Issue link: https://digital.copcomm.com/i/297945
www.postmagazine.com Post • April 2014 11 RAW conversions from multiple camera types to Cineform RAW, processing every frame from the (50) cameras into a normalized mezzanine format, while maintaining a full RAW workflow for VFX and finishing," Vice describes. "We needed MXF media for editorial, viewing dailies for the studio, back ups of all RAW data, and pixel-for-pixel encodes of Cineform digital intermediate files," Rosenberg summarizes. "All the Cineform data lived at Bandito on a fast network so we had access to full-resolution material. Cineform was unique in being able to handle multiple files and frame sizes and different dimen- sions of media." "By working with CineForm files, Bandito Brothers was also able to conform high-resolution imagery for early screenings," notes Ostensen. "With initial color applied, the 2K online looked almost like a finished product. It was a highly efficient color process that set us up perfectly for final color at Technicolor." Ostensen points out that Osborne's color grading at Bandito Brothers not only made for a smooth transition when it was time for final color, but by having all dailies online in CineForm also benefitted shot pulls for marketing purposes. "Ordinarily, we'd have to request dailies, bring them back online from LTO tapes, and do a color pass," says Ostensen. "But with ever ything online at Bandito Brothers, we could get marketing pulls done with an hour's notice." By Christine Bunish Aframe enhances cloud video platform L ONDON — At NAB, Aframe (www.aframe.com) will debut a major new version of its cloud video platform. "Aframe 3.0" adds features for dramatically-increased auto- mation, convenience and control in broadcast and production workflows. As media & entertainment professionals face continued pressure to reduce costs and get content to air faster, the 3.0 release addresses longstanding inefficiencies in the con- tent creation and distribution process. With Aframe 3.0's secure private cloud, teams automatically receive files that are ready for broadcast, allowing them to skip steps, such as costly and specialized transcoding solutions. A new desktop app allows for automated content upload, saving time and hassle while accelerating media movement and trans- coding. Once installed Aframe 3.0 creates a watch folder that automatically transfers files and can be configured to automatically send files to team members. The desktop app automatically detects the best connectivity settings before sending the clips to Aframe, where it automatically transcodes them to a streamable Web proxy for preview. V.3.0's automatic transcode capabilities transcode media into a preferred house codec, including popular file types such as DNxHD, XDCAM and AVC Intra. Newly- transcoded clips can then be easily shared with people outside the project. HTML5 player support addresses mobile Internet viewing. In V.3.0, the HTML5 player ensures that pros have precision control of the edit and can make the best use of Aframe's Web proxy viewable links to files from their mobile device. New time-saving features have also been implemented. For example, admins get a mission control view that shows accounts, organizational units, projects and collections that the business uses. "At a glance" views enable easy management across large teams. Super users can run the project, assign user permissions, manage the team and delete media. More adaptable settings and granular permissions provide added peace of mind.