NAB 2017: AJA announces new KUMO CP2 control panel

NAB 2017: AJA announces new KUMO CP2 control panel

AJA Video Systems unveiled its new destination-oriented KUMO CP2 Control Panel for plug and play control of AJA’s complete line of compact KUMO SDI routers. Ideal for broadcast environments, it can be used in standalone or networked configurations for KUMO 6464, 3232, 1616 and 1604.

KUMO CP2 features 80 buttons and enables selection of up to 64 sources and 64 destinations on each of up to four KUMO routers in standalone mode or through a built-in GUI accessible from any web browser on the network. The affordable control panel is only 1.3 inches deep, easy to install, eliminates the need to use a Shift key on KUMO 1604, 1616 and 3232, and is backed by a five year warranty.

“Broadcast facilities and OB trucks have come to rely on a standalone control panel to control our KUMO routers, so introducing a compact, new 2RU panel that supports KUMO 6464, 3232, 1616 and 1604 is a natural progression, and we’re thrilled to be showing KUMO CP2 at NAB,” shared AJA President Nick Rashby.

Pricing and Availability
KUMO CP2 will be available soon through AJA’s worldwide reseller network for a US MSRP of $895. For more information, please visit: www.aja.com/products/kumo-cp2.

About KUMO
Compact, robust and built for critical production environments, KUMO compact SDI routers offer flexibility and quality that exceed SMPTE specifications at an unprecedented price. KUMO SDI routers are available in four configurations: KUMO 6464 supports 64 3G-SDI inputs and outputs, KUMO 3232 supports 32 3G-SDI inputs and outputs, KUMO 1616 supports 16 3G SDI inputs and outputs, and KUMO 1604 supports 16 3G-SDI inputs and four 3G-SDI outputs.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

NAB 2017: AJA introduces new solutions for IP workflows

NAB 2017:  AJA introduces new solutions for IP workflows

At NAB 2017, AJA Video Systems announced new firmware for its KONA IP desktop video and audio I/O card, along with two new IP Mini-Converters, significantly expanding flexibility in IP-based workflows. A new KONA IP license option for JPEG 2000, a preview of KONA IP firmware for SMPTE 2110, and new IPT-1G-HDMI and IPT-1G-SDI Mini-Converters will facilitate flexible and cost efficient delivery of work to and from creative suites via 1Gb Ethernet.

KONA IP firmware license for JPEG 2000

The new KONA IP firmware license enables compression and decompression of HD video in real time to/from JPEG 2000 encoded within an MPEG 2 transport stream. Featuring support for TR-01, the update ensures interoperability with other JPEG 2000 systems and devices across the network. It supports three configurations: up to two simultaneous JPEG 2000 outputs, up to two simultaneous JPEG 2000 inputs, or a simultaneous JPEG 2000 input and output to a system running KONA IP. A single KONA IP configuration with the latest Desktop Software v13 installed offers out of the box functionality for a range of creative apps including Adobe Premiere Pro, Apple FCP X, Avid Media Composer and AJA Control Room; dual KONA IP configurations are also supported for more demanding JPEG 2000 workflows for SDK developers.

KONA IP firmware for SMPTE 2110

Coming soon, and being demonstrated at NAB 2017, is the new KONA IP firmware for SMPTE 2110. With support for SMPTE 2110 up to HD rasters, KONA IP will introduce new flexibility for live production professionals by enabling networking with separate essence flows. Broadcasters will be able to synchronize production of audio, video, and ancillary data elements, eliminating the need for embedding/disembedding to/from SDI while also reducing latency. Visitors to AJA’s NAB booth will be able to preview current and forthcoming release features.

IPT-1G-HDMI and IPT-1G-SDI Mini-Converters for IP Workflows

Designed to compliment AJA’s line of IP receiver converters, the new IPT products convert HD video to VSF TR-01 (and other JPEG 2000 formats). IPT-1G-SDI provides two 3G-SDI inputs, and IPT-1G-HDMI has a standard HDMI type A input. The ability to convert baseband video to JPEG 2000 MPEG 2 transport streams allows a source to be transmitted anywhere on a network, and enables IP compatibility with baseband cameras, digital VTRs, routers and switchers. The IPT-1G-SDI and the IPT-1G-HDMI can be used in conjunction with KONA IP, plus the IPR-1G-SDI and IPR-G-HDMI Mini-Converters, to streamline video ingest, exchange and distribution across an IP network including final reception to displays.

“IP adoption and interest are surging; more than 40 vendors have recently demoed SMPTE 2022-6 and 2022-7 interoperability, a number that is sure to grow this year as vendors and facilities look to JPEG 2000 and SMPTE 2110 as a next step,” shared AJA President Nick Rashby. “We’re excited to introduce JPEG 2000 and SMPTE 2110 support for KONA IP along with our new IPT Mini-Converters this year at NAB, which significantly expand what’s possible for facilities embracing IP.”

Pricing and Availability

A KONA IP license for JPEG 2000 will be available to purchase soon through AJA’s website for $250 US MSRP per device. KONA IP firmware for SMPTE 2110 is anticipated to be available soon as a free download from AJA’s support page. IPT-1G-SDI and IPT-1G-HDMI will be available through AJA’s worldwide reseller network soon for a US MSRP of $795 each. For more information, please visit: www.aja.com.

NAB 2017: AJA previews FS-HDR with breakthrough HDR conversion support

NAB 2017: AJA previews FS-HDR with breakthrough HDR conversion support

AJA Video Systems is previewing FS-HDR, an exciting new product delivering breakthrough HDR workflow conversion capabilities. Building on AJA’s flagship FS4, and incorporating the latest HDR technology from Academy and Emmy Award twinning developer Colorfront, FS-HDR provides HDR and Wide Color Gamut (WCG) processing and conversion for realtime 4K/UltraHD and 2K/HD workflows. It will be demonstrated for the first time as a technology preview during NAB 2017 at AJA’s booth, #SL2505.

FS-HDR, a 1RU, rackmount, universal converter/frame synchronizer, is designed specifically to meet the HDR/WCG needs of broadcast, OTT, post and live event AV environments, where real time, low-latency processing, color fidelity and metadata handling are of paramount importance. FS-HDR’s HDR/WCG capabilities leverage video and color space processing algorithms within Colorfront Engine™, specially licensed by AJA from Colorfront, and developed by Colorfront’s CTO Bill Feighter and Lead Engineer Tamas Perlaki, both of whom are Academy Award winners.

Powered by Colorfront Engine™, FS-HDR’s extensive HDR and WCG processing support enables the realtime processing of 4K/UltraHD and 2K/HD, including HDR conversions, and 4K/UltraHD HDR down-conversion to HD HDR. FS-HDR also enables the conversion of popular camera formats from multiple vendors into the HDR space, plus conversion to and from BT.2020/BT.709 as needed, critical for the widespread acceptance of HDR alongside SDR in broadcast and OTT workflows.

“Our AJA FS family of products have been incredibly popular in delivering ultra reliable video and audio conversion needs for anything that comes up on-set, in an OB truck, at a facility or in a live event production scenario,” said Nick Rashby, President, AJA Video Systems. “There has been a rising demand from these markets for a path to support HDR workflows. Partnering with Colorfront is enabling us to solve our customers’ HDR workflow requirements today, backed by Academy Award-winning engineering!”
“AJA’s professional video solutions already provide robust, powerful and cost effective video output for our On-Set Dailies, Express Dailies and Transkoder products,” said Aron Jaszberenyi, Managing Director of Colorfront. “In choosing the new FS-HDR solution with Colorfront Engine™, AJA customers will instantly access many years of Colorfront’s leading-edge research into SDR/HDR and camera output format conversion, plus a sophisticated tone mapping toolset, which delivers technically-accurate and visually pleasing results that retain the creative intent of the original material.”
FS-HDR features will include:

– Realtime HDR to HDR, HDR to SDR and SDR to HDR conversions including BT.2020 to BT.709 color space conversion
Inputs
– SDR BT.709 100 Nits
– PQ BT.2020 1000 Nits
– PQ P3D65 1000 Nits
– Hybrid Log Gamma BT.2100
– Sony® S-Gamut3/SLog-3
– ARRI® Log C Wide Gamut
– Panasonic V-Log
– RED® Log3G10 Wide Gamut
– Canon Log 2
Outputs
– SDR BT.709 100 Nits
– PQ BT.2020 1000 Nits
– Hybrid Log Gamma BT.2100
– Support for two modes:
– Single channel mode for 4K/UltraHD or 2K/HD frame sync and conversion including HDR conversions.
– Four channel mode for simultaneous independent 2K/HD/SD channels for standard conversion and frame sync workflows.
– 4K/UltraHD/2K/HD/SD video processing and up, down, cross-conversion.
– A full range of I/O options for 4K/UltraHD including Quad 1.5G; Dual 3G; and Quad 3G, 6G and 12G over a range of SDI and optional fiber choices.
– SMPTE 2SI I/O support for broad compatibility with 4K/UltraHD devices.
– Four-channel 2K/HD/SD video processing and conversion.
– 4K/UltraHD/2K/HD/SD up, down, cross-conversion.
– SD/SD aspect ratio conversion.
– HD/HD cross-conversion (720p/1080i).
– A 1RU frame offering space, power and cost efficiencies ideal for broadcast trucks, and post production or broadcast settings.
– Audio I/O processing with a 272×208 matrix of audio possibilities; support for a flexible range of audio feeds from discrete AES to MADI and embedded SDI audio, with each audio input offering sample-rate conversion.
– Simple operation, a redesigned menu structure and quick access to features via front panel buttons, as well as a web-based UI offering control over a LAN or across the web.

FS-HDR is being demonstrated as a technology preview only. Pricing and availability details will be coming soon. For additional information about AJA’s existing line of FS products, please visit: www.aja.com/family/fs.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

NAB 2017: AJA launches Ki Pro Ultra Plus with 4-channel HD recording and HDMI 2.0 support

NAB 2017: AJA launches Ki Pro Ultra Plus with 4-channel HD recording and HDMI 2.0 support

AJA Video Systems today announced Ki Pro Ultra Plus, introducing 1, 2, 3 or 4-Channel simultaneous HD recording up to 1080 50/60p, and full HDMI 2.0 (up to 12-bit capture and output) for 4K/UltraHD workflows.

The new Ki Pro Ultra Plus is ideal for recording multicam shoots in HD multi-channel mode, and 4K/UltraHD recording and playback in single channel mode. Ki Pro Ultra Plus is housed in a compact, easy to operate, standalone 2RU half rack and has broad I/O flexibility and connectivity options including 3G-SDI, HDMI 2.0 and optional fiber connections. Ki Pro Ultra Plus captures pristine 4K/UltraHD and HD video to widely accepted production codecs including Apple ProRes and Avid DNxHD MXF.

Four channels of HD can be recorded simultaneously as Apple ProRes files, each with different compression profiles as desired, to robust AJA Pak 1000 SSD media. Ki Pro Ultra Plus includes the proven Ki Protect technology, ensuring that in the event of power failure or inadvertent withdrawal of a Pak drive, recently recorded footage is always secure. All four channels can be displayed on Ki Pro Plus’ LCD screen as a quad-split during capture for confidence monitoring, as well as the ability to output the quad-split over HDMI, SDI, and even on the integrated browser based web UI during capture.

“What sets Ki Pro Ultra Plus apart is the combination of multi-channel HD recording, 4K recording and playback, full HDMI 2.0 support, a full featured web-based UI for control and configuration, and Ki Protect providing peace of mind on all productions” said Nick Rashby, President, AJA Video Systems. “Our Ki Pro family is one of our most popular product lines and this latest addition adds some of the most requested customer features.”

Ki Pro Ultra Plus Features:

– Flexible HD recording options: 1, 2, 3 or 4-Channel HD recording at up to 1080 60p with independent ProRes codec profile support for each channel.

– 4K/UltraHD/2K/HD recording to Apple ProRes or Avid DNxHD MXF.

– HDMI 2.0 support allows for full 4:2:2 and 4:4:4 capture and output at up to 4K/UltraHD 60fps.

– 12-bit support on input for Apple ProRes 4444 and ProRes 4444 XQ encoding and HDMI 2.0 input and output.

– Built-in Ki Protect ensures recordings aren’t lost in a power failure.

– Broad video connectivity including fiber cages, 3G-SDI, and HDMI 2.0.

– Multi-channel audio support via embedded SDI or HDMI, AES/EBU, and Analog.

– WebUI enables remote monitoring, control and deployment on the field or in the studio, via a standard web browser.

– Compact 2RU high, half rack width form factor.

– Records to reliable and rugged AJA Pak SSD media, with options for recording to eSATA.

– Includes AJA’s renowned three year international warranty.

Pricing and Availability
Ki Pro Ultra Plus will be available soon through AJA’s worldwide reseller network at a US MSRP of $3995. AJA’s Pak SSD media is compatible with Ki Pro Ultra Plus and available as: AJA Pak256 $495, AJA Pak512 $995, AJA Pak1000 $1495.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

NAB 2017: DJI’s Ronin 2 is ready to take 30lbs of camera

NAB 2017: DJI’s Ronin 2 is ready to take 30lbs of camera

It’s been a relatively quiet NAB in terms of production kit but this new gimbal from DJI has cheered us up no end, mostly by being twice as strong as the previous Ronin and having the most dramatic launch video we’ve seen in a while. 

The original Ronin was a big hit, and this follow-up takes everything we loved about that and adds a touchscreen control surface and support for an extra 15lbs worth of kit. It means your camera can now weigh up to 30lbs (13kgs), while its carbon fibre framework keeps the Ronin itself relatively light. The Ronin 2’s batteries can also be used to charge your camera, so you can remove the camera’s battery in order to free up more weight for accessories if needed.

Ronin 2 is cable cam ready, but can also be used as a car mount or for handheld shots. A quick release mechanism included to help cut down on setup times, and integrated knobs make it easier to make adjustments on the fly.

The Ronin 2 can survive speeds of up to 75mph, and its dual batteries are now hot swappable, so you can spend several hours performing the sort of death-defying stunts seen in the video without ever needing to stop, if that’s how you like to spend your time.

DJI are aware that in these moments of peril, you may not be within reach of the Ronin 2’s ultra-bright touchscreen, so have developed a wireless remote control you can use instead, as well as a revamped Ronin Assist app.

For more info, take a look at this interview from NewsShooter, who are frankly nailing this whole ‘NAB coverage’ thing:

NAB 2017: DJI Ronin 2 from Newsshooter on Vimeo.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

Avid introduce new Media Campus licensing options and courses for HE

If you’re teaching creative subjects to HE students, you’ll know how important it is to get them using industry standard tools before they’re let loose in the workplace. Avid know this too, and are lauching a new Media Campus initiative to make it easier for colleges and universities to get access to their industry-leading tech. 

The programme is designed to help universities adopt Avid solutions campus-wide, using the Avid Media Central platform to link Media Composer and Pro Tools projects to each other (and Avid NEXIS shared storage) to enable a professional multimedia workflow for production and post.

Media Campus programme

Members of the programme will be eligible for volume licensing on Avid software (to encourage campus-wide deployment), further discounts on Avid solutions including  NEXIS storage, MediaCentral | UX, Interplay, PlayMaker, Pro Tools | HDX, Pro Tools | HD Native, Avid DNxIQ, Pro Tools | S6, Avid VENUE | S6L, Maestro, and more. Your Media Campus membership would need to be renewed annually, the same as your software maintenance contract.

As well as providing universities with software and hardware at a discount, the programme would host regional and campus events to help students build links with industry, support student film festivals and music competitions, and promote the university in the Avid Directory to help recruit new students and connect graduates to employment opportunities.

Middlesex University have been trialling the system and Faculty Technical Manager Daniel Sosnowski said: “The Avid Media Campus program will enhance and strengthen students’ experience with the advanced tools and workflows used by real-world production facilities, significantly boosting their employment prospects. Investing in Avid NEXIS and Interplay | Production has enabled us to facilitate remote access to media and we’ve seen notable workflow improvements as a result.”

Find out how Middlesex and other universities got on in the official press release.

Media Composer | First

And if students want to work on their projects at home, the good news is that they can now get a free, slightly slimmed down version of Media Composer – Media Composer | First.

Following the same model as last year’s Pro Tools | First, Media Composer | First gives users access to four video tracks, eight audio tracks, and a host of built-in visual effects, transitions, colour correction presets and titling templates, so aspiring editors can put their projects together using a toolkit virtually identical to the one they’ll see in the workplace.

Media Composer | First also allows easy sharing, with one-click publishing to popular social media channels including YouTube, Vimeo and Facebook.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

 

NAB 2017: EditShare will showcase ‘small business friendly’ EFS 200 and EFS 300 servers

NAB 2017: EditShare will showcase ‘small business friendly’ EFS 200 and EFS 300 servers

EditShare, a technology leader in intelligent shared storage and media management solutions, announced the introduction of the XStream EFS 200 and XStream EFS 300 storage products.

Like other XStream EFS products, these new products are based on the EditShare File System and provide dynamic performance and impressive fault tolerance while streamlining administrative tasks and providing a plug-and-play upgrade path. Unlike other XStream EFS products, however, the new EFS 200 and EFS 300 are the first to provide the option of starting with a simple, affordable and scalable single node solution that also includes the Flow Media Asset Management and Ark Media Archive applications.

This combination of complete workflow support, right-sized capacity and cutting-edge scale-out storage features is ideal for equipping small or emerging media operations and can also become their long-term enterprise grade shared storage platform.

“Obviously, developing an easy-to-manage, high-performance, fault-tolerant scalable shared storage platform that scales out to meet the capacity and bandwidth needs of a typical media enterprise isn’t an easy task. Perhaps even more difficult is the task of developing one that also scales in to meet the needs of small or emerging video companies,” comments Bill Thompson, EditShare storage product manager. “Our new XStream EFS 200 and EFS 300 are a great option for the thousands of smaller companies where a multi-node cluster is simply overkill for their needs.”

The premium XStream EFS storage platform is a powerful, distributed, scale-out file system combined with a highly resilient architecture, specifically developed for media intensive workflows. It’s designed from the ground up to support large-scale workgroups requiring high-bandwidth, high-volume media ingest, transcoding, online collaborative editing and multi-platform distribution of HD, 2k, 4k and beyond. Whether a one-node or multi-node system, every XStream EFS model can easily be expanded to increase capacity and bandwidth. For ease of use and administration, all XStream EFS systems present a single namespace, regardless of the system size. And unlike many SAN storage solutions, the performance of XStream EFS does not decrease as storage use increases. Its continual optimal performance and outstanding reliability are backed by RAID 6 technology.

Single Node, all-in-one introductory bundle
For a limited time, EditShare is including a free All-in-One upgrade with the first Single Node EFS system purchased at any site (but only one per facility). A value of up to 13,000.00 USD, the EditShare All-in-One kit includes the extra RAM needed to run Flow, Ark and EFS metadata functions all in one box, plus Flow and Ark software.

XStream EFS 200 configuration options
The XStream EFS 200 is a single-node configuration with 12 enterprise-grade HDDs offering 24, 48, 64, 96 or 128 TB of raw storage capacity in a 2U space saving form factor. The XStream EFS 200 is “EFS Native Client” compatible. Client workstations connect via a lightning-fast, multi-threaded client to achieve a performance boost of 20% or more compared to legacy SMB and AFP network protocols. In addition to media management capabilities like advanced project sharing, the XStream EFS 200 ships with five Flow production asset management licenses and an Ark archiving application. For a full description of the XStream EFS 200 model, please visit http://www.editshare.com/products/xstream-efs-200.

XStream EFS 300 Configuration
For customers who need greater capacity and lower cost per TB (usable) than is available with XStream EFS 200, they can step into the XStream EFS 300. Equipped with 16 drives, the XStream EFS provides 28, 56, 84, 112 or 140 TB of usable capacity in a 3U chassis. Along with increased capacity, the EFS 300 has additional processor power delivering increased bandwidth capability and stream counts. Like the EFS 200 series, the EFS 300 is “EFS Native Client” compatible and benefits from a performance boost of 20% or more compared to legacy SMB and AFP network protocols. In addition to media management capabilities such as advanced project sharing, the XStream EFS 300 ships with 10 Flow production asset management licenses and an Ark archiving application. For a full description of the XStream EFS 300 model, please visit http://www.editshare.com/products/xstream-efs-300.

NAB 2017 attendees can book a private demonstration with an EditShare expert to discuss their shared storage needs and how EditShare solutions can help at: http://www.editshare.com/book-nab-demo.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

 

NAB 2017: JVC to demo ProHD Bridge workflow in Vegas

NAB 2017: JVC to demo ProHD Bridge workflow in Vegas

JVC will showcase its end-to-end live production workflow, as well as a number of product enhancements and technology demonstrations, at the 2017 NAB Show (Booth C4315).

With the ProHD Mobile Bridge and the new ProHD Portable Bridge, JVC has created robust bonded cellular solutions for ENG and multi-camera live productions. The technology has been successfully deployed in several challenging frequency environments, from the PGA National Resort during the Honda Classic to the streets of Philadelphia during the Hot Chocolate 15k/5k race earlier this month.

At NAB, JVC will demonstrate the JVC Command Center, a command and control workstation, which can access all the active “Bridge” cameras in an organization and superimpose their locations over a street map with live image previews. The workstation will also allow the operator to access each Bridge camera on the network, take control, or manage settings.

JVC is also unveiling the ProHD Studio, a portable, four-channel live production and streaming system. Designed to support HD-SDI, HDMI, or IP cameras, the ProHD Studio offers integrated camera control and ISO recording for each camera, full PTZ control of JVC KY-PZ100 cameras, and HD program recording and simultaneous RTMP and MPEG-TS output. The ProHD Studio also supports external signals with keying for PowerPoint and other sources.

Other features include an integrated audio mixer, CG, four key layers, dual-monitor support with PIP and split-screen layouts, built-in encoder for live streaming, and direct streaming integration for JVC VIDEOCLOUD and Facebook Live. When combined with the optional SCOREPLUS real-time sports CG software, the ProHD Studio becomes a complete multi-camera sports production system with professional overlays, scores, and slow-motion replays.

“The ProHD Studio is the component that completes JVC’s complete end-to-end news and multi-camera live production workflow,” said Craig Yanagi, product marketing manager, JVCKENWOOD. “Our ProHD and 4KCAM cameras deliver the industry’s best acquisition options for ENG and multimedia journalists, while our ProHD Bridge products transmit the signals back to the studio. The ProHD Studio can handle the production and stream live programming, while our ProHD Broadcaster can deliver live, time-shifting, or on-demand playout. Our JVCVIDEOCLOUD delivers the final program to any number of viewers around the world using the robust Akamai network. ”

Camera and control upgrades

New upgrades to JVC’s GY-HM850 and GY-HM890 cameras include integrated IFB channels. Introduced last year for the 600 Series of ProHD mobile news camcorders, the IFB upgrade allows field reporters and camera operators to communicate with the studio while streaming live HD reports. Other improvements include support for JVC VIDEOCLOUD, JVC’s new online video and live streaming platform, as well as additional live streaming formats. The free firmware upgrade for all GY-HM850 and GY-HM890 customers is available now.

The Version 4.0 firmware upgrade for the popular GY-LS300CH 4KCAM Super 35 handheld camcorder will bring significant improvements. The free upgrade, which will be available in late May, increases color resolution to 4:2:2 in 4K mode recording and expands Ultra HD (3840×2160) output to include 60/50p. The upgrade also provides 4:2:2 (8-bit) 4K recording at 24/25/30p onboard to SDXC media cards. Plus, the GY-LS300CH can output Ultra HD at 60/50p via its HDMI 2.0b port. It will operate seamlessly with the new Atomos Ninja Inferno and Shogun Inferno monitor recorders, triggering recording from the camera’s start/stop operation.

With a free firmware update available in September, JVC is upgrading its RM-LP100 remote camera controller to act as a virtual CCU for any JVC ProHD or 4KCAM camera with integrated IP technology. The upgrade creates a CCU for several camera models that do not have a CCU option. With support for up to 100 cameras, the RM-LP100 will perform white balance and painting adjustments, plus provide color bars, tally control, and more. The RM-LP100 upgrade can save thousands of dollars for studios, particularly for installations where PTZ cameras and studio cameras are used together.

JVC is also expanding its on-board customized titling solutions, which are helpful for single-camera productions. In late 2015, the company introduced the GY-HM200SP 4KCAM camcorder with embedded score panel graphics for sports coverage, and last fall added the GY-HM200HW, which features integrated graphics and congregation-specific text for houses of worship. In response to customer recommendations, both cameras will be upgraded through a free firmware upgrade in July to allow full-screen graphic overlays.

Users can add graphics (.JPG and .PNG formats) via an SD card and store them in the camera for future use. As a result, live events can open and close with full-screen graphics, which creates a more polished production, and GY-HM200SP users can create graphic loops that present advertising during halftime or other extended breaks in the action. The firmware upgrade will also include hockey-specific scoring for the GY-HM200SP. JVC will also have a technology demonstration that combines its sports overlay technology with a KY-PZ100, potentially for use in gymnasiums and other permanent installations.

Technology Demonstrations

A new partnership with IBM is central to a unique technology demonstration of real-time multilingual captioning within a single camera. During NAB, JVC will show how the integration of JVC PTZ cameras and IBM’s “cognitive-over-IP” cloud computing can revolutionize real-time captioning.

Audio from the KY-PZ100 PTZ network video production camera is transmitted via IP to the IBM supercomputer in the cloud, which automatically provides speech-to-text conversion and sends the data back to the camera (translated in multiple languages, if requested). Users can create a text overlay in the camera for recorded footage or for live captioning during streaming of lectures, worship services, or government meetings.

NAB attendees will also have a technology demo of JVC’s virtual reality (VR) glasses and its 360-degree camera. The camera outputs live, distortion-free 360-degree panoramic video, and detects and tracks objects and motion.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

NAB 2017: Adobe propels video forward

NAB 2017: Adobe propels video forward

Ahead of the National Association of Broadcasting (NAB) conference, Adobe today announced a major update for video in Adobe Creative Cloud to help filmmakers and video producers collaborate and streamline video workflows.

The Creative Cloud release, available today, delivers new features for graphics and titling, animation, polishing audio and sharing assets; support for the latest video formats, such as HDR, VR and 4K; new integrations with Adobe Stock; and advanced artificial intelligence capabilities powered by Adobe Sensei. Announced at Adobe Summit 2017, Adobe Experience Cloud also allows brands to deliver connected video experiences across any screen at massive scale, while analyzing performance and monetizing ads.

Technology advancements and exploding consumer demand for impactful and personalized content require video producers to create, deliver and monetize their video assets faster than ever before. From the largest studio to next generation YouTubers, a scalable, end-to-end solution is required to create, collaborate and streamline video workflows with robust analytics and advertising tools to optimize content and drive more value.

“I’ve been using all of the Adobe creative programs as part of my visualization process since the early days in movies including ‘The Aviator,’ ‘Avatar’ and ‘Hugo,’” said Rob Legato, a three-time Academy Award winner and VFX supervisor of “The Jungle Book.” “Over the years, technology has improved steadily, largely due to Adobe’s groundbreaking innovations such as Dynamic Link between Adobe Premiere Pro and After Effects, Cinema 4D integration with After Effects, and native workflows. I rely on Creative Cloud to help me pre-visualize and freely experiment on all my films, creating an opportunity to take our creative process to the next level.”

“Our heritage is taking complex challenges and simplifying them so you can concentrate on storytelling and professional, quality work,” said Steven Warner, vice president of digital media at Adobe. “The newest Creative Cloud video release integrates the advanced science of Adobe Sensei to make common tasks faster and easier. All video producers – whether they’re part of the major media companies or up and coming YouTubers – can now bring their creative vision to life without having to be motion graphics or audio experts.”

Attendees at this year’s NAB can get a closer look at the newly available features and hear from industry experts at the Adobe booth (#SL4010, South Hall in the Las Vegas Convention Center) and at over 140 partner booths from April 24–27.

New Capabilities Power Creativity From Start to Finish

The new capabilities in Creative Cloud video tools include:

Motion Graphics Templates now bring the power of After Effects to Premiere Pro through easy to use templates, allowing creators to add beautiful titles, animations and lower thirds to their videos and create custom motion graphics templates which can be shared via Creative Cloud Libraries.

Essential Sound Panel in Premiere Pro lets users make audio mixes and sound improvements that in the past would have required a dedicated session by an audio engineer.

Camera Shake Deblur in After Effects rescues unusable footage by reducing motion blur that often occurs with camera shake.

Character Animator (beta) continues to invent the future of live animation with new technology that now animates multiple puppets created in Adobe Photoshop CC or Adobe Illustrator CC, and embraces full body animation with new walk cycles.

Team Projects (beta) allows Creative Cloud for teams or enterprise members to have a secure cloud-first collaborative workflow with new support for Dynamic Link and Adobe Media Encoder to streamline collaboration.

Ambisonic audio in Premiere Pro expands on its best-in-class native support for VR with positionally-aware audio for VR enabled platforms like YouTube and Facebook.

Hundreds of third-party integrations including Apple Touch Bar support for MacBook Pro and new Microsoft Surface Dial functionality in Premiere Pro with shuttle control in the timeline as well as changing hot float and text values.

Powered by Sensei

Leveraging Adobe Sensei, Adobe’s artificial intelligence and machine learning framework, users can now automatically normalize audio loudness across an entire timeline with a single click in Premiere Pro or Audition. In Character Animator, Sensei applies complex algorithms in real time to ensure a puppet’s lip synch is perfect. Within Adobe Experience Cloud, a video recommendation engine learns from hundreds of billions of online video consumption points to surface for audiences the most relevant content.

Integration with Adobe Stock

Deeply integrated into Creative Cloud workflows, customers have access to millions of Adobe Stock video assets, including 4K and HD, and the ability to search and scrub through video directly in the application. New to this release, editors looking to sell their work can now effortlessly contribute to Adobe Stock through the Destination Publish workflow inside Premiere Pro and Adobe Media Encoder, and reach millions of creative buyers. Adobe’s Destination Publishing already supports the world’s top social video sites, publishing to YouTube, Facebook, Twitter and Behance in one easy step.

“I have been shooting, editing and uploading stock footage for over a decade. The new ability to contribute to Adobe Stock straight from Premiere Pro is an incredibly valuable tool that makes uploading and selling stock much quicker and easier to do. This new feature is a true game-changer for stock footage producers,” said Robb Crocker, CEO of Funnelbox and author of “Stock Footage Millionaire.”

Introducing Pond5 for Adobe Stock

Additionally, Adobe today announced a partnership with Pond5 further expanding the video offering in Adobe Stock. Sourced from an international community of artists across a mix of modern, highly sought after content themes, such as lifestyle, recreation, sports, cinematic and aerial footage, the addition of Pond5 video library will give video producers and designers access to one of the industry’s largest and fastest-growing collections – all natively integrated into Creative Cloud applications. As part of the Adobe partnership, Pond5’s contributors will also be able to reach an even bigger market of creative buyers. (See blog post for more details).

Integration with Adobe Experience Cloud

As the needs of video creators – from creative agencies to media companies – change to reflect a data-driven future, Adobe Experience Cloud benefits the entire video journey, from delivery, to measurement and monetization across screens. Through Adobe’s TV Media Management platform, media companies and broadcasters can leverage analytics to give advertisers true audience-based targeting and more accurate forecasting. Adobe Analytics Cloud enables the measurement of performance video content published to social media channels within Premiere Pro and ensures video ads are targeted and forecasted with a high degree of accuracy.

Adobe Advertising Cloud bridges the gap between traditional TV and digital video advertising, streamlining the ad planning and buying process, enabling deeper collaboration with creative agencies through dynamic creative optimization (DCO), and ensuring maximum brand safety for video ads with the most third party integrations in the industry.

Pricing and Availability

The new features for Adobe Creative Cloud announced at NAB are now available with the latest version of CC 2017. The company is offering Adobe Creative Cloud for U.S. $49.99 a month. For more information, visit http://www.adobe.com/go/video. Multiple subscription plans for Adobe Stock are available at https://stock.adobe.com/plans.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

NAB 2017: Sony goes Beyond Definition at NAB 2017

NAB 2017: Sony goes Beyond Definition at NAB 2017

At NAB 2017, Sony is highlighting innovations in imaging, High Dynamic Range (HDR), IP and media solutions that enable the creation of dynamic content and increase workflow efficiencies for a range of applications and productions.  

“In addition to driving the latest technological trends and innovations, Sony is honing our focus on the customer experience to become a long-term, strategic partner for our customers,” said Richard Scott, Head of Media Solutions, Sony Professional Solutions Europe. “At NAB we will be displaying new products, updates to current products and a range of workflow solutions that meet the ever-changing needs of customers – from 4K live to HDR to IP live production, media solutions, asset management and everything in between – allowing them to be in control of their future.”

At NAB, Sony will show products and technologies covering image capture including system cameras, handheld acquisition, ENG camcorders, motion picture cameras, interchangeable lens cameras, event production and compact production; HDR including select professional cameras and monitors: IP Live Production including live, high frame rate production servers and production switchers; and media solutions including storage, cloud and media asset management.

At NAB this year, Sony further evolves its 4K live solution adding metadata workflow to provide efficient content management over a Share Play-enabled network, allowing users to save significant time from production to on-air.

For HDR, Sony offers systems, workflows and choices of recording formats that deliver unprecedented flexibility in every HDR production. Sony has already established its SR Live for HDR workflow, a straightforward system enabling an efficient workflow for simultaneous production of 4K HDR and HD SDR.

Sony is also expanding its HDR capabilities in two enhancements, HD HDR Live broadcasting and Instant HDR workflow. Sony can offer the widest choice of video formats depending on users’ production requirements.

Sony is highlighting its IP Live Production workflow. Broadcasters around the world are increasingly embracing IP for its proven ability to deliver quality live 4K video, audio, synchronisation signals and control data through a single network cable. At NAB, Sony is highlighting its IP end-to-end capabilities, as well as its compatibility with industry standards such as SMPTE ST2110, ST2059 and NMOS IS-04.

For NAB 2017, Sony will introduce a range of new workflow solutions including:

XDCAM Air – Cloud-based ENG subscription service. This comprehensive ENG workflow platform bridges the field assets with the station infrastructure enabling speed to air. From shooting to post-production, XDCAM Air harnesses the power of cloud computing and XDCAM.

With XDCAM Air, camera operators and news crews now have the ability to work more quickly and efficiently, concentrating on the story at hand, with the camera directly integrated into the workflow.

Version 1.0, releasing in June, will provide intelligent functions such as live streaming, XDCAM mobile compatibility, and metadata workflow. XDCAM Pocket is XDCAM Air’s mobile application which can turn a smartphone into a small ENG camera by transmitting a quality live stream through the mobile device’s LTE network using QoS stream mode.

XDCAM Air will be interoperable with most of major systems, both from Sony and 3rd parties. Sony will continue to develop new features and workflow for XDCAM Air, with further versions planned to support content management, enhanced device control as well as edit integration with NLEs.

Media Backbone Hive orchestrates all phases of the familiar, tried and trusted news workflow that thousands of broadcasters depend on. Powerful yet intuitive applications are provided for planning, ingest, browsing, editing, publishing, playout, archive and management functions. Its outstanding technical achievement won the prestigious IABM Peter Wayne Award for Design and Innovation.

RTV Oost, a regional broadcaster in the Netherlands has selected Media Backbone Hive to streamline and future-proof its news operations, becoming the first European regional broadcaster to introduce the end-to-end media production solution from Sony.

Media Backbone NavigatorX delivers easier, quicker and more efficient asset and workflow management. Designed to suit multiple modern workflow environments, it allows users to manage assets in a range of formats, with flexible options for production, archiving and workflow automation.

Optical Disc Archive Generation 2 provides a secure long term archive based on Sony’s proven optical disc format, rated with a 100 year shelf life, and designed to achieve 3.3TB capacity on a single cartridge.

Acceptance of Optical Disc Archive has been steadily growing with the following new customers including Christian Broadcasting Network, Embassy Row, Golf Channel, National Film Board of Canada, The Voice, and Wells Fargo. Developers and vendors can incorporate Optical Disc Archive Generation 2 into their own compatible products, with Sony ready to provide technical support to facilitate product development. The latest partner products for Optical Disc Archive include: NLTek for Avid Interplay, QStar Archive Manager, SGL FlashNet, StorageDNA DNAfusion, Object Matrix, XenData.

Other new Sony products at NAB include:

Monitors – Sony is highlighting a range of new and upgraded OLED and LCD HD monitors.

Version 2 firmware update allows new enhancements for on-set, Cinematography, Broadcast and graphics application, such as the new ITU-R BT.2020 and Adobe RGB colour spaces, and more. Applicable models are:
– TRIMASTER EL OLED HD picture monitors: The PVM-A250/A170
– LCD HD production monitors: LMD-A240/A220/A170

The new LMD-B240 is an affordable LCD basic grade full HD production monitor, with a lightweight and slim body for easy installation with natural ventilation (no cooling fan). The monitor is equipped with two HD-SDI, one composite and one HDMI inputs, as well as HD, SD formats, different frame rates, interlace, PsF, and progressive modes. The monitor uses the same video processing as the PVM-A series providing similar accuracy and low video latency. It also shares the same user interface with a unique Sync-Free Side by Side function.

AXS-AR1 – AXS memory and SxS memory card reader using a Thunderbolt 2 interface. The Thunderbolt 2 connector also enables daisy-chain operation. This new reader is Sony’s first card reader to have a card slot which can be used for both AXS Memory A-series and SxS Memory card slots. The versatile reader supports simultaneous recording workflow, i.e., RAW (or X-OCN) and XAVC (or MPEG50) files recorded by F55/F5 and AXS-R7. The new AXS-AR1 offers ultra-fast transfer speeds to reduce time on set or during Ingest of the recorded material.

DVF-EL200 – The DVF-EL200 is a high quality full HD (1920×1080) OLED viewfinder for the F55 and F5 that offers easy focusing and framing. With nearly twice the brightness of Sony’s DVF-EL100 and enhanced usability, the viewfinder is durable and resistant and can be quickly and easily attached to the CBK-55AT viewfinder stay for use with the F5 and F55 cameras. It features an improved eye sensor for increased sensitivity and better positioning, along with enhanced brightness, contrast and peaking level settings.

– UMC-S3CA – This new model is an Ultra high sensitivity 4K interchangeable lens video camera with a full frame sensor. Its Genlock support enables users to operate multiple cameras in synchronisation and widens the camera’s range of applications, such as shooting from multiple points or Virtual Reality use. Its small and light weight size make the camera easy to install on cranes and sliders ideal for crash cam use to capture exciting images from different angles and height.

– Ruggedised HDDs – PSZ-HC1T (1TB), PSZ-HC2T (2TB) – Improving on Sony’s previous HDDs, the redesigned 1TB and 2TB shuttle drives feature an extremely durable USB Type-A tethered cable and Type-C port, ideal for memory card backup in the field. The new bus powered HDDs, come pre-formatted in exFAT, are highly shock, splash and dust resistant and come packaged with a sturdy library box for additional content protection during shipping or storage. High speed data transfer has also been increased to up to 138MB/s (read/write) making any backup or storage operations even more efficient.

Sony’s free Memory Media Utility software download available at www.sony.net/mmu extends the value proposition by providing a record / rewrite life indicator, simultaneous content backup to multiple destinations, a re-formatting tool and much more.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.