Archive of the Editing Category

Reporters in the field who edit their stories with Apple’s Final Cut Pro now have an easy way to input their raw footage into a MacBook Pro for editing.

With the growing presence of Final Cut Pro in newsrooms across the country, Matrox thought it was only natural to bet broadcasters would like to take the NLE into the field. From the appearance of its booth and the interest level in its new MXO2 interface box, Matrox won that bet. more

Broadcast Pix showed their HD versions of the expanded Slate switcher family. The new Slate HD switchers provide an easy and cost effective way to create compelling live HD video. Their file-based architecture streamlines live production workflow by completely integrating the included switcher, CG, clip stores, still stores and monitoring while seamlessly networking them with content from edit bays. The first Slate HD switcher was used at the Sundance Film Festival.

Each of the three new Slate HD models includes: a switcher with up to six keyers and DVEs, multi-view monitoring, a Harris Inscriber CG, and a clip store. The switchers’ hybrid I/O supports: 1080i, 720p, SD, DVI and VGA, plus analog output in composite, Y/C and component. It can add: HD and SD analog inputs and 1080p output. Both 16:9 and 4:3 content can be mixed while preserving the native aspect ratio of each element.

Related articles: Broadcast Pix expands Slate line with new 2 M/E version; University of Oregon switches to new Broadcast Pix Slate switcher.

Update: Broadcast Pix won a Pick Hit award!

Among Quantel’s many new product introductions here at NAB is the Stereoscopic 3D upgrade for Pablo. The option allows operators to view work in 3-D context as they are working on it. Previously, operators have had to rely on inaccurate preview modes or employ playout services to see the results of their work, which often led to imaging problems and production delays.

The Stereoscopic 3D solution can play out and process two streams of high-resolution media simultaneously without rendering. This enables stereo strength and convergence to be adjusted on-the-fly, allowing the operator to experiment interactively to achieve just the required stereo depth and impact on every shot. Colorimetry, sync, editorial and imaging errors are all instantly visible and easily fixed. The system can also operate in comparison mode, with views including 50/50 mix, left/right eye and difference map.

The solution was first introduced at IBC2007, and Quantel’s Justine Barrett says that since then, 17 brand-new Pablo machines or the Stereoscopic 3D upgrades for Pablo have been purchased by post and DI houses. Barrett points to the success of the “Hannah Montana and Miley Cyrus: Best of Both Worlds Concert,” a 3-D concert film compiled during two Hannah Montana concerts in Salt Lake City. It was shot in just two days, took eleven weeks to post and experienced one of the biggest opening weekend box offices, taking in $64 million to date.

Related articles: FotoKem adds stereoscopic 3-D technology from Quantel; Axis Post, Concrete Post collaborate on Stereoscopic 3-D offering; Quantel to demonstrate iQ, Pablo support for 3-D stereographic productions.

Solid State Logic today announced the successful integration of their Gravity NLE with Omneon’s Spectrum video server providing a streamlined workflow for media operations. The Gravity system oversees all asset management of media, tracking and facilitating the workflow from ingest through production editing while the Omneon media servers provide ingest and playout functionality.

Solid State Logic’s Gravity system is a comprehensive production asset management system that features a picon based - format independent, cataloging, indexing, editing, and playout system with capabilities of local or remote encoding, transcoding and database management. Gravity enables demanding media operations to automate and streamline the movement of content through their operation, and in large enterprises provides the ability to easily manage and repurpose content as necessary through the production workflow.

Related articles: At NAB 2008, technology advances despite industry concerns; Solid State Logic showcases Gravity Media Production at NAB2008; SSL to showcase Gravity media production management system.

Solid State Logic announced that its new Gravity interfaces with Apple’s Final Cut Pro editor. The integration provides seamless transfer of Final Cut Pro compatible files from Gravity to an FCP editor without rendering.

Gravity is Solid State Logic’s new remote collaborative, proxy-based, video production editing environment. Gravity comes with media asset management capabilities. It is designed to pull together an entire production and distribution workflow into a uniform, consistent, user friendly interface. The system is targeted at news and sports applications.

Gravity features a picon based - format independent, cataloguing, indexing, editing, and playout system. Officials also said that Gravity supports increased use of high-definition video by supporting web-enabled, proxy-based access to content over low-bandwidth links.