At Avid’s third annual Avid Connect event, over 1,000 people gathered prior to the official opening of NAB 2016 to hear the company’s chief executive Louis Hernandez Jr. “We’re the most open, extensible company here,” claimed Hernandez. “We invite everyone to join the open movement. We can solve this connectivity problem once and for all.” Proof of this boast was the news that Avid and rival Adobe have collaborated to tightly integrate Adobe’s Premiere Pro editing toolset into Avid’s MediaCentral Platform. Continue reading Avid Debuts Integration with Adobe Premiere, NEXIS Storage

Nokia just debuted OZO, its $60,000 virtual reality camera and the first hardware product the company has made since it sold its mobile phone business to Microsoft in 2014. OZO was productized by Dolby Laboratories veteran Ramzi Haidamus, hired by Nokia in July 2014 to figure out the future of its hardware division. When Haidamus saw an early prototype of the virtual reality camera, he says, he was sold on the idea of developing it. He declined to say how many OZOs Nokia has sold thus far. Continue reading Nokia Reimagines Hardware with OZO Virtual Reality Camera

A Power Session at this week’s HPA Tech Retreat, organized by Disney post production executive Annie Chang, focused on every nook and cranny of high dynamic range and its application in production, post and even displays. The topic is of such interest to Hollywood engineers and technologists that it drew many of the industry’s top experts to speak on their experiences. The Power Session got a start with a short but important HDR primer presented by OneRiver Media owner Marco Solorio, who defined what HDR is and is not. Continue reading HPA Tech Retreat: Production Experts Talk High Dynamic Range

In a panel organized by Colorfront’s Bruno Munger and moderated by British Cinematographer magazine editor Ron Prince, a group of executives and engineers tackled the topic of HDR workflow in post production. Netflix production engineer for original content Chris Clark pointing to shows like “Marco Polo,” noting that, “Netflix is obviously really excited about HDR.” The company now sets up a pipeline that enables any production to “flip to HDR” if they want to. “We are all about future-proofing,” he said. Continue reading HPA Tech Retreat: How the Pros Handle HDR in Post Production

The huge quantities of metadata generated by over-the-top programming poses an opportunity for new revenue streams, said Siemens executive Steve Wong and media tech consultant Christy King at an HPA Tech Retreat panel on “Big Data, Big Dollars for Post in an OTT World.” Wong noted that a tremendous amount of data about a production is generated through production, from scriptwriting software through scheduling and budgeting. That’s why it frustrates him that nearly everyone has been served irrelevant ads online. Continue reading HPA Tech Retreat: OTT Metadata an Opportunity for Post Houses

A team from Pixar talked about the massive amount of work the company puts into “localization” or “regionalization” of every film they make. “John Lasseter, from the early days, placed a high importance on creating content for international markets, without the disruptive experience of subtitles or language they don’t understand,” said Pixar executive Cynthia Lusk. “That’s been a priority for the studio since ‘Toy Story.’” Lusk said that they regard each movie as a snowflake, with a different approach from title to title. Continue reading HPA Tech Retreat: Pixar Team Talks Localization, ‘Inside Out’

Visual effects facility Digital Domain, known for its digital work on the “Transformers” series, the “X-Men” series, “Iron Man 3” and “Her,” acquired an 85 percent stake in Hong Kong’s Post Production Company Limited and its parent company for about $17.3 million, with the goal of making a big move into virtual reality. Post Production — which Digital Domain chief executive Daniel Seah calls “the Digital Domain of China” — has worked on many major Chinese movies, TV ads, and music videos. Continue reading Digital Domain Moves into VR with Hong Kong Post Acquisition

On November 30, Nokia introduced its OZO virtual reality camera in Los Angeles. The camera, aimed at professional content creators, features eight 2K-by-2K-resolution cameras, with lenses capable of a 195-degree field of view and spaced at the same distance as between human eyes, as well as eight microphones for 3D audio capture. Weighing 10 pounds and expected to cost $50,000, the OZO is capable of full 360-degree stereoscopic video in real time and its output is compatible with existing VR headsets

Continue reading Nokia’s Revival with Alcatel-Lucent Takeover, OZO VR Camera

BeBop Technology has built a virtualized editing platform that uses IBM Cloud to offer a secure, cloud-based film and video editing service. The platform intends to facilitate greater speed and efficiency of media production while reducing costs. Software developer Teradici provides cloud media management with its Pervasive Computing Platform tech that enables secure virtual workspaces. Rather than moving content files between locations, which can result in errors and piracy risks, Teradici’s solution transmits only the pixels, securely on IBM Cloud. Continue reading BeBop Launches New Virtualized Editing Platform on IBM Cloud

High dynamic range is lauded for its more vivid colors and life-like imagery. Initially introduced by TV set manufacturers, an increasing number of gear manufacturers have introduced HDR capabilities and SMPTE just released standard specifications. But implementing HDR into production, post production and distribution can also create problems that degrade the image, with artifacts and banding. Several experts talked about the challenges in implementing HDR, and the potential solutions to them. Continue reading SMPTE 2015: Examining HDR Tech Challenges and Solutions

In the world of UHD/4K, movies and TV programs can require massive amounts of compute power. Take a recent 50-minute UHD natural history documentary that Sundog Media Toolkit worked on. Chief executive Richard Welsh reports it ran for four hours on over 5,000 processors. The necessity for finding huge amounts of compute power is becoming a challenge for productions, he notes. “We could have run that job in real time if we had split it up more, and that would have taken us up to more than 20,000 processors for one hour.” Continue reading SMPTE 2015: Post Production Is Moving to the Cloud, Slowly

The Society of Motion Picture and Television Engineers has published a study group report on the high dynamic range imaging ecosystem, now available for download on the SMPTE site. The report provides a detailed summary regarding “the implementation of HDR in professional media workflows and addresses key questions that will arise for industry members as they move forward in taking advantage of HDR technology.” In addition, it provides recommendations for standardization efforts. According to SMPTE, the report reflects the efforts of 170 international experts. Continue reading SMPTE HDR Report Offers Recommendations for Standards

Reality Lab gave a technology demonstration of Quantum Leap, the code name for a VR recording device with 16 cameras and proprietary technology that enables it to render real-time video instantly, without post production, on a Samsung Gear VR running Oculus Connect software. Company founder Halsey Minor calls Quantum Leap, which was featured at a Digital Hollywood luncheon, capable of “the first live VR broadcast.” Minor reports that his company plans a music concert VR shoot in the next six months. Continue reading Digital Hollywood: Reality Lab Demonstrates Live VR Broadcast

FotoKem VP and principal color scientist Joseph Slomka led a SMPTE webinar yesterday on “Clarifying High Dynamic Range,” detailing his experiences in working with HDR productions. High dynamic range is “gaining traction in both the consumer and professional aspects of motion pictures,” notes SMPTE, but “there are differences of opinion even in its definition and ways to approach it.” Slomka described HDR’s impact on perception of resolution and depth as well as pitfalls in production, post production and display. Continue reading SMPTE Webinar Details the Strengths and Challenges of HDR

After a year of R&D, D3D Cinema and Christie just finished testing a new laser-illuminated digital projection system for giant domes. The system will be ready for client demonstration this fall, with the first installations expected in 2016. Although movie theaters have essentially all migrated to digital projection, large dome theaters have found it more difficult to find a digital solution. Executives at D3D Cinema and Christie say the new laser projection system fits the bill, with regard to price and image quality. Continue reading D3D Cinema, Christie Debut Laser Projection for Dome Theaters