let you decide.

He has created a new link, this time using Final Cut Pro X with the touchscreen and things are slightly easier with the new GUI. One thing he has left out is skimming, jumping right into multicam editing without displaying one of the cornerstones of FCPX’s new operation and design. Long time tablet users may find that skimming doesn’t work because it will skim clips even when the pen isn’t in contact with the tablet.

Click for more information about Jason Rose’s “Using Final Cut Pro X with a Large Touchscreen” Video.

The Full Pack

The complete collection of 59 effects is an effective tool for visual effects artists to create unique, compelling work. Monsters GT plugins leverages precise control of effect behaviour and the highest image quality available to maximize productivity and creativity.

Key Features in Monsters GT v7:

• Unparalleled range of realistic, artistic, and stylistic effects
• Flexible pricing options
• Enhanced sprite quality and smoother particle motion
• New effects and enhancements to create a more streamlined workflow
• GPU acceleration for improved render times
• Floating point processing for improved image quality
• Resolution-independent
• Available for Autodesk systems, Adobe After Effects, Eyeon Fusion, The Foundry Nuke, Assimilate SCRATCH, and Sony Vegas

Click for more information about The Full Pack.

Click for more information about The Theme Pack.

Click for more information about Monsters GT v7.

The Croma provides Litepanels hallmark soft light with the addition of variable color temperature output ranging from daylight (5600°K) to tungsten (3200°K). It is a versatile solution for run-and-gun news shooters, event videographers or still photographers who move rapidly from one light environment to the next, with no time to change lighting equipment or add gels. Delivering powerful performance in a small package, this self-contained light can be a secret weapon on any set or location, wherever an extra kick or soft fill is needed.

Croma provides infinite control of both color temperature and lighting intensity via two ergonomic on-fixture dials. One offers the ability to dim from 100% to zero with no noticeable color shift. The second lets the user dial-in the fill light to any point between daylight (5600°K) and tungsten (3200°K) to precisely match the ambient light.

The Croma draws just 9W, and provides the equivalent luminance output of 40W – 90W traditional fixtures. To power the fixture, the user has the choice of AA batteries or optional AC adapter. Six 1.5V AA batteries install within the Croma to provide power from 1.5 to 6 hours, depending on battery type.

The compact Croma weighs just 12 oz. (.4 kg) and measures 6” x 4” x 2” (54mm H x 36mm W x 102mm D).

For more information on Litepanels Croma LED lighting.

Targeted at working video production professionals, “In Production” is a brand new video chat program where hosts Dissmore and Oakley discuss tools and topics related to video production from their unique perspective as independent production business owner/operators.

“In Production” is a joint project of Dissmore and Oakley, who are long standing colleagues within the International Media Users Group (IMUG) community.

The first series: “In Production: DaVinci Resolve” has been released and over the course of six episodes, Dissmore and Oakley will discuss the topic of color grading and discuss a range of tools and techniques in addition to specifics about DaVinci Resolve. The first two episodes have debuted, with additional episodes to be released weekly.

Click for more information about “In Production”.

DFT Digital Film Technology will showcase version 1.5 of FLEXXITY post production software suite at NAB 2012, stand C11145.

Visitors to the DFT NAB booth can receive a demonstration of the new FLEXXITY V1.5 software, and receive a hands-on experience for how it can apply to their specific post production workflow. Whether working with film or digital, on-set dailies, post dailies, playout and mastering, or archive workflows, FLEXXITY offers a specialized software suite that aggregates a number of key functions in one software interface. FLEXXITY helps facilities maximize their value and delivery of their content by streamlining audio ingest, image ingest, audio / video synchronization, metadata logging, grading, and playout / file generation. It runs on Linux or Mac, making it an ultra-stable, high performance, and high-throughput post production software tool for a variety of workflow pipelines.

The scale-up flexibility of FLEXXITY allows users to implement a software system that is fine-tuned to their specific needs from single-user seats, to multi-user workgroups.

FLEXXITY Version 1.5 includes the following new features:

• Mac (Mac Pro, iMac) and / or Linux support
• Native ProRes handling and transcoding – ProRes files can be dropped directly onto the FLEXXITY timeline, synchronized, edited and color graded and delivered as a large variety of output formats, including QuickTime ProRes. In addition to ProRes, all FLEXXITY software applications can natively read and ingest ARRIRAW files, RED raw R3D files and many other formats.
• Advanced Dynamic Processing thread handling (ADP) – This feature allows for faster transcoding of multi-format timelines into multiple file formats therefore processing more file formats in less time.

FLEXXITY Dailies can be used as an on-set or post tool for both digital and film dailies. It provides native support for ProRes, QuickTime, MXF and DPX files as well as most digital cinematography camera formats. FLEXXITY Dailies performs simultaneous image and audio synchronization, timeline editing, color correction, image scaling as well as layout and file generation of many different file formats. FLEXXITY Dailies also supports parallel workflows for higher throughput and efficiency. It also supports stereoscopic 3D workflows.

FLEXXITY Archive provides an intuitive software interface that provides quality control measures for archive material, image and audio synchronization, timeline editing, color correction, and image scaling. In addition, it has built-in scratch and dirt removal, and retouching capabilities for restoration requirements. FLEXXITY Archive is an ideal companion to the SCANITY Archive film scanner.

FLEXXITY Playout is a mastering application that converts DPX, Quicktime and raw digital cinematography camera clips to generate a master for playout as video, DPX, or encoded file formats.

Each application in the FLEXXITY software suite offers real-time playback, quality control, sound synchronization, optional color correction and scaling, and much more. The entire suite is resolution-independent, and handles all kinds of source formats on the same timeline, and outputs a large variety of file formats and video streams in parallel.

Click for more information about FLEXXITY Post Production Software for MAC.

TerraBlock is Facilis’ multiplatform, high-capacity, shared storage solution supporting 4Gb and 8Gb Fibre channel, and 1Gb and 10Gb Ethernet through the Facilis Shared File System. Key version 5.5 features include:

• Linux Shared File System Support – Mount Multi-user Write volumes on Linux workstations connected via Fibre channel or Ethernet
• Integrated Server Spanning and Mirroring – Create volumes that span across multiple TerraBlock servers or mirror to another server
• TX16 Expansion – Cost-effective capacity expansion of 32TB per unit
• Recovery (Rebuild) Priority – Control the speed of recovery or pause recovery when bandwidth-intensive work is required during the recovery process
• Adobe Premiere Pro Project Sharing – Share both Apple Final Cut Pro 7 and Adobe Premiere Pro projects on Multi-user Write volumes through the Facilis Project Manager Application and avoid costly overwrites
• Support for Avid Media Composer 6.0 and Symphony 6.0 – Qualification of the latest Avid applications on Windows 7 and OS X Lion

Facilis TerraBlock 5.5 is planned for availability at the end of February 2012 as a free download to customers with current support contracts.

Click for more information about TerraBlock 5.5 with Linux Support.

Some of the key new features for Ki Pro and Ki Pro Mini are:

• Data Transfer via FireWire 800 – Ki Pro can now be configured for data transfer to FireWire 800-equipped Apple computers, for situations where the unit is not easily accessible for physical data removal.
• Data Transfer via LAN connection – Allows transfer of files through standard Ethernet networking for Ki Pro and Ki Pro Mini.
• Super Out – Ki Pro and Ki Pro Mini can now burn timecode and transport state into the video signal, providing at-a-glance status to users monitoring output, without having to check the device itself. It is also convenient for times when video is dubbed from Ki Pro/Ki Pro Mini to another source to track timecode throughout post. A user selectable Super Out (window burn) option for SDI has also been added to both Ki Pro and Ki Pro Mini.
• Playlist creation – A new feature for the web UI adds flexibility in selecting clip playback order for both Ki Pro and Ki Pro Mini.
• FireWire 400 (1394a) port enabled—Provides Ki Pro support for camera start/stop commands as well as timecode values; particularly useful for HDV cameras that may lack LTC to SDI timecode outputs.
• HDMI timecode support in Ki Pro Mini for Sony NEX-FS100 and other Sony NXCAM cameras.
• ExpressCard/34 Support – Ki Pro now supports ExpressCard/34 (34mm wide) memory cards (not ExpressCard/54). Check the AJA Ki Pro support page for recommended cards.
• Additional RS-422 Functionality for Ki Pro to support use in post-production applications.
• LANC Support – Ki Pro now supports LANC, enabling camera operators to control shooting via LANC-based controllers and LANC enabled cameras.
• 1080 Variable Frame Rate Support for certain Canon camcorders, for Ki Pro and Ki Pro Mini.
• Presets can now be created, saved and recalled for easier interaction with device settings in Ki Pro and Ki Pro Mini.
• Continued Recording Option – v3.0 adds an option for continued recording upon video input loss. Ki Pro and Ki Pro Mini will generate a status change video frame, then pick up recording automatically when a valid video signal is returned.

v3.0 firmware is available as a no-cost download for Ki Pro and Ki Pro Mini owners.

Click for information about Ki Pro, Ki Pro Mini and v3.0 software.

Click here to purchase PluralEyes for FCP X.

Existing PluralEyes for FCP customers can click here to get the FREE Upgrade to PluralEyes for Final Cut Pro X.

FCP X editors can also click here to Download the 30-day trial version.

Dutch Music TV station Xite now employs two Mac Minis to run their entire video playout service, including full 24/7 programming and video on demand.

In combination with the newly released AJA Video IoXT video device, connected via Thunderbolt technology, the channel provides a 24/7 music program in high definition with an advanced real time graphics.

Utilizing the latest Apple Mac Mini hardware, ToolsOnAir is helping to drive the next generation of cost effective “Channel in a Box” broadcast solutions. Using ToolsOnAir’s just:play software, an Apple Mac Mini becomes an HD broadcast quality playout, automation and real time graphics server, consuming a mere 85 Watts of power and housed in only one broadcast rack unit (1RU).

Click for more information about ToolsOnAir’s HD Playout Automation on Mac Mini.

The newest Flagship title: Modern Motion is now shipping worldwide and is available on Audio CD, or can be downloaded in Mp3 and WAV file formats.

In addition to audio CD’s, our new updated Music Download Center offers the ability to purchase individual tracks from all of our current Flagship Series titles, or entire CD categories with just one click in either Mp3 or Wav file formats. For just one price, clients will get all the edited versions of any one music track, including the full length theme, and any 30 and 60 seconds versions when available. New production music will be added monthly.

Click for more information about Music 2 Hues’s “Modern Motion”.

Click for more information about Video Copilot’s Optical Flares Plug-in for After Effects & Pro Presets 1 Bundle.

• Making Money Internationally
• Color Correction in FCP X
• Compressing Video for Multiple Devices
• Creating a Colorist Consortium

GUESTS: Ned Soltz, Randon Morford, Sydney Levine, and CJ Adams

Click to listen to the current show:

*Right click on Download and “Save Link As…”

Great New Interviews! Join Larry Jordan and Michael Horton as they talk with:

Ned Soltz, Contributing Editor, Digital Video

No one know tech better than Ned Soltz, contributing editor for Digital Video magazine. As a regular contirbutor to The Buzz, we get to share in Ned’s unique perspective on the latest gadgets in our industry. This week, Ned joins us to share his latest discoveries on color correction plug-ins for Final Cut Pro X. If you are looking for ways to make your images look as good as they can, you need to hear what Ned has to say.

Randon Morford, Director of Product Management, Sorenson Media

In the past, all we needed to do was compress our file and post it to the web. Today, we need to worry about compressing it for mobiel devices, tablets, computers and a mind-numbing quality of bit rates and bandwidths. The solution is “adaptive bit-rate compression.” Sounds cool, but what is it? Randon Morford, Director of Product Management for Sorenson Media joins us this week to explain what it is and how it can solve the problem of too many formats and not enough time.

Sydney Levine, Author, “SydneysBuzz”

Last week, we spoke with the Belic brothers on how they are using alternative distribution methods to make money on their films. This week, we talk with Sydney Levine, author of the widely-respected blog: “SydneysBuzz.” Sydney is an expert at international film distribution. This week, she joins us from Berlin, where she is attending the Berlinale Film Festival, with her insights on how filmmakers can make up to 70% of their revenue through international distribution. Tune in to learn how to turn your creative ideas into cold cash.

CJ Adams Founder/Colorist, Simplexity Digital

Recently, CJ Adams, Founder of Simplexity Digital, wrote an interesting blog on the advantages of creative professionals banding together to help each other find work. We like the sound of “finding work,” so we invited CJ on the show to explain his idea in more detail.

You can’t find people or interviews like this anywhere else — on another fascinating show!

The Buzz is all the information you need now to know what’s coming next!

The Digital Production BuZZ airs LIVE Thursday from 6-7 PM Pacific Daylight Time. Ask questions during the show on our Live Chat, listen live, download an episode from the archives, or subscribe to the podcast either through iTunes or our website. Whatever you do, DON’T miss this week’s show!

The precision gear drive of the main bridge is designed with a gear ratio of 1:0.75 so that 360 degrees of input results in 270 degrees of output (i.e. rotation on the drive gear).

There are two versions of the O-Focus DM, the Photo Set and the Cine Set, each with its own unique transmission ratio. The difference is accomplished by the use of two different types of handwheels that interface with the main bridge to generate optimized transmission output. Changing the transmission ratio is as easy as changing a lens. Without requiring tools, the handwheel(s) can be easily swapped out and the user is ready to shoot.

The Photo Set utilizes a new Hard Stop Handwheel, which has a transmission ratio of 1:1 (input: output). When coupled with the O-Focus Bridge, it yields a follow focus industry first; a 1:0.75 transmission ratio. This translates to longer, more exacting focus pulls when using limited barrel rotation still lenses for digital cinematography, and allows more precise lens control than has previously been available for these camera configurations. In addition, the hard stops enable the operator to set minimum and maximum focus points for lenses with unlimited rotation and to carry out hard focus stop pulls. To allow the focus-puller to react to unexpected movements, the unique single-hand-operated hard stop on/off switch, allows for instantaneous disengagement of the end stops for critical adjustments even during the shot.

The Cine Set utilizes the existing CFF-1 Studio Handwheel; and has a transmission ratio of 1:1.8 (input:output). When coupled with the O-Focus Bridge it yields a 1:1.4 output transmission ratio well suited for cine lenses with an expanded focus scale. The Studio Handwheel is offset; meaning it has 360 degree rotation for optimum placement and view of lens witness marks, and allows the camera to be set on the ground without the rig weight resting on the handwheel.

Both versions of the O-Focus DM feature extremely low profiles, which allow use with large diameter lenses. The sliding dovetail design provides adjustment for various lens sizes, even those with very large lens barrel diameters. Additionally, tapered flank couplings (pioneered with the OConnor CFF-1) eliminate play between the handwheel and bridge connection.

The O-Focus DM integrates seamlessly with existing follow focus accessories including whips, cranks and gears. It also shares many of the OConnor CFF-1 accessories, such as the Studio Handwheel and Marking Discs, Handwheel Extension and Studio 15/19mm Bridge. The new Toothless Friction Driver, for the use of still lenses, eliminates much of the need for additional toothed gear rings.

The O-Focus DM Cine Set and O-Focus DM Photo Set are both available now and join OConnor’s fast growing array of lens and camera accessories, which features the CFF-1 Follow Focus and award-winning O-Box WM Mattebox and O-Grip Handgrip combination.

Click for more information on OConnor.

Clyde Smith’s keynote presentation on Digital Storage and Object Based Media Workflows abstract follows: The visionaries working on the Material eXchange Format (MXF) standard foresaw the need for more complex operational patterns.

With the exponential increase in methods and types of media distribution the complexity in today’s workflows needs to be simplified to achieve practical interoperability.

Industry Initiatives such as the Advanced Media Workflow Association’s AS-02 and the ETC/SMPTE’s IMF are redefining how the entertainment industry can rapidly evolve it’s processes to meet quickly evolving marketplace demands. Media workflows producing content as a compilation of objects are quickly being adopted. This presentation will address how, why and what it could mean for storage implementations.

Clyde Smith is the Senior Vice President of New Technologies for FOX Network Engineering and Operations. In this role he is supporting Broadcast and Cable Networks, Production and Post Production operating groups in addressing their challenges with new technologies. Prior to joining FOX he was SVP of global broadcast technology and standards for Turner Broadcasting System, Inc. where he provided technical guidance for the company’s domestic and international teams.

He has previously held position as SVP of Broadcast Engineering Research and Development at Turner, SVP & CTO at Speer Communications, and Supervisor of Communications Design and Development Engineering for Lockheed Space Operations at the Kennedy Space Center.

Smith also helped develop the innovative Broadcast Inventory Manager Solution for Turner Broadcasting that was recognized by The Computer World Honors program with The 2005 21st Century Achievement Award for Media Arts and Entertainment. In 2007 he received the SMPTE Progress Medal and 2008 he received the Storage Visions Conference Storage Industry Service Award.

Media and Organization Sponsors of CS 2012 include Coughlin Associates, Createasphere, Digital Production Buzz, HDDFA, Hollywood Post Alliance, FCIA, MediaTech Association, M & E Tech, POST Magazine, RDC and STA.

This one-day conference and exhibits brings together the vendors, end users, researchers and visionaries that will meet growing demand for digital storage for content capture, editing, archiving and content distribution.

Presentations are now being solicited for the 2012 Creative Storage Conference, until April 20, 2012. We have a great agenda planned with 5 sessions throughout the day. There will also be two keynote talks during the conference and perhaps a sponsored reception in the evening. The preliminary conference agenda is also available now.

Click here to submit speakers/panelists for the 2012 Creative Storage Conference.

Click here for more information about the 2012 Creative Storage Conference Agenda.

Conference registration is also open.  Click here to register for the 2012 Creative Storage Conference.

The Grunge Collection includes the following four products:

Grunge Effects

Grunge Effects consists of Grunge Overlays and Grunge Transitions. Grunge Overlays offers a variety of animated textures that add a dynamic and intriguing feel to a project. Grunge Transitions includes an array of never released animated and often complex, grungy textures designed to be used mainly, but not exclusively, as transitions.

Click for more information about Grunge Effects.

Film Leaders

Film Leaders lets users create leaders that complement and enhance their projects. Editors have extensive control over the look and feel of their leaders and can adjust font type, size, kerning, spacing, texture, animation and more. Film Leaders also offers over 50 presets to choose from.

Click for more information about Film Leaders.

Sprockets Slip

Sprockets Slip lets editors recreate the effect of a sudden slip of a rolling film, revealing the loose perforations. The plug-in comes with an assortment of presets to start with plus a number of controls and light leaks to play with, giving the project a rough, gritty look.

Click for more information about Sprockets Slip.

Light Leaks

Light Leaks is the first plug-in that allows editors to add this unique look to their video without using stock footage. An effect that originated as a camera flaw now gives a vintage feel to any project when applied. Users can adjust the geometry and stylization of the effect or apply extra filters for customization to the finest degree.

Click for more information about Light Leaks.

• Report from the Berlinale Film Festival
• New Technology to Watch in 2012
• New Wireless Video Technology
• Filmmakers at Sundance
• Getting Jobs Internationally
• Video Sharing in Post-Production

GUESTS: Cirina Catania, Debra Kaufman, Ross Kanarak, Adrian Belic, Roko Belic, Jessica Sitomer, and Chris Potter

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Great New Interviews! Join Larry Jordan and Michael Horton as they talk with:

Cirina Catania, Filmmaker and Producer, Digital Production Buzz

Cirina Catania, Producer, Digital Production Buzz, joins us from Berlin, Germany, where the Berlinale Film Festival starts today. This is her second time at this massive event and we look forward to her report on what’s new, what’s hot, and what’s getting attention.

Debra Kaufman, Associate Editor, Creative Cow

Debra Kaufman is one of our industry’s most respected technology journalists. She recently moved into a new position as Associate Editor at Creative Cow and continues to build a very impressive body of work for other publications such as Daily Variety. We’re delighted to be able to share some time with her on the BuZZ.

Ross Kanarek, Sales Manager, Switronix, Inc.

Ross Kanarek, Sales Manager for Switronix, Inc., specializes in merging their company’s products into applications as diverse as microwave transmitions or the toy industry! Switronix’s recently developed Recon Wireless Transmission System works well with uncompressed HD video. Ross joins us to explain more about this wireless video technology.

Adrian Belic and Roko Belic, Filmmakers

Filmmakers Adrian Belic and his brother, Roko Belic, are a welcome and familiar sight in the independent film world. We’ve invited them on the BuZZ to get their reactions to this year’s Sundance Film Fest and give us an update on their latest feature documentary, “Happy.”

Jessica Sitomer, President, The Greenlight Coach

Jessica Sitomer is CEO at The Greenlight Coach and a frequent contributor to The BuZZ. She often works with international clients and we are curious about the cultural challenges involved when pitching ourselves for gigs in foreign territory.

Chris Potter, Co-Founder, Screenlight

Chris Potter is a co-founder of ScreenLight, a growing provider of a private video sharing and collaboration application for production companies, advertising agencies, and editors. ScreenLight makes it easy to securely review videos with clients, capture feedback, and get videos approved. As we become more and more involved in long-distance production management, these kinds of services can be very valuable. This week, we find out more about how ScreenLight works.

You can’t find people or interviews like this anywhere else — on another fascinating show!

The Buzz is all the information you need now to know what’s coming next!

FX-Motion, founded 10 years ago by Stijn Vanorbeek and Roberto Gaziano, is best known for bringing film-style motion control technology to television remote control and robotics systems. The FX-Motion Furio system has been used to control cameras and provide compelling visuals on productions such as the Eurovision Song Contest, So You Think You Can Dance and in augmented reality productions like the VGA awards as well as in news studio production environments.

Furio is available in 2 variants – Furio Robo (Full Robotics System) and Furio RC (Remote Control System). Furio’s absolute positioning system and rail based tracking sets it apart from the competition and makes it ideally suited to virtual set and augmented reality applications.

Furio Robo is designed for live television production studio use in which a single operator controls multiple cameras with pre-set shot and motion path recalls. The system consists of a Pan-Tilt-Zoom Head (PTZ), Rail Based Dolly System with Elevator and a sophisticated IP based control system. The system scales from a simple PTZ head on a fixed tripod to a full multi-camera rail system.

Furio RC (Remote Control) is designed for applications in which an operator controls the camera system remotely using a local (encoded) fluid head and foot pedals to move the camera side to side and up and down. Furio RC translates the camera operators every move to the remote camera. Highly responsive, Furio RC is perfect for live stage productions. This system allows one camera operator to rapidly move a camera from one end of the stage to the other and get shots simply not possible with a roaming camera person.

Click for more information on Ross Robotics and the Furio Control system,

Idustrial Revolution XEffects Tech Transitions feature highlights include:

• A Wide Selection of Effects – Tech Transitions offers 28 transition effects to choose from, all with adjustable settings. Effects can be slipped, lengthened, shortened and cut and pasted like any other transition.
• Freeze Frames – Almost all transitions include freeze versions, which holds the last frame of the outgoing media and the first frame of the incoming media, performing the transition between the two stills. No more razor blading or making freeze frames from scratch.
• GPU Processing – Effects harness the power of GPU processing within FCP X for fast previews and renderings, cutting down wait time while editing.
• Temporal or Retiming of Video – Tech Transitions is the first commercial product for FCP X to feature temporal or retiming of video within the effect. Editors can use the automatic repeaters to step or duplicate action on the cut.

Click for more information on Idustrial Revolution’s XEffects Tech Transitions.

Avid Studio for iPad allows users to begin editing with ease by offering access to any videos, photos and audio already in their iPad library, or media that can be imported from iTunes, cameras and more. Users can then arrange clips in the Storyboard, make precision edits using the Timeline, and enhance their movie creations with high-quality transitions, effects and a soundtrack. They can then share movies directly to YouTube, Facebook and more—or export projects to Avid Studio software, where they can continue editing with even more advanced tools on their PC. In addition, editing enthusiasts can get started fast with an easy-to-understand how-to guide, included with the app.

Avid Studio for iPad comes with innovative features to help any movie enthusiast elevate their moviemaking, including:

• Precision Editing Tools: Avid Studio for iPad is the only app to offer a unique combination of Storyboard and Timeline features, allowing users to arrange clips in the Storyboard, then edit like a pro with the precision of the Timeline, which offers frame-by-frame trimming capability. Avid Studio for iPad also takes full advantage of touch capabilities to offer a fun, easy yet professional level editing experience. For example, with a touch or swipe, users can easily resize and rotate a title directly from the preview window, among other functions.
• Full Media Access: There are more creative options for editors, with access to all kinds of media—video, audio or photos—in their iPad library as well as access to media from devices via an iPad Camera Connection Kit (sold separately) or from iTunes or other sources. Users can also capture video and photos within the app for use in their projects. The app also automatically recognizes imported media that has been previously organized by albums, events, faces and more—providing fast, easy access.
• Easy Video and Audio Track Compositing: Users can unleash their creativity by dropping one clip on top of the other in the Storyboard to create a picture-in-picture effect or take advantage of the professionally-designed animated montage themes to layer their photos and videos, all included. Multiple audio tracks also allow for easy layering of music, audio and sound effects to create movie soundtracks.
• Export to Avid Studio for the PC: Avid Studio for iPad also offers a bridge to the power of the desktop by offering a direct link to Avid Studio software (for PC). Customers who use Avid Studio PC desktop software can continue editing their projects with additional powerful features including sophisticated photo and video correction tools, unlimited timeline tracks, an impressive collection of included content and more.

Availability

The Avid Studio app for the iPad is available worldwide from the App Store.

Click for more information about the Avid Studio iPad App.

Desktop Video 9.2 beta 1 for Mac OS X is available for download and is free of charge for all Blackmagic Design customers. This update includes support for all current DeckLink, Multibridge, Intensity and UltraStudio models.

Broadcast monitoring in Final Cut Pro 10.0.3 allows video output to external monitors and other equipment using the SDI, HDMI or analog video outputs from Blackmagic Design video hardware.

Desktop Video 9.2 beta 1 includes a new control panel for selecting the video output format from Final Cut Pro X for output to devices such as broadcast quality monitors, HDTVs and projectors, so you can see exactly what your master will look like in television colorspace.

Desktop Video 9.2 beta 1 also includes Media Express 3.1 beta. Media Express provides capture, logging and management of video files to Final Cut Pro X compatible formats including ProRes and uncompressed video. Media Express features timecode accurate video capture from professional VTRs with RS-422 control, the ability to log additional metadata and to create custom bins for managing all project video media.

Final Cut Pro X 10.0.3 includes XML 1.1 for exporting primary color grades to DaVinci Resolve. This improved XML support makes it easier to move projects from FCP X to Resolve as any primary color changes carried out during editing can now be imported and applied automatically within Resolve. Once a project has been color graded with DaVinci Resolve it can be reopened simply within Final Cut Pro X for any further editing.

Availability and Price

Desktop Video 9.2 beta 1 for Mac OS X is available free of charge from the Blackmagic Design support page.

Click for more information about Blackmagic Design’s Desktop Video 9.2 beta 1.

• Apple Upgrades FCP X
• New Utility Converts FCP 7 Project to FCP X
• Negotiating the European Film Market
• News From Red Giant
• Storage That Grows With You
• SuperMeet Change Their Name

GUESTS: Catherine Buresi, Philip Hodgetts, Matthew Rehrer, Dan Berube, and Aharon Rabinowitz

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This week is all about making money!

Great New Interviews! Join Larry Jordan and Michael Horton as they talk with:

Catherine Buresi, Co-Director, European Film Market

This is part two of our look ahead at the European Film Market (EFM), which starts in a week and runs in conjunction with the Berlinale Film Festival in Berlin. EFM the third-largest film market in the world; after Cannes and the American Film Market. Catherine Buresi, Co-director of the EFM, joins us this week in the second of two interviews explaining what producers need to know to be successful at a film market.

Aharon Rabinowitz, Director of Communities, Red Giant Software

Aharon Rabinowitz is the Director of Communities for Red Giant, and the host of Red Giant TV. He began his career as a production intern at Sesame Street and has since served as Animation Designer, Producer, and Technical Manager for several networks and production companies. In addition, Aharon Co-founded After Effects New York, an association for professionals and enthusiasts using Adobe After Effects and related software to create imagery for video, film, and other media.  If we can steal enough time with him, he’ll also talk about the new version of Looks 2 for Media Composer – what doesn’t this guy know?

Matthew Rehrer, Production Storage Manager, Harmonic

We will spend far more money for storage than we will ever spend for our computers. Storage for media production is a subject that we have been covering for a long time at the BuZZ. Matthew Rehrer is the Production Storage Manager at Harmonic, where he provides direction for products that empower digital content creation, management, and delivery. Between the floods in Thailand, the slow roll-out of Thunderbolt, and a shift to larger image sizes, there is an insatiable appetite for more storage. This week we talk with talk with Matthew about finding storage that can grow as we need, and works over existing Ethernet cables.

Philip Hodgetts, CEO, Intelligent Assistance

Earlier this week, Apple updated Final Cut Pro X to version 10.0.3. One of the centerpieces of the update is a new utility for converting projects from Final Cut Pro 7 to Final Cut Pro X. Within a day, it jumped to be one of the Top 10 apps in the Mac App store! Philip Hodgetts and Greg Clark were the team at Intelligent Assistance that put this utility together – a six month process. This week, we talk with Philip about what this new utility does and how they managed to get the two programs to talk to each other.

Dan Berube, Co-producer, SuperMeet

This week, the organization behind the SuperMeet changed their name – causing a flurry of discussion on the Web. So, we invited co-producers Mike Horton and Dan Berube on to talk about the name change, what it means for creative professionals, and where they see the shows heading in the future.

You can’t find people or interviews like this anywhere else — on another fascinating show!

The Buzz is all the information you need now to know what’s coming next!

If you already own Looks 2 or Magic Bullet Suite 11.0 and higher, you get a free update to Looks 2.0.6.

Click to find out more about the FREE Magic Bullet Looks 2 Update.

Looks 2 is Red Giant’s second color product released for Final Cut Pro X, following our Magic Bullet Mojo release a few months ago. As we roll out new support for the leading host apps, Magic Bullet Suite continues to be the definitive color treatment package for filmmakers and professional video editors.

Click for more information about Magic Bullet Suite.

One Week Sale; Get 50% off Looks 2

Are you an FCP X editor who wants to quickly create the look of popular movie genres? A colorist ready to bite into more powerful color grading? A Quick Looks user who wants more film look presets? Our ‘Get in the Mood’ Sale is for you.

Looks 2 sets the mood of any project with professional color effects and film look presets. For the next seven days, we are offering a 50% discount on Looks 2. Get the color treatment tool that’s been used for big-budget feature films like The Curious Case of Benjamin Button and The Social Network, alongside indie films like Plot Device and puppetry by Tiny Inventions.

Use Coupon Code: LOOKSFCPX50.

Offer is valid from January 31 to February 7.

Click to purchase Red Giant’s Looks 2 for FCP X Discount (50% Off).