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Posts Tagged ‘AJA’

Avid MediaComposer NitrisDX and MojoDX features not presently on AJA, Blackmagic and Matrox

December 8, 2011 Leave a comment

Couple limitations not presently working with the MediaComposer using 3rd party hardware.  Just a fyi

With this release, the 3rd party hardware plug-ins will not be able to support the entire feature set of the editing application and therefore will not support the following in the Avid editing application:
•           Ancillary Data
•           LTC Input and Output
•           Stereoscopic Full Frame Capture and Output
•           Audio Punch-In
•           Utilize any Hardware Codec Modules
•           Universal Mastering (Frame & Signal Convert to a Different Format)

 

Key Code Media is hosting a webinar today going over “The Good, The Bad and The Ugly” of MediaComposer 6.0 at 11am and 1pm PST.

http://www.keycodemedia.com/icalrepeat.detail/2011/12/08/331/117|119|120|118|121|116/key-code-media-presents-qavid-media-composer-6-the-good-the-bad-a-the-uglyq-thur-dec-8-2011.html

Apple Final Cut Pro X and the ensuing land grab of Avid and Adobe

June 30, 2011 1 comment

Word….The Apple professional editorial universe has gone bonkers.  The best explanation I’ve heard from a friend/client is the Final Cut Pro change is like Microsoft changing Word and all old files are not compatible or integrate with any of the other Microsoft applications you use with Word.  As an Apple and Avid and Adobe partner, this is as disruptive as it gets.  Editors don’t like radical changes and FinalCut X’s innovations has freaked a lot of people out.

The editorial camps have been carved into three camps: Apple FinalCut (comprised of either younger editors or people who got totally fed up with Avid over the years), Avid users and a much smaller contingent (of people cutting beyond web and weddings) of Adobe CS5+ users.  Overall, Avid and Apple battled.  Apple, in my opinion, won the second tier markets and the tier one markets with the younger editorial crowd.  Heck, even Angus Wall won an emmy for The Social Network cutting on Final Cut.  Yes, Angus made his initial mark cutting music videos on the Avid MediaComposer, back in the day.  FinalCut became the cool product to cut on and for most people contracting editorial services, a lower priced rate.  My opinion is that the younger editors charged less per hour and that was the larger contributor to a lower rate.  Anyway, Apple announced the new X and discontinued FinalCut 7.

X is the future and 7 is yesterday, so move on, upgrade off the app store and move on.  What….you say you need to make EDLs.  They are yesterday or even the last millennium, so what if the studio where you cut trailers requires an EDL to create the matchback.  Studios are yesterday, it’s all about electronic distribution vehicles like Amazon and Itunes, they don’t require EDLs.  Where am I going here…well, a large contingent of FinalCut editorial houses are totally pissed.

My short term opinion is simple, don’t jump off any bridges, this as every change will work itself out.   Apple will either recognize that they should have named FCP X “ImoviePro” or rethink the disruptive product introduction and re-tool their strategy.  I’ve known the key product developers at Apple (even before they were at Apple), they are smart people and understand post production intimately.  If they want to make changes, they already know what needs to be done.  If Apple has defined the next growth market to be Imovie upgrades, well the professional FCP 7 users are SOL.  Round one of FCPX does not look good for legacy workflows, but there are cool new innovations, just not multi user workflows…yet.  That being said, I’m still unclear as to whether MediaComposer 5.5 will work on Lion, but hope to know by end of next week.

Editorial software is now cheaper than plug ins (or close) and having access to more than one workflow and software can help maximize the quality of projects and the productivity of editors.  Download free copies of Avid MediaComposer http://www.avid.com/mctrial  and try out Adobe CS5.5 (couldn’t find if their is a trial).  Minimize your risk and stay educated on options.  With new management, Avid has radically changed their approach towards users and the economics while Adobe will continue to innovate their editorial tools and in my opinion have the best video web solutions on the planet.

Editorial is being driven to commodity status, editors are creative people and creating differentiation is tough while maintaining rates in a tough economy.  The broader the set of deliverables you can provide, the greater your value.  Key Code Media will be having a major event and streaming it to get together top level editors to help sort out all the craziness.  Stay tuned, the trailer is in development and will be the most intense invite we’ve ever put together.  Mark late July for the event of X. Simultaneously in Seattle, Santa Monica, San Francisco and Burbank tied together by LifeSize HD teleconferencing and Newtek’s Tricaster 850 Extreme streaming the event.

That being said, Gary Greenfield and Kirk Arnold are coming to the epicenter of editorial world, Los Angeles,on July 13 to have some type of event and want to spread the word.  Me being the tool that I am, will help communicate this.

http://community.avid.com/blogs/avid/archive/2011/06/30/making-great-products-to-serve-professionals-is-our-lifeblood.aspx

Apple Final Cut ProX Released- first commentary

June 21, 2011 1 comment

Key Code Media’s Michael Kammes Application Editor gave a first pass of the highlights of Apple’s just released FinalCut X.  We will be downloading FinalCut X at Key Code Media today to start a deeper dive into understanding the new application and determine where this complete re-write falls into the professional’s editorial spectrum.

Presently, the software is only available on the App Store.  Key Code presently has no word on how Apple will sell physical copies or VAR programs. Present pricing is broken out with the main$299.99 for FCP X application, plus the options of $49.99 for Motion 5 and $49.99 for Compressor 4.

Overall, the new FinalCut X has a lot of cool features and Apple is definitely a trendsetter.  Interestedly enough, the landing page at Apple.com highlights iCloud.  Auto-Analysis seems like a very interesting .  Here’s the direct quote from the Apple site

“Final Cut Pro dramatically speeds up preparing your media by analyzing your source material in the background while you edit. Content Auto-Analysis scans your footage and creates metadata based on the way editors like to work — with range-based tags for media attributes, camera data, shot type, and whether the shot contains one person, two people, or a group. Use these tags to sort, filter, and search your clips.

Set up Auto-Analysis to occur during import, or analyze clips later if you prefer. Content Auto-Analysis also performs processor-intensive analysis ahead of time for features such as image stabilization, corrections for rolling shutter distortion, color balance, and repairs for typical audio problems. Then you can use these features in real time as you edit.”

Aside from all of the cool kid stuff, here are the things you NEED TO KNOW: DVD Studio Pro is gone and some features of Color and Soundtrack Pro are rolled into FCP-X, but are not standalone apps. There is no capture from tape ability (AKA Log & Capture).  Instead, an editor would use the capture tools provided by AJA and Blackmagic. Capture from a  USB drive or Firewire camera or still camera is supported.  Here’s how to find out whether your camera work with FCP -X? http://help.apple.com/finalcutpro/cameras/en/index.html This also means that output (PLAYBACK) to an external monitor is at the mercy of AJA / Blackmagic, Matrox and other IO board companies.   I anticipate Thunderbolt to be the Holy Grail for this, or for AJA and BM to update some drivers for the Kona and Decklink series.

FCP X and FCP 7 can be on the same machine, same partition. FCP X will move some FCP file around, however. There is no multicam (currently) There is currently no way to import OLD FCP (pre FCP X) projects into FCP. The is no OMF ability. This means (currently) sending to Pro Tools or Soundtrack Pro is not available.

Machine requirements: Mac computer with an Intel Core 2 Duo processor or better 2GB of RAM (4GB of RAM recommended) OpenCL-capable graphics card or Intel HD Graphics 3000 or later 256MB of VRAM Display with 1280-by-768 resolution or higher Mac OS X v10.6.7 or later 2.4GB of disk space Format support (notice no RED). Many of these files listed below are TRANSCODED IN THE BACKGROUND for an optimal editing experience and playback (ProRes), so, pseudo-real time support. H.264 from GoPro and iFrame cameras H.264 from DSLR cameras Broadcast Wave Format DV, DVCAM, DVCPRO, DVCPRO 50, and DVCPRO HD HDV Panasonic AVC-Intra, including AVC-Intra 100 and AVC-Intra 50 Sony IMX, XDCAM HD, XDCAM HD422, and XDCAM EX JVC-created XDCAM EX Canon XF MPEG-2; ingest supported with additional software AVCHD, including Panasonic AVCCAM and Sony NXCAM Uncompressed 8- and 10-bit SD and HD Apple Intermediate Codec Still images including PSD, BMP, GIF, RAW, JPEG, PNG, TGA, and TIFF Compressed audio including AAC, AIFF, BWF, CAF, MP3, MP4, and WAV

Here are some useful links to access to learn more: Apple Landing Page: http://www.apple.com/finalcutpro   http://www.apple.com/finalcutpro/all-features/      http://www.apple.com/finalcutpro/specs/       More links: http://www.larryjordan.biz/goodies/blog.html

Overall, we’d like to hold back on any commentary about the in depth workable differences between FCP 7 and FCP X until we have some legitimate drive time.  This update was condensed from the presentation today.

.: michael kammes mpse .: senior applications editor . post workflow consultant .: audio specialist . act fcp . acsr

Sony HDCam tape shortages: Is it time to now truly go tapeless? Or sort of tapeless with LTO-5/LTFS

April 10, 2011 Leave a comment

Sony Corporation’s Sendai factory which produced HDCam SR tapes has ceased operations on March 11th due to earthquake damage and no date is set to restart production. The entertainment and broadcasts industries are now faced with extreme shortages of a primary camera acquisition, production and show mastering consumable. With limited news about when new tape stock will be manufactured, what are the options? De-gauze, revert to SD 16:9, or go tapeless? Tapeless workflows have been a buzzword for many years, and due to this unfortunate tragedy, we may be at the tipping point where a fully tapeless workflow becomes necessity for production and post. As more productions transition to tapeless workflows it is now critical to identify cost effective production pipelines and determine best practices to minimize the risk of losing digital media. Tape has long been the gold standard for productions and the safest choice. That being said, tape does have limitations. Tape is a real-time process; one hour of video takes one hour to digitize and one hour to master back to tape. Video tape is also rather inefficient by the modern measure of how many hours of content fit within one cassette.

So you want to take a walk on the tapeless side?

Here are some options: Capture & Acquisition: First, determine what camera and format will shoot on, and will going to a tape format benefit you down the long winding post-road. Since you will most likely be editing digitally, and outputting digitally, does going to tape really the most efficient way to go? Solutions like the portable and camera mountable Cinedeck allow direct to disk capture from virtually any camera – with a codec of your choosing in pre-compression. This allows choosing a format like Avid’s DNxHD and Apple’s ProRes both are robust and stable in post and easily played by any NLE system. Cinedeck also allows for Cineform encoding; one of the most respected codecs available today, routinely used in DI suites – rivaling and exceeding HDCAM SR quality. Here is a great comparison between Cineform and HDCAM SR: http://www.wafian.com/QualityComparison_CineForm444_vs_HDCamSR.pdf .

Another extremely robust solution comes from Telestream, an industry leader in encoding. Using their Pipeline appliance allows for Real Time DNxHD and ProRes encoding, in addition to a myriad of other frequently codecs. Pipeline, in conjunction with their Episode encoding software, allows for the ability to create virtually any file format that is needed – for post, deliverable, and distribution. AJA has made quite a splash with the Ki Pro family, which also allows for a direct to disk acquisition, focusing on utilizing Apple’s Pro Res codec. Once the files have been delivered into post, and the project has been completed, we now need to contend with deliverables and archival. I contend that new LTFS – that is, the ability to use LTO-5 tapes as you would a removable Hard Drive – is a rock solid way of bridging and unifying these necessities. LTFS allows for faster than real time restoring and play out of the broadcast quality files. In addition, it’s in a native format that any computer can recognize – a stark contrast to the antiquated TAR format, which has been the standard, albeit proprietary, data tape backup format. These same data files can also be pushed via WAN to the intended facility. With WAN acceleration products like StorageDNA, Aspera, or Signiant, the wait time for a physical tape delivery is negated and the workflow has now become completely tapeless. All 3 of these solutions will be at NAB this year and all 3 have comparable speeds – but vary in pricing on the available feature sets. Archive and Restore: At the end of the process, what is going to serve you as not only the most reliable backup methodology, but the most cost effective as well? One LTO5 tape costs well below $100, and prices have been dropping. Each tape holds 1.5 TB – equivalent to 15 Broadcast quality HDCAM SR tapes. Compare this to protected RAID solutions and the savings are instantaneous. With the reliability not found in spinning disks yield a win-win proposition. Coupled with the price and performance gains, when LTO5 is tied in with LTFS, you gain something even more important: compatibility. Current LTO-5 cassettes are smaller than an HDCAM tape and can store as much as 15 hours of content mastered in Apple ProRes or DNxHD. These limitations have continued to be accepted in favor of the perceived ‘safe’ factor of traditional video tape. But is video tape really safer than data tape; is it more secure on a shelf than an LTO tape in a robotic library? Does video tape fail less often than data tape? Perhaps now is the time to acknowledge the limitations of traditional tape workflows and begin to examine the potential for safe and efficient file based solutions. LTFS is universally compatible – remember, it appears just like any removeable drive. This means 5, 10, 20 years down the road, the information is viewable and retrievable – not in a proprietary format that needs a piece of software that no longer exists.

Over the next week of NAB2011, I’m sure we’ll see more tapeless solutions and would love feedback from the community.

IBM, HP, Quantum,StorageDNA and Cache-A have all announced support for this emerging technology. Go see these booths at NAB to learn more about alternatives to a tape workflow: StorageDNA (SL10310), Cinedeck (SL12116), AJA (SL4420) , Cache-A(SL8209), Aspera (SL9620), Signiant (SL5229), Isilon (SL11614), Ultrium LTO N6619.

Below are some recent links outlining the issues of HDCAM. http://www.sony.com/SCA/press/110314.shtml http://www.10pdm.com/sony-hdcam-sr-shortage http://www.ubergizmo.com/2011/03/sony-media-products-experience-shortage-as-prices-soar/ http://www.televisionbroadcast.com/article/115606

Mike Cavanagh, President of Key Code Media, is recognized as leader in blending video technology advances with fundamental business issues. He can be reached at mcavanagh@keycodemedia.com or (818) 303-3900.

Avid Ships MediaComposer 5.5 Major Release

March 8, 2011 Leave a comment

Key Code Media is Avid Technologies largest reseller of video products in the world.  We understand workflow, the Avid systems and how to integrate Avid within complex workflows.  With over ten Avid ASCRs, we’d like to announce the key new information about this exciting release.

Here’s what’s new for v5.5:

PhraseFind  1.0 and ScriptSync 1.0 Released

a.       Both options run with the 5.5.1/9.5.1 releases

AMA Plugins Are Separate Installer

b.      The AMA Plugins are now a separate installer that is NOT bundled with the application installers

c.       Visit http://www.avid.com/ama for more information and to download the installers

Avid License Control

d.      Avid License Control is a separate application used for activating and deactivating ScriptSync and PhraseFind licenses

e.       Information on how to use the tool can be found on the KB here

New Avid QT Codecs 2.3.4 Resolves Westmere DNxHD Issues

f.        The new 2.3.4 QT codecs that ship with 5.5.1 resolve an issue with DNxHD resolutions on Westmere Macs

g.      This codec package is supported with 5.0.3 builds of the editing application as well

h.       http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=392959

New Macs Released by Apple

i.         On February 24th, 2011, Apple announced new versions of their 13″, 15″, and 17″ MacBook Pros with Thunderbolt.

j.         These systems are under evaluation with Media Composer. Qualification and supported configurations will be announced at a future date.

k.       http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=392943

Media Composer 5.5.1, Symphony 5.5.1, and NewsCutter 9.5.1 Released

l.         The latest release has been made available for purchase and download.

m.     Support Contract Customers are entitled to the upgrade.

n.       For more information,  see:

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=393415

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=393431

Guides

Install: http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=263251&Hilite=263251

I/O Comparison: http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=390851&ssdFilterCommunity15=0&ssdFilterCommunity13=0&ssdFilterCommunity11=0&ssdFilterCommunity10=368&ssdFilter_SearchKeyWord=hardware+comparison&page=1&ssdSearchOperator=0&ssdFilterCommunity3=0&Hilite=hardware+comparison

PhraseFind: http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=393391

ScriptSync: http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=393395

FAQ

Version 5.5: http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=389867

PhraseFind: http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=389887&ssdFilterCommunity15=0&ssdFilterCommunity13=0&ssdFilterCommunity11=0&ssdFilterCommunity10=368&ssdFilter_SearchKeyWord=media+composer+5.5.1&page=1&ssdSearchOperator=0&ssdFilterCommunity3=0&Hilite=media+composer+5.5.1

ScriptSync:

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=389871&ssdFilterCommunity15=0&ssdFilterCommunity13=0&ssdFilterCommunity11=0&ssdFilterCommunity10=368&ssdFilter_SearchKeyWord=media+composer+5.5.1&page=1&ssdSearchOperator=0&ssdFilterCommunity3=0&Hilite=media+composer+5.5.1

Matrox Mini MX02:

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=366347

AJA IO Express:

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=389915&ssdFilterCommunity15=0&ssdFilterCommunity13=0&ssdFilterCommunity11=0&ssdFilterCommunity10=368&ssdFilter_SearchKeyWord=media+composer+5.5.1&page=1&ssdSearchOperator=0&ssdFilterCommunity3=0&Hilite=media+composer+5.5.1

Software Licensing:

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=277611

Avid Artist Series:

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=389879&ssdFilterCommunity15=0&ssdFilterCommunity13=0&ssdFilterCommunity11=0&ssdFilterCommunity10=368&ssdFilter_SearchKeyWord=avid+artist+series&page=1&ssdSearchOperator=0&ssdFilterCommunity3=0&Hilite=avid+artist+series

Audio Hardware and MC:

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=389911&ssdFilterCommunity15=0&ssdFilterCommunity13=0&ssdFilterCommunity11=0&ssdFilterCommunity10=368&ssdFilter_SearchKeyWord=avid+audio+hardware&page=1&ssdSearchOperator=0&ssdFilterCommunity3=1079&Hilite=avid+audio+hardware

MC Trial:

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=366355

Specifications and configuration:

Mac:

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=390763&ssdFilterCommunity15=0&ssdFilterCommunity13=0&ssdFilterCommunity11=0&ssdFilterCommunity10=368&ssdFilter_SearchKeyWord=apple+macintosh+specifications&page=1&ssdSearchOperator=0&ssdFilterCommunity3=0&Hilite=apple+macintosh+specifications

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=390759&ssdFilterCommunity15=0&ssdFilterCommunity13=0&ssdFilterCommunity11=0&ssdFilterCommunity10=368&ssdFilter_SearchKeyWord=media+composer+5.5.1&page=1&ssdSearchOperator=0&ssdFilterCommunity3=0&Hilite=media+composer+5.5.1

Config Guidelines:

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=269631&Hilite=avid+configuration+guidelines

Matrox MX02:

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=366315&ssdFilterCommunity15=0&ssdFilterCommunity13=0&ssdFilterCommunity11=0&ssdFilterCommunity10=368&ssdFilter_SearchKeyWord=location+of+drivers&page=1&ssdSearchOperator=0&ssdFilterCommunity3=0&Hilite=location+of+drivers

v5.5:

http://www.avid.com/US/products/Media-Composer/system-requirements

Feature Performance:

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=365919

3rd Party:

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=277977&Hilite=277977

Version Matrix:

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=267087&Hilite=version+matrix

What’s New:

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=390311

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=390347

AMA:

http://www.avid.com/US/products/Avid-Media-Access/plug-ins

Smart Tools in v5.5:

http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=389231&ssdFilterCommunity15=0&ssdFilterCommunity13=0&ssdFilterCommunity11=0&ssdFilterCommunity10=368&ssdFilter_SearchKeyWord=smart+tool&page=1&ssdSearchOperator=0&ssdFilterCommunity3=0&Hilite=smart+tool

Online tutorials:

http://www.avid.com/US/resources/media-composer-5-getting-started-training
Call Key Code Media at 206-728-4000, 310-401-6700, 415-221-0300 or 818-303-3900 for more information

http://www.keycodemedia.com/Avid/avid-nitris-dx.html

Recently featured Key Code Media and the Conan Show (Conan O’Brien) Production Facilities

February 4, 2011 Leave a comment

Here’s a few tidbits floating around the web about  our integration and technical services we recently were involved in with the Conan Show

from Computer Graphics World

January 25, 2011

Grass Valley, Calif. – Getting the one-hour variety show, “CONAN” to air every week is no small feat. The program is shot in front of a live studio audience in Burbank, California, and employs a variety of AJA  products including Hi5, HA5, HD10CEA, HD10C2, and HD10DA — over 90 total AJA Mini-Converters — to keep the production flowing smoothly.

While the show is pre-recorded, it’s produced and cut as if it were live since the east coast feed is transmitted one hour after taping wraps. “AJA equipment definitely allows us to work more flexibly and more quickly,” said Chris Savage who serves as the Lead Camera Utility on “CONAN”. “The needs of the show change every day — with varying requirements for monitoring, computers, new camera feeds and sometimes even video material that guests bring onto the show. AJA’s Mini-Converters provide us with the flexibility to accommodate whatever needs arise and the reliability that our quick turnaround production cycles depend upon.”

There are 13 60-inch LCD monitors mounted above the audience in the studio seating area. The stage was initially designed to run an SD signal to those monitors, but in production the feed interfered with fluorescent lighting on stage to cause a roll in the picture. The show turned to AJA Hi5 Mini-Converters to convert the HD-SDI signal to HDMI to drive an HD feed of the program onto the monitors. The Hi5s provided a quick, easy and cost-effective solution that was plug-and-play with the existing production infrastructure.

For the show’s ‘Conan Video Blog’ segments, the AJA HA5 Mini-Converter is used to pull a video signal from a laptop used in the broadcast. AJA KONA 3 and KONA LHi capture cards are also used as part of the show’s Apple Final Cut Pro editing workflow and AJA VTR Xchange software is used for remote deck control via the KONA card’s RS-422 interface.

Savage stated that the biggest benefit of using AJA Mini-Converters is their portability, “Being able to plug and unplug, and not have to go to a rack or moreover to another building to patch and down-convert or re-clock is a huge advantage,” concluded Savage.

Key Code Media in Burbank designed and installed the edit system and server, and NEP, a national outsourced tele-production services company, designed and set up a lot of the production equipment for the show.

For the full article visit: http://www.cgw.com/Press-Center/News/2011/AJA-Mini-Converters-Power-CONAN-.aspx

From Broadcast Engineering Excellence Awards Article

In the early summer of 2010, NEP Broadcasting’s Denali division was asked to build the production facilities for the new Conan O’Brien show, “Conan.” It was an exciting project to bid on, but the location for the production had not been selected beyond the West Coast. Bids were due the middle of June, the award would be announced at the end of June, and the show would debut on TBS the first week of November. That left just 120 days to design and build the new production facilities.

Fortunately, the location decision came rather quickly: the Warner Brothers Lot, Stage 15. Unfortunately, there was no space on the soundstage for the technical facilities. The solution, conceived by the show’s project manager, David Crivelli, was to build seven custom office trailers married together to create spaces for production, audio, sound effects, graphics, edit bays, music mix, video, recording and core systems. But the next big issue was that the trailers would not be manufactured, delivered and set up until after Labor Day. This left NEP less than 45 days before rehearsals began to finish the build.

Fortunately, much of the creative and technical crew had worked on O’Brien’s previous show, so issues of workflow and preferred equipment had been resolved. Crivelli made the decision to split up the various parts among three vendors: Key Code Media would handle editing and SAN storage; Paul Sandweiss at Sound Design Corporation would tackle production audio, music, sound effects and house PA; and NEP was tasked with the remainder, which consisted of production, recording, graphics, video, communications and core systems.

NEP immediately made the decision to prebuild at its systems integration facility in Pittsburgh. This would allow construction to begin before the trailers were in place. Twenty racks of equipment, consoles and the production monitor wall were assembled and wired in Pittsburgh in late August. Just after Labor Day, two 53ft tractor-trailers made the cross-country trek to Warner Brothers.

NEP began the load-in on Friday at 6 a.m., and by the end of the day Friday, all systems were in place. Only three days later, systems were wired together and ready for testing and configuration. This included pulling in all the cables to the stage via new conduits under the road between the building and trailers.

With close coordination and teamwork, the show has a new, spacious facility to rival any installation in the Los Angeles area. Once inside, you’d never know 45 days earlier it was just an empty parking lot.

To read the full article:  http://broadcastengineering.com/excellence-awards/conan-obrien-nep-broadcasting/

Autodesk and ASSIMILATE Announce Settlement of copyright infringement

December 3, 2010 Leave a comment

Autodesk and Assimilate yesterday issued a joint release announcing the settlement of their copyright infringement lawsuit.  This is good news in an era of consolidation that Assimilate is now encumbered from this litigation.   Key Code Media is a partner of both Autodesk and Assimilate and view this as positive for all parties, that being said, we do not have knowledge of the confidential aspects of the settlement and the respective impact to either company.

Autodesk has some amazing products and with the recent Flame Premium bundle which incorporates Flame, Smoke and Lustre, the creative community has a compelling and integrated conform, FX and color grade bundle priced competitively in our new economy.  Key Code Media is very bullish on this combined integration.  Additionally, Autodesk has had solid success with Autodesk Smoke on a Macintosh, OSX this past year.  Although sales did not go to the level of expectations most of the community had expected, the interest and momentum has been a plus.   More importantly, Autodesk has brought the pricing of the tools within reach of a much wider part of the market.  Key Code Media is honored to be an Autodesk partner and look to helping them strongly complete their financial year.

I’ve had numerous conversations with Jeff Edson, CEO of Assimilate, about the longer term business ramifications of this litigation.  I am happy that the biggest threat to Assimilate was some draconian ruling by the court such as a “cease and desist order”   Assimilate, with their Scratch grading solution, offers a powerful grading solution priced in the mid range market.   Assimilate is a dispersed Company with no “real” office, or at least no real office I know of.  That keeps them nimble and they make their office in the community: at resellers and clients.  I like what they bring to the game and am happy both companies have worked out their legal issues.

On another Assimilate front, Tony Cacciarelli has moved on to AJA as a product manager and there is unofficial rumblings of another key person moving on in their career.  This being said, Assimilate is actively hiring new talent and in my opinion has a bright future within our industry.

Mike Cavanagh, President, Key Code Media (www.keycodemedia.com)

Here is the official release:
For immediate release

Media Contacts:
Greg Eden                                Aggie Frizzell
Autodesk, Inc.                                ASSIMILATE
greg.eden@autodesk.com                         aggie@assimilateinc.com

Autodesk and ASSIMILATE Announce Settlement

SAN RAFAEL, Calif., SANTA CLARA, Calif., December 2, 2010 — Autodesk, Inc. (NASDAQ: ADSK) and ASSIMILATE, Inc. announced an agreement to settle a pending lawsuit for copyright infringement brought by Autodesk’s subsidiary, Autodesk Canada Co., against ASSIMILATE.

The lawsuit, filed in the United States District Court for the District of Delaware, was based on Autodesk Canada’s purchase of the intellectual property, including copyright interests, in a software program called Cyborg from an English company, 5D Solutions, Ltd.  The Cyborg software provided digital compositing, color correction and various editing and art functions for the post production and visual effects industry.  The lawsuit alleged that ASSIMILATE’s software program, known as SCRATCH, infringed Autodesk Canada’s copyright in the Cyborg software.

The parties have now settled the dispute.  ASSIMILATE acknowledges that it used code and design elements from Cyborg in its SCRATCH product.  ASSIMILATE apologizes for such use.
Pursuant to the parties’ settlement agreement, ASSIMILATE has made a quitclaim of its rights in Cyborg to Autodesk Canada and has received a perpetual license back from Autodesk Canada for use of that code and those design elements and a release for any past use of that code and those design elements.  Other terms of the settlement are confidential.

About Autodesk
Autodesk, Inc., is a leader in 3D design, engineering and entertainment software. Customers across the manufacturing, architecture, building, construction, and media and entertainment industries  including the last 15 Academy Award winners for Best Visual Effects  use Autodesk software to design, visualize and simulate their ideas. Since its introduction of AutoCAD software in 1982, Autodesk continues to develop the broadest portfolio of state-of-the-art software for global markets. For additional information about Autodesk, visit http://www.autodesk.com.

About ASSIMILATE
ASSIMILATE, a leading force in developing digital cinema technologies, is transforming the post-production of complex imagery projects with its SCRATCH® data workflow and DI tool suite. ASSIMILATE is committed to empowering the broad spectrum of creative and post-production professionals with state-of-the-art, intuitive, data-centric solutions that enable increased productivity and deliver optimal price/performance. To learn more about SCRATCH, see http://www.ASSIMILATEinc.com

Autodesk and AutoCAD are registered trademarks or trademarks of Autodesk, Inc., and/or its subsidiaries and/or affiliates in the USA and/or other countries. Academy Award is a registered trademark of the Academy of Motion Picture Arts and Sciences. All other brand names, product names or trademarks belong to their respective holders. Autodesk reserves the right to alter product offerings and specifications at any time without notice, and is not responsible for typographical or graphical errors that may appear in this document. © 2010 Autodesk, Inc. All rights reserved.

SCRATCH is a registered trademark of ASSIMILATE, Inc.