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Posts Tagged ‘Key Code Media’

Transcoding and IBC

August 24, 2013 Leave a comment

Attending IBC and looking into transcoding? 

Root6 will be showcasing the latest release of Content Agent at 7.E21.  We’ll have the latest rev in conjunction with IBC.  Card based file workflows and integration into Avid’s MediaComposer, Isis and Interplay workflow is excellent.  Key Code Media has our system connected to Isis, MediaComposer and Interplay. 

Card Based Workflows
ContentAgent now supports P2, XDCAM, XDCAM EX, AVC-HD and Canon XF card structures from broadcast cameras, importing both media and metadata before transcoding or rewrapping in the user’s desired format. We will also be demonstrating automated card based ingest direct into Avid Interplay.

Advanced Frame Rate Conversion
ContentAgent’s Advanced Frame Rate Conversion module replaces expensive legacy baseband workflows with a powerful, resolution independent , file-based tool. Utilising state of the art CPU and GPU  processing, the new tool facilitates not only traditional PAL/NTSC conversions, but expands across all frame rates, deals with field order/progressive frames/cadence issues and scales across all resolutions to 4K. Find out more here.

AMWA AS-11 DPP Compatibility
One of the first products on the market to be fully DPP compliant, ContentAgent will be shown with a fully automated AMWA AS-11 DPP workflow for broadcast file and metadata deliverables, integrated with automated, file based QC.
Hot News – GoPro Automation
With the rising popularity of GoPro cameras in professional production environments, ContentAgent now supports GoPro media, with multi frame rate capability for slo-mo and timecode generation.

JPEG2000 Encoding
New JPEG2000 encoding with MXF OP1a wrapping provides a valuable tool for those in broadcast and archive environments.

New Suite of Colour Mapping Tools
The suite of colour mapping tools now available in ContentAgent enables LUTs to be applied to files in any format – a benefit when moving between different colour spaces. In a RED environment, RED RMD colour grade files may also be applied to RED R3D clips.

Cloud Based Rendering technology presentation
In a private demo area, IBC attendees can get a peek at some of the technology under development which will be available in later software releases.  Here, ContentAgent will be demonstrated in a live Cloud/VM environment showing infinitely scalable cloud-based rendering.

http://root6technology.com/products/ContentAgent/index.html

Avid Interplay Central Releases V 1.3

December 11, 2012 Leave a comment

With the release of Avid Interplay Central 1.3, Avid Isis users, integrating Inerplay Central, now give producers, assistants and loggers, wide area network access the Avid Isis and Interplay.  Whether creating news packages, logging reality TV footage, or editing and sending video for review and approval, users save several steps with a single browser-based view. Depending on an organization’s system size and upgrade intervals, Interplay Central can provide significant reduction in both implementation time and cost.

Interplay Central 1.3 is suitable for many users within media organizations, including:

  • Producers: Search and browse media, create shot lists and notes, review and annotate edits.
  • Ingest operators and loggers: Rapidly select and tag media by creating markers and subclips for easy searching and speedier editing.
  • News directors and producers: Use an iPad to browse rundowns, edit scripts, and review video.
  • Journalists: Create complete packages on their laptop with video, audio, and scripts; break stories from the field with iPad, iPhone and BlackBerry; and, replace printed scripts with iPad Presenter mode.
  • Management and operations: Reduce costs with a single, lightweight low-maintenance user interface that works across for multiple applications, streamlines workflows, and increases productivity
  • Media sub-clipping- Create text markers and subclip video or live feeds, allowing easy search and retrieval of relevant content
  • Interplay Central downloadable client software for Apple iPad from iTunes allowing producers ability to be connected to the production anywhere.

Key Code Media has helped clients deploy over 100 Isis systems and 10+ Interplay systems.  Our Consulting and Design team can analyze your workflow, ascertain aspects of significant productivity improvements delivering your business a true pay back and return on investment analysis.  Call us today 818-303-3900 to engage and analyze how Interplay Central can improve your business’ productivity. Key Code Media represents the Western United States.

Avid Announces HP Z820 MediaComposer Qualification

September 20, 2012 Leave a comment

Avid® is pleased to announce qualification of the HP Z820 Workstation with Media Composer, NewsCutter, Symphony, Mojo DX and Nitris DX.  Rendering and CPU performance are increased from 17% to 90% speed performances.  This rackable system provides 7 expansion slots, 7 expansion bays and 4-channel integrated DDR3 memory with 16 slots and support for up to 512GBs.  Perfect for easily fitting into a machine room rack.  With USB 3.0 ports on the front and internal to the system, the HP Z820 Workstation offers a variety of storage and I/O options including a wide range of internal HDD/ODD and external SATA devices to increase flexibility.
Key Code Media will be shortly posting performance differences between the HP Z820 versus the Mac Pro (to the power of 12) to give our clients the latest in speed differentiation.  Already, we’ve tested Adobe CS6 on the Z800 versus the Mac Pro and seen 20%+ greater performance in rendering files on HP systems.  Stay tuned.

Product Compatibility: HP Z820 systems qualified with Media Composer, Symphony, NewsCutter, Mojo DX and Nitris DX
Key Points
•    Media Composer, Symphony, NewsCutter, Mojo DX and Nitris DX have been qualified
o    Open I/O customers should check with individual hardware vendors for compatibility information
•    ISIS and local storage is qualified for use with the HP Z820 Workstation

Requirements
The HP Z820 Workstation can be used with any of the following software versions:
•    Media Composer 6.5 or higher
•    Symphony 6.5 or higher
•    NewsCutter 10.5 or higher

HP 820 Workstation Specifications
•    Windows 7 Professional 64bit SP1
•    Dual Intel® 6-Core Xeon® E5-2640 2.5GHz 15MB cache or Dual Intel® 8-Core Xeon® E5-2665 Processors @ 2.4GHz 20MB cache
•    16GB DDR3-1600 (8x2GB) RAM
•    NVIDIA Quadro 4000 2GB GPU
•    1TB 7200 RPM SATA 1st HDD
•    16X SuperMulti DVDRW SATA
•    HP SAS Back Panel Connector Kit

Specifications and links to the slot configurations will be published to the Avid Knowledge Base Windows Specification Document.

With HP and Avid you can be confident that you’ve picked a winning combination:

  • HP and Avid Relationship
  • Optimized Hardware
  • Certified Applications
  • HP Innovations
  • Complete Range of HP solutions

http://www.hp.com/united-states/campaigns/workstations/z820_features.html#.UFtFaq60J8E

http://h20331.www2.hp.com/Hpsub/cache/530483-0-0-225-121.html?jumpid=ex_r2845_go/DCC/workstations

For more information, visit http://www.keycodemedia.com/Avid-Products/media-composer-6 or call us.  West Coast Coverage in Seattle, San Francisco, Burbank, Santa Monica and Las Vegas.

Facilis 5.5 with Linux launch March 15 at Federal Bar in N. Hollywood

February 29, 2012 Leave a comment

Join Key Code Media and Facilis at the Federal Bar in North Hollywood on March 15 (http://bit.ly/x1IQMU)for the LA Launch of TerraBlock 5.5.  This is a major release connecting Mac, PC and Linux workstations together.  Imagine, Avid MediaComposer, FinalCutPro and Autodesk Flame Premium or Smoke all working off the same high performance fiber channel connected drives. 

Join the Facilis Executive team and Key Code Media for a great pre-NAB event.

What you’ll see:

Linux Shared File System– Linux clients are now able to mount Multi-User Write volumes via Fibre Channel or Ethernet.
TX16 Capacity Expansion– The TerraBlock TX16 Expansion Chassis is a 3U chassis  containing 16 drives.
RAID 50– Multi-user Write RAID5 tandem volume spanning across multiple TerraBlock servers.
RAID 51– Multi-user Write RAID5 tandem volume that is mirrored across multiple TerraBlock servers.
Recovery (Rebuild) Priority– The Recovery Priority feature allows users to pause or control the priority of the recovery.
Locate Drive– The Locate Drive feature allows users to easily locate a specific drive in the TerraBlock server.
Premier Pro Project Sharing
The Facilis Project Manager application now allows users to manage and lock both Apple Final Cut Pro (v 7.x) and Adobe Premiere Pro projects.
Also:
– Media Composer 6 support
– Mac 10.7.3 support
– Facilis File Migration OSX

HP divesting PC business?

August 27, 2011 1 comment

HP is considering spinning off or selling the PC business.  Whoa….what does this mean to our Avid, Autodesk, Assimilate and Adobe users who count on HP to deliver high performance HP workstations?

My first take is good luck changing your business model.  That being said, every company needs a strategy and HP is making a distinct move away from the consumer and lower margin business’.  That said, we’re talking about a  $42 Billion top line business with $2 billion in profits, equaling 4.76 % net profit business.   My first take is, HP is passing up on an amazing opportunity to provide vendors with an integrated business to consumer workflow, well, not everyone can do Apple.

I had an opportunity to speak to the HP workstation team and get some insight about what this means moving forward for our clients who use HP products.  The good news is the Workstation team is almost giddy.  They believe carving out the PC business will allow them greater flexibility to design more products and not get caught up in HP’s divisions of server versus software and truly compete with more relevant solutions to complete high value workflows within the media industry.  They’ll be a  “nimble” and profitable Company.

So, HP warranties are safe, all products will be serviced by HP.  This transition could take up to eighteen months.  My one worry is the lack of development during this time as HP shifts resources to “higher margin” opportunities such as their recent acquisition of Autonomy.  Stay tuned, we’ll keep you updated.

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

http://www.keycodemedia.com/products/adobe/creative-suite-5.html

http://www.keycodemedia.com/Finishing/D.I/assimilate-and-kcm.html

http://www.keycodemedia.com/AutoDesk/smoke.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

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.