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Transcript: Digital Production Buzz – April 25, 2019


Larry Jordan


Jonathan Handel, Entertainment/Technology Attorney & Labor Reporter, TroyGould and The Hollywood Reporter

Dom Bourne, Founder/President, Take 1 Transcription

Julian Evans, Vice President, Audioworks Film & Theatre

Jeff Edson, CEO, Assimilate Inc.


Larry Jordan: Tonight on The Buzz, we start with an update on the tectonic forces playing out between writers and agents that’s creating havoc in Hollywood.

Larry Jordan: Jonathan Handel, entertainment labor reporter for the Hollywood Reporter updates us on the ongoing battle between the Writers Guild and talent agents. Writers are now firing their agents and both sides are heading to court. Jonathan has the details.

Larry Jordan: One of the hot subjects for media pros are automated transcripts, called ASR for automated speech recognition. Tonight we talk with Dom Bourne, founder and president of Take, a full service transcription agency about the changes roiling his industry and what producers need to know to choose the right service for them.

Larry Jordan: We transition from text to sound to speak with Julian Evans, senior sound designer for Audioworks Film & Theater. This New York City based company specializes in sound design for theater and independent film. Listen as Julian explains how to work with a sound designer.

Larry Jordan: Assimilate is the developer of scratch, software that enables digital cinema and broadcast artists to generate dailies, conform, color correct and finish within a single user friendly and powerful solution. Tonight we talk with Jeff Edson, CEO of Assimilate about what their company does, how filmmakers can benefit, and their latest announcements at NAB.

Larry Jordan: The Buzz starts now.

Announcer: Since the dawn of digital filmmaking, Authoritative: One show serves a worldwide network of media professionals.  Current: Uniting industry experts. Production: Filmmakers. Post-production: And content creators around the planet.  Distribution: From the media capital of the world, in Los Angeles, California, the Digital Production Buzz goes live now.

Larry Jordan: Welcome to the Digital Production Buzz, the world’s longest running podcast for the creative content industry, covering media production, post-production and marketing around the world.  

Larry Jordan: Hi, my name is Larry Jordan. It probably won’t surprise you that as an audio podcast, we have a deep interest in audio but we don’t get a chance to talk with audio folks as often as I would like, because there are just too many other subjects that we need to cover as well. However, this week we get to talk with Julian Evans, a senior sound designer and vice president for Audioworks Film & Theatre. What especially impressed me about his interview was that he didn’t focus on technology, or microphones or recording technique. He focused on how audio can enhance the story being told. I also really liked his focus on collaboration. As someone who enjoys working with teams, I enjoyed his point of view.

Larry Jordan: By the way, if you enjoy The Buzz, please give us a positive rating and review in the iTunes store. We appreciate your support to help us grow our audience.

Larry Jordan: James DeRuvo is on assignment this week. He’ll return next Thursday.

Larry Jordan:  Jonathan Handel is an entertainment and technology attorney of counsel at Troy Gould in Los Angeles, but right now he is the contributing editor on entertainment labor issues for the Hollywood Reporter and knee deep in the Writers Guild talent agency dispute. Hello Jonathan, welcome back.

Jonathan Handel: Thanks, it’s great to be back with you.

Larry Jordan: Jonathan, when last we spoke the writers were getting ready to fire their agents. That’s now happened, so where are we now?

Jonathan Handel: According to the Writers Guild, over 7,000 writers out of 8800 who had agents ten days ago, have fired their agents. That’s an overwhelming number of those members of the Guild, there’s about 14,500 members total, but only 8800 who had agents, have fired their agents. In addition, the Writers Guild and eight individual writers last week, at least it seems like it was last week, this has been quite a treadmill, have filed a lawsuit against the four major talent agencies alleging that packaging fees re an illegal kickback, an unfair business practice and a breach of fiduciary duty.

Jonathan Handel: So that’s the quick snapshot of where we stand. They’re trying to pressure the agencies on two fronts. One, by withdrawing their business relationship and the other by filing a lawsuit.

Larry Jordan: I want to talk about the lawsuit in a second, but let’s go back to the 7000 writers that fired their agents. This is the heart of staffing season for the fall shows. Is anybody getting any work?

Jonathan Handel: Well, we think so. We don’t know exactly but this is the heart of the staffing season for fall broadcast shows, that’s right. Ordinarily agents would be vigorously advocating on behalf of their clients to get staff, although the writers claim that agents do nothing for them which begs the question of why so many writers have written that they hope when this is all over, that they can get back with their agents and pay them ten percent for doing nothing. It’s a very scorched earth and a lot of invective on the part of the Writers Guild primarily to be honest and fair about it. The agencies have not called the Writers Guild a cartel or a mafia or a criminal enterprise but the Writers Guild has essentially used those words with regard to the agencies.

Jonathan Handel: Are people getting jobs? The Writers Guild set up a staffing submission system, an online portal where writers can submit themselves for up to three shows and they’ve asked writers to network with each other and to look out for each other, and they also now have started a weekly newsletter for feature writers, because not to forget that feature writers exist also and they need to get work. So how are people going to know about your pitches and your spec scripts?

Larry Jordan: But it sounds like it’s almost too early to tell.

Jonathan Handel: In some ways it’s too early to tell, this has literally just happened. The mass termination letters were supposedly delivered just a couple of days ago and so it is quite early to tell how this sort of patchwork is going to work out.

Larry Jordan: You also wrote an interesting article earlier this week explaining how revenue sharing might work if the packaging fees were to be shared by the agents to the writers and here, historical precedent limits what the writers might expect. What’s the summary of this?

Jonathan Handel: The last offer that the agencies made to the writers, and the first time they’ve offered to share packaging fees, which are fees that are paid by the studios to the agencies, rather than the agencies collecting commissions from the writers, the offer that they made was to share one percent of packaging fees with the writers.

Larry Jordan: One percent?

Jonathan Handel: One percent. So that sounds insultingly low. It sounds like you’re calculating to drive the battle to the negotiating room. But here’s the thing, the agencies have to assume that any offer that they make to the writers, the Directors Guild and the Screen Actors Guild, SAG-AFTRA, will come knocking as well at some point. And want a piece of this. So when you’re making an offer to one, you have to calculate in your head, “OK what about the others?” Now that sounds like everyone’s going to get an equal share, so if you offer one percent to the writers, you’ve got to offer one percent to the directors and one percent to the actors. Except it doesn’t work that way.

Jonathan Handel: In the residual system, when pots of money are shared on a percentage basis with the Guilds, it’s a one to one to three ratio. The actors get three times as much as the directors and writers. That’s because there are more actors on a given episode or a given movie than there are writers. There’s usually one or two, maybe three writers or directors. There’s usually only one director.

Jonathan Handel: So that one percent offer translates into five percent. You might say, “Well five percent, that’s still kind of low. There’s 100 percent to be dealt with.” Except, no there isn’t. If you offered 20 percent to the writers, you’d have to give, or assume you’d have to give, 20 percent to the director, and 60 percent, three times 20, to the actors. Well guess what? That eats up your entire 100 percent. So the playing field here is not 100 yards, it actually only runs from zero to 20 yards, and of course the agencies which have been receiving 100 percent of the packaging fees, the entirety of the packaging fees, they wouldn’t want to go more than halfsies with the guilds, if that. So moving the player down one yard towards the middle is actually not as trivial a move or as minor a move as it sounds at first glance. You don’t want to move that player any further than eight or nine yards, so moving one yard down, one yard towards the center, this is stretching my football analogy, it’s not a trivial move at all it turns out.

Larry Jordan: One of the things that happened last week is the Writers Guild sued the agents. What are the agents going to do in response?

Jonathan Handel: They sued specifically the four top agencies rather than the entire association of talent agents which is who they’ve been negotiating with and they sued over packaging fees. There’s another practice called affiliate production that the Writers Guild doesn’t like either, but they’ve shifted their focus more specifically to packaging fees. The agencies will have to file their own papers in response, may do that as early as this week. They have at most another several weeks to do so. And they will provide two things.

Jonathan Handel: They will provide affirmative defenses, in other words reasons why the Writers Guild claims are not valid, in their view. And they’ll also provide counter claims which is where the defendants, the agencies, actually become plaintiffs and the plaintiffs, the Writers Guild, become defendants and the agencies put out claims that they have, affirmatively against the Writers Guild.

Larry Jordan: One other thing before I let you go, two other guilds are casting very long shadows during this confrontation, the Directors Guild and the Actors Guild. What’s their take on all of this?

Jonathan Handel: So far, the Screen Actors Guild, SAG-AFTRA has issued a public statement supporting the Writers Guild in its efforts to obtain, what they said was a more fair share for their members. And the Directors Guild has said, “We are not instructing our members to fire their agents at the present time. There are important issues in our agreement with the agents that we are examining.” So there’s a bit of a hint there that it’s possible that the directors, maybe the screen actors as well, will enter the fray and turn this into a multi-front war.

Jonathan Handel:  And finally, let’s not forget that negotiations with the studios start at the end of this year with all three guilds contracts expiring mid-year next year. I don’t think that the Writers Guild leadership, having mobilized the membership and taken a strong stand, is going to go quietly into those negotiations and say “Well you know, we’ve caused such a headache for the agents, we don’t really want to be a bother to you studios.” I think on the contrary, there is an increased possibility that we will see another writers’ strike next year like the one that we saw 12 years ago.

Larry Jordan: I think the prognosis for you getting less and less sleep over the next several months is pretty darned good.

Jonathan Handel: It’s proved out very well in that regard so far.

Larry Jordan: Jonathan, for people who want to keep track of where we stand with this and the rest of your writings, where can they go on the web?

Jonathan Handel: Two places, thrlabor, that stands for the Hollywood Reporter, is a redirect to our labor page. And my website is

Larry Jordan: That’s two websites, and and Jonathan Handel is an entertainment labor reporter for the Hollywood Reporter, and Jonathan, as always, thanks for joining us today.

Jonathan Handel: Thanks very much Larry.
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Larry Jordan: Dom Bourne is the founder and president of Take 1. This is a UK based broadcast metadata and transcription service. But he’s also a keen technologist. He’s responsible for the company’s strategic partnerships, research and development and future proofing. Hello Dom, welcome back.

Dom Bourne:  Thank you Larry, it’s good to be on the show.

Larry Jordan:  Dom, as head of an international transcription firm, I want to talk with you today about the future of transcription, but before we do, give us a brief description of what Take 1 does.

Dom Bourne:  Take 1 processes huge quantities of video files for its customers. They might be video production companies, they might be networks, they might be localization partners. And we have a head office in the UK through which all our servers are based and we receive video files from all over the globe, and we process those using a combination of technology but also good old fashioned humans to get the quality standards that our customers demand.

Larry Jordan:  I’ve had the pleasure of working with you and your team for many years, five or six years at least. How has the process of creating transcripts evolved over the last five years?

Dom Bourne:  Transcripts have evolved over the last five years in a number of interesting ways. Our customers are wanting to integrate transcription services tighter with their editing workflows, so we’re seeing a lot of customers wanting ScriptSync compatible transcripts for example, whereas five years ago, they would be very interested in just receiving a Word file. We’ve also noticed that customers want faster and of course cheaper transcripts, but that doesn’t always sit comfortably when they also want accuracy as well. The customer ideally wants fast, cheap and accurate but in the real world, you can’t always deliver all three in the way that the customer wants. If they want it superfast, they may have to accept the accuracy won’t be as high.

Larry Jordan: One of the things that you taught me, as we were chatting over the years, is that what customers want from transcripts has evolved. It used to be as you said, just a straight Word doc, but now they need closed captions, they need multiple languages. What all are you being asked to do these days?

Dom Bourne: For the most part transcripts are still being used as a curation method to distill high shooting ratios if you’re making a reality show. So that’s really an editing workflow use case, but there are a number of other use cases such as if you’re a video publisher, wanting to get your content out on the web, then you’re going to be interested in having captions to go along with your video to make sure it can be reached by wider audiences. We also have a different camp of customer who is interested in localizing their TV shows and for those types of clients, what they’re really interested in is a highly accurate blueprint which we can deliver, sometimes in XML or sometimes just as a text file, but either way it’s the cornerstone of the entire localization process and you can imagine they need accuracy up front because if they don’t get it, then by the time they’ve localized into 50 languages, they’ve got 50 problems.

Larry Jordan: We were talking last week with Jim Tierney who is the CEO of Digital Anarchy and has an automated transcription service called Transcriptive. Digital Heaven in the UK has got SpeedScriber and I can throw a rock and hit five or six others, which are using AI and machine language to be able to create transcripts automatically. What’s been the impact of this on your traditional transcription service?

Dom Bourne: I think ASR is making inroads into all sorts of areas in post-production and transcription is certainly one of those. A lot of these so called round trip services rely heavily on the same ASR engine, to deliver what you get back. One man band filmmakers and video producers who aren’t so bothered about high accuracy, these services are great because you can hit a button and you send your video up to a service in the cloud, and you get back a transcript very quickly.

Dom Bourne: We have evaluated a lot of these engines, and whilst they’re improving over time, they’re not always delivering the product that our clients need, for example they don’t necessarily come back with accurate timecodes or accurate speaker labels. And for some clients that’s fine, because all they want to do is just do a keyword search, all they want to do is get a sense of what was discussed on an interview. They’re not that interested in a full transcript. But for sure, ASR and AI is everywhere now. It’s on our phones, it’s in our TVs, it’s in our NLE plugins, and I think it’s a very logical way of using that technology.

Larry Jordan: One of the comments Jim made which made me think of you is he said when the accuracy of automated speech transcription gets below 90 percent, it takes you longer to correct it than to do it right the first time. So when should people consider using automated transcripts, and when does human based transcription rise to the front?

Dom Bourne: Even with the automated systems, somebody’s got to do the cleanup. You can do it yourself if the vendor that you’re using has an interface for facilitating the cleanup process. But you’ve still got to sit there and do it. So it really comes down to personal choice. If you’re an individual who likes to hit the delete key and get a headache from going through a poorly transcribed interview and making it a polished interview, then be my guest. But if you want to send a file to Take 1 because ASR isn’t delivering the quality that you need, then there is no substitute for a professional service and I think there’s a reason why Take 1 is the go to transcriber of choice for The Buzz.

Larry Jordan: It is indeed, and by the way I want to thank you and your team for transcribing The Buzz each week. We are always grateful for your help and that help goes back many years, so thank you for that.

Dom Bourne: Not at all.

Larry Jordan: What do you see as the future of transcription, because it sounds like you’re painting a picture where automatic speech recognition is fast, but not accurate? And human based transcription is less fast but much more accurate and much more flexible. Have I painted the right picture?

Dom Bourne: I think you have, but as I said, ASR is improving all the time, and there are pockets of our organization where we deploy ASR where we see that it delivers operational efficiency. But you asked me about the future and what we’re seeing is an increasing number of workflows that use accurate transcripts as their starting point. For example, editing workflows, access services, localization, and compliance workflows just to name a few.

Dom Bourne:  At Take 1 what we’re seeing is greater volumes of content being produced, and edited, and that relies heavily on transcription workflows. We’re seeing an increasing number of clients embracing cloud services and needing secure vendors. So for me, what I think the future holds is probably a blend of leveraging the best of breed ASR engines and technology with accurate eardrums and eyeballs who are capable of delivering a high grade product that really underpins a lot of those aforementioned workflows.

Larry Jordan: Are you thinking about migrating anything to the cloud?

Dom Bourne: Yes for sure, in fact that’s a very timely question because we have just launched the Take 1 Cloud which is our new transcription platform which is a customer facing platform. It’s already got some customers in Los Angeles which we’re very excited about, and the reason why it’s getting traction is because it’s a very secure place through which customers can upload their content and select their turnaround times for transcription. What we’re noticing is with a lot of our larger customers, particularly ones who are owned by big film studios, who have much tighter security requirements, this cloud system that we’ve launched, the Take 1 Cloud, is really hitting that sweet spot for them which allows files to be processed securely, but also effectively and easily through a nice, intuitive interface.

Larry Jordan: So what is it that gets you out of bed in a morning? What’s got you excited about the industry?

Dom Bourne: I go to the trade shows like everyone else. And I just love seeing how the new technology is being deployed in new and exciting ways. Whether that’s ASR transcription to speed up editing or whether that’s the latest camera codecs to compress files for faster moving around the planet. I just love all of this stuff and whenever I come across a good vendor, the first thing I do is tell my friends about it and Tweet about it. I have to say it was a real shame that I didn’t get out to NAB this year but I caught up with some of your interviews that you held on the show floor and they really filled in some blanks for me.

Larry Jordan: Thank you. For people that want more information about the services that Take 1 makes available, where can they go on the web?

Dom Bourne: Our website is and all our services and products are available right there on the website.

Larry Jordan: That website is all one word,, not .com, and Dom Bourne is the founder and president of Take 1, and Dom, thanks for joining us today.

Dom Bourne: Thank you Larry.

Larry Jordan:  Julian Evans is the vice president of Audioworks Film & Theatre. Over his ten year career, Julian has provided sound design and mixing services on more than 20 feature films, over 100 independent shorts, as well as off Broadway sound design with dozens of credits. Hello Julian, welcome.

Julian Evans: Hey Larry, thanks so much for having me.

Larry Jordan: Well thank you for joining us because sound design is an area that I have always loved, and I’m looking forward to our conversation. But before we talk about design, how would you describe Audioworks Film & Theatre?

Julian Evans: We’re a relatively new collaborative company and what we do is primarily if not solely, sound design and mixing for independent narrative features, short films and live theatrical productions.

Larry Jordan: I hate to break it to you, but there’s a lot of other companies that do exactly the same thing. Why did Audioworks get started?

Julian Evans: We got started about two years ago. I had just partnered with my business partner Kip Kaplan and we were doing an eight episode, hour long episodes, New York City crime drama that needed a full audio post package. I’m coming from a world where I had been doing this sort of work for a long time independently, and needed a larger platform for larger projects such as this. The work kept coming in after that project was concluded, and we said, “Hey, this train’s got a lot of steam on it, let’s set this up in a way that it can continue to grow and build.” I guess what really I would say separates us is the attention to detail that projects get and honestly, my personal style of  mixing and sound supervising is a big part of what makes us, us. They are really serious mixers that go toe to toe with the big audio post houses, not just in New York City, but across the country.

Larry Jordan: That’s very exciting. When you think about it, any creative role comes down to the creative person at the center of it, not necessarily the tools that they use.

Julian Evans: That’s right, and I think that as a sound designer, there are just plenty of examples like this whether it be the mike preamps or the equalizers or the compressors that people are using, and I think that in the musical world there is an argument to be made for that sort of outboard gear. But in the audio post world, in my opinion, it really does boil down to who’s using the gear, much more so than the gear itself.

Larry Jordan: Help me define a couple of terms. What’s the difference between sound design and sound effects and foley?

Julian Evans: Fantastic question. Foley sound effects are sounds that we record, a foley artist will record live to picture. And typically we do that because they are so specific and they’re attached to a character that the only way to really get the emotion into that particular sound is to perform it live.

Larry Jordan: Like footsteps?

Julian Evans: Like footsteps. Like cloth tracks, there’s a wide variety of foley props that would absolutely fall into that category. And depending on how big your foley stage is you can do more and more in that isolated environment. Whereas sound effects, we usually think of more as something that’s cut from a library, things that are impractical to record in a foley environment, or serves a better purpose being cut from a designed library. And then of course, sound design, usually something that is taken with a little bit more, I don’t want to say consideration, but it maybe sounds that are larger than life. It may be sounds that are emphasized in such a way that it’s really done by a sound designer at a work station, manipulating sounds, adding sounds, distorting sounds to create a desired effect.

Larry Jordan: If I were to summarize it, would I say that foley matches the picture, sound effects are used where it’s not specifically synced to picture and sound design is the entire environment of the sound?

Julian Evans: I think that you could absolutely say that. Yes. Sound design is really the umbrella under which they both fall.

Larry Jordan: Let’s talk about the creative person at the heart of it, the sound designer. How would you describe the role of a sound designer?

Julian Evans: The first and most important thing that I’m focused on when I’m starting a project as a sound designer, has nothing to do with sound but rather the story which is the reason why we’re all here. My specific role is to tell the story in the most creative clear best way using sound. But it really does come back to story, and I think that you see a lot of sound designers who are more sound engineers, and their craft is focused on sound for sound’s sake, as opposed to sound for the story’s sake. And that’s the way I really like to approach it.

Larry Jordan: I’ve always thought, and let’s shift to film because it’s easier for this analogy to work than theater, but in film picture tells the story but sound drives the emotions. Would you disagree with that?

Julian Evans: I would actually have to agree because unless you’re watching a silent film, if you turn the sound off on most any movie, the picture is not telling you the story anymore. Most of the story is told through sound in the form of dialog which I think we can all say, “Yes, but that’s just also text or script on a page.” Nonetheless, the impression that even dialog gives us can give us the sense of space in a room, you know? It can be the timbre of someone’s voice, and all of that really does have a role to play in the sound design of a piece.

Larry Jordan: What was it that first got you interested in sound design back when you were younger?

Julian Evans: Oh gosh, it was really a long winding road. I started off as a classical trumpet player, and from there I pivoted to classical composition and then I pivoted once more to sound design for theater, until finally I was in a college course at Carnegie Mellon and we were in a theatrical sound design course, watching a documentary on the audio post process of the Lord of the Rings trilogy, Peter Jackson’s trilogy. And I was just completely blown away by this entire subversive world of sonic storytelling that I had been experiencing for years without knowing it. Just how powerful sound can be in the role of storytelling. I was pretty instantly hooked.

Larry Jordan: Our audience is mostly independent filmmakers across a wide variety of fields. What do you wish producers knew about sound design that they don’t?

Julian Evans: The biggest thing I wish that people would focus on is that the sound designer is always thought of as a post-production process. A lot of people think the sound designer comes on and just cleans up the dialog. What I really wish people would start doing, and this applies for the picture editorial too, is hiring your post-production staff during pre-production. It makes such an enormous difference when I am on board in a sound designer role and we haven’t even begun principal photography. We’re just going down the script and I can actually say, “Hey what might enhance the story in this scene a little bit,” is some music and now you have to plan for an establishing shot of whatever’s playing that music, because when you get to that point in post-production, it’s a little late and it’s a little confusing for an audience who doesn’t see some sort of radio or gramophone or speaker emanating this sound. Any little call to action to justify it. And it can make all the difference in a given scene.

Larry Jordan: Well in addition to bringing the sound designer in earlier, ideally in pre-production, how should we work with a sound designer? Do we just give them a blank slate and leave them alone? Or how intimately should we give them direction?

Julian Evans: Oh, as much direction as possible. One of the first things that I do after having received a set of deliverables, and this is of course after the picture is locked and we’ve begun the audio post process and we’re really starting to get hands on with the material. I will have a spotting session with the director. It’s meant for two purposes. On one hand, I’m trying to get a clear sense of what the sonic image is in the director’s mind.

Julian Evans:  But there’s also a lot of collaboration that goes on during that session. There’s a lot of percolation of different ideas going on. There’s a lot of bouncing back and forth. A director has many times thrown out one idea and I can piggyback that with another idea or vice versa. And by the time that session is over, and for a feature film usually about two to three times the run time of the film, we’ve really come a long way in discovering what our sonic language is going to be, and what the work ahead looks like. Such that at that point as a supervising sound editor and sound designer, I can go to the rest of my audio post team with a very clear map of where we want to go, how we want to tell the story and how we get there.

Larry Jordan: What do you say to producers that say, “All we need do is just lay down some music and we’re done. We don’t really need a sound designer?”

Julian Evans: Well first of all I would never tell a producer they’re wrong. They sign the pay checks.  But I would say that sometimes that does absolutely work. There are many sequences in say ‘2001 A Space Odyssey’ that are solely music, and not only are they solely music, but for anyone who knows the story of the music in that film, it was […] music that Kubrick cut in much at the behest of the film studio. So there are absolutely moments where that does work, but I would say it’s not the rule with anything to do in filmmaking or creative arts in general. There is no rule, so if someone said to me, “This sequence works great, just music.” I hear them out. And I say that that’s a place where we have a discussion. Now if you said that about an entire film, I’m just not sure it’s a film that a lot of people would watch unless you’re really talking about a music video.

Larry Jordan: You’ve been doing sound design now for more than ten years. What is it that gets you excited and out of bed in a morning?

Julian Evans: It’s really the collaborators who I’m working with. Even more so than the stories I’m telling, the best ones are engaging and challenging and relevant. But really the collaborators, the directors I’m working with, the editors I’m working with. The people who push me to be even better in my role. It goes both ways you know? It’s a thrilling thing to be able to work in this industry with that kind of relationship.

Larry Jordan: For people that want to hire Audioworks to do sound design for their next project, whether it’s film or theater, where can they go on the web?

Julian Evans: Our website is and we’re always here, and always ready.

Larry Jordan: That website is all one word,, not .com, and Julian Evans is the vice president of Audioworks Film & Theatre, and Julian thanks for your time today.

Julian Evans: Larry, thank you so much. Excellent questions.

Larry Jordan:   Here’s another website I want to introduce you to. DoddleNEWS gives you a portal into the broadcast, video and film industries.  It’s a leading online resource, presenting news, reviews and products for the film and video industry.  DoddleNEWS also offers a resource guide and crew management platforms specifically designed for production.  These digital call sheets, along with their app, directory and premium listings, provide in depth organizational tools for busy production professionals.  DoddleNEWS is a part of the Thalo Arts Community, a worldwide community of artists, filmmakers and storytellers. From photography to filmmaking, performing arts to fine arts, and everything in between, Thalo is filled with resources you need to succeed.  Whether you want the latest industry news, need to network with other creative professionals or require state of the art online tools to manage your next project, there’s only one place to go.

Jeff Edson: And welcome back. Jeff Edson is the CEO of Assimilate. Founded in 2004, Assimilate develops software used for dailies, VFX review, digital intermediates, and finishing. They recently expanded to include 180, 360 degree immersive media as well. Hello Jeff, welcome.

Jeff Edson: Hi Larry, thanks for having me.

Larry Jordan: It’s always fun. It’s been a while since we’ve had Assimilate on the show and I realized we need to get caught up. I gave a quick high level summary of the company but how would you describe Assimilate?

Jeff Edson: You actually did a very good job of describing it. We’re a software company that provides tools that are used from everything from dailies to the post-production and delivery that we really move quickly into the immersive world of 180, 360 for both post-production and production as well as live streaming a couple of years ago. That’s what we continue to drive forward.

Larry Jordan: The company intro said that it was founded in 2004. Why was the company founded?

Jeff Edson: It’s an interesting story. It goes back to the six degrees of separation of things. It was started by a friend of mine who used to work for me, and that’s Mazini who happened to get connected to a gentleman by the name of Gert Weesmer who had done a number of products in a prior life. They came up with an idea, they contacted me, we got together and we connected with a good friend of mine who helped to start the company and 2004 just happened to be the year.

Larry Jordan: It’s knowing the right people at the right time and having the right idea.

Jeff Edson: Absolutely.

Larry Jordan: We’ve talked about the fact that you look at several different markets. Dailies, visual effects review, digital intermediates and finishing. A lot of these features overlap with say DaVinci Resolve. Why would filmmakers want to work with Assimilate rather than another product?

Jeff Edson: Each one of the products that are out there in the market place such as Resolve or Scratch has their pluses and their strengths, and they’re not so much my strength. A lot of the core strength for Scratch has been its interactivity and flexibility. Resolve does a great job for what its targeted at and focused at and Blackmagic’s done a great job in continuing to drive that. But we continue to deliver very strong in areas that are tangential to where they exist and where they’ve been.

Larry Jordan: Give me an example of some typical customers and more specifically, how the product’s being used in the market.

Jeff Edson: Sure. There’s a customer […] in LA, a large visual effects house. They do a lot of television shows and […] films that we all know and love and they use Scratch extensively for doing all their VFX review and the dailies VFX reviews as part of their digital pipeline interacting with all the positives they’ve got off their clients. […] VFX side of life. We’ve got a number of customers that are using Scratch loosely for dailies, Radar, out of Salt Lake City, Local Hero out of Santa Monica use Scratch exclusively for dailies on a lot of large films and other products as well. Then we’ve got color and companies around the world that use Scratch for doing color and […] in finishing. […] the company that really made a name for themselves in delivering high quality immersive content for real time productions […] so they do a lot of real time broadcasts of concerts and venues like that. […] very broad spectrum of user base.

Larry Jordan: You’ve used the term and I’ve used it too, VFX review. What are they reviewing? Are you doing technical analysis of the shots or what?

Jeff Edson: If you look at the typical workflow they’ll get plates in from their client and then they’ve got visual effect composites and what not they’ve got to put into the various shots. What they need to do is while they’re doing that they need to have a rough match of what the look that has been defined on set and what they expect it to look, finishing going to be to try to make sure that the composite and the animations that they’re putting into the shots that they’ve got, will actually match from a color standpoint, from a fidelity standpoint when they deliver them back up to the client.

Larry Jordan: With dailies, same question. Are we simply copying files from camera cards to hard disks, or are we doing more than that?

Jeff Edson: Certainly data management is a very key part of dailies. If you look at dailies, it’s a data management, ingesting audio sync, color management, look management as well as them being able to do transfer for deliverables. So it’s quite a long pipeline to an extent to connect into the post world to try to make sure that the look and what they’re going for on set will then match to the process that they go through into the final post-production side to deliverable.

Larry Jordan: Very cool. Well I don’t want to let you go before we talk about the new stuff. I know that you were at NAB and I remember several press releases crossing my desk, so share with us what you announced at NAB.

Jeff Edson: At NAB we announced support for a number of new formats. We wanted to think of the dailies world, it all starts with the camera and if you don’t support the camera format as the cameras evolve, then dailies is a pretty tough job. So we announced support for the Apple ProRes RAW, Apple announced ProRes RAW a year ago. The eco system has started to evolve and there was a number of us that now support for ProRes RAW for the back end being able to fill a workflow now where people can shoot in alpha ProRes RAW and deliver it through the pipeline. We also now support for the latest Blackmagic RAW support, RAW format as well as we now support for RED collaboration with Nvidia to be able to bring GPU supported coloration for being able to play back their 8K […] footage in real time. Then we also then showed a preview of our next release which is Scratch 9.1 which has a number of new features for dealing with now the multitude of color spaces and color management to go through the dailies process on into the finishing role as well. So we had a preview of 9.1 with a number of new features we’ve got there, as well as then a number of new RAW formats that came out and RED finally delivered [..].

Larry Jordan: It used to be that we would have to worry simply about whether the codec was supported, but now within a codec, we’ve got all these different color spaces to work with. The permutations must drive you nuts.

Jeff Edson: In effect that was one of the big changes in evolution made partly in 9.1 is being able to build a model that allows you to manage that much more straightforward from […] to all the various other color spaces as well as gamma selections etc. It really is no longer just pick this codec and this gamma goes on a MagDeck and then goes on a PC and you’re done with it. It really is a selection of a myriad of options.

Larry Jordan: And as we start to expand into greater and greater resolution, the files just simply get bigger and bigger. In addition to more and more options. I’m planning on buying stock in a storage company pretty soon I think.

Jeff Edson: It really is amazing that we started this company in 2004, storage it was important because of VPX playback and what not it was all about […]. But storage was no the decline of interests and if you look at it now, the word has become a key part of the system and network that really has made a significant comeback in this world from the standpoint of requirements.

Larry Jordan: Back in 2004 we thought that HD was about as big as anything was going to get. And we’re still having problems getting our arms wrapped around HD and now HD is like cold chicken. Nobody cares any more.

Jeff Edson: Exactly. My kids don’t even want to watch it in HD.

Larry Jordan: How is Scratch priced?

Jeff Edson: We basically cover the entire bases. We have a subscription model that can go from month to month subscription to an annual subscription. We also offer a perpetual license as well because there are some people that perpetual license is really the model that they want to go with. We really cover everything from a lot of people in the DIP and the dailies world, they just want the product for the length of the project they’re working on and then turn it off and come back, then go again when the next project comes on. So we apply the flexibility of month to month as well as an annual for people that have a little more insight into what their world is. In the post-production world that tends to be the case. And then we also still offer a perpetual license for those that would like to have.

Larry Jordan: For a single person who just wants to get introduced to Assimilate, what are they looking at in terms of price?

Jeff Edson: We have a product called PlayPro which is sort of an entry level product that starts at $19 a month. Full blown Scratch is $89 a month and Scratch VR which is every feature that we’ve got on the planet right now, is $115 a month. So the entire kitchen sink starts at $115 a month.

Larry Jordan: That’s pretty amazing. For people that want more information about the products that Assimilate offers, where can they go on the web?

Jeff Edson: Our address is

Larry Jordan: That’s all one word,, and Jeff Edson is the CEO of Assimilate, and Jeff thanks for spending your time with us this evening. This has been a fun conversation.

Jeff Edson: Larry, it’s a pleasure. I really appreciate the time.

Larry Jordan:  Take care, bye bye.

Jeff Edson: Thank you, you too.

Larry Jordan: You know, I was just thinking. We’ve all heard the phrase content is king. It has a nice sound, but content is only one piece of a much bigger puzzle. Yesterday as I was teaching my university class, I had an experience that expands on this idea. We were screening a student film that had a very interesting story but it was marred by multiple technical glitches. All of which revolved around not understanding how to use video editing software and worse, not allowing enough time to carefully review the project before submitting it.

Larry Jordan: After waiting too long to start, my students were in such a hurry to meet the deadline, that they’d just assumed that their final edit didn’t have any flaws. They assumed they didn’t need to review their final work. And they were wrong. Suddenly fingers started pointing as the errors mounted up.

Larry Jordan: Aside from the lesson of starting sooner, which every student needs to discover on their own, this brought home to me a much bigger point. Storytelling is more than just telling a great story. It’s also important to have a clear understanding of how to use technology to tell that story. It’s an active balance between tools and tales. Both are necessary in order to capture the attention of an audience, then hold that attention until the end of your story.

Larry Jordan: Our classroom experience taught me that I need to focus my students on three key things. First, how to tell the story. Second, how to use software and hardware to tell that story using moving images. And third, how to plan your schedule to allow sufficient time for both creativity and review.

Larry Jordan: Those who focus on just teaching story or just teaching technology are doing their students a disservice. Because effective visual programs leverage the synergy between story and tools to become more than just one of those elements alone. And this balancing act requires sufficient time for planning, creativity and review all without missing deadlines. Plus teaching students to actually see what’s on the screen in front of them.

Larry Jordan: What I’ve discovered is that students get tripped up not by a lack of creativity, but by a lack of proper planning and logistics. Just something I’m thinking about.

Larry Jordan:  I want to thank our guests this week, Jonathan Handel with the Hollywood Reporter, Dom Bourne with Take, Julian Evans with Audioworks Film & Theatre, and Jeff Edson with Assimilate Inc.

Larry Jordan:   There’s a lot of history in our industry and it’s all posted to our website, at Here you’ll find thousands of interviews, all online and all available to you today.  Remember to sign up for our free weekly show newsletter that comes out every Saturday morning.

Larry Jordan:  Talk with us on Twitter @DPBuZZ and Facebook at  Transcripts are provided by Take Our theme music is composed by Nathan Dugi-Turner with additional music provided by  

Larry Jordan:   Our producer is Paulina Borowski, my name is Larry Jordan, and thanks for listening to The Digital Production Buzz.

Larry Jordan:  The Digital Production Buzz is copyright 2019 by Thalo LLC.

Transcript: Digital Production Buzz – April 18, 2019


Larry Jordan


John Harris, Director of Business Development, Cinedeck

Jim Tierney, President, Digital Anarchy

Evan Michals, VP Video Product Management, Evolphin

Linda Tadic, Founder/CEO, Digital Bedrock

James DeRuvo, Editor-in-Chief, doddleNEWS


Larry Jordan: Tonight on The Buzz, from old friends to new companies. This episode of The Buzz looks back at NAB and connects with more companies announcing new products. Plus, James DeRuvo shares his highlights from this year’s show.

Larry Jordan: We start with John Harris, Director of Business Development for Cinedeck. Cinedeck specializes in software to simplify working with media. Tonight, John showcases their latest news and products from NAB.

Larry Jordan: Next, Digital Anarchy creates plug-ins for Video Editors that simplify creating visual effects. Recently, they branched into automated transcription with Transcriptive. Tonight, CEO Jim Tierney discusses the challenges of automating transcripts and displaying them in Premiere and Final Cut.

Larry Jordan: Next, Evolphin makes software for creatives, From review and approval; to digital asset management; to full on media asset management, they support individuals to enterprises. Tonight, Evan Michals, VP of Video Product Management, highlights their NAB announcements.

Larry Jordan: Next, Linda Tadic, CEO and Founder of Digital Bedrock spent 25 years as a professional archivist before starting her company. Now, she provides archiving services to others. Tonight, she explains that keeping our files is more than just storing them; it means keeping them alive.

Larry Jordan: All this plus James DeRuvo with the weekly doddleNEWS update. The Buzz starts now.

Male Voiceover: Since the dawn of digital filmmaking. Authoritative: One show serves a worldwide network of media professionals. Current: Uniting industry experts. Production: Filmmakers. Post-production: And content creators around the planet. Distribution: From the media capital of the world, in Los Angeles, California, the Digital Production Buzz goes live now.

Larry Jordan: Welcome to the Digital Production Buzz, the world’s longest running podcast for the creative content industry; covering media production, post-production and marketing around the world. Hello, my name is Larry Jordan.

Larry Jordan: The 2019 NAB Show ended last Thursday and, during the four days of the event, we interviewed more than 100 industry leaders. But, not surprisingly, we couldn’t talk to everyone; there just wasn’t time. Tonight, we’re chatting with four more companies, to talk about what they introduced at NAB; plus, James DeRuvo has additional highlights that he discovered after the show, by wading through hundreds of press releases. We’ll wrap up our NAB coverage with next week’s show.

Larry Jordan: By the way, if you enjoy The Buzz, please give us a positive rating and review in the iTunes store. We appreciate your support, to help us grow our audience. Now it’s time for our weekly DoddleNEWS update with James DeRuvo. Hello James.

James DeRuvo: Hello Larry. Since tonight you’re talking about companies that you didn’t have a chance to interview at NAB, I thought we’d take a look a look at a few cool products that escaped my gaze, as I walked 24 miles on the showroom floor.

Larry Jordan: It’s hard to imagine that anything could have escaped your gaze, but what did you find?

James DeRuvo: I know, it’s hard to believe. My feet are still hurting; but, you know, we’ll get through it. The first product I’ve come across, as I’m wading through all these press releases that we get sent before NAB is the Moza SlyPod. What would you get if a monopod and a slider fell in love and had a baby? That’s the Moza SlyPod. It’s a motorized slider built into a carbon fibre monopod.

James DeRuvo: It has an extension motor that goes from zero to 10,000 rpms in 15 microseconds and can carry camera packages up to 40 pounds vertically; or 26 and a half pounds horizontally; offering repeatable motion control for consistency from shot to shot and, in a future firmware update, they’re going to include the ability to work multi-access movements, as it works in concert with other Moza products that are coming in the future.

Larry Jordan: I’m always leery of monopods because of their inherent instability. What do you see as the market for this?

James DeRuvo: Well, I think it’s great for runners and gunners like wedding videographers, E&G people, documentarians; who would rather not carry unnecessary gear out in the field. The Moza SlyPod will offer shooters greater creativity through its Swiss Army like design.

Larry Jordan: Okay, that’s Moza. What’s our second story?

James DeRuvo: I briefly mentioned this to you as we were in a show break, while we were at NAB; I had just heard about it but I hadn’t seen it. That’s the Zoom F6. Zoom has a new recorder that offers 32 bit floating point recording, with dual AV convertors, that makes it impossible to clip with hot audio.

James DeRuvo: It’s got six channels with XLR inputs and it has the same preamps and time code generator as Zoom’s F8N.

Larry Jordan: I’m a longtime fan of Zoom recorders; in fact, we use a Zoom and Marantz here on The Buzz for all of our remote recording. What are the key features of the Zoom F6 for you?

James DeRuvo: This is mind-blowing. You’ll agree with me that they’re doing some serious sacrificial idle things. The game-changing feature of the Zoom F6 is that it doesn’t have gain control at all; there’s no gain, you just have faders. The six knobs on it just enable you to fade the audio in and out.

James DeRuvo: It records the audio at one constant bit rate; 32 bit floating point recording, which captures a wide dynamic range of audio without clipping, making blown out audio a thing of the past. Zoom describes it as a kind of sound based raw audio file.

James DeRuvo: Had a seen this before we left Las Vegas, I likely would have chosen it as the best hardware at the show and it’s shipping in June. We don’t know how much yet, but it’s coming and it’s going to be a game-changer, I think.

Larry Jordan: Wow, I’m looking forward to learning more about it. What’s our third story this week?

James DeRuvo: I just expect Atomos to come out with the next greatest thing; so sometimes I just kind of forget they’re there. Atomos has come out with the Shogun 7 monitor recorder switcher. Seven inch Shogun monitor recorder that has 1500 nits of brightness and a one million to one contrast ratio.

James DeRuvo: It records 4K HDR from up to four different cameras, via HD SDI connections at 60p, with 12 channels of audio and it’s a switcher; so it switches between four different camera streams, while recording, or broadcasting and streaming live.

Larry Jordan: Well, we had a chance to talk with Jeremy Young, who’s the CEO of Atomos, as part of our NAB coverage and he spent a lot of time showcasing this product. What catches your attention here?

James DeRuvo: Just when you thought that the Shogun line couldn’t do anything else, Atomos throws in this ability to switch from different cameras in 4K. That means shooters have a broadcast truck in their pocket and at a price under $1500. You  just have this monitor that is recording and everything else; but you can just sit and touch each individual camera and switch from camera, to camera, to camera. If you’re doing a live stream, that’s all you need, is the camera and the monitor and you’re good to go.

Larry Jordan: James, what other stories are you and your team following this week?

James DeRuvo: Other stories we’re following include Sharp’s 8K pocket camera, which they unveiled at CES; which will probably shoot 10 bit video in 8K and sell for $4000 by year’s end. The My RØDE Reel short film competition has begun and will run through August; with $1 million in prizes up for grabs and Samsung’s $2000 folding cell phone is breaking after only a few days of normal use. Tell me we didn’t see that coming. It’s battery gate all over again.

Larry Jordan: James, where can we go on the web to find these and all the other stories you are covering?

James DeRuvo: All these stories and more can be found at, or on Twitter at @doddleNEWS.

Larry Jordan: James DeRuvo is the Editor-in-Chief of doddleNEWS and joins us every week. We’ll see you next Thursday.

James DeRuvo: Have a good weekend.

Larry Jordan: I want to introduce you to a new website; Thalo is an artist community and networking site for creative people to connect, be inspired and showcase their creativity. features content from around the world, with a global perspective on all things creative. Thalo is the place for creative folks to learn, collaborate, market and sell their works.

Larry Jordan: Thalo is a part of the Thalo Arts, a worldwide community of artists, filmmakers and storytellers. From photography to filmmaking; performing arts to fine arts and everything in between, Thalo is filled with the resources you need to succeed. Visit and discover how their community can help you connect, learn and succeed. That’s

Larry Jordan: John Harris is the Director of Business Development for Cinedeck. This is a company that seeks to make the video industry more efficient. Hello John, welcome.

John Harris: Good evening Larry, welcome to you.

Larry Jordan: John, how would you describe Cinedeck?

John Harris: I think Cinedeck has been around for this millennium, which is great; so we’ve got a lot of history. But the amazing approach that Cinedeck is, as a company, is they haven’t ever restrained themselves to the traditional concept of video. Every time they look at a workflow problem, etc. They throw away the traditions. They say, well okay, let’s just go to this in binary; can we approach this, you know, in a very different way, but it’ll give out those media type workflow results that goes on?

John Harris: I would describe Cinedeck as a character; somebody who’s really challenged, very versed in out of the box thinking and, you know, how to approach workflows in a very different way; which is all about some very interesting solutions to the marketplace.

Larry Jordan: Would you describe Cinedeck as principally a hardware company, or a software company? Of course, all hardware requires software, but how would you think of the company?

John Harris: I’d very much describe the company as a software company. I think, you’re absolutely right, there is need for hardware but, you know, typically that hardware is your standard Windows, Macintosh computer system and other traditional hardware elements. It’s really our ability to use that hardware, you know, through our software and our toolsets; to get the very best out of it and the best workflows. We would definitely say that we are a software company.

Larry Jordan: Your title is Director of Business Development, how do you see your role with the company?

John Harris: It comes about in many ways. Throughout my long career, I went through early days of the digital electronic specialists, with a company called Abacus, I grew on and went to Ampex, carried on to Avid. I then set up with my own company with Route Six and then, finally, I have now ended up here at Cinedeck.

John Harris: I think, the heart of that career has always been about the excitement and enthusiasm of taking on all of those products. You know, at every one of those stages, I can absolutely say, you know, there was a real excitement about that product as it is and where it fits into the marketplace.

John Harris:  I see my role as, to evangelize and present the technology; use the knowledge and experience I have of the industry, about the workflows. I am involved very heavily from the first concept of digital videos in the early days of Ampex, to compression with Ampex and DC2 to the move to desktop computers with Avid, to the front of the coalface with Route Six; which is a reseller in developing technology.

John Harris: It’s part of the evangelization of understand the product and workflows in our marketplace; but then, also understanding how that business model works.

Larry Jordan: On your website, Cinedeck describes itself as a company that’s focused on making the video industry more efficient and, in your description, you said that it’s a company that thinks outside the box. How would you describe your most popular products, if those are your goals?

John Harris: What we’ve done is, we’ve challenged what has become an accepted way of working in the marketplace. With our move to file based workflows, you know, we are eradicating the baseband tape style workflows that we used to have. But the problem is, our move to file based workflows means, we created all these efficiencies but we were still delivering on tape. Now that delivery mechanism is very much strongly oriented to files.

John Harris: The big issue we had we dealing with media files is, they’re very closed, structured systems; so the problem is, every time we wanted to make a change, it was a very painful, time-consuming process, because we would have to re-render that whole file again.

John Harris: We were challenged to look at that and, I think, when you first look at that from a media only head, you look at that file structure and say, yes, I completely understand why we can’t change that workflow and you accept that. We’ve seen that all the manufacturers and all of the codec developers have worked in this way for 20-25 years and we just said, this is crazy, why are we having to re-render, in most scenarios, the same data time and time again, when we only want to make a short change?

John Harris: You can imagine, firstly, the cost of re-rendering that material and secondly, if you’ve got a close to air production, there’s a lot of times you just can’t make that deliverable; you either have to go with the air, or you have to revert back to tape to do that.

John Harris: When we looked at this, we actually approached the whole filing system much more on a binary data basis and we’ve developed tools that mean we can access those files at binary level. That means, although we have a finished rendered file, we can still go into that file and change the binary data for every essence layer; whether it’s video, audio, close captions, metadata, etc.

John Harris: I think that’s one of the core elements of our technology that we present across all of our products, is the way that we can enter a broadcast file format, means that we don’t have to re-render it again. That’s very significant and time and cost saving for everyone involved in creating programs for broadcast.

Larry Jordan: Are you making a copy of the program at the binary level; or are you physically changing the source master?

John Harris: We’re physically changing the source master. You know, that concept of destructive approach could terrify some people.

Larry Jordan: I’m terrified, yes

John Harris: It’s always a good conversation and I think, you know, in most scenarios, people would typically have a clone of the master, if they really are […]. But the reality is, you know, when we worked with tape, how many times did we do a destructive insert directly into that tape, in using physical […] system and accepted that way of working?

John Harris: It comes down to confidence and I think, a lot of people have bad experiences, etc. So their confidence levels are low. But, what we’ve been discovering, as we move further and further forward is that, people start to use us, they’re like, okay I’m going to make a copy first before I do this and then the more and more they use us, their confidence level raises and they think, actually, I really don’t need to do this; this works perfectly.

John Harris: The beauty is, you know, if I want to get back to my original position, I can go back and re-insert that material from my timeline, or the previous file, or whatever I want to do.

John Harris: For me, it’s just a confidence thing. I do demos of our products every day and I actually use the same file. My main demo file now has probably been inserted, re-conformed back to itself, re-inserted again several thousand times and with no issues. I definitely could even do that with tape.

Larry Jordan: I should mention that, this ability to do an insert edit is part of your software called cineXtools. Is that correct?

John Harris: Yes.

Larry Jordan: Well, let’s talk about the new stuff. What did you announce at NAB?

John Harris: I think it’s worth first of all saying, what we talk about with the insert editing, this is something that goes across all of our products. Really what our products are about is about, how we approach that insert.

John Harris: Our new launches for NAB, we have our cineX plug-in. that means now that we can do an insert edit into a rendered file, directly from the timeline of Adobe Premiere, or Avid Media Composer, run on Mac or Windows and we can actually now highlight the section on the timeline and say, I want you to take this section and insert it into this rendered file, without re rendering the file. There is no operational training required and it just works. That was a great feature that was shown, for the first time, at NAB this year.

John Harris: CineXtools is our file to file editor and it’s our own application; so our own interface. It means we can expand what we can look at. I mentioned earlier on that we can go to every essence layer; so with our cineXtools we can expand our interface to not only do video and audio inserts, but we can also manage rewrapping and remapping of the audio. There’s a constant need for, you know, language changes, or different audio mapping selections, according to deliverables, etc; which we can all do within the rendered file.

John Harris: We can even, you know, go in and edit closed captions. That’s been a significant time-saver through some really good core systems.

John Harris: Newly launched for the show, we’re also exposing the metadata elements on the file. This can relate to the labelling for the audio, it could relate to the naming for the audio tracks and it can also relate to some specific issues with regards to the metadata being stamped incorrectly.

John Harris: One of the big demands that we’ve had is, there’s all this wonderful HDR material and these beautiful images and they’re rendered into this beautiful file and someone has stamped the file with the wrong metadata that says this is a 709 colorspace; which completely destroys it. You can imagine, that few bites of information destroys everything that’s gone on and a re-render of a HDR file, just to correct that, is a very painful process. Therefore, we can get into that metadata now and change that. That was something that was newly launched as a new feature for cineXtools at the show.

Larry Jordan: Some very exciting announcements. For people that want to learn more about the tools that Cinedeck makes available, where do they go on the web?

John Harris: The main place to go onto the web is our website, which is simply

Larry Jordan: That website is all one word, and, I should mention, free trials are available. John Harris is the Director of Business Development for Cinedeck. John, thanks for joining us today.

John Harris: Thank you very much Larry. Nice to meet you.

Larry Jordan: Jim Tierney founded the Digital Anarchy in 2001, specifically to develop plug-ins for creating visual effects. This week, we want to check back in, now that NAB is over and see how things are going. Hello Jim, welcome back.

Jim Tierney: Hello Larry, how’s it going?

Larry Jordan: I always enjoy talking with you; but, not everybody has heard of Digital Anarchy. How would you describe the company?

Jim Tierney: We’re a company that makes tools for Video Editors. We’ve been around for 18 years at this point. This was my 23rd NAB. You probably beat me by a little bit, but that’s a lot of NABs.

Larry Jordan: It is indeed and there’s a point where you start to count them even more important than birthdays; because they seem to be much more traumatic.

Jim Tierney: Yes, right. Oh no, the birthdays are getting pretty traumatic.

Larry Jordan: As you look at the company, you’ve developed plug-ins both for still images, especially Photoshop and moving images. Is your principle focused on stills, or video?

Jim Tierney: We’re mostly on video. I mean, we were trying to do the Photoshop thing for a while and, you know, we started off life as an after effects plug-in company and we just know the video space better. You know, so these days it’s mostly aimed at Video Editors; you know, Premiere, Final Cut, Avid, tools that help make video editing easier, hopefully.

Larry Jordan: One of those, that have been causing a huge buzz, is Transcriptive. Tell me what that is.

Jim Tierney: Transcriptive is a way of using AI to get transcripts and there are a few different components to it. There is a Premiere Pro panel that’s totally integrated into Premiere; so you’ve got the transcript right within Premiere, which enables all sorts of cool functionality. Then, which we were launching at the show is a web-based version of it. That allows collaboration between the Premiere panel and web users; also as just a standalone, cool way of getting transcripts.

Larry Jordan: When you first launched Transcriptive, which was probably a year or two ago, the quality of automated transcription wasn’t that great. How have things evolved over the last couple of years?

Jim Tierney: Pretty much as you would expect. It keeps getting better. We announced a Transcriptive service, which will kind of change the AI it uses on the backend; depending on what options you select. Which service we think is state of the art at any given time and that kind of changes month to month. You know, there’s a variety of different AIs out there and, you know, they slightly leap-frog each other on a regular basis.

Larry Jordan: How should we judge which AI to use? I mean, we could just turn our files over to you; but if you give us the ability to specify the backend AI, what criteria should we use to evaluate it?

Jim Tierney: Well, I mean, the way we evaluate it is, you know, there’s word accuracy right? How accurate are the words? But then there’s also punctuation, there is speaker identification. You know, all three of those components factor into what we think is best. If you’re using Speechmatics, that’s one option we give you; but if you’re using a transcription service, you know, if you have speaker identification turned on, we might use a different AI for that than we would if you had it turned off.

Larry Jordan: Thinking of punctuation does remind me, I’ve seen many, many run-on sentences. I appreciate having somebody put a period in there some place.

Jim Tierney: Well, you know, periods and commas and apostrophes and all these things that we kind of take for granted, when they’re suddenly not there. You know, it matters. You know, you can argue about the Oxford comma, but they’re useful.

Larry Jordan: I have actually argued about the Oxford comma, but commas is something totally different. Tell us about PowerSearch. This is also relatively new.

Jim Tierney: Yes, so this is relatively new; it’s kind of taking advantage of the fact that, you know, if you have Transcriptive, you’ve got transcripts for all your video footage; so now you can do a search within Premiere of just everything that has a transcript. Everything that has a transcript, everything that has markers, all the metadata; so, you know, it’s just a Premiere panel that makes it possible to search your entire project; regardless of how much footage you have.

Larry Jordan: One of the things I’ve noticed is that, Premiere and Final Cut handle transcripts differently and I know you’re tightly integrated with Premiere. But have you found that Premiere has got limitations in how you can search for transcripts, or display, or even read transcripts?

Jim Tierney: Well, you know, I mean, natively, they don’t really support it very well and the search function within Premiere is not great. I think FCP has, you know, a better search function. I don’t think FCP has a great way of displaying transcripts either, but they’re much more searchable I think.  You can draft them into the metadata and that’s something we’re getting into with FCP; but we’re not quite there yet.

Larry Jordan: I’ve had a chance to look at transcripts in both Premiere and Final Cut and I think, the ability to create transcripts far exceeds Final Cut’s ability to display transcripts. If you’re doing transcripts for Final Cut, you’ve got a lot of lifting to do there; that application does not make it easy.

Jim Tierney: Well, I mean, neither does Premiere. You know, the reason that we’re the only totally integrated solution for Premiere is that, it’s hard. It’s like, thanks Adobe for creating that wonderful barrier to entry; but it continues to be a struggle to climb it. It’s not an easy process.

Larry Jordan: Did you see anything in Adobe’s latest releases that make that easier?

Jim Tierney: No. We had some good meetings with them about what’s currently making it harder; so maybe they will cure our lamentations and fix some things that we would like fixed.

Larry Jordan: As you saw at NAB, what caught your attention, looking at it more from an industry veteran perspective, than an owner of a company? What caught your fancy?

Jim Tierney: AI is seemingly everywhere; you know, I mean, that seems to be the new hot buzz word. You know, how useful all of these AI implementations are remains to be seen. You know, that was kind of a big thing. You know, I think attendance was down a bit and that was kind of borne out by some of the stuff that’s been coming out at NAB themselves; at least on the exhibitor side. You know, it seems like they’re worried about attendance.

Jim Tierney: Professionally, you know, I mean, maybe it’s kind of the same. It’s, like, new cameras. Do we really need 16K?

Larry Jordan: Please, I have enough trouble with four and now we’re going to eight to 16; that’s just overkill.

Jim Tierney: It just really is. It just seems like we’re pushing the limits of what we really need. Everybody just needs to be talking about something new; but, a lot of the new stuff just seems just very buzz wordy and not super useful. I mean, that’s the struggle we’ve got with the AI, like you mentioned initially. You know, the AI was okay, it was usable; but it wasn’t great. It’s gotten a lot better over the last two years, since we started developing Transcriptive; but a lot of AI solutions, they sound great on paper but then you actually try to use them and it’s hard.

Jim Tierney: A large part of Transcriptive has been building tools around the AI, to make it useful for people. You know, the transcripts are fine but, you know, they need to be cleaned up and the speaker identification sucks. That’s getting a little bit better but, you know, there’s a lot of challenges with taking the AI and rolling it into a tool that real people can actually use.

Larry Jordan: It’s very much like the 80/20 rule. 80% is easy, to get to the last 20% near kills you.

Jim Tierney: Totally and, you know, once the transcript accuracy drops below about 90%, it’s better just to do it from scratch; because it’s going to take you longer to clean it up than it will for you to just transcribe it. You know, the fact that we’re seeing much better results now is great; but, you know, you still need to clean it up and you still need tools to do that and then, what do you do with the transcript after that?

Larry Jordan: By the way, Transcriptive really is a cool application. In spite of the fact that automated transcripts have their problems, Transcriptive is very cool. For people that want to learn more about Transcriptive and the other products that Digital Anarchy creates, where can they go on the web?

Jim Tierney: To, or

Larry Jordan: We’ll pick the longer one, that’s one word, and Jim Tierney is the Founder and CEO of Digital Anarchy. As always, Jim, thanks for joining us today.

Jim Tierney: Thank you Larry.

Larry Jordan: Evan Michals is the Vice President for Video Production Management at Evolphin. Prior to that, he was the Founder of the video collaboration platform WavePost and, prior to that, he was a Freelance Video Editor, Director and Post-Production Supervisor. Hello Evan, welcome.

Evan Michals: Hello. Thanks so much for having me.

Larry Jordan: It’s my pleasure; I’m looking forward to our conversation. We were right across the way from you at NAB and I was intrigued enough that I wanted to bring you back on the show to be able to ask you, how would you define Evolphin?

Evan Michals: Evolphin is an enterprise software company; we’re based in the Silicon Valley. Evolphin creates products for creatives; to help them be creative faster. We have two primary products; one of them is called Evolphin Wave, which is a Cloud review and approval tool for video editors and designers. You can upload your media, share it with clients and get their feedback. You can sign up for free.

Evan Michals: Our flagship product, Zoom, is a digital asset management and media asset management system; depending on your needs. That’s for small businesses and enterprises who work in design, marketing, or video production. Zoom manages all of your media, from the beginning of the process to the end. You can search for what you need, you can add the media to your project, tag it with AI, you can distribute the media, or distribute the finished product when you are done. It can handle archiving and moving your media to safe storage. It takes care of a lot of the burden of file management and trafficking assets everywhere. It handles all that in the background; so you can just focus on being creative.

Larry Jordan: Well there’s no shortage of either review and approval software, or media asset management software; why was the company created?

Evan Michals: For two reasons. When the company was founded in 2007, there weren’t that many solutions; but I agree with you, especially in the past few years, there are a lot of options out there now. Evolphin and Zoom have always focused on pushing the boundaries of what media asset management software can do. We’ll talk about this in a little while, but some of the things we now said at NAB are things that no-one else is doing.

Evan Michals: We started with a really solid project and now we get to build upon it; whereas, you know, a lot of the other asset management systems out there might still be building their core product, or are not really capable of pushing the boundaries because they still have a lot to work on.

Larry Jordan: I want to come back to your NAB announcements in a couple of minutes, but one of the things your website differentiates between is a digital asset management system and a media asset management system. What do you see are the differences between the two?

Evan Michals: We have had to explain it, because people have different ideas of what each means; depending on who you ask. The way we see it is, if you’re not working in high resolution video, if you’re working with images, or audio, then you really only need a DAM. You just need a system that is going to version your work and keep track of things for you and maybe handle some archiving and things like that.

Evan Michals: But where it becomes a MAM is when you have high resolution video workflows where you’re shooting in 4K or 8K and you need to ingest that media. You need to have it run through a transcoder, to create proxies; then you’re editing it and then, at the end, you need to distribute that video content to OTT platforms; or for broadcast and, lastly, you need to archive it and you’re archiving terabytes per day. That really requires more of a MAM that has this underlying orchestration layer that can traffic large files easily. I would say, that would be the difference between the two.

Larry Jordan: The impression I got from your website was that, digital asset management is the foundation and then, on top of that, you built the media asset; so that the core functionality is similar between the two. Is that a true statement?

Evan Michals: Yes, that’s correct. Whether you need a DAM or a MAM, you’re still going to be able to have version control on your assets; you’re still going to be able to take advantage of our D duplications; which are found in the storage needed for each new version. You’re still going to be able to customize all the metadata that you want tracked on all your assets. You’re still going to be able to take off automated workflows and digital rights management. All these core things that you’re looking for a DAM for.

Larry Jordan: Before I run completely out of time, I still want to get to the exciting news. What did you guys talk about at NAB?

Evan Michals: We had a lot of exciting announcements at NAB. We demonstrated Cloud video editing, with our partner BeBop; so that is where you won’t need any on premise infrastructure to edit with high resolution video. We also announced three object review and approvals; so we have this portal where you can invite people to review and approve assets and now we support 3D objects; so that people working in visual effects, or game design can rotate them and draw on them.

Evan Michals: We also had Roger Chang from KQED speak at the Adobe booth. They’re one of the largest public broadcaster in Northern California. He’s using our software to bridge the gap between Avid and Adobe workflows. Often those worlds need to stay separate; but with Evolphin sitting on top, you can collaborate between the two.

Evan Michals: One thing that we announced that I’m very excited about is, video editing with AI. That was pretty neat. That was where you can have assets tagged automatically with artificial intelligence and then you can use our software to create an edited sequence based off of that.

Evan Michals: For example, if you had a soccer game and you needed to cut a highlight reel of all the goals, where all the goals are scored by a specific player, you can analyze the game with artificial intelligence. It’s going to tag all of the moments that there’s a goal and then, using our software, you just type in, I want the goals, I want the players, hit a button and it creates an editing sequence that you can important into Premiere, or Final Cut. Essentially, if you need to cut a highlight reel, you can do it in two seconds.

Larry Jordan: Well I’m also impressed that you have a custom workflow panel for Premiere; which makes the integration between Evolphin and Premiere a lot easier. Is that new, or has that been around for a while?

Evan Michals: That’s been around for a very long time and thank you for bringing that up. I should have mentioned it earlier. Evolphin has integrations into five of the Adobe Creative Cloud apps; so we have a direct panel into Premiere, After Effects, Illustrator in Design and Photoshop; as well as a panel for Cinema 4D and Sketch app. No matter which program you’re using for your creative workflow, you’re going to have direct access into the database, to search and find the assets you need to add; share with collaborators; export a final product and synch it with the database.

Evan Michals: We get a lot of solid feedback from people that our level of integration with the Adobe products is industry leading and they really appreciate the depth that we go to with each of our plug-ins.

Larry Jordan: Who would you describe as a typical customer? I’m not necessarily asking for names, but are we talking a small work group of five, or an enterprise of 500, or where?

Evan Michals: Our software really scales with the users and with the companies. If you’re an individual editor, or director, then our product Evolphin Wave would be best for you, because that’s lightweight, it’s cheap, it’s affordable and you can sign up for free. But if you’re going to be using our DAM or MAM products, I would say it starts with a small business; a company or department in a larger company that has five or ten editors.

Evan Michals: But the great thing about our platform is that it scales up to just any size you need. We have some customers of five people using our software and we have some where they have hundreds of video editors. That’s one of the core strengths of our product, is just how scalable and flexible it is. It’s hardware agnostic; you know, any on premise, or Cloud environment you want to deploy it in, for any size of people, it can do that.

Larry Jordan: For people that want to get started, what does it cost?

Evan Michals: The Wave product, you can sign up for free. For the full DAM and MAM products, the scale is a little bit higher than that. You know, it’s starting in the tens of thousands; depending on what you need. You can work with the sales team, to figure out exactly what your needs are and how we can help you out.

Larry Jordan: For people that want to learn more about the products that Evolphin has available, where can they go on the web?

Evan Michals: You can go to

Larry Jordan: That website is all one word, and Evan Michals is the Vice-President for Video Product Management at Evolphin. Evan, thanks for joining us today.

Evan Michals: Yes, thank you so much; I appreciate you having me.

Larry Jordan: Here’s another website I want to introduce you to; DoddleNEWS gives you a portal into the broadcast, video and film industries. It’s a leading online resource, presenting news; reviews and products for the film and video industry. DoddleNEWS also offers a resource guide and crew management platform, specifically designed for production. These digital call sheets, along with their app; director and premium listings provide in-depth organizational tools for business production professionals.

Larry Jordan: DoddleNEWS is a part of the Thalo Arts community; a worldwide community of artists; filmmakers and storytellers. From photography to filmmaking, performing arts to fine arts and everything in between, Thalo is filled with the resources you need to succeed. Whether you want the latest industry news, need to network with other creative professionals, or require state of the art online tools to manage your next project, there’s only one place to go,

Larry Jordan: Linda Tadic is the CEO and Founder of Digital Bedrock, which is an archiving company. She’s an expert on media and digital preservation and metadata, with over 25 years of industry experience in archiving. Hello Linda, welcome.

Linda Tadic: Hello Larry, great to talk to you again.

Larry Jordan: It is always fun to talk to you. I remember that tour you gave me through your facility a while back and that’s still a fond memory. But for people that haven’t heard of Digital Bedrock, how would you describe the company?

Linda Tadic: We are a manage digital preservation service company and so that goes beyond archiving; it goes beyond storage, because storage is always the easiest part of anything dealing with digital content. It’s more about how to keep that content alive over time; thinking about decades or maybe even 100 years or more into the future. How do you make sure that that content is still viable, that it’s healthy, that it’s not obsolete and it’s secure and that nobody with unauthorized access has touched, modified, or hacked into it?

Linda Tadic: That’s what we do, we’re a service provider and we make sure that your content is okay, for the long term.

Larry Jordan: What do you mean by our content stays alive?

Linda Tadic: Digital contents are going to be files, they’re bit streams and those bit streams are inside containers. There are a couple of things needed in order to keep those bits alive for the future. The basic thing is you make sure that it’s healthy and that’s something called a fixity check; you are checking the checksum, the hash algorithm; the fingerprint, as you might call it, for a digital file. Everything with the digital file has its own unique fingerprint.

Linda Tadic: A lot of people think of MD5; that’s the lowest level of checksum that you can do and it goes all the way up to the higher level checksums; which is what we perform. You’re going to be checking the files’ health and their checksums and we do it annually, over time; to make sure that no bits have slipped and that they’re healthy.

Larry Jordan: What you’re doing is, you’re making sure that something hasn’t degraded the bits on the storage device. That’s what the checksum is about.

Linda Tadic: Correct. Yes. You always want to do the checksums any time a file is sent somewhere. You want to make sure that it’s delivered and disseminated, when it is received on the other end it verifies the checksum,  I mean, that’s pretty much what Aspera does, […] ; all of these digital transfer system and it’s also what object storage does. You know, they split up files into three parts and each of those parts have an MD5 checksum that they’re constantly checking.

Linda Tadic: This is a pretty standard part of using digital files, to make sure no bits are lost. It’s just that it’s taken to a little bit higher level and it’s more managed in digital preservation actions. That’s number one, just making sure that the bit streams are okay and there’s been no loss.

Linda Tadic: The second part of it is to make sure that that file, or the digital object itself is still viable; because of obsolescence.  We think about file formats that did require specific software to run in that software, required a specific operating system, or maybe a specific chip, or specific hardware. If any of those parts become obsolete, or no longer supported by whoever created it; the company or even if it’s open source, because open source tools can become obsolete, because they’re no longer supported, you know, then that digital object content is in danger. You won’t be able to play it, because there’s no hardware, or software available to then render, or read those files.

Larry Jordan: There’s an example where Apple has deprecated all the QuickTime 7 codecs and the next version of the operating system after Mojave, none of those earlier codecs are going to work. Now you’ve got red flags going on and what do you do?

Linda Tadic: Exactly. That’s because the LS is no longer supporting 32 bit applications and that’s a problem. You have a couple of options, one is, you can choose to migrate the file to a format that the current operating system will support. But there’s always the danger then of losing data. The other option is to try to emulate the software and sometimes you can do that, if you can run it on an emulated like operating system. It depends how sophisticated the software is and if it requires other hardware, or parts like tape drives. We had to go through this experience with some old LTO-3 tapes for a client.

Linda Tadic: You have to hang onto that hardware and software, which is what a lot of people do. They just become museums; either personal museums where you keep your old computers sitting around, any of the old operating systems, old software, or you have to acquire them. It’s better to hang onto what you have now then to try to go out there and find the hardware, the computers, or to even license or find the software somewhere, years after it’s no longer supported by the company that owns the rights to that software.

Larry Jordan: Well, can you help us keep track of the files as they become obsolete? Is that a service you can provide?

Linda Tadic: It is. We have something that we call the digital obsolescence database; or the DOD; which monitors all of the obsolescence factors. As we are a service provider and we actively work with our clients, we will tell them, okay, even though these files came in and they were well supported at the time, over time, because we’re constantly checking the information on the files, if something flips, or becomes endangered later on, we will notify the client and say, okay, these files are now endangered for this, that, or the other reason and these are some of the things that you can do to keep your content alive.

Linda Tadic: We do not touch the files ourselves, it is up to the client to come and retrieve their files from us, or if they have their own local copies, they can reach those files. Then they can decide what they want to do.

Larry Jordan: I’m glad you’re not touching the files, but it’s really reassuring to know that you’re there to help us make sure that older files, if they become obsolete, we can get warned by it, rather than get surprised years down the road.

Linda Tadic: Exactly. Before this call, I was looking at the photos of the Notre Dame Cathedral. This cathedral is, you know, hundreds and hundreds of years old. I’m looking at the damage inside and I’m thinking about our digital content that we create now. You know, will we be able to access it in hundreds of years, when it’s as old as the Notre Dame Cathedral is today? Will we be able to access the content, the artwork, the files, the documents, the images? Everything that’s been created digitally now will become obsolete. It’s inevitable.

Larry Jordan: I consider it a wild success if I can access something that’s ten years old; I can’t imagine 100 or 800 years old. But let us shift gears to new stuff. What did you talk about at NAB?

Linda Tadic: At NAB, we talked about a few things. We still have our core platform, which we improve and enhance over time. But what we’ve discovered, as we presented to people is that, sometimes people say, wow, that’s a great software, can I license it? Can I have that too and then I’ll do my own preservation work? What we’re trying to do, by the end of this year, is to license it. We’ll continue with our digital preservation service, but we will also then license the software.

Linda Tadic: What we’ve also done with the software, in order to do that, is that data comes in and then data go out, after it’s processed, because we’re an off Cloud deep archive provider, we write off three copies to LTO-7 tape and then we lock those up in three geographically dispersed locations. Some of the folks who might want to license this might also want to do that; some of them might want to push it to their Cloud providers. Some of them might want to push it to their local storage, or whatever; so we’ve already built connectors at the end, to be able to have different target destinations.

Linda Tadic: We’ve built this already, to take advantage of the fact that, the data center where we’re located is a direct connect facility for the major Cloud providers; for Amazon, for Azure, for Google, IBM Cloud and others. We can have a direct connection between our servers and a direct connection to the Cloud provider service; so there’s an easy transfer. We can receive data in from clients, or then also push it out, while we’re running to tape. We can also simultaneously push it out to their Cloud.

Linda Tadic: That’s already available in our software, so we thought, alright, this is great, we’re already pretty well poised to be ready to then license it. We just want to make sure that everything is perfect, before we start doing that. That’s one thing we will be doing.

Linda Tadic: One of the reasons why people like, or are interested in the software is because, I built it to take advantage of indexing structured data. That was a big topic at NAB and has been for a couple of years. There is such a tsunami of unstructured data; as people don’t put them in databases; they want to be able to search for the data, but not then pay for all of that heavy compute power.

Linda Tadic: As you know, people are really looking into object storage, in order to store all of these large amounts of unstructured data that the industry is creating. But having it in object storage still means it’s on spinning disc, which is expensive. What I’ve done with our software, where we still index all of that metadata, you can almost think that you’re looking at an object storage application; but all of the data is offline.

Linda Tadic: It’s kind of like the best of both worlds; the best of the object storage unstructured metadata capability and also the security and lower cost of having offline, off Cloud storage.

Larry Jordan: Some fascinating ideas. Where can people go on the web, to learn more about the services you offer?

Linda Tadic: They can go to

Larry Jordan: That’s all one word, and Linda Tadic is the CEO and Founder of Digital Bedrock. Linda, thanks for joining me today.

Linda Tadic: Thank you Larry, always a pleasure.

Larry Jordan: You know, I was just thinking about the annual NAB show, which ended last week. Planning our coverage and then creating 27 live shows in a little more than three days is always exciting and, for me, a great deal of fun. Even more fun though is, checking in with the leading companies in our industry; to hear about their latest announcements, along with meeting newer companies that we haven’t chatted with before. But, underlying all of the interest in new products and new technology is the ability to reconnect with far-flung friends that we only see once or twice a year, at these trade shows.

Larry Jordan: Industry trade shows like NAB serve multiple purposes; showcasing new trends in technology, allowing customers to talk directly with companies about the products they use every day, allowing companies to get direct and unfiltered feedback from customers and potential customers and giving people a chance to reconnect.

Larry Jordan: We’re an industry founded in storytelling. Yes, the tools we use today were unimaginable at the dawn of filmmaking, but, even the earliest actors and directors would recognize the direct connect between the stories they were telling then and the stories we tell today. For me, shows like NAB allow us to look forward into the technology of the future, reconnect with our friends in the present and reflect on the people and tools in our past that brought us to where we are today.

Larry Jordan: I’ve always enjoyed NAB; if only to say, well, we’re a year older and we’re still here. Just something I’m thinking about.

Larry Jordan: I want to thank our guests this week; John Harris with Cinedeck, Jim Tierney with Digital Anarchy, Evan Michals with Evolphin, Linda Tadic with Digital Bedrock and James DeRuvo with doddleNEWS.

Larry Jordan: There’s a lot of history in our industry and it’s all posted to our website, at Here you’ll find thousands of interviews, all online and all available to you today. Remember to sign up for our free weekly show newsletter that comes out every Saturday.

Larry Jordan: Talk with us on Twitter @DPBuZZ and Facebook at Text transcripts are provided by Our theme music is composed by Nathan Dugi-Turner; with additional music provided by Our Producer is Paulina Borowski. My name is Larry Jordan and thanks for listening to The Digital Production Buzz.

Digital Production Buzz – April 25, 2019

On tonight’s episode of The Buzz, we have a variety of subjects to share with you. We start with an update on the tectonic forces between writers and agents that’s creating upheaval in Hollywood. Then, we look at the world of text transcripts and how AI is transforming an industry. Along the way, we’ll also cover sound design and and better DIT workflows.

By the way, if you enjoy The Buzz, please give us a positive rating and review in the iTunes Store. We appreciate your support to help us grow our audience.

Join host Larry Jordan as he talks with Jonathan Handel, Dom Bourne, Julian Evans and Jeff Edson.

  • Status: WGA Battles Talent Agents
  • The Turbulent State of Transcription
  • The Immersive World of Sound Design
  • Assimilate at NAB: New Features & Codecs

View Show Transcript

Listen to the Full Episode

(To download the show, right-click Download and click “Save Link As…”)

Buzz on iTunes

Guests this Week

Status: WGA Battles Talent Agents

Jonathan Handel
Jonathan Handel, Entertainment/Technology Attorney & Labor Reporter, TroyGould and The Hollywood Reporter
The Writers Guild has done the unthinkable – required their members to fire their agents in the ongoing dispute with talent agencies. Jonathan Handel, entertainment labor reporter for “The Hollywood Reporter,” explains what’s happening; and two other major Guilds that are lurking in the background … watching.

The Turbulent State of Transcription

Dom Bourne
Dom Bourne, Founder/President, Take 1 Transcription
Take 1 began as a simple transcription company, based in London. But, today, the world of transcripts has exploded into metadata, captions, multi-language support and far more. Tonight, Dom Bourne, founder and president of Take 1, discusses the turbulent state of transcription which is further challenged by AI-driven automated transcripts.

The Immersive World of Sound Design

Julian Evans
Julian Evans, Vice President, Audioworks Film & Theatre
Pictures may tell the story, but sound drives the emotions. And nothing sets the mood better than sound design. Today, we are chatting with Julian Evans, the VP of Audioworks, a company that provides sound design and mixing services for feature films and shorts.

Assimilate at NAB: New Features & Codecs

Jeff Edson
Jeff Edson, CEO, Assimilate Inc.
Jeff Edson is the CEO of Assimilate. They create software that’s used for dailies/VFX review as well as DI/Finishing. They just announced at NAB software support for ProRes RAW. Today, we’re excited to talk new features and codecs!

Digital Production Buzz – April 18, 2019

From old friends to new companies, this episode of The Buzz looks back at NAB and connects with more companies announcing new products. Plus, James DeRuvo shares more highlights from this year’s show.

By the way, if you enjoy The Buzz, please give us a positive rating and review in the iTunes Store. We appreciate your support to help us grow our audience.

Join host Larry Jordan as he talks with John Harris, Jim Tierney, Evan Michals, Linda Tadic and James DeRuvo.

  • Cinedeck: News from NAB
  • The Challenge of Automated Transcripts
  • Evolphin: Asset Management for Creatives
  • Digital Bedrock Manages Archives
  • The Weekly doddleNEWS Update

View Show Transcript

Listen to the Full Episode

(To download the show, right-click Download and click “Save Link As…”)

Buzz on iTunes

Guests this Week

Cinedeck: News from NAB

John Harris
John Harris, Director of Business Development, Cinedeck
John Harris is the Director of Business Development at Cinedeck. Cinedeck specializes in tools and hardware to simplify working with media. Tonight, John Harris, director of business development, describes their company and showcases their latest announcements at NAB.

The Challenge of Automated Transcripts

Jim Tierney
Jim Tierney, President, Digital Anarchy
Digital Anarchy creates plugins that simplify creating visual effects. And, recently, they branched into automated transcription with Transcriptive. Tonight, CEO Jim Tierney discusses the challenges of automating transcripts and displaying them in Premiere and Final Cut.

Evolphin: Asset Management for Creatives

Evan Michals
Evan Michals, VP Video Product Management, Evolphin
Evolphin makes software for creatives. From review-and-approval, to digital asset management, to full-on media asset management, they support individuals up to enterprises. Tonight, Evan Michals, VP of video product management, describes the company, their products and their NAB announcements.

Digital Bedrock Manages Archives

Linda Tadic
Linda Tadic, Founder/CEO, Digital Bedrock
Linda Tadic, CEO and founder of Digital Bedrock, spent 25 years as a professional archivist before starting her companyNow, she provides archiving services to others. But, as she explains tonight, this is far more complex than just storing old files. It means keeping your files “alive.”

The Weekly doddleNEWS Update

James DeRuvo
James DeRuvo, Editor-in-Chief, doddleNEWS.
James DeRuvo, Editor-in-Chief at doddleNEWS, has a multi-faceted career that spans radio, film and publishing. With experience covering technology in the video industry for nearly 20 years, James presents our weekly doddleNEWS Update.

Transcript: Digital Production Buzz – NAB Show BuZZ LIVE 2019 – Show 5 (April 11, 6pm)

Host: Larry Jordan

Guests: Chris Brown

Patrick Palmer

Dave Walton

Dave Colantuoni

Jeromy Young

Larry O’Connor


Announcer: The Digital Production Buzz at NAB is sponsored by Maxon and by Symply, a global distribution brand.

Larry Jordan: This is a special edition of the Digital Production Buzz at the 2019 NAB show, featuring the biggest announcements from the biggest companies this week, starting now.

Announcer: Live from the 2019 NAB Show in Las Vegas, technology, technology, technology, products, products, products, media, media, media, news, news, news. Connecting media professionals around the globe with the latest in technology. The NAB Show Buzz starts now.

Larry Jordan: Welcome back. This is Larry Jordan. This show is a compilation of the best interviews and biggest announcements from our coverage of the 2019 NAB show. In tonight’s show, we talk with the people that put on the NAB show as well as folks from Adobe, JVC Professional Video, Avid, Atomos, and OWC.

Larry Jordan: We start with the person responsible for this entire event, Chris Brown.

Larry Jordan: It’s the end of day three, but the person sitting next to me is responsible for all six days of NAB. His name is Chris Brown, he’s the executive vice president for convention and business operations for NAB. Chris, as always, it’s wonderful to see you in the booth. Thanks for letting us be here, and welcome.

Chris Brown: Good to see you as well Larry, great to be here.

Larry Jordan: So tell me, let’s get right to the stats. Did anybody show up this year?

Chris Brown: A couple. Yes, we’re happy to say. No, it’s actually been a great turnout for us this year. Over 90,000 again. Last year we were almost 93,000. This year it’s probably going to be similar, but between 92 and 93,000. Good news in that is that the mix of folks who are coming shifted a little bit and actually from an attendee perspective, so content creators, distributors and folks that are walking the aisles, and looking at all the cool stuff here, that number’s actually up about three and a half, four percent. So that’s a good thing to hear.

Larry Jordan: Well one of the things that we’ve enjoyed a lot is we switched our stage so that now we’re able to look out over the entire trade show, which just continues to blow me away at how extensive it is, but more importantly, how many people there are. It’s not just clustered at one or two booths, they’re just wandering everywhere which is exactly what you want to see. As one person was saying earlier today, he wasn’t expecting too many people to show up and five minutes after the doors opened, he was swamped. So this is exactly what you want to have happen at the show.

Chris Brown: Well in a lot of respects you’re sitting at the center of the universe of the show because South Lower, there are so many exciting technologies here and as well, it sort of represents the convergence that’s occurring and the different things that are happening, the trends that are really driving our industry, really can be picked up just walking down the aisles here. This tends to be the place that everybody starts, and a lot of people spend a lot of time here.

Larry Jordan: Well it’s because of us really.

Chris Brown: Well yes.

Larry Jordan: One of the things you tried this year was eSports. How’d that work out?

Chris Brown: Great. Yes, so that’s definitely a part of our industry that is emerging or becoming more important to our world. Obviously it’s born out of a different group, community of folks but as that community has realized that there’s something in this, they’ve also realized that they’ve got now a product that should be communicated, broadcast, produced and shared with the world. And so the idea there is that they need to come here and understand from the best in the business at how to do that, what they can do and how they continue to evolve that product. So now with venues and teams and advertising and sponsorship dollars going in that direction, now it’s gone a bit beyond just an enthusiast thing. It’s now a real deal.

Larry Jordan: It is a real deal and one of the things they can do now is expand out of the niche they’re in and start to take it to the larger market, which I’m very excited about.

Chris Brown: Completely. Yes, and we’re excited because we have members actually involved over there. One of our radio members, Beasley Broadcast, is participating, primarily because they’ve already carved out an eSports division within their company to focus and invest in this area, but more specifically they bought the one and only radio station that covers eSports in the country. And believe it or not there is a radio station and it’s called Checkpoint Radio, now owned by Beasley Broadcast, and the broadcast team is actually over there in our eSports experience in the north hall, and they’ve helped us carry a whole group of sessions over there.

Larry Jordan: Well another area that’s just exploded is the whole idea of not just podcasting, but streaming. You can’t throw a rock without hitting four streaming companies or people supporting streaming companies or analyzing the data from streaming companies. That’s extremely hot.

Chris Brown: Yes, and there’s no company here in the business that’s not trying to determine really what the opportunity is there for them and needs to understand what that means from a technology standpoint and who they need to be learning from in that space. We’ve had a dedicated conference program now for the last two years, run by a gentleman named Dan Rayburn who’s a real expert in this arena called The Streaming Summit. That was a two day program that went Monday, Tuesday with great attendance which grew from last year. We expect that program actually will become a much bigger part of our content going forward.

Larry Jordan: Which gets me to the conference. It’s often easy to overlook the conference because the trade show is just enormous. But how did the conference go this year?

Chris Brown: Great. We’ve had great participation, top to bottom. We’ve had some really great main stage programs, our big keynote programs and that type of thing. Lots of really interesting themes coming out across all of that. Everybody from technical to creative to the business aspects of what we’re doing, the whole idea behind that conference is to create the debate and tease up the big issues, and I think overall there’s a lot there, and we do our best to cover everything. There may be a few tiny gaps in there but hopefully we’ve gotten the big themes out and certainly it’s about everything from workflows to how is AI continuing to evolve and impact us, to what’s current state of VR and certainly AR now. So it runs the gamut from what are the technologies. A lot of this now is everybody is moving to much more of an IP based workflow. It is trying to understand now what’s the impact of that and how is that going to affect my business going forward and how do I take advantage of it?

Larry Jordan: The other thing you talked about when we spoke on Monday was the birds of a feather session. How have those turned out?

Chris Brown: Really good. As we talked before, that’s really meant to be a by the community, for the community kind of program, and I think that’s really resonated with them. What we’ve seen is it creates a different type of dynamic. It’s a little less of people just sitting in chairs with a blank stare and watching a talking head talk, and it’s a bit more of the community again teaching itself, teaching others around techniques, a lot of sharing, a lot of networking that that generates, and so we will certainly be doing more of those kinds of programs going forward.

Larry Jordan: It’s not part of your purview, but as I was coming in on the monorail, I noticed there’s a lot of construction going on across the street. How does NAB get affected by the fact that the convention’s almost doubling in size?

Chris Brown: That’s a great question. So number one, there’s certainly going to be a period of time where we’re going to have to deal with some construction. Nice thing now is it’s all across the street so it’s not directly impacting. It is impacting parking because that’s taken some parking out of the inventory, however in a couple of years they’re intending to have that building done which will add about four or 500,000 net new square feet of space to the equation. It’ll be done in early 2021, and then the plan from there is that shows like us would then begin to occupy that space and allow them to begin to take pieces of the original buildings, the three buildings, offline for renovation.

Chris Brown: First will be north building, so we’re going to be, and it looks like if they can stay on schedule, that will be the only real impact for us because beyond that, the other renovations will be done by the next time we get to the show. So if we’re lucky we’ll have one year where we’re going to be in a little bit of a funky arrangement, with the new building and the old building and part of the south building. The building has been great. They’re very proactive and looking at people moving and how we help during that process to get people from one corner to the other and avoid all of the construction madness or renovation madness that’ll be going on during that time.

Larry Jordan: We will hold you to that and see just how close that comes.

Chris Brown: Look at it this way, it’ll make it fun. From our standpoint, it’ll drive change one way or the other.

Larry Jordan: Very quickly, in the time we’ve got left, of all the things you tried this year, what’s been the biggest success, or what are you most pleased with?

Chris Brown: Well two. I think you mentioned one, eSports was a bit of a gamble. We weren’t sure. The other was in vehicle entertainment. So more and more the automobile obviously is going to be a huge impact on our industry. It’s the rolling entertainment center on wheels. And so our industry, our folks need to understand what that will mean to them. We’ve had really great interest in that throughout the few days we’ve been here.

Larry Jordan: Chris it’s an amazing show. It is always an amazing show and you and your team do a fabulous job putting it together. For people who want to keep track of what’s going on, where do they go on the web?

Chris Brown:

Larry Jordan: All one word, And Chris Brown is the executive vice president for convention and business operations at NAB. Chris it has been a great show and thank you for all your hard work to make it possible.

Chris Brown: Thank you Larry, appreciate it.

Larry Jordan: Take care.

Larry Jordan: Every year at the NAB Show you’ll find more than a few attendees camping out at the Maxon Cinema 4D booth all day. Why? Because Maxon hosts presentations by the most respected 3D artists in visual effects, motion graphics and design. This year there will be 28 unique presentations from 21 different artists. Even if you’re not attending NAB you can watch all the Cinema 4D presentations streaming live at And if you register, you’ll be entered into a raffle to win from over $20,000 in prizes. Can’t watch live? No worries, all presentations will be made available on demand on the Maxon YouTube channel a few weeks after the show. Maxon Cinema 4D, stop by Maxon’s booth at NAB in south lower 6324 or tune into the live stream at That’s

Larry Jordan: And thinking of exciting brings us to our first guest. Patrick Palmer is the principal product manager of video editing for Adobe. Premier falls under his area of responsibility. Patrick thanks for joining us today.

Patrick Palmer: Thanks for having me Larry.

Larry Jordan: First, congratulations on a beautiful launch last week of all the new software. Premiere and Audition and Character Animator and After Effects. Nice work, congratulations.

Patrick Palmer: Thank you.

Larry Jordan: But for those that may have missed the press release, tell us what you’ve got.

Patrick Palmer: We’ve got really great innovation in the product. We’ve got efficiency improvements and certainly there is attention to stability and performance. Where do we want to start?

Larry Jordan: Stability.

Patrick Palmer: Let’s start with that then. So it’s largely true as we run on such a broad variety of hardware configurations, that we were actually really forced to look into how to actually communicate better with our customers. So one of the things you see in the new update is actually a way to get feedback on what part of GPU config you are. What drivers. Specifically if there’s something that you can do to either improve performance or indeed get onto something that is on a white listed platform for us. This actually has been a huge issue for us in the past in terms of how much support calls we generate within, and thought we need to do one better. Why not give that information when we launch the product? So we integrated that detail into the product.

Patrick Palmer: We also have a ton of performance improvements. Things like dual GPU are greatly improved with this release. You also see much better support for EGPU now. You’re just getting a lot more out of existing configurations with these investments we’re making.

Larry Jordan: I want to talk about the dual GPUs for just a minute. That’s a huge thing because we’re starting to see now external GPUs especially in the Mac environment, in PCs you can generally plug them in. But on a Mac, we’ve had to work with external GPUs. Are you taking full advantage of those now?

Patrick Palmer: Absolutely. It’s actually interesting how quickly that’s picked up and there’s a logical reason for it. More of us have to be on the go most of the time now, or at least it’s part of the workflow, and as it gets easier to actually have media travel with you, it’s a pretty logical thing to start looking at some lightweight options for on the go editing, and then when you need more power plugging in something like an EGPU is a natural extension to the pipeline, so we invested in that.

Larry Jordan: This is a really technical question, I would not ask a CEO, but if you’re selecting inside Premiere to go with Metal on a Mac, or go with Open CL, which of the two should you pick if you’ve got a current system?

Patrick Palmer: I would, at this point absolutely as you’re referring to the Mac side of things, I would recommend to go with what’s OS native. This is our area of investment so even if you might see some effects not being as fast on one over the other, if you’re being really technical and nitpicky, I wouldn’t pay attention to that because overall we’re actually now really faster on Metal. It’s also true that this is definitely the platform of the future and we’re generally speaking trying to invest where we see traction with the market in general, so other manufacturers benefit from the same platform, and therefore whoever’s providing us with a platform has reason to keep investing in it.

Larry Jordan: So I’ve had a lot of questions about that, especially because people are so focused on GPUs, I wanted to make sure to get that answered. Talk to me about what the new features are. We’ve talked about stability, we’ve talked about performance, both of which are great, both are necessary. But talk about the new stuff.

Patrick Palmer: So then we have two areas left to cover and I think we’re going to keep the most exciting just for the end.

Larry Jordan: OK.

Patrick Palmer: I’m not quite sure if I’m actually setting expectations rightly because I’m personally really excited about the efficiency investment we’re making. It’s for a good reason. We started something called UserVoice about a year ago here at NAB and it’s just a platform that you can get to straight from all of our products, so if you hit help and then click send feedback, it takes you to UserVoice which is a platform to generate and aggregate feedback.

Larry Jordan: That’s UserVoice?

Patrick Palmer: Yes.

Larry Jordan: It’s not a website, it’s a section of where?

Patrick Palmer: It’s actually a website, but on that, you don’t actually need to know. It’s just a browser interface but it gives you a view towards what other people have been requesting. It’s not a forum really, it’s a very focused view towards this is what other people talk about, what they want us to do, what they think is important.

Larry Jordan: Suggestions to Adobe?

Patrick Palmer: Absolutely. And it’s not like we didn’t have that before, but it was never transparent. It also was true that you could never say “Oh, look, 300 people already want this, I’m going to give this a plus one because I really need that tool.” Over the course of the year, we actually released about 70 features that are just fair and square from that platform. It’s also true that with this release in particular, we’re hitting three of the top 20 requests for Premiere in particular. And some of it is surprising quite frankly. Rulers and guides for example. That’s a thing that did exist in other Adobe products for a long time, but so far, in our one on one conversations with customers, this has never come up as a top request. Now that we take it to a much wider audience, it turns out everybody loves that. So it’s in the product today.

Patrick Palmer: Same thing as you’re such an audio lover, if you look at the track mixer right now, we’ve had that conversation many moons ago. What about the track mixer in Premiere? Could it be a bit more like in Audition where you have freedom of choice, where to place the effects, make changes as you go? If you find out that the compressor actually shouldn’t sit at the very top of the stack, can you move it later? We’re giving it the same flexibility that you’ve become familiar with from Audition or basically other track mixers, and that also has not been top of the stack for us until we’ve now had a chance to take it to a wider audience.

Larry Jordan: You can’t see, but I’m standing on my chair and applauding as I hear you say that. We talked to Durin Gleaves on day one of NAB who was sharing his thoughts on how they’re trying to unify the audio engine between Audition and Premiere, which is only to the good because it just makes both products better. But keep going on the new features.

Patrick Palmer: Right, well let’s switch to the innovation. I think that also has two interesting categories, one is obviously technical innovation, which is never going to stop and with machine learning just become much more part of our daily lives, we’ve got an exciting feature coming here, actually in market now as of last week. Shouldn’t say coming any more. So content aware fill is actually something that has been used already a ton by our customers. If you take it to YouTube and just search for examples for content aware fill you wouldn’t find ones that we present you with, it’s a lot of users who are just playful with the feature.

Patrick Palmer: For those who don’t know what it is, content aware fill actually has been something in Photoshop for many years. One of the most loved features there. So we had every reason to think about how you can actually do a pixel replacement for things that are in the frame, but don’t belong. But do it for video, which is a lot harder as you need to look at the adjacent frames. Sometimes you don’t even know what could be a good replacement because everything that you’re trying to take out is all about obscure pixels, so the objects that might be a good fit from your perception have never been seen. So it’s a really interesting thing by the way. It’s also funny to see how it sometimes goes horribly wrong.

Patrick Palmer: But the beauty of it is you get to a result really fast. Sometimes, a task that could have taken hours is now ten to 15 minutes or it’s also a lot easier to figure out if you even get there and as it sits in After Effects, if there is a mistake it’s easy enough to fix that. But you don’t have to do all the tedious work of rotoscoping pretty much around everything, every pixel there is to get that out of the frame.

Larry Jordan: So what’s your goal in Premiere? Where are we headed?

Patrick Palmer: So Premiere is the other area where I see a different kind of innovation. We’re definitely a ton more design led with everything we put new into the product, simply put because it’s easy to agree that any NLE today is sort of feature rich, so new features must be great to use. At times it’s actually more interesting to think of just the user experience as an area of innovation versus just technology. So content aware fill is kind of both because it’s really super simple to use. But in Premiere we put a lot of thought towards how to actually arrange media before it even gets into the sequence, how to basically generate a view that liberates you from the technical relationship of a file that goes into the product. So it’s really all about a visual experience.

Larry Jordan: Well this is the freeform that you were talking about in the files.

Patrick Palmer: That is the freeform view, yes.

Larry Jordan: It reminds me very much of some of the initial ideas that Randy Ubillos had years ago as he was looking at both the original Premiere and the original Final Cut.

Patrick Palmer: Actually that’s a good opportunity to pay tribute to the person who started both Premiere and Final Cut. I think we see a lot of that still in terms of the original thinking, how to actually create a visual environment and arrange media as you think of it creatively.

Larry Jordan: For people who want more information about the products that Adobe offers, where can they go on the web?

Patrick Palmer: Definitely to and this is where you will also find information about the streams that we have here from the show floor.

Larry Jordan: And Patrick Palmer is the principal product manager for video editing at Adobe. The website is Patrick I could talk to you for hours, thanks for taking the time and have yourself a great show

Patrick Palmer: Thanks for having me.

Larry Jordan: Our first guest today is Dave Walton, he is a long time guest on the Buzz and always welcome. He’s the assistant vice president for marketing communications at JVC Professional Video. Dave, welcome back.

Dave Walton: Thank you, it’s good to be here.

Larry Jordan: Position JVC’s cameras. We’re surrounded by a sea of new companies like Red and Blackmagic, and established companies like Sony. Where does JVC fit in?

Dave Walton: Well we’ve been in the camera business ever since I’ve been with the company, and this is my 39th year.

Larry Jordan: Are you serious? Don’t look it.

Dave Walton: This is my 39th NAB as well.

Larry Jordan: You don’t look a day over 25.

Dave Walton: Well, we’ve been in the camera business and we’ve been really considered and thought of as a camera company since the early 2000s. Before that, our emphasis was on recording formats, tape, and we had the D9 or digital S format. We had SVHS, we had three quarter inch U format. The tape formats were the driving factor, the cameras were like an add on. Well beginning in the early 2000s, we became known as the camera company.

Larry Jordan: Yes, well prove it. I mean, it’s easy to say now but give me some proof to back up this statement.

Dave Walton: I was looking through the archives yesterday and I came across this press release dated February 4th, 2002, JVC introduces the camcorder for the broadband age.

Larry Jordan: 2002?

Dave Walton: 2002, we released the StreamCorder. This was a broadcast quality handheld camera with the ability to record to tape as well as to digital solid state memory and simultaneously stream to the internet.

Larry Jordan: Wow. That was 17 years ago.

Dave Walton: Yes. So we’ve got some experience in this area. As we’ve moved into and away from tape recording, we became really known as a camera company and last year we introduced a concept known as connected cam.

Larry Jordan: I saw in the show daily on Monday you were quoted talking about your connected cam. First it was an impressive article, but what does connected cam mean?

Dave Walton: Well connected cam, a lot of people think well it’s just a camera that has connectivity, kind of like the StreamCorder of 2002. We’ve developed it into an entire ecosystem of products that are connected, now we’ve expanded the family with a two thirds inch broadcast three chip camera, we’ve got three one inch handhelds that are 4K and just this NAB we launched a six channel, connected cam Studio 6000. It’s a multi camera switcher, special effects unit that’s used for sports production.

Larry Jordan: It would be competing with folks like NewTec and the Blackmagic switcher? The Atem switcher.

Dave Walton: Exactly. And we’ve designed it to be able to accept a wide variety of different types of digital IP inputs as well as conventional SDI and HDMI of course. It’s got a lot of sports features because we’ve been very active in sports production over the past few years, with a number of very unique sports oriented features on our cameras like doing automatic score overlays. So that all is built in to the switcher as well.

Larry Jordan: I have so enjoyed our conversations over the years at NAB, that last year I was given a budget to go buy cameras, and I bought six JVC cameras for the students.

Dave Walton: Thank you very much.

Larry Jordan: And the thing I like is not only the image quality but the fact that they are mostly student proof. You can run them in full auto mode, you get good pictures, and for people that want a tweak, you’ve got tweaking settings. And while we have not yet done the connected part, that’s coming this semester, I just want you to know that I do listen to you, and I do take advantage of your wisdom when I can. But cameras going to switchers, we were doing that when I was in broadcast television before you were born. What is the significance of the connected cam because the SDI pipeline is old news?

Dave Walton: Well it is unless you have to do all the work outside of the camera. What’s unique about our connected cam series is that the encoder in the camera actually creates the stream. So we can stream live from a camera if you have a USB modem, or a wifi adapter, or in the case of several of our new products the wifi is built in with MIMO antennas and all that. But what we do is we create the stream, whereas with a conventional camera you take an HD SDI or HDMI into some other box. We keep the ecosystem beginning in the camera.

Larry Jordan: So I could stream live directly from the camera with no other gear?

Dave Walton: Absolutely. I recorded my daughter’s wedding at Lake Tahoe with nothing more than a GY HM200 and a plug in Verizon modem. I turned the thing on, hit stream, and people in Boston were watching the wedding. In a snowstorm in May, can you believe that?

Larry Jordan: I’ve lived in Lake Tahoe, I can believe that. But NAB is about new and new announcements. The connected cam is new-ish but it’s not new for this event. What have you got that’s new?

Dave Walton: Well the 500 series which is a handheld 4K. There are three models, the GY HC550, the 500 and the 500 sports version. They are very similar, the same body, same imager, same processing, but they have a little different feature set. The 550 is for the broadcasters, and it has a special type of QOS or quality of service connection that gives it a little more robust error correction. We have the 500 which is more for the video production people, that are interested in recording pro res onto solid state drives. That’s one of the things that makes these cameras very unique is they have a slot for an SSD drive. And you can shoot and record in, if you’re shooting, 4K 60p 422 10 bit.

Larry Jordan: Oh my goodness.

Dave Walton: At 60p. That’s a lot of data. And then record it in pro res, which is about 1725 megabits per second, that’s a lot of data you know? We’re looking at reducing the data when we stream, but 1700 megabits per second’s pretty hefty.

Larry Jordan: That’s a great editing format.

Dave Walton: Absolutely. You plug it right into your Final Cut without any transcoding. So that makes it very unique.

Larry Jordan: You’ve talked about the 500 series camera. Anything else that’s new?

Dave Walton: I mentioned the connected cam studio. We have a series of studio switchers that we call Pro HD with the connected cam studio. We have an encoder which is very unique. It has the ability to do HEVC compression. It’s mainly for production environments and perhaps some worship centers that want to transport a very high quality signal over a low bandwidth connection to another remote location. That, and we’ve upgraded a number of products as well.

Larry Jordan: You guys are definitely not standing still. It’s always fun to listen. Do you see JVC as expanding beyond cameras? Is this a continued move to do more than just cameras?

Dave Walton: Well, when I mention ecosystem, yes. Because there are different aspects to the production. We’ve had monitors for example. We’ve got encoders, decoders. We have a whole litany of products.

Larry Jordan: For people that want to see what that litany of products is, where can they go on the web?

Dave Walton: They can go to

Larry Jordan: Those three words, and Dave Walton is the assistant vice president for marketing communications for JVC Professional Video. Dave, it is always fun listening, thanks for taking the time.

Dave Walton: And thanks for using our cameras. We really appreciate it.

Larry Jordan: My pleasure. Thanks, have a good show.

Dave Walton: Thank you Larry.

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Larry Jordan: Our first guest is David Colantuoni, he’s the VP of product management for Avid and Avid has been making a lot of news this weekend with some amazing announcements and I’m looking forward to hearing more. David, thanks for joining us today.

David Colantuoni: Thank you for having me.

Larry Jordan: You guys have been busy, oh my goodness.

David Colantuoni: I’m exhausted.

Larry Jordan: Tell me what the VP of product management does, so we understand the perspective you’re coming from. Then I’m going to talk about the news.

David Colantuoni: So we start the process on product development. We run the business of all the different entities at Avid. For me, it’s Media Composer, audio products, cloud and so forth. We work with engineering and architects to make the products.

Larry Jordan: Now you’ve made the products, let’s talk about the announcements. What’s the news?

David Colantuoni: OK, well we had a lot. We’ll focus on Media Composer. This weekend we had our Connect event, which is where we bring in a lot of our customers and they come in, we have a reveal, and it’s quite extensive. It runs over the whole weekend right before NAB. The big announcements for Media Composer, we’ve been busy as you’ve said. We relaunched the product essentially with a new user interface, something we’ve been working on for a little bit of time. We’ve extended the capabilities to more finishing and delivery type of things like with IMF and a 32 bit color pipeline. We’ve also introduced a new model of Media Composer that allows you to customize the interface so you can take Media Composer Ultimate and make it however you want to, and there’s different roles that happen in organizations that you might want a user to use a particular function, maybe a logger so you can set up Media Composer just to do logging functionality.

David Colantuoni: Then we also introduced a render farm, what we call distributed processing, and that’s for the emerging high res workflows around 8K. We’re finding that a lot of people just want to edit, they don’t want to spend time rendering, so we can offload it to a render farm. We’ve been pretty busy, and it really is a relaunch of the product essentially.

Larry Jordan: I want to talk about the interface and I also want to talk about your new partnership with BeBop where you’ve moved Avid up to the cloud. Let’s talk about the interface first. One of the things I was talking about with Megan before the show started is that Avid has traditionally been, you follow our rules or you don’t get the job done. What’s been your goal in the new interface redesign?

David Colantuoni: Yes. It’s quite a daunting experience to go through it because the product is used on so many productions that are live and active all the time. It’s hard for editors to pull themselves off and relearn new functions, so we had two goals. One, make sure we keep that workflow and editors working. But improve the way they work.

Larry Jordan: Don’t screw our deadlines.

David Colantuoni: That’s right. Secondly, we have a lot of people who are entering the industry and they want to learn how to use Media Composer and we have a product called Media Composer First that allows them to do that, but they still needed to have a more modern experience. So that goal was to make it easier to step into Media Composer. That was our approach and I think we did a pretty good job of it.

Larry Jordan: I have not yet seen the new interface, I’m looking forward to taking a look at it later in the show. But the other thing that caught me by surprise is that Avid is moving to the cloud? Tell me what this is because this is a major shift for the company.

David Colantuoni: Yes. So we’ve been talking about the cloud in different instances in various ways for the past couple of years and we actually have a lot of cloud appointments in the industry right now. It’s hard to believe but we have major installations of major media companies using Avid in the cloud. One of the things we haven’t done is extended that past our Microsoft relationship so essentially people that do services in the cloud, like BeBop or Qvest in the UK, we’ve engaged them to have the ability to sell Nexus Cloud and Media Composer working as our service in the cloud.

Larry Jordan: If I’m an Avid editor, why should I consider local, or why should I consider cloud? What makes the determination of where I go?

David Colantuoni: There’s various workflows that you’re looking to succeed in with the cloud. One is you’re working on a production but you need to spin up capacity, you need more storage, you need more editors to finish a project. This way you don’t have to go deploy a whole infrastructure, you don’t have to buy licenses, you don’t have to buy more storage. If you want to, you can just point yourself to the cloud, you can click a few buttons, call BeBop or Qvest and they can get you running pretty quickly. So that’s probably the biggest use case that we’re seeing right now.

Larry Jordan: So if I’m in an essentially fixed environment where I’m doing same throughput with the same people, running local is probably the easiest? But if I need to scale in a hurry or I’ve got a short term project, moving to the cloud will allow me to do that more quickly than bringing in additional infrastructure?

David Colantuoni: Absolutely, yes.

Larry Jordan: I had a brilliant question for you and I totally forgot it. I know it’s not your responsibility, but did Pro Tools announce anything new?

David Colantuoni: Nothing new at Pro Tools because we just came off of our NAMM releases.

Larry Jordan: Can you remember what you announced there?

David Colantuoni: We did, we announced some capabilities around network licensing and more voice packs for more voices for HDX and those sort of capabilities. It was a good NAMM for us too, so we’ve been quite busy.

Larry Jordan: You mentioned that you’re now supporting 8K. I just want you to know I’m a serious 8K skeptic. I think it’s the dumbest thing I’ve heard in a long time, not you know, to put a stake in the ground, but why 8K? Beside the fact that people are talking about it. Is there really an advantage to 8K?

David Colantuoni: We actually have customers asking us for it.

Larry Jordan: You have some sick customers.

David Colantuoni: We actually support unlimited raster on Media Composer but we have presets for 8 and 16K so we announced that too.

Larry Jordan: Do you know how big the files are for a 16K image?

David Colantuoni: Oh they are, yes. They’re pretty big.

Larry Jordan: I have to carry the RAID around with a dolly. 8 or 16K?

David Colantuoni: You’ll see the Olympics broadcast in 8K this year.

Larry Jordan: No I won’t, my set is only a 720p set. What I’m going to look for in 8K makes no difference to me.

David Colantuoni: I visited Best Buy the week before NAB, and I said, “Where’s your 8K TV?” And they were coming in that week, so.

Larry Jordan: And you didn’t buy me one?

David Colantuoni: I didn’t buy you one. So you’ll see. We have a customer, NHK, who’s looking to broadcast and create drama in 8K and not only do they want 8K they want 8K 120 frames per second, they want to do multi stream editing, inside a Media Composer. NBC is looking at doing the Olympics in 8K, they’ll have an 8K stream of it, so it’s an emerging format. And we support it.

Larry Jordan: You have to support it if your customers require it, but you have some very sad customers, that’s all I can say. You’re the head of product management and you see all the features, not just the headline, but the small stuff. What’s a small feature that didn’t get any publicity that you’re excited about?

David Colantuoni: I talked about it earlier actually. Well there’s a couple of themes. One is what we call Media Composer Enterprise and one trend we see is the ability to set a project and have roles do certain things in an organization. So we basically have made this product that allows you to do that sort of thing, and that way if you’re a logger, or a journalist editor and you want to use Media Composer, you can do that and create any scenario you want to in an organization.

Larry Jordan: For people who want more information about the products that Avid offers, where can they go on the web?

David Colantuoni:

Larry Jordan: Say it again, because it was too quick, I didn’t get my notes done.

David Colantuoni:

Larry Jordan: That website is all one word, four letters, David Colantuoni is the VP of product management for Avid, and David, it is always fun talking to you. Thank you for sharing your time.

David Colantuoni: Nice to talk to you too, thank you.

Larry Jordan: Take care.

Larry Jordan: And thinking of technology brings me to my first guest. Jeromy Young is the CEO of Atomos and has gigantic signs plastered all over talking about some of his latest products. Jeromy, as always, fun to chat with you, welcome.

Jeromy Young: Good to be here Larry, thanks for having me.

Larry Jordan: For people that have heard of Atomos but don’t know what you make, describe the company.

Jeromy Young: Yes, so we’re a company that sits between imaging, so sensor capture and the computer world. As you know, I come from the post production world, making editing and capture boards and we decided about eight years ago when we started, to take the capture card concept and stick it on top of the camera and go directly to what would be mezzanine intermediate formats for editing which used to be things like only ProRes on the computer. So we took that and stuck it on top of cameras. Since then, in eight years we’ve sold 500,000 units of recording to SSDs, from the sensor of cameras we now support around 350,000 cameras in general and it’s an amazing part of the world to connect imaging to computers.

Larry Jordan: Now these devices are called Ninja and Shogun.

Jeromy Young: And Sumo.

Larry Jordan: What they are is essentially external hard disc with a monitor which then attaches how to the camera?

Jeromy Young: Yes, so over SDI or HDMI. And over that we can put video, uncompressed video which is the normal way back in the day and all till now a lot of the cameras still do that. We have around 20 cameras that we’re receiving RAW from, and then we’re packaging that up into ProRes RAW because the idea is when you’re trying to bridge that imaging to computer, just like photo, we’re moving more and more of the processing to computer. And we’re just capturing the best pixel we can.

Larry Jordan: Just using the camera as a sensor?

Jeromy Young: Correct, using the camera as a sensor, because going to a compressed format might be good for quick turnarounds and things like that, but most people need to be cinematic style production today because that’s what we’re watching on the pay platforms as well as the free ad click platforms we’re viewing every day. It’s all cinematic today.

Larry Jordan: Well thinking about all cinematic means that we’ve got to have technology and that means that technology’s got to change. What have you got that’s new? I’d get there, I’ll figure out the transition in a second. What have you got that’s new for us?

Jeromy Young: We’re pretty proud of the last two or three years of development that we’ve done, and a lot of that has come to fruition over the last year. Last year we announced ProRes RAW and now it’s Shogun and Sumo products it’s been fantastic. We’ve sold over 50,000 units to customers using, and we know they’re using that because their registration shows us that they’re actually using it. And from there, we now need to take those raw pixels and display them in real time on our screen, so we have new technology which is the same as the latest and greatest TVs. We’re doing zoned backlight to turn off the LEDs that are built directly behind the screen. They’re not on the edge of the screen anymore where they reflect and you can only have 100 percent, 50 percent and that’s your brightness lighter. And what we did for HDR was digitally map the HDR into that 100 percent.

Larry Jordan: In other words you’re changing the backlight?

Jeromy Young: Yes. We’ve got 360 direct backlights on the back of the Shogun and in the top left corner where the sun is, we can do 80 pixel by 80 pixel regions so the sun’s probably 300 pixels each way, so we can turn all those on and everything else can be turned off if it’s nighttime or if it’s sun going down. And obviously we can do that across 360 zones on there. So there’s not really a scene that we can’t accurately represent.

Larry Jordan: Oh my goodness.

Jeromy Young: Yes, it’s absolutely killer. It gives you this kind of depth of field that you get in real life which we were really surprised. Plus it’s 105 percent DCI P3 so we get this really nice saturation plus you’ve got the gamma, the brightness, to increase the intensity of that deep color that we’ve got in the screen. And to add to that, in real time, so we capture this RAW, we display it on the screen so you can see it like a TV, and then on the output, we’ve teamed up with Dolby, big announcement for us, to in real time analyze that RAW footage or video, and we query the TV, Dolby’s spent the last 20 years working out what is the best curves to put to the certain technical levels of the TV. So we query the TV out of the Shogun, in real time, and we say “What are you capable of?” and it says, “1000 nits, I’m a zone backlight,” or it says “I’m a rec 709 SDR TV.” And then Dolby’s amazing algorithms pop out the right curves. We don’t even know how they do that but it’s a little black box in our product and it works fantastic.

Larry Jordan: So that’s the Shogun 7.

Jeromy Young: That’s the Shogun 7.

Larry Jordan: Announced or released?

Jeromy Young: Announced, and we’re shipping next month. You can see the prototypes on the booth, we’re in mass production now

Larry Jordan: Pricing?

Jeromy Young: 1499.

Larry Jordan: 1499? Almost 15K?

Jeromy Young: No, 1499, so $1,500.

Larry Jordan: 1500?

Jeromy Young: Yes, so you buy a camera…

Larry Jordan: Look at that, we dropped the price 90 percent in just the last ten minutes.

Jeromy Young: We did. Well done. I don’t know if my board would like that, my margins going down so much.

Larry Jordan: Don’t have to tell them. Keep it our secret.

Jeromy Young: OK we will. So that’s 1499 and we’re trying to make it obviously affordable to step into that, because we have customers from top end of influence on social media who are trying to really do the same productions as a low end Netflix and they’re all using this type of kit. So we’re just trying to enable that along the way.

Jeromy Young: The other products we’ve released take our screen technology and instead of doing recording which some people want and some don’t want, but everyone wants to monitor HDR properly and we’ve got great algorithms for that, so we’ve released Shinobi which is a five inch, really light. It’s made out of polycarbonate. It sits on top of these small cameras and gives you the same quality of screen that our Ninjas and Sumos and Shoguns do. But it’s only 399.

Larry Jordan: HDR is a moveable feast. There’s multiple specs, there’s multiple iterations. Are you representing the entire rec 2020 spec, are you going to P3, or how far toward HDR are you going?

Jeromy Young: One of the reasons to upgrade the screens is, in order to represent that correctly from this amazing footage that you’re receiving, all the wide color and wide dynamic range footage that you’re receiving, you need the ability to map those correctly to the screen. The way to do that is to work with the camera makers on their color matrix, their log curves for brightness and we do the exact transform on the other side. So we have, I counted the other day for a different reason, 175 specific development agreements over the last eight years, with Canon, Panasonic, Sony, JVC, Arri, Apple, Adobe, Dolby and the list goes on and on. And the reason that we do is because we need that to make our products work, and they need it to enable their ecosystem. So we’re very focused on that whole ecosystem imaging to finishing through the computer, and anything we can do with that metadata. Larry I can’t tell you how much we’ve got, we’ve got 50,000 spots from lens data, focal distance, image stabilization, you need all that. You get three cameras, triangulate it, you can make that scene in 3D in all these wonderful pieces of software that are out there today.

Larry Jordan: Before we run out of time is there anything else that’s new that you want to quickly mention?

Jeromy Young: Probably the advancement of the ProRes RAW ecosystem. You know, Apple’s doing their bit, enabling lots of different workflow pieces that are required to get to the finish line, and we’ve announced 14 cameras over the last year that are supporting ProRes RAW with us. We have another ten before the end of the year, minimum. And I can’t say who of course but you will see, Nikon’s CS announcement with us of RAW out of the Z6 full frame sensor mirrorless latest and greatest straight to a Ninja, and you record in ProRes RAW. Now that is a revolution. It’s $3,999.

Larry Jordan: Wow. Very cool. For people that want more information about the products that Atomos has available, where do they go on the web?

Jeromy Young:

Larry Jordan: You know the thing that’s easy about that, it’s only six letters., and Jeromy Young is the CEO of Atomos. Jeromy have a wonderful show and great success on the launch of your products.

Jeromy Young: Thanks Larry, always a pleasure.

Larry Jordan: Take care, thanks.

Larry Jordan: Hi, this is Larry Jordan. Thank you for listening to our coverage of the 2019 NAB show. Now, I want to invite you to continue listening to the Digital Production Buzz after NAB ends. For almost 20 years, the Buzz has covered the media industry for creative storytellers. We look at new technology, new techniques, and the people who turn them into programs. From production to post, to marketing and distribution, we focus every show every week on helping you grow your creative business. We webcast a new show live every Thursday evening at 6pm Los Angeles time. Then make it available for download on iTunes, Spotify, Libsyn and the Join the Buzz family and discover what the future of media holds while you still have time to plan for it. I look forward to chatting with you each week.

Larry Jordan: I have a long time friend of the Buzz with us, the company is OWC, Larry O’Connor is the CEO and the founder of OWC, wearing a very spiffy badge that he won last night. I’m anxious to hear more about this in just a second. Larry welcome.

Larry O Connor: Hey thanks for having me Larry.

Larry Jordan: Tell me about the award, what did you get?

Larry O Connor: Now we got a BaM award last night from IABM. I mean that’s really awesome recognition for our ThunderBlade. We’ve been saving people time, saving people money. Just letting people do amazing things and it was really cool to see that product awarded. Videomaker also gave it recognition today which was really cool too.

Larry Jordan: Now what is the ThunderBlade?

Larry O Connor: The ThunderBlade simply put is the fastest external thunderbolt solution on the planet today. Very compact, extremely fast, it’s all NVMe, SSD, update terabytes, and it saves people amazing time in production.

Larry Jordan: We’re going to talk a little about NVMe in just a minute, but I wanted to get the award out because that’s such cool news. Congratulations.

Larry O Connor: Thank you very much.

Larry Jordan: For people that, now that we started in the middle of the story, we should go back to the beginning. How would you describe OWC today?

Larry O Connor: Boy, how would I describe OWC? I mean, honestly we’re fulfilling every best dream intention that we’ve had, having the solutions, having everything that everybody needs to make the best possible workflow. You know, the right stores, the right internal upgrades. I mean we keep the systems going as long as possible, we make them better than new, and we’ve got the external solutions that eliminate dongle hell, they eliminate slow performance in terms of drives, we give you the things that let you connect, create, take that creativity and make it real.

Larry Jordan: Very cool. Well, much though I would love to spend time discussing some of the deep internals and the technology which as we both know, is something we both enjoy talking about, let’s get right to the new features. What have you got that’s new?

Larry O Connor: The biggest thing that we’ve probably shown at the show today, we’re pushing huge terabytes on our ThunderBays, up to 84 terabytes.

Larry Jordan: 84 terabytes on a four drive RAID?

Larry O Connor: Six drive. 56 terabytes on our four drive.

Larry Jordan: Really? That’s amazing. I didn’t realize hard discs are that big now? And still reliable?

Larry O Connor: Absolutely positively. And with soft RAID, I mean granted that’s up to 14 terabytes per bay. So that’s a lot of capacity on a single point that, well if it fails that could be bad. But if you’re using soft RAID, we take care of that. Soft RAID doesn’t just give you high performance access to those drives and management of those drives, it gives you that fail protection, that drive monitoring that nobody else has anything close to. Way before S.M.A.R.T’s going to tell you. In fact sometimes S.M.A.R.T doesn’t tell you when something’s going wrong. Soft RAID will tell you “Hey, let’s get that drive swapped out.”

Larry Jordan: Now soft RAID is the technology. It’s essentially driver technology, that’s controlling the drives in the RAID, correct?

Larry O Connor: It’s both driver and also monitoring technology. Absolutely.

Larry Jordan: And that’s part of your family?

Larry O Connor: That has been part of our family now for five years.

Larry Jordan: We were talking to Jen Soule on the Buzz a couple of weeks ago, that you’ve acquired some new companies by the way. What are your plans on integrating those?

Larry O Connor: We’re well in the process with AKiTiO and InXtron, and that quite frankly broadens our line. It also increases our ability to deliver to the market, it cuts our time to market on development engineering and supply chain. So it gives us a base in Asia which is really fantastic and it gives us some product. The design philosophies have been very similar, so bringing AKiTiO into the equation, you know, it really fills out our line and lets us cover some areas that we need to cover anyway. So it leaps us forward, it also allows us to really bring some fantastic products out quicker, more responsively in the future.

Larry Jordan: We’ve talked about 855 million terabytes now on a six drive RAID. What else have you got that’s new?

Larry O Connor: I go back to soft RAID 6 has been announced, is being shown here which is dual parity. Now you can have an array with higher performance plus up to two drives can fail on you without any data loss. It also brings APFS support and encryption but the really hot news is for folks that have the multiple environments, they use both Windows and Mac and need to get that data, use that data between both platforms. Soft RAID for Windows will now allow you to move a soft RAID Mac [vime] onto Windows with full interoperability. So for mixed environments where you got folks doing different things with the different platforms, you can move like a ThunderBlade between those systems, completely seamlessly.

Larry Jordan: That’s very cool. Now, RAID 6 is for people who are really paranoid. RAID 5 means you lose one drive, your data is safe. RAID 6 means you lose two drives, your data is safe, because it’s able to rebuild the data from the remaining drives, correct?

Larry O Connor: Correct, and RAID 6 brings some other parity checking into play so for those who are really paranoid, if they talk about bit rot, there’s been no evidence of bit rot, nothing that we’ve seen in real world. But the theoreticals are there, and RAID 6 also provides protection for that. And if [vime] get really big or you take maybe not just doing six drives, we have folks doing 16 drives together with soft RAID. Having the RAID 6 certainly is probably a positive. You never know if you have a bad batch of drives or a couple of drives right now. If you buy the solutions that we ship out, everything gets certified, you know, they’re mixed, you’re not going to get sequential drives from us. So there’s other things we do to prevent, and once again, you can’t beat having notification way before the drives stop functioning, while things are working right, notification that maybe you should take a look at we’re pulling something out.

Larry Jordan: But there’s more products. One of the new technologies that you’ve mentioned which is the ThunderBlade is the NVMe which is the new high speed interconnect for storage working off SSD drives. Do I have that right?

Larry O Connor: You’re using a flash, and NVMe takes away the barrier. Instead of going through a gatekeeper, having an extra interface between the processor and your storage, NVMe cuts the middle man out and gives you a direct pathway into the memory systems.

Larry Jordan: Because it’s still the same SSD drive, but rather than talking to it via SATA we’re talking to it via a much more efficient technology which is NVMe, correct?

Larry O Connor: Right. Instead of even talking through a switching technology, yes. Bottom line is it’s faster, it’s more efficient, it allows higher performance and the ThunderBlade takes advantage of our generation two NVMe via SSDs this year. Faster, much cooler running. The ThunderBlade has been an amazing product now since it was first introduced about a year ago. But this year’s generation two, it’s unbelievable, at lower cost too. Up to 40 percent lower cost, and it runs probably 20, 30 percent of the temperature of the first gen.

Larry Jordan: And you can storage capacity up to?

Larry O Connor: Up to eight terabytes a day and you know, the sky’s the limit in the future.

Larry Jordan: Very cool. What else new do you have?

Larry O Connor: What don’t we have this year? We have our eGPU line up which has been greatly expanded with the AKiTiO products, with the Node Lite, Node Pro.

Larry Jordan: But a big difference with your eGPU compared to Blackmagic is, you can change cards inside yours, can you? Am I hearing that correctly?

Larry O Connor: 100 percent correct. That’s the other thing to really take a look at. You look at the Mac or a PC from a few years ago, the processor typically has still got the horsepower to do what you need it to do. It’s your GPU that doesn’t have the modern codecs that are required for the playback editing, whatever it may be with the way data’s being compressed today. A GPU, to be able to add that GPU, that changes everything for the current machines. Your machine won’t be obsolete just because something’s changed in terms of the GPU requirement. And with our chassis you start with a video card today, a better video card a year from that, codec changes two years from now, you swap the card out. You don’t have to buy a brand new chassis.

Larry Jordan: And as we heard from Patrick Palmer earlier today, Adobe now supports dual GPUs, so you can have your internal GPU plus an external GPU and Adobe Premiere will use both which allows you to take advantage of the power the external GPU provides.

Larry O Connor: That’s right. And it’s huge. Now you can stack and that’s what it’s all about. You can have a very basic core, and now you can build around it and keep that relevant for years to come.

Larry Jordan: I have looked at your catalog, it runs 3,000 pages. For people that want to know the products that OWC has available, where can they go on the web?

Larry O Connor: They go to and they can go straight to the Mac sales. But will show you everything and you can find who offers our product as well as come right into us. And I do got to say one other thing is really hot, […] is going to be big news next week. We’re shipping our Aura Pro X2 which are generation two upgrades for all the older machines. Faster than anything on the planet, super cool but you’re up to 3300 megabytes a second these older machines, and we’re still supporting the new, the old, everything in between. Macs are great, PCs are great, we got the upgrades.

Larry Jordan: Larry O’Connor, CEO of OWC, we’ll be back right after this.

Larry Jordan: Covering a show as big as the 2019 NAB show requires a lot of help. We did 27 shows, 108 interviews in three and a half days. And here’s the production team that made this year’s coverage possible. It starts with our executive producer, Steven Roth. Series producer Debbie Price. Show producer Paulina Borowski. Line producer Paige Bravin. Lead audio engineer, Leonard Fassler, editor Trevor Horton, webmaster Annabelle Lau, production assistant Michael Welsh, web programming Sudd Dongre, the editor in chief of doddleNEWS, James DeRuvo, Brandon Lim for social media and Taylor DeRuvo, our production assistant. I want to call special attention to our series producer Debbie Price. Without her, none of this would be possible.

Larry Jordan: I want to thank our guests in this hour’s show, Chris Brown with NAB, Patrick Palmer with Adobe, Dave Walton with JVC Professional Video, David Colantuoni with Avid, Jeromy Young with Atomos, and Larry O’Connor with OWC.

Larry Jordan: Our senior producer is Debbie Price, our show producer Paulina Borowski. Visit us on Twitter @DPBuzz. My name is Larry Jordan and thanks for listening to the Digital Production Buzz at the 2019 NAB show.

Larry Jordan: The Digital Production Buzz at NAB was sponsored by Maxon and by Symply, a global distribution brand.

Larry Jordan: The Digital Production Buzz at NAB is copyright 2019 by Thalo LLC.

Digital Production Buzz – NAB Show BuZZ LIVE 2019 – Show 5 (April 11, 6pm)

Join host Larry Jordan, live from our booth on the NAB Show floor, as he talks with:

  • Chris BrownEVP, Convention and Business Operations, NAB
    • Chris Brown from NAB discusses his thoughts on NAB 2019. He talks about how attendance is up 3.5-4% from last year and how eSports is an important new addition to the show. In addition, he talks about how technology continues to progress and the impact it has on businesses. He also looks to the future and discusses the expansion to the Convention Center in a couple years.
  • Patrick Palmer, Principal Product Manager of Video Editing, Adobe
    • Adobe’s Patrick Palmer discusses how they’ve been working on stability and performance improvements, along with new features. He mentioned an improved user feedback website: User Voice. He then covered many new features in detail.
  • Dave WaltonAssistant Vice President, Marketing Communications, JVC Professional Video
    • Dave Walton from JVC Professional Video discusses their camera business and their Connected Cam Series. He talks about their concept of connected cam and how it’s an ecosystem of products. He also mentions their Multi Camera Switcher and their brand new 500 series cameras and other new products at the show.
  • Dave ColantuoniVP of Product Management, Avid
    • Dave Colantuoni discusses Avid’s relaunch of a new product user interface for Media Composer and a new render farm distributed process around 8K editing. He also goes into depth on his two goals for improving the workflow for editors and improving ways to make it easier to step into Avid’s Media Composer.
  • Jeromy Young, CEO, Atomos
    • Atomos’s Jeromy Young talks about post production and how they have installed 500,000 units and now support more than 350 camera. He also explains their Ninja, Shogun and Sumo external hard disk/monitors. In addition, he talks about their new Shogun 7 with increased support for HDR and improved monitoring.
  • Larry O’ConnorCEO, OWC
    • Larry O’Connor with OWC talks about their newest ThunderBlade technology for extreme high-speed storage. He also talks about their Mac upgrades, accessories, monitor technology and the continual increases in storage capacity that they’ve announced at NAB 2019.

Interview scheduled for Thursday April 11th, 2019 @ 6:00 pm at our Digital Production BuZZ booth ( SL10527 in the South Lower hall ).

Digital Production Buzz – NAB Show BuZZ LIVE 2019 – Show 3 (April 11, 12pm)

Join host Larry Jordan, live from our booth on the NAB Show floor, as he talks with:

  • Greg LaPorteVP of Sales and Marketing, Sonnet Technologies
    • Sonnet Technologies’s Greg LaPorte talks about their focus on Thunderbolt technology. He emphasizes the quality and strength of their support is based upon the relationships they have with all Thunderbolt card developers. He also spent time discussing their new eGPU devices.
  • David FriendCEO, Wasabi
    • David Friend with Wasabi emphasizes that their Cloud storage is designed to be identical to Amazon’s Cloud storage but is 80% cheaper and six times as fast. He showcases their ingress and egress speeds into their Cloud service and speaks about their network of 200 technology partners that connect into their storage services.
  • Oliver BreidenbachCEO, Boinx Software
    • Boinx Software’s Oliver Breidenbach explains how they make apps for photo and video content creation for all Apple products. He talks about his philosophy of focusing on making apps as easy as possible that professionals would want to use. The majority of the discussion centered on Mimo Live, their “TV Studio in your computer.”
  • James DeRuvo, Editor-in-Chief, doddleNews
    • James DeRuvo with doddleNews reviews his “Best of NAB 2019” with his opinion on best software, best hardware and best in show. He also mentions the products he found exciting, along with his look at the eSports pavilion.

Interview scheduled for Thursday April 11th, 2019 @ 12:00 pm at our Digital Production BuZZ booth ( SL10527 in the South Lower hall ).

Digital Production Buzz – NAB Show BuZZ LIVE 2019 – Show 4 (April 11, 1pm)

Join host Larry Jordan, live from our booth on the NAB Show floor, as he talks with:

  • Christina GarzaSenior Manager of Product Marieting for G-Technology, G-Technology
    • Christina Garza from G-Technology discusses their acquisition by Western Digital and their renewed marketing visibility. She discusses their new capacities for their products with a storage of 14 terabytes, new ruggedized SSDs and blindingly-fast SSDs using NVMe technology.
  • Bram DesmetPresident / CEO, Flanders Scientific
    • Bram Desmet with Flanders Scientific talks about their HDR reference monitors for high end mastering; along with why these monitors are SO expensive! He also discusses their range of monitors, along with a new feature: “Tetrahedral LUT Interpolation” and why it creates better, more consistent images.
  • Brenda KlemmeCEO, K-Tek
    • Brenda Klemme from K-Tek discusses how their microphone boom poles have been revolutionizing the on-set audio industry since 1996. The poles use high-tech, carbon fiber and are considered an extension of the audio operator’s body. She also talks about how they’ve been expanding their product line outside boom poles, into equipment bags and backpacks.
  • Janel FlemingSales Manager, Sports, LiveU
    • Janel Fleming from LiveU talks about how their product bonds multiple cellular signals together providing the bandwidth for the highest quality live stream video. She announces their new management profile called Live U Matrix, which can immediately distribute a live video without interrupting the current transmission and you can stream content anywhere without another piece of software.

Interview scheduled for Thursday April 11th, 2019 @ 1:00 pm at our Digital Production BuZZ booth ( SL10527 in the South Lower hall ).

Digital Production Buzz – NAB Show BuZZ LIVE 2019 – Show 2 (April 11, 11am)

Join host Larry Jordan, live from our booth on the NAB Show floor, as he talks with:

  • Tema L. Staig, Executive Director, Women In Media
    • Tema L. Staig of Women In Media explains how her organization is a voice in the industry to improve the number of women working in the film industry. She she created a website that makes it easier for filmmakers and crew leads to search for talented women to add to their projects and help them connect to other people or companies to further their careers.
  • Fredrik LimsäterCEO, ftrack
    • Fredrik Limsäter with ftrack explains what their company is, how their platform provides a collaboration engine for filmmakers that focuses on content creation, promotion and management. Their new ftrack Review software provides a variety of media reviews in one platform.
  • Chris PfaffCEO, Chris Pfaff Tech Media
    • Chris Pfaff Tech Media’s Chris Pfaff talks about how they help entrepreneurs in venture financing, market and business development elevate their brand and visibility. He shares his own story of he got involved, his relationship with Mark Cuban over the years and up-and-coming companies we need to watch.
  • Derek BadalaDirector of Sales – America, RME
    • Derek Badala with RME discusses how they make the gear microphones plug into; including audio test equipment. He speaks about their audio network conversion tools. He also profiled their recent announcements.

Interview scheduled for Thursday April 11th, 2019 @ 11:00 am at our Digital Production BuZZ booth ( SL10527 in the South Lower hall ).

Digital Production Buzz – NAB Show BuZZ LIVE 2019 – Show 1 (April 11, 10am)

Join host Larry Jordan, live from our booth on the NAB Show floor, as he talks with:

  • Adrian “AJ” Herrera, VP Marketing, Caringo
    • Caringo’s Adrian Herrera talks about how they’ve been around for over 13 years with a focus on storage software. He explains why you would need object storage and how you can create your own private Cloud in your data center. He also define a typical customer and their new single server.
  • Liam Hayter, Workflow and Solutions Architect, NewTek
    • Liam Hayter with NewTek discusses how they strive to enable storytelling for computers using their NDI protocol. He also announces the launch of NDI 4, hardware-based format converters and a bunch of new products they’re showcasing at NAB 2019. He also speaks upon how their product is for anyone looking to create and stream content.
  • Derek BarrilleauxCEO, Projective Technology
    • Derek Barrilleaux from Projective Technology walks through how they’re all about organizing media for collaborative editing projects. He explains how they simplify and automate the media organization workflow and that they create a consistent folder structure for editors. He also describes their new extension panel for Premiere.
  • Ian McDonoughCEO, Blackbird
    • Blackbird’s Ian McDonough describes how their software allows for video creation in the Cloud, along with the new Blackbird codec that supports a variety of bandwidths. He explains how the software allows for editing, uploading and the flexibility to access your video projects anywhere.

Interview scheduled for Thursday April 11th, 2019 @ 10:00 am at our Digital Production BuZZ booth ( SL10527 in the South Lower hall ).