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19 2017 Sep

Blue Collar Post Collective: Supporting Today’s Emerging Post Talent

By Debra Kaufman

Blue Collar LogoStarting out as a tape op in the machine room is a common first step for a career in post production. But the path to better jobs isn’t the same now as it was twenty years ago, and that fact is part of the rationale behind the grassroots organization Blue Collar Post Collective (BCPC), which offers community and support to today’s emerging post talent. “I like everyone to keep in mind that the people coming up today have very different experiences,” says BCPC president Kylee Peña. “There is no clear ladder to climb.”

Katie Hinsen and Janis Vogel were the first co-presidents of the officially launched BCPC, a group that originally organized as an informal get-together with other below-the-line post workers. They jokingly dubbed themselves the “blue collar workers,” and, over time, the get-togethers grew increasingly popular among other young people in post production. Hinsen and Vogel formalized the group, as the Blue Collar Post Collective, and achieved status as a 501(c)3 non-profit in April 2016.

Interested in opening another BCPC chapter in Los Angeles, Hinson and Vogel zeroed in on Peña, a workflow supervisor at Bling Digital, who they got to know through social media and her articles in Creative COW. “Katie and Janis wanted to expand into Los Angeles,” recalls Peña. “But they’d only do so if I would agree to start it and run it.” She formed a committee in April 2016, and the Los Angeles group officially launched in June.

Peña, who has done research and given presentations on gender and equality, and lifestyle issues in post production, notes that no other groups focus exclusively on emerging talent in post production. “We see that careers are made for people in the first five years,” she explains. “A lot of the groups that do exist have barriers to entry: they cost money or they meet at times of the day when people are working. A lot of our members in Los Angeles work the swing shift or graveyard shift when these events happen, and they can’t go and network.” In contrast, the Blue Collar Post Collective in Los Angeles holds its events on Saturdays.

The Blue Collar Post Collective has a healthy presence online; its Facebook page has almost 5,000 members, with membership in the hundreds in Los Angeles and New York. Noting that women and people of color face additional barriers to success in post production, Peña says the Los Angeles group is a very diverse group, with near gender parity. BCPC also just had its first meeting in London, with Peña and Vogel in attendance. “We’re currently investigating what it would take to have a full-on group there,” she says. “We definitely encourage people in BCPC to have their own unofficial meet-ups. We’re all volunteers and all work full-time in post.” BCPC is growing judiciously, notes Peña, careful that each chapter shares the values of the core organization.

Being a member of the Blue Collar Post Collective offers numerous benefits, including a very active Facebook page, where members are encouraged to be “respectful, inclusive and supportive.” “One of the biggest benefits is the community you have access to,” says Peña. Monthly meet-ups are very well attended, and Los Angeles also offers a Stitch-and-Bitch meet-up for conversation and crafts. Upcoming events found on the group’s Facebook page include a New York conversation with “O.J.: Made in America” sound mixer Keith Hodne and a Los Angeles talk on “Finding Success in Unscripted TV.” Peña says the Facebook groups’ administrators also post an online discussion topic each week. “We don’t have super-strict rules, but we ask everyone to conduct themselves as if they are in person,” she says. “So our Facebook group is a very pleasant place to be, and a lot is going on.”

Another benefit is a financial aid program providing accessibility for early-stage career members to attend professional events. “This was created when a young man Katie was working with was invited to present a paper at a conference, but couldn’t afford to travel there,” says Peña. “That was a huge, career-changing thing he couldn’t do.” Since then, the BCPC has sponsored several members to several conferences and professional events. Recently, BCPC enabled a member from Indiana to attend EditFest in Los Angeles, where she also sat in with editors and colorists during her time here.

Group members act as a network and support for each other in numerous ways. One member recently relied on the network to apply and get a job as an assistant editor on a feature film, and BCPC vice president of the Los Angeles group Chris Visser, who mentors students at his former Wisconsin university, asked if Salazar could provide a PA job for one of his newly graduated mentees. “She was able to come to Los Angeles with a job, a community of people her age, and mentors,” says Peña. “At every single meet-up, I meet people who just moved here, and coming to the BCPC meet-up is the first thing they do.”

The post production communities in New York and Los Angeles have already supported the Blue Collar Post Collective in several ways, by providing tickets to events and special deals on gear. Peña encourages more of these kinds of donations, as well as money to help the group keep supplying financial aid (80 percent of the revenue goes to the scholarship program). But she stresses that the most useful action that post production companies and facilities can offer is jobs, that helps BCPC in their mission of supporting emerging talent. “Young people coming up have a lot of expertise,” says Peña. “There’s a lot to learn from them, so grant them opportunities to show that and make the industry more inclusive.”


19 2017 Sep

Avid Unveils Host of Platform Innovations and New Products at IBC2017

In its largest-ever set of launches at an IBC Show, Avid continues to drive major innovations and introduces the MediaCentral production suite, next-generation 4K/IP video servers, expanded graphics line-up, and new solutions and services created for the cloud, and more

IBC (Hall 7, Booth #J20), AMSTERDAM, Sept. 15, 2017 – Avid® (Nasdaq: AVID), a leading global media technology provider for the creation, distribution and monetization of media assets for global media organizations, enterprise users and individual creative professionals today launched an unprecedented rollout of major new products at its largest-ever unveiling at an IBC Show.  Driven to solve the industry’s most pressing challenges through a globally connected platform and cloud infrastructure that throws open the doors to a new world of media performance and profitability, Avid has expanded its industry-leading portfolio with a new production suite and user experience for MediaCentral®, the new Avid FastServe™ next-generation 4K/IP video server family, and the extended Maestro™ graphics family, among other announcements including new cloud-based solutions, tools and services.

“At IBC2017, Avid is delivering on the promise of the cloud, laid out just five months ago at Avid Connect 2017, to help our customers and the industry at large better manage the disruptive forces that have been bearing down on them for far too long, and achieve new heights in creativity, efficiency and flexibility,” said Avid Chairman and CEO Louis Hernandez, Jr.  “Coming full circle with all of our introductions this week at IBC, this is precisely what we had envisioned after thousands of industry professionals crystallized their priorities through the inaugural Avid Customer Association vote to guide our strategic priorities.  Thanks to their collective voice, Avid is innovating faster than ever to help them solve their most pressing needs, and they should only expect to see us accelerate the pace.”

Empowered by Avid tools, services and the MediaCentral platform – the industry’s most open, tightly integrated and extensible platform designed for media – Avid customers move from closed to open environments, from linear to dynamic workflows, from point products to integrated solutions, and from siloed operations to connected creative teams.  Visitors will experience a host of Avid innovations during IBC2017 (Hall 7, Booth #J20) including:

  • Next-Generation Media Production Suite: MediaCentral - powering the simplest to the most complex workflows for news, sports, and post production to connect every user in a completely integrated workflow environment with a unified view into all their media.  Completely customizable and modular, the MediaCentral production suite features groundbreaking cloud-based user experience; workflow modules and apps for editorial, production, news, graphics, and asset management; and a wide array of media services and partner connectors.
  • MediaCentral | Cloud UX – an easy-to-use and task-oriented graphical user interface that runs on virtually any operating system or mobile device, and is available to everyone connected to the platform.
  • Certified cloud service offerings on Microsoft Azure for news, post, and asset management.
  • Integrated Microsoft Cognitive Services, which applies the latest machine-learning algorithms to content libraries, automatically indexing content to extract streams of time-based metadata.
  • Sibelius® | Cloud Sharing service (included with Sibelius 8.7) – enabling composers to share music scores to their own personal cloud space, embed scores in a webpage, and invite anyone to flip through pages and play compositions using any device.
  • Avid FastServe Video Server Family - building on the rich heritage of industry-leading AirSpeed® and PlayMaker™ video servers, the Avid FastServe family is tightly integrated into the Avid MediaCentral platform as part of the industry’s most comprehensive UHD/4K workflow.
  • Maestro Graphics Family – a more unified and powerful graphics product line-up that has deeper integration with Avid MediaCentral enabling content creators to work faster and more efficiently, and helps them to distinguish their brand to set themselves apart from the competition and build viewer loyalty.
  • MediaCentral Solutions for Post Production – enabling small and mid-sized creative teams to enhance collaboration and deliver their best work faster, as well as working more efficiently with 4K and other demanding formats.
  • MediaCentral Solutions for News – enabling broadcasters to deliver breaking news first on every consumer platform, and accelerate every aspect of their media production workflow.
  • MediaCentral Solutions for Sports – arming sports broadcasters and venues with tools to streamline delivery of content in UHD with 2D and 3D graphics on TV and the broad range of devices sports fans now use to follow their teams.
  • Avid Artist | DNxIV™ - peripheral offering a wide range of analog and digital I/O to plug into today’s diverse media productions, working with a broad spectrum of professional Avid and third-party video editing, audio, visual effects, and graphics software.
  • Avid NEXIS® | PRO – storage now scaling to 160 TB – twice its previous capacity – giving small post facilities the ease-of-use, security, and performance advantages enjoyed by larger Avid NEXIS customers.
  • Avid NEXIS | E2 – storage now supporting SSD drives to deliver the extreme performance required when working with multiple streams of ultra-high-resolution media in real-time.  Additionally, Avid NEXIS Enterprise systems now scale to 4.8 PB of raw storage, leveraging new 100 TB Media Packs.

For more information about Avid at IBC2017 and to set a demonstration appointment, please visit

About Avid

Through Avid Everywhere™, Avid delivers the most open and efficient media platform, connecting content creation with collaboration, asset protection, distribution, and consumption. Avid’s preeminent customer community uses Avid’s comprehensive tools and workflow solutions to create, distribute and monetize the most watched, loved and listened to media in the world—from prestigious and award-winning feature films to popular television shows, news programs and televised sporting events, and celebrated music recordings and live concerts. With the most flexible deployment and pricing options, Avid’s industry-leading solutions include Media Composer®, Pro Tools®, Avid NEXIS®, MediaCentral®, Interplay®, iNEWS®, AirSpeed®, Sibelius®, Avid VENUE™, Avid FastServe™, Maestro™, and PlayMaker™. For more information about Avid solutions and services, visit, connect with Avid on Facebook, Instagram, Twitter, YouTube, LinkedIn, or subscribe to Avid Blogs.


© 2017 Avid Technology, Inc. All rights reserved. Avid, the Avid logo, Avid Everywhere, Avid Artist | DNxIV, Avid NEXIS, Avid FastServe, AirSpeed, iNews, Maestro, MediaCentral, Media Composer, PlayMaker, Pro Tools, Avid VENUE, and Sibelius are trademarks or registered trademarks of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries. All other trademarks are the property of their respective owners. Product features, specifications, system requirements and availability are subject to change without notice.


19 2017 Sep

Avid Begins Deployment of First Cloud Enterprise Client Al Jazeera

International news broadcaster, Al Jazeera Media Network, extends MediaCentral Platform-based production workflows to the hybrid cloud to accelerate global collaboration and on-air story delivery

IBC (Hall 7, Booth #J20), AMSTERDAM, Sept. 19, 2017 Avid®(Nasdaq: AVID), a leading global media technology provider for the creation, distribution and monetization of media assets for global media organizations, enterprise users and individual creative professionals, announced today at IBC 2017 that it has begun deploying its first hybrid cloud workflows for Al Jazeera Media Network. Following its move last year to standardize on Avid’s MediaCentral® Platform, Al Jazeera is now bringing its international news operations into the media cloud era to optimize collaboration for faster story creation and time to market with its programs.

Al Jazeera is demonstrating the initial phase of this live MediaCentral hybrid cloud rollout at the Avid booth (Hall 7, Booth #J20). Visitors will see how news gathering field teams, individual journalists, affiliate bureaus and other contributors to Al Jazeera’s global virtual newsroom are gaining immediate access to a massive common repository of assets – content, metadata, news run-downs – to rapidly assemble, enhance and distribute productions across the network’s television and online properties.

“As an early adopter of cloud-based workflows, we’re establishing a highly responsive and fluid global newsroom environment that better serves and engages viewers across all distribution platforms including, television, digital and mobile,” said Mohamed Abuagla, Executive Director of Technology & Operations (CIO/CTO), Al Jazeera Media Network. “We’re proud to give the media industry a view into the core of our MediaCentral-based operation this week at IBC 2017. It proves that Al Jazeera is leading the way in developing the newsroom of the future in partnership with Avid, ensuring that it will continue to capitalize on an open platform of common technologies with immense advantages to our journalist and productions teams.”

“When media enterprises standardize on Avid tools and platforms, they become well positioned to enter the media cloud era and elevate their creativity, delivery and monetization,” said Jeff Rosica, President, Avid. “Avid is thrilled to feature Al Jazeera’s hybrid cloud breakthrough at IBC 2017. It’s a perfect example of how cloud deployment of MediaCentral can erase disparity and silos from even the most distributed media organizations and streamline workflows that span the globe.”

MediaCentral is the industry’s most open, tightly integrated and extensible platform purpose-built for media and ready for the cloud. MediaCentral scales from a team of two to an organization of thousands, and gives news, sports, post-production and live broadcast teams the power to create and deliver more content much more efficiently, and in shorter timeframes. To learn about the next-generation MediaCentral platform and the next-generation production suite introduced this week at IBC2017, please visit


15 2017 Sep

The MPSE to Sponsor Mix Presents Sound for Film and TV

Annual sound event slated for September 16th at Sony Pictures Studios.

Studio City, California – September 7, 2017 – For the fourth straight year, the Motion Picture Sound Editors (MPSE) will serve as event sponsor for Mix Presents Sound for Film and TV, an all-day exhibition and conference spotlighting the technologies and techniques behind sound for picture, from production to playback. The event is scheduled for September 16, 2017 at Sony Pictures Studios, the event host sponsor.

Sponsored by Mix Magazine, this year’s event will focus on how sound is being affected by the continued evolution of feature film, television, streaming and gaming media, and the emergence of virtual reality and other new forms of entertainment. A series of panel discussions, technology demonstrations and master classes will highlight the latest workflows and technologies that are helping sound artists keep pace with creative and technical demands.

A unique gathering of creative artists and technical experts from all avenues of entertainment sound, Mix Presents Sound for Film has attracted sell-out crowds and expanded its scope in each of its first three years. “The MPSE is very excited to be part of this year’s Mix event,” said MPSE President Tom McCarthy. “It’s a can’t-miss opportunity where sound professionals can learn about the latest trends and technologies, and reconnect with colleagues who are pushing the boundaries of entertainment sound.” The Cinema Audio Society (CAS) is also an event sponsor.

MPSE will sponsor a panel entitled “One Soundtrack, Multiple Formats: Preparing Immersive Audio for Any-Sized Screen.” The panel will discuss the challenges sound teams face in producing immersive and stereo sound in an expanding number of delivery formats for theatrical, broadcast, streaming and other markets. Academy Award-winning sound design and re-recording mixer Mark A. Mangini will moderate the discussion with panelists including supervising sound editor Andrew DeCristofaro, re-recording mixer/sound designer Tony Lamberti, sound designer Jay W. Jennings, sound designer Dave Rowe and sound designer/re-recording mixer Julian Slater. The session is scheduled for 11:00 a.m. in the Burt Lancaster Theatre.

Other highlights include a keynote address from film composer Tom Holkenborg, whose scoring credits include Mad Max Fury Road, Deadpool, Black Mass, Divergent, Brimstone, Justice League and Dark Tower. The event will include panel discussions on collaboration in scoring, RF coordination and 360 music. Yamaha, Westlake Pro, Focusrite and RSPE will be among technology manufacturers hosting master classes. The event will conclude with a cocktail reception and its popular Sound Reel Showcase.

What:                   Mix Presents Sound for Film and TV

Sponsors:            The Motion Picture Sound Editors (MPSE) and the Cinema Audio Society (CAS)

Where:                Sony Pictures Studios, Culver City, California

When:                  Sunday, September 16, 2017



About MPSE

Founded in 1953, the Motion Picture Sound Editors is a non-profit organization of professional sound and music editors who work in the motion picture television and gaming industries. The organization’s mission is to provide a wealth of knowledge from award-winning professionals to a diverse group of individuals, youth and career professionals alike; mentoring and educating the community about the artistic merit and technical advancements in sound and music editing; providing scholarships for the continuing advancement of motion picture sound in education; and helping to enhance the personal and professional lives of the men and women who practice this unique craft.

15 2017 Sep

SoundGirls hosts Q&A and discussion with Grammy Award-winning Producer, Engineer, and Songwriter Ariel Rechtshaid

Rechtshaid, whose credits include Adele, Solange Knowles, Brandon Flowers, HAIM, Vampire Weekend, Madonna, and more, will be breaking down his production process with a surprise mix.

Emerson College
5960 Sunset Blvd, Los Angeles, CA 90028

Parking: Garage on the corner of Gordon St.

September 27th
7pm – 10pm
Cost $25
Register and Pay Here

Space is limited and is open to members of SoundGirls and Students of Emerson College.

15 2017 Sep

Foo Fighters Debut New Video for “The Sky Is A Neighborhood” Directed By Dave Grohl and Produced by Therapy Content

 Therapy Content helps Foo Fighters bring a dose of mystical danger to a cabin in the woods with the new video for “The Sky Is A Neighborhood.”

The Dave Grohl-directed video opens on two young girls reading an ancient-looking tome in a remote cabin, before transitioning to the band playing in the woods at nighttime. Cutting between the performance footage and the girls’ story, Foo Fighters are revealed to be the thing that goes bump in the night when the kick drum and stomping feet rattle the roof above the girls’ heads. As the song escalates, the action of the video does as well; when the band stomps holes through the roof of the cabin, they create a starscape inside to mirror the outside. Throughout the song, the band members’ eyes flash a possessed white, revealing they are not an impartial narrator to the supernatural occurrences happening below.

“The Sky Is A Neighborhood” is another brick in the long and successful collaborative bridge between musician/director Dave Grohl and Therapy Content. The Los Angeles-based entertainment development and production company was behind Grohl’s feature film debut (led by Therapy Content’s John Ramsay and Jim Rota) with the Grammy-winning 2013 documentary Sound City. They followed it up with the Emmy and Grammy-winning collaboration: the HBO docuseries Sonic Highways, along with Foo Fighters’ most recent video for “Run.”

Therapy Content handled the scope of production, nailing the horror/handmade atmosphere that makes the video so unique. To achieve this, Therapy built a full-scale cabin on a soundstage, which took five days and required truckloads of actual trees to create the surrounding forest. To make the starscape, Therapy animated and projected the night sky onto a 40-foot tall by 150-foot wide screen wrapped around the entire set, which required over 20 projectors to cover the screen.

Sister company Therapy Studios was enlisted to handle the post production. Editor Kristin McCasey expertly weaves a sense of suspense and mystery between the two worlds. Meanwhile Lead Flame Artist Rachel Moorer and colorist Omar Inguanzo enhance the physical set of the video through glowing eyes, holes in the ceiling, and multicolored lights from above.

15 2017 Sep

Weezer’s New Feels Like Summer Music Video Shot with URSA Mini Pro 4.6K

Logo_blackmagic designFremont, CA - Blackmagic Design today announced that American rock band Weezer’s new music video for its song “Feels Like Summer” was shot using an URSA Mini Pro 4.6K digital film camera. Cinematographer Gabe Kimpson, along with Directors Brendan Walter of Crush Music and Jade Ehlers, were tasked with replicating the legendary Guns N’ Roses “Paradise City” video with Weezer on the stage in front of screaming fans instead, as told from the point of view of a Weezer roadie in the 1980s.

Kimpson has shot music videos for some of the biggest bands in the world, including Fall Out Boy, Train and New Politics. For “Feels Like Summer,” Brendan Walter, of Crush Music, and Jade Ehlers, of Scantron No. 2 Pencil, decided to shoot at Los Angeles’ iconic Rose Bowl Stadium during the Arroyo Seco Weekend music festival where Weezer was performing. During the performance, the URSA Mini Pro was set up center stage at the front of the pit and was mounted on a Manfrotto tripod, then switched to handheld for a more lively, energetic feel.

“This shoot was amazing. We had to include staged behind-the-scenes shots of the band, the stage and the crowd. Since we wanted it to feel like the viewer is a roadie with Weezer, if Weezer had been an 80s hair band, I was shooting in the pit with 20 to 30 other photographers and videographers with screaming fans all around,” said Kimpson.

“An issue during the shoot was that the majority of the stage was shaded, but some parts were in direct sun-light as well as all of the audience. Therefore, very fast changes between proper exposures had to be met, along with relying heavily on the large dynamic range that the URSA Mini Pro is capable of,” Kimpson noted. “The URSA Mini Pro’s built-in ND filters proved to be an essential tool to ensure proper exposure at the turn of a knob to keep up with the fast pace of the live performance and capture those quick moments, especially since there were no second takes.”

“With the main concern being the vast differences in exposure from direct sunlight to shade, we didn’t want any of the highlights blowing out if possible, so we really pushed the dynamic range of the URSA Mini Pro to the extremes. And I think we were able to accomplish what we needed and then some by providing even better colors with gorgeous skin tones,” he continued. “One of the joys of shooting with this camera is having the confidence that you are capturing footage at the proper exposure while knowing that you will still have a ton of latitude to push it in the color grade. The ability to push the limits in the color grade was a blessing.”

During the performance, being able to turn from the stage to the audience and back again to capture key moments was essential.

“I had to capture my shots while moving around in a small space, and the URSA Mini Pro’s size really allowed me to be nimble. I had plenty of shots where I had to raise the camera directly overhead, and not only does the weight and handle grip help with a shot like that, but so does the screen, which has the ability to rotate 180 degrees up or down. Shooting blind is never something I like to do, so being able to hold the camera directly overhead while still seeing what I was shooting was great,” said Kimpson.

“The entire shoot went really well, and the URSA Mini Pro’s dynamic range and image quality were the factors that influenced our use the most. We also loved being able to save money, because of the URSA Mini Pro’s affordability, and then being able to invest the savings into other areas of the production while still providing the client with a stellar image. Dynamic range, size, image quality and affordability are second to none, and it was really a no brainer to go with this camera,” he finished.

15 2017 Sep

Blackmagic Design Announces Ultimatte 12

The world’s most trusted keyer now has one touch keying, incredible new image processingfor realistic composites with colors that pop, and 12G-SDI for Ultra HD.

Logo_blackmagic designIBC 2017, Amsterdam, Netherlands  - Blackmagic Design today announced Ultimatte 12, a new realtime hardware compositing processor that’s perfect for broadcast quality keying, adding augmented reality elements into shots, working with virtual sets and more. Ultimatte 12 is available immediately from Blackmagic Design resellers worldwide for US$9,995.

Ultimatte 12 will be demonstrated at IBC 2017 on the Blackmagic Design booth in Hall 7, Stand 7 H.20.

The all new Ultimatte 12 is more than the world’s best keyer, it’s an advanced real time compositing processor designed for the next generation of broadcast graphics. Ultimatte 12 features entirely new algorithms and color science, incredible edge handling, greater color separation, amazing color fidelity and better spill suppression than ever before.

The advanced 12G-SDI design gives Ultimatte 12 customers the flexibility to work in HD today and switch to Ultra HD when they are ready. Customers get sub pixel processing for amazing image quality and textures in both HD and Ultra HD. Plus it’s compatible with virtually all SD, HD and Ultra HD equipment, so customers can use it with the cameras they already have.

Ultimatte 12 can create incredibly life like composites and place talent into any scene, working with both fixed cameras and static backgrounds, or automated virtual set systems. Imagine presenting the weather, sports, news and entertainment in a cinematic quality environment, all composited in real time. Ultimatte 12 is also perfect for on set pre visualization in television and film production because it lets actors and directors see the virtual sets they’re interacting with while shooting against a green screen.

Ultimatte 12 is designed to be affordable, so customers can use it on even more cameras to increase production quality. For example, when working on live shoots with multiple cameras shooting from different angles, it’s common for the green or blue screen to suffer from variations. The keyers built into live production switchers use the same keying parameters for all cameras, which complicates keying and image quality because each camera sees the green screen a little differently. Ultimatte 12 eliminates this problem with incredible new technology at an affordable price so it’s now possible to add keyers to every camera for the highest possible quality keys. With the power of a dedicated keyer on every camera, Ultimatte 12 is perfect for live broadcast news, weather, sports, virtual studios and more!

Augmented reality is becoming more and more popular. On air talent now interacts with glass like computer generated charts, graphs, displays and other objects with colored translucency on virtually every broadcast television show. Adding tinted translucent objects is virtually impossible with a traditional keyer and the results customers see on television don’t look realistic. That’s because when blue or green is subtracted out of a semi-transparent tinted object, it changes the object’s original color. Now, with Ultimatte 12, customers get a revolutionary new “realistic” layer compositing mode that can add tinted objects on top of the foreground image and key them correctly. This means that the object properly transmits the colors seen through it. Talent can even walk behind it and the tinted colors are accurately preserved, making the shot look completely realistic.

Ultimatte 12 also features one touch keying technology that analyzes a scene and automatically sets over a 100 parameters so pulling great keys is easy without having to do a lot of extra work. Of course, customers still have to ensure the scene is well lit and the cameras are properly white balanced. One touch keying is dramatically faster and helps accurately pull a key with minimum effort, leaving operators free to focus on the program with less distractions, while Ultimatte 12 takes care of the rest.

The incredible new image processing algorithms, huge internal color space, and automatic internal matte generation lets Ultimatte 12 work on different parts of the image separately. It’s like having the power of multiple Ultimatte keyers all working together on the same image. Fine edge detail is preserved where it’s needed the most, like on hair, and transitions between colors or other objects in the scene is completely smooth. Everything is handled by new math and sub pixel processing that’s designed for incredible quality and clarity in both HD and Ultra HD.

When it comes to color handling, Ultimatte 12, has new flare, edge and transition processing to remove backgrounds, without affecting other colors. The improved flare algorithms can remove green tinting and spill from anything, even dark shadow areas or through transparent objects. This means Ultimatte 12 can retain and faithfully reproduce colors that are impossible on other keyers, such as a bright yellow dress in front of a green screen. Unlike other keyers, Ultimatte 12 delivers crisp clear, photorealistic images with vibrant colors that pop!

Ultimatte 12 is controlled via Ultimatte Smart Remote 4, which is a touch screen remote that connects via Ethernet. Up to eight Ultimatte 12 units can be daisy chained together and connected to the same Smart Remote, so customers don’t have worry about adding a video router or hub. Smart Remote 4 features physical buttons for switching and controlling any attached Ultimatte 12. There are also buttons for quickly loading and saving presets, along with a touch screen that provides total control over every parameter. Customers can also create their own custom control solutions because Ultimatte 12 uses a simple, open text based protocol. Simply Telnet into Ultimatte 12, to start developing and testing custom solutions.

“Ultimatte has been the world’s highest quality broadcast keyer for 40 years,” said Grant Petty, Blackmagic Design CEO. “We’re excited about taking this incredible technology to the next level! Ultimatte 12 is no longer just a simple keyer, it’s an Ultra HD realtime compositing engine designed specifically for the needs of today’s live broadcast, television and film production needs!”

15 2017 Sep

Le Bureau des Légendes Delivered in Ultra HD 4K with DaVinci Resolve Studio

Logo_blackmagic designFremont, CA  - Blackmagic Design has today announced its DaVinci Resolve Studio and DaVinci Resolve Advanced Panel were used to

complete picture post in Ultra HD 4K on the third season of award winning Canal+ French drama series, “Le Bureau des Légendes.”
Post production for the ten part series now available on Amazon Prime was completed at Paris based Digital Factory by freelance colorist Guillaume Lips. “Not only did we grade the entire series from beginning to end in Resolve, but we also delivered in Ultra HD 4K for the first time,” he begins.

The turnaround for completing the DI on each episode was incredibly tight according to Lips. “With only two days to complete an episode our workflow needed to be both fast and efficient. Not only did Resolve’s realtime performance provide first-class shot tracking but it also meant that we could work with the project native materials in 4K.”

While the main unit captured to ProRes 4444, there was a whole raft of smaller cameras used by the production’s second unit to shoot the action scenes. “Resolve’s extensive format and multi-codec support proved invaluable,” explains Lips. “We carried out a basic technical grade to adjust contrast levels and correct for the differences in color space and that gave us our starting point for the final DI.”

When grading scenes from Syria, Lips drew on DaVinci Resolve’s extensive toolset and a series of power windows to unlock the rich deep tones and add a large amount of contrast while still retaining enough detail in the highlights and shadows.

“In order to achieve that, I used the HDR capabilities in Resolve to finesse the midtones,” he reveals. “And when it came to skin tones I wanted to bring back as much softness as possible to mitigate any over-definition resulting from the 4K delivery which Resolve proved highly adept at handling.”

“As an experienced colorist I have worked with a lot of different grading systems in my career and I firmly believe that DaVinci Resolve remains one of the very best in the market today,” concludes Lips. “Used alongside the DaVinci Resolve Advanced Panel you have a very efficient way of working, which allowed me to complete the grade on this particular project in record time.”

15 2017 Sep

Avid Honored with 15th Emmy® Award for Technology and Engineering Innovation


Burlington, Mass.  – Avid® (Nasdaq: AVID), a leading global media technology provider for the creation, distribution and monetization of media assets for global media organizations, enterprise users and individual creative professionals, today proudly announced it has won a 2017 Emmy® Award for Technology and Engineering from the National Academy of Television Arts and Sciences (NATAS), the company’s 15th Emmy Award.

NATAS bestows Technology & Engineering Emmy Awards on companies that are the “tool makers” of the industry and have materially affected the television viewing experience.  This year, NATAS’ Technology & Engineering Achievement Committee honors Avid editing technology that’s widely used by an overwhelming number of the media and entertainment industry’s top creative and editing talent who produce some of the world’s most popular television shows.  The award specifically recognizes Avid’s “Pioneering Development of a Computerized Hard-Disk Storage Based Digital Non-Linear, Multi-Stream Multi-Camera System,” identifying the influence of Avid Media Composer®, the industry’s preeminent nonlinear editing system.  Avid will receive its latest Emmy during the 69th Annual Technology & Engineering Emmy Awards ceremony on Sunday, April 8, 2018 in Las Vegas.

“Our 2017 Emmy Award is immensely gratifying for Avid employees everywhere as we continue to focus on delivering innovations of enduring value for the media and entertainment industry,” said Avid Chairman & CEO, Louis Hernandez, Jr.  “All of us at Avid are especially grateful to our global customer community, which drives our innovation.  Our 15 Emmys, two Oscars® and Grammy® embody our strong bond with our customers and users, who inspire us and trust us to deliver tools and platforms that are instrumental in telling their stories in increasingly engaging and more powerful ways.”

Powered by the MediaCentral® Platform, the industry’s most open and tightly integrated platform designed for media, Media Composer is the prevailing tool of choice for television and film editors, including award-winning individuals such as Peter Chakos, who won the 2016 Primetime Emmy Award for Multi-camera Picture Editing for a Comedy Series for Big Bang Theory, every nominee for the 2017 Primetime Emmy Award for Outstanding Single-Camera Picture Editing for A Drama Series, and every 2017 Academy Award nominee for Best Film Editing.

About Avid

Through Avid Everywhere™, Avid delivers the most open and efficient media platform, connecting content creation with collaboration, asset protection, distribution and consumption. Avid’s preeminent customer community uses Avid’s comprehensive tools and workflow solutions to create, distribute and monetize the most watched, loved and listened to media in the world—from prestigious and award-winning feature films, to popular television shows, news programs and televised sporting events, and celebrated music recordings and live concerts. With the most flexible deployment and pricing options, Avid’s industry-leading solutions include Pro Tools®, Media Composer®, Avid NEXIS®, Interplay®, ProSet™ and RealSet™, Maestro™, PlayMaker™, and Sibelius®. For more information about Avid solutions and services, visit, connect with Avid on FacebookInstagram, Twitter, YouTubeLinkedIn, or subscribe to Avid Blogs.


© 2017 Avid Technology, Inc. All rights reserved. Avid, the Avid logo, Avid Everywhere, Avid NEXIS, Interplay, Maestro, MediaCentral, Media Composer, PlayMaker, Pro Tools, ProSet, RealSet, and Sibelius are trademarks or registered trademarks of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries. The Interplay name is used with the permission of the Interplay Entertainment Corp. which bears no responsibility for Avid products. Emmy and the Emmy statuette are registered trademarks of ATAS/NATAS. Academy Awards and Oscar are the registered trademarks and service marks of the Academy of Motion Picture Arts and Sciences. Grammy is a trademark of The National Academy of Recording Arts & Sciences, Inc. All other trademarks are the property of their respective owners. Product features, specifications, system requirements and availability are subject to change without notice.