SUNNYVALE, Calif.—Cloud-based media supply chain solutions provider SDVI has  introduced Rally Access Workstation, a fully managed solution for editing in the cloud with Adobe Premiere Pro. 

This new addition to the company's Rally media supply chain management platform enables anywhere, anytime access to hosted edit workstations and content in the cloud, dynamically managing associated infrastructure deployment so that media organizations can scale their edit capacity easily and cost-effectively within an automated media supply chain.

"Manual edits are an essential part of media supply chains, and now they are moving to the cloud — like everything else in the supply chain — in a fully managed way," said Chris Brähler, vice president of product at SDVI. "Only with Rally Access Workstation can users automatically spin up a licensed Adobe workstation, fill the bin, make edits on the timeline, and hit submit, and the supply chain carries on. It's a fully managed engagement that integrates human tasks and automated jobs, supported by automatic infrastructure provisioning. By moving manual activity into the cloud, Rally Access Workstation represents the next step in fully migrating supply chains."

Available now to all Rally users, Rally Access Workstation makes it possible to run an instance of Adobe Premiere Pro on a cloud-based virtual workstation with all content (high-resolution and/or proxy) preloaded in the bin, as well as markers on the timeline corresponding to workorder items that need attention, as identified by automated processing upstream in the supply chain. Because content stays in the cloud, users avoid latencies and egress costs commonly associated with on-premises edit workstations, SDVI reported. 

By implementing Adobe Premiere Pro workstations in the cloud with Rally Access Workstation, Rally users reduce the burden of maintaining and scheduling physical edit suites. Rather than manage numerous costly machines on premises or in remote-work environments, Rally users can quickly connect authorized editors to high-end edit software and the content they need, on their preferred device, via a web browser and internet connection. With Rally Access Workstation, users can instantly scale up access to address peaks in demand or to free up space in on-premises edit bays for other, more creative work, and scale down just as quickly when those resources are no longer needed.

"Rally Access Workstation is a significant development for the platform — and for the industry — because it enables tight integration of Adobe Premiere Pro into the media supply chain without incurring data movement in or out of the cloud," added Brähler. "While Rally users could already utilize Premiere Pro locally in their supply chain, this new capability expands access to our industry-leading editing software and makes utilization as simple as starting a work order."

Further information about SDVI and the company's Rally media supply chain platform is available at www.sdvi.com. 

SAN JOSE—Adobe today touted the leading role its video editing and collaboration tools have had for the fifth consecutive year among Sundance Film Festival Filmmakers.

An annual survey from the Sundance Institute has found 67% of Sundance films this year relied upon Adobe Premiere Pro or Frame.io. Premiere Pro was used to edit more than half of the festival’s films, including “Plan C,” “Going Varsity in Mariachi,” “Sometimes I Think About Dying” and “Fremont,” the company said.

Adobe Creative Cloud tools including After Effects, Photoshop and the Substance 3D Collection were used in making three-quarters of the 2023 films, it said. 

Since the pandemic, hybrid filmmaking has become the norm, elevating the importance of remote collaboration. The addition of Frame.io to Creative Cloud enables filmmakers to leverage cloud technologies to shoot, cut and review footage alongside anyone, anywhere in the world, it said.

The Sundance Institute is using Adobe’s video cloud workflow, including Camera to Cloud, Premiere Pro and After Effects, to create the Festival Daily Recap and videos for its social media channels, it said.

Adobe also announced its camera-to-cloud solution powered by Frame.io is being used around the world by more than 6,000 productions, which is changing how video is being created. It also announced a beta version of its Project Blink AI-powered web video editing with the ability to recognize objects, people, sounds and the spoken word is available.

More information is available on the company’s website.

The Project Blink beta also is available online.

SUNNYVALE, Calif.—SDVI today announced Rally Access for Adobe Premiere Pro is now available for users of the SDVI Rally media supply chain platform via direct download from Adobe Exchange.

Rally Access, presented as a panel in Adobe Premiere Pro, is integrated into an organization’s existing edit infrastructure. It brings metadata-assisted content verification and modification into the workflow.

“Adobe Premiere Pro is a critical part of the editing toolkit for any media organization. When that toolkit is enhanced by the metadata and automation provided by Rally Access, editors can more efficiently perform the specific work requested without leaving the familiar editing environment," said Sue Skidmore, head of partner relations for Adobe Video. "The integration of Rally and Premiere Pro via Rally Access facilitates editing productivity as part of a cloud-based media supply chain."

SDVI Rally deploys all the applications and infrastructure required to create a dynamic media supply chain in the cloud. Its Rally Access links automated supply chain functions and the metadata they produce to manual tasks performed by operators, thereby enabling faster, smarter workflows, the company said.

Metadata and content are combined on the same timeline, guiding users to the right moment and track where their attention is needed. This guidance reduces time spent looking through content, freeing up editors and others to focus on other aspects of delivering content, it said.

With the Rally Access panel enabled, operators and editors have the full functionality of Adobe Premiere Pro, including all format, audio and subtitle support and familiar interface and tools. They can work locally or in the cloud with proxy or high-res media without changing established workflows, it said.

When a work order is taken, Rally Access automatically compiles all media and metadata necessary for the task at hand, placing markers on the timeline so that operators can navigate them instantly, it said.

The Rally Access panel streamlines tasks from manual QC and compliance review to compliance editing and craft edit sessions. All new metadata, edits, and effects are synced directly back to the Rally platform, where they can be subsequently processed or conformed, it said. 

Through integration with Adobe Media Encoder, a new version of the media can be rendered automatically within the supply chain. The original content and all project metadata remain unchanged.

Direct download is available online as is more information.

SAN JOSE, Calif.—Adobe Premiere Pro was used by more filmmakers taking part in the 2021 Sundance Film Festival than any other video editing system, the company has announced.

According to an Adobe press release, 68% of films used the Premiere Pro video editing software on their films; this is the third year in a row that Premiere Pro was the most used editing tool among Sundance Film Festival entrants. In addition, Adobe says that 89% of the 2021 lineup is powered by Creative Cloud tools, including After Effects and Photoshop.

Adobe’s involvement with the 2021 Sundance Film Festival doesn’t stop there. On Feb. 1, Adobe is sponsoring Ignite Day, which is dedicated to supporting the next generation of creators. The day will feature the Ignite Panel, which will have filmmakers RaMell Ross, Kerry Warkia and Keisha Rae Witherspoon exploring storytelling traditions from historically marginalized communities and share how they are working to advance underrepresented narratives.

In addition, Adobe has announced that as part of its commitment to diversity and inclusion it will be replacing non-inclusive language and increasing the breadth of reference imagery in Premiere Pro, After Effects and Audition.

The 2021 Sundance Film Festival is taking place primarily virtually from Jan. 28-Feb. 3.

LOS ANGELES—axle ai, a software management company, has announced the launch of the ascribe.ai AI-driven video transcription service that is able to work with Adobe Premiere Pro.

Ascribe.ai is available through the axle ai website and the Adobe Exchange Application Marketplace at no charge. When registering, users receive a free hour of transcription of video content; after that, users can sign up for subscriptions that start at $4.95 per month for 2.5 hours, with lower prices in larger quantities. The service can provide transcriptions in English, Spanish, French, Italian, Portugese, Russian and Korean.

The service creates an audio-only file that is transcribed in faster than real-time, featuring the transcript and relevant markers that are posted to the timeline in Adobe Premiere Pro. Users can also export an industry-standard SRT or VTT file with the transcript.

The same axle Speech services are used in ascribe.ai as in the company’s 2019 media management system for small and midsize video teams, but ascribe.ai is free and does not require a centralized database or shared network storage. The system can connect with Speech’s cloud service via nearly any connection, per axle.

The ascribe.ai system is available immediately from axle’s website, and will soon be available through the Adobe Exchange Application Marketplace.

Axle ai debuted the service at the Adobe MAX Conference.

Boston, MA - September 9, 2019 -EditShare®, a technology leader that specializes in collaboration, security, and intelligent storage solutions for media creation and management, will showcase Helmut FX, IO, CO (Cosmo), and HK (Housekeeper), solutions designed to enable extensive project administration, back-office management and render farm control for Adobe® Premiere® Pro enterprise post-production workflows. Premiere Pro is an industry leader in video editing. The Helmut family of solutions will be demonstrated at IBC2019 from September 13th through September 17th (stand 7.A35).

Using a highly efficient, user-friendly node-based approach to workflow configuration called ‘Streams Engine’, Helmut facilitates critical back-office functions such as encoding, migration, render farm control and other housekeeping technical tasks for Premiere Pro based post-production workgroups. Seamlessly integrated with EditShare Flow media asset management, the flexible Helmut and Flow north-bound API architecture enable a high degree of customization, empowering enterprise deployments to efficiently automate both creative workflows as well as complex and redundant ‘under-the-hood’ technical jobs, optimizing overall productions.

“With the increasing number of new content-delivery options, the demand for adverts, snackable content and high-quality programming has surged and, in turn, has significantly expanded content creation opportunities across the post-production market. However, as opportunities grow, so do the pressures on these video professionals to create and deliver significantly more, higher quality content, faster than ever before,” comments Tracy Geist, Chief Marketing Officer, EditShare. “Helmut, combined with EditShare Flow, puts the focus back on storytelling with optimizations at every step across the Adobe workflow. By eliminating complexities and elevating collaboration, EditShare gives a much longer runway for post facilities to create and deliver even more high-quality projects.”

The Expanded Helmut Product Family on Display at IBC2019:

● The HelmutFX software solution connects Premiere Pro and storage environments, simplifying production management and streamlining working processes. Adding a layer of control and automation, HelmutFX manages a broad range of administrative and organizational tasks, communicating with third-party systems (ingest, archive, backup, MAM, PAM, etc.) to reduce complexity and improve workflows, so editors have more time to focus on the creative aspects of production.

● An innovative new rendering workflow developed for Adobe Media Encoder, HelmutIO manages rendering resources on the network, identifying idle and unused CPUs or servers and automatically exporting and assigning clips and sequences from Premiere Pro and Adobe After Effects® projects, freeing up valuable system time for productive creative work.

● Cosmo indexes projects including folder structures, metadata, assets, and sequences before making them available in a database. At the same time, this data is made available in a visually intuitive dashboard for creatives to easily identify and locate content. This companion database enables full synchronization between Premiere Pro projects and third-party systems without users needing to open Premiere Pro.

● Housekeeper is directly connected to Cosmo, utilizing the extensive metadata to delete, move, archive and manage projects and project-related assets. Tasks can be automated, performed manually or set to run at a specific time. HelmutHK can also distribute these tasks across HelmutIO’s render nodes in scenarios where both products are being used in tandem.

Experience Helmut at IBC2019

IBC attendees can book a demo (https://www.editshare.com/ibc-2019) to see Helmut in action. To schedule a one-on-one press briefing, please contact Alex Molina, alex@zazilmediagroup.com.

Adobe at IBC

Adobe Creative Cloud® brings efficiency and speed at every step of the post-production workflow. From native file support and quicker rendering, a rich project format for designing workflows, professional audio mixing, motion graphics templates, and Adobe Sensei innovation, Adobe’s integrated video editing tools help professionals turn footage into great storytelling. Adobe works with over 300 technology partners providing a rich and flexible production ecosystem for broadcast production. Stop by Adobe stand (Hall 7-7.B35) to see Adobe Premiere Pro, After Effects and Adobe Audition® in action and hear how top customers get to the finish line faster with Adobe Creative Cloud.

About EditShare
EditShare is a technology leader in networked shared storage and tapeless, end-to-end workflow solutions for the post-production, TV and film industries. Our groundbreaking products improve efficiency and workflow collaboration every step of the way. They include video capture and playout servers, high-performance EFS central shared storage, AQC, archiving and backup software, media asset management, and Lightworks – the world’s first three-platform (Windows/OS X/Linux) professional non-linear video editing application.

©2019 EditShare LLC. All rights reserved. EditShare® is a registered trademark of EditShare.

Press Contact

Alex Molina

Zazil Media Group

(e) alex@zazilmediagroup.com

(p) +1 617 834 9600

Portland, OR - January 29, 2019 - today announced , a major update to its video effects and transitions plugins for motion graphics artists and editors. With this update, users can enjoy an enhanced user experience thanks to the brand new Universe Dashboard, a dockable control board for Adobe® Premiere Pro® and Adobe® After Effects® that makes it simple to add effects and presets. Five new, customizable text generation effects give users even more ways to add a unique flair or specific look to their work. features over 75 tools supported across 8 host-applications.

New Universe Dashboard Keeps Tools At the Ready

In Adobe Premiere Pro and After Effects, the dockable Universe Dashboard keeps tools at users’ fingertips, making it simple to explore and apply Universe’s entire library of effects and presets. Users can now save effects as favorites and easily find recently used effects and transitions - a top request from Universe users. A modified version of the Dashboard is also available for other applications outside of Adobe Creative Cloud, and is a convenient and easy way to explore the effects and presets in the Universe library.

Five All-New Text Generation Effects

Red Giant Universe 3.0 now includes five new customizable text effects including a multitude of presets to help users get started:

● Type Cast: Easily animate text properties like color, opacity, size, position and rotation - by the word or character. .

● Type On: Quickly create computer terminal-style type reveals. Includes tons of options for customization and randomization. .

● Screen Text: Fill your screen with scrolling code to create the look of an old-school or modern computer terminal. .

● Hacker Text: Easily create computer hacker-style scrambled text animations. Simulate encrypting or decrypting text with many options for randomization and look. .

● Text Tile: Generate multiple columns full of random data for use in motion graphics and computer terminal effects. Displayed information can be static or animated. .

Presets

In Red Giant Universe 3.0, every tool comes with presets that can be explored via the new Dashboard. In addition, there is now a “Save Preset” button for every Universe effect that lets users save presets to the Dashboard (Adobe Creative Cloud apps) or the preset browser (non-Adobe Creative Cloud apps), depending on which application is being used.

Universe 3.0 Pricing and Availability

● Full: $199 annual; $30 monthly

● Academic: $99 annual

Get Red Giant Universe 3.0

Installation is easy. Download the Universe installer from the Red Giant site () and run the installer application. Once installation completes, if you are a current Universe user, you are ready to start working. New users, simply click the “Activate…” button to launch , and sign in to authorize the machine or start a trial. You are now good to go and all set to enjoy Red Giant Universe 3.0!

To learn more about Red Giant products, please visit .

Compatibility

Universe 3.0 runs on Windows and OS X, and includes over 75 tools that run in:

● Adobe Premiere Pro

● Adobe After Effects

● Apple Final Cut Pro X

● Avid Media Composer

● DaVinci Resolve

● Apple Motion

● Magix Vegas

● Hitfilm Pro

Visit the to learn more about specific version and OS support.

The Red Pledge

Red Pledge is Red Giant commitment to customer happiness, with no purchasing hassles. Learn about the Red Pledge guarantee at .

Request a Universe 3.0 Media Review Kit

Members of the media are invited to review Red Giant Universe 3.0 as well as any individual tools or product suites from Red Giant. For more information or to request a product review kit, please contact Nick Govoni at .

About Red Giant

Red Giant is a software company made up of talented artists and technologists who collaborate to create unique tools for filmmakers, editors, VFX artists, and motion designers. Our company culture is focused on finding balance between work and life – we call it “the double bottom line” – this philosophy helps us ignore complexity in favor of building simple tools that yield giant results. Over the last decade, our products (like Magic Bullet, Trapcode, Universe and PluralEyes) have become the standard in film and broadcast post-production. With over 200,000 users, it’s nearly impossible to watch 20 minutes of TV without seeing our software in use. From our experiences as artists and filmmakers, we aspire to not only provide tools for artists, but inspiration as well. Watch our films, learn from over 200 free tutorials, or try our software at .

Press Contact

Nick Govoni

Zazil Media Group

(e) nick@zazilmediagroup.com

(p) +1 (978) 866-7354

LONDON — December 10, 2018 – Global content services provider, TVT Media, has integrated Blue Lucy’s BLAM Adobe Premiere plug-in into their media management service and software platform, ContentSelect. The integration provides seamless access to Adobe Premiere for compliance editing and advanced quality control from within the ContentSelect platform.

TVT Media is a leading independent digital media lab, providing and delivering content and systems for the world's principal broadcasters. One of the world’s fastest growing media services companies, TVT Media has operations in London, Amsterdam, Singapore, Tokyo, Los Angeles and Sydney and a dedicated software development centre in Krakow. TVT provides content supply chain solutions using ContentSelect its cloud-based software platform.

TVT approached Blue Lucy after identifying an opportunity to optimise workflow handover between ContentSelect and Adobe Premiere. They were looking for a solution which would automatically load projects’ source media and EDLs in Adobe Premiere when prompted by a workflow task, without the need to search for content or set up the project. As this capability is available off-the-shelf with BLAM, TVT chose to integrate rather than develop this functionality themselves. The end result is a more efficient, more secure end-to-end workflow with the added advantage of higher data quality.

“We often find that we need to move quickly and remain critically focussed on the high-level content supply chain challenges we assist our customers with - we don’t always create our own specialist tools, we look for what we can find in the market to benefit from others’ economy of scale. In the same way that we use Adobe off the shelf, we use other existing tools to enhance our product offering,” explains Peter Elvidge, TVT Media’s VP of Technology. “We select partners, like Blue Lucy, who share our vision and can work at speed, in a flexible manner to deliver a compelling solution rather than a one-off project.”

Because all features and functions of both BLAM and ContentSelect are accessible programmatically through a REST API, integrating the two technologies was straightforward. The small team of Blue Lucy Professional Service engineers and ContentSelect developers took an iterative approach over just a few weeks to deliver a solution where BLAM acts as the gateway between ContentSelect and Adobe Premiere, allowing operators to conduct QC and compliance editing tasks including;

· Receiving and adding QC data using Comment Markers on the timeline.

· Adding DPP AS-11 Segmentation Markers to identify programme parts.

· Specifying temporal attributes such as sponsorship details or end credits using Adobe Segmentation Markers.

· Cutting or re-sequencing content for distribution in different markets.

· Sharing QC data and exporting re-edited sequences through automated processes.

“TVT and Blue Lucy share the view that technology’s role is to support businesses’ operational models and that integration is key to successful workflow solutions,” says Blue Lucy founder, Julian Wright. “By combining the capabilities of our different systems, TVT has been able to offer their clients a low-friction operation, quickly and without engaging a ground-up development.”

Read the full case study here

# # #

About Blue Lucy

Blue Lucy is a leading technology consultancy and media operations management software development agency. The company is led by a team of industry experts that service international clients with a business-orientated approach to technology. Its core product –the Blue Lucy Asset Manager (BLAM) - is a media management toolset which provides asset and workflow management through a simplified browser-based interface.

About TVT Media

TVT Media is the global content services powerhouse. One of the world’s fastest growing media services companies, TVT Media brings an exciting new approach to content services with the industry’s most complete, end-to-end content management, media logistics and distribution offering.

TVT Media is deploying next-generation IP cloud technologies from its fully-virtualised Amsterdam playout facility and leading-edge media management approaches -- enabling it to address the complexities of packaging, versioning, producing access services, managing and delivering content for the dynamic international linear, on-demand and online entertainment market.

Headquartered in London, with operations in Amsterdam, Los Angeles, Tokyo, Singapore and Sydney – and a dedicated software development centre in Poland – TVT Media is built on an ethos centred on customer excellence and innovation. From A+E Networks and Discovery Communications, to the BBC and Fox Networks Group, to ITV and Sony Pictures, TVT is trusted by the industry’s biggest names to enrich and manage tens of thousands of hours of content, serving millions of viewers every day.

LAS VEGAS—If you were a broadcaster walking the aisles of the 2018 NAB Show earlier this month in Las Vegas, no one could blame you if you focused much of your attention when it came to video compression on HEVC, or its extension SHVC, which will help to power Next-Gen TV.

However, high efficiency video coding as implemented by ATSC 3.0 wasn’t the only compression development that promises new efficiencies for those in the M&E industry.

The Fraunhofer Institute for Integrated Circuits IIS used the Las Vegas venue to announce the first JPEG XS codec implementation for professional video. The research institute demonstrated its new codec as an input format for post-production.

Specifically, Fraunhofer showed JPEG XS as a software plug-in for Adobe Premiere Pro CC, providing real-time playback of 4K 60p UHD video in a Windows environment using an NVidia graphics card to accelerate decoding.

[Read: A discussion with Fraunhofer on what’s ahead in compression] 

Fraunhofer is positioning its new codec as a solution to the impending train wreck it sees when the ever-growing data demands of higher res video and HDR meets the limitations of coax cables in studios. Exacerbating the problem is the desire of production companies to move away from specialized switches and cable for video transport to commercial off-the-shelf alternatives that move IP packets via standard Ethernet infrastructures.

The JPEG XS codec, which is being standardized by the JPEG committee for IP workflows in studios, local video networks and VR/AR applications (ISO/IEC SC29 WG1), enables high-res video transfer via standard Ethernet and other wired connections, Fraunhofer says.

It is optimized for use with mezzanine compression applications involving high-res video to be transferred over limited bandwidth or when limited computer resources are employed. JPEG XS is also designed to take advantage of the SMPTE ST 2110 transport layer.