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Information Today, Inc.

November 22, 2011

Table of Contents

The Company Image: Directing Corporate Videos
In the Studio: Sony Vegas Movie Studio HD 11 and MoviEZ HD
Cradle to Grave: Sunrise or Sunset for Your Business—The Choice is Yours
WEVA Announces Speakers/Schedule for WEVA/MPA Wedding Filmmaking Event at CES 2012
Grass Valley Adds 3D to EDIUS
DaVinci Resolve 8.1 Features Unlimited Color Correction Nodes
Roland Shows Debuts Fully Integrated Audio Mixer and Video Switcher for Live Production and Streaming
Boris Ships Continuum Complete 8 AVX
CoreMelt Releases Complete v2.5 Plug-ins for FCP X Platform

The Company Image: Directing Corporate Videos

We recently examined the responsibilities you take when you assume the role of the producer of a corporate video. Here we look at the director's role and the tasks and responsibilities you can expect to handle when wearing the director's hat (or beret). In many organizations, you may be both producer and director, but it is important to understand the functions that a corporate video director may be expected to fulfill.

Directing Non-professional Talent
We previously wrote about shooting the CEO, and we included some tips to maintain control of the shoot, relax the CEO, and get the best possible footage for the scene. In many corporate settings, you may be asked to film employees doing their jobs and speaking on camera about what they do; directing them to be themselves should not be particularly difficult. However, when your script includes dramatizations or vignettes, you'll need to direct the talent to act out a scene; that's where your directing role can be a challenge.

Generally, the closer the employees' dramatic roles are to their real jobs, the better they will perform. In last month's column on producing, I wrote about how my company used call center employees to play themselves and as well as the roles of customers phoning in. When your script includes employees performing such roles as the tardy employee or the inefficient boss, it may take a little more work to bring out the performance that is convincing to the viewers.

As with professional actors, rather than demonstrate to the employee how he or she should read a particular line, encourage the "actor" to feel what it is like to be in the shoes of the character. Set up the scenario by saying to the actor something like, "Tell me about a time when you got the worst customer service you could imagine. Remember how you felt, and be that person now."

Directing Professional Talent
This technique helps bring out a believable performance and encourages the actors to express themselves. You can even go so far as to let an actor tell you how he or she thinks the scene should be played, and listen to their suggestions for changing the script wording. These ideas could enliven both the script and the performance. This is sometimes referred to as "selective directing" where you let your actors select their own interpretations of the scenes.

Alternately, you may want to be what some in the industry call the "creative director"—a director who has visualized the details of the script and asks the actors to fulfill your interpretation of how the scene should be performed. This role may work well for a corporate video because you know the audience and the client much better than the actor does. Most likely it will be your interpretation that will create the engaging, effective video the company wants.

You may also wish to employ a combination of selective and creative directing. Discuss your ideas for the interpretation of the roles, and elicit suggestions and ideas from the actors. In any case, make sure your actors know the objectives of the video and the target audience.

Auditioning Talent
Most talent agencies and individual actors post sample clips on their websites. Send to your client or manager a small collection of ones you like. When the manager has selected one or more actors, call them in for a brief audition, and record the auditions. Ask them to read and act out a portion of the script. Watch them, rather than reading the script, and look for appropriate enthusiasm. Will they create the mood you desire and bring the script to life? Then stop them and give them some direction. How do they react to interruptions and your directing style? How do they relate to you? These are important evaluation mechanisms in addition to their acting abilities.

If your actor will be an on-camera host or spokesperson, her look and mannerisms need to reflect the image of the company. Is her enthusiasm natural? What about eye contact with the camera? Can she add appropriate body movements, head nods, and facial gestures to the reading? The script may have "talking head" segments, and you want your on-camera narrator to deliver these with style.

Checklist for Use of Talent

Here's a short list of things to keep in mind when working with onscreen talent, whether hired or in-house:
• Auditions (filmed, preferably)
• Union issues such as insurance and fees
• Release forms signed before filming
• Agreement on fee arrangement
• Wardrobe furnished or wardrobe fee paid
• Call times and honest estimate of number of hours they will be on the set
• Studio directions and parking
• Meals, soft drinks, and snacks
• Makeup and hair
• Rehearsal, when and where
• Blocking of talent and camera motions
• Crew reminded to be supportive of talent
• Teleprompter or ear prompter
• Props and set
• Dressing rooms for men and women
• Backup plans if talent is sick or late

Well-selected talent can help improve your own image with the company. In addition to video production, when you're working for a corporation, you need to consider the company's overall strategic plan. You need to work as a member of a team, and the "producer" on your team might be a writer or PR person with little video experience. This producer might even think he knows how you should perform your job. It may take time to garner the respect you deserve, but as you complete each successive production, your value to the firm will increase. Whether you are an in-house employee taking on the roles of producer-director-shooter-editor, or if you are a freelancer, the company views you as a creative force and steward of its corporate image.

Stu 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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In the Studio: Sony Vegas Movie Studio HD 11 and MoviEZ HD

There's at least one great thing about every autumn: Sony Creative Software announces new versions of old favorites and introduces at least one new title. In this article I'm going to discuss the latest update to Vegas Movie Studio HD 11 and look at a new title for quickly producing home movies and montages, MoviEZ HD.

In August 2010 I wrote about the viability of using Vegas Movie Studio (VMS) for production work. It's no secret that VMS and Vegas Pro are built from the same codebase. In some cases, features that first appear in one will show up in a later version of the other, and it isn't always Vegas Pro that gets the goods first. The new Vegas Movie Studio 11 builds on version 10's feature set with several useful upgrades, and it even includes some fun extras such as Hollywood-style special effects.

New Text Tool
The new text toolset is an example of VMS getting a feature before Vegas Pro. The new Sony Titles & Text tool is a new style of generated media and contains 24 presets, all with some type of exaggerated motion applied to the text. The name of the preset becomes the default text in the event when you select it. By looping the event and scrolling through the presets, it's easy to audition each one.

Sony Vegas Movie Studio Pro 11
The New Sony Titles & Text tool in Vegas Movie Studio Pro 11

You can customize many of the parameters in the Titles & Text tool; customizable options include font, color, size, scaling, outline, and shadow. You can make additional movements and adjustments during the length of an event via keyframe animation, but the basic animation is built in and can't be changed. This is a limitation, as most of the presets are of the bouncy-text variety. Some of these would look right at home in a trailer, as part of a company logo, or in an edgy commercial or promo.

It's a fine line that Sony has to tread.

For a couple of years, users have complained that the ProType Titler (PTT) introduced in version 8 was nonintuitive and difficult to learn. The Titles & Text plug-in is kind of a "ProType Titler Lite" with built-in presets. Once you learn how this titler works, you can dive into the PTT with confidence. It will be interesting to see if the Titles & Text announced in Vegas Pro 11 (which was not yet available at press time) is exactly the same as this or if it will have more flexibility.

Improved DSLR Performance
VMS 11 has the DSLR enhancements that were first introduced in last year's Vegas Pro 10. It's specifically designed to work with QuickTime AVC and QuickTime AVC/H.264 video.

Trickle-Down 3D
Stereoscopic 3D was introduced in last year's Vegas Pro 10, and it has made its way into VMS in this version. You can edit on any monitor with old-school red/cyan glasses or use RealD 3D glasses and a 3D HDTV as an external monitor.

Sony Vegas Movie Studio HD 11
Choosing 3D Project Properties in VMS HD 11

GPU-Assisted Rendering
Another feature jumping from Vegas Pro to VMS in this version is the ability to use your video card to assist in rendering your project. Depending on the speed of your CPU and the speed of your GPU, you may not get any performance increase at all. This works with both NVIDIA and ATI video cards and is good for Sony AVC rendering only.

Speaking of rendering, the Render As dialog box has been completely revamped. You can now navigate to your templates and render preferences more quickly in most cases.

There's support for newer cameras, more included project types, and improvements to many of the core elements of VMS. Check the Vegas Comparison Chart at www.sonycreativesoftware.com for more information. You'll find that the least expensive version of VMS 11 (about $50) doesn't have 3D and some of the more advanced features, but even the most capable VMS Production Suite retails for only $130 and comes with all the bells and whistles, as well as a variety
of additional software for audio production and special effects.

Sony Vegas Movie Studio HD 11
Choosing an output format in VMS's Render As Dialog

As I've said before, if you're a Vegas Pro editor, you probably won't want to go down in capability. But if you're already using Vegas Movie Studio or want to get your feet wet with Vegas without spending a ton of dough, version 11 of Vegas Movie Studio is a great way to do it. Who says you can't get a lot out of Vegas with just a few bucks?

Even more intriguing this month is the 1.0 release of MoviEZ HD (available as a $45 download from Sony). What exactly is it? Is it an automated photomontage tool? Is it the elusive "one-click" program that does the editing for you? Is it Sony's newest nonlinear editor?

It's not really any of these, but it is kind of fun. Are we really down to the fewest number of mouse clicks to rate a software package? Click and choose your photos or video clips. Click and pick one of 10 included edit styles. Click and choose your music. Click Play and admire all your hard work.

Sony MoviEZ HD
Choosing an edit stule in MoviEZ HD

You can go back and alter the length of the music track, the order of clips, the parameters of the style-all sorts of things. Your final output options include social media site presets, DVD, and HD. How does this compare to similar programs such as Animoto and Muvee? Well, Animoto is an online service that charges $39 a month if you don't want the Animoto logo on the production and is just for stills. Muvee is a stand-alone software package that is very similar to Sony's MoviEZ HD and ... hey, wait a minute ... this sure looks familiar ... I'll be darned, they're the same! How do I know this?

I know it because in version 1.0 of MoviEZ HD, there is text specifying "Begin Muvee" and "End Muvee" in the dialog box to edit the LifeStory style. In fact, you can buy additional editing styles at the Muvee website (and download a couple of free ones), and they work fine with Sony's MoviEZ HD. There you have it, your early Easter egg.

MoviEZ also includes simple splash intros and end credits (with sound effects) that are customizable. You can add voiceover or narration simply by plugging in a microphone and clicking the record button. There's even a rudimentary mixer for adjusting the levels of all the inputs.

Sony MoviEZ HD
Recording voiceover in MoviEZ HD

Is MoviEZ HD for you? I know lots of high-end video companies that are using Animoto for knocking out photomontages, and this is where I think MoviEZ HD shines. We normally use Ultimate S Pro from VASST for our photomontage work and will definitely use this as well. When I showed it to Christie (my wife, partner, and head photomontage-maker), she exclaimed, "That's pretty cool!" and agreed that she'll use it too. It might be perfect for one job and overkill, gaudy, or just not right for another.

Both Vegas Movie Studio 11 and MoviEZ HD are available now for download and purchase. As always, try before you buy and see what you think.

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 forthcoming Vegas Pro 9 Editing Workshop (Focal Press), and is a contributor to TheFullHD Book (VASST). He and his wife, Christie, are winners of multiple HPVA awards.

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Cradle to Grave: Sunrise or Sunset for Your Business—The Choice is Yours

Someone said that the seven last words of a dying business are, "We've never done it that way before." Those words apply well to many video businesses that are struggling to keep their doors open. Recently, I've been contacted by several videographers who are discouraged and ready to call it quits. As videographers, we face many challenges, from the fragile economy to the plethora of inexpensive video cameras that allow anyone to become an amateur videographer. Our greatest asset is not our equipment but our knowledge and experience, which we need to apply to the new opportunities that are before us.

Many of my fellow videographers see current trends as the end of an era. Others look at those same trends and see them as the beginning of a new era. Mark Twain wrote, "The secret to success is to find out where everyone is going and get there first." Where is everyone going? Online! It's no secret that the internet is the new Yellow Pages, and video is fast becoming the language of the internet. For many businesses that can become your clients, learning to leverage online video effectively is a lesson you need to teach them.

Recently, I conducted a seminar sponsored by the Better Business Bureau titled "How to Use Video to Grow Your Business." Almost everyone who attended the seminar had a video camera and had tried using it in their business, only to find that there is a difference between shooting video and knowing how to use video to communicate a message in a compelling way. They were there to learn, and I was able to offer what other videographers can also offer: knowledge on how to use video effectively illustrated with lessons from years of experience. Here is some information you can use to teach your prospects in the business community those same lessons.

First, become aware of how much video is being used on the internet. Keith Kelly of Chicago-area Innovative Communications shares these statistics: "People watched 60 billion videos on YouTube each month [of 2010]—that's 730 billion videos throughout the year. And the average Internet user watched 186 videos each month."

C. Lee Smith, the president and CEO of Ad-ology Research, notes, "Small businesses are becoming increasingly savvy on how to market online, and their plans for increased spending on video and mobile show they are ready to try new ways to reach the customer. They may not have the resources of big businesses, but things like online (video) and social media help level the playing field."

A good resource for keeping up-to-date on the use of video by businesses is ReelSEO's newsletter (go to www.reelseo.com to subscribe). No longer is video limited to a video on a website promoting the virtues of a business. There are how-to videos, informational videos, and product videos. For these videos to be effective, they need to be short and entertaining.

Look for opportunities to communicate your expertise to the businesses in your area. It might start with an email to existing customers letting them know about your services. A great way to communicate is through business network meetings.

It's also important to create your own opportunities. Recently, my son, Jason Naumann, saw the need to advertise apartment buildings in Southern California. It resulted in him offering promotional videos to fill the void. Another friend is now offering to interview out-of-town relatives for free as part of his wedding package. He believes that once the family sees a sample of what he has done, they will hire him to produce a full-fledged video biography.

Third, use existing resources. One great resource I've discovered is Talk Fusion, a company that offers a suite of nine video products to businesses at a remarkably low rate. For example, a business that subscribes to Talk Fusion can use video email, video conferencing, live broadcasting, video blog, and a host of other turnkey items. I recently told one of my business clients the price the service charges ($35 a month). He immediately saw the value; his company was paying more than $60 per month for just one of the services. There is a one-time fee of $250 to get started, but most businesses would consider that quite reasonable. The advantage for us, as videographers, is that we make a small amount for each business we sign up. Plus, as we get involved with Talk Fusion's business plan there is a great opportunity to make a steady residual income. For more information on Talk Fusion, go to http://1344953.talkfusion.com.

I'm excited that more companies are becoming involved with video-both as users and producers. I heard that if McDonald's is looking for a place to build a restaurant, the company looks for a place that already has another fast-food restaurant in the neighborhood. The volume of fast-food places doesn't decrease business; rather, it encourages business. The same is true of video.

Change is inevitable. A wise person understands what is happening and can take advantage of change. To quote Mark Twain again, "I was seldom able to see an opportunity until it had ceased to be one." Today, as videographers, we have unprecedented opportunities. Let's see these opportunities as the beginning of a new era and not mourn the changes that have ended the old way of running a video company.

Alan Naumann (alan at memoryvision.tv) is co-author, with Melonie Jeska, of The Complete Guide to Video Biographies, a comprehensive set of training materials for professional video producers. A featured speaker at WEVA Expo 2004–2010 and
a two-time EventDV 25 honoree, he is based in Minneapolis.

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WEVA Announces Speakers/Schedule for WEVA/MPA Wedding Filmmaking Event at CES 2012

A full-day conference on Wedding & Event Filmmaking spotlighting business-building methods and new productions techniques - from traditional video and DSLR workflow to weddings in RED - will be presented by WEVA in collaboration with PMA, The Worldwide Community of Imaging Associations and DIMA (Digital Imaging Marketing Association) on January 9 during CES week in Las Vegas, NV. 

The all-day event "Getting Into Wedding & Event Filmmaking – 101" will be held at Bally’s Las Vegas in conjunction with the 2012 DIMA Conference with Full-Registration covering breakfast, lunch, evening Welcome Reception at Bally's, plus registration for the 2012 DIMA Conference, PMA@CES Conference & Exhibits, and CES 2012 Trade Show. 

WEVA Featured Speakers for the full-day conference include WEVA Creative Excellence Gold Award WinnersMichael Brand - Lafayette Hill Studios, Alex Karas  Voila Cinematic, and Jenny Lehman  Jenny Lehman Film & Video. 

Full-Day of Wedding & Event Filmmaking 

Save time and eliminate costly "trial & error" approaches to developing a new, or extended business in wedding filmmaking and event videography. Learn successful shooting & editing techniques and proven marketing methods for competing even with businesses already well-established. 

Highlights include: 

* Planning for the Wedding Day – equipment needed 
* The Must-Have shots for Ceremony & Reception 
* Camera placement for Single and Multi-Camera coverage 
* Using external recorders to maximize Audio acquisition 
* Marketing that Sells 
* Using Hollywood techniques in Wedding films 
* Edit Workflow for DSLR Video 
* Differences between Documentary & Cinematic wedding styles 
* Storytelling techniques to make each Wedding Film unique 

The Conference will also spotlight new industry trends. See how DSLR & RED (Scarlet-X) differ from traditional Video Cameras with comparison examples. Learn the do’s & don’ts of delivering great wedding & event films, and how to combine best business practices into a money-making business. 

Register by December 2 for Early-Bird Discount 

Full-Registration for current WEVA MEMBERS includes the "all-access" 2012 DIMA Conference Package covering: 

• DIMA Conference sessions and Vendor Reception, Roundtable Breakfast, Keynote Luncheon & Networking Breaks at Bally’s January 8-9 
• PMA Welcome Reception at Bally’s on January 9 (following WEVA/PMA Conference) 
• PMA@CES badge, which also includes all CES exhibits, keynotes & venues January 10-13. 
• PMA@CES 2012 Conference Sessions at The Venetian January 10-13 
• View the complete program schedule - Click Here! 

For current WEVA MEMBERS the early-bird discount for Full-Registration is $299 ($599 standard) and is extended through December 2, 2011. After December 2, registration is $399 for WEVA Members. For WEVA Conference-Only, registration for current WEVA MEMBERS is $199 ($399 standard). 

Current WEVA members may use the special discount code: WEVACES for Full-Registration and code: 12member for WEVA Conference-Only. To registerClick Here! 

"WEVA is excited to be collaborating with PMA to bring an all-new program of professional development education to PMA@CES 2012 that will introduce attendees to the essential keys for success as a wedding and event filmmaker," says Roy Chapman, chairman, WEVA International. "With the portability of today’s cameras, production gear, and new IT media, professionals are no longer bound by their local geography in marketing their work allowing for more job opportunities and greater success in our industry locally, nationally and globally." 

About PMA – The Worldwide Community of Imaging Associations 

As a professional trade association, PMA helps the worldwide photo imaging community achieve business success and adapt to new technologies. Its commitment to members in 100-plus countries is part of an 86-year legacy that connects business owners to a network of knowledge and support. PMA furthers this purpose through the development of educational programs, marketing research, publications, and trade shows. As a not-for-profit organization, any success PMA achieves in its endeavors directly benefits the industry, providing the means to continually develop services and activities for members. 

About WEVA International 

As the largest Association for professional wedding and event filmmakers, WEVA leads the field with education that's on the cutting-edge of industry developments and new technologies worldwide. WEVA members have access to exclusive business benefits and professional development resources. For more information on WEVA industry events, and WEVA membership benefits email info@weva.com or click here. Follow WEVA on twitter and facebook.

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Grass Valley Adds 3D to EDIUS

Grass Valley™ has unveiled a powerful 3D toolset for its EDIUS® multiformat nonlinear editing software and has added 3D support for editing peripherals that provides users with a complete stereoscopic 3D postproduction workflow. The STORM™ 3G and STORM 3G Elite editing platforms —are both supported via the EDIUS timeline with stereoscopic 3D I/O through a single 3G SDI source and/or dual 3G SDI signals.

A 30-day preview version of EDIUS, that supports this 3D functionality will be available online as a free download for testing purposes.

The new 3D support includes: native support for 3D video clips captured with the most popular 3D cameras, easy clip pairing for synching left eye/right eye clips; 2D-to-3D conversion capability; and a array of tools right on the editing timeline that make 3D adjustments—to compensate for mistakes in shooting—fast (with no transcoding necessary) and easy. Also functions available in 2D are also supported in 3D, such as realtime color correction, keyer, transitions and multicam editing.

"We see 3D production and post projects increasing around the world and customers have been asking for easy-to-use tools within EDIUS to help complete those projects quickly and cost-effectively," said Charlie Dunn, Executive Vice President of Products for Grass Valley. "EDIUS has always been a flexible, highly affordable platform and the product continues to grow and get better with time. Now anyone working on an EDIUS system can instantly add 3D post capability to their arsenal of production tools and generate new revenue by expanding their client base."

Included in the new 3D preview version are tools for importing, organizing, and adjusting 3D clips in the most efficient way. And it's all done on the same EDIUS multiformat timeline that 2D projects employ, making the process as easy to complete in 3D as it is in 2D.

New 3D Toolset and Features
The new 3D features of the EDIUS 3D preview version software include:

  • 3D clip native support
  • 3D clip pairing
  • 3D clip adjustment, including automatic convergence adjustment
  • 3D preview monitoring
  • 3D multi-camera editing

Grass Valley has also included tight integration with its K2 media servers, whereby its K2 ChannelFlex™ technology (a software application within Grass Valley's AppCenter Elite software suite) enables all K2 Summit™ and K2 Solo™ servers to be expanded from handling four SD/HD video streams to up to eight streams in specific applications such as super slo-mo, multi-camera recording, and 3D production.

In fact, with a simple software upgrade, every K2 Summit production client and K2 Solo HD/SD server can now be used as a 3D production server for 3D recording or replay, a 2X or 3X super slo-mo recording device, or as a server for recording from 2-6 simultaneous camera angles with at least one channel for playback.

A 30-day preview version of the new 3D software tools will be made available early in December 2011, on the Grass Valley website http://www.grassvalley.com/ .

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DaVinci Resolve 8.1 Features Unlimited Color Correction Nodes

Blackmagic Design today announced DaVinci Resolve Lite 8.1, a new version of the free DaVinci Resolve that now includes unlimited color correction nodes.

Unlimited color correction nodes allow customers to use multiple color correctors for more complex and creative grading and is a dramatic boost in power over the previous version of DaVinci Resolve Lite that was limited to 2 nodes. Adding more than 2 color correction nodes was the top requested feature by DaVinci Resolve Lite colorists.

To help promote the art of color correction, DaVinci Resolve Lite includes many powerful features found in the full version of DaVinci Resolve for an extremely powerful toolset that anyone can download free of charge.

DaVinci Resolve Lite includes all the same high quality processing of the full DaVinci Resolve, however limits projects to SD and HD resolutions, unlimited nodes using a single processing GPU and a single RED Rocket card. Stereoscopic 3D features, noise reduction, power mastering, remote grading and sharing projects with an external database server are features only offered in the full DaVinci Resolve so are not included in this free DaVinci Resolve Lite edition. Customers who want these features can simply upgrade to the full DaVinci Resolve Software for only US$995.

Even with the restrictions of the free DaVinci Resolve Lite, image quality is never limited, and customers can use the incredible image processing quality of DaVinci Resolve. In addition DaVinci Resolve Lite can still accept high resolution source footage in 2K, 4K and 5K from the latest digital cameras from RED and ARRI, so customers get a fantastic digital camera utility.

DaVinci Resolve Lite still includes high quality optical resizing, curve grading, XML import and export, 32 bit float processing, YRGB image processing, multi layer timelines, stabilization, window tracking, primary and secondary color correction, real time processing, capture and playback with deck control, compatibility with third party control panels and much more. With so many powerful features at absolutely no charge, customers will be able to experience the dramatic improvement to their work from using professional color correction.

“Thousands of colorists have downloaded and are using DaVinci Resolve Lite to help generate a revolution in visual design that’s dramatically improving the production values of the entire television industry!”, said Grant Petty, CEO, Blackmagic Design. “We are very excited to be able to offer this new enhanced version of DaVinci Resolve Lite, and we hope that many more people will be able to explore the art of color correction on their television production work.”

Availability and Price

DaVinci Resolve Lite is available now and free of charge from the Blackmagic Design web site.

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Roland Shows Debuts Fully Integrated Audio Mixer and Video Switcher for Live Production and Streaming

At the InterBEE show Roland Systems Group demonstrated the Roland VR-3 - a fully integrated audio mixer, video switcher for live production and web streaming. This unique product combines the power of Roland’s audio and video technology into one unit and expands the growing lineup of AV Mixers and streaming-ready solutions from Roland.

Typical live events today, whether large or small, all require a wide variety of equipment in order to produce. There are audio inputs from microphones to an audio mixer; video sources to a video mixer, computer inputs, video preview monitors, recording the event in some form, and also streaming it live online.

Similar to the popular Roland VR-5, the VR-3’s “all-in-one” design greatly simplifies production and streaming of live events. The VR-3’s innovative design incorporates a video switcher, audio mixer, preview monitors and streamingready USB output all in a single unit. As a USB Video/Audio class device, web streaming is effortless by simply connecting to a computer running a live streaming service such as USTREAM, Livestream, Stickam, Justin.tv, worshipstream.com, websharelive.com, and many more streaming services. The reduction in hardware equipment, setup time and connection complexity ensures a worry-free, easy to use solution for any event.

The VR-3 is extremely portable weighing less than five pounds. It can be powered by the provided power supply or by external battery options like Sanyo’s Pedal Juice®. Its intuitive touch screen interface provides an easy way to switch video sources as well as an efficient way to access menus. This portable live production solution is ideal for schools, churches, council meetings, corporate events, sports, memorial services, or production live to web.

Highlighted features include:

  • 4-Channel video switcher
  • 4 Mono (XLR or ¼”) and 2 stereo mixable audio channels
  • Built-in stereo microphone for mixing in ambient sound
  • Built-in scan converter for PC input with a thru for connecting a projector or display
  • Built-in single LCD monitor with touch control for easy video source and menu selection
  • Built-in monitor can be used to view a quad display of inputs, program out or combination quad view with program out.
  • Compositing video effects include: keying, split screen, and picture-inpicture
  • Audio effects include: Noise Gate, EQ, Reverb, Noise Suppressor, enhancer and master Lo/Hi filters
  • USB video/audio class device for web streaming or recording with a PC/Mac.

The VR-3 will be available January 2012 through Roland Systems Group’s authorized reseller channel.

For complete product details, and specifications: http://www.rolandsystemsgroup.com/vr3

Roland Systems Group U.S. (RSG) supplies the commercial and performance audio/video industries with application specific equipment from the ROLAND audio and video product lines. These product lines address applications for houses of worship, studios, clubs/casinos, theaters/performing arts centers, production houses and rental and staging companies. Roland Systems Group U.S is headquartered in Bellingham, Washington. RSG is a member of the worldwide group of Roland companies. For more information, visit http://www.rolandsystemsgroup.com or call 800.380.2580.

For more information, visit http://www.rolandsystemsgroup.com

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Boris Ships Continuum Complete 8 AVX

Boris FX, the leading developer of integrated VFX and workflow technology for video and film, announced that Boris Continuum Complete 8 AVX (BCC 8 AVX) is now available. BCC 8 AVX delivers 200+ comprehensive VFX and compositing filters to Avid Media Composer, NewsCutter, and Symphony. Flicker Remover and Videoscope tools, integrated Beat Reactor technology for audio-driven effect animation, a new Film Glow filter, and support for 64-bit operating systems headline the Version 8 release.

BCC AVX gives Avid editors the most comprehensive VFX and compositing plug-in suite ever created. A whopping 200+ filters include 3D Objects such as Extruded Text, 3D particle effects, image restoration tools, lens flares and lights, award-winning chroma keying and compositing, a full suite of color correction tools, time-based effects such as Optical Stabilizer, warp and perspective effects, and blurs, glows, and cinematic effects. All BCC AVX filters take advantage of either multi-processing or OpenGL hardware acceleration for an interactive effects design experience.

Over 1,000 professionally-designed presets are included free with every installation of BCC. Customers can save and freely share their own presets and build customized preset collections tuned to the specific needs of a project – without the need for a costly subscription service. Presets can be shared with matching BCC installations on any host application in which BCC is installed. In addition, via the Boris Transfer workflow utilities, BCC is the only plug-in set that allows easy VFX migration between Avid, Adobe, and Apple editing software – with parameters and keyframed information intact. Boris Transfer AE transfers Avid or Final Cut Pro sequences to After Effects while Boris Transfer FCP transfers sequences between Avid and Final Cut Pro.

Boris Continuum Complete 8 AVX New Feature Highlights

  • BCC Videoscope checks color levels at any stage of an Avid project, ensuring broadcast-legal colors of the final output or any individual element in the project.

  • BCC Film Glow creates the soft feel of exposed film.

  • BCC Flicker Fixer repairs video affected by flickering light or uneven shutter exposure.

  • Beat Reactor Technology is now built into many BCC AVX filters, making it easy to generate audio-driven effects such as a pulsing light, a glow, or even an image wipe that follows along with the beat of an audio track.

The following new features will be available to BCC 8 AVX customers via a forthcoming free software update:
  • BCC Stage Light simulates production lights, projectors, or stage lighting.

  • BCC Lens Flare 3D creates cinematic looks and stylish broadcast design elements.

  • BCC Particle Emitter 3D provides a powerful, OpenGL-accelerated particle system.

  • BCC Organic Strands emulates flowing strands of matter, glowing plasma, and more.

  • BCC Wild Cards allows editors to build complex designs of 2D images in 3D space.

Pricing and Availability
BCC 8 AVX 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 introductory MSRP of $995 USD. The regular MSRP will be $1,995 USD. Owners of previous versions of BCC AVX may upgrade for an introductory MSRP of $295 USD. The regular upgrade MSRP will be $599 USD. A free 14-day trial version is available from http://www.borisfx.com

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CoreMelt Releases Complete v2.5 Plug-ins for FCP X Platform

The release of CoreMelt Complete V2.5 on the FCP X platform adds another 220 plugins to expand the platforms functionality, and all for the special price of $199 for a limited time!

With 8 completely new plugins, FCP X and Premiere Pro users can now enjoy all the flexibility and power of CoreMelt plugins.

CoreMelt, a leading provider of video editing plugins on Final Cut Pro, Motion, After Effects, and Final Cut Express on the Mac OS X platform, have brought their extensive line-up of plugins onto Apple’s Final Cut Pro X and Adobe’s Premiere Pro CS4/5/5.5 platforms.

The company’s comprehensive range of plugins has been simplifying video editors and motion graphics artists workflows for years with their GPU accelerated plugin engine. With functionality ranging from color correction, glows and blurs, essential editing tools, montage animation generators, audio reactive generators, video stabilization and 3D distortion effects, CoreMelt’s range has always been a crowd pleaser.


With the release of the completely overhauled FCP X earlier this year, editors have had a new interface to get to grips with, and what better way to streamline the learning curve than using familiar plugins to help you achieve those everyday editing tasks.


Fcpxprouniversity.com was pretty impressed with the release:

“I’m going to state right out front here, and you can quote me all you want, “CoreMelt 2.5 is the ONLY plugin suite you ever need to purchase, and is a must-have for any serious editor!”  Period.  There’s a free trial version you can download, too.”


With the addition of 8 new plugins, the CoreMelt Complete V2.5 range now contains over 220 plugins, and with a special release price of only $199, CoreMelt Complete V2.5 provides great value for money.


Fcp.co also had this to say about the release:

“Not only have they added 8 new plugins to the pack but they have also halved the price from $399 to $199. The bundle is made up of 8 separate 'packs' designed to do different custom jobs in FCP or any of the other hosts that are supported including FCP7, Final Cut Express, Motion, Adobe After Effects and Premiere.”


The 8 new plugins include;

Vintage NewsprintShatter

Overlays both a dot screen and a channel separation to create an effect like old misaligned newspaper print.

4 Point Mask Layer - Gadget

Creates a mask from various shapes that is positioned using 4 onscreen control points. This can be used as a way to mask an effect (especially in FCP X), by duplicating the layer into a connected clip aligned with the original clip, and then applying the effect you wish to use, and "4 Pt Mask Layer".

Light Burn - TRX

Wipes across to the next image through a burn of light with controllable angle, width and color.

Lights Out - TRX

Flickers the incoming clip to dark and then lights back up to reveal the new clip.

Light Streaks - TRX

Creates Random grunged light shapes across the image and then reveals the target image.

Shapes Grow - TRX

Reveals the next image through a selection of grungy random shapes.

Glass Fractures - Delta V

Creates random fractured blurred glass shapes across the image revealing the target clip.

Plasma Wipe - Delta V

Creates A wipe of Plasma across the image revealing the target clip


The FCP X and Premiere Pro version of CoreMelt Complete V2.5 is a free upgrade for current owners of CoreMelt Complete V2.


CoreMelt Complete V2.5 availability:

CoreMelt Complete V2.5 is available for a limited time at the special price of $199 and can be downloaded as a free 14 day trial from the CoreMelt website.

The purchased license enables functionality of all plugins on Final Cut Pro 7, Motion 4, Final Cut Pro X, Motion 5, Final Cut Express, After Effects CS3/4/5/5.5 and Premier Pro CS4/5/5.5.

CoreMelt Complete V2.5 is a free upgrade for current CoreMelt Complete V2 owners.


About CoreMelt:

CoreMelt, established in 2005 is a Sydney, Australia-based developer of advanced video plug-in effects for the editorial, compositing, design and visual effects communities. CoreMelt products are available worldwide through the Internet and resellers in the US, UK, Taiwan and Japan. For additional information on CoreMelt and its range of products, visit the company website: http://www.coremelt.com.


Web Resources:

CoreMelt website – http://www.coremelt.com

Information related to FCP X – http://www.coremelt.com/reviews/news/93-coremelt-and-final-cut-pro-x.html

Information related to Premiere Pro - http://www.coremelt.com/premiere-pro-beta.html

Online Store - http://www.coremelt.com/buy-now/online-store.html


FCP X Pro University review - http://www.fcproxuniversity.com/FCPro_X_University/Extra_Credit/Entries/2011/11/2_CoreMelt_Complete_V2.5_Shipping_For_FCP_X_and_Motion_5_%28and_more%29.html

FCP.co review - http://fcp.co/final-cut-pro/news/638-coremelt-upgrade-their-plugins-for-fcpx-and-lower-the-price

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