Monday, January 23, 2017


  • Thursday, Nov. 10, 2016
The highlight of Google's Daydream VR is ... its controller
Clay Bavor, Google vice president of virtual reality, talks about Daydream and virtual reality during the keynote address of the Google I/O conference, Wednesday, May 18, 2016, in Mountain View, Calif. (AP Photo/Eric Risberg)

The best thing about Google's new virtual-reality headset isn't the headset at all.

In fact, Daydream View would pale compared with Samsung's Gear VR headset were it not for Daydream's controller, a handheld device that responds to gestures and other motion.

With Gear VR, I have to move my head to point a cursor at something, then reach for a button on the headset. With Daydream, I can just aim and click the controller in my hand. Sensors in the device tell the headset what I'm trying to do, whether it's swinging a tennis racket or casting a fishing rod. The headset's display responds accordingly.

The headset and controller are sold together for $79, starting Thursday. No rush in getting one, though, as the virtual experiences built for Daydream are still limited. And for now, it works only with Google's Pixel phone .

While sophisticated systems like Facebook's Oculus Rift and HTC's Vive let you walk around in the virtual world, Daydream View is a sit-down experience in which you use the controller to move yourself around. (You could walk around with the Daydream on if you wanted to, but you won't go anywhere in virtual space - and you might run into the wall.)

But the Rift and the Vive each costs more than $1,500, once you include powerful personal computers they require. Suddenly, $79 sounds like a bargain. Daydream stays cheap by using the display and processing power of your phone, which you insert into the headset at eye level.

Gear VR, at $100, takes a similar approach, but it works only with Samsung phones. While Daydream works only with Pixel for now, several other Android makers plan to make compatible phones. Sorry, iPhone users.

Those without compatible phones still have Google Cardboard, a $15 contraption you hold up to your face. Using Daydream View, by contrast, is more like wearing goggles. While Gear VR has a better fit, with focusing and a second strap over your head to keep the headset from sliding too low, Daydream is much more comfortable to wear and use than Cardboard.

Those who've played Nintendo's Wii system will find the Daydream controller familiar. It's about the size and shape of a chocolate bar, and it has motion sensors to track movement.

Although I'm not a big gamer, I enjoyed shooting water out of a hose to put out fires. You simply hold a button to spray and move the controller around to douse flames. You can even tilt the controller to control the angle of the hose. Another app lets you explore the universe by using the controller as a laser pointer to bring up more information.

The controller makes it easier to navigate menus without making yourself dizzy; just move it around to point at things. And while getting the full 360-degree experience of VR often requires spinning around (a swivel chair helps), some apps in Daydream let you grab the scene with your controller and drag it around you, just as you would with a PC mouse.

It's also handy to have volume controls and a home button in your hand rather than on your head.

VR can be nauseating, and Daydream is no different. I found that it's less about the headset, and more about the VR video.

The best videos use stationary cameras and let you move your head (or controller) around to explore. The nauseating ones tend to treat VR cameras like regular movie cameras , with a lot of panning in response to a subject's movements. The viewer, not the subject, should be the one doing the moving.

And while I enjoyed watching a woman's skydive in VR on YouTube, scenes of her preparing to jump felt jarring because the camera was on her shaky arm. I had to remove my headset.

You can view 360-degree YouTube videos and any 360-degree photos you store on Google Photos. You can visit other destinations such as the Galapagos Islands in a 360-degree version of Google's Street View. A few games, museum artworks and The Wall Street Journal's app were also available to try out prior to Thursday's launch.

A handful more are coming Thursday. Even more are promised by the end of the year, including apps for Netflix and Hulu - though all that does is offer video on a giant screen in a virtual living room.

There's much more available for Cardboard. Unfortunately, app developers will need to make some tweaks first to make them compatible with Daydream. They'll need to do even more to take advantage of the motion control.

Daydream has promise, but until more apps arrive, its potential is still a dream.

  • Thursday, Nov. 10, 2016
Sky Deutschland selects Avid MediaCentral Platform for unified content delivery

Avid® (Nasdaq: AVID) announced that Sky Deutschland, the pay-TV market leader in Germany and Austria, has significantly expanded its investment in the MediaCentral® Platform. Now, with the most open and integrated platform comprising solutions from the Avid Media, Storage and Artist Suites, Sky’s news and sports production teams are empowered with the most comprehensive individual products at every stage of the workflow to create, collaborate, distribute, optimize and monetize its content..

Recognizing the need to update its infrastructure to meet the demands of today’s fast-turnaround, high-quality content-driven environment, Sky needed a future-proofed workflow flexible enough to take advantage of and monetize new and emerging technologies such as Ultra High Definition (UHD).

“Our goal is providing customers the very best TV experience, delivering highly engaging content,” said Kevin Hughes, director of broadcast engineering at Sky Deutschland. “Investment in the MediaCentral Platform provides us with a more scalable, secure and flexible production and delivery environment, future-proofing us to meet the next wave of broadcast industry demands and significantly increasing our efficiency.”

By investing in Avid NEXIS™ | E4 software-defined storage platform connected to Avid Media Composer®, Sky is able to quickly and easily acquire, edit, and deliver content in any resolution—including 2K and Ultra HD.

Facilitating collaboration and enabling producers and editors in remote locations and the newsroom to connect more efficiently was another key driver for Sky. Using Avid MediaCentral | UX, the cloud-based web front end to MediaCentral, Sky editors have the freedom to write scripts, view and edit video, record voiceovers, add and preview graphics, search across multiple systems simultaneously, send stories straight to air, and publish to social media platforms or the website, from anywhere, significantly boosting productivity and efficiency.

Prior to adopting MediaCentral, Sky’s audio team operated in a silo. Investment in seven Pro Tools® | S6 modular control surfaces networked and running on the same platform as the news and editing rooms enables the broadcaster to place creativity at the center of its audio workflow, allowing mixers to work more efficiently and fluidly.

“With a catalog of premium sporting content to deliver, including the German Bundesliga, the English Premier League and the UEFA Champions League, Sky Deutschland’s investment in the MediaCentral Platform places the best individual tools at every step of the workflow enabling it to create, distribute and monetize content,” said Jeff Rosica, ‎Senior Vice President, Chief Sales & Marketing Officer at Avid. “Now, with a unified approach to optimize production, Sky’s delivery of this compelling content empowers the broadcaster to engage with and motivate increasingly sophisticated audiences.”

Sky’s investment includes a five-year support contract with Avid Global Services and software upgrades for Avid’s Interplay® Production Asset Management with Avid Interplay Capture and Interplay Archive modules, Avid AirSpeed®, Avid iNEWS®, Avid Pro Tools® and Avid Media Composer® with Avid NewsCutter.

  • Thursday, Nov. 10, 2016
Is high-frame rate the next failed Hollywood gimmick? 
This image released by Sony Pictures shows Joe Alwyn, portraying Billy Lynn, on a screen in a scene from the film, “Billy Lynn’s Long Halftime Walk,” in theaters on November 11. The film will only be screened at 120 fps at two specially equipped theaters in North America. (Mary Cybulski/Sony-TriStar Pictures via AP)

It’s starting to look a lot like the Fifties at the movies.

That was when theaters, alarmed by the rise of television and newly freed from the ownership of Hollywood studios, trotted out a wave of gimmicks to freshen up the moviegoing experience. Ballyhooed advancements like “Smell-O-Vision” and 3-D raged briefly before —at least for a time — receding into camp.

But many of those gimmicks have been reborn for a more high-tech age with new media anxieties. Now it’s cable dramas and streaming networks that are stoking fears that a mere movie isn’t enough to draw audiences out of their homes.

For this new era, there aren’t brilliant showmen like William Castle who put electric buzzers in the seats for 1959’s “The Tingler” and guaranteed $1,000 for any moviegoer who died of fright while watching 1958’s “Macabre.”

Instead, it’s many of the industry’s top filmmakers who are pushing new theatrical experiences. The latest purported cinematic savior is high-frame rate, an innovation without quite as catchy a name as 1959’s scented “AromaRama.” Instead of the traditional 24 frames a second, HFR is composed of many more images per second, lending greater clarity. But so far, the reviews are dismal.

First, Peter Jackson made his “Hobbit” trilogy in 48 frames-per-second, though poor reviews led it to be largely phased out by the final installment. Now, Ang Lee has doubled-down on the format, and then some. His “Billy Lynn’s Long Halftime Walk,” which opens in limited release Friday, was made with 120 frames per second. Critics have, in kind, amped up their doubts about the technology’s promise, claiming its hyper-real effect appears artificial or, worse, like a telenovela.

Whether high frame rate will go the way of “Smell-O-Vision” remains to be seen. “Billy Lynn” will only be screened at 120 fps at two specially equipped theaters in North America, and maybe half-a-dozen worldwide. Lee has urged patience. James Cameron, who led the 3-D resurrection, has pledged to make his “Avatar” sequels in a HFR format.

But high-frame rate is just one of the big-screen innovations making this decade look like a digitized sequel of the ‘50s. Here are some of the gimmicks that have returned, in mutated forms, like creatures from a black lagoon:

The golden era of 3-D, ushered in by 1952’s “Bwana Devil,” lasted less than two years. But the phase propelled by Cameron’s “Avatar” and embraced by the likes of Lee, Steven Spielberg and Martin Scorsese, has already lasted a decade. It’s now a regular, if divisive component of moviegoing: a cherished part of the theatrical spectacle to some, a loathsome surcharge on already higher priced movie tickets to others. Though audience interest for 3-D has at times waned, its grip on theaters seems assured. Cameron hopes to release “Avatar 2” in glasses-free 3-D.

The panoramic widescreen format, projected onto a curved and arced screen, first debuted with 1952’s “This Is Cinerama.” It and other screen-stretching formats such as Ultra Panavision 70, brought widescreen majesty to films like “How the West Was Won” and “2001: A Space Odyssey.” Cinerama was closely followed by CinemaScope, the anamorphic lens advertised as “the modern miracle you see without glasses,” and the less successful Circle-Vision 360 — something like a forerunner to today’s IMAX screens. CinemaScope, big and beautiful, remains a cherished choice for many filmmakers. Damien Chazelle’s upcoming, glowingly nostalgic “La La Land” -- an early Oscar favorite and an implicit argument for the glory of movies -- is the latest to bring back CinemaScope.

The 1974 film “Earthquake” launched Sensurround which used low bass sounds to create a rumbling, vibrating effect. (Moviegoers in next-door theaters sometimes complained of the tremors from “Earthquake” while watching other releases that year, like “The Godfather Part II.”) Other efforts to transfer sensations on the screen to people in the seats have followed. So-called “4-D,” long a theme park attraction, adds an amusement park ride effect to theaters with moving seats, smells and weather effects like fog and rain. A South Korean company has opened “4DX” rooms around the world, playing Hollywood blockbusters. Some of them — and William Castle would appreciate this — even tingle.

  • Wednesday, Nov. 9, 2016
Rental program expands for Jaunt ONE VR camera 
Jaunt ONE VR camera
PALO ALTO, Calif. -- 

Cinematic virtual reality (VR) company Jaunt Inc. has announced that the award-winning Jaunt ONE camera is being made available to even more creators through an expanding rental program.  AbelCine, a provider of products and services to the production, broadcast and new media industries, is the latest company to offer the Jaunt ONE for rent.
The Jaunt ONE 24G model camera--which features 24 global shutter sensors, ideal for low-light and fast moving objects, and ability to couple with 360° ambisonic audio recording--will be available to rent from AbelCine. Creators will also have access to AbelCine’s training, workshops and educational tools for shooting in VR.
The nationwide availability of the Jaunt ONE camera, paired with access to the company’s end-to-end VR pipeline, provides filmmakers, creators and artists with the hardware and software solutions for shooting, producing and distributing immersive cinematic VR experiences.
●        Hardware – Rent the award-winning Jaunt ONE camera through AbelCine or Radiant Images
●        Software – Jaunt Cloud Services (JCS) provides the tools necessary to edit, stitch and render stereoscopic 360° footage 
●        Distribution – Submit high quality VR content for distribution directly to the Jaunt VR app through the Jaunt Publishing program
“As we continue to open the Jaunt pipeline to the expanding community of VR creators, AbelCine is a perfect partner to not only get the Jaunt ONE camera in the hands of filmmakers, but also to educate them on the opportunities in VR,” said Koji Gardiner, VP of hardware engineering at Jaunt. “Whether they’re a frequent experimenter of new mediums or a proven filmmaker dabbling in VR for the first time, we want to equip creators of all backgrounds with everything needed to bring their stories to life.”
“At AbelCine, we are always on the lookout for cutting-edge storytelling tools, and this describes the Jaunt ONE perfectly,” said Mike Nichols, business development manager. “Our clients rely on us for assistance in adopting new technologies and providing outstanding technical support on these projects. We are excited to do just this, and help our clients discover what’s possible with the Jaunt ONE.”
Creators interested in shooting with Jaunt ONE should stop by AbelCine’s booth #1149 at NAB Show NY, November 9-10, at the Javits Convention Center, where the camera will be on display.  Jaunt is also expanding its existing rental program with LA-based Radiant Images to increase the number of cameras available to customers.

  • Tuesday, Nov. 8, 2016
AbelCine opens Development Center in Brooklyn’s Industry City

AbelCine announced the opening of a 12,500-square-foot Development Center located in Brooklyn’s Industry City. The new facility is home to AbelCine’s expanding engineering, product development and integration units and will serve as a hub of innovation within the company.

“Evaluating new technologies and adapting them to the needs of the production and broadcast communities has always been at the heart of what we do as a company,” said Pete Abel, CEO of AbelCine. “With the opening of our new Development Center, we are greatly expanding our capabilities in this regard, which ensures creatives can always rely on us to help them navigate the next big thing.”
AbelCine’s Development Center features an engineering lab where products are designed to address specific technical needs within the industry. Thanks to AbelCine’s unique position as an equipment provider and technology leader, the company is able to identify limitations of traditional gear and develop effective solutions. AbelCine’s successful line of Cameo camera accessories and resolution analysis charts is an example of this approach. With expanded design, prototyping, machining, and manufacturing capabilities in house, AbelCine will continue to work with industry partners to bring innovative products to market.
AbelCine’s Solutions Group, another key component of the Development Center, has an expanded base of operations for integration design, assembly, and staging, as well as ample space for project management, technical collaboration, and administration. This will enable the company to take on more complex assignments, and collaborate on integration projects utilizing emerging imaging and media technologies.
“We are excited to a be a part of the creative community at Industry City,” said Jonathan Epner, director of market development at AbelCine. “Since our range of knowledge and experience encompasses traditional broadcast and production, as well as exciting new mediums, such as VR and 360 imaging, we see ourselves as a resource for any media company looking to maximize the impact of new technology on their creative projects.”
AbelCine’s Development Center is currently open to their customers and business partners by appointment only from Monday through Friday from 9am to 6pm, while all other locations continue to operate under normal business hours.

  • Tuesday, Nov. 8, 2016
Firmware upgrade rolled out for SmallHD production & studio monitors
Several models in the Small HD line of monitors.
CARY, NC -- 

SmallHD announces a free firmware update that adds an array of new features to increase the functionality of its groundbreaking line of 13”, 17”, 24” and 32” production monitors, including the HDR (high dynamic range) displays.

To provide a better viewing experience, the Firmware 1.3 update adds De-Interlacer to view interlaced video in a progressive mode. It also adds V-Log and S-Log 3 DeLOG and HDR Preview support. A new Color Picker tool has been added to the toolbar to view the specific color values of a selected pixel on the video signal displayed.

The upgrade also supports a Studio Mode for SmallHD’s 1303HDR 13” monitor, which provides a brightness setting engineered for studio environments. Additionally, the multi-view function has been simplified to allow viewing of just two video outputs for A/B Camera setups, and repeated pressing of the input button will now cycle through all available inputs.

The free update, as well as a detailed list of the firmware update’s new features, is available here. The 1.3 firmware upgrade can be installed on the following models: 1303 Studio, 1303 HDR, 1703 Studio, 1703 HDR, 2403 Studio, 2403 HDR and 3203 HDR.

Introduced in 2016, SmallHD Studio and Production monitors have rapidly become a new standard due to their daylight-viewing ability, extensive software toolset, compact form, unmatched durability, unprecedented accessory flexibility, and affordable pricing.

  • Tuesday, Nov. 8, 2016
Grass Valley unveils new features in EDIUS 8.3 upgrade

With version 8.3 of EDIUS Pro and EDIUS Workgroup, Grass Valley, a Belden Brand, is introducing a number of new features that will make video editing more productive and more creative. The new version brings high-quality slow motion, more DVD/Blu-ray burning options, and other new usability improvements to all EDIUS Pro and Workgroup 8 users.

“Our customers choose EDIUS because they know that it’s a smart investment that will keep up with their needs as technology advances,” said Steve Wise, director of product marketing, Grass Valley. “We are constantly adding features and improving performance in response to feedback from users, which means that the software never falls behind the needs of the market. And the permanent license structure is such that existing users have access to the incremental upgrades within a version at no additional charge.”

Specific improvements for EDIUS Pro 8.3 and EDIUS Workgroup 8.3 include:

  • High-quality slow motion using optical flow interpolation
  • Bin now shows timecode information
  • Many more “Burn-to-disc” options for DVD and Blu-ray
  • More proxy resolution options
  • GV Browser improvements
  • GUI improvements
  • F-Log (Fujifilm) color space

EDIUS is available in two versions—EDIUS Pro 8 is targeted at the professional production user, while EDIUS Workgroup 8 is aimed at editors working within a broadcast-based, collaborative editing environment that might require GV STRATUS or third-party MAM connectivity, or to edit-in-place on K2 server/storage.

  • Monday, Nov. 7, 2016
Sphericam releases Beast 360 VR camera system at NAB Show In NY
Sphericam Beast camera head

Sphericam Inc. will be launching its newest 360º camera system at the NAB Show in New York City on November 9 after several months of intense stealth development. 

The new Sphericam Beast camera system is a large-format, high-end, cinema grade, modular and easily scalable 360º video capture system that can also stream live to the web or to headsets. The first iteration of the system uses four 1” inch sensors and four M.2 SSD drives to capture uncompressed 360 degree video at an output resolution of more than 6K at 60fps and 10-bit RAW format. 

Sphericam is expanding its product portfolio with a new studio-grade virtual reality camera system designed from the ground up to offer best-in-class fully spherical image capture and streaming performance for high-end filmmakers and broadcasters. The Sphericam team has created this “truly cinematic” system with great care and consideration, providing production groups the level of quality and resolution they have been asking us for. “For a young venture backed company the decision to address the challenges of the professional users rather than to focus on the large volume consumer solutions is a defining moment. We feel our strengths are understanding the most demanding product and technical aspects of spherical video capture and providing the industry with no-compromise tools to empower a true cambrian explosion of quality immersive content,” said founder and CEO Jeffrey Martin.

Practical features of the Sphericam Beast camera system are a direct answer to production community needs 

  • Closely positioned large sensors in a portrait configuration offer exceptionally small parallax for easy stitching
  • Live preview 5-inch FullHD displays for each camera ease on-site production workflow
  • Practical two-piece design allows the small camera head to be unobtrusively positioned up to 5m from the rest of the system
  • Live stitching supports immediate streaming to headsets or through a streaming service at 4k 30FPS
  • Captures 512GB of RAW sensor data (Cinema DNG) per sensor in under 10 minutes to avoid any compression losses
  • Monday, Nov. 7, 2016
Assorted fall TV shows created using Blackmagic Design cameras and software
"Empire" (Motion Picture © 2016-2017 Twentieth Century Fox Film Corporation. All rights reserved. Photographs © 2016 Fox and its related entities. All rights reserved.)
FREMONT, Calif. -- 

Blackmagic Design announced that several Blackmagic Design products, including digital film cameras, Fusion Studio visual effects and motion graphics software and DaVinci Resolve Studio color corrector and editor, are being used for production and post production work on some of the most anticipated shows in this year’s fall television lineup.
More than 46 of 2016’s fall television shows use Blackmagic Design’s cameras, Fusion Studio and DaVinci Resolve Studio. Top directors of photography, VFX artists, colorists and post production facilities rely on Blackmagic Design to deliver shows for the top primetime and cable networks, including returning hit shows like Modern Family, 2 Broke Girls, Jane the Virgin and Blindspot.
The following list is a sample of some of the shows being completed on Blackmagic Design products, and there are many more.
Fall TV Shows Using Blackmagic Design

For Cinematography:

  • DP Allan Westbrook uses a Video Assist 4K and Micro Cinema Camera to shoot in tight quarters and small spaces on ABC’s Marvel's Agents of S.H.I.E.L.D.;
  • DP David Tuttman uses the Blackmagic Cinema Camera and Pocket Cinema Camera on NBC’s Blindspot;
  • DP Glen Keenan used a Pocket Cinema Camera, Production Camera 4K, ATEM Switcher and DaVinci Resolve Studio on Fox’s A.P.B. pilot episode;
  • On CBS’ Blue Bloods, the show’s DPs use Blackmagic Production Camera 4Ks and URSA cameras. 

For Visual Effects:

  • Inhance Digital VFX Supervisor Eddie Robison and his team use Fusion Studio for VFX work on The CW’s Jane the Virgin, EPIX’s Graves and Fox’s Empire;
  • Muse VFX Founders and VFX Supervisors John Gross and Fred Pienkos and their team use Fusion Studio to composite El Rey Network’s From Dusk Till Dawn: The Series, MTV’s Teen Wolf and Mary + Jane, and CBS’ NCIS: New Orleans and Elementary;
  • Warner Bros. Motion Picture Imaging Colorist Scott Gregory uses DaVinci Resolve Studio for VFX work, including comps, beauty work and sky replacements on CBS’ 2 Broke Girls and MTV’s Sweet/Vicious.

For Color Grading:

  • Chainsaw Supervising Senior Colorist Todd Bochner uses DaVinci Resolve Studio to grade The CW’s Jane the Virgin and No Tomorrow and HBO’s The Leftovers;
  • Chainsaw Colorist Joe Finley uses DaVinci Resolve Studio to grade HBO’s Insecure;
  • ColorTime Senior Colorist Russell Lynch uses DaVinci Resolve Studio to grade ABC’s Modern Family and CBS’ Life in Pieces;

    Deluxe’s Encore, Company 3 and Level 3 teams are currently coloring and mastering a number of fall shows, many in HDR, including those below, and others not listed:

  • Company 3 Senior Colorist Cody Baker uses DaVinci Resolve Studio to grade USA’s Shooter;
  • Company 3 Senior Colorist Siggy Ferstl uses DaVinci Resolve Studio to grade Hulu’s Shut Eye;
  • Company 3 Senior Colorist Shane Harris uses DaVinci Resolve Studio to grade HBO’s Westworld and IFC’s Documentary Now!;
  • Encore Senior Colorist Tony D’Amore uses DaVinci Resolve Studio to grade CBS’ Elementary and Starz’ Power (project shared with Deluxe’s Company 3 colorist Sofie Friis Borup);
  • Encore Senior Colorist Kevin Kirwan uses DaVinci Resolve Studio to grade FX’s American Horror Story: Roanoke and Fox’s Scream Queens;
  • Level 3 Senior Colorist Randy Beveridge uses DaVinci Resolve Studio to grade Netflix’s The Ranch and Fox’s Lucifer;
  • Level 3 Senior Colorist Ken Van Deest uses DaVinci Resolve Studio to grade The CW’s The Flash and Legends of Tomorrow;
  • Level 3 Senior Colorist Mark Wilkins uses DaVinci Resolve Studio to grade Fox’s The Exorcist;
  • DigitalFilm Tree Colorist Patrick Woodard uses DaVinci Resolve Studio to grade ABC’s Mistresses and American Housewife, and CBS’ NCIS: Los Angeles;
  • Light Iron LA Supervising Colorist Jeremy Sawyer uses DaVinci Resolve Studio to grade FX’s Better Things and AMC’s The Walking Dead;
  • Light Iron LA Colorist Nick Lareau uses DaVinci Resolve Studio to grade Investigation Discovery’s True Nightmares;
  • Modern VideoFilm Colorist Aidan Stanford uses DaVinci Resolve Studio to grade ABC’s Fresh Off the Boat;
  • NXNW Colorist Sam Read uses DaVinci Resolve Studio to grade Syfy’s Z Nation;
  • Picture Shop Senior Colorist George Delaney uses DaVinci Resolve Studio to grade CBS’ NCIS: New Orleans;
  • Picture Shop Senior Colorist Chris Boyer uses DaVinci Resolve Studio to grade NBC’s Blindspot;
  • Picture Shop Colorist George Manno uses DaVinci Resolve Studio to grade Fox’s Lethal Weapon, ABC’s Once Upon a Time and The CW’s Arrow;
  • The Foundation Owner and Colorist Gareth Cook uses DaVinci Resolve Studio to grade ABC’s The Real O'Neals;
  • The Loft Owner and Colorist Dan Judy uses DaVinci Resolve Studio to grade The CW’s Frequency and Fox’s The Last Man on Earth;
  • Warner Bros. Motion Picture Imaging Colorist Scott Gregory uses DaVinci Resolve Studio to grade CBS’ 2 Broke Girls and MTV’s Sweet/Vicious; and
  • Warner Bros. Motion Picture Imaging Senior Supervising Television Colorist Scott Klein uses DaVinci Resolve Studio to grade Fox’s Empire and AMC’s Halt and Catch Fire
  • Friday, Nov. 4, 2016
Qwire launches qwireMusic 2.0
TV series “Fargo” deployed qwireMusic 2.0 in 2016

Qwire, a provider of cloud-based tools for managing scoring and licensing music to picture, has announced the launch of qwireMusic 2.0. This new version significantly expands the collaboration, licensing, and cue sheet capabilities of qwireMusic, which has been further enhanced by a highly-intuitive new user interface and support for Windows OS.

Many new features of qwireMusic 2.0 were developed to address feedback from the platform’s growing user base of content creators. Since qwireMusic’s introduction in 2014, it has been chosen by an increasing number of TV series and films. qwireMusic 2.0 has been used by music supervisors, composers, picture editors and music editors on over forty productions so far in 2016, including Animal Kingdom (TNT); Animals (HBO); Casual (Hulu); CSI: Cyber (CBS); Fargo (FX); Guilt (Freeform); Harley and the Davidsons (Discovery); How to Get Away With Murder (ABC); People of Earth (TBS); Pitch (Fox); The Score (Vice); Shameless (Showtime); Teen Wolf (MTV); This Is Us (NBC); and Z: The Beginning of Everything (Amazon). 

“Having everyone in the know on every cue ever put in a show saves a huge amount of time,” said Patrick Ward, post producer for the series Parenthood, The West Wing, and Pure Genius. “With qwireMusic I spend about a tenth of the time that I used to disseminating cue information to different places and entities.” 

qwireMusic is a suite of integrated modules that simplifies, consolidates, and streamlines a wide range of tasks and interactions for everyone involved with music and picture, across all stages of post-production, as well as music clearance and administration. qwireMusic facilitates successful collaboration among picture editors and post producers, music supervisors and clearance, composers, music editors, and production studios.  
Highlights of qwireMusic 2.0 include:

  • Presentations — Presentations allow music cues and songs to be shared between music providers (like supervisors and composers) and their clients (like picture editors, studio music departments, directors and producers.  
  • With Presentations, selected music is synced to video, where viewers can independently adjust the balance between music and dialogue, adding comments on each track. The time-saving efficiency of this powerful tool centralizes the music sharing and review process, eliminating the need for the confusing array of Quicktimes, Web links, emails, and unsecured FTP sites that often accompany post production. 
  • Real-time licensing status — With qwireMusic 2.0, music supervisors can now easily audition music, generate request letters, and share potential songs with anyone who needs to review them. 
  • When the music supervisor receives a quote approval, the picture editor and music editor are notified and the studio music budget is updated, instantly and seamlessly. In addition, problem songs can be instantly flagged. As with the original version of qwireMusic, request letters can be generated and emailed in one step with project-specific letterhead and signatures.
  • Electronic Cue Sheets — With qwireMusic’s “visual cue sheet,” users can review all of the information in a cue sheet displayed alongside the final picture lock.  The cue sheet is automatically populated from data already entered in qwireMusic by the composer, music supervisor, and music editor.  Any errors or missing information are flagged.  When the review is complete, a single button submits the cue sheet electronically to ASCAP and BMI.
  • qwireMusic 2.0 also benefits from a completely revamped user interface, which is more intuitive and easier to read. A wealth of additional user suggestions have been implemented throughout, including marker import of scenes from the Avid for post, Excel export functions for all important forms and reports, full compatibility with Windows OS, expanded file sharing options, and more.

“With its proven ability to save time and money while enabling creativity, qwireMusic has proven invaluable for a growing number of studios and media production professionals,” said Scott Freiman, co-founder of Qwire. “qwireMusic 2.0 makes this cloud-based collaboration tool more intuitive, responsive, and comprehensive than ever before.”