Broadcast & Post Technology Trends in 2015 (On Demand)
The must see webcast to kick off 2015 broadcast!
A fantastic line up of industry leaders in broadcast & post workflow. This is the must see webcast for people evaluating new technology in 2015. Covering all aspects of technology; cameras, dailies, post, asset management, and more. After the webcast, get your questions answered live! Use hashtag #VideoTechTrends2015 to submit questions.
CEO, Light Iron
“Dailies Cloud Workflow in 2014”
Michael’s passion for digital cinema has helped shape the landscape of the rapidly changing media ecosystem. As the CEO of Light Iron, he has supervised the Digital Intermediate and workflows on hundreds of feature films including Gone Girl, Muppets Most Wanted, Ender’s Game, 42, and The Social Network. An industry leader of mobile dailies post production, Michael will discuss the tech & techniques that will be essential to your 2015 television or film production.
“What the DAM?: Asset Management”
After a long career in Post Production Support, Bryson Jones founded North Shore Automation (NSA) to focus on software development and system design for Digital Asset Management, focused on the video industry. NSA created Approval-Q, it's first product for web video sharing and review / approval. Bryson Jones will be cutting through the marketing fluff of asset management, breaking down distribution & repurposing media assets.
Canucks Sports & Entertainment
"A More Organized Sports Broadcast in 2015"
In today’s sports broadcast, winning involves more than just the game. Greg Story of Canucks Sports & Entertainment realized it was time to grow a successful brand, by optimizing the value of their media assets, and streamline their production distribution. Greg took on the challenge, and reinvented the way stadium sports production is done in Vancouver. See how he did it!
Consultant, Electronic Sports League
"The Video Game Live Stream Revolution"
Shawn Hendrix is a long-time Producer, specializing in Live Stream and Online Content for E-sports Video games Clients include Redbull, Blizzard, Intel, Twitch and more. He will be discussing the unexpected growth in e-game live streaming via twitch.com. Shawn will also cover what it takes to host a professional live stream, and the audiences engagement people will come to expect in 2015.
5thingsseries.com / Key Code Media inc.
In his current role as Director of Technology & Marketing at Key Code Media, Michael consults on and demonstrates workflows benefiting the post industry: acquisition, stereoscopy, storage, editorial, audio, finishing, and encoding. His background of integration and configuration of both hardware and software, coupled with his production experience, gives him a keen insight into the future of the post industry.
Top Tech Product Announcements of 2014
Productions are constantly looking for the next gadget, software, or hardware solution that can take their project to some next level. Wrapping up 2014, we look back at some of the biggest and most important announcements that happened this past year. While some products are not necessarily shipping, everything on the list will have an impact on production in the near future.
1) JVC launches streaming camera service powered by Zixi
JVC Americas announced the new GY-HM890 and GY-HM850 ProHD shoulder-mount cameras, as well as its new BR-800 ProHD Broadcaster server powered by Zixi, which serves as the central component to JVC's new Professional Streaming Services. ProHD Broadcaster (powered by Zixi) receives live video from a GY-HM850, GY-HM890 or updated GY-HM650 3.0 camcorders, transcodes the signal for a variety of delivery platforms, and provides reliable transmission of the signal. A built-in matrix switcher with unlimited I/O makes it easy to manage signals for distribution, and content can be directed to multiple destinations, including off-the-shelf HD-SDI decoders for live broadcast or almost any Web-based content provider.
This builds the foundation for a complete wireless production. The ability for anyone within the production to login, through a web browser, and receive a live feed of each JVC cameras being used. Pretty cool!
2) Avid releases UHD/4K ready Media Composer; introduces optional SAAS model
Media Composer | Software will allow video professionals to acquire, manage, edit, and deliver native 4K media. With Avid's new resolution independent architecture comes a new high-res codec, Avid DNxHR. This allows editors to work in larger than HD frame sizes to complement newer cameras on the market. It also allows the creative freedom to reframe when releasing in HD, and futureproofing your project’s visual quality into the future.
At NAB 2014, Avid Technologies also announced major changes to how customers can purchase & support future versions of Media Composer®. Previously, a new copy of Media Composer® could be purchased for $999, while customers that had previous versions would be able to upgrade at a discount rate. Customers can now purchase Media Composer® in 4 ways, including monthly/yearly subscriptions, perpetual license or floating license pack.
3) AJA announces CION, its first camera!
The biggest shock this year was the announcement of AJA’s CION professional camera. AJA is known for putting excellent design & engineering towards their products, so an AJA professional camera perked many peoples interest. Priced at only $8,995, the CION in packed with features including in-camera ProRes 12-bit 444 recording, up to 4K raw output, and an uncomplicated user interface. The CION teaser reel left us wanting more; we’re excited to be selling this product in the new year.
While the CION camera ship date has been pushed back a few times, it is expected to be released by year-end; that means you have 13 days left AJA! ;)
4) NewTek releases Talkshow, standardizing how broadcast uses Skype
NewTek™ unveiledTalkShow™ VS-100, a video calling production system designed specifically for television studios and live video producers. With TalkShow, any television or live video producer can easily reach 300 million monthly connected Skype users and incorporate them as guest speakers into live programs with full-frame Skype video calls.
Talkshow has a host of Skype management for broadcast features that have the potential of replacing current method of using mini-converts and laptop for Skype. Each VS-100 handles a single Skype call. This product should be shipping by end of this year.
5) Avid, Adobe, and Forbidden get serious about remote collaborative editing
Avid Media Composer Cloud with Avid Everywhere, Adobe Anywhere, and other newer remote editorial collaboration tools like Forscene, are starting to gain traction. Here’s a breakdown of some announcements:
Adobe Anywhere – Using the centralized storage & asset management based in a facility, users can access & edit media, securely, using Adobe Premiere Pro and Adobe Prelude, from remote locations via VPN. While this product was initially announced in 2013, people are starting to use it, and finding the ease of use to uncomplicate the creative process. One thing that is exciting about Adobe Anywhere is a road map that includes adding Adobe After Effects, and the entire Creative Cloud suite in future implementations. This could be a killer deal for production trying to manage collaboration of creative workwithin one suite.
Avid Media Composer Cloud – Previously named Interplay Sphere, Media Composer Cloud gives professional productions the ability to ingest, edit, and move media from any location. Media Composer Cloud strengths are with its robust production & broadcast features, including asset management and shared projects that most major facilities require.
Forbidden Forscene – Forbidden has made significant improvement to their Forscene Cloud editor. Adding new media management features and improving editorial functionality, and a facelift, Forscene is now a viable alternative to Avid and Adobe’s remote solutions.
6) Wohler automatically cuts or extends timeline up to 10% with Wormhole
TV Technology named Tachyon Wormhole best in show at NAB 2014.The Tachyon WormholeAppliance is designed to be a turnkey solution for operations desiring to shorten or lengthen video projects by ±10%. Using the latest Cinnafilm algorithms, Tachyon Wormhole does something no other technology can: altering the running time of your project without affecting video, audio, or closed caption integrity, allowing for additional revenue generation. Wormhole is about to make trimming/extending shows and film a whole lot easier.
7) VidiGo aims to automate man-power consuming process with Studio Automation
VidiGo's Studio Automation solution, won the 2014 IABM Design & Innovation award for System Automation & Control. This impressive all-in-one solution for multi-camera live production solution, allows broadcaster to fully automate their live newscast or broadcast. Eight major TV studios have quickly adopted this innovative technology to strengthen their production & cut costs.
Imagine having the ability to seamlessly push social media content to broadcast, automate camera changes based on gestures, all in one professional broadcast switchers. This combination of broadcast functionality, automation, and new media tools creates an extraordinarily unique solution.
8) Quantum gets serious with M&E archive & management. Stornext 5 & Lattus
The StorNext 5 data management software creates a unified common storage environment that all the workstations can use, so instead of working from local copies scattered around different workstations, everyone uses the same resources. What’s particularly interesting is StorNext’s ability to handle large render UHD formats, and is 100% compatible with Xsan.
Quantum’s Lattus Object Storage might become the new standard for large-scale, long-term archive next year. Built on next-gen object storage, Lattus can scale to hundreds of petabytes, all while ensuring data is protected, and eliminating unscheduled maintenance.
Do not dismiss Quantum has being only for high-end broadcaster either. The price of entry for StorNext has lowered significantly in 2014, and is now viable for small & mid-size production companies.
9) Blackmagic Design acquires eyeon Fusion 7, releases for free
The Key Code Media editorial team have been huge fans of eyeon Fusion, enough to do a webinar tutorial on version 6. The Fusion product has gained steam, used heavily in editorial finishing for Gravity, The Amazing Spiderman 2, and more. That’s why we were excited to see Blackmagic purchase the company, and release Eyeon Fusion 7 free to the public.
Blackmagic did something similar in 2009, when it purchased DaVinci and released a powerful version of Resolve for free. This leaves us wondering, what other editorial/finishing company will they acquire next?
Fusion (now Fusion 7), is a node-based advanced composition toolfor high-end motion graphics and visual effects. This powerful tool includes comprehensive paint, rotoscope, keying, layering and titling tools, along with an amazing particle generator system. It can create new original elements (ie. text & particles) from scratch, or import geometry from some of best render based programs.
10) Amazon Web Services brings your machine room into the cloud
Amazon S3 is not a new product, but in 2014 it solidified itself as low cost solution for encoding, streaming, and storage. Tighter partner integrations with Telestream Vantage, Wowza Server (and many others), means production facilities can reduce the need of on-site servers and grow and shrink in scale as production requirements change. As cloud storage continues to grow in popularity, it will be interesting to see Amazon’s next cloud offerings. Could all of production be moved to the cloud within 5 years? Only time will tell.
For more information on any of these product solutions, contact Key Code Media. Contact Us or email: sales (at) keycodemedia.com
[Video] What is new in CatDV 11? Asset Management For Media Production
Every production has its own unique workflow. With that comes the need for better organization of assets, employee productivity, and automation of time-consuming processes. Asset Management software companies are focused on these pain-points, looking to find ways of easing process, so that production can focus more on the creative.
In the last few months, there has been a shift towards asset management systems becoming more than just ‘a place to organize media & meta-data.’ Easing search process of production assets; NLE built-in media organization panels, and automating transcode processes, all are groundbreaking features productions have needed for years.
Squarebox’s CatDV is one of the leading brands in asset management software. Key Code Media sat down with Dave Clack (President of Squarebox), and discuss their latest approach to asset management tools. Here’s the interview:
What’s New in CatDV 11?
Dave Clack: CatDV 11 is the next evolution in Squarebox’s Asset Management product line. Some of the new features include, a new playback engine (which supports RED R3D, AVCHD), as well as a slick updated user-interface that is easier to use, for those new to the product.
CatDV11 has a new playback engine supports RED R3D files, AVCHD files, straight off the disk. That means you can save a huge amount of time, avoiding transcodes, so you can see your “2TB” card immediately on the screen, without waiting for transcodes.
What is CatDV’s Web 2.0?
Dave Clack: While CatDV 11 is the next evolution, Web 2.0 is a REVOLUTION. CatDV Web 2.0, is a discoverable, intuitive interface to CatDV; still powerful, with subclip, markers, sequences, but it is much more accessible to less technical-oriented production staff. It looks like YouTube!
How does CatDV help find & reuse content?
Dave Clack: CatDv helps people find and reuse their content.
One of our sports customers, a NFL team, uses this management software to change the psychology of their content creation process. After they shoot a game (on the plane home), they’ll log that content- not just to make “tonight’s show, but as an asset that can be used for the future of that organization. So, the next time one of their athletes gets nominate for an awards, it is a mater of a “one-minute” search, in CatDV, to show the best clips. They’ll have a ‘half-hour’ worth of segments, within a few moments.
How does the worker node automate workflows?
Dave Clack: CatDV Automation engine, the worker node, has the power to string together complex workflows, saving productions time & money. Automation Engine’s transcoder can pick up content off camera cards, store that content on a SAN, move media to transcode proxy (or mezzanine formats), and even send assets to archive, so content can be securely stored.
How does CatDV 11 work with Avid?
Dave Clack: When discussing Avid & CatDV, we need to discuss Pegasus. Our built-in Media Composer AI integration includes ‘round-trip’ meta-data between Avid & CatDV. Client-side scripting, in Pegasus 11, allows automation, on the client-end of CatDV. This is quite transformational, in terms of power & flexibility of the Pegasus tool.
How does CatDV 11 work with Adobe?
Dave Clack: Newly announced to CatDV11, we’re bringing integration to both Adobe Premiere & Adobe Anywhere. The Premiere integration, features a new panel, which is a fully featured CatDV search engine, right within Premiere. The Adobe Anywhere integration, uses that same technology, but with enhanced features, allowing the creation of new productions, and interact with the Adobe Anywhere system.
How does CatDV scale?
Dave Clack: We understand, from many implementations, that customer requirements for ‘year one,’ are very different from ‘day-one.’ CatDV uniquely enables customers to start slow and grow. Have the flexibility to adjust to new & changing requirements, really scaling out their asset management needs.
What are some lesser-known features of CatDV?
Dave Clack: There are several great features in CatDV that you may have not heard of, including:
Gives users ability to log, in real-time, along side the footage, as the media plays in CatDV.
Other tools, allow for users to view disk space, network speed, built into the CatDV client.
And…a shameless plug: When deploying CatDV: Why Key Code Media?
Dave Clack: Using an asset management system is much more than just plug-in-play software. Customers need partners that understand workflow and have an excellent level of support and customer service. To be able to put in asset management successfully, you need to know ‘how’ to implement the tools; not just which tools to implement. Key Code Media (that’s us!) has a great mix of consulting, workflow, and support experience to support asset management customers the best!
A Letter From Mike Cavanagh: Making Sense of the Avid Media Composer Licensing & Upgrades
Dear Avid Customers,
This year, Avid announced a brand new purchasing model for the Media Composer family. The post production community was left confused, trying to figure how this will effect their business. Whether you choose perpetual, subscription, or floating license pack, Avid Support is now the key factor, determining how much you spend upgrading version.
"What if I already have support?", "What about the December 2014 upgrade deadline?", "What does this all mean?" Avid's recent article, Media Composer licensing and upgrades: What you need to know - and do- before the year is out, addresses a majority of customer questions about the new licensing & upgrades.
To be clear, all licenses of Media Composer come with one year support. With the new model, Media Composer users (with Avid support) will have the option to upgrade Media Composer for free. But, if support is left to expire, you will need to buy a full license ($1299) to receive the latest version.
Avid is currently offering a grace period, until December 31, for users without support to get back on. For $299, Media Composer users guarantee the next year of Media Composer updates; including support of DNxHR, the new resolution independent codec for high-res Avid editing. We put it on our webstore, to make it easier to purchase.
Lastly, it's worth mentioning that users that choose to upgrade now, will still be able to back-rev to previous version of Media Composer. This is great, for editors that have existing projects running on older version of Avid.
Ultimately, businesses will need to make the decision on their own. Do you save money now, and renew Avid Support for Media Composer? OR - do you hold off until there is an absolute need for the latest version, and pay more?
President, Key Code Media
Key Questions To Consider When Purchasing 4K Storage
Storage requirements very considerably depending on key decisions made in the preproduction process. What will be the standard frame rate? Bitrate? Is it a multi-cam shoot? How many hours of footage? What codec? Answering these questions is crucial to any shoot. But, does shooting 4K mean you simply multiply the storage by 4x? Not necessarily.
Many codecs exist to edit in 4K – but they are not created equal. 4K RAW and uncompressed formats take up more storage, and require faster drives with faster connections. Compressed 4K takes up less storage and bandwidth, but the computers need to be much more powerful to handle the images. In addition, multi-camera edits require pulling multiple video streams from the SAN or NAS. We decided to look at the top questions people should consider when choosing 4K storage.
What is the best way to determine the amount of storage required for a 4K shoot?
Before making the decision to shoot 4K on your next project, it would be wise to first calculate the total GB or TB of storage required. The good news is our partner AJA created an app, called AJA DataCalc, that can calculations for you. Remember, storage requirements grow rapidly depending on bitrate & codec choices made in acquisition or post.
If you're dead set on manually figuring out the numbers, it's not hard either. Here's an example of the formula:
- Approx. bit rate / 8) x 3600s = KB per hour / 1000 = GB (Gigabytes) per hour
Explained: Approx. bit rate / 8(converting Megabits to MegaBytes) x 3600s (seconds in an hour) = KB per hour / 1000 = GB (Gigabytes) per hour
- GB per hour x hours of operation per day (count all cameras!) =GB per day
- GB per day x requested period of storage = Basic RAW storage required (*+40%)
*Notes: render files and other associated media will increase your storage needs. If your storage is RAID formatted, some of your storage may be unavailable due to the protection RAID formatting offers. Lastly, many storage solutions see performance dips if more than 80% of your storage is full. Key Code Media recommends that using the above formula still requires an additional 40% extra storage space. For more information, see: http://michaelkammes.com/storage/choosing-the-right-shared-storage-solution-part-1-of-3-bandwidth-connections/
Before figuring out the numbers it's best to find answers to the following questions:
- Amount of cameras
- Number of hours cameras will be recording
- Frames per second recording
- Image resolution (HD, 2K, UHD, 4K, 6K, etc.)
- Video compression type used: RED RAW, DPX, XAVC, ProRes, DNxHD,etc.
- How long data must be stored
- Offline / online workflows will require additional storage for the proxy media.
We highly recommend using the AJA DataCalc App when first estimating the amount of storage space needed on a project. DataCalc is able to estimate storage needed factoring in the amount of hours, video resolution, audio formats, and codecs being used. Did we mention it's free?
Is it possible to edit 4K in a shared storage environment?
Absolutely! Traditional editorial departments rarely edit only in uncompressed or lightly compressed camera formats, such as uncompressed, DPX, and RAW. The additional expense in storage solutions to edit this way would far exceed the benefits. Instead, most people would recommend keeping a high-res master (& back up), then do all the editing in a lower-res proxy. This offline / online workflow has been around since the first NLE, and will no doubt be essential to many workflows for the foreseeable future.
The recent announcement of Avid's DNxHR, a resolution independent codec, will allow people to edit in resolutions above HD – including UHD and 4K, and paves the way to edit in even higher resolutions inside Avid Media Composer. DNxHR is compressed, relieving storage space, but may require more GPU processing from the editing workstation.
If you are looking to edit an entire project with uncompressed or lightly compressed media, even the most high-end storage currently limits editors to 1, and rarely 2 streams of uncompressed/raw. That means, only one editor will be able to access high-res media from the system. This is a big reason why new compressed codecs, such as DNxHR & the new flavors of ProRes, will be so important to editing 4K.
Do I need solid state drive (SSD) to edit 4k?
Solid State Drives certainly offers great speeds for boot drives & project drives, and offers fantastic speeds for data movement.
SSD storage – SAN and NAS included can be many times more expensive than traditional spinning hard drives. For smaller projects, SSD drives are a great solution. But if capacity is of paramount importance, SSD may not be your best choice.
What are the minimum storage requirements for 4K editing?
Be aware of minimum requirements to consider when choosing shared 4K storage, such as throughput, connection, etc. For example, choosing incorrect spindle speed could leave your editor with a very unpleasant editing experience. Here are some bare minimum requirements to consider:
Connection – 1GigE minimum. 10GigE or 4/8/16 Fibre recommended
NLE/Finishing Support – Your NLE needs to handle the codec you are onlining and/or offlining with. If a finishing system, the system needs to handle the EDL from your NLE. The NLE also has to allow media to be utilized from shared storage.
Speed – 7200rpm (rotational speed) minimum! Stay away from green drives, or other power saving drives. These drives can spin down to conserve power, but can cause playback issues within your NLE.
Throughput – (Your codecs data rate/8) x amount of concurrent tracks with video in your NLE = MB(MegaBytes) per second. This number must fit within the speed provided by your Ethernet or fibre connections. Key Code media recommends a 25% overhead to account for real world throughput values.
How many streams of 4K can be pulled from my storage?
The amount of streams than can be pulled from a share file system is heavily dependent on what file formats you're using. Using DPX, RAW, or uncompressed? You'll get less streams of these formats than compressed streams. These formats typically have huge file sizes, and require lots of bandwidth.
ProMAX Platform Stream Count Performance (By Codec):
How much more does 4K storage cost?
Numbers can vary wildly –depending on the quality of the drive, if it's meant for enterprise or home use, and if it's an off the shelf single drive, or provided by a storage manufacturer. If we look at drives which are rated for professional use, the rule of thumb for storage cost is $1.20/GB for SSD, and $0.75/GB for a spinning disc. While 4K media does not necessarily mean 4x cost of HD, there is a significant increase in cost of storage.
According to Videomaker, " One hour of standard definition DV footage requires approximately 12.7GB of storage; approximately 217MB per minute. By comparison, one hour of RAW 4K content requires close to 110GB of storage; approximately 2GB per minute." Assuming that's correct, you're looking at around $1 per minute, per camera.
With hundreds of vendor choices, it becomes easy to get lost in all the various technical details when selecting video production storage. Specific choices like volume locking or file locking, SAN or NAS, and RAID types will likely shape the way your video production operates. Learn more about how Key Code Media can help you make the right storage choices for your given workflow. Click here
NewTek Unveils TriCaster Mini: The Most Complete, Compact Multimedia Studio
SAN ANTONIO, October 7, 2014––NewTek™ today unveiled TriCaster Mini™––the world's most complete and compact multimedia studio. The ultra-portable system allows anyone who doesn't speak or understand the technical language of video production or broadcasting to transform an ordinary presentation into engaging multimedia content that looks like network-style TV in a matter of minutes. Marketers, corporate employees, small business managers, community administrators, educators, trainers, non-profit and worship service volunteers, and entertainers who are interested in delivering their messages like seasoned television professionals can now use TriCaster Mini to assemble visually sophisticated multimedia presentations––and stream them live, publish to social media or upload to a website from the office, an event, or any location with an Internet connection. The tiny, sleek design, support for virtually any camera, and comprehensive toolset make TriCaster Mini easy to carry in one hand, setup, create and share content.
"With TriCaster Mini, we have built a product that gives anyone wishing to use video to communicate with others the ability to create content that looks like professionally made television achieved in minutes where traditionally it took hours or days. Our goal is to dispel the myth that it's too technologically difficult or expensive to produce engaging multimedia content, and we've achieved that with TriCaster Mini," said Dr. Andrew Cross, president and chief technical officer for NewTek. "Video is the fastest growing and most compelling communication medium in history, and to stay relevant, people in all areas are finding it increasingly important to conduct video interviews, webcasts, and presentations that mix slides, video clips, graphics and more. No other system in the world makes it as easy for anyone to get started than TriCaster Mini."
TriCaster Mini: Small, Sleek and Exceptionally Simple
Anyone familiar with computer software and has access to one or more cameras can use TriCaster Mini to capture and mix multiple live video camera angles with graphics, video clips, audio, titles and special effects. Setup is fast, straightforward and uncomplicated, and within a matter of minutes, users can create a multimedia program that looks professional without any other broadcast studio equipment or a professional crew. An integrated and configurable video screen on the side of the system also serves as a monitor for displaying a range of content selected by the user.
As newcomers become more comfortable with multimedia presentations, they can further explore a wide range of creative tools that come standard with TriCaster Mini, including:
- Mix different visual sources
- Overlay logos, presentations, charts, titles, media files, animations
- Import your own branding elements and have them appear in transitions and animations
- Incorporate a slideshow, web-pages from another computer
- Replace solid backgrounds with a simulated environment
- Webcast programs on a live video stream
- Post clips to YouTube, Facebook and Twitter, your web site
- Have guest speakers call in from their webcams
- Record the program so people can watch it on-demand
- Record all camera footage simultaneously so you can edit the program
- Make keyboard shortcuts for sophisticated sequences with one touch
Pricing and Availability
TriCaster Mini, including the optional integrated display screen and system storage capable of recording approximately 45 hours of footage, is available immediately for $7,995 USMSRP. TriCaster Mini is also available without the integrated display screen and system storage capable of recording approximately 15 hours of footage for $5,995 USMSRP. An optional control surface is available for $2,495 USMSRP, and an optional TriCaster Mini cable-kit with four 100-foot HDMI cables is also available for $495 USMSRP.
TriCaster Mini One Sheet
IBC 2014 Wrap-Up: Tech Announcements From The Show Floor
Technologies for IBC 2014
IBC 2014, hosted in Amsterdam, is the premier annual event for professionals engaged in the creation, management and delivery of entertainment and news content worldwide. Next to NAB 2014, this show hosts the largest technology releases & announcements for media & broadcast professionals.
This year was no different, with huge buzz around Avid Media Composer getting a 4K update, and automation/management tools that strip out waste and inefficiencies. With those themes in mind, here are some highlight announcements from the show:
Adobe announced some new features for Creative Cloud, and tighter Adobe Anywhere integration.
For the first time ever, Adobe Premiere Pro editors can automatically generate new bins based on search criteria, including Advanced Timeline Search. Search bins update automatically as you add new content to your projects. Streamline large projects with Consolidate & Transcode. Bring everything you need into one workspace with new Multi-project workflows: open media and sequences from other projects and bring existing clips, edits, transitions, or graphics directly into your current project.
New video format support for Premiere Pro CC includes GoPro Cineform, AJA Raw, Canon Raw, and Phantom Cine.
After Effects CC is seeing enhanced Live 3D Pipeline, allowing artists to work faster with 3D elements in their compositions, enhanced Anywhere collaboration, and usability refinements that make motion graphics and visual effects work easier and more efficient.
All of the Adobe updates will be released within the next few weeks.
For more information:
AJA announces Adobe support for CION camera, and FS1-X v1.1 update
The AJA CION camera will likely not be released this year, however the product team is getting closer, announcing AJA Raw format support with Adobe Premiere Pro. The Kona 4 received full Creative Cloud support as well!
FS1-X frame synchronizer and converter, released at NAB 14', is getting a v1.1 update, with 5.1 and 7.1 stereo mix down. Updates in the FS1-X v1.1 Release include:
- Audio Processor Enhancements—Audio 5.1/7.1 stereo mix down. Create a stereo pair from 5.1 or 7.1 audio and integrate into the audio output matrix, each with the usual gain, phase, and delay controls. Two complete 5.1 or 7.1 streams can be handled by a single FS1-X.
- Reverse Telecine Cadence Detection—Automatically detect the 2:3:2:3 or 2:2:3:3 cadence in previously converted source material and seamlessly recreate the original frame for conversion back to Cine rate.
- MADI 56-channel Support—Both 56- and 64-channel modes are supported in FS1-X for input and output.
For more information:
Avid announces resolution independence, Advantage Services, and Live Sound workflows.
Media Composer | Software will allow video professionals to acquire, manage, edit, and deliver native 4K media. With Avid's new resolution independent architecture comes a new high-res codec, Avid DNxHR. This allows editors to easily scale files from proxy to mastering resolutions using high-res rasters. Read the full release: http://www.keycodemedia.com/Key-Code-Media-News/ibc-2014-avid-everywhere-brings-resolution-independence-to-film-and-television-production
The new Avid Advantage Support support plan helps Avid customers get quicker & better service, by utilizing certified resellers, like Key Code Media, as front line support. This should help reduce time & cost of getting Avid support.
On the audio front, Avid announced the VENUE | S3L-X compact live sound system, building on the success of the Avid | S3L system to deliver on the Avid Everywhere™ vision. With the new system, live sound professionals can more easily meet the increasing scope, size, complexity, and diversity of today's live sound requirements. Avid VENUE | S3L-X enables engineers to mix and record live shows with unrivaled power and efficiency, and create new material or mix down live recordings for commercial purposes.
For more information:
Blackmagic Design acquires eyeon software, updates several products.
One of the most surprising announcements was Blackmagic Design's acquisition of eyeon software, a high-end node based compositing software. "This is extremely exciting as, similar to DaVinci, we now have a second powerful software tool that has remarkable creative power," said Grant Petty of Blackmagic.
Blackmagic also announced 2 new cameras, a new Ultra HD multi view, new 12G-SDI based Ultra HD monitoring and a DeckLink card, new DaVinci Resolve update, a new 40 x 40 router, new mini converters and a lot more!
Here's a complete list of announcements:
- Blackmagic acquires eyeon Software
- DaVinci Resolve 11.1 Update
- Blackmagic Production Camera PL and Cinema Camera PL
- Blackmagic MultiView 16
- SmartView 4K
- Smart Videohub 40x40
- DeckLink 4K Extreme 12G
- Mini Converters with 6G-SDI and Ultra HD
- Mini Converter SDI to Audio 4K
- Mini Converter Audio to SDI 4K
- Mini Converters with 6G-SDI and Ultra HD
- Mini Converter H/Duty SDI to HDMI 4K
- Mini Converter H/Duty HDMI to SDI 4K
- Mini Converter H/Duty SDI to Analog 4K
- New Blackmagic Videohub Software
For more information:
Brainstorm's high-end virtual set solution, Infinity Set, gains a new TrackFree feature. What TrackFree allows is a combination of tracking and trackless productions for maximum flexibility, creativity, and visual impact. 4K PTZ Virtual Set is another new Infinity feature, that will emulate a PTZ (Pan, Tilt, Zoom) head in a virtual set environment. Overall, if you're looking to create really modern graphics, and virtual sets, you should look into Brainstorm's offerings.
See an impressive demo of Brainstorm's virtual set products:
UPDATED (09/22): Catdv 11 And Catdv Web 2 Deliver A Step-Change In Easy Media Asset Management
Squarebox announced CatDV 11, the next-generation of its asset management software, plus CatDV Web 2, a radical new approach to online media asset management. The new features and toolsets in CatDV 11 and CatDV Web2, along with fresh workflow capabilities between Adobe Premiere® Pro CC editorial software and Adobe® Anywhere real-time collaborative platform, empower content owners to more easily repurpose and monetize their media assets, and significantly improve end-to-end workflow efficiency from production and post production, through to delivery and distribution.
With CatDV Pegasus, the player can now preview RED (R3D) files. This is a solution no other asset management solution is offering at this time.
For more information:
Cisco announces Videoscape Virtualized Video Processing, a service delivery platform
Cisco's Videoscape Virtualized Video Processing (V2P) hopes to address concerns & simplify multi-screen video content processes. With AnyRes, users will see full-frame 4k/Ultra HD encoding to various formats, including HEVC. At IBC 2014, Cisco previewed cloud-based Videoscape workflows.
For more information:
Content Agent adds automated camera ingest workflow called CardAgent at IBC 2014
Content Agent, the workflow management and automation tool by Root 6, has a few major announcements at the show. CardAgent is a new tool designed for multi-user ingest intensive environments such as news or reality shows. CardAgent features a simple user interface enabling non-technical operators to initiate a variety of workflows from commonly used cameras. Operators are able to browse, select, and playback media. Automated workflows can be triggered for transcoding and re-wrapping for the creation of proxies, high resolution copies and backups and the subsequent delivery to editorial. Really nice addition!
Also, Content Agent will receive a resolution independent, motion compensated standards conversion feature update. This technology obviates the need to return to base band for standards conversion and was used widely by BBC Sport for its recent coverage of the FIFA World Cup.
For more information:
Facilis Technology announces Terrablock integration with NewTek TriCaster & 3Play
NewTek TriCaster & 3Play users can now archive media directly to Facilis Technology Terrablock. TerraBlock 6.0 has been tested on the TriCaster 860 model, and the full complement of eight capture streams of HD 4:2:2 video can be accommodated on a TerraBlock 24EX/16 or 24D system over the standard 1Gb connection. When using a 24D system, a total of 32 streams of 4:2:2 capture can be achieved with concurrent playout streams.
For more information:
G-Speed Studio adds 64TB 8-bay thunderbolt 2 storage solution
G-Technology announced the first extension of its Studio line, the G-SPEED Studio XL. Expanding on the two-bay G-RAID® Studio and four-bay G-SPEED Studio Thunderbolt 2 storage solutions, which launched earlier this year, the G-SPEED Studio XL holds up to eight removable enterprise-class 7,200 RPM hard drives, offering colossal capacity and performance of up to 1,350 megabytes per second (MB/sec) performance for the most demanding digital content creation applications.
For more information:
Imagine Communications introduces end-to-end TV everywhere offering for communications service providers
Imagine Communications unveiled its vision for enabling broadcasters to gain advantage in offering over-the-top (OTT) video and IPTV services. The TV Everywhere vision integrates SelenioNext™ Adaptive Bit Rate (ABR) transcoding, SelenioEdge™ Media Content Delivery Network (CDN), packaging, encryption, hyper-personal advertising, subscriber billing, ingest, automation, and storage. To integrate all components of the TV Everywhere solution together, the company's next generation Zenium™ workflow manager provides an advanced, underlying, software-based media asset management tool that stitches workflow processes together and provides the lowest Total Cost of Ownership (TCO).
See all Imagine Communication announcements:
Levels Beyond continues to expand end-to-end management of digital content
One of the most impressive product updates from NAB this year was Level Beyond's Reach Engine. At IBC, they continued to showcase their digital video file manager, which works to index metadata, securely manage media for all the major NLE formats. One of the most impressive features of Reach Engine, is its large list of capatable workflows, including Adobe Premiere Pro, Adobe Anywhere, Apple FCPX, and Avid Media Composer solutions.
For more information:
NewTek unveils TalkShow: Video calling production system for television studios and live video producers
NewTek™ unveils TalkShow™ VS-100, a video calling production system designed specifically for television studios and live video producers. With TalkShow, any television or live video producer can easily reach 300 million monthly connected Skype users and incorporate them as guest speakers into live programs with full-frame Skype video calls.
For more information:
ProMAX launched Platform Series 4, and introduces Platform Portable
Platform Series version 4 adds Media Asset Management and a Browser-Based UI top a list of powerful features designed to accelerate and improve the content creation process. Large-scale increases in performance & capacity enable true collaborative production of 4K video. The Platform Series 4 demonstrates next level workflow servers for content creation.
The Platform Portable allows creative groups to connect their existing attached storage devices and transform them into a simple, yet sophisticated, shared editing environment.
For more information:
Quantum unveils low-priced StorNext Pro Storage solution for high-performance digital workflow
Utilizing the powerful StorNext 5 platform, the StorNext Pro Studio comes in 3-series including:
- StorNext Pro Studio is designed to easily refresh or enhance existing Apple Xsan storage environments by providing a high-performance, scalable and 100 percent Xsan-compatible solution with 48 TB of storage capacity. StorNext Pro Studio integrates the StorNext M441D metadata appliance with the StorNext QX1200 RAID storage system, making it cost-effective, easier to deploy and ideal for today's production studios.
- StorNext Pro 4K provides high-performance storage for both new and existing StorNext deployments to support demanding 4K media workflows. With flash-based metadata performance using the StorNext M445 SSD metadata appliance and scalability provided by StorNext QX1200 RAID storage systems (144 TB raw capacity), this configuration enables efficient 4K workflows, including ingest, production and delivery.
- StorNext Pro Production gives post and broadcast professionals a complete storage platform spanning content production to content library management. Combining the highly scalable StorNext M662XL metadata appliance, StorNext QX1200 RAID storage systems (96 TB raw) and StorNext AEL500 41-slot (102.5 TB) LTO-6 library, this unified storage foundation effectively serves production workgroups, integrated Windows/Linux review stations, proxy and transcode servers, LTFS acquisition, delivery and archive.
For more information on all Quantum IBC announcements visit:
Wowza partners with JVC to enable live video wirelessly from Pro Camera
Wowza Media Systems, provider of Simply Powerful Streaming™ software, announced that JVC and Wowza will give content creators the ability to instantly stream video from live events including breaking news, corporate events, concerts and sports. With streaming capability built into JVC professional camcorders, joint customers can now stream over both LTE and Wi-Fi networks, providing powerful live video experiences while on the go
For more information:
Key Code Media has extensive knowledge of products, and how it relates to broadcast, production, advertising, and corporate video workflows. For more information on pricing, capability, and features please reach out to us. Email: sales (at) keycodemedia.com
IBC 2014: Avid Everywhere Brings Resolution Independence to Film and Television Production
Avid® today announced an update for Media Composer® | Software that will allow video professionals to acquire, manage, edit, and deliver native 4K media faster and more efficiently than ever, whether working on premises or in the cloud. Leveraging the newly announced Avid Resolution Independence architecture, Media Composer will offer the most complete and flexible end-to-end workflow for file-based editing of any resolution, helping content creators deliver higher quality content in more collaborative, powerful, and efficient ways—a key element of Avid Everywhere.
Media Composer is part of the Avid Artist Suite of content creation applications—powered by the Avid MediaCentral Platform and comprised of the company's industry-standard creative tools, including video editing, graphics creation, music creation, music notation, audio post, and live sound solutions.
"As the demand for 4K content continues to rise, content creators are struggling to efficiently manage, edit, and deliver high-res media," stated Chris Gahagan, senior vice president of Products and Technology at Avid. "Media Composer will solve these issues by enabling video professionals to work with native 4K formats in real time, and create the high quality, inspiring content that today's audiences demand—all using their existing production infrastructure and workflows."
With support for native 4K formats, Media Composer | Software helps video professionals deal with the broadest variety of media—from SD to HD to high-res, and even tape archive media—brought in by clients. By editing 4K media natively, video professionals can reduce time-consuming, non-billable transcoding tasks, spend more time on creative storytelling, and deliver projects on time and on budget.
Media Composer | Software with native 4K editing will enable editors to:
- Automate the process of transcoding and moving high-res media throughout the production environment
- View real-time 2K/4K media in its native resolution on a client monitor using third-party I/O hardware
- Deliver a high-res master of finished projects directly from Media Composer, eliminating the need to export to other tools for finishing
Avid DNxHR–4K beauty without the bandwidth
Additionally, Avid introduced Avid DNxHR, a new extensible media codec that makes it possible to perform high-res editorial tasks within HD-capable infrastructures by allowing editors to easily scale files from proxy to mastering resolutions using full high-res rasters. Avid DNxHR is at the center of the Avid MediaCentral Platform's Resolution Independence architecture, and enables anyone working within an existing Avid environment to incorporate high-res workflows.
Media Composer with native 4K editing, and the new Avid DNxHR codec, are planned for release in Q4 2014.
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Act before the end of 2014 and upgrade your existing Media Composer license for only $299. Stay current with the latest software and gain access to Avid support experts, while ensuring your current license doesn't expire. Learn more about upgrading any Media Composer for only $299.
What is Adobe Anywhere? Collaborative Editing With Adobe
What is Adobe Anywhere?
Adobe® Anywhere for video is a workflow platform, using centralized media, across standard networks, to allow collaborative logging & editing on Prelude CC, Premiere CC, and After Effects CC. For complete control and security, Anywhere is hosted on-premises with other enterprise media storage and asset management infrastructure.
Adobe Anywhere is a complete workflow ecosystem deployment. However, there are huge differences between Adobe & Avids approaches to collaborative editing.
How does it work?
Adobe Anywhere creates a private secure cloud environment that allows production to collaborate on Adobe Premiere CC, Prelude CC, and After Effects CC products. Using the centralized storage & asset management based in a facility, users can access & edit media, securely, from remote locations via VPN.
Source files used by Adobe Anywhere are kept on a centralized storage server. By using the Mercury Streaming Engines your editors will be able to edit high-quality, full-resolution media, within the production facility or remotely. The media playback will automatically adjust, based on the available bandwidth at the editor's location.
What is required to make it work?
It is important to understand, that Adobe® Anywhere requires more than a software add-on to Adobe Creative Cloud for enterprise. Adobe® Anywhere requires you to purchase and install on-premise hardware prior to implementation. Adobe Anywhere is an open solution, designed to augment existing infrastructure and integrate with standard IT hardware, software, and networks.
In order to deploy Adobe Anywhere, you'll need one Collaboration Hub server, as well as three Mercury Streaming Engine servers. Depending on the number of users you may need more than three Mercury Streaming Engines. The system will also require shared storage, asset management, and appropriate network infrastructure. The experts at Key Code Media can assist with all of the necessary components of an Adobe Anywhere deployment.
How does licensing work?
Although it works with Adobe Premiere CC, Prelude CC, and After Effects CC, Adobe Anywhere is a separate offering from your subscription to Adobe Creative Cloud. Anywhere is licensed per user on an annual basis. For more information contact your Adobe account representative, or request a consultation for Key Code Media (sales (at) keycodemedia.com).
How much is the initial point of entry?
A complete Adobe Anywhere solution, including storage, MAM, & Mercury Engine servers, starts at around $100,000.
Is there an asset management component built into Adobe Anywhere?
Adobe Anywhere is not a replacement for a media asset management system (MAM). Instead, Adobe Anywhere is supported through 3rd party MAM including: axle Video, Apace Media Gateway, Gallery, Levels Beyond, Vizrt, and CatDV.
Who is using Adobe Anywhere?
Adobe Anywhere has been installed in over 20 enterprise enviroments, including production, sports, and post production environments. Key Code Media has installed more Adobe Anywhere than any systems integrator nationwide.
- G-Men Media for Post Production:
What new in 2.0.1?
Hot backup- Backup the Anywhere Collaboration Hub in real-time without interrupting your work. Backups are scheduled at System Administrator-defined intervals.
Export from client- System Administrators can now determine how users export from a Premiere Pro sequence, either by using a set of custom presets or with a Simplified Export dialog.
Prelude rough cut support- Begin editing rough cuts in Prelude and finish your sequences in Premiere Pro.
OMF support- Anywhere can now export sequences as Open Media Framework (OMF) files. OMF is a platform-independent file format used to transfer digital media between different software applications. This expands the open-platform capabilities of Anywhere and improves integration with third-party solutions.
Preview rendering support in Premiere Pro and Anywhere- Preview rendering of effects and complex sequences in a Premiere Pro timeline is now supported. You can use the Premiere Pro UI to specify a range and then create preview files on the server.
Increased performance for large productions- Work more efficiently with improved ingest performance for productions with numerous assets. The media cache database is now shared with all Adobe client applications to increase performance when reopening media files. In addition, a streamlined administrative interface is now available to configure system properties.
Improved iPad App- In the field or on remote location, team members can view productions and play sequences from the Anywhere server on their iPads. Multiple iPad improvements include better performance, more robust scrubbing, and the ability to sort and filter large lists of productions. The Adobe Anywhere App is available as a separate download from the Apple App Store.
See Key Code Media's Adobe Anywhere Demonstration:
[Video] What is Avid Everywhere? An Interview With Frank Capria
We recently interviewed Avid's Director of Product Management – Digital Asset Management, Frank Capria. He is the lead project manager of Avid Interplay, as it relates to the Avid Everywhere vision. Frank broke down the basics of each suite, how it relates to post production & broadcast, and demystified myths in the community. Here's the interview (text-version):
What is Avid Everywhere?
Capria: Avid Everywhere is quite simple; it is the ability to access the media asset, everywhere you might be. The ability for others to access that same content, modify it, turn it into a story. When that story is complete, distribute everywhere it needs to go. That is all there is to Avid Everywhere.
How do I edit remotely with Avid Everywhere?
Capria: In the Avid Everywhere environment, remote craft collaborative editorial is handled in Media Composer | Cloud. Media Composer | Cloud is a full version of media composer, it has the full tool set. The main difference, instead of connecting to your media assets on a hard drive, it is editing off of a stream served up by Avid Media | Central.
What are some misconceptions about Avid Everywhere?
Capria: One of the most common misconceptions about Avid Everywhere is that it's editor-centric. Sure, Avid has made its name as an editors tools company, but Avid Everywhere is for EVERY team member to take advantage of [in a production].
Another misconception, is the segment markets that Avid Everywhere is meant to address. Perhaps it's the name, "Avid Everywhere" makes it sounds like it's for broadcasting. It's also understandable, since Avid Interplay Production has been so successful in the broadcast space.
The fact of the matter, Avid Everywhere is designed for all segments: post production, broadcast, and new media.
How does Avid Everywhere benefit post production?
Capria: Avid Everywhere, for post production, allows customers to do [projects] in parallel, that used to be serial processes.
For example, logging can begin immediately, upon a piece of media [arriving on nearline storage], in any formatting. Even before transcoding starts, logging & editing can begin in an Everywhere environment.
It also automates almost every non-creative aspect of the post production processes. Whether it's transcoding, copying/moving, back up/archive, Avid Everywhere can create rules that eliminate human error and labor time.
How does Avid Everywhere benefit Broadcast?
Capria: Avid Everywhere for broadcast enables our customers to set up a bureau, anywhere they can get a TCP/IP connection. [Avid Everywhere] includes all aspects of content creation, story creation; from ingest, editorial, to distribution.
What is Avid Media | Central?
Capria: Avid Media | Central is the platform in which we built all of our solutions. It allows us to author & create services once, and then all of our applications can use it.
For example, our streaming playback service. The same streaming playback service that Media Central | UX uses, to expose Interplay Production assets, is exactly the same streaming service that is used in Media Composer | Cloud.
By leveraging a platform to build the tools, it allows us to create API interfaces for third parties to connect to as well. Third party manufacturers can then connect, join the Avid ecosystem, using the same services and performance of Avid products.
What are the various suites inside Avid Media | Central?"
Capria: The artist, media, and storage suites have always been part of the Avid product line, we've just branded them that way recently., To make it clear to the customer what they do.
The artist suites, is our content creative tools ie. Media Composer, Pro Tools.
The media suite, is our asset management tools ie. Interplay Production, Interplay MAM, Media Director, Media Distribute, and Media Index.
The storage suite, is anything that stores a piece of media. Ie. Avid ISIS, Airplay Playout & Ingest servers.
What components make up Avid Interplay Production?
Capria: Interplay production is three things:
- Interplay Engine:
- A powerful database, that allows to do incredible defined searches.
- Media Services:
- Transcode, Copy, Move, and Delivering
- Media Central | UX:
- The web-based view onto all of your assets, that every member in production uses to reach in work with assets
What's the top benefit of using Media Composer with Interplay Production?
Capria: Media Composer & Interplay Production work really well together, in Avid Everywhere. They were designed to work together.
In a Interplay production environment, the process of conform no longer exists. If you want to go to a high-res master, you simply "click" and switch resolutions. You tell Interplay, 'give me the highest resolution version of this media,' and it will re-conform automatically in the background.
What is the Return on Investment model for Avid Everywhere?
Capria: Avid Everywhere #1 contribution to ROI, is it shortens the timeline for production. Story creation can begin at the moment of acquisition. Loggers can access content. Editors can access content. In fact, reviewers, producers, directors, executives, and legal can begin the process of getting the story out immediately. Processes that used to be serial, are now parallel. It's a system that built for every member of a production, not just editors.
Learn more about Avid Everywhere