April 19, 2014

FotoKem’s Keep Me Posted Puts Nucoda Film Masters Into Fully Integrated Post Pipeline

Digital Vision, provider of powerful image enhancement, color correction and restoration systems for a wide spectrum of content, announced that FotoKem’s Keep Me Posted (KMP) has expanded their commitment to them with a hardware, storage, and software upgrade to their existing Film Master. Furthering their allegiance to Digital Vision, they also purchased a second Nucoda Film Master grading system running the 2010 software release including DVO Enhance noise and grain reduction option.

Keep Me Posted specializes in television episodic and commercial finishing and is part of the FotoKem network of companies that includes Spy Post, LA Studios, and nextLAB. Burbank’s Keep Me Posted has fully integrated the Nucoda Film Masters into the company’s workflow, creating an end to end file-based system and a completely Avid-centric TV pipeline.

Based on the success they experienced over the first few weeks using the newly upgraded Film Master running 2010 software, Keep Me Posted ordered a second system. At the beginning of next year, they will be one of the first Hollywood customers to take delivery of the new Digital Vision “Precision” color panel, recently unveiled at IBC. The decision to chose the Nucoda Film Masters were based on three factors: its ease of integration into their file-based architecture, the need for engineering excellence, and the company’s focus on time sensitive deadlines and creative artistic requirements.

 
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FotoKem CTO, Paul Chapman, commented that the Digital Vision systems clearly met their demanding technical requirements. “When we were putting the pieces of a file-based, start-to-finish workflow in place, we took a hard look at the field of appropriate competitors. It was imperative that there was an ease of integration into the colorist’s workflow in tandem with the critical need for the system to fit smoothly into our file-based, ingest-to-storage pipeline. The Film Master dropped seamlessly into our storage architecture, which immediately differentiated it from the competition. Our engineering team evaluated Nucoda’s interoperability and found that the PC-based system was the best choice for us, by far. Integrating with Avid, Facilis, and the other technologies in the pipeline has been an absolutely straightforward process. No other system came close to that promise, and Digital Vision delivered on it.”

FotoKems Keep Me Posted Puts Nucoda Film Masters Into Fully Integrated Post Pipeline

Hawk Hamilton, Vice President at KMP noted, “We work with the pre-eminent content creators in the industry, and are ready to support their highly demanding schedules and creative needs without missing a beat. We are focused on creating a top tier experience for all of our customers and the second Nucoda Film Master is a key component in our ability to provide that caliber of responsive customer service. The transition process for our talented colorists to get up to speed has been flawless. The training, testing and troubleshooting done by the experts on the Digital Vision team ensured that our colorists were Film Master fluent very quickly.”

Bruno Munger, Senior Product Manager of Digital Vision said, “The team at Keep Me Posted and FotoKem are experts with keen vision about where the post production market is heading. We are delighted that they see the 2010 Nucoda product line as a perfect fit for their file based pipeline as they work with the top producers in Hollywood. It has been fantastic to collaborate with the creative and engineering teams at both FotoKem and KMP and we look forward to continuing our involvement in these outstanding facilities.”

 

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RED ONE camera workflow with Quantel

RED ONE camera workflow with Quantel A Quantel White Paper By Mark Horton

The RED ONE camera has had a major impact on our industry, providing a cost effective, high quality solution to Digital Cinematography. What this document outlines are current (November 2008) Red workflows that are offered by Quantel workstations. This is a fast changing topic. Red, Quantel and other third party vendors mentioned here are all engaged in ongoing developments, [Read more...]

The solid-state missing link: Sony’s XDCAMEX Browser 2.0

The solid-state missing link: Sony’s XDCAMEX Browser 2.0Once you’ve had the joys of solid state shooting, with formats such as P2 and XDCAMEX, its hard to imagine going back to tape By Mike Jones

Once you’ve had the joys of solid state shooting and production, with formats such as P2 and XDCAMEX, its hard to imagine ever going back to tape. This is not to say that solid state doesn’t come without its drawbacks: no shelfable master, re-wrapping [Read more...]

Sony Sound Forge Non-destructive Editing Techniques, Part II (Playlist)

Sony Sound Forge Non-destructive Editing Techniques, Part II (Playlist) By Jeffrey P. Fisher

In the previous article, we looked at using Sound Forge’s project file format for non-destructive audio editing. Here we’ll look at the Playlist feature which also lends itself to editing your work without affecting the file and therefore protecting your valuable original data.
 
This particular approach is best suited for straight-forward [Read more...]

Content Insider #153 – Entertainment Everywhere

Content Insider #153 — Entertainment Everywhere
â??I’ve just decided to switch our Friday schedule to Monday, which means that the test we take each Friday on what we learned during the week will now take place on Monday before we’ve learned it. But since today is Tuesday, it doesn’t matter in the slightest.â?? â?” Mr. Turkentine, Willy Wonka & the Chocolate Factory (1971), Wolper Pictures Ltd.

Weâ??re not certain what the preoccupation is with TV, but firms beyond the old-fashioned content developers, producers, â??shippersâ?? have gone out of their way to say they have the solution you need/want!

First, there was the bi-annual IFA conference in Berlin. All of the consumer electronics folks gathered to spin their TV, video, whatever stories and show their wares.

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That was followed by IBC in Amsterdam.  There, the worldwide broadcast industry gathered to figure out how they were going to survive and make money with the growing demand for online video and audio content.

Then, at IDF (Intel Developers Forum), CEO Otellini proclaimed the world is infatuated with the wonderful possibilities of Smart TV.  September and the mesmerizing world of content everywhere wouldnâ??t be complete without Nvidia showing off its TV solutions at its  GPU Technology’s Conference.

The PC people — tablet, notebook, desktop, server — continue to try to figure out how they are going to get into the living/family room.

They’ve been trying to be the “content source” for 10+ years, continually spinning the story that this is the year the computer-based solution will really take its place in the family’s entertainment.

PCTV
But Otellini hasnâ??t given up on getting the Smart PC connected to the Smart TV.

Content Insider #153 — Entertainment Everywhere

See it Now â?” Intelâ??s CEO, Paul Otellini (R), explains how SmartTV and SmartPCs will open the world of content to Dadi Perlmutter, Intelâ??s EVP/GM of itâ??s architecture group.  Content wasnâ??t the only round of discussion at this yearâ??s IDF (Intel Developers Forum), but it was a key tipping point for the company. Photo – Intel

He told IDFers, â??Our vision is to create a continuum of personal computing experiences that provides consistency and interoperability across all Internet-connected devices in the home, car, office or in your pocket.â??

Still hasnâ??t happened!

Sure, easier systems have made it almost trendy for geeky people and folks who live in studio apartments where the computing, entertainment, dining stations share a corner.

The new PCs (all flavors) are suddenly very smart, very powerful and very economical, according to some intuitive as to your viewing desires.

But they still act like computers no matter what type of skin you put on â??em.

Sure, thereâ??s YouTubeâ??s live-streaming video service, but itâ??s still sitting on a PC.

But you get a hint of the array of contentâ?¦online video talk shows, how-to videos, TV stuff, more.

Of course networks, Hollywood, cable folks arenâ??t warm to Google managing their fortunes; but come on guysâ?¦all Eric wants is a few cents out of every eyeball view.

Then again, the late adopters and mainstream people (70+% of the buying public) just won’t put the computer in the room where they relax.

Apple tried with the AppleTV I and II.  Even with Jobsâ?? sainthood, it is still a “hobby.”

Hard drive people saw the Apple TV and figured what the heck. They’ve done as well as Appleâ?¦they still provide a PC add-on/accessory.

Content Insider #153 — Entertainment Everywhere

TV to PC to TV â?” While a lot of work is being done with chips and surrounding hardware to deliver video and shows to your set from the Internet, presently the PC and its supporting network create enough of a problem that people choose TV on their system or a long cable to deliver the content.

Theyâ??re as emphatic as Willy Wonka, â??But it’s the only way if you want it just right.â??

The poor set-top “champion” has just about left the building or as Willy said, â??Just press a button and *zing*! You’re off.â??

Poster child TiVo has shown virtually no growth for a number of years.

New solutions that donâ??t rely on the cable guy are being made available — one-time payments, low monthly fees, more features/capabilities/options have given new meaning to â??I TiVoed the show.â??

Set-top boxes including Boxxee and Roku are expanding their capabilities to include Internet connectivity and that will help them…a little.

Poor Old TiVo
TiVo and Veruca Salt look at them and say, â??They’re jealous of me!â??

They face a serious struggle for TV-top space with the Wii, PS3, Xbox that are not only already Internet connected but also offer added services like NetFlix.

Oh yeah, they have a USB slot to add storage capacity if you don’t want to watch the show right now.

As another option you can buy a new TV set with cable, Internet connectivity as well as 3D and â?¦

Content Insider #153 — Entertainment Everywhere

Time to Celebrate â?” Now that SD is dead and youâ??ve upgraded to an HD screen, itâ??s time to renew your investment in the next great home viewing solution.   Yes, the industry wants it to include an even newer screen.  Photo — NYTimes

The idea of dropping $1,000 + on another new set when â??good enoughâ?? is â??good enough,â?? is tough to justify.

As Willy said, â??Everybody has had one and one is enough for anybody.â??

To give people the streaming content and more, there are some low-cost add-in solutions that work with your wireless networks and simply connect to your present TV set.

Unlike expensive complete, end-to-end â??ultimateâ?? experiences and mish-mash shopping cart stuff, people simply want an inexpensive, easy-to-install and use answer.

You know, one that can be used with any TV set, a natural controller solution and one with the ability to add anywhere, anytime enjoyment.

As Willy said, â??Little surprises around every corner, but nothing dangerous.â??

Radio and TV broadcasters are struggling to gain, regain and/or grab more eyeballs.

So with the exception of premium same-day events theyâ??re putting their content on the Internet

It goes up immediately or, less than 24-hours later, you can download/view when you want.  But itâ??s still a PC monitor or an Ethernet cable running to the TV.

Here Butâ?¦
True WiFi solutions require a little work, but as Willie says, â??If you want to view paradise, simply look around and view it.â??

Content Insider #153 — Entertainment Everywhere

Streams Everywhere â?” The Internet and a new breed of web sites are streaming content â?” professional, indie and home videos â?” out for people to enjoy or feel sorry about.  The broadcast industry knows tomorrowâ??s entertainment will incorporate online content.  They are still struggling with the monetization issues.

Streaming without cables is something you can get used to!!!

The trick with TV content is that stations/networks usually only leave their stuff up for 2-4 weeks, so if you don’t want to view it right away, you need to grab it/store it on your hard drive for “later.”

Then too, you want a solution that works at home and on your smartphone away from home.

PC approaches work O.K. at home.

The hard drive, set-top units — again at home.

Content Insider #153 — Entertainment Everywhere

Any Screen â?” People want and expect to be able to grab and enjoy their content on any screen â?” TV set, PC, mobile device.   Mobile device enjoyment is quickly becoming the screen of choice by GenY and GenI viewers.   Their criteria are when I want, how I want, where I want.

Most of the smartphone streaming content apps work only for the smartphone — Apple iOS or Android.

Guess theyâ??re the only folks with time on their hands to watch TV, videos!!!

Extendable solutions are needed that allow you to seamlessly grab, show the content when/where you want, how you want.

Some set-top providers offer solutions that “change” the content which can lead to lock-out or â??blockagesâ?? by content owners/providers.

Content owners aren’t certain how they’re going to make money off of the streaming — serious money that is — but they darned well are not going to allow Eric or Steve-come-latelies take money out of their pockets.

Most of the networks and studios have turned a cold-shoulder to Apple’s “generous” offer.  They saw how music industry lost control and theyâ??re not going to repeat their mistakes.

But thatâ??s “professional” content.

Going Live
Thereâ??s a dramatic growth in repurposed content, indie and consumer-level video.  The stuff is actually pretty good to look atâ?¦as good as most of today’s reality shows.

That stuff is being hosted by and sent out from a variety of audio/video sites including YouTube and a ton of others.

Do you get the idea that “TV programs” are similarly going to have a challenge from the new front?

All content viewing is going to change with a mixing and matching of professional and “other” content in the next 12+ months.

Will people pay subscription fees for the content?

Some will.

Thereâ??s always a market for pay-for-view serious theater viewing, special events/sporting venues.

Content Insider #153 — Entertainment Everywhere

Better Message Delivery â?” Tomorrowâ??s â??televisionâ?? viewing will be very personalized in content and advertising messages.   Sure, it might bore dogs; but humans have a relatively short memory, so it will be okay.

But the popular stuff will continue to be advertising subsidized.

Putting up with ads is a small payment with the vast majority of people.

By streaming over the Internet you’re going to be able to view a different breed of ads.  dvertisers will be able to be more personalized in their ads for the individual.

That hasn’t been possible before.

Even with the CW networkâ??s very tight audience profile, they ignore about 60 percent of the audience.

The cable guy has been able to group ads by specific neighborhoods and fairly broad audience profiles.  Thatâ??s still wasting a lot of the advertisers’ dollars (and yes your time).

New software algorithms will change all that.

The idea is that the stuff profiles your viewing habits but stays only on your system.

Content sellers and advertisers can then make available a number of ads that precisely fit that viewer’s profile and they are rotated for your viewing.   They’re less objectionable because they really are of interest to you.

It becomes fun (O.K., almost fun) to watch the content and the ads.

The content owner/distributor will get more per view because it is a precise target.

Your info isnâ??t shared, everyone is happy.

New View
You’ll never look at “commercial TV” the same way again!

As Willy said, â??Invention, my dear friends, is 93% perspiration, 6% electricity, 4% evaporation, and 2% butterscotch ripple.â??

Chris Andersonâ??s Long Tail is going to be easier to enjoy.  The cable 250-500 channels will probably stick around for most folks.

But watch the kids.

The iGeners (10 and below) won’t be able to imagine when they couldnâ??t watch anything — 30-minute old finished/quality videos of Tibetan monk ceremonies, drug busts in Mexico, dumb/dumber adults antics, knitting hints and 24 or Lie to Me segments on personal channels that have one segment stacked up right behind the other.

They’re going to “just expect” they will have their own specific channel or two that funnels any/all of the content they want to watch and the rest is blocked out (by their choice).

It wonâ??t be channel 36 or 360.  It will be Jonâ??s or Louâ??s channel(s).

Content Insider #153 — Entertainment Everywhere

My Contentâ?¦NOW â?” GenI viewers, content users wonâ??t wade through tons of network or search hundreds of websites.  Theyâ??ll simply sit down and enjoy their own personalized content â?” material tailored to their wants, needs, desires.  It will become a network of one!

They wonâ??t waste their time having to click through the rest of the garbage to find just the stuff they want to watch it, when they want to watch it, where they want to watch.

The Internet will play a key role in the TV of the future.   The problem is, it wonâ??t look like a PC the dust settles.

What will it look like?

As Willy said, â??I’m sorry, but all questions *must* be submitted in writing.â??

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NUCODA FILM MASTER FLIES WITH 3D LEGEND OF THE GUARDIANS: THE OWLS OF GA’HOOLE

Digital Vision has today announced that its Nucoda Film Master system has been used to grade and master the new 3D animated feature from Warner Bros Legend of the Guardians: The Owls of Ga’Hoole by Australian animation and visual effects studio Animal Logic. Released on September 24th in the US and October 15th in the UK, the film is expected to be a box office smash.

Directed by acclaimed American filmmaker Zack Snyder and produced by Zareh Nalbandian of Animal Logic, the feature is based on the well known Guardians of Ga’Hoole books by Kathryn Lasky. The story centres on Soren, a young barn owl fascinated by his father’s epic stories of the Guardians of Ga’Hoole, a mythic band of winged warriors who fought a great battle to save all of owlkind from the evil Pure Ones. The film features a number of famous voices including Geoffrey Rush, Helen Mirren, Hugo Weaving, Sam Neill, Abbie Cornish and David Wenham.

 
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The entire 3D grading and mastering was completed on Nucoda Film Master by Animal Logic’s award-winning Head Colourist Eric Whipp. He explains, “For this style of animated film we use compositing mattes to isolate all the characters and parts of the image to create specific looks in detail. In a similar way you might grade a live action film, we do the same except we have the luxury of perfectly cut out mattes for characters.

NUCODA FILM MASTER FLIES WITH 3D LEGEND OF THE GUARDIANS: THE OWLS OF GAHOOLE

“We initially graded the film in 2D to get the look right. Once we got to a point where we were happy, we applied all the settings to the right eye and then switched into stereo mode for final tweaks.  All windows and shapes had to be re-aligned for the right eye, and then we did other alterations such as light level adjustments. Once in stereo mode, layer by layer colour adjustments can easily be made using the Nucoda Film Master. Another useful feature is the system’s Open EXR functionality. All the shots were composited in EXR format, which was great as it was like working with a film negative in the sense that there was range in the highlights that could be pulled back if required.”

He concludes, “The Nucoda Film Master really enhanced the creative process of this production. We literally added hundreds of lens flares in the grade using the system’s Sapphire plugin tools to enhance the story and the look of the film, which really put the icing on the cake.”

NUCODA FILM MASTER FLIES WITH 3D LEGEND OF THE GUARDIANS: THE OWLS OF GAHOOLE

Opening in the US in theatres and IMAX on September 24, 2010, the film will be presented in 3D and distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures.

NUCODA FILM MASTER FLIES WITH 3D LEGEND OF THE GUARDIANS: THE OWLS OF GAHOOLE

About Digital Vision
Digital Vision provides innovative image restoration, enhancement, color correction and data conforming systems that major movie studios, television networks and post-production facilities use to master and deliver feature films, TV programs and commercials.  The company’s Nucoda product line provides a strong suite of products for tapeless and non linear grading for HD broadcast and 2k/4k digital intermediate productions.  The company’s award-winning products are a standard of the media and entertainment industry and are deployed at top facilities and broadcasters around the world.
 
Digital Vision AB was founded in 1988 and is headquartered in Stockholm, Sweden, with three wholly owned subsidiaries, Digital Vision (US) in Los Angeles, California; Digital Vision UK in London, England; and Digital Vision in Hong Kong, China.  The company maintains its global presence through a network of qualified distributors.  Digital Vision is listed on the Stockholm stock exchange.  For further information, go to www.digitalvision.tv.

All trademarks used herein, whether recognized or not, are the properties of their respective companies.

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Digital Vision’s Stereoscopic Toolset Kicks It Up for StreetDance 3D

Digital Vision has broken new ground in Europe by announcing that its stereoscopic toolset was used to grade the 3D feature film StreetDance. German post production facility, Post Republic graded the film using the Nucoda Film Master. StreetDance 3D, from Vertigo Films, made its U.S. premier at the 3D Film Festival in Hollywood.

 Set in London and featuring some of Britain’s top dance talent, the film tells the story of a street dance crew who, in a bid to win the U.K. Street Dance Championships are forced to team up with a group of classical dancers. Shot in 3D, rigs were supplied by Paradise FX who also supplied rigs for major features such as The Hole 3D and My Bloody Valentine.

Digital Visions Stereoscopic Toolset Kicks It Up for StreetDance 3D

Based in Berlin, Post Republic’s grading suite boasts a RealD projection system and silver screen display technology, which applies a polarizing filter system in front of the projector lens and passive polarizing glasses for left eye/right eye separation. Michael Reuter, Post Republic’s Managing Director explains, “We upgraded our Film Master specifically for this project and it has worked extremely well. For a reliable calibration in the grading suite we decided to technically replicate the RealD cinema experience. Our graders wore polarized glasses throughout the session watching the grade on the silver screen and finally mastered onto a stereoscopic DCP. We are very pleased with the results.”

 
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Simon Cuff, Digital Vision’s CEO says, “We are extremely proud to be working with Post Republic on the U.K.’s first 3D feature film and congratulate the filmmakers on its U.S. Premier.  It was exciting to work on the film and to work closely with our clients and colleagues from Post Republic.”

Digital Visions Stereoscopic Toolset Kicks It Up for StreetDance 3D

For information about he screenings at the 3D Film Festival and StreetDance 3D, visit http://www.3dff.org/3DREDCARPET.html

About Digital Vision
Digital Vision provides innovative image restoration, enhancement, color correction and data conforming systems that major movie studios, television networks and post-production facilities use to master and deliver feature films, TV programs and commercials.  The company’s Nucoda product line provides a strong suite of products for tapeless and non-linear grading for HD broadcast and 2k/4k digital intermediate productions.  The company’s award-winning products are a standard of the media and entertainment industry and are deployed at top facilities and broadcasters around the world.
 
Digital Vision AB was founded in 1988 and is headquartered in Stockholm, Sweden, with three wholly owned subsidiaries, Digital Vision (US) in Los Angeles, California; Digital Vision UK in London, England; and Digital Vision in Hong Kong, China.  The company maintains its global presence through a network of qualified distributors.  Digital Vision is listed on the Stockholm stock exchange.  For further information, go to www.digitalvision.tv.
 
All trademarks used herein, whether recognized or not, are the properties of their respective companies.

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The Sony HDR-CX100

The Sony HDR-CX100Big Bang, Small Buck By Douglas Spotted Eagle

AVCHD has exploded on the consumer and pro-sumer scene like a new star at the Oscars, and the CX100 is the newest “actor” in the AVCHD lineup from Sony. Packed into a small body measuring 2″ W x 2.25″ H x 4″ L (including factory battery) and 2″ W x 2.25″H x 5″ L with the more practical NP90 battery, this small “brick” weighs in between 11 and 14 ounces, depending on the battery [Read more...]

Panasonic bolsters AVCCAM line with new camcorder, recorder, and camera head

Panasonic bolsters AVCCAM line with new camcorder, recorder, and camera headCamcorder that captures Full HD to SDHC memory cards is priced at $3195 By John Virata

At Panasonic’s Sunday NAB 2009 press conference, the company announced a new AVCCAM camcorder that weighs less that 2.2 lbs and features full HD 3MOS imagers to capture MPEG-4 AVC/H.264 video in full 1080 and 720 resolution video. According to the company, the AG-HMC40 is capable [Read more...]

Apple and Oranges Productions adds digital sizzle to Broadway marketing with Panasonic P2 HD camcorders

Apple and Oranges Productions adds digital sizzle to Broadway marketing with Panasonic P2 HD camcordersMulti-Purpose Promotional Materials Shot for “Memphis’ with AG-HPX300s, ‘Hair’ Be-In Streamed Live from AW-HE870N POV Camera

Bi-coastal Apples and Oranges Productions, with offices in Southern California and Manhattan, has ramped up quickly since its founding in 2008 to become a notable force on Broadway, with two shows currently on the boards, [Read more...]