Wednesday, September 20, 2017

Toolbox

  • Tuesday, May. 16, 2017
Octopus Newsroom promotes Lukas Kotek to CTO
Lukas Kotek
PRAGUE, Czech Republic -- 

Octopus Newsroom, a globally active producer of television broadcast newsroom automation systems, has promoted Lukas Kotek from project director to chief technology officer. Reporting to founder and CEO Petr Stokuc, he will be responsible for development, project delivery, training and support across Africa, America, Asia and Europe.

Kotek said, “My role will be to ensure that we continue to deliver the most effective possible solutions matching the latest news production workflows, new delivery channels and the widest possible range of viewing platforms.”

Kotek studied cybernetics, information and control systems at the University of West Bohemia before joining Prague-based MAM and broadcast automation specialist Aveco in 2004 where he advanced to the role of projects and support director. He joined Octopus Newsroom in 2015 to making greater use of his widened experience and face new challenges. 

Established in 1999, Octopus Newsroom is a producer of standalone newsroom computer systems. Octopus Newsroom advocates an open ecosystem using the MOS protocol which enables customers to choose freely among high-quality providers of graphics, playout, MAM, prompters, traffic-handing and advertising solutions. Octopus Newsroom has successfully installed systems into more than 200 channels around the world. Based on Unicode, Octopus Newsroom products support all major character sets including Chinese, Japanese, Korean, Thai, and Vietnamese.

  • Monday, May. 15, 2017
Technicolor invests in Baselight X to meet increasing demands for HDR finishing
Maxine Gervais, sr. supervising colorist, Technicolor
LONDON -- 

Technicolor has extended its color grading capabilities in Hollywood with FilmLight’s Baselight X system. Baselight X is the latest and most powerful implementation of the Baselight colour grading and finishing system.
 
HDR color grading services are available at Technicolor’s postproduction facilities globally, but its Hollywood center obviously represents a major film and television production market. The expansion in Baselight grading in this location reflects the increasing demand from the local industry to deliver an uncompromised finish that still pushes creative boundaries. Baselight X provides exceptional power and performance for HDR projects, along with color space management.
 
HDR is not the only technology where Technicolor is very active. Over the past few years, the group has made a significant commitment to the growth of several next-generation entertainment formats, such as 120fps stereo 4K, 8K UHD and other custom display formats. The architecture of Baselight X ensures Technicolor can rise to the challenge to work at the maximum resolution through every stage in the process--from the original source material to the final deliverables.
 
Technicolor’s sr. supervising colorist, Maxine Gervais, has worked with Baselight for many years. “Of the many things that are important to better serve my clients, one is to work directly from raw camera files,” she explained. “The ability to debayer these files live not only saves time, but it preserves image detail that can be accessed and manipulated during the DI.”
 
The Ultra HD video output – available on all Baselight systems – provides a full 4K 4:4:4 display output at frame rates up to 60p, allowing the user to view 4K work at its native resolution. Additionally Baselight X also incorporates a large, ultra high-speed storage system that connects directly to the internal image processing components, addressing Dolby’s requirement to play 4K 4096x3112 16-bit film scans and cache the results to disk at the same time.
 
“As camera technologies evolve, it’s become common for shows to capture and deliver 6K raw files,” added Gervais. “And some shows are moving towards a 4K VFX workflow too. The additional processing power and storage capacity of Baselight X is essential in allowing me to work with today’s larger files, without sacrificing the real-time playback with complex colour grading and compositing that my clients have come to expect.”
 
Technicolor and FilmLight have a long history of collaboration, with Technicolor facilities in Montreal, New York, Los Angeles and London all offering Baselight as part of their DI pipeline. This gives Technicolor’s colorists and color scientists ultimate real-time control over high-resolution, high-bit depth HDR grading and finishing.

  • Sunday, May. 14, 2017
Conversica CEO discusses future of artificial intelligence 
This photo provided by Conversica shows Alex Terry, CEO of Conversica. (Conversica via AP)
NEW YORK (AP) -- 

Artificial intelligence is all around us, whether it's to recommend movies you might like or weed out unsavory videos. Smaller companies such as Conversica are joining the likes of Google and Facebook in pursuing AI.

Conversica sells digital assistants to businesses ranging from car dealerships to real estate companies. They work just as an entry-level sales or marketing person would; customers usually don't know they're interacting with software, or a bot, when responding to a sales pitch or seeking help.

Conversica CEO Alex Terry spoke recently with The Associated Press about the future of AI and its impact on jobs. Questions and responses have been edited for clarity and length.

Q: How long did it take to get to a point where people couldn't tell they are conversing with a bot?

A: We have been doing this for seven years, and it's a function not only of time but also the amount of training data. At this point we've had over 215 million messages go through our AI platform, and those messages help us train the system to respond like a person.

Q: How does natural language processing work?

A: Software reads messages that are coming in and understands what the person is saying. Then we figure out what we should do for that particular customer. If you think about Siri or Alexa, those are examples where the computer is listening to a spoken sentence or paragraph and figures out what someone means. Like if I say "what's the weather out today?" you have to understand what's the weather and then some kind of location.

Q: What happens to the people who would have handled these responses?

A: Typically we see our customers hire more people, not less. It's about a 6 to 1 ratio of customers that hire more staff vs. those who use the efficiencies from AI to reduce the size of their team.

Q: What are the biggest challenges right now?

A: On the technical side, it's making sure these experiences are really seamless and genuinely helpful. Our systems are getting smarter all the time. But that isn't our biggest challenge. Our biggest challenge is getting the word out there. People tend to be hesitant to try something that sounds almost like science fiction.

Q: Do you think stuff like Siri and Alexa are helping with this?

A: I think it really is helping. For example, Facebook trying to find fake news, that's a great example of using really powerful technology, pattern matching. I think people using Alexa or Siri or even recognizing that Netflix is using pattern matching to recommend a new movie you might like, it actually makes your life easier and better. People are becoming less fearful of the technology as they see actual benefits in their day-to-day lives.

  • Friday, May. 12, 2017
Fusion Studio deployed for Dawn of War III game cinematic and cutscenes
Fusion Studio in action
FREMONT, Calif. -- 

Blackmagic Design announced that Axis Animation used Fusion Studio for its work on the game cinematic and cutscenes for the latest real time strategy game from Relic Entertainment and SEGA Europe, Warhammer(R) 40,000(R): Dawn of War III(R).
 
Axis Animation has previously worked on AAA SEGA titles such as “Aliens: Colonial Marines” and “Alien: Isolation.” For “Dawn of War III” however, the team adopted a brand new approach to its VFX pipeline, allowing the studio to streamline its 3D characters and environments into a 2.5D compositing setup in Fusion Studio.
 
“It was the work of Polish surrealist painter Zdzisław Beksiński that was the essential ingredient in our pitch to Relic. We worked with the team at Relic to strike a careful balance between our intended aesthetic with Beksiński’s ethereal imagery and the established WH40K world created by IP holders Games Workshop(R),” explained lead LRC artist on the project, John Barclay.
 
Axis produced the award-winning trailer for “Dawn of War III” which received great responses from fans and critics alike. With the success of the trailer, developers Relic Entertainment wanted to take the same art direction into the cutscenes.
 
To do this, the Axis team assembled their scenes within the standard studio pipeline but automated the process of converting the 3D scene into the multitude of image planes required for their 2.5D comps. “This helped us enormously, especially for the cutscenes, which featured limited camera movement,” Barclay shared. “It was incredible that we had the flexibility to use effects like volumetric fog and insert them into the same scene as characters and environments built from 2.5D cards. It also meant our lighting artists could work on the scene as though it were any other 3D set.”
 
Brought into Fusion using a custom Python and Lua script to ensure all the data was positioned correctly, the cards meant that every artist at Axis could automatically render their character from Houdini and import it as a projection into Fusion. An alembic export was then used to bring in the camera positioning from Maya.
 
“Using image planes in Fusion allowed us some significantly reduced render times and also greater flexibility with more creative iteration over the whole show. The workflow allowed artists familiar with our standard pipeline to create something a little more unusual,” Barclay concluded. “Fusion is key to helping us solve both creative and logistical challenges. It was an essential part of our toolbox on Dawn of War III.”

  • Monday, May. 8, 2017
Augustus Color taps WCPMedia Services to help "Bent" through post
A scene from "Bent"
ROME -- 

Bent is the latest motion picture production to move its media management to the WCPMedia cloud. Augustus Color, Rome-based postproduction Lab, is using WCPMedia’s platform to deliver dailies and other assets from production locations in Italy to production partners around the globe.

Full dailies sets are delivered to the film’s editorial team following each production day. Select raw assets are sent to visual effects providers. Producers and other stakeholders, meanwhile, are able to review dailies media via password-secure WCPMedia Virtual Screening Rooms. The result is significant time and cost savings, and improved security over the delivery of physical assets.

“WCPMedia streamlines the production workflow by reducing transfer times compared with standard courier delivery—and does so with top level security,” explained Alessandro Pelliccia, general manager at Augustus Color and technical supervisor for this project. “With the same unique upload, we can feed the editorial team and the Virtual Screening Room simultaneously. It’s a beautiful collaboration tool that allows editors and producers to review content and work together as a team from any location.”

Augustus Color plans to use WCPMedia throughout the postproduction process to store and share assets, including rough cuts and high-resolution media from visual effects and color grading sessions. “The ability to immediately access media assets from anywhere in the world is a huge benefit for geographically-distributed productions like Bent,” observed Pelliccia. “With WCPMedia all production content is in one, secure place, immediately accessible to authorized parties to view, work with and comment on. It’s the perfect tool for modern film production”.

WCPMedia is a cloud-based, end-to-end platform for storing, managing, sharing, transcoding, viewing and distributing media files quickly and securely. It provides dedicated workflows and functionalities to support the full media life cycle from production and postproduction to marketing, promotion and distribution.

WCPMedia allows producers to closely monitor on-set activities, and provides editors with faster access to critical media. The platform employs market-preferred file transfer tools, including Aspera and Signiant, and sophisticated transcoding technology to automatically transcode and deliver media optimized for individual end users.  Both high and low-resolution media can be managed within the platform with a unique easy to use interface.

Additionally, WCPMedia provides unprecedented security and control over assets. Production media is stored via a Swiss data center with Tier IV certification, the same level of security employed by international financial institutions. Access to virtual screening rooms is controlled and tracked directly by the production team with enterprise-level tools for user authorization and authentication.

WCP takes cloud-based digital asset management to the next level. “It provides levels of quality and service that go far beyond other solutions,” noted WCPMedia Services CEO Cristina Molinari. “WCPMedia is flexible and extensible. It can be tailored to the unique needs of the individual client and user. As needs change, it grows and adapts.”

  • Monday, May. 8, 2017
Fullscreen Media deploys Facilis TerraBlock servers for remote collaboration
Fullscreen Media studio
HUDSON, Mass. -- 

Facilis, an international supplier of cost-effective, high performance shared storage solutions for collaborative media production networks, announced that youth-oriented digital media company, Fullscreen Media, is using TerraBlock shared storage systems to improve collaboration and workflows between its remotely located teams.

A global network of content creators and brands focused on creating engaging entertainment across social media channels and its own subscription service, Fullscreen Media creates and supports content over a wide range of platforms and clientele from offices in Los Angeles, New York City, Atlanta, and Chicago.

With a significant amount of content being created in-house for its B2B branded teams and its own online consumer-based platforms, the company also operates as a full-service facility offering shooting, production, editing, and management. The Fullscreen team manages third party productions that are creating content out-of-house as well.

As Fullscreen’s postproduction department grew from two editors in 2014 and to more than 30 editors, Fullscreen invested in the Facilis TerraBlock storage system to provide their first shared, collaborative editing workflow. “After we installed the Facilis system, we weren’t shuttling hard drives back and forth anymore and we eliminated duplication for the most part,” said Adam Ford, head of postproduction at Fullscreen Media. “Editors were able to work together and share volumes in way they hadn’t before.”  

Fullscreen purchased the original 96TB TerraBlock 24D from Cutting Edge Audio and Video Group, a media systems integrator with offices in Los Angeles and San Francisco. Two years later an additional 128TB TerraBlock 24EX server was added to their Studio location over a mile away, connected to the main office with 10gig point-to-point fiber, administered by Sohonet. The Cutting Edge team has since added 384TB of expansion storage to the environment, and the high-bandwidth of this connectivity enables the editorial teams at either location access and edit directly to and from either system.

“Cutting Edge has made it very easy for us to build out our infrastructure,” said Ford. “Typically, I‘ll propose an idea as something ‘nice to have,’ and Zeke Margolis, our sales contact at Cutting Edge, comes back with a well-thought-out solution.”

One benefit of Fullscreen’s set up is that it enables non-editors from many different teams ‘self-serve access’ to the TerraBlock. “Our marketing or social media team can access media to screen content and cut clips up for Instagram and other social media videos,” said Ford. “The content ID team will make sure finished assets are logged with Facebook and YouTube. We’ll have 25 seats connected typically and flex up to 40 when it gets really busy.”

For administration, Ford and the lead system editor manage the Facilis servers themselves.  “We’re a small team, but administration is easy with the Facilis tools, and for the most part we’re able to take care of ourselves without bothering our IT team.”

Purchasing a second Facilis system was an easy decision since they needed to keep things running smoothly for a team that can’t afford downtime. “We’ve had essentially zero technical issues with our original TerraBlock,” said Ford. “So, purchasing another Facilis system from Cutting Edge made sense to us.”

The new Facilis system was installed at the Playa Vista studio where there are 8 sets, 40 people, and a smaller post production facility with around 10 seats connected to the storage network. The studio was already able to access the first Facilis system as if it were local thanks to the 10gig connection between sites. The new system enables the studio team to work collaboratively on material they shoot and edit while eliminating the need to move large files between facilities, even though it’s not a problem over the 10gig backbone.

“Cutting Edge is focused on delivering technology solutions that not only meet client requirements today, but prepare them to address their future needs as well,” said Zeke Margolis, Cutting Edge Los Angeles sales manager. “We’re excited to be supporting Fullscreen’s continued growth by expanding their Facilis TerraBlock system in multiple locations.” 

Fullscreen creates and post-produces a large variety of content shot from various locations for both short and longer form programs. Being flexible with camera formats is important, so the team accepts anything from Alexa, Red, Canon, Sony, GoPro, etc. Much of the shorter form content stays at its native resolution in Premiere Pro, so it’s very important that the storage can deliver the bandwidth when required. “The flexibility and the bandwidth of the TerraBlock is extremely important to us,” said Ford. “We don’t have time to stop and think if the storage can handle a certain format or not.”

Another goal at Fullscreen, and a compelling reason for installing the second Facilis system at a different location, is for disaster recovery (DR) in the event of an earthquake or similar event. Cutting Edge is currently helping the Fullscreen team set up a mirrored data configuration between the facilities that automatically backs up mission critical media and metadata. 

“We don’t want to be forced to complete a project in a certain way, so it is important to have total flexibility, said Ford. “Our Facilis systems let us present a blank canvas to post supervisors allowing them to organize projects any way they want while giving us piece of mind.”

  • 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.”