Red’s Scarlet-X 4K camera gets video review: you’ve never needed $11,700 so badly — Engadget
End of Year Distraction | Open Source CAD
Thingiverse – Digital Designs for Physical Objects
DIY 3D Printer site.
RepRap – Another DIY.
Nice website for production quantities…and great tutorials: Protomold – Injection Molding – Journal Magazine
Find your own YouTube videos.
End of Year Distraction | Open Source CAD
Thingiverse – Digital Designs for Physical Objects
DIY 3D Printer site.
RepRap – Another DIY.
Nice website for production quantities…and great tutorials: Protomold – Injection Molding – Journal Magazine
Find your own YouTube videos.
Managing Digital Formats: Choosing the Right Lens
In the d-cinema world of 2 K and 4 K, every format is defined by a specific resolution. Therefore, when the digital image is formed on the chips inside each projector, it takes a greater or lesser size. In 1.85, the image occupies almost the entire surface of the chips:
2.39 in Cinemascope, as the resolution is less in the vertical direction (2048 X 858), the image is “letterboxed” which means black bands are present on the top and bottom of the screen.)
During projection, so that the image fits perfectly on the screen in any format, the installer must select the right lens. For each projector, there is a wide range of optics. To determine the appropriate lens, the technician takes into account the properties of the room to be equipped as follows:
– The base of the screen. Example: 20 meters.
– The distance between the projector and the screen.) Example: 35 meters.)
Divide the projection distance (35 meters) from the bottom of the screen (20 meters) with a result of 1.75.
From this calculation, the installer can select the target whose range corresponds to that number:
1.2 refers to the size of the chips installed in the projector. Different series of projectors have different sizes of chips.
The numbers “1.6 – 2.35: 1” means that this is a zoom lens, meaning that the zoom lens has a range of ratios, and thus it has the ability to cover different screen perspectives. In cases where a wrong lens is installed, the image may extend beyond the screen or, on the contrary, it will be surrounded by black bars. This is due to the zoom range that does not match the proportions of the room to be equipped.
For the lenses of d-cinema, the numbers of the lens ratio must be applied.
To managing format changes, we must necessarily take into account the screen size of the room. Manice details in the two articles below for the technical solutions:)
The management of optics in the case of 1.85 screens.
The management of optics in the case of 2.39 screens.
The article above was taken from an article at Manice.org named Gestion des formats numériques : comment choisir le bon objectif?, written by Frederick Lanoy. The translation was done by dcinematools.com, not Manice, though it is done with their permission. Suggested changes and comments should be addressed to [email protected]
Managing Digital Formats: Choosing the Right Lens
In the d-cinema world of 2 K and 4 K, every format is defined by a specific resolution. Therefore, when the digital image is formed on the chips inside each projector, it takes a greater or lesser size. In 1.85, the image occupies almost the entire surface of the chips:
2.39 in Cinemascope, as the resolution is less in the vertical direction (2048 X 858), the image is “letterboxed” which means black bands are present on the top and bottom of the screen.)
During projection, so that the image fits perfectly on the screen in any format, the installer must select the right lens. For each projector, there is a wide range of optics. To determine the appropriate lens, the technician takes into account the properties of the room to be equipped as follows:
– The base of the screen. Example: 20 meters.
– The distance between the projector and the screen.) Example: 35 meters.)
Divide the projection distance (35 meters) from the bottom of the screen (20 meters) with a result of 1.75.
From this calculation, the installer can select the target whose range corresponds to that number:
1.2 refers to the size of the chips installed in the projector. Different series of projectors have different sizes of chips.
The numbers “1.6 – 2.35: 1” means that this is a zoom lens, meaning that the zoom lens has a range of ratios, and thus it has the ability to cover different screen perspectives. In cases where a wrong lens is installed, the image may extend beyond the screen or, on the contrary, it will be surrounded by black bars. This is due to the zoom range that does not match the proportions of the room to be equipped.
For the lenses of d-cinema, the numbers of the lens ratio must be applied.
To managing format changes, we must necessarily take into account the screen size of the room. Manice details in the two articles below for the technical solutions:)
The management of optics in the case of 1.85 screens.
The management of optics in the case of 2.39 screens.
The article above was taken from an article at Manice.org named Gestion des formats numériques : comment choisir le bon objectif?, written by Frederick Lanoy. The translation was done by dcinematools.com, not Manice, though it is done with their permission. Suggested changes and comments should be addressed to [email protected]
Appeals Judgement in DCN VPF…
The case is, in one sense, rather straight forward and is well described in the attached press release regarding the Federal appeals court finding. A full reading of the court document is interesting as well since it describes more of the story as the appeals judge had to review the entire proceeding in only a few pages. The case law doesn’t sound that much different than what one would expect from most ‘Western” countries. The official court link to this case can be found at:
http://www.austlii.edu.au/au/cases/cth/FCAFC/2011/166.html
On the other hand, as the industry turns the corner toward full implementation of digital around the world, this still leaves a mess of a negotiation for settlement by OmniLab with digitAll [not DCN – correction from earlier draft–Ed], then a return to the table of the independent exhibitors to strike a deal with the studios still offering VPF deals. So, there is still more to the story to pay attention to.
Appeals Judgement in DCN VPF…
The case is, in one sense, rather straight forward and is well described in the attached press release regarding the Federal appeals court finding. A full reading of the court document is interesting as well since it describes more of the story as the appeals judge had to review the entire proceeding in only a few pages. The case law doesn’t sound that much different than what one would expect from most ‘Western” countries. The official court link to this case can be found at:
http://www.austlii.edu.au/au/cases/cth/FCAFC/2011/166.html
On the other hand, as the industry turns the corner toward full implementation of digital around the world, this still leaves a mess of a negotiation for settlement by OmniLab with digitAll [not DCN – correction from earlier draft–Ed], then a return to the table of the independent exhibitors to strike a deal with the studios still offering VPF deals. So, there is still more to the story to pay attention to.
Season’s Songs and Good Cause
OK, so it is some fancy pants place that can’t spell the word Center properly. And, it is too late to get the promised artwork. Big deal. Enjoy the download and give a little.
Season’s Songs and Good Cause
OK, so it is some fancy pants place that can’t spell the word Center properly. And, it is too late to get the promised artwork. Big deal. Enjoy the download and give a little.
AES Attacks DCinema Sound
To affect the latter, the AES has a new technical committee forming around audio reproduction for Digital Cinema. Television is also stuck onto the title, though either outlet is a large enough mandate.
The challenge of audio in the modern cinema comes from many angles. One is keeping it sane safe and listenable during and before movies. On the other hand, there is a different experience potential and expectation for sports and live performance. Since they are part of the magic of alternative content – the miracle that is supposed to compensate for the additional 4X digital costs over film equipment – handling customer increased audio expectations will need to be addressed.
Editorially, we’ll let this article – and press release from the AES – begin a series of AudioRants that will bring out the issues, problems and potential solutions. As vice-chair of the committee Dr. Toole has said, “It’s not rocket science, but it is science.”
Formative AES Technical Committee on Sound for Digital Cinema & TV
December 8th, 2011 Posted in News, newsletter
New York, NY — The Audio Engineering Society has formed a provisional committee to review audio reproduction for Digital Cinema and Television. Spearheaded by Brian McCarty, Managing Director, Coral Sea Studios (Australia), the new AES Technical Committee on Sound for Digital Cinema & Television, AESTC-SDCTV is planning a meeting in Los Angeles in early 2012. To participate in this event or to join the AESTC-SDCTV Committee contact: Brian McCarty (http://www.aes.org/technical/sdctv/).
“Our mission is to identify a consistent approach to controlling perceived loudness and frequency response from installation to installation, and from position to position within Digital Cinema installations worldwide,” McCarty said. “And, for this to be adopted as the formal reference for all contemporary dubbing stage recording and mixing activities, and ultimately as the unified method for film reproduction at home.”
Originally addressed at AES Technical Committee meetings in London in 2010, the initiative was inspired by the AES historical involvement in film sound. The lack of electroacoustical response reference data for Digital Cinema systems was underscored by Dr. Floyd Toole’s statement, “It seems that no real science has been done in terms of Digital Cinema Sound.” Dr. Toole, Vice Chair of the committee, is developing a ½ day seminar on these issues to be held in L.A. in March that will serve as the first meeting of the committee.
McCarty underscores the point that global acousticians, engineers and systems installers have expressed the need for a working standard. “In simple terms, what is recorded digitally in the studio does NOT sound the same at the theatrical end,” McCarty says. “As an art form our goal should be consistency of sound quality. Acoustical design of theaters is typically incorrect for sound reproduction in large rooms. Current soundtrack EQ reproduction curves are inconsistent with large-room audio practice and, with the rest of the audio industry. And, loudspeaker technology typically used in theaters has yet to be optimized for proper playback of wide bandwidth soundtracks. Basically,” McCarty concludes, “the current Digital Cinema Audio System is simply not the best we can do. The AES is committed to improving this situation.”
About AES
The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry.
AES Attacks DCinema Sound
To affect the latter, the AES has a new technical committee forming around audio reproduction for Digital Cinema. Television is also stuck onto the title, though either outlet is a large enough mandate.
The challenge of audio in the modern cinema comes from many angles. One is keeping it sane safe and listenable during and before movies. On the other hand, there is a different experience potential and expectation for sports and live performance. Since they are part of the magic of alternative content – the miracle that is supposed to compensate for the additional 4X digital costs over film equipment – handling customer increased audio expectations will need to be addressed.
Editorially, we’ll let this article – and press release from the AES – begin a series of AudioRants that will bring out the issues, problems and potential solutions. As vice-chair of the committee Dr. Toole has said, “It’s not rocket science, but it is science.”
Formative AES Technical Committee on Sound for Digital Cinema & TV
December 8th, 2011 Posted in News, newsletter
New York, NY — The Audio Engineering Society has formed a provisional committee to review audio reproduction for Digital Cinema and Television. Spearheaded by Brian McCarty, Managing Director, Coral Sea Studios (Australia), the new AES Technical Committee on Sound for Digital Cinema & Television, AESTC-SDCTV is planning a meeting in Los Angeles in early 2012. To participate in this event or to join the AESTC-SDCTV Committee contact: Brian McCarty (http://www.aes.org/technical/sdctv/).
“Our mission is to identify a consistent approach to controlling perceived loudness and frequency response from installation to installation, and from position to position within Digital Cinema installations worldwide,” McCarty said. “And, for this to be adopted as the formal reference for all contemporary dubbing stage recording and mixing activities, and ultimately as the unified method for film reproduction at home.”
Originally addressed at AES Technical Committee meetings in London in 2010, the initiative was inspired by the AES historical involvement in film sound. The lack of electroacoustical response reference data for Digital Cinema systems was underscored by Dr. Floyd Toole’s statement, “It seems that no real science has been done in terms of Digital Cinema Sound.” Dr. Toole, Vice Chair of the committee, is developing a ½ day seminar on these issues to be held in L.A. in March that will serve as the first meeting of the committee.
McCarty underscores the point that global acousticians, engineers and systems installers have expressed the need for a working standard. “In simple terms, what is recorded digitally in the studio does NOT sound the same at the theatrical end,” McCarty says. “As an art form our goal should be consistency of sound quality. Acoustical design of theaters is typically incorrect for sound reproduction in large rooms. Current soundtrack EQ reproduction curves are inconsistent with large-room audio practice and, with the rest of the audio industry. And, loudspeaker technology typically used in theaters has yet to be optimized for proper playback of wide bandwidth soundtracks. Basically,” McCarty concludes, “the current Digital Cinema Audio System is simply not the best we can do. The AES is committed to improving this situation.”
About AES
The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry.
AES Attacks DCinema Sound
To affect the latter, the AES has a new technical committee forming around audio reproduction for Digital Cinema. Television is also stuck onto the title, though either outlet is a large enough mandate.
The challenge of audio in the modern cinema comes from many angles. One is keeping it sane safe and listenable during and before movies. On the other hand, there is a different experience potential and expectation for sports and live performance. Since they are part of the magic of alternative content – the miracle that is supposed to compensate for the additional 4X digital costs over film equipment – handling customer increased audio expectations will need to be addressed.
Editorially, we’ll let this article – and press release from the AES – begin a series of AudioRants that will bring out the issues, problems and potential solutions. As vice-chair of the committee Dr. Toole has said, “It’s not rocket science, but it is science.”
Formative AES Technical Committee on Sound for Digital Cinema & TV
December 8th, 2011 Posted in News, newsletter
New York, NY — The Audio Engineering Society has formed a provisional committee to review audio reproduction for Digital Cinema and Television. Spearheaded by Brian McCarty, Managing Director, Coral Sea Studios (Australia), the new AES Technical Committee on Sound for Digital Cinema & Television, AESTC-SDCTV is planning a meeting in Los Angeles in early 2012. To participate in this event or to join the AESTC-SDCTV Committee contact: Brian McCarty (http://www.aes.org/technical/sdctv/).
“Our mission is to identify a consistent approach to controlling perceived loudness and frequency response from installation to installation, and from position to position within Digital Cinema installations worldwide,” McCarty said. “And, for this to be adopted as the formal reference for all contemporary dubbing stage recording and mixing activities, and ultimately as the unified method for film reproduction at home.”
Originally addressed at AES Technical Committee meetings in London in 2010, the initiative was inspired by the AES historical involvement in film sound. The lack of electroacoustical response reference data for Digital Cinema systems was underscored by Dr. Floyd Toole’s statement, “It seems that no real science has been done in terms of Digital Cinema Sound.” Dr. Toole, Vice Chair of the committee, is developing a ½ day seminar on these issues to be held in L.A. in March that will serve as the first meeting of the committee.
McCarty underscores the point that global acousticians, engineers and systems installers have expressed the need for a working standard. “In simple terms, what is recorded digitally in the studio does NOT sound the same at the theatrical end,” McCarty says. “As an art form our goal should be consistency of sound quality. Acoustical design of theaters is typically incorrect for sound reproduction in large rooms. Current soundtrack EQ reproduction curves are inconsistent with large-room audio practice and, with the rest of the audio industry. And, loudspeaker technology typically used in theaters has yet to be optimized for proper playback of wide bandwidth soundtracks. Basically,” McCarty concludes, “the current Digital Cinema Audio System is simply not the best we can do. The AES is committed to improving this situation.”
About AES
The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry.
Shubin Reports: World Opera Project Needs Help
October 10th, 2011 Posted in 3D Courses, Schubin Snacks by Mark Schubin
Schubin Cafe » Blog Archive » World Opera Project Needs Help
Schubin Cafe » Blog Archive » World Opera Project Needs Help
Opera is still pushing the limits of media technology. The Metropolitan Opera’s new production of Siegfried, for example, utilizes advanced computer graphics, controlled by image and positional sensors, projected in multiple depth planes, through the action of complex warp engines. it has been described as providing glasses-free 3D to an entire opera-house audience. And then there’s the World Opera Project (WOP), based north of the Arctic Circle in Tromsø, Norway.
The brainchild of Professor Niels Windfeld Lund, the WOP is working to create a future in which performers anywhere in the world can join together to form a complete opera presentation anywhere in the world. It involves high-speed data transmission (the project has utilized the lines normally associated with the European Center for Nuclear Research (CERN), home of the Large Hadron Collider), telepresence technologies, performer cueing, and more.
Beginning in 2006, Professor Lund assembled an amazing team involving government and academic laboratories, performing-arts institutions, and even manufacturers around the world. The project has already created several demonstrations of what might be achieved. You can read a bit about it at the WOP site here: http://theworldopera.org/
Unfortunately, the project is now in danger of running out of funds. I say “unfortunately” not only because I would like to see the World Opera Project continue but also because of what it might mean for the future of our industry. The many labs that have been working on the project might develop image and sound acquisition, processing, distribution, and presentation technologies that could be used in the movies and television of the future.
The next level of funding is not very large. If you think you can help plant the seeds of tomorrow’s technology, please contact Professor Lund: niels.windfeld.lund at uit.no.
Thanks!
Shubin Reports: World Opera Project Needs Help
October 10th, 2011 Posted in 3D Courses, Schubin Snacks by Mark Schubin
Schubin Cafe » Blog Archive » World Opera Project Needs Help
Schubin Cafe » Blog Archive » World Opera Project Needs Help
Opera is still pushing the limits of media technology. The Metropolitan Opera’s new production of Siegfried, for example, utilizes advanced computer graphics, controlled by image and positional sensors, projected in multiple depth planes, through the action of complex warp engines. it has been described as providing glasses-free 3D to an entire opera-house audience. And then there’s the World Opera Project (WOP), based north of the Arctic Circle in Tromsø, Norway.
The brainchild of Professor Niels Windfeld Lund, the WOP is working to create a future in which performers anywhere in the world can join together to form a complete opera presentation anywhere in the world. It involves high-speed data transmission (the project has utilized the lines normally associated with the European Center for Nuclear Research (CERN), home of the Large Hadron Collider), telepresence technologies, performer cueing, and more.
Beginning in 2006, Professor Lund assembled an amazing team involving government and academic laboratories, performing-arts institutions, and even manufacturers around the world. The project has already created several demonstrations of what might be achieved. You can read a bit about it at the WOP site here: http://theworldopera.org/
Unfortunately, the project is now in danger of running out of funds. I say “unfortunately” not only because I would like to see the World Opera Project continue but also because of what it might mean for the future of our industry. The many labs that have been working on the project might develop image and sound acquisition, processing, distribution, and presentation technologies that could be used in the movies and television of the future.
The next level of funding is not very large. If you think you can help plant the seeds of tomorrow’s technology, please contact Professor Lund: niels.windfeld.lund at uit.no.
Thanks!
Superb Future Technology Article
The official IMF site is at: Interoperable Mastering Format Forum (IMFF)
Thunderbolt – This is taking off with
Post-IBC: Six Things to Watch
Written by Carolyn Giardina
Thunderbolt, IMF, UltraViolet, and Cloud technologies generate buzz.
The 2011 IBC conference, held September 8-13 in Amsterdam, generated news and discussion about all areas of production, post and content distribution. Here is a sampling of just some of the developments to watch for in the coming months.
IMF
The Interoperable Master Format, or IMF, has been a big topic in the US, and at IBC word was spreading in the international community.
“The purpose of IMF is to create a high-quality, standardized and interoperable file framework for finished content,” explained SMPTE’s IMF Working Group chair Annie Chang, who is Disney’s VP Post-Production Technology. “IMF allows for flexible versioning so that multiple language versions and edits can be put together without the need to create full linear versions of each language/edit. IMF can store only the different pieces (audio, image and subtitles) and uses a Composition Play List to ‘mix and match’ and create the various versions needed.”
According to Chang, some of the IMF draft documents should start rolling out this Fall.
Chang encourages involvement in the SMPTE effort from hardware and software manufacturers that have systems that edit, play out and/or transcode files.
DVS has already stepped up to the plate, introducing version 4.3 of its Clipster, which debuted at IBC with new features including mezzanine format mastering for IMF workflows with extended JPEG2000 support.
Clipster’s batchlist function enables independent and automated processing of IMF, as well DCI and other distribution jobs.
Also during IBC, the Advanced Media Workflow Association (AMWA), the European Broadcast Union (EBU), and SMPTE agreed to work together to accelerate their respective efforts at driving interoperability and delivering efficient media workflows.
This will include meeting regularly and collecting input from users.
Said SMPTE President Pete Ludé: “As more media organizations rely on rapidly developed software-based tools, it is particularly important that standards-development processes meet these fast-paced needs.”
THUNDERBOLT
Numerous manufacturers introduced Thunderbolt-enabled devices at IBC, demonstrating the promise of the technology.
“Thunderbolt is important because it’s incredibly fast, supporting standard protocols, which means we can create devices to work all the way up to uncompressed 4:4:4 HD on systems that before could not handle it, such as a MacBook Pro,” said AJA President Nick Rashby. “We’re very excited to see how new Thunderbolt-enabled technologies help evolve workflows.”
AJA introduced Io XT, an I/O device with two Thunderbolt ports. Said Rashby: “Io XT won’t be your ‘endpoint’ on your setup, because we support daisy-chaining connectivity of multiple Thunderbolt-enabled devices.”
This is the developing I/O device that was first exhibited as a technology demonstration at NAB. The product is slated for availability in Q4 for $1495.
At IBC, Matrox and Promise Technology hosted a demonstration of multi-layer realtime editing of uncompressed HD projects using Matrox’s MXO2 LE MAX video I/O devices and Promise Pegasus RAID storage connected to the Apple iMac via Thunderbolt technology.
Pricing for Thunderbolt-enabled Matrox MXO2 devices starts at $549, and Matrox Thunderbolt adapters for MXO2 devices are available for $199.
Blackmagic Design also made Thunderbolt-supported products a big part of its IBC exhibit.
Now available for $995, Thunderbolt-enabled UltraStudio 3D offers portable capture and playback with full resolution dual stream 3D support, as well as full SD, HD and 2K support.
Blackmagic’s second Thunderbolt-supported product, Intensity Extreme, will be available later this year. The $299 video capture and playback product is designed for professional videographers with HDMI and analog video. “We think the combination of HDMI and analog on an extremely compact Thunderbolt bus powered design combined with an affordable price will change the lives of thousands of professional videographers,” said Grant Petty, CEO, Blackmagic.
CHANGE IN THE PROFESSIONAL FINISHING SPACE
Following news that Adobe acquired Iridas for an undisclosed sum, there was plenty of talk about what that might mean in the professional finishing space.
Adobe’s announcement of the deal suggested that Adobe Creative Suite Production Premium and Adobe Creative Suite Master Collection “are expected to gain a comprehensive set of tools so video editors can manipulate color and light for any type of content, including professional film and television.”
Bill Roberts, Adobe’s director of video product management, did not discuss specifics, but said of Adobe’s vision: “We think that the tasks of audio, effects, finishing, editing should all have dedicated interfaces and the workflow should be simple and seamless and lossless between the applications. Historically that is what we have done and that should not change going forward as we start to integrate this technology.”
Adobe was not the only company making acquisition news at IBC. In late August, 3ality Digital bought Element Technica, renaming the company 3ality Technica and making IBC its first trade show under the new brand name. The company had a booth and also hosted a reception during IBC. Plans are to beef up its R&D, while continuing to offer products from both companies with emphasis on integration. That includes integration with Element Technica rigs and 3ality’s Stereo Image Processor (SIP).
IIF ACES
In Hollywood, momentum has been building around the Image Interchange Framework, or IIF, an architecture developed by an Academy of Motion Picture Arts and Sciences-led committee of industry professionals, coupled with ACES (Academy Color Encoding Spec). The goal is to create a way to manage color consistency throughout production.
IIF ACES has already started to find its way into production, including at Encore, where colorist Pankaj Bajpai used a workflow on FX series Justified, shot by Francis Kenny, ASC.
At IBC, Blackmagic Design featured the new DaVinci Resolve 8.1 software update, which now includes ACES color space support.
In related news, Blackmagic announced that DaVinci Resolve for Microsoft Windows will be accompanied by the Mac OS X version, meaning that when a customer purchases DaVinci Resolve, he or she can choose which operating system to use.
ULTRAVIOLET
Digital Entertainment Content Ecosystem (DECE) – an industry consortium of more than 70 stakeholders including Hollywood studios and manufacturers – are getting ready to launch UltraViolet, a DRM system that effectively would allow each customer to create a content library in the cloud that could be accessed on any supported device.
At IBC, preparations for the launch were evident at the DTS booth, which was demoing its MediaPlayer using UltraViolet Common File Format (CFF) files created with upcoming version 2.0 of the Digital Rapids Transcode Manager automated transcoding software (which was demoed at the Digital Rapids booth).
“From mobile phones and tablets to PCs and connected TVs, multi-screen viewing and the increasing volume of digital content are driving fundamental shifts in the way media is distributed and consumed,” said Brick Eksten, president of Digital Rapids. “UltraViolet will play a crucial role in unlocking the potential of multi-screen media consumption, and we’re excited to be continuing our successful partnership with DTS by working together in support of the standard.”
Just after IBC came the earliest content announcements. Upcoming home entertainment releases of Horrible Bosses, Green Lantern, Harry Potter and the Deathly Hallows Part 2 (Warner Bros.), as well as The Smurfsand Friends With Benefits (Sony) will support UltraViolet.
DECE members include Fox, Lionsgate, Paramount, Sony, Universal, Warner Bros., Deluxe, Technicolor, LG, Samsung, Microsoft, Netflix, and Best Buy.
UltraViolet’s rollout begins next week in North America.
THE CLOUD
The entertainment technology community continues to explore ways that the cloud can be incorporated into workflows to create efficiencies. The models that were featured this year at IBC primarily surrounded broadcast applications.
Quantel, for instance, showed the next stage of its QTube cloud-based broadcast production workflow at IBC, which now includes the ability to integrate files held on generic IT storage, and well as to access and combine content from multiple sites.
Rogers Media in Canada is already using QTube for coverage of live events including MLB and NHL games. Said Frank Bruno, VP Engineering for Rogers Media: “For us, QTube is a problem solver; we have so many stations across the country and also camera people going to multiple venues and events. As long as you are near a connection, you have contact back and forth. We don’t have to worry about shipping disks or hard drives.”
At IBC, Chyron offered a look at its AXIS World Graphics cloud-based graphics creation system. Also aimed at broadcasters, the system is designed for reporters, production assistants, and news producers who would have access to prebuilt templates via a web browser to quickly create graphics for outlets including websites and mobile devices.
Avid Technology released a white paper outlining its view of the media cloud. It explained: “Avid strongly believes that the successful media enterprise will focus on delivering new consumer experiences via distribution platforms that create new revenue models.
“Forward-looking digital media strategies must include cloud-based services in addition to traditional intranet and internet-based solutions. Avid’s Integrated Media Enterprise (IME) framework provides a blueprint for organizations to confidently embark on this journey and take full advantage of the opportunities presented by cloud computing – now.”