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July 02, 2007

Table of Contents

Guided Tour: Adobe Creative Suite 3 Production Premium
M-Audio Launches Pulsar II Microphone
Panasonic Delivers Versatile BT-LH80W 7.9" HD/SD Production LCD Monitor
Rimage Announces Availability of Two New On-Demand Digital Publishing Systems
30 Percent of U.S. Households Own an HDTV, CEA Research Finds
Macrovision & Chicago Digital Post Launch RipGuard-MOD
Dulce Systems Provides High-Performance, Low-Cost Storage Solutions for Video Editing and Post Production

Guided Tour: Adobe Creative Suite 3 Production Premium

In early May I was treated, along with other trainers, to a fabulous introduction to Adobe Creative Suite 3 Production Premium, held at Adobe’s headquarters in San Jose, California. I left greatly impressed by the Production Premium suite (one of three new CS3 bundles, the other two focused on graphics and web), which is due to ship this month. Of course, I had been working with the beta software since before NAB, but to see how the components of the suite worked together, with precise control and integration, was a rewarding experience.

It’s no secret to anyone that I have always been fond of Adobe products, especially when Premiere Pro 2.0 came to market with its multicamera interface; as an event videographer, I’ve never been so excited over software!

Premiere Pro 2.0 shipped in early 2006 as part of Adobe Production Studio, which delivered greatly enhanced integration among the products in the bundle thanks to Dynamic Link, which allowed editors to open project files in different applications without having to render.

This release, however, brings us to a different level of integration. Not only will Adobe include apps included in Production Studio—Premiere Pro, Encore, After Effects, Photoshop, and Illustrator—but they have added several more applications to this suite: Flash, Soundbooth (a task-based tool that replaces Audition), OnLocation (née DV Rack, which turns your laptop into a direct-disk recorder and video-signal diagnostic tool), and Ultra CS3, a compositing and virtual set application that many of us have used in the past. Both of these last two applications come to Adobe production suite users by way of Adobe’s late 2006 acquisition of Serious Magic.

For this overview of Production Premium and the features most relevant to us as videographers, I'll follow the order in which Adobe presented the applications to us: Flash, Encore, Ultra, Premiere Pro, OnLocation, Soundbooth, After Effects, Photoshop, and Adobe Media Encoder.


figure 1Flash
One of the most exciting aspects of the Production Premium edition is the inclusion of Flash CS3. Of course, it’s not just the application itself that’s a boon to videographers—even more beneficial to us are the new Flash capabilities found in the other apps in the bundle. I was very happy to discover that we can now export a Flash DVD (menus and navigation included) directly from Encore by simply choosing Flash from your three output options (the other two being DVD and Blu-ray—more on that later). For those of you who don’t know Flash, it is an application designed for (among many other things) delivery of content through the web, or even interactive (computer-play only) DVDs. Flash has a market penetration of more than 96% on desktops that are used to browse the internet, and what that means to us is that almost every computer on the planet is capable of playing Flash files.

You can also export Flash video from After Effects and Premiere Pro, with markers that can convert to cue points—in other words, you can have a specific event occur when your Flash video is playing. Imagine you have a demo video and you encode it with cue points. At that moment in the video an event will be triggered—it could be the opening of a graphic, subtitles, another video, etc. What this means is that you can easily update your web information by just updating that other file and not the whole video. You can also copy and paste from Photoshop and Illustrator directly into Flash (left), and if you created your layered image in either Photoshop or Illustrator, you can import them directly to the stage and retain the layer styles. You no longer need to flatten the layer style before importing into Flash.

Of course, if you are like most of the videographers that I know, you don’t know how to work with Flash, although you’d like to learn so that you can show your videos on the internet to your existing or potential clients. Fortunately, you don’t have to learn the Flash application itself to work with the format, because Adobe has included the ability to create a Flash DVD from within Encore.



figure 1Encore CS3
Encore lets you author your DVD the same way that you always have—you can create it, link your chapters and buttons as you desire, and burn. After you are done with this, all you have to do is burn to a Flash disc (left), and you will have created a fully interactive Flash file that you can place in your website for clients to see.

This Flash file will look and act like the DVD you authored except that it will be embedded in an HTML file. This afternoon I burned a Flash demo for my own website, and the whole process took less than five minutes.

Another really cool feature is that you can now burn Blu-ray Discs directly from Encore DVD. Blu-ray is becoming increasingly popular, the prices of the burners are coming down, and anyone with a Sony PlayStation 3 can play a commercial Blu-ray movie or burned disc. For more detail on creating Blu-ray Discs in Encore CS3, see Chris Randall’s tutorial.

It’s also worth noting for users who plan on purchasing some of the applications in Production Premium without springing for the entire bundle that Encore will no longer be available by itself. Because Adobe has removed the built-in DVD authoring functionality from Premiere Pro 2.0 (Adobe says the DVD authoring functionality in Premiere Pro got "lost" during the process of porting the application to the Mac OS, and they haven't ruled out restoring it in future editions), they are now shipping Encore and Premiere Pro in the same box.

figure 1Ultra CS3 (Windows only)
Ultra CS3 (left) is the same application as Ultra 2, formerly owned buy Serious Magic, used for easy and accurate chromakeying and virtual-set compositing. This release, available for Windows only, doesn’t change much from the Serious Magic version, but it brings some great new functionality to the Production Premium suite.

For those of you who do not know Ultra, this product lets you key backgrounds, even those encumbered with wrinkles and uneven lighting. Of course, Ultra supports all standard DV and HDV resolutions. The clip that I used to test in writing this article is one that I often use for my After Effects classes—very difficult to key. Using Ultra, I found I could accomplish in four or five clicks what in After Effects usually takes me four or five minutes. And the keys are excellent.



figure 1Premiere Pro CS3 Adobe Premiere Pro CS3 has not gone through any major changes, other than that it is now available for the Mac. Given that Premiere Pro—which debuted after Adobe left the Mac platform in 2003—was built on entirely new code, the company basically had to start from scratch in porting the application to the Mac, and this is clearly where the Premiere Pro team has spent the bulk of their development time since the launch of Premiere Pro 2.0 in early 2006.

But there are some cool new features here. One of the things that the Adobe team obviously worked on is the handling of HDV files—the HDV workflow is smooth and accurate.

Another thing I’m happy to see is the introduction of time remapping (left) within Premiere Pro. The new time remapping feature creates variable-rate time stretches directly in the Adobe Premiere Pro timeline; you can now see the clip getting longer or shorter, depending on the clip speed that you choose.

Time remapping is a feature that we have seen available in After Effects for a while, and it lets us do speed changes that are keyframeable. You can ease in or out your speed changes so things could get slower or faster over time (you can see examples of this in ESPN's Monday Night Football).

The feature comes directly from After Effects, but in a way that is better—I like how it works in Premiere better than how it works in After Effects. In Premiere Pro, your clip gets longer or shorter to demonstrate the change in speed. In fact, if I play a clip at half its original speed, then logic dictates that it will play for twice as long. Premiere Pro now elongates the clip in a visible manner so that you can see it getting longer or shorter as you play around with the speed.

Another cool thing that Adobe has added to Premiere Pro is the ability to open different bins at the same time, which means it's now really easy to move around in the bins and to copy and paste between bins.

You can also use the tilde (~) key to maximize an active panel, so that it becomes prominent in the display. This was another feature that existed in After Effects, but not in Premiere Pro. I should also add that you can make this adjustment while the video in the sequence is playing—in other words, when you maximize a panel, your playback does not stop.

A little bit hidden, but cool nonetheless, is the ability to enable or disable previews. If you have lots of clips that are rendered or that need rendering and you do not want to waste time waiting for Premiere to update all of these files on the timeline, you can click on this icon and Premiere will no longer look for these clips; it will disable previews.

figure 1Adobe OnLocation CS3
Formerly known as Serious Magic’s DV Rack, OnLocation lets us record DV and HDV content directly from a FireWire-equipped camera to a laptop hard drive. Using OnLocation for direct-to-disk recording you can log clips and write scene names, descriptions, and the like.

OnLocation uses your laptop's screen to display valuable diagnostic information about your video clips, including Zebra displays and help with White Balance, Safe Zones, Scopes, Audio levels, camera calibration, and more (left).

You can also use OnLocation to help match shots from one location to another or one day to a different day. Even if you have no need for direct-to-disk capture, I would recommend using OnLocation for certain jobs. It will make post (especially color correction and audio) much easier.



figure 1Adobe Soundbooth CS3
Previous Adobe video bundles, including 2006’s Production Studio Premium, included Audition, Adobe’s professional audio-editing application (formerly known as Cool Edit Pro when it was owned by Syntrillium). Soundbooth is a simpler, more-to-the-point, almost click-and-you-are-done version of this software. While I consider it to be a bit too simplistic at times, and wish that they had left Audition in the bundle, Soundbooth is really easy to use, and very powerful.

With Soundbooth, Adobe’s new task-based audio editing application for video producers, trim, fade, and volume control are a piece of cake, and so are the audio cleanup features. Soundbooth has some functions that are tabbed on the left side of the screen—you simply choose the function that you would like to perform (audio cleanup, score creator, etc.). The Spectral view (left) is a great help for cleaning up frequency-specific unwanted noises from your audio clip (cough, cell phone, etc.).

Adobe has also created Resource Central, an online resource that will let you choose sound effects and the like from an online database, thereby freeing lots of space in your local hard drive from having to store discs of pre-recorded content.

Needless to say, you can access Soundbooth from within Premiere Pro, by right-clicking an audio clip and choosing Edit in Adobe Soundbooth > Render and Replace. This will open a copy of the clip in Soundbooth, which you can process in whatever way you desire while leaving the original untouched.

Soundbooth is audio processing software well-designed for video editors that have little or no experience with audio, often using video terms instead of audio terms (e.g., “louder” instead of “normalizing”). While the application is powerful, the interface is very graphical and uncomplicated.

figure 1After Effects CS3
After Effects is where Adobe really went all out in the new CS3 version. Shape Layers, Brainstorm, the Puppet Tool, and more make AE CS3 the crowning achievement of this release of Production Studio Premium.

Let’s start with Shape Layers (left). New in After Effects is the ability to animate and replicate vector graphics in order to create cool backgrounds and graphic elements that can be included in the final rendition of a composition. Having used After Effects in conjunction with Illustrator extensively, I found this particularly exciting. Animating these Shape Layers is similar to how we animate text in AE: by adding animators to the layer and then animating the individual parameters that each property offers.



figure 1Using After Effects’ new Puppet Tool (left) is hands-down the most fun I have had with a graphics tool. The Puppet Tool enables you to add “pins” or points to a still layer that you can use to animate different parts of the layer. On several occasions, I have seen Adobe’s Dave Helmly demonstrate this tool by animating the letter K, and decided I had to try it at home. The result was a dancing letter K, and the whole animation was done in less than 15 seconds! This is how you do it: Grab the Puppet Tool and set pins on the K. Then, while holding the Control key, animate these points one at a time by dragging the pins. Then play your animation, and you’re done.

Brainstorm is a new tool that you can use so that you can get new ideas. Basically, Brainstorm adds a certain degree of randomness to the chosen parameters, and you get new ideas that you can use, or combine with others to make the experimenting phase of your work a little less taxing. This is how it works: Select properties of keyframes, and then click on the Brainstorm icon located in the timeline panel. This will open a new panel that will give you suggestions that you can preview. You can then maximize a selected tile, keep a particular version for the next Brainstorm, create a new composition based on the selected tile, and, finally, apply it to the current composition.



figure 1Another great new feature is support for Photoshop layer styles from within After Effects (left)
After Effects CS3 also supports the new video layers in Photoshop CS3 Extended (more on that later), which makes rotoscoping inside of Photoshop and re-importing into After Effects easy and intuitive.



figure 1
The last new feature I’d like to discuss in After Effects is Vanishing Point. This lets you work with Photoshop to create planes on a still image that will be imported into After Effects so that they can be animated in 3D. Here’s how it works: In Photoshop you use the Vanishing Point Filter and you determine what the planes of the 2D still photo will be. You then export for After Effects CS3 and import into After Effects, and you will see a fully 3D composition of your still, ready to be animated (null parent and all!). An animation of the Commerce Building in Washington, D.C. (left), took me about three minutes to do.



figure 1Photoshop CS3 Extended
Because Photoshop has been out for a couple of months, I will not go into too much detail on what is new in here, except with what concerns the rest of the applications in CS3 Production Premium. In addition to the new integration features already discussed (Vanishing Point in After Effects, Photoshop layer styles in After Effects and Flash, copy and paste between Photoshop and Flash), one exciting new feature is Photoshop’s Movie support (left). Using this application, you can now retouch movies one frame at a time. Photoshop supports editing on every frame of a video file (awesome for rotoscoping work!), including onion skins, with a familiar After Effects-like interface. There’s also lots and lots of support for video and compositing applications (like After Effects, as discussed earlier).

Photoshop is at the heart of all of the enhanced integration features in Adobe CS3 Production Premium. Regardless of the primary editing or composition application used by the artist, Photoshop remains a constant in the video/print/web world. Improving on Dynamic Link (available only if you buy the full Production Premium bundle)—which is work that hasn’t been rendered with elements in multiple applications—After Effects can now render a Premiere Pro Dynamic Linked segment for smooth playback. Photoshop imports video, After Effects reads this video. Send a DVD menu directly into Photoshop or After Effects for animation or editing, and bring back into Encore DVD for authoring. Again, no rendering!



figure 1Output: Adobe Media Encoder and Device Central CS3
You can now use Adobe Media Encoder (Premiere Pro, After Effects, Soundbooth, and Encore DVD) to export your work to a variety of audiences, with newly included support for 3GPP and H.264 content. To preview how these videos will look in selected media, you can use Adobe Device Central CS3 (left) to preview your exported video and Flash content. This gives you a realistic preview of how your particular file will look in a specific cell phone (or iPod, or whatever).

If a bride asks you to encode video for her cell phone, you can get her exact model and make sure that the video is optimized for her device. This has the potential of generating extra income for event videographers everywhere.

Final Thoughts
Production Premium CS3 is one of the most important software releases in years for Adobe. The purchases of Macromedia and Serious Magic has enabled Adobe to include several key ingredients in its suite. While a lot of effort was applied in making sure that we could use this bundle in the Mac, I can see that the company also spent plenty of time making sure that we could have different output formats as easily as possible.

Integration was also very prominent in the minds of Adobe engineers. They’ve greatly improved Dynamic Link, copy and paste capabilities, and support for Photoshop layer styles in other applications. In the time that I have had to work with this release, I can honestly say that I have had fun.

Luisa Winters has been in the professional videography industry for more than 15 years. A multiple-year, multiple-award winning videographer, Luisa has conducted training sessions and master classes for Adobe Premiere, After Effects, Photoshop, and Encore DVD.

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M-Audio Launches Pulsar II Microphone

M-Audio, a leading provider of creative tools for musicians, is proud to announce shipment of the Pulsar II small-capsule condenser microphone. The unit replaces the company’s acclaimed Pulsar small-diaphragm cardioid condenser microphone and takes its design to an even higher level.

The 3/4”-diameter, 6-micron Mylar evaporated-gold diaphragm of the Pulsar II microphone delivers excellent sensitivity, especially for higher frequencies. Where many of today’s mic capsule backplates use metallized plastic, the Pulsar II features a solid brass backplate for natural, transparent sound. This capsule design is ideal for many studio and stage applications including drum overheads, acoustic guitar, piano, close-miking strings and woodwinds, room miking and more.

The Pulsar II was designed in the U.S.A. by veteran microphone engineers and hand-assembled to exacting standards by the same team that created the Sputnik—winner of Pro Audio Review’s Reviewer’s Pick and Electronic Musician’s prestigious Editors’ Choice Award. These precision microphones exhibit quality that is regularly compared to that of vintage classics. While consulting on the design process, several top Los Angeles session engineers likened the Pulsar II to the Neumann KM84—and its replacement KM184—only with more open top end similar to Schoeps.

Several new features allow the Pulsar II to adapt to many recording and live situations. The diaphragm is thermally treated to yield an additional 2dB SPL over the model’s predecessor. The -10dB switchable attenuation pad enables users to capture higher SPLs. The 12dB/octave high-pass filter also reduces low-frequency rumble and the potential for overloading mic preamps with low-frequency signals.

Transformerless Class-A FET electronics combine with the physical design properties of the Pulsar II to deliver excellent specs including 20Hz-20kHz frequency response; sensitivity of -37dB @ 1kHz, 0dB=1V/Pa (13.8 mV/Pa); max SPL of 134dB at 0.5% THD, 144dB with -10dB pad; and equivalent noise of 16dBA. The product also includes a wooden box, windscreen, mic clip and manual.

The Pulsar II is available individually or as a matched set with only ±1dB variation from each other. This makes the Pulsar II microphones ideal for stereo room miking, stereo overheads and similar applications where balance and imaging are key. The Pulsar II matched pair includes a metal stereo mounting bracket for XY recording.

“The Pulsar II is a testament to M-Audio’s commitment to making excellent microphones,” says Adam Castillo, marketing director at M-Audio. “Its unique character will add new options to even the most sophisticated mic locker. Just as the Sputnik is well on its way to becoming a ‘go-to’ tool for many professional engineers, we expect the Pulsar II will soon become a studio essential.”

The Pulsar II is currently shipping and carries an MSRP of US$199.95. The boxed matched pairs are currently expected to ship in the third quarter of 2007 at an MSRP of US$399.95.

www.m-audio.com/company/images.php.

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Panasonic Delivers Versatile BT-LH80W 7.9" HD/SD Production LCD Monitor

Panasonic has announced deliveries of its BT-LH80W 16:9 high-definition/standard-definition LCD monitor for studio and field applications. The 7.9” monitor is shipping with an array of available accessories that reinforce its dual role as an HD monitor and widescreen color viewfinder.

The BT-LH80W offers high, production-level critical viewing with exceptional color reproduction and gradation, low power consumption (1.5 Amps) and a lightweight (less than 3.3 pounds) and durable die-cast aluminum chassis. This 800 x 450 pixel resolution monitor/electronic viewfinder reproduces up to 16.7 million colors, closely matching the chromaticity of CRT monitors, and is compatible with multiple HD/SD formats including 1080/24PsF, 1080i, 720p, 480p and 480i. The monitor features the industry’s lowest image processing delay, a built-in Waveform Monitor and a Diagonal Line compensation function that reduces the occurrence of jagged noise in the diagonal direction.

Addressing the growing need for critical camera focusing in HD acquisition, the BT-LH80W features two advanced focus assist functions -- Focus-in-Red and Pixel-to-Pixel matching. Focus-in-Red displays the edges of the focused area in red when sharp focus is achieved, while Pixel-to-Pixel allows the user to see an input signal pixel by pixel without any resizing, effectively confirming an image in a size equivalent to a 19” widescreen display (with a 1080/60i input signal). The user can utilize both focus assists at the same time.

To deliver maximum utility, Panasonic is offering an array of accessories for the BT-LH80W. Those accessories include a dual-mount rack (RAK-80) specially designed to hold two BT-LH80Ws side-by-side for a tight fit in studios or HD trucks. Also available is a strong, lightweight adjustable mount (BT-MOUNT) for on-camera use, which easily interfaces with the camera’s standard ¼”-20 thread and 3/8” monitor thread. This mount features an “anti-spin” design that holds the monitor in place securely.

When used as an electronic viewfinder, the BT-LH80W can be configured with Panasonic’s full range of HD cameras, including the shoulder mount AJ-HDC27H VariCam, AJ-HDX900, AJ-HPX2000 and AG-HPX500. The BT-LH80W will also support a full range of HD and SD production equipment. The 12V DC-powered monitor is also equipped with both 4-pin XLR DC input and an Anton Bauer battery gold mount, making it ideal for outdoor use.

The BT-LH80W is available now at a suggested list price of $2,700. The full range of available options include an HD-SDI input module (BT-YA80G), at a suggested list price (SLP) of $650; the dual rack-mount kit (RAK-80), SLP $195; the adjustable mount (BT-MOUNT) for on-camera use, SLP $150; a custom snap-on hood (HOOD80) for outdoor work, SLP $100; and for electronic viewfinder use, a 15- to 20-pin inter-connect cable* and DC cable kit (BT-CS80G), SLP $340.

The BT-LH80W joins Panasonic’s BT family of production LCD monitors, which includes the 8.4” BT-LH900A, 17” BT-LH1700W and 26” BT-LH2600W models.

www.panasonic.com/broadcast

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Rimage Announces Availability of Two New On-Demand Digital Publishing Systems

Rimage Corporation today announced the availability of its new Professional Series 5300N and 5100N product lines, addressing the requirements of mid-range of CD/DVD and Blu-ray Disc publishing. The new Rimage Professional 5300N and 5100N models offer customers a “step up” from ordinary desktop disc publishing systems and provide compact, user-friendly systems for front office applications.

“The new Rimage Professional Series is perfect for our customers that have multiple users sharing disc publishing responsibilities and want the convenience of an intelligent network appliance with professional print quality and hands-off operation, but don’t need large capacity production equipment,” said Manny Almeida, chief operating officer for Rimage “The Professional Series is designed to save our customers in the video production, medical, retail and business service industries time and money by having an in-house disc publishing solution.

The 5300N and 5100N feature premium design, performance and print quality in one easy-to-use package. Functioning as a shared network appliance, the 5300N and 5100N automate data recording and surface printing for CDs, DVDs and Blu-ray Discs for an entire work group. The Professional Series uses sophisticated software, embedded computers, state-of-the-art robotics, network connectivity and truly permanent direct-to-disc printing to deliver professional-quality, error-free discs every time.

The Rimage Professional Series 5300N and 5100N disc publishing systems help a wide range of businesses streamline their information distribution workflows and can be deployed in a number of scenarios. From video, photo and digital media production to medical images and financial data, the 5300N and 5100N are ideal all-in-one solutions for archiving, duplicating and distributing critical digital information. Applications for the Professional Series 5300N and 5100N include business services, digital media, medical and retail.

Longtime Rimage customer Robert Martindale, manager of television production for non-profit giant AARP, tested the 5300N system and has been impressed with how easily the equipment fit into his DVD production workflow. In Bob’s words, “The system simply works.”

“As solid, satisfied Rimage customers, we couldn’t imagine how the company might improve its top-notch networked systems,” said Martindale. “But after using the 5300N for several months, we were most impressed with the system’s production capacity, flexibility and “future-proof” upgrade capability of Blu-ray Discs and HD/DVD. Having separate input bins for CDs and DVDs went a long way towards speeding up the production process,” added Martindale.

Medical imaging customers also praise the Rimage 5300N and 5100N systems – called the Rimage Medical Disc System by product integrators in the health care industry – for its performance and mission-critical reliability. “No other solution can match how quickly the first disc is produced, the permanence of patient information and dependability of the Rimage system,” said Mike Sutherland, vice president of TDK Medical. “As the Healthcare industry starts using DVDs along with CDs because of increased imaging storage requirements, the Medical Disc System’s dual bin capacity and on-board intelligence provides the most advanced disc publishing system available.”

For large retailers, the Rimage Professional Series provides an entirely new revenue stream by expanding their digital content output services. The Rimage 5300N and 5100N systems are affordable turnkey solutions for retailers to deliver on-demand digital content – such as music, movies, ring tones and more – with professional, full-color disc printing. Plus, the Rimage solutions have full-featured networking capabilities that enable retailers to combine customer-facing kiosk-based or Web-based digital content acquisition with in-store disc production capabilities.

New features for the Rimage 5300N and 5100N systems include the following:

50-Disc Removable Input Bins – The 5300N gives users the flexibility to simultaneously produce two different media types in one system with less frequent manual media changes. The 5100N supports one recorder and one input bin.

Removable Recorders – The 5300N features the latest technology in recorders and are pre-aligned for easy insertion and removal from the chassis Future recorder upgrades, such as an optional 4x Blu-ray Disc recorder, could easily be added to the system. The 5100N features a single DVD/CDR or Blu-ray Disc recorder.

Removable Hard Disks – Two removable 250 GB hard disks are configured for RAID 0 operation to maximize write performance, and the 5300N has a third open bay for additional data storage.

High-Performance Embedded Control Center – Features a 1 gigabit Ethernet interface, Intel® Core 2 Duo processor, 1 GB of memory and Microsoft Windows XP Pro embedded.

Everest III Thermal Retransfer Color Printer – World-renowned Everest disc-printing technology prints durable, photo-realistic color images directly to the disc surface for a professional label that won’t run, smudge, or scratch.

Software Suite 7.4 – An integrated suite of applications to manage, create and print discs from all computers across a network, the new Rimage Software Suite includes QuickDisc, CD Designer and Rimage System Manager applications and features adaptive streaming, networking and disc spanning functions.

The Rimage Professional Series is targeted at mid-range, front office applications and complements the Producer Series 8100N & 7100N systems introduced in 2006 for business critical, higher volume applications. The Rimage Producer and Professional Series can operate cooperatively or independently on the network to meet a wide range of digital publishing requirements.

The Rimage Professional Series 5300N is currently shipping, and the 5100N will be available in July. For more information about Rimage Professional Series digital publishing systems, visit www.rimage.com.

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30 Percent of U.S. Households Own an HDTV, CEA Research Finds

The Consumer Electronics Association (CEA) predicts 16 million high-definition televisions (HDTV) will sell in 2007 bringing the total number of HDTVs sold in the U.S. to 52.5 million. Thirty percent of U.S. households now have an HDTV, likely rising to 36 percent by the end of this year. Among these HDTV households, almost a third own more than one high-definition set, proving the booming nature of this market.

A new CEA study, HDTV: You Have the Set, But Do You Have the Content?, found that 44 percent of HDTV owners receive HD programming. The main reasons consumers stated for not receiving the programming was that it was too expensive or they were not interested. Yet, while there is some confusion among HD owners as to whether they are receiving HD programming, the vast majority of owners understand what programming they receive and do not receive. CEA maintains a website, www.AntennaWeb.org, that provides consumers information for receiving free, over-the-air HD programming.

The study revealed one of the primary reasons consumers are buying HDTVs is not to watch television programming but rather to improve their movie and gaming experience. Currently, the most prevalent device connected to an HDTV not receiving HD programming is a DVD player. Nearly 40 percent of these consumer households also connect surround sound and video game systems to their HDTV.

“Consumers are satisfied overall with HDTV,” said CEA Director of Research Joe Bates. “But our studies indicate continued education is necessary to ensure consumers truly understand how to receive the full HD experience.”

Sixty-six percent of owners who receive HD programming get their programming through a cable company. Of the remaining households receiving HD programming, 27 percent are satellite, 8 percent are over-the-air, 3 percent fiber optic service and 3 percent from the Internet. This profile mirrors the U.S. television reception profile, indicating that HD content is not resulting in a migration to or from any one television-programming provider.

“As we have seen for years, consumers still demand more HD content,” continued Bates. “Currently, more than 50 percent of HD households show some interest in upgrading their HD subscription package to include more HD channels.”

CEA’s HDTV: You Have the Set, But Do You Have the Content? (June 2007) was designed and formulated by CEA Market Research, the most comprehensive source of sales data, forecasts, consumer research and historical trends for the consumer electronics industry. The study was administered via telephone interview to a random national sample of 2,508 U.S. adults between April 10 and 24, 2007. Please cite any information to the Consumer Electronics Association (CEA). The complete study is available free to CEA member companies. Non-members may purchase the studies for $599 at http://www.ebrain.org.

www.CE.org

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Macrovision & Chicago Digital Post Launch RipGuard-MOD

For the first time in industry history, every video producer and videographer—no matter how big or small—has access to the same cutting-edge, anti-ripping DVD Copy Protection used by the most powerful movie distributors and studios.

Chicago Digital Post/Great Lakes Digital Media (CDP/GLDM), an innovative multimedia service and disc manufacturing company, has licensed with Macrovision Corporation, the worldwide leader in rip control technology. Together, they’re making RipGuard-MOD—the mainstream entertainment industry’s most popular rip control technology—available to independent producers nationwide who create Recordable DVD Video products.

“The industry loses millions of dollars in revenues to ripping every year,” says Tim Montague, president of CDP/GLDM, which is based in the Chicago area. “This is the solution the independent industry has been waiting for.”

Up until now, producers and distributors who create DVD video on Recordable DVDs have not had a trustworthy, affordable method of protecting their products. With RipGuard-MOD, that’s no longer the case.

RipGuard-MOD works by modifying the file structure of the disc, thereby neutralizing the ripping program—without installing software on users’ computers, altering those PCs, or affecting the playback or performance of the DVD itself.

“We’ve made it very simple for producers,” says Montague. “You simply provide us with a playable master disc on Recordable DVDR, and we process and protect it. There are no special production requirements. Generally within 24 hours, we’re ready to start manufacturing. And we’re capable of protecting Dual-Layer DVD Recordables as well.”

The cost for RipGuard-MOD ranges from less than a dollar per disc to a few dollars per disc, depending on quantity. The cost structure includes a reasonable, one-time set up fee for applying the copy protection to the master, and a per-disc license fee to Macrovision—a small price to pay for protecting your proprietary content.

“We feel that the primary benefit of this to the independent producer who creates DVDs is that it helps keep honest people honest.” says Montague. “Nothing is beyond circumvention, there is no such thing as ‘copy prevention’, but RipGuard-MOD can have a significant impact through increased sales by keeping all but the most committed rippers from making copies.”

In addition to Copy Protection, CDP/GLDM also offers a full spectrum of DVD manufacturing services to clients nationwide, from bulk dye-sub printing on recordable CDs & DVDs to Blank Recordable ‘retail-ready’ DVD Packages and turnkey “retail-ready” manufacturing and order fulfillment services.

www.chicagodigitalpost.com

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Dulce Systems Provides High-Performance, Low-Cost Storage Solutions for Video Editing and Post Production

Systems announced today that it is now offering new capacities for its Quad and Duo Quad family series of product with RAID level 0, 1, 3, 5, 6 and JBOD level of protection now available in 6TB and 8TB.

Also, new capacities 1.5T and 2TB are offered for its Duo FireWire and USB combo products, shipping now. The Quad and Duo Quad products come bundle with either PCIe or PCIx interfaces that are the industry standard for SD, HD and 2k.

The Quad and Duo Quad offer performance and protection for the digital media content and video editing community. The recommended price for the Quad 4TB and Duo Quad 8TB models are $4059 and $7999 respectively. More details are available through Dulce Systems channel partners.

The Quad, Duo Quad and Duo series is available through a network of domestic and international distributors and resellers. Visit Dulce Systems at http://www.dulcesystems.com.

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