PHYX Releases PHYX Color 3

PHYX Incorporated, maker of visual effects software recently unveiled the latest version of its award-winning PHYX Color 3 plugin collection. PHYX Color is a world-class suite of GPU-accelerated plugins designed for color correction, look development, and color filter simulation. PHYX Color plugins and filters are designed for editing, visual effects, and motion graphics work within major host applications from Apple and Adobe. The demo is free available inside the FxFactory 4 package from Noise Industries.

New in PHYX Color 3:

FilmGrain creates realistic film-like grain, with the ability to control: Grain Size, ‘Light Balance’ which controls the brightness or darkness of grain, and Amount of grain applied.

LookLab gives you complete control to correct: Color Temperature, White Balance, Color Tint, Gamma, Levels, and more.

Mono gives you the ability to create Monochromatic images by: using a single color to re-map luminance, by extracting the Luma channel from Y’Cr’Cb footage, or by using the Maximum Component to use the brightest value available in the source footage.

Also in PHYX Color 3: Gradient Designer has been redesigned to be faster and more accurate.

PHYX Color plugins are compatible with: Apple Final Cut Pro (7 & X), Apple Motion, Adobe After Effects, and Adobe Premiere Pro.

Click for more information about PHYX Color 3.

FilmLight Launches New Products to Provide Professional Color Control at Every Stage

FilmLight is further enhancing its integrated color pipeline with new products to be introduced at NAB 2013 (booth SL 3928, LVCC, 8–11 April). The range ensures that colour workflows can start on-set and run right through to final post and delivery, staying true to the vision at every stage. It delivers unrivalled productivity and creative control, giving facilities a real edge in delivering uncompromised results.

Leading the products launched at NAB 2013 is a new Baselight ONE grading system. This is a diskless, 4U tower system with the full Baselight creative toolset, and a 2TB solid-state internal cache that guarantees impressive processing performance.

Slate is our new compact grading control panel designed with both Baselight and Baselight Editions in mind. It draws on the success of the revolutionary Blackboard 2 panel, and retains all the quality, precision and ergonomic convenience but in a smaller form factor and at a lower price point.

FLUX Store is a breakthrough approach to storing and managing the huge amounts of content generated by today’s digital workflows. Capable of streaming 2K and 4K content into Baselight systems over dual-link 10 gigabit ethernet, it includes user-expandable storage up to 80TB with integral data management. Teamed with the new Baselight ONE, it makes a perfect streaming media hub to which you can add a second station when you need to.

Baselight Editions put the creative power of the Baselight grading toolset, as well as support for the new Slate control panel, inside Avid, Final Cut Pro 7 and NUKE systems. NAB 2013 will see the preview of the eagerly awaited Baselight for Avid Windows. Baselight Editions use the same OpenEXR-based BLG (Baselight Grade) files as all systems in the FilmLight range, so grading decisions can be passed between on-set, near-set and the grading suite simply and transparently.

The FLIP on-set color visualisation system has been refined: it’s now a smaller, sleeker device, which can be battery powered for location shoots. FLIP takes away the guesswork of digital cinematography, applying color correction on-set so you know exactly what you have shot. And that color correction is a BLG file so the director’s first thoughts become the foundation for the final grade.

Baselight is regarded as the ultimate color grading system, and Baselight 4.4 adds new creative and practical facilities. These range from Photoshop-style layer blending to brand new functionality for managing render queues and multiple deliverables. It also includes a new stereoscopic 3D toolset.

All these new products and more can be seen on the FilmLight booth at NAB 2013, SL3928. In addition, Baselight Editions can be seen in action on the Avid booth (SU902), Baselight TWO is being demonstrated at Sony (C11001), and FLIP is being shown in association with Arri production workflows at C4337.

Click for more information about FilmLight at NAB2013.

Sound Devices Showcases PIX 260 Production Video Recorder at IBC 2012

Sound Devices, experts in portable audio and video products for field production, showcases its new PIX 260 production audio/video recorder at IBC 2012 (Stand 8.D74). Based on Sound Devices’ field-proven PIX 220 and PIX 240 recorders, the rack-mounted PIX 260 is a file-based video/audio recorder/player that seamlessly replaces tape-based video decks in production and post-production environments.

Using the Apple ProRes or Avid DNxHD codecs, the PIX 260 records and plays files up to 220 Mbps in high-quality 10-bit 4:2:2 video. It also records 32 tracks of 48 kHz audio. Files from the PIX 260 are ready for direct import into Avid and Final Cut editing platforms, eliminating time-consuming transferring and transcoding. Files can also play out of the PIX 260 for real-time applications.

Continuing the company’s deep heritage in production sound, Sound Devices has infused the PIX 260 with 32-track record/playback capability. In addition to 16 channels of embedded SDI audio and eight channels of HDMI audio, the PIX 260 also accepts eight channels of line-level analog I/O and eight channels of AES digital audio. Using Dante, the PIX 260 can accept and transmit up to 32 channels of audio over Ethernet.

The PIX 260 has a built-in five-inch 800 x 480-pixel IPS video display that allows users to view video and setup-menu selections. With its extensive control capabilities, the PIX 260 is a flexible video playback source that is compatible with Final Cut Pro 7, Final Cut Pro X and Avid sessions. The PIX 260 can be controlled by both external RS-422 and via Ethernet through its embedded Web server, allowing for machine transport control over Ethernet-based networks.

Up to four SATA drives can be connected to the PIX 260 simultaneously. All four drives can be recorded to simultaneously, for RAID-1 type redundancy and to eliminate the need for post-record copying when multiple copies are required.

The PIX 260 includes a built-in Ambient Clockit time-code generator/reader with genlock output for rock-steady multi-camera and double-system sound applications. In addition to generating ultra-stable time-code, time-codes can be read from the SDI stream, the HDMI stream or from an external source.

Like PIX 220 and PIX 240, the PIX 260 includes a sophisticated scaler and frame rate converter. Regardless of the incoming signal, the PIX recorders can record the signal after up, down or cross-conversion at the same rate or a different rate. Hardware-based 3:2 pull-down removal is included as well.

PIX 260’s convenient 1/2-rack, 2U chassis dimension allows it to be easily integrated into any existing environment. It is powered by 10-27 VDC through its four-pin XLR connector.

Click for more information about Sound Devices PIX 260.

Free Barcode PlugIn Released for Final Cut Pro, Motion and After Effects

Noise Industries, developer of visual effects tools for the post-production and broadcast markets, introduces Barcode 2.0 by Yanobox, available now for free through FxFactory. Barcode is a generator that simulates the European Article Number, also known as the EAN-13 barcode, used on products around the world every day. With the free generator, editors can customize and animate barcodes, adding a unique look to footage. With custom color modes and random digits, users can transform the classic barcode into an eye-catching motion graphic element. Barcode is supported in Final Cut Pro 6, 7 and X, Final Cut Express 4, Motion 3, 4 and 5 and Adobe After Effects CS4, CS5, CS5.5 and CS6.

With Yanobox Barcode, editors can:

  • Customize – Play with the color module, change the font, or resize the bars to create a unique style
  • Animate – Use random digits and draw the elements progressively with the adjustable completion parameters to bring your barcode to life
  • Share – Create your own presets to use in the future and share with others among all supported host applications

Yanobox Press Kit
Members of the press can download the Yanobox press kit.

To watch the Barcode Promo Video, click here.

To learn more about Barcode, click here.

Sound Devices Debuts PIX 260 Production Video Recorder at the 2012 NAB Show

Sound Devices, experts in portable audio and video products for field production, have introduced their new PIX 260 production audio/video recorder at the 2012 NAB Show (BoothC2546). Based on Sound Devices’ field-proven PIX 220 and PIX 240 recorders, the rack-mounted PIX 260 is a file-based video/audio recorder/player that seamlessly replaces tape-based video decks in production and post-production environments.

Using the Apple ProRes or Avid DNxHD codecs, the PIX 260 records and plays files up to 220 Mbps in high-quality 10-bit 4:2:2 video as well as 32 tracks of 48 kHz audio. Files from the PIX 260 are ready for direct import into Avid and Final Cut editing environments, eliminating time-consuming transferring and transcoding. Files can also play out of the PIX 260 for realtime applications.

Continuing the company’s deep heritage in production sound, Sound Devices has infused the PIX 260 with 32-track record/playback capability. In addition to 16 channels of embedded SDI audio and eight channels of HDMI audio, the PIX 260 also accepts eight channels of line-level analog I/O and eight channels of AES digital audio. Using Dante, the PIX 260 can accept and transmit up to 32 channels of audio over Ethernet.

The PIX 260 has a built-in five-inch 800 x 480-pixel video display that allows users to view video and setup-menu selections. With its extensive control capabilities, the PIX 260 is a flexible video playback source that is compatible with Final Cut Pro 7, Final Cut Pro X and Avid sessions. The PIX 260 can be controlled by both external RS-422 and via Ethernet through the embedded Web server, allowing for machine transport control over Ethernet-based networks.

Up to four SATA drives can be connected to the PIX 260 simultaneously. All four drives can be recorded to simultaneously, for RAID-1 type redundancy and to eliminate the need for post-record copying when multiple copies are required.

The PIX 260 includes a built-in Ambient Clockit time-code generator/reader with genlock output for multi-camera and double-system sound applications. In addition to generating ultra-stable time-code, time-code can be read from the SDI stream, the HDMI stream or from an external source.

Like the PIX 220 and PIX 240, the PIX 260 includes a sophisticated scaler and frame rate converter. Regardless of the incoming signal, the PIX recorders can record the signal after up, down or cross-conversion at the same rate or a different rate. Hardware-based 3:2 pull-down removal is included as well.

PIX 260’s convenient 1/2-rack, 2U chassis dimension allows it to be easily integrated into any existing environment. It is powered by 10-27 VDC through its four-pin XLR connector.

Click for more information about Sound Devices’ PIX 260 Production Video Recorder.

NewBlue Announces Titler Pro Compatibility with Mac-Based Non-Linear Editors Releasing at NAB 2012

Video effects innovator and technology developer NewBlue, Inc. has announced that the critically acclaimed NewBlue Titler Pro will be available on Mac OS supported NLEs (non-linear editors).

NewBlue recently released the GPU-accelerated Titler Pro plugin on professional Windows-based NLEs including Adobe, Avid, Sony, and EDIUS. Now, with the addition of Apple’s Final Cut Pro 7 and Final Cut X, Titler Pro is one of the few titling solutions available to all Final Cut Pro (FCP) editors.

Features of Titler Pro:

  • Native Host plug-in workflows
  • Character style and animation presets
  • Raster-based effects and transitions
  • Animation-based effects and transitions
  • 2D and 3D fonts
  • Drag-n-drop animations
  • 100% GPU accelerated
  • Key-framing
  • Real-time previews
  • Import of images for texture

Availability & Compatibility

Titler Pro will be available starting April 16th for the following Mac and Windows-based NLEs:

  • Adobe Premiere Pro/CS5
  • Apple Final Cut Pro 7/FCPX
  • Avid Media Composer 5/6
  • Grass Valley EDIUS 6
  • Sony Vegas Pro 10/11

Recommended System Requirements:

  • Microsoft Windows XP (SP 3 or later); Windows Vista (SP 2 or later), or Windows 7; Mac OS Snow Leopard or higher (Intel-systems only)
  • 1 GHz processor (multicore or multiprocessor CPU recommended for HD)
  • GPU with OpenGL and minimum 512mb graphics memory (NVIDIA or ATI Radeon graphics chip sets only)
  • 30 MB hard-disk space for installation
  • 1 GB RAM (2 GB RAM recommended for HD)

Click for more information about NewBlue Titler Pro.

Nattress Announces The Release of Film Transitions Bundle

Nattress‘ Flash, Burn, Jump and Dissolve allow users to process their footage as if it were made of celluloid.

  • Jumpy Splice simulates the effect of film jumping out of the projector’s registration sprockets at the point of a tape splice. Choose from 35mm, 16mm, 8mm and Super8 style film.
  • Burn Through mimics the melting and burning of the film image when the film jams in the projector and gets roasted by the projector lamp. Select from several different burn styles, or create and load your own.
  • Film Flash recreates the overexposure produced at the end of a film take.
  • Film Dissolve brings the power of film-log space to recreate the illusion of an optical dissolve. Choose from four different styles of dissolve–each applying or mapping light in a distinct fashion.

These cool film style transitions use the FxFactory engine. Download FxFactory for free, and try before you buy any of these terrific plugins. FxFactory enables you to use Film Transitions inside Motion and After Effects, as well as Final Cut Pro X and Final Cut Pro 7.

Click to watch a Tutorial on FxFactory Transitions, such as Nattress Film Transitions.

Click for more information about Natress Film Transitions.

Defocus Effects for Final Cut Pro, Motion and After Effects Released by PHYX

Noise Industries, developer of visual effects tools for the post-production and broadcast markets, introduces PHYX Defocus to its line of plug-ins available on FxFactory 3. PHYX Defocus effects accurately simulate depth of field, bokeh, tilt-shift, rack-focus and more. The GPU-accelerated suite is compatible with Final Cut Pro X and 7, Motion 5 and After Effects.

PHYX Defocus feature highlights include:

  • Chroma Aberration – Editors can simulate chroma aberration – the imbalance of RGB color channels that can occur with camera lenses.
  • Fast Defocus – This effect can be used to simulate ‘bokeh,’ or out-of-focus lens effects. Editors can create depth of field with the use of a depth mask, rack-focus effects, and more.
  • Pan / Tilt – A popular effect used in many motion pictures and music videos, users can create a tilt-shift setup for still and motion picture cameras, with smooth, defocused gradients.
  • Vignette Vision – With two effects options, editors can defocus either the outer edge or the center of the image. Defocusing the outer edge simulates POV shots, vintage lenses and more. Defocusing the center of the image allows editors to censor images, create hallucinations, etc.

Click for more information about Noise Industries’ PHYX Defocus.

BVE 2012: Facilis Debuts TerraBlock 5.5 w/ Linux Support

At Broadcast Video Expo (BVE) 2012 Facilis Technology, a leader in advanced shared storage solutions for post-production and content creation, has introduced version 5.5 of its TerraBlock Shared Storage System featuring the Facilis Shared File System for Linux. Delivering improved compatibility, value, scalability and performance, the new software release also includes integrated server spanning and mirroring, Adobe Premiere Pro project sharing and a new capacity expansion product called TX16.

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.

Nattress Releases First FxFactory Based Filters for FCP and AE

Noise Industries‘ latest partnership with Nattress Productions brings a finer degree of image control to the editor through Levels and Curves, a filter pack that allows users to color grade in film-log space. The new curve-based color adjustment plug-in, available now on FxFactory 3, is compatible with Final Cut Pro 6, 7 and X; Motion 3, 4 and 5; and Adobe After Effects CS3, CS4, CS5 and CS5.5. Users can download a Free Trial Version of Nattress Levels and Curves.

Nattress Levels and Curves feature highlights include:

  • Film-Log Space – Editors have all the benefits of fine control over the tones in an image and film-like contrast handling.
  • On-Screen Curve Display – The on-screen curve display helps editors fine-tune curve and/or level adjustments. The curve display can easily be turned off when footage adjustment is completed.
  • Library of Presets – Users can quickly apply popular level corrections, or create and save custom presets to use again and again.
  • Levels – The Black and White level inputs and outputs can be easily set, plus gamma curve control allows for fast and functional levels control.
  • Curves RGB – Individual control over the RGB channels in an image is made simple. The control set is duplicated for each channel allowing for precise control over image tones and colors.
  • Curves Luma – Users can work on the luma component of an image only. When a user adjusts luma curves, it only alters how bright or dark the tones of the image appear; color and saturation are not affected.
  • Curves – Curves work in RGB space equally across all three channels. As contrast increases, so does the perception of image saturation.

Click for more information about Levels and Curves.

Click for a Levels and Curves Tutorial.