http://provideocoalition.com/index.php en sgentry@provideocoalition.com Copyright 2008 2008-05-12T06:25:01-08:00 http://provideocoalition.com/index.php/awilt/story/sticky/ http://provideocoalition.com/index.php/awilt/story/sticky/#When:00:21:00Z • FAA rules on lithium battery transport • Apple Pro Apps - save those updaters! • PMW-EX1: XDCAM Transfer 2.5.1 for Mac Released; fixes CLOCK-mode timecode import bug. Cameras, Editing, Post Production, Production 2008-02-25T00:21:00-08:00 http://provideocoalition.com/index.php/cmg_keyframes/story/article_archives/ http://provideocoalition.com/index.php/cmg_keyframes/story/article_archives/#When:19:05:00Z We have written numerous articles and columns for a variety magazines over the years, including our previous long-running “Motion Graphics” column in DV magazine plus currently a monthly “Tips n Tricks” article for Artbeats.com. A summary of everything we’ve written that’s still available online can be viewed here. It is our intention to move the “key” articles in this archive over to this site (ProVideo Coalition), to make sure you have reliable access to the best of these articles. Although some were written years ago, they still contain useful tips and concepts on both technology and design. As appropriate, we will update them information that has changed; also look for the “Postscript” sections that appear at the end of some of the articles. And of course, we will also be adding new articles as subjects come up. If you can’t find an article on the subject you’re interested in, let us know in a “comment” to this post and we’ll see what we can do! In the meantime, there’s always our books Creating Motion Graphics with After Effects and After Effects Apprentice. You can see summaries of these - including samples - on the books page of our website. Training 2008-02-03T19:05:00-08:00 http://provideocoalition.com/index.php/cmg_blogs/story/welcome/ http://provideocoalition.com/index.php/cmg_blogs/story/welcome/#When:16:00:00Z Welcome to the Creating Motion Graphics blog on ProVideo Coalition! We’re very happy to be here, and look forward to using this new forum to share with our fellow motion graphics artists tips and trends that we think might be useful or intriguing. We will also be posting an archive of many of our past articles and columns which contain a wealth of advice and techniques. And on occasion, we will be posting our musings on the state of the industry (such as in the rest of this entry, past the “more” jump). Business, Motion Graphics, Post Production, Production 2008-02-01T16:00:00-08:00 http://provideocoalition.com/index.php/sgentry/story/fun_with_a_mac_some_programs_and_a_music_video_do_it_again/ http://provideocoalition.com/index.php/sgentry/story/fun_with_a_mac_some_programs_and_a_music_video_do_it_again/#When:06:25:01Z Post Production 2008-05-12T06:25:01-08:00 http://provideocoalition.com/index.php/bjohnson/story/your_nle_the_most_personal_choice_you_can_make/ http://provideocoalition.com/index.php/bjohnson/story/your_nle_the_most_personal_choice_you_can_make/#When:00:31:00Z I confess:  I’m a freak.  An outcast.  A hard case.  Why?  Because I use the wrong NLE.  2008-05-11T00:31:00-08:00 http://provideocoalition.com/index.php/aadams/story/the_debut_wii_spec_spot_shot_on_red_now_online_at_pvc/ http://provideocoalition.com/index.php/aadams/story/the_debut_wii_spec_spot_shot_on_red_now_online_at_pvc/#When:18:18:00Z Here it is, finally finished. Phew! Now I know why I’m not in post production. I’ll write a blog entry on my stupid post mistakes later; for now, enjoy! Details that may be interesting to the reader: Shot 4k 2:1 Edited in 2k on Final Cut Pro Redcode 36 Color correction applied to RedLog-exported footage from RedCine, using Colorista Zeiss Ultra Primes, mostly at T2 Schneider True-Cut IR filter used on every shot except for the TV (16mm Ultra Prime saw some off-angle cyan vignetting) All shots daylight- or 4500k-balanced (the TV had to be shot under a daylight balance, for proper color, so I shot everything else daylight for consistency) except for the ceiling shot, which was done at 3200k to keep the light bulbs from going too warm There’s one shot that was done on a Lensbaby. See if you can pick it out. More soon. Cameras, Lighting, Production 2008-05-10T18:18:00-08:00 http://provideocoalition.com/index.php/rharrington/story/sweet_music_videos_from_photos/ http://provideocoalition.com/index.php/rharrington/story/sweet_music_videos_from_photos/#When:14:54:00Z Looking for something different? I discovered Animoto at this year’s SXSW conference… Load up your photos, pick a song, and within a few minutes you have a rocking music video. You can use their cleared music or load up your own. Thirty-second movies are free, full-length videos cost $3. You can get a full year’s access for $30. Here is a discount for $5 off. The whole process is a piece of cake. Be sure to check them out – here. You can post the videos to a website, download them for an iPod, or even use YouTube to share.  Here are a two more of mine that you can check out. 2008-05-10T14:54:00-08:00 http://provideocoalition.com/index.php/awilt/story/random_red_revelations/ http://provideocoalition.com/index.php/awilt/story/random_red_revelations/#When:06:25:01Z The more we work with RED ONEs, the more we learn about what they do and how to work with them, thus the following grab-bag of observations and experiences. Cameras, Production 2008-05-10T06:25:01-08:00 http://provideocoalition.com/index.php/mcurtis/story/wow_reason_to_want_to_make_movies/ http://provideocoalition.com/index.php/mcurtis/story/wow_reason_to_want_to_make_movies/#When:01:52:00Z Check out this trailer for The Fall. If the imagery doesn’t grab you at first (I saw posters on the street walking to work, and I literally stopped to gawk at the one sheet), how about “David Fincher and Spike Jonze Present.” Directed by Tarsem, known for his music video work. Wow. How gorgeous is this? In the middle of a 60+ hour work week, I watched the trailer 3 times, with co-workers, dimming the lights, waiting for the 1080p to download, and standing enthralled. I took the time during lunch to scroll through, find 20 amazing stills in it, copy/paster to Photoshop and save’em out as JPEGs so I can have them rotate out as desktops every few minutes. It is THAT good. Plus, it looks like a good story, unlike some technically proficient, but plastic spastic blockbusters opening today. Which imagery do you think will stay with you, haunt your idle reveries, more? -mike 2008-05-10T01:52:00-08:00 http://provideocoalition.com/index.php/rharrington/story/final_cut_pro_the_dividing_line/ http://provideocoalition.com/index.php/rharrington/story/final_cut_pro_the_dividing_line/#When:03:19:00Z When dragging tracks in the Timeline, where you drag is as important as what you drag. Careless dragging may result in an unintended overwrite edit when you intended an insert edit. If you look closely at the Timeline, you’ll notice that it’s divided by a thin gray line. When dragging, look to see which region you enter to determine the edit type. When dragging from the Viewer or a bin, use these tips: * Dragging to the upper-third of the track results in an insert edit. * Dragging to the lower two-thirds of the track results in an overwrite edit. Several different options are available when dragging within the Timeline. When dragging in the Timeline, use these tips: * Dragging in the Timeline horizontally results in an overwrite edit by default. * Dragging in the Timeline horizontally results in an insert or swap edit when you hold down the Option key. * Dragging in the Timeline vertically results in an overwrite edit by default. * Dragging in the Timeline vertically results in an insert edit when you press the Option key after you start to drag. * Pressing the Option key and then dragging in the Timeline vertically results in a cloned copy added to the Timeline via an insert edit. * Pressing the Option and Shift keys and then dragging in the Timeline vertically results in a cloned copy added to the Timeline directly above the clip. Like this tip? It comes from the book Final Cut Studio On the Spot from Focal Press. 2008-05-09T03:19:00-08:00 http://provideocoalition.com/index.php/rharrington/story/alpha_channels_psv/ http://provideocoalition.com/index.php/rharrington/story/alpha_channels_psv/#When:03:14:00Z Instructor Richard Harrington explains how to handle logos and give them alpha channels so they will work in a video environment. 2008-05-09T03:14:00-08:00 http://provideocoalition.com/index.php/rharrington/story/spot_color_grading_psv/ http://provideocoalition.com/index.php/rharrington/story/spot_color_grading_psv/#When:03:09:00Z Instructor Richard Harrington explains how you can create a spot color effect by working with your video clips in Photoshop CS3. 2008-05-09T03:09:00-08:00 http://provideocoalition.com/index.php/shullfish/story/jl_cooper_eclipse_panel/ http://provideocoalition.com/index.php/shullfish/story/jl_cooper_eclipse_panel/#When:19:38:00Z One of the reasons I got into this business in the first place was for the cool LCD displays, colored buttons, and various joysticks and fader bars. So it’s kind of ironic that less than 10 years in to my tenure in the kind of on-line suites that I’d always loved, I chucked the whole lot for cutting on NLEs like the Avid. No flashing lights. No cool controllers. No feeling like some highly trained fighter pilot (though how many fighter pilots have meals catered in to their “suite?"). I’ve spent most of the last 16 years working at a computer screen feeling like an accountant instead of a fighter pilot (though now, cockpits are starting to look more like computer monitors). So it was with great joy that I unpacked my recently arrived JLCooper Eclipse controller. But it was more than simply the return of the buttons and various controllers I’d fallen in love with so many years ago. It was a blessing because of the return of EFFICIENCY. That’s what external control devices give the editor and colorist. Post Production 2008-05-08T19:38:00-08:00 http://provideocoalition.com/index.php/cmg_keyframes/story/just_added_combining_tracking_and_cloning/ http://provideocoalition.com/index.php/cmg_keyframes/story/just_added_combining_tracking_and_cloning/#When:05:20:00Z The real power in using any compositing program comes in combining its tools to create something more powerful than any one hammer or screwdriver can give you. In this previous column, we show you how to combine the motion tracker in After Effects with the Clone brush in its Paint tools to help automate the removal of an unwanted, moving object in a shot. (And how do we combine those tools? Using Expressions, a third tool in After Effects.) Click here to jump straight to “A Track of the Clones” (with apologies for the terrible pun in the name). Motion Graphics, Post Production, Visual Effects 2008-05-08T05:20:00-08:00 http://provideocoalition.com/index.php/awilt/story/more_red_res_testing_the_mysteryium_resolved/ http://provideocoalition.com/index.php/awilt/story/more_red_res_testing_the_mysteryium_resolved/#When:02:27:00Z I obtained a new, 4K resolution test chart at NAB, and aimed RED ONEs running build 15 version 2.2.5 at it using four different lenses: a 50mm Super Speed, a 50mm Ultra Prime, a 18-50mm RED zoom, and a 24-290mm Optimo. Cutting to the chase: I’m pleased to report that I see detail extinction at about 3.2K, confirming the numbers RED and others have claimed. Cameras, Hardware 2008-05-08T02:27:00-08:00 http://provideocoalition.com/index.php/sgentry/story/welcom/ http://provideocoalition.com/index.php/sgentry/story/welcom/#When:00:39:00Z It has always been the goal of PVC to handpick the best writers in the industry and let them have their own channel.  Since NAB, we’ve added several new great writers; Richard Harrington, Steve Martin (who’ll be writing with Brian Gary and Mark Spencer), Terence Curren and just today, Steve Hullfish.  Each of these guys comes to PVC with a very well established background, fantastic credits and a strong history of writing for this market.  PVC launched with 7 Founders and is now up to 14 excellent writers covering many parts of the pro video marketplace.  PVC will continue to grow into those areas we aren’t yet covering and will be adding writers well versed in those disciplines.  Welcome aboard guys.  2008-05-08T00:39:00-08:00 http://provideocoalition.com/index.php/news/story/autodesk_acquires_realviz/ http://provideocoalition.com/index.php/news/story/autodesk_acquires_realviz/#When:22:46:00Z From PR Newswire, Autodesk, Inc. (Nasdaq: ADSK) today announced that it has completed the acquisition of substantially all of the assets of REALVIZ S.A., the privately held developer of image-based content creation software. Terms of the transaction were not disclosed. Autodesk intends to develop and sell REALVIZ’s Stitcher Unlimited, Stitcher Express, ImageModeler and Movimento software as standalone products. Matchmover, Retimer and VTour will no longer be available as standalone products; core technology from these REALVIZ products will be integrated into future versions of Autodesk’s existing products, enabling customers to bring the real world into design environments. 2008-05-07T22:46:00-08:00 http://provideocoalition.com/index.php/mcurtis/story/panavision_canon_videos_on_demystifying_digital_camera_specifications/ http://provideocoalition.com/index.php/mcurtis/story/panavision_canon_videos_on_demystifying_digital_camera_specifications/#When:21:11:00Z John Galt (Panavision) and Larry Thorpe (Canon), two well respected industry veterans, gave along talk at the Hollywood Post Alliance about how to really understand what is going on in digital cameras. It went over so well they revised & expanded it and did another one at Panavision, entitled Demystifying Digital Camera Specifications. This is looooooong, but HIGHLY recommended if you want to really understand what is going on. As a Red owner, I couldn’t help but notice that the press release mentioned something about “pixels aren’t resolution,” which is true, but clearly a response to the Red One’s 4K resolution. I haven’t had a chance to watch them all yet, so I can’t fairly state whether there is an agenda at work (it would be somewhat fair to presume that Panavision and Canon cameras won’t be looked on TOO unkindly), but these two guys are well known and respected, and have been doing this stuff for a long time. Chime in with comments about your take on it all - I’m prepping for a big client demo, no time to watch today… -mike 2008-05-07T21:11:00-08:00 http://provideocoalition.com/index.php/jfeeley/story/apple_posts_fcp_dropped_frames_causes_and_solutions_document/ http://provideocoalition.com/index.php/jfeeley/story/apple_posts_fcp_dropped_frames_causes_and_solutions_document/#When:16:29:00Z The web page discusses various causes of dropped frames during capture and output. Starting out with very basic information ("the hard disk cannot keep up with the video data rate or because the computer processor cannot perform all of the applied effects in time"), the document eventually covers (and links to other documents covering) how to optimize RAM and PCIe board configurations, and other issues. You can read the document here. 2008-05-07T16:29:00-08:00 http://provideocoalition.com/index.php/news/story/panavision_posts_demystifying_digital_camera_specifications_videos/ http://provideocoalition.com/index.php/news/story/panavision_posts_demystifying_digital_camera_specifications_videos/#When:16:23:00Z FOR IMMEDIATE RELEASE “DEMYSTIFYING DIGITAL CAMERA SPECIFICATIONS,” SEVEN-PART VIDEO SERIES ILLUMINATING DIGITAL IMAGING TECHNOLOGY, DEBUTS ON PANAVISION WEBSITE Panavision’s John Galt and Canon’s Larry Thorpe Make The Case for Meaningful Metrics Appropriate for The Age of Digital Movie Making May 6, 2008 - Woodland Hills, Calif. —“Demystifying Digital Camera Specifications,” a seven-part series focusing on the complex science of image resolution and digital cinema cameras is now available on the Panavision website. The URL is: http://media.panavision.com/ScreeningRoom/Screening_Room/Box_Office.html. The in-depth symposium is presented by two icons of digital cinema technology: John Galt, Panavision Senior Vice President, Advanced Digital Imaging; and Larry Thorpe, National Marketing Manager, Canon Broadcast & Communication Division. A master class for motion picture professionals and students, the series is also in the minds of its creators a precursor to a broader, crucial industry-wide discussion: the need for a scientifically valid, objective method of assessing the quality of digital and film images. Recorded in high-definition video, the symposium was held April 3 before an audience of invited guests in the Panavision Theater, located in the company’s world headquarters in Woodland Hills, Calif. Imaging resolution science: a closer look Throughout the series, Galt and Thorpe challenge the simplistic and inaccurate assumption that digital camera resolution is “all about the camera output pixels.” Instead, they help serious motion picture creators to understand the difference between optical sampling from camera imagers (where resolution is totally determined) and the camera digital sampling. They explore in depth what is meant by Modulation Transfer Function (MTF) and the compounding effect of lens MTF, camera MTF, and the MTF of subsequent production system elements. Their discussion emphasizes that the relationship between the lens-camera MTF profile and associated residual aliasing – in both the horizontal and vertical domains – constitutes the only rational metric on imaging resolution. These two criteria apply to all 2/3-inch three-imager and to 35mm single-imager digital cameras. Nyquist theory, optical prefiltering and imager sampling lattice are explained in the context of camera design criteria that seek a pragmatic compromise between high MTF and minimum aliasing. While camera manufacturers generally do not publish camera-specific information regarding lens-camera MTF and aliasing, various test charts are available to enable an objective assessment of both criteria. With these charts, fully demonstrated in the series, content developers can directly compare the performance between any two digital cameras regardless of image format size, number of imagers, or their optical sampling lattice. Using the MTF metric, Galt and Thorpe conclude, digital movie makers now have better tools to help them gauge precisely what effect each step has on the production of the final image. In addition to appearing on the Panavision website, the “Demystifying Digital Camera Specifications” series is being made available through various professional, trade and media Internet sites. For film schools, students and instructors, it is being showcased through the University Film and Video Association: http://www.ufva.org, in the news section. The UFVA is an international organization of almost 800 professionals and institutions involved in the production and study of film, video, and other media arts. Transcripts of the seminars, with embedded slides, will soon be available to accompany the video presentation to facilitate class use or individual study. “With programs like ‘Demystifying Digital Camera Specifications,’” said Bob Beitcher, President and CEO, “Panavision is trying both to educate our customers as well as raise the level of industry discussion about emerging technologies to focus on the science of what we do. I think that most everyone stands to benefit from a good look-and-listen at this stimulating presentation from two true experts.” About the company Founded in 1954, Panavision Inc. is a leading designer and manufacturer of high-precision camera systems, comprising of film and digital cameras, lenses and accessories for the motion picture and television industries. Panavision systems are rented through its domestic and international owned and operated facilities and distributor network. Panavision also supplies lighting, grip and crane equipment for use by motion picture and television productions. 2008-05-07T16:23:00-08:00 http://provideocoalition.com/index.php/news/story/adobe_future/ http://provideocoalition.com/index.php/news/story/adobe_future/#When:02:47:00Z Adobe showed some awesome stuff at NAB. My favorite was a future version of Premiere that transcribes your footage, then makes the transcription searchable for both editing and publishing to the web. 2008-05-07T02:47:00-08:00 http://provideocoalition.com/index.php/rharrington/story/adobe_tv_cs3_extended/ http://provideocoalition.com/index.php/rharrington/story/adobe_tv_cs3_extended/#When:02:44:00Z Want 30 minutes of free training on Adobe Photoshop CS3? Adobe had me in their theater at NAB giving lessons. Here’s a recording from one of the days so you can see what was taught. Looking for more training? 2008-05-07T02:44:00-08:00 http://provideocoalition.com/index.php/rharrington/story/boda_dry/ http://provideocoalition.com/index.php/rharrington/story/boda_dry/#When:02:33:00Z At the recent Photoshop World conference, I picked up a new camera bag. This one is a lens bag, and is designed to condense your camera bag into a few lenses and essential gear. Be sure to check out the BODA Dry (a ton of the Photoshop World instructors and staff picked up on this). Here’s what’s cool. The bag hold 4+ lenses (including long lenses) It’s very comfortable with both a shoulder and a waist strap (I find the shoulder strap more comfortable, but the waist strap fits well and has hip pads like a backpackers pack). The product looks durable with waterproof bullistic cordura and even a very tight zipper to keep rain out. It has a media card wallet, lens changing pouch, and even business card case. The gear is designed to be used with one hand (and the thoughtful construction shows). I used the bag while hiking around Red Rock (outside Las Vegas) and it was a true joy. Very comfortable and very easy to use… I still love my Kata bag for lugging the gear, but when I trim down to go mobile… this one is great.  2008-05-07T02:33:00-08:00 http://provideocoalition.com/index.php/rharrington/story/101_uap/ http://provideocoalition.com/index.php/rharrington/story/101_uap/#When:02:28:00Z Instructor Richard Harrington shows you how to “steal the sunset,” or use Photoshop to take the colors of one sunset and map it to another image. Like the podcast?  Subscribe for FREE. Want more training?  Check out our Books. 2008-05-07T02:28:00-08:00 http://provideocoalition.com/index.php/mchristiansen/story/10_1_reasons_scarlet_changes_the_game_in_2009/ http://provideocoalition.com/index.php/mchristiansen/story/10_1_reasons_scarlet_changes_the_game_in_2009/#When:01:57:00Z RED will not debut Scarlet, its entry-level camera, until early next year, which means that those who are already hype-weary with all things RED are already moving on to a different part of the site. Nontheless, there are solid reasons that Scarlet will change the entire landscape of low-budget digital video, assuming RED can get enough of them into the hands of the public (more about that at the end). Scarlet’s impact will be somewhere between that of the Canon 10D when it debuted and that of the iPhone. Here’s why. 1) 3K native sensor. It’s easy to lose sight of how major a step forward 3,000 pixels of horizontal resolution is for a digital video camera when that camera is debuted alongside an existing 4K camera and a 5K camera due at the same time. So let’s try this with the hype language used by the digital still camera manufacturers: 8.5 megapixels. Per frame. And this is not cheating by calling a 1280 native sensor HD (yes I’m talking to you, HVX-200). 3k means you could cut this image down 35% to HD. You could sneak it onto an IMAX screen without anyone seeing pixilation. It will be years before Sony or Panasonic have anything like this at the price. Speaking of which… 2) Under $3K price. The per-pixel price of this camera is approximately 1/10 that of the original RED when you consider that a full kit to operate a RED camera is roughly $40K. Just as RED (the company) is offering a free trade-in to upgrade to the 5K Epic, they could offer a free downgrade to everyone who bought into RED on the cool factor but actually wanted something that would shoot without a full lens kit and scads of dedicated storage. I bet someone would take them up on it. 3)Framerates up to 100 fps (180 fps burst). Day of show, Mike Curtis reported here that Scarlet would do a burst up to 120 frames per second, but later that same day Ted Schilowitz of RED was on record saying that a 180fps burst would likely be possible with the CF cards that will be available in 2009. Again, you can compare it to the marginally faster Epic and be underwhelmed, or you can compare it to the original RED (60 fps burst, 1/3 the throughput) or anything else out there (prosumers burst at way, way smaller resolution) and be properly blown away. 4) Redcode RAW. I mentioned above that RED could call this an 8.5 megapixel camera. The fact that this camera records RAW data means - think about this - you are recording 24 (or 60, or 120) RAW digital stills per second. The soccer mom can choose a digital SLR starting at a few hundred dollars and a digital video camera in the low 4 figures that heavily compresses HD to tape or a P2 card, or for the same money, use one camera that does both, better. That’s only one example of someone who won’t bat an eyelash about a fixed lens. 5) RGB output. Scarlet is depicted with an HDMI port and Schilowitz indicated that it will generate RGB images - whether to the card or only as output, we shall see. 6) No kit required. Not shown on the prototype is audio (either a mic or input, both of which will be on the camera according to Schilowitz). It has an LCD. 7) Fixed lens custom-designed for the Mysterium sensor. We’ve come to expect a built-in lens to be a plastic Zeiss or some other inferior, non-depth-of-field capable point-and shoot type of thing, but RED Digital Cinema has its roots in optics and this is the one place they are least likely to cut corners, even at the price. And considering how many great images have been created with plastic lenses simply because the camera was more available and the operator knew how to get the most out of it - for those who aren’t DP’s invested in lens kits, enough said. Except… 8) Customization. There’s more to the story than 6 and 7. Scarlet will work when mom pulls it out of the box, but as this video also shows, it can be kitted out rather extensively and includes intriguing hacker options such as “wifi control.” All RED accessories (other than custom lenses) work with Scarlet. 9) Multi-function operation. That ball-shaped thing on the back of the camera is an as-yet-to-be-designed multifunction device for zoom, focus and who knows what else (the prototype shows an intriguing “undo” label). 10) Fearless market position. RED, it should be noted, was not located with any of the other camera companies at NAB; it was in the lower south hall with the software post-production companies, an appropriate place for “the post-production camera.” How on earth will Panasonic, Sony and the others respond to a $3k 3k camera? Get your snow shovel ready for next winter. 10+1) Apple partnership. The question came up, how will a tiny company like RED reach their goal of getting it “in as many hands as possible”? The answer, and you heard it here first (with absolutly no hint of confirmation from anyone at RED - speculation only for the bonus point): the Apple Store. Two companies dedicated to changing the game of entire industries; it’s a match made in California. 2008-05-07T01:57:00-08:00 http://provideocoalition.com/index.php/news/story/nin_the_times_are_changing/ http://provideocoalition.com/index.php/news/story/nin_the_times_are_changing/#When:01:44:00Z One of the first bands I fell in love with during college was Nine Inch Nails (actually back then, it wasn’t a band).  The seminal record, Pretty Hate Machine was a mash-up of Prince Samples and Orchestral Scores from Stephen King and Clive Barker films (along with many other sounds).  Since then Trent Reznor has continued to evolve/ Yesterday they‘ve released The Slip—a new 10-track album—for free on http://theslip.nin.com/.  The record is available in virtually every flavor of DRM-free digital format, all you need to do is give them your email address.  The album will eventually be available in traditional formats as well.  This move mirrors those of both Radiohead and Prince. Available in several DRM-free formats, the record will be released on CD and vinyl in July. “Thank you for your continued and loyal support over the years,” Reznor wrote. “This one’s on me.” 2008-05-07T01:44:00-08:00 http://provideocoalition.com/index.php/cmg_blogs/story/the_myth_of_1/ http://provideocoalition.com/index.php/cmg_blogs/story/the_myth_of_1/#When:19:21:00Z There are many variations on this common trap, but the general outline goes like this: Someone hears a report about how much money there is being made in a market segment, such as podcasts or movie trailers or renting out RED One cameras. They then theorize that if they could capture just some small percentage of that market - say, 1% - that they would be rich. And thus, a business plan is born! After all, who can’t capture at least 1% of a given market?!? Business, Distribution 2008-05-06T19:21:00-08:00 http://provideocoalition.com/index.php/news/story/boxx_releases_next_generation_special_edition_3dboxx/ http://provideocoalition.com/index.php/news/story/boxx_releases_next_generation_special_edition_3dboxx/#When:15:25:00Z BOXX Technologies Inc., an innovator in high-performance computing systems for visual effects (VFX) and design professionals, today released a Special Edition 3DBOXX workstation that delivers unmatched dual- processor workstation performance by maximizing the power of two Intel Core 2 Extreme processors. Benchmarks computed by BOXX Labs indicate 23.2 percent more performance on Cinebench 10 for the Special Edition compared to the world-record setting 3DBOXX 8400SE.* The Special Edition 3DBOXX is designed specifically for digital artists who push the limits of dual-processor architectures because of the frequency at which they perform compute-intensive tasks. 

“Once again, BOXX Labs has demonstrated its ability to deliver jaw-dropping performance in a dual-processor workstation, this time by seizing a unique opportunity to optimize the processing power of two Intel Core 2 Extreme processors. The latest Special Edition 3DBOXX remains cool and quiet thanks to a unique, high efficiency liquid cooling solution,” said Francois Wolf, director of marketing at BOXX Technologies. 

Digital artists who are frequently called upon to create complex effects such as simulated water, rain, or fog will find this new Special Edition perfect for frequent rendering. Other effects such as the simulation of hair or fur, or muscle and skin behavior, also require the highest performance in order to maintain a fluid level of interactivity between the artist or designer and the software. The new Special Edition 3DBOXX provides the best possible performance level within the 3DBOXX enclosure. 

"The performance and energy efficiency of Intel’s Core 2 Extreme processor has provided BOXX the ideal computing platform for its Special Edition 3DBOXX workstation with the power for special applications used in animation, visual special effects and design,” said Boyd Davis, general manager of Intel’s Server Products Group Marketing. 

Pricing and Availability
Base configurations for the Special Edition start at $7,722 or a low monthly lease of $256.37 Hardware 2008-05-06T15:25:00-08:00 http://provideocoalition.com/index.php/news/story/avid_intros_next_gen_raid_solutions/ http://provideocoalition.com/index.php/news/story/avid_intros_next_gen_raid_solutions/#When:15:46:00Z TEWKSBURY, Mass., May 5, 2008 - Avid Technology, Inc. (Nasdaq: AVID) today announced the next-generation of its high-performance storage disk arrays - Avid VideoRAID ST and Avid VideoRAID SR solutions - which combine real-time performance, cost-effective SATA (Serial Advanced Technology Attachment) drive technology, and the security of fail-safe data protection in the event of a disk drive failure. Unlike other RAID solutions that may be unusable during a drive rebuild, Avid VideoRAID solutions help customers keep up with the fast pace of digital content creation by maintaining full performance and data protection, while rebuilding the drives in the background. Customers will also be able to take advantage of real-time playback of up to two streams of uncompressed HD on as few as eight Avid VideoRAID drives. Additionally, Avid is offering all new VideoRAID ST and SR customers a three-year warranty on drive mechanisms and enclosures and will provide advanced exchange of replacement parts to customers at no additional cost.  2008-05-05T15:46:00-08:00 http://provideocoalition.com/index.php/cmg_blogs/story/multithreaded_information/ http://provideocoalition.com/index.php/cmg_blogs/story/multithreaded_information/#When:20:05:00Z (At the end of an old article we recently posted to our Keyframes channel about creating graphics for the NBC AstroVision sign in Time Square, we mused about the ways networks are trying to take advantage of new media to connect better with their audiences and create more brand loyalty. Even thought it was originally written ten years ago, it still resonates today. I thought I would drag it out here for your weekend musing, in case you missed it over in CMG Keyframes.) One of the original attractions of “multimedia” was the ability to provide additional details and background information about a subject without forcing interruptions in the linear unraveling of the central narrative (as I do here with my frequent parenthetical asides). Examples of this include allowing the user to click on hot words or photos in a CD-ROM application (do any of you still remember those?) or on a web page to take you to another page with tangential content, or attempts to present multiple media streams at once - such as text, photos, and sound - to give a wider gestalt to the story. So where does established, linear, big media - i.e. broadcast television - fit into this picture? Although the economics are different, many of the same goals applied, even ten years ago: You have a linear central story (the program), but other details you could provide...even something as simple as outtakes from filming the program, or background on the stars. Fan magazines, newsgroups, web sites, and even TV Guide help fill this roll. NBC, in their own way, started doing the same back in the late 90s. For example, their “NBC2000” group was one of the first to put the alternate screen boxes at the end of television shows, sometimes containing outtakes or promos of other programs. With their AstroVision sign, they went further. Initially, NBC tried “repurposing” their existing TV promos onto the sign. However, as many multimedia producers also found out back then, you can’t always take a message from one medium to another and expect it to hold up. In this case, the lack of sound, as well as the differences in attention span between someone at home and someone in Times Square (or Epcot Center, or sporting events, where they also play these promos), rendered the original promos less effective than they were on TV. In response, NBC started designing alternate content for the sign - such as trivia puzzles, word games, and factoids about their stars. Each one is then followed by a few seconds of the program the star appears on, along with the name of the show, television network, and night it plays. It ain’t exactly a hot link, but it does give you the pointer you need to follow up on a thread you might have found interesting. And if you’re already a fan, if gives you some additional background information to widen your experience of the show. It wasn’t the “grand convergence” many preached about back in the 90s (or even today), but neither was it a bad idea - especially for the time. I know it is still popular to say the medium is the message, but perhaps some of us would be better served by focusing more on the message, and then figuring out how to use the mediums at our disposal to better disseminate it. Business, Motion Graphics 2008-05-03T20:05:00-08:00