Category Archives: Post

Post Production is post and prior—a lot of work taking other people’s material from dozens of sources and fitting it all into some other group’s needs. Very technical.

Storage and Networks

MULTIDYNE INTRODUCES FOUR-CHANNEL 3G HD FIBER OPTIC TRANSPORT SYSTEM

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Read the entire story at: MultiDyne HD-4400
“The MultiDyne HD-4400 designed under the openGear standard will continue to give broadcasters the flexibility they desire when it comes to selecting only the most advanced technology compatible with their existing equipment,” says Jim Jachetta, senior vice president of engineering and product development. “The HD-4400 is perfect to meet the demands for today’s high definition, on-the-go sports or news production environments. Nowadays, mobile production is so complex that often two or three mobile production trucks are required. Several dozen 3G HD video feeds need to be shared between all these production vehicles, and with limited space in these trucks, the HD-4400 is the perfect high-density solution for video pool feed distribution.”

Ideal for high-capacity fiber trunking of 3G HD-SDI signals in a broadcast facility, the HD-4400 transmitter card accepts four multi-rate HD-SDI electrical signals with speeds of 5 Mb to 3 Gb per second as inputs. These inputs are equalized, re-clocked and converted to four optical outputs. The receiver card accepts four fiber optic inputs and converts them to four fiber optic electrical outputs, which are re-clocked and line buffered. Both the transmitter and receiver cards include a 4×4 matrix switcher to cross connect any of the four input and output channels.

The HD-4400’s 4×4 switching and cross-connect feature provides 3G HD signal routing and automatic redundancy capability. The system can also transport four redundant 3G HD-SDI feeds with automatic protection switching, supporting SDI, HD-SDI, 3G HD-SDI, DVB, ASI and SMPTE standards 424M, 292M, 259M and 310M.

Several model variations of the HD-4400 will also be available from MultiDyne, providing a variety of fiber transport and switching options for customers including the HD-4300, triple 3G HD-SDI option with a 3×3 switch for openGear, the HD-4200 dual 3G-HD-SDI with a 2×2 switch for openGear and a HD-4100 single 3G HD-SDI model with one 3G HD-SDI channel and no switch or protection switching.                       

About MultiDyne:
For more than 30 years, MultiDyne has been a leading provider of innovative and outstanding video and fiber-optic-based transport and routing systems for the broadcast, cable, satellite, production, digital cinema, pro A/V, corporate, retail, surveillance, teleconferencing, judicial arraignment, transportation, government, military, and healthcare markets. MultiDyne’s fiber optic transport and routing systems for video, SDI, 3G HD, DVB/ASI, VGA, DVI, HDMI, audio, AES, Ethernet, data, CATV, as well as the company’s other broadcast accessories are used worldwide by such industry leaders as ABC, CBS, NBC, CNN, RAI, BBC and the Department of Transportation. MultiDyne provides a seven-year warranty on its core product line. For more information, call MultiDyne at 1-877-MULTIDYNE or 1-516-671-7278, visit the company’s Web site at www.multidyne.com, or send an e-mail to [email protected].

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Photo Download:
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Media Contact:
Kate Lee
D. Pagan Communications, Inc.
+1 (631) 659-2309, ext. 21
[email protected]

Company Contact:
+1 (516) 671-7278, ext. 302
[email protected]

Ingest

DVExpo – Pasadena Education Details

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The Digital Video Conference is produced by the editors of DV and Videography magazines and the Creative Planet Community sites. The conference offers tracks in postproduction, Web video, new HD cameras, content distribution, HD workflow, 3D production, using HD-capable DSLRs, editing, digital cinematography, lighting for HD, and career development.

Also offered will be RED Boot Camp session from the Los Angeles RED User Group, a digital camera “Super Session” profiling new units seen at NAB, and a series of lighting workshops.

Session topics include:

  • Postproduction Trends for 2009/2010
  • Building a Cost-Effective Editing Suite
  • Tapeless Media Post Workflows
  • Codecs, Encoding & Compression
  • HD DSLR Basics and Production
  • DVD Distribution
  • Introduction to Stereoscopic Production
  • New Camera Overview
  • Flavors of HD
  • Final Cut Pro Plug-Ins
  • iPhone Apps for Production
  • NLE Update
  • Growing Your Business
  • Top 10 Tips: Career Development

Additional conference and educational programs running alongside Digital Video Expo include Broadcast Symposium West and Apple Certified Training.

For complete event and registration information, please visit http://www.dvexpo.com.DVEExpo Logo

Video Processing

DVS@IBC; new workflows for RED™ & 3D

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CLIPSTER® generates digital deliverables in high-speed, enables conforming of RED™ files and provides complete camera parameter settings for adjustment at any time.

CLIPSTER® enters the third dimension: 3D projects as specified by DCI are easily processed with the DIworkstation. CLIPSTER® merges left eye and right eye image data together and creates a stereoscopic video track in the timeline that can be edited as regular video material. In addition, CLIPSTER® has the ability to create 3D DCPs in high speed.

Hans-Ulrich Weidenbruch, DVS CEO: “We transferred our longstanding expertise in post production to the requirements of cutting-edge broadcasting. VENICE, as presented at IBC, is a future-proof system, guaranteeing file based broadcast workflows with maximum flexibility. We look forward to presenting all of our advanced solutions at IBC.”

Video Processing

Apple ships new Final Cut Studio with advanced codec support – Ars Technica

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For the full ArsTechnica article (10 more fact filled paragraphs~!): Apple ships new Final Cut Studio with advanced codec support – Ars Technica

Including:

As predicted in rumors earlier this year, the new Final Cut Studio is Intel only. With an introduction just a few months before Snow Leopard is set to ship, though, it seems likely that interim upgrades to take advantage of 64-bit compatibility and advanced performance possible with Snow Leopard will be coming after its introduction. Final Cut Studio is available now for $999, a $300 savings over the previous version. Final Cut Server 1.5 is also available now for $999, which supports unlimited clients. Both applications can be upgraded from previous versions for $299.

Video Processing

3 Gb/s SDI and optical fiber SDI scopes-Blackmagic

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Parade Display

Parade Display for Colorists

When color correcting video, nothing beats the real time RGB parade waveform view. You can see the color balance in blacks, mids and whites, so it’s easy to balance colors and get your images looking perfect. RGB Parade is also perfect for checking for illegal colors because any video that drops below the black line, or above the 100% line is an illegal RGB color. Parade can also be switched to component so you can align equipment and decks. Waveform Display for Alignments

When adjusting video levels or matching black background levels when keying, the waveform display is ideal for this task! Waveform view has a setting that’s luminance only or composite. Composite video is synthesized from the SDI input, and is a much better view for aligning traditional equipment such as decks. Thousands of editors know and understand composite waveform monitors, so even though UltraScope is all digital, the synthesized composite waveform makes life a lot easier! Component Vectorscope View

A vectorscope is the only way to see what color you have. When color correcting video, sometimes you need to know color has been removed or nulled out for accurate white balance, and vectorscope view is perfect. Sometimes when color correcting you also need to apply a tint, and vectorscope lets you see exactly how much tint you’re adding, and what color it is. Sometimes monitors cannot be trusted, but a vectorscope always shows the colors you have! Of course aligning hue on decks is always easy with vectorscope view! Histogram for Location Shoots

Almost all video need to be color corrected at some point in the post production process, and so you never want to clip video whites or blacks when on a live shoot. If you clip the blacks and whites, you loose all detail later in post production when you try to adjust blacks up or whites down. Histogram view lets you see where the pixels are in your video, and how they are distributed from black to white. You can see if video is clipping, and then it’s easy to adjust the camera to keep all black and white detail in the image. Later in post production you then have the full contrast range of video for easy color correction that lets you keep all details no matter how extreme the color grade is! Audio view for Monitoring Levels

Keep track of your audio levels at all times with 8 channels of audio metering, plus a stereo phase meter. The stereo phase meter plots left and right audio, as an XY scope display so you know exactly what your audio is at all times. Audio scope lets you see mono audio, as you see a vertical line, or when you have stereo audio you will see the scope puff out in all directions! Audio problems are easily seen such as clipping, and out of phase audio can be seen as a left or right leaning display. If you don’t get a perfect vertical waveform, then you know you audio channel balance is out! No audio problem can hide from audio scopes! Picture View with VITC Timecode

The picture view lets you keep track of the video input so you always know what’s going on and what video input is connected into your Blackmagic UltraScope. Input video is selected from either the optical fiber SDI or regular SDI inputs, and the video standard is automatically detected and displayed above the video image. VITC timecode and RP188 HD timecode is also detected and read into a timecode counter on the top right of the video image.

High end post production and television engineers have known for decades the benefit of using waveform monitoring not just for engineering, but operationally in color correction and editing workflow. From color correction to matching black levels when keying and overlaying video, only waveform monitoring lets you keep track of what’s going on, and helps you eliminate illegal colors, and other problems that could cause your work to be rejected by broadcasters.

Of course, waveform monitoring is the best way to impress your clients and let them know that you’re keeping on top of quality in your work! Full PR write-up on BlackMagic Site: Blackmagic Design: Blackmagic UltraScope

Video Processing

UltraScope; waveform functionality on PCI Express card

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UltraScope offers waveform functionality on PCI Express card

Plugging the Ultrascope PCI Express card into any compatible Windows PC in combination with a 24in monitor gives access to six live HD or SD scope views simultaneously. With 3Gb/s SDI, and 3Gb/s optical fiber SDI connections, UltraScope is a highly engineered, broadcast-quality set of scopes that can auto-detect SD, HD and 3Gb/s SDI inputs.

Ultrascope brings together the six, which include a parade display for colorists, waveform display for alignment, component vectorscope view, histogram for location shoots, audio view for level monitoring and picture view with VITC time code.

Video Processing

Avid Delivers Native RED Support

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In addition to handling native R3D footage, Avid DS customers will now be able to create HD RGB 4:4:4 proxies from high-resolution RED source material, which will provide real-time program monitoring and result in faster system response time – enabling artists to stay focused on the creative editorial aspects of a project.

Avid will also offer native RED support for the offline editing process via MetaFuze®, a tool that automates the conversion of formats such as RED and DPX to Avid DNxHD® media for HD offline workflows in Avid Media Composer® and HD finishing in Symphony™ systems. As a result, customers are able to take advantage of the Avid Advanced Conform workflow for RED and seamlessly move their projects from offline to online.

“We are very excited about the new Avid and RED integration,” said Ted Schilowitz of RED Digital Cinema.  “The ability to use the MetaFuze tool to turn RED files into true native MXF files at the various offline and online resolutions is a very powerful step that will enable a more streamlined workflow for the many RED projects around the world that are cutting on Avid.  The DS integration of RED files for online color grading and finishing is another important development on making offline to online very cost-effective. Fewer workflow steps and tape layoffs for finishing with RED files is the most effective and efficient way to deliver projects.”

Kirk Arnold, EVP and GM of Customer Operations at Avid said, “We strive to make the technology seamless for customers to allow them to keep focused on unleashing the creative talents that continue to entertain millions. We also understand that our customers want freedom and flexibility to work with whichever format they choose, and our effort to offer native RED support is the latest example of how we continue to evolve our solutions and meet customers’ needs.”

Native support for R3D files is available in Avid DS. version 10.1.1. For customers looking to upgrade, visit the Avid download center.  

 

For more information, like legal disclosures, go to the original story at the Avid website

Video Processing

3D Workflow for Final Cut Pro – CineForm

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CineForm Neo3D Enables Editors to Cut 3D Content on the FCP Timeline, Viewing Edits in Full 3D with Full Frame Rate Playback in Real Time

Solana Beach, CA, April 7, 2009 – CineForm®, Inc. (www.cineform.com), creators of high-fidelity compression-based workflow solutions for the post production marketplace, today announced it will unveil the industry’s first 3D editorial workflow solution for Apple Final Cut Pro users this month in its booth (#SL11605) at NAB 2009 in Las Vegas, NV. 

CineForm’s Neo3D™, a significant development in 3D post production workflows, enables Final Cut Pro users to edit 3D projects in real time with full frame rate playback to an external 3D monitor. Traditionally, 3D projects are edited in 2D as independent Left and Right eyes, with a final 3D conform after the entire editorial process is complete.  CineForm Neo3D simplifies this costly, time-intensive process by enabling the editorial team to experience the 3D story-telling process by viewing in full 3D while editing.  This technique allows many projects to eliminate 3D conform entirely and print directly from the Final Cut Pro timeline to electronic 3D distribution or projection files.

“Driven by increasing numbers of 3D film projects planned by Hollywood studios, the demand for efficient 3D post workflows has increased significantly in the last two years,” said David Taylor, CEO of CineForm, Inc.  “But using existing 2D editorial workflows for 3D projects increases overall costs due to feature inefficiencies. With Neo3D we’ve extended CineForm’s workflow innovations to 3D by enabling editors to view their work, including independent adjustments for color and convergence, in 3D while they’re editing.  This significantly reduces overall project complexity and costs.  We’re excited to demonstrate Neo3D in action in our booth at NAB 2009.”

Neo3D: How Does it Work?

Read the entire release: CineForm