Teradek announces Serv 4K, a 4K HDR hardware/software production-streaming solution that integrates cloud and local-network platforms in a flexible, streamlined workflow, simplifying real-time creative collaboration and decision-making for stakeholders on and off set.
“Serv 4K unifies on-set and remote streaming setups with a 4K HDR-ready device that’s easy to set up, manage, and access” said Greg Smokler, VP of Cine Product at Creative Solutions. “It’s part of an end-to-end streaming solution that removes barriers to creative collaboration by providing incredible image fidelity, simplified remote viewing and stream management, and double the local streaming capacity.”
Teradek positions Serv 4K as a next-gen production-streaming solution that combines and expands the local-streaming functionality of Serv Pro with the cloud-streaming tools of the Teradek Cube to offer a 4K HDR hardware/software ecosystem that addresses post-2020 production realities.
Serv 4K boasts a higher bitrate encode using H.264 or H.265 with 256-bit encryption and HDR (DCI-P3, PQ2084) throughput, allowing 4K60p 10bit 4:2:2 images to be securely streamed live or as instant recordings on-set and to remote viewers. Setup is straightforward for camera teams as the workflow, the device and web UI, and mobile app management are all intuitively designed for the simplest experience. Serv 4K also supports HEVC, delivering high-quality media in smaller file sizes.
Up to 20 devices can stream on a local network using Teradek’s Vuer app, with iOS, Android, PC, MacOS and AppleTV support. Unlimited devices can access cloud-based live streaming and upload instant recordings to Teradek Core and third-party platforms like Frame.io, an Adobe company. If internet connection is lost, recordings are saved to an SD card for secure upload once connection has been restored. Streams and recordings are compatible with MacOS, iOS, Android, and web browsers.
“Serv 4K is more than a standalone hardware device—it’s part of an ecosystem that brings together cloud solutions like Teradek Core, Core TV, Vuer, and third-party integrations for a seamless streaming experience on and off set,” said Colin McDonald, Cine Product Manager at Creative Solutions. “It’s an all-in-one solution, offering content visibility at every stage of production, for creative stakeholders and decision-makers, whether they’re on set, on location, in post, or at home.”
AFF in Los Angeles will be ONE day with TWO panels that can be your guide on the uphill journey from script to screen.
Script-to-Screen is led by not one, not two, but THREE notably talented industry professionals who will cover it all- from what it takes to secure representation, to carving your own path by producing your own script. You can check out Tate Hanyok, Geeta Malik, and Khaled Ridgeway’s bios here. The Writer’s Team is a place where agents and managers share advice on how to find, secure, and utilize representation. Tune into our website or social media for our upcoming panelist announcement!
Save the date: April 30, 2022, from 1:00PM to 3:45PM
Ticket price: $25
Click here for tickets and further information.
The latest release of Mistika Boutique and Ultima enhances integration with trending (post)production workflows
A new release of Mistika Boutique and Ultima is now available to all their users, introducing powerful new and revised features that will boost collaboration with other software applications and work environments.
Check out what is new:
An exciting new development presented in this latest release is the Automatic VFX Versions Management. This new intelligent feature allows you to import VFX shots or even several different versions of them in just a few simple clicks. Communication with compositing softwares such as Nuke has been greatly improved by adding a ST Maps Import and Export feature, which provides all the stitch information including geometry and optical data.
Improved integration with On-set
Enhanced Export option has been added to LUT 3D, providing the possibility to export it from the entire color corrector or just from a specific stack, such as FX or UniColor. Conform functionality has been greatly improved by adding Smart Import Media option, only importing the shots needed, and not all the media.
New color curves and ACES 1.3
Color Management has also received significant improvements, adding new color curves
to UniColor and ACES 1.3 support. Important new functionalities of this latest ACES
release include invert ODT, enhancing Motion Graphics, Animation and CGI workflows
and a new Gamut Compression algorithm dealing with the “blue fringe problem”. For
more detailed information head over to ACES website.
Finally, XAVC and ProRes formats now include the option to embed Color Metadata in
See it at Booth # C7718
At NAB 2022 ZEISS will show their high-end cine optics including the US introduction of the new wide 15mm T1.8 lens which completes the 14 lens Supreme Prime set. Attendees can also experience the Supreme Prime Radiance family, known for its ability to produce stunning blue flares. Glass enthusiasts can also check out the CZ.2 full-frame Cinema Zooms and CP.3 cinematography lenses as well as an array of optics for videography.
Also being premiered is a brand new VFX mapping software solution that opens the door to a whole new workflow ecosystem. The team from ZEISS Oberkochen will be on hand to take guests through this groundbreaking digital solution.
Known for its educational Cinematography Conversations series, ZEISS will host four informative “Conversations” at their booth in the Central Hall which will also be live streamed.
The first of the ZEISS Conversations at NAB, kicks off on Sunday 4/24 at 2pm with “Meet the ZEISS Supreme Prime 15mm.” For this long-awaited product unveiling, ZEISS’ Head of Products and Sales—Cinematography, Christophe Casenave, introduces the final focal length in the Supreme Prime family. Matt Ryan will round out the conversation by relaying his experiences shooting with the rest of family and give his insights on the new 15mm. YouTube
The second ZEISS Conversation—Celebrating Women in Cinema will take place, Monday 4/25 at noon.Tema Staig, Executive Director of Women in Media moderates a conversation with DP and owner of boutique LA rental house BE CINE—Bianca Halpern. They will explore Halpern’s career journey and new opportunities for women including WIM’s new ZEISS Altitude Award. YouTube
Also Monday, at 2pm ZEISS Conversations interviews Serguei Saldívar Tanaka, AMC. Mexico’s esteemed cinematographer will discuss past projects and dive into discussion about the upcoming series, Horario Estelar. He will also speak about using Supreme Prime Radiance lenses to get his distinctive look on the action-thriller. YouTube
The final ZEISS Conversation at NAB, A Flare for ZEISS Supreme Radiance Lenses, takes place on 4/26 at 2pm. Snehal Patel, Head of Cinema Sales, Americas at ZEISS will present a technical discussion of Radiance development, flare creation and flare characteristics. It will conclude with
an audience Q&A. YouTube
Creative Solutions to Showcase New Products From Teradek, SmallHD and Wooden Camera at 2022 NAB Show
Creative Solutions, comprised of the brands Teradek, SmallHD and Wooden Camera, announce that a diverse lineup of new cine and live production innovations will be available for hands-on demos during the 2022 NAB Show on April 23–27, 2022 in meeting room N212 in the North Hall of the Las Vegas Convention Center.
Teradek will showcase streaming and cloud solutions for both the cine and live production markets. Highlights include the new 4K HDR production streaming solution from set to post, which also will be on display at several partner booths. New additions to the Teradek RT lens control family will be displayed for the first time. Plus, Bolt 4K users can learn how to unlock wireless camera control with their existing setup.
For live production and broadcast professionals, Teradek will be showcasing a trio of innovative products. First up is Wave: the 7” HD live streaming monitor. Next is Spark 4K: a wireless transmitter and receiver system for AV professionals. And finally, Prism Flex: the portable 4K HDR Prism Flex encoder / decoder system.
Lastly, NAB attendees can get a front row seat to the first-ever live demonstration of the ultra-low latency IP video protocol built on Bolt 4K’s zero-delay technology.
SmallHD will demo several 4K and HDR production monitors, like the new Cine 18, a new OLED display, and more—each designed to be lightweight and rugged for on-set use, but with post-production image quality and color accuracy. The latest PageOS, SmallHD’s operating system, will also be on display. Attendees can even step into a dedicated HDR color suite to experience SmallHD’s premium Vision Monitors.
Wooden Camera will showcase its latest professional camera accessories, which reflect a focus on new unified camera-specific systems designed to allow operators to customize their setups. There will also be live demonstrations of camera kits for Sony VENICE 2 and Blackmagic Pocket Cinema Camera 6K Pro, accessories like the redesigned Ultra Arm V2 and Ultra QR Articulating Monitor Mount, and more.
“This is our most robust unveiling of new products ever”, said Martin Vann, SVP Sales, for Creative Solutions. “Our ecosystem of hardware and software products has expanded to meet the changes in production and post production we have all experienced over the last two years. But more than meeting today’s requirements, we have positioned our broad portfolio for the demands of a connected, 4K HDR workflow.”
All product demonstrations can be booked at https://link.cs.inc/nabdemos2022.
Heading to NAB 2022? All LAPPG members are invited to join our friends at the Vimeo Experts Networking Party on Sunday, April 24, 2022 from 6:30-9pm at the Capri at The Palazzo/Venetian in Las Vegas. Be sure to swing by and say hi to the folks from Teradek, OWC, Audio Network, and Lumix as well!
Blackmagic Design today announced DaVinci Resolve 18, a major new cloud collaboration update which allows multiple editors, colorists, VFX artists and audio engineers to work simultaneously on the same project, on the same timeline, anywhere in the world. DaVinci Resolve 18 supports the Blackmagic Cloud for hosting and sharing projects, as well as a new DaVinci proxy workflow. This update also includes new Resolve FX AI tools powered by the DaVinci Neural Engine, as well as time saving tools for editors, Fairlight legacy fixed bus to FlexBus conversion, GPU accelerated paint in Fusion, and more!
DaVinci Resolve 18 public beta is available for download now from the Blackmagic Design web site.
DaVinci Resolve 18 is a major release featuring cloud based workflows for a new way to collaborate remotely. Customers can host project libraries using Blackmagic Cloud and collaborate on the same timeline, in real time, with multiple users globally. The new Blackmagic Proxy generator automatically creates proxies linked to camera originals, for a faster editing workflow. There are new Resolve FX such as ultra beauty and 3D depth map, improved subtitling for editors, GPU accelerated Fusion paint and real time title template playback, Fairlight fixed to FlexBus conversion and more.
DaVinci Resolve 18 supports Blackmagic Cloud, so customers can host their project libraries on the DaVinci Resolve Project Server in the cloud. Share projects and work collaboratively with editors, colorists, VFX artists and audio engineers on the same project at the same time, anywhere in the world.
The new Blackmagic Proxy Generator App automatically creates and manages proxies from camera originals. Create a watch folder and new media is automatically converted into H.264, H.265 or Apple ProRes proxies to accelerate editing workflows. Customers can extract proxies into a separate folder for offline work.
Customers can switch between camera original footage and proxies in a single click. With Blackmagic Proxy Generated proxies, DaVinci Resolve knows where in the file tree to find them, instantly linking to the camera originals in the media pool. Edit with proxies, then relink to camera originals to grade.
DaVinci Resolve 18 adds intelligent media location management, so that when customers are collaborating customers can quickly link media to their unique file paths. Now customers don’t need to manually relink or search for assets when customers work remotely.
The collaboration update also provides major performance enhancements if customers are using a secure private network. Get immediate updates of editorial and color changes when collaborating on a remotely hosted project library. Now creative decisions can be made in real time based on the latest changes.
Live stream their DaVinci Resolve Studio viewer and display on a remote computer monitor, or a reference grading monitor, via DeckLink to anywhere in the world. The low latency, high quality 12-bit image is ideal for remote editing or color grading giving customers instant feedback on changes.
DaVinci Resolve 18 features incredible new tools for colorists. Located in the magic mask palette, the new object mask is able to recognize and track the movement of thousands of unique objects. The DaVinci Neural Engine intuitively isolates animals, vehicles, people and food, plus countless other elements for advanced secondary grading and effects application.
The new depth map effect lets customers instantly generate a 3D depth matte of a scene to quickly grade the foreground separately from the background, and vice versa. Customers can bring attention to action in the foreground, help interview subjects stand out, or add atmosphere in the background of a scene.
Apply graphics to surfaces that warp or change perspective in dramatic ways, like t-shirts, flags, or even the side of a face with the surface tracker. It’s customizable mesh follows the motion of a textured surface. Apply graphics, composite tattoos, or even cover up logos with this powerful tracking tool.
Ultra beauty gives customers advanced control over a subject when performing corrective beauty work. Developed with professional colorists, the ultra beauty tool helps to address general imperfections by smoothing skin and then recovering detail to produce natural and complimentary results to the subject.
Subtitle support has been expanded to include TTML and XML timed texts and embedded MXF/IMF subtitles. View and import subtitles from media storage, create regions to support multiple simultaneous captions per track, and set individual presets and text positions when indicating different speakers.
Transitions in the effects library’s shape, iris and wipe categories now have a checkbox, allowing customers to easily reverse the direction of the transition. This gives customers additional flexibility when using these types of transitions, as well as adding to their creative possibilities.
A new 5×5 option in the multicam viewer now allows customers to view up to 25 different angles in a single multicam clip at the same time. Ideal for large multicam projects, this makes viewing, cutting and switching between more angles much easier, rather than moving between pages to see different angles.
In DaVinci Resolve 18, GPU acceleration allows paint brush strokes to be generated and displayed in real time, for a more intuitive approach when performing cover up work or graphic design. Instant visual feedback allows customers to assess their work and make corrections in any stroke style or shape.
Text, text+ and shape templates have improved speed and playback performance in DaVinci Resolve 18. New memory management and data handling means that Fusion templates are up to 200% faster. Customers can see accelerated results in the viewer and put together motion graphic compositions faster than ever.
FlexBus is Fairlight’s flexible audio busing and routing system designed for managing high track counts, extensive plug-in processing, perfect synchronization and multiple project deliverables. Now customers can effortlessly convert legacy fixed bus Fairlight projects to FlexBus with a single click.
The Dolby Atmos deliverable toolset has been expanded to support rendering of a binaural output from a complex Dolby Atmos mix. Now a Dolby 7.1.4 mix can be rendered to playback in a pair of headphones while maintaining the immersive sound experience from just two audio channels.
New options in the decompose menu enhance collaboration allowing editors to compile their work to a single timeline. Nested timelines can now be decomposed with all track data including FX and automation. Assignments will connect using new busses, existing paths or new tracks can be left unpatched.
DaVinci Resolve supports the latest industry standard audio formats natively, including immersive audio formats like Dolby Atmos, Auro 3D, MPEG-H, NHK 22.2, and SMPTE. The space view scope displays a real time view of every object and its relationship to the room and other objects in 3D space.
“This is a major release that totally revolutionizes remote project collaboration using cloud based workflows, ” said Grant Petty, Blackmagic Design CEO. “With Blackmagic Cloud, customers can collaborate on the same timeline anywhere in the world. Imagine editing in Tokyo, while a colorist is grading in LA on the same timeline, at exactly the same time! The new DaVinci proxy workflow makes working with proxy files or camera originals seamless, relinking in just one click. I think it will be exciting to try out the new cloud collaboration workflow and I can’t wait to see how our customers collaborate with each other around the world.”
DaVinci Resolve 18 Features
Availability and Price
DaVinci Resolve 18 public beta is available now for download from the Blackmagic Design web site.
Adobe (Nasdaq:ADBE) today announced it is bringing Frame.io’s industry-leading video collaboration platform to its millions of Creative Cloud customers and released updates to After Effects and Premiere Pro, including native M1 support for After Effects. With the introduction of Frame.io for Creative Cloud, video editors and key project stakeholders – including producers, agencies and clients – are able to collaborate seamlessly in the cloud. This is the industry’s first integrated review and approval workflow for post-production, allowing editors to get to final approval faster and easier than ever before. Demand for video collaboration solutions is on the rise in a digital economy where more content is being created than ever before and remote teamwork is becoming the new normal.
Now, as part of a Creative Cloud subscription, video creators can:
“The combination of Premiere Pro and Frame.io gives customers the world’s only end-to-end solution for video creation from ingest to editorial to output,” said Steve Warner, vice president of Digital Video and Audio at Adobe. “This is the first step toward building a powerful, cloud-based platform for the future of video creation.”
Notable filmmakers are already seeing the benefits of remote collaboration with Premiere Pro and Frame.io. A24’s Everything Everywhere All At Once, in theaters now, used the two solutions in their workflow. The film’s editor Paul Rogers stated, “Premiere Pro is wonderful and I couldn’t imagine cutting in any other program. Combined with Frame.io, the whole workflow was very intuitive. I was able to focus on the film, not the tools.” Recent Premiere Pro projects of note include: A24’s After Yang and The Green Knight, the ACADEMY AWARD® nominated film Ascension, FX’s Atlanta and more.
New Updates in After Effects and Premiere Pro to Work Faster and More Efficiently
The latest release of the Adobe Creative Cloud video applications is also available starting today, offering new features and workflow refinements that help video pros and social storytellers create compelling content. The updates include:
*Import focuses on media rather than project settings, letting video creators easily scan and scrub files for assembling media from different locations. This makes it faster for pros and easier for new users to get started.
*Header Bar provides a cleaner, more centralized navigation so users can quickly switch between the core tasks of import, editing and exporting.
*Exportlets users quickly upload media directly to popular destinations like YouTube, Facebook and Twitter. It features smart presets that take the guess work out of encoding and preparing files for delivery, making it easier for both new users and pros to deliver content.
Attendees at this year’s NAB Show can get a closer look at the newly available features and hear from industry experts at the Adobe and Frame.io booth (#N3404, North Hall and #C9520, Central Hall) in the Las Vegas Convention Center and at over 100 partner booths from April 23-27, 2022.
Pricing and Availability
Starting today, Frame.io for Creative Cloud will be pre-installed with Premiere Pro and After Effects. Creative Cloud customers can log into Frame.io from within Premiere Pro or After Effects using their Adobe ID. Updates to Premiere Pro and After Effects apps are rolling out globally to users today and will be available to all entitled members later this week.
SmallHD announces the launch of the Cine 18 4K High-Bright Monitor, a lightweight, rugged, daylight-viewable production monitor featuring everything needed for the modern 4K workflow.
SmallHD’s Cine 18 fills that critical size gap between the Cine 13 and Cine 24 in the SmallHD 4K monitor line-up, providing a highly portable, daylight-viewable, 4K monitoring solution in an adaptable form factor,” says Dave Bredbury, Product Manager for CS Cine. “It’s a next-level replacement for SmallHD’s popular 1703 P3X HD Monitor, but with significant upgrades in sharpness, resolution, and form-factor.”
Cine 18 is a 4K High-Bright Monitor featuring a lightweight aluminum-unibody chassis housing an 18” edge-lit LCD screen with 4K resolution (3840 x 2160), 10-bit (8+2 FRC) color depth, 100% Rec. 709 coverage, 1100nits brightness, 1,000:1 contrast ratio, 240 PPI, and a 178º viewing angle.
Cine 18 measures 18.4”W x 12.7”H x 2.5”D and weighs 12 lbs. It comes 4K-ready with 4x 12G/6G/3G/HD-SDI inputs and outputs, as well as hot-swappable power inputs, multiple accessory power points, 4x removable cheese mounting sticks, and a removable bottom cheese mounting rail for added versatility. The included PageOS software toolset offers 4K HDR waveform and scopes, Color Pipe HDR color rendering, the Monitor Calibration Wizard, and more.
“Passionate user feedback inspired us to make the Cine 18 as future-proofed as possible,” adds Bredbury. “It answers a real demand from working professionals, not some marketing strategy. Feedback for the Cine 13” and the Cine 24” has been fantastic, so it’s gratifying to be able to hit that sweet spot in the Cine series: a monitor big enough for Video Village, bright enough for daylight viewing, lightweight and durable enough for challenging locations, and premium enough to be part of the SmallHD ecosystem.”
The SmallHD Cine 18 has a list price of $5999. Learn more at https://link.cs.inc/cine18-pr
Cine 18 Monitor Specifications:
Screen Size: 18.4in / 46.7cm
Bit Depth: 10-bit (8+2)
Color: 100% REC. 709
Resolution: 3840 x 2160
Weight: 12lbs /5.05kg
Wide-angle lens completes high-end Supreme Prime Series
ZEISS introduces the Supreme Prime 15mm T1.8 to complete the successful Supreme Prime lens set, renowned for outstanding quality, light weight, and cinematic look. The 14-piece cine lens series ranges from 15 to 200mm with maximum apertures of T1.5 to T2.2. ZEISS covers a full range of focal lengths in demand by cinematographers from around the world. The new 15mm lens rounds out the lineup providing an extremely wide-angle view and a maximum aperture of T1.8. “This 15mm lens is the final piece of the puzzle that many cinematographers have been waiting for,” reports Christophe Casenave, responsible for cinematography products at ZEISS.
The ZEISS Supreme Primes cover a wide range of camera sensors. Thanks to their broad compatibility with current camera models, such as the Sony Venice 2, the ARRI Alexa Mini LF and the RED Monstro, and their high-quality workmanship and rugged design, Supreme Primes can be used in a wide variety of situations. Snehal Patel, Head of Cinema Sales, Americas, says, “The new Supreme Prime 15mm is a long awaited addition to the Supreme Prime line of lenses. It offers cinematographers a nice look, with pleasing characteristics and a wide choice of magnifications, which can be used on either Super35 or Full Frame formats.”
The cinematic look provided by the lens family, which features a subtle and gradual focus fall-off and a consistently warm and soft bokeh, comes into its own when used for feature film and high-end episodic production. For example, directors of photography (DOP) Armin Franzen and David Higgs, BSC, relied on the ZEISS Supreme Prime lens family for the upcoming 3rd season of the Sky series “Das Boot”. Supreme Primes were also used to shoot the science fiction adventure “The Adam Project” (DP Tobias Schliessler, ASC) and the sequel “Knives Out 2” (DP Steve Yedlin, ASC) – both Netflix productions.
The Supreme Prime 15mm T1.8 may be ordered immediately with deliveries beginning in June. Further information is available at www.zeiss.com/cine/supremeprime
The new Supreme Prime 15mm T1.8 can be tested at the BSC Expo in London (April 7 – 9), Micro Salon AFC in Paris (April 13 – 14), and at the NAB Show in Las Vegas (April 23 – 27).
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