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EditShare Case Study: Merit Andrew

October 23, 2008 Leave a comment

To read a new case study about Merit Andrew, navigate to this link. Case study is available for download by following the link.

Key Code Media Featured

September 25, 2008 Leave a comment

“The American Film Institute (AFI) in Los Angeles purchased 15 Symphony Nitris DX systems and an 8 TB Avid Unity system from local reseller Key Code Media.” At AFI, we’re dedicated to providing our students with the best foundation to succeed in the real-world of film and TV production — where Avid systems are still predominately used,” said Phil Linson, Vice Dean of Production and Post Production at AFI. “The new Symphony Nitris DX systems will enable the students to get exposure to working with things like tapeless workflows, editing real-time in HD, color correction and finishing. And, with the improved stability and performance these systems offer, our students are able to engage in the editorial process and excel at the art and craft of post production.”

Categories: Features Tags: , ,

Road Grader Van & 4K Ninjas

September 3, 2008 Leave a comment
Evolution, revolution, rebellion – call it what you will – traditional methods of creating motion media are undergoing fundamental change. It is my quest to leverage the newest technologies to both realize the amazing efficiencies now possible and attain image quality on par with 35mm film. The key pieces are the RedOne Digital Cinema Camera and the digital post process solution offered by Assimilate’s Scratch Cine system.

The Road Grader van is a mobile implementation of a data based pipeline capable of:

– primary grading of 4K footage in real time with full quality de- bayer at 2K or 1080P using a proper control surface for lift, gamma and gain

– complete Final Cut Studio editorial system capable of creating EDLs for conform in Scratch using offline proxies that require no render time

– DPs can view their images on an eCinema color evaluation monitor in a proper viewing environment with color correction applied in real time

– real time layoff to tape via uncompressed HD-SDI in 4:4:4 or 4:2:2 color space

recently added – the ability to view images in full 10 bit space on the HP DreamColor monitor

The future is here; it’s on wheels and it can be on your set – complete with a 4K Ninja. The Road Grader van can give back control of the image to the DP and pre-digest the data from the RedOne to suit your preferred post workflow. We will also make proper backups for safety and so you can always re-master your project for future deliverables with a full 4K RAW color digital data set in hand. The efficiencies of our solution will save you more than we cost and by offering the DP such a high level of feedback so quickly it will improve the look of the project as well.

Next generation digital camera support – the 4K Ninjas and the Road Grader mobile data process solution.

Check out the Road Grader mobile van at the next Red workflow event in San Diego on September 11, 2008 @ Humphrey’s Half Moon Inn & Suites!

Raise Your Level To Pro Tools|HD

August 26, 2008 Leave a comment
Serious professionals use Pro Tools|HD. No other DAW is used more in top music studios, post-production and broadcast facilities, editing suites, and mobile production trucks worldwide. With Pro Tools|HD, you have the power to deliver top-quality productions efficiently and with ease from first take to final mix.
Register now for the Raise Your Level Tour
   

Why Pro Tools|HD?
Computers have never been more powerful, but add a bunch of software instruments and sound processing into the mix and your session can come to a screeching halt. With dedicated DSP in Pro Tools|HD, you achieve exceptional performance and extremely low latency at all times, even when running the most intense virtual instruments and plug-ins

Learn more about Pro Tools|HD
   

Seamless Integration
Like being in a foreign country without an interpreter, when you mix-and-match DAWs with digital consoles, communication is frustratingly basic. With a Digidesign ICON integrated console and Pro Tools|HD, your console and DAW speak the same language. ICON consoles put Pro Tools|HD at your fingertips, ensuring that no part of your production will ever get lost in translation.

Learn more about ICON
   

Raise Your Level Today
Ready to work like a serious professional? Visit your local Pro Tools|HD dealer or contact Digidesign Services for help with configuring and installing a Pro Tools|HD system that meets your needs.

   

Raise Your Level Tour
Find out first-hand how Pro Tools|HD gets you from mic to mix (and everything in between) by catching Digidesign’s Raise Your Level tour, which will make stops at select cities across the U.S. and Canada, starting August 19th. Discover the powerful advantages of using Pro Tools|HD with an ICON integrated console, learn some great mixing tips and ways to make your workflow more efficient.

Register now
   

“I wanted to mix ‘in-the-box,’ but wasn’t ready to let go of my knobs. Thanks to ICON, I can own my own studio and use Pro Tools in the best possible way.”
— Tchad Blake, Grammy-winning engineer (Suzanne Vega, Pearl Jam, Peter Gabriel)

   

“The business is based on Pro Tools HD now. Because of Pro Tools, my productivity is greater than it’s ever been and I’m absolutely having the best time of my life making music.”
— Ed Cherney, Mixing Engineer (The Rolling Stones, Eric Clapton, John Mayer)

   

“Pro Tools is all we use. Since the sampling rates {in Pro Tools HD} have gone up to 96 kHz with 24-bit resolution, it’s perfect.”
— Gil Norton, Producer (Foo Fighters, Counting Crows, The Pixies)

Categories: Features, News Tags: , ,

More About The RED Camera

 

 

We believe the RED Camera and digital film workflows will change our industry.  A disruptive influence, with disruption comes opportunity and confusion. 

Join Ted Schilowitz (RED) Lucas Wilson (Assimilate), and David Sconyers (Key Code Media) discuss Red acquisition, workflow and finishing.  Included are key differences between the main professional tools which integrate with the Red files.  You will receive unbiased discussion on the trade offs within the workflow and the management of files.

Recording raw data allows white balance, gamma and other image processing parameters like sharpening to be set during post production.  Now that the workflow is so heavily tilted towards post, cinematographers  tools and processes will change.

***Director Steven Soderbergh has shot his two features recently screened at the Cannes Film Festival: Guerrilla and The Argentine entirely with the Red One camera. Soderbergh is very enthusiastic about the camera, saying that “this is the camera I’ve been waiting for my whole career: jaw-dropping imagery recorded onboard a camera light enough to hold with one hand. I don’t know how Jim and the Red team did it—and they won’t tell me—but I know this: Red is going to change everything” Real-time, continuous, one-take demonstration of the RED workflow
Open 4K files directly in QuickTime Player, in real-time
Drop 4K files directly into Final Cut Pro
No rendering, no transcoding.

Check out the Red Mythbusters and download the podcast or quicktime file here. Also view the Red Camera Workflow Avid Media Composer Tutorial video here.

 

  

 ***”Steven Soderbergh to shoot “The Argentine” and “Guerrilla”, starring Benecio del Toro, exclusively with RED cameras”. Red News (2007-07-5)

 

Categories: Features Tags: , , ,