Montreal Facilities Collaborate on Source Code

Date: 27/01/2012
Montreal Facilities Collaborate on Source Code

When visual effects supervisor Louis Morin and VFX producer Annie Godin were nominated for a VES Award for their work on Duncan Jones Source Code, the Montreal-based facilities involved in the film had reason to celebrate as well. Under the guidance of Morin, the VFX facilities each took on different parts of the project, sharing assets and coordinating deliveries on the film. The result was both a visually stunning film and proof that the Montreal film industry can compete with the best on the world stage.

"Louis Morin is a very effective and creative VFX supervisor," said director Duncan Jones. "He found really excellent boutique facilities that were able to craft individual, and very different kinds of effects that we needed in the movie."

The four Montreal-area studios included Modus FX, who handled complex digital crowd shots, CG trains, environments and dramatic pyrotechnics; Rodeo FX, who crafted the crucial greenscreen windows for the train interiors; FLY Studio, who created the futuristic CG pod sequences and key transitions; and Oblique FX, who created the CG bomb, a virtual stuntman and a poetic slow-motion explosion sequence. Toronto-based Mr. X contributed to the greenscreen train window backgrounds and MPC Vancouver handled the exterior shots of explosions and a train crash sequence.

"In the grand scheme of things, this was not a big-budget film," said Jones. "That meant we had to be fairly specific about the FX we wanted. We couldnt play around with too many ideas. We really couldnt afford to make mistakes."

"We had 850 shots to manage and a budget of $3.5 million dollars," said Morin, "and for most of the film you would have no idea that visual effects were even used. The train, the cabin interiors and the station all look like real.The goal was seamless visual effects where the audience is simply immersed in the story."

The Source Code Story

Released in theaters on April 1, 2011, Source Code is a psychological sci-fi thriller that tells the story of a U.S. soldier, played by Jake Gyllenhaal, who wakes up in the body of another man on a Chicago commuter train. Shortly after that, the train blows up. As part of an experimental military mission, Gyllenhaals character is forced to repeat those final eight minutes on the train, working out how it was blown up, and, ultimately, how to prevent the tragedy. In the process, he forms a bond with a fellow passenger [Michelle Monaghan], and begins to solve the larger mystery of how he got there in the first place. While the film makes extensive use of visual effects, the digital achievements never overwhelm the essentially human story of Source Code.

All of the interiors were shot on a set in Montreal. Equipped with greenscreen windows, the whole set was placed on a gimbal that replicated the rocking movements of a train in motion. Exteriors used second-unit photography shot in Chicago. Commuter trains were digitally resurfaced, and a fictional train station was created using extensive digital set extensions.

"Some of the most subtle VFX work they had to do, like the insets for the greenscreen windows in the train, could make or break a movie like this," explained Jones. "Even a small mistake with the simplest detail, like defining where the line of the landscape is, would have made a scene immediately and noticeably unrealistic. The guys did a beautiful job matching the moving patterns of Don Burgesss ingenious lighting schemes, so it doesnt pull the audience out of the movie."

 

Rodeo FX Light and Windows

Along with delivering a variety of explosions, Rodeo FX took the lead on greenscreen windows, cleverly compositing in the moving backgrounds outside the train. In total the facility contributed over 360 shots to Source Code.

S©bastien Moreau

, president and VFX supervisor at Rodeo FX, put particular focus on the use of interactive light. "Greenscreen windows are usually detectable," Moreau said, "but we were able to create a seamless look using interactive light."

According to Moreau, the most interesting part of the project was dealing with continuity between shots, both in terms of the quality of the VFX work, and with the illusion of the trains speed. "Even though we had all the necessary footage from a real train, shot with a three-camera rig to cover a very wide view of the background, we worked hard to maintain the illusion of constant speed and the position of the horizon line from shot to shot."

"

Imagine yourself in the train next to the window and you go past trees and buildings and theres light occlusion," added Morin. "There are highlights, lowlights, and, with the movement, there is constant variation. The imperfection of reality is really subtle, but its critical to capture that imperfection for the CG to be invisible. Rodeo achieved this by applying the difference in positive and negative highlights to blend the plates of the exterior shots with the interior lighting. This was painstaking postproduction work."

Oblique FX - Explosion and Stunt Double

Oblique FX contributed 46 shots to the film including a complex CG bomb, a dramatic interior explosion shot in slow motion, and a digital stunt double of Jake Gyllenhaals character as he jumps off a moving train and rolls to a stop on the platform.

For the explosion sequences, the studio created two replicas of the train interior. A full-scale model with dummies matching the actors positions was used for interior train explosions. A second version was positioned vertically so that Morin and his team could capture explosions at 1000 fps moving upwards through the interior towards the camera. Oblique FX then artfully combined the live-action plates with CG to create a realistic look with a poetic feel.

"The digital double was an artistic challenge because we had to animate Jake rolling along the platform and bring everything together so its believable," said Alexandre Lafortune, visual effects supervisor, Oblique FX. "The movement is violent and jarring. Weve done crowds before and wider shots of CG people, but a single figure that needed to blend seamlessly with live-action shots of the actor at the beginning and end of the shot was a new challenge."

The studio used Natural Motions Endorphin software. "Its a mix of simulation and keyframe animations," Lafortune explained. "Duncan wanted us to try simulating it and Endorphin lets you rig the character and throw him against a surface to see what happens. We started with that to get the physics for the motion and the speed of the train worked out."

"Source Code was a special project for us and we really enjoyed the teamwork with our partners," said Pierre-Simon Lebrun-Chaput, visual effects supervisor, Oblique FX. "It was a great example of how facilities can collaborate on a film, each bringing their individual strengths to the project."

Fly Studio - Pod and Transitions

Fly Studio specializes in creative motion graphics as well as visual effects. For Source Code, the company was called on to create the transitional shots between the pod and the train, as well as more than 100 monitor replacements. The pod is the surreal space from which Gyllenhaals character interacts with his military controller, played by Vera Farmiga. Fly Studio created the transitions for those shots.

"The transitional shots from the pod to the train and back were pretty much open to our ideas," explained FLY Studios VFX supervisor on the project Jean-Pierre Boies. "We tested lots of different ways of transitioning different layering of graphics, 3D meshes and a lot of effects added on top of it to create the final result."

FLY Studio also added condensation to the actors breath inside the pod an example of a subtle effect that greatly enhances the verisimilitude of some scenes. "Lots of movies are doing it by creating particles and compositing them in, but we decided to shoot our own live elements for this," explained Boies. "We brought a Canon 5D camera to shoot some tests inside in a meat freezer at -15 or -20 Celsius. The test shots worked out so well, we ended up using them."

"Weve worked with Louis a few times now and we really liked the dynamic of working with him and the other companies," he added. "Louis knows we have a strong motion graphics team and he knew we would be able to contribute creatively on a project like Source Code."

Modus FX - Train and Station

"Source Code is the most ambitious and the most challenging project that weve tackled so far," said Yanick Wilisky, VP of production and VFX supervisor at Modus FX. The company was brought on board in pre-production. "We started doing the pre-vis for the main action scenes how the train would explode, and where this would take place," said Wilisky.

In total, Modus handled 150 shots for the film including creating the train in CG, involving thousands of individual elements. The train was often used in close-up shots, requiring extensive camera tracking work, especially for scenes where the train has pulled into the station and crowds of commuters enter and exit the train. "The train was seamless," said Louis Morin. "It doesnt look CG. It looks just like a real commuter train in Chicago."

Artists at Modus FX also created the fictional "Glenbrook Station" in Chicago and its surroundings. The CG set extension included everything from the station itself, to digital trees, large crowds of people, and commuter traffic on a busy Chicago street.

Crowd shots were created using Massive Softwares 3D crowd behavioral simulation system. Massive was also used for aerial shots of cars. "We needed to craft some pretty big highway traffic scenes with about 6,000 cars. Thats a lot to render, when you count the number of polygons per car," Wilisky explained.

Montreal Delivering Excellence in Visual Effects

"All the vendors pushed really hard to make it the best show possible," said Annie Godin, VFX producer on Source Code."Duncan and the producers had a lot of trust in us and that was very motivating for everyone. Louis guided the work so well that the vendors got shots approved quickly and could move along to the next tasks very efficiently."

"I was delighted by how effective those facilities were at dividing up the work like that. They were very professional, and I think they really enjoyed the process themselves," said Jones.

Source Code

was produced by the Mark Gordon Company and Vendome Pictures, and is a Summit Entertainment release. The film stars Jake Gyllenhaal, Michelle Monaghan and Vera Farmiga, and was directed by Duncan Jones.

The film has been nominated for a VES Award for Outstanding Supporting Visual Effects in a Feature Motion Picture. This is Louis Morins second VES Award nomination. His first nomination was for the visual effects on Eternal Sunshine of the Spotless Mind. The VES Awards will be announced Feb. 7 at the Beverly Hilton Hotel in Los Angeles and will air on ReelzChannel.

About The Facilities

FLY Studio

Known for its resourcefulness and creativity, Fly Studio attracts clients in film, TV, and advertising who value creative input. Since 1996, it has made a name for itself as a creative and versatile postproduction facility. It specializes in show projections (e.g., many Cirque du Soleil shows), concerts (e.g., Justin Timberlake, Lenny Kravitz, Katy Perry, Pink, and Shakira), music videos (e.g., Beck) and advertising. Working mostly in advertising, its clients include Air Canada, Motorola, Pepsi, Budweiser, Molson, Chrysler, Ford, Walmart and General Electric. The four partners of Fly Studio, with backgrounds in fine arts, traditional animation, and design, complement each other and bring creativity to their many different projects. The partners remain "hands on" in productions, working alongside the 30 employees with diverse talents, to mix many different looks, styles, and genres. VFX projects for major motion pictures include Mr. Nobody, Source Code, Dark Horse and Towelhead. VFX for local films, including les 7 jours du talion (Seven Days), Un capitalisme sentimental, La Peur de l'eau and 1981. For more information, visitwww.flystudio.com.

Modus FX

Since launching in 2007, Modus FX has become an industry leader in high-end feature film visual effects and animation, boasting an international clientele and a talented team of hand-picked artists from around the globe. Led by co-founders Marc Bourbonnais and Yanick Wilisky, Modus has developed a unique approach to creating digital content, combining a cutting-edge production pipeline with personalized on-going project coordination. The studio collaborates with each director through the artistic process, from editorial script and on-set supervision to final delivery. Based just outside Montreal, Modus offers a full scope of services in its modern 12,000-square-foot studio. For more information, visit www.modusfx.com.

 

Oblique FX

Oblique FX was founded in February 2008 when Beno®t Brire, former 3D Director of Buzz Image Group, and partners purchased the Film Division of Buzz. Oblique offers high-end digital visual effects services for the film, television and commercial industries. It specializes in photoreal visual effects that integrate seamlessly into live-action plates and environments, including character and crowd animation, matte paintings and virtual environments, special effects and natural phenomena, CG integration and compositing. Projects completed by the team at Oblique FX include 300, Brokeback Mountain, Eternal Sunshine of the Spotless Mind, The Aviator and The Fountain. For more information, visit www.obliquefx.com.

Rodeo FX

S©bastien Moreau founded Rodeo FX in 2006. Since then the company has had a meteoric rise, responsible for seamless visual effects in some of the highest grossing blockbusters in the industry. Using all of the latest technology, while discovering new ones, this Montreal-based team of international artists, numbering 65 and growing, share a passion for and deliver only a high level of quality work that the major film studios expect, as seen in Source Code, Mission Impossible: Ghost Protocol, Red Tails, Underworld Awakening, Immortals, Gullivers Travels, Twilight Eclipse, Resident Evil 4, The Three Musketeers, Terminator Salvation, Repo Men, Amelia, The Day the Earth Stood Still and Indiana Jones and the Kingdom of the Crystal Skull. For more information, visit: www.rodeofx.com



Tags: visual effects | design | animation | Source Code | Modus FX | Oblique FX | Rodeo FX | Fly Studio | Louis Morin | VES | Awards | Montreal | postproduction | VFX
Submitted by Eric Philpott (philpott communications)
View author's directory page

Related Interviews
  • Motion Picture Visual Effects on a Budget

    Motion Picture Visual Effects on a Budget

  • Blackmagic Design at IBC 2019: New Atem Mini

    Blackmagic Design at IBC 2019: New Atem Mini

  • Blackmagic Design 2500NIT HDR Video Assist 126 with BRAW Blackmagic Design at IBC 2019

    Blackmagic Design 2500NIT HDR Video Assist 126 with BRAW Blackmagic Design at IBC 2019

  • Blackmagic Design Pocket Cinema Camera BMPCC 4K at IBC 2018

    Blackmagic Design Pocket Cinema Camera BMPCC 4K at IBC 2018

  • Omnitek Consultancy and Design Services at IBC 2017

    Omnitek Consultancy and Design Services at IBC 2017

  • Blackmagic Design Ultimatte at IBC 2017

    Blackmagic Design Ultimatte at IBC 2017

  • Blackmagic Design Resolve 14, ATEM, URSA Mini PRo and more from IBC 2017

    Blackmagic Design Resolve 14, ATEM, URSA Mini PRo and more from IBC 2017

  • ATEM TV Studio Pro HD from Blackmagic Design at NAB 2017

    ATEM TV Studio Pro HD from Blackmagic Design at NAB 2017

  • Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

    Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

  • Blackmagic Design at IBC 2016

    Blackmagic Design at IBC 2016

  • Cintel Film Scanner: Blackmagic Design at NAB 2014

    Cintel Film Scanner: Blackmagic Design at NAB 2014

  • Blackmagic Design on BroadcastShow LIVE at IBC 2013

    Blackmagic Design on BroadcastShow LIVE at IBC 2013

  • Blackmagic Design with the new ATEM Production Suite at IBC 2013

    Blackmagic Design with the new ATEM Production Suite at IBC 2013

  • Blackmagic Design: Products at NAB 2013

    Blackmagic Design: Products at NAB 2013

  • Blackmagic Design at NAB 2012

    Blackmagic Design at NAB 2012

  • AKA Design at BVE North 2011

    AKA Design at BVE North 2011

  • Blackmagic and Fusion at IBC 2014

    Blackmagic and Fusion at IBC 2014

  • ATEM Mini and more news from Blackmagic at ISE2020

    ATEM Mini and more news from Blackmagic at ISE2020

  • Creating Broadcast Quality Live Streams for Social Media

    Creating Broadcast Quality Live Streams for Social Media

  • YouTube and the myths, the business and the opportunities

    YouTube and the myths, the business and the opportunities

  • Blackmagic ATEM Constellation 8k at NAB 2019

    Blackmagic ATEM Constellation 8k at NAB 2019

  • Blackmagic DaVinci Resolve 16 at NAB 2019

    Blackmagic DaVinci Resolve 16 at NAB 2019

  • Area 48 Colour from BBandS Lighting plus more announcements at NAB 2019

    Area 48 Colour from BBandS Lighting plus more announcements at NAB 2019

  • Blackmagic introduces Blackmagic RAW (BRAW) at IBC 2018

    Blackmagic introduces Blackmagic RAW (BRAW) at IBC 2018

  • Blackmagic Pocket Cinema Camera 4K at NAB 2018

    Blackmagic Pocket Cinema Camera 4K at NAB 2018

  • Blackmagic ATEM Television Studio Pro 4K at NAB 2018

    Blackmagic ATEM Television Studio Pro 4K at NAB 2018

  • Blackmagic Davinci Resolve 15 at NAB 2018

    Blackmagic Davinci Resolve 15 at NAB 2018

  • Blackmagic MultiView at IBC 2014

    Blackmagic MultiView at IBC 2014

  • Blackmagic URSA at NAB 2014

    Blackmagic URSA at NAB 2014

  • Blackmagic Studio Camera at NAB 2014

    Blackmagic Studio Camera at NAB 2014

  • Projects Department on BroadcastShow LIVE at IBC

    Projects Department on BroadcastShow LIVE at IBC

  • Autodesk at NAB 2013

    Autodesk at NAB 2013

  • Holdan and DaVinci at BVE North 2011

    Holdan and DaVinci at BVE North 2011

  • Blackmagic at IBC2011

    Blackmagic at IBC2011

  • Dynamic Perspectives at NAB 2016

    Dynamic Perspectives at NAB 2016

  • SIS LIVEs Martyn Hopkins on BroadcastShow LIVE at IBC 2013

    SIS LIVEs Martyn Hopkins on BroadcastShow LIVE at IBC 2013

  • SIS LIVEs Mark Shadbolt on BroadcastShow LIVE at IBC 2013

    SIS LIVEs Mark Shadbolt on BroadcastShow LIVE at IBC 2013

  • GY-LS300 Camera from JVC at NAB 2017

    GY-LS300 Camera from JVC at NAB 2017

  • Angelbird SSDs at BVE 2014

    Angelbird SSDs at BVE 2014

  • Real Life Kit at ProVideo2011

    Real Life Kit at ProVideo2011

  • G-Technology at IBC2011

    G-Technology at IBC2011

  • Tony Taylor from TMD talks about LTFS at IBC 2013

    Tony Taylor from TMD talks about LTFS at IBC 2013

  • Tony Taylor from TMD talks about Mediaflex CI

    Tony Taylor from TMD talks about Mediaflex CI

  • Tony Taylor from TMD talks about Post Production

    Tony Taylor from TMD talks about Post Production

  • Bristol VFX at IBC2011

    Bristol VFX at IBC2011


Related Shows
  • Africans in London - live and on demand TV channels.

    Africans in London - live and on demand TV channels.


Related Articles
  • Synced Across Multiple Screens

    Synced Across Multiple Screens

  • Creating Broadcast Quality Live Streams for Social

    Creating Broadcast Quality Live Streams for Social

  • Creating Opportunities For A Diverse and Colourful Future

    Creating Opportunities For A Diverse and Colourful Future

  • The Making of Zero

    The Making of Zero

  • Centre Stage for Cameras with All About Eve

    Centre Stage for Cameras with All About Eve

  • Behind the Scenes of Wild rose

    Behind the Scenes of Wild rose

  • Capturing Haute Couture

    Capturing Haute Couture

  • League of Legends European Masters

    League of Legends European Masters

  • Investing in the Future of Broadcast Media

    Investing in the Future of Broadcast Media

  • Tips and Tricks to Giving Sci-Fi a New Look

    Tips and Tricks to Giving Sci-Fi a New Look

  • Six steps for award winning sound design with Jungle Studios

    Six steps for award winning sound design with Jungle Studios

  • When a lens is more than just a lens

    When a lens is more than just a lens

  • Strays - Telling a dark tale

    Strays - Telling a dark tale

  • 360 degree video storage requirements

    360 degree video storage requirements

  • Is now the time to compromise on investment

    Is now the time to compromise on investment

  • Designing the correct workflow

    Designing the correct workflow

  • DaVinci Resolve Mini Panel from Blackmagic Design - Reviewed

    DaVinci Resolve Mini Panel from Blackmagic Design - Reviewed

  • The future of post production

    The future of post production

  • Grading Quantum Break

    Grading Quantum Break

  • Blackmagic Design URSA Mini Reviewed

    Blackmagic Design URSA Mini Reviewed

  • Networking with the GTC

    Networking with the GTC

  • Must haves for wireless camera transmission

    Must haves for wireless camera transmission

  • Educating with Robots

    Educating with Robots

  • Talking Steadicam and Exovest

    Talking Steadicam and Exovest

  • Keep memories safe at RWF

    Keep memories safe at RWF

  • 5 must haves for sound recordists

    5 must haves for sound recordists

  • #TVFUTURES

    #TVFUTURES

  • #TVFUTURES

    #TVFUTURES

  • Walking into manufacturing with a Dedleg

    Walking into manufacturing with a Dedleg

  • Four must-haves for modern media workflows: Enhancing your MAM solutions

    Four must-haves for modern media workflows: Enhancing your MAM solutions

  • Coffee and TV: Tracking the Samsung Galaxy Note 4 with mocha Pro

    Coffee and TV: Tracking the Samsung Galaxy Note 4 with mocha Pro

  • Fixing it in parallel

    Fixing it in parallel

  • Increase productivity while editing

    Increase productivity while editing

  • Eye to Eye: Video Post-production

    Eye to Eye: Video Post-production

  • #TVFUTURES

    #TVFUTURES

  • Do Not Be Cheap With Your Data

    Do Not Be Cheap With Your Data

  • The First Musketeer

    The First Musketeer

  • Powerful New Levels of Discovery

    Powerful New Levels of Discovery

  • Mobility drives more powerful automation solutions

    Mobility drives more powerful automation solutions

  • Ask the experts: the future for media archives

    Ask the experts: the future for media archives

  • Modern movie finishing

    Modern movie finishing

  • Review: DaVinci Resolve 10

    Review: DaVinci Resolve 10

  • Dreamhack - Summer 2013

    Dreamhack - Summer 2013

  • Revealing the real-lives behind 999 responses

    Revealing the real-lives behind 999 responses

  • The joys of the outside broadcast!

    The joys of the outside broadcast!

  • Ask the experts with TMD looking at LTFS

    Ask the experts with TMD looking at LTFS

  • Summer Time is Festival Time for Peter Savage

    Summer Time is Festival Time for Peter Savage

  • A runaway success at Graduate Fashion Week with Blackmagic

    A runaway success at Graduate Fashion Week with Blackmagic

  • Is 4K the end of the line?

    Is 4K the end of the line?

  • A cinematic makeover with Blackmagic Design

    A cinematic makeover with Blackmagic Design


News
MO-SYS TECHNOLOGY PLAYED STARRING ROLE IN MOOVS VIRTUAL SET FOR BBC SPORTS TOKYO GAMES COVERAGE Posted: 13/10/2021
MO-SYS TECHNOLOGY PLAYED STARRING ROLE IN MOOVS VIRTUAL SET FOR BBC SPORTS TOKYO GAMES COVERAGE

Mo-Sys Engineering, a world leader in precision camera tracking solutions for virtual studios and augmented reality, today announces that its StarTracker technology was front and centre of the innovative virtual studio production for BBC Sport’s coverage of the Tokyo Games. The entire virtual graphics production was implemented by MOOV, the UK based sports and events graphics company, with the project being shortlist as a finalist at the 2021 Broadcast Sports Awards in November. 

Tags: Mo-Sys | MOOV. Virtual Production | Virtual Studio | StarTracker | Broadcast Sports Awards | Camera Tracking | Dock10. MediaCityUK | Broadcast | virtual reality | augmented reality | Tokyo Olympics | Brainstorm | Wimbledon | Match of the Day | Innovation
Submitted by Manor Marketing
More from this author
This Live Video Player Does a Lot Posted: 13/10/2021
This Live Video Player Does a Lot How does artifical intelligence (AI) support broadcasting and notifications in a live video player? I talk with Joe Ward, CEO of Edge Video, to find out more and see it in action. 
Tags: Live Video Players | AI | Broadcast | Live Streaming | IBC 2021
Submitted by Socail180Group
More from this author
SAFnet Powers Next-Gen Broadband Delivery with Harmonics Virtualized PON Solution Posted: 12/10/2021
SAFnet Powers Next-Gen Broadband Delivery with Harmonics Virtualized PON Solution

Harmonic (NASDAQ: HLIT) today announced that its industry-leading CableOS® Cloud-Native Core Platform has been deployed by SAFnet, a Danish broadband operator, for 10G-capable fiber-to-the-home (FTTH) XGS-PON service delivery. Multi-access, virtualized edge cloud and PON capabilities on the CableOS Platform will enable SAFnet to deliver next-gen broadband leveraging existing HFC DOCSIS network infrastructure, lowering operational costs and improving sustainability.

Tags: FTTH PON | CableOS Platform | 10G | SAFnet | HFC DOCSIS | Pebble Remote-PHY | Harmonic
Submitted by 202 Communications
More from this author
Artel Extends FiberLink Family Into the IP Realm With New SDI-to-SMPTE ST 2110 Gateway Posted: 12/10/2021
Artel Extends FiberLink Family Into the IP Realm With New SDI-to-SMPTE ST 2110 Gateway

Artel Video Systems, a world-class provider of innovative, real-time, multimedia delivery solutions, today introduced the FiberLink ST 2110 Gateway, which bridges SDI interfaces to JT-NM-tested SMPTE ST 2110 IP media streams. Providing a valuable gateway between legacy SDI environments and ST 2110 IP environments, this new addition to Artel's renowned FiberLink product family helps to extend the useful life of SDI implementations and equipment while opening the door to IP-based media transport and its benefits.

Tags: SMPTE ST 2110 | SDI | Video | SDI/IP Interface | IP Migration | Fiberlink ST2110 Gateway | Artel
Submitted by Wall Street Communications
More from this author
AJA Announces KONA 5, Io 4K Plus, and T-TAP Pro Support for Hardware Out in Microsoft Teams Posted: 12/10/2021
AJA Announces KONA 5, Io 4K Plus, and T-TAP Pro Support for Hardware Out in Microsoft Teams

AJA Video Systems today announced that it has collaborated with Microsoft to ensure that a range of its audio and video I/O solutions support the new Hardware Out feature in Microsoft Teams. Using the new feature with an AJA KONA 5, Io 4K Plus, or T-TAP Pro, live production and AV professionals can easily output SDI and HDMI high quality audio and video streams of on-the-ground reporters, interviewees, or events in remote locations and seamlessly weave the footage into live productions at broadcast-quality.

Tags: AJA Video Systems | AJA | Microsoft Teams | Microsoft | Live Production | Live Workflows
Submitted by AJA Video Systems
More from this author
LYNX Technik Announces Additional 48G Fiber Transmission System Posted: 12/10/2021
LYNX Technik Announces Additional 48G Fiber Transmission System

new 8k fiber signal transmission system for its yellobrik series. This solution is ideal for the transmission of multiple uncompressed 12G SDI streams.

Tags: LYNX Technik | 8K | yellobrik | SDI 8K | OTR 1A41 | 8K fiber transmissoin | 96 Gbits
Submitted by LYNX Technik
More from this author
Cobalt Digital Targets Need for Multiple Video Feeds with openGear 9905 MPx Multi-Channel Processor Posted: 12/10/2021
Cobalt and reg; Digital Targets Need for Multiple Video Feeds with openGear and reg; 9905 MPx Multi-Channel Processor

Cobalt® Digital, an industry-leading designer and manufacturer of award-winning edge devices for live video production and master control, and a founding partner in the openGear® initiative, has answered the need for handling and processing multiple video feeds with its 9905-MPx multi-channel processor. The 9905-MPx is a next-generation advanced scaler/frame openGear synchronizer developed in direct response to customer needs for a single module that supports four independent signal paths. The card was highlighted during a press briefing held virtually on October 6th and hosted by Suzana Brady, Cobalt’s SVP Worldwide Sales & Marketing, who noted that the 9905-MPx was developed in response to customer requests for increased density, unprecedented multi-input support, and enhanced flexibility. The event also featured presentations by Dr. Ciro Noronha, EVP of Engineering, and Ryan Wallenberg, VP of Engineering. The 9905-MPx, an audio/video processor for baseband digital signals, is capable of handling up to four independent 3G signals in a single, dense, cost-effective package that provides all common broadcast processing functions without any quality compromises. The card includes individual up/down/cross conversion scalers that are specifically designed for broadcast video formats, with full ARC control suitable for conversions to/from 4:3 and 16:9 aspect ratios. The multi-path design offers discrete AES and MADI audio embedding/routing/mixing/de-embedding to any of the four processing paths. Standard 3D LUT features and available color correction accommodate SDR and HDR processing for downstream HDR systems, on a per-channel basis. The card also supports per-channel logo insertion, as well as ancillary data insertion/extraction.

Tags: Cobalt Digital | Cobalt’s 9971 | Multiviewer | openGear | 9971-MV6-4K | 9904-UDX-4K HDR | Ultra-Low Latency Mode | Encoder | 9992-ENC | BBG-1300-FR Mini openGear | 9905-MPx | Cobalt Digital’s 12G | Chris Shaw | encoders | decoders | 3G-SDI Models | RIST technology | Dr. Ciro Noronha | 9926
Submitted by Desert Moon
More from this author
EditShare Continues Expanding Its Global Business Posted: 12/10/2021
EditShare Continues Expanding Its Global Business

EditShare®, a technology leader that delivers software solutions enabling storytellers to create and manage collaborative media workflows, is once again expanding its rapidly growing business, which has recorded back to back Q2/Q3 record quarters and year over year revenue increase, to better serve its customers and channel partners with key hires in sales, sales operations, and service assurance.

Tags: EditShare
Submitted by Zazil Media Group
More from this author
Hella Mega Tour Delivered by ATEM Live Production Workflow Posted: 12/10/2021
Hella Mega Tour Delivered by ATEM Live Production Workflow

The Hella Mega Tour, a joint tour by the bands Green Day, Fall Out Boy and Weezer, used several Blackmagic Design products to produce the images for the big screens and video backdrops. The concerts took place at Major League Baseball Association's stadiums, including Wrigley Field, Fenway Park and Dodger Stadium in Los Angeles.

Tags: Blackmagic Design | Hella Mega Tour | Green Day | Fall Out Boy | Weezer
Submitted by Blackmagic Design
More from this author
Leader Announces New Features for LVB440 IP Analyzer Posted: 12/10/2021
Leader Announces New Features for LVB440 IP Analyzer

Leader Electronics announces new additions to the capabilities of its LVB440 IP analyzer. Four new features are now available as standard: LVB440-SER22 - JPEG XS SMPTE ST.2110-22 compression analysis; Closed captioning measurement; Support for 7.1 surround sound, 5.1 surround sound and mix-down to stereo pair; Rolling packet capture measurement.

Tags: Leader Instruments | video test equipment | audio test equipment | video waveform monitors | 12G waveform monitors | 12G video analyzers | IP video analysers | video noise meters | HDR test equipment | true-hybrid test equipment | Hi-Vision test equipment
Submitted by Stylus Media Communications
More from this author
Overwhelming response to FilmLight Colour Awards Posted: 12/10/2021
Overwhelming response to FilmLight Colour Awards

The first-ever FilmLight Colour Awards has received an enthusiastic welcome from professionals across the imaging industry.

While the awards programme has been initiated by FilmLight, the awards are platform-agnostic and open to users of any grading system, from juniors to veterans, independents or those representing large global facilities.

Tags: FilmLight | Colour Awards | EnergaCAMERIMAGE | Jacqueline Loran | creative | imaging | colour grading | colourist | Eben Bolter | Jet Omoshebi | Beatriz Pineda | judging | winners | global | MKM Marcomms | MKM Marketing Communications | Bradford Young | Danny Cohen
Submitted by MKM Marketing Communications
More from this author
DHD.audio Mixing Consoles Go On Air at Radio Flamingo Posted: 12/10/2021
DHD.audio Mixing Consoles Go On Air at Radio Flamingo

DHD.audio mixing consoles have been chosen for the newly launched Radio Flamingo channel operating from studios at the headquarters of Antenne Steiermark Regionalradio in Graz, Austria. The project includes a 10-fader SX2 console, two TX compact multitouch consoles and an XC2 core processor with built-in Dante audio-over-IP connectivity.

Tags: DHD.audio GmbH | digital audio studio equipment | digital audio systems | digital audio mixers | broadcast control room systems | DJ-operated radio studio systems | OB truck audio systems | audio routing and talkback matrices | audio-over-IP interfaces
Submitted by Stylus Media Communications
More from this author
ATEME Joins Google Cloud Partner Advantage Program to Promote Cloud Solutions to its Joint Customer Base Posted: 12/10/2021
ATEME Joins Google Cloud Partner Advantage Program to Promote Cloud Solutions to its Joint Customer Base

ATEME, a leader in video delivery solutions for broadcast, cable TV, DTH, IPTV and OTT, has announced it has joined the Google Cloud Partner Advantage Program. By joining the Google Cloud Partner Advantage Program, ATEME will empower the tools and technology needed to accelerate cloud deployments designed to meet customer’s business goals faster.

Tags: ATEME | Broadcast | Google | Cloud
Submitted by Whiteoaks
More from this author
Clear-Com and Ampco Flashlight Sales Give Theater-Enthusiasts New View of Internationaal Theater Amsterdam Stage Productions Posted: 12/10/2021
Clear-Com and Ampco Flashlight Sales Give Theater-Enthusiasts New  View of Internationaal Theater Amsterdam Stage Productions

Live streaming a stage production is not a new approach, but Internationaal Theater Amsterdam (ITA) is adding its own unique twist, with help from Clear-Com’®s Eclipse® HX Digital Matrix, FreeSpeak II® Digital Wireless Intercom and HelixNet® Digital Network Partyline systems, designed and supported by Dutch Clear-Com partner Ampco Flashlight Sales.

Tags: Clear-Com | Eclipse® HX Digital Matrix | FreeSpeak II® Digital Wireless Intercom | HelixNet® Digital Network Partyline systems | Live Events | Broadcast
Submitted by Bubble Agency
More from this author
IHSE USAs Focus at InfoComm Features Real-Time KVM Workflow Solutions for Remote and Local Operations Posted: 11/10/2021
IHSE USAs Focus at InfoComm Features Real-Time KVM Workflow Solutions for Remote and Local Operations

IHSE USA today announced that it will be showcasing its latest KVM (keyboard, video, and mouse) solutions in booth 3955 at InfoComm 2021, taking place Oct. 27-29 in Orlando, Florida. To meet the demand for high-resolution video in large control rooms at government and commercial facilities, the company will highlight its Draco MultiView 4K60 processor, Draco tera flex series KVM matrix systems, Draco vario ultra DisplayPort 1.1 dual-head extender, and Draco vario ultra HDMI 2.0 extenders.

Tags: IHSE USA LLC | KVM Solutions | InfoComm 2021 | KVM | HDMI 2.0 | Multiviewer 4K
Submitted by InGear
More from this author
Pages:   [1] 2 3 4 5 6 7 > >>