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April 03, 2006

Table of Contents

NEW VIDEO TUTORIAL: Stabilizing Your Video With proDAD Mercalli
The Nonlinear Editor: The Music of Chance
4EVER Group and Studio Vieux Carre Announce "Symbolic Re-Opening" Event for New Orleans Wedding Industry
Blackmagic Design Announces 2K Support for Apple Final Cut Pro and Adobe Premiere Pro 2.0
Disc Makers Announces New Line of Automated Tower Duplicators
Panasonic to Roll Out Blu-ray Disc (BD) Player in September
Total Training Ships New Instructional Videos for Macromedia Studio 8
Blackmagic Design Announces New Windows XP x64 Support for DeckLink Family of Capture Cards
RaveHD 2.0 Officially Ships
Canto Ships Cumulus Video Suite 1.0.1

NEW VIDEO TUTORIAL: Stabilizing Your Video With proDAD Mercalli

Video tutorial intro/outro created for EventDV.net by Lance Gray, PixelPops Design.

In this video tutorial,
EventDV Moving Picture columnist explains how you can stabilize your video effectively and efficiently using proDAD Mercalli. To read Jan's full review of Mercalli, see the January issue of EventDV or click here.
Click on the image to watch the video tutorial (you'll need to have your screen resolution set at 1280x960 or higher for optimum viewing).

In this video tutorial, Philip Hinkle of Frogman Productions explains how you can streamline Same-Day Edit video production using the real-time capabilities of Grass Valley Edius (along with some careful prep and planning), wowing your clients and their guests--a room full of future prospects.
Click on the image to watch the video tutorial (you'll need to have your screen resolution set at 1280x960 or higher for optimum viewing).

In this video tutorial, Jan Ozer explains how to use Vitascene's high-quality, distinctive effects and transitions to enhance event video productions with a consistent, polished look, working with Vitascene as a very usable, but extremely powerful plugin for Adobe Premiere Pro (which also works in Adobe Premiere Elements 1.0 - 3.0 and After Effects 7.0, Avid Liquid 7.x, Avid Xpress 5.x, and Avid Media Composer Adrenaline 2.x, Canopus Edius 4.x, Pinnacle Studio 11.x, Sony Vegas 5.x - 7.x, and Ulead Mediastudio 7.x - 8.x).
Click on the image to watch the video tutorial (you'll need to have your screen resolution set at 1280x960 or higher for optimum viewing).

In this video tutorial, Jan Ozer details SmartSound's high-level workflow for its new Sonicfire Pro 4, then reviews in detail how to select and customize background music tracks for a number of productions, including how to use the new Mood Mapping tool. Click on the image to watch the video tutorial (you'll need to have your screen resolution set at 1280x960 or higher for optimum viewing).

In this Final Cut Pro video tutorial, Apple Certified Trainer Ben Balser looks at the four basic edit trim tools in FCP that, once mastered, can dramatically reduce your editing time. Click on the image to watch the video tutorial.
Click here to read the corresponding article.

In this video tutorial, Adobe Certified Instructor Luisa Winters shows how to use Dynamic Link, a new feature in the Adobe Production Studio allowing seamless, render-free interplay between applications, moving fluidly between Premiere Pro and After Effects. Click on the image to watch the tutorial.

In this video tutorial, EventDV Contributing Editor Jan Ozer demonstrates how to use the new multicam feature in Adobe Premiere Pro 2.0. Click on the image to watch the tutorial. 

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The Nonlinear Editor: The Music of Chance

There's an old story, recounted in Paul Auster's The Locked Room, of an Arctic explorer named Peter Freuchen who hunkers down in an igloo to avoid roving wolves outside. Once inside, he finds that every breath he exhales freezes to the inside of his igloo. So with each breath the walls get thicker. If he stays in the igloo, and keeps breathing, eventually there will be no room for his body. Doing the basic thing he needs to do to survive will kill him.

It's kind of the ultimate Catch-22, and in a way it makes all the paralyzing frustrations we encounter in our professional lives seem relatively trivial; frozen by indecision beats frozen to death any day. The main difference is that in our businesses we can choose to act one way or another and suffer the consequences, and in most everyday professional situations, that's just what we do.

Do you use copyrighted music in your event video productions without securing a license or paying for it? No need to answer out loud, or even raise your hands—it's better if you don't. You probably have a vague idea about whether it's illegal, and your own opinion about whether it's moral; that is, if it's a crime, and if that crime actually has a victim. And your answers to those questions may or may not guide your actions. (Scroll down for a READERS' POLL on this issue.)

The reason I bring up the igloo analogy is that if you give the subject any thought at all, the choice you make is in some measure motivated by fear: either you don't use copyrighted music because you're afraid of getting caught, or you do because you fear that you can't hold your own in your market if you refuse to use the popular songs that your competitors deliver without hesitation.

Every time we run an article that even mentions how a song was used in a particular video—when the propriety of using that song isn't by any stretch the subject of the article—I receive a number of letters asking if said mention was an endorsement of the practice, or whether the letter-writer's assumptions were wrong and there's some unknown loophole in the law that made it all OK. More often, it's the latter; they have a gut feeling that using copyrighted music without permission is both illegal and wrong, but they don't really know what the law is or how to find out. Most people figure it's probably illegal, even if they consider it inconsequential, or even indispensable—a necessary evil to keep up with the blithely infringing Joneses. But they'd like to know the truth all the same.

Fortunately, you don't have to go to your local law school library, flick the switches that move the shelves apart so you can browse (they have way too many books in those places), pore over statutes and case law, and find the answers for yourself. There's a book called Media Law for Producers (Fourth edition, Focal Press, 2003, $39.95 on Amazon.com) by L.A.-based entertainment and intellectual property attorney Philip H. Miller. You won't be qualified to practice that type of law after you read the book, of course, but you'll certainly have a better understanding of how it applies to you and your business. For personal event videographers, it's at the very least a wake-up call; for anyone doing high-level corporate or advertising work, it's a mandatory plan of action.

There are three key aspects of copyright law that apply to the use of copyright-protected music in event video, and that's what we'll focus on here. First is the simple issue of incorporating a copyrighted work, in part or in its entirety, "as part of a production without securing the copyright owner's permission." Fair use and compulsory music licensing are exceptions to this rule, but in commercial uses—even those that don't specifically "sell" the song—these exceptions don't apply. At issue here is not just your actions' effect on record sales (which is negligible or non-existent), but the rights of copyright owners to control and be compensated for the use of their work in for-profit derivative works. This is the official position of the Recording Industry Association of America (RIAA)—the national organization that represents record companies and their copyrights—according to RIAA senior VP Michael Huppe.

The other key copyright issues, which apply in most event video uses, are synchronization and master recording rights. If you're planning on using not just a song but a specific recording (which is the predominant practice in event videos that use copyrighted materials), you are required to secure a synchronization ("synch") license from the music publisher (for permission to use the song) and the record company for rights to the recording. "This type of a combined license," Miller says, "should include a representation and warranty by the record company that it has the right to license all of the relevant rights to both the sound recording and the underlying song." Limited-term licenses are cheaper than "in perpetuity" licenses, which is good news for producers of corporate videos and commercials that have short-term shelf lives, but bad news (in theory) for personal event videographers, whose businesses are founded on the long-term value of their work.

But it's still important to restrict the rights you request to how you plan to use the song—you don't want to pay for performance rights, for example, when you have no intention of performing the song. But synch and master recording rights almost always apply. Miller's book includes a sample synch license; it's informative for several reasons, not the least of which is that it reminds us of one reason videographers rarely even try to secure these kinds of permissions: Miller's sample license calls for a $1,500 fee, which is hardly cost-effective for a videographer who may be charging as little as $800, but rarely more than $8-10,000 for an entire production.

The sample license also includes the right to distribute the production on videotape or DVD, which brings up another embedded issue: "mechanical" licensing. In the past, mechanical rights had to be secured through a separate license; because DVD or VHS distribution is commonplace today, it's typically lumped in with synch and recording rights.

One of the challenges facing seekers of synch and recording licenses (besides the arguably disproportionate price of those licenses, of course) is that they currently have no other legal option but to bring their request to the specific music publisher and record company, in all instances. (You can do so through an agency that specializes in these types of requests, but you will incur additional expenses.) Those seeking performance rights enjoy a more streamlined process: typically, they deal with ASCAP or BMI, which may be no picnic, but at least those organizations have the power to issue blanket performing licenses, making things much simpler for the rights seeker.

ASCAP and BMI have no dominion over synch or recording rights. These issues fall under the umbrella of the RIAA, which is very much aware of music copyright violation in the event video world. While the RIAA doesn't currently issue any sort of clearing-house licenses for synch and recording rights to event videographers, a committee organized by EventDV and the 4EVER Group has begun discussions with top-level executives at the RIAA about developing a licensing system that will to allow event videographers to pay an annual fee that will cover recording and synch rights (with pre-defined limits) for all artists and recordings represented by the RIAA, similar to the one available to Australian videographers (via their own national licensing bodies) for an annual fee that currently stands at U.S.$581. There are complicated issues to resolve on both sides of the equation in the U.S.—including anti-trust law concerns—and at this writing our discussions of this type of solution are still preliminary.


Of course, one option is to avoid this entire issue by using buyout music in your production, where you pay a fee up front for access to a "copyright clear" music library (the fee essentially covers the royalties to the composers and performers). You then have the right to use the recording under one of three arrangements: a needle-drop fee, where you pay a specified fee for each use; a bulk rate that's scaled to high-volume use; or an annual blanket license that provides for unlimited use for the specified term. Creating or commissioning soundalike recordings is another, potentially thorny alternative; original artists are protected from these types of infringements as well.

While no wedding or personal event videographer in the United States, to my knowledge, has ever had to pay significant damages for the use of copyrighted music in a production, it is nonetheless possible that you may find yourself the defendant in an infringement suit brought in a U.S. district court if a copyright owner catches wind of how you used his or her composition or recording and proceeds to take umbrage and action. According to Miller, this may result in an injunction or restraining order to prevent you from continuing to use or distribute the infringing work, a court order to impound the materials in question, and a court order to destroy those materials.

Finally, the court may award compensation in one (or more) of three forms: actual damages ("monetary losses resulting from the infringement that the copyright owner can actually prove"—virtually impossible for a rights holder to prove with event video); statutory damages (a figure assigned by the court "when actual damages are small or difficult to prove"—more likely); and possibly reimbursement of the plaintiff's court costs or attorney fees. Section 504 of the Copyright Act of 1976 stipulates that in "most individual infringement cases, the court may award damages of ‘not less than $750 and not more than $30,000.'" However, if the court terms the infringement "deliberate and willful," damages may run as high as $300,000. In instances of "innocent infringement," where the court believes the infringer didn't know the law or did not understand that his or her act constituted infringement, Section 504 provides for reducing the statutory damage award to $200.

The biggest concern here, of course, is that this won't just come up routinely, proceed proportionally, and result in a slap on the wrist. The recording industry could launch a case to make an example of someone and go for broke, so to speak. And by sitting idly, taking our chances, and hoping to avoid notice, we're essentially waiting for the hammer to fall.

As you might expect, that's what we're trying to avoid.

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4EVER Group and Studio Vieux Carre Announce "Symbolic Re-Opening" Event for New Orleans Wedding Industry

The 4EVER Group, in conjunction with Studio Vieux Carre, have announced a set of programs to be held in New Orleans on June 28-29, 2006. The workshops and social events, being called "Lagniappe on the Bayou," will mark the industry's return to New Orleans after the devastation of Hurricane Katrina.

Programming will begin on Wednesday, June 28, with a tour of the affected areas of New Orleans. This will be followed by a banquet dinner at Southern Oaks Plantation, one of the area's premier reception venues. The banquet dinner will be hosted by Terry Taravella and Julian St. Pierre, and capacity is 50 people. "This is a symbolic re-opening of the wedding industry in New Orleans," said 4EVER Group director of development Steve Wernick.

On Thursday, June 29, workshops will be hosted by Mark & Trisha Von Lanken (Picture This Productions), Julie and Alex Hill (Elysium Productions), and Russ Jolly (PixelPops). Videographers from affected areas will be offered special pricing for these workshops, but seating will be limited. An attendee can register for any single workshop, or for any combination of the five events that are a part of "Lagniappe on the Bayou". Full registration details will be available soon at The 4EVER Group web site, www.4EVERGroup.org.

Terry Taravella and Julian St. Pierre, owners of Studio Vieux Carre, have led the effort to bring educational programs back to the Gulf Coast. "We believe those in attendance will be treated to one of the most diversified events yet offered to videographers. Exposure to three of the industry's most celebrated studios, a tour of areas affected by the nation's most catastrophic natural disaster ever that ends with a spectacular banquet at one of the areas top reception venues. We've also got a ‘little lagniappe' for everyone in attendance."


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Blackmagic Design Announces 2K Support for Apple Final Cut Pro and Adobe Premiere Pro 2.0

Today, Blackmagic Design announced true 2K resolution support with Version 5.5 software for the Multibridge Extreme all-in-one bi-directional converter with PCI-Express. The Multibridge Extreme is an uncompressed video product to feature 2K, real-time 10-bit RGB playout for Apple Final Cut Pro on Mac OS X and Adobe Premiere Pro 2.0 on Windows XP. T

his new software driver 5.5 for Multibridge Extreme also features 2K real-time preview for popular compositing and paint applications such as Adobe After Effects 7.0, Combustion, Shake and Photoshop. True 2K, at 23.98 and 24fps enables editors, broadcast paint and special effects professionals the ability to monitor 2K video and graphics on Dual-Link DVI-D LCD displays, such as the Apple 30" Cinema Display and the DELL 30" flat-panel display. Each individual pixel is digitally mapped pixel-for-pixel for the most color-sensitive and accurate image quality available - perfect for detailed video and film work.

Multibridge Extreme 5.5 includes the following:

  • True 2K, 10 bit RGB real time playout support for Apple Final Cut Pro on Mac OS X and Adobe Premiere Pro 2.0 on Windows XP
  • True 2K real time preview for popular effects and paint applications such as Adobe After Effects 7.0, Photoshop, Shake and Combustion
  • Support for 30" dual-link DVI-D displays at full resolution 2K 2048x1556, and support for 2048x1536, 2048x1157, 2048x1106, 2048x1080 at 23.98 and 24fps
  • Closed caption support in high and standard definition analog and digital video
  • Added Windows 2003 server support for software version 5.5 for Windows XP

Multibridge Extreme is an all-in-one bi-directional converter featuring a new high-speed 10GBps PCI-Express connection. 25 times faster than FireWire, Multibridge Extreme's PCI-Express allows capture and playback of uncompressed video up to 2K feature film resolutions when plugged into a computer. Multibridge Extreme can be used as the highest quality audio and video converter, or as a high-end editing and compositing system for broadcast, post-production and film projects. It instantly switches between HD and SD with 4:2:2 and Dual Link 4:4:4 video quality.

 Multibridge Extreme features SDI digital video, Analog Component video, 8 channels of AES/EBU digital audio, two channels of balanced professional XLR analog audio and two unbalanced audio outputs for low cost in-suite monitoring. Multibridge Extreme is available now for US$2,595 from authorized Blackmagic Design resellers worldwide.

Blackmagic's latest software driver is available free to registered Multibridge Extreme users, and can be download immediately from the Blackmagic Design support web site located at www.blackmagic-design.com/support/software/.

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Disc Makers Announces New Line of Automated Tower Duplicators

Disc Makers, a manufacturer of CD and DVD duplicators, has added the ReflexAuto machines to its lineup of Reflex duplicators. The ReflexAuto3 and the ReflexAuto8 are the first-ever automated tower duplicators from Disc Makers. 
     ReflexAuto towers combine high-volume output with minimal interaction. The ReflexAuto series incorporates a robotic arm with all of the features of the Reflex towers so you don't have to manually change the discs after every duplication session. The ReflexAuto8 alone will allow you to burn CD's for over 20 hours unattended with a disc capacity of 1,000.

The new automated Reflex towers start at $1,890 for the ReflexAuto3, and $4,790 for the ReflexAuto8. The Reflex duplicators provide an affordable and efficient solution for a complete standalone duplication experience. The new Reflex duplicators include the following:

  • Powerful Plextor 16x DVD±R/48x CD-R drives with state-of-the-art throughput speed
  • ReflexAuto3 - up to 18 DVD±Rs per hour, and up to 26 CD-R's per hour
  • ReflexAuto8 - up to 32 DVD±Rs per hour, and up to 48 CD-R's per hour
  • Large Disc Capacity - 100 discs for the ReflexAuto3 and 1000 discs for the ReflexAuto8
  • Dual-Layer DVD duplication capabilities
  • Durability
  • Free lifetime technical support
  • Perfect fit guarantee--If you discover within thirty days that this product does not work for your needs, Disc Makers will give you full credit towards one that does.
  • 100 FREE Disc Makers Ultra 52x CDs or 50 16x DVDs with purchase, and discounted pricing on future blank media purchases

To learn more about Disc Makers' complete line of duplication hardware, visit www.discmakers.com/duplicators.

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Panasonic to Roll Out Blu-ray Disc (BD) Player in September

Panasonic said on Tuesday it will start selling a Blu-ray high-definition disc player in September for under $1,500 and sees up to 5 million of these new DVD players sold industry-wide in their first year. "We think adoption will be strong, based on broad support. For the first 12 months, we expect 4 million to 5 million units to be sold beginning in May and across all platforms, including standalones, computers, and gaming systems," said Reid Sullivan, vice president merchandising, Panasonic's entertainment group. Sullivan said Panasonic sees no need to develop a player to support both Blu-ray and the rival format known as HD DVD, despite a raging war between the two standards and a move to make a dual player for both formats by LG Electronics Inc. "Unfortunately, there is some confusion between the two but based on the wide support for Blu-ray in the industry, we expect the (growth) curve to be quite steep. We recognize that its best to have one format," said Sullivan.

The arrival of Panasonic's Blu-ray player will coincide around the debut of its new 103-inch flat screen TV, estimated by Panasonic to cost several times more than the $10,000 price of its 65-inch Plasma TV. Panasonic is a division of Panasonic Corp. of North America, the principal North American subsidiary of Matsushita Electric Industrial Co. Ltd. "We're introducing technologies that will all tie in together to propel Blu-ray. The flat panel or plasma TV is the engine pulling the train," said Sullivan.

Panasonic's Blu-ray player will compete against other Blu-ray players from Samsung, Pioneer, and Sony as well as players supporting rival HD DVD, championed by Toshiba. The battle between the two formats has divided Hollywood and the computer industry and is being likened to the Betamax/VHS war of over 25 years ago, which led to customer confusion and widespread company losses.

While more Hollywood studios and electronics makers have sided with the Blu-ray camp, led by Sony, last fall Microsoft revived HD DVD when it said would support Toshiba's technology. Microsoft is expected to introduce an external HD DVD drive that will turn the Xbox 360 into a high-definition DVD player.

Sony's much-anticipated PlayStation 3 game console will support Blu-ray and is expected to boost the install base for that format, although Sony recently delayed the debut of PS3 until early November. Toshiba last week said it may delay the launch of its HD DVD player from March to mid-April. By offering discs with far more capacity than current DVDs, the groups hope to breath new life into the $24 billion home video market.


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Total Training Ships New Instructional Videos for Macromedia Studio 8

Total Training, Inc., a provider of video-based training tools, has announced a new series of instructional DVD-ROM series for learning Studio 8 Web design software programs. The bundle includes a 10-hour video series on Dreamweaver, a 24-hour video series on Flash, as well as brand new tutorials on how to give a web site an extreme makeover.

Highlights include the following:

  • Learn how to design and develop complex web sites using state-of-the art tools.
  • Lessons feature how to efficiently layout, develop, and maintain standards-based Web sites that can be delivered to HTML, DHTML, CSS, Javascript, and Flash.
  • Discover how to leverage the capabilities of leading Web design applications: Photoshop, Illustrator, Fireworks, Dreamweaver, Flash, and Contribute.

Presenters include Janine Warner, best-selling author of Dreamweaver For Dummies, who teams up with John Ulliman, an authorized instructor for Studio 8 products and principal of his own project development company.

Total Training for Studio 8 Bundle is available now for $499.99 USD. The target audience is beginner to advanced Studio 8 software users. The bundle includes seven DVD-ROMs with over 43 hours of lessons. Project files are also included to practice along with the instructor.

For more information, visit www.totaltraining.com or call 888.368.6825.

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Blackmagic Design Announces New Windows XP x64 Support for DeckLink Family of Capture Cards

Today, Blackmagic Design announced 64-bit driver support with its software Version 5.5 for the DeckLink family of products. The DeckLink uncompressed video products take advantage of the larger memory architecture within Windows XP Professional x64 Edition.

Featuring 128GB RAM and 16TB  of virtual memory, Windows XP x64 provides a higher performance platform that supports both 32-bit and the latest 64-bit applications. All DeckLink products can now take advantage of high-performance computing environments with full support for powerful 64 bit hardware and increased stability on Windows XP x64. Because DeckLink products have drivers written natively for Windows XP x64, all users now get a complete solution specifically built for high-performance server and workstations.

DeckLink 5.5 for Windows XP x64 includes the following:

  • Support for Windows XP x64 for 64 bit and 32 bit based applications
  • True 10-bit RGB or YUV support for Adobe Premiere Pro 2.0, with real time preview in Adobe After Effects 7.0, Photoshop and Combustion
  • Closed-caption support in High and Standard Definition analog and digital video
  • Fill and Key output on the DeckLink HD Pro (4:4:4) models

Blackmagic's latest software driver is available free to registered Multibridge Extreme and DeckLink users, and can be downloaded immediately from the Blackmagic Design support Wb site located at www.blackmagic-design.com/support/software/.

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RaveHD 2.0 Officially Ships

SpectSoft LLC., a provider of uncompressed video solutions on the Linux platform, has announced that RaveHD 2.0 officially begins shipping and will be showing at the upcoming NAB convention in Las Vegas. SpectSoft's newest version not only offers new features that include reverse audio, slave record, deck standby, and 2K HSDL support but the overhaul of the existing code base now takes RaveHD 2.0 to a client/server product and makes this product an extensive VTR replacement solution. The client/server implementation allows studios to control many DDRs from a single interface in addition to making the GUI modular and easily modified. RaveHD also supports both PCI and PCIe I/O boards on both the Intel and AMD platforms in addition to new support for the NVIDIA products.

RaveHD supports uncompressed SD, HD, Dual Link HD(4:4:4) and 2k(HSDL) in a single system as well as hardware accelerated upconverting and downconverting. The RaveHD Xenon system features integrated RS-422 hardware that allows for both slave and master control, unlimited scalability, dual 10/100/1000 gigabit Ethernet and includes Fiber and FireWire upgrade options. Features such as the frame oriented, standard file system storage, centralized database asset tracking, embedded timecode, embedded audio, Varicam flagging, programmable cadence engine(2:3, 3:2:3, 2:3:3:2, etc) and conform capabilities all in a simple to use interface are all standard in every RaveHD system.

RaveHD works natively with DPX frames but does offer some built-in tools for those working with Quicktime and other formats in addition to tools that allow embedding audio in/out of the DPX frames. Some of the immediately apparent changes in RaveHD would be the user friendly interface and added deck functionality whereas the underlying code changes are less apparent but far more powerful. A few of the major changes in the structure is the ability to add additional hardware easily, which will be shown at NAB and the ability to pass everything around using XML.

RaveHD can be seen on the showroom floor in several booths (Central Hall C2548 and South Hall SU3819) and will be available for passerbys to see uncompressed video running on the Linux OS but the suite is where the hardcore demos will be done. Interested individuals can contact SpectSoft for both private and group demos.

Priced at $25,000, the RaveHD Xenon System features 6TB of local storage in a SATA array configuration(upgradeable to 9.6 and 12TB) and offers one of the highest quality video solutions on the market today, addressing many concerns seen by other systems.


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Canto Ships Cumulus Video Suite 1.0.1

Canto, a provider of Digital Asset Management (DAM) solutions, today announced Cumulus Video Suite 1.0.1, an Option for the Cumulus Enterprise product line to efficiently manage and distribute videos assets. Due to an award winning shot boundary detection technology Video Suite can create records for each shot in the video, which can even be annotated with additional metadata. Cumulus Video Suite even supports streaming for viewing video files over the Internet, catering the needs of corporations where secure distribution of training, sales and marketing videos is a pressing concern.

Version 1.0.1 now offers WMV support and has added features for the Mac OS X platform that were previously only available to Windows users such as the automatic shot detection based on cuts and effects. Users can create a secure video repository, catalog entire movies and individual video shots, view previews and thumbnails for cataloged videos and shots, edit shot boundaries, and add metadata to video files or individual video shots. Video Suite enables users to search and find videos or shots fast by searching saved metadata, and helps to control the creative, productive, approval and distribution processes around the process and storage cycle of your rich media.

Video Suite is an add-on module that expands the functionality of Cumulus Enterprise 6.6 (or higher). Video Suite is available at $ 4,995 from Canto Sales at www.canto.com and Canto Certified System Integrators (CCSI). You can find a list of CCSIs on Canto¹s website at www.canto.com/par.

For more information on all Canto products and services and to download demo versions go to: http://www.canto.com.

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