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Ericsson wins 2014 NAB Innovation Award

  • NAB Technology Innovation Award defines Ericsson's industry leading position in Ultra High Definition TV (UHDTV)
  • Ericsson is the only vendor to offer service providers a complete solution to enable the acquisition, exchange and distribution of 'true' 4K UHDTV video
  • NAB recognition builds on over two decades of pioneering and award-winning video compression

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NAB SHOW ATTENDANCE SURPASSES 98,000

 The National Association of Broadcasters today released preliminary figures for the 2014 NAB Show, the world's largest electronic media event covering filmed entertainment and the development, management and delivery of content across all mediums.

"NAB Show continues to reign supreme as the leading global showcase for cutting-edge technologies covering all stages of media and entertainment production," said NAB Executive Vice President of Communications Dennis Wharton. "We are elated that so many communications and entertainment professionals from around the world have made NAB Show their yearly destination to grow their talents and operations. We thank our exhibitors and attendees for a job well-done this week and look forward to their continued support in making NAB Show the must-attend event for media industry professionals."

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IABM announces winners of Game Changer Awards at NAB

 Innovation acknowledged: five companies win prestigious award

The IABM (International Association of Broadcasting Manufacturers) has announced the winners of its prestigious Game Changer Awards during a cocktail reception at the NAB Show in Las Vegas. 

Atomos with Shogun; Axon with its Neuron AV Bridging; Bridge Technology with VB288 Objective QoE Content Extractor; Grass Valley with GV Stratus; and SDN² with WARP took top honours at the event. All winners are now to be considered for the IABM Peter Wayne Award for Design and Innovation to be presented at the IABM Annual International Business Conference and Awards in December.

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OPENTV AND NAGRAVISION FILE PATENT SUIT AGAINST APPLE

 The Kudelski Group (SIX:KUD.S) announced today that its OpenTV, Inc. and Nagravision SA subsidiaries have filed a patent infringement suit against Apple Inc. in the United States District Court for the Northern District of California. The lawsuit alleges that Apple infringes five U.S. patents owned by OpenTV and Nagravision, and identifies Apple's infringing products and services as including iOS mobile devices (iPhone, iPad, and iPod), Apple TV, App Store, iTunes, iADs, Safari, and OS X-based personal computers. 

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Imagine Communications Acquires Digital Rapids

This acquisition creates the industry’s most robust TV Everywhere portfolio, enhances software-defined workflow management and multiscreen encoding, transcoding capabilities.

Imagine Communications, a portfolio company of The Gores Group and a market share leader of software and networking solutions serving the global media and entertainment markets, today announced the acquisition of Digital Rapids, an award-winning innovator in IP and file-based media processing solutions and software-defined workflow management technologies.

“Imagine Communications is laser-focused on leading the industry to a future defined by IP, software, the cloud and TV Everywhere, with an architecture vision for delivering and monetizing multiscreen content,” said Charlie Vogt, CEO of Imagine Communications. “We have made major investments in developing our TV Everywhere portfolio, MediaCentral platform, and MultiService SDN frameworks to deliver service-oriented, software-based architectures for our customers. The addition of Digital Rapids’ advancements in software-based workflow management and transcoding strategically complements our pillars of innovation and rounds out our capabilities. Additionally, their expert team, which is based just miles from our Development Center in Toronto, brings a rich history in pioneering software solutions for high-end media processing applications that strengthens our TV Everywhere business and company.”

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Blackmagic Design Announces New Mini Converter 4K Family

 The world’s most advanced Mini Converters now support 6G-SDI and Ultra HD!

Blackmagic Design today announced a new range of Ultra HD Mini Converters that feature new 6G-SDI technology allowing customers to use a single type of Mini Converter for all conversion needs in SD, HD and Ultra HD television formats. All these new models replace the previous model for each conversion type and all models retail at US$295.

The new 4K Mini Converters will be shown on the Blackmagic Design NAB 2014 booth at #SL219.

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Blackmagic Design Announces Smart Videohub

 New 12x12 and 20x20 size SDI routers include 6G-SDI technology for SD, HD and Ultra HD mixed format routing plus built in control panel with LCD for monitoring and new visual routing!

Blackmagic Design today announced Smart Videohub, a family of new mixed format routers with new and unique visual routing user interface and 6G-SDI technology allowing SD, HD and Ultra HD routing all on the same router at the same time. Smart Videohub will be priced at $1,395 for the 12 x 12 sized mode and $1,995 for the larger 20 x 20 sized model.

Both models of Smart Videohub will be demonstrated on the Blackmagic Design NAB 2014 booth at #SL219.

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Blackmagic Design Announces Powerful ATEM 2 M/E Production Studio 4K

 New advanced Ultra HD live production switcher allows live production in SD, HD and Ultra HD, with 20 6G-SDI sources, SuperSource™, DVE, motion graphics and much more!

Blackmagic Design today announced ATEM 2 M/E Production Studio 4K, a new extremely powerful 2 M/E based Ultra HD live production switcher with 20 6G-SDI inputs, SuperSource layering engine and much more for $3,995.

ATEM 2 M/E Production Studio 4K will be shown on the Blackmagic Design NAB 2014 booth at #SL219.

The new ATEM 2 M/E Production Studio 4K includes 20 independent SD, HD or Ultra HD 4K video inputs with each input featuring a full frame synchronizer. ATEM 2 M/E Production Studio 4K also includes all the features expected from a professional switcher, including chroma key, transitions, DVE, media pool, downstream keyers, audio mixer, two multi view outputs and 6G-SDI and HDMI 4K video connections.

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Blackmagic Design Announces DaVinci Resolve 11

 Major update dramatically improves online editing features, adds new photographer friendly color correction tools, on set media management and much more!

Blackmagic Design today announced DaVinci Resolve 11, a major upgrade with over 100 new editing and color grading features. This new update includes major improvements in online editing plus context sensitive trimming, onset file cloning, photographer style color grading tools and an amazing new collaborative workflow that allows multiple users to work simultaneously on the same timeline.

DaVinci Resolve 11 will be demonstrated on the Blackmagic Design NAB 2013 booth at #SL219.

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Blackmagic Design Announces Blackmagic URSA

 Introducing the world’s first digital film camera designed to revolutionize on set workflow while featuring a user upgradable sensor and lens mount, large 10 inch fold out monitor and more!

Blackmagic Design today announced Blackmagic URSA, a new high end digital film camera designed to revolutionize workflow on set. Built to handle the ergonomics of large film crews as well as single person use, URSA has multiple accessories built in, including a massive 10 inch fold out on set monitor, large user upgradable Super 35 global shutter 4K image sensor and internal dual RAW and Apple ProRes recorders.

Because the sensor and lens mount assembly can be changed, customers can choose EF or PL lens mounts, or even a broadcast video sensor with B4 mount, then upgrade the camera in the future. The Blackmagic URSA EF model will retail for $5,995.

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Blackmagic Design Announces Teranex Express

 Introducing the world’s first 12G-SDI high quality up and down converter for SD, HD and Ultra HD!

Blackmagic Design today announced Teranex Express, the world’s first real time SD, HD and Ultra HD broadcast up and down converter with the world renowned Teranex image processing quality for only $1,395.

Teranex Express will be demonstrated on the Blackmagic Design NAB 2014 booth at #SL219.

The new Teranex Express is the world’s first real time broadcast up and down converter that operates in SD, HD and Ultra HD and introduces the new 12G-SDI technology!

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FUJIFILM to introduce all new high zoom ratio 4K cine zoom lens “FUJINON ZK12×25” covering 25mm–300mm focal length

 Fujifilm Corporation (President: Shigehiro Nakajima) has announced that it will release the cine zoom lens “FUJINON ZK12 x 25” (hereinafter “ZK12x25”), compatible with 4K*1 cinema cameras, in late June 2014.  Equipped with the 35mm PL mount*2, the most common format for cinema cameras, the ZK12x25 boasts a high zoom ratio covering the focal length of 25mm to 300mm.

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FUJIFILM to introduce new multi use HD lens “FUJINON HA18×5.5BE” covering 5.5mm – 200mm focal length- the allround “Two in One” solution.

 Fujifilm Corporation (President: Shigehiro Nakajima) has announced that it will release the portable multi-use zoom lens “FUJINON HA18 x 5.5” (hereinafter “HA18x5.5”) in late June 2014.  The new addition to the company’s lineup of HDTV lenses for 2/3” ENG cameras offers 18x zoom factor with 5.5mm- wide angle enabling it to capture footage in versatile production environments.

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SintecMedia Acquires Pilat Media

 Combined Technologies Offer Media's Broadest Selection of Best-in-Class Broadcast Business Management Solutions

SintecMedia today announced that the company has acquired Pilat Media. Both companies are leading providers of media business management software. The combination of the two leading companies creates the broadest portfolio of business management solutions tailored to all types of media businesses and creates a driving force of innovation in the media industry. Pilat Media's flagship product, IBMS (Integrated Broadcast Management System), its MediaPro (advertising sales systems), and the OTTilus over-the-top (OTT) TV service platform join SintecMedia's line of OnAir®, SIMS, Nestor, and Medea solutions to offer best-of-breed business management solutions with increased R&D investment for the benefit of all customers.

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Latest editorial:

Breaking Content Barriers Can Be Good, Then Again…

“Whether you end up in Heaven or Hell isn't God's plan, it's your own. You just have to remember what it is.” – Meacham, “Cowboys & Aliens,” Universal, 2011

“You have this incredible confluence of a medium coming into its own just as the technology for that medium is drastically shifting. Studios and networks who ignore either shift will be left behind,” Kevin Spacey, star of House of Cards, recently wrote regarding the fading importance of cable/satellite, compared to OTT (over-the-top) streaming content.

You might forgive him for being a little over the top (we know, bad pun) in saying cable was going to become simply a dumb pipe provider, rather than the gatekeeper of entertainment/news. With an Emmy and a major audience draw for Netflix, he may have something. The win is a powerful sign of an industry in transition, retooling itself to produce and distribute content that is streamed, not broadcast. The beginning of the end for cable’s linear, scheduled TV approach comes when the Internet players have too many subscribers for the content rights holders to ignore.

As Pat Dolan said, “So, I'm gonna ask you one last time.”

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AJA Catches Eyes - Images in 4K at NAB

With the content industry in an era of rapid transformation, AJA Video Systems showed NAB attendees it isn’t just one of the best disk recorder producers around, it’s also destined to be on the cutting edge for cinematographers.  

At its press breakfast, Nick Rashby, AJA President, proved that he and his team have been listening to customers by unveiling the company’s new CION 4K cinema camera, which should be available for delivery mid-year.

Priced at $9,000, the CION sits between BlackMagic’s new URSA and the 6K Red Dragon Scarlett; but it offers the best features of both cameras and even outshines them in a number of ways. 

Rashby explained that the elegant camera cradled on his shoulder was the result of several years of development that enabled them to not only incorporate the features and capabilities production people want but also some of the latest advances in camera design/manufacturing. Ultimately, they were able to make the CION a long-term solution for folks in the studio and in the field.

While you wouldn’t call it rocket science, one of the first things you notice is that the camera’s built-in shoulder mount looks as though you could carry it for hours. With the ULTRA HD CION’s 6.4 lb. magnesium chassis, it’s also remarkably light and should stand up very well in the most rugged field use.  

The CION features an internal Apple ProRes 444 to directly record 4K video and also enables slow motion shooting at frame rates up to 120fps via 3G-SDI.  

That’s thinking like filmmakers, broadcasters, content creators who simply want to point-and-shoot.

Designed for people who make their living staring through the viewer, the CION features 12-bit recording, a PL lens mount, APSC-sized global CMOS sensor and 12-stop dynamic range.

Showing they gave a lot of thought to the real world user, all of the interface controls are on the side of the camera, facing the operator so you have full control of all of the camera’s functionality.  

The AJA software is also very elegant and doesn’t have the old-fashioned sub-menu navigation you usually had to wade through, which is a refreshing change for a seasoned camera person and logical for today’s up-and-coming indie filmmaker.  

CION’s confidence monitor is nicely integrated so it not only displays the menu information but also real-time imaging, putting the camera person in full control of all of the operations.  

The camera also offers some impressive network-based control with the LAN (local area network) connection and web-browser UI (user interface) for complete remote configuration/control whether you’re shooting on a crane, jib or car mount.  

The camera will output AJA Raw video at up to DCI 4K at 120 fps, via quad-link 3G-SDI output; and up to 30 fps over the new high-speed Thunderbolt connection. 

There are a number of subtle but important design features that show the company really thought about the end users rather than just their environment/control as so many seem to do today.

For example, their integrated steel rosettes allow for mounting industry-standard accessories such as handgrips and handle extensions directly to the camera body. The open approach to design also includes integrated cheese plates with standard tapped holes. These cheese plates are fitted to both the top and the bottom of the chassis, to provide easy mounting of accessories from both AJA and third parties.

Introducing the CION just two years after their main competitor Blackmagic, Rashby noted the new camera was a logical progression for the firm because they were already doing a great job of delivering the back half of the cameras.  

It often escapes many people when they’re talking up a new camera, but one of the things we understand is that it’s not just about capturing great images, it’s also about storing them and moving them easily, securely to post production.   

That’s one of the reasons we are really impressed with AJA’s CION.

The CION uses AJA’s proven SSD-based Pak storage, while some cameras have opted for smaller, more expensive and arguably faster Cfast flash memory storage. 

Big deal?

Yeah!

Recording RAW with Cfast at 380mb/s would mean you can record five minutes of 30fps material to a single 120gb card. Recording 60fps would need two cards. 

You end up spending about $2,000 for storing five minutes with 60fps.  

Do 30 minutes of content and you have a stack of 12 cards costing about $13K, which doesn’t make a whole lotta’ sense for a camera that was cheaper.

Suddenly the CION is “a little less” expensive to own/use.  

Currently, the AJA Pak 256 and 512GB SSDs are only available from the company; but hopefully, they’ll do like Blackmagic did with  their earlier cameras (and others do, as well) and certify third-party suppliers.  

That will make the storage of more 4K/UHD and 2K/HD content a lot less expensive and you can easily transfer footage over high-speed Thunderbolt or USB 3.  

The people at SanDisk, Micron, OWC and others offer 10s of millions of general- purpose, high- performance SSDs every year and when camera manufacturers work with them to develop higher-capacity storage solutions for cinematographers, it sure has a positive impact on the project budget.

Just saying CION might be a more economic, more open solution to consider.

More to Offer

While Rashby was justly proud of the soon-to-be delivered CION, AJA had a couple of other impressive announcement for behind the camera.

For those folks who do more than just shoot great stuff, AJA released a new mini-converter – LUT (look up table) box for precise color and look management.  

The new units allow monitors to display accurate color and look for any SDI video signal.  

As Rashby noted, it is becoming increasingly important that post people know they are displaying the right color space because of the high dynamic range capture and post workflows.  

Users can load 3D LUTs at up to 17X17X17 points using the device’s integrated USB connection and free MiniConfig software on either a Mac or Windows-based post production system.

A single AJA LUT-box can simultaneously support outputs from both HDMI and SDI monitors.  

Available next month, the AJA 3D LUTs are essential to map one color space to another to ensure the preview colors are the same as will appear on the final digital image or release print.  

Using the company’s technology for broadcast and post production workflow, the company also introduced their new Hi5-Plus and HA5-Plus Mini-Converters for HDMI and SDI monitoring. 

Frame Rate Control

To show the post production team that AJA hadn’t lost sight of its roots, the company also unveiled what they called the next-generation frame sync and FRC rack.

The new FS1-X is a compact single-rack mount frame synchronizer, converter.  It allows you to match up disparate audio, video formats in your workflow.  

Using the company’s conversion algorithms, the unit supports up-down and cross-conversion between SD and HD signals to deliver the best output possible.  It works simultaneously with 3G/HD/SD-SDI 10-bit video as well as a large number of embedded audio, AES, MADI and analog audio channels.  

Dolby’s success with 5.1, 7.1 and beyond audio is significantly increasing the number of audio channels that need to be efficiently/effectively managed in a production and the MADI standard,  an easy solution to transporting up to 64 audio channels over a cable, streamlines and speeds audio processing.  

All in all, Rashby and his crew were kept busy talking to a lot of seasoned and indie shooters and producers at NAB. 

For a guy who cut his teeth as a camera assistant, you could see he was pretty proud of the new CION and the other products they unveiled. 

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Panasonic ET-DLE030

THE WORLD’S SHORTEST THROW LENS FOR SINGLE CHIP DLP PROJECTORS, THE

ET-DLE030 DETACHABLE LENS, ENABLES A NEW KIND OF ULTRA SHORT THROW PROJECTION FOR STAGING & PUBLIC DISPLAY

Until now, short throw and ultra-short throw projection has typically been limited to smaller, lower brightness, fixed lens projectors used in education seminar rooms and in corporate meeting room environments.  Panasonic is about to change that with the arrival of the new ET-DLE030 short throw lenses for larger format single chip DLP projectors.  With prototype models shown earlier this year at ISE 2013 and at Prolight + Sound shows, engineers in Panasonic R&D operations have since been finely crafting an impressive solution that vertically redirects light cast from projectors at a distance of just 370mm from the projector to produce a bright, perfectly symmetrical sided image directly above it.  This is achieved by a cleverly designed mirror system and brings about new and exciting possibilities, unachievable with front projectors especially for applications in digital signage, retail, rental and staging.

The ET-DLE030 lens is the worlds first ultra-short throw lens for high brightness projectors integrating geometric adjustment.  The lens is also the first exchangeable ultra-short throw system meaning that great flexibility is added to the latest range of Panasonic high brightness projectors. “We have also taken care to ensure backwards compatibility” explained Kulessa “even with 1 chip and 3 chip projectors, we make sure that they are compatible with whole lineup of lenses to give installers, integrators and end users the widest possible backwards compatibility and value”.  “Since the first showing of the prototype models earlier this year there has been a lot of attention on this small but exciting solution for projection specialists’’ explained Kulessa.. Further information on the ET-DLE030 and other projection solutions is available on the Panasonic website business.panasonic.co.uk/visual-system/ET-DLE030      

 

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Ki Pro Quad

 Ki Pro Quad 4K/QuadHD/2K/HD Solid State Recorder - Now Shipping

Get ready for 4K, Ki Pro Quad is a revolution in 4K production.

Ki Pro Quad enable a manageable 4K/Quad HD/2K/HD workflow with the efficiencies of Apple ProRes and the flexibility of RAW data in a compact, solid state recording and playback package that easily mounts directly on a variety of cameras.

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Blackmagic Pocket Cinema Camera

The new Blackmagic Pocket Cinema Camera is incredibly tiny. It's a true digital film camera with a Super 16 size 1080HD sensor with 13 stops of dynamic range. The images look virtually identical to their current camera! 

It features a Micro Four Thirds lens mount so you can use low cost lenses, but also Super 16 cine lenses via an adapter. If you use a Super 16 cine lens, combined with the Super 16 sensor size and the 13 stops of dynamic range, it's just like shooting to Super 16 film! Of course you can rig it up with large lenses so it's perfect for large jobs too! 

They have worked incredibly hard to build the smallest camera design they could, while retaining the ability to comfortably use it hand held. It's an attractive design with built in stereo mic's, LANC, micro HDMI with overlays for monitoring, solid grip handle that holds a removable battery and built in recorder to SD cards. It records lossless CinemaDNG RAW and ProRes 422 (HQ), so the image quality is amazing. 

The small design lets this camera be used for all kinds of tasks a normal camera would be too large to handle. My feeling is a small camera can always be bigger, but a big camera can never be smaller. I think its going to be very exciting to see what kind of work is done with this camera.. For myself, it's nice to have a camera I can use personally for shooting my family, which gives a timeless film look. 

The Blackmagic Pocket Cinema Camera will be shipping in July for $995.

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AJA Ki Pro Quad

AJA Video System announced immediate availability of its Ki Pro Quad, a new solid-state portable video recorder enabling true 4K camera-to-editorial workflows. Ki Pro Quad enables a breakthrough 4K/Quad HD/2K/HD workflow with the efficiencies of Apple ProRes and the flexibility of RAW data in a compact, solid state recording and playback package that easily mounts directly onto a variety of cameras supporting workflow needs today and into the future. 


Ki Pro Quad has many unique features that enable new was of working for creative professionals and delivers: 

  • Breakthrough 4K Workflows--Ki Pro Quad serves as a central gathering point for the main needs of 4K production; bring camera signals in and simultaneously create edit-friendly 4K ProRes files, output to 4K and HD monitors and record RAW data directly to a Thunderbolt-enabled computer/storage system.
  • 4K and Quad HD Support-- Help ease the transition to 4K with a recorder that creates efficient file sizes while still retaining pristine quality.
  • More than 4K and Quad HD--Support for 4:2:2 and 4:4:4 recording even at HD and 2K resolutions, and real time scaling from 4K/Quad HD to 2K/HD. HDMI output allows connection to HD consumer monitors. HD-SDI output provides professional connectivity to high-end monitors.
  • Debayering and Scaling--New hardware-based features include real time, high-quality RAW debayering, recording directly to 4K resolution Apple ProRes 444 or ProRes 422 files and real time scaling from 4K to HD.
  • Streamlined Camera to Post--With the Canon C500: enable live debayering for immediate Apple ProRes 422 and ProRes 444 onboard recording and RAW pass through over Thunderbolt to compatible storage connected to a Mac system. With Sony F55: enable 4K 4x 3G-SDI baseband input and recording to 4K ProRes. With any SDI-capable HD camera: enable HD recording with cameras such as the Canon C300 with the added advantage of 10-bit 4:4:4 support for cameras like the Sony F3.
  • Affordability--Ki Pro Quad is priced substantially less than other 4K recorders but still has the power and functionality for the demands of 4K productions as well as functionality not found in competitive recorders of ANY price.
  • Proven Performance--Ki Pro Quad was built on the same performance principles and reliability that have made the rest of the Ki Pro family successful, and creates low-bandwidth ProRes files up to 4K resolutions, that can be easily offloaded to any Thunderbolt-enabled Mac via AJA's new PAKDock Thunderbolt and USB3 reader. With the same capabilities of Ki Pro Mini for remote control, automation, ease of use and mounting options, the transition to Ki Pro Quad is virtually seamless. 

    For a complete set of features and technical specifications, please visit http://www.aja.com/en/products/ki-pro-quad . 

    Ki Pro Quad is available now worldwide through AJA's network of resellers and distributors at a US MRSP of $3995. AJA PAKDock, AJA Pak SSD media, and Ki Pro Quad mounting options, are now also available.

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