In Broadcast - October/November 2011 - 4


WWW.INBROADCAST.COM | OCTOBER/NOVEMBER 2011

InNEWS
3ality Digital Acquires Element Technica
Stereoscopic 3D production technology innovator 3ality Digital has announced the acquisition of Element Technica, a company well-known for its manufacturing expertise, accessories, and mechanical engineering of motorised S3D camera rigs. 3ality Digital was named in the 2011 Inc. 500 list and is considered one of the fastest growing companies in the US. 3ality Digital will now be known as 3ality Technica. Steve Schklair, CEO of 3ality Technica, said: “As our primary competitor, we have always had great respect for Element Technica and their achievements. The complete compatibility and lack of redundancy between the companies has made this an ideal acquisition, strengthening the company’s position to provide the most advanced and dependable S3D solutions to the market. 	 “Perhaps	 the	 greatest	 benefit	 of this acquisition will be to the motion picture and broadcast producers who will now have an unprecedented amount of tools and technology tailored to meet their	specific	needs.” Schklair says that the combined engineering skills will help push 3D production to levels of integration and	 refinement	 previously	 unmatched.
3ality Atom Epic Optimo configured 3D rig

Nordisk Film
Nordisk Film – a leading Scandinavian developer of content in movies, games, and music – has chosen Signiant for the creation of a	 digital	 file	 exchange	 ecosystem	 with its clients in the region and around the world. Founded in 1906, Nordisk Film has a staff of 1,625 full-time employees in Denmark, Sweden, Norway, and Finland. Nordisk Film generated a total revenue of €383 million in 2010. 	 To	 manage	 file	 transfer	 and	 automate	 workflow	 processes,	 Nordisk Film has purchased the Signiant Manager, High availability (HA), with 11 Agents and Media Exchange. The Signiant technology will allow Nordisk to create completely automated	provisioning	workflows	 that are executed based on business rules, and in turn will increase	efficiency.

Many of Hollywood’s major theatrical releases have been shot utilising these two companies. Also, companies like BSkyB, the world’s leading 3D broadcaster, and the HBS feeds from the FIFA World Cup have based their productions of live events on the backbone of 3ality Technica technology.

Film2Film
Cintel International has launched a new	website	‘www.film2film.co.uk’	 and a range of three ‘Film2Film’ 2K/4k image restoration packages for	 film	 archives	 and	 restoration	 companies. 	 The	‘film	in’	is	the	diTTo	evolution	 2K/4K	 film	 scanner	 from	 Cintel.	 The	‘film	out’	is	provided	by	CCG’s	 DEFINITYHD	 film	 recorder.	 Each	 Film2Film package includes Cintel’s imageMill2 real-time restoration system,	 including	 GRACE	 film	 grain and management, STEADY image stabilisation and ORIGIN dust and scratch reduction. Film2Film300 is the basic package which includes the new COLOURFLOW colour correction and timeline management tool. Film2Film400 adds RAIN colour correction from Marquise Technologies	 plus	 a	 fibre-channel	 SAN. Film2Film450 adds DIAMANT from HS-ART, which provides additional image restoration tools and 40Tb storage.

Autodesk Turn Up Flame Premium And Flare
4
At IBC Autodesk focused on the 2012 versions of Flame Premium software and Autodesk Flare software. The latest versions provide expanded creative and technical tools, enhanced stereoscopic viewing modes, increased format support and improved performance. 	 Flame	 Premium,	 a	 unified	 solution for 3D visual effects and look development with innovative tools for interactive 3D compositing and colour grading, has been adopted by a wide swath of the post-production industry. In the early 1990s, Tim McGuire, CEO of Cutters Studios in Chicago, was	 one	 of	 the	 very	 first	 Flame	 customers. When his company teamed up with RingSide Creative in Detroit earlier this year, both companies jumped at the chance to standardise the facilities on Flame Premium. McGuire said: “We’re committed to giving our artists the best tools in the industry, and Autodesk tools have	always	been	the	best.”

Cutters Studios in Chicago used Autodesk Flame Premium 3D visual effects software to create “App,” a hilarious commercial spot for Bud Light. Image courtesy of Cutters Studios.

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Table of Contents for the Digital Edition of In Broadcast - October/November 2011

In Broadcast - October/November 2011
Contents
3Ality Digital Acquire Element Technica
RTL Choses Quantel
Studios In Production
MAM Questions Answered
Changing Faces of Post Production
Microphones In Action
New Developments in Audio for Television
Routers and Switchers
Loudness Measuring in Workflows
In Broadcast - October/November 2011 - In Broadcast - October/November 2011
In Broadcast - October/November 2011 - 2
In Broadcast - October/November 2011 - Contents
In Broadcast - October/November 2011 - 3Ality Digital Acquire Element Technica
In Broadcast - October/November 2011 - 5
In Broadcast - October/November 2011 - 6
In Broadcast - October/November 2011 - 7
In Broadcast - October/November 2011 - 8
In Broadcast - October/November 2011 - 9
In Broadcast - October/November 2011 - 10
In Broadcast - October/November 2011 - 11
In Broadcast - October/November 2011 - 12
In Broadcast - October/November 2011 - 13
In Broadcast - October/November 2011 - 14
In Broadcast - October/November 2011 - 15
In Broadcast - October/November 2011 - 16
In Broadcast - October/November 2011 - 17
In Broadcast - October/November 2011 - 18
In Broadcast - October/November 2011 - 19
In Broadcast - October/November 2011 - RTL Choses Quantel
In Broadcast - October/November 2011 - 21
In Broadcast - October/November 2011 - 22
In Broadcast - October/November 2011 - 23
In Broadcast - October/November 2011 - Studios In Production
In Broadcast - October/November 2011 - 25
In Broadcast - October/November 2011 - 26
In Broadcast - October/November 2011 - 27
In Broadcast - October/November 2011 - 28
In Broadcast - October/November 2011 - 29
In Broadcast - October/November 2011 - 30
In Broadcast - October/November 2011 - 31
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In Broadcast - October/November 2011 - 44
In Broadcast - October/November 2011 - 45
In Broadcast - October/November 2011 - 46
In Broadcast - October/November 2011 - 47
In Broadcast - October/November 2011 - MAM Questions Answered
In Broadcast - October/November 2011 - 49
In Broadcast - October/November 2011 - Changing Faces of Post Production
In Broadcast - October/November 2011 - 51
In Broadcast - October/November 2011 - Microphones In Action
In Broadcast - October/November 2011 - 53
In Broadcast - October/November 2011 - 54
In Broadcast - October/November 2011 - 55
In Broadcast - October/November 2011 - 56
In Broadcast - October/November 2011 - 57
In Broadcast - October/November 2011 - 58
In Broadcast - October/November 2011 - 59
In Broadcast - October/November 2011 - 60
In Broadcast - October/November 2011 - 61
In Broadcast - October/November 2011 - 62
In Broadcast - October/November 2011 - 63
In Broadcast - October/November 2011 - New Developments in Audio for Television
In Broadcast - October/November 2011 - 65
In Broadcast - October/November 2011 - 66
In Broadcast - October/November 2011 - 67
In Broadcast - October/November 2011 - 68
In Broadcast - October/November 2011 - 69
In Broadcast - October/November 2011 - 70
In Broadcast - October/November 2011 - 71
In Broadcast - October/November 2011 - Routers and Switchers
In Broadcast - October/November 2011 - 73
In Broadcast - October/November 2011 - 74
In Broadcast - October/November 2011 - 75
In Broadcast - October/November 2011 - 76
In Broadcast - October/November 2011 - 77
In Broadcast - October/November 2011 - 78
In Broadcast - October/November 2011 - 79
In Broadcast - October/November 2011 - 80
In Broadcast - October/November 2011 - Loudness Measuring in Workflows
In Broadcast - October/November 2011 - 82
In Broadcast - October/November 2011 - 83
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