W&W Communications Introduces Low-latency H.264 Architecture

"W&W Communications announced today its ultra high-performance, high channel-density, low-latency and low-power Taos architecture for the H.264/MPEG-4 AVC (Part 10) video-coding standard. The Taos architecture is specifically optimized for video surveillance, two-way video communications and wireless video network applications, where very high channel densities, high performance, low latency and power efficiency are critical requirements.

Taos shatters through the H.264 performance barrier by being the first to enable encoding of 1920x1088 resolution video at full 60 frames per second in single chip implementations. It is also the first to smash through the channel-density barrier for H.264 with 8 simultaneous encode channels in D1 resolution at full 30 frames per second. In addition to providing superior performance and image quality it is the first to achieve near-zero end-to-end encode-decode latency, a significant ability for the rapidly growing latency-sensitive focused markets.

Taos has end-to-end encode-decode latency of less than 2ms. This unprecedented "zero" latency is crucial for video conferencing, telepresence and video telephony applications, wireless video distribution networks, where channel flipping, navigation and gaming requires instant feedback and for automated video surveillance systems where a facility needs to be secured immediately upon intruder detection.

Taos delivers the same video quality at roughly half the bit rates of MPEG-2. Other features include a flexible encoder toolset with in-loop de-blocking filter, single-pass bit rate control, content-adaptive noise filtering, programmable cost functions for motion vector and prediction mode coding, efficient search algorithms, large search area, 1/2 and 1/4 pixel motion estimation interpolation and error resiliency and concealment. Next to Baseline Profile, Taos ads support for Main and High

The first products based on the Taos architecture are scheduled for sampling in Q3-Q4 2007."

Source

Intelligent Gadgets Announces Immediate Availability of syncVUEpro

"Intelligent Gadgets has announced the immediate availability of syncVUEpro - a new and significantly enhanced version of its flagship Skype-based media review and approval tool.

Building on the powerful collaborative media sharing capabilities of syncVUE, syncVUEpro adds key capabilities such as the ability to review online QuickTime media, Intelligent Playlists, FTP support, voice notations and a graphics layer.

syncVUEpro adds innovative new collaborative enhancements, including:
- Synched Online Video Access: syncVUEpro adds the ability to view and collaborate with perfectly synched online video directly from the Web, eliminating the need to forward or FTP media files to all participants. Simply enter the URL location to the media file and all participants in the session can immediately begin to watch and review the movie.

- Graphics Layer: Draw, make notes or annotations directly to the shared media for all participants to see (and add to) in real time.

- Voice Notes: Record audio notes to add comments, recommendations or ideas to recall later or share with a colleague not in the session at a later date.

- Intelligent Playlists: A new versatile database enables users to track all assets (media files) wherever they may reside; on a server, local or networked drive, or on the web.

- Built-in Automatic FTP Synching: New built-in FTP function allows media within a project to be automatically uploaded to multiple FTP locations. Clients running syncVUEpro can receive media files as they become available - keeping everyone in the project in-sync at all times.

- Storyboard HTML Export: Printed video frames with graphics, titles, notes and timecode can be exported as HTML files for viewing locally or on the web.

syncVUEpro is available immediately with prices starting at US$199.95 for a single-seat license. Volume discounts are available.

Source

Harmonic Agrees to Acquire Rhozet

"Harmonic has entered into a definitive agreement to acquire Rhozet Corporation, a privately-held company based in Santa Clara, California.

Rhozet offers software-based universal transcoding solutions that facilitate the creation of multi-format video for Internet, mobile and broadcast applications.

The addition of Rhozet's software transcoding technology is expected to enable Harmonic's existing broadcast, cable, satellite, and telco customers to seamlessly create and deliver high quality Internet and mobile video programming. It is also expected to expand Harmonic's presence into the online video service provisioning market, where Rhozet's transcoding solutions are today in use by leading Web video content providers including Amazon.com, MSN and Yahoo!.

The $15.5 million dollar purchase price is comprised of cash and the value of approximately 1.1 million shares of Harmonic stock, as set forth in the definitive agreement. The acquisition is subject to customary closing conditions and is anticipated to close by the end of July 2007. Excluding charges for the amortization of intangibles, the transaction is expected to be neutral to Harmonic's earnings per share for the second half of 2007.

The Rhozet product line includes Carbon Coder, a stand-alone software transcoding application, and Carbon Server, an enterprise-level distributed transcoding management application. This highly scalable solution is designed to allow users to start with a single system that can be expanded to a large transcoding server farm, and includes features such as load balancing and failover protection for maximum reliability.

Rhozet's solutions have been deployed by more than 100 customers including Amazon.com, Ascent Media, BT, CBS, Channel 10 Israel, Detroit Public Television, Entertainment Television, ESPN, MSN, MTV Networks, News Broadcasting Japan, ProSieiben.Sat1, Sony, Technicolor, Telekom Austria, The FeedRoom, thePlatform, The Weather Channel, TVAzteca, and Yahoo!."

Source

Philips introduces the BlueBox: bringing existing 2D video alive in 3D

"Philips 3D Solutions is introducing the BlueBox, a service suite of advanced 3D content creation tools that converts 2D video content to 3D.

The first major 3D content creation service on the BlueBox is the WOWvx Spacer. This empowers content creators by enabling efficient (semi-automatic) and high quality offline conversion of existing 2D video content to the 2D-plus-Depth format, used in the Philips WOWvx 3D Displays. Philips 3D Solutions will further enhance BlueBox's capabilities by adding new 3D content creation services over time.

Content creators will now be able to produce 3D content much more quickly, at lower cost and in unprecedented high 3D quality. The easy-to-use tools allow designers to profit from their creativity in content creation by automating a large part of the work with no compromise in high quality standards. Using the Philips 3D tools enables designers to convert their own content within their own premises, saving a lot of time.

The Commercial Release of the BlueBox will be end of Q3 2007."

Source

MPEG-4 aacPlus Confirmed Clear Winner in EBU Multi-Channel Listening Test

"Coding Technologies, the leading provider of audio compression for digital broadcasting, mobile media, and the Internet, today announced that the EBU (European Broadcasting Union) has chosen its MPEG-4 aacPlus audio codec as a clear winner in a recent multi-channel audio test. The EBU found that the codec is the only one capable of delivering superior surround audio across a wide range of bit rates; all broadcasting applications, including mobile, SD (Standard Definition), and HD (High Definition) TV. This is Coding Technologies’ second listening test victory with the highly regarded EBU. In a previous 2003 stereo comparison, aacPlus outperformed each and every other codec in the test field.

The multi-channel audio system and quality evaluation test carried out by EBU is a stringent, independently run blind listening test which compares the audio quality and performance of audio codecs across the market place.

The listening test determined that aacPlus, at bit rates between 128 and 192 kbps, outperformed all other surround sound codecs in terms of efficiency, while scoring overall audio quality results in the ‘excellent’ range. This remarkable level of audio quality was only reached by its competitors while operating at twice the bit rate and above. Additionally, a corresponding workshop held by the EBU revealed that aacPlus multi-channel audio encoding is now fully capable of handling and utilising Dolby metadata.

Coding Technologies’ aacPlus codec represents a breakthrough in audio compression efficiency that delivers high fidelity stereo and multi-channel audio at far lower bit rates than previously thought possible. Broadcasters deploying aacPlus achieve extremely high quality audio while gaining considerable reductions in bandwidth requirements. For example, HD broadcasters can deliver crystal clear 5.1 surround sound in as little as 160 kbps while SD broadcasters can deliver excellent quality stereo at 48 kbps.

aacPlus is an MPEG-4 standardised audio codec. It is the combination of the industry standards AAC (Advanced Audio Coding) and Coding Technologies’ SBR (Spectral Band Replication) and PS (parametric Stereo) compression methods."

Source

Teresis Launches Online Version of Asset Management Technology

Teresis Media Management, the developer of the first and only complete video production asset management solution, today announced the launch of an online version of its software. Teresis Online harnesses the full power and benefits of Teresis technology in a "software as a service" business model, making it more affordable and accessible to a wide variety of customers from the independent film producer to the largest entertainment production companies.

Aiming to alleviate much of this strain on production companies, Teresis Online offers a unique opportunity for producers to cut budgets and significantly reduce post-production time while raising the quality of the final product. Leveraging the convenience of the Internet, Teresis Online delivers all of the features and benefits of the Teresis software – the first platform to enable productions companies to repurpose their existing content and develop original content for new emerging markets such as the internet, cell phones, and VOD. Teresis Online is the industry's first and only complete production asset management system that is entirely browser and Internet based. It is also the first to integrate outsourced transcription services (through a partnership with Terescription) and the first to support Avid and Final Cut Pro editing software.

Additional features and benefits include the ability to:

- Edit video online
- Digitize multiple tapes at once and repurpose media for editing in Avid or Final Cut Pro
- Print labels and manage master tape vault
- Log and transcribe 50 percent faster
- View dailies with hyperlinked scenes and takes
- Search and annotate with hyperlinked time codes to media
- Create two-column scripts
- Create sequences and edit decision lists all from a web browser
- Build dynamic storyboards for collaborative development and faster approval process
- Manage all assets including releases, permissions, contracts, artwork, audio, still photos and royalties
- Approve cuts virtually and eliminate the need for shipping tapes and DVDs

Source

Teresis Launches Online Version of Asset Management Technology

Teresis Media Management, the developer of the first and only complete video production asset management solution, today announced the launch of an online version of its software. Teresis Online harnesses the full power and benefits of Teresis technology in a "software as a service" business model, making it more affordable and accessible to a wide variety of customers from the independent film producer to the largest entertainment production companies.

Aiming to alleviate much of this strain on production companies, Teresis Online offers a unique opportunity for producers to cut budgets and significantly reduce post-production time while raising the quality of the final product. Leveraging the convenience of the Internet, Teresis Online delivers all of the features and benefits of the Teresis software – the first platform to enable productions companies to repurpose their existing content and develop original content for new emerging markets such as the internet, cell phones, and VOD. Teresis Online is the industry's first and only complete production asset management system that is entirely browser and Internet based. It is also the first to integrate outsourced transcription services (through a partnership with Terescription) and the first to support Avid and Final Cut Pro editing software.

Additional features and benefits include the ability to:
- Edit video online.
- Digitize multiple tapes at once and repurpose media for editing in Avid or Final Cut Pro.
- Print labels and manage master tape vault.
- Log and transcribe 50 percent faster.
- View dailies with hyperlinked scenes and takes.
- Search and annotate with hyperlinked time codes to media.
- Create two-column scripts.
- Create sequences and edit decision lists all from a web browser.
- Build dynamic storyboards for collaborative development and faster approval process.
- Manage all assets including releases, permissions, contracts, artwork, audio, still photos and royalties.
- Approve cuts virtually and eliminate the need for shipping tapes and DVDs.

Source

A 'Monster' May '09 for 3-D

"DreamWorks Animation's "Monsters vs. Aliens" has been slated for domestic release May 15, 2009, a week earlier than previously announced. Helmed by Conrad Vernon and Rob Letterman, the film is in production and will be distributed domestically by Paramount Pictures.

"Monsters vs. Aliens" -- now confirmed as the official title with the release date -- will be the first DWA film produced in stereoscopic 3-D.

May 2009 is shaping up to be a crowded month for tentpoles -- and 3-D. James Cameron's 3-D stereoscopic film "Avatar" is slated for May 22, which was the planned release date for "Monsters." Also, Walt Disney Pictures' "The Chronicles of Narnia: The Voyage of the Dawn Treader" opens May 1.

"We think this is the best spot for us considering the competitive landscape and release schedule for other animated as well as 3-D product that year," said Anne Globe, head of worldwide marketing and consumer products for DWA. "Not to mention the fact that this date worked unbelievably well for us on "Shrek the Third" as well as other films."

With two anticipated 3-D stereoscopic films set to debut during the frame, the digital-cinema community also is watching this release window. Joshua Greer, president and co-founder of 3-D provider Real D, said his company is on track to have 4,000 3-D-ready digital-cinema screens installed in the U.S. by May 2009, though that number might increase.

"Monsters" is described as a reinvention of the classic 1950s monster movie into an irreverent modern-day action comedy. Lisa Stewart will produce the film.

By Carolyn Giardina, The Hollywood Reporter

Film Processing Technology from Hitachi Converts 24fps Film to 60fps Refresh Rates

"Hitachi has unveiled a film processing technology that solves a problem that has challenged TV design engineers for more than years. Since the advent of television, there has always been a mismatch between the motion of films seen in a movie theater and the way that same motion appears on television. Through a technology called Reel60, Hitachi applies a technique that correctly translates the 24fps motion of movies to video frame rates.

Hollywood’s 24fps do not match TV systems that show 60fps. A conversion technique called 3:2 pull-down correction is used to make the 24 frames of film fit the television’s faster 60 frames. As this conversion is done, the viewer can often observe a jerky visual effect that is called judder. It appears as if the image is jittery or stuttering and is especially noticeable when the picture pans or makes sweeping, side-to-side movements.

With Reel60, a technique is applied that accurately and automatically eliminates the jerky motion. By creating interpolated frames based on the original film images, the technology smoothes out the movement and correctly matches the original motion. The result is smooth motion, whether it’s a passing vehicle or a camera pan from across the screen.

Reel60 applies sophisticated algorithms to assess and interpolate missing picture information during rapid motion interlaced video sequences. The Hitachi processor references various film frames to predict motion at any given space and time to increase detail and correct for motion artifacts in those sequences. The result is an ultra-fast technique, available in Hitachi’s new HDTVs, that is designed to replicate the original motion of objects and make corrections in real time for the smoothest viewing experience possible.

Consumers can take advantage of the benefits of Reel60 technology in three new HDTV flat-panel displays: the 1080 50in HDTV (model P50V701), and the Director’s Series 1080 HDTVs in both 50in (model P50X901) and 60in (model P60X901) screen sizes."

Source

SyncVue Video Demonstration

Video demonstration of SyncVue, a remote review and collaboration tool.

FilmLight Develops Noise and Grain Reduction Software

"FilmLight, a leading manufacturer of film scanning, colour grading and colour management technology, has developed a new software-based noise and grain reduction tool, integrated into its Baselight colour grading systems. The software relinquishes the need for hardware noise reducers while providing significantly greater control and flexibility.

The new Temporal Degrain feature will be available in the latest release of Baselight v.3.2 which also includes extended functionality for image rotation and stabilization. Additionally, this release will enable support for full optical flow noise reducers, such as those featured in The Foundry’s Furnace.

Temporal Degrain is indicative of an industry trend where conventional hardware tools are being replaced by software offering improved performance and broader feature sets. “Just as software colour graders are supplanting hardware colouring systems, software noise reduction will replace the traditional and more limited hardware tools,” commented FilmLight Director Steve Chapman. “They offer a more flexible and creative solution.”

Temporal Degrain is based on an optimised, temporally-based degrain algorithm developed by the FilmLight engineers. The creative requirement is to have interactive response of the controls, similar to tuning in a radio station - over crank, roll back, or settle on a value. The algorithm is both fast enough to be “tuneable” enabling the operator to view changes and see the results onscreen and flexible enough to go anywhere inside a Baselight grading stack—that is before or after grading, and inside keys and shapes. This flexibility is not available in hardware noise reducers.

“This feature allows the operator to produce keys within the grading application. Similarly, noise reduction can be selectively applied, or withheld, from a specified area of the frame such as a person’s face,” Chapman explained. “The keying capabilities of hardware noise reducers are crude by comparison. This is much more of a creative tool.”

As a software tool, Temporal Degrain is resolution independent and can be applied to any imagery from SD to 4K. Baselight’s newly-added support for full flow optical noise reducers extends the system’s noise reduction capabilities further still. Such sophisticated algorithms can be used to reduce grain or noise in complex imagery, such as scenes involving fast moving objects. Baselight 3.2 supports this technology in a way that allows complex motion vectors to be reused for different levels of noise reduction and other motion-based effects."

Source

HD Data Recording Goes Portable

"Up until recently, hard drive recorders, which are increasingly being used on feature film sets to record high-resolution images as data, have been bulky, kludgey contraptions that necessitated a special rig with wheels to move them around. With the introduction of compact and feature-rich systems from suppliers like Codex Digital, SpectSoft and S.two, that’s about to change dramatically. These new systems free directors and DPs to move around the set more than they ever could before.

At the recent CineGear2007 exhibition in Los Angeles, Codex Digital showed its new portable digital cinematography recorder, which is about the size of a toaster. The Codex Portable is battery powered, and, like its larger predecessor, includes dual-channel 4:4:4 and 4K recording on removable (hot-swappable) RAID DiskPacks, an integrated touchscreen controller, 8 channels of digital audio and a Virtual File System.

Using visually lossless compression, the Codex Portable’s Virtual File System allows all recorded material to be accessed via a network in a variety of file formats, with all copying, translation and format-conversion done invisibly and on-demand. It also features a built-in touchscreen interface and dedicated transport controls.

S.two’s DFR4K Digital Field Recorder also made its debut at CineGear (although it was shown in prototype form at NAB in April). The new DFR4K features full integration with the Dalsa Origin 4K camera using InfiniBand fibre connections.

Unlike the Codex Portable, the DFR4K records uncompressed data, at up to 4K resolution. It plays Dalsa 4K images in real time up to the maximum supported frame rate of the Dalsa camera and uses 24V DC power.

The DFR4K uses S.two’s D.MAG removable hard drive system and can be configured with expandable storage capacity, depending upon the project.

Both the Codex Portable and S.two’s range of removable hard drive recording systems can work with virtually any digital cinematography camera system, such as the Sony CineAlta range, Dalsa Origin, Grass Valley Viper FilmStream, Panavision Genesis, Arri D-20, Red One Digital Cinema System and the Vision Research Phantom series.

Another HD production unit to get smaller, lighter and easier to carry around is the RaveHD Cube system from SpectSoft. It weighs about 50 lbs., is 1 cubic foot in size and can be configured with up to 8 TB of RAID0 or 7 TB of RAID5 storage. The new SATA storage array records to removable drive cartridges usable by existing RaveHD systems as well as others.

Capacity options for the RaveHD Cube include: 2 TB (160 min) to 8 TB (640 min) of 4:4:4 at 24 fps or 2 TB (134 min) to 8 TB (536 min) of 4:4:4 at 30fps. It can use the following power options: 90-264V AC at 50-400Hz; 90-380V DC; and 28VDC.

The RaveHD software package providing VTR emulation and an onboard UPS power supply (for up to 15 min. backup time at full load) are also standard. Options offered include an LCD display and embedded Monster Software Package.

RaveHD is a Linux-based, uncompressed digital disk drive recorder designed for HD and graphics production. RaveHD works natively with industry standard image sequences that sit on a standard file system and uses standard file protocols to move frames on/off the disk. The unit’s architecture allows it to work with both uncompressed standard and HD video in a variety of workflows."

By Michael Grotticelli, Studio Daily

HD Projection Technology Shines Bright

"Research and development of new high-resolution video projection systems is in high gear, with JVC and Gennum among the manufacturers making significant advancements in 4K x 2K display technology.

JVC has been previewing what it bills as the world’s highest pixel density projection chip, one that could enable future 4K2K projectors to be smaller, lighter, and more affordable. The chip can deliver images that are more than four times the resolution of today’s high-definition video.

The newly developed 1.27-inch (approximately 43 percent area reduction) 4K2K D-ILA device chip offers 4096 x 2400—about ten megapixels—and a 20,000:1 contrast ratio.

Gennum, another major player in the fast-moving HD projection market, is showing an image processing solution and reference design to drive 4096 x 2160 pixel displays.

While previous industry demonstrations of 4Kx2K have used custom processing solutions, often utilizing multiple field programmable gate arrays (FPGAs) to manage the complexity, Gennum’s new 4Kx2K reference design incorporates two of its GF9450 image processors to power the display.

The GF9450s, powered by VXP technology, provide full motion-adaptive deinterlacing, professional quality scaling up to 4Kx2K, frame rate conversion and various image enhancement technologies such as 3D noise reduction, compression artifact reduction and detail enhancement.

The low power of the GF9450, under 3.5 watts, is also key to emerging 4Kx2K displays as it will eliminate the need for a fan to cool the device. This makes it possible for Gennum’s technology to be incorporated into the small footprint of flat panel display electronics while delivering the processing bandwidth and image quality expected of very high-resolution displays.

Gennum said it will have a single chip solution for 4K displays by the fourth quarter of this year, which would enable new projection products based on the design to be available for sale by the second half of 2008."

By Michael Grotticelli, Studio Daily

Thomson Delivers Transformers via Satellite Simultaneously to Domestic and International Theatres

"Reinforcing its global leadership in digital cinema, Thomson, through its Technicolor Digital Cinema business, today announced it is the first to deliver a motion picture via satellite day-and-date to international and domestic theatre locations utilizing an integrator neutral digital cinema distribution network.

This achievement marks the first time an integrator such as Technicolor has transmitted a feature to theatres equipped with its own digital projection systems as well as to theatres with systems managed by other integrators. “It’s an important step forward in establishing the vendor-agnostic distribution model that the studios have been asking for,” said Curt Behlmer, executive vice president of Technicolor Theatrical Services and COO of Technicolor Digital Cinema.

Technicolor now provides a full-service digital distribution network that offers both electronic and physical delivery of digital content to theatres worldwide. “We are no longer limited to satellite deliveries that only reach theatres with Technicolor-owned digital projection systems,” states Joe Hart, VP digital distribution services for Technicolor. “Our integrator neutral distribution network, combined with our world class physical distribution operation, enables us to deliver any content to any system, anytime, anywhere.” Technicolor’s satellite network is currently capable of delivering digital content to over 200 theatre locations in North America and Europe, and will expand in parallel with increasing digital cinema projection system installations.

Transformers also marks the debut of Technicolor Digital Cinema’s 24/7 toll-free worldwide exhibitor customer support call center, offering both translation and interpretation services, managed from Technicolor’s distribution facility in Wilmington, Ohio.

Technicolor Digital Cinema offers distribution services for all digitally equipped theatres worldwide. As part of its digital cinema equipment beta test in North America and Europe, Technicolor has installed digital projection systems for several prominent exhibitors including ArcLight Hollywood’s Cinerama Dome, Mann Theatres, National Amusements, Wehrenberg Theatres, Zyacorp’s Cinemagic Stadium Theatres, and Kinepolis Group in Belgium.

Technicolor intends on a broader rollout of complete digital projection systems in up to 5,000 screens over the next three to four years. The company intends to equip at least 15,000 screens in the United States and Canada, through the initial rollout and additional phases, over the next 10 years."

Source

LVS Releases New MVR Broadcast Video Server

New MVR Broadcast replaces 10 VTRs by a rack mount PC with a single interface.
Main features :
- Frame accurate sync among all channels (with genlock)
- 4 to 16 video inputs (SDI - composite)
- 4 to 32 independent audio inputs (analog XLR - jack3,5)
- MPEG-2 at 2 to 25 Mbps file output
- I-frame to GOP30 with any IBP configurations
- 4/3 and 16/9 modes
- Image preprocessing
- Support of progressive 720 x 576 (25p)
- Many hours of internal recording cap for 10 cameras
- Confidence monitor loop-through (Internal VGA frame)
- 4U rack (400W, 20kg, 60cm depth)

Europe Eyes Digital

An interesting article by Bill Mead about Digital Cinema rollout in Europe.

Newest Kinepolis Multiplex goes 3D with New Barco 2K Digital Cinema Projectors

"Barco, a pioneer in digital cinema, is proud to announce that its latest range of 2K digital cinema projectors has been installed in Kinepolis’s newest cinema multiplex at Oostende, Belgium. At the opening of the multiplex this weekend, Barco’s 2K digital cinema projectors and Dolby 3D technology will enable Kinepolis to create a radically new 3D cinema experience for its visitors.

Exactly one year after its opening of Kinepolis Brugge, Belgian’s number one cinema chain will open its newest multiplex in Oostende this weekend. The new multiplex is the chain’s 23rd in Europe and houses eight state-of-the-art cinemas with a total of 1,755 seats. Kinepolis Oostende incorporates many of the revolutionary concepts from its Brugge multiplex - including the “open foyer” concept, seat reservation and ticket control facilities. Kinepolis Oostende has been fitted with Barco’s latest range of digital cinema projectors, the DP-3000 and DP-1500, which were launched at ShoWest in March this year.

The new range of Barco digital projectors present cinema-goers not only with the highest quality digital cinema film experience but also with the opportunity to experience more alternative content in digital format, such as prestigious events, television series, live concerts and of course the recently launched XL Gaming experience (large-screen video games) for gamers. In addition to these digital experiences is Kinepolis’s most exciting new experience - digital 3D cinema. The digital 3D movie experience engages the audiences in something much richer and more compelling than they are used to seeing in the cinema. The events on-screen seem closer to real life. Kinepolis plans to equip each of its 23 complexes with one 3D auditorium.

The DP-3000 is Barco’s new flagship, and the brightest “large venue” digital cinema projector in the industry. Using Texas Instrument’s 1.2 inch DLP Cinema chip, the DP-3000 is designed for screens up to 30m (98’) wide. With a 2000:1 contrast ratio, new lenses, a new optical design and high efficiency 6.5kW lamps, the DP-3000 exemplifies Barco’s hallmark attributes of image quality, reliability and robustness. Because of its incredibly high light output, the DP-3000 is projector of choice for 3D digital cinema.

The DP-1500 is Barco’s new mid and small-venue projector, designed for screens up to 15m (49’) wide. Like its sister the DP-2000, the DP-15000 incorporates Texas Instrument’s new 0.98 inch DLP Cinema chip. This remarkable new 0.98 inch DMD (Digital Micro-mirror Device) offers the same pixel resolution (2048x1080) as its larger 1.2 inch counterpart, but its smaller size offers significant advantages. For the projector and the digital cinema facility itself, this new technology translates directly into a smaller, more compact package, lower power consumption, lower operating cost and longer lamp run-times — without sacrificing Barco’s renowned image quality, modularity or system flexibility."

Source

Interview of Vince Pace

An interesting interview of Vince Pace about live 3D shooting.

Steven Soderbergh to Shoot "The Argentine" and "Guerrilla" Exclusively with RED Cameras

"In a very brave move, Steven Soderbergh has chosen to shoot "The Argentine" and "Guerrilla", starring Benecio del Toro, with RED prototype cameras. Soderbergh will shoot RED at full 4K resolution, REDCODE RAW and record to Compact Flash.

"This is the camera I've been waiting for my whole career: jaw-dropping imagery recorded onboard a camera light enough to hold with one hand. I don't know how Jim and the RED team did it--and they won't tell me--but I know this: RED is going to change everything." Steven Soderbergh.

The prototypes are two generations newer than Boris and Natasha, the cameras Peter Jackson used to shoot "Crossing the Line" in New Zealand a couple of months ago. The RED 18-55mm T3 (f2.8) CF lens and many RED accessories were also chosen by Soderbergh for these movies. Shooting begins in Spain July 24th."

From Jim Jannard, RED Digital Cinema