IBC 2016: Avid demonstrates leadership in emerging IP and UHD workflows

IBC 2016: Avid demonstrates leadership in emerging IP and UHD workflows

At IBC 2016, Avid showcases IP and UHD workflow innovation on the open, interoperable Avid MediaCentral Platform.

Avid today previewed solutions for several converging technologies that are driving significant change for the media industry. By supporting real-time IP signals natively in key components of the Avid MediaCentral Platform, Avid is accelerating the industry’s transition to IP and delivering a unified environment for file-based and live signal-based media workflows that will ease the migration to emerging image formats, including UHD.

“To address the intensifying changes that our industry is facing, we are continuing to invest heavily in key technologies and innovations that are important for customer success,” said Dana Ruzicka, vice president and chief product officer at Avid. “At IBC 2016, we are demonstrating how the open, integrated Avid MediaCentral Platform will accelerate the transition to IP stream-based workflows, and make it possible for customers to create, manage, and deliver UHD content powerfully and efficiently.”

Historically, media companies have relied on specialized technologies for transporting video and audio signals throughout facilities and across geographies. Legacy technologies like coaxial cabling and baseband SDI signals were necessary because IP data networks lacked adequate bandwidth. But rapid technological advancement has made it feasible to pass professional audio and video signals over standard IP networks. Unlike traditional baseband infrastructure, IP networks are intrinsically format agnostic, paving the way for adoption of new formats like UHD. Converging on IP networks for file-based and signal-based traffic will provide media companies with increased flexibility, agility, and lower costs.

New Avid video IP integrations at IBC

Avid will demonstrate support for a variety of emerging IP standards, including SMPTE 2022-6 and VSF TR-03, illustrating how media companies can easily manage the transition to converged IP infrastructure over time. Technology presentations will showcase IP ingest, editing, playout, graphics insertion, and monitoring workflows spanning several Avid products, including Media Composer, Maestro, 3DPlay, and Playmaker.

“The innovative architecture of Avid’s MediaCentral Platform treats all content equally, regardless of its format or source,” said Alan Hoff, Vice President, Market Solutions at Avid. “We are delivering upon our vision to provide a unified, open platform for converged file and signal-based workflows by expanding support for emerging standards like IP and UHD.”

New Avid UHD integrations at IBC

Avid will showcase innovative UHD broadcast solutions that integrate seamlessly with both standard SDI production infrastructure, as well as IP production workflows. The Avid UHD workflow enables broadcasters to deliver richer, sharper content without over-investing in new solutions, and is centered on Media Composer | Software, Interplay | Production, Media | Director, Pro Tools, Avid DNxHR, and Avid NEXIS, along with graphics and replay servers.

Avid is also participating fully in the AIMS alliance and showcasing its interoperability at IBC 2016 with products from other vendors at the IP Interoperability Zone in Hall 8.

For more on the latest IBC releases, take a look at our roundup post, give us a call on 03332 409 306, email broadcast@Jigsaw24.com or pop your details in the form below. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

Media Composer 8.5 is available for download now!

Media Composer 8.5 is available for download now!

Avid have just announced that Media Composer 8.5 is now available via the Avid Download Centre for users with a valid Upgrade & Support plan (look for a notification in your copy’s Application Manager) or via your Master Avid Account if you’re a new customer. 

The update promises a range of exciting new features designed to speed up your editing workflow but, as ever, we beg you to back up your work before hitting download. Do it now, in fact. We’ll wait.

Once you’ve done that, you’ll be happy to hear that new features include:

Simpler menus The menus have been reorganised to remove legacy items and simplify your user experience.

An updated Timeline UI A number of updates have been made to the timeline, including enabling Sync Rollers for Sync Locked Tracks, the ability to see full segments as you drag them within the timeline, as well as the effect their repositioning will have on the rest of the timeline before you commit the change, and creating a new track by dragging a segment above or below the timeline.

Support for 64 tracks of audio Fairly self explanatory, this one.

Group by audio waveforms Group clips can be made based on audio waveform analysis.

HDR support Media Composer now includes colour spaces for High Dynamic Range (HDR). This provides support for a higher range of video signal, and enables automatic colour transformations for source files based on the HDR colour space set in the project.

Audio mixer updates You can now resize the audio mixer and create custom track groupings.

FrameFlex rotation Users can rotate the framing box in the FrameFlex source settings using the Z rotation slides, enabling the straightening or reframing of an image at the source level rather than in the timeline.

Interactive video frame cache A new Video Memory tab has been added to the Media Cache settings to allow users to save generated frames of the current playing sequence into a memory storage cache, resulting in faster response times while editing and playing back media.

UI personalisation tools Additional UI settings have been added to allow users to change the background colour of the Project Window and Timeline, and override Bin and Project fonts and font sizes.

Bin Columns updates The process for adding Custom Columns as well as Multiple Columns in bins has been simplified, and you can now copy and paste the same text to multiple fields within a column.

Identifying rendered effects Users can now choose to differentiate between rendered effect media and Title and Matte key effect media in the Media Tool. This is helpful when identifying media to delete.

SCC import Media Composer now supports importing of Scenarist Closed Caption (.scc) files.

For a complete list of fixed bugs and new features, you’ll need to familiarise yourself with the Media Composer 8.5 ReadMe, which can be found here. You’ll also want to check your Interplay documentation – this version of Media Composer is supported with Interplay 3.2, 3.3, 3.4 and 3.5, so check your release notes for any known limitations on feature functionality.

Want to know more about Media Composer 8.5? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

Steampunk demo studio at Jigsaw24 Soho

Steampunk demo studio at Jigsaw24 Soho

Imagine there was a demo facility right in the heart of Soho, central London, that offered the best possible environment to check out the latest and greatest post-production workflow solutions. Wouldn’t that be cool? Welcome to ‘Steampunk’ at Jigsaw24, Golden Square.

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Avid Everywhere

As one of the few Avid Elite Partners for audio, video and storage in the world, we offer a comprehensive range of solutions for anyone who wants to integrate the industry-leading power of Pro Tools with Media Composer, Symphony and NewsCutter, the complete range of NEXIS storage solutions and additionally ‘Avid Everywhere’ in The Cloud.

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Audio Post-Production

‘Steampunk’ is installed with the Avid Pro Tools | S6 & Pro Tools | S3 control surfaces, along with a JBL Professional LSR7 Dolby Atmos premix capable 7.1.4 monitoring system and the superb sounding, highly innovative DAD AX32 and Trinnov D-Mon EUCON-enabled audio interfaces.

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Video Post-Production

From custom NLE workstations and shared storage to AS-11 delivery, our status as an Apple Solution Expert, Avid Elite Partner and Adobe Platinum Reseller means we’ve got you covered for the all major non-linear editing applications.

Grading and Finishing

Jigsaw24 is the UK’s only authorised provider of Blackmagic DaVinci Resolve and Revival on Linux and can provide advice on setups covering on-set cuts to final grade.

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Storage and infrastructure

As well as offering desktop and rack-mount DAS, NAS and RAID storage, we can help you develop intelligent shared storage and asset management solutions. Featured brands are the Avid range of NEXIS solutions, GB Labs and G-Technology.

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On hand to enable the best possible ‘test-drive’ experience is our team of post-production experts – talented, industry-respected, ‘go-to’ guys with lots of real world experience. Whether you’re looking at installing an audio suite, a video editing or grading suite, or a complete post-production facility, Steampunk is purpose-built to provide the optimum environment.

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The Jigsaw24 ‘Steampunk’ demo facility is bookable by appointment. For further information, please contact: soho@Jigsaw24.com or call: 03332 409 285.

Virtual moviemaking

Virtual moviemaking

Pre-Vis workflow Between Maya and NLE Applications

Maya 2011 introduces a large number of new features. Among those are tools for camera sequencing. These tools are designed to help you to sync an EDL (Edit Decision List) from NLEs such as Final Cut Pro or Avid Media Composer directly with your Maya scene. This workflow can help you to follow a storyboard created in one of these NLEs all without switching out of Maya.

Final Cut Pro is the de facto standard for digital storyboarding, the process of roughing out a story layout and camera shots using conceptual art and draft assets. In the past artists would either have had to have this project open in their NLE or re-create the storyboard on their Maya timeline for reference when creating the CG elements of the story.

Import storyboards

Maya can now import storyboard data in XML or Avid AAF formats directly to the Maya timeline. XML is supported by Final Cut Pro and Premiere Pro CS5 so along with AAF means storyboards created in Apple, Adobe and Avid software can be imported.

When importing these files Maya will interpret the storyboard information and depending on exactly what information is there can create a Maya camera linked to each shot, add each shot to Maya’s timeline and even set up an image plane on each camera containing the conceptual artwork.

Lay out scenes easily

Having all of this information inside Maya will help CG artists to quickly and easily lay out their CG scenes to match the director’s creative vision. Finally Maya can re-export and EDL using updated shot information and draft CG images for review.

These features really streamline the workflow for anyone doing digital storyboarding and help artists and directors to achieve their creative vision more efficiently.

For more technical information on implementing this or other workflows, feel free to get in contact with our technical team on 03332 409 306, email sales@Jigsaw24.com or take a look at our full broadcast range. To receive the latest 3D news, follow @Jigsaw24Video on Twitter or Like’ our Facebook page.