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September 13, 2010

Table of Contents

In the Studio: proDAD Mercalli 2.0
Sony Vegas Pro Production Assistant 2 Automates Video Editing Tasks, Frees Up Time for Creative Editing and Production
Sony Unveils Vegas Pro 10 Software Featuring Native Stereoscopic 3D Video Editing Workflow
Grass Valley Continues to Streamline File-based Workflows with the Latest Version of EDIUS Multi-format Editing Software
Red Giant Software Releases Magic Bullet Suite 10 & Magic Bullet Denoiser
Blackmagic Design Ships DaVinci Resolve 7.0
MainConcept Showcases New Plug-in and Application Products at IBC 2010
CoreMelt Expands Video Effects Product Line with Release of Lock & Load Express
AJA Announces Ki Pro Mini, Portable File-Based Recorder at IBC 2010

In the Studio: proDAD Mercalli 2.0

As an EDIUS user, I was thrilled when I updated to EDIUS 5 and discovered that Grass Valley had included a free copy of the Mercalli anti-shake plugin version 1.0. Unfortunately, I’ve used it much more than I’d like to admit, but that is a fault of the shooter. When I’ve needed an anti-shake filter, the Mercalli plug-in has done a pretty good job in most cases. Obviously, bad footage is bad footage, and sometimes nothing will save it. But for shots that are just a little shaky, Mercalli has been a real benefit to have in my arsenal of filters and plug-ins. When I was offered the opportunity to review a prerelease of Mercalli 2.0 from proDAD US, I was more than happy to put it through its paces and see what proDAD had done to upgrade and enhance this tool that was already a valued part of my workflow. Mercalli 2.0 has many new features, including being the first version of Mercalli to ship as a stand-alone application (Mercalli 2.0 SAL) that doesn’t need to plug in to an NLE (although plug-in versions of Mercalli 2.0 will still be available for all the mainstream NLEs).

According to proDAD, Mercalli version 2.0 includes a new 3D (i.e., 3-axis) stabilization technology and also has rolling shutter compensation, which will be great for all those CMOS cameras flooding the marketplace, including the HDSLRs that have become the hottest thing going in our business. The stand-alone version is Windowsonly, but plug-in versions of Mercalli 2.0 will be available for both Windows and Mac NLEs, which is another big step forward for the formerly Windows-only application.

SAL VS. PLUG-IN
I first got to test the stand-alone version (SAL), and while I liked what it did and how it looked, I really didn’t want to stabilize fulllength clips. Timeline support was the critical feature for me. The stand-alone version has a car dashboard feel to it with gauges and readouts, as shown in Figure 1.

proDAD Mercalli
Figure 1. The Mercalli 2.0 SAL interface, with its car dashboard-like panel of readouts and gauges <!-- /* Font Definitions */ @font-face {font-family:Calibri; panose-1:2 15 5 2 2 2 4 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin-top:0in; margin-right:0in; margin-bottom:10.0pt; margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Calibri; mso-fareast-font-family:Calibri; mso-hansi-font-family:Calibri; mso-bidi-font-family:"Times New Roman";} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} -->

It’s pretty impressive to watch when it is processing your video clip. I didn’t fully understand why I needed to see all that information, but it’s nice to know it’s there if I need it. After processing a full clip in Mercalli SAL, you then export to a new file for use elsewhere. It’s nice to know you can do this in the stand-alone app, but I’d much rather use it as a plug-in within my NLE of choice.

After a few days of testing the stand-alone app, I got a copy of the plug-in for EDIUS. Now I was cooking with gas. Some of the features are supposed to be missing in the plugin version. As I installed it and started testing it, I discovered none of the functionality I needed was missing— just the cool-looking interface with gauges and dials. I can live without that. Figure 2 shows the default screen for adjustments after you select the Further Settings option in the lower left. Those extra options in the middle will be of benefit in your adjustments.

proDAD Mercalli
Figure 2. The default Adjustments panel in the plug-in version of Mercalli 2.0

TACKLING IN-FLIGHT TURBULENCE
In my initial testing, I tried out some aerial footage I shot with my remote control airplane (a little side venture of mine I’ve deployed for local corporate shoots and a concept video). I was very impressed with how Mercalli fixed my footage. I would feed it footage from a relatively smooth flight and, after using the Mercalli plug-in, I would end up with very smooth footage. The most impressive thing was how well Mercalli 2.0 worked when compared side by side to version 1.0.

For my initial tests, I put together a few clips from some of my aerial flight and created a clip with three windows showing the raw footage, footage stabilized with version 1.0, and footage stabilized with version 2.0 (check out the before-and-after videos and version 1.0 vs. version 2.0 comparison footage). For all the tests with Mercalli 1.0, I used the same settings I have discovered work best for me on a regular basis.

I initially tried Mercalli 2.0 with the default settings; the output was mediocre and not much better than the raw footage. Then, I started experimenting with a few settings in the configuration window. After a few tries, I found a few settings that appeared to really make a difference. I encoded all the stabilized files (Mercalli is not real time, even in EDIUS) and put them all side by side. When I played back the footage, the Mercalli 2.0 footage clips were smoother and more fluid than the footage that I stabilized in Mercalli 1.0. Most of you probably know that one of the things antishake applications do is crop in the edges of the image to hide the shake; obviously, the less the app has to crop and zoom the image to fill up the screen to achieve the anti-shake effect the better. The big thing I noticed in comparing the two stabilized clips was that the aerial footage I ran through Mercalli version 2.0 was not zoomed in as much as the footage from version 1.0. In Figure 3, you can see the difference in zoom amount from version 1.0 to version 2.0. It’s not a huge difference, but any amount of zooming will degrade your final image, so any improvement is welcome. The footage was noticeably smoother as well.

proDAD Mercalli
Figure 3. When I ran my aerial footage (bottom center) through Mercalli 1.0 (top left) and Mercalli 2.0 (top right), Mercalli 2.0 not only gave me a smoother image, but also stabilized it with less zooming and thus less image degradation.

For this aerial clip, I modified the settings in the information window as shown in Figure 4. I moved the Roll Compensation slider up to 45 and the Quality setting up to Figure 3. When I ran my aerial footage (bottom center) through Mercalli 1.0 (left) and Mercalli 2.0 (right), Mercalli 2.0 not only gave me a smoother image, but it also stabilized the image with less zooming and, thus, less image degradation.

proDAD Mercalli
Figure 4. My modified settings for aerial footage stabilization in the Mercalli 2.0 plug-in

The Quality setting will cause the filter to use a little more zoom to apply more anti-shake. I would change the Quality setting last and see if the initial changes to other settings work to your satisfaction. For my use, the little extra on the quality setting was worth the small amount of lost resolution. I was excited with the footage. A few weeks later I had a chance to make an aerial video when the conditions were completely calm. My raw footage was very smooth for aerial footage. After applying the Mercalli 2.0 anti-shake to the clip, it seemed almost as smooth as you’d see in a movie.

THE ROLLING SHUTTER REVUE
Much as I enjoyed doing the aerial testing and was impressed with how Mercalli 2.0 fared against the elements, I realized I needed to test this in a real-world situation similar to what an event or wedding shooter may encounter. I went outside and shot some footage handheld with my 7D. I got my neighbor riding around on his lawn mower. For the Mercalli 2.0 settings, I stayed with those that worked best previously, setting the Roll Compensation to 45 and the Quality to 40. I experimented with many other tweaks and still discovered those two small adjustments gave me the best results.

The other feature new to version 2.0 that will interest many users is the Rolling Shutter Compensation (for more on the rolling shutter issue experienced with CMOS cameras, where your image can start to look like Jell-O if you pan too fast, see Anthony Burokas’ CCD vs. CMOS comparison article). To test the Rolling Shutter Compensation feature in Mercalli 2.0, I shot some simple footage of a power pole and a street sign next to each other and did some moderately fast pans. To isolate this correction in the Rolling Shutter test, I checked only the boxes for Rolling Shutter Compensation, Quality, and Keep Dynamic Camera. All other selections were unchecked, as shown in Figure 5.

proDAD Mercalli
Figure 5. My settings for the Rolling Shutter test

After processing the video, it was great to see that the power pole and the street sign stayed nice and straight, just like they should, and the zoom amount was very nominal. This can be a very useful filter in many situations where the CMOS issues are apparent. The Rolling Shutter Compensation doesn’t work with CMOS issues from flash photography.

OTHER STABILIZATION FEATURES
For the 7D footage I tested, the Virtual Stabi-Cam option seemed to work best when set to Universal Camera. Also available with that option are Glide Camera, Rock-Steady Camera, and Alternative Camera. I tried a few of the other camera settings, but with my footage, I found that the Universal Camera worked best.

Border Handling is another option to experiment with based on your footage or your needs. I’ve left the setting on Best Border because it keeps the screen filled with your clip by using the Zoom function. The other options under Border Handling are Best Stabilization and Fix Border. In my testing, those options did a nice job of stabilizing, but they also allowed the footage to move around the screen and reveal black around the borders as the stabilization was being done.

CONCLUSIONS
Overall, I found Mercalli 2.0 a solid improvement over the previous version, which was already a tool I’d used very successfully in my workflow. Depending on how much you need an anti-shake filter—and particularly if you’ve experienced rolling shutter issues with your HDSLR or other CMOS camera—Mercalli 2.0 could be a great investment. You’ll want to try out the many options and tweaks available in the filter to get the settings that work best for you and your footage. All in all, the combination of better shake reduction and reduced picture degradation from zooming in make for a great update for a tool that was already my longtime stabilizer of choice.

Philip Hinkle (philip at frogmanproductions.com) runs Madison, Wis.-area video production company Frogman Productions. A 2008 EventDV 25 honoree, he won a 2008 WEVA CEA Gold in the Social Event category and a 2006 AAA Diamond. He was a 2009 WEVA CEA judge and a featured speaker at WEVA Expo 2009. He is co-founder and vice-president of the Wisconsin Digital Media Group.

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Sony Vegas Pro Production Assistant 2 Automates Video Editing Tasks, Frees Up Time for Creative Editing and Production

Sony Creative Software, a leading provider of professional video and audio editing applications, today announced the Vegas™ Pro Production Assistant 2 software plug-in.Designed to complement Sony's award-winning Vegas Pro 10 and Vegas Pro 9 non-linear editing software, the Vegas Pro Production Assistant 2 plug-in expands the capabilities of Vegas Pro to expedite common repetitive production procedures and make editing significantly more efficient.

Upgraded from the original Vegas Pro Production Assistant application which launched in May 2009 and developed in partnership with leading Sony Vegas Pro training tools and software developers VASST, this new version of Sony Vegas Pro Production Assistant plug-in now offers additional batch processing tools, a hands-free media card processes and numerous workflow enhancements, such as auto trim and lower third management, to dramatically increase pipeline efficiency for broadcast and creative video editing professionals.

"Many production houses, especially broadcast studios, often need to create additional custom scripts or small software applets to perform routine, tedious tasks, which wastes time and creates extra work for teams already facing limited budgets and tight deadlines," Dave Chaimson, vice president of global marketing for Sony Creative Software. "Sony Vegas Pro Production Assistant 2 used with Vegas Pro  provides a much faster and more seamless software solution by automating many of these common editing tasks.Using Vegas Pro Production Assistant 2, editors can cut project time in half by having the software handle tasks such as processing footage directly from the camera media card, outputting a single source-file to any social media site, disc, or mobile device in various aspect ratios and bitrates; and automatically controlling other procedures such as trims, slugs, cataloging and lower thirds."

New Vegas Pro Production Assistant 2 Feature Highlights

    * Hands-Free Media Card Workflow: Using the Hands-Free Media Card Workflow, editors can automate the entire import, edit and render process using custom templates and rely on the software to automate final output delivery. By allowing a project to be completely hands-free from card insertion to project delivery, this new tool provides exceptional benefits for production trucks and field editors.   

    * Additional Batch Processes: Hundreds of batch processes are now available to streamline editing and delivery workflow with the Batch Process tool. Editors can now automate the process of preparing content for multiple destinations such as social media sites, discs or mobile devices in various aspect ratios and bitrates from a single source.Several key batch processes in Vegas Pro Production Assistant include:

o   Process Using Audio or Video Effects: Quickly apply frequently used audio and video effects to a single file or selection of files through batch processing.

o   Add Video Bumpers: By auto-inserting "opening/closing files" as a batch process, editors can create an automated workflow to ensure timestamps, broadcast loops and bars/tone are consistently used for every project.

o   Render: Perform tasks like rendering with and without a network bug, or rendering before and after FX or other batch processing is completed to make multiple versions of videos.

    * Template Creation Assistant: The template creation assistant offers editors more control over creating rich templates by streamlining tasks such as repeating slugs, inserting, generating, removing slugs and closing the gaps or expanding the size of slugs to match the media. 

    * Auto-Trim: This new feature provides users with additional editing speed by automatically trimming pre- and post- roll from selected events on the timeline, helping to eliminate time wasted on the tedious but often necessary process.

    * Annotated Slugs: Annotated slugs automatically label each piece of media for easy identification and organization providing a unique solution for editing workflows that are sharing the same system.

    * Automated File-Based Catalog Transfers: Automated transfer ensures that your file-based media moves quickly and seamlessly from memory card to hard drive.

    * Lower Third Insertion: Rather than relying on presets, editors can create and manage custom lower thirds, saving time and enabling greater project personalization.

Price and Availability
Vegas Pro Production Assistant 2 software is scheduled to be available on October 11, 2010 at retailers worldwide and for purchase online at www.sonycreativesoftware.com. Manufacturer's Suggested Retail Price (MSRP) for Vegas Pro Production Assistant 2 software is U.S. $199.95. Upgrades from the previous version of Vegas Pro Production Assistant are available for U.S. $79.95 from www.sonycreativesoftware.com.

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Sony Unveils Vegas Pro 10 Software Featuring Native Stereoscopic 3D Video Editing Workflow

Sony Creative Software, a leading provider of professional video and audio editing applications, today announced Vegas™ Pro 10 software. The most recent upgrade to Sony's award-winning nonlinear HD video and audio editing (NLE) application provides broad audio and video support for media ingest, editing and delivery workflows for a wide variety of production professionals.

New features in the native 32- and 64-bit versions of Vegas Pro 10 include powerful stereoscopic 3D  editing tools, enhanced closed captioning features, broadened video effect support and new event level audio effects, as well as workflow and user interface enhancements. These updates enable media creators to quickly produce and deliver compelling content for broadcast and broadband distribution, theatrical releases, YouTube™ 3D, and prepare content for DVD and 3D Blu-ray™ titles.

"As the market leader in developing 3D technologies, Sony is focused on providing integrated professional 3D hardware and software products built for everyone from innovative broadcasters to inspired filmmakers," said Dave Chaimson, Sony Creative Software vice president of global marketing. "With the upcoming launch of Vegas Pro 10, Sony now provides one of the industry's most intuitive applications for natively editing 3D. In addition to providing tools that simplify professional 3D production, Vegas Pro 10 continues to innovate unique solutions for closed captioning, 5.1 surround sound, and widespread content distribution support to offer the most intuitive and progressive workflows for media production."

Vegas Pro 10 Feature Highlights

    *      Stereoscopic 3D Editing: Vegas Pro 10 facilitates the creation of 3D projects by enabling users to import, adjust, edit, preview and export stereoscopic 3D projects natively without any additional tools or plug-ins. These new features and workflow updates make working in 3D as seamless as working in 2D.  While fully compatible with the latest 3D screen technology, anaglyphic viewing is also supported, making it possible to preview 3D on any monitor

    *       Improved Closed Captioning: Improved support for closed captions enables broadcasters to preview captions in the Video Preview and Trimmer windows for increased accuracy and ease of editing. Other improvements include increased support for line 21 closed captions, HD SDI closed captions, multiple closed captioning file types as well as the ability to export captions for Sony DVD Architect™, YouTube™, RealPlayer®, QuickTime™, and Windows Media Player®.

    *      Workflow Tools and Enhancements: Sony has also introduced the following updates to Vegas Pro 10:

o   Expanded Multicam Functionality: Updated multicam features provide a more robust editing and preview experience by offering the ability to view the multicam source clips and the full-screen edited program output simultaneously

o   Improved support for DSLR video: Performance improvements make editing video from popular DSLR cameras faster and easier

o   Track Grouping: This update offers a quick and easy way to organize and manage complex projects by grouping related sections of video/audio for a cleaner working environment
o   Advanced Transport Controls: UI modifications offer efficient access to important editing tools, providing a more intuitive workflow while improving overall productivity

    *      Image Stabilization: New stabilization tools greatly reduce jittery or shaky video sometimes caused by hand held recording.

    *      Video Plug-in SDK:Video Effects Plug-in Architecture:Vegas Pro 10 now offers a completely new video effects plug-in architecture based on the Open Effects Association standard. This industry-leading standard was created from the combined experience of the leading companies in the visual effects industry. The new architecture is accessed by a new software development kit (SDK), which reduces the developer's workload by automating UI integration. These features will benefit editors by greatly expanding the available visual effects plug-ins available for Vegas Pro 10.

    *      Enhanced Audio Tools: In addition to the Dolby Digital Professional™ 5.1 surround sound production capabilities of Vegas Pro, the upcoming version includes the following new features:

o   Audio Event FX: For more precise control over the placement of audio effects at the master output, bus level, track level and now at the event level for greater flexibility when working with multitrack projects.

o   Input Busses: Input Busses now enable editors to record, mix and monitor audio from external hardware devices.

o   VU meters: The Vegas Pro Mixing Console view becomes even more powerful with the addition of new VU meters.
o Track Meters: Track Meters provide direct feedback and a faster editing workflow throughout the record, edit and mix process.

    *      GPU Accelerated AVC Encoding: Users with CUDA-enabled nVidia video cards are now able to encode to the Sony AVC format with improved rendering performance and speed.

    *      Device Support: Sony continues to add expanded device support with each new version including HD-SDI adapters, Sony NXCAM cameras, and broader support for DVD and Blu-ray Disc™ drives.

Once a project is ready for delivery, Vegas Pro 10 features broad support for industry leading media formats. From DVD and Blu-ray Disc authoring to integrated tape, file, and SDI I/O options, Vegas Pro makes it easy to encode and deliver content in an extensive range of popular formats.

 
"Vegas Pro 10 provides powerful features that are crucial for 3D editing," said filmmaker Jean-Jacques Mantello, director of the acclaimed IMAX theatre films "Dolphins and Whales 3D", "Sharks 3D" and "Ocean Wonderland" distributed by 3D Entertainment Distribution. "Creating quality 3D projects can be a complex challenge, but Vegas Pro presents a solution that allows editors to intuitively work with footage for results that put audiences into the heart of the action, whether on land, in the air or under the sea."

Price and Availability

Vegas Pro 10 software is scheduled to be available on October 11, 2010 at retailers worldwide and for purchase online at www.sonycreativesoftware.com. Manufacturer's Suggested Retail Price (MSRP) for Vegas Pro 10 software is U.S. $699.95. Upgrades from previous versions of Vegas Pro are available for U.S.$249.95 from www.sonycreativesoftware.com. Localized French, German, Spanish, and Japanese versions will be available on October 11, 2010.

About Sony Creative Software
Sony Creative Software inspires artistic expression with its award-winning line of products for digital video, music, DVD, Blu-ray Disc, and audio production. The company develops applications that integrate with and enhance use of Sony cameras and other hardware devices. Sony Creative Software customers span the globe and include seasoned professionals in the film, television, video game, and recording industries, as well as students, educators, hobbyists, and enthusiasts. For more information about professional and consumer products, visit www.sonycreativesoftware.com.

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Grass Valley Continues to Streamline File-based Workflows with the Latest Version of EDIUS Multi-format Editing Software

Enhancing the industry's most comprehensive and powerful multi-format editing platform, Grass Valley™ today introduced EDIUS® 6, with expanded capabilities to help broadcasters, independent professional video editors, and prosumers continue to streamline their workflows with increased speed, wider format support, and improved system efficiency.

EDIUS 6 gives users the ability to work with any video standard up to 1080p50/60 or 4K digital cinema resolution. Also, all major codecs in use in the industry are supported natively, with no transcoding required even when different compression formats are mixed on the timeline. In addition users are able to preview effects in real time.

Leveraging a variety of automated features, EDIUS 6 allows editors to focus on being creative without having to wait for effects and transitions to be rendered. The EDIUS system’s renowned, mixed format and file wrapper/codec agnostic timeline has been enhanced in EDIUS 6 to include 1080p50/60, 10-bit support, with up to 4K resolution, and features the fastest native AVCHD editing in the industry. This includes the ability to edit video content captured with digital SLR cameras such as the Canon EOS. The recently introduced Canon XF (MPEG2 4:2:2) format is also supported.

EDIUS is well known for its superb proxy workflow. With EDIUS 6, Grass Valley has taken its proxy handling to new levels to deliver an even a more efficient, end-to-end digital workflow. Now users have the ability to use proxy clips from baseband-ingested video footage acquired via SDI. Editors can mix and match any camcorder proxy with any EDIUS proxy at any time during the edit, which gives the user the most flexible and unique way of working with proxy files and high-resolution pictures.

For prosumers, EDIUS 6 includes a proprietary AVCHD editing engine enabling real time, multi-stream editing of AVCHD compressed video without the need for any additional hardware. Full screen, VGA preview, including multicam selection, is also provided.

EDIUS 6 also extends its editing functionality towards post-production applications. Multicam editing is now expanded to16 iso camera streams, with a choice of several multi-viewer screen layouts. EDIUS 6 also boasts – video masking, and combined with the new track matte keyer can enable easy “key & fill” operation on the timeline. Add to this free shape, vector-based masking, and improved After Effects plug-in support, and EDIUS 6 is built to satisfy the requirements of even the most advanced editors.

“EDIUS 6 continues the Grass Valley tradition of delivering unmatched power for editing complex compression formats, but goes a step further to help users focus on the creative side of editing, without having to think about the technical side” said Jeff Rosica, Senior Vice President of Grass Valley. “A big part of EDIUS 6 is based on user requests for a variety of new features, making the EDIUS solution an even more valuable tool for the post-production community.”

For multi-system installation, EDIUS 6 can make most editing workgroup workflows more efficient as it supports a file-based environment with no transcoding and the timesaving ability to work with proxy files on a shared network.

More information on EDIUS 6 is available at the Grass Valley website at www.grassvalley.com/edius.

Pricing and Availability
Grass Valley's EDIUS 6 software will begin shipping in October, with prices ranging from US$799 to $6,000 depending upon hardware configuration. Various hardware and turnkey package will also be available.

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Red Giant Software Releases Magic Bullet Suite 10 & Magic Bullet Denoiser

Red Giant Software just released Magic Bullet Suite 10, a collection of eight software applications used for professional color correction, enhancement, and film output in Adobe After Effects, Adobe Premiere Pro, and Apple Final Cut Pro.

Magic Bullet Suite 10 is offered for the same price of $799, and includes full support for Adobe Creative Suite 5 and and three new products: Magic Bullet Denoiser, Magic Bullet PhotoLooks, and Magic Bullet Grinder.

Magic Bullet Suite is anchored by Magic Bullet Looks, the industry standard for creating unique looks, the leading-edge correction tool Magic Bullet Colorista II, and Magic Bullet Denoiser—new technology that raises the bar on noise reduction.

What's New in Magic Bullet Suite 10

About Magic Bullet Suite
Magic Bullet first hit the streets in 2001, when creator Stu Maschwitz (http://www.imdb.com/name/nm0556179/) debuted a short film at the Sundance Film Festival. Almost immediately after its public release in 2002, video users began clamoring to use the toolset to mimic the look of film and add a final look.

Over the years, Magic Bullet Suite has evolved into a unique set of tools to help users enhance video, color correct with ease, remove noise, conform to 24p, upconvert to HD, and create that final look that captures the story perfectly. Thousands of video projects have used Magic Bullet Suite, ranging from episodes of the Food Network's Good Eats show, the Academy-Award nominated film The Curious Case of Benjamin Button, and scores of independent films and event videos.

About Magic Bullet Denoiser
Magic Bullet Denoiser is not just another denoiser, the groundbreaking new technology raises the bar on noise reduction.
Users will be amazed at the results. Denoiser goes far beyond the run of the mill noise removal methods that tend to blur fine detail. Denoiser's accurate motion estimation algorithms guarantee great-looking video. Denoiser's default settings work well for most footage right out of the box. Take it even further with customizable controls that let you easily smooth out unsightly chroma blotches and focus noise reduction on shadow regions.

* Watch an intro video on Magic Bullet Denoiser at http://www.redgiantsoftware.com/products/all/magic-bullet-denoiser/

Pricing and Availability

  • Magic Bullet Suite is available now for $799 USD from the Red Giant online store. Existing customers can upgrade for as low as $99.
  • Magic Bullet Denoiser is available now for $99 USD from the Red Giant online store.
  • Magic Bullet Denoiser is also included in Magic Bullet Suite.


Customers that have two or more Magic Bullet products may prefer to upgrade to Magic Bullet Suite 10 for $399.

http://www.redgiantsoftware.com

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Blackmagic Design Ships DaVinci Resolve 7.0

Blackmagic Design today announced DaVinci Resolve 7.0 is now shipping, starting from only $995.

DaVinci Resolve 7.0 will be demonstrated on the Blackmagic Design IBC 2010 booth #7.B25.

DaVinci Resolve is the world's most popular high end DI grading system with powerful features used by both Hollywood and high end post production worldwide. Now with the new DaVinci Resolve on Mac OS X, these high end features are available on the platform that's popular with creative professionals.

DaVinci Resolve 7.0 now includes a new user interface which provides quick, simple and intuitive creative control without clutter and bloat that make other color grading systems difficult and slow to use. Only DaVinci Resolve has been developed with colorists and benefits from the decades of DaVinci color grading experience.

The new DaVinci Resolve 7.0 for Mac now reads and writes all the common Apple ProRes file formats including 4444, 422, 422(HQ), 422 (Proxy) and 422 (LT) directly on the timeline with no conversion required. Colorists can just select the clips in their media storage and DaVinci Resolve will play and grade them in real time, even if there are mixed resolutions and formats on the timeline.

Both Mac OSX and Linux systems now support read and write of DNxHD files with the optional DaVinci Resolve DNxHD Update. This optional $500 update allows native DNxHD media files to move instantly between Avid and DaVinci Resolve.

For production using the new generation of DSLR cameras such as the Canon 5D, DaVinci Resolve 7.0 now supports read and write of H.264 files on Mac and playback on Linux. Now colorists can grade directly from DSLR media files in real time for professional production from these high quality and affordable cameras. DSLR cameras look as good as the highest end film camera with the color treatments that only DaVinci Resolve specializes in. Also supported in DaVinci Resolve, is full playback support for native Cineform 2D and 3D and SI-2K files for playback and grading in real time.

DaVinci Resolve now supports RED Rocket cards on both Mac OS X and Linux platforms for native r3d file grading with full resolution decoding and premium debayer all in real time. Colorists can now extract r3d reel names from either FCP, Adobe or Avid EDLs, grade and render to ProRes or DPX or DNxHD at near real time speeds. On Linux, DaVinci Resolve now supports dual RED Rocket cards in a single computer for stereoscopic 3D real time performance with r3d files at full camera image quality.

DaVinci Resolve 7.0 massively upgrades the stereoscopic 3D grading features and now includes 3D features on the Mac OS X platform that previously required multiple Linux CPUs. DaVinci Resolve 7.0 now features a new convergence control tool to let colorists separately program pan adjustments to change the point of convergence on 3D projects while still making individual eye pan adjustments
The new stereoscopic 3D support now lets colorists play back, grade and monitor in 3D using side-by-side and line mesh displays. This allows even lower cost Mac OS X DaVinci Resolve systems to work on complex stereoscopic 3D projects!

DaVinci Resolve 7.0 lets colorists apply grades made on one eye, automatically apply to the other eye so colorists can see the result instantly.

A new eye matching tool is included so colorists can compare between eyes with a color or B&W difference display, or a new checkerboard view that allows a more accurate comparison in greater detail. Rendering a side-by-side Stereoscopic 3D project is now extremely fast, so clients can review the finished project immediately after grading.

All existing DaVinci customers who have an older model DaVinci Resolve or DaVinci Splice will qualify to get this new version 7.0 software at no charge. In addition, anyone who has an older DaVinci 2K system can use the control surface they have, and upgrade to DaVinci Resolve by paying only for the Linux license. Now all these existing DaVinci customers will get a very affordable way to upgrade to the latest technology simply by purchasing a new Linux computer and GPU.

Availability and Price
DaVinci Resolve 7.0 is available now starting from US$995 for the software only Mac OS X version from Blackmagic Design resellers worldwide. DaVinci Resolve on Linux is available from Blackmagic Design DaVinci Specialists worldwide.

www.blackmagic-design.com

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MainConcept Showcases New Plug-in and Application Products at IBC 2010

MainConcept GmbH, a wholly owned subsidiary of DivX, Inc. (NASDAQ: DIVX) and one of the world’s premier providers of video and audio codecs and software development kits (SDKs) to the consumer, broadcast and professional markets, today extended an open invitation to customers and interested parties to visit its booth at the 2010 IBC show in Amsterdam where content creators and industry professionals can see the latest MainConcept audio and video encoding/decoding solutions, including a new 3D for Blu-ray Disc transcoding application, a suite of format compatibility plug-ins for popular Adobe® Premiere Pro and Apple’s Final Cut Pro NLEs, and much more.

MainConcept has long been recognized as the preferred supplier of high quality, performance optimized audio and video codecs to many of the world’s best known broadcast, streaming, consumer electronics, and mobile device companies. With an unprecedented number of audio and video formats available in the market today, it is critical to have a codec partner capable of providing encoding and decoding solutions that meet industry standards, are easy to integrate, and provide the performance necessary for professional applications.

Here’s a sneak-peek at some of the MainConcept solutions that will be available for demonstration at IBC 2010:

• MainConcept Reference 2.1 is a professional media transcoding application based on MainConcept’s industry leading codec technology, now with support for HTML5 and Apple iPad. This modular preset-based application allows users to buy only the individual codecs needed. Users benefit from presets for popular playback devices such as Blu-ray Disc so they can start encoding immediately;

• MainConcept Reference 3D transcoding application is a new Windows® application for encoding video into stereoscopic and multi-view 3D video streams to create eye-popping 3D Blu-ray Disc productions that are fully compatible with 3D Blu-ray Disc players;

• MainConcept CUDA H.264/AVC SDK allows transcoding from MPEG-2, VC-1, H.264/AVC elementary streams, and raw frames into the H.264/AVC Baseline and Main Profile formats. It offers many features found in our H.264/AVC software Encoder. Using this SDK, the H.264/AVC transcoding process is done on NVIDIA GPUs. Also available is a CUDA H.264/AVC codec Plug-In for Reference 2.1, which is accelerated on NVIDIA GPUs.

• MainConcept™ OpenCL H.264/AVC SDK Beta off-loads resource intensive encoding tasks to the GPU using the OpenCL architecture and ATI Stream SDK 2.2 to speed up video encoding and reducing the CPU processor load. OpenCL is an open, cross-platform industry standard managed by the Khronos Group and is supported by graphics boards from NVIDIA and ATI. It allows encoding into H.264/AVC Baseline and Main Profile;

• MainConcept Movie Export is a preset-based export plug-in for Apple’s Final Cut Pro that allows the NLE to export in popular formats including Blu-ray Disc, HTML5, Flash, AVC-Intra, Sony XDCAM, Apple iPod/iPad and others;

• MainConcept Codec Suite 5 Plug-Ins for Adobe® Premiere Pro CS5 are the ideal solutions for working with advanced formats like Sony XDCAM, Panasonic P2 AVC-Intra, DVCPRO and even Ikegami GFCAM formats natively on the Premiere Pro timeline;

• MainConcept Conversion Pack plug-in for Sony’s XDCAM Browser clip-managing software can be used with the latest portfolio of Sony XDCAM camcorders and decks. It is a simple-to-use application that serves as a bridge tool to transcode the XDCAM content into different output formats by using predefined profiles;

“MainConcept continues to deliver compelling new technologies for the video and audio production industry, including affordable 3D encoding for Blu-ray Disc,” said Muzaffer Beygirci, Managing Director and Vice President Worldwide Sales of MainConcept GmbH. “MainConcept is the one-stop-shop for everything from low-level codec SDKs to plug-ins and even stand-alone applications that allow our customers to focus on creating fantastic productions instead of worrying about format compliance.”

www.mainconcept.com

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CoreMelt Expands Video Effects Product Line with Release of Lock & Load Express

CoreMelt, the leading provider of advanced video plug-in effects for the editorial, composting, design and visual effects communities, today announced the release of Lock & Load Express, a powerful addition to its line of intuitive video effects software tools.

Lock & Load Express is based on CoreMelt's popular image stabilization and rolling shutter reduction software application – Lock & Load X – considered one of the fastest video stabilizers available on the Mac platform, offering advanced tracking features and CMOS rolling shutter reduction for compositors and editors working in Final Cut Pro, After Effects and Motion. Lock & Load Express harnesses much of the key functionality found in Lock & Load X, including rolling shutter reduction, but in a simplified version that caters primarily to videographers and prosumers using DSLR cameras and working on Apple's entry level Final Cut Express editing software.

Bolton notes that while Lock & Load X has gained considerable praise as a tool to improve video quality for users on higher end editing software applications, there are videographers utilizing DSLR and CMOS sensor based cameras running on Final Cut Express, which does not have a built-in image stabilizer (Lock & Load Express is currently the only stabilizer designed for Final Cut Express), who do not need access to every control in processing their footage, but need a reliable tool to stabilize footage featuring rolling shutter artifacts at a lower price point.

"CoreMelt is excited to introduce Lock & Load Express, a trimmed down version of our blazingly fast Lock & Load X tracking stabilizer software developed specifically to tackle real world production problems that videographers encounter when shooting on DSLR cameras inside Final Cut Pro Express; itself a powerful application," says Bolton. "With today's addition to our software plug-in lineup, editors and compositors at every professional level will have increased freedom to work on their editing platform of choice to tackle stabilization and rolling shutter issues for virtually any workflow and unleash their personal creativity."

Bolton adds, "Lock & Load Express addresses the everyday challenges facing videographers – especially event videographers that shoot on DSLR cameras – to give hand held footage a professionally shot Steady Cam quality instantly without the need to set tracking points. Using the rolling shutter reduction functionality in our Lock & Load Express software helps lessen image distortions and lets digital content creators get on with business of creating and meeting tight deadlines."

Key Highlights of Lock & Load Express

Lock & Load Express enables customers to achieve the highest-quality image stabilization and rolling shutter reduction features working on Final Cut Express including:

  • Speed – Lock & Load Express tracks up to 12 times faster than Final Cut Pro's built in stabilizer.
  • Background Tracking – Allows users to work on the rest of a project while tracking for improved productivity and greater precision.
  • Streamlined workflow – Features like in/out point analysis, and rotation and zoom smoothing help simplify workflow and keep projects on deadline.
  • Intuitive – Lock & Load Express is based on the powerful Lock & Load X software architecture known for its ease-of-use and simplified interface for better quality results. Running inside Final Cut Express the software offers editors and compositors a proven solution for limiting rolling shutter artifacts and image distortion even on shots with complex rotation or poorly defined background.

What Customers Are Saying
"Even though I do not use Final Cut Express, after looking at and frequently using all the features and speed of Lock & Load X for Final Cut Pro, Lock & Load Express should prove to be a welcome stabilizer and rolling shutter reduction product for all Final Cut Express users out there, often left out when it comes to the availability of professional, high quality plug-ins," Steve Douglas, renowned underwater videographer and technology critic says.

System Requirements
Recommended system requirements for Lock & Load Express include an Apple computer running Mac OS X 10.5.4, or later with Intel processor; Final Cut Express 4.0, or later.

Pricing and Availability:
Lock & Load Express is available now for $79.00 USD from CoreMelt and its authorized dealers. For additional pricing information, please visit, http://www.lockandloadexpress.com.

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AJA Announces Ki Pro Mini, Portable File-Based Recorder at IBC 2010

AJA Video Systems brought production and post one step closer together today with the introduction of Ki Pro Mini, a smaller, lighter version of its breakthrough portable tapeless recorder that captures to the Apple ProRes 422 codec directly from camera. The highly portable Ki Pro Mini flash disk recorder mounts easily to digital cameras and accessories, enabling it to fit unobtrusively in small spaces for on-set capture of 10-bit 4:2:2 files that are immediately ready for editing.

Ki Pro Mini offers a small form factor, support for SDI & HDMI cameras and key features including:
· 10-bit full-raster recording to Apple ProRes 422 SD and HD formats (including HQ, LT and Proxy)
· Recording of SD/HD files from digital video cameras to Compact Flash (CF) cards
· Mac OS X friendly media and native QuickTime files--no log-and-capture required
· Professional video connectivity through SD/HD SDI and HDMI I/O
· 2 channels of balanced XLR audio with switch selectable line/mic levels
· 8 channels of embedded digital audio over SDI and HDMI
· Flexible control options including familiar front panel and web browser interfaces
· Optional Ki Pro Mini Mounting Plates that attach to hot shoes, battery plates and virtually any other accessory bracket
· Aircraft-grade aluminum construction that delivers light weight and maximum ruggedness

Ki Pro Mini supports a streamlined Apple file-based production-to-post workflow, recording native Apple ProRes 422 QuickTime files onto CF cards, which are formatted as HFS+ volumes that are instantly connected to a Mac computer via off-the-shelf CF card readers.

"Anywhere a camera can go, Ki Pro Mini can follow," said AJA President Nick Rashby. "It's smaller than some battery packs and mounts to virtually everything. We designed Ki Pro Mini for any sized production that needs seamless 10-bit file-based acquisition-- it's about extreme portability and going from lens to post in a flash."

Ki Pro Mini is planned for availability in October and US MSRP is $1995. For a complete set of features and technical specifications, please visit http://www.aja.com.

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