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Tata Automates Fiber Network

(Hollywood, Fla. – July 29, 2014) ScheduALL, the leading provider of Enterprise Resource Management (ERM) software to the transmission industry, has successfully deployed its comprehensive LINK solution at Tata Communications’ video Master Control Room (MRC) in Pune, India.


The implementation of advanced transmission management from ScheduALL has resulted in the transformation of a formerly manual booking process to a new level of automation– including bandwidth capacity management, conflict prevention, transmission validation and automated transmission path selection.


The Tata Communications global network includes one of the largest and most sophisticated video networks in the world, with connectivity to over 300 media hotspots across 125 cities globally. All Occasional Usage (OU) transmission bookings will now pass through a centralized system powered by ScheduALL’ s LINK, capabilities combined with real-time reporting for costs, revenue, personnel and fiber inventory utilization.


Richard Craig-McFeely, business development director, media services, Tata Communications says, “With the global expansion of our network, it was crucial to fully automate our fiber bookings and make our processes as efficient as possible. ScheduALL’s LINK system gave us instant inventory and conflict checking which supports our more efficient booking processes, allowing us to meet the complex service needs of our customers.”


The LINK solution implemented at Tata Communications leverages ScheduALL’ s innovative interoperability platform ScheduALL Chorus™, providing a two-way interface to its Nimbra Vision network management system from Net Insight. The acclaimed integration technology built into Chorus allows for “schedule-once” efficiency, automating the entire end-to-end process from booking to transmission.


ScheduALL president Rick Legow remarked, “We are honored to be a part of Tata Communications’ world-class communications network, helping them realize new levels of efficiency with our smart technology. ScheduALL automates the labor-intensive functions for Tata Communications such as slack capacity optimization, reporting and invoicing, so they can instead concentrate on the big picture.”


cinec 2014: Three days filled with technology, discussion and creativity

After many years of following developments in digital technology a recent counter trend has become noticeable amongst the Cine Equipment and Technology professionals whereby lenses and optics have come into the spotlight. Whilst it is acknowledged that digital technology cuts production costs, it also brings its own challenges notably in the area of archiving. The trade fair cinec and the accompanying cineCongress will provide a forum for experts to explore and discuss new developments on a wide range of topics including those mentioned above as well as opportunities to socialise in lavish surroundings.

"Optics, especially old ones, as an essential element of visual design are currently in the focus of the film professionals” is how Angelika Albrecht described the ongoing trend. A survey has been undertaken amongst Cinematographers, who were asked for a wishlist of new features and future developments and the HFF - University of Television and Film Munich will present the results of the survey in the ancillary programme on the day preceding the trade fair.

Cinec will attract the key manufacturers and experts in refurbishing optics as well as the most prominent providers of complete camera systems. These will include the "local hero", ARRI as well as prominent overseas players such as SONY and RED DIGITAL who will have their own stands at the Fair. Specialized dealers and system houses such as TELTEC will also be present. TELTEC will build the ‘Moving Picture Pavilion’ which will showcase other important camera manufacturers such as Panasonic, Canon and Aja (German premiere).

Optics and cameras as well as the related support industry are covered by the trade fair. This ranges from camera equipment, lighting, storage, editing systems, and post production to compatible software for the digital hardware. A comparatively new innovation in the film industry is the use of drones. These are becoming increasingly used as a cost cutter for special effects and aerial shots and the shots can then be watched in 3D with glasses such as Cinemizer from Zeiss. It might even be that drones could be flying around the fair hall (subject to approval from the relevant authorities). The trade fair in Munich also provides first hand vocational information from many professional associations such as the BVK who are the German Society of Cinematographers. International organizations such as IMAGO have been meeting at the cinec for several years whilst British Cinematographers from the London Pinewood studios and American Cinematographers and Film and Digital Times also participate in cinec.  

Ancillary program, cineCongress, Award show

A consequence of the advancement of digitalization is that the products become more and more similar to the point that differences are hardly visible to the naked eye. Today, quality characteristics are easy and clear handling, robustness and low susceptibility for errors.

“Hands on” and test yourself is the name of the game – for that reason there will be a cineCamp in Hall II that will  also provide an opportunity for exhibitors to test their hardware for compatibility.

An extensive ancillary program will once again supplement this year’s trade fair. The title of the congress is “The Future of Cinematography – Creativity in Digital Times”. It will focus amongst other things on quality assurance and evaluation of audiovisual content, the role of the objectives at shots, the interaction between camera/sensor, colour space, resolution and dynamics, the role of light for highlighting and illuminating, and its influence on the colour rendering, and last but not least the role of sound in the new media. There will, in addition be technical sessions and panel discussions.

The cinecAward ceremony will once again form the glamorous highlight of this year’s event. The association Cine Technik Bayern e.V. (CTB) will award the prize for pioneering and innovative achievements in the different areas of film technology to exhibitors at the cinec. The Award show will be held in the glorious Kaisersaal of the Residenz in Munich –”a rare privilege which witnesses the importance of the cinec” – trade fair manager Mrs. Albrecht was happy to say.

The tenth anniversary staging of cinec – International Trade Fair for Cine Equipment and Technology – will take place from 21st to 23rd September in Munich, Germany.

The registration process for exhibitors is on – most of the exhibition space is already booked. Visitors who register up to the end of August will get a daily ticket for just 15 Euro.

The exhibition brochure and additional information as well as a short presentation about the development of the fair can be found at www.cinec.de/en.


LONDON/BUCHAREST/TORONTO, 24 June 2014 – For the 9th consecutive year, Filminute, the international one-minute film festival is curating a collection of the world’s best one-minute films. Every year, 25 one-minute films are selected by Filminute from thousands of international submissions. The shortlisted films are voted on by a respected jury and a global audience of filmmakers and film fans participating from over 125 countries.


Filminute is now encouraging filmmakers worldwide to enter their one-minute masterpieces for review before the closing deadline of 20 August 2014. The festival and competition runs from September 1st to 30th.  “Filminute takes great pride each year in attracting talented filmmakers worldwide who are skilled in the art of storytelling and who are drawn to the challenge of creating entertaining, moving and provocative films that are exactly 60-seconds long,” says Festival Co-Founder and Executive Director John Ketchum.


The festival is free to enter and increasingly identifies serious filmmakers aspiring to make a feature film. There is considerable discipline required to develop a film which meets the set of criteria listed on the Filminute.com website. Films are accepted from the categories of fiction, animation, documentary and mash-up.


Filmmakers are attracted by Filminute’s world-class juries and engaged global audience. The 2013 jury included iconic American independent filmmaker Richard Linklater, Orange Prize-winning writer Téa Obreht, and advertising maven Tor Myhren, Grey New York President and Chief Creative Officer. The jury is responsible for selecting the Best Filminute winner and also awards 5 Jury Commendations.


Filmmakers are also drawn to Filminute for its highly coveted People’s Choice Award. “Filminute is designed to be a highly accessible film festival and thrives on audience participation via social media,” says Filminute Co-Founder Sabaa Quao. “We expect to again see a significant increase in participation this year.”

Schoko Pro adopts the CEDAR DNS 8 Live for major multi-media and live events

31 July 2014

Schoko Pro Creative Engineering GmbH is an international service based in Wiesbaden, Germany, that plans, prepares and executes major multi-media events across Europe.

Since the company acquired a CEDAR DNS 8 Live earlier this year, it has been in continuous use at significant industry events including the Geneva Motor Show, KIA Motors’ press conference, the BASF Group Conference, the ADIDAS Global Brand Conference, the AGM of Commerzbank AG (Germany’s second largest bank), and those of many other major companies and corporations.

Dennis Siebert, a Sound Engineer at Schoko Pro, now classes the DNS 8 Live as part of the essential equipment in his live setup. He told us, "We can use the DNS 8 Live in the mixer inserts in the relevant speech channels or across the grouped outputs. It not only improves the voice quality and clarity in the live sound and feeds for streaming, but also in the recording."



TSL Products launches PAM PiCo Touch 7² Touchscreen audio and Loudness Meter

MARLOW, UK – 31 July 2014 - TSL Products has announced the launch of the PAM PiCo Touch, a 7” multi-touch audio, loudness and logging meter that enables broadcasters to prove their audio signals are compliant with all the latest standards and regulations, as well as putting high-quality metering within reach of anyone involved in sound production, from broadcast production operators to music studio technicians and record producers.

The new PiCo Touch allows real time display and logging of all relevant loudness parameters, True Peak level and corresponding peak channel identification, as well as critical Integrated loudness information. The new meter provides all the benefits associated with a simple-to-use, dedicated hardware solution. The PAM PiCo Touch is available to purchase immediately, and will be featured on TSL Products’ stand 10.B41 at IBC 2014.

The latest product in the PAM PiCo range, the PAM PiCo Touch features a multi-touch screen that combines the familiarity and ease of use of consumer touch screen technology with the sophisticated features required for todays TV, Radio and Music Sound Production. The 7” screen allows users to see multiple metering and measurement elements simultaneously whilst the video confidence screen size can be scaled up and down in a similar way to a smartphone or tablet.  PAM PiCo Touch features user assignable soft ‘buttons’ for favourite presets that recall entire configurations, enabling instant switching between monitoring modes.

Martin Dyster, Director, Head of Audio, TSL Products, said, “The PAM PiCo Touch is a must-have for anyone working in sound production. It eliminates the accuracy and latency issues that have been associated with software-based meters and brings all the time-saving benefits of an ‘app’ meter into a portable, easy to use hardware device.”

The PAM PiCo Touch also features a unique automated logging function not available on any comparable product. This saves considerable time by eliminating the need to do a full end to end logging pass each time an edit is made – the user simply completes a single pass of the entire project in conjunction with timecode in and out points, then makes the necessary edits followed by a measurement pass over each edited section. The PAM PiCo Touch then recompiles the measured values for the full project, automatically replacing the edited sections within the timeline and producing overall loudness data for the final piece.

In addition, the PAM PiCo Touch includes an HDMI external display output which allows the user to plug it into any monitor and view a blown up version of the complete screen. The user can then plug in a USB mouse to the PiCo and control the screen with the usual mouse-click as an alternative to touchscreen operation. The unit also features an Ethernet port to enable loudness logging over the network, and a headphone output to allow the user to listen to the audio being metered.

ETL Systems Doubles Size of its UK Headquarters and Announces Plans to Create 25 Jobs by 2016

Madley, UK. 1 August 2014. ETL Systems, a global designer of products for satellite communications, has unveiled new facilities at its UK headquarters after defying Britain’s unfavourable economic conditions with year-on-year growth and plans to expand staff by more than 25 percent within two years. 
Privately-owned ETL has seen an average growth of 20 percent in the last five years and has announced increased turnover of 9.5 million for 2013/2014. The success of the company, which is located next to the BT Madley Satellite Teleport, in Herefordshire, has enabled its purpose-built factory to double in size, reconfirming ETL’s commitment to investing in its future to further benefit its customers.
The company designs and manufactures solutions for many of the world’s largest broadcasters, including ESPN, the BBC and BT, and attributes its solid growth to the continued success of the international satellite industry. Figures from Northern Sky Research (NSR) show the combined satellite manufacturing and launch industry generated almost $35 billion globally in 2013. In the past year more than 100 new satellites were ordered, more than 100 were launched and the industry is continuing to expand.    
Under construction since 2013, ETL’s two new buildings will provide a larger production and test facility, additional office space and a fitness suite, gym and canteen, under the name ETL Spring, for the 75-strong team of employees.
Andrew Bond, Sales Director of ETL Systems, said: “The expansion of our UK headquarters further builds on the success story of ETL Systems and its development of RF distribution equipment for satellite communications. As our growth continues we are committed to investing in our future for the benefit of our customers. Expanding our offices will enable our team to grow further and we look forward to welcoming new employees to the ETL team.”
The UK development is the latest in a series of advancements made by ETL in the recent months. It kicked off 2013 by opening its US office – a result of 40 per cent of its international sales, which account for 80 per cent of total sales, coming from the region. New production facilities at ETL’s head-office and a dedicated R&D premises in Watford followed, along with a new Middle East office.
ETL Systems has been designing and manufacturing RF equipment since 1984 and has made notable growth in the International Trade since benefiting from new management in 2003.
Consisting of experienced and dedicated in-house engineers, specialising in originating RF design concepts and enhancing existing products, ETL Systems is world renowned for its reliable and resilient RF performance, achieving the Queens Award for Enterprise three times.
Bond added: “The redevelopment of our headquarters expands on the contribution ETL Systems has made and continues to make to both the satellite industry and British economy.”

AX32 converters capture José van Dam & YOU concert

AX32 converters captured the detailed audio nuances during a large-scale recording of a recent concert with José van Dam & YOU in Brussels. The recording was made at the city’s largest cultural venue, the Palais des Beaux-Arts, for the Queen Elisabeth Music Chapel. Other performers included the National Orchestra of Belgium and soloists. The concert was streamed directly over the web using low-latency uncompressed audio-over-Ethernet networking.

Composer, musician and sound engineer Jarek Frankowski was responsible for the recording and the sound design: "We were able to take this feed straight from an Audinate Dante card in the AX32. The event worked so well that Pierre-Josef from the main Belgian classical radio channel, Music 3, asked me to be an adviser for their future Dante set-up.

“I decided to invest in two DAD AX32 audio analog/digital/analog converters for my Brussels-based company, Acoustic Recordings, because of their very high sound quality and versatile connectivity. Each converter allows up to 48 microphones to be routed as IP data along 100 metres of Cat 6 cable or a practically unlimited distance via optical fibre.

“Following this event I prepared the AX32 and Adobe Pro Tools setup for the live recording of Tunisian composer and performer Anouar Brahem who fuses Arab classical music, folk music and jazz. This was produced at the Flagey concert hall which is the home of the Brussels Philharmonic. Once again, the full brilliance of the performance was captured by the AX32 and retained right through post-production to the final master file. The main engineer was very happy to run my AX32 and I heard him seriously speaking about getting one of his own.

"In a completely different style, we produced a video of Andy Warhol’s Night  with the Musique Nouvelles Ensemble. I did the recording and mix with AX32.

“Buying AX32 converters for my recording and live sound system is my best investment ever. After 20 years of using the finest preamps and converters, I find the AX32 is an audio dream. Two AX32 are heaven!"

Born in Poland, Jarek Frankowski performs regularly as a guitarist and chamber musician. He has worked with numerous classical music ensembles and artists for a wide range of record labels as well as working on film soundtracks. As a composer, he has created instrumental music for several albums and film sound tracks.

Designed for use in no-compromise audio recording and mixing as well as post-production, the DAD AX32 adds even higher sound quality than the established AX24 which is currently the worldwide reference standard. The AX32 can be configured with up to 48 analogue audio channels, making it an extremely compact multi-channel converter. The optional microphone preamplifier provides up to 72 decibels of analogue gain, 123 dB dynamic range and an equivalent noise floor of -133 dB. The AX32 comes as standard with Avid Pro Tools and eight AES/EBU and MADI inputs and outputs. It can optionally be fitted with a Dante IP audio interface and two optical MADI interfaces, making it an extremely versatile platform.

A versatile interface structure allows the analogue-to-digital, digital-to-digital and digital-to-analogue converters to be assigned to any digital interface, as well as patching between the interfaces on a channel-to-channel basis.

The AX32 can be fully remote controlled via Ethernet using NTP Technology’s DADman software. Alternatively, the preamps can be controlled from Pro Tools software and basic control is also possible from the front panel.

Existing users of DAD audio converters include Abbey Road Studios, Alchemy Mastering, Bauer Studios, Benny Andersson’s RMV Studio, Classic Sound, CMC Studios, Collegium Records, Danish Radio, DEX Mastering, DPA Microphones, Echopark Studios, Galaxy Studios, Hana Music Montreux, Helsinki Music Centre, Lindberg lyd, Magne Furuholmen, Master Touch, McGill University, Moscow Music Conservatory, NDR Hamburg, NHK, NRK, Opéra de Dijon, QVC shopping channel, Real Sound, Royal Danish Opera House, Royal Opera House London, Sidney Opera House, SK Works, Slovak Philharmonic Orchestra, SoundWorks/Jeff Sheridan, Spanish Radio, St Petersburg Philharmonic Orchestra, Stock Fish Records, Swedish Radio, Telarc International, Timbre Music, Ultimo Productions and the Warsaw National Philharmonic Orchestra.

ITV Studios adds to production values on popular drama with innovative FilmLight workflows



LONDON — 30 July 2014: As part of its move to a new production base, ITV’s popular continuing drama, Coronation Street, has implemented a new grading workflow based around FilmLight technology. As well as a Baselight ONE grading system with Slate control surface, five of the productions edit suites are equipped with Baselight Editions, putting the creative grading toolset directly inside Avid. 


Coronation Street moved to its new home in MediacityUK, in the northwest of England, at the beginning of 2014. This location includes external streets, practical sets and studio space, together with all the post-production required to deliver completed programmes on a fast turnaround. With the drama transmitted 5 times a week, the production team are creating the equivalent of a full-length feature film every week.


HD camera outputs from multiple simultaneous shoots are captured as files and immediately loaded onto an Avid ISIS shared storage system. The Baselight ONE grading suite sits on the ISIS network and performs a master grade without having to render a single frame — grading information is passed to the edit suites as metadata in the AAF files, including tracking information, windows and keyframes.


By working on the same media in its native format, metadata exchanges between the grading and editing suites are very fast and there is no loss of quality — or time — through rendering or file conversion. Baselight for Avid allows editors to make changes to the grade if necessary, and also the lead colourist can pull edited shots (and their adjusted grades) back into Baselight to make further changes in the master suite. Baselight Editions include the same core toolset as full Baselight systems, with the same graphical user interface, but implemented to run as a plugin on the editor or effects workstation.


“Baselight ONE has integrated really well into our new workflow, while Baselight for Avid often negates the need to come back into Baselight for re-edits,” said Stephen Edwards, Lead Colourist on Coronation Street. “The powerful grading tools enable me to move quickly through the episodes, adding real on-screen value to a well-established show.”


Post-production Manager, David Williams, added, “Moving between Baselight and Avid without the time and quality constraints usually associated with this process is a great enhancement both to our workflow and to our production.”


“This is a really practical — and fast — workflow for a production which is under constant pressure,” said Wolfgang Lempp, co-founder of FilmLight. “ITV Studios took the bold decision to raise the production values of Coronation Street even higher when it moved to its new base. Today, the show looks like the highest quality drama while still meeting the time demands of five episodes a week. I am proud that FilmLight could be a part of that, with our cost-effective and highly productive technology.”


Airbag Productions Chooses Frankie for its Real-time Video Reviews

Melbourne, Australia: July 28, 2014… Airbag Productions has chosen Frankie to conduct video review sessions both internally and with its local and remote clients after testing and comparing many other options. For its work creating commercials, Airbag found Frankie to be the easiest product to use, with the most appealing interface and PDF summary. Production companies like Airbag now have an affordable and simple-to-use option to complete video reviews.


Airbag Productions, in Melbourne, is a combined VFX, animation and production company that creates commercials, films and documentaries. It spent several months testing video review packages, using trial versions side-by-side on the same project so it could have an accurate comparison. This allowed the studio to get an idea of how simple each tool would be for its clients to pick up, as well as which features it needed across every project. In the end, Airbag chose Frankie, the video review tool from the maker of cineSync.


“We decided on Frankie because it is by far the easiest product to use and has the most attractive PDF summary,” said Nick Wright, director at Airbag Productions. “Frankie outshone the competition in these two areas, both of which are key to our client work. With the addition of their new competitive entry-level plans, Frankie also fits nicely into our budget.”


It was the simplicity of use and the design of the PDF that is saved at the end of each session that really sold Wright on Frankie. “The PDF is lovely. It’s succinct and well designed,” he said. “It was the only one we’d be willing to share with our clients.”


Using Frankie to complete a TVC for McCann UK

Airbag used Frankie for both interactive and independent reviews during the creation of a commercial for Vauxhall Insignia, which features creative CG images of metallic birds, bulls and dolphins that morph into each other and the car. For independent reviews, Wright uploaded various versions of these CG assets that differed in color tone to Frankie. He marked them up using Frankie’s annotating and comment tools, then sent the URL to the clients to review in their own time. Given the time difference between Melbourne and the ad agency offices in the UK, Wright could upload images at the end of his workday in Australia so the creatives and producers at McCann in Birmingham could review them overnight. Their feedback was often waiting for Wright when he started his workday the following morning.


When asked what she was most proud of about the Vauxhall Insignia commercial, Kirsten Michael, post producer at Airbag, pointed to the efficiency of their workflow as well as the clarity of their communication with the producers in Birmingham and the creatives on the Airbag team.


“We completed this marathon sprint in just five weeks,” Michael explained. “Frankie certainly helped with this, eliminating confusion with feedback to speed up the process.”


Michael described how, on the Vauxhall ad and also on a new commercial Airbag is producing for another UK client, they skipped through reviews frame by frame, letting the clients write their comments in Frankie’s notes section while they talked via Skype.


“It was simple for us to tell the client, ‘Point and click here, now you can draw right on the frame,’” Michael said. “I understand that many people struggle with technology, but Frankie is easy to explain to our clients.”


A live, interactive Frankie session can come in handy even with local clients or when the Airbag team is working in the same room.


“We tested many other products but kept coming back to Frankie because it’s the most useful of the tools we tried, especially when there’s distance involved,” said Wright. “But we use it with local clients as well, even if they’re in the same city, to keep things simple. If we’re discussing something and there’s confusion, we send them a URL of the uploaded video, they open it on their screens in Frankie, and we have an interactive review session. We can mark up the video and make comments in real time, then print all these annotations and screen shots off in a PDF. Frankie really is easy to drive.”


Frankie recently introduced two entry-level plans to accompany its Frankie Pro. New users can try Frankie free for 21 days, using the fully featured trial account. This watermarked version can be converted to one of the paid plans during or after the trial. Monthly subscriptions can be cancelled at any time and accounts can be put on hold, with all data saved, for a small monthly fee. For detailed information on the feature set of each plan, or to sign up for a free trial, visit http://www.cospective.com/frankie/.


Vauxhall Insignia TVC Credits

Client: Vauxhall

Agency: McCann Birmingham

Director: Nick Wright and Travis Hogg

Production: Airbag Productions

Postproduction, VFX: CanopyVFX

Imagineer Systems to Showcase mocha Pro 4.0 at SIGGRAPH 2014

Guildford, UK – July 29, 2014 – Imagineer Systems, creators of the Academy Award-winning mocha® Planar Tracking technology, will be exhibiting at this year’s annual SIGGRAPH conference, taking place from August 12th through 14th at the Vancouver Convention Centre in Canada. Attendees to the show can stop by the Imagineer Systems booth (817) to learn more about the launch of the mocha Pro v4, which features a brand new Stereoscopic 3D workflow, Python scripting support, customizable keyboard shortcuts, new exports and format handling, and more improvements for visual effects facilities. Members of the Imagineer Systems team will be presenting demos daily at the booth.

“We continue to see VFX growth in feature films and effects-heavy episodic television,” says Ross Shain, chief marketing officer, Imagineer Systems. “Our customers asked for stereoscopic 3D support, so we took on the challenge and produced a time saving workflow, in which an artist can planar track between the left and right views. The result is a highly efficient workflow for stereo 3D tracking, roto, camera solving, and better object removal (clean plating). Additionally, Python scripting is a feature that customers have requested for a long time. We’re happy to provide these types of tools in mocha Pro 4, which addresses many of the growing demands of today’s VFX and post-production facilities.”

mocha Pro 4 Feature Highlights At a Glance

•             mocha’s new Stereoscopic 3D workflow adds unique stereo support to planar tracking, rotoscoping, object removal and 3D camera solving. It also adds the capability to work on uncorrected, native stereo 3D footage. Users can quickly analyze differences between right and left camera streams and apply the solved disparity in 2D tracking, 3D camera solving, object remove module and image stabilization.

•             Python scripting support allows facilities to further customize their workflows, integrating mocha Pro 4 deeper into the visual effects production pipe.

•             The customizable keyboard shortcut interface enables mocha Pro 4 users to edit and save customizable keyboard layouts or select industry standard keyboard layouts such as Adobe After Effects or Nuke.

•             New exports and format handling includes support for Adobe Premiere Pro masks, Nuke 7 Tracker export and improved Nuke Roto exports. Version 4 also improves QuickTime and MPEG support. Premiere editors can now paste mocha roto masks directly to their timeline for advanced isolation, blurring and color correction tasks.

•             The improved user interface plus high-resolution retina display support greatly enhances the end user experience.

Watch the mocha Pro 4 promo video:

mocha AE Becomes mocha Plus

Imagineer Systems also recently released the new mocha Plus. Replacing mocha AE, mocha Plus adds professional VFX modules including a 3D camera solver, lens correction tools for After Effects and support for copying and pasting mocha roto masks directly to the Premiere Pro timeline. mocha Plus also supports a multitude of compositing and NLE applications including recent versions of Adobe After Effects, Premiere Pro CC 2014, Apple Final Cut Pro and Motion, HitFilm, and Boris FX plug-ins.