Category Archives: Acquisition

Capture – with lens or microphone, perhaps moving electrons around with a stylus, or perhaps conversion from an analogue form. Regardless, the beginning is acquisition.

Workflow

ASSIMILATE announces ROCKET FUEL

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See the entire release, with slide detailing the different bundles at:
fxguide quick takes » ASSIMILATE announces ROCKET FUEL Filed under: fxNewswire by Jeff Heusser @ 12:31 pm on October 15, 2009

ASSIMILATE PRESS RELEASE:

October 15, 2009, REDucation, Los Angles, CA – Today at the REDucation Community Day in Los Angeles, CA (Los Angles Center Studios), ASSIMILATE™ announced its new, ROCKET FUEL bundle that includes the needed tools for real-time ingest, conform, delivery and output of RED ONE™ 4K digital camera material. Created specifically for cost-sensitive indies, filmmakers, and post-production facilities, and priced aggressively at $10,999 USD, ASSIMILATE’s ROCKET FUEL includes an Nvidia Quadro FX3800 SDI board, RED’s RED Rocket card, and ASSIMILATE’s SCRATCH® CINE 4K post workflow.

The first integrated product solution to support RED ROCKET, and offered exclusively by ASSIMILATE, the ROCKET FUEL bundle, along with a PC-based workstation, gives anyone working with RED 4K material the following workflow functionality:
• Tape dailies to a variety of formats, from NTSC and PAL, up to dual-link 2048X1080
• Screening in virtually all formats
• Accelerated data output to Quicktime and file sequences
• Quality check (QC) for on-set and for post dailies
• R3D conform from editorial EDLs
• Pan/Scan and Output in real time, with animated curves
• Set-up for SCRATCH FINISH – a low-cost method of getting timelines set-up for migrating to FINISH for final mastering and delivery
• Set-up and transcode for DI – a low cost method of getting timelines set-up and rendered for migrating to other DI systems.

All this functionality, and more, is from full-resolution, uncompressed, fully debayered and demosaiced 4K. Fully tested, SCRATCH CINE v5.0 is a native 64-bit application with Win7 x 64 as the operating system.

“The big news here is that with ROCKET FUEL, we’ve created a highly affordable option for boosting the performance of 4K that didn’t exist until today. Aggressively priced – at half the cost of SCRATCH CINE alone – it’s the first product bundle for RED ROCKET that meets the needs of the PC user,” says Jeff Edson, CEO at ASSIMILATE. “When considering the overall cost of a 4K workflow, this is a huge win for all filmmakers and post houses who can now afford the essential tools to push the performance of their 4K tools to the outer limits and achieve high quality output comparable to 35mm.”

As RED’s first partner for a 4K post workflow, ASSIMILATE set the post-production standard with SCRATCH for the needed real-time 4K post workflows – simplified ingest of native REDCODE files, streamlined end-to-end workflow, conform, color grading, finishing and mastering. “We’ve earned our stripes as the go-to vendor for 4K post workflows,” says Lucas Wilson, ASSIMILATE Director of Business Development. “We’re ‘out in the field’ every day, working side by side or over-the-phone with users to ensure their 4K workflows are optimized and running smoothly. If they’re not yet working in 4K, the ROCKET FUEL bundle is a nice incentive to move to a powerful 4K workflow, create amazing imagery, and stay competitive in the marketplace.”

Price and Availability
Available in late October, ASSIMILATE’s ROCKET FUEL is priced at $10,999 USD. The ROCKET FUEL bundle includes SCRATCH CINE, an Nvidia Quadro FX3800 SDI board, and RED Digital Camera’s RED ROCKET card. To purchase ROCKET FUEL, contact ASSIMILATE or your local SCRATCH reseller. To learn more about ROCKET FUEL, SCRATCH CINE, and reseller contact details, see www.assimilateinc.com

Cameras

REDucation Returns to LA Center Studios

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Taken from a press release printed in Millimeter:

REDucation Returns to LA Center Studios | The Briefing Room September 8th, 2009

Dates Announced for the Only RED Approved, Fully Immersive, Hands-on Education and Training

Three-day RED Post moves through all the stages of prepping files for postproduction, editing, color grading and finishing. RED Post is real world, in-depth workflow training for professionals. RED Tech and RED Post bookend Community Day, where experts and companies present innovative technologies and products to REDucation attendees and to the public. Sponsors for Community Day include; Adobe, AJA, Alternative Rentals, Assimilate, Autodesk, Automatic Duck, Birns & Sawyer-Hollywood, Bogen Imaging, BOXX, Cine RAID, Digital Vision, da Vinci, DIT Station, DVS, FilmLight, G-Technology, H20 PhotoPros, IDX, IGI, IRIDAS, JMR, KeyCode Media, Keslow Camera, LaCie, MacProfessionals, MAXX Digital, Media Distributors, MTI Film, NEBTEK, nextLAB, O’Connor, Petrol, R3D Data Manager, RedRock Micro, Rimage, Rosco, Sachtler, Schneider Optics, Silverado, and Sony Creative Software.

REDucation was developed by industry leaders that became Founding Members, including; Alternative Rentals, HD EXPO – Createasphere, FotoKem, Keslow Camera, PlasterCITY Digital Post and Michael Cioni. HD EXPO – Createasphere is the operations arm of the training and have scheduled two more dates later in the year.

Kristin Petrovich, founder of HD EXPO – Createasphere and a Founding Member of REDucation commented that, “REDucation offers the latest and best information to the RED community; the curriculum has been developed by a group of expert industry leaders under the tutelage of RED. Our event in July sold out quickly and turned into a vibrant educational and community ‘happening.’ October’s REDucation is looking like it will be another hit; engaging, vibrant and intensely informative.”

Spaces for REDucation-October are filling up fast. For further information, please visit reducation.net or call 818.842.6611.

About REDucation

Launched in July 2009, REDucation is the only RED approved and sanctioned education for learning RED. Comprised of RED Tech, RED Post, and Community Day, the training is a fully immersive, hands-on experience with international participation. Community Day is open to the public and features RED booths and presentations from recognized industry sponsors. HD EXPO – Createasphere operates REDucation, which was created by the founding group of industry leaders including RED, HD EXPO – Createasphere, FotoKem, Keslow Camera, Apple, FOX, Alternative Rentals, and PlasterCITY Digital Post. For further information, visit www.reducation.net or call 818.842.6611.

Storage

The MatrixStore Enhances P2 Experience – IBC PR

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Press Release from Objective Matrix -7 September 2009

Content and metadata that is ingested from Panasonic’s range of P2 based broadcast cameras can seamlessly be moved into the MatrixStore cluster using either Final Cut Server, CatDV or DropSpot applications. This range of interfaces provides the ability to protect content generated on mixed production platforms be they Avid, Apple or Adobe.

Nick Pearce, co-founder of Object Matrix, commented: “The centre puts into the spotlight the demonstrable benefits that automated, integrated, file based workflows can bring, namely increased efficiency, reduction in operating costs and highly secure data management.”

The centre highlights how the content and associated metadata can be protected at the highest levels from ingest to archive. Using The MatrixStore, digital assets are stored on state of the art server hardware with powerful software to provide an easy to use, scalable, secure and cost effective method of archiving multimedia projects. Archives are always available at the touch of a button, and the ease of installation and use mean that businesses are free to concentrate on their core competencies.

Adrian Clarke, General Manager UK & Ireland Professional & Broadcast IT Systems, stated: “Including Matrixstore into the Panasonic workflow experience centre exemplifies the convergence of Broadcast and IT technologies. It’s a combination of standard IT building blocks with their deep understanding of the needs of the Broadcast user add another strong partner to the centre, giving our visitors the most powerful end to end demonstration of scalable tapeless workflow solutions anywhere in the market.”

Object Matrix will be exhibiting the MatrixStore solution at IBC (Stand 6.C28d).

For more information on Object Matrix and The MatrixStore please contact Tom Warren on 01296 394614 or at [email protected]

~~~end~~~
About Object Matrix

Established in 2003, Object Matrix is a software company based in Caerphilly (Wales, UK). Its acclaimed product MatrixStore has been used in production since 2006 by broadcast and creative agency customers.

Object Matrix is comprised of a team of storage industry experts with a shared vision for high levels of data security combined with intuitive user interfaces. In addition to providing solutions and product integrations for the storage, search and retrieval of media assets, Object Matrix also provides consultancy, training, systems integration, and ongoing support services.
www.object-matrix.com

About Panasonic

Panasonic is a brand name for Matsushita Electric Industrial Co Ltd. of Japan (MEI), one of the world’s largest manufacturers of consumer electronics and ranked third on the Fortune 500 Electronics and Electrical Equipment Index. The company was founded in 1918 in Osaka, Japan, by Konosuke Matsushita and has grown from just three employees to more than 328,645 people worldwide. Panasonic has been operating in Europe since 1962, when it established its first sales office in Hamburg, Germany. The company’s presence has increased throughout Europe following major investment programmes in manufacturing and sales operations.

About PBITS

Panasonic’s Professional Broadcast and IT Systems unit is part of Panasonic Audio Visual and Computer Systems Europe (PAVCSE), a division of Panasonic Marketing Europe GmbH. The company is a leader in the development of video formats and core products for broadcast and professional AV, including camera-recorders, video recorders, monitors, and mixers. Panasonic’s P2 systems provide the reliability of solid-state production with immediate connectivity to existing IT infrastructures, allowing for completely tapeless workflows. http://panasonic-broadcast.com.

Contact:
Ranieri Communications
Tom Warren
[email protected]
01296 394614

Cameras

Holly Shorts Winner Gets Red; Hayden Fun

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The festival kicks off with an Aug. 6 opening night celebration at Hollywood’s Directors Guild of America Theatre with a special award showcase of three shorts shot by acclaimed cinematographer Darren Lee and directed by Demi Moore, Kirsten Dunst and Carter Smith.

Opening night also will mark the special presentation of the HollyShorts and Haydenfilms Indie Film Visionary Award to Eli Roth.

Other high-profile shorts screening during opening night event include “Kidnapping Caitlynn,” a short film starring Jason Biggs (“American Pie”), Julie Benz (“Dexter”) and David Prior’s thriller “AM1200.” Royalty Rope Events, Inc presents the evening.

The Haydenfilms online ceremony on Aug. 7 will feature for the first U.S. screening of Roth’s special director’s cut of “Cabin Fever.”

HollyShorts co-founders Theo Dumont and Daniel Sol said they are both very excited about this year’s event and the expanded role being played by Haydenfilms. “Initially we had no idea the festival would get so much attention,” explained Sol. “However, now it annually brings attention and awareness to some really incredible talent.”

“The goal of Hollyshorts is to create a community,” added Sol. “We’re bringing together a variety of people involved in the film industry in a way where they can benefit each other.”

Said, Dumont, “One of the most endearing qualities of the festival is its strong attempt to draw in not only professional and more experienced filmmakers, but students as well. It is amazing what artists participating in HollyShorts can create on such small budgets and for no other reason than love of the craft.”

Haydenfilms President Hayden Craddolph said, “Being able to move our annual awards ceremony to HollyShorts and Hollywood is a bold step for us and will give us even more exposure to our finalists, our online festival and our mission to support young and independent filmmakers.”

At the Haydenfilms Awards Ceremony, one of four final films chosen by the public will win the coveted $10,000 grand prize award. The finalists include “Babbage,” “The Brass Teapot,” “Displaced,” and “My Turtle’s Name Is Dudley” representing the United Kingdom and America. Sixteen countries are represented among the 53 semi-finalists and several hundred entries total.

“It is amazing that our festival is attracting independent and student filmmakers from around the world. The quality of our entries continues to grow and cover an even more diverse array of subjects, many that are very topical. Based on the opinion of thousands of voters, our Final Four truly represent filmmaking at its finest and we expect a very close competition to determine our final,” said Craddolph

Here are details about each of the final films:

• “Babbage,” directed by Claire Barker and produced by Trevor Hughes, is a 2008 film from the United Kingdom and a pilot for a feature project. The 15-minute film was inspired by the Victorian inventor Charles Babbage, a man equally famous for inventing the computer and failing to build it. Part historical drama, part fantasy, the film introduces us to those Babbage loved and lost. Babbage’s story is one of inventive genius and failure. ( http://www.frameonframe.co.uk )

• “The Brass Teapot” is directed and produced by Ramaa Mosley. This 23-minute American entry is a tale of Alice and John who buy a teapot and get much more than they bargained for.

• “Displaced” is another U.S. film directed by Klaus Pas and produced by Klaus Pas and Guy Pas. In it, Arnaud runs a famous jazz club in Paris where the displaced gravitate, victims of the global trends that model our society. To the beat of pianist Smokey Sam, they will gather together to witness a cry for hope from Mady, an illegal immigrant from Mali, hiding with his son. It is 30 minutes long.

• “My Turtle’s Name is Dudley” is a narrative short about a young woman named Jade who relives the memory of being molested by her father. It was written, directed, and produced by Johnny Gill. Other producers included: Lajonel Brown, Greg Heller, and Paul Moore. It runs 17 min.

The top prize for this year’s HollyShorts Film Festival grand winner is the revolutionary Red One digital camera and Post/VFX package presented by Clifton Production Services. ( http://www.cliftonpost.com )

The winner will be awarded a RED ONE camera package, a digital cinema camera unrivaled in performance and cost, that includes camera body, camera support, follow focus, matte-box as well as PL mount lenses with a value of up to $5,000. The winner will also receive a POST/VFX prize package with a value of $2,500. Overall equipment value of the prize package is more than $100,000

For tickets, a complete schedule and other information, go to http://www.hollyshorts.com or http://www.haydenfilms.com Tickets and special passes also available at http://www.brownpapertickets.com.

Haydenfilms, founded in 2001, is an independent film production and distribution company. Its mission is to create and foster an online network of independent and student film producers, and to provide the support and resources necessary for filmmakers to succeed. In addition to the Haydenfilms Online Film Festival, the Haydenfilms web site provides industry news, a crew database, production boards and shopping for filmmaking software and equipment.

Haydenfilms Film Festival :: NewsFriday, July 17, 2009

Workflow

Hollywood places biggest 3-D bet yet on ‘Avatar’

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From an

SAN DIEGO — When James Cameron directed his first 3-D film, “Terminator 2: 3-D,” for Universal Studios theme parks more than a decade ago, the bulky camera equipment made some shots awkward or impossible.

The 450-pound contraption — which had two film cameras mounted on a metal frame — was so heavy that producers had to jury-rig construction equipment to lift it off the ground for shots from above. The cameras, slightly set apart, had to be mechanically pointed together at the subject, then locked into place like an unwieldy set of eyes to help create the 3-D effect.

At $60 million, the 12-minute film was the most expensive frame-for-frame production ever.

Now, five months from its release, Cameron’s “Avatar,” the first feature film he has directed since “Titanic” (1997), promises to take 3-D cinematography to an unrivaled level, using a more nimble 3-D camera system that he helped invent.

Cameron’s heavily hyped return also marks Hollywood’s biggest bet yet that 3-D can bolster box office returns. … budgeted $237 million for the production alone of “Avatar.”

The movie uses digital 3-D technology, which requires audience members to wear polarized glasses. …

“Avatar” also raises the bar on “performance capture” technology, …

“I’m speechless,” said Nahum Villalobos, a 19-year-old Navy recruit from Vista, Calif., …

The $237 million production is not as expensive as some 2-D fare such as “Spider-Man 3″ (2007)…

Then again, Cameron’s last film grossed $1.84 …

“If you know Jim Cameron, it’s all about pushing the envelope,” said Vince Pace, …

Cameron tweaked his cameras through two 3-D documentaries he made for IMAX theaters,…

His camera rig is now lighter — up to only 50 pounds — …

…

Cameron said he wanted to have the filmmaking techniques fade into the background as the story took over.

There is a lot more to this excellent AP/Christian Science Monitor article: Hollywood places biggest 3-D bet yet on ‘Avatar’ | csmonitor.com

Cameras

ASC: New Officers – Goi President

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“When I became a member of ASC, I was surprised by how open and friendly everyone was. My heroes became my friends who openly shared their knowledge and feelings about filmmaking. There is an unbreakable camaraderie which I treasure.”
Goi says that the current generation of ASC members remains dedicated to the vision of the founders who were devoted to advancing the art and craft of filmmaking.

“We are partnering with the Producers Guild of America (PGA) on a groundbreaking assessment of film and digital cameras that are currently used during the production of theatrical motion pictures,” he says. “We are also collaborating with other organizations, including a previsualization subcommittee with the Art Directors Guild (ADG) and Visual Effects Society (VES), designed to help drive the industry toward a higher quality bar for the art and craft of moving images.”

Goi is a Chicago native who grew up making “little 8 mm movies” with the help of neighborhood kids. He upgraded to using a 16mm Bolex camera by working odd jobs. After graduating from high school, Goi studied filmmaking at Columbia College in Chicago. He began shooting PBS documentaries while he was still in college.

After graduation in 1980, Goi shot local commercials and documentaries and opened a still photography studio, where he concentrated on fashion and product photography. Goi earned his first narrative film credit for Moonstalker in 1987. He received ASC Outstanding Achievement Awards nominations for the telefilms The Fixer (1999) and Judas (2005). Last year, Goi also garnered an Emmy® nomination for an episode of My Name is Earl.

His other credits include Witless Protection, Fingerprints, Red Water, What Matters Most, Who Killed Atlanta’s Children?, Christmas Rush, Funky Monkey, Welcome to Death Row, The Dukes, the Emmy® Award-winning documentary Fired-Up: The Story of Public Housing in Chicago, and the TV series The Wedding Bells and My Name is Earl. He also recently wrote, produced, and directed the narrative film Megan is Missing. Goi is a member of the Academy of Motion Picture Arts and Sciences, as well as the Academy of Television Arts And Sciences.

ASC was founded in 1919 by 15 charter members. In 1934, the organization created an associate membership category for individuals in other sectors of the industry who have made notable contributions to advancing the art and craft of cinematography. There are 310 active members today who have national roots in some 20 countries. There are also 160 associate members.

Taken from the ASC Website at: Michael Goi Named ASC President

CGI

Hubble Commander Altman with Dykstra, Deschanel

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Deschanel, Dykstra at Academy – June 29, 2009

Director of photography Caleb Deschanel, ASC (The Right Stuff), and visual-effects supervisor John Dykstra, ASC (Star Wars), will host “Astronaut as Filmmaker,” a discussion about the close relationship between NASA and motion pictures, on July 14 at the Academy of Motion Picture Arts & Sciences’ Samuel Goldwyn Theater, 8949 Wilshire Blvd., Beverly Hills, at 8 p.m.

Panelists will include Commander Scott Altman, who recently returned from a mission to the Hubble Space Telescope that he and other astronauts documented with digital and Imax 3-D cameras.

Tickets are $5 and can be purchased online at www.oscars.org or in person at the box office. For more information, call (310) 247-3600

Taken from the ASC Website at: Deschanel, Dykstra at Academy

Cameras

Wexler Medium Cool and Coming Home July 2

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Wexler at Aero Theatre – July 2, 2009       
    
Haskell Wexler, ASC, will be the guest of honor at the American Cinematheque’s Aero Theatre for a double-feature presentation of Medium Cool (1969) and Coming Home (1978) on July 16 at 7:30 p.m.

Wexler wrote, directed and photographed Medium Cool, and he shot Coming Home for director Hal Ashby.

Ticket prices are $10 general admission, $8 for senior citizens and students (with current school ID), and $7 for American Cinematheque members. Tickets are on sale now at www.fandango.com and at the Aero Theatre, 1328 Montana Ave., Santa Monica.

Taken from the notice on the ASC website at: Wexler at Aero Theatre

CGI

3-Strip Technicolor before Black Narcissus

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Designing for 3-Strip Technicolor – July 7, 2009

Director of photography John Hora, ASC, will join visual-effects artist Harrison Ellenshaw and production designer Tom Walsh to discuss “Designing for 3-Strip Technicolor” prior to a screening of Black Narcissus (1947) at the Egyptian Theatre, 6712 Hollywood Blvd., Los Angeles, on July 26 at 5:30 p.m.

The program is a special presentation by the Art Directors Guild. Alfred Junge won an Academy Award for art direction for Black Narcissus, which was his final collaboration with Michael Powell and Emeric Pressburger. Jack Cardiff, BSC, also won an Academy Award for his work on the picture, which is considered a landmark in color cinematography.

Tickets are $10 for general admission, $8 for senior citizens and students (with current school ID), and $7 for American Cinematheque members. Tickets can be purchased online at www.fandango.com or in person at the box office.

For more information, visit www.americancinematheque.com

To see the original news release, Clik Here: ASC: The American Society of Cinematographers

Cameras

JVC Turns Heads With 3D Conversion Technology

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JVC unveiled a potentially disruptive 3D technology at NAB this week.
The company is showing an early prototype of a 2D/3D conversion box that it is looking to further develop as a basic conversion system and, get this, sell for $10,000.
Today more elaborate methods of converting 2D imagery to 3D can run anywhere from $50,000 per […]

Read the full post at CelluloidJunkie.com

Read more…

Cameras

Daily Cinema Roundup – Sat 18th April

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– Cinemas in the UK are anticipating a bumper box office this summer and the Film Distributors Association has put together a trailer (see above) and website for SummerOfCinema, reports the BBC; – UK actors Meera Syal and Tony Robinson are amongst those campaigning to save London’s historic EMD cinema in Walthmastow where a young Alfred […]

Read the full post at CelluloidJunkie.com

Read more…

Workflow

Editshare Joins Forces with Digital Vision

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The next generation EditShare XStream DI shared storage solutions have been engineered to deliver multiple concurrent streams of 2k and HD DPX as well Quicktime and MXF with codecs such as uncompressed 10 bit, Avid DNxHD and Apple ProRes . Coupled with almost limitless storage capability, EditShare XStream DI has been chosen as the shared storage for the Digital Vision Turbine processing grid at NAB, enabling real-time premium RED decode and realtime motion compensated noise reduction. EditShare XStream series provides a single point of management for the storage range, allowing an entire facility to be connected from ingest to delivery of the final cut.

The newly integrated solution will be demonstrated at NAB 2009 (April 20 to 23 in Las Vegas, NV) on the EditShare stand (SL6420). 

“With EditShare XStream, we are bringing the same great media sharing capabilities that Apple and Avid editors have enjoyed over the past years to Digital Vision artists working in Digital Intermediate environments,” comments Andy Liebman, CEO and founder, EditShare. “The flexibility of our technology accommodates both DI and other file based  workflows from the same XStream system with tremendous performance and unmatched scalability. Film Master artists will be able to grade in realtime off the XStream. The integration with Turbine ensures that throughput and processing can be scaled to any production requirement. ” 

“Digital Vision is always looking at new storage solutions that enable creatives to have more interactivity. What impressed us the most with this product is the way it could handle 20 simultaneous read and write requests from our Turbine grid processor without a single dropped frame on the main workstation,” comments company President, Simon Cuff. 

About Digital Vision Solutions

Digital Vision has been the ground breaker and driving force for high end shared storage workflows both in film and broadcast production. All Digital Vision software is delivered SAN ready and can be configured to work with multiple file systems simultaneously, including a mix of realtime and nearline volumes. Caching, proxy creation and render management can all be automated to ensure that operators are focused on creative tasks rather than data management. 

EditShare Complete Collaboration 

The Storage and XStream Series are part of the EditShare Complete Collaboration line of products which provide shared media and collaborative workflows – from ingest through production to archive. In addition to the Storage Series and XStream Series, the Complete Collaboration line includes EditShare FLOW and EditShare Ark.

Designed for the industry’s leading editing and compositing products from Adobe, Apple, Assimilate, Autodesk, Avid, Digidesign, Digital Vision, and Sony, EditShare storage servers, including the ultra-performance XStream series, allow all connected workstations to capture, access and share in real time a common pool of media files. Regardless of application or platform, source material, work in progress and finished packages are shared and instantly available to all users on the EditShare network. EditShare is also the only solution that provides full Project Sharing among both Apple and Avid editing workgroups. EditShare servers connect via Gigabit or 10 Gigabit ethernet.

FLOW Ingest captures up to four channels of media and associated metadata, storing each channel in up to three formats simultaneously and outputting a proxy for fast retrieval. No background transcoding is required and files are available immediately for editing. EditShare’s unique Universal Media File technology allows ingested media to be shared and used by editors working on both Avid and Apple editing applications.

FLOW Browse simplifies media cataloging, search and retrieval within EditShare shared storage environments. Users can quickly locate media among hundreds of thousands of clips on the EditShare media spaces. From FLOW Browse, users can update metadata, log clips, and drag and drop media to Avid and FCP bins.

FLOW Ingest and Browse are fully integrated with EditShare’s Storage Series as well as the ultra-performance XStream Series for high-volume, high-demand environments.

EditShare Ark provides a full range of very cost effective, disk-based solutions for backup, mirroring and archiving needs. While Ark systems are not generally usable for realtime editing, in a crisis situation where something has happened to a facility’s main EditShare storage, Ark Disk Based Storage can be “activated” and used to complete mission critical work while the primary storage is repaired.

 

Press Contact

Janice Dolan 

Zazil Media Group

Email [email protected]

Tel:  +1 (617) 817-6595.