Dft Introduces Flexxity V1.5 Post Software For Mac

And have announced the release of “In Production” a new webisodic series that brings together film & video industry veterans Carey Dissmore and Steve Oakley. Targeted at working video production professionals, “In Production” is a brand new video chat program where hosts Dissmore and Oakley discuss tools and topics related to video production from their unique perspective as independent production business owner/operators. “In Production” is a joint project of Dissmore and Oakley, who are long standing colleagues within the International Media Users Group (IMUG) community. The first series: “In Production: DaVinci Resolve” has been released and over the course of six episodes, Dissmore and Oakley will discuss the topic of color grading and discuss a range of tools and techniques in addition to specifics about DaVinci Resolve.

1. Dft Introduces Flexxity V1.5 Post Software For Mac Pro

Mately shot in 2-D and converted to 3-D in post), Wolski was well versed. Feature films and television programs would be to put myself where the deals were made. Steve Poster, ASC introduced me to. Edit when connected to a Mac. 5 0 6 1 9 A C, d o o w y l l o H h t r. DFT Offers Flexxity Suite.

The first two episodes have debuted, with additional episodes to be released weekly. Click for more information about.

Dft Introduces Flexxity V1.5 Post Software For Mac Pro

DFT Digital Film Technology's new Flexxity platform addresses film and digital dailies, archiving and restoration as well as file ingest, transfer and playout. Flexxity Archive allows users to access archived image and audio files from disk as well as ingesting material from film scanners.

It helps perform quality-control of archive material, image and sound synchronisation, timeline editing, colour correction and image scaling. Processed files can be output in various file or video formats. The software has built-in scratch and dirt removal, and retouching capabilities. DVS will be presenting new features of its Clipster system at NAB 2011 including support for MXF AS-02 as well as Interoperable Master Format. For the first time, this will enable post-production customers to add different tracks to a digital master in accordance with the IMF standard. This includes video, audio, subtitles as well as closed captions, allowing different deliverables to be generated for DVD, Blu-ray, SDTV, HDTV and IPTV. The JPEG2000 RGB/YUV data is compressed faster than real-time at a rate of 500 megabit/s.

Clipster also features an expanded toolset in the area of 3D. Clipster generates 3D Digital Cinema Packages in real time, speeding up 3D subtitling in 4K as well as DCI mastering. For-A's new HVS-4000 multi-format video switcher is available in 2 M/E, 2.5 M/E or 3 M/E versions with optional support for 3 gigabit/s and 3D.

The control panel for the 2.5 M/E and 3 M/E models enables direct access to preset content, including a macro bus and event recall button for each M/E. The 2.5 and 3 M/E versions come with either 24 or 32-buttons.

The HVS-4000 lets the operator switch between HD and SD signals and the various HD formats. With the optional up/down/cross converter card installed, the system can support mixed input from HD and SD devices. With its optional 3D function, the HVS-4000 can handle the left and right video from a stereo camera as a pair, allowing the operator to switch or invert video, add delays, and adjust parallax. The M/E count does not change even if used as a 3D switcher. Matrox has announced support for the newly released Avid Media Composer V5.5 editing system.

The Matrox MXO2 Mini turns an HDMI screen into a video monitor with colour calibration tools. It provides HDMI, analog component, S-Video and composite output plus cross-platform support for Macs and PCs. Matrox Vetura Capture software allows capture to Avid DNxHD or other Avid-supported codecs. Media Composer V5.5 adds support for 720p and 1080p workflows with Matrox MXO2 Mini including the ability to select PsF or true P output in 1080p modes. Panasonic's AJ-PCD30 P2 drive is a new three-slot P2 device with a USB 3.0 interface capable up to 4.8 gigabit/s transfer rates, offloading AVC-Intra 100 content at more than 15 times real-time. The PCD30 can transfer data from up to three P2 cards simultaneously, making content immediately available to nonlinear editing systems and servers.

With three 64 gigabyte P2 cards inserted, the device can offer immediate access to more than three hours of AVC-Intra 100 or DVCPRO HD, or more than six hours of AVC-Intra 50 or DVCPRO50 content. The PCD30 can be used as externally or installed in a desktop. It is compatible with Microsoft Windows and Apple Mac. Quantel will introduce several new post-production devices at NAB 2011. QTube is claimed to allow content to be accessed from anywhere that has an internet connection. It offers metadata editing, high-quality downloads and frame-accurate editing.

QTube will be demonstrated working with Quantel's Enterprise sQ broadcast production system. Qube is a new editor for Enterprise sQ.

Designed to deliver improved performance at lower cost than its sQ Edit Plus predecessor, Qube employs CUDA GPU accelerated processing. It includes 3G HDSDI interfaces and is powerful enough to handle 1080p60 and 3D.

SQ Fileflow is a new workflow application for Enterprise sQ systems. It enables fast transfers of native XDCAM HD file assets into and out of sQ systems. Sony Creative Software has introduced a new version of its Vegas Pro editing software. Vegas Pro 10 allows users to import, adjust, edit, preview and export 3D projects natively without any additional tools or plug-ins. Improved support for closed captions includes captions in the video preview window, support for Line 21 closed captions, HD SDI closed caption capture, multiple closed captioning file types and the ability to export captions for Sony DVD Architect, YouTube, RealPlayer, QuickTime, and Windows Media Player.

New stabilisation tools are intended to reduce the effects of hand-held recording. Vegas Pro Production Assistant has also been upgraded, to version 2. New features include automated import, edit and rendering, additional batch processes to streamline editing and delivery, automatic trim pre-roll and post-roll from selected events on the timeline, and automatic media labelling. I had been negotiating the sale of my company and had reached the really hard end of the bargain. We were close to agreeing the final sum after a lot of too-much-give-and-not-enough-take negotiation. The solicitors were calling me, keen for a deal. It had come down to one sticking point and, in my hard ball “I am the Wolf of Wall Street” guise, I wasn’t going to let it go.

It would make a value difference of 1.5% on the total outcome. Not much, you might think, but I had already nearly fallen out with the solicitors over their fees and I was giving my advisors an extremely hard time because the corporate adviser couldn’t see how I had already given more than an inch and the buyers were taking more than a mile. I was not going to let them win. Tags: Contributing Author Wireless acquisition is a staple of live sports, entertainment and reality shows where cable free capture permits shots not previously possible, for health and safety reasons, and gives the camera-operator greater artistic licence to roam. The same is increasingly true of narrative drama where cinematographers are keen to work handheld or Steadicam where that helps tell the story.

Any equipment which frees their movement and time by being lighter, easier to use and reliable in performance is going to tick a lot of boxes. Tags: Contributing Author “What is it about light that has us craving it?” Is the question asked in the opening seconds of Garth de Bruno Austin’s latest short, The Colour of Light. Exploring this natural, human need as well as our innate desire to control it, Garth’s film showcases everyday people going about their lives in differing degrees of luminance, whether that be an artificial streetlight or a natural morning sunrise. Tags: Contributing Author In today’s rapidly evolving broadcast industry, the only constant media organizations can truly count on is change — and the need to adapt as rapidly and cost-effectively as possible. One of the biggest agents of change is the IP revolution, driving broadcasters to migrate their operations to all-software solutions running on commodity, IT-based technologies.

Tags: Contributing Author First announced at NAB 2016, the Sony HDC-4800 is a studio camera system capable of shooting 4K/UHD at up to 8x or full HD at up to 16x. With a price point upwards of £250,000 it is a very high-end product with a wide feature set. In Sony's own words, 'This is the future of live production, designed to satisfy the storytelling aspect of modern sports production.” Deliveries began in mid 2017 and, after careful preliminary evaluation, we invested in several systems for our hire fleet ahead of the FIFA World Cup in Russia. Tags: Contributing Author.

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