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One of the most prestigious film facilities in Poland adopts CEDAR Cambridge

21 November 2014

One of the oldest and most prestigious film facilities in Poland, WFDiF (Wytwórnia Filmów Dokumentalnych i Fabularnych – the Documentary and Feature Film Production Company) has installed a CEDAR Cambridge system in its newly-created film sound restoration studio.

"A few years ago, we started to restore documentary and feature films that have been produced since the 1950s by the WFDiF. During these processes, both the audio and video are digitised and restored to deliver perfectly clean picture and sound, free from clicks, pops, buzz, hiss and other types of noise. Furthermore, sound can be remastered in our dubbing theatre and optimised to create digital cinema packages", says sound restoration engineer Pawel Jaźwiecki M.P.S.E.

"The audio is transferred from the original magnetic 35mm mastertapes or from optical 35mm soundtracks. We then re-synchronise this, correcting ADRs or foley that are often out of sync, and clean the audio using a couple of restoration chains. That’s why we chose a CEDAR Cambridge system. It guarantees that all the damaged audio can be treated to obtain the highest possible level of quality. In particular, Retouch 5 gives us unrestricted access to the audio content in both the time and frequency domains, which is very useful for removing low frequency disturbances or other non-typical noises."

"We have also installed CEDAR Studio’s DNS One process as a plug-in and, thanks to the very close cooperation of Mr Bogdan Wojciechowski from DAVE – our CEDAR supplier – we have also had the opportunity to familiarise and test the newest CEDAR Studio 6 products such as Declick, Decrackle, and Auto Dehiss. These have turned out to be extremely useful, especially during our optical soundtracks restoration workflows."

CEDAR’s software is also used for cleaning contemporary dialogue, noisy set recordings, and for restoring other poor quality materials.

Location Sound Training at the London Film School in Covent Garden

A Practical Introduction to Location Sound: Recording & Mixing LFS Workshop with Joel Cahen
Sat 29 – Sun 30 November, The London Film School, Covent Garden

Recording quality sound when shooting on location is essential if time and hassle are to be saved in post production. It is therefore an area which cannot be compromised. This intensive weekend workshop is designed to introduce filmmakers to the fundamental techniques for recording and mixing sound for film, television, documentary and video.

Aimed at those who feel they would benefit from a theoretical and practical grounding in location sound techniques, participants will be taught how to achieve the most professional results using the equipment most widely-used in the industry today. BKSTS members get a discretionary 10% discount, enter discount code BKSTS10%Soundworkshops into the coupon box in your basket (nb. the code is also valid for other LFS Sound & Music workshops Music Licensing in Film & TV; Music Strategies in Narrative Filmmaking; Deconstructing the Soundtrack: A School of Sound Masterclass).


“The course exceeded my expectations; we got a lot of information in one day (more than we have been taught in a year on my Masters course) and plenty of chance to get some practical experience.” – Participant, June 2014

For more information or to book: http://lfs.org.uk/workshops/lfs-workshops/247/practical-introduction-location-sound-recording-mixing

EditShare Gains Admission to Oregon State University

Boston, MA — November 20, 2014 — EditShare®, the technology leader in shared media storage and end-to-end tapeless workflow solutions, today announced that Oregon State University (OSU) has selected the end-to-end EditShare tapeless workflow solution to facilitate media production and sharing across its Media Services, Intercollegiate Athletics, Student Media, and Outreach and Engagement departments. The foundation of the campus-wide installation is based on a tiered storage platform comprised of over 200TB of EditShare shared storage and a 160-slot Ark LTO tape library for integrated archive and backup. Several Geevs Broadcast servers with tools for managing multi-camera and newsroom workflows will facilitate a wide range of ingest and playout productions. EditShare’s Flow media asset management solution will serve as the installation’s control layer, providing simple-to-use tools to manage media from ingest to archive. Acting as a mezzanine service across campus, Flow offers key automation and cloud-based production capabilities that organize content for easier and faster access.

“Although each department is independent, they do have reason to share assets,” comments Rick Brand, Associate Director for Technical Services at OSU Academic Technology department. “The existing setup made it incredibly difficult to locate and share media. Outreach and Engagement had been using a ‘sneaker-net’ setup, the Student Media department was still on analog devices, and Athletics was on a shared platform that was at its capacity and near end of life. There was no centralized repository or mechanism for transcoding and making media usable. Adding to this complex setup, we operate in an environment where the students are always in transition, and in the process, some of the media goes with them. EditShare provides campus-wide standardization, allowing us to better take advantage of all content, whether it was captured five days ago or five years ago.”

The EditShare installation, which will be housed in the University’s new Student Experience Center building, lets students and staff easily tap into media and share from any desktop or laptop system connected to the Internet. It also gives them the tools to efficiently capture, edit and distribute the content for their in-house newsroom, studio and athletic productions, and online video courses.

“EditShare’s flexibility in supporting multiple workflows is ideal for OSU,” comments Rich D’Angelo, VP of sales and marketing, EditShare. “The university has a wide range of media workflows and skillsets in each department that will use and access the system. EditShare facilitates convergence of each department’s operations and drives all production and post-production media management. At OSU, EditShare will serve as the central hub of production for activities ranging from real-world newsroom production and playout operation to fulfilling requests from outside sources like sports broadcasters who want historical game and player footage on the latest OSU draftee.”

EditShare gives OSU user-friendly tools that support diverse skillsets while making the complexities of media migration and transcoding transparent to the user. And because EditShare is designed for collaboration, it integrates with industry-standard broadcast components like OSU’s Ross automation system and virtually all professional non-linear standard editing applications including Avid, Adobe Premiere Pro, Final Cut Pro and EditShare’s own Lightworks.



COLOGNE, 20 NOVEMBER 2014 RTW, the market leader in visual audio meters and monitoring devices, and the Institut für Rundfunktechnik (IRT), the main research and development center of Germany, Austria, and Switzerland’s governmental broadcasters, are proud to announce today at Tonmeistertagung 2014, that RTW will implement the IRT’s newly patented Continuous Loudness Controller into its future broadcast-focused audio equipment. This new endeavor will enable RTW to expand the company’s line of products, further supporting the changing industry needs of the state of loudness control.


Over the last few years, the IRT has developed and patented the Continuous Loudness Controller, a new technology that allows users to continuously readjust the level of audio material they are working on, against a given program-loudness value, as well as a definable loudness range in real-time with minimal artefacts. This next-generation technology is in accordance with EBU-R128 and other worldwide loudness standard specifications.


“We look forward to our collaboration with the IRT,” says Andreas Tweitmann, Managing Director, RTW. “With both partner developments and designs, IRT and RTW have focused on the highest quality of audio in radio and TV decades. The new technique developed by the IRT is groundbreaking and will have a tremendous benefit to our customers. We are very happy to implement the Continuous Loudness Controller in our products.”



Tokyo November 20, 2014– Amagi, the leader in cloud-based TV broadcast platforms and Alvix Corporation, Japan’s reputed TV broadcast equipment and software provider today announced their strategic partnership on the sidelines of Inter BEE 2014. The partnership creates new opportunities for Alvix’s clients to drastically reduce their capital expenditure for launching new TV channels.

Amagi uses its patented cloud-based technologies to create an entire playout management infrastructure, and to localize content and advertisements to suit regional viewer preferences, regulatory or content licensing needs. Amagi’s infrastructure and platforms enable traditional as well as OTT delivery of TV channels.

“Amagi’s platforms are secure, reliable, flexible, and has consistently delivered 99.99 percent broadcast SLAs at less than half the cost of a traditional broadcasting system. Our customers are already showing a keen interest in Amagi’s platforms and we are very excited to bring Amagi’s patented and path-breaking technology to Japan. It certainly opens the doors for TV networks to further deliver targeted content on TV and cater to diverse needs of audiences in Japan. Alvix will provide the required support to such potential customers,” said Alvix Corporation.

Amagi has its edge servers installed in more than 10 countries. “Japan is a focus market for us. The partnership with Alvix will not only enhance accessibility of Amagi platforms in the region but also accelerates adoption of future-ready cloud technologies for TV broadcasting in Japan. We are confident and very excited that we can together create a lasting impact in the country’s TV broadcasting landscape,” said Amagi.

Alvix Corporation is showcasing Amagi’s time-tested and patented products at its booth (#3001) at the ongoing Inter BEE 2014 show in Tokyo.

Teleste’s Headend Platform Steps up for IPTV Delivery in Brasil

TURKU, FINLAND – 20 November 2014 – Teleste, an international technology group specialised in broadband video and data communication systems and services, announced today that the company and its partner, Digital Designers TV, have provided a solution for content acquisition and delivery of live streaming IPTV for Arganet in Brasil. The solution includes Teleste’s digital headend platform, the Teleste Luminato, which is ideal to support the Latin American markets with its new ISDB-T digital terrestrial receiver.

Arganet, located north of São Paulo, is an Internet service provider that was founded 12 years ago. The company’s core business is to provide fiber-based internet access for the business and residential market, also CCTV security services are available.

Incorporated in 2014, Digital Designers TV (DDTV) is a system integrator that was founded by professionals with extensive experience from the digital TV industry in Brasil. Ricardo Pirola, CEO of DDTV says: “We are focusing initially on providing a turnkey cost-effective IPTV solution for ISPs, of which there are more than 1,200 in Brasil, and we are delighted to be working with Arganet and Teleste”.

In Brasil, Internet service providers require a TV/video complement to their current business and residential internet services offering. “Working with DDTV and Teleste enables us to fulfil this in the most effective way. We look forward to working closely with DDTV and their partners including Teleste”, says Cesar Cotrim, Commercial Director of Arganet.

The Teleste Luminato headend platform has proven to offer world-class reliability and efficiency in live TV delivery, and, with its ISDB-T digital terrestrial receiver, the platform is now fully equipped to answer the specific demands of the Latin American service providers. “We are pleased to provide Arganet a solution that fulfils their requirements for IPTV delivery”, states Hanno Narjus, SVP of Video and Broadband Solutions at Teleste.

Latin America is going through a rapid expansion of digital TV with the number of new digital TV households forecasted to reach 132 million by 2020.  We look forward to working together with DDTV in Brasil, the single most important Latin American market. We are confident that our solutions provide powerful tools for content delivery, both during and after the digital transition”, Mr. Narjus continues.


Second Annual NYC Television Week Brings Industry Together

NEW YORK, NY (November 19, 2014) — The second annual NYC Television Week, presented by Broadcasting & Cable, Multichannel News, Next TV, Ratings Intelligence, and TV Technology, drew nearly 1,000 television industry executives, content producers, and sponsors to Affinia Manhattan on November 12–13. NYC Television Week was comprised of proven conferences such as the Business of Multiplatform TV, Advanced Advertising, and the Next TV Summit; networking events, including the first-ever Next TV Awards and a National Geographic Channel-sponsored cocktail reception; and The Content Show, an all-new event that provided the largest gathering of TV programming executives, content creators, and producers ever assembled in New York City.

NYC Television Week’s conferences featured more than 200 best-in-industry keynotes and presenters, including Josh Sapan, President and Chief Executive Officer, AMC Networks Inc.; Vin Di Bona, Chairman, Vin Di Bona Productions & FishBowl Worldwide Media; Eric Berger, Executive Vice President, Digital Networks and General Manager Crackle, Sony Pictures Television; Jon Klein, Founder & CEO, TAPP; Michael Willner, President and CEO, Penthera and GreatLand Connections Inc.; and John Muszynski, Chief Investment Officer, Spark, to name a few.

Of particular note for the 2014 event was the launch of The Content Show, which brought producers into the room with buyers to discuss current challenges, offer solutions, and find next-generation trend makers. Highlights of the event, which featured top-level panel discussions and role-specific roundtables, included the “In Conversation With” series, which gave content creators an opportunity to meet in an intimate setting with senior programming and development executives from top networks and production companies.

“Our speakers, sponsors, and team members did an outstanding job of providing a high-level event that covered all aspects of the television industry — from concepts through marketing and distribution,” states Louis Hillelson, EVP/Group Publisher, Broadcasting & Cable and Multichannel News. “NYC Television Week set a new benchmark for a staggering amount of quality content delivered by the best minds in the market.”

More information about the 2014 NYC Television Week can be found at nyctelevsionweek.com. The site will be updated throughout the year with details regarding the 2015 event, to be held once again in the fall.

Matrox VS4 Quad HD Capture Card Now with Support for Telestream Wirecast 6.0

MONTREAL — Nov. 19, 2014 — Matrox® Video today announced the immediate availability of support for Telestream® Wirecast 6.0 for Windows® with the Matrox VS4 quad HD capture card


In a single PCIe slot, Matrox VS4 provides up to four independent HD-SDI inputs with up to 8 embedded audio channels per SDI source and automatic input detection. Matrox VS4 not only sends the video feeds to Wirecast for streaming, it simultaneously provides high-quality ISO recording of all the original video and audio feeds to NLE-friendly codecs — ready for post-event editing.


Wirecast 6.0 adds powerful new production capabilities including the creation of playlists on the fly, easy replay of important moments and easy social media integration with Twitter messages overlaid directly onto the broadcast.


“Wirecast provides a cost-effective solution for the creation and streaming of professional-quality live video productions to online audiences,” said Tom Prehn, Wirecast product manager at Telestream. “Matrox is a valued industry partner that has been at the forefront of streaming technology. The integration between Wirecast 6 and Matrox VS4 provide users powerful live streaming production with 64-bit technology, virtually unlimited memory, improved stability and performance as well as powerful ISO recording of their live streams.”


“With full turnkey, multi-channel HD streaming and recording systems based on VS4 and Wirecast available from some certified systems builders starting under $5000, virtually anyone can create professional-looking live web shows,” said Wayne Andrews product manager at Matrox. “Users can stream multiple live cameras while dynamically mixing in other media such as movies, images and sounds, and adding production features such as transitions, built-in titles, chroma key, virtual sets and live scoreboards.”


Price and availability

Wirecast 6.0 is available from the Telestream store.The Matrox VS4 card is available through a worldwide network of authorized dealers priced at $1,495 US (€1295, £995) not including local taxes and delivery. Matrox VS4 is also available in a bundle that includes the card and the new VS4Recorder Pro multi-channel recording software priced at $2,495 US (€1,995, £1,595).


The Tiffen Company Releases Major Upgrade to Its Tiffen Dfx Digital Filter Suite

Hauppauge, New York – November 19, 2014 – The Tiffen Company, a leading manufacturer of award-winning imaging accessories, has announced the release of the highly-anticipated version 4 of the multiple award-winning Tiffen Dfx digital filter suite. A powerhouse among special effects software, Tiffen Dfx 4 delivers even more illustrious video and still image effects to its already extensive package. Version 4 adds OFX plug-in support, making it compatible with digital intermediate programs Blackmagic Design Davinci Resolve and Assimilate Scratch, as well as the high-end Nuke visual effects program from The Foundry. The feature-rich Tiffen Dfx 4 upgrade also includes support for Sony Vegas NLEs as well as 12 new visual effects filters, 93 new historical photographic processes, 30 new motion picture film stocks, a dramatic speed increase in GPU acceleration, state-of-the-art floating point precision for a non-destructive workflow, and vivid Retina display support for Mac.

“The Tiffen Dfx digital filter suite is the premier effects suite for professional photographers, top motion picture filmmakers, video editors and visual effects artists across the globe, and Dfx 4 takes the art of editing with effects to the next level of creative ingenuity,” comments Steve Tiffen, President and CEO, The Tiffen Company. “In terms of effects and workflow diversity, Dfx 4 represents one of the most comprehensive upgrades for the Tiffen Dfx brand and we look forward to seeing the incredible imagery Tiffen users will create with these outstanding new features and capabilities.”

“For the June 2014 cover of Playboy, I shot the Playmate of the Year,” says Michael Bernard, director and cinematographer. “The editorial is a celebration of six decades of Playboy. I had to give each decade a distinct look, and I found that the Film Stocks tool was invaluable. A wealth of different stocks and presets gave me an amazing range of color, grain and look, truly taking my images back in time.”

Dfx is the only plug-in package that replicates award-winning Tiffen optical filtering, Rosco and Gam gobos and gels, plus hundreds of photographic film stocks. It is a complete cinematographer/editor toolkit that provides the majority of Tiffen optical filters within a single software suite designed to work with industry-standard photo and video editing applications. 

Michael adds, “The rich variety of looks and tools makes Tiffen Dfx indispensable; it’s the perfect tool to be used with Photoshop. Version 4 offers even more tools and a larger variety of looks. I love how each upgrade gets better and better.”

Tiffen Dfx 4 is the perfect toolbox for photographers and cinematographers, providing breathtaking results at the touch of a button. The new sleek interface delivers a faster and better workflow. GPU acceleration using OpenCL takes advantage of the system’s graphic processers, dissolving the time between an idea, a click and a result. Executive Director Bailey Eubanks emphasizes the importance of the high-quality Tiffen Dfx software and new release, "What makes Tiffen Dfx stand out from the rest is certainly the quality. Digitally converted from the reputable Tiffen filters, Dfx 4 now boasts upwards of 130 individual filter options. When I’m telling stories through video and images, its aesthetics are key in conveying the narrative. I can always count on Tiffen, as it has been raised on a legacy of creating the world’s best images. Dfx 4, now faster with multi-processing capabilities and GPU acceleration, doesn’t fall short of the Tiffen name."

Tiffen Dfx 4 Features and Highlights Include:

·         OFX plug-in support, making Tiffen Dfx compatible with professional digital intermediate programs Blackmagic Design Davinci Resolve and Assimilate Scratch, as well as the high-end Nuke visual effects program from The Foundry. It also expands NLE support to include Sony Vegas® and DaVinci Resolve Lite.

·         12 new filters – Borders, Cartoon, Colorize Gradient, Detail, Develop, Grunge, Harris Shutter, Pastel, Pearlescent®, Radial Tint, Satin® and Tone Adjust

·         93 historical film processes and 30 motion picture film stocks added as new presets within the popular film stocks filter

·         More parameters and tools added to presets – includes new tools for color correction, tint enhancement and gradient control

·         Process in 32-bit floating point precision – ability to selectively access your image’s dynamic range without clipping values in a true non-destructive workflow. Improved easier and faster “on board” masking tools for the Dfx still programs – photo plug-in and standalone.

·         New edge-aware smoothing algorithm (great for skin smoothing) added to some filters for refined control and application

·         New Curve Tool for still programs – designed to control tonal range through RGB and individual red, green and blue curves. Adjustable curve points for shadow and highlight control

·         Improved Interface – new optimized preview size – images can now be previewed in 4096, 2048 and 1024 pixels. Keyboard control added for brushes and new look to sliders, buttons and icons. Mac Retina display support.

In conjunction with Dfx’s superior masking tools, floating point precision gives users full access to the image’s dynamic range on a selective basis without having to clip values. Tiffen Product Manager Jena Rappolt-Noyes comments on the uniqueness of the new benefits for users, “We responded to our customer and market feedback adding features like 32-bit floating point precision, which is common with high-end visual effects software and is unique for photo editing applications, making Dfx 4 a leader in its class. And with the addition of Mac Retina display support, the additional 93 brand new historical photographic processes, and 30 motion picture film stocks, Dfx 4 is the most versatile, inclusive suite on the market today.”

Tiffen Dfx 4 Pricing, Supported Hosts and Availability
Tiffen Dfx 4 supports the newly released Adobe® Creative Cloud 2014.

Tiffen Dfx 4 film/video plug-in is available today for 499.95 USD. One Dfx video plug-in will run in Adobe® After Effects® and Premiere® Pro, Apple® Final Cut Pro® X and Apple Motion 5, and Avid® Editing Systems 64 bit, if installed and activated on the same machine.

Tiffen Dfx 4 photo plug-in is available today for 149.99 USD. One Dfx photo plug-in license will run in Adobe® Photoshop®/Photoshop® Elements, Adobe Lightroom® and Apple® Aperture® if installed and activated on same machine.

The standalone version of Tiffen Dfx 4 is available today for 129.99 USD. This still image workflow is for Jpegs, Tiff and RAW files. It works as an independent software and does not require host software.

The Dfx 4 Ofx Pro plug-in is now available at an introductory price of 999.95 USD (regularly 1499.00 USD). One Dfx 4 Ofx Pro plug-in will run in DaVinci Resolve, Assimilate SCRATCH® and The Foundry’s NUKE software, if installed and activated on same machine.

The Dfx 4 Ofx Standard plug-in is now available at an introductory price of 499.95 USD (regularly 599.95 USD). One Dfx 4 Ofx Standard plug-in will run in DaVinci Resolve Lite and Sony Vegas editing software, if installed and activated on same machine.

System requirements:


·         Dual Core Intel or AMD processor

·         Windows 8 64 bit, Windows 7 64 bit


·         64 bit Intel processors

·         Mac OSX 10.7 and above

For a full list of Tiffen Dfx 4 features and tech specs, along with a free full working 15-day trial, visit: www.tiffensoftware.com/products.





Amimon Interbee 2014 News


Chiba City, Japan (November 19, 2014) – Amimon, the industry innovator for wireless HD video and control transmission with zero latency, is showcasing their proprietary technology for video and film production here at Interbee 2014. The unique mobile camera technology enables wireless HD video and bi-directional data transmission for multiple cameras and monitors with absolutely no delay, giving broadcasters and cinematographers unprecedented flexibility for creativity. 


“We have truly set the camera free from the control and monitoring functions,” said Ram Ofir, CEO, Amimon. 


“Only Amimon provides the true ability to unleash cables from cameras in the field and in the studio without any sacrifices in performance or control.”


Arie Zanzuri, Technical Manager at Sports Channel 5, had additional praise for Amimon technology:  “We now cover…games with much more maneuverability to get the best angles and can even get live interviews down at the locker rooms without losing the link. With no cables our team is the first to arrive to where the action is. All these advantages cost us less without the extra crew members to run the cables on each camera.”


Sebastian Seidel, CEO of UAV manufacturer Globe Flight, Germany, describes Amimon SkyLink, one of the company’s suite of zero latency HD video solutions: “Customers report excellent results in image quality, robustness and extended range. With SkyLink mounted on a Multicopter we gained the ability to transmit HD live with perfect quality at much lower cost. UAV makers and operators have been waiting a long time for Amimon’s SkyLink.” 


Amimon’s transmission technology solutions include:


LiveLink has a very small form factor ideal for ENG/EFP broadcast applications. Users benefit from fast deployment, robustness, optimal synchronization and maneuverability along with an operating range of 200 meters (600 feet). 


SkyLink enables HD filming to support ultra long range up to 2000 meters (6000 feet), enabling ground and aerial filming from unmanned platforms (UAV/UGV) and monitoring, even under harsh conditions. 


StudioLink delivers real-time wireless HD transmission and control of multiple cameras in the studio without interference up to 100 meters (300 feet). 


With the widest range of HD wireless solutions in the professional camera market, Amimon’s proprietary wireless mobile camera technology delivers fast location deployment, flexibility and real-time control that is unprecedented at this price point. Lightweight, compact Amimon products are plug-and-play PCB-ready for embedding in any chassis or device