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October 18, 2011

Table of Contents

What's New in Sony Vegas Pro 11?
Canon Unveils EOS-1D X Full-Frame DSLR 'High-Speed Multimedia Juggernaut'
Petrol Bags Intros New Ultra-Lightweight Audio Bag
Adobe Announces New CS5.5 Upgrade Pricing for CS2, CS3, and CS4 Users
Digieffects Debuts New Versions of Damage, Delirium, and Buena Depth Cue

What's New in Sony Vegas Pro 11?

Vegas Pro 11 was announced at IBC in September and is an exciting and much-anticipated upgrade to the cornerstone in Sony Creative Software's (SCS) media production line. It is available now at www.sonycreativesoftware.com for immediate download. There are some important changes afoot and in this review we're going to take a look at what's new, what's changed, what's missing, and whether or not you should upgrade from your current version.

"This One Goes To 11..."
Here's a quick breakdown of the new feature set that we're going to cover: GPU-accelerated video processing, new Titles & Text plug-in, better plug-in organization, and performance.

In version 10, SCS tempted us with GPU-accelerated rendering on a single render format (Sony AVC), which was the first phase of tapping into the video card's power. But Vegas Pro 11 brings even bigger news. For the first time ever, Vegas can take advantage of your video card's GPU during playback of the timeline. This is a paradigm shift in that a Vegas "claim-to-fame" has always been that you didn't need special hardware for it to run well on most video material. That's basically still true, but with today's highly compressed AVC-based video (think DSLR and almost all current prosumer HD video cameras), every NLE struggles to keep up when editing native files using CPU power alone.

Some NLEs require you to have very specific video card hardware just to run their software at all. Vegas Pro 11 does not require special hardware, but I think all users of Vegas Pro who are editing HD video will welcome the change in direction.

Vegas will offload the timeline playback to the GPU if you choose this option (and have compatible hardware). This means that you can have various video filters, transitions, and composites all playing back at a high frame rate without rendering. Your actual performance with GPU assist will depend on how powerful your video card is and which specific filters or composite options you choose. Here are some real examples from our studio: Our main editing PCs are based on Intel i7-950 processors running at stock speeds. They also have NVIDIA GTS-450 video cards, which is a $120 video card, certainly not a powerhouse. Using this hardware in my first test with Vegas Pro 11, I created a .veg file consisting of a single event containing a file from a Panasonic GH2 camera recorded at 720/60p. My preview settings in Vegas were set to Best/Full. With the Sony Color Corrector and Gaussian Blur filters applied, I get between 2 and 6 frames per second (FPS) playback without GPU assist and 45-60 fps playback with GPU assist. Not bad, and I'm pretty impressed. Full-frame blur is very taxing on the processor.

I configured another test for 29.97fps and used an AVCHD 24Mb/sec clip with some generated media, Bump Map, and Chroma Key composites in slow motion. Without GPU Assist I got less than 3 fps. With GPU Assist I scored a full 29.97.

Sony Vegas Pro 11
Timeline performance without GPU Assist

Sony Vegas Pro 11
Timeline performance with GPU Assist

And remember, this is with what most Pro users would consider a budget card. When I chose this card for the PC build, GPU Assist did not exist; I chose it for resolution and multi-monitor display only. I'm pleased to get any boost at all.

AMD/ATI users, you're not left out. Vegas has always maintained a close relationship with AMD and these acceleration features will work with many AMD GPUs as well. I did not have one to test with, but many OpenCL-compliant Radeon HD and FirePro GPUs are supported.

Whether you have an AMD or an NVIDIA GPU, realize that you may not get the best performance using GPU assist. If you have a high-powered CPU and a lower-powered GPU, you will want to try running Vegas Pro with GPU Assist off because this scenario may result in decreased video-processing performance (lower-frames-per-second playback). But if it's time to upgrade your video card, or if you're contemplating hardware specs for your next PC build, it's now worth it¬-for the first time with Vegas-to drop in a powerhouse AMD FirePro/Radeon HD, NVIDIA Quadro, or basically as much GPU as you can afford, now that Vegas can take advantage of it. Be sure to check the system requirements for Vegas Pro 11 at the Sony Creative Software website for detailed information on compatible video cards.

Plug-Ins and Plug-In Organization
Vegas Pro 11 includes two new titlers: one built-in 2D, and one 3D titler from NewBlueFX. The 2D titler is the Titles & Text plug-in first introduced in the lesser Vegas Movie Studio product a few months back. The 3D titler is from NewBlueFX and was not made available at press time. If the NewBlueFX titler is as useful as the 3D titler included in Boris Continuum Complete, that will be a nice addition to the base package. This makes 4 title utilities available in Vegas Pro, if you're keeping score.

Sony Vegas Pro 11
The Sony Titles & Text utility first introduced in Sony Vegas Movie Studio 11-1 of 4 titlers now available in Sony Vegas Pro 11

With respect to managing your plug-ins, you now get the ability to organize plug-ins into folders and to search for them from within the project window. There's also a new Compositors window that can accessed from the View menu. All video FX designed for composition will appear under this new window.

Sony Vegas Pro 11
Choosing BCC plug-ins

This is a small enhancement, but I like being able to catalog filters and effects this way. I find that with any multieffect tool, I use just a few of any of them. This way I can group the ones I like together as my "best of breed." I know I'll use the search function to wade through the mass of plug-ins to find the one I installed last year but can't find anywhere.

Time Marches On
In the "It Had To Happen Sometime" department, Windows XP is not supported at all. You need at least Windows Vista to run Vegas Pro 11. (I tested 64-bit Vegas Pro on 64-bit Windows 7).

There's a small but useful feature included in version 11: For those of us who host video files on our own websites, we've had to use a utility such as YAMB to activate the streaming (or progressive download) of these files so they will play as soon as possible without waiting for the entire file to download. Vegas Pro 11 includes streaming support for AVC/MP4 files. It's a small update, but an extremely useful one, in that it tightens up your workflow just a little bit more.

Sony Vegas Pro 11
Enabling progressive download in the MainConcept Custom Settings window

Speaking of rendering, the Render dialog box has had a major upheaval, same as we've seen in the Vegas Movie Studio product. You can now organize and get to your favorite render templates quicker in most cases. I know I use the same 3-4 templates 90% of the time and, if I don't have to wade through a massive list of presets that I don't use but don't want to delete, that's a good thing.

Overall, performance was snappy and, as usual, Vegas Pro is a joy to work with. I've been a fan since version 4. I did experience an occasional lockup while writing this review and don't know exactly what to attribute it to. I'm keeping my eyes peeled for updated audio and video drivers in case the problem is on my end. My experience has been that those random, unrepeatable lockups are almost always a local system configuration issue and no one is immune to them, it seems.

Other Goodies
Sony has improved Vegas Pro's built-in stabilizer, incorporated a new style of event grouping called Sync Links, and added several 3D enhancements, including support for NVIDIA 3D Vision. There's also a star wipe transition for all you Dallas Cowboys fans, a new pixelate video filter, a much-improved audio mixer layout, and a built-in Upload to YouTube option to round out the package.

Sony Vegas Pro 11
The new Upload to YouTube option

DVD Architect 5.2 is also included in the package. I wish I could say more about this, but it hasn't changed at all in this version and didn't change much in the last version. I would really like to see DVDA updated to at least include motion-based theme elements that integrated with Vegas Pro. So much of our customers' first impressions of us are formed by the Blu-ray and DVD products that we produce.

I've written about using third-party motion menus with DVDA but I would like to see Sony either include their own set of these or partner with someone who does. Maybe they will do that soon instead of including a 5th titler.

How Much Down, How Much A Month
Retail price for Vegas Pro 11 is $699.95. Updates from previous versions will become available immediately, and Sony usually has very good deals for us early adopters.

All in all, I'm very excited about this version. The GPU Assist alone makes the upgrade worthwhile for us. If you produce any flavor of HD video, you'll see a marked improvement in timeline performance with even a moderately priced video card. As I said earlier, this is a first for Sony Vegas Pro, and I encourage you to first check your hardware specs, give the trial a spin, and see if it makes you smile as much as it did me.

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

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Canon Unveils EOS-1D X Full-Frame DSLR 'High-Speed Multimedia Juggernaut'

Canon U.S.A., Inc., a leader in digital imaging, is proud to introduce a completely revolutionized EOS-1D series camera, the Canon EOS-1D X Digital SLR camera.* As the new leader in Canon's arsenal of professional DSLRs, the EOS-1D X will be a high-speed multimedia juggernaut replacing both the EOS-1Ds Mark III and EOS-1D Mark IV models in Canon's lineup. Enhancing the revolutionary image quality of the EOS-1Ds and speed capabilities of the EOS-1D series, the EOS-1D X DSLR features an 18-megapixel full-frame Canon CMOS sensor, Dual DIGIC 5+ Imaging Processors, 14-bit A/D data conversion and capable of shooting an incredible 12 frames-per-second (fps). Canon's EOS DSLR cameras and accessories have a long-standing legacy of providing high-quality results to professionals in a wide range of markets, including sports, nature, cinematography, wedding and commercial studios. The addition of this new model will help take this tradition to a whole new level.

The EOS-1D X announcement comes on the heels of Canon's recent manufacturing milestone with the production of the Company's 50-millionth EOS-series SLR camera in September of 2011. Furthermore, Canon will achieve yet another milestone at the end of this month producing the 70-millionth EF lens.

"The EOS-1D X represents the re-invention of the EOS-1Ds and EOS-1D series, combining new proprietary Canon technologies with the culmination of customer feedback and requests from the field. We are proud to introduce this camera to the worldwide community of professional photographers and cinematographers with the features and capabilities they need to capture the great moments that display their talent," stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A.

The Camera With Three Brains

The EOS-1D X features three DIGIC processors, including Dual DIGIC 5+ image processors capable of delivering approximately 17 times more processing speed than DIGIC 4, and a dedicated DIGIC 4 for metering and AF control. In conjunction with the newly developed high-performance 18-megapixel full-frame Canon CMOS image sensor, the Dual DIGIC 5+ processors provide high-speed continuous shooting, lower noise, and a significant increase in data processing speed than previous EOS-1D models. This new level of data processing speed allows the EOS-1D X to perform many functions including chromatic aberration correction for various Canon EF lenses in-camera instead of through post-production software. The DIGIC 4 processor utilizes a new 100,000-pixel RGB Metering Sensor for enhanced exposure accuracy with color and face detection, and works together with the camera's new EOS iTR (Intelligent Tracking and Recognition) AF.

The EOS-1D X employs a completely new imaging sensor, producing the lowest noise of any EOS digital camera to date for stunning portraiture and studio work. The new 18-megapixel full-frame CMOS sensor utilizes large pixels - 1.25 microns larger than those in the EOS-1D Mark IV sensor and .55 microns larger than those in the EOS 5D Mark II sensor - together with gapless microlenses to achieve enhanced light gathering efficiency, higher sensitivity and less noise at the pixel level. The new sensor has improved on the already very high signal-to-noise ratio of sensor output of earlier EOS models for outstanding image quality, even in extremely low light. When combined with the Dual DIGIC 5+ imaging processors the results are stunning. The images produced with the EOS-1D X camera's new sensor are so clean that files can easily be up-sized if necessary for even the most demanding high-resolution commercial applications. The EOS-1D X will also feature new Ultrasonic Wave Motion Cleaning (UWMC), Canon's second generation self-cleaning sensor unit, which utilizes carrier wave technology to remove smaller dust particles from the sensor and it includes a new fluorine coating on the infrared absorption glass to help repel dust.

The low-light capability of the EOS-1D X is evident in its incredible ISO range and ability to photograph in extremely low-light conditions. Adjustable from ISO 100 to 51,200 within its standard range, the new model offers a low ISO 50 setting for studio and landscape photography and two high settings of 102,400 at H1 and 204,800 at H2, ideal for law enforcement, government or forensic field applications.

New 61-Point High Density Reticular AF

The EOS-1D X includes a brand new 61-Point High Density Reticular AF, the most sophisticated DSLR AF system Canon has ever released. The 21 focusing points in the central area are standard precision cross-type and effective with maximum apertures as small as f/5.6, depending on the lens in use. The center five points are also high-precision diagonal cross-type points for maximum apertures as small as f/2.8. All 61 points are sensitive to horizontal contrast with maximum apertures as small as f/5.6 and 20 of the outer focusing points function as cross-type points with maximum apertures as small as f/4.0. Other innovations of the new 61-point High Density Reticular AF include expanded AF coverage area, superior focusing precision and low light sensitivity, and greater low-contrast subject detection capability compared to earlier EOS AF systems.

All AF functions now have their own menu tab for quick and easy access (formerly AF custom functions in previous EOS models). A new AF Configuration Tool allows for customized setting of tracking sensitivity, the acceleration and deceleration of tracking subjects, and AF point auto switching, all of which are easily accessed and adjusted via the new AF menu tab. A built-in Feature Guide advises photographers on which settings to use according to subject matter.

Similar to the AF point selection options offered in the EOS 7D Digital SLR camera, the EOS-1D X offers six AF point selection modes: Spot, Single Point, Single Point with surrounding four points, Single Point with surrounding eight points, Zone selection and Automatic AF point selection.

EOS iTR AF: Intelligent Tracking and Recognition Enhances AF Performance

The Canon EOS-1D X features incredible new EOS iTR (Intelligent Tracking and Recognition) AF options ideal for wedding and event photography as well as sports and photojournalism. The default AF mode for the EOS-1D X uses phase detection AF information, while a new second option uses Face Detection technology to track recognized faces in addition to color information, ideal when shooting events such as tennis or dancing where facial recognition of the original subject will help keep that person in focus throughout the scene.

Exposure Control

For the first time in a Canon DSLR camera, a DIGIC processor is used exclusively with the metering sensor for fast, accurate exposure control. The Canon DIGIC 4 processor takes advantage of the EOS-1D X's 100,000-pixel RGB Metering Sensor and utilizes 252 zones for general metering or 35 zones for low-light metering to help ensure accurate evaluative ambient or flash exposure. The new subject recognition capabilities enhance nearly all of the camera's automatic functions, helping to adjust exposure, autofocus, Auto Lighting Optimizer and Automatic Picture Style to the scene being captured for enhanced image quality.

Multiple Exposure Modes

The EOS-1D X is the first EOS Digital SLR to feature Multiple Exposure capability. The camera can combine up to nine individual images into a single composite image, with no need for post-processing in a computer. Four different compositing methods are provided for maximum creative control, including Additive, Average, Bright and Dark. Compositing results can be viewed in real time on the camera's LCD monitor, and there is a one-step Undo command that allows photographers to delete an image and try again if desired. The EOS-1D X's Multiple Exposure mode even allows photographers to specify a previously captured RAW image as the starting point for a new Multiple Exposure composite image.

Super High Speed Mode

The Canon EOS-1D X camera breaks new ground in the world of digital SLRs, offering a Super High Speed Mode which increases shooting speeds up to 14 fps at full 18-megapixel resolution in JPEG mode[i]. The new camera is also capable of shooting RAW, JPEG, or RAW+JPEG at speeds up to 12 fps in One Shot AF or AI Servo AF for enhanced performance in sports photography and other applications requiring high-speed digital capture. This new level of performance is made possible by the combination of the EOS-1D X's 16-channel readout CMOS sensor, Dual DIGIC 5+ image processors, and a completely new reflex mirror mechanism that has been engineered by Canon to combine high-performance with exceptional precision and reliability.

Enhanced EOS HD Video - New Compressions, Longer Recording

Centered around an all-new full-frame CMOS sensor with larger pixels than those found on the EOS 5D Mark II image sensor, the EOS-1D X utilizes new HD video formats to simplify and speed up post-production work. The two new compression formats offered on the EOS-1D X include intraframe (ALL-i ) compression for an editing-friendly format and interframe (IPB) compression for superior data compression, giving professionals the options they need for their ideal workflow. Answering the requests of cinematographers and filmmakers, the EOS-1D X includes two methods of SMPTE-compliant timecode embedding, Rec Run and Free Run, allowing multiple cameras or separate sound recording to be synced together in post production.

Canon's all new full-frame CMOS sensor ensures that video footage captured on the EOS-1D X will exhibit less moiré than any previous Canon model, resulting in a significant improvement in HD video quality. A desired feature for many documentary filmmakers using Canon DSLRs was to enable recording beyond the four gigabyte (GB) file capacity and the EOS-1D X is the answer. The new camera features automatic splitting of movie files when a single file exceeds 4GB. The new file splitting function allows for continuous video recording up to 29 minutes and 59 seconds across multiple 4GB files; no frames are dropped and the multiple files can be seamlessly connected in post production, providing filmmakers the recording time they want in the same convenient DSLR form factor. The camera records Full HD at 1920 x 1080 in selectable frame rates of 24p (23.976), 25p, or 30p (29.97); and 720p HD or SD video recording at either 50p or 60p (59.94). SD video can be recorded in either NTSC or PAL standards.

The Canon EOS-1D X also includes manual audio level control, adjustable both before and during movie recording, an automatic setting, or it can be turned off entirely. A wind filter is also included. Sound can be recorded either through the internal monaural microphone or via an optional external microphone through the stereo mic input.

Enhanced Ergonomics & Optimized Design

Photographers familiar with Canon's EOS 1D-series of cameras will notice the control configuration of the EOS-1D X takes a different approach to button placement. The re-designed exterior and ergonomic button configuration feels comfortable in your right hand, allowing seamless navigation through menu options.

The Live View Button has been conveniently placed near the user's thumb for one-touch switching between Live View and Viewfinder shooting. The Quick Control Button and menu navigation controls will allow users to change camera settings using only their right hand, for fast, simple one-handed control using their thumb on the scroll wheel. The new multi-controller is positioned by the right hand thumb when the camera is held for vertical shooting and enables the same level of control to camera operators when shooting vertically as they have when shooting horizontally. On the front of the camera are four user assignable function buttons, two for vertical shooting and two for horizontal shooting, allowing customizable button control when shooting in either position. The camera also features a level of weather resistance equivalent to earlier professional models such as the EOS-1D Mark IV.

Canon has answered the request of many professional EOS photographers and incorporated Dual Card Slots into the new EOS-1D X DSLR camera. The dual CF card slots will allow photographers to carry only one memory card format and still achieve instant image back-ups and enhanced storage capacity.

This camera also features a new shutter design with even greater durability and precision. Rated to 400,000 cycles, the new carbon fiber shutter blades are more lightweight and durable, allowing the EOS-1D X to achieve over 100,000 cycles more than the shutter of the EOS-1D Mark IV. A new shutter motion and new motor help further reduce vibration in the camera. The EOS-1D X also features an electronic first curtain, new to the EOS-1D series DSLRs, for minimal in-camera vibration during image capture.


For professional photographers who prefer a wired workflow and transfer system, Canon has included a built-in LAN connection in the EOS-1D X DSLR. The built-in LAN connection features a gigabit Ethernet Jack capable of 1000BASE-T transmission speeds, offering photographers a stable wired connection for ultra-fast data transmission. If the network were to go down, the camera will attempt to resend images until the files are sent. The EOS-1D X also features a direct image transfer function whereby images can be selected for transfer, and only sent once a LAN or USB connection is established.


Designed exclusively for the EOS-1D X, the new Canon WFT-E6A Wireless File Transmitter* features wireless LAN support for 802.11n network transfer rates providing users with increased communication speed when compared to previous models. With this new dust and weather resistant model, professionals can synchronize clocks on multiple cameras and use the unit to support linked shooting when utilizing multiple cameras. In addition, Bluetooth-compatible equipment can be easily linked to the device as well.

The EOS-1D X also offers an optional Canon GP-E1 GPS Receiver*, which can be easily integrated into the camera's body. Powered by the camera, this GPS receiver provides the same weatherproof resistance as the EOS-1D X, even at the connector. With an electronic compass on-board, the GP-E1 will log movement - latitude, longitude, elevation, and the Universal Time Code - and allow viewing of camera movement on a PC after shooting. The receiver will also record camera direction when shooting, even when shooting vertically.

Pricing and Availability

The Canon EOS-1D X Digital SLR camera is scheduled for March 2012 availability and will be sold in a body-only configuration at an estimated retail price of $6,800.00. The compact, lightweight WFT-E6A Wireless File Transmitter is scheduled to be available in March 2012 and have an estimated retail price of $600. Availability for the GP-E1 GPS receiver is expected in April 2012 with an estimated retail price of $300.


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Petrol Bags Intros New Ultra-Lightweight Audio Bag

Petrol Bags, a Vitec Group brand, introduces a new ultra-lightweight professional audio bag optimally designed to transport sound equipment comfortably and securely, and keep it safe, organized, and accessible while working.

Weighing just 2.6 lbs (1.2 kg), the bag's roomy interior can easily accommodate an SD 788 mixer with CL8 controller attached and is fully padded to safeguard contents. Removable internal dividers offer custom configuration. There is free access to all mixer panels - side, back and top. A transparent top window allows easy viewing of controls. Drawstring openings on both sides offer full access for connector cables to devices in the bag's front and rear compartments. Additional features include multiple storage pouches for an MP1 battery, cassettes, connectors, etc., an external front accessories pocket, two expandable snap-on pouches to hold transmitters or wireless receivers, and a padded, adjustable shoulder strap.

The roomy PS614 has the following interior dimensions: 11.6" (29.5 cm) long, 3.9"(10 cm) Wide, and 7.5" (19 cm) tall. The exterior measures: 13.8" (35 cm) long, 8.7" (22 cm) wide, and 9.1" (23 cm) tall.

For further information on the new Lightweight Audio Bag (#PS614) and other Deca products, please go to http://www.petrolbags.com.

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Adobe Announces New CS5.5 Upgrade Pricing for CS2, CS3, and CS4 Users

Adobe Systems Incorporated runs promotion giving Creative Suite users on older versions of the design software a special opportunity to upgrade from their individual or suite product to the latest version – including Creative Suite 5.5, Photoshop CS5 or Illustrator CS5 – with a 20 percent discount. The offer runs through December 31, 2011 giving creative professionals a chance to upgrade to the latest in design software capabilities and performance.

This limited offer will be honored by all Adobe Resellers and adobe.com for customers with a valid license to one of the qualifying CS2, CS3 or CS4 products below:

  • Design Premium; Design Standard; Web Premium; Web Standard; Production Premium; or Master Collection
  • Production Studio Premium or Standard; Design Bundle, Web Bundle; Video Bundle; or Macromedia Studio 8
  • Adobe After Effects; Adobe Flash Professional; Adobe Illustrator; Adobe Audition; Adobe Dreamweaver; Adobe Fireworks; Adobe InDesign; Adobe Photoshop; Adobe Photoshop Extended; Adobe Premiere Pro

The Adobe® Creative Suite® 5.5 product line enables designers and developers to target popular and emerging smartphone and tablet platforms, as the revolution in mobile communications fundamentally changes the way content is distributed and consumed. Substantive advances to HTML5, Flash authoring, digital publishing and video tools as well as new capabilities that kick-start the integration of tablets into creative workflows, anchor the new Adobe Creative Suite 5.5 product family.

Additional information about the promotion can be found in the Terms and Conditions at: http://store.adobe.com/store/en_us/popup/offer/csupgrade.html

Please note that this promotion is separate from Adobe’s previously announced 50 percent discount on Production Premium CS5.5 and Premiere Pro CS5.5, available to users of Avid Media Composer or Final Cut Pro, which will be available through Oct. 31, 2011.

About Adobe Systems Incorporated

Adobe is changing the world through digital experiences. For more information, visit http://www.adobe.com

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Digieffects Debuts New Versions of Damage, Delirium, and Buena Depth Cue

Digieffects® (www.digieffects.com) announced today the culmination of an intensive engineering and product development initiative with the launch of Delirium v2.5, Damage v2.5 and Buena Depth Cue v2.5. With this announcement, Digieffects is now offering native Final Cut Pro support through FxPlug, Apple's plug-in architecture. Available immediately are full support for Final Cut Pro 6, Final Cut Pro 7, Motion 4 and Final Cut Express for the Delirium and Damage sets of plug-ins. Select Delirium plug-ins will also offer native support for Final Cut Pro X immediately, and the entire family will be supported shortly after release for no additional charge. Digieffects has also strengthened support for OS X Lion and Adobe Creative Suite 5.5 across its entire product line.

Also as a result of this initiative, Digieffects has significantly enhanced usability features for all of its plug-ins, with single installers for entire suites and automatic installation of the hundreds of popular presets available to all customers.

Additionally, with Delirium v2.5, which encompasses 44 VFX plug-ins, Digieffects is now offering theme-based, affordable plug-in bundles. These bundles are organized into five effects themes, and include such categories as Phenomenon, Color, Distort, Mood and Composite.

The 2.5 versions of Delirium, Damage and Buena Depth Cue will be available on October 24, 2011, and are available as free upgrades to customers who own v2.0 of Delirium, Damage or Buena Depth Cue.

"The relaunch of Delirium, Damage and Buena Depth Cue represents the single largest investment in talent and resources since I acquired Digieffects 4 years ago," said Robert Sharp, president of Digieffects. "The 2.5 versions of these products are a quantum leap in technological innovation, with significant under-the-hood improvements across the board. And these new products come at a pivotal time in the industry - video editors and VFX artists are facing much change in the platforms they've come to rely on. We've redesigned our entire product line to ensure they literally slipstream into users' editing timelines and VFX workflow - regardless of if you're a freelancer or running a large post facility. If you're a Final Cut Pro editor working in FCP X, FCP 6 or 7; or if you're a Premiere Pro editor on CS5.5, you know that Digieffects plug-ins will integrate seamlessly and give you stunning results every time."

The Digieffects Line-Up: FCP X, CS5.5 Support, Ideal for Editors, VFX Artists
The new Digieffects v2.5 product line up not only provides its community of VFX artists with a breadth of tools to enhance their work, it also provides its community of video editors with access to VFX tools that are affordable, easy to use, and accessible from within their editing applications.

Delirium v2.5: Delirium v2.5, a comprehensive suite of 44 plug-ins designed for editors, visual effects and digital media artists looking to add high quality, affordable and visually stunning effects to their digital media projects. Today, 11 Delirium plug-ins provide full support for FCP X, and more will be added in the near future. These 11 plug-ins supporting FCP X are also found in the new Delirium Phenomena bundle.

Users can purchase the entire suite of plug-ins, or beginning next week, purchase affordable, themed bundles. These bundles include:

Phenomenon: Includes 11 plug-ins based on natural and super-natural effects, such as Electrical Arcs, Fairy Dust, Fog Factory and Rainfall. All of the plug-ins in this bundle offer full support for FCP X.

Color: Includes 11 plug-ins for colorists, and includes Channel Noise, Channel Offset, Color Fill, Color Space and many more.

Distort: Includes 11 plug-ins designed to create artificial noise and distortions in your sequences, and includes Crazy Stripes, Newsprint, Stargate, Perpectron, and many more.

Mood: Includes 6 plug-ins that enable editor and artists to enhance sequences with applications such as Channel Lighting, Glow, Glower, Lightwrap, Nightbloom and Specular Lighting.

Composite: Includes 5 powerful compositing tools, including Alpha Tools, Channel Composite, Channel Viewer, Color Composite and Composite.

Damage v2.5: Damage v2.5 now fully supports FCP X, Final Cut Pro 6 and 7 through FxPlug and includes 7 effects to artistically degrade footage, including Aged Film, Artifact, Blockade, Destabilizer, Interference, Overexpose and Skew. Single installers are now included to simplify installation for multi-seat environments.

Buena Depth Cue v2.5: Buena Depth Cue v2.5 provides Adobe CS5.5 and After Effects artists with an innovative workflow for creating visual depth in their projects. Using composition-based effects, such as Rack Focus, Falloff Lighting or Atmosphere, digital media artists can mimic Z depth in a unique way that cannot be replicated using practical depth of field. Buena Depth Cue v2.5 includes 6 powerful plug-ins for creating depth, including:

Depth: Displays the depth of each layer in grayscale for use as a gradient map with other plug-ins or applications;
Falloff Lighting: Adds realistic lighting effects to layers;
Atmosphere: Shrouds layers in a light haze or a deep, murky mist;
Rack Focus: Produces realistic depth of field effects and focus pulls, including simulating boke and anamorphic lens effects;
Camera Mapper: Turns 2D stills and footage into 3D scenes directly in After Effects;
Flipside: Maps one layer onto the backside of another layer, enabling artists to flip front layers over to reveal back layers.

Pricing and Availability
Digieffects Delirium, Damage and Buena Depth Cue v2.5 will be available for purchase on October 24, 2011, and are priced as follows:

Delrium v2.5: $299.00 for new customers; $149.00 for users migrating from v1.0; and is a free upgrade for v2.0 customers.

The new Delirium bundles are priced as follows:
Delirium Phenomena: $149.00
Delirium Distort: $149.00
Delirium Color: $149.00
Delirium Mood: $99.00
Delirium Composite: $99.00

Damage v2.5: $99.00 for new customers; $79.00 for users migrating from v1.0; and is a free upgrade for v2.0 customers.

Buena Depth Cue v2.5: $199.00 for new customers; $99.00 for users migrating from v1.0; and is a free upgrade for v2.0 customers.

For more information on Digieffects, please visit www.digieffects.com.

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