AJA Video Systems has announced its new Hi5-4K and ROI Mini-Converters, portable devices that harness AJA’s technology for streamlining broadcast and post production workflows.
Avid has unveiled Media Composer 7, featuring accelerated and simplified file-based workflows including optimized HD delivery from high-res source material and automated media operations. In addition, as a key component of the Avid Everywhere vision, the new release offers Interplay Sphere for Mac support, extending real-time production everywhere. Avid's Media Composer software is now available starting at $999.
Andy Shipsides of AbelCine writes: With every new camera, come many new questions about workflow. The term “workflow” can be fairly broad, but today I am looking at importing Sony F5/F55 footage into various non-linear editing systems (NLEs). Both the F5 & F55 can record in MPEG2 (XDCAM), XAVC and HDCAM SR formats internally. With the addition of the AXS-R5 recorder, they can also record in Sony Raw. This article is focused on MPEG2 and XAVC, but be sure to keep an eye out for future blogs on working with Sony Raw and HDCAM SR. The F5 & F55 workflows are similar to that of the F3 and XDCAM EX cameras, but with some significant changes.
MotionVFX blog writes: Two weeks ago we found out that, according to Steve Forde, the Product Manager for Adobe After Effects, Adobe and Maxon created an alliance that has for goal to create solutions that will improve workflows in After Effects and Cinema 4D pipelines. Now Maxon revealed some more info on this matter and on the first step in this strategic alliance with Adobe. The aim of the cooperation is to deliver a new level of integration between Cinema 4D and After Effects and according to the company, the recently revealed next release of Adobe’s software will include two Maxon technologies directly within the new Adobe After Effects: Cineware and Cinema 4D Lite. Below is some more info on both technologies (via Maxon) and according to this news we can expect even more to come in the future!
Manhattan Edit Workshop presents Inside the Cutting Room with editor Stephen Rotter (The Right Stuff, Enchanted) who will screen and discuss his body of work with Bobbie O'Steen.
The event is taking place on Thursday, April 25th from 7-9 PM at the French Institute located on 55 E. 59th St. Tickets are $6.
Read more and purchase your tickets here.
Lyndsey Schaefer of MESA writes: Sony Corporation of America today announced the launch of Sony Media Cloud Services, a new cloud-based collaboration and production service that will be previewed at next week’s NAB Show in Las Vegas.
The scalable cloud platform, CiSM (pronounced see), will provide studios, broadcasters, independent producers, marketing teams and other creative individuals a “one-cloud” solution to collect, produce and archive high-value, high-definition content, allowing fast and secure collaboration on a global scale.
Jon Fauer of Film and Digital Times reports on the latest from AJA, writing, "AJA announced support for Adobe’s next versions of editing software, including Premiere Pro and SpeedGrade with AJA Video’s Io Express, Io XT, T-TAP and KONA Families. AJA will be in NAB Booth SL3816."
Read his full post here.
At the annual National Association of Broadcasters (NAB) Show, Adobe Systems Incorporated will showcase new software and video technology that is transforming the way broadcasters, filmmakers and video professionals create and deliver high-quality productions across multiple screens.
Adobe Systems Incorporated today announced Adobe Anywhere for video, a modern, collaborative workflow platform that empowers teams using Adobe professional video tools to work together, enabling the access and management of centralized media and assets across virtually any network. Revealed as a technology preview in 2012, Adobe Anywhere supports tools such as Adobe Premiere Pro, Adobe After Effects, and Adobe Prelude, and will be showcased at this year’s National Association of Broadcasters (NAB) show, with final availability expected in May 2013.
Based on an influx of sales of his Sync-N-Link plug-in for Final Cut Pro X, Philip Hodgetts wonders if pros are finally warming up to the much maligned NLE. He writes, "It’s the end of the month and, as do most small business folk, I look at how the month has been, and how the year is going. Looking at the end of the March quarter, I noticed that our Sync-N-Link sales had tipped from our Final Cut Pro 7 version to favor Sync-N-Link X (for Final Cut Pro X). Sync-N-Link is very specialized software, used only by 'the pros' because it batch synchronizes separately recorded audio and video by using matching Timecode. This type of setup is not cheap and not simple, and generally only used in the higher levels of production where its efficiency tips the balance."
