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November 15, 2010

Table of Contents

What's New in Sony Vegas Pro 10? NEW VIDEO TUTORIAL ADDED JUNE 27!
In the Field: Camera Supports for DSLR Shooters
Powerful New Royalty-Free Music — Digital Juice Releases MusicBOX Collection 3
Singular Announces PluralEyes for Media Composer Beta Program
Digital Heaven Releases DH_Counter 2.0 and More Free Plug-ins
FREE FxFactory Slideshow Plug-in CoverFlux 2 Released
MusicRevolution.com, An Online Marketplace For Production Music, Announces Internet Music Stream for Background Music
Adobe Audition for the Mac Available in Public Beta
Avid Unleashes Pro Tools 9—Breaks New Ground with More Creative, Flexible Options for Music and Sound Production
Blackmagic Design Updates Mini Converter Software with Closed Captioning and Canon 5D Support
All-New Juice Drops Collection Two - Layered Photoshop Backgrounds

What's New in Sony Vegas Pro 10? NEW VIDEO TUTORIAL ADDED JUNE 27!

Sony Vegas Pro 10 is here! After months of speculation about what would be in the latest full-step upgrade to Sony Creative Software's popular pro NLE, the new version has brought users new features and increased performance-without sacrificing stability. In this overview I'm going to cover many of these new features in Vegas Pro 10 that will be of benefit to event videographers; some of them may seem far-fetched, some of them may not be obvious, but they're all here for a reason.

We'll also lay the groundwork for the series of tutorial articles that will follow in my "Tips and Tricks" column, and the video tutorial series that will kick off this month on with a series of video tutorials (see videos at the start and end of this article). But first...

I'll Go Ahead and Say It
The perception of many ".0" releases of any software package invite cries of "Wait For the Service Pack!" Well, by the time the download link for this new release was live to the public, the version was already at 10.0a. This is an update to the planned release. Kudos to Sony Creative Software for continuing to test and improve up till the release date. In my opinion this is instrumental to the stability of Vegas Pro 10. If you're waiting for an update before you install it, fear not—it's already here.

DSLR Preview and Editing Improvements
First up on the feature list is improved performance for editing files from Canon DSLR cameras such as the 7D, T2i, or the new 60D. I'm told by Vegas product manager Matthew Brohn that this feature intended specifically for the H.264 format used by DSLRs, and provides upwards of a 300% improvement. I first tried it out on hardware that desperately needs to be upgraded to work with anything later than HDV: a 2.4GHz Intel Q6600 that plays back T2i footage, in Preview Auto, at about 5-7 frames per second (fps) under Vegas 9e. There's no way you could edit this natively, nor would you want to.

However, on the same hardware and OS, with Vegas Pro 10 32-bit, the same project file played back at full frame rate. It still had the occasional stutter, but it performed exactly as if I were editing HDV or Cineform intermediates. While I don't recommend using older hardware for editing DSLR footage-even with Vegas Pro 10-the comparison demonstrates that Sony's claims of 3X improvement do indeed pan out.

Moving our test over to a more modern system, in i7-950 processor running Windows 7 64-bit OS, the footage plays in real time even in Vegas Pro 9 (using Preview Auto). Making the test harder, I used three tracks of video with the first two composited at about 50% so that information from each track was visible in every frame. This test is indicative of a complex composite, and in Vegas 9 the video previewed at 1-4fps, while on the new Vegas Pro 10 it clocked in at a considerably more watchable 8-14fps. The takeaway here is that if you're editing footage from a Canon DSLR, this feature alone is enough to warrant the upgrade to Vegas 10.

Image Stabilization, Courtesy of...
A brand-new feature with Vegas Pro 10 is image stabilization, courtesy of proDAD, developer of the popular Mercalli stabilization plug-in. While the stand-alone Mercalli product has just been upgraded to 2.0, the engine included in Vegas 10 is based on enhanced version 1 technology. This stabilization capability first became available to Vegas users in the consumer-oriented Vegas Movie Studio. However, in Vegas Pro 10 you get more control over how your stabilization is applied. You can do more with it than just choose between presets.

Sony Vegas Pro 10
The proDAD-driven stabilization interface in Vegas Pro 10

Unlike filters and transitions, image stabilization is accessed by right-clicking individual clips. Since image stabilization creates new clips, realize that the exact clips to which you apply stabilization are the only media that will be affected. If you're in a workflow using proxy files, you will want to wait until you've switched to your master, render-ready clips before you apply stabilization (unlike other FX or filters). If you apply stabilization to your proxies and then shift gears to prep for your final media, you will lose your stabilized clips.

New MultiCam Features
Vegas Pro has had built-in multicam capabilites since version 8. We don't personally use this feature in our studio, as my wife, Christie, and I have grown accustomed to the multicam tool provided by the UltimateS Pro plug-in from VASST. UltimateS Pro and another widely used plug-in, Edward Troxel's Excalibur, have provided multicam capability to Vegas users in one form or another for years.

In looking at the updates that Sony has made to the built-in multicam for version 10 however, I found that they've added one important feature. Once your multicam track is built, you can now expand it back into individual tracks for further tweaking. You can even choose to keep the unused clips, and Vegas will mute those individual events that aren't being used.

Sony Vegas Pro 10
The updated Multicam interface in Vegas Pro 10

Vegas in the Third Dimension
This is where things get interesting. You can't walk into a multiplex movie theater these days without finding some Hollywood offering being shown in 3D. From animation to horror, it seems like everything short of romantic comedies is a candidate for 3D. Noted horror director Wes Craven, when speaking to the Los Angeles Times about his new film My Soul To Take, said this about 3D: "For me, it's an experiment ... If it does endure as a technical form of the art, then I'm learning at the ground floor like everybody else, and it's an important thing to do."

3D at the movie theater seems to be a natural, if for no other reason than to get people to the theaters to see movies in a way that we can't see it at home. It was only a matter of time, apparently, before the companies who exhibit at NAB, IBC, and other conferences decided that we all need to shoot, edit, deliver, and watch 3D at home.

Is it all just a fad? I don't know. While this article is not about 3D in general, let's look at some facts and statistics before dismissing altogether the concept of video production in 3D. To begin, most research that I've found projects sales of 3D TVs being slow in 2011, and picking up sharply after that. ABI Research predicts that 3D television in the home will begin to take off in 2013, with more than 50 million 3D TVs shipped worldwide in 2015 alone. While you can buy all the gear to produce 3D content now, most analysts predict that 3D in the home will be mainstream in 2-4 years. Is 3D a fit for wedding and event video? 3D could very well become as mainstream as HD is, and it's nice to know that you can start experimenting with the technology yourself, today, with very little investment. To pick up a 3D camera that's comparable to the prosumer models most non-DSLR videographers use, you'll need to shell out $22,000 for the likes of the Panasonic AG-3DA1 (or, better yet, rent it for the occasional 3D booking). That's a little steep for most of us, but Panasonic has a consumer model, the HDC-SDT750, with a street price of $1,400, and a company called Aiptek has introduced a Flip-like 3D cam with a street price of $200.

With Vegas Pro 10, you can edit footage from any of these cameras right away. The Stereoscopic 3D mode you want to work with is chosen in the Project Properties window. You have a variety of choices in monitoring 3D; you can view it from your PC display, and you can even use a 3D-capable HDTV via HDMI as your external monitor for a more accurate preview.

Sony Vegas Pro 10
Choosing project properties for 3D editing in Vegas Pro 10

GPU-Enhanced Rendering
While, traditionally, most of us have seen the ability to edit video in real time without specialized hardware as a plus, times do change. And Vegas Pro is changing with them. In another "first," for Vegas, version 10 has joined Adobe CS5 in adding GPU processing. In the past, the kind of video card you had in your editing system was never a concern with Vegas with the exception of DVI or HDMI output connectors. With this release of Vegas Pro you will now be able to take advantage of a CUDA-enabled GPU in a very specific application, which is rendering to the Sony AVC codec.

It's important to note that the GPU in Vegas Pro does not have any effect on editing performance in the timeline. This is Sony's cautious foray into the GPU arena, and I look forward to what other processes they can speed up by offloading them to the GPU.

Sony Vegas Pro 10
Choosing GPU rendering in Vegas Pro 10

Be careful about what video card you choose if you're upgrading your hardware. You may find that your CPU alone is faster than using the GPU. For example, in one of our new PC builds, the i7 950 processor alone proved faster than offloading to the NVIDIA GeForce GTS 450. In my test project, the CPU rendered the 30-second Vegas project (.veg) file in a little less than 30 seconds, while the GPU-only render took 35 seconds. Our next machine will have a better (and more expensive) video card with a higher CUDA count. I'm thankful that we didn't spend too much on the GTS 450 card, since we won't be using its CUDA capabilities.

OpenFX Plug-in Architecture
Vegas Pro 10 has a completely new plug-in architecture for effects and filters. This is exciting news, as editors and creative types will now have many more tools to play with. Any plug-in based on the Open Effects Association (OFX) standard is a candidate for use in Vegas Pro 10. The very high-end GenArts Sapphire and Monsters GT plug-ins work right out of the box with no alteration. BorisFX has also released Continuum Complete for Vegas 10. This is a midlevel-priced offering from BorisFX, and I hope to provide a thorough review of it in a future column.

Sony Vegas Pro 10
Applying the Pencil Sketch effect in BorisFX Continuum Complete for Vegas Pro 10

Plug-in manufacturers will need to do a minimal amount of work to update most of their OFX products to interface directly with Vegas under the OFX standard. For users of existing plug-ins, have no fear. Vegas is maintaining the legacy SDK-at least for this version. Your existing plug-ins will work, and a brave new world of Open Effects plug-ins awaits. More information about OFX is available at http://openeffects.org.

Other Goodies
There are many other updates and new features in Vegas Pro 10 that we'll be exploring in a new online tutorial series now underway on EventDV-TV (www.eventdv.tv). Among these is a welcome upgrade on the audio side, the ability to apply all of Vegas' audio effects at the event level. You've always been able to apply video filters and effects at the event level, but real-time audio effects were only available at the track level or in some cases the master bus output level. For the first time, Vegas allows you to insert up to 32 audio effects at the event level and preview them in real-time. This further solidifies Vegas Pro as the NLE with the most robust audio function support.

Also new in the audio department are track and VU meters. Track meters are great to have because so many of us work with multiple audio tracks, mixing them into final master output. Knowing at a glance which one of your tracks is causing the whole thing to clip is a wonderful new feature.

Sony Vegas Pro 10
Using track meters in Vegas Pro 10

Another enhancement is Track Grouping. With Track Grouping, you can now select several tracks and group them together, even hiding them out of your way. Being able to group events together has been a feature of Vegas forever, but just now are we able to group together tracks. You can group tracks, name the group, and choose to show or hide the group.

Sony Vegas Pro 10
Grouping tracks in Vegas Pro 10 and naming the group

DVD Architect gets a little love in this release (though not much) with the inclusion of new HD themes and the ability to use a Windows burning engine, thereby potentially supporting more and newer DVD and Blu-ray burners. You can choose at run time which method you prefer to use.

This version is a winner! You get better playback on DSLR footage, track grouping, OpenFX support, enhanced multicam, a few audio goodies, and 3D to boot. There's even more to love; you can check out the full list of features and enhancements found in Vegas Pro 10 at http://sonycreativesoftware.com/vegaspro.

David McKnight (david@mcknightvideo.com) is half of McKnight Video of Houston.He is former vice president of the Houston Professional Videographers Association (HPVA), has Vegas (SCVE) certification, is the technical editor of Vegas Pro 9 Editing Workshop (Focal Press), and is a contributor to TheFullHD Book (VASST). He and his wife, Christie, are winners of multiple HPVA awards.

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In the Field: Camera Supports for DSLR Shooters

I love the organic look and feel of solid handheld footage. On the wedding day, the flexibility and freedom that comes with shooting handheld has big advantages over shooting on a tripod or a monopod. Now, there are certainly segments of the day when shooting on a tripod has its advantages, such as at the ceremony. However, during the prep and the reception, shooting handheld has many advantages.

Bringing that philosophy into the DSLR world introduces new challenges. Everyone who has shot with a DSLR knows exactly what I am talking about. Shooting handheld without image stabilization really requires your A game, and when you do get bumps, the image jiggles around like Jell-O, thanks to the CMOS sensor.

One solution is to implement a camera support device—not a Glidecam or a Steadicam but a tool that provides support for shooting handheld when standing still.

There are literally dozens of support devices on the market, in part, due to the DSLR revolution. The challenge for all of us is to decide which support device will best fit our needs. Reading an article or visiting a website about the choices available can help. My goal is not to steer you toward one particular model or to tell you which one I prefer, but rather to explore three different models—covering both the good and the bad—and give you better insight into each model.

Cinevate Uno
In my book, the Cinevate brand ranks right up there with the best. When mentioning the company’s name, I think of quality and innovation. Dennis Wood, CEO and founder of Thunder Bay, Ontario-based Cinevate (www.cinevate.com), seems to really care about our industry. He makes a wide range of products. Dennis talked to—and, more importantly, listened to—event filmmakers and created products that meet our needs.

With such a wide range of products to choose from, I chose the Cinevate Uno for this comparison. I do not use my DSLR with a follow focus, matte box, or rails, so I was looking for a simple and streamlined approach. As the name Uno implies, it uses a single 15mm solid carbon rod. From that single rod, up front it supports one or even two handgrips and offers a choice of two different mounting brackets for the camera. At the back, it comes with a choice of two different body braces. The stock body brace is very small and was not very comfortable to me. I greatly prefer the upgraded shoulder brace and found a couple of different ways to use it.

First, you can use the brace as a shoulder support, which adds a lot of stability. I found that this mode positioned the camera too high for my liking. Second, you can adjust the shoulder brace at an angle so it rests against your shoulder instead of on top of your shoulder. This technique was much better for me as it positioned the camera in the perfect location for my style of shooting.

DVTEC MultiRigPro
This is the Cinevate Uno with handgrips positioned up close to the camera. Note how I can focus while holding on to the Uno.

When looking at the Uno, it’s amazing to see how Cinevate was able to mount two handgrips, a dual-support bracket for the camera, a moveable 1/4" 20 thread for mounting to a tripod or other support device, and a shoulder support to a single 15mm rod. On top of all of that, every piece can be positioned in a countless number of ways, all without using tools. Each piece has a kip handle, which is a hand-adjustable wrench that makes it quick and easy to adjust the rig.

I know this may seem like a small thing, but the quick-release mechanism is a huge improvement over the Bogen quick-release system that I used previously. Cinevate’s quick release uses the same Bogen 577 quick-release plate, but you no longer have to line the mechanism up with the plate, slide it in, and then lock it down. With the Cinevate quick-release plate, just angle one side of the plate to the mechanism and then slide it forward or backward to find the right spot; then, press down to lock it in place. This system is much faster and easier than the Bogen 577 quick-release system.

My personal preference is to have both of the handgrips pointed up and in close to the camera. This allows me to keep one hand on the left grip so I can zoom, focus, and adjust exposure. Most of my lenses are vintage manual focus lenses with a physical aperture ring. My right hand is on the camera to start, stop, and make other adjustments. I then have the option to pull my right hand off the camera and hold the second handgrip.

All in all, the Cinevate Uno is a very well-designed and well-built stabilizer. It’s lightweight, yet it feels solid in your hands. It’s a very versatile piece of gear that will fit a large variety of body sizes and shooting styles.

First up, full disclosure: I have been a reseller of the DVTEC MultiRigPro for more than 3 years. The DVTEC line (www.dvtec.tv) was developed by Danny Natovich in Israel. Danny does not have the interaction with the event filmmaking community that Cinevate’s Wood does. What I can tell you about Danny is that for the 3 years I’ve been selling his products, I’ve found his customer service to be excellent. Whenever I had a client who had a problem with a DVTEC product, which hasn’t happened that often, Danny immediately fixes it. On the few occasions that an issue has arisen, I’ve been very impressed with his customer service.

The DSLR Extreme takes a very different approach from the Uno. The DLSR Extreme is big and heavy, but that can be a good thing. It uses a dual-bar system for adjusting the camera forward and backward. It has two hand grips that have a very solid feel, but these are not adjustable. On top of the dual handgrips are accessory shoe mounts. These can come in handy for mounting a monitor, a mic, and so on.

On top of the rig is DVTEC’s own quick-release system. It is very similar to Bogen’s 577 quick-release system, but it has a longer quick-release plate. The length allows for more versatility with positioning the camera forward and back. In addition to using the dual-bar system, you will find two other ways to adjust the rig. Right below the camera mount is a knob that allows for the pivot angle of the rig. You can lock it in place or leave it a little loose for some flexibility. Then, further back on the rig is a second knob that adjusts how low or high the rig sits. This is a very simple but effective system.

The shoulder support is very robust and well-padded. With the DSLR Extreme on your shoulder, the camera feels very solid, which is the name of the game in camera supports. At the back end of the shoulder support is a bracket to mount accessories such as wireless receivers, batteries, or even just counterbalance weights.

Cinevate Uno
The DVTEC MultiRigPro with handgrips positions up close to the camera. Note how I use the right grip to hold on to the rig and the camera at the same time, leaving my left hand free to focus.

Probably the biggest difference between the Uno and the DSLR Extreme is the support pod. The support pod is a spring-loaded rod with a flex tip at the end. This really takes the load off of your arms when supporting the rig. The support pod has a quick release at one end, so it is very quick and easy to attach or detach it from the rig. The other end of the support pod rests in the holster of the DVTEC Velcro belt that you wear around your waist. This approach allows for long takes and literally hours of handheld shooting. You can use the DSLR Extreme without the support pod, but I would not recommend it for long takes or prolonged shooting. But, of course, this will depend on the strength and stamina of the shooter.

DVTEC MultiRigPro
I reviewed the DVTEC MultiRigPro in April 2008. When comparing the MultiRigPro to the Uno, the approach is drastically different, but the end results are strikingly similar.

The MultiRig does not come with a quick-release plate system. I added my own. The MultiRig does allow for numerous adjustments to adapt it to various shooting styles and body sizes. The two front arms and one rear arm are fully adjustable. They do not have the finesse of the Uno, but surprisingly, I am always able to find just the right spot to position the arms.

The MultiRig also has the spring-loaded support pod with flex tip that mounts to the Velcro belt. This approach is totally different from the Uno. It does greatly extend the amount of time you can spend shooting, but only you can determine if it is right for you.

In my own testing, I did one thing that turned the MultiRig from a video camera support into a DSLR support. By adjusting the two front arms upward and bringing them back, I am able to position them near the lens and body of the camera, giving me the ability to control the camera while stabilizing it at the same time. This is huge for me because it addresses one of my biggest complaints about the DSLR Extreme. It comes down to shooting style and personal preference. I just like to have my hands on the camera or, at least, close to the camera.

The shoulder support on the MultiRig is probably the weakest link, especially when compared to the DSLR Extreme and the Uno. But at the same time, it does its job, just not as comfortably.

Obviously, one key point of comparison between these products is price.

DVTEC DSLR Extreme, DVTEC MultiRigPro, Cinevate Uno
Left to right: The DVTEC DSLR Extreme ($649 as shown), the DVTEC MultiRig Pro ($529), and the Cinevate Uno ($875)

The Cinevate Uno can be customized to your personal preference with prices starting at $875. The premium version, the Ultimate Uno (not reviewed here), comes with a shouldermount and counter balance and runs about $3,067.

The DVTec DSLR Extreme ranges from $429 to $649.

The DVTEC MultiRig Pro with padded Velcro belt is $529. Since the DVtec line comes from Israel, shipping to the U.S. is approximately $90 for the Extreme DSLR and $50 for the MultiRig Pro.

I highly recommend trying out as many camera supports as possible. This may be difficult, depending on where you are located. Network with other shooters, ask around, check out trade shows, and get your hands on as many different models as you can before purchasing. Finding the right support device can make a world of difference in getting solid handheld work from your DSLR.

Mark Von Lanken (info at vonweddingfilms.com) runs Von Wedding Films with his wife, Trisha. Five-time EventDV 25 honorees, WEVA Hall of Famers, and producers of the EventDV-TV series Von Real, they are regular speakers at WEVA Expo and winners of numerous WEVA CEA. They were “megasession” presenters at In[Focus] 2010. Several times each year, the Von Lankens offer intensive 2-day workshops at their Tulsa, Okla., studio.

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EventDV magazine has announced that voting is now open for the 2010 EventDV 25, the magazine's 6th annual all-star team of the hottest and most influential event filmmakers in the world. Elected entirely by reader/filmmaker voting, the EventDV 25 is the event filmmaking industry's one true reader's-choice selection of the filmmakers and studios who had the biggest impact on the industry in 2010. Honorees will be announced in early March on EventDV-TV. Watch EventDV.net and EventDV Spotlight for details. Readers of EventDV magazine, EventDV Spotlight, and www.eventdv.net are encouraged to vote now by clicking here, or on the EventDV 25 image on the right. Polls will remain open until January 5.

"It's amazing to see the changes in this industry since we first did the EventDV 25 in 2005," said EventDV editor-in-chief Stephen Nathans-Kelly. "Who'da thunk, back then, that most of the top producers in our business would be shooting with still cameras, crossing oceans to collaborate with one another, calling themselves filmmakers, and earning that appelation and more with the dazzling work they do? Not to mention regularly sharing that work online for their peers around the world to see?" Nathans-Kelly said. "And lest you doubt that we are indeed a global industry, and increasingly recognized for the talent demonstrated in the work we share, make no mistake: The world is watching. 233,000 viewers of a wedding clip posted late last month—89,000 in one day—attest to that. And there's no better showcase for that talent than the annual EventDV 25 awards show, which acclaims the best of the best and presents their very best work in all its glory."

Here's a look at Day One of last year's awards show, produced by Whit Wales of Whit Wales Wedding Films (who will be back in his producer/director role by popular demand this year) recognizing the 2009 EventDV 25:


(To see the rest of the 4-day show, visit the 2009 EventDV 25 Awards Show page.)

The voting and selection process for the 2010 EventDV 25 remains very similar to last year's process. Voters may vote as many as 25 times, but they can't vote for the same event filmmaker more than once. You must be a active in the event filmmaking industry to vote, and you must be active to make the list. And, as befits a competition that's about having a professional impact on your peers and on your industry as a whole, votes cast by filmmakers/videographers for themselves, for their family members, employers, employees, or anyone in their studio will not be counted. (Filmmakers who receive votes from themselves, their family members, their employers, employees, or business partners will still be eligible to make the list; the disqualified votes simply won't count toward their total.) To make votes easier to validate is that voters must identify themselves with a valid company domain name in their email address (e.g., filmmaker@mystudio.com) or a URL for their studio in the comments field for their votes to count. "Just give us something we can use to track you down and validate your vote," said Nathans-Kelly. (And of course without a working email address you won't be available for any of the prizes we'll be giving away to voters this year—details to come.) As in past years, the filmmakers/studios with the 25 highest vote totals will become the 2010 EventDV 25.

One key difference in this year's voting is that EventDV is partnering with a number of vendors in the industry to provide exclusive giveaways to registered EventDV 25 voters. The drawing will take place after the polls close on January 5, and winners will be announced around or about January 15. Giveaway sponsors signed on so far include Sony Creative Software with a full boxed copy of the brand new Vegas Pro 10 professional NLE, Digital Juice with their all-new Standard Topload Camera Bag for DSLR users, NewBlueFX with their Video Essentials IV, Schneider Optics with their Cam Caddie DSLR stabilizing handle, and Petrol Bags with their Deca Transparent Rain Cover. More giveaways will be announced as the voting progresses.

"This year, as in 2009," Nathans-Kelly said, "we will also be recognizing 25 more studios as EventDV 25 Finalists, an acclimation accorded to those who are making their mark pushing their way ever closer to the top 25 list." (The 26th-to-50th highest vote totals will comprise the Finalists list.) For more information on last year's distinguished list, visit the 2009 EventDV 25 Finalists page.

In keeping with the all-star team/baseball theme of the EventDV 25, EventDV has a Commissioner who reviews and certifies the vote after the polls close on January 5. "Three-time EventDV 25 honoree John Goolsby of Godfather Films is the only person I can even imagine in this role. Consummate professional, grizzled industry veteran, and architect of one of the most comprehensive and rollickingly successful branding overhauls our industry has ever seen," said Nathans-Kelly, "the achievements and professional mien of Godfather Films' John Goolsby epitomize everything the EventDV 25 is about. Which is exactly why we asked him to become Commissioner. It's an honor to work with him, and to give him the final word on who makes the list and who doesn't. After Commissioner Goolsby certifies the vote, we'll have our 2010 all-star team, and we will reveal it to the industry—and to the honorees themselves—in the 2010 EventDV 25 all-star show on EventDV-TV in March."

Watch the EventDV Spotlight newsletter for more announcements about the 2010 EventDV 25 and for announcements of other exclusive giveaways that registered EventDV 25 voters become eligible for when they register and cast their votes. (Even if you cast your vote before we announce a prize sponsor and their logos appear on the voting page, you'll still be entered into the drawing for the prize.)

To make your 25 selections for the hottest and most influential videographers of 2010, click here and vote now.

2010 EventDV 25 Voting Page

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Powerful New Royalty-Free Music — Digital Juice Releases MusicBOX Collection 3

Digital Juice® announced today that it is expanding its highly successful and royalty-free line of layered production music with the release of MusicBOX Collection 3. This new collection features 100 new and original songs and covers a wide variety of genres including an eclectic mix of high energy pop, powerful rock and dramatic motivational and cinematic music tracks, as well as all-new Country, Romantic, Urban and RnB categories.

Each song is available in several alternate versions, with up to 10 individual layers per song. Each song and version in MusicBOX Collection 3 also comes with custom edited standard length broadcast cuts of 1:00, :30, :15 and :10 so editors can quickly grab the length they need. Along with all the instrumentation, most of the songs contain vocal elements that can be turned on and off to perfectly fit the needs of a production. "Need just the guitar riff off a particular track for a high-energy commercial spot?" says Jeff Earley, Director of Audio Products at Digital Juice. "No problem, just turn off all the layers except the guitar and render out to the format that best fits your editing needs. Its that easy!" Delivered on 6 DVDs, users will find 100 songs (275 including all variations) covering 16 relevant and useful categories.

What is MusicBOX?
MusicBOXTM is a layered production music library. Each song is provided in individual easy-to-use layers. By using layers, MusicBOXTM allows video editors to turn on the parts of the music they need, and turn off the parts they don't, without compromising the integrity of the composition. MusicBOXTM gives editors unparalleled control over the music in their productions. "The idea is to allow editors to become conductors, deciding what aspects of the music they want to bring out or tone down without the necessity of being a composer or even being musically inclined," said CEO and Digital Juice® Founder, David Hebel. "The future of high-end royalty-free content is all about power and customization. Professionals enjoy the low cost and ease of royalty-free music but they miss the flexibility, power, and control that a custom song can provide. I think MusicBOX balances those needs and provides the perfect solution."

Key Features of MusicBOX Collection 3
• Wide range of styles including: Ambient, Broadcast, Cinematic, Corporate, Country, Electronica, Jazz, Motivational, Orchestral, Pop, RnB, Rock, Romantic, Sports, Urban and World.
• Optional high-quality vocal tracks that can be turned on and off to fit the needs of the production.
• Filter Mode search makes it easy to get results by selecting and searching from a list of Styles, Moods, Themes and Instruments.
• Each song contains up to 10 remixable layers for complete customization. The layers include the Lead or Melody track as well as instruments such as Guitar, Bass, Piano, Organ, Strings and Drums -- in addition to one or two vocal tracks and extras such as Percussion FX and Synth layers. Mixing these layers is easy with the free Juicer software.
• 100% Royalty-Free: Buy once and use in all your projects.
• High Quality: Recorded natively at 16 bit, 44.1khz.
• Compatible with any computer-based editing system with a DVD-ROM drive.

Browse, Search & Select

Digital Juice® provides a free Windows® and Mac® utility, JuicerTM 3, that makes it easy to browse, search, and select from any of the MusicBOXTM Collections. Once selected, editors can audition the music and begin "conducting" by turning on and off up to 10 layers. Each MusicBOXTM Collection contains at least 100 songs provided in full length, 60 second, 30 second, 15 second, and 10 second versions for a quick and easy fit into most productions. Once selected and customized the song can be exported in numerous formats including WAV and AIFF. Users also have the option to "split the tracks" and save each layer separately for even more flexibility when brought into video or audio editing applications.

Pricing & Availability
The new MusicBOXTM Collection 3 can be ordered through Digital Juice's online store (www.digitaljuice.com) or by calling the company's customer service center toll-free at 800-525-2203. MusicBOXTM Collection 3 retails for $349.95 but can often be purchased in special promotions for as much as 50% off. Check the website for details on bundle pricing and specials. The company's free JuicerTM 3 software can be found at www.digitaljuice.com/juicer/.

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Singular Announces PluralEyes for Media Composer Beta Program

Singular Software™, developer of workflow automation applications for digital media, has announced it has once again expanded its support for non-linear editing applications by launching the highly-anticipated PluralEyes® for Avid® Media Composer® public beta program.

Now with support for Media Composer, PluralEyes provides users with valuable workflow automation features for managing multi-camera, multi-take, and dual-system audio productions quickly and efficiently. PluralEyes analyzes audio information and automatically synchronizes corresponding video clips, saving video editors hours in post. With PluralEyes, there is no need for timecode, clappers, or any special production preparation.

The PluralEyes for Media Composer public beta is available for both Windows® and Mac® OS X® users. To download the PluralEyes for Avid Media Composer public beta, please visit: http://www.singularsoftware.com/downloads.html.

About PluralEyes
A fan favorite among video producers of all skill levels, PluralEyes can be used for a wide-range of projects, from weddings and live events, to documentaries, commercials, indie films and more.

To read more PluralEyes quotes and reviews, please visit: http://www.singularsoftware.com/reviews.html.

Other PluralEyes Versions
PluralEyes for Adobe Premiere Pro (Windows), Final Cut® Pro, and Sony® Vegas® Pro is available for purchase on the Singular Software website: http://www.singularsoftware.com/buy.html.

Students and instructors can also benefit from Singular Software's academic discount of 50%, which can be applied to individual purchases of PluralEyes. For volume orders, please contact sales@singularsoftware.com.

You can test drive PluralEyes by downloading a fully functional 30-day free trial version from: http://www.singularsoftware.com/downloads.html.

About Singular Software
Established in 2008, Singular Software pioneers the development of workflow automation applications for audio and video professionals. Its breakthrough solution, PluralEyes, offers innovative technology to automate and simplify multi-camera, multi-take and dual-system audio workflows. Singular Software products support industry leading non-linear editing products. For more information about Singular Software, please visit: http://www.singularsoftware.com


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Digital Heaven Releases DH_Counter 2.0 and More Free Plug-ins

Digital Heaven, one of the leading third party developers for Apple Pro Apps, today announced the release of DH_Counter 2.0, a major upgrade to the on-screen counter plug-in for Final Cut Express and Final Cut Pro.

DH_Counter is ideal for creating a countdown timer to the start of an event or for coverage of sporting events such as races and against the clock challenges. DH_Counter 2.0 has been completely rewritten to provide many more features and flexibility than the previous version.

  • Choice of HH:MM:SS, MM:SS or SS display formats.
  • Show or hide leading zero and separator characters.
  • Count up/down to/from custom time.
  • Show subseconds as frames/tenths/hundredths of a second.
  • Ability to change the speed of the counter.
  • Adjustable text tracking.
  • Monospaced or proportional text spacing.
  • Shadow and Outline styles with adjustable color, opacity, offset, softness and width.
  • Box background with adjustable color, opacity and position.
  • Static display mode for creating start or end holds

System Requirements:
Final Cut Express (v2 and later) or Final Cut Pro (v4 and later)

Digital Heaven's range of freeware products has now grown with the addition of two more Final Cut plug-ins. The first is DH_Fade - the easy way to create consistent fade in/outs on clips with different durations, and the second is DH_FieldTrans - a must for those needing to apply effects to pre-edited footage containing cuts on field 2.

These plug-ins join a popular assortment of existing freeware products on offer from Digital Heaven which include VideoSpace - a helpful widget that calculates required disk space, Disksomnia - a utility application that stops external disks from going to sleep when using Final Cut and the DH_Grid and DH_Guides plug-ins - both useful on-screen alignment and measurement tools for Final Cut.

Pricing and availability:
DH_Counter 2.0 is available for immediate purchase from the Digital Heaven online store for US$29.00. A watermarked trial version can be downloaded from the Digital Heaven website. Customers who purchased DH_Counter on or after 1st October 2010 are eligible for a free upgrade. Digital Heaven freeware can also be downloaded from the Digital Heaven website.

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FREE FxFactory Slideshow Plug-in CoverFlux 2 Released

Noise Industries, developer of visual effects tools for the post-production and broadcast markets, is pleased to announce that FxFactory® development partner, idustrial revolution, has released a major update to its popular "freebie" slideshow generator, CoverFlux.

The new CoverFlux 2 is completely re-written, bringing faster rendering and over 10 unique features to its "iTunes-style" image browsing effects. Powered by FxFactory, CoverFlux 2 is free for users of Apple® Final Cut Pro®, Final Cut Express®, Motion® and After Effects®.

CoverFlux 2 Highlights

  • CoverFlux 2 is completely free, with no watermark when registered.
  • With 10+ new features, users can now select the depth of the stack, the number, the angle, the depth of field of the display, add round corners, soft edges, travelling gloss to highlight edges, and more.
  • Users can load, reorder and rename the files using the built in file browser.
  • Added option to choose the auto-animation feature or manual keyframe control to jump forward or backwards to any image in the stack.
  • CoverFlux 2 can work with native file sizes for pin sharp results.

Availability of CoverFlux 2
The CoverFlux 2 plug-in is offered as a free download via the Noise Industries and idustrial revolution websites. To download the freebie, please visit: http://www.idustrialrevolution.com/idrplugins/coverflux.

To watch the CoverFlux 2 tutorial video, please visit: http://www.youtube.com/watch?v=Z6PR9AM1vsA&feature=player_embedded.

Availability and Pricing of FxFactory

Adobe After Effects, Apple Final Cut Studio® and Apple Final Cut Express® users can also test drive hundreds of FxFactory plug-ins by downloading the free trial version of FxFactory from: http://www.noiseindustries.com/fxfactory.

Additional FxFactory plug-ins are available for free or commercially starting at a price point of $29.00 USD. FxFactory products can be purchased via the Noise Industries website or through select resellers.

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MusicRevolution.com, An Online Marketplace For Production Music, Announces Internet Music Stream for Background Music

MusicRevolution.com, an innovative online marketplace for royalty-free production music, today announced the launch of its Internet Music Stream for retail, restaurant, fitness club, business and website background music.

The MusicRevolution.com Internet Music Stream provides an affordable, royalty-free alternative for background music for a range of commercial music applications, including retail, restaurant, fitness club, business and website background music. Starting at $14.99 for a 1-month subscription and $129.99 for a 1-year subscription, the MusicRevolution Internet Music Stream is not subject to any ASCAP, BMI or any other additional public performance licensing fees. The MusicRevolution.com Internet Music Stream offers a variety of unique playlists that provide a continuous Internet feed to meet your needs for background and ambient music, and can also be customized for multi-location applications.

For a limited time, MusicRevolution.com is offering a free 1-month trial subscription to its Internet Music stream for background music. To start your free 1-month trial music stream subscription without any obligation, send an e-mail to info@musicrevolution.com and include “Free Music Stream” in the subject line. This offer expires December 31, 2010.

“We are excited about our Internet Music Stream. We believe that the MusicRevolution Internet Music Stream for retail, restaurant, fitness club, business and website background music is the first offering of this type to use production music,” stated Chris Cardell, Co-Founder of MusicRevolution LLC. “Not only is the MusicRevolution Internet Music Stream only a fraction of the cost of other well-known background music services, our production music library is unique for background music, which enables our users to differentiate themselves from others using the same old background music,” added Cardell.

“Since our launch in April, we have had a tremendous response from musicians to contribute their music and participate in the MusicRevolution.com online marketplace for production music. The MusicRevolution.com production music library already has nearly 10,000 tracks of high-quality, royalty-free music and new music is being added every day,” stated Mike Bielenberg, Co-Founder of MusicRevolution LLC. “From our rapidly growing production music library, we have created a selection of unique playlists that provide an ongoing Internet feed for background music. We can also work with our customers to create customized background music applications with our Internet Music Stream,” added Bielenberg.

About MusicRevolution.com
MusicRevolution ( http://www.musicrevolution.com ) is the Internet’s production music marketplace. We provide media producers, businesses and other music buyers with great royalty-free production, or stock, music at affordable prices for TV/radio broadcast, film, corporate video, retail & website background music, legal music for YouTube, on-hold music, and other business music applications. Our production music library has nearly 10,000 high-quality tracks and new royalty-free music is being added every day. MusicRevolution.com offers four purchase options for customers-- single tracks, CDs, subscriptions and our innovative Internet music stream. As an online marketplace, Music Revolution provides professional and aspiring musicians with the opportunity to license their production music while learning from and collaborating with the best in the music community.

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Adobe Audition for the Mac Available in Public Beta

Adobe Systems Incorporated (Nasdaq:ADBE) today announced that a public beta of Adobe® Audition® for the Mac, the all-in-one professional audio toolset for recording, mixing, editing and mastering, is now available on Adobe Labs.

Adobe Audition for the Mac is based on a new underlying architecture, and offers a flexible audio editing environment for fine tuning single files or creating multi-track mixes. It also delivers sophisticated audio sweetening tools, enabling users to quickly transform problem recordings into usable soundtracks. By offering Adobe Audition on both Mac and PC platforms, Adobe is providing audio editors and video professionals with more choices for audio production. Adobe encourages creative professionals to download the public beta so they can explore the product and provide the product team with their feedback, at http://www.adobe.com/go/audition_labs.

“We are fortunate to have a strong community of audio professionals who have helped us shape Adobe Audition into an incredible application,” said Jim Guerard, vice president and general manager for Dynamic Media, Adobe. “By trying out the public beta of Audition for the Mac, you’ll be providing valuable input so we can deliver the best final product possible. Adobe Audition for the Mac is another example of Adobe delivering on our mission to provide industry leading, cross-platform content creation tools for creative professionals.”

Key features in Adobe Audition for the Mac include a fast new audio playback engine, native multi-channel support for 5.1 surround sound for professional results, noise reduction and restoration capabilities, and new audio effects including de-hummer, de-esser, and volume leveler.

“At KPFK, we broadcast a mix of news, music, interviews, live bands and events – and pristine audio quality is a must,” said Ali Lexa, program producer and Web director, KPFK Radio. “Audition is currently the go-to audio tool at the radio station and we’re thrilled it is now available on the Mac. This is the fastest version of Audition I’ve ever used, packed with new features, smoother scrubbing and the ability to open and import files in the background while still working on my project. We really like the real time effect stacking, the extended automation and the ability to do quick bounces in the multi-track editor. Adobe really struck the right balance between performance improvements and feature enhancements in this version which is definitely going to help us cut down on a lot of stress when we're racing the clock to get a show to air.”

“I’ve always wanted to use Audition because of its great set of audio sweetening and restoration tools, especially when working with video,” said Joost van der Hoeven, audio-visual designer at Animotion.nl. “Now that Audition is available on the Mac, I’m looking forward to using the software when producing my upcoming projects.”

Pricing and Availability

A beta of Adobe Audition for the Mac is available on Adobe Labs today providing Mac users with a preview of Audition's powerful, cost-effective professional audio editing environment. Customers can download it now at: http://www.adobe.com/go/audition_labs.

Adobe Audition 3 is available for Windows today for an estimated street price of US$349 for the full version, with upgrades available from an estimated street price of US$99. Details are available at: http://www.adobe.com/products/audition


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Avid Unleashes Pro Tools 9—Breaks New Ground with More Creative, Flexible Options for Music and Sound Production

Avid® (NASDAQ: AVID) announced Pro Tools® version 9—a groundbreaking evolution of the industry’s most popular music creation and audio production solution. Leveraging a next-generation architecture, version 9 of Pro Tools offers customers the unprecedented choice to work with Avid audio interfaces, third-party audio interfaces, or no hardware at all when using the built-in audio capabilities of a Mac or PC.

This first-ever software-only option for Pro Tools delivers customers the most open, flexible and feature rich version in history, while also providing top professional features customers have requested. Also, new support for the Avid EUCON™ open Ethernet protocol now enables customers to expand control surface options to include Avid’s Artist Series and Pro Series audio consoles and controllers (formerly known as Euphonix® consoles and controllers).

Pro Tools customers—from the aspiring enthusiast to the professional—can now create sophisticated, great sounding mixes, whether they’re at home, on the road, or working in a large facility using an open, flexible workflow for enhanced collaboration and creativity.

Open, flexible workflows to work the way you want

Customers can design their workflow of choice using the new Pro Tools software-only configuration with their favorite Avid or third-party audio interface—or standalone—and with Avid Artist and Pro Series controllers. The benefits to users include:

  • Versatile workflow design options—Enables customers to work the way they want using Pro Tools as a software only tool, or with hardware options that include either a variety of Avid audio interfaces for an Avid-advantaged workflow, or third-party audio interfaces as a result of new Core Audio and ASIO driver support.
  • EUCON support—Delivers more hands-on mixing options to customers using the new Pro Tools software offering or Pro Tools|HD systems with the ability to deeply control Pro Tools through EUCON integration using any Artist Series or Pro Series audio controller or console, in addition to Avid and third-party audio control surfaces.

More creative options with coveted, professional features now included as standard

As a result of customer requests, many high value features formerly available as add-ons are now available right out-of-the-box, including:

  • Automatic Delay Compensation—Equips customers using version 9 of Pro Tools with the ability to create better sounding mixes faster. Users can now mix and record with increased alignment and phase accuracy, without the need to manually compensate for latencies from hardware I/Os, internal and external routing, and plug-in algorithm processing—the number one request on the Pro Tools IdeaScale User Forum.
  • More audio tracks and busses—Allows customers to create more elaborate music and audio productions, with support for 96 mono or stereo voices in the new software-only version of Pro Tools (192 voices with Pro Tools HD systems), 256 internal busses, and 160 aux tracks.
  • Advanced production toolset—Gives customers access to standard professional tools in version 9 of Pro Tools to create more polished mixes out-of-the-box. Users can analyze and adjust timing across multiple tracks for tighter rhythm with the built-in multi-track Beat Detective™ module, improve organization and asset sharing with the DigiBase™ Pro file management tool, and save time with full Import Session Data dialog.

Collaborate with other audio and video software users more easily than ever

A series of audio for picture enhancements provides customers with the ability to easily collaborate with other audio and video software users, including:

  • OMF/AAF/MXF interchange and MP3 export—Provides customers with simplified session and file exchange between applications.
  • Built-in Time Code Ruler—Enables customers to achieve greater accuracy when syncing audio to video in post production (software only configuration of Pro Tools).
  • Updated 7.1 surround panner—Allows customers to more easily mix multichannel surround for full film sound production.
  • New variable stereo pan depths—Equips customers with authentic and precise track panning capabilities to achieve analog-console feel.

What customers are saying

  • Ulrich Wilde, producer and engineer for bands including Dethklok, Pantera and the Deftones, said: “One big thing about Pro Tools being an open platform is that I won’t have to run two systems anymore. Right now I have a dedicated Pro Tools system and a dedicated Apogee system and I have to reboot with one or the other—now I can save space and time toggling between them. EUCON support is also huge for me as I’ll be able to integrate Pro Tools into my studio workflow, which is based on Logic using an Artist Series controller.”

  • According to Lyle Workman, composer for films such as The 40 Year Old Virgin and Knocked Up, and guitarist for performers including Sting, Beck and Shakira: “I can't think of a reason why someone wouldn't want to work in Pro Tools—it’s for the person who's getting started, yet it’s for the person in my world. It provides all of the advantages of smaller systems, yet works from my studio to the music editor's room to the stage. It's incredibly convenient that there are no cross-platform issues. It's just Pro Tools from soup to nuts!”

  • Jesse Keeler (aka JFK), artist and producer for MSTRKRFT, said: “The one barrier to total productivity for me while traveling has always been the lack of Pro Tools session portability. But now that Pro Tools is available as a software only package, Avid has made it so the same session can be worked on anywhere. For me, this feature alone is priceless.”

Pricing and availability

Version 9 of the new Pro Tools and Pro Tools HD software will be available worldwide on November 12, 2010 starting at $599 USD. For regions outside of the U.S., please see your local retailer for pricing. For more information on features and availability, visit: http://www.avid.com.

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Blackmagic Design Updates Mini Converter Software with Closed Captioning and Canon 5D Support

Blackmagic Design Inc. today announced a major new update for its Mini Converter UpDownCross and Mini Converter HDMI to SDI. The new Mini Converter software update includes the addition of closed captioning support and seamless integration into the Canon 5D MKII workflow.

The addition of closed captioning support gives broadcasters the ability to improve consistency and overall quality of closed captioning when performing up, down or cross conversion at 59.94 Hz rates. When used with Mini Converter UpDownCross, broadcasters can be assured that closed captioning information is consistent with output standards. The update supports EIA-608 for SD-SDI and EIA-708 for HD-SDI standards for NTSC and ATSC closed captioning, and is an elegant and affordable solution to broadcasters working in both SD and HD!

Support for Canon 5D workflows was a growing request by broadcasters and post professionals as the use of Canon’s 5D MKII DSLR camera has increased in popularity and the need to monitor media taken with the camera has grown. With the Mini Converter HDMI to SDI, customers have two SDI outputs where signals can be looped out of a single monitor to multiple monitors. Now, cameramen, directors and lighting and audio techs can all have their own monitor instead of crowding around a single camera’s LCD screen or single HDMI monitor!

With the addition of the new features, both broadcast and post professionals can improve SD and HD workflows through Blackmagic’s affordable models of mini converters. Blackmagic now offers nine Mini Converter models, which include the world’s only mini converters with auto SD/HD switching, redundant input, AES/EBU and analog audio on standard 1/4 inch jack connections, combined with advanced 3 Gb/s SDI technology.

The award-winning Mini Converter UpDownCross is the most recently introduced member of the Blackmagic Design Mini Converter family. Mini Converter UpDownCross provides an easy way to convert between SD and HD video formats as it includes a full up, down and cross conversion, as well as full NTSC/PAL standards conversion. Mini Converter UpDownCross works at the highest 10 bit SDI video quality, with superior multi tap image filtering and processing.

"Our Mini Converter models are designed to solve the everyday problems post and broadcast professionals face when building an SDI studio. This software update solves the problems of syncing closed captioning when performing up, down and cross conversions, and dramatically improves the Canon 5D workflow -- two of the main features our customers have been requesting," said Grant Petty, CEO, Blackmagic Design.


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All-New Juice Drops Collection Two - Layered Photoshop Backgrounds

Digital Juice® announced the release of Juice Drops® Collection Two: shadedRESULTS, the second in a series of new and expanded layered Photoshop® graphics collections. In this Collection Two, artists will find an impressive library of hand-drawn and painted backgrounds, many of which use textures to achieve depth, contrast and visual interest. "The textures add a unique depth and create that cool gritty look people are looking for nowadays," says Jacqui Dawson, Senior Creative Director at Digital Juice. "What's even cooler though, is that you can choose to turn these textured layers off and you still have a beautiful illustrated background with a softer, more corporate feel."

In Collection Two: shadedRESULTS, artists will find over 400 stylized backgrounds and illustrations that are aesthetically pleasing and conveniently organized into 36 useful themed categories such as Culture, Concept, Emotion, Material, People, Music, Industry, Nature, Food & Drink, Sports, Entertainment and Season, to name a few. The range of artistic styles used to render these illustrations includes Watercolor, Sketch, Airbrush, Crayon, Pen & Ink and more.

"More and more, our customers are realizing how useful these backgrounds are for more than just Print Design," says Dawson. "People are excited about the possibilities for animating Juice Drops image layers for Motion Design and Video productions as well."

What are Juice Drops?
The Juice Drops Collections are libraries of royalty-free layered backgrounds and illustrations that are completely customizable. Described as "Art You Take Apart" each background is a finished complete graphic, often designed with text in mind, and delivered with all the original layers intact for easy customization for any type of design use - from billboards to web pages, from motion graphics to print advertising and packaging applications. Artists can use the graphics flattened in their original composition or they can mix and combine layers from different backgrounds to create new and unique looks.

The Juice Drops layered Photoshop files are at least 20"x11.25" at 300 DPI so even the smallest element is shown in great detail. Each individual Juice Drop image contains an average of 10-20 layered elements so designers can tweak, delete, rearrange, colorize, scale, mix and add layers as needed. Video editors and motion graphics artists can use Juice Drops as full screen backdrops or as scrolling and panning backgrounds to support other motion elements. They can also take individual layers from the illustrations to animate and use as hero elements in show opens or promotional spots.

Browse, Search & Select
Digital Juice® provides a free Windows® and Mac® utility, Juicer 3, that makes it easy to browse, search, and select from any of the Juice Drops Collections. Juicer 3 layered preview technology allows users to preview the layers within the Juicer 3 browser without having to load the full resolution file into Photoshop® to see the layers. In addition to using the layered Photoshop® files right off the disc, Juicer 3 technology allows users to render an image from disc to hard drive into most major file formats including JPEG, PNG, TGA, TIF, PSD, and BMP.

Pricing & Availability
The new Juice Drops Collection Two: shadedRESULTS can be ordered through Digital Juice's online store (www.digitaljuice.com) or by calling the company's customer service center toll-free at 800-525-2203. Individual collections retail for $349.95 each but can often be purchased in special promotions for as much as 40% off. Check the website for details on specials. The company's free Juicer 3 software can be found at www.digitaljuice.com/juicer/

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