Wednesday, May 24, 2017

Toolbox

  • Monday, May. 8, 2017
Utah Scientific appoints Wicker, Benson in Southeast
George Wicker
SALT LAKE CITY, Utah -- 

Utah Scientific, which specializes in routing switchers, master control switchers and related control software, announced the appointments of George Wicker and Brett Benson as U.S. Southeast regional sales managers. Wicker and Benson will team up to take charge of all direct sales activities and partner relationships throughout the eight-state Southeast region comprising Tennessee, Virginia, North Carolina, South Carolina, Alabama, Mississippi, Georgia, and Florida. Both report directly to Tom Harmon, Utah Scientific’s president and CEO.

“George and Brett are joining our team at a critical time as the industry gears up for the transition to IP and hybrid SDI/IP operations,” said Harmon. “People turn to Utah Scientific for the depth of our industry experience, trusting us to lead the way with hybrid IP routing solutions backed by the industry’s only no-fee 10-year warranty and product support. George and Brett both bring a wealth of experience and add significantly to our knowledge base.”

Wicker is returning to Utah Scientific, having previously served as the company’s Southeast regional sales manager throughout the 1990s, being named top salesperson for four of those years. During his absence from Utah Scientific, he held various sales, management, and consulting roles for companies such as ACS Solutions, ADC, Harris Broadcast, and U.S. JVC Corp. Wicker is a member of the Society of Motion Picture & Television Engineers (SMPTE), where he is a member of the board of managers for the SMPTE Southern Region.

Benson has worked in the broadcast industry for more than 20 years — from Southeast regional sales manager for Weather Central in Madison, Wisconsin, to general manager and chief engineer for Park City Television. Benson spent the past 10-1/2 years with Salt Lake City’s local FOX affiliate, KTSU FOX 13, most recently serving as chief meteorologist. He was named Salt Lake City’s best weather reporter for three consecutive years by Salt Lake City Weekly magazine. Benson received a bachelor’s degree in broadcast communications from Brigham Young University and a certificate of broadcast meteorology from Mississippi State University.

  • Friday, May. 5, 2017
Avid CEO's new book explores media industry disruption
Louis Hernandez, Jr.
BURLINGTON, Mass. -- 

Avid® (Nasdaq: AVID) announced the release of a new book titled "The Storyteller’s Dilemma: Overcoming the Challenge of the Digital Media Age," written by Avid chairman and CEO, Louis Hernandez, Jr. The book examines the impact of technology on society in a connected, digital age, and the harsh economic realities of an evolving media landscape. Hernandez, Jr. explores the origins of this rapidly evolving digital transformation and proposes new ideas and solutions to help everyone across the media ecosystem—from the largest media enterprises to the individual artists—all of whom are confronted by the unintended economic consequences of digitized media.

"The Storyteller’s Dilemma" guides a global community of film and video editors, news broadcasters, musicians, audio engineers and leading media professionals in four parts: How we all play a part in a digital world, how we got here, why things do or do not work and where we can go from here. Part one establishes that humans are born storytellers, and stories are vital to our social fabric. The way we interact with audio and visual media has a profound effect on our culture and everyday lives. Across various industries, organizations have struggled to adapt and thrive as digital technologies have disrupted their business models. Parts two and three delve into technology’s role in storytelling, the current media landscape, and the unintended social and economic consequences of digitizing media. As digitization accelerates, there are new ways for people to share their creativity and consume content. Media companies and professional content creators face a digital revolution that is moving faster than the industry’s ability to adapt and expand on its traditional role. In part four, Hernandez, Jr. addresses the challenges of the digital age and proposes a comprehensive solution and vision, which will allow media and entertainment professionals to connect to common elements and have the freedom to use the creative tools they want, ultimately connecting creators, distributors and consumers more powerfully.

Today, Avid empowers its client and user base with a comprehensive set of tools and workflow solutions to create, distribute and monetize the most loved, watched and listened to media in the world. In "The Storyteller’s Dilemma," Hernandez, Jr. shares how Avid has had to fundamentally transform as a company and design an ecosystem that future-proofs and protects technology investments. Beyond Avid’s own transformation, this book focuses on lessons learned from addressing key challenges facing the media industry, including tightening media tech budgets, the increasing rate of content creation, an exponential growth in distribution platforms, the continued increase in content consumption, and the economic realities of the digital age.

“'The Storyteller’s Dilemma' illustrates the effects of a technology revolution on the media industry and will help guide our community to build an innovative, creative and lucrative future that benefits everyone across the media ecosystem – from the large global media companies all the way down to the individual artists,” Hernandez, Jr. said. “In telling Avid’s own transformation story, I’m also hopeful that the complicated, challenging lessons we learned can be applicable to others in the media industry, and serve as a lesson to other companies facing these same challenges.”

From extensive discussions with and inputs from Avid’s preeminent client and user community during his travels to all corners of the globe, Hernandez, Jr. uses this unique knowledge gained to establish his vision for the future—one in which the complexity and imbalance of the media industry is replaced by new processes, resources and tools that simplify and streamline how content is created, distributed and monetized. This vision ultimately serves the needs of the industry’s most inspirational and award-winning thought leaders, innovators and storytellers who push the boundaries of creativity and artistry. Hernandez, Jr.’s unique vantage point, at the nexus of content creation, innovation and distribution, has afforded him unparalleled insight into the future of entertainment. This is the foundation of this book, which for the first time delves into the future of digital content creation, cloud collaboration, the value of a common platform, and democratized entertainment. Ultimately, these views and this vision is what’s fueling Avid’s strategic direction and its focus on delivering end-to-end workflow solutions that can lower the cost of innovation, provide more flexibility to adapt, and offer simpler ways to integrate with the media value chain.

Several of Avid’s prominent users also contributed to the book (from Hal Leonard Performing Arts Publishing Group), including Maryann Brandon, ACE (editor of Star Wars: Episode VII—The Force Awakens), Jesse “Corparal” Wilson (music producer for Snoop Dogg, Justin Bieber, Ne-Yo, Celine Dion, Birth of a Nation, Empire and more), and Jason Stewart (editor of The Amazing Race, The Voice, Extreme Makeover: Home Edition, World’s Greatest Dad, Sleeping Dogs Lie).

  • Wednesday, May. 3, 2017
French post house VSI Paris / Chinkel SA turns to Telestream Vantage
Telestream Vantage makes its mark at VSI Paris / Chinkel SA
NEVADA CITY, Calif. -- 

Telestream, a provider of digital media tools and workflow solutions, has announced the successful installation of its Vantage media processing and workflow automation platform at French postproduction facility, VSI Paris / Chinkel SA. Throughout the project, Telestream worked closely with its local channel partner, VIDELIO-Cap’Ciné.

One of the most advanced dubbing, voice-over, subtitling and post companies in Paris, VSI Paris / Chinkel SA called on VIDELIO-Cap’Ciné to help solve a productivity issue which is created by their business success.  They needed the technical resources to accelerate and automate processing of the growing volume of media files that they receive each day from clients such as HBO, NBCUniversal or Discovery, while improving image quality and freeing their creative staff from the burden of technical tasks. The facility required resources to automate processes such as video transcoding, advance frame rate conversion, ingest into edit systems, audio processing and creation of final broadcast formats.

The solution proposed by VIDELIO-Cap’Ciné was to build workflows using Telestream’s Vantage media processing software running on Lightspeed K80 GPU accelerated servers.  Vantage provides intelligent workflow orchestration and a suite of media processing services. “Ever since we installed Vantage, our workflows have improved in both speed and quality,” explained François Chassigneux, technical director of VSI Paris / Chinkel SA. “What used to take us an hour to process now takes only a few minutes, and we are getting better image quality with a huge reduction in operator errors.”

At VSI Paris / Chinkel SA, many of the customer data files are delivered overnight from production studios and are automatically processed by the Vantage system, making them ready for the operational staff to work on their high value creative tasks in the edit suites as soon as they start work in the morning. While the Telestream solution was originally purchased to streamline the ingest process it has also been invaluable for creation of final deliverable broadcast assets, in particular creating the AS-10 PAD format that is required by French broadcasters with all the compatible metadata.  VSI Paris / Chinkel SA now use the Vantage system to create AS-10 files and deliver these to several French broadcasters.

“Since we purchased Vantage and Lightspeed K80 we have consistently seen processing times that are five times faster than we had before,” said Chassigneux. “And because we can trust Vantage to automate these complex workflows our technicians have more time to work on the added-value tasks that demand their creative skills.”

  • Friday, Apr. 28, 2017
Vicon launches motion capture software Shōgun at FMX 2017
Shogun in action
OXFORD, UK -- 

Vicon, the motion capture technology specialist for the entertainment, engineering and life sciences industries, will announce the launch of its new VFX motion capture software, Shōgun at FMX 2017 (booth #2.3). Capitalizing on over 30 years of motion capture experience and years of research and development, Shōgun offers the entertainment industry a new level of efficiency and quality, to meet the growing demands of game, film and VR production.
 
Designed from the ground up and based on feedback from the industry and customers alike, Shōgun’s innovative new feature set delivers increased performance alongside intelligent real time system monitoring. A streamlined workflow delivers high fidelity real time data, helping mocap users maximise studio time in order to deliver projects on time and within budget.
 
Live calibration
Shogun eliminates the previously time-consuming process of calibrating performers from captured data in post. Performers now simply enter the capture space and are automatically detected and labelled, the calibration is then run in the background during the range of motion. Boasting a new skeletal mesh model, the software is designed to be highly functional, making data solving easy, visual and immediate. This cuts down the traditionally time consuming process of labelling subjects, cleaning data and calibrating markers.
 
“With today’s large productions featuring anything between 5 to 15 actors, Shōgun has been designed to help industry professionals streamline their captures, saving time and money. Subject calibration – a process that used to take 20 minutes can now be achieved in less than a minute.“ said Tim Doubleday, VFX product manager at Vicon.
 
Streamlined workflow
Shōgun’s data quality ensures that labelling and solving stays true. With Shogun’s unbreakable real-time it’s possible to capture multiple actors undertaking complex interactions, such as folding arms, hugs and stunt work with props. With direct support for all the major real-time game engines, the pre-visualization and animation processes are enhanced--providing direct visualization of the final scene.
 
Users are also able to record their data direct to disk, meaning onset review is almost instantaneous. This saves hours of postproduction time and allows artists to focus on the remaining pipeline. These enhancements help accelerate productions, shaving days off the post production pipeline while increasing data quality and efficiency.
 
Intelligent insights

Re-calibrating motion capture systems can cost time onset, especially for large studio shoots involving multiple actors. Working with Vicon’s industry leading cameras, Shōgun provides intelligent, real-time feedback to users on all the important factors affecting camera and system health. Enabling teams to quickly recalibrate cameras on the fly within minutes, while continuing to capture performances. New features such as the Data Heat Map assist users capturing very challenging shots, as Shōgun automatically finds, highlights and navigates users to frames where data may require attention.
 
Alexandre Messier, technical director at Ubisoft, a leading creator, publisher and distributor of interactive entertainment and services, who has been beta testing the Shōgun software for several months alongside Vicon, said: “Most of our game teams are now asking for real-time previsualization, with Shōgun’s auto skeleton calibration, we can now stream accurate data into 3rd party’s solution in seconds--allowing teams to maximize their precious time on the shoot floor. Shogun is adding speed to our data processing pipeline. Most importantly, that speed is not sacrificing any data quality. Instead it exceeds what we’re producing with Blade.”
 
Imogen Moorhouse, CEO, Vicon said “Shogun is a step change in the way our customers use motion capture. Whether you’re running a large production with a hundred cameras or a small start-up with a handful of cameras, Shogun has been designed to save you time, save you money whilst delivering the highest quality data.”

  • Monday, Apr. 24, 2017
Autodesk showcases latest Flame Family and 3D animation software at NAB
Arnold skin shading using the new standard surface shader (image courtesy of Johan Rimer)
LAS VEGAS -- 

At NAB 2017, Autodesk is showcasing the newest versions of its solutions for media and entertainment. Each update is full of enhancements that simplify the creative process, streamline artist collaboration and equip users for the future of content creation.

New releases being showcased at NAB include: Autodesk Flame Family 2018 update 1 for VFX; the Arnold 5.0 renderer; Maya 2017 update 3 for 3D animation; performance updates for Shotgun production tracking and review software; and 3ds Max 2018 software for 3D modeling.

“Our customers continue to push the limits of our technology to break new ground in film, TV and games. The new products we’re showing at NAB this year blend top customer requested features with tools that they’ll need to stay one step ahead as content creation rapidly evolves,” said Chris Bradshaw, senior vice president, Autodesk Media & Entertainment.

Autodesk Flame 2018 update 1 includes new action and batch paint improvements such as 16-bit floating point (FP) depth support, scene detect and conform enhancements.
Autodesk Maya 2017 update 3 includes enhancements to character creation tools such as interactive grooming with XGen, an all-new UV workflow, and updates to the motion graphics toolset that includes a live link with Adobe After Effects and more.
Arnold 5.0 delivers several significant updates, including better sampling, new standard surface, standard hair and standard volume shaders, Open Shading Language (OSL) support, light path expressions, refactored shading API and a VR camera.
Shotgun updates accelerate multi-region performance and make media uploads and downloads faster regardless of location.
Autodesk 3ds Max 2018 offers Arnold 5.0 rendering via a new MAXtoA 1.0 plug-in, customizable workspaces, smart asset creation tools, Bézier motion path animation, and a cloud-based large model viewer (LMV) that integrates with Autodesk Forge.

Flame Family 2018 update 1, Maya 2017 update 3 and 3ds Max 2018 are all available now via Autodesk e-stores and Autodesk resellers. Arnold 5.0 and Shotgun are both available via their respective websites.

Visit Autodesk in its partner booths at NAB to see a range of these new products in action: Dell (SL6210), Google (SU218), Oracle (SU2202) and Quantum (SL5810). 

  • Saturday, Apr. 22, 2017
Avid unveils Media Composer | First—a free version of the video editing system 
LAS VEGAS -- 

Avid® (Nasdaq:AVID) announced the upcoming availability of Avid Media Composer® | First, a free version of the industry-standard video editing system. Media Composer | First is a brand new, fully featured video editing solution that provides aspiring creative professionals, students, and those just starting their professional careers with free access to the same creative tools used by the most successful and acclaimed filmmakers and television program creators in the world. And because it’s powered by the Avid MediaCentral® Platform, “First” users can also easily connect and collaborate with other aspiring creative and media professionals through the Avid Artist Community. Avid will showcase Media Composer | First at the Avid booth during NAB 2017 (Booth #SU902).

“It can be really difficult for up-and-coming filmmakers, television program creators and digital media producers to get access to the right tools to tell their stories in a compelling way. Consumer applications are fun to play with but will only take you so far,” said Dana Ruzicka, chief product officer, Avid. “With Media Composer | First, we’re giving any aspiring creative pros access to the same tools used by top industry professionals—for free! And with access to the Avid Artist Community, First users can connect with other aspiring creatives and media professionals, collaborate and get their work out there for others to see.”

Media Composer | First provides users with a comprehensive yet simple-to-use editing toolset with many of the same features and functionality that award-winning Media Composer editors rely on, in a new powerful, streamlined interface. With four video tracks, eight audio tracks, and a host of built-in visual effects, transitions, color correction presets and titling templates, users can quickly cut together layers of video, dialog, music and sound effects to produce captivating, professional-quality video content. Media Composer | First also allows easy sharing, with easy publishing to popular social media channels including YouTube, Vimeo and Facebook. 

“I’ve worked with other tools, but Avid’s model is the most efficient by far,” said Emmy® Award-winning editor, Stuart Bass, ACE (The Office, Arrested Development, Pushing Daisies). “Learning Avid’s industry-standard tools has been essential in making me the successful editor that I am today.” 

Avid’s vibrant Artist Community, an online community designed to foster creative connections and professional opportunities, together with Media Composer | First and Pro Tools® | First, enables emerging creative and media talent to more easily connect, fostering creative and professional growth and opportunities. 

Avid Media Composer | First will be available in June 2017 as a free software download through the Avid website.

  • Friday, Apr. 21, 2017
Japan Institute of Moving Image Uses Cintel Film Scanner
Daisuke Wakabayashi of the Japan Institute of the Moving Image
FREMONT, Calif. -- 

Blackmagic Design announced the Japan Institute of the Moving Image has installed and is using Blackmagic Cintel Film Scanner for archiving student films that have been shot at the college over the past four decades.
 
Japan Institute of the Moving Image history began with the legendary film maker Shohei Imamura’s film school, which was launched in 1975. The college is one of the few film schools that still have classes using film cameras, and there have been more than 300 films over the years that their students have completed using film.
 
“We now deliver in digital, even shooting with a film camera in a class, but we used to create 10 to 20 student films a year using film media. We strongly felt we needed to do data archiving to preserve those films that we have created. Also, the telecine we had used was broken and could not be repaired, so we thought rather than purchasing another telecine, we wanted a film scanner. However film scanners on the market were not something we could afford,” said Daisuke Wakabayashi, the instructor of the school.
 
He continued: “Then I heard Blackmagic acquired Cintel. We installed the Cintel Film Scanner as soon as Blackmagic started shipping it. The affordability of Cintel was a huge benefit for us. And we have installed a number of Blackmagic products, such as DaVinci Resolve. And as Resolve is the same software used to control Cintel, it was even extra comfort to install it because we are already used to the interface.
 
We have many 16mm films, so we used Blackmagic’s 16mm Gate when we scan our films. The scanned image has great image quality.”
 
Japan Institute of the Moving Image also uses a number of other Blackmagic products, such as DeckLink, DaVinci Resolve, Fusion, UltraScope, SmartScope Duo 4, Audio Monitor and the Teranex 3D Processor for both production and post production. The Teranex 3D Processor is used as part of the archiving process to up convert the college’s many Beta Cam, VHS and DVD films, which all are SD and need to be digitally archived along with the films converted with the Cintel.
 
“I like the simplicity of Blackmagic products. I am in charge of selecting equipment to install as well as setting those up once we purchase. I couldn’t have believed before that I could have set up a film scanner by myself before, but with Cintel it was easy. Also, the frequent software updates from Blackmagic are very helpful. Sometimes the feature that I wished to be somehow improved is really improved the way I wished in the next version. The fast response to user’s feedback is very valuable,” Wakabayashi concluded.

  • Thursday, Apr. 20, 2017
MTI Film launches Cortex v4 at NAB
Cortex v4
HOLLYWOOD, Calif. -- 

At NAB 2017, MTI Film will launch updates to its family of Cortex applications designed to take media from set to screen. Unveiled in four editions, Cortex v4 is MTI Film’s most comprehensive toolset to date. In addition to features standard in Cortex for years, such as a comprehensive dailies toolset, IMF and AS-02 packaging, and high-quality up-res algorithms, Cortex v4 adds DCP packaging (with integrated ACES color support), an extended edit tool and officially-certified Dolby Vision metadata editing capabilities.

“We allow users to manipulate Dolby Vision HDR metadata in the same way that they edit segments of video,” said Randy Reck, MTI Film’s director of development. “In the edit tool, they can graphically trim, cut and paste, add metadata to video, analyze new segments that need metadata, and adjust parameters within the Dolby Vision metadata on a shot-by-shot basis.”

With the integration of the Dolby Vision ecosystem, Cortex v4 provides a method for simultaneously QC-ing HDR and SDR versions of a shot with Dolby Vision metadata. For delivery, the inclusion of the Dolby Vision IMF-ish output format allows for the rendering and delivery of edited Dolby Vision metadata alongside HDR media in one convenient package.

CORTEX v4 will be showcased throughout NAB 2017 at MTI Film’s booth, SL14808.

CORTEX v4’s Edit Tool has been updated to include industry-standard trimming and repositioning of edited segments within the timeline through its new user-friendly drag-and-drop function. “We’ve always had a very powerful environment within Cortex to do simple editing, which is necessary for generating things like an IMF or DCP,” says Reck. “Now we’ve added a more standard drag-and-drop interface that allows users familiar with non-linear editors to be immediately productive on Cortex using the Edit tool. There is no learning curve.”

The entire look of the Edit Tool (available in the Dailies and Enterprise editions of CORTEX) has also been updated to accommodate a new Dual Monitor layout, making it easier to scrub through media in the source monitor while keeping the composition in context in the record monitor.

Also being released at NAB 2017 is the new subscription based DIT+ edition of CORTEX. “It doesn’t make sense for productions to purchase a full software package if their schedule includes a hiatus when it won’t be used,” explained Reck. “We’re addressing that issue by offering a fully functioning dailies package on a subscription basis for users who need it for a short period of time.”

DIT+ contains all the aspects of the free DIT version of CORTEX with the added ability to render HD ProRes, DNx and H.264 files for delivery. “Cortex was originally designed to facilitate dailies workflows,” said Reck. “DIT+ contains all the functionality needed to go from set to editorial at a very low subscription price starting at $95 per month, and an NAB special price of $595 for the first year.”

  • Thursday, Apr. 20, 2017
Panavision Millennium DXL Camera to be showcased at NAB
Panavision's Millennium DXL 8K Camera
WOODLAND HILLS, Calif. -- 

Panavision, designer, manufacturer and provider of state-of-the-art cinema lenses, high-precision camera systems and innovative postproduction technologies, will bring its Millennium DXL 8K Camera to the 2017 National Association of Broadcasters (NAB) Show, which runs April 24-27 in Las Vegas. Technology leaders from Panavision and its subsidiary Light Iron will also offer their insights and expertise during panel discussions throughout the show.
 
Developed through an unprecedented collaboration of three companies, the Millennium DXL brings together large-format optics and modular accessories from Panavision; an 8K sensor from RED Digital Cinema; and new color science and optimized workflow from Light Iron. The DXL camera has been renting since January.
 
Hands-on demonstrations of the DXL will take place at the following locations during NAB:

•LEE Filters, A Panavision Company (Booth C11746)
with LEE’s new remarkably color-accurate ProGlass Cine IRND Filters.

•Vitec Videocom (Booth C6025)
 
•Freefly Systems (Booth C2922)
 
NAB attendees will have an opportunity to hear from some of the experts and designers behind Panavision’s cameras and lenses, and post innovator Light Iron. Following are the discussions Panavision and Light Iron will participate in:
 
(All locations are at the Las Vegas Convention Center unless otherwise noted.)
 
♦On the Verge: How Innovation Threatens the Future of Broadcast: OTT distributors Netflix and Amazon are implementing technological innovations that are being chosen by a new generation of content creators.  How will that impact traditional broadcast and cable companies?
Presenter: Michael Cioni, SVP of Innovation, Panavision and Light Iron
Saturday, 4/22, 3:20-3:55pm
LVCC Room N262-N264
 
♦Is Cinephilia Dead or Is It Just Expanding? A unique gathering of panelists discuss the infinite palette of technological possibilities and its role in the art of cinema and movie distribution.
Panavision Panelist: Michael Cioni, SVP of Innovation, Panavision and Light Iron
Sunday, 4/23, 9:15-10:15am
LVCC Room S222-S223

♦DXL on Tap – Reduser Meetup Join SVP of Innovation, Panavision and Light Iron Michael Cioni and other DXL experts for a casual chat about 8K, VV, and Light Iron Color.
Sunday, 4/23, 5:00-7:00pm
MGM Grand Hotel - Lobby Bar (3799 S. Las Vegas Blvd.)
 
♦Where Is the Content “Puck” Going to Be? Silicon Valley’s influence over the marketplace is changing not only how content is delivered, but the type of content produced.
Presenter: Michael Cioni, SVP of Innovation, Panavision and Light Iron
Monday, 4/24, 12:45-1:15pm
LVCC The Studio @ B&H - Booth C10415
 
♦Understanding Optics for 8K Panel: Al Collins, from Panavision, and Matt Duclos, from Duclos Lenses, offer thoughtful guidance on large-format optics, anamorphic vs. spherical glass, and what this all means for the average filmmaker.
Panelist: Al Collins, Optical Technician, Panavision
Tuesday, 4/25, 9:30-10:45am
LVCC Room S2227
 
♦ASC Lens Committee Update & Trends in Optics: After an update on the ASC Lens Committee, American Cinematographer contributor Jay Holben will have a conversation with Dan Sasaki about the increased use of vintage and large-format lenses.
Speaker: Dan Sasaki, VP of Optical Engineering, Panavision
Tuesday, 4/25, 9:30-10:15am
LVCC Tiffen Booth - C6019
 
♦Do We Have Stockholm Syndrome with Apple? Apple fans rejoiced after a recent announcement about the potential future of MacPros. Now is the time to continue to press Apple for the functionality needed to push the boundaries of creativity.
Presenter: Michael Cioni, SVP of Innovation, Panavision and Light Iron
Wednesday, 4/26, 10:00-10:20am
LumaForge Suite @ Courtyard Marriott (3275 Paradise Road)
 
♦Digital Cinema Trends, 4K, 8K, HDR, VR at 2017 NAB Panel: As another NAB comes to a close, a lively panel of experts will discuss how this year’s exhibits align with the professional world of content creation.
Panelist: Josh Haynie, VP US Operations, Light Iron
Wednesday, 4/26, 3:15-4:00pm
LVCC The Studio @ B&H - Booth C10415

  • Thursday, Apr. 20, 2017
ImmersedLIVE rolls into NAB with HybridVR truck
Inside ImmersedLIVE's HybridVR truck.
LOS ANGELES -- 

ImmersedLIVE is debuting a 53’ HybridVR truck at NAB 2017. The truck is a single OB unit with dual production bays designed to produce shows in 4K and 360° simultaneously, delivering significant cost and production efficiencies for live events. The truck will be in Las Vegas during NAB 2017 on April 25-26.  
 
ImmersedLIVE brings experienced crews on-site to unify 4K video and 360° production, integrating workflows and managing how flat and immersive video coexist to deliver two great shows with minimal additional overhead. Inside of the truck, dual production bays allow for separate direction of 4K flat and 360° feeds.
 
ImmersedLIVE was formed as a collaboration of top creative and engineering talent working in VR production including FlightLine Films, Big Vision Productions, Radiant Images, Subtractive, SkyRae, and SuperSphere.
 
“Each of the individuals that came together to form ImmersedLIVE are among the pioneers of the rapidly emerging 360° video production space. We have included the top experts in camera technology from Radiant Images; leaders in immersive audio from Subtractive; the best in crew and broadcast integration from Big Vision Productions; innovation in 4K streaming and truck design from FlightLine Films; high-end technology and production integration from Skyrae; and my team from SuperSphere who have produced VR shows for Discovery, Sony, Disney, and Fox, to name a few,” said Lucas Wilson, founder of SuperSphere and ImmersedLIVE.