BuZZ Show and Podcast September 23

Jan Crittenden-Livingston, Jay Holben, Terri White, Kevin Louden

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This week’s episode of the world’s only interactive talk radio for Digital Production, Post Production and Distribution is filled with great information and entertainment designed for the independent filmmaker or industry professional.

Join host Larry Jordan, and co-host Michael Horton, as they talk with:

Jan Crittenden-Livingston, product line business manager for Panasonic, talks about the launch of their new stereoscopic 3D video camera. Is 3D just a flash-in-the-pan or can we really make money at it? And how do we watch 3D? And is this the best time to jump in? We have lots of questions. Jan has all the answers… well, at least from Panasonic.

Jay Holben, technical editor of DV Magazine, is teaching an all-day session next week at DV Expo about lighting for digital video. So, THIS week, we’ve invited him to stop by to tell us what he’s going to be teaching. We will try to pry some lighting secrets from him as long as he’s here.

Terri White, president of Bruno White Entertainment, is putting the new 3D technology to work earning her company money. She’s shooting wedding videos in 3D. We want to find out: is there REALLY a market, can she make money at it, and how much harder has it made her post-production work?

Kevin Louden, product manager for Telestream, has years of experience compressing video. He joins us this week to talk about an as-yet-unannounced product from Telestream. Before he leaves we will find out what it is, what it does, and why the rest of us should care about it!

You can’t find people or interviews like this anywhere else! It’s another fascinating show – all the information you need now to know what’s coming next!


The Digital Production BuZZ is live 6-7 pm Pacific Time. Join the Show Live, listen to, or download an episode from the archives or subscribe to the podcast through iTunes or off the website.

 

Music 2 Hues Announces New Flagship Series CD Release

Music 2 Hues, a leading supplier of Production Music and Sound Effects to the film, video, animation, and multimedia industries has just added a new Flagship Series CD release.

The newest Flagship CD title,”Funky Licks,” is now shipping worldwide and is available on Audio CD, or can be downloaded in MP3 and WAV file formats. This release is composed of a category of progressive, R&B, and funk styled background beds for all visual and multimedia support.

For more information click here.

Boris Continuum Complete 7.0.4 AE Now Available

Boris FX, a developer of integrated effects technology for video and film, announced that Boris Continuum Complete 7.0.4 AW has been released and brings over 200 filters to Macintosh and Windows versions of Adobe After Effects and Premiere Pro CS5, CS4, and CS3.

New Boris Continuum Complete 7.0.4 AE features include:

  • On-Screen Overlay Control Widgets. The most commonly-used parameters in many BCC AE filters are now accessible via native on-screen overlay widgets, each with dynamic parameter value displays that update automatically as the widget is adjusted. Color-coded and easy to use, the new widgets allow parameter adjustments while the editor’s eye remains focused on the image.
  • Support for After Effects Camera Orthogonal View Modes. The BCC 3D Objects filters now support orthogonal views via the AE 3D scene camera system. You can now view any BCC extruded 3D object with an AE camera set to top view, left view, or right view; this eases the task of positioning an extruded 3D element in 3D space.
  • Enhanced integration with the Adobe After Effects 3D camera system
  • Improvements to the BCC Optical Stabilizer filter
  • Improvements to the Text Generator included with the BCC 3D Objects filters.
  • For more information click here.

    MainConcept Showcases New Plug-in and Application Products at IBC 2010

    MainConcept GmbH, a provider of video and audio codecs and software development kits (SDKs) to the consumer, broadcast and professional markets, provided a look at the latest MainConcept audio and video encoding/decoding solutions, including a new 3D for Blu-ray Disc transcoding application, a suite of format compatibility plug-ins for popular Adobe Premiere Pro and Apple’s Final Cut Pro NLEs, and much more at IBC in Amsterdam last week.

    MainConcept has long been recognized as the preferred supplier of high quality, performance optimized audio and video codecs to many of the world’s best known broadcast, streaming, consumer electronics, and mobile device companies. With an unprecedented number of audio and video formats available in the market today, it is critical to have a codec partner capable of providing encoding and decoding solutions that meet industry standards, are easy to integrate, and provide the performance necessary for professional applications.

    MainConcept solutions demonstrated at IBC 2010 include:

    MainConcept Reference 2.1 is a professional media transcoding application based on MainConcept’s codec technology, now with support for HTML5 and Apple iPad. This modular preset-based application allows users to buy only the individual codecs needed. Users benefit from presets for popular playback devices such as Blu-ray Disc so they can start encoding immediately;

    MainConcept Reference 3D transcoding application is a new Windows application for encoding video into stereoscopic and multi-view 3D video streams to create eye-popping 3D Blu-ray Disc productions that are fully compatible with 3D Blu-ray Disc players;

    MainConcept CUDA H.264/AVC SDK enables developers to add GPU accelerated video encoding to their own applications. It allows transcoding from MPEG-2, VC-1, H.264/AVC elementary streams, and raw frames into the H.264/AVC Baseline and Main Profile formats. Also available is a CUDA-based H.264/AVC plug-in for MainConcept Reference 2.1 stand-alone transcoding application for Windows(R) and Macintosh(R), which is accelerated on NVIDIA GPUs.

    MainConcept OpenCL H.264/AVC SDK Beta off-loads resource intensive encoding tasks to the GPU using the OpenCL architecture and ATI Stream SDK 2.2 to speed up video encoding and reducing the CPU processor load. OpenCL is an open, cross-platform industry standard managed by the Khronos Group and is supported by graphics boards from NVIDIA and ATI. It allows encoding into H.264/AVC Baseline and Main Profile;

    MainConcept Movie Export is a preset-based export plug-in for Apple’s Final Cut Pro that allows the NLE to export in popular formats including Blu-ray Disc, HTML5, Flash, AVC-Intra, Sony XDCAM, Apple iPod/iPad and others;

    MainConcept Codec Suite 5 Plug-Ins for Adobe(R) Premiere Pro CS5 are the ideal solutions for working with advanced formats like Sony XDCAM, Panasonic P2 AVC-Intra, DVCPRO and even Ikegami GFCAM formats natively on the Premiere Pro timeline;

    MainConcept Conversion Pack plug-in for Sony’s XDCAM Browser clip-managing software can be used with the latest portfolio of Sony XDCAM camcorders and decks. It is a simple-to-use application that serves as a bridge tool to transcode the XDCAM content into different output formats by using predefined profiles.

    For more information click here.

    BuZZ Show and Podcast September 16

    This week’s episode of the world’s only interactive talk radio for Digital Production, Post Production and Distribution is filled with great information and entertainment designed for the independent filmmaker, producer or editor.

    Click to listen to the show:

    Join host Larry Jordan as he talks with:

    Stuart Ashton, Director of EMEA for Blackmagic Design, tells us about their latest product announcements at IBC (from their booth on the show floor of IBC, no less!) Plus, we talk 3D video, and where Blackmagic Design is headed as they evolve from producing capture cards to a wide range – a WIDE range – of products for production and post.

    Eric Quanstrom, VP Marketing and Strategy for Sorenson Media, stops by to explain the hot new features in Sorenson Squeeze 6.5, released this week. These include better filters, more supported video formats, and extended publishing options. But, what we want to know is whether there’s enough in it to justify upgrading?

    Paul Babb, president of Maxon, returns to showcase the new version of Cinema 4D. (Was it something in the water, or did we miss the memo that everyone was supposed to announce new products last week?) Improved rendering, better rigid dynamic emulation, and all kinds of cool features that we are excited to learn more about.

    Jessica Sitomer, president of the Greenlight Coach, did not announce any new products this week. Instead she returns with plenty of new tried-and-tested tips you can use to find work. Specifically, with DV Expo coming up, she shows us how to work a conference. If getting yourself employed is on your To-Do list for this week, you need to listen to what Jessica has to say!

    You can’t find people or interviews like this anywhere else! It’s another fascinating show – all the information you need now to know what’s coming next!

    The Digital Production BuZZ is live 6-7 pm Pacific Time. Join the Show Live, listen to, or download an episode from the archives or subscribe to the podcast through iTunes or off the website.

    Apple Pro Applications Update 2010-02 Released

    Apple issued Pro Applications Update 2010-02, recommended for all users of Final Cut Studio, Final Cut Server, and Logic Studio, with improved versions of Final Cut Pro 7, Motion 4, Color 1.5, Compressor 3.5, and Qmaster 3.5. The updates add compatibility for new camera formats, improve overall stability and address a number of other minor issues.

    This update is recommend for all users of Final Cut Studio, Final Cut Server, and Logic Studio.

    Details of the enhancements included in the update are available in the release notes for Final Cut Pro 7.0.3, Motion 4.0.3, Color 1.5.3, and Compressor 3.5.3. Apple Qmaster has also been updated to version 3.5.3, but the release notes on Apple’s support site have yet to be updated with information on changes included in the release.

    The update weighs in at 321.1 MB and requires Mac OS X 10.5.8 or later and QuickTime 7.6.2 or later.

    Most of the changes come with Final Cut Pro 7.0.3:

  • Real-time compatibility with Sony XDCAM HD422 720p24/p25/p30.
  • Log and Transfer compatibility with Sony NXCAM SD.
  • Control-G not closing the correct gap in the Timeline under the playhead.
  • Closed captioning data is now preserved when outputting to AJA Io HD with Print to Tape/Video.
  • Performance issue when importing AVCHD with LPCM audio.
  • AVCHD thumbnail images in SD are now the correct 4:3 aspect ratio.
  • XML export now retains the carriage return when working with text and third-party applications.
  • Several memory fragmentation issues have been resolved.
  • Localized versions of Final Cut Pro now recognize HDV devices that use the 1080i60/1080i50 FireWire Basic Easy Setups.
  • Log and Transfer supports ingesting more than one format recorded to the same SD card.
  • Motion 4.0.3 addresses the corrupted display of the camera controls with certain graphics processors.
  • Color 1.5.3 adds compatibility with XDCAM HD422 720p24/p25/p30.

    Compression 1.5.3 adds a compression setting optimized for iPad and iPhone 4.

    Apple Qmaster 3.5.3 is also listed as being updated, but Apple didn’t specify what has changed.

    The update is available via OS X’s Software Update mechanism, or directly from Apple’s support downloads page.

    For more information click here.

    PowerProduction Software Announces Martini QuickShot Creator

    PowerProduction Software, a developer of visualization software for film and video production, announced the release of Martini QuickShot Creator (Martini), the first plug-in for post-production visualization. Designed to work within Apple’s Final Cut Pro, Martini makes it easy for editors to direct additional shots and sequences. With Martini’s dynamic power, editors no longer need to use black slugs with text explaining what “shot goes here”. From single shots to multi-shot sequences, Martini helps directors and editors create a better final film.

    Loaded with hundreds of classic and unique shot styles, Martini’s easy-to-use interface guides editors through the quick creation of composite shots. Editors can select a style, such as basic over-the-shoulder shots, two and three shots, and close-ups as well as fight scenes, chase scenes, and other pre-composed multiple shot sequences. Then, editors can choose a location from hundreds of pre-loaded interiors, exteriors, and custom digital location photos.

    Martini QuickShot Creator seamlessly integrates with all PowerProduction Software products, including StoryBoard Quick and StoryBoard Artist. Optimized for Macintosh OS X, Martini supports OS X 10.4 or higher and Final Cut Pro 6 or higher.

    For more information click here.

    GenArts Releases Sapphire 5 for Final Cut Pro

    GenArts, a maker of visual effects software, announced the availability of Sapphire 5 for Final Cut Pro, Motion, and Final Cut Express. Sapphire 5 takes many of the existing favorite Sapphire effects and makes them drag-and-drop transitions, making them quick and easy-to-use. Sapphire 5 also features significant performance enhancements with GPU acceleration, providing faster render speeds than ever before.

    Time Saving Transitions: Sapphire 5 provides over 40 high-quality transition effects that feature convenient drag-on controls for FCP, making building transitions easier than ever, including new transitions that use LensFlares, EdgeRays, and Glints to dissolve between layers.

    Greater Creativity: Sapphire 5 offers all of the must have effects like glows and lens flares plus a host of film effects, warps, color correction, and stylize plug-ins to enable a level of creativity that sets one’s work apart.

    Enhanced Productivity: Sapphire 5 provides GPU acceleration for lightning-fast render speeds and full interactivity at HD resolutions.

    For more information click here.

    EditShare Ark 2.0 Provides a Safe Haven for Media

    EditShare, a maker of cross-platform collaborative editing and shared media storage systems, announced the availability of its new Ark 2.0 high-speed disk and LTO-4/LTO-5 tape based backup and archiving solutions. On display at IBC 2010, Ark 2.0 boasts a full array of media protection and workflow enhancements, most notably, its complete integration with EditShare Flow.

    When combined with EditShare’s Ingest, playout, storage, and asset-management products, Ark 2.0 provides the backup and archiving component of a seamless set of workflow tools that can meet the needs of virtually any broadcast, entertainment, or post-production environment.

    New highlights of Ark 2.0:

  • Integration with Flow and Complete Backup – Integration between Ark and Flow ensures that all archived clips now have a record in the Flow database prior to being copied to Ark. Flow scans all clips to ensure that proxy file shave been created. Ark updates the Flow database to keep a record of exactly where each archived clip is located. Flow users then can search and browse all clips stored on Ark.
  • Integration with Flow for Complete Restoration of Files – Having a record in the Flow database of all archived or backed-up clips makes restoring files from Ark easier than ever. It is now possible to search or browse for lips even though high-resolution versions are “offline” and stored only on Ark. Through Flow Browse, users can play low-resolution proxy version, incorporate them into sequences, and then restore the desired high-resolution versions to any EditShare Media Space. From within Flow Browse, authorized editors can set up Restore jobs to occur instantly or at a later, scheduled time.
  • Support for Multi-Drive Tape Libraries – Ark 2.0 supports a wide range of tape autoloaders and tape libraries that use standard LTO-4 and LTO-5 tapes. Autoloaders and libraries with multiple tape drives now can be used.
  • Activation Feature for Ark Disk – A new activation feature allows customers to utilize their Ark Disk system as a rapid failover if one of their main storage systems fails. An Ark Disk system can be used as a substitute EditShare storage system until the main system is back up and running again.
  • Improved Tape Management – The new Ark user interface graphically shows which tapes currently are loaded into a Tape Library and in exactly which slot they can be found.
  • Core EditShare Ark Benefits:

  • Media Asset Tracking – Archive media, bins, and sequences with metadata intact, ensuring quick searches for online and near-line archives.
  • Multi-format Support – Backup or archive P2, XDCAM, and other file-based media.
  • Automated and Manual Backups – Schedule backups to occur in the background or during off-peak times.
  • Turn into EditShare – In the event of a main storage system failure, Ark Disk can be activated into a high-functioning EditShare storage series system.
  • Selected File Restore – Browse backed-up and archived clips in Flow Browse, preview their proxy files, and then restore only the high-resolution clips needed.
  • EditShare will be exhibiting the new Ark solutions at the 2010 IBC Exhibition on stand 7.E20.

    For more information click here.

    Blackmagic Design Intros Multiple Product Updates at IBC 2010

    Blackmagic Design, a leader in the development of advanced video solutions for the feature film and broadcast industry, has made multiple announcements at IBC 2010 in Amsterdam, including:

    New DeckLink HD Extreme 3D with HDMI 1.4

    Blackmagic is now shipping a new model of DeckLink HD Extreme 3D today that has new features such as HDMI 1.4 capture and playback, plus a new re-clocker in the SDI inputs for capture from very poor quality SDI inputs.

    The most exciting upgrade on this model is the HDMI 1.4, which lets users work with the latest televisions and cameras for full resolution 3D. The previous model of DeckLink HD Extreme handles 3D via SDI as two streams for full resolution video, however the HDMI needed to use line by line, side by side or top and bottom modes, which are half resolution 3D formats. This limited the 3D quality on the HDMI connections.

    Now with the new HDMI 1.4 built in, users can get full resolution 3D via the frame packing method. Of course the other 3D formats are still supported for pre HDMI 1.4 televisions and cameras. This is an exciting new feature and keeps DeckLink HD Extreme at the cutting edge of video technology.

    This latest model is the 5th generation of DeckLink HD Extreme. Since the original model Blackmagic has added dual link SDI, 3 Gb/s SDI, HDMI, up, down and cross conversion, 3D, Linux support, Media Express, internal keying and more.

    For more information click here.

    Massive Universal Videohub

    Since Blackmagic started building some of its larger routers, customers have been asking for a card based version. The main advantage of a card based router is that it’s expandable and users can easily change the cards in the unlikely event of a fault.

    Blackmagic’s new Universal Videohub models are card based so users get this advantage, and can buy an unpopulated rack frame and then plug in the needed cards. The advantage is that users can start small for lower cost and then add cards.

    Universal Videohub comes in two sizes, and the biggest model, Universal Videohub 288 allows up to a 288 x 288 SDI routing size, while the smaller Universal Videohub 72 model allows up to 72 x 72 size SDI routing.

    The most exciting feature of Universal Videohub is the rack frames are lower cost, so users can buy the larger sized model, and then grow into it. Users can even plug in the small 72 x 72 crosspoint card into the large Universal Videohub 288. Users can then add BNC SDI or optical fiber SDI cards, or a mixture of both depending on what type of connections users need. Having optical fiber SDI built directly into the router will save thousands of dollars on converter costs.

    Because card based routers are used by broadcasters, Universal Videohub 288 also allows dual crosspoint cards to be plugged in for redundancy. In case of a fault, the second crosspoint is used so the router keeps running. All cards can be hot plugged, and there are no electronic components on the motherboard in the router frame, so that means all electronics can be swapped out by changing card modules.

    Unlike other routers, Universal Videohub can even operate with faults in both crosspoint cards, and it will intelligently combine the working parts of each crosspoint to keep the whole router running if possible. This is unique, and is true redundancy.

    However for people in post production, users don’t need to plug in two cross point cards, because in the rare event of a fault, a user can unplug the card with the router power on, and swap it fast. Each interface card includes full RS-422 deck control routing built in, so a user can get up to a full 288 x 288 SDI router with 288 port deck control. Plus all the cards from the smaller model can be plugged into the larger model.

    Universal Videohub will ship late November.

    For more information click here.

    Compact Videohub

    For smallest size, the all-in-one routers are perfect because they are low cost, extremely reliable as well as very physically small. Blackmagic’s new Compact Videohub is a very large 40 x 40 size 3 Gb/s SDI router with auto switching SD, HD and 3 Gb/s SDI, re-clocking, redundant power connections and serial and ethernet cross point control.

    It’s very similar to Blackmagic’s Micro Videohub model, however it’s a larger 40 x 40 size, has redundant power connections, and is two rack units in size.

    For more information click here.

    Videohub Control for Apple iPad

    Blackmagic now has a Videohub Control on the Apple iTunes App Store. Users who have an Apple iPad, can download it free for a fantastic control application with all Videohub routers.

    Videohub Control makes the iPad useable as a low cost XY router control panel. An iPad is a beautiful touchscreen computer and looks fantastic when wall or rack mounted as a router control panel.

    For more information click here.

    DaVinci Resolve 7.0 Now Shipping

    Blackmagic is now shipping DaVinci Resolve 7.0 for Mac OS X and Linux, including the software only version for Mac OS X. This new version 7.0 has many new features including new stereographic 3D tools, and support for native ProRes, H.264, QuickTime, optional DNxHD files as well as native RED file and RED Rocket support. The RED Rocket card works in both Mac OS X and Linux versions of DaVinci Resolve.

    There is a completely new colorist reference manual for DaVinci Resolve and it includes a full breakdown of the new features. This new manual has just been posted to the Blackmagic support page for download.

    For more information click here.

    Mini Converter UpDownCross

    Mini Converter UpDownCross is now shipping, and it’s a fantastic way to convert between SD and HD video formats. This new Mini Converter can do full up, down and cross conversion, as well as full NTSC/PAL standards conversion.

    SDI audio is looped through with automatic audio delay based on the video processing delay. Processing is full 10 bit, with high quality filtering for truly professional performance. A reference input is included, so Mini Converter UpDownCross can even re-sync video sources. Mini Converter UpDownCross can be used on the front of decks so that when users route or connect various video standards, it can be converted to the correct format for the deck.

    For more information click here.

    Support for Adobe Premiere Pro CS 5.0.2

    Adobe has released a wonderful new update to Premiere Pro, and it now supports more CUDA based acceleration card models for even more real time effects power as well as bug fixes and performance improvements. Blackmagic has also released an update for DeckLink, Intensity, UltraStudio and Multibridge models that supports this new version.

    For more information click here.

    EchoLab ATEM Production Switcher

    Blackmagic recently acquired EchoLab, a company that specializes in production switchers for live video production. EchoLab have two new models of switchers called ATEM. There is an ATEM 1 M/E model and an ATEM 2 M/E model.

    The ATEM switchers have built in multi viewers so users can see all video inputs on a single HD monitor, as well as re-sync in each input, multiple keyers, DVE’s, built in Media Players, stinger transitions and more. These switchers are absolutely amazing, and imagine having features similar to an NLE software package, but all in a hardware based product designed for real time live production.

    Blackmagic will be showing the larger 2 M/E model at IBC.

    For more information click here.