Product Announcements
We have always been big fans of Avid Shared Storage but the ISIS1000 model announced at AvidConnect2015 is a winner!
So in the lead up to the opening day of NAB2015 the Videocraft team have attended the AvidConnect2015 and here is the download from James Taylor (@VideocraftJames) on the real exciting moves forward for Avid. I suppose I make no apologies for my strong support of Avid, which has really come out of the years working with their products and always achieving great results. Their editing software and shared storage systems for me have been through the toughest projects, and when everything else around them may have failed, they have kept running time and time again! So, yes, I am a big fan of Avid!I am super excited about their latest shared storage offering, the new ISIS 1000. We have all been asking Avid for an ‘entry level’ ISIS, and they have delivered! Compact size, great price and the bandwidth you need to get the job done well. It comes in a 20TB capacity (16TB usable capacity), and is expandable as well. Best thing is that around $25K AUD, we have a system that uses the same ISIS software as their flagship ISIS 7500 and 5500 systems, all at a price that you would expect to pay for low end packages. ISIS is fully qualified with Premiere, FCP and of course Media Composer, so you are safe in the knowledge that your shared storage will just work, no matter if you are on Mac or PC (or even Linux!), and it can keep up with what editing system you choose to use as well. I think that the ISIS product line is probably one of the best product lines Avid makes, and I would strongly recommend looking at the ISIS 1000 if you are in need of a new storage system. It even makes sense on small systems too, as if you have a single edit suite, you can now easily add an ingest suite and spread the ingest and edit tasks, meaning you don’t have to stop editing to bring in lots of media. Even in small systems like this, the time savings in labour alone would go a long way to paying for the system. The ISIS 1000 would be great for feature film edits and the like as well, so check it out!Media ComposerSo, Media Composer continues to make steps each year, and this year is no exception. Media Composer 8.4 has just been announced, and the biggest news here is that we now have the ability to set your own raster size, so you have complete resolution independence. You want to do 8K, no worries! Also, Avid have optimised the playback for ProRes and XAVC codecs, so even more than ever Avid have the ‘go-to’ editor for the most demanding projects that will just work all day and all night. Here is a summary of the announcements made at AvidConnect 2015 Artist Suite Innovations New benchmark for live sound production: Avid introduces the flagship Avid VENUE | S6L live sound mixing system, featuring a modern, intuitive touch-based interface that enables audio professionals to easily handle the largest, most complex tours and events. Affordable licensing and subscription options: Avid introduces the next release of Sibelius®, the latest version of the world’s most popular music composition software, giving composers more choice over how they acquire and use their tools, create music scores, and collaborate with others. The release also offers new workflow and mobile features, including multi-touch gestures and Microsoft ® Surface™ Pro 3 support, and moves Sibelius on to the Avid MediaCentral Platform. Powerful, integrated high-resolution video production: Avid introduces Avid Artist | DNxIO, helping video professionals meet the growing demands of high-res video production with best-in-class hardware and the industry’s preeminent Media Composer® video editing software Free versions of industry-standard media creation solutions: Avid announced plans to open video editing to everyone with the upcoming Media Composer | First, a free version of the video editing software used by top Hollywood Oscar and Emmy winners. The company also announced that Pro Tools | First, the free version of its renowned music creation software, is starting to roll out to the more than 70,000 people who pre-registered for the product. Media Suite Innovations Open, end-to-end, integrated media asset management: Avid introduces Interplay® | MAM 5, enabling organizations both large and small to manage the entire content lifecycle and reduce media operation costs. This release completes the integration of all Media Suite modules into the MediaCentral Platform. Storage Suite Innovations Proven real-time shared storage for smaller teams: Avid introduces ISIS® | 1000 shared storage, bringing small production teams the same collaborative power proven on blockbuster films, prime-time television, and mission-critical news broadcasts—customized for their needs, at a price they can afford. The Avid Advantage: New Service Offerings and Initiatives Avid announced another important milestone and continued momentum of The Avid Advantage, the company’s vision to transform expectations for service delivery in the media industry. With the introduction of innovative new professional service offerings, education delivery options, certification programs, and customer care enhancements, Avid is helping customers maximize efficiency, accelerate their return on media production technology investments, and deepen their joint collaboration with Avid. Avid Everywhere for Education Avid Everywhere is driving the development of new solutions, training, and certification options that provide educators with more choice and flexibility and enable them to reach larger numbers of students. Students can now experience industry-leading Avid creative tools for free, and then step up to the full products with affordable subscriptions. Educators and students can collaborate and connect more effectively using cutting-edge cloud-based solutions. Additionally, it is easier than ever for students to get the industry recognized Avid certifications they need to succeed after graduation.
Ross Video Announces Inception News Version 9 at NAB 2015
Litepanels Launches New Caliber 3-Light Kit
Litepanels has announced the debut of its new Caliber 3-Light KitTM. Ideal for webcasting, blogging and professional content creation the Caliber 3-Light Kit is designed specifically to provide the portable, out-of-the-box lighting solution that today’s professional videographers require. The latest addition to Litepanels’ award-winning line of LED Fresnels, the Caliber is a true Fresnel fixture with wide focus range that can be powered via AC or with AA batteries. The daylight-balanced LED offers the controllability and light-shaping properties inherent in a Fresnel light at a fraction of the power draw of conventional fixtures. Flicker-free at any frame rate or shutter angle, the Caliber Fresnel offers ultra-smooth dimming from 100 percent to zero, with no noticeable color shift throughout the entire range. With professional accessories like a color frame, correction filters and a 4-way barndoor, the LED Caliber brings the functionality of large Fresnels into a small size factor. The dimmable light provides a ¼-20 post for direct mounting using common hardware. The fixture’s compact size, high intensity output and portability make the Caliber 3-Light Kit a valuable production tool in the field. Litepanels’ compact Caliber 3-Light Kit has been carefully crafted to enable ease of travel and a fast setup. Weighing in at less than 13 pounds (six kilograms), each kit contains three Caliber fixtures and AC Adapters with international plug sets. Also included are three multi-jointed flexible tripods, allowing the lights to be fixed in a number of positions, and a compact stand with stand adapter, offering additional placement options. The Caliber 3-Light Kit’s contents are all packaged in a fully customizable soft case, with additional storage space provided for batteries, camera lenses and other items. Cinematographer Lan Bui recently served as a beta tester for the new Caliber Kit. “I’m often stuck in very hard situations with limited power choices, so having a standardized battery power option built right into the lights is a key feature for me,” noted Bui. “Being able to set up the lights anywhere without running cables or worrying about location power is an incredible convenience. Using only the AA batteries, I’m able to use the lights to compliment the shot I’m composing.” Bui added, “The Caliber lights have a surprisingly bright output for their size and power sources. The quality of light, coupled with the ability to focus the light down and use the provided barndoors, makes these fixtures a ‘must have’ on any travel or run-and-gun location shoot. I don’t see how I’ll ever go out on a shoot without the Caliber Kit again. ” Caliber 3-Light Kit includes:
- Three Caliber Fresnels Fixtures (Beam Angle: 15° to 73°)
- Three Multi-Jointed Flexible Tripods
- Three Gel Sets and Color Frames
- Three 4-Way Barndoors
- One Compact Light Stand
- One Stand Adapter with Ball Head
- Three International Power Supplies
- One Soft Case with Customizable Interior Compartments
Fujinon launches 4K Zooms for 2/3-Inch Broadcast Applications at NAB 2015
At the NAB2015 convention in Las Vegas, the Optical Devices Division of FUJIFILM North America will introduce its 4K Ultra HD Series of lenses for broadcast applications.Designed for a 2/3-inch sensor, the new UA80X9, the first field lens in the series, has an 80x zoom andoptical image stabilization, making it ideal for coverage of large-scale live events, such as concerts and sports. In addition to its advanced optical performance, the lens covers focal lengths ranging from 9mm in wide angle to 720mm in telephoto. The UA80x9 size and weight is similar to the popular XA99x7.4 field lens. The lens will be available by August of this year. “NAB is the perfect venue to unveil this new lens,” said Thom Calabro, director of Marketing and Product Development for the Optical Division of FUJIFILM. “Our Premier PL 4K+ cine lenses and Cabrio cine/ENG-Style lenses have experienced a significant boon in popularity. Given the projected growth of 4K production, we needed to extend that 4K optical performance to our customers working with 2/3-inch broadcast cameras for sports and entertainment productions. This lens delivers 4K video with the same focal lengths currently being used on those type of productions. 4K UltraHD productions can now be produced with equipment that has the same ‘look and feel’ capabilities of HD, but with a premium picture quality. We are thrilled to show this zoom off at NAB this year.” Designed using the latest proprietary optical simulation software, the UA80x9 offers exceptional optical performance in the center of the image through to the corners of the frame. The digital servo’s 16-bit encoding assures operators that all lens data output—including the position of the zoom, iris, and focus—is extremely accurate. It can be linked with other systems, such as a virtual studio system for combining CG images with live action. Fujifilm’s proprietary multi-layer coating processing “High Transmittance Electron Beam Coating” (HT-EBC) is applied to the lens for enhanced transmission and color reproduction. The lens also features the company’s unique “optical stabilization mechanism” as standard, which provides optimum adjustment to image shakes caused by vibration and wind. This makes the lens well suited for any application where the camera operator must maintain a rock-steady close up shot for long periods, such as sporting events, houses of worship, corporate presentations, or concerts. The entire range of FUJINON Premier PL 4K+ cine lenses and the Cabrio cine/ENG-Style lens series willalso be on hand and demonstrated within the Fujifilm booth at NAB. Canon announces EOS C300 MKII - 4K quality, creativity and versatility
Canon Australia today unveils the EOS C300 Mark II, a new 4K video camera allowing filmmakers and broadcast producers to realise their creative vision in stunning cinematic detail. Building on the unprecedented success of the acclaimed EOS C300, the next generation camera features an advanced imaging engine with dual DIGIC DV5 processors, new professional codecs and outstanding dynamic range, making it the most capable, flexible and accessible Cinema EOS video camera to date. EOS C300 Mark II key benefits: • Seamlessly integrate with professional workflows • Automatic features make independent shooting easy • High bitrate internal 4K recording with external RAW • High dynamic range files, ideal for post production • Shoot with confidence in low light with low noise Supreme 4K image quality and versatility With the ability to record 10-bit 4:2:2 files internally at up to 410Mbps in 4K, or 10/12-bit 4:4:4 files in 2K/Full HD, with up to 15 stops of dynamic range, the EOS C300 Mark II provides footage suitable for extensive post-production work, producing crisper images across the full colour spectrum with reduced “colour bleed”. The camera offers professional filmmakers and broadcasters alike the very best image quality, recording 4K in both broadcast (3840 x 2160) and DCI cinematic (4096 x 2160) resolutions. The EOS C300 Mark II can record high bitrate 4K files internally to dual CFast 2.0™ media, while simultaneously recording 4K RAW files to an external recorder, offering the flexibility and universal appeal for production at the highest quality available today. Additionally, the ability to record 2K/Full HD Proxy files to an internal SD card, at the same time, further streamlines the production workflow process. The new Canon-designed Super 35mm CMOS sensor and an increased ISO range up to ISO 102,400 deliver exceptional low light performance, allowing operators to capture low-noise footage across a variety of challenging environments without compromising on image quality. To meet the requirements of a diverse range of shooting applications, the EOS C300 Mark II offers both full manual control, ideal for cinematic environments, as well as automatic modes. These include, enhanced Dual Pixel CMOS AF (now covering approx. 80% of the frame vertically and 80% horizontally), auto white balance and Face Detection AF, all making it easier for independent news gatherers and documentary filmmakers to shoot on the go. Instant integration into professional workflows Canon’s new range of XF-AVC H.264 codecs, designed to be compatible with industry standard Non-Linear Edit systems, makes integrating both 4K and 2K/Full HD footage into workflows effortless, while maintaining the highest image quality. The range features XF-AVC intra for 4K, and XF-AVC Long GOP and Proxy options for 2K/Full HD recording, both of which utilise H.264 codec, offering post production flexibility and ease of use. Filmmakers can select the resolution and codec type that best suits their production, with the EOS C300 Mark II capable of shooting at up to 30P in 4K or up to 120P in 2K/Full HD. The EOS C300 Mark II offers support for a wide range of colour space options, including BT.2020, the Canon Cinema Gamut and DCI-P3. The camera is also the first Cinema EOS model to feature brand new Canon Log2 technology, which enables the 15-stops of dynamic range, significantly wider than previous Cinema EOS cameras. The camera offers new versatility for sound recording too, supporting 4-channel audio recording in 16 or 24 bit and 48 kHz. Designed for versatility The EOS C300 Mark II boasts the iconic Cinema EOS design DNA – a modular body that can be adapted to suit the needs of each shooter and filming situation, through the extensive range of compatible accessories. Internally, the EOS C300 Mark II also includes built-in electronically controlled glass ND (neutral density) filters, which reduces the amount of light reaching the sensor by up to 10 stops in expansion mode. Compatibility with the RC-V100 remote control and optional Wi-Fi control also enables ease of use in a wider range of locations. The camera’s sensor read-out speed is now twice as fast as the original EOS C300, and further reduces rolling shutter distortion, allowing for crisp image capture in a moving environment, making it perfectly suited for capturing action sequences. Leveraging Canon’s rich heritage in lens design, the EOS C300 Mark II is compatible with more than 90 current EF and EF Cinema lenses allowing operators to use their existing EF mount lenses. In addition, the EOS C300 Mark II comes equipped with Canon Cine servo zoom lens support, delivering one of the most comprehensive selections of lens possibilities for movie and broadcast production available in the market today. For further flexibility, shooters can opt to change the lens mount from the default EF Mount, to EF Mount with Cinema Lock, or to the industry standard PL mount, as a service option2.Canon premieres the XC10 – Compact 4K video and stills camera
[caption id="attachment_1973" align="alignleft" width="650"]
Canon XC10 Camera[/caption] Canon Australia today unveils the XC10 – a compact, lightweight video and digital stills camera that brings professional 4K quality to aspiring filmmakers and enthusiasts. Inheriting many of the Cinema EOS range’s features, the XC10 offers incredible recording versatility and is the ideal solution as a small, stand-alone camera for independent film makers or the perfect accompaniment as a supporting camera in larger productions. XC10 Key benefits: · Stunning 4K video and 12MP stills from one compact camera · High bit rate XF-AVC files, great for post production · Seamlessly integrate with professional workflows · Get creative with fast and slow motion recording · Built-in Wi-Fi for easy browser/smart device control Unleashing 4K recording for enthusiasts Boasting outstanding image quality, traditionally associated with larger cameras, as well as the flexibility and ease of use of traditional compact camcorders, the XC10 consistently delivers breath-taking results. Its advanced imaging engine – a powerful combination of a specially developed 1” CMOS sensor and Canon’s new DIGIC DV5 image processor – gives both budding filmmakers or experienced pros the speed and quality they demand to capture 4K video, at a wide range of variable bit rates. Shooters have the freedom to capture a diverse range of scenes in professional 4K quality using a specially developed 10x optical zoom lens, complete with Canon’s class-leading image stabilisation technology. With a versatile 27.3-273mm focal range (35mm equivalent, in video mode) videographers can easily switch between capturing sweeping scenes, to intimate close ups with a single lens. Pros and enthusiasts alike can change between movie recording and still image shooting, capturing high quality 12.0 MP images, or extracting 8.29 MP stills from 4K video footage. Able to fit seamlessly into workflows, or productions with existing Cinema EOS cameras, the XC10 can record UHDTV standard (3840 x 2160) 4K footage to an internal CFast 2.0TM1 card at up to 305Mbps, or Full HD (1920 x 1080) footage to an SD card at up to 50Mbps, with pro-standard 4:2:2 colour sampling for high resolution performance. The XC10 delivers rich colour, synonymous with Cinema EOS cameras, with a high ISO of up to 20,000 ensuring excellent results in low light conditions, and a 12-stop Wide Dynamic Range, providing vivid detail in both highlights and shadows. Uncompromising design, optimised for easy shooting The XC10 redefines the boundaries of advanced compact camcorder design, with a body that’s intuitive to use. Designed to match any shooting preference, the camcorder features a 7.66cm vari-angle touch LCD, with 100% field coverage, providing direct access to the menu system through a simple set of cross keys, while an included optical loupe viewfinder, that fits the LCD, offers a more traditional shooting experience. Fostering creativity with expert workflows Professional videographers can easily integrate the camcorder into existing production kits and workflows, thanks to its portfolio of professional standard codecs and recording modes. Canon’s new XF-AVC H.264 codec supports recording in both 4K and Full HD quality, enabling easy integration into industry- standard Non-Linear Edit systems. Canon Log Gamma also enables maximum freedom in post-production editing and processing, and seamless quality matching with content shot on Cinema EOS cameras. Additionally, videographers can freely shoot in 4K, and later convert to Full HD, to create a higher quality end product, and enable greater flexibility in the editing process. A selection of slow and fast motion recording modes – including up to 1200x fast motion in 4K/Full HD, and up to 1/4x slow motion in HD – as well as interval shooting provide further creative opportunities. The XC10 is also Wi-Fi compatible; enabling remote control of key features via a browser, smartphone or tablet – securing its position as an essential part of any Cinema EOS video shooter’s toolkit. Canon develops video format targeting 4K professional camcorders
Canon Australia today announces the development of XF-AVC, a new proprietary video format for the efficient recording of high-image-quality 4K, 2K and HD video footage.
Sony Develops New 4K Memory Player PMW-PZ1
Sony has announced a new 4K SxS memory player, the PMW-PZ1, a high quality and cost-effective playback solution for 4K shooting and post-production applications. The PMW-PZ1 features multi-format playback capability for 4K (24p to 60p) and HD video, supporting a variety of formats including XAVC Intra & Long, MPEG HD422 and MPEG HD, covering a range of professional to consumer uses. The PMW-PZ1 is equipped with an SxS card slot, a HDMI output, 3G/HD-SDI outputs (x4), an audio output, LCD colour monitor and more. This combination of versatile interfaces enables the seamless playback, copying and monitoring of 4K and HD video across a diverse range of applications, not only for video production but also for the development of 4K equipment, 4K video walls at events, exhibitions, museums and more. During field or location shoots, 4K images captured by Sony’s PMW-F55 camera can be immediately checked on the PMW-PZ1, or output to a professional monitor or consumer TV via HDMI. At event venues, 4K video can be output to digital signage or projectors. It can also be used to copy data from SxS media directly to external storage without employing any other devices. “Despite the rapid growth of 4K shooting and editing, the playback of 4K video clips generally still requires costly high-powered computers or servers operated by users from technical backgrounds,” said Mr. Anthony Kable, Senior Product Manager, Sony Australia. “The PMW-PZ1 addresses the market need for an affordable, simple-to-use and compact 4K playback solution. It is compatible with a variety of formats, possesses a host of practical inputs/outputs for easy connections, and offers an intuitive interface readily operated by all users.” The PMW-PZ1 has a number of key features that make it an ideal choice for those looking for a reliable 4K/HD memory player. Multi-format Capability in 4K and HD The PMW-PZ1 has a highly flexible multi-format playback capability for 4K and HD. It can playback a variety of formats including XAVC Intra, XAVC Long, XAVC S-Long(*1), MPEG HD422(*1) and MPEG HD(*1). (*1) Requires firmware upgrade (planned for Q3 2015). Simple Copy and Backup Process The PMW-PZ1 is equipped with a USB interface designed for connection to an external USB storage device. This enables users to copy data from SxS media directly to external storage without the need for other devices. The PMW-PZ1 creates a copy log(*2) (csv format) in the external USB storage device which helps users to easily check the file names of copied files. For greater accuracy in the copy process, users can activate a verify function before copying to confirm no copy errors have occurred. (*2) Requires firmware upgrade (planned for Q3 2015). Versatile Interfaces Connectivity and inter-operability with other devices are vital for any memory player to enable quick and easy operation. The PMW-PZ1 meets this need with a host of versatile input and output interfaces, including a HDMI port and four 3G/HD-SDI outputs. Through the HDMI port, the PMW-PZ1 can be connected to professional monitors and projectors, or even consumer TVs, for the most flexible operation under various production circumstances. An independent audio output is also available on the player. The PMW-PZ1 is equipped with two USB interfaces – one for connection to external USB storage, and the other to a mouse device for the user to control the PMW-PZ1. Not only does this enable data to be copied, but also allows the user to play stored clip data from the external USB storage device. The PMW-PZ1 will be available from June 2015 onwards.Avid ISIS shared storage systems now fully support Adobe Premiere Pro CC
Avid® and Adobe today announced that Adobe’s flagship video editing application, Adobe® Premiere® Pro CC, is now fully supported on Avid’s shared storage systems. This unprecedented collaboration between the two companies delivers on the openness of Avid Everywhere™, by enabling flexible and efficient workflows for all video editors and creative professionals, regardless of their choice of editing application. Powered by the Avid MediaCentral Platform, the Avid Storage Suite offers a range of shared storage solutions for the most demanding video production workflows. Customers whose workflows include Adobe Premiere Pro CC can now benefit from the performance, scalability and capacity of Avid’s shared storage solutions. "We are pleased that Avid’s shared storage systems now provide the high performance required for Adobe solutions,” said Simon Williams, director of strategic relations at Adobe. “With this news, Adobe Premiere Pro CC and Media Composer can share Avid DNxHD or Avid DNxHR media and other open file types on the same infrastructure. Our large base of shared customers will undoubtedly realize significant workflow benefits from this collaboration." Adobe has delivered enhancements to Premiere Pro CC that significantly improve its performance when connected to Avid ISIS® | 7500 and ISIS | 5500 shared storage systems. Video professionals can now mix Avid Media Composer® and Adobe Premiere Pro CC on the same ISIS system in the same storage group, without worrying about complex configuration issues or performance compatibility. They can also edit higher resolution projects using Premiere Pro CC on ISIS shared storage more efficiently and cost effectively than ever before. “One of the critical issues facing broadcasters and post-production facilities is the drag on productivity caused by having to manage and integrate different solutions from different vendors with different standards,” said Ray Gilmartin, senior director, Product and Segment Marketing, Avid. “This collaboration between Avid and Adobe is an example of the openness and flexibility that we are committed to delivering to the industry with Avid Everywhere.”
Avid Announces New Innovations Delivering on Avid Everywhere for Audio
Avid® (Nasdaq: AVID) today introduced a comprehensive global ecosystem for the audio industry delivering on Avid Everywhere™. Enabled by the Avid MediaCentral Platform, these audio innovations bring together artists, technology vendors, media organizations, and publishers onto one unified platform so they can create, collaborate, and distribute music and audio content more powerfully, efficiently, and profitably. “The goal of Avid Everywhere is to provide a common platform where everyone—from aspiring pros to established artists and professionals—can come together and create their best work,” stated Avid Chairman, President and CEO Louis Hernandez, Jr. “Our comprehensive global ecosystem delivers on this promise, making it possible for content creators to tell their stories and connect to the world’s widest network of artists, film studios, broadcasters, and media organizations.” Pro Tools | First – Join the Avid community for free Opening music production to everyone, Avid introduced Pro Tools | First, offering artists, audio enthusiasts, and aspiring pros access to many of the same music creation tools used by top professionals and facilities—at no cost. Simple enough for beginners to learn, yet sophisticated enough for the experienced musician, Pro Tools | First enables everyone to experience the industry’s most trusted digital audio workstation so they can turn their musical ideas into fully realized, professional productions that stand out from the crowd. Pro Tools 12 - Flexible licensing options Avid announced Pro Tools 12 giving professionals more choice over how they purchase and deploy their tools, collaborate with others, and get more exposure for their work. Customers can now subscribe for as little as $29.99 per month, or buy Pro Tools software outright. With these new options, users can stay current with future software updates and innovations as soon as they are released via the cloud, at no additional charge. Avid Cloud Collaboration — The world is your studio Avid Cloud Collaboration, initially to be accessed by Pro Tools users with others to follow, is a groundbreaking set of collaboration capabilities that enable artists to compose, record, edit, and mix sessions working with other Pro Tools users in the cloud, as if they are all together in the same studio. New services in the Avid Marketplace The Avid Marketplace allows Pro Tools users to engage in a community of artists, acquire new plug-ins and apps as they need them, easily store their work securely in the cloud, and post their finished assets or Pro Tools session files for others to license in their productions. Sibelius | Cloud Publishing Underscoring Avid’s commitment to the music notation market, Sibelius | Cloud Publishing is a groundbreaking new publishing technology that revolutionizes the way sheet music scores are sold online. With a Sibelius | Cloud Publishing-enabled site, publishers can allow customers to view, play, transpose, print, and purchase scores using any current web browser or mobile device, including Android, iOS, and Linux.
Avid Releases New Version of Media Composer Bringing Resolution Independence to Film and Television Production
Avid® announces the availability of the latest version of Avid Media Composer® | Software, which allows video professionals to acquire, manage, edit, and deliver native 4K and other high-res media faster and more efficiently than ever. Leveraging the new Avid Resolution Independence architecture and Avid DNxHR™ encoding, Media Composer offers the most complete and flexible end-to-end workflow for file-based editing of any resolution. This new release helps content creators deliver higher quality content in more collaborative, powerful, and efficient ways – a key part of Avid Everywhere™. Leveraging the Avid MediaCentral Platform, Media Composer is part of the Avid Artist Suite of industry-standard creative tools. Avid Resolution Independence provides a holistic, platform-centric approach that puts no limits to the resolutions customers can capture, edit, and output. Media professionals can work with the broadest variety of media in every resolution – SD, HD, 4K and beyond – using their existing infrastructure. Media Composer is the first Avid product to support Resolution Independence, with support for more products and solutions across the MediaCentral Platform coming soon. At the center of the Avid Resolution Independence architecture is Avid DNxHR, a new extensible media codec that makes it possible to edit and deliver high-res content within HD-capable infrastructures. Offering greater beauty without the bandwidth, DNxHR scales from lightweight proxies to mastering-quality high-resolution media. Other new capabilities in the latest version of Media Composer include enhanced color management, high frame rate support, high-efficiency proxy workflows, and timesaving background rendering of high-resolution media. Media Composer | Software gives editors at post production facilities, broadcasters, production companies and more, the tools, workflows, and options needed for professional film, television, video, and news creation. The new version of Media Composer | Software is available now through Videocraft so please call your local Post Production Specialist Melbourne (03) 9888 8511 Sydney (02) 9436 3050
First Look in Australia at the NEW Sony FS7 Camera
The Videocraft Melbourne team were the first Sony dealers in Australia today to get their hands on a Pre-production model of the NEW Sony FS7, here's some pics and see below for the latest information from Sony.
And here is what Sony had to say about the camera - for more information contact your local Videocraft.Sony launches the new PXW-FS7, an ultra-portable 4K XDCAM camera featuring a Super35 CMOS sensorUltimate choice for one-person operation combines sensitivity and high resolution images with a comfortable, robust design Sony launched the PXW-FS7, the first 4K XDCAM camera to feature a Super35 CMOS sensor. Capable of shooting in 4K Quad Full HD1 (QFHD) and super slow-motion Full HD, this latest member of the XDCAM family has been designed for documentary, music video, online content creators and corporate filmmakers looking for beautiful picture quality and an unrivalled choice of recording formats.The 11.6 million-pixel Super35 Exmor CMOS sensor in the PXW-FS7 delivers stunning sensitivity, shallow depth of field, a high signal-to-noise ratio and fantastic low light performance. The camera has the ability to record QFHD1 with 4:2:2 10-bit sampling up to 600 Mbit/s, with support for a variety of recording formats including XAVC Intra and Long GOP, MPEG HD422, plus Apple ProRes 422 available in early 2015 by firmware update. Ergonomic design ideal for one-person operation in demanding conditions The new camera has been purpose-built to provide a versatile range of creative shooting options while sitting comfortably on the shoulder, even after hours of operation. The supplied grip, easily adjustable viewfinder and fully sealed, die-cast magnesium chassis have been designed to provide robust usability in dusty or humid environments and for ‘run and gun’ applications. “Filmmakers around the world have told us they want a package which links high quality codecs, unlimited slow and quick-motion recording and the flexibility to switch between various lenses, but without the need for a rig,” explained Nick Buchner, Senior Product Manager, Sony Professional Solutions, Australia and NZ. “We’ve built the PXW-FS7 to give customers a vast range of production style and format choices in a form factor which allows the operator to do it all, right from their shoulder.” α Mount System offering a variety of expression The PXW-FS7 features Sony’s revolutionary α Mount System, which benefits from Silent Focus Technology and electrical iris control. Sony has also launched the PXW-FS7K, which includes the new powered zoom E-Mount lens FE PZ 28-135mm F4 G OSS (model name SELP28135G), ideal for the requirements of today’s video production teams. Customers also have the flexibility to use a huge variety of other lenses with 3rd party adapters. Key features of the PXW-FS7 • Super35 Exmor CMOS sensor with 8.8 million-effective pixels. The PXW-FS7 is able to capture great image quality without needing significant additional lighting. Its sensor has high-speed image readout characteristics, such as 240 fps while recording 2K RAW on an external recorder, responsive sensitivity (ISO 2000) and a high signal-to-noise ratio. The PXW-FS7 supports QFHD up to 60 fps at launch, with an upgrade to 4K 4096 x 2160 resolution due to be made available in early 2015. • Flexibility across recording codecs. The PXW-FS7 is compatible with Sony’s new XAVC Intra and XAVC Long GOP formats, each supporting 10-bit 4:2:2 recording for Full HD capture. Other recording possibilities include QFHD resolution (3840 x 2160), slow motion up to 180fps in HD or even Full High Definition with 50/60 progressive frames. By using the optional XDCA-FS7 extension unit, the PXW-FS7 is capable of natively recording in Apple ProRes 422 codec, planned to be available in early 2015 by firmware update. In addition, thanks to the XDCA-FS7’s RAW interface, the PXW-FS7 is capable of 4K/2K RAW recording via Sony’s HXR-IFR5 Interface Unit to an AXS-R5 RAW Recorder, or with a compatible third-party external recorder. • A vast range of creative choices. The PXW-FS7 features two XQD memory card slots that support simultaneous recording and relay recording. The camera includes a low-pass video filter, progressive pixel reading and advanced camera processing, enabling a broad span of creative treatments, and benefits such as high speed recording, high resolution, high sensitivity, less aliasing and less rolling shutter. To support the FS7’s S&Q motion and internal 4K1 recording, a new XQD G series card has been developed, with ultra-high speed transfer up to 400MB/s (read) and 350MB/s (write). The XQD G series card is designed specifically to further enhance the PXW-FS7 workflow. In parallel, the camera’s built-in ND filters offer exceptional shallow depth-of-field control, allowing users to further expand their shooting styles without requiring external ND filter equipment. S-Gamut3/SLog3 & S-Gamut3.Cine/SLog3 are supported for maximum flexibility in post-production. • Easy mobility and choice of shooting style. Sony has also today introduced the VCT-FS7, a lightweight baseplate, featuring 15mm rods and an adjustable shoulder pad. This enables the use of additional matte boxes, or easy attachment of follow focus systems, or an external recorder. In addition to the on-shoulder operation, the PXW-FS7 can also be set-up on a tripod and as a handheld camera. The supplied handgrip provides easy access to required functions. • α Mount System enables auto exposure and SteadyShot stabilisation during shooting. The PXW-FS7 uses the E-mount lens system, part of Sony’s growing α Mount System family. The latest addition is a new E-mount lens FE PZ 28-135mm F4 G OSS (model SELP28135G), which is the world’s first 35mm full-frame interchangeable power zoom lens. The lens is available separately, or together with the camera in the PXW-FS7K kit version. The new E-mount powered zoom lens features constant F4 value, independent rings for iris, zoom and focus control and is also dust and moisture resistant. The SELP28135G has steady shot stabilisation, minimum focus breathing and is enabled with Sony’s new SSM (Super Sonic wave Motor) to reduce zoom and focus noise while shooting. Furthermore, Sony’s optional LA-EA4 A-mount lens adapter allows compatibility with a wide range of high-quality A-mount lenses, benefiting from the PXW-FS7’s auto-focus function for quick and convenient operation. The PXW-FS7 camera will be available from October 2014, the XDCA-FS7 Extension Unit from November 2014 and the PXW-FS7K version and SELP28135G zoom lens from December 2014. 1 4K (4096 x 2160) shooting will be available in early 2015Sony launches compact PXW-X70 as new member of XDCAM family
Sony has launched the 4K-ready PXW-X70, the first compact XDCAM professional camcorder ever produced. Expanding the popular file-based XDCAM family to a new smaller form factor and lower price point, Sony has combined stunning picture quality, speed of shooting and robust performance into a package which is ideal for a wide range of applications from news gathering and documentary to events work. The PXW-X70 features a 1” type Exmor® R CMOS Sensor with a resolution of 20 megapixels. The sensor, which is even larger than the Super 16mm film frame, delivers high resolution and fantastic low light performance, as well as offering more depth of field control as demanded by today’s diverse shooting requirements. The new camcorder has the ability to record High Definition in XAVC Long GOP, enabling 4:2:2 10-bit sampling at 50 Mbit/s. This in-turn supports a broadcast-quality workflow, increasingly adopted by productions in many different professional applications. This addition to the expanding next generation XDCAM family follows the recently announced PXW-X180 and PXW-X160 and builds upon Sony’s successful heritage of compact professional camcorders. The PXW-X70 is the first professional compact camcorder from Sony to include Wi-Fi-enabled control via smartphone or tablet using the Content Browser Mobile application. An upcoming release will also provide customers with the ability to upgrade the PXW-X70 to record in 4K Ultra High Definition, with file transferring, and live video streaming capabilities. “This first compact member of the XDCAM family brings the performance and workflow benefits associated with XAVC to an even wider range of shooting situations,” said Nick Buchner, Senior Product Manager for Content Creation with Sony Australia & New Zealand. “Over the past couple of years we’ve seen the broadcast industry really embrace the picture quality benefits associated with large sensors - the 1” sensor at the heart of the PXW-X70 sets a new standard for colour, depth and texture in a professional compact camcorder. Coupled with the ability to upgrade to 4K, this model represents a multi-purpose, future-proof option for customers looking for a tough camcorder which doesn’t compromise on image.” Key features of the PXW-X70• 1” type Exmor® R CMOS Sensor and Carl Zeiss Vario Sonnar T* lens for stunning picture quality. High sensitivity and fantastic resolution with 14.2 million effective pixels delivers striking detail and colours, even in low light conditions. The lens offers a 12x Optical Zoom, which can be increased to 24x with Clear Image Zoom while retaining full resolution thanks to Super Resolution Technology. Zoom performance can be doubled at any point with a Digital Extender by up to 48x. • Compact, lightweight XDCAM camcorder packed with adaptable professional functions. The PXW-X70 weighs less than 1.4kg, including the XLR handle unit, battery (NP-FV70), lens hood and large eye-cup. It offers professional interfaces such as 3G-SDI and HDMI output connectors plus a removable handle unit incorporating 2 x XLR inputs and a zoom control. Other professional features include a manual lens ring that can intuitively control zoom and focus, ergonomic palm grip with large zoom lever, two SD memory card slots for backup, simultaneous and relay recording, and a three-level switchable ND filter. • Breadth of recording format capabilities. Provides multiple choices depending on application required, including XAVC, AVCHD and DV® file-based recording. When recording in XAVC, the PXW-X70 uses the MXF file format, efficiently compressing full HD (1920 x 1080) resolution using the MPEG-4 AVC/H.264 CODEC. Image sampling is 4:2:2 10-bit with high-efficiency Long-GOP compression at 50 Mbps, 35 Mbps or 25 Mbps. • Built-in Wi-Fi control functionality for monitoring and remote control versatility. Near Field Communication functions enable easy, one-touch wireless LAN connection to a smartphone or tablet, while the Content Browser Mobile application allows confirmation of shot angles and operation of the camcorder by remote, including field angle setting, spot focus and iris adjustment. • Upcoming announcements to add even greater, future-proof functionality. Sony is set to make upgrades to 4K and file transfer and streaming by Wi-Fi functions available for the PXW-X70 in the coming months. The PXW-X70 is expected to be available in Australia from October 2014.Panasonic BONUS 32GB Card and Battery with every LUMIX GH4 Purchase
Purchase a Lumix GH4 Series Camera then claim at www.panasonic.com.au/LumixG or download the claim from from the following link LUMIX G SERIES PROMO A5 claim formHow to claim:Step 1: Purchase a selected Lumix GH4 Camera from Videocraft between 1st July 2014 and 11.59pm AEST 30th September 2014. Step 2: Visit www.panasonic.com.au/LumixG and complete your details, then follow the instructions on the website. All claims must be received by 11.59pm AEDST 31/10/14 Please allow 28 working days for delivery of your Panasonic 32GB SD Card and extra Battery from receipt of your valid claim. 
Blackmagic Design Announces Blackmagic Camera Update 1.8, Davinci Resolve 11 and a brand new online support centre!
The new Blackmagic Camera Update 1.8 software features a completely new code base for all Blackmagic digital film cameras so provides a foundation for new features. This update supports the original wide dynamic range 2.5K Blackmagic Cinema Camera, Blackmagic Pocket Cinema Camera and the Blackmagic Production Camera 4K.
Blackmagic Design have announced that DaVinci Resolve 11 public beta is available for customers to download now. DaVinci Resolve 11 is a major upgrade with over 100 new editing and color grading features. This new update includes major improvements in online editing plus context sensitive trimming, onset file cloning, photographer style color grading tools and an amazing new collaborative workflow that allows multiple users to work simultaneously on the same timeline. The new DaVinci Resolve 11 has over 70 new editing features based on feedback from professional editors. With DaVinci Resolve 11, editors now have dual monitor support and familiar professional tools like dynamic JKL trimming, audio crossfades and fully customizable keyboard shortcuts for faster editing. Trimming tools are context sensitive, which means DaVinci Resolve automatically knows whether editors want to ripple, roll, slip, slide, extend or shorten edits, based on the position of the mouse. This makes editing super fast because time is not wasted switching tools and clips can be trimmed on multiple tracks simultaneously in the same direction, or asymmetrically. DaVinci Resolve 11 features a new spline curve keyframe editor integrated into the edit timeline that positions keyframes directly under each clip and in context with the clip. Editors can now also add and animate open FX plugins directly in the timeline as well as use plug-ins for transitions. The new collaborative workflow tools in DaVinci Resolve 11 allows an editor and multiple colorists to work on different workstations, sharing the same timeline and working in tandem as they complete shots. An example is a colorist could be color grading or tracking windows while another colorist fine tunes grades that are all immediately updated as the editor edits. Each user can see the timeline update so they are all working on the same job at the same time. Sharing the same timeline makes it much easier for creative teams to stay in sync and work faster on large complex jobs such as feature films and television programming. One of the most exciting advantages of the enhanced editing features in DaVinci Resolve 11 is the dramatically better round trip collaboration with Apple Final Cut Pro X. This is possible because more of the features in each application are compatible so projects can be moved back and forward easily. A powerful example of this integration is when a Final Cut Pro X customer might be shooting an independent film but then wants to move their edit to a large Hollywood post production facility for color grading and finishing. This is an exciting workflow that makes it possible to allow independent filmmakers to integrate with the largest post production facilities. Color correction features have also been upgraded in DaVinci Resolve 11, including all new RAW image and color grading controls that are designed for photographers who are moving into cinematography. The new camera RAW palette features highlight and shadow recovery, mid tone detail, color boost, saturation, lift, gain and contrast. DaVinci Resolve 11 solves the single frame limitations of photo enhancement systems and gives photographers advanced control over RAW images so they can pull the maximum detail from high dynamic range footage in real time. Adding to DaVinci Resolve’s powerful on set tools, DaVinci Resolve 11 can now securely back up and save digital camera files. The new DaVinci Resolve clone tool copies media drives, memory cards and camera packs to multiple destinations simultaneously. All copies are checksum verified, that means users get exact bit for bit digital copies of their source media. The new clone tool is included in the free DaVinci Resolve Lite and can be installed on a laptop for on set use. DaVinci Resolve 11 also features a unique and powerful automatic color chart color balancing tool that works on all types of footage including video, RAW and even film. The new color match tool automatically gives a primary base grade by analyzing shots containing standard color chip charts even if they were shot in different lighting conditions with different exposure and color temperatures. DaVinci Resolve 11 also adds optimizations to OpenCL image processing which allows improved rendering speeds on the new Apple MacPro systems. The MacPro features dual GPU’s so is the ideal solution for customers looking for an “off the shelf” solution that easily handles the high processing speeds when working on Ultra HD work in the deepest YRGB 32 bit float processing quality. “This is a massive update and we are really excited about DaVinci Resolve 11," said Grant Petty, CEO, Blackmagic Design. “Since we added the new editing tools into DaVinci Resolve we have had some great feedback from editors working on high end feature film and television programming jobs. We have rolled this great advice into DaVinci Resolve and now it’s a fantastic full featured online editor. Of course we continue to add wonderful color correction and on set tools into this release as well. This is the best version of DaVinci Resolve we have ever released and we are going to provide this update to all DaVinci Resolve customers free of charge. This means the cost of switching to the worlds most exciting online editor will be zero!” DaVinci Resolve 11 public beta is available now for download from the Blackmagic Design web site free of charge for all DaVinci Resolve customers. #NAB2014 Top 5 picks
_________________________________________________________________________________________________
#NAB2014 Products to Watch - Live Production
_________________________________________________________________________________________________
#NAB2014 Blackmagic Lowers Cost Of Entry To Cinema And Broadcast Production
by Michael Curwood
#NAB2014 Products to Watch - Cameras
_________________________________________________________________________________________________