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May 03, 2011

Table of Contents

Video Tutorial: proDAD VitaScene v2 Pro
Book Review: Stuart Sweetow's Corporate Video Production
The Company Image: Corporations Need Your Talents!
Adobe Now Shipping Creative Suite CS5.5
Boris RED Version 5 Now Available
Beta Program for Singular Software PluralEyes EDIUS Plug-in now underway
Sound Ideas Launches New General HD Sound Effects Collection

Video Tutorial: proDAD VitaScene v2 Pro

Back to Contents...

Book Review: Stuart Sweetow's Corporate Video Production

After Stu Sweetow and I agreed to terms on his new corporate video column, The Company Image, which kicks off this month, we started brainstorming titles. He immediately sent me a list of ideas he’d submitted as potential taglines for his just-published book from Focal Press, Corporate Video Production. The book team ultimately settled on the tagline Beyond the Board Room (and Out of the Bored Room), but the near misses that landed on the cutting-room floor will give you a great sense of what this well-wrought and richly informative book is all about:

• The Image of the Corporation Is in Your Hands
• Shooting the CEO
• Not Your Father’s Corporate Video
• A New Generation of Creativity in Corporate Media
• Corporations on YouTube (or Social Media)
• Corporate Events, Training and Marketing
• The Impact of the Internet on the Enterprise

The official relationship between corporate video and wedding video was traditionally an uneasy one. Wedding videography was creative but semi-pro in gear, budget, and attitude, said the conventional wisdom, and corporate videography was more respectable with its higher-end gear and better-defined pricing structure, but it was stiff, constrained, and programmatic in content.

If these stereotypes made some sense 5–10 years ago, they really don’t hold up well today, and, of course, the wedding videographer/corporate videographer dichotomy tends to obscure the fact that some of the most prominent filmmakers identified with the wedding world—Dave Williams, Ron Dawson, and Patrick Moreau—also ply their trade on the corporate side and do much (or most, in Dawson’s case) of their finest work in that arena.

Stuart Sweetow, a longtime contributor to both EventDV and WEVA’s magazines, has maintained a connection to the wedding and social event world through his writing while working primarily in other types of live event production and, particularly, the corporate world for the last quarter century. And while Corporate Video Production is not about wedding filmmakers succeeding in corporate video per se, it’s a terrific guidebook for filmmakers and videographers who have honed their shooting, editing, and business chops in other areas of professional production and who want to make inroads into the corporate world. And as Sweetow’s suggested taglines suggest, his book is very much about doing corporate work that leverages all the media that convey commercial messages most effectively in today’s business world.

Sweetow’s book begins with the telling line, “Corporate video has come of age.” He proceeds from there to discuss the ways that corporations are adapting to a Web 2.0 world and the way video productions and producers fit into those strategies.

The book kicks off with a series of concise case studies illustrating the breadth and range of projects afoot in the corporate video space. But for EventDV readers, the heart of the book will be found in subsequent chapters on how to establish yourself as an independent video production company in the corporate space; how to address specific areas of corporate video project development, including how to propose and budget corporate projects; how to assemble and manage production teams, develop scripts, and cast and direct actors; and how to handle legal considerations specific to corporate video projects.

Although Sweetow includes quite a bit of information on setting up a business that may be old hat for those who already have successful businesses but are looking to diversify them by adding corporate work, his section on Requests for Proposals and Requests for Qualifications addresses specific issues that probably don’t come up much in the wedding world, even if there are obvious parallels there.

Sweetow offers insight on the nitty-gritty of the proposal process that comes only with extensive experience booking and completing corporate projects: “Plan on including the resumes of the subcontractors you wish to hire, such as camera operator, sound recordist, and editor. … You probably will need to provide a copy of your city and state business licenses and a certificate of insurance. Some may even ask for your last three years’ tax returns! The proposal may require you to include a timeline for completion, and you may have to provide details of each of the processes you plan to undertake.” Sweetow also includes some sample proposals that essentially comprise their own chapter in the book, and they’re well worth it, although for readers who plan to read this book cover to cover, they might have been better located in an appendix.

Still, this is essential stuff, if not the kind of material that is likely to get you excited about the brave new world of corporate video in the online age. But the chapters on developing corporate projects from budgeting to scriptwriting to crewing, casting, directing, and producing ought to light a fire under anyone who takes the “filmmaker” part of “event filmmaker” seriously. Granted, we’re generally referring to vision and artistry when we differentiate documenting an event from creating a film from it, but if wearing all those filmmaking hats (or wearing some and delegating others according to semi-traditional film-crew division of labor) and participating in all the integral processes of producing a scripted, casted, and crewed film are among your filmmaking aspirations, Sweetow attests that opportunities abound in the corporate production world.

My favorite chapter sequence in the book includes the back-to-back “The Role of the Producer in Corporate Video” and “Directing Corporate Videos,” wherein Sweetow does a great job of explaining all the tasks that go with being the producer of a corporate project (planning to scripting to production), whether as an independent studio or part of an in-house team.

Then, in the directing chapter, he tells readers what they need to know and what they need to watch out for whether the on-screen “talent” they’re directing includes professional actors or employees of the corporation they’re serving. I was fascinated by Sweetow’s delineation of two different directorial styles, “creative” and “selective,” as they apply to corporate video. “The director who employs a ‘selective’ style lets the talent select their own interpretations of the script and create their own movements and other staging. Working together with the talent as a team, they review the program objectives as well as the demographics of the target audience. … The ‘creative’ director develops his own visualization of the script and directs talent to fulfill the director’s interpretation of how scenes should be performed. … A good creative director knows what concepts will work for the particular audience and can mold the video into an engaging and effective presentation.”

Especially informative is the section of the directing chapter called Shooting the CEO, in which he acknowledges that when working with top-level executives at a corporation, even directors who generally locate themselves in the “creative” camp will likely need to relinquish some control and play the “selective” role. “The director can be creative in producing a roll-in to the CEO’s section, determining B-roll shots to illustrate the CEO’s talk, and creating the set, backgrounds, and staging. In some cases the CEO may let the director make all the decisions, but in most cases the CEO and one of his or her assistants will want to call the shots.”

Sweetow goes on to note how different corporate cultures will often determine the vibe of a CEO interview—formal or casual—while in other cases, simply the age of the CEO will dictate the style. “One problem,” he notes, “could be the older CEO who wants to change his image and be ‘one of the guys’ or the young newcomer who wants a formal image despite his discomfort with that demeanor. Preproduction meetings with the executive’s assistant or the company’s public relations department can help you determine the best approach.”

This section also includes great material on setup and lighting, the likelihood of such interviews occurring on location rather than in the producer’s studio, framing issues and shot variation, wardrobe and makeup, and all manner of other details that should prepare any reader thoroughly for this phase of a corporate project. This is the kind of thing Sweetow does a terrific job on throughout the book.

Other highlights include a chapter on “Aesthetic Considerations” such as shooting and adorning your film in a way that reflects and complements a company’s branding, creative camerawork and motion, continuity, composition issues such as rule of thirds, greenscreen, as well as lighting and art direction and set design. Sweetow also includes a fine chapter on “Shooting and Editing for the Enterprise” that focuses primarily on cameras, camera support, and other production gear (touching on removable lenses, always a popular topic in these parts), audio (including issues with that pesky 700 MHz wireless spectrum), and working with light meters, monitors, and scopes, which are among the perks of working outside the run-and-gun event world. Sweetow also gets into postproduction processes and equipment in this chapter, sharing insight on video codecs and compression, hardware acceleration and its impact on editing, storage options, keying/compositing, filters and effects, multicam editing, and more.

Sweetow also includes sections on different types of applications for corporate video, such as training, conferences, and corporate meetings, and working with nonprofits (that is, doing for-profit work for nonprofits). But where Sweetow really delivers on his promise to discuss corporate video in the context of contemporary web-driven communications and marketing is in chapters on “Marketing and Social Media” and “Video Distribution.” As he points out at the outset of his YouTube for the Enterprise section, “Have you visited YouTube lately? It’s more than just human skateboards and iPhones in blenders. Corporations have embraced the home-brewed social network and are gaining customers without paying for airtime.”

So where do you, as an independent video producer marketing your services in the corporate world, fit into a marketing strategy centered around a site built on user-generated (i.e., amateur) video? Sweetow describes a range of applications corporations have developed for YouTube video, ranging from posting TV commercials from highly visible corporations such as Ford, Walmart, and AT&T to “narrow-casting” operations targeting specific markets, designed for the sort of community building you can do on YouTube via commenting and channel subscriptions but not on TV. Examples he cites include instructional videos from HP and REI, and a “Responsible Sports” series from Liberty Mutual. Sweetow also discusses the use of “Engagement Objects” (featuring interactivity) on corporate sites and video sharing possibilities via Facebook and Twitter. Event videographers and filmmakers who have found ways to leverage social network media in their own businesses could be great assets for businesses contracting them for video projects that are designed to do likewise.

Sweetow concludes the main content in the book with a comprehensive chapter on distribution that discusses numerous key technical aspects of streaming and on-demand video delivery, as well as videoconferencing and ways that these delivery methods are increasingly used in corporate video and video-driven internal communications. Sweetow highlights popular streaming codecs, affordable streaming appliances such as Digital Rapids’ TouchStream, and the intricacies of working with content delivery networks and virtual private network-enabled satellite distribution.

While this material may seem to pertain more to in-house production staff members than independent studios contracted for specific productions, it could prove to be vital information for any producer who develops relationships with corporations that are just beginning their forays into video-based communications and online delivery. What could be better in the corporate world than “getting in on the ground floor,” however virtual that floor may be?

Stephen Nathans-Kelly (stephen.nathans at infotoday.com) is editor-in-chief of EventDV and EventDVLive and programming director of EventDV.tv.

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The Company Image: Corporations Need Your Talents!

In his column in the March 2011 issue of EventDV, Chris P. Jones explained that a guest at a wedding that you film might want you to produce a video for her company. He added that she may want it yesterday and that she is ready to pay your full corporate rate.

So be ready to say yes to her, and be prepared with your contract forms and liability insurance. Corporations need your talents. The business world recognizes social media as a vital communications tool for marketing and public relations. Nearly every major corporation has YouTube and Facebook pages, and they are constantly seeking fresh and engaging content. Small businesses are the nation’s biggest employer. While you may get lucky and land a lucrative production contract at a large company, don’t overlook small businesses. Right in your backyard are mom-and-pop stores, restaurants, and other small companies that want to expand. They may or may not yet recognize how powerful a website or YouTube video can be. Your job is to educate them.

Many stores probably don’t have websites, but their owners have heard of YouTube. Show them some YouTube success stories, such as business videos that have gone viral. Write a guide to using YouTube, and give it to business owners. If you have no samples to show them, offer to make a video at no cost so you can have a demo.

Join or visit business groups in your area, such as Chambers of Commerce and Rotary Clubs. If you have a projector, give a short educational presentation at one of their meetings. Show these businesspeople that online ads are a cost-effective alternative to newspaper or radio advertising.

In addition to stores, service companies can benefit from videos. Lawyers can use a short video explaining trusts or wills. House painters can show the extensive preparation needed before painting. A grocer can demonstrate how to pick the best produce. An insurance agent can explain the need for disability coverage. Videos help boost Google page ranks, and potential customers may share the videos with their friends.

Bigger businesses are within your reach too. While small businesses are ubiquitous in your area, you may be hesitant to approach the larger corporations. Corporate marketing departments see social media as an avenue to greater brand exposure and more customers. However, they frequently get so bogged down in their own bureaucracies that they have to rely on outside contractors (you) to help them develop new projects (video).

Carry copies of your demo DVD and business cards everywhere you go. Practice your elevator pitch (a 30-second statement about the impact of video that could be communicated in an elevator ride, if that’s all the time you have to make your point), and be ready to give it whenever the opportunity arises. Business owners get invited to weddings. They’re found in checkout lines at stores, at sporting events, at health clubs, and, yes, at the golf course. Business takes place everywhere, and if you’re confident about your abilities as a video producer and you have perfected your elevator pitch, strike up a conversation and find a way to weave in your pitch at the appropriate moment.

Invest in yourself. Take a course or two in business, attend training workshops and conferences, hire a business consultant, and maybe even rent a small office. Develop your website, not only to showcase your talents but also to provide information that prospective customers want. This includes blogs on using social media for marketing, tips on what to wear on camera, and insight on how to incorporate photos and other visuals into a finished video. Learn about business finances. Hire a bookkeeper to track your income and expenses and make cash flow projections. Schedule lunches with prospective clients, successful video colleagues, and maybe your accountant or lawyer. A casual conversation over a meal can sometimes be more valuable than taking a class. You may even develop a mentor relationship that can help support your business in years to come.

I started my video production business after I was laid off from a staff position. My employer hired me back to produce a couple of videos, but after that I was on my own. I arranged meetings with as many people in the industry as I could find. Eventually, I found some colleagues with whom to start casual joint ventures. One was with another laid-off videographer; we developed a video production class. Later, a student in our class provided postproduction equipment for a small office that I rented. After my office mate left, I found another one who had a broadcast camera. We traded rentals of his camera for my editing suite. Over the years my business grew at a slow but steady pace.

I recently wrote a book titled Corporate Video Production (see Stephen Nathans-Kelly’s review). I spent a year researching and writing the book, and, in this column, I’ll share with you what I learned. We will also look at the myriad opportunities for freelance video producers, now that corporate videos have matured beyond the boring formats that used to characterize them.

We will discuss how your skills as an event videographer can be applied to producing videos for businesses. Corporations are moving their productions out of studios and on location, and they are using smaller cameras and laptop editors. If you’ve ever done a same-day edit, they’ll benefit from your nimble shooting and editing skills. Companies produce conferences and events that they need filmed or streamed live, and they can use your storytelling abilities to document their projects. Before long, you’ll be developing opportunities to apply your skills to produce exciting videos for the business world.

Stuart Sweetow (sweetow at avconsultants.com) is the author of the recently published book Corporate Video Production. He runs Oakland, Calif.-based video production company Audio Visual Consultants. He taught video production at UC Berkeley Extension, was associate editor of Wedding and Event Videography, and was a contributing editor to Camcorder & Computer Video magazine.

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Adobe Now Shipping Creative Suite CS5.5

Adobe Systems Incorporated (Nasdaq:ADBE) today announced the immediate availability of the Adobe® Creative Suite® 5.5 product family. Adobe Creative Suite 5.5 delivers important advances in HTML5 and Flash authoring, enabling designers and developers to create compelling content and applications. Creative Suite 5.5 products also feature significant innovation in the areas of video production and editing. Finally, Adobe Creative Suite 5.5 delivers exciting new capabilities in the exploding area of digital publishing. With Creative Suite 5.5 content authors worldwide can deliver high-impact work to multiple platforms, operating systems, web browsers, smartphones and tablets -- including Android, BlackBerry Tablet OS, and Apple iOS devices.

Mobile App Development and New HTML5 Capabilities Anchor CS5.5 For Web Designers and Developers

Focused on the latest wave of mobile devices, this release of Creative Suite gives web designers and developers a complete software solution that allows them to produce stunning HTML5 content in the browser and deliver high-impact mobile applications through sweeping advances in Flash tooling.

· Creative Suite 5.5 Web Premium Suite is packed with innovations in HTML5 and Flash authoring tools, empowering customers to create, deliver and monetize rich content and applications for virtually any screen. Designers and developers can create rich browser-based content across screens using HTML5. Adobe Flash® Professional CS5.5, Flash BuilderTM 4.5 Premium and the Flex® 4.5 framework allow users to quickly and easily develop, test and deploy high-performance mobile applications for Android, BlackBerry Tablet OS and Apple iOS.

Creative Suite 5.5 Kick-starts New Era in Digital Publishing

Over the last year Adobe and leading publishers, including Condé Nast and Martha Stewart Living Omnimedia, have worked to develop new digital publishing workflows based on Creative Suite and Adobe InDesign®. Creative Suite 5.5 will enable print publishers to create beautiful interactive publications on the latest tablet platforms.

· Creative Suite 5.5 Design Premium Suite builds upon Adobe's product innovations in publishing already deployed by some of the world's leading newspaper, magazine and business publishers to create print and stunning digital versions of their properties for the latest tablet devices. Using Adobe InDesign CS5.5, in combination with the integrated Folio Producer toolset, designers can add new levels of interactivity to their page layouts targeted at tablet devices. Adobe today also announced the immediate availability of the Professional Edition of Adobe® Digital Publishing Suite, a turnkey solution that includes hosted services and viewer technology that allow publishers to cost-efficiently publish content to Android tablets, BlackBerry PlayBook and Apple iPad (see separate release).

In addition to advances in mobile authoring and digital publishing, Creative Suite 5.5 Production Premium Suite delivers video and audio professionals breakthrough performance, workflow improvements, creative innovations and powerful new audio editing capabilities that build upon the huge customer momentum Production Premium is experiencing with broadcasters, filmmakers and video professionals worldwide.

Introducing the Complete Creative Suite 5.5 Product Family

The new Creative Suite product lineup is headlined by Adobe Creative Suite 5.5 Master Collection, which includes, in a single package, all of Adobe's industry-defining creative tools, such as Photoshop®, Illustrator®, InDesign, Acrobat®, Flash Builder Premium, Flash Catalyst®, Flash Professional, Dreamweaver®, Adobe Premiere® Pro and After Effects®. These products are available separately or as components of one or more of the five Creative Suite editions. The complete Creative Suite 5 lineup includes Creative Suite 5.5 Master Collection, Creative Suite 5.5 Design Premium, Creative Suite 5.5 Web Premium, Creative Suite 5.5 Production Premium and Creative Suite 5.5 Design Standard.

Quotes

David Wadhwani, senior vice president and general manager, Creative and Interactive Solutions, Adobe

· "Adobe is leading the charge for HTML5 authoring with new capabilities in Creative Suite 5.5 that will radically enhance the delivery of HTML content across multiple browsers -- on the desktop, tablets and smartphones. For creators of mobile apps on iOS, Android or BlackBerry Tablet OS, our latest Flash tools deliver stunning high-performance apps, without having to start from scratch for every device."

Jesse Redniss, vice president, Digital, NBC Universal/USA Network

· "USA Network offers viewers more than passive television programming, we offer multiscreen experiences that engage viewers on TV, online, and on mobile devices. Adobe Creative Suite 5.5 Web Premium helps us quickly and easily create fun gaming apps and second-screen app experiences for Android and iOS devices that give fans more opportunities to engage with USA Network and the characters and programs they love."

Eric Snowden, vice president of Creative & Technology, Atlantic Records

· "For Atlantic Records, having a presence that fans can experience across multiple devices is key to our digital strategy. We're thrilled by the new capabilities we're getting in Adobe Creative Suite 5.5 and the ability to bring our artists to the widest possible audience."

www.adobe.com

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Boris RED Version 5 Now Available

Boris FX, the leading developer of integrated effects technology for video and film, today announced that Boris RED Version 5 is now available. Boris RED is a plug-in application for transitions, professional text, and advanced composites inside Adobe, Apple, Avid, Grass Valley, Media 100, and Sony video editing software. Boris RED 5 introduces support for 64-bit applications such as Adobe Premiere Pro CS5 and After Effects CS5, adds 60+ new filters, and provides a score of new user interface and workflow enhancements.

"Boris RED v4 is our go-to tool for professional text and compositing in our post production video edit bays," commented Michael Held, Post Production Manager, Starz Entertainment. "We are looking forward to RED v5.”

Boris RED 5 New Feature Highlights
  • Support for 64-bit Video Editing Applications. Boris RED 5 adds new support for Adobe CS5 under 64-bit Windows operating systems. Free forthcoming software updates will add support for Sony Vegas Pro 10, Grass Valley EDIUS 6, and Adobe CS5 for Mac.

  • 40+ Filters from Final Effects Complete. Boris RED 5 includes 40+ filters from the legendary Final Effects Complete VFX plug-in collection. Newly-added designer effects and transitions include Mr. Smoothie, Ball Action, Bubbles, and Wiggle Edges.

  • High-quality Image Restoration Tools for smoothing and softening skin imperfections and removing jaggies, DV compression artifacts, and unwanted noise from image clips.

  • New 3D Particle Effects. Particle Array 3D creates a grid of particles oriented in 3D space. Pin Art 3D creates a pin board look based on a layer image.

  • UpRez for high-quality SD to HD conversions, facilitating the resizing of image clips while minimizing the data loss that is usually associated with resizing media in a host application. The UpRez filter includes several high-end image processing algorithms to enhance the sharpness and smoothness of the final result.

  • Realistic In-Camera Effects include Lens Blur for emulating a rack defocus effect where out-of-focus highlights of an image clip take on the shape of the lens shutter.

  • Stylized Effects include LED, Damaged TV, Tile Mosaic, Scan Lines, and Prism.

  • Painterly Effects simulate pencil-sketched images, the wash look of a water color painting, a rotoscope toon-animation look, and charcoal drawings.

  • 50+ New Transition Effects. Freshly redesigned, the Boris RED keyframe library features over 50 new transition presets ranging from popular swish pan and rack defocus effects to glow dissolves, tilt-shifts, and light wipes.

  • User Interface and Workflow Enhancements include ergonomic, drag-and-drop panels and a curve editor for smooth parameter animation. In addition, many of the included Boris Continuum Complete and Final Effects Complete filters include a new Compare Mode feature that lets users compare the filtered result with the unfiltered source via either a side-by-side view or a live split-screen view.


Pricing and Availability
Boris RED 5 is available immediately through the Boris FX worldwide reseller channel and direct from the Boris FX web site at http://www.borisfx.com for an MSRP of $995 USD. Owners of previous versions of Boris RED may upgrade for an MSRP of $295 USD. A free 14-day trial version is available from http://www.borisfx.com.

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Beta Program for Singular Software PluralEyes EDIUS Plug-in now underway

Singular Software™, developer of workflow automation applications for digital media, is pleased to announce that it has opened PluralEyes® beta testing for EDIUS®, the popular NLE editing system from Grass Valley™.

PluralEyes is known in the post-production community for dramatic acceleration of workflows for multi-camera, multi-take and dual-system audio productions by analyzing audio information to automatically synchronize audio and video clips.

"Expanding our list of host applications for our software is key in reaching the largest group of editors and post-production professionals we can," says Bruce Sharpe, CEO of Singular Software. "EDIUS is a widely-used editing suite, and we are thrilled to open beta testing to Grass Valley customers."

"EDIUS is a very powerful multi-cam editor, but still it is recommended to take the necessary preparatory steps to synchronize the cameras beforehand," explains Alex Kataoka, EDIUS Product Manager for Grass Valley. "If the cameras are not synced in advance, and there are no obvious reference scenes you can use to sync the video, then PluralEyes is the perfect tool for the job. We are very pleased to announce this relationship with Singular, because it really is very complementary to the way EDIUS works and gives us a very comprehensive solution for multi-cam editing."

About PluralEyes
The PluralEyes application dramatically accelerates the workflow for multi-camera, multi-take and dual-system audio productions. By analyzing audio information, PluralEyes synchronizes audio and video clips automatically, without the need for timecode, clappers or other special preparation.

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.

John DeMaio—producer, director, DP, and editor—says, "I can't tell you how many times [PluralEyes] has saved my life on a project because it allows you to start editing right away–trust me, you don't want to spend hours syncing things together. You want to start editing and getting creative!"

To read John's full review on the Production Apprentice website, please visit: http://bit.ly/dQ77CN.

PluralEyes for EDIUS Availability and Pricing
The PluralEyes for EDIUS public beta is available now as a free download via the Singular Software website (http://www.singularsoftware.com/downloads.html).

Other PluralEyes Versions
PluralEyes currently supports Final Cut® Pro, Media Composer®, Premiere® Pro and Sony® Vegas Pro software. To purchase an existing version, please visit the Singular Software website (http://www.singularsoftware.com/buy.html).

Students and instructors can 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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Sound Ideas Launches New General HD Sound Effects Collection

Launched at the recent NAB Show, the General HD Collection comprises over 25,000 new recordings, recorded in high definition 24 bit/96 KHz resolution.
A massive array of pristine recorded sound effects are available: including animals and birds, contemporary and vintage airplanes, cars, trucks, boats and weapons – to name a few.

Brian Nimens, President and CEO of Sound Ideas comments:

“The General HD builds on our well respected range of libraries.
We have taken extraordinary care to record rare species of animals – as well as authentic vehicles and equipment – for example an original World War II air raid siren.

We feel this new collection will be a huge asset to film makers and post production editors worldwide.”

The General HD is available on a professional grade external hard drive with multiple USB and Firewire interfaces – formatted for either MAC or PC.

The 25,000 plus sound effects (comprising over 160 hours of audio) are available in a variety of formats:
24 bit/96KHz broadcast wav files, as well as 16 bit /44.1, 16 bit/48 and 24bit /48 - all embedded with fully cross referenced metadata for detailed and accurate asset management searches.

The General HD collection retails for $3,995.

Sound Ideas, based in Toronto, Canada is the world's largest publisher of professional sound effects, royalty free music & production element libraries. Over 240 audio products for broadcast, post-production, podcasting, game development, film sound design & interactive media are available.

More info:
http://www.sound-ideas.com

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