Articles tagged #MEDIA
Articles tagged
#MEDIA
Avid Introduces All-New Media Composer
Inventor of the nonlinear video editing category, Avid, reimagines its flagship Media Composer for a new generation of media makers and resets the bar for excellence Unveiled at Connect 2019, the industry’s most powerful gathering of media and entertainment users, Avid launches the all-new Media Composer 2019 [divider] With Media Composer 2019, aspiring and professional editors, freelancers and journalists will be inspired to work more creatively by taking advantage of a new user experience, a next generation Avid media engine with distributed processing, finishing and delivering capabilities, a customisable role-based user interface for large teams, and so much more. “After receiving input from hundreds of editors and teams across the media industry, and knowing where the industry is headed, we reimagined Media Composer, the product that created the nonlinear video editing category and remains the gold standard,” said Jeff Rosica, CEO and President at Avid. “Media Composer 2019 is both evolutionary and revolutionary. It maintains what long-time users know and love while giving them more of what they need today—and what they will need tomorrow.” Media Composer 2019 With Media Composer 2019, an editor can go from first cut to delivery without ever leaving the application. Whether they are a professional editor, freelancer or someone just starting out, Media Composer 2019 inspires creative storytelling.
- New User Experience—makers can work at the speed of creativity with a paneled interface that reduces clutter, reimagined bins to find media faster, and task-based workspaces showing only what the user wants and needs to see.
- Next Generation Avid Media Engine—puts more power at a user’s fingertips with features, such as native OP1A, support for more video and audio streams, Live Timeline and background rendering, and a distributed processing add-on option to reduce turnaround times and speed up post production.
- New Finishing and Delivery Workflows—Now, users can create and deliver higher-quality content with editing, effects, colour, audio, and finishing tools without leaving Media Composer. Whether working in 8K, 16K, or HDR, Media Composer’s new built-in 32-bit full float colour pipeline can handle it. Additionally, Avid has been working with OTT content providers to help establish future industry standards.
- Customisable Toolset—built for large production teams, the new Media Composer | Enterprise provides administrative control to customise the interface for any role in the organisation, whether the user is a craft editor, assistant, logger or journalist. It also offers unparalleled security to lock down content, reducing the chances of unauthorised leaks of sensitive media.
NRL Scores with New Studio and Post Facility Designed and Built by Videocraft
Recently the National Rugby League commissioned Videocraft to design and build a new production and post production studio and facility at NEP’s Redfern HQ to take care of live and recorded online programming and content for their new Digital Network, www.nrl.com, including 16 clubs and 2 state associations sites and mobile applications. NRL media services manager Wayne Dakin explained, “Online properties such as nrl.com are hugely important now, as are the content they produce. With this in mind we engaged Videocraft to build us a studio and facility, based on their previous experience in this area, that would allow the creation of fast turnaround highlights edits of all matches, panel shows, pre and post-match content. As well as fast it all had to be reliable and cost effective.” With a strict brief from the client Videocraft designed the facility with quality, speed and efficiency in mind. Videocraft worked with NRL partners NEP and NRL production office provider to ensure that the solution design integrated seamlessly with existing NRL Bunker and new NRL NEP production infrastructure. The solution design integrates and utilises another NRL primary partner Telstra, utilising the DVN and satellite infrastructure for content delivery. Videocraft MD James Taylor added, “We saw very quickly that for the kind of fast turnaround that was required an EVS XS Server and IP Director production asset management system was definitely the way forward for the new nrl.com studio and post facility. There was also a requirement that the facility be able to manage all incoming feeds and studio records and then the playout of the material. In which case, as EVS is compatible with all of the NRL’s existing broadcast providers and partners such as NEP, Channel 9 and Fox Sports, this made the solution seamless.” With content for the NRL Bunker also managed by NEP the new Videocraft facility made it particularly easy for the NRL to continue down a well-proven path. Dakin continued, “Videocraft really thought through the design and build of the studio and with our specific requirements in mind made the studio Ross based with a powerful Ross Graphite production switcher at its core. They have used this switcher in studios many times before and it’s an ideal combination of power and reliability at the right price point for us. It also has a feature rich version of XPression 3D motion graphics, two channels of clip server and the RAVE audio engine all built in. This allows us to create very high quality graphics at a very reasonable cost.” The issues of cost and quality are not lost on Dakin who went on to explain their importance in the online space.
He added, “As a result of the Videocraft solution nrl.com now has very high quality graphics and a replay system which are comparable to TV but without the engineering resource required for a big studio. This means we get TV quality, but online. The reason for this is that Videocraft treat online production with the same approach and respect as they would for a free-to-air studio build. This in turn means we can now create the exciting, high quality content that’s critical for us to truly engage our viewers and we have Videocraft’s 45 years’ worth of knowledge, expertise and forward thinking approach to thank for that.” In addition to the Ross Graphite switcher the Videocraft solution also integrated a 400TB Avid Media Central system to help with the fast programme turnaround and NEXIS storage for its excellent reliability and interoperability with EVS systems. Wayne Dakin concluded, “The new studio, post production facility, edit suites and storage are an excellent example of a clever, efficient, integrated, high-end Avid solution. With EVS taking care of the ingest and live production workflow and Ross the graphics and vision mixing we have not just a state of the art system but a bulletproof one. The best compliment we’ve had yet is that the content you see on www.nrl.com looks just like it does on television. Great job Videocraft.”Videocraft supports Driving Oz with the Black Dog
Videocraft is proud to announce its platinum sponsorship of Driving Oz with the Black Dog — an incredibly important year-long campaign to raise money and awareness for Lifeline Australia and mindDog. We have been incredibly lucky to be able to collaborate with our industry partners Sony Australia and Avid Technology to be able to put together a video and photography production package to help Paul and Kirstine and their family document their travels to the remote areas of Australia, raising awareness of these two important organisations.
So what's in the Driving Oz's case of production gear?
With the assistance of David Green, from Sony Australia's Professional Solutions Division, we were able to come up with a kit specifically chosen to work well in the varied climates and locations the Driving OZ team will travel throughout the year. As well as provide tools that can capture the footage and audio at professional broadcast quality. David and the team at Sony went above and beyond to support the Driving Oz with the Black Dog and to support both Lifeline Australia and mindDog. The Driving Oz production kit includes a Sony PXW-X70 Camcorder, Sony A7II Digital Mirrorless Camera, some 4K Sony Action Cams plus a Sony Digital UWP Wireless Microphone package, Sony Monitoring Headphones, Manfrotto Rolling Travel Case and a copy of the industry's best editing software Avid's Media Composer for post production. The package offers them the best in image and sound acquisition in an unbelievably lightweight and compact size — perfect for the Tetris-style packing required for a family to fit their lives into camper/trailer and car for the next year. We will be staying up to date with the Roadley family on their adventures and encouraging our network of industry friends to helps us to help them in raising awareness and funds for this important cause. So please share their story, donate to their MyCause page and keep the conversation open around your workplace, community, friends and family. Why do we need to help Lifeline Australia and MindDog?
Suicide remains the leading cause of death for Australians aged between 15 and 44. The overall suicide rate in 2014 was 12.0 per 100,000 in Australia. This is the highest rate in 10 years. The most recent Australian data (ABS, Causes of Death, 2014) reports deaths due to suicide in 2014 at 2,864. This equates to almost eight deaths by suicide in Australia each day. Most deaths by suicide in Australia are males, accounting for about three-quarters. However, during the past decade, there has been an increase in suicide deaths by females. The suicide rate amongst Aboriginal and Torres Strait Islander peoples is more than double the national rate. In 2014, suicide accounted for 5.2% of all Indigenous deaths compared to 1.8% for non-Indigenous people. For every death by suicide, it is estimated that as many as 30 people attempt to end their lives. That is approximately 65,300 suicide attempts each year.
Lifeline is a national charity providing all Australians experiencing a personal crisis with access to 24 hour crisis support and suicide prevention services. Somewhere in Australia there is a new call to Lifeline every minute. 
mindDog Australia is a not-for-profit organisation that exists to help people procure, train and accredit psychiatric assistance dogs. A mindDog comes in many shapes and sizes, and may look different to other assistance dogs experienced by the public previously. Clients of mindDog are supported to find a suitable dog, train and eventually pass a public access test. Just like other assistance dogs, mindDogs are required access to public spaces in order to fulfill their duties. MEET LUNA Luna is Paul’s Mental Health Assistance Dog, MHAD (also known as a Service Dog). Luna is trained through mindDog Australia. Luna has saved Paul’s life by being there when he is really struggling. Luna senses Paul’s emotional/stress levels and responds when required, without being given a single verbal command. To read more about Luna - read her page on the Driving Oz with the Black Dog website We also celebrated Kirstine's birthday with the Videocraft Melbourne team, so there was chocolate cake all around! 
The 3 most interesting ideas to come from attending AvidConnect 2017
Firstly, this is not an Avid press release! AvidConnect (the annual Avid Customer Association event) is in its fourth year, and while it is a way for Avid to show off some of their new offerings and partnerships, there has always been some really interesting discussions about the industry we work in, and where we are headed. This year was no exception, and I have put together some of my thoughts on what I have seen over the weekend, and how I see this affecting our future. Here are three key points I have taken from AvidConnect2017, feel free to comment!
Improved Read and Write Speed for Sony SxS PRO+ E Series Memory Card
Sony’s new E Series of SxS Pro+ cards is now available with improved write speed of up to 400MB/s. Designed specifically for 4K video recording.
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
Videocraft Shoots Ironman and Ironwoman
It takes a particular type of individual to take part in an ironman or ironwoman race and the same can be said for the production company and OB providers responsible for broadcasting the intensely competitive events. Recently Videocraft provided a full production setup for Castle Media, the event specialists responsible for broadcasting the Kellogg’s Nutri-Grain Surf Ironman and Ironwoman Series. Videocraft NSW State Manager Andy Liell explained, “We have a long relationship with Castle Media so we know the level of professionalism and reliability they expect. The Kellogg’s Nutri-Grain Surf Ironman Series was no exception. John Palmer, Castle Media’s MD approached us with their requirements and a very tight timeframe so we immediately sat down to work out the best production solution for their requirements.” Palmer felt that the Ironman series was better suited to Videocraft’s unique FlyPack mobile production solution than a traditional OB truck set up. The system chosen for the series was Videocraft’s mid-range FlyPack that included six Sony HDC1500 cameras, a Sony MVS6000 switcher, two EVS servers, two CCU positions, a Yamaha M7 console providing full audio facilities and all outboard equipment, radio mics and links. Palmer said, “We’ve worked with Videocraft on OBs before so we were confident they would come up with the best solution. They researched previous Ironman events and presented us with a range of options. Their mid-range FlyPack was clearly the way to go. To be honest they didn’t have a lot of time to pull the system together and prep it in Sydney before shipping it over to the first race in Perth so it was all systems go at that point.” The Kellogg’s Nutri-Grain Surf Ironman Series features the country’s elite athletes competing in the most gruelling ocean-based competition on the planet. The 2012/13 series was fought out over six rounds at iconic Australian beaches including Perth, Newcastle, Portsea, Surfers Paradise, Coolum and Noosa Heads with all six races broadcast nationally on Network Ten. Palmer continued, “There was no room for error as getting spare equipment in Perth wasn’t an option. The Videocraft team really went the extra mile and all the kit turned up for the first race working perfectly. Each race broadcast also had the added challenge of keeping all the sand and salt water at bay so the logistics were quite tricky too.” The Ironman series ran from December 2012 to February 2013, a very busy period for Videocraft as Liell explained, “In addition to Ironman we were also working on the Australian Tennis Open and The Tour Down Under at the same time. The only way to manage three huge events like these simultaneously is to have an experienced team, proven systems and good, reliable equipment.” Videocraft’s additional challenges for the Ironman series included ensuring all of the equipment worked to its maximum capacity with significant redundancy as each race was shot as a live event, irrespective of any delayed broadcast times. Slow motion capture also proved a potential sticking point. John Palmer concluded, “We asked Videocraft for a more cost effective slow-mo solution, something that would be a good alternative to using traditional super slow-mo cameras. In typical Videocraft fashion they came up with a new Sony NEXFS700 camera using a Canon 30-300mm cine lens. This enabled our camera operators to capture slow-mo action content for play on/off packages at more than 200 frames per second. Very clever, very cost effective. All in all it was a great series and all credit to Andy Liell and the entire Videocraft team including Rentals Manager Nick Gleeson and Systems Technician Glen Beaumont without who we simply wouldn’t have achieved such an excellent result.” For more information on Castle Media Group go to: www.castlemedia.com.au
