Category Archive: Post Production

News from the Post Production industry

Fairlight’s Picture Key Technology Brings Tactile Control to Grass Valley’s EDIUS 8 Video Editing Software

Fairlight.AU Pty Ltd and Grass Valley, a Belden Brand, have collaborated on the development of two different hardware control surfaces that bring tactile control to Grass Valley’s EDIUS 8.1 video editing software.
The collaboration combines Fairlight’s proven expertise in designing and manufacturing dedicated hardware controllers, with integrated control surfaces, for the post-production industry with Grass Valley’s experience in providing enterprise level video production solutions, which are used by major broadcasters worldwide.
By working together, the two companies have succeeded in incorporating Fairlight’s new PYXIS video editing and mixing controllers into the EDIUS 8.1 platform, thus enabling editors to produce more content, faster and more efficiently.
The incorporation of Fairlight’s Picture Key technology allows users to customise the control surface layout with their preferred editing functions. The Picture Keys change label and function instantly, repurposing the control surface to the task at hand.
EDIUS 8.1 offers support for more formats and more resolutions than any other editing solution, delivering real-time editing of all popular SD/HD and 4K formats with no rendering required. EDIUS 8, which boasts Windows 10 support, includes a new GV browser tool to manage video, audio and still image content on the host PC prior to importing into EDIUS for editing. Fairlight’s PYXIS controllers are the perfect complement to EDIUS because they speed up workflow for video editors operating in high-throughput TV post production environments.
“Fairlight’s innovative solutions have evolved to include collaborative efforts with key technology partners,” says Fairlight’s CEO Philip Belcher. “We are delighted to have developed, in collaboration with Grass Valley, the PYXIS for EDIUS controllers. These advanced, tactile editing and mixing controllers use Fairlight’s patented Picture Key Technology to deliver an ultra-ergonomic and highly efficient working environment.”
The PYXIS for EDIUS controllers come in two models, PYXIS.Edit and PYXIS.Mix. PYXIS.Edit delivers unlimited functional scope, fewer keystrokes and less hand movement, all while keeping the operator fully aware of the currently available commands. The advanced control of editing functions is augmented with a high-resolution jog wheel for zooming and transport control.
The PYXIS.Edit controllers can be extended with up to 10 faders by adding a PYXIS.MIX fader sidecar. Each PYXIS.Mix adds five channels, each with a touch-sensitive pan pot, motorised fader, writing strip with metering along with solo, mute and gang buttons.
“We’re excited to collaborate with Fairlight on this customized hardware control surface for EDIUS,” said Mike Cronk, senior vice president of strategic marketing, Grass Valley. “Anytime we can help EDIUS users maximize efficiency in their post-production workflow, it’s a win.”
Fairlight and Grass Valley will be showing the new PYXIS for EDIUS controllers at their respective booths at NAB 2016 – N6019 for Fairlight and SL106 for Grass Valley.
 source @videomageu

Growing success for Baselight Editions free-to-read and –render

FilmLight has already transformed collaborative post-production with Baselight Editions, a series of plugins which put complex, high quality grading capabilities into popular post tools. Now it has gone a step further by making it free to use Baselight Editions to read and render grades. As the grade is created in the colour suite, now it can be seen immediately in Avid editorial and NUKE VFX without needing to purchase a licence for those systems.

Baselight Editions offer two sets of functionality: the ability to take in a Baselight Linked Grade (BLG) colour file and impose it on the content in the host software, so the pictures appear with the latest grade; and to open the Baselight user interface inside the software to make adjustments to the colour space and the grade. Now, in Baselight for Avid and Baselight for NUKE, the interpretation element is free. If the user needs to access the grading tools, a simple online upgrade process is available, or the facility can hold floating licences on a central server which can be allocated to specific rooms as needed.

“Chainsaw has relied heavily on Baselight Editions and the BLG workflow for years,” said Randy Magalski, editor, Chainsaw. “Now, with the release of the free licence, this workflow is accessible in all of our Avid Media Composer bays wherever they might be — at no additional cost to us or our clients.

“Being able to leverage the work done in a relatively expensive colour bay back in Media Composer makes the Baselight for Avid BLG workflow one of the best solutions we’ve seen in our facility in years, and we applaud FilmLight for introducing this offering. We can now deliver the fastest, most flexible and most complete round-tripping solution available between online and colour.”

Andres Kirejew, VFX supervisor of Alter Ego, added: “With Baselight for NUKE free-to-read licences now installed on our farm, every compositor at Alter Ego can work with ungraded EXR linear files and finesse their work as the look of the commercial develops. We can render or just load the project without having to return to the colour suite, which is a huge plus in the fast turn-around world of advertising.”

The floating licence functionality means a facility can have unlimited seats of Baselight for Avid and Baselight for NUKE, allowing any user to apply, render and display Baselight grades, using the free licence.

“In the case of visual effects elements with a sophisticated grade, our floating Baselight for NUKE licence uniquely allows the whole grading stack, including colour space transforms, to be fully deconstructed and analysed at the compositor’s workstation,” added Kirejew. “This allows everyone the confidence to push what is creatively possible to the limit.”

The decision to offer a free read-only mode is in response to the growing interest in BLG as the colour grade metadata format. Increasingly productions are using a collaborative workflow with initial grading performed on or near set, and final grading taking place in parallel with other post processes, allowing editors and effects artists to see the latest grade and make minor adjustments where necessary.

“Our customers have asked us to solve the challenge of sending parts of a job to rooms or other facilities which do not routinely need Baselight functionality,” concludes Steve Chapman, CEO and co-founder of FilmLight. “Making the read mode available for free is our contribution to a wider collaboration throughout the post industry, and we’re delighted that our clients and their customers are adopting our BLG-driven workflow globally and so rapidly.”

via @videomageu

Telestream’s New Episode 7 Now Available

Telestream today announced that the latest version of its Episode video encoding software is now available. Unveiled at IBC 2015, Episode 7.0 now features bigger performance gains, added format support, and easier to use features.

New features in Episode 7.0 include:

  • 64-bit technology support provides faster encodes and better memory allocation for large jobs
  • Added format support including JPEG2000, DNxHD, DNxHR, and DVCPro HD
  • Name storage destinations directly from the Episode user interface
  • New Audio Channel Configurator enables mapping to standard input/output formats or customized audio channel layouts
  • 4K video support including R3D ingest and HEVC presets

Telestream - PressImage-Episode

Episode’s new 64-bit native transcoding engine is designed for the entire production workflow – maintaining high quality files from the camera to edit and all the way to final delivery. With the ability to scale from a single seat to a cluster of cross-platform workstations, Episode 7.0 provides the most affordable and fastest possible encode speed for workgroups. Thanks to its Split-and-Stitch® capability, even large files can be transcoded quickly, utilizing multiple cores on a single machine or multiple machines in a larger cluster.

“Episode’s new version focuses on giving users added speed and flexibility,” said Barbara DeHart, Vice President of Desktop Business at Telestream. “As the volume and complexity of content grows, the ability to intelligently spread the workload across multiple Mac and Windows CPU cores to speed up the encoding workflow is increasingly important when meeting tight deadlines.”

“This is a big step forward for Episode – we’re especially excited about the native 4k support, 64-bit speed and ability to handle larger files,” said Sam Bogoch, CEO of axle Video. “Episode is the preferred video encoding companion for axle media management software, and for the many customers already using Episode Pro or Engine in their turnkey axle Gear deployments, the 7.0 upgrade will provide a big performance boost, simply included with their annual maintenance,” added Bogosh.

Availability and Pricing
Episode 7 is available in three levels: Episode, Episode Pro, and Episode Engine.

via @videomageu



Red Giant Partners with Automatic Duck to Make Project Transfer Between Host Apps and Locations a Dream

(via @videomageu )Red Giant is partnering with software powerhouse Automatic Duck to bring users two new products: Automatic Duck Ximport AE and Automatic Duck Media Copy 4.0. Both leverage Automatic Duck’s rich experience in transferring projects between host applications and locations. Ximport AE instantly transfers entire timelines, including cuts, third-party effects, transitions and more, directly from Final Cut Pro X to Adobe After Effects. Media Copy 4.0 uses AAF and XML to vastly simplify copying and moving media files from any Final Cut Pro 7, Final Cut Pro X or Avid Media Composer/Symphony project. The addition of Ximport AE and Media Copy 4.0 to the Red Giant collection of software plug-ins for visual effects and motion graphics artists are just the first of more exciting products to come between the Red Giant and Automatic Duck collaboration. Read the rest of this entry »

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