FilmLight and Industry Partners Exhibit Flawless Integration at NAB2014

FilmLight is focusing its NAB2014 presence on four of its most creative and industry-leading partners – Codex, Dolby, The Foundry and Sony. With innovative and highly cost-efficient technologies being shown for the first time across the exhibition, this year’s visitors will be able to experience the best color management solutions in a real-world context – as part of a collaborative, creative workflow.

New at NAB is a collaboration which links the Codex Vault to Baselight, allowing grading decisions made on-set with the Baselight FLIP real-time image processor to be rendered into dailies deliverables on Vault – including Avid, Apple, or other deliverables with audio sync and comprehensive metadata support. Metadata is stored in the same OpenEXR-based BLG file format used by Baselight and Baselight Editions, so grading decisions can be passed seamlessly and transparently from set to editorial, VFX to grade.

The Codex booth also features Baselight Dailies as part of a complete camera-to-post solution. Baselight Dailies is an exciting new addition to FilmLight’s color range, designed for mobile post-production on location. It will be offered as a cost-effective and intuitive software solution, running on standard Mac hardware. Baselight Dailies forms part of an integrated end-to-end FilmLight workflow with Baselight finishing systems, Baselight Editions, Baselight FLIP and other FilmLight products.

This complete workflow can be seen on the Codex booth (C6048).

Alongside Dolby Laboratories, FilmLight will present high dynamic range (HDR) mastering and grading, featuring the new Dolby Vision technology on Baselight’s high-performance color grading system. Dolby Vision, which launched at the recent CES exhibition, improves the quality of each individual pixel by providing high dynamic range (HDR) and a wider color gamut. This new partnership combines both companies’ technical leadership and creates a dramatically improved video experience with true-to-life brightness, colors, and contrast. Visitors to the Dolby booth (SU1702) will be able to discover the complete Dolby Vision ecosystem, including a remarkable 4000 nit P3 high contrast display.

Recognizing that post-production today calls for excellent color control in visual effects as well as in a dedicated grading suite, FilmLight has been working with The Foundry on the innovative new Baselight for Nuke. Baselight for Nuke gives VFX artists the ability to accurately preview fully graded shots, resulting in better compositing control while alleviating the need for additional amends due to changes made in color correction. The new Baselight for Nuke can be seen on The Foundry booth (SL6329).

Sony has long led the way with high-resolution digital cinematography cameras. As a long-standing partner, FilmLight has collaborated with Sony to help form some of the most powerful creative platforms. At NAB2014 it is showing its support for the latest enhancements to the F55 camera, S-log 3 and S-gamut 3 Cine color space modes. The greater dynamic range and wider color gamut, handled by Baselight for dailies and finishing, can be seen on the Sony booth (C11001).

FilmLight’s US distributor CineSys Oceana will also have a Baselight demonstration, together with a Blackboard control surface, in the Renaissance Hotel, for presentations by appointment.

Click for more information on FilmLight’s Baselight.

Flashpoint’s New Blast Pack Portable Battery with Interchangeable Modules Now Available Exclusively at Adorama

Adorama, one of the world’s largest photography, video, imaging and electronics retailers, recently released the new Flashpoint Blast Pack Battery. A very lightweight and portable battery pack with interchangeable lithium 4500 mAh battery modules, the Blast Pack provides up to 1800 shots at full power per battery charge. With an incredible recycle time of just two seconds at full power and nearly continuous at lower power outputs, the Blast Pack also offers dual flash output, allowing for two different units to operate simultaneously with no energy loss to either flash.

The Blast Pack has the unique feature of interchangeable batteries. Batteries slide on and off the bottom of the pack easily, providing an inexpensive alternative to other portable power packs that are wholly integrated units. Batteries charge completely in only three hours and are compact and lightweight, making the Blast Pack a preferred solution for additional power on location.

The durable and lightweight Blast Pack battery is compatible with a wide range of popular on- and off-camera flash units including Canon, Nikon, Sony, Metz and Quantum. Additional features include an LED indicator to show storage capacity and cycle status, as well as a gauge-style display that warns when power discharge is too low. A necessary tool for photographers – especially wedding and event shooters – the Flashpoint Blast Pack is the best on-the-go solution for lightweight, portable battery power anywhere you need it.

Key Features

  • Extra-large capacity swappable lithium battery
  • Dual ports drive two flash units without sacrificing power
  • LED battery Power Level Indicator on top
  • Powers most pro shoe mount flashes from Canon, Nikon, Sony, Metz, and Quantum and Treo Flashes
  • Only one second full power recycle with Canon 580EXII, Nikon SB900 and Sony F58AM
  • Almost instant recycle on auto settings
  • Interchangeable Lithium battery modules for nonstop shooting
  • Lightweight portability and super value

Availability
The Flashpoint Blast Pack Battery is now available in the Adorama store, located at 42 West 18th Street in New York City, and online.

XenData Announces Support for Sony’s Optical Disc Archive Products

XenData, the leading provider of LTO archive solutions to the media and entertainment industry, has announces its SX-520 Series of Archive Servers will now support Sony’s Optical Disc Archive products. The new combined offering gives customers an additional robust storage alternative that can scale to multiple petabytes of near-line optical storage with a 50 years archival life.

Sony’s Optical Disc Archive is a new-generation high capacity storage system for video and data archiving. It was developed by Sony to provide highly stable long-term data retention. At the core of the Optical Disc Archive system, is a cartridge housing 12 optical discs and a specialized drive unit. Each Optical Disc Archive cartridge has a native capacity up to 1.5 TB and is designed for long term archiving. The Sony’s Optical Disc Archive library range starts with a rack-mount 30 cartridge unit which provides up to 45 TB of near-line optical capacity. It may be scaled by adding expansion units, taking the capacity of a single Optical Disc Archive library up to over 800 TB.

XenData SX-520 Series Archive Servers now provide greater flexibility by managing LTO or Optical Disc Archive robotic libraries or even both simultaneously. An SX-520 Server includes up to 90 TB of RAID which acts as a high performance buffer. This means that the SX-520 and Optical Disc Archive combination has the archive speed of RAID and the long term robustness of optical disc technology. A single SX-520 Server can manage multiple Optical Disc Archive libraries providing scaling to multiple petabytes.

Other benefits include:

  • Native Compatibility with Most Applications – The XenData-Sony system has a file / folder interface which is compatible with a wide range of applications used in the media industry including most media asset management systems.
  • Optimized for Networks – The solution has a Network Attached Storage (NAS) architecture which makes it easy to deploy. It supports CIFS/SMB and FTP network protocols over 1 GbE or 10 GbE.
  • Natively supports Windows, Mac and FTP Clients – Windows, Apple OS X and FTP clients are supported without need to install any software on the client computer.
  • Fast Archiving – Files are written at RAID speed and may be concurrently archived to multiple Optical Disc Archive drives.
  • Fast Restores – The system restores a queue of files in the shortest possible time. The restore requests are processed in an order that minimizes unnecessary optical disc swapping within the Optical Disc Archive cartridge.
  • Industry Standard File Security – The archive server integrates fully with the Microsoft Windows security model based on Active Directory with no need to configure proprietary user access.
  • Manages Unlimited Externalized Cartridges – The system manages any number of externalized cartridges, providing an unlimited total capacity.

The XenData SX-520 Servers which supports Sony’s Optical Disc Archive will be available by the end of the year.

About XenData Support for Sony’s Optical Disc Archive Products.

Sony Releases New Upgrades To Sound Forge Pro And SpectraLayers Pro Audio Editing Software

Sony Creative Software, a leading global provider of professional editing and authoring solutions, has released new upgrades for two of their award-winning software applications, Sound Forge Pro 11 [WIN] and SpectraLayers Pro 2 [WIN/MAC]. Sound Forge Pro is the application of choice for a generation of editors, comprising a solid platform with an array of options that have enjoyed a continuous evolution since the birth of audio recording on the PC. The new edition introduces more efficient recording and processing workflows and new signal and effects processing plug-ins for crafting broadcast-ready audio masters. Upgrading the revolutionary editing application, SpectraLayers Pro 2 stands at the forefront of the audio spectrum editing movement. Working with audio in the spectral realm is now even quicker and easier, with a faster processing engine and a host of new tools, methodologies and user interface improvements.

While Sound Forge Pro 11 and SpectraLayers Pro 2 are standalone applications, both are now configured to work seamlessly with each other, providing a comprehensive editing environment that combines deep waveform and spectrum editing capabilities.

Sound Forge Pro 11 Software New Features

  • One-Touch Recording: Sound Forge Pro 11 features a completely redesigned recording interface that keeps you anchored in the workspace at all times while you shape and monitor incoming audio, arm and record takes, review work, and prepare for the next pass.
  • CALM (Commercial Advertisement Loudness Mitigation Act) compliant metering:New metering features help you follow the new rules while maximizing the dynamic range potential of your audio.
  • New Plug-in Chain Interface: Direct workspace access to every element of the plug-in processing environment.
  • Includes iZotope NectarElements plug-in: High end voice processing plug-in with style presets in genres like rock, pop, folk, soul, and voiceover & dialogue.
  • New Restore and Repair Tools by iZotope: New in this edition: Declipper, Denoiser, Declicker.
  • New Waveform Display Options: More than just a simple strip that displays your exact location, this feature also serves as an excellent navigation and auditioning tool.
  • Input Bus Effects: Set the mood for your talent by sweetening your source signal with plug-in effects.
  • Broadcast Wave File Format Enhancements: Supports BEXT BWF version 2.0, iXML, and includes autofill and verification options as well as automatic repair of BWF data.

SpectraLayers Pro 2 Software New Features

  • Significantly Enhanced Performance: Enjoy faster spectral graph explorations in any scenario.
  • Spectral Casting / Molding: Cast the frequency signature of one layer over that of another to derive a derivative layer that can be phase-inverted to create free spectral space for hard-to-distinguish sounds to occupy in a mix. Try a spectral alternative to typical side-chain/ducking processes, or tap this feature’s creative potential for incredible sound design possibilities.
  • Shape Tool:Perfect for extracting drum sounds, simply point at a shape on the spectral graph and click to pull your hits over to a target layer.
  • Frequency Range Display Options: Display frequency ranges plotted on your choice of logarithmic scales.
  • One-Click Noise Extraction: A new one-click command executes your custom noiseprint over the target layer’s entire spectral expanse.
  • Looping: Define a time range and engage looped playback to audition full-spectrum selections as well as frequency bandwidth-limited selections.
  • New Resampling and Remixing Options: Freely define, route, and mix channels during the resampling process.
  • Retina Ready:Peer deeper into the spectral graph while taking advantage of your Retina display equipped MacBook Pro.

 

Availability

Sound Forge Pro 11 software, SpectraLayers Pro 2 software, and both applications bundled in the Audio Master Suite package are now available for digital download, with physical products available August 12, 2013.

Click for more information about Sony Creative Software’s Sound Forge Pro 11 & SpectraLayers Pro 2.

Hamburg Pro Media Releases Free MXF4mac Player

Hamburg Pro Media, a leading provider of software-solutions for broadcasters and post-production profesionals is pleased to release a major update to their MXF4mac free Player. Despite a complete redesign and a lot of new features like a complete new GUI or Sony´s XAVC support, the new version gives access to the new Plug-In Store, where you can browse and purchase Plug-Ins and Add-ons

The Plug-In Store starts with 3 new Plug-Ins:

DCP Import MP

Extends the MXF4mac Player to a full DCP Player which open and play JPEG 2000 Digital Cinema Packages up to 4K.

J2K Codec MP

The “state of the art” JPEG2000 decoder opens JPEG2000 files in the MXF4mac Player and brings a new dimension of playback performance to the Mac.

FREE P2 Import MP

Makes your MXF4mac Player a full featured P2 Player. It merges separated audio and video files of P2 “CONTENTS” folders into the MXF4mac Player.

Apart from all this new features still applies: The MXF4mac Player makes MXF Clips to feel like Quicktime movies. Open or just drag nearly any flavour of MXF files into the MXF4mac player to watch it. The Plug-In Store is exclusive for MXF4mac Player Users.

Click for more information about Hamburg Pro Media’s new free MXF4mac Player.

eyeon Production Pipeline (EPP) – Open Source Workflow Independence

Leading VFX and Broadcast software developer, eyeon Software, has announced the shipping release of EPP, eyeon’s latest solution to drive production efficiencies and productivity.

A forerunner in tools that provide a very fast, responsive, and highly-productive experience, eyeon Software introduces EPP. EPP’s benefits can deliver cost savings as the paths now live on global space that is accessible to all products. In contrast to conventions, EPP’s approach is far less error prone, taking care of specifying the paths. Artists are no longer required to learn the internals of the filesystem and can work directly with the shots and assets managed by the pipeline.

Instead of relying on restrictive databases, EPP works around simple XML files that can be easily copied to other machines or facilities. More than a suite of scripts that provides flexibility, EPP is a way of working that offers a fully-functional starting point to manage folder structures for projects, shots, and data. It is available in source code to extend and modify as required however EPP is customizable without knowledge of programming by editing simple XML setting files.

EPP is available as a binary installer but also in source form as python scripts hosted at GitHub. Since EPP is released with an unrestrictive NewBSD license, everyone is invited to adapt, change, and contribute to this project.

A key component to EPP is the out-of-the-box integration capabilities with Generation. Designed to sit on everyone’s desktop, Generation will not only save time and money, facilities now have a snapshot of production overviews to see precisely where they stand on each project. These reports can be as simple as a text document or include as much data and imagery as required, all automated and provided in whatever format best serves each department.

As part of the new EPP toolset, Generation has been updated to version 3.1 and includes a number of new features.

Typical Workflow Software Supported in EPP:

  • 3DS Max
  • Adobe products
  • Arri
  • Avid via eyeon Connection
  • Blender
  • Canon
  • Cinema 4D
  • Edius
  • Fusion
  • Houdini
  • LightWave
  • Maya
  • Nuke
  • Sony
  • XSI
  • And more…

Generation Highlights Include:

  • 120FPS HFR and 4K Stereo playback
  • Logical effect stacks combined on a flexible timeline
  • Direct connection to Fusion
  • Event scripting to support numerous pipelines, (i.e. Adobe, Autodesk, The Foundry, Maxon, Side Effects…)
  • Completely scriptable (Python and LUA)
  • Artist and shot assignments
  • Annotation and communication
  • Timeline creation
  • Tangent Wave support
  • Artist Configurable Metadata Environment (ACME)
  • EPP is completely Open Source to the VFX and post-production communities
  • Stereo features have been extended
  • The EDL workflow has been remodeled

Availability

EPP with eyeon Generation, eyeon Dimension, and eyeon Fusion is available now at a special introductory price. Site licensing available.

Click for more information about eyeon Software’s eyeon Production Pipeline (EPP).

Sachtler Offers Dependable Camera Support for Sony PMW-F5 and PMW-F55 Cameras

There’s never been a more versatile and modular design than the Sony PMW-F5 and PMW-F55 CineAlta 4K image sensor cameras. Thank goodness Sachtler offers fluid head tripod systems to match the variety of configuration possibilities. The Video 18 S1, Video 20 S1, Cine 7+7 HD and Cine 30 HD are all ideal partners for Sony F5 and F55 projects.

The bestsellers: Video 18 S1 & Video 20 S1

Camera operators worldwide rely on Sachtler Video 18 fluid heads. F5/F55 shooters can choose either the Video 18 S1 (4-40 lbs /2-18 kg) or Video 20 S1 (4-55 lbs /2-25 kg). This gives users enough leeway to equip cameras minimally (9-11 lbs /4-5 kg) or elaborately with heavy lenses, handgrips, mattebox, monitors and other accessories. Operators appreciate the tried-and-tested Sachtler Speedbalance technology, 16-step Counterbalance and Boost Button for instant and precise setup. For the ultimate alignment ease regardless of load, add the 150mm C.O.G. Plate. And there’s nothing like the robust versatility of Sachter’s renowned 100mm aluminum or carbon fiber tripods.

7+7 & Cine 30 HD Quick Action Cine heads

Complex set-ups are no problem with the smartly practical Sideload mechanism on Sachtler Cine 7+7 HD fluid heads. Along with Speedbalance technology, the Boost Button, and the 16-step counterbalance, the especially long 150mm sliding range of the camera plate guarantees optimal counterbalancing of set-ups up to 48 pounds (22 kg). For even heavier set-ups–up to 77 pounds, the 150mm Cine 30 HD fluid head is available with sideload and ARRI dovetail compatibility.

What better companion for your new Sony, than Sachtler’s state of the art camera supports? See them in action at Cine Gear, booth #S312.

Click for more information about Sachtler’s Camera Support for Sony PMW-F5 and PMW-F55 Cameras.

VITEC Releases World’s First SxS XDCAM HD422 Field Deck Recorder

The Focus FS-T2001 is the world’s first Dual SxS XDCAM HD422 field deck recorder dedicated to streamline your Sony XDCAM workflow. This latest VITEC recorder is being used by major broadcasters worldwide.

The Focus FS-T2001 offers a professional field solution for those looking to:

  • Expand your production workflow with solid state media
  • Record any SDI input video in Sony XDCAM EX/HD/HD422 up to 50Mbps
  • Improve your productivity while reducing the cost of field storage
  • Enable easy access to your media for browsing, editing and sharing
  • Add XDCAM recording confidence in the field

Key Features of the Focus FS-T2001:

  • Dual PC Express slot for SxS and SDHC adapter
  • Extra long recording, up to 8 hours continuously in 50Mbps on the 250GB internal HDD and infinite recording using removable media
  • 250GB internal HDD for storage and backup of your content
  • Access recorded content (FTP/CIFS) and easily share remotely via the ultra-fast 1Gbps Ethernet Port
  • Playback your stored clips over SDI/HDMI in either native or downscaled resolution (HD to SD conversion for SD transmission needs)
  • SDI in/out, HDMI out, and Composite out connections
  • Integrated LCD for menus, live monitoring, and clip playback

Availability

The Focus FS-T2001 is available now from VITEC’s worldwide network of dealers.

Click for more information about VITEC’s Focus FS-T2001.

NewBlue Announces Flash Remover Pro, Standalone Video Flash Removal Plugin

Video technology company NewBlue, Inc. has announced a new standalone plugin, Flash Remover Pro (FRP). Compatible with the industry’s top non-linear editors, FRP removes still photographer’s pop flashes from video footage including that of D-SLR cameras.

NewBlue Flash Remover Pro is available now on popular NLEs like Adobe Premiere Pro, Apple’s Final Cut Pro, Avid Media Composer, Vegas Pro from Sony, and Grass Valley’s EDIUS.

Features include:

  • Flash Removal—Works effectively on video camera footage as well as the unique challenges of Digital SLR camera CMOS sensors.
  • Sensitivity—Determines how bright a difference in a video frame needs to be before it is designated as a “flash”.
  • Max Frames—Defines a threshold of how many sequential frames may be compensated for if flash is detected.

Click for more information about NewBlueFX’s Flash Remover Pro.

 

OConnor Accessories for Cine Look

While filming his documentary Gas Monopoly, Austrian director and cinematographer Richard Ladkani combined the Sony PMW-F3 with accessories by OConnor, part of Vitec Videocom, a Vitec Group company, to achieve a special look. The project was technically daring and consequently a challenge for the experienced cinematographer.

The 90-minute film tells the story of Martin Leidenfrost, a journalist and author from Slovakia, who travels to the hidden geopolitical world of gas. He poses questions about the future of the gas supply and, in doing so, runs into dirty deals, power games and monopolies.

Perfect combination: the Sony PMW-F3 with OConnor accessories
Richard Ladkani tested whether the F3 as a rather inexpensive camera in the S35 segment would be suitable as the main camera for his documentary. This is how the OConnor set-up, consisting of the O-Grips handgrips, the Universal Baseplate, the CFF-1 Cine Follow Focus and the O-Box WM Mattebox, came to be used during the demanding filming.

Flexible solutions for the highest possible degree of stability
With the new OConnor Universal Baseplate, the rods can be adjusted upwards or downwards on a rail measuring about seven centimeters.

Individual image composition for special look
During the filming of Gas Monopoly, Ladkani did most of the focusing himself. The OConnor O-Box mattebox was an essential device for the desired cinematic look. With it, Richard Ladkani was able to specifically control light and light reflexes for extraordinary camera effects.

Camera work under extreme conditions
The budget and an extremely tight filming schedule demanded absolute equipment dependability.