RED GIANT the software company that produces plugins for Adobe, Final Cut and Da Vinci editing platforms, has released the latest version of their ‘Universe’ software.
Red Giant are responsible for other editing plugins such as ‘Magic Bullet Looks’, ‘Trapcode Particular’ and ‘Knoll Light Factory’. The release of ‘Universe 1.3 ‘ is the latest update to the visual effects solution for Adobe After Effects and Premiere Pro, Apple Final Cut Pro X and Motion, Sony Vegas and Blackmagic’s DaVinci Resolve.
Now feasturing 81 different preset effects, version 1.3 features 13 new tools, seven of which are plugins from developer CrumplePop. The new update also adds support for Blackmagic DaVinci Resolve, along with several updates to existing effects.
Aharon Rabinowitz, Red Giant’s head of marketing had this to say about the latest roll-out of ‘Universe’. “The Universe 1.3 update is full of some truly awesome stuff, including tools from CrumplePop, which were never before available outside of Final Cut. This update also features the all-new, highly realistic VHS effect, and support for a new host app: DaVinci Resolve. Resolve users have been asking us to bring tools like Knoll Light Factory EZ, Holomatrix and Retrograde into their app of choice, and today we’re excited to make that happen.”
For more information on the release and for a comprehensive lists of features and effects in ‘Universe 1.3’ please visit the Red Giant website at www.RedGiant.com
We’ve been very busy here at All Ablaze Productions over the last few months, working with a number of very large National, International, and Blue Chip Companies from across the UK and Europe.
So, we’ve added a couple of recent examples to our Corporate/Web Videos Album on Vimeo. Take a look at them using the link (below) or by clicking on the ‘Vimeo’ Icon on the Sidebar and Navigating to ‘ALBUMS’
Sony has revealed new wireless connectivity for their line of camcorders.
The CBK-WA100 is designed to make news and production workflows easier by process of transmitting content over a wireless network.
The all new CBK-WA100 can directly connect to the camera and allows XAVC proxy files to be created and then saved on an SD card in the adapter. It can then upload the proxy content and the original high-resolution content to a broadcast station, on premise server or to a cloud computing environment.
By using Wi-Fi connectivity it means that tablets or smartphones are able to connect or interface with the CBK-WA100, with control provided by Sony’s Content Browser Mobile application.
The adapter is compatible with Sony’s full line of XDCAM Memory camcorders and field gear; such as PMW-500/400/300/200/150/160/50 models.
It also works with slightly older Sony Cameras that have an HD-SDI output such as the PDW-F800/700/680 and XDCAM EX models.
Sony has also released a version (model CBK-WA101) especially for the latest PMW-400 shoulder-mount camcorder that enables one-action attachment and detachment of the adapter.
The new wireless adapter, CBK-WA100, is planned to be available in October, with model CBK-WA101 coming shortly after in November.
The latest AAP official music video, for singer/songwriter ROSE REDD’s latest single ‘Perfectly Useless’ has gone live over the weekend on the Rose Redd YouTube channel! This is her debut music video and was Directed and Edited by All Ablaze’s own Producer/Director Evan Fice and shot by Cinematographer and long time cohort Ste JG Smith.
Great news for anyone involved in the Creative Industries within the UK, as Creative Skillset has today announced a new £32m Skills Investment Fund to support creative growth.
The new fund from SKILLSET is aimed at addressing skills gaps and shortages in the growth sectors of film, animation, high-end TV, games and VFX within the UK. Industry co-investment to meet identified priority skills needs will be matched by the Treasury of up to £16m over two years. For every £1 invested by the UK industry, Creative Skillset says it will match £1 from the Fund, leading to a total of £32m for potential investment.
The fund itself will invest in a range of new and exciting initiatives, from new entrant training to continuous development for professionals already working within in the industry. Some of these floated could include boot-camps and apprenticeships, subsidised training schemes, short courses and shadowing and mentoring programmes.
The film, high-end TV and animation sectors will contribute to Skillset’s fund through production levies and other co-investment.
Here at All Ablaze Productions, we think this is some of the best news we’ve heard from the government since the axing of regional screen agencies, and closing the future jobs scheme in 2011, and we are very excited for some of the opportunities that lie ahead!
The Tiffen Company have recently announced that inventor of the ‘STEADICAM’ Garret Brown, will be inducted into the National Inventor’s Hall of Fame later this year.
Introduced in 1975, the technology behind the Steadicam camera stabilization revolutionized the film industry by giving cinematographers and videographers the chance to capture lengthy motion shots without the shakiness of handheld cameras or using cumbersome tracks and dollies. Brown’s invention, originally called the ‘Brown Stabiliser’ was immediately used to create iconic running and chase scenes in 1976 blockbusters “Bound for Glory”, “Marathon Man” and “Rocky”.
Brought under the Tiffen Company’s banner in the year 2000, the Steadicam has been helping filmmakers and videographers alike capture superb motion shots for over three and a half decades, and with Tiffen’s product development, the Steadicam has since continued to shape the industry with supporting a wide selection of camera rigs ranging from those for feature film and 3D shoots to the latest hand-held Steadicam Smoothee and Curve which bring that same camera stabilisation technology to the iPhone and GoPro.
Brown had this to say in 1975 about his revolutionary cinema product “We sort of have a stabilizer in our heads, if you think about it. You’re not conscious of yourself lurching side to side when you walk, or rising and falling. The brain just smooths it all out for you. So why should it look worse when you pick up a camera and try to walk? That’s what sort of lured me on back then.” The now legendary story goes, that Brown first tested the Steadicam by filming his girlfriend at the time running up the steps at Philadelphia Art Museum, then only a few months after showing “Rocky” director John Avildsen the shot, he was following Sylvester Stallone up the very same steps for the now infamous ‘training’ montage.
Since that time, Brown has shot nearly 100 films using his camera stabilizer, including “The Shining” and “Return of the Jedi.” Today, anyone who watches movies or television has more than likely watched a scene that was only possible because of Garrett Brown’s Steadicam innovation.
Editing software company RED GIANT have announced that a Beta version of their long awaited software ‘BULLETPROOF’ will be released to the public online at no cost.
BulletProof is a complete media prep and delivery solution for footage that simplifies the tedious tasks facing filmmakers every day on set. BulletProof is set to bridge the widening gap between camera operator and editor by combining all backup, organization, color and delivery tasks while handling footage from multiple cameras and media cards and sources. Whether you are shooting with a Canon DSLR, Nikon DSLR or GoPro sports cam, filmmakers, videographers and data wranglers can now quickly and easily transform their capture into edit-ready footage.
Andrew Little, President and co-founder of RED GIANT had this to say about ‘Bulletproof’ “Since the release of the DSLR camera and the rise of file-based video capture, the need for a better media prep solution has become obvious – as our team has discovered from our own film projects. Tapping into what we’ve learned over the last decade of building tools for filmmakers, like Magic Bullet, we designed and built BulletProof, which we believe is the most affordable, complete solution that bridges the gap between the camera and the editor.” In regards to the Beta version announcement by RED GIANT yesterday, Little also had this to add, “…And the feedback since the announcement is telling; the feature set is really resonating with filmmaker needs. Moving forward, we are collecting customer feedback and aggressively adding the features, camera support and workflow
capabilities they’re looking for to further enhance the product”.
During the public beta program, RED GIANT have have said they will continue aggressive product development, adding features, new camera support and gathering customer feedback to further enhance ‘Bulletproof’ as a stand alone piece of software.
EVS, Broadcast Industry supplier of live video production systems, trialled its XT3-LSM system for the first ever live 4K replays during the recent Champions League semi-final between Bayern Munich and FC Barcelona.
This trial follows on from the success of an initial live 4K trial for outside broadcast production company Kyodo Television in Japan, as well as private 4K demos which were held at NAB2013. Outside Broadcast (OB) company TopVision turned to EVS to run a live 4K test for replays to run alongside their live HD live broadcast. A Sony F55 camera was tied electronically to an EVS XT3 server and an AJA Corvid that allowed operators to zoom into the picture and replay segments in slow motion. As the XT3 was designed to be future proof and was built with flexible configuration in mind, it allows bandwidth and storage capacity to be tailored to suit the application and the user.
For the recent Champions League match in Munich the XT3 4K solution was configured as a one-in, one-out system. This enabled continuous recording while providing random access replays to of any 4K content on the server simultaneously. However, EVS
are also working on a solution to utilise and harness the data of up to three 4K channels on one XT3, either two would be recording and one replaying or one recording and two for replays.
Luc Doneux, head of EVS’s SVP Sports division, ad this to say “Replays from alternative camera angles, slow motion and close ups that capture every detail are now something that sports fans expect their broadcaster to provide and this will remain a vital requirement for 4K and beyond.”