Thursday, June 29, 2017

Toolbox

  • Friday, Jun. 16, 2017
Thailand's Spring News upgrades to PlayBox Neo
Spring News, Thailand
BANGKOK, Thailand -- 

Thai television news broadcaster Spring News has upgraded its playout system to a latest-generation AirBox Neo from PlayBox Technology. The project was completed in partnership with GBS Alliance, a Singapore-based broadcast system integrator with subsidiary offices in Cambodia, China, Indonesia, Malaysia, Thailand, the Philippines and Vietnam.

“We have operated with AirBox as the core of our broadcast playout system for many years,” commented Spring News’ director of engineering and information technology Tawatchai Homhual. “AirBox and its various elements form the nucleus of an extremely reliable system. Our operators like the logical and versatile user interface which lets them achieve their goals quickly and easily. The system is very flexible to configure, highly reliable and supported online by PlayBox Technology from its European headquarters as well as here in Bangkok from PlayBox Technology Thailand.”

Don Ash, PlayBox Technology president, added, “This upgrade moves Spring News forward from standard definition playout on a Windows XP server platform to 1080i high definition on Windows 7, installed at the channel’s headquarters in Bangkok and operated from the master control room. The Neo product series adds a lot of new extra features including UHD compatibility. With its annual support maintenance contract, Spring News 19 has access to ongoing enhancements to AirBox Neo and all other modules in the Neo product series as these continue to develop. That is a great way to stay future-proof in today’s fast-developing broadcast media world.”

Supporting UHD, HD and SD playout, AirBox Neo is designed for 24/7 unattended operation and can also be operated manually, including the ability to handle live-to-air throughput. Parallel outputs enable the running of two or more SDI or IP streaming SD/HD feeds simultaneously. Changes to the playlist can be made during an on-air session. Clips in the playlist, except the one which is currently playing, can be trimmed, edited or repositioned. Playback order can be performed seamlessly without stopping the current playout session. Live productions are facilitated by a live show clipboard which allows insertion and/or execution of various events or live streams.

  • Wednesday, Jun. 14, 2017
Grass Valley upgrades St. Louis Blues’ video control room
St. Louis Blues' video control room at the Scottrade Center.
MONTREAL -- 

With a hockey season that lasts more than half the year, in addition to ongoing concerts, performances and much more, the facility managers of the St. Louis Blues home Scottrade Center had limited time to replace the outdated broadcast equipment in the arena’s video control room with more integrated, future-ready solutions. Knowing they needed an efficient provider, St. Louis Blues selected Grass Valley, a Belden Brand, to upgrade the video equipment in their home arena in three months from order to install, prior to the start of their 2016-2017 season.

Grass Valley outfitted the improved video control room with a complete solution, including the 3M/E Karrera K-Frame S-series production switcher, three LDX 86 WorldCam cameras for HD/3G acquisition, an LDX 86 XtremeSpeed camera for 6X HD and 1X/3X 3G acquisition, an LDX C80 Compact WorldCam camera for hard to reach and remote applications, XCU Universe XF base stations, six Densité 3 Frames for housing audio and video signal processing modules, eight  Kaleido-Modular-X Multiviewers, two K2 Dyno Replay Systems with ShareFlex capability, an NVISION 8500 Hybrid Series router with 144x144 matrix and an NV9000 controller.

“Our goal was not only to have one primary provider for our video equipment, but that this provider could deliver flexible, easy-to-use, long-term solutions to meet the specific needs of the St. Louis Blues and the needs of the other diverse events hosted at the Scottrade Center,” said Chris Frome, senior director of event presentation, Scottrade Center. “From the start, the team, management, fans and even sponsors noticed the difference in quality of experience with Grass Valley’s solutions. It has improved the arena experience and has given us the time and tools to create more quality content for arena visitors.”

Sports-centric solutions were of the utmost priority for facility managers as they decided on a provider. The K2 Dyno Replay System fit the bill, offering multi-channel replay, including super slow-motion, and an easy-to-use interface, as well as remote access to highlights and clips through ShareFlex. Grass Valley’s Karrera K-Frame S-series switcher also allows for highly creative, versatile sports content production with 3 M/Es, a large number of input/outputs and multiformat support, including 1080p and 4K UHD. In addition, the wide range of LDX 80 and LDX 86 Series cameras, from compact to high-speed, allows for the capture of crisp, multi-angle footage that fans expect, on the ice and off. 

No matter the event, facility managers also sought to ensure the production team had top-of-the-line equipment that improved workflows on already hectic game nights. Transitioning from an outdated analog control room to an HD-ready room with Grass Valley, game night producers can easily import and export content via the network, integrate animated transitions with a multi-functional digital switcher and efficiently create engaging replays and highlight packages.

“The St. Louis Blues and the Scottrade Center are an integral part of the city’s entertainment industry,” said Kyle Luther, VP of sales, North America, Grass Valley. “Hundreds of thousands of visitors come to the arena each year to see their favorite team play or artist perform, and our video control room solutions give the production team an opportunity to take the fan experience to the next level.”

With the upcoming upgrade of their video and LED boards, the St. Louis Blues plan to take the capabilities of their new Grass Valley Karrera K-Frame S-series switcher even further to sync their video boards, ice projection systems, lighting systems and more in the upcoming season.

  • Monday, Jun. 12, 2017
The Africa Channel taps WCPMedia Services for global marketing
LOS ANGELES -- 

The Africa Channel, based in L.A., is currently using WCPMedia Services’ cloud-based media management platform in marketing content to broadcasters, streaming services and other distribution outlets worldwide.

The Africa Channel recently launched a production arm, TAC Studios, to produce original lifestyle programming about contemporary African life, and to market its existing library of premium content. The WCPMedia Services platform allows TAC Studios to set up secure virtual screening rooms to share content with current and potential customers.

“Our customers are able to log in and enjoy a high-quality experience on their desktop, tablet or mobile device,” explains Bill Admans, technology consultant to TAC Studios. “The quality is equivalent to watching shows on a streaming service, for example."

TAC Studios' clients include broadcasters, streaming services and VOD operators in Africa, Europe, Australia and the United States. Its current lineup of programming includes the lifestyle series Africa Everywhere, the food show Africa on a Plate and the adventure reality series First Time Africa.

Admans says that TAC Studios selected the WCPMedia Services platform because its intuitive design made it easy to deploy and operate. “Setting up screening rooms to match the individual needs of our customers is fast, efficient and easy,” Admans notes. “We can upload shows and the associated metadata quickly, and without overburdening our resources.

The platforms Swiss bank level security was another essential ingredient. “It’s a secure screening environment,” Admans says. “We can feel comfortable sharing our content. The platform gives us full control over our marketing. We know who is viewing our content, where and when.”

Admans adds that WCPMedia Services also provides responsive training and support. “WCPMedia has been very responsive in helping us determine our needs and in training our staff,” he says. “As an operation with customers around the world, we also needed a partner who can support us 24/7.”

  • Thursday, Jun. 8, 2017
SMPTE publishes key reports on Time Code standard
Howard Lukk
WHITE PLAINS, NY -- 

SMPTE®, the organization whose standards work has supported a century of technological advances in entertainment technology, has published two documents, the Time Code Summit Report and the Material eXchange Format (MXF) Time Code Study Report. Both reports offer valuable insights into how the SMPTE Time Code™ standard (ST 12-1 Time and Control Code) can evolve to serve as a more useful tool in media production.

“SMPTE Time Code is used extensively throughout production and postproduction. With the evolution of media technology since its introduction in 1975, it is showing its age in some areas,” said SMPTE director of engineering and standards Howard Lukk. “We are exploring ways to improve Time Code. The results of the Time Code Summit Report provide a better understanding of the drawbacks in its current use, in and beyond the conventional audio/video community, and of the direction we need to take in developing a new standard. At the same time, we’re using the MXF Time Code Report to clarify Time Code in MXF and how facilities can work with it more efficiently.”

The Time Code Summit Report presents the methodology and findings of surveys performed at the Time Code Summit, a series of focus groups held in London, New York, and Los Angeles. The report summarizes user requirements that must be addressed by any new Time Code standard, particularly the proposed Time Labels standard to address the radical changes brought about by the industry’s integration of Internet Protocol (IP), the push to higher and variable frame rates, and other factors testing the limits of the existing Time Code standard. The report also includes an explanation of the study effort, the survey questions asked and answers provided, and the dialogue that occurred at each summit.

The MXF Time Code Study Report focuses on the current usage of Time Code within the MXF file format. Since the creation of MXF in 2004, Time Code has been stored within MXF files in many ways — sometimes as metadata, and sometimes as actual Time Code values from a tape or stream. This report is the result of two years spent investigating current MXF Time Code practices and documenting findings. The report considers applications that need to write MXF files with Time Code and applications that need to read MXF files containing Time Code. It examines the three core requirements highlighted by the study group: MXF should be able to store multiple Time Code values per frame, and they should all be identical; store multiple Time Code values per frame, though they may be from different sources and have different values; and include the appropriate Time Code in audio-only files.

Both SMPTE reports are now available here

  • Tuesday, Jun. 6, 2017
SIGGRAPH 2017 VR Village sets lineup
The VR Village will feature "Neurable: Brain-Computer Interfaces for Virtual and Augmented Reality"
CHICAGO -- 

SIGGRAPH 2017, the world’s leading annual interdisciplinary educational experience showcasing the latest in computer graphics and interactive techniques, will host a highly diverse array of new Virtual Reality (VR) and Augmented Reality (AR) projects from around the world during its upcoming annual conference. SIGGRAPH 2017 marks the 44th International Conference and Exhibition on Computer Graphics and Interactive Techniques, and will be held July 30–August 3, 2017 in Los Angeles.

A relatively young program within the SIGGRAPH conference, VR Village  features VR and AR installations that are both content-driven and highly interactive. The venue offers attendees the ability to explore the fascinating potential of brand-new VR and AR formats for shared experiences, engaging audiences, and powering real-world applications in health, education, entertainment, design, and gaming.

While previous years’ VR Village contributions included art, real-world applications, and simulations, the 2017 program focuses on diversity — both of the storylines featured within the projects as well as the diversity of creators and producers who are presenting content.
 
Denise Quesnel, 2017 VR Village chair, said, “Our jury selected content for this year’s VR Village that would be ‘hands-on’ and that focuses on the experience itself rather than the technology. In this way, we will be offering conference attendees the chance to explore the capabilities and functionalities of each project in context. Projects that include performative elements and social experiences will be featured, along with multi-user experiences that are highly collaborative.”
 
Quesnel added, “We made a conscious effort for diversity – we tried to normalize our content to be as diverse as possible. We believe that diversity in content, and diversity of contributors, helps facilitate perspectives and opportunities that are of great benefit to attendees. The experiences that will be seen at this summer are not only outstanding examples of VR and AR, but can only be experienced in SIGGRAPH’s unique VR Village space.”

Highlights of the 2017 VR Village include:

Neurable: Brain-Computer Interfaces for Virtual and Augmented Reality 
Ramses Alcaide, Adam Molnar, and Michael Thompson of Neurable
The product of neuroscientific insights and advanced machine learning, Neurable interprets user intent, bringing new degrees of freedom to virtual and augmented reality. It poses the question: “What if you could use your brainwaves to control your computer and virtual environment?” This installation does just that.
 
Out of Exile   
Eren Aksu of Emblematic Group
“Out of Exile” is the true story of Daniel Ashley Pierce, who was violently attacked by his family when confronted about his sexual orientation. The room-scale VR experience is a powerful parable of the hostility faced by many in the LGBTQ community.
“Emblematic Group does incredible work in the realm of VR journalism, and drawing attention to underrepresented communities and their stories. Emblematic
Group participated in the first VR Village in 2015, so it is great to see their team back at SIGGRAPH 2017,” said Quesnel.  
 
Digital Playgroundz: Demonz I.
Jakub Roček, Daniel Gregor, Ordřej Prucha, and Josef Kortan of INITI.org
Digital Playgroundz is an interactive and augmented-reality system that displays large-scale applications on flat surfaces (walls) in various spatial configurations, with no limits on the number of users or size of the interactive area. 
Coming all the way from Prague in order to premiere a custom interactive and multi-user experience at VR Village, the folks at INITI.org make not only incredible art, but their own innovative technology to create scalable experiences.
 
HOLO-DOODLE
Terrence Masson, School of Visual Arts; Ken Perlin, New York University; Daffy London; and, Laura Dohrmann
HOLO-DOODLE is a VR hangout that brings the VR experience of being a naughty robot killing time to life. The attraction makes its world premiere at SIGGRAPH 2017.
Quesnel noted, “This team is made up of some CG and interactive techniques all-stars, and it really shows in the vision of this project. Personally, I’ve never
seen anything quite like the social, creative, and technically proficient experience they are demonstrating. This is going to be incredibly original and unique for SIGGRAPH attendees.” 
 
IRIDiuM+: Deep-Media Storytelling With Non-linear Light-Field Video
Maggie Kosek and Kenny Mitchell, Disney Research, Edinburgh Napier University, The Walt Disney Company; Babis Koniaris, David Sinclair, and Fraser Rothnie, Disney Research, The Walt Disney Company; 
Lanny Smoot, Disney Research
This presentation depicts techniques and the creation process of a deep-media immersive experience with synchronized tactile, audio, and light-field visual techniques to realize a non-linear story in virtual reality.
“I feel this work by Disney Research not only demonstrates the state of where immersive realities are today, but IRIDiuM+ aptly presents what the future can be,” said Quesnel. “This multi-sensory experience is incredibly inspiring, combining remarkable new techniques with brand-new, non-linear storytelling.” 
 
Registration for SIGGRAPH 2017 is now open. Pass levels with access to the VR Village include: Full Conference, Select Conference, and Exhibits Plus.

  • Tuesday, Jun. 6, 2017
Goldcrest Films upgrades asset formatting with Blackmagic Cintel Film Scanner
A Goldcrest Post bay
FREMONT, Calif. -- 

Blackmagic Design has announced that Goldcrest Post has utilized a Blackmagic Cintel Film Scanner for a major restoration project to upgrade asset formatting for all of Goldcrest Film’s prestigious library titles, which were scanned to Ultra HD 4K and remastered in 2K.
 
Led by Goldcrest’s CTO Laurent Treherne, the project involved remastering 16 of Goldcrest Film’s titles, including “Dance with a Stranger” (1985 ), “Absolute Beginners” (1986 ) and “White Mischief” (1987). “With an increase in the number of OTT services there is a growing demand for high quality film originated content,” Laurent begins.
 
Treherne goes on to explain that as well as meeting the clients’ demand for 4K quality content, the Cintel Film Scanner allowed Goldcrest Film to keep the restoration workflow within the group. “As with any restoration, we knew the project would entail numerous challenges. They included locating suitable source elements, repairing damage, identifying reference images for color grading and re-versioning picture and sound files into formats suitable for the modern consumer. The versatility and speed of the Blackmagic infrastructure helped us to address those challenges.”
 
A dedicated DaVinci Resolve workstation was set up alongside the Blackmagic Cintel Film Scanner in order to create a standalone, single workstation pipeline that would not impact on Goldcrest’s DI work. The film elements were inspected and cleaned in laboratory conditions, then each reel was scanned in 4K onto a dedicated high speed storage volume and conformed and reframed to 2K.
 
The files were dustbusted and then graded in DaVinci Resolve Studio. Finally the Goldcrest team rendered the DSM archive and the HD deliverable. “We deliver in HD ProRes HQ 422, as that’s the delivery requirement for multi title library distribution deals, however Ultra HD 4K is increasingly a consideration for clients, so it’s an important requisite, certainly for future sales strategies,” explains Treherne.
 
The Cintel’s performance has been incredibly beneficial from the outset of the project, in particular how the scanner was able to work with negative film splices. “What’s impressed us the most from day one has been the scanner’s performance with negative film splices. What would jump in the gate of other scanning devices simply flows through the Cintel without a hitch. This represents a considerable time and cost saving over standard workflows which tend to require numerous shot stabilization fixes to address such artifacts.
 
The Blackmagic workflow for scanning, conforming and grading is straightforward, flexible and a low cost way of approaching remastering whether used as a standalone scanner with a single operator, or in conjunction with complementary scanners,” concluded Goldcrest Post’s managing director, Patrick Malone. “We’ve been impressed by how much detail we’ve gotten from some of the more challenging 35mm picture elements, and the quality and speed of the Ultra HD scan from both negative and print have been excellent.”

  • Tuesday, Jun. 6, 2017
Breakthrough Entertainment tabs WCPMedia Services for content delivery
Breakthrough Entertainment is using WCPMedia Services to deliver television series through the cloud, including “Anne of Green Gables.”
TORONTO -- 

Global studio Breakthrough Entertainment has transitioned to a completely cloud-based delivery system through WCPMedia Services for the delivery of its premium content to clients; major networks and digital channels around the world.

As a distributor and production house Breakthrough has a catalogue of over 40 feature films and 4,000 television episodes including such popular titles as the L.M. Montgomery’s Anne of Green Gables trilogy, David Rocco’s Dolce Vita and The Adventures of Napkin Man. The Toronto based studio began using WCPMedia’s cloud-based platform earlier this year to deliver content to broadcasters around the world. The company is now using WCPMedia to deliver shows each month to broadcasters on six continents.

“WCPMedia gives us a powerful edge by securely delivering our programming to our broadcasting partners via their high-speed, high-volume file transfers and media asset management system,” said Nat Abraham, partner, president, distribution at Breakthrough Entertainment. “As soon as our files are uploaded onto the WCPMedia cloud, our customers have immediate access. It’s fast, easy and secure.”

Abraham noted, “We can’t use a file transfer service if it doesn’t have a better than 99-percent success rate.” 

Although Breakthrough primarily employs WCPMedia for file delivery, the platform also includes powerful features for media management, transcoding, media review, and marketing. As a result, it can benefit a wide variety of media companies with different requirements and applications.

“We’re excited to be working with Nat and his team at Breakthrough”, said Giovanni Contri, COO of WCPMedia Services, “The WCP cloud based platform is an ideal solution for managing the worldwide delivery of Breakthrough’s vast catalogue of film and TV programming. Breakthrough are content production and distribution leaders, and therefore we are proud to be supporting their leadership as well in secure cloud based delivery and asset management in the evolving broadcast landscape.” 

  • Monday, Jun. 5, 2017
Apple unveils VR features on Mac, new iPhone software 
John Knoll of Industrial Light & Magic, right, speaks about virtual reality during an announcement of new products at the Apple Worldwide Developers Conference in San Jose, Calif., Monday, June 5, 2017. (AP Photo/Marcio Jose Sanchez)
SAN JOSE, Calif. (AP) -- 

Apple nodded to several up-and-coming technology trends, unveiling new device features touching on virtual reality, online privacy and a form of artificial intelligence called machine learning.

New iMacs unveiled Monday at Apple's annual conference for software programmers are getting better displays and graphics capabilities. Apple said that makes the Mac a great platform for development virtual-reality experiences.

But Apple is late to the game on VR. Samsung and Google already have VR systems centered on their smartphones. Facebook, HTC and Sony have high-end VR systems, too.

Virtual reality has been described as the next big thing for decades. But so far, interest has been strongest among gamers, developers and hardware makers rather than everyday users.

Apple's entry into the market could change this. Its entry into digital-music sales with iTunes, or the smartphone market with the iPhone, upended those industries and gave them mass appeal.

NEW IPHONE FEATURES
New features coming to iPhones and iPads include messages that sync to Apple servers in the cloud. iPhones will only keep the most recent messages on the device to save storage.

For photos, Apple is turning to a "high efficiency" format to replace the widely used JPEG standard. Although the format is not exclusive to Apple, it's not yet clear how well the photos will work with non-Apple software and devices, which mostly use JPEG.

Apple is also bringing the ability to pay back a friend or other individual through its payment service, Apple Pay. Before, transactions had been limited to products and services from businesses and institutions.

The free software update for mobile devices, iOS 11, is expected in September when Apple typically releases new iPhones.

MAC GETS AN UPGRADE
Apple CEO Tim Cook unveiled the latest operating system for Mac computers. Called High Sierra, it recognizes more faces automatically, which should make it easier to organize photos, and will offer more photo editing tools.

Safari, Apple's web browser, seeks to make users' online experience smoother and less annoying. It will allow users to automatically block auto-play videos by detecting videos that shouldn't be playing when you open a webpage to read an article, for example.

The browser's new "intelligent tracking prevention," meanwhile, will use machine learning to identify and block digital-ad trackers in order to keep advertisers from following and profiling users. It will not block the ads themselves, though.

WATCH THE WATCH
Apple is also updating the operating software for its Apple Watch, including new watch faces, more personalized alerts that use machine learning to tailor information to you based on your routines and tastes.

It also enhanced its workout app to, for instance, support high intensity interval training. It will also be possible to exchange data between gym equipment and the watch.

In a nod to Amazon streaming fans, Apple is also bringing Amazon Prime to its Apple TV app.

Ortutay reported from New York

  • Thursday, Jun. 1, 2017
Shotgun Software unveils updates
Shotgun Software
LOS ANGELES -- 

Shotgun Software has released Shotgun 7.2, the latest version of its leading cloud-based review and production tracking software. Strengthening Shotgun’s commitment to simplifying workflows and helping studios of all sizes collaborate, this latest update transforms integrations with content creation tools, and streamlines the review process. Studios can now take advantage of truly out-of-the-box integrations with content creation tools to accelerate artist workflows. Updates to RV also make reviewing media from the cloud seamless and includes SDI functionality as standard. The release also builds upon Shotgun’s role as a secure foundation for many studios by adding single sign-on to give IT departments centralized control over user access and permissions in Shotgun.

“Our goal has always been to help facilities simplify their pipelines so that artists can focus more on the creative process. Shotgun 7.2 brings significant improvements that will help make media collaboration easier and faster. We also know that security administration is critical for studios of all sizes and we continue to deliver more in that area,” said James Pycock, head of product at Autodesk.

Shotgun 7.2 highlights include:

-- Plug-and-Play Integrations: It’s now easier than ever for Shotgun users to connect their content creation tools with Shotgun. New plug-and-play integrations first auto-discover Maya, Nuke, Photoshop, Houdini, 3ds Max, and Flame, and then embed the Shotgun Panel, loader, and publisher directly within them without requiring any manual configuration.
-- Web Streaming in RV: Many Shotgun users work on dispersed teams around the world, and might not always have access to the high-res media for reviews in RV. With the addition of cloud playback support in RV, web-connected artists and supervisors can review shots in context, even if the content is not stored on their computers. Shotgun simply recognizes if media isn’t available and seamlessly pulls it into RV from Shotgun on the web.
-- New Publisher: A new publisher tool enables easy tracking of files in Shotgun and can either run in content creation tools or as a standalone application – giving users the flexibility to publish files from any content creation tools, not just the ones currently supported by Shotgun.
-- Single Sign-On: Single sign-on bolsters security in-house by centralizing authentication, making it easy for your IT department to grant, limit, and revoke access and permissions for any user. Plus, everyone at the studio now has the convenience of only having to remember one set of credentials.
-- SDI Functionality in RV: SDI Functionality, previously only available with “Super Awesome” support, is now available to all Shotgun clients.

Shotgun pricing starts at $30 per account/per month with “Awesome” support, or $50 per account/per month with “Super Awesome” support. Request a free trial here.

  • Wednesday, May. 31, 2017
NBCUniversal LightBlade LED production lighting to premiere at Cine Gear Expo in partnership With Cineo Lighting
UNIVERSAL CITY, Calif. -- 

NBCUniversal announces the latest innovation in LED production lighting, NBCUniversal LightBlade. In partnership with Cineo Lighting, this new line of high performance lighting combines NBCUniversal’s decades of production and broadcast experience with Cineo’s award-winning proprietary technologies.  These new products will debut at Cine Gear Expo on Stage 14, Booth # S126.

“Advancements in LED technology are allowing greater capabilities in production lighting, and we’re excited to be at the forefront of that movement,” said Jamie Crosbie, VP of Studio Services at NBCUniversal. “NBCUniversal LightBlade LED production lighting provides outstanding color, along with the ability to have each NBCUniversal LightBlade individually DMX controlled.”

“From its inception, Cineo’s charter has been advancing the art of motion picture, television and broadcast production through application of innovative lighting technologies,” said Rich Pierceall, CEO of Cineo Lighting. “Working with NBCUniversal to achieve this goal is both an honor and great opportunity to actively integrate lighting into the production process.”

At Cine Gear, three different NBCUniversal LightBlade configurations will be on display:  the LB50 stand-alone linear source, the LB1K, an integrated 4’ x 4’ soft source, and the LightBlade Ladder Light, which continues the familiar form factors of NBCUniversal’s backdrop lighting system. The lightweight 1.5” x 48”, 50 watt light engines are designed to operate in a variety of physical layouts, including stand-alone operation.  NBCUniversal LightBlade products are versatile, lightweight, silent and flicker-free, and built to endure the wear and tear of staging and production. 

NBCUniversal LightBlade products feature reference-quality variable white light from 2700K to 6500K. They have superior color rendering with typical CRI>90, R9>95, and a saturated color engine that works creatively with high-CRI white light. Additional products are being developed for use on location and on stage.