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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: , , ,

A Working Perspective on the New Avid Symphony Nitris DX Box

June 10, 2008 Leave a comment

Interview with David Sconyers; Applications Editor with Key Code Media

 

Mike:  David, you’ve had an opportunity to get your hands on the Symphony Nitris DX Box; what’s your take on it, your overall feedback; any setbacks, good surprises, bad surprises, etc.?

 

David:  Every AVID editor will be overjoyed with what they get.

 

Mike:  Why?

 

David:  Significant speed improvements with “effects”…and, just the whole overall process…

 

Mike:  What areas of speed?

 

David:  Just the effects, that’s usually what bogs the system down-

 

Mike:  But aren’t they all driven by the CPU?

 

David:  No, its graphics and CPU, but they changed all the code with all the effects engine handles its archaic codes so now that’s new and it’s a whole different direction of how the application actually performs.

 

Mike:  So what are some examples of radical speed improvements that would make someone be overjoyed?

 

David:  Without having done benchmark testing between this system and the old version; it’s more of a feeling than anything else.  The interactive and the nature of the GUI when you’re going through everything, you open something up and snap! Its there, going through the timeline, its fine; you make an edit, its there, it just feels a lot more responsive than anything AVID has had out in the last few years.

 

Mike:  So you’re talking really about the Adrenaline?

 

David:  Yes and even the Symphony Nitris side is not the holy grail- its definitely a better system than anything that AVID has had with the exception of the DS but I don’t believe that the symphony software can take full advantage of the Nitris hardware and now with the new architecture of hardware, I think the software is blending together where it can.

 

Mike:  So the new software with the ability to leverage both the DX Box and the open GL technology is a winning combination? 

 

David:  Yes.

 

Mike:  What are some notable things you really like about using it?

 

David:  The best thing is definitely the real time sub-title tool, sub-cap; that is a DS feature; and the ability to do real-time window burns…multiple lines of information that are completely customizable so any size, any location in the frame is all real time- that alone will save most people hours of time…

 

Mike:  So where will you see clients using that?

 

David:  Once people learn about it, know that it’s there; for off-line material and laying off approval copies they’re just going to be able to drop the effect on and snap….go!  The sub-cap tool is going to be huge for international versioning, they can type a word doc or a spreadsheet and as long as it’s the right format with the correct spelling and text, time code where it should hit inside the show, that’s a time saving feature of the real-time window burn because now it’s all framed accurate.  You can sit at home with a DVD or VHS copy, type your subtitles, hand that piece of paper in and pour it into the AVID, drop it into the timeline and everything’s already there, so no more rendering.

 

Mike:  Why would someone who edits want to buy a Media Composer DX versus Final Cut with an AJA?

 

David:  The AJA architecture, Black Magic architecture with Final Cut is not bad but it doesn’t support multiple real-time streams of anything, it’s all rendering…

                                                                                                      

Mike:   So what have you experienced so far with the new Media Composer DX in just seeing multiple streams of real time?

 

David:  I haven’t really put it through the paces yet, to say that I’m definitely getting 8 streams of real time uncompressed…I haven’t benchmarked that yet.

 

Mike:  What about the ability to have multiple different codec within the timeline and how does that differ from Final Cut?

 

David:  The AVID has always been good about supporting open codex but you always flipped it into the AVID proprietary format; and so with FC they did so that you just drop something into the timeline but they don’t tell you that in the back end everything have to be transcoded.  AVID is doing that now so that you don’t have to transcode that before going out to tape.  Now, obviously nothing is perfect and there will be some limitations we haven’t discovered yet, but I think they’re taking steps in the right direction to make everything real time.

 

Mike:  What other key things have you seen from it?

 

David:  Slowly but surely they’re integrating the technology of the DS and its indexing services so they are changing how the media is indexed and it seems a lot faster and more responsive.

 

Mike:  Great.  So if you’re an AVID Meridian user and you’ve been using your machine for 8 years or 6 years, is now the time to move?

 

David:  Now is the time to move…the only thing anyone is going to complain about is, for whatever reason, AVID says that nobody wants analog audio in and out as much as they used to so if your used to eight channels of dedicated IO-analog, its all digital now.   You have it over the digital pipelines but that means your analog Mackie mixer has to go in another bay and you bring in a digital mixer…so that’s the only draw back to get that type of functionality.

 

 

Mike:  So what does the user have to do differently?  I think AVID is thinking differently or new thinking?

 

David:  New thinking is key.  They’re taking steps to make those changes, they’re outsourcing to other people to get an objective view and not just the people with a vested interest in keeping their jobs.

 

Mike:  The clients on a move-forward basis will need a digital mixer and a digital mixer can take analog sources in right?

 

David:  Yes. That is the only way to do that multiple streams, not everybody needs that, a lot of editors really don’t need that, they just grew accustomed to it. 

You really only listen in most bays to 2 stereo speakers so what is the benefit to having 8 direct out when its being listened to 2 on your sound system.  So it is just a slight change in the workflow and people will adjust.

 

 

Mike:  Thank you for your time.

 

Categories: Features Tags: ,