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March 30, 2009

Table of Contents

The Moving Picture: The Myth of the QuickTime Reference Movie
Jan Ozer's Streaming Video Peer Review, Part 1
Latest Version of Grass Valley EDIUS Offers New Tools For Improved HD Editing Efficiency
2 Seats Remain for Re:Frame Austin!
WEVA Welcomes Animoto Photo Montages as New Membership Benefit
Matrox Adds New Features to Matrox MXO2 I/O Devices for the Mac
Illinois Videographers Association (IVA) Announces Third Annual Midwest Expo
PVC May Conference Announced for May 12 & 13 with Julie and Alex Hill of Elysium Productions as Speakers
NewBlueFX Launches "Sampler Pack" Video Effects Plugin Suite
Matrox MXO2 Rack - Rackmountable I/O Device for the Mac - Now Shipping
Telestream Adds Support for Adobe Flash Platform and Streaming Services to Wirecast 3.5

The Moving Picture: The Myth of the QuickTime Reference Movie

Imagine you and I are sitting in an airport bar, watching the Celtics beat up on the San Antonio Spurs in the crucial fifth game of the NBA Finals. Though I'm intensely focused on the battle between Duncan and Garnett-which will ultimately decide the legacy of the best power forward ever-you feel obligated to ask the following question: "I shoot and edit in HDV. What's the best practice for exporting video from Final Cut Pro to DVD Studio Pro and Compressor?" After asking you to repeat the question, I respond, "Well, encode the video back to HDV first and then input that file into the other two programs to produce to your final formats."

If you had a mouthful of beer when you heard my answer, you probably would spray it out all over the attractive, blonde bartender who would richly deserve it for charging $9 for a beer with a straight face. "Encode to HDV and then import into Compressor and DVD Studio Pro? That's idiotic!"

And, of course, you'd be right. But that's exactly what you do in most instances if you export your Final Cut Pro project to a QuickTime Reference Movie (QTRM).

Not to rant, but the QTRM has better PR people than Peyton Manning, creating a legacy that the reality doesn't quite match. Most producers assume that when you produce a QTRM, you don't first render your video. As the myth goes, this disk-efficient file merely points to various bits of the captured video, which doesn't render until you use the QTRM to produce another file, such as the MPEG-2 file for DVD or H.264 file in Compressor.

That's true, but only if you don't edit the video globally in any way. If you color correct, adjust brightness or contrast, or overlay a title or a logo, the entire video renders when you create the QTRM. And if you have HDV selected as the Compressor in your Final Cut Pro sequence setting, you'll render the entire video to MPEG-2. Of course, if you capture DV with a DV preset, DVCPRO HD with a DVCPRO HD preset, or XDCAM HD with an XDCAM HD preset, you'll get a similar result: a file rendered back to a lossy compression format before encoding to another lossy format.

Don't believe me? Create a sequence using the standard HDV sequence setting and then drop a 1-minute HDV file into that sequence, with no edits. Save it as a QTRM that's not self-contained. The file will be less than 10MB, mostly comprising audio, which Final Cut Pro always renders when producing a QTRM. Next, adjust the brightness or the color and then save the file under a different name, still as a QTRM that's not self-contained. The file will now be more than 200MB in size because Final Cut Pro had to render the video to effectuate the edit. And if you open the file in QuickTime and check the Movie Inspector, you'll see that the file is MPEG-2.

Unless you're a much better shooter than I am (which is probably likely), it's safe to say that you tweak the color and brightness of your videos to some degree (or add a title, log, or other clipwide effect) in most projects. How do you avoid encoding back into your lossy acquisition format?

You can avoid using the QTRM altogether and export directly to Compressor from Final Cut Pro. Though Apple hasn't completely documented what occurs in this scenario (or I've never been able to find it, and they haven't answered my queries), the general assumption is that Final Cut Pro hands frames to Compressor in some kind of uncompressed intermediate format, which makes a lot of sense. Of course, since Final Cut Pro is busy handing these frames to Compressor during this process, you can't edit until rendering is completed, which may be unacceptable given a deadline you may be facing.

For this reason, perhaps the best alternative is to change your Final Cut Pro sequence setting so that it uses the ProRes codec, which is lossy but a lot less lossy than MPEG-2 at HDV rates. You do this by right-clicking the sequence in the Project tab and choosing Sequence Settings.

Why not capture directly into ProRes and work in that format? Good thought, but capturing into ProRes won't improve the quality of your HDV, DVCPRO HD, or XDCAM HD video. But it will significantly boost the file size of your capture file, especially the high data rate version, which is 220Mbps compared to 25Mbps for HDV, 50Mbps for XDCAM HD, and 100Mbps for DVCPRO HD. If you're working with HDV, this multiplies your disk space requirements by about 9 times upon capture alone. Better to capture native and use ProRes only for the rendered video necessary to effectuate your edits.

Not to beat the Adobe drum, but comparing QTRM to the Dynamic Link managed exchange from Premiere Pro to the Adobe Media Encoder is instructive. In CS4, you can send a sequence from Premiere Pro to Adobe Media Encoder without rendering and immediately continue to edit in Premiere Pro. That's because Adobe created, in essence, a Premiere Pro project emulator that can open an unrendered Premiere Pro sequence and hand frames directly to Compressor (or Encore for that matter).

The only cost is that this emulator requires lots of memory, which can slow operation on 32-bit systems, or even 64-bit systems with insufficient RAM. Overall, however, in this regard, Dynamic Link actually fulfills the myth of the QTRM better than the QTRM itself.

Jan Ozer (jan at doceo.com) is the chief instructor for The Streaming Learning Center (www.streaminglearningcenter.com).

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Jan Ozer's Streaming Video Peer Review, Part 1

Overview: McKinsey & Company is a leading international consulting firm who publishes the McKinsey Quarterly. McKinsey recently started posting video interviews on their web site. In this issue of Peer Review, we analyze video from the McKinsey Quarterly web site, specifically an interview with Hal Varian, Google's chief economist. As of the time of this writing, you could view the video here.

The producers of this video did a lot right throughout, most impressively with the Flash Player, which provides text preview of relevant sections, allowing viewers direct access to the sections most important to them. On the other hand, McKinsey made some interesting choices throughout the work flow that other producers may not care to follow. Overall, according to our rating system, the video scored a 33 out of 45.

By way of background, I captured the FLV file containing the McKinsey video using a Firefox utility called Download Helper, and then analyzed the file in a number of programs, including Adobe Premiere Pro, Inlet Semaphore, and Jerome Martinez's MediaInfo. You'll see images from these applications scattered throughout the analysis.

To read more of this article, click here to go to Jan Ozer's Streaming Learning Center.

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Latest Version of Grass Valley EDIUS Offers New Tools For Improved HD Editing Efficiency

EDIUS 5.1, the latest version of the Grass ValleyTM EDIUS® multi-format/multi-resolution nonlinear editing software package, now includes tighter integration with the Grass Valley AuroraTM digital production workflow, as well as a variety of new features that help users improve productivity and get the most from their investment, whether working in standard-definition (SD) or high-definition (HD).

Professional editors using the Aurora platform can now take advantage of the editing toolset found in EDIUS as well, thanks to a new optional upgrade. This new functionality gives Aurora users the ability to utilize a MediaFrameTM database workflow, import Aurora Edit EDLs into an EDIUS workstation, edit or read MPEG Long-GOP VMF content, export completed programs into multiple servers for playout, view NRCS scripts, and create an Aurora "Smart Bin" directly from the EDIUS user interface.

The new version of EDIUS also allows craft editors to output a completed timeline to an HD Blu-ray disc using software encoding or the optional Grass Valley FIRECODER Blu H.264/MPEG-2 hardware transcoder board. This means HD project distribution is quickly and easily accomplished, as well as very cost-effective to perform. In addition, EDIUS 5.1 can download partial digital clips captured with P2 solid-state or XDCAM optical disc media. This saves time and allows editors working in a file-based environment to begin working immediately, without having to ingest the content.

"The Grass Valley EDIUS editing package has been very popular with customers due to its cost-effective toolset that provides users with the ability to create long-form projects with ease," said Jeff Rosica, Senior Vice President of Grass Valley. "These new features extend this ease of use into broader environments that make use of an expanded list of file types. We're also making the new features of EDIUS 5.1 available to fast-paced news editing environments through our Aurora Edit system."

Other new features delivered in EDIUS 5.1 allow users to gain more control over audio levels with an audio normalize tool, the ability to capture reel names, output finished edits to multiple discs, leverage multi-cam mode clip reel names, and take advantage of clip markers in the EDIUS marker palette.

Pricing and Availability
EDIUS 5.1 is available for the list price of $799, and is a free update for existing EDIUS 5 users. Aurora 6.5 users pay a small upgrade fee for Aurora-EDIUS-SYS package. For users with Aurora versions below 6.5, the Aurora-EDIUS-SYS 5.1 option is available for $5,200. Both Aurora-EDIUS-SYS packages will be available in May 2009. The Grass Valley FIRECODER Blu H.264/MPEG-2 hardware transcoder board is available for $599 and is currently available.

www.grassvalley.com

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2 Seats Remain for Re:Frame Austin!

Two seats are still available for Re:Frame Austin, which will take place April 27-29 in Austin, Texas. The registration fee is $1499.95; a second person from the same studio (sharing hotel room) can register for $708.95. Here's the scoop from the Re:Frame Collective:

Your registration fee includes your pass to all of the incredible workshops that we're designing for this event and our unique "ReCap and ReLax" sessions where you can "saddle-up" to some of the industry's finest.

That ain't all - Your 3-night stay at the fabulous Omni Hotel, breakfast each morning plus Tuesday night's closing hoe-down are all part of your investment!

If you've got "a hankerin'" to see how the "most wanted" are doin' it these days - come on down to Austin!

Re:Frame Austin

To register, or for more information, click the image above, or go to http://www.reframeaustin.eventbrite.com/.

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WEVA Welcomes Animoto Photo Montages as New Membership Benefit

A new revolution in photo montage production is now the newest WEVA member benefit. Following its continued commitment to helping members enhance their business and professional stature, WEVA has developed a special promotion with video creation platform Animoto.

Animoto allows videographers to create exciting, professional-quality, motion montages fast! The montage video of WEVA EXPO 2008 photos was created in just minutes with Animoto. Powered by patent-pending Cinematic Artificial Intelligence, Animoto thinks like a director and editor to automatically produce a custom-tailored montag e with the emotional impact of a movie trailer and the visual energy of a music video.

"Until now, the process of editing photos into professional photo montage videos has been time-consuming and difficult, requiring expensive software. Animoto changes everything, giving videographers and photographers the fastest, easiest, and most affordable way to produce professional-quality montage videos," said Brad Jefferson, CEO and co-founder of Animoto. "ANIMOTO allows professionals to easily create unique, high-quality photo montages that can be emailed, burned to DVD and resold, or distributed online via blogs, websites, social networks and mobile devices. Produced in widescreen format, Animoto videos have a distinct place in a videographer's ever expanding 'toolbelt.'"

"After many months of research, WEVA is extremely excited about welcoming Animoto to the Associaton's expanding list of member benefits," said John Zale WEVA's Director of Educational Development. "For members who are looking to create a new competitive edge for their photo montages without the time and pain needed to learn new software, Animoto may hold the answer."

For a limited time, Animoto will add 2 free months of service onto the purchase of a 1-year pass for all current WEVA members. To sign-up for the Animoto promotion, WEVA members can log in to the WEVA Members-Only section. No promo code is necessary, as the system recognizes that WEVA members have come from the members-only section. This special benefit is valid for WEVA members through December 31, 2009. For more information about photo montages powered by Animoto, visit www.animoto.com.

www.weva.com

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Matrox Adds New Features to Matrox MXO2 I/O Devices for the Mac

Matrox® Video Products Group today announced that release 1.3 for the Matrox MXO2 product line is now available as a free download from the Matrox website to all registered users. This release brings users a host of new productivity features and workflow enhancements. Highlights include the following:

  • Scaling on the input for capture - Users can now choose to capture to a different format than their source video. Matrox MXO2 will use high-quality 10-bit hardware scaling to either upscale, downscale, or cross-convert to the desired capture format.
  • ProRes 422 720p capture on a MacBook Pro - Users can now capture full raster 4:2:2 720p HD on a MacBook Pro. Matrox MXO2 supports ProRes 422 when capturing to 720p at 23.98 fps in real time on a MacBook Pro with a 2.4 GHz or faster Core2 Duo CPU.
  • Apple Xserve support - The Matrox MXO2 products can now be used with the Apple Xserve systems commonly used in OB vans, broadcast environments, and networked facilities.

"Our large installed base of Matrox MXO2 customers is constantly finding new ways to use our products, with Mac Pros in the edit suite and with MacBook Pros on the road," said Alberto Cieri, Matrox senior sales and marketing director. "We've listened to them and are now delivering the features they need to support today's most popular workflows."

Matrox MXO2 release 1.3 will be demonstrated at NAB 2009 in booth SL3814.

Key features of Matrox MXO2

  • Works with Intel-based MacBook Pros, Mac Pros, and Apple Xserve systems
  • Lightweight - less than 3 ½ lbs. (1600 grams)
  • Fits in your laptop bag - 13" x 9½" x 2" (330mm x 241mm x 51mm)
  • Can run off a field battery (or its AC adapter)
  • HD/SD SDI, HD/SD analog component, Y/C, and composite inputs and outputs
  • Genlock - SD analog black burst (bi-level) or HD tri-level sync
  • HDMI input, output, and monitoring with calibration controls including blue-only
  • 10-bit realtime hardware up/down/cross conversion on capture and output
  • Up to five user selectable simultaneous video outputs - HD and/or SD on HDMI, SDI, and analog
  • Professional audio inputs and outputs with 5.1 surround sound monitoring
  • RS-422 machine control for frame-accurate capture and print-to-tape
  • Captures to a variety of codecs - Apple ProRes 422 HQ, 10-bit uncompressed HD, and many more
  • Supports file-based workflows - XDCAM, XDCAM HD, XDCAM EX, P2, P2HD
  • Works with Final Cut Pro, Apple Color, Adobe After Effects and all QuickTime applications that support the V-out component

Price and availability
The Matrox MXO2 product line is available through a worldwide network of authorized dealers. Matrox MXO2 is priced at $1,595 US (£1,095, €1,349) and Matrox MXO2 Rack is priced at $1,995 US (£1,495, €1,695), not including local taxes. Release 1.3 software is available to registered users as a free download from the Matrox website.

www.matrox.com/video

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Illinois Videographers Association (IVA) Announces Third Annual Midwest Expo

IVA Midwest Expo 2009The Illinois Videographers Association is holding the third annual Midwest Expo on May 20th at the William Tell Holiday Inn in Countryside, Illinois. This year's event features a blockbuster lineup of nationally known speakers. Scheduled to conduct the information packed seminars are Chris Chibucos of Furla Vision in Bannockburn, Ill.; Patrick Moreau and Michael Wong of StillMotion Cinema in Mississauga, Ontario, Canada; Kevin Shahinian, of Pacific Pictures in Los Angeles, Ca.; Lance Gray of PixelPops Design in Richardson, TX., and Keith Kelly of Innovative Communications in Naperville, Ill.

Our curriculum offers something for everyone. Each speaker was chosen based on their expertise in their respective fields. If you have not seen the work that these incredibly talented people produce, please take a moment to get acquainted with some of the best producers on the planet!

  • Patrick Moreau and Michael Wong - Topic: The Art of Wedding Cinema
  • Lance Gray - Topic: Corporate Video Productions
  • Chris Chibucos - Topic: Hi-Def in the Real World
  • Kevin Shahinian - Topic: Concept Video Productions
  • Keith Kelly - Topic: How to Book Your Top Package Every Time

The cost is $75.00 for early bird admission and includes a full lunch buffet featuring hot entrees. However, after April 21st the rate will be $90.00. Pay online securely at https://qs1811.pair.com/v2scribe/ivavideo/midwestExpo.2009.html or simply mail a check (payable to the IVA) to:
Barb Scheman
4400 S. Gage Ave
Lyons, IL 60534

An early bird room rate is also available for only $102 per night and includes a full hot breakfast buffet. (Mention IVA when making reservation.) The special early bird rates are only available through April 21st--ith limited seating and big savings you should act quickly! This year's event features a great location with a multitude of amenities. The William Tell Holiday Inn offers an indoor swimming pool, hot tub, game room, restaurant, lounge and free internet access. The close proximity to downtown Chicago is sure to attract attendees from throughout the Midwest.

There also will be a mini-trade show . Sponsors and exhibitors are encouraged to apply immediately as space will be limited! Special pricing on equipment and supplies will be available to attendees.

You have been given the opportunity to learn from some of the best in the business! Will you jump at the chance or will you simply go back to your everyday activities and just try to survive? If you want to take your business to the next level, the 3rd annual IVA Midwest Expo is a day you simply can't afford to miss. Five gifted producers will openly share priceless information in an intimate learning environment. This is the must attend video event of the spring!

www.ivavideo.com

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PVC May Conference Announced for May 12 & 13 with Julie and Alex Hill of Elysium Productions as Speakers

The Professional Videographers Coalition (PVC) is proud to announce that Julie and Alex Hill of Elysium Productions will be their inaugural conference presenters. Elysium Productions is an EventDV 25 studio and is the recipient of more than 15 industry awards.

Each presenter will be giving a two-hour workshop that will teach you post-production techniques and business practices that will surely let your business soar to new levels. A cocktail networking event that will include a trade show is also part of the event.


Part 1: 3:00 - 7:00 PM (*)
Julie Hill will present her LIVE Edit Seminar to start off the programming. Following Julie Hill's seminar will be the Cocktail Networking Event, featuring a trade show with some outstanding vendors.

Part 2 : 7:00 - 11:00 PM (*)
The second half of this conference will take place during the normal LIVA meeting time. The highlight of this evening's program will be Alex Hill's Business Seminar. More exciting details are soon to follow on the 2nd half of this meeting.

(*) Times subject to change.

Part 2 of the PVC May Conference is free to all current LIVA Members. Part 1 of the day is optional for all LIVA Members. The price at the door is $35. PVC is offering a limited-time-only pre-registration price to current LIVA members for $25. For more information on attenting this event, go to www.liva.org.

This event will also be happening at the New Jersey Videographers Association (NJVA) on Wednesday, May 13th, 2009. For information on attending this event in New Jersey, go to www.njva.org.

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NewBlueFX Launches "Sampler Pack" Video Effects Plugin Suite

NewBlue, Inc., the fastest-growing developer of integrated effects technology for video, rolled out the NewBlue Sampler Pack today. This collection of video effects and transitions presents video editors with a selection of plugins from its best-selling NewBlueFX collections, competitively-priced at $49.95.

Included in the Sampler Pack are 10 video effects and transitions chosen by the company to best illustrate the capabilities of its leading NewBlueFX effects collections and includes the 3D Confetti, 3D Pizza Boxes, Active Camera, Air Brush, Color Melt, Detail Enhancer, Film Look, Paper Collage, Smear, and Water Color plugins.

Explains Melissa Jordan Grey, chief strategic officer, "The NewBlue Sampler Pack introduces a great way to experience NewBlueFX and discover what our product line is all about. Best of all, video editing enthusiasts can sample our leading video effects and transitions packages at a fraction of the price."

The NewBlue Sampler Pack joins the company's highly-regarded product line of 16 exclusive video effects plugins, video transitions and audio filters packages. The product is available for all major video editing software platforms, including Adobe After Effects, Adobe Premiere, Adobe Premiere Elements, Adobe Premiere Pro, Apple Final Cut Pro, Apple Final Cut Express, Avid Media Composer, Avid NewsCutter, Avid Symphony, Avid Xpress, Avid Liquid, Corel (formerly Ulead) VideoStudio, Pinnacle Studio, Sony Vegas,

Sony Vegas Movie Studio and Thomson Grass Valley EDIUS. The collection is value-priced at $49.95.
Featured in the NewBlue Sampler Pack are:

  • 3D Confetti (Transition) from NewBlue 3D Explosions, which turns the first scene into bits of three-dimensional confetti that blow off the screen to reveal the second scene
  • 3D Pizza Boxes (Transition) from NewBlue 3D Transformations, which builds a stack of spinning boxes with the sides alternating between the first and second scene. The boxes eventually settle together and combine to create the second scene.
  • Active Camera (Effect) from NewBlue Motion Effects, which simulates every variety of camera jitter, from agitated hand-held to jack hammer or a gentle train ride.
  • Air Brush (Effect) from NewBlue Art Effects, which creates an air brushed effect by smoothing colors while maintaining sharp edges.
  • Color Melt (Transition) from NewBlue Art Blends, which morphs between two clips by expanding and softening the colors.
  • Detail Enhancer (Effect) from NewBlue Video Essentials, which strengthens the lines and edges in the video image, bringing out detail in a dull or foggy scene and resulting in a clearer picture.
  • Film Look (Effect) from NewBlue Film Effects, which modifies the video's color characteristics and lighting to reproduce a particular film stock or create a unique mood or look.
  • Paper Collage (Transition) from NewBlue Paint Blends, which blends between two clips as it builds the video image from layers of colored paper.
  • Smear (Transition) from NewBlue Motion Blends, which blurs the first clip along a motion axis, then clears the blur to reveal the second clip.
  • Water Color (Effect) from NewBlue Paint Effects, which repaints the video scene so that it resembles a water color painting.

Users can purchase the NewBlue Sampler Pack directly from the company's website at www.newbluefx.com/sampler-pack.html.

A fully functional trial version is available for download, as well.

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Matrox MXO2 Rack - Rackmountable I/O Device for the Mac - Now Shipping

Matrox® Video Products Group today announced that Matrox MXO2 Rack, a new version of the award-winning Matrox MXO2 I/O device for the Mac, is now shipping. The 2RU-sized Matrox MXO2 Rack is designed for broadcast news operations, OB vans, and other environments where equipment must be rackmounted. It streamlines editing workflow with Apple Final Cut Studio on Mac Pros, MacBook Pros, and Apple Xserve systems, providing broadcast-quality input/output, monitoring, and up/down/cross conversion. Users can benefit from file-based workflows with support for XDCAM, XDCAM HD, XDCAM EX, and P2 without transcoding. In addition, they are not limited to using a single codec as with some other I/O devices on the market. In HD for example, Matrox MXO2 Rack supports a variety of codecs including ProRes, ProRes422 HQ, DVCPRO HD, and uncompressed 8- and 10-bit.

"With Matrox MXO2 Rack we are building on the success of the original MXO2 product which has replaced I/O cards in many studios," said Alberto Cieri, Matrox senior sales and marketing director. "We listened to our customers and are now delivering Matrox MXO2 Rack to meet the needs of broadcasters and post facilities who require highly- reliable, rackmountable gear with more audio inputs and outputs."

Matrox MXO2 Rack will be demonstrated at NAB 2009 in booth SL3814.

Key features of Matrox MXO2 Rack

  • Works with Intel-based MacBook Pros, Mac Pros, and Apple Xserve systems
  • Rugged 2RU form factor
  • HD/SD SDI, HD/SD analog component, Y/C, and composite inputs and outputs
  • Genlock with loop through - SD analog black burst (bi-level) or HD tri-level sync
  • HDMI input, output, and monitoring with calibration controls including blue-only
  • 10-bit realtime hardware up/down/cross conversion on capture and output
  • Up to five user selectable simultaneous video outputs - HD and/or SD on HDMI, SDI, and analog
  • Professional audio inputs and outputs with up to 7.1 surround sound monitoring
  • 4-in, 8-out balanced XLR
  • 4-in, 4-out unbalanced AES/EBU
  • 8-in, 8-out SDI and HDMI embedded
  • RS-422 machine control for frame-accurate capture and print-to-tape
  • Captures to a variety of codecs - Apple ProRes 422 HQ, 10-bit uncompressed HD and many more
  • Supports file-based workflows - XDCAM, XDCAM HD, XDCAM EX, P2
  • Works with Final Cut Pro, Apple Color, and all QuickTime applications that support the V-out component

Price and availability
Priced at $1,995 US (£1,495, €1,695) not including local taxes, Matrox MXO2 Rack is now available through a worldwide network of authorized dealers.

www.matrox.com/video

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Telestream Adds Support for Adobe Flash Platform and Streaming Services to Wirecast 3.5

Telestream® today announced the release of WirecastTM 3.5, a live video production tool that allows Mac and PC users to create real-time or on-demand video broadcasts for the web. Wirecast 3.5 adds the ability to stream live video using the Adobe Flash Platform, the number one platform for video on the web, according to a January 2009 study by comScore. Telestream also announced partnerships with leading live video streaming service providers, Mogulus and Ustream. These companies offer web video streaming services similar to YouTube, but for live broadcasting. Wirecast 3.5 integration allows users to quickly and easily produce Flash videos and use these services for live broadcasting over the internet to a global audience.

Telestream's Wirecast webcasting production software is the affordable 21st century alternative to expensive television broadcast hardware. For less than $500, Wirecast users can quickly and easily capture live events and create professional video webcasts on computers or laptops for real-time web distribution from any location. All users need is a computer and an internet connection for broadcasting and viewing.

Wirecast is useful for a broad range of users and business needs, including broadcasting of live press or sports events, entertainment, university lectures, live business presentations, marketing or training and more. Wirecast makes it easy for anyone to share live experiences and build a global community.

When ready to go live, Ustream and Mogulus streaming services can be accessed directly from within the intuitive Wirecast 3.5 user interface. Mogulus offers two types of streaming services: Free (ad-supported) and Pro (white-label, no ads, pay per usage). Ustream offers a broadcast platform, which includes a free (ad-supported) and its Watershed professional service (simple, no ads, pay per usage webcasts), encouraging user interaction to empower an engaging experience for everyone involved.

"We're thrilled to work with Wirecast to enable our broadcasters and viewers additional production tools that enhance their experience," said Brad Hunstable, founder and president of Ustream. "Higher quality production integration coupled with our robust and reliable platform will deliver the best-of-breed live streams our users have come to expect."

"Our partnership opens up scalable, professional-looking, multi-camera broadcasting to thousands of live streaming producers," said Max Haot, CEO of Mogulus. "This affordable solution can be set up in minutes without the need to understand live streaming servers or purchase expensive broadcast mixing equipment."

Additional version 3.5 features include full user control of broadcast parameters, such as being able to turn streams on and off independently of one other, the ability to automatically reconnect when a streaming server connection has been severed, and the ability to disable Wirecast to automatically load a device, such as a camera, microphone or capture card.

"With innovative solutions like Wirecast, live Internet broadcasting is quickly becoming more affordable and mainstream," said Laurel Reitman, senior product manager for Flash Media Server Solutions at Adobe. "It's exciting to see new tools that empower users and businesses to share live experiences and build communities. Adobe is pleased to play a key role in enabling this new service."

Wirecast will be demonstrated at the National Association of Broadcasters (NAB) convention in Las Vegas, April 20-23 in Telestream booth SL3305. Wirecast is available for a free trial and on-line purchase at www.telestream.net. It is also available for purchase through a network of Telestream resellers and affiliates. Wirecast language support includes English, French, German, Italian, Dutch and Japanese. More information is available at www.telestream.net.

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