Friday, February 24, 2017


  • Tuesday, Jan. 24, 2017
Diversity in tech: Lots of attention, little progress 
In this Tuesday, Jan. 3, 2017, photo, Aniyia Williams, founder and CEO of Tinsel, poses at the offices of Galvanize in San Francisco. Williams says she has made sure to hire women as well as underrepresented minorities. (AP Photo/Eric Risberg)

The tech industry has brought us self-driving cars, artificial intelligence, disappearing photos and 3-D printers. But when it comes to racial and gender diversity, its companies are no trailblazers.

Despite loudly touted efforts to hire more black, Latino and female workers, especially in technical and leadership positions, diversity numbers at the largest tech companies are barely budging.

In 2014, 2 percent of Googlers were black and 3 percent were Hispanic, numbers that haven't changed since. The picture is similar at Facebook and Twitter . Microsoft is slightly more racially diverse (though not when it comes to gender) and Apple even more so, though still not reflective of the U.S. population. Amazon is more racially diverse still, although it counts its large, lower-wage warehouse workforce in its totals.

Women, meanwhile, make up less than a third of the workforce at many companies - even less in engineering and other technical jobs.

Tech companies themselves tend to blame a "pipeline problem," meaning a shortage of woman and minorities with technical qualifications. But a number of academic experts, tech-industry employees and diversity advocates say there's a bigger problem. Silicon Valley, they argue, has failed to challenge its own unstated assumptions of what makes for great tech employees - and that actively hampers diversity.

"The people who are doing the hiring are not changing their thinking around what they view as qualified," says Leslie Miley, engineering director at the message-service startup Slack. Hiring managers, he says, spend too much time worrying that applicants who don't fit techie stereotypes aren't "Google-y enough or Facebook-y enough or Apple-y enough or Twitter-y enough."

Miley, who is African-American, has previously worked as an engineer at Twitter, Apple, Google and Yahoo.

Companies are spending a lot of time and money on improving diversity. Two years ago, Intel splashily set itself the goal of achieving full representation in its workforce by 2020. Despite committing $300 million to the effort and some early progress , Intel acknowledges there is "a great deal of work to be done."

Similar programs are everywhere throughout the tech industry, from outreach at high schools and historically black colleges to internship and mentoring programs to sponsorships for coding boot camps to bias training and support groups. So far, to little avail.

Why? Interviews with more than 30 tech workers, executives and diversity advocates suggest the blame lies with subtle biases in hiring, unwelcoming work environments and a paucity of diverse role models in top positions.

Aniyia Williams, founder and CEO of the startup Tinsel, says companies should focus on their own culture rather than blaming external factors they can't control, such as limited computer-science education in U.S. schools. It's not enough to release diversity reports and say, "Oh, not a lot has changed, but it's the world, not us that's the problem," she says.

Williams, who is African-American, says she has made sure to hire women as well as underrepresented minorities. Tinsel makes tech jewelry targeted at women.

Diversity isn't just about fairness. It's about having designers who reflect the diversity of the people they are designing for. For tech companies hoping to reach millions or billions of users, a lack of diversity could mean their products "will not appeal to a large population," says Lillian Cassel, chairwoman of computer sciences at Villanova University.

Diverse perspectives can also help prevent grievous errors - such as a problem that arose at Google in 2015, when a photo-recognition feature misidentified black faces as gorillas.

Some related tech missteps:

- Snapchat's release of two photo filters that contorted facial features into bucktoothed Asian caricatures or blackface (one later withdrawn after public outcry, the other had "expired" and the company said it won't put it back into circulation);

- Airbnb initially taking no steps to prevent hosts from discriminating against guests whose profile photos showed they were black (corrected after an outcry);

- Twitter taking nearly a decade to tackle the vile harassment of women and minorities on its service.

In a New York Times opinion piece , Microsoft researcher Kate Crawford urges companies working on artificial intelligence to address diversity, warning that otherwise "we will see ingrained forms of bias built into the artificial intelligence of the future."

Some 11 percent of computer science graduates were black and 9 percent were Hispanic in the 2013-14 school year, the latest data available from the U.S. Department of Education. Yet only 4 percent of Google's 2015 hires were black, and 3 percent were Hispanic. At Intel, fewer than 5 percent of hires were black and 8 percent were Hispanic. Numbers at other tech companies are comparable.

Major tech companies have a long tradition of hiring applicants from top-tier universities - and those universities also have a problem with diversity, even if they're doing slightly better than the companies. Some minority applicants, meanwhile, earn their computer science chops through community colleges or coding boot camps instead - places often overlooked by recruiters.

The few minorities hired into big tech companies can often feel alienated in overwhelmingly white (and sometimes Asian) environments. Unsurprisingly, they are sometimes reluctant to recommend their employer to friends, classmates and former colleagues, furthering the cycle of underrepresentation, Williams and others say.

Silicon Valley startups like to talk about "culture fit" - in theory, the question of whether a job candidate's attitude and behavior meshes well with a company. In practice, though, it can mean that since a lot of people are white and male, they "hire what they know," says Dave McClure, a prominent angel investor in Silicon Valley.

Larger companies such as Facebook publicly eschew discussions of "fit," although the notion can unwittingly seep into hiring practices. For example, a 2013 study found that words used in engineering and programming job listings could serve to discourage women from applying. Words like "competitive," ''dominant" and "leader," can make a job seem less appealing to women in a field that is already male-dominated.

Some companies, including Facebook, offer training on "unconscious bias" to combat the problem. But they don't make such training mandatory for all employees.

And once hired, people can get lost in the shuffle given the lack of role models and mentors in higher ranks - and thus find it difficult to advance to more senior positions.

At many places, women and minorities face constant questions about their technical knowledge. They can't help wondering if they'd be taken "more seriously" if they were whiter and maler, Williams says.

Nancy Lee, the Google official in charge of diversity efforts, says the gorilla face-recognition incident was a "wake-up call" for the company. "We need to include all voices from a multitude of backgrounds and experiences (when it comes to the) technology we create," she says. "We firmly believe that good ideas don't come out of echo chambers."

Lee says things are getting better, slowly, but that it can be "demoralizing" to those working on diversity issues to be pressured to do things quickly. "We want to solve this for the long haul," she says.

But Miley, the former Twitter and Google engineer, can't understand why diversifying the industry's workforce "seems to be such an intractable problem."

"I wonder if it is coming up against...the deep seated belief that the people in these organizations are special and they want to keep out people who are not special," he says. "In our country, increasingly the people who are not special are the people who are underprivileged."

  • Monday, Jan. 23, 2017
Avid addresses collaboration challenges with innovations unveiled at NAMM
Avid chairman and CEO Louis Hernandez, Jr.
ANAHEIM, Calif. -- 

Avid® (Nasdaq: AVID) announced several key innovations to the MediaCentral® Platform to address the industry’s most pressing collaborative challenges. Continuing to accelerate the pace of innovation to help music professionals, developments to the Avid Marketplace and partner integrations to the Avid Artist Community, along with a brand new Avid Pro Tools® update, will allow artists, producers and engineers to create, distribute and optimize media with the most comprehensive workflow solutions.

“Competition in the music industry is growing more intense, and artists and media professionals need resources that will elevate their work, gain them greater exposure and promote their name in the global marketplace,” said Avid chairman and CEO Louis Hernandez, Jr. “The industry is embracing our vision of a collaborative media network, and we’re pleased to introduce further innovations that will continue helping our users to maximize the value of their media.”

Avid Pro Tools 12.7 made its music industry debut at the recently wrapped National Association of Music Merchants (NAMM) 2017 trade show. With powerful new features, Pro Tools 12.7 provides a host of new features and enhancements for qualified versions of Mac OS X and Windows. From powerful new loop-based music creation and collaborative Revision History workflows, to improvements that simplify editing and post production, Pro Tools enables users to create to their full potential—without limits.

Pro Tools and Pro Tools | HD 12.7 software gives the pro-level features and capabilities needed to quickly create and deliver professional-quality music and audio mixes. Apply real-time effects to individual clips (Pro Tools | HD only). Mix smarter with Track Freeze, VCA masters, and extended metering. Get smoother performance and highly responsive recording and playback with the extended Disk Cache. And with the Avid Video Engine, you can play HD video—and edit it with Pro Tools | HD—right in the Pro Tools timeline.

New Avid Marketplace features and partnerships will also provide artists and media professionals with instant “in-the-moment” access to the industry’s most comprehensive plug-in platform by supporting in-app purchases for Avid Pro Tools Users can buy, download, install, authorize and activate plug-ins during active sessions, all within the most open, tightly integrated and efficient platform designed for media – without losing a step in the creative process.

The Avid Marketplace is the easiest way to acquire the industry’s best effects and instruments for Pro Tools and with in-app purchasing, users can instantly access and stay current with the cutting-edge plug-ins they need, without interrupting the creation or collaboration process.

In-app access deepens the Avid Cloud Collaboration for Pro Tools experience as it enables users to instantly get a plug-in that is being used by their Pro Tools collaboration partner. Avid Alliance Partners are benefitting from unprecedented visibility and access to the fast-growing base of hundreds of thousands of Pro Tools owners and subscribers thanks to flexible, cloud deployment options.

Avid also announced new Avid Alliance Partner integrations for the Avid Artist Community from distinguished talent, publishing and licensing services. New integrated services continue to allow community members to maximize the value and visibility of their work, explore new monetary opportunities, and offer their talents on a global scale.

Launched two years ago, the Avid Artist Community helps artists and media professionals solve their most pressing creative challenges. With new services from Avid Alliance Partners, members of the Avid Artist Community can simplify production, distribution and publishing, and maximize their visibility amongst a preeminent client and user community that continues to shape the collective future of the industry.

Three of the industry’s most innovative music companies are becoming Avid Alliance Partners, giving artists the comprehensive tools and solutions they need to create, collaborate, distribute and monetize their music. The new Avid Alliance Partners are:

SoundBetter is the world’s leading music production marketplace, helping musicians worldwide connect and hire top music professionals. With SoundBetter integration, Artist Community members can find musicians and engineers to elevate their songs, soundtracks and mixes. And for artists and media professionals looking to offer their services, SoundBetter opens up new career and creative opportunities by providing a new channel for offering their creative skills to others.

TuneCore is the industry’s premier digital music distribution company, featuring one of the largest music catalogues in the world. With TuneCore integration, members of the Artist Community can easily sell their music on iTunes and streaming services like Spotify, Amazon and over 150 digital music partners. Artists can also license their music and collect royalties easily and affordably.

Songtrust enables over 100,000 independent artists, songwriters, and bands at all levels to collect music publishing royalties worldwide while retaining 100% ownership of their copyright. With Songtrust’s integration, members of the Artist Community will be able to collect royalties faster and directly from 100+ countries, covering 20,000+ income sources like digital services (including Spotify and Apple Music), radio, TV, bars, and more.

  • Thursday, Jan. 19, 2017
Jaunt unveils Cinematic VR Field Guide at Sundance
PARK CITY, Utah -- 

Jaunt, a developer of hardware, software, tools and applications to enable cinematic VR, announed the availability of The Cinematic VR Field Guide: A Guide to Best Practices for Shooting in 360°. Knowing that filming in VR for the first time can be daunting  for aspiring and established filmmakers alike, as old rules of cinematography may no longer apply, this guide provides creatives with tips, tricks and lessons learned for entering into VR filmmaking. Starting today and throughout the duration of the 2017 Sundance Film Festival, Jaunt will be hosting a series of panel discussions and workshops where the creative community can learn about the company’s hardware and software offerings and receive a hardcopy of the current field guide.
Grant Anderson, executive producer at Jaunt, developed The Cinematic VR Field Guide to help VR creatives focus on melding imaginative stories with the latest advances in virtual reality. Prior to Jaunt, Anderson was executive director and stereoscopic supervisor at Sony Pictures where he collaborated with industry professionals on the creative uses of 3D. Among other roles he’s held, Anderson was also a senior producer at Stan Lee Media, and digital artist at Walt Disney Animation Studios. He is a board member of the Advanced Imaging Society and chairman of its VR committee.
The Cinematic VR Field Guide delves into crucial topics ranging from camera hardware and lenses to software, rendering and distribution. A few key subjects discussed include:

  • Camera motion – Understand proven practices for shooting high-quality, action-packed experiences without motion sickness-inducing separation between visuals and audio. 
  • Directing the action – How does one direct the action when in VR there is no such thing as behind the camera? Everything in the scene – including the crew, lighting, vehicles, etc. – will be shot. 
  • Lighting and exposure – Lighting is a critical part of any cinematography process but because VR filmmaking requires shooting in a full 360° there are some additional challenges involving contrast, flares, and lighting rigs.

“As VR, AR and mixed realities become more prevalent throughout mainstream cinematic entertainment, it is critical to ensure that the production teams behind these projects are equipped with the very latest and greatest guidelines to filmmaking in VR,” said Anderson. “With that in mind, who better than Jaunt to develop and distribute a complete industry set of guidelines?”
Jaunt’s industry-leading VR platform continues to be the most sought-after end-to-end solution. Its technology enables creators to focus on making high-quality VR content by automating the transcoding and distribution of projects across all devices to ensure VR experiences are available wherever their audiences are. Jaunt will be regularly updating The Cinematic VR Field Guide as new VR technologies and techniques emerge including an upcoming section on post-production techniques.
As an Official Partner of the 2017 Sundance Film Festival, Jaunt will be operating the The Jaunt VR Lounge at 580 Main Street, Park City, UT 84060. The lounge will be open daily from 10:30 a.m. - 5:30 p.m. featuring content demos, VR production workshops, charging stations, after-hours events and more. The lounge will host daily screenings of 20 different VR experiences including exclusive and award-winning VR content from RYOT, Lily Baldwin and Saschka Unseld, and Conservation International.
The Jaunt VR App, including all content released to date, is available on iOS, Android, Gear VR, Google Daydream, PlayStation VR, Oculus Rift, HTC Vive and major desktop browsers.

  • Tuesday, Jan. 17, 2017
MAXON fortifies 3D animation and VFX workflows for "Doctor Strange"

MAXON, a developer of professional 3D modeling, animation, painting and rendering solutions, announce that three design studios--Sarofksy, Chicago, Perception, New York City and SPOV, London--relied on the versatility of its 3D software solution Cinema 4D as a key content creation tool to shape the mind-bending imagery on display throughout the Disney/Marvel Studios blockbuster, Doctor Strange.

Doctor Strange stars Benedict Cumberbatch in the lead role and follows the story of neurosurgeon Doctor Stephen Strange who, after a horrific car accident, discovers the hidden world of magic and alternate dimensions.*

Cinema 4D has been a key production tool for the past five years at the design-driven production company Sarofsky. For Doctor Strange, the studio used Cinema 4D’s MoGraph and Xrefs to deliver a fully rendered 2D and stereoscopic main-on-end title (MOE) sequence. The Sarofsky team, headed by lead creative Erin Sarofsky, EP Steven Anderson, producer Sam Clark, CG supervisor John Filipkowski and others, designed a series of animated mandalas (geometric patterns that represent the cosmos metaphysically or symbolically) to look like gemstones and weathered gold that connected to the film’s rich symbolism and themes of repetition and symmetry.

The studio faced a major challenge defining how detailed the mandalas should be. “As lined artwork, the mandalas looked beautiful when very complex,” Filipkowski explained. “But when creating them in 3D, the complexity became very heavy, and at some points almost unmanageable, especially when we attempted to move around the viewport. Using the instancing clones and Xrefs in Cinema 4D allowed us to continue to evolve our scenes, camera work and animation explorations without waiting for the computer to catch up.”

“On a complex MOE title project like Doctor Strange, the Cinema 4D toolset let us focus more on what we are creating instead of exactly how it will be created,” Filipkowski added. “The options afforded by using custom procedural shaders gave the gemstones and gold imagery a photorealistic feel as though they were all textured individually.”

Doctor Strange marks the fifth feature film MOE title project that Sarofsky has worked on for Marvel Studios. The studio previously used Cinema 4D on Captain America: Civil War, Captain America: The Winter Soldier and Ant-Man.

  • Monday, Jan. 16, 2017
The Foundry appoints chief product officer, director of engineering 
Jody Madden

Creative software developer The Foundry has appointed Jody Madden as chief product officer alongside her existing role as chief customer officer. Phil Parsonage becomes director of engineering in another executive appointment.
Madden brings a wealth of experience to the role, having previously held the position of COO at The Foundry. She has formerly taken on technology management roles in organizations including Digital Domain and Industrial Light & Magic. As The Foundry’s CPO, she is responsible for managing The Foundry’s full product line and delivering innovative software to the market.
Parsonage has been with The Foundry for more than 10 years and has combined strategic, technical and operational skills to run The Foundry’s engineering function. As part of overseeing this area, he is responsible for conceiving and implementing the company’s technical strategy.

  • Monday, Jan. 16, 2017
Sony's production technology helps realize drone story on "60 Minutes"
"60 Minutes" producer Mary Walsh (l) and freelance cameraman Leigh Hubner (Photo credit: CBS NEWS)

On Sunday, January 8, CBS’ 60 Minutes aired a piece on the Department of Defense’s Perdix autonomous military drones, filming an impressive spectacle - a swarm of 100 drones.  But this was no easy feat.  In fact, the small, fast-moving drones proved so difficult to capture that 60 Minutes nearly abandoned the entire story.  That’s when the team came up with an idea.  Would a cameraperson who is able to capture a small, fast moving golf ball be uniquely suited to capturing drones in flight?  With the help of the latest Sony production technology, the 60 Minutes team was willing to find out. 
Using Sony’s HDC-4300 4K high frame rate camera system attached to a nearby PWS-4500 4K server, golf cameraman Rudy Niedermeyer attempted to capture the drones in action.  60 Minutes Overtime, the program’s online source for material beyond the broadcast, was there to see if Niedermeyer would succeed.  After many failed attempts, Niedermeyer was able to take advantage of the camera’s 480 frames per second to slow the footage down.  With the right person, the right tools and multiple days of testing, 60 Minutes was ultimately able to achieve what they set out to do and spectacularly captured the swarm of Perdix.

  • Friday, Jan. 13, 2017
Nintendo debuts hotly anticipated Nintendo Switch console 
Nintendo Switch general producer Yoshiaki Koizumi speaks during a presentation event of the Nintendo Switch in Tokyo, Friday, Jan. 13, 2017. (AP Photo/Koji Sasahara)
TOKYO (AP) -- 

Nintendo is trying to Switch it up.

The Japanese video-game company revealed details Friday about its hotly anticipated Nintendo Switch, a video game console that also serves as a hand-held gaming device, during a global rollout on Friday.

The price in the U.S. will be $300, a bit above the $200 to $250 that analysts were expecting. It will debut March 3. The Switch is the first major hybrid console/hand-held gaming device.

"Nintendo Switch is a new way to play," said Nintendo of America president Reggie Fils-Aime at a packed event in New York, where several hundred reporters tried out games including the fantasy game "Zelda: Breath of the Wild" and the fighting game "Arms" on the device.


Nintendo needs the Switch to be a hit. Its previous game console, the Wii U, faded quickly, and its 3DS handheld was also a disappointment. The one-time king of the video-game console has since been largely eclipsed by the Sony PlayStation 4 and Microsoft's Xbox One.

The company has also been trying to catch up in mobile games, having largely missed a major shift to smartphones and tablets. "Pokemon Go," an augmented-reality smartphone game based on monster characters featured in Nintendo video games, was a surprise hit last summer — but Nintendo didn't create it.

Nintendo finally made a big push into mobile with "Super Mario Run" for the iPhone, which launched in December. The app became the highest grossing game in 11 countries a few hours after its release on Dec. 15, according to App Annie, making over $4 million worldwide in consumer spending on its first day. But by Christmas, it had fallen from the top, and it now ranks as the 26th top-grossing game in the U.S. App Store.

Analysts say the Switch needs to win over new, younger players who may not be hardcore game fans — and who now might be daunted by its hefty price tag. Many had hoped the Switch might sell for closer to $200. In Japan, the console will sell for 29,980 yen (about $260). Nintendo didn't release prices for other countries.

Investors were underwhelmed, sending Nintendo stock sinking in Tokyo trading after the announcement. It closed the day down 5.5 percent.


The Switch features a large hand-held controller designed for both hands that works with the console. You can also snap off the sides of that controller to serve as separate left- and right-hand remotes, which Nintendo calls Joy-Cons, for two-handed play — sort of like Nintendo's older Wii controllers.

But there's more to the Switch's Lego-like tricks. You can also slide a flat screen resembling a tablet out of the main console and attach the Joy-Cons to it, and suddenly you have a new independent hand-held gaming device.

All that makes it possible to use the Switch as a regular handheld, put the display on a table, or use a TV screen as a monitor.

Nintendo is promising an immersive, interactive experience with the Switch, including online play and letting you use the remote controller for games that don't require constant attention to a display.

Nintendo officials in Japan used the Joy-Cons to play a gun-duel game. Motion sensors offer tactile feedback from games, such as feeling virtual water poured into a virtual cup. In another game, characters' arms swirled out during combat when players punched the air while holding the controllers.

"It's a totally new kind of game," said Kouichi Kawamoto, who oversaw "1-2-Switch," a gun-duel game that requires players to look each other in the eye. "It's about having fun with communication."


Nintendo said 50 software makers, including Electronic Arts and Sega, are preparing 80 games for the Switch. It also promised in-house games such as a Legend of Zelda game, which will go on sale the same date as the Switch.

The company is also setting up locations where people can try the device ahead of its launch, some in European cities.

In Tokyo, Hisashi Yao, senior analyst at Rheos Capital Works Inc., was impressed with how it was "focused on communication" and encouraged players to move about. "I got sweaty," he said.

IDC analyst Lewis Ward said at the New York event on Friday that the price tag isn't necessarily a deal breaker. "It's still pretty darn affordable," he said. He said he liked the way that the Switch incorporates the motion controllers of the Wii U in its design, meaning you can use separate controls in each hand to perform different tasks.

"I think it's going to do better than the Wii U — the design is more interesting," he said. "The motion control is distinctive."

Associated Press videographer Kaori Hitomi in Tokyo and Business Writer Mae Anderson in New York contributed to this report.

  • Thursday, Jan. 12, 2017
IHSE to demo KVM Solution at NAMM Show as a feature of Avid’s Pro Tools | S6 Audio Control Surface
Avid's Pro Tools | S6 With IHSE USA's Network KVM Solution

IHSE USA will showcase the latest KVM network capabilities integrated into the Avid Pro Tools | S6 audio control surface at the 2017 NAMM Show, Jan. 19-22 in Anaheim, Calif. The IHSE KVM solution, based on the Draco tera compact switch with HDMI extenders over Cat X, will be on display with a Pro Tools | S6 workstation in Avid’s booth, 6400.

“IHSE has long been a trusted provider of professional KVM solutions for studio recording and music production, so we were grateful for the opportunity to join forces with Avid to integrate KVM capabilities into its wildly popular audio desk,” said Dan Holland, marketing manager for IHSE USA. “IHSE continues to support Avid’s training and promotional teams through events like NAMM, allowing both current and future users to experience in real time the advantages KVM provides for studio editors and recording technicians.”

The S6 modular control surface now includes network KVM options through an interface based on the IHSE KVM protocol, a feature that better integrates switching between multiple digital audio workstations. With networked KVM capabilities enabled, Avid S6 users can enjoy the benefits of integrated KVM control to take advantage of faster workflows and extended visual feedback during editing sessions. Through the S6 Master Module, the central hub of the S6 surface, users can configure the network KVM to allow easy mixing and control of multiple music and/or audio post projects created on different audio workstations simultaneously — all from a single control surface. 

This new and innovative approach to advanced audio post and mixing offers users the ability to set up soft-key commands easily to operate different sources in a way that is completely transparent to the user. With only a few settings in the Master Module, operators can assign soft keys to switch immediately to and from different workstations. Another effective advantage of the IHSE KVM integration is the ability to define individual tracks of a fader module so that they automatically change to follow the preassigned sources defined through the KVM settings. This capability enables audio professionals to accelerate recording, editing, and mixing workflows in a more efficient and profitable process.

IHSE provides KVM matrix switchers in sizes ranging from eight ports to 576 ports. Users manage the system via RS-232 or Ethernet control, and extender modules are available to support DVI, HDMI, and DisplayPort video formats as well as USB, audio, and RS-422. Extender enclosures can be built to support two, four, six, or 21 cards and allow for optional redundant power. Extender cabling interconnects are available in Cat5e/6/7 or fiber-optic cables.

  • Tuesday, Jan. 10, 2017
Ireland's TV3 Group deploys Avid Studio Suite

The Republic of Ireland’s leading commercial broadcaster, TV3, has implemented next-generation graphics solutions from the Avid Studio Suite. Adopting additional comprehensive tools from the tightly integrated Avid MediaCentral® Platform will enable TV3 to maintain its competitive edge.
Operating out of its flagship broadcast hub in Dublin, TV3 needed to revitalize the traditional daily studio production for a range of its key programming, re-enforce its shows’ brands to viewers, and give producers and journalists greater ownership of their content. The soon-to-be upgraded “Studio One” is the main workhorse of TV3, broadcasting almost all of the daily studio output, covering everything from news and magazine shows to current affairs.
TV3 will be incorporating comprehensive tools from the Avid Storage, Media and Studio Suites into an existing Avid infrastructure to maximize audience engagement with stunning visual content and graphics. This includes integrating Avid Maestro™ and 4Designer--two of the most powerful tools from the Avid Studio Suite--with existing Avid Media Composer® suites, Avid Interplay® | Production media management and Avid shared storage.
Avid 4Designer graphics authoring software, the foundation of all Avid real-time graphics systems, will enable TV3 to enhance its television content for newscasts, panel shows and sports programming. Maestro, Avid’s on-air graphics and video solution, will empower TV3 to create, manage, distribute and play out stunning, high-resolution 3D graphics and videos easily, also allowing viewers to interact through on-screen social media integration.
“We feel graphical information should never be intrusive, but only add to the narrative of the main content,” said Liam O Neill, head of graphics at TV3 Group. “Avid’s tools will help us create greater ownership and awareness of graphic looks within program teams. It will also allow the TV3 graphics team greater movement to create more dynamic transitions, which in turn, will create a more balanced flow between graphic and live studio content.”
TV3’s investment also includes a support contract with Avid Global Services, tailored to meet the needs of the entire broadcast group and its channels. Users and operators have access to training packages to learn and use the systems to their best ability to increase the lifetime value of these new assets. Avid’s high-quality integrated graphics systems will also allow TV3 to easily adapt future requirements, such as moving toward cloud-based workflows.
Supplied by Dublin-based reseller and Avid partner, Tyrell CCT, TV3’s project was designed on a flexible deployment model, expanding upon their current commercial structure and licensing arrangement. The upgrade will go live toward the end of January 2017, with a view to enhance TV3’s ‘Studio Two’ in the near future.
“TV3’s new workflow results in an efficient, open ecosystem to create eye-catching graphics and generate engaging content for millions of Irish television viewers,” said Tom Cordiner, sr. VP, global sales for Avid. “With its operations built on a consistent set of core Avid workflows, TV3 continues to play a leading role in a preeminent client and user community, enhancing collaboration, creation, distribution and optimizing the sharing of media assets.”
Beginning in the late 1990’s, TV3 Group offers viewers the most popular programming, including global sports events like the Rugby World Cup, news, analytical and documentary shows, entertainment programs and award-winning reality television like The X Factor and Britain’s Got Talent. It also runs a sister channel, 3e, targeting a younger audience demographic between 15 and 34.

  • Thursday, Jan. 5, 2017
URSA Mini 4.6K camera used to lens Chinese commercials
A scene from one of the gf commercials from social creative company Verawom.
FREMONT, Calif. -- 

Blackmagic Design announced that its Blackmagic URSA Mini 4.6K camera was used by director Yu Gang to shoot a series of "Three Body" themed web commercials starring famous Chinese actor Feng Shaofeng for the gf skincare products of Shanghai Jahwa, one of China’s oldest daily used chemical companies.
Inspired by the award winning science fiction trilogy “Remembrance of Earth’s Past” (aka “The Three Body Problem”) by Chinese writer Liu Cixin, in which the alien Trisolarans evolve to be able to hydrate and dehydrate their bodies to adapt to the harsh environment on their planet that is part of a stellar system with three Suns, China’s leading social creative company Verawom designed the commercials to highlight gf’s ability to retain moisture. Verawom trusted director Yu Gang with this project.
The series of commercials for gf were shot with director Gang’s own URSA Mini 4.6K, with which he has also shot promos for popular Chinese cosmetics brand Herborist and fashion brand Erdos.
“Before this project, my cinematographer hadn’t used the URSA Mini 4.6K camera. But by the middle of the production, he had found its latitude was so great that he didn’t have to worry about the possibility of getting blown out highlights. After the production, he and the assistant director, who often shoot car commercials, were convinced the URSA Mini 4.6K is a great camera for high end TVC projects,” said Gang.
All footage was recorded to 4:1 RAW. “I like the URSA Mini’s ability to record 4:1 RAW because it gives you great quality and much more freedom in postproduction, but the files are even smaller than ProRes 444. The footage looks clean without too much noise. If you want it even cleaner, a pass of temporal noise reduction in Resolve helps. The combination of the URSA Mini and the included DaVinci Resolve Studio is another strength of the camera,” said Gang.
Speaking of the URSA Mini and DaVinci Resolve Studio bundle, the director also mentioned “the slate feature in the URSA Mini is great for shot logging, which makes takes selection very quick in post because you can do it when you do transcoding and rough edits in Resolve, making the editor’s life much easier. For long form projects, the more information you log, the more organized in post.”
In the spots, there is a scene where the character floats in a spaceship due to zero gravity. It was recorded at 50fps in 4:1 RAW to simulate the absence of weight. “We didn’t have to use lower recording quality for high frame rate recording so the image quality is the same as that of other scenes,” he said.
All footage was transcoded on set with DaVinci Resolve Studio to 1080p ProRes 422 HQ for editing. When the editing was finalized, the timeline was rebuilt in DaVinci Resolve Studio with the original RAW footage for grading.