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Information Today, Inc.

November 18, 2010

Table of Contents

Gateway Crashing: A Look Behind the Curtain at IN[FOCUS] 2011
New Singular Software PluralEyes Release Adds Support for Sony Vegas Pro 10
Digital Juice Releases New Production Bag in Gear Product Line
NVIDIA Quadro Delivers NVIDIA Fermi Architecture to the Mac Pro
Pond5 Unveils AE Formats & Hot Trends in Stock Video
CineForm Teams Up with AJA to Deliver Stereo 3D Workflow Support for New KONA 3G

Gateway Crashing: A Look Behind the Curtain at IN[FOCUS] 2011

IN[FOCUS] 2011For many EventDV readers, summer is wedding and WEVA Expo season, with all the excitement and frenzied activity that come with them; this fall brought POSH, the first all-women event filmmaking gathering; and this winter, all eyes will be on New Orleans, as Team IN[FOCUS] unveils their second annual educational event for event filmmakers, IN[FOCUS] 2011. While some details of IN[FOCUS] 2011 have yet to be revealed at this writing, the organizers have announced several key elements of their plans, including location, dates, and pricing—the Royal Sonesta Hotel in New Orleans' French Quarter, January 23-26, 2011—opened registration on their website ($525 until the early bird special ends November 25, and $595 thereafter), and posted the lion's share of their speaker roster. "Headliners" include concept-film phenom Kevin Shahinian of Pacific Pictures and NFL Films cinematographer of record Patrick Moreau of StillMotion, as well as a third keynoter who will be announced in the next 2 weeks. Rounding out the program are an array of acclaimed event filmmakers including Imagique's Daniel Boswell, Northernlight Filmworks' John Moon, Studio+Z's Steve Zugelter, Life Stage Films' Matt Davis, Pennylane Productions' Adam Forgione, Godfather Films' John Goolsby, and David Perry Films' David Perry.

Of course, you can learn all that from a quick visit to infocusvideoevent.com, where you can also find cryptic hints at presentation topics and how they relate to IN[FOCUS]' "Gateway" theme, and more detailed information on the educational mission of IN[FOCUS] as defined by co-founders Chris P. Jones, Don Pham, Terry and Joe Taravella, and late, lamented industry icon Julian St Pierre. But what exactly is "The Gateway" as defined by Team IN[FOCUS], and how does it relate, conceptually, to IN[FOCUS] 2011, and to the event organizers' "survive, thrive, and serve" educational mission?

The Gateway theme begins with the location, drawing on the history of New Orleans as a commercial and cultural gateway throughout its rich history. (More on that can be found on the IN[FOCUS] website.) But the essence of the Gateway theme, it seems, as it relates more specifically to IN[FOCUS] attendees, is to give event filmmakers a sense of themselves as crossover artists who can pass freely and profitably from one commercial filmmaking genre to another, without ever, necessarily, abandoning the event world in which they've cut their teeth. "One sign of the times in technology and in filmmaking is that the lines are blurring between different types of filmmakers, and someone can cross over from doing weddings into commercial work or broadcast work or feature film work, or vice versa," says Chris P. Jones. "If we're able to achieve a level of excellence in shooting weddings, and then parlay that into getting noticed, to doing even bigger and better weddings, or commercial work, or other type of event documentation, broadcast work, then it behooves us to analyze all the components of what makes our wedding business successful, and to see how, as we seek excellence in all these components of our business, that excellence can to benefit us even more, as other opportunities come our way," he explains.

One thing all of the presenters at IN[FOCUS] 2011 will have in common, Jones says, is a track record of success in wedding filmmaking as well as in other areas of production, such as commercial, promotional, or corporate work, and lessons to teach in business and in "the business of creativity." Drawing on their success in areas beyond weddings, the presenters are all equipped to communicate how their successes in branding, marketing, shooting and more as wedding filmmakers have "benefited them as they've gone to do different types of projects, and how achieving excellence on these levels has caused them to get noticed by people who are looking for people to do a certain type of project. And it just so happens that the person they run across who has the vision and the style and the business model [to match their project] happens to be a wedding filmmaker."

Jones hastens to note that the "gateway" is not a departure from weddings, just an open door to expand the repertoire of filmmakers who have had their first successes with weddings. The successful wedding filmmaking business itself, Jones says, can serve as "the gateway for these other opportunities."

The thread that runs through much of the program, Jones says, will be a progression in the presentations from a discussion of the elements of each presenter's wedding business that have made them successful, leading to an explanation of how those elements have benefited them in other areas. For example, Steve Zugelter, who will be speaking on branding, might say, "Branding myself as a sophisticated, high-end wedding filmmaker, when I go and shoot a wedding, I am also branding myself to everybody who comes in contact with me as a professional, no matter what I'm shooting. So I have received corporate jobs and other types of jobs because people saw me not just as a wedding filmmaker, but as a professional. It's in the way I present myself, it's in the way I dress, it's in the way I interact with people and the quality of the work that I produce and show them in a same-day edit."

These types of themes-how to succeed in weddings and then translate that success into areas of business beyond weddings-will populate the "narrative arc" that runs through the program. The three-day schedule will consist of a series of 90-120 minute sessions, followed by a keynote session running 2:30 to 3 hours.

The week will kick off unofficially with some optional a la carte Sunday seminars, including presentations by keynoter Patrick Moreau and by California-based photographer/cinematographers and DSLR experts the Bui Brothers.

And as with any filmmaking conference where the majority of presenters are working partly or exclusively with DSLRs, and some of the presenters would be classified as photographers first, the question of where photography fits in remains an ever-present one. "We are admitting the fact that photography exists and that video companies can benefit by learning it," Jones says, "so we're having a lighting workshop to learn photography on Sunday, and we will have some other speakers who will touch on how we can use DSLRs. We can learn photography and either use it to enhance our videos, or to sell small photography packages, too."

Jones notes that although there will be no photography-specific presentations during the wek, expanding one's horizons to sell photography packages will be a key component of Daniel Boswell's seminar. "Daniel has a unique position in that he has come from the video world into photography, so he knows the mistakes and the habits that a videographer is going to make when jumping into photography. He's got a real relatable approach, and I don't think there's anybody out there who couldn't benefit from learning how to take better photos, whether it's just for a little point-and-shoot, to make their DVD covers, or if they also want to start offering photographic packages to build up their business too. So running an excellent wedding video business, is also a Gateway to branching off into photography. Why should the photographers add video, and have that exclusively?"

While it's exciting to talk in lofty terms about expanding your artistic reach, extending your brand, diversifying your offerings, and so forth, many videographers are dealing with more basic questions now, such as how to get started and how to survive. And with IN[FOCUS]'s "survive, thrive, and serve" mission, Jones says there will be plenty in the IN[FOCUS] 2011 program to address the needs of the videographer in survival mode as well as those just breaking into the business. "Starting a business is like being a sea turtle," he says, "hatching, making it to the sea without getting eaten. We are looking to provide seminars that cover the business aspects, shooting aspects, and the technological aspects of this new world of marketing and business that we live in, so that somebody can come and get up to date on technology, on art, and on business, and be able to survive, whether their business is in its infancy, or whether it's recovering from bad economic circumstances, or survive because their business has not evolved over the last ten years," he says.

Jones says IN[FOCUS] is also designed for studios looking to build on existing successes-"people who want to become better shooters, better editors, and to develop a sustainable business, so that, in three to five years, they're not out of business, because of their backlog, or because of becoming burned out, because they do all the work."

That's where business-oriented seminars from Matt Davis, speaking on sales and staffing, and John Goolsby, speaking on branding and sustainability and moving beyond the one-man-band syndrome, come in. "We want to take people who are at this stage of development-they've developed a nice-looking product, but they really want to turn that product into a business that goes beyond just their ability to produce it. And then, of course, we're looking for people who are wanting to become leaders in the industry, and to take what they've learned and go back and serve their local videographers, whether it's through PVA or DSLR meetup. They realize that their success is built, not just on the efforts that they put in, but on the efforts of other people who have passed along knowledge, time, and mentoring, want to give back to the videographer community and the community at large like Matt Davis."

And what about the risks of casting so wide a net? "I don't think we're going to go over anybody's head with the technical side of the seminars, because most of our presentations will be primarily about business, and even the business of creativity. And these are topics and subjects that anybody can listen to and make judgments themselves: Is this useful information, is this information I can implement? They can synthesize the information and implement the information, but it's not going to be so specific that a person decides, ‘I'm never going to do this.' You're always going to have to think about your branding, you're always going to think about your marketing, you're always going to have to think about your budgets and your sales process and your web presence, and marketing to women and all these things. So nobody who comes," he concludes, "no matter where they are in their business, will be lost in the jargon of techspeak. But they will be challenged."

Stephen Nathans-Kelly (stephen.nathans at infotoday.com) is editor-in-chief of EventDV.

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New Singular Software PluralEyes Release Adds Support for Sony Vegas Pro 10

Singular Software, developer of workflow automation applications for digital media, is pleased to announce that its flagship product PluralEyes® is now available for Sony® Vegas® Pro 10. The recently released Sony Vegas Pro 10 editing suite contains a variety of groundbreaking enhancements including a fully customizable workspace, stereoscopic 3D editing capabilities, updated audio controls, native support for professional camcorder formats, Blu-ray Disc authoring options, and more. "The Singular Software development team is consistently working to bring PluralEyes users quick compatibility for the newest versions of the industry's most popular non-linear editing systems," says Bruce Sharpe, CEO, Singular Software. "The newest Vegas Pro release from Sony is no exception - there are a variety of superior enhancements that are continuing to stir up industry buzz. We want to make sure Version 10 users are able to leverage all of the same synchronization benefits that PluralEyes has to offer."

The multi award-winning PluralEyes, with added support for Sony Vegas Pro 10, provides users with all of the same unique product features for managing multi-camera, multi-take, and dual-system audio productions. PluralEyes for Sony Vegas Pro 10 feature highlights include several options to sync from scratch or update sync with additional clips. "PluralEyes is well known among Vegas Pro users as the must-have tool for anyone working with dual-system sound and or multiple cameras," says Dave Chaimson, VP of Worldwide Marketing, Sony. "Vegas Pro 10 has a host of new features, including stereoscopic editing capabilities. We are happy that PluralEyes has extended support for Vegas Pro 10, and are excited that users - whether working with SD, HD, DSLR and even 3D footage - can now all leverage its innovative technology for that perfect sync."

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.

Recently honored with DV Magazine's "Award of Excellence"; those that have reviewed PluralEyes continue to sing its praises. Director/Producer/Editor, J.R. Bookwalter, says: "[PluralEyes] will spare you from the tedious and time-consuming nightmares of syncing your footage and will let you get down to the business of doing what you do best: Editing your clips and getting paid. Can you afford to put a price tag on that?"

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

PluralEyes for Sony Vegas Pro 10 Availability and Pricing
PluralEyes for Sony Vegas Pro 8.0c or later (32-bit) and 8.1 or later (64-bit) is available for Windows® XP®, Vista®, and Windows 7®. Users can purchase PluralEyes via the Singular Software website for $149 USD.

To download PluralEyes, please visit: http://www.singularsoftware.com/downloads.html.

Other PluralEyes Versions
PluralEyes for Adobe® Premiere® Pro (Windows® and Mac® OS® X), Final Cut® Pro, and Avid® Media Composer® (beta) is also available via 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.

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Digital Juice Releases New Production Bag in Gear Product Line

Digital Juice® announced the release of the Production Bag, a new addition to its rapidly expanding line of gear protection and transport equipment. The Production Bag offers purposeful, organized and contemporary-looking storage and protection for any and all types of broadcast, video or still camera gear and accessories. The high-quality materials, rugged construction, ease of use and 33 compartments of reconfigurable utility space make it an essential part of any production kit.

"We designed the Production Bag with the same sharp and professional look as our Topload Camera Bags," says Viv Beason, President of Digital Juice. "I am confident that the fit and finish of this new Production Bag will outshine and outperform any bag on the market today!"

While weighing on a par with (or lighter than) other leading industry bags, the Digital Juice Production Bag is engineered without compromise on quality. The durable lightweight plastic-reinforced frame provides flexible and stable protection in an easy-to-carry profile and allows the bag to be safely stacked or stored on top or under other bags without risk of damaging the gear inside. The easy access horizontal topload lid is fully reinforced just like the frame of the bag. It can be zippered shut for transport, or held firmly closed with just Velcro on set. "When you need something, it is easy to get to; when you are busy shooting, dirt, water or other debris can't easily get in to damage your equipment," says Beason.

Inside the bag, four reconfigurable Velcro-attached pouches and a sizable main compartment allow for the transport and protection of a wide assortment of gear, keeping it organized so it won't move around in the bag while protecting it from the knocks and shakes of constant travel. The two larger pouches can accommodate gear such as headphones, microphones, cables, tape, LCD monitors, audio recorders, lenses and grip clips while the two smaller slimline pouches hold filters, memory cards, lens wipes and other small accessories that are important on a production shoot.

Feature Highlights
• The 5mm plastic sun board used to reinforce the base and top zippered lid is impact resistant and free from heavy metals. It provides lightweight, sturdy protection, additional water resistance and stackability. When combined with the bag frame's 3/8" closed cell foam padding, it insures your gear will be well protected.
• The four Velcro-attached interior pouches provide soft reconfigurable protection and organization for your gear. Each pouch has a different configuration of utility pockets so you can keep any type of accessory from moving around within the bag, while protecting it from the elements and from damaging your other gear.
• The sturdy reinforced horizontal topload flap lid unzips, opens wide and folds back out of the way for easy access to the contents of the bag.
• The bag exterior is constructed and sewn with sturdy nylon thread, rugged waterproof nylon fabric, thick nylon web straps, heavyweight YKK zippers, strong woven nylon cord pulls, and soft suede handle grips.
• The bag features two different carry options: a quick-release double stitched padded suede shoulder strap and -- a first for a premium line production bag -- detachable top carry handles.

• Thirty-three storage compartments allow ample space for lights, filters, lenses, batteries, hard drives, cables, monitors, mics, media cards, headphones, notebooks, tapes and much more.

Horizontal Topload Production Bag
Exterior Dimensions: 13" x 22.5" x 11" (33cm x 57cm x 28cm)
Interior Dimensions: 9.5" x 20.5" x 9" (24cm x 52cm x 23cm)
Weight: 11 lbs (5kg)
Weight Capacity: up to 35-40 lbs (16-18kg) recommended

Pricing & Availability
The new Production Bag 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. The Production Bag retails for $349.95. Check the website for details on special offers.


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NVIDIA Quadro Delivers NVIDIA Fermi Architecture to the Mac Pro

NVIDIA announced today the expansion of its award-winning line of NVIDIA® Quadro® professional graphics solutions to the Mac platform, bringing the computational and visualization breakthroughs enabled by NVIDIA Fermi architecture to Mac Pro users.

For professional users operating on Mac OS X Snow Leopard, this means the wait is over. The NVIDIA Quadro 4000 graphics processing unit (GPU) for Mac is optimized to accelerate workflows and drive a range of top professional applications. For example, the Adobe Mercury Playback Engine in Adobe® Premiere® Pro CS5 software leverages NVIDIA CUDA™ parallel processing technology to enable film and video professionals to work unconstrained. Other examples include visual effects and image processing applications from The Foundry, including NUKE and STORM, and MATLAB from MathWorks.

“Adobe Premiere Pro CS5 and the Adobe Mercury Playback Engine, accelerated by NVIDIA Quadro GPUs, have redefined the non-linear editing workflow, delivering huge productivity gains,” said Ginna Baldassarre, senior product manager at Adobe. “Adobe looks forward to working with NVIDIA to help more Mac users reap the benefits of real-time performance and the ability to create compelling, multi-layer projects with multiple HD or higher resolution video clips, all while instantly viewing results.”

The Foundry is a leading developer of visual effects software for film and broadcast.

“The Foundry's software has been used to help create visual effects for many Hollywood blockbusters, including ‘Avatar,’ ‘Alice in Wonderland,’ ‘Harry Potter,’ ‘Iron Man,’ ‘Star Trek,’ ‘District 9,’ ‘2012,’ and ‘Transformers,’” said Bruno Nicoletti, Founder and CTO, The Foundry. “The Quadro 4000 is a powerful GPU blockbuster for the Mac.”

MathWorks MATLAB is a high-level technical computing language and interactive environment for algorithm development, numeric computation, data analysis, and data visualization, all of which benefit tremendously from fast double precision, a unique Quadro 4000 GPU for Mac feature. Graphics features, including 2-D and 3-D plotting functions, and 3-D volume functions required to visualize engineering and scientific data, are available in MATLAB.

“The visualization features in the Quadro 4000, coupled with GPU-accelerated computation for algorithm development and deployment with MATLAB and Parallel Computing Toolbox, are a powerful combination of capabilities for the Mac platform,” said Silvina Grad-Freilich, manager of parallel-computing marketing, MathWorks. “We are pleased that our Mac users will be able to leverage Fermi-grade computational performance in their applications.”

The high-end NVIDIA Quadro 4000 GPU for Mac, with 256 NVIDIA CUDA processing cores and 2GB of fast GDDR5 memory, delivers exceptional graphics performance across a broad range of design, animation and video applications. With new NVIDIA Scalable Geometry Engine technology, the Quadro 4000 for Mac can process up to 890 million triangles per second¹, enabling professionals to design, iterate and deliver higher quality results in less time.

The Quadro 4000 GPU for Mac also provides additional display flexibility through a DisplayPort and a DVI-I (Dual Link) connector built into its bracket, and a 3D stereo bracket for optimal stereo connection to the system. A DisplayPort to mini-DisplayPort cable is also included to enable mini-DisplayPort only Apple displays. Additionally, users can enable up to four high resolution displays from a single Mac Pro using dual NVIDIA Quadro 4000 for Mac boards.

The NVIDIA Quadro 4000 GPU for Mac enables dramatic increases in computing performance. Minimum system requirements include Mac OS X v10.6.5 or later with MacPro3,1 (early 2008), MacPro4,1 (early 2009), or MacPro5,1 (mid-2010). The Quadro 4000 processing unit for Mac is designed, built and supported by NVIDIA to provide best in class performance, reliability, compatibility and stability with professional Mac applications. NVIDIA and its ISV partners believe it’s the right choice in providing the dependability that video production and graphics professionals require.

Availability and Pricing
The Quadro 4000 GPU for Mac ($1,199 MSRP, USD) is available this month at Apple.com, select Apple resellers and system integrators, and from authorized distribution partners including: PNY Technologies in the Americas and Europe, ELSA in Japan, and Leadtek in Asia Pacific.

To learn more, visit: http://www.nvidia.com/quadro


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Pond5 Unveils AE Formats & Hot Trends in Stock Video

Pond5, the world’s premier online marketplace for stock media, today announced it has added Adobe® After Effects® project templates to its existing collection, which includes the web’s largest selection of royalty-free stock video footage, and a full range of sound effects and production music.

Now, After Effects users can save precious production time by tapping into Pond5’s cache of high-quality motion graphics templates and easily customizing them for a truly unique, professional-level end product.

For many After Effects motion graphics artists, meeting customer demands for a high-quality product in a short amount of time poses quite a challenge, especially since the creation of motion graphics is a time-intensive process requiring considerable skill. By downloading a Pond5 After Effects template and customizing it to meet their client’s messaging and branding requirements, users can sidestep these roadblocks to deliver a truly one-of-a-kind finished product on time.

The Pond5 After Effects collection is growing daily, and currently includes more than 140 dynamic templates to choose from, priced from $10 and up. A copy of Adobe After Effects software and a basic familiarity with it are all that are needed to use the project templates and deliver stunning, professional-level work.

After Effects projects benefits include:

  • Access to
    • a fast growing collection of high-quality, pre-made motion graphic templates that can be easily customized with users’ own text, graphics, video, audio and other elements
    • project files that cover a wide range of motion graphics needs, including advertisements, bumpers, show intros, credit sequences, video overlays and more

  • Ability to
    • search for, preview, purchase and download AE templates instantly and directly from the website
    • create one-of-a-kind, professional-level visuals, leveraging the tricks and techniques of the pros
    • dramatically reduce project time and cost


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CineForm Teams Up with AJA to Deliver Stereo 3D Workflow Support for New KONA 3G

CineForm®, Inc., creators of high-fidelity compression-based workflow solutions for the post production marketplace, announced today that it has teamed up with AJA to offer full stereo 3D workflow support for the newly launched KONA 3G card, the multi-format SD/HD/Dual Link/3G/2K video I/O hardware for Mac.

As part of this cooperative effort, AJA released updated version 8.1 KONA software which has added 3D video controls to the KONA 3G’s Control Panel software interface enabling direct ingest into, and playout of, CineForm 3D files, further simplifying production workflows for customers working with 3D content. During ingest, KONA 3G enables simultaneous real-time capture of separate left eye and right eye sources through HD-SDI – including sources previously recorded in stereo mode on HDCAM SR – directly into CineForm 3D files. Each individual eye is multiplexed together into a CineForm 3D file that is available for immediate editing with CineForm’s Neo3D software when used in combination with Apple Final Cut Pro, Adobe Premiere Pro and other compatible software applications. The new KONA software also adds support for recording and playout of CineForm 4:2:2 2D media.

The AJA KONA 3G card featuring support for CineForm Neo3D is available immediately.

“One of our primary goals with the KONA 3G was to deliver a solution that could handle just about anything our customers are dealing with today. Stereo 3D, and our ability to support it, is rising to the top of the list for many customers,” said Nick Rashby, President, AJA. “Through our collaboration with CineForm, our customers who wish to work with stereo 3D in post can eliminate the time consuming step of transcoding material after ingest and instead be ready to edit immediately when using CineForm Neo3D.”

CineForm Neo3D is CineForm’s award-winning 3D post production workflow solution that enables users to edit 3D projects in real time with full frame rate playback to an external 3D monitor. With CineForm First Light 3D as the enabling 3D workflow and production engine, Neo3D users are provided comprehensive control of the 3D image processing workflow.

The new AJA KONA 3G provides professional editors with the utmost in workflow flexibility, supporting a broad range of video formats including: 10-bit uncompressed video 3G/HD/SD SDI I/O, new HDMI 1.4a output for stereoscopic monitoring to consumer 3D displays, 8-channel AES digital audio I/O (16-channel AES with optional K3G-Box) and 16-channel SDI embedded audio I/O, real-time hardware-based up/down/cross conversion to support a range of SD and HD formats, dual-link HD, even 2K formats, a hardware-based downstream keyer and more.



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