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Information Today, Inc.

September 19, 2005

Table of Contents

In Katrina's Wake: New Orleans Videography Studio Evacuates, Relocates, Regroups
Continuing Education: Shoot & Score with Sports Videos and Capturing the School Market by Bonnie Durkin
4EVER Group Chicago Video Summit To Be Held on November 7, 2005
The DV Shop Announces the Third Annual GraVT Expo
Samsung Debuts New 20" LCD Monitor
Canon Enters HDV Fray with XL H1
New 80GB Drive and NPL7 Battery for PortaDrive Location Sound Recorder
SmartSound Announces New Indie Film Music Pack and SmartSound Indie Film Studio Contest
Octave Systems Announced New Data Safe Copy Master II CD/DVD Duplicators

In Katrina's Wake: New Orleans Videography Studio Evacuates, Relocates, Regroups

Like everyone who escaped New Orleans when the levees broke, Julian St. Pierre has an evacuation story.

Julian, who handles the business and marketing end of New Orleans-based videography outfit Custom Video by Terry and hosts the local TV show Wedding Planning Experience, stayed put until well after the storm made landfall. His wife and son evacuated on Sunday with enough equipment to keep their business going, and Julian rode out the storm at their condo in the Uptown area of New Orleans. On Tuesday, the day after the storm, Julian left the condo and walked to the studio to check for damage. To his relief he found just one window pane broken in the two-story Greek revival building. As he walked backed to the condo he was told that the levees were breached and that the city was flooding. Authorities advised that there was a 4-6-hour window to evacuate before the only escape route from the city would be closed down and martial law would be enforced. Julian quickly packed a bag and joined his family on higher ground elsewhere in Louisiana.

The next morning, all three drove to Oklahoma, far away from the mounting wreckage in their city. "Now I don't when we're going to be able to go home," he says, "and if there will be any commerce when we do."

As many wedding videographers around the country know, the "Terry" in Custom Video by Terry is Terry Taravella. She and the couple's son, Joe, handle the videography side of the business, shooting and editing weddings and producing the TV show. Recognized as one of the most celebrated studios in the south along with the success of their local TV show, Julian, Terry, and Joe have established themselves as leaders in the New Orleans wedding industry. They have largely based their enterprise—and its ability to attract a high-end clientele—on New Orleans' reputation as a unique and inviting wedding destination. That "destination" status is now indefinitely on hold.  "Until we get the water out," Julian says, "we don't know what's going to happen. Of the 24 weddings we had left between now and the end of the year, we'll do maybe four or five."

Brides and grooms with pending wedding plans in New Orleans couldn't keep them if they wanted to. Many New Orleans hotels won't even be accepting guests during the next few months, Julian says. Most of their rooms will be reserved for emergency personnel. Meanwhile, some of the leading wedding venues in the area will be shut down for at least the next six months; Julian says one New Orleans-area plantation that usually does 150 weddings per year "will not be re-opening before April 2006."

Not surprisingly, he expects the local, "staple" wedding market to be hit just as hard as the destination market. "When local people do come back, they'll be focused on rebuilding, rather than spending $40K on their daughter's wedding."

Realistically, Julian and Terry acknowledge that the future of their business may not be in New Orleans—at least not the near future. They spent the first two weeks after evacuating mostly staying with their friends Mark and Trisha Von Lanken of Picture This Productions in Broken Arrow, Oklahoma. Shortly after I spoke with Julian on September 9, the family was due to travel to Dallas to set up camp with PixelPops Design. Their first order of business when they get to Dallas, Julian says, will be to set up their editing stations in the PixelPops studios so Terry and Joe can catch up on the backlog of editing they have from existing clients whose weddings they've already shot. After that, they'll be doing some short-term projects with PixelPops as they gather capital and begin planning their next move.

Going back to New Orleans—eventually—is one option. "If a few of us go back, maybe we can maintain for a while and prosper later. But like any small business owner, we're taking a tremendous risk that the market we had will ever come back in our business lifetime."

Many aren't willing to take that risk. Julian says he's spoken with a dozen New Orleans wedding vendors since the hurricane dispersed them and four told him "there's no way I'm ever going back."

In the interim, he says, "Terry and Joe are taking offers to shoot weddings in different parts of the country." Julian says they may ultimately decide to relocate their studio near a busy airport, re-structure their business as a mobile operation, and do their shooting wherever the jobs happen to be.

But for now, he insists, it's all guesswork. "A city in our country has never been totally displaced before," he says. "Three months later, do we all just go back and see what we can do? I don't know."

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Continuing Education: Shoot & Score with Sports Videos and Capturing the School Market by Bonnie Durkin

Shoot & Score with Sports Videos by Bonnie Durkin (2 DVDs, $75 in the 4EVER Group Store)
Capturing the School Market by Bonnie Durkin (2 DVDs, $75 in the 4EVER Group Store)

Bonnie Durkin is a New Jersey-based videographer who's been in the business nearly 20 years. Like many EventDV readers, she shoots weddings, bar mitzvahs, and other personal events, but her D-Vision Video studio has also found a great deal of success branching out into other markets, and enjoyed a lucrative stream of bookings with local sports and school-oriented projects like video yearbooks, graduations, and other school events. She's also a 2004 WEVA Creative Excellence Gold winner in Social Event Production. She has recently released two DVD-based training titles focused on these alternative markets. The discs combine a highlight reel on DVD-Video with a ROM component, accessible on any PC with a DVD-ROM drive, that includes PDF-based instructional material.

The PDFs are rich in instructional content, ranging from equipment recommendations to marketing strategy to discussion of different types of events to cover and packages to offer, with insights into what these packages should include, how to sell them, and what to charge for them. For videographers who have focused exclusively in weddings and personal events, culture shock may set in quickly; school and sports productions require a whole different business model. (Durkin also notes that videographers taking the leap into school and sports will fare much better if they like teenagers and know something about sports; there's that type of culture shock to be expected for those branching out into this area as well.) But as you might expect, the equipment needs and skills required are very similar to those used in wedding video—they're just applied differently. And as stage event specialist and EventDV "Stage to Screen" columnist Ed Wardyga likes to say, one of the best things about the schools market is that it's not "market-based"; that is, when your business model hinges on selling $30-$50 videos in quantity to a built-in market, the state of the economy won't have nearly as large an impact on your bottom line as when your livelihood depends on whether your average wedding booking is $1,500 or $5,000.

Wardyga also likes to say that your "built-in" audience is a lot more dependable when the kids in your video are on the younger side (say, preschool and elementary school vs. high school), and Durkin's market is clearly high school-oriented. Capturing the School Market includes both video examples and extensive text discussion on what Durkin calls "The Senior Memory Package," a 90-120-minute senior-year wrap-up, usually delivered in August "before the kids go off to college," that consists of three events: Prom, Commencement, and "Project Graduation," which Durkin describes as an "all night party sponsored by the parents on the night of graduation" in all New Jersey schools. Durkin goes into great detail on the Memory Package, explaining what to focus on in each event (especially the must-have shots), how to shoot it and capture the audio, and how to edit it. She also goes into how to target the right schools, how to market to them (right down to the costs of printing flyers), how many schools a videographer can realistically expect to cover, and what percentage of families will likely buy the tape based on the average income level of the school ("30-40% is good, 50% is great!"). If you're even considering getting into the school market, this is indispensable stuff—hard-earned insight on how to do school videography right and make it as profitable as possible.

Durkin also makes her opinions strongly felt here—it's her training product, after all. She's a firm believer in single-camera shoots for school events, based on audience expectations, the effectiveness of a single, three-chip camera in effectively capturing a school stage event, and the cost-effectiveness of not having to enlist a second camera operator or do a switched shoot. She also relies on her own lighting and sound. Many of the same principles apply to her sports video work, which focuses on high school (varsity and JV). She makes an especially good point about choosing music for high school sports videos: "I listen all year long to top 40 radio to keep abreast of the music they are listening to. I use these songs in their video. They are current and reflect the era perfectly." As a videographer moving into the field, the last thing you want to do (unless you want to get out of it just as quickly) is to rely on the songs that reflect the era when you went to high school.

She also includes some helpful insights on how to balance school and sports shooting with the typical unsteady diet of wedding production, and acknowledges that there will always be overlap, especially given the three-season consistency of sports work. She also notes that "producing sports videos is an incredible marketing tool for all the other video-related services you provide. In the last year alone, I have picked up 3 weddings, 4 Bar Mitzvahs, 2 Sweet 16's and 14 photo montages, just from clients who saw my [sports] videos."

All this advice sounds great (as does all the marketing and strategic detail on both discs), but the real question with this, as with any training DVD, is why should you listen to her? One reason is her recognized success in the field, but the real proof is in the video material on each disc. Durkin unquestionably knows how to make satisfying school and sports videos, and provides excellent examples of the production techniques and priorities she describes in the text that accompanies each disc, such as the graduation "money shot" and a "Big Game" 2-camera football video. You won't see the cinematic and fussed-over grace of stylized wedding video, but Durkin also makes clear that sports and school videos are different animals and it's neither cost-effective nor appropriate to produce school and sports videos the way you approach wedding video. With school and stage videos, it's much more of an add-titles-and-ship-‘em-out process; with sports videos it's simply a different set of effects, substantially less camera motion, and more consistently high-energy pacing.

Of course, some rules of event video (especially where families are involved) apply no matter what the genre: "Remember to deal with the Moms. They will be your most valuable asset, and most importantly make them cry."

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4EVER Group Chicago Video Summit To Be Held on November 7, 2005

The Hilton Northbrook has been announced as the site of the 4EVER Group's Chicago Video Summit, being held on Monday, November 7, 2005. The scheduled workshop presenters for the Chicago Video Summit include Robert Allen and Hal Slifer.

"Robert Allen is a proven presenter," said Tim Ryan, Director of Education. "His four-hour program at the New York Video Summit drew a huge crowd and rave reviews," Ryan added. Hal Slifer, a veteran videographer from the Boston area, is scheduled to present a workshop on video biographies. Slifer said that his workshop would highlight a very profitable product. "I'll teach the right ways to produce biographies that can be shown at weddings, social events, or corporate events. We'll show elements of same-day edits, which, along with the projection, can really add to the bottom line."

Free registration is available for the Video Summit and Traveling Trade Show, as well as for the Sponsor Workshops. Presentations by Robert Allen and Hal Slifer will have a nominal fee. The Traveling Trade Show will run from 4:00 to 7:00pm, and will include a light buffet dinner. The Video Summit, which will include additional educational content, will run from 7:00pm to 9:30pm. The evening will conclude with a prize give-away, featuring an Adobe Video Collection Pro, a $1,600 value.

Adobe and NewTek are two of the companies who will sponsor the Chicago Video Summit, and will also host workshops. "There has been tremendous interest in the Chicago Video Summit from a number of other potential sponsors," reported Steve Wernick, Director of Development, adding, "They will be added to the site shortly."

Complete information on the workshops and registration details will be available soon at www.4EVERGroup.org.

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The DV Shop Announces the Third Annual GraVT Expo

The DV Shop has announced Gra-VT Expo 2005, a graphics and video editing event to be held November 8 in Atlanta. GraVT Expo 2005 is promoted and hosted by The DV Shop, Norcross, GA (www.thedvshop.com), Showcase Inc., Atlanta, GA (www.showcaseinc.com), and Tape Warehouse, Atlanta, GA (www.tapewarehouse.com).

The exciting event will be held November 8, from 9:00 AM to 9:30 PM, at the Holiday Inn Hotel in Norcross, GA. Gra-VT Expo 2005 will provide an opportunity for exhibitors to provide demonstrations products and/or talk about what their organization can provide for the graphics and video industry professional. A special room will be set up for seminars that will be scheduled throughout the day for exhibitors to showcase their products.

The DV Shop will also host the November meeting of the Atlanta Videographers Association (www.atlantavideographers.net) in the seminar room from 6:30 till 9:30.

For or more information or to reserve your space at Gra-VT Expo 2005, call TheDVShop at 888-368-3268.

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Samsung Debuts New 20" LCD Monitor

Samsung has announced a new addition to its family of large-screen LCD monitors, the SyncMaster 204t. The SyncMaster 204t features Samsung's proprietary MagicTune¢â technology and MagicRotation software, provides a 20.1-inch viewing area, a height-adjustable stand, built-in power supply, analog and digital inputs, and a narrow bezel design. The SyncMaster 204t is currently available at retail and through Samsung¡¯s distribution channel across the U.S. with an estimated street price of $599.

The SyncMaster 204t employs Samsung's MagicTune and new MagicRotation technologies. MagicTune allows users the ability to adjust the monitor's settings with just a click of the mouse. Individuals have full control over all display features and the capability of saving various personalized display profiles for any environment or mode they are using. MagicRotation, an automatic pivot feature, allows users to change the orientation of the display and the video will automatically track the display's new orientation. MagicRotation provides users the automatic rotation capability to switch between landscape and portrait modes, for greater visibility of documents, Web pages and email communications.

The MagicRotation software gives users a rotation feature (0 to 90 orientation) facilitating optimum utilization of the computer display screen, better viewing and improved user productivity, according to Samsung. The 204t incorporates a response time of just 16ms allowing for smooth, sharp, and fast transitions of motion video, Samsung reports. AThe 204t offers a pixel pitch of 0.255mm and a maximum resolution of 1600x1200.

The vertically aligned-LCD monitor delivers crisp, clean text and bright, vivid colors with a 700:1 contrast ratio, a brightness of 250 cd/m2 and horizontal/vertical viewing angle of 170¡/170¡. The SyncMaster 204t also gives users the option of using either a digital or analog interface for viewing images and text delivering a maximum of 16.7 million colors.

The Digital Video Interface (DVI) guarantees a cleaner, crisper image and a more accurate representation of the original video information. When used with an analog input, the 204t automatically adjusts the display parameters for optimum front screen performance. In addition, the 204t features an easily accessible one-button auto calibration system for control over the on-screen image allowing for accurate proportioning of screen geometry, and clock /clock-phase. The On Screen Display system features a comprehensive menu of controls for an accurate image reproduction.

Available in both silver and black cabinet colors, the picturesque Samsung SyncMaster 204t is endlessly accommodating. Featuring a narrow bezel design, a removable base, and height adjustability, it is designed for a crowded office or for the home user wanting to maximize space. It features a built-in power supply for added space savings and is compatible with a VESA wall mount.

Samsung backs the SyncMaster 204t with a three-year, parts and labor warranty, including the backlight as well as toll-free technical support 24 hours a day, 365 days a year. In addition, Samsung offers a three-year Advanced Replacement Program, three-year Repair and Return or Exchange and three-year Shuttle Exchange for hassle-free repairs.


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Canon Enters HDV Fray with XL H1

As Canon's first HD video camera, the XL H1 High Definition (HD) camcorder and 20x HD video zoom lens with Superior Canon Optics is designed to provide broadcasters with a low-cost 1080i resolution option for ENG, documentary, or reality TV production. The XL H1 also includes extensive Cine controls and a 24 Frame rate option geared torward filmmakes. Canon's "professional jackpack" features include uncompressed digital HD-SDI output for seamless integration into broadcast studios or high-quality image transfer to non-linear editing systems. The Genlock feature allows movie sets to synchronize camera settings across multiple camcorders and SMPTE time-codes in-and-out allow for streamlined tape and edit management.

The XL H1 camcorder has three 1/3 inch 16:9 interlaced CCDs that capture images at 1080i resolution. The camcorder features selectable frame rates of 60i, 30 Frame and 24 Frame to allow the user to adjust to the assignment at hand and can switch back to SD resolution if needed.

At the 30 Frame rate, broadcasters can capture high motion, like sports with confidence that each frame is captured individually and completely. Filmmakers can utilize the 24 Frame rate when creating the look and feel of movie film. The 60i frame rate, meanwhile, delivers exceptional resolution for shooting environments like ENG or Reality TV.

The XL H1 HD camcorder is the first model to include Canon's proprietary DIGIC DV II image processor. DIGIC DV II is an image processor that can process both HD and SD video signals as well as still photos, while maintaining the correct color space for each mode.

The XL H1 camcorder's professional jackpack terminals consist of three key features designed to streamline production: HD-SDI output (High Definition Serial Digital Interface), Genlock, and SMPTE (Society of Motion Pictures and Television Engineers) Time Code input and output.

To streamline in-studio television production, the XL H1 model offers HD-SDI and SD-SDI output. HD-SDI output allows professionals to directly connect to a TV control room or a non-linear editing system. With this feature, users can plug their XL H1 camcorder into any professional's system with an HD-SDI input and can deliver live, unfiltered HD content in all its detail. With other HDV models on the market, the user must feed the HD signal into an analog to digital signal converter box which adds an extra step and extra cost.

The XL H1 camcorder can also record to HDV Master recording media or Mini-DV tapes. For multi-camera shoots, the XL H1 features Genlock synchronization input. This feature allows many XL H1 camcorders to synchronize through a switcher. With its SMPTE time code input and output, multiple cameras on a shoot can all lay down the same time code. The XL H1 camcorder uses a customizable open-architecture approach, selectable frame rates, and multiple output options.

Canon's XL H1 HD camcorder can capture still images plus metadata at full HD resolution (1920 x 1080 dpi or 2.1 megapixels) onto a standard Secure Digital (SD) Memory Card and MMC media. The "Photo" button located on the outside of the camcorder allows users to capture still images at up to five frames per second. Camcorder settings can be stored on the memory card and transferred to another camcorder so setup can be replicated.

The XL H1 camcorder's still image capture plus metadata feature provides an in-camcorder solution for cinematographers and directors to check for scene continuity and provides added back-up to any still photographers on set.

Canon is launching a new multi functional color electronic viewfinder (EVF) and 2.4" 16:9 LCD monitor with Safe Area Marking built-in; black and white mode; Zebra Pattern (70-100 IRE); Horizontal and Vertical flip and a Distance Readout (using 20X HD Video lens). As a menu option, users can chose to view Aspect Ratio Guides in the viewfinder. Canon provides a choice of 4x3, 13x9, 14x9, 1.66:1, 1.75:1 1.85:1, 235:1 guides.

The XL H1 HD camcorder viewfinder also includes a feature called Focus Help. The first setting — Peaking — creates an exaggerated line in the viewfinder that disappears when the image is focused. The second setting — Magnifying — enlarges the viewfinder image, helping the camera operator better see if the image is properly focused.

The new XL H1 HD camcorder features Canon's XL-interchangeable lens mount. For the XL H1 camcorder, Canon drew upon its exceptional heritage and expertise in designing and manufacturing lenses for photography and broadcast TV to create its new 20x HD video zoom lens with Superior Canon Optics. This lightweight, high performance lens achieves fast, precise focusing and a unique balance of focal length, angle of view and depth of field; key quality attributes that distinguish Canon from some other brands.

In addition it incorporates multiple Fluorite elements for superior contrast, resolution and color fidelity through the reduction of chromatic aberration. The 20x HD Video lens offers a fast f/1.6 to f/3.5 aperture for users that shoot under the most demanding lighting conditions and a close focusing distance from only 20mm away (when at wide angle). At an aspect ratio of 16:9, the 20x zoom range is an impressive 38.9mm to 778mm (35mm equivalent). At the 4:3 aspect ratio, it is an equally impressive 47.4mm to 954mm (35mm equivalent).

The lens features a 72mm filter thread, two independent ND filters (1/6, 1/32), focus and zoom presets, and optical image stabilization. Canon's Super-Range Optical Image Stabilization (OIS) system corrects camera shake instantly so even hand held shots, at full telephoto, and shots taken from a moving car, are smooth and steady. Because it is optical, it can compensate for a greater degree of camera shake and avoids any loss in image quality, unlike some electronic image stabilizers. Other optical image stabilizers use a gyro sensor to detect camcorder vibration (the data from which controls a vari-angle prism that continuously corrects the path of the incoming light).

Canon's SuperRange OIS system examines the image after the CCD receives it and detecting any low-frequency vibrations missed by the gyro. This data is fed back to accelerate and refine the movement of the vari-angle prism. This greatly improves performance for low frequency vibration, according to Canon.

The XL H1 camcorder and the 20x HD Video Lens with Superior Canon Optics will be available as a kit in November for an estimated selling price of $8,999.


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New 80GB Drive and NPL7 Battery for PortaDrive Location Sound Recorder

With features including multi-channel session-based recording to a removable hard drive and simultaneous recording of rushes to an external DVD-RAM drive, the HHB Portadrive Location Sound Recorder is positioned as a successor to timecode DAT. Now the Portadrive system has been upgraded with a new, higher-powered rechargeable battery, and the availability of a new, 80GB removable drive.

Supplied as a standard accessory with all Portadrives, the new 71-watt/hour NPL7 Lithium Ion rechargeable battery replaces the original 52-watt/hour NPL50, boosting the time for which the Portadrive can be continuously operated from two hours to around three. As before, the Portadrive's power safety features provide seamless changeover between external and internal battery power, according to HHB, with the AC adaptor supplied doubling as a charger for the battery when the Portadrive is not in use.

Available as an optional accessory, the new PDRDC80 80GB removable HDD caddy can record 9.5 hours of eight-channel, uncompressed, 24-bit/96kHz audio. File transfer to Mac and PC-based workstations is facilitated by the PDRDSUF FireWire/USB docking station, which, for a limited period, is being bundled free of charge with the Portadrive, along with the multi-format PDRDVDBU back-up drive. A 40GB HHD caddy is supplied with the Portadrive as standard.



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SmartSound Announces New Indie Film Music Pack and SmartSound Indie Film Studio Contest

SmartSound has announced the Indie Film Music Pack, which gives independent filmmakers the creative flexibility and control to get a powerful, professional-quality music score for a small cost. Priced at just $499, it includes the SmartSound Sonicfire Pro software and a choice of any 25 royalty-free tracks from SmartSound's library of more than 1,200 cuts. Sonicfire Pro helps filmmakers tailor the tracks to fit the exact length and mood needed to score a scene. And because the tracks are royalty-free, the rights are cleared from festival screenings to theatrical or DVD releases. The Indie Film Music Pack also includes a free copy of the Sonicfire Pro Training CD. This includes 90 minutes of step-by-step instruction on creating soundtracks with Sonicfire Pro, along with four bonus music tracks.

To promote the new Indie Film Music Pack, SmartSound is combining with Avid and Alienware to give one filmmaker the SmartSound Indie Film Studio. This package includes products ordinarily priced at more than $11,000, including the following:

  • Complete SmartSound Music Library with Sonicfire Pro for Windows (MSRP $3,995) -- 80 SmartSound Music CDs containing more than 1,200 tracks - All music is Royalty-free for any use
  • Avid Xpress Studio Essentials ($3,495 value) -- Avid Xpress Pro for video editing, Avid 3D for 3D animation, Avid FX for titling and visual effects, Avid DVD by Sonic for advanced DVD authoring, Avid Pro Tools LE for sound editing and design, Digidesign Mbox dual-channel micro-studio
  • Alienware MJ-12m 7700 ($3,723 value) -- Intel Pentium 4 560J Desktop Processor w/ HT Technology, 3.6GHz with 800MHz FSB, Microsoft Windows XP Professional with Service Pack 2, 1-Year AlienCare Toll-Free 24/7 Phone Support with Onsite Service, 17" WideXGA+ 1440 x 900 LCD Clearview Display, Intel 915P PCI-Express Chipset, 2GB Dual Channel DDR2 SO-DIMM at 533MHz, 4 x 512MB, Alienware MJ12m 7700 NVIDIA Quadro FX Go 1400 with 256MB of DDR memory, Dual Drive Configuration, Non-RAID (60GB x 2) 7200RPM ATA100, 8X Dual Layer DVD+/-RW/24X CD-RW Combo w/Software, Alienware 7700 series 12-cell Lithium-Ion Smart Battery Pack, Integrated 10/1000Mb Gigabit Ethernet & 56K V.92 Modem, Intel High-Definition Audio (24-bit, 192Khz) with 7.1 surround sound, USB Floppy Drive, Alienware Mousepad


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Octave Systems Announced New Data Safe Copy Master II CD/DVD Duplicators

Octave Systems, Inc. has unveiled its new line of Data Safe Copy Master II CD/DVD duplicators, which allow users to duplicate CDs and DVDs quickly via user-friendly tower-style duplicators. With the addition of a convenient front-bay removable 160GB hard drive, users can now remove and secure sensitive data by locking it in a safe.

The latest addition to the Copy Master line offers tower-style models that can provide 1-to-8, 1-to-6, and 1-to-4 duplication depending on the user's needs, and can duplicate DVDs up to 16X, 8.5 GB Dual Layered DVDs up to 4X and CDs up to 48X. An eight-drive Data Safe Copy Master II can produce eight full 4.7GB DVDs in seven minutes, and eight full 650MB CDs can be produced in three minutes, according to Octave.

One new addition to the Data Safe Copy Master II is the quick-start Auto Copy feature, which allows users to load up the master and blanks and start the duplication process by pressing the new Copy button. There are four additional convenience buttons: Copy, Test, Speed and Source. The Copy button allows the user to begin the duplication process. The Test button tests the copy process without actually writing to the media. The Speed button sets the speed of the copy. The Source button changes the master source of the information the user wants copied from the DVD-ROM or CD-ROM to the hard disk.

In addition, the Data Safe Copy Master II also features a buffer memory of 128MB; a removable 160GB hard drive; password protection for different users; hard disk drive partition naming, allowing a user to name the images stored in hard drive partitions; multiple language displays; DVD drive firmware upgradeable by the controller; enhanced firmware in the controller that speeds duplication; better cooling through the use of an aluminum case; and an auto counter that keeps running totals of successful copies.

The Data Safe Copy Master II line is competitively priced at $995 for a 1-to-4 duplicator, $1,209 for a 1-to-6 duplicator and $1,429 for a 1-to-8 duplicator, all of which are currently available.


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