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NewTek to Give Away $100,000 in Prizes at NAB 2011

March 28, 2011 Leave a comment

NewTek to Give Away $100,000 in Prizes at NAB 2011

Four lucky show attendees will win a TriCaster™ HD portable live production system

 

LAS VEGAS – NAB Show – March 28, 2011NewTek, a worldwide leader in video and 3D animation products, will give away four TriCaster™ TCXD850 HD portable live production systems as part of its TriCaster-A-Day Giveaway at the National Association of Broadcasters (NAB) Show. NAB attendees can find registration postcards on the front of the Show Daily distributed on Monday, April 11, and at the NewTek smart car HD portable live production vehicle parked in front of South Hall. Registration cards will also be available at NewTek Booth SL4514. 

Drawings will be held once a day beginning Monday, April 11 through Thursday, April 14. Winners will be notified by email.

In addition to the TriCaster-A-Day Giveaway, NewTek will host their annual “Broadcast Minds” event, bringing together some of the most successful digital media strategists in the industry. Panelists will discuss how companies can capitalize on the digital market, effectively. This event will be held Tuesday, April 12 from 6-8 p.m. PT at the Renaissance Hotel Ballroom.

For more information regarding NewTek at the NAB Show, visit: www.newtek.com/nab. For up-to-the-minute NAB details, follow NewTek on Facebook and Twitter.

With TriCaster, anyone can simultaneously produce, live stream, broadcast, project and record HD and SD network-style productions. A single operator or small team can switch between multiple cameras, virtual inputs and live virtual sets, while inserting clips, titles and motion graphics with multi-channel effects. TriCaster is used by broadcasters, webcasters, sports organizations, schools, houses of worship, government agencies and others to provide a new level of extended programming and content to their audiences.

Pricing and Availability
The TriCaster family of products in NTSC is available for education in North America starting at US$4,995, and multi-standard internationally starting at US$5,995. For more information, please visit www.keycodemedia.com or call 818-303-3900.

Limited Time – NAB Special Bundle Pricing: TriCaster TCXD850 and TriCaster TCXD850 CS at US$29,995

About NewTek (NAB Show Booth: SL4514)
Benefiting producers and artists with cost-effective and groundbreaking technologies, NewTek is a worldwide leader in portable live production, video editing, 3D animation and special effects tools, including the TriCaster™ product line, 3PLAY™ and LightWave 3D®. NewTek has won numerous industry accolades, including two Emmy® Awards.

Clients include: MTV, ESPN X Games, New York Giants, Fox News, BBC, NHL, Nickelodeon, CBS Radio, ESPN Radio, Fox Sports, USA TODAY, Adam Carolla Show, TWiT.TV, St. John’s University, NBA Development League, Diggnation, Streamin’ Garage, Buzz Out Loud, Kevin Pollak’s Chat Show, Peter Himmelman’s “Furious World,” Department of Homeland Security (DHS), North American Aerospace Defense Command, National Aeronautics and Space Administration (NASA). NewTek products have been used in feature films and television shows, including “Avatar,” “TinTin,” “Repo Men,” “V,” “Fringe,” “CSI: Crime Scene Investigation,” “The Fairly OddParents” and more.

NewTek is privately owned and based in San Antonio, Texas.  For more information, please visit: www.newtek.com.

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Editors Lounge 8th Annual Pre-NAB Discussion (Key Code Media Burbank) Friday March 25, 2011

Alpha Dogs presents Editors Lounge

8th Annual Pre-NAB Discussion Panel
Our Famous Prognosticators Prognosticate… and the Sony OLED Monitor is Here!

Friday March 25, 2011

Our friends at Key Code Media are once again helping the Editors’ Lounge put on the famous (infamous?!) Pre-NAB Discussion Panel. This 8th rendition of our annual look ahead at NAB, seeks to enlighten us all with heated discussion about trends and predictions for post-production and the film/TV business for the rest of 2011 and beyond.

This year’s panel features:

Debra Kaufman (moderator) • Founder / Editor, MobilizedTV
Lucas Wilson • Director Business Development, 3ality Digital
Steve Cohen • Film+TV Editor / Blogger / Author “Avid Agility”
Mark Raudonis • VP Post Production, Bunim/Murray Prods
Michael Bravin • Technical Consultant / Founder, The Digital Picture Company
Terence Curren • Editor+Colorist / Founder, AlphaDogs

As a special treat, the Sony BVME250 OLED master monitor that was discussed at last month’s Editors’ Lounge will actually be on hand for you to oooh and aaah over.

Stay tuned for more updates as they develop!

When

Friday March 25, 2011

6:15pm-7pm Check-In, Networking

7pm-9pm Panel Discussion

As always Editors Lounge events are BYOB, this evening we’ll be providing eats from The Greasy Wiener food truck

Where

Key Code Media

270 South Flower Street

Burbank, CA 91502

(between Olive & Verdugo)

CLICK HERE FOR DIRECTIONS

WE WILL HIT CAPACITY AT THIS EVENT, EARLY REGISTRATION IS RECOMMENDED!

CLICK HERE TO REGISTER

 

Matrox Announces Matrox MXO2 Mini for Avid Editing Systems – A New Choice for HD Monitoring at $449

April 16, 2010 Leave a comment

NAB 2010 – Las Vegas – April 11, 2010

Matrox® Video Products Group today announced a cost-effective HD monitoring solution for the newly launched Avid® Media Composer® V5 and NewsCutter® V9 editing systems. Matrox MXO2 Mini1 turns a user’s HDMI screen into a professional-grade video monitor with color calibration tools including blue-only. The small, lightweight, external box is ideal for file-based workflows in studio, on set, in the field and in OB vans. It provides HDMI, analog component, S-Video, and composite output and cross-platform support for Macs and PCs, laptops and workstations.

Matrox Announces Matrox MXO2 Mini for Avid Editing Systems – A New Choice for HD Monitoring at $449

“Since the launch of our popular MXO2 product line, Avid customers have been asking us to support their editing application of choice,” said Alberto Cieri, senior director of sales and marketing at Matrox. “Now with support for Media Composer V5 and NewsCutter V9 with MXO2 Mini, they have the perfect cost-effective monitoring device for their file-based workflows.”

“Matrox is well known in the industry for the quality of the products they manufacture,” said Angus Mackay, segment marketing manager, professional segment at Avid. “Collaborating with them to bring a cost-effective HD monitoring solution to users of software-only versions of Media Composer and NewsCutter was an easy choice for Avid.”

Key features of Matrox MXO2 Mini for Avid Media Composer

  • Turns your HDMI screen into a professional-grade video monitor with color calibration tools including blue-only
  • Small, lightweight, external box for use in studio, on set, in the field, and in OB vans
  • Cross-platform support – Mac and PC; laptops, desktops, and workstations
  • HDMI, analog component, S-Video, and composite output
  • Stereo RCA and up to 8 channels of HDMI audio output
  • 5.1 and 7.1 surround sound monitoring on the HDMI output
  • Compatible with Avid Media Composer V5 and Avid NewsCutter V9
  • Three-year hardware warranty and complimentary telephone support

For more information on the Matrox MXO2 Mini or to place an order, please contact a Key Code Media sales consultant at: 818-303-3900 or email: sales@keycodemedia.com

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Avid Announces the Release of Media Composer 5.0 at NAB

April 16, 2010 Leave a comment

Media Composer 5 is coming soon, but why wait? Buy or upgrade to Media Composer 4, starting April 12, 2010, and get a free upgrade to Media Composer 5 when it’s available.

Meet the fastest, most powerful editing tool available. With Media Composer 5 software, you can work with more formats and in more ways than ever before, and speed through common media barriers to get right to what really matters — telling a great story.

Media Composer goes where other video editing systems leave off, giving you full-featured editorial tools, the fastest file-based workflows around, dependable media management, and innovative features that save you time — and money. Whether you’re cutting films, TV shows, short-format videos, or other media, in the studio or on the road, or using a Mac or a PC, you can edit the way you want, wherever you want, and in ways you never thought possible with Media Composer.

Here’s what’s new with Media Composer 5.0

Work Directly with RED Using the Newly Improved AMA
With Media Composer 5, AMA (Avid Media Access) has been completely reengineered, so you can work natively with more file-based media formats now and in the future. With the new and improved AMA, you can speed up RED workflows by directly accessing RED files (.R3D) in Media Composer without having to prepare them through MetaFuze (all footage is scaled to HD frame size). Plus, you have access to its full metadata and color management data too.

Edit QuickTime Formats Natively
Get native access to all popular QuickTime formats, with full access to clip metadata. Thanks to AMA, you can natively access and edit any movie that can be played in Apple’s QuickTime Player (including Apple ProRes and .mov files captured by Canon 5D and 7D cameras) right in Media Composer — no transcoding, rewrapping, or logging and transferring required.

Drag and Drop Video and Audio to Edit
Get comfortable — with Media Composer 5, you can truly edit the way you like. In addition to the standard way of editing, you can also now directly manipulate elements in the timeline to edit video and audio. Drag and drop clips anywhere you want on the timeline to rearrange sequences. And grab a clip’s in or out point and drag to trim a scene, dialog, or music.

Get Full-Quality HD-RGB Processing
Keep those finishing jobs in house, and deliver the highest quality color and effects work, with support for full-quality 4:4:4 HD-RGB color space processing in Media Composer. With the higher resolution detail, you can perform color correction, keying, and effects work with greater precision and ease. And if you have a Nitris DX-based system, you can digitize, process, monitor, and output (output in Symphony systems only) projects in HD-RGB, using the two HD SDI connections to handle the high-bandwidth resolutions.

Monitor Video Externally through Matrox MXO2 Mini
If you don’t have a Nitris DX- or Mojo DX-based system, Media Composer 5 opens the door to third-party workflows, enabling you to monitor video externally using the Matrox MXO2 Mini interface, which is available for Mac and Windows systems. When paired with Media Composer software, MXO2 Mini becomes a dedicated, high-quality monitor-only solution for file-based or workgroup production, so you can view your video work in real time without any major expense.

The reaction on the new release at NAB:

“This software release will prove to be one of the most important Avid versions in many years and significantly raises the bar in the competition with Apple’s Final Cut Pro. It checks off many of the common wish list items asked for by Avid editors”Oliver Peters, DV/Videography

“Avid’s biggest upgrade in years and includes many fundamental changes to the editing model, along with a host of new features”Steve Cohen, Splice Here

“It looks like Avid hasn’t just added ProRes or Canon H.264s but they say that anything the QuickTime player will play, MC 5 can work with. That’s really taking the support to the max.”Scott Simmons, The Editblog on Pro Video Coalition

“Avid tapeless workflows with MC5 are a game changer. This is amazing.”Videoguys.com

“I hope Apple takes this as a wakeup call. Because Avid is making FCP seem like the Media Composer of five years ago when Avid was tied to the OMF and FCP’s QuickTime architecture was a godsend. Now, Avid needs something like Color in the toolkit. I gotta say I’m excited about both the CS5 and MC5 releases-”LAFCPUG forum

“This is huge folks. No more crappy DNxHD codec Gamma shifts between Mac & PC. No more transcoding. Wow. This could bring Avid back in the fold for mid & lower markets where FCP has taken over (if they drop their prices on units & Support Contracts). Looks like I will have to upgrade my old Avid dongle (don’t even remember what version I have…it’s been 7 years since I used Avid on my Mac)“ LAFCPUG forum

Place your order today for Media Composer 4.0 and get a free upgrade to Media Composer 5.0 when it is released. Contact a Key Code Media sales consultant for more information: 818-303-3900 or email: sales@keycodemedia.com.

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EditShare Ships New Ark 2.0 Media Archiving System

EditShare has announced the availability of its new Ark 2.0 backup and archiving solution. Fully integrated with EditShare’s award-winning shared storage solutions, Ark 2.0 offers superior media file protection for broadcast and post, providing digital and tape-based options for creating backups and archives. Ark 2.0 boasts a full array of media protection enhancements, most notably its complete integration with EditShare Flow.

“Ark 2.0’s flawless integration with Flow and broader support for tape loaders and libraries elevates it to a new level of asset protection,” says Andy Liebman, Founder and CEO, EditShare. “In an integrated Ark and Flow environment, archived material is made part of the content repository. Archived clips are automatically scanned and added to the Flow database in proxy format, providing instant access to low-resolution versions of all archived materials. From the Flow Browse interface, users can search and retrieve archived media, organize clips into bins, assemble clips into sequences, and restore high-resolution versions for editing. Thanks to these enhancements, Ark 2.0 is now one of the most reliable asset protection systems in the industry.”

Highlights of the new Ark 2.0 release include:

• NEW Integration with Flow for Complete Backup
Integration between Ark and Flow ensures that all archived clips now have a record in the Flow database prior to being copied to Ark. Flow scans all clips to ensure that proxy files have been created. Ark updates the Flow database to keep a record of exactly where each archived clip is located. Flow users can then search and browse all clips stored on Ark.

• NEW Integration with Flow for Complete Restoration of Files
Having a record of all archived or backed up clips in the Flow database makes restoration of files from Ark easier than ever. It is now possible to search or browse for clips even though high-resolution versions are “offline” and stored only on Ark. Through Flow Browse, users can play low-resolution proxy versions, incorporate them into sequences, and then restore the desired high-resolution versions to any EditShare Media Space. From within Flow Browse, authorized editors are able to set up Restore jobs to occur instantly or at a later, scheduled time.

• NEW Support for Multi-Drive Tape Libraries
Ark 2.0 supports a range of tape loaders and tape libraries. Autoloaders and libraries with multiple tape drives can now be used.

• NEW Activation Feature for Ark Disk
A new activation feature allows customers to utilize their Ark Disk system as a rapid failover should one of their main shared storage systems fail.

• NEW Improved Tape Management
The new Ark user interface graphically shows which tapes are currently loaded into a Tape Library and in exactly which slot they can be found.

EditShare will demonstrate Ark 2.0 at NAB booth # SL4725.

For more information, visit www.editshare.com

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SCRATCH v5.1 Ready to Rumble with RED Digital Cinema at NAB 2010

SCRATCH Supports MX Sensor

Santa Clara, CA – April 8, 2010 – NAB 2010

New and powerful post-production tools for RED Digital Cinema camera users are a highlight of ASSIMILATE’s roll out of its SCRATCH® v5.1 Digital Finishing Solution at NAB 2010.

With the RED Digital Camera taking the entertainment world by storm, SCRATCH v5.1 leads the industry with first support for RED MX (and beyond) cameras, such as support for multiple RED Rocket cards in a single SCRATCH system; first dual RED Rocket support for MX-R3D; and first non-RED application to support the new RED MX sensor and revised color math, with native real-time playback and adjustment of all on-camera color parameters, such as FLUT, exposure, and curves. Working easily with the native R3D files, SCRATCH streamlines the RED MX workflow and delivers a high-quality master for multiple delivery formats.

Ted Schilowitz, at RED Digital Cinema, comments, “We’ve seen a tremendous amount of success with RED projects using the SCRATCH solution for high-resolution DI finishing. ASSIMILATE was one of the very first to embrace the RED workflow, and SCRATCH v5.1 continues its industry leading support for real-time RED MX and MX-3D workflows, enriching its feature set to bring out the best in native RED R3D material.”

Mark L. Pederson, Offhollywood CTO and co-founder, notes, “We got on board with RED and SCRATCH as early adopters. It was clear to us that an all-data post workflow is the future of films, TV, and commercials.  We chose SCRATCH for its streamlined workflow, stability, data management tools, and real-time color grading and finishing for HD, 2K, and 4K. It’s the ideal tool for working with native RED R3D files, and especially RED MX-3D. The ASSIMILATE guys are continually updating the features within SCRATCH, so it remains a rock-solid tool and very relevant to us for our future plans.”

SCRATCH v5.1 Demos at RED Events:

REDucation Las Vegas, April 8 – 12, Tropicana Hotel

REDucation will be 2.5 days of hands-on camera practices and 2.5 days of post-production techniques. Lucas Wilson, SCRATCH and RED demo pro, and business development manager at ASSIMILATE, will be showing the latest features and functionality of the SCRATCH-RED MX and 3D Workflows. To register and learn more about REDucation, see http://www.reducation.net

REDUSER NAB 2010 Party, April 14, Tropicana Hotel, 11:00 a.m. – 11:00 p.m: ASSIMILATE’s Lucas Wilson and RED Digital Cinema’s Ted Schilowitz will present content shot using a 3D RED camera system and integrated with ASSIMILATE’s SCRATCH® Digital Finishing Solution on dual RED ROCKET decoding cards in a DI workstation provided from JMR Electronics.  The audience will be wowed by images viewed with standard polarized 3D glasses.  For more information, see http://www.reduser.net/forum/showthread.php?p=574720

Lucas Wilson, ASSIMILATE’s Director of Business Development, notes, “RED training and user events are gatherings of enthusiastic filmmakers and creative pros who enjoy sharing their technical knowledge and creative insights.  REDucation is an incredible learning resource, and if last year is any indication, this year’s RED Day will be a knock-out. We support RED and RED users with first-to-market high-performance DI tools, and we’ll be at these events to show you how SCRATCH V5.1 can simplify your RED workflows. If you’re into RED production or post production, this is definitely the place to be.”

SCRATCH v5.1 Basics
ASSIMILATE’s SCRATCH® v5.1 Digital Process Solution™ is a streamlined, real-time, easy-to-use, cost-effective, resolution-independent, end-to-end pipeline for pre-and-post-production.  A broad spectrum of creative and post artists benefit from the bottom-line advantages of the SCRATCH digital workflow: increased speed and productivity, ability to easily experiment, high quality output to any format, and an up-tick in profits. Whether an imaging project is film (2K/4K), HD/SD, 3D, RED MX, or RED MX-3D, SCRATCH v5.1 enables your workflow of choice. SCRATCH includes a robust core feature set with real-time data management, review/playback, conform/editorial, color grading, compositing, finishing, and final mastering to any format.

ASSIMILATE Demo Suites

During NAB 2010, ASSIMILATE will demo its SCRATCH workflows at its three demo suites located at the Renaissance Hotel (#730, 732, 739), a 3-minute walk from the LVCC south hall.  Highlights include SCRATCH 3D, RED MX-3D, and RED MX data workflows; workflows for mixed formats (film, HD/SD, data); as well as finishing and compositing. To schedule a demonstration, contact nacho@assimilateinc.com or clint@assimilateinc.com

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SCRATCH v5.1 Pumps Up the Power for Creative Pros: 3D, RED MX Stereo, and RED MX Digital Workflows; Finishing Tools

Santa Clara, CA – April 7, 2010 – NAB 2010

At NAB 2010, ASSIMILATE™ rolls out its SCRATCH® v5.1 Digital Finishing Solution with a host of new product features and enhancements that propel creative pros — filmmakers, studios, post facilities, creative teams broadcasters, and agencies — to work at their utmost levels of creativity. SCRATCH v5.1 introduces users to Post 2.0, the next-generation of digital post-production tools to achieve the highest level of quality in digital cinema imagery. At the core of Post 2.0 is SCRATCH v5.1, with the most advanced, cost-effective, real-time digital workflows for 3D, RED Digital Cinema MX and beyond, RED MX-3D, HD/SD, Film, DPX, AVID MXF, or any mix of formats.

Riding the RED MX Wave and beyond:

The RED-ONE Digital Camera has taken the entertainment world by storm. SCRATCH v5.1 leads the industry with first support for RED cameras, such as support for multiple RED Rocket cards in a single SCRATCH system; first dual RED Rocket support for MX R3D; and first non-RED application to support the new RED MX sensor and revised color math, with native real-time playback and adjustment of all on-camera color parameters, such as FLUT, exposure, and curves. Working easily with the native R3D files, SCRATCH streamlines the RED ONE MX workflow and delivers a high-quality master for multiple delivery formats.

3D Obsession:

The thrill of 3D is back in the theater and coming to your home soon. SCRATCH v5.1 continues ASSIMILATE’s mantra for real-time, streamlined workflows with 3D-specific features for enhanced convergence, scaling, and versioning. Post artists are able to work in real-time 3D at all times with direct output to any stereoscopic display system. Additionally, ASSIMILATE exclusively offers the 3ality 3Play Pro for post facilities seeking a flexible, professional quality stereo monitoring system. 3Play Pro enables playback and review of full-resolution HD stereoscopic material on a variety of consumer 3D monitors, as well as non-3D monitors using a variety of Anaglyph formats. And SCRATCH for 3D does not stop here…stay tuned!

Enhanced Color Grading, Finishing, and Compositing:

AVID MXF Support

: SCRATCH v5.1 supports the read and write of every DNxHD format, which provides full compatibility with AVID media for projects originating on Media Composer, Symphony, or DS.SCRATCH v5.1 has enriched its color grading, finishing and compositing tools so that creative pros are able to enhance and sharpen details with masks, create titles, add layered effects, and more easily enhance the look, hues, and subtleties of their imagery.

SCRATCH v5.1 Basics

ASSIMILATE’s SCRATCH® v5.1 Digital Process Solution™ is a streamlined, real-time, easy-to-use, cost-effective, resolution-independent, end-to-end pipeline for pre-and-post-production. A broad spectrum of creative and post artists benefit from the bottom-line advantages of the SCRATCH digital workflow: Increased speed and productivity, ability to easily experiment, high quality output to any format, and an up-tick in profits. Whether an imaging project is film (2K/4K), HD/SD, 3D, RED MX, or RED MX-3D, SCRATCH v5.1 enables your workflow of choice. SCRATCH includes a robust core feature set with real-time data management, review/playback, conform/editorial, color grading, compositing, finishing, and final mastering to any format.

See SCRATCH throughout NAB 2010 Show Floor

See SCRATCH at ASSIMILATE partner booths on the NAB show floor.

ASSIMILATE Demo Suites

During NAB 2010, ASSIMILATE will demo its SCRATCH workflows at its three demo suites located at the Renaissance Hotel (#730, 732, 739), directly across from the LVCC south hall. Highlights include SCRATCH 3D, RED MX-3D, and RED MX data workflows; workflows for mixed formats (film, HD/SD, data); as well as finishing and compositing. To schedule a demonstration, contact

nacho@assimilateinc.com or clint@assimilateinc.com

1 Beyond – DL7630: The SCRATCH workflow will be shown on several turn-key HD systems.

Bluefish 444 – SL5011: SCRATCH will be shown integrated with EPOCH for video deliveries.

Editshare – SL4725: SCRATCH will be shown on the EditShare shared storage solutions – XStream Series – enabling real-time DPX and RED MX workflows, as well as stereo playback.

Facilis – SL3629: SCRATCH will be shown connected to a Terrablock shared storage solution.

IGI – C12415: SCRATCH will be connected to a 4K projection system showing real- time, full-resolution RED MX and to a 2K stereoscopic projection system, showing 2K and stereoscopic workfows.

JMR Electronics – SL 7408: SCRATCH will be shown on a variety of JMR’s high-performance storage solutions.

Rorke – SL8629: SCRATCH will be shown on Rorke’s high-speed storage solutions.

The Studio@B&H – C11022: SCRATCH will be connected to a JVC stereo monitor, showing a real-time SCRATCH workflow and 3D-specific SCRATCH workflow.

Price and Availability

All SCRATCH v5.1 will be available in early May. Contact Key Code Media sales for more information: www.keycodemedia.com

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