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September 02, 2008

Table of Contents

Cradle to Grave: State of the Reunion
Abaltat Ships Muse 2.0
Zacuto Announces Exclusive Dealer Of Letus35 Elite
Alien Skin Software Announces Blow Up 2 Photo Resizing Plug-in for Photoshop
wondertouch Releases Significant Feature Enhancements for particleIllusion for Mac OS X Product Line
LaCie Network Space Brings Easy Storage and Media Server Capabilities to the Home
Holophone Features N-Code Portable Encoder At IBC 2008
Thought Equity Motion Creates Innovative Footage Licensing Models to Accommodate Emerging Media
Panasonic's Advanced AVC-Intra Codec Supported By Avid In Its Latest Software Releases, Hardware Configurations

Cradle to Grave: State of the Reunion

I was recently asked to shoot a 50-year class reunion at a local high school. There are 150,000 high school reunions each year, with an annual total attendance of 27 million, or 180 per reunion. That’s a lot of potential business for event videographers.

The reunion started on a Saturday afternoon with a tour of the school. I followed the class around on the tour and captured highlights on video. I started with an establishing shot of the outside of the building, followed by some general shots of lockers, trophies, and so on. As the tour progressed I was careful to not shoot the backs of heads, staying in front to ensure I had faces in most of my shots. The tour only lasted about an hour, and during that time I shot 5–6 minutes of video. I did a lot of in-camera editing to minimize the editing I’d have to do later.

The main focus of the reunion was the dinner and program held that evening at a local hotel. I arrived about an hour before the social hour began and met with the chair of the event so she could record a greeting for the video. I found the right location, mic’d her properly, and coached her on what to say. We nailed her greeting in one take.

Gathering B-roll for the video, I captured arrivals, a 1958 T-Bird convertible, and the ambiance of the event. But as more people arrived, my real work began. The key to a successful reunion video is in the interviews.

To prepare for the interviews, I requested a printout with the names and addresses of each person in attendance. As people arrived, I took them aside to be interviewed, finding that I had to be "gently aggressive" to be successful. I didn’t ask them if they wanted to be interviewed—I just approached them assuming that they would be. For the most part people were very cooperative.

The technique that worked best was to interview 3–5 classmates at a time. Shooting in groups allowed me to be more effective in interviewing as many people as possible. I would have them stand together, interlock their arms, and then go left to right, having them give their name (and maiden name for the women) and a brief update about what their life is like today. This would include their occupation, hobbies, and information about their families. If they indicated that they were retired, then I would ask them what they are retired from.

As soon as everyone made an opening statement, I then went from right to left with a more specific question. I asked questions such as the following:

  • After you graduated, what you did want to do? Did you do that or something completely different?
  • In 1958 on Saturday night, what would you be doing?
  • What school activities were you involved in during high school?
  • Is there one teacher that stands out in your mind, maybe a favorite? I would then have them explain why.

During the interview process, I shot with the camera in my right hand and a hand-held mic in my left. That way my voice would be on the video as the interviewer, and also when I put the mic in front of someone he or she knew it was time to speak.

After the interview I went to each person and had her double-check on the address, and I let her know that she would be receiving information about ordering a video. I then checked off the name and went on to the next group. The more people you interview, the more orders you are likely to receive.

There was also a photographer at the event. I introduced myself to him and offered to help in any way I could. Our good rapport allowed us to work as a team. During the time he was to take the class photo, he actually came and got me so I would be prepared. While he shot the photo, I videotaped as well—first showing the whole group, and then shooting close-ups. This whole section took less than a minute on the final video.

When the meal started, since there were still a lot of people that had not been interviewed, I went from table to table and asked if they would be willing to step out for just a couple of minutes so that they could be included in the video. The people at the table who had already been taped became my greatest resource as they put pressure on their classmates to participate. By the time dinner ended, I had taped about 100 interviews.

Once dinner ended, I set up my tripod and prepared to capture highlights of the program. I stood at the front so that as people were acknowledged, I could quickly capture them on tape. By the end of the evening I had shot a total of 2 hours of tape, which was my goal.The reunion was a lot of work compared to many events I have taped, but because of the in-camera editing I did, 90% of my work was done by the end of the evening. I priced the DVD at $30 and got a good response not only from those in attendance, but also from those who were not able to make it.

The one thing I would do in the future is to have someone work with me as my assistant. This would help me keep track of who had been interviewed and also give me a chance to teach that person how to do reunions. Once word gets out of the value of video for reunions, I know our services will be in demand, and it will be good to have videographers prepared to cover the extra work that will come our way. The "State of the Reunion" is good—and it presents a wonderful opportunity for us as videographers.

Alan Naumann (alan at memoryvision.tv) recently published The Complete Course on Funeral Videography, an updated an expanded version of his popular Business Everlasting training DVD. A featured speaker at WEVA Expo 2004–2008 and a 2006 and 2007 EventDV 25 honoree, he is based in Minneapolis.

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Abaltat Ships Muse 2.0

Abaltat (tm), a developer of innovative audio workflow solutions for postproduction and broadcast markets, announced the release of Abaltat Muse 2.0. Abaltat Muse 2.0 enables anyone, regardless of musical ability; to compose royalty-free, multi-part soundtracks that are perfectly timed and aligned to the users' edited video.

The new release of Abaltat's flagship audio solution delivers a brand new composition and analysis engine, streamlined user interface, expanded soundtrack creation capabilities and clever pre-set audio tracks.

"The new Muse composition engine is incredibly dynamic and powerful. Users can create a much wider range of soundtracks with greater control over creative elements. They can also pop in a pre-set track and fly through their project," said Mark Altekruse, Sales and Marketing Director, Abaltat. "We have made Muse 2.0 so much more flexible and simpler to use. Video editors with little to no experience with soundtrack creation will be able to bring Muse immediately into their video workflow and create, royalty free soundtracks without having to spend a serious amount of time learning the controls. For facilities and projects that house both video and audio post, the Muse integration with other professional soundtrack tools enhances the overall workflow. Video editors can get a jump start on the track while audio pros finesse the output Muse file in their DAW for finishing."

The company has also incorporated the version 2.0 enhancements into Abaltat Muse Free; a completely free soundtrack creation application based on the Muse composition engine. Abaltat Muse Free offers users the same elegant interface with a limited range of controls and band styles for royalty free soundtrack creation.

"I am blown away by Muse's simple interface, its responsiveness to user settings and its ability to interpret a scene's footage," Craig Abaya, Musician, Filmmaker, Director of Digital Media and Entertainment San Francisco State University Extended Learning. "Composers can break out of their normal creative habits, using Muse as a creative sketch pad to try out musical ideas very quickly."

Highlights of Muse 2.0

  • Extensive Musical Range - Seven bands offering thousands of soundtrack style possibilities - from classical to hip-hop to dance to modern 21st century composition. Each band comes complete with Muse Presets that help users acheive immediate and professional results.
  • User Friendly Audio Editing Capabilities - Muse advanced editing modes enables users to customize each Muse Preset to fit the mood of the video or build their own soundtrack from scratch. Users can arrange soundtracks using familiar video editing concepts and controls such as keyframes and key commands common to many NLE's.
  • Seamless Integration with Popular Video Applications - Muse 2.0 works with the world's leading editing applications including:
    • Apple Final Cut Pro and Final Cut Express Avid editing applications
    • Adobe Premiere Pro
    • Media 100
  • Support for Professional Audio Workstations and formats - Exports general MIDI files that can be imported into:
    • Digidesign Pro Tools and Pro Tools LE
    • Apple Logic Studio, Logic Express and GarageBand
    • MOTU Digital Performer and more
  • Outputs audio in pro audio standards: .aiff, .wav or as MIDI
  • Outputs combined or individual tracks
  • Preset Sounds for Fast Soundtrack Creation - Ships with nearly 2GB of customized, broadcast quality musical instruments and sounds.
  • Abaltat Muse Free Limited Version - Muse 2.0 composition engine and streamlined interface with a more limited set of functionality.
Muse 2.0 Pricing and Availability
Muse 2.0 is available today via the Abaltat website (www.abaltat.com) and certified reseller channel for 495.00 USD. Existing Muse customers can upgrade to version 2.0 free of charge. A 30-day trial version of Muse 2.0 is available on www.abaltat.com.

Abaltat Muse Free 2.0 is also available today via www.abaltat.com free of charge.

About Abaltat
Abaltat was founded to create radical 21st century computer applications for the audiovisual industry. Using a combination of highly experienced television editors, first rate musicianship and the most imaginative programmers in Ireland, Abaltat has created a unique software product for video and film editors: the world's first video-driven soundtrack composer.

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Zacuto Announces Exclusive Dealer Of Letus35 Elite

Zacuto USA, in cooperation with the Letus Corporation, announce the creation of the Letus35 Elite and Zacuto as the exclusive dealer of this new depth of field (DOF) adapter. In production for an early September release and available exclusively on Zacuto’s webstore, or by calling 888-294-3456, the Letus35 Elite combines elements from the previously released Letus35 Extreme and Letus35 Ultimate to create a best-of-both-worlds intermediate DOF adaptor.

The Letus35 Elite offers the following features:

  • Built-in precision back focus adjustment with lock
  • Highest optical grade achromatic lens
  • Custom condenser to get the best possible picture quality
  • New and improved vibrating Ground Glass
  • Absolutely no vignetting
  • Best edge-to-edge sharpness in the industry
  • Stunningly beautiful image colors
  • Casing milled from solid aluminum
  • Using prism with proprietary Image Orientation Correction technology (IOC) that makes the image up-right
  • A sleek On/Off indicator with LED
  • Battery is fully enclosed and secured by 2 magnets for ease of replacement during a shoot
  • Virtually silent vibration system that will not interfere with on-camera microphone
  • Modular accessories: Extreme / Ultimate accessories interchangeable
  • Alignment is a breeze
  • Professional finish and look
The added back focus adjustment allows you to quickly and accurately adjust the distance between the rear element of the prime lens and the ground glass (film plane). This results in accurate focus marks on the lens and sharp focus with the lens set to infinity. This is a great improvement over the Letus35 Extreme design and will allow users to fix back focus issues in the field quickly and accurately. This also makes using a tape measure for focus and calibrating lens markings more accurate.

Owners of the Letus35 Extreme who would like to add the back focus ring to their existing adaptor can purchase the back focus ring and install it themselves, or if preferred, they can pay roundtrip shipping of their adapter to Zacuto and have it installed. This is a special free installation service Zacuto is offering to its customers only.

"I've been asking for this DOF adapter for a long time. The back focus makes this awesome." exclaims Steve Weiss, Zacuto Product Designer. "Combined with one of four Zacuto DOF baseplate kits, you’ll have the best camera package available today."

"Finally a low cost 35 adaptor that can be used professionally with a wide range of lens types thanks to the back focus adjustment feature found on the Letus35 Elite." says Jens Bogehegn, Zacuto Product Designer.

Don’t miss out on this great new DOF adapter available only at Zacuto; pre-order yours today at www.store.zacuto.com and paying just shipping. The price of the Letus35 Elite will be charged in full at the time of shipping.

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Alien Skin Software Announces Blow Up 2 Photo Resizing Plug-in for Photoshop

Alien Skin Software today announces the immediate availability of Blow Up(r) 2, the new version of its photo resizing plug-in for Adobe(r) Photoshop(r) and Photoshop Elements.

Blow Up 2 takes the complexity out of preparing photos for printing with a user interface that intelligently handles resizing, cropping, and sharpening. The sophisticated enlargement algorithm produces photos dramatically sharper and more detailed than any other method.

"Blow Up 2 makes even clearer enlargements now, but the biggest improvements are in ease of use," said Tom Welsh, designer and lead programmer of Blow Up 2. "We looked for tedious or confusing aspects of every stage of photo cropping and resizing and built intelligence into Blow Up 2 to take those hassles out of the photographer's hair. With the addition of presets, Smart Cropping, adaptive sharpening, and built-in batch processing, Blow Up 2 takes the pain out of high quality photo resizing."

Beauty
The already crisp, clear output of Blow Up is even better now that it provides more control over simulated natural texture and film grain. These effects help to keep enlargements looking natural rather than computer generated. New controls that clean up JPEG compression artifacts and sharpen edges allow enlargement of low quality source images.

Brains
Blow Up 2 has intelligence built into every feature, so photographers don't have to deal with most technical details. As a preset is chosen, Smart Cropping(tm) centers the crop area over the most interesting part of the photo, and Auto Rotate(tm) adjusts the preset to match the orientation of the photo. Sharpening adapts to match the degree of enlargement and paper type.

Resizing With Less Hassle
The most dramatic improvements to Blow Up 2 are in the new user interface that simplifies and speeds up all aspects of preparing photos for printing.

Cropping and resizing at the same time are easily handled by presets for common output sizes. The Blow Up 2 built-in batch processing is an easy single step, which is more straightforward than Photoshop's usual multi-step procedure.

Technology
Blow Up 2 takes advantage of multi-processor and multi-core systems to make rendering as fast as possible. Blow Up 2 can handle the most sophisticated images demanding professionals can throw at it, including CMYK color space, 32-bits/channel HDR images, and output up to 300,000 pixels on a side.

Pricing and Availability
Blow Up 2 sells for $249 USD with an upgrade price of $99 USD for registered users of Blow Up 1. Online or physical delivery is available through the Alien Skin website at www.alienskin.com. A real live human (imagine that!) can take orders or answer questions at 888-921-SKIN (7546). Blow Up 2 is also available worldwide through stores, catalogs, and resellers. Free upgrades are available to purchasers of Blow Up 1 who purchased after July 26, 2008.

Host Requirements
Blow Up 2 is a plug-in and will require one of the following: Adobe Photoshop CS2 9.0.2 or later, Adobe Photoshop Elements 4.0.1 or later (Macintosh), or Adobe Photoshop Elements 5 or later (Windows).

System Requirements
Microsoft Windows users must have at least a Pentium 4 processor or compatible and Windows XP or later. Apple Macintosh users must have a PowerPC G5 or Intel processor and Mac OS X 10.4.11 or later. A monitor with 1024x768 resolution or greater is required.

About Alien Skin Software
Alien Skin Software makes Photoshop plug-ins for photographers and graphic designers. We distill advanced math and cutting edge research into simple tools that render beautiful pictures. Our reputation for bug-free software and fast, friendly tech support has grown worldwide since 1993.

For more information, visit www.alienskin.com.

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wondertouch Releases Significant Feature Enhancements for particleIllusion for Mac OS X Product Line

wondertouch(tm), a leading software developer of high performance particle effects creation tools, today announced that new versions for its particleIllusion(tm) 3.0 and particleIllusion SE line of product offerings on the Mac(r) OS(r) X are now available.

The updates to particleIllusion 3.0, wondertouch's industry standard, full-featured standalone particle effects application, and particleIllusion SE, the company's introductory version, gives digital content creators working on Apple's advanced operating system more ways to quickly and easily create complex effects: explosions, smoke, fire, sparkles, motion graphics backgrounds, space effects, creatures, and abstract artistic effects. The new changes and enhancements are available to current wondertouch customers free-of-charge.

According to Alan Lorence, president of wondertouch, today's updated versions provide particleIllusion users on the Mac platform access to the same feature enhancements already updated in particleIllusion products on the Windows platform; made available last December.

"wondertouch continues to provide cross-platform tools that are reliable and flexible and allow our customers to stay ahead of the competition," said Lorence. "The fact that this update provides significant enhancements to such a mature version of particleIllusion -- free-of-charge -- illustrates the level of support and commitment that our customers have come to rely upon."

Vincent MacTiernan, principal and visual effects artist at Extreme Digital Productions, a New York City-based specialist in high end 2D/3D graphics and effects for television and film projects, has been using particleIllusion for the past three years on various high level projects, including HBO/Lovett Productions, Too Hot Not Too Handle: A Global Warming Primer and The History Channel special: Last Stand of the 300. As a particleIllusion 3.0 beta tester on Mac OS X, he's used the software to create show opens, animations and motion graphics backgrounds for the CNN news show Anderson Cooper 360 as well as for the RAW Politics segments (including animations) for Tom Foreman's This Week In Politics.

"Working on a fast paced news program requires graphics and animations to be turned around very quickly and the updated features in particleIllusion are convenient and boost workflow tremendously. The new particleView search engine feature makes finding the thousands of emitters in the particleIllusion library much easier-no more wasting time looking for new emitters-and with the AutoUpdate feature I can now look up and even update/download the emitter types I need for a specific project on-the-fly.

Since the emitters install in the same place, you never lose track of where they are located. The real-time render is also extremely fast and considering the complexity of some of the emitters it's always amazing to watch."

Highlights of particleIllusion 3.0.7 and particleIllusion SE 2.0.2 for Mac OS X
particleIllusion is widely regarded as one of the most artist-friendly tools for creating complex particle animations. New features and enhancements include the following:

  • Integrated Rendering (particleIllusion 3.0 only; not available in SE) - tighter integration with pIllusionRender, wondertouch's standalone renderer, allows for automatic rendering of HD and other large-format output, saving time and enhancing workflow. (Previously, large-format output had to be saved in particleIllusion then loaded manually in pIllusionRender.)
  • Mac OS X Leopard compatibility - full compatibility with Mac OS X 10.5 "Leopard", as well as continued compatibility with OS X 10.3 and 10.4.
  • Emitter Library AutoUpdate - provides an easy way to check for, download, and install the particleIllusion emitter libraries that are provided free-of-charge by wondertouch each month.
  • particleView Search Engine - particleView, wondertouch's emitter viewer application, features a new search engine to help users find particle emitters within the vast particleIllusion library collection which currently numbers over 2500 emitters for particleIllusion 3.0 and over 2000 emitters for particleIllusion SE. (particleView is installed with both particleIllusion 3.0 and SE, and is also available as a free download from the wondertouch website.)
  • Quick Load Library - this new function, added to particleIllusion SE 2.0.2 and enhanced in particleIllusion 3.0.7, makes switching between particleIllusion emitter libraries faster and easier.
  • Bug fixes - a long list of issues have been addressed in the latest versions of particleIllusion, providing customers greater stability and enhanced confidence in adding particleIllusion into the production pipeline.

Pricing and Availability
Registered owners of particleIllusion 3.0 and particleIllusion SE can download updates free-of-charge from the wondertouch website, www.wondertouch.com.

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LaCie Network Space Brings Easy Storage and Media Server Capabilities to the Home

LaCie today announced Network Space, design by Neil Poulton. This newly available networked attached storage (NAS) and media server was designed specifically for easy home and small office use and is available in capacities of 500GB to 1TB.

LaCie Network Space is usable right from the box. Just plug the device into the router through the rear Ethernet port and instantly the device is available to share files through the local area network.

The LaCie Network Space comes pre-built with two separate shares. One share is public for easy open access from any networked computer, while the other is password-protected for secured private use. LaCie Network Agent software is included to make access to the shares quicker and easier.

LaCie Network Space has the ability to stream multimedia files through DLNA-compatible UPnP(tm) media players, such as Xbox 360(tm) and or Sony Playstation(r) 3, or act as an iTunes music server. This benefits users by allowing them to watch videos on their television elsewhere in their house rather than needing to be in front of the computer. The device is also FTP accessible, enabling remote access to upload or download files from abroad through a static IP address.

"The Network Space is a simple, easy-to-use solution right out of the box for customers wanting easily accessible network storage for multiple computers or UPnP media players," said Christa Dabilly, LaCie Product Manager. "Whether you want to localize storage for images and files or want the ability to access music files through any local iTunes player, this device is a perfect NAS solution for local use."

Designed exclusively for LaCie by Neil Poulton and based on the Red Dot award-winning Hard Disk, this beautiful looking device can integrate nicely into a living room environment thanks to its sophisticated black mirror-polished finish, ultra-quiet fanless operation, and a unique blue LED strip that creates a rich ambient glow to enhance the storage experience.

The Network Space is a full-featured home server utilizing Gigabit Ethernet for localized data transfers from any networked PC or Mac. With an additional USB 2.0 port located on the front of the unit, users can connect any USB drive or camera to copy additional files or photos automatically without needing the local computer turned on.

Approximately, 100GB of capacity can hold 100,000 photos, 40,000 songs, or 100 movies.

Availability
The LaCie Network Space is available through the LaCie Online Store, LaCie Reseller+ or LaCie Storage Partner starting in early September for Reseller+ Europe and early October worldwide. The LaCie Network Space will have a starting suggested retail price of $149.99. For more product information, visit www.lacie.com.

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Holophone Features N-Code Portable Encoder At IBC 2008

Now Holophone(r)'s H2-PRO and H3-D will have access to the Dolby Pro Logic II(r) encoding technology found in the company's popular H4 SuperMINI and PortaMic 5.1 camera-mountable microphones with the introduction of the Holophone N-CODE portable multi-channel encoder.

The Holophone N-CODE will be on exhibit at IBC 2008 (Stand 8.C10).

The N-CODE helps bring the convenience and portability of a two-channel recorder setup to larger productions which require the more detailed 5.1 channel surround recordings of Holophone's larger microphones. Based on the H4's and PortaMic 5.1's encoders, the Holophone N-CODE takes six channels of audio from the H2-PRO or H3-D and converts them to two channels using Dolby's Pro Logic II technology. With the N-CODE, these encoded two channels of audio can be captured to virtually any stereo recording device, or can be broadcast over the existing stereo infrastructure. The H2-PRO and H3-D are connected to the N-CODE via six 1/4" XLR inputs with a mic/line selection.

It also comes equipped with two XLR outputs which connect the encoder to the recording device or transmission line from a remote broadcast truck. Through six high-quality microphone pre-amps, the N-CODE provides 48v of phantom power and is also battery powered.

"The HD revolution combined with the move to mic all talent on-set has lead to users needing a way to simply record surround without eating up their track count," says Jonathan Godfrey, CEO of Holophone. "The addition of the Holophone N-CODE gives our customers the best of both worlds - a quality surround recording that is easy to set up while utilizing only two tracks of audio. Combined with our new D-CODE multi-channel decoder, users will be able to bring recordings from the field to the studio no matter what Holophone microphone they decide to incorporate."

The D-CODE is the final piece in Holophone's Dolby Pro Logic II encoded audio workflow. It takes the stereo recordings made with the Holophone N-CODE and easily converts them back to six channels of discrete audio. These files can then be edited as multi-channel audio and synced with video in any standard editing program, such as Apple's Final Cut Studio, Sony Vegas and Adobe Premiere. The recording device is connected to the D-CODE through two RCA inputs and the audio decoded is delivered via 6 RCA outputs or Multi-Channel USB directly to the user's computer.

www.holophone.com

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Thought Equity Motion Creates Innovative Footage Licensing Models to Accommodate Emerging Media

Thought Equity Motion, the world leader in providing access to high quality film, video and music content, today announced a new pricing and licensing offering that gives emerging media, corporate and consumer customers access to high quality footage priced for their projects.

The offering consists of tailored "stores" featuring select, fully cleared footage with pricing and licensing based on its intended use. For example, emerging media producers can create online video ads using top notch footage from the "Web Store" - with clips at $49 for web resolution.

Now everyone can tap Thought Equity Motion's unsurpassed library of high quality footage that professional producers have relied on for years.

"We still provide rights managed footage and unparalleled service to film, television and advertising professionals - that will never change," said Thought Equity Motion CEO and founder Kevin Schaff. "We recognize, however, there are new, rapidly growing market segments using video. We're offering licensing and pricing to fit how video is being used today, from online advertising to unbudgeted projects such as social networks. It used to be a small budget meant you were limited to low-quality clips, usually shot by amateurs. Now there's no need for emerging media content creators to sacrifice quality just because they have a limited budget."

As dollars shift away from traditional to emerging media, the growing number of creatives producing videos is driving unprecedented demand for content. Always at the leading edge of the market place, Thought Equity Motion developed the new licensing and pricing model specifically to meet the exploding demand for video created by emerging media.

Recent studies support the company's predictions for rapidly expanding video consumption. Research firm eMarketer forecasts online video-ad spend alone will more than quadruple by 2013, when total ad spend will reach $3.4 billion. Local online video ads make up 34% of this spend and often have production budgets of just a few hundred dollars. Thought Equity Motion's Web Store is the perfect fit for creators working on web advertising with limited budgets.

Inside www.thoughtequity.com , professionals can make purchases just as they always have using stores within Thought Equity Motion's established website. In addition, visitors will find three new stores custom-designed for those producing Web, Corporate Communications and Presentation projects. The stores' simplified pricing and streamlined licensing allows automated purchase and immediate download.

The Web Store is for any Web project, ranging from local and national online ads to websites and more. All clips are $49 for web resolution.

The Corporate Communications Store offers footage for trade event videos, internal digital networks, and corporate training videos among other uses. Clips are available at all resolutions, including high definition (HD).

The Presentation Store was created for unbudgeted projects, such as PowerPoint presentations, podcasts, blogs and more. Footage clips are $20 or $32, based on resolution.

"At Thought Equity Motion, we've always looked at things differently. We started by offering the world's largest collection of high production value footage to industry professionals. Now we're empowering the new wave of content producers. By providing everyone access to the best quality footage, we're helping our customers do what they do best - create," added Schaff.

www.thoughtequity.com

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Panasonic's Advanced AVC-Intra Codec Supported By Avid In Its Latest Software Releases, Hardware Configurations

Panasonic Broadcast announced today that new editing solutions from Avid Technology, Inc. offer import and native editing support for its AVC-Intra codec. The Avid® products supporting AVC-Intra include Avid Media Composer® software – Version 3.0; Avid Media Composer Mojo DX – v 3.0; Avid Media Composer Nitris® DX – v 3.0; Symphony™ Nitris DX – v 3.0; Avid NewsCutter® software – v 7.0; NewsCutter Mojo DX – v 7.0; and NewsCutter Nitris DX – v 7.0.

AVC-Intra, the industry’s most advanced compression technology, provides higher-quality 10-bit intra-frame encoding utilizing the Hi-10 and Hi-422 Intra profiles of H.264 in two modes: AVC-Intra 100 for full-raster mastering video quality and AVC-Intra 50 Mbps for DVCPRO HD comparable quality at half the bit rate.

Panasonic’s more advanced, solid-state 2/3" P2 HD camcorders — the AJ-HPX3000 and AJ-HPX2000 — offer AVC-Intra capability, as does the versatile AJ-HPM110 P2 Mobile Recorder/Player.

"These new Avid solutions offer real native support for our camera-based codecs including the higher quality performance of AVC-Intra, along with better editing performance and responsiveness of the Avid DX hardware," said Michael Bergeron, Strategic Technical Liaison, Panasonic Broadcast. "The specific value for Panasonic customers is that, in addition to an end-to-end DVCPRO HD workflow, native AVC-Intra editing is possible. And AVC-Intra can also transcode to an end-to-end Avid DNxHD® workflow."

Avid’s latest editing solutions enable AVC-I to be mixed and matched in real-time with other codecs such as Panasonic DVCPRO HD and Avid DNxHD (as long as the same edit rates are used), enabling high-performance workflows in multi-format environments.

For more information on Avid’s new product releases, visit www.avid.com. For more information about the AVC-Intra codec, visit www.panasonic.com/broadcast.

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