Issue link: https://digital.copcomm.com/i/33055
SDI up to 10km. Hi5-Fiber is priced at $695, whereas the FiDO T-ST, R-ST, T-SC, and R-SC Mini-Convert- ers are $445 each. AJA also released KONA 3G Version 9.0 driver software with a 4K Mode, which supports true 4K playout and monitoring. AJA also previewed its Thunderbolt multi-format I/O technol- ogy for new high-frame- rate 3D, 2K, 4K, and 5K workflows. AJA launched FS2, priced at $4995, for a variety of video and audio signal conversion, adaptation, timing, and processing applications. A universal frame synchronizer and converter in a compact 1RU design, FS2 has two independent channels that can be used separately or together and support virtually any input or output. In other news, AJA’s Ki Pro Mini, which snaps onto the back of the camera using the AJA Mini Mounting Plate with a standard V-Lock adapter, is the first recommended Apple ProRes solution for the new RED Epic camera. AJA Video Systems; www.aja.com INPUT DEVICES Step up to the Blackboard FilmLight launched Blackboard 2, a new control surface for its Baselight color-grad- ing system designed to transform high-end finishing for feature films, television, and advertising. Blackboard 2 enables color- ists to perform complex functions with a single keystroke, given that its keys are soft programmable and labeled from below with back projection that changes as the functions change. In this way, Blackboard 2 can accommodate future functionality and individual preferences without the need for redesign. Blackboard 2 also features configurable haptic controls and four high-resolution screens that provide the user with live, in-context feedback about complex grading functions. FilmLight plans to begin shipping Blackboard 2 in the summer. FilmLight; www.filmlight.ltd.uk 28 May 2011 Interactive Pen Displays Wacom showcased its DTU-2231 interac- tive pen display for digital content creation, video editing, broadcast, presentation, teaching, and telestration. The widescreen, high-definition DTU-2231 integrates with popular applications, such as Microsoft PowerPoint. The new hardware and soft- ware system combines natural, pen-on- screen capabilities with a new precon- figured radial menu option, delivering annotation and mark-up capabilities. The DTU-2231 sports a 21.5-inch, 16:9 wide- screen LCD with full-HD (1920x1080) resolution and Wacom’s patented cord- less, battery-free pen technology. The new pen display is now available for $1899. Wacom Technology; www.wacom.com WIN MAC DATA STORAGE EditShare Enhancements EditShare enhanced its data storage infrastructure with new features, such as Avid and Final Cut Pro project sharing, to optimize collaboration for postproduction, digital intermediate, and broadcast produc- tion workflows. New capabilities include: simplified media space management, support for solid-state drives and dual-port 10-gig cards, a streamlined user interface, 6G bit/sec performance for all drives, 10G bit bonding, and support for Avid DS. The company’s Flow production asset-manage- ment solution is upgraded with support for AVC-Intra (SDI and File Ingest), ProRes in Flow Scan, and metadata for NLEs. EditShare Geevs, for broadcast ingest and playout, boasts a new user interface and a sports application with multichannel, synchronized recording and playback for up to 16 cameras, including instant playout and slow-motion replay. The new version, Geevs 5.0, adds support for the popular Avid DNxHD and ProRes postproduction formats, enabling integration with Avid and Final Cut Pro editing workgroups and enhancing media migration. EditShare also demonstrated the phase one release from the Lightworks Open Source large-scale development initiative for a nonlinear editing (NLE) platform. EditShare; www.editshare.com Editor’sNote continued from page 2 ber that traditional 2D cinema is the art of 3D-to-2D conversion, and directors of photography are some of the world’s experts in seeing the world as a flat art. This is not the best starting point for 3D filmmaking. It may take a while. Are there any types of films that do not lend themselves well to stereo 3D? I suppose the question should re- ally be: Are there any types of stories that do not lend themselves to 3D? To that I would say ‘no,’ because you can tell a story in many different ways suitable for a campfire, radio, stage, cinema, or so forth. 3D provides the perception of depth. To make a good 3D movie, you must tell a story in a way that uses inter- esting depth alongside and in sync with all our other movie dials of sound, color, editing, acting…. What are the key aspects to achieving a successful stereo 3D film? Think spatially. Stop closing one eye when you think of composition. In prac- tical terms, on a production, the answer is to force everyone—yes, force—to look at the work in 3D. It’s the only way to see the opportunities and understand the limits. The more you look, the more you learn. If you want to become a sculptor, you have to work in clay. You can’t keep painting the subject and expect a sculp- ture to appear out of nothing. Are we seeing better stereo films now than we did two years ago, or are most people still just getting the hang of it? In general, live action is still getting started and has a long way to catch up with the CG world. But it is exciting to see a more diverse range going into pro- duction. The audience is getting an edu- cation, as well. It is still very early days. The more movies that are made, the bet- ter we all become. As an audience member, I want to go and see something that makes me think, or dream, or be scared, or fall in love. Many types of storytelling can do that. 3D can greatly enhance it. n