AvidSibelius 7 — the latest generation of the world’s best-selling music notation software — is designed to meet the demands of top composers, arrangers, and publishers, allowing them to work quickly with the intuitive, task-oriented user interface. Sibelius 7 makes it easy to input notes in the way that suits each user best — from traditional methods to MIDI input and lets them experience their scores in stunning clarity with the exclusive, professional-quality sound library. Also included is the ability to sync Sibelius with Pro Tools and other DAWs via ReWire to craft the ultimate creative workflow.
Telestream, the leading provider of digital media tools and workflow solutions, has announced the release of Wirecast 4.1 live video production and streaming software. Wirecast 4.1 adds key partner integrations and new features that provide more choices for getting content into Wirecast, including remote, multi-channel, and wireless IP transmission. Additionally, Wirecast 4.1 is Mac OS X Lion compatible. Wirecast and Wirecast Pro webcasting software provide live switching, production, and streaming capabilities that enable Mac and Windows users to easily and cost-effectively create real-time and on-demand video broadcasts for the Web.
New audio support for Wirecast Desktop Presenter allows users to integrate Skype or any video chat client into their webcasts. Desktop Presenter is a Wirecast feature that broadcasts the desktop of any computer connected to the network, making it particularly useful for video training and product demonstrations. When combined with Wirecast’s ability to display multiple camera feeds on a single screen, this allows users to see and hear multiple speakers for news or video talk show programs.
Wirecast integration with the LiveU bonded 4G/3G video transmission backpack provides a portable solution that is ideal for live news, sports, entertainment, and enterprise video. The solution allows users to either:
transmit live video from a roaming LiveU backpack to a remote Wirecast Windows computer for editing and distribution from the main location, or
feed a fully-produced live show from a Mac or Windows Wirecast computer to a LiveU backpack at any location for high-quality transmission.
LiveU provides a more robust and resilient uplink than using a single aircard or a WiFi connection in the field, and it offers a more affordable and flexible alternative than satellite uplink or ethernet. LiveU integration is especially useful when combined with Wirecast Pro’s advanced live video production features.
Wirecast 4.1 integration with Teradek Cube adds wireless IP camera support for Wirecast Pro. Users simply plug any HD-SDI or HDMI camera into the Cube to encode and submit camera feeds directly over WiFi to Wirecast Pro.
New Wirecast integration with Matrox Multi-Ingest capture card enables four simultaneous live HD-SDI inputs into Wirecast or Wirecast Pro for Mac. This is useful for journalists and videographers capturing and producing live broadcasts from the field using multiple cameras. It also solves the common challenge of how to efficiently add more camera sources to Wirecast software running on standard computers. The Matrox/Telestream solution combines improved capture and resource utilization with the best in live production.
Wirecast and Wirecast Pro 4.1 for Windows now provide integrated support for Viewcast Osprey 240e, 450e and 700e video capture cards. Support for Axis P1344 and M1104 network cameras is also now available for Wirecast Pro.
Wirecast is a live video production and streaming tool that can be installed on a standard laptop or desktop computer to broadcast live events and create professional webcasts from any location. Users can stream multiple live cameras while dynamically mixing in other media such as prerecorded video, images and sounds. Advanced production capabilities include 3D graphics, transitions and built-in titles which merge seamlessly with Wirecast’s layering system, allowing users to easily create live and on-demand broadcasts for the web. When ready to go live, broadcasts can be streamed directly to live broadcasting websites using Flash, QuickTime or Windows Media.
Eric Addison, Jason Michelitch, Jim Hickcox, Jeff Moore, and Philip Hodgetts
HEADLINES: Ross Video at IBC, shooting black & white film, an on-hands look at Primatte Keyer 5.0, and recording double-system sound. 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.
Click to listen to the current show:
Digital Production Buzz -- July 28, 2011[ 1:00:02 ]Play NowDownload
*Right click on Download and “Save Link As…”
Join host Larry Jordan and co-host Michael Horton as they talk with:
Eric Addison, Owner, 100 Acre Films
Eric Addison the owner of 100 Acre FIlms, has been working in video production for almost 15 years. Like so many today, he’s a director, shooter, and editor. When not working, he also runs the San Diego Premiere Pro User Group. This week, we want to talk with him about his workflow in Premiere, along with his experience using the brand-new Red Giant Primatte Keyer 5.0 plugin for green-screen work.
Jim Hickcox, and Jason Michelitch, Co-writers and co-directors, The Rise of Kenji Gojira
Jim Hickcox (left) and Jason Michelitch (right), are the co-writers and co-directors of “The Rise of Kenji Gojira.” These young, creative filmmakers, based in Virginia, just shot a short, silent film on 16mm black & white film. Using a sound stage with custom backdrops, they wanted to recreate the Meiji era (circa 1870) in Japan; the end of the Samurai era. We want to talk with him about their production, and why they decided to take a traditional route and shoot film for their production.
Jeff Moore, Executive Vice President, Ross Video
Jeff Moore, executive vice-president of sales and marketing for Ross Video, is getting ready for IBC 2011 (International Broadcasters Conference), starting September 8 in Amsterdam. Even more, he wants to encourage the rest of us to attend as well. With over 20 years experience in the broadcast industry, Jeff is responsible for both the strategic vision and day-to-day leadership of the company. We want to find out what’s new with Ross and start to gear up for IBC.
Philip Hodgetts, CEO, Intelligent Assistance
It is always good to have Philip Hodgetts, CEO of Intelligent Assistance, back on the show. This week, since Jason Michelitch was shooting a film project, we thought it would be a good idea to revisit what’s involved in recording double-system sound, where the camera records the picture and a second device records the audio. This week, Philip explains what we need to know to successfully record, capture, and connect audio to picture.
Pick Our Brains
This is your chance to get your technical and creative questions answered. You can contact us three different ways:
Call 1-866-977-BUZZ (2899) (or +1-818-879-5115 for callers outside the U.S.) before the show
Join in the Live Chat during the show and ask your questions there
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!
Technicolor announced the acquisition of LaserPacific’s post production assets as part of its plans to grow its television (broadcast) and theatrical digital post production market position. As part of the transaction, key LaserPacific creative talent and personnel from its Hollywood-based operations will be transferred, reflecting Technicolor’s commitment to the recruitment of creative talent to deliver the highest quality services to its clients.
The agreement reinforces Technicolor’s presence in broadcast post production with an increase of 40% in the number of total television series serviced; and will further enhance the company’s presence in theatrical, marketing (trailers) and library mastering. The transaction will also extend Technicolor’s reach and engagement with filmmakers through a first-class digital intermediate facility located in West Los Angeles.
Subject to the satisfaction of certain closing conditions, the transaction is expected to close at the end of August 2011. Financial terms of the transaction are not disclosed.
Even in the analog era prior to the advent of affordable computer workstations, model making with pre-manufactured plastic kits of planes, cars and boats was a popular hobby. “Kitbashing” was the term used for the practice of creating one-of-a-kind models (often of elaborate spaceships) out of components taken from multiple commercial kits. Luxology’s new Model Bashing Kit provides modo users with a similar capability to quickly construct highly detailed virtual forms for science fiction or industrial visualization projects. The Model Bashing Kit is available immediately for users of modo 501 on the PC or Mac.
The Model Bashing Kit was developed by Andy Brown of Luxology and contains specialized pre-built models and textures that are ideal for creating elaborate technical structures or realistic cockpits and instrument panels. In all, the Model Bashing Kit includes 230 mesh presets, 90 image maps and focused new tools for quickly arraying and adding details across a surface. The Kit also includes five training videos and two project tutorials that guide modo users through the creation of a cockpit and a spaceship conduit.
Luxology is also offering a new Spaceship Modeling Tutorial for those wanting a guided introduction to the process of creating a spaceship model from design drawings. This is a series of downloadable videos that provide step-by-step instruction in modeling a spaceship based on original artwork commissioned by James Robbins, a concept designer on Stargate for ten years. A portion of the video tutorials covers adding intricate surface detail via “model bashing” and is an excellent complement to the new Model Bashing Kit.
Announcing the XP-DSLR-GH2, the newest addition the Switronix’s line of versatile XP model DSLR cables. The XP model cables can be used in association with a Switronix accessory or used solo with a PRO-X series lithium-ion battery product. The cables features a regulated 9.2v connector jack for the OEM Panasonic (DMW-DCC8) Lumix DMC-GH2 camera with an inline female P-Tap connector for 12vdc, housed in an enclosure. The XP-DSLR-GH2 also includes both red and green LED indication to display status of battery power.
Element Technica (ET), designers and manufacturers of 3D rigs and peripheral equipment, provides its I/O Module as the solution for gathering, syncing and recording the mountains of metadata necessary to optimize and streamline the 3D post production process.
Managing filmmaking metadata has traditionally been such a daunting task that it has spawned the term metadata wrangling to describe the process. Not only must each sample of metadata, from multiple pieces of equipment, be captured and recorded, but metadata must be accurately associated with the frame of video from which the sample was taken.
ET’s I/O module fulfills precisely that function, multiplexing and recording the various streams of metadata, both from the rig control and from the lens control, as well as external devices, with the exact timecode location.
The basic ET I/O Module has three metadata inputs, a timecode input, and a multiplexed metadata/timecode output. That number of metadata inputs can be expanded by daisy-chaining I/O Modules. A single I/O Module can intake and collate three different metadata streams, including T3D rig control (IO+C+HIT), ET, Preston or C-Motion lens control (F+I+Z), as well as the streams generated by camera platforms like the Libra Head (P+T+R) or even VFX tracking systems depending on customer requirements.
This timecode stamped combination of the three metadata streams (referred to as a super-stream) is recorded to the on-board microSD card, and is also available to stream to cameras like the RED Epic for recording in the R3D file structure. Users can interface the I/O Module through a PC application or the iOS iPhone app. These interfaces allow configuration of the system and updating of static metadata such as show name, DP and rig number, as well as semi-static metadata like scene and take number. The interfaces also provide a convenient way to monitor metadata while shooting.
ET’s I/O Module is designed to capture metadata from any of the company’s Technica 3D line of stereoscopic rigs, including the large camera Quasar model, mid-sized camera Pulsar, small camera Neutron, as well as the Atom, purpose-built for the RED Epic camera.
Schneider Optics’ Round and Window Size Quarter Wave Retarders prevent left/right disparity in images that contain glare. 3D camera rigs that employ a beamsplitter can be susceptible to partial polarization because of the silvered surface used by the reflected image. This generally produces a left/right disparity in images that contain glare. Schneider Quarter Wave Retarders ensure that both optical paths have identical properties, thus correcting the linear polarization.
These filters have virtually no light loss and can be used in different configurations to correct polarization mismatches. The filters are made of water white optical quality glass with a thin film laminated within. Each filter is polished to produce a high quality optical flat that can be used without any reduction in resolution. They are available in custom and stock sizes.
Click for more information on Schneider Optics Round and Window Size Quarter Wave Retarders
Red Giant understands the challenges of creating a high quality film at an affordable price. This is why they have put together two discount bundles based on Indie Director Seth Worley’s recent success with Plot Device, a short film on which they were executive producers.
The movie Plot Device was created by Seth with a budget of $10,000, a lot of ingenuity in stretching those dollars, and price-conscious VFX software from Red Giant. Inspired by Seth’s filmmaking experience, their two Plot Device Bundles will make it easier to create a visual masterpiece without spending a lot of money.
Get three Magic Bullet tools for color treatments, cosmetic touch-up and file format conversion along with three Guru Preset Packs that quickly apply cinema-inspired color palettes. Both Plot Device Bundles are very special deals that will last for a limited time only. Save over 60% on creative tools & presets from July 26 – August 2, 2011.
Matrox Video Products Group announced the immediate availability of Mac OS X 10.7 (Lion) drivers for the Matrox MXO2 and Matrox MXO2 MAX families of I/O devices as well as the Matrox MXO monitoring/output device and the Matrox CompressHD H.264 accelerator card.
Release 2.3 for the MXO2 devices and CompressHD provides full support under Lion for Final Cut Studio as well as Adobe CS5.5 Production Premium and Flash Media Live Encoder; Roxio Toast; CPC MacCaption; Boinx Software BoinxTV; Softron MovieRecorder, OnTheAir Video, and OnTheAir Video Express; ToolsOnAir Just:In; QuickTime Broadcaster; Apple QuickTime Pro and Qmaster; and other QuickTime-based video applications. A full list of supported applications and version numbers can be found in the download area of the Matrox website.
Release 2.2 for MXO provides full support under Lion for Final Cut Studio.
Matrox support for other third-party applications such as Avid Media Composer will be validated as Lion versions of those applications are released.
Matrox Video Products Group announced the immediate availability of Mac OS X 10.7 (Lion) drivers for the Matrox MXO2 and Matrox MXO2 MAX families of I/O devices as well as the Matrox MXO monitoring/output device and the Matrox CompressHD H.264 accelerator card.
