Music 2 Hues, a supplier of production music and sound effects to the film, video, animation, and multimedia industries has just added a new royalty free title to their Flagship Series line of production music.
The newest Flagship title: “Rio Jazz” is now shipping worldwide and is available on Audio CD, or can be downloaded in Mp3 and WAV file formats.
In this first volume release, Rio Jazz features classic Brazilian bossa nova and samba grooves fused with a modern styled jazz feel.
In addition to audio CD’s, Music 2 Hues’s 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.
AETA AUDIO Systems has announced the launch of eScoop, the most complete professional audio recording and broadcasting tool for devices including iPhones, iPads, Macs, and PCs. eScoop provides breakthrough facilities for recording, editing, transmitting, and publishing audio for live broadcasting, allowing users to record and transmit simultaneously through mobile wireless networks and on desk-based IP networks as a client or a server.
Developed in collaboration with the Dutch pro-audio developer Technica Del Arte (TDA), eScoop supports many protocols such as SIP as well as both one-way SHOUTcast/Icecast streaming and two-way streaming when a return channel is required. In addition to broadcasting live material, eScoop also enables the playout of prerecorded material while broadcasting. A simple editing tool allows the user to isolate any item being used.
Available now as an app for the iPhone, the iPad, Macs, and PCs, and with an Android version available soon, eScoop makes it easy for reporters in the field to capture live audio instantly and broadcast it with professional quality codecs, without specialist equipment other than an external microphone, if required. The wide range of built-in codecs includes MP2, AAC, AAC-HE, AAC-HEV2, G711, and G722, and eScoop is the first professional software codec to include support for the N/ACIP standard. A high degree of service protection is guaranteed by the use of the SIP protocol, which makes it easier to establish a connection and maintain network security through session border controllers.
Chrosziel offers specially made accessories for Sony‘s new camcorder NEX-FS100E, which will become available between July and September this year.
The layout of the LightWeightSupport (LWS) 401-429 for the Sony NEX-FS100 makes sure that a follow focus can be added to all relevant lenses. The platform has been adjusted to the camera base, it allows the camera to move as far as possible to the front edge of the supporting rods.
Chrosziel alternatively offers an HD (Heavy Duty) version, as is the case for all single-chip cameras featuring a PL lens mount. It is equipped with a double tube guide and 440 mm tubes with 15 mm diameter (LWS 401-429HD).
Chrosziel also introduces an improved HD version light-weight support for Sony‘s PMW-F3 camcorder (LWS 401-415HD). Its platform now stretches out as far as the camera base, making use of all points of support the camera body offers as well as the third thread in the back of the camera bottom.
All HD versions offer sufficient space for handles, shoulder pads and external view finders.
Panasonic’s all-new BT-LH910 9-inch LCD monitor delivers best-in-class WXGA resolution, and offers exceptional versatility for use as an electronic viewfinder, or for location work, or in mobile vehicles and live settings.
For field and studio applications, the LH910 is ideal for critical viewing with its 1280 x 768 WXGA pixel resolution and its 10-bit image processing, which uses a 3D LUT for each RGB color for faithful color reproduction. Slim at 3.1″ deep and light at 3.7 pounds, its high brightness (350cd /m²), high contrast (1000:1), LED-backlight IPS panel provides 176 degree vertical/horizontal viewing, the widest in any LCD display. Compatible with multiple HD/SD formats, the monitor delivers exceptional imagery with superb color accuracy and exhibits minimal changes in brightness and color due to the viewing angle. It offers a range of professional interfaces including HD-SDI, HDMI and 3G-SDI.
It offers invaluable assist functions for 3D review in the field when using a 3D rig system or a Panasonic 3D professional camcorder, including:
Using two SDI inputs, it overlays the left-eye and right-eye 3D source image to provide a 2D view of various 3D checks, including composition, convergence, color and luminance, focus, zoom, and parallax.
Two times SDI loop-through to allow it to be used with existing 3D rigs while still feeding video to any downstream equipment.
Additional functionality includes Advanced Focus Assist Features (Focus-in-Red and Pixel-to-Pixel matching); Film-rec — Film-Rec Gamma Compensation; a Black mode for confirming dark scenes; an RGB waveform monitor; Vectorscope; an RGB direct white balance adjustment; a color audio level meter; SDI closed caption support; time code display; a headphone jack; rear tally light, and the display of various markers in both 16:9 and 4:3 aspect ratios.
Rick Dean, David Peto, Robert Sharp, and Philip Hodgetts
HEADLINES: THX, cineSpace, and getting colors to match; automation news from DigiEffects; and is editing in “The Cloud” in your future? All this, plus Pick Our Brains, on this week’s show!
This week’s episode of the world’s only interactive talk radio program covering Digital Production, Post-Production and Distribution is filled with information and entertainment designed for the independent filmmaker or industry professional.
Join host Larry Jordan and co-host Michael Horton, as they talk with:
Rick Dean, Senior Vice-President, THX
THX has been certifying audio in movie theaters for a long time – since about Star Wars, in fact. Rick Dean, senior vice president of THX, is spearheading a new effort to standardize color management in post production. Called cineSpace, it is a suite of applications all designed to make sure digital images look the same on a variety of different outputs. Frankly, we are skeptical about why this is necessary, or even affordable, so we invited Rick on to explain their new system.
Robert Sharp, President, DigiEffects
Robert Sharp, president of DigiEffects, called us the other day saying he had some interesting news to announce to the world. So, we invited him on The Buzz to learn more. DigiEffects, as you probably know, makes Delirium and Damage and gave us a tantalizing glimpse of new products when we talked with Robert last month at NAB. We can’t wait to learn more!
David Peto, CEO, Aframe
David Peto, CEO of Aframe, is based in the UK, but he’s been making some bold predictions about the power of editing in The Cloud. Cloud editing, which means your media is stored on servers located on the Internet, is very attractive, but has lots of potential problems. Aframe claims to be the central platform from which everything can hang. We want to know more, so we are going right to the source.
Philip Hodgetts, CEO, Intelligent Assistance
Aframe is an interesting hybrid of cloud and local storage. So, we invited Philip Hodgetts, CEO of Intelligent Assistance, to share his opinions with us this week on the challenges and benefits of using The Cloud in post-production. You’ll be interested in what he has to say.
You can’t find people or interviews like this anywhere else! It’s another fascinating show. It’s 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!
To improve media workflows while providing creative post production and graphics professionals with superior flexibility, Archion Technologies has introduced its new EditStor ES shared storage system. A completely self-contained storage area network (SAN), EditStor ES takes the simplified multi-platform shared storage system of Archion’s EditStor to a new level.
EditStor ES makes media sharing easy and affordable for creative professionals that work with Final Cut Studio, Avid Media Composer, Adobe CS5, Sony Vegas and other popular media creation tools. EditStor ES includes several new features that are designed to significantly enhance media workflow management in small- to mid-size post houses and creative agencies as well as in enterprises, schools and houses of worship.
Easy to set up and integrate into existing video and audio workflows, EditStor ES is ready to configure and users can immediately start sharing media across Mac, Windows and Linux platforms. By eliminating individual seat costs or licenses, an unlimited number of workstations can be connected through a standard Gigabit Ethernet (GigE) switch.
Loaded with Rich Media Management Tools: EditStor ES is loaded with rich media management tools, such as volume expansion, which enables users to create shared volumes of any size and expand volumes on the fly. Volume expansion is all managed through a web-based administrator interface that doesn’t affect workflow. Another innovative feature, project sharing, extends to projects that use the most popular editing tools. Avid project sharing (available Q3), for example, will be transparent to the Avid Media Composer system and doesn’t affect the Avid workflow. Project sharing for Final Cut Studio and Adobe will also be available.
The rich media management feature set of EditStor ES has all of the automation tools of an enterprise storage server, including storage pools, volume replication and snapshot, data replication and volume manager as well as support for tape back systems and virtual tape volumes created in the system. To deliver maximum connectivity to the workstations that drive workflow, EditStor ES supports user and group management, user security and access as well as industry standard IT protocols.
EditStor ES comes standard with hardware RAID protection and four ports of 1 GigE, which can either be directly connected to four clients or to a standard Ethernet switch. These four ports provide up to 400 Megabytes (MB)/second bandwidth, and the addition of an optional second four-port GigE card or a single 10Gb Ethernet card significantly increases bandwidth up to 800 MB/second and 1000 MB/second, respectively.
With these throughput figures, EditStor ES easily supports compressed workflows, including DNxHD, ProRes and QuickTime protocols, and can be configured to support uncompressed SD or HD workflows.
Vinten, a Vitec Group brand in camera supports is 3D ready with the launch of the company’s new 3D wedge.
The Vinten 3D wedge adapter balances rigs which cannot be mounted to a conventional head in a balanced position. It is designed to facilitate the proper balancing of under/through beamsplitter 3D rigs and allows more clearance for the under-slung camera, which increases the downward tilt available. The new 3D wedge adapter offsets the head’s level position by a few degrees so the balance mechanism produces a back-torque when the camera is level, which enables the center of gravity of the payload to be forward of the tilt axis.
The adapter gives users a flexible and cost effective solution as it integrates seamlessly with Vinten’s full range of heads. For OB customers looking to make their truck fleets dual purpose, the adapters allow the option of shooting in 2D and 3D without compromise, removing the need to replace their current inventory of Vinten heads.
To demonstrate its capabilities, the adapter is ideal with a Vector 950 system set up with a Stereotec Mid-Size Beam splitter. The Vector 950 is the highest capacity fluid head in the Vinten range and can easily handle the many possible camera system configurations for shooting in S3D. It balances heavy payloads and high centers of gravity with ease, and allows the user to maintain fingertip control over the entire tilt range. The Vector 950 also features the renowned Vinten TF drag system which enables outstanding whip pan control of these heavy, high inertia payloads. It gives operators the ability to focus on shot selection and composition, which is vital for today’s stereo production.
Click for more information about Vinten’s 3D Wedge.
The time has come: From June 2-5 at this year’s Cine Gear, P+S TECHNIK will launch its new 35Digital all-purpose camera, the PS-Cam X35.
At this year’s Cine Gear Expo (June 2-5), the Germany-based company P+S TECHNIK will unveil its highly-anticipated 35Digital all-purpose camera PS-Cam X35 at Booth #67. The new PS-Cam X35 is designed as a robust and reliable workhorse expected to blaze new trails in the digital camera field.
P+S TECHNIK will also host the first public screening of footage from the PS-Cam X35 at the Cine Gear Expo, showcasing the camera’s dynamic versatility.
In the wake of the upcoming launch, P+S TECHNIK has created an online home for the PS-Cam X35.
Click for more information about P+S TECHNIK’s PS-Cam X35.
Click for more information about Cine Gear Expo in Los Angeles, June 2-5, 2011.
One of the first companies to demonstrate the new LTFS (Linear Tape Film System) format in product form last year, Cache-A announced that all of its LTO-5 based products will include LTFS capability. These include the company’s flagship product — Pro-Cache5 — and the new high-performance Power-Cache and the cost-effective Prime-Cache5.
Based on open source software, LTFS enables digital media professionals to interchange content across different operating systems, software applications and physical locations. It combines the economy, robustness, high density and low power of tape with much of the functionality and usability of a hard drive.
Cache-A’s LTO-5 based products with LTFS make an ideal archiving and interchange solution, enhancing both production and post-production workflows as well as improving asset management and interchange.
The open-standard LTFS makes the contents of the tape compatible and accessible to any facility with an LTO-5 tape drive. As a result, it provides a self-contained content delivery system along every stage of the workflow. This ensures the integrity of the shoot by creating an insurable and bondable media deliverable while providing the standard for content delivery and final archive.
The Cache-A Difference
Cache-A goes beyond the basic capabilities of LTFS and provides the powerful features necessary for professional digital media workflows:
The Cache-A approach eliminates the need for client-side software as opposed to standard LTFS that must be installed on each client system
Cache-A’s appliance provides networked hard disk storage and a layer of software that makes LTFS much easier to use
Cache-A archive appliances are networked and available to an entire facility or workgroup, whereas LTFS on a workstation will only work on that workstation
Cache-A archive appliances have a built-in server that does not need to tie up a user workstation to perform archive and restore tasks
The Cache-A appliance includes a built-in catalog, maintained in a database, that enables users to keep track of every file, folder and tape ever seen by the device; content can be searched and easily located many years in the future.
Cache-A’s archive appliances also allow fast multi-user access to any archived data so that editors in a workgroup can archive or access assets from any computer on the network. Furthermore, because Cache-A’s archive appliances are platform-agnostic, they provide heterogeneous workgroup compatibility between Apple Mac, Microsoft Windows and Linux/Unix systems. They also offer workflow compatibility with Avid, Final Cut Pro and digital intermediate software systems. Once created, an editor using a Mac OS, for example, can share the tape with a digital effects company using Linux.
SpectraCal announced the availability of the Phabrix line of 3G/HD/SD-SDI test signal generator, monitor and analyzers.
At NAB Show in Las Vegas this year (April 11-14), SpectraCal announced that the Phabrix line of handheld SDI test and measurement instruments are now being sold and supported by SpectralCal. The Phabrix instruments provide 3G-SDI, HD-SDI and SD-SDI portable video and audio test signal generation in multiple 4:2:2 and 4:4:4 color spaces, plus signal monitoring and analysis. These instruments are compact, easy to use solutions for professional studio and outside broadcast engineers, production and post production technicians, manufacturing engineers, and lab engineers.
Available Phabrix SDI handheld test and measurement instrument models include:
PHABRIX SxA with SD thru 3G SDI test signal generation, monitoring and analysis, embedded audio generation and testing, plus AES audio testing and monitoring.
PHABRIX SxD with dual-link SDI inputs and outputs to support 3G level A and 3G level B. Provides SD thru 3G SDI test signal generation, monitoring and analysis, and embedded audio generation and testing.
PHABRIX SxD with SD thru 3G SDI test signal generation, monitoring and analysis, embedded audio generation and testing, plus eye and jitter diagrams with cursors and histogram functions for detailed measurements.
These instruments are unique in that never before have handheld SDI testing instruments combined three toolsets in the one handheld product – Generator, Analyzer and Monitor. The Phabrix handheld SDI test and measurement instruments, with USB and Ethernet connectivity, are also integrated with CalMAN Pro Monitor Calibration Software and the SpectraColor Image Calibration Software that was previewed at NAB, for automatic test pattern selection during software controlled measurements and display calibration adjustments.