Here’s a full ticker of all the products related to workflows released or showed at IBC 2013. It will be updated daily until the show is complete. To read more about each news click the links.
The Arri AMIRA takes the ALEXA’s sensor and puts it in a lightweight and compact body, designed to let you pick it up and start shooting. Since the AMIRA’s sensor is the same as that of the ALEXA, you’ll get 14 stops of dynamic range, fantastic skin-tone rendition, a native ISO of 800, and EI range from 160 to 3200.
Recording in ProRes formats up to 4:4:4 in HD and 2K modes with frame rates up to 200fps, the AMIRA also includes all the standard frame rates of the ALEXA, in addition to some interlaced frame rates (59.94i and 50i), which are required by many broadcasters. All recording is done to CFast 2.0 cards, which are very fast and offer a very low price per gigabyte ratio.
AMIRA boots up quickly and can be used straight out of the bag by a single user, with no setting up, no rigging and no delays. In the time it takes to lift the camera to an operator’s shoulder, it will be ready to record, making AMIRA perfect for ‘run-and-gun’ shoots where the action is unpredictable and the camerawork responsive. Integrated, motorized ND filters as well as zebra and false color tools aid exposure control, while an advanced peaking function makes accurate focusing easy and swift.
AMIRA is unique in that it comes with a number of preloaded 3D LUT-based looks that can be applied on set during the shoot. Alternatively, productions can custom-build their own 3D LUTs in external grading systems, load them into the camera during prep, and even modify them in-camera while filming.
AMIRA is designed to be a safe, long–term investment and built to withstand the rigors of life on a professional set. With a solid internal skeleton that guarantees camera and lens stability, AMIRA is a highly durable product constructed of the strongest possible materials. Sealed electronics provide top-level protection against humidity and dust, while an integrated thermal core results in highly efficient cooling. Productions can take AMIRA anywhere, from jungles and deserts to snow-capped mountain tops, sure in the knowledge that it will not let them down.
In response to the growing worldwide demand for 4K production, Panasonic Professional Camera Solutions is prioritizing the development of the 4K VariCam camera recorder. The VariCam will be a highly practical camera, boasting features and performance suitable not only for 4K cinema, but also HDTV content production. The camera is set for launch in 2014. Panasonic has also unveiled the development of the new Ultra P2 cards at IBC.
the VariCam will support 4K shooting from 24p to 100/120p. To enable even better 4K video productions, Panasonic will fit the 4K VariCam with a newly developed Super35mm size high sensitivity image sensor with 4K resolution. The sensor will feature wide dynamic range, extended colour space, and support for Log.
Super 16mm Center Scan Mode lets you use Super 16mm glass on the camera, a great option for anyone who already has those lenses.
Sony has two FZ to B4 mount (2/3?) adapters coming, both offering the same optical performance. The difference between the two is that the LA-FZB2 offers a servo-controlled filter disc for ND and CC (color correction) filters. Both adapters will include a 12-pin Hirose connection for your ENG lenses. Firmware v2.0 supports both of these. – See more at: http://blog.abelcine.com/2013/09/14/ibc-13-updated-sony-f5-f55-firmware-schedule-super-16-mode/#sthash.ZsCbFNnC.dpuf
Read the full details here.
The NEX-FS700 will come in two versions, the NEX-FS700 RH and the NEX-FS700R.
Both models feature Sony’s E-mount lens system and a 4K Exmor Super35 CMOS sensor and now come with Version 3.0 firmware pre-installed, enabling 4K/2K RAW recording on an external compatible recorder…
At the other end of 4K content chain IBC2013 marked the first full demonstration of Sony’s 4K digital projector, SRX-T615.
Sony is demonstrating the projector’s ability to edge blend native 4K content.
It will create a 7Kx2K image overlapped by a 1K visualisation using edge blending technology.
Read the full story here.
Panasonic’s camera introductions at IBC included the new shoulder-mounted AVCCAM AG-AC8, which records 1080p HD to dual SD card slots, aimed at “pro and semi-pro” users, as well as the new panoramic Ultra Wide Angle Camera, which combines four AW-HE120 cameras assembled in a single rig to create 180-degree (64×9) panoramic images capturing the entire field during a sporting event. Built to order, the UWAC is scheduled to ship before the end of 2013 at a suggested price yet to be determined.
If you were expecting a big 4K announcement, you were probably disappointed. The company promised “prioritised development” of the 4K Varicam, which it trotted out first as a “concept camera” back at NAB 2012, and said it will be released at some point in 2014.
Read the full details here.
The Zaila is a 200W HMI with a small form factor and a decent throw – the smallest HMI in their range…
Cineroid shows newsshooter.com’s Technical Editor Matt Allard their new cross converter and pattern generator. The box will convert from HDMI to HD-SDI and HD-SDI to HDMI. It’s unique design has a color monitor, pattern generator and waveform monitor for previewing your signal being converted. It comes in a sturdy metal enclosure and can be battery or A/C powered. It will be shipping next month for a cost of $800.
Also new to Cineroid is a bi-color version of there popular LM400 series LED light. It is twice as bright as the older Daylight and Tungsten versions, and offers DMX control. Shipping next month and will sell for the same price as the original LM400 series.
Lenses and Adapters
Zeiss and ARRI have started shipping their new 100mm T1.9 anamorphic lens. This is the latest in their 7-set collaboration of high quality anamorphic glass. Newshooter.com’s technical editor Matt Allard talks to Ana from Zeiss on their latest product.
We talk to Chris from Tokina about their rain dispersion filter which looks like it may become an essential for the news shooter. We all know how hard it is to shoot in the rain and keep your lens dry – chamois leathers and lens cloths don’t really solve the problem. Tokina has a brilliant solution. Developed in association with Japanese broadcaster NHK their new filters let the water literally flow off.
Before you get too excited:
The 2/3 image is expanded to cover the S35 sensor size but this does result in a 2.6 stop light loss. Full control of zoom servo is retained. The more expensive LA-FZB2 model also has a ND filter wheel and colour control – designed more with outside broadcast in mind.
Zeiss CZ.2 15-30mm/T2.9 released, for about 20,000 euros. Zeiss also shows the Arri Master Prime 100mm/T1.9
The new cine zoom lens has all the features of the ZEISS Compact Zoom family. This includes a compact, lightweight design (2.5 kg/5.7 lbs on a length of 252 mm/9.92”), the interchangeable mount system (PL, EF, F, MFT and E mount) and full-frame coverage (36×24 mm), which creates a sweet-spot effect when used on Super-35 camera sensors. Additional features are the color matching and an ergonomic surface for handheld operation as well as for use with a follow-focus system. In addition, the lenses correspond to 4K production standards (4096 x 2160). The Compact Zoom CZ.2 lenses offer better protection against typical environmental influences on the set such as splashing water and dust.
Read the full press release here.
Optics manufacturer Schneider-Kreuznach is inviting you to do just that with its latest product, announced at the 2013 International Broadcast Conference in Amsterdam. The Schneider-Kreuznach T2.2/14mm is one of seven lenses in the CINE-XENAR III line, all of which are intended for use with high-end broadcast and cinema cameras like the ARRI Alexa, Canon C series, RED ONE, and Sony F series — but they can also be mounted on Canon’s EF-mount digital SLRs.
Read the full article here.
Walimex were displaying their new cinema style 16mm lens at IBC. What sets it apart from other budget minded options is the super fast T2.2 (basically f2) maximum aperture. This makes it an affordable wide angle APS-C option that is almost a full f-stop brighter than most of the competition.
Like all Walimex/Samyang/Rokinon cine lenses it is the same optics as the regular stills lenses but with geared focus and aperture rings.
The new 25-250 DP Optimo features a telecentric design that reduces color fringing and focus breathing; additionally, it projects a 30.4mm image circle, easily covering a Super35-sized sensor. The 25-250 DP comes with a standard PL mount, but can be mounted in Panavison, Nikon, or Canon EF, making it adaptable to just about any of today’s digital cinema cameras. Other key features include a Cooke i/ technology interface for lens metadata, an integrated filter holder for screw-in filters, an integrated net holder, and an easily interchangeable focus ring allowing for easy switching from feet to meters.
Read the full article here.
Computers and Storage
Critical information stored in volatile memory, including cached write data and metadata, must be preserved in the event of main power loss. Volatile memory stores this data as long as the memory is powered, but does not retain the data if main power is lost for any reason. When main power loss occurs, valuable data is transferred from volatile memory to the non-volatile memory of the computer memory system. This transfer of data is referred to as a memory flush operation.
Dot Hill’s 91st U.S. patent, numbered 8,510,598, provides a method to reduce power usage in computer memory systems during volatile memory flush operations. This innovation reduces power required for a memory flush operation by selectively providing power to certain computer components at certain times, and not to others. By reducing this power requirement, a smaller power source such as a supercapacitor may be used by the computer memory system.
“Dot Hill AssuredSAN and AssuredSAN Pro systems are engineered to deliver exceptional reliability and 99.999 percent data availability,” said Ken Day, chief technology officer, Dot Hill.
Avid said the new ISIS 5500, the successor to its ISIS 5000 online shared-storage system, would double its predecessor’s maximum capacity to 64 TB at the same price point, supporting up to 90 editors on Avid Media Composer, Adobe Premiere Pro CS6, and Apple Final Cut Pro 7 connected concurrently. With six ISIS Engines working together, that makes a maximum of 384 TB of raw storage (about 300 TB with RAID 5 protection) with 1.8 GB/second of bandwidth in one ISIS installation.
The new ISIS 4.5 software offers real-time editing and sharing of ISIS media using Red Hat Linux 6.2 compatible applications, connectivity to online and nearline storage via Windows 8 clients, and up to 8 million files, 5,000 user accounts, and 1,000 user groups on the ISIS 5500. And, as always, the ISIS is designed for tight integration with Avid’s Media Composer as well as Avid Interplay asset management and the Avid AirSpeed ingest and playout server.
The ISIS 5500 is scheduled to ship later this month with pricing starting at $27,000. It’s available in 16 TB, 32 TB, or 64 TB versions.
Read the entire article here.
I/O devices, Monitors and External Recorders
Key Io 4K features will include:
– Portable 4K/UHD and HD/SD capture and playback across Thunderbolt™ 2
– Use with the new Mac Pro for video output up to 4K at 10-bit quality
– Backwards compatible with existing Thunderbolt hosts
– 4x bi-directional 3G-SDI
– 4K/UHD HDMI I/O
– Simultaneous SDI and HDMI outputs
– Real time 4K to HD down-conversion for HD-SDI and HDMI monitoring
– 10-bit high-quality 4:2:2 and 4:4:4 workflow support
– Two Thunderbolt(TM) 2 ports support hosting, daisy-chaining of displays, storage and more
– 16-channel embedded audio on SDI
– 8-channel embedded audio on HDMI
– DB-25 analog audio output connector
– XLR 12V power for battery or AC use
– RS422 VTR control, Reference, LTC Input
– Headphone jack and level control for mobile environments
Newsshooter.com site editor Dan Chung talk to Atomos CEO Jeromy Young about the latest updates to the Samurai Blade HDSDI Prores recorder:
Blackmagic Design came to IBC with a beefed-up line of 4K products that will soon include three new $495 4K Mini Converters, a 4K upgrade to the SmartScope Duo LCD rack monitor announced at NAB, and the ATEM 1 M/E Production Studio 4K live production switcher.
Also being shown by Blackmagic in Amsterdam are new versions of its HyperDeck Studio and HyperDeck Studio Pro broadcast disk recorders, an October Desktop Video software update for the UltraStudio 4K and the Decklink 4K Extreme
Blackmagic Design today announced SmartScope Duo 4K, an updated model of its SmartScope Duo that now includes 6G-SDI for Ultra HD support.
SmartScope Duo 4K is a unique dual rack monitor that allows a range of broadcast accurate waveform monitoring on 2 large 8 inch LCD screens of any SD, HD and Ultra HD video source. SmartScope Duo 4K replaces the previous SmartScope Duo model and is available now for only US$995.
SmartScope Duo 4K is a perfect solution for general video monitoring as it handles virtually all SD, HD and Ultra HD video standards via its 6G-SDI inputs and all screens can be remotely adjusted via the customer’s Ethernet network. SmartScope Duo 4K can be installed into equipment racks for local monitoring in post production, or for multi monitor video walls in master control rooms or for camera monitoring for production switchers!
One of the main difficulties when installing multiple monitors is attempting to match color settings on all monitors. SmartScope Duo 4K eliminates this problem by connecting to an Ethernet network using the included Mac and Windows software to adjust all your monitors from one central location. This utility also lets customers choose between monitoring video or the various types of scope views.
SmartScope Duo Key Features:
2 independent 8 inch LCD displays in a 3 rack unit size chassis, less than 1 inch thick.
6G-SDI inputs for SD, HD and Ultra HD monitoring, with re clocked loop outputs.
Ethernet input with loop output for connecting to computers for central adjustments.
Tally input for each monitor allowing red, green or blue tally indication.
Control software panel included free for Windows and Mac OS X.
Full 10 bit data path and image scaling for high quality displays.
Idea for use in broadcast, post production and camera monitoring for switchers.
The VFM-058W, the lightweight viewfinder monitor, offers an outstanding picture quality with 5.5” LCD, and Full HD resolution of 1920 x 1080. The VFM-058W has various features such as Max Brightness function, Temperature Adaptive Color, HDMI-to-SDI conversion output, 1:1 pixel mode, Luma(Y’) Zone Check function, DSLR Scale, Waveform, Vectorscope, Range Error, Focus Assist, Markers, Audio Level Meter with speaker and time code display.
As Andrew from TVLogic points out, the 5.5? size makes this a monitoring solution more ideal for DSLR shooters than larger chassis operators. This unit’s size, color reproduction, and price — the 058W will retail for around $1700 – may make something like SmallHD’s $1300 AC7 OLED monitor more desirable to some shooters.
Here’s a video overview:
Read the full article here.
Atomos came to IBC with the Spyder, a color-calibration device from Datacolor (Lawrenceville, NJ) that will be offered as a branded solution for maintaining color accuracy on field monitors such as the recently shipped Samurai Blade, with its five-inch 1280×720 IPS touchscreen display.
Atomos said the Samurai Blade gains “one-click color calibration” in Rec. 709 color space through the use of custom software designed for Datacolor’s Spyder4 hardware as part of a strategic partnership between the two companies. Atomos said Spyder color-calibration will be implemented “soon” in other Atomos recorders.
A Windows-compatible Atomos Spyder will start shipping in November for $199, the company said.
Read the full release here.
Panasonic has unveiled the AV-HS6000, a new broadcast grade 2-M/E live switcher. The AV-HS6000 features a highly compact 3-RU size mainframe unit, provides 32 SDI (HD/SD switchable) inputs and two DVI inputs as well as 16 HD/SD SDI outputs in its standard configuration.
Mathew Alexander, Product Marketing Manager, Broadcast and Professional Video, Panasonic, said:”The AV-HS6000 is a highly compact live switcher, and is a convenient solution for broadcast, production and live event applications In addition, with the Software Development Kit provided by Panasonic, third-party vendors and SI System Integrator professionals can freely develop plug-in software that adds new functionality.”
Read the full release here.
Sony demonstrates latest 4K projector for visualisation
Sony is demonstrating its newest 4K digital projector, the forthcoming SRX-T615, at IBC2013. Engineered to provide an optimal visual experience for industrial, visualisation and simulation applications, the projector can edge blend native 4K content. Sony will demonstrate this on the stand by creating a 7Kx2K image overlapped by a 1K visualisation, using content shot on Sony’s high-end motion picture camera, the F65.??
Other features of the SRX-T615 include an extremely high picture quality, created by a contrast ratio of 12,000:1 (said to be best in class) and a high brightness of 18,000 lumens thanks to its newly developed 4K optical engine. The SRX-T615 has 4K 50/60p signal compatibility for displaying moving graphics smoothly. In addition, it has an sRGB standard colour gamut, with the opportunity to switch to DCDM or Adobe RGB if required.?
Reada the full release here.
SanDisk Corporation (NASDAQ: SNDK), a global leader in flash memory storage solutions, today announced the SanDisk Extreme Pro® CFastTM 2.0 memory card, designed for professional broadcast, cinematography and next-generation professional photography.
The 120GB1 SanDisk Extreme Pro CFast 2.0 memory card is the world’s fastest memory card, with read speeds of up to 450MB/s (3000X) for maximum workflow efficiency and write speeds up to 350MB/s (2333X) for faster recording performance. The SanDisk Extreme Pro CFast 2.0 memory card’s industry leading transfer speeds offer up to double the shot speed of today’s fastest cards. With the new card, industry professionals are able to manage large files faster than ever. For example, a 100GB file takes nearly 20 minutes to transfer from CompactFlash at 90MB/s. With the SanDisk Extreme Pro CFast 2.0 memory card, it takes only four minutes to transfer at 450MB/s.
This new high-performance card format is reliable and equipped with a durable form factor. The SanDisk Extreme Pro CFast 2.0 cards are created to withstand real-world exposure to temperature, shock and vibration, and include a pinless design, which lessens the chance of damaging the card or camera while changing cards. The cards will also be marked with a unique individual serialization number that can be registered into SanDisk Pro Care Customer Support. Additionally, a lifetime limited warranty4 and a downloadable offer for a one year subscription to RescuePRO® media recovery software5 are available.
iZotope Releases RXTM 3: A Complete Audio Repair Suite
Used everywhere from Hollywood post production studios to leading sound editing facilities, iZotope RX 3 transforms troubled recordings into professional-grade material with remedies for noise, clipping, hum, buzz, crackles, and more. With an intuitive spectral editor and 10+ intelligent modules, RX 3 enables you to fix troubled audio with unprecedented power and precision.
What’s New in RX 3 Advanced?
Remove or reduce reverb from audio using the new Dereverb module.
Clean up dialogue in real time with the new Dialogue Denoiser.
Monitor your audio and loudness compliance using InsightTM, iZotope’s comprehensive metering suite, now included with RX 3 Advanced.
Advanced features and settings for Declip, Declick, Time & Pitch, Channel Operations and more.
What’s New in RX 3?
Work up to six times faster than before in the RX 3 standalone application, thanks to intelligent DSP and optimized multicore processing.
Time-saving features like a completely redesigned user interface, the new RX Document format and multi-file workflow.
Addition of audio recording and monitoring, SRCTM sample rate conversion, waveform statistics, and more.
Overall enhancements to Denoise and Declip modules, parametric EQ, drawing and selection tools, MBIT+TM dither, and more.
Built on the same proven technology that is core to the industry-leading ICON and System 5 product families, the Avid S6 enables mixers to quickly turn around complex projects while swiftly handling last-minute changes. With its unparalleled ability to simultaneously control multiple Pro Tools(R) and other EUCON(TM)-enabled DAWs over simple Ethernet, S6 also speeds workflows and enables network collaboration on a single integrated platform.
Avid S6 redefines professional mixing with key features that include:
Revolutionary modular design
Intelligent studio control
Avid S6 will be available at Avid resellers worldwide in Q4 2013. As a modular system, S6 is available at a variety of prices, with M10 configurations starting at $21,995 and M40 configurations starting at $43,480.
Read the full release here.
Esfera provides 5.1 surround sound from just two channels, using a high-quality stereo microphone designed with Sennheiser’s RF condenser technology, and a 19” rack-mount processing unit that converts the stereo signal into a complete 5.1 signal – anywhere in the production workflow, whether in real time or during post production.
Flame Premium 2014 boasts a unified new workflow that was first introduced to Autodesk Subscription customers in the Flame Premium 2013 20th Anniversary edition. The workflow links the dynamic Flame desktop, effects and editorial timeline, Batch procedural compositing environment and Action 3D compositing to provide a more efficient method of working.
Based on input from the Flame community, the new release also includes several other feature enhancements to provide artists with greater creative control. Highlights include: support for 3D warping in action, enhanced tracking to improve tracking accuracy on challenging elements, and Reactor 2.0, the GPU-driven Batch pipeline, which provides 16-bit floating point precision throughout the application. With Reactor 2.0, artists can preview and reorder effects in the timeline during playback and access more effects tools including GMasks and a single layer Action, as well as directly convert timeline compositions to Batch trees, to help artists quickly and efficiently iterate projects. Finally, real-time color grading with the new Lustre ShotReactor helps to improve background rendering and offers faster image processing.
We have just released V-Ray 2.3.2 for Maya introducing support for Maya 2014 and adding several fixes, and optimizations. This is a service update and is free to download for all owners of a V-Ray 2.0 for Maya license.
In addition to Mac, Linux and Windows support, new Lightworks features shown at IBC2013 include:
Support for all AJA video I/O devices including lo XT and KONA LHi (Pro version only; Windows or Mac)
Screen Capture Recording (Pro version only)
YouTube Export Option for Windows, Mac and Linux (Pro version only)
Multicam improvements including: simple panel for creating and syncing clips together; sync groups now automatically sync to the record edit; ability to easily swap a clip in the timeline for another clip in the sync group, using drag and drop, clicking a menu or pressing a shortcut key; and ability to create a random edit from the sync group
User Interface changes including: timeline indicators on tiles; rulers on timelines; scalable user interface allowing support for Retina displays; and appearance changes: Scale, Window Color, Text Color, Heading Color, Subheading Color, Selection Color, Brightness, Typeface and Wallpaper Image
Curve Color Effect
Avid DNxHD MOV Export Option (Avid DNxHD License only)
Enhancements to the Key Assignments Panel including: ability to create Macros from key assignments and to search the panel for the command
SGO today unleashed new heights of performance and interactivity for users with the launch at IBC 2013 of MAMBA FX, a new powerful and innovative compositing software. Mamba FX is aimed at compositing at all levels, from the highly creative indie market through to major TV and studio productions. Running under Windows and available for a wide variety of PC configurations, Mamba FX is aggressively priced, making it the most accessible professional compositor on the market.
As well as equipping users with an entire visual effects suite with keying, tracking, painting and restoration, Mamba FX can also extend its already considerable feature-set as a fully OFX-compliant plug-in host. Utilising a brand new intuitive node-based graphic interface, Mamba FX boasts unlimited compositing layers and effects. Its compositing “trees” also generate plain text files that describe the chain of processes that are scripted and manipulated to automate functions and workflows. In addition, Mamba FX can run other SGO feature options (at additional cost) including its industry-leading Stereo 3D toolset, for shot by shot-based corrections, and DCP Creation.
Dope Sheet – artists will be able to see and move keys around in the context of a timeline style view. They will be able to see the results and each property of a node accurately displayed in context. The Foundry says the new viewing capability will make working with any scripts that involve time manipulation a much more simple process.
New Text node
Color grading and correction
New 3D tools
Deep Output to the Scanline Renderer
Here is Grant Petty on Resolve 10:
If you are a DaVinci Resolve user then please download this new version and check it out. We have both the full DaVinci Resolve 10 as well as the DaVinci Resolve 10 Lite editions posted for download.
DaVinci Resolve 10 is a major upgrade that includes new features for integrating the workflows of multiple different software products used in the film and television industry. DaVinci Resolve 10 has upgraded on set tools, upgraded editing features, support for OpenFX plug ins as well as new tools for delivering final project masters to cinemas. Other changes include the addition of Ultra HD resolutions and additional GPU support on the free of charge DaVinci Resolve Lite edition.
“In this extension release Smoke will now include two highly requested features – Blackmagic video card support and a powerful new set of trim tools,” said Chris Bradshaw, senior vice president, Autodesk Media & Entertainment.
The software will now support DeckLink (PCIe video boards, UltraStudio (Thunderbolt boxes) and the Intensity product line.
Smoke 2013 also offers support for SonyRAW footage from the F5 and F55 cameras as well as improved 4K Arri workflows.
Ryan from Wooden Camera talks about a new SDI splitter module for RED Epic as well as a new view finder mount for the Sony F55:
LED lighting specialist F&V has jumped into the camera support world with their first product being a cage for the Black Magic Design Cinema Camera. The lightweight but durable aluminum cage can be used with an attratice wooden handle and has a variety of mounting points surrounding the camera.
The full kit for the BMCC sells for 439 euro.
Check out 3DGuy’s Hero3 3D System for GoPro cameras
Designed with radio mic receivers and wireless transmitters in mind it mounts to a single 3/8 screw which features a highly innovative locking system.
Ambient also have a really cool mounting system for DSLRs that allows you to simply and firmly mount a mini shotgun min and also a radio mic receiver on your camera’s hotshoe.
Watch the video to see more.
Genie Syrp introduces motorised motion control device with a small form factor