NAB 2013 news: Video – The Atomos Samurai Blade

Not satisfied with Atomos’ Samurai Blade press release? Try this handy video instead. As well as running down the key specs and explaining functionality that you’ll find across the Atomos range, it also showcases the Blade working with various DSLRs (including our personal favourite, the Canon 5D MkIII) and camcorders from RED, ARRI, JVC, GoPro and more.

Atomos NAB 2013 from Atomos Video on Vimeo.

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NAB 2013 news: PROMISE Technology Unveils Shared Scale Out SAN Storage Solution

“PROMISE’s new VTrak A-Class is Fast, Easy to Use, Scalable, and Dramatically Reduces the Cost and Complexity of SAN Deployments” according to their press team…

LAS VEGAS, April 8, 2013 – Today at the 2013 NAB show, PROMISE Technology, Inc., a leader in developing high-performance RAID storage solutions for the media and entertainment market, unveiled a comprehensive, low cost turnkey scale out SAN storage solution for big data : the new VTrak A-Class.  Developed with creative professionals in the media and entertainment market in mind, the VTrak A-Class is ideally suited and feature optimized to the storage intensive workflows of post-production, broadcast and data asset management and archiving. PROMISE’s new storage solution enables multiple clients running Windows®, Mac OS® X or Linux to access a shared SAN filesystem over Fibre Channel.

As an all-in-one SAN solution, the VTrak A-Class eliminates the need to purchase a separate primary metadata storage server, secondary metadata storage server, metadata storage device/array in order to create a SAN solution. A single integrated vendor solution is easier to deploy, more energy efficient, and more cost effective.

PROMISE has a strong foothold and long history in the post-production, broadcast and data asset management markets. From collaborating and editing post-production video to storing archives, creative professionals process massive quantities of large, high resolution files on a daily basis. Excellent throughput is crucial to these data intensive tasks, and the VTrak A-Class meets and exceeds the increased performance requirements that are typical of the media and entertainment industries. When designing the VTrak A-Class, PROMISE worked closely with customers and partners who voiced the need for a single vendor SAN storage solution that would address the challenges they faced – including increasingly complex shared storage at high acquisition costs. As an integrated SAN solution, the VTrak A-Class reduces the complexity of a SAN configuration to a single unit and single unified managed software, with a low cost for entry into a solution you can “pay as you grow”. Requiring zero server hardware, the new solution allows for high-performance collaborative editing right out of the box, using PROMISE’s high performing, low latency filesystem, VTrakFS.  Additionally, the VTrak A-Class simplifies support and makes it easy to grow the system all the way up to 7 plus petabytes – all while remaining online and without downtime.

“At Tekserve we serve creative professionals at all levels, including some of the biggest names in the post-production and broadcast environment,” said Aaron Freimark, CTO for Tekserve. “They count on us to provide the best in technology, sales and service, and that is what makes PROMISE’s new offering such a great fit for us. From simplifying SAN deployments so our customers can get their workflows up and running in almost no time, to bringing the high-end performance they demand to get their projects done faster – the VTrak A-Class meets some very specific needs of the media and entertainment industry.”

The VTrak A-Class enriches PROMISE’s dynamic portfolio of storage solutions for rich media applications. The new solution delivers high-performance file sharing for nearly all aspects of media and entertainment, including video, film and broadcast, at a fraction of the cost of its competitors.

“PROMISE has become a trusted supplier to the media and entertainment market by developing fast, simple, scalable, cost effective storage solutions,” said James Lee, CEO, PROMISE Technology. “More than just a storage system, the VTrak A-Class builds on this legacy and moves beyond storage with a world-class SAN filesystem infrastructure. This makes it an excellent solution for companies that have high-performance digital video requirements and want to maximize the efficiency of their storage infrastructure.”

Key Benefits Include:
– High-performance, low latency over a shared SAN optimized for high definition resolution, providing over 5,500MB/s Sequential Read and 2,400MB/s Sequential Write performance, per node up to eight nodes.
– Collaborative editing right out of the box.  No additional cost of switch needed for up to 4 clients, which means no additional equipment besides “one box”.
– Supports heterogeneous environments for Mac OS X, Windows and Linux.
– Single vendor solution – SAN server and data all in one box under a browser-based management GUI.
– 30-40% Power savings with at least 30-40% less required rackspace for additional servers, and switches.
– Scale Out performance with capacity by adding eight VTrak Ex30f series subsystem storage nodes. Total capacity is 4TB SAS HDD x 1,920 = 7.68 PB raw storage
– Single pane management software to manage the SAN server, storage nodes and clients means easy deployment and manageability in a fraction of the time of traditional storage solutions.
– Perfect Rebuild is available to reduce drive rebuild time. Advanced anti-fragmentation reduces latency and improves overall performance.
– Efficient and easy user management through LDAP Active Directory & Open Directory support, Access Control List (ACL).
– Grow to over 7 plus petabytes, always online and all without downtime.
– Single appliance offers up to 50% cost savings over current solutions.
– Optional NAS Clustered Gateway
PROMISE is showcasing the new VTrak A-Class at NAB 2013 in Las Vegas, Nevada from April 8 – 11 at booth #SL9324. NAB attendees can also see hands-on demonstrations of PROMISE’s complete range of storage solutions for creative professionals, including the SANLink Fibre Channel to Thunderbolt™ adapter and the complete line of Pegasus storage solutions with Thunderbolt technology.
 
Availability
PROMISE Technology’s VTrak A-Class will first be available in North America on April 29, through the network of PROMISE distributors and value added resellers.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest NAB 2013 news, follow @Jigsaw24Video on Twitter‘Like’ us on Facebook or check out our roundup post

NAB 2013 news: Atomos announce Samurai Blade

Atomos, creator of the award-winning field recorders Ninja-2 and Samurai, and the acclaimed Connect converters, announces Samurai Blade at NAB 2013, (8-11 April, Las Vegas Convention Center, booth number C8218). 

“Atomos has now shipped a staggering 10,000 field recorders worldwide, and the Samurai has been a great success. For most professional environments it continues to be the go-to recorder or deck for many of our customers,” said Jeromy Young, CEO and Founder of Atomos. “We are now excited to present the next generation of Samurai – the Samurai Blade.

“Blade introduces the SuperAtom IPS screen – super sharp, super bright, super blacks – right down to the last atom. At 325 dpi and a million pixels, this screen is spectacular. With full waveform functionality, the Blade is a monitor that records and a recorder that truly monitors. It’s the perfect partner for the new wave of cinematic cameras.” added Young.

Powered by AtomOS 5*, this stunning 1280 x 720 5″ touchscreen gives the Blade gamma, brightness and contrast control, as well as vectorscope and RGB/luma parade features.

“Atomos is raising the bar in the affordable field recorder segment,” added Young. “We’re the first to combine professional monitor functionality with recording and deck playout, all in a space-saving, camera-mountable portable unit.”

Like its Ninja-2 and Samurai predecessors, Samurai Blade allows the recording of pristine, 10-bit 4:2:2 images straight from the camera sensor directly to Apple ProRes or Avid DNxHD editing codecs. Atomos makes production truly affordable by using commodity 2.5″ computer HDD or SSD drives. The Samurai Blade includes tri-level focus peaking, zebra, false color and blue-only monitoring in addition to waveform, and has standard BNC connectors.

See www.atomos.com for more details.

Pricing and Availability

Samurai Blade will ship in May 2013 with an MSRP of $1,295, excluding sales tax. With immediate effect, the price of the Samurai is reduced to $995, excluding sales tax. *AtomOS 5 is only available for the Samurai Blade.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest NAB 2013 news, follow @Jigsaw24Video on Twitter‘Like’ us on Facebook or check out our roundup post.

NAB 2013 news: Grant Petty’s epic Blackmagic Design message has arrived

Grant Petty’s annual NAB emails are something of a tradition now. Every NAB, Blackmagic Design release about a million five new products, and each year their CEO sends out a email lovingly describing each. Products worth scrolling down to include the much-discussed Pocket Cinema Camera and Production Camera 4K (we’re taking no-deposit pre-orders on these now), DaVinci Resolve 10, a 1U Thunderbolt disk dock, a 4K ATEM Converter and audio monitors which, according to our guys on the ground, sound pretty amazing. Over to Grant…

 

Hi,

It’s NAB 2013 time and we have some very exciting products and technology we are announcing today, and I wanted to email you to update you on all the details.

The theme this year is Ultra HD and 6G-SDI technology. We have already shipped 3 products that support Ultra HD, however the big secret is that these products already have the new 6G-SDI connections built in, so they can handle Ultra HD via a single BNC cable. I have more details below.

The new products we are announcing this year are:

– Blackmagic Pocket Cinema Camera

– Blackmagic Production Camera 4K

– DaVinci Resolve 10

– ATEM Production Studio 4K

– Blackmagic Audio Monitor

– SmartScope Duo

– ATEM Studio Converter 2

– DeckLink Mini Recorder and DeckLink Mini Monitor

– Blackmagic MultiDock

– New low prices for the Universal Videohub Family.

Blackmagic Pocket Cinema Camera

Last year we launched the Blackmagic Cinema Camera and although we had sensor supply issues, the cameras are flowing faster all the time and the people receiving them are doing some stunning work. It’s really amazing watching the work people have done appear on various web sites!

Of course, the big aim of this camera was to get a true film look. We worked hard on the design to do this and the images are stunning! However another one of our design goals was to make a cinema camera that was an extremely small size. The Blackmagic Cinema Camera is very small and much smaller than a normal cinema style camera.

What we wanted to do next was see if we could make a cinema camera even smaller!

We have done this, and the new Blackmagic Pocket Cinema Camera is incredibly tiny. It’s a true digital film camera with a Super 16 size 1080HD sensor with 13 stops of dynamic range. The images look virtually identical to our current camera!

It features a Micro Four Thirds™ lens mount so you can use low cost lenses, but also Super 16 cine lenses via an adapter. If you use a Super 16 cine lens, combined with the Super 16 sensor size and the 13 stops of dynamic range, it’s just like shooting to Super 16 film! Of course you can rig it up with large lenses so it’s perfect for large jobs too!

We have worked incredibly hard to build the smallest camera design we could, while retaining the ability to comfortably use it hand held. It’s an attractive design with built in stereo mic’s, LANC, micro HDMI with overlays for monitoring, solid grip handle that holds a removable battery and built in recorder to SD cards. It records lossless CinemaDNG RAW and ProRes 422 (HQ), so the image quality is amazing.

I feel that the small design lets this camera be used for all kinds of tasks a normal camera would be too large to handle. My feeling is a small camera can always be bigger, but a big camera can never be smaller. I think its going to be very exciting to see what kind of work is done with this camera. For myself, it’s nice to have a camera I can use personally for shooting my family, which gives a timeless film look.

The Blackmagic Pocket Cinema Camera will be shipping in July for $995.

http://www.blackmagicdesign.com/bmpcc/

Ultra HD, 4K and New 6G-SDI Technology

For over a year, we have been working with semi conductor manufacturers to develop 6G-SDI technology. 6G-SDI lets us connect Ultra HD resolution video using a single SDI cable. Ultra HD is 4 times the data rate of regular HD video and looks absolutely stunning.

We think Ultra HD 4K is important, as the latest large screen televisions have such large screens that HD video looks soft on them. The dots per inch have become lower as the screen sizes get larger, so the large screen televisions that consumers are buying start to look bad. I think Ultra HD is the perfect solution to solve this issue, but we need a lot of content to fill those screens!

This year we have a whole range of products that support Ultra HD, and this includes everything you need for an Ultra HD workflow including a new camera, live production switcher, audio monitoring, optical fiber, a broadcast deck, and capture and playback solutions that all operate in Ultra HD with 6G-SDI connections. There are more details below on these new models.

6G-SDI is perfect because it switches between SD, HD and Ultra HD resolutions, so you can use all these products for regular SD and HD work, and then switch instantly to Ultra HD when required.

Our HyperDeck Studio Pro, UltraStudio 4K and DeckLink 4K Extreme are shipping now with 6G-SDI support built in, which makes them the first products in the world to support 6G-SDI for Ultra HD! HyperDeck Studio Pro is also getting an update that supports recording direct to Ultra HD ProRes 422 (HQ) files so its now the perfect Ultra HD broadcast deck!

We will be providing updates over the coming weeks to increase support for Ultra HD on these models. Please keep a look out for these software updates!

Blackmagic Production Camera 4K

The first of the Ultra HD products this year is a new camera!

The new Blackmagic Production Camera 4K features a large Super 35 size sensor with a global shutter. This makes it easy to get shallow depth of field shots as well as shots with fast motion and is something people have been asking for.

The Blackmagic Production Camera 4K is housed in the same chassis as our current Blackmagic Cinema Camera so all the third party accessories that have been developed will fit perfectly. It features an EF compatible lens mount as the sensor in this camera is way too large physically, to fit in a MFT lens mount.

This new camera features recording to solid state disks in visually lossless compressed CinemaDNG RAW and ProRes 422 (HQ) formats, built in Thunderbolt and 6G-SDI output to allow Ultra HD video out. The sensor features 12 stops of dynamic range, so this camera gives a nice look to the images and is perfect for all types of production work!

Blackmagic Production Camera 4K also includes 6G-SDI output for monitoring on Ultra HD displays and includes overlays. However this output can be down converted to regular HD when you want to use a more common and smaller monitor. The 6G-SDI output supports Ultra HD down the single BNC cable so it’s perfect for use with a live production switcher such as the new ATEM Production Studio 4K below!

The Blackmagic Production Camera 4K will be available in July for $3,995.

http://www.blackmagicdesign.com/bmpc4k/

DaVinci Resolve 10

Before I get to other Ultra HD products, we have a major update to DaVinci Resolve this year with the new DaVinci Resolve 10. Of course DaVinci Resolve already handles 4K and Ultra HD resolutions!

We have new on set tools for sound sync, as well as Resolve Live which lets you grade from your camera in real time. There are new editing features, support for OpenFX plug-ins and new delivery tools that let you render in Resolve direct to a Digital Cinema Package file for digital cinemas when purchasing a license from EasyDCP. This means you can online to a cinema file direct from the camera RAW files all in one pass for amazing quality!

The new Resolve Live feature lets you grade live from the video input of your system so you can grade live from the camera. It’s the same as how a DaVinci 2K grading system works!

Resolve Live lets you grade live from the camera and then save those grades and relink them to the media files from the camera at the end of the shoot. You can even grade from the Thunderbolt connection of the Blackmagic Cinema Camera. Resolve Live lets you add as many nodes and color corrections as you like.

There are also new editing features in DaVinci Resolve 10 including full multi track editing with 16 channels of audio per clip and unlimited video and audio tracks in the timeline.

Audio can be synced or trimmed and dragged independently to the timeline. Other new editing features include extensive ripple, roll, slide and slip clip trimming support which display dynamically on the timeline and viewer. The viewer also allows split screen display to show in and out points of adjacent clips.

Editing in DaVinci Resolve 10 also includes a built in title tool with static, lower third, scroll and crawl titles with multiple fonts, size, drop shadow and XY positioning. Timelines in DaVinci Resolve 10 also include the support of compound clips with multiple elements including multiple video and audio tracks.

DaVinci Resolve 10 can edit stereoscopic 3D projects with full support for left and right eye clips in the media pool and the edit timeline. Using timecode and reel name, DaVinci Resolve 10 will automatically associate the left and right eye of the stereoscopic clips.

Of course color correction has been upgraded and includes new OpenFX plug-ins as well as unlimited windows in a node, recursive noise reduction and lots of other new features.

DaVinci Resolve 10 will be available as a free update to all DaVinci Resolve customers in Q3. DaVinci Resolve Lite will also include these new on set, editing enhancements, plug in support and color correction updates. It’s an exciting update!

http://www.blackmagicdesign.com/dvres/

ATEM Production Studio 4K

I feel that the biggest barrier to Ultra HD will be the quantity of Ultra HD content that is available, and the fastest way to generate lots of Ultra HD content is live production!

The new ATEM Production Studio 4K is the world’s first Ultra HD production switcher and the whole switcher operates natively in Ultra HD, regular HD or SD.

The switcher has a total of 8 inputs, 4 of them 6G-SDI and 4 of them HDMI. The switcher features frame sync on each input, an upstream keyer, transitions, two downstream keys, a media pool with 20 RGBA stills, 2 media players, Photoshop™ Plug-in and much more. All of these features operate in Ultra HD!

The switcher also has a built in multi view for monitoring 8 sources, preview and program feeds. The multi view output is in regular HD so you can use any HD television or monitor even when working in Ultra HD!

The switcher has program and a down converted program output. If you’re operating in Ultra HD then the down converted output provides a regular HD program feed. The switcher has an aux output and the front panel is made from machined metal and has buttons that let you do live aux switching direct from the front panel. There is also an LCD for monitoring the aux output. This is quite nice for setting up jobs.

This is an amazing switcher and we have been so excited to work on it. It’s going to be really exciting watching people build Ultra HD live broadcast trucks and even fly away kits where amazing live events can be captured in Ultra HD!

ATEM Production Studio will be available in a few weeks for $1,995.

http://www.blackmagicdesign.com/atemps4/

Blackmagic Audio Monitor

Good quality rack mount audio monitoring has aways been a problem because other solutions are complex to use and don’t have the features most people working in video need.

We have designed the Blackmagic Audio Monitor to be attractive but also to include all the features video industry people need. It includes great quality sound with dual subwoofers for a wide frequency response.

To make it the perfect audio monitoring solution for video, it also has SDI inputs, an LCD screen and a HDMI monitoring output built in. The SDI is not just any SDI, but 6G-SDI so it can handle Ultra HD as standard. It switches automatically between SD, HD and Ultra HD and you can select to de-embed audio from any of the SDI audio channels using simple front panel buttons.

The design is all machined metal, and even the speaker grills are machined metal for an amazing look and super tough design. The level meters can be customized to different types of metering and they are a nice large RGB LED based design that looks incredible. We have even designed the volume knob to be contact-less so you don’t get any crackling as the volume control can never wear out!

If you’re monitoring normal audio then we also have that covered with balanced analog input, HiFi analog audio input, and AES/EBU input. The HDMI monitoring output supports Ultra HD televisions, but if you’re running Ultra HD and plug in a normal HD HDMI television, it will even down convert the video to regular HD!

This is an amazing solution for audio monitoring and is fantastic when used with the ATEM Production Studio 4K or with UltraStudio 4K in post production. It looks incredible in a rack and sounds great too!

Blackmagic Audio Monitor will be available in a few weeks for $1,495.

http://www.blackmagicdesign.com/bmam/

SmartScope Duo

Ever since we released our UltraScope waveform monitoring, people have really loved having broadcast accurate scopes in their color correction and editing environments. It’s a fantastic tool.

However, we wanted to design a rack mount solution that could be used for live production, color correction and general broadcast. To solve this problem we have designed an extremely high speed processor into an enhanced version of our SmartView Duo. This SmartScope Duo features all the scopes available in UltraScope and you can have any variation of these per side on the dual 8” LCD’s.

What this means is you could have RGB Parade and Vectorscope for a color correction studio. You could choose picture view on the left side and audio scope on the right side for general broadcast rack monitoring. You could pick histogram and video for a production shoot. You can have any combination you like.

All the scopes are broadcast accurate and you can choose from waveform, vectorscope, RGB parade, YUV parade, histogram and audio levels and phase display. The SmartScope Duo is the same size as SmartView Duo and they mix and match in a rack perfectly. SmartScope Duo supports SD, HD and 3G-SDI video formats.

SmartScope Duo is available now for only $995.

http://www.blackmagicdesign.com/smartv/
http://www.blackmagicdesign.com/usc/

ATEM Studio Converter

We are releasing a new model of the ATEM Studio Converter at this NAB and this new model has a more attractive machined metal design with built in power supply, features more popular analog connections on the rear panel for audio, includes new 6G-SDI technology and has a control on the front panel for operating the talkback.

It’s a much nicer design, and now the front panel lets you press to talk to the camera operators for talkback. It also uses a more robust general aviation style headset for the director. Unlike the old model, you can now use the talkback without headphones, because there is a mic input and speaker built into the front panel.

The rear connections now include analog outputs, so its easier to use an external analog audio mixer. This new ATEM Studio Converter includes 6G-SDI, even though the optical fiber models are not available yet for 6G-SDI. But this means the moment 6G optical fiber modules are released, the SD/HD modules in the converter can be changed out and it can then be used for Ultra HD.

ATEM Studio Converter will be available early May for $1,995.

http://www.blackmagicdesign.com/atemc/

DeckLink Mini Recorder and DeckLink Mini Monitor

At IBC last year we introduced the UltraStudio Mini Recorder and UltraStudio Mini Monitor that were tiny monitoring and recording products. The UltraStudio Mini Recorder featured capture from SDI and HDMI inputs and the UltraStudio Mini Monitor allows playback to SDI and HDMI outputs.

We are now introducing PCIe plug in card versions of these models and they are called DeckLink Mini Recorder and DeckLink Mini Monitor. They are virtually identical to the UltraStudio models!

These cards are extremely tiny so they fit into both regular PCIe slots, and also the smaller low profile PCIe slots found on rack mount servers. Even though they are very tiny, they are still a full broadcast quality spec solution! Both models work in SD and HD, plus support all Mac, Windows and Linux software that our other DeckLink models do.

DeckLink Mini Recorder is a perfect solution when you need small, portable, low cost capture. DeckLink Mini Monitor is great for monitoring with editing software such as DaVinci Resolve, Avid Media Composer, Final Cut Pro 7 and X, and Adobe Premiere Pro.

Both models will be available in late April for US$145 each.

http://www.blackmagicdesign.com/dlink/

Blackmagic MultiDock

This is an exciting solution that makes managing and editing media from our HyperDeck disk recorders and cameras much much simpler!

We have designed a one rack unit sized Thunderbolt disk dock that includes 4 independent 2.5 inch disk docking slots for inserting and mounting hard disks and SSD’s. It’s a simple and attractive design with built in power supply and a single Thunderbolt connection to the computer. It features an independent SATA chip per slot so you get maximum speed.

It makes docking disks very easy and you can simply mount and then edit or color correct direct from the disks. If you want a disk array, the disks can be striped together to get extra speed and storage space too! Blackmagic MultiDock supports Mac OS X and Windows that have Thunderbolt connections.

Blackmagic MultiDock will be available in early May for $595.

New Low Price for Universal Videohub

Universal Videohub has been popular since we launched it over a year ago. We have worked very hard to make these amazing card based routers more affordable and we are announcing new prices today for all the parts of a Universal Videohub.

This means Universal Videohub is now much lower cost, and you can even build a fully populated 72 x 72 card based Universal Videohub for less than the cost of a Broadcast Videohub now. That’s great and now Universal Videohub is affordable and, because it’s card based, you get 24/7 reliability too!

The new item prices are:

  • Universal Videohub 288 chassis is now US$9,995.
  • Universal Videohub 288 Crosspoint is now US$8,995.
  • Universal Videohub 72 chassis is now US$2,995.
  • Universal Videohub 72 Crosspoint is now US$2,995.
  • Universal Videohub SDI Interface is now US$395.
  • Universal Videohub 450W Power Card is now US$395.

http://www.blackmagicdesign.com/uvh/

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest NAB 2013 news, follow @Jigsaw24Video on Twitter‘Like’ us on Facebook or check out our roundup post

NAB 2013 news: NewTek update TriCaster 8000 and 3Play

This year, NewTek are all about helping broadcast customers in unusual space. Sure, they’re there to support everyone who’s ploughing through live events with a TriCaster strapped to their back or wrangling clips of last minute goals in 3Play, but they’re also looking to help out creative departments in less usual companies, and people who are creating internet-only broadcasts. Their list of updates to the TriCaster 8000, TriCaster 40 and 3Play should be enough to give users in every sector at least one thing to cheer about, though.

TriCaster 8000

The TriCaster 8000’s update includes support fro SDI routers, a brand new built-in rendering engine (more on this when we get it), the ability to scale 1080p HD down to 16,000 pixels – a 99% downscale, which means you should never need to complain about file sizes again – and the ability to use your frame buffers as animation buffers, rather than your designated DDRs. Be canny about how you use your frame buffers, and this could be the equivalent of having up to 10 more DDRs on your TriCaster unit.

However, the most intriguing news is the update to NewTek Virtual Set Editor, VSE 2.5. This free upgrade moves you from virtual sets to ‘virtual environments’, complete with time saving set modelling tools. You can take a panoramic photo with your iPhone, load it into VSE and convert it into a true 3D environment where you can pan, tilt, zoom and even put people behind objects within the picture.

TriCaster 40 

Coming in May, the TriCaster 40’s update treats its users to independent aux out, new recording formats (list once we have it!), vector and waveform displays and – this is definitely the best part – the ability to create animated stories. That’s all the detail we currently have on it, but doesn’t it sound kind of brilliant?

TriCaster mirroring, TriCaster offers

Another core concept for NewTek at NAB 2013 has been TriCaster mirroring. NewTek are making all TriCaster models available without their control surfaces, and you can now record to two units simultaneously: one with a control surface, on which you do all your mixing, and have another there mirroring the same content in order to provide additional inputs and fault tolerance.

To sweeten the deal, NewTek have announced that you’ll be able to pick up a TriCaster 455 with no control surface for just $9995, making it the perfect place to start mirroring. You can also trade up from a 455 to 4800 for $21,995 or from a 330 to a 4800 for $24,995.

3Play 4800

Sports broadcasters will be pleased to hear about the all-new 3Play 3800, available now from $39,995. Described by NewTek as the most powerful sports production tool available, 3Play 3800 is a multi-camera replay server which “offers more real-time capabilities than any other multi-camera replay server, gives sports producers unprecedented access to redundant capture, sophisticated visual effects, live replay switching, high quality slow motion, and social media publishing—all within a single, turnkey system” according to NewTek’s press release.

NewTek go on to say:

3Play 4800 goes significantly beyond traditional live replay and provides out of the box integration with Facebook, Twitter, YouTube and more. This solution allows operators to instantly deliver media into their existing dialog with fans, which no other system allows.

“The overall performance, feature set and cost of 3Play 4800 quickly proved to be a game changer for me. It easily fits within our production infrastructure and the intuitive replay workflow keeps things going smoothly and quickly,” said John Powell with NPi Audio Visual Solutions, who has been involved in the development and testing of the system. “We work with both local and national organizations, so we have to constantly provide top-line performance at every level, and we are always striving to enhance the fan experience. 3Play 4800 does all of that and more. It truly makes my job easier.”

Top features of the system include:

1.    Redundant Capture—Redundant capture of up to 4 live video sources doubles up ISO recordings and protects all media assets. Users can also choose to simultaneously record all 8 inputs as separate camera feeds to add more angles as needed.

2.    High-end Visuals—Live animated, 3D-warped visual transition effects for switching and in-program editing, with custom animation creator and import of your own branded graphic elements.

3.    Live Replay Switching—Monitor all angles during replay, and transition between them video-switcher style—providing a completely finished replay segment within moments, animated transitions and all, to output to switcher, feed the video board, or upload to the Web.

4.    High Quality Slow Motion—Get clear, crisp slow motion playback with both standard HD or SD cameras, achieved with a super-resolution algorithm for sharper slow motion and dramatic stills alike.

5.    Social Media Publishing—Easily distribute content to multiple social media sites in one pass—even during live production, for a unified, immediate brand presence.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest NAB 2013 news, follow @Jigsaw24Video on Twitter‘Like’ us on Facebook or check out our roundup post

 

NAB 2013 news: Blackmagic Design Pocket Cinema Camera and 4K Cinema Camera leaked

The first victims of the smartphone-toting masses at this year’s NAB show are Blackmagic Design, who have had details of their Pocket Cinema Camera and 4K Cinema Camera leaked to the internet. 

A poster of two banners in their impressively sealed stand has hit the web and, as you can see, it gives away some choice specs from the two models. So far, we know that the Pocket Cinema Camera is going to be a 1080p capable Micro 4/3″ camera with a Super 16mm sensor, 13 stops of dynamic range and Micro HDMI connectivity. It’ll support ProRes and RAW files, and will be priced at $995.

The Blackmagic Production Camera 45 will feature the same specs at the first generation EF Cinema Camera, but will be capable of shooting 4K and UltraHD. The inclusion of a global shutter edges the camera further into F55/Alexa territory, which we’re predictably excited about.

A full translation of the blurry image above reads:

Blackmagic Pocket Cinema Camera

Ultra-portable Super-16 digital cinema camera with super wide 13 stops of dynamic range. Super 16 sized 1080p HD sensor, built-in SD card reader, high resolution LCD, ProRes and lossless CinemaDNG RAW recording, active Micro Four Thirds lens compatibility, Micro HDMI monitoring with overlays.

Blackmagic Production 4K Camera

Compact 4K camera with large Super-35 sensor, global shutter, Ultra HD and 4K support, built-in SSD recorder, touch LCD metadata entry, compressed CinemaDNG RAW and ProRes recording, Thunderbolt and EF lens compatibility, includes DaVinci Resolve and UltraScope.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest NAB 2013 news, follow @Jigsaw24Video on Twitter‘Like’ us on Facebook or check out our roundup post

NAB 2013 news: RED release new Motion Mount and Lens Motor, acquire Element Technica

This morning’s fresh NAB 2013 news comes courtesy of the RED user forums – RED have released a new Motion Mount and, not content with this instantly inspiring awe in the hearts of every internet-enabled RED user, they’ve also announced that they’ll buy acquiring long term partners Element Technica,  who’ll henceforth be know as RED ELEMENT. 

Motion Mount

The Motion Mount boasts an integrated 8x Electronic ND filter in adjustable 1/100 stop granularity, and overtakes your sensor’s timing to give you a true global shutter – despite still allowing you to control everything from your existing camera UI. RED are saying this will eliminate ‘shutter judder’ and aliasing. As always with RED gear, it’s also incredibly good looking.

Priced at $4500 (UK digits to follow), the RED Motion Mount will be shipping in the autumn.

Element Technica

Aside from their getting a cooler name (does RED ELEMENT sound like the best B-movie ever to anyone else?), not much looks set to change for the talented folks at Element Technica. RED’s Jarred Land had this to say on the forums: “This news probably isn’t much of a surprise to some of you…. ET and RED have been working closely together since the very beginning. We are incredibly excited to have Hector and Pizzo and the rest of the Element Technica team come over and continue doing what they do best.” Sounds good to us!

Lens Motor

The $1250 Red Lens Motor, due with us this summer, is one of the first fruits of the RED/Element Technica/RED ELEMENT partnership. Compatible with your Meisner Module and most other lens controls systems, it’s big selling points include high torque, a 270 degree rotating connector for easier config and mounting, amd  friction or geared interchangable gearheads.  It should fit on to a standard 19mm rail, or a 15mm one with an insert.

RED Dragon Sensor

RED have also confirmed that they’ve received new ASICs and are ready to begin upgrading your Epic and Scarlet cameras to their new Dragon sensor. They’re actually upgrading EPIC-X and EPIC-M cameras today in their NAB booth, and you can go along and see the process in action.

EPIC-M owners can pre-order the upgrade for $9500, and early adopters can get it for $8500 (you’ll get $1000 when you’re invoiced). If you want a Dragon-based camera of your very own, you can pre-order an EPIC-M Dragon today but it won’t ship til the current users have had their chance to upgrade. Late EPIC adopters can pre-order from Thursday for $9500, and you can all add a Rocket-X to your order fro $4495.

Why should you care about the EPIC-M Dragon? Well, it shoots 6144 x 3160 6K at up to 100fps, and has three additional stops over your standard EPIC-M or EPIC-X.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest NAB 2013 news, follow @Jigsaw24Video on Twitter‘Like’ us on Facebook or check out our roundup post

 

NAB 2013 news: Avid reveal Media Composer 7!

Media Composer 7 is here! And Avid are insisting that there will be no compromise on functionality this time round, as they’ll settle for nothing less than being the leaders in file-based editing. They’re backing up that fighting talk with a list of new features as long as your arm. Here are the basics, with more news to follow as we get it: 

Dynamic Media Folders – Automate process of media management
– Linking to any file, folder or virtual volume becomes registered and managed as an asset. Creates database folder inside any watched dynamic folder
– Accelerates and simplifies AMA tasks
– Associate profiles/settings to any folder that is being watched – transcode, consolidate, copy settings. For example, you could drop 4K rushes into a folder, create HD DNx36 offline, transfer it to ISIS and start working with it immediately while that happens in the background
– Automatically copy and relink to new media locations
– Receive notifications when media has become available through background processing – right in the timeline
– Interplay 3.0 support – no more consolidating or transcoding to check into Interplay
– Local and shared folder locations supported

More codecs & AMA Support
– AS11 standard support
– XAVC 2k/4k Support
– Single window to AMA link to files and volumes
– Drag & Drop AMA Linking instead of generating new media
– AMA media appears in Media tool
– Relink, consolidate or transcode designated audio or video tracks separately
– AMA supports files with Alpha channels – they appear as matte keys

File based delivery – Supporting AMWA Standards
– AS-11 support for delivery with program segmentation
– Access AS11 files directly for editing without importing
– Program segments displayed in the timeline
– Descriptive metadata displayed in bin columns
– AS-11 export results in a single multi-essence OP1-A MXF File
AS-02 support for multi version master files in single bundle
– Creates and manages the file essences (picture, sound and metadata)
– Supports J2k, DNxHD, 1:1, AVC-I & IMX

Colour Space Conversion
– 1D, 3D LUT and CDL support built in throughout the workflow
– Manage, preserve, create and output colour metadata
– Convert colour spaces in real time
– Flexible ordering of multiple colour transforms
– Bulk modify clips
– Colour info displayed in bins
– Auto-conversion to proper colour space via metadata
– Apply custom LUTs exported from another app (DaVinci Resolve, say)
– AAF support for third party workflows

Background engine for transcoding – no need to tie up edit suites for rendering
– Transcode, consolidate and copy in the background
– Leverages existing Avid platforms such as Sphere
– Interface to reflect progress of jobs
– Manage jobs in process list – cancel, pause, prioritise
– Transcode for ingest – not mixdown
– CPU processing and (potentially) the ability to offload processing to another machine (we’re waiting for confirmation on this)

‘Frame Flex’ 
– Easy pan and scan of high res images to cut HD out of 2k, 4k, etc.
– Enables editors to ingest 2k, 4k, and greater media and deliver the content directly to HD
– Ability to adapt the media in a project by setting the aspect ratio of framing box, reformat including stretch letter box and centre
– Source monitor UI to set the framing selection
– Bulk modify clips in a bin or timeline
– Animate region of interest across clips
– HD output with Avid and open I/O

Audio enhancements  
– Caching audio waveforms
– Instant redraw in timeline and source
– Stored at project data level and based on user, not on project, so multi users have their own cache rather than working from a centrally stored one
– Clip gain adjustments on timeline with click and drag
– Master fader with support for RTAS, CALM and EBU metering
– Configurable audio mixer with UI

Media Composer  will run on Mac OS X 10.7 and 10.8,  Windows 7  and Windows 8. If you have ongoing projects, don’t worry – you’ll now be able to roll back to the previous version of your software if you need to. If you opt for Media Composer 7 with Symphony option, you’ll get a 30 day free Symphony trial in-app, complete with Boris Continuum Complete, and if you decide to upgrade, all you need to do is enter the upgrade key Avid provide. Once you have your Symphony licence, you’re free to move it between systems, so your artists aren’t tied to one machine.

We don’t have UK pricing yet, but a new seat of Avid Media Composer will set you back $999, with an Interplay or Symphony option costing you @1499. Media Composer and Symphony combined will set you back $2499, and for $2999 you get both those plus Avid Interplay. Upgrades from Media Composer 6.5 cost $299 or $499 with an Interplay option – from earlier versions it’s $399/$599, and for education its $295 for a seat of Media Composer 7, or $695 for the version with the Symphony option.

For those who are really, really into Avid, there’s also an $89,900 bundle available that includes Interplay Production Engine, Interplay Sphere, 10 Base connections, ISIS 5000 32TB, four Media Composer 7 licences, one Media Composer 7 with Symphony option licence and a year of Avid Expert Plus support. (You can strip that back to a 16TB ISIS unit, 5 Base connections and three Media Composer 7 licences for $49,900 if you’re on a budget.)

All of this will be available in June – along with a Mojo DX Thunderbolt adaptor – and you’ll be able to upgrade for free if you purchased your copy of Media Composer after April 7th, 2013.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest NAB 2013 news, follow @Jigsaw24Video on Twitter‘Like’ us on Facebook or check out our roundup post

NAB 2013 news: Sony Announce PMW-400

LAS VEGAS, NAB Booth C11001, April 7, 2013 – Sony’s new PMW-400 shoulder-mount camcorder is the latest addition to its widely used XDCAM HD422 line-up. Ideal for live production or ENG, the new camcorder uses a 2/3-inch Exmor™ Full HD 3CMOS sensor to capture beautiful images with high sensitivity1 and low noise.

Sony’s PMW-400 XDCAM HD 4:2:2 camcorder

“We designed the PMW-400 to acquire high quality, clean images especially in low-light environments,” said Cyndi Lee, XDCAM marketing manager, Sony Electronics. “It’s ergonomically-balanced, easy to operate and includes features that make it fit seamlessly into various types of productions and workflows. This new camcorder opens the door to a range of new creative possibilities and flexible shooting.”

Higher Picture Quality with HD422 Codec

Capable of MPEG HD422 50Mbps recording, the PMW-400 is unique among the field of 2/3-type camcorders with its noise reduction capabilities and diverse selection of formats. Its 3 Dimensional Noise Reducer (3DNR) technology accurately detects and processes images to reduce noise, achieving a Signal-to-Noise (S/N) ratio of 60dB — outstanding among 2/3-type camcorders.

The camcorder supports MPEG2 HD422@50Mbps, HD420@35Mbps/25Mbps, MPEG IMX@50Mbps, and DVCAM. The PMW-400 camcorder will also offer future XAVC support for HD.2

Improved Viewfinder

The camcorder’s supplied viewfinder features improved panel resolution of quarter HD 960(H) x 540(V) compared to previous models with resolutions of VGA 640(H) x 480(V). The new viewfinder significantly  improves contrast and viewing angles.

Flash Band Compensation via Internal Processing

The PMW-400 camcorder incorporates a valuable new feature – an internal Flash Band Reducer3that employs a special algorithm to detect and process flash banding inside the camcorder before recording begins. This provides greater flexibility in reducing flash banding across different shooting environments.

Operational Flexibility

The PMW-400 camcorder includes two SDI connections that enable, for example, the director and camera operator to simultaneously check content on two different monitors.

An optional CBK-CE01 50-pin interface lets the PMW-400 connect to two camera adapters for multi-camera operation. By connecting to the CA-FB70 optical fiber and CA-TX70 digital triax camera adapters, the PMW-400 can be used as a studio camera in live productions and also transmit signals over long distances while maintaining high picture quality.

R&D Prototype: Wireless Adapter for 3G/4G/LTE and Wi-Fi Connections

For easy transmission over a network and efficient on-site Wi-Fi operation, a wireless adapter is under development.  The adapter will be directly connectable to the PMW-400 to enable proxy files that can be transmitted via 3G/4G/LTE/Wi-Fi to accelerate the ENG workflow. Using Wi-Fi transmission, the adapter is compatible with mobile applications installed on devices such as tablet PCs and smartphones.

Future enhancements planned for the PMW-400 include file browsing management, proxy file preview, stream viewing of camera signals, proxy and high-resolution file transfer, metadata input and remote camera control.

The PMW-400 camcorder will be available in August 2013.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest NAB 2013 news, follow @Jigsaw24Video on Twitter‘Like’ us on Facebook or check out our roundup post.

Sensitivity of F12 for 1080/60i, 720/60p. Sensitivity of F13 for 1080/50i, 720/50p.

2XAVC support for HD up to 30p/25p is supported. 4K is not supported. XAVC support for HD will be available via a firmware upgrade (optional) planned on or after April 2014.

3This feature will be available via a free firmware upgrade on or after November 2013. Flash Band Reducer doesn’t guaranteed to detect/correct all the flash band


NAB 2013 news: Autodesk and NVIDIA have big plans for your 3D pipeline

As anyone who saw their 2014 Unfold event will know, Autodesk have a brand new logo, some interesting new product developments and a new Head of M&E, Chris Bradshaw. Their message for this year’s NAB? It’s all change in the industry, but we should be seeing that as an opportunity.

At the high end of post and 3D, studios are consolidating, there’s been a huge growth in professional video and a distributed, increasingly global production process is on the rise. Who’s best to help you weather all of this? Autodesk.

Flame users: you’re in safe hands

One of the key things to come out of Autodesk’s briefing was that they’re not abandoning high end users or advanced systems, despite what the recent reconfiguration of Smoke might suggest. Flame is going to continue to be updated and supported, and a new service pack is to be expected in late May or early June. The main focus of this will performance optimisation, so you’ll no longer have to wait for anything to load, but there’ll also be improvements to the Media Hub (headline: 4 seconds of progressive clip display for up to 600 clips) and new additions to Autodesk’s much lauded tracker. New creative tools are also being worked on in the lab, and these will be released slowly in service packs throughout the coming year, rather than in a single, disruptive annual upgrade.

Smoke 2013 and beyond
Also in line for the incremental upgrade plan is Smoke, which Autodesk believe is the key to keep us all efficient and competitive in a changing industry. They reckon that using Smoke is 35% faster than using separate editing, VFX and finishing apps – even if they’re as linked up as the Adobe Creative Suites – and seem set on releasing further updates to demystify the workflow and make it more familiar to editors, all without compromising on the power that their high end customers need (real time performance for every task imaginable is their current goal.)
Autodesk and NVIDIA introduce Grid GPUs
Autodesk have partnered with NVIDIA to harness the power of NVIDIA GRID to deliver applications. Currently the GRID lets you game over the cloud, leveraging your Tesla, Quadro and GeForce cards with an H.264 encoder in order to provide video on demand-style gaming servers. This is combined with Grid-based VFX software and Grid visual computing appliances (VCAs) – a 4U server with 8 or 16 GPUs per user, which feed keyboard and mouse clicks to your Grid gaming server and send the appropriate graphics back to the end user. Autodesk are planning to use the NVIDIA GRID cloud to deliver any combination of GPUs to their users as and when they’re needed, so its easier to add extra power when you’re busy and drop machines when you’re between jobs. A nice cost-saving side effect being that you can have small, cheap client devices in your studio with no GPU of their own, and keep all your power in the cloud. It also means your artists can work in PC only programs – 3ds Max, for example – and Mac or Linux-only ones – Autodesk Smoke – at the same time.
The Autodesk GRID will be available with up to 16 GPUs, supporting 32 threads and boasting 348GB system memory and, while the servers and their management are based on Windows 7, a single system can offer GPUs to Mac, Linus and Windows machines. It should be available in May and additional features seem set to include shared storage and the ability to queue up users for your GPUs based on workload.
Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest NAB 2013 news, follow @Jigsaw24Video on Twitter‘Like’ us on Facebook or check out our roundup post