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Through Avid Everywhere, Avid delivers the industry's most open, innovative and comprehensive media platform connecting content creation with collaboration, asset protection, distribution and consumption for the most listened to, most watched and most loved media in the world—from the most prestigious and award-winning feature films, music recordings, and television shows, to live concerts and news broadcasts.

Avid confirms reboot issue not related to Avid Creative Tools

Avid has confirmed that the root cause for a reboot issue encountered by some of their customers has been identified and is unrelated to Avid and its creative tools. Google confirmed that a Chrome update “may have shipped with a bug that damages the file system on macOS machines.” Google has paused its release and provided instructions for affected users.

Avid also shared that it has received no reports of data loss by affected customers. “From the beginning when this issue was made known to Avid, our teams actively worked with customers, Apple and partners to identify solutions and communicate them to customers. At this time, most affected Avid customers have recovered from this issue by reinstalling their macOS. Avid received no reports of incidents from customers running on non-Mac operating systems. To reiterate, this was not an Avid issue, as was reported in some early media coverage,” said the company in a statement.

“We are proud of the coordinated response by Avid, Apple and our partners and we jointly thank our customers for their patience, support and assistance as we worked to quickly resolve this issue.”

Avid CEO Jeff Rosica stated, “Avid is pleased that the reboot issue facing some customers is solved and while Avid products are not the root cause, we’re keeping an intense focus on bringing all of our customers back online and back to work. Over the past 36 hours, the deep dive of due diligence working closely with Apple, PACE and other partners exhausted all options and we’ve landed in the right place as quickly as possible. We owe our special thanks to Avid’s customer and user community for their typically strong show of support at this time, especially to those who welcomed our engineers into their studios to troubleshoot.”

Inaugural Rise Awards announces shortlist

Rise, the award-winning advocate group for gender diversity within the broadcast manufacturing and services sector, has revealed the shortlist for its first ever Rise Awards.

The judges saw a stellar selection of global nominations from women in a variety of roles across the industry in several categories including: Business, Engineer, Marketer/PR, Rising Star, Sales, Technical Operations, and Woman of the Year.

Rise founder, Sadie Groom, said: “We received so many amazing nominations for talented women across the broadcast and media industry that is was hard to narrow them down to the final shortlist. We’re thankful for everyone who submitted an entry on the inspiring women in their workplaces and extend a big congratulations to all those shortlisted.”

Rise director, Carrie Wootten, added: “Our judging panels which included men and women from across the global broadcast industry had a hard job deciding on the shortlist and winners due to the caliber of entries which is a testament to the female talent we have in our sectors. We’re looking forward to celebrating their achievements at the awards ceremony during IBC2019.”

The shortlist for the 2019 Rise Awards, in association with Avid, is as follows:

Business (sponsored by Adobe)

  • Marina Kalkanis, CEO and Co-Founder, M2A Media
  • Monique Ellis, Chief Operations Officer, Massive
  • Natascha Cadle, Creative Director and Co-Founder, ENVY

Engineer (sponsored by Clear-Com)

  • Carys Hughes, Design Engineer, Sky UK
  • Gemma Ebbs, Systems Development Lead, BT Media and Broadcast
  • Stefania Popescu, Systems Engineer, Sky UK

Marketer/PR

  • Allison Duval, Group Marketing Manager, Procam Projects
  • Felicity Webster, Marketing Manager, BT Media and Broadcast
  • Lucy Speed, Marketing & Communication Manager, Middle East & Africa, Discovery

Rising Star (sponsored by Avid Customer Association)

  • Lauren Ward, R&D Engineer, BBC R&D
  • Rhianna Steele, Media Manager, IMG Media
  • Shannon Albrink, Junior Editor, Therapy Studios

Sales (sponsored by disguise)

  • Charlotte Latham, Sales and Operations Manager, CueScript
  • Laura Kirkland, Sales Director, EMEA Strategic Accounts, Grass Valley
  • Nicki Fisher, Sales Director, EMEA, Clear-Com

Technical Operations (sponsored by Sundog Media Tools)

  • Emma Johnson, Head of MCR, West Digital Post Production
  • Julie Ritson, Picture Correspondent, BBC News
  • Lorraine Panman, Portfolio Project Manager, Massive

The winners, including the Woman of the Year, (sponsored by Grass Valley), will be announced at IBC2019 in Amsterdam on 14 September.

The awards ceremony is sponsored by IBC2019 and the drinks reception will be sponsored by Ross Video. Details on entry to the event will be published shortly.

For more information about Rise and the Awards, please visit here:

https://risewib.com/awards-shortlist/

Newzroom Afrika choose Harambe for end-to-end newsroom computer system and IP production system solutions

Newzroom Afrika, the innovative news channel recently launched on DSTV’s Channel 405, chose Harambe Technologies to deliver an end-to-end solution for their new newsroom computer system. Harambe Technologies, along with their manufacturer, Avid Technology, supplied, installed and commissioned an NRCS system for Newzroom Afrika.

One of the many reasons why Newzroom chose Harambe and Avid is the fact that Avid provides an end-to-end solution that is used by some of the biggest broadcast companies in the world. Avid does not just deliver one piece of the puzzle, but delivers a complete toolset that enables teams to collaborate – unlike other vendors, who provide a single-point product. The Avid solution lets teams focus on producing the best content they can and then distributing it to multiple platforms. The backbone of the solution is robust and proven, with hundreds of customers worldwide using inews (MediaCentral Newsroom Management) and thousands using Interplay (MediaCentral Production Management) to deliver high-quality content every day.

Newzroom Afrika has a fresh approach to the way they produce content. Therefore, they wanted a system that would allow them to engage the new-age news consumer. Avid’s MediaCentral solution ensures that social media can be used as both an important research tool and a distribution method. News is no longer something which is dictated by an editor in a newsroom: it is an interactive process, with the news agenda more like a conversation than a monologue (as it was in the past). Avid’s use of AI in its search technologies enables the right content to be found quicker, helping teams turn around content faster. Avid’s graphics solution, as part of the overall package, helps editorial teams tell stories in new and engaging ways to drive audience share and target a demographic which has been ‘turned off’ from traditional broadcast news.

The backend of the entire Newzroom facility is an end-to-end Evertz IP system also delivered and installed by Harambe Technologies. This is one of the first IP production systems on the continent.

Evertz is a worldwide leader in the broadcast industry’s transition to IP. The challenge of delivering more content, in multiple formats and to multiple platforms, is becoming both more significant and more important every day. IP enables media organisations to meet these new challenges in a cost-effective manner. Since the introduction of their Software Defined Video Networking (SDVN) solutions in 2013, Evertz has been successfully deploying solutions to seamlessly transition broadcasters from SDI to IP with hundreds of active installs, from small-scale, single switch (IPX) solutions to geo-diverse, enterprise-level IP systems that span multiple facilities. No matter the broadcast environment, Evertz IP products can provide a solution.

Harambe was able to provide the following system architecture to make sure that the Newzroom Afrika IP production was an incredible success.

3080IPX48-25G is Evertz’s integrated multicast label switching fabric that provides high bandwidth switching capacity without sacrificing flexibility and the ease of control necessary for video LAN/WAN transport applications in main and backup configurations.

570IPG-X19-25G is Evertz’s media gateway, providing SDI encapsulation/de-encapsulation of video, audio, metadata and PTP timing to SMPTE-ST 2110 standards over 25G links. Hitless failover switching and AVM monitoring are also provided.

570EMR AG-HUB is the audio gateway, which translates external TDM signals into IP in both main and backup configurations.

PKG-AUDRSS-5120-R is the audio routing sub-system, with the capability of mono-mixing to support audio signals.

5700MSC is an IP network grand master clock and video master clock system. It provides SDI/IP test signal generators over 10GbE in SMPTE RDD 37 and SMPTE 2110 formats. We used two 5700MSC units for the main and backup configurations, and both of them are connected to the automatic changeover 5700-ACO to ensure maximum reliability and minimal disruption in the event of any failure, even power outages.

evMV-25G-2XQSFP is a multi-viewer generator with the capability to monitor uncompressed video over 25G links.

2430RX2-10GE is used to convert uncompressed video over IP, including ASPEN, SMPTE 2022-6 and SMPTE ST 2110 streams, to HDMI. It is used in both the main and backup configurations and it accepts up to two uncompressed signals, decodes, processes, colour corrects and converts the output to an HDMI signal.

7800TR is a modular tally router that receives tally inputs from devices like switchers and record systems. It provides this information over Ethernet to MAGNUM-Tally to be processed. The tally information can then be used by MAGNUM-Tally to provide tally information to cameras, under monitor displays (UMDs), switchers, replay and record systems.

The CP-2232E remote control panel features two high-resolution color touchscreen LCD displays alongside an array of function-assignable dynamic LCD buttons that are fully programmable.

MAGNUM is the solution’s orchestration and control layer, bridging all the components in the solution under a single point of control.

VistaLINK PRO is an advanced end-to-end network management system (NMS) for the entire operational system.

Catch Newzroom Afrika on DSTV’s Channel 405.

 

Avid expands audio control surface portfolio to better address needs of smaller facilities

Avid recently unveiled two new audio control surfaces—the Avid S4 and Avid S1— for professionals at smaller facilities and project studios. These products provide the industry’s most integrated, powerful yet affordable solutions and will be available in late 2019.

Avid S4 brings the power and workflows of Avid’s industry-leading Pro Tools | S6 control surface to budget-conscious audio professionals and small- to mid-size music and audio post facilities in an ergonomic and more compact package. The Avid S1 delivers the unparalleled speed, rich visual feedback, and software integration of Avid’s high-end consoles in a portable, slimline surface that’s an easy fit for any space or budget.

“The Avid S4 and S1 control surfaces open up a world of capabilities never before possible for music mixers, smaller studios and educational facilities, answering our customers’ calls for the power, workflows and key functions of Pro Tools | S6 in more streamlined and affordable in-studio solutions,” said Rob D’Amico, director, Audio and Video Segment at Avid. “Avid control surface, software, audio I/O, and monitoring capabilities combine to create a professional system with control and flexibility at the user’s fingertips.”

World-class mixing for smaller studios with Avid S4

Designed for small- to mid-sized music studios and audio post facilities, Avid S4 delivers industry-standard S6 workflows to any editor or mixer. It acts and feels like a physical extension of software, providing an exceptionally integrated experience with any EUCON-enabled DAW, such as Pro Tools, Nuendo, Pyramix, Logic Pro, Cubase, and other audio software. S4 also enables engineers to quickly assign and control talkback, listenback, and speaker sources and levels right from the surface to handle everything from simple cue mixes for music recording to monitoring immersive audio projects.

S4 provides extensive visual feedback, with the ability to display everything from channel meters, groups, EQ curves, and automation data, to scrolling high-res Pro Tools waveforms, which can be edited right from the surface. The easy-to-configure, semi-modular surface gives users the flexibility to build the ideal system for a specific workflow, from 8 to 24 faders, with the ability to add displays, joystick, post, and knob modules. When paired with Pro Tools | Ultimate, S4 brings the most efficient hands-on Dolby Atmos mixing in the industry to any room.

Mix big in any space with Avid S1

Avid S1 gives audio professionals the hands-on speed, precision, and software integration needed to deliver better sounding mixes faster. From recording and editing tracks, to mixing and monitoring in stereo or surround, S1 provides the comprehensive control and visual feedback to accelerate any music workflow. Like the S6 and S4, the new S1 is powered by EUCON to offer deep integration with Pro Tools and Media Composer, plus native support for third-party applications such as Logic Pro, Cubase, Premiere Pro, and more.

With S1, users can easily scale the surface as their needs grow. Audio professionals can connect up to four units together—and even add Pro Tools | Dock—to create a single extended and integrated surface. From responsive motorized faders and knobs to fast-access touchscreen workflows and Soft Keys for completing complex tasks with a single touch, S1 provides the speed and versatility to accelerate any music, audio post, or video project.

Artificially Intelligent Media

SCREEN AFRICA EXCLUSIVE:

There is no doubt that artificial intelligence (AI) will touch every aspect of business across all industries in the years ahead. In broadcasting and media, it is already having a profound effect. The technology is widely being used to analyse and understand video content, speeding up processes like searching and logging, for example. AI is now developing into an intelligent video creation tool, being able to film and edit complete productions thanks to machine learning algorithms.

Media, in general, holds large amounts of unstructured data, which requires humans to understand it. Tasks like content management, processing, interpretation, quality checking, all take a lot of time and effort. However, current AI and machine learning (ML) algorithms have reached a level of accuracy close to human capabilities. This means many labour-intensive processes are now taken over by AI instead.

All major cloud providers are offering varying forms of AI to assist with post-production. From shot logging and speech-to-text, to scene and object identification, AI augments human logging, providing richer metadata for each scene and shot. Some post-production software integrates directly with cloud AI for a seamless in-application experience.

Over the past few months, most major post-production edit software has included some form of AI into their platforms. Blackmagic Design Resolve, for example, introduced DaVinci Neural Engine which uses deep neural networks, machine learning and artificial intelligence to power new features like speed warp motion estimation for retiming, super scale for up-scaling footage, auto colour and colour matching, as well as repetitive time-consuming problems like sorting clips into bins based on who is in the shot, for example.

Avid’s new AI tools are available through Avid | AI, which is also part of the Avid | On Demand cloud services. Avid | AI is a set of cloud services (a combination of Avid-developed tools and tools from Microsoft Cognitive Services) that utilise machine learning, including facial and scene recognition and text and audio analysis. Also released recently was Avid | Transformation, a new suite of automated services including auto-transcoding, watermarking and content repackaging for delivery to any device, anywhere.

Adobe has also updated its video editing applications with useful new features for both After Effects and Premiere Pro users, and some really cool Adobe Sensei AI integration specifically for Premiere Pro. First and foremost, the new Colour Match feature leverages the Adobe Sensei AI to automatically apply the colour grade of one shot to another. This feature comes complete with Face Detection, so Premiere can match skin tones where necessary, and a new split-view allows you to see the results of your colour grade as you go – either as an interactive slider, or as a side-by-side comparison.

In addition to Colour Match and Split View, Adobe has used its Sensei AI to make some audio improvements as well. Autoducking will automatically turn down your music when dialog or sound effects are present, generating key frames right on the audio track so you can easily override the automatic ducking, or else simply adjust individual key frames as needed.

Adobe After Effects, meanwhile, rolled out a new feature that can automatically remove objects from a video. While Adobe Photoshop has long offered a tool that can conceal areas of a still image with a camouflage fill, the software giant said the ability to do so across multiple frames was made possible by improvements to its machine learning platform, Adobe Sensei. The feature is the latest example of how artificial intelligence is transforming the video production process, making professional content quicker and easier to produce at scale. The new tool is able to track a discrete object across a given clip, remove it and fill the space it occupied with pixels that blend with the surrounding imagery. Adobe suggests that it can be used for anything from removing anachronistic giveaways within a period piece to erasing a stray boom mic.

AI has suddenly become one of the most important technologies and the most in-demand tool for the video creation market owing to its ability to sense, reason, act and adapt. The general popularity of automation (in various business practices) is another contributing factor. But do we think that AI will ever replace human input?

There are many applications that are starting to hint that it is possible. An early example has to be GoPro’s QuickStories, a quirky piece of software that copies the latest footage from your camera to your phone and – using advanced algorithms – automatically edits it into an awesome video.  Another intriguing piece of kit is SOLOSHOT3. Described as ‘your robot cameraman’, SOLOSHOT3 is a 4K camera on a tripod that automatically tracks a subject wearing a tag, keeping them perfectly in frame and in focus whilst recording the action. SOLOSHOT3 can quickly produce an edited and shareable video of highlights using its automated editing tools and post the video online – with no human intervention required.

The BBC’s Research and Development arm has been experimenting with how machine learning and AI could be used both to automate live production and search the broadcaster’s rather large archives. Their experimenting resulted in a documentary, screened late last year, made entirely by algorithms – and while it wasn’t the best bit of television ever made, it was a pioneering achievement from a machine learning perspective.

In Tel Aviv, Israel, a company called Minute have developed a deep learning AI video optimisation tool that automatically generates highlights from full-length videos. Minute’s AI-powered deep learning technology analyses video content to identify peak moments, allowing the system to automatically generate teasers from any video content with simple, seamless integration. Whilst pessimists claim this kind of application could one day replace humans altogether, the developers at Minute believe that their technology complements, rather than replaces, content creators and storytellers.

Most organisations today are exploring how they can best leverage and embrace these new technologies. This technology is also proving to be a boon for video editors and production teams. It enables professionals to focus more on artistic aspects rather than editing, which is considered a rather boring and mechanical task by many. Learning how AI technologies can help the entire production chain by improving quality and efficiency should benefit everyone. New things shouldn’t frighten us, they should excite. Two decades ago, we were all worried about non-linear editing – and look what happened to that concern!

Jasco Broadcast Solutions at Mediatech Africa 2019

At Mediatech Africa 2019, Jasco Broadcast Solutions will showcase the latest technology from its principal suppliers. Products and solutions on display will include:

Avid

  • Avid NEXIS | Cloudspaces

Avid’s new SaaS cloud storage solution, Avid NEXIS | Cloudspaces, brings the power of the cloud to Avid NEXIS storage systems. Avid NEXIS | Cloudspaces takes the stress out of media management and storage availability, and gives users instant access to more storage when needed.

For small- to medium-size news, sports, and post-production organisations, Avid NEXIS | Cloudspaces provides a super-simple way to park projects in the cloud, as well as synch on-site Avid NEXIS workspaces for easy off-site backup. Available as an add-on service for all Avid NEXIS systems, Cloudspaces offers greater workflow and cost efficiency in a fully integrated solution that’s easy to set up and manage, reducing costs, risk and administrative errors.

Etere

Founded in 1987 in Italy, Etere is among the worldwide leaders in media asset management, airsales, newsroom and channel-in-box software solutions for broadcasters and media enterprises. With customers all over the globe, Etere is headquartered in Singapore, with a specialised 24/7 worldwide support centre.

  • Etere Media Asset Management (MAM)

Etere MAM is a highly-effective digital content management solution that is designed to streamline the process of ingest, index, storage and retrieval of digital assets. It is an end-to-end software solution created to fully optimise the value of your assets through centralised management of digital content and associated metadata. Etere simplifies the process of content management by streamlining the digital workflow, bringing media to the market faster and in multiple formats.

  • Etere ETX

ETX is the most advanced, tightly integrated and cost-efficient video management system on the market, completely based on IT technology. It is a complete channel-in-a-box with full IP (in and out) capabilities, enabling you to drive the most popular HD/SD digital video/audio/graphics platforms without using middleware or proprietary hardware. It supports IP-in and IP-out in multiple frame rates, SDI output and multiple layers of graphics and animation.

  • Etere Nunzio

Etere Nunzio is a highly-flexible newsroom solution with fully empowered NRCS capabilities to manage the entire tapeless workflow of the newsroom environment, starting from the planning of news stories (virtual assets) to the control of on-air playback. Etere helps managers control overall daily operations, guides journalists to prepare their stories and enables editors to make changes quickly and deliver news stories as efficiently as possible.

  • Etere Ad Insertion

Etere enhances video monetisation opportunities; it effectively manages the end-to-end ad insertion and playout process, including resource management, insertion of filling events on demand, scrolling text, logo and CG insertions. Etere is designed to manage dynamic and targeted ad insertion requirements in any fast-moving environment. As a multi-channel and end-to-end software solution, Etere combines video switching, video server, advertisement and logo insertion capabilities for targeted ad insertion. From planning to billings to playout, Etere is able to manage real-time connectivity between different departments.

  • Etere Complete IP Solution

Beyond just an IP-based alternative to SDI playout, Etere features a bi-directional transmission that enables users to share multiple inputs, and which also outputs signals between devices connected to a network. It enables users to build an IP playout that does not require any SDI hardware and is less expensive than a traditional solution. It includes an IP Multiviewer that manages up to nine display monitors and 30 input sources simultaneously.

 

Egripment Support Systems

  • Motorized Slider System

Egripment Support Systems, manufacturer of high-end camera support systems and remote broadcast solutions for the film and broadcast industries, is introducing its new Motorized Slider System.

 

The Egripment Slider is a travelling dolly designed in such a way that it can be used for many different applications. You can use the Slider Dolly for live applications such as entertainment shows, music concerts, sports events and reality TV.

 

In other situations, the Egripment Slider will be the best remote solution for fully motorised controlled applications, allowing you to control the dolly movements repeatedly and precisely.

 

The Egripment Slider Dolly System consists of a high-quality small dolly base with Egripment smooth track wheels based on a narrow aluminum precision track. The low profile of the dolly accepts any type of Fluid Head (100mm, 150mm or Mitchell) and can also be used with a Dome Camera or with our smaller size 205 or 301 Remote Head. The dolly is driven by one motor, positioned on the trackwheel of the dolly.

 

Track sections are available in aluminum, steel, straight and curved. Besides our standard length of tracks, we also offer custom lengths and diameters of the straight and curved tracks.

 

 

  • THE EGRIPMENT XTREME T10

Egripment Support Systems will also introduce the new ARC Compensation hardware and software tool on their latest XTREME T10 Telescoping Crane.

This new feature gives the operator a tool to automate the arm movement. There are three ways to define an automatic telescope movement, all of which are related to the pan and tilt positions. The ARC Compensation adds functionality for automated moves including vertical straight lines, as well as horizontal plane and pan compensation. This software module gives you the precision to make perfect vertical straight lines and horizontal planes, or define a square, all by the activation of just one button.

Rather than first building a crane, then deciding how to make it work for this fast-growing segment of the broadcast and film industry, we engineered the Xtreme T10 directly to be ready for the future.

Egripment strives to be at the very forefront of the industry by not only being innovative and using the latest materials, such as carbon fibre, but also by developing new software tools, making it possible to use Egripment products for AR/VR applications and automation.

However, because of the ease-of-use designed into every Egripment product, the Xtreme T10 is also completely suitable for conventional telescoping crane use, with the added benefit of its innovative ARC Compensation.

Featuring leading innovations that are paramount for live applications as well as virtual and augmented reality (VR/AR) studios, the Xtreme T10 is a multi-faceted system that will greatly benefit a variety of productions.

 

Clear-Com IP Solutions

At Mediatech Africa 2019, Jasco will present a range of Clear-Com’s professional IP-based communication solutions that support a wide range of production workflows.

Clear-Com is fully committed to the development of IP for intercom solutions. Having accomplished delivery of its core product offerings in native IP formats, the company’s latest solutions focus on AES67 transport protocols.

  • Eclipse HX digital matrix system

The Eclipse HX digital matrix system is an advanced, scalable system that serves as the backbone of many broadcasters’ communication infrastructures. It can handle thousands of direct (point-to-point) and one-to-many audio and data signal distributions over IP (AES67, Dante and native), redundant fibre, MADI and audio CAT5, without compromising audio quality or performance.

Clear-Com recently introduced the E-IPA card for the Eclipse HX family, offering high-density audio-and-intercom-over-IP connections. Natively AES67-compliant and SMPTE2110-30-ready, the E-IPA card provides 64 streams of low-latency and high-audio bandwidth connections for linking existing and new IP-based Clear-Com products.

These include the new IPT transceiver for the FreeSpeak II wireless intercom system. The transceiver connects to an AES67-compatible IP switch and to Clear-Com’s Eclipse HX digital matrix system via the E-IPA card, enabling FSII wireless beltpacks to be deployed across a user’s LAN. FreeSpeak II has become the de facto standard for wireless intercom operation in theatrical venues and wide-ranging live productions, thanks to its reliability, audio clarity and roaming capabilities.

The E-IPA card also connects the new V-Series Iris (intercom) Panel with the Eclipse HX. The V-Series Iris Panel can monitor and send communications over three concurrent AES67 uncompressed audio-IP streams, enabling systems to deliver high-quality audio from user to user with significantly reduced latency. The Iris Panel also offers fully colour-configurable OLED displays, delivering the user-defined label and port information.

 

Miller

  • CiNX

Miller Tripods is delighted to announce the arrival of the CiNX series, a set of three lightweight and durable fluid heads. Packed with features, all are designed to meet the needs of cinematographers at an affordable price. For today’s versatile shooter, the transition from larger to smaller payloads has never been easier. The side-load platform enables rapid deployment of countless sizes of camera rigs, as well as extended camera plate range of movement for balancing front-heavy setups. The Miller-patented CB Plus enables 16 positions of counter balance providing very fine, repeatable balance.

The CiNX 3 is ideal for cinematographers with lighter rigs, requiring 5+0 pan and tilt drag with a payload range from 1kg (2.2lbs) up to 19kg (41.8lbs).

The CiNX 5 is perfect for medium rigs, requiring 7+0 pan and tilt drag with a payload range from 2kg (4.4lbs) up to 21kg (46.2lbs).

The CiNX 7 is the ultimate fluid head for heavier rigs, requiring 7+0 positions of pan and tilt with a payload range from 6kg (13.2lbs) up to 25kg (55.1lbs).

  • 75 Sprinter II 2 Stage Carbon Fibre Tripod

The 1620 75 Sprinter II 2 Stage Carbon Fibre Tripod brings the stability, torsional strength and reliability of Miller’s well-proven 100mm ball levelling 100 Sprinter II tripod into a new 75mm version. The 75 Sprinter employs Miller’s patented design, which enables the leg stages to be adjusted independently or together via two adjacent leg locks. These locks are conveniently located at waist height to eliminate the need for the user to bend down or stretch up, which is crucial when speed and occupational health concerns count.

The 75 Sprinter II 2 Stage Carbon Fibre Tripod is best suited to be used in conjunction with Miller’s CompassX and the company’s range of DS Fluid Heads in ENG and EFP applications and has a payload capacity of 30kg (66lbs). Competitively priced, it has a height range of 440-1530mm (17.3-60.4”), a transport length of 700mm (27.6”) and weighs in at 3.2kg (7.0lbs).

With four spreaders to choose from, the 75 Sprinter is capable of meeting various project needs. From its standard Sprinter II ground spreader (Cat #470), which has many years of proven reliability, to its new carbon fibre (Cat #994) or alloy construction (Cat #933) mid-level spreader, which are fully adjustable, lightweight and provide maximum height range. Miller is also offering a new variant, a competitively-priced alloy construction spreader (Cat #593), which offers less functionality compared to the more expensive options available.

Visit Jasco Broadcast Solutions at Mediatech Africa 2019, taking place from 17 – 19 July at the Ticketpro Dome, Johannesburg.

Pro Tools 2019 delivers more power and performance for fluid music creation and demanding audio post workflows

Avid has announced the immediate availability of Pro Tools® 2019. The latest version of the industry-standard digital audio workstation boosts power and performance for every level of user—from professional music creators and aspiring artists to top-echelon audio post professionals and engineers—enabling them to work faster and more creatively on the most complex projects.

For users working in high track-count environments, such as audio post production, Pro Tools | Ultimate delivers 50 percent more voices/audio tracks than previous versions. In addition to this base voice limit increase to 384, Pro Tools | Ultimate software and HD Native customers will be able to further increase the number of available voices up to 768 per system—on par with a three-card Pro Tools | HDX system—with the addition of native Pro Tools | Ultimate Voice Packs. The ability to scale the number of voices in Pro Tools | Ultimate software enables a greater degree of flexibility and power to tackle the most demanding work and when working in tandem with high-powered HDX systems.

Additionally, this release of Pro Tools has enhanced playback features that enable more fluid creativity in the software. Users can perform seamless track and timeline interactions during playback—inserting plugins, adding or deleting tracks, changing routing, adjusting loop duration and more. This suite of playback features allows users to work quickly, and therefore more productively, without playback errors disrupting their flow.

“It’s amazing to think that our existing Pro Tools systems can inherit so much additional capability with a software update such as this one,” said re-recording mixer Jonathan Wales. “These are the features we’ve been dreaming of and they were highly ranked in the Avid Customer Association’s annual vote. It’s extremely exciting to have them arrive. This is a huge release, because not only do we get a massive increase in power—with more voices in Pro Tools | Ultimate—but the speed is unbelievable. Not having the playback stop while inserting plugins or routing tracks is an incredible revelation and will only encourage creativity further.”

For Pro Tools | First users, they can now create and save an unlimited number of projects locally. Users can selectively sync up to three projects to their complimentary cloud storage for easy access anytime, anywhere.

For facilities and institutions, Avid also announced the immediate availability of Pro Tools Multiseat Network Site Licensing. Multiseat licensing enables easy administration of multiple Pro Tools seats from a single account and local server, eliminating the need for a multitude of physical iLok dongles and cumbersome site management.

“Our goal was to deliver new features for every kind of user, whether they’re working in audio post production, or music creation, and whether they’re a Pro Tools | First user just starting out or a Pro Tools | Ultimate user at the peak of their career,” said Rob D’Amico, Director, Audio Solutions Marketing at Avid. “Every year, we continually deliver Pro Tools updates to subscribers throughout the year, giving them the capabilities they need to deliver their best possible sound and keep their creativity flowing.”

For the full list of Pro Tools 2019.5 features—including support for macOS Mojave—visit avid.com/products/pro-tools-ultimate/whats-new.

Marquis Broadcast’s disaster recovery tool protects against catastrophic data loss

With the rise in crypto-ransomware attacks in recent years, companies need to make certain they run scheduled backups of their data, in order to keep both media project data and critical business operations safe. However, when infected by crypto-ransomware, the backups themselves can also become infected, which often renders the whole backup strategy useless. Luckily, Marquis Broadcast’s Workspace Backup system avoids this problem. It analyses and copies Avid workspaces and projects to Tier 2 storage and the cloud and will never backup any media that has become encrypted, ensuring valuable media files remain intact.

Crypto-ransomware is a harmful program that encrypts files on a computer or mobile device in order to extort money. It works by encrypting the contents of a file so that it’s impossible to read, then threatens users via prominently-displayed messages for money in exchange for the decryption key needed to restore the files. Recently, crypto-ransomware has taken down large broadcasters and production companies in the US and Europe, with the loss of months and months of Avid projects and associated media. Workspace Backup from Marquis Broadcast would have prevented this disaster, since the system won’t just blindly backup media files but will instead look for changes and not allow the newly encrypted media files to be added into the backup.

Workspace Backup is a powerful disaster recovery and business continuity tool, designed specifically to protect Avid shared storage systems. It uses detailed analytics of Avid workspaces to ensure the highest levels of integrity of a backup, ensuring the most crucial projects can be immediately and individually recovered to production in any location that can see the backup.

Workspace Backup first runs low-level analytics to examine and characterise every byte of data held within the source Avid workspaces, so it’s able to check the data structure and report if something is wrong before it’s too late. It then backs up the content of the workspaces, before copying all the projects that use media in those workspaces. Finally, those projects are analysed and any other assets that are linked to them are also backed up. Thereafter, any subsequent backups replicate changes in the source workspaces and capture new versions of the projects. Workspace Backup is ideal for use to take daily backups of Avid work-in-progress, safeguarding companies from data loss from crypto-ransomware, drive failure or if files are deleted by mistake. Workspace Backup is also Avid-certified, operating seamlessly within the Avid environment and ensuring the integrity of the media backup.

Avid helps HBO to innovate post-production for programme promotions

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Avid, a leading technology provider that powers the media and entertainment industry, has announced that it is helping HBO to re-define the promotional content finishing workflows that serve all of the network’s distribution outlets.

HBO’s innovative approach includes unlimited on-demand licenses for Avid Media Composer nonlinear editing systems. It allows the network’s production engineering group to scale editing resources up and down on a moment’s notice to address end-user demand from marketing, sports, documentary and home entertainment to create their promotions and market their programming with greater agility and speed. HBO’s virtualised Media Composer deployment integrates with its Avid NEXIS® storage resources.

“Our production engineering group supports hundreds of clients who create promotions and packages to drive the success of HBO’s growing offerings, so we’ve established an efficient, on-demand resource that corresponds to the elastic needs of the operation,” said Stefan Petrat, senior vice president of Media Technology at HBO. “As needed, we can spin up our Media Composer seats and have hundreds of editors working on promotional pieces for all HBO distribution outlets. When that push is over, we can immediately spool down our excess systems.”

“HBO’s production engineering group is taking an inventive approach toward unlocking new gains in post-production performance, and Avid is very pleased to support their vision with the virtualisation of Media Composer,” said Jeff Rosica, CEO and president, Avid. “It’s exciting to see world-class customers like HBO successfully rethinking and reimagining the sheer scale of their workflows with Avid tools and solutions.”

Learn more by reading Avid’s customer story about HBO at https://www.avid.com/customer-stories/hbo.

Avid introduces all-new Media Composer

Avid recently announced that Media Composer, its flagship video editing system, has been redesigned and reimagined for today’s – and tomorrow’s – generation of media makers. Unveiled at Connect 2019, the all-new Media Composer 2019 was in the spotlight at the NAB Show 2019 in Avid’s booth.

With Media Composer 2019, aspiring and professional editors, freelancers and journalists will be inspired to work more creatively by taking advantage of a new user experience, a next generation Avid media engine with distributed processing, finishing and delivering capabilities, a customisable role-based user interface for large teams, and so much more.
“After receiving input from hundreds of editors and teams across the media industry, and knowing where the industry is headed, we reimagined Media Composer, the product that created the nonlinear video editing category and remains the gold standard,” said Jeff Rosica, CEO and President at Avid.

“Media Composer 2019 is both evolutionary and revolutionary. It maintains what longtime users know and love while giving them more of what they need today—and what they will need tomorrow.”

Media Composer 2019 With Media Composer 2019, an editor can go from first cut to delivery without ever leaving the application. Whether they are a professional editor, freelancer or someone just starting out, Media Composer 2019 inspires creative storytelling.

• New User Experience – makers can work at the speed of creativity with a paneled interface that reduces clutter, reimagined bins to find media faster, and task-based workspaces showing only what the user wants and needs to see.
• Next Generation Avid Media Engine – puts more power at a user’s fingertips with features, such as native OP1A, support for more video and audio streams, Live Timeline and background rendering, and a distributed processing add-on option to shorten turnaround times and speed up post production.
• New Finishing and Delivery Workflows – Now, users can create and deliver higher-quality content with editing, effects, color, audio, and finishing tools without leaving Media Composer. Whether working in 8K, 16K, or HDR, Media Composer’s new built-in 32-bit full float color pipeline can handle it. Additionally, Avid has been working with OTT content providers to help establish future industry standards.
• Customisable Toolset – built for large production teams, the new Media Composer | Enterprise provides administrative control to customise the interface for any role in the organisation, whether the user is a craft editor, assistant, logger or journalist. It also offers unparalleled security to lock down content, reducing the chances of unauthorised leaks of sensitive media.

Media Composer | Enterprise 2019
The Media Composer family adds Media Composer | Enterprise for post-production, broadcast, media education and other larger production teams. Media Composer | Enterprise is the industry’s first role-specific video editing and finishing solution. Large production teams now have the ability to customise the interface and tailor workspaces for different job roles, providing end users access only to the tools and functions they need. This capability gives teams better focus so they can complete jobs faster and
with fewer mistakes. Media Composer | Enterprise also integrates with Editorial Management 2019 to deliver collaborative workflow innovation for post production and enables creative teams to stay in sync.

Media Composer | Distributed Processing
Avid also announced Media Composer | Distributed Processing, an add-on option that shortens turnaround times and accelerates post production by sharing the media processing load. Tasks that previously took hours can now be done in minutes, strengthening post facilities’ competitive edge while delivering high-quality programming. Media Composer | Distributed Processing also offloads complex processing tasks when working in today’s emerging high resolution and HDR media-rich worlds.

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