The 2006 International Broadcasting Convention (IBC), held Sept. 7-12 in Amsterdam, housed exhibits from over 1,000 companies and increased hall space by 10 percent this year. IBC coverage was featured last week in SHOOT. This second installment features additional technology news from the show floor.
Big topics included data management. Among those addressing this need was DVS, which launched a data management software named Spycer that is designed improve workflow by allowing postproduction businesses to handle large amounts of data more easily and at the same time keep control over the corresponding metadata.
It functions as active software on each individual workstation in a facility, to detect new clips automatically, and to extract all the available metadata. Features include the ability to browse high-resolution image sequences up to 4k locally and via the network, as well as tools for renaming of image sequences and high-speed copying. Spycer requires no central server or central storage system. Every workstation essentially acts as a server, and together they would form the ‘SpycerNet’ scalable distributed content management nework.
The software is also scheduled for availability by year’s end and would run on computers without requiring DVS hardware. DVS also reported that it would be integrated in upcoming DVS releases including the Clipster finishing system and the digital disk recorders Pronto2K.2 and ProntoHD.2
Meanwhile, Digital Vision announced that it has constructed a new software licensing agreement for its DVNR image processing system.
The new time-based licensing system is designed to provide a way for post companies to match their costs to their project income. Essentially a customer would purchase the hardware, which starts with an entry-level SD box; and the DVNR software depending on the project’s requirements and the length of time needed. Licenses are available in SD, HD and 2k formats ranging from one week up to a year and can be combined with licenses for other functions.
Software licensing functionality includes: AGR4, a film grain and video noise reducer enhanced with Digital Vision’s motion estimation technology (SD, HD and 2k); ASC3, a dust, dirt and random scratch concealer with motion estimation (SD, HD and 2k); ZOM aspect ratio converter and pan & scan processor (SD and HD); and ACP color correction processor (SD and HD).
Meanwhile, AJA Video and Autodesk announced that AJA’s technologies have been integrated as part of Autodesk’s advanced visual effects and editing and finishing systems including Flame, Inferno, Flint, Fire and Smoke–enabling the systems to tap AJA technology for input and output of SD, HD and 2K files.
“Autodesk systems have been adopted by leading visual effects and postproduction facilities around the globe that are working on mission critical projects under very tight deadlines,” explained Bill Roberts, Autodesk’s director of product marketing. “They require gear that is totally reliable and capable of outputting pristine images. AJA is known for producing high-quality, reliable video I/O technologies and that is why we have selected them as our primary video system partner.”
AJA also announced that it is supplying Avid Technology with a customized OEM system that enables dual-link HD-SDI connectivity in Avid DS Nitris version 8.0. The AJA technology plays a role in enabling full HD-RGB bandwidth capture, editing, and output with Avid’s editing and finishing system for real-time, multi-stream SD, HD, and 2k/4k work.
Blackmagic Design debuted Intensity, an HDMI capture playback card–priced at $249–designed to enable low-cost consumer cameras with HDMI video connections to move to uncompressed editing and design.
“It allows consumes products to be used for higher end work, enabling a wider range of options,” explained Blackmagic CEO Grant Petty. The card was designed to instantly switch between 1080, 720, NTSC and PAL video standards. When plugged into compatible PCI Express Windows or Mac OS X computers, it would enable users to get uncompressed video via HDMI from cameras, decks and set top boxes, enabling users to playback to any HDMI big screen television or video projector for video editing, in SD or HD, and with real time effects.
Intensity is compatible with Adobe Premiere Pro, Apple Final Cut Pro, Adobe After Effects, Adobe Photoshop and any DirectShow or QuickTime based software applications.
EDIT ARENA
On the editorial front, Lightworks debuted Softworks, a new software-only version of its nonlinear editing system line designed for the PC and that may be used with laptops where portability is desired. This essentially expands the market opportunity for the company by offering the editing functionality of Lightworks’ Alacrity nonlinear editing system, without the video/audio I/O. The Lightworks console is available as an option.
Lightworks also introduced Lightworks VIT, a new multichannel ingest station designed to enable efficient ingest without tying up edit suites.
Like every year, if you look around the show floor, there are bound to be some unique surprises. This year, one was Dublin-based Abaltat, which previewed Abaltat Muse, a unique tool that the company describes a video-driven soundtrack composer.
The company explained that this postproduction software–designed for use by video editors–is being developed to take advantage of artificial intelligence to measure different selected elements in a moving picture and compose music to them-serving as a virtual composer of royalty free music. Applications include commercials, broadcast promos, animation and documentaries.
Muse composes music and plays out using midi and synthesizer plug-ins; outputs may be AIFF, WAV or midi files. The style of composition is chosen from one of several genres; options include rhythm & blues and atmospheric. The musical compositions are based on pictures, and the compositions may be modified on the timeline as changes in scales, instruments and mixes are controlled by keyframes.
The company reported that Abaltat Muse is being developed with input from and is being tested by video editors; it is expected to ship by the end of the year.
Longtime exhibitor Cintel International presented diTTo, dataMill, imageMill, and new dirt and scratch concealment tool D/SCO.
diTTo, a 2k and 4k auto-calibrated data scanning system, was created for applications from high end DI and special effects through to archiving and restoration.
DataMill is a calibrated 2 and 4k data transfer engine that Cintel reported is capable of speed up to 15 fps. Cintel reported that dataMill could be configured to provide real time SD or HD 10 bit log outputs, essentially SD and HD data in a video wrapper, which may be used for DI processing. DataMill can also incorporate a Millennium II upgrade, allowing it to be switched into a creative mode. The dataMill is capable of scanning 8/S8mm, 16/S16mm, 35/S35mm and 65/70mm film.
Matrox presented its clever Extio F1400 and F1420 remote graphics unit that enables the physical separation of the use interface–keyboard, mouse, monitors, audio peripherals and graphics hardware–from the host PC at distances of up to 250 meters of fibre optics cable. This fanless, extendable system was conceived to offer a quieter work environment at post houses.
The system uses a PCIe connector, and supports key connection needs such as USB 2.0 ports and Firewire.
Eyeon Software previewed version. 5.1 of its Fusion digital compositing system. New features include: 3DS, OBJ and FBX support; the ability to project images and live action onto 3D geometry; Bender 3D, which applies twists, tapers, bends and skews; as well as 3D Displace, Sky Creator and Distort tools.
And The Foundry was on hand with Tinderbox 4 for Adobe’s After Effects, Furnace 3 for Discreet, and its Forge automated dust-busting system. It also presented its range of Furnace, Keylight and Tinder plug-ins for Apple’s Shake v 4.1.
Is “Glicked” The New “Barbenheimer”? “Wicked” and “Gladiator II” Hit Theater Screens
"Barbenheimer" was a phenomenon impossible to manufacture. But, more than a year later, that hasn't stopped people from trying to make "Glicked" — or even "Babyratu" — happen.
The counterprogramming of "Barbie" and "Oppenheimer" in July 2023 hit a nerve culturally and had the receipts to back it up. Unlike so many things that begin as memes, it transcended its online beginnings. Instead of an either-or, the two movies ultimately complemented and boosted one another at the box office.
And ever since, moviegoers, marketers and meme makers have been trying to recreate that moment, searching the movie release schedule for odd mashups and sending candidates off into the social media void. Most attempts have fizzled (sorry, "Saw Patrol" ).
This weekend is perhaps the closest approximation yet as the Broadway musical adaptation "Wicked" opens Friday against the chest-thumping sword-and-sandals epic "Gladiator II." Two big studio releases (Universal and Paramount), with one-name titles, opposite tones and aesthetics and big blockbuster energy — it was already halfway there before the name game began: "Wickiator," "Wadiator," "Gladwick" and even the eyebrow raising "Gladicked" have all been suggested.
"'Glicked' rolls off the tongue a little bit more," actor Fred Hechinger said at the New York screening of "Gladiator II" this week. "I think we should all band around 'Glicked.' It gets too confusing if you have four or five different names for it."
As with "Barbenheimer," as reductive as it might seem, "Glicked" also has the male/female divide that make the fan art extra silly. One is pink and bright and awash in sparkles, tulle, Broadway bangers and brand tie-ins; The other is all sweat and sand, blood and bulging... Read More